HECHO EN MEXICO

0'00"

(2009-2010)
to Kivie, thank you for your trust

Edgar Guzmn
1981

TAPE

talon

bow pressure

extreme
high
normal
none

bow location

bridge
spm
ord
sul tasto

1'00"

approximated bow change frequency: 13 - 17 sec

legatissimo
punta

talon

punta

arco
open string(s)

I
II
III
IV

string(s)/
pitch source

(*)
p

1'00"

bow pressure

bow location

string(s)/
pitch source

approx. bow change frequency: 10 - 12 sec; additional bowing may be performed

(**)

talon

punta

(+) punta

bridge
spm
ord
sul tasto
extreme
high
desired sound quality: pitched but distorted
normal
I
none
II
III
IV
bridge
spm
ord
pressure
sul
tasto
ratio

clearly G pitched
sound for about
2 seconds

XX
( )

This staff represents bow pressure's ratio between the two voices that are involved in the passage, the upper line corresponding to the upper voice or string III, and the lowest line to the string IV;
middle line represents a balanced pressure between the voices. Both of voices are to be played at all time, so the graph indicating a higher pressure in either the upper or the lower voice represents
the 'emergence effect' that has to be acomplished with the corresponding voice making it relatively preeminent to the other one in which pressure decrease in inverse proportion.

1'36"
talon

bow pressure

extreme
high
normal
none

bow location

bridge
spm
ord
sul tasto

I
II
III
IV

extreme
high
normal
none

bow location

bridge
spm
ord
sul tasto

I
II
III
IV

approx. bow change frequency: 4 - 5 sec

simile

punta

(( XX ))
SzF

nX

2'00"

nX

IV

2'35"

gradually 'figure 8' bow (++)

pressure ratio remains balanced

(( XX ))
F

initial bow change frequency: 3 sec

punta
talon

nX

poco cresc

sul tasto's deep end

C 2'00"
bow pressure

Synchronize bow direction change with bow location movement's change as a preparation for oncoming
circular bow and 'figure 8' (++); as before, additional bowing might be performed

pressure
ratio

string(s)/
pitch source

talon

1'32"

extreme
high
normal
none

I
II
(*)
III
IV

string(s)/
pitch source

dynamic fluctuations ad libitum

nX

simile

Incorporate 'outsider' accents, sffz and bow sudden movements during the transition to the figure 8 as preparation
to the next improvisatory passage's character.

(*) Overall dynamic is to be mantained; nuances in within are to be performed by means of

expressiveness
(**) Although the sound remains continuous (or legatissimo), some breakdowns may occur 1
1
due to pressure and bow position changes

(+) If 'extra' bowing was performed, this and others bow indications might be inverted
(++) 'Figure 8' bow is generated by performing a bow change in midway of spm (or bridge)
to sul tasto transitions and viceversa; a complete figure 8 cycle is comprised by
with an initial frequency in this passage of 0.5 (half cycle) per second

2'35"
C'

figure 8

(*)

bow pressure
bow pressure

extreme
extreme
high
high
normal
normal
none
none

bow location
bow location

bridge
bridge
spm
spm
ord
ord
sul tasto
sul tasto

3'08"

Passage's sound material available for free combinatory

poco frenetico

= 2 sec)

circular bow ( j = 1 sec)

(*)

'brush tremolo' (vertical tremolo

as faster as possible)

slow vertical bow

(none horizontal movement)

3 5

nX

(sul tasto)

nX

slow and wide brush tremolo

attacca

nX

ThisThis
passage
works
bothasasaan
evolutionbetween
of C andthe
asmore
a bridge
between
thequality
previous
butpassage
distorted
quality
and unpitched
the following
unpitched
quality
D. (D).
Frequency
modulations
in alloffive
are 2
possible
passage
works
transition
or less
pitched
of pitched
previous
and
the main
character
of the
nextofone
Frequency
modulations
1 and
are possible

accelerandos
and rallentandos.
Any combination
and/orand
sound
modulation
between
all five
elements
is possible,
and any
them
can be
suddenly
interrupted
or broken
a different
one.
I by performing
by performing
accelerandos
and rallentandos.
Any combinatory
sound
modulation
between
all five
elements
is possible,
andof
any
of them
can
be interrupted
at any
momentbyby
a different
element.
I
II
II
III
III
IV
IV

XX

string(s)/
string(s)/
pitch
source
pitch source

F sudden accents, sffz, crescendo and decrescendo ad lib.

OVERALL DYNAMIC:

3'08"

= 6 sec

3'35"3'35"

= 1 sec
= 1 sec

attacca

In addition, a modulation between the two main fequencies is to be performed.

bow pressure

extreme
high
normal
none

extreme
high
normal
none

bow location

bridge
spm
ord
sul tasto

bridge
spm
ord
sul tasto

I
II
III
IV

string(s)/
pitch source

nX

nX

vary sul tasto's deep

nX

vary sul tasto's deep

(( XX ))

speed
control

I
II
III
IV

accel...
Three lines staff above is used as a speed modulation control for vertical bow's frequency; middle line is the frequency assigned in each case to the corresponding figure, upper line represents an
increase of approximately double the frequency (i.e. initial value -in seconds- multiplied for 0.5), and the lower line represents a decrease of about half the speed (value in seconds multiplied by 2).
In addition, a modulation between the two main fequencies is to be performed.

OVERALL DYNAMIC:

E
bow pressure

3'45"

j
X = 1 second (ca.)

extreme
high
normal
none

bow location

bridge
1
spm
ord
sul tasto

string(s)/
pitch source

I
II
III
IV

F accents and small sfz ad lib.

Rhythmic notation is not intended to be performed literally, but to server as a visual guide for the temporal flux
organization and to get a first definition of the performance actions contained in it.

bow pressure

extreme
high
normal
none

bow location

bridge
spm
ord
sul tasto

string(s)/
pitch source

I
II
III
IV

(**)

multiphonic

nX
SZ

SZp Szp

n OX
f F (++)

Szp
pressure
ratio

(+) approx. bow speed based on change frequency: 4 - 5 sec

Wait until the first indicia of the tape's loud sound is heard to immediately play the grace note followed by the sffz

3'57"
(+)

4'15"

4'09"

(+) approx. bow speed based on change frequency: 4 - 5 sec

(**)

M
2

desired sound quality: very high pitched sound

with a 'shadowed' low G resonance

2
? n OX
nX
(
)
SZ f
( F)
(*) might be instead and viceversa
22
11
1
(**) Multiphonics are a combination of harmonics and bow noise; the parameters notated are 1

those bow actions which combinatory proved efficient to produce a multiphonic or multiphonic 'alike' sonority, along with the string and the node where to perform a harmonic
pressure touch -a different combinatory of those parameters is possible if proves better
suitable-; ask the composer for a sound sample of those multiphonics used in the piece

22

2
2

SZf

(III)

n OX
F (++)

(+) In contrast with the previous notation where the time amount specified was that for the
bow to move all the way from one point to another, now the bow speed resulting from
that movement is the one which in combination with the rest of parameters produces the
multiphonic, but there's no need for the bow to go all the way from talon to punta.
(++) Alhough is possible to manipulate multiphonic's volume, it's possible than in most cases
the actual dynamic would be inherent to the overall combinatory of parameters and won't
be a suitable subject for manipulations, at least not without breaking the multiphonic.
Nevertheless, score' specifications of a particular dynamic responds to the necessity for
picturing its expressive2 relationship within the musical flux.