UCLA Contemporary Music Score Collection Title Quartet for 4 soloists Permalink https://escholarship.org/uc/item/41v093zg Author Zou, Tianyu Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California QUARTET for 4 soloists (Trumpet, Tenor-Saxophone, Percussion and Viola) Tianyu Zou (2019) Performance Notes For all the performers: (7.) l.v. = Let the vibration of the notes die on its own accord. Instrumentation s.v. = senza vibrato c.v. = con vibrato (8.) If a glissando which appears in each instrument has no termination point notated, then the Trumpet in C glissando should not be larger than three quarter-tones (i.e., a semitone plus a quarter-tone). If a termination point is notated for a glissando, then that termination point should not be re-articulated unless indicated otherwise. Tenor-Saxophone in B *Percussion (1 player) (9.) Fermatas or pauses, All the pauses which are noted in this score are indicated by traditional fermata signs with seconds number e.g. (x”) in text form. Pause plays an irreplaceable part in this Viola piece, occupies an important philosophical position. It’s in the center of the piece’s philosophical values. * List of Percussion instruments will be shown following page. In General (1.) Duration of the piece is approximately 9 minutes. (2.) This is a transposed score. (3.) Throughout this piece, there are a number of fermata demands. If the fermata occurs over a transition of some kind (such as a transition in dynamic or timbre), then try to perform this transition evenly over the allotted time interval. (4.) Quarter-tones are notated as follows: (5.) Transition from one state to another gradually, this symbol works for each type of stave and clef. (6.) crescendo da niente, diminuendo al niente. P.S. In some cases, its implementation depends on the physical properties of the instrument itself. This means, it might not necessarily be reached, but here the musicians are asked to do this with reference to this concept. Performance Notes for Trumpeter: (5.) In this piece, this instrument works more as an “amplifier of lips and breathing techniques”. The trumpet often makes use of breath, “dirty breath” dedicates adding a bit of moisture to the breath sound. Fundamental Symbols: Kiss tone, the “K” is set above the square note, it works with inhalation simutaniously. = normal timbre = Tongue ram Especially, the eventual effect will never reach the dynamic degree, but it should be read as relatively intensity. = indicates the fingering of overblown. = Flutter tongue Bisb. = Bisbigliando (6.) There are placed a indicated lines with on and off which is exclusively for the Wa-wa mute above = breathing sound or whisper, in different length. the clef and will be announced “installing and disassembling”with framed text in a relatively reasonable preparation time. Changing motion in clear rhythm as it shows. The spectrum is as follows: = Inhalation Selected from [bar 6-7]. = Exhalation Selected from [bar 55]. (7.) A split tone is the resultant fast oscillation between 2 neighboring overtones of one series, caused by difference in tension between upper-lip and under-lip. Hence, as one of the important sound materials here, a metaphysical outline which follows the indicated tone is used to dedicate the amplitude roughly. It describes the relative tendency of takes on more solo parts, and its notation is as follows. There will have 2 kinds of split tone in different physical principle. (1.) Only 1 Trumpet (in C) of any Brand is asked to use throughout the whole piece. First, a split tone is the resultant fast oscillation between 2 neighboring overtones of one series, caused by difference in tension between upper-lip and under-lip. Block upper lip, then lower-lip aims for higher note (2.)*Standard pitch based on 442 Hertz. Using a tuner with fine frequency recognition capabilities is for interval, and upper-lip aims for lower tone. Other notes may resonate with the interval, giving the preferred. Maximum possible precision in tuning is advised, although pitches higher than g#2 may be impression of a chord. allowed for a +/- 3Hz fluctuation. A dirty sound ,intonation and tuning is unstable, e.g., the fifth may de-tune becoming a tritone. Some intervals can only be located with the valve lengthened, giving an overtone series a semi-tone lower. (3.) A Wa-wa mute and an intact CD mute are required. (4.) The Trumpetist is asked to use 2 staves. Usually, the player will make use of “Voice clef”. Thus, a vocal staff is set under the instrumental stave simultaneously. In most cases, they work in different Selected from [bar 83], a solo fragment for trumpetist. functions. The top stave uses an treble clef only, indicates the sounds which work with this instrument itself. The under stave which will be mentioned in this score is used exclusively for the vocal techniques. They are used for techniques of throat, tongue, articulation and breathing. Secondly, using the similar principal to produce an air based-split tone, it emphasizes a dim sound and humidness from the pipes. Compared with the general split tone, it has more instability when it plays. When the lower staff is used as “voice clef”, the self-existent line indicates a relatively medium voice register of the soloist. The note appearing above the line represents a relatively higher pitch(s), otherwise is deeper. Eventually, the specific effect depends on the performability of the trumpeter. (8.) Additionally, the two staves will work synchronously. For example, the fragment is showed below, dedicates that the player is working on a whisper with embouchure. Here, the musician is asked to press the This clef supports primarily blowing techniques. indicated fingering (in upper staff) when he/she is doing the informations from the bottom staff. Relatively higher register Selected from [bar 11-12] Selected from [bar 87]. Relatively deeper register Doing aeolian flutter tongue and humming from the throat at the same time. Performance Notes for Saxophonist: Fundamental Symbols: (4.) Additionally, the two staves will work synchronously. For example, the fragments are showed below, dedicate that the player is working on a whisper with embouchure. Here, the musician is asked to press the indicated fingering (in upper staff) when he/she is doing the informations from the bottom staff. = normal timbre = Tongue ram = breathing sound, in different length. = Flutter tongue Selected from [bar 21]. Selected from [bar 18]. = Inhalation Bisb. = Bisbigliando = Exhalation = Fingering indicates the fingering of overblown. (5.) Teeth tone, set the lower teeth against the reed, very high tone(s) in the altissimo register can be produced. The metaphysical outlines are used to dedicate the amplitude roughly. Occasionally, the saxophonist is required to play tone cluster-like teeth tone. (The most representative is [bar 1].) Selected from [bar 37-38]. (6.) Split tone, a specific type of multiphonic, raucous and close to noise or unstable harmonic-cluster, produced by relaxing the lips. Be sure to remain within the low register, as requested. The fundamental pitch (1.) A Tenor-Saxophone (in B flat) of any Brand is asked to use throughout whole piece. will be noted in a diamond shape note which indicates the fingering. Meanwhile, like the similar principle of teeth tone(see above), split tone will be described with a metaphysical outline as well. In order to facilitate the distinction, the composer has added identifiers in text form when they appear. (2.) *Standard pitch based on 442 Hertz. Using a tuner with fine frequency recognition capabilities is preferred. Maximum possible precision in tuning is advised, although pitches higher than g#2 may be allowed with a +/- 3Hz fluctuation. (3.) In this piece, the saxophonist is asked to use 2 staves. Usually, the player will make use of “voice clef”. Selected from [bar 12-13]. Selected from [bar 107-108]. Thus, a vocal staff is set under the instrumental staff simultaneously. In most cases, they work in different functions. The top stave uses an treble clef only, indicates the sounds which work with this instrument itself. The under stave which will mentioned in this score is especially used for the vocal techniques. They are used for techniques of throat, tongue, articulation and breathing. (7.) All of the multiphonic fingerings are marked when they appear. (8.) Finally, this piece pursues a distortional sound of saxophone and its player. To shape/sculpt exaggerated textures consciously, when you get into the piece. When the lower stave is used as “voice clef”, the self-existent line indicates a relatively medium voice register of the soloist. The note appearing above the line represents a relatively higher pitch(s), otherwise is lower. Consistent with the requirement of the trumpet player, the specific effect depends on the performability of the saxophonist. Performance Notes for Percussionist: Snare-Drum 2 is required to upset-down place and the snare should be loosened. Most of the action occur on the snare itself. The bottom head (original) should be detuned slightly. It will be notated in an action clef in this piece. list of percussion instruments: Fundamental Symbols: Aerial view of Snare Drum 2 : Metal: = soundless timbre 1 Triangle (Small) 1 Suspended Cymbal (Large) Hoop = tremolo Edge Skin: = circling (movement locus) Relative position: 2 Snare Drums (S.D. 1 and S.D. 2) 1 Tom-tom M. S. P. 1 Bass Drum Centre of resonant head Ordinary Position Object: Tools part: 2 Polyfoams in different size (concrete size see below) = hand palm/ finger(s) M. S. P. Tools: 2 Sponge Brush Snare 1 Cello/ Double bass Bow = Drum stick 1 Super-ball (medium) 1 Slider (glass/metal guitar slider) 1 pluck/ plastic card 1 wooden drum stick *Other tools will be noticed in text form when they appear.