Moguillansky: cire perdue

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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Moguillansky: cire perdue