Twenty-Seven

for Andrew Allen

GREG SIMON (2012)

27 for Tenor Saxophone and Fixed-Audio Electronics

PERFORMANCE NOTES Sixteenth notes that are undersized and whose beam is crossed with a short line, such as below, are to be played as fast as possible, like extended grace notes:

Vertical dotted lines connecting events in the electronics and the saxophone part indicate that those events occur simultaneously. If there is no dotted line, the events need not occur dependently of one another, regardless of vertical alignment. A dotted line between the two electronics staves (but not reaching to the saxophone sta!) refers only to the beginning of a text-indicated event.

Phrases are meant to sound improvisatory, and as such the rhythmic figures, while loosely notated, are open to interpretation and stretching by the performer. Tempo indications (accel., rit., a tempo, etc.) apply to the speed of figures; the time value of the electronics never changes.

All accidentals apply only to the preceding note and any tied notes.

Throughout 27, the performer should be using a relaxed, but edgy, approach to tone and phrasing - think Coleman Hawkins meets Michael Brecker. The vibrato should usually be slower and more reminiscent of a “jazz” vibrato than of a “classical” vibrato. In addition, improvised “jazz” inflections such as bends and grace notes, even if they are not written, are acceptable, but not required.

If the performer likes, or if there is no printed program, the program notes can be read from the stage as a prologue to the piece, in silence, before pushing play on the electronics.

The electronics part (available from the composer as a high-quality mp3 or .wav) begins with approximately 15 seconds of silence. The performer may begin the piece at his/her leisure, repeating the opening gesture until the presence of the electronics is noticed. Ideally, the opening gesture will be repeated 3-4 times before the electronics begin. It is recommended that playback be controlled by the performer, preferably on a device with a timekeeping display (such as a laptop or smartphone) for the performer’s reference.

At the performer’s discretion, the saxophone may be amplified to balance properly with the electronics. If used, amplification should be subtle, and ideally emanate from a di!erent speaker setup than the electronics.

PROGRAM NOTES Brian Jones, guitarist and songwriter, born 1942, died 1969 by drowning in his swimming pool.

Jimi Hendrix, guitarist and composer, born 1942, died 1970, of causes related to an overdose of sleeping pills.

Janis Joplin, singer and songwriter, born 1943, died 1970 of a heroin overdose, possibly also under the influence of alcohol.

Jim Morrison, singer and songwriter, born 1943, died 1971. Cause unknown, but a suspected drug overdose.

Kurt Cobain, singer, guitarist and songwriter, born 1967, died 1994, presumably of a self-inflicted gunshot wound.

Jeremy Michael Ward, guitarist and sound artist, born 1976, died 2003 of a heroin overdose.

Amy Winehouse, singer and songwriter, born 1983, died 2011 of alcohol related causes.

At the time of their deaths, all were 27.

COPYRIGHT NOTES The electronics part for 27 utilizes small samples from various recording artists and live telecasts. It is believed that all samples contained herein are protected under United States copyright law by fair use as detailed in the Copyright Act of 1976, on grounds pertaining to: - The amount and substantiality of the portions borrowed - The transformative and ‘de minimis’ nature of the use - The e!ect of the use on the copyrighted works’ potential market Performers of 27 are protected from any liability pertaining to perceived copyright violation. If you are a copyright holder who feels that your copyright has been violated by use in this composition, please contact the composer by visiting his website at www.gregsimonmusic.com.

For Andrew Allen

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Electronics Fade

May 2012 Denver, CO