no me quedo - keele.ac.uk · bassoon multiphonics a table of fingerings is given below, according...

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

for saxophone, bassoon, percussion, violoncello and tape

Approximate duration: 17’30”

© Rajmil Fischman, 2000

to Dalit Fischman

¡No nos quedamos!…

i

Orchestration

Soprano saxophone doubling tenor.

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.

Xyl.

Glock.

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.

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

Saxophone

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 the system proposed by Dorn1. 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.

Key categories

Octave key (OK) � pressed

o not pressed

Top side keys (TSK) F, Eb, D

Front stack (FS) 1, 2, 3, 4, 5, 6

Side keys (SK) -1, -2, -3, -4, -5, -6

Left hand side keys (LHSK) --1, --2, --3, --4*

* When the left hand side keys (LHSK) are used in conjunction

with the side keys (SK), only one hyphen (-) is used: SK are

always written first and LHSK follow after one hyphen.

Fingering Syntax

1. Fingerings are given from left to right according to the following order:

(OK) (TSK) (FS) (SK) (LHSK)

For instance: o F 146 -34 -23

2. If keys from a particular group are not used, these are omitted, for instance:

(OK) (FS) (SK) (LHSK) TSK is missing

� 13456 -56 -23

(OK) (FS) (LHSK) TSK and SK are missing

o 12456 --12

note that two hyphens are used to denote the left hand side keys (LHSK) since they are not used in conjunction with the

side keys (SK).

3. When a multiphonic may be achieved using different variations of a basic fingering, only the keys that change in the variations are listed

below the basic fingering. For example,

�12456-5-1 refers to the following fingerings: �12456-5-1

-2 �12456-5-2

-3 �12456-5-3

-4 �12456-5-4

1 Dorn K. 1975. Saxophone Technique. Volume 1. Multiphonics. USA: Dorn Productions.

Octave key

1 BIS 2 3

-1 -2 -3 -4 -5 -6

Eb D F

4 5 6

--1 --2 --3 --4

iv

Bassoon

Multiphonics

A table of fingerings is given below, according to the system proposed by Bartolozzi2. 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

2 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

Saxophone Multiphonics

1 2 3

Sax. written sounds

bar 118

o12456-56-12

o12456--12

--23

--34

o123456-356

-35-1

-2

-3

-4

o12456-5-1

-2

o123456-35

-3-3

-3-4

written sounds

bar 121

o13456-3456-1

-2

-3

-4

-345-12

-13

-23

-24

-34

-346-12

-13

-23

-24

-34

-34-123

-234

-356-12

-13

-23

-24

-34

-35-123

-234

-36-123

-234

�13456-56-123

�1345-456-123

-234

�1346-456-123

-234

�13456-6-4

�13456-345-1

-2

written sounds

bar 130

o12346-6-234

Alternatives: written sounds

(see chord 9)

�12345-56-123

-234

written sounds

o123456-46-13

v

4 5 6 7

Sax. �

bar 132

o1236-1456

-145-1

-2

-3

-4

-146-1

-2

-3

-4

-14-12

-13

-23

-24

-34

-156-1

-2

-3

-4

-15-12

-13

-23

-24

-34

-16-12

-13

-23

-24

-34

--123

--234

written sounds

o123-1456-1

-2

-3

-4

-145-12

-13

-23

-24

-34

-146-12

-13

-23

-24

-34

-14-123

-234

-156-12

-13

-23

-24

-34

-15-123

-234

-16-123

-234

o125-156-1

-2

-3

-4

�

�

�

o125-15-12

-13

-23

-24

-34

-16-12

-13

-23

-24

-34

-1-123

-234

o12356-16-3

-4

o1235-1456

-145-1

-2

-3

-4

-146-1

-2

-3

-4

-14-12

-23

-24

-34

o1235-14

-15

-16

-1-1

-2

-3

-4

-145

-146

-14-1

-2

-3

-4

-156

-15-1

-2

-3

-4

-16-1

-2

-3

-4

-1-12

-13

-23

-24

-34

written sounds

bars 233, 343, 360, 369

�12346-3-1

-2

-3

-4

�1346-56-123

-234

written sounds

bars 242, 257

o123456-25

o12345-2

o12345-26

written sounds

bar 260

o12456-56-123

-234

-4

-6

8 9 10

Sax.

vi

bars 260, 264, 328

o12345-6-3

written sounds

written sounds

bars 265, 331

�12345-56-123

-234

written

bars 267, 345-8

o12345-6 o12345-6-2

-6-1

-6-123

sounds

11 12 13 14

Sax.

bar 314

o12346-456

-45-1

-2

-3

-4

-46-1

-2

-3

-4

written sounds (tenor Sax.)

written sounds

bar 342

�123456-35-12

-13

-23

-24

-34

o123456-356-34

-24

�123456-356-4

written sounds

bar 403

o12456-56

-5-1

-2

-3

-4

-56-1

-2

-3

-4

-5-12

-13

-23

-24

-34

-5-123

-234

written sounds

bar 405

o124-56-123

-234

o1245-56

-5-1

-2

-3

-4

-6-1

-2

-3

-4

--12

--13

--23

--24

--34

o1245

o1246

1

Bassoon Multiphonics

2 3 4 5

Bsn

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

Sax.

Bsn

Tri.

Vib.

Vc.

Sop.

f 6

3

f

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

Sax.

Bsn

Vib.

Vc.

6:4

short

fmp

f

5:4

f 3

mp

short f

5:4

f

3:2

f

flautando

mp

short

f

ord.

5

pizz.

f

3:2


9

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

�� |��

��

��

��

��

��

��

��

��

��

��

��

��

3|

1:08.5

58

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

Sax.

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

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

��

0:25.5

��

��

��

�|�

��

��

��

��

��

��

��

��

��

��

��

��

��

DB0:30

�

DB

0:33.5DB0:36


11

Meno mosso q = 48

122

Sax.

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

Sax.

Bsn

Tam-tam

Vib.

Vc.

mf

3)

3

3

4)

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

Sax.

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

Sax.

Bsn

Vib.

Vc.

f

5:4

mf

f 6

f

5:4

mf

f6

f

mf

f

6

f

5

mf

f

6

��

��

��

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2:02

2:04

2:06.5

2:08

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13

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

146

Sax.

Bsn

Bongos/Conga

Vib.

Vc.

mf

Take Tenor Sax. mf

§

mf

Hands mf

3:2

3:2

mf

mf

pizz.

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153

Sax.

Bsn

Bongos/Conga

Vc.

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.

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14

158

cue 7

Sax.

Bsn

Bongos/Conga

Vib.

Vc.

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

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164

Sax.

Bsn

Bongos/Conga

Vc.

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.

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pizz. ord.

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arco pont.

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15

170

cue 8

Sax.

Bsn

Bongos/Conga

Vc.

mf

3:2

moltof

mf

mf

3:2

moltof

mf

3:2

3:2

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5

mf

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2:46.5

3b. Señor; a ti yo te señalo

176

Sax.

Bsn

Cowbells

Bongos/Conga

Vc.

t

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

Sax.

Bsn

Cowbells

Guiro

Tamb.

Vc.

5

t

mf

k t k t k t

3:2

3:2

f

fp

f

5

5t

mf

k t k k t

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5

3:2

f

fp

f

5

mf

f

c.l. batt

5:4

pizz.

f3

arco ord.

fp

f

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

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

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

° ° °° ° ° °° ° ° °° ° ° °°

183

Sax.

Bsn

Cowbells

Guiro

Tamb.

Vc.

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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17

188

Sax.

Bsn

Cowbells

Guiro

Tamb.

Vc.

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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3:09

194

Sax.

Bsn

Cowbells

Tamb.

Bongos/Conga

Vc.

ff

3:2

3:2 sffz

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f5:4

'brassy'

moltof

ff

ff

5:4

3:2

3:2

sffz

sffz

f

5:4

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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

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3:15


18

199

Sax.

Bsn

Bongos/Conga

Vc.

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

Sax.

Bsn

Bongos/Conga

Vc.

ord.

t k t

3:2

5

t k t

3:2

5

5

3:2

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3:2

3:2 3:2

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19

208

cue 9 cue 9a

cue 10

Sax.

Bsn

Bongos/Conga

Xyl.

Vc.

4.5"

2"

sffp

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fff

ord.

f

4.5"

2"

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fff

f

3:2 3:2

4"

1.5"

ff 3fff

f

4.5"

tasto 2"

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212

cue 11

cue 12

cue 13 cue 14

Sax.

Bsn

Xyl.

Vc.

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.

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ord

1.8"

sffp

pont.

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1.5"

ord.

3:2

3:2 3:2

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3:47.5

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20

217

Sax.

Bsn

Xyl.

Vib.

Vc.

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3:2 3:2

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2.4"

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pont.

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3:2 3:2

2.4"

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223

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Bsn

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5"

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5"

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(leave until the chord fades out)

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21

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4:09.5

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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

Sax.

Bsn

Glock.

Vib.

Vc.

p

ppp

5)

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

Sax.

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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0:23

0:26

242

Sax.

Bsn

Glock.

Vib.

Vc.

6)

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

Sax.

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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1:17.5

253

cue 16

Sax.

Bsn

Tri.

Vib.

Vc.

5" 9.5"

6)

mp possibile

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

Sax.

Bsn

7)

8)

8)

mp possibile

9)

4)

5) 6)

mf

7)

mp possibile

1:49.5

1:54.5

1:58

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266

cue 17

Sax.

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

Sax.

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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2:34

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2:37.5

2:39.5

2:45

278

Sax.

Glock.

Vib.

Vc.

p

mp

p

Take tenor Sax.

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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3:28.5

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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

Sax.

Bsn

Tom-t.

Vc.

mp marcato e pesante

f


f

drumsticks

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

mp

3

mf

3

mp

f

3:2

3:2

5:4


f

in sync. with instruments

out of sync.

with

instruments

4:15.5


27

298

Sax.

Bsn

Tom-t.

Vc.

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

Sax.

Bsn

Tom-t.

Vc.

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

Sax.

Bsn

Tom-t.

Vib.

Vc.

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

Sax.

Bsn

Tom-t.

Xyl.

Vc.

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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29

316

Sax.

Bsn

Tom-t.

Vc.

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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|

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4:59.5

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320

Sax.

Bsn

Tom-t.

Vc.

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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30

324

cue 19 cue 19a

Sax.

Bsn

Tom-t.

Vc.

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

Sax.

Bsn

Tri.

Cym.

Tom-t.

Vc.

Take soprano Sax. 8)

f

p

7)

f

f

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31

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32

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34

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359

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36

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cue 22ten.

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37

372

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39

385

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40

395

cue 24

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...¡pero yo no me quedo!

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41

cue 26 cue 26a

408

cue 27

¡¡No Señor!!

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Tom-t.

Vib.

Vc.

ffp

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6.25"

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Keele, 18.10.00

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8:25

Tape

OFF


42

no me quedo - keele.ac.uk · bassoon multiphonics a table of fingerings is given below, according...

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