Calcination, for solo cymbal

CALCINATION

For amplified cymbal

Lefteris Papadimitriou

Performance notes

The piece is for one large amplified suspended cymbal. Bottom line indicates the edge of the cymbal while the bottom

side of the upper line the bell of the cymbal. Space between lines indicates positions between edge and center as shown

in the image below:

An additional line marked as “Mute” is used for notating muting of the cymbal with the left hand. Notes indicate muting

the cymbal for the given duration. Cymbal is to be muted in the edge but slight variations on the position of muting and

also pressure of muting are encouraged. The cymbal should always let to ring when not muted.

Two brushes, one wooden or plastic object and one hard (metallic) object are used as mallets through the different parts

of the piece. The objects could be the back sides of different mallets or anything that creates a fairly clear sound. The

score indicates vertical movement in the surface of the cymbal from edge to bell. Horizontal movement is left to the

performer and should be used to create dynamic changes, legato and rich sound and in general more organic

movements. Straight lines indicate scraping (or scratching) the surface the cymbal. Wavy lines indicate fast random

scratching in a limited area. Dynamics are relative, generation of dynamic changes not notated due to gestural movements

are desirable.

Program Note

The piece is for one amplified suspended cymbal. Different combinations of sound generated by hitting, muffling and

scraping the cymbal are articulated through six parts with different rhythmic profile, played without pause. The

alchemical process of Calcination refers to the process of breaking down of a substance by fierce heating and burning.

84 83 84S.Cymbal ~~~~~~~~~~~~~~

1

e»ªºBrush

≈ œ∏® œpœ (no attack)

π

Œ. Jœ ‰5:4

® .œp ∏

. œp π‰ œP

6:44:3

≈ Rœ Œ ≈ . RÔœ

≈ π

≈. .œF p

4:3

œ ‰ œ œ ≈5:4

® . P

4:3 3:2

≈ œ ≈ œ ‰3:2 4:3

84 83 84S.C. ~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~5 ≈ œ

π® . F ≈

P

≈ œ œ ‰ ‰ œ5:4

. œ∏

.œp œf

‰ p

6:44:3

≈ œ œ ‰ ≈ . œ

.œF œ∏ . p

Œ œ œ ≈ .5:4

œπ œp

® . F≈ œ∏

œP

4:3 3:2

‰ ® RÔœ ‰ .

84 83 84S.C. ~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~9 ≈ f

œF œπ

‰

‰ œ ‰ ‰ œ œ5:4

3:2

‰ j p œπ ∏

6:44:3

≈ .œ ‰ ≈ . œ

≈ .œF

œp.œ . F

4:3

œ ‰ œ œ ≈5:4

® œπ œF≈ œ p

4:3 3:2

≈ œ ® œ ‰ œ ≈3:2 4:3

84 83 84S.C. ~~~~~~~ ~~~~~~~~~~~~ ~~~~13 ‰ ® f ≈ p

Œ œ ‰ œ ® .œ5:4

3:2

. F ≈ . œπ

6:44:3

Jœ Œ .Rœ ®

≈ . P

.

‰ Rœ ‰ ® .Rœ5:4

≈ œπ® P

4:3

≈ œ ≈ ≈ . œ ‰3:2 4:3

84 83 84S.C. ~~~~~ ~~~17 ≈ œ

f® œpœ œπ

œP œf

Œ Rœ ≈ ‰ ® .Rœ5:4

® .œπ f. œπ œp

∏

6:44:3

œ ≈ . œ ‰ ≈ . œ

≈ .œpœ .œ œ

U

f‰

4:3

‰ . œ ≈ ® .œ5:4

CALCINATIONL.Papadimitriou

Mute

84 83 84 83 84S.C. ~~~~~ ~~~~~2

21 ‰ œf œ œ œp F . œƒ

6:4

4:3

‰ .œ ® ‰ .œ ®

≈ .œf P. œæ œæ

4:3

‰ . œ ≈ . œ5:4

≈ œf® œπ œf

.œFœ ≈ f

‰ œ ‰ ‰ œ œ ≈ .5:4

3:2

œF®œ œ ≈ f

. œF

4:33:2

≈ œ ≈ ® œ ≈ . .œ ≈3:2 4:3

84 83 84 83 84S.C. ~~~~~~~~~ ~~~~~~~~~~~ ~~~~~~~~25 ® .œf p . œ

ƒ .œF

6:44:3

≈ ® œ ‰ œ ‰ .œ ®3:2 3:2

.œƒœ .œFœfœ œ

4:3

œ ≈ œ ≈ ≈ œ5:4

® œf œp F

≈ œƒ

≈ œ ‰ œ ‰ œ œ ≈5:4

3:2

œF œæf.œæ œp≈ ƒ

4:33:2

‰ ≈ œ ≈ œ4:3

84 83 84 83 84S.C. ~~~~~~ ~~~~~~~~29 ® .œæFœæ œ œ œ j

ƒ

6:44:3

œ ≈ ≈ . œ ≈ œ ® œ ® œ3:2

≈ .œfœP. p œæ

4:3

œ ‰ œ ® œ ≈5:4

œæ œf® œπœ .œ œƒ

≈ F

≈ œ ‰ œ ≈ œ ≈ œ ≈5:4

3:2

œp® . f

®œπ œF

4:33:2

‰ ® œ ≈ . œ ≈ œ4:3

84 83 84 83 84S.C. ~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~33 ® .œfœæ œæ œ

p f≈ œƒ F

6:44:3 3:2

≈ œ ≈ . œ œ ≈ . œ

ƒ. .œp œ

æπ

4:3

‰ œ ≈ œ ® œ ®5:4

œæ œƒ® . f ≈ p

≈ œ ≈ œ ≈ œ Œ5:4

.œF.œf≈ ƒ

4:33:2

≈ œ ® œ ‰ œ3:2 4:3

2

84 83 84 83 84S.C. ~~~~~~~~ ~~~~37 ® .œp f

œPœ œ ƒ

6:44:3

3:2

≈ ® œ ‰ œ ‰ .œ ®3:2 3:2

≈ .œF

œ .œæp

rœ œƒ

4:3

Œ Rœ ‰5:4

≈ œF. f

≈ p

Rœ ≈ œ ‰ Rœ ‰5:4

3:2

œæ œæ f

4:33:2

œ ‰ ® œ ≈ . .œ ≈3:2 4:3

84 83 84 83S.C. ~~~~~~~~ ~~~~~ ~~~~~41 ‰ œæ

Pœæ œf F j

ƒ

6:4

4:3

‰ œ ≈ œ œ ® œ3:2

≈ .œf œp . ƒ. œæP

4:3

œ ‰ œ ‰5:4

œæ œf® . ƒ

. œU

Ï‰

≈ œ ‰ œ ≈ œ ≈ ‰5:4

3:2

84 83S.C.

3 Use two brushes

45‰ . ‰ . RœF4:3 fŒ ≈ œæπ œæ

4:3

3:2 ® .œƒ‰ ≈ œ

pœ œFŒ ≈ rœf

6:44:3

‰ ® .œπ

‰ ≈ œæf

83 84 83S.C.

49

.œæ ‰ .F

œf

4:3

œp œP

‰ ≈ œ∏‰

4:3

3:2

œf

≈ rœæFœæ

rœ ‰π‰

6:44:3 ≈ .œ

Ï‰ œ

Pœ

83 84 83S.C.

53 ‰ . .œf

œpœ

4:3

œ œ œæƒ

rœ ≈ œF‰

4:33:2

® .rœ∏‰ œF

‰. rœπ‰

6:44:3

≈ œF® œpœ œ œ ‰ œ

PœF

4:3

3

83 84 83S.C.

57 ≈ . .œf≈ œP œ∏

4:3

≈ œP® .œæπ

œæ œF

® .œf

4:33:2

jœp‰ œF œ

f‰

6:44:3

≈ .jœæƒ

‰ ≈ rœF

83 84 83S.C.

61 ‰ ® œp≈ œfœ œÏ

4:3

œP

® .œπ

‰ œæp æ jœ

4:33:2

® .œfœ œPœ œ œæƒ

jœF

6:44:3

‰ ® .œpœF≈ œƒ

83 84 83S.C.

65 ≈ .œFœ ≈ œf

‰4:3

œp® .œæf

rœ œƒ œp

4:3

œfœ œ .œ œ U

π‰

6:44:3

83 84 83S.C.

44 Use a wooden or plastic object

69 ≈ . P

. ‰4:3

≈ . f ‰ Œ

F 3:2

Œ Œ œ ‰ œ6:4

4:3

83 84 83S.C. ~~~~~~~~ ~~~~~ ~~~~~~~~~ ~~~~~~~~~~73 Œ4:3

≈ Jœ ≈ ‰ .3:2

‰ ƒ

5:4

‰ ® œ ≈ œ ≈ œ4:3

Œ . f

Œ ‰ œ ≈ ® .œ5:4

3:2

‰p

‰ P

4

83 84 83S.C. ~~~~~~~~~~~~~ ~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~~~77

. f

4:33:2

≈ œ œ ‰ .3:2

‰F

5:4

Jœ Œ

≈ P

≈ œ ‰ œ ‰ œ œ ≈5:4

3:2

P . ƒ

3:2

‰ œ ≈ œ œ ‰ ‰ œ6:4

4:3

83 84 83S.C. ~~~~ ~~~~ ~~~~ ~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~81

≈ . ƒ.

4:33:2

œ ‰ ≈ œ ≈ œ4:3

p

5:4

œ ® œ ≈ œ ≈ œ4:3

. f

.

Rœ ≈ œ ‰ Rœ ‰5:4

3:2

‰ . F

≈ ‰3:2

Œ ≈ œ ‰ œ ‰ œ6:4

4:3

83 84 83S.C. ~~~~~~~~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~85 ≈ .

f.

P

4:3

.œ ‰ œ4:3

≈ƒ5:4

œ ® œ œ ‰4:3

≈ . Ï

‰

Œ œ œ ≈ ‰5:4

3:2

‰ . F

‰3:2

83 84 83S.C. ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~89 ≈ .

ƒ. ‰

F

4:3

≈ œ ® œ ‰ .3:2

‰ . P

5:4

‰ ® . ƒ

U

‰

Œ Jœ Œ5:4

5

83 84 83S.C.

52 Brushes and hard metallic object (or back side of brush)

93 Œ Jœf

Œ ‰ ‰ rœP‰5:4 3:2

(Hard metallic object)

Œ ≈ j¿p

‰3:2

84 83S.C.

97‰ . .jœFŒ ‰ ≈ rœæ

(Roll is to be played with brushes)

Fœæ œæ œæ

pjœæ Œf

5:33:2

84 83S.C.

101Œ ‰ rœf‰

4:33:2

‰ ¿P

Œ3:2

Œ Jœπ

Œ5:4

≈ ¿F® .¿π

‰

84 83S.C.

105 ‰ Jœƒ

‰ Œ3:2

‰ J¿F

Œ

84 83S.C.

109‰ . .Jœæ∏ P

j æ æ̇ƒ

5:4 œ

F‰ ¿p

Œ5:3

84 83S.C.

113‰ .j¿f

‰5:4

Ï‰ œæπ

æ jœ3:2

6

84 83S.C. ~~~~~~~~~

6 Use hard metallic object

117‰ ® F. ‰

f . ‰

3:2 5:4

‰ . œ ≈ . œ ‰

® .¿F

‰. p ‰

5:3

3:2

‰ Jœ œ ‰ Jœ ‰6:4

4:3

≈ ¿f® ¿P. F

3:2

‰ Jœ ‰ œ5:3

84 83S.C. ~ ~ ~~~~~~~~~~~~~121

f ‰

P4:3

‰ œ ‰ ≈ œ ‰5:3

‰ ¿ƒ

f

3:2

‰ . Rœ Œ

≈ ¿P‰ ƒ. ‰ ¿

π‰

5:33:2

‰ Jœ ‰ œ ‰ ‰6:4

4:3

≈ ¿f . ¿

F

3:2 4:3

‰ . .œ ≈ œ œ ≈5:3

3:2

84 83S.C. ~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~~~~~~ ~~~~125≈ . f

4:3

‰ ≈ œ ‰ ≈ .œ5:3

3:2

≈ ¿ƒ

p

3:25:4

≈ .Rœ ≈ . ≈ . œ œ

. f

5:33:2

Œ ≈ .œ ‰ œ ‰6:4

4:3

≈ ¿f® ƒ

3:2 4:3

Œ œ œ ‰ œ5:3

3:2

84 83S.C.~~~~~~~ ~~~~~~~~~ ~~~~~~~ ~~~~~ ~~~~ ~~~~~~~~~~~~~ ~~~~ ~~~ ~~~

129 ≈ . F

4:3

Jœ Œ ≈ .Jœ5:3

f

3:2 5:4

≈ œ ≈ œ .œ ® ≈ œ

® . P ƒ

5:3

3:2

œ ≈ . œ ‰ œ ‰ œ œ ≈6:4

4:3

≈ f® P .

3:2 4:3

‰ œ ‰ œ ‰ œ5:3

3:2

7

84 83S.C. ~~~~~~~~~~~~ ~~~~~~~ ~~~~~~~~~~~~~~~ ~~~133≈ F

4:3

œ ‰ œ ≈ œ ‰5:3

‰ ƒ .

3:2 5:4

‰ ≈ œ ≈ . œ œ ≈

‰ F

5:33:2

Œ ‰ œ ‰ œ ≈ œ6:4

4:3

≈ j ƒ≈ P

‰3:24:3

Jœ Œ ‰ Jœ5:3

84 83S.C. ~~~~~~~~~ ~~~~~~~ ~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~ ~~~~~~137

Ï

4:3

œ ‰ œ ‰ œ5:3

. 3:2 5:4

‰ ® .œ ‰ œ ≈

5:3

3:2

œ ≈ œ ≈ œ ‰ œ ‰ œ6:4

4:3

3:2 4:3

Jœ Œ Œ5:3

84 83S.C. ~~~ ~~~~~~~~~ ~~~~~~~ ~~~~ ~~~~~~ ~~ ~~~~~ ~~~~~ ~~~~~~141

4:3

‰ œ ‰ ≈ .œ5:3

3:2 5:4

‰ ® .Rœ Œ

. 5:3

3:2

‰ œ œ ‰ œ ‰ ‰6:4

4:3

. 3:2 4:3

‰ œ ≈ œ œ ‰ ‰5:3

3:2

84 83S.C. ~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~145

4:3

‰ ≈ œ œ Œ5:3

3:2

. 3:2 5:4

‰ ® .œ ‰ ≈ œ

5:3

3:2

œ Œ ‰ Jœ6:4

U

‰.3:2

.Jœ ‰ . Œ5:3

8

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Calcination, for solo cymbal