Score
Ian Mikyska
Accents Depth; Dichotomy
for oboe and percussion
Oboe
The notes that are to be highlighted throughout the introductory passage (bars 1 to 49) are F, G, A, C
and D. The specific ways in which this should be achieved are marked in the score (through dynamics
and articulation), but the player should always strive to exaggerate these in any other way possible
(movement, body language, etc.).
Percussion
-
Vibraphone
Kick drum (or electronic kick drum)
Snare drum
Four vibraphone mallets of medium hardness should be used on the vibraphone as well as the snare
drum.
The snare should be placed in front of the vibraphone, the kick drum either in front of the vibraphone
on the left or right hand side (if acoustic drum) or under the vibraphone next to the pedal (if electronic
pad). The layout may be manipulated; the goal is to allow the percussionist simultaneous access to all
three instruments.
Accents - Depth; Dichotomy
Ian Mikyska
q = 75
mechanical, no variation
& 44 #
F
Oboe
Vibraphone
&
Ob.
Vib.
&
11
Ob.
&
11
Vib.
& .
j j
.
mechanical, no variation
4
&4
f
b
F
#w
j
b
#
P
11
Perc.
b b b
j
j
#
11
8
118
- - - - 118
Accents - Depth; Dichotomy
. b . .
. # . . . . . . b
b
.
11
. . . # n . # . # # . . .
b
&8
.
. . .
F
arco
14
11
&8
F
14
Ob.
Vib.
staccato notes
as ghost notes
1.66
4
108
1.66
4
10
8
hold pedal until bar 44
118
1.66
4 - - f
14
Perc.
p
P f
17
. . # . r
. .
.
.
.
10
r
. b r b . #
b .
& 8 b # .
# # J J
.
R
.
.
17
(arco)
10
&8
staccato notes always , held notes always
crescendo from
to
Ob.
Vib.
& 24 N
>
44 b b
J
& 24
44
19
Ob.
19
Vib.
2
4
19
Perc.
j3 4
J 4
>
3
f
f p
3
3
b > 2
3.33
4
# J J 4
3
3.33
4
3.33
4
24
3
24
2
4
44
44
2 3 j - - 4
4 4
f
Accents - Depth; Dichotomy
- b - # J n 2 b 0.66
4
&4 J
4 J J 4 58 b n b
(slap tongue)
44 # j
98
23
Ob.
slap tongue sempre
struck
Vib.
arco
struck
4
4
& 98 # j # j b #
Ob.
Vib.
arco
2.66
4
11
8
9
8
& 1.33
4
31
Ob.
1.33
& 4
31
Vib.
b . # .
. . b . . . b . b .
. .
.
F
(arco)
struck
2.66 - -- - 11
4 8
f
3
.
. b . >
7.33
b
>
3
F3
7.33
8
1.33
4 J 7.33
8
3
f
31
Perc.
(struck)
n
>
# . #
.
>
9
8
1.33
4
1.33
4
1.33
4
98
4
4
118
28
Perc.
0.66 5
4 8
f
9
&8
F
28
2.66
4
28
44
arco
2
4
23
Perc.
struck
2
4
&4
4 0.66
4 58
F
p F
23
.
. j b
>
3
Accents - Depth; Dichotomy
Ob.
33
Vib.
&
arco
1.33
1
2.66
4 4 4
3
F
4 j - - -
4
sub.
f F 3
3
1.33
4
2.66
& 4
2.66
4
44
3
44
3
P
2.66
4
r
.
11
16
11
16
1
4
molto vibrato
b
. 11 .
3
.
b
2.66
4
b
J
j
b
& 4 b
4 R # . .
R 16 R
3
f
37
Perc.
44
37
Vib.
37
Ob.
struck
j1
2.66
b # j 1.33
b
4
4
4
J
3
F
3
33
Perc.
. . > b . j j
b
& b n # . # . . j R 44
> >
> > 3
3
3
33
r4
b . 4
4
j 4
F
44
held notes always with a sharp
attack and quick decrescendo
4
& 4 # # # b .
>
>
>
>
f
40
Ob.
ord.
& 44
40
Vib.
4
4
f
P
40
Perc.
F
f
F P
3 b
4
.
>
34
3
4
118
11
8
11
8
Accents - Depth; Dichotomy
b .
& 118 . b . b . . # . .
44
Ob.
& 118
.n b 15
. . .
8
44
Vib.
>
11
8
f
44
Perc.
staccato notes
as ghost notes
3
P
3
9
&8
>
98
f
46
Perc.
Vib.
7
8
f
48
Perc.
staccato notes
as ghost notes
3
3
jb
7
b
& 8 b . . . . # . . b .
48
& 78
48
Ob.
98
j ww
98
*
15
8
F
9
8
46
Vib.
158
9
j
b
& 8 b . # # j # 20
8
.
46
Ob.
20
8
p
ww
j
j
20
8
F
25
8
25
8
78
ww
J
j
25
8
F
7
8
78
3.33
4
3.33
4
*
3.33
4
Accents - Depth; Dichotomy
.
3
.
38
38
# . # # . . # . # . 3.33
3
f
p
3
3
50
38
3.33
38
& 3.33
4
4
3
3
f
f
*
P
50
3.33
3
3.33
3
4 8
4 8
3
3
J
J
F
F
3
3
3
53
3
3
3
3
3
4.66
7
4.66
& 8 # # # # 4
16 # # # # #
4
#
3
f
p
p
53
3
4.66
7
4.66
&8
4
16
4
3
3
*
f
arbitrary cresc. and
arbitrary cresc. and
decresc., always
f
decresc., always
53
3
3
4.66
8
4 167 4.66
4
J J
F
Ob.
Vib.
Perc.
Ob.
Vib.
Perc.
Vib.
4 # #
4.66 j
8 #
#
4
#
3
f
p
4.66
4
F
4
8
56
Perc.
4.66
& 4 j
3
f
56
& 4.66
4
*3
f
56
Ob.
& 3.33
4
3
f
50
48
arbitrary cresc. and
decresc., always
3
4.66
4
4.66
4
Accents - Depth; Dichotomy
59
Ob.
.
.
.
94 .
.
b .
b . n .
. b .
b
# .
.
3"
&
59
Vib.
&
61
Vib.
&
& 48
62
Vib.
staccato notes
as ghost notes
staccato notes
as ghost notes
4
8
.
.
& 48 b b b n b 94 b . b . b . n . b # b n
#
# .
62
Ob.
pick up other two mallets
F . . . . . . . . . . .
94 .
b n
. . b . . b . 48
& #
b b
# . .
61
Ob.
3"
F
94
Accents - Depth; Dichotomy
64
Ob.
&
.
# .
b . b .
b . n .
b .
4
8
. . . . . . . .
. . . 4 3
. # 8
&
#
p
*
.
.
66
.
9
b . n .
&4
b . b .
# .
64
Vib.
Ob.
9
&4
66
Vib.
.
b
.
#
.
A
. .
9
b b b n b 4
.
.
#
b .
. .
staccato notes at
equal volume
P P
P P
b # #
n
& #
b
67
Vib.
.
b . 8
b n
b b
&
. b . n .
#
b
.
67
Ob.
9
4
4
8
Accents - Depth; Dichotomy
& 48
68
Ob.
3
4 3
& 8 # b n n b
b
p
68
Vib.
b 94
4
n n
# b
b
b b
& 94
b
#
b n b n n
b
f
70
b
9
#
n # n
&4
# # b n n
#
#
#
3
3
70
Ob.
Vib.
fade fluttertongue
& . # .
71
Ob.
no fluttertongue
. b .
b . . b .
n .
b .
n .
4
&8
72
Ob.
b .
b .
b .
b .
& 48
72
Vib.
48
3
3
# b b # #n #
3
n b n n b 3
n n b b 48
& b n # # # b
# n b b
n
#
3
b
3
3
71
Vib.
b n
b
b n
b
#
n b
#
n b
p
3
Accents - Depth; Dichotomy
10
74
Ob.
74
Vib.
&
b .
b .
&
.
F
#
F
11
& 16
Vib.
Perc.
81
Ob.
&
j
& # #
81
Vib.
81
Perc.
n
n
j
11
& 16 # # # # . 58
*
76
11
5
16
8
3
76
5
8
.
3
76
Ob.
11
16
11
16
j j -j
.
#
#
#
3
*
5"
5"
# j # #
#
#
3
*
*
# 3
J #
*
j
-
#
#
Accents - Depth; Dichotomy
86
Ob.
&
86
Vib.
&
Perc.
44
# # j
86
b b
4
4
34
44
11
34
b b
3
4
q = 100
89
Ob.
& .
Vib.
Perc.
& .
92
Vib.
&
92
Perc.
.
#
# # #
# # #
# #
& # #
#
#
#
#
#
f
89
j
j
f
92
Ob.
89
.
#
#
#
# #
j
.
#
#
j
# #
..
# #
.
Accents - Depth; Dichotomy
12
95
Ob.
& # #
# # # #
95
Vib.
& .
..
98
Ob.
&
Vib.
98
& # #
#
.
j
95
Perc.
# # # #
.
# # #
..
98
Perc.
#
#
Vib.
Perc.
..
>p
> .
5
&
4
f
p
# #
#
#
# # #
101
#
#
&
45
#
#
#
>
101
# #
.
# .
>
>
101
Ob.
3
4
34
j 5
4
>
p
3
4
Accents - Depth; Dichotomy
& 34
104
Ob.
Vib.
3 j
4
& 34
3
&4
107
Vib.
34 j
107
Ob.
3
&4
109
Ob.
3
&4
3
4
109
Perc.
64
w>
34
#
#
#
j
48
34
6
4
>
3
4
w>
p
#w
8
4 w
#w
>
109
Vib.
107
Perc.
p
#
#
# # #
#
104
#
6
#
& 34
4
#
#
#
>
104
Perc.
13
34
3
4
48
>
p
.
34
improvise dynamics: from
to
,
cresc. and decres. take from 2' to 5'
Accents - Depth; Dichotomy
14
113
Perc.
Perc.
Perc.
117
120
.
.
o
London, September 2013
