--valse triste redux for amplified violin and piano alican çamcı 2015–2017 ---
Performance Notes Amplification: The piece uses amplification through close mic’ing for both instruments. This is done mainly in order to amplify the resonances of the instruments (in violin, the open strings; in piano, the sostenuto and other effects, as well as the sounds produced by the pedals). The amplification must be done very lightly and ideally without distorting the natural characteristics of both instruments. A third person may need to be in control of the levels in the mixer, as the piece has a rather large dynamic range. Alternatively, the amplified sounds can be passed through a compressor to control the dynamic range.
Violin: Violin uses a scordatura as follows:
An upper staff is provided to indicate modes of playing that are on the other parts of the instrument. Generally the bottom staff indicates the ‘traditionally produced’ pitched sounds of stopped or open strings, whereas the upper staff is reserved for everything else. Especially the opening of the piece works with the resonance of the G minor chord resulting from the excitement of the open strings by different modes of playing (plucking behind the strings, the bridge, etc.). This depends on the strings being muted or unmuted by the left hand. - notehead for playing directly on the bridge. The opening of the piece employs plucking the bridge with the fingernail to create a high-pitched clicking sound. Bowing produces a hissing sound similar to white noise. For example, in m. 13, the violinist plays:
Here, plucking the bridge without muting the open strings causes them to vibrate softly after the relatively loud plucking sound.
- mute sign for the left hand. Lay the hands on the strings to prevent any vibration. The player is occasionally asked to make an ‘audible’ muting sound whereby the left hand gently falls on the strings, producing a sound upon contact. This is indicated with a stemmed mute sign.
- clef for playing behind the bridge (plucking the second string behind the bridge at this instance).
Quarter-tones (in ascending order):
Default playing mode is without vibrato. Following markings indicate different intensities of vibrato: SV - senza vibrato PV - poco vibrato MV - molto vibrato (almost a quarter-tone) -When playing pizzicato, MV indicates a fast and wide vibrato following the attack of the note. Bow positions: SP – sul ponticello ASP – alto sul ponticello (almost on the bridge) ST – sul tasto AST – alto sul tasto ORD – ordinario
In m. 83, arco with the metal wrapping of the bow is employed to produce a high pitched metallic sound. Both the speed and the position of the bow can be altered to control respectively the number of grains, as well as the pitch content (from fingerboard to the bridge, pitch rises).
- granular sound. Few variants of this technique: 1) 2) 3)
The passage starting from m. 102 separates a scratch tone sound into its grains, with each square referring to a single grain. No sound is produced between the indicated grains. In m. 110, a more ‘traditional’ variant of the technique, with extreme bow pressure is employed. The passage starting with the upbeat to m. 123 superimposes the granular sound on top of a glissando gesture with flautando bowing, via an intensification of bow pressure and slowing down of bow speed.
ord– ordinario clt – col legno trattato (only wood of the bow) ½ clt – col legno trattato (bow and hair together to bring more pitched sound) clb – col legno battuto All other explanations are indicated in the score.
Piano: Following strings are to be prepared:
The piano part makes use of different pedal sounds. These are notated in the score, below the piano staff as follows:
- audible attack on the sustain pedal (and resonance of the vibrating strings)
- unaccented release (gradual and without sound)
- accented release with a quick release up of the sustain pedal.
- accented release with the right foot sliding off from the sustain pedal and hitting the ground.
- quick attack and release of the una corda pedal.
In addition to these, the sostenuto pedal is used to create the G minor resonance, reacting to the various playing modes on the piano.
A glass guitar slide is used in various ways:
- strike perpendicularly on the metal frame inside. Changes in the height of the sign indicate the use of a slightly different color to be achieved by hitting the metal frame at a different point.
- scrape the slide fast along the indicated string.
- scrape the slide continuously along the metal frame.
- drag the slide across tuning pins. Three speeds are indicated: slow, moderate and fast. For instance:
- The speed of dragging gets gradually slower, eventually separating the continuous sound into individual grains.
- scrape the slide fast across the tuning pins.
All other explanations are indicated in the score.
valse triste redux
for amplified violin and piano
alican çamcı 2015-2017
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3
œ œ œ
◊ÿn œ œ
#œ
nœ
œ
bœ
Œ
Œ
œ
mp
◊nÿœ n œ
ò ‰ J
Πsim.
‰ B œj j ‰ Œ
Œ
œ
5:6
œ
#œ
3
œ
bœ
œb œ ‰ ‰ ‰ œ œJ. ‰ J
‰nœ b œ Œ
Œ
3
3
Ó
° >
∑
‰ UC
f
+ œ
ò ‰ J Œ
–... ST ¿ ‰ J Bœ
∑
5:6
5:6
5:6
Pno.
?
Œ œ
3
Œ
Œ
3 ‰ Œ
UC
peg box (I)
°
121
ò J ‰
Œ Œ
j
II
I
III IV
œ Œ
Vln.
¢& Œ B ˙ ° &
œ
Œ
∑
Pno.
¢
Œ
?
‰
alternate between a granular sound and flautando bowing as indicated, with as little bow as possible
µœ ≈ fi bœ R œ œ pp
b OOO b OOO
‰™ R
sfz
Œ
"f " sempre
Pno.
f
∑
?æ æ æ ¢ æ æ æ
ææ
mf
ææ
‰ J ææ p
fi bœ œ œ œ œ
j b œfi
<◊>
sempre
ææJ ‰ J Œ 3
~~~~~~~~~ Ÿ œ™ œ œ ≈ J Œ
(for scraping only)
126
° &
Œ
ææ ææ ææ
Sost. (until the end)
° Vln. & ¢
sempre
∑
≈
◊ÿ™ œœ ™ œ œ
(grace notes slightly louder)
mp
∑ ^
fi bœ œ œ
j b œfi
œœ ™™ œ œ
Œ
ææJ ‰ J Œ 3
mf
ææ
Ÿœ~~~~~ Ÿœ~~~~~~ œ œ œ œfi œ œ ™œœ ≈ J J ‰ ‰ J ‰™ R J ‰ ææ
‰ J p
3
J ‰ sfz
‰ J ææ mf
j œfiœ
ææ
∑
fi œœœ
q
Ÿœ~~~~~~~ œ œ ‰ J Œ
(drag slide across tuning pins moderate speed)
™ f
mp
J ‰ Œ
™
p mf
° Vln. & ¢
fij
132
bœ
Pno.
Œ
∑
q
ææ
œ
slow
°
° ‰ ‰ J ‰ Vln. & ¢
fast
p
œ
5:6
i
∑
mod.
?
(scrape slide across pins)
Jé
‰
‰ J ‰ ‰ J ‰ ‰ J
° ¢&
142
Vln.
Pno.
‰
‰
Œ
j Œ é œ “‘
‰
poco
œ
Œ
j Œ é œ
œ
‰
arco ST, flaut.
‰ J
j Œ é œ
Œ
‰
fi bœ œ œ œ œ
∑
?
∑
Ó
j Œ é œ
‰™
q
∑
™™
mp
™
™™
∑
™ ™ ™ ™
™
™™ ¢
◊ÿj n œfiœ
œ
‰ j b œœ b -œ “‘ f
g 3"
mp
x2
mp
mp
fij
≤ ≥
°™ Œ ™
µœ
^r b œœ ˙‰ œJ f
mf
°™ ¢™
mp
4 4
j Œ é œ
5:6
‰ ‰ J ‰
Œ
‰
sfz
x2
mf
° & ¢
Œ
J
sempre
4 4˙
<µ> ˙ ™
‰ J ‰ ‰
pp
j Œ é œ
œ
5:6
≈ j ‰ j ‰™ r j ‰ j ‰ ≈ j b œœ ™™ œœ œœ œœ b œœ œœ ™™ “‘ mp
°? ‰ ‰ ™ j r j ‰ j ‰ ≈ j ‰ j ‰™ r j ‰ j ‰ ≈ j ‰ j & -œ b œœ œœ œœ b œœ œœ ™™ b œœ ™™ œœ bmp œœ b œœ œœ œœ <“> Pno. ? Œ ¢ <“>
œ
sempre
3
5:6
œ
œ
‰ ‰ J ‰
(scrape string with slide)
sfz
œ
5:6
iJ
5:6
mf
f
mf
137
r ‰™ µœ
bœ
j œfiœ
∑
?æ æ ¢ æ æ
<“>
pizz.
p
<◊>
° &
Bœ
‰
ST, granular
“7” œ
g™
™™ ü † ™™ ü
3"
Ó
∑
™™ †
9
g
10
° Vln. ¢
4"
N
mp
¢
g
g
6"
° &
q
?
™™ ™ ™ ™
43
bow on the body of the instrument
146
Pno.
g
6"
3 4
4"
∑
∑
mod.
slow
™™ ™ ™ ™ ™ ™ ™ ™ ™
> N mf
sfz
°™ ™
∑
° >
>
° Vln. ¢
151
>œ
"f "
° &
∑
∑
^
Pno.
¢
? Œ
° Vln. ¢
h
∑
Œ
sfz
°
+ œ
157
?æ ¢ æ
5:6
ææ
ææ
p
œ
Œ
3 4
™™ ™™ Œ ¢†
Œ
° > >
+ œ
3 4 ◊œÿ
œ 5:6 œ ‰ J ‰ ‰ J
5:6
p
ææ
∑
p
Œ
+ œ
œ J ‰ ‰ J ‰
∑
° >
ææ
ææ
ææ
ææ
"f "
g 5"
Œ
q Œ
Œ ™
∑
™ ™ ™™™ ™ ™™™™™™™
slow
Œ
Œ
™™™ ™ ™ ™
◊ÿ
œ ‰ J
™ ™™ p
ææ
>œ œ œ ‰ J ‰ ‰ Œ 3
f
™
™ ™ ™ ™ ™™™ ™™™™
™™ ü † ™™ ü
∑
mp
peg box (I)
(scrape along the metal frame)
Œ
ü™ ™™ ° ™
∑
x3
f
"f "
J
x2
5"
p
<◊>
∑
3 8
ü™ ™™ ° ¢† ™
g
+ œ
° ‰ ‰ œJ ‰ ‰ & Pno.
3 8
N J ‰ ‰ J
œ >œ
"f "
™ ¢™ Œ
Œ
f
œ
> N N
bow on tuning peg
mf
q é
mp
°™ ¢™
x3
x2
mp
mod.
™™ †
g
11
9"
°
162
“œ”
ASP
Vln.
¢&
∑
Œ Œ
p
g
<◊>
9"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ œ œœ œ ° Œ ‰ J œœ œ ‰™ Œ & f
Pno.
¢
?
slow
sempre
fast
slow
mf
™ ™™ ™
™
™™
œfij
œ ™
œ™ œ Œ ≈J Œ Œ ™
™
™
œ ‰‰JÓ ™
sempre
(Sost.)
3
Œ
Œ Œ