Come sopra by Joseph Pereira

Joseph Pereira

Come Sopra (2010) solo for guiros

Come Sopra

for solo guiros (2010)

q=126 Gourd

Joseph Pereira

> >œ . . . . œ^≈ >œ œ . œ^ . . >œ . >œ œ . >œ . . . . . œ œ . 4 ≈ 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 *Ad lib

holding upright in the normal playing position

*Ad lib-follow the implied melodic shape of the line.

1 + > > > come sopra ≈ > . . œ œ œ œ œ . . œ œœœ œ œ œ œ. œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ / ≈ œ™j œ . . œ p

2 Add interruptions with come sopra material

^ œ œ œ >œ œ œ- œ > - œ

sffz

Add longer scrapes as part of interruption pattern

3 œ™ -

≈

> >œ 4 œ œ œ œ œ œ 43 ≈ œ œ ≈ œ ≈ œ /4œ œ . . .

∏∏∏∏

One up stroke

/ ™™

^¿ ≈

Metal Guiro (on table)

5 + ¿ ¿ ‰ J p

Down stroke into metal guiro

>¿ œœ

Poco più mosso

>œ >¿ œ^ œ œ œ œ œ

Use pressure slow to fast with cresc.

Meno mosso, "soft flange"

sempre legato >¿ >¿ 2nd x ^¿ 6 O ™ O O œ œ œ œ œ œ œ œ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ R O™ O O O O O O O ™ O O O ™™ ¯¯¯

Metal guiro always heard as rhythmical and with a sense of pulse.

fff

Played molto legato on side of gourd for smooth sound, but still with a sense of rhythm. The flange eﬀect comes from moving the scraper in a small circular motion while playing the rhythms.

fading out flange 7 accel. ¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ææ æ ææ æ æj ææ æ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ O æ æ æ O ™ æ ≈ æ æ / O æ™ ææJ æ ææ æ æ (Ad lib)

scratching becoming more agitated and eventually taking over

continue but start to add

Short rhythmic bursts influenced by original "melody". Always on non playing surface similar to "soft flange", scratching fast with pressure, as if searching for pitches.

While scratching on all areas but the normal playing area, continue to search for pitches by using the table to close/open the opening of the gourd. Should sound like a "wha wha" gliss eﬀect.

Gourd upright, accent with opening facing down into table cut oﬀ sound.

8 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ / æ æ sim. Ä

sffz

use table to change pitch

∏∏∏∏∏

Meno mosso

-œ™ œ™ ≈ / ææJ ææJ

∏∏∏∏

∏∏∏∏∏

With hand-use fingers while keeping gourd upright on table. Can be occasionally opened with other hand to change pitches.

d √ w

A_ œœœœ œ œ œ

Gourd upright, accent with opening facing down into table cuts oﬀ sound.

Tap and buzz only with tip of metal beater. Play on all parts of both guiros as if searching.

12 >. >œ. ¿ œ. >œ. ¿. œ. 4 Œ Œ æ œ œ œ œ œ ™ 4 œfij æ

With plastic butt of beater. Dig in for a slow gliss down and use table to help pitch.

Use fingertips slowly but with a lot of pressure as if trying to pry something that is very diﬃcult to open.

>œ œ. œ. œ. -œ™ . ¿. œ. œ ¿. œ œ ≈ æ ≈ æ Œ ææ ‰ Œ ææ æJ æ

Ad lib sim., tempo rubato, with some space inbetween figures

sfffz

A tempo, leggiero

∏∏∏∏∏∏∏

∏∏∏∏∏ pp

∏∏∏∏∏

∏∏∏∏∏∏

fingernails

≈ œ™ j œ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯

sim.

fingertips

∏∏∏∏∏

A ª 11 Rubato

With hand-use fingers while keeping gourd upright on table. Can be occasionally opened with other hand to change pitches.

~~~~ ~~~~ ~~~~~~

Scrape on top pointed closed corner of gourd and change pitch by moving the scraper position from closest to hand to furthest point from hand. In actuallity, it is the metal of the scraper that resonates the pitch change through the gourd.

œ ææJ ~~ ~~~

~~~~~~ ~~ ~~~~~

O ææ

Wild! -continuous scraping

~~~~

∏∏∏∏∏

œ™ j œ œ œ ∏∏∏∏∏

sim.

10 A _ U ™™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ææ ææ O™ O

~~~~~

fingertips

fingernails

∏∏∏∏∏∏

/ ™™

Rubato

∏∏∏∏∏

A ª

~~ ~~~~~~ ~~~ ~~~~~~~ ~~~~~ ~~~~~~~

Meno mosso

Quick muﬄe with hand

. œ ¿. ¿. ¿. ¿ ¿ œ ‰ æ ææ R ‰ ™ æ

¿. >¿. œ. œ ¿. Ad lib. œ ≈ æ ææ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ æ poco

-œ œ. -¿ ¿ œ. -œ >¿ ¿ œ -œ >¿ œ ¿. ¿. ¿. -¿ ¿ >¿ >œ œ. ¿. ¿. -¿ ¿ œ >¿ œ. ¿ ¿. -¿ ¿. ¿. ¿. œ ¿. ¿. >> œ œ ‰ ≈ -œ™ ™ ‰ ≈ ≈ ≈ ≈ ≈ R ‰ ≈ ≈ ≈ ææ ææ ææ ææ / J Start to add scrapes (-) with buzzes and less restscontinuos connected sounds.

∏∏∏∏

Start to put gourd on table to manipulate pitches with the opening.

Left hand fingers tap on

( )- top of gourd.while holding

œ™

∏∏∏∏∏

∏∏∏

∏∏∏∏

. œ œ™ œ œ œ™ œ. ¿ œ. f

>œ. ¿. >œ >-œ œ. >œ >¿ œ. -œ ¿. -¿™ œ. œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. ≈ ≈ ≈ ≈ ≈ ≈ æ æ æ æ ææ ‰ æ æ æ æ 45°

closed

Accel. poco a poco

upright on table at 45°, and closing by the end of figure.

Guiro placed flat on table with left hand muﬄing making beating spot smaller and smaller scratching towards opening.

> .> .œ -œœ. œ ¿ œ. -œ œ>¿ œ. -¿ ¿. œ. ¿. >¿. -œ œ œ œ. >¿ œ. -¿ œ. ¿. >œ. >¿ -œ œ^ œ. œ. -œ --~~ ~~~~ ~ œœœ œ œ œ ≈ ≈≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ææ ææ æ ~~~~ ~~ / Œ æ Ä sffz p

Use table to open/close to maniputlate pitch

(Gourd striking table)

molto

q=150 Frantic but with a sense of time

Starting groove on gourd, phase over to metal guiro. Brazilian muﬄing techniquealways use other hand to muﬄe in rests. Guiros played more as a drum than a scraper.

> œ. œ. ≈ œ. ≈ -œ ≈ œ. ≈ -œ œ. ¿ -œ ææ / ff

Ä Ä Ä Ä

Lh muﬄes

Left hand muﬄes and playing on metal guiro start to take over.

. >¿ -¿ œ. É œ. -œ œ. -¿ É ¿. >¿ É -œ >¿ -¿ ¿. É ¿ É œ ¿ -œ œ ≈ ≈ ≈ æ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ æ æ æ Ä Ä Ä Ä Rh muﬄes

Left hand muﬄes and playing on gourd start to fade out.

É É É ÉÉ É É > > > >¿ É ¿ ¿ - >¿ É É ¿ ¿ É ¿ É ¿ É ¿ É -¿ >¿ É -¿ >¿ É >¿ É ¿ >¿ É -¿ >¿ >¿ œ ≈ œ ≈ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ≈ ≈æ ≈ ≈ ≈ ≈ ≈ ≈ R ¯¯¯¯¯¯¯ / ææ fff Ä ÄÄ Ä Ä Use left hand to change pitch by muﬄing and lifting metal guiro oﬀ table for more resonance.

Continue patterns with more tapping than scrapes and phasing to play only on metal guiro.

sffz

‰

U -Y

∏∏∏∏∏

broken sound

Voice immitates pitch and lengths with humming raising pitches.

, -¿

¿ ¿

~ ~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~~~ ~ { ~~~~~~~~~~~~ ~~~~

^¿ J

~~~~~ ~~~~~ ~~

∏∏∏∏∏

16 d ^¿ U Y J /

Quick scrape. Hold up oﬀ table out in front of body.

Scrape very slow back up guiro this time staying near handle so metal beaters vibrate

With pressure slowy Dead grind beater down guiro stroke from handle to tip for an ascending pitch.

sffz

rrr-

(tongue flutter 1/2 gutteral)

Voice slightly softer than quiro

G û>

q=110

ææ -> ¿ G ≈ ¿ Œ ¿ G ¯¯¯¯¯¯¯¯¯¯¯ Œ ≈ ¿¿ ~~~~ ~~~~ pp ~~~ > rrr rrr rrr

≈

Use fingers instead of beater and play on all surfaces as if frame drum or dumbek. Quick nervous figures.

Ad lib. with rests

(whisped) Guiro opening into stomache for a low thump.

18 U A _ 43 21 ¿ ¿ ¿ ¿ ≈ ‰ ¿fi ¿ ¿ >¿ ≈ ¿. ¿. ≈ -¿ ¿fij >¿ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ fij / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ r ¿ ¿ v Start to add Finger rolls

continue with less rests

(voice)

>. - .> .j .> .> r ææ ¿ ¿ ¿ ¿ ≈ ¿ ≈ ¿ ¿ Œ ¿ ¿ ≈ ¿ ¿ ¿ >¿ ‰ ^¿ ≈ ¿ ¿ ≈ ¿. ≈ ¿ >¿ Œ ¿ ¿ ¿. >¿ ≈ ¿ ≈ ¿. ≈ ¿ >¿ ≈ ¿. ≈ ¿ >>> ¿¿¿ ¯¯¯¯ sfz sfz o -¿ ~~~~

Adding normal strokes and scrapes building to new tempo.

O j / fifififififififififififi ~~~~ rrr

normal

With butt

With back opening against body, palm of hand "slaps" to cover other opening

¿. ‰ ™ ‰ O R fifififififififififififififififififififi

Using only the side edge of beater, play in a continuos circle for "flange" eﬀect.

accel.

(normal)

fade out flange

rrr

(Butt)

Ad lib, build to rhythm at 19.

Come Sopra q-144

19 > >¿ ¿ ¿ ¿¿¿¿ ¿ ™ ¿ ¿¿¿¿ ¿¿¿ / ™ R

>¿ ¿

2nd X - keep hand on top and tilt/use the table to manipulate the pitches

Meno mosso

q=126

Imaginary come sopra

20 /

œ^

(to recco-recco)

With the guiro standing up on table, use the diﬀerent points on the beater (tip to close to handle) to vary the pitch with quick side to side scrapes. The left hand can be used on the side/top to help vary the pitch. 2nd time-slowly start to raise guiro up towards face as if looking inside.

Meno mosso

21 ^œ > ≈ œœœœ ™ O O™ O O™ O O ™ O™ O ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ O O O ¯¯¯¯¯¯¯¯¯¯¯¯¯

^ œ

Recco-Recco

1.2.

≈™ *2 Œ -™

*2 - Pitchless air whistle into guiro. Voice

¿ ≈ ¿ ≈ ¿ ‰ ¿ ≈≈ ¿ ¿ ¿ j ¿ ‰ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ æ æ ææ ææ æ æ æ æ ¯¯¯¯¯ ™™ æ æ æ æææ É pp Metal guiro upright into table cuts oﬀ sound.

sffz

A tempo

*1 - Suddenly stop when guiro reaches face and look through as if looking through a telescope at the audience.

"Flange"

Start to lift recco oﬀ table

Played molto legato with beater always on recco in continuous motion and changing direction with rhythm. Use left hand fingers to press springs for various pitches as if playing guitar.

Only play noteheads-other notes are shown to show the orignal rhythm which must be imagined when played.

q=108

>œ œ œ^ œ œ œ œ œ œ / f œ (

^ œ^ œ œ

œ œ

^ œ œ

) - Ghosted notes. Here the accents should still be sharp and there should be a sense of the original rhythm.

fl S œ œ œ œ T ¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ ff

Quick interrupted pause before moving on.

May be repeated in quicker alternations with the meno mosso.

22 > > > œœœœ œ œ®œ®œ®œ œ œ œ œ œ œ œœ œ œ œ Recco ° œ œ œ œ œ œ œ œ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ (RH) / R ff ƒ √ Recco played into tom with bell always completely on head. The tom is used as resonance for the recco.

Tom (LH)

Add interruptions

¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Fast to slow

Recco movement on tom surface with left hand.

22 d/ ¯ ° í ™ O O O ™î / ™ -O O -O ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ -O O O -O™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ o mp mp Use left hand fingers like before to change/muﬄe pitches. Rhythm starts to break down and become more sporatic with dim.

Ad lib.

¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Moving slow into rhythm at meno mosso

24 ° /

√

Poco meno mosso

œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ

Recco moving on drum-should sound like a distant rhythm.

Rhythm starts to break down with dim and fades out.

Palmyra scrub brush played in an up and down motion on the side of recco. Take over tempo from left hand.

U œ œ™ ¯¯¯¯¯¯¯¯¯

Ad lib - slowly stretching rhythm lengths with dim.

‰ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ mp

¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Left hand fades out to no movement.

œ œ œ œ œ œ™ œ œ œ œ ˙

œ œ™ ˙™

r œ w