Toggled Fusion (2017) for alto saxophone, bassoon, and marimba

Toggled Fusion for alto saxophone, bassoon, and marimba 2017

Laura M. Kramer

Duration: 3 minutes

Transposed Score

Instrumentation: E-flat Alto Saxophone Bassoon Marimba Transposed Score Duration: 3 minutes Performance Note: x noteheads in the marimba part: indicate to strike the edge of the bar with the shaft of the mallet. Program Note: Toggled Fusion was written for high school students at the 2017 California State Summer School for the Arts (CSSSA). Its working title was “Pieced Together” – With less than a week to compose the piece, and only a short amount of time to rehearse it and perform it, I decided to have the students be part of the composing process. Rather than write the entire work and then rehearse it, I instead would compose several excerpts, read them with the students, and then go back and revise the sketches, write more, and even erase some passages! Working this way was a quite a special experience – the students’ reactions along the way had a tremendous influence on how I went about composing the next sketches. With such a process, the form of the work turned into a series of patches of sounds that alternate and transform. A hybrid of styles, some gestures may sound like artistic washes of color, some jazz influenced or groove oriented, and others melodious and song-like.

Transposed Score

Toggled Fusion for alto saxophone, bassoon, and marimba 2017 Laura M. Kramer (b. 1984)

  Eb Alto Saxophone  



  



Calmly q = ca. 72

Bassoon



 



 

Calmly q = ca. 72

   Marimba

magico

   

 

p

9 Freely     Alto Sax.  Bsn.



9

Mar.

Freely

     





 Alto Sax. 

 



 

17

Bsn.



18

f



 

f



p



    

p

mp cantabile



pp



 







 



 

 



 

    

 

 



 

ppp

 



mp

  

  

mf







p

mf

p

             

 



f



    



ppp

21                               

fp

f

fp

     f

 

 

ppp

jazzy

                             jazzy

18 Slightly Faster q = ca. 80   21                              f

f

   

ppp



Slightly Faster q = ca. 80

      

 

ppp

 

       



  

     

f

 Mar.

pp

p magico

 





ppp





 

 

 

ppp



f

p cantabile



 



p magico



medium yarn mallets

 





      

23       Alto Sax. 

2

Bsn.



Mar.



     









 Alto Sax.  30

Bsn.



Mar.

poco rit.



 poco rit.













Mar.

 

 



   

pp

27

Allegro q = ca. 120

ppp

p





ppp

p



Allegro q = ca. 120



             fp

   



ppp



pp

 

  

 

  



 

 





 



 

       

  



 

 

  



mf



 

    





f



 





 



 





    f

35

 



mf



35





mf



  

   



fp

31



   

f



27



36



pp

31  

    Alto Sax.  Bsn.



  



 

  

    



    



     

 

 





 



  41

Alto Sax.

Bsn.



   

 

 

 



 Alto Sax. 







46





  

            

42 



   



47 Flowing







  







 



p

mf



ff

          

  Alto Sax.  



mf

 

       f

f

  

  



   



  





 



     mf





ppp

      











    ppp









f

 

                  

52 With Energy      

 



p

 

52 With Energy        

51





          

ff

Mar.



Flowing        47         

Mar.

Bsn.

3

  

Mar.

Bsn.

42

  

  





f

  

  

    



                   

                       

  



   

  

  



   



56                  Alto Sax.    4



p

               Bsn.        p

56  

Mar.



 Alto Sax.  61

Bsn.

Mar.





 



 





   

p



 



  



             



            

rit.

f





 





64 q = ca. 80 



           ff

ff



rit.





 

64



ppp

      



ppp

mf jazzy

             

 



    

           



q = ca. 80

       



f

              



  

 



mf jazzy





           



mf

67       69                                                       Alto Sax. 

f

p

pp

f

p

pp

f

                                                    Bsn.    

Mar.



 

                

f

69   

 

 



p

   f



71             Alto Sax.                  Bsn. 

  Mar.





          

  f





75

         





pp



   f

 



 

 

q = ca. 120

5

              f            f

  ppp

 

75

q = ca. 120

    f





           

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Toggled Fusion (2017) for alto saxophone, bassoon, and marimba

Published on Sep 3, 2017

Laura M Kramer

Toggled Fusion was written for high school students at the 2017 California State Summer School for the Arts (CSSSA). Its working title was “Pieced Together” – With less than a week to compose the piece, and only a short amount of time to rehearse it and perform it, I decided to have the students be part of the composing process. Rather than write the entire work and then rehearse it, I instead would compose several excerpts, read them with the students, and then go back and revise the sketches, write more, and even erase some passages! Working this way was a quite a special experience – the students’ reactions along the way had a tremendous influence on how I went about composing the next sketches. With such a process, the form of the work turned into a series of patches of sounds that alternate and transform. A hybrid of styles, some gestures may sound like artistic washes of color, some jazz influenced or groove oriented, and others melodious and song-like.