Tre spiragli nella notte for sax, accordion and electric guitar
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1 Tre spiragli nella notte for sax, accordion and electric guitar Giovanni Santini, 2012 Listen on:
2 Performance notes Unstable dynamics. Move from the starting dynamics into the indicated range (in brackets). In aleatoric sections formal articulation is determined by gestures of the performers. These signals are marked with letters inscribed into a circle. They indicate the performer who has to trigger the next events. S saxophone saxofono, G for guitar, A for accordion. Saxophone The initial pitch row must be continued for approxiamtely 15". Pitches can be permutated freely. Only few notes are actually sounding (approximately 2 every 10). The others are only producing key clicks, producing a carpet from which pitch occasionally emerge. Perform the indicated profiles (lower staff) as fast as possible (with pauses between one and the next). Anyway, the pitch content of the passage must be derived from the notes indicated in the higher staff. Note to be sung inside the instrument. Pitches to be played are transposed, while pitches to be sung are not.
3 With this figure, only single note inside the indicated range must be performed. Gliss indictaions, in general, do not decscribe its range. Key-clicks. Key-clicks coupled with air sound. The interpreter can choose among two different figurations: one consists in rapid alternation of multiphonic sounds (that can be selected freely among the four different solutions indicated); alternatively the interpreter can choose to perform single pitches obtained from the harmony linked to the lower box. The 30" passage should contain both the solutions, and the interpreter should skip sporadically from one to the other.
4 Free permutation of the cromatic scale. Accordion The initial pitch row must be continued for approxiamtely 15". Pitches can be permutated freely. Only few notes are actually sounding (approximately 2 every 10). The others are only producing key clicks, producing a carpet from which pitch occasionally emerge. The interpreter can choose between two solutions. The first consist in a rapid alternance of pitches obtained from the harmonic field linked to the upper box. The other options requires to perfomr fast changing clusters into the indicated range. The passage should contain both the solutions with the interpreter skipping from one to the other sporadically. Mobile cluster. In general, gliss indications do not describe the range. Left hand could slowly move a cluster instead of performing an actua glissando.
5 Electric guitar Perform the indicated profiles (lower staff) as fast as possible (with pauses between one and the next). Anyway, the pitch content of the passage must be derived from the notes indicated in the lower staff. In such cases the gliss. does NOT reach the second pitch (it would be anyway impossible instrumentally). The interpreter can choose between two solutions. The first consist in a rapid alternance of pitches obtained from the harmonic field linked to the upper box. The other options requires to perfomr fast changing (tri)chords containing pitches in the same harmonic field. The passage should contain both the solutions; the interpreter should skip from one to the other sporadically. Move constantly the distortion pedal. Gliss. movement should have a rhythmical discontinuity.
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