Score in C
Us Alone For Violoncello and Two Sound Icons
Sound Icon I uses six different chords, Sound Icon II uses seven. These are achieved by pre-setting rosined nylon bows around the strings in question:
Instrumentation Violoncello, scordatura 2 Sound Icons, spectrally tuned
Notes Duration: c. 18’ !
Score In C
It is not necessary to tune each Sound Icon fully to the harmonic spectrum. For Sound Icon I, eleven notes are needed to be tuned, for Sound Icon II, it is fourteen.
Tuning The piece is based on a scale derived from the natural harmonics of a low, even-tempered F quarter sharp. Ideally, the Sound Icons should be tuned to octave transpositions of this scale, making use of their de-tunings: ! ! The cello should be tuned to the same harmonic series, with the same detuning transposed down an octave where necessary.
!
If the whole icon is tuned a quarter tone sharp, then special attention only need be given to those notes that are more that 5 cents detuned, which have been marked with a star. This gives a total of three notes on Sound Icon I seven notes on Sound Icon II.
Special Techniques Repeat technique indicated, in free time, until the next rest. If notes are connected with a beam, stick to the given order and approximate rhythm. Otherwise, improvise freely on the given set of notes. Quarter sharp
Glissandi should take the full amount of time given by the note head from on which they begin. Where glissandi last across bar lines, or a specific bowing rhythm is called for, this is indicated by stems without note heads. If a glissando begins and ends on a harmonic, it should be played as a harmonic glissando. This should not emphasise the sounding nodes, but should instead include the dead nodes in between with equal prominence.
Quarter flat
Bowing the Sound Icons
White noise created by very fast bowing, light bow pressure and half finger pressure (as in a harmonic, but not touching a harmonic node).
The Sound Icons should be bowed freely according to the sensibility of the players, except for when they are marked with a tremolo. Here they should be bowed to create a rhythmic, crotchet feel.
!
With improvised rhythm. A downwards glissando at the very end of a note, crossing over into the rest beyond.
W.N.
Glissandi
Where transitions between chords are needed to be as fast as possible, the rest before as has been marked “trans. poss.”. The rest should be as short as practical, but the next chord should not arrive earlier than marked.
“With Spoons” Played with a plectrum, scraping up the string.
The spoons should be used to string the strings, creating a metallic, jangling sound. There will be miss-hit notes, this is not a problem.
White noise. Either using the technique above, or a very light bow pressure with very fast tremolo.
Us Alone A
In Free Time, for c. 20"
> 6 5 bœ œ œµœ œµœ -œ œ b -œ µ œ IIIo œ œ œ œ œ µœ 3 µœ µœ œ bœ œ œ œ & j ‰ 4 µ œ bœ J µœ µœ µ œ œ 3 3 3
con sord.
?
Violoncello
µœ b œ
o ° µ µ√ w w B w Sound Icon I & o Sound Icon II
¢ & µ µw w µw o
µœ µ œ œ
Con Rubato, q=c.56
bœ œJ
mp
mp
? mp
µ˙
mf
non vib.
34 µBµ˙˙˙ ™™™
34 ò & µ˙ µœ µ ˙ µ˙ f
mp
mp
‘ µ˙ ™ µ ˙ ™™ µ˙
Joe Bates
o o IV bœ >œ bœo ? J
3
‘ ‘
o -œ œ ≤o ≥o ≤o ≥ etc. o trem. > µ œ o µ œ o poco marcato norm. µ œ o b œ norm. trem. b œ œ œ b œ œ œ o o o µœ o œo œo œo œo œo œo œo µœo 3 µ œ µ œ µ œ b œ œ j ææ ‰ ææ µœ µ œ œ œ µµ œœ 5 o mp3 mf 6 mp pp slow harm. gliss.
o ? µœ ™
5
Vc.
° S.I. I & S.I. II
¢&
4
‘
‘
‘
‘
‘
‘
4
‘
‘
‘
‘
8
B harm. gliss. - slow 10 senza sord. norm., vib. normale ≤o ≥o ≤o ≥o etc. o o o o U æætrem. œ œ µ œ µ œ ? Œ bœ™ œ œ bœ b œ œ œ œ µœ b œ µ œ µœ Vc. Œ µœ ™ µœ ™ µœ œ µ œ œ œ œ œ µµ œœ ™ µœ œ 6 mf f mp ° S.I. I & ‘ ‘ ‘
2
S.I. II
Vc.
¢&
‘
¢&
‘
+™ ? ææ
18
° S.I. I & S.I. II
Œ
æ µ ˙ µµ ˙˙
¢&
ppp
‘
mp w.n.
Vc.
Œ
w.n.
12
pp
‘
æ™ µ ˙ µµ ˙˙ ™™
slow harm. gliss. o o V C norm., with free rhythm o etc. 14 µ œ o ≥ o ≤ ≥ ≤ o µœ o o o œ µœ µ œ ææ b œ œ œ µœ œ µœ ? ææ ? µ œ œ b œ µ œ œ µ œ µ œ & µœ µœ µœ µ œ mp mf
° S.I. I & S.I. II
µ˙ µµ ˙˙
8
ææV
o ææ
trem.
‘ ‘
µœ µ œ
mf espress.
p
16
‘
‘
‘
‘
4
‘
œ œ œ µœ b œ µœ
norm., with free rhythm
pp
mp
pp
trem.
œ µ œ µœ
‘ µœ b œ & b œ œ µœ
œ bœ µœ œ µœ ?µ œ µœ0 bœ0 µœ 20
‘
‘
‘
‘
8
‘
‘
Vc.
?
µœ µ œ œ 0 0
0 bœ0 µœ
œ0 œ0
0
0
° S.I. I & S.I. II
S.I. I
S.I. II
p
‘
non dim.
¢&
‘
° &
æ ¢& µµµ ˙˙˙ ™™™
µ -˙ ™
norm., espressivo
D q=42 ? Ó
27
Vc.
œ œ œ 0 0
œ0
∏∏∏∏∏∏∏∏
22
µœ
mp
∑
Uæ ++æ™™trem., w.n. ++ ™™
With increasing bowing speed, and random harmonics/dead notes
bœ
o
mf p
∑ ‘
Ó
‰
3
µœ
bœ
mp
µ˙
œ
mf
p
∑
∑
‘
4
‘
‘
‘
‘
12
µœ ™
24 U ‘
‘
mp
‘
∑ ‘
∑
o
√ æ µµµ ˙˙˙ ™™™
U ‘
Bœ
non espress. bœ œ œ 3 ˙ J ‰ ‰ ‰ Bœ bœ o o p mp p
∑
3
∑
œ Œ
Œ
∑
∑
‘
8
‘
4
E ? Œ
35
Vc.
S.I. I
S.I. II
Vc.
° &
‰ Bœ 3
mp
µœ
bœ
∑
¢&
3
œ ˙
Bœ
“” o o ≤o ≥o ≤o nœ≥o µœ µœ œ œ˜œ
non espress.
&
mf p
o o o œ™ µœ œ J
µœo
&
œ œ bœ
pp
‘
‘
‘
‘
¢&
p
pp
‘
‘
16
‘
‘ ‘
mf
pp
‘
o ˙
‘ æ µµµ ˙˙˙
‘
G q=64 Œ ∑ o
Πo
∑
‘
µœ Ó &Bbœœ
mp
‘ ‘
decresc.
p
4
mp
˙
µ˙ ™ bB ˙˙ ™™ o
∑ 12
œ b œ œ œ B µœ Bœ bœ œ bœ J 3 3
espress.
p
F Sul II ≥o3 ≤o o norm. ≤ 42 etc. o o o ≤o ≥ ≤o ≥ etc. ≤o ™ trem. ≤ ≤ ≤ ≥ ≥ ≥ o o o o o o o o o o o o o o ≥ ™ œ œ b œ œ œ œ œ œ b œ œ b œ œ œ œ b œ bœ B b œ & bœ œ œ œ œ œ bœ ™ œ™ bœ œ œ œ bœ
° S.I. I & S.I. II
µœ
espress.
µ˙ ™ b ˙ ™™ B˙ µ ˙™ Bb˙˙ ™™
∑
B4
‘
44
‘
44
4
b˙o B 4 Vc. 4 o ° 4 S.I. I & 4
˙o
49
4 S.I. II & 4 ¢
cresc.
cresc.
b˙o
˙o
b˙o
4
‘
‘
‘
4
Vc.
° 3 S.I. I & 4
3 S.I. II & 4 ¢
Væ ™ æ
wn
‘
‘
pp
µœ ææ
34 œ œJ -œ œ œ œ œ œµ œ œ µœ. û 44
˙o
3
mf
œo b˙o ™
p
Ó
‘ ‘
o nœo bœ
8
p
‘
‘
‘
8
‘
˙o
ff descresc.
ff descresc.
p
6
pp
‘
5
∑
44
8
‘
44
‘ ææ ™
bœo
trem.
&
8
‘ ææ +
wn
B3
Ó
4
pp
‘
4
‘
‘
‘
43
‘
4
‘
‘
43
œ œ œ œ œ œ bœ œ œ œ œ œ. µ œ
trem. norm.
5
43
‘
mp
p
43
‘
‘
H poco sul pont. o o 3 6 nœ 6 j Œ ‰ Vc. & bœ œ œ œ µœ. bœµ œ œ . p ° µw S.I. I & bB w w µbw w S.I. II & B w ¢ B 43 Œ ™
b˙o
ppp cresc.
55
61
˙o
(on beat) o 3 bœfij
µ Ȯ
‘ bb Ȯ ™™
with lighter than usual finger pressure
?
7
‘ ‘
‘ ‘
Œ
I µ ˙o
IV
µ ˙o
Π12
‘
‘
‘
12
‘
6 67
Vc.
? Œ
° S.I. I & S.I. II
≥ µ œo µ œ≤o
p
‘
¢&
J ?
° S.I. I &
‘
‘
74
Vc.
√
‘
√
µœ µ œ bœ
with spoons
ff
√
¢ & µ œ b œ µœ
with spoons
S.I. II
o µ œo œ µ œ b œ µ œ µ œ b œ µ œ 0 ≥o etc. µ œ µœ o o o o µœ µœ œ œ œ bœ bœ µœ œ µ œ œ 3 3 3 “‘ mp 0
ff
fi µœ
µœ
µ˙ µœ
molto vib.
bœ
mf
Œ µ˙ µ mp ˙ Œ µ˙ b˙
mp
‘
16
‘
‘
∑
∑
‘
16
‘
∑
∑
bœ
œ ˙ û
‘
µ˙
non vib.
Πo
∑ µ˙ ™ µ˙™
µ˙æ™™ b˙
œ
bœ œ
œ ˙
mp
‘ ‘
∑
µ˙
p
‘
4
‘
‘
‘
‘
4
‘
‘
‘
µœ
œ
more and more vib.
82
? Ó
Vc.
° S.I. I & S.I. II
¢&
µ˙
˙
‘
‘
8
‘
3
B˙
‘
‘
‘
‘
>œ
µœ b œ µœ b œ œ œ >œ J J 3
espress.
f
8
‘
bœ
œ B˙
K
accel., con rubato
3
>œ œ b µ œ µœ nœ œ bœJ œJ nœ 3
12
‘
‘
‘
‘
12
‘
‘
‘
“” µ œ µ œ œ œ nœ bœ µœ bœJ œJ µœ #œj œj bœ ? µ œ µ œ b œ b œ œ œ Œ bbœO Vc. n>œ Bœ 3 3 3 3 3 3 3 3 mf mp 16 ° S.I. I & ‘ ‘ ‘ ‘ ‘ 90
S.I. II
¢&
‘
‘
o ? <b>Ȯ
o µµOœ
97
Vc.
°? S.I. I S.I. II
¢
?
‘ ∑
‘
Ȯo ™™ µ˙ ™
&µ˙™
‘
‘
‘ ‘
‘
L In free time, for c. 30" Free improv. on Cµ harmonic series
Ȯ ™™ 24
3
3
‘
A tempo
16
3
µw µw free dynamics µw µw free dynamics
&
≤o µµœO
7
µ
(Tuned as harmonics of G )
o µµ Ȯ ™™ p
p
p
20
≥ µµOœo
bOœ≤o Oœo
3
‘
‘
20
‘
‘
43 43 43
8 101
Vc.
A Tempo
? 43
° 3 S.I. I & 4
cont. (cue S.I.s)
?
B˙ ™
Cued by cello
3 µ˙ ™ S.I. II & 4 µ ˙ ™ ¢
∑
‘
µ˙ ™ µ˙™ p
Cued by cello
∑
M 107
Vc.
?
Cue S.I.s IV
µ˙ ™û
mf Cued by cello
° S.I. I & B˙ ™ p
b ˙™ b˙ ™ S.I. II & æ ¢
∑
µ˙
œ bœ
mp
‘
Bb˙˙ ™™
Œ
B˙ p
4
‘
‘
‘
4
‘
p
µœ Œ
œ
µœ µœ b œ ‘
‘
‘
‘
‘
Bœ µœ # œ &
mf
‘
4
bœ µ œ # œ µœ 3
f
˙
Œ
p
‘
8
‘
‘
‘
8
‘
Cued by cello
p
‘
‘
‘
‘
‘
o o o o bœ œ bœ œ
o & b˙
116
Vc.
° S.I. I & S.I. II
‘
¢&
‘
126
Vc.
?
4
‘
° S.I. I & S.I. II
¢&
‘ Ó
µ˙ µµ ˙˙ o
µœ
˙û
Πo
p
‘
‘
‘
‘
12
‘
‘
‘ µw µµ w w
12
Œ? o
µ˙
‘
‘
4
˙o
9
mp cresc.
‘
‘ ‘ ‘
µœ
Œ
N
µ˙ ™
B˙ ™ fp
∑
mf cresc. 8
‘
‘
‘
4
mf cresc.
‘
44 µ˙-
˙™
fp
Bœ œ Bœ œ œ œ
legato, non vib.
‘
44 Bw
∑
44
˙-
‘
∑
∑
∑
4
f
‘
µw bB w w f
‘
‘
‘
cresc.
‘
O ‘
‘
f
‘
‘
cresc.
∑
∑
‘
∑
p
‘
‘
8
‘
‘
10
136
Vc.
q=42
° µw S.I. I & bB w w
3
f
S.I. II
?
° S.I. I & S.I. II
‘
¢&
‘
µ -œ b œ œ œ f
3
mf
¢ & µ µw w µw
144
Vc.
bœ ™ œ œ œ œ µœ Bœ µ˙ Bœ J
b œ ™ œ œ µ œ œ µ -œ µ -œ ˙ ™ ? J
P
3
œ
œ bœ
nf
‘ ‘
bœ
mp
mp
f
mf 4
‘
‘
‘
∑
µ˙
œ
œ
µw bw
‘ ‘
Bœ ˙ Œ™ J mp
B˙
‘
R µ Ÿw~~~~~~~~~~~~~~~~ b œ ™
∑
µw µµ w w p
µw bw Bw
4
‘
3
-œ
‘
œ œ œ™™ µ-œ bœ ‘
f
‘ f
Œ
Bœ
‘
mf
œ œ µ œ œ µ -œ J
f
∑
mf
‘
µ
‘
œ µœ œbœ œ ˙
µBµw w w
p
∑
mf
p 4
mp
˙
˙
Q
‘
150
Vc.
S.I. I
S.I. II
?
° &
?
°? S.I. I
S.I. II
ff
œ µ œ œ œ -œ -œ -œ µœbœ-
¢&
‘
∑
4
‘
‘
µœ
µBµw w w
<µ> œ
µœ
bœ œ
p decresc.
œ œ
3
∑ 4
p
‘
3
œ
µœ œ
‘
mf decresc.
œ
œ bœ µw
&µw
µœ
œ œ
3
µœ
3
µœ œ
mp
œ
œ œ
œ
f mf
4
‘
µw bw
3
Bœ- µœ œ- b œ b œ -#œ µœ >
µœ œ- œ µœ- b œ ˙ ™
mp
∑
‘
3
B˙
mp
non vib., poco sul tasto 3
S Poco sul tasto
b-œ bœ -œ œ bœ bœ b˙
decresc.
¢&
157
Vc.
b -œ
11
œ Bœ bœ œ
T
3
3
‘
‘
‘
‘
µœ
3
µœ
œ
µœ
‘
p (non dim.)
∑
Bµ w w
p (non dim.)
µœ 3
œ œ bœ œ 3
?
12 160
Vc.
?
S.I. I
°?
S.I. II
Vc.
µœ œ
3
µœ
œ
µœ
µœ
3
œ bœ Bœ bœ bœ œ bœ µœ µœ µœ œ b œ Bœ œ µ œ µœ œ œ œ µœ µ œ œ ™ œ œj œ J 3 3 3
3
3
3
pp
∑
‘
¢&
‘
U dolce, con vib. 164 µ œ µ˙ ?
Bœ œ
ppp
‘
µœ
µœ bœ ˙
S.I. I
S.I. II
° µ µw w & Bw ¢&
p
p
‘
œ
∑
∑
4
‘
‘
Bœ µœ Bœ µœ œ bœ œ #œ µœ
pp
‘
∑
‘
8
‘
œ µœ ™ J
bœ
&
µœ
µw µw
t. por
&
µœ
-˙
p
‘
13
V
rit.
& Bœ- µœ œ œ nœ
168
Vc.
° S.I. I & S.I. II
¢&
‘
W b-œ œ µœ µ˙ 4 &4
° 4 µw & 4µ w
4 S.I. II & 4 ¢
µBµw w w
mf
12
16
∑
‘ mp
‘
f
œ µœ Bœ œ µœ mp
‘
f
f
f
‘
œ -œ µœ œ µœ
œ µœ n-œ µœ
œ µ˙
‘ µw µµ w w
mp
‘
‘
‘
Ó 4
p
‘ ‘
p
µœ
‘
con sord.
˙
non vib.
mp
f
∑
‘
f
S.I. I
A Tempo [q=42]
pp
174
Vc.
≈ molto espress. > µ œ µœ b œ œ µœ -œ œ b˙ #œ bœ
?
µœ p
bœ
µœ µ œ œ
p
œ
43 ˙
4 µœ # œ œ 4
43
∑
44
43
‘
44
p
p
molto espress. 3
œ pp
‘
∑
‘
4
‘
14
Vc.
S.I. I
S.I. II
X 180 µ œ ? bœ ° µw &µw ¢&
S.I. I
S.I. II
? µœ
° µw &µw ¢&
µœµ œ œ
œ
6
œ œ
œœœ
œ œ b -œ œ œ œ 3
b -œ ™ œ œ µ œ œ µ œ -œ
mp
mf
µœ
µœ b œ
mp
‘
gliss.
3
mp
∑ ‘
mp
‘
µw µw
∑ ‘
pp
8
‘
æ œ œ µœ œ œ œ œ œ œ œ ˙
p
+ ææ
w.n.
∑
trem.
p
p
µw µw
p
mp
Y 5 bnorm. œ™ b œ œ œ µ œ œ µ œ œ -œ bœ œ j & µœ µœµ œ œ 3 µ œ - µ˙ 3 p
3
-œ b -œ µ œ œ œ œ œ œ œ œ µtrem. ˙ æ j œ
mp
‘
f
œ mf
∑
mp
184
Vc.
6
12
‘
‘
p
æ +æ
w.n
pp
µœ œ œ œ œ œ œ œ
µw µw
‘
15
& µœ- bœj œ œ œ Bœ- µœ
189
Vc.
S.I. I
S.I. II
° &
3
3
p
∑
¢&
S.I. I
S.I. II
¢&
p
µw µw
gliss.
ppp
œœ œœ œœ œœ œ æ
‘
norm.
Væ œ æ pp
gliss.
p
µw µw
∑ 16
‘
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ µtrem. ¿ w.n n¿ æ Vææ ™™
pp
‘
repeat pattern, getting higher until sound fails.
gliss.
norm.
pp
∑
b-œ µœ µœ œ œ œ œ œ œ œ
trem. w.n
‘
Z
µœ œ & æ Væ
° &
˙
‘
193 trem. w.n
Vc.
norm.
™™ µµw w
pp (non dim.)
™™ µw µµ w w
pp (non dim.)
ppp
∑ ‘
µw µw
∑ ‘
4
‘