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LISA BIELAWA

Double Duet Saxophone Quartet

2010 commissioned by Larry and Mary Hewes in celebration of their 50th Wedding Anniversary and in honor of and dedicated to the memory of Randy Hostetler for a premiere performance by the Washington Saxophone Quartet

TRANSPOSED S CORE Š2010 by Lisa Bielawa


LISA BIELAWA

Double Duet (2010) commissioned by Larry and Mary Hewes in celebration of their 50th Wedding Anniversary and in honor of and dedicated to the memory of Randy Hostetler for a premiere performance by the Washington Saxophone Quartet

duration c. 13-15’ Performance Notes Sp atia l Set-up : There are two performance locations with two music stands at each, one in front of the performance space and one in the back. The Alto and Baritone parts are on the stands in front, and the Soprano and Tenor parts are on the stands in the back. Because all players enter from the front and play their first material in front of the space, the Alto and Baritone parts contain all of the players’ parts for the first few systems. How to Us e Sco re a nd P art s: Each player’s part contains only the cues that he/she needs in order to move through his/her tasks. With a few exceptions, there is no meter, and all phrases and musical material is organized in terms of real-time markings and a system of cueing. Sp atia l alig nm e nt in the sco re is not a sca led rep re se ntatio n o f time . It is more like a logistical map, showing all cueing relations and real-time cues. Each part contains a cue staff (in C) that gives only necessary information. Some ‘measures’ between double bars have a global timing above them. These timings are flexible, and do not need to be counted out exactly. Dotted arrows sometimes appear to show cues in places where an entrance is a response to another player’s phrase. Box es /B rac ket s: In aleatoric sections, phrases in boxes should be repeated throughout the arrow-indicated time. Specific instructions as to the duration of pauses in between iterations are included in the score and parts. There are two kinds of aleatoric textures: non-pulsed, free sections; and rhythmic, pulsed sections. In the freer sections, players are instructed to rest a certain number of seconds between iterations of the boxes, and in the pulsed sections, players are instructed to rest a certain number of beats. Bracketed phraselets, which appear first at “K,” are played as written without any rest in between. Accide nta ls : In aleatoric sections with boxes or brackets, accidentals only hold through the boxed or bracketed material. In sections were there are actual measures, accidentals hold through the bar. Move me nt a nd Ent ra nc es /Ex its : If possible, all players should have their entrance phrases memorized so they can begin playing as they walk in. Movement instructions appear as boxed text. Each player gets c.30” to get from backstage to the music stands in front. If the space is very small and this amount of time is more than needed, a more circuitous route can be chosen so that each player can make a c.30” entrance. Tenor and Soprano enter from the front, play for a limited time at the front, then proceed to the back. Alto and Baritone enter from the front and stay there for the majority of the piece. At letter “S,” Alto and Soprano begin walking to the center of the performance space, where they meet and play together. Just before “T,” Baritone walks to center, and at “T” Alto walks to the back of the space and joins Tenor. If possible, players in the center should play this brief section from memory so that there do not need to be music stands in the center.


Double Duet commissioned by Larry and Mary Hewes in celebration of their 50th Wedding Anniversary and in honor of and dedicated to the memory of Randy Hostetler for a premiere performance by the Washington Saxophone Quartet

Lisa Bielawa

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c. 8"

; 3" "3 3" 3 #" #( '

c. 6"

3" "3 3"#" 0 ff

mf

" /

" /-

#"#" " " +#"#" +#" " +

, " " " ," )" " "# " " " "# " + + +

M

3

ff

) " # /"- /" """"+"" + ""+

#0

$!

%

#" #/"#"- )"/ / 3

fp

/"

3

ff

0

11

)/"-

/#" #/"- #" ) " /3

fp

$!

# Sop. ! Ten.

0

c. 12"

+


12

c. 5"

# ! 71

Alto

Bari.

c. 10"

"," + " + ," + " + ," ," "

"," + " + ," + " + ," ," " mf

," " $! ," + " +

# "!$ ," " ( Sop. !

"!$

%

" ""

f

rit.

$!

#" " " " f

O

&

at Sop/Ten entrance finish box then stop

," " ," + " +

mf

Ten.

at Sop/Ten entrance finish box then stop

$ "!

&

3' 3' 3' 3' & '' " " " " ''( :=

," "(

ff

' 0

3x /-

& '' "

2

ff

"- "- '( = ' :

Rhythmic, Rollicking q = 132

# = & !: 73

8

Align w/Bari & Alto as closely as possible # = "!$ #" 3"- 3- #" ( ( #" Sop. ! : "" Ten.

%

= $! :

"!$

#0

&

ff with abandon

8

," + 8

)" +

&

8

#" +

," )" #" / / / / , " / / , " ," + " + ," + " 1 )" + ," + " + ," + ,"$ 1 # " + Bari. ! $ ," " " % )" ," / #" / / / / / / Sop.

Ten.

# !

"+

#" " " "#"#"#" +#")" " " + "* "* + " + " " + " " " mf 3$ 3"- 3 3- ) " ) 3"- ( ' ! " #" #"- #"

with abandon

75 / #" # +8 Alto ! #"

"!$

= :

3x/

/ " + ," + 8 & 8 #" + )" + " ," )" " #" / / / / f driving " + / ," +,"$ 1 & = ," + " +,/" ," + /" 1 )" + ," + # " + Bari. ! : ," $ " " % ," )" ," / #" / / / / / / f driving Alto

= :

#" 3"ff

& $!

#3"- #"

0

, "!$

," 3"ff

&

,3"- "

(

8 3-" 3 3- ) " ) 3""!$ #" 3 #"- #"

"+/ "+ " " / &

)/3"- )/3"3 3 " " #3"- #"-

"!$

('


13

P

Free, Floaty

," " # ," " " " " " + " + " + " + " + " + ," + " + Alto ! ," Bari.

mf

$!

2

# Sop. ! Ten.

%

/(

8

" " ")" "

$!

0

3"- 3" (

;

# "!$

f

' 2 " "- ' (

;

# "!$

' &

" " + / ," + /" + #" + )" + = , " ," + Bari. ! : ," $ ," " ) " , " # " / / / / / ff /3 ' 3 ' 3 ' 3 ' # = /3 ' 3 ' 3 ' 3 ' $ " " " " " " " ,"! ," ' Sop. ! : #" "-

/"

"-

82

&'

' &

/ / #"- "- "- "- "- "- :=

/ #3" ' 3" ' 3" ' 3" ' := f

$ ,"!

,(

# " / # " /" " / / , " + " " +," + #" + #" + + / "3 ' , "3 '

8

"3 '

3" '

3" ' #" '

&'

Floaty Again

" # '" " + ''( Alto ! & ' " +

'" Bari. ! & ' $ 4x

mf

# Sop. ! (

2' $!

mf

"

+"

"

+ ''( 2

= :

& ''

2

= :

2

= :

' 2

3x"

3x 3 "' 3x "-

& ''

2

3x

p

c. 4"

& ''

" " & '' " + " + ''(

' 2

c. 4"

4x

mf

Ten.

"-

ff

Q

#' (

" / ) " ,/" /" / " #/" # " /" ) " " + + + + ," + " +

ff

%

" # "-

f

/" " / / 80 , " )" " " # = / ," / " ,/" +" + + + + "+ Alto ! : ,"

"-

n

= : = :

mf

""""' 0

Rhythmic Again

ff

out by Sop entrance

0-2 beats between boxes

mf

= /Ten. ! : #" $

&'

c. 10"

77

mp

mp

3" ' 3" ' 3" ' "!$ ,' 0 ''( "- "-

''(

"!$

,' 0

p

"

+"

"

+ ''(

solo "!$

,0 p

- , "- ; "!$ " , " ) " f

= :


/" " / / / 86 ," " " # = / ," / " ," )" +" + + + + "+ Alto ! : ,"

14

Rhythmic Again

/ " " + ," + /" + #" + )" + = , " + Bari. ! : $ ," " ," )" #" / / / / ff

Sop.

# = !:

2

/ )0 = Ten. ! : $

# Alto ! 88

Bari.

%

$!

# Alto !

mf

," mf

" " " ," "

," + " + "

# "!$

(

$!

# Sop. !

R /(

" +1 & *

ff

c. 8"

"

0-1 beat between boxes

"!$

(

2

,(

$!

1-2" between boxes

mf

c. 8"

/(

"

"+" +

0-1 beat between boxes

" + "+ " "

c. 4-5"

3

( /

ff

mf

" + "+ " "

< ," +1 & 0-1 beat between boxes

#" " #" + "+

2

"

" 3"- " & 3-

ff

" + " " +

mf

c. 4-5"

," ", " & 3- 33

( /

ff

mf

mf

c. 12"

# /( (

3

ff

&

3"- 3,"

," / #(

" *+

)/(

#" * +

f

"3

3

3"- " 0

/ < " + 1 #(

"- "" + 1 "- "* mf

Ten.

0-1 beat between boxes

mp - f

90

Bari.

" "+" +

$!

# Sop. ! Ten.

"

ff

%

c. 8"

Floaty Again

#( f

,"

," + "

"

mp

"

+

c. 6"

3"3

3"-

#3"- & # " #"3- 33


S # Alto !

"'

)" '

# " " #" 3" ' #" ' 0

ALTO: walk towards center of space

91

mf

Bari.

Sop.

Ten.

%

$!

"'

&' #"

$ ! #"

+

' (

"

$!

' #(

c. 10"

%

# Alto !

Bari.

94

$!

# Sop. !

' #(

$!

c. 10"

#0

2

pp

" " "

p w/Alto, when both reach center

' (

#' (

' (

' (

0000

(

""""

pp

' #(

2

#0

pp

&

p

T

2 c. 30"

ALTO: walk to back of space and join Tenor

unmeasured, slow tremolo

0

0

0

,0

> &

0

,0

pp

1-2" between boxes

1-2" between boxes

#> #>

> )>

#>

1-2" between boxes

pp unmeasured, slow tremolo

Ten.

' (

BARI: move to center to join Alto & Sop

mp

$!

' (

alternate boxed phrases with Bari

3

3

# ' ( Sop. ! Ten.

#3"# " #"3- 3-

" +

w/Sop, when both reach center

mp

)" ' #" " " #" ' #" ' 0 3

SOPRANO: walk towards center of space

mf

mp

# ' ( Alto !

Bari.

add this box and alternate boxed phrases with Tenor

"

)" 3

"

# !

92

15

c. 12-15"

,0 pp

,0

)0

,0

0

,0

1-2" between boxes


16 UNTIL SOP HAS EXITED # REPEAT ' Alto ! & ' ,0 0

''( &

95

Bari.

$

#('

! & '' ( '

REPEAT UNTIL SOP HAS EXITED

mp

# ' #( ' Sop. ! & '

# " #" " " # " #" # " " + + + p

''(

' 2

SOPRANO: walk forward and exit

#" " " " ''(

REPEAT UNTIL OUT OF SIGHT

#(

mp

Ten.

$

,0 ! & ''

dim throughout

)0

REPEAT UNTIL SOP HAS EXITED

0

''(

0

#" " " #" #" " #" #" + + + p

% # Alto !

U

97

# " #" " "

c. 8"

# " )" " " # " " # " " + + +

BARI: walk to back of space and exit

Bari.

$!

/ (

mf

Ten.

# $!

3

," ," 3- ,"3-

stop when out of sight

4-6" between boxes

% # """" "" + + Alto ! $ 99

Ten.

# $!

play when Baritone stops

"""" "" "" + + +

c. 10" n

3# " " " # " ) 3"- " " ' 0

play c. 5" after Baritone stops

mp 3

n

2

Double Duet  

Lisa Bielawa: Double Duet for saxophone quartet

Double Duet  

Lisa Bielawa: Double Duet for saxophone quartet

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