Elliott Carter EIGHT PIECES for Four Timpani (one player) ASSOCIATED MUSIC PUBLISHERS, Inc. New YorkVi. VIL. VII. Saéta.. ee eee 3 Moto Perpetuo.............. 6 Adagio .................0.. 8 Recitative 26... 0.2... 0... 10 Improvisation.............../ 13 Canto ..........00.0..000..2 16 Canaries. 2.6... 18 March... 2.2... 2.200 21Performance Notes 1. Public performance: The printing order of these cight pieces was chosen largely to facilitate page tums, hence this order is not meant to suggest the order of performance. The group of Eight isa collection of pieces from which not more than four are ever to be played as a suite in public. The order of these should be chosen to produce the maximum of variety, possibly according to the following suggestio (a) If pedal timpani are available, TIT and/or VI may be included. (b) IV, V, VIT and VIII can be used as beginning or ending pieces, while I, Il, 11 and VI can be performed between them. (c) When played in sequence, it is important that not more than one pitch be carried over from one piece to the next — hence some may be transposed. 2. Timpani: Although all eight pieces can be performed on four standardized drums — 30", 28”, 25" and 23” — other sized drums can be used to favor the effect of certain pieces. Although pedal timpani are required for TIT and VI, their use is not essential for the other pieces. How- ever, pedal timpani can be useful for quick tuning changes between pieces for public per- formance. 3. Sticks: Sticks for I, III, TV, V and VIE should be chosen to bring out the character of each piece. In VIII, medium-hard sticks are suggested; in VI, wooden snare drum sticks. In TI, special rattan sticks with cloth (corduroy) -covered tips produce the best effect (see Example 1). TV uses a soft bass drum stick for its final note, T and VIIT call for the reversing of the timpani sticks to strike with the wooden handles or buts. The striking with the wood is indicated [BUTT] , and the usual way of striking is indicated [HEAD 4. Stick strokes: Unless otherwise specified, the usual type of stroke is to be used. This “normal stroke” is indicated by the sign [NS] when used to cancel the “dead stroke” [DS] —as in II, IV, and at the end of I. A “dead stroke” is one in which the head of the stick is held down on the drum after striking to dampen all resonance at once, ‘The appearance of the small sign % , found in all of the pieces except VI, indicates hand damping. Tn Vb, the sign means onthe vim (not on the drum head), and the sgn means rim shot. 5. Striking positions on the drum head: To produce a wide variety of different sound qualities, various striking positions are suggested. They are notated as follows: ©————_ Nommal striking position on head ©——_ Striking at center of head @®——, Striking on head very near the rim (see Example 2) @------ >© Change gradually, from normal position to center of head. Each of these positions should produce a distinctly different sound. Where nothing is sug- gested, the choice of striking positions is left to the discretion of the player. 6. Special efects: TI: In the use of the cloth-covered rattan sticks, two types of ‘striking are indicated (see Example 1): TP] Striking with the tip Striking with the headMi: Articulation — The various degrees of accentuation in II should be clearly audible: (a) slight accents at the beginning of each measure; (b) lighter accents at the beginning of each beamed group within the measure; (c) still lighter accents at the beginning of inner beams of sixteenth notes. ‘The sign / indicates an accent as at the beginning of a measure, The sign U weakens the above indications. : Harmonics sounding an octave above the tuned pitch of the drum may be produced by pressing one or two fingers on the head of the drum half-way between the rim and center, and striking near the rim, The harmonic is notated . IIL: Sympathetic resonance (called for on page 8, line 3, and page 9, line 1) —‘The pitch played on the drum notated on the large staff is meant to produce a sympathetic resonance in the drum notated on the small staff below. If this does not occur effectively, with a vibration loud enough to make the small-note glissandi audible, then the drums indicated in small notes should be struck softly at the same time or immediately after the other drums. VI: The ‘sneak entrances’ should be soft enough to be covered up by the ring of the previous oud notes. Example 1 Cloth-covered Rattan Stick Ct }—— single layer of cloth [Hd] (head) over tip two or three layers of cloth on sides Example 2 ‘Striking Positions on Drum Head ‘As close as possible to rim, still sounding pitch ‘Normal striking position Center of drum headfor Four Timpani (one player) EIGHT PIECES | | to Al Howard I, Saéta Elliott Carter ® ad tid. (acca) : of f—P=PP aenly and resonantly @ _ bd. © ® ad lib, (accet.) a nf a ta we cmphasive and D mare and mare nf nf. S fs o— ~dsec0 foo. ~ ~ — mfx Ki © Copyright 1968 by Associated Music Publishers, Inc, New York Anp-6820 ‘AI Rights Reserved Printed in U.S.Aee eg, Fe 0 he Fa. (N)-~ = = (ded) 8) (d= d f eres. st (Nl = > > = > \@sentre_ We fs __ fy fy Sy fe Pe WA (Nn) (P) eS FS ET * Sce Performance Note #4 regarding damping notation, sananeeaeneeee ‘AMP-6820PP emphasize A slighily r = Sf mp —d.2da150 (4.=50~ (nN) HEADS ™ = y~> eer. ww E = fone ee (N)ad Lib, (accel.) rit. oN P 2 —<— — — PP AMP. 6820 1950/19666 to Paul Price IL. Moto Perpetuo* TP Elliott Carter ; =~ 8—@ [ee oe”, ten ae | d-120 (B-} throughout) © [loth-cor rattan sticks tid) S| = PP tightly and very distinctly) [Ha] ® ® : =. ~” —p PP "© -©-O® = RR SS SS SS eer eee errr rs a a = + Sce Performance Note f6 regarding accents and sticks, AMP.6820 © Copyright 1968 by Associated Music Publishers, Ine., New YorkPp cresc. © OD ee gee” Po ® (Seo ae oeoterS Bal seserase louFentipkeroreners erererereresttes| a) Tere brima) Oral = == 2s ere = zt as S= a) ps} [ps) DA gs * With the stick of one hand, strike and hold against drum head; the other stick plays the repeated notes. AME-6820 rat 1950/1966to Jan Williams Ill. Adagio Elliott Carter d=ca.36, marae : fl = sympathetic resonance (see Performance Note $6) Le aac tee 13} potapet ae yecr ft ig o,f 2s (rapido) epee te ‘If this piece is performed after another of the seri slide into the first notes not in parenthetes, only necessary to tune Drum 3. Drums!,2 and4 may start on any note and ‘*# The drums played before the harmonic and glissando note should be loud enough to form a ringing background without covering that note, (See Performance Note #6 regarding the production of harmonics) AMP-6820 © Copyright 1968 by Associated Music Publishers Tne., New Yorkaf a ben Os bse a ( >= Sa —f press forward ee B= oH == ong Tere =p oP) tr, AMP-6820to Morris Lang IV. Recitative 1 Elliott Carter Adagio drammatico (4-49) ® @5 x z Zz z zx ame pt g 3 3 9 non cresc. SS (RR) ‘AMP-6820 © Copyright 1960, 1968 by Associated Music Publishers, Inc., New Yorkwr * Tif nf (apr) + == ‘accenti ben marcati eos » d-dh dad) (o..-63) Me =i .= eee Se aoa AMP-6820ty (263, gente) ey J ‘plnan troppo seco) is} oy pst tps} _____, ©) 2 AMP-6820 SS} 1950/1966to Paul Price B V. Improvisation Elliott Carter @ Allegro (J-126) = © Wr eennenennnn uf Gis.) == Ff (d=d=84) FA mare, ~—"nm) Vo = a —hETt of = (morendo) —_ of WS aded=60-—- 7 > Frese. = 0 Omer ee (2 seaea meal gf = = = nf AMP.6820 © Copyright 1960, 1968 by Associated Music Publishers, Inc., New YorkWs wt, =F BS pS Ser fe ye” OU OW. ? a AMP-6820Ce Damp with hand held on drum head| ae aeaeaeal PP ae ima sonora g r® 1 Oz 7 sf FES ae a = pm o> f—— fr Panta ws 3. * Let eachtone fade out without striking again. AMP-6820 ¢to Jan Williams VI. Canto Elliott Carter 48 gy eng im ih 2 7 aaae Ge i Lf = PP (quasi cat. 2) = 7 pp=p (imeak entrance! -see Performance Note #6) SF p= SI a Fs, Stim = —— 8 eee Bes acces a q 70 BOep w, =f f =? fo iz ce 3 a irre (sneak entrance’) i) (See = Un. ere aaa z Doitengrormnnny P=? = nf —P we —— 7 fo ——"> =— P pp ta AMp-6020 © Copyright 1968 by Associated Music Publishers, ren, New Yorkméy Q fl a = nf Pf Rp a) OS cnannnnnnanneneeee snare eegenmnenneeneeneenernnenemnnneenneneeneeernnnnnenneey Fal 7a P—— of —? —— of — — of ft = a ~~ Os I @ > 2 t= . ee S—F at a a, = S 7 (=) = O- Sy moot = mare. nen f Adfero gy a dadtto— dhtdes > > > pars St © 1®) 5 t nenof freee pik marc. dad-290— oy fur © _ S ea ores, Sf mare, apn AM-6820 © Copyright 1968 by Associated Music Publishers, In, New York+ od=d-20— —dh. = a= = T 2" -F Oe Oe oe aS nf = mp oud) (dn64) —_—_—, ®———_, 2, O—___ “*@— = = See eo i - y ei (4 d=d.—-) (ch oS oe ded 7 a 7 7 3 _, I RE. (d=144,d=72)_ Qeemore (ast. © sompge Fe ue 4 poco crese fs ees A, (OS (d=308) > spatds ie - ) (d= Bo a ae > > > > > =. ee af yp? a ar aah Sette P AMP.682020 (d=162, d= 81) ae Q—0—® ©--8 5 ©— 9 ©? o— =f =p fF O— ® * SF lcantondo) nin troppo P ww =_(dedy © ~dad.td-200) b S oe 7 © OS eee pio eat oe = —o-—— Qetgb—— € ited ae ite alte eee AMP-6820 1950/19662 to Saul Goodman VII. March (BuTT] Both hands j=140—- (normal roll: 2 heads) _ change to BUTTS| 1 } tr. [te SSS ee = = > = 4, = f=> [LH Change to HEAD] Both hands lchange to BUTTS} Both hands Ichange to HEADS| F — Ue [R-H.- Change to HEAD] -uTTs] = ——— > AMP-6820 © Copyright 1968 by Associated Music Publishers, Tne., New York2 2d=56—- Gagap) 5 S (eurT) P v 'F) wie 7 Tye ff f tt (dese, date) (4=48) ; -ad= ad d.n48— (d=120) ona (ded) BERS}, 6a oS worn 6S L f sf AMP.682023 (J=108) dd) (d-140) sports] we (hed) Gases = BD ports] {> s(d-3) Sud. [HEAD], [BuTT] mf sub. (puTT]* (HEAD) burr)’ ro I “Gacal (aga) 5 | ern | Pree ee ROH Mute E [and change to BUTT, (muted) taza), 5 egos 4 th hands, BUTT: 1 drums tuted. wort I 7 I : 4 one te J. oT accel, (I) — ‘Ane-6820 1950/1966