Issuu on Google+

Edgar Guzm谩n

2009-2010

Version 1.0 (approximated duration: 20 minutes): Amplified violoncello and stereo tape Version 1.1 (approximated duration: 20 minutes): Amplified violoncello and real-time downloadable stereo tape Version 2.0 (approximated duration: 40 minutes): Amplified violoncello, Internet installation, real-time downloadable stereo tape and video projection Version 3.0 (approximated duration: 20 - 40 minutes): Any of the three previous versions in broadband Internet broadcast

The following work was supported by the Programa de J贸venes Creadores 2009-2010 del Fondo Nacional para la Cultura y las Artes This work was sponsored by Kivie Canh-Lipman Mexico's Fondo Nacional para la Cultura y las Artes FONCA and Kivieand Cahn-Lipman Commissioned by and dedicated to Kivie Cahn-Lipman Commissioned by and dedicated to Kivie Cahn-Lipman


PERFORMANCE NOTES 1) CONCEPTUAL BACKGROUND A couple years ago two different compositional aspects concerning time structural perception started to be more frequently applied to my compositional work. One of them was the use of diminished forms of different time scales as a way for compressing the musical information within balanced structures; the other one was the modeling of new pieces from an eclectic collection of already existing sound fragments from different sources and timings. At some point during the working process of this piece, I decided to apply these elements to its composition not without performing some variations in order to make them suitable for its use in a large scale structure (given that, at the moment, its previous applications had been helpful at producing mostly short pieces); by doing so, as the form and general gesture was being gradually reinforced, the psychological category of ‘schizophrenia’, as used by Fredric Jameson in the context of his text Postmodernism, or, The cultural logic of late capitalism, (which I was reading at the moment) seemed to be useful as an aesthetic portrait for this work; this piece however, ain’t a representation of a schizophrenic life experience (the way Jameson pictures it later on his text): (…) Lacan describes schizophrenia as a breakdown in the signifying chain, that is, the interlocking syntagmatic series of signifiers which constitutes an utterance or a meaning (…) What we generally call the signified –the meaning or conceptual content of an utterance- is now rather to be seen as a meaning-effect, as that objective mirage of signification generated and projected by the relationship of signifiers among themselves. When that relationship breaks down, when the links of the signifying chain snap, then we have schizophrenia in the form of a rubble of distinct and unrelated signifiers. The connection between this kind of linguistic malfunction and the psyche of the schizophrenic may then be grasped by way of a twofold proposition: first, that personal identity is itself the effect of a certain temporal unification of past and future with one’s present; and, second, that such active temporal unification is itself a function of language, or better still of the sentence, as it moves along its hermeneutic circle through time. If we are unable to unify the past, present, and future of the sentence, then we are similarly unable to unify the past, present, and future of our own biographical experience or psychic life. With the breakdown of the signifying chain, therefore, the schizophrenic is reduced to an experience of pure material signifiers, or, in other words, a series of pure and unrelated presents in time. 2) APPROACHING SCHIZOPHRENIA There are four different ways for this piece to be performed, there’s no need for a particular one to be played (or heard) before nor after another, and the decision for playing either one version or another (and even maybe to never play one or two of them) is up to the performer. Despite the fact that the whole piece -that is all four versions- is (are) rendered under the concept of the schizophrenia, it’s the third form of the piece the one closer to its character. Independent stereo amplification for both the cello and the tape is required in all four versions: a) The first one corresponds to the objective representation of the ‘original’ –and ‘linear’- signifying chain. Although there are no actual breakdowns occurring in this form, all of the musical elements, sections and gestures are the result of a series of –more or less- unrelated presents, that is, different performance moments spread over more than a year lasting period of work. b) Piece’s second form is a midway between the signifying chain’s previous establishment and its utter breakdown related, in this case, to the potentially schizophrenic experience when surfing on the Internet. In this second statement, the optimum circumstances for the piece’s existence are directly related to a particular space condition –and therefore, any space fulfilling that particular condition is a potential performance space-, namely, the possibility for establishing an Internet connection; for this version, the electronic part is divided in two parts due to uploaded files’ size restrictions of the web page used, thus creating an obligated breakdown around the middle of the piece (at 9’45”); the tape will be played while downloading from the next URL: PART 1 - http://www.youtube.com/watch?v=BsiOZ3gjxSo PART 2 - http://www.youtube.com/watch?v=fzAkLEXXhfM Along with the forced break point because of youtube (new) restraints, possible and unforeseen breakdowns of the signifying chain caused by bandwidth saturation or signal variability are an important element of this second form, since they are the indicia of the next and finally ‘schizophrenic’ form of the piece in which any event, both musical and extramusical, will become part of a series of unrelated presents. Whenever a breakdown in the piece’s flow takes place (including the aforementioned forced one) they can be ‘filled’ either by free improvisatory passages or silences passages. c) The third state represents the total breakdown of the signifying chain by its immersion (or transformation) in a sociability model. As in the previous version, and because the schizophrenic character of the piece is related, in this case, to the Internet surfing experience, any space with the possibility to establish an Internet connection is a suitable performance space, performance itself taking place while being online, playing the tape from the aforementioned URL; but now, not only the performer but also the public is to be offered this ‘onlined’ condition, since they will also have the opportunity to surf in the web, creating and ‘improvising’ their own series of unrelated presents while wondering freely around the space, the web, and the performance itself. This free-moving public experience will be created in the context of a computer network installation available for public use, either build or already existing at the place where the performance would take place (a cybercafé model stands as an option for performance space); onscreen and audio content of each one of the computer terminals available –ideally, at least four terminals plus the performer’s-, will be both projected and amplified for everyone in the public to watch and hear. Besides, as to this third state, and in addition to those possible and unforeseen breakdowns in the online transmitted data, the performer is now given the power to control the piece flow -and duration- by two different means: 1) saturating and desaturating the bandwidth at will –not only of his own computer but everyone’s- by closing and opening different web pages of any kind (however those pages having a video and/or an audio component are preferred); this actions can be done when an unexpected breakdown -as described before- takes place, or when the second option for piece’s flow control is performed, that is, 2) pausing the tape –as well as other terminals’ audio and video content- at will, with the additional option to continuing it at a different moment -either after or before the pause point- every time, the only limitation being the buffer size status; previously mentioned possibilities for improvisatory sections and silence (although there’s no possibility here, only remote, for silence to happen overall due to other terminals activity and public control over them) remains as a performance option during breakdowns -either willingly or unwillingly generated- and besides, performer is now also invited to walk around the space and to become part of the sociability model that this form of the piece is intended to generate. Decision on the performance’s time duration for this version is up to the performer, it could be either the minimum standard length of 20 minutes or it could be doubled (and even more). d) For the fourth and last state, performance indications -and implications- of all the aforementioned formats are applied here as well; any of the previous states can be Internet live broadcasted, and also a ‘close door’ performance of any of previous three versions can be ‘open to public’ only by means of an Internet broadcast. 3) STRUCTURAL AND AESTHETIC SIGNIFICANCE OF THE TAPE The link between the concept of schizophrenia and piece’s structural behaviour wasn’t established in advance to the creative process, but only after observing some similarities between them once the work on the piece was at an advanced stage. But as far as sound design is concerned, there was indeed a previous conceptual work concerning both micro and macrocosmos’ aesthetic, that is, the expressive applications for sound material generated by technical ‘deficiencies’ during the performance as a consequence of a nonexistent training in cello performance. The tape for this piece stands as the documentation of a series of personal performances filled with those ‘deficiencies’ (apart from some ‘synthetic’ or pure electronic sounds working as a general structure’s counterpoint). As the documentary for different performance moments with a particular technical character, the tape acts as an aesthetic guidance in the resolution of some live performed sound’s quality as well as performance’s character, this way acting as a complement to the score; however, as the piece evolves and given that the tape was later submitted to some basic electronic modifications concerning general envelope and partial reinforcement for musical purposes, its quality as a sound and musical character’s guidance is subject to gradations. Finally, with exception of the beginning of section E at 3’45” (for which the reason of existence is extramusical), there are not synchronic individual gestures between the live performance and the tape -which will be running from the beginning to the end of the piece- but only diachronic gestures; the live performance must be fully expressive by itself, although not without an influence in sound design and -specially at the last part of the piece- in character, from the sonic document that the tape represents and which is the same as important as the live performance. 4) ABOUT THE FINAL SECTION Last part of the piece works as a conceptual link between the first version -more related to the context of a ‘traditional’ concert- and the other three versions –in which social and cultural elements external to those involved in the context of a music concert are evoked at different degrees. Reasons for selecting the sound material to perform this connection are anecdotal but significant.


ADDITIONAL PERFORMANCE NOTES For practical purposes, whenever further explanations or comments for a particular passage or sound event are required, explanatory notes are placed in the same page where the corresponding event takes place. Some additional general notes might be useful though:

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

'normal' pressure referres to the pressure directly related with a proper performance of the more traditionally represented sounds, i.e. dynamics, accents, etc. 'none' bow pressure passages are performed using bow's weight solely

I II These two staffs are used III when a dynamic representation of these parameters is required as related to a particular passage’s sound quality, and when a specific combinatory of them is IVneeded to produce a particular sound, multiphonics for instance. The parameter concerning bow pressure specifically the one denoted as extreme, although might be (usually) associated to the production of the unpitched noisy sound denoted as over pressure it is not intended here to produce that type of sound; the over pressure sound is indeed used in the piece, but whenever this sound is required it is called for using a graphic representation ( ). Descriptive notes about sound quality are placed throughout the score when consider needed and, in addition, the tape also stands as a document available for sound guidance. Additional staffs are explained within the score.

X

PROGRAM NOTES The title of the piece tries to evoke the process -inherent to the piece conception- in which a manufactured product is presented while proclaiming a unified character and origin even though its true nature resides in the multiplicities, a process in which this multifaceted, multicultural and multidisciplinary group of events, of consciences, of people, do not share that sense of identity and unity that is pretentiously represented.

COMPOSER’S NOTES ON PROGRAM BIOGRAPHICAL NOTE NOTES Edgarwas Guzmán was born in Querétaro Qro., México. composerand of acoustic andpretext electronic music, hisan work has been performed at several contemporary 2010 the year of Mexico’s Independence Day Freelance 200th celebration, under that it witnessed endless chain of economic wastes and a new music festivals in Mexico, USA, Canada, Brazil, Argentina, Chile, France and Germany. His musical work is comprised of commissions dedicatory pieces old‐nationalistic political discourse reinforced under false pretenses. This piece is a small effort to introduce a spark of critical discontinuityand into that discourse. to a number of ensembles, performers and institutions such as the Baja California State University’s Ensamble de Música Contemporánea, Mexican National System for Musical Promotion’s Orquesta Sinfónica Juvenil, International Contemporary Ensemble, Kivie Canh-Lipman, Wilfrido Terrazas, Alexander Bruck, Rebekah Heller andBIOGRAPHICAL Ryan Muncy amongNOTE others He has been recipient of several grants and distinctions such as the FONCA Young Creators Grant in 2006 and COMPOSER’S again in 2009, Artistic Projects Sponsorship Program granted by the Mexican Youth Institute, Queretaro State Institute of Culture and Arts Young Creators Grant 2002 andwas 2004, Guanajuato StateQro., Intitute of Culture and Arts Young Specialization Program, National System for Musical Promotion' Annual Edgar Guzmán born in Querétaro México. Freelance composer ofComposers acoustic and electronic music, his work has been performed at several contemporary Commissioning 31st International Competition of Electroacoustic Music Sonic Art isBourges Residencè Award. Inand 2005 he fulfilled an music festivals inProgram Mexico,2006, USA,and Canada, Brazil, Argentina, Chile, France and Germany. His and musical work comprised of commissions dedicatory pieces artistic residence at the LIPM in Buenos Aires, and later that year he joined to the performance group Projet Itinerant, founded by the composers Matias to a number of ensembles, performers and institutions such as the Baja California State University’s Ensamble de Música Contemporánea, Mexican National Giuliani,for Santiago and Adolfo Kaplan. As a member of International this group, heContemporary offered a series of conferences and concerts atWilfrido differentTerrazas, venues and institutions of System MusicalDiez Promotion’s Orquesta Sinfónica Juvenil, Ensemble, Kivie Canh-Lipman, Alexander Bruck, Santiago de Chile, Valparaíso, Viña del Mar, San Juan, Mendoza and Buenos Aires. Some of his works are recorded in New Focus Records, Quindecim and Rebekah Heller and Ryan Muncy among others He has been recipient of several grants and distinctions such as the FONCA Young Creators Grant in 2006 and Luna Negra. again in 2009, Artistic Projects Sponsorship Program granted by the Mexican Youth Institute, Queretaro State Institute of Culture and Arts Young Creators Grant 2002 and 2004, Guanajuato State Intitute of Culture and Arts Young Composers Specialization Program, National System for Musical Promotion' Annual Commissioning Program 2006, and 31st International Competition of Electroacoustic Music and Sonic Art Bourges Residencè Award. In 2005 he fulfilled an artistic residence at the LIPM in Buenos Aires, and later that year he joined to the performance group Projet Itinerant, founded by the composers Matias email: manzuge@yahoo.com.mx Giuliani, Santiago Diez and Adolfo Kaplan. As a member of this group, he offered a series of conferences and concerts at different venues and institutions of Santiago de Chile, Valparaíso, Viña del Mar, San Juan, Mendoza and Buenos Aires. Some of his works are recorded in New Focus Records, Quindecim and Luna Negra.

email:manzuge@yahoo.com.mx

11


HECHO EN MEXICO

0'00"

(2009-2010) to Kivie, thank you for your trust

Edgar Guzmán 1981

TAPE

A

talon

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

1'00"

approximated bow change frequency: 13 - 17 sec

legatissimo punta

talon

punta

arco open string(s)

I II III IV

string(s)/ pitch source

X ïï

(*) p ï

1'00"

bow pressure

bow location

string(s)/ pitch source

approx. bow change frequency: 10 - 12 sec; additional bowing may be performed

(**)

B

talon

punta

(+) punta

bridge spm ord sul tasto extreme high desired sound quality: pitched but distorted normal I none II III IV bridge spm ord pressure sul tasto ratio

clearly G pitched sound for about 2 seconds

XX ( )

This staff represents bow pressure's ratio between the two voices that are involved in the passage, the upper line corresponding to the upper voice or string III, and the lowest line to the string IV; middle line represents a balanced pressure between the voices. Both of voices are to be played at all time, so the graph indicating a higher pressure in either the upper or the lower voice represents the 'emergence effect' that has to be acomplished with the corresponding voice making it relatively preeminent to the other one in which pressure decrease in inverse proportion.

P

1'36" talon

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

I II III IV

extreme high normal none

bow location

bridge spm ord sul tasto

I II III IV

approx. bow change frequency: 4 - 5 sec simile

punta

(( XX )) SzF

?

P

nX

2'00"

nX

IV

Ï

2'35"

gradually 'figure 8' bow (++)

?

pressure ratio remains balanced

(( XX )) F

Î

initial bow change frequency: 3 sec punta talon

p

nX

poco cresc

sul tasto's deep end

1

C 2'00" bow pressure

Synchronize bow direction change with bow location movement's change as a preparation for oncoming circular bow and 'figure 8' (++); as before, additional bowing might be performed

?

pressure ratio

string(s)/ pitch source

talon

1'32"

extreme high normal none

I II (*) III IV

string(s)/ pitch source

dynamic fluctuations ad libitum

1

?

nX

simile

Incorporate 'outsider' accents, sffz and bow sudden movements during the transition to the figure 8 as preparation to the next improvisatory passage's character.

P

(*) Overall dynamic is to be mantained; nuances in within are to be performed by means of expressiveness (**) Although the sound remains continuous (or legatissimo), some breakdowns may occur 1 1 due to pressure and bow position changes

(+) If 'extra' bowing was performed, this and others bow indications might be inverted (++) 'Figure 8' bow is generated by performing a bow change in midway of spm (or bridge) to sul tasto transitions and viceversa; a complete figure 8 cycle is comprised by with an initial frequency in this passage of 0.5 (half cycle) per second

ÎÏÎÏ


2'35" C'

Ï Î

figure 8

(*)

bow pressure bow pressure

extreme extreme high high normal normal none none

bow location bow location

bridge bridge spm spm ord ord sul tasto sul tasto

(

3'08"

Passage's sound material available for free combinatory

poco frenetico

Ï

Î

= 2 sec)

circular bow ( j = 1 sec) (*)

Ï

Î

⇌2

1

'brush tremolo' (vertical tremolo as faster as possible)

slow vertical bow (none horizontal movement)

ÏÎ

⇌3 5

ÏÎ

⇌4

nX

(sul tasto)

?

⇌5

nX

?

ÏÎ

slow and wide brush tremolo

attacca

?

nX

ThisThis passage works bothasasaan evolutionbetween of C andthe asmore a bridge between thequality previous butpassage distorted quality and unpitched the following unpitched quality D. (D). Frequency modulations in alloffive are 2 possible passage works transition or less pitched of pitched previous and the main character of the nextofone Frequency modulations 1 and are possible

accelerandos and rallentandos. Any combination and/orand sound modulation between all five elements is possible, and any them can be suddenly interrupted or broken a different one. I by performing by performing accelerandos and rallentandos. Any combinatory sound modulation between all five elements is possible, andof any of them can be interrupted at any momentbyby a different element. I II II III III IV IV

XX

string(s)/ string(s)/ pitch source pitch source

F sudden accents, sffz, crescendo and decrescendo ad lib.

OVERALL DYNAMIC:

3'08"

D

= 6 sec

ÏÎ

3'35"3'35" ÏÎ ÏÎ = 1 sec = 1 sec

attacca

In addition, a modulation between the two main fequencies is to be performed.

bow pressure

extreme high normal none

extreme high normal none

bow location

bridge spm ord sul tasto

bridge spm ord sul tasto

I II III IV

string(s)/ pitch source

?

nX

nX

?

vary sul tasto's deep

?

nX

vary sul tasto's deep

(( XX ))

1

1

speed control

I II III IV

?

1

accel... Three lines staff above is used as a speed modulation control for vertical bow's frequency; middle line is the frequency assigned in each case to the corresponding figure, upper line represents an increase of approximately double the frequency (i.e. initial value -in seconds- multiplied for 0.5), and the lower line represents a decrease of about half the speed (value in seconds multiplied by 2). In addition, a modulation between the two main fequencies is to be performed.

OVERALL DYNAMIC:

E bow pressure

3'45"

j X = 1 second (ca.)

extreme high normal none

bow location

bridge 1 spm ord sul tasto

string(s)/ pitch source

I II III IV

?

p

F accents and small sfz ad lib.

Rhythmic notation is not intended to be performed literally, but to server as a visual guide for the temporal flux organization and to get a first definition of the performance actions contained in it.

Ï

Î

Î Ï

j

X

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

Ï

Î

M

1

(**)

M

multiphonic

Î

1

nX SZî

ÑX

ï

SZp Szp

)

n Ü OX f F (++)

Szp pressure ratio

(+) approx. bow speed based on change frequency: 4 - 5 sec

(

Î

Wait until the first indicia of the tape's loud sound is heard to immediately play the grace note followed by the sffz

3'57" (+) Ï

Ï

Î

4'15"

4'09" Ï

(+) approx. bow speed based on change frequency: 4 - 5 sec

Ï

Î

Σ

Ï Î

(**)

Ï

Î

M 2

desired sound quality: very high pitched sound with a 'shadowed' low G resonance

2 ? n Ü OX nX ( ) SZ f ( F) (*) Ï might be Î instead and viceversa 22 11 1 (**) Multiphonics are a combination of harmonics and bow noise; the parameters notated are 1

2

those bow actions which combinatory proved efficient to produce a multiphonic or multiphonic 'alike' sonority, along with the string and the node where to perform a harmonic pressure touch -a different combinatory of those parameters is possible if proves better suitable-; ask the composer for a sound sample of those multiphonics used in the piece

1

22

2 2

2

2

SZf

(III)

n Ü OX F (++)

(+) In contrast with the previous notation where the time amount specified was that for the bow to move all the way from one point to another, now the bow speed resulting from that movement is the one which in combination with the rest of parameters produces the multiphonic, but there's no need for the bow to go all the way from talon to punta. (++) Alhough is possible to manipulate multiphonic's volume, it's possible than in most cases the actual dynamic would be inherent to the overall combinatory of parameters and won't be a suitable subject for manipulations, at least not without breaking the multiphonic. Nevertheless, score' specifications of a particular dynamic responds to the necessity for picturing its expressive2 relationship within the musical flux.


4'31"

4'21" Î

Ï

( ) (6 sec. ca.)

(

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

?

I II III IV

M

)

Î

j

Î

Ï

Î

approx. bow speed based on change frequency: 4 - 5 sec

M

6 sec. ca.

ÏÎ

Ï

Ï

Î

poco arco

transition: unpitched sound

(

n Ü OX ) ( F)

nX

nX pressure ratio

extreme high normal none

bow location

bridge spm ord sul tasto

nX f

n Ü OX F

SZf

SZp

2 Bow actions in passage F and F' can be performed different from that of score notation if better suitable to perform the specifications on the sound quality preeminence graph. In contrast to bow changes attached to sffz, 2 the others adds a very subtle sometimes almost imperceptible 'node' to a continuos linear sound.

punta

bow pressure

pitched

(III)

F 4'38"

string(s)/ pitch source

Ï

talon

punta

j

talon

bow pressure in order to follow the sound preeminence graph and dynamics; modulations in sound quality ! Adjust for this passage are, for the most part, in direct proportion to bow's location.

Desired sound quality: high pitched sound wih a shadowed low B resonance

I II III IV

nX ? ( nX ) p m o r e n d o . . . ïï

Szp

sound quality preeminence Middle line of the three line staff represents a balanced complex sound of high pitched partials along with its shadowed fundamental pitch; upper line represents those high pitched partials isolated, while the lowest line represents the root.

(

4'54" bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

Ï

punta

Î

p)

Ï

5'05" Ï

Î

? ( nX ) sound quality preeminence

F'

SzFP

bow pressure

bow location

bridge spm ord sul tasto

Î

P

Ï

Î Ï

fP

nX

SZf

Ï

Î

extreme I high string(s)/ II normal pitch source III none IV extreme high bridge normal spm soundnone quality ord preeminence sul tasto bridge spm I pressure ord IItasto sulratio III P IV I II (*) Extra three line staff represents the pressure rario between the two voices; both of III are equally affected by the sound preeminence graph. them IV

? (Ñ X )

Î

gliss

3

X

Î Ï Î

Ï

Î

Zf p SSZf

SZf

3

Ï

ÑX

pressure

(*) ratio

5'15" molto arco

extreme high normal none

nX nX

Szp

F

Ï 2

Î

3

5'30" ÏÎ £

3

Ï j

X

3

1 1

3 3 3

3 3

Zf SZSSZf

3 SZf SZf

3

Î


2

P

5'50"

5'34"

tutta forza con espressione

molto arco

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

Î j

( )

Ï

Ï

Î

Ï

Î

Ï Î Ï Î£ Ï Î £

Î

pesante

(*)

extreme I high string(s)/ II normal pitch source III none extreme IV high bridge normal spm none soundord quality preeminence sul tasto bridge

? (Ñ X ) ( nX ) spm

pressure ord I sulratio tasto

II III IIV II III IV

bow pressure

bow location

string(s)/ pitch source

f SZ fP

6'02"

(espressivo)

Ï

extreme high normal none

Î Ï £Î

Ï

Ï

Î

£ Î

bridge spm ord sul tasto

? (ÑnXX ) ( ) bridge spm

sound quality ord preeminence sul tasto

>

>

>

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

?

Î

Ï

Î

Ï

>

from now on, sound quality preeminence remains focused on the roots of each voice involved, and modulations in sound quality are back related to bow location and pressure's notation

SZî

SZ î

Î

Ï

SZî

SZf

SZ F

Ï

Î

SZî

SZî

SZî

from this point pressure ratio between the voices remains balanced, the free performance of nuances in between is possible

1

extreme high normal none

3

Πϣ Î Ï

!

pressure ratioI

bow pressure

Ï £

SZ î

3

I extreme II high normal III none IV

II III IV

SZî

Î

Ï Î £

3

Ï

Σ Ï Î j

G 6'22"

Ï £

Ï

Î

Ï

Î

free bow change

Î

3

(ÑnXX ) ( ) î

>

>

SZî SZî

SZî

SZf SZf

p

pressure ratio free variations on pressure ratio

bow pressure

Ï j

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

?

4

(ÑnXX ) ( )

pressure ratio

SZfp

1 1

4

SZ

3 3

pP

4 of bow pressure increase (*) Gradual sound distortion by means

6'40"

Î j

ÑX

approx. bow speed based on change frequency: 3 sec talon

gliss

nX p

4 1

punta

4


6'46" ossia: freely change bow direction, speed, pressure and location as long as described sound quality and passing is accomplished

(*)

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

Ï

Î

Ï

Î

Ï

Ï

Î

Ï j

Î

Desired sound quality and passing for this passage is of a static low frequency sound suffering from subtle timbrical mutations and ocassional distortions

? (nnXX ) ( P) p

P

7'12" Ï

Î bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

H

Î

Ï

Î

Ï

Î

Ï

Î

Ï

F

SZî

F

SZî

F

SZî

!

? (nnXX ) ( ) f

nX

gliss

(*) Bow speed remains equal to 3 seconds, except when increasing bow pressure in which case the speed is reduced as much as needed in order to help producing subtle distortions to the sound.

Sz SZî

Ï

Î

pressure ratio

SZf

1

Î j

1

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

Ï Î Ï£ j

SZf SZf Ï

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

Î

Ï £Î Ï

Ï

Î

?

I II III IV

Î

SZf

SZf

Ï Î Ï Î Ï£ Î £

talon

Î Ï j

nX ? ( nX ) ( ) pressure ratio

punta

7'40"

SZf ÏÎ Ï £

SZf

ï

8'00" UNDERTONES (**) OX !

Ï

Î

SZf

fsub

Î

talon

,

SZ p

approx. bow speed: 9 - 10 seconds 11 seconds bow change when needed

5

Desired sound quality: complex sound of shadowed low pitched C along with distorted high pitched partials

5

nX î subito > SZ î >

5

SZî

(11O ) f

5 used here, are actually controlled, originally unpitched, distorted sound, (**) Undertones, as are ) from the unpitched distorted sound to thus the notation suggesting a transition ( part however, a random combination of both unpitched sound and more or less piched undertones controlled distortion. While experimenting with this kind of sound, bow pressure required was the overall and most common result; this random sound's character is the key musical gesture. for this control was widely varied, and bow speed, altough more or less constant, was also Once a control level of pitched undertones is acquired (mainly that kind of control able to produce subject of some adjustments; what did prove to be constant (for the most part) was bow 5 an octave lower from the open IV string), make those the prevalent element in a passage where the location, the only parameter notated. A very well tuned pitch as far as an octave lower from main character (and gesture) will be of a constant struggle trying to convert an unpiched noise into the open IV string's C was achieved, and sometimes even very well sustained; for the most a sound with a discernible pitch.


8'11"

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

?

I II III IV

Î £

Ï

Ï

Î

j

!

nX f SZpP

Ï

bow pressure

Î

( )

Î

Ï

( )

Î

j

Ï

j

al talon

bow direction location bow alla punta

>

nX sempre î

SZ

(*)

j

j

>

Sz

SZ

al talon

string(s)/ pitch source

j

?

n((nXX ))

sempre

î

j

SZ

X SZ

j

>

>

nX SZ

SZ

pesante

j

j

j

alla punta

SZ

Ï Î

Ï Î Ï

>

>

>

>

Î

>

>

nX

SZ

#X

SZ

SZ

In addition, a modulation between the two main fequencies is to be performed.

(ord)

j

Î Ï Î Ï ÎÏ

pesante

j

al talon

bow direction location

string(s)/ pitch source

>

alla punta

?

(# X ) (n X ) SZ sempre î

6

SZ

SZ

j

SZ

nX

SZ

SZ 4

1 1

(*) Pitch fluctuations over open IV string's C might occur due to the high bow pressure and speed; either use those fluctuations at will or let them happen 6 randomly. 6

>

>

nX

>

SZ extreme high normal none

9'17" bow pressure

£

8'58" j trem.

j

Î

SZ

8'49"

Ï

pesante

>

SZ

1

(ord)

?

5 Bow articulations in passage I and I' are to be performed as notated without adding nor subtracting any bow related accent nor sffz, neither in foreground or background.

ord

bow direction location bow

attacca

( O) F

violento con tutta forza

bow pressure

16 seconds change bow direction when needed

alla punta

8'34"

?

approx. bow speed: 9 - 10 seconds

UNDERTONES

al talon

I

string(s)/ pitch source

X O Ï

bridge

ord

Ï Î Ï

j

spmj jspm

ord sul tasto

I II III alla punta IV al talon

6

> SZ gliss

nX

SZ > SZ

SZ

?


9'22" extremefrenetico high normal none

bow pressure

bridge spm ord sul tasto

bow location bow pressure

j

j

j jj j

j j

jj

j

j

string(s)/ pitch source string(s)/ pitch source

? ? ?

bow pressure bow pressure

j

bow pressure: normal to high

j

III

M

(

j

)

? ? ? ? ? ?

9'50"

j

(multiphonic's gradual distortion)

M

44

î

4

(Ñ O )

O

4

(n(nXX ))

spm

glissando

bow pressure bow pressure

bow location bow bowpressure location bow pressure bow pressure bow pressure string(s)/ bow location pitch source string(s)/ bow direction bow location pitchdirection source bow bow direction location bow bow direction location bow string(s)/ pitch string(s)/ source pitch source string(s)/ pitch source string(s)/ pitch source

bow pressure

bow location bow pressure bow pressure bow pressure

string(s)/ bow location bow direction 7 bow location pitchdirection source bow location bow direction

simile

ÑO f I' 10'07"

4

crescendo possibile 2 4

6 66 6

extreme( high normal none

6

44

4

4

M

(bow pressure)

)6

6 6

6

6

extreme high normal none

Î

j

(**) parallel glissando

? ? ? ? ?

f

I II III IV

6

al talon

6

( O)

spm

glissando

( nX ) ( nX )

crescendo

Desired sound quality: complex sound of shadowed low pitched C along with distorted high pitched partials

possibile

2

X SZ p

îsub OX Ï

6

extreme high normal none

6

bridge 7 spm ord sul tasto

!

bridge spm ord sul tasto

bridge spm ord sul tasto

I II alla III punta IV

O

6

In addition, a modulation between the two main fequencies is to be performed. 6 6

nX

(**) parallel glissando between harmonic pressured node and bow location

I II alla III punta IV

bow direction location bow bow direction location bow

4

( nX ) ( nX )

ÑO

al talon

string(s)/ string(s)/ bow location pitch source bow direction location pitchdirection source bow

string(s)/ pitch source

approx. bow speed: 3 seconds

bridge spm ord sul tasto

bow location bowpressure location bow bow pressure

string(s)/ string(s)/ pitch source pitch source string(s)/ string(s)/ pitch source pitch source

î

extreme high normal none

bow pressure bow pressure

string(s)/ string(s)/ pitch source pitch source

jjM

j

II III alla punta IV

location bow direction

7

(*)

I al talon

string(s)/ location pitchdirection source bow

4

jj

j

Accents and sffz ad libitum

bow pressure

4

j

Î

6

j

UNDERTONES

attacca

al talon

al talon

I II alla III punta IV

? ? ? ? ?

6 6 6 6

11

alla punta

(+)

( nX ) î

SZf

7

(*) Multiphonic is performed on the string III with a harmonic pressure fingering on d1 Ñ (**) Multiphonic glissando's sonority is a midway between multiphonic and its distortion (+) In contrast with previous 7 undertones where the basis for 'irregularities' was an octave

?

7

17 6 1

( O)

down from the IV string' C, now the undertones spectrum will be expanded by means of 7 and pressure parameters. For this passage, performative variations in bow7location, speed 7 7 7 variations in bow location will be mainly performed around the sul tasto area.

7 7 7

7


I'' 10'25" violento e sempre pesante

j

ord

bow pressure

spm

al talon

bow direction location bow

alla punta

ÜX

?

nX nX SZ sempre î

string(s)/ pitch source

SZ

SZ

SZ

nX

SZ

SZî

SZ

In In addition, addition, aa modulation modulation between between the the two two main main fequencies fequencies is is to to be be performed. performed. bow pressure

ÜX

sul tasto

ord

extreme extreme high high normal normal none none

(spm) al talon

bow direction location bow

alla punta

(Ü X )

?

string(s)/ pitch source

bridge bridge spm spm ord ord sul sul tasto tasto

(

nX

( nX )

X SZ î

SZî

î)

Szf

III IIII II III III III IV IV IV

Sz F

( nX )

Free passage with an undertones and unpitched sounds basis (*)

11'45"

J 10'51" OX Ï

(

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

I II III IV

string(s)/ pitch source

string(s)/ pitch source

I II III IV

?

calmando...

Free string combinatory

( nX )

X O F

X

7 7

7

6

Î

Ï

Î

approx. bow speed: 2 - 3 sec

f

OX Ï

simile 8

7

(

X X

p

12'34"

5

extreme high normal none

bow location

frenetico

6

)

M

bridge spm ord sul tasto

poco frenetico

attacca

6

J' 12'10" Ï bow pressure

7

12'00"

7

poco agitato

nX

6

6

) 4

?

î

Ï

Î

12'47" (nnXX) Ï sim. Î( ) M

22

7

Ï

attacca

7

7 7

6

7 seconds ca.

n Ü OX î possibile

nXX O F

(*) Performance guidance (consider this performative aspects as an aesthetic basis 8to create a personal version for this passage which is a expansion of undertones's breaking nature): 1) Make the bow adjustments necessary to produce the undertones which as for this passage are not limited to the solely production of an octave down from the open IV string' C, but a wider variety of undertones with different intervallic relationships is desirable. 2) The only pitched elements in this 6passage will be those from the7undertones, the open IV string' C, and in a lesser degree open III string' G; damped strings I and II will provide a

( nX )

1 1

7

nX SZ p

7

4 sharper quality of unpitched sounds.

Ü OX f

7

3) Once the production of an undertone or a series of them is accomplished, sustain them for a while before changing the bow parameters abruptly breaking the undertones. Regain the undertone's production from wherever sound and bow parameters are in play. 5 speed and pressure inflicted pitch fluctuations over open IV string's C are also possible. 4) Bow 8 2 5) When the use of additional strings is indicated they will be subjected to the same performative parameters.

6

4 4

8

7


Scholium: Score notated information from passage K to O are musical gestures marking structural points. Besides these notated gestures representing the minimum musical information needed for supporting musical passing, there will be also performer designed elements and gestures involved for which the tape -an audio documentary about a portion of the creative processstands as its main musical meaning guidance, providing the performer with a series of musical moments and general landscape where an acting and reacting behaviour is asked for in order to accomplished the character and type of musical complexity that this section is intended to transmit.

K 12'59" espressivo e poco frenetico

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

?

Ï

ÏÎ

Ï

Ï

Ï

Ï Î

j

j

j

( nX ) 7

nX p

ï

>>

Szp

>

Szp SZ p

Szp

7 SZ p

f

più frenetico

bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

Ï Î Ï Î

k

ÏÎ

unpitched tremolo

Î Ï Î ÏÎÏ

brush trem.

K' 13'55"

Î Ï Î Ï Î

j

j

Improvisation on K 's material frenetico

? ( nX ) SZ p

ff X

( nX )

j

( nX )

j 7

7

7

7

7

f 7

X X X X X X X X X X X X

SZ SZ SZ

X

X X X X X X X X X

( nX )

SZ SZ 7

4

X

7

7

f

( nX )

calmando attacca

p

7

4

7

7

L 14'43" 6

14'25" ÏÎ bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

7

molto 7 espressivo

7 brush tremolo

7

Ï

7

Î

free but slow bow change

7

4

By making adjustments in the bow speed, it is also possible to widen the location area without drastically changing the sound quality but getting instead timbrical nuances to the main color. 8

Desired sound quality: high pitched sound wih a shadowed low G and eventually a low D resonance

Allow incidental pieched sound to be heard

XX f

p

(**) sound quality preeminence

poco a poco morendo

ï

p

F

(+)

(molto espressivo) 4

4

4

4

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I II III IV

8

M 15'52" X (++)

{

M = col legno battuto, sul tasto molto = M = col M legno tasto molto = molto = M =battuto, col sul tasto X legnosulbattuto, X = {x:x ! K x! L } ! poco frenetico

? (n(nXX ))

sound quality preeminence

nX

( nX )

15'16" bow pressure

7

! Adjust bow pressure accordingly to dynamics and sound quality's performance (*)

?

7

f

I II III IV

4

4

8

4

F

p

4 9

9

8

straight line(s) do suggest a final destination towards it is directed. (**) Middle line of the three line staff represents a balanced complex sound of high pitched partials along with its shadowed fundamental pitch; upper line represents those high pitched partials isolated, while the lowest line represents the root (comes from section F ).

9

SZp

X

p

SZf

8

1

(*) Although thin wavy lines represents a free manipulation of the corresponding parameter, the wider

SZp SZ p

X

j

9 11

(+) Section M is comprised by a 'mixture' of col legno battuto in a sul tasto molto location along

9 with a free combination of elements from sections K and L . (++) Col legnos battuto is asked to be performed in sul tasto molto so they include a wooded stroke sound component.

}


16'00" bow pressure

extreme high normal none

bow location

bridge spm ord sul tasto

string(s)/ pitch source

I I II II III III IV IV

poco a poco più frenetico

(poco frenetico)

j

f

X

j

j

j

SZ p

j

X

f

p

SZ f

j

j

ÏÎ ÏÎÏ Î bow pressure

bow location

bridge spm ord sul tasto I I II II III III IVIV

string(s)/ pitch source

SZp SZf

attacca

molto frenetico

In addition, a modulation between the two main fequencies is to be performed.

X = { x:x ! K

X X

p

M

X X

X X

f

X X

? nnXX î

X X

X X

X X

X X

X X

M (+)"XX X X X X X X = col legno battuto, sul tasto molto = M = col legno battuto, SZ SZ SZ p SZ SZsul tasto SZmolto p=

"X X M (+)

x!

L

x!

M}

"X X M (+)

pM =

N "

p

X

?

col legno battuto, sul tasto molto =

( )

poco a poco molto crescendo

violento j

9

j

j

j

9

attacca

9

9

j

9

j

j

glissando

nX nX

I II III IV

X

X

4

X

j

6

X

' possibile

17'45"

X

X

X

X

j

X

P 18'10"

legatissimo

j,

arco dietro il ponte

string(s)/ pitch source

I II III IV

Ï

bridge spm ord sul tasto

I II III IV

bow pressure

bow location

extreme high normal none

O 17'40"

9

string(s)/ pitch source

f SZf

X = X

extreme high normal none

I II III IV

j

j j j jX

N 16'59"

M =

9

bow location

X

j

and pitched but distorted dietro il ponte tremolos on any string or string combination

tremolo

bridge spm ord sul tasto

j

j j

col legno tratto, sul tasto e spm

N = short and unpitched tremolos along with short

17'30"

9 bow pressure

j

Ï ÎÏÎ

frenetico

f

9

j

j

16'30" extreme high normal none

=

Col legnos on Xs sections are also to be performed on a sul tasto molto location, but now they can be done over any string(s)

bow change when needed

? X î non decrescendo

1

2

(

1

1

4

4

11

4

6

10

6 6

10

4

10 4

10

6

)

1

X

I II III IV


Scholium: For the last section of the piece the performer will select the closing section of a different cello piece -any cello piece- and perform it as the closing section of this one. After the time mark of 18'10", it will depend on performer's musical judgment to decide the moment for when to start performing the selected musical excerpt, with the possibility of connecting the last sound performed (the legatissimo dietro il ponte) and the selected fragment's beginning point in an uninterrupted performance. As for the excerpt selected here, there will be a waiting time of approximately 27 seconds. If needed, adjust cello's gain in order to blend more easily into the 'performance triangle' that it's generated in combination with the tape's sound content. Improvisation -instead of performing an existing musical passage- is also possible.

18'37" Excerpt from J. S. Bach's Prelude from Suite No. 1 for unaccompanied cello

b X X # X X X nX X X X X X X X X X X X X X X X X X X X X X X X X X nX

X) # X X X X X X X ?

(...

#X X X XXXXX X X #X bX X X X X #X X X X X X X X X X X X X X X XXXXXX #X X X X XX ? XXX X X #

XX nX X X X X XXX XX X X X X X X X #X X X XX X X XXXX j ? X #

XXX XX XX XXXX XXXX X

o o o o X X X X X X X X X X X X X X X X X X X X X X X X X X X X X # XX X X X X X X X X X X X X X X X X ? X o o o o o X #XXXX XXXXXXXX XXX XXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXX ? X X X X X X b X nX nX # X X X # X b X n X X X X X X X X X X X # X X X nX X # X X X X # X X X X X X X X X X X X X X ?

?

#

X

X X X

X

X

X

X

X

X X X

X

X

X

X

X X

11

X

X X X X X X X

X

X X X X X

w w w


Hecho en México (2009-2010) cello and electronics