Loïc Destremau: Amague (2014)

Loïc Destremau

Amague (2014) for saxophone quartet

Dur. 5′

SCORE

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Loïc Destremau

Amague (2014)

for saxophone quartet

Dur. 5′

PREFACE

One of the sources of inspiration for this work is the traditional tango term, amague: In Argentine tango, amague (from amagar – to make a threatening motion) refers to the execution of feigning a step – a fake move. It is used as an embellishment either led or done on one’s own, and may be used before taking a step. An example may be a foot stamping, or when the lead takes a step to the side of the follower, but quickly retracts to the other side.

Gliss.: Is notated as a straight line going from one note to another. If interval is only a semitone, gliss is more like a bend, and exact written pitch is not important, and a fingering change is not necessary.

Key click: x the written note is the result of the fingering.

Breath breaks: Should one need to breathe in the middle of a passage of many or long notes – do it very silently. Breath marks are optional and may be followed ad lib.

Slap tongue: Whether closed embouchure or not is indicated as ‘open S.T. Q ’ or ‘closed S.T. + ’. If unable to perform S.T. simply ram the embouchure and create a staccato marcato note.

Nasal sound: Imitate the nasal sound of the accordion or bandoneon. Technique should be somewhat like jazzy or folkloric.

Molto vibrato: Indicated as ‘molto vibr.’ When indicated, performer should vibrate the note with embouchure, both quickly and widely in pitch.

Sing note: Is only for the baritone, and only one place. If a male performer, lowest d# is recommended, and if a female performer, the octave higher d# is recommended. The sung note is indicated with a triangle notehead.

Tune down 1⁄8 of a tone: Only for the alto. The performer should consistently lower the pitch slightly until the indication-line ends. The effect should be like one of the registers of the accordion, or bandoneon, where there are two notes very close – and thus they interfere like an acoustical vibrato.

In case a multiphonic does not work on one’s saxophone, performer should play the lowest note in normal manner. If the dysfunctional multiphonic is a powerful one, performer should imitate the original sound with a growl or flutter-tongue (rr) plus the lowest note.

Air sound: Square notes Q indicate air-sounds. ‘Down stroke’ d indicates blowing air out through instrument, and ‘up stroke’ u indicates air in, also through instrument.

Symbols

b 1 4 tone below

b 3 4 tone below

# 1 4 tone above

# 3 4 tone above

+ s a lot of breath

s slight breath

Multiphonics

[ Box with number indicates a multiphonic. This list shows the fingering position of the different multiphonics. In the score – multiphonics only change when there is a new box aside the multiphonic chord.