for the cromano string quartet revoltijo€¦ · for the cromano string quartet omaggio a...

Carlos H.

(2017)

Revoltijofor the Cromano String Quartet

omaggio a S.Revueltas

2

= string numbers (i.e. first string, second string, third string, forth string.)

= play col legno battuto. The higher note is to be played near the ordinario position. The middle note is at the tasto position. The lowerst note is to be played near the left hand on the finger board.

Notes for Performance

= bridge clef. Play between the Bridge and theTail piece. At least 5 different pitches/sounds must be recognizable per string. Use only one finger to play this passages.

= long fermata. Extend the duration of the indicated sound for a rather long time (e.g. 4 times the writen duration.)

The score starts here with this Notes. Please read them very carefully.

Tremolando = start playing ever shorter notes. Play like this:

= mute indicated strings (the string indicated have an "x" shape note head.)

rall. = the opposite to "accell.". Tempo becomes slower in real time (i.e. notes become longer in real time.) Play like this:

From the previous indications you can deduce that tempo is dynamic and that each player will have their own tempo from time to time, independen of the tempo of the other players. DO NOT try to match tempos or rhythms; that is what Matching fermatas are for.

[M] = multiphonic. A complex, harsh sound, rich in harmonics.

Starting on letter [C] you will see a tiny diamond-shaped note head and a normaly-shaped note head above the staff. This symbols regulate the way to press the strings with the left hand. As usual, a diamond-shaped note head means that you should press the string very lightly. Accordingly, a normaly-shaped note head means that you should press the string as usual. Letter [C] explores the possibilities in between this two modes of pressing the strings. Thus, you ill go gradually from harmonic presure to normal presure and vice versa. You will also fing an indication to perfomr this two indications as a tremolo (i.e. fast changes from harminc-normal-harmonic-normal-... etc.) This will also apply for other symbols.

accell. = tempo becomes faster in real time (i.e. notes become shorter in real time.)

rit. = ritenuto. Similar to "tremolando". The notes under this mark start at a slower tempo than writen and tend towards that very tempo marking. That is, the rhythm starts a "meno moso" rhythm than the one already given and accelerate to the "a tempo" marking (the already given tempo.)

più = più moso (faster)

meno = meno moso (slower)

Again, notice that on letter [E] the tempo markings between instruments are different and ever changing. Tempos meet again at the Matching Fermatas.

Tapping = tap on strings as forte as possible with left hand.

Whistle, Humming, Babbling = according to the instruction, whistle, hum, or babble ALMOST at unison with the writen music at the same time you play. The effect must be that of an heterophonic texture that comes and goes. This vocal effects must be noticeable but they must not sound louder than the instrument. In the case of Babbling use the phonemes "boo" or "woo".

= short fermata. Extend the duration of the indicated sound for a rather short time (e.g. 2 times the writen duration.)

= matching fermata. Wait for the other performers to continue playing "a tempo" and on the same bit. After this mark performers play together again.

3

= normal bow presure.

= middle bow presure (note + noise/hiss.)

= high bow presure (note + distorsion.) NO RATTLE!!! NO SCRATCH TONE!!!

Please notice that on letter [E] there are 3 repeats from bar 124 onwards. This repeats are characterized by the dynamic and independent tempo marking for each performer. However, for bars 124, 125, 126, 127 & 128, it is very important that you observe this changes of tempi only after the first passing of the repeated section (i.e. for the already mentioned bars the tempo modulations apply for the second and third repeat ONLY.) After the first passing of bar 128 all tempo modulations have to be performed.

It is also very important that on this repeated section (bars 124 - 140) the tempo modulations (i.e. accell, rall, rit., più, meno) must be exagerated from one repeat to the other. For instance: on the first repeat an "accell." will change the tempo to a little bit faster tempo marking; on the second repeat the same "accell." will produce and even faster tempo than the first time; finally, on the third repeat the same "accell." will produce the fastest possible tempo (a very radical change). This applies in the same manner to the other tempo modulation in accordance to their nature.

On letters [F] and [G] the tempo modulations are the same for both performer at the same time. However, the Violins have to lead the movement of the tempi and indicate it to the other performers. Presition in coordination is mandatory for this two movements.

arco giratorio = play the pattern col legno trato - crini - legno - crini - ... etc. while playing at the same time tasto ex. - tasto - tasto ex. - tasto - ... etc. Do it in a circular, organic manner. There is no coordination between the part of the bow in contact with the string and the place of the bow on the strings. Just make VERY SLOW circular gertures in a way that relates naturally to the tempo. This way of bowing is to be played always flautando. The result is a very fragile, subtle, cystal-like sound. Play from the tip to the middle of the bow.

tasto ex. = extreme tasto playing. To be performed from right at the place where the neck and the body of the instrument meet to maximum 2 cm. from there into the body of the instrument. Please make a clear distintion between this way of playing and the regular tasto playing.

spazolando = move the bow from pont. to tasto according to the writen rhythm. Move the bow also in the normal way (from frog to tip) at the very same time.This is something more of a rhythmic gesture. The pitch content is rather poor, while the noise content is richer.

Regarding the Fixed Media (Tape): it is mandatory for all four performers to reproduce an audio track. This has to be reproduced using a personal devise (e.g. a smartphone) to be put on each stand (no quadraphonic sound or anything similar). The tape is a modulated white noise that works as a background for the music to develop. Volume must be somewhat moderated but still audible to the whole audience. There is no interaction between the tape and the writen music nor any kind of synchronization or queues of any kind. The only condition is that all four performer must start the reproduction of their audio track at the same time -this happens at the end of letter [D] where it is properly indicated. As soon as the tracks start playing letter [E] starts. Do not wait for the sound of the tape, it will eventually emerge. The sooner letter [E] starts after activating the tape, the better.

The tape was created with a puredata patch.

This "omaggio a S.Revueltas" is a rather fragmentary piece. It is as abstract as possible and does not aim at any kind representation. The order in which it was composed is the following: [B], [A], [F], [G], [H], [C], [D], [I] and [E]. However, letter [B] was the last to be finished.

The subject of the piece is the notion of periphery. In particular, the periphery of the real of Music; not in a philosophical way but mainly in a practical one: what is that which is at the periphery of Music? My answer: anything that is AROUND it. In the case of the score, the periphery of Music is made of the signs and words writen around the notes. That is the material of the work (see for instance letter [C].)The idea at the end of the work is that the audience can be part of the composition process by imagining the mentioned sounds.

This piece was comissioned by the Cromano String Quartet, to whom I dedicate it.

To request the individual parts and/or the four audio tracks for performance please contact the composer at [email protected]

Duration is circa 16´

Violin I

Violin II

Viola

Violoncello

sffz ff p ff ff sf f sf f sf p sf p sf pp ff

[q = 96]A

sffz ff p ff ff sf f sf sf sf sfp sf p f sf p ff

sffz sf pp ff p ff sffz

rall. a tempo

p sf p sf pp cresc. sffz

5

sf p sf pp ff p ff sffz

rall.

mf

a tempo

mf mf pp cresc. sffz

�

3

Revoltijo

Carlos H. (2017)

�

33 3

33

��

3

��

pont.

3 5

4

"ff" furioso!

sffz

sf sffz "ff" sffz "ff"mf sf sf sf mf

[q = 130]B

9

"ff" furioso!

sffz

sf sffz "ff"sffz "ff"

mfsf sf mf sf

ff

"ff"

sffz sempre sf

mfsf sf sf

17

"ff"

sempre sf

mfsf sf mf

sfpp f sfp

(arco)

[tapping & babbling!]

pizz. pizz. tap. pizz.pont.

(arco)

[tapping & babbling!]

pizz. pizz.tap.

pizz.pont.

4 : 5 x

pizz. quasi chitarra (pluck strings using all fingers)

tap./bab.

pizz. pizz. pizz.pont.

tap./bab.

pizz. pizz.pont.

arco+crinipont. tasto pont.

5

mf"ff"

24

sf "ff"

f fp mf cantabile, dolce pp f sf p f

p sf sf "ff"

30

p sf sf "ff"

sf p ff sfp sffz p sffz p sfp sfp sf

37

p sf p sfp sfp sf p sfp sfp sfp sf sfp

tap./bab.

pizz. al tasto

tap./bab.

pizz. al pont.

4 : 5 x

tasto pont. [M]

tasto

pont. [M]

pizz.pont.

tap./bab.

arco al tasto

pizz.pont.

tap./bab.

arco al pont.

6

p sf sf p mf p mf p mf p mf p mf p mf p mf p mf p mf p

42

p f p mf p mf p mf p mf p mf p mf p mf p mf p mf

sf p sffz p f sfil basso sempre sul C

sf sf sf sf sf segue sffz mp sf p sffz ff energico! mf dolce

mf p mf p mf p mf p mf p mf p "f"sffz "f"

sffz"f"

sffz"f" sffz

sffz sfp sfp sfp sfp

50

p mf p mf p mf p mf p mf p mf "f" sffz "f" sffz "f" sffz "f" sffz"f" sffz pp sfp sfp

ff p ff sf sf sff f f f

sfsf

psffz f f f sf

sf sf f sf sf

mf

sf f

"f"

pizz.pont.

c.l.b.sul D&A

simile

arcopont.

c.l.b.sul D&A

simile

arcopont.

5:4q 5:4q9:7e 21:17x

c.l.b. pizz.pont c.l.b. pizz.pont c.l.b. arco

pont.c.l.b. pizz.pont arco

pont

arcopont. [M], sempre sul A&E

n.v.m.v.

n.v.m.v.

n.v. m.v.simile

c.l.b. pizz.pont

c.l.b.pizz.pont c.l.b. pizz.pont c.l.b. arco

pontc.l.b.

arcopont

c.l.b.

arcopont. [M], sempre sul A&En.v. m.v.

n.v. m.v. n.v.m.v.4:5x

5:4q9 : 7e

tapping!

7

sfp sfp sfp sfp sfp sfp sfp sfp

59

sfp sfp sfp sfp sfp sfp sfp sfp sfp

sf sf sf f ff ff f sfsf sf f sf sf

mf

sf f

sfsf

sf

f

sfp sfp sfp sfp sf p sf sf sf

63

sfp sfp sfp sf "f" sf sf sf

ff ff

fff energico!

p f

simile

5:4q 21:17x

pizz.pont.

c.l.b.

il basso sul C

segue

arcosul IV, pont.

ord.

8

[e=60]C

67

pp cresc. ffp cresc. ffp cresc. ffp cresc. ffp ff

pp cresc. ffp cresc. ffp cresc. ffp cresc. ffp cresc. ff

pp cresc. ffp cresc. ffp cresc. ffp cresc. ffp cresc. ff

mfmf

p lontano p lontano

[q = 82]D

82

sfp f p f p mf espress. mf

Sh!

mp

sf pp ff ppmf espress. mf mf

Sh!

mp

arco

pont.tenuto

ord. pont.ord.

pont.

ord.

pont.

tremolando poco a pocoau talón

ord.

pont.//ord. (no spazzolato)sempre più tremolo!

pont.tenuto

ord. pont. ord.

pont.

ord.

pont.


ord., sul IV

pont.//ord. (no spazzolato)sempre più tremolo!

g l i ss.

pont.tenuto ord. pont. ord.

pont.

ord.

pont.


ord.

g l i s s .

pont.//ord. (no spazzolato)

sempre più tremolo!

g l i s s .

arco

pont.au talón

come sopracon sord.

sempre au talónpont.

tasto

tip of bow Look at Vln I.

Put one finger on your mouth,

as if asking for silence!

ord.

a la voce

pont.tenuto tasto pont. tremolando

ord.

Look at Vln I.

Put one finger on your mouth, as if asking for silence!

a la voce

9

mf pff pp subito mf p ff espress. sf espress. sf

93

pp mf mf ppp ff ppp

pp ff sffffz desperate!like crying out!

Si len cio

mf pp ff ppp p p ff

Sh!

mp

fff ppp pp

102

ppp subito! sempre ppp (like a tinitus)

sfffzpppp sffz

Si

mf

len cio!Sh!

f

Sh!

f

es cu cha!

s.t.

pont. ord. pont.

s.t.

a la voce

whispering but audible!

3

pont. ord.

pont.

ord. pont.

pont.au talón

sul D

a la voce

segue au talón!

pont.

s.t.

pont. 1/2 ord. [M]

Always looking

at the Vln. I

(loud voice!)

10

pp dubitativo pp p ppp

rall.110

Sh!

sffz

Si len cio! Sh!

sffz

Si

angry!

len cio! Si

fff

len cio! SI

YELLING!

LEN CIO! Es

pp dolce

cu cha

ppp fp sffzpp ff

[q = 96]E

121

ppp ff pp sffz

ppppp f p ff (niente) sffz sffz p sf f p sf p sf

ppppp f p ff (niente) sffz sffz p sffz p sf f sf p

pont. quasi tonlos

senza sord.

Turn ON

Tape

Turn ON

Tape

Turn ON

Tape

Turn ON

Tape

Theatrical, as if about

to start telling a story

[a tempo]

[rall.]

[meno]

sul E, Atasto, a la pointe

[accell.]

[più]

[rall.]

[accell.]

[più]

sul A, Dtasto, a la pointe

[rall.]

[a tempo, accell.]

[più] [rall.]

sul D, Gtasto, a la pointe

[a tempo]

[accell.]

[più]

[rall.]

[a tempo]

accell.

a tempo.rall.

a tempo

rit. a tempo

3

accell.

a tempo rit.

sul D, Gtasto, a la pointe

[a tempo]

[accell.]

[più]

[a tempo] accell.

a tempo

rall.

a tempo accell.

3 3 3 3

11

(niente) sffz sffz p sf f p sfp sffz f p sffz sfp sfp

131

(niente) sffz sffz p sffz p sf f sfp p sfp f p

p sffz sfp sfp sf p sf sf sf p sfp sf sf p sf sf p sffz sf p sffz

sffz p sffz sf sfp sfp sf p sf p sffz p sf sf sfp sfp sf p

sf p sf sf sf p sfp sffz sfp sf sf p sffz sf p sf sf sf

1.2. 3.

136

sffz sf sfp sfp sf sfp f p sffz p sf sf sfp sfp sfp sf sf sf sf sf sf sf sf sf sf

ppp

sf sf sf sf sf ppp

[meno]

[a tempo] [rall.] [a tempo][accell.]

[a tempo] [rit.]

[a tempo]

3

[rall.]

[a tempo]

[accell.]

[più]

[a tempo]

[rit.]

[a tempo]

[rall.] [meno][a tempo]

[rit.]

[a tempo]

[rall.][meno] [accell.]

3 3 3 3

[a tempo]

[accell.][a tempo]

[rall.] [a tempo] [accell.]

[a tempo] [rit.] [a tempo] [accell.]

[a tempo] [rit.]

[a tempo] [rit.] [a tempo]

3

[più] [a tempo] [rit.] [a tempo]

[accell.] [a tempo] [rit.]

[a tempo] [accell.]

[a tempo][rall.] [a tempo] [rit.]

[a tempo]

3

[a tempo] [accell.] [a tempo][rit.]

[a tempo]

[rall.] [a tempo] [rall.] [meno]

[a tempo]

[rall.] [a tempo][accell.] [più]

[rall.]

3

[più][a tempo]

[rall.]

[a tempo] [rit.]

[a tempo][accell.] [a tempo]

[rall.]

[meno] [a tempo] [accell.]

[più]

[a tempo]

[più]

[a tempo]

33

5

3

5

[rall.]

[meno] [accell.]

[più]

[rall.]

[a tempo] [rit.]

[più]

[rit.]

[più]

[rall.]

[a tempo] [accell.] [più] [rall.][a tempo, rit.]

[a tempo, rall.]

[meno,accell.]

[meno,accell.]

5

12

pp p pp mp pp mp pp mp pp mp mp pp p pp mp pp mp pp mp pp mp mp

[q = 112]F

141

pppp mf p mfp mf p mf p mf p mf p mf p mf p mf p mfp

pp p (niente)

G

151

pp mp pp mp pp mp pp mp pp mp mp ppp mf pp mp pp mf

mf p (f)

dal niente mf sempre mf, espress.!!! pp

[q = 75]H

161

pp mp pp mp mf pp mf p mf f

pppp f sf sf sf sf sf sf sf sf

mf

p

sffz p subito sf p sf p sf p sf p sf p sf p sf p sf sffz

[rall.]

tasto ex.crini + legno[arco giratorio]

[a tempo]

[rall.][a tempo] [rall.] [a tempo] [rall.] [a tempo] [rall.]

[+humming]

[a tempo][rall.]

[a tempo][rall.]

[a tempo] [rall.] [a tempo] [rall.] [a tempo] [rall.] [a tempo]

Always

together

with Vln.1

pont.[+whistle!]

[rall.]

[a tempo]

tasto ex.crini + legno[arco giratorio]

[rit.]

[a tempo]

[rit.]

[a tempo]

[rit.]

[a tempo, rit.]

[a tempo] [rit.] [a tempo][rit.] [a tempo]

[rit.]

[a tempo][rit.]

[+whistle]

[a tempo][rit.]

[a tempo] [rit.][a tempo]

pont.bold, contundent sound, no rattle! [+humming]

Always

together

with Vln.2

7:5e

[rit.] [a tempo] [rit.][a tempo] [rit.] [a tempo] [rit.] [a tempo]

ord.

tasto [M] ord.

tasto [M] ord.

tasto [M] ord.

tasto [M] ord.

tasto [M] trem... ord.

tasto [M] tenuto

trem... ord.tasto [M] tenuto trem... ord.

tasto [M] tenuto trem... ord.

pont. [M]

pont. ord. tasto [M] ord.

tasto [M] ord.

tasto [M] ord.

tasto [M] ord.

tasto [M] ord. tasto [M] ord.

tasto [M] ord.

tasto [M]

13

pppp ff pp ff p sffz p subito f p

I

178

mp f mp f mp f mp f mp f mp f mp f mp f mp f

ppp f

ppp ff

ff

mf ff p sffz p subito

sffffz

pp

f ff

ff

mf ff p sffz p subito sffzp sf

ff p sfp sffz sfp sffz

197

mp f

sfp ff sfp sffz

ff p f p mp f mp f mp f

p

sfp ff

sfp sffz

sul A, Dtasto

spazolando

g l i s s . segue

tastosul D

pont.

tasto posiblesul G!

pont.

pont.

spazolando

g l i s s . segue

pont.

The lower sound must

"eat" the other pitches,

overgroing them in

loudness!

14

sfp sffz pppp sfffz sfp sffz sfp

206

sfp sffz pppp sfffz sfp sffz sfp

mp f mp f mp f mp f mp f

sfp sffz pppp

sfffz

sfp sffz sfp

sffz sffzp sffz pppp sfffz sf (f)

Un intervalo

p

Una progresión216

sffz sffzp sffz pppp sfffz(f)

Un sonido grave

sfp sfp sffz p

Una progresión

mp f mp f mp f mp f mp f mp f mp f

sfffz

sffzp sffz

pppp sfffz

(f)

Un sonido agudo

sffz p sffz

Un acorde

p

Una progresión

[a la voce]

pont.

[a la voce]

pont. ord.

pont.

[a la voce]

tasto pont.

pont.

15

p

pp f ppp

Una silla moviéndose

sf sf sf(f espress. theatrical!)

Es inútil callarla. Es imposible callarla. Llora monótona como llora el agua, 232

p ppp f ppp

Una sirena

mp f mp f mp f mp f mp f mp f mp f mp f

p

Un tren

f niente

Un poema

como llora el viento sobre la nevada. Es imposible callarla.

(p)

Barullo249

Gente charlando

(mf)

Las redes en el mar


(mf)

El aire entre los magueyes

pont.

spazolando

[scratch!]

pont.

spazolando

pont.

pont.sul D, G

3

fl.pont.

16

(pp whispering)

Un ruido muy fuerte261

(pp)

Las olas

(pp whispering)

Un ruido muy fuerte


(pp whispering)

Un ruido muy fuerte

(pp)

Las olas

(pp whispering)

Un ruido muy fuerte

Wait until the Tape

finishes. Otherwise,

make just a little pause.

Wait until the Tape



[a la voce]

Wait until the Tape



Wait until the Tape



17

for the cromano string quartet revoltijo€¦ · for the cromano string quartet omaggio a...

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