Nacreous

As a pearl forms
from the brine of the ocean,
so is the world

Lukas Stanley
Performance Notes for Nacreous
Notes are presented by instrument in score order

Run Time: ~ 6:30

Piano

Take note the indication ped. sempre at the beginning of the piece. The piano strings should never be dampened during the
piece.
m
The wire brush symbol ( ) (i.e. mm. 2) is used in tandem with an approximate pitch cluster and a tremolo symbol. This should
be performed by inserting the wires of a standard drum brush between the strings in the indicated range and rustled from side
to side. This will continue until cancelled out by ord. or changed by another performance instruction. When used as in mm.
6, the wire brush should be drawn over the indicated range of strings without tremolo effect.
The indication pizz. (i.e. mm. 7) is used to indicate that the sound should be produced through the use of the finger as a
plectrum, as it is colloquially used within the violin family. Often, further indication to specify use of the nail or pad of the
finger is used. When gliss is used in tandem with pizz., the indicated range of strings should be strummed. As the
soundboards of different models of pianos are different, the performer will likely have to maneuver over the soundboard in
such instances.
t
The superball mallet symbol ( ) (i.e. mm. 8) indicates to draw a superball mallet along the dictated string(s). Depending on
how responsive the strings are to the mallet, speed and possible changes in direction will need to be interpreted by the
performer.
]
The hand symbol ( ) is used in measure 16 and indicates to strike the approximated range of strings with the palm of the
hand.
Arco (i.e. mm. 25) is used to indicate the use of bows in the piano. Piano bows can be rented/purchased from the composer
(contact at Stanley5Lukas@gmail.com) or constructed of fishing line by the performer, should they prefer. Four bows are
required, and should be inserted on the notes A5, E5, D5, and G4 prior to the beginning of the performance.
Harp

The pedal buzz symbol ( ) indicates the sound of buzzing the strings on the harp. This is done in two ways:
o Forcefully strumming the lowest octave of strings so that they rattle against one another (i.e. mm. 1), indicated by a
dyad encompassing C1-C2 with an arrow pointing down between them.
o Placing the appropriate pedal in the halfway position prior to strumming the note, to produce a buzzing effect from the
onset of the note (i.e. mm. 10). The only difference between this and the previous method is that the symbol will occur
in relation to just one or two notes, without an arrow.
m
The wire brush symbol ( ) (i.e. mm. 2) is typically used in tandem with an approximate pitch cluster and a tremolo symbol.
This should be performed by inserting the wires of a standard drum brush between the strings in the indicated range and rustled
from side to side. This will continue until cancelled out by ord. or changed by another performance instruction. When used
as in mm. 6, the wire brush should be drawn over the indicated range of strings without tremolo effect. A plastic drum brush
can be substituted for the wire brush if the performer is concerned about damage to the harps strings.
t
The superball mallet symbol ( ) (i.e. mm. 4) indicates to draw a superball mallet along the soundboard of the harp. This is
notated as a percussion line on a third staff, in-between the treble and bass staves. This effect is best achieved by placing the
ball of the mallet in a position towards the bottom of the soundboard and drawing it up and towards oneself.
o When the superball mallet symbol is used in tandem with a notated pitch or pitches, the ball of the mallet should be
dragged along the appropriate string(s). Depending on how responsive the strings are to the mallet, speed and possible
changes in direction will need to be interpreted by the performer.
Octave harmonics (i.e. mm. 8) are notated where they are played, not where they are sounding.
Arco is used to indicate bowing of the designated strings on the harp. The correct sound can best be achieved by using rosined
viola or cello bow hair, disconnected from the stick of the bow and bound at both ends, and threaded through the harp strings.
The hair is drawn continuously across the designated strings. Bundles of bow hair can be purchased from luthiers or violin
shops. Alternatively, the frog of a bow can be disconnected from the stick and threaded between the harps strings. This option
is clumsy in comparison, but more accessible, as the frog can simply be reattached following the performance with no harm
done.
Percussion

Four percussion instruments are used in Nacreous: Three tam-tams (small, medium, and large), and an orchestral bass
drum. The tam-tams can be substituted for other gongs based on the performers discretion and ability to achieve the
desired effects, and based on availability of instruments.

The following symbols and instructions are used throughout the part (note: these symbols/instructions are only cancelled
by the subsequent symbol/instruction):
o a (i.e. mm. 1) also ord. (i.e. mm. 27) is used to indicate use of a normal beater. This is used with the bass drum
and tam-tams, and should be of medium-softness.
o m (i.e. mm. 2) is used to indicate the use of a wire drum brush on the surface of the designated tam-tam. When used
in tandem with a tremolo symbol, the brush should be moved rapidly back and forth on the surface to create a
shimmering effect. Otherwise, the tam-tam should be struck with the brush, as in mm. 47.
o t (i.e. mm. 4) is used to indicate use of a superball mallet on the designated instrument. Indications as to how the
ball should be used (i.e. rub vertically, etc.) are used in the score, but should not be followed strictly. The
performer should simply strive to get interesting and varied sounds by experimenting with different applications of
the superball.
o Arco (i.e. mm. 12) is used to indicate bowing of the designated tam-tam with a bass bow. The performer should
take care to create a consistent, seamless sound with the bow. As tam-tams all respond differently to being bowed,
an unresponsive tam-tam may cause the performer to take liberty and deviate from the score, bowing on a more
responsive tam-tam.
o Mallet Handle (i.e. mm. 30) indicates striking the indicated tam-tams with the (wooden) handle of the normal
beater. If the handle is not wooden, something similar should be substituted.
Double Bass

m
Sections designated with the wire brush symbol ( ) (i.e. mm. 2) should be performed by inserting the wires of a standard
drum brush between the necessary strings to produce the given notes and rustled from side to side. This will continue until
cancelled by another performance instruction such as arco. A plastic drum brush can be substituted for the wire brush if
the performer is concerned about damage to the basss strings.
]
The hand symbol ( ) is used in measure 7 and indicates to strike indicated strings with the palm of the hand.
t
The superball mallet symbol ( ) (i.e. mm. 8) indicates to draw a superball mallet along the dictated string(s). Depending on
how responsive the strings are to the mallet, speed and possible changes in direction will need to be interpreted by the
performer.
Col legno/arco (mm. 26-26) indicates to turn the bow on its side so that both the side of the bow hair and the wood of the
bow are drawn across the designated pitches.
 Nacreous Lukas Stanley

ord.
Vast e = 60
w U
Insert between strings, A

& 88 w .. w
trem. side to side

w
Piano p F p f ord. F
?8 w ww
8 ...
w
Ped. sempre
p
& 88

U .
rub on soundboard

Harp
Insert between strings,

? 88
trem. side to side

..
w . w
w p F p f w p F
rub vertically
normal beater

U
rub on tam-tam

8
8 w w . .


Percussion

p F p f p F
Insert between strings, molto sul pont.
U
?8 .
pizz. trem. side to side III
? w
pizz.

..
arco
Double Bass 8 w &
ww

p f p f p F
2016 Lukas Stanley
 2
7
ord.
&
pizz.

Glis
p f

ad

s. na
Pno.

s. p
rub in line with string
? pizz.

Glis

i
b ww

l


>

o o
7 ord.

&

Hp. w
p G.P.

?
7

ord. ord.
j ~15-20"
ww .

>
F#

rub vertically
rub in circles

.
7

Perc. .
w
p
hit with hand
arco
sul pont.

7
? .
& ?
ww

D.B.
>
F p
 3

B
w
w
ord.

#

ord.

& ..
to as fast as possible

Pno. P f
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. j p ad
s.
. G lis

w
to as fast as possible

#
11

& #
p f
Hp.

? j
11 ord.
..
. . .
. .

. .
arco

j
11

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>
Perc.
F f n f

?
11 arco (change bow as needed)
D.B.
w . ww w w .
F
f
 4

pizz.

& .
16

Gli
ss.
Pno.

n
hit with hand
?

ail

pizz.

16

&

..
Hp.

?
16 ord.

.. ww ..

16 rub in circles
rub in circles

>
Perc. w w w

?
16

w w w w ww
D.B.

f
 5

ord.# . pizz.
gg ... U .
ggg ..
C
w
gg ...
21 arco arco

& gg w

Glis
g

s. p
p

ad
Pno.
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w
w
o
o o .
21

&
U
Hp. w w
p
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21 arco
w w
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U
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21 ord. mallet handle

arco ord.

.
w
Perc. w
p
w
o F
o U
w
w . w
I
? w
21 senza vib. col legno/arco II III II III II

ord.
D.B. & .
P f p f
3
 6

D
#. .
ord.
w
arco

& . .
31 ord.
.
w
Pno. p f
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#

31

& # o
f p
w
Hp.

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ord.
ww
31

j
arco

. w w
ord.
j
arco

.
31

Perc.
w .
w
f n
w .
III arco

.
31

() ? &
pizz.
D.B. & w w
p f
 7

38 arco

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Pno. p f p p
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n U



38

&
f p n

Hp.
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38 arco
w
ord. arco

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Fn

U
rub in circles

. .
38 arco
.
w

Perc. w w
f
U
ww I . II .
arco
.
38 III
?
III II
D.B. & ww &
f p f p n