Illusion

for Solo Flute

Aida Shirazi

February-April 2012

Ankara-Turkey
• All the microtones are produced through change of embouchure (changing the angle of
embouchure). If the abbreviation ‘p.b’ given, pitch-bending technique is required, which means
playing all the tones between two given tones. Otherwise, changing the angle of embouchure
needs to be done as fast as possible, so that the desired microtone will be produced with the least
amount of pitch-bending.

• p.b: pitch-bending

Pizzicato: A percussive sound created by an extremely hard articulation, the tongue either
between the lips or in normal position, almost spitting into the instrument. There is no air stream
from the lungs involved. (from Matthias Ziegler’s official website http://www.matthias-
ziegler.ch/english/klangwelten/index.html)

Key click: The resonance of the instrument defines the pitch of the percussive sound produced
by clicking the keys strongly. Different fingers produce different tone colors and dynamics with
the same length of tube. If the lips are not placed on the embouchure, the pitch is a half step
above the fingered note. The first note in the image corresponds with key click and blowing at
the same time and the second note indicates key click only. (From Matthias Ziegler’s official
website http://www.matthias-ziegler.ch/english/klangwelten/index.html)

grace note (or a group of grace notes), which has to be performed as fast as possible. It takes its
duration from its preceding note.
•

Grace note to be played slower than the last example. In case of being in a passage, its duration
is taken from the note it is slurred to (succeeding note). In measures with Adagio cantabile
tempo marking, the grace note takes as long as a thirty-second note.

• Whistle tone: The flute is slightly turned out. With very loose lips, open throat and an
extremely slow airstream a whistling sound is produced. Random whistle tones in free cascades
can be produced on one basic note, according to its series of harmonics. It is also possible to
finger a 3rd octave note and blow very softly. In this case the mouth has to be shaped as if you
would whistle a very high note. Once you match the resonance of the tube with the shape of the
inside of your mouth, you can play exactly pitched whistle tones. There is almost no dynamic
range of whistle tones, so don't try t play loud. The Whistle tones carry enough. (From Matthias
Ziegler’s official website http://www.matthias-ziegler.ch/english/klangwelten/index.html)

• Bar 3: G in the last triplet is the target note for accelerando. A slight rallentando is required in
order to emphasize on the microtonal deviation of the last eighth note of the bar. The same
concept exists in bar 52 and 56

• Bar 5: Glissando starts at the very beginning of the passage and is distributed equally among
all the notes between the first and last note.

• Fastness of all accelerandos, as well as slowness of all ritardandos and rallentandos depend on
the taste of performer.

• Long fermata

• Short fermata

• In bar 13-15 means the passage has to be performed as legato as possible.

 Illusion
For Solo Flute
Aida Shirazi
(*1987)
Decisive q=50 accel. ¿ rall.
>. 3 3 3 3 3
p.b

& œ œbœ œ œJ ‰ Ó œ bœœ j
nœ. ‰ Ó œbœ œ- œ œ œ- œ œ œ- œ œ œ- œ œ œ- œ kœ ™ ‰
-
p mf mf mp p mf

Agitated q=120
>.
4
>œ œ b œ >œ g lis s . , . . œ. . n -˙
œ nœ nU˙ ,˙™ g lis s .
œ
-œbœœ œ bœ . ‰
& ææ œ œ
f ff f mp
mf ff

Calm q=40 b
b b Ÿœ~~~~~~~~ accel.
>.
7
Ÿ ~~~~~~~~~~ Ÿœ ~~~~~~~~ b - . n œ
, Ÿ~~~~~~ , 3 -œ œ. . 3 œ œ .
bœ œ œ œ œbœ
& œ œ œ- œ. œ
. 3 - . bœ. 3 -œ bœ
mf f mf ff fff mp fff

9 3" More energetic q=60

, , œœœœ n >
w
& ∑ > b > > b> k ˙ > b> > b> K ˙ bœ œbœ n˙ bœ
œ #œ
f ff f p ff p mf ff

b
13 >. >. > Ÿ~~~~~~
æ nœ Œ ™ æ j æ œ œ. Œ æ
& ˙æ J ˙æ œ ‰ Œ ˙æ ˙æ™ Œ
mf f mf mf f f ppp

molto vib.
17 œ p.b kœ p.b Kœ simile kœ Kœ kw
&
ff
Cantabile q=50
18 ord.
√
& > > > > > > > > > > > > œ œ œ ˙
œ œ bœ
ff
p pp
 More energetic q=100
2 accel.
19 3"

& #¿ ¿ ¿ ¿ ¿ #¿ ¿ ¿ b¿ #¿ ¿ # ¿ ¿ ¿ ∑
fff

Cantabile q=50 non vib. ˙non vib.

21 ord. œ
bœ œ bœ j b œ n˙ bœ œ bœ j
& œ Œ œ j Œ
œ œ nœ
3 p 3
mf f mf ff mf mp ff ppp

Lively q=100
˙ >
23
ord.
œj œ
#˙ ˙ n -œ œ b œ b œ
œ n œj bœ œ n˙ ™
&
f ff f ff f ff 3
f without pp
dynamic
changes

Calm q=60
24
w œj
j
œ j w œ #œ bœ œ
& œ bœ œ bœ nœ
œ #˙ ™
mp mf p mf p mf without dynamic changes pp

n≈ ≈ ,
27 molto vib. ord.
. œ æ
nœ nœ œ
& œ #œ œ nœ #˙
#œ ˙™ œæ
p mf mf f > ppp

Cantabile q=50 accel.

29 >  œ œ 3
√
#œ. œ j‰ Ó b ¿
¿ b¿ J œ œ ¿ œ ¿ ¿ nœn œ
œ˙
œœ
& œ Æœ œ œ J ‰ Ó #œ. n¿ ‰ ¿ ¿ ¿ bœ œ ‰
J 3
p mf p 3 3
mf 3 p
f mf

molto vib.
A little more energetic q=100 U
32 ˙™ ˙ œ Kœ bw ,
˙
&
p mp fff
 Cantabile q=60
3
molto vib. non vib.
34
-œ -œ -œ œ #œ ™ b˙™
˙ œ œ œ™ J bœ œ œ Œ
& J nœ œ #œ
p f p f mf ff

35 vib. ord.
b >œ
p.b p.b 2"
b -˙ ™ œ n˙ bœ œbœ œ
& ˙ œ
. bœ bœnœ bœ bœ œnœ œ Kœ ˙™ ∑
.
mf p ff p pp mp ppp

37 Serious q=80
Ub
, , ,# , Ÿ~~~~~~~~~~ ,
> > > > ‰ Œ b œ j
& œœ œ œ  œ œ  nœ œ bœ w
> > > > > œœ œ œ > > >
f secco f secco f secco mf ff

Freely q=30
whistle
˙
41
˙ nœ #w n ˙ : b; œ b ˙ nw
,
bœ gliss. gliss.
& ˙ ˙
˙
ppp mp ppp n
ppppp

Cantabile q=60 Jœ
43 ,
œ œ ™ œ œ > bœ œ ™ œ > nœ ™ -œbœ nœ ™ -œ ææ
& ‰ ‰ bœ
J mp ff
J
p ff
>˙™ ˙
pp
mp mf mp

b rit. ¿
47
> >> Ÿ~~~ >œ™ w 3"

& œ œ ™ bœ œ œ
> œ œ œ nœ ™ bœJ ∑
. b>˙ nœ
ppp fff mf f pp fff
 Decesive q=50
accel. ¿
4 3 ≈ √
52   œ. ‰ Ó 3 3 nœ œ p.b K˙
&
bœ œbœnœ j
œ. ‰ Ó bœbœ J œbœ œ œnœ œbœ œ
œ œœ. œ
mf p p mf mp 3 ff

vib. More energetic q=80

ord. 3
55 molto vib.
.œ bœ
™ -œ ™ nœ
& #œ
nœ œ œ #œ n˙ nœ
b œ œ ˙™ nœ œ
J œ ææ > œ
p f f pp f
pp mp

Progressive q=120
58
accel. ¿ rit. 3"
#œ œ bœ œ
& œ œ œ bœ nœ ∑
œ- k ˙- œ- ™
3 3 p.b p.b
3
f pp ppp
f

Calm q = 60
non. vib. ord.
60 vib.
>œ œ- œ œ #œ ™ 3 bœ

& > > > > > ‰ œ -œbœ œbœ nœ nœ#œ œnœ ˙
> > nœ œ bœ
f
mf pp f pp

√
-
63 Cantabile q=50 œ œ œ œ œ œ œ
& nœ œ- œ- œ bœ œ œ œ œ bœ œ
ppp f

molto vib. Agitated q = 100

64
bœ nœ ≈ n œj
vib. ord. b >œ.
œ -œ œ œ bœ œ w
J ‰ j >˙
& œ j Œ™ j‰
bœ >>
f pp p >˙ >>
fff f
f ff

Cantabile q=50
67 molto vib. œ œ bœ n œ # œ -œ ,
jœ p.b
k˙ bœ ™ -œ œ˙ b-œ ™
& œ œ™ œ J œ ˙™
pp 3
f f fff spp p mf sp
 molto vib.
n>œ molto vib.
5
b œj œœ ,
69
b œ nœ bœ nœ nœ bœ œ œ bœ nœ 3 b√
& J œ œ ‰ œ œ ˙
#œ œ
3 p p f pp
mf p f ff

vib. ord.
72 œ b œ 5"
œ bœ œ
& œ. ‰ Ó  bœ
bœ j ‰ Ó ∑
J J œ.
mp mf mf p

Liberamente q=30
whistle
œ #˙
75 ˙ #œ ˙ b -˙ œ b˙
#˙
œ bœ #œ
&
ppp
February-April 2012
Ankara