quadruple bass a work in progress for string quartet by federico llach
score
Quadruple bass The pitch material of this piece is based on the overtones of the pitches E0 and A0. This gives the name to the piece, since these pitches are one octave below than the two lowest strings of the double bass. In achievieng the exact intonation of these overtones - especially the higher and more “irrational” harmonics - the strings are retuned and, for the most part, the piece consists of natural harmonics. The accidental notation follows the principles suggested by Marc Sabat in “The Extended Helmholtz-Ellis JI Pitch Notation”. Scordatura for this piece is: Partial number: 3 5 7
#
$
5
11
!
cello
T >
Fundamental
7
# $
11
16
9
13
viola
% %
T
T >
violin II
19
31
8
10
#
17
25
!
violin I
T
Score is in actual pitch. Parts are transposed; i. e., the pitches are written as if the instrumens were regularly tuned. Therefore, parts - for most of the piece - use “regular” accidentals only. In the score, notes have an indication of string number and partial number. Ex: IV 5 meaning fifth partial on the fourth string. These appear only the first time a pitch is called per passage. In phrases involving rhythmical repetition of pitches, prolongued lines mean repetition of the given pitch following the rhythm shown by notehead-less stems, as in:
!
I1
M
"
II 3
!
!
Other symbols or noteheads are explained as they appear for the first time in each of the instruments.
quadruple bass
Score
Federico Llach
1 q = 67
2 4
!oœ I1 ! tœ
nœ-
&
F
p
>–
&
[ ƒ !]
#uœ
II 4
F
p
II 5 III 4
Viola
&
p
<œ
scratch
&
¿[ "!]
#<œ !<uœ
I7
Cello
&
5
F
p
"vœ-
p
o
o oo
tœJ
III 10
oo
o
F
5
‰
F
<œ 5
3
harm. gliss. III
II 5
p
#uœ !
uœ
1 4
p
[ƒ]
5
3 8
3
>–
IV 8
B
F
$œ III 3 "vœ !
III 4
!oœ ‰ tœ
nœ-
‰
5
5
"vœ-
bow on body
Violin II
12 4
II 3
IV 6
Violin I
3 8
#<œ ‰ <uœ p
3
B
&
¿[ "]
$œ
‰
F >–
"vœ
#
3
3
#uœ !
uœF — J
nœ-
p
highest note on string pizz. arco gliss. IV
5
F
‰
tœJ
F
[ƒ]
<œ 3
#<œ !<uœ p
quadruple bass
2
9 3 8
& !
6
Vln. I
Vln. II
Vla.
Vc.
&
&
&
!oœ p
2 4
tœ
j ¿[ "!]
scratch
$œ ! "vœ
uœ-
‰
F III
p
oo
o
o oo
p
!oœ
o
tœJ
F
F
¿[ "!]
>–
uœ-
[ ƒ !]
F "vœ
‰ 3
tœF
"vœ-
j ¿[ "!]
scratch
"vœ ‰
F
3
#uœ ! <œ
p F ?
¿[ "]
p
p
3
p
>– J
[ƒ]
5
Hammer-on P4Up from open string
mœ.
III
f
!
3
‰.
#uœ ‰ ‰ uœ
#<œ ! <uœ p
[ƒ]
F
5
$œ
>–
.
!oœ ‰ tœ
nœ-
‰
scratch
bow on body
2 4
5
3
! "vœ-
5
p
‰ tœ
3 8
‰
&
III
p
oo
o oo
oo
tœJ
F
$œ 5
p
uœF #<œ ! <uœ p
quadruple bass
2 4
11
Vln. I
Vln. II
Vla.
&
!oœ ! tœ
nœF
p
‰ <œ p
5
"vœ ‰
F
p
#uœ
>–
[ƒ]
3
#œ
I6
Vc.
&
1 4
j ¿"
"vœ-
‰
&
&
3 8
III
o ooo 5
p
ooo
tœF
3 3 8
nœ-
!oœ
j jœ. f p
Hammer-on
F
$œ
2 4
tœ
F
uœJ
F ‰
#œ p
$œ
p
!
5
highest note on string
harm. gliss. IV
p
—.
5
3
"vœ- "vœ J !
3
molto sul pont. III
oo
<uœ 3
oo
o oo
!
IV
F p ‰
tœF
oo
oo
oo
o
uœæ " "vœ-
>–
[ƒ]
F #uœ < œ ‰
uœF
p
3
!<uœ p
#œ
?
¿[ "]
quadruple bass
4 17 3 8 16
Vln. I
Vln. II
&
2 4
"vœ & !
$œ
F !
p
Vla.
Vc.
&
?
&
tœJ
F
?
%Uœ zœ p
F
[ƒ]
3
H-on III
&
p
III
p
F
#uœ ! <œ
IV 8
o oo
oo
oo
tœF
‰ "vœJ
>–
III 5
F
f
3
IV 4
uœ-
mœ. ‰
2 4
p
<mœ-
III 5 (or IV 7)
‰
F
¿
>– [ƒ]
uœ-
!oœ ! tœ
nœ-
‰
Ͼ
3 8
5
‰
‰
3 8
nœ-
>–
bow on body
F
[ ƒ !]
Hammer-on A4Up from open string
‰
j jœ. f
p
"vœ-
j jœ. f
F #uœ ! <œ
<mœ-
III 5
F
p
#œ ! <uœ F
5
!oœ ! tœ
uœJ
F
%Uœ ! zœ p
III
p &œ-
II 7
3
R !
5
F
o oo
oo
oo
quadruple bass
5 25
1 4
3 8
<œ-
!oœ ! tœ
IV 7
21
Vln. I
Vln. II
Vla.
Vc.
&
&
&
&
2 4
F
‰
p
$œ-
>– [ƒ]
! tœ
[ƒ]
F #œ ! <uœ p
?
‰
F
¿[ "]
H-on III
j mœ. f
&
‰
&
tœJ
F
‰
!
‰
&œ
tœ
IV 5
uœ-
p
#œ p
<uœ 5
3
tœJ
F
p
"vœF
oo
oo
3
>– [ƒ]
III
3
!oœ ‰ tœ
j ¿[ "]
5
¿[ "] III 7
B
!oœ
1 4
p
"vœ-
‰
F
<mœ-
>–
3 8
o
‰
oo
(
!<uœ p
F) #œ
<mœF — gliss. ‰ pizz.
IV
F
B
quadruple bass
6 3 8 26
Vln. I
Vln. II
&
&
2 4
ooo
p "vœJ
F
Vc.
B <œ. J f &
‰
ooo
o
F
%Uœ ! zœ p
Hammer-on P4Up from open string
Vla.
nœ-
harm. gliss. IV
&
!
&œF
&œ p
molto sul pont. III
"vϾ f
5
3 8
>– ‰
[ƒ]
p
3
F
5
?
H-on
molto sul pont. III
uϾ p
%Uœ ‰ zœ "vœ
<mœ-
tœ
‰
1 4
mœ. ‰ ‰ ¿f "
‰
j ¿
&œ p
3
lœ ! <œIII 5
#
‰
F
! tœ
!oœ
3 8
.
tœ J
tœ‰ &J
F
F $œJ
>–
! zœ
II 3
[ƒ]
F
uœ-
p
! tœ
F #œ
! <uœ p
5
.
%Uœ
p
&œ
!
5
R !?
¿[ "]
&
quadruple bass
7 34
1 4
lœ
tœ & ! p
31
Vln. I
Vln. II
Vla.
Vc.
&
&
&
3 8
ooo
3
ooo
o
‰
F
uœ-
B
F
F
#œ
‰
¿[ "]
&œ>– J ‰ J bow on body
[ƒ]
%Uœ
F
p &
zœ 3
! tœ p
Œ
Œ
&œ
3 8
Ó.
Œ.
$
Ó.
Œ.
w
˙.
œ.
Ó.
Œ.
3
$œ-
p
! <uœ
7 8
.
5
harm. gliss. II
2 4
‰. Ó.
5
!<uœ p
#œ 5
.
‰. Ó.
quadruple bass
8
40 3 4 36
Vln. I
Vln. II
Vla.
Vc.
&
&
&
&
jœ
IV 4
lœ
p
3
!
lœ
‰.
jœ 5
%Uœ ! zœ p
5
3
˙.
2 4
3 8
2 4
Ó
Œ.
Œ
Ó
Œ.
˙.
œ.
%Uœ p
! jœ .
zœ
! tœ
p
<uœ 3
Œ
Ó
Œ.
<uœ p
Œ
5
"vœ-
‰.
III 4
F
&œ
p
#œ
p
lœ
j ooooooo
( e)
p
5
#œ 3
‰
?
H-on
mœ. f
&
‰
<mœ-
III 5
F
quadruple bass
3 8
1 4
2 4
3 8
vœ-
"vœ-
F
F
vœJ
41
Vln. I
&
3 8
nœF
IV 6
Vln. II
&
9
uœ-
IV 8
Vla.
&
Œ
Œ
F <œ-
II 8
Vc.
&
F
#uœJ
I5
Œ
F
F
<mœF
‰
uœF
quadruple bass
10
50 1 4 46
Vln. I
Vln. II
Vla.
Vc.
&
3 8
1 4
nœJ
F
‰
&
<œF
3 8
<œJ
Œ
F
&
&
3 8
$œ-
"vœ-
F
F
#œF ‰
tœ-
III 10
F
nœJ
F