moguillansky inlove score and notes a3

8/6/2019 Moguillansky Inlove Score and Notes A3

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eduardo moguillansky

in love

(intimacy etude n° 2)

for female bass flute player and electronics

2011



Explanations

All explanations are given in the score as they happen. They are repeated here for completeness and for quick

reference

Air sound.

Cover the embouchure completely with the mouth. If

nothing is specified, exhale as if saying "u".

As above, inhale or exhale through the flute.

Intercept violently the stream of air by either moving

the flute very fast across the lips or moving the head

very fast across the embouchure. When/if there is no

time to perform the action in this way, a very fast andshort exhalation of air can fake the effect quite well,

like by saying "ue". In any case the resulting sound

should be like a very short burst of sound as if digitally

cut, with no attach and no decay.

These gestures as hast as possible. When finished with a

given gesture, there should be a silence if there is time

left before the next note/gesture (here, for instance,

there should be a small pause between the Gb and the

C#).

Air + pitch (1/2).

Transition from only air to air+pitch

Bisbigliando. Always, if possible, double bisbigliando. In

this case, with the 2 and 3 fingers of the R.H.

Double trill. In this case, with the fixed fingering of Bb

in the left hand, alternate with the right hand the two

trill keys on the 2 and 3 fingers.

Overblow. Transition between fundamental and a given

overtone (the third, in this case)

Fingered glissando. Fingerings are given in the score.

The same as above, with a simplified notation.

Add a key click to the given action

Lip pizzicato. As if saying "tut", the sound should begin

AND stop very abruptly. It is, of course, independent of

dynamics (in this piece mostly pp).

Lip pizz. overblow

Air sound with the given colour. With the mouth as if

saying "see" but stay in the "s" and blow through the

flute with the given fingering.

This notehead means that the sound should be as pure

as possible, like a clarinet or a glass harmonica.

Sing and play at the same time. The voice is always

only a colour of the flute, should stay always behind the

flute.

The round notehead notates the voice, the normal

noteheads indicate the flute pitches. When the flute

plays under the voice the sound of the flute drops

dramatically in dynamic, as if put behind a curtain. This

effect is wanted, but great care should be taken to

match the voice to the flute as much as possible so that

still in these cases they create a mixture.



The bracket above is a simplified notation to indicate

the length of the voice action. In this case, the Eb of the

voice is kept the whole time while the flute fluctuates

between the fingerings of Eb and D+ as indicated.

Only tongue, no air.

Stop the air flow abruptly at the end of the gesture.

Air sound with the given colour. With the mouth as if

saying "tee" but stay in the "ee" and blow through the

flute with the given fingering.

Trill with the note in brackets, smoothly overblow to

reach the upper pitch while at the same time

performing a lip-gliss (glissando by shifting the angle of

the flute)

Two different fingerings for the same pitch. As the

number increases the colour should be more distant

from the "ordinario" fingering

No extra sounds here.



B.Fl

B.Fl

B.Fl

B.Fl

simile

to Carin Levine



B.Fl

ord

sub.

B.Fl

n n

B.Fl

n n

n

n n

B.Fl

congelato, sinosoidale

silenzio



B.Fl

B.Fl

n n

B.Fl

n

n n

B.Fl

n



B.Fl

B.Fl

B.Fl

molto stabile, congelato



B.Fl

B.Fl

B.Fl

ord

B.Fl

(poco)

B.Fl



B.Fl

B.Fl

B.Fl

B.Fl

B.Fl



B.Fl

B.Fl

B.Fl

B.Fl

ad lib.

moguillansky inlove score and notes a3

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