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notes in random order as fast as possible

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0'47"

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# XX SZ p

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spm

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A.f.

Bsn

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M

1'03"

Vc

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Vc

Edgar Guzmán n. 1981

0'32"

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Bsn

,"-.(/&)"01%+&

(2015-2016)

SZ p

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Amplification level for both electronics and acoustic instruments can be as high as wanted.

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A.f. SILENCE Bsn

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f

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B"1*0$&-(.&20&#'$&%$$/&7(#'&-//$/&-(%&"2%&(0,%$-)$/&%$)20-0,$;&

3'05"

3'15"

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p

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bX

P

2'55"

3(-."145&)6$$')&7"-&8(-."145&*/4))(1%")9+&='$&.(0$&%$9%$)$0#)&#'$&*2>$*$0#&-0/&%$.-#(>$&$4#$0)(20&2"&#'$&)7$$9& -.201&#'$&'-%*20(,&)9$,#%+*&2"&#'$&1(>$0&"+0/-*$0#-.;&

M

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2'44" 2$$%;&<.-5&20&#'$&%$$/&-.20$;&='$&.(0$&%$9%$)$0#)&%$.-#(>$&9(#,'&>-%(-#(20)&35&*$-0)&2"&-(%&9%$))+%$&*2/+.-#(20;&

2'40"

2'37"

p

#'$& 2%/$%& #'$56%$& 7%(##$08& #'$5& 7(..& 3$& /())$,#$/& -0/& 9$%"2%*$/& (0& -& %-0/2*& 2%/$%& "2%& #'$& $0#(%$& /+%-#(20& 2"& #'$& 324& 7(#'2+#& 3%$-:(01& #'$& ,20#(0+(#5&2"&#'$&9-))-1$;& g l i s s a n d o

nX

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2'28"

ï!"#$%& '())(*$)+& !"#$%& #'$& "(%)#& *+)(,-.&p%$-/(01& 2"& #'$& 324$/& )2+0/)& ï (0& p

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SILENCE

2'34"

!

3'25"

3'35"

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p non cresc

(b X )

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bX

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2%/(0-%58&)+.&920#(,$..2&*2.#28&$J#%$*$&)+.&920#(,$..2&?-.*2)#&2>$%&#'$&3%(/1$@;&

3'42"

A.f.

?

!"6&/"5(;4"1)A& ,"-.(/&)"01%+&

3'40"

Bsn

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f

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frenetic free improvisation using the boxed notes

G%-/+-..5&(0,%$-)(01&/()#2%#(20;&

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G%-/+-..5&/$,%$-)(01&/()#2%#(20;&

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# X X # X nX

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nX

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pizzicato, col legno battutto (both pitched and unpitched) and percussions over cello's body ad lib.

p

X

f

X

X

X

X

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4'03"

4'10"

A.f.

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Bsn

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4'40"

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4'45"

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0'10"

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frantic unpitched section keys, tongue rams, air and voice noises ad lib.

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tongue ram

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P

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0'30"

0'35"

0'21"

0'16"

stacc.

X SZ p Á

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col legno battuto (approx. same speed as Bsn tonguing)

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free dynamic

0'39"

molto cresc. ad lib.

0'50"

0'44"

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n>X

අජ ∞ ඄

chaotic

p SZp SZp SZp

ord G%-/+-..5&(0,%$-)(01&/()#2%#(20;&

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FREE BUT SAVAGE IMPROVISATION

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G%-/+-..5&(0,%$-)(01&/()#2%#(20;& G%-/+-..5&/$,%$-)(01&/()#2%#(20;& @$-50))4=$&)"01%)A&&

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molto cresc ad lib.

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M

nX. X.X.X. X. X. X.X.X. X.

and percussions over cello's body ad lib.

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A.f.

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End of track 1: 5'00"

4'50"

nnXX ï

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0'23"

Bsn

. . . . . . . . . .

X !"#$%& '())(*$)+& !"#$%& #'$& IMPROVISED DOUBLE CADENZA ï "(%)#& *+)(,-.& p %$-/(01& 2"& #'$& 324$/&Sz)2+0/)& p (0& #'$& 2%/$%& #'$56%$& 7%(##$08& #'$5& 7(..& 3$& /())$,#$/& -0/& 9$%"2%*$/& (0& -&

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If decided not to perform the cadenza attaca 0'00" Track 2

No audio file during fermata

A.f.

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nX F

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attaca

Bsn

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A.f.

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SILENCE

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4'28"

Bsn

4'24"

4'19"

FREE BUT SAVAGE IMPROVISATION

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spm glissando

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SILENCE

highest pitch possible

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,"-.(/&)"01%+& 2$$%;&<.-5&20&#'$&%$$/&-.20$;&='$&.(0$&%$9%$)$0#)&%$.-#(>$&9(#,'&>-%(-#(20)&35&*$-0)&2"&-(%&9%$))+%$&*2/+.-#(20;&

0'52" A.f.

Bsn

f

fast අ ජ ඄∞

spm Vc

? nX î

X

Vc

M

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rall e accel ad lib.

X SZî

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1'16"

1'12"

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simile අ ජ ∞ ඄

î

f

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(pure over pressure noise)

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1'26"

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1'33"

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1'36"

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?

Á

E-"))$%& 1";$8$(%)8& *$-0(01& #'-#& #'$& )#%(01?)@& *+)#& 3$& /-*9$/& 7(#'& #'$& .$"#& '-0/& (0& 2%/$%& #2& ->2(/8& -)& *+,'& -)& 92))(3.$8&-&9(#,'&9%2/+,#(20&2%&9(#,'$/H,2.2%$/&)2+0/)&?"2%&(0)#-0,$8&7'$0&9$%"2%*(01&#%$*2.2)8&%$)+.#(01&(0&-&02()$H #%$*2.2&(0)#$-/&2"&-&9(#,'$/&20$@;&G(>$0&2#'$%&9$%"2%*(01&"-,#2%)&?327&.2,-#(208&)9$$/8&9%$))+%$@8&(0/$#$%*(0-#$/& spm 9(#,'$/&,2*920$0#)&*(1'#&)#(..&3$&9-%#&2"&#'$&%$)+.#(01&)2+0/&1$)#+%$&7'(.$&/-*9(01&#'$&)#%(01)I&)#(..8&#'()&9(#,'$/& ,2*920$0#&)'2+./06#&3$&9$%,$(>$/&-)&#'$&*-(0&20$&2"&#'$&,2*92+0/$/&)2+0/;&

ord

!"6&/"5(;4"1)A&

,

#X

f possibile

,

j nX 2%/(0-%58&)+.&920#(,$..2&*2.#28&$J#%$*$&)+.&920#(,$..2&?-.*2)#&2>$%&#'$&3%(/1$@;& p

f

c.l.b

f

Á

al niente F"01%&%4);"-;4"1&-,'($>$/&7(#'&2>$%&9%$))+%$&327;&D'$0&.22:(01&"2%&-.*2)#&9+%$&02()$&2>$%&9%$))+%$&)5*32.&7(..&3$&+)$/&(0& ,2*3(0-#(20&7(#'&,%2))$/&02#$'$-/)F&

p non cresc

B

p non cresc

G%-/+-..5&(0,%$-)(01&/()#2%#(20;&

B nX ï dolce

nX

#X

#X

arco tremolando e legato; bow location ad libitum

? 2'25"

#X ï dolce 15va

B ?

rallentando

nÓX

nX

nX

nX

nX

gradually lower the amplification levels

poco a poco rallentando 4

gradually lower the amplification levels

Alternative ending: (2'25")

2'35"

Stop Track 2 at any time after 2'35" and stop playing at the same time or keep playing along until it ends at 5:00 4

A.f.

U U

poco a poco rallentando

nX G4*0-$& H& >"641*& ?-& ,(%,+.-%& 327& >-%(-#(20& (0#$0/$/& #2& 9%2/+,$& -& *2%$& ,2*9.$4& )2+0/& 1(>$0& #'$& 327& /(%$,#(20& # X ,'-01$@;& B%$$&,2*3(0-#(20&2"&;-$."/"&(1%&?4*0-$&H&327(018&,%$-#(01&-&,2*9.$4&$>$0&,'-2#(,&327&-%#(,+.-#(20;&

! rallentando

G%-/+-..5&/$,%$-)(01&/()#2%#(20;&

nX

Stop Track 2 at any time after 2'25" and stop playing at the same time

A.f.

Vc

î

{

nX

=72&#59$)&2"&02#$'$-/)&-%$&+)$/F&

« ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ , o & n X ( nX ) î possibile

alternative fingerings for color variation ad lib.

Bsn

nX SZf

G%-/+-..5&/$,%$-)(01&/()#2%#(20;&

+,)-)*./--)&

A.f.

Vc

nj X X

C$D&'$-50))4"1)+& 1'22" !

1'40"

Bsn

spm

G%-/+-..5&(0,%$-)(01&/()#2%#(20;&

f

B"1*0$&-(.&20&#'$&%$$/&7(#'&-//$/&-(%&"2%&(0,%$-)$/&%$)20-0,$;&

1'18"

SILENCE Vc

î

F

@$-50))4=$&)"01%)A&&

A.f.

Bsn

î

notes in random order as fast as possible

>(2.20,$..26)&2>$%&9%$))+%$8&#'+)&#'$&)-*$&)5*32.&()&+)$/;&D'$0&-&*2%$&02()5&%$)+.#(01&)2+0/&()&7-0#$/&?#'-#&()8&.$))&9%$)$0,$& b X nX nX 2"&9(#,'$/&)2+0/@&-&,%2))&7(..&3$&-//$/&#2&#'$&02%*-.&02#$'$-/8&(0/(,-#(01&-&3(11$%&9%$)$0,$&2"&-(%&02()$&?)9$,(-..5&"2%&'4(1"& -0/&'4(14))4."&9-))-1$)@&-0/E2%&%2-%(01&>2(,$&?(0&?"-;$&9-))-1$)@F&

SZî

SZî SZî

1'08"

:0/;4'8"145)+&='$&02#$&7%(##$0&(0&#'$&),2%$&%$9%$)$0#&#'$&9(#,'&#'-#&()&$49$,#$/&#2&3$&#'$&/2*(0-0#&?2%&-#&.$-)#&-& ,.2)$& 20$@& 7(#'(0& #'$& *+.#(9'20(,;& ='-#& 3$(01& #'$& 20.5& ,20/(#(208& #'$& 9$%"2%*$%& ()& "%$$& #2& /$,(/$& #'$& 3$)#& *+.#(9'20(,&29#(20&3-)$/&20&(#)&*+)(,-.&$""$,#(>$0$));&

?<=$->/"6& nX 764;8& (%%$%& ?-0//(;"9+& A()#2%#$/& 9(#,'$/& )2+0/;& B2%& #'()& 9($,$8& 2>$%3.270& )2+0/)& -%$& ,20)(/$%$/& $C+(>-.$0#&{ #2&

SILENCE

î

1'05"

3(-."145&)6$$')&7"-&8(-."145&*/4))(1%")9+&='$&.(0$&%$9%$)$0#)&#'$&*2>$*$0#&-0/&%$.-#(>$&$4#$0)(20&2"&#'$&)7$$9& -.201&#'$&'-%*20(,&)9$,#%+*&2"&#'$&1(>$0&"+0/-*$0#-.;&

,

&

1'02"

0'58"

Bsn

B

rallentando

!

al niente

! al niente

al niente

Vc

?

rallentando

! al niente

,

(Amplification level of bassoon and cello shut down)

poco a poco molto rallentando Perform ad libitum at any initial speed over any part(s) of the piece

,

Whenever possible, for playing this section the basson player is required to do so off stage and out of public's sight.

Á

ï

!

Low end dj score  

Bassoon, violoncello and audio file

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