"I.C. Hologram" for Amplified Sextet by ramteensazegari

i.c. hologram ( 2016, rev 2019 ) for amplified sextet : tenor trombone, percussion, violin, viola, cello & double bass

ramteen sazegari

strings violin & viola i & iii scordatura - 33 cents flat All notation for the violin and viola is prescriptive. Sounding pitches will be flat 33 cents or as written (given the string[s] activated). Violin and viola players should activate the written notes as if no augmentation involved is present. specific conditions for viola 1) Always regular bow pressure when attacking, no bow vibrato, regular bow speed. When sustaining any note(s) for longer than a quarter, bow pressure should become lighter, bow vibrato should become heavier and bow speed should become faster. The eďŹ&#x20AC;ect should be subtle, but present. When executing a circular bow movement process, default to that style of bowing/style of performance. 2) Default bow style for viola is crine e legno. cello The cello is the only string instrument that executes multiphonic content. In these instances, there are suggested bow placements within the multiphonic prescription. In general, the player should assimilate to the conditions necessary for the multiphonic to speak as best as possible. Rhythmic notation denotes the amount of time attempting to make the multiphonic speak (successful or not). double bass The double bass has the unique task of playing a good deal of high natural harmonics. Some of these might be unstable, but the weak/unstable character is intentional with respect to the aesthetic of the timbral palette. String assignments are present for natural harmonics, and the string assignment remains applicable until otherwise noted.

strings (contâ&#x20AC;&#x2122;d)

multiphonics The cello multiphonics utilized in this piece were informed by the diagrams created by Jessie Marino - below is her key. As such, the multiphonic indications in this score assimilate to said notational parameters. The small noteheads in the score are the approximate sounding pitches. It is highly advisable that the cellist listen to the sound samples of specific multiphonics on her website: http://cellomultiphonics.blogspot.com Marinoâ&#x20AC;&#x2122;s diagram:

Score representation :

strings (cont’d)

Techniques/Symbols When this symbol appears, the performer should move the bow in a circular pattern. The diameter of this revolution should attempt to encompass the distance from the fingerboard to the bridge (mst - msp). More important than the range of the bowed diameter is the duration of the bow’s revolution. The circular symbol corresponds directly to a note value in the score - each bow revolution should be executed and completed evenly, throughout the period of time that the given note value represents. Equally important are other bow techniques present during the circular bow process. The moment the circular pattern is executed, the bow pressure should transfer from light to heavy, and then back to light. In these instances, there should be no bow vibrato. The circular bow symbol only eﬀects the note value directly below the symbol. If the eﬀected note is tied to and/or from another note value, those notes are exempt from the circular pattern process, unless otherwise noted (with a bracket or otherwise).

Black diamond noteheads indicate half-harmonic finger pressure. When this notehead is linked to a regular notehead, the finger should subtly adjust to and/or from finger pressure states.

strings (contâ&#x20AC;&#x2122;d) The ridged symbol above the notehead indicates a finger pressure tremolo. The symbol only eďŹ&#x20AC;ects the note value directly below the symbol - whether or not that note value is tied to another note.

Tightly bound miniature cresc/decresc symbols indicate a sliver (or slivers) of a slight and quick volume dips. Somewhat like a digital skip (or skips). Bowing does not stop, and as such, notes are tied together.

strings (cont’d) The strings observe the “fall” or “rise” doit or pseudo-gliss. This eﬀect should be subtle. After the entire rhythmic duration has been observed, barely gliss up or down. Eﬀect should be slight, and resonate more as a physical residue than anything else.

Muted strings are noted in the score with noteheads that are slashed. There are also written indications that designate which string to mute. If a muted note value is tied to other note value, they are to maintain their mutings. Muted strings are to be muted with 2 fingers.

tenor trombone The tenor trombonist should always play with the second tube on the f-valve wrap removed; the sound should not project through the bell, but through the small, cylindrical tube. The small, cylindrical tube should have a piece of thin paper taped to, and covering the hole roughly 75 percent. Additionally, the trombonist should always play with the f-valve depressed. The performer should predetermine their playing positions in order to find the sounding pitches easier. The tenor trombone maintains ordinary notation and is not prescriptive-pitches should sound as written. Most of the pitches in the tenor trombone line carry a microtonal accidental symbol. This is in eďŹ&#x20AC;ort to match the general pitch area of the altered string section (violin and viola). The microtones for the tenor trombone should deviate approximately 33 cents, unless a slighter microtone is indicated. Some of the higher pitches might be diďŹ&#x192;cult to reach, causing a strained tone. A weak and unstable character of timbre is intentional, and a strained/cracked tone should be welcomed, not avoided.

percussion A single percussionist observes the two percussion instruments in this work. The required instruments are: 1 snare drum (with a single brush) 1 vibraphone (with a bow). The snare drum maintains pitchless notation. It is performed exclusively with a brush. Feather beams indicate that the brush should be tossed onto the snare drum so that the eďŹ&#x20AC;ect is akin to skipping a stone. Non-feathered snare notation indicates that the player should attack then drag the brush on the snarehead for as long as the note value (including any ties to/from other note values) indicates. The brush should run the distance diameter of the snarehead (approximately) for every whole note notated. The vibraphone maintains pitched notation. When performing the vibraphone, it is to be bowed exclusively. There are 3 circumstances with which the vibraphone is concerned:

percussion (contâ&#x20AC;&#x2122;d) 1) Bowing the fundamental pitch, sounding said pitch 2) Bowing the fundamental pitch, stopping the center of bar to sound harmonic (two octaves above). 3) Bowing the fundamental pitch and stopping the center of bar, attempting to sound both the fundamental and the harmonic two octaves above. 1)

The note in the score, (f + h) implies fundamental and harmonic.

accidentals The microtonal accidentals (below, left) neighboring conventional accidentals should deviate roughly 33 cents in the given direction. Microtonal deviations (below, right) are again neighboring conventional accidentals. These microtonal symbols deviate roughly 16 cents.

All accidentals apply to entire measure - only for given register.

amplification Amplification should be subtle, but apparent, such that a written p sounds at mp, a written f sounds at ďŹ&#x20AC;, and so on. The main purpose of this amplification is aimed at highlighting the physical gestures of the instrumentalists. For this reason, a closemiking is essential.

timing/ general notes If certain tempos need to be taken slower than written, other tempos should decrease relatively. All pauses and silences are to be observed similarly. Long pauses are meant to be observed as such, just as shorter ones. Nevertheless, if tempos are augmented, these augmentations should be reflected (in terms of duration) in the silences. Local phrase relationships should be observed aggressively, and the inertia within the modular sections should be upheld.

â&#x20AC;&#x153;i.c hologramâ&#x20AC;? duration: 8 -9 minutes | questions: rsazegari10@gmail.com

- i.c. hologram - ampliﬁed sextet Violin, Viola, Cello and Double Bass + Tenor Trombone, Percussion

(emergent)

Trombone

q = ca.48 accel. 5 œ œ 4w 4 & 16 R o mp

˙™ Œ

q = ca.66 6 8

Œ™

∑

≈ Lœ œ

4 4œ

œ ˙

sfmp

r5 œ œ

∑

œ ‰™

p mf sfmp

f p

(all pitched notation bowed ) [ motor off ] vib (feather beams always thrown)

Percussion

r O 4~ 4 œ w

5 O & 16 œ o

snare

6 8

∑

œ™

‰ œ

4w 4

j œ œ œ œ

( > drag )

f mf

( m iv )

( m iii ) ( m ii )

K œo

( iv )

Violin I

- r sp 5 œ œ 4 _ & 16 g g 4 G R

3 g œo J

- _ œg

gliss.

6 8œ

≈ Œ

‰

≈ œ œ™

4 4œ

j œ œg ‰

˙G

œg

( m iii )

ord sp

ord

j œg J

˙G

‰ Œ ‰ Œ

‰ ‰

g™ œg ˙G œg œ™

( m ii ) 3

sfmf mp

mf p mf

“” œo ™

( ii )

“” œo œo ™

( m iii ) 5 3 Viola

5 œ≥ & 16

œ 4 ‚™ œ œ œ 4 œ™ R

œ œ ‚ œ

‚™

6 ˙™ 8

ord

mst

j _ gœ œ

4_ 4G

G™

œ œ œ

ord

œ _œ

œ œ œ

œo

˙™

œ&

J J 3 5 3

5 3 3

p p

f mp

c. c.l.

( m iii )

( iv )

( m iii ) ( m ii ) ord

3 msp

Violoncello

∑

œ ™™ g

( iii )

5 & 16

4 o 4w

6 8 œ™

?œ

œ ≈

( iii )

mst ord

œ g

œ ™™ g

4œ 4g

( iv )

o Jœ ™ _

_ œg

œo

o œ œ™

œ ?

œo œ J

o œ œ™

œ œ

œ J œo & J

˙™

5 3 3 3

mp f mf

mst ord

msp ord

( iii )

Double Bass

5 ? 16

∑

4Ó 4

o œ ‰

_ (mi)

w Œ

6 œ™ 8 ‰™

œ Œ

(i)

œ ≈

∑

4Ó 4

˙o

g _

(i) 3

o ˙™

( m ii )

g G

g &

Œ f

> G

mp f

o ‰ œ

(sterile formation) 5 5

( hold for 6-8 sec ) 3

e = ca. 72 10

œ™

U Ó

‰

> 2 œ œ™

5 4 ≈ K >œ ™

L œ. >

Kœ

4 4

K œ™ >

œ œ

sfmp

J p

sempre

( hold for 6-8 sec ) speaking brieﬂy at some point in the second half of the measure

O /

5 w

∑

4 œ

œ mp

( hold for 6-8 sec ) ( iv )

( m ii )

U K ˙o

œg

sp ord

_ g g R

3 5

>r kœ

ord

7 6

‰™

_ G

nœ ®

œ œ bœ œ œ ™ >

5 4 œœ œ. œ œ. œ > >

#>œœ œœ >œœ œœ ™™

œO >.

œ œœ >. >

œœ ™™ œ œœ œœ œœ œœ œ™ > > > > > >

œœ

œ >

4 4

œœ œ > ≈ ≈ > 3

5 sub.

p p

sfpp

sfmp sempre

( hold for 6-8 sec ) 7

6 st

K œo

( iii )

o œ

U ˙

j œ

® kœ œ 2œ ‰ ®

˘ n œ œ™

>. 5 œ 4 J

œ œ

≈ J

>œ

>œ. Œ

j >œ œ >

>j œ™

ord

œ _ ‰

‰

œ 44

R J

3 3 3

p sfmp

pp 3 sub. sempre

sfpp p

( hold for 6-8 sec ) approx one revolution every c.l.

Uo ( iii ) K ˙

mst msp ord

& œ

r œ

_ G

‰™

G™

˘ ® & kœ >

‚ œ

2œ

nœ

5 43 w

Kœ

4 4

( m iv ) sub.

p mp p pp

sfmp

sfpp

( hold for 6-8 sec )

o Kœ o œ &

œ J

o œ™

U ˙

o œ

( iv )

(mi)

g™

o œ

#œo

Œ &

5 œ 4

‰

J 3

mp p

sfmp

4 4

4 &4 œ

Jœ

K œ™

6 16 œ™

œ ≈

n >œ

‰

2 4 œ

‰

j O™

4 &4 Œ

j O

≈

6 16 œ ™

‰ œ™

‰™

≈

2 4 Œ

≈ œ

œ mp pp

p mf

( m iv )

3 3 3 ord

4 & 4 œœ ™™

‚‚

>œ._

‰™

œ.

Oœ.

œ.

>. 2 2 œœ

≈

œ.

>œ.

œ.

k >œ.

. œù

2 > 4 œ

6 16

≈

>œ

bœ

> œœ

>œ

œ œ

≈

g >

œ œ

g ®

3 3 3

3 3

p pp p

approx two revolutions

3 3

( iii ) 3 st

œ œ

B 44

≈

ord

kœ

62œ 16

2œ

nœ

œ 3

2 4 œù

‰™

‰

-j œ J sfp

p p mf 3

[sp] ( ii ) part. [ 3 ::: 4 ] [ mult. ]

msp br

mst

≤ _ œ™

? 44 ≈

≈™ ≈™

˙G

œg

ord

6 16 g

2 4 ≈

‰™

‰

( m iii )

J >œù

‰

n # # # n# ≈ F

ee ™™ p

mf mp

sfmp

p ( m iii )

( iv ) 5

( m iv ) c.

(i)

K œo

gliss.

œo

c. c.l. c.l. mst

# œo

msp ord

_ _

4 &4 Œ

‰

6 16 ‰ ™

2 4

≈ g

≈

g R

mf sfp sfp mp

≥ 17

3 >œ ™ &

3 4

‰™

≈

‰™

Jœ >

5 8

≈

K œ™

‰

3 4

j O

j 3O 4 œ

4 4

∑

5 5

r œ

3 4

r œ

‰™

5 Ó

Œ™

‰ œ

‰

4 4

p p mp

spring-like 3

5 5

j n >œ

3 6

> bœ > &

® œ

œ™ J

œ >.

œœ œ >. >

>œ

3 4

bœ >œ

> œ Oœ

œ ™ œ j >œ™

œ b >œ

bœ

5 8

œ R

œ œ

œ œ™

#>œ œ

3 4

™ >œ

4 4

p mp

œ™

mfp

approx two revolutions (i) ( ii )

( ii ) ord

( ii )

≤

( m ii ) 7

≥

≤

>œ

b >œ

≥

st msp

_ g™

œ™

‚ ≈

3 4

≈

≥ bœ >

jœ >

≤ ≈ œ

™ >œ b >œ

œ™

‚

œ ™ >œ

5 8

˙™

3 4

B4 4

J J o

mfp

[sp] ( iv ) part. [ 3 ::: 4] [ mult. ] ord

5 mst

( both 16 cents ﬂat )

ı >O ™ 3 œ™

Oœ

Oœ &

3 4 KO K œ

> K K Oœ ™™

≈ œO

œO

e b 5 k >eee 8 n # # #n# F

e eee

3 ( both 16 cents ﬂat )

≈

ı >O ≈™ 3 œ

Oœ

3O 4œ

>O œ

Oœ

Oœ™™

Oœ

4 4

mf mp

( iii ) [ c ] c.

c.l. c.

mst

<#> œ

msp

( m ii )

‰

≈

3 4

œo

5 8

Œ &

sfp sfp

[a]

Œ J o

[c]

œo

ord

3 4

‰ f

o œ

4 4

‰ o

4 &4

∑

3 4œ

K >˙ ™

‰™

U Œ

Kœ

‰

2 4

j O™

r O

4 &4 ‰

‰™ œ™

‰

œ J

3 4œ

U Œ

2 4

∑

mf p

( ii ) 3

U œ

‚

r œ #>œ

‚

4 &4

™ #œ n œœ ™

˘ œœ

œœ

œ 3

œœ

œ œ

3 >4œ J

>œœ

‚™

ord

Oœ ™™

Oœ

b >œ _

2 4

‰ #œœ >-

œœ

sfp

mf p

(i) ord

( m iv )

#stœ ™ _

B 44

‰ ≈

g™

‰

3 4œ

‰™

U Œ

‰

2 4

g o

mst

ord msp

j g

( m ii ) ( m iii )

( iv )

4 &4 Ó

‰

o ® 3 œ™

3 4Œ

Œ G >

‰

r g

‰™

U Œ

2 4

∑

‰ p p

mp p mp

c. c.

c.l.

c.l. mst

˙™

ord

œo

4 &4

‰

gliss.

œo J

o mp

_ ( m iii )

˙™

3œ 4 J o

‰

Œ G ‰

U g Œ

‰ g

2 4

(condensed anxiety) œ J >œ™ 2 &4 ≈

7 3

> L ® œ

œ be

7œ 8

≈

#e L œ >

j œ

5 8 ˙

Œ #e

≈

® Jœ

≈™

4 4

o f f

f mf

3 5 3

2 &4

7 /8 ‰

∑

5 œ 8

˙™ > sfmf

œ œ >

j œ

œ œ >

sfmf

œ œ >

sfmf

4 4

sfmf

3 5

mst

2 &4

b >œœ

œœ

>œœ

‚3

bbœ>œ ™™

7 œœ b bœ>œ 8

œœ

>3. œœ œ

b >œœ

> > > > œœ œœ. œœ. œœ. œœ.

>œœ œœ œ>œ. _ >œ œ

œ œ

>œ.

>œ. œ

œ œ

5 b >œ 8

‰

> œ bœœ. ≈ b >œœ

œ>œ œœ

> œœ

3‚

˘ œœ b >œœ œœ 5

b bœ>œ ≈ ®

œœ

4 4

J ff ffmf ffmf ffmf

ffmf

ffmf ff

{aligned violin i attack} st

( sempre ii ) 3 ord

≥ _

{aligned w cello attack} {aligned w cello attack}

≥ <n> >œ B 42

≤ b >œ

>œ≥

≥ œ œ >

st msp

œ _

≥ œ

b >œ

≤ œ œ

‚

j œ™

≤3

œ >

7 8

œ œ

j œ

œ™

5 8

bœ œ >

r œ œ >

œ œ >

4 4

7 3 5

ffmf

ffmf ffmf

ffmf

ff ffmf

ffmf

ord

psp

msp

( m iv ) 5

≤ L >œ >œ

? 42 ‰

K >œ™

œ™

7œ 8

œ K >œ≤

≈

® #>œ

≥ œ L œœ ™™ L>

_ j

8 ≈

‰

4 4

≈

5 3

ffmf ff

sffmp

ffmf

[ c# ] c. c.

c.l.

# œo

( iv )

g™

? 42 ≈

œ™

( iii ) msp ord mst

(mi)

g g

7g 8

# œo ™

œ ‰

g ≈

≈ &

5 8

∑

‰

4 4

‰

3 3

mf ffmp f

4 &4

˙™

b e

‰

3 4 ‰

J>œ

ffmp

‰™

2 4

3 4

∑

2 4

∑

4 /4

œ œ

j œ

œ œ

r œ

3 4 ˙™

2 4

œ™

3 4 œ

ff p

‰

ff ff

3 3 5 5 3 5

≥ >œœ œ>œ≤

5 3

4œœ &4

œœ œ>œ. œ>œ. œ>œ. œ>œ. >œœ œœ œ>œ œœ >œœ

œœ b>œœ

bbœ>œ

œœ™™

> œœ.

œœ œœ

≈

>œ

3 œœ b bœ>œ 4

‚

2 4

˘ bbœ>œ

3 5

b >œœ.

œœ

œ>œ

œœ

≈ ®

3 œœ bbœ>œ ™™ œœ >œ 4

œ b >œœ

>œ

‚

œœ

œ>œ

2 4

3 5

ffmp

ffmf ffmf

ffmf

f peak

ffmf ffmf

ffmf

fmf

ffmf ff

ffmf {working w cello to achieve a sense of compression}

{do not lose inertia } ord st

_ œ

≥ b >œ

ord

œ≤ ‚

>œ≥

>œ

œ™

B 44

b >œ

‚

b >˙

3 4

_ œ

2 4

œ b>œ b>œ ™

3 4

2 4 5

5 5

ffmp ff ff

ffmf ff

ffmf

ffmf ffmf

{do not lose inertia } {trying to penetrate the texture, a sense of compression} ( m iii ) ( about 50 ( ii ) cents ﬂat )

ord

mst msp

? 44

mst

3 ‰

Œ ‰™

msp

_ _

K >œ

mst _ >œ œ œ œ J J œ œ ®

msp

5 mst

( m ii )

‚

‰™

2 4

≈

‰

® g

Kœ Lœ

3 4 g

g &

2 4

Lœ >

‰

ffmp

sfmf

ffmf

f mf

[c] c.l msp

œo

<#> œ

_ ( m ii )

4 &4

3 4 Œ

‰

2 4

∑

3 4 Œ

‰

® g

o f 3

sfmp

2 4

3 5

2 &4

3 16

∑

3 4

∑

‰

≈ L œ™

2 4œ

5 16

sfmf f

2 &4

3 16

∑

3 4 Œ

bœ

‰™

œ ‰

2 4

5 16

∑

J mf

3 6

ord

5 3

2œœ &4

œœ bb>œœ

b œ>œ œœ

>œœùù b bœ>œ œœù ≈ 3 16 ®

œœ œœ

j b œ 3 4 œ >

j œ

j œ œ

œ >œ

œ œ

> bœ>œ. b œœ.

≥ > œœ. û ≈ b œ ® >œ

≤ œ œ-

≥ œ œ

‚ ‚

œ bœ œ #œ

œ œ

œ œ œ #œ œœ œ

œ™ œùù ≈ >œ

œ >œ

2 4 œœ

#>œ

œœ

œ ≈

> œ™

5 16

3 5 3 sub.

ff mf 3 3 3

ffmf ffmf

ff ffmf ff ffmf

( iii )

( iv ) st

˙

B 42

b >œ

ord

‚

3 16

b >œ

œû

3 4

‰

>œ ™

>œ

r œ> œ

œ™

2 4œ

≈

5 16

3 7 3 3

ffmf ffmf

ffmf

ffmf f

ord

msp mst

(mi)

2 œ &4

_ _

msp

> K K Oœ

3 16

≈ g

(mi)

Oœ

3 Oœ 4

‰

2g 4

g L >œ &

g R

mf f

ffmf

c.l msp

c. ord mst

( m iii )

mst

5 5

? 42

g™

≈

3 16

∑

3 4 Œ

≈

‰ ‰

œg™

‰

J o

fmp

2 4

∑

5 16

e = ca. 56

5 & ™™16

1 4

∑

( dipping tempo second time only )

q = ca. 60 Kœ

5 ‰™ ™™ ™™16

∑

1 œ 4

™™ 42

‰™

∑

rit.

3 8

4 4

∑

‰ Lœ

∑

2 4

r œ œ œ

5 / ™™16 ‰ ™

1 4œ

5 ‰™ ™™ ™™16

‰

r œ

œ œ

1 4œ

™™ 42 ˙

3 8

4 w 4

œ™

2 4

mp p

mp p mp

( attack e on repeat )

spiccato

ord. from spiccato

spiccato ord. from spiccato

3 3

>œ

j Oœ.3 ‚. œ œ 5 & ™™16 ≈ #œ œ œ œ #œ

3 j Oœ. œ œ 5 #œ œ ™™ ™™16 #œ ≈ œ œ

œ. û ® 1 ‰ 4

> ≈ b Oœùù

‰

‚. œ. û ® 1 ‰ 4

ord

‰™ ≈ ‰ b >œOùù

™™ 42

‰

∑

4 #>œ ™ 4

3 8

>˙

_ œ>œ

œ>œ œœ

‚ #>œ

>˙

2 4

3 3 3 3 3

3 3

3 7

mp p f

p mp

f p

sfmp

spiccato

ord. from spiccato

ord. from spiccato 6

ord. from spiccato

( ii sempre)

(i)

2 œ. œ. n œ. œ.

5 ‰™ B ™™16

œ œ

1 4

≈

2 œ. œ. n œ. œ.

5 ‰™ ® ™™ ™™16

≈

œ œ œ

≈

> #>œ. >œ. >œ. >œ. œ.

>œ

b >œ

#œ

1 4

® ™™ 42

≈

∑

œ œ

3 8

>œ.

>œ. >œ. >œ.

>O ™™ œ

4 4

>O O œ œ

Oœ

>œ

Oœ

2 4

≈ ‰ J

J Æ

3 5 3

3 5

sfmp

fmp p mf

(do not play on repeat ) ord

K K O˙

5 ™ & ™™16<#>œ

1 4œ

5 ™™ ™™16

1 4

∑

™™ 42

∑

3 8

K >œ

4 Œ 4

‰™ &

‰ J

∑

Lœ Lœ

2 4

J o mf p

sfmf f

( iii ) mst msp mst

ord

_ (mi)

5 ≈ ? ™™16

1 g 4

( m ii )

5 g™ ™™ ™™16 J

_ g J

˙o gliss.

1 4

∑

™™ 42

∑

3 8

∑

o #w

4 &4 Œ

4 mp

p mp

(drifting) ( hold for 4 - 6 sec )

q = ca. 36

2 &4 ˙

3 8 œ

nœ ≈

2 4 L >œ ™

≈

U ∑

‰

2 4 K˙ >

3 4

˙™

r œ œ œ 43

˙™

( hold for 4 - 6 sec )

2 /4 ˙

3 8 œ™

2 4

U ∑

2 4 œ™ mp

≤

3 3 3 3

≈ ≥ 2 > œ œœ #œœ >œ ‚ 4 #œ ‰ Œ

#œ>œ œœ >œ œ ™

2 ™ & 4 <#>œ

3 8

œ ™™

5 3

( hold for 4 - 6 sec )

#œ œ >

ord

U ∑

2 4 œ ≈ œ. > >.

≈ ® k k œœ >

j nn œœ

œœ

3 4

œ 22 œ

‰

≈ n œœ ™™ >

˘ œœ

˙˙ ™™

( iii )

3 3

mf p mp

f sfmf

sffz sfmf sfmf

(i) 3 ord st

>œ. >œ.

#>œ œ

B 42

>O œ

Oœ

# >œ. >œ. >‚. >œ.

Oœ

3 8

‰

#>œ >œ

>œ.

( ii ) ( hold for 4 - 6 sec ) ( iii )

> ≈ 42 # œ

≈

#>œ

U ∑

œ ‰

>™ 2 4 ® œ

5 œ >œœ

_ œœ

3 4

‚‚

>œ. œ. œ. œ. ‰

œœ 2 >œ. k >œ. ≈ Œ

œœ

‰

>œ ≈ Œ

J 3 3 5 3

p fmp

f sfmf

sfmf

[ sp ] ( ii ) [ mult. ] part. [ 3 ::: 4 ]

5 5

( hold for 4 - 6 sec )

mst

ord.

œO ™™

? 42 K K ˙O >

( m iii )

L œ. >

‰

3 8

∑ &

2 4 L >œ

j Lœ

U ∑

œ ‰

2 4 Œ

≈ K >œ

> ≈ 43 n## #n# ≈& ee F

‰

> g

mf mf 3

sfmf sfmf

msp ord c.l.

mst msp

ord

_ msp

( m iii )

œo œ œo

( hold for 4 - 6 sec )

? 42 ‰ ™

g g p

3 8

g™

2 4

U ∑ G

2 4 ‰

œ ( m ii )

3 4

g™

mf p

p mf

ord.

( iii )

g _

4 4

& ˙™

ne Œ o

œ™

3 4 ˙™

Ó Kw >

5 8

˙™

2 4 K˙ >

∑

3 4 ˙™

p pp

ppp

O™

(f +h)

4 4

/ ˙™

j œ œ œ™

˙™

r œ ‰™

3 4

∑

O™ 5 8 œ™

˙™

j O

2 4 œ

(f +h)

‰

3 4 Œ

‰ œ

f 3

mp p

( m iv ) c. c.l.

sp _ ˘ œœ

ord

3 3

4 4

& ˙˙ ™™

>œ. ≈ ‰ k > n ™™ œ œ k œ n œ ™™

œ.

≈ >œœ

≈ ≈ 2 œœ™™ n œœ >

g™

3 4 >œ. >œ. ≈

‰

>œ.

>œ

‰

5 8

∑

2 4 œ ≈ œ. > >.

≈

® k œœ k >

3 4 2œ 2œ

nn œœ

‰

≈ œœ ™™ >

J 3

( iv ) ( iii ) pp

( iii )

o pp

c. c.l.

approx two bow revolutions per measure ord

∑

4 4

˘ œœ

˙˙ ™™

œœ

3 ™ 4 ˙˙ ™

˙˙ ™™

5 8

∑

>™ 2 4 ® œ

>œ œ

œœ

‚‚

œœ >œ. >œ. ≈

3 4 œœ

p pp

ppp

[ sp ] [ sp ] ( ii ) [ mult. ] part. [ 3 ::: 4 ]

[ mult. ]( i ) part. [ 5 ::: 3 ] 5

? G™

4 4

™ g ‰

3 4

∑

E E

e e ‰™

∑ &

R o

##k # n# F

5 8

∑

2 4 Œ

≈ 3 >œ

n# > ≈ 43 # # n#& ee ee ≈F

‰

cracking 3

p mf

ord msp ord.

œo œ œo

mst

? G™

4 4

g J o

( iii )

‰

∑

3 4

∑

5 8

∑

2 4 ‰

® p

œ ( m ii )

3 4

g™ mp

& ˙™

4 4 œ™

˙™

ne Œ o

3 4 ˙™

Ó Kw >

4 4

˙™

3 4

∑

≈ œ™

Jœ

pp pp

ppp ppp

O & œ

r O ‰™ œ

(f +h)

O™

j O

˙™

4 4œ

∑

j 4 /4 ‰ œ œ œ

3 4

∑

‰

3 4

o p mp mp

U c.

>œ

c.l.

( iii )

( m iii )

& œœ ™™

‚‚

œœ

4 . 4 œ

˙˙ ™™

>œ.

≈ ‰ >œ n œ ™™ 2 2 œ n œ ™™

≈

‰ >œœ

≈ & ‰™

g™

œœ œœ

3 4 >œ >œ. ≈

> >. ‰ ‰ Kœ Kœ

4 4

∑

3 4

‰ bœ

U ≈ œO œ™ œ ‰

œ œ ‚œ

,≈

3 3

( iv )

3 3

p pp

sfp pp

p mp

approx two bow revolutions per measure

. . . . B œ œ œ œ ‰

œ ≈ Œ

‰

∑

ord 4 ww 4

3 ™ 4 ˙˙ ™

˙˙ ™™

4 4

∑

3 4

∑

4 4

∑

3 4

∑

pp ppp

[ sp ] ( both 16 cents ﬂat ) 7

( m iii ) ( m ii )

∑

4 Œ 4

œg p

[ mult. ]( i ) part. [ 5 ::: 3 ]

œg

Œ o

≈

≤ b >Oœùù

‰ ‰™

3 4

E E ∑ &

e e ‰™

##k # n# F

p cracking

c.l.

c. mst msp

msp mst

? g

(mi) ( m ii )

_ g

G™

4 G 4

3 4 G™

4 4

G™

∑

3 4

g G

, play through the second fermata in the violin

U ∑

2 4 K˙ >

3 4

˙™

4 4 œ™

˙™

ne Œ o

U Œ

Œ Kw >

U ∑

3 4

U ∑

3 4

˙™

(f +h)

2 4

U ∑

3 4

j œ œ œ™

4 4

∑

‰ ∑

mp mf 5

p mp

( iii ) ( iii )

( iii ) 3 br

j ‚‚

ord sp

2 4 >œ. ≈ >œ. ≈ ® k >œ k œ

& ˙™

3 4

œœ

‰ n n œœ

_ ≈ n œœ ™™ >

œœ

œœ ™™

3 br

_ œœ

_ 4 . 4 œ

˙˙ ™™

_ œœ ™ 2 œœ nœœ ‰ ord

_ >œ. ≈ ‰

≈

2 >œ n œ ™™ 2 œ n œ ™™

>˙˙

>œ >œ. ≈ ‰

>œ

œ ‚ œ

U _ œ

p mf

o p

o pp

ppp

o p

˙˙ ™™

U Œ

U ∑

3 4

U Œ

U ∑

3 4

approx three bow revolutions per measure st

U ∑

2 4

>œ ™ ®

ord œ >œœ

4 ww 4 ord

œœ

‚‚

3 4

œœ >œ. >œ. ≈ Œ

œœ

œ. œ. œ. œ. ‰

‰

œ ≈ Œ

∑

‚

˙˙ ™™

( iii ) 5

[ sp ] [ mult. ] ( ii ) part. [ 3 ::: 4 ]

5 5

U ∑

2 4

≈ 3œ >

n# > ≈ 43 ## n#& ee ee F≈

∑

‰

4 4

∑

Ó™

mf 3

c.l. c.

( iii ) msp

œo œ œo

ord.

ord

U ∑

2 4

‰

3 4

_ ( m ii ) g™

G™

msp

4 G 4

G™

U g

U ∑ &

3 4

(rising militancy) 3

j œ

3 &4

Kœ >

‰

q = ca. 52 Lœ

™™

Lœ

‰

Lœ

œ œ

˙™

‰

œ o

(omitted on repeat) 3 7

3 /4

‰

j œ

œ œ

j œ™

™™

˙™

œ™

‰

∑

pp mf mf

7 5

( m ii )

˘ #œ

5 3 sp

>œ

>‚ ≈

>œ

3 &4

> œœ

œœ ≈

œ™ œ œ™

# >œ

3 mst

≈ #œ

™™

‰™ œ

¬ œ œ œ œ #œ

_ œ

ord

‰ œ

#œ. ‰

j3 g #œ

j œ

#œ

( sempre iii )

3 3

f mp f p p f

c. c.l. c. c.l. st mst

>œ ‚ B 43

¬ œ œ_ œ œ #˙

˙ #˙

#œ

#‚

™™

‰

3 3 3

3 3

regular pressure

( sempre ii )

p f

[ sp ] [ mult. ] ( i ) part. [ 5 ::: 3 ]

c.l.

mst br

Kœ

3 &4

≈ Kœ

‰

ord

E E

>. > œ œ

œ L >œ

™™

e e

>e e

∑

msp

_ ( m iv )

‰™

##k # n # F

g ‰™

mp 3 3

cracking

( ii )

K œo

( m iii )

c.l. mst

c. c.l.

ord

3 &4

c. ord

( iii )

œo

œ ™™

‰ g™

( m iv )

œ ‰™

‰

≈

r g

‰™

‰ &

o œ

gliss.

o #œ

R 3 7 5 3

mf f

p mf

‰

∑

& <#>˙ ™

˙™

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

∑

‰™

& Œ

#œ

‰

∑

‰™

∑

˙ o

mp p pp

c. c.l. mst

3 msp ord

mst

& l œ-

_ ¬œ

j #œ

j œ

‚

j œ

#œ

j œ

#œ

_ œ

j œ

#œ

œO

œ™

k œ™ -

≈

3 3

mp mp p

ord #˙

msp br

_ B <#>˙

#œ

lœ

: œ-

‰ 3 3 3 3

o o

(do not play on repeat ) c. c.l. mst

( m iii ) > g

? Ó

ord

msp

ord

(i)

j g

gliss.

‰

‰™

# œo

( m ii ) ( m ii )

o œ

‰™

g™

3 3

o o

sfmf

(do not play on repeat ) c.l. ord

c. msp

ord

( iii )

(mi)

œo

˙o ™

& Œ

‰

Œ & p pp

p pp pp

held for 8-10 sec

U ∑

∑

Lœ

‰

˙™

∑

U & Œ

‰

‰™

∑

5 3

≈ & œ

‰

≈

ord

bœ

˘ sp œ

3 3

kœ

œ™ ‰™

R J

j œ J

Lœ

j œû

j œ

Oœ

J 3 3

p p f p

mp mf

c.l. c. 5 st

˙û

#œ

¬œ

‰ œ

˘ ˙

j #œ

œœ

r œœ

_ #œ

#œ

‚

B R J 3

3 3

o p p

ord

( iv )

? Ó

‰ &

o Jœ

o 3œ

o œ

œ J

U ‰

∑

‰ 3

p mp

mst st sp br

_ _

(mi) ( m ii )

G ∑

Œ p

‰™

U Œ

‰

g p

G™

g™ o

≈