No Me Quedo... (plantado en este verso)

No Me Quedo... (lantado en este verso) or saxohone, bassoon, ercussion, violoncello and tae Aroximate duration: 17 0

to Dalit Fischman No nos quedamos!

i Orchestration Sorano saxohone doubling tenor. Bassoon (doubling claves) Percussion triangle * metal chimes 2 cowbells susended cymbal * tam-tam (or large gong) guiro tambourine bongos conga 4 tom-toms glockensiel xylohone, vibrahone with extended range 8 * while the iece only requires one triangle and one cymbal, having two o each may siliy the ercussion set-u and ease the movement o the erormer between instruments (see suggested set-u below). Violoncello (doubling woodblock) Tae Suggested Set-u Tam-tam Tom-toms Tri. 2 Cym. 2 Tamb. (susended on stand) Bongos Conga Guiro Cowbells Cym. 1 (on stand) Tri. 1 Glock. Xyl. M. Chimes Bassoon Saxohone Violoncello Conductor

ii Notation General 1. Score in C. 2. Accidentals 2.1 Accidentals aect notes until the end o a bar. 2.2 Quarter tone notation ¾ tone shar ¼ tone shar ¼ tone lat ¾ tone lat. Dynamics cresc. rom silence (niente) dim. to silence (niente) 4. Accelerating tremolo h. Synchronisation between instruments and tae.1 Synchronisation with the tae is only required in assages which contain tae cues marked in the score. The only excetion occurs in bars 29-297, where instruments should synchronise strictly with the teo reviously established by the sounds on the tae (crotchet = 120 MM)..2 In order to give an estimate o the duration o stos (usually when waiting or a cue), these are indicated in the score assuming that the instruments lay accurately according to the written metronome marks. Percussion 1. Bongos and Conga. The to line uses a dierent itch to reresent each drum. The bottom line reers to two dierent itches in the conga: high, by hitting near the rim and low, by hitting the centre. 2. Vibrahone. Played with mallets or using a bow on the metal rods, as indicated. I a vibrahone with extended range is not available, the erormer may use sensible octave doubling o the notes which are out o range. Violoncello 1. lautando lay sul tasto with no vibrato 2.... unmeasured o-the-string bounce ( jetté ). tasto ont. gradual transition between tyes o bowing. 4. lay (arco or izz) ordinarily (cancels ont., tasto, col legno, etc.).. roduce rasing sound by alying extra ressure on the bow. 6. lay with scratching noise. Aliication Deending on room acoustic and size, instruments may have to be aliied in order to achieve the right balance with the tae.

iii Saxohone 1. Timbral changes brassy roduce tones which sound as close as ossible to that o brass instruments. use normal tone. brassy gradual transition between normal and brassy sound. 2. Multihonics A table o ingerings is given below, according to the system roosed by Dorn 1. 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. Key categories Octave key (OK) To side keys (TSK) ressed o not ressed F, Eb, D Front stack (FS) 1, 2,, 4,, 6 Side keys (SK) -1, -2, -, -4, -, -6 Let hand side keys (LHSK) --1, --2, --, --4 * * When the let hand side keys (LHSK) are used in conjunction with the side keys (SK), only one hyhen (-) is used: SK are always written irst and LHSK ollow ater one hyhen. Octave key 1 BIS 2-1 -2 - -4 - -6 Eb D F --1 --2 -- --4 4 6 Fingering Syntax 1. Fingerings are given rom let to right according to the ollowing order: (OK) (TSK) (FS) For instance: o F 146-4 -2 (SK) (LHSK) 2. I keys rom a articular grou are not used, these are omitted, or instance: (OK) (FS) (SK) (LHSK) TSK is missing 146-6 -2 (OK) (FS) (LHSK) TSK and SK are missing o 1246 --12 note that two hyhens are used to denote the let hand side keys (LHSK) since they are not used in conjunction with the side keys (SK).. When a multihonic may be achieved using dierent variations o a basic ingering, only the keys that change in the variations are listed below the basic ingering. For exale, 1246--1 reers to the ollowing ingerings: 1246--1-2 1246--2-1246-- -4 1246--4 1 Dorn K. 197. Saxohone Technique. Volume 1. Multihonics. USA: Dorn Productions.

iv Bassoon Multihonics A table o ingerings is given below, according to the system roosed by Bartolozzi 2. 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. BACK FRONT K 20A L 20B M 1 14 10 11 9 1 bis 12 1 2 4 19 18 17 16 X Y 1 Z 6 7 8 Li Pressure relaxed li ressure slightly more relaxed li ressure very relaxed li ressure increased li ressure slightly increased li ressure much increased li ressure Air Pressure N.Pr. normal air ressure M.Pr. much ressure P.Pr. little ressure A.Pr. augment air ressure D.Pr. diminish air ressure Embouchure Normal At (or towards) At (or towards) the ti o the reed the base o the reed 2 Bartolozzi B. 1967. New Sounds or Woodwind. London: Oxord University Press.

v Saxohone Multihonics written sounds written sounds written sounds 1 2 bar 118 bar 121 bar 10 Alternatives: written (see chord 9) sounds written sounds o1246-6-12 o1246--12 --2 --4 o1246-6 --1-2 - -4 o1246--1-2 o1246- -- --4 o146-46-1-2 - -4-4-12-1 -2-24 -4-46-12-1 -2-24 -4-4-12-24 -6-12 -1-2 -24-4 --12-24 -6-12 -24 146-6-12 14-46-12-24 146-46-12-24 146-6-4 146-4-1-2 o1246-6-24 124-6-12-24 o1246-46-1 written sounds written sounds written sounds written 4 6 7 bar 12 o126-146 -14-1 -2 - -4-146-1-2 - -4-14-12-1 -2-24 -4-16-1-2 - -4-1-12-1 -2-24 -4-16-12-1 -2-24 -4 --12 --24 o12-146-1-2 - -4-14-12-1 -2-24 -4-146-12-1 -2-24 -4-14-12-24 -16-12 -1-2 -24-4 -1-12 -24-16-12-24 o12-16-1-2 - -4 o12-1-12-1 -2-24 -4-16-12-1 -2-24 -4-1-12-24 o126-16- -4 o12-146 -14-1 -2 - -4-146-1-2 - -4-14-12-2 -24-4 o12-14 -1-16 -1-1 -2 - -4-14 -146-14-1-2 - -4-16 -1-1 -2 - -4-16-1-2 - -4-1-12-1 -2-24 -4 bars 2, 4, 60, 69 1246--1-2 - -4 146-6-12-24 bars 242, 27 o1246-2 o124-2 o124-26 bar 260 sounds o1246-6-12-24 -4-6

vi written sounds written sounds 8 9 10 written sounds bars 260, 264, 28 o124-6- bars 26, 1 124-6-12-24 bars 267, 4-8 o124-6 o124-6-2-6-1-6-12 written sounds (tenor ) written sounds written sounds 11 12 1 14 written sounds bar 14 bar 42 bar 40 bar 40 o1246-46 -4-1 -2 - -4-46-1-2 - -4 1246--12-1 -2-24 -4 o1246-6-4-24 1246-6-4 o1246-6 --1-2 - -4-6-1-2 - -4 --12-1 -2-24 -4 --12-24 o124-6-12-24 o124-6 --1-2 - -4-6-1-2 - -4 --12 --1 --2 --24 --4 o124 o1246 Bassoon Multihonics 1 2 o 2 4 Pedal trill Play normal note ingering while articulating the trill. 12. 11 2 o o 12 4 18 18 bar 4 bars 8-9 bars 121, 27 bar 260 bar 261 7 o 2 17 o 10 4 o o 17 6 7 8 9 10 4 o 17 bars 261, 1, 40 bars 26, 28, 60 bars 266-7, bars 97, 40

So. Tri. 1. Hay ganas de volver, de amar... q = 108 6 :2 m izz. arco :2 :2 accel. a teo l.v. m sz (Tae OFF) short 6:4 :4 short :4 :2 lautando short :2 izz.

2 Tri. Xyl. 9 l.v. :4 :2 m arco sz :2 'bells' Part 1 - Tae ON 0:00 0:01 0:04 Xyl. 1 m m :2 l.v. m :2 lautando :4 m sz :4 0:0. 0:08 0:11. 0:12

19 :2 :4 :2 :4 Tri. l.v. :2 :4 0:17 0:18 Xyl. 2 sz sz sz sz s s s s :2 sz sz s s izz. :2 arco :2 :2 :2 :2 0:20 0:2.

4 29.8" cue 1 :4 m Xyl..8".8" :4 m :2.8" izz. arco :4 m (bass thu) 0:26 0:2 0:2. 0:4 0:6. 0:8. Xyl. izz. :4 arco :2 (high req.'metallic') 0:9 0:40 0:44 0:46

42 m :2 :2 sz ont 0:49 0:1 0: 48.7" cue 2 Cowbells.7".7" Xyl. mallets.7" ont izz. m BD 0:7 (squeak) 0:8. 1:00. 1:01.

6 2 :4 :2 1) Cowbells 6 :2 :2 :2 :2 m arco arco 1:02. 1:04. 1:08. 8 m 2) m m Cowbells :2 :2 izz. arco ont. (noise) ('sring') 1:08. 1:11. 1:14

62 :4 7 :2 sub.m :4 :2 Cowbells Xyl. :2 :2 Xyl. 68 :4 :4 m sz 1:1 1:2.

8 74 marcato marcato :2 :2 marcato marcato :2 :2 B1:9D 1:40. 81 :2 :2 :4 :2 :4 :2 :2 :2 :4 :2 1:42. 1:44 1:46 1:47. 1:48

86 9 Tri. l.v. 1:49. 1:0.2 1:. 1:4. 1: 92 4." " Metal Chimes " l.v. l.v. " " tasto " " 2" l.v. " 'metallic scrae' 1:9 2:04. 2:06 2:07 2:08 2:11.

10 2. Hay ganas de un gran beso que amortaje a la Vida Glock. q = 4 cue 96 bow mallets (bow) s..... m m 2:1 2:16. 2:22 2:2. 2:7 10 :4 " " cue 4 cue 4a m m m " " mallets m m 2:8 B BD D D 2:4B2:4 Tae OFF :01

111 11 Glock. lautando l.v. Part 2 - Tae ON 0:00 117 7." m cue 1) :2 2) Cym. 8.4" :2 8.4" :2 m :2 :2 ) 8.4" m :2 0:17. 0:2. BD 0:0 D B D 0:.B0:6

12 Metal Chimes Cym. 122 Meno mosso q = 48 l.v. l.v. (mallets) bow arco izz. sul D Tam-tam 10 0:42. Piu mosso q = 4 0:44. :2 m :2 ) m :2 :2 4) 1:04 1:09 l.v. :2 m D B1:. 1:6 1:6. 1:7.

q = 108 1 1 Tri. l.v. l.v. :4 l.v. arco izz. :4 1: 1:9 cue 6 141 :4 m 6 :4 m m m 6 6 6 (itch 'beads') 2:02 2:04 2:06. 2:08

14 a. Hay ganas de... no tener ganas 146 m m Take Tenor m Bongos/Conga :2 :2 Hands m m izz. m BD 2:12 2:1. 2:16 1 m 'brassy' 'solo' :2 7 m m 7:8 Bongos/Conga :2 :2 arco ont. :2 :2 m m :2 izz. arco ont. 7 :2 :2 2:20 2:2 2:2

18 :2 :4 'brassy' 1.7" cue 7 'solo' 1 Bongos/Conga m :2 m :2 m :2 :4 :4 molto molto molto 1.7" 1.7" ont. 1.7" mallets m m izz. m m arco m 2:26. 2:27 2:29 D B2:2 2: 164 'brassy' 'brassy' m m Bongos/Conga Hands :2 :2 :2 :2 :2 :2 izz. arco ont. izz. m arco ont. 2:4 2:. 1:00. 2:7 2:8 2:8. 2:9.

16 170 m m :2 :2 molto molto m m cue 8 Bongos/Conga :2 :2 m m :2 :2 :2 :2 :2 molto m m izz. 2:4 2:46. Cowbells Bongos/Conga b. Señor; a ti yo te señalo 176 t k t k t k t k m m m m m :4 c.l. batt :4 izz. arco ont. 'solo' :2 c.l. batt m :4 :4 :4 izz. :2 2:48 2:0

179 t k t k t k t :2 m :2 17 Cowbells Guiro Tamb. t m k t k k t :2 m c.l. batt :4 :2 izz. arco 18 t k t k :4 'brassy' Cowbells Guiro Tamb. m m m shake ont. 'solo' (m) m :4 t k t k m (m) c.l. batt :2 m izz. hit shake arco ont. izz. 2:8 :01

18 188 m m :4 Cowbells Guiro Tamb. 'solo' :2 () arco m m izz. :4 m arco :4 m ont :04 :0 :07 :08 :09 Cowbells Tamb. Bongos/Conga 194 :4 molto molto ont :2 :2 izz. :2 sz :2 Hands molto sz sz arco au talon sz sz sz :4 :4 'brassy' molto molto :2 :2 :2 :2 sz sz arco ont. molto B D :11 :1. :1

199 sz sz m m 'brassy' t k t :2 t k t :2 t k t k t k :2 t k t k t t t k t :4 :2 k :2 t :4 t k t :2 19 Bongos/Conga :2 :2 :2 :2 :2 m sz m ont. :2 :2 :2 rattling :16 :19. :20 204 t k t :2 t k t :2 Bongos/Conga :2 :2 :2 :2 :2 :2 o :2 o :2.

20 208 4." cue 9 cue 9a 2" cue 10 'brassy' Bongos/Conga Xyl. 4." :2 :2 :27. 4." 4" :0 tasto s 2" s 1." :1 :2. 2" o s :. ont. o Xyl. 212 :2 ten. :2 ten. :2 ten. :2 cue 11 ten. 'brassy' ont. BD :9 :40. :42 cue 12 ord ord 1.8" cue 1 cue 14 1.8" 1.8" 1.8" 1." ord 'brassy' s s s s D :44.B:46.:47. ont. 1." 1." :2 :2 :2 1." :0 :2 :2 :2 :2 :2 :2 :2 :2 :2

Xyl. 217 'brassy' :2 :2 :2 :2 2.4" ont. :2 :2 2.4" 2.4" 2.4" 21 D B:2. : 22 cue 1 " " l.v. (leave until the chord ades out) Take sorano " 4:02 B4:04 D BD 4:0. 4:07.B

22 22 D 4:09 4:09. 4:11 4:12 4:1 4:14 4:14. 4:17 Tae OFF 4:2 226 q = 40 Solo molto rubato sul D o sul A :4 ont. molto acc. a teo molto 228 lautando sul G o sul A 229 sul G sul D sul A :2 4. Y Dios, curvado en tieo, se reite, y asa... Glock. q = 60 20 bow lautando l.v. l.v. l.v. m ) ossibile :2 m :2 :4 l.v. Part - Tae ON 0:00 0:0 0:06 0:1 0:14

Glock. 26 l.v. :4 :2 m :4 mallets bow l.v. 2 (ormant change) 0:18 0:20. 0:21. 0:2 0:26 Glock. 242 6) oss. l.v. :2 (mallets) :2 :2 l.v. ont. lautando :2 subito 0: 0:9 0:

24 Glock. 11." 249 6:4 11." l.v. l.v. 6:4 11." m 11." l.v. bow 6:4 (etc.) 0:9 1:02. 1:0 1:08 1:09 1:12 1:1 1:17. Tri. 2 9." " l.v. " l.v. 9." m " " 9." 9." cue 16 ) 6) ossibile ossibile 1:24. 1:8. 1:4. 1:47

2 260 7) 8) 8) 9) ossibile 4) ) 6) 7) m ossibile 1:49. 1:4. 1:8 1:9 266 10) :2 4." cue 17 molto Metal Chimes Glock. 8) :4 :2 l.v. m." l.v. m :2." :2 molto l.v.." solo 2:08. 2:10 2:11. BD 2:17. 2:22.

26 Glock. 270 :4 l.v. :2 sot mallets m ten. l.v. :4 bow m oco lautando ten. ten. ten. sul D m m sul G m oco 2:28. 2:0. 2:4 2:6 2:7. 2:9. 2:4 Glock. 278 (bow) l.v. l.v. Take tenor 2:1 2:4. :00 :02 :09. :10. :1. :17. :18.

Glock. 288 (sot mallets) :2 :2. :2 l.v. 21" :27 :28. :0 21" l.v. :2 until sound ades out :6 21" 21" q = 120 'conga' 27 :1. cue 18 292 :2 x7 4:0.. Cuando las sienes tocan su lúgubre tambor 29 q = 120 marcato e esante Tom-t. drumsticks (in sync. with tae but with dierent strong beats) m marcato e esante marcato e esante :2 :2 :4 in sync. with instruments out o sync. with instruments 4:1.

28 298 'solo' m :4 oco molto m oco molto Tom-t. no sync. with tae m :2 oco :2 :2 m m 'solo' :2 oco molto dim. and timbral change 02 m :4 Tom-t. :2 :2 :4 4:26 4:24.

Tom-t. 06 molto molto :2 6:4 :2 Xyl. mallets molto 6:4 izz. :4 m m arco sul C m :2 m l.v. 29 'bubbly', low req. 4:29. 4:4. 4:6 4:7 4:9 D B4:41. Tom-t. Xyl. 11 :2 6) 11) drumsticks m :2 :2 4:42. 4:4 4:44. 4:4. 4:47. 4:48. 4:49.

0 16 m :2 Tom-t. m m :2 :2 :2 :2 :2 m 4:. 4:6. 4:8 4:9. Tom-t. 20 molto :2 k t k :4 k t k :4 :2 :2 :2 :2 :2 :2 m :2 :2 :2 :4 :2 :2 :00 No synchronisation with instruments :0 :04.

24 :2 1 cue 19 cue 19a 2" Tom-t. :2 :4 :2 :09 :2 :2 :2 :2 2" 2" 1.6" B :14 :1 Tri. Cym. Tom-t. 27 Take sorano strum c.l. batt :2 l.v arco 7) ont. c.l. batt 8) l.v. arco ont. :2 c.l. batt m :2 strum arco D D B :1. :17 :19 :19. :21 :22. :2

2 1 m m 9) 8) Cym. Tom-t. :2 :2 ont. strum c.l. batt :2 arco m :2 ont. c.l. batt :27 :27. :28. 4 m leggiero m leggiero :4 rein :4 rein Cym. molto l.v. Tom-t. :2 :4 :2 :2 molto m leggiero :2 m strum izz. :2 c.l. batt. strum c.l. batt :2 m leggiero arco ord :0 :. (no sync.)

8 molto molto :2 :2 m m :2 :2 molto molto 12) Tom-t. :2 rein :2 :2 molto :2 :2 m :2 :2 :2 :2 :2 molto :7. :8 :4 :44. :4 42 :4 :2 ) molto Tom-t. :2 :4 :2 :4 :2 :2 :2 :2 :2 dim. and timbral change :4. :47. :48.

4 Cym. Tom-t. 4 10) :2 :2 :2 :2 :2 :2 :2 l.v. :2. :4. :6. :9. 49 :2 cresc. cresc. :2 :2 :2 :2 cresc. 6:06

:2 :2.7".7" :2.7".7" 6:09. B 6:12.D 6:1. 6:17 6:18. Tam-tam Tom-t. 9 " " cue 20 " l.v.." cue 21." "." cue 21a ) 7)." mallets molto Take claves :2 :2 Take small woodblock BD 6:19. 6:20. 6:24 6:2 6:26 D B 6:28 6:0 :2 6:1 6:1. 6:2. 6:

6 62 :4 :2 sz Claves molto sz sz sz Tom-t. :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :4 :2 Woodblock molto 6: 6:7. 6 molto :2 s (claves) Tom-t. :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 (woodblock) 6:40 6:41 6:4.

7 67 m :2 (claves) Take bassoon Tom-t. :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 (woodblock) 6:44 6:47 Cym. Tom-t. 69 ) :2 " :2 " " cue 22 ten. l.v. :2 sz Take 'cello " ont. sz 6:49 6:2 6:2. 6:.

8 72 :2 :4 :4 :2 :2 m m sz sz :4 sz sz Cowbells Bongos/Conga :4 ( mallets) m m m sz sz 6:7. 6:9 7:01. 7 sz m :2 m cresc. sz m m cresc. Bongos/Conga m :2 :2 :2 cresc. :2 izz. arco ont. sz m m cresc. 7:0

9 77 t k t :2 Bongos/Conga t k t :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 :2 sul D o o 7:07 7:08. 7:10. Tri. Bongos/Conga 80 2.7" cue 2 2.7" 6 :2 sz :4 l.v. 2.2" :2 2.7" izz. arco BD 7:1. 7:16 7:19.

40 8 6:4 s lautando :4 :4 molto molto molto 7:22 7:2. 7:28. 90 :2 :4 Tri. :2 molto :4 :4 :2 l.v. m m 7:0 7:2 7:4. 7:6

41 9." " " " cue 24 Coda. Hay ganas de quedarse lantado en este verso... 9) ont. au talon 7:8. D B7:41. 7:4. 7:4. 7:49.... ero yo no me quedo! 401 :2 :2 :2 :2 4" 1) 4" 6) 4" ont. 4" cue 2 14) 9) ont. :4 :4 :4 :4 7:4. 7:6 BD 7:8. 8:00

42 No Señor!! 408 6." cue 26 cue 26a 6.2" cue 27 6." 6.2" Tri. Tam-tam Tom-t. 4." l.v. l.v. 2.2" 4." 6." 6.2" D BD D B8:14.D B8:1.D 8:02. 8:04.B8:06.B8:09 8:10 8:11. 8:16. Tae OFF 8:2 Keele, 18.10.00