Muna ii, for Amplified Guitar and Tape

muna: ii for amplified classical guitar and computer generated sounds

juan campoverde q.

2006 - 12

muna: ii

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For Amplified Classical Guitar and Computer Generated Sounds

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R 28 48 38 10 their actual sound, however, do not # !– 28 81 8 Guitar reflect this tuning system. The information tuning of the guitar is being used. # they provide is to be followed as if the traditional 4 r. h.

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The squared-shaped notes in the middle staff, to be played by the right Jhand, are produced by plucking the indicated string in the segment between the point where the left-hand finger(s) press the string (as notated in the staff), and the head of the instrument.

The notes of the lower staff are to be produced by using the hammer-on technique. Left hand, stems down; right hand, stems up. e

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The guitar needs three (3) microphones for its amplification: ca. 04:56

ca. 05:10

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Two microphones are used for the upper two thirds of the instrument (including the head or tuning system). The microphones should capture the very subtle but dynamically weak sonorities produced (such as those produced by by-tones).

One microphone should be used for the lower one third of the instrument (including the main body of the guitar).

•

Two speakers (L and R) should be used for the amplified guitar, and they should be placed, on stage, relatively close to the guitarist.

Computer Generated Sounds (Tape)

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The tape part, stereo version, begins muna ii: the guitar follows almost immediately.

Then both, guitar and tape, continue until the end.

•

The dynamic/volume level of the tape part should be at the same level or a little bit below than the part of the amplified guitar.

The guitar part is the main part of the piece and should be kept in the foreground.

•

Two speakers (L and R) should also be used for the tape part, and they should be placed on stage, relatively close to the speakers used for the guitar, so as to project a unified sonority with the amplification being used for the guitar part.

For muna ii, we should then use four (4) speakers, with the TAPE speakers placed outside: TAPE Left

GUITAR Left

GUITARRIST

GUITAR Right

TAPE Right

Approximate duration: 9 min. 10 to 9 min. 20 sec.

muna ii attempts to trace a path through the spaces found within our intimate selves. Seeks to touch them, to encounter their fractures, their creases, and their luminescence. muna ii is dedicated , with immense appreciation, to Colin McAllister.

muna: ii Para Colin McAllister, con mucho aprecio

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( l. v. )

88

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8 &8 #

ca. 06:34

( l. v. )

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accel.

ca. 06:55

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e»38, siempre muy flexible 2 87

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a tempo

3 8

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Cinta

ca. 07:03 I

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accel.

2

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* Detrás del puente: Tocar las cuerdas entre el puente y las clavijas de afinación.

Play between the bridge and the tuning pegs.

Cinta

ca. 07:39

1

3 32 3 32

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® 78 78 78

11

Ricercar, a modo de coda e

»46, pero con flexibilidad

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accel.

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a tempo

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4 r 7:8œ

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p

* Dependiendo de las cualidades de la guitarra y las cuerdas, elegir la cuerda con más sonoridad.

Depending on the specific qualities of the guitar and strings, choose the string that speaks more clearly.

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j 7:6œ

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1

P

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3 16

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** Quinta cuerda, LA # : octava baja.

Fifth String, A # : octave lower.

Cinta

* Extremadamente cerca al puente: usar la uña únicamente.

Extremely close to the bridge.

Use the nail only.

ca. 08:34 J

poco rit.

accel.

U

( l. v. )

r 5:3œ

105

3 & 16

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a tempo

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f

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n äœ #

Cinta

ca. 09:10 ***

*** La duración final puede fluctuar entre 09:10 y 09:30.

The total duration of the piece can fluctuate between 09:10 and 9:30.