Seguiriya

An interative score for piano solo or piano with flamenco dancer

Anya Yermakova

This is an interactive score. The final sonic outline is assembled in a process directed by the score, realized by the performer(s).
Preparation: The pianist is to listen and watch at least 2 gypsy flamenco seguiriya performances. Suggestions include Carlos Saura, Paco de Lucia, and Estrella Morente Rhythm: Seguiriya should be counted in 5,wiht beats 1, 2, and 5 subdivided into two and beats 3 and 4 subdivided into three Notation: Additional empty measures for the pianists left hand invite the performer to alter the LH line with melodic embellishments and rhythmic variations, without changing the overall falling descending Phrygian harmony. This indication only applies to the measures where an extra staff is provided. However, in the case that the pianist wants to alter another element of the score, whether in right or left hand, this is permissible only in the case when it is accompanied with a published explanation* behind this intended alteration. The insertions above the empy measures are to be treated as suggestions for the improvisation; they are meant to guide the performer towards a flamenco style, not restrict individual interpretation. In all places in the score, the pianist can embellish the quarter note of the measure (beat 5), without notated indication. Crescendos through rests and held notes are inserted intentionally. The pianist must find other means of raising the energy in these cases, which could include (but is not limited to) interaction with the dancer, making other sounds, body language. All arpeggios in the score are to be fast and sharp. Ample pedal is to be used throughout the performance. Rests indicate breaths in phrasing, not absence of sound, and should be treated as silent notes. The only times when pedal should be completely off for silence are marked with a . Silence is to be used percussively. The sign is used to signify a soft landing on a note. All other notation is as would be defined by standard notation.

Performance instruction: The piece can be performed as piano solo or with a flamenco dancer. The flamenco dance line is not to be replaced by another form of percussion. If performed solo, the pianist must incorporate the zapateo line in his or her interpretation. This can be done through percussive use of the piano in any way other than playing directly on the keys. It can also be done through body language, both audible and non. If performed with a dancer, the pianist and dancer are to collaborate on filling in additional rhythmic material for the pianists left hand as well as for the zapateo. Rhythm patters for the dancer in the score are the only fixed indcations; all other space is left empty for the artists improvisation or choreography. The pianist and dancer must work together in filling these gaps. The indication applies to the dancer as well: it is the only place where he or she cannot be making sound. If accessible, the dancer should use contact microphones for slaps and body hits, to be amplified without excessive processing or distortion.

The two performers are to read from the score, no individual parts are to be distributed.

*electronic form s.a. blog is acceptable

Seguiriya
Anya Yermakova
ringing

Piano

mp

mf

ff

Zapateo

subp

mp

ff

pp *

mf

pp

mimic right hand with syncopation

reference something from the improv in previous two bars, adding to the left hand line already notated

* The staff below the piano left hand is for the performer to fill in as desired, to modify the left hand notes. Where omitted, the left hand should be played as written.

Seguiriya

distant

mp

mp

a mix of grace notes from measures 11 and 12

syncopate, play behind the designated beat

mf

mp

mf

fff

marcato

sost. pedal held through key change

allargando crystal-like

mf cantabile

see embellishments from measures 9-11 for suggestions

body hits. contact mics can be used

Seguiriya
with exaggerated contrast anxious repressed

mf

mp

fierce must make sound in this measure

scatenato

mp

ff

with rhythmic precision

fff

rhythmically to low accents can add an octave, M7 or m9; or accompany them with a hit on the wood of the piano rearranging of register to cross hands as often as possible, without breaking overall rise in energy