Edgar Guzmn

After tomorrow
(2011)
amplified saxophone(s) and pre-recorded sounds

The composer would like to thank the Secretaria de Relaciones Exteriores and the Consulate General of Mexico in Chicago for the support granted in the completion of this work, and to Ryan Muncy for his entrepenuer and commitment to this project.

After tomorrow
(2011) to Ryan Muncy

PERFORMANCE NOTES 6
1) GENERAL NOTES Saxophone(s) and tape Both the soloist part of the piece as well as the accompaniment part -which shall be either performed live by a second saxophonist or previously recorded by the soloist him/herself in a stereo file- can be performed using any member of the saxophone family (soprano, alto, tenor, etc.), and they can be combined in any way and/or switched at any moment of the piece that presents itself as suitable. Cortzars text The piece is inspired by Julio Cortzars tale El Perseguidor (The Pursuer). Some sentences and sentences fragments have been used alongside the more traditional score elements as another form of the notational strategy. The actual content of the text is never heard in the actual performance, but it is used instead as an imaginary sound catalytic for the performer. That said, the performer (and anyone else for that matter) is highly encouraged to read the full text. Careful thoughts were given at the way of using Cortazars text as a source for sound material. Given the scarcely and particular use of the text within the score -along with considerations regarding the copyrights owners (namely Julio Cortazar and his heirs) - and because the text itself is not part of the piece, a simple instruction attached to the score asking to the performer to get him/herself the text returning to the score after reading it was taken into account. However, the inclusion of these fragments within the score obeyed to a more or less specific sound content and dynamic ideas of development that the text itself (might) suggest when organized within a specific structural frame of development (i.e. the one created for this piece), always related (maybe even subsumed) to the pieces main sound design. 2) CLEFS AND ACCIDENTALS
Sax solo

4
Dynamics

single tone clef

' possibile
niente

straight line (

) dynamics are soloist's dynamics; the ones dotted (

) are 2nd sax/tape only

Tape/Sax 2

multiphonic clef

Accidentals are directly related to the immediately preceding or following multiphonic:

= high(er) multiphonic pitched element (mpe),

= middle high register mpe,

= low(er) mpe,

= middle low register mpe

3) SINGLE TONES AND MULTIPHONICS The actual pitch of the single tones, when used, is dependent on the multiphonic from which they came from or the one they lead into; itll be either an element of prolongation or anticipation of/to the full multiphonics spectrum. Multiphonics are going to be selected by the performer(s) in accordance with their own multiphonic repertoire and the particular saxophone being used. Single tones are called for at certain moments of the piece through the use of the single tone clef, but they might also appear naturally as part of multiphonics proper in and out fading period. The four-line staff along with multiphonic clef are meant to represent the relative sense of frequency highness or lowness once they are compounded in the multiphonic. From the bottom (low freq.) to the top line (high freq.) the spaces in between does differentiates the multiphonics in account of relative 7 frequency too, but they also does it in account of timbre qualities. Those multiphonics notated on lines have a different timbre quality than those written on spaces, in accounts of the relative amount of battements they produce, the amount of air noise that it contains, and the relative dynamic range that they 1 are capable of. Lined multiphonics have a higher, very noticeable, amount of battements, contains a lesser amount of air noise in the compounded sound, and are capable of a wider range of dynamic play without breaking the multiphonic. 1 For the sake of variability and as a bit of a research into different possible multiphonic qualities, sometimes the notation suggest the compounding of multiphonics with different timbrical qualities: M
Tape/Sax 2

multiphonic spectrum of frequencies:

Tape/Sax 2

Composers note: The use of multiphonics in this piece is approached basically in a dualistic way (consonant-dissonant), so when two multiphonics are 4 synchronically written the purpose is to call for a 'third kind' of multiphonic outside of the basic opposite type, but performed with one saxophone only. If not different quality is achieved (or discovered yet) read it as if there were only one multiphonic notated. Ryan Muncys note: Consonant and pure sounding multiphonics often have a higher sense of fragility than those that are dissonant and have interference. Inherently, 10 there is a very wide range of stability. Dynamics might not be totally consistent with that which is written in the score, i.e. a true crescendo from ppp to f on a consonant, pure multiphonic could be basically impossible (on the other hand, some of the loudest, nastiest multiphonics are only possible at forte and louder). When necessary, keep dynamics somewhat relative to the multiphonic in use, taking advantage of the amplification to make up for this intrinsic quality. 4) IVES A reference to Ivess song The Cage is made in Cortazars text. Thats not however Ivess musical source for the excerpt that is written in the score. The idea of literally basing the pieces structure on that of Cortazars text was never part of the strategy when started working with it. Since it was never the purpose to make a literal translation of the text but to find in it, extract from it, some of the pursuers creative energy, a desire for more than just the immediate pleasure-, there was no reason to use Ivess leopard song, or to use Ives whatsoever. 4 Nevertheless, while making late musical and structural tests, a musical reference to Ives by means of an excerpt of Adeste Fideles in an Organ Prelude, seemed actually to work as a musical strategy, summing-up one of the main (and original) dialectical and aesthetic characteristic present throughout the piece: the pedal chord on the organ (transmuted into sax multiphonic(s)), as the genesis of the life that is above it, no matter how different it becomes after being released developing life on its own (in this case, guided by Johnny/Cortazars words), retaining nonetheless an intrinsic and stressful connection to its7 sound origin, sometimes even going back to it, fusing to its harmonic and energetic source.
4

X M ( X)

X ( X)

(13")

, or, in the case of two multiphonics with the same timbrical quality, an expansion of the

(10")

10

Ryan Muncys comments: At the conclusion of the piece, a multiphonic with three pitches (Bb-F-Bb) is given. My solution to this would be to record a written low Bb on alto saxophone and allow the sonority to take on its spectral harmonies, so one can easily hear the fundamental, the next Bb up one octave, and then the F (it means that I would be reading the pitches instead of transposing them for alto saxophone). I feel the resulting sound profile matches the rest of the piece better than if I was to record three separate pitches and edit them together. 5) AMPLIFICATION Soloist performers full sonic-aura must be amplified. Tone production, voice, mechanism, they must be amplified and have the signal equally sent to a minimum of two loudspeakers selected accordingly to the saxophone(s) chosen to perform. A different pair of loudspeakers should be used to diffuse either the pre-recorded tape or the performance 7of the second saxophonist (for whom only the tone production is required to be amplified), and they shall be located in the same spot than those used to spread the soloists performance. If a different pair of loudspeakers is not available its possible to use the available set to amplify both signals, equally distributed in the stereo set. The critical part of the piece as far as amplification is concerned can be found at the end of the second page: all of a sudden he lets go with a blast, could of split the fuckin celestial harmonies(). Whatever is performed, it shall be able to be qualified as a chaotic and terrifying moment, and much of it is intended to be accomplished by means of amplification. If useful, try doing the soundcheck on this section first, accomodating the rest startting from there.

PROGRAM NOTES

10

In 1964, Julio Cortazars El perseguidor (The pursuer) was published. Its story line describes a sequence of events surrounded by a series of physical and mental crises in the life of saxophonist Johnny Carter, as seen and described by Bruno, the music critic, scholar and friend. From Brunos puritanical world point of view, Johnnys anguished life descriptions seemed like a stereotyped personal analytical resource intended to understand and connect, albeit aesthetically, with the life and work of an art geniuses. Nevertheless, Johnnys sole creative energy escapes Brunos own words, as well as it escapes Johnny himself, apparentely condemning him to a life of eternal pursue. Whatever performance is recorded, whatever sounds are written, they will always

minimum of two loudspeakers selected accordingly to the saxophone(s) chosen to perform. A different pair of loudspeakers should be used to diffuse either the pre-recorded tape or the performance of the second saxophonist (for whom only the tone production is required to be amplified), and they shall be located in the same spot than those used to spread the soloists performance. If a different pair of loudspeakers is not available its possible to use the available set to amplify both signals, equally distributed in the stereo set. The critical part of the piece as far as amplification is concerned can be found at the end of the second page: all of a sudden he lets go with a blast, could of split the fuckin celestial harmonies(). Whatever is performed, it shall be able to be qualified as a chaotic and terrifying moment, and much of it is intended to be accomplished by means of amplification. If useful, try doing the soundcheck on this section first, accomodating the rest startting from there.

PROGRAM NOTES
In 1964, Julio Cortazars El perseguidor (The pursuer) was published. Its story line describes a sequence of events surrounded by a series of physical and mental crises in the life of saxophonist Johnny Carter, as seen and described by Bruno, the music critic, scholar and friend. From Brunos puritanical world point of view, Johnnys anguished life descriptions seemed like a stereotyped personal analytical resource intended to understand and connect, albeit aesthetically, with the life and work of an art geniuses. Nevertheless, Johnnys sole creative energy escapes Brunos own words, as well as it escapes Johnny himself, apparentely condemning him to a life of eternal pursue. Whatever performance is recorded, whatever sounds are written, they will always be a mockery of pursuers desire, of everything hed wanted to say while fighting up against that he is pursuing.

ABOUT THE COMPOSER

Edgar Guzmn (b. 1981, Mexico) is a freelance 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 and Germany. He has been recipient of several grants and distinctions such as the National Fund for the Culture and Arts Young Creators Grant in 2006 and again in 2009, Artistic Projects Sponsorship Program granted by the Mexican Youth Institute in 2006, Queretaro State Institute of Culture and Arts' Young Creators Grant 2002 and 2004, Guanajuato State Intitute of Culture and Arts' Young Composers Specialization Grant 2005, National System for Musical Promotion's Annual Commissioning Program 2003, and 31st International Competition of Electroacoustic Music and Sonic Art Bourges Residenc Award in 2004. His musical production is comprised of commissioned by and dedicatory pieces to a number of institutions, ensembles and performers such as the 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 I-Chen Yeh among others. Email: [email protected]

After tomorrow
2011
"I don't buy your God... There's no use getting past that door if it's him on the other side opening it."

Edgar Guzmn 1981

A
M X

20"

Johnny Carter

10"

breath imperceptibly when needed

Sax solo

7"

2"

11"

Dynamics

1
breath imperceptibly when needed

Tape/Sax 2

20"

0'00" (counter only valid if a tape and not a 2nd sax plays the part) X(perform/record a multiphonic with similar but not the same harmonic content and/or register than that of soloist's)
1

45"

25"
4

B ! decapitated sentences, his sighs, his impatient

angers... (...) Johnny is trying to move forward with his

Sax solo

Dynamics

! X X

4 7

Tape/Sax 2

M(X)

(45")

0'45" X

20"

10"

Sax solo Sax solo

4
Dynamics

4 7 10

(...) he preferred desire rather than pleasure and (...) Johnny seems to use that to explore himself, to bite into the reality it hung him up, because desire necessitated his that escapes every day. advancing, experimenting, denying 4 Incapable of satisfying itself, useful as a continual spur, an infinite construction, in advance the easy rushing the pleasure of which is not in its highest pinnacle but in the exploratory repetitions, (...) around...

Tape/Sax 2

X M ( X)

(10")

15"

8"

X 7"

5"

X X 13"

7
Sax solo Sax solo
10

3"
(...) in the use of faculties which leave the suddenly human behind without losing humanity.

15" X

Dynamics

10 4 7

! MX
1

"

7
Tape/Sax 2

X ( X) M

X X
(13")

2'15" X 12" 20"

C
(15")

12"

10"
M

12"
senza vibrato

2
Sax solo

" X

2" X simile
)

in preparation for upcoming multiphonic (which shall have a different sound quality than the one from which the single tone had previously come from), use a different fingering to perform same previous sinlge tone's pitch (or a very close one in pitch)

"X
1

Dynamics

Tape/Sax 2

(X)
(20")

2'35"

34" 18"
4

(10")

2"

Sax solo
4

M (X)

4 7

"

Dynamics

SX (same pitch as before) M X(same multiphonic as before) SX sim.

senza vibrato
4

"

"

" "X
Unpitched air

6"

('same' initial pitch but an M octave higher)

"

1
a tape, optional to record the 0'00"(2nd track) If performing with track orittoiscontinue previous one. upcoming events in a second X

Tape/Sax 2

20"

8"

22"
Sax solo

1
7

10" X
senza vibrato

M X

flz

4
4

"S X
7

!
7 4

Dynamics
10 7 4

Tape/Sax 2 4

21"

10

X 9"

D
4 Sax solo Sax solo

perform this passage both in and out of saxophone, with and/or without embochure ad lib. * incidental key noises and un-pitched key 'slap' *

10

7Dynamics
10 7 4

every once in a while a chill'd shake him... all of a sudden he lets go with a blast, j could of split the fuckin' celestial He's slipping into his usual delirium, he mutters parts of words, spits. 10 harmonies (...) 7 7
7 10

after the initial blast, start using voice to its extension as if yelling, though unintelligibly, what previously have just being muttered, resulting in a chaotic and terrifying moment

Tape/Sax 2 4

Every time the piece is being performed by two saxophonists, synchronize the begininning of the 'blasted' sound with that of low multhiponic's attack. When performing alongside a tape, if synchronization seems unlikely overlap both sounds trying to 'blast' no more than a second after low multiphonic begins.

20"

X 15"

1'33" X

(counter valid only if recorded in a second track)

10"

(...) parts of words, spits. Johnny lets loose with a sound I swear I'd never heard before or since.
Sax solo Sax solo

anyone could hear its deficiencies, ...a terrible beauty, the anxiety looking for an outlet in an improvisation full of flights the breathing perfectly audible at in all directions, of interrogation, of desperate gestures. the ends of the phrase, and especially the final savage drop, that short dull note which sounded to me like a heart being broken...

Dynamics

free dynamic play

1
S "

Tape/Sax 2

M X

60" 25"

X X

15"

20"
Sax solo

E 1

50"
(...) delirium, he mutters parts of words...

M X
4
7

Dynamics

S " X

senza vibrato

Johnny sat up in bed and started (...) sighs... slowly, chewing every word, and then blew it out like a trumpet solo, insulting everyone (...) 4 without looking at anyone

&

Tape/Sax 2

S "X

2'58" 15"
&

bX bX X

! 3'43" p
7

F
4
Sax solo

Tape/Sax 2

4
Sax solo

bbbbb X X X X X X X X X X X X & X X X X X X X p sempre 7 4'33" 10 X & ( bb X ) X p sempre 7 bbbbb (...) something Johnny's not very careful about while he's sure that what he's singing is something good. bbbbb &
X X X X X X X X X X X X X
7

bbbbb

From Charles Ives, 'Adeste Fideles' in an Organ Prelude. The sounds written in the score are just the basis for a series of 'flights in all directions, of4interrogation, of desperate gestures'

(...) needless to say, many of the phrases hes singing are not absolutely Ives, (...)

X X X X

10

X X X X X

Tape/Sax 2
4

X & ( bb X ) X &
10

10

7
Sax solo

10

bbbbb bbbbb

X XX X X

X X

Tape/Sax 2

&

bX ( bXX )

X U bX ( bX ) X

al niente
Approximated total duration: 9 ! min.

al niente
7

Approximated total duration of 'F' section is 80 seconds. Pitches on the staff are, in principle, actual pitches; however, they shall be transposed in order to mantain the same -or similar- intervalic relationship with the multiphonic's 'harmony'; both the solo and the 'accompaniment' part are suitable of adjustments (i.e. transposition up and/or down 10 to a n interval or an x register) depending on the sax (alto, tenor, etc.) being used.