Page 1

...lo marcesible (clarinet, saxophone, violin, cello and doublebass)

Alfonso Mendoza


Performance Notes Strings General

Bow/metal ruler

Several parts of this piece use double-handing attacks with bow and other objects. l. h. - left hand r. h. - right hand

bow attack metal ruler attack*

bow r.h.

...

metal ruler l.h.

I, II, III, IV

* or similar object (i.e. rectangular metal little object; tiny metal ruler the best option)

heel

transition to heel

tip

transition to tip

tremolo string number saltatto, as fast as possible, very agressive vertical movement

Clefs Bow/metal ruler pressure and position Violin

Attack zone (approximately) bow r.h.

III, IV

III, IV

Attack zone (approximately)

high pressure

bow

ordinary pressure (as a normal attack)

bow/position

low pressure (mute strings)

bow/position

extremely fast bow pressure change (like a gracenote)

bow

transition between pressures

bow

Cello Doublebass For metal ruler only: metal ruler l.h.

The performance of this special attack combines low pressure position with high pressure in metal ruler, the result is a bright metalic sound obtained by rubbing the string with a very fast vertical movement of the metal ruler.


Strings bow region attack

ext. sultasto ordinary ext. sulpont

right hand & position

cover string(s) ordinary half pressed (harmonic)

For violin: Place the instruments between your legs and hold it against your chest (like a violoncello) cello position

bow position movement

right hand position real close eachother, highest note possible very bright and shrilly sound (like a scream) bow position

I, II

&

very fast accidentals note change (like a gracenote)

sffzp

sim.

fffp

ffp

...

ff

... III, IV bow r.h.

ff

metal ruler l.h.

bow/metal ruler attack and movement over indicated zone

sempre

For violin:

II, III

bow/metal ruler attack and movement over indicated zone

II, III

ff

?

p

sempre

metal ruler l.h.

bow r.h.

( fff )

IV

( fff ) sempre

For cello and doublebass:

III, IV

III

fff

F

as high as possible, very near to the bridge (over indicated string) cover string (random position over the fingerboard)

...


Woodwinds Important The resultant sound used for saxophone and clarinet is created by the combination &

The interactaction between these parameters allows to obtain the precise sound looked for. It would be helpul to think in the creation of a bigger and complex gesture that is beyond the score, rather than a traditional performance of the piece.

Sound distortion Clef

sound distortion +

sound distortion

_

_

F

p

extremely fast position change (like a gracenote)

high notes ord.

+

ord.

F

p

&

ordinary sound saturated sound

&

(

)

Most of the piece is written using the sound distortion clef. The black graphic the parenthetical notes indicates position.

saturated sound: attack on the bottom of the reed, a lot of growhl is needed. The result is a saturated sound, his origin resides on the combination of the growhl and the attack position, growhl must be able to make audible the harmonic column of the parenthetical note. ordinary sound: ordinary sound over position, with low growl technique.

+ ord.

_

high random notes: attack on the tip of the reed to produce a high random note over position, a little of growl technique can be used to amplify the sound.

Breathing/vibrato

vibrato voice (with lips)

+ _

ord.

&(

F

,

r

sffz

)

breathing voice (ordinary attack)

exhale sound, as sound as possible (slightly separate mouth from embouchure)


Woodwinds Saxophone C#

C#

multiphonic over position lines indicated level of distortion/saturation

C

p

multiphonic over position sustain withouth distortion/saturation change (as possible)

C

ff

ff

Clarinet For this section you must play with a buzz technique (trumpet technique) and always press your lips against the instrument’s mouth with the indicated pressures. There’s always a sustained position on the fingerings, that is quickly pressed/released on specific keys of the instruments. The sound will be a cloudy and distorted sound. Different two voices notation. (for clarinet w/o mouthpiece and multiphonic attacks) breathing voice (ordinary) + ord. _

fingering

? (ordinary open keys position)

play withouth mouthpiece

?( ordinary

?

Instrument’s mouth pressure against lips. ( )

F

fingering voice (digitation)

finger holes transitions over indicated position

)

p

ordinary half-pressed fully depressed

Action for keys over position: quickly uncover and return to original fingering over indicated position (like a gracenote).

?

fingering

(ordinary open keys position)

saturated multiphonic over position, line indicates movement on the instrument’s harmonic colum. ( )

fff

quickly uncover and return to ordinary position over indicated position (like a gracenote).


General pitch a little high pitch a little low This piece uses a proportional spatialization system to create rythm in relation to a immobile metronomic mark. Different parameters interact eachother to create rythm and attacks. + _

ord.

Cl. + ord. _

&(

Cl.

&(

F

)

F

MM =

30 Cl. metronomic mark 30 bits per minute

ordinary proportional attack

)

isolated fast attack (like a gracenote)

+ _

ord.

&( + )

F

ord.

_

Always try to attack on exact measure position (approx.) Cl.

ff

sempre sempre

fff sempre sempre

fff

ff

&(

)

fff sempre sempre

fff

fast attack

F

isolated single long attack


...lo marcesible cl, sax, vln, vlc, cb

MM =

Alfonso Mendoza

30

6’’ +

ord.

_

Clarinet Bb

&

pp

&

p

sim.

Fp

Fp

Fp

+

ord.

_

Saxophone tenor

Violin

Cello

&

pp

sim.

p

&

F

p

&

?

Doublebass

1


+

14

ord.

_

Cl.

&

&

F

F

&

&

8vb

C#

+

Sax.

ord.

_

C

&

F

?

p

ff

&

F

&

fff p

...

Vln.

&

&

I

sfz

I

F

ff

F

II

p

...

Vlc.

?

?

?

sfz

bow r.h.

Cb. mute strings (l.h. palm)

metal ruler l.h.

p

IV

IV

F

bow r.h. mute strings (l.h. palm)

bow l.h.

ff

I, II

I, II

ff

senza mute

p

fff

F mute strings (r.h. bow)

fff

F

IV

III

IV

IV (ord.)

p

F

fff

F

2


27

+ _

+ _

ord.

Cl.

mutta w/o mouthpiece

&

&

fingering

ord.

&

8vb

(ordinary open keys position)

8vb

&

( )

p

F

8vb

ff

ord.

_

p

F

ff

C

&

p

F

F

F

p

ff

Vln. III

F

?

F

p

bow attack position

F

p

F

F

ff p

ff

F

ff p

I, II

II

&

Vlc.

&

( )

C#

+

Sax.

mutta ord.

ff

ppp

p

...

ff

&

F

F

ff

F

p

F

very slow mute strings (r.h. bow)

mute strings (r.h. bow)

sffz

Cb.

sffz

p

ff

p

F

F

3


40

,

+

r

ord.

_

Cl. fingering

& 8vb

&(

)

p

8vb

(ordinary open keys position)

sffz

fff

( )

p

F

fff p

+

ord.

_

Sax.

&

ff p

ff p

ff p

fff

p

fff

p

ff p

ff p

Vln.

fff

p

II

&

III

Fp

Fp

Fp

Fp

Fp

Fp

sfzp

Fp

sfzp

sfzp

sfzp

sfzp

sfzp

III

bow r.h.

Vlc.

I, II bow l.h.

p

I

I, II

I

I, II mute strings (l.h. palm)

sffz

p

fff

I, II

p

fff

III

III

Cb.

F

IV, V IV, V

F

p

II,III II,III

fff

fff

F

p

III

fff p

p

F III

II,III

II,III

fff

p

III

p

4


+

,

53

r

ord.

_

Cl.

&(

sffz

)

fff p

p

8vb

sim.

+

Sax.

,

,

,

,

sffz

sffz

sffz

sffz

r

ord.

_

&

ff p

ff p

r

p

fff

ff p

r

p

ff p

ff p

ff p

r

p

ff p

p

Vln.

&

Vlc.

sfzp

F

p

sffz

p

III III

p

Cb.

sffz

fff

ff

p

sffzpp

sffzp

sffz p sffz pp

F

sffz p

p

p

V

sffz p

p

V

ppp sempre

ff

ppp

p

ff

p

ff

sempre

ff

ppp

p

ff ppp

ff

senza

p

fff

p

5


+

,

66

_

Cl.

&( 8vb

p

)

p

fff

p

fff

r

sffz

F

fff

( )

sffz

F

ord.

_

&

p

,

,

sffz

sffz

r

+

Sax.

,

r

ord.

fff

F

r

ff

p

ff p

ff p

p

Vln.

ff

I

&

sffzp

sim.

F

sffzp

sffzp

sffz

bow attack position

ppp

I

fff

...

F

...

Vlc.

fff

p

fff

p

fff sempre

Cb.

p

fff ( fff )

p

fff

(F )

( fff )

( p)

( fff )

fff

6


+

6’’

79

10’’

ord.

_

Cl.

&(

fff

)

8vb

p

fingering

fff

( )

8vb

(ordinary open keys position)

C#

+

Sax.

&

ord.

_

C

&

?

ff

p

,

r

sffz

p

( fff ) sempre sempre

metal ruler l.h.

Vln.

I I, II

F

...

ff

fffp

sim.

ffp

...

cello position

ff

bow r.h.

II

II, III

( fff )

ff

sempre sempre

Vlc.

bow r.h.

...

sim.

sempre sempre

fff

fff

II, III

bow l.h.

sempre

fff

sempre sempre

fff

fff ...

...

...

sim.

III, IV

III, IV

bow r.h.

Cb.

ff

...

ff

III, IV metal ruler l.h.

( fff )

sempre

ff

bow r.h.

sim.

p

metal ruler l.h.

fff III, IV

fff

7


92

Cl.

,

,

r

sffz

& 8vb

r

sffz

fff

r

sffz

fff

( )

p

( )

sffz

sffz

r

_

fff

,

,

sffz

sffz

r

_

,

ord.

&

+

ord.

,

+

Sax.

,

r

p

p

r

p

p

fff

p

sffz

sffz

( fff ) sempre sempre

bow l.h.

Vln.

metal ruler r.h.

II,III

II,III

ff

...

p

sim.

F

ff

p

...

F

ff

...

... I, II

p

bow r.h.

Vlc.

metal ruler l.h.

fff

I, II

bow r.h. metal ruler l.h.

sempre

fff

fff ( fff )

metal ruler l.h.

fff

III II, III

( fff )

ff

I, II

fff

I

p

( fff )

fff

...

Cb.

I, II

...

IV

p

F

ff

III

IV

p

F

sempre

8


+

105

ord.

_

Cl.

&(

p

)

8vb

fff

( )

ord.

_

&

p

,

,

,

sffz

sffz

sffz

sffz

r

fff

r

p

III

Vln.

fff

F

,

r

+

Sax.

p

( )

r

p

F

II,III

fff

III,IV

fff

fff

( fff )

sempre

metal ruler l.h.

( fff )

II, III

II, III

Vlc.

I, II

fff

...

fff

fff

...

...

...

p

IV

Cb.

bow r.h.

fff

III,IV

II, III

fff

...

metal ruler l.h. III,IV

fff

III

II,III

( fff )

ff

p

ff

sempre

9


118

Cl.

&

&

&

F

p

p

fff

p

ff

8vb

& 8vb

+

+

ord.

ord.

_

_

Sax.

&

( )

&

&

@!

ppp

p

&

ff

p

fff bow r.h.

mutta II,III

Vln.

III, IV

I, II

( fff )

p

( p)

F

fff

III, IV

...

Vlc.

( fff )

F

( p)

...

III,IV

( fff )

sempre

?

fff

ff

metal ruler l.h.

cello position

II, III

p

II

sffz p

ff

III

bow r.h.

sim.

III, IV

Cb.

?

fff

F

f

p

f

III, IV

metal ruler l.h.

fff

( p)

sempre

( fff )

10


131 +

ord.

_

Cl.

& 8vb

sim. +

+

ord.

ord.

_

& 8vb

_

ppp

F

&

p

ff

p

&

F

8vb

+

+

ord.

ord.

_

Sax.

&

&

F

_

fff p

&

fff

F

p

sim.

sempre bow r.h. II,III

Vln.

( fff )

( p)

( fff )

( p)

( fff )

( p)

( fff )

mutta ord. position

&

IV

fff

F

ff sempre

sim.

Vlc.

?

? IV

F

ff

ff

pff

F

ffp

F

III, IV

metal ruler r.h.

Cb.

p

ff

?

III, IV II,III

bow l.h.

( fff )

( p)

( fff )

( p)

( fff )

( p)

( fff )

p

ff

p

sim.

ff

F

ffp

ff

ff

11


30’’

sim.

144 +

+

ord.

ord.

_

Cl.

_

& 8vb

p

F

&

p

ff

&

F

+

p

ff

p

+

ord.

ord.

_

Sax.

ff

_

&

p

&

f

sim.

p

&

F

mutta III, IV

Vln.

&

cello position

( p)

( fff )

sempre

( fff )

( p)

( fff )

( p)

( fff )

( p)

~~~~~~

sim.

Vlc.

?

p

ff

&

f

?

f

ff

(

ffp

)

30’’

Cb.

II, III

( p)

sempre

( fff )

( p)

( fff )

( p)

( fff )

( p)

( fff )

( p)

12


157

+

ord.

_

Cl.

8va

&

p

&

F

ff

+

ord.

_

Sax.

&

p

&

F

ff

sempre

I, II

Vln.

p

( fff )

F

sim.

~~~~~~~~~~~~~~~~~~~~~~~~ Vlc.

?

(

p

)

F

II

&III

IV

ff

n

?

ff

p

FpFp

( fff )

sim.

?

Cb.

( p)

p

~~~~~~~

( p)

...

I

&

II

II

p

Fp Fp

sim.

ff

13


170 +

+

ord.

ord.

_

Cl.

_

8va

8va

&

&

ff

+

ff

(ord.)

ord.

_

Sax.

p

&

ff

(ord.)

p

Fp

Fp

Fp

Fp

(ord.)

sffzp sffzp

(ord.)

(ord.)

(ord.)

(ord.)

(ord.)

Fp

sim.

Fp

Fp

p

Vln.

&

II

~~~~~~~

&

III IV

Fp

ff

Fp

f

sim.

sim.

Vlc.

?

Fp

fp

sim.

Fp Fp

sim.

sempre

fp

Fp

f

fp

&

Fp

II

Fp

sim.

F

sim.

Cb.

?

(

fff

)

p

?

14


25’’

4’’

183 +

2’’

2.5’’

3’’

3’’

3’’

1.5’’

1.5’’

2’’

1’’

2.5’’

ord.

_

_

8va

8va

&

&

sffz p

+

F p

F p

F sffzp

F p

F p

F sffzp

F sffzp

F p

F sffzp

F p

F p

F sffzp

F

F sffzp

F p

F sffzp

F p

F sffzp

F p

F p

F sffzp

F p

F p

F sffzp

F sffzp

F

F sffzp

F sffzp

F p

F p

F sffzp

F sffzp

F p

F p

F sffzp

F p

F sffzp

F p

F

F p

F p

F sffzp

F p

F sffzp

F p

F p

F p

F p

F sffzp

F sffzp

F p

F

F sffzp

F sffzp

F p

F sffzp

F p

F sffzp

F p

F sffzp

F sffzp

F p

F p

F sffzp

F

+

ord.

ord.

_

Sax.

1.5’’

+

ord.

Cl.

4’’

_

&

&

f

sffz p

...

Vln.

&

&

sffz p

...

Vlc.

&

I II

Cb.

?

&

p

F

sffz p ...

?I

II

sffz p

15


1’’

1.5’’

5’’

3’’

6.5’’

6.5’’

1.5’’

15’’

198 +

ord.

_

Cl.

8va

&

sffz p

F sffzp sempre

p

F sffzp sempre

+

ord.

_

Sax.

&

...

Vln.

&

sffz p

F sffzp sempre ...

Vlc.

&

I II

p

F

sffzp sempre

...

Cb.

?

I II

sffz p

F sffzp sempre

16

lo marcesible  

ensemble / clarinet, saxophone, violin, cello and doublebass

lo marcesible  

ensemble / clarinet, saxophone, violin, cello and doublebass

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