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sheets of sound
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SHEETS OF SOUNDfor tenor saxophone and digital audio
J. M. David (2009)
© 2009, J. M. David, ASCAP
Sheets of SoundSheets of SoundSheets of SoundSheets of Soundfor tenor saxophone and digital audiofor tenor saxophone and digital audiofor tenor saxophone and digital audiofor tenor saxophone and digital audio
commissioned by Prof. Peter Sommer, Director of Jazz Studies, Colorado State University
Requirements for Digital Audio PlaybackRequirements for Digital Audio PlaybackRequirements for Digital Audio PlaybackRequirements for Digital Audio Playback
1. CD Player2. Two high quality stereo speakers placed at stage right and stage left, slightly forward of the performer3. Optional: monitor speaker or headphones for the performer
Performance NotesPerformance NotesPerformance NotesPerformance Notes
1. The CD for the digital audio playback includes both a performance version (Track 1) and a rehearsal version (Track 2).The rehearsal version includes a metronome click track for the metered sections of the work.
2. Although chord symbols are provided, performers should feel free to improvise using any melodic or harmonicmaterials they may find suitable.
3. Chord symbols are transposed for B-flat instruments. Pitches indicated in the Digital Audio Playback score are notatedat concert pitch.
Program NotesProgram NotesProgram NotesProgram Notes
Sheets of Sound for solo tenor saxophone and digital audio is a lyrical etude that draws from both abstract and expressivesources. The title is derived from the famous Down Beat magazine description of John Coltrane’s improvisational techniquefirst heard in the 1950’s. Although this style is not literally employed in the work, compositional techniques, such as tempofugues and granular synthesis, achieve a similar result. Disguised quotations from Coltrane’s melodies are employed in theextended central section. Here, a largely improvised solo part is accompanied by “clouds” of saxophone and bell soundsbeneath. The ultimate goal of the work is a meditation on simple musical structures and the expressive power that can begained through their thoughtful manipulation.
James M. DavidSpring 2009Fort Collins, Colorado
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44
44
44
Tenor Sax.
DigitalAudio
Playback
l l
8
±± ±±
Spacious, Flowing ( q = 108)
Glock.
Ritornello IRitornello IRitornello IRitornello I
click track starts: 0'00"
±± ±±Ó ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰7Mar.
±± ±± ±± ±±±± ±± ±± ±± ±± ±±
Ó Œ ¿ ¿ ¿ ¿7:4œr
±± ±±¿ ¿ ¿ ¿ Œ Ó7:4œr
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Sax.
D.A.P.
l l
3Ó ˙
±± ±±
πw
±± ±±
˙ œ ≈ œ œ# œ œ œ
±± ±±
fw
±± ±±
w
±± ±±π
±± ±± ±± ±± ±± ±±
Ó ˙#
±±> ±±¿¿¿> Œ Ó
ƒ
π˙ œ œb .œ
±± ±±
f
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Sax.
D.A.P.
l l
4œ .œ .˙
±± ±±
w
±± ±±
Rœ ≈ ‰ Œ Ó
±± ±±
p±± ±± ±±
±± ±± ..±± ..±± ±±
Ó ˙#±± ±±
y> y> y> y> y> y> y> jy> ‰ Œ7:4
f
p ˙ ˙
±± ..±±#
œ œn œ œ œb œ
..±± ±±
f
S h e e t s o f S o u n d
J. M. David (2009)
Transposed Score
© 2009, J. M. David, ASCAP
for tenor saxophone and digital audio
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46
46
43
43
43
Sax.
D.A.P.
œn .˙
±±±±
.˙ Jœ ‰
±± ..±±π
jœ# œ# œ œb œn œb œ œ Jœ ‰ Œ Ó5
..±± ..±±
sub. f∑
..YY
...YYY
Mar.
Ï
Œ œ œ œ# œ œn œ œ# œ# ≈5
..YY
...YYY
p sotto voce
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Sax.
D.A.P.
‰ œ# œn œb œn œ œ# œn œb ≈ Œ5
6
..YY
...YYY
Œ œb œ œ# œn œ œ Œ6
..YY
...YYY
œ œ œ# ≈ ‰ Œ � � � � � �6
..YY
...YYY
Cadenza ICadenza ICadenza ICadenza Isim.*
[ ]..YY...YYY
* - improvise fast chromatic passages in the style of mm. 33-36
..YY
...YYY∏
� � � � � � �� � � � � � �
15"
[ ][ ]
Synth.
1'20" - 1' 35"
&
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Sax.
D.A.P.
becoming sparser ghosted notes/key clicks only
˙ ˙� � � � � � �[ ]
"Giant Steps"
20"
1'35" - 1' 55"
˙b ˙ w ˙ ˙ ˙b ˙ w
∑U
wwwwbSynth.
ca. 2-3"
V.S.
Sheets of Sound - p. 2
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Sax.
D.A.P.
’ ’ ’ ’
wwwwb
D+ (add n5)*
[ ]* - lyrical improvisation on the given chord symbols
38"
ca. 1'57"- 2' 36"
?œ œ œ œb &
Deep Synth.
19"
2'37" - 2' 56"
œ œ# œ# œ œ# œ#
n
&
&&
45
45
46
46
46
Sax.
D.A.P.
l l
4’ ’’’
wwwwb#œ .˙#
n
E+ (add n5)
[ ]
2'57" - 3' 20"
w
slowly building towards a climax
ww# w#� � � � � � � �
Glock.
ƒ
∑U
� � � � � � � �ã
ƒ( q = 108)
YYY Ó Œ
Ritornello IIRitornello IIRitornello IIRitornello II
Mar.
Ï
click track restarts: 3'21"
YYY Ó Œ YYY Ó ŒŒ ..yy J
yy yyyy
YYY Ó Œ
Vibes
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46
46
46
48
48
48
Sax.
D.A.P.
l l
2
..YY..YY
...YYY Ó Œ..YY
..YYb...YYY Ó Œ &
π
Ó w œ jœ œ# œ
YYb>
yyYY yy
YY
YY>YY
YYYYb
pVibes
˙ ˙ œ jœœ ˙ œ
yy YY yyyy YY
YYYYb YY
YY ..yyjyy
˙ Jœ ‰ Ó œ .œ ˙5
yyyyb YY
YYb yyyy YY
yyyy yy
yyb yyyyb yy
yy yyyy
Sheets of Sound - p. 3
&
&&
46
46
46
Sax.
D.A.P.
œ œ# œ jœw ˙ Jœ ‰
6
YY yyyy yy yy
yy yy yyyy yy
jyy yyjyy
jyyyyb
jyyb jyyyy
jyy yy yy yy..yy
Œ œ œ œ œ œ œn .˙# ˙9:8œr
yyyyb yy yy
yyb yyyy yy
yy Ó
yy yyyyb yy
yyb yyyy yy
yy yyyy yy
yyyy yy
yyyyb yy
yyyy R
yy ≈ ‰
f
Ï
Ï
&
&&
46
46
46
44
44
44
Sax.
D.A.P.
l l
5œ œ≈ œ œ œ œ# œ# œ# œ œ œ œ œ U̇
5 5 3
∑ ÓU
∑ ÓU ã
ƒ freely, with abandon
click track stops
˙Jœ
‰ ŒYYY>
y y y y y y y y
YYY>Óç
Rhythmic, Propulsive ( q = 120)
π[ ]
click track restarts: 4'21"
wwwwæF ç
ƒ
V.S.
Sheets of Sound - p. 4
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Sax.
D.A.P.
’ ’ ’ ’
y y y y y y y y[ ]
F Dorian*
* - imporvise on the given modes in a rhythmic manner
Cadenza IICadenza IICadenza IICadenza II
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
œb œœb œœœb œœœGlock.
ƒ
’ ’ ’ ’
œœœbbb œœœ œœœœœœb
&
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..
..
..
..
..
..Sax.
D.A.P.
’ ’ ’ ’wwwnn#
y y y y y y y y
C# Dorian*
[ ]
’’’’ ’’’’ ’’’’
?
’’’’
wWarm Synth.
gradually becoming more lyrical
’’’’
w#
’’’’
w
’’’’
w#
’’’’3x
’’’’ ’’’’ ’’’’
&
?
ã
Sax.
D.A.P.
√
’ ’ ’’
y y y y y y y y
C# Dorian*
[ ]
[ ]
&"Naima"˙# ˙#
building in intensity
˙ ˙# w w ˙ ˙ w?
˙# ˙#
Œ ˙ œ"A Love Supreme"
˙ ˙#œ ˙ œ
w˙ ˙
w˙ ˙
˙ ˙
w
w
&
ƒ
Sheets of Sound - p. 5
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&&
44
44
44
Sax.
D.A.P.
l l
3∑U
y y y y y y y y[ ]Synth.
click track stops
( q = 108)
.˙ œ#Chimes
n
Ritornello IIIRitornello IIIRitornello IIIRitornello III
click track restarts: 6'21"
˙ ˙˙˙ œœ œœ# œœ
œ .˙
Vibes
œ œ# œ œ œ .œ# œ6F
&
&&
Sax.
D.A.P.
w œ ≈ œ# œ œ# œ œ œ3
.˙ Jœ ‰p
Œ œ œ# œ# œ œ# œ# œf
w ˙ Jœ ‰ Œp
œ# œ œ# ˙ œ5f
&
&&
46
46
46
44
44
44
Sax.
D.A.P.
.œ# œ# ˙5:4œj .˙ Jœ ‰non dim.
ƒ
Œ œ# œ œ# œ œ# œ# œ# ˙U7:6
∑ ÓU
∑ ÓU
π w
œ œ# œ œ œ# ˙5
œ œ# œ# œ# œ œ œ ˙7
Glock.
Mar.
w œ jœ ‰ ÓU
œ œ# œ œ œ ˙#U5
œ œ# œ# œ# œ œ œ ˙7
n
Vibes
Sheets of Sound - p. 6