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HP01-07
This Floating World
Solo Flute Edie Hill
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This Floating World
Each movement of This Floating World was inspired by the corresponding haiku:
I. Midfield,
attached to nothing, the skylark singing.
II. Harvest moon—
the tide rises almost to my door.
III. Winter solitude
in a world of one color, the sound of wind
IV. A petal shower
of mountain roses, and the sound of the rapids.
V. A wild sea –
and flowing out toward Sado Island, the Milky Way.
5 haiku from THE ESSENTIAL HAIKU: VERSIONS OF BASHO, BUSSON & ISSA, EDITED AND WITH AN INTRODUCTION by ROBERT HASS. Copyright © 1994 by Robert Hass Published by ECCO PRESS, 100 West Broad St. Hopewell, New Jersey, 08525
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& 85 83 44Flute
�=208 as if singing and skipping across the sky
* œ œœœb œb
pœb œ œ
œœ œ
F.œ œ œ
œœb œb
fœb .œ ‰
fltg.
Fœ@fœ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& 44 83 445 œ. œ# . œ# . œ. œn . œb . œb . œn . œb . œ. œ. œn . œb . œ. œ. œn . œn . ≈ œ. œ# . œ. œ. œ. œn .
fltg.œb@> œ. œ. œ. œb . œn . œb . œ. œ. œn . œb . fltg.œb@>
& 82 43 83 828 ≈ œ#. œ# . œn . œn . œb . œb . fltg.œn@> œ@ œn . œ. ≈
œb . œb . œ. œn . œ> œ. œ. œ.
fœ>.œb -œ>.œ-œ>.œ- ≈
sub.Pœ. œ. œ. œ. œ.
& 82 42 43 82 43 8512 œ> œ. œ. œ. œ>
.œb - jœ ‰ Fœ. œ. œb . œb . œn . œb . œ. œ. œn . œb . fltg.œ@> ≈
œn . œ> œ. œ>.œb - jœ ‰ Œ
& 85 86 43 84 4317
œ œœ œ# œ#
p.œ#œ œnœ œ# œ
Fœ
œ œnœ œ# œ#
f.˙#
f≈P
fltg..Jœ@ @ ≈Fœ. œ. œ. œ. œ. œ. œ.
& 43 86 85 8421œ. œ. œb . œn . œ. œ. œ. œb . œn . œ. œ. œb .
‰ œ œ œ œ# œ#pœ#
œ œœnœ# œ#
F.œ#
fœ
œ œœn œ# œ#
.œ#
& 84 43 82 4324 ≈œ. œ. œ. œ. œ. ≈ œ. œb . œ. œ. œn . œb . fltg.œ@
> œ@ œ. ≈œ. œ. fltg.œn@> œ@ œ. œb .≈œ. œ. œ. œ.
≈œ. ≈ œn . œ> œ. œ. œ.
& 43 83 42 83 8228œ>.œb -œ>.œ-œ>.œ- ≈
œ. œ. œ. œ. œ. œ>.œb - Jœ ‰ ≈ƒ
œ. œ. œ. œ. œ. œ> œb . Rœ.≈
This Floating WorldEdie Hill
for Linda Chatterton
Music Preparation byMusic Advantage
(952) 448-7544Music Services by Paul Gerike
Copyright © 2004, 2006, Hummingbird Press.All Rights Reserved.
I. Skylark
* grace notes occur before the beat
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& 44 45 44 43 45 46æ=c.60, Peacefully, mysteriously
like a rising moon, beckoning the tide
‰ .πpale sound with little or no vibratorœ wb
nientepœ œ œ .˙ Ó 3Œπ
œb œ .˙b wn 3≈ .Pœ . .œb œ
& 46 43 45nπ
6
no vibr.
.wbU ∑with small amount of vibrato
‰ .pRœb ˙N œ
Pœ œ
æ=c.72 play like rising water, very fluid, free, ebbing and flowingA
nπ
(normal vibrato)
œ œ œ œ œ# œ# œ# ( )œn œn œ œb œb œn œn F.œb jœb œ
&fœ œ œ œ œ# œ# œ# ( )œn œ œ œb œb œn œn œb œb πœn
œ# œn œ# œ œ œ œ œ œ œ œ œ œ œ œ
&Ÿ~~~
nœ œ# œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F
œ œ œ ( )œ#πœ3
œ œn fœb œ œ
&Ÿ~~~ Ÿ~~~
πœœ# œ# œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ f
œ# œ ( )œn
sub.πœb - Jœ œ# œ f
.œ .œ( )œnJœb - œ œ# œ
&pœ# . .œ ˙
f 7
œ œ# œ œn œ œb œb∏œ- œn œ œ# œ# œn œn œ œ# œ# œ# œ œ œ œ œ œb œ œ œ
fœF.œ
sub.πJœ Jœ
nposs.
‰
2II. Harvest Moon and Tide
*
* Accidentals apply throughout a bar-free system, and to that system only.
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& 44 45 47 44Ÿ~~~ Ÿ~~π Pœ œ œb œ
Fœn œ œ#
πœ ‰ ( )œJœ# Jœ ‰∏
Œ ‰ ( )œ
∏Jœ
æ=c.63
P
like a bright, white moon
9 Ó Œ ‰ . Rœ .˙f˙
Pw# .˙
& 44 45æ=60, a little slower
12 ι3
œ œ œ#3
œ œ œ œ œniente
(poss.)
œno vibr.w jœ
π
normal vibrato.œ Jœ .˙ ≈ . œ .œ œ œ .œ Jœ œ
&A2
pœb œn œ# œ œ œb œ œ# œ# œ œ œ œn œ œ œ œ œn œ fœ# œn
&molto rall.
πœ# œ# ( )œnœ# œ œ œ œ#
Fœ# œ œ œ œ œ œ œ œ œ# œ#
π
œπ PJœ
π‰
3
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&æ=c.44 Free, meditative, quiet
Y(no pitch)
niente π n
c. 6 beats.
Yn nP.
c. 4 beats.
p‰ .πœ# œ .˙# .œ
πœ
& 3. ‰ .
πRœ#
5
œ œ# œ# œ#pœ . .œ rœ# ˙ .œ œπ
rœ ‰ . 1.
Yn nP
& 2.
n
‰
pale, breathy
∏
no vibr.
Jœ# o o œo
∏œ# o .o
pœ# œ# œ# 3œ jœ# ˙ .œ
πœ ,
&æ=c.50
pœ# œ# œ#
3
œ œ# œ œ# œ œ#n
œ w jœ∏.œ# jœjœ jœ pœ
˙# œ œ#∏jœ ‰
& ‰πjœ œ# œ# œ# œ
œ# œ#no vibr.
.˙# o1.
∏.˙# o
n
æ=c.44
∏
.˙# o
pw# o ,
& ~~~~~~~~~~~~~~~~~~~~~~~~~~Yn P n
œ œ œ œ œ œ œc. 15 beats - random whistle tones
n
free
Yniente P
(or blow through instrument, no pitchas in the beginning)
4III. Winter Solitude
* Accidentals apply throughout a system, and to that system only.
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5
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to facilitatepage turns.
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& 89 812æ.=84, delicately, like falling petals
pJœ- ‰ ‰ Œ . ‰ ‰ œ œ jœ- ‰ ‰ Œ . J
œ- ‰ ‰ œ œ œ ‰ Œ . ‰ ‰ jœ PJœ- ‰ ‰ Jœ- ‰ ‰ Œ œ œ
& 812 86 895 Œ . Jœ ‰ ‰ ‰ p
œ œ ‰πœ‰ œ ‰∏
œ œ ‰ œ œ ‰πœ œ ‰ œ œ ‰
pœ œ ‰ œ œ
& 89 869
Pœ œ ‰ ‰ œ œ œ œ ‰ œ œ œ Jœ ‰ ‰ œ œ ‰
æ.=76 molto accel.
πœ œ œ œ œ œ œ œ œ œ œ œ
&13 œ œ œ œ œ œ
Fœ œ œ œ œ œ
æ.=144-152
sub.πœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&18œ œ œ œ œ œ œ œ œ œ œ œ
∏œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&23 œ œ œ œ œ œ
fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&28
∏œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fœ œ œ œ œ œ
6IV. Petal Shower
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This page intentionally
left blank. Full score
available for purchase.
& 43 44æ=c.120 Wild, with abandon‰F 5
œ œ# œ œb œfœ œ œb œn ˙ 3œ œ œb
ƒ
œb . œ.œ. œ. œ# . œ. œ. œ. œ# . œ. œb œ œb œb
& 46 454 ‰ œb . œ. œb . œ. œ. œ. œn . œ. œb . œ. Œ œb œn œb œb œ œn f
œb œ ˙π˙
& 456 ‰
P 5
œn œ œb œ œ#f
3œ œ œn 3œb œ œ œb œ œ ‰5
œ œ# œ œb œ> 3œ œ œ# 3œ> œ œb œ> .œ œ
& 43 868 ‰ œb . œ. œb . œ. œ. œ. ‰ œ œb œ œ Œ π
œb œb œ œfœ# œ ‰
sub.πœb . œ.œb . œ. œ. œ. œn . œ. œ. œ.
& 86æ.=66
11 fltg.
pœbæ
cantabile, pulling back a bit but building intensity
jœ .œ œ œb œ œ œb œb œ3
œ œn œ œb œ œ fltg.œ# . œ# . œ. œn . œb . œ. œ# æ jœ œ œb œb œn œ# œ
&16
fœ œ œ
Pœ œb œ
pjœ#
fltg.
œæ œfltg.jœ@ œ@ œ œ# œ#
fltg.œN æ œ œ fltg.œæ œ# œbœ œfœ
3
œ œb œ .œ
& Ÿ~~~~~21 œ œ# œ fltg.
œæ jœ .œ œ .œb œ œ œb œ œ#3
œ œn œ œb œ œ œ. œb . œb . œ. œ. œ.
8V. A Wild Sea
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& 43 85accel.
25 fltg.
œ# æ jœ# œ œb œ œ# œ# œ œ# œ œæ=120
again, wild, with abandon
‰f 5
œ œ# œ œb œ œ œ œb œ ˙3œ œ œb
& 85 86 42 8529 œ. œ. œb . œ. œn . œ. œ. œ. œ# . pœ.
æ.=72
Pfltg.
œn @ œb @ œb @ œn@ œ@ ƒœ@
æ=120‰ œb . œ. œ. œ. ‰
& 85 42 44æ.=72
ƒ32 fltg.
Pœ@ œb@ œb@ œnæ
æ=120‰sub.πœ. œ.
œ. œ. œn . œ. ‰ ∏œbœb œ œ ‰ ‰
∏œ. œ. œ. œ.‰
& 44 43 44æ=72 legato, panoramic
36
f
5
œb œ œ œ œ œ ˙ œ œ œb œ .œ Jœ# ˙ ˙ Œ
& 4440
F
5
œ œ œ œœ# œ ˙
molto rall.
œ œb œb
p
like twinkling stars
œ œ œ œ œ œ œniente
œ œ# wU
9
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Described as “flat out beautiful” and “full of mystery,” (Stereophile Magazine), Edie Hill’s music is performed all over the globe. Her music has been heard in such venues as Lincoln Center, Musis Sacrum in Arnhem, Holland, LA County Museum of Art, Library of Congress, Minneapolis’ Source Song Festival and Walker Arts Center, St. Paul’s Schubert Club, The Cape May Festival (NJ), The Downtown Arts Festival (NYC), Liviu Cultural Center (Romania), Feszek Müvészklub (Budapest), and concert halls in Bangkok (Thailand), Dublin (Ireland), Reykjavik (Iceland), Moscow (Russia) Brazil, Great Britain, Germany, Italy, France, Spain, the Baltic States and The United Arab Emirates.
She has been commissioned to compose for solo voice to choir, solo instrument to orchestra and mass band, miniature to full evening drama; and loves the challenge of exploring all combinations including electroacoustic and mixed media.
Featured internationally on radio broadcasts and podcasts such as The Portfolio Composer with Garrett Hope and Choir Chat with John C. Hughes to name a couple, Hill is a three-time McKnight Artist Fellow and a two-time Bush Artist Fellow. She has received grants from the Jerome Foundation, ASCAP, Meet The Composer and Chamber Music America. Her work has been recorded by PARMA Recordings (Clay Jug through imprint Navona Records), by Tantalus Guitar Quartet, Cantus, flutist Linda Chatterton, guitarist Kenneth Meyer and numerous choirs throughout the United States.
Mentorship is integral to Hill’s life as a composer. She served as Composer in Residence at St. Paul’s Schubert Club from 2005-2017 where she ran and grew the Mentorship Program for gifted high school composers, has served as a mentor at Source Song Festival, and is composer mentor for MN Varsity (a program for High School Composers run by Classical Minnesota Public Radio and the American Composers Forum). She has lectured at colleges, universities and various institutions in the States and abroad and keeps a small home studio of composition students.
After earning a B.A. from Bennington College in Vermont under the tutelage of Vivian Fine, Hill moved from her native New York to Minneapolis where she earned her M.A. and Ph.D. degrees at the University of Minnesota with principal composition teacher, Lloyd Ultan. She has also studied extensively with Libby Larsen.
Composing is a life-long love. Writing music is always an opportunity to research, learn, muse, reach down deep, and allow inspiration to come from the stuff of life. She lives in Minneapolis, Minnesota where she works freelance and runs Hummingbird Press through which all of her works are available for perusal and sale.
COMPLETE CATALOG AND ONLINE ORDERING
www.ediehill.com
3324 Grand Avenue South • Minneapolis, MN 55408 • USA [email protected]
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