Disintegration

- for saxophone trio -

Disintegration (2011) – for saxophone trio 2 Bb Soprano Saxophones 1 Eb Baritone Saxophone Notes for performance 1. General Instructions

• No conductor is to be employed in this piece. The piece is to be performed from the score.

• All accidentals apply to only the note they are assigned to and do not carry within the bar.

• All indications of dal niente and al niente mark a dynamic in which the stability of the resultant sound is highly diminished. In these instances one is not to strive for a clear sound or articulation. Pianississimo should be the softest dynamic in which a secure pitch can be produced.

• An extensive amount of micro-intervals are called for. Quartet-tones are to be executed in equal temperament. All other notes with microtonal

inflection indicated are to be played as closely as possible to eight-tones, but may be somewhat unpredictable in nature.

• The score is transposed.

• Duration is 4:00!

- Microtonal inflection for flat, natural, and sharp.!

- Quarter-tones, arranged from lowest to highest.

2. Staves Extended tablature notation is employed throughout this piece. Three individual staves are used per instrument.

(1.) Pitch

• Indicates the pitch to be played. The airflow is completely coordinated with the notated rhythm, and not separated at any point in the piece.

(2.) Air Quality

• Is composed of three lines.

• The first line indicates a very small amount of air sound mixture into the pitch being produced. • The second line indicates a medium, and fairly balanced mixture of air sound to pitch. • The third line indicates a very high amount of air sound in comparison to pitch.

o The third line should be almost solely air sound, however, some residual pitch must be maintained. • Anything notated between the three lines is a slight variation on intensity of air quality relative to its location on the staff. • When a rest is present this is an indication that no air sound should be present.

• The shift from one state of air quality to another must be instantaneous and very rhythmic unless otherwise noted through the use of a glissando, which indicates a

smooth transition from one state to another.

• There are several instances where the air quality extends past a sounding pitch. In these instances one must make an air sound that follows the same principals out-lined above.

(3.) Teeth Placement/Pressure

• Is composed of five lines.

• The four spaces in this staff indicate the relative position of the teeth on the reed. • • The first space inside the staff indicates a position that is closest to the edge of the reed. • The second space inside the staff indicates a position between the normal playing position and the edge of the reed. • The third space inside the staff indicates a position between the normal playing position and the end of the reed (moving towards the body of the instrument). • The fourth space inside the staff indicates a position that is as the end of the reed (almost as if one is swallowing the mouthpiece) • When a rest is present this is an indication of ordinary placement and pressure. The use of a rest also indicates a moment when the written pitch should sound,

unaltered by placement or pressure.

• The use of spaces instead of lines is called for in order to alleviate some confusion when both air quality and teeth placement/pressure are in action together.

• As with air quality, the shift from on region to another must be instantaneous and very rhythmic unless otherwise noted.

• Furthermore, dynamics contained in quotation marks indicate the amount of teeth pressure to be applied to the reed.

o A piano dynamic indicates substantially less pressure than the normal amount of pressure required. o A mezzo piano dynamic indicates somewhat less pressure than the normal amount of pressure required. o A mezzo forte dynamic indicates somewhat more pressure than the normal amount of pressure required. o A forte dynamic indicates that maximal pressure be applied to the reed (almost biting the reed with the teeth).

• The different placement and pressure indicated will at times be in contradiction with each other. For example: at times an indication to play

with less teeth pressure and a position at the end of the reed will not always produce the notated pitch. o This is an intentional contradiction, and will have various effects on the end aural byproduct.

Preface: The piece Disintegration is designed in such a way that the resultant sonic-world will be highly un-predictable. The various types of parameters being engaged create sonic disturbances to the notated pitch. It is expected that the performer strive for a somewhat consistent and repeatable performance of this piece. However one should not strive to attain every pitch as it is notated in the pitch parameter. Such an approach will not lead to a correct sonic realization of this piece. The notation used here is a means to the end sound and should be followed as such. !

&

&

†

84 85 87

Soprano Sax. 1

Soprano Sax. 2

Baritone Sax.

!

!

® œn œK œµ " œl œµ œm ® " œL œm .œµ ® œk7:6œrK

5:4œrK7:4œrK

e = 52 |almost imperceptible, like a faint whisper, frail and pale| A.i.

senza vibrato throughout.

senza vibrato throughout.

# # #o o o o

senza vibrato throughout.

Take special note of clef used. All notes will be one octave higher.

!

!

œµ - œK œk " . œB œµ œK œn ® ® . Ù œk œn œB œL ® œm œl œK œn ®7:4œrK

7:6œrK3:2œrK

7:6œrKK# # #o o

DisintegrationMichael Baldwin

(2011)

Transposed Score

Copyright © 2011 Michael Baldwin.All Rights Reserved.

for three saxophonesDuration: 4:00

†

84 83

B. Sx.

3

œn - œk œB œK œk œµ " œn œK œk œµ œL œB œm . ® ‰ ® œµ œL œl œB œL œm " . .8:7œrK

3:2œrK9:8œrK$ # # # #o o

œm œB œL " ® œb œJ œµ œB ® Ù œn œK œµ œk œB œK5:4œrK

10:9œrK7:6œrKK

Air Quality

$ # #o o

†

83 86 83 86

B. Sx.

5 ® œ " œ ® " .œ7:6œrK

5:4œrK7:4œrKK

" œb œB œJ œµ œj ® œJ œb œB œJ œb9:8œrK

7:4œrK

A.ii.

o o #

œ ® œ œ " . œ .œ ® " œ œ œ ® œ œ œ ®7:4œrK 7:6œrK3:2œrK

7:6œrKK

œ ® œK œk œB œn œk ® ® œn œ œK œµ œk .œK œ7:6œrK

9:8œrK 11:7œrK

o # # o #

œ œ " œœ œj œn ® ‰ œµ œK œµ œn œk œK œµ

5:4œrK 11:8œrKo # o

†

86 84 163

B. Sx.

8 œ œ œ ® ‰ ® œ œ " . . .œ " ® .œ3:2œrK

9:8œrK

5:4œrK

® . œk œK œµ œn œµ œK œµ ® " œn .œ œk œµ œK œk œK œµ ®14:11œrK 7:4œrKo #

.œ ® ® .œ .œ ® ® œ jœ7:6œrKK

7:6œrKK

® œµ œn œK œk œB œn œK œµ œ ® œK œB œk œn œB œK œk œµ9:8œrK

5:4œrKo # o # o

†

163 166 83 165

B. Sx.

10 œ ® " .œ5:4œrK

® ® œn œK œµ œk œK Ù3:2œrKo #

" . . œ œ ® ‰9:8œrK

" . œm œl œµ œL œl œB œm œl8:9œrKo

® œ œ œ œ " œ Jœ3:2œrK

œ ® œm œ œB œL œµ œl œµ œm7:8œrK

# # o

Jœ " ‰

" . œµ œn œk œK ‰4:3œrK

|ever slightly expanding|A.iii.

#

2

&

&

†

168 167 84 86 83

S. Sx. 1

S. Sx. 2

B. Sx.

14

!

!

œn œK œl œB œK œk œL œl ® ® œn œµ œm œµ œj13:9œrK

3:2œrK 5:4œrKo # o #

!

‰ ‰ œm œn œm œn Rœ

Rœ " " œm œn œn œn œn5:4œr

o p

o p

œn .œK œK .œµ œK œB ®13:16œrK

" ® œb œ .œk .œj .œb3:2œrK 13:12œrK

‰ œn œk œl ‰9:8œrK

|soothing, a cool wash of water, seeping in and out|B.i.

Teeth Placement/Pressure

#

#

# o

o

˙J œk œb œj œB œµ œ Jœ11:6œj

œ ® " ‰ œB œk .œn œ œK œB .œn17:16œrK 5:4œrK

" ® œ œ " " .œ .œ ® ® œ œ3:2œrK

œJ .œB œb œk œj .œ " œj œk œn œµ œB11:10œrK

5:6œrK

B.ii.

# o #

o

o # $

o#

"p" "f " "F "

3

&

&

†

83 85 87 86

S. Sx. 1

S. Sx. 2

B. Sx.

18

œk .œj œ " œJ œK œn5:4œrK

6:5œrK

œ œK œ ® " œL œ œµ œB3:2œr

jœ ‰ jœ

œ " œk œ œµ œB œj3:2œrK

7:8œrK

#

o

#

#

"P"

œ œl œk œ œB œµ œL ®6:7œrK

4:5œrK 3:2œrK

œL œK œm œl œ "4:3œj5:4œr

jœ ‰ ‰

œ œk ® " ‰3:5œrKo

o

˙n œ œK œn œk œK .5:4œrK

® œk œl œJ œ .œn œm œj œm .

7:8œrK13:12œrK

!

B.iii.

Air Quality

Air Quality

o # p

p#o

" . .œ ® .œ ‰ ® œ œ ® ® œ9:8œrK

7:4œrK7:6œrK 9:8œrK

" œl> .œ Jœ œL œ .œk Jœ3:2œrK 3:2œj

5:4œr

" . .œ ® .œ ‰ ® œ œ ® ® œ9:8œrK

7:4œrK7:6œrK 9:8œrK

"œB> .œ œK RÔœB Jœ JœK œ œb

3:2œrK 9:8œrK5:4œrK

!

x = 72

ßp

ßp

|piercing, static yet constantly in flux, bright| C.i.

f p #

#ƒ pF $

4

&

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†

86 85 86 85 87

S. Sx. 1

S. Sx. 2

B. Sx.

22

œ œ ® ‰ . .œ ® . œ5:4œrK

11:8œrK7:8œrKK

œ " . Œ œn> œµ œk œJ7:8œrK 11:8œrK

œ œ ® ‰ . .œ ® . œ5:4œrK

11:8œrK7:8œrKK

œ œn œ œ RÔœ œk9:8œrK

9:8œrK

!

F ƒ $

po

Jœ .œ ® " œ jœ .œ ®7:4œrK

œ ‰ œn .œl œK9:8œrK

Jœ .œ ® " œ jœ .œ ®7:4œrK

œ ‰ " . œJ> œ œn œm œm3:2œj 13:12œrK

!

P

çp ƒ

p

$

® œ œ ® œ ® ® œ œ9:8œrK 5:4œrK

3:2œrK

.œµ œ œK œl RÔœL9:8œrK

® œ œ ® œ ® ® œ œ9:8œrK 5:4œrK

3:2œrK

œ Jœ ® œK> œk œj œ œ5:4œrKK

!

# F # p

.œ Ù " ® .œ Jœ œ .œ jœ

Jœ ‰ .œk

.œ Ù " ® .œ Jœ œ .œ jœ

œ ® œJ œ œµ9:8œrK 13:12œrK

!

#

#o

5

&

&

†

87 164 166 165 88

88S. Sx. 1

S. Sx. 2

B. Sx.

~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~

26

œ ® œ Jœ œ œ œ œ ‰ ® œ œ œ ® ® .œ3:2œrK

œ œB .œ œ œK ˙3:2œrK

œ ® œ Jœ œ œ œ œ ‰ ® œ œ œ ® Ù "3:2œrK

œ œK RÔœ œn œk œl œµ ‰5:4œrK 13:11œrK

8:9œrK

!

Teeth Placement/Pressure

P o

o

.jœ œ ® œ

Jœ ® œj> œ œK3:2œrK 5:4œrKK

‰ " ® œk -¿

Rœ œ ® ® œ œ œ

œK -

x = 80Int.i.

#

Fp

ßp

o

"p" "f " "P" "F "

. .œ œ . .œ Ù " "

.œk -

Jœ œµ . œJ œ9:8œrK

œ ® ‰ ‰ œ œ Ù3:2œrKK

œ .œB œn œ œL .œ .œn3:2œrK

5:4œrKo F # p

Fp

P o

"f " "p"

!

œ œL . ® " ‰ "

œ¿ Rœ

" ‰ ® .œ

œB œk œ8:9œrKo $ o

o

Fp o

"F "

6

& 88 87 86S. Sx. 1

30œn> œK œl œµ œn œL œn œl œµ˘ ‰ œl .œ œm œB œK œL " ® œK œµ .œm œL .œµ ®

9:4œrK 3:2œj7:8œrK

13:10œrK

e = 52 C.ii.a |overtly energetic, then pale and weak|

ç f ç o # # o

œµ œn .œL œk œK œ œb œ Rœœk

8:7œj 3:2œr5:4œr

o # o"

œK - œm .œK œL œB œ œ œL œk œK . ®3:2œrK

4:5œj 3:2œr7:4œrKKP o P

&

87 86 88 86

S. Sx. 1

33

Œ Œ œm œK œn œk œL" Œ

5:4œrKK

|exaggerated silence|

# o

œL œk œm œn œk® Œ œk œn œB œl œK

Œ5:6œrKK

5:8œrKK

Teeth Placement/Pressure

# o # o

® œ œ œ œ œ ® ‰ ® œ œ œ œ œ œ œ ® " ‰ ® œ œ5:3œr

11:8œrK

wm

C.ii.b

#

"f " "p""F " "f " "p" "p""f ""p""F "

&

86 88 87 166

S. Sx. 1

36 œ œ œ œ œ œ œ œ œ œ " ‰7:10œrK 7:4œrK

3:2œrK

.˙KAir Quality

"f ""F " "p" "P" "f "® œ " œ ® " .œ œ ® œ œ " . œ .œ ® " œ œ œ Ù

7:6œrK5:4œrK

7:4œrKK

7:4œrK

7:6œrK3:2œrKK

œ œ œ ® ‰ ® œ œ " . . .œ " ® .œ .œ ® ® œ œ œ3:2œrK

9:8œrK

5:4œrK

7:6œrKK

¿m ¨M œK œ œl .œ ® œn œL œk

¿nM̈ " ‰ JœK3:2œrK

3:2œj 5:4œrK9:8œrK

C.ii.c |with forward motion, somewhat fragmented|

ß# $ o # ß o

openslap tongue

openslap tongue

ord. ord.

"P"

Ù œ œ œ ® œ œ " œ œ œ œ ® ‰ ® . .œ3:2œrKK

7:6œrKK 3:2œrK

9:8œrKK

œ " .œ ® " .œ " . . œ œ ® ‰ ® œ5:4œrK

9:8œrK3:2œrKK

¿mM̈ œk Jœ œ œK œ œLœn

"5:4œrK

7:4œrKß $#

slap tongueopen

ord.

7

&

&

†

166 165 164

S. Sx. 1

S. Sx. 2

B. Sx.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

39 œ " . .œ " ® .œ5:4œrK

œ œ œ rœ " .Jœ3:2œrKK

‰ ..

JœL

" ® œ rœ " " Rœ

Rœ œ ® ® œ œ œ œ ® "

R¿n .M ® œB œ œL œl œB Ù " R

¿K .M "

4:3œrKK

" . .œ ® .œ9:8œrK

7:4œrK

œ ® Rœ Jœ Rœ Rœ

.œL -¿

x = 80Int.ii.

Fp o

|somewhat fragemented, yet homogeneous, suspended in time|

p po #

o

slap tongue ord. slap tongueclosed closed

"F "

"p" "f "

"P"

.œ ® ‰ "œ œk œ œ œK œB œn œm " . .

5:4œrK

Jœ .œ ® ® œ3:2œrK

" ‰ œ œ Ù "3:2œrKK

œK -¿ Rœ

‰ ® œ jœ7:6œrK

Rœ Rœ ‰ ® œ

‰œn œB œK œk œn

" .œl

5:4œrKK# o

Fp o

o#

"F "

œn -¿

rœ jœ "

‰ ® .œ

" .œm œL œk5:3œr

. .œ ® ® œ "9:8œrKK

œ œ œ ® ® .œ "3:2œrK

Jœ Jœ

#

oFp

o#

8