thirst (1) and (2)

for cello, cello quartet

casey thomas anderson

thirst (1)
(for solo cello)

duration: at least 15 minutes. performance instructions: -thirst (1) is for solo cello or any other solo string instrument (violin, viola, double bass). each stave indicates one string of the instrument, making transposition for other string instruments extremely simple. -ideally this piece sounds like an object, whose presence is felt clearly in the space, that slowly melts into nothing (perhaps a star fading into the night sky). the player should take care to maximize resonance; to truly fill up the performance space. -begin with extreme over-pressure, enabling the articulation of a quadruple stop across all four strings of the instrument, at the highest point of the bridge. only strings III and II are stopped (strings IV and I are played open throughout). -gradually gliss down the fingerboard to open strings by the end of the piece. -at the same time, gradually decrease bow pressure from extreme over-pressure to flautando (extremely light bow pressure) by the end of the piece. -gradually decrease dynamics from fortissimo to almost niente by the end of the piece. -when the player is no longer stopping any strings on the instrument, ad lib double or triple stops with extremely light bow pressure. the player may also, occasionally, play only one string at a time. -all aspects of the piece should be executed as gradually and/or continuously as possible. almost all actions are to be performed slowly.

-casey thomas anderson, 2009

thirst (2) (2008-2009) for cello quartet instrumentation

-thirst (2) is for cello quartet or any four of the same string instruments (violin, viola, bass) following minimal transpositions. since each instrument plays on, almost exclusively, one string, transposing the piece for another instrumentation should be a quick and simple task.

duration: approximately 16 18 minutes performance instructions

-ideally this piece sounds like an object, whose presence is felt clearly in the space, that slowly melts into nothing (perhaps a star fading into the night sky). players should take care to maximize resonance; to truly fill up the performance space. -all aspects of the piece should be executed as gradually and/or continuously as possible. almost all actions are to be performed slowly. -the use of individual stopwatches or one overall timer is mandatory. -the notation for this piece was borrowed from Ishmael Wadada Leo Smiths music system, Ankhrasmation. each part consists of either long or short notes (represented by black and white notes respectively). ties lengthen durations slightly. section a - almost all actions are performed on each players assigned string. slowly gliss bow pressure from extreme over-pressure to flautando, slowly gliss finger position from some extremely high point on, or above, the fret board to each players particular open string (denoted by roman numerals in the score). steady decrescendo from fortissimo to piano throughout the section. none of these actions requires any significant coordination other than all four players beginning together. player one cues the movement from a to b with some sort of signal. section b each player plays independently, however performers should not get unreasonably behind or ahead of each other. continuously decrescendo from piano to almost niente by section c. grace notes call for a quick, light bow of the open strings of each cello, almost always tied into each players assigned open string drone. bow changes as gradual and smooth as possible. players are frequently asked to combine numerous bowing techniques, or move slowly from to another; the way each player realizes this is left to each individuals own discretion. as each player gets closer and closer to niente, pitches and instructions are meant to delineate colored noise sounds sounds that are oriented towards a pitch, but will almost certainly be overtaken by some amount of noise. each measure in section b may be repeated 1, 2, or 3 times, and each instance of a measure should be approximately ten seconds in duration. section c lightly strummed harmonics, all octave partials of the open string (comprised of the 2nd to 8th partial, though players may also play the 16th partial if possible) almost niente. fade as gradually into nothing as possible while playing these harmonics, in any order, with much or some space. players may repeat harmonics if they desire. some short period of silence should follow the completion of this section, which must be played for at least thirty seconds. -all notes in sections b or c should be played as open strings, unless a natural harmonic (indicated by the diamond note-head) is called for. -casey thomas anderson, 2009

thirst (2)
a generally slow, maximum resonance !! I " * Violoncello 1
ff ** Violoncello 2

casey thomas anderson

(for cello quartet)

! II " *
ff **

Violoncello 3

! III " ! IV

ff **

" "

Violoncello 4

ff **

* (from highest point on fingerboard, gradually gliss to open string) ** (with extreme over-pressure, transition to flautando as gradually as possible)

Vc. 1

!! ! ! " !
approx. 6'00" approx. 7'00" approx. 8'00"

approx. 9'00"

# "

$ # "

Vc. 2

Vc. 3

Vc. 4

(flautando)

"

$ "

p (flautando)

"

$ "

p (flautando)

"

$ "

p (flautando)

Vc. 1

measure approximately 10 seconds, may 0, 1, b (eachplayer proceed more or less independently, playersbe repeatedexactlyor 2x's)with each other) (each need not be in sync !!

Vc. 2

! ! " !
# % % % % % % %
(flautando)

(flautando)

#% % %

Vc. 3

p (steady decrescendo to almost n by end)

(flautando)

Vc. 4

"

p (steady decrescendo to almost n by end) # % % % % %

% % %

"

% % %

p (steady decrescendo to almost n by end)

(flautando, gradually add sul ponticello)

"

Copyright 2009, casey thomas anderson

"

!! Vc. 1 ! ! " !

(flautando, gradually add sul ponticello) (light pizz.)

# % %

% % % p (steady decrescendo to almost n by end)

(flautando, gradually add sul ponticello)

"

Vc. 2

# % %

(flautando, gradually add sul ponticello)

Vc. 3

#% % %

% % %

"

# % % % % % %

(flautando, gradually add sul ponticello)

"

(flautando)

(flautando)

% % %

"

# % %

(light pizz.)

(flautando)

Vc. 4

#% % %

"
# %

& "
(flautando)

% % %

"

& "

# % % % % %

"

& "

(sul ponticello, gradually add col legno tratto)

# % %

% %

" &

!! Vc. 1
Vc. 2

(flautando)

! ! " !

% % %

"

& "
(light pizz. or strum)

(sul ponticello, gradually add col legno tratto)

Vc. 3

# % % % %

# % % %

"

"

(light pizz. or strum) (sul ponticello)

(sul ponticello)

"

(flautando, gradually add sul. pont.)

Vc. 4

# % %

"

!! Vc. 1
Vc. 2

(flautando, gradually add sul. pont.)

#%

"

& "

&

& "

&

# % %

"

&

"

& "

# % % %

"

& "

"

(light pizz. or strum)

"

# %%

"

"
(light pizz. or strum) (flautando, gradually add sul. tasto)

! ! " !
(flautando, gradually add sul. tasto)

# % %

"

Vc. 3

#% %

"

(sul tasto)

Vc. 4

' # %

"

& "

&

& " & " &

"

!! Vc. 1
Vc. 2

#% %

(flautando, gradually add sul. tasto)

"

! ! " !
(light pizz. or strum)

(sul tasto)

Vc. 3

# %'

"

& "

& "

&

' # %

"

& "

"

"

(sul tasto and col legno tratto)

Vc. 4

" (occasional slow, unmetered tremolo) !

Vc. 1

(light pizz. or strum) & !! " "

& "

&

3
(sul tasto and col legno tratto)

Vc. 2

! ! " !

' # %

"
(sul tasto and col legno tratto)

"

(sul tasto and col legno tratto)

" ! (occasional slow, unmetered tremolo)

Vc. 3

" %$ &

Vc. 4

Vc. 1

c in any order, for at least 30 seconds) (light pizz. or strum) !! "

! " ! " ! " "
almost n
(light pizz. or strum)

(play any or all of these harmonics, with much or some repetition and space,

& " & " & " & "

& &

" " & " & "

" %$ & " %$ & " %$ & "

(fin)

Vc. 2

almost n

(light pizz. or strum)

Vc. 3

(light pizz. or strum)

almost n

Vc.

almost n