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Instrumentation Saxophone (Soprano in B-flat and Baritone in E-flat ) Electric Guitar (equipt with volume pedal) Percussion (Marimba, Vibraphone, Wood Block attached with Foot Pedal, large suspended cymbal) Piano

Instrumental Layout Cym E. Gtr

Sax WB

r

Ma e Vib

P.no (Lid up)

p Am


General notation guide:

!

= to be exactly aligned

= sustained sound (play the duration of the note and sustain) # "

"

= gradually change from one technique to another (e.g., sul pont to sul tasto)

"

= cresc./dim. from/to nothing

!

"p" = absolute dymanic

2 3

= crescendo with increased emphasis at end

! ! ! ! !

= fractional time signature, the lower number referring to the subdivision of beats (in this case a half note triplet), and upper referring to the number of beats; therefore a 2/3 measure would mean two triplet half notes per measure.

*& + &$'(%)

= repeat figure inside the box independently of the ensemble

= ascent of microintervals (not tempered quarter tones)

Guitar notes:

Sax Notes/Techniques:

The guitar tone should be clean and warm. A Fender Telecaster with a Fender Jazz Chorus amp would be a good model for an appropriate tone. The volume of the guitar should be set so that at 100% the quietest harmonic on the guitar would be equal the loudest vibraphone note. For most of the piece therefore, the volume should be considerably lower.

The Soprano Sax is to be tuned 31 one cents flat, the exact difference between a tempered and naturally occuring seventh. The easiest way to retune the instrument is to tune it to a harmonic on the guitar or piano.

= cresc/dim. with the volume pedal

Piano Notes/Techniques In order to play piano harmonics in a timely fashion, the pianist should mark (with a piece tape or chalk), the appropriate nodes inside the piano. When playing harmonics the pianist should touch the node, strike the key, and remove his finger very quickly in order to let the harmonic ring clearly.

#

(

( '"

= air sound = 1/2 air, 1/2 tone = normal tone (ordinario)

# = sounding a 1/6 tone flat ! Percussion notes:

node inside the piano

= piano harmonic notation

'

$ % ,

on the keyboard

* ! = muted with finger inside the piano (close to the end of the string) ) = depress silently The pianist should have a piece of foam weather stripping ready at the beginning of the performance, which he or she will use to prepare the piano at the end of the second movement. The piece of weather stripping, (about 6-8" in length and 1" in width) should be placed lengthwise on the strings indicated in the score. The weather stripping should be wide enough to be placed over exactly two notes.

It is imperative to a successful performance that the motor speed of the vibraphone be the same throughout the first, second and beginning of third movements, as it sets the tempo of the third movement. The speed should be medium-fast, with the motor rate being approximately equivalent to m.m. 320. Since the motor speed then changes so frequently in the third movement, it would be extremely helpful to mark with a small piece of tape on the motor the spot on the dial of the original rate. At the same time, I am aware it is almost impossible to reach the exact same motor speed and it is perfectly all right if the percussionist simply comes very close to the tempo being that vibraphone sets the tempo for the movement, but then intentionally blurs the beat after that.


To Flexible Music

VARIATIONS ON A STILL POINT I. VARIATIONS

Soprano Saxophone

Electric Guitar

 

 

   

  



 

    

    

  

   

       

fff







     

(marcato sempre)

  



   

         

p

 

 

fff

 

 

 

 

 

 







      

fff

fff

 

 

 

 







 

fff

     

   

11 8 

8 8

     



 

 



 



    



(sim.)

             

 

       

 



fff

 

 

    

 



      

     fff



 

     

 

    

                      

 



9 8



     

5:4

fff

        

           

    

                     



         



     6:5

fff

            

7 8  ppp



5:4

sfz



fff

           sfz

15  8

   5:4

fff

           

 

 

 

            sfz                 

          

    



 

 (simile sempre with each measure)

fff

 

 

fff (sim.)

(slowly depress)



                

                 

fff

 

12 8 

(sim.)

    

                  

10 8  

    

 



fff

 

(sim.)

    

(slowly depress)

fff

 

 





fff

   

 



Marimba (Medium-Hard Yarn Mallets)

ca 2"

12 78   



 

 

12 8

Wood Block (with Foot Pedal)



10 8 

fff

SOST 

      fff

 

 



Piano

 

 

Percussion

12 Relentless (q. = 120)  8 

 

CHRISTOPHER CERRONE

5:4

              4:5

 sfz

 

 

   

  



  

10 8

    fff



    

          

    

     

        

                         

sfz


2 13

10 8 

 

   

f

 



       

 

(slap tongue)

 

     

 

 

 

 

 

12 8  

fff

 



 



fff

ppp sub.



8 8

 

  

fff

   

   

 fff

ppp sub.



 

 

 







 

   

                         

          

9 8 

 

 

 

 

 



3"

                 5:4

                 fff

 (as at the beginning)

6:5

   

       



 ( )

 ( )

 

10 8 

    

    

 

  2"



2"

fff

      

 

2"

(SOST.) 



      ppp sub.

  

   

A     

fff

  

    

            ppp sub.

pp

      

pp

 

                                    



12 8 

fff

 

 

 

 





 

pp

sfz

sfz



 

f

 



 





fff

 

    sfz

     ppp sub.



  

   

         

       ppp sub.

fff

   

  

                   

ppp sub.

  

10  8 

sfz

fff

 

          

 

 

10 8

 

fff

   

 



              

fff

       

 

                         5:4

 ( )

4:5

  5:4

   

   sfz       

        

fff

    

 

9 8   

A

ppp sub.

fff

  

                   

fff

    

fff

 



    

5:4

 

(marcato sempre)

             

fff

 

 

8 8

(sim.)

  

     

9

   8        

ppp sub.



20

   

13  8  

   fff

     



ff

                                ppp sub.

7 8


26

 

7 8   

     5:4

fff

      

fff

     fff



12 8 

  

      

            fff

9 33 8    

 

 

 

 



  





 

  

10   8   



   

        

     

      

      

pp

        

pp

una corda

   

 

fff



   



fff

sfz

ppp

sfz

8     8



  

 (as at the beginning)

 



 fff

   fff

    

        

   

pp

una corda

  

7 8 

sfz

ppp

  

ppp

  

           

   

   sfz

     fff

  

 

fff

   

   

9 8 

2 4

fff

   

        

    

  sfz       

   

fff

 

           

    



2 4  

 B sfz

5:4

         

         

 

            

9 8 



      

pp

fff

fff

  

     

pp

fff

               pp una corda



          

               

pp

8 8

3

5:4

               

pp

5:4

f

    

fff

5:4

fff

ppp

2  4   

  

     

fff

    

 

sfz



f

pp

fff

 

 

fff pp

pp

pp



fff

   

        tre corde

sfz

ppp

 

  

 

   

              sfz 

10 8 

ppp



   

5:4

fff

 



   

7 8   

          

                



pp

  

pp sub.

             

 

sfz

fff

 

ppp

5:4

  

 



2 4

B

         

pp

una corda

2 4  

   sfz

f

     fff

 

fff

    

    

fff


4

7 42 8  

 

      

5:4

2 4  

10���      8

fff

           

    



   

fff

   

  

    

 

10 51 8 

 



 

14  8

 

         

 

 

10x

 

12   8 

    fff

          

  

fff

   

una corda



fff

fff

      



   

 *

 (A)









 





 

 



 

             

 

      



 

 

   

5:4

5:4

13 8 



4:3

 



3:2





5:4





 fff

            

12  8 

 

SOST 



"p"

Vibraphone (Same Mallets)

2"

2"

      4"

pp



    



4"

legatissimo











mp sub.

            

    

10 8

4"

2"

5:3

 

4"

2"

          

 

pp

   

6:4

ffff





   

3:2

ffff

fff

 

  

           

  

  

6:5

ffff

sffz



   

             



    3:2

   

7 8

5:4

ffff

*) High note above frets

         

pp

9   8                    

10x

pp

5:4

fff

fff

     

  

tre corde

 

                    

  

 

 

10x

pp

fff



10x

fff

 sfz           

3  2 4     8 

(ossia: highest note possible)

10 8   

  







 

            

fff

                   Marimba

     

              

                      

     

                                        

fff

                       

                    fff

          

  

 

       

                        

      

     

    

                   

          

           

           


6 57 8

 

 







4  4

12 8

              

  

sfz

fff

         

        

 

ppp



12 8

sfz

sfz

sfz

sfz

sfz

sfz

                          sfz

fff



sfz

sfz

sfz

sfz

sfz

sfz

sfz



sfz

sfz

sfz

sfz

ppp

sfz

fff

una corda

9 63 8

           

  

 

5:4

ffff

  

7  8 

             3:2

     6:5

  3:2

ffff

8 8

   

 

sfz

                         sfz

sfz

sfz

   

 

sfz

              

sfz

7

2

sfz

sfz

sfz

         sfz

sfz

9

6:5

ppp

poco

                         3:2

3:2

fffff

4:3

ppp

poco

                                                                5:4 5:4 fffff 6:4 6:4 sfz ppp ffff  

5:4

ffff



             3:2

sfz

sfz

5:4

3:2

5:4

5:3







       sim.         ff poco a poco cresc.

5:4

fffff

3:2

5:4

5:3

ppp



sfz

ff poco a poco cresc.





3x

sfz

sfz

sfz

                     

sfz

ff poco a poco cresc.

7 8

 

      6:5

 

   

 

 

4:3

     

5:4

fffff

   

 

 



   

                     3:2

3:2

fffff

4:3

                                                          5:4 6:4 6:4 5:4 5:3  ffff     

5:4

poco

9 8

3x                              

                  

    

3:2

ffff

                                                                              ffff





3x

sfz

            

8  4   8                          5:4

fffff

4:3

 



p

(tre corde)

a tempo wood block cues realignment



poco a poco accel. independently

                

   



5

poco a poco accel. independently

         sfz

sfz

3x



maintain tempo

fff

                

                     sfz

             sfz

12 8

maintain tempo

                                     

ppp

     

11 8

ffff

3:2

                                                5:4

5:3

5:4

5:3

5:4

5:3


6

as fast as possible, not aligned (sax: legato sempre guitar: sul tasto)

as fast as possible, not aligned

a tempo aligned

                                                                                                               p poco a poco cresc. ffff sub. ffff 8"

72

Tutti

as fast as possible, not aligned

a tempo aligned

6"

mp (cresc.)

4"

mf (cresc.)

sub.

as fast as possible, not aligned

8"                                                                                                

85

5"

a tempo aligned

ffff

3 100 16 

 

   

   

3"

ffff

f (cresc.)

9 8  ffff

  

ffff

    

   

  

                ffff







   

    

         

3"

ffff

ff (cresc.)

 





 

  

   

  

                       



         

 



ffff

fff (cresc.)





     

    

    

                                     

 

 

       

  







 

p sub.

        

ffff

 







     

    

    

   

  

                                                      





 

   

  



  







 



            

                            

fff

                                                                                                                                                                      ffff


7

108

 

    

        

 







     

    

    

   

  

   

  

 





 

 







              

                                                                                                

                        

    

    

 





   pp sub.

        

(take breaths imperceptibly)

  

           

  

  

       

                       

                                                                   

                   

                                                         

6 3x 8 

115

 

poco a poco cresc.

  

  

 

     

  

          

  

                                        

                        

                    

    

                 

           

                 

                        

           

 

 

                    

                    



  

   

                                   



                         

    5"

pp

attaca

3x



         



3x                



3x



                

  attaca

 

 

attaca

attaca


Tenor Sax

CHRISTOPHER CERRONE

 

II. STILL POINT (COLLAPSED)

20 - 30"

Molto Rubato (with much rhythmic flexibility) q = 40 - 56

     

 



5"

ca. 3-4"

pp

ppp

 



  4"

ca. 3-4"

sempre cantando e lontano

    3

p

    3

pp

 p

7"

 pppp ppp

(an echo)

 



ca. 2-3"

  6"

 

ca. 1-2"

3

 mf

3

   

ppp

5

   mp

ca. 1-2"

slow and even gliss.

 p

3"   

   

p

ca. 2-3"

 pp

ca. 3-4"

 

mp

3



f

 



pp

sub.

10"

 

9/2/06 New York, NY


Guitar

IV. STILL POINT (COLLAPSED)

3 = 6 q = 65 2 4 

 

6

 

11

 

16

 

21



  

 



(l.v. sempre)

 



  

 

 

"p"

    



   mp

   



 



"p"









 

 

  

"p"

mp





 

 











 

 

 

 







 

 



 

 



 



"p"

mp





"p"



 

 

 

 

  

 

mp



      "p"

 

"p"



 

 

 







 

 



"p"

mp

 

 



 









poco rit

 

.



mp

 "p"



 





 "p"

     



   



 





 

  

 



mp



 

"p"







 

 

mp "p"







 







 



 

 9/2/06 New York, NY


Percussion

IV. STILL POINT (COLLAPSED) q = 70

3 =6 Vibraphone 2 4

p

r.h.: soft felt mallet l.h.: bow





(l.v. sempre)







p

 7

 p



with bow

  

 

p f

p 14

ord.

 

 



with bow

with bow

f





with bow

  



p

ord.

ord.



   

with bow

f







p





sfz

 

20



  

with bow

ord.

 

 f

 

rit. e dim. al fine.



 



   







p

p

 



 

 

 sfz

 p



f





with bow

  

f

f

p

with bow

f

p



ord.



p

 

   

ord.

with bow

  

 

with bow

 

p f



f

  9/2/06 New York, NY


Piano

II. STILL POINT (COLLAPSED)

3 = 6 q = 60 2 4

       

"p"





       

molto legato

 

ord.

       

 ord.   

   

 ord.  



ord.

   

sfz

       "p" 



      

" p" sempre



        

ord.

(al fine)

8

16



(al fine)

         

 

    



        

pp



         

mf

 

       

    

    

     







        

       

rit. e dim. al fine.

         



       

  

 

     

 

        pp mf

                   9/2/06 New York, NY


variations on a still point