Page 1

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

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 !

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

&

¿[ "]

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

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

>–

.

!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

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

2 4

F

uœJ

F ‰

#œ p

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

?

¿[ "]


quadruple bass

4 17 3 8 16

Vln. I

Vln. II

&

2 4

"vœ & !

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

!

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-

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

!

5

R !?

¿[ "]

&


quadruple bass

7 34

1 4

tœ & ! p

31

Vln. I

Vln. II

Vla.

Vc.

&

&

&

3 8

ooo

3

ooo

o

F

uœ-

B

F

F

¿[ "]

&œ>– J ‰ J bow on body

[ƒ]

%Uœ

F

p &

zœ 3

! tœ p

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.

&

&

&

&

IV 4

p

3

!

‰.

jœ 5

%Uœ ! zœ p

5

3

˙.

2 4

3 8

2 4

Ó

Œ.

Œ

Ó

Œ.

˙.

œ.

%Uœ p

! jœ .

! tœ

p

<uœ 3

Œ

Ó

Œ.

<uœ p

Œ

5

"vœ-

‰.

III 4

F

p

p

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

quadruple bass, work in progress  

quadruple bass, work in progress

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