Flute variations. Peter John Bacchus (2004)

Transcription

1 Flute variations Peter ohn Bacchus (2004)

2 Flute variations First edition: February 2006 Cover design: Ludovica Mosca Layout: GRÀFIC Peter Bacchus Publicacions Musicals S.L. Santa Anna 10 E 3a Barcelona Printed in: QualityImpres Comte Güell Barcelona National book catalogue number: B ISMN: M It is orbidden to reproduce this work in whole or in part by any procedure including reprographics and computer processing and to distribute copies on hire or loan unless written authorization has been given by the publisher or other authorized body any such unauthorized reproduction or distribution being liable to prosecution. DISTRIBUTION: Distribucions Musicals S.L. Santa Anna 10 - E Barcelona tel ax dinsic@dinsic.com

3 This solo piece is written as a tribute to the Aaron Copland Piano Variations o 1932 along with the 1957 orchestral version o the same piece. The theme itsel is inspired by the Copland theme. The intention was to write in a similar style to that o the Copland piece incorporating modern extended lute techniques as part o the language o the piece. The extended techniques and the virtuosity o the piece make it a challenging work or the modern solo lutist. Perormance notes: The Theme is orceul and declamatory.the lutist should try to bring out this orceulness using the accents and the natural percussiveness o the ingering changes thinking o a violinistic manner o playing. Variation I - The trilled key should luctuate according to the indicated sixteenth notes. In the repeated measures it is necessary to re-take the trilled key ( re-slap up or down the indicated key). The perormer should eel ree to let other multiphonics that come about rom the ingerings mix themselves with the indicated notes especially the double octaves that sound with some o the combinations. The moving sixteenths can be made present to diering degrees throughout the variation some are quite vague. However the held melody note and the ghost note on the bottom should be always be present. Circular breathing is very much part o the continuous eect o the variation. The indications which appear like the letter U leaning to one side or another are suggestions or turning in and turning out to acilitate a legato transition rom one ingering to another. Variations II and III should be played almost continuously. Variation III - The held high notes should be used to circular breath. The indicated sung notes (and their resultant tones) can be changed or modiied to create the maximum eect. Variation IV - On the held notes the lutist should transition smoothly rom the double octave to the lower note and then transition to the whistle tones slowly trilling the indicated key and bringing out the random whistle tones that appear. The low octave multiphonics tend to be a bit unstable and that is to be used as part o their eect. With the timbral trills the pitch luctuations between the octaves is the desired sound. Variation V is ast and virtuosic but can be played reely and inishes in a bravura style. Peter Bacchus 3

4 Theme Broadly and orceully Flute Variations Homage to Aaron Copland or solo lute Peter Bacchus (2004) & 2 4 b b b Œ b Œ W b b. W b Œ. b b Œ.. b & 2 4 W 2 b b w. W 2 4 b b b w. 2 6 p norm. & 2 6 b b b Œ b Œ bw.. b Œ bw U. I. e = (circular breath i possible) b. & 16 7 b π. b b. # b. # (re - take w/o breaking slur) 5

5 IV. l'istesso tempo b & 2 b b. b. U w lunga w U w b 2 3 π N a tempo b b & 2 3 b b 2 U w w lunga # # & w U # 2 3 b b b b 2 π P N largo misterioso rapido & 2 U w 4 b b w b b b 2 p 11