GREY

for 3 improvising instruments or instrumental groups

 GREY
A

B'

C'A'

coda

(ca 30'') (simile) (ca 45-60'') (ca 1'-1'30'')

GREY
Grey is about the experience of depression and the feeling of hopefulness, specific “greyness” taking over one’s mind and body. Main aim of the piece is raising awareness
of mental health problems, especially depression. It is designed for 3 improvising instruments, or 3 instrumental groups of any kind (marked 1, 2, and 3.)
Performance instructions:

A B C B’ C’A’ coda

1 -forte -mf -decrescendo from mf in the -mp -p -decrescendo

-ordinario sound, portato -pick up the highest entire section of the piece -explore p>pp
-repeat chord, or single note in the middle notes you can hear -pick up the highest warm -steady,meditative,
register of your instrument, and blend into a in the moment in -explore the high register, play notes you can hear timbres, use calm atmosphere
“sound mass” with others your ensemble and various motives changing the in the moment in low register -if possible, play
-gradually emerge a solo using the rhythm: try to echo them intensity, tempo, dynamics your ensemble and -use the harmonics (or
-play with timbre and rhythm, try to echo them in material whistle) and use
softer character from parts C them as a basic
-blend back again using the same, or similar -when repeating an idea, and quieter and A material for the
repetitive material idea make its every appearance dynamics softer and coda
-keep in mind other instrument’s coming solo softer and quieter -play with timbre quieter

2 -forte, ordinario sound, portato -mf -decrescendo from mf in the -mp -p -decrescendo
-repeat chord, or single note in the middle -play long notes entire section of the piece -explore p>pp
register of your instrument, and blend into a (without vibrato) -repeat the warm -steady,meditative,
“sound mass” with others -play legato in the high material you timbres, use calm atmosphere
-gradually emerge a solo using the rhythm: -try overpressure, or register of your instrument invented in part B low register -if possible, play
any kind of in softer character -use the harmonics and use
distortion possible -play lyrical motives and and quieter material them as a basic
-blend back again using the same, or similar for your instrument interrupt them with scratchy dynamics from parts C material for the
repetitive material idea and explore the fluid sounds in the instrument and A coda
-keep in mind other instrument’s coming solo changes (body of the instrument, softer and
ordinario/distortion changes of articulation) quieter

3 -forte, ordinario sound, portato -mf -decrescendo from mf in the -mp -p -decrescendo
-begin the piece with a strong accent on the entire section of the piece -explore p>pp
note B (optionally with the string) -if possible, play the -repeat the warm -steady,
-gradually emerge a solo using the rhythm: sequence of -improvise slow, nostalgic material you timbres, use meditative, calm
cluster-like chords or motives in the high register invented in part B low register atmosphere
tenuto slow notes in and interrupt them with in softer character -use the -if possible, play
the middle register scratchy qualities (for and quieter material harmonics (or
-blend into the ensemble using repeated chord, of your instrument example, using articulation or dynamics from parts C whistle) and use
or single note body of the instrument) and A them as a basic
-keep in mind other instrument’s coming solo -when repeating an idea, softer and material for the
make it’s every appearance quieter coda
softer and quieter

Recommended assignment for instrument 3 is piano, or any instrument with the lowest scale. Changes between the parts are marked and led by the lower note (B natural).
Repetitions of the same material should be treated as a “washed away,” vanishing echo - every repeated idea or motive should be played gradually quieter and slower with
the development of the piece.
Larger ensemble performance suggestion (with or without conductor):

-choose a leader, or decide who initiates the beginning of the piece from group 3 (note B natural). Conduct the entire group 3, or make sure the leader starts the piece and
the beginning of every section. It should be a quick impulse the rest of the ensemble follows.

-keep in mind the gradual decrescendo between sections and the additional decrescendo within the section C,

A, A’:
-choose 3-4 soloists, or make the solos overlap
-make sure that the contrast between the solo material and the “mass” is significant and audible (use different registers, dynamics f/ff, even unified pulse for the “mass”)

coda:
-let every instrument finish at its own pace, creating a collective decrescendo al niente effect.