un pato cubierto de hormigas

un pato cubierto de hormigas
solo flute
rodolfo valente, 2008
%
'
!$
())**++),-.*./'0'/
'
!"
!#
$%%%%&%%
2
"Para llorar, dirija la imaginación hacia usted mismo,
y si esto le resulta imposible por haber contraído el hábito
de creer en el mundo exterior, piense en un pato cubierto de hormigas
o en esos golfos del estrecho de Magallanes en los que no entra nadie, nunca."
Júlio Cortazar
' = 1/4 tone up
& = 3/4 tone up
% = 1/4 tone down
%% = 3/4 tone down
= repeat note with oscillations around 1/4 tone,
up and down, close to suggested speed
$ = key click
(violently close key while attacking note:
to produce a louder sound it is possible to open
as many wholes as possible just before closing keys)
x''
# = hold tacet for x seconds
(a fermata above a barline a should not
be performed as a moment of relaxation
or break in musical flow, but as a moment
of great expectation and psychological tension
to be released in the following musical events)
! or ( = normal sound
" or & = aeolian sound
! or ' = blow with no focussed pitch
$ = key percussion
"#
= progressively change from one sound to another
It is avisable not to pay too much attention to time signatures.
Bars are here to articulate musical phrases and measures should be
considered rather as groupings of small values than as units to be subdivided
Accidentals affect only one note, except for immediate repetitions
3
to Lucila Ferrini
4
un pato cubierto de hormigas
rodolfo valente, 2008
e = ca. 112
poco vibrato sempre
flute
43
)* (
1 )+ ( ( 6 !5 )
f
pp
a tempo
4 3
4
rit.
45
molto accel.
3''
6
(2 (2 (2 (2 (2 (2 #
2
# ( 53 6(2 (2 (2 (2corta
9 (
3
.
( (6( 7
8 : ( (6( ,- 8 ( ( (6(
.
5''
23
((
p sffz
ff
4a tempo
3
23
3
.
(
6
(
(
6
(
*;+
(
1.
(
4
ff
mf
3
pp
(
mf
5
* 6! )
.
4
3
6((
5(
mp
p sub
p
ff
sfz
ppp
3
mp
2'' 4
#
), ( %( ( ! )
)+
3
ff
p
5( 6(2 (2 2 .
%( .
p
poco rit. 5
45
8'' poco accel.
5! ) ! 1'' a$tempo
6
$ $#
(
!
2 2 2
#
)
5
6
(
*;+
(
(
.
(
(
(
/
*
*
*
.
*
6
(
(
%
(
(
1.
.
. ( %( 6 ( - (%(6 ( )+ (%(6 ( . ! (< %( ) (6 ( .
7
5
3
3
7
p
mf
p
pp
ppp
mf
p
sfz
f
(il possibile)
lento
( (%(%( ( *;+! )
*
'
!
1.
a tempo
14
ppp
3
mf
19
1 .. (
p
5
p sub
4
,(7
%5! )
f
pp sub.
3
p
mf
* 8 %(
-
3
p
%( %( ( *;+(2 8
1
(2 (2 (2 (2
23 a tempo
p
0 %( (%( (*;+5( * (%(%( (*;+(
.
-
3
sfz
p
5
p
( ;("2 > .0 = %(
3
p
mf
3
%( , 5! )
7.
%( () *;+(2 8 = .
.
7
7
p
f
pp
moltissimo accel.
/ *;+(2 (2 (2 (2 (2
-
(
mf
molto accel.
fl.
)) (2 (2 (2 (2 (2 (2 (2 (2 (2 (2 0 !
*0
. -f
4
,(7
ff
9
lento %( )
( %%( ( (%%( (%%((3 ( ((((((((((((((((
+
(
*
(((((((((((((((((((((((
(
.
>6(;( .
1 . 6?
. 6(&( &(
a tempo
pp sub
bisbigliando
5
p
bisbigliando
pp
p
3
ppp
+
.
1''
#
5
piú mosso (e = ca. 120)
do not accent any notes!
$
.
1 . %( (.
29
),
*0
ppp sempre
ff
B<
), (
1 *0
30
$
B<
@
*0 6(
$ $
$
sfffz ppp
sfffz ppp
B<
34
. (
1 *0
pp
sfffzppp
)*
))0*0
ff (il possibile)
pp
sfz
mf
43
/ ))
p
1 ./
%! )
p
x!
*0
C
*
1.
50
C
lento
,&7
p
*
.
%&
,(7
lento
mp
3
mf
)
-
(
%(%%(&(
p
#
(2 /
7 .
13''
0
.
1''
( ( (% ( ) % 5( % (2 (2 (2 #
))
*
)+
.
molto accel.
%!
p
3
p
p
sf
poco rit.
/
. '! )
mf
( ;( 6(
3
p
mp
(
* '(*;+( . &! )
*0
.
mf
4
3
%((
5
3
p
a tempo
mf
4(2 2'' a tempo
5
*;+
2(
#/
6( !
'(&(%('(%(
*
( '(
1. %!
3
!
poco accel.
poco accel.
pp
# A
fff
"#
pp
mf psub.
p
f
hold until running
out of breath!
4:3
3
2
()'(6( '! % (7 4('( ) * (6('(6( * '(2 (2 (26( (6(3 &( % ! )
.
5
5
rit. poco a poco
ff
ppp
a tempo
57
p
p
e = ca. 96
46
*0
*
*0 '
1 '
f
'
sffz
.
*0
sfffz sfffz ppp
sfffz ppp
(do not accent any notes!)
repeat 5 or
(blow with ppp
more times
no focussed
pitch)
B<
(
sfffzppp
B< B<
%%( (
B<
/
*0 &(
p
6#
( *;+#
(
3''
mp
3
mf
(% ( %('( *
p
5
5''
pp
'