731 (2012)
DESCRIPTION
for trumpet, bass trombone and clarinet with amplified resonatorsTRANSCRIPT
INSTRUMENTATION AND STAGING Clarinet in B-flat (written in transposition) Piano (half-stick) Trumpet 1 cup mute, 1 SuperBall 1 small tam-tam, 1 snare drum and 1 large timpani (32'') Bass trombone 3 tam-tams: 1 small, 1 medium and 1 large —and 1 very large tam-tam between b. tbn. and tpt.
HC — e.g. AKG C 414 XLS
HC — e.g. Neumann KM 184
contact mic
AMPLIFICATION AND DISPOSITION OF SPEAKERS
ORDER AND FORM
This work consists of 7 miniatures. The order in which the first six (No. 1 - No. 6) of
these are played is variable, and it is to be decided by the performers before each
concert. The only miniature that is fixed in the work's form is number 7, which must
always be played last. At the beginning of it (i.e. No. 7), both trumpet and trombone
player must turn to the center in order to face each other, with the large tam-tam
in the middle, and then start playing.
PERFORMANCE NOTES AND NOTATION
Each player has an extra two-line staff below the conventional five-line staff indicating pitches and dynamics. Here, a
thick moving line indicates the proximity and angle of approximation to their respective resonator, whereby the
closer this line is to the upper limit of the staff, the closer the bell of the instrument should be with regards to this
resonator (5-10 cm & 90º angle), and the farther it moves from it (i.e. the closer to the lower limit), the more distant
from it (~30+ cm & 180º+ angle).
In addition to this, in some passages the trumpet and trombone parts have another extra staff above. This one
simply indicates the tightness of the embouchure: up = very tight, down = loose or normal.
Ascending quarter-tone scale, from 3/4 flat to 3/4 sharp. An arrow added to an accidental
indicates a very small inflection of the pitch (1/6 – 1/8 of a tone).
Circles above the notes indicate the amount of pitch that should be coming out of the instrument. A full
(black) circle indicates full tone and an empty circle a very airy, virtually toneless sound (no discernible pitch).
Clarinet
The clarinetist must choose two different, very dissonant multiphonics beforehand, which will
be played in miniatures 3 (m. 3) and 6 (m. 5).
Written for Eloy Neira, Felix Del Tredici and Pedro Molina
Perm, Russia - Montreal, Canada
August - December 2012
Dur. ~7'
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tight embouchure
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5-10 cm
~ 30 cm
44
45
41
43
44
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(l.v.)
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~ 23 “
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~ 14 “
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cup mute (closed)
small tam-tam
~ 14 “ ~ 9 “
cup mute (half )
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20 - 30 “
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~ 14 “
silently place the bell of the instrument against top of the drum(vibrations passing through the mute will excite the membrane)
slowly rub the membrane with the SuperBall, gradually pressing harder and harder until
you get a very distorted and irregular sound
= =
grab SuperBall with your right hand
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inet
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bass
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clar
inet
trum
pet
bass
trom
bone
973
cl.
tpt.
b. tb
n.
small tam-tam
medium tam-tam
bite reed
44
45
44
44
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b.r.
b.r.
multiphonic 1
overblow
cup mute (half )
5
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q = 60rit.
= =
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pull snare throw-o! loudly(only if the previous miniature was No. 2)
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q = 97rit.
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lips covering mouthpiece
throat
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snare drum
R
“ ” “ ”small tam-tam
large tam-tam
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( )
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(ord.)
pull throw-o! to dettach the snare strainer
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tpt.
b. tb
n.
9
3
43
41
41
44
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,
~ 10 “
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q = 82
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BC
timpani
smalltam-tam
FED
BC
pp
q = 43x 5 ™™
clar
inet
trum
pet
bass
trom
bone
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pp( )
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cl.
tpt.
b. tb
n.
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8
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W
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R
R
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.tpt.nbt .b
egral tam
-tam
take o the F attachment
q = 60
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,
,
.tpt.nbt .b
mat-mat L
.tpt.nbt .b
mat-mat L
,
,
pp
pp
W
alternate between the two pitches ad lib, but always letting each of them sound for a minimum of 3”
rapid, irregular alternation
5-10 cm
5-10 cm
~ 30 cm
~ 30 cm
* silently stop the tam-tam from resonating2-3” after the last note ends
*
*
~ 10 “ ~ 8 “
~ 18 “ ~ 12 “( 4 “ )
30 “ +~ 18 “ W R
,
3
5