Connect & Break, op. 1 (2013) for saxophone quartet

Connect & Break (for any 4 saxophones)

XXXXXXXXXXXXX Bernie Walasavage

(2013)

NOTES Through extended techniques (such as slap tongue, pitched slap, key clicks, etc...) and a mixture of harmonic motion, the quartet starts out with an extended pallet of sound which leads to an arbitrary pitched section, ultimately ending in an ambient, intuitive, laid back section. The scope of the composition is a launch from the rhythmic material, which is relatively short, into the fluidity of the harmonic material. Because of individual and group timing of the piece, duration should be over 5 minutes but should not exceed, realistically, around 7 minutes.

The time markers are not strict, but are just to ensure that the players (1 & 2) do not jump the gun with their pitchslapped figures. Moments of space are noted with bars placed half way up the staff (these are NOT barlines).

There is a timed repeated gesture on page 2 - where the notes and rests indicate tempo in 4. This material should move forward, but not rushed in any way. When there are no rests or bars, the time between gesutres should be rather fluid, and relatively shorter.

Players 3 & 4 are key clicking signified by the continuation of arrows. Pitches are placed arbitrarily later on.

These should not be full-tones, but almost ghosted (which would almost only be possible if you are also key clicking in between.) The duration of the note heads should be relative (eighths are shorter, plain note-heads are basically quarter notes, and open note-heads can last for either 2 or 4 beats.

Long drones in the 4th player are signified by breves in mensural notation. Score is in C. BJW (2013)

KEY l

E

V

(Noteheads/ Misc.)

- Any short tone. Depending on how far apart the noteheads are, play them with less or more space inbetween.

-Longer tone. Similar rules apply.

-Double drone. In context of the piece - about 8 beats.

1

-Harsh pitched-slap. Bottom jaw/tongue off the mouthpiece.

(x)

-Controlled pitched slap (more tone than slap).

x l

-Key clicks.

-Separation of time - not to be confused with a barline. Time can be arbitrary. Markers are notated in sections to keep a good feel for the duration of the piece.

Bernie Walasavage XXXXXXXX

Connect & Break

SAX I

SAX II

SAX III

SAX IV

ª

5

j ÷ ( œ) ƒ j ÷ ( œ) ƒ

÷ ( œ) ¿ ¿ ¿ ¿ ¿ ¿ ƒ ÷

for any 4 saxophones 30"

> ]]

f ] >]

f ¿ ¿

¿

]^ J ]

¿¿

¿

¿¿

¿

!— !

— ÷ ‰‰—

]]

]]

÷ ÷

"

]]

(In rhythm)

÷ ‰ ‰ — !— !

—

>] ]

3 & 4 - Continue, experiment with click patterns, sempre jagged, speed up- slowdown, arbitrary accents --> loud/soft, blow air?

Moan through instrument?

¿ ¿ ( œ) ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ƒ 30"

"

]] Arbitrary key clicks continue

]

]

]

]

Connect & Break

4

÷ .. — — — — — F

with motion, not too fast!

‰

Ó

—— ———— Ó F

2X

÷ .. Œ ÷ ..

6

——!—

—!‰ Ó

Œ

Œ

‰ Œ ..

——

Insert pitches among key clicks

( œ) P

÷

>] .. J

.. ( œ)

j ] >

j ] >

( œ)

j ] >

ª

÷ ]J ÷

ab lib

] J

÷ ( œ) ( œ) ÷

j ]

] J

j ]

( œ)

( œ)

(key clicks continue)

1'00

] J

( œ)

( œ)

] J

( œ)

Connect & Break Player 1 activates player 2.

Messy slaps should be played as close together as possible.

Space between gestures is arbitrary

— ÷J ƒ

19

— J

j ÷ — ƒ

— J

j —

j —

÷

— J

— J

j —

5

— — J J

j —

Key clicks stop

"

j j — —

( ˙)

( œ)

÷

(add a few more)

( ˙) ( œ)

( ˙) ( œ)

( œ)

ª

÷

24

÷

Players 1 & 2 - TACET Player 3 & 4 - "Duet"

÷ ( ˙) ÷ ( œ)

( ˙) ( œ)

( œ) œ ()

1'00

( ˙) ( œ)

( ˙)

( œ) Key clicks stop

( œ)

( ˙)

(w) ( œ)

( œ) ( ˙)

( œ)

( œ) ( ˙)

Connect & Break

6

1 & 2 - TACET 3 & 4 - Continue "duet" ab lib

III

IV

÷ ( ˙) ÷

( ˙)

( œ) œ()œ œ œ ( ˙) ( ˙)

( ˙)

œ œœœ

( œ)

( œ)

30"

( œ)

( œ ) ( ˙)

( ˙)

( ˙) ( ˙)

( œ)

œœœœ

( ˙) ( ˙)

ab lib

(w)

œ œ œ œœ œ

ª

1 & 2 - TACET 3 & 4 - Continue "duet"

III

IV

÷ ( œ) ÷›

( œ)

( œ) œ ()

( œ)

( ˙)

30"

( ˙)

( œ)

( ˙)

œœœœ

›

( œ)

( ˙)

Connect & Break

I

II

III

IV

÷

˙ œ œ

œ œ ˙

÷›

&

8 4

7

#

..

#

..

#

..

#

& ..

suddenly grooving

œ œ ˙ p

œœœœœœœœœ

œ œ ˙

w

.. œ œ ˙

œ œ ˙

..

"

ª

÷ ..

41

I

II

III

grooving

#

#

#

&

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ & . œ œ œ œ p & .. œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

Connect & Break

8

44

I

II

III

˙.

˙.

˙

˙.

˙.

(Player 1 - Come in on repeat and then continue)

& F

˙

˙.

˙.

˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ &œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

ª Player 1 - Continue on

& ˙.

47

I

II

III

˙.

(2 x)

˙.

˙.

œ œ œ œ œ œ & œ œ

œ

&œ œ ˙

œ œ ˙

œ œ ˙

˙

˙.

˙.

˙

..

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ ˙

œ œ ˙

œ œ ˙

..

Connect & Break

& ˙.

50

I

II

III

IV

˙.

˙

˙.

˙.

9 (2 x)

‘

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ &œ œ ˙

œ œ ˙

œ œ ˙

&w F

w

›

œ œ ˙

œ œ ˙

œ œ ˙

w

ª

53

1, 2, 3, 4 - ALL end abruptly

I

&

‘

‘

II

&

‘

‘

&

‘

‘

III

IV

&›

›

F P w

P F

‘ ‘ ‘ w

ƒ ƒ ƒ ƒ

duration: > 7'00"