/ Departure Tracings (2001)for flute, clarinet, violin, cello,
piano and percussion
Departure Tracings
-for flute, clarinet, violin, cello, piano and percussion
Departure Tracings is the second in a series of works dedicated to
the memory of my father. Each work in the series utilizes the
pitches C and G# as points of departure and/or arrival (these two
pitches come from my father's initials).
In Departure Tracings, C and G# are treated as focal pitch points
on their way to and from each other. Each member of the ensemble
traces a different time trajectory from and to these focal points.
Ritual forms a significant subtext to the spirit of this piece, in
keeping with the mysterious nature of the composition's subject
matter... the death of my father.
Clarinet in Bb (scored in C)
Violin
Cello
Percussion
Piano
(breathy----------------------------------------------------------------
f
claves
ç
Ó . 3 ‰
· w
· œ
∑
∑
∑
Departure Tracings (Scored as sounding pitch) (Conductor has
freedom to decide the length
of each fermata , but at least 5-second long) , 5
Ching-Wen CHAO
j œb
ç
‰ œ
J œ
∑
∑
f
SP
œb
∑
F p f S
>
Ó
3
∑
∑
∑
∑
(w/ pedal)
+
∑
>
>
>
30
( ) p
j œ
j œ
≈ ‰ j œ œb
( )
œ . .œ œ# œ
J œ ‰
Bg.
œ
>
F p f
M.V.
œ
œ œ> œb œ œ .œ œ .œ œ
3 œ
R
œ
∏
¨
œb œ
œ æ ‰
∑
Flow with Solemnity
3
Œ ‰ . r · œ # #
^
?
3
œ
œ
œ#
∑
∑
∑
∑
‰
∑
∑
for piano
In In an instant..., constantly changing, ever derivative objects
shift in sudden moments. These objects, inspired by some behavior
of Pipa and Gu-Jeng (Chinese instruments), hardly conceive their
defined figures. They, however, generate themselves recursively and
yet arouse others to form some distinctive events. Those events are
always dissolved and gravitated by the timeless river- a spectrum
based on symmetrical pentatonic harmony and presented in extreme
registers. Beginning with a time of accelerating, the piece finally
leads to a chaos of time, where all the recurring elements
interwind each other to a labyrinth of dazzling complexity. The
waves of sound speed up and down in time, and grow wide and narrow
in space. The discourse, hopefully, is scarcely noticeable but
perceived as a spiritual experience.
œ œ œ œ
œœœœ
?
∑
P
œ œ
Copyright reserved by Ching-Wen Chao, Aug 2004
accelerando...................................................................................molto................................................
ritard..............molto..........
&
&
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?
(◊)
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∑
∑
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∑
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u
j œb
j œb
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w- P
3
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∑
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3
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rit.
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50
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p
p
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53
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∑
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b
3
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Œ 3
J œn
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3
J
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b
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3
^
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∑
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æ J
legato
Œ
w U
u
œœœœœ
- œœ œ b b b - œœ œ b b b -
œ œ œ
œb œb
∑
∑
3
∑ ?
3 œ œ œ b b œ œ b b
3
∑
3
œ b b
10:6
>
3
b
œ#
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œ
b
112
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b
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b
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-
-
∑
Œ Œ ®
. . J œb .
u
Œ ®
∑
∑
Œ
5
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