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A Bao A Qu        for Ensemble Modelo62  (flute, Bb clarinet, C trumpet, guitar , piano, marimba,   violin, violoncello, double‐bass and tape) 

    Miguelángel Clerc 2012 


A Bao A Qu / Stage setup

Dim light over circle area. It must be easy for the players to read the score.

Back stage

Front stage Players should sit as close as possible to each other.

bass

piano

Audience

trpt

fl vc

vln

cl

gtr

conductor

Comp

Audience All audience have to be sitting in chairs placed on ground level

Audience Area

Audience

marimba

Computer + 4 output interfase To PA to 4 speakers raised to head level


Indications IMPORTANT for PLAYERS and CONDUCTOR: The music is writtten in two dynamic layers. The parts are written with normal dynamic indications. Initially they have to be practiced in real volume. Many fragments of the music are intentionally written in a speed that is almost impossible to perform in. The performers have to try to achieve the musical gesture and melodic contour of these fragments in real volume. Once the players can play their parts they have to perform the piece almost in silence. The dynamic equivalences are indicated in the parts. All music until rehearsal mark G is to be performed in the soft equivalence. Transformation towards real sound will be indicated below the dynamic line indications and will make reference to REAL sound. What the double dynamic layer aims is not to get relaxed in the possibility of faking but to create a conflict between what the player actually know that is the sound and to try to perform that almost in silence. That is why to play in the real sound is important, to have a physical and mental internalization of the piece when performing in the soft version. When playing it soft the perfromer should be able to feel the physicality and imagine the real sound result. At the same time the soft performance will bring noises and sounds that you must allow to happen and accept. This should bring out a different energy than if you were just improvising soft noises or performing specifically written soft and noisy effects. Please check carefully the dynamic equivalences that appear in the top left of the solos. The dramatic effect that the piece has should not come out from acting but from trying to achieve an specific task. The dramatic effect is a result. For instance, if you try to make a transition from motionless towards soft volume what is important is to always be listening mentally. The final end of this is a sound result and to project a form of attention. I don't see the piece as theatrical but the way is written aims at projecting a different attitude which probably produces a dramatic effect. For CONDUCTOR In the first half of the piece the conductor's score doesn't show the music of the parts. It just indicates the kind of activity that is occuring as shown below. The conductor must explain this to the performers and that he/she wil indicate only cues that are timed according to the length of the music in the parts. The level of control of the conductor will increase towards the end of the piece.

solos

1

Groupings: Trios, Duetts, etc

Boxed number with arrow: cue.

A computer must be placed by the conductor so that he/she triggers the tape when indicated.



no activity: length is indicated above in seconds


A Bao A Qu Loop solos. Interrupt with corresponding cue.

Start playing before audience comes in.

solos

Conductor

Miguelangel Clerc

A 

1

3' since audience is completely silent

 3

2

4''

(in parts boxed numbers appear as: cue 1 , cue 2, etc.)

6''

II Trio

solo

II Trio

Violin

solo

II Trio

Cello

solo

Bass

solo

Flute

solo

Clarinet Bb

solo

Trumpet

solo

Percussion

solo

Guitar

solo

Piano

I Duo

I Duo

B 

5

4

Cond.

9''

1

7''

fl. ( 1,5'') cl.

 (  3'')

10''

( 3'')

trpt.

V Duo

perc.

V Duo

( 1'') guit.

( 5'')

IV Duo

piano

vln

vc

bass

III Solo

6''

( 3'')

( 2'')

( 3'')

( 5'')

IV Duo

 ( 2'')

 


2

2

Cond.

fl.

cl.

6''

5

3''

( 3'')

VII Solo

 ( 1'')

VI Trio ( 2'')

trpt. ( 0,5'') perc.

  2'')

(

VIII Quartet

piano

VIII Quartet

vln

VIII Quartet ( 1'')

bass

VI Trio

 

IX Solo

 

VI Trio

7''

VIII Quartet

guit.

vc

4

3

7''

 ( 1'')

 

C

q = 60

  

1

Cond.

fl.

2

10''

( 7'')

 (  2'')

( 1'') trpt.

perc.

( 0,5'')

( 0,5'') piano

( 1'') vln

bass

 

  

vc

X Trio

(

 3'')   

 

 

X Trio

guit.

 

X Trio

cl.

       

 

XI Trio



   XI Trio s.p.         s.p.

  

XI Trio

     


D 

Cond.

( 1'') fl.

3

 

stop marking beat 4''

4

4''

1

5''

( 1'')

XII Duo

piano

vln.

vc.

   

        ( 1'')

bass

to rasgueado ff

cl.

trpt.

 

XIV Duo

 

2



 

f



ff







 

f

  

 

   

 

   

 

 

 

vln

vc.

bass

XVI Quartet

XVI Quartet

XVI Quartet

     

 

 

        

f

p

 

 

 

 

   

 

   

 

 

 

 

XIX Trio

XVIII Duo

 

5

real (max mf)

f



    

XVIII Duo

XVII Trio



4

   

    

 

  

XVII Trio

 

 

XVII Trio

 

XVI Quartet

piano

3

   

  

 

XIII Solo

 

   f

 

 

ff



( 1,5'')





 

f

XV Trio

  



ff

perc.

guit.

XIV Duo

( 1'')

  

  3

XV Trio

XII Duo

Cond.

fl.



perc.

gtr.

 

XV Trio

cl.

trpt.

3

  

5

   

f

real (max mf)

   

 

f

 ( 1'')   

 

 

         XIX Trio

 

  

      

 

XIX Trio

     

     


E

4

Cond.

 

fl.

 

cl.

  

 

f

trpt.

 

Mar.

   

 

4:5

f

guit.

   1

 



 

 

piano

 

 

 

 

 

 

 

  

XX Duo

vln.

vc.

bass

 



   

 

 

f

 

 

  

XX Duo

sfz f

 

 

 

 

 

real (max mf)

 

real (max mf)

4

7''

fl.

cl.

trpt.

 

5''

three cues

5

1

4''

16''

16''

(motionless)

(motionless)

(motionless)

(motionless)

(motionless)

(motionless)

(motionless)

soft

(motionless)

 

soft

(motionless)

soft

(motionless)

piano

soft

soft

(motionless)

guit.

F 3

perc.

soft

 Cond.

17''

sfz f

 

3''

 

   

2

(motionless)

vln

vc.

(motionless)

soft

bass


5

 2

Cond.

cl.

trpt.

perc.

guit.

piano

vln

vc.

bass

26''

fl.

3

8''

(motionless)

 

8''

soft

soft

real + (louder)

real + (louder)

      

(motionless)

(motionless)

(motionless)

(motionless)

(motionless)

(motionless)

(motionless)

     

soft

real + (louder)

soft

real + (louder)

soft

real + (louder)

 

real + (louder)

 

soft

real + (louder)

 

soft

real + (louder)

soft

real + (louder)

soft

 

   


6

q = 60 (boxed tempos are independent from

G 1

Cond.

conductor's marking) Synched cues

  

1

2

 

All instruments Normal Dynamics from here on

fl.

cl.

trpt.

 

 

  



3

 







p





(q = 82)   

 

mp

 

all flute boxes are q = 82

mf

 

 

f

       W.B.

Mar.

 

          (q = 82)

3

fff

5

f

all Marimba boxes are q = 82

Gtr.

  sfz

piano

   

mute

Keyboard cover       

fff

Vln.



 

 

 

 

slowly remove cloth (mute)

(q = 76)    

all violin boxes are q = 76

mf

     fff 

Keyboard cover

s.t.

ppp

(q = 76) 5

Vc.

Cb.

  

   

        mf

  

 

all cello boxes are q = 76

rub back body

 f posible

 

 

 mute

  

sfz

col legno ricochet s.t. s.p.

  

sfz


7 8

Cond.

Fl.

Cl.



3

3



mf real



(q = 76)





        4:5

 

 

 

 

mp * soft



all clarinet boxes are q = 76

mp

trpt.

     (q = 60)

all trumpet boxes are q = 60



 

mp

cue 3

Mar.

W.B.     

fff

(q = 90)

Gtr.

3

 mf



  

Pedal stroke

piano

Vln.

Vc.

 

 

 

 

 

 

sfz

all guitar boxes are q = 90

   

mp

 



(q = 52) Cb.

cue 3

sfz f



all bass boxes are q = 52    

3


8

4

Cond.

 

 

Fl.

 

  

14

 

trpt.

 

 

Gtr.

piano

Vln.

Vc.

 

 

  



 

  

   

 

 

  



 

3

 

 

3

  

sfz

Keyboard cover

3

sfz

  

 

 





 

 

5:4

slap back body with palm      

sfz

sfz

f

Cb.

mf

 



 

Pedal stroke



mf

 



  



 

 

f

mp

Mar.

 

7:4

Normal dynamics.

mp

Cl.



 



mp


H

5

18

Cond.

Fl.

Cl.



f

 

 

        





 

 

 

1

    3:2



 

Gtr.

  f

 



piano

Vln.



 

 

 

 

3



 







5:4

 

 

  

 

 

 





f

Cb.

 



 

   

 

 7:4

  

  

    

sfz

   

5

 



 

 

6

f sfz

mp

Vc.

 





 

f

5



Keyboard cover

mf

 3 

f

f

Mar.

  

f

7

  

 

4:3

f

trpt.

9

 

 



      

Keyboard cover

    

 f

           sfzp  f

     mf

  

     sfz


10 21

Cond.

 

   2

 

Fl.

 

 

 

Cl.

 

 

 

trpt.

 

 

 

 

   

Mar.



W.B.

 

sfz

Gtr.

 

 

   

mute



 

sfz

piano

Vln.

Vc.

Pedal stroke 3

 

 

 

 

 solo fragment 

 

sfz

 

soft

 

pizz mute

 

   

 

 

sfz

Cb.

 

 

 

knock on side board


11

Cond.

 

  

Fl.

 

 

24

Cl.

3

solo fragment

real

 

 

Mar.

 

 

(motionless)



        mf

f

trpt.

5

           

      

mf

W.B.

sfz

Gtr.

 

  

  

    

 

 

tambora

3

mf

piano

 

Vln.

  

Vc.

 

sfz

     

pizz

 normal dynamics

(motionless)

 

  

Pedal stroke 3

mute

sfz

pizz

  

mute

sfz

Cb.

 

  

knock on side board


12

Cond.

Fl.

 

4

30

f

Cl.

Mar.

 

f



 

3:2

  

 

f

I Gtr.

8:7

p

 



trpt.

6

 

  

mf

Pedal stroke

piano

Vln.

Vc.

Cb.

sfz

 

Keyboard cover

3

sfz



5:4

f



f

        

  

4:3

f

 

 


 33

Cond.

Fl.

13 2nd version (to try in rehearsal): after playing bar 35 stop and dont play bar 36. Wait 25-30 seconds in silence and repeat bar 35 and continue normally.

5

 

  

 

 

 

 

   

 

 

 

 

 



 





 



 



5:4

mp

Cl.

   

3:2

 



mf

trpt.

f



   

p

Mar.

mf

   

 7

f

Gtr.



    

   4

3

5

piano

 

Vln.

   

Vc.



Cb.

 

mf

 



            mf

8:7

f

3



mf

 1

mf sfz

3



7

   

   

 

f

 

 

 


36

Cond.

Fl.

piano solo

  



   

   

   

30''

Mar.

    

sfz

Gtr.

 

30''

piano solo mute

   

30''

ff mfsub

30''



 

q = 60 piano solo continues independently teodora gives this cue

39

Is not necessary to start marking exactly in the cue.

       

  

pp

30''

ff mfsub

trpt.

30''

ff mfsub

Cl.

resonances

J

I

14

 

  

  

    



 

 

mp

  

pp

  

  

 

 

mp

ff sfz

(independent beat)  Real dynamics Solo

piano

ff

Vln.

Vc.

    ff mfsub

    

   

ff mfsub

Cb.

ff mfsub

30''

pp

30''

30''

       

   

  

  

  

  

    

pp

 

  

 mp


15 41

Cond.

Fl.

Cl.

     

        p

Mar.

Gtr.

   

  

 



       

p

trpt.

   

mp

   

     

 

    

    

  

  

mp

   

mp

piano

Vln.

Vc.

Cb.

   

  



Fl.

 

Cl.

trpt.

Mar.

Gtr.

    

             

   





   

 

Cond.

  

p

46

 

     

  

  

   

   

    

  



pp

 

       

 

mf

 

    



mf

 

 

  



             

mp

   

piano

Vln.

Vc.

Cb.

         

       

mp

   

        

       

 mp

  

      

 

 mf

 

   

   

  


16 51

Cond. Fl.

Cl.

Gtr.

mp

    

trpt.

Mar.

   

  

  

mf

             

     

f

      

 

f

f

  

   

  

f

    

f

mf

 

   

 

f

  

  

f

 

 



piano

Vln.

Vc.

Cb.

 



   

  

       

 

 

 56

Cl.

 

   

  

   

trpt.

Mar.

   

      

f



    

 

 

f

 

Tape on.

 

 

 

 

 

ff

  

ff

ff

piano

Vln.

Vc.

Cb.

f

ff

  

 

f

ff

   

   

   

f

 

 

   

f

Gtr.

f

Cond.

Fl.

   

  

  

mf

 ff

ff


Teodora gives cue for the players to stop

61

Cond.

Fl.

Cl.

  

stop with Teodora's cue

  

stop with Teodora's cue

 

trpt.

Mar.

Gtr.

    

check text on bottom of page.

stop with Teodora's cue

Tape continues ( 2' approx. )

( 20'' )

( 20'' approx )

soft

Vln.

Vc.

Cb.

 

stop with Teodora's cue

  

stop with Teodora's cue

  

stop with Teodora's cue

keep on performing mentally until the end of the solo.

(motionless)

Leave pedal al niente

Piano sudden stop piano

17

Tape continues Piano sudden stop

stop with Teodora's cue

2nd version (to try in rehearsal): - let the players continue with the sustained fff sounds for 15'' after Teodora ends her solo. Mark a sudden stop. - the guitar solo starts in that cue.


Solos and Parts       

A Bao A Qu        Miguelangel Clerc 2012 


A Bao A Qu

f = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises (keys, some airy attacks from the mouth) p = silence, keep on performing mentally and if physically without sound.

q = 82 Flute

 

   mp

3

                 mf

 *

         sfz(p)





4:5

mp

Miguelangel Clerc

                              7:4 7:4 f 

Play everything as legato as possible with the exception of indicated staccatos.

4:3

f

* 1st note stays as pedal. Tremolo randomly with the two following notes.

                                       Fl.     5:4 5:4  f  mf mp f 6



*

                

9

Fl.

 

5:4

    f

12

 Fl.  





 sfz mf

8:7

f

 



vibr

 

 vibr

Fl.

    



*

f

Fl.

  

 

   

3:2

mf

23

Fl.







  

Fl.



 mf





3:2



 



 

 

    

7:4

   

 

 3:2



                  10:8

         

5:4

mf

 



10:8

p

    



10:8

f

 



f

                 





 



          

10:8

mf



mp

                    

f

mp

 





4:3

  

 

mf

f

f

      

mp

 

mp

          

  

        

              

      

   

mf

p

7:4

f

26

 

 



10:8

vibr

3:2

mp

p

                     mf

20

 

 

   

vibr

mp

               mp

15

        

    

 

sfz (f)

 mf

 

 



 


- Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

Miguelangel Clerc

play whole fragment

A Flute

A Bao A Qu

(cue 1)

Loop solo until "cue 2"

 Fl.         mf

   

cue 3

(6'')

(3' approx.)

(cue 4)

q. = 82

cue 2



mp

     





  

     

    

   

 

(cue 5)

B   

Fl.  

  



Stop suddenly with next "cue 2"

(cue 1)

q = 82   

 

(3'')

continue without cue

                          Fl.       7:4 4:3 7:4 f f  

mp

3

                       4:5

mf

mp

              *                 5:4   f mf  sfz(p) f

                                                        Fl.            3:2 8:7 5:4 5:4 mp mf  f sfz mp mp mf f 

C

play whole fragment

q = 60



Fl.

Fl.

 



p

mf

 

 

   Fl.   

f



  

  

(cue 3)

Fl.



 

(2'')

q = 82  

 



 

 

  

  

      

f

3:2

mf

 

f



 

vibr

 

  



                

               7:4

3:2

f

                                  4:3 10:8

p

play whole fragment

q = 60 with conductor

cue 5

vibr  

mp

mf





mp

(cue 4)

vibr



 

(7'')

    

 

D



5:4



  

mf

            *    10:8

         vibr             Fl.  

(cue 2)

       

p

mp

   

mf

Stop suddenly with next "cue 5"

continue without cue mp



    

cue 1

(4'')

cue 2

play whole fragment

q. = 82

(cue 5)

(cue 4)



cue 3

*

(5'')

       f

cue 1

  

(cue 2)



f



 


q = 82

2

 Fl.  

 

cue 3

         vibr                    

      

cue 4

5:4

4:3

real dynamic line

  Fl.   

(cue 5)                



mp

(motionless)

                 

f

   



10:8

p

mf

   

 

          

7:4

f

3:2

f

p

mp

real (max mf)

E

                  Fl.   let diminuendo continue if overlaps with "cue 1"

10:8

 

cue 2

cue 3

(20'')

(7'')

sfz (f)

q = 82 

Fl.

cue 1  

mf

cue 4  

q = 60

conductor speed

After 25'' approx. the conductor will indicate (next cue 1) a 16'' long diminuendo. The diminuendo goes to motionless. (stop completely in cue 2)

 



 

3:2

 

mf

                         

 mf

10:8

mf

f

(cue 5) 3

                           mp

4:5

mf

mp

*

real dynamic line                           Fl.       7:4 4:3 7:4 f f  

                        Fl.   5:4 mp

Fl.

 

 



 

  

mp

 

  

    3:2

mf

mp

        



p



vibr

              *                 5:4   f mf  sfz(p) f

                        5:4  mp f

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless)  (cue 1) vibr        vibr

F

 



 

                 

mp

mf

7:4



 sfz mf

8:7

f

 3:2

     

          f

f

           *                                                            Fl.          f  5:4 4:3 f 10:8 

mp

     Fl.   

vibr

3:2

mf

mf

10:8

                                           10:8  mp f p

p



     f

 

 

           

7:4

mp


Fl.

  

                        

                        

  

3:2

10:8

mf

mf

sfz (f)

 mf

10:8

3

cue 2

 

( 26'' )

mf

f

                                  Fl.                    7:4 4:3 mf mp mp 7:4 * f f  real dynamic line Stop with next cue.

cue 3

3



4:5

  

( motionless)

              *                                       Fl.             5:4 3:2 5:4   f mf sfz(p) f mp mf mp mp

Stay until cue                   

soft

                   Fl.     5:4 f 





 

8:7

         

sfz f mf ff (louder than indicated real)

G

vibr

 

 

 

mp

Synched cues (boxed tempos are independent from

q = 60 conductor's marking) 1

Fl.

cue 1

 

cue 2

 

(q = 82)    mp

normal dynamics

9

Fl.

ff

p



mf

cue 4

(q = 82) 3



     

cue 3

     

4:5

mf real

 

(q = 82)

Normal dynamics.

mp * soft

       



7:4

mp

f

H cue 1

cue 5



(q = 82) 16

Fl.

4:3

f

 

 

 

(q = 82) 



 

7:4

f

 

 

 

cue 2

conductor marks

 

cue 3

24

 Fl.  



       

(q = 82)

 



mp

 

       

vibr



ff

p

real

cue 4 (q = 82)

f

8:7

f

 cue 5

   Fl.   31

(q = 82)      

          mp

5:4

 

I

Piano solo

   

ff mfsub

f


4

J Resonances 39 (piano solo continues)        

38

Fl.

30''

pp

43

Fl.

  

mp

      

50

Fl.

56

Fl.

 

    

   

mp

mp

  

    

mf

    

        

  

f

Stop counting and breath when necessary.

ff

         p

      

     

     f

 

  



     

  

stay until pianist's cue

stop with Teodora's cue

tape continues for 3'


A Bao A Qu (clarinet solo)

f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises (keys, some airy attacks from the mouth) p = silence, keep on performing mentally and if physically without sound.

Miguelangel Clerc First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.

      6:4  3:2                                                  5:4 3:2 mp f  ff mf q = 76

Clarinet in Bb

  

    

p

mf

3:2



   3:4                                               Cl.               3:2 3:2 3:2  mp pp ff 7:4

5

  Cl.   10

        5:4

                   3:2

f

mp

    3

p

mf

                         3

3

3

mf

3

3

    

5                                               Cl.                    3 5

 

13



mp

  

5

5

mp

sfz f

     Cl.     16

  

 

 

   

bis

6

  

                     

bis

6

                 

7

mf

                 

5

21

Cl.

7

f

     





 

  





 

6

  

  

f

mf

 Cl.   24

mf

        6

   ff



    

    

   fff

 f

 





mp

3



 

 


A Bao A Qu (Clarinet Bb part) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

 

Clarinet in Bb

Loop solo until "cue 1"

Miguelangel Clerc play whole fragment

A

q. = 66 (4'')

(3' approx.)

     

    

cue 2

cue 1

mf

(cue 3)

   







                      Stop suddenly with "cue 1"

      Cl.    fff





(cue 4)

mf

  Cl.   

  

 

6:4

                mf       ff

Cl.

          

3:2

 

   



3:2

continue without cue

        



3:2

    

5:4

mf

        

3:2

   

 3:4               

7:4

 

3:2

3:2

mp



p

ff

mp

(3'')

f

(cue 5)

 

q = 76

        



 

pp

               3 3                        Cl.                     3:2 3  p mf 3 3 

5:4

f

3

mf

mp

Cl.

q = 60

B cue 1

(cue 3)

 

cue 2

(10'')

mp

this rehearsal mark is in an approximate position (cue 1)

C Cl.

 

  

 

q = 60

 

(cue 4)

cue 5

(4'' approx)

 

 f

                                      3 Stop suddenly with "cue 5" 5

(3'' approx)

cue 2 q = 76

mp

sfz

f

5

 (cue 3)   bis 6 bis 6                                                         Cl.                        7 5

mp

5

  Cl.  

   

 

    

 

mf

 

f

 

7

 

5

 

 

    

 

 

(cue 4)

 

 6

mf

   Cl. 

 

  

   f

3



 mf

       6

  ff

      

    

   fff

 f

         

mp


2

D cue 5

q = 60

 Cl. 

with conductor

 3          f



cue 1

(5'')



cue 2

   

   



ff

cue 3

 

cue 4

f

 

E    Cl.    cue 5

 

 

cue 1

f

 

cue 2

(20'')

F cue 3 Cl. 

(7'')

cue 5

(5'')

cue 4

cue 1

(20'')

 

(16'')

After 26'' approx. the conductor will indicate ( next cue 3) a 16'' long crescendo. The crescendo should end louder than real dynamics. Stop crescendo in 1st cue of G

        6:4        3:2                         Cl.                          3:2   5:4 p mf 3:2  mp f  ff mf q = 76

cue 2

        3:4                                          Cl.                  3:2 3:2 3:2  mp pp ff 

Cl.

7:4

               5:4









3:2

            3 3                              3    p mf 3 3 f

mp

3

mf

5                                  Cl.            3

mp

5

sfz

                          5

5

mp

f

 bis   bis 6  6                                                Cl.                        f 7 7 (cue 3)

mf real dynamic line

Cl.

 

5



  

continue soft

 

mf

 

  

6







  

  f

3



 mf

       6

           

  ff

 fff

               

stay until cue

f

f

ff (louder than indicated real)

 


G

3

Synched cues

(boxed tempos are independent from q = 60 conductor's marking)

1 cue  Cl.   1

cue 3  Cl.  11

 

   

( q = 76 )

 





 



cue 2

p

 

 

cue 4

( q = 76 )

 mf

mp

    

 

H cue 1 ( q = 76 )

cue 5

           ( q = 76 )

18

Cl.

7

f





5

 

            f

 

 

 

cue 2

cue 3

        

cue 4

( q = 76 )

 Cl.  25

 Cl.  32

( q = 76 )   

     

mf

    

Resonances



39

Cl.

  45

Cl.

mp

      

   

  50

    Cl.  f



   

 

I

     

p



   

   

   

   

30''

ff mfsub

3:2

Piano solo

36

      

p

  

mf

55

    

 

mp

Cl.

f mf

cue 5

J

 

( q = 76 )

     

 

 

       

Stop counting and breath when necessary.

 

stop with Teodora's cue

ff

stay until pianist's cue

f


A Bao A Qu (trumpet solo)

f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises (keys, some airy attacks from the mouth) p = silence, keep on performing mentally and if physically without sound. Play everything as legato as possible with the exception of indicated staccatos.

        Trumpet in C      q = 60

C Tpt.

 





         

3

 

ff

f

mp

5



  

      

 

6

 

    C Tpt.    

 

  

   

bis 6

 

7

mf

    C Tpt.   

        

13

mp

5

f

 

21

C Tpt.

 

p



3:2

  

mf

                  

 

  

3:2

 

     

ff

24

C Tpt.

3:2

 



7

 

f

5

6

               

 

   

 

 

 

 

 

5

 3

3

 

p

 

mp



 

3

 p

     

 

C Tpt.

   



   p

f



 5:4

3

3:2



3

    

3:2

f

             

 



 

 

3:2

  

7:4 3:4             mf 

6:4

 



           

p

mp



 

3

3:2

  

 

                mf

f 26

 



sfz ff

    

        mp    

  





mf

sfz

f



mf

f

  5:4                               

 

3

 



5

     C Tpt.   17



 

                C Tpt.      15

6

p

bis

  

          

  

    

f

9

First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.

5

 

Miguelangel Clerc



mf




A Bao A Qu (trumpet part) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

A Trumpet in C

Loop solo until "cue 5"

play whole fragment

q. = 60

cue 5

f

   

 



  

f

C

q = 66 play whole fragment

    trpt.   cue 4

    (cue 3)

 

(cue 5)

  

f

p



mp



  

 (4'' approx.)

 

p

approximate position

Stop with next "cue 2"

                        continue without cue mf

(cue 1)



Miguelangel Clerc

   

      

   

cue 1

(7'')

(3' approx.)

(cue 2)

 trpt. 

B

(cues 1, 2, 3 and 4 are marked during loop)

q = 60

6

(2'')

f

3

f

 bis                                              trpt.                     5

f

6

trpt.

D

cue 3

 

f

(cue 5)

(cue 4)

    f

mp

 

(4'' approx.)

f stop following stop with next "cue 1" conductor

cue 1

 

7

mf

with conductor

  trpt.      

cue 2

Dont follow bar marking of conductor, keep beat speed.

conductor marks 4/4 bar

sfz ff

mf

p

Follow conductor bar marking

7

(cue 2)





p



f

 

p

 

3:2

f



 

5:4               

cue 4

 real dynamic line





3:2

mp

(cue 5)

             trpt.      

cue 3

(motionless)

7:4 3:2 3:4                                         mf 3:2

 

ff

mp

real (max mf)

trpt.

      3:2

real dynamic line 

  

 

 

cue 2

  6

   ff

f

 

 

cue 3

(20'')

(7'')

                            mf

After 25'' approx. the conductor will indicate (next cue 1) a 16'' long diminuendo. The diminuendo goes to motionless. (stop completely in next "cue 2")

mp

trpt.

cue 1

p

           cue 4

trpt.

 

E

    

(cue 5) 6

f

3

f

soft

 

 

5

 





    p

 

f

7

  

 

 

    mf





sfz ff


2

           trpt.      



7

mf

 5                                             5

6 bis

bis

 

 



6

   

 

mp

f

rehearsal mark is in F this an approximate position (marks beginning of diminuendo to motionless) (cue 1) 3 5 5   3 3 3                                   trpt.                             mp           p mf 3 sfz 3

  5:4                                                           trpt.         soft

3

p

mf

3:2

f

p

mp

7:4 3:4         trpt.                     mf

 

mp

    trpt.    cue 3

mp f real dynamic line

(motionless)

ff

cue 2

(26'')

p



5                                                     3 sfz mp

Stop in next cue.

         5

     

         3:2

 3:2  

3:2

f

3:2

5

 

 

5

 

soft

(motionless) 3 3 3            trpt.                p mf 3

 

 5:4                                   3

3

p

mf



3:2

f

mp ff (louder than indicated real)

trpt.

                  

p

f

 

3:2

until  stay cue

           3:2

3:2

G

Synched cues

q = 60 1 cue 1

    3





f

ff

Normal dynamics 4

trpt.

 

cue 2

cue 3

      

 

mp

12

trpt.

 

              

cue 4

mp

3

3

H

cue 5

      trpt.     18

f



3:2

 

       cue 1

mf

6

 

 

cue 2

 


3

cue 3 24

trpt.

 

5

           

mf

cue 4 31

trpt.

 



 

3:2

 

cue 5

   

trpt.

 

 

50

trpt.

55

trpt.

 

Resonances

30''

39 piano solo continues

  

pp

45

trpt.

mp

       

p

J 38

  

    

 

     

 

 

ff



f

    

Stop counting and breath when necessary.

mf

   

 

I Piano solo     ff mfsub

36

  

mf

    

  

 



  stay until pianist's cue

stop with Teodora's cue

 


A Bao A Qu (guitar solo) f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises p = silence, keep on performing mentally and if physically without sound.

Miguelangel Clerc First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside. : hammer with left hand fingers without plucking with the right hand fingers.

  3   2   V 3 5      0  1  1      1 4  1  4    3     4 1  2 4   4  5 mf 6

Keep all notes ringing as long as possible except when staccato is indicated.

q = 90

I

II

   Guitar       1    3 6

mp

5

  4                  Gtr.   1  f

Gtr.

   

3

 

f sfz

p

mf

sfz

I

V

       

6

VIII 1

1 0 3

7

7

mp

 0     0p  V

f sfz

f

 46 V  3  1 0 0 2         3    Gtr.    2 0    2 6 0   mf 17

f

  

mf



  4    1  0 1   3   0    2   3 Gtr.    0   IV

  1          V

4

mf

  0 0

5:4

mf

f

15

3

f

6          Gtr.     3        6 mp

12

p

  VI 7 V XI VI                   0       0           0 3 1      4:3   6

  



8

5

              f mp

f

6

 

f

5

3

     

  

0 0

5:3

  p

f sfz

    

 3 mf

    3 mp 

7 5:3   IV 7    2  2            3                         0    2 0   1 4 1  2 3 0 mf mp  f  5

X

 

 

 


A Bao A Qu (guitar part) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

Guitar

Gtr.

   f  

( 4'')

q = 60

cue 2 

cue 1

(3' approx.)

cue 5

pizz

mp

mf

        f

Miguelangel Clerc

(cue 4)

( 8'' approx.)

mf

Stop suddenly with next "cue 3"

q = 90 I

(cue 2)

  1                         1 4 continue without cue 3 mf

        

3              0   1  1   4   4     1   2        Gtr.      4 1   3  2 4   p  5 6 mf

3

II

6

( 2'')

5

mp

5

V

 

(cue 3)

approximate position (cue 1) ord

B

play whole fragment



  

q = 56 play whole fragment

A Loop solo until "cue 1"

       4        1 f 3

f

5

3

f

6

    f

   3

mp

   VI 7 V XI VI                                   0                      Gtr.            0   3 0 0     4 0 1    p 4:3  5:3 p  6   5:4 mf mf mf V



1

f sfz

sfz

         

play whole fragment

(cue 5)

q =52

cue 3

Gtr.

cue 4

 

( 6'')

3



f sfz

f

3

 

 

 

q =60 with conductor

    

cue 2

 Gtr.  

 

 to rasgueado 

Gtr.

        mf

cue 4

( 4'')

Gtr.

approximate position

    f

cue 4

 

  f

( 4'')

ff

     mf

 

mp

 

   

mf

 

 

play whole fragment

  

f

 

cue 2

      

(2nd beat of a 3/4 bar)

l.v.

cue 1 

  

  

mf

f

f sfz

cue 2

6    6                           Gtr.              3   6 mf mp

I

cue 3 V

real dynamic line

( motionless )

f

  

 

( 20'' )

1  4 IV    1  0 1 3 0    3 1    0     2   3       0 

After 32'' approx. (after all cues of the group) the conductor will indicate a 16'' long diminuendo (next cue 1). The diminuendo goes to motionless. Stop completely in next cue 2.

q = 90

     mp

f

mf

     

( 2,5'' approx.)

E

cue 5

 

( 9'' approx.)

q =72

with conductor (cue 3)

 

cue 5

ff

(cue 1)

q. = 76

(cue 3)

D

(cue 1)

mp

f

approximate position

C

(cue 4)

VIII

7

mp

7

f

soft

 


 p

f sfz

Gtr.

5:3 IV   7   3   0 2 1        2 0     3       0    2    0  3            2 0   3 2 6 1 4 1 0 0   mf mf mp  2 f f

V

6

(cue 5)

5

X

3            6  1 0   1  1      4     4        2                       1  4 3 1 1 2 4    4 3  5 mf 6 mp

            2 7

4

V

3

II

I

5

5

    Gtr.  

   f

p

 V    1                        0            4     0 3     p   5:3  f mp  mf mf

              1

f

6

5

3

4

3

f

3



Gtr.

    00 3    mf mp 3 

    0    0  V

  VI 7 V XI       0                  Gtr.         0  0 1      4:3  p 6 5:4 VI

mf

f

f sfz

f sfz

I

6

f

1  4     1 0 1 1    3    0    0 2   3      

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless)

F

    Gtr.       (cue 1)

mf

  

    

0

3

7

f

mp

soft

 0     0 

VIII

IV

sfz

6             3              6 mp

V

    00  3    3 mf mp

V



2

p

7

f sfz

 

5 5:3 IV  7      3   0 2 1        2 0        Gtr.   2  0    3               0  3      2 0  3 2 6 1 1 0  2 0 4   mp mf mf  f  f

Gtr.

4

6

X

V

             2 7

   Gtr.    p

I

II

            1 3 6

5

mp

   f 3

          1 4

6

   

3              0   1 1      1 4    1   4    2        4 1 3  2 4   4  5 6 mf f (motionless)  3

V

5

cue 2

f

  5  3            6    0   1 1 1      4     4      1 4 2           Gtr.             1 3    2 1   4   4 p 3  mf 6 mp 5 5 f ( motionless ) real dynamic line  cue 3 I

stop in next cue

II

3

V

 

( 26'')

       4        1 f 3

6

f

   soft


 3  7 VI       0                      0     Gtr.                  4   3 0 1        p  5:3  6 f mp   mf mf 5

3

V

1



3

f sfz

 

V

XI

5:4

mf

f

6              6                     3           6 mf mp

        0  Gtr.      0 4:3 VI

sfz

I

V

p

f

f sfz

    

 

 

ff (louder than indicated real)

G

  4    1  0 1   3    0   2   3  Gtr.    0   IV

Synched cues (boxed tempos are independent from q = 60 conductor's marking) cue 1 mute

VIII 1

 

1

1 0 3

7

7

sfz

f

mp

      

cue 3

cue 2

 Gtr.  

7

(q = 90) 3

  

 

mf

H

cue 5 (q = 90)

 Gtr.  

 

cue 4

14



 3  f

cue 1 5

      

cue 2

21

Gtr.

 

        mute

30

Gtr.

tambora

 Gtr.   36

6

3      1           4

mf

5

mute

30''



(q = 90)

3

Piano solo

   

mf

mf

I

J  

Resonances

22 Bars

Wait for final cue of Teodora's solo

ff sfz

Teodora's final cue

Gtr.

play complete solo ( 20'' )

soft

f sfz

         3

 

cue 5

     

cue 3

(q = 90)

   

sfz

cue 4 (q = 90) I

 

 

( 15'' approx )

(motionless) keep on performing mentally

tape continues for 3'

 


A Bao A Qu (marimba solo)

f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises p = silence, keep on performing mentally and if physically without sound.

Miguelangel Clerc First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.

Mute the keyboard with cloths and weigths.

 

q = 82

Marimba

 

 

                                       

 

     

mf

mf

5

mp

 

   

   

mf

mf

  

 

      

  

5:4

sfz f

 

    

         7

mp

 

 

 

   

6

                     6

mp

6

 

 

 

mf sfz

 

   

                   

            5:3

mf

3

mp

      

 

 

p

f

6

 

f

         6



5

f

   

16

f sfz

   

6   4:3                               f

mf

13

Mar.

7

9

Mar.

 

6

7

f

Mar.

6

sfz f

6

 

        

f

 

   

    



mp

5:3

7

7

4

Mar.



f

Mar.

 



 

 

3

  

          5

mf

 

    mp

6

5

         


A Bao A Qu (percussion part) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

A Marimba

(cues 1, 2, 3 and 4 are marked during loop)

B

 

q = 72

Loop solo until "cue 5"

Miguelangel Clerc play whole fragment

 

cue 5

cue 1

( 7'' )

(3' approx.)





f

     Mar.

 

mp

 

  

3

3

3

q = 82

 

( 2'' )

 

 

7

          

 

mf

 

    

sfz

Mar.

q = 76

cue 5

                

      

  

     

 

cue 4

  

    

   

   

3

mf

mp

5

f

 

(cue 3)

     

    

mf

 

mp

     

 

  

    

 

f



 

 

( 4'' approx. )

approximate position

f

mf

3

 

    3

f

mp

with conductor

cue 2

cue 1

(cue 1)

f

q = 60

4:5

      

                

 

 

E cue 5

D

         

    

     

 

play whole fragment

cue 5

( 4'' )

    

5:4

5:3

(cue 2)

f

Mar.

play whole fragment

cue 1

( 7'' )

f

Mar.

C

q = 100

Mar.

                      

  

 

mf

f sfz

Mar.

        

sfz f

        



4:3       

continue without cue

6                      f





stop suddenly with next "cue 5"

(cue 4)

Mar.





p

(cue 3)

  



(cue 2)

 

   

 

 



cue 3

 

cue 2

 

 

cue 4

f

 ( 20'' )

 

   


2

cue 3

 

Mar.

After 32'' approx. (after all cues of the group) the conductor will indicate a 16'' long diminuendo (next cue 1). The diminuendo goes to motionless. Stop completely in cue 2.

q = 82

7

 

7

 

      

 

   

    

 mf

5:3

sfz f

 

7

     

 

6

mf

 

6

mp

              

 

       

 

p

 

 

6

f



mf

5:4

 

 

f

 

6

         

   

mf

  

mf

            5:3

    

7

(cue 5)

   

   

4:3

  

  

 

                 

sfz f

f sfz

   

f

7

6

    

mf sfz

5

        

                                  6

mp

 

6

mp

f

Mar.

mf

      

soft

(cue 4)

mp

Mar.

                                        real dynamic line

Mar.

  

 



f

Mar.

 

            3 5 

mp

6



f

f

 

3

  

 

          5

        

 

   

 5

mf

6

          

mp

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless) (cue 1)

F

  Mar.

 

 

                                         f

7

real dynamic line

7

5:3

mf

mp

5

f

   

6

mf

      

 

6


  Mar.

       mp

   

    

 mf

sfz f

  Mar.

 

7

     

 

6

 

6

           

4:3

( 26'' )

 

f

mf

       5:4

 

4:3      

 

 

mf

 

6                  

mf sfz

 

      f sfz

   

              

7

 

5:3

3

stop with the next cue

real dynamic line

Mar.

 

f sfz

cue 3

 

mf

6

mp

  

   

  

                      

 

q = 82

Mar.

 

mp

f

cue 2

7

    

       

             3 5

mp

  

         6

 

f

f

p

soft

Mar.

           f

6

 



 

 

3

  

 

 

6                                           5

mf

mp

5

7

7

f

ff (louder than indicated real)

Mar.

  

      5:3

 

 mf

 

 

       mp

5

f

              6 mf

6

  

      mp

 mf

    

sfz f

   

   


4

G

Synched cues (boxed tempos are independent from conductor's marking)

q = 60

cue 1

       W.B.

Mar.



fff

Mar.

cue 3

        (q = 82)

  

cue 2



3

W.B.      

5

f

fff

cue 4

Mar.

 

          mf (q = 82)



H cue 1

cue 5 (q = 82)

Mar.

      

         cue 2

Mar.

W.B.

 

       (q = 82)

 

 

f

 

        cue 3

W.B.

sfz

sfz

 

cue 4 Mar.

(q = 82)          

I

J  

  

Resonances

piano solo cotinues

Mar.

Mar.

7

f

Mar.

 

f

cue 5

Mar.

  mp

   

 

 

   

 

 

mf

f

Piano solo

    

 

sfz

   ff

 

 

  

   

f

 

 

30''

  

stay until pianist cue

 

f

stop with Teodora's cue

tape continues for 3'


A Bao A Qu (piano solo / beginning)

f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises p = silence, keep on performing mentally and if physically without sound.

 

First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.

            

Muffle piano strings (in the used range) with a blanket or big cloth. Pitch has to be recognizable.

q = 56

 Piano

  f

   

Pno.

p

    

    

        

  mp  mf

  

  



11

Pno.

   

 

 

 

 

 

 

  

    

  

    



mf

    

 

 

q = 56



 

q = 72



    

 

 mf

p

            

mp



 

 



         

 

           

q = 56

   

mf

          

q = 72 rall.

accel.

 

 

 

           

   

 

 

    p

 

mp



 



q = 56

q = 72 rall.

mf

f

   

                    f

     mp

            

 

 

        

f

accel.

rall.

 

        





mp

f

accel.

mf

13

Pno.



 

q = 72

f

   

q = 56

 

     

accel.

        



 

           

mp

        



 

mf

rall.

         



      

9

Pno.

f

mf

7

Pno.

   

5

Pno.

        

mp

3

  





 

 



f

  

 


A Bao A Qu (piano part) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position. (cue 1 is marked during loop) q = 76 Loop solo cue 2 ( 6'') cue 3 until "cue 2"

A

Piano

(3' approx.)

 

mf

    

   

Miguelangel Clerc

   

play whole fragment



 

(cue 4)

   

 

B Pno.

    

q = 56

 Pno.

  f

      





   

   

Pno.

cue 4

( 6'')

     

f

 

with conductor

   

q = 72

  

f





conductor marks 4/4 bar

 

 



rall.

            

(cue 2)

  

mf

 

     

 





q = 72

p

 

      f

C

p

 mf

approximate position

 

ff

mf

 

play whole fragment

         

 

( 9'' approx)

   

f

(cue 1)

q = 112

cue 3



              

  



 

q = 56

          

 

f

accel.

 

(cue 5)

mp



continue without cue

mp

         

 

( 2'')

    

q = 60

cue 2

 

   

             

accel.

 



    

         

q = 92 play whole fragment     

f

 mp

f

  

   mf mp 

mf

      

 

mf

cue 3



          

mp

        

Pno.

 

 

p

Pno.

  

stop suddenly with next "cue 3"

    Pno.

     

(cue 5)

cue 1

  f

   3

mf


2

Pno.

(cue 4)              

    

3

mp

D

q = 72

cue 1

 Pno.

  

   





Pno.

 

Pno.

q = 56

cue 5

Pno.

     p

real dynamic line

Pno.

              



mp





  ( ) 

 

 

 



cue 2

    

 

     mf



 

 





cue 4



 



cue 5

 

 

f

cue 2

( 20'' )

 



cue 3

cue 1

 

cue 4

( 7'' )

      

      

  f mf 

  

  mp  mf



        

q = 72

accel.

   



sfz f

( 5'' )

         

 

  

 

 

After 20'' approx. the conductor will indicate a 16'' long diminuendo (next cue 1). The diminuendo goes to motionless. Stop completely in cue 2.

        



( 2'' approx)

q = 56

       

mp

q = 60

 

   

  

E

 

    

 



 

    cue 3



3

mf

         Pno.

rall.

  

(cue 5)

mf

        

mp

f

stop suddenly with next "cue 2"

      



    

       

rall.

 





mp

 

q = 56



soft

accel.

 

 

            

f

f

q = 72

         

 

   

 mf

p


  

 Pno.

Pno.

  

Pno.

 

 



    



q = 56

 f

real dynamic line

 





accel.



mp

mf

f

   

 



        

q = 72 rall.

 

  

 

 

            

     p

mp

     

 

mp f



                        

 

mf



 

f



stop with next cue



 

q = 56

  



         

q = 72 rall.

    

cue 3

 

f mf

( 26'' )

 mp

  

 

            q = 56

accel.



cue 2

 

                   

q = 56



      

mf





      

  Pno.

         

(cue 1)

rall.

3

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless)

F

           

 

mf

soft

( motionless )

Pno.

     p



   

   

  

q = 72

          accel.

         mf

 



 

     mp

f

       

rall.





 

q = 56



f

ff (louder than indicated real)

Pno.

        

 

    mp mf 

            

accel.

 

 

          f

q = 72

           

   

 mf

p

  


4

G q = 60

cue 1

        

Pno.

slowly remove cloth (mute)

Keyboard cover

1

fff

cue 2

Pno.

cue 3

      

Keyboard cover

7

 

   

Pedal stroke

fff

sfz

cue 4 12

Pno.

 

cue 5

Pno.

 

sfz

cue 3

 

3

sfz

cue 2

Keyboard cover

Pedal stroke 3

     

24

Pno.

sfz

      

cue 1

Keyboard cover

     

H

Keyboard cover 3

     

18

Pedal stroke

 

     

sfz

sfz

Pedal stroke 3

 

cue 4 30

Pno.

Pedal stroke 3

Keyboard cover

     sfz

sfz

 

cue 5

attacca final solo


A Bao A Qu (final piano solo)

 

q = 72

 Piano

  fff

   





normal dynamics

 ( until end )

3

Pno.



  

   

      

       

5

Pno.

7

 Pno.

  



11

 

Pno.

 



13

 

Pno.

 

   

 



  

 

  

 

  

 

 

q = 100



 

 

       

rall.

 

   





 

q = 100

 

 

q = 72



          

    







accel.

 



 

    

        

q = 100 rall.

 

 

            q = 72

  

 

         

q = 100 rall.

 

       

    



        

 



           

q = 100 rall.

 

 





q = 72

   

      

         

        

     

accel.



 

accel.

Give cue to conductor to begin resonance section accel.

        

 

    

q = 66

         

        











        

accel.

      

        

9

Pno.

rall.



  

       



   



  

q = 66 accel.

  

        



 


q = 100 rall.

2



    

15

Pno.



 



  

        

q = 100 rall.

     

17

Pno.

q = 72

    

  

 



          

19

Pno.



 

Pno.

 



Pno.

q = 66 accel.

 Pno.

 

 





    

       

  

 

 

   

  

 



q = 100

 

  

  

q = 100 rall.

         

 

q = 72

  



         

    



rall.

 

        

accel.

  

  

q = 100





      

 

  

    



     



accel.

   

       



q = 72

 

      

  

 

25

 

          

rall.

      

   

        

 

23

 

q = 72



21



 

     

         

 

       

accel.







 

  

mp

27

 

Pno.

  

q = 100 rall.

 

    

accel.

q = 66



      fff ( very energetic until end)



    



     



   

q = 100 rall.



  

q = 66 accel.

        

 


  Pno.

 

q = 100

29



q = 66

rall.

                

     

    

31

Pno.

33

 Pno.

 

 

    

 

  

   

  

   

q = 100 rall.

 Pno.



 

  







 

      



    



    



     

 

  

 

  

   

         

   

    

 

         

lasciar vibrare al niente q = 72

q = 100 rall.

     

 

    

 



  



3

  

   

           

q = 72

  

 





    

     



q = 72

 

 

    

q = 100rall.

q = 72



  

 

       

39

          

q = 72

q = 100 rall.



                   

q = 100 rall.

       

           

accel.

37

Pno.

    



      

35

Pno.



 



      

accel.

  



 

  (

)


f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises p = silence, keep on performing mentally and if physically without sound.

A Bao A Qu (violin solo)

Play everything as legato as possible with the exception of indicated staccatos.



          

q = 76

 Violin  

mf



 



7:4

Vln.



          

10:8

10:8

                  



   

           

p

f

p

             

4:3

p

10:8

               

mf



    

6

  Vln.    



6

             



           

  Vln.   18

f

        Vln.    3 f

 

mp

 4:3

f

      p

21

mp

     f

  

  

vibr

vibr

mp

vibr

 

   

 

7:4

3:2

f

25

 

  

 

f

                                IV III II 10:8   mf mp

17

sfz

p

f

10:8

mf

14

Vln.

3:2

3:2

6

Miguelangel Clerc



mf

                     5:4

9

Vln.



f mp sfz

f

  Vln.    

                                      

mp

    

mp

         

f

6

First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.

 



7:4

f

  

   mp

               5:4

         

 

     mf sfz

 8:7

        f

                 

7:4

mp

f



                     f

5:4



mp

                   5:4  sfz  f mf p

4:5

                  3

mf

mp


- Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

A Violin

A Bao A Qu (violin)

play whole fragment (cue 1)

q = 100

Loop solo until "cue 2"

( 6'')

(3' approx.)

     

     

cue 3

cue 2

f

mp

       sfz

B     Vln.        ff sfz

(cue 5)

      mf

pp

Miguelangel Clerc (cue 4)

 

ff psub

 

                 continue without cue  mf

    

 

stop suddenly with next "cue 3"

q = 76

( 3'')

 

(cue 1)





10:8

        f mp sfz

f

Vln.

  

          (cue 2) 7:4                                                            10:8





3:2

10:8

mf

mp

                   Vln.   p

f

q = 82 Vln.

 

cue 4

( 6'')



mf



play whole fragment

Vln.

   

cue 4

(cue 5)

p

 

(cue 1)

4:3

play whole fragment

C 

( 9'')

    

approximate position with conductor

 

(cue 1)

f

cue 2

conductor marks 3/4 bar

Vln.

 



(cue 4)



   ff

 

                 (cue 3)

q = 100

    

cue 2

E with conductor (cue 3)

  

q = 60 with conductor s.p.

play whole fragment Stop following conductor

D

q = 60 no conductor

 

p

p

f

( 4'')

f

(cue 5)



f

 10:8  3:2                                         5:4 mf

      

play whole fragment

cue 3

     

mp

sfz

p

f

( 3'')

  

cue 5

  f

    

cue 1

q = 76

 

6

6

6

                       mf

cue 2

real (max mf)

 vibr vibr               vibr                                                                 Vln.         7:4   :2 10:8  f 3 mp p f  mp After 50'' approx. (after all cues of the group) the conductor will indicate a 16'' long diminuendo (cue 1 of next group). The diminuendo goes to motionless. Stop completely in cue 2 of next group.

soft

f

mp


(cue 3)                                                       Vln.                       8:7 3 5:4 5:4 5:4 mf f mp mp mf f f f sfz  mp

2



4:5                3                       Vln.                        4:3         7:4 7:4  f  f mf  f  sfz mp p mp





Vln.

 

 mf



(cue 4)

          



 

                                             3:2 10:8 (cue 5)



Vln.



          

    

mp

  Vln.    

f

10:8

p

                  5:4 mf

sfz

                                       



3:2

p

f

f mp sfz

f

7:4

mf

mp

10:8

 

f

p

p

f

              4:3

mf

  

10:8

                 

vibr vibr              6 6 6                                                    Vln.                      7:4    mp 10:8 mf  f 3:2 mp



f

F

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless)

  Vln.  

(cue 1) vibr

           f

real dynamic line

p

     

  

   mp

        mf sfz

 8:7

f

                       5:4 f mp

                                               Vln.               3 5:4 5:4  f mp mp (motionless)  mf f f


        cue 3                           7:4 q = 76

 

cue 2

Vln.

( 26'')

3:2

 f

real dynamic line





vibr

Vln.

          



f

     

      

  

  

p

mp soft

3

mp

(motionless)

                      5:4 f mp

 8:7

mf sfz

vibr

vibr

stop with next cue.

f

if conductors stretches until this point stay in trill until stopping cue

                                                 Vln.           3 5:4 5:4 f

mp

mp

mf

f

       f 

ff (louder than indicated real)

G

Synched cues

q = 60

(boxed tempos are independent from conductor's marking tempo)

      Vln.    1

cue 1

( q = 76 ) 

cue 2

 

s.t.

ppp

mf

normal dynamics

cue 4 9

cue 3

Vln.  



  

( q = 76 )

  

sfz

H cue 1

cue 5

       ( q = 76 )  

17

Vln.

5:4



 

         

mp

(q = 76 )    

f

conductor marks

 ( q = 76 ) cue 2

22

 Vln.  

( q = 76 )

 10:8                                           5:4 3:2

mf

soft

f

p

4:3

mf

cue 3

        pizz

mute

sfz normal dynamics

 


cue 5

cue 4

4

Vln.

J

I Piano solo  Vln.     36

ff mfsub

42

Vln.

 

   

30''

39

   

mp

   

48

Vln.

        

54

Vln.

 

59

Vln.

    



mf sfz

      

     

Teodora gives cue to conductor to start

    

8:7

f

f

Resonances

Piano solo (continues)

5:4

f

            ( q = 76 )

            

( q = 76 ) 

27

pp

  

p

                     

    

  mp

   

f

f

 

stay until pianist cue

ff

stop with pianist's cue

tape continues for 3'

   mf

  


f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises p = silence, keep on performing mentally and if physically without sound.

A Bao A Qu (cello solo)

                                 mf 

q = 76

Violoncello

10:8

mp

f 7:4



Vc.

mp

Vc.

Vc.

    



6



Vc.

 

         p

            3

        p  sfz

mp

f

24

Vc.

  



 





10:8

  

     f

  

    

4:3

f

 

   



vibr

     

mp

                 5:4

21

mp

10:8

vibr

mp

f

Vc.

7:4

3:2

vibr

 

p

              

mf





 

f

4:3



              

f

18

6

 

       

            

p

f

    

                           mf  mp 6

17

Vc.

f sfz

3:2

14

 

sfz

p

f

 

mf

10:8

mf

                     5:4

9

Miguelangel Clerc



3:2

mp

10:8

f

   

                                  

                 p

             

6

  

First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.





          7:4

f

  

   

sfz mf

 8:7

f

                    

f

5:4

mp

                                 5:4  f  mf f

                 

7:4

mp

4:5

3                       mp

mf


A Bao A Qu (Cello) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

A

Miguelangel Clerc

(cues 1, 2 and 3 are marked during loop)

play whole fragment

q = 82

Loop solo until "cue 4"

 Violoncello

cue 5   

( 9'')

cue 4

(3' approx.)

B

approximate position (cue 1)

Vc.

      

 

(cue 3)

q = 60

mf

 Vc.             

  

mf

3

arco q = 76

p

( 2'' approx.)

f

Stop suddenly with next "cue 1"

            mf

cue 5

 





 



10:8

        f mp sfz

f

Vc.

    mp

7:4   10:8                                                                   3:2 mp 10:8 f p



mf

Vc.

f

s.p.     

  

with conductor

cue 2

( 10'')

sfz

p

q = 60

C cue 1

p

mp

 

f

   

   

cue 2

( 5'' approx.)

(cue 4)

pizz

mf

play whole fragment

 

arco



pizz   

  

  cue 4                   p  f q = 76

(cue 3)

( 4'')

ff

Stop suddenly with next "cue 1"

(cue 5)

     3:2

mf

 10:8 6 6 6                                Vc.                                          5:4 4:3 mf p f  mf 

D

Dont follow bar marking of conductor, keep beat speed.

q = 60 

              Vc.     10:8  

mp

with conductor

cue 1

 

conductor marks 3/4 bar

 

q = 60

        cue 2

(cue 3)

mp

 

f

E cue 4

 Vc.  

cue 5





cue 1





cue 2

( 20'')

cue 3

( 7'')




q = 76

2

After 25'' approx. the conductor will indicate a 16'' long diminuendo (cue 1 of next group). The diminuendo goes to motionless (end in next cue 2).

     Vc.   cue 4



(motionless)

     Vc.  

 Vc. 





                     mp 5:4 f

8:7

f









mp



7:4

F

7:4

 











         f  sfzp

 

 

 4:3

f

 

3                           mf

4:5

mp

mf

mp

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless)

                     Vc.    

  

(cue 1)

10:8

mp

f

7:4                                                    



3:2

mp

10:8

mf

sfz

p

f

                Vc.                            p f p

   Vc.  

 

  

 

4:3

mp

f

f sfz

10:8

p

mp

mp

f

                 

f

  

p soft

mf

         

  

  

                             3 5:4

5:4



                f

f

 Vc. 

vibr

mp



sfz mf

  

(cue 5)

vibr

7:4

3:2

f real dynamic line

                   vibr      

q = 76

cue 2

cue 3

   

( 26'')

 

3:2

mf

                 5:4

f

3                                   mf

4:5

mp

mf

mp

(motionless)

real dynamic line

       Vc.  



 



10:8

f

        mp

   mp

7:4                                                    



3:2

mf

10:8

p

f

f sfz soft

sfz

mp

f


             Vc.                          p  f p

                          5:4

3

10:8

3:2

 

  

mf

4:3

f

ff

ff (louder than indicated real)

G

Synched cues (boxed tempos are independent from conductor's marking)

( q = 76 )

q = 60

  

cue 1

1

Vc.

normal dynamics

 

 Vc.

  

    

 

cue 5

I

        f  sfzp

     Vc.       3



   Vc.

  Vc. 59

mp

 mute         

 

 

sfz



  

    

4:3

f

 

J 

ff mfsub

       

p

   

mp

Piano solo

     

     

 

mf

52

5:4

pizz

 

(q = 76)

(q = 76)

 

cue 4

47

cue 2

(q = 76)

 

 26 mute    Vc.        sfz 

Vc.

              f

pizz

41

(q = 76)

 

cue 3

 

cue 4

cue 1

f

35

H

(q = 76)

 Vc.

 

cue 3

cue 5 17

    mute  

cue 2 s.t.

sfz

mp

Vc.

(q = 76)

8

col legno ricochet s.p.

5

        mf

    f

     

Resonances

q = 60

     pp

Piano solo (continues)

30''

39

    

Teodora gives cue to conductor to start

   

 

mf

 f

 

stay until pianist cue

    

stop with pianist's cue

   

    

    

mf

 ff

tape continues for 3'

 


A Bao A Qu (doublebass solo)

f ff fff = very soft, a bit more articulate mf = as soft as possible mp = almost silence, let sound some articulating noises p = silence, keep on performing mentally and if physically without sound.

                          3 sfz f

mf

 

   

    

sfz mp f

sfz

                        

                       f ff 

sfz mp

12

Cb.

   

ff

   

16

Cb.

   

18

Cb.

3

                     7

6

      arco

6                

3

sfz

mf

 

  

3  3              mp

    

3

 









3

  sfz f

  3

 

f sfz

f sfz

mf

3

 

   

5

 

mf

                                     

3

 

f

pizz 

p

3

   

 pizz arco 3                                        p   mp  6 mf

mp

f

9

Cb.

       

  



p

6

7

5

Cb.

First practice with dynamics as written in score. Then perform with dynamics as specified in the instructions beside.

Play everything as legato as possible with the exception of indicated staccatos.

q = 52

Contrabass

Miguelangel Clerc



   mf

   

 

      

ff




A Bao A Qu (bass part) - Perform everything in "soft" equivalence. As indicated in the solo. - "Real" dynamic changes will be indicated below the regular dynamic area. - Cues between brackets are placed in an approximate time position.

A Contrabass

(cues 1 and 2 are marked during loop)

q = 60

Loop solo until "cue 3"

cue 3

q = 72

B

 Cb.

play whole fragment

    

 

cue 2

( 10'' approx)

play whole fragment

   

cue 4

( 6'')

(3' approx.)

cue 1

Miguelangel Clerc

 

(cue 5)







mf

 



(cue 3)

  

f

( 1'' approx)

p

 ( 4'' approx) 

cue 4

( 3'')

C q = 100 play whole fragment

cue 5

Cb.

 

cue 1

( 7'')

   pizz

f

(cue 2)

  

mf

arco



mp

                      continue without cue   3 stop with next "cue 1"

Cb.

 

pizz

     

  

(cue 3)

arco

 

q = 52

( 2'' approx.)

mf

sfz f

sfz

mf

                  (cue 5)

Cb.

  

 

 

  

sfz f

     Cb.  

       

p

mp

cue 1

3

conductor marks 3/4 bar

 

mp

                            f ff 

q = 60 with conductor

 

 

f

D Cb.

       

(cue 4)

mf

6

sfz mp

 cue  2   

 

cue 4

(cue 3)

 

f

 

 

cue 2

q = 52 

     

f

 

cue 5

f

mf

 pizz 6                ff p

6

 

7 5                    mp p 3

 

soft

real (max mf)

   Cb. 

 

After 50'' approx. (after all cues of the group) the conductor will indicate a 16'' long diminuendo (next cue 1). The diminuendo goes to motionless. Stop completely in cue 2.

cue 1

 pizz arco                     

Dont follow bar marking of conductor, keep beat speed.

E  Cb. 

 

6

7

mf

     

arco

 

f sfz

3 3                  3   mp

f sfz


2

   Cb.

3 3 3                                                            3

3

 

ff

                  3 sfz mf sfz (cue 3)

  Cb.   

  

                      3



sfz f

f

(cue 5)

  Cb.  

 



      

       7

mp

mf

 

 



 

 

  

   sfz f

sfz

6

 

(cue 4)

    

   

p

mp

 

 



f

      Cb.                         f ff 

 pizz arco 3                                  mp p    6 sfz mp

3

                7

Cb.

5

 

mf

f

 pizz 6                ff

   

   Cb.    arco

f sfz

F 3 3                  3   mp

(cue 1)

f sfz

    Cb.      

mf

 

3 3

      

 



3

3

 

3

                

soft

     

                       3 sfz mf sfz

            

               Cb.        mf

 

this rehearsal mark is in an approximate position (marks beginning of diminuendo to motionless)

ff

7

6

p

mf

 

5

f

pizz 6                ff p

6

mf

(motionless)

 

   



mp

p

f

mf

cue 2

  

3

 

( 26'' )

 


q = 52

 

cue 3 Cb.

 

stop with next cue



    

3

sfz f real dynamic line

  

    

 

sfz f

sfz

mf

 

   

   

  

p

mp



 



 

3

    mp

f soft

6           Cb.                 7

                              f ff  3

G 3    pizz arco                    Cb.                   mf   6 sfz mp f 

 

Synched cues (boxed tempos are independent from

   

q = 60 conductor's marking)

stay until cue



 

 rub back body         f posible cue 1

1

ff

normal dynamics

mf

ff (louder than indicated real)

3

Cb.

   

cue 2

sfz

(q = 52)

9

Cb.

cue 3

  sfz f



  

3

 

 

H cue 1

cue 4

   Cb.     15

sfz

 Cb. 21

              (q = 52)

    

cue 5

slap back body with palm

 

sfz

      

knock on side board

 

cue 2

sfz

mf

      

knock on side board

 

cue 3

cue 4 (q = 52)

27

Cb.

 f

I

cue 5 (q = 52)

 Cb. 33

            7

mf

     

Piano solo

  

ff mfsub

30''


4

J

Resonances



  Cb. 39

Teodora gives cue to conductor to start

 

45

Cb.

    

50

Cb.





 

     

    mf

55

  Cb.



mp

 

 

    

      

mp

 

mp

f

     

f

 ff

    

  

stay until pianist cue

  

   pp



stop with Teodora's cue

tape continues for 3'

A Bao A Qu  

Composition for 9 musicians

A Bao A Qu  

Composition for 9 musicians

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