overflowing

overflowing

Jacob Sandridge

overflowing (2014)

for alto saxophone and prepared piano Approximate duration: 8 min. Program Notes Overflowing, for alto saxophone and prepared piano, is an exploration of the softer and more subtle extended techniques for both of the instruments. The piece shares its name with a Chinese poem entitled "Overflowing," written by the Chinese poet Du Fu, who lived from 712-770 A.D. This poem is full of imagery that is easily translated into sound, therefore it was a perfect inspiration for the sounds heard in this piece. To accentuate this array of sounds, a blurred and unfocused sense of rhythm creates an immersive aura for the listener. Performance Notes Overflowing is meant to be played very freely, especially in terms of rhythm and tempo. 1. For sections labeled "rubato," the tempo should be approximately equal to the preceding tempo. 2. When the pianist is asked to 'deadstroke' the strings, the pianist should use the palm to strike the open strings near the pre-muted strings, hard enough that they produce an significantly audible attack. However, the palm of the hand should stay in contact with the strings as long as possible (so that there is no reverb from those strings) until it is necessary to lift the hand to strike the keys again. 3. Suggested damper pedaling is indicated under bottom piano staff. 4. Triangle noteheads in the saxophone part indicate that the performer should use alternate fingerings for repeated notes. 5. Fingerings for the saxophonist are merely suggestions; others are welcome. Notes for page 1: Notes in boxes should be played in a random order, repeating the pitches for a desired amount of time. The rhythmic values are indicated above the boxes. For the piano, the first two systems of the first page should sound like a long, gradual ritardando. The change from sixteenths to triplets, etc. should not be discernible to the listener, but should feel gradual. Dotted lines between the saxophone and piano indicate suggested alignment point. These are not necessary, and the pianist should not attempt to align exactly with the saxophonist. Piano Preparations: - The piece should be performed with the lid propped completely open (full stick). - The pianist must be able to reach the strings in order to mute them from a seated position. - Two small metal screws should be placed between the right and center strings for the following pitches: E4 and G4. - The screw placed on G4 should be positioned so that when the remaining third pitch of this string is muted, the resulting sound is E4, but approximately a quarter tone sharp. The position of the screw will change depending on what size of piano is used. - Occasionally, the pianist will be asked to mute the left string of these pitches (indicated by 'mute L' in the score), so that only the right and center strings with the screw can vibrate. On other occasions, all three strings should be allowed to vibrate freely (indicated by 'open' in the score). - Thick pieces of rubber should be placed between the strings of the following pitches: G#1, A1,

A#1, B1.

- None of the preparations should be removed during the piece.

- The pianist will need a small glass rock, as indicated in the score.

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Alto Sax

Piano

Ÿ} Ÿ}}Ÿ}} Ÿ}} Ÿ}}}

quasi rit.

quasi rit.

˙∀ œ œ∋ (Η ˙ œ œ,∋ (η− ˙ œ œ,∋ ( +η− ˙α œ− œ,,∋ ( ˙ œ,,−Ιœ≥…,“ ‰ Ιœ≥

,… ‰ ˙∀ œµ œα œα œµ œ∀ œ∀ œµ œµ œα ˙µ5

œα œαœαœα œ œ

œœœ∀ œ œ œ∀ œ∀ œ œµ œ∀ œ œ œµ œ∀ œ œ œ œ

ƒ

Ε

( )

Free, Fluctuating q = ca. 66-78

Ε

ƒ ε οΟ

εω 's

* **10" - 16"

10" - 16" δ 'sSee performance notes

***

%

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>

A. Sx.

√quasi rit.

ιœΙœ− ‰

ιœΙœ− ‰

ιœΙœ− ‰ −˙∀ œµ œα œα œ œα œµ œα œ œα œα œµ œ∀ œ ˙ Œ ˙α Œ ˙µ Œ ˙ Œ ˙∀5 6

œα œ œ œµ œœ œ œ œ∀ œ∀ ϖ∀

Ο ο

ο π

π Ο

let ring

π 'sδ 'sπ 's

(ped. cont.)

Leak air at the end of each note

%

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>

33

33

33

A. Sx.

◊ ◊

ιœ∀ ˙ Œ œ+

Œ 3

œ∀ ∗ œ∗ œœ∀ ∗ −−˙˙

gliss.

οdeadstroke

ε

* Insert notes in parentheses randomly within the tremolo** Gradually move from the first tremolo to the second, so as to blend the two together.

Free, Fluctuating q = ca. 44`123$G

****

**** See performance note #2*** See performance note #3

ιœ∀ − ‰ ‰ ιœ∀ ˙µ

∑

Ó ˙α

*** Notes in boxes should be played in a random order,repeating the pitches for a desired amount of time. The rhythmic values are indicatedabove the boxes. For the piano, the first two systems of the first page should sound like along, gradual ritardando. The change from sixteenths to triplets, etc. should not bediscernable to the listener, but should feel gradual. Dotted lines between the saxophoneand piano indicate suggested alignment point. These are not necessary, and the pianistshould not attempt to align exactly with the saxophonist.

Ó œ+ ιœ∀ − ‰

Œ 3

œ∀ ∗ œ∗ œœ∀ ∗ −−˙˙Ε

ιœ∀ − ‰ ‰ ιœ∀ ιœ −œµ ‰

∑

∑

overflowingJacob Sandridge

Transposed Score

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>

36

36

36

33

33

33

A. Sx.

ϖϖϖ∀ d{

œœ œœ œœ œœ œœ

∑

`23456EBc

mute L*

**

(ped. cont.)

ϖϖϖ

œœ œœ œœ ˙̇

∑

∑

‰ ιœ œ œ œ œ œ œα œ œ œ œ œœα œ œ œα œα œ œ

œœα œœœα ˙µ −−−œœœ −−œœϖα −˙

Serenely q = 50

Ε ο

∑

Œ ‰ ιœ œ œα œ œα œ œµ ˙Œ œα œ œ œα Ó

Œ œα œœœα œµ œ ÓŒ−˙ −˙

Ο π

%

%

>

33

33

33

36

36

36

A. Sx. Œ−−−˙̇˙∀d{

œœ œœ œœ œœ œœ

∑

ο

`23456EBc

mute L*

**

˙̇˙ Ó

œœ œœ œœ ˙̇

∂απ

draw a rounded glass rock slowly alongthe string in one direction very lightly

˙ œ œα œ œ∗ œ œ œ∗ œ œ œ∗ œ œ∀

∑

∂

ο

molto rubatoγ

%

%

>

36

36

36

A. Sx. ˙ Ó Ó Œ


œœα œœœα ˙µ −−œœ −−œœϖα −˙Ε

Serenely q = 50

* Mute the leftmost of the three stringsfor these two notes, so that only the two strings with the screw between them can sound.

mute with fingers (+)

∑

˙α ∗ œ œα œ œ∗ œ œα œ∗ œ œ œ∗ œ œ

∑ο

γ

** Gradually speed up and slow down,playing approximate amount of attacks

molto rubato

2

%

%

>

A. Sx.

◊

ϖd

ϖ

∑

gliss.

ο

ο

(ped. cont.)

`v12346b˙µ ˙

˙ ˙

∑

ϖd +

˙ ˙

∑

Οϖd

ϖ

∑

Ιœµ ‰ −↔

Œ −˙∀ ∗

∑Ο

air-tone

οœ+ ιœα − ‰ ιœα œ−

ιœ œ− ‰ ιœ ιœ−

œ 3

œ∀ ∗ œ∗ œœ∀ ∗ −−˙˙

deadstroke

ε

gliss.`123$G

%

%

>

33

33

33

A. Sx.

◊

Œ‰ ιœα ˙µ

∑

Ó ˙α

gliss.

(ped. cont.)

π

Ó œ+ ιœα − ‰

Œ 3

œ∀ ∗ œ∗ œœ∀ ∗ −−˙˙Ε

ιœα ιœα − ‰ ‰ ιœ −œµ ‰ +

Ó œœ œœ

∑

mute L*

**

−−−˙̇˙∀d{ Œ

œœ œœ œœ œœ œœ œœ

∑

ο

%

%

>

33

33

33

A. Sx.

˙α œ œ œ∀ œ∀ œ œ∀ œ∀3

∑

œ∀ œ∀ œ œ∀ œ œα œ œα3

π

π

Expressive q = 66

* Performer alternates between timbral fingeringsof his or her choosing in the indicated rhythm.Indicated fingerings are suggestions.

œµ œ œα œ œ∀ œ œ œα κ κ3 3

œµ œ

œ œα œα œα œα œα œµ œ œ œα3

3

Ε

Ε

bisbigliando*

`8123456b or `812Tj˙ Ó

œ œ∀Œ Ó

Ó˙α

ο

ο

3

%

%

>

A. Sx.

˙α œ œ œ∀ œ∀ œ œ∀ œ∀3

Ó

œµ œœ œα œα œα œα

3

œ œ∀ œ œ œ œ œα3

ο

(ped. cont.)

œµ œµ œα œµ œ∀ œ œ œα κ κ3 3

œα œµ œ œ œα œ Ιœ∀‰ Œ

3 3

Ó Œœµ

Ε ο

οΕ

`81p or `812Tj˙ Ó

Ó Œ œ

œ œ œ œα œµ œ

%

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>

32

32

32

A. Sx.

molto rit.∑

œ œ∀ œ œ œα œ

œ œ œ∀ œ∀ œ∀ œ∀ œ œ œ œ œαœ œα œα œµ

3

(ped. cont.)

‰ ≈ θœ œ œ œα œα œµ œ∀ œ œ

œα œα œµ œ œ œ œα œ œ3

œ œ œ œα œ œα œα œµ œ œ œ œα

∑Ε

Ε

%

%

>

31

31

31

32

32

32

A. Sx.œ κ κ κ κ κ

˙̇̇∀∀µŒ

‰ ιœ œα œ

œα œα

−˙

Serenely q = 50

ο

ο cresc.

`8123456 or `8123456b or `8123456BEc

œ∀ κ κ κ κ5:3

−˙α

‰ ιœ œα œα œµ œ∀−˙

sim.

`TjTk `3456c `23456cC

œ κ κ3

˙αœ œα œ œα ‰5:4

‰ œ∀ œ œ œ5:4

˙

Ε

`812346E

Ε

œ κ κ ‰

˙

œ œα œα œα˙α

`812345B

œ κ κ κ κ5:3

−˙αœα œα œ œα œ

œ œα œα œα œα œα−˙α

Ο

`8123c `8123Tl

Ο

4

%

%

>

31

31

31

32

32

32

A. Sx.œ∀ κ κ κ

4:3

−−˙̇∀µ œ œ∀ œ∀ œ∀ œ œ œ∀7

‰ œ∀ œ œ œ œ∀ œ7

−˙∀

`1234cB `812346cb `8123456cb

(ped. cont.)

˙

˙̇∀∀œ œ œ œ œ5

‰ œ∀ œ œ œ5:4

˙

ε

ε

˙∀Ÿ œΗ∋ (

˙̇œ œ œ œ œ5

œœœ œµ˙

`8123Tl

∑

−−˙̇œ œ œ œ œ œ

‰ ιœ œ œ œ œ−˙

Ε

Œ ‰ ιœ∀ œ∀ œ∀

−−−−˙̇̇̇∀

œ∀ œ œ

œ∀ œ œ

−˙ %

Ο

%

%

%

>

36

36

36

A. Sx.

◊

√√

√

molto rit.un poco accel.

−˙∀ œ∋ (ΗŸ

œ∀ œœ œ œ œ œ œ∀ œ œ œ3

œ∀ œœ œ∀ œ œ œ∀ œ œ œ œ3

∑

ο

ο

Ó ΤŒ Œ

œ œ œ œ∀ œ œ œ œ œ −œŒ

œ œ œ∀ œ œ œ œ œ œ −œ∀ Œ

Ó Œ œ∀ ∗œ∗ œœ∀ ∗

a tempo

∑


‰ ιœµ œα œ œα œ œ œ œ œ œ œ ιœ ‰ϖα −˙

ϖϖ −−˙˙

π

π

5

%

%

%>

A. Sx.

√

◊

ϖ œ œ∀ ˙


œα œα œ œ œµ œ œ œ ιœ ‰ œ œ œ œϖ œ œ ˙

∑

ο

widening vibrato

(ped. cont.)

˙ Ιœ ‰ Œ−−−−˙̇∂̇µ∀∀

∀

∑

œ œα œα œ ιœ ‰ ∑˙ Ιœ ‰ ∑ >

Ó Œ œ∀ ∗ œ∗ œœ∀ ∗ −−˙˙

ε

`1234cB

%

%>

A. Sx.

Ÿ}} Ÿ}}}Ÿ}} Ÿ}} Ÿ}}}}}}

quasi rit. quasi rit.

˙ œ œ,∋ ( ˙α œ œ∋ (,“−η− ˙ œ œ,∋ (, +η− ˙∀ œΗ− ,,œΗ ˙∀ œ,,Η− Ιœ≥…,,Η

‰ Ιœ≥…,,Η

‰ −˙ Ιœµ +

œ

œœ∀∀œ∀ œµ œ∀ œµ œ∀ œ∀ œ œ∀ œµ

œœ∀∀œ∀ œ∀ œ œ∀ œ

œœ∀∀œ∀

œ∀ œ œ œ

take as muchtime as possible

ε ƒ

Free, Fluctuating q = ca. 66-78

ε

6" - 10"

6" - 10"

ƒω 's δ 's π 's

gliss.

%

%>

32

32

32

A. Sx. œ∀æ Ιœ≥ ‰ œµ œα œα œ œα œµ œµ œ œα œµ œµ ˙µ œ− œœœ∀d{5 6

let ring

πß

* Insert notes in parentheses randomly within the tremolo** Gradually move from the first tremolo to the second, so as to blend the two together.

ο

(ped. cont.)

`23456EBc

6

%

%

>

32

32

32

36

36

36

A. Sx.

˙̇˙d œ

∑

∑

Ε

Serenely q = 50

−œ Ιœα œ œα œ œα œ œ œ œ œ

œ œ œ œ œ œ œ

œ∀ œœœ ˙∀ −−−œœœµ −−œœϖ −˙

Ε ο

οgliss.

5 6

%

%

>

32

32

32

31

31

31

A. Sx. Œ ‰ Ιœα œ œα œ œα œ œ œ œ œ

Óœ œ∀ œ œ∀ œ œ œ ˙5œ œŒ œ œ œ œ>

œ∀ œ œ œµ ˙̇∀ œœœµ∀ œœœ œ œµ œϖ −˙

Ε ο

Εœ κ κ κ κ κ

−˙∀

‰ ιœ œα œ œα œα−−˙̇

Ο

bisbigliando

Ο

œ∀ κ κ κ κ5:3

−˙µ %

‰ ιœ œ œ œ∀ œ∀−−˙̇∀∀

sim.

%

%

>

31

31

31

32

32

32

A. Sx.œ κ κ

3

˙αœ œα œ œ∀

œ œ∀ œ œ œ5

˙̇∀∀

Ε

Ε

œ κ κ ‰

˙∀

œµ œ∀ œ∀ œ˙̇

œ κ κ κ κ5:3

−−˙̇∀œ œ∀ œ∀ œ œ∀ œ œα7

‰œ∀ œ œ œ œ œ

7

−−˙̇∀∀

Ο

7

%

%

>

31

31

31

32

32

32

A. Sx.œ∀ κ κ κ

4:3

œ œα œ œµ œα œα œ7

‰œ∀ œ œ œ œ œ

7

−−˙̇∀∀

ε

ε

ιœ∀ ˙

œ œα œ œ∀ œ∀5 >

œ∀ œ œ œ œ5

˙̇∀∀

Ο

Ο

˙∀

œ œ œ∀ œ∀ œ5

œµ œ∀ œ œ˙̇∀∀

%

>

>

32

32

32

A. Sx. ∑

œ œ∀ −œ∀ Ιœ

‰ ιœ∀ œ œ œ œ−−˙̇∀∀

ο

∑

−œ∀ Ιœ∀ œ

œ œ∀ œ œ œ œ

Œ Œ ‰ ιœ

Œ ‰ Ιœ∀ œ∀

Œ ˙̇µ−−˙̇

ο

Ε

−œα ιœ œ

œ œ∀ œ∀ œ œ

Œ ˙˙−−˙̇

%

>

>

A. Sx.

un poco rit.

œ œ −œα ιœ

œ∀ œ œ∀ œ

Œ ˙̇µ−−˙̇

−œα ιœ œ

œ œ∀ −œ∀ ιœα%

Œ ˙˙−−˙̇

π

π

−œ Ιœ œ∀

˙α œ œŒ ˙̇

−˙

a tempo

œ∀ œµ ˙

˙ œα œαœœ œœ ˙̇

−œ −œ

œ œ ˙∀

˙ œ œ

œ ˙̇α−˙

8

%

%

>

A. Sx. œ∀ œµ ˙

−˙

Œ ‰ ιœ œ˙ œ œ

ο

ο

œ œ ˙∀

œµ œα ˙

œ œ œœα−˙

∑

œ œ ˙

−−˙̇ −˙ %

∑

Ó œα ∗

−−˙̇π

(open)

Ó œ∗

˙α œα

‰ ιœœ“ ˙̇

π

%

%

%

A. Sx.˙α œ

˙ œ∗

Œ ˙̇

˙ œ∗

˙α œα

œœ Œ Œ

˙ œ

˙ œα ∗

∑

˙ œ∗

−˙

−−˙̇

−˙

œ œα œ∗

∑

œ œ œ∗

−˙

∑ >

%

%

>

A. Sx. −˙

ιœα ∗ −∗̇

∑

ιœ −˙α

œ ˙

∑

mute L

∑

œ ˙

∑

rit. −−−˙̇˙∀d{

˙ œ

Œ∗̇

`23456EBc

ο(open)

−−−˙̇˙

−˙

∗̇ œ∗

˙̇˙Τ

Œ

˙Τ Œ

˙Τ Œ

9

overflowing

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