Sarabande

Isaac Raymond Smith

Sarabande For Flute (2020)

Sarabande Instrumentation: Flute Duration: 3 minutes 30 seconds Program Notes: This short piece is written in collaboration with Leo Sussman for his 2020 reinterpretation of the Baroque dance suite. As the “slow movement” of the traditional suite, I intended for this to be a more serious movement. While the lack of a meter and the numerous extended techniques explored in this work seem to distance it from the Baroque dance, the gesture on which this piece is built comes from the French and German traditional dance that Bach and his contemporaries would have worked with. This dance was in a triple meter, and featured a repeated 1-bar cell with the rhythm repeated continuously. Additionally, the dottedquarter on beat two received the stress, both in the music and in the dance. This rhythm makes up the main gestural motive in the piece: long-long/accented-short. This is presented at the beginning with a big gliss up to the second beat, which receives an accent, then a gliss down to a short staccato note. It is presented and developed throughout the piece, and serves to distinguish the 2 “A sections” from the 2 “B sections” in the piece (also derived from the sarabande, which was often in an AABB form). While the A sections feature this gesture going in an upwards direction, the Bs preserve the gestural figure, but invert it, so that the accented part of the gesture falls on the lowest note instead of the highest.

Full Score

1

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Full Score

1

T Notation Guide (in order of appearance): Ì

Ì

& & &

~~ œ ~ ~ ~ ~ ~ œ~~

~œ ~ ~ ~ ~ ~ œ~~~ -

& &

#¿ O Tongue Pizzicato #¿ Osa ‚ sa

& &

T

Rapid “rip” up using keysT Timbral trill- length of wavyT exact pitchestp not necessary, line denotes length vv vt of trill go for the shape tp

& &

T

œ ÍÍÍÍÍÍÍÍÍÍ

T

‚

∑

T

T T

W

œ ÍÍÍÍÍÍÍÍÍÍ W

vv

W

Isaac Raymond Smith June 16, 2020

W

vt ram

T

#6 O Vocal gliss- “sing” on givenT consonants ram flute, #through 6 T rapidly glissing up. Exact sa O pitch not necessary ) )

sa

∑

T

T T

Ì

Bœ

µœ

Smooth gliss up by rolling flute

Bœ

¿

µœ

¿ œ ‚ Key Click ah œ sa‚ W ah

sa

W ∑

Ì

Ì Ì

Ì

œ ~ ~ ~ ~ ~ œ~~~~

&

Ì

vt

#6 W O

vv

ram

W

vt

T

Ì

Bœ T

¿ µœ Ì

ah

œ ¿‚

T Sing given vowel on pitch ofÌ T Key click with mouth coveringT Tongue ram- finger top note, sa sa sa ram ah bottom note sounds embouchure hole. Finger top diamond notehead while also note, bottom note sounds playing normal notehead

#) 6 O

# ¿‚ O

&

T

sa

‚∑

&

Sing given pitches through flute using giving vowels/consonants.

∑

∑∑

œ W‚

T

sa

∑

T

Ì

sa

W∑

)∑

&

Ì

T

#-¿ O

&

W œ ÍÍÍÍÍÍÍÍÍÍ

vv

W

tp

Ì

T

tp

Use given vowel/consonant T Speak through flute on givenÌ to force air through flute; vowel/consonant, no exact “sing-play” pitches

∑

∑ ∑ ∑

∑

∑∑

∑

Ì Performance Notes:

&

1. Meter is not used in this piece. Instead, graphic representations show suggestions of where each note should be placed in time. 2. As indicated on the first page, each system represents 10 seconds. Each hash mark shows 5 seconds. 3. Durations, similarly, are not indicated with the typical stems and noteheads. The length of the lines showing trills, timbral trills, glissandi, etc. indicate how long those effects should continue. 4. A sustained note is indicated by a tie showing how long that note should be held in time. The cutoff of these sustains is showed by a breath mark. Please observe that these breath marks do not necessarily invite you to breathe in those places and should not break up the line unless it makes sense musically. 5. Short articulation marks (staccatos or marcatos) indicate that the note should not be sustained, providing contrast with the directions in #4. 6. Grace notes are the one exception to this system. They are to be played as fast as possible, and are not necessarily proportionate to the amount of space they take up left to right. Beams are used to show groupings for the convenience of the player. 7. The above system is used to create a more improvisatory feel, not contained by any meter or exact rhythmic accuracy. The performer is free to interpret the rhythmic suggestions as they wish, so long as the dynamics, articulations, and integrity of the lines are preserved. 8. In line with the above, rests are not indicated with traditional symbols, but instead by blank space in the staff proportionate to the length of the rest. Just like with played notes, the exact length of these rests is up to the interpretation of the performer. 9. For sake of clarity, please note that lyrics or anything that is to be sung/spoken are indicated in italics. Directions for the player are indicated in plain text. 10. Arrows from left to right indicate smooth transitions from one event (sung consonant, directions for vibrato, etc.) to another. 11. Keeping with the tradition of the Baroque sarabande, this piece should be played with a serious and intentional approach.

∑

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Sarabande Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ tp µœ Bœ bœ. Bœ Bbœ -.

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ff ffp

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To Key> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. bœ nœ <b>¿ ¿.

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(Click keysno specific pitch)

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pp p

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b œj vib. (2 big pulses)

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Cover embouchure hole with mouth

Take mouth off embouchure hole

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vt œj

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vv

~~~~~ ~~~~~

Flute

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Isaac Raymond Smith

b-œ

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Smith- Sarabande

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n.v.

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~~~~~~~~~~~~ Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ BŸœ Bb œ µœ B œ f

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(pitched)

(unpitched)

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Smith- Sarabande

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molto vib.

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