IAN SHANAHAN. (1984).

For Nigel Westlake & Peter Jacob,

with thanks to Michael AskilI.

- ECHOES/ FANTASIES
for bass clarinet, vibraphone and
tubular bells.

Copyright 1984, by Ian Shanahan.

 Ec.ho~s/H>.,,-\o.sie.5 WqS wr',i\"en for Ni~el WQ.5tl",\r;e. (~s Clo.rlnat) C\l'ld fle+e.r Jqco'b (~rc.vs~ion). I-r rq.c.Q.iv~

its first ~rf()("""...n'E! in 0. '5eyfVIour qrovf c.OI\c.ert ad' the. Ole). o...r\I()~ton x.hoo\) Uni\ll!rSity ot- ~y on +he.
2~+I. JVlle., I,\~'t-, 0\,,0\ wtlIS rec.orG\e~ for th~ Ae,C. In Sl?f\elllbe.r- I"~ in tnQ. 5Ii<3~tly-~VIo;ec{ presel\t ~si\)n,
by Ni~e.1 W~st\c\ke o.~ Mic.hqe.1 As~1\ (P~rcv>~iol'\):- to who"" f"I"Ifly ~n\cc; q~ ~;~I'\ for ,..,v~ vqlv"Ib\e qo\.vic.e..,

This PIQt.e is ii\+W~ to be ... C01"lpclnlot\ to "'" orchQ.5+~1 work f~se,,~ if) ~M.ss. ~choe.!./f=qi\tqs;es IS
in two sec.t;OI'\~) c.ol\l'lec.te.o\ bot 0. short Ilnk.i~ Fssq~e. 1h~ '>tc:h'ol\.. thW\sdve.~ ...re ~lq~oI only by ~tI!pO c.orre.sp

-OI'\cAe"ce~) "''' Oc.c.Clslonql Pleloolic t{"o.~M~I\+ OInol rhythMic. pcaN'lvt-qtlOflS bc::.sto\ on the f\'J'h.c.t (\\I"'tPtr 'l~ (of
.",hi~ thret ",re vseo\ in ~o.c.~ sectlol\). Howt'l(!'{", thtre is ql\ "ca)(chqt'\~e of. Tvnc+,'OI")J) be.~ +he '!.ectlc,,~ - q

~o"c.ert I h",,,e bON'Owe~ frOll1 chts~ frobl~ ++--"-0ry. Initlqlly, in t\-.e. fi"t S'l.C.110I\, the. bqo;s c\qrind- plqys Co!

rh'jthl"llc. ~rMvtoItlo" q~",""$t the. p"rcv>SIOl\, which is rhyTVlI'IfIC.C\lly "free". This IS fo\l~ by ~~ bo.ss c:.1"Irine.t
o.rP. percvssion fllq11t'\~ NO 1\10re. r'nytflMic. pe.rr.,IJtt>ITlons betwe~ +tie"". 0" -I+.~ ~tU" hqno\ it') t'n~ ~ec.onc.\ 'S~h'OI\}

the. vibrqp~one ?lo.ys thret rep-titiol\') of thre.e I'IOre sVfl1.ril'1pos~ rn'fThlVl1c pe.rll1vt"qh'ol\s a.~o.i1\st tht rhythfrl-

:-iCPol1y "fret" ba.ss c1o.ri,,~+. Here itot bo.ss dqr;t)e.t ptlrt ~ priMqrily cO(pose.~ of ' Irrq'h'onql' rhythM'S, th~
f"'rt cl.eve.lopin'1 conie).erqbly if) cotvlflexlty vpon e,oo.ch v;bf'Olphol'le repetitiol\.
ThI1. work I!Xfloits l!.'I(trel'lle.s ot~""'po Cll\o\ tension. It be'3ins (q,,~ el\~s) it'} "I very Ilvtly "'' c\ ets~tlc.l\t"'l\l\e.r)
"'i"d.it'\~ 0\0'\1'1\ to "I" 1!:xtrelVle.ly slow) oIist..tlt O\n(,\ i nfin;n.ly c:.q\f'II f~l, intencA.ecl to C1.VO~Q. ;IV\()(~'S of c.cart...ln
lone.ly q"o! reM~ f"'rh of Avstro.licl : the hO\", shifl1... ~r;I\'3 'iovncAs of #Ie. vibrqphol\l brim:\ forth ;n f"ty II1lncl
il'A'1es of- thl! AIISTrqliCl!n ~~erl's ) with l"Iirq~es of ro.ref;eo\ OIl" r\<;;n~ froM ~e.tr sqnd.s) whi\sr SOf\I\e. of the.
c.ool ""'S~ d ... rine.t sonorities (Po,rti'wlqrly the br0=\thsovI\o\s) r'!.l'\illd. I'll! of ~entlQ. WOI"\!.'S wa.shifl'3 ~o,nol up 01\

,,>al'le o\e.se.rteol beAch. this 'STc!n IS MC\lf1~inea\ for ~ while Cloo. thlln iMperee.f*ibly +ro.nsfo~eP\ bqclc: '-"to the.
Orl'3;OO\\ I'I\C\flYltr

. Thfl. title.~ It Is CI rrte.reocl! to frl!.";OI1S works, bvt ~\s\:) ;1'\G\~c.'ltes thlt strvctVrq\ Q..c:.hoe.t o.~ fl~hts~of~'fqncy
i""olvQO\ , "IS well 0\'> the ~I!.nerql sovncl-wor\o\ o,nol (/.)(tro\II1IlS Ic",l o.ssoc.iqh'ol\s oftnl!. piece. .
I.S.
 NOTES FOR THE PERFORMERS.

Instrumentation and the number of performers:

~.Q.

Bqss (kline\" ifl y;V. Rq~: ~ =

~o

"\he. vibrqphone. rtI~t be eC}v'lpp~ with "In electric. ro.otor "I1lc.l q IfOtriq'o}e spe.~ of v;brqto ,0.$ we.1I a..

0. switch frturning the vibrq~ on il'lSh:loi'tmeol1sl),. The u~ of q Mv<.>se.r vibrqphooe IS f~b\e

for th~ petfotMnte of thi $ ?i\!.c~.

Tubv\qr 8ells. If q si~\~ perc.u!>$iot\i~t is to p\'I'f The pi~te. "1110\ if-the. bells hqve q ?~<\I which ope~~ in the. sql'rl\!.
wo."y 0,," the. '1ibrqphor.e p~"I\ C~~ i.. ~Uql>, 0." wei'3h+hlvSt be. put Of'\ thl!. pe~ql prior ~ the. perfoC"f'lqnce
of thq, pie.cQ.} ~o ~tthct bells qre ~e. to ~O[\q+e.. The os\!. af q set of +"bv\qr bells whic.h nqve. q Ions
ptrioo\ ot reSOl'AntQ. bill" wn IC.~ ca.150 f speqk' ,\-oic~~ is pre~(qble for the. peM\?rtIIq",ce ot this pie.c.e..

The perc.lIssi o" ~rt hqs b<lel\ wriitel') so ,Mt 0, SlO'Jle percussionist cC\n el(q,cvte it; however,;t is prQhrqble ~rtne pe.rcvsSlco pqr+ to bl/. pl"l1~q

~ ~o percussionists, ~is+ributil\~ the pqrt o.s follows:

~?-.~.l::-.~?:' Om~ ~rcl1Ssiooist plqys +he hJblll<lr bells whilst ~ other ~rcussion;st p\ ~e vibrqphone.. Wel~hinCj ~t)wt\ the fl!.cIq \ of the bell~ (see

o,Pove) will th~1') b~ o'ln~ce,$~qry, 0." +'not p\qyer co,l'\ fflqnlPU\qie the ~q\ with his foot. (The vibrqphof\~ ?Iq~er M~y o,lso qSSlst tne MiI1\qr
bells fF\~ef' ~l1rin9 mit sectioo, in whic.h CqS~ ex"lct ~etqi\~ of the ~istriboJt'lon of the bell ~rt o.re. left to ~ ?rfon>lers).
~~.~:-.c.:J~1: The v;brqpho,,~ p"rt Mo..y be SM~ by +he iwo percussionists 00 one 0(' eifel' two viloro.pholles, il\ "Vhlc.~ CClse t)(qc.t oIetqi\s of the
~istr;bl1t;on of thct Vibrqp~one po."rt "In lett to the. perforMers (tho~h in '3e,,~rql} "If\C\fP~;Mqh ~11'I~e is thelt- ot\e pe.rcvssioru~t wov\cI
p\o.y tht top ~'\qve of the?'lrt ...,hjil.t the other pe.rcl/SSloolst wou\c\ plq~ the bot!"owl s~ve). If q secooc.\ vib("'qpho~ is USed! for this ~e.ctionJ

ir is pN!fen;lble thoIttl'le twe> vib(qpl.,\)I\'!.s, vo.ry sl,~'ntly both in tif\'lbre. ",ocl sfeeol. of vibrqt\)I(1il~~h fOsse.ssin':} the ~"I~ vi~h> l'Iech"ln;~MS) .

~~~. ~:!~?::!~~.: Ore percllssionM p\q~ tbe -jvbll\qr be.l\s wbih.t ~e aii\q,r pe.rclJSSIot)l'si- plqy.. the VI bl'tlphooe) qS -fer bqrs 1-'3.

The. physic.o.l C\i.. posit'of\ of 01\1 the. ;1'\si-rvMtnts is left To the perfa~ers, except thqt if 0\ sin~~ percl1SSioni~t IS to p\"I'Y thR. Pl!.rcvss"01) f"\rt) the
hbl1\otr bq.\\.. shoo\c\. b'l pjqce~ iMlI\etAl"ltely b~hin~ the vi'o("Qrhont (wi+~ sl<:\ncl,s -for the. Musk f\"lC~ bet-en the. +we> p~rcvssiol"\ IIIWuMenis).
General remarks:

1. RI!.~~Mil\'3 thl!. ~~ C~~~ i" bo.rs L!-O-5b ...~ b...rs ~2. -ltrlT I the shq~s of+hl!. temro dl"l"~1!.5 qre ;nqjc:.qtec;! by ClpprOXll'lOf1e +er..fo

i,,~icqtio!\'S "very thrill!. ba.rs. In o~er for 1+R pe-I'fol'l'lers to ~;t\ fcIirl)' llItc.vrtlte\y +he n!.'t.llire~ shqpes of the ~po dV~~~ts, it I~
0\~v;5"1ble a\lJri~ renl!.('S'I\ for ~ perro rl'ler5 f() ~ o.l\ I!.lectr\,t\ic. l't\I!.m,nol"\~, cOt"Ipqri,,~ their +e""pi with th~ ~ive" nf'lpo ;n~ic.cm'ol\s .

Acm;" IlIlYIo\]nt of flexi'oiliry is F\ecll.sso.f'j a,1IQ. to the cOfIsitteMrlon of roo", "IC.OUstICS) o\'fl\q/l\ic~) rhyth~ Itessitv~/re~istel') (V\l!.loclk

""o.pQ. C\~ othQ(' fqcto~, bll'H-his 51-.0\1\<>\ flot rtlqr the qfjql"Ment of the ovel'Cll\ SNfes of the N.ll'lfO c:.hql\~es. Ao\cI.itlol'\q!Iy, qpproxi/l1"l~
o\lI('qtions lin MilllJtes qnc;\ 'S1l.t.Ol\qs) of s\lbSectlons of the piece I-.c:we bean '31vQO to 'Issi..t the p"rforf\1e~ i., this respect.

2. Increo.sin2 c:A"jllo.l'n\C. inh.I'sity froM \I!.f+ to rlsht: pppt PP? PP+ Pf pt- P 1l'I?~ Mf Mf /VIf+ f f+ ft 11-+ '* ffft .
p pose;. 'Inol f pess. /VII!.'II\ "qS soft "IS possible" '11"101 "0.510\10) CIS possible", respec.tively.

Th't e:xtrel'tles of ~f\C\I'tI;1:. Il!.vel sholl\q b~ fq~q.n ff'OOl +h~ vibrqfhone pc1rt of the sv'osectlon be'3iM1n3 "t bClr ~tr (when +hl1. lowest
~'fnql'tll('s ",hovld. bq. 'It thla sbftest I~vel s\lch thqt the (.orresponoljf'l3 h'l~onjes qnol C:olovrs qre. q~ible ttht'<l"'jnovt The qll'llitoriuMJ,qn<>\

COf'.tiMity G\'lol fvsiol\ of 0.1\ thll reSOl"Ances IS fn?s'1.rveci '\t tl'le ~;vQ" ~("lfOI ~i,,'ln~ q '\);~ rlc.h 0100\ fvll ~-xtvre) t\l\o\ frol'l .. ec.+iol'l$ of
bqrs \ -b~ Glno\ bo.rs Itr5 -152. (whkh .h.En!/. th't lovcAQ.st "'jno.I'I\;C Il!.ve\s) . Be-tween these el<'Trel'les of qynql"llc. Il!.ve.l) qyl'lGl/VIltS sl)ovlol bt
~rqo\lI"1teq ~;r1y evenly. with q cer-\qln ql"lo.Jnt of- fll!.xlbi\,t7 (tqkin'3 if\to c.ot'lsloIerqti'on rOOM t\COV$ti'c,") rhythl'1) hr'lpo) tessihlrt1/!'eC3 Iste.r)
o\ll.locAlc. shqpe 0.00\ other f"lctors) . In o~er '1-0 I!.Y"lSlIre thqt these two e.xtreMe.s of oIyno./VI\c OI('E? 0,$ fqr "'!"Irt OIS poss; ble, It It ~rm('O\ble

for +hI!. plec.e to be ?1"Iy~ in GlI"I o.volitor;\If'I which IS 'l.vi~ resonqnt, wi*'"the pl!.rformers in c.\ose prol(;jOI;ty of the G\lIo\ience. .

3. - ~e"ote5 tel\lIro c..to be. ne,lO\ for the. fvll ~vrq\-iot'l,or vifY s\l~htlt lon~er) witholA' 'loy ill'lplicCl!t,on of QCc.ellt ors~SS, IInles~ othl!.fWISe.
~ire.c~.

4. o.rC\t.e notes t JJJ I t e.tc.] shovlq be. plqyeq "\.lIi-k? rqpiO\ly (o.nq not MC.I!.SS'Iri"t I!.VQ.'I\I'I) but I ~+ q ~PI!.\!.~ o\ef'l!.nJ.'1nt ;1'1 pqrtlcvlo.r
"pon the svrrovr,o\ in~ ~v~tlons preVOl;lin<.\ ~ro I "11\0\ the prQs\!.I\C;~ of 'k.'I\lIto ~rlc~~ 1'IS \Ve.11 q~ rOOf\) o.COllsti"C.S, <:A'I(}qf>llc.<,,)tessitvrq/re3;ste~
Me.I~k ~'nqpe 01001 othe.r fo.c'h>rs. ~1''Ic.e.''o+e.~ l'I~r\c.eq '1~'3i\e") "very ..~il\!. etc. ~hcvlol be pla.yeol Vl!.f'{ rqpJ.,\ly,or eve.\,) GI~ f'CIFiol\y GIS possible..

6. Tht'<lv~ho\lt bqr IS?., the perfol'lV\er5 ~ho\l\d. ~i"fq\f) their phYSIC'll q~;tvole (not relql(i"'3 until qlt the. be.1I rIl.sono,nce.S o.re.lost in the. oIlstqllte)
so thqt thl!. quc;\II!.t)( rl!.q\iz.e.s th~t tile pe.rfoN\.\Ol1\c h"l'" oot 'let be.l!.n CClMplll.+Qt\ .
Ple.qse observQ ",('01 c~io\er ql\ oIl~c.t\ont "tool rE?lVl"lrks,Clnol YJJQ.y the II-IVSlc. .
 Specific remarks for the Bass Clarinetist:

2. UI'III!.SS othtrwise in~iCAte.c\, 0111 OISp~ of ~ 0Ire. Ie.ft to the ferfortr.e.~ I-Iowev~~ vibl'Clto, ;+ vse.c;\ qt 'Ill when nat it\cI\cOI~o\) sh<>vlol be
e.ftlploye.o\ wit\-, cl:lnsiole.rqb\Q. o\isc.~tlon thf'0V'3hovt +he piece .

4. liqrlrlOnlC. '31,ssq~i lite to be. I!.l(ec.vtect 'c7y l"I"Iintqinlfl'3 ~e lnitlq\ fullc;\qlller\tct \ fi~erin~ (or flt'l1-ritl<3S) In the. C"ls~ of the ~N'l0t'\1c.. '3lissqno\()
treMo\o) qnG\ overb\ow;n~ vp the h:\ri"lOnlc. se.ri~s (for the incl kq~ cAvrqtlon) to <>.s h'~}.., q pi+c.h qs fOssible )by \)~i!)~ the ~Mba\)ch~ ,,~ thl\lOJt.

-Flz.

5. .~ ~el')()te.s fl\Jlkrto~lIi~ e.'XQcvtt~ Iry f\\)-\lerii1C3 the ton~\le "<J'Iinst the ~ of the I'f\ovth with v"lf)'liI~ de~ree.s of ;ntetl!.iry) yt'tl.ld in~
I

oI.i~rent ~vqlit,es of f\vtter+o~ve . This plec.e ~~vire> 'tuqlities of flv\te("To~ve rql'\~iY\<3 froM C( ve'l ~e"t\e. flvtt-vton~ve tc the"~
-.f!",*e.r": the Most intense "Ino! h<u'sh flv1tertoFlC3ve. the perforMer c.,,\n tJlQ.Cvte. "Hz." ..,it~ovt ~vo.\ificqt~ol'\ i~jC"l~s q InoC"Mql' flvt\"ll.rtorl'3ue
OIno\ "I tf'qns'lt,ol'\ frol'1 one '}V'\hry of fl\)tterToo;)ve to o.'IIothe.r is to \:.11. e.lC:eevTtol "Ie; S~oothl)' qn~ evel"li-t "IS possible. I~ b"lr 130, q vocql
so\,,\4 (VtO,)' De. Inrro..Av(.ecl in qc\q )t;or'\ to the. ('Oqr- fIV~f" (; n o~er +0 """Ike. the. oVef'OIll $l:ll1l")el hOlt'Sher st~1 ) ) rl"()vi~tci\ +holt the VOO'\ I SOI.lf).,j
IS w~\\-blen~eA ",i+h i+le roqr-flvtrer .(PN-C.IC;e. ~e.tclil~ of vo",,\ tl/l1bre ~ncl J.y"qP\;c o,re I~ft to the yer-t<lrMer).

6. + '*tllotec; "I ~p-ton9~) Q.xe~vte.o\ 'o'j r\qcin'j III lq~e portion of the tOI'l'3ve o,~qinst the re.lol) c.reqtin'3 q Vqcvvl"l bdwe.en the. ton3ve qn.,j

re.eP\ "loci thln svd.d.enI1 pvllil'l3 tw. ton~ve. ~o\vn frOM the. ree.o\, re.svltin~ ir'l 0\ 'thvcl' SOIJI")c\ reSOf\qtln~ thro""3hovt the. boIss c.lo.rioe+. T"hi'c;
ple<:.q v~C1.$ the. s\qp-tol'\<jve only qs <>.0 \!.l(tf'eMely rqpiu\ly e.xe.cve.o\ ,,,it,,,,\ q*",ck to Of OOfl"lq\[y -pl"l)'eo\ /lote.

nvh\
7. ~ ~eM'k') 0.0 lnih",\ voe"!.l qt\'tlc~ to G\ norlllJ"IIlY-fl"lYe.oI rote .i!:l ",cl.qit-lon to +he. MC'JIII"I I +tlfl<jvW. q.jto,c.k, the VOCq\ sovnol be.;,,'3 ~ vert shorr

il\~thr(\'\iMte >I '3Nn+" "Ic.c.oMpqnie.oI bot III Shqf? Jolt or if"lF'\se froM thl!. ~1'qrhrq~M . The v()cOII sounol r'Y\vst \')ot b~ to" obtNsNe, I., oroler
t\-tqt tne norM"I1 tol)~ver{ oH\-o.c;k, q'lC\ norMqlly-plq,{eA note c"In be ~eqr<>\ qS mil.

8. f) t o\e.notes q bre"lth-sovl')~) j" which the. ~Ivln TVr'lcAqlllentcl! pitcllis fi~ererAl o,nc;1 qit' Ie; bloWY) throv3h t-he bo.ss d"lf'ioe.r with "II')

e.fY\bouc'nvre It'ls~ic\Q.ot to cq\JSe. thl ~e.ne.rqtIO() of the. nOrll1ql\y-plqy~c! oote. (The '\tvq!iry otthe. brq,qth-'!.oI.lM\ Ma..y be f\)oolifie.q very
'5\;~hHy itl q svbtle 0.1'\1>\ c.onrit'(u\)\IS M"Innl!.r 'rrt vo.ryil'lc:! thtl. shqpe of the t.tI'IDovc.h\lf'e "Inol orn! c.q",ry, "'s we.ll GIS the breqtn-pre.st vre ).

9. )<. J.~o~" GI k.~y~ I In w~ich the. r"litlin~ of the Me.c~n\s ..... lAue. to f'<'Ipio\ f;~U' r.,Olle.l"lellt IS """Ic\e. O\I1o\;b!e. (II') "Io\.oIl'+i'on to resonqV)c.es If)
the. 'bqS~ c\"Irlne.t be..\n~ ~ene.rqte.o\ by keys or .f.1"'~lrs s\qppin~ '5nvt over the holes).
10. cAel1O+e.~ q'Sl:.re.q,..," or "~\I (reminlsc.fUlt of SO(I)e. V'l.f'/ h~h J"Izt. S"Ixophone fla.y;o~), in which thla norM",l ~ovn~ l~ sl\1oo\-hl7
trqnsfol'O\e.~ (withovt +o~vil\~) Into "'1'\ In~er"";fIO\te 1Y\\JltiphoOIc, sovnol ~e.nerqte.o! by the el"-lbOVc.hvre.1 in the II1lo1o\lt ot +he note, +he.
prOc.'l.o\vre +hlr\ bQ.;n~ ~~O\ if) +he SqPl\? sf"Iooth t'la.nn'l.r, qS shown. The. mulhphonk 'iOV()o\ I>Ivst be 'V'lte loval qnc\ ~",rsh.

11 II \I
Svbtle. chqo~~ oI.'l.l\Oh.s 01$ iMpe.rceptible "I trqositloo "IS posslble I 9.P'p'roxi"",,+elj.. where shoWl'\ I froM 'l.lthe.r '" M""a.II'Y-pl"l'fe~ note to
t\ bre"lthsov,,~) cr froM q nOrM"IlIy- p\a.yQ.o\ 'loy) -flv1Te.rtoI'\3V'l.~ ~e +0 .{:\v'lterton~vlf\'3 (t\'lJ./or Vlce.- versa.), "IS Inoli'c"Iteol.

12.~ O\o~ ~ J.e.no+e. cAowy\Wq~ "'1\0\ vpwqro! f-i+tb-b~s; rl!.specti~ly, el<.E!.cvteo\ with the. I!./Illbovowre tow<'\ro\s -the. very e.l'\oI .f the
I'\cn-e. (or no-te.s, if) the ca.se. of trills or tre.Molos), "IS ;nol.it"lh.o\. D.,wl'lw"l~ ?'tc.~-beN:\s shovl'" CC)\/4i!r q ('qVl~e. of qpprox;,.,...te..1y "I +ol")e-

c.e.r~inly f\O MOre tml'\ "Ibwt II MII'I .~rc4 - wft.h the e.Y\~ of the be1)t +otIe. r-.ot be;n9 eMrhc,'I'wt (soft ll\oWl"ll/llOlrol P\+c.I\ - ~~ c;;hovlol be.

reMlfllscU\t of III Sl~\', o,s If the p\~e.r hcu run ovr of bre~th!) . up'WC\~ pl+ch- be..-A~ shovlol. cover q; rqo<je. of- a.ffrO'l(IM"te.\y '" SQ.M;~ne -
cart"l;o\-y no MOre tha.1'I '" toM. . (Tht. C\Mouf\t +1,<\+ 0.0,/ fi+c.he.s o,re bt.nt, iofle.c+eO\ or osc;ll~te.r.I IS ll\erxz.t'lC\"It'lt if\ poIrti<:.vl"lr upon +he. q'lt'l"\MIt.S
"1001 N'3lskr, "IS ~I\ "IS roOM Clc:ovst Ic..s) rhyi+lM, teMpO) ""eloollc. Shq~ "Ioq othe.r f<>Ic.tor<. . The (.P'"''1~1 iflitiql VPW"ln>i flTc-h- bQ.f)~ in b"Ir 60j
shovlq be c.o~Mef\c.1!.Pl txl.twee.n t\ sW\itone. ...nol q n,.,e, lower tn"'fl +he <:t'" (Clc.M\ pitth) ,~il'\'3 be.r"lt IJfl to It qS SMOothly t\S possIble - me.
froM o.flY bre",ks or jVMP~ in the toM..

14. -v- o.no! -J\- cAe.note. 0I0WI")wa.1'I>\ 0.1'10\ \Jf~1'I>\ p.i+Ch-1ofle.c.ti'O!)S re.spe.c.tive.~) I2xec.l.~ wi'++. th~ e.tI1bovchureJ the ~t'lflectlot\ oc:(.vr~'3
~ire.d1-t Wter the no\-e i'~ CO~I'IQ.F'\C~ 'Vl~ re.'kx'nI0'3 CJ.",ite. '}vic.k.ly to +hl!. initi'o.l fl"lYe.ol note, ...s inol icqteoi. DoWllwqrol f'1+c.I\ -lflflec.tIoI\S
should. cover III f"'In~e (If qppro~;fl'lqtely III seMi+One (no MOre. +"""" ",bovt q tOfle.), whilst lIpwa.rc;l pttch-Iflfledions 51-)0vl'" cover "I ('q~e ot
IlIPfroxitl1a.te.ly '" 't,vqrter-tofle (no More. th'ln qbov'\- "I seM/tone.).

15. 'The. exte.oa\eol pitc,h-'!Jflll.ctioos ~i"e.n ,n bqrs b~ "Inc.\ liS' (MQ('(eq "~e.lyl\) shovlq be e.l(~c.vtec.l "'CCO('o\;fl~ to the. :?'ve.f'l cootovr: the.
note iOltl"lll,/ b"-inlj pla.ye.o\ 'srrqj'~nt' (tlof}-Vlbrqto) 'lncl. the.n b"lo~ Inflec.te.c\ WIth t\'le et'!bovc"-'re qpf/'tlx'(\1q+e.ly G\ 'j,VClrkr-tone .f.1",t

frofrl the. Wf"I'Iten pi'tc.h, retvmlf\~ 'J,lJih ,\-v\c.kl'l hl tile. \n\t;ql pltc.h - not vnlikt q f"lidy wiGte J"\w-vibf"Glfo. The. ~Cj,\Jenc."i" of tile. Illflecti'ofl~
woe then 'nc.('Q"\Se.r.\ IIn\-ll thll.7 "Ire tt,ui+e fqst) the yroceolvre then be.in~ re.vQ.rseo\, qS shown. Ex.co.c.+ ~e.-\qils c()nc.e.I'r\;n~ the. oI\Jrqtio" ~f

i"fle.cter.! a..,c.\ voI"f\e.cteo\ -I-o,.,e} ~pe.~o\ qno! fre"vency t1f thl!. loflecTIons qno\ t"~bre e+c.,a.re le.ft To the. flerforr..er.

16. The co,*ovr ~IVe.r) In boIr 13~ sholl'~ be. t1(tcv~ ",s showo : the note. Initiqlly be.t0'3 pl"ly~ with 0. '\-V\re fq~+ jOl.w-V1bltlto ~re.ss;o~
+0 .. IO~i a.l'lo\ WI'oIe; osc. 11\c,tioils qbovt"\'he. ,'niti'ct\ noTe} the. lI1c\l(il'>lVM qr.,pliMe. of ~e o~c.\\lqtjoi\S be.i,,~ ... pprox;~te\y G\ S/l.Mfrol)l -

c.1I.f"tt.\inly t\O MOre ~n "I toile.. roe W\c\er osdlla.tiol\s ClI"- to be. q~I')e.{"OJ+ert\ by th~ e.MbovGn~ c.oll1bine.cl With "I c.efiqifl Clf'(ovnr of f.~('
Move.Me.nT. The. tertrl i t\"It;{l~ pltth shovlol b~ "Vvite. dose. t-o ~e. Initi'ot\ pitch. EXC>Ict o\e.~lls of exe.cuH ()1") qN le.:ft To tne. ~rfoNl'1Q.r.
17. tonc.C!.rniN3 si!!:lil'l~.tI,IIMM;f\~'J Into th~ blISS c\qritlQ.t h q~~itlof'l to nOf'MQI elqyi",~ - sC!.e bqrs bel( <wI \Itt - the voe"!l e.n+rle.S f\1\JsT be bot\,
rhfrhMiO'llly ~er prec.ise "1",0\ ~vite pre.Gise with respect +0 pltt.h (the vocql bC!.nr;\& be/os ~xe.c.vteo\ ",S sMoothly ~s possible I. ~oWtve.f')the.
~iV'l.'" c.on+olX'S pr()\/;~e. only qf\ "'rproXll'lC'lte. '3vio\e to tflc!' pitches SVf)~ (whie,h shovlcl oot stro.y too fqr frof'vl the ~q;n il'lit;Q1 s\)t)~ pttc.h)} "IS
we.1I "IS thl? ~Vrqti'Of'l ot 3in,?)il'l?!} ~c.t.pt ~r t~ Slfl~;OCj shoolcl o\iMirwenc\o to silenCR ~ the l'\or""Qlly-rlq't~oI note,s stqrt be;n~ infll?c~
O\s s!,:,Wf) . ih~ ~q,si~o\ ""q,I"q\) tiMbre shov\q be q k.ino! of. sMooth,svbTle wOIili'I'l';3 s.eV(\o\, rq1her o"lsql,'" "vqli+y) w\")I'C~ Is qhVCIys c..l,c.,l'l'3in~
ir'l CI\ svbt-Ie qt\o\ c.ontinvovs IVIqnne.r - f'lr+,cvl"lr1y i" bq(' h<t (whe~ the voc"Il erot"l "It1O\ bQ.no! ec.hoe..s thl!. t1Of'M"Ihy-f'''''yet:ll SOVl'lo\s). The
voc."I\ sovncA.5 shov\4 qlw"lys be foIi('\y we.\l-ble.I'\,J,e,q w;+h tre nof'Mq{\y-p\G\ye.o\ bqss cl"lrl(lll.t SOUf\o\) not be.lf\'3"""o Obtrvsl~. Prech o\e.tqll~
of vocql tiMbre "Inol execvl-i'oo q('e lef+ to the. perfOf'f>ler.

19. To qssist tilt ~ss c.l"lrloe.tist, s~ f1t)~erit\~s O\M!. 9i~1'l 11"\ the. pqrt Cproviole.c! ""I Ni~e.1 W~sH'Ike). Also) "1\1 of.tne pe~vssiol"\ rhythMS
"Ire cve.o\ Into the P",('t, OIlol'\fj wl+k ;he percvsslon ~y~t'\lc..,> (in on>\er to qssis+ the betss c\qdr.e.Fst ;1) "'*'" it\ln~ rhy+hI'1K C!Cc.vrqcy qllol

d.'1""'I'1IC b<\lqllc.~ ).(N~ 1\1o.t frot"1 '11"1(' ,4- ol')WOIrcls, the. percvsslon rqrt aI'!.flne.r ~t teMpo,illo.e.pel\J.ent of thCit b"lss c\qrint.+Is+).

Specific remarks for the Percussionist(s):

1. The pie.ce.. re.q.llires the. fol\owin'3 typC!.s of Mqlle.+S:

ri -- J.el'\Oh,,~ l\'\e~iVM vlbrqp~nCit MCI\\IeT-s, Mele. of qeforM~ble
~er.otin";l hqro\ vib~ phone ",,'I \lets)
robber, 0("
~e ot n"lro\ I rqther infl\?.X;blq,. rvbbe.r,
6e'Jf\~ 'f\fh-WO\Xlo[ with 0. fqir~ sot+ c.ore.
or be.in<3 )"Irl)- ",olJn~ wi+h 0\ 'nq~ Corta..

\ - o\eooti1l<3 rqwhl~e. tvbvlqr botH nqftlMe.rs, Ol'le, el'lo\ of which shov\c.\ ~ Wrqflpe.o\ in sottfll.lt c.loth for ~Q.;" very soft rA'f'o,r,"'C levels,
e.l<o,ct ~(.to.;ls c.o l\ce.rol0'3 ~IS beifl";lleft to the. per-rorMer. NotI!. thqt oc(',",s\o"qll~ the. hqPlP\Q.rs q~ tv<Yte.o\ s~e'N<'\YS,so th"lt qoljCl\c.enr

tvbe.s <lire st-rvc.k (be\ow;-nll. CClp).

~- d.enoF,OC) the nql\o\\e of +he. q'bo~ +vbvl"lf bll.lI nc-.PlfI1ers, to whic.h q ho.rq ~en (er 1'I1?t"l1) x'Y\op~one or '31I>C..kto~Fi~1 M"IlIt.bhovlc:\
be ~tJ-qc.n't~1 rl!..svltin~ ifl G\ rq+her pl?ne.trqtlt)~ M'lotqllit. c\qsh wnel) the tvbes Cl.fe strvc~ b~ow the (V)1!.t<t1 c.qp. The. h!.F- of th~ fI11!.i'oI1
c'\f shovl~ be. oc.c."IsioI')OIlI'I strvck. (in ..,eo.;\,/M""" ve.ry soft ~yn"'Mi'c. leveh) C\t the. oI.iscre.tloll of the. fl'\'t~r(S), resvH;"~ ;0 ~ ,"vife

o\iWe.re",t piq,rc.in~, re5ol'\"Int Me.t'oIlli't tiMbre. .

2. I'Me. th"lr 01"\ the bells, .l. re,}virl?s tho!t l22th h~(Vw"i, (or the.ir hqf\O\Ie.s) wh;c!l\!.VC!.r IS \",o)Ic.O\+~) strike the ~ tv'be. (below thll. COIf GIS WQll
O\S Cilt the. top riM) . This resvlts in G\ tlloC'e forcefvl qliqcl<;.
3 f ~L._..
o\e.nOf'!:) ". l ' l L 1 h' j' "1-_ J.' '1......
0. ~eC\~-stic::k In W'llcn th~ n'lfl'l~ltrs ,or M<,\ lets - w Ich~"e.r o,pp IQ.S - re.M'M 11"1 con~CI wIth thll. 10'01' vMent, Mvffhn~ or

~qfYlrln~ +nil. rl/.SC)Oqoce. if pos$ible,\\Ihtn il"l<Aic~teo\ . Wh~ O\pplie~ ro -\he tvbv\"Ir b'llls,stt-ike. +he tvbes b,-\ow -\-he Cqp.

4. ~lisSQ,l\qi ...re. WbHX~C.~c.i ov~r th~ Iflo\ iCOIteq oIvrqtlofl frolVl the li\o\icOlteot ;fliti'c!1 note CJn~ ov~r 0.$ wiO\~ .., rqfl~e "lOS poss,'bl~ . There
shov\q b~ 110 I"eql init;...1 q-\tqck (sa+h.,t the i"it-;c,l note of the. ~Iissqn"'o is nor p"lrticvlqrlII/.V~etlt)} the. o.cc.iolenf<'ll (-:II=,\? or~) in front
of this in',t'..,1 no~ in~~cC\ti ~ wh~thl!.r th~ ~Iis~q~o \s to be.. exec.ute~ ove.r the. 'blqc\c.' or (white.' notes.

5. R'-~Qr~in~ ~p.i!13 ot re.SOI\q,nc.tS, :I~, ~ , . . . . .

:~~ .'0 ~ Q.tc. . rl/.'\.vir~s +hqt the sovnch bl/.. ql\owec:\ -\-Q ~ol\qtt vonl thl/.y q~ \o$t if')
thll. c\i'loto.nce. . 0" the. other h'll\~, ' rl!.~vkQ,s th"lt +n~ sovnols be ,,\c\f~pecA with the hqrAS or Mq\\ets iMMlI.o!iqtely b.fo~ thl/.. next Sovl)o\
is p\q'jeo\. (~ +hqt if two r-f'c.VSS 101"1 IS+s pAy ThiS plE?Ce) thl/. tv bvlqr be lis f\C\ye.r C"II\ o\qf>'lP tI'lct r(l.Sot'A1lCe.S '01 the vse. of the. f eqq \ il'l~d I

\:Ars '2.5' qno! '2.b ~;"i,,~ ~"If>'1plQ.S of this). V~ ilY\~rtql')t. f~ b"lr b~ OIl\ll"lrc:AS} vlbf'C\phOl)e. hqf'ttlOf';~ ~rt+Jovt either of thue. irtolk'ltlolls
q~ +0 ~ <\qMpePI 01+ +he. o\;s~~tiOf\ oHhe p\qyercs) 1 tqk.it\'j loh:> CO'l'$.~('qtlo" rOOIl'l qcoustics, ~yl\"l,.,i'C5) rhythM, te.t-\po J the. nVll'lber of

~rcVSs iot\;st>} fQ,3isrer "Inet othe.r fqctors (+hO~\' ;nl3~erql, qn qPP~I!'lo.te. Sv~ IS -\-+Iqt il'l;+iq,\\y,ve.ry lilt-It. ~ql"lpin~ ~hou\o\ oc.<.vr~ bvt

GIS the. ~MpO inc.re'lSes, MOn! q~ l'I\ore o\c\l"lfin3 Will beCOMe nl!.c.essql"j III oro\er to pr~erve rhythMic qno! ~x-lvroll c\qrit.,) . Svch oIQMPin3
s\-lov\oI. occ.v r shortly ~ thl/.. next soVt'Pl IS p\oa.yec;\ I so "IS to preserve tl!.)(tvr~l contlnvlty.

7. l:V\1,1\ 1h\)\1~h ~enerql 'noI.l'c.cth'o~ o.~ ~iven} Hle ~qc.t s~s ~f vib""p,horw. vibrqti 0\1'1/. \e:ft to t'nl? p\qyerCS) rAlsc.retion) tq~;I)~ illf't,

cons ~('qtlon f'OO(rl qcovstic.s, O'IQ.("<lIIl o\1()q,(\,\k. le.vt.l) tl/.l"IPO, ~n ivi'oI 119 I v~bl'OJto Mt.c.hql\\SM5 ql'lcl ottler ~ctors. CRe.cClII thCltif q SlI.tonq
vibr"'phOl)e. ;s vseo\ If) +he pe.~qnct c1f ii1ls pi'e.c.e., i+ IS frefe.rCllb\1/. th"lt the tw\) ";brqp~ones vq,ry s I~htly in spe.e.~ of vlbfl:\to) '\"~ PO$~e.ss
th~ S"IM2. ~;"o\ of vib{'O\~ MQ.cn..n~sfl'ls), vibrolto o.tc.elet'll\~; shaulo\ be el(~t\JhP\ ~f'q~\JOIl\y ~nol !/'ve.l'lly, bei n '3 b"lre\y I'lOti(.eq'o\~ .

8. Nott th",tfroM boll' 6tt onVloqro\'i] the rl/.lqtlonshl~ be.hv~e.n th~ ~yllo,t\'IlC.S of v~brqphof\e. hqf'lvlol\;~S 'Ire 'bcIs,cqlly presl/.rveo\ vpon q,"Ic.h
~pcat;tiOI') of t\'le. ~vferiMposeo\ rhytnflil'c pe.rl"lvtt\tiol)s , bllt thqt the o~rQ,1l ~'InqI"lIC le\fe.1 Clffro)<I"l'1tely follows +he sl-Ape of tI1e. ~po
C~ql\l3e.. This shovk>. P-nSvre thC!I', wi~ Q,Pfl'ofl"i"l+e '*GlMpin;j of ,-e.soMI)Ces) the.1'+IreIl. l<'IyerS of hq('1\'tm;~t will ~rqolvql\1 "COII'I.lflto focvs",
~qch be.in~ perce.pt-;ble. h> the qvd,lenC(! qS 0, stp'lrq~ co\ovr' or QY\+I+y.
 - ECHOES/ FANTASIES-
- for Bass Clari net, Vibraphone & Tubular Bells.

I.Shanahan (1984),

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