On Negative Space (2018)

on negative space for solo violin

derek douglas carter 2018

notations and techniques s.t.

sul tasto

all trills should alternate to the half step above, unless otherwise notated

s.p.

sul ponticello

arrows show a gradual, continuous change between techniques

molto sul ponticello

quarter tones are notated as follows, splitting the distance between naturals and sharps/flats:

m.s.p. ric. vib. n. flaut., molto flaut.

ricochet bow vibrato normal bow pressure

All natural harmonics are notated at fingered position with open diamond heads as the piece is very quiet in nature, it is recommended to use light amplification in large concert venues.

flautando, using a quick bow speed, and minimal bow pressure. aim for a flute-like sound, airy and veiled tone ordinary bow pressure to crushed bow hairpins with circle denote an imperceptible attack or release quotes around dynamics show the intensity that a technique should be performed rather than the sounding volume of the technique filled in diamond noteheads with downsteams show fingered notes. the performer should press down desired note with left hand without bowing or plucking string; a very quiet tone should occur behind-the-bridge-clef: each space corresponds to a string, labeled with roman numerals. notes on this clef are performed on the notated string, behind or on the bridge. from top to bottom: E string, A string, D string, G string

pressed bowing, near the tailpiece. dry rattling sound, “perforated.� avoid whining, smudgy, distorted sounds.

x-noteheads are played on the bridge

circles indicate the bow is no longer playing behind the bridge

for Mieko Kanno

On Negative Space derek douglas carter (2018)

III. The technology of silence

I. rich, yet silent q = 52

Ÿ~~~~~~~~~~~~~~~~~~~~ #3 ™ 3

U Œ

° 3 &2 Œ

3

3 b3

3 b3

3

3

U ≈

≈

3 3

3

11

Violin

o "f "

U Œ

3 ¢ 2 >Œ mp

Πo

¡Œ

U ≈

r Œ>.

‰

p mp

I III II IV

The rituals, etiquette

∏∏∏∏∏∏∏∏∏

pizz.

# Ÿ~~~~~~~~~~ ° ‰ Ÿ~~~~~~~~ n3 3#3 Ÿ3 ~~~~~3b3 n3b3 Œ 3 3 3 b3 & #3 ™ 3 3 2

5

7

II. pizz.

III. flautando

mf bœ ¿ + #œœ™ ¿ œj œ™™ # œ ¿J ‰ o mp

(III.) ric.

5

U Bœ Œ

≈ œ mp

p

3

o

o "f "

U ∑

3

¢

Ó o

¡Œ

,,,

Œ >Œ >Œ >Œ

,

mf

The blurring of terms 7 0 flaut. + ric. œ ~~~~~~~~~~~~~~~~~ # œ Ÿ Ÿ~~~~~~ ° 6Ó # œ œ j œ œ œ # œ œ œ # œ œ œ n œ œœ &2 nœ#œ œ 3 3 3 3 3 3 3 3 3 œ™ œ œ #3 n3 3 œ œ œ J Æ 7 7 o "f " mp f pp "f " p mp 6 j ,, Ó Ó Ó ‰ Œ ¢ 2 -Œ -Œ -Œ -Œ -Œ ‰ ,, arco, m.s.p.

4

5

U Bœ ‰ p

U ‰

mp of words or music or even

silence not absence

raw sounds

ord.

™ ° 5 ## Oœ ™ &2 5

pizz.

arco.

‰ #œ

pp

#3 3 #3 3 3 n3 Ÿ~~~~~~ #3 3 3 3 3 333 2 32 #3 3 3 3 (IV.)

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œ

m.s.p

j ‰ Œ œ

∑

mp 3

5 ¢ 2

Ó

Œ

Π,

3 ‰ j ¿ Œ Œ Œ Œ ‰

mp

YY ™™

2Y 2Y

Œ Œ >Œ

pp mf

Copyright © Derek Carter

2

Silence can be a plan 7

° 4 #3#3#333 ‰ Œ Ó Œ 3 3 3 3 3 + Œ 3 3 & 2 #33 33

#3#3 3 3 ‰ 3 33 Œ 1 5 3 3 4 + 2 Œ Ó #3 3#3

333

3333 Ó 3

3 3

3

4‰ ¢ 2

‰

ŒŒŒ Ó Ó >>>

3

Œ Œ Œ 41 + 52 Œ Ó Ó

Œ

j Œ‰

p

Œ Œ Œ ŒŒ

Ó >Œ ™ Œ

mf

sf the blueprint of a life

rigorously executed II. m.s.p. Ÿ~~~~ œj ## Oœ # 3#œ œ œ # 3 œ33333 Œ #3 3 3 3 o ppp mp "f " 6 "f " Œ , , ¿ ¿ Œ Œ ,,, Œ

9

° 5Ó &2

5Y ¢ 2

slow, pulsing wide vib.

IV. ric.

Oœ J ‰ œ

m.s.t., at the tip

Bœ W

Bœœ œœ œœ œœ

p

p

pp

mf

Œ

Œ

∑

p It is a presence slow, pulsing wide vib. slow, pulsing wide vib. molto flaut.

11 ord. flaut.

(III.)

3

& <B>˙

œ Bœ œ œ

˙ BO˙ w

4˙ 2

œ œ œ ˙

j #œ

Bœ pp

p

5 2 Bw ∑

w™ # œ œ œ Œ Ó attacca + + +

pp pp

pp mp

mp

pp

II. sharp and grey it has a history of form

° 5 ≤ & 2<B>w

(slow, pulsing wide vib.)

# ϳ ord.

BBœw™ µœ

∏∏∏∏∏∏∏∏∏∏∏

(molto flaut.)

m.s.p. m.s.p. ord. m.s.p.

W

˙

Ó w

Ó

Ó

Ó #W pp

pp fp

5 ¢ 2

∑ ∑

∑ ,

Y

¡Œ

¡Œ

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p

mf

pp

mp

,Ó

Ó

Ó

Ó

Do not confuse it 18 ord.

3

& <#>˙

O

4 O O O O nO O#O O œ O œ O œ O œ O œ O œ 2 #O#O O O#O O nO O n O nw f

˙

p

mp with any kind of absence.

IV. norm., ric.

20

3 &2

5 2

‰ œ

œ

Bœ w

4 2 ˙

˙ B ˙O w ™

Ÿ~~~~~~ n O O # O O n O O O O O O OnO O O O ˙ œ O#O O œ # O O O nO O mp

mf

p

p

mf

mf wide vib., irregular speed

VI. The scream m.s.p. <Ÿ>~~~~~~~ ° 5 Ó &2 ˙

Bw ææ

23

Bw ∑

Ó

˙ æ

W 4 ææ 2 f

Œ Œ Œ ¡Œ

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Y p

mp

p

,

w ææ

ppp

f

mf

mp

5 ¢ 2 ,Ó

sub.p

w ææ

∑

4 2

Ú

Ú

of an illegitimate voice I. II.

bpizz. œ #œ

<B> w ™ 27 3 æ &2 æ

#œ

#arco w nw

Œ

II. III.

bpizz. œ #œ

3

#œ

#arco w nw

œ nœ Œ

œ 3

o pp

fff sub.p

p

pp 3

o

It has ceased to hear itself, therefore 30 pizz.

ord.

arco

#œ œ#œ œ#œ œ ‰ j & #œ w

4 j ‰ Œ 2œ

Ó

Ó

Ó

#˙O

Ó

∑

pp 6

mf

ppp

III. colorful, but light

IV. III.

How do I exist? it asks itself

m.s.p.

#˙ Ó ˙

molto flaut.

5

° 4 b˙ &2

Ó

5 5 2 OnO O#O O O O OnO O Oj ‰ 3 3 3#3 3 3 3 3n3 3 3 ‰ Ó J

∑

5

ppp

4Ó 2

Ó

Ó

5

o ppp

p

pp

p "f "

4 ¢ 2

5 2Ó

Ú

Ó

Ó

4Y 2

Y

Ó,

¿ ¿™ ¿ Y

pp

This was the silence I wanted to break in you ord. slow, narrow vib.

36

° <#> w & w

slow, narrow vib.

3 2Ó

∑ ppp

B˙

˙

p

mp

,Ó

Ó

j ‰ œ o

Ó

¢

Ó B˙ p

3

∑

Œ

3

3 Œ> >Œ >Œ 2 ¡>Œ mp

‰ Œ Œ Œ Œ >>> mp

p

Ó,

¡Œ

slow, wide vib

I had questions but you would not answer 39 7 6 6

° & O #O nO bO O O O 3 b3 3 3 b 3 Œ O O O b O n O <B> œ n3

6

bO O n O O # O nO #O O nO O O O B w ™

6

mf

p

mf

pp

"f "

Ó

Π
¢

,Ó

∑

mp

I had answers but you could not use them pizz.

arco, ord.

œœ & #œ #œ œBœ w <B> œJ ‰ (pp)

bœ ric. # œ Ó ‰ Œ œ #œ # œ J œ

pizz.

‰Œ Œ Bœ o

Ó nœ

∏∏∏∏∏∏∏∏∏

m.s.p.

∏∏∏∏∏∏∏∏∏

41

b œ ric.

Bn˙˙ Ó #n#œœœ ‰ œ J

∏∏∏∏∏∏∏∏∏

pizz.

5

bœ Œ ##œœœ ‰ J

# œo

p f

mp

pp

(pp)

ppp

This is useless to you and perhaps to others. — Adrienne Rich, Cartographies of Silence

n

ord.