Kaley Lane Eaton

Sacred Geometry
 Performance Notes
In general, any unconventional notation is explained directly in the score.
In the first section, each instrument is beamed differently. These groupings intend to aid the performers
in playing slightly different groupings within 12/8 , creating an overall ambiguity of meter. The pianist
should avoid accenting any particular grouping until measure 21, when the slurs indicate desired groupings.

Articulation and dynamics appear to be static in the first section, as the true interest of the piece comes from
the accelerandro from m. 1 to m. 37. Take care to observe dynamics and articulations strictly, and do not
fear playing with great simplicity when no articulation is present.
This score is a minimal exercise in achieving maximal sonic results. Let your interpretation guide you.
 for Trio Andromeda
Sacred Geometry
Phase I: Tapestry

q. = 60 to as fast as possible
Accelerando from m. 1 to m. 37
Players should do their best to synchronize this accelerando. Kaley Lane Eaton
The struggle to stay together is part of the performance.
12 pizz.
j j b # # b #
Violin & 8 J b b # b

mp
pizz. > > > > > >
? 12 > > > > > > > > > > > >

Violoncello
8 > > > > > >
mp

. . . . .
. . # . . . . . . .

. . # . . . . .
.
. . . . .
. .
.
.
12 .
& 8 . .
#
#. . . . . . . . . # . . .
. .
Piano mp

. . . . . # .

{? 12
8
secco
#. . . .
. . . . #
. .
.
. . . . . #
. .

C Kaley Lane Eaton, 2015

kaleylaneeaton.com
2 B
A
7 q. = 90
j j b # # b #
& J b b # b


mp sempre
> > > > > > > > > > > > > > > > > >
?
> >

>

>

>

>

>

>
> >
. .
. . . . .
. . . # .
. . # . . . . .
. . . . .


& . .
. . . . .
. . # . . . .
. . .
ff
. # . . .
. . .
{ .
? . #. . .
. . . # #
. . . . .
. . .

.
. . . . . . . #.
. . . . . .
. . .
.
.
#. .

C
14 arco
. b . - . . - - . j j - j - j - j .
j j
& J b

b
#
b # . . . # . - b. # . - . . . . . . J
. . . . . . . . . .
leggiero
ff

? > > > > > > > > > > > > > > > > > > >
>
> > > > > > > >
. # . . . . . . . . . . # . . . . . . .

. . . .
#. . . .
. . . . .
.
& . . . .
. . . . . .
. #. .
{ ? . . .

. . . .
. . . . . . #. .
. .

. . . .
. .
. . . . . . . . .
.
. #. . . .
.
#
 D 3

21 q. = 130
. . . . #. - . b. - . . .
. b. -
& . b . . - b.
. #. . . . # - . - b. - # . - . j j - j - j-
. j.
. J
. J J - . . . . . . . . . . . . .

arco
? > > > > > > > > > > > > > > > > >

> > > > > >
>
heavily ff

b # bb
b b b b b
b b # b
& b# b b b b
# b b b

b # b b b bb
{? b
# b b b
# b b
#
#
b b b

E
27
. . . . #. - . - b. . b. - . . - - . j -
. b. -
& . b . . #. . . . # . - b. # . - .
j j -
.
j - . j .
. J
. J J - . . . . . . . . . . . .

> > > > > > > > > > > > > > > > > >
?
> > > > > >

b b
b# # b
n # b b b n
b b b b # b
& b b b# b
b
# b b b #
? b # b
{ b b b b
# b
 At this point you should be playing as fast as possible.
F Slow down, gradually, over 3 minutes, to as slow as possible.
Repeat your phrase as many times as necessary to achieve this tempo.
4 Do not synchronize your deceleration and do not decrescendo. As soon
as the pianist moves on to Phase II, the other players must finish their
arco phrases and enter at their own will.
33 legato

& b
#
b b
# b # bj
#
j j j

j
j
J
J J

> > > > > > > > > > > > > > > > >
?
> >

>

>

>

>

>

n b bnn
& b b b # n n n
# n n
keep pedal down until Phase II
b #n
? b # b b b
{
# b # b b b b b # n

39 e = c. 80
b # b b # b j
& b J J # #

> > > > > > > > > > > > > > > >
?
> > > > >
> > > > > >
> > >

&
?
{
 Violin 5

Phase II: Phosphenes

Begin with A, then move on to B and C as you wish, taking as much time as you wish in between.
then repeat A, B, and/or C in arbitrary succession, keeping in mind that your strings
will have lost standard tuning as the piece progresses.

Continue this for about 3 minutes.

Start playing these notes as a typical, open double stop. Slowly de-tune
A both of the strings, up and down. Take about 5-10 seconds
for the whole gesture.

Violin & w
w
p p
mf

B Play as a double stop and slowly de-tune the D string ONLY.

Vln. & w
w
p mf p

C Play as a double stop and slowly lowly de-tune the E string ONLY.
w
Vln. & w
p mf p

Phase III: Afterglow

After 3 minutes, move on to Phase III at the same time as the other players. Repeat this note, in any octave, using any
available timbre (pizz., col legno, arco, spicatto, etc. You could even sing!). The note should be played on the A string,
as that string has retained it's tuning. Take care that the note remains short. Repeat the note at longer intervals as the
piece nears it's end.
Crescendo from ppp to fff over approximately 2 minutes. End together.

Vln. &
ppp fff
6

Cello
Phase II: Phosphenes

Once the pianist has moved on to Phase II, play this phrase, repeating at your will, as many times
as you want. The tempo can vary throughout. Embrace long pauses between iterations. Feel free
to improvise similar gestures that do not adhere precisely to the notated phrase (i.e., different
harmonics, differing repetitions of a single pitch, etc.).
Continue this for about 3 minutes.

arco

slowly depress finger,

changing harmonic to sul D
stopped tone.
sul A
e e e e e Harmonic gliss Sul D
e e e e e e e e e
?O O O O O O O O O g liss. g liss.
g liss.
Violoncello & O
pp
O O O O
mf

pp mf pp mf pp

Phase III: Afterglow

After 3 minutes, move on to Phase III at the same time as the other players. Repeat this note, in any octave, using any
available timbre (pizz., col legno, arco, spicatto, etc. You could even sing!). Take care that the note remains short. Repeat
the note at longer time intervals as the piece nears it's end.
Crescendo from ppp to fff over approximately 2 minutes. End together.

Vc.
?
ppp fff
 Piano
7

Phase II: Phosphenes

Start with motive A, and then play motives A and B, alternating or repeating at your own volition, leaving as much
space as you'd like between iterations.
Continue this for about 3 minutes.
A e = 80 - 96
? 87 11 b b 43
8
pp

{
? 87

una corda

11
8 43

B hold each key down after playing, while maintaining a rapid, fluid gesture
RH
RH RH U U U
3
&4
LH LH LH p f
mf

Phase III: Afterglow

After 3 minutes, move on to Phase III at the same time as the other players. Repeat this note, in any octave, using any
available timbre (pluck the strings, strike the strings, play harmonics on the strings, una corda, etc. You could even sing!).
Take care that the note remains short. Repeat the note at longer time intervals as the piece nears it's end.
Crescendo from ppp to fff over approximately 2 minutes. End together.

&
ppp fff