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

6 PERFORMANCE NOTES
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 suggest, though 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: manzuge@[Link]