At any rate II. what remains

singing string quartet and record player

At any rate II. ‫ﺑﺎﻗﯽ ﻣﺎﻧﺪه‬ “what remains”

by

Daniel Sabzghabaei (2020)

Instrumentation Singing String Quartet -Vla+Vc Scordatura: C-string tuned down to Bb -Vc may use a guitar pick/plectrum for some of the faster pizz sections -Voice parts must be sung at octave indicated -IPA and verbal cues are used for vowels within the score -Breath marks in voice part are only meant to show breaths not phrase breaks Record Player -2 or 4 channel amplification Performance notes and Vertical Rehearsal Audio Files All video and audio explanatory and rehearsal examples below, as well as a digitization of the original record which this work blossoms from, collected by Hornbostel and put out in 1931: https://drive.google.com/drive/folders/1rzGU6KaFlFGShn8YBbhCW6Ne-mu3Jxuy?usp=sharing

molto vibrato The Koron (‫ )ﮐﺮن‬symbol was established by master tar player, composer, and musicologist Ostād Alī Naqī Vazīrī in his work to codify Persian dastgāhs as well as the Radīf. This symbol lowers the pitch by a bit less than 50¢. It varies from player to player, but aim for 30-40¢.

These numbers refer to various partials from a given fundamental This line above certain figures indicates a stuttering bow—both rhythmically and in regards to pressure—here starting overpressure with high harmonics moving to normal playing. A kind of free bow vibrato.

For these Vertical sections, the tuning system switches from a modal approach, to a rigorous, but fluid one. To aid in the rehearsal and preparation of these sections, I’ve created audio rehearsal tracks which can be used to practice and tune with (see link above). The tracks are numbered and correspond to each subsequent verticality within these Vertical sections. Pay special attention to the verbal cues of when you are creating beating with yourself or with another string quartet member.

Record noise should be present within the space but never overbearing.

A detailed description of how to achieve the noise called for follows, and is explained in the video as well. If tone control is available, it should be turned to highest at beginning, and lowest at the end by the cellist.

-To achieve the record noise called for in this work, any record may be used; however, it must have a label lip in the middle of the record which creates a revolving sound within the run-out, into which the needle will be placed and revolve.

-If unable to find a record with this kind of label, it is easy to make one yourself by affixing construction paper or similar material to the top of a record in this area.

-Do not place the needle directly on top of the label.

Reflections At any rate is a set of studies on vinyl records, each exploring a different record of cultural and historical significance, as well as the accompanying (and ubiquitous) noise inherently present with every type of record (33s, 45s, and 78s). What classifies certain records as “popular?” If the materials found on these records are taken apart, stretched, slowed, chopped, and reconstituted, do the parts still come together to make a whole “popular” work? What artifacts from these records manifest themselves in this process? Which are lost? What new artifacts are gained through this reconstitution? How much of a work is essential in realizing it as its original itself? Is timbre just as important to these recordings as melodic, harmonic, and rhythmic contours in this recognition and appreciation?

This second work in the set ‫“ ﺑﺎﻗﯽ ﻣﺎﻧﺪه‬what remains” explores one of the earliest releases of traditional Persian moosiqi sonnati, a record called Volkstümlicher Gesang – Persia collected by Erich Moritz von Hornbostel (1877-1935) and put out by Decca Records and Parlophone Co in 1931. Within this group of a few players and a vocalist heard on the disk, an entire world of intimate connections exists between those captured on this recording. I became obsessed with repeated listening to this record—at all difference speeds and attention levels—and the way in which this repeated listening drastically affected the way I heard and understood the music held within. This reminded me of the way that I listen to and consume music from Houston’s Chopped and Screwed scene, a codeine-influenced genre of Hip-Hop created by DJ Screw (RIP) which takes popular songs, chops them up, and slows them down through pitch-shifting.

We listen to things over and over, but the moments that excite me the most are those when something makes me change the way I listen, a moment I never noticed, or a new way of looking at something—a love letter.

Daniel Reza Sabzghabaei (‫)داﻧﯿﺎل رﺿﺎ ﺳﺒﺰﻗﺒﺎﯾﯽ‬

c.a. 8.5’

commissioned by National Sawdust for the JACK Quartet

At any rate - II ‫باقی مانده‬

"what remains" Record Ritual I 4U &4 –

Violin I

ã 44

Record Player

2

Vln. I 2

Vln. II

&

Vln. I enters, opens player, sits down

∑ U

∑

U

&–

Vln. II enters w/ record in hand, places it on player, sits down

ã

R.P.

3

Vln. I 3

Vln. II 3

Vla.

∑

U

∑

U

B –

Vla. enters, puts speed on 45rpm, turns on record player, sits down

ã

R.P.

4

Vln. I 4

Vln. II 4

Vla. 4

Vc.

U

∑

∑

U

&

U

U ? –

∑

Vc. enters, places needle in area between label and record, sits

R.P.

ã

∑

U

∑

& B

∑ U

& &

‫دانیال رضا سبزقبایی‬ Daniel Reza Sabzghabaei

∑

∑

2 4

U

42

U

∑

U

2 4

∑

2 4

record noise plays

2 4

∑

2 6

Vln. I 6

Vln. II

Horizontal I | Fluid q = 83-90

2 &4

∑

4 4

2 &4

∑

4 4

sul tasto

≤ b >œ b >œ . œ

pizz.

n œ- .

P

non vibr. (nv)

w w Vla. = w bw w Vc. w = w bw

6

6

B 42

P

? 42 Œ 2 ã 4

R.P.

∑

vibr.

&

4 4

j bœ

≤o b œ ‰ 44 P

œ.

œ œ

n œ- .

œ œ

œ.

œ œ

pizz.

≈ bœ.

P

b œo .

-

≈ œ.

œ- œ-

3

∑

œo .

œ-

~~~~~ b œ . œ  ˘œ b œ- œ- œ-

3

œo œo

≈ bœ.

œ- œ-

nœ bœ œ

bœ.

pizz.

4 4

œ œ

b œo .

-

œo œo

≈ œ.

œ-

œ-

œ-

b œ- œ  œ- œ b œ. b œ b œ  œ J 3 3 F P œo .

œo œo

œo œo

∑

rit.

9

Vln. I

& n œ- .

œ œ

œ.

œ

45 n œ- .

œ

pressure stutter arco I

œ œ

œ.

œ

Œ

!!!!!

-O

F

!!!!!

II O III O

pressure stutter 9

Vln. II

9

Vla.

&

≈ bœ.

œ-

œ-

œ-

Œ

arco

≈ bœ.

œ-

≈ œ.

œ-

-(~25¢) norm. (bend up ~25¢) ~~~~~~~ +(~25¢) . . . j b œ ® b œj > . . n œ b œ b œ œ b œ b œ b . bœ œ bœ œ œ œ bœ bœ b œ œ 5  œ b œ œ œ b œ ≈ œ b œ  œ. œ b œj  ˙ & 4 3 5 5 3 3 F f

msp norm.

? bœ.

-o

R.P.

ã

œo œo

F

msp

(bend down ~25¢)

Vc.

9

œ-

≈ œ.

45

œo . ∑

œo

œo

45 b œo .

45

œo .

œo œo ∑

B

pressure stutter arco III IV

œo

Œ

F

!!!!!

-O O

3

Vertical I | Slower q = 68

o & b ˙ . in-between "aah" and "oh" ( f) >

,

glottal attack w/ voice break

(voice)

˙

[ɔ]

11

Vln. I

&

b œ- b œ

sP senza vibr.

,

o in-between "aah" and "oh" & b˙. > ( f)

˙

[ɔ]

11

Vln. II

(voice)

&

&

b b ˙˙ ..

˙˙

sF senza vibr.

˙

[ɔ]

B n˙. b˙.

S senza vibr.

˙ ˙

o & b ˙ . in-between "aah" and "oh" ( f) > glottal attack w/ voice break

(voice)

˙

[ɔ]

? b n ˙˙ .. f senza vibr.

˙˙

11

Vc.

R.P.

ã

46 46

bœ dœ

∑

p

(F )

,

dw.

49

46

(F )

6III 4 II

,

6 4

,

dw. [o]

g b ww ..

(F )

49 49

[o]

6 d b ww ..

4 P

senza vibr.

11

Vla.

[o]

sul tasto

,

o in-between "aah" and "oh" b >˙ .

glottal attack w/ voice break

( f)

(F )

dw. sul tasto

glottal attack w/ voice break

(voice)

46

,

sul tasto -31¢ (~9hz beating)

9 4 49

9 4

P

,

dw.

9 4

[o]

nw. b œ 46 F 46

sul tasto

nœ 3

œ

œ

œ 3

∑

œ

œ

œ 3

œ

49 49

4

9 & 4

, ( f)

dw.

˙.

[o]

Dn-40¢ norm. Db+40¢

& 49

13

Vln. I

& 49

w j ww ..

˙˙ ..

f

o nw. ( f) >

glottal attack w/ voice break

˙.

[ɔ]

9 &4

13

Vln. II

& 49

d n w>w .. f

˙˙ ..

o nw. ( f) >

glottal attack w/ voice break

B 49

Vla.

& 49

Vc.

R.P.

˙˙ ..

,

dw.

˙.

ww .. ? 49 g b ww f

˙˙ ..

13

9 ã 4

,

Db+45¢ norm. Db+16¢(~9-10hz beating)

f

( f)

[o]

norm. Bb-31¢ (~4hz beating)

∑

√ g W °9 42 g W °4 P 42

4 2

˙.

w h ww ..

Db-14¢

gœ °2

gœ

°3

F

Db-14¢

,

gœ œ °4

œ

74

[ə]

˙

œ ‰

g<g ww

˙˙

œœ ‰

˙

œ ‰

44

‰

4 4

œ ‰

44

f

Dn-37¢

nw ( f ) {[o]

7 4

œ

,

42 gW (F ) [ə] "uh" schwa sound Db-14¢

bW 42 b W P

74

gœ °2

gœ

°3

j œ°5 œ

f

œ

°5 °4

œ

Dn-37¢

,

Db-14¢

g j œœ

˙

74 nr ww f

˙˙

gw

˙

œ ‰

44

˙˙

œœ ‰

44

74

Db-14¢

( f)

[ə]

œœ ‰ & 44

ossia for smaller hands

42 <> <> <> <> <> <> <> <> 74 g n ww nœ œ œ œ œ œ œ œ F f Bb-33¢ 4 2

∑

44

nw ( f ) {[o] Fn+33¢

42 gW (F ) [ə] "uh" schwa sound

4 4

gw

( f)

74

Db-14¢

Db-14¢

7 4

°7 °6

gW (F ) [ə] "uh" schwa sound

norm.

[ɔ]

13

,

,

4 2 gW (F ) [ə] "uh" schwa sound

7 4

∑

4 4

5

Horizontal II | Fluid q = 83-90 pizz.

4 Ó &4 nœ. œ œ F

16

Vln. I

4 &4 ≈ bœ.

F

16

Vln. II

Vc.

R.P.

Vln. I

4 b œ b œ- œ& 4 ‰ œ 3 F 16 pizz. ?4 .

4 b œœ œ F

œ-

18

≈

sul tasto

& ≈ & bœ -

18

Vla.

3

&

b œ-

œ.

Vc.

? bœ.

-

R.P.

ã

18

nœ œ-

3

œ-

œœ-

œ-

œ-

3

bœ nœ

bœ b œ- .

œ

œ-

3

œ.

œ

œ-

œ bœ bœ > F

‰

suddenly crisp

3

œ-

rich, girthy

b œ œ œ  œ œ. œ. œ. >œ œ œ- œ- œ œ œ̄ msp norm.

sticky

3

œ œ

nœ

œ

œœ fl F

∑

œ œ

∑

1 8 ≈ œ œ- œbœ > +(~25¢) ≥ 5 5 3 1 8 œ bœ œ œ œ œ œ œ œ bœ bœ œ > nœ

≥ n œ b œ œ- b œ œ œ- b œ œ œ- œ >œ œ œ~~~~ 1 œ b œ.

8 > F j œ œ œ. œ œ 81 b œ >

msp

∑

≈

œ-

b n ˙-˙ p

œ-

œ œœœ œœ œ

œ.

4 ã 4

18

Vln. II

œ- œ- ≈ œ .

nœ

b œ-

sul tasto arco

pizz.

16

Vla.

≈

81

∑

4 4 ≈

b œ>

nœ

œ-

≈

œ-

nœ

œ

œœ~~~~~~~~~~~~ 3 3 3 4 4 bœ bœ œ œ œ œ œ œ œ œ œ œ nœ œ œ . . . > > > . > 4 >œ b œ b œ œ œ b œ œ œ. >œ  œ œ œ œ 4 sul tasto

3

44 b œ . > 44

3

œ.

œ œ ∑

œ œ œ bœ œ œ +(~25¢)

3

3

œ œ-

3

œ-

6

21

Vln. I

& ≈

21

Vln. II

b œf

nœ œ -

≈

œ-

Vc.

R.P.

& ˙ f 21 ? œ. f

3

3

œ æ p

œ œ

23

Vla.

&

?

23

Vc.

R.P.

+(~25¢)

ã

3

- bœ.

œ b œ crisp œ3

nœ œ -

œ bœ bœ œ bœ œ œ

sul tasto

3

3

œ œ

œ

≈

3

j œ

sul tasto

 œF

3

œ3

œœ œœ S msp Ÿ~~~~ œ. œ œ œ œ œ œ œ

3

3

œ.

œ œ

œ œ

∑

œ-

+(~25¢)

nœ œ -

œ

Ÿ~~~~~~~~~ msp œ

∑

b œ-

≈

bœ bœ œ

sul tasto

F

œ-

+(~25¢) 3

bœ bœ

b œ- .

œ

nœ œ 3

3

b œ- .

b >œ

nœ œ -

b œ-

3

œ œ

Ÿ~~~~~~~ j & bœ bœ œ  œ- b œ œ œ œ œ œ œ œ œ œ

23

Vln. II

3

œ. æ

œ.

ã

& ≈

3

msp

23

Vln. I

≈

œ-

& ≈ bœ bœ œ œ œ œ œ œ œ œ b œ. œ œ œ œ œ œ œ œ > f 5

21

Vla.

nœ œ -

œ

œ  œ¯

œ.

∑

≈

œ-

b œ-

ricc.

nœ œ -

œ- ≈ œœ- œœ- œœ œœ > >

msp

œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ . ..

œ œ œ œ 3

œ œ

3

3

œ

+(~25¢)

3

3

œ  œ. b œ b œ œ  œ- .

3

˙ P

œ œœ œ

œœ

msp

3

œ œ

Ϸ

œ-

œ œ > >

B

7

10"

7"

Vertical II & 25

Vln. I

&

&

U

nw (S) {[o]

U r j ww U

nw (S) {

nw

An-30¢ Fn+16¢

U

nw

U & r j ww S

25

&

U

nw (S) {

Dn+23¢ Dn-28¢

U

nw

Vla.

B

&

U

n b ww S U

nw (S) {

&

nw

[ɔ]

[o]

Vc.

R.P.

U Cb-20¢

? b g ww S

25

ã

arco

n wo II nw P U

Dn-33¢

(~5-6hz beating)

∑

rw ( f ) [ä]

U

r n ww f

U

r b ww f U

in-between "aah" and "oh"

rw ( f ) [ä]

(F)

U

b r ww

U An+16¢

r b ww F

f

rw ( f ) [ä]

(F)

∑

2" Dn+31¢ in-between "aah" and "ah"

U Dn+31¢ r r ww

U

in-between "aah" and "oh"

Uo I [ɔ]

[o]

25

(F)

sp

Dn-33¢

rw ( f ) [ä]

U

in-between "aah" and "oh"

¤ yU w +9¢ (~4hz beating w/ vln. I) [ɔ]

[o]

Vln. II

(F)

sp

Dn-33¢

6" U

in-between "aah" and "oh"

¤ yU w +11¢ (~4hz beating w/ vln. II) [ɔ]

arco

S

U

Dn-33¢

2"

f

An+33¢

Dn+31¢ in-between "aah" and "ah"

Dn+31¢

Dn+31¢ in-between "aah" and "ah"

Dn+31¢

Dn+31¢ in-between "aah" and "ah"

Dn+31¢

∑

8

10" &

U

3"

7" U

U

Dn-37¢ glottal attack w/ voice break

j wo ( ff ) >

aah

wild

[ɑ]

nw

[o]

(~q = 70 for this figure) Dn-37¢

bœ

28

Vln. I

&

&

28

Vln. II

&

( ff )

j >wo

wild

jœ

Dn-37¢

jœ °2

ƒ

U

°3

j°4œ

U

U

< n°7œ œ

nw

[o]

œ

œ

[ɑ]

U U

U

nw

aah

wild

[o]

ã

,

B

U

nw

aah

wild

[o]

U

∑

rw p U

eh

bU w

,

p

U

nw

(F)

[ɛ]

∑

( p)

kw p U

nw

(F)

eh

U A+46¢

,

B+28¢ (~4-5hz beating w/ vla.)

n r ww F

( p)

( p) [ɛ]

nw nw F U

eh

nw

Cn ~4-5hz beating w/ vc.

C+43¢ D+45¢ (3hz beating w/ sung pitch)

2"

U Fn+24¢

(F)

F

Dn-37¢ glottal attack w/ voice break

o jw > ( ff )

[ɛ]

U (~3-4hz beating w/ vln. I)

Dn-37¢ glottal attack w/ voice break

j wo ( ff ) >

(F)

}nb ww

œ

U

nw

Gn+33c

wild

? nU w nw ƒ wild

28

R.P.

aah

[ɑ]

[ɑ]

Vc.

wild

U

,

rU w (~3-4hz beating w/ vln. II) nw F

& h k ww ƒ wild

28

Vla.

ƒ

6"

Gn+25c

Dn-37¢ glottal attack w/ voice break

&

&

œ jœ œ œ jœ

2"

eh

( p) [ɛ]

nU w p

∑

9

Vln. I

Horizontal III | Fluid q = 83-90 msp with weight n ˘œ >œ œ œ& ‰ nœ œ œ œ J F 31 & ≈ bœ. œf 31 pizz. œ œ B nœ. pizz.

Vln. II

Vla.

? bœ. f

31

Vc.

R.P.

pizz.

4 &4

Vln. II

& 44 & 44

34

Vla.

R.P.

4 ã 4

œ œ

œ œ

≈

b œ- n œ œ-

b >œ œ . msp

Í

œ bœ œ bœ

7 n œ- .

8

œ œ

78 b œ .

-

œ œ

œ-

œ-

≈

bœ >

œ. ∑

œ

nœ >

&

œ-

85 ≈

85 b œ- .

5 8

œ œ J

Ÿ~~~j !!!!!!! œ b œ b œ œ œ b œ. œ

nœ œ -

f

norm.

œ œ

∑

3

œ-

≈ œ msp

j œ

4 4

≈ bœ > msp arco > 1 bœ œ 8

81

msp

b œ-

>j bœ bœ

j 81 b œ >

œ.

sul tasto Ÿ~~~~ . bœ bœ œ œ œ 58 b œ œ b œ n œ œ œ .

3 3 f

œ œ

1 8

œ-

bœ >

œ.

5 œ 8 œ

3

nœ œ -

≈ œ.

1 8

∑

œ œ bœ œ œ bœ œ œ œ b œ- œ œ b œ œ > 3

˙ œ œ

œ-

f

78

fall off ~30¢

œ œ

? 44 b œ .

-

34

Vc.

arco

œ. ∑

>j bœ bœ

34

œ œ

norm.

7 8 ≈ bœ.

œ- œ-

nœ.

œ œ

ã

34

Vln. I

f

œ- ≈ œ .

b >œ œ œ. œ. œ- œ bœ œ œ œ œ œ

œ≈ œ

7 œ 8 œ

4 4 4 4 44

∑

44

≥ > b 1 œ 8 J ß

7 8

81 81

j bœ > ß

b ≥œ b œ

sul tasto

> ß j 81 b œ > ß 1 8 ∑

78 78 78 7 8

10

7 &8

37

Vln. II

& 78

37

Vla.

R.P.

Í

œ

f

œ- .

œœ

7 ã 8

∑

!!!!!!!!!!!! ≥ > n œ n œ œ 1 4 & 8 nœ 4 nœ œ J ß f norm.

40

Vln. I

1 &8

40

Vln. II

& 81

40

Vla.

? 81

40

Vc.

R.P.

1 ã 8

3

41

≥ ≥ b >œ >œ 4 4

˘¿ catch bow ‰.

msp

( ff )

n œ‰ nœ f

œœ

norm.

!!!!! bœ œ œ œ bœ œ œ œ

œ œ

msp

œ- .

4 bœ œ 4 œ. > > > ß f 1 4 ∑ 4 4 1 4

Ÿ~~~~~~~~~~~ 3 3 4 4 bœ œ  œj œ  œ- œ œ œ œ - bœ bœ - bœ. > ß f >≥œ 4 œ. œ b œ œ œ b œ b œ œ œ œ œ œ œ œ œ ~~~~~~~~~~ œ œ J 4 3 3 ß f 3 pick up pick 4 Œ Ó j 4 œ œ > > f ß ∑ 44 ∑ ≥

+(~25¢) 3

+(~25¢) 3

+(~25¢) 3

œ œ

œ.

œ œ

1 8 81 1 8 1 8

∑

3 !!!!!!!!!! ~~~3 > > > nœ œ œ bœ nœ œ œ œ œ nœ œ œ bœ nœ œ œ œ œ J f

81

3

arco b œ œ 5 3 3 3 3 3 1 bœ œ 4 ≈ nœ 4 n œ œ 4 ≈ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ- œœœ- œ- œb >œ >œ b œ. >f > f ß Ÿ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ≥ ≥ ≥ > > - œœ œœ b œ b œ œ œ œ œ . œj œ . bœ bœ œ œ œ œ > > > n œ b œ œ b œ b œ 14 b œ œ 44 b œ 3 3 f f ß f

?7 .

8 b œf

37

Vc.

bœ

> œ bœ œ bœ œ

norm.

~~~~~~~

Vln. I

msp

~~~~~~~

& 78

37

œ œ

œ- œ œ >œ œ >œ œ œœœ œ œ 3

2 4

Ÿ~~~~~~~~ 3 3 3 2 j b œ b œ œ  œ- b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 f 3

msp

œ

bœ > f

bœ bœ œ œ œ œ bœ b œ 42 f œ œœ œ œ œ œ 42 œ œ œ > norm.

œ

bœ

III

r bœ

∑

sul tasto

2 4

11

!!!!!!!!! ~~~~~~~ b œ œ b œ b œ œ 1 b >≥œ œ 8 J œ 5 ß

.

2 œ &4 œ

43

Vln. I

& 42

Vln. II

& 42

43

Vla.

Vc.

? 42

R.P.

2 ã 4

≥ 81 b œ œ > ç ≥ >œ œ b 81

ricc.

43

3

3

b œ b œ œ b œ. œ. œ. œ œ bœ

43

bœ >

œ œœ œ

bœ bœ ∑

œ

œ

ß

3

œ œ 81 1 8

j bœ > ∑

2 b œ4 f 42

œ-

œ bœ bœ > ƒ

3 œ. bœ œ 4 œ bœ bœ 4 J bœ bœ 3 ƒ

œ-

3

-24 b œ¯ œ œ b œ œ œ .

3 f 42

bœ >

2 4

bœ

œ œ

>œ œ-(~30¢)¿ 3 4 catch bow

œ œ

3 5 5 3 3 3 j 44 j œœ b œ- œ b œ œ œ  œ œ œ œ œ œ œ œ œ œ 4 >

44 œJ b œ b œ bœ bœ ƒ œ œ œ 44 b œ œ œ bœ œ > 4 ∑ 4 3

+(~25¢)

œ œ

>œ œ-(~30¢)¿ 3 4 catch bow

œ œ

œ œ ∑

œ >

œ

a little rit.

Vln. I

b >œ œ b œ ‰ œ 44 b œ b œ. ƒ P

3 bœ bœ & 4 b œ b œ  œœ œœ f

47

3 & 43 b œ b œ œ œ œ œ œ n œ œ œ . . . > > f

bœ & 43 bb œœ b œ  œ œ œ œ f

47

Vla.

3

Vc.

?3 4 bœ œ œ œ œ œ

R.P.

3 ã 4

47

∑

3

+(~30¢)

a little over pressure on initial attack

47

Vln. II

> 44 bb œœ ƒ

œ œ bœ œ œ œ bœ œ œ œ œ bœ œ œ œ bœ œ œ J

gritty

mv

œ 4 b >œ bœ ‰ œ 4 bœ b œ. ƒ P 3

œ œ bœ œ œ œ bœ œ œ œ œ bœ œ œ œ bœ œ œ J

gritty

3

+(~30¢)

a little over pressure on initial attack

œ œ bœ œ œ œ bœ œ œ œ œ bœ œ œ œ bœ œ œ J

gritty

3

3 4 a tempo

a little over pressure on initial attack

3

3

œ

œ œ 43

œ

+(~30¢)

j3 b œ œ ≈ b œ  œ b œ ‰ œ œ 81 b œ- b œ œ  œ- b œ f p j3 b œ œ ≈ b œ  œ b œ ‰ œ œ 81 b œ- b œ œ  œ- b œ f p ≈ bœ b œf

4 œ œ œ œ œ 4 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ > 4 ∑ 4

j3 bœ œ œ bœ 81 ‰ œ b œ  œ- b œ œœ p Œ

Ó

drop pick, pick up bow

∑

&

1 8 1 8

12

≥ 1 b >œ &8 f

œ

50

Vln. I

>≥œ 1 b &8 f

œ

50

Vln. II

≥ 1 & 8 bœ > f

50

Vla.

≥ 1 & 8 bœ > f ã 81

50

Vc.

R.P.

œ

arco

œ

∑

!!!!!!!!!!!!!!!!!!! ≥ 3 b >œ  œ œ œ ˙ 4 !!!!!!!!!!!!!!!!!!! ≥ 34 b >œ  œ œ œ ˙

!!!!!!!!!!!!!!!!!!! florid ≥ 43 b œ œ œ ˙ > œ

Vln. II

43

Vla.

R.P.

P

warm

warm

B r n ww g b ww phushed and overcome

ã

P

warm

mst Bn+14¢ Gn+39¢

∑

44

ƒ 44

h j ww p r b ww

∑

P

3

~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ œ

senza vibr.

senza vibr.

~~~~~~~~~~~~~~~~~~~~~~~~~~

j  œ- œ 3

˙

~~~~~~~~~~~~~~~~~~~~~~~~~~

j  œ- œ 3

˙

senza vibr.

œ

B

senza vibr.

œ

?

∑

Cn-28¢ Bb-12¢

w n\ww

Fn+11¢

p

g N\ ww

\b k ww

n b ww

|n g ww

Bn+45¢ Bb-8¢

Ab-20c Fn+14¢

Fn+21¢

nw ww p ww p

norm.

Cn-28¢ Bb+12¢

|n w r w (~4-5hz beating)

Fn+16c

qw

|n w gw

bw bw

g ˙ Bb-23¢ g ˙ Gb-14¢ g˙ g ˙-

Gb-47¢

Bb+14¢

warm

3

~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ œ

x8

Bb+14¢

Eb-12

bw ? rw bw k w p hushed and overcome

53

Vc.

!

Fn+19¢

mst Bn+28¢ (~4hz beating)

ƒ

∑

& k g ww n|n ww p hushed and overcome P

53

44

!!!!!!!!!!!!!!!!!!! florid ≥ 43 b œ > œ œ œ ˙

w n ww & r wO III p hushed and overcome

53

44  œJ ƒ

florid

-for each verticality, play downbeat, once chord is locked-in and stable, hold chord for 8 disc rotations and then move on mst Cn-40¢ ( œ ) Fn+24¢ 53 Bb+14¢ Bb+40¢

mst Bb-27¢ Gn+39¢

4  œ4 J ƒ

florid

Vertical III | w ≈

Vln. I

rit.

∑

∑

Fn+9¢ Bb-23¢

∑

|n w bw

32

norm.

3 2

norm.

Fn+9¢

bw bw

3 2

norm.

32

∑

32

13

Slow, focused, intense q = 45 (h = 22.5)

& 32

Œ

Œ

Œ

B 32 r w .

F

59

Œ

? 3 bw.

2 F

59

R.P.

œ

[ä]

nœ (F) [u]-

(F)

r œ-

[u]

œ

[ɑ ]

œ

œ

[o]

[ä]

œ

œ

œ

[o]

[ä]

œ

[ɑ]

j˙

œ

[ɑ]

3 ã 2

[ɑ]

[æ]

œ.

> b n ˙˙ f

glottal attack w/ voice break (aah to bright "ah") En-39¢

( f)

o 3 nœ jœ > [ɑ]

[æ]

j >˙

œ.

msp

En-39¢

œ

,

En-39¢

o rœ œ >

glottal attack w/ voice break (aah to bright "ah") Fn+14¢ 3

( f)

, œ

œ

[o]

[ä]

œ

[ɑ]

œ

[ɑ]

[æ]

œ.

msp Fn+14¢

˙˙

˙˙

˙

˙

˙

˙

˙

˙

˙

o 3 bœ œ ( f ) [ɑ]> [æ]

f

œ.

norm.

, norm.

, norm.

,

glottal attack w/ voice break (aah to bright "ah")

msp

∑

˙

˙

f

b >˙

with weight

˙

f

r >˙

with weight

bœ (F) [u]-

o 3 nœ œ >

msp

,

,

glottal attack w/ voice break (aah to bright "ah")

( f)

b n ˙˙

˙ Fn+14¢ with weight

œ

,

with weight Fn+14¢

& 32

Vc.

with weight

with weight

3 & 2

œ

[o]

˙

3 & 2 n˙ F

59

Vla.

[u]

with weight

& 32

Vln. II

b œ-

(F)

& 32 b ˙ F

59

Vln. I

with weight

˙

˙

˙

˙ ∑

norm.

14

Vertical Bath | Rich, full, intense 61

&

61

Vln. I

&

&

61

Vln. II

&

&

&

?

61

Vc.

R.P.

gœ

[a]

Ï

œ

[e]

œ

œ

[i]

[o]

œ

ã

,

[u]

Eb-20¢

gw

Ï

p

g w Eb-16c nw gœ

œ œ

[a]

Ï

œ

[e]

œ

œ

[i]

[o]

œ

,

[u]

Eb-20¢

[a]

Ï

œ

[e]

œ

œ

[i]

[o]

œ

,

[a]

Ï

bw bw Ï

œ œ p

Eb-20¢

gw p

œœ

sul tasto

œ

[e]

œ

œ

[i]

[o]

œ

[u]

œ œ

œ œ

œ

œ

) ϳ

∑

drop out when air runs out

moving down the fingerboard dying away to white noise

œ œ

œ

œ

,

œ

mask bow change (

gw

mst

caressing

o

∑

drop out when air runs out

moving down the fingerboard dying away to white noise

œœ

œœ

œ

mask bow change (

≥) œ

mst

caressing Eb-20¢

≥œ )

o ∑

drop out when air runs out

[m]

p

œ œ p

sul tasto

∑

mst

caressing

[m]

Fn+9¢ Eb-20¢

gœ

gw

œ œ

moving down the fingerboard dying away to white noise

mask bow change (

p

[u]

Eb-20¢

∑

[m]

vibr.

Bb-12¢

gœ

Eb-20¢

sul tasto senza vibr.

\b w \b w Ï

drop out when air runs out

15"

p

vibr.

Eb-20¢

20" œ = 5 sec

[m]

sul tasto senza vibr.

| B g n ww Ï

61

Vla.

Eb-20¢

20-25" œ = 4-5 sec

œ

œ ∑

œ

œ

œ

œ ∑

o

15

Record Ritual II U ∑ &

U

Vln. I

U

Vln. II

&

Vla.

U

R.P.

∑ 8"

b˙

u

∑

? U–

R.P.

∑

ã ? U–

72

Vc.

turn off record player

∑

u

>

turn down record speed to 33

remove needle with a small scratch

–

∑

U

U

grab record

exit stage deliberately

–

mst

use full length of bow until tip glides off string

U-

∑ –

˙

moving down the fingerboard dying away to white noise

U

–

get up, walk toward record player

∑

8" mask bow change ( ≥ )

small gliss before

ã

w w

∑ 8"

69

Vc.

U

w w

a warm undercurrent

ã

∑

U

67

Vc.

U

∑

? AU w bw ( p)

? U b w( p)

∑

U

exit stage deliberately

R.P.

U

once violist is gone, exit stage deliberately

64

Vc.

once violin II is gone, exit stage deliberately

–

B –

64

–

U

∑

64

U

∑

64

U

∑

o