Don't look back you are almost there (2015) For Piano Quartet by xavierbonfill

Don't look back. You are almost there. for piano quartet full score

Xavier Bonfill

General guidelines • • • • • •

•

This is a time score where q = 1'' (equivalent to 60 BPM). Bars are 4 seconds / 4 beats long, but references to traditional accentuation should be avoided. Instead of bar numbers there’s timemarks (minutes and seconds). The piece is to be performed with clicktrack (1 channel to 4 headsets, one for each performer). The clicktrack starts after 20 seconds (and the first timemark / bar on the score is marked accordingly at 0’20’’). The piece has been performed both with and without clicktrack. From experience, the use of clicktrack is encouraged since it allows musicians to focus more on their own sound and score, as well as allowing the audience to experience the piece without any visual cues between the musicians. All musicians, including the pianist, play from parts. This is because of space and page turn constraints. All musicians are nevertheless encouraged to look into the full score as part of their study and rehearsal process.

Guidelines for the string instruments • • •

This is a coloured score and must be printed in colour in order to be able to read it. Every system consists on two staves. The lower one being conventional notation and the upper one being graphical notation. The graphical notation consists on up to three coloured lines at a time (blue, brown and green) over a conventional 5-line stave.

Blue and brown lines: pitch • • •

• •

•

• •

Both the blue and brown lines represent microtonal pitch variation. The blue line appears by default when singlenote playing is involved, while the brown line appears as the second note in double stops. A whole tone is represented between the 5 lines, meaning that the distance between 2 lines is 1/4 tone. When a note that fluctuates in pitch starts, it appears on the lower (conventional) staff, with its notehead coloured in blue (or brown) and a number from 1 to 5 (in the same color) which shows which line in the upper score to take as a point of reference (the top line being 1 and the bottom line being 5). From there, the player should look into the upper staff for the intonation and the lower score for the timing. Further indications are given in the upper score, such as letters to indicate chromatic pitches and octave number (middle C = C4) every time there is an octave change. The piece is therefore supposed to be performed without any vibrato except for the above-mentioned pitch fluctuations. In other words, if a passage required vibrato, it would be shown as a blue or brown line going up and down in a specific speed and depth. When a pitch fluctuation / glissando appears to be slightly larger than a whole tone (up to a minor third) the graphical lines go further than the 5 staff-lines. Pitch letters facilitate understanding which pitch should be achieved. When a glissando is larger than a minor third, it appears written in the conventional way with the indication “gliss.” on the conventional staff. Those glissandi are to be performed linearly. When two different pitch voices move microtonally at the same time, both blue and brown lines appear on the upper staff. Please mind that the register represented on the staff is always relative to a particular starting pitch that is referred from the lower staff. For example, a higher brown line might be a lower pitch than a lower blue line that has a higher pitch as a starting point.

Green lines: bow position •

The green lines represent the position of the bow, with the top line being “molto sul ponticello” and the bottom line being “molto sul tasto”. The detailed list is as follows: ◦ line 1: MSP: molto sul ponticello ◦ line 2: SP: sul ponticello ◦ line 3: ORD: normal position ◦ line 4: ST: sul tasto ◦ line 5: MST: molto sul tasto

Double stops

•

Double stops are approached as two independent voices with independent dynamics (shown above and below the lower staff). The different dynamics are to be achieved by applying different bow pressure on each string.

Bow changes

•

Some notes in the piece are up to several minutes long. It is up to the performers to decide when to change bow, with the overall intention of keeping the changes as smooth as possible. For this same reason, the performers should avoid changing bows at the same time.

Harmonics • •

Artificial harmonics are notated as double stops, with a diamond note indicating where the other finger should be. The sounding pitch is not written down. Natural harmonics are notated with the actual resulting pitch and a small circle, with the string written in roman numerals and the partial in ordinal numbers (f ex, IV 7th, play the seventh partial on the 4th string).

Other notation

• • • •

CLT = con legno tratto. 1/2 CLT = 1/2 col legno tratto: tilt the bow 90º so both the hairs and the wood play against the string. 1/4 CLT = 1/4 col legno tratto: play mostly with the bow hairs and just a little bit of wood. ORD = back to normal position.

Guidelines for the piano • • • •

The piece features inside playing, consisting mostly on plucking and brushing the strings. A middle “sostenuto” pedal is required. It is recommended to write some pitches inside the piano in order to facilitate finding the right pitches. Two soft paint brushes (those used normally for watercolour painting) are used.

Different kinds of noteheads: • • • •

•

Standard noteheads: play on the keys. Crossed noteheads: pluck the strings. Diamond noteheads: play keys silently. Triangle noteheads: brush strings. Half circled noteheads: tap the strings.

Dymamics: •

Dynamics are always written in action notation, ie they imply the amount of force used but not necessarily the loudness of the sound that results out of it.

Pedals: • • •

P I : sustain P II: una corda P III: sostenuto

Composed October-December 2015 (handwritten score) Revised January 2017 (typeset score) Guidelines revised March 2019

Don't Look Back. You Are Almost There. Xavier Bonﬁll

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6'24''

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6'40''

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6'56''

7'00''

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‰ ™™

3 ? Óww ¢

Kr bœ w

˙™ œ

o op

mp crossfade w/ vla.

°‹ Y &

2 brushes (L.H. sempre)

ææ _ # __ o

#Y & # ‚‚‚ #‚

o f

ææ __ _ f

P. R.H.

? @@@ ™™ æ™

? ‹

æ @æ o

‚ ‚

ææ @ o f

o mf P.III (P.I) hold p.III until the end of the piece

7'32''

7'36''

7'40''

7'44''

7'48''

° A3

Vln.

¢& 5

w mp

C#4

Vla. mp

p 1

¢B # ww

° E3 A2

Vc. p

? n w5 w ¢ mp

° › #Y &

(l.h. sempre)

p P.

ææ & ¢ <#> ___

ææ __ _

ææ __ _ mf

ææ __ _ f

G 7'48''

7'52''

7'56''

8'00''

8'04''

G#6

o pp

Vln.

Œ wo

œo

‹ #œ &≈ o5

Œ ¢& 5

≈ œ2

pp mp

o p

C#4

Vla. 1

B <#>w ¢ w

° E3 A2

Vc.

open p

3 mf 5

Ó ¢

? w w

Œ ™ o p

° › #Y &

Y o

æ & æ__ <#> _

ææ __ _

o f

? ¢‹

∑

æ @™æ

ææ @ Œ

∑ 2 ææ

@ ææ

o f

8'04''

° G#6

8'08''

8'12''

8'16''

8'20''

pp p 2

Vln.

‹ # w4 w ¢& p

C#4

° E3

Vla. mp

mp 5

¢B <#>ww

œJ

˙ ™™ o

mp crossfade w/ vc.

° E3

Vc.

o 3

mp 5

Ó crossfade w/ vla.

? ˙w ¢ Œ

Œ ™ œ o mp mf

° &

ææ _ <#> __

ææ __ _

P. ff

? Ó ¢‹

æ @æ @ o

ææ @ @

æ @æ™ @™

Œ o

8'20''

8'24''

8'28''

8'32''

8'36''

° A6 G#6

Vln.

‹ <#> w4 w ¢&

C#4

Vla.

pp 1 5

¢B <#>ww p

mp p

° A2

o p change ﬁnger: 1 ->

Vc.

II 1

r œ

‰™

Ó ? w

‰ Œ

J p

° › #Y & o P. ææ & ¢ <#> ___

ææ __ _

= 8'36''

8'40''

8'44''

8'48''

8'52''

° A6 G#6

Vln.

‹ <#> w4 w ¢& mp

C#4

Vla. 1 5

¢B <#>ww p

° pp

Vc. 1

? w &

° › #Y &

˙ #Y ∑ ∑

∑

o P.

æ & <#> æ___ ? ¢‹

ææ __ _ ∑

Ó™

ææ __ _ æ 2æ o

ææ __ _

æ @™æ

Œ o

#Y o

∑

H 8'52''

° A6

8'56''

9'00''

9'04''

9'08''

G#6

Vln.

‹ <#> w4 w ¢& pp

p mf

C#4

Vla.

1 5

¢B <#>ww mp

° o

oo ” “ µ˙

II (11th)

Vc. open 1

Œ ¢& ˙Ó ™

˙ o

w mp

° › #Y &

˙ Ó o

p P.

ææ _ <#> __

ææ __ _

ææ __ _ mp

? ‹

æ 2æ o

æ @æ mf

9'08''

9'12''

9'16''

° A6

G#6

9'20''

9'24''

mp p

Vln.

‹ <#> w4 w ¢& mf

C#4

Vla. mp

1 5

¢B <#>ww ° mp

Vc.

“” <µ>wo

I (8th)

‹ &

¢&

Ów™ o

œJ ‰ Œ

oo œ

p mp

› & #Y

° æ & <#> æ___

ææ __ _

? ææ @ ¢‹

ææ @

æ @æ

o ææ __ _

#Y p

∑

9'24''

9'28''

9'32''

9'36''

9'40''

° A6

G#6

Vln.

‹ <#> w4 w ¢& f

C#4

Vla. mp

1 5

B <#>w w mp

° A2

o mf

Vc.

‹ <µ> ww ¢&

œœ

Œ œ

o pp

° › #Y &

#˙

Ó o

æ & <#> æ___

ææ __ _

ææ __ _ f

? ¢‹

æ 2æ o

Ó™

∑

ææ @

ææ @ o mf

I 9'40''

9'44''

9'48''

9'52''

9'56''

° A6

G#6

Vln.

‹ <#> w4 w ¢& mp

C#4

Vla. mp

1 5

¢B <#>ww mp

° A2

ooj o œ œ

I (4th)

‰

II (5th)

# œo Ó™ Vc.

& o

# Ów op

o ˙w o

Ó w pp

Œ™

™

5 j œ

æ ° & <#> æ___

ææ __ _

? ¢‹

∑

æ @æ o

æ @æ

Ó o

mf (P.II)

∑

9'56''

10'00''

10'04''

10'08''

10'12''

G#6

mf f

mp 2

Vln.

‹ <#> w4 w ¢& mp

C#4

° C

Vla. mf

1 5

¢B <#>ww p

° A2

<#>wo Vc.

mf o j #œ ˙

o ˙w o

I (5th)

Œ™ w o

Ó œo ™ ‰ Ó o

p mf

Œ™

j œ

Ó w

‰ ™™

o p pp

æ ° & <#> æ___

ææ __ _

mp P. f

? ¢‹

∑

æ 2æ o

æ @æ

æ @™æ

∑

o mf

= 10'12''

10'16''

°A6

10'20''

10'24''

10'28''

G#6

Vln.

‹ <#> w4 w ¢& mf

C#4

Vla. p

1 5

¢B <#>ww pp

° o

o mf

I (5th)

Vc.

# œo ‰ J

Ó ¢&

œo

o ˙ ‰

Óœ III œ œ o o o (8th)

II (6th)

œ J oo

œ o

II (6th)

µwo

˙o

ææ __ _

? ¢‹

∑

œo

o p

ææ __ _

œo ‰ J o

æ ° & <#> æ___

IV (11th)

æ 2æ o

æ @æ

æ @™æ

∑

o mp

10'28''

10'32''

10'36''

10'40''

10'44''

° A6

G#6

p sempre 2

Vln.

‹ <#> w4 w ¢& mf

C#4

Vla. 1 5

B <#>w ¢ w p

pp mp

° oo #œ

¢&

Œ w o

o mf

o ˙

I (5th)

Vc.

I (5th)

œo

Ó™

IV (11th)

II (6th)

#œ µ˙o

œ J oo

Œ ‰ o

œ o

˙ o p

° &

ææ _ <#> __

ææ __ _

ææ @

P. mf

? ¢‹

∑

Ó ææ @ o

o mp

J 10'44''

10'48''

10'52''

10'56''

11'00''

G#6

Vln.

‹ <#> w4 w ¢& p

C#4

pp p

Vla. 1 5

¢B <#>ww pp mp

° o <#> ˙˙ ™

Vc.

mf IV (11th)

Ów™ o

Œ µwo

¢&

Ó o o

III (8th)

oo œ

pp II (6th)

Ów™ o o

mp mp

æ ° & <#> æ___

ææ __ _

mp P. mf

? ¢‹

∑

ææ @ o

oo œ

11'00''

° A6

11'04''

11'08''

11'12''

11'16''

G#6

pp 2

Vln.

‹ <#> w4 w ¢& mp

C#4

Vla. p

1 5

B <#>w w mp

° mp

wo w o

p I (5th)

Vc.

¢&

wo œ o

oo #˙ Ó

o ˙œ o

IV (11th)

Ó Œ

µœ oo

› &

#œ ‰ ‰ R

Ó™

ppp

æ & æ__ <#> _

ææ __ _

P. mp

? ææ @ ¢‹ o p

= 11'16''

11'20''

11'24''

11'28''

11'32''

G#6

Vln.

‹ <#> w4 w ¢& mp

C#4

Vla. p

1 5

¢B <#>ww mp

° o pp ‰ III o j o œ œ

Vc.

Óo wœ o

(8th)

<µ>Ów ¢& o

II (6th)

oo ˙ Ó

oo #œ Œ

I (5th)

Ówo ˙™ ™ o

wo w o

mp p

° › <#>œ &

. ‰ nœ œ œ Œ

. ≈ b œœ# œ

æ & <#> æ___

ææ __ _

? ¢‹

∑

æ @æ o

ææ @

æ @™æ

Œ o

K 11'32''

11'36''

11'40''

11'44''

° A6

11'48''

G#6

Vln.

‹ <#> w4 w ¢& pp

C#4

Vla. p

1 5

¢B <#>ww mf

° Vc.

<#> w˙o

œo

IV (11th)

µ˙o Œ

¢&

Ó o o

pp mf

°› & ‰

œ Œ J

‰™

œœ R

ppp

ææ & ¢ <#> ___

ææ __ _

11'48''

11'52''

11'56''

12'00''

12'04''

° A6 G#6

Vln.

‹ <#> w4 w ¢& p

C#4

Vla. 1 5

B <#>w w p pp

° Vc.

Œ <µ>w ¢& o

oo œ

III (8th)

opp ˙

wo w o mp

æ ° & <#> æ___

ææ __ _

wo w o

wo w o mp

ææ __ _

P. pp

? Ó™ ¢‹

æ 2æ o

ææ @

ææ @ p

12'04''

12'08''

12'12''

12'16''

12'20''

° A6 G#6

Vln.

‹ <#> w4 w ¢&

C#4

Vla. p

1 5

¢B <#>ww

° pp

Vc.

<µ>wo w ¢& o

wo w o

wo ˙ ™ o

wo w o

Œ o

æ ° & <#> æ___

ææ __ _

P. p

? ææ @ ¢‹

Ó o

L 12'20''

12'24''

12'28''

12'32''

12'36''

° A6 G#6

Vln.

‹ <#> w4 w ¢& pp

C#4

Vla. p

1 5

¢B <#>ww ppp

° I (5th)

Vc.

# wo

˙o

Ó ¢& o

ææ ° & ¢ <#> ___

ææ __ _

ææ __ _ p

ææ __ _ mp

12'36''

12'40''

12'44''

12'48''

12'52''

G#6

Vln.

‹ <#> w4 w ¢& p

C#4

Vla. mp

1 5

¢B <#>ww p

ppp

° mf

Vc.

<#> wo

wo Ó™

¢& p

ææ ° & ¢ <#> ___

wwo o

II (6th)

œ oo

ææ __ _

13'00''

13'04''

12'52''

12'56''

13'08''

° A6

G#6

ppp 2

Vln.

‹ <#> w4 w ¢& ppp

C#4

Vla. mp

ppp

1 5

¢B <#>ww p

o ˙

° Vc.

<#> wwo

wwo o

¢& o

Œ µ˙ oo

IV (11th)

Ó o

ææ ° & ¢ <#> ___

oo œ

o pp II (6th)

wo œ o o mp

ææ __ _

œ oo

˙ o o p

ææ __ _ pp

III (8th)

13'08''

13'12''

13'16''

13'20''

13'24''

A6 G#6

ppp

Vln.

‹ <#> w4 w ¢&

C#4

Vla. p

1 5

B <#>w w ppp

° o

Vc. III (7th)

Ów™

IV (11th)

µœ

Kœ

II (6th)

µw K w

#w Kw

Œ ¢& o p

ææ ° & ¢ <#> ___

ææ __ _

p pp

13'24''

13'28''

13'32''

13'36''

13'40''

G#6

pppp 2

Vln.

‹ <#> w4 w ¢& pppp

C#4

Vla. ppp

1 5

¢B <#>ww p pp

° I # œo æ

I (5th) II (6th) III (8th) IV (11th)

(5th)

Vc.

o µ˙ K w ¢& o

Ó œo Œ o

# ˙oI æ

(5th)

œo æ

Œ o

Œ pp

fast arpeggiando (back and forth) o #µ œœœœo ˙˙˙˙ ææ ææ

ææ ° & ¢ <#> ___

ææ __ _

ææ __ _ p

M 13'40''

13'44''

13'48''

13'52''

13'56''

° A6 G#6

Vln.

‹ ¢&

<#> w4 ˙ Ó o

C#4

E D

Vla. ppp 1 5

¢B

<#>w w p

° <#> wo <µ> www ææ ¢&

o æ ˙œæ

ææo ww˙ œ oo

Vc.

o wwww ææ oo

ÓÓ

Ó Ó

Œ o

R.H. (take one brush from L.H.)

° &

∑

#_ ææ

_ ææ

ææ __ _

ææ __

pp P.

¢&

ææ _ <#> __

ææ __ _

13'56''

14'00''

14'04''

œ™

14'08''

14'12''

Vln.

‹ w2 ¢&

‰ Ó ∑ o

C#4

ppp

Vla. 3

j‰ ‰ Œ

B <#>w w

™™™

w gliss.

≈ o

° Vc.

? ∑

∑

° <#>_ & æ

_ æ

_ æ ppp

æ ¢& æ_

ææ _

14'12''

14'16''

14'20''

14'24''

14'28''

° Vln.

‹ ¢&

∑

° Vla.

¢B

° Vc.

? ¢

° <#>_ & æ æ

_ ææ

æ ¢& æ_

ææ _

14'32''

14'36''

14'28''

14'40''

° Vln.

‹ ¢&

∑

° Vla.

¢B

° Vc.

? ¢

° <#>_ & æ

æ pppp

æ ¢& æ_

ææ _

-≈‰ Ó æR

∑ o ææj ‰ Œ -

Copenhagen, November-December 2015. This revised score: February 2017.