master processed on 06.08.2025
Sy. 9357/01
ISMN: 979-0-2042-9357-5
Copyright © 2025 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin
Alle Rechte vorbehalten
All rights reserved / Tutti i diritti riservati
Commissioned by Ekmeles and made possible by the New York State Council on the Arts (NYSCA) with the support of the Office of the Governor and the New York State Legislature
World Premiere: September 27, 2025, New York — Ekmeles
Mikrotöne (Microtones)
1/8 ton
Erniedrigung eighth-tone lower 1/8
1/8 ton Erhöhung eighth-one higher 1/8
1/8 ton
Erniedrigung eighth-tone lower 1/8
1/8 ton
Erhöhung eighth-tone higher 1/8
1/8 ton
Erniedrigung eighth-tone lower 1/8
1/8 ton Erhöhung eighth-tone higher 1/8
Vorzeichen mit Pfeil bedeuten eine Erniedrigung oder Erhöhung um einen Sechstelton, außer wenn anders angegeben bzw. wenn 1/8 notiert wird:
Accidentals with an arrow attached indicate to raise or lower the pitch by a sixth-tone, unless when otherwise indicated, i.e. when 1/8 is notated: &
1/6 ton Erniedrigung sixth-tone lower
1/6 ton Erhöhung sixth-tone higher
1/6 ton Erniedrigung sixth-tone lower
1/8 ton
Erniedrigung eighth-tone lower 1/8
1/8 ton Erhöhung eighth-one higher 1/8
1/8 ton Erniedrigung eighth-tone lower 1/8
1/6 ton
Erhöhung sixth-tone higher
1/8 ton
Erhöhung eighth-tone higher 1/8
1/6 ton Erniedrigung sixth-tone lower
1/6 ton Erhöhung sixth-tone higher
1/8 ton
Erniedrigung eighth-tone lower 1/8
1/8 ton
1/12 ton Erniedrigung twelfth-tone lower
1/8 ton Erniedrigung eighth-tone lower 1/8
1/6 ton
Erniedrigung sixth-tone lower
1/8
1/12 ton Erhöhung twelfth-tone higher
1/8 ton Erhöhung eighth-one higher 1/8
1/6 ton Erhöhung sixth-tone higher
1/12 ton Erniedrigung twelfth-tone lower
1/8 ton Erniedrigung eighth-tone lower 1/8
1/6 ton Erniedrigung sixth-tone lower
1/12 ton Erhöhung twelfth-tone higher
1/8 ton Erhöhung eighth-tone higher 1/8
1/6 ton
Erhöhung sixth-tone higher
1/12 ton Erniedrigung twelfth-tone lower
1/8 ton eighth-tone lower 1/8
1/6 ton
Erniedrigung sixth-tone lower
1/6 ton
1/12 ton Erhöhung twelfth-tone higher
Accidentals with a white arrow attached indicate to raise or lower the pitch by a twelfth-tone: &
1/6 ton Erniedrigung sixth-tone lower
1/6 ton Erhöhung sixth-tone higher
1/6 ton Erniedrigung sixth-tone lower
1/6 ton Erhöhung sixth-tone higher
1/6 ton Erniedrigung sixth-tone lower
Erhöhung eighth-tone higher 1/8 &
1/8 ton Erhöhung eighth-tone higher 1/8 &
1/12 ton
Erniedrigung twelfth-tone lower
1/12 ton Erniedrigung twelfth-tone lower
1/12 ton
Erhöhung twelfth-tone higher
1/12 ton Erhöhung twelfth-tone higher
Vierteltöne wie üblich:
1/8
1/12 ton
Erniedrigung twelfth-tone lower
1/12 ton Erniedrigung twelfth-tone lower
Quartertones are all notated as usual:
1/12 ton
Erhöhung twelfth-tone higher
1/12 ton Erhöhung twelfth-tone higher
1/12 ton
Erniedrigung twelfth-tone lower
1/12 ton Erniedrigung twelfth-tone lower
Vorzeichen mit einem weißen Pfeil bedeuten eine Erniedrigung oder Erhöhung um einen Zwölftelton:
1/6 ton Erhöhung sixth-tone higher
1/12 ton
Erhöhung sixth-tone higher & n
1/8
Erhöhung twelfth-tone higher
1/12 ton Erhöhung twelfth-tone higher
a = Ger man/Danish
å = Danish
an = French
b = English/German
č = Czech
ch = Swiss German (in the throat)
d = English/German
ð = Icelandic (= English “th” with voice)
e = German/Danish
ǝ = Azerbeijani (= Turkish ı, = English “er” in “mother”)
f = English
g = German
i = German/Turkish
j = French
in = French
l = English
m = English/Ger man
n = English/German
ng = nasal n
o = German/Danish
on = French
r = English
s = English
sh = English
t = English
u = German/Danish
ü = German/Turkish
v = English
χ = Greek (=Turkish h)
z = English
Soprano
equally tempered division of a major third into 3 parts
Mezzosoprano
Countertenor Tenor
sempre non vib. chest
soprano and mezzosoprano: notation of JI in 72 ET approximation the intervals are slightly moving downwards
equally tempered division of a perfect fifth into 4 parts
equally tempered division of a perfect fourth into 3 parts
equally tempered division of a perfect fourth into 3 parts
equally tempered division of a perfect fifth into 4 parts
division of 6:7 into 3 parts
equally tempered division of 7:8 into 3 parts equally tempered division of 8:9 into 3 parts
equally tempered division of 9:10 into 3 parts
equally tempered division of 10:11 into 3 parts
equally tempered division of 11:12 into 3 parts
equally tempered division of 12:13 into 3 parts
equally tempered division of 13:14 into 3 parts
the intervals of the major chords are equally divided into 3 parts
melodies: doubling the pitches of the chords, and equally tempered divisions of their intervals
notated pitches within the gliss. are nonobligatory proposals
as high as possible
as low as possible
notated pitches within the gliss. are nonobligatory proposals
as high as possible
as low as possible
S., Ms., Bar., B.: realize very smoothe glissandi! notated pitches with small noteheads: nonobligatory proposals, when connected, S./Bar. and Ms./B. sing precisely in unisons - maybe in different pitches than notated
precise unison with Baritone
precise unison with Soprano as low as possible
precise unison with Bass
precise unison with Mezzo as low as possible
precise unison with Baritone
precise unison with Soprano sim.
precise unison with Bass
precise unison with Mezzo as low as possible
precise unison with Baritone
precise unison with Sop. p as low as possible
precise unison with Bass
precise unison with Baritone
precise unison with Mezzo
precise unison with Soprano as low as possible
Wyschnegradsky-chord, régime 11 based on equally tempered division of major seventhsths into 2 parts
“imperfect” Wyschnegradsky-chord régime 11
tritone - perfect fourth
“perfect” Wyschnegradsky-chord régime 11 minor chords, descending in parallel sixths of tones
melodies: doubling the pitches of the chords, and equally tempered divisions of their intervals
realize the contrary movings from major third to perfect fourth and from perfect fifth to minor sixth very precisely!
third of tone-cluster, split into 2 groups
quartertone-cluster, split into 2 groups
sixth of tone-cluster, split into 2 groups
There is no need for a proper intonation of the quartertone-scales. It is better to realize these quartertones too small than too big. But the pitches with cresendi/decrescendi must be realized perfectly in intonation. Please use tuning forks.
Wyschnegradsky-chord, régime 11 based on equally tempered division of major sevenths into 2 parts
“hyperchromatic tonality” - based on theories and music of Richard Heinrich Stein (1874-1942)
Ms., Ct., T.: realize the contrary movings very precisely!
as high as possible as low as possible
as high as possible as low as possible
as high as possible
as low as possible
as high as possible as low as possible
as high as possible as low as possible
as high as possible as low as possible
= English "er" in "mother")
"hyperchromatic tonality" - based on theories and music of Richard Heinrich Stein (1874-1942)
realize the contrary motion very precisely!
ð = Icelandic (= English “th” with voice)
German—don’t pronounce it clearly! vibrato, quasi espressivo