LUX For Flute
juan campoverde q. 2014
LUX For Flute Performance Notes
•
Accidentals
The following accidentals, here presented in quarter-tone ascending order, are used in this piece: As much as possible, quarter-tones should be equally-tempered intervals. Additionally, particularly regarding multiphonics sonorities, higher and lower pitch deviations (frequency deviations smaller than a quarter-tone) are indicated by an upward and downward pointing arrow attached to an accidental, such as this: These pitch deviations are not meant to be exact.
•
Transitional States
A horizontal arrow indicates a transitional state between different sound qualities (timbral qualities such as breath content); articulations ( fast to slow frullato and non-frullato); and sound producing actions (half-step and whole-step trill).
•
Two-Staves Notation
In this work, some sections of the score are notated on two rhythmically independent staves. •
Information presented on the upper staff indicates actions of the lips, tongue, embouchure, and breath. This information greatly modifies the frequency content, amplitude and timbral quality of the sounds, and is specifically notated in this staff. Attacks on the line are to be performed in the normal manner, without modification of pitch. Attacks below the given central line indicate a downward displacement of the embouchure or downward lip-modification/lip-glissando. Attacks above this line indicate an upward displacement of the embouchure or upward lip-modification/lip-glissando. The range of frequency deviation of these embouchure/lip modifications is variable (within an eight of a tone to a half of a tone), and can be modulated by the performer taking into account aspects such as the easiness of sound projection, and the effectiveness of the expressive intentions.
•
Information presented on the lower staff indicates actions of the fingers. In very few instances, the physical actions of the fingers will not be noticeably audible. In these few instances, the performer is requested, nonetheless, to perform these actions in the normative manner, as if the actual audible sounds were being produced. The unstable, transitional and inexact nature of the sounds produced by the interaction of these two staves/actions is fully intended.
I
•
Multiphonics Pitches notated for multiphonics are only offered as suggestions. In the score, the base/main note is fully notated. The first and sometimes the second additional frequencies are usually given within parenthesis. The performer should approach these suggested sonorities as much as matters of practicability and easiness of response would allow. Deviations of a quarter-tone (or less) are quite acceptable. Richer, multiple sonorities are highly desirable even if they are not fully notated as such in the score.
•
Breath Content Different note heads indicate breath content. A normally notated note head indicates normal breath content. A half-diamond note head indicates a sound with some breath content. An empty diamond note head indicates a sound with a very noticeable breath content. Transitional states are used between notes with different breath content, such as between a sound with some breath content transitioning toward a sound normally articulated:
•
Smorzato Notes with smorzato articulations should be perceive as sudden pulsations or sudden changes of amplitude and sound quality. They can be produced by changes of breath flow and/or accents from the diaphragm), and should ideally be clearly projected.
•
Tongue Click A sharp and resonant tongue click (or tongued attack) is indicated with an X note-head, and should be as resonant as possible.
•
Transitional Trills Transitional trills are meant to be performed between half and whole step, or between whole step and half step, as in measure 5, where the trill begins between D sharp and E sharp (or F), transitioning toward a trill between D sharp and E natural.
•
Flute Amplification Depending of the acoustic conditions of the performance space, the flute can be amplified in order to clearly project the details involved in the different sound producing actions.
Additional indications for the flute are provided in the score. Approximate duration: 6 min. 35 sec.
LUX was composed for, and is dedicated to Roberto Fabbriciani.
II
Lux For Roberto Fabbriciani
Flauta
e»36
rall.
e = 42 œ (breath content) ( rit. flz.) ! subito æ Bœ ordinario nœ b œ n œ b œ . 2 œ œ œ bœ œnœ bœ œ œ .. (lip gliss.) & 8 . .
ßp
j
µœ
®
r
5:4œ
e»32
œ
#œ 7 16 # O p
(breath content)
* ( kœ . )
œ.
p
œ. 3 8 O. p
bœ
bœ
‰. œ
œ
nœ
bœ
j
> > > j> 5:3œ
‰
œ f Í F fppp # n Ÿ.~~~~~~~~~~~~~~~~~~~~~ #œ œ
* Multiphonics: Choose sonority based on given pitches
juan campoverde q.
bœ nœ œ
j æ
( accel. flz.)
r 7:6œ
bœ
œ
Ø bœ
nœ
1 16
a tempo pochiss. rall.
^^^
6
Flt.
& 161
rK
7:8œ
œ œ œ œ! Í (breath cont.) 28 œ bœ æ (flz.)
U
j
æ
œ
3 Bœ 16
a tempo
K œ .. & 48 O ..
13
Flt.
‰ ..
Ø
ß ´ ** K œ O Ù sub
u
Kœ œ œ œ œ œ O O O O O O
smorz.
rK
7:6œ
3:2œ
pochiss. rall.
> > simil.
j
r 5:3œ
(breath c.)
rK 9:6œ
rall.
r 7:8œ
> >rKK>
molto marcato
œ œæ ® z œ œ . . p sub fp ßp b œ ß f b œ œ œ bœ œ œ œ œ œ b œ b œ ® nœ œ œ bœ œ bœ.nœ. . œ œ # œ bœ nœ œ œ nœ (breath c.)
** These attacks should be perceived as forceful interruptions within the main dynamic envelope.
j
>K r 7:6œ j
F
e»48
5 œ (lip gliss.) 16 p
a tempo
e = 56
81
9 16
fpppp
Kr 9:6œ
Mœ Ÿ ~~~~~~~~~~~~ j b œ (lip gliss.) B œ Bœ j
sub
r 7:5œ
ßp
r
5:4œ
œ
© Juan Campoverde Q. All Rights Reserved 2014
œ.
bœ.
nœ.
æ Fp
(lip gliss.)
Bœ
( rit. flz.)
J
U
48
poco rall. (breath content)
œœ #œ œ bœ #œ nœ
Ø
M œ
poco rall.
bœ
œ bœ
nœ
œ
U
Bœ œ . . b œ b œ œ œ#œ nœ r
7:5œ
Í
a tempo
3 16
28
2
e»42
Flt.
> >> > >
r 5:4œ
œ. Í
17
œ
(breath content)
Szppp nœ. 2 bœ nœ bœ œ bœ nœ œ bœ . & 8 nœ Ù œ œ œ sub
œ b œn œ bœ
3 #œ & 16 ® # O ..
Flt.
p
1 5 8 16
œ. Í
bœ
œ
œ.
bœ
æ
bœ.
˜œ Bœ
,
rK 7:6œ
2 > 8 Bœ Í
sub
œ
r 7:5œ
®z ßp
#œ
æ
œ
fp
r 5:4œ
sub
** Ossia: Timbral trill
œ œ
27
j
Ï Mœ nœ. 2 nœ œ bœ. 8 œ
#œ
Kr 7:6œ
j
r
5:4œ
Flt.
& 28 f
U 5 œ œ b œ œ b œ œ ® 16 bœ Aœ œ
p
j
U
Kr
* Multiphonics: Choose sonority based on given pitches
œ Szp sub ß p µ œ a tempo 7 ® ‰ # œ- . #œ 8 œ #O. œ
Kr 7:8œ
æ
u
e»32 > > > > 5:4œ>r ! œ
æ
KrK 5:4œ
( rit. flz.)
(breath c.)
a tempo
(breath c.)
.
> > >KK> > 7:8œr >
J
a tempo
poco rall.
Kr
5:4œ
®z œ
>
j
œ bœ F
a tempo
j œ
poco rall.
µ œ . )*
. nœ.
(µœ )
#œ. (
p
Ø
>
3 16
p
f poss.
pochiss. rall.
Ø
ƒ œ .... 4 œœ .. 8
U
2 8
rK
e»48
poco rall.
j
j
®
r
7:6œ
.
f nœ Sppp nœ U 1 œ œ œ œ b œ œœ n œ 3 œ œ œ ® b œ n œ b œ b œ # œ œ œ œ . œ # œ 8 œ 8 œ œ bœ bœ œ (breath c.)
rall.
7:8œ
rall.
e = 56
poco rall.
> j
æ (breath content) ® . œ œ œ œ œ z f pppp Sp f sub ß p * Ÿ ~~~~ ß f Bœ ( kœ ) nœ bœ. ‰ nœ µœ 9 œ œ bœ #œ œ b œ œ 16 n œ n œ 38 œ b œ œ n œ . œ œ œ# œn œ œ œn œœ œ œ nœ nœ nœ #œ œ œ bœ œ#œ #œ
B >œ fp
j
nœ
j
> j
(molto marcato)
(breath c.)
**
22
e»36
rall.
e = 32
e»36
molto marcato
œ
®
> .
f Sppp œ
æ
>> > >
3 16
œ f #œ
jU
U
‰.
#œ œ bœ œ nœ nœ rK
7:6œ
48
e»42
a tempo
k µ œœ .... ) & 48 n œ ..
32
Flt.
e»42 38
Flt.
U
(
æ œ ..
ppp
5 & 16 œ
æ
j
f
e»36
Flt.
Bœ.
p
p poss.
F
f
b œ nŸ**~~~~~~~~~~b , , œ ..(lip gliss.) µ œ œ 7 16 œ# œ œ # œ # œ ‰. Sppp Í
µ œ œ r
7:6œ
e»56
r
7:5œ
> > > simile
nœ
5 8
œ .. ˙˙
j
tenuemente
j
r
7:5œ
f poss.
¥
œ
j
Ͼ..
Œ. 3 8
‰
Sppp # >œ n œ- . 28 n¥.
‰.
r 7:5œ
p
sub
¨¨¨ ¨
(flz.)
r 7:6œ
j
5:4œ
œ
æ
œ. p
(breath c.) (flutter t.)
æ
!
œ.
˜œ ˜ œ
F
ppp
48
œ
‰
p
œ
pochiss. rall.
#œ
#œ
œ
#œ. Í
j
Ÿ ~~~~~~~ nœ. µœ ® Í
j
5:4œ
#œ
! œ f sub fp
e»56
j
Í
p
æ .. ƒ #œ.
œ
æ
j ‰ Ÿ ~~~~~~ , œ .. ‰ œ n œ .. µ œ® 85 ¥ œ . .. nœ 5:3œ
S
sub
e»48
f
e»36
j
j
œ
œ.
‰
sub
‰
œ
#œ
œ- U 5 16 ® æ rK
p
7:6œ
rall. smorz.
® p
œ
æ
a tempo
e»32
rall. sub
>
œ z (breath cont.) Szp Í #œ # œ fŸ~~~~~ œ œ œ œ #œ nœ nœ
rK
#œ #œ œ #œ œ œ œ œ nœ
smorz.
sub
3
‰ ‰ K œ .. K œ ® K œ œ œ œ œ œ œ Ù ‰ K œ . K œ . nœ U 5 68 ¥ .. ¥ 3 œ ®‰ O O O O O O O O O 16 O 16 œ ÿ æ sub ß f sub fp
5:4œ
œ
rall.
rall.
Ùæ ® Íœ fppp ßß (kKœ ) #œ ® œ #œ #œ n¥
5 & 16 œ. œ.
Kr
7:6œ
* #œ. bœ. ® 38 #O. æ
b
(molto marcat.)
( e»36 )
æ
( kœ )
p
>
poco rall.
* Ossia: Timbral trill
. 9 # œ .. Ù n œ . 16 # O ..
a tempo
42
n
** Trill to B transitioning to B
a tempo
j
3:2œ
S ´
e»48
#œ U œ œ œ œ œ œ ® ‰ œ . 3 ®‰ œ . 16 O O O O O O ® œ. Ï
p
æ
rK
7:6œ
f
5 16
4
e»42 47
Flt.
æ .. ßp
5 & 16 ® œ .
a tempo
Flt.
r
® œ
& 28 œ
bœ
æ
œ.
7:5œ
æ
ƒ
œ.
œ
f
U
®
a tempo
® 161
e»48
> >> >
rK 7:8œ
pppp
(breath cont.)
nœ.
æ
j
( rit. flz.)
rall.
52
e»36
poco rall.
>
3 16
j
œ O‰
nœ
‰
Flt.
& 38
œ
. p‰
2 . 8
bM œ.
(breath content)
͜
œ
#œ
M
œ œn œ
œ
#œ
#œ
œ
poco rall.
U
(breath c.)
œ bœ ® œ œb œ n œ œ œ
ßp
e = 56 Œ , Ÿ ~~~~~~~~ j K ˙ # œ . œ n œ . (lip gliss.) µ œ 48 ¥ bœ nœ œ Í ®Í r 7:6œ
r
5:4œ
** Trill to E transitioning to E
œ Ù f + Ÿœ ~~~~~~~~~~~~~~~~~~~~~~– * .. Ù
e = 56
a tempo
1 16
3 8
>
bœ.
Í
n ** bj Ÿ~~~~~~~~~~~~~~~~~~~~~ U (lip gliss.) µ œ ® ® œ. p
f
rK Kr 5:4œ 7:6œ
38
M bœ
ß ppp
œ œ. !
œ µœ ® nœ ! æ J
f poss. rall.
smorz.K r 7:8œ
K œ ®. œ œ œ œ œ œ
O sub ß ÿ
r
7:6œ
µœ æ
ppp
J
3 O O O O O O 16
ƒ
f poss.
48
-r >œ ..
#œ p
sub
U
‰
pp
(breath c.)
œ
œ
28 ‰ .. O
¥ ..
œ
#œ
œ
œ #œ
f poss.
Sppp
,
38
Ø
poco rall.
e»42
e = 48 Bœ
U
2 8
pochiss. rall.
e = 38
poco rall.
b
pochiss. rall.
a tempo
pochiss. rall.
œ
n
U
> > >
rK 7:8œ
a tempo
e = 32 58
®
e = 42
sub
a tempo
* Rit. speed of trill.
poco rall.
j
O ® ßp
j
KKr
5:4œ
jU
Ù ƒ I n *** œ # œ #œ œ ~~~~~~~~~~ Ÿ œ œ nœ œ œ œ œ. 28 #œ œ œ #œ 161 # œ ®. ® Ù
z>
r 5:4œ
r
5:4œ
#
œ
*** Trill to F transitioning to F
n
( e»42) a tempo
62
Flt.
1 & 16
j
œÍ
3 16 ‰
e»56 œ.
Flt.
& 81
œ
œ
œ
r 5:3œ
œ
#œ
Ø
‰
28
> >> >
r
(breath c.)
bœ bœ nœ
7 16 Bœ. p
5:4œ
simile
fffp M n nœ *** b ~~~~~~~~~~~~~~~~~ M œ bœ nœ Ÿ œ. œ œ r 3:2œ
*** Trill to B
b
Ù #œ.
œ
æ
œ.
e = 36
®
Ï
KrK 7:8œ
transitioning to B
. n
5
#
p
fJ
ßp
f e»48
U
œ bœ #œ nœ œ bœ
œ ÍM œ
28
®
)
p
ä Bœ
> >9:8œKr > > > > >
œ ® Ï # ~~~~~~~~~n b œ nœ œ œ Ÿ . #œ œ nœ œ µœ (breath c.)
Kr
J
(
œ® œœ nœ #œ sub
e»36 )
( bœ ) bœ
38 b
pochiss. rall.
#œ. #O.
Í
rK
5:4œ
rall.
5:4œ
rK 5:4œ
e = 32
rall.
M #Ÿ*~~~~~~~~~~~~~~n ( k œ œ U µ œ 7 ® 16 œ .. (lip gliss.) µ œ ® # œ
a tempo
Bœ
n
a tempo
* Trill to F transitioning to F
sub
poco rall.
rall.
>j
œ .
j
O œ. Sfzp
1 8
œ #œ
p
j
e = 42
7:5œ
e»32
nœ
®
j
Ù .. Í
f poss.
#œ
Kr 9:8œ
tenuemente...
a tempo
Flt.
œ
œÙ
(breath c.)
rall.
( K˙. ) & 85 ˙ .
72
..
J
a tempo
68
rall.
U
® 85
Bœ.
fp
poco rall.
j
r
5:4œ
æ® œ f poss. ß œœ b œ **
¥
¥æ
.
U
œ > > > >p bœ nœ
œ bœ nœ œ
r
81
7:6œ
** Ossia: Timbral trill
poco rall.
j
r
5:3œ
œ .. sub fp bMœ 3 Bœ nœ 16 œ #œ œ
.
æ
#œ rK
5:4œ
28
nMœ
œ
Mœ
Mœ
® œæ ßp
® œ
rK
7:8œ
æ
j
rK
5:4œ
.
( rit. flz.)
#œ
81
œ.
O® ®
3 16
6
e»42
a tempo
¨ ^ ¨¨
. ßp # œ œ
78
Flt.
poco rall.
3 & 16
œ
œ œ
bœ
æ
œ.
nœ
5:3œ
œ
¨ ¨ ¨ ¨ ^
jU
r
rK
7:6œ
O®
.
œ. ß bMœ
Flt.
.. ) # œ ..
Flt.
Í
5:4œ
#œ ‰ #O p
® p poss.
p
89
œ œ
nœ
! œ
#œ
( accel. flz.)
æ
œ
>j
rK
poco rall.
æ
zO
ßp
3 œ . œ . œ . 16 bœ bœ
œ.
Kr
j
7:5œ
Kœ B œ
48 n œ (
)
p
U j Ÿ ~~~~~~~~~~ Mœ j œ j bœ œ U , Ÿ ~~~~~~~~~~~~ ~~~~~~~~~ Ÿ bœ. Bœ 1 œ b œ n œ ..(lip gliss.) B œ ® œ ..(lip gliss.) B œ ® ® 8
Í
p
O
18 œ. #œ. bœ
ßp
85
> j
Í
O zœ
œ
poco rall.
(breath c.)
r
œ
j œ
j
e = 48
7:8œ
( rit. flz.)
j
7:6œ
5:4œ
r 5:4œ
poco rall.
j
Bœ
( nœ
e»42
. ßp b œ ®
Kr 5:4œ
rK
r
3:2œ
j
a tempo
e = 32 & 85 ‰
a tempo
84
®
œ œ œ b œ œ ® 28 #œ œ bœ 7:6œ
e»36
a tempo
b ~~~~~~~~~~~~~~~~~~~~n ß ppp 38 œŸ 5 b œ œ œ b œ n œ œ b œ n œ 16 *
r
7:6œ
* Trill to E b transitioning to E
n
a tempo
>>> >
œ
5 # œ œ œb œ œ . & 16 œ bœ.
O
r
7:5œ
bœ
j
> j
æ.. œ z ß ppp
æ
poco rall.
O œ
!
Ù 28
œ Í bœ
r 5:4œ
æ . ‰ ..œ œ b œ œ
œ
j
O!
œ.
bœ nœ
e»36
œ
œ bœ œ
81
œ O p M 38 n œ M œ
poco rall.
j œ
œ
j
Kr 7:6œ
j
® œ ® œ O® ßp Í bœ œ œ j 5:3œ
æ
#œ
a tempo
7 16
U
nM œ Í
œ ® œ. æ ppp
poco rall.
Bœ !
f poss. J
r
9:7œ
œ œ. æ
ppp
U
µœ !
f poss. J
48
7
e»42 > >> >
a tempo
94
B K œœ .... )
U
& 48 n œ .. (
Flt.
œ p
e = 32
f poss.
j
æ ( rit. flz.) . ß ppp
œ O
38 ® œ. #œ. bœ.
æ
r 7:6œ
e = 32, ricercando...
œ 100 æ 7 ‰ œ bœ œ bœ. & 16 # œ œ b œ œ
KKr
simil.
5:4œ
æ ( rit. flz.) O œ . œ. . œ ® .. œ O Í Ï Ø n # * Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( B K œœ ) 5 . #œ. 28 œ . ® 16 ®n œ œ œ #œ œ
f
œ. Ù ‰. nœ #œ œ œ bœ œ bœ nœ
f
1 Ù 16
Ϩ
œœ 5 œ 16
œæ O p 3 16 b œ n œ œ b œ œ b œ œ b œ œ œ . rK
rK 7:6œ
œ
p
æ
#œ
Bœ
µœ
81
7 16
r
7:5œ
pochiss. rall.
jU
5:4œ
poco rall.
# n * Trill to E transitioning to E
( rit. flz.)
œ æ
j
j
3:2œ
pochiss. rall.
a tempo
Flt.
æ
nœ.
˘ ˘˘
e»36
u
a tempo
1 16
Ͼ p
j
O
( rit. flz.)
3 16 œ b œ œ œ b œ n œ # œ n œ b œ n œ . Kr
5:4œ
Kr
7:6œ
1 8
E tenebris in lucem voco.