fff f fff f

2
8
&
> >
>
[t]
>
3 3
3 5
6
6
6 b
n

6

-
j

6

6 n
j
6

#

6
6

6
6 #
6
6
-
n
vib 4
8
&
.
.


IV
7:4
6
5 A
--- ----
i b n

--- ----

Z

--- ----
Z Z
3:2 5:4
Bb


7

n


n

J
b

#
#
&&
& &
& &
!

#
#
"
b
b
i
i
!
"
#
i
k
"
#

i
#
!$
#
#
i
b

b
B
K
#

B
i
i
i
i
b
"
b

B
K
i
#

K
i
!
BB
C
8 8 8
C C
b
3
8 8
3
16
4
16
5
C
B
b
8 8
2
16
8 8
C
8
b
B
p
o
mf p
! 3
mf
f pp mf p
The Sorrowful Mysteries:
Five Parametric Etudes for the Saxophone
Andr Mestre
!
Index:
The Sorrowful Mysteries is a multidirectional exploration of saxophone playing.
Here, parametric hierarchies are stratied and reassembled, favouring alternative
forms of control over physicality, temporality and formal architectures.
The result is an invisible theatre on the level of the smallest movements and of mind
only experienced aurally, through indexes of conict.
The Sorrowful Mysteries
Five Parametric Etudes for the Saxophone
T
I. The Agony in the Garden
for tenor (or alto) saxophone, with or without electronics
II. The Scourging at the Pillar
for baritone (or bass) saxophones
III. The Crowning with Thorns
for any saxophone
IV. The Carrying of the Cross (April 2014)
for bass (or baritone) saxophone
V. The Crucixion (July 2014)
for soprano saxophone, with or without electronics
T
T
T
T
vib
103
4
8
3
8
4
8
2
8
4
8
&
V
.
.

3:2
7:4
5:4
5
G

--- ----
n
A

--- ----
i

--- ----

i
Z
5:4 3:2
n

7


R

Program Notes Program Notes

Contact: www.AndreMestre.com
vib
108
4
8
&
.
.


IV
7:4
6
5 A
--- ----
i b
n

--- ----

Z

--- ----
Z Z
3:2 5:4
Bb


7

n


n

J
b

Vibrato markings only apply to
the notes they are placed on.
Tongue ram
Harmonic partial to be played
Embouchure position:

--- ----

--- ----
= at the tip
= ordinary
= deeper in
Growl Pitch bend.
Here, accidentals translate the
degree in which the upper staf
is being detuned. Such alterations
must be produced entirely on the
embouchure.
Slur indicating an
added duration.
Slap tongue
The upper staf indicates actions regarding
ngerings, articulation and sustain of notes
The lower staf indicates actions regarding
the embouchure and throat
Performance Instructions
Etude #1: The Agony in the Garden
Electronics
Pitch bend.
Here, accidentals translate the
degree in which the upper staf
is being detuned. Such alterations
must be produced entirely on the
embouchure.
Requirements: Max-MSP (Agony.maxpat, np_mindset.mxo),
computer,
NeuroSkys MindWave headset (to be worn by the performer),
speakers,
microphone (placed in end of the horn)
The use of live electronics is optional.
Explanation: aided by the MindWave headset, Max-MSP will be tracking the performers engagement/focus at all times
during the piece. If attention doesnt meet a certain threshold--60% in section 1, 67% in section 2 and 75% in section 3--
the sound of the instrument starts to be processed. Such processing is meant to damage the piece through the distortion
and errosion of the original signal.
Copyrigh Andre Mesre 2u1

ztb
= 74
ztb 6
ztb
10

IV
everyhing should Ee played /egatc
unless anoher ariculaion is noaed
slap ongue
ongue ram
I. The Agony in the Gurden
Itze Iarametrtc Studtes fcr the Saxcphcne

The SorrowIul Mysteries:

fcr Tencr cr /tc Saxcphcnes
Andr Mestre

... ....
u)
hreshold of noise: <6u
ncrma/ embcuchure
sempre
_

IV

... ....

... ....

... ....

... ....

... ....

_

... ....

... ....

... ....

... ....

,
, ,

, ,

,
,

,
, ,
, ,
,
_
,
,

, ,
_

, ,
,
,

,
,
_
, ,
,

, ,

,

, , ,
,
,
,

, ,

,
,

,
_
,
,
,
,
,

,
, , ,
_

, ,

... ....

... ....

... ....

... ....

... ....
... ....

... ....

... ....
... ....

... ....

... ....

... ....

... ....

... ....

... ....
,
,
,
,
,
, ,
,
,

, ,
,

, , , ,

,
, ,

_
,

,
,

,
,
,
,
,
, ,
,

, , , , ,

,
,
,
,
, ,
, ,
, ,

, ,
,
_
,
,

, ,
,

, ,

= Su
pi nosso

_
III

... ....

... ....

... ....

... ....

... ....

... ....

... ....

IV

... ....

u')
hreshold of noise: <67
,

... ....

... ....

,
,
,
, ,

,
,
_

,
,
_
,
,
,

, , , , ,

_
,

_
,
_

,
,
, ,
,
,

_
,
_

,
_
,
,
, , , ,
_

,
,

,
,
,
,
_
,
,
,
,
,
,
,
, ,
,
,
_
, ,

, ,
_
,

, ,

... ....

... ....
,

... ....

... ....

... ....
, ,

... ....

... ....

... ....
,

... ....

... ....

... ....

,

_ ,

,
, ,
,
,
,
,
,
,
, ,

,
_
,

, ,

, , ,

,
, _
,
,
,
,
,
,
,
,
, _
,
,

, , ,
,
, ,
,
, ,
,
,
, ,

,
,

, ,

,
,

,
,
_
,

, ,

, , , ,

... ....

... ....

... ....

... ....
,

... ....

... ....

... ....

... ....

... ....
,

,
,
,
,
, _ _
,
,
,
,
,
, ,

, ,

, ,

, ,

,
,
,
,

, ,

,
,
,
,
,
, ,
, , , , , ,
, , , ,
,
,
,
, ,
,

,
,
,

,
,
,
,
,
, ,

,

_
, ,

= S6
pi nosso

III

... ....
, , ,

... ....

... ....

u'')
hreshold of noise: <75
Z

... ....
Z

III

... ....
,

,

... ....

... ....

,
,
,
, ,
,
_

,
,

,
,
,

, , , , , , ,

_
,

,
,
, ,
,
,

, ,
,
,

,
, ,

, , , , , ,
_
,

,
,

,
,
,

,
, _ , _
,
,
,
, ,
,

, ,
,

, ,

,
,

... ....

... ....

,

,

... ....
,

... ....

... ....

... ....

,
, ,
,
,
,
,
, ,

,
, ,
,
,
,
,
,
,
,

, , , , , ,
_ _
,
,
,
,

,
,
,
_
,

, ,
,
, , ,
,
,
, ,
,
,

,
,
,
_
,
, ,

,
,
, , , , ,

, ,

ztb
10S
ztb
108
ztb
ztb
112
_

... ....

... ....
,

... ....

... ....
, ,

... ....

... ....


_

... ....

... ....
,

, ,
,

... ....

vrttten tn The Ean[ Centre fcr the rts

dedtcated tc AIIioon Bunccrio
Ia// cf 201S

, ,
,
,

,
,

,
,
,
,

,
, , ,

, ,

, ,

_
,
, ,

,
,
,
,
,

,
,
,

,
, ,
,
, ,

, , , ,

,
,
,
,

,
_
,
_
,
_
,

, ,
,
,

, , , , ,

,
_
,

fff
pppp]
f fff f
e=125
2
8
&
upper voice always extremelly soft
> >
>
[t]
Performance Notes
>
3 3
3 5
6

T
6
6 b
n

6

-
j

6

6 n
j
6

#

6
6

6
6 #
6
6
-
n
II. The Scourging at the Pillar
Note heads
6

= slap tongue
= key click

6
= slap tongue + key click
-
[t]

= normal tone + key click

= tongue ram
= sound to be produced with the mouth
out of the reed
Ornaments should be phrased traditionally,
but played with the smallest microtonal increments available.

=125

6



12

18

,_

_
* when performing on Eass, he upper voice
should Ee played one ocave aEove.
upper voice always exremelly sof
*

[t|
II. The Scourging ut the Fillur
Itze Iarametrtc Studtes fcr the Saxcphcne

fcr Earttcne cr Eass Saxcphcnes

The SorrowIul Mysteries:
Andr Mestre

[k|

_

,
,
,

, ,

_ _ _ ,

,
,
,
,
,
,

,
, ,

,
,

,
, ,

,
,

,
,

,
pppp
fff f

mp
pp
ff

ff
ppp pp

fff
pp

ppp pp
mp
fff

_
.
B
B
_

B B
7:4
_
B 5
_
B
_

5
B
B
, ,

, _ _

, ,

,

,

,


,

,
,

,

,
, ,
,

, , ,

, ,

_
,

,
,
_

, _ _ _ _
_ ,

,
,
,
,


,

,

, ,

,

()

51

56

62

68
()

7S

,
,
,

,
,

,

,

,
, ,

,

_ _ _ ,

,
,
_
,

,
,
,

, ,

, ,

, _
_ _

, ,

,
_ ,

_
.
EisEigliando

_
EisE.

_ _ ,
,

,

,

,

, ,

,
,

,
,

, ,
,

,

,

,
,

, , , , ,

, ,

_ , _ _ ,

, ,

, , , ,
4
()
10S

108

11S
()

119

()

124

_
. .

_
_

_ ,, _ _

, ,

.
.
.
, , ,

, , ,
,
,
_ ,, , , ,

, ,

,
,
, , ,

, _ , ,
,
,

,
, ,

, _ _ _ _ _

, ,,
,
, ,
,
,
,
,
,

,
,
,
,

, ,

,

,
, , ,
,

,
,
,
, ,
,

,
,
,
,

,
,
,
,
,
,

, ,
,
, ,

, ,

, ,
,

,
, ,
, , ,
, ,

ff
pppp pp
128
mfsub ff
1S2
(pp)
mf
1S6
fff
140
mp
144
_
.

B
7:4
B
_

5
B B
_

7 B
_
_
B
B B
_

B B
B

, ,,
, ,
,
, ,
,
,
,
,

,
,
,

,
, ,

,
, , ,

,
,
,
, ,
,
,

,
,
,
,
,
,

, ,
,
,

,
,
,
,
,
,

,
,
,

, ,
,
,
, ,

,
, ,
,
, ,
,

,
,
,
,
,
, ,

,
,
,
,
,
,
,
,

,
, ,
,

,
,
, ,
, , , ,
,
,
, ,
, ,
, ,
,
,
,

, ,

,
,
,
,
,

,
,
,
,
,
,

,
,
, ,
, ,
,
, ,
,

, ,
,
,
,
,

,
,
,

, ,
,
,
,

,
,
, ,
,

,
,
,
,

,
, ,
,
,
,
,
,
,
,

,
,

()
148

152

()
156

160

166
,

_
_

_
_

_ _

vrttten tn The Ean[ Centre fcr the rts

dedtcated tc AIIioon Bunccrio
Ia// cf 201S

,
,
,
,
,

,
,
,
,
,
,

,
,
,
,
,
,

, ,
,

,
, , ,
,
,
, ,
, ,,
,
,
,
,
,
,
,

,
,
,
,
,
,

, ,
,
, ,

,
,

, ,
,

,
,
,
,
,
,
,

,
,

,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,

,
,
,
,

,
,
,
,
,

, ,
_ ,, _ _ _

, ,

.
.
.
, , ,

, , ,
_ ,, ,

, ,
,

#
#
&&
& &
& &
$
#
!
"
$

b
b
i
i
!
"
#
i
k
"
!

i
k
k
i
k
!
"
#
!
$
#
!
!
"

b
i
b
!
$
#
!%#
!
!
!
"
#
i
b

b
B
K
#

B
$

B
B
i
i
i
i
i
b
"
b

B
K
i
#

$

b
K i
i i
b

$

$

i
K
K

!
"
iK
K
!
K
i

K
#b
b

"
i

!
i
J
"
b
i
K
i
J

i
i
i

i
i
$
i
#
b
J
i

i
b
K
K

i
i

#
$

$

$

#
i
i
K
b

K
K
i
J
K
i

$
b
K
$

!
The Sorrowful Mysteries:
Five Parametric Etudes for Saxophone
III. The Crowning with Thorns
for any saxophone
Andr Mestre
Tempi
Inner circle: = 48
Central circle: = 73.6
written in The Banf Centre for the Arts
Fall of 2013
dedicated to Allison Balcetis
Start anywhere
play in any direction
change directions
if you want or need to
interpret colors as
dynamic shades
articulate creatively