Conversations with Harry. conversando con Harry. for Bass Clarinet and Fixed Media. Orlando Jacinto Garcia

Transcription

1 Conversations ith Harry conversando con Harry for Bass Clarinet and ixed Media Orlando Jacinto Garcia

2 About the Work Conversations ith Harry as ritten for bass clarinetist Harry Sarnaay in August 2015 at the Visby International Centre for Comosers on the island of Gotland off the coast of Seden. The fixed media art of the ork as created using samles of Harry's laying that he recorded for use ith his definitive book The Bass Clarinet ublished by Tutto Musik/eriferia Music in Sain. The live bass clarinet art consists of materials from the fixed media art that have been altered and re-ordered. The fingerings and other instructions are taken from those found in his excellent book. I ant to thank Harry Sarnaay and Nino Diaz of Tutto Musik/eriferia Music for the ermission to use samles from The Bass Clarinet in this ork. The title is a reference to the image of the live bass clarinetist conversing ith Harry's laying heard on the fixed media art. As ith much of my music the slo evolution of material as ell as the counteroint beteen register, density, timbre and acing are aesthetic concerns. erformance Notes (1) The fixed media art comes in a stereo file or 5.0 surround version. The live bass clarinet should be layed through a microhone and anned gradually so that the anning is generally in contrast to the fixed media art (front hen fixed media is in the back for 5.0, left hen sounds are focused on the right for 2.0, etc.). The dynamics for the multihonics should be somehat controlled by the roximity of the erformer to the microhone (esecially at the end of the ork). The live bass clarinet should also be diffused adding a slight amount of reverb to match the fixed media art and it should come in and out of the fabric of the fixed media art as er the dynamics indicated in the score. (2) Timings are given to assist the erformer ith the synchronization of the fixed media art although the rests/meters rovided are calculated to coincide ith the timings. (3) air sound sloly vary timbre ith square noteheads indicates that the erformer should blo air through the instrument ithout roducing a tone instead roducing a ind/air sound hich should be sloly varied by gradually changing embouchure and fingerings. The erformer is at liberty to choose the embouchures and fingerings during these assages as long as the changes are gradual. Only the durations and dynamics are secified in these measures. (4) Duration 12:14

3 The numbers and fingerings for the multihonics, trills, etc., come from Harry Sarnaay's book The Bass Clarinet available from Tutto Musik/eriferia Music. Numbers belo refer to the side keys. Any discreencies ith the information in the book is accidental and defers to hat is in the book. 17 / 18 _ c

4 Transosed Score Conversations ith Harry conversando con Harry Orlando Jacinto Garcia Bass Clarinet q = 60 Tacet 30" begin timing / fixed media 00:30 #41 00:47 & f f 01:04 & f 7 11 & :26 as connected as ossible (circular breathing referred) finger the first note and use first to right side keys #12 & #13 for tremolo æ # æ æ # æ æ 17 & æ # æ æ # æ æ b æ & :00 æ # æ æ # æ æ 30 & æ # æ æ # æ æ b æ & :35 æ # æ æ # æ æ 43 & æ # æ æ # æ æ b æ Orlando Jacinto Garcia

5 Conversations ith Harry 5 03:06 & 4 7 air sound sloly vary timbre π π 03:34 #20 & # # :00 & # 03:49 04:13 air sound sloly vary timbre & L :38 #73 04:52 05:04 68 & L L :16 # #80. π & 4 7 #. # π π 73 05:28 05:42

6 6 Conversations ith Harry as connected as ossible (circular breathing referred) finger first note and trill 2nd side key on right #12 06:00 #. trill 1st side key on right #13 trill 1st & 2nd side keys on right #12 & #13 finger first note and trill uer most left side key #16 ith index finger of left hand.. 78 & 4 3. æ.. æ b.. æ n b æ.. & 4 3. æ.. æ b.. æ n b æ 83 06:22 #. #3 & # π 88 06:41 air sound sloly vary timbre 07:00 07:13 #4 07:26 #5 07:38 #63 94 & 4 9 l f f 08:07 & :53 08:33 & air sound sloly vary timbre 4 6 air sound sloly vary timbre 104

7 Conversations ith Harry 7 09:01 #79 & π f f 09:46 10:04 & air. 4 5 sound sloly vary timbre. 4 7 f & π 10:43 # & 4 # æb b æ æ b b æ b 125 as connected as ossible finger the first note in each measure and trill uer most left side key #16 ith index finger of left hand & # 4 5 air sound 4 6 sloly vary timbre 4 æ æ b :22 11:16 & :26 # :39 & :53... fixed media ends at 12:08 12:06