jeremy corren

ombak
[2016]

for clarinet, piano, violin, viola and cello

written for counter)induction

ombak written for counter(induction

Notes

ombak: wave; interference patterns; audible beat frequencies; the human heart; the feeling of a gods presence.

Tuning
Much of the material in this piece relies on precise tuning of vertical sonorities, which belong to two categories:
(1) intervals based on harmonic series relationships
Strings are frequently asked to perform double-stops that approximate anything from partials 9-13 on some imaginary
fundamental. The box notation with the ratio (here, 12:11) does not ask for natural harmonics, but serves as a reference point
for the approximated just interval.

(2) close intervals with audible beat frequencies

In this passage, the violinist is asked to slide slowly from a unison consisting of the open E string and an E stopped on
the A string, to a false but resonant unison consisting of E and D 3/4-sharp.

Microtonal Notation

For stopped pitches, standard quarter-tone notation applies:

raised 1/4 of a tone
raised 3/4 of a tone
lowered 1/4 of a tone

Bb Clarinet
Dyad multiphonics

Close dyad multiphonics are essential to the harmonic backbone of the piece. In general, they are very quiet, and often form an airy, hollow
sound. Timbral fluctuations are fine, so long as the partially-fused harmonic character of multiphonic is achieved. More details on execution can
be found at Heather Roches website: https://heatherroche.net/2014/07/02/on-close-dyad-multiphonics-for-bb-clarinet/

Note: The pitches given above are shown as written, not sounding.

Piano
Natural harmonics

The pianist is asked to perform specific partials by touching the node of a given partial on the string and striking the
key. Strive for a sine-like sound that, largely but not completely devoid of the fundamental. Let ring with the
assistance of the sustain pedal. Often the equal-tempered version of the pitch is played in direct succession,
producing audible beating between the two tones.

Other techniques

Muted strings: Plus-signs ( + ) above a pitch ask for the pianist to mute the string in front of the damper and strike the key with force. This should
produce a thud-like, bell-like sonority, though perfectly clear in pitch.
Pizzicato: Reach inside the piano and pluck the strings of the indicated pitch, with the sustain pedal depressed. If possible, pluck both of the
outer strings to strengthen the sound.

Strings
Ratios
Indicates that the double-stop to be played consists of two component partials of a harmonic series on some imaginary fundamental;
serves only as a reference point, does not imply the performance of natural harmonics.

Timbre

sul pont, indicated by s.p.

molto sul pont, indicated by m.s.p.
poco sul pont, indicated by p.s.p.
sul tasto, indicated by s.t.
molto sul tasto, indicated by m.s.t.
poco sul tasto, indicated by p.s.t.
flautando, indicated by flaut.
overpressure, indicated by OVP (should sharpen and distort the sound; NOT scratch-tone)

Brushing

Quickly brush the bow along the strings from bridge to fingerboard, producing a faint, filtered tremolo.

Glissando

Sustaining an open string (I) and sliding down on (II): the glissando on (II) should be totally continuous. Small note-heads serve as references, but
not strict arrival-points within the glissando.

ombak

A
jeremy corren

q = 77

4
4
Clarinet in Bb

3
4

& bb

ww

#
o

4
4

o
p

q = 77
11.

& bw

beats with harmonic

>

mp

Piano

Ped

Ped

12:11

13:12

flaut.

Violin

&

B b
6:4

6:4

6:4

ord
>

s.t.

6:4

mp

mp

s.t.
Viola

& b

pp

ord.

s.t.

pp

IV.7 beats with Viola

Violoncello

o o
3 b
&

ord

s.t.

pp

beats with Viola

o
w

o
p

&

4
4

3
4

bb

4
4

3
4
w

ppp
p

mp

>
w

& bw

p
mf

Ped
12:11

13:12

flaut.

&

p.s.t

B b

6:4

6:4

6:4

- - - - - - - - - - - - - - #

3:2

6:4

3:2

3:2

3:2

o
mp

3:2

o
mf

s.t.

& <b>

pp

ord.

s.t.

pp

IV.7 beats with Viola

o o
3 b

beats against Clarinet

&
o

ppp
mp

12

3
4

4
4

&

bb

ww

3
4

bw

&
p

11.

beats with harmonic

>

mp

Ped

Ped
12:11

13:12

flaut.

&

B b

6:4

6:4

6:4

ord
>

s.t.

6:4

mp

mp

s.t.

& <b>

pp

IV.7

ord.

s.t.

pp

beats with Viola

o o
3 b

s.t.

pp

beats with Viola

o
w

&
o

ord

o
p

18

3
4

4
4

&

3
4

bb

5
4

4
4
w

ppp
p

mf

>

bw

&
p
mf

Ped
12:11

13:12

flaut.

&

p.s.t

B b

6:4

6:4

- - - - - - - - - - - #
3:2

6:4

3:2

3:2

3:2

6:4

o
mp

s.t.

& <b>

pp

IV.7

ord.

s.t.

pp

beats with Viola

o o
3 b

ord

mf

beats against Clarinet

&
o

p
ppp

mf

22

&

4
4

3
4

w
w
o

w
w

4
4

3
4

like a tape delay...

&

>
w
w
>

w
w

mf

mp

pp

mp
pp

ppp

ppp

Ped

11:6

&

s.t.

ord

w
w

s.t.

s.t.

ord

s.t.

ord

w
w

w
w

o
mp

mp

mp
ppp

II
gliss down on II
III.3

beating

o
ww

wwo

beating

smooth

o
ww

o
ww

o
ww

&
sub p

like a tape delay...

p.s.p.

ord

-o -o -o -o -o -o

p.s.p.

ord

-o -o -o -o -o -o

&
ppp
mp

ppp
mp

4
4

31

&

5
4

3
4

w
w

11.

beats with harmonic

Bo

mf

mp

& n

#
n
mp

sub p

pp
sub p

ppp

ppp

Ped

12:11
11:6

s.t.

<>
&

s.t.

ord

w
w

flaut.

Bn
6:4

mp

6:4

s.t.

ord

s.t.

6:4

mf
ppp
mp

smooth

beating
smooth

o
ww

<>

&

p.s.p.

o
ww

-o -o -o -o -o -o

oo

oo

mp

o
ww

p.s.p.

p
ppp
mp

II
III

ord

&

ord

-o -o -o -o -o -o

ppp
mp

4
4

37

6
4

&
o

4
4

w
w

11.

&
p

beats with harmonic

11.

beats with harmonic

Bo

nw

Bo

mf

mp

mf

mp

ppp

Ped

12:11
11:6

&

s.t.

ord

w
w

flaut.

flaut.

Bn

6:4

o
mp

6:4

6:4

6:4

6:4

6:4

o
mf
p
f

beating

o
&

o
ww

wwo

p
f

p.s.p.

II
III

ord

-o -o -o -o -o -o

&

oo
ww

oo

oo
ww

mp

ppp
mp

C
M

2
4

41

&

& w

ww

ww

4
4

Ped

s.p.

&

s.p.

s.t.

s.t.

mp

mp

m.s.t.
0

& w

sub pp

IV.7

oo
&

o
3 b
o

10

46

&

4
4

M
M

ww

ww

&

Ped

s.p.

&

s.p.

s.p.

s.t.

s.t.

s.t.

mp

mp

mp
(m.s.t.)

ord

s.t.

beating
3:2

&

sfz sub p

II
III

IV.7

& <b>

o
3 b
o

o
w

oo
ww
ppp
p
mp

11

2
4

51

& <b>

4
4

& w

2
4

bw
w
w

4
4

Ped

s.p.

&

s.p.

s.t.

s.t.

o
mp

mp

(s.t.)

ord

s.t.

beating

smooth
3:2

&

ww

ww

6:4

6:4

6:4

6:4

sfz sub p

pp

& oo

oo
ww
o

oo

6:4

6:4

p
mp

oo
ww
o

mp

12

2
4

57

& <b>

4
4

4
4

w
w

>
w

& b

w
p

mp

Ped

11:5

s.p.

s.t.

&

ord

p.s.p.

w
w

ppp
mp
mf

(s.t.)
smooth

&

ww

3:2
j

ww

pp

6:4

6:4

6:4

6:4

& oo
p

oo
ww
o

6:4

6:4

oo
p
mp

13

62

4
4

3
4

& <b>

4
4

w
w

mp

>
w
&

mp

mf

Ped
s.p.
11:5

ord

s.t.

<B>
&

ord

p.s.p.

w
w

mf

mp

ord
beating
3:2

&

ww

sfz sub p

&

(ord)

OVP
s.p.

oo

oo

mf

NP
ord

oo

6:4

6:4

6:4

oo
o
p

14

3
4

66

& <b>

4
4

2
4
w
w

4
4

o
mp

& w

mf

s.p.
11:5

(s.p.)

ord
ord

<B>
&

s.t.

mp

&

mf

sfz sub p

(ord)

oo
&

OVP
s.p.

oo

NP
m.s.p.

oo

6:4

6:4

6:4

6:4

6:4

6:4

oo

o
p
mf

15

D
70

4
4

subtone: cold, sine-like

&

sim.

mp

mp

D
>
w
&

11.

beats with harmonic

Bo o

mf

>
w

mf

mp

mp

b O O

Ped

mf

b O O

beats with harmonic

mf

11.

bo o

ord
I
II

nw
&

smooth

beating

ww

smooth

ww

ww

ww

smooth

beating

ww

ww

sub pp
imitate Violin's beat frequency
flaut.

&

o
mp

&

E
16
q = 60
airy ord

ord

airy

airy

airy ord

ord

subtone

bisb. trill
beats with Piano
~~~~~~~~~~~~~~~~~~~~~~~~~
#w

w
B

80

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&

#w

#
match with cello tremolo

o
mf

mf

mp

mf

ppp
f

mf

q = 60

+
>
w

pizz

11. beats with harmonic

#w

o
B

&

7. beats with harmonic

ord

>+
w
w
>+

5. / 5.

pizz

o o

##w
w

3#

#w w

mp

mf

mp

p
mf

mf mp

mf

mf

~~
#~

Ped

ord

continuous gliss on II

ww
&

%w

#w
%

w
%

w
w

w
w

w
w

w
w

w
w

mp

mp

mf

s.t.

ord

s.t.

ord
I
II continuous gliss on II

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n B

&
o

ww

# %w

#w%

w%

mp

#w%

mf

m.s.t.

ord

s.t.

ord

s.p.

s.t.

ord

s.t.

s.t.

ord

p.s.p

IV.4

&

#
>

~~~~~~~~~~~~~~~~~~~~~~~~~

#

bw

o
mf

pp
f

o o
mf

#
w
#
o o
mp
f
3:2

3:2

3:2

bbw~
mf

17

F
cold, sine-like

sim.

89

&

o
mp

mp

o
mp

o
mp

o
mp

beats with harmonic

11.

w
& nw

Bo

mf

nw
w

w
w

Ped

p.s.p.

s.t.

w
& w

w
w

p.s.p.

s.t.

w
w

w
w

mp
p

w
w

p.s.p.

& nw
w

w
w

f
p

p.s.p.

s.t.

w
w

w
w

mp
p

w
w

mp
p

s.t.

p.s.p.

s.t.

p.s.p.

s.t.

w
w

w
w

mp
p

f
p

ord
sim.
beats with Clarinet

BB ~w

BB ~w

BB ~w

ppp

ppp
mp

ppp
mp

ppp
mp

ppp
mp

ppp
mp

18

G
#>

95

&
o

pp
f

sub p

>
w

#>

#>

&
mp
f

mf

Ped

ord
fade into nothing

&
w~

w~

##O

w~

w~

w~

w~

sub p
sub mp

ppp

ord

&

#O
#
o

>
O

BBO

ppp

mp

<B> O
? <B>

mp

o
mp