"Albumblatttt" for Mixed Quintet by ramteensazegari

RAMTEEN SAZEGARI Albumblatttt (2013) {a miniature for mixed quintet}

Performance notes: Albumblatttt was conceived with a number of interests in mind. While the work is structurally and aesthetically rooted in art-music, it also explores modes of communication that are integral to certain genres of non-concert electronic music. As a result, the rhythmic identities in this piece should be observed strictly, as they are reminiscent of mechanical processes glitching and contorting in stringent ways. For the aforementioned reason, tempos should not drag, local phrase relationships should be observed aggressively, and the inertia within the modular sections should be upheld. While the piece is scored for 5 instruments, the instruments do not necessarily have an equal role in terms of sonic distribution. The instruments are all equally vital to the fabric of the music, but since the goal of this work was to create a specific tapestry of sound, an uneven compartmentalization of instrumental forces proved to be necessary. -Accidentals carry through the measure in which they occur, including microtonal accidentals. This applies only in the given register. All extended techniques/directions are indicated in the score. -It is imperative that all players consider their part relative to the full score, as contextual consideration defines the individual role. -Questions: rsazegari10@gmail.com soundcloud.com/ramteen-sazegari ^*^* for flute, b-flat clarinet, piano, electric guitar and double bass ^*^*

Albumblatttt /////////////

{ fl - b bclar - pno - e.gtr - db }

Awkward

qsquare, =56 dorky symbols are altered only 50 cents ° 3 *three quarter flat,ball>œotherBbmicrotonal œ™ b>œ Bbœ Flute & 4 Bbœ œ ® ® ®

4 bw 4

vibrato* ÍÍ 3 4 Bbœ œ

6 4 Bbw ™

¯¯ œ ‰

4 4

sub.

mf f

bisb.*

· ‚ ·‚·‚· ‚·‚· ‚· 3 ¢& 4 ® œ œ œ œ œ œ œ œ œ œ œ œ œ ≈

Clarinet in Bb

·‚·‚ · ‚ ·‚

‚· 4 œ œ œ œ œ œ œ œ 4 œ œ ‰™

Ó™

Œ œ

b-˙

6 4 ˙

3 4 Œ ‰ œ œ

fp( p sempre )

pp ppp

>œ. >œ. >œ.

3 &4

4 4

>œ.

® 44

≈™

∑

6 4

∑

3 4 Œ Œ

∑

≈ œ ≈ 44

‰

Œ ‰

Piano

? 3 b>œ. 4

{

œ >.

® >œ.

4 4

∑

6 4

∑

3 4

∑

4 4

∑

ff no effect

qwith=56 low fuzz distortion Electric Guitar

3> & 4 bœ ≈ ™

‰

4 4

∑

6 4

∑

3 4 Ó

∑

4 4

≈œœ > pp

mf { sul a } ord.

thrown bow (approx) 5

Double Bass

≈ œ ‰™ >

3 /4Œ col legno battuto, behind the bridge, always aiming for strings e and a--pitch is unpredictable and scampering

‰

>O 4 œœœœ‰ Œ Œ Œ ? Œ Œ Œ œ 4

>œ

bb Oœ

O 6 ˙ 4

3 4

‰ Ó™

ppp

ÍÍÍ

¯¯

œ œ œ

(non)

° 4 Œ &4

≈™

Fluid Ó

‰™

‰

ÍÍ

Œ Œ

3 ‰ œ 4 #œ > >

#>œ pp

4 4

∑

trying to disrupt the flute's line

#>œ

>œ

‰ ‰ œ

ÍÍ 4 ™ œ œ 4

p pp

ppp

4 Œ ¢& 4

·‚ ·‚

·‚· ‚

œœœœ ‰ Œ

œœœœ≈ œ®

4 &4 Œ

œ >

‰™

∑

3 4

∑

3 4 #˙ ™ >

4 4

∑

®®®œ‰ > p

4 4

{

?4 4

∑

3 4

∑

dead note*

4 & 4 ˙™

#>˙

œ ¿ Œ

5 3 œ ¿ 43 ® #>œ ® ® ® œ œ œ ‰ 44 ‰ ‰

#œ ¿ Œ >œ

4 4

∑

3 3

mp sempre { sul e } impish

? 4 ##œO 4 > sub. ppp

œO >-

œO >

œO >p

##œO >

œO >-

œO >

œO >p

##œO >

œO >-

œO

œO >p

3 4 ##>œO

œO >-

œO >

4 4

sung pitches (empty circular notehead with dot in the center) should always try to emulate an acoustic instrument. a subtle "ooo" sound double singing/playing should suffice. the result should be akin to a sounding unison. naked

2 10

° 4 & 4<#> w

3 4 ˙™

4 4 #w f> ppp

4 ¢& 4

3 4

13 16

∑

4 4

∑

13 16

∑

4 4

∑

13 16

∑

4 4

∑

13 16

∑

5 > > > >5 >5 4 > 3 > 4 & 4 ® #œ ® ® ® ‰ ® œ ® ® ® ‰ ® œ ® ® ® ‰ ® œ ® ® ® ‰ 4 ® #œ ® ® ® ‰ ® œ ® ® ® ‰ ® œ ® ® ® ‰ 4

∑

13 16

∑

4 4

r œ 13 ˙ > 16

≈? 4 4

∑

austere, digital skip effect in relation to the guitar

miserable, uptight

> #œœ

4 & 4<#> œ

>œ

3 4 #œ >

>œ

{

?4 4

>œ

3 4

#œ > austere, digital skip effect in relation to the piano 5 5

∑

low fuzz distortion 5

col legno tratto, behind the bridge annoyed at the redundancy, completely mechancial

> ? 4 ## -Oœ 4

>Oœ

>O œ

> 3 4 ##Oœ

>O œ

>Oœ

>O œ

r œ >

4 œ ™™ >

œ ™™

mf p

Like A Machine, fearless, suffocated double singing/playing Coming Apart With Precision 3 >œ. 6 14 ° 4 ® #>œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ® >œ. ® >œ. >œ. >œ. >œ. œ. œ. œ. œ. œ. œf > > > > > &4 ≈ ‰

q=50

œf

≈ ‰

œf

ÍÍÍ >œ

œ™

5 3

ffmp

double singing/playing subtle "ooo" sound, just as in the flute

# >œ

4 ¢& 4 ≈

·‚· ‚ ·‚ #œ œ œ œ œ œ œ

œ ≈™

‰ œf ™ >œ

>˙f

Œ œ

®®‰ 5

ffmp

p p

fmf

ff 5

>œ. #>œ. ≈ >œ.

4 &4

>. >. >. >. >. >. >. #>œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. œ œ œ œ œ œ œ

>œ. ≈

‰

#>œ œ œ >œ. >. ≈ ≈œ ‰

œ œ œ œ ® œ œ œ œ œ œ™ >. >. >. >. >. >. >. >. #>œ. >œ. ™

®®

3 5 6

3 6

#>œ

{

4 &4

no effect

#>œ

>œ

>œ.

gliss. œ #œ

4 &4 ≈

‰

gliss.

œ nœ ‰

> # œœ.

‰

> > œœ. œœ.

>œ.

‰

≈

>œ. >œ. ≈

>œ #>œ ≈ ≈

≈

3 3

f ff

{ sul d } ord.

#>Oœ >Oœ ?4 ® 4

Oœ

O˙

Oœ™™ ≈

ff sempre

∑

double singing/ stunted rage playing

double singing/ playing 5

molto legato 6

(non)

˙ ° &

b >œ

ÍÍÍ deadpan b>œ œ œ

¯¯¯

1 œ 2 œ 8 4

‰

œ œ

3 4 ‰

œœœ . . > œ #œf ®

≈ ® ‰ . . . . œ- f œ ≈ œœœœ ‰ ‰

® œ œœœœœœ 44

J 5 3 sub. 5

sub.

fff

ff 5 like an electronic pad

·‚· ‚ · ‚· œ #·œ‚·‚ œœœ œœœ œ œ œœ ≈ ™ ¢&

>œ

deadpan

>œ œ œ

‰

* all microtonal symbols are altered 50 cents

1 2 8 œ 4 œ J

3 4

œ œ

® #œ >

4 4

œ œ Lœ œ

3 sub. 5 sub. sole purpose of coloring 5

pppp

ppp

mp 3 stupidly bright

3 3

#œ#œ

##>œœ œœ & ≈ ≈™

arp. as quick as b œ> œ b œ>œ j b œ 1 œœ 2 œ >œ œ®® œ œ œpossible œ 3 œ ≈ ≈ 8 4 > > > 4

conclusive

#>œ œ

≈ œ™ ™ >œ

œ>œœ ˙˙˙

∏∏∏∏∏∏∏∏

pppp

marching into a seemingly sparse field 7

œœ

4 4 with the flute

against the flute

sub. 6

fff

{

∑

& cold and sharp, afraid but determined

& ≈

≈

j 1 2 8 ∑ 4 >œ œ >œ®® >œ œ

5 >œ. >. >.5 > 5 œ n œ # œœ. >œ. b >œ. >. n>œ. b œ>œ œœ œœ >œ >œ œ œ>œ œœ œœ œœ œœ œ 1 2 ® 8 4 J

#>œ #>œ ≈‰

3 4 Œ

œ >œ

4 4

≈ œ. ≈ ≈≈#œ Œ > >. fff

3 7

>œ

œœ œœ

œ > #œ

3 4

4 4 5

3 3 sub.

sub. sub.

3 3

fff

j 1 2 8 œ 4 œ

col legno tratto, behind the bridge

>œ œ œ œ >œ œ

Ó ‰

≈ œ œ

3 >œ 4 œ

>œ

4 4

5 3

Stuck, Regretful 6

G.P 6-8 seconds

q=52

ord.

° 4 & 4 #œ œ œ œ œ œ œ œ œ

4U 4w

2 4 #˙

˙™

U Ú

1 4 4 bœ 4 w > mp

ffp

ff G.P 6-8 seconds

3 3

4 ¢& 4

2 4˙

#œ œ œ ˙™

4U 4w

U Ú

hollow

sfmp

1 4 4 ∑ 4 ≈œ œ œ >

‰ Bœ œ œ

œ œ.

sub.

pp p

p G.P 6-8 seconds

belligerent

<b> œœ ™™™ bœ>œ œ œ‰ 4 &4

Œ 42 Œ

‰ ≈ œ. ≈ 44 Œ > f

œ ‰™ >.

U Ú

Œ ® ® ® œ. ‰ >

3 3

1 4 4 ∑ 4 Œ

‰

≈ ‰ œ >.

b œœ œœ œœ œœ > >

mf p

indignant 3

{

4 &4

‰

® >œ. ® >œ. ®Œ

œ ‰ Œ 42 >-

ffff

fff

4 4

∑

U Ú

∑

G.P 6-8 seconds

>œ

4 <#>œ ™ &4

1 4 4 ∑ 4

‰

Œ 42 Œ

≈œœ >

U Ú

4w 4

1 4 4 ∑ 4 Œ

>> ® bœœ œ

≈ ‰™

œ>œ œœ

p lining up with the end of the held wind notes

f ord. { sul a } thrown bow

4 /4

œ™

œœ >

>œ

Œ 2 œœœœ‰ ‰ œ 4> >

4Œ

≥≤ ≥ ≥≤ ≥≤ Oœ Oœ Oœ Oœ≤ Oœ Oœ Oœ Oœ Oœ≤ ‰ Œ ≈® p

ppp pp G.P 6-8 seconds

ppp

q=52 { sul e }

U Ú

1 4 4 ∑ 4 Œ

> ® µµOœ Oœ™™

p sempre

˙O

like residue, cracked 3

double singing/playing 3 3

° &

j ≈ Œ œ f œ f œ f ≈ J

≈Œ œBœ.

3 4 ˙™

4 4 bw >

≈ Œ œ B œ.

sub.

pp p

changing in color

®Bœ œ™

¢&

j ≈ ≈ œf œf œf Œ J

3 3

˙™

3 4 ˙™

4 ≈ 4 œœ >

‰ Bœ œ œ

® Bœ œ™

œ œ.

>œ

˙™

sub.

3 3 5 5

‰

∑

3 4

4 Œ 4

∑

‰

b œœ ™™ >

≈

b œœ œœ œœ œœ œœ > > >

{

∑

3 4

∑

4 4

∑

4 Œ 4

3 ™ 4 O˙™

b œœ ™™ >

∑

bœ>œ œœ

>> ® bœœ œ

∑

≈ ≈ ‰

pp p

? <µ><µ>~w

‰

œ >.

3 4

‰

4 ~w 4

double singing/playing 3

° &

3 4 ˙™

4 4bw >

≈ ≈ œf œf

≈ Œ œ Bœ.

sub.

3 4

œf J

mp mf mp

changing in color 3

¢&

3 4 B˙ ™

<B>w

4 ≈ 4 >œ œ

‰ B>œ

œ œ

>œ

œ mp

œ. >sub. mf

3 4

® Bœ œ™

˙™

3 3 5

∑

3 4

∑

4 Œ 4

‰

‰ b œœ œœ œœ œœ > >

≈

œ >œ

{

∑

3 4

∑

4 4

∑

4 Œ 4

> > ® bœœ œ

3 ™ 4 O˙™

4 ~w 4

3 4

b œœ ™™ >

∑

? <µ><µ>~w

‰

œœ >.

3 4

‰

≈

>œ

≈

> ≈ œœ œœ

∑

3 4

∑

3 4

G.P 8-10 seconds 3

5 35

° 3 & 4 B˙ ™

U ∑

raw, cracked

5 4 Bw >

˙™

3 4

œ Bœ. >

sub.

G.P 8-10 seconds 3 changing in color

3 ¢& 4 <B>˙ ™

U ∑

5 4 Bw >sub.

˙™ mf

3 4

Bœ. >

œ mp

G.P 8-10 seconds

3 &4

∑

U ∑

5 4 b ww >

∑

œœ

œœ ™™

3 4

b œ. œ >

p sub.

{

3 &4

∑

5 4

∑

U ∑

∑

3 4

G.P 8-10 seconds

3 &4

∑

5 4 bww >

∑

œœ

œœ ™™

U ∑

bœ. œ >

3 4

sub.

mf G.P 8-10 seconds

? 3<µ><µ>O˙ ™™ 4

5 > 4 µµ~w

O˙™™

Oœ

sfp

> µµOœ

U ∑

≈

3 /4

Fundamental, Solicitous double singing/ playing heavily accented

double singing/ playing heavily accented

q=ca.56 square, dorky

¯¯¯

° 3 &4

bœf ® Bbœ ™ ‰™

® Bbœ œ ‰™

4w 4

bœf ® Bbœ

f ( bisb. more pronounced from here to the end. suffocated, trying to break out)

‚· ‚ · ‚

·‚ ·‚·‚·

3 ¢& 4

® œ œ œ œ œ œ œ œ œ œ œ œ œ ≈

· ‚ · ‚ · ‚ ·‚

·‚ · ‚ · ‚·‚ ·‚ · ‚ · ‚ · ‚ · ‚ · ‚ ·‚ · ‚ · ‚ · ‚ ·‚ · ‚ 4 œ œ œ œ œ œ œ œ 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

fmp ( mp sempre)

>œ.

>œ. >œ.

3 &4

>œ.

4Œ 4

≈™

‰

>œ.

≈™

≈

≈ ‰

Œ ‰ ? 3 b>œ. 4

{

œ >.

® œ. >

® 4 4

bœ. >

œ >.

low fuzz distortion

q=ca.56

3 >. & 4 bœ ≈ ™

‰

4 4

‰

4œ œ œ œ ‰ 4>

∑

mf col legno battuto, behind the bridge 5 thrown bow (approx)

3 /4

≈ œ

‰™

>œ

5 disruptive

≈ ≈ ≈ œ ≈ Œ >

‰

6 (non)

ÍÍÍ œ™

° <Bb>˙ ™ &

b>œ

¯¯¯ 3 Bb˙ ™ 4 ®

4 4

·‚· ‚ · ‚· ‚ · ‚ · ‚ · ‚ · ‚ · ‚ · ‚ · ‚· ‚ ·‚ · ‚ · ‚·

¢&

· ‚ · ‚ · ‚ · ‚ ·‚ ·‚ · ‚ · ‚ · ‚· ‚ · ‚ · ‚ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ® 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44

>œ.

>œ. ≈

‰

3 4 Œ

≈

4 4

‰

Œ ≈

{

≈

bœ. >

> bœ.

‰

bœ. >

3 4

4 4

∑ 5

≈

‰

œ.

3 ® 4 œ.

œ.

‰

4 4

(non)

ÍÍÍÍ 3 4 œ ≈™ ‰

° 4<Bb>w &4

·‚ · ‚ · ‚· ‚ ·‚ ·‚ · ‚· ‚ · ‚· ‚ · ‚ · ‚ · ‚· ‚ · ‚· ‚ · 4 3 ™ ¢& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ≈ ‰

∑

4 4

U ∑

∑

4 4

U ∑

4 4

U ∑

no concern

>œ.

4 &4 Ó

>œ.

3 4

œ. ≈™ ‰

≈™ ‰

‰ bœ. >

{

?4 4

4 &4

∑

œ >.

3 4

∑

4 4

U ∑

3 4

∑

4 4

U ∑

3 4

∑

4 4

U ∑

thrown bow (approx)

4 / 4 >œ

‰ >œ œ œ œ