dali-h(b) (2008) violin and guitar edgar...

DALI-H(b) (2008) Violin and guitar

Edgar Guzmán

VIOLIN

The solo violin score emphasis the physical actions by which the sounds wanted for the piece may be achieved. Think on the violin as a sound object capable of a wide

spectrum of noise, going from tiny crunching sounds to explosive sharp noise. The left hand makes only two things: damp the strings avoiding a pitched sound to be

produced, and let them open, in which case it's not intended for a G, D, A or E to be heard, but just to add a little of the harmonic spectrum to the main noisy spectrum.

1

The solo violin score emphasis the physical actions by which the sounds wanted for the piece may be achieved. Except for some of couple

measures at the end where the G clef staff is used in a conventional way (hence a conventional piched sound is asked for), think on

the violin as a sound object capable of a wide spectrum of noise, going from tiny crunching sounds to explosive sharp noise.

The left hand makes only two things: damp the strings avoiding a pitched sound to be produced, and let them open, in which case

it's not intended for a G, D, A or E to be heard, but just to add a little of the harmonic spectrum to the main noisy spectrum. And even

when the G clef staff is used consider to add a little of the noisy spectrum to the harmonic one.

Twisted bow. Press the bow against the strings with great strenght and twist it, making a crunching

noise like an old wood door.

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Most of the guitar's sound material is percussive sound alike or have a big amount

of percussive "noise"; sometimes, this percussive element is much more important

than the pitched "pure" sound; even when a single note is asked to be played for,

this will always be accompanied with percussive "interferences", the strings constantly

hitting the frets and the wood when struck because of string's low tension as result

of the scordatura, specially at the end of the piece.

Scordatura (actual pitch)

A six line staff is used for the guitar notation, bottom line represents the sixth lower

string and the upper line the first one. Anytime the string are intended to be pressed

down against the fingerboard, a roman numeral will indicates the fret; in this piece,

the six strings are pressed down at the same time, making a VI fret chord, V and so on.

When not such roman numeral appears it'll always be an open string.

An extra two lines staff is added at the bottom of the main six lines. This two line

staff is used in two different situations, each of them especified with the name of

the action to be performed:

1) To represent the frequency, by means of rhytmic figures, and the string's scratched

area –sul ponticello and sul tasto-. It can be made either by using a plectro or the finger

nails. It can be a long one movement scratch or a fast sequence of tiny scratches. The

strings to be scratch is indicated with a circled number:

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(2008)

DALI-H(a)

Edgar Guzmán (1981)

7

12

1

Solo violin

The solo violin score emphasis the physical actions by which the sounds wanted for the piece may be achieved. Except for some of couple

measures at the end where the G clef staff is used in a conventional way (hence a conventional piched sound is asked for), think on

the violin as a sound object capable of a wide spectrum of noise, going from tiny crunching sounds to explosive sharp noise.

The left hand makes only two things: damp the strings avoiding a pitched sound to be produced, and let them open, in which case

it's not intended for a G, D, A or E to be heard, but just to add a little of the harmonic spectrum to the main noisy spectrum. And even

when the G clef staff is used consider to add a little of the noisy spectrum to the harmonic one.

Twisted bow. Press the bow against the strings with great strenght and twist it, making a crunching

noise like an old wood door.

9

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(2008)

DALI-H(a)


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Guitar

The 6th string is lowered to E♭.

The guitar's part is written on 2 staffs; the bottom one it's a six line staff (later becoming a common five lines staff) representing the six strings,

low to high, 6th to 1st from bottom to top line.

The upper one is a two line staff which represents the actions performed over the narrow metal piece (kind of a nail file) which the

guitar is prepared with. This metal piece is interleaved beetwen the strings, going below the 1st, above the 2nd, below again over the 3rd

and so on.

Guit

94

18

6th 5th 4th 3rd 2nd 1st

11

From the two line staff, the lower line represents that the metal piece must be let to vibrate freely along with the string's vibration, this way

allowing its interference over the guitar's natural sound.

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bend the four upper strings

2) To control the hole bend, (though it is always asked to perform ad lib. restricted

only to the six lines main action duration) this being an upward and downward

glissando, left hand pressing down the strings against the guitar's hole using its

edge and fingerboard's edge as frets (this being possible beacuse of the strings low

tension), creating a constantly bending sound of random pitches. Sometimes, not

all the strings are affected at the same time by the hole bending.

The fingers to be used to perform the tremolos are barely marked throughout

the score; except in those cases where they are marked, the rest are to be

choosen freely.

Note heads

‘Normal' sound, open or depressed string.

Damped sound; damp the strings with the left hand while performing the

right hand action producing a percussive sound without ptich.

Open strings stroke; use the right hand to hit the strings over the guitar’s

hole area

Harmonic pressure, there is not node but only the fret to be touched marked.

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DALI-H(b) (2008)

Dedicated to Pablo Gómez and David Nuñez

PERFORMANCE NOTES

Edgar Guzmán

(1981)

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dali-h(b) (2008) violin and guitar edgar...

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