CLARINET in B-FLAT

Jeremy Woodru

Trajectory Constructions I

For the MIAM Modern Music Ensemble conducted by Ivan Karst

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The expression mark 'sempre glissando' indicates that, except for repeated pulsed notes, all pitches should be performed as a continuous pitch glide,
except where expressly marked 'non-glissando', wherein only the single pitch over which 'non-gliss.' is written is held steady. The continuous pitch glide
shows intermediate pitches and low and high nodes of pitch as a reference; nowhere should the pitch be held or come to rest during the glissandi. A
glissandi is indicated by a straight line between written pitches. The glissandi speed need not be perfectly even however between these nodes but instead
can follow a curved slope according to the players feeling, ad. libitum. Nevertheless very long glissandos between close pitches are best performed at a
constant rate of glissandi, while glissandi over larger intervals naturally lend themselves to a curved slope. The players must follow each other as closely as
possible however to accomplish the glide in unison. A glissando to a stemless notehead means to stop abruptly once reaching that pitch.

Although the goal in sections with unison glissandi is to be perfectly in unison, slight pitch deviations between will doubled instruments will still occur as
a natural consequence, and need not be completely eliminated.

The eight-half note time signature should be conducted as a pattern of four, only showing a subdivided pulse where absolutely necessary.

The dynamic indications are to be carefully observed and can be exaggerated at the quiet extremes.

Staggered breathing may be required for the winds. Simply take breaths where necessary for long, held notes.

This is a transposing score.

Accidentals apply to the note to which they immediately proceed and immediate subsequent repetitions of that note.

The piece employs Sabat / von Schweinitz's Helmholtz-Ellis Just Intonated Pitch Notation (HEJI). For a thorough explanation download information at:
http://marcsabat.com/#writing .
A summary of the basic HEJI accidentals is given in the chart on the next pages

In the case of just intonated pitches, a plus/minus value in cents deviation from the equal tempered intonation is written above the note as an appoximate
value for comparison with the equal temperment pitch.
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D is the tone center ( '1/1' ) to which the HEJI accidentals

refer. But some pull towards other centers, including A,
occur, so that the pitches should be tuned by ear in context
rather than adhering to the strict cents measurement
unyieldingly. In any case, for proper intonation it is
important to be able to recognize and tune the following
intervals by ear, among other related intervals:

8/7 D - E septimal major second (E +31 cents)

5/4 D - F# just intonated major third (F# - 13 cents)
11/9 D - F quarter sharp (F +47 cents)
7/6 D - F septimal minor third (F -33 cents)
13/9 D - Ab tridecimal tritone (Ab -13 cents)
7/4 D - C septimal minor seventh (C -31 cents)
14/9 D - Bb septimal minor sixth (Bb -35 cents)
16/11 D - Ab quarter at (A - 51 cents)
5/6 D - B just intonated major sixth (B -15 cents)
15/8 D - C# just intonated major seventh (C# -11 cents
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Trajectory Constructions I

q = 60 quiet but intense (non gliss.) (non gliss.)

(non gliss.)
-33 +47 -65
#8 +31 sempre glissando -13
& #2 > w Y u Y Y < w 4 Y Y Y 0 Y o Y
p f p ppp

+49 (non gliss.) (non gliss.)

4 -31 -23 -35
# Y Y Y Y < Y Y
&#Y 4 mw Y <e
mf pp mf sp mf pp f

7 -63 -51 -55 +47 -13 (non gliss.)

##
& 0 Y 5 Y Y Y 5 Y n Y 4w Y u # Y
ppp mp p mf p f

sempre glissando
10 -13 -55 -13 +31 -49
## w Y Y u Y w > Y
Y 5
& nY w 5w &
pp u f p f mp

13 -13 +51
-67 -11
## w u Y 4 Y Y 0 +29 +31 -49 +20

& J J u Y Y > Y > Y Y 5 4 Y o

mf p mf p pp mf pp p f p mf p pp mf

17 -63 -55 +31 -11 +39 -13 +47

#
& # 0 Y 5 > w u n j Y ># Y

nY Y uW Y 4
f ppp f p f
ff fff
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