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Mixture Instruction

This document provides instructions for performing a piece of music titled "A Mixture" composed by Wong Ching Yin in 2018. The piece is scored for three erhus with different tunings and utilizes various extended techniques such as bowing the strings at different angles and pressures to produce noises, tones, and effects that blend and communicate with each other. Performance notes define special techniques and quarter-tone accidentals used in the score. The piece is approximately 4 minutes and 15 seconds in duration and incorporates elements of Cantonese music and experimental techniques.

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Wong Ching Yin
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43 views2 pages

Mixture Instruction

This document provides instructions for performing a piece of music titled "A Mixture" composed by Wong Ching Yin in 2018. The piece is scored for three erhus with different tunings and utilizes various extended techniques such as bowing the strings at different angles and pressures to produce noises, tones, and effects that blend and communicate with each other. Performance notes define special techniques and quarter-tone accidentals used in the score. The piece is approximately 4 minutes and 15 seconds in duration and incorporates elements of Cantonese music and experimental techniques.

Uploaded by

Wong Ching Yin
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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A Mixture is composed of two or more physically separable elements.

Nan-yin,
Cantonese music modes,
The distorted, contemporary noises,
The groove of swinging, and
The random process of tuning the musical instruments

--- they are so intimately mingled together, yet so discriminable easily by their features.
How they communicate with each other in parallel?

WONG Ching Yin, 2018

Instrumentation:
3 Er-hus
(1 Er-hu with D4 A4 tuning; 1 Er-hu with C4 G4 tuning; 1 Er-hu with G3 D4 tuning)

*1. Please refrain from using a Zhong-hu to substitute for Er-hu 3, a type of Er-hu as
using Lao-xian (aged strings/老弦) should be used.

*2. It is optional to use a different set of strings for Er-hu 2, judging by the performer
whether his/her musical instrument needs a stronger or harder string to manipulate the
high-pressured notes.

Duration:

Approximately 4' 15"

There will be cues given in the parts. The tempo markings are to be strictly followed.
Except that within a fixed tempo, elements related to ethnic music such as Nan-yin (南
音) can be interpreted with minimal rubato, provided that it does NOT interfere with
the whole pace of the piece.

The parts with essence of swing inside, they are to be performed exactly according to
the score. The swinging rhythm has been notated.
3

Performance Instruction:
Special extended techniques are to be defined here.

1. The bow pressing against the string with excessive pressure


(evenly!) thus producing noise.

2. The casual act after tuning the open-strings at the peg for
several times to calibrate the strings again. The bracketed note is
approximate pitch.
and similar notations

3. The bow is drawn across the strings with a tilted angle to the
soundbox. The note/pitch will be clearer when the bow is nearer
to the soundbox and the note/pitch will be blurred with noise
when the bow is far from the soundbox.

4. The bow is drawn perpendicularly to the soundbox (vertical


direction, up and down), apply adequate pressure to string to
produce continuous 'quack' sound, similar to a frog. Be aware of
the amplitude, not to sound too loud. In this case, do without an
accent.

5. Places marked with dotted arrows are to be played in gradual


and similar notations
change, there should not be any perceptible sudden change in
that case.

There are numerous special usages of accidentals in the score to represent quarter-tone.
They are listed as below.

I. # / b represents normal deviation from the note by one semitone (half-step).

II. µ represents raising the note by half semitone (1/4 of a whole tone).

III. ˜ represents raising the note by one and a half semitone (3/4 of a whole tone).

IV. B represents lowering the note by half semitone (1/4 of a whole tone).

V. I represents lowering the note by one and a half semitone (3/4 of a whole tone).

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