triumvirate

angus lee

triumvirate op. 32

[2018]

for alto saxophone, percussion and piano

full score

triumvirate Op. 32

for alto saxophone, percussion and piano

[2018]

general – the indicated tempi throughout the piece refers to the ideal[istic] and maximum [i.e. fastest] speed at which the piece is to be performed at; – in order to execute all of the technical details, however, it is perfectly permissible that the piece be interpreted at a slower speed; – the overall temporal relationship between different tempi, however, should be proportionally maintained [i.e. once a single tempo is altered, all others must follow]; – grace notes should be performed before the beat.

notation a) alto saxophone – unless otherwise noted, all passages are to be played either senza [or with minimal amount of] vibrato; – all multiphonic fingerings are taken from « Die Spieltechnik des Saxophons » by Marcus Weiss and Giorgio Netti; – the multiphonics below are listed in i) their order of appearance, and ii) the measure in which they appear:

fingering measure

15

20

24

25

29

39

44

45

50

51

61

65

74

76

79

83

87

105

115

118

122

122

– all non–standardised notations [of extended techniques] are listed as below:

note 1 : a hollow, circular crossed–out notehead refers to a pitched slaptongue; note 2: a rectangular–framed note refers to a regular tone, with the inclusion of a varying degree of air sound depending on context.

a dotted line generally refers a transition from one note / technique to another, performed as smoothly as is humanly possible; an arrow–head line – usually associated with fluttertongue as indicated above – refers to the gradual inclusion of a particular playing technique in the passage.

125

131

135

137

b) percussion – unless otherwise noted, the performer has absolute freedom of choice regarding the choice of sticks / mallets; – when specified, the choice of sticks / mallets are indicated in symbols, as listed below:

symbol stick / mallet number required

 bass drum mallet [soft]

2

 triangle beater

2

 soft [yarn] mallet

2

 hard [plastic] mallet 2

 hand / palm / fingers

n/a

– the percussion setup is notated in a four–staff conglomerate, as indicated on the right:  top staff is reserved for vibraphone;  second staff is reserved for [top down) i) two woodblocks, ii) two tomtoms, and iii) hi–hat cymbals;  third staff is reserved for [top down] i) bass drum, and ii) three gongs [small, medium, and large];  fourth staff is reserved for inside piano.

– a heavy object [e.g. brakedrum] is required to dampen the vibraphone pedal until measure 110; – unless otherwise specified, all resonance on bass drum, the three gongs and inside piano should be left reverberating.

c) Piano – in order to properly execute the sustained [inside–piano] tones, two ebows are a mandatory part of the performance; – pedal markings for each of pedals are notated in a three lined staff, as indicated on the right, showing the activation of [top down] i) una corda pedal [u.c.], ii) sostenuto pedal [sost.], and iii) sustain pedal [sust.]; – all non–standardised notations [of extended techniques] are listed as below:

bracketed hollow, diamond noteheads refers to keys that are to be depressed silently; this kind of notation is generally linked to the activation of sostenuto pedal; non–bracketed diamond noteheads refers to pitches that are sustained by the ebows

– harmonics are to be performed with one hand lightly depressing the string inside piano [ required partial notated on upper staff ] with the other hand depressing the correlated key [ note notated on lower staff ]; – generally speaking, [ o ] refers to an open, neutral position whereas [ + ] refers to a stopped, pressurised position in any given extended techniques; – a slashed through pedal mark refers to half pedalling.

d) irrational / non–dyadic meters – most present in the opening section of the piece, the denominator of each of these meters refers to the number of segments a semibreve is to be divided into, hence i) [ 1/12 ] refers to a note that is equal to the value of an eighth note triplet; ii) [ 1/24 ] refers to a note that is equal to the value of a sixteenth note sextuplet; iii) [ 4/44 ] refers to a measure that is equal to the value of four thirty-two notes undecaplets [ 11 ]

premiere performance for the Delian Academy for New Music 2018 (8 – 16 June 2018) Concert Hall, Grypario Cultural Center, Grypario, Greece

by Trio Accanto, with Marcus Weiss (alto sax.), Christian Dierstein (percussion) and Nicolas Hodges (piano).

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