Beruflich Dokumente
Kultur Dokumente
el pulso de lo inmovil
for string quartet
2005
el pulso de lo inmovil / B
(the pulse of the immobile / B) for string quartet
De vrtices quemados de subsueo de cauces de preausencia de huracanados rostros que trasmigran de complejos de niebla de gris sangre de soterrneas rfagas de ratas de trasfiebre invadida con su animal doliente cabellera de lbido su satlite angora y sus ramos de sombras y su aliento que entrecorre las algas del pulso de lo inmvil Alta noche, Oliverio Girondo, 1956
General remarks
el pulso de lo inmvil (the pulse of the immobile) is constructed upon a constant zooming-in. Each measure has a fixed duration of 5 seconds, divided in many different ways. As consequence of this, each measure has also a specific tempo attached to it. For instance, each measure divided into 4 has the same tempo, 48, independent of it being a 4/4 or 4/8 measure. As long as possible should these tempo changes be performed as tempo relationships, sometimes this having been made clear by having an instrument play a continuous rhythm across the bar, showing the metric modulation. The zoom-in is achieved by the following process: each measure takes a fraction of the preceding one and expands it into a full bar (again 5 seconds). The overall process is that of a constant rallentando, each bar being always slower than the preceding one. It is very important NOT to make a rallentando within the measure. The gain in resolution reveals new aspects of the material, at the same time leaving parts of each measure forgotten, since only a fragment is taken as model.
Amplification
Due to the extreme dynamics asked for in this piece, the use of amplification is desired, remaining possible to play it without it, given it is performed in a small hall. In the case of a version with amplification, this should not be set in the same level from beginning to end, but it should accompany and balance the dynamic development of the piece. The speakers should be placed circling the audience, with a mixing-desk in the centre.
Tempo changes
As said before, with few exception, each measure in this piece is divided in different ratios, remaining the duration of the bar always constant. For practice, it might be helpful to use a click-track. A click-track in the form of a MIDI file can be asked from the composer at the following email address: emogui@yahoo.com It should be, however, strongly discouraged to perform in concert with the click-tracks. In such a case it would be better to have a conductor, who could himself be aided by a click-track. One last word about tempo changes: in cases where the ratios are very complex (5/17 or 5/21), the measure has been divided into two measures WITHOUT a tempo change in between. These measures are distinguishes by having a dashed line in between, and should be thought as beeing a unity. In some cases, as mentioned above, the metric modulation is made clear by having an instrument play through the bar-line. In these cases, a bracket joining the measures has been added with the legend same speed.
f A i K
: press the string all the way down to the fingerboard : Mute sound. The same as above (press the string all the way down to the fingerboard) only to be able to play on the outter strings (play sul tasto). : press the string only slightly (its not a harmonic!). Avoid pressing the string down.
: harmonic.
D D
K
little
f
more finger pressure
NB 1: the resulting pitch of the harmonics is always written on a staff above. If these pitches appear between brackets, it means that the harmonics are very unstable (either are they multiphonic positions or harmonics played with unappropriate techniques for harmonics, such as col legno, molto flaut., etc.) and thus it is not expected that the result reflects the above-written pitches. In the case of multiphonic positions, these are easy to notice because they are mainly natural harmonics with more than one resulting pitches written above. Not all pitches are expected to sound at all times, and some pitches might even not sound at all. NB 2: for very well known harmonic positions there are no indications above the staff. For harmonics which are often repeated in this piece, the resulting pitch is indicated for the first case only, to avoid supperfluous information on the score. NB 3: in some cases where a hamonic notehead is written, the only expected action is, in fact, to play with very little finger pressure, independent of the resulting pitches. This is made clear in the score in each case through footnotes, or can be guessed from the context and the lack of a written resulting pitch.
: mute string. Always used in connection with a harmonic played above. It indicates to mute the string between the harmonic and the tuning peg to avoid it sounding as a harmonic. The indicated pitch for the harmonic turns into an unstable fundamental, thus making it possible to sound the different partials of this note depending on the bow position (this technique is known as fawcett). When played molto sul tasto, it renders the pitch fingered by the harmonic but with a very hollow sound, almost clarinet like. When played sul ponticello, the higher partials can be made clearly audible, and the fundamental should be lost. The pitches indicated in the upper staff show only approximately which part of the spectrum is being asked for, accuracy being with this technique very hard to achieve, and not asked for in this piece.
Example
Example 2
To make it again clear, you should place your fingers on the indicated positions even before the strings are sounding. These notes are renderd audible by the shifting of the bow position. In this example, one begins by playing very near to the bridge (only the D string is played). As the bow moves to the ordinario, all three strings are reached by the bow without changing the bow pressure. As the bow moves even more in the direction of the fingerboard, the D string sinks and is not reached anymore, allowing the G and A strings to sound alone. One thing should be said about fingering: unless otherwise indicated, the inner string is always to be fingered by the 1. Finger, allowing fingers 2 and 3 to play on the lower and upper strings respectively.
Notation of fingerings In some cases where it turns obscure which finger is playing on which string, the following system has been used: For example, II, 3 III, 1 I, 0 IV, 2
means: the highest note written in the chord is to be played on the II string (A on the violin, D on the viola) by the 3. finger. The note that follows is played on the III string by the 1. finger. Then the I string is made sound open (0), and the IV string is fingered by the 2. finger. NB: To be able to differentiate between fingered and open strings when they are playing the same note, notice that fingered notes in this system will ALWAYS have one of the noteheads explained above, whereas the open string will have a normal notehead.
Dynamics
Two different type of dynamics have been used. normal dynamics (written in the traditional way) have been used as absolute dinamics. That means that two gestures having the same dynamic sign should sound at the same level of laudness, independent of the techniques used. Since textures are generally very dense, balance becomes of capital importance in order to render an understandable performance of the piece. The other relevant issue in relation to absolute dynamics is that certain techniques, like playing col legno, or molto flautando, sound naturally softer than the same gesture performed with normal bowing. These natural tendencies should be compensated as long as possible. effort dynamics: they are written between quotation marks, like f. They are always used in connection with one of the above mentioned techniques, like col legno or molto flautando. They are to be interpreted as playing with the effort normaly involved in playing forte even if the result does not reproduce this effort.
Microtones
Ordered from low to high, they represent intervals of 1/8 tone. The 1/8 tones are mostly used to indicate the exact position of a node for playing a harmonic multiphonic.
IJ b jBK n kL m l
Bow position
MT: T: ORD: P: MP:
molto sul tasto. sul tasto ordinario. Normal position. al ponticello molto al ponticello. Play very near to the bridge, but not on the bridge. The tone must be very rich in upper partials, almost no fundamental. ON the bridge. No audible pitch.
Bow pressure
molto flaut.: flaut.:
NP : molto flautando. Very little bow pressure, the bow hardly touches the string. When used together with col legno, some extra pressure must be applyed in order to make any sound at all. flautando. normal bow pressure. Cancels all sings related to bow pressure.
Scratch:
: transition from extra bow pressure (scratch) to normal pressure. If at the end of the there is a sign of flaut. or molto flaut. then the transition should from extra pressure to the pressure indicated in each case. The amount of bow pressure used for scratch is indicated in context.
tremolo, AS FAST AS POSSIBLE (almost like a texture). If it is indicated together with flaut. or molto flaut., perform always on the tip of the bow.
b
% 10 v 6 # 2
!
crini. With the hair of the bow, cancels the previous sign
circular bowing. If not otherwise indicated, it is to be performed slow so that all changes in sound are smooth and continuous. The direction is to be respected. When performed over a chord using the technique described above of pressing down one string, circular bowing does not imply that all pitches are audible all the time. On the contrary, the slow shifting in bow position that comes together with circular bowing should result in a very smoothly changing sound. If a bow position is indicated (sul tasto, for example), this should be interpreted as being the centre of the circular bowing.
quasi perpendicular bow: play with the bow in almost PERPENDICULAR DIRECTION to the strings.
bow vibrato. Perform the indicated bow (up bow or down bow) with a trembling arm. Do not confuse with tremolo!
very violent down stroke, like ripping off the string. Begin ON the string and violently produce the down-bow. up and down-bow with extra bow pressure
very violent down stroke with extra bow pressure. Begin ON the string and violently produce the down-bow with extra bow pressure. as short as possible, independent from the duration of the notes where it is placed.
depress the III string (D) at the position indicated with the X, allowing the bow to reach the IV and II string without touching the III string.
flaut. molto 2)
b
II, 3 III, 1 IV, 2
el pulso de lo inmvil / B
("the pulse of the immobile)
eduardo moguillansky
2005
by moving the bow in direction to the bridge, the D string is reached by the bow and begins sounding. The left hand doesn't move.
Violin I
&
BK . b A K
T
3)
,da lontanissimo 4)
BK . b A K
B K bA K
BK K b A f K K
T ORD
1) play with the wood of the bow. A portion of the hair of the bow might be used depending on the dynamics indicated in order to achieve more sound. 2) the amount of bow pressure is relative to the context: when used together with col legno tratto, a little more bow pressure is needed than in connection to normal bow (crini). A hint of pitch should be audible. 3) if there is no indication above the harmonics as to which resulting pitch is asked for, it means that only the action of playing with very little finger pressure is needed, independent from the result (see prologue)
Violin II
&
4) unless otherwise indicated, dynamics are absolute: they indicate not the effort but the dynamic level and are independent from the context. Thus, to make some sound at all in such extreme situation as in the beginning, it might be necessary, if amplification is not used, to counterbalance col legno and the lack of bow pressure byusing more bow (bow speed). The sound should be on the limit of audibility for the audience (that means, louder than the "environmental" sounds in the hall)
5 4 q=
5 4
5 4
7 e= 8
5 4
Viola
ALL measures last the same amount of time: 5 seconds. The tempo changes should be made subito, without any kind of ritardando between measures.
Cello
fade in-fade out: the same as before, but this time the bow moves even closer to the bridge, the II and IV strings are not reached by the bow anymore
Vn. I
&
BK A b K
T
ORD
K f K
BK K A f f b K K
T
BK K A f f. bK K
T MP
B K K bA f K KK
T
MP
3 3
flaut. molto 2)
b
III
by moving the bow towards the fingerboard, the II and IV strings are reached by the bow and begin sounding. Do not move the left hand.
Vn. II
&
K , da lontanissimo 3)
3
MP
- 5 K
P
III
5
K f f K .
K f f f K
P TP
5 q= 4
Vla.
4 q= 4
7 e= 8
1) play with the wood of the bow. A portion of the hair of the bow might be used depending on the dinamics indicated in order to achieve more sound. This does not apply in the case amplification is used.
&
(B 5 )
5 q= 4
B K K .. B 55
5
4 4
2) flaut. molto
2) the amount of bow pressure is relative to the context: when used together with col legno tratto, a little more bow pressure is needed than in conexion to normal bow (crini). A hint of pitch should be audible. 3) unless otherwise indicated, dynamics are absolute: they indicate not the effort but the dynamic level and are independent from the context. Thus, to make some sound at all in such extreme situation as in the beginning, it might be necessary, if amplification is not used, to counterbalance col legno and the lack of bow pressure byusing more bow (bow speed). The sound should be on the limit of audibility for the audience (that means, louder than the "environmental" sounds in the hall)
B B K . 5
MT
3 1) play with the wood of the bow. A portion of the hair of the bow might be used depending on the dinamics indicated in order to achieve more sound. 2) the amount of bow pressure is relative to the context: when used together with col legno tratto, a little more bow pressure is needed than in conexion to normal bow (crini). A hint of pitch should be audible.
II J
Vc.
-4-
9
Vn. I
&
B K K b A f K kK KK
T
3
MP
B K K b A f K kK KK
T MP
B K K b A f K kK K K
T MP
dolcissimo
B K K b A f K k K KK
T MP MT
3
Vn. II
&
K K f f fK
5
P T
K K K ffK fK K K
5
KK K f f K f K K K
dolcissimo
MP
K KK K K K f f K . mK
5 o3 o
P MT
MP
4 q= 4
Vla.
&
(B 5 5 )
3 4 q=
BBK K 5 5
5
5 4 q=
- . BB K K 55 5
4 q= 4
7 8
B B K 5K 5
b
3
BB K K 5 5 5
Vc.
-5-
b
13
Vn. I
`
MP MT
b
. B K K bA f f K K K
T MP
`
T
b
T MP
`
T
&
B K K bA f f K KK
T MP
3
MT
kK
B K K K b A K f f K k K K K
T
3
kK
B K K bA f f K K K
kK
o
5
Vn. II
&
K KK KK K K - f f K mK
o
MP
MP
b
MP
MT
KKK K K K K K K - f K f - m-
o
MP
b
MP T MP
`
T
b
MP T MP T
- K K K - - - K K f K f f K m K K K o
3
K K K K K f K f f K m K K K o
5:4 3
5:4
o
m5 5
5:4
o
m5 5
7 e= 8
Vla.
6 e= 8
5 4 q=
b `
dolcissimo
BB K K K 55 5 5
3
b `
MT
&
K K K BB K K 5 Bm K ... 5 5 5
o
K. bb K .. 5
T
b
o K K 5
5
b5 5
K b m K ... 5
`
o
4 q= 4
&
b5 5
7 8
o
b
o
. K b b K .. 5
T
`
K bbK 5
MT
mK bK 5
Vc.
-6-
b
17
Vn. I
`
K-f f K kK K
MP
the pitches indicated between brackets are the theoretical result of the node position indicated, but they are not expected to be audible in the playing conditions asked for (molto flaut.+col legno).
&
BK bA K o
K o
bK B K -K K-` T
& 5
5 5
m5 5
[ ]
o
5 n5 m5
5
o
&
MP
KA b A f f K k K K . KK
5
K K KA Kf
T
m5 5 m5 5
5 n5 m5
- bK K - } f f f K kK K bK
3
m 55 5
5
MP
m5 5
5
n5 m5
m5
m5 m5 5
Vn. II
&
K o
b
J
`
5 5 5 k5
b
K o
5 5 m5 5
K K K K f K 5 D mD K K o
K
3
K K f K K
K-fff K
`
MP
b
MP
L5 5
5 5
MT
L5 5
MP P K bK b i- i KA b f fb f f f K k K . K K i m 5 ( K) 5 K K punta o
3
i j j J J
K K K K K - -b BK f f f f K K o
`
3 5
ORD
b
MP
flaut.
o
5 b k 55 5 55 b 5 5
MT
i i bi f f i f i i
`
MT
- - K i i- f f . i
5
7 e= 8
&
Vla.
6 e= 8
&
5 5
P
5 4 q=
&
pressure trill
5
P
b `
B
P
3
l5
MT
m5 5
MT
9 e= 8
K 5 K o
7 8
5 . m m K5 K5 } K5 m m 5 K K K }K 5 K o S
MP MT
kkK K K llK K kK K K lK K lK 5 5 5 5 5 o
whole hand gliss.
K . o
5 5 KK KK
III IV
kK k k K5
3:2
KK o
>} 5 55 5 KK} KK
5 ~~~~~~~~~~~~~~~~~~~~~~~~~~ 5
m 5 K .. K.
B B 55 5 5 5 &
flaut. molto
5 m5 5
Vc.
MT
kkK 5 K
opunta
5 KK
ORD
b
3
n b 55 5 5 5
MT
3
m 55 5
`
K 5 K
dolcissimo
&
5 55 m5
kK K K K mk 5 5
opunta
J J
mmKK 5
3
ORD
bK K ` m
I II
flaut. ORD
(l K ) ( l K)
m K o
J K
-7-
&
21
Vn. I
m5 5 5
()
o
m 55 5
5 m5 5
P
5
n5 m5
flaut. molto
&
JK 5
- - - - - - K K bi i i I lK. K b KA b K f bi5i5 5 5 5 5 . 5 i
(natural harmonic)
flaut. molto MP MT
- - - K b f K b A b f f b f5 bK K i
T
f f5
-f f K K. 5 z. p o
3
3 3
5
5
5 5
flaut. molto MP
5:4 3
m5 5
- i i - - - b i K f f i K bf i i
MT MP MT
3
flaut. molto MP
Vn. II
&
K K f f f K K o
- -- - bf f f K f5 f f f i ii
3
MT
K. b A .. K
5
K K
- - - m K i m i i i K n K i n f5 if f i
MT MP
flaut.
mK m KA o
5:4
i if
3
m f f K f - - - f mn f5 m f5 f K i i
MT MP
5:4
7 e= 8
Vla.
5 4 q=
flaut.
m 55
flaut.
mm5 5
P
3 4 q=
flaut. molto MT
NP
b `
MT
flaut. MP
3 5
flaut. molto MT
mK m m KK5 }5} 5 K 5 m K K 5 S p
dolcissimo
5
A D G C
K K m m 5 ... 5 K K
5
5
K 5 K
7 5
. .
m m KK ( m})KK 5 55 5 F
t
3
&
b 55
5 m 5
mK m5 K
K 5 K
5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 -- - - - - b m 55
5 5 5 5 5 5 5 . 5555555
b5 5
K . 5 K o
5
5
& k 5 5
!
5
4 8
same speed
J 55 F
K K
Vc.
?
release
l k l KK 5
P
5 KK
5 KK
flaut.
P
3
.
o
5 bb b KK o
5 KK
bbb5 5 5
l k l KK 5
P
5 5 n l 55 m 5
flaut.
5 KK
same speed
-8-
m 55
flaut.
24
Vn. I
&
- 5 - - - b5 A bf bi 5
MT
3
MP
b K i bf K i
3:2
P - -- f f f f b i i>j i f b 5f 5f 5f f b f 5 f i i f i i
MT
flaut.
II I
5 &m5
NP
55 m
m 55 5
NP
3
i i
3:2
P
II, 3 I, 0 III, 1
K K
- - -- f f f f f - punta b i f i b f5 f5 f f f f b f i ii
1)
flaut.
1) the gesture is that of a filtering of the chord, where finally one note is left alone. When exactly each note ceases to sound is not as important as the clarity of this filtering effect.
ii i i K f5 f bi b5 i K
flaut. molto
NP MT
flaut. molto MP
%
Vn. II
&
m if
3
if
flaut. MP
m i if f
III IV
fi5 Sp
% f
MT
-f f ff-f5 f5 f5 5 5 5 bi i
1)
II I
mA mf 5i 5i fi5
flaut.
NP
3
open string!
4 e= 8
flaut. molto
7 x= 16
mK K m KA K
1) the gesture is that of a filtering of the chord, where finally one note is left alone. When exactly each note ceases to sound is not as important as the clarity of this filtering effect.
5 q= 4
noteheads between parenthesis: only fingering, do NOT play with the bow. They indicate the beginning position of the hand, which remains constant. The notes become audible through the shift in bow position.
6 8
Vla.
&
K . JK
ni if 5
3
if
! b i m if .
NP
flaut. molto
b
Kf o
5
I J
A D G C
5 5 5
Kf
K Kf
mK m Kf
5
`
J
55 5 5 5 5
5 b5
K Kf
K f bK
24
m5 m5 m5 5 5 m5
F
5 n5 m5
NP MP
5 b 55 m5 5 5
55
flaut. MP
o
5 5
flaut. molto II III MT
same speed
n m 55 5 5 5 5
Vc.
?
24
K 5 } K
-- kK K K K . BK
7 same speed
--kK K K - - - - - - BK K K K K 5 .
MT
S
in
-9-
5 5 b KK KK o
P
5 KK
nK K
( K K) ( KK)
II II I III IV
flaut.
27
Vn. I
&
MP
m if
o p
i i i A f f i bi i
bow vibrato
mi bf i
> A i mf f 5 5 bi n5 i
NP
II I
III I
flaut. molto
5i o
3
m i bA i
f p
5
punta i i mi mi i i f f f i i i
flaut.
f i i 5 5
3
II III III I I
II, 3 III, 1 I, 0
Vn. II
&
m . A 5i ..
J
o
5i ..
open string!!
m1 i
flaut. molto
NP
flaut.
f.
o
m> i bf i Sp
- - - f f f f f i i n f5 f5 f5 f5 5 f bi i b ii F
3
--fff 5
7
I > 5 mi n 5 f b f b i f. m i i n 5 5 5 5 . i i i f b5 i 5 o o fp MP T
II
I J
6 e= 8
Vla.
NP MT
3
i i f m i if IIf K (kK) K K
P
with the same finger
m5
5 5 m5
4 e= 8
m5 5
I, 3 II, 1 III, 2
7 e= 8
flaut.
2) quasi perpendicular bow: play with the bow in almost PERPENDICULAR DIRECTION to the strings.
5 8
5 o
II P III
mK K K K o
K K P
m5
n 5
mm5 5
flaut. NP MP
- - - - - - -- - -m i i i i i i i i i f f f f f f f f i i i i iiiii o o
2)
5
(normal bow)
flaut. molto MT
NP
Vc.
flaut. molto
K K
3 } q
K K
K K
&
3
MT
5 5 ( m 5) ( 5)
5 5
3
K kK
- - - - -- n m K - - } 5 5 5n K } 5 5 5 5 -m 5 - - - 5 5 5 5 5 5 5
P
7
- - - - - -5 5 D
MT
- - - - D D D D D
same speed
sf$
1)
1) mute the string (between the depressed finger and the nut) to avoid upper partials: very hollow sound
z z z
5
release
same speed
- 10 -
30
Vn. I
&
II III
DD
3
b
p
flaut.
!D D II m D
3
`
3
flaut. T
3
k5 lm5 5
flaut. NP flaut. molto
mD
5 mK K l5
f f m 5 F
MP
b i. f .. i
bi i bi i
MT
i f i p
5 D
mD
A i i F
! i! mi
>
m 5
&
5 m5 5
flaut. molto
mK mf K
3
mK f K
K f K
> ( b D) D
MP
m 55
T Vn. II MP T
3
&
mi A i f f f i
% mi
i if
3
mi f if if5
, o
mi A m i
T
m5 5
II, 3 I, 0 III, 1
MP
mK K i f f mf f f K K i p
3
m% i
3
flaut. MP
f. f if .. i 5. o
f f o
3
mK K mf K K P
i mi i i m i if
T
3
f f i i5
3
open string!
5 8 e=
flaut. molto Vla.
4 e= 8
&
5
3
mi i mi f A A i i i
i f f i
MT
MP
flaut.
i mi i f i i i
i f mf 5
5 5 n
3
f n f .. i
5
m i.
m5 5
3 e= 8
K 5 K F
m5 5
flaut.
5 4
o o m i i mi i f n f f if fi 55 i i
3 3
mi. fi .. p
NP
o
m5 m5
s ff
K m5 K o
K m5 K
p
5
b 55 5 5
m5
5
m5
m5 55 5
Vc.
&
} - - - - D D D
ORD
flaut. MP
?
A D G C
K l 5 . kk 5 m K 5.
- - - - 5 5 5 5 5 5 5 5 5 5 5 5
dolcissimo same speed
m5 l5 5 p
kK k5 K
5 5
5
K m5 K
- 5 5 5 5
5
mK 5 o
punta
- - 5 5 5 5 5 5
K K 5 5
5 } 5
JK K K K K K K nK o F
P
[
K }K
5 m5
MT
3
55
flaut. molto
ij
K z
K z
fawcett: mute the C string with first finger, the pitches above are partials of the E produced by the shifting position of the bow. The pitches in the upper staff are an approximation and no accuracy is asked for in this respect. It would be desirable, however, that the upper pitch (C#) is made audible, as indicated.
- 11 -
flaut. T
mk5 5
k 5
5
33
Vn. I
&
At t
m t t
t t
o f
3 1 2
m5 n5
MP
t f t
i f f bK i
K A K
II, 3 IV, 2 3
flaut. T
3
3 1 2
flaut. molto MP
flaut.
II I T
II IV
III IV
[]
MP
i i
i f i
mi nf i
f. bK
punta
III, 1
f o
f
3
mi f i
mi i i i 5 i p
E A D G
if S
5 5 5
b KK
p
&
55
[]
5K
3
ij
Vn. II
mK K 5 A & mi mK K o o
flaut.
3
t t f f t t
MP
mi f mi
i i f i i o
3
m i A i o
i i
i. f .. i
3
i i if if p
*)
III, 1 I, 0
flaut. molto
A i
3
i 5
mi A i o
i f i
3
i f i
m 5 5 p
MP
(3) 1 0
A 55
5K
5 q= 4
flaut. MP
3 1 2
3 q= 4
o
*) move the bow in the direction of the bridge to sound only the III string. As you do that, the 3. finger depresses the II string to let you play simultaneously on the I and III string, as indicated.
4 e= 8
MP
5 4
mi f i
Vla.
&
b 55
3
3
nf f
MP
3 1 2
J
o
bi t bf f 5 i
3
5 nf i
t i
K K p
II, 1
i f i p
i i f i i
T
mK K
5
f
3
m K. f Kf ..
i mi if if
3
&
Vc.
555
m5
m 5 55 5
[
K K K
n5 b5 b5 5
T
]
MP
5 5 5
punta
5
NP flaut. molto
b5
finger-pressure trill
JK KK KK K z o p o
3
MP
bz K
K z
j K
fawcett: mute G string with 1. finger, the 2. finger remains in the same position. The pitches on the upper staff are to be produced by the position of the bow, as indicated above.
*) press down the II string so that you can play on the I (open string) and III at the same time. The pitch of the 3 finger when the string is being pressed down is not important since this string is not being played.
|| m K } m K } Kj B K n K D D z p
3 III IV
m5 5 5
m5 5
5 m5
T
b5
MT flaut. molto
i K z
bK F
m K K
`mK5
NP
II
III
mK
- 12 -
flaut.
36
Vn. I
&
f
3
i ii f f f i ii
mi i
JJ
jm i i ii
NP II II I IV
flaut.
NP
*) bow position where it is possible to play on the four strings simultaneously. Adjust also the finger pressure (fingers 1 and 3) in the inner strings (II and III).
flaut. molto MP
NP
i 5 i 5 i if F
3 3
J
f
, DD
P
E A D G
b DD
5 55 55 5 5 5 5
f.
5.
3
mi mi m i f if5 if i
3
*) Bow remains SUL TASTO!! Release finger-pressure on the III string (G#) in order to make it touch the bow.
o
T flaut.
NP
flaut. molto MP T
Vn. II
&
5K
K A K
T
3
i i mf f f . i i f
i mi f i i
i (A ) i
5 m5 5
*)
i mA i o
3
i i
i i f f i i
5 5 5 5 5 5
5 5 5 55 5 5 5 5 5 5
f 55 .. m 55
3
III, 1 IV, 4
f f5 i
T
*)
> f f if5 if s ff
3 5 3
flaut. molto
MP
keep the 1. finger always down
punta } ( mD) f .D
3
ni f f m f if 1)m if i 5 5
3
f 5f m f i o s ff
5
b
NP
3
J
f 5f i
` mf
5 b5
ORD
flaut. molto
nf m if 5
3
NP
5 4q=
Vla.
4 q= 4
3
1) apply the bow on the 4 strings. Through the circular bowing, the number of strings sounding at the same time should variate between 2 and 4.
&
I m i II 5> 55 f 5 i
T flaut.
m5 5
s ff
3
J
o
D D Sp
3
DD
D!D . f
&
3
m5 5
> m K ( K) K 5 5
NP P
j J
`i ib i i ` .
MT MP
3
3 4 q=
&
7 8
MP
A i
J
if if
3
i.
5 5 JK
5 JK . 5
F
s ff
K 5b5 5b 5 b5
5 b5
b K .. b b 55 .. K f
5
K K 55
K K K K 55 55 F o
b5 5
k5 5 5 5 &
5 b5
P
3 o 2
55
b 55
m5 5 5
ON the bridge, no pitch
[
t
K
2
5b 5b5
5 5
] [
K z
Vc.
mK 5
mK
> 5 5 k k K k K K K m KK ... 5
3
resulting rythm
F
5
n KK 5
b b b KK 5
3
J K
MP
z (K)
K z
J
- 13 -
b K .. z
5
MT
K K b 5 ( b K) 5
ORD
flaut. molto MP 1)
3
vib
punta
1) play as near to the bridge as possible (not on the bridge), as to get only the upper partials of F, no fundamental.
(5 ) ( 5 )
J J
bbK bK 5 5
NP P
5 m
5
NP MP T flaut. molto
II II IV I
39
Vn. I
&
NP
m if 5 o
f
J
> nf f m if m if 5 5 f
NP MP MP
m5
MP
D.
5
mD
bf o
3
bi bf i
i ni
pitches are only approximate, but should give you an idea of which part of the register is being asked for. 1) I, open string
flaut. molto
Vn. II
&
f mf
P
F f
mi f i
i f 5
mi m if f
K K
NP MP
&
[
3
5 5 5 5m
MP
punta i i i i i b i i i 5 i 5 i 55 5 ib if b f D m D
gliss
s ff
5 nn5 5
n II m m f n i ii K mf f i
b i 5 55 5 i i 5 f i i5 i5 i5 5 5 5n i m i
T
II II IV I
MP
m 5 5m 5 m5 m 5 55 5 m5m5
MP
5 n5 5
5
5
[]
!
P
3
1)
1) It is not important if you do not get the indicated pitches. There should be, however, a subtle change in timbre due to the transition from harmonic to real note in the l.h.
K K 5 1) F
K 5 o
P
3
&
Vla.
e= 7 8
P
3
K z - - - F
K mK
J K f
KK
K K o
mK i mmA K i
flaut.
i i f m if i
3
f f f if5 if5
m5 n 55 5
m5 m5
this multiphonic is very unstable. Other notes rather than the indicated might appear. More important than the exact pitches are the dinamics and the smooth change between a violent downbow and the circular bow which follows.
&
K K m m m 5 K 5 K K pII f p
&
nb5 5 5 5
*)
5 4 q= %
mi mA Ki
3
4 q= 4
K K
b5
m5
&
m5 5 5
J J
K 5 p
K L 5 K K K 5 K 5 K ... 5 K K K
*) use the whole bow for the indicated note
K mf K
3
m5
punta
mi f i
mi i i i 5 m fi fi fi
5
MP
m5
b5
I
o
5 b5 5 m5 m5
P
7
&
Vc.
5 b5 5 b 55
pitches are only approximative, only show the area of the spectrum which should be rendered audible.
[ ]
m 5n 5
P
m5 5 5 5 5 J5 5 5 K KKK -- - -- - - F
b5 5
[ ] 6
n 5 5 b n 55 5
7 8
kK
.B JK
5 5 5 m5 m5
P
m5
m5
m5 n5
m5 5 55
MP
J5 m5 5 n5 n5
MP
5 5 ? bK K b J K F
3
mBK 5
o
mK 5
f
3
5. K
> bbK K 5 5
P
mK n K 5
3
m 5 n K 5 K K K K P
ddddddddd . K K (B K) K K 5
5
ORD
m K (K ) K K
P
F
3
III
- 14 -
t
42
Vn. I
flaut.
&
5.
mf
J J
f 5fi
. . bf . f fi 5fi 5
NP
flaut. flaut.
NP MT
1
gliss. with all 3 fingers!
m 5fi
% f
MP
f if5 f . o o
i if
- - - f f m fi5 5fi
3
1
p
flaut. molto
MP
3
f 5fi
IV
. K
( )
*) try to achieve a constant and fluid transition from the II and IV string to all strings together. The number of repetitions of the chord should be respected carefully, but the exact instant in which the new strings (III, I) come into play is only approximate.
pressure trill, very fast: the finger goes up und down letting the E sound as half-flageolet, flageolet and incidentally allowing the open string to sound. III IV
t
Vn. II
MT
&
mf o
i i i f if i i
5
f if5
bf if 5
MP
3
f fi
mK
o
MP
II
f
5:4
i if
- - i i i i i - i if if if if5 if5 - - if 5f i
7
II III IV
II III I
flaut.
. b . . i i i i i m 5fi fi fi fi if 5 5 55
NP
MP
if >
stop the ricochet violently by adding bow pressure (mainly with the index finger of the R.H.)
7 e= 8
&
b5 5
3 4q=
5 b n 55 5
harmonic trill, alternate between the two fingerings
5 5
MP
5 5 k5
III
4 8
k5
5 5
5 l5
pressure trill, very fast: the finger goes up und down letting the E sound as half-flageolet, flageolet and incidentally allowing the open string to sound.
5 8
flaut. II III
K K K K >
I T II punta
&
DD
fp
f
3
m DD . p
- - - - K nK
P
NP
- - -- - - BK B5 J K J 5 F
7
&
Vc.
same speed
kK n K JK K kkK 5 p
j
5
IV
( )
kkK 5
kK F
3
lK lkK 5
5D
o
n ( )
j J
5
L5 m 5 5 5K 5
m5 5
5 5
MT
]
o
NP
z . p
K K.
flaut.
K . z
- - - - -j - - b K kb K 5 5 K K
P
MT
I sempre
b K .. 5 P
flaut.
K.
nK 5
NB: keep the bow-speed constant, the dynamic changes should be the result of the change in bow-pressure.
- 15 -
poco scratch
flaut. molto
45
Vn. I
&
f }
f.
1 b f
5i f
flaut.
%
J
NP
MP
IV
MT
poco scratch
flaut. MP
bf m 5i f
III IV
D 5
> . D f
bi f i
i f i
> n > f f m 5f 55 i i
3
flaut.
ni mif 5
Sp
5 5
mi m fi5
flaut. MP
Vn. II
&
IV
mf
o
i if
! i
flaut. MP
flaut. MP
II II I IV T
j
5
m 55
mf
NP
m 5 55 5
9:8
. . . . . > .b > . . f . . . b f . f . b if if if 5 5 5
! i
5 8 e=
Vla.
mm5 5
flaut. molto NP
7 16
mm5 5
T
4 e= 8
P
NP
5 e
b 55
T flaut.
5D
> 5D
&
flaut. ORD
5 16
MT
7 8
n fi 55 f K
T
I . J
f
MP
jK Sp
j K
j K
K
F
5
mK 5 K mmK mK
MT
I II
J
F
5 5 5 m5
NP
mmK K m5
K K 5
K K 5 . o
5 5 m5 n5
} K 5 K }
!
f
K 5 K p
m 5 m 55 5
I
5
Sp
. 5. K 5.
P
f
m5 5
5 K 5
K bbK 5
K K 5
I, 1 II, 4 III, 2
m fi f ni
m5
3
i K } 5 } !K
f
b 55 5
5
NP flaut.
&
begin ON the string MP
1)
Vc.
K K K 5 5 f
3
K.
K.
mK
lK
l . K
I
II
mK.
K kK
&
m6 5 5 I
I
II
5
mK
K
3
5 f
MP
mK
mK
1)
K mK K bK p
1) the lower harmonic is a very unstable multiphonic: of the pitches present in this multiphonic, the more important is the F#. It has been proved helpful to play first the normal node for F# and then go down with the finger to find the multiphonic.
1) always tremolo. Try to achieve a very continuous texture, as if you could play continuously on three strings at the same time. Bowing is only a suggestion.
- 16 -
5
m5 5
T
1) very fast sf, then back to pp (cello should be audible)
flaut. molto MP
flaut.
49
Vn. I
&
mi Kf f i
3
i i
%
f5p
5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5. n 5.
mK mf K
ORD
K K
3
( flaut. )
scratch
flaut.
m f. . m if .. 5 (P)
e e
3
5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
6 6
5. n5. bf if 5 5
P
III IV flaut. MP T
poco scratch
Vn. II
&
. . . - - - - - b f . . b f b f # . if if if m(j) 5 5 5 55
NP
1)
S
1)
poco scratch
P
NP
7 q= 8
P
NP MP
5
4 8
flaut. T flaut.
4 e= 8
> - - 5 5 5 5
5 5
J
11:8
etc.
f if 5 5
Vla.
j i !55K K 5 K
p
fp
55 5
5 K 5
K bbK 5 f
J I
K K 5
% m 55 .
5
MT
ORD
NP MP
5:4
3 8
I, 1 II, 4 III, 3
5 8
fK K J
5K 5K K K
K K .. 5 5 5 K .. 5 5 5 ..
NV
Vib molto
5 K
K bbK 5 s ff
% m fi
i
(m 5)
flaut. MT
1) 3
&
tremolo segue
( 5 )
same speed
&
the last note still audible
&
m m 55
MP
b(m 5 ) 5 } 5
Vc.
&
K K K mK K K bK K K s ff
J J J
K mK K
! 5 .
T NV
MP
n m Ai ni p
fi i
MV
f
3
- - - - - - > m fNV B fi fi fi fi 55 55 55 i f K nK K K K
ORD
B> > 5 55
I II
MP
> 5
5m - K
11:8
I II
m i i
3
flaut. T
NP MP
3
( as loud as possible)
7:4
J
3
K K K K
s fff
m m m KK 5
o
same speed
- 17 -
j
flaut.
j
molto scratch MT
sim.
j
i
flaut.
molto scratch *)
53
Vn. I
&
i mf mi m f5 f f f f f fif i i
MP
NP MP
fp
flaut.
5 5 55555 55555 5 5 5
5 5 p
55
i f f f fi f
f
scratch
Vn. II
&
p
NP
5 5 5 5 55 55555555555 55555555555 5 5 5 5 5 5
5 5
5 5
m m if 5
1 > >>f . f
J
5 5
i
5. 5.
i
n5
molto scratch NP
. if .. 5
j,
P
IV III
T
3 3
m 55 5
# m f ff > 5i 5
p
scratch
f
NP
J
5 5 5 5 5 5 5 5 5 5 5 5
55 55 55 55
5 8 e=
NP MP Vla.
Vib molto
5 5 5 5
5 5 5 5
5 5 5 5
5 5
I
p .
bf m if 5
5 5 5 5 5 5 55555555555 55555555555 5 5 5 5 5 5
5 5
10
bow accents
3
5 .. K 5.
NV
5:3
5 K 5
ORD
K bbK 5
5:3
s ff
1 m fi
ni p
flaut. MT
fK K
4P 8 e=
fK K .
III, 2 IV, 2
5. 5.
# > B5 . m if ... f 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3
5 5
f 5f i
5 5
>.
3
m i5 f
molto scratch NP
f. n if .. 5.
5
5
P
11:8
b 55
3
5:4
NP
K K
K. K.
bm K K 5
> >>
I, 3 II, 1 III, 2
& ni
1 mi
f
flaut. T
5 F 4 q=
f .. \ 5
f if 5 5 5
tremolo sigue
! Bf m if 5
3 4
> i if
s fff
i if K. K. P
5
K K
mbK K K K 5 5
MP
[ ]
m 5 5 5 5 5
Vc.
m 5
s fff
J I
mi Vib f f nf i Sp
ORD
3
IJ
> i f if
2) horizontal trill: alternate between open string and harmonic.The open string must sound like a shadow, allow very little bow-contact. It's ok if, instead of the low G, the octave sounds, at least at soft dynamics
(as long as the 3 notes sound simultaneously) 1) keep bow speed constant, make cresc. only with bow pressure
MP NP flaut. molto MV
flaut. molto
&
K > K K5 K5
s fff
3
K K5 KK
3
K K
K
?
touch the III string only slightly with the bow, like a shadow
K mf
2)
j K f
5 }
1)
j K f K f
f 5
mK
.
o
I, capo tasto!!
ij !5
i i i Bfi fii f f
f mi mi
?
NV
NP
3 5
55
5 }
5 }
5 }
f e 5
K mK K bK p
MP
5 }
- 18 -
molto scratch
molto scratch
molto scratch NP
56
Vn. I
&
f. .. m 5f i . p
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5. 5.
1 >>>>> f
m m if 5 ( )
NP
> f if 5
> f if 5
> f if 5
> f if 5
> f if 5
> f if 5
> f if 5
> f if 5
> f if if ... 5 5
1. > f
j 5
m 5 5
molto scratch
nf if 5
5 5
5 f f f f f B m 55 m 5 n 5 m 5 B m if mm if if if if 5 5 5 5 5 5 n5
> f f f f m m if if if if 5 5 5 5
NP
1
J
molto scratch
molto scratch
Vn. II
&
f. f. i5 ..
5
3 p 4 q=
5
5 5 5 5 > >> 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
\f 5
nf if 5 5 5
I
I
> 5 5 5 5
5
5 5 5 5 5 5 5 5 5
5
! f m if 5
5 5 5 5 5 5 55 5 55 5
3
> 5 5 5 5
> 5 5 5 5
5 8
p
mf if 5
I
I
5
> 5 5 5 5
5
f S
MP
Vib molto i f 5 5 5 & i K K K 5 5 5 p
3 3
Vla.
bbn K ... K 5
}
7
s fff
i Vib . f f m f .. if i
II, 1
MP
ORD
SF
m1. i
}
3
4 f 4 q=
5 5 5 > 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
> 5 5 5 5
5 5
f. m if ... 5
> 5 5 5 5 > 5 5 5 5
5
! Bf b if
5
> 5 5 5 5
}
8
> 5 5 5 5
> 5 5 5 5
> 5 5 5 5
> 5 5 5 5
5 5 5
5 5 5 5 5 5 5 5 5
m f. if ... 5
5 5 5
5
f B if 5
5 5 5 5 5 5
5
5 5 5 5
iVib molto MP if 5 5 K K 5 5 f
3
bbn K K 5
poco
4 e= f 8
I, 3 II, 1 III, 2
5 5 5 5
5 5
J
5 5 5 5
J
5 5 5 5 5 5 5 5
5
! n m 5 f b if m if 5 5 5 5
5 5 5 5
III, 2 II, 1
5 16
5 5 5 5
j }
5
MP
>>>>>>>>
s fff
K . K 5
ORD
Vib molto
poco 3
same speed
9 8
1 mi.
Vib molto
> >> i iA
T
3 5:4
ORD
1)
Sf
poco scratch
i . ... . . . . . if f B f5..
5 1) very regular, clear tremolo, quasi spiccato. Number of repetitions ad lib.
! J
> mi f 5 m if
1
5 5
I, 3 II, 1 III, 2
NP
same speed
1) as usual, the indications for bow-position become relative in the context of playing on non-adjacent strings. In this case, TASTO means as near to the fingerboard as possible as long as only the strings indicated are reached by the bow.
Vc.
&
Kj
K K mK K K
keep tremolo
K K K K
//stop trem.
flaut. 1) T
3
mi A i
s fff
J
p
i i f f i i
m i. m if ..
MP
ORD
MV
3
f mi f mi
3
i. i.
j i i f f
f 5 5
m i . ( i) f .. if i
3
NP NV
# !
J
F
mi f mi
i. i.
3
MV
i i f
?
mi f i p
NV
- 19 -
molto scratch
61
Vn. I
&
> f B m if 5
(NV ) f m m if 5
f if 5
sempre
f if 5
f if 5
f if 5
f if 5
f if 5
if 5
0 > f
m m if 5
NB: keep in mind that if the notes are not in parenthesis, always some "scent " of pitch should be audible.
1) begin the stroke ON the strings: first apply extra pressure, then produce a very violent down-stroke, like ripping off the strings.
# f
if 5
# f
if 5
# f
if 5
# f
f if 5
f if 5
f if 5
(NV ) 1) f m 5f m 5
3
5f 5
3
5f 5
3
5f 5
3
5f 5
3
Vib
5f 5
3
molto scratch
5
NB: keep in mind that if the notes are not in parenthesis, always some "scent " of pitch should be audible.
Vn. II
&
m f f 5f B if i
J
5 5 5
9 e= 8
Vla.
5 5 5 5
5 5 5 5
5:4
5 5
f B if
5 5 5 5
5 5 5 5
5 5
f f > B if bif 5
5 5 5 5 5 5 5 5
5
1*) always keep the finger actions, even if the bow actions are short. 5
mf 5f i
5 5 5 5
1)
5 5 5 5
5 5
5 5 5 5
5:4
f B if
sim. 5 5 5 5
5:4
1)
ORD
poco
&
61
>>> i i iA if
3 3
B 55 . .. . . . .B.55 } 5.
Vib molto
7 8 e=
5
5 5 5 5
5 5
f if 5
5 5 5 5
5
mf f 5i
5 5 5 5
5 5 5 5
5
5 5 5 5
#
5 5 5 5
#
5
5 5
f B if 5
#
5
#
5
5
5 5
.
5
f if 5
#
5
#
5
#
5
sempre
!!
i f f n if
6 8 e=
3
n5 5
! i B fi
#
3)
Vib molto
i if f
B 55 . . . . . 55
( 5 )
5 . . . . .
mi m fi f f if n 5 5
!! J I
1 i
3
#!
i if f
3
B fi . . . . fi . . . . . }
1
I, 3/4 II, 1 III, 2 IV, 2
5 4
ni 5 n f f m if 55 m5
!!
1) transition to very regular, short tremolo 2) the 2. finger plays on both III and IV strings. As the strings are rather far apart from each other at such a high position, the intonation of either the lower or the upper pitch might not be very accurate.
3) as short as possible
Vc.
&
! i if .
5 i. f f. if i. i f
ORD
j m i 5 5 f
mi 5 5
?
( NV)
T
MV
5 .
! ! m i ii ii . i f f f f i
3
NP
1
if i f mi f mi
i f
i m f i
?
fi
f 5
1
!
f i 5
fi i
open string
- 20 -
the bouncing of the bow should begin almost unnoticed and should be always as fast as possible. The number of repeats are not ment to be exact, they give only an approximate indication of the relative size of each gesture.
64
Vn. I
&
m m 5f . 5
> f
f 55 .
> f
f 55 .
> f
f 55 .
> f
f 55 .
> f
f m m 5f . 5
>
Vib molto
> f 5f . 5
> f m m 5f . 5
> f f5 5 .
> i f !5f55
f f m m 5 5 . 5
i !
i f 5 !f55
1) begin the stroke ON the strings: first apply extra pressure, then produce a very violent down-stroke, like ripping off the strings. 2) mute with the bow mordente mutates into molto vibrato like before, always with the open II and IV strings
> (M)
5
sempre
1)
() M
5 2)
Vn. II
&
f B fi i f 5i5 i 5 5 . 5 .
5 5
5
mf f
f f
f 5 .
5
f f if 5 5
5
.
5
f B 5f i
5
f 5
f 5 .
5
M f 5 .
M M f f if 5 5
5f i .
mM f
5
M f 5 .
i !
ric.
M
5
i f !5
5 4 q=
Vla.
4 #! 8 e=
4+3 8 16
! 2# 5.5 . . . . . . . 55 5 I
5 3
&
. 55 5.5 . . . . . . . n55 b5 5 5 5
3 3 3 3
#! b5
! !
i m B ff f . f f if . 5
I, capo II, 2 III, 1
NP
!!
! # mm i f f . f ff f 5i 5
II, 2 III, 3 IV, 1 I, 0
4 e= 8
#. . . . . .m5!5 5 . 55 5
5 5
5 16
sempre
molto scratch
3 3
3 3 3
Vc.
&
m fi f f i mi 5 5. . . . . . f
?
mi.
1 m i .. f
n b fi i
b 5 5 5 5 5 5 5 f
5
NP
3
MV
3 3
5 5 5 5 5 5 fi 5 5 5 5
?
i i n5 5 5 5 m f f f m 5 5 m 55 i mi i 5 5
3
1 mi
NP
m 55 n5
b fi .. i
# !
I J
5 A D G C 1)
555 ...
5 .. . . . " .
5 5
- 21 -
1) shake violently the arm, in a spasmodic movement while the fingers press violently on the fingerboard, trying to stay in position. The result should be a very irregular vibrato which, because of the violence of the movement, also influences the bow. 1)
1) gliss with the whole hand, unperceptible 2) ric. + bow tremolo: the bow is thrown violently against the strings (as if you were to play a ricochet, just like before) and at the moment of first contact with the strings, a tremolo is played (always with extra bow pressure).
68
Vn. I
&
f m m f5 5 .
i !
SHAKE sempre
> f m f5 5 m 5
> f f5 5 5
> f f5 5 5
(SHAKE)
m m 5f 5
#f >
5
gliss 1)
!I J
2)
# >
!5
# >
5
6
# >
5 .
# >
1) shake violently the arm, in a spasmodic movement while the fingers press violently on the fingerboard, trying to stay in position. The result should be a very irregular vibrato which, because of the violence of the movement, also influences the bow. transition from vib. molto to shake
Vn. II
&
f if 5
i !
Vib molto
5
#
5
mf f 5i 5
mf if 5 5
f 5f i
#
f f 5 i 5
SHAKE sempre
1)
1) ric. + bow tremolo: the bow is thrown violently against the strings (as if you were to play a ricochet, just like before) and at the moment of first contact with the strings, a tremolo is played (always with extra bow pressure).
#
1)
f 5 5f i
mf if 5 5 ( )
# f if 5
!I J
5 16
3
5 8 e=
. #! # #! f ff mm 55! ! ! ! ! m n55 . 55 55 5 55 5
4 e= 8
6
3 e= 8
MV
NB: if dynamics fall under the limit of audibility when playing very softly, or if the tonwolf makes the production of harmonics too difficult, then use a normal mute.
12 16
Vla.
&
!!
ff m 5 5 n 5 . 55 5 5
2! # # m 5 55 2m 5! 5 ! ! 5
5
! m 55 5
I J
5
NP
Vc.
&
n i fi . f b i b i ..
NB: always means as short as possible, independent from the duration of the note where it is placed.
fi i
6
- n 5 5 55 5 5- -b5 b5
6
! . . . . # m ifn ifififbif i i i
6
5. fi fi 5> 5 . b i i b5
NP MV
m 5f5f5f5f5fb5f i ii
6 6
#! 2 # 2! #! !!
2!
#2
6
sempre
6
sempre
6 6
- 22 -
72
Vn. I
&
# f 5f 5
!I
f 5f 5
!I
f 5f 5
!I J
f 5f 5
!I . J
! f 5f 5 ..
!I J
Vn. II
&
# f > if 5.
f > if 5 .
..
8
m 5f 5
! .
#! f
! f 5f 5
!
3
f ! 5f 5 ..
!I J
f > 5f 5 .
12 ek= 16
Vla.
9 16
.
5 5 5
MP
55
9 16 ek=
s=s
8 16
1) rythmic precission is not important: the written gesture is a continuation of the quintuplets in cello. Just keep this same speed, even throughout the bar.
4 e= 8
} - - - f mf .. f .. if .. if .. i i i i. i.
13:8
5 16
o
5 16
&
NB: dynamics always absolute, you might need to compensate the effect of the mute.
- - K K K K KK K K K o
- - - m f f f. . f . f m iiii ii . i . i
T
1) 5
NB: dynamics always absolute, you might need to compensate the effect of the mute by using more bow-speed.
(
Vc.
OSSIA
m 5 III, 1 5 & 5
2)
II, 2 I, capo
&
#! ! ! ! ! m if if if if if i i
5:3
b m if i
! ! !
5:3
! f n ii .
#! #! #! m if if if i
5:3
b m if i
# #! # m #!f ! !
5:3
n ii
} q.
! ! m if if i
3 3
sempre
mf b m if n ii i
3 3
! !
2) this chord requires a big extension of the 2. finger and the thumb. If you cannot reach all three notes, drop the lowest one (the 3. finger on the G string) and then play G# and E. This is valid until the end of the piece. A second possibility is to play the chord given as ossia insted of this last chord.
- 23 -
78
Vn. I
&
! f 5f 5
!I . J
! f 5f 5
! . I J
f m 5f 5 ..
# !
!I J
NB: stay always as still as possible in the pauses. The attacks are to be played as unexpected, sudden outbursts of energy.
f m 5f 5 ..
# !
!I J
f m 5f 5 } ..
# !
!I J
1) the bow position doesn't change!! The inner strings come in contact with the bow through the increase in bow pressure. II, 3 III, 1 I, 0 IV, 2
Vn. II
&
! f 5f 5 .. .
III, 1 IV, 2
!I J
m5 5 5 5 o
flaut. molto
3
II
i. 5 ff .. 5 5.
5. 5 55 ...
MT
flaut. molto
1)
55 5 5 5 5 5 5 m 55 55
5 5 55
3
fi5
3
E A D G
J fi5
3
m Bif 5
5 16 x=
flaut. Vla.
4 16
>. >.
&
i . >. >. if ..
o
>
6 16 x= % > >
B5 5
4 q= 4
&
m5 5
T
(m5 ) 5 5 5
P
3
MP flaut.
same speed
- - - - BBK 5 BK 5
o o
- 3
}5 K b b} K 5 K K punta
3
J J
o
same speed
K K 5 5 K K
P
3
K K K 5 5 K K K
K lK
punta
&
5 m 5
o
5 5 55 J
3
o//
Vc.
&
m ii
3
! f
! m !f b m if ii . i
MV
sempre
I J
! b m if i
! mf m ii
3
! m5 5
! m5 5
3
! m5
- 24 -
84
Vn. I
&
f m 5f 5 ..
#!
I J
f m 5f 5 ..
# !
I J
f m 5f 5 ..
# !
I } J
f m 5f 5 ..
#!
I J
f m 5f 5
I .. J
flaut.
flaut.
in one bow II, 3 or 4 III, 2 or 3 I, 0
AT
Vn. II
&
84
5f m D D
f D
f D
f .. D
J
o
dolcissimo
f i 5
% f
i 5
f i 5
f i 5
f i 5
7:4
VERY slow transition to the outter strings. bow: very slow and steady.
1) more important than the exact intonation of the 1/8-tones is the fact that they are an inflection of the pitches in cello, and thus they should be interpreted as "slightly higher".
lk5 5
Vla.
&
55 ..
i i ffff 5 } 5
1)
legatissimo 2)
i ff 5
i ff 5
5 55 5
5 55 5
5 55 5
i ff 5
i ff 5
&
3
NP P
. k kl 5 5 K K o
1)
j j i K 5K 5K 5K 5K k5 5 K
3 3
5 (MV)
II I, capo III
K K 5 5 p
K K 5 5 oo
m5 5
&
- - - f mnmif i m ii
5
molto fragile
1) barely touch the IV string with the bow, enough only to make the C sound in the octave indicated 2) if you need to change bow, then use circular bowing, trying to avoid any interruption in the sound.
m5 5
&
NP
&
NB: if dynamics fall under the limit of audibility when playing very softly, or if the tonwolf makes the production of harmonics too difficult, then use a normal mute
} &
JJ
o
K 5
K m5 K 5
K 5 K 5
K 5 K 5
K 5 K 5
J J
5 nm K K 5 5 5
K .. 5. K. 5
55 55
T
J
o
I !5
II I P
& ?
m 55
5 ..
I J
I II
bK
o
% K
I
- 25 -
89
Vn. I
&
5 5 5 ..
I J
5 5 5 ..
6 !
6 !
5 5 5 }
I, 0 II, 1-4 III, 2
I J
5 5 ..
I J
5 mn5 5
K5 .. 5 K
6 !
I J
K5 .. 5
6 !
I J
2) if you need more time to prepare this fingering, the previous gesture could be ended before.
n m 55 5
Vn. II
f i 5 & .
i m AA 5
2)
flaut.
legatissimo, very slow bow ( in one bow) 5
i i. ff ff ... ff 55 5 5
55
MP
KK
KK ..
balance: the IV string should be louder than the III string (the main pitch is the lowest one).
NP MP
3
K 5 K
K K 5
K K 5
Km K K
o
K K
K. K.
m 55
&
Vla.
ifm m if i i &
5
o
(m 5 ) m 55 5 5
this is a multiphonic harmonic: the listed pitches are the theoretical result of the fingering indicated and serve as orientation. All pitches are not expected to be present at all times, since they are very unstable. An attempt should be made to make the higher partials sound (G# and E).
bbbbbbbbbbbbbbbbbbb K K K .. mmK 5 5 5 5. K K K K o o p
MP
3 3
flaut. MP
K K K mm5 5 5 o o
j
3 3
K 5 K
3
NP MP
K K 5
K. K 5 ..
5 5
&
MP
m m K ... 5 K
o
MP
K K 55 K K
&
Vc.
b 55 55
m5 5 n m 55 5 5
K ?K
K K JK
+III
1) the G string should deserve major attention since these multiphonic harmonics requiere special control.
/
1)
K K K
K K K
K K BK
K K K
K K K K
K K
J KK
K K
K K
K K
K K
K ... 5 K
o
K 5 K
K ... 5 K
K 5 K
o o
K K 5 5 K K
- 26 -
94
Vn. I
&
55 .. K 5
6 !
I J
I, 0 II, 2
55 ..
6 !
I J
I, 0 II, 1 III, 4
! 555 ..
I J
! 555 ..
I J
! 555 ..
I J
Vn. II
&
Vla.
K 5 K & .
mmK 5 K
o
K 5 K
K 5 K .
K mK 5 5 o o
K. o o
Vc.
K ... 5 K
K ... 5 K
o
K K 55 K K
K K .. 5 5
o
- 27 -