Edgar Guzmán

Commissioned by the International Contemporary Ensemble - ICE

Amplified ensemble and tape

bass flute

bass clarinet in B flat electric guitar

percussion stereo tape

Coincidences?

(2009)

1

e. guitar b. cl

perc

fluteb. cl e. guitar

tape'speakers

ens. speakers

ensemble's location

audience

tape'speakers

ens. speakers

PROGRAM NOTES

This piece is many pieces, and yet, it tries to be none. Previous temporal and musical structures of forgotten personal recordings and

notes (some of them dating back two years) that didn't find its way to become a piece in the past did find it now, not because a way

to unify them being finally reached, but to differentiate them instead in a diachronic musical context that emerged from the experience

of what in the beginning was felt as mere coincidences in temporal structure between those forgotten files. I don't believe in

coincidences though.

In addition to its discontinuos origin, and beyond the imposed boundaries of time and space, the piece places itself outside of it into

a bigger context by performing a breakdown in its temporal unity and meaning.

PERFORMANCE NOTES

AMPLIFICATION

Tape is suggested to be amplified in stereo from a different set ot speakers than the rest of the ensemble, however, both sets of speakers

(the ones of the tape and those of the ensemble) are to be placed relatively in the same spot, unifying the sound source. The following

graph pictures previous comment on speakers and shows the panning location for the ensemble. However, adjusments both in panning

and speaker's location might be made if prove better suitable for a particular performance's place

Besides the amplification on the instruments, the performer's voices will need to be amplified, in particular percussionist and flutist's voice.

No attempt should be made to aim a 'beautiful' performance.

Rhythmic combinatory in percussion part is by no means intended to represent nor communicate any desire for a precise performance

of what is written but to provide the base for a performance of improvisational character instead; grouping of eights and sixteen notes

was rejected in orderto avoid a possible visual relationship that may mislead to generate clear regular rhythmic motives.

This is not exactly the same with the opening flute passage, where the use of eight and quarter notes' purpose is to serve as a first visual

aid (the second one being the horizontal lines representing sound length) to establish the temporal relationship with the tape's 'performance'.

Spoken passages assigned to the flute part must be performed by a woman, and those in the percussion part must be made by a male

voice.

On guitar's first passage (number 7 on sync marks) based on attacks, decay, sustain, release and volume relationships, beyond the

temporal freedom that the score is intended to communicate, what is written in the score is just one of many possibilities for performing

that passage once the whole piece's passing has been nailed. Guitar remains with the distort effect on during the whole piece.

Previous statement on performance also aplies for bass clarinet which same passage's passing (number 7) and timbre is directly related

with guitar's actions. A free performance of both guitar and clarinet in this section is not only possible but desirable.

Beyond the sync marks ( ) placed throghout the score, the piece alltogheter must be embeded with a diachronic character of sonic

events as opossed to a synchronic one.

ABOUT GUITAR DISTORTION

Purpose of applying a distort effect to the guitar is increasing its blending level with bass clarinet, so adjust the kind and amount of

distortion based on that criteria.

Next are images showing the hand shape for the strum asked for in 4'08"

PERCUSSION

The percussionist will use a big metal bucket and noise making garbage -like glass bottles and cans- previously selected or founded.

Those will be storage in a big box or alike so when the trash-performance begins it can be immediately thrown into the metal bucket.

Down here is a picture showing the kind of bucket required for the piece, the guitar in the back and the plastic bucket are for size

reference. The buckect used can be bigger than this, smaller one is not recommended unless it produces a similar sound to the one

originally used.

Contact the composer for a sound sample of the one showed in the picture.

email: manzuge@yahoo.com.mx.

En art, et en peinture comme en musique,

il ne s'agit pas de reproduire ou d'inventer

des formes mais de capter des forces.

-Gilles Deleuze

1

1

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B. Fl

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Track 1

Coincidences? (2009)

(G pitched sound) (synthetic multiphonic alike sound)

Edgar Guzmán

1981

(high A#)(high G pitch) (high F#) (high G#)(low F#)

Bass Fl

Different noteheads represents the amount of air sound, resembling white noise, that must be involved in the whole resulting sound as follows: unpitched air sound, in which case their location on the staff is the fingering involved; is more or less equal amount of pitched sound and air; and being pitched sound

flz senza flz flz senza flz

breathe when needed

freely

always producing as many harmonic andnot harmonic partials as possible

sub poss

sempre possibile

(always producing as many partials as possible)

senza flz

Bass Cl

in B♭

( possibile)

freely

Perc

(soft mallets)

freely

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B. Fl

Tape

B. Fl

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(low E) (more or less constant and unintelligible voices)

B.Cl B♭flz

flzharmonics glissando

synchronization between clarinet and percussion performance is not required

B.Cl B♭

Perc

Perc

molto cresc

molto cresc

2

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(noise )

frenetic

Harmonic multiphonics writting represents more the physical action to be realized in terms of air flow to achieve this section performance's character than literal actual result. In addition, timbrical nuances are indicated by different note heads.breathe when needed and very noticeable

transition from pitched to unpitched air sound

( )

B.Cl B♭flz

freely

B.Cl B♭

ElectricGuitar

MAX

MINDISTORT EFFECT ON(play with a pick)

sub

MAX

MIN

VOLUME KNOB

laisser vibrer

freely always use same ff kind of attack)

E. Guit

Perc

frenetic

espressivo

(ff)

Perc

( ) ( )

IMPROVISATION

poco decresc