alexander sigman noyau(x) (CW2CS2) for 2 soprano or baritone saxophones and electronics (2009)

noyau(x) (CW2CS2) (2009)

dedicated to the Campbell/Straus Duo

performance notes:

general remarks:

This work exists as a distillation of my duo for soprano saxophone, piano and electronics entitled the shining pillar (CW2)
(hence the appearance of "noyaux," or "cores/kernels," and "CW2" in the title). Furthermore, the initial "kernel" undergoes further
compression into two shorter (but equally viable) renditions.

3 versions of this piece are provided, with durations of ca. 100", 68", and 36" respectively. Only ONE version should appear on a given
programme. If the piece is to be performed on consecutive programmes, it is preferred that the versions are alternated.

The score is transposed in all cases (sounding a M2 down on the soprano saxophone, and an M13 down for the baritone). All versions
may be performed either on 2 soprano (B-flat) saxophones or 2 baritones (E-flat), but never a combination of the two instruments
within one version.

A CD containing the electronic component (4 tracks, 1 and 2 corresponding to versions I and II, respectively; the final two tracks
accorded to version III) has been
= transition from provided with thefinger-pressure
full to harmonic score-material. (N.B.: tracks 1 begins with 28 seconds of silence; sounds thereafter
only emerge sporadically). Precise coordination of the performers with the recorded material is by no means essential.
= transition from harmonic to full finger-pressure
The electronics should be balanced to the extent possible with the performers for tracks 1, 3, and 4, never dominating the sound-field,
and projected at a "comfortable" volume. By contrast, track 2 should be projected ALMOST INAUDIBLY, the electronics barely
exhibiting a physical presence.
= “trem-accel”: gradual transition between tremolo-sppeds (executed during entire given duration).
Tempi are absolute.
= “circular bowing”
Accidentals, including quarter-tones, obtain throughout the measure, except when introduced by a grace-note, trill-note, etc.
m.v.= molto vibrato
Trills should be executed as rapidly and consistently as possible.
n.v. = non-vibrato
Glissandi/portamenti should occur over the exact indicated durations, and be executed as smoothly/continuously as possible (i.e.,
chromaticST
glissandi should
= alto sul tasto be avoided).

e»§º version II (medio)

Unless otherwise indicated, the work should be performed as non-vibrato as possible.
didactic)
noyau(x) (CW2CS2): noyau(x) (CW2CS2): version
ORD = ordinario
a.sigman
(banal and a bit didactic)
II (medio) a.sigman
ASP = alto sul pontincello
a tempo a tempo

¨ ¨
œ 8:7 œ 8:7
e»§º
— — — — — — n.v.
(con tutta la forza!) (con tutta la forza!)
2 REGIE: CD TRACK 2 signs and symbols:
= execute near tailpiecev.m.
of instrument

œ µ œandœa bit didactic)œ # m œ # µ œj œ n.v. # B œj n œ B œ3n œ µ œ œ 6 œ4 # m œ # œ 7# B œj a tempo

v.m.
noyau(x) (CW2CS2): version II (medio) n.v. n.v.

œ
j j
jn.v.
œ œ n(banal œ
œ œ

b· µœ mœ œ
B
v.m. n.v. v.m. n.v.

n j
µ œ (flz.) j
µ 68 Sop/Bari Sax I 7 · œ µ 3 4 7
& 8 b · B ·m œ ‰ µ · n · b · µ · n.v.
m 4:3œ molto œ
con sord. (piombo) = with the lead mute a.sigman 4:3
b µ b8œ =8remove lead mute" ær 16 m œ (con
µ œ sord. ‰ µtutta œ bœ 8 " ær 16
v.m.= vibrato
8 B=·non-vibrato · · 8
(flz.)

· · œ n b ·
v.m.µ · · ·
µ œ
¨
B B B
Ϝ 8:7 F p p p battuto/tratto
senza

FÏ =Ïhalf-way betweenÏFarco and col legno — p — — n.v. ! F Ï

B B
la forza!)

œ # µ œj œf ! Ï
REGIE: CD TRACK 2

B œ n œ µ œ! œ œ # m n.v.
n.v.
j

f œ œ #
œ

F œ F
v.m. 1/2 c.l.b./c.l.t.
n j j

7 b · bBœ· b · Bv.m. µœœ m µ 68 col legno (battuto3and tratto) 4 7

œ

r
B œ = gradual and continuous transition from
1/2 c.l. =‰ 1/2 œ "
œ
4:3one “state” to another

op/Bari Sax I & 8

bœ B œ œ œ # n œ 1 n.v.2 b œ b œ= m"Aeolian"
œ µB·œ ntone · Bbœ·(high œ8 #Bn·œ B ·1 minimal
µ ·œ breath-content,
b 8 B Ͼ 16
n.v. (flz.)
j j µ
>t/ µ >œ/t/ B · œ µ œ µ ·œ œ µ œ µ œ c.l.b./c.l.t.
n.v. n.v.

œ/t/> >/t/ œÏ
v.m.

œ n· 68 Sop/Bari" Sax II & 78m œ" œ BÏ · b œ n"··µBœ· Bµ·· b · F 38 " œp 68B œ =pcol48"legno
" battuto/tratto
" Œ !(absolutely 7 Fno bow-hair) " Ï 38 " œ B œ 48 " j " Œ 7
pitch-definition)

@ @
j 16 · 16
Ë Ë
2

œ œ
(flz.) (flz.)

@
! F f b · v.m.F n.v. · · ·batt.p= battuto æ
œ col legno) m · B µ · b · · ·· p F b œæ
F (arcobor
F
Bœ p !j p !
= transition from breath to "pure tone"
bœ Ï 6:5 Ï
> Ï Ï µ œ b œ F !6 SBpœ S œ p œ F# n œ 1 2 balz. Ï (may be3 selected
Ïfingerings F freely, but 4should(flz.)
j j

S p S p F 7 n.v. > œ œ œ
œ œ

B· bœ n· µœ · µ 7
6:5

p/Bari Sax II & 8 " " given"pitch) " œ " " Œ

/t/ = balzato (“bouncing”)
œ
/t/
B
¨ @
8 · B · b · · 8 · · Ÿ~~~~~~~~~~~~ 8 æj 16
Ë
= alternate produce the maximum possible intonation/timbral distinction for the
m œ œ spicc = spiccato B
@ ¨ F p 3:2µ · !
b ·(multiphonic) Ÿ~~~~~~~~~~~~ m œ1 æ3:22# a1 tempo p F b œ 1 æ 2 a1 tempo
m œ 3:2# m œ œ œ œ 3:2 6 m œ . m( œsubtone .
r r

) 3:2 œ > /t/6:5œ . mœœ.æ 2 œ =alœalternate œ Ï œ æ

j œ j œ

Ï 3 Ïj 3 " j FJ ‰ . 7 œ ‰ . — ‰ 3 "7" 3:2 " "‰ . > œ. œ. 2 . 7

œ œ
m œ
(multiphonic)
j mcontinuously
3 ! S p SSaxpI F 7 ( )
3 J ‰ 16 ‰ . — ‰ 38 " " r " ‰ .
r r œ
ne
r r

" " r bow-speed 8 — " m œj

œ œ
tall. = alfingerings
tallone (with the frogasofrapidly
changing the bow)and as possible
œ œ
j 8 m #f œ œ œ # µ œ œ& 16 œ .# n œ m œ8# œ —8 m#f>œ m #f =flaut. 16 =œlight,œ #minimal
œsung 8pressure,
16(N.B:
:2 /t/

œ # œ (sung)#f*
3:2

— > œ œ œ .
— >
¨
p ! 3:2 æ æ(multiphonic) p Ÿ~~~~~~~~~~~~ p > liesS!
b µ N p one octave in either b — Sdirection; should in—>all cases
N
high

æ > maximally-reduced bow-speed >

>
! 6 f !3:2 (sung)f* æhigh
pitch of chanté/joué pitch indicated falls in absolute relationship to the played pitch [is therefore transposed]; if a
œ # .
r

œ œ œ S œ æ S S S
a tempo

Ï S Sp Ï S Sp
j œ
m m Ï œ œ m
3 attack> " /t/j œ . œJ . ‰ . 7 ‰ . — ‰ n.v.3 v.m.
œ given pitch outside
1 of the performer's vocal tessitura, it may be transposedlow
œ executed
= over-pressure: 2 noise-content, pitch-definition,
mbe
7 3 7
( )
1

16 partial) 8 " " r " ‰ .

r
subtone
r

µ œ & 16œ "œ3:2#(sung)*n œ " m œ #/t/ œj 8 #f m #fsubtonemœœ . œœ . œ ## µµ œœ œœ œ 16œ "œ3:2.(sung)/t/*"= hard-tongued

œ
on a neutral "schwa" 2vowel)
œ

· 8 — finger-pressure
3:2 3:2

. — > œ œ . —
n.v. v.m.
r r
mœ
3 7p
ax I
œ œ

3 ææ æ 7 3 3 7 r‰ ." Œ‰ 3 7 3
# œr "SaxŒ II f & 16 "‰µ œ® #b œp " 8!m œ 8 œ . mf
b N
5· 8 #16 "µ#œb — #·b#œ 3:2S>" 8S m œ œ . S—> $ 16 ‰ . ‰ — · 8 # # b — · #
r r
>
8 "Ïmfn#œ . f#7œ .# Bf! = 3-4” $
= harmonic (may œ
not produce œ

16
#
Ë Ë
r
subtone

# # #
3:2 3:2
r
/t/

Ï S Sp
œ

— œ . œ . Bf œ —
œ

8 " µ· > — · b— ! · fn — · —p · "=>—4-6” m — · = suppression >16of pitch via placing

f
(sung) *

m— · n
B · S>two “colored breath” >
3:2

"fingersn —over node

S> ! p m œ . œ . F#p Sµ œ S> ! S> ! S> /t/! S> p subtone
œ " 3:2(sung) S>p > =! S> n.v. Sv.m.!" !
p ! p and flautando
> discernible S
> bow-pressure, producing only S> ! S!
S F œ œ . S
r *
œ

7 ‰ 1 æ®2 3 7 ="3-4” 3 7 3
r

r " Œ " $ ‰ . ‰
tongue-slap (as sonorant as possible, with minimum pitch-content)
œ

& 16 8 "mfn#œ . f# œ .# Bf# œ µ œæ fermate:

16fermatas: 8 employed.
m œ œ . a fixed— duration should16not be assigned — · to8each# type. #rather:
Ë
3:2

b œ types are
#three b— · #
>
2

f
x II microtones:
> ! p > 3:2 >!
1

7 S 5 S S S!
r r

p — · F ·
œ

b — · " B · 8 —> ! µ 16
œ

· — · >2 m— · µ· — · b— ·
= 4-6”
B
· —! · " B · (ca. 1'08)
3:2
==1-2”

S !
1-2”
> ! >
*may be transposed one octave in either direction, if incompatible with tessitura *may be transposed one octave in either direction, if incompatible with tessitura

1 æ S !
S> !
= quarter-tone sharp

S > ! microtones: S
! S p
S S
microtones:

µÂ= quarter-tone
*may be transposed one octave in either direction, if incompatible =
with tessitura (Stuttgart, May 2009)
three quarter-tones
sharp
sharp
= quarter-tone sharp
ii

ÂB ===three
quarter-tone
quarter-toneflat
flat sharp
quarter-tones

multiphonic:

BI= quarter-tone
= three quarter-tones flat
flat

I = three quarter-tones flat

Primary Sections (I-III):

general remarks:

each measure should be treated as a discrete entity, with no attempt to provide continuity between measures (unless otherwise indicated.)
Primary Sections (I-III):

general remarks:

each measure should be treated as a discrete entity, with no attempt to provide continuity between measures (unless otherwise indicated.)

Maquette I + II:

general remarks:

for each instrument, the upper and lower staves denote L.H. and R.H. activity, respectively. At times, the rhythms of these lines are incompatible, resulting in either “silent gli
L.H., or open strings (activated w/ theI +R.H.)
Maquette II: Left-hand motion must remain continuous nonetheless.

glissandi
general should be executed as continuously and evenly as possible; changes in position should occur at the onset of the beat, rather than during the preceding glissando.
remarks:

The
for enclosed
each “x” symbol
instrument, denotes
the upper a passage/eamsure
and lower staves denote involving the “crossing”
L.H. and R.H. of R.H. and L.H.
activity, respectively. lines the
At times, of parts, suchofthat
rhythms thelines
these R.H.are
of incompatible,
one instrumentresulting
will be rhythmically compa
in either “silent gliss
L.H.orofopen
L.H., another.
strings (activated w/ the R.H.) Left-hand motion must remain continuous nonetheless.

glissandi should be executed as continuously and evenly as possible; changes in position should occur at the onset of the beat, rather than during the preceding glissando.

The enclosed “x” symbol denotes a passage/eamsure involving the “crossing” of R.H. and L.H. lines of parts, such that the R.H. of one instrument will be rhythmically compati
 e »¢• (banal and a bit didactic)
noyau(x) (CW2CS2): version I (long)
a. sigman

— — —
(con tutta la forza!)

œ Bœ œ
REGIE: CD TRACK 1

œ # m œ # µ œj œ µœ
n.v. v.m.
j j

œ
v.m. n.v.

œ œ #
8:7œ 8:7œ

bœ µœ mœ
n j
7
& 8 b· B· · µ 6 Bœ
78 7 " 38 æ æ
n.v.

‰µ· n· b·
B· B· µœ
b 8 16
œ
n.v. (flz.)

B· m
p p µ· B œ #æ n œ
Sop/Bari Sax I

Ï F Ï Ï
! F ! F
œ bœ B œ B œ œ œ # n œj 1 2 bœ œ mœ.
µœ
v.m. n.v.

7 · œ µœ 6 œ 78 mœ µœ 7 38 " . ‰ . R
" · " " · B· b· " œ Bœ Œ
@
&8 · n B 8 œ œ 16
(flz.)

@
n.v.
B µ· ·
b· m ·· bœ
Sop/Bari Sax II

p æ f
Ï Ï F ! p F
j

! F Ï Ï
6:5 œ

Ÿ~~~~~~~~~~~
mœ # mœ œ m œ m( œ ) m œ > /t/ œ1 æ >1 2
j r
subtone
3:2œ 3:2œ

œ œ œ
2 /t/

7 38 7 "b œ œ œ 38 # b œ # 78
r

&" 16 m œ " " µ œ œ " " m œj µœ œ ‰.

7
œ

16
3:2

p œ œ N—
Sax I

f p F
! Ï S Sp F S!
œ. # µœ æ
subtone

œ œ.
subtone n.v. v.m.

7 38 Π7
16 œ . N — ‰ . 38 ‰ . 7
1 n.v.
r
2

" ‰ j " mœ " mœ œ # Bœ " — · 8

3:2œ

& 16
/t/

nœ. œ. œ œ µœ # bœ
Sax II

> ! p p > p F S> !

f ! S S
 2
r

7 8 ‰ 3:2 7
r r

‰. — ‰. ! ! Œ
3:2œ r
3:2œ
r
3:2œ
14
œ 3:2œ

&8 8 m — · " µ · — · " µ ·j — · n — · m — · 8 " B·m— · " µ· n— · · · —

b— > n— > >
Sax I

> > >

S> S
S
> S# S> # S # S> # S> # S# S# p S
r r

7 8 7
r r
3:2œ

" B· — · " B· !
3:2œ 3:2œ 3:2œ

& 8 " " b— · " · " b— · " B· — · 8 " — ·

" " m— · " " µ· — · 8 " B · œj > #
/t/

# S># > > ># b — (ca. 1'40)

Sax II

S> # S # S# S> # S> S S>

(Stuttgart, May 2009)
 e »§º (banal and a bit didactic)
noyau(x) (CW2CS2): version II (medio) a.sigman
a tempo

¨ 48
œ 8:7 — — —
(con tutta la forza!)
REGIE: CD TRACK 2 (sempre quasi inaudibile)

œ œ œ œ # œ #
n.v. v.m.

œ j
j

œ œ n µ m œ #
œ

œ B
v.m. n.v.

n µœ j j

7
& 8 b· B· · œ m µ 6 3 7
œ

" ær 16
n.v.
Bœ
b µ ‰ µ· n· b· 8 B· µœ bœ
4:3

8 œ
n.v. (flz.)

· m
p p µ · B· Bœ
Sop/Bari Sax I

Ï F ! F Ï Ï
! F f
œ b œ B œ œ œ œ # j
œ b B
n.v.

> µ >œ B · œ µ œ œ
v.m.
nœ 1 2
7 µ 6 38 48 " (flz.)j " Œ 7
" œ · " " · B· b· " œ Bœ
/t/

·
/t/

@
&8 8 16
Ë
b n œ œ
@
n.v.
B ·
b· m
F p µ · · · b œæ
Sop/Bari Sax II
p F
! Ï
Ï Ï F
j

! Sp S p F
6:5 œ

mœ
# mœ œ œ œ Ÿ~~~~~~~~~~~~
m œ . m( œ ) ¨
œ > /t/ œæ. œ1 .æ 2
r a tempo
j 3:2œ
3:2œ
(multiphonic) 1
2

7 3 7 3 . 7 ‰ . — ‰ 3 " " 3:2 r " ‰ .

r
subtone
r

" " " J ‰

3:2œ
6
œ

& 16 œ # nœ j 8
#
m œ # (sung) * m #
f œ œ œ # µœ œ 16 œ. 8 — mœ j 16 8
œ f p b — S> N—
Sax I

p >S
ææ æ S>
>
! f !
Ï Ï S Sp
mœ. œ. # µœ œ " 3:2(sung)*
3 œ œ.
n.v. v.m.
r
œ

7 3 7 7 3
r

& 16 ‰ ® r " Œ " " $ 16 ‰ . ‰ — · 8 #

3:2œ

8 "mfn#œ . f# œ .# Bf# œ 16 µ œ #b œ 8 mœ œ. —
Ë
/t/ subtone

f # b —> · #
Sax II

>
S ! p > S> ! S!
p F S
1 æ
2

*may be transposed one octave in either direction, if incompatible with tessitura

 2

7 5
r r

&‰ ‰
14
3:2œ 3:2œ

m— · 8 " µ· — · b —> · n —> !

· — · — m— · 16 " B· " n—
S> !
Sax I

p > > >

>
S ! S ! S S p S > ! p S

7 5
r r

— · B· m—
3:2œ

&· 8— · 16
3:2œ

" b— · " B· — · > · µ· — · b— · · — · " B·

>
S ! S> ! S ! >
Sax II

! S> ! S ! S ! S> ! S ! p (ca. 1'08)

(Stuttgart, May 2009)

 e »¶™ (banal and a bit didactic)
noyau(x) (CW2CS2): version III (courte)
œ
a.sigman

¨
REGIE: PAUSE CD (once track is completed)

REGIE: CD TRACK 3 a tempo

j

Bœ nœ µœ œ œ œ # mœ # mœ. # µœ
v.m.
8:7œ n.v.
j
œ
4:3œ

œ œ #
(enter following conclusion of electronics)

œ n j µœ
7 · · · µœ m µ 68 Bœ
3
8 æj ‰ . 48 ‰ 7
b· µ· mf# ‰ f# nf# b #f " " 16
&8
n.v.
b B b (flz.)

· µf# bf# bf# bœ f

Sop/Bari Sax I

*
Ï
! p F f Ï Ï F
(sung)

œ œ — — —
(con tutta la forza!)

œ œ œ œ # j
v.m.
b B
n.v.

> > µ œ> B · œ µ œ µ œ

b B nœ
œ 3
v.m. n.v.

7 6 48 " (flz.) 7
Ë
.
/t/

" œ · ‰ " 16
/t/

· œ
@
&8 8 #f Bf# nf# bf# mfœ# fœ# 8
2
b n
1

B œæ #æ n œæ
n.v.
B n
@
b·
Sop/Bari Sax II
* Ï Ï
! S p S p F Ï
(sung)

Ï F
j
7:4 œ

¨
REGIE: CD TRACK 4

>/t/
(come sopra) (multiphonic)

7
r

3 œ œ. 7 3 28 3:2
" ‰.
a tempo r r r r

" " $ " " " ‰ ‰ m— ·

5 3:2œ

r
œ œ 3:2œ œ

& 16 mf#œ µf#œ ## b Bf#œ n œf# 8 m œ œ . 16 — — 8 · — · B ·j

7:6 3:2

— — — > > — — m—
b n N— >
Sax I

p p > > >> > S>! p

FS S S > S> S!
æ2
mŸ~~~~~~~ Ÿ~~~~~
1
j

œ m( œ ) n œ # œ œ
r

œ œ m( œ ) >
3:2 œ œ

œ œ œ m
3:2
r r

7 3 7 3 28
Ë
3:2œ 3:2œ r r j

Œ — —> —> m — — — 8 · "

3:2œ 3:2œ 3:2œ

& 16 m f# # #f f# # mf# œ 8 œ f# # µf# f# n— 16 # >— · # · # b — · #B · · # n — (ca. 36")

b— >n— > >b— > ! b
Sax II

p
Ï S
> >
S
> S ! S> ! S>
Ï f
r
3:2 œ
(multiphonic) (Stuttgart, May 2009)
(enter immediately following electronics onset)
(come sopra)

*may be transposed one octave in either direction, if incompatible with tessitura