Year
2000
Instrumentation
guitar - live electronics
×
Explanation of the instrumentation string
| Abbreviation |
Instrument |
Guitar(s) and other plucked instruments |
|
| bal |
balalaika |
| bgtr |
bass guitar |
| bjo |
banjo |
| egtr |
electric guitar |
| gtr |
guitar |
| gtr (ampl.) |
amplified guitar |
| hrp |
harp |
| mand |
mandolin |
| uke |
ukulele |
Woodwinds |
|
| afl |
alto flute |
| asax |
alto saxophone |
| barsax |
baritone saxophone |
| bcl |
bass clarinet |
| bsax |
bass saxophone |
| bsthn |
basset horn |
| cl |
clarinet |
| corA |
cor anglais |
| dbcl |
contrabass clarinet (or double bass clarinet) |
| dbn |
contrabassoon (or double bassoon) |
| Ebcl |
E-flat clarinet |
| fl |
flute |
| heck |
heckelphone |
| ob |
oboe |
| obda |
oboe d'amore |
| picc |
piccolo |
| rec |
recorder |
| sarrus |
sarrusophone |
| sax |
saxophone |
| ssax |
soprano saxophone |
| tsax |
tenor saxophone |
Brass |
|
| bgl |
bugle |
| btrbn |
bass trombone |
| crt |
cornet |
| euph |
euphonium |
| flghn |
fluegel horn |
| hn |
horn |
| picctpt |
piccolo trumpet |
| tpt |
trumpet |
| trbn |
trombone |
| tba |
tuba |
| Wtba |
Wagner tuba |
Percussion |
|
| cim |
cimbalom |
| drkit |
drum kit |
| glsp |
glockenspiel |
| mba |
marimba |
| perc |
percussion |
| tamb |
tambourine |
| timp |
timpani |
| vib |
vibraphone |
| xyl |
xylophone |
Keyboards |
|
| cel |
celesta |
| eorg |
electric organ |
| epft |
electric piano |
| harm |
harmonium |
| Horg |
Hammond organ |
| hpsd |
harpsichord |
| kybd |
keyboard |
| org |
organ |
| pft |
piano |
| prep pft |
prepared piano |
| synth |
synthesizer |
Strings |
|
| db |
double bass (or contra bass) |
| evln |
electric violin |
| strgs |
strings |
| vla |
viola |
| vlada |
viola d'amore |
| vlc |
violoncello |
| vln |
violin |
Vocal |
|
| A |
(Contr)alto |
| B |
Bass |
| Bar |
baritone |
| MS |
mezzo-soprano |
| S |
soprano |
| T |
tenor |
Other |
|
| acc |
accordion |
| ocar |
ocarina |
| oM |
Ondes Martinot |
Explanation
The standard, accepted order of instrumentation for large ensembles: fl.ob.cl.bsn - hn.tpt.trbn.tba - perc - other - vlnI.vlnII.vla.vlc.db - tape, or electronics. Saxophones appear between clarinet and bassoon.
All other scorings (less than 8 instruments) are listed in full.
When an instrument is listed in parentheses, then this instrument is doubled. "guitar (=electric guitar)" means that the guitarist plays an acoustic, as well as an electric guitar. In an orchestral setting, "1(I=picc).2(II=corA).2(II=bcl).1" would resolve to: 1 flute (also playing piccolo), 2 oboes (second oboe also playing cor anglais), 2 clarinets (second clarinet also playing bass clarinet), 1 bassoon. If there is an extra instrument, which is not doubled, then this is expressly written out, e.g. "1(I=picc).2.corA.2.bcl.1.dbn", which unravels to: 1 flute (also playing piccolo), 2 oboes, 2 clarinets, 1 bass clarinet, 1 bassoon, 1 double bassoon.
Solo instruments in a concerto or chamber setting are written out in front of the ensemble instruments: guitar - 1.1.1.1 - 1.0.0.0 - perc - strgs.
|
Genre
Guitar with Electronics
Premiere
Palo Alto, Campbell Recital Hall, Stanford University, March 2001: Cem Duruöz, guitar
Publisher
Manuscript
Equipment
Echo processing and real-time sampler required.
Source
composer homepage; Cem Duruöz website;
Details
Crossings was composed as a companion to Ripples, (also for solo guitar with electronics). Like Ripples, Crossings uses a rhythmically timed echo effect, which enhances the textural density of a solo melodic line. Unlike Ripples, Crossings also uses a live sampling technique – in which a series of patterns are captured into a recorded loop and repeated back – enabling the soloist to play an additional melodic layer while the sampled pattern continues.
Aside from the crossing of harmonic and melodic lines existing on the musical level, the title is also inspired by a book I had recently read, Crossings: A White Man's Journey into Black America, by Walt Harrington. The book describes one man's sadness and occasional hope concerning the condition of race relations in contemporary America as he travels through a number of states meeting a variety of black people. While my own research has not been nearly so extensive, I nevertheless share many of the author's feelings, and the subject was on my mind while creating this piece.
Also intersecting with my work on this piece was the very sad and sudden passing of my father. Only a few days before I had been discussing the composition with him over the phone, as I wondered about some additional material with a distinctive mood, and whether or not to incorporate it. This additional material (now the coda section) later seemed like a musical premonition of my sadness over this untimely loss. And with its incorporation came the realization that the title, Crossings, would take on an additional meaning: a crossing over from life into death.
Crossings is dedicated to my father, a pianist and composer himself – Mr. Gerald Hind.
- Nicky Hind (from: composer homepage)
