Chris Fisher-Lochhead

for amplified bassoongrandFather

grandFather [2012-14] for amplified bassoonfor Ben Roidl-Ward

grandFather, composed in Chicago between August of 2012 and September of 2014, inhabits a world of musical complexity without equal in my prior or subsequent works. Although many of the compositional techniques and notational conventions employed can be traced to a careful study and consideration of the works of musical forbears and colleagues, the aesthetic justifications for their use herein are entirely personal.

The piece’s rhythmic complexity and baroque tablature notation are intended to circumvent the fluency of execution and facility usually possessed by players of a high level of technical mastery. The intended effect ofsuch a seemingly obtuse avoidance is to nurture a situation in which the performer can confront the score and slowly, painstakingly construct an interpretation that is entirely personal.

The score’s overwrought detail and complexity, especially in the context of the bassoon’s already byzantinemechanism, also contributes to a situation of struggle in which the perform finds herself: a struggle with the instrument, a struggle with an unfamiliar notation, a struggle with inherently volatile instrumental techniques,and a struggle with the composer’s aggressively prescriptive rhythms. These struggles are meant to evoke and mirror the struggles of the contemporary individual in the face of oppressive social and economic forces.

grandFather was premiered by Ben Roidl-Ward at Northwestern University’s Galvin Recital Hall on January 22, 2016.

Duration: c. 10 minutes

E

D

C

B

C(3)

D(4)a(7)

wh(5)

c(8)d(9)

E(11)B (10)

A

G(21)F(22)F (23)

F (12)

A (24)

A (13)

B (1)

E (17)

E tr(16)

B (2)

C (18)c (6)

Notation

This piece uses two distinct types of material, each with its own notation. The first type employs an adjusted tablature notation wherein fingerings are given above a reference staff. The reference staff indicates a traditional fingering which will serve as the basis for specified modifications. The tablature staff presents a full fingering at the beginning of each phrase or system. All keys given subsequently indicate changes to the given fingering. The colored horizontal lines in the tablature staff indicate modifications to the base fingering given below as a tradition-ally notated pitch. Red corresponds to the subtraction of a key, green to addition. When no modifications are given, the base fingering speaks normally, resulting in the traditionally notated pitch. This is indicated by a black horizontal line on the reference staff. The staff at the bottom of the system indicates air pressure. Because the resulting dynamic varies greatly with multiphonics, this notation is used instead of conventional dynamic markings.

Fingerings are indicated by shape and vertical position of the keys. The following fingering chart and key numbers were taken from Pascal Gallois’ Techniques of Bassoon Playing. Use of the whisper key is left entirely to the discretion of the performer (it will be necessary for many of the desired multiphonics to speak).

The second type of notation used is conventional descriptive notation in which the performer can select the necessary fingerings to achieve the indicated result.

18 5:4

7:4

reference staff gives a base fingering(also given in tablature)

colored lines indicatemodifications to givenbase fingering.

air pressure

in the absence of modificatory fingerings,the given pitch speaks.

Multiphonics

All of the indicated non-conventional fingerings correspond to a multiphonic. In order to reduce visual clutter, the resulting sonorities are not given, except where the performer’s attention might be necessary to achieve the desired result (a long multiphonic glissando, for example). All of the multiphonics used can be found in Pascal Gallois’ Techniques of Bassoon Playing, Leslie Ross’ website (www.leslieross.net), or Pierluigi Billone’s Legno.Edre. It is understood that not all multiphonics will work the same on every instrument. The piece is written in such a way that it is not necessary for each and every fingering to speak clearly. Especially when the fingerings change rapidly, it is acceptable for the performer to execute the prescribed techniques without worrying about all the multiphonics speaking. If an important multiphonic (i. e., one that is sustained or repeated several times) does not speak on a given instrument, a comparable replacement should be used if possible.

Rhythmic Notation

Much of the tension between the material used in this piece comes from a fundamental dichotomy in rhythmic execution. On the one hand is material that is highly (perhaps excessively) rationalized. The rhythmic placement of this material uses a conventionally pulse-based means of organization, although the polyrhythms indicated are of such a level of complexity that the underlying pulses are often obscured. In order to assist in the interpretation of highly complex polyrhythms, all of the notation is rigorously spacialized so that the horizontal placement of events on the page corresponds exactly to their rhythmic placement.

On the other hand is material that is rhythmically irrational. This material, usually notated using grace notes, depends on the whims of the performer and the technical demands of the instrument. Grace notes using “16th note” beams should be executed as fast as possible while those using “8th note” beams should be executed more slowly - the exact timing is left up to the performer.

Three types of pauses are employed to break up the forward motion and give the performer a chance to breathe. The first is the breath mark ( ), which should be extremely short - long enough for a quick breath but absolutely no longer. The second is the fermata ( ), which is longer (2-4 seconds) but still not as long as a traditional fermata. Lastly is the big fermata found after bar 68 and at the end. This pause can be long (10-20 seconds) and, for the pause after bar 68, should allow the performer time to regroup before the next section begins.

When used over a musical object, a fermata can be quite long. In general, when marked “long”, the fermata should last between 8 and 16 seconds. When marked “short”, it should last between 4 and 8 seconds.

Phrasing

Slurs indicate phrasing. Whenever possible, phrases should be executed under a single breath. When not possible (especially in the longer tablature passages), circular breathing or a well-placed and subtle breath are acceptable.

Non-Conventional Notation/Techniques

�lz.

growl

Fluttertongue

Growl by vocalizing into the instrument while playing. The approximate contour and loudness of the vocaliza-tion are indicated by the thick line.

Oscillation (trill/tremolo) between the two indicated pitches at the onset.

Flaps. Executed by hitting the reed with the tongue as when playing staccato while fingering a note in the fundamental register.

bend into mp

(bisb)

Dissociated finger and tongue oscilla-tions.

Using the embouchure alone, bend the given note from a single pitch into a multiphonic.

Using the embouchure alone, isolate the given pitch.

Timbral trill on the indicated pitch.

Increasing rate of oscillation.

Decreasing rate of oscillation.

A single, violent, grunt-like vocal ejaculation. The exact phoneme and register are up to the performer.

Air sound. This can be executed either into or away from the instrument.

Ingressive aspiration.

Egressive aspiration (cancels out the ingressive aspiration)

Harmonic achieved by fingering the lower pitch and isolating the top (diamond-shaped) pitch.

Indicates that the action of the tongue is some how dissociated from the other technical parameters.

tongue

Amplification

This piece should always be performed with amplification, prefarably at a high volume. If possible, two or more microphones should be set up to cover the full height of the instrument so as to capture as many incidental mechanical sounds as possible.

28

28

gliss

17:16

9:7

3:2

7:4

3:2

grandFatherChris Fisher-Lochhead

516

316

27:20 13:12

10:7

�lz.

growl

gliss

3:2

9:8

�lz.

18

182

8

5:4 8:5

7:4

3:2

7:4

5:4

gliss

gliss

17:16

gliss

[3]

[5]

for Ben Roidl-Ward

316

28

116

11:6

gliss

15:8

�lz.growl

3:2

112

18 2

8

18

316

18

7:5⅓

5:2⅔

6:5

3:2 3:21243:2 3:2

7:4 11:8

13:12

3:2

7:4

9:4

124 3:2

5:4

7:4

pp

7:4

13:8

gliss

11:8

2

[8]

[11]

[15]

116

18

124 3:2

growl

pp

3:2

15:8

�lz.

18

112

3:2

7:4

7:4 7:6⅔

116

124 3:2

116

116

124 3:23:2

sffz p

growl

ppp

sffz fffp

18

124 3:23:2

15:10⅔

5:4

gliss

1 1

(bisb)

pp

3:2

3

[19]

[24]

[28]

116

124 3:2

18

124 3:2

ppp

ppp

124 1

163:2

gliss

�lz.

5:4

gliss

116

116

116

124 3:2

13:6⅔

3:2

growl

sffz fffpp

3:2

17:10⅔

pp n

�lz.

sffz sffzp

gliss

5:4 3:2

5:4

�lz.

ppp

p

8:6⅔

3:2

�lz.sffz fffpp

4

7:5⅓

(bisb)

[31]

[33]

[37]

18

124

124 1

16

112

112

3:2 3:2

116

3:2 3:2

5:4

13:8

pp n n

�lz.

gliss

5:4

ff growl

ppp mf p sfzp

3:2⅔

5:2⅔

sffz fffpp

3:2⅔

pp n

�lz.

gliss

5:4

ppp

(bisb)

(bisb)

5[41]

[45]

[47]

124

1163:2

124 3:2

112

516

3:2

28

7:4

gliss

13:8 3:2

5:4 5:4

5:2⅔

3:2

7:4

gliss

ppp f p sfzpsfzp sfzp

5:2⅔

9:5⅓

sffz p ppf

p

1 2

bend into mp

23:20

11:10

1 1 1 12 2

�lz.growl

pp n

�lz.

6

(bisb)

[48]

[51]

[52]

316

532

13:12

7:4

�lz.pppp

316

11:10

7:5 7:4

5:4

gliss

48 5:4

13:8

7:4

pppp

gliss

2

124 3:2

124 3:2

p pppppp ppp

7[54]

[57]

[58]

long

short

short short

18

532

18

332

15:14

4:3

221 1

gliss

pppp

8:7

5:4

124 3:2

ppp (ppp)gliss

18 5

325:4

7:4 6:5

8:5

sfffz

pppp

8[60]

[64]

[65]

long

short

116

�lz.

5:4

28 3:2

5:3

gliss

(bisb)

28

28

1243:2

9:7 16:11

3:2

9:8⅔ 16:8⅔16:11

tongue

sffzsfz

sfz

ppp pppp p mf pp

ppp

n nf mf ff

tongue

growl

9

[67]

[68]

[69]

short

18

28

332

112

9:8 12:117:5 13:7

3:2

�lz.

sfz sfzfff

fff p ppp p /ppmf p

mp

gliss

5:2⅔

9:5⅓

15:1111:8 4:3

13:8 5:4

28

28

364

332

28

18

332

11:68:7 9:5

9:5

3:2

p mp

gliss

sffz sffzpp mf pp ppp

ppp n sfzpp sffzppp

pp mp p /pp mffff pp

tongue

tongue

bend into mp

bisb

growl

tongue

gliss

fff

�lz.

pp f mf/ ff fffppp p

18

3163

16

13:7 4:3

8:7

15

gliss

fff

3:2

5:4

5:4

gliss

pp ff fpppsfzbisb

10[72]

[76]

[79]

[83]

116

332

532

18

1243:25:4 3:2 3:2 3:2

3:2

�lz.

sfz p fn nsffz sfzppp mp

p

bisb

bend into mp gliss

28

28

124 3:2

28

18 1

16

3:2

7:611:6

3:2

sffz pp ppn sfz sffzppp pp

ppn n pffp fff

p

�lz.

f

gliss

n mp

pp mp fp sfz pp f

fff

ppp/mf

tongue

5:4

gliss

growl

28

316

5:4

7:4 5:4

3:2

1

2

�lz.

3:2

11:8

3:2

11:6

gliss

sfz

gliss

pp

sfz sfzpmp p f pp ppp ppfff

pp

11[86]

[91]

[94]

[97]

28 3:2 3:2

28

3323:2

7:6⅔

�lz.

sfz pp p

/pp pfffn

n f ppp/ppmp

18

112

183:2

332

11:7

13:7

3:2

gliss

6:3⅓

11:6⅔�lz.

growl

18

332

316

28 3:2

5:2⅔

3:23:2

5:4

bisb

3:2 3:2

5:4

3:2⅓

4:2⅓

gliss

sfzpp

pp

p mpp

p

fff

mp

bisb

sffz ppn

gliss

1 1 1 1

12

[99]

[102]

[106]

bisb

ppp

p sfz pp f n /p sffz ppp

n ff

ppp ppsffz ppp

316

28

11:6 7:5 4:3

bend into mp

124

3:2

gliss

growl

�lz.

pp ppp

18

332

18

316

28 1

16

11:7

3:2

5:410:7

bend into mp

�lz.

n ffff

fppp p p

mf fpp

growl

3:2

5:47:4

sffzppmfpp nbisb

3:2

7:3⅔

sffzpp /mf /ppff n psfz ppp

bisb

28

gliss

5:4

growl

13

(bisb)

(bisb) (bisb)

[110]

[113]

[117]

124 1

8

sffz p pp

124

316

124

124

18

124

sffzsfz p

ppp

sfz pp n

3:2

3:2 3:2

3:2 3:2

3:2⅔

5:2⅔

gliss

7:6⅔

12:10⅔

(gliss)

5:4

gliss gliss

5:3

11:6

�lz.gliss

14

mp

[119]

[122]

[125]

116

124

124

124

124

116

124

28

28

3:2 3:2 3:2 3:2

3:2

gliss gliss

ppp pp fgliss

bisb

8:6⅔

6:3⅓

1

3:2

11:8

3:2

4:3

3:2

gliss

3:2

pp

13:12

�lz.

15[127]

[132]

[134]

17:16

fff ppppp

Chicago, 2012-2014

16