COUNTERPANE (2017) /// solo amplified viola, auxiliary objects ///
ramteen sazegari
performance notes_______________________________________________________________|| /general/ volume: all notated materials should be activated without the general fade in/out dramatization that is conventionally associated with phrasing in concert music. the (p) dynamic is a target volume to aim for, except for when engaging with multiphonic activity and muted strings. deviations from this exact dynamic should arise naturally, but not toward the end of highlighting the beginning/ending of phrases. amplification should translate and project the (p) dynamic to somewhere between a (mp - mf) dynamic. when executing multiphonics, the dynamic level should shift to allow them to speak. when muted strings are bowed, the sound should not project specified pitch substance, but rather a sense of distanced movement. there are a few exceptions involving target dynamic volume, and they are noted in the score - these are only to be locally observed. bowing (orientation/pressure): generally, activated strings are to be bowed crine e legno (except for all multiphonics, or unless otherwise noted in the score). when bow style does shift to crine bowing — and back to crine e legno — the bow should maintain contact with the string(s), even if a re-attack is present. additionally, the transition between these two bow states should be audibly violent and exacting; mechanical, like a switch. for periods with standard pitched notation — not for multiphonics or for muted strings — bow speed should maintain a faster than usual rate (when possible), with lighter than average bow pressure. in such instances, the bow style should also reflect a quasi-flautando character with a slight, but present bow vibrato (when possible). when strings are muted, there should be no bow vibrato. the transition of performance techniques between standard pitched notation and muted string notation should be seamless (if disparate styles of notation are tied together). bow position is not prescribed in the score for multiphonics: specific dynamics, bow style and speed, along with bow placements will be necessary for each individual multiphonic assignment to speak. preparation/scordatura: strings i and ii should be tuned down a minor 3rd, iii and iv tuned down a major 3rd. the i string should then be tuned down ~50 cents and prepared with an alligator clip just before the bridge. the open i string should sound as an approximate f# after the preparation. time: tempos should be upheld/maintained throughout the work. there should be no break in the flow of the music, for that reason, it will be necessary to curtail certain materials preceding multiphonics and muted strings in order to maintain the timing and flow of the ordained musical discourse.
/symbols|notation/ mute: when a string is to be muted, it should be done so with two fingers, and done so in a way that produces an ethereal, pitchless sound quality when bowed. transitioning bow placements are to be audible, and should project in an active, yet lifeless way. affect should be resigned to mechanical procedure; without breath. if the mute symbol is affixed to a note value, it should also be observed to all note values it is tied to. finger pressure: there are four finger pressure states prescribed in this work: regular pressure / half harmonic pressure / harmonic pressure / finger pressure tremolo. finger pressure tremolo should augment only the note value to which the symbol is affixed. circular bow: 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 in the period of time that the given note value represents (if notes are tied to and from said note value, they are exempt from this process - unless otherwise noted). 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, and as aforementioned, the bow speed is to correspond with the note value in which the circular symbol is affixed. perpendicular/diagonal bow: generally, strings are bowed at an angle that is set in a perpendicular relationship to the strings (~90 degrees). when the ‘dia.’ descriptor appears, the bow angle should shift so that relationship constitutes a ~45 degree angle. the ‘perp.’ note signals a return to the original ~90 degree position. the transition between these two bow states should be audibly violent and exacting; mechanical, like a switch. e.bow/behind the bridge bow: there are two instances where the performer has a choice of which technique to employ (as noted in the score). in both cases, it is made plain that the performer can use an e.bow, or can play on the iii string behind the bridge. only one of the two techniques should be present in a given performance. general notes for performer: habitually glide through passages with little resistance, promoting a sense of equanimity throughout. focused, with the aim of projecting the entire work as a homogeneous gesture. through interpretation, attempt to create a dynamic aural description of a memory or an imagined organism, but do so with respect for the limited means available for conveyance.
score notation: with the exception of the multiphonic prescription, this is a c score. The ossia staff represents the sounding pitches with respect to the applied scordatura. the multiphonic prescription should be observed with consideration to the applied tuning, even though it shares the staff with the c score notation.
questions: rsazegari10@gmail.com ‘ Counterpane ’ duration: ~8’
scordatura
l| k K|L 2 ı|3
50 cents sharp
¬ | j| :
50 cents flat
16 cents sharp
16 cents flat
counterpane 33 cents sharp
circular bow
W &
behind the bridge
e.bow
˘ ‚ 4$ b
finger pressure tremolo
i : f # (50 cents down, clipped) ii : b half harmonic pressure
- | for amplified solo viola | iii : e b multiphonic
iv : a b muted string
q = ca.66 { hanging }
4 4
1/3 of the way into fingerboard
2 4
4 4
2 4
4 4
8 4
2 4
5 8
3 4
bœ œ
8 U 4 bœ W b
2 4
5 8
œœ
8 U 4 œ W
2 4$
5 4™ 8
Bridge
4 4
B
bœ b
B 44 $
$
˙
˙
2 4
$ œ
bœ œ
4 4 ˙
œ œ
œ™ œ
œ
˙™
œœ œœ œ™ œ œ
˙
œ
˙™
œ
4
3 4
mult. { 3, 4 } [ ii ]
3
b
3
=
mult. { 6, 7 } [ ii ]
3
b
9
3 4
3 8
B 43
3 8 b˙ ™ b
B 43
3 8 ˙™ b
5 8
5 8 bœ ™ œ™ œ™
4 4
4 4
3 nœ j2 3 b œ bœ ™ b
# 3 œ Kœ ˙
5 8
3 4
5 8
o o o #œ œ œ œ œ o œ o o #œ #œ 3 4 o œ œ
&
œ
5 4 #‚ œ Lœ ˙ 8 œ ™ : 2‚‚ nnœœ 4 œ™ œ™ œ™ œ b
o o o œo # œ œ œ œ œ œo œ 5 4™ 4 3 œo 8 & 4 œo J
œ B
œ œ
œ 3œ™ ˙
5 4
3 8
5 4
3 8
bœ œ b
œ œ œ œœ J b
B
œı œ ™ ˙ 45 $ ™
5
44 J 3
3
3
5 5 mult. { 3, 4 } [ iv ]
gliss on ii
mult. { 4, 5 } [ iv ]
4
3 8
2
q = ca.72 { slight push }
18
3 8
3 4
8 4
5 8
4 4
7 8
-
br. '
be B 83
3 4 bœ b
8 4 b œ œ- œ œ- œ œ ˙ b
B 83 j œ b
œ œ K œ œ-
œ b œ- œ
œ
bœ œ b
b
b&
w
behind bridge e.bow on [ iii ]
7 8
o œ œo œ œo œo j3 œ 8 5 o 4 7 4 8 œ œ™ 4 8 : : ™ œ œ œ ‚ n œ ‚ n œ œ ‰ ‰ W œ œ œ- œ ® œ œ L œ œ- œ nœ œ w & œ œ ‰™ J J J â 2 ‰ b R b 3 7 3 3 5 , or , 3
3 4
4™
4
œ
o o 5 o bœo œ œo 4 œb œ œ 8 bœ œ™ 4 bœ œ œ j 3 bœ j3 bœ œ bœ œ
œ œ- œ œ- œ ® œ ˙ b
w e.bow
mult. { 5, 6 } [ iv ]
behind the bridge on [ iii ]
|cri|
|cri e leg|
on iii
=
*revolution to encompass time value within bracket
26
7 8
q = ca.48 { suddenly dilating }
4 4
3 4
2 4
4 4
3 8
' perp.
-
-
- dia.
B 87 œ
bœ œ
œ
œ bœ œ b
4 j3 bœ 4 bœ
œ
˙
3 4 j3 b˙ œ
œ
œ
‰ œj Œ ‰ 5 œ™j : ‚ nœ : ‚ nœ ˙
[ iii ]
3
B 87 œ
˘ 4 : œ œJ œ œ œ œ 4 ‚R nœœ œ b 5
˙
3 4 : ‚ n˙ œ Ó 3
5 3
3 |cri|
|cri e leg|
|cri|
˙ #œ
j3 bœ j3œ™ bœ
|cri e leg|
2 4 œ
2 4œ
œ l 3 # œ l 3 œ #œ l 3 #œ 4 4 bœ
3 8 j3. bœ b ˙˙
nœk ‚ nœk ‚ œ nœ k ‚ nœ 4 4 œ : ‚™ nœ ˙ ˙ 5 |cri|
3 8
3 32
{ forming gossamer }
3 8
3 4
-
-
Ϫ
Ϫ
3 4
B
b˙ ™ b
B 83 4 ™
3 4
3 8
5 16
3 8
5 16
3 8 4™
5 r ≈ ‰ ® 5 œ œ™ 16 #œ l ‚ #œ l ‚ # œ l‚ #œ
#œ l3 #œ l 3
œ # œ l3 #œ
Ϫ
3 4
3 16 Ϫ Ϫ
3 4
j 3 œ™™ 16 œ J
3 4
b
$™
Ϫ
Ϫ
˙™ b b
mult. { 5, 6 } [ iv ]
3 16
mult. { 3, 4 } [ ii ]
mult. { 6, 7 } [ ii ]
|cri e leg|
5
=
39
accel
3 4
4 4 dia. '
B 43 #œl3 #œ l 3 3 3
4 #œ l3 4 #œ l 3 #œ l 3 #œ l œ œ ¬ œ œ #œ ¬ œ #œ bœ œ b
◊ÿ #œ œ 3 œ l 3 #œ l 3 œ 2 3 œ l 3 #œ 3 K œ #œ l 3 # œ l 3 #œ l 3 #œ l3 #œ œ œ l3 #œ
œ
3 [ iii ]
3 O ‚ ‰ ‰ ‰ œj 4 j œ L #œ l‚ 4 #œ l‚ #œ l‚ #œ lœ œ ¬ œ œ #œ ¬ œ #œ #œ œ l‚ #œ l‚ œ 2 ‚ œ l ‚ #œ ‚ #œ l ‚ #œ l‚ #œ l‚ #œ l‚ #œ œ l‚ #œ [ ii ]
B 43 #œl‚ #œ l‚ ‚ ‚ œ œ
œ
b 3 3 3 3
3
3
3 3 3
3
3 3
3 3
|cri |
|cri e leg|
4 43
q = ca.72 { gauzy pall } 3
q = ca.76 - 84
7 4
4
4 4
br. '
- perp.
◊ÿ B
œ
Ϫ
ÿ > ◊> 3 4 œœ œœ bœ œ œ
˙˙™™ 2§
œ b˙ ™ b
œ
3˙
[ / ]
7 4 bw b
˙™
4 4
7 4w b
˙™
bœ b
[ iii ] [ ii ]
3 œœ œœ >œ >Oœ Oœ 4
O™ B
œ
˙˙™™
œ
[ ii ]
Oœ ı ˙
˙™ b
4 $ 4
4 4™ 4 ≈ ‰ 4 4 ‰ J
œ b
mult. { 4, 5 } [ iv ]
3 5 [ / ] §
2
5 3 mult. { 4, 5 } attack is first priority [ iv ]
=
50
2 4
bw b
B w b
be
e.bow
,
2 4 #˙
3 #˙ ™ 4 b
# ˙™
˙™
œ
&
2 4 # # O˙
3 ˙™ 4
## O˙ ™™
O˙™™
œO
&
behind bridge on [ iii ]
U #& 2
W 2
5 4
4 4
4 4
◊ÿ
◊ÿ
U #&
B
3 4
˙
23
nœ
5 4
˙
2‚
nœ
5 4$
,
or w e.bow
behind the bridge on [ iii ]
b
mult. { 3, 4 } [ ii ]
3 3
4
4 4
5
{ axel }
q = ca.90
accel
58
4 4
5 4
4 4
4 4 dia. '
B 44 œ l
lœ 3 lœ œ ¬ œ
#3 l œ #3
œ #œ
œ3
#œ L œ #œ ¬ œ œœ
œ
˙˙
>- >œ5 œ œ 4
>-œ
œ >-
˙ >-
œ
>˙
4 œ 4
4 4 j‚ œ R
˘ >˙
3
>-œ bœ>-œ
>-œ
[ ii, iii ]
B 44 lœ #‚ lœ #‚ lœ #‚ lœ œ ¬ œ œ #œ œ J J
˙
bœ
#œ L œ #œ ¬ œ b œœ œ‚
˙˙
5 4 J
œ ˙ >>œ ≈ ‰ Œ R
œ
œ
˙
4 4
:‚ œ R
Œ
4 4
3 3 3
3
3
5 3 |cri |
|cri e leg |
3
=
62
q = ca.72 4 4
5 8
3 4
3 8
' perp.
-
-
B 44 bœ
j3
B 44 œ : ‚
3
bœ j 3 b œ
bœ j œ‚
#œœ j 3 bœ j 3 bœ j3
5 8 b˙ bœ
œœ œ : ‚ nœ : ‚ nœ : ‚™ ‚ nœ : ‚œ nœ : ‚
n˙ œ J
˙ ˙
˙˙
5 4™ 8
4
3 4 bœ b
œ
œ
œ
3 8
3 4œ b
j3 œ œ b
œ
b
$™
mult. { 3, 4 } [ iv ] mult. { 4, 5 } [ iv ]
5 5 3 |cri| |cri e leg|
3 8
6
q = ca.48 { recoiling }
67
3 8
4 4
7 8
6 4
4 4
br. '
B 83 #œ b
œ- œ œ- œ œ- œ -œ 4 4 bw b
œ œ- œ œ- œ œ- œ -œ 4 4 $ J
B 83
w
b œœ
œ
œ
˙
w
6 4 w™ b
b
œœ œ œœ œ œ 2‚œ nœœ œœ ≈ œ b
œ
b b
7 8 bœ j3 bœ
2 3 nœ œ œ œœ œ œ œ œ œ
U w
7 8 œ : ‚ nœ ˙
6 4 w™ b
4 4
mult. { 5, 6 } [ iv ] (all in bracket mute)
5 5
=
74
4 4
3 4
6 4
4 4
5 16
3 16
4 4
5 16 # œ l 3 #œ l 3 œ L œ #œ ¬ œ œ™
3 16
-
B &
B 44
$
$
o # œo œ oœ #œo œ o œ
o # œo œ œ o 3 œo œ & 4 œo
mult. { 6, 7 } [ ii ]
œ o bœ
Ϫ
o œ œ
B
6 4 w™ b
5
œ œo
œ ™ œo œ
6 B4
w™
4 U 4 $
≈ 5 ‰™ 3 16 #œ l ‚ #œ l ‚ œ L œ #œ ¬ œ œ™ 16
mult. { 3, 4 } [ ii ]
J b
5 5 gliss on ii
3 iii
7 80
3 16
3 4
4 4
3 4
4 4
3 8
- dia.
3 B 16
œ œ™™
3 423
4 4 ˙™
œ bœ b
˙
kœ
œ
œ
œ
b œ3
3 4 ˙
œ
œœ™™
œœ
4 ˙˙™™ 4
bœ‚ œœ ™™ œœ
4 ˙˙™™ 4
kœ
œ
œ
œ
œ
3 8
stabilizing
j 3 œ™ B 16 œ ™ J
(50 cents sharp )
3 42‚ œ
jœ œ œ œ œ
4 4 ˙™
œ ˙
stabilizing
3 4˙
(50 cents sharp )
jœ œ œ œ œ
3 8
b J
J
=
q = ca.90 { crawling }
85
3 8
1 8
3 4
2 4
5 8
4 4
perp. '
B 83 Ϫ
1 #œ 8 b
3 # # œœ 4
Ϫ B 83
1 œ 8
# œœ
œœ
œœ
33
‚‚
3 4
K -œ
J
-œ
2 4
Kœ
5 3 8
K -œ
œœ
2 4
J b
œœ
œ
kœ
bœœ
œœ
4 kœ 4
bœœ
œœ
4 jœ 4
5 b‚ 8
œ
jœ
J
J
“” œ #œ
K˘ œ œ
œ O #œ R
J
J
3 5 3 3 3
Ϫ #3
(50 cents sharp )
(50 cents sharp )
-œ
œ
#‚ Oœ™™
8 91
{ quivering }
3 4
4 4
3 4
br. '
B ˙™
˙™ B
#w #3
br. '
#w
4 w œ œ™ 4
3 4 b˙ ™ b
w7 ‚
bœ
œ
3 Œ 4 œ
‰ œ J
j œœ œœ 2 ‚‚ 2 ‰ J
[ ii ] [ iii ]
4 bwœ œ ™ 4
3 4 ˙™ b
Ó™
˙™
w w b
œœ ¬ 3 2 3
#œœ
3 4
w bw b
#w
Ó™
˙™
3
7 |cri |
=
98
4 4
3 4
2 4
4 4 perp. -
dia. '
B
n# ˙˙
œœ bœ
n˙ B n˙
5 œœr Œ ≈ œ
˙
˙
#œ œ œ œ
bœ œ œ
œœ œœ œ œœ
œœ
#œ l3
◊ÿ œ l œ™
#œ
œ
œ 4 ˙ b2 œ3 4 n ˙˙
œœ œ
œœ œœ œ j3
3 œ 4 bÓœœ bœ
J
™ œœ œ k‚ œ k Oœ™ nn Oœ Oœ œ‚≥ 4 n˙˙ 2œ 4 ˙
≥ œœ≤ œœ œ:‚ R
œœ œ
j ‚™
˙
2 4 bœ
4 4 œ
7
3œ 4 nœœ œ ˙
j
2 4 : ‚™
4 œ
4 4
œ 3
5 3 5 mult. { 5, 6 } [ iv ]
5 5 [ on i ] |cri e leg|
[ on ii ]
q = ca.76 - 84 9 { pulling back }
104
4 4
3 4
3 bœ 4 ˙™ b
œ j3 bœ ™
3 œœ ® œ 4 ˙™ ≈b R
œ : ‚ nœ ™
B bœ ™ b
b œ œ- œ œ- œ
˙
Ϫ
3 8
b œœ
œ
4 4
3 8
3 4
4 4
˙
œ
œ
b
bœ ™ b
b
r 5 5
B 44 $
4 Ϫ
˙
Ϫ
œ œ- œ œ- œ ® b
œ
3 8
≈ 4 ‰
4$ 4
˙
Ϫ b
R b
b
mult. { 3, 4 } [ iv ]
=
{ somehow a retread }
111
3 4
B 43 œ
œ
B 43 œ
œ
2 4
3 4
4 4
2 4
3 4
4 4
&
2 4 $
3 4$
4 $™ 4
&
bœ
3
œ
œ
œ kœ
˙
œ
‚
œ
œ
œ lœ
˙
J
J
5
4™
4
4 J
4
4
‰ 3
3 mult. { 4, 5 } [ iv ]
mult. { 5, 6 } [ iv ]
3
œ 43
œ R
{ calibrating }
q = ca.90 10
{ first time } { a little slower the second time }
116
5 8
™™ 44 ' perp.
' dia.
-
& ˙
nœ
˙
bœ
œ
˙™ ˙™
œ
B
5 8
™™ 44 œ b˙ b
& ˙
#œ
‰ ˙
j œ œ
œ
œ
2œ
3
œ
Ϫ
nœ
œ
œ œ
bœ
œ
3
3
Ϫ
œ
3œ
œ
nœ
3
3 3
j œœ
˙™ ˙™
B5 8
j œ œ
™™44 œ ˙
j 2œ œ
j ‚ œ ™ nœ
œ
œ Œ
j œ œ ™ 3œ œ
œ œœ J
b
j nœ
3 3 |cri e leg|
|cri |
= { second time only }
121
3 4
B œ bœ
Ϫ
œ œ
œ œ bœ
4 4
3 4 bb œœ
◊ÿ #œ Kœ
kœ l3
#œ
4 4
œ bœ b
2 4
™™
:3 œ
nœ
˙
nœ
k œ œ œ œ n˙
bœ
œ
™™
w b
2 4
™™
w
2 4
œ
7
Oœ kk œ‚ nœ 4 4 R œ œ b
[ iii, iv ] [ iii ]
B œ ™ œ œ œ œ ‰ J Œ Œ
3 œ œ bœ 4 b œœ L œ œ J ≈ 3 J J
j¬
˘ ‚ #œ œ
# œ l œ œ œ œ #˙ œ
[ iii ]
œ R b
5 3 |cri |
3
lœ ˙
|cri e leg |
5
7
{ sublimated }
11
q = ca.76 - 84 126
2 4
7 8
B 42 œ
kœ
5 4
7 8 Ϫ
œ
Ϫ
k ˙˙
3
˙˙ ™
œœ
5 4 #œ
5 8
œ
œ
o bœ
Ϫ
œo
œ
5 8
œo
Ϫ
œo
œ
5 8
J
J
œœ œ
2
[ / ] §
kœ J
B 42 œ
œ
7 œ™ 8 ‰
Ϫ J
‚ J
k ˙˙
˙˙ ™
œœ J
r 5 4 œ œ œ bœœ œœ ≈
Œ
‰
3 5 7
2
[ / ] § gliss on iii
=
130
5 8
3 8
b œo 5 œ B 8
5 8
4 4
8 4
◊ÿ œ
œ
œo bœ bœ b
Kœ ™
3 8 œ
œ œ
5 œ 8
bœ ™
4 œ 4
œ #œ
œ
œ
œ
œ
bœ b
3
œ
œ
œ
œ
˙
œ œ œ œ
Ó ˙
8 4
œ
7
o œ œ B 58 œ 3
bœ ™ Œ™
5 3
œ œo
3
b
j j œ œ œ
j ‰ ™ K œ 3 8œ
j œœ J
3
5œ 8
œ #O O #œ œ
œO
4bœ 4
œO
‚
œ œ b 5 7 3
8 4
12
q = ca.54 { processional }
135
8 4
3 4
4 4
3 4
4 4
3 4
∑
dia. '
perp. '
B 48 #w b
3 4
bw ™ b
bœ b
œ
œ
5 3
w B 48
j
3 4 $™
w™
j
4 $ ™™ 4
$™
4 œ
œ
$
3 4
$
œ
b b
b
mult. { 6, 7 } [ ii ]
mult. { 3, 4 } [ ii ]
=
*revolution to encompass time value within bracket
141
3 4
4 4
6 4
4 4 - dia.
-
-
-
br. '
B 43
4 4 bœ b
6 4 ˙™
bœ ™ b
œ
œ
œ
b
4 #w 4 b
3
B 43 * ™
4 $™ 4
4 œ
6 4 ˙™
Ϫ
œ
œ
œ
4w 4
|cri e leg | |cri | mult. { 6, 7 } [ ii ]
b b
b
b