Special techniques in Giving Ground

OBOE

Reed pulled out

  • Between m. 90 and rehearsal N, the players are asked to play with the reed pulled out as much as possible. The reed should only be inserted about 3-8mm into reed socket.

  • These notes are notated with a square notehead.

  • Playing with this technique creates broken tones, not unlike certain multiphonics. The sustained notes will have a strong beating quality.

  • It is important to note that the pitch will be significantly flat using this technique; the musicians need not adjust the pitch.

L: ord. reed position

R: reed pulled out

CLARINET

Multiphonics

  • There are three multiphonic dyads featured during the first section of the piece.


Audio examples are taken from Heather Roche’s blog, which contains further explanations. The relevant multiphonics are labled on her page as no. 12, 111, 115.

BASSOON

Altered fingerings

  • Open diamond noteheads indicate notes to be played with altered fingerings. They are always found in the context of descending chromatic scales which begin with a normal 'anchor' note (F3 or C3).

  • In these sequences, the musicians play normal fingerings but omit either the first left-hand key (-LH1) or the first right-hand key (-RH1), diagrammed below.

  • These notes will sound as either 1) microtonal deviations of the 'anchor' note, or 2) multiphonics. The musicians do not need to be concerned when and how these emerge; the musical goal is to create fast runs that begin subtly then open into messy and dramatic sounds.

For full explanation, please see this video by Ben Roidl-Ward

Lip-pressure multiphonics

  • The piece concludes with the two bassoonists alternating 'emergent' multiphonics. These are created using normal fingerings and by weakening the lip pressure.

  • Chords should emerge gradually from a single note then back again; they should not arrive all at once. The rhythmic notation only shows when the chord should arrive in full.

Further reading and explanations in The Techniques of Bassoon Playing by Pascal Gallois

horn

  • The 7th and 11th partials of the harmonic series are used to create microtonal relationships with the rest of the ensemble. These notes will be significantly flat and are indicated with microtonal accidentals; stay in 'natural' horn and do not adjust the pitch.

  • Suggested fingerings are provided for each instance, indicating either F or Bb horn and the valves to be pressed, e.g. 13 or 123.

  • Further explanations in Extended Techniques for the Horn by Douglas Hill