Page 1

Lost in the Caves



for amplified bass clarinet solo

Gilbert Galindo

Fast, Jittery, and Restless Amplified: very minimal reverb

smrz.**

(t)

3 3                                                                                                                     5 3 3 5 5     *                

hyper-nuanced dynamics and articulation, tempo rubato, breathe ad lib.



           3   

                                

3

3





 

 

3

5

smrz. 3   ***                                                3      3           5 5   5    sub.         (t)

smrz. smrz. (t)  5 3                                                                                                                                    5 5 5 5     3                 3

3 3 3                                          3  3        

(t)

3

3 3                                                                           5   5        

5                                                  5        

smrz.

* All terrace dynamics are subito. ** Smorzato: articulate with embouchure (jaw), not tongue; (t) = tongued *** This bend is over the break. The performer may bend up to the break and then articulate the C#.

3                                                                       5 3   5      

© Copyright 2008 Cuicatl Publications (BMI). All rights reserved.


2

Lost in the Caves

3 3              3 3                                                                                                                                     5 3 3 5          5       

smrz.

3

3

(t)

3

3 3 3               3      3                                                          3 

                  5  5   smrz.

                                                             

 

 

 

                                                                                      5 5  3   3      5       smrz.

3

5

3

smrz.

      3     3                                                                                                                        5 5 5 5                     3

(t)

5

                            3

3

              

(t)

3                                                                          5 5   5  3      

smrz.

(t)

3

 5                                                                   3      3                                      3 5 3  5    5            smrz.

3

3


3

Lost in the Caves 3 3 3                                                                                                                                         3 3 5 5                      3

3  3                                                         3 5       

smrz.

(t)





                           

A little slower, rubato

A tempo



                    

           

     

 

    

(Amplified): very high reverb**

                                                                                                             sempre     sotto voce (breathe ad lib.)

airy with minimal subtones

*

  

                                                                         



                                                                   



                                                                      



* 16th notes in this passage are to be played rapidly with approximately 4 sixteenth notes per beat at approximately quarter note = 138 - 144 bpms. Thirty-second notes are to be played as fast as possible. ** The reverb effect may produce very minimal feedback.


4

Lost in the Caves

                                                                  

       



3

                                                                                        

                 

  

 

 

 cresc.

                                                               

                                                                                                         3         sempre      

                                               

 sempre

                      

 

 

                  

         

                                                                                    3          


5

Lost in the Caves

                        

 

                                                                                                3              

                                                                                                                              

    

            

   

                                                                                                                                                     

                                                                    

   

                                                                                  

                                                                                                                                 

                                                                                                                           

 sempre


6

                                                                   

Lost in the Caves



,

 

rapid vibrato*

   

G# oxo|ooo x

      



 





   

 

       

 

  

 

oxx|xxx x

 

intense oxx|xox oxx|ooo oxx|xxo oxx|oxx oxx|xxx oxx|xxx Rx G# Rx G# x x G# Rx E Rx F#

  

             sempre

    

  

    

     

  

  



           

** As high and as long as possible. Hold for no less than 15'. You may breathe and rearticulate.

       

oxx|xox oxx|oxx x x G#

  



,                  xoo|oxo Rx Eb



 

oxx|xxx x F#

gradually slow vibrato vib.* **

oxx|xxx Rx G#

  

    

             

 

  

                                                                                                    

* Embouchure vibrato.

oxx|xxo x F#

no vib.

n.

Profile for Cuicatl Publications

"Lost in the Caves" for amplified solo bass clarinet (2008)  

"Lost in the Caves" for amplified solo bass clarinet (2008)  

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