Composed by Andy Jarema
Program Notes For me, writing a sixty minute progressive-metal concept album can seem less daunting than writing a four minute piece for a melodic instrument like the cello. Melodies do not always come easily to me, and in writing this piece I found myself imprisoned by a small motivic “cell” of notes (E F# G) as my inspiration. With the aid of dazzling physicality and extended string techniques, the two cello players gradually rework and transform this material into a melody that tries to transcend its creative limitations.
Notes for the Players
Any passage marked 8va is optional. Tone quality should always be prioritized over tessitura.
Some relatively common extended techniques used in this piece:
c.l.b. = col legno battuto
z
Hit body of cello
Many of the extended techniques in this piece borrow from the string language of composer Andrew Norman. Although I give some brief descriptions below, Norman has made an invaluable resource that explains these techniques in much further detail (shakennotstuttered.com):
Scratch Stop1
Typically on an up bow, move from ord. to sul pont., crescendo through the gesture, choke sound w/bow pressure, similar to a record needle scratch
Wild and Crazy Improv3 Move bow quickly across strings, left hand fingers slide around in a frantic glissando 1
Slap shoulder of cello
Noisy Shift2
No bowing in right hand, slide left hand fingers across strings, makes a noisy “whoosh” sound typically heard with acoustic guitars
Dirty Gliss4
Sul pont., slow and heavy bow pressure, lightly fingered gliss with left hand, produces gritty harmonics, lower strings may be desirable for harmonics to pop
see Norman’s video under Try entitled “Stopping on the String” see Norman’s video under Play entitled “Pitchless Bounce and Noisy Shift” 3 see Norman’s video under Companion Guide to Rome, Teresa entitled “Wild and Crazy Improv” 4 see Norman’s video under Play entitled “Dirty Gliss” 2