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Edgar Guzmรกn Reboot (2014) amplified violin and stereo audio file

Commissioned by David Bowlin


Reboot Reboot !"##$%%$"&'()*+),&()('($-,.'().")/,0$()1"23$&) !"##$%%$"&'()*+),&()('($-,.'().")/,0$()1"23$&)

Reboot

About the the score About score

!"##$%%$"&'()*+),&()('($-,.'().")/,0$()1"23$&)

Reboot

There are two types of stopwatch marks spreaded along the score. Those enclosed in brackets are time-points where a precise synchronization between the violin gestures and and There are two types of stopwatch marks spreaded along the score. Those enclosed in brackets are time-points where a precise synchronization between the violin gestures !"##$%%$"&'()*+),&()('($-,.'().")/,0$()1"23$&) the ones recorded in the file is the rest are are approximated marks intended merely as aas temporal guide to define an approximate duration and and timetime location of the the ones recorded in audio the audio filerequired; is required; the rest approximated marks intended merely a temporal guide to define an approximate duration location of the elements being performed. elements being performed. About the score

About thetwo notation About the notation There types of stopwatch marks spreaded along the score. Those enclosed in brackets are time-points where a precise synchronization between the violin gestures and the About the score ones recorded in the audio file is required; the rest are aproximated marks intended merely as a temporal guide to define an approximate duration of the elements being

performed. The time duration of performed elements is approximately defined based onbrackets the marks and the graphic proportional space between eachviolin other. Whenever The time duration of violin the violin performed elements is approximately defined based on stopwatch the stopwatch marks and the graphic proportional space between each other. Whenever There two types ofthe stopwatch marks spreaded along the score. Those enclosed in are time-points where a precise synchronization between the gestures and athe a more precise duration is required, 8th and 16th16th notes areare used according tomarks the timetime value of 1 of second and and ! second respectively. All the involving 8th and more precise duration is required, 8th and notes areaproximated used according to approximate the approximate value 1 second ! second respectively. All gestures the gestures involving 8th and ones recorded in the audio file is required; the rest intended merely as a temporal guide to define an approximate duration of the elements being About the notation 16th notes should be performed according to these timetime values. Grace notes are performed as fast as possible. 16th notes should be performed according to these values. Grace notes are performed as fast as possible. performed. The time legnth of the violin part is approximately defined based on the stopwatch marks and the graphic proportional lenght between each other. Whenever a more precise

Pacing About theisnotation Pacing duration required, 8th and 16th notes are used according to the approximate time value of 1 second and ! second respectively. All the gestures involving 8th and 16th notes should be performed according to these time values. Grace notes are performed as fast as possible.

The time legnth of present the present violin is approximately based on the stopwatch marks andnatural theconnections graphic proportional lenght each other. Whenever a more precise The sound elements in part the mustmust be performed continously and fluidly, making natural between them asbetween far ThisThis same criteria applies to to The sound elements in piece the piece bedefined performed continously and fluidly, making connections between them as as farpossible. as possible. same criteria applies duration is required, 8thand and 16th notes are used according to the approximate time value of 1 second and ! second respectively. All the gestures involving 8th and 16th notes Pacing cadenza’s beginning and end. cadenza’s beginning end. should be performed according to these time values. Grace notes are performed as fast as possible. The sound elements present in the piece must be performed continously and fluidly, making natural connections between them whenever is possible.

Symbols/Abbreviations Symbols/Abbreviations

Pacing Symbols/Abbreviations Two types noteheads are used: Two types noteheads are in used: The sound objects present the piece must be performed continously and fluidly, making natural connections between them whenever is possible.

X

Two types noteheads are used:

normal heads, meaning normal pitchpitch or pitch-colored sounds (for (for instance, when usedused in combination withwith distorted overover pressured sounds) normal heads, meaning normal or pitch-colored sounds instance, when in combination distorted pressured sounds) Symbols/Abbreviations normal heads, meaning normal pitch or pitch-colored sounds (for instance, when used in combination with distorted over pressured sounds)

“X” heads, meaning that that the the strings should be damped withwith the the left hand trying to avoid, as far a pitch production or pitched-colored “X” heads, meaning strings should be damped left hand trying to avoid, as as far possible, as possible, a pitch production or pitched-colored Two types noteheads are used: “X” heads, meaning when that the strings should be damped withinthe left hand tryinginstead to avoid, far as possible, a pitch production or pitched-colored sounds (for (for instance, performing tremolos, resulting a in noise-tremolo of as a of pitched one). Given other performing factors (bow(bow location, sounds instance, when performing tremolos, resulting a noise-tremolo instead a pitched one). Given other performing factors location, sounds (for instance, when performing tremolos, resulting in a noise-tremolo instead of a pitched one). Given other performing factors (bow location, normal heads, meaning normal pitch or pitch-colored sounds (forstill when used insound combination with distorted over pressured sounds) speed, pressure), indeterminated pitched components might still beinstance, part of the resulting gesture while damping the strings; still, this this pitched speed, pressure), indeterminated pitched components might be part of the resulting sound gesture while damping the strings; still, pitched speed, pressure), indeterminated pitched components might still be part of the resulting sound gesture while damping the strings; still, it shouldn’t be component shouldn’t beelement perceived as compounded the onesound of the sound component shouldn’t be perceived as main the main one of compounded the compounded sound perceived as the main of the “X” heads, meaning that the strings should be damped with the left hand trying to avoid, as far as possible, a pitch production or pitched-colored (for instance, when performing tremolos, resulting in a noise-tremolo instead of a pitched one). Given other performing factors (bow location, Given the time value =sounds 1 second Given the time value Given the value speed, pressure), indeterminated pitched components might still be part of the resulting sound gesture while damping the strings; still, it shouldn’t be perceived as the main element of the compounded sound

j X

Given the time value

irregular rythmic frequence approximately at 8th value irregular rythmic frequence approximately at 8th irregular rythmic frequence approximately at value 8th value

irregular rythmic at 16th value irregular rythmicfrequence frequenceapproximately approximately at 8th value

irregular rythmic frequence approximately at 16th value irregular rythmic frequence approximately at 16th value

SZ p

F

transitionrythmic from one state to another irregular frequence approximately at 16th value

going back and and forth between these dynamics ad libitum going back forth between these dynamics ad libitum bow in ordinary location highest pitch possible highest pitch possible highest pitch possible transition/transformation from one state/object another transition/transformation from one state/object toto another transition/transformation from one state/object to another

, ord spm

bow in ordinary location

take a short breath beetwen sound elements/gestures

sul ponticello molto

bow in ordinary location

eXtreme sul ponticello (almost over the bridge)

sul ponticello molto sound distortion achieved mainly with over pressured bow

spX

eXtreme sul ponticello (almost over the bridge) gradually increasing distortion

sound distortion achieved mainly with over pressured bow gradually decreasing distortion gradually increasing distortion

figure 8 bowing (a variation of the circular bow intended to produce a more complex sound given the bow direction change)

අජ ∞ ඄ X අජ ∞ ඄ X

gradually decreasing distortion free combination of tremolo and figure 8 bowing , creating an apparently complex bow articulation

figure 8 bowing (a variation of the circular bow intended to produce a more complex sound given the bow direction change) Placing the left hand against and the figure strings8 bowing, in this manner half-harmonic pressure (something in between harmonic and normal pressure) the free combination of tremolo creatingwith an apparently complex bow articulation following gestures are to be perfomed:

Placing the left hand against the strings in this manner with half-harmonic pressure (something in between harmonic and normal pressure) the

the line(s) represents the left hand movement along the fingerboard; following the indications for bow behaviour (tremolando, legato, irregular change following gestures are to be perfomed: bow direction, etc.), the objective is to create complex and apparently virtuosic violin gestures. !!"!!""!!"""!!"#!

complex pizzicato clouds of indeterminated pitches

the line(s) represents the left hand movement along the fingerboard; following the indications for bow behaviour (tremolando, legato, irregular change bow direction, etc.), the objective is to create complex and apparently virtuosic violin gestures

Program notes Reboot: term used to describe the process of restarting the computer or electronic device. Rebooting is sometimes necessary to recover from anerror, re-initialize drivers, complex pizzicato clouds of indeterminated pitch and sound quality or hardware devices.

Program notes Reboot: term used to describe the process of restarting a computer or electronic device. Rebooting is sometimes necessary to recover from an error, re-initialize drivers or hardware devices.

About the composer Edgar Guzmán is a mexican composer of acoustic and electronic music. His work has been performed at several new music festivals in Mexico, United States, Canada, Brazil, Argentina, Chile, Venezuela, Austria, France, Poland, Germany and Switzerland. His musical production is comprised of commissioned by and dedicatory pieces to a number of institutions, ensembles and performers such as the Ensamble Liminar, Ensamble de Música Contemporánea de la Universidad Autónoma de Baja California, Orquesta Sinfónica Juvenil de México, Camerata de las Américas, International Contemporary Ensemble, Wilfrido Terrazas, Alexander Bruck, Rebekah Heller, Kivie Canh-Lipman, Ryan Muncy, and David Bowlin among others.


A

U

Î

spX Vln

j

Ï

[0:19]

f sub

[0:41]

&

Vln

nX # X SZf

nX

j

III&IV ad lib.

1:00

අ ජ∞ k ඄ nX X ( Ü ) ( Ü ) ord

&

« ~~~~~~~ spm

ord

j

nX b>X nX nX ( nX # X ) p SZ p F

f

1:20

spX

X

& # jX nX > > p

> >

2:00

Î & j nX p

arco spm

bj X .

SZ

Ï # >X f

nX

X

SZ p

pizz

F

#X

Ï I&II spm

f

4

Î

I&II

p

Ï

Ï Î Ï,

# >X nX ( bX nX ) p

Î Ï

nX

spX

j

>

ÏÎÏÎ

#X

f

Ï

Ï Î

I&II

Ï

(IV)

j

අÏ ජ∞ ඄

n>X nX

.. ..

අ∞ ඄

,j,

1:55

pizz

bX p

j bX

III&IV ad lib. pizz

fsub

n>X 4 fp

j bX fp

[1:35]

Ï nX SZ p

arco spX

Ï

j

Î

Î >X

>

f

අspm අජ ord ජ ∞඄ ∞ ඄

nj X >X

>

spm

stX

fp

SZ nX f

four strings ad lib. pizz

p

j X. SZ

X in reaction X bow ad lib. to (...)

#X

fp

Î Ï

bow changes and brief tremolos ad lib.

spX

,

[1:19]

k nX X SZF

ord

spm I&II

spX III&IV

f

Î

B

SZ p

Ï

1:17

SZ f

bow ad lib. III&IV

narrow&slow spm

X

bj X

F

frenetic I&II ad lib. four strigs ad lib ජ pizz arco X J III&IV

2:10

2:05

frenetic

arco stacc&gettato pizz

j # X nX nX X. gliss SZ SZ f SZ p f

1:30

bX -

f

X ( nX nX # X ) p

#X f

calm and slow

spX

ord

අ ජ∞ ඄ slow gliss ad lib.

wide&fast

ÏÎ අජ ∞ microtonal-ascending j j ඄ irregular X glissando nX X SZSZp p F [0:34]

spm

j

bX SZ p

SZ p SZ p

f

four strings ad lib.

spm

Î

අ ජ∞ ඄

[0:55]

Ï « ~~~~~~~~~~

f

Î

1:10

1:50

p

j nX fp

j #X f SZ p f sub p

f

j #X

Ï Î

spX

Edgar Guzmán b. 1981

[0:15]

III&IV ad lib. narrow&fast spm

ÏÎ k X X SZp

spm

bow changes, accents,and brief tremolos ad lib. while slowly performing a microtonal oscillation around the main pitch

four strings arco ad lib. spm pizz

ÜÜ nX ( () ) (Ñ )

four strigs arco ad lib.

(Ü) (Ñ )

Ï

[0:09]

[0:50]

J

nX f

ÏÎ

>

I&II ad lib. arco j pizz spm

(I) microtonal oscillations

[1:44]

X to accents in tape (...)

X SZ p

X b>X nX F p

1:25

f

අspm අජ ord ජ ∞඄ ∞ ඄

ord

ord

අ ජ∞ nX ඄

spm

bow change

I&II spm

&

X

අ ජ∞ ඄ j glissando

ÏÎ

I&II ad lib.

frenetic

X X X Ñ J SZ p f ( ) f

Ï Î

# >X

1:05

අජ ∞ ඄ nX X

wide&fast spm

Ï Î

අ ජ∞ ඄

sim.

spX

[0:25]

අ ජ∞ ඄

jX

j #X

[0:05]

wide

(spm) III&IV ad lib. (spm)

spm

&

X X

bX X SZ p

U D

A.F.

(2014)

to David Bowlin

alla punta spm

ord

& bX ( )

niente

Reboot

PLAY TRACK 1 0:00 [0:01]

. # X pizz J

,

l.v.


Ï (X)

2:15

b XÎ

spm

&

p

2:20

f

Ï

(IV) ord

& nX > p

Î

( )

අ ජ∞ ඄

microtonal-ascending X irregular glissando to C#

III IV

F

>

>

p

>

bX

3:57

4

SZp

& X p

D

III IV

Ü XX ((Ü )) (Ñ )

Î

accel al trem. ord

nX X SZ p

X

X X X XXXXX

>

SZ p

nut (bow behind left hand) four strings ad lib.

J

f

FRENETIC IMPROVISATION. LEFT HAND DAMPING THE FOUR STRINGS

p

SZ

4

ord

& #X

dal niente

ord

j X nX . >

# n>XX SZ p

F

spm nut pizz as before (III&IV) (spm) III&IV FRENETIC (STRINGS DAMPED)

f

4

4:50

SZ p

j X X . .

f

F

#ÏX

ord

o ord nX

{

SZf

«>~~~~~~~~ nX (b X ) > spm

irregular fast stacc

nX. X. X. X. X. X. X. X. X. > F

nX p

bX p

bX p

X

nut III IV

f

J

nX

pizz

> f

p

>X

#X p

pizz

f

gliss

SZ p

j nX

4:30

#O

F

X

arco III&IV ad lib. ord IV

nX fp

p

5:05

අ ජ∞ ඄ j arco spm III&IV

narrow&fast

5:01

nnXX SZ p

5:43

අ ජ∞ ඄

wide&slow

nX

ord

f

left hand harmonic pressure gliss

#O SZ p

thumb tremolos using the four strings ad lib.

.

4:20

nX

GLISSANDOS ON FOUR STRINGS ad lib.

(open string)

F

spm

FRENETIC FLASHBACK (faster): Play a random sequence of any of the gestures that have appeared so far.

p

Left hand upward gliss resulting in a "noisy" downward gliss

III&IV

X FRENETIC HARMONIC

IMPROVISATION (LEFT HAND DAMPING THE STRINGS)

al niente

3:47

අspm අජ spX ඄ ord ජ ∞඄ ∞

X nut (as before)

spm

#X f

[5:35]

SZ p b X p

ord

III IV

3:35

j J

arco spm spm pizz I&II

Îj

[3:02]

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

j

# >X fp

f

[3:30]

REVERSED FLASHBACK (faster than before): Play a faster random sequence of any of the gestures that have appeared so far in backwards (from right to left).

4:43

,

Î X

j

wide&nervous අ ජ ∞ ඄ spm III&IV

[3:39]

[5:23] [5:25] 5:15

>X fp

random groups of slurred pitches as fast as possible

{bX X bX

X

spm

spm

,

2:58

ord

microtonal-ascending X irregular glissando nj X bX p f

[2:43]

accel al trem.

# nX--X SZ f

spm

X p

wide&fast අ ඄ ජ∞

j l.v. bX nX nX. X > J > p

k J nX SZ >. f

[4:13]

Ï Î

I&II

[4:35]

අ ජ∞Ï ඄

spm

2:30

Î

pizz

pizz

C

J n Fp

p

3:50

nÏX

[2:38]

four strings ad lib.

ord

& {bX X X bX bX X nX # X X X {

>X n J

# n XX

3:18

as before

( )

(spm) arco

arco III&IV Ï Î bow ad lib.

2:59 [2:53]

3:10

Î

narrow&fast

SZ p

I&II

f

wide&nervous

& nX SZ p

&

Ï

fp

[2:48]

Ï

Ï Ü()Ü ) X ( > bXX p (Ñ )

SZ p

2:33

අ ජ∞ ඄ (IV)

[2:25]

X ï

X

fp

5:10

spm

#X p

#X

ord

niente

Î pizz, III&IV

I&II

jj X X . .

SZ f

p

[5:55]

>X

U

p

END OF TRACK 1

U D

,


E

U

(Cadenza)

&

FREE IMPROVISATION

U D 0:15

&

[0:05] PLAY TRACK 2 nervous&narrow [0:08] 0:00 U ord dietro il ponte Ü )ජ ( Ü ) ( bow ad lib. #X X XX X ord Ñ ( ) Î Ï Ï Î DISTORTED FRENETIC

F

අ∞ ඄

{ f

{

0:36 Ï Î

& # nXX

ord

X bX f

III IV

bX > SZ p

>

> >

>

accents ad lib.

frenetic

>

XX

#X SZ p

> > >

>

bow ad lib. III&IV

X

p

nXX

accents ad lib.

0:38 0:59

0:48

bowing four strings ad lib.

FLASHBACK (forward and backwards as fast as possible): Play a random sequence of any of the sound elements that have appeared so far; from this point on flashback sections include those elements/gestures performed as part of the cadenza.

j nX

f

p

1:15

1:07 bow ad libitum

අspm අජ spX ඄ ord ජ ∞඄ ∞ X # XX

1:01 spm

& nX SZf

අ ජ∞ ඄

0:26

ad lib.

(Ü) (Ü ) X(Ñ )

f

SZ p

0:22

P

III ord IV bow change

SZ p

U D

bowing four strings ad lib.

f

IMPROVISATION FOUR STRINGS ad lib.

nervous&wide අ ඄ ජ∞

nX p

spm

nX bX SZ p

molto

[1:23]

Ï bX

ord

nX #X

J

f

>

> > > >

accents ad lib.

SZ p

1:38

bow ad libitum, gradually more and more frenetic spm ord ජ ජ

අ∞ spX ඄ 1:30 X

&

(b X )X

අ∞ ඄

f

(

E flat gradually disappearing

අspm අජ ord ජ ∞඄ ∞ ඄ 1:58 X #> X X piu

f

&

2:08

ÏÎ

î

2:01

[2:28]

pizz

nX

p

X. f

Ï

p

Î

. J

frenetic

four strings ad lib.

nXXX ( Ü()Ü )

FRENETIC FLASHBACK

(Ñ )

SZf

bow change

J

I&II

arco ord

[2:30]

III&IV

nX

1:44

f

FRENETIC FLASHBACK

[2:25] spm

4

p

spX

&

)

1:55

අ ජ∞ ඄

1:50

2:15 FRENETIC REVERSED FLASHBACK

î

[2:39] (I) [2:41] o

[2:35]

,

nut (bow behind left hand) four strings ad lib

SzSZ p

NERVOUS IMPROVISATION. LEFT HAND DAMPING THE FOUR STRINGS

F

,

o a X J p Î

J

Sz

,

[2:45]

a

p

non decresc

U D

>

Reboot  

Amplified violin and audio file

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