Cuarto Paseo 4 3 P. b œ. # œ Œ P U. b b U. 4 5 Œ n œ Œ œ Œ P. b b œœ F sempre U Œ. Cecilia Gros. Pl.susp. G.C. Pno. rall. Pl.susp. G.C. Pno.

Transcription

1 l.sus. A? q = 5 escobillas ed. Ð L.V. (semre) Ð b baqueta Ð b Cuarto aseo b n b n Ð b b Cecilia Gros l.sus. 8 b n n rall. Ð escobillas b b? q = 52 loco # F loco # F q = 52 b b n 5 5 Ð F 5 n 5 loco b b b b F semre Ð. n. F Ð

2 52 55 q = 100. n n b # wæ semre b # Ð Ð Ð æ wæ n b # wæ n b # Ð Cuarto aseo Ð æ Ð æ b # n. b S S 5 Ð. Ð. Ð. F 5. wæ æ 5 5 n semre 5 semre

3 Cenc. 70 rall. r R Cuarto aseo æ æ æ æ æ æ. æ æ π breve q = 0 7?? b # B q = 0 Se imrovisa con estos esquemas rítmicos y estas alturas durante arox. 5" r. R semre Ñ ƒ Ñ ed. q = 0 L.V. # b Se imrovisa con estos esquemas rítmicos y estas alturas durante arox. 20" r. R F semre 5 5 R Tocar el encordado con baqueta de ieltro semiblanda, reerentemente de timbal (mano derecha) y la nota en el teclado (mano izquierda). L.V. 8 C q = b # semre 1 2 F semre? q = q = 3 F semre Sección C: olitemoralidad (velocidades dierentes?. # b ƒ n. 1 2 Tocar con la alma de la mano abierta todas las teclas negras Tocar con la alma de la mano abierta todas las teclas blancas Tocar con una uña en una sola cuerda del encordado 10"

4 Cuarto aseo 92 50" simile b. R 3 b 3 n 95 0" loco Baquetas semiduras de unta de goma, reerentemente de xiloón b semre ed. 11

5 Cuarto aseo l.sus. 10 Ð. Ð Ð. Ð Ð Frotar con baquetas duras n n # # n n # # n n # # n n # # semre l.sus. 110 n n 3 3 Ð # # Ð n n # # 3Ð n n rall. 3 Ð # # n n escobillas 5 Ð ~~~~~~~~~~~~~~~~~~~~~~~~~~. R R π # # Dur.arox.10'20" 13

6 Work: Relections o a Solitary Stroller, Fourth Walk (iano and ercussion) year o comosition: 2009 Comoser: Cecilia Gros Theoretical Framework The work is based on the homonymous autobiograhical text by acques Rousseau. His book is divided into ten walks, where Rousseau meditates on lie, death, riends, enemies and many other toics concerning the human condition. My intention is to exress the ten walks by means o music, each with a dierent instrumental grouing. I have already made the irst walk (oboe solo), the ourth (iano and ercussion), the ith (three ercussionists) and I am now comosing the tenth (cello solo). My guide, as it were, or the ourth walk, is a hrase o Solon, quoted by Rousseau: "There's always time to learn to be wise, truthul, modest " These words invited me to a world o sound which I wanted to exerience. Then I selected 10 sounds to guide me: I used the sound going by even numbers, and then by odd numbers; I transormed them into chords by according to my own auditory reerence, reeated i necessary, I worked with the instruments in chamber terms. Sometimes the ianist lays with a closed ist, because I was interested in the sonorical result roduced by this means.

7 The work can be divided into sections: Section A: running rom the beginning to bar 73 (included). It is a section with the clear intention that sounds should reverberate. It is in this one section where the ianist, in certain arts lays with a closed ist. In A there are the ollowing ercussion instruments: susended cymbal (layed with brushes or beater) bass drum, temleblock and cowbells. Section B: without bars. It is a section where the resence o the iano almost ades away, but or a rolonged sound. The ercussionist imrovises on the basis o a series o roosed rhythms, which have already been introduced in Section A. In this section only the temleblock are layed, and this with beaters too. Section C: without bars. The characteristic eature o this section is the aearance o resource olitemorality (dierent seeds) and the search or dierent timbres. Here the ianist begins laying in the string o the iano, using his/her nails to luck, and later lays with 2 beaters hitting certain seciic strings. In this section the ercussionist lays both the temleblock and the bass drum with beaters. Section D: with bars. In this section the ianist and the ercussionist talk to each other with ethereal sounds, and the idea o reverberation revails, just as in Section A.

8 The ianist rubs the strings o the iano, some o them with hard mallets. The ercussionist lays long sounds in the susended cymbal, always with kettledrum beater, excet in the last art, where he lays with brushes.