Motion For Solo Cello (Variation on a Theme by Benjamin Britten)
For Amy Jolly
ÂŠ Hollie Harding, 2018
Performance Notes This piece highlights the physicality of the cellist and as such, is as much about the theatre of the performance actions, as it is about the sounding results.
All bows are full bows.
Right hand bow directions are shown at the top of the stave.
Timing of actions is proportionally notated. Timings can be as extreme as the cellist dares and can physically execute.
Left hand actions are shown either as pitch material on standard staves or as tablature notation (bars 5 and 7) where the bottom of the tab is the nut and the top of the tab is the end of the fingerboard (as per the diagram in bar 1).
Where the word “Max” is shown with an asterix (bars 5 and 7), the cellist should execute their maximum stretch between the third finger and thumb. This will vary depending on the cellist’s hand size.
= full pressure
Where ‘Breathless’ is indicated on the score – there should be more of a feeling of pulse, particularly to the labelled ‘S-AC-H-E-R’ pitches (bars 10-13), a suggested metronome marking for this is 84 bpm.
= half pressure Beating: The pulse of the beating ranges from rapid to slow, as indicated by the wavy lines: or
= harmonic pressure = glissando = left hand unvoiced glissando, or right hand bow motion away from the strings
In all cases, the cellist should expand the unison by microtonally lowering the pitch of the lower note to generate these beats.
= bow re-take
The sounding pitches of the harmonics are given above the staves (bars 10, 11, 12,13)
If, for example, one note is full pressure and one note is half pressure – there should be a gradual transition in finger pressure over the course of the glissando (see example below).
Strings are specified where possible at the start of staves, and underneath specific notes. Fingerings are specified above the notes.
© Performance Notes: Hollie Harding and Amy Jolly
Copyright, Hollie Harding 2018