Located in the UK
Located in the USA
Located in Europe
- Michael Nyman
Bell Set No 1 (1974)
- Chester Music Ltd (World)
Programme Note
Each rhythmic unit (line) may be repeated an unspecified number of times by each player before, at the individual player’s discretion, he or she moves on to the next.
The players should reach agreement as to the overall duration and progression of the piece (unspecified in the score) in such a way that the number of repeats that each player makes does not mean that some players are on the latter modules whilst others are still on the beginning modules.
Each note within the rhythmic unit must be assigned its own pitch/ instrument.
Any resonant metal percussion instrument with a strong attack and a long delay is suitable (e.g. bells, gongs, triangles or cymbals).
Each performance must contain all four structures (or multiples of four, so it can be four, eight or even twelve players). They are all related to a constant (unheard) pulse but are otherwise unsynchronised.
Bell Set should be played mechanistically, without reference or attention to the other players parts, but retaining sensitivity to the sound and movement of the piece as a whole. There should be a sense of simultaneous independence and interdependence so that the results of the individual parts’ independence is accepted rather than being adjusted to
the other parts.
Edited by Andy Keenan 2012
The players should reach agreement as to the overall duration and progression of the piece (unspecified in the score) in such a way that the number of repeats that each player makes does not mean that some players are on the latter modules whilst others are still on the beginning modules.
Each note within the rhythmic unit must be assigned its own pitch/ instrument.
Any resonant metal percussion instrument with a strong attack and a long delay is suitable (e.g. bells, gongs, triangles or cymbals).
Each performance must contain all four structures (or multiples of four, so it can be four, eight or even twelve players). They are all related to a constant (unheard) pulse but are otherwise unsynchronised.
Bell Set should be played mechanistically, without reference or attention to the other players parts, but retaining sensitivity to the sound and movement of the piece as a whole. There should be a sense of simultaneous independence and interdependence so that the results of the individual parts’ independence is accepted rather than being adjusted to
the other parts.
Edited by Andy Keenan 2012