no me quedo - keele university · 2020. 9. 14. · bassoon multiphonics a table of fingerings is...

No Me Quedo ... (plantado en este verso)

for clarinet, bassoon, percussion, violoncello and tape

Approximate duration: 17’30”

© Rajmil Fischman, 2000

to Dalit Fischman

¡No nos quedamos!…

i

Orchestration

Bb clarinet doubling bass clarinet.

Bassoon (doubling claves)

Percussion

triangle*

metal chimes

2 cowbells

suspended cymbal*

tam-tam (or large gong)

guiro

tambourine

bongos

conga

4 tom-toms

glockenspiel

xylophone,

vibraphone with extended range

* while the piece only requires one triangle and one cymbal, having two of each may simplify the percussion set-up and ease the

movement of the performer between instruments (see suggested set-up below).

Violoncello (doubling woodblock)

Tape

Suggested Set-up

Vib.

Glock.

Xyl.

Cowbells

Tam-tam

Cym. 1 M. Chimes Guiro

Tamb.

(suspended

on stand)

Conga

Bongos

Tom-toms

Cym. 2

(on stand) Tri. 1

Tri. 2

Saxophone

Bassoon

Violoncello

Conductor

8

ii

Notation

General

1. Score in C (bass clarinet sounds as written).

2. Accidentals

2.1 Accidentals affect notes until the end of a bar.

2.2 Quarter tone notation

¾ tone sharp

¼ tone sharp

¼ tone flat

¾ tone flat

3. Dynamics

cresc. from silence (niente)

dim. to silence (niente)

4. Accelerating tremolo

5. Synchronisation between instruments and tape

5.1 Synchronisation with the tape is only required in passages which contain tape cues marked in the score. The only exception occurs in bars

293-297, where instruments should synchronise strictly with the tempo previously established by the sounds on the tape (crotchet = 120

MM).

5.2 In order to give an estimate of the duration of stops (usually when waiting for a cue), these are indicated in the score assuming that the

instruments play accurately according to the written metronome marks.

Percussion

1. Bongos and Conga.

The top line uses a different ‘pitch’ to represent each drum.

The bottom line refers to two different ‘pitches’ in the conga: high, by hitting near the rim and low, by hitting the centre.

2. Vibraphone.

Played with mallets or using a bow on the metal rods, as indicated.

If a vibraphone with extended range is not available, the performer may use sensible octave doubling of the notes which are out of range.

Violoncello

1. flautando play sul tasto with no vibrato

2. ...… unmeasured off-the-string bounce ( jetté )

3. tasto pont. gradual transition between types of bowing.

4. ord. play (arco or pizz) ordinarily (cancels pont., tasto, col legno, etc.).

5. produce rasping sound by applying extra pressure on the bow.

6. ff play ff with scratching noise.

Amplification

Depending on room acoustic and size, instruments may have to be amplified in order to achieve the right balance with the tape.

h

iii

Clarinet

1. Timbral changes

‘brassy’ produce tones which sound as close as possible to that of brass instruments.

ord. use normal tone.

ord. ‘brassy’ gradual transition between normal and ‘brassy’ sound.

2. Multiphonics

A table of fingerings is given below, according to systems proposed by Bartolozzi1 and Rehfeldt

2. If a multiphonic is not viable in a particular

instrument, the performer may play another multiphonic with pitch and timbral content as close as possible to the original.

Lip Pressure

relaxed lip pressure

slightly more relaxed lip pressure

very relaxed lip pressure

increased lip pressure

slightly increased lip pressure

much increased lip pressure

Air Pressure

N.Pr. normal air pressure

M.Pr. much pressure

P.Pr. little pressure

A.Pr. augment air pressure

D.Pr. diminish air pressure

Embouchure

Normal At (or towards) At (or towards)

the tip of the reed the base of the reed

Other

/ bring the instrument nearer to the body so that the lower lip can press harder on the reed

1 Bartolozzi B. 1967. New Sounds for Woodwind. London: Oxford University Press.

2 Rehfeldt P. 1977. New Directions for Clarinet. Berkeley, Los Angeles: University of California Press.

14 15

9 10 11 12

13

16 17 18

2 3

4 5 6 7 8

1 T

Back

iv

Bassoon

Multiphonics

A table of fingerings is given below, according to the system proposed by Bartolozzi3. If a multiphonic is not viable in a particular instrument,

the performer may play another multiphonic with pitch and timbral content as close as possible to the original.

Lip Pressure

relaxed lip pressure

slightly more relaxed lip pressure

very relaxed lip pressure

increased lip pressure

slightly increased lip pressure

much increased lip pressure

Air Pressure

N.Pr. normal air pressure

M.Pr. much pressure

P.Pr. little pressure

A.Pr. augment air pressure

D.Pr. diminish air pressure

Embouchure

Normal At (or towards) At (or towards)

the tip of the reed the base of the reed

3 Bartolozzi B. 1967. New Sounds for Woodwind. London: Oxford University Press.

BACK

K 20A

L 20B

19

18 17 16

M 13 14

X Y 15 Z

10 11

9

1 bis 12 1 2 3 4

5 6 7 8

FRONT

Clarinet Multiphonics

1 2 3 4

Cl.

written sounds

bar 118

T

4

�

o

�

o

�

o

written sounds

bars 121, 130

T

1 3

6

�

o

�

�

�

o

/

written sounds

T

10

bar 132

�

�

o

o

�

�

/

written sounds

bar 233

T

4

�

o

�

o

�

�

/

Alternatives: written sounds written sounds

�

o

�

�

�

o

T

T

14

o

�

�

�

o

�

v

5 6 7 8 9

Cl.

written sounds

bars 242, 257, 328

�

o

�

�

�

o

T

14

written sounds

bar 260

T

4

15

�

�

�

�

o

�

written sounds

bar 260

o

�

�

�

�

�

T

2

6

/

�

written sounds

bar 264, 341

T

o

�

�

�

�

�

�

written sounds

bars 264, 331, 343

�

�

�

�

�

o

T

3

6

10 11 12

Cl.

�

bars 267

written sounds

o

�

�

o

�

o

T

tr (13)

written sounds (bass clarinet)

bar 314

9

�

o

o

o

o

o

Alternative: written sounds (bass clarinet)

T

1

5

( )

o

�

�

o

o

�

written sounds

bar 345-8

T

tr (13)

o

�

�

�

o

o

13 14 15 16

Cl.

T

7

12

bar 360

written sounds

�

�

�

�

�

�

written sounds

bar 369

12

�

�

�

o

o

o

�

written sounds

bar 403

T

1o�

�

�

�

o

Alternative: written sounds

5

�

�

�

o

o

o

�

written sounds

P.Pr.

bar 405

T

1 3

12

18

�

�

o

�

�

�

1

Bassoon Multiphonics

2 3 4 5

Bsn

vi

bar 54

2

5

�

�

�

�

o

�

12.

Pedal trill

Play normal note fingering

while articulating the trill.

bars 58-59

11

bars 121, 257

2

�

�

�

�

o

o

bar 260

12 4

5

18

�

�

�

�

�

�

�

bar 261

5

18

�

�

�

�

�

�

6 7 8 9

Bsn

bars 261, 313, 403

�7

�

�

�

�

o

�

bars 263, 328, 360

� 2

5

17

�

�

�

o

�

�

10 4

17

bars 266-7, 333

�

�

o

o

�

�

�

bars 397, 405

�

10 4

17

�

�

�

o

�

�

1. Hay ganas de volver, de amar...

q = 108

accel. a tempo

Cl.

Bsn.

Tri.

Vib.

Vc.

f 6

3

f

B.

5

f

3:2

f

5

mf

l.v.

mf

f3:2

f

pizz.

f

3:2

arco

sfz

3

fmp

f 5

(Tape OFF)

5

Cl.

Bsn.

Vib.

Vc.

6:4

short

fmp

f

5:4

B.

f 3

mp

short f

5:4

f

3:2

f

flautando

mp

short

f

ord.

5

pizz.

f

3:2


9

Cl.

Bsn.

Tri.

Xyl.

Vib.

Vc.

3 f

mp

§

p

l.v.

5:4

3:2

mf

f

3:2

arco

f

sfz

3

f

mp

Part 1 - Tape ON0:00

'bells'

0:01

0:04

15

Cl.

Bsn.

Xyl.

Vib.

Vc.

p

mf3:2

f

5

3

mf

§ f

5:4

f5

3

p

l.v.

mf 3:2

f

flautando

p

mf

ord.

sfz3

f

5:4

0:05.5

�|�|�| �| �| �| �

0:08

0:11.5

0:12

�|


2

19

Cl.

Bsn.

Tri.

Vib.

Vc.

3:2

5:4

5

3:2

5:4

5

f

l.v.

3:2

5:4

5

�|0:17

�| �| �| �|

�

0:18

� �

23

Cl.

Bsn.

Xyl.

Vib.

Vc.

sfz

sfz

sf sf

3:2

sfz

sfz

sf sf

3:2

3:2

p

f

3:2

3:2

sfz

sfz

sf sf

pizz.

arco

3:2

� � � � � � � � � � � � � ��

� � �

�|

�

0:20

�

��

��

�|

�

0:23.5

� � � � � � � � � � � � � � � ��


3

cue 1

29

Cl.

Bsn.

Xyl.

Vc.

5.8"

fmp

f

5:4

mf

f

5.8"

mp

mpmf

5:4

mp

f

5.8"

f

mp

3:2

3

5.8"

f

pizz.

3

mf

arco

5:4

mp

f

��

0:26

��

��

��

��

��

��

��

0:32

��

��

��

��

��

��

�|

0:32.5

(bass thump)

0:34

��

��

��

��

��

0:36.5

�| �

|�|�|

�|�|�|

�|�|�|

0:38.5

35

Cl.

Bsn.

Xyl.

Vib.

Vc.

5:4

3

mp

f

fp

fp

p

f

fp

fp

5

mp

3:2

f

pizz.

3

arco

p

f

fp

fp

(high freq.'metallic')

��

0:39

��

0:40

��

��

��

�|

0:44

�|�|

��

�|�|�|��

�

0:46

� � �

� �


4

42

Cl.

Bsn.

Vib.

Vc.

f

3

p f

f

p f

mf

3:2

f

sfz3:2

pont

p

ord.

f

� � � � � � � � � � � � � � ��

��

0:49

��

��

0:51

��

0:53

cue 2

48

Cl.

Bsn.

Cowbells

Vib.

Vc.

3.75"

pp

3.75"

pp mp

5

Xyl. mallets mp

3.75"

3.75"

pont

pp

ord.

pp

mf

pizz.

mp

��

��

��

DB0:57

3

|

3|

3

3|

(squeak)

3|

3|

0:58.5

3|3

| 3|3

|3

|3

3|

1:00.5

3|

3

3|3

|

1:01.5

3|

3|5

3|3

|3

|3


5

52

Bsn.

Cowbells

Vc.

3

5

5:4

3:2

1)

6

3:2 3 3:2

3:2

5

3:2

mf

mp

arco

mp

arco

pp

3|

1:02.5

3

|

3| 3

|3

|

��

1:04.5

��

��

��

��

��

��

��

��

��

��

��

��

��

��

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��

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��

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�� |��

��

��

��

��

��

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��

��

��

��

3|

1:08.5

58

Cl.

Bsn.

Cowbells

Vc.

mf

mf

2)

3

mf

3

5

3:2 3:2

pizz.

mp 3

arco

pont.

f

3|

1:08.5

3|

�|

�|

�|�|

�|�|�| �

|

�|�| �

|�|�|

�|�|

1:11.5

° ° °° ° ° °° ° ° °° ° ° °°

(noise)

° ° °° ° ° °° ° ° °° ° ° °°

|

1:14

('spring')

|

|

| | |

| |


6

62

Cl.

Bsn.

Cowbells

Xyl.

Vc.

mp

f

5:4

3:2

f

sub.mf

f

5:4

3:2 3

3

3:2 3

f 3:2

3

mp

f

|

| |

|

|

|

|

| |

| |

|

|

|

|

| |

|

|

|

|

|

| |

|

|

|

|

|

|

|

|

|

|

|

|

|

|

| |

|

|

|

|

|

|

|

|

|

|

|

|

| |

|

| |

|

68

Cl.

Bsn.

Xyl.

Vib.

Vc.

mp

5

f

fp

fp

f

3

mp

5:4

f

fp

fp

f

mp

mp

f

mf 3

mp

5:4

f

fp

fp

f

sfz

3

|

|

|

|

| |

| |

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

| |

|

|

|

| |

|

|

|

| |

|

|

|

|

|

|

|

|

|

3|

|

1:31

| |

|

|

3|

|

|

|

|

| |

3|3

|

|

3|

3

|

3|

1:32.5

|

3|

|

3

|

3|

|


7

74

Cl.

Bsn.

Vib.

Vc.

marcato

3:2

marcato

3:2

marcato

3:2

marcato

3:2

|

|

|

| |

|

3|

|

3|

|

|

3|

|

|

3|

|

3|

|

3|3

|

|

|

|

3|

|

|

|

3|

|

| |

3|

|

|

|

| | | | |

1:39

DB1:40.5

81

Cl.

Bsn.

Vib.

Vc.

3

3:2

3:2

5:4

3

3:2

3:2

5:4

3

3:2

3

3:2

3:2

5:4

�

1:42.5

��

1:44

��

1:46

��

1:47.5

�| �| �| �|

1:48

�| �|


8

86

Cl.

Bsn.

Tri.

Vib.

Vc.

5

5

mp

f

l.v.

f

f

5

mp

f

��

1:49.5

�|

1:50.2 1:53.5

�|

1:54.5

�|

�|

1:55

�| �|�|�|

92

Cl.

Bsn.

Metal Chimes

Vib.

Vc.

f

3ff

mp

4.5"

5"

ff

5"

5"

p

2" l.v.3"

ff

l.v. p

5" l.v.

ff

tasto ord.

p

5"

5"

�|

1:59

�|�| �|�|

'metallic scrape'

�|

2:04.5

�|

2:06

��|�|

2:07

��

�

2:08

�

�

� �|

�

2:11.5


9

2. Hay ganas de un gran beso que amortaje a la Vida

q = 54

cue 396

Cl.

Bsn.

Glock.

Vib.

Vc.

pp

p

p

mf

mallets

p

3

bow

pp

(bow)p

mf

p

pp

sfp

. . . . .

pp

p

��

2:13

��

�

2:16.5

�|��

� �

2:22 2:32.5

2:37

�

103

cue 4 cue 4a

Cl.

Bsn.

Vib.

Vc.

pp

3" mf

p

5:4

3"

mf

mf

3"

mallets mf

p

3"

mf

pp

��

��

2:38

2:43

DB2:45

DB DB3:01

Tape OFF


10

111

Cl.

Bsn.

Glock.

Vib.

Vc.

pp

mp

pp

p

pp

mp

pp

p

l.v.

p

mp

ppp

flautando

mp

pp

p

ord.

Part 2 - Tape ON

0:00

��

cue 5117

Cl.

Bsn.

Cym.

Vib.

Vc.

mf

7.3"

f

1)

3

ff

3:2

2)

8.4"

f

3:2

ff

3:2

3:2

3)

8.4"

mf

f

3:2

8.4"

mf

f

3:2

ff

��

0:17.5

��

��

��

��

��

��

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��

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0:25.5

��

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��

��

��

DB0:30

�

DB

0:33.5DB0:36


11

Meno mosso q = 48

122

Cl.

Bsn.

Metal Chimes

Cym.

Vib.

Vc.

p

mp

pp

mp

pp

mp

p

mp

pp

mp

l.v.

f l.v.

pp

mp

(mallets)

p

mp

bow

ppp

mp

pizz.

p

arco

sul D

pp

mp

��

��

��

��

0:42.5

0:44.5

��

1:04

�

1:09

� ��

�

Piu mosso q = 54130

Cl.

Bsn.

Tam-tam

Vib.

Vc.

mf

2)

3

3

3)

f

3:2

3:2

mf

3:2

f

3

f

l.v.

f

ff

3:2

mf

3:2

f

DB1:33.5 1:36

1:36.5

��

��

��

��

1:37.5


12

135

q = 108

Cl.

Bsn.

Tri.

Vib.

Vc.

ff

3

5

f ff

ff

5:4

f ff

ff

l.v.

l.v.

5

l.v.

ff

3

5:4

f ff

pizz.

arco

��

1:55

� �1:59

��

��

��

141

cue 6

Cl.

Bsn.

Vib.

Vc.

f

5:4

mf

f 6

f

5:4

mf

f6

f

mf

f

6

f

5

mf

f

6

��

��

��

��

��

��

��

��

��

��

��

��

��

° ° °° ° ° °° ° ° °° ° ° °°

2:02

2:04

2:06.5

2:08

��(pitch 'beads')

��

�


13

3a. Hay ganas de. . . no tener ganas

146

Cl.

Bsn.

Bongos/Conga

Vib.

Vc.

mf

Take Bass Clarinet mf

§

mf

Hands mf

3:2

3:2

mf

mf

pizz.

��

��

��

��

��

��

��

2:12

��

��

��

��

��

��

��

DB2:13.5

��

��

� �

2:16

153

Cl.

Bsn.

Bongos/Conga

Vc.

B. pp

mf

'brassy'

f

ord.

'solo'

f

3:2

7

pp

mf f

mf

f7:8

3:2

3:2

f

3:2 3:2

mf

3:2

3:2

f

3:2

arco pont.

f

mf

pizz. ord.

arco pont. f

7

ord.

�|�|�| �| �|

�

2:20

�|

�

�|

�

�|�|

�

�|�

�

��

�

��

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�|

�

�|

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2:23

�|

��

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��

��

2:25


14

158

cue 7

Cl.

Bsn.

Bongos/Conga

Vib.

Vc.

B.

mf

3:2

5:4

'brassy'

moltof

1.7"

ord.

mf

'solo'

mf

3:2

5:4

moltof

1.7"

ord.

mf

3:2

1.7"

Vib. mallets

f

3

mf

f

mf

mf3:2

5:4

moltof

pont. 1.7"

pizz.ord.

arco

mf

|

2:26.5

|

2:27

| | | | |

|

�| |

�|

2:29

|

|

| |

| |

|

|

| |

|

|

|

DB2:32

��

3|3

|3

|3

3|

2:33

3|

164

Cl.

Bsn.

Bongos/Conga

Vc.

B. f

'brassy'

ord.

mf

f

'brassy'

f

mf

f

Hands 3:2

5

3:2

3:2

3:2

3:2 3:2

f

pizz. arco pont.

f

pizz. ord.

mf

arco pont.

f

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2:34

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15

170

cue 8

Cl.

Bsn.

Bongos/Conga

Vc.

B. mf

3:2

moltof

mf

mf

3:2

moltof

mf

3:2

3:2

mf

3:2

f

5

mf

3:2

3:2 3:2

mf

3:2

moltof

mf

f

pizz.

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2:46.5

3b. Señor; a ti yo te señalo

176

Cl.

Bsn.

Cowbells

Bongos/Conga

Vc.

t

B.

mf

k t k

5:4

f

t

mf

k t k

'solo'

f

5:4

mf

mf

mf

c.l. batt

5:4

5:4pizz.

arco ord.

pont.

f

mf

c.l. batt

3:2

pizz. ord.

5:4

3:2

2:48

2:50

° ° °° ° ° °°° ° °°° ° °°° ° ° ° °°

°° ° °°°°

° ° ° °° ° ° °° ° ° °° ° ° °°

° ° °° ° ° °° ° ° °° ° ° °°

° ° °°


16

179

Cl.

Bsn.

Cowbells

Guiro

Tamb.

Vc.

B.

5

t

mf

k t k t k t

3:2

3:2

f

fp

f

5

5t

mf

k t k k t

3:2

5

3:2

f

fp

f

5

mf

f

c.l. batt

5:4

pizz.

f3

arco ord.

fp

f

° ° °° ° ° °° ° ° °° ° ° °° ° ° °° ° ° °° ° ° °° ° ° °°° ° °° ° ° °° ° ° °° ° ° °°

° ° °° ° ° °° ° ° °° ° ° °°° ° °° ° ° °° ° ° °° ° ° °°

° ° °° ° ° °° ° ° °° ° ° °° ° ° °° ° ° °° ° ° °° ° ° °°

° ° °° ° ° °° ° ° °° ° ° °°

183

Cl.

Bsn.

Cowbells

Guiro

Tamb.

Vc.

B.

mf

5:4

t

f

k t k

mf

f

'brassy'

ord.

mf

5:4 t

f

k t k

mf

f

mf

(mf)

(mf)

shake

mp

f

f

hit shake

pont.

ord.'solo'

5

c.l. batt

mf

3:2

pizz.

f

arco pont.

pizz. ord.

5

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2:58

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3:01


17

188

Cl.

Bsn.

Cowbells

Guiro

Tamb.

Vc.

B.

mf

f mf

f

5:4

(f)

'solo'

3:2

mf

f

5

5:4

f

f

mf

f

mf

arco

f

pizz.

mf

arco

f

5:4 pont

ord.

3:04

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3:07

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3:08

3:09

194

Cl.

Bsn.

Cowbells

Tamb.

Bongos/Conga

Vc.

B.

ff

3:2

3:2 sffz

sffz

f5:4

'brassy'

moltof

ff

ff

5:4

3:2

3:2

sffz

sffz

f

5:4

moltof

ff

moltof

moltof

moltof

Hands

sfz

sfz

3:2

5

3:2

5

3:2

3:2

ff

pontpizz. ord.

3

sffz

arco au talon

sffz

f

arco pont.

moltof

ff

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3:15


18

199

Cl.

Bsn.

Bongos/Conga

Vc.

B.

sffz

ord.

mf

ff

'brassy'

t k t3:2

t k t k t

k t

3:2

5:4t

k t

3:2

sffz

mf

ff

t k t3:2

t k t k t k t

3:2

5:4

t

k t3:2

ff mf

3:2

3:2 3:2

ff

5

3:2

3:2

sffz

ord.

mf

pont.

ff

3:2

3:2

3:2

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3:19.5

rattling

3:20

204

Cl.

Bsn.

Bongos/Conga

Vc.

B. ord.

t k t

3:2

5

t k t

3:2

5

5

3:2

3:2

3:2

3:2

3:2 3:2

ord.

o

3:2

o

5

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19

208

cue 9 cue 9a

cue 10

Cl.

Bsn.

Bongos/Conga

Xyl.

Vc.

B.

4.5"

2"

sffp

'brassy'

fff

ord.

f

4.5"

2"

sffp

fff

f

3:2 3:2

4"

1.5"

ff 3fff

f

4.5"

tasto 2"

sffpo

pont.

fffo

ord.

f

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212

cue 11

cue 12

cue 13 cue 14

Cl.

Bsn.

Xyl.

Vc.

B. 3:2 ten. 'brassy'

fff

ord

1.8"

sffp

'brassy'

fff

1.5"

ord

3:2

3:2 3:2

3:2

ten.

fff

1.8"

sffp fff

1.5"

3:2

3:2 3:2

3:2 ten.

fff

1.8"

sffp fff

1.5"

3:2

3:2 3:2

3:2

ten.

pont.

fff

ord

1.8"

sffp

pont.

fff

1.5"

ord.

3:2

3:2 3:2

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3:39

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3:47.5

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20

217

Cl.

Bsn.

Xyl.

Vib.

Vc.

B. 'brassy'

ff

3:2 3:2

2.4"

ff

3:2 3:2

2.4"

fff

ff

2.4"

pont.

ff

3:2 3:2

2.4"

DB3:52.5

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cue 15

223

Cl.

Bsn.

Vib.

Vc.

B.

fff

5"

Take soprano Clarinet

fff

5"

fff

(leave until the chord fades out)

l.v.

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5"

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21

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4:09

225

4:09.5

4:11

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4:23

Tape OFF

Solo

molto rubato

q = 40

226

molto acc. a tempo

Vc.

ff

sul D

o

p

sul A

f p

f

5:4

pp

ff

pont.

p

ord.

5moltof

pp

228

Vc. pp

flautando

ord.

ff

sul G

o sul A

pp

229

Vc.

p

sul G

sul D

sul A

3:2

ff

f ff

p

4. Y Dios, curvado en tiempo, se repite, y pasa...

q = 60

230

Cl.

Bsn.

Glock.

Vib.

Vc.

p

ppp

4)

p possibile

pp

p

p

l.v.

l.v.

mf

3:2

mf

3:2 5:4

l.v.

bow

p

mp

l.v.

flautando

pp

Part 3 - Tape ON

0:00

0:03

0:06

0:13

0:14


22

236

Cl.

Bsn.

Glock.

Vib.

Vc.

mp

pp

mp

pp

l.v.

mf

5:4 3:2

5:4

l.v.

mallets

pp

bow

pp

mp

pp

p

pp

0:18

(formant change)

0:20.5

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0:21.5

0:23

0:26

242

Cl.

Bsn.

Glock.

Vib.

Vc.

5)

p poss.

pp

p

pp

pp

l.v.

p

3:2

3:2

mp

3:2

l.v.

(mallets)

pont.

p subito

flautando 3:2

0:35

0:39

0:35


23

249

Cl.

Bsn.

Glock.

Vib.

Vc.

f

11.5"pp

3

f

6:4 11.5"

pp

l.v.

mp

mf

l.v.6:4 11.5"

pp

l.v.

bow

pp

mp

f

6:4

11.5"

pp

0:59

(etc.)

1:02.5

1:05

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1:15

1:17.5

253

cue 16

Cl.

Bsn.

Tri.

Vib.

Vc.

5" 9.5"

5)

5" 9.5"

3)

mp possibile

p

l.v.

pp

5" l.v.

9.5"

mf

5"

9.5"

1:24.5

1:38.5

1:43.5

1:47


24

260

Cl.

Bsn.

6)

7)

8)

mp possibile

9)

4)

5) 6)

mf

7)

mp possibile

1:49.5

1:54.5

1:58

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1:59

266

cue 17

Cl.

Bsn.

Metal Chimes

Glock.

Vc.

10)

3:2

4.3"

moltof

8)

5:4

3:2

5.3"

moltof

mf

l.v.

mf

l.v.

3:2

ff

3:2

3.3"l.v.

5.3"

ord.

solo

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2:17.5

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25

270

Cl.

Bsn.

Glock.

Vib.

Vc.

mp

ten. p

mfp

mf

pocof

mp

5:4

ten. p

mf3:2

l.v.

soft mallets

p

5:4

ten.

mf

pocof

l.v.

bow

pp

p

f

3

pp mp

flautando ten.

sul Dp

mf mfp

mf

sul G

fmp

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2:28.5

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2:30.5

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2:34

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2:36

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2:37.5

2:39.5

2:45

278

Cl.

Glock.

Vib.

Vc.

p

mp

p

Take Bass Clarinet

p

l.v. l.v.

(bow)

p

p

p

pp

2:51

2:54.5

3:00

3:02

3:09.5

3:10.5

3:13.5

3:17.5

3:18.5


26

Glock.

Vib.

Vc.

288

pp

3:2

l.v. 21"

(soft mallets)

pp

21" l.v.

until sound fades out

21"

3:23.5

3:25

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3:27

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3:28.5

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3:30

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3:32

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3:36

21"

q = 120'conga'

3:51.5

cue 18

292

3:52

x7

f

4:05.5

5. Cuando las sienes tocan su lúgubre tambor

q = 120293

Cl.

Bsn.

Tom-t.

Vc.

B. mp marcato e pesante

f

mp marcato e pesante

f

drumsticks

(in sync. with tape but with different strong beats)

mp

3

mf

3

mp

f

3:2

3:2

5:4

mp marcato e pesante

f

in sync. with instruments

out of sync.

with

instruments

4:15.5


27

298

Cl.

Bsn.

Tom-t.

Vc.

B.

mf

'solo'

5:4

pocof

mp moltof

mf

pocof

mp moltof

mp

mf

no sync. with tape

mp

3:2

pocof

f 3:2

3:2

mf

mp

3

mf

'solo'3:2

pocof

mp

moltof

mp

dim. and timbral change

302

Cl.

Bsn.

Tom-t.

Vc.

B.

mf

f

f

5:4

5

3

5

3

f

3:2

3:2

3

f

5:4

5

4:24.5

4:26

ppp


28

306

Cl.

Bsn.

Tom-t.

Vib.

Vc.

B.

moltof

mp

6:4

fp

mf

moltof

mp

6:4

fp

3:2

3:2

Xyl. mallets

mf

f

mf

3:2

l.v.

moltof

f

pizz.

mp3

5:4

mf

arco sul C

f

'bubbly',

low freq.

4:29.5

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311

Cl.

Bsn.

Tom-t.

Xyl.

Vc.

B.

pp

mp

3:2

f

11)

mp

6)

f

drumsticks

f3:2

5

3:2

mf

5

pp

mp

ff

4:42.5

4:43

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4:45.5

4:47.5

4:48.5

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4:49.5


29

316

Cl.

Bsn.

Tom-t.

Vc.

B.

mf

f

3:2

mf

f

mf

3

3:2

3:2

5

3:2

f

3:2

mf

f

3:2

4:53.5

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4:56.5

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4:58

|

|

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4:59.5

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320

Cl.

Bsn.

Tom-t.

Vc.

B.

ff

k t k5:4 3:2

f

3:2

ff

k t k5:4 3:2

f

3:2

3

moltof3

3:2

3:2

3:2

3:2

3:2

mf

5

3:2

ff

5:4

3:2

f

3:2

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3

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5:00

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5:03

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5:04.5

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30

324

cue 19 cue 19a

Cl.

Bsn.

Tom-t.

Vc.

B.

3:2

2"

ff

3:2

2"

ff

f

3:2

5

3:2

5:4

5

3:2

3:2

1.6"

ff

3:2

2"

ff

5:09

B5:14 5:15

327

Cl.

Bsn.

Tri.

Cym.

Tom-t.

Vc.

Take soprano Clarinet 5)

f

p

7)

f

f

l.v

mp

f

l.v.

f 3:2

mp

strum

f

c.l. batt5

3:2

arco

ord.

ff

pont. c.l. batt

f

fmp

arco

ord.

pont.

f

3:2

c.l. batt

mf

5

strum

arco ord.

5

D�|

5:15.5

3|3

|3

|

5:17

3|

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| | |

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5:22.5

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5:23

3|


31

331

Cl.

Bsn.

Cym.

Tom-t.

Vc.

mf

9)

f

mf

8)

f

mf

3:2

5

3:2f

3:2

5

3:2

pont.

5

ord.

f

strum

c.l. batt

fmp

arco

ord.

f

pont.

c.l. batt

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5:27

| | |

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5:28.5

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334

Cl.

Bsn.

Cym.

Tom-t.

Vc.

mf leggiero

5

reinf

5:4

mf leggiero

5

reinf

5:4

moltof

l.v.

moltof

3:2 5:4

mf

mp leggiero

3:2

3:2

mf

3:2

5

strum

pizz.

3:2

c.l. batt.

strum

c.l. batt

5

3:2

mf leggiero

arco ord

5

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5:30

�

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5:33.5

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(no sync.)


32

338

Cl.

Bsn.

Tom-t.

Vc.

moltof

mf

3:2

3:2

moltof

f

8)

moltof

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cue 26 cue 26a

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cue 27

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42

no me quedo - keele university · 2020. 9. 14. · bassoon multiphonics a table of fingerings is...

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