The composer would like to thank the Secretaria de Relaciones Exteriores and the Consulate General of Mexico in Chicago for the support granted in the completion of this work, and to Ryan Muncy for his entrepenuer and commitment to this project.

After tomorrow (2011)

amplified saxophone(s) and pre-recorded sounds

Edgar Guzmán

Ryan Muncy’s comments: At the conclusion of the piece, a multiphonic with three pitches (Bb-F-Bb) is given. My solution to this would be to record a written low Bb on alto saxophone and allow the sonority to take on its “spectral harmonies”, so one can easily hear the fundamental, the next Bb up one octave, and then the F (it means that I would be reading the pitches instead of transposing them for alto saxophone). I feel the resulting sound profile matches the rest of the piece better than if I was to record three separate pitches and edit them together. 5) AMPLIFICATION Soloist performer’s full ‘sonic-aura’ must be amplified. Tone production, voice, mechanism, they must be amplified and have the signal equally sent to a minimum of two loudspeakers selected accordingly to the saxophone(s) chosen to perform. A different pair of loudspeakers should be used to diffuse either the pre-recorded tape or the performance of the second saxophonist (for whom only the tone production is required to be amplified), and they shall be located in the same spot than those used to spread the soloist’s performance. If a different pair of loudspeakers is not available it’s possible to use the available set to amplify both signals, equally distributed in the stereo set. The critical part of the piece as far as amplification is concerned can be found at the end of the second page: “all of a sudden he lets go with a blast, could of split the fuckin’ celestial harmonies(…).” Whatever is performed, it shall be able to be ‘qualified’ as a ‘chaotic and terrifying moment’, and much of it is intended to be accomplished by means of amplification. If useful, try doing the soundcheck on this section first, accomodating the rest startting from there. PROGRAM NOTES In 1964, Julio Cortazar’s El perseguidor (The pursuer) was published. Its story line describes a sequence of events surrounded by a series of physical and mental ‘crises’ in the life of saxophonist Johnny Carter, as seen and described by Bruno, the music critic, scholar and ‘friend’. From Bruno’s ‘puritanical world’ point of view, Johnny’s ‘anguished’ life descriptions seemed like a stereotyped personal analytical resource intended to ‘understand’ and connect, albeit aesthetically, with the life and work of an art ‘geniuses’. Nevertheless, Johnny’s sole creative ‘energy’ escapes Bruno’s own words, as well as it escapes Johnny himself, apparentely ‘condemning’ him to a life of eternal pursue. Whatever performance is recorded, whatever sounds are ‘written’, they will always be a mockery of pursuer’s desire, of everything he’d wanted to say while fighting up against that he is pursuing. ABOUT THE COMPOSER Edgar Guzmán (b. 1981, Mexico) is a freelance composer of acoustic and electronic music. His work has been performed at several new music festivals in Mexico, United States, Canada, Brazil, Argentina, Chile, Venezuela, Austria, France, Poland and Germany. He has been recipient of several grants and distinctions such as the National Fund for the Culture and Arts’ Young Creators Grant in 2006 and again in 2009, Artistic Projects Sponsorship Program granted by the Mexican Youth Institute in 2006, Queretaro State Institute of Culture and Arts' Young Creators Grant 2002 and 2004, Guanajuato State Intitute of Culture and Arts' Young Composers Specialization Grant 2005, National System for Musical Promotion's Annual Commissioning Program 2003, and 31st International Competition of Electroacoustic Music and Sonic Art Bourges Residencè Award in 2004. His musical production is comprised of commissioned by and dedicatory pieces to a number of institutions, ensembles and performers such as the Ensamble de Música Contemporánea de la Universidad Autónoma de Baja California, Orquesta Sinfónica Juvenil de México, Camerata de las Américas, International Contemporary Ensemble, Wilfrido Terrazas, Alexander Bruck, Rebekah Heller, Kivie Canh-Lipman, Ryan Muncy and I-Chen Yeh among others.

Email: manzuge@yahoo.com.mx

3) SINGLE TONES AND MULTIPHONICS The actual pitch of the single tones, when used, is dependent on the multiphonic from which they came from or the one they lead into; it’ll be either an element of prolongation or anticipation of/to the full multiphonic’s spectrum. Multiphonics are going to be selected by the performer(s) in accordance with their own multiphonic repertoire and the particular saxophone being used. Single tones are called for at certain moments of the piece through the use of the single tone clef, but they might also appear ‘naturally’ as part of multiphonic’s proper in and out ‘fading’ period. The four-line staff along with multiphonic clef are meant to represent the relative sense of frequency highness or lowness once they are ‘compounded’ in the multiphonic. From the bottom (low freq.) to the top line (high freq.) the spaces in between does differentiates the multiphonics in account of relative frequency too, but they also does it in account of ‘timbre’ qualities. Those multiphonics ‘notated’ on lines have a different ‘timbre’ quality than those written on spaces, in accounts of the relative amount of ‘battements’ they produce, the amount of ‘air noise’ that it contains, and the relative dynamic range that they are capable of. Lined multiphonics have a higher, very noticeable, amount of battements, contains a lesser amount of air noise in the compounded sound, and are capable of a wider range of dynamic play without ‘breaking’ the multiphonic. For the sake of variability and as a bit of a ‘research’ into different possible multiphonic qualities, sometimes the notation suggest the compounding of

multiphonics with different timbrical qualities: , or, in the case of two multiphonics with the same timbrical quality, an expansion of the

multiphonic spectrum of frequencies: . Composer’s note: The use of multiphonics in this piece is approached basically in a dualistic way (consonant-dissonant), so when two multiphonics are synchronically written the purpose is to call for a 'third kind' of multiphonic outside of the basic opposite type, but performed with one saxophone only. If not different quality is achieved (or discovered yet) read it as if there were only one multiphonic notated. Ryan Muncy’s note: Consonant and pure sounding multiphonics often have a higher sense of fragility than those that are dissonant and have interference. Inherently, there is a very wide range of stability. Dynamics might not be totally consistent with that which is written in the score, i.e. a true crescendo from ppp to f on a consonant, pure multiphonic could be basically impossible (on the other hand, some of the loudest, nastiest multiphonics are only possible at forte and louder). When necessary, keep dynamics somewhat relative to the multiphonic in use, taking advantage of the amplification to make up for this intrinsic quality. 4) IVES A reference to Ives’s song The Cage is made in Cortazar’s text. That’s not however Ives’s musical source for the excerpt that is written in the score. The idea of literally basing the piece’s structure on that of Cortazar’s text was never part of the strategy when started working with it. Since it was never the purpose to make a literal ‘translation’ of the text –but to find in it, extract from it, some of the pursuer’s creative energy, a desire for more than just the immediate pleasure-, there was no reason to use Ives’s ‘leopard’ song, or to use Ives whatsoever. Nevertheless, while making late musical and structural ‘tests’, a musical reference to Ives by means of an excerpt of Adeste Fideles in an Organ Prelude, seemed actually to work as a musical strategy, summing-up one of the main (and ‘original’) dialectical and aesthetic characteristic present throughout the piece: the pedal chord on the organ (transmuted into sax multiphonic(s)), as the genesis of the life that is ‘above’ it, no matter how different it becomes after being released developing life on its own (in this case, guided by Johnny/Cortazar’s words), retaining nonetheless an intrinsic and stressful connection to its sound ‘origin’, sometimes even going back to it, fusing to its ‘harmonic’ and energetic source.

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After tomorrow (2011)

to Ryan Muncy

PERFORMANCE NOTES 1) GENERAL NOTES

Saxophone(s) and tape

Both the soloist part of the piece as well as the ‘accompaniment’ part -which shall be either performed live by a second saxophonist or previously recorded by the soloist him/herself in a stereo file- can be performed using any member of the saxophone family (soprano, alto, tenor, etc.), and they can be combined in any way and/or switched at any moment of the piece that presents itself as suitable.

Cortázar’s text

The piece is ‘inspired’ by Julio Cortázar’s tale El Perseguidor (The Pursuer). Some sentences and sentences fragments have been used alongside the more ‘traditional’ score elements as another form of the notational strategy. The ‘actual’ content of the text is never heard in the actual performance, but it is used instead as an imaginary sound catalytic for the performer. That said, the performer (and anyone else for that matter) is highly encouraged to read the full text. Careful thoughts were given at the way of ‘using’ Cortazar’s text as a ‘source’ for sound material. Given the scarcely and particular use of the text within the score -along with considerations regarding the copyrights owners (namely Julio Cortazar and his heirs) - and because the text itself is not part of the piece, a simple instruction ‘attached’ to the score asking to the performer to get him/herself the text returning to the score after reading it was taken into account. However, the inclusion of these fragments within the score obeyed to a more or less specific sound content and dynamic ideas of development that the text itself (might) suggest when organized within a specific structural frame of development (i.e. the one created for this piece), always related (maybe even subsumed) to the piece’s main sound design. 2) CLEFS AND ‘ACCIDENTALS’

‘Accidentals’ are directly related to the immediately preceding or following multiphonic:

⤒ = high(er) multiphonic pitched element (mpe), ⤉ = middle high register mpe, ⤓ = low(er) mpe, ⤈ = middle low register mpe

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niente

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straight line ( ) dynamics are soloist's dynamics; the ones dotted ( ) are 2nd sax/tape only

Ryan Muncy’s comments: At the conclusion of the piece, a multiphonic with three pitches (Bb-F-Bb) is given. My solution to this would be to record a written low Bb on alto saxophone and allow the sonority to take on its “spectral harmonies”, so one can easily hear the fundamental, the next Bb up one octave, and then the F (it means that I would be reading the pitches instead of transposing them for alto saxophone). I feel the resulting sound profile matches the rest of the piece better than if I was to record three separate pitches and edit them together. 5) AMPLIFICATION Soloist performer’s full ‘sonic-aura’ must be amplified. Tone production, voice, mechanism, they must be amplified and have the signal equally sent to a minimum of two loudspeakers selected accordingly to the saxophone(s) chosen to perform. A different pair of loudspeakers should be used to diffuse either the pre-recorded tape or the performance of the second saxophonist (for whom only the tone production is required to be amplified), and they shall be located in the same spot than those used to spread the soloist’s performance. If a different pair of loudspeakers is not available it’s possible to use the available set to amplify both signals, equally distributed in the stereo set. The critical part of the piece as far as amplification is concerned can be found at the end of the second page: “all of a sudden he lets go with a blast, could of split the fuckin’ celestial harmonies(…).” Whatever is performed, it shall be able to be ‘qualified’ as a ‘chaotic and terrifying moment’, and much of it is intended to be accomplished by means of amplification. If useful, try doing the soundcheck on this section first, accomodating the rest startting from there. PROGRAM NOTES In 1964, Julio Cortazar’s El perseguidor (The pursuer) was published. Its story line describes a sequence of events surrounded by a series of physical and mental ‘crises’ in the life of saxophonist Johnny Carter, as seen and described by Bruno, the music critic, scholar and ‘friend’. From Bruno’s ‘puritanical world’ point of view, Johnny’s ‘anguished’ life descriptions seemed like a stereotyped personal analytical resource intended to ‘understand’ and connect, albeit aesthetically, with the life and work of an art ‘geniuses’. Nevertheless, Johnny’s sole creative ‘energy’ escapes Bruno’s own words, as well as it escapes Johnny himself, apparentely ‘condemning’ him to a life of eternal pursue. Whatever performance is recorded, whatever sounds are ‘written’, they will always be a mockery of pursuer’s desire, of everything he’d wanted to say while fighting up against that he is pursuing. ABOUT THE COMPOSER Edgar Guzmán (b. 1981, Mexico) is a freelance composer of acoustic and electronic music. His work has been performed at several new music festivals in Mexico, United States, Canada, Brazil, Argentina, Chile, Venezuela, Austria, France, Poland and Germany. He has been recipient of several grants and distinctions such as the National Fund for the Culture and Arts’ Young Creators Grant in 2006 and again in 2009, Artistic Projects Sponsorship Program granted by the Mexican Youth Institute in 2006, Queretaro State Institute of Culture and Arts' Young Creators Grant 2002 and 2004, Guanajuato State Intitute of Culture and Arts' Young Composers Specialization Grant 2005, National System for Musical Promotion's Annual Commissioning Program 2003, and 31st International Competition of Electroacoustic Music and Sonic Art Bourges Residencè Award in 2004. His musical production is comprised of commissioned by and dedicatory pieces to a number of institutions, ensembles and performers such as the Ensamble de Música Contemporánea de la Universidad Autónoma de Baja California, Orquesta Sinfónica Juvenil de México, Camerata de las Américas, International Contemporary Ensemble, Wilfrido Terrazas, Alexander Bruck, Rebekah Heller, Kivie Canh-Lipman, Ryan Muncy and I-Chen Yeh among others.

Email: manzuge@yahoo.com.mx

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X( ) XX

XXX X X X XX

XX XX X2'15"

A 20"10"

Johnny Carter

After tomorrow

"I don't buy your God... There's no use getting past that doorif it's him on the other side opening it."

7"

2011

2"11"

Edgar Guzmán 1981

25" B

!(...) Johnny is trying to move forward with hisdecapitated sentences, his sighs, his impatientangers...

(...) he preferred desire rather than pleasure andit hung him up, because desire necessitated hisadvancing, experimenting, denyingin advance the easy rushingaround...

Incapable of satisfying itself, useful as a continual spur, an infinite construction,the pleasure of which is not in its highest pinnacle but in the exploratory repetitions, (...)

(...) Johnny seems to use that to explore himself, to bite into the reality that escapes every day.

(...) in the use of faculties which leave the suddenly human behind without losing humanity. !

3" 15"

"

!

(perform/record a multiphonic with similar but not the same harmonic content and/or register than that of soloist's)20"

45"

(45") 20" 10"

( )15"(10") 8" 5" 13"7"

( )(13") 12" 20"

breath imperceptibly when needed 0'00" (counter only valid if a tape and not a 2nd sax plays the part)

0'45"

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⤈ ( )"senza vibrato

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2"

in preparation for upcoming multiphonic (which shall have a differentsound quality than the one from which the single tone had previouslycome from), use a different fingering to perform same previoussinlge tone's pitch (or a very close one in pitch)

C

simile

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"

(10")

"senza vibrato

(same pitch as before)

" "sim.

"(same multiphonic as before)

18"

Unpitchedair

"

2"

('same' initial pitch but anoctave higher)

6"

"

⤈ ⤓ ⤈ ⤓ ⤉ ⤒ ⤉ ⤒ ⤉

22"

" ⤉ senza vibrato flz

!

D

He's slipping into his usual delirium, he mutters parts of words, spits.

perform this passage both in and out of saxophone, with and/or without embochure ad lib.

* incidental key noises and un-pitched key 'slap'

* every once in a while a chill'd shake him...*

after the initial blast, start using voice to itsextension as if yelling, though unintelligibly,what previously have just being muttered,resulting in a chaotic and terrifying moment

all of a sudden he lets go with a blast,could of split the fuckin' celestialharmonies (...)

(20")

34"

20"8"

⤒ ⤉ ⤉ ⤒⤓ ⤈ ⤓21"

10"

9"

* Every time the piece is being performed by two saxophonists,synchronize the begininning of the 'blasted' sound with that oflow multhiponic's attack. When performing alongside a tape, if synchronization seems unlikely overlap both sounds trying to 'blast' no more than a second after low multiphonic begins.

20"15"

⤒ ⤉ ⤉⤈ ⤓10"

2'35"

0'00"(2nd track)If performing with a tape, it is optional to record the upcomingevents in a second track or to continue previous one.

!

1'33" (counter valid only if recorded in a second track)

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pXX 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 X X X X X X X

X X X X X X X X XUX

X X X XXX X

X XbXXb&p

XbXbXp

XbXbX

XbXbXUXbXbX

Johnny lets loose with a sound I swear I'd never heard before or since.anyone could hear its deficiencies, the breathing perfectly audible at the ends of the phrase, and especially the final savage drop, that short dull note which sounded to me like a heart being broken...

...a terrible beauty, the anxiety looking for an outlet in an improvisation full of flights in all directions, of interrogation, of desperate gestures.

(...) parts of words, spits.

!

"

20"

⤒⤉ ⤒ senza vibrato

!

(...) delirium, he mutters parts of words...25"

Johnny sat up in bed and started slowly, chewing every word, and then blew it out like a trumpet solo, insulting everyone (...) without looking at anyone

E 50"

(...) sighs...

F * From Charles Ives, 'Adeste Fideles' in an Organ Prelude.The sounds written in the score are just the basis for a series of 'flights in all directions, of interrogation, of desperate gestures'

sempre

(...) needless to say, many of the phrases he´s singing are not absolutely Ives, (...)

(...) something Johnny's not very careful about while he's sure that what he's singing is something good.

free dynamic play

60"

⤉ ⤒15"

"⤓ ⤈

"⤒15"

3'43"

4'33"

( )sempre

( )

* Approximated total duration of 'F' section is 80 seconds. Pitches on the staff are, in principle, actual pitches; however, they shall be transposed in order to mantain the same-or similar- intervalic relationship with the multiphonic's 'harmony'; both the solo and the 'accompaniment' part are suitable of adjustments (i.e. transposition up and/or downto a n interval or an x register) depending on the sax (alto, tenor, etc.) being used.

( ) ( )al niente

al niente

Approximated total duration: 9 ! min.

⤈ ⤓

2'58"!