The White Lotus
Chamber Ensemble score, with quantities of each part listed in the description. Available as digital (PDF) score, with physical copies available for purchase by completing a Printed Score Order.
You may only print/distribute the number of copies you purchase. Please contact me if you would like to request additional instrumental parts.
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£27.99
£32.99
Instrumentation
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1 Piccolo
1 Bb Clarinet
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1 F Horn I
1 F Horn II
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1 13-String Koto
1 Guitar - Notation (Koto Alternate)
1 Guitar - Tablature (Koto Alternate)
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Duration
ca. 3 minutes
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About the Work
The White Lotus is a work for 5-player chamber ensemble, fusing Western classical music with the music of East Asia. The title of the piece is a reference to the secret society of the same name depicted in the Nickelodeon show Avatar: The Last Airbender, of which the character ‘Uncle Iroh’ is a member. I wished to depict the tranquil character, complete with a tumultuous middle section, and tried to occupy a similar sound-world as Jeremy Zuckerman and Benjamin Wynn’s soundtrack to the TV show.
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Performance Note
The White Lotus should capture a feeling of tranquility and serenity surrounding the more turbulent section [B] and as such should be played very expressively. For this reason, dynamics and phrasing indications are given very sparingly to allow each performer and the ensemble as a whole to express the music in a manner that suits them. Vibrato should be used very sparingly, particularly in the Clarinet and Horn parts , where a pure ‘white’ tone should be used.
When rehearsing, special attention should be given to the Piccolo as the writing in the lower register should sound pleasantly airy as if played on a wooden flute. The upper register (especially from b. 20) should never be shrill but should instead confidently float above the rest of the texture.
The pitches required for tuning the Koto is indicated in the part. It is possible for the Koto to be replaced by a Classical or Acoustic Guitar if a Koto is not available. There is frequent use of bending pitches, indicated by a ^ placed from the starting not to the desired pitch. At b. 41 and b. 47, the bend should be continuous from the C to the D and back down to the C without re-plucking. If bending the notes on a Guitar is not achievable, they may be slid to, hammered on/off, or simply plucked separately.
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