Bruno Ruviaro (1976) - musicabrasilis.org.brmusicabrasilis.org.br/sites/default/files/br_seis_vicios_de... · mude de direção entre uma nota e outra (i.e., sempre ascendente ou

Bruno Ruviaro (1976)

Seis vícios de Garlânida

requinta, clarineta, clarone, violoncelo, percussão

(e-flat clarinet, clarinet, bass clarinet, cello, percussion)

27 p.

© Bruno Ruviaro – licenciado para Musica Brasilis, Rio de Janeiro, 2018

Formação:

Clarinete Bb (+ Clarinete Eb e Clarinete Baixo) Clarinet Bb (+ Clarinet Eb and Bass Clarinet)Violoncelo VioloncelloPercussão/Percussion:

– Marimba– Glockenspiel– Crotales– Bongôs (4)– Conga– Caixa (Snare Drum)

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1

NOTATION

2 3 4 5 6 7

!(1) CELLO & CLARINET: Glissando between specifiednotes, within specified rhythm.* Important (clarinet only): all glissandos are writtenuniformedly, having in mind an “idealized”, continuousslide between two pitches, just like a string instrument.However, since this sound result is not always possiblein the clarinets, the player is free to adapt each glissandoaccordingly, always looking for the solution thatsounds more convincing to him/her.

(3) The end of the glissando does nothave to be precisely articulated. The notegiven in parentheses serves onlyas a suggested approximation.

(2) CELLO: Glissando going up and down very irregularlyon its way from the initial to the ending note.

" " " "!!!!

! "(4) CELLO: Glissando from a double stop to a single note.Keeping the same hand shape of the initial interval, theplayer slides the hand on the two strings until the upper note reaches itsdestination. The double stop is abandoned upon the articulationof the new note. The actual sounding interval of the double stopmay change as the glissando move in register.

(5) CELLO: Combination of previous examples. In this case, thearrival point of the glissando is a double stop, but it does nothave to be precisely articulated. The notes indicated in parenthesesare only approximate. The sounding interval by the end of theglissando can be different from the initial one.

(6) Associated to any given glissando, the “sforzato-piano” written in small letters indicates that the mainnotes should be clearly articulated, whereas the glissando between themshould sound at a significantly lower dynamics. Such indications are subordinateto the main dynamic level of the passage (always indicated below the staff and written in normal sized letters).

" """

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(7) Glissando withouta specified ending note.

" " " $

8 9 10 11 12 13

!(8) CELLO: Rapid bowarticulation (three or four“notes”) in the middle ofthe glissando betweentwo main pitches.

"

(10) Trill and glissando at the same time.On the cello, the player should keep the original hand shapeof the initial trill while sliding on the string. Therefore, the actual intervalbetween the two notes will change according to the current position on the fingerboard.In the example above, the initial interval of a perfect fourth (P4) will enlarge as the cellist moves to the high register.On the clarinet, trills connected to glissando are usually of a short rangeand can be realized through “lip-bend”.

"

(9) Rapid, unmeasured alternation between twonotes. These trills are made to the note given in parentheses,which can be at any interval above the main note(not only major or minor seconds).

% "&''''''''''''''''''''''''' [ca. P4]

" ""

(12) CLARINET: Grace notes with no specified pitches. These "runs" arenot only related to the final note, but to the previous one as well.They are meant to fill the gap between two points with discrete steps,like a discontinuous version of the glissando. The player can choose anypitches, as long as they don't change direction (i.e., always going straightup or down until reaching the next main note).

(13) CLARINET: Flutter tongue.CELLO & PERCUSSION: Rapid, unmeasured repetition of the same note (tremolo).

&'''''''''''''''''''''''''''''''

(11) Grace notes: always as fast as possible.

#" " " " " "

#"(" "# "$$$%

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14 15 16 17 18

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(15) Accidentals apply only to the note before which they are written.The only exception is when a note is immediately repeated in thesame register. Courtesy natural signs (in parentheses or not) areoften used to avoid ambiguities. In the example above, all the four E'srepeated in immediate sequence are flatted.

(14) Quarter-tone notation used in the piece.

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(17) CELLO: “Scratch tone” (special combination of bow pressureand bow speed generating a noisy sound without definite pitch).The sign applies only to the note above which it is written. Sometimesused with an arrow to indicate gradual transition from scratch tone tonormal tone production (“norm.”), or vice-versa.

(16) CELLO: “Bartók” pizzicato.CLARINET: “slap tongue” (exaggeratedtongue action producing a short, sharp percussivesound. Always staccato.

" " "# " " " "* " ") $ (" $ )" $

(18) Molto Sul Ponticello, Sul Ponticello, Ordinario,and Sul Tasto. Used with arrows when a gradual transition from one to another is required.

m.s.p.

"s.p.

"ord.

"s.t.

"

19 20 21 22

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(19) CELLO: The symbol on the left means normal finger pressure on thefingerboard. The second symbol (black diamond) means “half-harmonic”:finger pressure between normal and harmonic pressure. The third symbol(white diamond) means the regular “harmonic” pressure. Arrows indicate a gradualtransition from one sound quality to another.(20) CELLO: A passage using these symbols as noteheads.

+ , -"* , , - "+

(21) CLARINET: The symbol on the left means normal tone production. Thesecond symbol (black diamond) calls for a breathy, indistinct timbre,but still with fully identifiable pitch. The last symbol (white diamond shape) calls fora very breathy sound, with almost no identifiable pitch (or having pitch as timbralmodification). Arrows indicate a gradual transition from one sound quality to another.(22) CLARINET: A passage using these symbols as noteheads.

, *

"* , , , " *

2324 25 26 27

28

!(23) CLARINET: Audible keyclicks. Always very fast andwith irregular rhythm. The actualnumber of events within a givenpassage is to be determined bythe performer.

(24) CLARINET: “Growl”: literally, make agrowling sound in the throat while playingthe specified note to achieve a distorted andnoisy tone quality.

(...) growl. . . . . .%

(25) CELLO: Play one of thehighest notes possible on agiven string (to be chosenaccording to context).

+

(26) CELLO: Tremolo pizzicato (often combinedwith glissando). Keep playing pizzicato notes asthe glissando moves from one pitch to another.The pizzicato iterations should be fast, but theydon't need to be as fast as possible.

pizz.

$$$"$$$"

(27) PERCUSSION: Dead strokes.

!

PERCUSSION MALLETS (from left to right):soft yarn, medium yarn, hard yarn, plastic, brass,wire brushes, snare drum stick.

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(28) PERCUSSION: Crotales. Note that only four notes of the loweroctave are used. To save spaece, the percussionist may choose to removethe unused crotales from that octave.

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1

NOTAÇÃO

2 3 4 5 67

!(1) CELLO & CLARINETE: Glissando entreas notas especificadas, com o ritmo indicado.

* Importante (p/ clarinete): todos os glissandos foramescritos de maneira uniforme, tendo em menteum deslizamento “ideal”, contínuo, entre duasalturas — como num instrumento de cordas. Porém,como nem sempre esse resultado idealizado étecnicamente possível nos clarinetes, ao instrumentistaé dada a liberdade de ajustar cada glissando à sua maneira,procurando sempre a solução que lhe parecer mais convincente.

(2) CELLO: Glissando irregular, variando para cima e para baixoaté chegar na nota especificada.

"

(3) Neste exemplo, o fim do glissando não precisa ser claramentearticulado. A nota pequena entre parênteses indica apenas umaregião de chegada aproximada.

" " "!!!

! "(4) CELLO: Glissando partindo de duas notas em direção a uma só nota.Mantendo o mesmo formato da mão do intervalo inicial, o instrumentistaescorrega os dedos sobre as duas cordas até a nota superior atingir a notade chegada, que deve ser articulada sozinha. Mantendo-se a posição inicialdos dedos, o intervalo real que soa durante o glissando se altera naturalmente(“desafina”) conforme se atinjam regiões mais agudas ou mais graves do espelho.

(5) CELLO: Combinação de exemplos anteriores. Neste caso, o glissandocomeça e termina com corda dupla, mas o ponto de chegada não precisa serclaramente articulado. As notas entre parênteses são somente uma aproximação.O intervalo real ao fim do glissando pode ser diferente do intervalo inicial.

" """

(6) Associado a qualquer tipo de glissando, o “sforzato-piano” escrito em letras menoresindica que as notas principais devem ser claramente articuladas, enquanto o glissandoentre elas deve soar numa dinâmica significativamente inferior. Tais indicações são sempresubordinadas à dinâmica principal do trecho em questão.

" ""#sfp"" " " " "

sfp

(7) Glissando sem definiçãode ponto de chegada.

" " " $

8 9 1011 12 13

!(8) CELLO: Rápida articulaçãode arco (3 ou 4 “notas”) em meioa um glissando.

(10) Combinação de “trilo” e glissando.No CELLO, o instrumentista deve manter a distância dos dedos relativaao intervalo inicial enquanto realiza o glissando. Dessa forma, o intervaloreal (soando) vai variar de acordo com o movimento da mão pelas diferentesregiões do espelho. No exemplo acima, o intervalo inicial de quarta justa (P4,“perfect fourth”) vai aumentar conforme o cellista realizar o glissando para o agudo.No CLARINETE, “trilos” com glissando são geralmente de curto alcance e podemser realizados através da embocadura (“lip-” ou “pitch-bend”).

"" %

(9) Alternância rápida e não mesurada entre duas notas.Estes “trilos” devem ser realizados entre a nota principal ea nota indicada entre parênteses, a qual pode estar a qualquerintervalo de distância da nota principal (não somente segundasmaiores ou menores).

"&''''''''''''''''''''''''''''''' [ca. P4]

" ""

(12) CLARINETE: Notas ornamentais com alturas a serem definidas pelo intérprete.Estas “corridas” não são somente ornamentos da nota de chegada; elas servem parapreencher o espaço entre dois duas notas principais, como se fossem uma versãonão-contínua de um “glissando”. O instrumentista escolhe as alturas, desde que nãomude de direção entre uma nota e outra (i.e., sempre ascendente ou sempre descendente, conforme o caso, até atingir a nota-alvo seguinte). Entre as notas ornamentais,quaisquer intervalos são admitidos (não somente graus conjuntos).

(13) CLARINETE: Flutter tongue.CELLO & PERCUSSÃO: Repetição rápida e não-mesurada da mesma nota (tremolo).

(11) Notas pequenas: sempre o mais rápido possível.

&'''''''''''''''''''''''''''''''#" " "" ""

#"(" " # "$$$%

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14 15 16 17 18

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(15) Acidentes valem somente para a nota na qual eles aparecem.A única exceção é quando uma nota alterada é imediatamente repetida (mesmaoitava): neste caso, as repetições também ganham a mesma alteração inicial.Acidentes de precaução (entre parênteses ou não) são usados com freqüênciapara evitar ambigüidades. No exemplo acima, as quatro notas Mi repetidasem seqüência são todas bemolizadas.

(14) Notação de quartos-de-tom usada na peça.

"%# "# "% ") "& "* "' "# " "")

(17) CELLO: Scratch tone. Combinação de pressão e velocidadedo arco para gerar um som ruidoso sem altura definida. O sinalvale somente para a nota sobre a qual ele aparece. Uma seta é àsvezes utilizada para indicar uma transição gradual do scratch tone

ao timbre normal (“norm.”), ou vice versa.

(16) CELLO: Pizzicato“Bartók”.CLARINETE: “slap tongue”. Ação exagerada com a língua, produzindo um som curto, preciso e percussivo. Semprestaccato.

" " "# " " " "* " ") $ (" $ )" $

(18) CELLO: Molto Sul Ponticello,Sul Ponticello, Ordinario, and Sul Tasto.Setas indicam transição gradual de umtimbre a outro.

m.s.p.

"s.p.

"ord.

"s.t.

"

1920 21 22

!"

(19) CELLO: O símbolo à esquerda indica pressão normal dos dedos da mão esquerdasobre as cordas. O segundo símbolo (losango preto) indica “meio-harmônico”:pressão dos dedos a meio caminho entre o normal e a pressão de realização de harmônicos.O terceiro símbolo (losango branco) representa a pressão comum de realização de harmônicos.Setas indicam transição gradual de um tipo de som a outro.(20) CELLO: Um trecho usando tais símbolos como cabeça de notas.

+ , -"* , , - "

(21) CLARINETE: O símbolo à esquerda indica timbre normal. O segundo símbolo (losangopreto) indica um timbre menos distinto com uma certa quantidade de ar, mas aindacom uma altura identificável. O terceiro símbolo (losango branco) representa um som com muito ar,praticamente sem altura definida (ou possuindo altura meramente como modificação timbrística).Setas indicam transição gradual de um tipo de som a outro.(22) CLARINETE: Um trecho usando tais símbolos como cabeça de notas.

+ , *

"* , , , " *

2324 25 26

27 28

!(23) CLARINET: Key clicks (barulhoaudível das chaves do instrumento).Sempre bastante rápido e em ritmosirregulares. O número exato de eventosem cada passagem fica a critério dointérprete.

(24) CLARINETE: “Growl”: realizar um som gutural nagarganta enquanto se toca a nota especificada. O resultadoé um timbre ruidoso e distorcido.

(...). . . . . .

(25) CELLO: Tocar uma das notas mais agudas emuma dada corda (a ser escolhida de acordo com o contexto).

growl

%

(26) CELLO: Tremolo pizzicato (normalmentecombinado com glissando). Continuar tocandonotas em pizzicato durante o glissando da mãoesquerda. As iterações do pizzicato devem serrápidas, mas não precisam ser o mais rápidopossível.

+pizz.

$$$"$$$"

(27) PERCUSSÃO: Dead stroke. A baquetapermanece em contato com a superfície doinstrumento após o ataque da nota.

PERCUSSÃO - BAQUETAS (esquerda para direita):lã macia (soft yarn), lã média (medium yarn),lã dura (hard yarn), plástico, metal, “vassourinha”,baqueta de tambor.

, , $

(28) PERCUSSÃO - Crotales. Note que somente quatro notas daoitava inferior são utilizadas. Se julgar conveniente, o percussionistapode remover os crotales não usados dessa oitava.

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Bruno Ruviaro(2006)

e = 150-160

I

[last revision: 2008-02-25]

[minor corrections on 2008-06-26]

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Documents

Bruno Ruviaro (1976) - musicabrasilis.org.brmusicabrasilis.org.br/sites/default/files/br_seis_vicios_de... · mude de direção entre uma nota e outra (i.e., sempre ascendente ou