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Three Polaroids for String Trio

Colin Payne


Three Polaroids was written for Diana Moisejenkaite, Catalina Barraza, and Jin Hyun Kim. Original premiere was April 26th, 2016

The version enclosed is adapted for 2 violins and cello. A version of the standard string trio is available by contacting the composer at clnpn5@gmail.com

Š Copyright 2016 by Colin Payne International Copyright secured. All rights reserved. First printed April 2016


Program Note: In a Polaroid picture, integral film is used, which involves the spreading of a reagent between an exposed negative and a positive receiving sheet. These two sheets are pressed together and held by a white border. Within a short period with the help of ambient temperature, a photo develops. While I do not use temperature, I do allow motives and melodies to evolve in a short time span: a nod to character pieces and bagatelles. Similar to the negative and positive sheets, I have incorporated collage technique to juxtapose fragments of old material (ie sections of Monteverdi madrigals) with new material (having the string ensemble resemble traffic in a city) in a form of counterpoint. "Three Polaroids" serve as quick snapshots of places, and especially people that I have the good fortune of meeting.

I- The City Speaks

II- Tamar (dedicated to pianist Tamar Mikeladze)

III- Diana (dedicated to Diana Moisejenkaite)


Three Polaroids

Score

I- The City Speaks

Using 1st finger on highest part of fingerboard use the 3rd and 4th fingers to trill beyond fingerboard; Adjust tremolo bowing as you see fit A

Fast;

Every part of the ensemble should be playing at different tempos but sync up at red solid line

Violin I

                     III & II

Violin II

Cello Global Time Clock

    

 

              

II

     

Repeat twice; 2nd time louder with quicker descent

Colin Payne

 

III I

Performance Notes (specific to this movement)

Keep playing figure until cued by second violin



Cue 1st violin; gesture is to be immediately followed by violin1

x2

~ 120

     

extreme marcato, au talon

    

   

 10"

*

@~25-30"

      

extreme marcato, au talon

      

*

            

       

  

40"

Studder bow; Move the bow very slowly, with sufficient pressure such that the tone breaks up a bit into little irregular starts and stops. Note: to go between “Studder bow” and “Shake bow” let small short sounds escape from “Shake bow”

Shake bow: In a quasi tremolo fashion using small, quick up and down motions, shake the bow in a manner that no sound escapes the instrument (ie consistent contact) Mute strings with left hand; should give the percussive sound of muted picking by guitarist Only references slight hesitation...Notation begins again on down beat Non-specified pitch muted note; in this case muted open D string on cello

     



  5                               Play in 3; quarter note ~ 157

Create a distorted sound by adding intense bow pressure to which the audible pitch is nearly undiscernible; gradually (with glissando) decrease pressure to give audible sound (HINT: It should sound similar to a semi truck horn or Cargo boat horn as one moves past it)

*



© 2016

Violently


Three Polaroids

2

Vln. I

10

 Cue Cello to start new phrase

Vln. II

Vc.



B

  

Vc.

  



Cue group to proceed to chord











 

  



Time markings will only appear as needed (ie when the piece is not metrically clear)

C



3

23

arco,pizzicato

1'

Vln. II

3"

marcato                     

10

Vln. I

Lento, ma in due

        

 

 

          

            

  

 

 

 



 



  

 


Three Polaroids

D Vln. I

  





  

3

E

  



 

    

 

using Glass slide, bow the strings while using the slide on left hand to glissando up and down the II &I strings irradically (don't develop a pattern)

Vln. II

Vc.

      



poco cresc; poco accel.



 

     

    



    

 

    

Fast;

Every part of the ensemble should be playing at different tempos but sync up at red solid line

F Vln. I

Vln. II

Vc.

 

Repeat pattern randomly

         

 

 



Repeat twice; 2nd time louder with quicker descent

   

Using 'wild' unmeasured glissando gradually decrease space of glissando (ie from full to half string, etc)

 



III I

  

    

Repeat pattern randomly

Begin after hearing 1st violin

    

 

Violently



 



5

       







  

 

arco,pizzicato

  

 

                  3


II- Tamar

dedicated to Tamar Mikeladze

Violin I

Violin II

Cello

Vln. I

Vln. II

Calm foreshadowing uproar 

II



III

     

 

 

 

Violent, aggressive 

       

7



      

  



            

Vln. I

Vln. II

Vc.

   

 



 

 

  

  

gliss here does not need metrical accuracy

 

  



                     

3

                        au talon

Vc.



 

3

3

 

 

 

0

0

    

G.P.

 

 

 

 





  



                         

   

                                                                                                                3        

12



molto vibrato

©2016


5 Vln. I

Vln. II

       

17

     

Three Polaroids

     

            

     

        

                  

3

3

au talon

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

 

22

molto vibrato    

 

       3 





 

  

molto vibrato         

       3  30



  

    

26

      

 

  

  



      

molto vibrato      

 

       3 

                       

        

  

          

3

    

  

 

  

  

     



                           

             

  


6

Three Polaroids Vln. I

Vln. II

     

34

   

au talon

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

  

 

    

spiccato

 

spiccato

                   3

  

3

                 pizz.

 col legno  

43

    

 



  col legno

   

 

 3

      

 

 col legno

  

  

3

 



 







  

   

  

3

     

3

3

   

3

au talon

   

  

 



           

 

sul ponticello



3

3







 



 



 sul ponticello

38

  



3

  

36

 

 sul ponticello  

 

(pizz.)

    

au talon

            arco au talon        


Three Polaroids

7 Vln. I

Vln. II

Vc.

 

     

 

48

     

51

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

    

 

III

  

60

 



 



 

  

     



          

   

Glissando up and down A string

     

  





Macabre, Enigmatic

 





        

 

 

  

    



 

II



 



                 

Mysterioso, Tempo Introduction

     



   

          

55

Vln. I

      

    

 



 

  





col legno



  

     

   

       

      

3

3

3

       


8

Three Polaroids Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

67

 

  

(col legno)

     

 

    

     

 

Vc.

 

Vln. I

Vln. II

Vln. II

Vc.

col legno

         

         3  

  

        

       3



        

  

    

             

 





     



 



    

3

  

      

        

3

3

3



        

         

3



3       

      

3

3 3 3 3 3 3                      3        3        3      

Violent, aggressive 

             

         3 3 3 col legno

 

        

        

83

 

          

73

78

3



                 

  


III-Diana

Dedicated to Diana Moisejenkaite

Violin I

Violin II

Cello

Vln. I

3

 

Vln. II

 

Vc.

 

Vln. I

Vln. II

Vc.

9

                                       7 6 3                                   II               3 3  3               pizz.                  pizz.                                        Playful, yet rushed

      

pizz.

 

0

  

arco

arco

 

Adagio ~quasi-cadeneza

  

             

  

 


Three Polaroids

10 Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

24

 

Vc.

Vln. II

Vc.

28

 



 



 

 

3

         

Release finger pressure

6

    





      III



poco accel.

  

6

 

 

  



 

      3        

      

  non-pitched glissando6          

      

   

  

   

 



    

sul ponticello

3

  



    

      

  

2"

                         

       

18

Vln. II

Vln. I

                        3

12

   

 

 

 

3

 

 



  



  

     



 

  

  

  

      

 



 


Three Polaroids

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

Vln. I

Vln. II

Vc.

30



     33





3

 









    



  





  

  

   

  



                             

   

   



                                         



                 



47

Spirited ~ 100

                           

39



3

                                             

11

 

 

 

   

 



 

 

Profile for Colin Payne

Three Polaroids  

Three Polaroids  

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