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Contemporary Music Score Collection UCLA Contemporary Music Score Collection Title cubist dances Permalink https://escholarship.org/uc/item/50g114g2 Author Herraiz, Martin Publication Date 2020 License https://creativecommons.org/licenses/by-nc-sa/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California martin herraiz cubist dances for eight instrumentalists 2013 CUBIST DANCES Instrumentation Flute (also Alto Flute in G) Bass Clarinet in B Tenor Trombone Piano Violin Viola Cello Contrabass Duration: ca. �� min. All instruments sound as wri�en, except bass clarinet and contrabass which sound an octave lower. Accidentals are valid only for a single note and its immediate repetitions, allowing of course for eventual rests which may occur in between; nevertheless, cautionary natural signs abound throughout the score. This work was wri�en for the Ensemble Reconsil’s “Exploring the World” project, and completed on October ����. PERFORMANCE NOTES PIANO SPECIFICS All apoggiature and tremoli are to be performed as fast as possible. Besides the conventional playing on the keys, the following playing methods are used: + Also on the keys, but with the fingers of one hand muting the strings inside the piano. An x-shaped notehead Glissandi are indicated by straight diagonal lines. Unless they are slurred, both notes should be articulated. means that the strings should be completely choked with the palm so that only the sound of the hammers is heard. A downward curved line placed after a note ( ) indicates a “fall”, i.e. a subtle portamento or “bend” at the end of plectrum: Use a hard plastic plectrum, such as an electric guitar or bass guitar pick. The pick should be as hard as the note. This effect must not be overemphasized; in fact, especially when followed by a rest, it is best accompanied by an possible in order to minimize a�ack transients, but not too hard as to choke the natural resonance of the strings. equally subtle decrescendo. pizz.: Pizzicato directly on the strings, using the fingertips, at a considerable distance from the dampers. Always implies flu�er-tonguing (fla�erzunge) for the winds and tremolo for the strings. arco: Use a nylon string coated with rosin, such as a guitar string or fishing line. The piano should be prepared beforehand by wrapping a separate string around each set of strings to be played (C�, D�, E�, G� – see mm. ���-���) Vibrato indications and applying a sufficient amount of rosin to each string. The performer is encouraged to experiment with strings of different thicknesses. It is suggested to a�ach a weight to either end of the string, such as a bolt or nut, to keep it in place. SV Senza vibrato (default). The wri�en durations on the score indicate only the time for which the nylon string remains in contact with the piano PV Poco vibrato. strings, after which the la�er should be allowed to vibrate freely. Some practice time should be dedicated to perfecting this MV Molto vibrato. technique in order to avoid interrupting the sound when changing directions. These indications refer only to the amplitude of the vibrato; the speed is left to the performers’ discretion, and Clusters should not necessarily remain constant all the time. As with all indications of parametrical variations, dashed arrows are used to indicate gradual transitions between Cluster with hand. states. WINDS SPECIFICS Cluster with forearm. Pedal activity For the bass clarinet and trombone: slap-tongue. Depress pedal. For the bass clarinet: slap-tongue without definite pitch (the wri�en note indicates the fingering to be used). Release pedal. + For the woodwinds: keyclicks. For the trombone: hit the mouthpiece with the open palm of the right hand, producing a percussive sound with a Pedal stomp (depress the pedal silently and remove the foot abruptly, producing a loud percussive sound). clear pitch. When no pedal markings are given, the pedal may be used freely as a tonal resource, as long as all pitches are Very irregular (aperiodic) trill. sustained only for their wri�en duration; likewise, when playing pizzicato or with the plectrum, as when muting strings The highest possible note (or whistle tone, where indicated). with the fingers, the pedal should remain depressed only for the wri�en duration of each note. Aeolian sounds (without definite pitch; the wri�en note indicates the fingering to be used). “Airy” sound (on the flutes), still with a very clear pitch. Alternative fingering with a darker tone than the basic fingering for the same note. Any multiphonic which can be be played at the specified dynamics, prominently featuring the wri�en pitch. Any multiphonic whatsoever which can be be played at the specified dynamics. Any multiphonic, as noisy and saturated as possible. Tongue ram (on the flutes): cover the mouthpiece with the whole mouth and perform an abrupt movement with the tongue against the teeth. The resulting pitch should sound a major seventh lower than wri�en. Jet whistle (on the flutes – only fingered pitches indicated). Tongue pizzicato (on the flutes). STRINGS SPECIFICS Bow position indications ST Sul tasto. SP Sul ponticello. ord. cancels any previous indications for bow position but not for vibrato (which are cancelled only by SV). Bow pressure Two notated degrees of bow pressure are used*: Normal bow pressure (default). High bow pressure: very harsh and noisy sound, but still with a very clear pitch. * A third degree of bow pressure, of course, is the conventional flautando (marked fl.). Harmonics All natural harmonics for the strings are accompanied by a text indication showing the string on which they should be played (in roman numerals) and their corresponding partial number (in arabic numerals, with the first partial being the open string). Sometimes the exact position at which the harmonic should be played is notated (with a diamond- shaped notehead), but usually they are wri�en as they sound (obeying the usual octave transposition for the contrabass), accompanied by a harmonic sign. In the la�er case, the performers are free to choose the position, since all partials from the third up are available at several points on the string. In either case, the intonation is not to be adjusted by any means. “Alla chitarra” section The final section of the piece (starting at m. ���) must be played alla chitarra by the violin, viola and cello, using an electric guitar pick (plectrum). The pick should be made of plastic, as hard as possible in order to minimize a�ack transients, but not too hard as to choke the pitch. As a rule of thumb, high strings should be avoided when playing in this fashion, especially on the violin, where the entire section should be played on the two bo�om strings. Some practice time should be dedicated to perfecting this technique for maximum precision in rhythms and articulation. The cellist is encouraged to experiment with bass guitar picks as well, which he or she might find more comfortable given the size of the instrument. C.L. Col legno. Bartók pizzicato. When playing pizz. or col legno: mute the strings with the left hand so that only a percussive sound without definite pitch is produced. The wri�en note indicates the string to be played. Play behind the bridge (between bridge and tailpiece). The wri�en note indicates the string to be played. + Left-hand pizzicato. cubist dances To Roland Freisitzer martin herraiz q = 72 Fl. take alto flute A. Fl. Flute pppp f p Bass Clarinet in Bb fff 3 Trombone mf Piano pp 3 7 7 7 [ h. ] C.L. C.L. SP 3 5:3 3 3 3 ord. 5 Violin pp 3 p pppp p 3 C.L. 3 3 3 3 5 3 6 ric. Viola pp p pp p p mp f C.L. ric. sim. 3 Violoncello 3 3 3 p mf p mf mp f C.L. ric. sim. Contrabass 5:3 3 mf mf 3 f 2 8 take flute 5 A. Fl. fff f p 3 B. Cl. p fff Tbn. pp f fff p mf pp w/ plectrum ord. 5 Pno. 3 3 p ppp fff pizz. 3 pizz. 5 ord. 7 7 Vn. ff pp 4:3 pp fff pizz. C.L. SP 5 pizz. 7 jeté ord. 6 Va. 3 pp 3 pp fff f ff C.L. SP pizz. 5 jeté pizz. 3 Vc. 3 5 5:3 pp pp fff f ord. ◅ pizz. C.L. SP 5 jeté Cb. d fff f 3 16 Fl. 5 5 7 3 3 3 7 5 3 f p fp f mp f p f' 5 B. Cl. 5 7 5 7 5 3 3 3 3 f p fp f mf f p f' 3 5 Tbn. 5 7 3 f p fp f mp mf f p cresc. f 3 5 5 7 5 7 Pno. 3 5 mf p f p f 5 5 cresc. molto ff 7 ord. SP arco ord. ord. ◅ (SP) ord. ◅ C.L. ◅ SP 7 9 C.L. Vn. 5 3 4:3 4:3 cresc. molto ff fff f mp f f p f ord. SP pizz. arco ord. ord. ord. SP ◅ ◅ 6 7 C.L. C.L. ◅ SP Va. 3 5 cresc. molto ff fff f f mf p SP ord. ◅ ◅ 3 arco C.L. ord.C.L. ord. ◅ SP ord. SP Vc. 5 3 cresc. molto ff fff f f mf p SP ◅ arco ◅ II2 ◅ pizz. 4:3 ◅ C.L. ord.C.L. ord. 5 ord. SP Cb. 5 I p cresc. molto ff fff fp f f mf p 4 7 23 take alto flute TR 3 3 5 A. Fl.
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