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Edgar Guzmn

X,Y Counterpulse
(2015)
for percussion and electronics

Commissioned by and dedicated to Niek Kleinjan

X,Y Counterpulse
Commissioned by and dedicated to Niek Kleinjan

PERFORMANCE NOTES
The sound material for this piece was created on a two channel pulse generator modified over a Cartesian coordinate system. The percussion part is to be considered a pulse
generator itself, its expressive character and musical nuances defined accordingly; for instance, although tremolos are written using the same symbol (
) theyll never be the
same on account of its speed, which is meant to be varied accordingly to a subjective location on an imaginary cartesian plane. Likewise, given that tremolos stand for one extreme
of an axis as opossed to a single stroke, a transition between both points, even without being asked for by means of a rallentando or accelerando is, no matter how fast and
unnoticeable it could be, unavoidable, and should be taken into account when switching from one to another. Special attention must be put when slurred gestures are notated -for
instance, between a normal head tremolo and a crossed one- in which case, a transition from normal stroke area to rimshot area, if applicable (check the instrumentation notes),
must be performed.

INSTRUMENTATION
The specific percussion instruments to be used are to be chosen by the performer, but metal instruments are not to be considered. Instead, use a set of three different drums or
objects alike having a low resonance frequency, each one lower than the previous one. Any drum set (or objects) that are considered to resemble the different pre-recorded pulses
to which they are musically related or to establish an interesting sound relationship between them are suitable choices for performance. (For composing this piece tests where
performed over a set of three different plastic buckets). The same criteria must be followed when choosing the mallets to be used and the switch between one kind and the other.
The crossed noteheads stand for a higher, more piercing percussive sound. Depending on the instruments being used, these can be performed either as rimshots (thus the selected
notation), by striking a different suitable part of the instrument/object, or even on a different one. If the latter option is preferable, the percussion set can go up from 4 to 6 different
instruments.

SCORE
The piece is written in proportional notation on measures of 5 seconds each with secondary divisions of 1 second. A visual representation of the tapes waveform is located on a
second staff as an aid to a synchronized performance with the tape.
Red arrows mark the points where a performers action (the beginning of a tremolo and/or its conclusion, a single stroke, a compounded gesture, etc.) is required to be
synchronized with another one coming from the tape, be it a single pulse, a texture change, etc. These synchronization points are crucial to fulfill the counter-pulsing relationships
that this piece is aimed to create.

NOTATION
Normal strike
Rimshots (read the comment on crossed note-heads on the Instrumentation section)

single strikes (normal or rimmed)

one hand

XX X

two hands (synchronized)

j
X XX

Appoggiaturas: to be performed as fast as posiblle

Tremolos. The actual speed of each tremolo will be subjectively define (read above), and so its accelerando and rallentando rate.

Stochastic textures (clouds). Three different and relative densities or amount of activity are represented:
Low

Medium

XX X X X X

XX X

These textures can have one

or two

High

XX X

XX XX X X XX X

X
XX X X XX
X X XX X X

X X X X XX X XX
X X X XX X X XX X
elements (normal and rimmed strokes) freely used.

Pulse modulator graphic. Starting from an approximated rythmic value. Going up the dotted line (representing the initial rythmic value) means accelerando, down means
rallentando.
Left and ritgh hand accelerando/rallentando independently

Both hands accelerando/rallentando at equal rate

x = 360 ca.

{
nervous

x = 240 ca.
!

{ XXX X {

Improvisatory sections. The boxes marking improvised sections surround the lines representing the instrument(s) on which the improvisation is to be
performed. Suggestive expressive characters are indicated.

PROGRAM NOTES
The sound material for this piece was created on a two channel pulse generator modified over a Cartesian coordinate system. The percussion part is considered a pulse generator
itself, its expressive character and musical nuances defined accordingly to enhance the counter-pulsing relationships this piece is aimed to create.

ABOUT THE COMPOSER


Edgar Guzmn is a mexican composer of acoustic and electronic music. His work has been performed at several new music festivals in Mexico, United States, Canada, Brazil,
Argentina, Chile, Venezuela, Austria, France, Poland, Germany and Switzerland. His musical production is comprised of commissioned by and dedicatory pieces to a number of
institutions, ensembles and performers such as the Ensamble Liminar, Ensamble de Msica Contempornea de la Universidad Autnoma de Baja California, Orquesta Sinfnica
Juvenil de Mxico, Camerata de las Amricas, International Contemporary Ensemble, Wilfrido Terrazas, Alexander Bruck, Rebekah Heller, Kivie Canh-Lipman, Ryan Muncy,
and David Bowlin among others.
!

X,Y Counterpulse

(2015)

0:00

X.

Perc.

XX

.
XX X
>

>X X

XX
>

Edgar Guzmn
b. 1981

X. X

X X XX X X X X
>

SZ f

j.
X

L
Tape
R

0:30

>X

XX

X.

>

SZ f

j
X X
> >

non cresc

XX X X X X
> >

SZp

> . jX . jX . jX . X X X

f / F

trem.
poco rall

1:00

fsub

XX X X X X

p/f

XX X

>

X.

X. X X X X
f
p/f

X X X XX

XX X

XX XX X X XX X

f non decresc

sub

both hands
synchronized
with tape's pulse

1:30
nervous

XXXX

sim.

>

X X

fp fp

XXX

accel al trem.

>

X X X XX X

both hands
gradually synch
with tape's pulse

fp Fp Fp

XX

X XX

fp

XX X X

SZp SZp

molto cresc

pulse = x = 240 ca.

pulse = e = 120 ca.


R

trem. molto rall.

2:00

>X

X.

f p

>

X.

X X.

>

. X
f

trem. molto rall.

X.

>X

fsub

C
,

both hands
synchronized
with tape

{ XXXX {
f

L
pulse = x = 240 ca.

Left and right hand accelerate and disaccelerate independently from/away the initial pulse (represented with a dotted line) creating constantly changing polyrhythmic patterns. Improvised gestures must emerge
from this polyrhythmic patterns while continuing the accel/rall inertia (thus accel/rall lines are kept) but taking unexpected directions before immerging back to pattern.

2:30

XXXX

chaotic

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