Kaija Saariaho SIX JAPANESE GARDENS for percussion and electronics WARNING: the copying of any part of this copyright publication is illegal. If copies are made in breach of copyright, the publishers will, where possible, sue for damages. ‘Boety illegal copy means a lost sale. Lost sales lead to shorter print runs ‘and rising prices. Soon the music goes out of print, and more fine works fare lost from the repertoire. _———— | CHESTER MUSIC part of The Music Sales Group 14/15 Berners Street, London WIT 3LJ tel: +44 (0)20 7612 7400 fax: +44 (0)20 7612 7549 Exclusive distributor: Music Sales Ltd, Newmarket Road, Bury St Edmunds, Suffolk, 1P33 3YB tel: +44 (0)1284 702600 fax: +44 (0)1284 702592 web: www.chestemovello.com email: promotion@musicsales.co.ukThis work was commissioned by the Kunitachi College of Music. It was written for Shiniti Ueno, who gave the first performance in Tokyo on 12th July Duration: . 19 minutes Score on sale: Order No, CH61513-01 © Copyright 2005 Chester Music Lad INTRODUCTION ‘Six Japanese Gardens sa collection of impressions of the gardens I saw in Kyoto during my stay in Japan in the summer ‘of 1993, and my reflections on rhythm at that time As the title suggests, the work is divided into six movements. Each movement takes a specific look at the rhythmic ‘material, starting from the simple first movement, in which the main instrumentation is introduced, and going on to complex polyrhythmic and ostinato figures, and alternation of rhythmic and purely colouristic materials. ‘The selection of instruments played by the percussionist has been deliberately restricted to allow the rhythmic evolutions to be appreciated. The reduced colours are extended in the electronic part, however, where we hear nature's sounds, ritual singing, and percussion instruments recorded in the Kunitachi College of Music with Shiniti Ueno. The ready- ‘mixed sections are triggered by the percussionist during the piece, from a Macintosh or PC computer. All the work for processing and mixing the pre-recorded material was done with a Macintosh computer in my home studio, Some transformations were made with resonant filters in the CHANT program, and with the SVP Phaser Vocoder, in collaboration with Jean-Baptiste Barrigre. The final mixing was made using the Protools program, with help from Hanspeter Stubbe Teglbjaerg. Ks, INSTRUMENTS “Triangle Zen cymbals Metal plate 2 gongs Wood block CCrotales (1 octave) Log drum Chinese drum Stones Tambourine Small suspended cymbal 3 timpani Medium suspended eymbal Tamtam 3 suspended finger cymbals NOTATION ‘The metronome speeds shown are suggestions only. + diminuendo al niente oO crescendo dal niente ‘The score includes suggestions for mallets and sticks. Where no suggestions are made, the most idiomatic sticks should be used (wood block ~ hard plastic; suspended cymbal - medium yarn, etc.) Often players may prefer to use several sticks at a time, or find other interesting musical solutions. The final choice is left to the performer. Where the symbol V is marked, the percussionist should trigger the pre-recorded electronic material using a pedal or other suitable device.ELECTRONICS Download the necessary materials and check the up-to-date version of this page at yyw saariaho.org/SivJapaneseGardens-electronics, uml eral-notes html For general technical notes go to ww»w.saariaho.org/lectronics-g For solutions to common problems go to www saariaho.org/Electronics-common-solutions.html General information ‘The electronics for this piece can be run with a Max patch that includes infinite reverberation, general reverberation, and plays pre-recorded sound files. CCues in the score must be triggered by the percussionist with sustain pedal(s) (or by another musician directly on the computer at the mixing desk). In both rehearsal and performance the sound engineer/musician should read the score and adjust the relative levels of the percussion and electronics on the mixing desk, according to the given context (musical interpretation, equipment, acoustics of the performance space). ‘Technical requirements “Macintosh computer equipped with an extemal audio interface compatible with Max (ef: www.cycling74,com), eg, Mot: www motu.com, Digidesign: www digidesign.com, RME: www.rme-audio,com -One or several sustain pedals (for Max triggering) connected to the computer through a MIDI keyboard, or through a MIDI interface and a voltage-to-MIDI converting device, e.g. MIDI Solutions’ Footswitch controller, see www.midisolutions.com Directional microphones, number depending on the performance space and percussion set-up “Mixer & stereo diffusion (possibly @ return monitor for the percussionist) Performance notes ‘The amount of amplification required naturally depends on the performance space, but it should never cover the acoustic sound of the instruments. The ideal sound is a clear and rich ‘close’ sound. The microphone(s) should be placed as close to the instruments 28 possible. ‘The general level should be rather loud, but not painfully so.in momor fon Temi SIX JAPANESE GARDENS 1 Tenju-an Garden of Nanzen-ji Temple Kaija SaariahoRom > TI Many Pleasures (Garden of the Kinkaku-ji) eS tg Eg 4 gd aa eo Matt Pate B aeons ne t Hg A me : = 8 Msi ry ee eS ; tom ee SE ag yh tet Sas sor [lj gdb = pg hy hig dl | ae | | : a | a =e en f§—$_. aeIH Dry Mountain Stream 4 7 SS } Ses as s é See ee ee eee ee ee ee |, 9 ye pT eit) "4 — ee - | 7 = = “ea Ea ee cong no + Fee choice of names ang a hy some om he re faies enone, and doa hae clearly defines ite6 HL Dry Mountain Stream ; 4? is ae ae = SE i ft ft ont SSS HL 42— He a He 2 te » ¥ 4 = cernersns) 2 = + aa § ~” ; - ne * aan e eel 4 s ' eLet is [w 7 a ay (* Us ee = ae ——— = ie = e ee a Oe — == = he — = = =e S — = ee Fe ye me . 4 ae: igd elie Cae u E G == = ——— = —————— te ae el ll al lie le So eed Peel ate ee ee ce & =e eS === aa =e = = gt So [a 1 i= 4 He te =I L as — ™ oo re fe —— == SSS SS 1 yO Se ee laa Goo Vv a a ee Ge=o Fadia hh vite PHF pH Pe pa Tg ds ee cea °° f Tad at J Eos De SS SS ae ee eet =o P atx! a Paes ser een nee DF pos 4 4. UN Soa — i i ——4 SS s = oust os 2S a © eet eee mr —- 48 IV Rock Garden of Ryoan-ji TCU ot aes ‘ A aes ‘ ‘ = ——— Soe soh Se Joe Trap aitetiatseaies Popetaeey ‘ — a + r + 7 #10, ? =<, oa 4 —+ + a _—_ smentot MoV 3 c atoV Moss Garden of the Saiho-ji Coates * Fee coc finstrument a in Movemest I)