water, unstill

[2016]

for soprano saxophone, piano, violin, and viola

Jeremy Corren

This work was written for New Music On the Point, where it was premiered by Ari
Streisfeld, Stephanie Titus, Anna Heflin, and Hayden Anderson on June 18th, 2016.

Program Note
The wrinkles progress among themselves in a phalanxbeautiful under
networks of foam
things are bound to sink
in which if they turn and twist, it is neither with volition nor
consciousness.
from Marianne Moore, A Grave

Performance Notes
Microtonal Notation

Standard quarter-tone notation applies:

Raise by 1/4th of a tone
Raise by 3/4ths of a tone
Lower by 1/4th of a tone

Static Beat Frequencies

Two instruments voice pitches a quarter-tone apart this produces
a rapid form of beating known as roughness. Try to tune stopped quartertone pitches as precisely as possible in order to maintain consistent
roughness when asked for.

Time-space Notation and Changing Beat Frequencies

Rehearsal letter E
(a) Violin: Starting on a unison A (open string II and stopped A on I), the violin slides slowly from the unison towards a quarter-tone (A
and G-3/4 sharp). The glissando should produce a gradually increasing beat frequency. Simultaneously, move the bow seamlessly
from sul tasto towards ordinario position.
(b) Soprano: The saxophone repeats a roughly 10-second module in which it: gradually crescendos into the same pitch as the violins A
over the course of 8 seconds and breathes for 2 seconds. Timing should be fairly precise. Over the course of the 30 seconds, the
peaks of the crescendi become gradually louder, from ppp to mp. During the crescendi, the saxophones tone should accentuate the
beating effects active in the violin.
(c) Piano: The piano repeats a 5- to 7-second module in which it softly plays the A pitch in groups of two. Unlike the saxophone module,
which is fairly precise in its periodicity, the pianist may vary the duration and attack of its module slightly, to give a sensation of
aperiodicity. Each piano attack will produce additional disturbances with respect to the violin beating. Over the course of the 30
seconds, the module should gradually increase in volume, but only very slightly (from pp to mp)
(d) Viola: For the first 30 seconds, the violist plays exclusively on the bridge, producing a pitchless air-sound. Horizontal bowing helps
avoid slipping onto the string, which produces unwanted pitches. The violist should vary the pressure and speed of the bow over the
bridge to produce aperiodic discontinuities within the sound, so long as it remains pitchless.
Rehearsal letter F
(a) Violin: The violin performs the glissando of letter E in reverse, moving back towards the unison. As a result, the beat frequency
gradually decreases to nothing, arriving ultimately at psychoacoustic smoothness. Simultaneously, the violinist should move back
towards sul tasto.
(b) Soprano: The saxophone begins a crescendo to the multiphonic on A-Bb for 6 seconds, and then reverts to the 10-second module
described in the notes to letter E. This time, the peaks of the crescendi should get softer and softer.
(c) Piano: During the first ~5 seconds piano begins by touching the 11th partial-node of a low Eb while striking the key to produce a
harmonic at the pitch A, lowered by a quarter-tone. By playing a normal A directly after the harmonic, beats within the piano are
produced. Following this, the piano should revert to the module described in the notes to letter E. The module, this time, should
decrease in volume from p to pppp (ultimately silence).
(d) Viola: The violist performs two actions. First: starting at molto sul ponticello, they should gradually bow away from the bridge and
towards the end of the fingerboard. Second: the violist should gradually increase duration of bow-lengths from long sustain towards
very rapid tremolo.

Soprano Saxophone
air: produce a pitchless air sound
air to tone: attempt to seamlessly transition from pitchless air sound to tone
Multiphonic: taken from Netti and Weisss Technique of Saxophone Playing.

Piano
Harmonics

The piece asks for a single piano harmonic. Strive for a sound that resembles most closely the isolated
partial, and as devoid of the fundamental as possible (though not completely). Let ring with the assistance of
sustain pedal. In this case, the pianist plays the equal-tempered version (A) after sounding the harmonic (A
1/4-flat) the combination of the two should produce audible beating.

Strings
sul pont, indicated by s.p., should produce a mixed sonority of a pitchs fundamental and upper partials.
molto sul pont, indicated by m.s.p., should produce a sonority that is predominantly the upper partials of a pitch.
sul tasto, indicated by s.t., asks for bowing towards the fingerboard to mute higher partials.
molto sul tasto, indicated by m.s.t., asks for bowing high up on the fingerboard to produce a hollow sound.
on the bridge, indicated by o.b., should produce an audible but pitchless sonority similar to white noise.
flautando, indicated by flaut., asks for a light, fast bow-stroke often coupled with sul tasto

water, unstill
Jeremy Corren

air

tone

q = 66

Sop. Sax.

A
4
&4

b6

bright air

bw

5
4

4
4
o

n)

5
4

3
4 )

4
4

o o

bw

4
&4

4
4

3
4

4
4

w
w

3
4

4
4

4
4

3
4 O

pp
Piano

4
&4

5
4

4 b
4
b

Ped

mute strings
o.b.
beats with soprano
Violin

4)
&4

5
4 6

O
o

4
4 ~
w

6
O

pp
p

bow sound

Viola

w
4
& 4
o

more pitch

bow sound
emerge out of violin sound

5
4

4
4
p

b O

B
pp

3 O
4

4
4

enter extremely imperceptibly

crossfade from violin

dark air

allow tone to get airier here

4
&4 )

2
4

4
4
o

mp

pp

>
#w

n>.
b

4
&4

w
w

w
w

2
4

w
w

w
w

2
4

~
w

2 O
4

4
4

pp
mf
mp
mp
[l.h.]

lightly
p
p

4
&4

n n

&

4
4

3:2

Ped

pass to soprano
aut.
s.t.
I

4
&4

ord
m.s.t.

>j beats with viola

bb O O
O

4
4

3:2

o sub p

sharply
with piano

>
## ~w

4
B 4
p

with piano
ord

>O

m.s.p.

beats with violin

ord

O
B
J
o

~w

2 O
4

4
4
o

mp

mixed sound: air/tone

B
4
&4

ord

12

mp

3
4

4
4

o
ppp

faint echo

b
4
&4

~~~~~~~~~~~~~~~~~

n
o
mf

w
w

w
w

3
4

4
4

pp

sub mp
mf

?4
4

#w
? #w

w
w

>.

3
4

4
4

catch the low A's resonance

Ped

aut.

o o

immediately
mute strings

lower by 1/8th tone:

beats slightly with piano

IV

4
&4

33 O

O O

~w

~w

3 O
4

~w

4
4

o
p

4
B 4

aut.
s.t.

'echo' from soprano/piano

w
w

I
II

o
pp

3
4

B 44

hold stable intonation: beats against violin

air
18

sharp cutoff

4
&4

>6

6 w
4

4
4

ppp
mf
mp

in a sudden movement:
agile but full sound

#>.

4
&4

:;
#>

lift immediately

lightly
3:2

6 w
4 w

4
4

6
4

4
4

mf
mp
3:2

sub pp
sfffz

3:2

?4
4

>
Ped

mute strings
o.b.
s.t.
stop bow

4
&4
III
IV

>6

aut.
s.t.
I

ord

slow gliss from unison:

produces audible beating

6
4

4
4

3:2

o sub mp

ppp

o
p
ff

jet

with piano

>
## O

4
B 4

~w

6
4

4
4

p
mp

o
p

6-8x
let sound slightly sharp
beats against piano

C
22

sharp cutoff

4
&4

6
4

2 b

4
4

2 b

4
4
o

pp

pp

>.

4
&4

w
46

6-8x

6
4

b
b

4
4

w
w

b
b

w
w

46 w
w

4
4

w
w

46 w
w

4
4

mf
p
pp

?4
4

6
4

pp

4
4
b

w
w

Ped

6-8x
aut.
s.t.

aut.
s.t.

m.s.t.

m.s.t.

stop bow

4
&4

6
4

4
4

b
o pp

o
pp

with piano
ord

>
<#><#> ~w

B 44

sub p

4
4
o

6-8x

m.s.p.

~w
6
4

46
w

beats with soprano

ord

s.t.

4
4

o
o

BO O
p

mp

~
w

ord

s.t.

o o

BO O

~
w

46 ~
w

4
4
o

mp

D
mixed sound: air/tone
29

4
&4

2
4

5
4

ord
##
4
#

4

5:4
o
o
mf
5:4
mp

>

2
4

6
4
o

very lightly
5:4

~~~~~~~~~~~~~~~~~~~~~~~
4

5
4

5
4

lightly

4 #
& 4

#
#

#
5:4

mp
mf

#

o

6
4
o

5
4

6
4

5
4

mp
p

f
p
mf
pp

?4
4

2
4

&

b .
>

5
4

4
4

Ped

beats with viola

m.s.t.

aut.
s.t.
s.t.

quickly, lightly

#
4 I #w
& 4 II w

2
4

I
II

5 j
4
III

4
4

6
4

II
#

IV

5
4
o

pp
pppp
ppp
7:4

mp

accelerate tremolo
over crescendo
beats with violin

4
B 4

>O
2 O

3:2

3:2

O
5
4

s.p.

ord

ord

4
4
##O

p
mp

O O
o
o

6
4

~w

5
4
o

pp
mf

mixed sound: air/tone

~~~~~~~~~~~~~
#
5

&4
o
o f
mp

35

3
4

4
4

3
4

3
4

3
4

:;
>.

mp

5
&4

b
o

3
4

4
4

pp

beats with soprano

b
p

mf
[l.h.]
imperceptible
attack
ppp
pp
pp
p

5
&4

w
w

3
4

4
4

?
&

w
b

Ped
Ped

(m.s.t.)

ord

aut.
s.t.

m.s.t.
ord

~~~~~~~ ~~~~~~
#
5

I #

II
&4
o f
mp
p

s.p.

crossfade with viola:

match timbre

3
4

~
I

4 w
4

o
o

w
w

3
4

pp
mf

pp

m.s.p.

ord

s.t.
mute strings
o.b.

5
B 4 n)

>
## O
6 43

O
4
4

III
IV

oo

oo

o
wo
w

w
II j
III w

IV
3

pp

o
o

p
pp

mp

3
4

mixed sound: air/tone

3-5x
(1x only)
42

3
&4

4
4

o
mp

46

45

1
4

ppp

as before
lightly

3
&4

b
4
4

~~~~~~~~~~~~~

w
w

46

w
w

w
3-5x
45 w

#>.

1
4

pp
mf
3:2

sfffz
mp
mf

?3
4

#w
#w

4
4

w
w

3:2

46

45

1
4

>

>.

catch resonance of low A

Ped

ord

3-5x

O
stop bow

3
&4

4
4

33 O

46 ~w

O O ~w

45 ~w

1
4

o
pp

immediately
mute strings
aut.

o o o

m.s.t.

3-5x

3
B 4

&

4
4

'echo' from soprano/piano

B II

w
w

o
p

46

w
w

45

1
4

E
10

60"
10"
8"

2"

49

repeat

,
breathe

&

o
ppp

ppp
(mp)

5-7"

6"

repeat ad. lib.: give the feeling of aperiodicity

& n

sub p

pp

(mp)

{
Ped

50 difference:
12 bps
slow gliss: should produce audible beats at increasing frequency

&

II
III

s.t.

ord

pp

mute strings
o.b.
aperiodically vary bow speed/pressure

)
mp

F
11

60"
10"
8"

2"

6"
57

,
B
o

&

repeat

4
4

mp

pppp

(mp)

5-7"

5"
11th partial of Eb

Bo

&

repeat ad. lib.: give the feeling of aperiodicity

4
4

beats with harmonic

p

pppp

mp
f

4
4

{
b ~>
Ped

prepare for
harmonic
s.t.

slow gliss: beat frequency gradually decreases to nothing

ord

&

4
4

mf

aut.
m.s.t.
bow position: ord

s.t.

bow speed: long

I
B II

4
4
sub ppp
ff

12
q = 66

G
10"
62

air

4
&4

bright air

6
o

ppp

just as the viola arrives back

at the violin's E, play almost
imperceptibly

4
&4

10"

pppp

?4
4

Ped

10"

4
~
&4 w

~
w

~
w

~
w

~
w

O
o

10"

beats with violin

4
B 4

o
mp

April - May 2016

New York - Boston