Roto, op. 13 (2015, rev. 17) for solo trombone

roto.

(2015, rev. 2017)

Trombone solo

by Bernie Walasavage

Duration: 3'30"

Program Notes Roto is Spanish word which means broken; broken-down. The piece is structured from two sets of material: the fractured and percussive rhythmic material which tries desperately to find a pulse, juxtaposed by melodic gestures. These two components interplay with each other, each developing and interrupting and the piece progresses. The melodic phrase becomes longer, begins to waver and breaks down again into the percussiveness.

This short piece plays with simple, musical properties as a point of departure. This comes full circle with the coda secion at Rehearsal E, where the arrhythmia has fully imploded on itself in descending lines, fragmented by out-bursts of broken bits of phrases from before. Rather than a gradual breakdown to bring about the ending of the piece, things come to a crashing halt.

BW

Roto (2015, rev. 2017) for solo trombone or bass trombone Bernie Walasavage (*1989) Spiccato and staccato notes should have a slight timbral difference.

Spiccato = spit, short "pft".

Staccato = more traditional usage, but clipped. "dit"

b œ´ œ. œ. œ´ œ. œ´ œ´ b >œ œ. œ. œ. œ´ œ. œ. ≈ J ≈ ‰. ≈ ≈ ‰ ‰ Œ ≈ J ≈ ‰ ≈ 42 p P F Í F p

´ ? 44 b œJ ‰ Œ Ó F q = 90

? 44

8

w

Ø

Rapid cresc. in the last 1/2 beat or so of the measure. Subito pianississimo on the arrival of the F.

42

œ œ. œ

f∏

44 P

œ.

B œ. ‰ Œ ≈ J ≈ 42 π

œ. >. . . ? 42 J ‰ Œ 44 B œ. ‰ ‰ œ¨ Œ ≈ j ≈ b œ œ œ œ ‰ bœ ∏ f ƒ> Í

17

œ . ? 43 œ b œ œ

25

+œ œ´ œ´ ≈J ≈≈ ‰ F p

b œ. œ. œ .

B œ œ œ 24 J b œ J 43 ‰ J ≈ J ≈ 42 ∏

ab. lib. with ritardando

+œ B + . . œ ˙ >. . . ´´ ? b œ œ œ œ ‰≈ b œj ≈ œ ≈ œ. ≈ œ œ ‰ 42 ≈ b œJ ≈ b œ´ œ 44 Œ . J ÿ Í p 3 π f FpP f

32

a

´ . ´´ 44 b œ ≈ œ ≈ œ œ ‰ F p

œ´ œ. b >œ œ. œ. œ. ≈J ≈‰ J ‰ F p Í

œ´ œ´ œ´ ≈J ≈≈ ‰ F p

œ´ œ´ ≈ ‰ 42 π

B˙ +œ ˙ ´ >œ œ. œ. œ. j œ. œ´ œ´ ´ œ´ ´ ´ ¨ ¨ b œ b œ b œ œ œ ¨ 44 ≈ J ≈ ‰ ≈ b œ ≈ ≈ ≈ 43 ≈ J ≈ Œ ≈ ‰ 42 ≈ b œj ≈ Œ 44 ‰ ≈ Œ b œ œ 3 F Í F Fÿ Fÿ p π π π f + = "wit" articulation

q = 115 . œ. œ´ ≈ œ. +œ œ´ ˙ b œ ≈ ‰ ≈ b œj ≈ ‰ . ≈ ‰ 42 > π Ø ƒ p P F

ϫ ϫ

43

œ

˙

44

Slightly push tempo.

44 œ b œ . œ ˙

42

rit.

œ b œj œ œ . œ b œ 43 Jœ > ƒ

b

+. . ´´ >. . . ´ + ´´ ´ ´´ ´´ 44 b œ ≈ œ ≈ œ œ ‰ ≈ b œj ≈ ‰ œJ b œ œ œ œ ‰ ≈ œJ ≈ ≈ œ œ ‰ ≈ œ œ ‰ ≈ b œj ≈ b œ œ ‰ . œ´ ≈ œ ≈ œ œ ‰ > p Í F p F p π ƒ> p F ƒ P q = 100

œ ´ b œ ´ b œ´ œ´ œ´ b >œ œ. œ. œ. +œ œ´ œ´ ´ œ. 2 b œ´ œ´ ´ œ. 4 j b œ. + œ´ + œ. œ´ œ´ 2 j œ . œ . ≈ J ≈≈ ‰ . ‰ ≈ ≈ b œ ‰ b œ ≈ 4 ≈ ‰b œ ≈ 4 ‰ b œ ≈ R ‰ b œ œ ≈ ‰ 4 b œ ‰ Œ 44 bœ pÿ π fl F p Í F p P p f P p Ï Pf ©

Roto

4 q = 130

? 44

40

c

bw

Ø

˙

˙

43

f

˙ œB œ .

π

accel.

42

q = 110

. >. . . ´ . ´´ ? 44 b œ ≈ œ ≈ œ œ ‰ Œ ≈ b œJ´ ≈ ‰ b œJ œ œ œ œ ‰ Ó F p F p Í

œ bœ

˙ 43

œ

P

44

œ

˙ Bœ

π

˙ œ. œ œ bœ J 24

q = 150

¯ B ˙¯ ˙¯ 44 b ˙ 24 b œ B œ- 44 œ´ b œ´ œ ≈B œ. ≈ ‰ b œj 42 ‰ ≈ r Œ 44 b œ.

J .

3 ÿ ƒ π 3 ƒ

´ b œ´ œ´ œ´ œ´ ´ .. b œ´ . . œ´ œ. ´ ´ b >œ œ. œ. œ. ´ b >œ œ. œ. œ. œ´ œ´ œ´ œ´ œ´ ≈ b œJ ≈ ≈ ‰ ≈ ‰ Œ ≈ J ≈ b œ œ ≈ ‰ ≈ ≈ œ œ ‰ Ó ‰ Œ ≈ b œJ ≈ ‰ œ œ ≈ Œ b œJ ‰ ‰ J ‰ ≈‰ ≈‰ F p π Í p P F π Í F F p

. ´ œ´ >œ b œ œ´ œ´ œ´ >œ œ´ >œ œ. œ. œ. >œ œ œ. œ. œ œ > b b b > ´ ´ ´ ´ b œ ? ‰ ≈J ≈ J bœ œ ≈ ‰ ≈ œ ≈ ‰ ≈ J ≈ œJ ‰ œ b œ. ≈ ‰ 42 b œ. ≈ ≈ J 3 Í ƒ p ƒ F f P P p f f

59

b˙ ´ .. ´ . ? ≈ b œJ ≈ b œ œ ≈ ‰ œ ≈ œ ≈ b œ´ œ´ ‰ 43 p p P F

Sim.

66

œ

rit.

œ Bœ 44 J œ . Œ

c2

accel.

With a sense of rubato.

˙

œB œ .

43 π

œ œ 24

.. ´ 44 ≈ b œJ ≈ ‰ œ œ ≈ Œ F p q = 110

b œ´ ‰ J π

Abstain from jazziness. More-so falling down, clumsy.

(Well, maybe a little jazzy)

+. +. >. . . +. ´´ ´ .

24 b œ œ œ œ ≈ œ œ ≈ b œJ´ ≈ œ. ≈ b œ œ ≈ œJ ≈ b œ œ ≈ œ. ≈ œ´ ≈ b œ b œ ≈ œ´ ≈ œ. œ. ≈ œ ≈ b œ œ ‰ ≈ b œJ´ ≈ œ´ œ. œ. ≈ œ´ ≈ œ^ ≈ J J 3 Í f F P p f P f F ƒ q = 96

d

ab. lib., become more intuitively jagged while using the motion between rests and tones and a framework.

q = 110

œ´ w 75 . b +œ b œ´ + . b +œ b œ´ + œ´ b œ´ b +œ b œ^ +œ >œ œ. œ. œ. b +œ œ. . ´ ´ ^ j b b œ b œ ^ b . . . . . ? œ 3 ® œ 4 ® œ j œ J 2 J 4 œ œ œ œ ‰ ≈ ≈ œ‰ œ ‰ 4 ‰ ≈œœ‰ 4 ‰ ≈ œ œ ‰bœ ‰ ® ≈ œ œ ≈ ≈ œ œ ≈ ®. ® ‰ 4 Œ ‰ 4 ÿ ÿ ÿ ÿ ÿ p. . Í ƒ F π F ƒ F F ƒ F ƒ P fP F accel. œ œ bœ œ œ. bœ œ b œ œ œ b œ. œ b œ . ˙ . . ? 42 44 J ‰ 43 œ R ≈ œ œ ≈ 42 ≈ b œ œ 43 ‰ J ≈œœ‰ 43 J ‰ b œ. œ. ‰ ‰ .. . . ÿ π π P π P 3p F π f π f F π f

83

q = 115

44

œ bœ œ 3

43

œ bœ ˙

pπ

42

œ œ bœ bœ . . œœ ≈ b œ œ ‰ b œj ‰ 42 ≈ b œ œ ‰ 43 .. ÿ 3 p f p f ƒÿ ÿ

Roto

? 43

92

˙ œ œ J ‰ ≈ b œ œ ‰ 44 p f F. . p

œ bœ J‰

f π

5

œ b œ œ b œ œ œ¯ b œ¯ ¯ .

34 œ œ. œ œ. œ.´ b œ´ œ´ b œ´ 42 ‰ œ.´ b œ´ œ´ b œ´ ‰ 3 3 F 3 f f ƒ

œ. b œ œ œ ‰ ÿ ÿÿÿ ƒ

The "coda" section should be played with generous ab. lib. expression. The lines above the staccoto beams and stems indicate

> > œ. œ b œ b œ ≈ ≈ b œ+ ≈ œ œ ≈ œ ≈ œ ÿ ÿ ÿ ÿ œ.ÿ b œÿ œ b œ ÿ ÿ Ï

(short pause)

contour of the musical line and should not be slurred. However, if the player wants to add some slurred material in, etc., that is fine.

Breath - a little more of a "luftpause" for good air support. Each breath mark should become shorter until the piece ends.

Bracketed, normal-sized notes are out of the tempo of the quick small notes. Durations are relative and should be played slightly irregular,though still fast.

e q = 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ligetian sputtering fast notes.

?

?

π

>.

104

π

?

107

Precise.

´ œ. b œ^ œ

ƒ . . . .

>.

. . . .

>.

. .

>.

. .

>.

+ .. . . . . . . . . ^ bœ . . .œ œ ƒ

,.

. . . . . . . > > . . . . . .. . . . . . .. . . . . . . . . . . . . >. . . . . . . . . . . . >. . >. . > . . . . . . . . .

π

^ ≈. b œ

œ´ œ ^ ≈+ œ

,

>.

. . . .

>.

. .

>.

. . . >. . > . . >. . . . . . >. .

π

> >. >. . . . . . . . . >. . >. . . . . >. . . . . > . . >. . . > >. . >. . . . .

>. .

, >. >. + . . . . . . b œ ´ ^ œ . . . . . . œ. b œ^ œ n œ^ ≈ b œ ≈ n

ƒ

accel. ^ ^ œ´ œ^ n œ^ b œ^ œ ^ ^ ^ b œ œ ≈ œ. b œ ≈ ≈ œ ‰ œ

ƒ

Ï

, ´ œ. b œ^ œ ≈ +œ œ^ ƒ

Kalamazoo, MI 2015, rev. 2017