A Que No Me Quemas! For bass clarinet and digital audio. Composed for Marco Antonio Mazzini. Approximate duration: 11:30. Rajmil Fischman,

Transcription

1 A Que No Me Quemas! For bass clarinet and digital audio Comosed or Marco Antonio Mazzini Aroximate duration: 11:0

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3 i Amliication Deending on the room characteristics and diusion system, it is recommended that the erormer is amliied (wide and near ront only) in order to achieve satisactory balance with the audio art. Notation 1. Score 1.1. The bass clarinet art is written in Bb but when the erormer is required to sing, the itch is written in C Pitches in the art are written in C. 2. Synchronisation 2.1. Synchronisation with the digital audio is only required in assages which contain tae cues marked in the score The only excetion occurs in bars , where the erormer should synchronise strictly with the temo reviously established by the sounds on the tae (crotchet = 14 MM). 2.. In order to give an estimate o the duration o auses (usually when waiting or a cue), these are indicated in the score assuming that the instruments lay accurately according to the written metronome marks. I the erormer is ahead or behind the audio art, ause durations may be adjusted accordingly so that (s)he synchronises with the next cue Pauses with no timing indications are given in the section where the audio art is o: the durations o these auses are let to the discretion o the erormer, where the symbol indicates shorter auses... Accidentals.1. Accidentals aect notes until the end o a bar..2. Quarter tone notation ¾ tone shar ¼ tone shar ¼ tone lat ¾ tone lat In the case o multihonics (see below), slightly sharer or latter itches than those roduced with actual accidentals are indicated resectively by arrowheads ointing uwards ( ) or downwards ( ). 4. Dynamics 4.1. cresc. rom silence (niente) 4.2. dim. to silence (niente)

4 ii 5. Fluttertongue (rullato) 5.1. Fluttertongue on single notes 5.2. Fluttertongue on more than one note is indicated using the abbreviation ltg. 6. Tremolo 6.1. Constant seed unmeasured tremolo 6.2. Accelerating into unmeasured tremolo 7. Klezmer Techniques 7.1. Krechts (moans): ornaments which imitate the break o the voice in Klezmer clarinet music. The note ending the ortamento (notated as a grace note) is swallowed, or layed as a ghost note 1. In the current score, undetermined ending notes (x noteheads) should sound between a minor and a major third above the initial sound. chirs 7.2. Chirs: in general, the erormer is encouraged to use chirs at the end o high notes that are reeated, e.g. when laying the ollowing assage Chirs are layed by tightening the throat and immediately letting go entirely o the embouchure while raidly lowering the tongue, as i saying: eee-yakhh or yuck! 2 8. Circular Breathing Circular breathing may be necessary in bars in order to lay these continuously. I circular breathing is not ossible, breath as seamlessly as ossible. 9. Other Notation 9.1. Highest ossible itch 9.2. Sla 1 Michèle Gingras, Klezmer or Klarinettiests a Beginner s Guide, htt:// 2 Ibid.

5 iii 9.. Variable bend 9.4. Teeth on reed Teeth on reed and bend 9.5. Modiy timbre (e.g. by altering ingerings) according to the rhythm indicated above the stave 9.6. Singing and laying Sing Singing is notated in Bb (the same transosition as the clarinet) or tenor (sounding an octave below). Perormers with higher or lower voices can sing at octaves rom the notated itch Reeat notes in random order, as ast as ossible, or the duration indicated by the horizontal line

6 iv 10. Multihonics A table o ingerings is given below, based on the book by Henri Bok. I a multihonic is not viable in a articular instrument, the erormer may lay another multihonic with itch and timbral content as close as ossible to the original. Embochure4 Key numbers5 relaxed embochure relatively relaxed embochure very relaxed embochure tight embochure relatively tight embochure very tight embochure Position o the Reed4 N.A. P.A. B.A. normal osition lis towards the ti o the reed lis towards the base o the reed Bok Henri (1989). New Techniques or the Bass Clarin.t. Salabert Editions. 4 Ibid, 4. 5 Ibid 5.

7 v Multihonics o the irst tye Multihonics obtained by using traditional ingering and by changing the embouchure by means o strong ressure o the lis 6, roducing a stack o harmonics. Notation: Multihonics on the same note using dierent ingerings: Multihonic trill: Multihonics o the second tye and multihonics trills Multihonics obtained with alternative ingerings. 6 Ibid, 41.

8 q=126 cue 1 cue 2 cue 1" sub sub 1.45" b rit. 6" 2.5" bang ON Part 1 0:00 Whi drum roll 0:0.8 0:07.8 bongo 4 A temo cue 4 (q=126) 6 5 riten. A temo m m molto m shaker scraer cajón bongos low drum 0:16.9 0:19. 0:20.4 0:21. 0:2 0:24. 8 ten. b º º molto sub m 0:25.2 0:27.6 0:29 0:0.5 0:2

9 2 1 b 5" Meno mosso q=100 cue 5 b 4.5".9" m cantabile cowbell metal etc. 0:4. 0:5.1 0: m b 1) b b q=126 cue 6 5.5" m 0.9" sz 1:00 1:1. 1:15.7 1: b 1.2" cue 7 6 # sz s molto m dolce molto m 1:20.9 1:0 1:1.7 1:.7 1:5

10 5 b b º 6 b." cue 8 5 m etc. 1:8 1:8.1 1:4 1:4.9 1:46 1:46.5 1:51. 1: # ten. # # [M] m m 1:5.6 1:55 1:56.1 1:57.1 1:58.1 1:59.9 2:01.4 2: # 5 molto m 2) m 1.6" cue 9 cowbell 2:05.2 2:06. 2:09 2:11.8 2:1.1 2:17. 2:18.9 2:21.6

11 4 55 molto ten. # b 6.5" b cue 10 8" 5 q=100 q=80 6" Pesante m " m (cowbell) etc. 2:22.5 2:24.4 2:26.1 2:28.2 2:4. 2:42.9 2:48 cue 11 Timbre 5.5".4" cue 12 :0. m m m m :20.2 :28 :9 m 5.8" cue 1 cue " ) Timbre m m oco m oco rein :42.9 :42.9 :58.4 4:1.1 4:15 4:18.9 etc.

12 66 m 1) 4.5" m cantab 7.8" cue 14 m cantab 5 4:26.2 4:2.5 4:48.4 4:40 4:46 69 # accel. q=100 A temo (q=80) molto Teeth on reed 6" 7 5:02 # 5:1. 5: " cue 15 Wait or audio to ade (.5" - 4.5") m m OFF 5:25.5 5:27 5:47.4

13 6 77 Rubato m cantab b [M] OFF 6:19.2 Timbre 5 4) ten [M] m m oco m dolce 79 rit. A temo # 5) dolce m rz

14 81 m 14" 11" 7 5" ON Part 2 0:05.6 0:08.6 0:00 0:09.4 0:09.9 0:15.1 0: q=126 cue 16 b m 6 6 0:20 0:20 0: " molto cue 17 0:0.1 0:2.2 0:.9

15 8 89 # m 5 5 m 2.9" cue 18 molto 0:8.1 0: m 0:47. 0:49.1 0:50.6 0:5. 0:54.2 0: m ten. 6 0:55.8 0:58 1:00.5 1:01.4 1:02.8

16 10 m 6 # ten. # 9 1:05.1 1:06.4 1:09.1 1:10.4 1:11.7 1:1.7 1: [M] 1.7" cue 19 cue " º b b m 1:0.4 1:16.6 1:20.4 1:24. 1:25.6 1:27. b 116 b b º " 9.4" cue 21 cue " 1:1.7 1:.6 1:6.7 1:8.9 1:4.6 1:45.1 1:47.7 1:52.7 1:5.7 1:55. 1:57.

17 10 q=14 cue 2 b cue " b cowbell 2:00.5 2:02.5 2:0.8 2:10 2:10.9 drumming (cajón, bongos) 125 b m sz m 2:18.8 2: ten. rein 2:29

18 15 6) 11 2: ten. rein semre 2:50.6 2: rein Sing (notated in Bb) 2:55.6

19 lttzg m Sing (notated in Bb) m etc. 2:58.9 2:59.5 :00.5 :01.5 : lttzg semre lttzg Sing semre dim niente :08.2 :12.9 :14.1 :16.

20 1 159 [M1] [M2] Sing 16 [M] [M2] [M1] [M4] 6.4" cue 25 5" etc. OFF :26.4 :0. :4.1

21 q=80 Rubato m cantab 168 q=126 cue 26 1" m cue 27 m 7" # 0.9" ON Part 0:00 0:07.9 0:11.7 0: oco accel. 6." A temo cue 28 0: :22.4 0:2.8 0:28.5 0:0.2 0:1.1 Keele, Rev