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EScholarship UC Item 1qk116hv
EScholarship UC Item 1qk116hv
Title
aava
Permalink
https://escholarship.org/uc/item/1qk116hv
Author
Klami, Markku
Publication Date
2020
aava
for
ampli.ied
guitar
and
electronics
Performing
score
(without
the
electronics
part)
Markku
Klami
(b.1979)
aava
for
ampli.ied
guitar
and
electronics
-‐ ampli.ication for the guitar: one microphone close to the guitar
-‐
playback
device
for
the
soundtrack
part:
a
laptop,
iPad
or
similar
device
capable
of
playing
a
44.1
kHz
16-‐bit
stereo
.ile
in
WAV
format
(i.e.
normal
stereo
.ile)
AND
displaying
the
time
code
(minutes
and
seconds)
of
the
soundtrack
part.
This
device
can
be
placed
on-‐stage
right
next
to
the
guitarist
so
(s)he
will
be
able
to
start
the
soundtrack
part
themselves.
If
such
positioning
is
not
suitable
for
the
concert
venue,
a
trigger
pedal
may
be
used
for
starting
the
playback.
If
this
is
the
case,
the
guitarist
will
need
a
display
on
the
stage
displaying
the
time
code
of
the
soundtrack
part,
since
the
guitar
part
will
be
performed
in
a
loose
synchronization
with
the
soundtrack
part
-‐
PA
system:
at
least
two
(2)
and
preferably
four
(4)
speakers
positioned
on-‐stage
(2-‐speaker
system)
or
on-‐
and
off-‐stage
(4-‐speaker
system).
The
setup
is
described
on
the
drawing
of
the
stage
setup
below.
In
both
setups,
the
soundtrack
part
is
just
simple
stereo
sound,
not
multichannel
sound
-‐
reverb
effect:
ampli.ied
guitar
sound
should
run
through
a
reverb
effect
processor,
producing
a
very
wide,
big
hall-‐
or
most
preferably
cathedral-‐like
reverb
-‐
the
guitar
part
should
sound
like
it
is
being
played
in
a
very
big
hall
or
cathedral
with
very
long
reverb
-‐ distortion effect: IF POSSIBLE, a distortion effect pedal (like the one normally being used with electric guitars) may be used with the guitar part. The guitarist will use the effect as indicated in the score
Stage
Audience
√ U √ ≈
0'10" 0'22" 0'32" 0'38" 0'42" 0'48"
U
œ ‚3 b œ 4 œ ten.
‚ b œ b >œ œ Uœ . œ œ œ 0'56" 1'01"
1 2 ten. 2 1
r œ
V bœ ‚ ‚ ‚
p P p
Guitar
6th
string
=
Eb ƒ nat. F f ß ∏ f
harm.
√
>‚ b≈
U.
1'18" 1'20" 1'24"
1'02"
œ ‚ bœ œ. œ
1'30"
U̇ U
œ .. ‚ bœ ‚ œ ‚ œ bœ. bœ ‚ bœ ‚ œ ‚ œ
1'28" 1'36"
‚.
1
bœ bœ œ
4
J
7
V
2
P
Gtr.
ƒ P p ƒ F 3 f
3 r≈
1'44" 2'00" 2'08" √ 2'20"U̇
‚ b œ ‚ œ b >œ U‚ .. b œ ‚3 ten. œ
‚. bœ
1'48" 1'50" 1'52"
‚œ ‚ bœ ‚. bœ ‚.
œ œ
2
V R4 3 bœ ‚ ‚ ‚
15
Gtr.
ƒ f P ßf ∏ f 3 ß
U
2'30" 2'35" 2'38" 2'42" 2'50" 2'58"
b œœ‚ b œœ‚
3'02"
‚ bœ ‚ œ ‚ œ ‚ œ
1 simile
b4 œ b œ
23 2
V
3
œ œ
Gtr.
F ƒ
5
π F π f
Rub the strings with
fingertips, producing
only faint pitches
4'18"
œ ‚ œ ≈
Slight No vibr.
3'51" 4'08" 4'12"
U
3'48" 4'06"
U
œ b >œ ‚ .. œ
Lots of vibr.
3'56" 4'00"
‚ bœ >‚ bœ œ b 6‚ œ2 . b6‚ œ . ‚ œ
vibrato 1
bœ.
6 2
b œ J
29
Gtr. V
F
3
ƒ f F ß F 3
f nat.
harm.
3
bUœ
4'42"
bœ
4'32" 1 4'38" 4'46"
b >œ >œ .. >œ >‚
œ b œ œ >œ >œ b >œ >‚ b >œ .. b œ3 œ2 œ œ >œ >œ ..
4'22" 4'48" 4'50"
bœ œ bœ œ bœ. N‚ bœ ‚ bœ ‚ œ
sul pont. sul tasto
34
bœ
6
b 4œ 6
J
Gtr. V b‚ b‚
ƒ f 3
ƒ 3
F f ß f F f ƒ
ten.
ƒ nat. 3
harm.
Distortion
AD
LIB.
√
4'53"
bœ
Lots of 5'00" 5'06" 5'10" 5'12" 5'15"
b >˙ b 2œ ‚ œ ‚ œ ‚ b œ . bUO >‚ b >œ .. b 3œ œ2 œ œ œ œ N ‚ b >œ
vibrato 5'05"
‚
3
bœ
6 1
43
ord.
V
2
Gtr. b‚
ß
ten.
F 3
f F ƒ ß F 3
ƒ
Ï 3
5'28"
U
5'24"
A >œ >œ >œ . b œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ >œ >œ >œ >œ ..
5'20"
bœ
rasg.
accel. poco a poco
b œ N œ b A N œœœ œœœ œœœ .. b b n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ b œœœ ......
.
50
V
b œœ œœ œœ .. b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ....
Gtr.
ƒ 3
ß
Attacca:
Soundtrack
solo
from
5'28"
until
6'00"
F ç
5/8
Markku
Klami:
aava
(Score)
61
6'00" 6'30" tambora 6'55"
Gtr. V œœ
Improvisation:
make
"rain-‐like
sounds"
by
knocking
the
body
of
guitar bœ
with
.ingertips
in
continuous
motion
around
the
body.
Do
not
try
to
mute
the
strings
-‐
they
may
resonate
as
much
as
possible.
Imitate
the
raindrop Continue
improvisation
as
before,
but
with
less
intensity,
more
sounds
heard
on
the
soundtrack
part.
Dynamics
should
be
around
p
-‐-‐>
mf
-‐-‐>
mp like
calming
down.
Dynamics
should
be
from
mp
-‐-‐>
pp.
during
this
segment. Play
the
tambora
chord
above
for
a
couple
of
times
between
the
raindrop
sounds,
and
end
the
improvisation
with
the
tambora
chord
Distortion
pedal
may
be
used
ad
lib.
during
the
improvisation,
but -‐
let
it
sound
as
long
as
possible.
the
main
focus
should
be
more
in
the
"clean
sound",
with
a
couple
of
"medium-‐raw"
effects
with
the
distortion
pedal.
Attacca:
Soundtrack
solo
from
6'55"
until
7'20"
≈
‚ √
7'20" 7'40" 7'46" 8'00"
‚ ‚ ‚ ‚ 3‚ U‚ ‚ ‚ ‚ ‚ ‚ ‚
7'28"
U
8'08"
b‚ b‚ ≈ b‚
1
‚ ‚ ‚ ‚
6 4 6 4 4 4 tambora
V b‚ bœ b‚ bœ
62
b‚ ‚
6 5 tambora
Gtr. bœ bœ œœ bœ œœ
p 5 F bœ bœ
p
4
P P F
3 4
1
p p
≈
3 ≈.
U
8'30" 8'45"
√
8'14" 8'20" 8'25"
>œ > U
‚ œ. ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ >‚ b ‚ .
> >‚ >‚ > >œ œ >œ >‚ 4 b œ b œ>œ .... b œœ
1 tambora
‚ œ bœ ‚. >
rit. poco a poco 5
bœ œ
2 3 3
bœ
3 2
J
70
V œœ œœ
bœ
p 5 œ f
Gtr.
P bœ F œ P 2
ƒ 6
ß bœ ß ƒ
6 >
3
F P
4 3
ƒ
With strongly growing intensity,
vibrato on 2nd string a "tempo"
‚ b œ b œ œj b œ U U U
5 5 3
bœ b œ bœ œ
78 3 6 6
V J ‚ O ‚ ‚ b‚ œ
p ˙ bœ
Gtr.
P π
° P * P
3 3
3
6/8
Markku
Klami:
aava
(Score)
‚ ≈ >œ œ >œ ≈
ca.
9'55"
‚ U‚ œ œ œ ..
‚ œ >œ
3
#œ.
6 4 1
#œ #œ bœ œ
#
3
‚ bœ bœ bœ bœ b‚ ‚ œ bœ bœ ‚ bœ bœ bœ ‚ bœ bœ bœ
5 4 accel. poco a poco
85 4 3 6 5 3 3
V œ u
b œ Δ∆ bœ
Gtr.
5
p ƒ F ƒ
F p f
ten. 3 3
√
ca.
10'20" ca.
10'35"
>˙ bUœ
ca.
11'00"
œ œ œ .. U N‚ N‚ bUœ
Distortion
>
Very softly
bœ #œ bœ #œ œ bœ #˙
Wait until the sound and distortion 2
bœ bœ œ n‚ b‚ ‚
2
sul tasto 6
nœ
91 4
V
3
Gtr.
œ. œ. Nœ œ. Nœ
° ßç * Nœ œ p Nœ
P
a "tempo"
p J J J
5 3
5
6 6 3
ca.
11'45"
ca.
11'30"
bUœ bUœ bUœ
rit. poco a poco
U
# b œœ ‚ ‚
a "tempo" "Echo",
with
‚ #œ
2 3 2 4 3 2 2 2
N‚
3 distortion
pedal
bœ bœ #œ bœ bœ #œ bœ #œ
101 4
≈
"Echo",
with
Lots of
ca.
12'05" ca.
12'15" distortion
pedal
ca.
12'30"
b >œ ‚ n ‚‚ ‚ ‚‚ bUO ‚ n‚ 5 6 ‚ ‚
Slight Slight vibrato 1 4 Lots of a "tempo"
b œ ‚ bœ n‚
1 Slightly slower 6 3
œ.
2 3
‚ bU‚
vibr. 6 3
#œ
vibr. 5 6
‚ b‚
2 vibrato 6
b œ # œ ‚ N œ
108 4 3
V bœ bœ nœ.
5 3 4 3
Nœ Nœ œ J Nœ œ # œ
œ 5 bœ
Gtr.
P ƒ F Nœ
ß* * P
art.
ƒ
2 5
F f
5
° p
3 harm.
# ‚
ca.
12'45" ‚ 1 2 3 >‚ >
1 Distortion
‚ N 2‚ ‚3 5 6 U ‚ ‚ ‚ ‚4 ‚2 5 U
Distortion
N ‚ >‚ U
2
‚
1
‚ b‚ ‚ ‚ > >
6 3 6
œ
6 3 3 4
Nœ b ‚ b‚
116 3
bœ b‚ N‚
6 5
V J œ œ # œ J
F b œ
Gtr.
PN œ œ œ 5 œ f* ƒ ƒ *
F
5 6
°
5
°
Attacca:
III
-‐
Exposed
7/8
Markku
Klami:
aava
(Score)
≈
ca.
13'00"
U ‚1
N >‚ >‚
Lots of
>
œ 2‚ œ ‚
2
>2 >
vibrato
U
3 4
œœœœœœœœœœœœœœœœœœœœœœœ œ Nœ
120 4 3 2
V
Nœ
Gtr.
ƒ
2
ß ß ß ß ç >6 *
P °
13'33"
13'38"
√
13'22"
U
13'30" 2
13'44"
>
Strings 2-4 simultaneously, Lots of 6 5 3 6 5 3
Nœ
3
œ
3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #˙
127 tremolo with i finger
N œ
4 3 2
V b œ
4 vibrato
> bœ Nœ bœ
b œ
Gtr.
ß ç Nœ 5 > >
6 >
P P f
5
≈
13'46" 13'59" 14'05"
>œ >œ >œ >œ U U U
13'48" 13'49"
n œ œ >œ
> > >œ # >œœ >œœ >œœ >œœ # >œœ >œœ ..
rasg.
1 13'53" 13'55" accel. poco a poco
3b œ œ œ bœ œ œ œ œ Nœ œ > œ > œ b œœ œœ œœ œœ
N œ > b œœ œœ ..
ten.
bœ
6 5 3
bœ
2
#œ Nœ Nœ b œ œ œ
Nœ b œœ œœ œœ œœ b œœ œœ ..
Gtr.
Nœ > >
ƒ rasg. f ç >f ß F
Ï ç
Repeat until the next chord
4
2 0
5
Distortion
√
Distortion AD
LIB.
√
14'11" AD
LIB.
‚ √
# œœ œœ œœ œœ œœ >˙˙
> > > > >
√
14'24" 14'28" 14'49" 14'59" 15'04" 15'08" 15'13" 15'17" 15'22"
‚ UO . œ œ O>
14'39"
b œœ œœ œœ œœ œœ ˙˙ ‚ O. ‚ O3 bœ ‚
3
bœ. ‚ O
3
O.
bO b˙. bO b˙.
139 5 1
V
6
b œœ œœ œœ œœ œœ ˙˙ p *
Gtr.
P 3 °F 3 p P p P F f ƒ*
°
5 4 3 3
4
8/8