GREGORY ROWLAND EVANS
for contrabass alone 2019
SCORE
FOREWORD óγκoς (Onkos) is a Greek word that means “volume,” or “mass,” and has come to also mean “tumor.” This word is the source of the derivation of such words as Oncology: the study and treatment of tumors. (G.R.E.)
PERFORMANCE NOTES Microtones Microtones:
Bow Angle Indications : The upper bracket above the staff is filled with information regarding the angle at which the bow is to be held such as col legno tratto (abbreviated as clt.), 1/2 col legno tratto (abbreviated as 1/2 clt.), 1/2 hair, 3/4 hair, and f lat hair. These angles should be maintained at a constant level for the duration of the bracket-demarcated passage. When this bracket is not present, the performer should default to ordinario bowing techniques. 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 arrow-demarcated dashed line. When this arrow is not present, the performer should default to an ordinario position. Bow Contact Points : In various passages throughout this piece, there is notation which represents the point at which the bow is touched. These positions are written as fractions where punta d′ arco. Passages without these indications should be bowed at the performer’s discretion.
0 7
and
0 4
represent au talon and
7 7
and
4 4
represent
Dynamic Indications : Dynamics within quotation marks should be considered “effort dynamics.” As such, f orte represents a heavy bow pressure rather than a “loud” resultant sound. Likewise, piano represents a light bow pressure as opposed to a “quiet” resultant sound. These indications will often result in unusual bowing timbres when combined with the Bow Contact Points, the String Contact Points, and finger pressure alterations. These are the desired effects. Dynamics without quotations should be performed as usual. Miscellaneous : 1 Tremolos 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, 3 while a triangle note head indicates a finger pressure in between harmonic and normale. 4 Glissandi with arrows attached represent a pitched glissando where the finger pressure should also smoothly transition from one indication to the next. 5 In passages marked with Bow Contact points, articulations should be played as subtle variations of bow pressure rather than bow speed. 6 Accidentals apply only to the pitch which they immediately precede, but persist through ties.
c. 4’30”
This piece is dedicated to the memory of Franklin Rowland and Janice Evans.
to Will Yager
for
contrabass
alone
in memory of Franklin Rowland and Janice Evans
Gregory Rowland Evans (*1995)
= 63 – 72
33 22
1/2 hair st.
Contrabass
ord.
7:8
mf
2
1 11
clt. msp.
7 7
“
4
77 88
6 7
5 7
7 7
3:2
1 7
4 7
7 7
17:16 3:2
7:5
6 7
“
3 7
1 7
“
ff �
33 88
1/2 clt.
7
2 7
11:10
5 7
7 7
6 7
3:2 5:4
7 7
7:5
ppp �
77 88
mf
sp.
9:8
“
ff �
3/4 hair sp.
ord.
5:6
mp
“
ppp �
1 7
2 7
6 7
fff
5 7
7 7
13:12 6:5
pppp
3 7
11:6
mf
4 7
7 7
mp
33 44
clt. msp.
ord.
1 7
5 7
1/2 clt. st.
ord.
ppp �
st.
mp
1 11
msp.
6 7
7 7
9:5
“
ff �
99 88
1/2 clt.
st. 1 5
“
mp �
oγκος - GR Evans
2 5
ord.
1 5
5 7
“
5:4
ppppp �
ord.
“
ppp �
1 7
11:6
7 7
4 7
3 7
1 7
29:18
6 7
st.
2 7
4:5
5 7
“
ff �
1
9
11 11
77 88
sp. 2 5
3:4
11
5:4
“
1/2 hair
11 11
7 7
“
15
33 44
ppppp ”
sp.
mf
mp
5 5
1 5
“
mp ”
“
ppppp ”
55 88
flat hair
6 7
5 7
7 7
1 7
4 7
7 7
15:8
sp.
3 7
st.
ord.
1 7
“
ff ”
ff
1/2 clt. msp.
7:8
9:8
ord.
mp
“
2 5
3 5
mp ”
55 44 sp.
msp.
1 5
2
ord.
11 22
4:3
77 88
mf
17
st.
4 5
ppp ”
5:4
mp
4 5
mf
ord.
clt. ord.
ord.
11 11
st.
13
55 88
st.
3 5
mp ”
2 5
3 5
“
1/2 clt.
msp.
5:4
2 5
“
ppppp ”
“
mp ”
1 5
6:5
oγκος - GR Evans
19
55 44
clt.
2 5
“
33 4
1/2 clt. msp.
2
6 7
ppppp �
11 11
7 7
ppp �
6 7
13:12 5:3
7:6
“
ppp �
mp
1 7
3 7
6 7
2 7
5 7
17:16 3:2
ff
sp.
st.
7 7
7:6
ff �
mf
6 7
7 7
7:5
11:10
1 7
5 7
7 7
4 7
7 7
mp
3:4
oγκος - GR Evans
mp
pppp
fff
“
ppp �
6 7
7:5
ord.
2 7
5 7
“
ff �
at hair
6 7
11:6
3:2 5:4
1 7
11 22
1/2 clt. sp.
ord.
3 7
99 88 7 7
mf
77 88
1/2 hair msp.
1/2 clt.
“
3:2
msp.
A
ord.
1 7
5 7
7 7
3/4 hair
4 7
11 22
11 11
st.
25
mf
23
7:8
5 7
7
5:4
“
at hair sp.
ord.
3 5
21
st.
ord.
11 22
7 7
5 7
1 7
7
13:9 6:5
7
4 7
3 7
9:5
msp.
ord.
st.
1 7
“
ff �
ff
3
28
11 11
77 88
B clt.
ord.
2 7
6 7
30
7 7
ppp �
5 7
11:6
“
33 44
6 7
5 7
7 7
29:16
st.
st.
7 7
2 5
1 7
4:5
“
ff �
“
33 44
1/2 clt. st.
ord.
3 5
mp �
at hair
ord.
sp.
ord.
4 5
32
3:2
“
ppppp �
mf
5:4
mp
77 88
11 11
1/2 clt.
ord.
ord. 4 7
“
34
55 88
mp �
3:2
mf
1 7
2 7
6 7
5 7
15:8
sp.
7 7
6 7
7 7
“
ff �
77 88 sp.
7:8
3:4
msp.
mp
“
5 5
1 5
4 5
mp �
55 44
2 5
4
3 7
clt.
11 22
ppp �
st.
ord.
ff
37
“
33 44
st.
ff
at hair
ff
at hair msp.
sp.
3 5
1 5
6:5
2 5
1 5
oγκος - GR Evans
39
55 44
1/2 clt. msp.
ord.
“
41
ppppp �
33 44
1
5 7
“
43
77 88
1 7
3 7
13:12 5:3
ppp �
7:6
2 7
6 7
7 7
2 7
3:2
5 7
7 7
11 11
6 7
7:5
ord.
2 5
“
mp �
5:4
“
ppppp �
ff
oγκος - GR Evans
1 7
3 7
7:6
1/2 hair ord.
“
ff �
5:4
5:6
mf
mp
1/2 clt.
4:3
ff
“
6 7
2 7
ppp �
1 7
3 7
11:10
st. 4 7
5 7
21:16 5:4
7 7
7:5
ord.
6 7
7 7
“
ff �
11 11
clt. sp.
sp.
5 7
7
st.
at hair ord.
fff
11 11
7 7
ord.
3 5
st.
ord.
1 7
5 7
7
4 7
7
13:7 5:3
1 7
7 17:9 3:2
5 7
at hair st.
55 88
pppp
77 88
ff
7 7
7
5:4
C 6
5 7
msp.
99 88 6 7
47
4 7
45
3:4
mp
7 7
7
5:4
mf
3/4 hair msp.
at hair sp.
ord.
11 22
1 7
11:6
“
ppp �
7 7
4 7
3 7
1 7
13:8 6:5
6 7
2 7
9:5
msp.
5 7
“
ff �
5
49
55 88
33 44
at hair msp.
1/2 clt.
ff
52
11 22
5 5
55 44 msp.
2 5
3:2
“
mp
3 5
“
mp �
6 7
7 7
“
11:6
7 7
ppppp �
7:8
mf
5 7
1 7
29:20
7 7
4:5
11 22
st.
ord.
4 7
3 7
4:5
msp.
2 5
3 5
at hair sp.
“
3:2
ppppp �
ff
mp
ord.
st.
st.
1 7
1 5
ff �
“
11 22
ff
“
ppppp �
D
“
sp.
mp �
at hair
ppp �
55 88
“
4 5
ord.
1/2 clt.
1 5
clt. msp.
99 88
ord.
6
3 5
55 88
58
2 5
sp.
55 44
56
mf
4 5
54
sp.
st.
ord.
77 88
2 5
ord.
1 5
3:4
mp �
“
ppppp �
55 88
1/2 clt. st.
mf
ord.
9:8
3:4
mp
oγκος - GR Evans
61
11 11
99 88
at hair msp.
3/4 hair
ff
63
11 11 88
9:8
ord.
ord.
“
6 7
2 7
5 7
1/2 clt. msp.
ord.
3:4
5:3
“
11 11
at hair sp.
ord. 2 5
ff
“
3 5
at hair msp.
st.
5 7
1 7
7 7
1 7
3 7
5:4
ff
68
7 7
sp.
“
4 7
11 22
6 7
ff �
11 11
st.
65
7 7
ppp �
at hair
6 7
2 7
13:7 5:3
5 7
4:5
“
72
33 88
pppp
oγκος - GR Evans
fff
f
mp
“
33 44
ff �
at hair st.
ord.
ppppp �
ff
4:3
ff
= 83 – 95
11 88
5:4
55 88
11 22
7 7
7:6
ppp �
11 44 E
3:2
=
ord.
ord.
6 7
7 7
11 11
4 5
mp �
77 88
3:2
f
mp
33 44
pppp
8va
fff
f
5:6
mp
7
76
11 11
77 88
8va
pppp
78
fff
8va
f
mp
55 44
pppp
fff
99 88
pppp
fff
11 88
8va
f
8
99 88
80
5:4
mp
\hspace #0.75 ........... Miami, Fl. April 2019
oγκος - GR Evans
Other scores from Gregory Rowland Evans include:
UNACCOMPANIED
CHAMBER
LARGE ENSEMBLE
Onkos (contrabass alone) 2019
Hamonshū (string quartet) 2018-20
Metamorphoses (orchestra) 2018
Simbelmynë (piano alone) 2019-20
Adumbration (string quartet) 2020
GUERRERO (21 saxophones) 2018 Passagenwerk (string ensemble) 2019-20
Chalk Line (solo flute) 2020 Frost on magnolia petals. (alto saxophone alone) 2020
©04-2019
Scores available for purchase at www.gregoryrowlandevans.com
e26.49 / $30