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8/6/2019 Moguillansky: cire perdue
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cire p
f
eduardo m
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1Megaphone(>=25Watts,canalsobeborrowedfromthecomposer)
Sandpaper
Metalbrush(alsoavailablefromthecomposer)
Pine (
Q)orsimilarobjecttorubonachin.cymbalandonthebassdrum
Al,mostlyusedinpaintingtopreparethewallbeforeapplyingcolorinordertohaveasmoothsurfatoproduceagranulatedwhitenoise,seenotes.
Violinx2.Eachholdsalsoamegaphone(anykind)
Viola
Cello.NB:sincemostofthetimethecello isplayed col legno tratto,anoldbowwithan irregular,wornoutwood ishighly
altogetherforthesectionswherethearenofastchangestoordinario.
Kontrabass.NB:sincemostofthetimethebassisplayedcol legno tratto,anoldbowwithanirregular,wornoutwoodishigh
altogetherforthesectionswherethearenofastchangestoordinario.
Thisdispositionisonlyasuggestion.Theaspectstotakeintoaaccountare:
KontrabassandKontraforteshouldbeabletoplayverysoftlyandstillbeaudible.
Thetwopercussionsetsshouldbeasfaraspossiblefromeachother.
Thetwoviolinsshouldbeasfaraspossiblefromeachother.
Thepositionofthepiccolocanbechangedadlib.ifthehighnotesappearinginthescorecanbemasteredinthewr
Thebassfluteandtheoboe(Englishhorn)haveveryfragilemultiphonicsanddoubleflageoletswhichshouldbeaud
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Flute(PiccoloandBassflute)Piccolo plays also a small cymbal or metal spatula (the second is
more desirable since the actions could damage the cymbal), which is
bowed with a knife or a second metal spatula. This action is also
performedby thepercussionist,so the techniqueusedmustbe the same.
Seetheclarinetorpercussionnotesformoredetails.
transitionfromonlyairto
air+pitch
colormordente: like a
mordente, but between two
differentfingeringsforthesame
pitch. If the fingerings are not
given, there should be some
differenceinthetonecolor.
ariaintonata:pitchedair
while blowing away from the
instrument, move the
instrument rapidly so that it
intercepts your air stream. The
resultshouldbeairnoisewitha
veryclearbeginningandend.
with the fingering indicated by
the note in parenthesis (in this
case,Db),bringouttheindicated
flageolet and produce a
harmonic gliss. to the other
flageolet, so that there is a
seamless transition. NB: there
shouldnotbeapitchgliss.,buta
transition from one flageolet to
the other (here notated by the
dashed line).Inthisexamplethe
stress isput in the transition, in
the moment where one note
e
i
EnglishHorn
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smorzato,quasi ricochet. Transition
frompitchlesstopitchful.
slapnoise,noair,onlytongue.
slap,withair.
subtones, a.k.a pianissimo la
Gonzalez: as if playing underblown
multiphonics,
but
picking
only
one
ofthepitches.Airy,veiledsound.
o c : two different fingerings for
thesamepitch,changeincolor.
ClarinetClarinetIIplaysalsoasmallcymbalormetalspatula(thesecondis
more desirable since the actions could damage the cymbal), which is
bowed with a knife or a second metal spatula. This action is also
performedbythepercussionist,sothetechniqueusedmustbethesame.
coloredair
transitiontoair+pitch
unfocused: try to find a fingering which results in a
darkercoloras thenormal fingering, incolorsimilar
toplayingcollegnoonthestrings.
ebowthesideofthemetalspatula/smallcymbalwith
a knife or similar object to produce a granulated
resonance.Whenmuted isaskedfor,thiscanbedone
bysimplypushingthespatulaagainstyourbody.
ihitthesideofthemetalspatula/smallcymbal.
liftin
brin
pres
soun
In s
indic
the
key
pitc
tong
BrassThetrumpetplaysmostlyCt
passagewhereaBtrumpetisneeded.
Allthreebrassinstrumentspla
help control thedynamicsand make
the three. Thus, mutes should be fo
muchlikeonebiginstrumentaspossib
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please,do!
thecircleasnotehead indicatesthat
this note should be sang while the
normalnoteshouldbeplayed.
Piano
Clusters:ifnototherwiseindicated,allclustersarechromatic
Thepianoneedssomeadditionalobjects:
a plastic ringed tube, as the ones used for ventilation
(approx.15mmdiameter),whichcanbeaquired inanyBauhausoralso
borrowedfromthecomposer.
a piece of wood, approx. 10cm x 7cm x 2cm, preferably
birch(Birke)toscratchthelowerstringswith
acoin
ahammerwithgumends,usedtogentlyhitthemetalbars
insidethepiano
2superballmallets.
Alsothepianoneedstobeslightlypreparedasfollows:
1) On the whole last octave all white keys should be
heavilymuted
2) ThelowestFshouldalsobemuted
3) The following pitches should be half muted, which
means,themiddleandrightstringsshouldbemuted,
the leftstringshouldbe leftuntouched,sothatwhen
playingwith1C,only themuted strings are touched,
and when playing 3C, both muted and unmuted
stringsarehit.
&=m=q
depress silently and hold with
middlepedal
double flageolets: the notes in
parenthesisare the onesbeing
l d h h
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blowthroughtheplastictubein
order to produce a resonance.
Thelouderyoublow,thehigher
theharmonicsgeneratedare.
Inside the piano. With a coin,
scrape only one ring of the
indicatedstring(inthiscasethe
lowestA) toproduceadistinct
tuck sound with a pitched
resonance. In order to isolate
only one ring of the string
quite much pressure must be
appliedsothatthecoinsticks
tothestring.
Inside the piano. Hit the
indicatedstring(inthiscasethe
lowest H) with a coin at the
nodepointwhichproduces the
notatedflageolet.
The same results achieved by
scraping the indicated string
and lifting at the point which
producesthenotatedflageolet.
Inside the piano. A similar
movementasthescrapingover
one ringofa string,but in this
case performed on any of the
tuningpins.
Inside the piano. Sizzle
glissando. On the strings, gliss.
ACROSS the indicated strings
violently so that they hit each
other producing a sizzling
sound.
Inside the piano, hit the
indicatedstrings with thepalm
ofyourhand,eventuallymuting
previousactions.
Accordion
Glissando:glissandiare used togene
are only a mere indication of the
parametertocontrolthisvariationist
written isalsodependenton thegliss
neededcrescendotoproducethebeat
Percussion
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From top to bottom: hihat, Chinese
cymbal, normal cymbal (crash), tam
tam. In this case, play a roll on the
suspendedChinesecymbalwithsoft,
timpanimallets.
Bathtub. As explained in the section
Instrumentation,acnactualbathtub
isnotreallyneeded.Thesoundbeing
asked for is that of a deep metallic
resonance,achievedby rubbingwith
a superball. Any metal plate which
offers a surface that has a certain
resistance when rubbed and that
hasaresonatingbodyor isplaced in
contactwithoneshouldworkfine.
Guiro effect on a broom or similar
object with a stick. The resulting
sound should resemble the crackling
ofsmall treebrunches,orsomething
beingbroken.
Styropor. Rub one block against
anotherblockofstyroportoproduce
awhitenoise
change the direction to produce
different shades and accents. For
ease of production, one of the
styropor blocks could be fixed to a
surface so that only one hand is
needed.Adifferentsolutionwouldbe
to rub the styropor against another
surface,likeaskindrumorsimilar.
bowthehihatwitharasperstick
whileclosingthehihat.
o=open
x=closed
metal
brush
over
sandpaper,
ad
lib.
amplifiedwithamegaphone.
adifferenttypeofwhitenoise:rub
asandpaperwitharatherbigsurface,
like the one depicted here. The
bbi f b h
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This is more of a sound description
thanaspecificinstrument.Thesound
being looked for is that of bones
being broken. The composer talked
toasoundengineeractiveinthefield
ofaudiodubbingandtheycameup
with a very interesting sound
producedbyveryrapidlychewing(in
theexampleonlyonce)apackageof
dry, uncooked spaghetti (still in the
plastic package). Just hitting the
spaghetti with some mallet did not
reallywork.Youareofcoursefreeto
choose whatever instrument or
mechanism you can think of which
produces a similar result. In practice
chewing could prove difficult when
changing instruments very often, in
such a case, a good compromise
could be to put many
branches/spaghetti packages over a
highly irregular surface, and just
smashitwithawidesurface.
pluck a Chinese cymbal with your
nail and then bring it really close to
the bass drum in order to make the
drum resonate with the vibration of
thecymbal.
A: hit the cymbal with the object
indicated(inthiscasewithyournail).
: bring the cymbal near the bass
drumtoamplifyitsvibrations.
: thecymbal layson thesurface
ofthebassdrum.
S:blowverystrongly(fffff)to
make the cymbal vibrate,
then bring it near the drum
asindicatedpreviously.
with the chin. cymbal in the indicated
Q
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rub the cymbal with little pressure
onthebassdrum,quasi flautando
Theo clef shows the contact
point between the Chinese cymbal
and the bass brum. The wavy line
indicatesamobilesound, irregularly
changingangle,pressure,etc.
The indicates a fast tremolo
movementof the chin. cymbalover
thebassdrum,likeatexture.
e
bow the side of the metal
spatula/smallcymbalwithaknifeor
similar object to produce a
granulated resonance. When
mutedisaskedfor,thiscanbedone
by simply pushing the spatula
againstyourbody.
ihit the side of the metalspatula/smallcymbal.
StringsViolin I and II have also a megaphone each, through which voice
actionsareamplified.
Kontrabass:tunetheEstringdownsothatwhenyouplaythe6th
harmonic(H)togetherwiththe8thharmonic(H)oftheHstring,veryslow
beatingsareaudible(somethinglike4hz >16thnotesatMM=60).Or,what
isthesame,tune itdown~28cents(which isabithigherthantheHas7th
flag.ofC#,comparewithKontrafortewhohasthispitchconstantly).
MT moltotasto
MP moltoponticello
T tasto
Pressthehairofthebowverytightly
the wood of thebowand the bodyo
withthehair inthemiddle.Theturn
axis toproducecracklingsounds,si
beingbroken.
legno (sss
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incaseswhere4th
flageoletsover
microtonal tonesareasked for,a
simplified notation is used to
avoidtheunnecessaryalterations
on the upper note. In this case,
theflageoletisoverF+tone,to
to be pedantic, the upper note
should be B flat a quarter tone
higher. This is avoided, and
instead simple a 4th
above the
fundamental is written, sounding
ofcourse2octaveshigher.
angledbowing,the/indicatesthe
direction of the modification. In
thiscase, forviola, the tipof the
bow is closer to your face than
normal,thefrogfurtheraway.
transitioninthebowingangle.
sticky tremolo: perform a very
fast tremolowithvery little bow,
as if the hair of the bow was
stuck at the strings and could
not move from its place. Very
noise,somewhatunclearpitch.
very fast tremolo, with ALL the
hairincontactwiththestring(not
only the side), resulting in a
colorednoisetexture.Thepitch
ofthelefthandisonlyapproxand
colorstheendresult
extrabowpressure,the,atthe
end of any gesture indicates a
stopbow.
Kontrabass: the flageolets sound
always where they are written.
The dynamic is the resulting
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Pronounce sch with the mouth
shaped as u. Be already very
closetothemic.
x:megaphoneoff
o:megaphoneon
Atthebeginningoftheactionthe
megaphone is off, so nothing is
heard, the megaphone is turned
on briefly at the indicated
moment(theonotehead)
Feedback noise: by placing your
hand or some flat object
somewhat covering the bell of
the megaphone, feedback
(rckkoplung) is generated. This
can vary from a very subtle
whistling to an earhearting
experienceone lets the feedback
to grow uncontrolled, so be
careful not to have the
megaphone too close to your
ears.
The crescendo and decrescendi
on thefeedbacksoundscanbe
eitherregulatedbythepositionof
the hand (which is difficult) or,
more effectively, directly by
manipulatingthevolumewheel.
megaphoneoff
indicates the volume of the
megaphone, from 1 to 10 (10 is
theloudest)
Similartothetechniqueoffeedbackdescribedabove,herethefeedback is
producedbyplacingahandaroundthemicofthemegaphonetoproducea
tunnelandplaceyourmouth touching thehandas ifyouwere tospeak
through it. The cavity of the mouth produces feedback in themegaphone
which can be modulated by the shape of the mouth
Corrections:1) Placement: there is
wherebassclarinetis
2) The accordion is not
row with the woo
appropriate.
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Piccolo
Bass Flute
English Horn
Clarinet I in B b
Clarinet II in B
Contraforte
Horn in F
Trumpet in C
Trombone
Piano
Accordion
Percussion 1
Percussion 2
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B. Fl.
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C. F.
Hn.
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Tbn.
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Perc. 1
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