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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 Guzmn

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Ryan Muncys 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 ofthe piece better than if I was to record three separate pitches and edit them together.

5) AMPLIFICATION

Soloist performers full sonic-aura must be amplified. Tone production, voice, mechanism, they must be amplified and have the signal equally sent to aminimum 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 soloists performance. If a different pair of loudspeakers is not available its possible to use the available set toamplify 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.

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 orpreviously

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 becombined in any way and/or switched at any moment of the piece that presents itself as suitable.

Cortzars text

The piece is inspired by Julio Cortzars tale El Perseguidor(The Pursuer). Some sentences and sentences fragments have been used alongside themore 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 Cortazars text as a source for sound material. Given the scarcely and particular use of the text within thescore -along with considerations regarding the copyrights owners (namely Julio Cortazar and his heirs) - and because the text itselfis 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 textitself suggest, though always related (maybe even subsumed) to the pieces 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 registermpe, = low(er) mpe, = middle low registermpe

S

M

Sax solo

Dynamics

Tape/Sax 2

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; itll be either anelement of prolongation or anticipation of/to the full multiphonics 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 multiphonics 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 relativefrequency too, but they also does it in account of timbre qualities. Those multiphonics notated on lines have a different timbre quality than those writtenon spaces, in accounts of the relative amount of battementsthey produce, the amount ofair noisethat it contains, and the relative dynamic range that they

are capable of.Linedmultiphonics 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: .

Composers 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 notdifferent quality is achieved (or discovered yet) read it as if there were only one multiphonic notated.

Ryan Muncys 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 intrinsicquality.

4) IVES

A reference to Ivess song The Cage is made in Cortazars text. Thats not however Ivess musical source for the excerpt that is written in the score. The

idea of literally basing the pieces structure on that of Cortazars 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 pursuers creative energy, a desire for more than just theimmediate pleasure-, there was no reason to use Ivess leopardsong, 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 throughoutthe 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/Cortazars 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.

M

( )XX

M

( )X

X

multiphonic clef

single tone clef

niente

'possibile

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

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PROGRAM NOTES

In 1964, Julio Cortazars 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 Brunos puritanical

world point of view, Johnnys anguished life descriptions seemed like a stereotyped personal analytical resource intended to understand and connect, albeitaesthetically, with the life and work of an art geniuses. Nevertheless, Johnnys sole creative energy escapes Brunos 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 pursuers desire, of everything hed wanted to say while fighting up against that he is pursuing.

ABOUT THE COMPOSER

Edgar Guzmn (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 Programgranted 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 Residenc 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 Msica Contempornea de la Universidad Autnomade Baja California, Orquesta Sinfnica Juvenil de Mxico, Camerata de las Amricas, 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