for the Cromano String Quartet Revoltijo omaggio a S.Revueltas Carlos H. (2017)

Transcription

1 or the Cromano String Quartet Revoltijo omaggio a S.Revueltas Carlos H. (2017)

2 2 Notes or Perormance The score starts here with this Notes. Please read them very careully. = bridge cle. Play between the Bridge and thetail piece. At least 5 dierent pitches/sounds must be recognizable per string. Use only one inger to play this passages. = long ermata. Extend the duration o the indicated sound or a rather long time (e.g. 4 times the writen duration.) = short ermata. Extend the duration o the indicated sound or a rather short time (e.g. 2 times the writen duration.) = matching ermata. Wait or the other perormers to continue playing "a tempo" and on the same bit. Ater this mark perormers play together again. From the previous indications you can deduce that tempo is dynamic and that each player will have their own tempo rom time to time, independen o the tempo o the other players. DO NOT try to match tempos or rhythms; that is what Matching ermatas are or. = multiphonic. A complex, harsh sound, rich in harmonics. = string numbers (i.e. irst string, second string, third string, orth string.) = play col legno battuto. The higher note is to be played near the ordinario position. The middle note is at the position. The lowerst note is to be played near the let hand on the inger board. Starting on letter [C] you will see a tiny diamond-shaped note head and a normaly-shaped note head above the sta. This symbols regulate the way to press the strings with the let hand. As usual, a diamond-shaped note head means that you should press the string very lightly. Accordingly, a normaly-shaped note head means that you should press the string as usual. Letter [C] explores the possibilities in between this two modes o pressing the strings. Thus, you ill go gradually rom harmonic presure to normal presure and vice versa. You will also ing an indication to peromr this two indications as a tremolo (i.e. ast changes rom harminc-normal-harmonic-normal-... etc.) This will also apply or other symbols. Tremolando = start playing ever shorter notes. Play like this: = mute indicated strings (the string indicated have an "x" shape note head.) accell. = tempo becomes aster in real time (i.e. notes become shorter in real time.) rall. = the opposite to "accell.". Tempo becomes slower in real time (i.e. notes become longer in real time.) Play like this: rit. = ritenuto. Similar to "tremolando". The notes under this mark start at a slower tempo than writen and tend towards that very tempo marking. That is, the rhythm starts a "meno moso" rhythm than the one already given and accelerate to the "a tempo" marking (the already given tempo.) più = più moso (aster) meno = meno moso (slower) Again, notice that on letter [E] the tempo markings between instruments are dierent and ever changing. Tempos meet again at the Matching Fermatas. Tapping = tap on strings as orte as possible with let hand. Whistle, Humming, Babbling = according to the instruction, whistle, hum, or babble ALMOST at unison with the writen music at the same time you play. The eect must be that o an heterophonic texture that comes and goes. This vocal eects must be noticeable but they must not sound louder than the instrument. In the case o Babbling use the phonemes "boo" or "woo".

3 Please notice that on letter [E] there are repeats rom bar 124 onwards. This repeats are characterized by the dynamic and independent tempo marking or each perormer. However, or bars 124, 125, 126, 127 & 128, it is very important that you observe this changes o tempi only ater the irst passing o the repeated section (i.e. or the already mentioned bars the tempo modulations apply or the second and third repeat ONLY.) Ater the irst passing o bar 128 all tempo modulations have to be perormed. It is also very important that on this repeated section (bars ) the tempo modulations (i.e. accell, rall, rit., più, meno) must be exagerated rom one repeat to the other. For instance: on the irst repeat an "accell." will change the tempo to a little bit aster tempo marking; on the second repeat the same "accell." will produce and even aster tempo than the irst time; inally, on the third repeat the same "accell." will produce the astest possible tempo (a very radical change). This applies in the same manner to the other tempo modulation in accordance to their nature. On letters [F] and [G] the tempo modulations are the same or both perormer at the same time. However, the Violins have to lead the movement o the tempi and indicate it to the other perormers. Presition in coordination is mandatory or this two movements. arco giratorio = play the pattern col legno trato - crini - legno - crini -... etc. while playing at the same time ex. - - ex etc. Do it in a circular, organic manner. There is no coordination between the part o the bow in contact with the string and the place o the bow on the strings. Just make VERY SLOW circular gertures in a way that relates naturally to the tempo. This way o bowing is to be played always lautando. The result is a very ragile, subtle, cystal-like sound. Play rom the tip to the middle o the bow. ex. = extreme playing. To be perormed rom right at the place where the neck and the body o the instrument meet to maximum 2 cm. rom there into the body o the instrument. Please make a clear distintion between this way o playing and the regular playing. = normal bow presure. = middle bow presure (note + noise/hiss.) = high bow presure (note + distorsion.) NO RATTLE!!! NO SCRATCH TONE!!! spazolando = move the bow rom to according to the writen rhythm. Move the bow also in the normal way (rom rog to tip) at the very same time.this is something more o a rhythmic gesture. The pitch content is rather poor, while the noise content is richer. Regarding the Fixed Media (Tape): it is mandatory or all our perormers to reproduce an audio track. This has to be reproduced using a personal devise (e.g. a smartphone) to be put on each stand (no quadraphonic sound or anything similar). The tape is a modulated white noise that works as a background or the music to develop. Volume must be somewhat moderated but still audible to the whole audience. There is no interaction between the tape and the writen music nor any kind o synchronization or queues o any kind. The only condition is that all our perormer must start the reproduction o their audio track at the same time -this happens at the end o letter [D] where it is properly indicated. As soon as the tracks start playing letter [E] starts. Do not wait or the sound o the tape, it will eventually emerge. The sooner letter [E] starts ater activating the tape, the better. The tape was created with a puredata patch. This "omaggio a S.Revueltas" is a rather ragmentary piece. It is as abstract as possible and does not aim at any kind representation. The order in which it was composed is the ollowing: [B], [A], [F], [G], [H], [C], [D], [I] and [E]. However, letter [B] was the last to be inished. The subject o the piece is the notion o periphery. In particular, the periphery o the real o Music; not in a philosophical way but mainly in a practical one: what is that which is at the periphery o Music? My answer: anything that is AROUND it. In the case o the score, the periphery o Music is made o the signs and words writen around the notes. That is the material o the work (see or instance letter [C].)The idea at the end o the work is that the audience can be part o the composition process by imagining the mentioned sounds. This piece was comissioned by the Cromano String Quartet, to whom I dedicate it. To request the individual parts and/or the our audio tracks or perormance please contact the composer at champicanreadit@gmail.com Duration is circa 16

4 4 Violin I Violin II A [q = 96] Revoltijo p s s s p s p s pp p s s s s sp s p s p Carlos H. (2017) Viola Violoncello rall. a tempo 5 s pp p rall. s p s pp p p s p s pp cresc. a tempo 5 pp cresc.

5 9 B [q = 10] (arco) s "" urioso! [tapping & babbling!] (arco) s "" urioso! [tapping & babbling!] quasi chitarra (pluck strings using all ingers) "" "" tap. "" "" tap. s s s 4 : 5 x s s s 5 17 sempre s "" tap./bab. "" tap./bab. sempre s s s s s s arco+crini spp sp

6 : 5 x s "" tap./bab. p cantabile, dolce pp s p arco al 0 p s s "" tap./bab. arco al p s s "" tap./bab. s p sp p p sp sp s al "" tap./bab. al 7 p s p sp sp s p sp sp sp s sp

7 42 c.l.b. sul D&A simile p s s p p p p p p p p p p arco c.l.b. s p p s s s s s s segue mp s p energico! dolce il basso sempre sul C sul D&A simile p p p p p p p p p p 5:4q 9:7e 5:4q 21:17x arco 7 50 p p p p p p "" c.l.b. p p p p p p "" "" "" "" p s s s arco, sempre sul A&E pont c.l.b. pont c.l.b. arco c.l.b. pont arco m.v. n.v. m.v. n.v. n.v. m.v. simile pont "" c.l.b. "" s s pont c.l.b. pont c.l.b. pont c.l.b. arco pont p "" "" c.l.b. arco pont 4:5x sp sp sp sp arco c.l.b., sempre sul A&E n.v. m.v. n.v. m.v. n.v. pp sp sp 5:4q s "" s s s s 9 : 7e s m.v. tapping!

8 8 59 sp sp sp sp sp sp sp sp simile sp sp sp sp sp sp sp sp sp 5:4q s s s 21:17x s s s s s s s s s 6 sp sp sp sp s p s s s c.l.b. sp sp sp s "" s s s il basso sul C energico! segue sul IV, arco p

9 67 C [e=60] tremolando poco a poco arco au talón tenuto pp cresc. p cresc. p cresc. p cresc. p tenuto pp cresc. p cresc. p cresc. p cresc. p cresc. tenuto // (no spazzolato) sempre più tremolo! pp cresc. p cresc. p cresc. p cresc. p cresc. tremolando poco a poco au talón tremolando poco a poco au talón g l i s s., sul IV // (no spazzolato) sempre più tremolo! g l i ss. // (no spazzolato) g l i s s. sempre più tremolo! 9 82 D [q = 82] au talón arco come sopra con s p lontano sempre au talón p lontano tip o bow sp p p Look at Vln I. Put one inger on your mouth, as i asking or silence! a la voce mp espress. Sh! tenuto s pp pp tremolando Look at Vln I. Put one inger on your mouth, as i asking or silence! a la voce mp Sh! espress.

10 10 9 p s.t. pp ppp ppp pp subito p espress. s espress. s whispering but audible! a la voce Si len cio pp sz desperate! like crying out! s.t. au talón pp ppp p p a la voce mp sul D Sh! 102 ppp subito! segue au talón! ppp pp sempre ppp (like a tinitus) sz Always looking at the Vln. I Si len s.t. cio! Sh! pppp 1/2 Sh! (loud voice!) es cu cha!

11 110 pp dubitativo quasi tonlos pp p ppp Turn ON Tape senza s rall. Turn ON Tape 11 Turn ON Tape angry! YELLING! pp dolce Sh! Si len cio! Sh! Si len cio! Si len cio! SI Turn ON Tape LEN CIO! Es cu cha Theatrical, as i about to start telling a story 121 E [q = 96] sul E, A, a la pointe [meno] [accell.] sul D, G, a la pointe [accell.] [accell.] ppp p pp sul A, D, a la pointe ppp pp ppppp p (niente) p s p s p s [a tempo, accell.] a tempo. accell. rall. a tempo rit. sul D, G [accell.], a la pointe a tempo accell. ppppp p (niente) p p s s p rall. a tempo accell. a tempo rit. a tempo accell.

12 12 11 (niente) p s p sp p sp sp (niente) [meno] [accell.] [accell.] [meno] p p s sp p sp p [accell.] p sp sp s p s s s p sp s s p s s p s p [accell.] p s sp sp s p s p p s s sp sp s p [accell.] [accell.] [accell.] [meno] [accell.] 16 [accell.] s p s s s p sp sp s s p s p s s s s sp sp s sp p p s s sp sp s ppp 5 s s s s s ppp [meno] [meno] [accell.] [accell.] [accell.] [accell.] p s s s s s s s s s s [meno] [a tempo, rit.] [accell.] [a tempo, rall.] [meno, accell.] [meno, accell.]

13 F 141 [q = 112] ex. crini + legno [arco giratorio] [+humming] pp p pp mp pp mp pp mp pp mp mp pp p pp mp pp mp pp mp pp mp mp 1 Always together with Vln.1 [+whistle!] pppp p p p p p p p p p p pp p (niente) G Always p () together with Vln.2 bold, contundent sound, no rattle! [+humming] dal niente sempre, espress.!!! pp pp mp pp mp pp p ex. crini + legno [arco giratorio] p pppp H [q = 75] [a tempo, rit.] [+whistle] s s s s s s s s p subito s p s p s p s p s p s p s p s pp mp pp mp pp mp pp mp pp mp mp ppp pp mp pp trem... tenuto trem... tenuto trem... tenuto trem... 7:5e

14 I spazolando pppp pp p p subito p mp mp mp mp mp mp mp mp mp sz g l i s s. sul G! posible pp sul D ppp segue ppp sul A, D p p subito p p subito p s 197 spazolando mp segue p sp sp sp sp p p mp mp mp p g l i s s. sp sp The lower sound must "eat" the other pitches, overgroing them in loudness!

15 206 sp pppp sz sp sp sp pppp sz sp sp 15 mp mp mp mp mp sp pppp sz sp sp 216 p pppp sz s () p pppp sz [a la voce] Un sonido grave () [a la voce] Un intervalo sp sp p mp mp mp mp mp mp mp p Una progresión Una progresión sz p pppp sz [a la voce] Un sonido agudo () p Un acorde p Una progresión

16 16 22 [scratch!] p pp ppp p ppp ppp p Una sirena Una silla moviéndose s s s Es inútil callarla. Es imposible callarla. Llora monótona como llora el agua, ( espress. theatrical!) mp mp mp mp mp mp mp mp Un tren spazolando spazolando sul D, G l. niente Un poema 249 como llora el viento sobre la nevada. Es imposible callarla. Barullo (p) Gente charlando () Las redes en el mar mp mp mp mp mp El aire entre los magueyes ()

17 261 (pp) Las olas Un ruido muy uerte (pp whispering) Wait until the Tape inishes. Otherwise, make just a little pause. Las olas Un ruido muy uerte mp mp mp mp mp (pp) Wait until the Tape inishes. Otherwise, make just a little pause. (pp whispering) Wait until the Tape inishes. Otherwise, make just a little pause. [a la voce] Un ruido muy uerte (pp whispering) Wait until the Tape inishes. Otherwise, make just a little pause. Un ruido muy uerte (pp whispering) 17