www.jasonthorpebuchanan.com
SECOND STUDY FOR ALTO SAXOPHONE, VIDEO, AND ELECTRONICS: PULP Co-commissioned by Matt Evans, Casey Grev, Emily Loboda, Marta Tiesenga, & Sumner Truax
by
JASON THORPE BUCHANAN
First Draft Copy – June 15, 2015
Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved
Second Study for Alto Saxophone, Video, and Electronics: pulp
Texts by Charles Bukowski Sophia Burgos, soprano
Co-commissioned by Matt Evans, Casey Grev, Emily Loboda, Marta Tiesenga, & Sumner Truax
v.06.16.15 5:27
Mechanically subdividing, pulsing
q = c78
&
Alto Sax.
n >œ
œ. J
ç pp
Voice
sub
sub
jäœ hœ
2 dist.
flatt.
æ ç pp
2
13
˙ ˙ ˙ r˙
˙ ˙ ˙˙
port.
P
13
ƒ
j
port.
&Œ
"
V O X
ç pp
j
sub
11
`12345B8
r j lœ ˙ +˙ · . ß> pp P (ç) CH
J
port.
"
O
sub
# == ˙˙˙ ˙ +˙
c.4" - 5"
&
OOOOO
O
O
..
012
J
"
port.
®
x2
..
n˙
d˙ ˙
!
O
j .. ..
ç pp
5
> pp ß
sub
,
®
c.8"
ƒ
O
port.
j
( >)
p ç ppp
F
sub
j
`12345cB
port.
`2346Cc
25
+vox (quasi-unison, abrasive)
> pp ß
`1234Bc
c.8"
prestissimo possibile
>œ œ œ b œj œnœj œ œ cont'd ad libitum n œ œ œ œ = œ œ = œ œœ nœ ( >) 17a
17a
17a
P
pß
sub
p ç pp
F
pp
sub
f
> pp ß
port.
r k= >˙˙˙ x3 .. + ˙ =˙ n˙
j .. ..
c.3" - 4"
ç ppp sub
O
013
5
c.2" - 5"
OOO
˙˙ ˙ ˙ ˙ b˙ 5
+Palm D
..
x2
j j . . . .
! O port.
"
`12345bc
> # =œ
port.
f
O
009 5
ƒ
O
6
c.6"
>˙˙ + ˙ O # O O x4 ˙˙ + n ˙˙ .. ˙ ˙ j˙ b ˙ j
!
port.
O ç ppp
j ..
O
n äœ
æ pp ç O +vox >.
sub
" O
c.10"
˙ ## ˙˙ ˙ # ˙˙ ˙ =˙
(
P
P pp ..
sub
3
O
3
) 3
+œ œ œ œ œ #œ œ œ
P
O
port.
"
O
j ‰ O
ª
Ÿ~~~~~~~~~~~~~~ ( n œ) flatt. œœ œ œ œ- œ œ j =|>œ = œ- . J J R . æJ \ p Rp
flatt. œ . >œ . >œ J J æ
ç pp ç
p
sub
Ÿ~~~~~~~~~
dist. Ÿ~~~~~~~~~~~~ (n œ ) flatt. flatt. j -œ œ- œ- œ- œ- œ- = >œ . œ= >œ œ = œ- œ- œ- =|>œ œ . j = >œ œpo. rt. nœ® \ \ J fl R æJ \ æ pp J dist.
(ç· )çpp
p
sub
5
çpp sub
.
CH
> pp ß
sub
˙˙ kr ˙˙˙ ˙ +˙ ˙ =˙
> >
prestissimo possibile
1a
port.
ß pp
5
O
007
(quasi-unison, abrasive)
6
,
˙
10
sub
dist.
p3 ç
ç pp
timb.
sub
sub
> pp ß
(ç· ) ç pp
Ï
sub
> pp ß
sub
sub
010
+Palm D
sub
j
`123456B
c.3"
10
p ç pp
(bend up and back down slightly w/embouchure x2)
q = c69
dist. flatt.
®
ª
r k œœ ˙ ®n œ d˙ R
17a
O
c.8"
e œ. k œœ ..
*omit grace notes if not possible
26
31 w ˙ + ˙ b˙ +˙ # ˙ ˙ ˙ t˙ n ˙n ˙ ˙ t ˙ ˙t ˙ # ˙
sub
sub
"
c.9"
O
Oßppp
`2346c
`2346Bc
13
!
O OO O O O
J
`1234B8
j ( ‚ .. ) œ .. J
(·) n˙
sub
17a
"
jäœ . hœ .
(overblow, highlight upper partials)
2
ƒ
sub
003
senza tempo
O
p
!
ç pp
sub
sub
sub
r˙ =˙ ‰ + + ˙˙ n ˙
(overblown + vocalizations, bend up and back down slightly w/embouchure) (q = c78)
ç pp
ç pp
> pp ß
sub
`123456BTjD
p
5
sub
j .
> pp ß 002
P
ç pp
sub
.
c.7"
e ˙ n˙ l ˙ nt ˙˙ l ˙ # ˙
+Palm D
* each repetition should be of contrasting length, between approximately 3 and 8 seconds V O X
+vox (quasi-unison, abrasive)
(supress upper partials, bend up and back down slightly w/embouchure)
j˙ ˙ e˙ r˙
c.5" - 7"
+Palm D
d˙ ˙
sub
4
2
008
sempre legato
p
p ç pp
3
timb.
006
4
sub
> pp ß
ª
5
sub
Ÿ~~~~~~~~~~~~~~~~~~ > œ . j >œ œ. n˙. J J
flatt. œr >œ œ œ- œ- œ- œ- n œ- . r >œ J æ æ dist. flatt.
005
# == ˙˙˙ ˙
lœ .
2
`123456b+
"
`123456b+
#œ nœ nœ bœ nœ
`12356bc
!
004
q = c48
`12345B8
ä˙ j ˙ # ˙ ˙ e ˙# ˙ ˙ e ˙ =˙ ˙ k ˙˙ k ˙
tremolo
˙n˙ ˙˙ # ˙
˙
sub
ª
+vox (quasi-unison, abrasive)
ç pp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sub
> ç pp
sub
prestissimo possibile sempre legato, unordered
`1234B8
+vox (quasi-unison, abrasive)
V O X
ç pp
5
œ- œ- œ- œ- œ- œ- >œ . RJ
dist.
sub
Frozen Time
ª q = c48
flatt. œ œ j>œ œ œ- œ- œ- œ- œ- œ- œ- jœ- n >œ . J æ zJ z æ flatt.
> pp ß
001
Elec.+Vid.
& k œœ
ç pp p
V O X
Soprano,
eœ
dist. œ- œ- œ- œ- œ- >œ Rz
>œ . J
`12345B8
c.9" senza tempo, frozen
Jason Thorpe Buchanan June 2015
j
CH
> pp ß
sub
sub
j port. .
fl
f
j
011
c.5" - 6" j x3 ( n œ nœ b œ )
F
..
ad libitum
..
c.7"
˙˙ ˙ ˙ ˙ n˙ ! O, 5
014 First Draft Copy - June 15, 2015 Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved
r k= ˙˙˙ ‰. ˙ +˙ =˙ b˙ 5
O Ø
possibile
015
c.6"
q = c44
˙˙Ÿ..~~~~~~~~~~~~ ˙. port. ˙. ˙. timb.
P
timbral trill
n˙. (+œ !
016
nœ )
˙ . (+ œ p
O
+O nœ )
port.
"
ª j +œ
O
‰
(
3`1256c8
dist.
flatt. 5
tongue ram
5
® . port. > ß pp
j
sub
j
port.
p
F pp
5
.. j
® . port. > ß pp
O
port.
F pp
sub
sub
flatt.
tongue ram
6
æ y b œ n œ d œ# œ n œ > breath O ßÿ ç ·
> > port. w œ ˙ ( œ œ . + œ œ dœ ÔR J nœ + œ n œd œ dœ +œ
ª
q = c48 Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~
+œ dœ ® & n œd œ nœ 5
˙
!
7
p
021
sub
`1345BD
ƒ
022
sub
j
œ J
j r j > > >
ad libitum, erratic rhythm
ß >
p
percussive key click
j
>y . ß
O
port.
020
+Palm D
> bb ed œ œ
5
>
P
ß pp sub
J
R
pß
h >
>e œ bb eœ œ .
6
pß
bb e
d >
œœ
œbb eœ œ
R
"
7
!
7
5
023
q = c48
..
O !
7
5
h >
œ bb eœ .
F>
6
#
>e œ bb eœ
5
J
p
œ.
timbral trill
exhalation
J
OP
x˘· "
· ..
œ
R # #
(ç )
O
3
6 ß pp
ª
slap tongue
tongue ram
yy
sub
+Palm D
timb.
®
>y ß
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
`12356bc
024
1/2 air tone # # timb. 1 # >œ œ dark, supressed l ˙˙.. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿtimb. ~~~~~~~~~~~~~ x3 + ˙. œ O OOOOO OO OOOOOOO OO # œ d œ œ œ œ œ œ. > œ œ œ œ œ œ. " # = œœ œœ ˙ . OO OO # OO #. # œ .. + ˙. . n œn œ nœ# # œ œ œ œ œ œ œ œ œ œ œ ‰ # k œ œ 19
V O X
"
O
O
irregular rearticulations, like an echo or delay w/alternate fingerings
Ï
!
P
sub
sub
q = c54 timbral trill, extremely subtle and irregular/varied
ädist. œ œ> œ ) ˙ ( · · · · · · · · · · · · · · · · · · · ) d œ · RÔ
pp ç
sub
sub
, x3 j..
p
+Palm D
+Palm D
019
legato possibile alternate fingerings, microtonal figuration around starting pitch microtonal fluctuation
O
+Palm D
018
ª
V O X
+Palm D
sub
017
&j
2
sub
sub
sub
`1234B8
+Palm D
sub
V O X
2
13 c.5" - 9" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ tongue # slap j >œ ˙ n ˙ dist. #œ # ˘œ tongue , ram 7 > 6 = œ tongue flatt. n œ + œ = œ + œ Ÿ~~~ h œ ˙ r ˙ #O n O# O O O b O # œ n O= >œn œ+ œ ram> # œ> œ n œ # O n O b On O O O O# O O # OO b O n O > ( O OO OOO ) # = œœ , ( O O O O O O ) x3 n œ O d œ # œ ˘ O > n ˙ + œ # O po rt. nœ. eœ ˙ O O bœ OO .. j b œ œ +œ nœ j nœ œ œ j #œ= œ n œ b œ n œ port. k œ t œ ˙ # ˙ n œ œ œ d œ˙ by y port. · y= >œ n œ · y F> pp 7 3 6 7 æ 7 7 F p O breath pp ß F O breath F pp P F p pp 6 O 5 O ß çpp Pß p ß ß 5 pp O ß P O P F
12
sub
sub
`12345B8
11 c.3" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿtimb. ~~~~~~~ = >˙ = ˙˙ 5 & j n œ dœ# œ nœ dœæ.port.t œæ ˙ n ˙ > · y bœ çp > breath O ßF pp F pp
prestissimo possibile
Second Study for Alto Saxophone, Video, and Electronics: pulp `12356bc
)
suddenly cut off
O ! bœ ( ) "6
6
p ppp6 sub
..
6
dist. 11 flatt.
æ
"
Ï pp
˙
11
˙ ˙ ˙
>
c.6"
œ .. = = œ>œ œ .... t # œœ œ =œ # # # # œ ..port. = œ > > > > > 1b
Î
sub
7 ß pp
œœœ œ œ
*like a bad engine sputtering
sub
7
#
`123456B
025
pp
ad libitum
œ
`123456B port.
#˙ ˙ #=˙˙˙
port.
Ï
ª
timbral trill
1a
F
[overblow increasingly œ œœœ breathy 1 œœ œ œp œ œ ort. = œ complete exhalation until out of breath por
t.
ƒ
O
(change of embouchure, addition of octave key)
sub
026
027
028 (
ª
q = c40
&‰
j ·> ·. ƒ "
breath, through instrument
percussive articulations
tongue ram
‰.
· ·- ·- ·- ·- ·- ·- ·- ·- ·- ·- ·- ·- x· fl staccatissimo ß
029
)
3`1256c8
`12356bc
030 c.7"
034
032
timbral trill
timbral trill
timbral trill
timbral trill
timbral trill
sub
035
036
ª
c.9"
[timb. 12 11 12 12 Ÿ~~~~~~~~~~~~~~~ Ÿtimb. Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿtrem. ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~ ~~~~~~~~~~~~~~~~ Ÿtrem. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ overblow =˙ =˙ ˙ #˙ ˙ =˙ = ˙ = ˙ ˙ # ˙ ˙ = n ˙˙ #n œ . œ ˙ n˙ ˙ =˙ ˙ œ # äœ ˙ ˙ ‰ # t˙ ˙ œ +œ. ˙ t˙ ˙ k˙ ˙ t ˙ (œ ) ˙ 3 " O ç pp P F p P 11
V O X
033
031
037
timbral trill
œ
‰
O
3q = c54
`123456B
# >˙ & #=˙˙
timbral trill
1a
# ˙˙
P pp
p
P
sub
V O X
œ œœ œ œ
`123456B
port .
ä˙ Ÿ.. ~~~~~~~~~~~~~~~~~~~~~~~ = ˙ œœœ t ˙˙ .. œ =˙ . # # # # œ > > > > > =˙. œ overblow
1b
timb.
Ï
039
# rœ.
œ ..
!
port.
#œ
œ
ß
œ
= >œ
dist. flatt.
&æ
ç pp >
>œ . J
œ. J
sub
æ
ç pp ç sub
sub
ß pp
>œ
flatt.
J
˙
+œ œœ
+ äœ # œ jeœœ
z
äœ œ # >œ . œ œ #œœ œœ 27a
æ
ß
061
flatt.
dist. flatt.
ß pp sub
# l œœ
+œ nœ
(ç)
sub
œ-
œ = >œ . R æJ
P pp
port.
ç pp
sub
sub
> .
5
æ æ
ç
# 5
ä
ß
29
31
25
`2346Cc
26
l œ w œœ b œ = œ +œ # œ # œ jœ n œ n œ t œœ n œt t œœ
c.9"
sempre legato, unordered
ppp
possibile
`2346CcTl
air only, open embouchure to allow noise
·>
050
>.
ß pp
056
tongue ram
overblow
F pp
cont'd erratically ad libitum
sub
n˙.
flautando, senza vib.
# ‰ y Ø ß
O
062
063
>
possibile
ç pp >
sub
ßpp
ß pp
= >œ \z
j
(ç· ) CH
> pp ß
port.
>œ œ œ œ
œ >œ
œœ
œ œ
œœ
R
ßP
ß
sub
5
q = c44
f
j
r + œœœ œ . ˙ + #œ ‰ +œ poco reart.
[
äœ . œ. # œ.
œ >œ œ
overblow
ß > R ß
pp
*like a bad engine sputtering
sub
064
˙˙ ˙ ˙ ˙
ƒ
œœœ
çP
œ
ß 6
sub
œ œ œœ
‰
F
O
046
œ
ßP
(n œ =œ )
P
(œ
.
œ)˙
OO O OO
p
O
˙
(b ˙ )
sƒf
poss.
‰.
O
059
9
O
3
ß J
ß
066
RO
F
5 5
27a
ç
# > ç
060
+ >œ œ . œ + Ÿœ .~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. ˙ œ + r œœ # ‰# œ +œ
O
ª
dist. ä äœ . + œ œ dist. œä. l œ œ # >œ . œ œ . j eœœœœ # # œœ .. #z z
Ø
058
p
F
.
`2346c
# œ- ˙ . œ# J
ª
c.5"
!
senza vib.
+Palm D
!
065
˙ #˙ ˙˙ + n ˙˙
053
[
17a
sub
O !
tremolo
sub
sub
timb.
F
F pp
>œ ˙ œ œ ˙ œ
œœœ
overblow
9
c.5"
25
˙ +w ˙˙
045
[ 9
P
overblow
17a
Ï ç pp fl
+œ œ. J
häœ #œ t t œœ 26
052
`123456BTjD
j .
sub
057
ß
044
043
˘j > Ÿ~~~~~~~~~~ œ .port. nœ® r= œœ Ÿtimb. ~~~~~~~~~~~~~ J + + œœ œ . ˙ .
ç pp sub
3
b œ . ˙ .. ® poco reart.
timbral trill
`2346c
O
051
dist. timb.
sub
sub
12346c`
q = c32
[
p
sub
œ. J
>œ œ . œ œ. œ œ. J
= œœ
O ß5 ß
(F )
ad libitum, erratic rhythm
Ÿ~~~~~~~~~~ - |flatt. œ. = >œ œ = œ . n >œ \ (# œ ) \ J æ
# >œ œ
30
# ‰j œ œ y tongue ram
from moisutre to produce granularization
ç pp
p
!
q = c54
dist.
dist. flatt.
CH
`2346c
042
049
055
ç
>
n œ n œœœ
sub
ßpp sub
= œœ
. J
.
O
31
*alternate erratically between multiphonics
054
27a
`2346Bc
possibile (sempre)
sub
`2346Bc
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
35 timb. 37 (erratic intteruptions in air flow, like a rusty, creaking machinery)
flatt. Ÿ~~~~~~~~~~~~~~~ œ œœ œ œ œ œ =|>œ = œ- . J R J\ R (# œ ) J j æ p F pp · . ç ppp
`236cB
. J
.
c.9" 1/2 air ⭩ air tone, ad libitum 1 flatt. 1 æ port.
ƒ ! erratic dynamicadswells, libitum
sub
sub
sub
!
`23456q
36
D x˘œ
tongue ram
36
6
048
ª q = c69
V O X
Fç
041
`12345ce
tempo `12356wc senza Frozen time, ad libitum
Dœ ˙ +˙ R poco reart. # ˙˙ " (F )pp
047
&
ß
040
sub
V O X
ª
q = c48 [ [ 36 overblow timb. timb. overblow dolce, poco vib. secco slap Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~ tongue timb. äœ ˙ . äœ . ˙ . >œ ˙ port. +Palm D +Palm D tongue air only, exhalation r r ram Ÿ~~~~~~~~~~~ flatt. breath 5 (subtone) b ˘y ˘ ¨ n # œœ ˙˙ .. OO O O O O . . O O O OO ‰ j O # œœ œ .. ˙˙˙ .. #y œ ˙ . #œ r ‰ + œ ˘ # # j # ·æ. ·æ. port. œ yÿ # œ· O P O ç pp P ! pp ß pp O (F ) q = c54
O
*like a bad engine sputtering
`12345ce
With extreme tension in each gesture
move saxophone left to right
&
V O X
increasingly breathy
ad libitum
c.7" q = c54 1/2 air ⭩ air tone, ad libitum timb. 1 1 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
`2346Cc
Second Study for Alto Saxophone, Video, and Electronics: pulp
[
port.
038
ª
rit.
27a
ç >
5
# . 5
ç
˙˙ ˙ ˙ ˙
‰.
ª
increasingly breathy poco reart.
ç
5
Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~ poco vib. œ ‰. =œ œ +œ. œ # Pp O O " sub
O
067
q = c44
&
timb. = Ÿœ ~~~~ . # # ˘œ 5
#b œ
˘œ OOOOOO +Palm D
Second Study for Alto Saxophone, Video, and Electronics: pulp `13456CD
16
nœ œ n œ œ
#œ œ ‰ nœ +œ œ P3 pp sub
V O X
068
ª
&‰ V O X
from moisutre to produce granularization
c.7"
·>.
(F )
ad libitum, erratic rhythm
076
ª
`123456BTjD
q = c40
& ‰.
J >
˙
J >
timb.
J ad libitum >
j # +œ ˙
tongue ram secco
y yyyy
"
O
!
6
Ë
ßp
5
sub
œ #=œœ jœ R +œ
senza vib.
ß pp
17a
˙ ˙ ˙˙
17a
3
œ# œ ˙
˙
|
F
O
O
V O X
098
6
F
œœ œ
œ
q = c30 (n œ ( b œ ) =œ )
p
yyy Oÿ ÿ ÿ
`12345ce
F pp
!
sub
c.6" - 9"
overblow timb. r ˙Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~x4 colorless, senza vib. OOOOO O . +˙. # n # ˙˙˙ . +Palm D
P
!
. ..
" p
.
.. J
OØ
‰
+˙
O O
timbral trill
`123456Dq
12
5
Ï
6
F
p
sub
ƒ
äœ œ œ œœ R
pç
5
œœ .. œ. œœ ..
äœ œ œœ œœ œœ œœ R
`12345cw8
tongue ram
yyyy ÿÿÿÿ
P
081
082
ß `2346Bc
`236cB
n äœ
#
+Palm D
.. .
`12356wc
091
n˙
37
˙ # ˙˙ pp
poss.
+Palm D
.. . JO .
p
+œ œœ
`12345ce
j
p
!
092 36
n œ n œœœ
`23456q
35
= œœ
# l œœ
`2346Bc
ß pp
7
sub
pulp
6
ç 5
5
sub
ä.
œœ œ œœ
pp
5
Œ
ç
ç ä
5
R .
port.
8va ¨ n œ¨ n œ#¨ œ = œ + œ n œ # œ n œ¨ + œ # œ# œ nœ n œ
R
˘ R
port.
ç pp
Ï
7
!
from moisutre to produce granularization
085
086
c.7"
sub
r˙
(b œ )
n
d œ )port. ˙ ˙ port.( d œ port.
(F )
O !
101
102
ad libitum, erratic rhythm
#˙
œ
*lip down 1/4 tone to achieve parenthetical pitches
..
.
!
ª
‰
c.10:40
096
ª +Palm D
OOOOO
+œ )
port.
port. ( d œ
#
poss.
c.7" Ÿ~~~~~~~~~~~~~~~~~~~~
" Ø
Ø
5
095
n˙
|
084
#œ # œ b˙ Ÿ ~~~~~~~~~~~~~ # ˙ port. n œ œ nœ ‰
O Ø
senza vib.
+—
į
n˙
ª
c.8"
Ø
sub
˘
7
sub
poco rearticulations/pulsations, ad libitum
·>
äœ œ . œ œ. œ œ. œœ œœ .. R
ß pp
(ghosted, nearly inaudible)
air only, open embouchure to allow noise
"In the old days,’ he said, ‘writers’ lives were more interesting than their writing. Now-a-days neither the lives nor the writing is interesting." - Charles Bukowski, Pulp (1994) First Draft - June 15, 2015 Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved
äœ . œ. œ. œœ ..
prestissimo possibile
j #œ
094
: a soft, wet, shapeless mass of material. : popular or sensational writing that is generally regarded as being of poor quality.
"Dedicated to bad writing"
‰
nœ ˙ >
083
093
+œ nœ
F ç
5
31
*alternate erratically between multiphonics
100
nœ
R# œ
sub
.
JO .
œ
# äœ œ . port. D œ œ
5 ß pp
timb. 31 34 Ÿtimb. 29 ~~~~~~~~~~~~~~~~ # , Ÿ~~~~~~~~~~~~~~~~ = ˙ œ # œ ˙ n œ n ˙ # OOOOOO œ x2 ˙ OOO OO œ x3 d œ œ = œ ˙ + ˙ c.6" O œ # J .. # jœ ˙ n ˙ R .. ..t # ˙˙ œ .. J O 3 P O P F F Op " P "
c.6" - 9"
œœ œ œœ
075
senza vib.⭩ molto vib.
5
fl ç
O
099
3`1256c8
sfffz 5pp
5:4 6:4
c.5" - 7"
!
090
[
ƒ
080
+ œœ œœ .... Ÿœtimb. ~~~~~~~~ Ÿ.~~~~~~~~~ .. # œ # œ ( ) . =œ œ jeœœ œœ .... œ R
ß
œœ œ œœ
074
24 timb. = äœ Ÿ ~~~~~~~~ œ . d >œ loco . poco reart. n œ n œ=œn œ œ = n œœ = œ œ = œ- . œ = œ#œ œ n# œœ .. œœ Rnœ > + œt œ 5 f 5
‰.
27a
äœ œ œ œœ
ß
073
)
|
079
089
36
(
!
ß
ä n t ˙˙ =˙ n = ˙˙ 15
ç
œ = œ- ˙ tongue ram # 8va
c.2"
O
072
`2346c
ƒ
˙
ƒ
> > > > > >
œ ‰ Œ
timbral trill
4
p
p
O
repeat ad libitum, gradually fade to nothing
..
! .. J
O
O
Coxsackie, NY --- June 15, 2015
possibile
, n˙ d˙
c.5"
(ç)
#
078 rit.
r˙ =˙ + ˙˙
20
5
sub
>y >y >y >y
071
`1345Db.
088
8va senza vib. #œ
097
quasi-slap w/key percussion 6:4 5:4
077
c.6"
Ø
P
näœ . œ ä j dœ + œn œ b œ bœ b œ ‰ ## œ œ œ n œ œ œ Ëd äœ n œ# œ Ë b Ë q = c60
087
&Œ
#
R
port.
070
P
O
V O X
ª
j
11
7
`12456DB
Ÿtimb. ~~~~~~~~~~~~~~~~~~~
#˙ # ˙ ˙ k˙
sub
sub
069
air only, open embouchure to allow noise
˙ ˙
˙
`12356bc
+ >œ œ œ. " dist./abrasive +vox Ÿ~~~~~~~~~~~~~~~~~~~~ œ quasi-slap > t œ œ .. œtongue flatt.n œ 7 œ #secco ¨ nœ ¨ œ ram œ ¨n œ d œj z znœz z z=œz ˙ # +œ +œ # ‰ R + œ # n œ œ j æ +œ â n œ #✠â pp y ç 6 ç 3 Ø â pp ÿ ƒ â â F F5 ß >y ß quasi-slap w/key percussion
103 Duration: c.13'
Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, and electroacoustic music. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Marc Lowenstein, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, Iktus Percussion, the [Switch~ Ensemble], The Industry, wild Up, OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, BlueWater Chamber Orchestra, TAD Wind Symphony (Japan), among others. Nominated for the 2015 Gaudeamus Prize, his works will be presented by Insomnio, Nadar Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek in September 2015. Scenes from his Multimedia Opera Hunger have received performances at the Darmstadt Contemporary Opera Workshop (2014) with Ensemble Interface, The Industry’s FIRST TAKE Opera Workshop in Los Angeles (2015) with wild Up, and the MATA Interval 8 Series in New York City (2015) with the [Switch~ Ensemble] on a concert of new works for Ensemble & Multimedia curated by the composer. Los Angeles Times critic Mark Swed writes: “Jason Thorpe Buchanan's Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a [sic] wailing orchestral effects, cuts the ear like a knife. Buchanan delivers.” Awarded a Fulbright Fellowship (2010-11) at the Hochschule für Musik und Theater in Hamburg (Germany) as a visiting scholar, he was recently selected as Artist-in-Residence by USF Verftet and the City Council of Bergen, Norway to complete work on Hunger in late 2015, with a grant from the American-Scandinavian Foundation. Additional honors and awards include the ASCAP Morton Gould Award (2014) & Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, a commission from the International Horn Society & ASCAP Morton Gould Award (2015) for Double Concerto (2014) with soloists Jeff Nelsen, Mike Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman, antistasis (2014) for the Tzlil Meudcan Festival (Tel Aviv) with Ensemble Nikel, oggetti 1 (2014) as composer-in-residence for Chamber Music Campania (Italy), both winner of the newEar 4th Annual Composer’s Competition (2013), and selection at the NYC Electroacoustic Music Festival (2014) for Asymptotic Flux: First Study in Entropy co-commissioned by the [Switch~ Ensemble] & OSSIA, 2nd place in the American Prize composition competition (2012) for Berlin Songs, commissioned by the German/American Fulbright-Kommission and premiered at the Akademie der Künste (Berlin) during the European Fulbright Conference, and winner of the 2014 International Iron Composer 5-hour composition competition in Cleveland. He has studied composition with R.Zohn-Muldoon, C.Sánchez-Gutiérrez, R.Morris, A.Schindler, D.Liptak, V.Baley, P.Michael Hamel, J.V.Grossmann, P.Furman, M.Stahnke, B.Lubman, G.Aperghis, B.Ferneyhough, R.Cendo, C.Czernowin, A.Read Thomas, H.Abrahamsen, P.Leroux, C.Gadenstätter, J.María Sánchez-Verdú, and P.Billone, among others. He is coordinator of the VIPA Festival’s Composition & Contemporary Music Program (Spain), from 2007-2012 served as founder and director of Melos Music, a consortium and concert series in (Chicago, San Francisco, Philadelphia). He has served as assistant conductor for Eastman’s Musica Nova Ensemble with conductor Brad Lubman and Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, as well as board member of Ossia and co-founder, conductor, and artistic director of the ECMC’s ensemble-in-residence, the [Switch~ Ensemble] as a Ph.D. candidate at the Eastman School of Music. Degrees in Composition and Music Technology from San José State University and the University of Nevada, Las Vegas, where he taught courses in composition and theory (2008-2010), with highest honors from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a consortium for saxophone, electronics, and video, and commissions from Peter Ferry (percussion) and electronics (Chicago, 2016), the New York Virtuoso Singers (NYC, 2015), Blue Water Chamber Orchestra as winner of Iron Composer 2014 (Cleveland, May 2015), Slagwerk Den Haag to be premiered at Gaudeamus Muziekweek (Netherlands, Sept.2015), and Eklekto Geneva Percussion Center (Switzerland, Nov.2015).
For more information or to contact the composer, please visit www.jasonthorpebuchanan.com
SECOND STUDY FOR ALTO SAXOPHONE, VIDEO, AND ELECTRONICS: PULP First Draft Copy – June 15, 2015
Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved