Difference between revisions of "Always very soft"
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| − | [[ | + | [[John Luther Adams]] |
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== General Info == | == General Info == | ||
| − | + | '''Year of Published''': 2007<br /--> | |
| − | '''Year''': <br /--> | + | '''Duration''': 00:09:00 <br /--> |
| − | '''Duration''': | ||
'''Difficulty''': (see [[Ratings]] for explanation)<br /--> | '''Difficulty''': (see [[Ratings]] for explanation)<br /--> | ||
| − | '''Publisher''': <br /--> | + | '''Publisher''': [[Chester Music]]<br /--> |
| − | '''Cost''': Score and Parts - $ | + | '''Cost''': Score and Parts - $11.99 | Score Only - $0.00<br /--> |
==Movements== | ==Movements== | ||
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== Instrumentation == | == Instrumentation == | ||
| − | + | Player 1: 6 Graduated Metal Instruments<br /--> | |
| − | Player | + | Player 2: 6 Graduated Glass Instruments<br /--> |
| − | Player | + | Player 3: 6 Graduated Membrane / Wood Instruments <br/> |
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== Program Notes == | == Program Notes == | ||
| + | I began Always Very Soft in the spring of 1973 and completed it more than three decades later. Originally the piece was scored for percussion trio and de-tuned cello. I conducted that version in my final semester at the California Institute of the Arts. In time, I came to regard it as my last student work and withdrew it from my active catalogue. Fast forward thirty-some-odd years to the spring of 2007. For quite some time, I'd had in mind to compose a perpetual acceleration canon - music that seems always to be getting faster, but somehow never really does. As I pondered this I remembered that piece from long ago. So I dug out the old score and looked it over. From my new perspective, it seemed to me that my younger self had been attempting to composer a continuum of discontinuities - weaving disparate timbres and velocities into a subtly articulated whole. This new version of Always Very Soft contains not a single note from the original version. But I hope it conveys a more coherent and essential distillation of that early musical thought. Instruments should be chosen for maximum resonance and continuity of sound. All instruments should have similar decay times. Attacks should be light, and as uniform as possible. All instruments should be played with the same implements - wooden skewers, light sticks, brushes, or with the fingers. As the titles suggests, dynamics should be very quiet throughout. However, the instruments may be amplified to enhance the richness and complexity of the sound. | ||
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== Works for Percussion by this Composer == | == Works for Percussion by this Composer == | ||
| − | + | {{Adams, John Luther Works}} | |
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== Additional Resources == | == Additional Resources == | ||
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| − | [[Category: | + | [[Category: Percussion Ensemble Works]] |
| − | + | [[Category: Percussion Trio Works]] | |
| − | + | [[Category: Indeterminate Instrumentation Works]] | |
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Latest revision as of 10:30, 7 August 2025
General Info
Year of Published: 2007
Duration: 00:09:00
Difficulty: (see Ratings for explanation)
Publisher: Chester Music
Cost: Score and Parts - $11.99 | Score Only - $0.00
Movements
Instrumentation
Player 1: 6 Graduated Metal Instruments
Player 2: 6 Graduated Glass Instruments
Player 3: 6 Graduated Membrane / Wood Instruments
Errata
Program Notes
I began Always Very Soft in the spring of 1973 and completed it more than three decades later. Originally the piece was scored for percussion trio and de-tuned cello. I conducted that version in my final semester at the California Institute of the Arts. In time, I came to regard it as my last student work and withdrew it from my active catalogue. Fast forward thirty-some-odd years to the spring of 2007. For quite some time, I'd had in mind to compose a perpetual acceleration canon - music that seems always to be getting faster, but somehow never really does. As I pondered this I remembered that piece from long ago. So I dug out the old score and looked it over. From my new perspective, it seemed to me that my younger self had been attempting to composer a continuum of discontinuities - weaving disparate timbres and velocities into a subtly articulated whole. This new version of Always Very Soft contains not a single note from the original version. But I hope it conveys a more coherent and essential distillation of that early musical thought. Instruments should be chosen for maximum resonance and continuity of sound. All instruments should have similar decay times. Attacks should be light, and as uniform as possible. All instruments should be played with the same implements - wooden skewers, light sticks, brushes, or with the fingers. As the titles suggests, dynamics should be very quiet throughout. However, the instruments may be amplified to enhance the richness and complexity of the sound.
Awards
Commercial Discography
Recent Performances
To submit a performance please join the TEK Percussion Database
Works for Percussion by this Composer
Multiple Percussion Solo
Songbirdsongs, Book I – Multiple Percussion; Piccolo
Songbirdsongs, Book II – Multiple Percussion; Piccolo
The Mathematics of Resonant Bodies – Multiple Percussion; computer
Percussion Trio
Songbirdsongs – Percussion Trio; Piccolos (2)
Always very soft
Percussion Quartet
dust into dust - from: Strange and Sacred Noise
Five Percussion Quartets - from: Coyote Builds North America
Four Drum Quartets - from: Earth and the Great Weather
Prophecies of Fire
Qilyaun
Percussion Sextet
Green Corn Dance – Percussion Sextet
Others
Sauyatugvik: The Time of Drumming – Percussion Ensemble
Additional Resources