on the edge for alto saxophone and guitar 2012 commissioned by Duo Montagnard
Laura M. Kramer duration: ca. 10 min.
on the edge (2012)
for alto saxophone and guitar Movements: - intro-1-2duration: ca. 10 min. Commissioned by Duo Montagnard Joseph Murphy, alto saxophone, Matthew Slotkin, guitar Premiered at World Saxophone Congress, St. Andrews, Scotland, July 2012 Performance Notes: Alto Saxophone
•
overtones: diamond indicates fingering; note in ( ) indicates sounding pitch
•
slap-tongue – sound both the pitch and “slap” staccatissimo may be substituted if slap-tonguing is not possible
•
slashed notehead = sounding pitch; vary lip pressure during tremolo so that overtones are produced Guitar
•
Bartok pizz.
• pizzicato - place right hand on strings near the bridge while plucking • clarinet tone - strum at XII, producing a clarinet or harp-like tone • harmonics - diamond notehead indicates sounding pitch; fret (Roman numeral) and string (circled number) are indicated • tambora - indicated by square noteheads. Strike the strings near the bridge, creating a percussive sound. • strumming on opposite side of string: slashed notehead indicates fingering; notehead in ( ) indicates sounding pitch • x noteheads - strike the soundboard while muting the strings Completed June 2012
Program Note
When standing “on the edge” of a cliff in the California mountains, it is possible to view a panorama of such a vast range of terrain. There is the melting snow on distant mountains at one angle, the seemingly endless, arid, plain of desert speckled with sage and chaparral at another, while a glimpse straight downward reveals greenery of sycamore and wild flowers, sprouting between rugged rock formations. As this view is composed of so many different dimensions, “on the edge” similarly combines fragments and jagged melodies into one complete whole. Though the individual motives do not correspond to any particular elements of the landscape, I aimed to recreate the reflective, thought-laden nature that hiking can have. In this way, the recurring fragments constantly change and allow new themes to form. Taking such rejuvenating excursions periodically throughout my doctoral coursework have yielded the inspiration for “on the edge”.
-
Laura M. Kramer
commissioned by Duo Montagnard
on the edge
Transposed Score
2012
- intro Laura M. Kramer (b. 1984)
Freely, Without Meter q = ca. 120
1
Alto Saxophone
ff
tuned to D
5
pppp
aggressive
Guitar
pizz.
6
ff aggressive
Tranquil q = ca. 68
2
3 q = ca. 120
ppp
f
ord. VII
XII
pp
4
pppp
ff
5
ff
clarinet tone
p
rit.
pppp
6
5
p
poco
pizz. f
(pizz.)
p
poco
p
ord.
III
overtones: diamond indicates fingering note in ( ) indicates sounding pitch
poco
IX XII XII
p
clarinet tone
p
q = ca. 68
p
slide upwards, producing higher partials
pizz. 6 rit.
mp
© 2012 Laura M. Kramer (ASCAP) LMK Publishing
mf
5
6
2
6 q = ca. 120 rit. q = ca. 72 3 6 3 6
f
p
ord.
6
f
mp
on the fretboard (opposite side of strings) round note with slash indicates fingering diamond note in ( ) indicates sounding pitch
tambora
sul pont.
rit. dolce
IX
rit.
q = ca. 64
9
attacca
on the fretboard (opposite side of strings) lower note indicates fingering upper note in ( ) indicates sounding pitch
held back
6
attacca
-1In Time q = ca. 64
11
p sub.
f
clarinet tone
VII ord.
f
XII
f
14
mf 4 2 1 0
mf
n
p
(D§)
ord.
f
p
warmly and lightly
pluck strum
XII
sul tasto
pp
p
sul tasto
pp
3
3
3
p
ppp
mp
mp
f
ff
XII sul pont
poco
ord.
f
pp quick scrape, nail only
poco
3
mf
pppp
poco
25 espress., dolce 3
23
poco
clarinet tone
XII pp
ord. pppp p V
f
mp
18
21 Slightly Faster
3
poco
f
mp
BV
ord. strummed
BIV sul tasto
mf
ff
3
27
f
29 Gliding
3
3
ord. pluck
3
3
f
legato
mp
pp
(not sustained)
p
mf
ppp poco a poco cresc.
l.v.
p sub. poco a poco cresc.
4 31
mp
f sub.
mp
placid
pp sub.
3
ord. ord. mf
34
sim.
tasto
tasto
f sub.
33
f
35
3
legato
ord. 4
2
1
0
f
ff
ff
38 Freely p
ppp
ppp
5
ff
f
ppp p mp 5 ppp p mp
42
p
p
mp
p
46
5
50
pp sub.
mp
55
mf
mf
59
mp
ppp
mp
pp sub.
p mp
51
43 q = ca. 68
mf
mf
63
f
ff
mp
ppp
3
mp
clar. tone
mp
6
pp
Freely rit.
ord.
p
p
rit.
rit.
mf
6
78
poco
73 q = ca. 60
rit.
67
ff
f
6
7
-2-
ff
ff
5
mf
fp
mf
ord. IX
pp
V p
ff
3
p
7
mf
f
ppp
f
ff
mf
full tone
ff
f
l.v.
p
f
attack each note while bending the pitch
5
pp
pp f VII mf f
poco
p
6
clarinet tone
ppp
mf
XII strum
mp
ord.
q = ca. 96
3
hold back
VII
subtone
10
9
hold back
f
f
sul tasto
ord.
mf
pizz.
ff
VII
accel.
ord. sul tasto
sul pont. XII
8
f
mf
tuned to E
poco
clarinet tone l.v.
accel.
4 q = ca. 116
q = ca. 92
q = ca. 116
mf
mf
strum
pluck
8 14
sul pont. pluck
poco
17
sul pont.
ord.
ppp
poco
ppp
mp
20 f
f
23
ff
attack each note while bending the pitch
5
ord. IX
p
25
ppp
mp
IX
V
5
mp
ff
strum
9 26
pp
sul pont. p
full tone
p
pppp
ord
pizz.
subtone
*
* slashed notehead = sounding pitch; fingering= low E + side C; vary lip pressure so that overtones are produced during the tremolo
29
mp
p
* slashed notehead = sounding pitch; fingering= low D#+ side Bb; vary lip pressure during tremolo so that overtones are produced
32
*
p
pppp
35
36 ppp
p
mp
cresc.
mp
poco
10 38
f
41
3 2 1
pp
mp
ff
5
7
49
pp
q = ca. 92
p
f
ord.
f
pizz.
p
mf
ppp f molto
mp p
p
50
4
43 Slightly Slower freely 5 f ff
46
mf
11
54
58 q = ca. 84
p
mf
ord.
f
mf
f
mf
ord.
f
ord.
f
mf
subtone 3
p
subtone 3
p
poco
f sub.
f
mp
pizz.
ord.
p
pp
pizz.
pp
66 full tone 5 6 p f p ord.
p
pizz.
mp
7
pizz.
poco
6
p
mf
f
full tone
mp
64
61
poco
mf
p
l.v.
ord.
f
pizz.
mf
12
67
f
f
6
71
mf
f
69
x notehead = strike soundboard while muting the strings
f
mf
p
f
mp 6 f ff mf ff sub.
74
p sub.
pp
7
f
p sub.
7
mf
mf
f
mf sub.
78
mf
pizz. ord.
mf
ord.
pizz.
f
f
f
mf
91
mf
p mf
p f p
p
82
87
13
f
p
p
p mf p ord.
pizz.
fff
ff
f
f
fff
poco
14
95
94
poco a poco accel.
ff cresc. poco a poco
poco a poco accel.
q = ca. 116
97 ffff ffff
102
ff cresc. poco a poco
99
q = ca. 96
mf
mf
poco
(gliss while playing the tremolo )
104
ord.
gliss.
ppp
gliss.
mf
5
pp
VII f pp f mf
strum on opposite side of string (notes indicate fingering)
f
103
6
IX
mf
p
VII
f
ord.
f
15
diamond notehead = add random side keys, changing the timbre
109
107
111
5
5
113
115
mp
7
mp
f
7
fierce
f
5 3
(strum)
6
fierce
6
attack each note while bending the pitch
gliss
16
118
3
ff abruptly
f
fff
ff abruptly
legato
fff
122
6
3
3
pp
127 mf
legato
5
131
f
mf
mf
VII
f
ppp
7
pp
mp
p
mp
134 ff
mf
pp
3
3
p
aggressive
ff aggressive
17
137 q = ca. 120 135 ff
l.v.
ff
139 p
f
mp
ff
accel.
p
f
mp
mf
accel.
f
ff
ff
V V VII f mf
q = ca. 132
fff
q = ca. 132
fff