TheBára Gísladóttir: Respirare l’ombra (2017)

Bára Gísladóttir Respirare lʼombra (2017) for harp and a five string double bass Dur. 5′

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Bára Gísladóttir Respirare lʼombra (2016)

Explanations

for harp and a five string double bass Dur. 5′

Harp Rub

Explanations Explanations Explanations Harp

Harp

PERFORMANCE NOTES

http: with

Explanations Harp

Rub strings within clus Explanations

should take as little spa

Rub finger vertically back and forth on the string. In the first three seconds of this video you can Rub finger vertically back and forth on finger the string.

In theback first three seconds of string. this video youfirst canthree see the technio Harp Rub vertically andHarp forth on the In the seconds http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings.

The rubbing should Harp http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings.

The rubbing should take as little spT http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings. with stronger dynamics), and be as fast as possible.

Rub finger vertically back and forth on the string. In the first three seconds of this video you can see the with stronger dynamics), and be aswith fast stronger as possible.

Rub finger v dynamics), and be as fastScrape as possible. string vertically Rubwith fingerfin v technique being implemented: http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings.

Rub finger vertica http://sites.si The rubbing should take as little space of the string as possible (although, this space naturally increases with http://sites.si scraping should as much Rub strings within cluster vertically back and forth with whole hand as shown on second five in take this video: http://s http://sites.siba.fi/ stronger dynamics), and be as fastRub as possible. strings within cluster verticallyRub back and forth with whole hand as back shown onforth second in this video: http://sites.siba.fi/web stronge strings within cluster vertically and withfive whole hand as shown on with second five i stronge withwith stronger dyn should take as little space of the strings as possible (although, this space naturally increases with stronger dynamic should take as little space of the strings astake possible (although, increases with this stronger and be aswi fa should as little space ofthis thespace stringsnaturally as possible (although, spacedynamics), naturally increases Rub strings within cluster vertically back and forth with whole hand as shown on second five in this video: Rub strings within cluster vert Rub strings within cluster vertv Scrape strings within cluster Rub strings within cluster vertically http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings. The rubbing should take as should take as space th broader intake texture. should as little space of theof little space of the strings as possible (although, this space naturally increases with stronger dynamics), and should take as little little space ofstri th Scrape string vertically with finger in the direction indicated by the arrow, as shown on second eight of the uppermost vid be as fast as possible.

Scrape string vertically with fingerScrape in the direction indicated byfinger the arrow, shown on second eight the uppermost http://sites. string vertically with in theasdirection indicated by theofarrow, as shownvideo: on second eight o scraping should take as much space of the string as possible. scraping should take as much spacescraping of the string astake possible. should as much space of the string as possible.

Scrape string vertically with finger in the direction indicated by the arrow, as shown on second eight of Scrape string vertically with finger in the dit Scrape Scrape string string vertically vertically with with finger finger in in t the uppermost video: http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/scraping-strings. The scraping should take as much space of the s Double Bass Scrape strings within cluster vertically with whole hand.

The scraping should take as much space of the strings as possibl scraping should take as much space of scraping should take as much space of the stringcluster as possible. scraping should take asmuch much space ofth Scrape strings within vertically with whole hand.

The scraping should take as much space of the strings as possible.

The cluster s Scrape strings within cluster vertically with whole hand.

The scraping should take as space of broader in texture. broader in texture. broader in texture. s.p. – sul ponticello Scrape strings within cluster vertically with whole hand. The scraping should take as much space of the Scrape strings within cluster vertically with within m.s.p.

–Scrape molto sul ponticello broader instrings texture. strings as possible. The cluster scraping is similar to one-stringed scraping, allthough not as sharp, but Scrape strings within cluster cluster vertically vertically broader in texture. broader in texture. broader in texture.

Harp

Double Bass Double Bass Double Bass

s.t. – sul tasto

s.p. – sul ponticello m.s.t. – molto sul tasto s.p. – sul ponticello Double Bass s.p. – sul ponticello m.s.p. – molto sul ponticello ord.

Double Bass ponticello s.p. – – sul ordinario ponticello Double Bass m.s.p. – molto sul ponticello s.p. – sul ponticello m.s.p. – molto sul s.t. – sul tasto m.s.p. sul ––molto sul ponticello s.t. – sul tasto c.l.tr. col legno tratto s.p. ponticello m.s.p. – molto sul ponticello s.t. – sul tasto s.p. – – sul ponticello m.s.t. – molto sul tasto s.t. – sul tasto s.t. – sul tasto m.s.t. – molto sul tasto m.s.p. molto m.s.t. – molto sul tasto o.p. (the levels of o.p. a m.s.p.– – –overpressure molto sul sul ponticello ponticello ord.

– ordinario m.s.t. – molto sul tasto m.s.t.

– molto sul tasto ord. – ordinario s.t. ord. – ordinario s.t. – – sul sul– tasto tasto o.p. no overpressure (as an indicati ord. – ordinario c.l.tr. – col legno tratto ord. –0ordinario c.l.tr.

– col legno tratto m.s.t. c.l.tr. – col legno tratto m.s.t. – – molto molto sul sul tasto tasto c.l.tr. – col legno tratto c.l.tr.

– colwhere legno tratto o.p. – overpressure (the levels of o.p. are divided into four different groups, from 1/4 to 4/4, 1/4 is a slight o.p., and 4/4 is a o.p.

– overpressure (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., a full1/4 o.p.iswith a ord.

– ordinario o.p. – overpressure (the levels of o.p. are divided intoo.p. four– different groups, from 1⁄4 4⁄4,are where 1⁄4 isinto a slight overpressure (the levels ofto o.p. divided four different groups, from 1/4and to 4/4 4/4,iswhere a slig ord. ordinario o.p. ––overpressure (the levels of o.p. are divided in o.p.

0 – no overpressure (as an indication that o.p. is no longer to be used) o.p., and 4⁄4 is a full o.p. asoverpressure little pitch-audibility as possible) gradually move from one t o.p. with 0 – no (as an indication o.p. is no longer to be used) that o.p. is no longer toc.l.tr.

– col legno o.p. 0 –that no overpressure (as an indication be0used) c.l.tr. coloverpressure legno tratto tratto(as an indication that o.p. i o.p.

–– no o.p. 0 – no overpressure (as an indication that o.p. is no longer to be used) o.p. o.p. – – overpressure overpressure (the (the levels levels of of o.p. o.p. are are divid divid gradually move from one technique to the other gradually move from one technique to the other o.p. no overpressure an indication that move(as from technique to t gradually move from one technique to the other Gradually move from one technique to the other o.p. 0 0– – harmonic no gradually overpressure (as anone indication that

Double Bass

harmonic

Harmonic

harmonic

Artificial harmonic

artificial harmonic artificial harmonic artificial harmonic

harmonic

harmonic gradually move from one techniqu

gradually move from one techniqu artificial harmonic

artificial harmonic

harmonic harmonic

Move bow in the mode of Move bow in the mode of a pendulum swinging frombow sideintothe side, where stringsswinging serve asfrom a springboard.

Move mode of a the pendulum side to side, where the strings serve asina not springboard.

Thishori crea Move bow the mode of a pendulum should behorizontally, moved Movewhere bow inthe the modenot of a pendulum swinging from side to where the stringsfrom serveside asartificial atospringboard.

This creates an arpeggio harmonic This creates an arpeggio-like effect motion happens mainly in the The bow not be Move bow in wrist. the aside, pendulum swinging side, where the strings serve as abut spr should not be moved should be moved horizontally, butmode is to of stay inshould the same position. artificial harmonic should not be moved horizontally, but is to stay in the same position. should not be moved horizontally, but is to stay in the same position. moved horizontally, but is to stay in the same position.

Move Move bow bow in in the the mode mode of of aa pendu pendu should not be moved horizontally should not be moved horizontally

for Intercontemporain, ManiFeste 2017

Respirare l'ombra Bára Gísladóttir 2017

scrape q = 60

˙ ˙·

? ‹

œ œ œ œ œ· œ· œ· œ·

∑

∑

∑

sfzmp

∑

pp scrape

Hp. rub strings

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? w™ ˙ w ‹ w· ™ ˙· w·

rub string

~~~~~~~~~~~~~~~ œ œ œ œ œ· œ· œ· œ·

{

∑

® ≈ ‰ œ > mp

o ppp

mp

pp

˙ ppp

Scordatura

°?

w w w bw w

III m.s.p. flautando let vib.

m.s.p. o.p. 0

m.s.p. o.p. 2/4

m.s.p. ord.

q = 60

nœœ nœœ ® ≈ ‰ b >œ p

? ∑

∑

Db.

¢

Œ

nœœ nœ b œœ

Ó

∑

œœ œœ œ

œœ ≤ œœ ~ œ o

Œ

pp

∑

˙O mp

ppp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ œ œ œ œ œ ~~~~~~~~~~~~~~~~~~~~~~ œ · · ˙™ œ· ·œ œ· ·œ œ ·œ

7

? ‹

œœ œœ œ

∑ 5

ppp

pp

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ‹ œ œ œ œ œ

®

{

pp

˙™

w

˙™

I m.s.p. flautando let vib.

Db.

Ϫ

>œ

ppp

mp

~≤

nœœ œœ œœ °? ® œœ œœ œœ œœ ¢ nœœ œœ œœ bœ œ œ œ œ œ >œ pp p

s.t. o.p. 1/4

m.s.p. ord.

‚

∑

‚™

‚

Œ

m.s.p. o.p. 2/4

‚ œ ‚ œ ‚ n>œœ nœœ ® ≈ bœ

o mp

pp mp 5

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ ? ˙· ˙· ∑ ∑ ∑ ‹ ppp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ? ∑ ˙ ˙™ œ™ w ‹ ˙· ˙· ™ œ· ™ w·

12

Hp.

{

∑ 7

œ œ œ œ œ œ œ œ· œ· œ· œ· œ· œ· œ·

ppp m.s.p. o.p. 0 IV Db.

sfzpp m.s.p. flautando I

5

°? ¢ O b˙

nœœ ® ‚ œ ‚ œ ‚ n>œœ

∑ ‚ œ ‚ œ ‚ b ˙™

O

pp m.s.p. ord.

II

~~

‚ ‚ ‚ ‚ ‚ ‚ ‚

II 7

o

o ppp

p

mp

pp

V ppp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ? ∑ ∑ w w ˙· ™ ‹ o ppp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sfzpp ? ® ∑ ∑ ‹ œ œ™ ˙™ ˙™ w >

18

Hp.

{

f ppp m.s.p. flautando

m.s.p. o.p. 0

m.s.t. o.p. 2/4

m.s.p. ord

IV Db.

°? ~ ¢ o

O™

‚ n ‚‚ ® ≈ b >œ

mp

f

œ

˙™

Ó bw

O

b O˙™™

ppp

~~~~~~~~~~~~~~~~~~~~~~ ˙ œ œ œ œ œ œ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ w ? ˙· ·œ œ· œ· œ· œ· œ· œ· w· ∑ · w™ ‹ o sfzpp ppp ppp mp 7 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ∑ j ‹ œ w ˙™ ˙ w™

23

Hp.

{

sfzpp

pp 7

I Db.

°? ¢ O b˙

n ‚‚ n ‚‚ bœ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

O

O

O™

O

~ o

o mp

O

ppp

pp

28

3

? ‹ Hp.

∑

∑

∑

® ≈ ‰

Œ

Œ

œ > mp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ˙ ˙™ ‹ w ˙™ ˙™ ˙· ˙· ™

p 3

œ œ œ œ œ œ œ œ œ ‰ œ· œ· œ· œ· œ· œ· œ· œ· œ·

{

ppp

sfzpp

pp s.p. o.p. 0

m.s.p. o.p. 2/4

Db.

°? ¢

∑

∑

® œ ≈

Œ

b ‚‚ bœ‚ ® ≈ ‰ b >œ mp

∑

Œ

b ‚‚ b‚ b œœ

Œ

m.s.p.

(I)

‚‚ œœ‚

‚‚ ® ‰ œœ‚

‚‚ ‚ ® œœ‚ > o mp

pp

33

Hp.

? ‹ ? ‹

{

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙™ œ œ œ œ œ œ w ∑ ∑ o 5 ppp pp ppp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑ Ó w w ˙ ˙™ w ·w ·w · · ˙ ˙™ w· o ppp pp ∑

Ó

5

Db.

°? <b>~ ¢

b~

‚O œ ‚ œ ‚ Œ

bO™ O™

~

bb~~ o o

O™

ppp (II)

~~~~~~~~~~~~~~~ ˙ ˙·

39

? ‹

> ® œ ≈ ‰

Œ

œ >œ ≈ ‰

Ó

∑

Ó

Œ

‰

œ œ œ œ

Ó™

pp mp

sfzpp

pp mp

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ ·˙ ˙·

? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ w œ w™ w ‹ w· œ· w· ™ w· o o pp

{

fpp

I

Db.

°? n ‚ ® ≈ ‰ ¢ nb œ‚ bœ

Œ

b‚ bœ‚‚ bœ

Ó

pp

m.s.t. o.p. 3/4

‚ b‚ ~™ ‚ ≈ œœ‚ > ppp mp

bO ™

‚ œ ‚ œ ‚ bb˙O ™™

O o

pp

44

Hp.

? ® >œ ≈ ‰ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙™ ‹ mp ppp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ˙ ∑ ‹ ˙· o

œ œ œ œ œ œ œ

™ ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ‰

>œ ® ≈

mp

pp

mp

7

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ ˙™ œ· ˙· ™

{

∑

∑

pp I m.s.p. o.p. 0

m.s.p. o.p. 2/4

Db.

°? ¢

b‚ bœ‚‚ ® ≈ ‰ b >œ

m.s.p. c.l.tr. > b ‚ ‚‚ ‚‚ ‚‚ b ‚‚ ‚‚ J bœ œ o mp

m.s.t. o.p. 3/4

b ‚‚ b‚‚ bœ

bO ™ Œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ ‚‚ œ

‚‚ s.p. o.p. 0 ‚‚ O ™ œ b ˙™

∑

o ppp

o

pp

mp

mp

7

50

Hp.

? ‹ ? ‹

∑

∑

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ˙™ pp

∑

∑

∑

∑

® ≈ ‰

Œ

Œ

b >‚‚ b‚‚ ® ≈ ‰ bœ

Œ

Œ

{

s.t. o.p. 1/4

Db.

°? <b> ~~ ¢

b ~~

OO ™ ™

b ~~

ord m.s.p. o.p. 0

‚ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ OO

œ > mp

ppp mp

4

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ·

55

? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‹ w ˙™

® ≈

‰

Ó™

∑

Œ

Œ

>œ mp

sfzpp

Hp.

? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ® ≈ ‹ w ˙™ >œ mp

‰

{

m.s.p. o.p. 3/4

Db.

°? ¢

b >‚‚ b‚‚ bœ

∑

>‚ ‚‚ ‚ œ

>‚ ‚‚ ‚ œ

>‚ ‚‚ ‚ œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w™ w· ™ o pp

∑

>‚ ‚‚ ‚ œ

>‚ ‚‚ ‚ œ

m.s.p. flautando o.p. 0

m.s.p. ord.

>‚ ‚‚ ‚ O™ œ b ˙™ o

‚ O™ b w™

O ˙

‚ ‚

‚

‚™

‚ ‚ ‚ ‚

‚™ o

mp

p

pp

7

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w™ ˙™ ? w· w· ™ ˙· ™ > ‹ o œ let vib. pp

59

?

∑

∑

∑

w~~~~~~~~~~~~~~~~~~~ w·

Hp.

? ‹

{

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑ w™ ˙™ w· ™ ˙· ™ o pp sfzpp

mf

œ >

ppp

f

o.p. 2/4

3 Db.

o.p. 2/4 vertical rapid bowing from m.s.t. to mid-fingerboard

3 vertical rapid m.s.p. o.p. 1/4

bowing from m.s.p. m.s.p. ord. to m.s.t. o.p. 0

7

7

°? ¢ ~ bw

‚®≈ ‰ Œ b >œ

pp

‰ Ó

Ó™

Œ

® ‚œ‚œ‚œ‚ b ˙™

B œ ‚ œ ‚ œ ‚ œ B w~

b >œ

ff pp

let vib. ~~~~~~~~~~~~~~~~~~~~~~~~ ™ ˙ ? ® œ · ˙™ >

ff

pp

65

sfzppp

∑

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ·

∑

p

sfzpp

Hp. 3 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r ™ ™ ? ˙ œ ˙ œ w · · · · ‹ ˙™ œ ˙ œ™ w· œ œ œ œ œ

{

3

® œ œ œ

œ

pp m.s.p. o.p. 1/4

Db.

°? ¢ <B> ˙O ™™

s.t. o.p. 2/4

œ bœ‚‚ ® ‚ o Bpp

m.s.p. o.p. 0

3

œ‚ œ‚ œ‚ œ‚ œ‚ œ‚ œ‚ œ‚ >œ‚ ® ≈ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚œ B‚ B w~

˙O

f

3

bœ‚ œ‚ œ‚ ® œ‚ Bœ ‚ œ ‚ œ ‚ ‚ ‚ ‚

pp

, ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w™ ˙™ ˙ ˙ ? ˙™ ? ® bœ ™ œ bœ ™ œ · · · ˙™ w™ ˙™ ˙· ‹

71

pp mp

pp

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ˙™ ˙ œœœœœœ œ œ ‹ ˙· ™ ˙· œ· œ· œ· œ· œ· œ· œ· œ·

{

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ˙™ Ó · ™ ˙· ™ ˙ o pp o.p. 2/4

3

∑ œœœœœœœœœœœ pp

m.s.p.

(V)

Db.

°? ¢

∑

‚ ‚ ‚ ‚ n ˙O

‚

‚

‚ p

O™

3 vertical slow bowing from ord. m.s.p. to mid-fingerboard , o.p. 0 O™ O O™ o pp

3

bO

b‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚

5

˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ ·˙ ™

76

~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ? ˙· ™ Ó™ ‹ sfzpp

sfzpp

Hp. 3

? b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‹ w™

6

5

bœ ® œ œ œ œ œ œ ® œ œ œ œ ® œ œ œ œ œ œ œ œ œ œ œ œ œ œ

{

ppp

p

6

b ‚‚ ‚‚ b ‚‚ ‚ b‚ ® ‚‚

IV Db.

°? ~ ™ ¢ b~ ™ V ppp

‚‚ ‚‚ ‚

‚‚ ‚‚ ‚

‚‚ ‚‚ ‚

‚‚ ‚‚ ‚

‚‚ ‚‚ ‚‚ ‚ ‚ ® ‚‚

‚‚ ‚‚ ‚

‚‚ ‚‚ ‚

‚‚ ‚‚ .s.p. ‚‚ ‚‚ ‚ ‚ ® ‚ bœ ‚ œ ‚ ‚œ ‚ œ ‚ œ ‚ œ ‚ œ

3

p 5

pp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ˙ ˙ ? ˙· ™ ·˙ ˙· ‹ o ppp

78

Hp. 3

7

? bœ ® œ œ œ ‰ ‹ >

Œ

{

mp

Œ

6

Ó bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

pp

o.p. 3/4 let vib.

m.s.p.

Db.

b ‚‚ ‚‚ ‚‚ œ œ œ b œœ œœ œœ

n OO

IV

°? O™ ¢ bO ™

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

‚‚ œœ œ

>‚ ‚ œœ ‰ œ

V ppp 7

6

mf

9 3

80

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ˙ bœ œ œ bw b˙ œ œ œ œ œ œ œ œ œ œ ‹ bw o p pp ppp Hp. 9

? ‹

∑

{

∑

∑

Ó

® ® ® ® bœ œ œ œ œ œ pp

m.s.p. o.p. 1/4 let vib.

Db.

°? ¢

b ‚‚ b ‚‚ b‚

∑

‚‚ ‚‚ ‚

>‚ ‚‚ ‚‚

9

∑

ΠO o

3

‚ œ ‚ œ ‚ œ ‚ œ ‚

p

p

84

? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‹ bw

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ˙ w ˙· ™ ˙· w· œ ® ≈ sfzpp

ppp

‰

Œ

pp

Hp.

? ® b>œ ≈ ‰ ‹

{

Œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b˙ ™ b˙ ™ ˙ bw b˙

Ó

ppp mf

3

o.p. 3/4 vertical rapid bowing from m.s.p. to m.s.t. m.s.p.

Db.

°? ¢

3

® ≈ ‰ >œ f

‚ o

3

‚ œ ‚ ‚ œ ‚ pp

∑ O™ ppp

O

~

b‚ >œ œ ‚ œ ‚ œ ‚ œ ‚ Œ o 6 p