Cristian Morales Ossio. Matters of fact

Transcription

1 Cristian Moraes Ossio Matters of fact

2 Cristian Moraes Ossio Matters of fact for Heder Tenor Recorder and Guitar Dedicated to Paoa Muñoz Manuguián and Diego Castro Magas Huddersfied

3 Performance notes Matters of fact is a piece that shoud be understood as a texture in which the Heder Tenor Recorder deveops a sooist roe, whie the Guitar describes a sort of ʻcontourʼ. Even though the whoe piece has been written in microtones, both instruments have been conceived through different principes, materias, and processes. Therefore, no compementarity criteria shoud be appied for the performance, but ony synchronicity in every singe measure. Any poyphonic situation such as unisons, imitation, compementary intervas, among others, must be assumed as sheer chance, as these kind of situations have not been pursued as principe of composition. Microtones notation In this work microtones are both consequence of particuar fingering (in the case of the Heder Recorder) and tuning (in the case of the Guitar). In concordance with my own investigation experience with both instruments, I have opted to write pitches in ʻhigh resoutionʼ (1/16 Tone), as the method of pitch approximation has been deveoped auray, by comparing pitch-resuted of fingering against pitch digitay synthesised. It is very important to underine that these resuts coud change in other recorders and guitars, so that the notation is ony an approximation and represents a trace of my own experience with these instruments. 1/16 of TONE sorted in ascending order (chromaticay) n k L * ) (! " $ Heder Recorder fingering The fingering iswritten on the basis of notes B C C# - D - D# by uncovering one or two hoes on the fute. Numbers 1 to 6 represent each of fingers: 1, 2, and 3 for the eft hand, as we as 4, 5, and 6 for the right hand. Negative sign represents the action of uncovering hoes. The tabe beow shows these fingering and the resuted pitch for each one of them. Depending on the eve of air pressure, two or more pitches coud be obtained in some fingering. It is strongy recommendabe practicing these fingering as scae exercises, and then improvise with them in order to acquire the physica and harmonic anguage of the piece Fingering m! 2!! k L 1 $ $ ( m m " * k n L k L ) ) L 2 n n $ ) n $ * $ ( $ n " ) 1 ) k 1 * $ m $ $ ) $! m ñ m L " ( L $ ) k ) * ( m " " ( $

4 Guitar scordatura On signs Heder Recorder P T Sht Aeoian coored pitch. Back headnotes are vaid for either quarter or dotted quarter notes ony Short and exposive consonants produced usuay outside the Recorder, by aiming these sounds at the air channe of the mouthpiece Bowing from outside the fute by aiming the air channe of the mouthpiece Guitar Harmonics. In the study score the produced sounding pitch is written. A specia score has been designed as a tabature. Back headnotes are vaid for either quarter or dotted quarter notes ony Notes to be pucked behind the fingered ʻbasisʼ note ( ). It can be performed with either rigth hand or eft hand D Cover ony a haf of the mouthpiece with ips, in order to get a coored noise sound Fade-in and fade-out articuation over a short duration. It can be obtained not by making the ordinary technique of bowing, but by a simutaneous combination of ʻpushingʼ itte air shots with the voca cavity, and by pressing the mouthpiece with ips. Sputtato (spat). ery short and aggressive articuation producing a ʻspectra exposionʼ Finger percussion on hoes designated by the fingering paced above the notes. The dark circes with x represent the fingers doing the action (1, 2, and 3 for the eft hand; 4, 5, and 6 for the right hand) (RH) (LH) Finger percussion. The in-parentheses note is the one that sounds behind the stopping note. This means that it is necessary this note is heard Short moto vibrato Right hand / eft hand Finger percussion and immediate gissando. By the end of this, the sound must be dumped with the same finger ( ) Dumping strings Opposite action Mutiphonic sound produced by overbowing technique Shadow sound. It is usuay reached in extremey soft dynamics on faster passages of neighboring notes +B The note inside the square designates a key of the Heder Recorder to be added to any fingering

5 quasi 3 Matters of fact Cristian Moraes Ossio (Huddersed, 2015/2016) to Paoa Muñoz and Diego Castro Heder recorder Guitar 1 ) (.v.) m oco m m m 2 3 m$ m 3 4:5 m moto rit " m m m n m n * 6 m m m 4 oco VI 4:13 4:13 Cristian Moraes Ossio 2016 P sht ( RH ) * 5 oco m

6 2 0 rit. D n m L m $! n m "" n P Sht P t ( P P 6 " n 7 8 7:4 m 19:21 m 2 m " n m! n m 2 m m 2 n m m! n m! 2 n! m 2 n t P t P t t Sht t t P Sht P t t t P t t t t P 9 (RH bsf) Ord. n m "" 8:21 12:21 Matters of fact - Cristian Moraes Ossio (2015/16)

7 3 2 L n n m $ m m $ m 4:3 k n n * * Hoding on the pitch and interrupt it with the next notes n 10 12:21 * m m * 3 m simie m 3 m m * n 11 (RH) 22:21 (LH) 12 m (RH) dumping/no-dumping m m n 24:21 n 13 Matters of fact - Cristian Moraes Ossio (2015/16)

8 4 7:4 rit. 7:4 6:4! m 2 n! n! m 2! m P sht T n m n m 14 m "" 7:4 m 15 4:5 16 oco 17 m 7:4 ( $ 3 m $ n 7:3 m n n n m n 18 m 19 (RH) (LH) m n ) ) ) ) " m Matters of fact - Cristian Moraes Ossio (2015/16)