Diego Luzuriaga

Paris - Yangana - Paris

for flute solo

FloetologeEdition1013
 Paris - Yangana - Paris

In 1983 I left Quito to study music composition in Paris. During the first year
in Paris - my first ever away from Ecuador - I heard and saw everything I
could of the european "Avant-Garde" scene.
This short piece - written in 1984 - was my atempt to fuse both this
contemporary scene and sounds reminiscent of the fantastic childhood-years I
spent in Yangana - a small village and a farm in the south of Ecuador, - using
several "extended" techniques.

Diego Luzuriaga, Paris 31st of October 1984

The piece was premiered at IRCAM by Florence Bellon, December 3rd 1984.

Indications
Page 1

1.- high overtones ad lib., agitate all fingers very fast.

2.- keeping the G fingering, press trill keys A and B, to produce noted
pitches

Page 2

3.- On the G fingering, agitate right fingers 2 and 4, ad lib

4.- very varied key sounds, right finger 2 lifted
5.- progressively as fast as possible (right fingers 2,3 and 4)
6.- 1,3, left hand, always over sound of keys 2,3,4 right hand

2
General indications

1. if possible, use mouthpice for glissandi, rather than fingers

1-high overtones ad lib., agitate all fingers very fast.

2. pizz with tongue snap., and key noise

3.vibrato as fast as possible, becoming flatterzunge

4. little notes in paranthesis show fingering. A or B shows

which trill key to press, keeping the fingering in paranthesis

5. Agitate all fingers except 2 of left hand (to avoid low resonance)

6. Flute away from mouth. Regular looking number indicates

percusion of finger hitting the key. Reserved number indicates
noise when fingers release key. Press only numbered key.

7. Key noises only

8. Key noises arpeggiato (rolled)

9. Variations of pitch, due to right fingers making key noises, is

intended.

10. Fade in and fade out the different effects.

11. Without stopping the rapid key noises, blow violently in order
to produce the highest and loudest overtones.

A - upper trill key. B - lower trill key.

(1") (½") (1½") = (1 sec) ( 0.5 sec) ( 1.5 sec)

RH - right hand LH - left hand

3
 
Paris - Yangana - Paris
 for flute solo
1984 Diego LUZURIAGA

  

  
(1955-)


   

      
      


    
1.

   
  
3
 5


   
   
    
     
3

    

gliss.

 
5 6 flatt.


 
    
   

     

   C  
4 flatt.
C

   
 
C

 6
  
   
     
     
 
 flatt.
 
6

   

 3 

5


  flatt.  
      
8

    
          
gliss.

C
 

C

3

     
            
       
   
10 1.




cresc. molto


fingerings
)
vibrato
vibrato molto

   
A ( )

12

       
(

  

  
flatt. A
       
   
B B A
 
 

     

unisono with voice    2.
 
gliss.

©FloetologeEdition2019 4
 Paris - Yangana - Paris
as fast as possible

           
    
18

         
ord. flatt.

 
 gliss. gliss.
vibrato molto

fingering


( ) ( )

                  
21
ord.


   
 
  ) fingerings
like an Andean flute
( )     

( 3
4"

           
25 ( )

    




vibrato molto
3


  
 
aeolian sound 5"
8"
poco a poco whistle tones
4

     
28

   
   



   
noise of RH keys
    
breath 4"
whistle tones

            
33


4 4 BB 4 4 BB 4 fingering rapidly agitate all fingers

4 and B-RH più mosso simile

    simile

                              
40

  

4 4 B B

 
5" 6"
    simile 5

                 4 4 4 4         
41 tempo


4 4 B B 4 4 BB BB BB B B B B  3 3 3 3 
22 22

    
6


    


always over sounds of keys 234 RH

  
ostinato

         
44

      
 vibrato molto 3  
  
V.S.
5
 Paris - Yangana - Paris

 
laugh on a pitch close to G, then go higher


48

       
unisono with voice

  laughter ostinato of key noises

 
just breath A A 8"

              
56

       
key noises 
sound

Keeping fingering of main note, use trill keys A or B of RH for grace note (short).

   
 
                      

   
  
B B
     
68 B B A
 
A A B A A A
  
B
    

 5 3


  B 
     
       
 B 
  
74


B A A B A A B
      

3
3

     
agitate A and B very rapidly
      
            
77

 gliss. 
 
gliss.
 
gliss.
  as fast as possible
high overtones ad lib.
1"

      
                
5"

       
agitate all fingers ad lib (key noises only)
82



½" 1½"

  
83
                            


6
 

Paris - Yangana - Paris
  
84
                          


     
     
 


 
   
85


 5

 
  
     


87

     


3

  
   

     
89

   
 
gliss.


3
  

 
    
telegraphic rythm

                   
91
gliss.

 
gliss.

  
   C C

 
C cresc.
3

 
       
        
  
     
95

  

5
3

  
                               flatt. 
    
 
97

  C       
   
 
7 Paris, 31 Oct. 1984