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Edgar Guzmán
Commissioned by the International Contemporary Ensemble - ICE
Amplified ensemble and tape
bass flute
bass clarinet in B flat electric guitar
percussion stereo tape
Coincidences?
(2009)
1
e. guitar b. cl
perc
fluteb. cl e. guitar
tape'speakers
ens. speakers
ensemble's location
audience
tape'speakers
ens. speakers
PROGRAM NOTES
This piece is many pieces, and yet, it tries to be none. Previous temporal and musical structures of forgotten personal recordings and
notes (some of them dating back two years) that didn't find its way to become a piece in the past did find it now, not because a way
to unify them being finally reached, but to differentiate them instead in a diachronic musical context that emerged from the experience
of what in the beginning was felt as mere coincidences in temporal structure between those forgotten files. I don't believe in
coincidences though.
In addition to its discontinuos origin, and beyond the imposed boundaries of time and space, the piece places itself outside of it into
a bigger context by performing a breakdown in its temporal unity and meaning.
PERFORMANCE NOTES
AMPLIFICATION
Tape is suggested to be amplified in stereo from a different set ot speakers than the rest of the ensemble, however, both sets of speakers
(the ones of the tape and those of the ensemble) are to be placed relatively in the same spot, unifying the sound source. The following
graph pictures previous comment on speakers and shows the panning location for the ensemble. However, adjusments both in panning
and speaker's location might be made if prove better suitable for a particular performance's place
Besides the amplification on the instruments, the performer's voices will need to be amplified, in particular percussionist and flutist's voice.
No attempt should be made to aim a 'beautiful' performance.
Rhythmic combinatory in percussion part is by no means intended to represent nor communicate any desire for a precise performance
of what is written but to provide the base for a performance of improvisational character instead; grouping of eights and sixteen notes
was rejected in orderto avoid a possible visual relationship that may mislead to generate clear regular rhythmic motives.
This is not exactly the same with the opening flute passage, where the use of eight and quarter notes' purpose is to serve as a first visual
aid (the second one being the horizontal lines representing sound length) to establish the temporal relationship with the tape's 'performance'.
Spoken passages assigned to the flute part must be performed by a woman, and those in the percussion part must be made by a male
voice.
On guitar's first passage (number 7 on sync marks) based on attacks, decay, sustain, release and volume relationships, beyond the
temporal freedom that the score is intended to communicate, what is written in the score is just one of many possibilities for performing
that passage once the whole piece's passing has been nailed. Guitar remains with the distort effect on during the whole piece.
Previous statement on performance also aplies for bass clarinet which same passage's passing (number 7) and timbre is directly related
with guitar's actions. A free performance of both guitar and clarinet in this section is not only possible but desirable.
Beyond the sync marks ( ) placed throghout the score, the piece alltogheter must be embeded with a diachronic character of sonic
events as opossed to a synchronic one.
ABOUT GUITAR DISTORTION
Purpose of applying a distort effect to the guitar is increasing its blending level with bass clarinet, so adjust the kind and amount of
distortion based on that criteria.
Next are images showing the hand shape for the strum asked for in 4'08"
PERCUSSION
The percussionist will use a big metal bucket and noise making garbage -like glass bottles and cans- previously selected or founded.
Those will be storage in a big box or alike so when the trash-performance begins it can be immediately thrown into the metal bucket.
Down here is a picture showing the kind of bucket required for the piece, the guitar in the back and the plastic bucket are for size
reference. The buckect used can be bigger than this, smaller one is not recommended unless it produces a similar sound to the one
originally used.
Contact the composer for a sound sample of the one showed in the picture.
email: [email protected].
En art, et en peinture comme en musique,
il ne s'agit pas de reproduire ou d'inventer
des formes mais de capter des forces.
-Gilles Deleuze
1
1
Tape
Tape
B. Fl
&
&
&
1
1
1
1 2 3 4
5 6
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Track 1
Coincidences? (2009)
(G pitched sound) (synthetic multiphonic alike sound)
Edgar Guzmán
1981
(high A#)(high G pitch) (high F#) (high G#)(low F#)
Bass Fl
Different noteheads represents the amount of air sound, resembling white noise, that must be involved in the whole resulting sound as follows: unpitched air sound, in which case their location on the staff is the fingering involved; is more or less equal amount of pitched sound and air; and being pitched sound
flz senza flz flz senza flz
breathe when needed
freely
always producing as many harmonic andnot harmonic partials as possible
sub poss
sempre possibile
(always producing as many partials as possible)
senza flz
Bass Cl
in B♭
( possibile)
freely
Perc
(soft mallets)
freely
Tape
B. Fl
Tape
B. Fl
&
&
&
&
2
2
2
pX#( )
,
X#( ) Szp Sz p Sz
Xp
,
pXO#( )
,
pX#( ) Sz
Xp Szp
,
X#( ) O#( )
SzSz f f
O#( )X#( )
j,
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,
X#( ) SZ pXj
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SZXO#( )
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ï
,
f f
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SzXj X
p Sz f Sz Sz SZ fXj Xj
SzXkp
Xj. X> X .> Xjp
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p
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p,
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pXk. Xj X XXX Xk Xk XjXj Xj Xj. X
pX X X X X X X XXXXX
(low E) (more or less constant and unintelligible voices)
B.Cl B♭flz
flzharmonics glissando
synchronization between clarinet and percussion performance is not required
B.Cl B♭
Perc
Perc
molto cresc
molto cresc
2
Tape
B. Fl
Tape
B. Fl
&
&
&
&
&
&
37
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3
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î
Xj.SZ
X X X Xj XjXj. X X X XjXk Xk Xk. Xj. X X X Xj Xj XjXj. X X X X X X X XXSZ î
Xj X X X X X XXj X Xk Xj XX X XX Xj. Xj.Xk. XX Xk Xj Xj X X X E Xî
X E Xî
X X X Xj XkX Xk.X X X X X XjX X XjXkXkX X X Xk.Xk XXj X XkXXXk XjXk. XXX Xk Xj
îXj. XXXXj XX XkXkX XjXXX XjXj. XjX X X X X X X X
SZXj X .
p îXkXk. X Xj.
SZXî
X XXj XjXj X XSZX
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îXkX XjXj X X X Xj. XX Xj.X X XjXj. Xk. XX XkXk XkXk. XjX X X Xj
(noise )
frenetic
Harmonic multiphonics writting represents more the physical action to be realized in terms of air flow to achieve this section performance's character than literal actual result. In addition, timbrical nuances are indicated by different note heads.breathe when needed and very noticeable
transition from pitched to unpitched air sound
( )
B.Cl B♭flz
freely
B.Cl B♭
ElectricGuitar
MAX
MINDISTORT EFFECT ON(play with a pick)
sub
MAX
MIN
VOLUME KNOB
laisser vibrer
freely always use same ff kind of attack)
E. Guit
Perc
frenetic
espressivo
(ff)
Perc
( ) ( )
IMPROVISATION
poco decresc