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Waves of Refraction for Guitar and Tape

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Waves of Refraction for Guitar and Tape Waves of Refraction for guitar and tape by Jon Christopher Nelson © 1992 Waves of Refraction (1992) for guitar and tape creates aural illusions which are analogous to the visual illusions of light waves refracted through water. Just as an object submerged in water appears slightly warped and unstable, the guitar refracted by the computer-generated tape sounds altered and mutable. At the beginning of the composition, the tape accurately replicates the guitar sounds. However, the tape quickly undergoes a metamorphosis, becoming more unusual and exploratory as the composition unfolds. The guitar also presents material that changes from nervous and disjunct figuration to more lyric lines. Waves of Refraction was commissioned by Carlos Molina, to whom the composition is dedicated. The computer-generated tape was produced in the Florida International University Electronic Music Studio. Notes for the performer: Chromatic alterations apply throughout the measure. The guitar part may be played with a certain amount of liberty. The fermatas and pauses are included to provide the performer with moments to wait for the tape cues (if waiting is necessary). In addition to the exceedingly fast finale and the percussive guitar punctuations throughout the score, there are five different musical styles juxtaposed in this work. These playing styles are marked with rehearsal markings A, B, C, D, and E. Although specific rhythms have been notated within the tempi provided in the score, it may be easier to simply have a rough idea of tempo for each of these styles. The music within the A sections should be fast and the rhythms should be played as accurately as possible. The B sections are slow, introspective sections which usually occur as cadences or cadential extensions. The most lyric sections are played at a moderato tempo and are designated by the rehearsal letter C. Music at any rehearsal letter D should be played as a leggiero arpeggiation at an allegretto tempo. Rehearsal letter E represents a cross between letters C and Din that it should be lyric and tuneful, yet arpeggiated and a little faster than C. The notation for the tape portion only includes significant cues and entrances. The tape part has been omitted from the score in measures 156-238 and the performer is asked to simply play as fast as possible throughout this section. Upon completing this section, the performer is asked to continue playing in this wild and erratic fashion until the tape cue in m. 240. The performer may take some time getting used to the cues and should feel free to adjust their tempi in response to the cues. A thick horizontal beam with two thin vertical beams on the right side indicates the moment when the tape part rests. Waves of Refraction for guitar and tape Allegro by Jon Christopher Nelson Misterioso q» R¡™epºeat until tape cue for second measure. 3 ⋲ ⋲ ⋲ ⋲ œ^ ⋲ ⋲ ⋲ ⋲ . guitar 4 . ‰ bœ Œ Œ ⋲ Œ. œ ‰ Œ ‰ œœ œœ V 4 . œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ . b œ #œœ œœœœœœœœœ œ œ œ œ œ œ bœœ 1 bœ v J Ë Tπape starts about 5" F ß f ß f 3 π ß after the guitar begins. U15" tape V 4 . wæ . œ ‰ Œ ‰ œ Ó. æ æ Ë ¿ ¿ ¿#œ œ w Ø ß p slide fingers down string 6 ord. 3 3 " ˘ ˘ #œ nLœ. ~~~~~~~~~~~~~~~~~~~~~~~ Ó Œ b#œœ œœ ‰ ‰ j ## œ Œ ⋲ ‰ Œ Ó Ó Œ ‰ œ V œ œ œ. œ œœ. œ œ œ œ œ œ ( ) œ œ 5 P f œ œ L F ƒ f ßv ç ß 3 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ∑ Œ Ó ∑ V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ ( ) F ßv P f ßv simile y y ∆ y y ∆ y y ∆ 6 ¨ > > ¨ slide fingers down string 6 ¨ # œ g œ œ œ œ œ œ " g œ œ œ œ œ œ œ U g ~~~~~~~~~~~~ ~~~~~ g bœ œ bœ g Aœ œ œ œ œ œ bœ #œœ ‰ ⋲ g œœ œœ œœ Ó Œ Œ Œ gb œ œ ‰ ‰ b œ Œ Œ g A œ œ œ œ œ œ 5 b œ ‰ ∑ 4 Vb œœ g œœ œœ œœ ( ) g g 4 4 10 g œ œ œ g œ œ œ œ œ œ œ F g œ œ. œ g œ œ œ œ œ œ œ ç# w ƒ fl Ë ~~~~~~~~~~~~~~~~~~~Ï~~~~ ç Î ¿ #ww ∑ ∑ 5 ‰ Œ Ó ‰ 4 V b ww 4 ¿ ¿ 4 f ¿ ∏ ßË a tempo Molto Secco . simile œ.#œ. œ . œ bœ. bœ œ œ #œ. œbœ. œ œ œ #œ œ 4 Œ Œ Œ ‰ Œ ‰ Œ bœ œ ‰ ‰ Œ 3 œ œ ‰ ‰ Œ #œ œ ‰ bœ ‰ #œ V 4 3 4 5:4 14 P . etc. (the imitation continues, œ#œ œ. getting more dense and distorted) V 4 Ó Œ. ‰ Œ Ó ∑ 43 ∑ ∑ P 1- XII 4- IX 3- VII l. v. l. v. l. v. ord. ord. l. v. o o o full pizz. œ . #œ œ " œ. bœ. bœ œ œ. bœ> œbœ bœ œ ‰ ‰ Œ Œ Œ ‰ Œ Ó ⋲ Œ ‰ 3 V 3 œ3 bœ 19 F F . œ P P F L P ƒ ß ˘ / ¿ bœ V ∑ ∑ Œ Œ bœ ‰ Ó ‰ ∑ œ ƒ ßv l. v. > Secco 3 . Cantabile #œ œ l. v. " #œ. œ. nœ. #œ. U œ œ. #œ j œ. œ œ œ bœ. œ l. v. Œ ‰ œ œ. ⋲ Œ. bœ Œ ⋲ . œ. œ V 3 bœ #œ œ 24 F p œL p ß . b˙. V ∑ ¿ ¿ ‰ Ó ∑ b˙. Ó ‰ ‰ Ë Ë - 2 - ˙. ƒ π 4-VII 2-IX a tempo Cantabile l. v. l. v. full pizz. ord. 3 o . j bœ . #œ œ o . œ#œ . #œ. œ. œ . bœ. œ œ bœ. œ œ. #œ œ. œ^ " V ‰ œ ⋲ œ bœ œ ‰ Œ. J œ. œ ⋲ ‰ ‰. Œ ‰ bœ Ó 78 29 f p F P F ƒ 3 (imitation of m. 29 guitar part) ¿ . bœ ¿ ¿ œ ¿ ¿ 7 V ¿ ¿ ¿ ‰ Ó ∑ Ó ⋲ Œ ‰. Œ Œ ¿ ¿¿ 8 Ï P ¿ P ƒ l. v. l. v. #œ. #œ œ œ #œ . bœ bœ nœ œ œ bœ. œ œ #œ bœ bœ œ. #œ œ œ œ. œ V 78 œ ⋲ œ œ œ Œ ⋲ œ œ Œ 85 ⋲ œ ‰ ⋲ #œ ‰ 34 P F P F 3 ˘ 3 œ. ¿¨ . #œ œ ¿ 7 ¿ ‰ Œ ‰ 5 ‰. ¿ ⋲ œ#œ œ ⋲ V 8 ¿ ¿ œ. ¿ ¿ 8 ¿ > >¿ ¿ ¿ ¿ f P F f ß f ß l. v. 3-IX l. v. 2- IX l. v. 5- IX o œo 4- VII #œ. l. v. bœ œ . nœ#œ o l. v. œ bœ œ . #œ#œ œ#œ œ. bœ œbœ. nœ œ œo #œ #œ œ 3 3 l. v. J V ⋲ ‰ 8 ‰ 4 ⋲ ⋲ 3 ⋲ ‰ Ó ∑ 38 f ƒ F ¿ 5:3 #œ ¿ #œ œ#œ ¿ ¿- V ‰ ‰. 83 ¿ ¿ 43 ⋲ j ∑ ∑ ¿.. ¿ f P F f - 3 - ßË 2- XII 4- IX sul tasto 5:4 5:4 3- XII 5:4 l. v. Cantabile o ord. ord. o #œ > œ " bœ >œ >œ Œ. Œ Ó ‰. œ œ œ œ œ œ Œ ‰ Œ ⋲ . V œ œ œ œ œ œ œ œ #œ. 3 ##œœ œ 44 p f œ œ œ L p P F ƒ b˙ . œ ˙. œ V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿ ‰ ˙ . œ ˙ . œ p ßË ∏ 2- IV 1- VII 6-IV o 5- VII o a tempo 3- V #œ U l. v. #œ œ bœoœo o . bœ. œ œ . 4 #œ œ œ bœ œ œ Œ œ Œ Œ 3 J ‰ Ó V œ œ œ. bœ. œ œ nœ œ œ. 4 œ 3 49 œ. #œ œ œ œ œ œ #œ nœbœ . F π f (imitation continues) V ∑ ∑ Œ 4 ‰ œ#œ œ ‰ Œ ∑ #œ œ œ œ œ œ œ #œnœbœ œ. ∏ . F p ord. a tempo sul tasto U sul tasto j œ œ œ œ œ g œ. ˙ œ Œ. bœ Œ œ œ œ œ œ #œ œ œ œ œ ‰ Œ ‰ g#œ. ˙ Œ ⋲ œ V bœ #œ #œ œ œ œ œ g#œ. ˙ #œ 54 g œ g œ. ˙ > F g p F ß b√˙. b˙. V ‰ Œ bœ ‰ Ó ∑ ¿ ‰ ¿ bœ ÷ ˙. Ë œ. π ß ß π - 4 - P◊ rit. Andante qE»sp¶re§ssivo ord. 3 3 3 3 œ œ œ ˙ ˙ œ œ #œ #œ œ #œ # œ œ œ œ n œ b œ œ œ œ ⋲ ‰ bœ Œ ‰ œ œ#œ ˙ ˙ œ œ œ œ J V #œ bœ #œ #œ ˙ ˙ J 58 œ œ ˙ ˙ F v f œ ˙ ˙ b√˙ ß ˘ b˙ ¿ / V b˙ ‰ Œ ∑ ∑ ∑ ç Repeat first beat until the tape cue. 3 3 5:4 7:4 7:4 b˙˙ œœ œ œ œ bœ œ œ œ œ œ œ œ œœœœœ œbœœœœœœœœ g b˙. ˙ œb œ œ œ œœ bœ Ó Œ g bb˙. ˙ bœ V œbœ g # ˙. ˙ 62 g ˙ ˙ F p g ˙. ˙ P ƒ g F ¿ ¿ ¿ V ∑ Ó Ë ¿ ¿ ¿ ¿ ¿ ‰ Œ Ó ˙ œ ¿ ¿ ¿ P ç ¿ ¿ 3 6 6 6 œ œ " bœ. œ. # œ # œ œ œ ‰ Œ ‰ #œ œ œ #œ bœ œ œ Œ ⋲ œ bœ bœ œ. J V œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ œ œ #œ œ. 67 œ F f P ßË œ œ. √w w V Ó ¿ ¿ ‰. Œ ww ww ç ∏ - 5 - 3 3 3 3 3 j 3 œ . œ œ œ .
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