NOTICE D'EXECUTION Dans Breath Etude, la respiration de l'interpréte est un élément primordial du son de Texécution. Ainsi, linterpréte se doit de respirer a travers son instrument afin d'amplifier le son “respiré". Ces respirations sont indiquées par des notes en forme de x dont la hampe est renversée ; 4 savoir un x sur un Do (1) pour I'inspiration et un x sur un La (2) pour Texpiration. L'idée est de rendre la respiration non seulement audible mais aussi expressive - rythmique, explosive ou encore pleine de relief, etc. Les dynamiques des notes s‘appliquent difficilement aux sons “respirés". La plupart du temps, l'interpréte devra effectuer ces respirations le plus fort possible afin de les distinguer clairement. Les respirations "normales" sont indiquées par des "virgules" dans deux sections. Dans ce cas également, l'interpréte pourra amplifier la gestuelle de ces respirations afin de les personnaliser. Ty a deux autres modes de jeu : l'articulation (3) est une figure trés employée, Ces notes peuvent étre utilisées par un véritable slap ou simplement par une attaque accentuée trés courte, Dans ce cas, ces notes doivent s‘artiouler et se différencier clairement des autres notes autour dielles. Enfin, le symbole (4) est un bruit de clé invariant sur la note la plus grave (sis). Ce son, comme les sons "respirés" devront étre produits bruyamment afin de les distinguer clairement, PERFORMANCE NOTE In Breath Etude, the breathing of the performer is an integral part of the sound of the performance. To achieve this, the performer is often required to breath through the instrument to amplify the breath-sound. This kind of breathing is written into the music in the form of notes with x's for heads and, usually, inverted stems - C (1) for an in-breath and A (2) for an out-breath. The idea is to make the breathing not only audible but expressive - one time rythmic, another explosive, another full of relief, etc. The dynamics Sor the notes hardly apply to the breath sounds. Most of the time the performer will have to ‘make these just about as loud as possible to balance with the pitches. In two sections, normal breathing is indicated with commas. Even here, the performer should amplify the gesture of breathing just a little so as to connect with the rest of the piece and heighten the overall effect. There are two other non-standard notations. The articulation (3) figures prominently. These notes can be performed as true slap-tongues or simply played in a very short and accented way as the symbol shows. In either case, they should stand out clearly from the notes around them, Finally, a pitch-invariant key-click (4) on the lowest note of the instrument is used in some passages. This sound, like the breath sounds, will usually have to be produced as loudly as possible to be effective. a) Q) @) @ Gerald SHAPIROCb Samanud FISBACH ooo ‘Nicolas PROST quoroCora | separ BREATH ETUDE | DuséelLeng 6 mn ev. ) pour saxophone seul eo ‘for saxophone solo 1 7 oe Gerald SHAPIRO Giusto (166) ~ / sempre cresc.mf crese Pid mosso J=88 Gy 7) Tempo primo ———— Se mp mp sempre crese, aTempo ‘rit Tempo _/ rit. S nf ——— of ————_ > ———— Pp ~ Tanen Rha Tempo 6 a nf ‘senza misura down ’ % a a Tempo - eee fat SS ae . ee Z rit. tt iam a aii atari “== \ Pill mosso dass = a 7 te aaa SS i pp ef wrew swing ing fel Fe: eeedim. poco a poco Zee nf Do express deawai yer ‘Tempo primo rit, 236. devenant plus "hafetant™ pay fo becoming more Pareathy" p fempo 2) _ te), Te Toker popressvatent do ox Roam oe 2 dela note vers Sof espire Tempo rie Meno rit, _cheme slow fom pele bat and