Gianni Bozzola

Caxambu

For Soprano Saxophone [with male voice] and Accordion

Score

Gianni Bozzola

Caxambu (2014, rev. 2016)

For Soprano Saxophone [with male voice] and Accordion

Caxambu is a ritual dance and musical genre from southeast Brazil. One of the essential characteristics of this dance is the use of symbols that possess a magical function, among which the fire plays a central role, as it is used to tune the instruments and at the same time is the centre of the circular movement of the dance. The use of symbols is also connected to the use of metaphors and exoteric language, which is meant to create a secret community. As a representation of fire, the extended use of trills on this piece has both a formal and a symbolic function. From a structural point of view trill is the centre of the movement, as the “dancers” move and turn they constantly look and “return” to the fire. At the same time the role of “tuner” of the fire gives rise through the trills to the changing variety of colours and microtonal movements of the instruments. In strict connection with the exoteric language of the original caxambu, the sound, the rhythm and the gestures of the couple of instruments become a mean to reach a different state, in a sort of metaphorical dance and physical meditation at the same time.

Gianni Bozzola

PERFORMANCE NOTES

Microtones µ = a quarter-tone sharp

B ! = a quarter-tone flat! ˜ ! = three-quarter tones sharp! A! = three-quarter tones flat!!Eight-tone intervals are also employed. An upward (or downward) arrow on an accidental indicates that the pitch is up to an eight-tone sharper (or flatter). Microtones are executed both in the contest of glissandi – and should be produced by modifying the embouchure –, as well with appropriate fingerings. Eight-tones should not be considered as a mathematical division of the octave, rather as a non-tempered space in between of quarter-tones.

Soprano Saxophone

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Dal niente, al niente.

Breath sound with pitch scarcely identifiable. Make it sound as a hiss when played staccato.

Breathe in inside the saxophone.

Mixture of normal and breathy sound.

Slap-tongue with pitch. Always staccato.

A “pesante”, exaggerated tongue attack at the beginning of a note, thereafter continuing normally.

Slap-tongue with no pitch. Always staccato.

Multiphonic slap-tongue. Choose an altissimo register fingering in order to obtain the richest sound possible. !

Slap-tongue with introduction of voice. !

Teeth on reed. Squeaking sound on highest register. Don’t search for a definite pitch, but rather try and follow the random movement indicated by the line.!

Teeth on reed with very soft and smooth sound.!

Overblow: the lowest note indicates the note to play, while the highest indicates the resultant pitch.!

Growl.!

The small note indicates the pitch to reach at the end of a glissando, the play at once the following note without glissato between of the two.!

On occasions subsidiary articulation instructions are appended beneath the stave in the form of rhythmic structure in smaller print. These articulations are employed for “pulse accents” as well as for “flutter” increase or decrease.

Accordion

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14

Key-click noise.!

Sing inside the saxophone. (Voice is notated in Bb)!

Cry inside the saxophone.!

Fingering for a bright timbre.!

Fingering for a dark timbre.!!

Fingering for a timbre between bright and dark.!!Colour trill: alternate between different timbres of the same pitch.!

Colored trill: alternate between different timbres of the two pitches indicated.!!Increase or decrease speed of trill.!!

Key-click noise.!

Key-click noise with nails.!!

Tap on the resonating chamber with fingers (like a bongo).!

Tap on the fingerboard with the nails of right hand (like a rasgueado).!

Strum on the fingerboard with the nails of the right hand.!

Register noise.!!Cluster. When the highest and lowest note are not notated it is only relevant to play in the zone indicated.!!Hold the note indicated.!

Air sound.!

Duration: ca. 7-8 minutes !

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Soprano Sax

Accordion

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* Gradual transition from one type of sound to the next. A texture of sound, breath and click noise should be constantly swapping between the instruments as homogeneous as possible. As the pitch gradually swaps from saxophone to accordion and viceversa, it turns gradually into breath and then emphathizes click noise then the pitch is gone. In this transformation saxophone and accordion act as a unique instrument. Remind never to let the pitch disappear.

Tap dynamic

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CaxambuGianni Bozzola

© Gianni Bozzola 2014, 2016

For Soprano Saxophone [with male voice] and Accordion

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