Reresponsives

Reresponsives
Ben Zucker
A B C
b˙ bœ bœ ™ nœ œ b˙ ˙.
& bœ ™ b˙ bœ ˙. b˙
& œ bœ ™ ˙.
œ ˙ œ #˙ ˙. bœ ™ n˙ œ
˙
? œ ˙ b˙. nœ ™ b˙ œ™ bœ nœ ˙ œ b˙
˙
? bœ b˙ œ b˙ œ
bœ ™ ˙ bœ ˙ b˙ . œ™ ˙
D E F
bœ b˙ b˙ . ˙
& #˙ #œ ™ œ b˙ . œ™ œ bœ #˙
& ˙ bœ ™ nœ œ™ #˙ b˙ ˙. ˙
˙ œ #˙ bœ
˙
? #œ ˙.
˙ œ œ™ ˙ ˙. #œ ™ œ œ ˙
? œ ˙ ˙ bœ ˙ bœ ™
œ ˙ #˙. œ™ #œ ˙
˙
There are two broad durational categories for notes: black noteheads are “short” (3-4” duration)
white noteheads are “long” (7-10” duration), except where indicated
These durations include decays and silences in between notes if instruments aren’t sustaining,
or a break is desired. Dots only apply as indicated in the directions.
Notes are ideally played at the indicated octave, but transpositions are welcome as need be.
Each numbered “section” indicates playing through the score (rehearsal marks A-F)
with the given conditions. These may be rearranged in advance via collective agreement.
In general, all players should be on the same section (starting and reaching the end together).
HOWEVER, the middle third of thepiece (i.e. sections 5-8 if read through without rearrangement)
might be performed with free choice of sections chosen in real time. If this is done, some sort
of signal should be used to indicate coming back into coordination for the last third of the piece.
1. Play through lines together (i.e. coordinated entrances); all notes short except for long
notes at the end of each section (except for A). Medium-soft dynamics.
2. Play through lines individually (i.e. uncoordinated entrances); short and long notes per
score. Soft dynamics, except for dotted notes, which are medium-soft.
3. Play through lines individually; short and long notes per score. Dots add 2-3 seconds to
duration. Medium dynamics at start, gradually fading to extremely quiet by end.
4. Play through lines together; short/black noteheads only. Dotted notes have some sort of
timbre change applied (mute, bow position, multiphonic, flz., preparation, etc.). Very soft.
5. Play through individually; black notes are long and white are short. Very soft to start, grow
to medium dynamics. Dotted notes may be substituted with another note up to a whole step
above or below the given pitch.
6. Play through together (durations apply, last person playing cues next).A/B: exclude dotted
notes; C: dotted notes only; D; exclude dotted; E: dotted only; F: exclude dotted. Medium
dynamic, sharp attacks.
7. Play though together; all notes long. Replace black notes with unpitched noise.
(air, non-string bowing, non-resonant object, etc.)Dotted white notes should be detuned
within a half step. Medium-soft dynamics, fade into notes.
8. Play through individually; short and long notes per score.Exclude dotted notes. Sections
B, C, D, and e may be spontaneouslyreorganized within the section (play each once and all
the way through). Soft dynamics at start, grow into medium-loud dynamics in middle,
fade to very soft dynamics by end of the section.
9. Play through together; all notes last a ‘medium’ length (c. 5-6”).Black noteheads should be
transposed up or down a half step. Loud dynamics, growing quieter over the course of the section.
Immediate attacks, except for dotted notes, which should be faded into from silence.
10. Play though individually; short and long notes per score. Replace white notes with
unpitched noise. Play at least 2 of sections B,C, D, and E in reverse. Dotted notes should be
played twice. Soft dynamics, but lean into dissonances with slight swells.
11. Play through individually; black notes are long and white are short. Dotted notes should be
followed by a note of the player’s choice before the next given note. Softer dynamics than the
previous section, with a few swells here and there.
12. Play through together. Each chord should be repeated once--short and long durations apply,
but repeat notes can freely enter. The next chord should be come in after the last player has stopped.
Dotted notes should be a different note on repeat, or noise. Alternate loud and soft dynamics.
Freely repeat section F until the end is agreed upon.

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