Polillas (2021) for string quartet

GREGORY ROWLAND EVANS

Polillas for string quartet 2021

SCORE

FOREWORD Moths are the members of the Family Lepidoptera which are not butterflies. Most moths are nocturnal, navigating through the skies with the aid of the moon and stars, sometimes falling astray of their desired path due to the intrusion of artificial light. The Boötes void, sometimes called The Great Void or The Great Nothing, is a massive, practically barren region of outer space, known to contain 60 galaxies by 1997. Greg Aldering said of the void “If the Milky Way had been in the centre of the Boötes void, we wouldn’t have know there were other galaxies until the 1960’s.” Taking this vacuum further, imagine a dark, black sky. Imagine a landscape of moths, torn from their signals of orientation, forced to swarm and beat against each other in search of home.

(GRE)

Moth morning, maelstrom of mothwing at the window, fog-dulled sun trundled like a cart of moths across the aspirin sky. I stay in bed. Deer dance the bolero across the path. I used to count moths to sleep, each chewed-through cocoon an act not of transformation, but of violence against the past.

The history of a moth is my history. Mesh-like, the world held me. I escaped. Or it did. [...]

One regret settles like a moth on my knuckle. I am in a room, whose wallpaper is thin rain. This is a dream or what is found in the mind’s channel zero. The moth scans its head back and forth mechanically. It seems to be searching for the next place to land. Be quiet. The future is making a decision. It lifts, nestles in my ear. It says forgive me.

(Andrew Grace – Sancta [excerpts])

PERFORMANCE NOTES String Contact Points : The indications of string contact positions such as sul tasto (abbreviated as st.), sul ponticello (abbreviated as sp.), molto sul ponticello (abbreviated as msp.), etc. should be considered as points along the continuum of the length string. The performer should make an effort to smoothly transition from one position to the next throughout the duration of the passage covered by the arrowdemarcated dashed line. When this arrow is not present, the performer should default to an ordinario position. In extreme cases where this is a lack of space, sul tasto is abbreviated as T. and sul ponticello is abbreviated as P. Bow Contact Points : In various passages throughout this piece, there is notation which represents the point at which the bow is touched as it is drawn across the string. These positions are written as fractions where 70 and 05 represent au talon and 77 and 55 represent punta d′ arco. For the duration of the note to which these fractions are attached, the performer should draw the bow at a constant speed, moving toward the destination point indicated on the following note. Bowings are provided. Passages without these indications should be bowed at the performer’s discretion.

Bow Rotation Indications : 1 col legno tratto is abbreviated as clt. and 2 col legno batutto is abbreviated as clb.. When these abbreviations are not present, the performer should default to ordinary crine bowing techniques. 3 T wist is given as the direction to place the bow on two strings and to twist the bow in a circular motion to create a crackling sound. 4 Circular bowing is indicated with an articulation symbol

of a circle with an arrow. The speed of the circular motion is one full rotation for the duration under each articulation.

Damping : 1 The damp sign (a miniature coda symbol) means three fingers placed harmonic-lightly on the string. The sound is ‘white’ and damped, but with a pitch center to the band of white noise still very much discernible. 2 The diamond symbols refer to two (or more depending on the number of diamonds) fingers placed harmonic-lightly on the string. 3 The parenthetical-diamond spanners are trills between the single-, double- and triple-harmonic-damping techniques. That is: a double-diamond spanner with the top of the two diamonds parenthesized means to place two harmonic-light fingers on the string and then repeatedly lift-and-replace the finger closest to the nut on and off the string; this will effectively trill between vanilla-harmonic and the complex sound the double-harmonic will produce. Likewise, the triple-diamond spanner with the bottom two of the three diamonds parenthesized means to place three harmonic-light fingers on the string and then repeatedly lift-and-replace the bridgemost fingers on and off the string; this will effectively trill between the harmonic and the white-damped sound.

Scordatura : The lowest string of the Violoncello is to be tuned down one whole tone to B-flat. When this string is required, a bracket marked IV is placed above the relevant passages. Passages performed on this string are transposed to the physical playing position on the string rather than the actual sounding pitch.

Miscellaneous : 1 Tremoli should be performed as fast as possible and not as a measured subdivision of the duration to which they are attached. 2 Diamond note heads represent a left hand finger pressure of a natural harmonic. Flageolet notation with a circle above the note head indicates a harmonic which may be achieved either as a natural or artificial harmonic. 3 The choice to perform this piece either senza vibrato or con vibrato is left to the performers. 4 XF B represents an extremely f lautando bow. XF B tremoli should be slightly irregular, comprised of almost full bow strokes.

Accidentals : After temporary accidentals, cancellation marks are printed also in the following measure (for notes in the same octave) and, in the same measure, for notes in other octaves, but they are printed again if the same note appears later in the same measure, except if the note is immediately repeated. At times throughout the score, justly tuned intervals are indicated by the use of Helmholtz-Ellis notation combined with cent deviations from equal temperament for use with an electronic tuner. When no example pitch is given with the cent deviation, the mark is a deviation of the nearest “standard” accidental. If the performers wish to interpret the score without cent-tuning, the approximation of pitches to the nearest semi-tone is acceptable. When Helmholtz-Ellis notation is not given, the pitches are to be played as usual.

The accidentals for Justly-intoned pitches are always present before the note head.

Polillas was composed for the JACK Quartet as part of the 2021 residency at the University of Iowa.

duration: c. 23’

to the JACK quartet

.

POLILLAS o el Gran Vacío

33 44

for two violins, viola, & violoncello

= 120

44 44

= 60

33 44

Gregory Rowland Evans (*1995)

66 44

Violin I

O

3:2

sfp Violin II

ff

9:7

IV

IV

O

sfp

f

spazzolato

p

3:2

9:8

5:4

O

Viola

Violoncello

7

vn. I

vn. II

molto vib.

sfp

ff

77 44

ff

444 4

77 44

444 4

55 44

clt.

p

mf

spazzolato

va.

sfp

9:8

3:2

9:8

5:4

7:8

7:8

7:8

5:4

7:8

7:8

mf

3:2

3:2

3:2

3:2

3:2

clt.

9:8

7:8

clt.

5:4

9:8

9:8

5:4

7:8

mf

5:4

5:4

5:4

IV molto vib.

vc.

13

vn. I

6 464

6 464

spazzolato

p7:8

p3:2

3:2

7:6

4343

5:4

5:4

5:4

3:2

7:6

7:8

9 898

7:6

7:6

3:2

5:4

5:4

3:2

5:4

7:8

va.

vc.

mf

7:8

5:4

5:4

5:4

f

f

5:4

f

5:4

= 90

clt.

pp

4343

spazzolato

vn. II

non vib.

f

f

18

88 88

77 88

= 108

77 88

vn. I

1 7

3 7

vn. II

va.

6 7

5

7

vc.

7 878

2 5

3:2

3:2

1 5

3 5

4 5

5 5

2 1 7 7

3:2

5 3 7 7

3 7

3:2

p

4 7

6 7

5 7

7 6

3:2

p

2 7

1 7

1 7

3:2

p

5

3 7

3 5

2 5

3:2

5 5

1 5

1 5

4 5

mf

4 7

5 7

6 7

f

4:3

4 7

6 7

f

5 5

f

3 5

f

3 5

f

1 5

f

4:3

= 90

55 16 16

66 16 16

13 13 16 16

vn. I

2 5

mf

7:8

3 5

3:2

7:8

p

3:2

7:8

7:8

mp

XFB.

3:2

1

vn. II

mf

va.

1

3:2

1

3:2

f ff

mp 5:4

ff

16 16 16 16

f

3:2

f

4:3

7:8

2

5:4

mf

f

5:4

2

3:2

2 3 5 5

3:2

4 3 5 5

3:2

12 12 16 16

14 14 16 16

7:6

f

5:4

f

7:8

3:2

f

3:2

3:2

7:8

5:4

3:2

5:4

Polillas — 2 — GR Evans

7:8

f

5:4

7:8

= 72

mf

f

mf

3:2

5:4

f

f

p

3:2

p

4:3

1/2 scratch pont.

14 14 16 16

mf

vc.

3:2

2

clb.

p

15 15 16 16

f

clb.

7:8

1 5 5 5

1/2 scratch pont.

XFB.

3:2

1/2 scratch pont.

XFB.

2

3 5

11 11 16 16

88 16 16

1

1 4 5 5

mp

4 3 5 5

13 13 16 16

55 88

= 40

=72 43

33 88

5 7

7 7

5 7

p

3:2

4:3

6 868

3 2 5 5

3:2

6 7

p

9 898

p

3:2

XFB.

p

3:2

f

7

7 7

1 7

2 7

4:3

3:2

7 7

f

XFB.

5 5

1 5

3:2

vc.

3:2

mf

1 5

va.

44 88

7 7

44 88

3 1 5 5

2 5

p

vn. II

55 88

5 7

5 7

7 878

XFB.

vn. I

4 6 7 7

66 88

3:2

8888

30

88 88

3:2

mf

1/2 scratch pont.

mf

f

f

p

7:6

p

= 120 50

66 16 16

88 16 16

11 11 16 16

55 16 16

12 12 16 16

13 13 16 16

10 10 16 16

13 13 16 16

15 15 16 16

3:2

7:8

3:2

7:8

3:2

7:8

7:8

vn. II

va.

3:2

p

mf

f

5:6

4:3

p

f

16:11

3:2

3:2

3:2

f

p

mf

3:2

3:2

f

p

16:13

p

mf

p

3:2 7:6

3:2

( )

3:2

( )

3:2 5:4

f

p

behind bridge, on wrapping

fff

7:8

5:4

9:8

3:2 5:6

pp

( )

ff

3:2

pp

3:2

3:2 7:5

3:2 5:6

3:2

3:2

3:2 5:6

pp

3:2 5:6

3:2

pp

ff

ff

7:8

3:2 10:7

3:2

mf

ff

ff

7:8

7:8

ff

ff

ff

33 44

5:4

7:8

5:4

Polillas — 3 — GR Evans

5:4

7:8

3:2

5:4

7:8

11:8

3:2

3:2

5:4

7:8

3:2

444 4

3:2

8:5

3:2

10:7

7:8

f

pp

5:4

fff

3:2

444 4

3:2 10:7

( )

O

6 464

3:2

3:2

3:2 7:6

pp

12:7

f

pp

3:2

5:6

O

16:15

3:2

pp

( )

12:7 ( )

pp

5:6

5:4

3:2

16:15

f

p

f

16:13

3:2

5:4

3:2 5:6

pp

3:2 7:6

3:2

O

4545

3:2

16:13

16:15

f

16:13

p

p

3 434

3:2

p

5:4

O

f

3:2

12:7

p

7 447

( )

vc.

3:2

4:5

77 44

f

4:5

p

3:2

3:2

3:2

5:4

vn. I

3:2 5:4

5:4

69

( )

vc.

p p

4:3

4444

va.

4444

3 434

vn. II

5:4

vn. I

4444

62

vc.

7:6

va.

33 44

vn. I

vn. II

= 120

12 12 16 16

5:4

9:8

( )

3:2 5:6

3:2

= 120

55 44

74

66 44

( )

vn. I

f

3:2

15:16

( )

5:4

( )

va.

f

6:5

vc.

f

33 44

13:8

5:4

11:8

11:8

f

7:8

5:4

7:8

3:2

sfp

9:8

IV

sfp

=72

vn. I

vn. II

va.

p

4444

7 474

5 454

79

p

f

p

f

f p

p

p

f

4:3

f

p

f

p

4:3

p

f p

f

4444

3 434

p

9:8

4:3

f

p

f

p

4:3

p

4:3

f

p

f

p

4:3

f

p

f

p

vc.

p

p

va.

4:3

4:3

p

33 44

f

p

f

p

4:3

4:3

f

p

f

p

f

p

f

p

f

f

p

p

88 16 16

f

p

f

p

4:3

p

vc.

4:3

= 90

4:3

4:3

f

p

f

4:3

f

p

f

f

IV

p

f

p

p

4:3

f

4:3

p

f

f

4:3

f

55 16 66 16 16 16

poco scratch

sfp

88 16 16

4:3

p

4:3

sfp

4:3

f

4:3

sfp

poco scratch

sfp

f p

f

p

f p

Polillas — 4 — GR Evans

4:3

p

f p

12 12 16 16

molto scratch

ff

ff

molto scratch

ff

molto scratch

ff

f

4:3

f

4:3

f

IV

molto scratch

poco scratch

f p

p

poco scratch

p

f

11 11 16 16

10 10 16 16

f

444 4

vn. I

444 4

85

vn. II

4343

p

11:8

(IV)

9:8

5:4

5:4

7:8

3:2

66 44

vn. II

33 44

4:3

f

12 12 16 16

95

= 108

13 13 16 16

15 15 16 16

p

3:2

p

p3:2

vc.

p

3:2

3:2

3:2

4848

vn. I

3:2

3:2

5:4

vn. II

5:4

3:2

5:4

vn. I

3:2

ff

484

7:8

5:4

vc.

8:5

5:4

7:8

5:4

p

gett. st.

sp.

p

gett.

p

p

p

mp

p

5:4

5:4

ff

ff

9:7

ff

10:7

9:8

585

888

9:8

77 88

11:12

3:2

11:12

888

ord.

T.

scr.

ord.

T.

scr.

mp

mp

ord.

T.

f

7:6

= 66 23 [

IV

p mp

11:8

mf

p

3:2

13:8

12:7

77 88

10:7

6 868

5:3

on bridge

p

6:7

6 868

Polillas — 5 — GR Evans

f

scr.

= ]

686

ord.

P.

mp ord.

P.

mp

flaut.

T.

scr.

flaut.

T.

f

scr.

mp

flaut.

P.

mp

f

ord.

P.

flaut.

P.

mp

flaut.

T.

mp

scr.

flaut.

P.

mp

mp

f

mp

3:2

spazzolato + clt.

3:2

5:4

spazzolato + clt.

sp.

3:2

mp

mp5:4

gett. st.

spazzolato + clt.

mp3:2

st. sp.

3:2

f

sp.

3:2

f

8888

ff

3:2

(III)

5:6

383

= 40

6:5

14:9

383

3:2

p

5:4

ff

3:2

484

8:9

5:4

10:7

585

116

3:2

gett. st.

3:2

f

p

3:2

7 878

10:9

bridge, on wrapping behind

3:2

vc.

behind bridge, on wrapping

va.

ff

3:2

7 878

8888

3:2

x6

= 130

9 898

p

3:2

5:6

mf

behind bridge, on wrapping

f

p

3:2

3:2

3 838

3:2

3:2

=90 107

3:2

3:2

mf

3:2

3:2

3:2

3:2

mf

3:2

3:2

3:2

va.

mf

3:2

3:2

= 90

55 88

vn. II

88 16 16

va.

14 14 16 16

vn. I

vn. II

16 16 16 16

14 14 16 16

f

mp

behind bridge, on wrapping

ff

4:5

127

66 88

55 88 scr. ord.

P.

ord.

T.

vn. I

mp

f

mp

vn. II

mp

f

va.

mp

scr. ord.

P.

mp

f

mp

6 868

136

f mp

flaut.

T.

scr. flaut. ord.

P. T.

scr.

ord.

P.

f mp

4:3

f

mp

scr. ord. flaut.scr. flaut.ord.

P. T. P. T.

mp

ord.

P.

mp

6:5

f mp

flaut.

T.

mp

mp

f mp

f

scr.

ord.

P.

f mp

4:3

mp

f

mp

= 90

ord.

P.

p

mp

p

scr.

mp

mp

ord.

P.

flaut.

p

mp

f

flaut.

on bridge

on bridge

4444

7 474

p

ord.

T.

flaut.

P.

f

f

mp

flaut.

mp

scr.

mp

f

ord.

T.

mp

scr.

ord.

P.

on bridge

f

scr.

ord.

T.

flaut.

T.

f mp mp

flaut.

P.

88 88

77 88

mp

mp

scr.

mp

mp

scr. ord. flaut.scr. flaut.ord.

P. T. P. T.

6:5

4:3

mp

scr. flaut. ord.

P. T.

f mp

f mp mp

flaut.

P.

f

flaut.

T.

mp

scr.

mp

scr.

= 40

77 88

flaut.

T.

f mp mp

6 868

vn. II

va.

vc.

444 4

145

3 434

4444

1616 4343

p 5:4

p 3:2

5:4

5:4

3:2

p 7:8

5:4

3:2

7:8

p

161 55 44

5:4

3:2

3:2

7:8

5:4

5:4

7:8

3:2

7:8

5:4

3:2

7:8

5:4

3:2

5:4

7:8

7:8

7:8

3:2

mp5:4

3:2

3:2

mf

7:8

mf

7:8

3:2

mf

mp3:2

3:2

mf

3:2

7:8

5:4

3:2

7:8

mp

5:4

3:2

5:4

mp7:8

77 44

66 44

5:4

7:8

7:8

77 44

= 108

161

66 16 16

vn. I

5:4

5:4

5:4

3:2

7:8

vc.

scr. ord. flaut.scr. flaut.ord.

P. T. P. T.

mp

6:5

mp

va.

scr. flaut. ord.

P. T.

88 88

99 88

vn. I

vn. II

33 88

ord.

T.

vc.

flaut.

T.

scr. ord.

P.

ord.

T.

44 88

3:2

3:2

3:2

f

mf

3:2

f

7:8

7:8

3:2

f

3:2

f

5:4

3:2

mf

5:4

5:4

3:2

7:8

mf

mf

7:8

5:4

3:2

5:4

5:4

3:2

5:4

7:8

7:8

3:2

5:4

3:2

7:8

7:8

5:4

3:2

7:8

5:4

3:2

7:8

7:8

3:2

5:4

5:4

5:4

3:2

7:8

7:8

Polillas — 6 — GR Evans

7:8

7:8

3:2

7:8

5:4

3:2

7:8

7:8

3:2

7:8

5:4

3:2

7:8

3:2

5:4

5:4

3:2

7:8

7:8

3:2

ff

3:2

ff

3:2

ff

3:2

ff

f

f

f

f

88 16 16

154

55 16 66 16 16 16

88 16 16

vn. I

p

12 12 16 16

p

f

3:2

11 11 16 16

10 10 16 16

5:6

3:2

p

f

3:2

mf

3:2

3:2

3:2

f

p

3:2

scr.

f

mf

vc.

6 868

8888

165

p

f

p

3:2

7:8

4 6 7 7

f

3:2

f

= 60

6 868

7:8

5 858

7 behind bridge, on wrapping

4848

mp

mf

4:3

mp

4:3

mf

7:6

7:6

3 838

p

9 898

f

7 7 1

4

5:4

7 6

5:4

55 16 16

5:4

7 6 5 7 7 7

57

f

p

= 72

8888

3:2

88 16 16

66 16 16

10 10 16 16

1 7

13 13 16 16 5

5

f

p

3:2

f

f

1 5

3:2

4 5

3:2

3 5

2 5

4:3

3 5

4 5

4:3

1 5

5 1 4 3 5 5 5 5

p

3 5

3 5

2 5

1 5

3:2

1 5

2 5

3:2

Polillas — 7 — GR Evans

1 5

3 5

5 5

1 5

4

5

3:2

5 5

3 5

1 5

3 5

2 5

f

16 16 16 16

14 14 16 16

3:2

3:2

5 5

1 4 5 5

f

15 15 16 16

5 5

3:2

p

IV

5:6

5:6

13 13 16 16

12 12 16 16

5 7

ff

7:8

3

12 12 16 16

p

7:6

on bridge

(I)

3:2

11 11 16 16

vn. I

2

5:4

3:2

3

7:8

7 7

5

3:2

180

7:8

6

5:4

vc.

7 7

va.

7:8

7 7

vn. II

3:2

vn. I

7:8

1 7

sp.

st. ord.

p

7:8

f

77 88

sp. scr.

mf

p3:2

va.

vc.

vn. II

va.

88 88

99 88

st. ord.

vn. II

= 90

12 12 16 16

5 5

5 5

1 5

4 5

3:2

1 4 5 5

3 5

3:2

f

188

33 44

= 130

f

3:2

“ ”

44 44

33 44

twist

vn. I

44 44

77 44

55 44

5:4

5:4

3:2

5:4

3:2

5:4

3:2

5:4

3:2

5:4

twist

vn. II

5:4

f

“ ”

twist

va.

3:2

f

5:4

3:2

5:4

3:2

3:2

5:4

3:2

5:4

5:4

5:4

3:2

5:4

5:4

5:4

3:2

5:4

3:2

5:4

5:4

5:4

3:2

5:4

3:2

5:4

3:2

5:4

“ ”

vc.

sfp

= 130

4444

3 434

194

vn. I

3:2

5:4

vn. II

5:4

5:4

vc.

3:2

5:4

3:2

5:4

5:4

3:2

5:4

5:4

3:2

5:4

3:2

5:4

5:4

3:2

5:4

7:6

7:6

3:2

6 464

5:4

5:4

5:4

3:2

5 454

5:4

3 434

va.

5:4

4444

5:4

7:6

7:6

7:6

=40

77 44

200

vn. I

vn. II

va.

vc.

5:4

444 4

77 44

3:2

5:4

5:4

5:4

3:2

3:2

5:4

5:4

3:2

3:2

5:4

5:4

5:4

444 4

5:4

3:2

5:4

3:2

5:4

3:2

5:4

3:2

5:4

5:4

3:2

5:4

Polillas — 8 — GR Evans

3 443

5:4

5:4

5:4

55 44

3:2

5:4

5:4

5:4

3:2

5:4

5:4

3:2

3:2

5:4

5:4

5:4

3:2

pp3:2

3:2

66 44

206

33 44

33 44

f

7:6

7:6

7:6

twist

va.

f

p

“ ”

7:6

twist

f

7:6

7:6

vc.

ff

55 16 66 16 16 16

f

3:2

3:2

p

f

3:2

mp

3:2

66 16 16

7:6

3:2

5:4

3:2

5:4

pp3:2

3:2

3:2

mp

3:2

3:2

f

f

3:2

f

f

drop (5)

throw (5)

11 11 16 16

10 10 16 16

IV

vc.

3:2

88 16 16

throw (4)

f f

va.

3:2

7:6

55 16 16

3:2

mp

88 16 16

vn. II

pp

7:6

3:2

3:2

= 90

= 90

mp

3:2

5:4

“ ”

3:2

vn. I

3:2

“ ”

16 16 16 16

212

pp

twist

7:6

“ ”

f

3:2

7:6

“ ”

twist

vn. II

77 44

55 44

twist

vn. I

66 44

12 12 16 16

drop (4)

drop (4)

throw (6)

throw (4)

throw (5)

drop (6)

throw (5)

drop (6)

f

4:3

12 12 16 16

= 108

13 13 16 16

223

vn. I

vn. II

va.

vc.

13 13 16 16

drop (4)

throw (5)

15 15 16 16

drop (6)

throw (4)

drop (6)

throw (4)

drop (6)

throw (5)

drop (5)

drop (4)

16 16 16 16

throw (6)

throw (4)

throw (5)

4:3

16 16 16 16

14 14 16 16

drop (6)

Polillas — 9 — GR Evans

14 14 16 16

66 16 88 16 16 16

55 16 16

mp

drop (6)

throw (5)

throw (5)

throw (4)

p

mp

mp

233

11 11 16 16

13 13 16 16

12 12 16 16

13 13 16 16

33 44

= 120

66 44

33 44

vn. I

poco pont.

f

poco pont.

ff

ff

( )

O

3:2 7:8

O

( )

vn. II

3:2

3:2

( )

va.

3:2 5:6

( )

3:2

3:2

3:2

3:2 5:6

12:7

3:2

3:2 5:6

77 44

66 44 clt.

vn. I

mp

clt.

3:2

3:2

mp

clt.

va.

mp

3:2

4444

4343

( )

3:2 5:4

3:2

3:2

3:2 7:6

5:4

12:7

mp

3:2 5:6

3:2

3:2

3:2

3:2

3:2 7:6

3:2

5:6

3:2 7:8

5:6

3:2 7:8

3:2 5:4

8:5

3:2

3:2

5:4

6:5

3:2

3:2

3:2

3:2

3:2

5:4

444 4

444 4

33 44

( )

5:4

( )

ff

clt.

3:2

5 445

clt.

mp

3:2

ff

clt.

O

3:2

clt.

O

5 454

mp

clt.

( )

clt.

vc.

3:2 7:6

3:2 5:4

mp

3:2 10:7

ff

3:2

clt.

O

( )

4444

3:2 7:5

O

3:2

O

3:2

5:6

3 434

3:2 5:4

77 44

ff

3:2

3:2

251

5:6

3:2

O

vc.

3:2

3:2

3:2

10:7

( )

3:2

O

3:2

3:2

3:2

5:4

3:2

O

3:2

5:6

3:2 5:6

ff

ff

3:2

4444

3 434

10:7

O

p

3:2

3:2

5:6

ff

poco pont.

4444 ( )

vn. I

p

7 474

p

O pont. poco

f

242

ff

O

ff

vc.

p

f

va.

O

ff

vn. II

vn. II

55 44

mp

ff

3:2 12:7

O

ff

3:2 10:7

3:2

mp

clt.

mp

3:2

ff

( )

ff

Polillas — 10 — GR Evans

3:2

3:2 5:4

3:2

mp

clt.

mp

X X X 0'00'' X X X

258



A♭-49

vn. II

1'24''



A♭+49



D+31

 

 

-19

E-35



-19

+16

+16

+16

+31

+16







-49



-17



-17

+14

+14

+14



+14









-14





ff



+2

+2

+14

+14

♮♮

♮ ♮

 ♮

+0

 ♮

+0

vc.

1'12''



ff

va.



E-35

E-35

+33

ff

1'01''

0'49''

0'36''

D+31

-31



vn. I

0'25''

0'13''

+0

ff

1'33''



-4



-17

-2

 ♮

♮ ♮

-17

+0

+0

1'49'' 1'55'' 2'00''

1'42''





+0

-4

2'36''

2'25''

2'13''

-17

266

+12

-19



vn. I

+12

+12

+12

+12

 

-19

 

-38

 

-38

 

-38

+12

A-37

















+12

+12

A-37

+45

vn. II





+14



+14



+14

va.

vc.

♮

♮

+27

-2

888

274

p

va.

vc.

3:2

3:2

3:2

5:4

4:3



7:6

mp

7:6

7:6

-21

-21

 

 

 

484

383

3:2

5:4

-4

+10

+10

3:2

♮

+43

585

4:3

♮ -4

+10

C♯+47

D-39





686

p



D-39



+25

G+29



C♯+47

686

vn. II

= 60

vn. I



-40

-40

G+29



-2

-40

5:4

484

383

585

3:2

3:2

5:4

3:2

5:4

3:2

3:2

3:2

5:4

f

IV

sfp

Polillas — 11 — GR Evans

f

283

14 14 16 16

= 90

16 16 16 16

f

p

p

p

ff

16:11

ff

16:11

f

p

p

15 15 16 16

spazzolato

1/2 scratch

f

p

5:4 mp

spazzolato

f

p

5:4 mp spazzolato

3:2 mp

16:11

ff mp

p

16:11

f

p

7:6

p

16:11

16 16 16 16

1/2 scratch

mp

ff

1/2 scratch

16 16 16 16

p

14 14 16 16

66 16 16

f p

p

ff

f p

p

p

ff

p

f p

ff

55 11 11 16 16 16 16

88 16 16

13 13 16 16

13 13 16 16

15 15 16 16

= 120

12 12 16 16

13 13 16 16

15 15 16 16

12 12 16 16

1/2 scratch

p

f

12 12 16 16

mf

6:5

mf

6:5

1/2 scratch

f

f p

1/2 scratch

p

mf

6:5

p

f

f

ff

mf

6:5

mp

ff

p

p

p

vc.

ff mp

mf

mf

mp

mp

13 13 16 16

16 16 16 16

14 14 16 16

88 16 16

vn. I

va.

16:11

10 10 16 16

307

p

1/2 scratch

f

13 13 16 16

vc.

p

13 13 16 16

12 12 16 16

va.

7:6

12 12 16 16

vn. II

ff

16:11

14 14 16 16

vn. I

mp

ff

16:11

297

1/2 scratch

f

p

11 11 16 16

10 10 16 16

p

vc.

spazzolato

55 16 66 16 88 16 16 16 16

f

p

va.

88 16 16

vn. II

66 16 16

vn. I

vn. II

55 16 16

f

f

3/4 scratch

mf

f

mf

f

mp

3/4 scratch

mp

3/4 scratch

mf

mp

mp

Polillas — 12 — GR Evans

mf

3/4 scratch

mp

mp

= 40

44 88

320

(I)

vn. I

mp

55 44

337

= 72

mf

IV

mf

6 868

f

3:2

5:4

5:4

mp

5:4

f

p

va.

mp

vc.

mp

3:2

9:8

5:4

clt.

5:4

3:2

3:2

5:4

7:6

3:2

4848

3 838

9 898

1 7

4 7

8888

6 7

5 7

4:3

7 6 7 7

5 7

4:3

7:6

3:2

f

f

55 44

x7

ff

3:2

5:4

7:8

7:8

3:2

5:4

7:8

5:4

ff

5:6

Polillas — 13 — GR Evans

p

7:8

5:4

11:12

5:6

6:5

p

11:8

7:8

3/4 ob.

3/4 ob.

ff

9:8

= 120

ff

5:4

10:9

3:2

9:8

p

p

IV

11:8

9:8

7:8

9:8

p

9:8

5:4

p

66 44

p

6:5

f

mf

5:4

5:4

clt.

5:4

mp

4:3

66 44

clt.

vn. II

3:2

3 2 7 7

clt.

vn. I

5 858

5 7

3 7

6 5 7 7

mp

vc.

7 7

f

f

va.

mf

99 88

6 868

8888

mf

77 88

f

vn. II

4:3

vn. I

6 7

7 878

5 7 7 7

mf

6 7

mp

p

mp

8888

327

IV

f

p

mp

3:2

IV

88 88

99 88

5 7

mf

vc.

p

4 6 7 7

f

(IV)

va.

(III)

77 88

1 7

p

vn. II

77 88

7:5

3/4 ob.

p

8:5

3/4 ob.

p

44 44

77 44

343

vn. I

44 44

33 44

9:7

msp.

5:4

7:6

vn. II

10:7

spazzolato

mp 3:2

3:2

11:7

5:4

3:2

5:4 mp

5:4

5:4

5:4

5:4

vc.

vn. I

mp

15:16

vc.

444 4

356

33 44

13:8

p

ff

ff

1/2 ob.

pp

55 44

66 44

p

p

p

p

= 90

x4

3 443

6 446

molto vibrato

f

ff

p

f

7 474

f

7:8

p

f

4747

vn. I

7:8

= 40

3:2

7:8

va.

5:4

3:2

7:6

6 464

msp.

13:8

13:8

5:4

9:8

3:2

5 454

5:4

vc.

3:2

vn. II

va.

4444

349

vn. II

spazzolato

msp.

3:2

7:8

11:12

clt.

va.

11:8

44 44

33 44

mp

molto vibrato

mp

molto vibrato

mp

molto vibrato IV

mp

Polillas — 14 — GR Evans

33 44

362

44 44

77 44

55 44

66 88

= 120

33 88

55 88

44 88

77 88

vn. I

1/4 scratch

ff

sfp

ff

ff

p pp

f

ff

sfp

spazzolato

sfp f

ff

p

f

mp

p

vc.

ff

sfp

sfz

mp

7 878

372

ff

9 898

ff

sfp

7 878

8888

9 898

mp

p

f

3:2

5:4

3:2

sfz

pp

vn. II

f

mp

p

3:2

5:4

pp

va.

vc.

f

3:2

3:2

7:8

7:8

f

p

7:6

mp

5:4

p

7:6

3:2

484

3/4 scratch

7:6

vc.

3:2

5:4

383 spz.

p

3/4 scratch

p

3/4 scratch

p

mp

spz.

3/4 scratch

989

f

f

3:2

3:2

pp

3:2

3:2

7:8

7:8

7:8

7:8

mp

5:4

f

mp

spz.

f

3:2

3:2

1/2 scratch

7:8

7:8

77 88 scratch moltissimo

ff

scratch moltissimo

sfp

ff

1/2 scratch

sfp 1/2 scratch

scratch moltissimo

ff scratch moltissimo

mp

5:4

7:8

sfp

sfp

mp

ff

Polillas — 15 — GR Evans

3:2

mp

3:2

5:4

3:2

5:4

mp

6 868

7:8

5:4

mp

3:2

5:4

5:4

p

3:2

f

mp

spazzolato

f

mp

spazzolato

1/2 scratch

p

f

p

mp

7:6

spazzolato

1/2 scratch

5:4

mp

spazzolato

1/2 scratch

3:2

5:4

p

7:8

3:2

5:4

1/2 scratch

spazzolato

888

1/2 scratch

spz.

5:4

8888

spazzolato

pp

5:4

spazzolato

va.

mp

585

7:6

vn. II

p

7:8

spazzolato

vn. I

IV

686

381

spazzolato

spazzolato

7 878

spazzolato

8888

spazzolato

vn. I

3:2

spazzolato

IV

3:2

1/4 scratch

3:2

5:4

spazzolato

ff

3:2

1/4 scratch

va.

mp

ff f p

O

spazzolato

1/4 scratch

vn. II

O

f

mp

7:6

388

13 13 16 16

= 90

vn. I

pp

pp

vc.

pp

mp

3:2

= 130

12 12 16 x5 16

mp

3:2

pp

f

6:5

mp

3:2

6:5

pp

f

mp

6:5

pp

f

13 13 16 16

12 12 16 16

pp

f

6:5

88 16 16

3:2

ff

va.

ff

vc.

ff

vn. II

ff

55 16 66 16 16 16

3:2

88 16 16

f

mf

f

mf

3:2

f

mf

3:2

f

mf

13 13 16 16

16 16 16 16

14 14 16 16

3:2

14:13

14:13

mp

14:13

14:13

14:13

= 90

66 16 16

14:13

88 16 16

11 11 16 16

55 16 16

12 12 16 16

14:13

mp

f

ff

ff

ff

ff

pp

6:5

12:11

mp

13 13 16 16

10 10 16 16

p

6:5

12:11

p

6:5

f pp

6:5

f

f

pp

p

6:5

6:5

12:11

6:5

f

p

f

6:5

mp

f

p

vn. I

mp

3:2

14:13

mp

f

mp

5:6

3:2

mp

3:2

16 16 16 16

406

vc.

11 11 16 16

va.

66 16 16

vn. I

vn. II

10 10 16 16

397

55 16 16

3:2

pp3:2

va.

vn. II

16 16 16 16

14 14 16 16

f

Polillas — 16 — GR Evans

= 40

13 13 16 16

415

= 66 23 [

5:3

13 13 16 16

12 12 16 16

15 15 16 16

12 12 16 16

vn. I

pp

vn. II

va.

7 474

423

f

3:2

pp

3:2

f

3:2

= 60

3:2

5:6

13 13 16 16

14 14 16 16

p

5:6

11:12

p

3:2

7:8

5:4

5:4

3:2

7:8

7:6

5:6

p

4444

5:4

3:2

5:4

3:2

7:6

4343

pp

5:4

5:4

5 454

3:2

5:4

= 90

6 464

3 434

f

f

1/2 scratch

vn. II

pp

f

f

1/2 scratch

va.

pp

5:6

f

f

1/2 scratch

vc.

pp

66 44

430

vn. I

33 44

7 447

55 44

444 4

va.

vc.

f

f

33 44

444 4

vn. II

5:4

3:2

1/2 scratch

3:2

3:2

p

5:4

3:2

5:4

3:2

4444

vn. I

3:2

f

ff

14:13

f 5:6

pp

vc.

ff

14:13

= ]

Polillas — 17 — GR Evans

5:4

44 44

33 44

437

vn. I

= 72

44 44

33 44

55 44

77 44

66 44

on bridge

mf

p

on bridge

vn. II

p

mf

on bridge

va.

p

mf

on bridge

vc.

vn. I

4444

3 434

mf

4444

7 474

444

p

5 454

6 464

3 434

3/4 scratch 1/4 on bridge

ppp

3/4 scratch 1/4 on bridge

vn. II

ppp

3/4 scratch 1/4 on bridge

va.

ppp

3/4 scratch 1/4 on bridge

vc.

66 44

451

ppp

444 4

77 44

5 445

444 4

33 44

scratch moltiss 1/2 on bridge

vn. II

33 44

vn. I

fff

on bridge

scratch moltiss 1/2 on bridge

fff

vc.

fff

mf

on bridge

mf

fff

mf

on bridge

scratch moltiss 1/2 on bridge

mf

scratch moltiss 1/2 on bridge

va.

on bridge

Polillas — 18 — GR Evans

= 72

44 44

33 44

458

vn. I

44 44

33 44

55 44

msp.

1/2 scratch

f

f

mf

p

f

mf

p

msp.

1/2 scratch

msp.

vc.

msp.

1/2 scratch

va.

mf

p

1/2 scratch

vn. II

77 44

66 44

f

mf

p

=40

4444

7 474

465

4444

4343

5 454

4646

vn. I

on bridge

mf

on bridge

vn. II

mf

on bridge

va.

mf

on bridge

vc.

mf

Spring Valley, Oh. – Iowa City, Ia. July – November 2021.

Polillas — 19 — GR Evans

Other scores from Gregory Rowland Evans include:

UNACCOMPANIED

CHAMBER

LARGE ENSEMBLE

Onkos (contrabass) 2019

Hamonshu (string quartet) 2018-20

Metamorphoses (orchestra) 2018

Simbelmynë (piano) 2019-20

Adumbration (string quartet) 2020

GUERRERO (21 saxophones) 2018

Chalk Line (flute) 2020

Zahrat Alearear (bass flute, guitar) 2021

Tourbillon (string ensemble) 2019-20

redbud blossom, blueberry bee (cello) 2020

Nagual (mixed quartet) 2021

Birdless, Cloudless, Colourless (alto saxophone) 2021

©11-2021

Scores available for purchase at www.gregoryrowlandevans.com

$30