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Edgar Guzmรกn

X,Y Counterpulse (2015) for percussion and electronics

Commissioned by and dedicated to Niek Kleinjan


X,Y Counterpulse Commissioned by and dedicated to Niek Kleinjan

PERFORMANCE NOTES The sound material for this piece was created on a two channel pulse generator modified over a Cartesian coordinate system. The percussion part is to be considered a pulse generator itself, its expressive character and musical nuances defined accordingly; for instance, although tremolos are written using the same symbol ( ) they’ll never be the same on account of its speed and/or roll (single, double and multiple stroke), but instead they are meant to be freely used and varied according to a subjective location on an imaginary cartesian plane as well as performer’s interpretation and preferences in stablishing a relationship with the electronic part. Likewise, given that tremolos stand for one extreme point of an axis as opossed to a single stroke in the other, a transition between both points, even without being asked for by means of a rallentando or accelerando is, no matter how fast and/or “unnoticeable” it could be, unavoidable, and should be taken into account when switching from one to another. Special attention must be put when slurred gestures are notated -for instance, between a normal head tremolo and a crossed one- in which case, a transition from normal stroke area to rimshot area, if applicable (check the instrumentation notes), must be performed.

INSTRUMENTATION The specific percussion instruments to be used are to be chosen by the performer, but metal instruments are not to be considered. Instead, use a set of three different drums or objects alike having a low resonance frequency, each one lower than the previous one. Any drum set (or objects) that are considered to resemble the different pre-recorded pulses to which they are musically related or to establish an interesting sound relationship between them are suitable choices for performance. For composing this piece, tests where performed over a set of three plastic buckets of different sizes like these:

The mallets to be used (hard and soft) are to be chosen accordingly to the percussion instruments selected. The crossed noteheads stand for a higher, more piercing percussive sound. Depending on the instruments being used, these can be performed either as rimshots (thus the selected notation), by striking a different suitable part of the instrument/object, or even on a different one. If the latter option is preferable, the percussion set can go up from 4 to 6 different instruments.

SCORE The piece is written in proportional notation on measures of 5 seconds each with secondary divisions of 1 second. A visual representation of the tape’s waveform is located on a second staff as an aid to a synchronized performance with the tape. Red arrows mark the points where a performer’s action (the beginning of a tremolo and/or its conclusion, a single stroke, a compounded gesture, etc.) is required to be synchronized with another one coming from the tape, be it a single pulse, a texture change, etc. These synchronization points are crucial to fulfill the counter-pulsing relationships that this piece is aimed to create.

X

NOTATION Normal strike Rimshots (read the comment on crossed note-heads on the Instrumentation section)

single strikes (normal or rimmed)

X

one hand

XX X

two hands (synchronized)

j X XX

Appoggiaturas: to be performed as fast as posiblle

Tremolos. The actual speed of each tremolo and the type or roll (single, double, multiple) will be subjectively define (read above), along with its accelerando and rallentando rate. Stochastic alike textures (clouds). Three different and relative densities or amount of activity are represented: Low

Medium

XX X X X X These textures can have one

XX X

X

!

X

or two

XX X

XX XX X X XX X

X XX X X XX X X XX X X

High

X

X X X X XX X XX X X X XX X X XX X

elements (normal and rimmed strokes) freely used.

Pulse modulator graphic. Starting from an approximated rythmic value. Going up the dotted line (representing the initial rythmic value) means accelerando, down means rallentando. Left and ritgh hand accelerando/rallentando independently

Both hands accelerando/rallentando at equal rate

x = 360 ca.

{ nervous

!

X

f

{

x = 240 ca. !

f

î

{ XXX X {

Improvisatory sections. The boxes marking improvised sections surround the lines representing the instrument(s) on which the improvisation is to be performed. Suggestive expressive characters are indicated.

PROGRAM NOTES The sound material for this piece was created on a two channel pulse generator modified over a Cartesian coordinate system. The percussion part is considered a pulse generator itself, its expressive character and musical nuances defined accordingly to enhance the counter-pulsing relationships this piece is aimed to create.

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. !


X,Y Counterpulse

A

(2015)

0:00

,

X

X.

Perc.

f

X

X

p

,

X

ï

,

X

ï

XX

f

. XX X >

>X X

XX >

ï f

,

X

ï

Edgar Guzmán b. 1981

X. X

X

X X XX X X X X >

SZ f ï

j. X

.

L Tape R

,

0:30

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XX

f ï

X.

f

X

>

ï

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SZ f

j X X > >

X

ï non cresc

XX X X X X > >

SZp

> . jX . jX . jX . X X X

f

ï

X

f ï/ F

L

R

trem. poco rall

1:00

X

fsub

ï

f

XX X X X X

p/f

XX X

>

X.

,

X. X X X X f p/f

f sub

X X X XX

ï

XX X

XX XX X X XX X

f non decresc

X

ï sub

L

R

both hands synchronized with tape's pulse

1:30 nervous

f

XXXX

sim.

î

,

B

j

p

>

X X

fp ï fp

XXX

.

accel al trem.

>

X X X XX X

both hands gradually synch with tape's pulse

fp Fp Fp

XX

X XX

fp

ï

,

XX X X

SZp SZp ï

L

molto cresc

pulse = x = 240 ca.

pulse = e = 120 ca. R

trem. molto rall.

2:00

>X

p

.

f

X.

f p

>

X.

X X.

Á

>

p

. X f

.

trem. molto rall.

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Á

X

fsub Á

C ,

both hands synchronized with tape

{ XXXX { f

L pulse = x = 240 ca.

R

Left and right hand accelerate and disaccelerate independently from/away the initial pulse (represented with a dotted line) creating constantly changing polyrhythmic patterns. Improvised gestures must emerge from this polyrhythmic patterns while continuing the accel/rall inertia (thus accel/rall lines are kept) but taking unexpected directions before immerging back to pattern.

2:30

{

XXXX

f

L

R

{

chaotic

!

p

f

!


3:00

>X

3:30

p SZp SZp SZ p f p

î L

!

X

f

X

SZfSZ f

XX XXX XX XXX X XXXX X X XXX XX X XX XX XX X XX X X X X

f

trem. rall x = 240 ca. trem. rall x = 360 ca.

X X X { X{

>X

î SZî

p

L

{

{

f

f p f î

R R

3:30

4:00

f

!

p

L

X

chaotic

X X XX X X XX X X X X XX XX XX X XX X X X X

X

f SZfSZf { f f î

x = 360 ca.

trem. rall

R k X = 480 ca.

XXXXXXXX

{

{

{

D X. SZ

Brief improvised gestures momentarily breaking the pulse continuity.

SZî

f

f

î

X! X ï SZï

L R R

4:00

R k X = 480 ca.

chaotic

4:30

{

f

f î

,

XXXXXXXX

X{ ï

,

X

Brief improvised gestures momentarily breaking the pulse continuity. x = 360 ca.

.

f

F

{pXXXXXX {

D X. SZ

X X ï SZï

.

Start using normal and rim-shot ad lib. both for the 360MM. pulses and the impro

&

p o c o

a

X ï

p o c o

c r e s c e n d o

L L R R

4:30

,

X ï

. 5:00

,

x = 360 ca.

{pXXXXXX { X

f

F

(

X

pp

î

cresc.

L

Start using normal and rim-shot ad lib. both for the 360MM. pulses and the improvised boxes

& trem rall accel ad lib.

)

X X X X XX X X X X X X XX X X XX p o c o a p o c o c r e s c e n d o î Cresc. and decresc. are not directly linked îp SZ p SZp SZ pîp SZp SZp molto

with accel. and rall., i.e. cresc ! accel and viceversa

L R R

(

5:00

)

X

î

cresc.

trem rall accel ad lib.

pp

î

Cresc. and decresc. are not directly linked with accel. and rall., i.e. cresc ! accel and viceversa

îp SZ p SZp

frenetic

frantic . XX X XX X XXXXX X XXX XXX XX X XXX. X X XXX XX XXXX XX X X XX X X XXX XX X XX f p XX X Xfï X Xî ïSZSpzï . SZ pîp SZî p SZSZ p p molto f

frenetic frenetic X XX

î SZp

L

R

5:30

X

E

frenetic frenetic

XX XX X XX X X XX X X X X XXX XXX X X XX XXXX X X X X X X X XXX XX XX X X X X X X X X XX X X

.

L

. f

R

ï

L

R

,

X

ï non cresc

.

XX X X

. X XX X fp fï ï S

XX X ï P as before f î f îSZï ï P as before SZï

SZp SZp

6:00 X X X X XX X XX X X X XX X X XX X

. >X >X fï poco cresc f. fï poco cresc trem. molto rall. trem. molto rall.

trem rall accel ad lib. E trem rall accel ad lib.

.

XXX >

f ï f

j X> X

X

X XX X X X X X X

f

ï

XXXXXXX

XX X

f

.

j. j. j. X X X

p

X. X X. X fp X X X f p Szï fï ï . fï ï Szï f X.

rall nervous

fp

f

X

SZï


6:30 X X X X XX X XX X X X XX X X XX X

ï

. F

trem. molto rall

X

X

f

L

L

R

R

7:00

j X

j

Sz

ï

j

j X

SZ

p

f

SZï

SZï

Sz

Sz

j X

j

j X

SZ SZ SZ

p

. î

fsub

j X j

j X j j j X SZ SZ SZ SZ SZ SZ

x = 240 ca.

{

{

dal niente

xx == 360 360 ca. ca.

{

P

{

j X

j X

j X

appoggiaturas sempre

j X j j X X

SZ (perform only normal strikes)

L

R Dissolve into improvisation

7:30

j X j X

j X

(appogiaturas sempre SZ )

L

j X jj j X j j X X X X

j X

j X

j X

j X

X îï

!

f

F

SZï

R

8:00

î

G >X p

>

X.

X

.

X

X >

j X

> .

X

X

>X X fï

X >X

«X ~~~~~ X X X p SZp f

X. X X X XX X X X X X

SZp

X. X XX XXXXX X X

SZp

X X X X X XX X XX X X X

.p SZ

L

R

X. X XX SZ p

8:30

XX X

X

X.

XX X XX X X X X p

SZ SZp

XX X

« ~~~~~~~~~~ simile X X X X X î

frantic, chaotic, nervous, anything and everything...

X X X X

X î

p

L

R

9:00

trem. rall

trem. non rall

î

>X

,

H

X

SZ înon decresc

/

/

,

From this point on use any stick or stick combination

ad lib.

« ~~~ X

X X ï

X X Á

poco

L

R

9:30

X X Sz Á

L

R

x = 240 ca.

SzÁ

rall

rall

accel e rall ad lib.

XX X XX X X XX X XX X X X X

Á

P

Á

X

x = 240 ca.

{ XXXX {

frantic

p

> > > X X jX X X X X X

X ï Szï

!


x = 240 ca.

10:00

I

nervous

{ XXX X {

SZ ï non cresc

X f

ï

X

X

XX

X

XX

X X ï XX

sim.

X frenetic ,

calm

f

X

L

R

10:30

sim.

X f

X

ï

X X

f

sim.

ï

XX

f

X f

X

f

a little nervous

ï

X f

sim.

X

p f

XX

f

X

X

nervous

fp

X f

a bit chaotic

sim.

p

X

f

p

X

f

sim.

p

X

f

p

f

p

î

L

R

11:00

Color improvisation over a pulse synchronized with the tape; use any drum or drum combination, one/both hand(s), different strikes and articulations on different points of drum's striking surface/patch and/or body.

calm

frantic

Á

î

L

R

11:30

f L

R

j

,

.

f

X

non rall

ï non

U, (11:40)

decresc

f non decresc

X,Y Counterpulse  

Percussion and electronics

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