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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

o

mf p

∑ ‘

Ó

3

µœ

mp

µ˙

œ

mf

p

4

12

µœ ™

24 U ‘

mp

∑ ‘

o

√ æ µµµ ˙˙˙ ™™™

U ‘

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

¢&

3

œ ˙

“” 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.

mf

Œ µ˙ µ mp ˙ Œ µ˙ b˙

mp

16

16

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

µœ b œ µœ b œ œ œ >œ J J 3

espress.

f

8

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

‘ ‘

mp

mp

f

mf 4

µ˙

œ

œ

µw bw

‘ ‘

Bœ ˙ Œ™ J mp

R µ Ÿw~~~~~~~~~~~~~~~~ b œ ™

µw µµ w w p

µw bw Bw

4

3

œ œ œ™™ µ-œ bœ ‘

f

‘ f

Œ

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

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

&

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

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

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