Bára Gísladóttir
ORF (en líka axir og önnur pyntingatæki)
fyrir ástarvíólu og rafhljóð ca. 7’15’’
2018
Explanations Viola d’amore s.p. – sul ponticello s.t. – sul tasto m.s.p. – molto sul ponticello m.s.t. – molto sul tasto c.r.p. – convolution reverb pro (effect in Max for Live) gradually move from one technique to the other vertical bowing between m.s.p. and m.st.
vertical bowing from m.s.p. to m.s.t.
bow as you interpret the graphics harmonic
artificial harmonic
Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
Overpressure
o.p. 1/4
o.p. 2/4
o.p. 3/4
o.p. 4/4
The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way: increased o.p. from 2/4 – 4/4
decreased o.p. from 3/4 – ¼
Things to keep in mind: Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
Electronics The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not rehearsal marks, but ques for when to turn on the next effect. There are six effects, marked as 1-6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
per Marco Fusi
ORF (en líka axir og önnur pyntingatæki) Bára Gísladóttir 2018
wait until convolution reverb pro fades out
I II
. ‚ 3 4 µ‚ .
µœ ‚ œ ‚ œ ‚ œ ‚ 42 µO o
mf pp
&
6 4 ~™ o
4 n ‚‚œ 4 #‚
p
œ 4 œœ . p
?4
‚‚œ ‚
2 4
∑
7 #‚œ 4 n#œ‚
œœ œ.
œœ œ.
2 4
∑
7 4
œœ œ.
#‚‚ œ
‚ œœ‚ ‚‚ œ
‚ œœ‚ ‚‚ œ
‚ œœ‚ ‚‚ œ
‚ œœ‚ ‚‚ œ
‚ œœ‚ ‚‚ œ
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∑
O™ f
‚‚œ ‚
m.s.p.
~
∑
‚‚œ ‚
2 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
Ó
∑
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
˙™
4 4
9
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
? 45
O
VII
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
˙
I
µœ 7 3 5 8 µœ ‚ œ ‚ œ ‚ œ ‚ œ ?‚ œ ‚ œ ‚ œ ‚ œ ‚ 8 ‚ ‚µ‚ ‚ œ ‚ œ ‚ œ ‚ œ ‚ 4 9 o
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
II s.p.
. 5 ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ 5 µ˙ ™ ˙O ™™ ˙ ˙O 3 4 4 . 5 o mp
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
VdA
pp
>O
11
. ‚‚ .
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
~
. ‚‚ .
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
Viola d'amore
7 4 µw o
U µw
˙ ™ O˙ ™™
~w
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
1 2 &4 ∑
q= 60
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
I m.s.p.
‚ œœ‚
4 4
‚‚ œ
4 4
OO
4 4
pp
wait until c.v.p. fades out
I II
20
II VdA
4 &4 O
‚ œ ‚ œ
5 4 ˙™
~
w
bO˙ ™™
bU ~w
O˙
˙
~w
3 bœ 4
O
bO µœ
2 nb‚‚ bn‚‚ 4
I II III
3 3 O™ 4 b˙ ™
O™
# OO ™™ 5 4 ˙™
n ‚‚
4 bOO ™™ 4w
OO ˙
#OO ™™
o mp
p
fff ppp
m.s.p.
# ~~ ~~
31
VdA
4 &4
∑
~~ ~~
# OO ™™ 3 OO ™™ 4
OO ™™ OO ™™
I VII
?7
2 4
∑
4 œµ‚#‚˜‚ ‚
3 bO ™ &4 o mf
6 4 œ µ‚ #‚ ˜‚ ‚
∑
o
o mp
?
w w w
w w w
4 4
∑
3 bO 4
ppp
Π44
pp
3 ˙™ ˙™ 4 ˙˙ ™™ ˙˙ ™™ fast circular bow movement including all strings ord. m.s.p. I<>VII III
VdA
4 &4
I œ µ‚ #‚ ˜‚ n‚
n‚ ‚
7 4
3 4 #‚ #‚ ‚ ‚
‚
4 ~~ 4 µ#~~
~ ~~ ~
5 OO ™™™ 4 µ#OO ™
O OO O
4 OO 4 µ#OO
O OO O
‚ ™ ‚‚ ≈ ‰ Œ ‚
w 4 w w o
w w w
5 ˙™ 4 ˙˙ ™™
˙˙ ˙
4 ˙˙ 4 ˙
˙˙ ˙
œœ ≈ ™ ‰ Œ >œ
4 3 4
∑
4 4
3 4
∑
4 4
3
ppp mp mf
?4
sfzpp
ppp ff
O™
4 ~w 4
‚˙ ‚
~
ΠO
‚‚‚ ‚‚‚ ‚‚‚ ‚ ‚ ‚
‚‚‚ ‚
∏∏∏∏∏∏
O
3 ˙˙ ™™ 4
‚‚‚ ? 43 ‚
∏∏∏∏
O
˙˙
∏∏∏∏
4 &4 ˙
IV V VI VII
I II
∏∏∏∏
VdA
II m.s.p.
∏∏∏∏
48
∏∏∏∏
2
I 1 II 3 III 2 r ‚ œ œ œ >
1 4 3
˙˙ ™™ & ˙™
OOO ™™™
4 ~~~ 4
2œ 4 ˙ µœ
4 µnww 4 w
~~~? 42
r œ œ œ œ >
µnOOO
4 4
&
3
o
o
mf
pp
p
pp
mp
m.s.p. 2-4
bBOOO 57
ord. VdA
‚>‚‚ ‚>‚‚ ‚>‚‚ ‚>‚‚ ‚>‚‚ ‚>‚‚ ‚>‚‚ 43 µn˙˙˙ ™™™
4 ™ & 4 µn OOO ™™
II
2 4 µn‚‚‚
œœœ ™™™ ‚‚‚ ™™™
4 µnOOO 4
Œ
‚‚‚ J
3 ™ 4 µnOOO ™™
4 µnœOO 4
pp
I III p
7
f
mp
pp
mp
p
f
ff
mp
<µ>˙OO
œ
2 <n> O 4 b˙O
O
˙O
3 4 µ˙OO ™™
1 3 mp
b˙˙ ™™
4 4
˙OO ™™™
4 4
p
II 3 III 1-2
VdA
4 & 4 µ˙~~
˙˙
µ ˙˙˙
b˙˙
µœœœ
3 4
mp
ff
U ~
s.p.
5 5 4 ˙™
4~ 4
˙
4w 4
3 4 ˙™
fff
mf
ff
VdA
#˙O
#w w
˙˙
#~~
ff
mp
pp
2 4 #˙˙
˙ 6 ##˙˙˙ 4
ff
mf
∏∏∏∏∏
ord.
> #˙˙
s.t.
∑
∏∏∏∏∏
6 3 4
74
? 44 µ˙w O
?4
O™
4 µw w
3 4 µ˙™ ˙™
ff
mp
pp
˙˙ ˙˙
∏∏∏∏∏
µnn ˙~~
65
II ord. wait until c.v.p. fades out
˙˙ ˙˙
3 4 #˙˙ ™™
7 4
4 ∑ &4
p
3
OO˙˙
4 bœ‚ bnœ‚ <n>œ‚ bœ‚ bœ‚bnœ‚ <n>‚ nœ‚ œ‚ œ‚ œ‚ œ‚ œ‚ œ‚ 7 4 # ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ 8
mf
p
#O ?2 O 4 ˙
OO ˙
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
Œ
4 bœ œ œ œ œœ ‚ œ ‚ 2 O˙ 4 4 O˙
mf
4 4
pp
# ‚‚ nœ
∑
‚‚ ‚‚ œ œ
‚‚ œ
pp
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
pp
II
œ ‚ 43 œ bœ
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
m.s.p.
4 O™ 4
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
VdA
4 &4 ~ o
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
83
II ord. s.p.
ff
‚‚ ‚‚ ‚‚ 7 (VII) œ œ œ 8 #O o
4 4
∑
4 ‚ ‚˜‚ #‚ œ ‚ œ ‚ œ ‚ œ ‚ & 4 mp
c.r.p. fades out 91
II VdA
bœ ‚ œ bœ œ œ 4 &4 œ ‚ œ ‚ p
mp
3 3 4 ˙ O Œ ? 4 #O™ O™ pp
> 4 œ ‚ O ˙ Œ 4 VII 4 œ ‚ O™ 4 œµ‚#‚˜‚ > o mf p
m.s.p.
3 4 O™ mp pp
5 4 œµ‚#‚˜‚
3 4O mp
> 3 b œ nœ 4 œœ ‚‚ OO >
7 4 b~~
U ∑
O™ O™ o
pp