Edgar Guzmn Prologue

(2013) bassoon, female voice and stereo audio file

Commissioned by and dedicated to Dafne Vicente-Sandoval and Ute Wassermann

PERFORMANCE NOTES

AMPLIFICATION Any one of the performers, or both, can be amplified depending on the acoustic conditions of the performance space or if required by the performers depending on their interpretational approach to this piece.
3) Continuos lines represents a mainly continuos sound; broken lines represents either a sequence of alternated sounds and silences or fast staccato alike textures. 4) The notation in section A represents the basis upon which the performer is meant to build their own musical performance; except for the pitches in the score drawing a specific kind of harmonic field, the performer is free to incorporate, modify, amplify and so on, the amount and kind of activity represented in the staff less spaces. 5) There are no specific words or vowel shape directions attached to any part of the performance in section A -nor to the other brief moments in the following sections resembling that same notation. These will be assigned by the performer as part of her own style-free conception and personal interpretation. Nevertheless, it is preferably for these elements never to end being fixed in a particular series or sequence of vowels, consonants, words, syllables etc., but instead they should emerge in a natural almost unrehearsed manner in every performance. 6) One symbol appears frequently extending over one or several pitches at a time: ; this symbol means that a free playing or musical experimentation between different tone colors by means of tongue shape changes, overtones, using objects as filters for the voice- is to be performed. PROGRAM NOTES The program notes will appear in Chapter 1.

BASSOON Multiphonics The notation for the multiphonics has been simplified in a way that only the most relevant pitched element, that is, the most easily perceivable sound of the compounded sonority is written on the staff. Thus, any multiphonic can be chosen to be used at a given point as long as it contains the notated pitch within itself as it main piched element. The specific multiphonics to be used in the piece will be those of performers personal repertoire. Two tested multiphonics are nevertheless suggested to be produced by means of the following fingerings taken from Alexandre Ouzounoffs book Actuellement le basson: Multiphonic number :
!"

Multiphonic number :

!" #"

The rest of the multiphonics are written in the manner mentioned before plus one additional guideline concerning its sound quality: those having a soft, velveted and more consonant quality as opposed to those with a harsh, dissonant sound. Another notation element concerning multiphonics are the two different lines representing multiphonics total (approximated) time duration. The straight continuos line represents a stable, unaltered multiphonic, while the broken line calls for inner structure exploration (for instance, by modifying its internal battements) of one particular multiphonic or a sequence of different multiphonics -that is, as long as the main pitch to which it is an extension remains either the same or just microtonally inflected- tied one to another as much as possible. These multiphonic changes and internal variations can be performed as fast or as slow as musically wanted.

Contact information: manzuge@yahoo.com.mx

FEMALE VOICE (F3 - F#5) 1) The voice part is meant to be performed style-free, that is, its character, tone color, inflections, etc., will be that of performers voice itself, ideally before any compromises or adjustments with any singing style were made. 2) The score consists of a series of staves fragments over which a given amount of pitches are written. These pitches are intended to be sung only as long as the five line staff is present; once the five lines staff disappears, the pitches will work as an axis or pitch-zone for the style-free voice contours and/or microtonal inflections to be performed. These voice contours (which are intended to be in a mid-way between spoken word and singing) are represented by wavy continuos and broken lines, stem less noteheads and dots on the staff-less spaces.

Prologue A
Audio file

(2013)

0:00 5" n> X p

breath imperceptibly when needed

0:10 , : "velveted" nX p

0:20

Edgar Guzmn b. 1981

Bassoon

B 5" & 5"

f n> X #X Sz f X B b(X ) SZ p

p F 0:40

f !F

F b> X f nX f

F bX Sz f

X B( ) p nX

F nX

breath when needed

Female voice

nX

F 0:50

Szf

0:30
A.f.

Bsn.

() ( XX) B B( ) p &

F nX Szf bX Sz f

, * : "harsh" bX (b X ) ! f nX # X nX f Sz f Sz f

#> X 1:10 : ("harsh") X nX ( nX ) f poco cresc , > nX nX

, : "velveted" bX p bX nX p

X B( ) p

F X nX B( ) p !

F.v.

1:00
A.f.

nX Sz f

1:20

Bsn.

() X) ( b X B( ) B p X) ( n X B &( ) p * **
X > X >

, ** nX F F ! F
> > > >

sim.

: ("harsh") #X f
X
poco pi (sung)

, f Sz fp #X
al niente

D
(sung)
open mouth

F.v.

X XXX XXXX X X XXX X X X X XX XX XX XXX XX X X X X X X X X X XX

poco "main" multiphonic pitched element can be either B flat 3 or B flat 2 the B4 in the score is one of the pitched elements of the next multiphonic for which a particular fingering is given; If this fingering were proved to be inefficient try a different one.

high pitched and very fast word-like sounds, as if a tape-recorded talk were being reproduce very fast, pitch being modified by speed.

nX SZ f

> XX

> X X X X X XX > >

nX f

slow gliss. between this two pitches

nX

closed mouth

poco cresc

#X SZ p

nX

1:30
A.f.

1:40

1:50

(B1 harmonics "glissando") Bsn.

B & nX p
closed

D
open

D nX p
closed open

D nX #X p 2:10 o * nX #> X > X > X > X

closed

D D D

F.v.

nX

# X ( nX )

nX ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

f SZ
X > X

! SZ
X > X

n> X SZ

2:00
A.f.

2:20 : "harsh" X

Bsn.

? &

( O)

( nX ) nX > SZ

F nX SZf

F.v.

#X SZ

nX

! Szf Sz f #X

D bX
nX

) ( nX )

( O) f

B1 and its harmonics continuation...

#X

gliss.

b> X

F X > bX

2:30
A.f.

B 2:40 : "velveted" U bX p

X X # X n> >

SZf

#X

Sz f 3:10

#X

Szf

#X

Szf

#X

nX

n> X

gliss.

~~~~~~~~~~~~~~~~~~~~ # X ( nX )

3:15

Bsn.

( )
(X)

nX f

gliss.

#> X

X ) material. Depending on the bassoon and voice being amplified or not, these materials could involve reed alone B ( sound sounds, percussive ones, pitchless voice sounds "filtered" or modulated by the bassoon's crook and joints, etc. p F !
Generally speaking, bassoon's musical open or free sections in this piece are meant to be built upon "experimental"

PERFORMANCE GUIDELINES:

F.v.

microtonally inflected A4 should arised as the 7th harmonic of the B1 based harmonic scale "glissandos". If an alternate fingering were to be used to ensure its presence in * the time -synced with the voice a second or two before the 2:10 mark- it should be well tied to the harmonics played right after and before as if it were indeed emerging from them.

& n> X f SZ f

#X f

X ) a musical "arch" that starts with pitchless, breath, and/or guttural sounds and gradually B ( build incorporate word-like sounds in order to make a gradual transition to the next event. p F !B
Using the recorded voice sounds happening at this time as an "aesthetic" an sound platfform,

PERFORMANCE GUIDELINES:

(X) p

SIMULATED MONOLOGUE / DIALOGUE: "Made up" a language of some sort by performing a given accent and talking contour of any known language, thus giving the impression of speaking a "compound" or "new" language.

However, both the monologue and, once the bassoonist joins at 3:15, the dialogue, will carry no "real" meaning. Te meaning, if any, will be that resulting from the manipulated audience perception that something is being said. Both the monologue and the dialogue must be perform with a nervous or anxious character, as if something very urgent was being discussed.

3:25
A.f.

3:40 ,
highest harmonics possible; use a different reed if wanted

4:05 O , !

Bsn.

B &

continues...

(X) p

DIALOGUE

(X) B MONOLOGUE p F

F #X F #X F 4:45 f p
j

possibile

F.v.

PERFORMANCE GUIDELINES:
Choking sounds, gradually increasing the apparent difficulty to breath thus increasing the anxiety before starting to fade away.

C 4:10
A.f.

non cresc

SZ F

! 5:05 5:20

4:55

PERFORMANCE GUIDELINES FOR BASSOON AND VOICE:

This section consist in a kind of game between the two performers. One performer will be the proposer of the musical ideas the other performer will have to either describe or musically imitate. No compromises should be made between the PROPOSER and the DESCRIBER/IMITATOR (or 'COPYCAT') since the purpose is to explore language(s) limitations when related to sound's own "language", as well as basson's possiblities of resembling the human voice's performance in a given musical context.

Bsn.

B &

ACTIVITY LEVEL: LOW TO MEDIUM DELAY TIME (BETWEEN PROPOSER AND DESCRIBER): 2-3 SECONDS BASSOON'S ROLE : SOUND IDEAS PROPOSER (do not compromise the musical ideas due to possible language lilmitations of sound/musical descriptions; make it a challenge). Register: low to medium register

ACTIVITY LEVEL: MEDIUM DELAY TIME: 1 SECOND BASSOON'S ROLE : PROPOSER Register: medium register

ACTIVITY LEVEL: MEDIUM TO HIGH DELAY TIME: 1 SECOND AND DIMINISHING BSN'S ROLE : PROPOSER/COPYCAT gradually start imitating the voice's musical ideas Register: free

ACTIVITY LEVEL: VERY HIGH DELAY TIME: ALMOST NONE BASSOON'S ROLE : COPYCAT VOICE'S ROLE: PROPOSER Register: free

ACT. LVL: HIGHEST BASSOON'S ROLE : COPYCAT/PROPOSER Register: free VOICE'S ROLE: PROPOSER/COPYCAT Register: free

F.v.

VOICE'S ROLE: DESCRIBER. Use any language or languages combinations in order to try and describe the bassoon's musical performance. Look for a voice "tone" or character that you consider to be proper to the musical circumstances.

VOICE'S ROLE: DESCRIBER/COPYCAT VOICE'S ROLE: DESCRIBER/COPYCAT/PROPOSER In addition to sound descriptions, gradually Gradually start proposing your own musical ideas. Do not start imitating the bassoon's musical limit yourself to perform those kind of ideas the bassoon performance. could "imitate". Make it a challenge for the bassoon.

5:25
A.f.

5:48
5:35 ca.

f D 6:00

6:45
END OF AUDIO FILE voice continues for about ten more seconds or until finishing the text.

Bsn.

nX

D D

PERFORMANCE GUIDELINES:
Pitchless sounds, any sounds, as "illustrating" voice's words

finish around the same time the audio file does

Dynamic: just as enough to be perceived on top the recording

frightened, almost whispered, struggling to get the words out

* Quietly he laughs and shaking his head

Creeps closer now, closer to the foot of the bed And softer than shadow and quicker than flies.

spoken with a dramatic tone

F.v.

CHAOTIC FREE PERFORMANCE

His arms are all around me and his tongue in my eyes Be still, be calm, be quiet now my precious boy Don' t struggle like that or I will only love you more For it's much too late to get away or turn on the light The Spiderman is having me for dinner tonight

And I feel like I'm being eaten By a thousand million shivering furry holes And I know that in the morning I will wake up in the shivering cold And the Spiderman is always hungry

Excerpts from The Cure's song Lullaby

Dynamic: just as enough to be perceived on top the recording