val camonica pieces: roccia

for violin . clarinet in Bb . pianoforte. percussion

David Young
Melbourne, Autumn 2003
val camonica pieces: roccia
for violin . clarinet in Bb . pianoforte . percussion

David Young
Melbourne, Autumn 2003

notes percussion (brown)

The instrumentation is indicated as though the horizontal lines were a stave:
This Val Camonica piece, Roccia, is written for Champ d’Action of Antwerp for
first performance at the Logos Foundation in Ghent on June 17th 2003. ceramic bell
low bird call
Duration is approximately seven minutes. roto-tom
wooden chair 1
Graphic notation is employed throughout this work, inspired by the Bronze Age shell chimes
wooden chair 2
rock carvings in northern Italy’s Camonica Valley, as transcribed by archaeologist
bricks
Emmanuel Anati. The notation uses a simple time-space principle: events should stone bell
be placed in their relative position within each bar or measure (indicted with a lion’s roar
duration in seconds) on the horizontal plane. The vertical plane represents pitch,
with landmarks indicated at each octave of C. The graphics should be played ß space above the top line: ceramic bell or small flower pot, suspended
according to their relative and approximate position within the bars. Dynamics ß top line: low bird call or animal call
are indicated below the staves, and are the same for all parts. ß top space: roto-tom or other drum that can bend in pitch
ß middle two lines: wooden chair, to be struck in 2 places which produce
While by its very nature this notation has many freedoms, every attempt should different pitches (eg. the seat of the chair and the leg)
be made to realise the graphics’ contours and shapes as carefully and precisely as ß middle space: shell chimes, suspended
possible Extended techniques such as fluttertongue, microtones, glissandi and ß bottom space: two bricks, one placed on top of the other, to be struck and
so on should be employed sparingly and consistently to more precisely interpret scraped against each other
and realise the graphics. ß bottom line: stone bell, suspended, or cement paving which produces a
pitch when struck with a mallet or hammer
Each instrument’s part appears in a different colour: ß space below the bottom line: Lion’s roar, string pulled through the skin of a
drum to produce a long, low groan
clarinet in Bb (orange)
All pitches are to be performed at sounding pitch. Extended techniques such as At times there is an intentional ambiguity as to exactly which instrument is to be
alternate fingerings, fluttertongue, multiphonics and so on can be introduced used. The percussion part also includes 15 large, dry autumn leaves which are to
sparingly as required. be crushed at each sequential number, as indicated by a number in a circle:

violin (green) pianoforte (black)

Vibrato is to be used sparingly. Pont refers to bowing on or near the bridge, A light, almost staccato, touch is required throughout, with the graphic curves
allowing harmonics to ring out. Molto pont should produce a more distorted tone and shapes to be realised with clusters, glissandi and extended techniques
with less pitch. Tasto refers to bowing on or near the fingerboard, producing a (playing inside the piano, dampening strings, silently depressing keys and so on)
more muted tone. Arco throughout unless specifically indicated. as necessary and possible.
 val camonica pieces: roccia
violin . clarinet in Bb . pianoforte . percussion

sempre con rubato

1.0 3” 7” 5”

C’’ roto toms

wooden chair

C’
tr

middle

C pont
shell chimes

‘C lion’s roar

ppp fff mp p mf
 senza rit.
2.0 4” pont
4” 4”
C’’
gliss roto tom

C’
shell
chimes

middle

ratchet
‘C

mp f mp f mf ff
 3.0 3” 4”
pont 7”
C’’

norm

C’
gliss

middle

C
norm

bricks
ratchet
‘C molto pont

gliss
mp ff: p f fff: f
 3”

4.0 4” 3” 3”
C’’

norm

C’

pont
middle

C
pont

‘C

mp ff mp
 5.0 4” 3” 3” 3”
C’’

C’

middle

C
molto pont

‘C

mp ff
 come un fantasma
6.0 4” 3” 3” 3”

C’’

C’

middle

‘C

una corda

p mf: p
 quasi niente
7.0 4” 3” 3” 3”

C’’

C’

middle

‘C

una corda

p pppp