DALI-H(b) (2008) Violin and guitar

Edgar Guzmn

DALI-H(a)
Solo violin

DALI-H(b)
(2008)

10

Dedicated to Pablo Gmez and David Nuez (2008)

Edgar Guzmn
(1981)

Edgar Guzmn (1981)

PERFORMANCE NOTES

The solo violin scoreemphasis emphasis the the physical physical actions which the sounds wanted for for the the piece maymay be achieved. Except for some couple The solo violin score actionsby by which the sounds wanted piece be achieved. Except for of some of couple measures the end wherethe the G G clef clef staff conventional way (hence a conventional piched sound is asked for), think measures atat the end where staff is is used usedin inaa conventional way (hence a conventional piched sound is asked for), on think on the violin soundobject objectcapable capable of a wide of noise, going from tiny crunching sounds to explosive sharpsharp noise.noise. the violin asas aa sound widespectrum spectrum of noise, going from tiny crunching sounds to explosive VIOLIN The left hand makes onlytwo two things: things: damp avoiding a pitched sound to be and and let them open,open, in which case case The left hand makes only damp the thestrings strings avoiding a pitched sound to produced, be produced, let them in which it's not intended for a G, D, A or E to be heard, but just to add a little of the harmonic spectrum to the main noisy spectrum. And it's not intended for a G, D, A or E heard, but just to add a little of the harmonic spectrum to the main noisy spectrum.even And even The solo violin score emphasis the physical actions by which the sounds wanted for the piece may be achieved. Think on the violin as a sound object capable of a wide when the clef staffis isused usedconsider consider to add the noisy spectrum to the harmonic one.one. when the GG clef staff add a alittle littleof of the noisy spectrum to the harmonic spectrum of noise, going from tiny crunching sounds to explosive sharp noise. The left hand makes only two things: damp the strings avoiding a pitched sound to be produced, and let them open, in which case it's not intended for a G, D, A or E to be heard, but just to add a little of the harmonic spectrum to the main noisy spectrum.

Twisted bow. Press the stringswith withgreat great strenght and twist it, making a crunching Twisted bow. Press thebow bowagainst against the strings strenght and twist it, making a crunching noise like an old wood noise like an old wooddoor. door.
q =q 80 = 80

bridge bridge spm spm ordord stmstm

I I leftleft hand damping the strings hand damping the strings Solo Solo II II III violin violin III X IV IV

4 44 4w w pp 4 44 4X X
X

! !

EE

D D
94

X w w D
X X X X

7 7

! !

a a w w j jX X X X X X XX XX S Z S Z p p
X X
X X

!! ! !

D D E
X X
X X

X XX X S Zp pS Zp S Zp S Z

10

44 && 4 4
Unbowed glissando. Over the bow bowagainst againstthe the strings Unbowed glissando. Overpressuring pressuring the strings
The 6th string is lowered to E .
no bowing no bowing
brg spm spm ord ord stm gliss stm
12 12 brg

DALI-H(a)
(2008)
Guitar

! ! ! ! ! ! ! ! . j X . X ! X X X X X X XX X X X !X X !X X written on 2 staffs; the j X X X it's X X X X X X 7X The guitar's part is bottom one a six line staff (later becoming a common ve lines 7X X X XX X D X j D X E gliss low to high, 6th to 1st from bottom to top line. S Z j gliss X E gliss SZ ff

no bowing no bowing

The upper one is a twoVln line staff which represents the actions performed over the narrow metal piece (kind of Vln X X X X X guitar is prepared with. This metal piece is interleaved beetwen the strings, going below the 1st, above the 2n X X X X X X X and so on.

I III II III X III IV X X IV X

2nd 1st

& &
Guit

6th

5th

4th

3rd

GUITAR

2) 1To control the hole bend, (though it is always asked to perform ad lib. restricted Most of the guitar's sound material is percussive sound alike or have a big amount 12 1 only to the six lines main action duration) this being an upward and downward 12 of percussive "noise"; sometimes, this percussive element is much more important 9 From the two line staff, the lower line represents that glissando, the metal piece must be let against to vibrate freely along with t left hand pressing down the strings the guitar's hole using its 9 than the pitched "pure" sound; even when a single note is asked to be played for, sound. allowing its interference over the guitar's natural edge and fingerboard's edge as frets (this being possible beacuse of the strings low this will always be accompanied with percussive "interferences", the strings constantly tension), creating a constantly bending sound of random pitches. Sometimes, not hitting the frets and the wood when struck because of string's low tension as result all the strings are affected at the same time by the hole bending. of the scordatura, specially at the end of the piece. 1
1

Scordatura (actual pitch)

? b X b X b X nX nX b X

loco

round strum

A six line staff is used for the guitar notation, bottom line represents the sixth lower string and the upper line the first one. Anytime the string are intended to be pressed 9 down against the fingerboard, a roman numeral will indicates the fret; in this piece, 9 1 1 a VI fret chord, V and so on. the six strings are pressed down at the same time, making 1 When not such roman numeral appears it'll always be an open string. 1 An extra two lines staff is added at the bottom of the main six lines. This two line staff is used in two different situations, each of them especified with the name of the action to be performed: 1) To represent the frequency, by means of rhytmic figures, and the string's scratched area sul ponticello and sul tasto-. It can be made either by using a plectro or the finger nails. It can be a long one movement scratch or a fast sequence of tiny scratches. The strings to be scratch is indicated with a circled number:

Guit

w w p

hole bending

X X X X w w f
bend the four upper strings

The fingers to be used to perform the tremolos are barely marked throughout the score; except in those cases where they are marked, the rest are to be choosen freely.

Note heads

j X

Normal' sound, open or depressed string.

scratch spm stm

j
j O

Damped sound; damp the strings with the left hand while performing the right hand action producing a percussive sound without ptich. Open strings stroke; use the right hand to hit the strings over the guitars hole area
18

p
1 1
1

Harmonic pressure, there is not node but only the fret to be touched marked.

DALI-H(b)
(2008)

q = 80
bridge spm ord stm

DALI-H(b) DALI-H(b) (2008)

!

Edgar Guzmn
(1981)

(2008)

Edgar Guzmn
!

Vln

Vln Vln Vln

4 E 4 w p ! bridge left hand spm 4 q = 80damping the strings I E ord 4 w II stm III 4 X p IV X ! left hand damping the strings bridge I spm 4 II w E 4 ord III X 4 4 stm IV p 4 X & left hand damping the strings I II 4 4 III 4 X 4 & IV X &
7

q = 80

D D D

D D D

w w w X
X X X X X

DALI-H(b) ! !

(2008)
!

a j X X X X X ! ! SZ ja X X X X X SZ ! ! ja X X X X X SZ

w p w X p X
X X

Edgar Guzmn (1981) (1981)

!

D D D
X X

E E E

Edgar Guzmn

w p

X X (1981) ! ! SZp SZp X X SZp SZp ! ! X X SZp SZp

X X

X X

X X

X X

4 4

brg spm ord stm

Vln Vln Vln Vln

brg spm I ord II stm III 7 IV brg I spm II ord III X stm IV X I II III IV

X. X. j X. a D & F
X X

X. X. F X. X. X F X

a D j X .

a j X . D

D D D

E X X f
X X

E f E X f X

X X X

X X
X X

no bowing

no bowing

gliss

j X j X j X

X Xno bowing

gliss

D E X
X

D E

X
gliss gliss

X X

gliss

D X E X
X X

gliss

Vln

& &
12

X X

brg spm Vln I ord II stm Vln III X Vln 12 IV X brg I spm II ord Vln III X stm IV X

12

brg spm ord stm

&

Vln Guit

&

I II III X IV X scratch

stm &

spm

X. X X no X bowing SZ f X. X X no X bowing SZ f X. X X X SZ XII f l.v O O a O O D O O J jp D J a f

no bowing

j X j X

X X X

X X X
X X X X

X X

X X X

X X

X X X

X X X X
! !

X X X X
!

7 7

j X

X X

X X X X

X X ( scratch)

1 1

12 12

1 1 1

1 1

12

16

Vln Vln Vln

no bowing brg X spm ord X X X X stm SZp

! I II III X IV X

X
X X

j X

X X

SZ p

X X

no bowing

open strings damping O

O O

j X

E SZf
X X

X X

&
Guit

scratch spm stm

(constant and fast scratch)

X X X X X X

XII

aD
scratch

Szp

O O O O O O

l.v

l.v

E E p

t t

w w f p

X X X X X X

X X X X X X

22

brg spm ord stm

Vln Vln Vln

I II III X IV X

E w f SZf

X X X

gradually more and more irregular

in tempo

simile

X X X X J X X

X X

no bowing

&
Guit

round strum

sffz in tempo

w w p

hole bending

X X X X w w f
bend the four upper strings

SZ SZ

SZ

27

no bowing

brg spm ord stm

Vln Vln Vln

I II III X IV X

X f

> X > X X X
hole tapping frantic

no bowing

. X J a SZ

O O

E p

E.

! !

&
Guit

(round strum)

X X X X w w p

f sub D

X X X XX X X X X X X X X XXXXX X X X X X X X XX X X

XX X X X X XX X X X X X X XX X X X

w p

t t

w p

2 2 2

frantic
very irregular
32

brg spm ord stm I O II O III IV X X

X X X f
X X

in tempo

a j X .
X X

very irregular !

X X. X. X. X. X X. X.
X X

improvise using these elements as a base gettato

X ....

use any string combination

X X X X

Vln Vln Vln

& w w p E E f

f
sul pont extremo

Guit

SZ p

j X X X X X XE E

X X

. X X X a E X X X J E

ord

E E E E E E

X X X X X X

X X X X X X

X X X X X X SZf

frantic
round strum

hole bending ad lib.

37

brg spm ord stm I II III IV

improvisation

XXX f
X X X

XX XX XX XX XX XX X X

w SZf
X X

Vln Vln

&
Guit

f ... E E E . E E E .. f
(round strum)

frantic improvisation based on this elements

VI

X X X X X X

X X X X X X

(hole bending)

X X X X X X

X X X X X X

X X X X X X

X X X X X X

X X X X X X

X X X X X X f

spread arpegio

41

Vln Vln Vln Vln

j X X brg X . spm ord X X X X stm f I

II III X IV X X X X

X XX X XX E SZ p
X X

X X X. X. X. X. X X X X X. X. X. X. X X X j XX j X . . f
X X X

&
Guit

hole bending

X X X X X X
j

X X X X X X

hole tapping

XX X X X X X X XXX X X X X X X XX X X

D j

X X X X E E

hole bending ad lib.

SZp D

j X E

t t

sul pont extremo

XX [

XXX X X X X [

XXX

XXX X X X X

XX XXX X X X X X X X X X X X XXXXX XXXXX X X [ [

bend the four upper strings

3 3 5 3 3

45

brg spm ord stm

Vln Vln
Vln

I X II X III X IV

X. f

. X X X a X. X. X X X SZ p

X f sempre
X X

q = 60
!

very irregular

Vln

&
Guit

hole tapping

X X X XX X X X X XX X X X X X

X X X X X X

X X X X X X

X X X

E E E D
j

rmi

XX X

scratch spm stm

p
! very irregular dietro il ponte

very irregular

dietro il ponte

49

brg spm ord stm

Vln Vln Vln

I II III X IV X

f SZf SZ p
j X w X X X X X j

X X

& f ( scratch) f E E
XX X

f
XX

Guit

spm stm

j X E X X X X X

SZ
j X

j X X X X X X

D
dietro il ponte

f X X X

j X X X X D X X

j X X X X X X

53

brg spm ord stm I II III IV

Vln Vln Vln Vln

E
X X

no bowing

X X X j X X X

X.

X X X X X X X

(q = 60)

&

f
t t

J
j X w X X X X X

SZf X X X X X

Guit

SZ p

j X X w X X X X

SZf

w
scratch spm stm

f
4 4 4
8 8 4

SZp D

brg improvise, very agressive any string combination 58 spm brg any string combination 58 ord e dietro il ponte sempre dietro il ponte spm brg stm dietro il ponte ovise, very agressive improvise, very agressive spm ord e dietro il ponte sempre dietro il ponte sempre dietro il ponte ord string combination any string combination stm 58 dietro il ponte sempre dietro il ponte ovise, very agressive improvise, very improvise, very agressive brg I stm agressive improvise, very agressive string combination any string combination any string combination 58 58 spm II brg brg any I string combination 58 Vln ord III I spm brg spm II stm IV Vln ord spm ord il ponte III IIsempre dietro Vln Vln IV III Vln stm ord stm dietro il ponte ssive improvise, very agressive stm Vln I IV Vln Vln ion any string combination 58 II Vln brg Vln I I III spm II I II IV Vln ord Vln III II III Vln IV III stm IV IV Vln Vln

w w 2 4 E w 4 4 2 4 dietro il ponte 4 2 w 4 4 E E il ponte w 4 dietro il ponte 4 dietro dietro il ponte E Ew wE w 4 w 2 4 2 4 2 E 4 4 4 4 4 4 2 2 4 2 4 4 2 4 4 4 4 2 4 4 4 4 4 2 4 SZ p 4 4 4 4 dietro il ponte 4 p 4 E w2 4 2 ESZ wSZSZ 2 4 p SZ 4 4 4 4 4 4 SZ 2 4 2 4 2 2 4 2 4 4 & 2 4 4 4 4 4 2 4 4 4 4 4 4 4 SZ p 4 4 2 4 SZ p & 4 4 4 4 & SZ SZ SZ p SZ p p SZ p Vln 2 4 2 4 SZ I irregular arpegio creating a very dense texture (open and damped strings ad lib.) SZ SZ SZ 4 4 4 4 II SZ V 4 2 4 2 4 & VI 2 2 4 2 4 Vln III 4 4 4 4 w 2 4 4 4 4 4 4 4 X &XX XX XXX w & & IV 2 4 w 4 4 XX X w 4p w X w SZ p 4 VI SZ V p p SZ SZ f Guit j j X X 2 4 2 4 X X X 4 4 4 2 4 4 X X & f 4X X X 4 X X SZ SZ
58

sempre dietro il ponte

sempre dietro il ponte any string combination sempre dietro il ponte improvise, very agressive

q = 80 very agressive improvise,

dietro il ponte

dietro il ponte dietro il ponte

E E

dietro il ponte
63

brg spm ord stm

. . X X X. X X

E.
strings ad lib.

E.

Vln Vln Vln

I II III IV

&

p > w

SZf

SZp ppp O O O O O O F
XII

SZp
irregular arpegio; start detuning downwards as faster as possible all the strings while playing

Guit

Sz

XX XXXXXX XXX X

non cresc

68

brg spm ord stm

legatissimo

Vln Vln Vln

I II III IV O

SZ f

. X X J a a a a j j j j X. X. X. X. X. X. X. X. X. X. X X. X. X. X. SZ p
X X

jw &X
Guit

using the violin G as reference tune the 1st string pitch to it

SZp

E.

X. X.X.X.X.X. SZ p

continue lowering all the strings

X >

X >

X >

X >

X >

X >

X >

X >

5 5 11

5 5 11 5 5 11 5 5 11 5 11

5 11 5 11 5 11

5 5 11

5 11

5 11

72

brg spm ord stm

Vln Vln Vln

I II X III X IV

XX p

g gg ) simile g j X X X. . X X. . f
(
X X X X

X X. .

X X. .

X
X X

X
X X

dietro il ponte

w
X X X X

& continue detuning

Guit

X X X X X X f

X X X X X X

X X X X X X

X X X X X X

E E E E E E

SZ

XX

dietro il ponte
76

brg spm ord stm I II III IV

X
O O

X J X X

X X X j X X X X

w SZ
X X

w Sz p

Vln Vln Vln

&detuning
Guit

E E E E E E

XX X

E E E E E E SZ

E E E

E E E E E E SZ

E E E

poco piu mosso

81

brg spm ord stm I II III IV

Vln Vln Vln

w p
X X

m o r e n d o

5 4 5 4 5 4 5 4 5 4 w w w w w w f

4 4 D 4 4 4 4 4 4 4 4 w w w w w w

X
X X

E Szp

p
X X

&
Guit

At this point all the strings must be unpitched, the laissez vibrer element being a percussive granular noise, the strings bouncing against the fretboard. If this sound it is not yet achieved continue lowering the tension of the strings

w w w w w w SZ

D
hole bending

X X X X X X D
j

X X X X X X D
j

6 6 6 14 6


87

brg spm ord stm

Vln
I II III IV

w p
X X

j X

j X

Vln Vln

X X

& D
Guit hole bending

X.X.X.X. X.X.X.X.

E E E

X X X X

D
(hole bending)

X> X. X> X. X> X. X> X.

j j j j

X> X. X> X.
j j

sempre
94

brg spm ord stm

Vln

Vln Vln

I II III X IV X

X. . . . . . . . . X. X. w p
no bowing

no bowing

SZ p

! X. X X

no bowing

SZ p

XXX

E SZ p

& & D XX .
j

Guit

X X X a X X X D J p sempre
j
spm stm

scratch

X X a X X X X J
j

D
spm stm

hole bending

scratch

100

Vln Vln Vln Vln

! brg 100 brg spm spm ord ord stm stm

X p Vln
I II III X Vln IV X

I II III X IV X

! EX E X X w X w X SZ p SZ SZ p p
X X

w E
O O

no bowing no bowing

E E F F

m o r e n d o

> E

> E

D jX X SZ p

XX jX X SZ p

no bowing no bowing

U D

Vln

&
Guit

& p
j

( scratch) spm stm

X X X X X X

granular percussive noise tail in relievo trying to make it as longer as possible

D
j

D
spm stm scratch

hole bending

w w w a X X X D J
j

hole bending

fsub

7 17