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Jacob Mashak

Akritimos II

The general dynamic of Akritimos II should be forte, varied as the players' interpretation warrants. Over each measure is a symbol indicating the length of that measure. The particular durations signified by each symbol will be determined by the ensemble, with one symbol representing the longest the ensemble can hold any given chord for and the other two indicating amounts of time proportional to that. An ensemble should pick one particular duration to serve as the length represented by the longest durationsymbol. In other words, the "longest duration" symbol does not indicate to play whatever note is under it the longest that is possible, but to play the chord/passage at a predetermined length given by what the ensemble judges it it can play all of the chords so marked.

 : the longest possible duration ^

: a duration of 2/3 the longest duration (c.66%)

 : a duration of 1/2 the longest duration (50%) For example: if the longest duration the ensemble could perform each chord so marked at was 30 seconds, the other two symbols would represent 20 and 15 seconds respectively. Notes under phrase markings are played in any rhythm desired by the player within the time frame of the indicated symbol and need not be slurred together. At rehearsal letters K, M and O, though the duration symbols of the four players do not match, they all add up to the same amount of time, so that, if played correctly, the chords at L. N and P would be together.


Akritimos II     Soprano Saxophone 

Alto Saxophone

  

Tenor Saxophone

 

Baritone Saxophone

 

 

  

 



 

 

 

 

   

 

 

                       

   

 

     

 

A

 







 



B

  

  



 

     

 

                                 

 

Jacob Mashak

 



 

 

 

 

 

 

 

 C              

 

      

           

    

          


 D                                                                        

E   

                        

                     

   

 

   

    

     

 

   

 

  

 

 

 







                        

                                                           

G

 

 

   

3

 

 

 

 

F



 

            

  



                              

             


4

I 

H     

      

 

 

            

K

 

 

 

 

     

   

 

                             

N

                          

 

   



 





O





          

 

    



L      

        

         

   

   

 



       

        

      

     

M 

     



   

P        

             



J           

                     

        

  

 

 

 

 

 

 

   

 



                      



 

 



 

      

Akritimos II  

for saxophone quartet