Holmes Herjan - Final PDF
Holmes Herjan - Final PDF
Holmes Herjan - Final PDF
Herjan
1. All tempi are approximate, but the relationships between tempi should be proportionally exact.
2. All accidentals apply through the measure and within one octave (as usual). Many reminder
accidentals are provided.
3. The score sounds one octave lower than notated (as indicated by the transposing treble clef).
4. Throughout the work, the sixth string of the guitar should be tuned to E flat and the fifth string
should be tuned to B flat.
6. Two different techniques should be used for sixth tones and quarter tones, respectively:
For sixth tones, fret the normal notated pitch, and if it is to be raised by 1/6 tone, pull the string toward
the nut in a direction parallel to the string, effectively raising the tension on the string to produce the
desired pitch. If the note is to be lowered by 1/6 tone, push the fretted note toward the bridge in a
direction parallel to the string, effectively lowering the tension on the string to produce the desired
pitch.
For quarter tones, fret the string at the nearest normal note a quarter tone lower than the desired pitch
and push the string in a direction parallel to the frets, effectively raising the tension on the string to
produce the desired pitch.
In all cases, the microtonal inflection should be applied by the left hand before plucking the string with
the right hand. There should be no audible glissando.
7. A horizontal arrow indicates a gradual change between sul tasto (s.t.), posizione ordinario (p.o.),
and sul ponticello (s.p.).
8. Slur phrase markings indicate legato passages that should be fingered a campanella (l.v.), or cross-
strung, where possible.
9. All harmonics are notated at the sounding pitch (within the octave-transposing clef). The
diamond noteheads indicate either the open string or the left hand position needed to produce the
required natural or artificial harmonic. In addition, for natural harmonics, both the fret number (in
Roman numerals) and the string number are provided.
10. All left-hand fingerings other than those involving harmonics are offered as suggestions, and
may be altered based on each player's individual preferences.
11. Solid wedge symbols indicate passages that should be played with rest strokes with the right
hand, marcato.
12. Rasgueado is played as a flamenco-style strum using multiple fingers (2, 3, or 4 fingers as
indicated in each instance by the number of repeated grace notes). This technique is specified as
"Rasgueado" or abbreviated "Rasg." Rasgueados are indicated with accent marks (>).
13. Tambora is played as a percussive articulation near the bridge with the right thumb. It should
produce both a violent percussion articulation and also clearly audible pitches. This technique is
specified as "Tambora" or abbreviated "Tamb." Tamboras are indicated with an x.
14. All movements are to be played without any pause: attacca subito (proceed as quickly and
suddenly as possible).
MOVEMENTS
I. Malm-Hrið á Niðafjöll
[Storm of Metals upon the Dark Mountain]
Herjan
for solo guitar
I. Malm-Hrið á Niðafjöll
Jeffrey Holmes
2017
e. = 54 accelerando poco a poco
ossia j
3 bbœœ ™™™
œ
& 16 n œ ™
‹ nb œœ ™™
Rasguedo Tambora ord.
j j j j
n œ ™ n œ ™ n œ ™ b œœ b œ ™ œœ ™™ b œœ ™™
3 bbœœ ™™ bb œœ ™™ bb œœ ™™ 6 nœ n œœ ™™ œœ ™™ nœ ™ # nn œœœ ™™™ nœ ™ 9
Guitar & 16 n œ ™
nbn œœœ ™™™ nbn œœœ ™™™
16 œ œ ™ # œœ ™™ 16
Ê = Eb ‹ nb œœ ™™ bœ b œ ™
b œ b œ™
œœ ™™ bœ ™
 = Bb >- >- >- > > - >- X
l.v.
fff possibile, pesante sfffz fff f
e. = 63 accelerando
Rasg. Tamb. ord. poco a poco
Tamb. ord. s.t.
7 nœ œ n œ ™ nœ ™ (l.v.) 7:6
9 nœ œ nœ ™ n# œœ ™™ n##œœœ ™™™ ##œœœ ™™™ #nœœœ ™™™ 6
& 16 #nœœ œœ #n œœ ™™ #œœœ ™™™ #œœ ™™
œ™ 16 bœ œ œ #œ nœ œ #œ
‹ bb œœ œœ bb œœ ™™ bœ ™ bœ ™ p
>> > - X
l.v. X
l.v.
legato
fff sfffz ff mf sfffz f mp
(accel.)
‚
s.p. p.o. s.t.
(rest strokes)
11
œ b œ b œ n œ n Æ B œÆ b œÆ k œÆ K œÆ b œÆ œÆ Æ Æ (normal strokes)
œ œ b œ b œ œ nœ nœ
œ
œ b œ nœ œ œ 9 bœ œ œ œ bœ
& 16 œ
‹ 8:6 9:6
12:9
f mp
marcato legato
(accel.)
s.p. p.o.
(rest strokes)
14b œÆ µ œÆ n œÆ jœÆ JœÆ œÆ œÆ b œÆ œÆ Æ n œÆ # œÆ # œÆ µ œÆ n œÆ k œÆ K œÆ b œÆ b œÆ n œÆ œÆ œÆ b œÆ Æ
nœ œ nœÆ œÆ Æ 12
& bœ 16
‹ 12:9 15:9
ff f fff
marcato
e. = 72 ( q = 54 )
₵ XII ₵ VIII
(l.v. sempre)
# ˙ ™n œ 2
˙™ œ ‰ ‰
œ b‰œ2 Â
16 œ 2
œ œ œ bœ œ œ œ bœ œ œ bœ œ4 œ0 œ bœ1 œ4 œ0 bœ œ œ
3 0
12
& 16
‹ bœ bœ 3:4
5:4
6:4 5:4
fff
molto legato, campanella
( q ™ q = 43.2 )
·1 12:15
4
18 n˙™ „ ‰ Â3 0 n˙™ œ2 bœ1 œ bœ bœ0 ‰1 b„œ2 bœ0 1 Â4 0
bœ2 bœ œ4 0
œ 15
œ œ bœ œ 16 bœ bœ bœ œ
&
‹ 3:4 3:5 4:5
12:15 12:15
·1 ‰2 „3 0 2 Â4 0 0 „1 4 0 ‰1 Â4 n·2˙™ 0 1 4 ‚1
20 b ˙ ™ bœ3 ‰ Â
bœ bœ bœ bœ bœ bœ bœ nœ bœ bœ bœ bœ bœ bœ bœ œ 12
n
0 0 0 2 0 4 0
& b œ b œ b œ b œ b œ b œ nœ b œ b œ b œ nœ 16
bœ bœ bœ
‹ bœ
7:5 6:5
6:5
4:5
(rall.) e. = 54 rallentando e. = 27
(ord.)
Tambora Tamb. (ord.) Tamb.
„ (ord.) U
24 # œœ ™™ ## œœ ™™ # œœ ™™
bœ # œ™ œ™ # œœ ™™ œœ ™™ œœ ™™
& µœ nœ lœ Lœ nœ œ bœ bœ œ nœ œ 16
9 Ϫ
b œœœ ™™™ œœœ ™™™ œœœ ™™™
‹ ' ' ' ' ' ' ' ' ' ' ' ' bœ ™ bœ ™ bœ ™ n œ- ™ œ- ™ œ- ™
l.v. X X
l.v. X
f sempre sfffz f mf sffz mp sfz p ppp
pesante dolce
attacca subito
4
mp mf
molto legato, cantabile
(accel.)
s.t. s.p. s.t. s.t.
₵X 1 2 4
1 4 #œ œ ‚ (l.v.) ₵ III (l.v.)
8
œ œ # œ bœn œ # œ œ# œ n œ œ b 1 2
œ
œ œ #œ #œ œ œ™ bœ œ#œ
1 4 1
nœ œ#œ œ œbœnœ œ#œbœ œnœ#œ œ#œbœ j
3 3 0
18
& bœ œ œ™ 16
‹ 18:21
21:24
f ff f mp ff mp
· · ‰
VII
2:3
XII VII Â Â
9:6 VII XII
e. = 72
Rasgueado (ord.)
œ ™ #œ ™ nœ ™ œ ™ 4:3
10 Tambora
‰™ ‰™ ‰™ n œ ™ Tamb.
‰™ ‰™ ‰™
18 bœœœ œœœ bœœœ ™™™ œœœ ™™™ œœœ ™™™ nO ™ # O ™ n œ ™
n O ™ n O ™ #œ ™ #œ ™ #œ ™
& 16 œ œ œ ™ œœ ™™ œœ ™™ #œœ ™™ œœ ™™
‹ bnœœ œœ bn œœ ™™ œ- ™ œ- ™ bœ ™ œ™ ‰ ™ ‰ ™ ‰ ™ ‰ ™O ™ # O‰™™b O ™ # O ™# O ™ bn œœœ ™™™ œœ ™™
Ϫ
- J (all l.v. possibile) ‰™ J
ppp f X X
mp f mp mf ff f
(all l.v. possibile)
· „ ‚
VII V XII
(accel.) e. = 72
¯ ¯ ¯ 6:4 ¯ ¯ ¯
Ϫ Ϫ Ϫ
15 s.t. 18:16 (l.v.) Tamb.
‰™ ‰™ O™ œ ™ bbœO ™™ b œ ™
& œ #œ nœ œ #œ nœ œ œ bœ bœ nœ#œ œ#œ nœ œ# œ œj nœ ™ œœ ™™ O™ O™ O™ bO ™
‹ bœ b œœ ™™ œ™ ™‰ ‰™
(all l.v. possibile)
f fff X p f
„ Ê ‚
V V XII
¯ ¯ ¯ 6:4 ¯ ¯ ¯
17
Rasg. (ord.) Ϫ Ϫ
Ϫ Tamb.
n œ œ
& # œœœ œœœ
œœ #nœ
œœ œ œœ ™™™™ œœœ ™™™
œœ ™™
œœœ ™™™
œœ ™™
œœœ ™™™
œœ ™™
œœœ ™™™
œœ ™™
œœœ ™™™
œœ ™™ O™ O™ O™
œ ™ bœ ™ O ™ #œ ™ œ ™ 27
16
‹ bb œœ œœ œ bœ ™ bO™ # O ™ bb œœ ™™
œ b œ™ œ- ™ œ- ™ œ- ™ œ- ™ œ- ™ (l.v.)
- X
pp ff f p p
pesante, molto crescendo
19 b œ ™ b œ2 (l.v.0 sempre)
4
œœ ™ n4œ ™‰ CVII  œ™
27 bœ bœ œ œ b bœ bœ1 œ3 4
nœ œ œ œ œ œ œ
& 16 n œ œ œ n œ
nœ nœ b œ œ bœ b œ
‹
8:9 10:9
p
molto legato, cantabile
(accel.)
18:27
4
20 3
n œ ™ bœ1 bœ4 1 0 # 1
Ϫ
œ 2 0
‰
4
Â
3 n 2
œ™ „1 0 0 ‚1 ‰3 Â4
œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ b œ b œ œ œ b œ nœ
& bœ œ
‹ bœ
mf f
7
(accel.)
18:27
8:9 8:9
21‚
n2œ œ1 œ0 nœ bœ #œ 18
& œ œ nœ bœ œ œ œ bœ œ nœnœbœ bœ œ œ œ bœ nœœ b œ bœ œ b œ 16
‹ bœ bœ
10:9 8:9
ff p
‚ ‚ ‰ „ Â
e. = 72 VII XII V XII V Ê
4:5 15:10 V
¯ ¯ ¯ ¯ ¯ ¯ ¯
#œ ™ #œ ™ œ ™ ¯ ¯ ¯ ¯ ¯6:5 ¯ ¯ ¯ Tamb.
22 ‰™ Tamb.
#O™ bœ ™ œ ™ nœ ™ b œ ™ ‰™
18 O™ œ™ O™ bO ™ #œ ™ œ ™ b œ ™ œ ™ œ ™ œ ™ b œ ™ b œ ™ nœ ™
& 16 ##œœ ™ œœ ™ O ™ n O ™ #O ™ O ™ O™
‹ n œ ™™ œœ ™™ œ ™™ b O ™ O ™ ™ O ™ b O ™™ b O ™ bb œœ ™™
J ‰™ ‰™ ‰
bO™ ™
≈‰ ‰ ‰ J
X (all l.v. possibile) X
p f p p
27
(l.v. sempre)
bœ
œ™ „ 0 bœ bœ œœ™ ‰ 0 0
bœ œ
& 16 nœœ™ bœ bœ nœ bœ œ bœ œ œ b œ œ b œ n œ œ
j
bœ bœ n œ bœ
bœ bœ bœ œ
‹ nœ nœ
7:9 8:9
pp
molto legato, cantabile
(accel.)
18:27
Rasgueado 8:9 8:9
> > > >-
2
œ œ œ œ bœ œ b œ bœ œ œ bœ œ „œ 0 b œ n œ „œ 0
n œœ œœ
& bœ œ œ b œ œœ nœ œ œ bœ œ œ œ bœ œ bœ bœ bœ œ nœ œ bœ nœ bœ bœ
‹ #b œœ œœ œœ b# œœ „ 0 bœ bœ
8:9 10:9
(accel.)
30:27
3
œ bœ
œ™bœ n œ ™ „œ 0 bœ œ œ bœ œ™ œ # œ ™bœ œ j
œ™ b œ œ œ
36
& bœ bœ b œ bœ œ œ bœ bœ bœ œ œ œ b œ b œ œœ œ œ
16
nœ n œ bœ bœ
‹ „ 0
11:9 10:9
p ff
(accel.)
Rasg. s.p
s.t. p.o. > > > > (rest strokes) (s.p)
5
(normal strokes) nœ bbbœœœ œœœ œ b- œ µ œÆ n œÆ j œÆ J œÆ œÆ #œÆ nœÆ bœÆ œÆ nœÆ Æ œÆ BœÆ bœÆ k œÆ KœÆ nœÆ bœÆ œÆ œÆ Æ Æ Æ Æ Æ Æ
nœ b œ œœ bb œ
œ nœ œ œbœ œ nœ
& œ # œ œœ b œ
‹ œ œ œ nœ b œœ œœ œ œ
bœ œ œbœ
9:12 15:12
p ff mf p mp p
legato (l.v.) marcato marcato
9
(accel.)
6
‰ 0 0 „
s.t. (l.v.)
(s.t.)
CII ‰ 0 0 „ ‚ 0 ‚œ n·œ b œ b œ œ
bœ œ b œ nœ
& j œ œ #œ #œ nœ œ œ #œ œ œ œ œ œ nœ #œ nœ œ œ #œ nœ œ #œ #œ
‹ œ n œ œœ
18:12 15:12
( p) f mp ff
legato
mf fff fff
pesante
[7]
(rall.) e. = 72 accelerando poco a poco
bbbœœœ ™™™ bbbœœœ ™™™ #œ ™™ #œ ™™ #œ ™ Tamb. (ord.) Tamb. (ord.)
™™ nœœ ™™ bn œœœ ™™™
& nnœœ ™ œœ ™ nœœ ™™ œœ ™™ œœ ™™ bœœ ™™ bbbœœœ ™™™ nnœœ ™™ bœœ ™™ bbœœœ ™™™ # œ
n n œœ ™ œ ™
nœ ™ œ™ b œ™
‹ bœ ™ bœ ™ nœ ™ bœ ™
X X (l.v. possibile)
p sfz p sfz mp
(accel.) e. = 81
[8]
# œ ™ n œ ™ # œ ™ #n œ
œ ™
™ œ ™ ## œ
œ ™
™ n##œœœ ™™™
#nœœ ™™ œœ ™™ n œœœ ™™™
Tamb. ™ œ™ ™ Tamb. œ™ ™
## œœœ ™™ œœ™™ n œœ ™ bb œœ ™™ nœ ™ œ
Tamb.
bb œœ ™™ n œ ™ Tamb. Tamb.
36
& œ ™ bœ ™ 16
‹ bœ ™ bœ ™ bœ ™ bœ ™ bœ ™ bœ ™ bœ ™
X (l.v.) X X X X X X
fff mp
pesante
10
mf sfz f sff
z
e. = 94.5 accelerando poco a poco
12 n nn œœœ ™™™ bbn œœœ ™™™ # œœ ™™
Tamb.
nn# œœœ ™™™ b œœ ™™
b Ϫ Tamb.
nϪ
&
‹ bœ ™ bœ ™ bœ ™ bœ ™ bœ ™ bœ ™ bœ ™
X X X X X X X
12:9 6:9
27:18
18:15
ff
marcato
mf
molto legato, campanella
(rall.)
18:27
20 nœ n ˙ ™ œ ™
bœ nœ #œ # œ nœ œ # œ # œ nœ n œ
& #œ #œ #œ #œ #œ #œ #œ œ #œ #œ
‹ bœ n œ œ œ #œ œ œ #œ
8:9
10:9
mp
12
(rall.)
18:27
œ œ #œ
21
nœ n ˙ ™ n œ nœ n œ n œ nœ n œ œ ™ n œ nœ n œ
# œ n œ # œ # œ # œ œ # œ 18
& bœ #œ # œ # œ #œ 16
‹ bœ 7:9
8:9
p
mp
(rall.)
[23] ˙™ ˙ ™ nœ œ™
# œ #œ nœ j #œ #œ nœ
œ œ #œ œ nœ #œ bœ
œ œ nœ #œ #œ #œ 9
& #œ 16
‹ b œ nœ bœ œ bœ
5:6 5:6 4:6
pp
v3