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