Itiberé completed “Pedra do Espia” over New Year's 2000 at his parent's house in Intanhaém, a city in the state of Sao Paulo near the Atlantic coast. He was inspired by a rocky outcropping overlooking the ocean and took its name for the title of this piece. “Pedra do Espia” is a maracatu in 3/4 and includes what Itiberé described as a “really cool” improvisation section in e minor. “Pedra do Espia” begins in a veil of sound, featuring snare and cymbal rolls and string tremolos. A descending line in the vibes and violin is answered by a saxophone multi-phonic, flute trills, and tremolos in the strings. Out of this texture the alto sax appears playing a rubato melody (Figure 6.7). The phrase repeats, and the alto is joined by piccolo, clarinet and tenor sax, playing in unison. A rising line brings in the rhythm section and we are into the groove. “Pedra do Espia,” Introduction. (Figure 6.7) Rubato ‘Ab(#11 — coats) ET piss aa c 9(13) Abt) Det) curt) oyFigure 6.8: Flute duet, opening measures Flutes M9 (add 13) pet M9 (add 13) Piano Pandeiros Agogo The first theme enters as a long flute duet, playing at first over bass and piano, later joined by two pandeiros and agogo (Figure 6.8). The melody is built on two and four bar repeating patterns in a northeastern style, the flutes voiced in parallel thirds, and explore different ways of tonguing, “growl” sounds (produced by singing through the flute while playing), and extremes of dynamics and timbre.Flute phrase, first statement (Figure 6.9) e First repeat (Figure 6.10) In the duets fifth phrase (Figure 6.9), a two measure pattern of off beat sixteenth notes uses four different articulation patterns. The first time, the phrase is played staccato, the second time with doubled tongue (Figure 6.10). The next two. repeats are played up an octave. In contrast to the first two passes, the third is slurred and flutter tongued, while the last repeat employs a “growl” tone. Throughout the phrase the ensemble also crescendos until the last repeat becomes raucous.