eduardo moguillansky

in love
(intimacy etude n 2)

for female bass flute player and electronics



2011

for Carin Le.ine
Duration
8 min
Introduction
"in love" is one of a series of three pieces written for solo flute and electronics
etude 1: "ffnungen" for bass-flute with microphones pointing to each of the wholes of the flute and as
many loudspeakers, distributed across the room. (in preparation)
etude 2: "in love" (intimacy) explained below
etude 3: "etude 3" for solo flute, amplification and piano resonance. The flute plays behind the open lid of
a concert piano with the pedals down. Inside the piano there are loudspeakers. The flute is analyzed live
and its sounds are resynthesized and played inside the piano. The piano resonances are simulated. The
actual flute and the actual piano are used only as resonance bodies, they hardly emit any sound
themselves, (in preparation)
The series can be played complete or in any combination, even with other pieces in between.
"in love" (intimacy) is a transcription of a series of texts by claude closky, published in blog form under the title
"welcome to my blog". In its original form they are 365 short texts, one for each day of the year 2006 and
uploaded to the internet as blog entries, each of them being a small description of the events of that day. One
example: "At work, I could not contain my disappointment. In love, my partner implied that I expect too much from
myself." These texts are of course not real entries but the result of a simple text-replacement strategy: a
horoscope entry for that day was rewritten in the past-tense and every second-person pronoun replaced by a
first-person pronoun ["you take" --> "I took"]. All the texts have the same form: "At work..., In love...". The main
interest in these texts lies in the tension between the intimacy of the content and the detachment of the form.
17 of these fragments were chosen and its recitation was recorded. The text in audio form was then translated to
notation and instrumented for bass flute. Both versions of the audio are heard in synchronicity: from the flute itself
and from loudspeakers (more on this below). Between (behind) the fragments a background of echoes,
conversations and love songs is articulated by the flute, mostly alone, sometimes with accompaniment.
There are two possibilities for the performance of this piece regarding the way in which the tape is played to the
audience:
NXT contact loudspeakers (preferred form): a number of contact loudspeakers (NXT) attached to metal
bars are placed around the auditorium. These loudspeakers have the characteristic that they do not sound
by themselves but they make the bodies to which they are attached resonate. In this case, the metal bars
are made to resonate. But, since metal resonance is very weak, all that is heard by the naked ear is a soft
shimmering sound. BUT: when bitten, the teeth transport the vibrations extremely well and the sound is
heard clear and loudly INSIDE the head. This kind of non-cochlear hearing is very similar to the way the
own voice is heard. The NXT loudspeakers and the metal-bars are provided with the tape and the
material. If the piece is performed in this version the audience must be informed ("conducted") about the
metal bars and how they are supposed to be used. The dynamics of the flute part are to be adjusted so
that when playing synchronously both flute and tape are heard clearly. NB: the resulting general dynamic
of the piece is very soft.
normal loudspeakers. In this case the loudspeakers should be placed on stage. The flutist should stand on
a corner of the stage, the speakers on the other corner.
The complete text:
At work, I took advantage of a situation. In love, (...)
At work, (...) In love, I enjoyed a richly erotic day.
At work, I avoided excessive reactions. In love, I was irresistible
At work, I was blamed for my shortcomings. In love, I used sex as a weapon.
At work, I gave into frivolous behaviour. In love, I had a passionate adventure.
At work, I spent time daydreaming. In love, I showed maturity and prioritized my partner's needs over mine.
At work, I broadened my culture and broadened my network. At home, I could not nurture my passions.
At work, I made the best of a bad job. In love, my partner badly disappointed me.
At work, my perseverance allowed me to improve my financial situation. At home, I had to restrain my
enthusiasm.
At work, I felt hurt by my superior but avoided the fight. In love, I started naughty games with my other
half.
At work, I suddenly realized that giving up is not losing. In love, my partner asked for my company to feel
less lonely.
At work, (...). In love, (...)
At work, I could not contain my disappointment. In love, my partner implied that I expect too much from
myself.
At work, I took the side of my superior. In love, I felt boredom and thought about meeting someone.
At work, I avoided complications by hiding my real emotions.
At work, I had an exciting day. In love, I didn't realize a dream.
At work, I stopped insisting at all.

.

Explanations

All explanations are given in the score as they happen. They are repeated here for completeness and for quick
reference


Air sound.

Cover the embouchure completely with the mouth. If
nothing is specified, exhale as if saying "u".

As above, inhale or exhale through the flute.

Intercept violently the stream of air by either moving
the flute very fast across the lips or moving the head
very fast across the embouchure. When/if there is no
time to perform the action in this way, a very fast and
short exhalation of air can fake the effect quite well,
like by saying "ue". In any case the resulting sound
should be like a very short burst of sound as if digitally
cut, with no attach and no decay.

These gestures as hast as possible. When finished with a
given gesture, there should be a silence if there is time
left before the next note/gesture (here, for instance,
there should be a small pause between the Gb and the
C#).

Air + pitch (1/2).

Transition from only air to air+pitch

Bisbigliando. Always, if possible, double bisbigliando. In
this case, with the 2 and 3 fingers of the R.H.

Double trill. In this case, with the fixed fingering of Bb
in the left hand, alternate with the right hand the two
trill keys on the 2 and 3 fingers.

Overblow. Transition between fundamental and a given
overtone (the third, in this case)

Fingered glissando. Fingerings are given in the score.

The same as above, with a simplified notation.

Add a key click to the given action

Lip pizzicato. As if saying "tut", the sound should begin
AND stop very abruptly. It is, of course, independent of
dynamics (in this piece mostly pp).

Lip pizz. overblow

Air sound with the given colour. With the mouth as if
saying "see" but stay in the "s" and blow through the
flute with the given fingering.

This notehead means that the sound should be as pure
as possible, like a clarinet or a glass harmonica.

Sing and play at the same time. The voice is always
only a colour of the flute, should stay always behind the
flute.

The round notehead notates the voice, the normal
noteheads indicate the flute pitches. When the flute
plays under the voice the sound of the flute drops
dramatically in dynamic, as if put behind a curtain. This
effect is wanted, but great care should be taken to
match the voice to the flute as much as possible so that
still in these cases they create a mixture.

The bracket above is a simplified notation to indicate
the length of the voice action. In this case, the Eb of the
voice is kept the whole time while the flute fluctuates
between the fingerings of Eb and D+ as indicated.

Only tongue, no air.

Stop the air flow abruptly at the end of the gesture.

Air sound with the given colour. With the mouth as if
saying "tee" but stay in the "ee" and blow through the
flute with the given fingering.

Trill with the note in brackets, smoothly overblow to
reach the upper pitch while at the same time
performing a lip-gliss (glissando by shifting the angle of
the flute)

Two different fingerings for the same pitch. As the
number increases the colour should be more distant
from the "ordinario" fingering

No extra sounds here.

B.Fl
duraLlon: 8'

, ,
, ,
,
,

_ ,

,
_ ,
_
_
_

_ ,
, ,
_
_ ,

_
,
,

_ ,
_
_ ,
_ _
_ ,
onlv Lonaue, no alr alwavs as fasL as poss.
verv sharp aLLack (L), exLremelv shorL, muLe Lhe
sound wlLh Lhe Lonaue, as lf savlna L(u)L.
**)
***)
(wlLh cllck Lrack, sorrv)
Lrlll wlLh Lhe noLe ln
parenLhesls
, ,
,
,
,

,

*) Cllssandl: lf posslble, small allssandl alwavs vla chanae ln Lhe enbouchure anale.
*)
onlv alr
**) whlle alreadv blowlna ouLslde Lhe embouchure, lnLercepL Lhe alr sLream wlLh Lhe fluLe
or bv movlna Lhe head sharplv.1he resulL ls a verv clearlv deflned nolse bursL, as lf cuL wlLh
sclssors
***) whlle Lrllllna (wlLh Lhe small noLe beLwee brackeLs) overblow as lndlcaLed whlle aL Lhe
same Llme keeplna conLrol of dvnamlcs (hlaher overLone does noL mean louder dvnamlcs).
1he allssando, lf posslble, vla a chanae ln Lhe blowlna anale.
****)
****) uvnamlcs: ln Lhe lower sLaff almosL all acLlvlLv Lakes place ln Lhe flrsL ocLave of Lhe fluLe. 1he
dvnamlcs wrlLLen here should be lnLerpreLed as "efforL" dvnamlcs.
n8: Lhe lower sLaff alwavs ln Lhe forearound. lL doubles Lhe
Lape, and Lhus should be plaved wlLh areaL preclsslon.
t

t t
)

) )

r r

, ,
_
_ , _
_
_
_ ,
,
,

_
_
_

_ ,

_ ,

, ,

,
,

,

,
, ,

, ,
,

t
)
)

, ,
, ,
,
,
,

_ ,
_
_
_

_
, ,
_ ,
_ ,

, ,
, _

,

,
,

, ,

t
)
t
)
s(i)
) )

B.Fl
a
_

_
,
_
_ , _
_
_

,
,

_ ,
_


_ ,

,
,
,
,

+ kev cllck
, ,
,

,

, ,

t
r )

,
)

_
,
_
_ ,
_
_
, ,
_ ,
_
,
,
_ ,
_
_

,
,
,
,

, ,
, ,
,
,

_ ,

_ ,


sLop alr-sLream wlLh Lhe Lonaue

, ,
,
,

m
)
t t

)
)
)




)
_
_ ,
,
_

_ ,
_
_ ,
,
,
, , ,
, ,
_
_
_ ,

, ,

_ ,

*) fromonlv alr Lo alr+plLch

*)
**) overblow from1sL overLone (Lhe fundamenLal)
Lo Lhe 3rd overLone (Lhe 3Lh)
**)

, ,
,
,
, ,





n
t

B.Fl
;
,
,
_ ,
_
_
_ ,
_ _ ,
_
_

_ ,

_ ,


_

_ ,

, ,
,
,

, ,
,
, ,


) )
)

_
_

,
_ ,
_
_

,

, ,
,
, ,
, ,

)
)

+
)

, ,

_ ,

,
,
,
,
,

,
,
,
,

_ ,
_

_ ,

_

,

, ,

,
,
,
,

m
)
m
n


n

B.Fl
:o

_

,
, ,
,

_ ,

_
,

alwavs double blsb. lf posslble
pure sound, as llLLle alr sound as
posslble

, ,

,
,
, ,

, ,

) )

_ ,

,
,

_ ,

_

_ ,

, ,
,
_ ,
, ,

,
,
,
,

s(i)
)
)

simile

_

,
, ,
,

_

, ,
,

_


, ,
, ,

,
, , ,

_ ,

)

m

_ ,
_

,

_
,
, ,
,



, ,
, , ,

, ,

,

, ,
, ,

,
,

)
)



)



|1J;|
in love
(intimacy etude n 2)
for bass flute and electronics
to Carin Levine
eduardo moguillansky (2011)
Score

B.Fl
:a
,
, , ,
,

,
, _ ,
_

_
,
,
,
,

_ ,

_ ,


,

, ,

_
_ ,
_

,
,

,

, ,
,

, ,
,
,

resonance of Lhe fundmenLal, some overLones

m
m

+




ord
)
)

,
, , ,
,
_ ,

_ ,
_ ,
_ ,
_
_ ,
_
_
_


,
,
, ,
,

,
,
,
, ,


) )




+

_ ,

_ ,

, ,

,
, ,

,

, , ,
,
,
, ,

_
_ ,
_
_
,
,
_
_ ,

wlLh Lhe mouLh coverlna Lhe mouLhplece

, ,
,

)



sub.

n
t
)
r
t
n

B.Fl
:;


_ ,

_ ,
_
,

, ,
,
,
, ,

,

,
,
, ,

,
,
,

,
, ,

blow wlLh Lhe consonanL "s" and Lhe

shape of Lhe mouLh as lf savlna "l"
s(i)

t t
r )

,
,
,
,
,

,
, ,

,
, ,

,
,
,
, ,


,
, ,

,
,
,
,

,
, ,


, ,
, ,
,
,
,
, ,
, ,

) )

,
, ,

,
,
,

, , ,

,
,
,
,

,
,
,
,
,


_

,

as shorL as posslble, alwavs sLop

Lhe sound wlLh Lhe Lonaue

, ,

,
,

, ,
, ,


, ,

, ,



, ,
,
,
,

m
)

m

m

)

)


,
, ,
, ,
,

_

, ,
, ,

,

)
n n
m

B.Fl
z:

,
, ,
,

_ ,

,
, ,

, ,

, ,

,
,

, , ,

n
,


,
, ,
, ,
,

, ,
,

,
,
,

, ,

n n
) )

n


_ ,

,
, ,

, ,
,
,

,
,

,

_ ,

,
, ,

, ,

,
,


n )

n
m

, ,

, ,

_

, ,
,
, ,
,

,

, ,

,
, ,

, ,

, n

n n

)

t

B.Fl
z=

_ ,

_ ,

, ,

, ,

( )

, ,

,

,
,



, ,
, ,
,
,

, ,

n

n ) )

)

_
,
,
,
,

,
,
,
,
,

,
,


, ,

,
,

, ,

,
, ,

,
,

, ,

, ,

,

+alr
m n m
)
t

)
congelato, sinosoidale

_

, ,

, ,

,
,
, ,
,
,

exhale
lnhale

,


,

, ,
,

,

, ,


)

,



silenzio

|zJ;|

B.Fl
zo

,
,

, ,

,
, ,

,
,

_

, ,

,
,

, ,

,

n

n

, ,
,
,

, ,
,
, ,

_

,
, ,

,
,

, ,
,
,

, ,

,
,
,
,
, , ,

n


n

B.Fl
(z
_

, ,

,
,

,
, ,

,
,

_

, ,

, ,

,
,

, ,
, ,
,
,

, ,
, ,
, ,

,

n )
)
n )

,


_

, ,

, ,

,
,

,
,
, ,

, ,
, ,


,

,

,
,


n
)

,
,
,
,

,
,
,
,

,
,
,
,
,

,
,
,
,
,

, ,
,
,
, ,


, ,

,

,
,


m
) m


, ,
,
,
,

*) LranslLlon fromLrlll Lo blsblallando. Lhe

Lrlll should be plaved verv fasL and leaaLo,
so LhaL Lhe Lwo noLes merae ln one colour
*)
,



,
, ,

,

,

,


, ,

,

,
,

k
)
n
n n


r

B.Fl
(

,
,
, ,
,
,

,
,

, ,
,
,
,

, ,

,
,

,
, ,

,
,
,
,

,

,
,
, ,
,

, ,

n


n n


)
n
_ ,
_

,

,
,
,

, ,

,
,
,

, , _

,

,

n
ti

ti



_

,
, ,

,
,
,
,

,
,
,
,

, ,

,

,

t
)

n
n n
n

B.Fl
ao
,
,
,
,

,
,
,
,
,
,
,

,
,
,
,

,
,
,
,
,

,
,
,
,
,

*) wlLh volce doubllna Lhe plLch. Lhe volce

ls alwavs a colour of Lhe plLch, lL should
never be heard as such.
)
volce
**) Lhe volce sLavs on Lhe lndlcaLed noLe,
Lhe fluLe chanaes plLches.
)

,

,
, ,
,
,
,

,
,
,
,
,
,
, ,

, ,



m
m m
n
n

m

, , _

,

,
, ,
, ,
,
,

,
,

, ,

,
, ,


,

, ,

n ) )

)

n


u t ti
r

,
, ,

+ Lape

+ Lape
|J;|

B.Fl
a(

_

_


, ,

, ,
,
,

_ , ,

,
,

, , _
,
, ,

,
,

ti ti



)

, , _
_

,
,

,
,
_

ti


)

) )-

, ,

,

,

,

, ,
,

, ,

)
n

B.Fl
a;

, ,

, ,

, ,

,
, ,
, ,

, ,
, ,

, ,
,
, ,

, ,
different fingerings
different fingerings

[1| [2|
,
, ,
,
,
,
, ,

, ,
, ,

, , ,

,
, ,


,
,
,
,
,

,
,
,
, ,
,

,
,
,
, ,
,

,
,
,
,
,
,
,
,
,

,
,
,
,

,
,
,
,

,
,
)

,
m

,
, ,

, ,
,

,

,

, ,
, ,


,

)
)

,
,
, ,
, ,

,
,

, ,

,
, ,
, ,


n + )
n

+ Lape

B.Fl
=:

, ,
,
,

, ,

,

,

,
, ,

,
,

,
,
, ,
,
,

,
,
, ,


,
, ,
,
,

, ,
,
,


,
,

, ,
,
,

, ,
,
,

,

,
,
,

,
,

molto stabile, congelato

,
,
,


_

,
,

,
,
_

|qJ;|

B.Fl
=8

,
,
,
,
,
,
,

,
,
,
,
,
,
,

,
,
,
,

,
,
,
,

,
,
,
,
,

,
,

, ,
,
, ,

m
m )

, ,

, ,
,
,
, ,

, ,
,
,

, ,
, ,

, ,
, ,
, ,
,
,
,
,
,

,

,

,

, ,
,

n
,
+

, ,
,

,
,

,

,

,

, ,

, ,

, ,
, ,

, ,
,
, ,

,
,
, ,
,


,
,
,
,

,
,
,

alr+plLch
m n
+ +
) )

+ Lape

B.Fl
z
, ,
, ,
,

,


,

, ,


,
,
,
,
,
,
,

,
,
,
,
,

, ,

,


,
, ,
, ,
,

,
, ,
,
,

,
, ,

,
,
,

m
n )
m
)
) n ,
)


,
,
,
,
,
,

,
,

,
,
,
,
,
,

,
,
,
,

,
,
,
,

,
,
, ,
,

,
,
,
,
,

,

,
,

, ,

,

, ,
, ,
m )
)

)

,
, ,

, ,
, ,
,
, ,

,

,
, ,
,
,
, ,

,


, ,

, ,
, ,

, ,

, ,
, ,

, ,



n
)

, + ) ,

B.Fl

+ Lape
=

, ,
, ,
,
,
,

malnLaln volce
,

,
,
, ,

,
,

, ,

,
,
,

,

,

, ,

, ,
,

) n )
)
) )
+

,
, ,
,
, ,

, , ,

, ,
, ,

, ,


,

,

, ,
,

, ,

, ,

,

,
,

,

,

+

) + n n )

n

_ ,
_

,
, ,
_

, ,

, , ,
, ,
, ,
,

,
, ,

, ,

,
,
,
,

) n m )-

ti
ord

_

,
_

_ ,
_

_ ,
_

ti ti


B.Fl

+ Lape
o
,
, ,
,
,

_

_

, ,
_

,
, ,

,
, ,

,
,
,
,
,
,
, ,

,
,
,

*)
*) Lwo dlfferenL flnaerlnas. Lhe lower Lhe
number, Lhe more slmllar (ln Llmbre) Lhe
noLe ls Lo Lhe LradlLlonal flnaerlna
)



[1| [2|

,
,
,
,

,

, ,

,
,
,
,
,

, ,

,
,
,
,

,
,

[1| [2| (poco)

,
, ,

,
, ,
,
,

,
,

,
, ,
,

,
,
,

,
,

,
,
, ,


, ,

,
,

,
,
,
,

,
,
,
,

,
,
,

,
,



, ,
, ,


n

m
B.Fl
;(
,
,
,
,
,
,
, ,
,
,

,
,
,


,
,
,
,

,
,
,
,
,

[1| [2|
,
,
,
,

,
,

,
,
,

,
,
,
,

, ,

,
,

,
,
,

,
,
,

,
,

,
,
,

[1| [2|
,
,

,

,
,
,
,


, ,

,
,
,
,

,
,

,
,
,
,

, ,
,

,
,
,
,

,

[1| [2|
[2| [1|
,

, ,

_
, ,
,
,
,

,
,

,
, ,
,
,
,
,

,
,
, ,

,
, ,

,
,

ti

[1| [2|
|=J;|

B.Fl
;;

,

,
,
,
,
,
,
,

,
,
,
,

, ,

,
, ,

,
,

_ ,
,

ti
(hu)t

n

,
,
,
,

,
, ,
,
, , ,
,

,
,

, ,
_ ,
,

,
,

,
, ,

[1| [2|
ti

,
,
,

,

,
,
,

,
,
,
,
,
,

, ,

,
, ,
,
,
,

, ,

, ,
,
,
,
,
flnaerlna: leave Lhe C (l.h. 4) alwavs open

[1| [2|

,
,
,

,
,
,
,
, ,
,

,
,
,

,
,
,
,
,
,
,
,
,
,
,

, ,

, ,
, ,

[1| [2|

B.Fl

+ Lape
8:

,
,
,

,
,

,
,

,
,
,
,
,
,

,
,

,
, ,
,
,

, , ,
,
,
,
,

,
,
,
,

[1| [2| [3|

)

,
, ,
,

, ,

,
,

,

,
,
,

, ,
,
,
,
,
,

,
,
,
,

,

,

, ,
,
, ,


,

m

m
n
k
,
, ,
,

, ,

, ,
,
, ,

,
,
,

,
,
, ,

,

, ,

_ ,
, ,

, ,

,

, ,

n )

)

)

n
n

,
, ,

,
,
,

_ ,


,
, ,

,
,
,
,

,
,

, , ,

, ,
, ,
,

, ,

, ,
,

,

)

) m

)
n

)

B.Fl
8=

_ ,

,
, ,
,


_ ,

,

,

,

, ,



, ,
,

, ,
,


, ,

,

n
)

n

n
,

,
,

_ ,


,
,
, ,
,
,

, ,
, ,

, ,
,
,
,

, ,
, ,


,

, ,

,
,
, ,

, ,
, ,

)
)


)-
n
,

,
,
,
,
,

,
,
,
,

,
,

_ ,

,
, ,

,
,
,
, ,

,
,

_ ,

, ,
, ,

m
m


)

n
,
,
, ,
, ,
,
,

,
,

,
,

_ ,

,
, ,


, , ,
, ,
,

)




n

+ Lape

B.Fl
8o

,
,

,
, ,
,
,
,
,

_ ,
,

,

, ,
, ,

, ,
, ,

)


n

, ,
,

,
,

,
,

,

,
,

,

,
,

, ,
, ,

, ,
, ,

, ,

m
)
)

,

,
,
, ,
,
,

_ ,
,

,

, ,

, ,
,

n


n

, ,
,

, ,

,



, ,
,
, ,

, ,
,
,
,
,
,

,
,
,
,
,

, ,

,
,


m
m
)

+ Lape

+ Lape

B.Fl
o(

_ ,
,
,

, ,
, ,
,
,
, ,

, ,


,
,
, ,
_ ,
,
,

8.P.: alLernaLe A and 8 Lrlll kevs

, ,
,

, ,
,

, ,

, ,

)
)



n

, ,
, ,
,

,

, ,

, ,
,
,
, ,
_ ,

,
,
, ,
_ ,
,
,

n n

, ,
,
, ,
,
, ,

,
,
,
,
, ,
,

,

,

,
,

, ,

, ,

, ,
, ,

, ,

, ,
, ,

|6J;|

B.Fl
o;

, ,

,

,
, ,

_

s
, ,

, ,
, ,
,

, ,
, ,
,

)

)

,
,
,
,
,

,
,
,
,
,
,
,

,
,
,
,

,

, ,
,
, ,
,
,

, ,

,
, ,
, ,

m
m

, ,
,

, ,

, ,
,

, ,
, ,

, ,

+ Lape

B.Fl
:o:

, ,

, ,
,

, ,

, , ,
, ,

,

,
, ,

B.Fl
:o;

, ,
,
, ,
,
,

, ,
,

,

, ,

, , ,
,

, ,

, ,

, ,
,
,

, ,

,
, ,
_ ,
,
,




, ,
, ,

,

n


,
,
,
,
,
,

, ,

,
, ,

,

m
) m

, ,

,

, ,

B.Fl
::z

, ,
,
, ,

,

, ,

,

, ,

,
,
,
,

( )

m
ad lib.

|;J;|