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Clarinet, guitar and tape
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Am-biwa for amplified duo and tape Bass clarinet in B♭/ clarinet in B♭and guitar Edgar Guzmán 2007
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GUITAR
Scordatura (actual pitch)
A six line staff is used for the guitar notation, bottom line represents the sixth lower string
and the upper line the first one. Anytime a string is intended to be pressed down against the
fingerboard, a roman numeral will indicates the fret. When not such roman numeral appears
it'll always be an open string.
Sometimes when a trill is required, the two pitches involved are represented with a symbol
such like this: ! ! ! I meaning that one of the trill’s pitches is that of the open string -in
this case the sixth string- and the other one that by pressing down the string against the
first fret.
An extra two lines staff is added to the main six lines. This two line staff is used in three
different situations, each of them especified with the name of the action to be performed:
1) To represent the frequency, by means of rhytmic figures, and the string's scratched area
–sul ponticello and sul tasto-. It can be made either by using a plectro or the finger nails. It
can be a long one movement scratch or a fast sequence of tiny scratches. The strings to be
scratch is indicated with a circled number: !
2) To control the hole bend, this being an upward and downward glissando, left hand
pressing down the strings against the guitar's hole using its edge and fingerboard's edge as
frets, creating a constantly bending sound of random pitches.
3) The fingerboard glissando is a percussive sound, the faces of the five fingernails
hitting the fret pieces in sequence whe going from the end of the fingerboard up to the first
fret, and with the fingertips when going back.
The tape must be played very loud. The beginning of the tape must be synchronised with the first beat of measure 15. The tempo (q = 80 M.M. ) must remain steady throughout the whole piece. Both the guitar and the clarinet must be amplified.
Most of the guitar's sound material is percussive sound alike or have a big amount of percussive "noise"; sometimes, this percussive element is much more important than the pitched "pure" sound; even when a single note is asked to be played for,
this will always be accompanied with percussive "interferences", the strings constantly hitting the frets and the wood when struck because of string's low tension as result of the scordatura. The scordatura brings also many happy "accidents" to the
performance, use them instead of try avoiding them.
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1
X Xn Xn X X# X#
fingerboard gliss
last fret
first fret XX
X
hole bend
low pressure
high pressure XX
XXX
scratch
pont
tasto XX
XXX
The fingers to be used to perform the tremolos are barely marked throughout the score;
except in those cases where they are marked, the rest are to be choosen freely.
Note heads
‘Normal' sound, open or depressed string.
Damped sound; damp the strings with the left hand while performing the right hand
action producing a percussive sound without ptich.
Open strings stroke; use the right hand to hit the strings over the guitar’s hole area
Harmonic pressure, there is not node but only the fret to be touched marked.
PERFORMANCE NOTES
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9
Bass Cl B♭
q = 80 M.M.
flz
harmonics ad libitum
AM-BIWA
( )
Edgar Guzmán
2007
legatopitches in random order
as faster as possible
( )( )
( ) ( ) ( ) ( ) ( ) ( )( )
stacc p o c o a p o c o m o l t o c r e s c e n d o
gliss
flz
t t!"
smorzmolto
! " ! "
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non cresc
laissez vibrer
p o c o a p o c o m o l t o c r e s c e n d o
i i!"
t t!"
non cresc
laissez vibrer
simile
! I( ) t t!" " III" IV
I XII I XII I XII I*)gliss
Guitar
molto
c r e s c e n d oscratch tasto
pontmolto cresc
#$
high pressure
low pressure
#$
hole bend
*) the four strings involved in the strum are glisseed by the left hand from the fret I to XII and back
p o c o a p o c o m o l t o c r e s c e n d o
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▷ PLAY THE TAPE
flz
( ) slap flz flz
sub
lip glissflz loco
attack imperceptibly
sub
0:15 0:18 0:24
0:30 0:36 0:42
( )
sempre
( )
sub
XI X(spread downward
arpegio)
l.v.
" VII
% IV
"
! XII
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l.v.
# **)
" XIII
poco cresc morendo
fast and irregulars up and down bridge plate strum ***)
(measured trill emerged
from pizz bartok resonance)
" ! " I
regular bridge plate strum I XIgliss molto vibr.
*' ) ***) b.p.s. XII
harmonic pressure to normal
pressure(not measured trill)
$ III ! $IVXII
laissez vibrerscratch tasto
pont
$ $ sub
sub
**) # all strings pressed down against the wood over the guitar's hole area
***) b.p.s. = bridge plate strum. The bridge plate strum must be done with the face of the index’s nail when going downwards and
with the thumb’s nail face when back, hitting the part of the strings attached to the plate
sublaissez vibrer
**' ) because of low tension the string easily hits the frets, allowing to make a
pizz alla bartok effect in p
*' ) open string's stroke with the palm of the right hand
**' )
8va
0:00 0:06 0:12
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0:45 0:48 0:51 0:57
Clarinet in B♭non espressivo
sempre legato
sempre
breath imperceptibly when is needed
gliss
1:03 1:09 1:15flz
gliss gliss( )
gliss
( )
1:18 1:21 1:27 1:33
flz
molto espressivo
sempre legato breath when is needed
flz flz
( )
gliss trill
( )
flz
( )
XIIIlaissez vibrer
XIII i i!"
XIIIb.p.a. i i
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XII hole tapping ad lib, very irregular and
not too fast ***' )
t t!"
! XII
% VIII
very fast hole
tapping + )
I
repeated and fast open string
strokeIV bridge plate strum
( ) sub
scratch&
poco
tasto
pont
sempre
fingerboard gliss first fret
last fret
***' ) The hole tapping sound, it’s an irregular texture with many “accidental” resulting sounds. It is both a percussive and a randomly pitched texture. Because of the low
string’s tension due to the scordatura, it’s imposible not to accidentally struck the strings producing pitched sounds. Do not try to avoid the incidental struck.
+ ) hit the bridge plate with the fingertips
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1:36 1:39 1:45 1:48 1:51 1:57 2:03
( ) ( )loco flz
( )gliss
improvise
gliss gliss
gliss
2:12 2:18 2:24attack very gently
Ⓜ++ )loco
2:30 2:36 2:42Bass Clarinet in B♭
attack imperceptibly
improvise
#decresc possibile
i m!"
m o r e n d o
sub
hole tapping
b.p.s. i m!"
i m!"(spread arpegio) b.p.s.
high pressure
low pressure
hole bendhole bending the six strings ad lib.
laissez vibrer l.v m o r e n d o
++ ) Ⓜ = multiphonic sonority as complex as possible
first fret
last fret
fingerboard gliss subfirst fret
last fret
fingerboard glisssub
8va
8va
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2:48 2:54 2:57 3:03
harmonics glissando
( )
(harmonic an 8va higher) flz
ossia :
(loco)
lip gliss ad lib.
( )
3:27 3:33 3:39 3:45
improvise
( ) harmonics glissando ad lib.
b.p.s.
s e m p r e c r e s c e n d ohole tapping b.p.s. #
c r e s c p o s s i b i l e
# #
# accel. possibile#
pizz alla bartok
with the four stringssempre
pesante
i m!"
XII
gradually more and
more agressive finger
action
(XII) improvise plucking the strings very agressively
creating a very dense texture
very agressive
XII # # #
sempre
hole bend high pressure
low pressure
bend the six stringsmorendo sub
3:06 3:12 3:18 3:24
hole bendhigh pressure
low pressure
ad lib. sim.
8va
(8va)
loco
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6
3:48 3:54 4:00
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wait for tape's harmonic
to stop blowing
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simile www" II
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wait for tape's harmonic
to stop slow tremolo
XXX,
DU
laissez vibrer
t r e m o l o s e m p r e r a l l e n t a n d o e d e c r e s c e n d o p o c o a p o c o
91
97
