flute Hypnosis Spiral lament The Mad Hatter for flute & piano IC Music compilation of the works: Hypnosis Edition 2 (Ist Edition 1995) Spiral Lament Edition 1.3 (Ist dition 2008) ‘The Mad Hatter Edition Edition 2 1b (Ist ition 1994) Hypnosis arranged for Mute & piano 1994 based on Hypnosis by Clarke/HicksPainter 1986/88 ‘Spiral Lament composed 2008 The Mad Hatter composed 1994 Performance suggestions: Whilst the three works in this compilation were composed as independent pieces, performers might like to consider combining works in their recital programme e.g. 'Spiral Lament’ and ‘The Mad Hatter. To some extent both of these particular works were inspired by different and contrasting characters which can make an interesting programme link. "The Mad Hatter’ inspiration is probably self evident whilst ‘Spiral Lament’ is more fully explained on page 4 of the flute part. ‘Spiral Lament’ was not inspired by a ‘Lewis Carol World’, but it is not difficult to make some parallel imaginative links, if one felt so inclined. This is by no means a necessary combination or way of looking at things. As they are now in the same collection another pairing in terms of tempo and mood could be to perform ‘Hypnosis’ followed by the "The Mad Hatter. Programme notes are only shown for ‘Spiral Lament’ in keeping with the original editions of the pieces. Further information on each piece can be found at www.ianclarke.net NOTICE: The unauthorised copying of this publication is ilegl. It would be helpfl o register or ask ithe venue is registering ticketed public performance details with ‘The Performing Rights Society’ at 20/33 Bemers Street, London WIP 4AA tel: 020 7580 5544 or equivalent society in your county. Most venues and insitutions have a performance lience So thee is usually no further cost implication; a programme sent tothe PRS or equivalent may help facilitate allocation of licence monies already pid ‘This is ot intended to bean obstacle to performance Backing tracks for some pieces, details of other publications, recordings and CD excerpts are available at www.ianclarke.net Tan's music is distributed by Just Flutes 46 South End, Croydon, Surrey CRO IDP Tel:+44 (0)20 8662 8424 wwwjustflutes.comHypnosis ‘Arranged for ute & piano by lan Clarke ‘based on improvisations with Clarke/Hicks/Painter 5 aaa caer Copyright© 2013 fan Clarke wwwianclarke-net compilation ed, I: Hypnosis ed. 2 Spiral Lament ed 1.3 & The Mal Hatter 2.16sia (pay if able) et Copyright© 2013 lan Clarke www anclarkeet compilation ed: Hypnosis ed. 2, Spiral Lament ed. 1.3 & The Mad Hatred. 2.16wo Oia => mp ” 2 «acs rte a a . ral, * OO — pendendosi Copyright© 2013 ln Clarke wwwianclarkenet compilation ed I: Hypnosis ed 2, Spiral Lament. 1.3 & The Mad Hatter ed. 216Spiral Lament by Tan Clarke commissioned by Hannah Money Programme notes: Hannah Money asked me several years ago to compose a piece for her giant African Snails! I have to admit to being not a little perplexed. Sometime later I met one of these incredible creatures and had a long close Took.....an unforgettable moment! It was like looking through a window into a strange and wondrous alien world. For me, this experience made more potent the wonder of the natural world we live in. I also have young children who constantly marvel and delight in creatures of all sorts. They often overcome initial feelings of fear in order to pick up and befriend something to which an adult may not give a second thought ~ the occasional snail gets the better of their curiosity and is taken under their wing. Grown-ups are frequently ‘forced to give the world of small animals, with strange and varied methods of locomotion, a second thought. Beyond fear there is fascination, discovery and a different space. I found all this rather exotic, inspiring and quite profound. This was now something I wanted to express. Hannah had asked that I make the piece playable and approachable for an intermediate, not just an advanced player. In the end I have used techniques unfamiliar to both intermediate and advanced flautists so I hope it will be an achievable and fun challenge for all. In order to remove some of the apprehension about these unfamiliar techniques I have set out some exercises that will give you a plan of attack should you need one. I think I can safely say that they are not poisonous or harmful ..... although you may dream quarter-tones for a few days, they have no teeth or slimy bits! The piece can be interpreted on a number of different levels. The descriptive element is hopefully self-evident and fun to explore but perhaps more importantly, some sense of the marvel of living things and hence connection with our own existence is also present! Finally, I would like to say a huge thank you to my wife and Hannah for their enthusiasm and encouragement. an Clarke August 2003 Performance notes Spiral Lament is the only piece in this collection to include some techniques that may be new to many players. ‘These ‘extended techniques’ are often easier than they look on the page. A simple approach is shown on page 9 and it is recommended that a little time be spent looking at this. Unfortunately the ‘simple approach’ looks a little complicated on the page at first but a little patience and perserverance will bear fruit ‘more quickly than you might think, Bar 10, 45 ete - these are timbral or micro-tonal trills which move in colour and/or small pitch changes to decorate the notes. The crosses in the fingering diagram indicate the keys to trill. Note the Bb key is important for some fingerings. #6 diamond note-heads - use the alternative fingering shown, Quarter-tone fingerings are given and further illustrated on page 9 # quarter-tone sharp # three quarter-tone sharp quarter-tone flat. (This sign is not used in the piece but would look like this if it was.) Copyright© 2013 lan Clarke wwwanclarke-net compilation ed. I: Hypnosis ed. 2, Spiral Lament ed, 1.3 & The Mad Hatter ed, 2.16Commissioned by Hannah Money Spiral Lament Tan Clarke See Performance Notes op somes opeloppa ame +104 ” cocloppas simile scenoespages) 8 Pay Enigmatic elegant & still <<] —__,_____— flute ‘mp shape & glide through phrases ee restrained warmth 0, as o'op Es _—— Tnele 5 ¥ Ua eo aco cress, oo ee ”) eo erese. cee cree age oR RIE B 8 0p Rr ees pe “4 fe =—_—_— Copyright© 2013 lan Clarke wwwianclarke net compilation ed. 1: Hypnosis ed. 2, Spiral Lament ed, 1.3. The Mad Hatter ed 2.16 eg glenn A. lip add grace notes ‘the note above, the note se notes nf <= , 7 — f ecstatic = "4 & appassionato passionate — a misty warmin NB: fingerings as opening’ Copyright© 2013 lan Clarke www.ianclarke.net compilation ed. I: Hypnosis ed. 2, Spiral Lament ed, 1.3. & The Mad Hatter ed. 2.1blegato tonguing delicate & flexible es Sopp be je Je be deb 5 in} “rene mp esclopps tiene P Copyright© 2013 lan Clarke wwwianclarkenet compilation ed. 1: Hypnosis ed. 2, Spiral Lament ed. 1.3 & The Mad Hatter ed. 2.1bniente gentle warmth ug eo aa mp cresc, ge PoR pes Aap codon FF OP Pas caressing aan a a et P= > ~» — + ‘The frst fingering option here is only suitable fora split E mechanism flue, If your flute does not have a split E then use 2nd fingering. Ifyou don't have open-holes and don't have split E then play Git grace notes. ‘++ Optional dreamy timbral tis - bringin gradually! Try E key on a spit E flute or E & D key otherwise ‘vee Optional bend from G to.Aif you have open holes - uncover just the holes of A & G keys whilst keeping down rings Copyright© 2013 Ian Clarke www.anclarke-net compilation ed. 1: Hypnosis ed. 2, Spiral Lament ed. 1.3 & The Mad Hatter ed, 2.1bNotes: A Simple Approach to Spiral Lament Spiral Lament may initally look complex and only suitable for an advanced flautist. In order that it becomes achievable for the intermediate player, as well as giving some structured ideas to the professional, I have outlined some ideas of how to approach the piece in stages. Have fun doing the exercises and take your time to explore; you will find itis all much easier than you think! Feel free to take or leave what suits, I have found that this simple but powerful visualization routine can work very well for both intermediate and advanced players when learning new fingerings! Try not to look at the diagrams more than you have to in order to quickly get them into your head & fingers, When you do look at them to remind yourself, try not to be frustrated; take the ‘opportunity to really see and feel them...take them off the page.... actually... walking around the room Repeat 203 times sand return to exercise later during session at east once Repeat - with eyes closed Blow normally whilst fingering works quite well! Don't knock mmme your ft! 0 codopps 0g 8°o9, ro Oe ooaee ey Pe 1S simile eon nonce Alle ils re titra ils They gives ashimmering, effect as you trill toa slightly different pited and timbre. Diamond heads indicate the use of trill crossed keys ternative fingering! Use the above routine to practise all these exercises. Build them gradually in short sessions by taking a few at atime, Ex.2 coda, ooo" as abov. opps eo oR RB as above (Choose the fingering that best suits you; the bottom one is ceasiest but not flat enough so eventually try one of the top two! N.B.-- the top one is only possible with open holes.! 3/4 sharp Ex.3 a _ ‘equivalent bars ‘equivalent bars ‘The 2nd bar in each pair is less cluttered so often E 3/4 # instead of F 1/4 # is used in the piece itself. This also applies to other notes. 1/4 sharp sign Copyright© 2013 Ian Clarke www-ianclarke.net compilation ed. 1: Hypnosis ed. 2, Spiral Lament ed. 1.3 & The Mad Hatter ed. 2.110 ORR Ps : ‘Try repeating twice So00 with, and twice without Remember tht in the pice CPO CRMs the musi. there is a quaver pick up! 5 4 4 Ex.4 Remember you can use either open or 4 closed hole fingerings. Oo OS HF Use a normal F# grace note ‘Work through in pairs If you have a B foot you can this F 3/4 # fingering, at first. As you gain more facility then join into phrases. h b b Ex.S note pairs. Continue in a similar way with the following (key) “eg apie ” Enjoy gently and simply improvising with the fingerings, creating your Ex.10 Just D keys! Ex. 1] lustEkeys! ‘The decorations in some bars may make some rhythms difficult at frst so you may wish to have a plan! ‘This is an approach to ‘Bar 56’ of the piece! 1. No ties or grace notes. 2. Add ties, Add grace note bend. 4, Add the flip! cog esdlopns 3 3 3 3 3 : A. This turn/ip sign is used in the piece. It means play ‘the note above’, then ‘the note’. This is illustrated above. Copyright® 2013 Ian Clarke www.ianclarke.net compilation ed. 1: Hypnosis ed. 2, Spiral Lament ed. 1.3 & The Mad Hatter ed. 2.1b,Flute The Mad Hatter Tan Clarke Allegro scherzando «= 144 2 <—. * an . — pe poco rit , poco accel. fie mf res e fin = poco rit ——__ me —— ¥ P (Copyright© 2013 lan Caske wweiancatkenet compilation ed. 1: Hypnosis ed. 2 Spiral Lament 1.3 & The Mad Hater ed 2.16—— oe =e poco rit. poco piu mosso ¢ misterioso # = 176 P energico —————_=s > — Copyright© 2013 ln Clarke wwancarkenet compilation e|: Hypnosis 2 Spiral Lament ed 1.3 & The Ma Hate ed 2.151B y animando > mf ~ wubp — cresc allargando molto rit. ay bE be Zh by —~ 3 . Lt Copyright© 2013 ln Clarke wwwiancarke.net compilation ed, 1: Hypnosis ed. 2 Spiral Lament ed. 1.3 & The Mad Hater of. 218@ tempo grandioso 14 accel, a tempo piu mosso «= 168 mm GP. = eet eee ~ ossia (play top if posible) ug ee: lao Copyright© 2013 lan Clarke woianclarke.net compilation ed. 1: Hypoosis ed. 2 Spiral Lament ed. 13 & The Mod Hatered. 2.16tke ~ poco rit. ¥ poco accel — otdion ie a tempo poco rit, is She De en. a poco accel. - Cy a 4 e ores Copyright© 2013 lan Clarke www.anclarke:net compilation ed. Hyposis ed 2, Spiral Lament od. 1.3 & The Mad Hatter ed. 2b