BEYOND IGNORANCE

CORY BRACKEN

BEYOND IGNORANCE FOR SOLO AMPLIFIED CELLO (2016) full score 12.13.16

os.t. j œ ‰ & ™™ ê

≈

bridge

A

m.s.p.

q =?60

U Oœ

e._ e + e_ e. #œ

Oœ

,

√

œ

apply scratch pressure ad lib.

œ

U

- rit.

c.l.

CORY BRACKEN (2016) s.p. gliss. o o o o o I ord. ” “ œ 5 1 ? 13 o II o o “ ™ o” harm. I œ œ clear ™ m.s.p s.p. ord. œ & 8 8 8 4 ê > ™ ~ œ Bµœ1œ œ pressure -~ harm. œ #œ µœœ ™ q = 60 V B 3 0 liss. J pp sempreV.c. &0 ê Scordatura tuning: score reflects standard tuning. & 4 œ & pêsub.

8 œg ff sempre sub. harmonic ff sub. s.p. ord. as before s.p. pp pp mp NOTATION gliss.

- 4I Hz o very ignorant sempre ff bridge m.s.p. œ p - mp “o” mf marcato “o” pp II o ord. o ?

0 harm. œ œ clear Long, steady bow strokes to m.s.p s.p. ord.

I distant, opaque ~ A pressure q = 60~ œ œ sub. fharm. #>œ 0 œ create#di erence tones .

3 B1 B s 8 œ glis J &harmonic ê General bridge m.s.p.4 œ & s.p.ê œord. s.p. gliss.

I ” p - mp “ o II o ord. o o “ sempre marcato pp mf ff o” harm. I 1 œ clear m.s.p s.p. ord. œ 0 > œ ~ distant, opaque pressure ~ harm. #œ gestures. f sub.

1 B 3 0 lrhythmic

Star symbols in place of timeBsignatures indicate to vary bow length, creating non-periodic ss.

J& i V.c. g & & ê cello 4 œamplified 8œ ê Keep in mind that noteheads for solo a tempo

contain no rhythmic value. harmonic apply scratch mf marcato pp sempre ff e._ oe + e_ e. p - mp A pos.p.o gliss. q = 60 rit.

0 III pressure ad lib. distant, opaque harmonic s.p + e._ e e_ e. ord.

1 m.s.p. bridge III s.p. ord. os.t. half c.l. sub.O f III increased Oharmonic, s.p. ord. IV s.p. gliss.

I increasedord. harmonic ~ o o o o o I I s.p. ord. s.p. j œœo IBRACKEN ord.

II II gliss. o s.p.

7 bow>pressure 5 œ“” s.t. o “œo”gliss.

5 1 ? 3 m.s.p. s.p. ?

CORY (2016) bow pressure ” ™ ™ bridge ‰ “ o 1 1 ord. o œ ™ ™ I o O µœœ œœO II o 1 œo 0 4 1ord. “o” 16 œ- s.p.&1 ê5 8 ~™™ & 8III o - œ œ ê Iœm.s.p % O8 clear harm. I µœœ II s.p. dge II ord.

O + e._ e e_ e.

0 o II Bœ ~ ? 5 harm. pressure ~IV 0 #>œ 1 0 III 6 ™ IV œ œ U 1 pp#~ III œ œ II 6 sempre j .

1 3 B B 6 6™ sub. p harmonic s.p™f 3 ord. s œ œ J ff sempre s.p. œ 8 glis J 4& ∑ 2 j 4mp ™™ ff s.p. ¿ &œê gliss. sub.j J V.c. ∑& ê &™™4 êasè before 8 ™ 16 0J p sub.

6 & ê œ è œ œ Scordatura tuning: score reflects standard tuning. pp pp increased ¿ mfIo- f J II very ignorant s.p. - - harmonic - Io ff sub.mf marcatop pgliss.

- sempre mp ord.

II o ff ff > > ¿ bow pressure ” pp ” “o - 4 Hz p mp o-e + to1e_ e.

10 f sub. o œ steady Long, bow- strokes o glassy, I “ pre 0 f oœ mp sempre e._ dirty 0 œ 1 1 distant, opaque II œ ~s.p ord. ? di erence tones 0mp o B œf sub. create p mp harmonic s.p. œ 5 1 s.p. ? # œ gliss. ∑I 24 œ œ increased 8 4 harmonic I s.p. œ œ o ord.to which II gesture II gliss.

Boxed in any order, within the it1ois connected via a thicker bowfigures pressureindicate ”sub. ” toobe interjected, “ p - mp o 1 o mf -gestures I o ff p ff If “ 5 dirty œ indefinitely, subject 1 to 00the fermata 1 indication. There should be II II larger œ box.

Gestures within boxes be repeated ~ these 0 can glassy, œo o œ #~ mp gestures ? 5 energy should remain between œ throughout.41 ∑ 24 œ B œ– a persistent & ê no pause or hesitation moving 8 a tempo Ds.p. harmonic p - mp mf - f ff sub. p ff e. apply scratch C a tempo e._ e + e_ gliss.

B 0 o glassy, dirty III - rit. pressure ad lib. harmonic s.p e._ e + e_ e.

A q = 60 bowincreased ord.III 1 m.s.p.– intermediate bridge s.p. s.p. poco mp shorter – longer s.t. ord. half c.l.

11 O rapid Ogliss. , s.p. I ord. IV rit.

I ojs.p. arco s.p. pressure s.p. increased pocoord. rit.s.p. III ~ o o o o harmonic I s.p. ord. s.t. o s.p. harmonic œ o o harmonic ord.

IIŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ II 7 5 5 rapid ? œ œ ? ?

O O s.p.“”‰ ord. gliss.

I3 Io ™ bows.p. pressure ” ™ % > ord. o “ s.p. gliss. o harmonic II o - Ogliss. ™and III 1 161 bridge 0&I™ 18 Ib oœœgeneral o“”µœ1œtimeœproportion. >œ measures II I o*êIIbo boxed & 8 œ1o ~~~~~~~~~~~~~~~~~~~ ê Iœ o “ o II18 are % onO theOLarge ” Ÿ bridge m.s.p. ™ III1o Ob of 0comparative II symbol 1 pizz.

II œ fermatas above star indications œ ord. ord. o ™ 6 gliss.bIIIgestures 5 œ 1 II6 8 0 µ ™ III œ U œ o II IV œ II o ~ 1 0 > 1 s.p.

III ord. o ™ 3harm. œ o most appropriate s.t. ≈ osempre 6™ ?

6 with œ™™ 00 6j1 phrases m.s.p » IVœengaging ≈ œ determine œ #the 00 clear œ #œ-and œœ 5≈œogestures, œœ0 ord. #~ pp j ™™141œ è œTheIII#è œperformer > should create theJassigned ¿ ~I ™™2?∑strivef™™410toj ,B ~ 7 ? ?

1 2 ‰ ™™ 17 B ? pressure sub. p harm. ™ œ 0 j J J & 16 sempre ff ê ∑ sub. p è è 0j 1 & poco rit. B-3 œ fffsub. ˙ . ¿ j & 4 16 ê & 8 4 4 ê s as before J s p.

J œ >œ 4>Standard i to move forward. be conventionally interpreted. pp pp to mp B˙¿˙fermatas rapid ˙˙ œwithin˙the staff ˙&-sized ˙˙ are ignorant œ >êmusical > p - moment ê s.p. ord. o>c.- &mp s.p. ˙˙8 œ gl very & harmonic sub. f s.p. œ œ œ p mp ˙ B mp mf f ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ I I fp f sempre -Long, sub. ff sempre o sempre o - 0 f fpIIIŸ- pf - 0mp gliss.

IIo harmonic IIo mp > 1o pfff--ppmp o> fmfff marcato o mpsteady p sub.

- ord. ff bow strokes 0to 1 pizz. arco 1 ppglassy, dirty gliss. o 0 p ecstatic œ B f mf p 1 1 create di erence tones ord.

0 s.t. > ≈ , o * tune down via peg morendo distant, opaquepp poco cres. œœ #œ mp - f 0j » » beyond 7 ?f sub. ? 7 ignorant poco rit. ™ ‰ s.p. œ ™ rapid j j & & 16 16 ê pizz. s.p. ord. œ Dashed œ o slur lines indicate harmonic s.p. s.p. as you wish ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Io Ito Ÿ thatharmonic you areII free alternate between the ospecified pitches > o œ œ œ gliss.

II III 1 1o or gestures, in any or0 p8 f p f p mp o o III 1 1 pizz. arco > ord. gliss. o > 0 0 sub. p œ der. Lines between notes indicate area of the specified pitches 1 o that1any ord. is available. s.t. ≈ >œ string(s)#between © 2016 Corythe Bracken ecstatic 0 ,» f p mf?morendo œ 7 ? ™™2 ? j œ ‰ ™™ 167 œD » j & 4 16 œ j & ê œ pizz. œ œ aptempo fp f œ - f p - mp C > > B 0 p sub. + e._ e e_ e.

Glissandi ecstatic increased f © 2016 Cory Bracken p mf morendo poco rit. poco rit. harmonic s.p ord. s.p. bow pressure» s.p. rapid rapid rubato s.p.s.p. s.t. gliss. s.p. ord. o s.p. harmonic s.p. increased O O Ÿ~~~~~~~~~~~~~~~~~~~ Ib pizz. Io bIo Io II 1 harmonic Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ % s.p. onotheharmonic % O O bII b gliss. 1o I O O o IIos.p. ord. * II1o II ord.

II III 1> bridge 0 o gliss. m.s.p. bridge O O 17 bow pressure ” 0 III 0 III o ord.“” œ III b o 1 1 pizz. arco “ o II 1 1 o 6 ™ 6 gliss.

8 o o I œ #œ 0III o, » I œ œ 1 III o6™ 1œo U0 ≈ œ≈ œ œ III ord. s.t. >œ0 1 ™#œ00 IV j0 1 ≈ 6 œj II ? ≈ œII œ ?œ ™~23 ~ 1 1 ? o ™ 3 © 2016 Cory Bracken œ ?

J U ™ ™ œ ˙ ∑ ¿ 2 7 7 ? f ™ ™ ™ ™ 6 ê #~ - &™4™™ è p -œèjmp™™ j ê4&-èê -è œ ?16B œJ & ê ?˙ 5 4B˙œ˙-è -˙˙è & œœ ?˙ j ˙J B¿1˙ ∑16J œ 2& êj ‰ ™™ 16&ê 8 œf> > ˙ ¿ ˙w ˙4 ˙˙ 4 œ > > - f>- œ mp œsub.f-fœ > fp p -f mp sempre sempre mp f sempre pp > p mp p pbetween mf - that f you are free to gliss to any fff 0 pitches. > ppp lines - p indicate Dotted glissandi point on the string the specified The perp sub. sub. ff p ff ˙ o * tune down via peg ecstatic - -a dirty f cres. pp poco p mf morendop - mp as before 0 mp f is free distant glassy, beyondany ignorant tempo former to be as erratic and unpredictable with this directive as they can, employing duration or distance withppp » mp December 2016 harmonic apply scratch s.p. in the glissandi.

Thin, straight lines are standard glissandi.

Apply harmonic pressure where “harmonic gliss. ” is indicated. pizz. oosest possible tension Ridgewood, o gliss.

III - rit. pressure ad lib. NY e._ e + e_ e.

1 m.s.p. bridge IV half c.l.

III ord. os.t.

11 O O , I s.p. ord.

III© 2016 Cory Bracken ord. ~ j ‰ ™ œœo o o o o 1 5 5 œ œ ? 167 ?3 ? ™ œ ™ ™ >œ & ê 8 µœœ ™™ & 8 4 - D ê œ µœœ œ 8 IV 0 pp sempre p sub. f ff sempre 0 p sub. ff sub. as before pp mp pp B very ignorant poco rit. rubato rall.

-Long, steady Mm. 14, 21, and 22 utilize the “seagull” effect. rapid bowpoco strokesrit. to s.p. rapid m.s.p. s.p. O ord. % o O s.p. b b b b II 1 create b ob s.p. o Ÿo ~~~~~~~~~~~~~~~~~~~ harmonic o bridge di erence tones Io 2123 harmonicO - Io Oœ œ œIII Ÿœ~~~~~~~~~~~~~~~~~~~~~~~~~~~ 0 III 1 0 * o gliss.

IIo IIo III 1> 1 œ ≈ ≈ I 0 o ≈ ~ U 0 0 1œ >0#œ ? III o ? ord. pizz. arco 1 gliss. œ œ ? s.t. ≈ 1 1 ™ ™ ord. ˙ o f 0 ,» ™ ™ #&œ ê B˙˙ ‰ ˙˙™™ 7 ˙ ˙ B ˙ ? ™™2 ? 7˙ j j & ê && ê>-è œ >-è - ê ? œœ p - mp & 16 ˙4 œ œ œ œ fœj w o 16 ˙ ˙ ˙ pp sempreppp - p ˙ œ p f o decres. fp f pdistant - f p - mp as before > peg > ppp 0* tune down sub. p via pp poco cres. mp f beyond ignoran ecstatic

~I

U

ord.

5 bridge œ

III

s.p.

m.s.p. ?

U

s.p. ord.

U

III ord.IV half

harmonic

U

BEYOND IGNORANCE

√U

≈ U √ √

≈ ≈

U

√

√

U

√ ≈√ U U

√

gradually increase radius of circular bowing

√

√

≈ √U ≈

U

√√ ≈

gradually increase radius of circular bowing

adius to s.p.

I

√

≈

U≈√

√

≈

gradually increase radius of circular bowing

gradually decrease radius to s.p.

I

f

p

December 2016 mf

B

1 4œ

“o œ

ord. o II opaque ord. clear o s.p.os.t.distant, œ ~I œ ~ j harm. ?7 ê 16 >œ IVœ ‰ & ™™ ê III 11m.s.p

&

“o” III O #>œ B?3 830 liss. &J ™™ 85 œ 8 œµœgœ ™™ & pp sempre off0 sub.ff mf marcato

U

0

ord. sub. ford.

-

O œ

,

mp s.p.

?

êœ

c.l. o œ 5œ o o o 8

IV half

ord.

µœœ œ

U U √ √ O O % B - O œ BEYOND IGNORANCE O≈ ≈ 6 U 1 œ O O j % O O œ œ √ ∑ ™™4 è è ™™ 6 j 6J j J -6for ¿™ solooêUamplified cello 6 œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ o œ 6 œo ¿ 3 6™J 1>“” 1 o ™ 66™™ oj “o”U 6o 1oj1o J o ≈ o ? ¿™™ 1 œ 1 j >- 1o >™ ™ 6 1 o ∑ ¿ 1 3 1 ? o œoj ∑ J1 ™™4¿ è 1è >œJ ™™ 6 ê #jœ1 J - j J œ ¿ √? 7 o oj 4#~>-è ≈>-è~ ™ 16~?J3 ™™24 œo 5™™4 Oœj>-™4,蜻>-jè>--è >-èoêOœ™™ 16™ ,J 16 √ ¿œ 5 >-5 œo>- œo o œœ o ¿o 1 ¿ 1 ∑J ™ ™ - 4 œ 8 8œ œ ™ê ™ 161 >œ o œ ‰ & ê 8 8 4 ê œ ™ O O œ œ œ œ , œ œ µœ µœ ™ C ~o o o> U o o o 1 > 1o-- œ œ 3o 5 5 œ o ™ 1 “o” ? 167o > œj ‰ ™™ “êœo” œ ™ 8 1 4 ê œ µœœ œ 8 » 18 µœœ ™™ œ œo ≈ œ œ O % O O 5 1 ∑ 2 œ O œ 8 4 4 66™™ 6 √ œ œ œ U 1 œ ? 1 D j 6 3 œ J œ j ™ ™ ™ ™ √ ∑ ¿ ≈ ™4 è è ™ 16 J ê œ™4 D è -è ™ 6 j J ¿D J # œ > > > > ¿ O O √ , ≈ √ ≈ o o o o o œ -5 œ œ 3 5 1 œ ™ ~~~~~~~~~~~~~~~ 8oµœœ ™™ ™11 8 ê œ µœœ œ 8 œ - 4 √ -B œ ≈ ≈ O O 1 ~~~~~~~~~~~~~~~~~~~ % Ÿ - ˙O - O O o % O ~~~~~~~~~~~~~~~~~~~ o ≈ 11 œ ˙>o B˙˙ œ˙˙ #œo o ˙ œ œ˙O - O1 o œ ŸoU ≈ ≈ œ C Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ ˙ B # œ ˙ ˙ ˙ ˙˙ 1 1o o o o ˙ œ œ 1 1 &- ê ˙ o œ ˙ B ˙˙ ˙˙˙ BB˙˙˙˙ ≈ ˙ #œ ˙ ˙˙ & 1ê o 1>-œ - ,» ˙˙ CA ≈ ?√ ˙˙ U 2 7 U j ™ œ ‰ O O D œ ™ % j j 4 16 ê Bowing œ -6U O√œ ™ 6œ Uœ œ 1 ≈“” j œ Oœ œ 6 œ ? ™ 1 ≈ ™ 3 6™ J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ o™ >™ o “” o j >

re que

C

0

f sub.

Noteheads

.

pf - mp 0 p sub.

a tempo

s.p.

s.t.

as before

increased bow pressure I

C

pp

a tempo

mp

pp

p sub.

ff sempre very ignorant

Long, steady bow strokes to create + e_ e.tones e._die erence

increased bow pressure

II s.p. s.t. harmonic s.p. s.p. s.t. s.p. s.p. s.p. gliss.I rapid on the s.p. ord. s.p.

17 ord. harmonic II on the bridge I I s.p.

II harmonic & s.p.

17 IV apply scratch III I I II ord.

II II III s.p. gliss. gliss. III bow pressure IV II II harmonic II III 0 rit.

I III III arco pressure I ord.e._pizz. gliss. ad lib.

8 a tempo + e e_ e.

0 m.s.p. bridge 0 & 5 II IV III II ord. s.t. f half c.l.

11mp sempre I 0 s.p. scratch ord. ord. e._ e + e_ e.III 0 p - mp apply ? s.p. harmonic B ? gliss. sub. f rit. ? ? & & III sub. f harmonic pressure ad lib. mp sempre sempre mp sempre mp f +s.p. esempre e_ e. s.p.m.s.p. mp & bridge & e._ f IVCORY gliss. ord. s.t. half c.l.

BRACKEN (2016)pp- -mp 11 III harmonic a tempo I s.p.p - ord. ord. fp III fmf - fI f p I- mp s.p.

IV ff sub. p ff mp ord.

II II 0 gliss. sempre pp increased ? ?

Largef diamond noteheads are natural harmonics; however, due to bow placement and bow pressure, these should not sub. p 0 ecstatic glassy, dirty f ff sempre 0 p sub.& sub. ff pressure & 0 bow as before I mp very ignorant pp pp mp sound as such.

Instead, the result should be an inconsistent series of harmonics mixed with white noise and extremely s.p. s.t.

0 IV 0 ord. s.p.

Scordatura tuning: score reflects standard tuning. sempre pp B ? pizz. p sub.to create theseI sounds. high-pitched harmonic You canIIfffocus your interpretation onLong, an investigation oftohow on the bridge steady bow strokes 17 partials. f ff sempre 0 p sub.

II III sub. as before IV III II pp pp mp 4 Hz create di erence tones very ignorant apply scratch mf - f © 2016 Cory Bracken p - rit. ff ?ff sub. & III steady bow strokes to position onLong, the designated string. pressure ad lib. possible e._0 e +indicate e_ e. the highest/lowest m.s.p. Triangle noteheads IV half c.l. create di erence tones mp s.p. f sub.

III ord. poco rit. mp sempre ord. mp sempre f gradually increase radius? of circular bowing ? Boxed noteheads indicate light pressure applied to the pitch point on the designated string. p - mp & poco rit. b b b b II III s.p

IIord. ord. bridge increasedII III

IV

a tempo

III

mpre ore mp

0 0

*

0 0

rapid

bII II p sub. ? noteheads * b rapid ff sempre s.p.20 indicate The “x” bowing behind designated 21 in mm. ff sub.

0 string. fs.p. the bridge III 21 ord. III on the III a tempo III s.p. pp mp pp 0 very ignorant I I harmonic ?

II II III 0 ?

III f pizz.bow arco ord. gliss.

8 increased Long, steady strokes to 0 bow pressure p f fff 0 = 60 a qtempo p mp di peg erence tones s.p. s.t. p - mp * tunecreate down via ? f pp poco cres. ord. s.p. beyond ignorant & &I increased on the bridge poco rit.

II 17 s.p. ord.

II down via peg * tune III 0

gradually increase radius of circular bowing

rapid

pocob rit. *b

bb

gradually increase radius of circular bowing

0 0

f

0 harmonic 0gliss.

?

s.p.

ord.

s.t.

f f fff * tune down via peg p -poco mpcres. beyond ignorant pp O o rit. 0 p sub. % ord.

O - 0O poco #>œ p mf morendo harmonicp gliss.

I ord. p harmonic -mp fs.p.-s.p. f s.t.

Io II o O ¿ gliss. s.p. ∑ ™ ™ ™ 6 ord.

1 harm.

0 j J J & 4 16 o œ clear I êœ m.s.p s.p. o 17 1™4 o-è bridge I è è è ecstatic III II f 1 ¿ o J œ ~ ~ 0 II ™ 1 o 1> >- IIIpressure œ œ B 3 œ ss. œ U#œ 1 B IV j ord.¿ III s.t. ≈ II 6 » harm. >œf66™sub. >- 1 O>- œrapid 6 O 1 ~~~~~~~~~~~~~~~~~~~ 3 ?V.c.œ™™ 1&mp J % J& i Ÿ 7 7 ? ? b b j II ™ ™ ™ sempre sempre mp ™ o ∑ ¿ f &6 ê16 noteheads 4 èornamented 8-b œtogldrag *b ‰ ™4 asèO the ™ pizz.

O well ™ j J21and&œ25, as J & 4 -èê in-è mm.™ 161,œ12, ê IIIin1 0 23, œ III o œ j 16 “Bridge” mm.

17, 20, and indicate the00 bow≈ hairs ¿ œ ≈ œ J p mp 0 o ” is ff > >bridge alone >œ- mp > on#œany strings ¿ (thep result marcato pp sempreminimal œ mp ?

-œ mp should be mf fœsub. a static noise).-“m.s.p. molto ˙ p along - f mpthe pcontact f sul ponsempre distant, sempre 0 © 2016 Cory Bracken > &with ê f ˙ B 0 opaque p sub. ˙ ˙˙ B ˙˙ ˙ ˙ ˙˙ ticello, wherein half the hairs are on the bridge and half on the bow; “s.p. ” is sul ponitcello, a position close to the bridge, ecstatic f f sub. p - mp p mf morendo pf - mp ˙ rubato s.p. s.t.” is a-normal playing position, and “s.t.” is sul tasto. yet entirely on the»strings. “ord. p f O O % pizz. * tune down via peg I m.s.p.O bridge pp poco cres.

O mp f o rubato rall. o II beyond ignoran 6 rubato œ rall. œU 23 IV j œ III II I œlines 6 ~ 1™™ Single-arrow œ œ J indicate a movement directly from one playing position to another, while double-arrows indicate m.s.p. bridge Dê 23 b ? b o œo b ¿ & 6toCory bridge j Bracken J? b ¿j & 4 -èfreely ™™ ™™ê© 2016 è moving o ~ œo any position between the represented positions.

J & ™™ è> ê 23 è I œ ≈ U > ¿ I œ ≈ - sempre ? ? ? > > œ w ™ ™ ? ? mp D f sempre pp ™ ™ ™ ™ & è & êè ™caseê of section D, bow & ê ppp - p è ê o rhythm + e_ e.rit. &e™poco è (in p -> mp the indicated e._ Circulars.p arrows indicate circular bow strokes, in uniform with the as before rapid > ˙ œ w distant harmonic sempre > -> pcircular ˙ppp œ O should O an accented ~~~~~~~~~~~~~~~~~~~ s.p. s.p.pp - p December % ord. Ÿ ˙ pp o b 2016 b b arrows b indicate II 1 that gliss. strokes reflect 8th note value becomes gradually slower).

Dashed o ppp * ˙ 21 O O increased 1 pocoœdecres.

0 III 0 III o s.p. œ harmonic poco rit.

I ≈ I as before distant poco decres. ion œ ≈ as o o 0 0 ord.distantII II NY non-uniform circular bowing. rapid #œ I “” o pppgliss. bow pressure ” Ridgewood, “ o œ œ ?

1 1 o ppp December 20 I o O O 1 ˙ ~~~~~~~~~~~~~~~~~~~ % o b B˙˙ b 1 ˙˙ 0 ˙f 1 ˙ b b 5& ê II O -- O ~ IIIŸ œ loosest possibleII II loosestoœ 21 Ridgewood, N IIItension 0 ˙* possible tension œ 0 0 o1 B -rubato œ#~ œ #œorall. ≈ ≈ ˙ B p - œmp œ 0 0 ˙ ˙ ˙ ˙˙ 5 1 2 ? f m.s.p.4 bridge b b? œ - ˙ 8 B ˙ o œo œ fp 4 ∑fff êD œ -- œ 23 f &&ê œ ˙ ˙ ˙˙ ˙ ˙ * tune down via peg I œ U AMPLIFICATION p -- mp ˙ ~˙˙ mp f ˙beyond -- ™™ ff p?˙ ff B ˙ignorant ?p - mp mf≈- f pp poco 0cres. ? fsub. ™ ™ & è &f ê glassy, dirty p fff - >-* ètune downêvia peg mp > poco rit. cres. ˙ œ w pp poco -mp - f sempre pp beyond ignorant ppp - p ˙ The use of a bridge pickup, contact microphone(s), or any combination of the two is required (as opposed to any kind poco decres. ~~~~~~~~~~ as before b b b distant b II 1 0 amplifying nuanced sounds from the bridge, strings, and fingerboard. microphone) for the purpose of III 1 0 * œo of externalized ppp ≈ ≈ Decemb 0 0 A?volume pedal can be˙utilized to further control the amplitude in performance. This piece should be performed using Ridgewo loosest possible tension f B˙˙ ˙˙ ˙ amplification. ˙˙ ˙˙ B ˙˙ ˙˙ the maximum allowable f p f fff rubato

s.p.

II

bow pressure mp rapid fp bridge m.s.p.f- f s.p.

ord.

harmonic II gliss.on the

U

III poco cres.

II pp

IV

U

s.p.

gradually increase radius of circular bowing

U

≈

U ≈

I

gradually decrease radius to s.p.

gradually decrease radius to s.p.

≈ √ ≈

U

gradually increase radius of circular bowing

√ √

≈

I

gradually increase radius of circular bowing

≈

gradually decrease radius to s.p.

√

I

gradually increase radius of circular bowing

rall.

B pp poco cres.

U U √

beyond ignorant

≈0 j , » >- œ ->- p™ ?? ˙™™24 ppp ™ ˙ œ j &- ê & ™ -è distant poco decres. è ™ - Cory Bracken œ >p -->f p ˙ fp f > ppp ppp ˙ loosest possible tension ecstatic poco decres. distant rubato

U

3

™™ è

≈ ~ ≈ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ o o ê

m.s.p. poco rit. b b o o 23 rapid I œ rubato s.p. ord. rall. s.p.

I œ harmonic s.p. ≈ ins.p.the piece U the piece Io the bridge If atIIIany collapsesIodue tos.p. excessive pressure or as a result of the detuning gradually decrease radius to o section, >o point gliss. ? ? ?

IIo ™ harmonic IIo ™ 1 1 0 m.s.p. bridge III 1 1 pizz. arcois encouraged, b 8 is over.b Theord. & &to collapse the o ecstatic è o through è1 ™ sheer œbridge.ord. performer energy, 123™ gliss.

I s.t. ≈ œo>0 * tune down via peg

gradually decrease radius to s.p.

I

è ™™

ê

ppp loosest possible tension o o

œ

œ

?

&

ê

bridge

êœ ? ê I

≈ ~

#œ

? &œ &

f

œ

»

m.s.p.

I

œœ >œ

pizz.

© 2016 Cory Bracken ?

U

bridge

ê

pp sempre ? as before p -pp mpsempre as before

~

Uw 7 7 16 œ? j ‰ o ™™ 16 œ w 2016 December 0 p sub.o p mfRidgewood, NY morendo December 2016 Ridgewood, NY

BEYOND IGNORANCE for solo amplified cello

CORY BRACKEN (2016)

Scordatura tuning: score reflects standard tuning.

1/4

œ ?

Bœ #œ œ

A

q = 60

U U bridge

ord.

“o” œ

harm. I pressure

1

harmonic gliss.

s.p.

m.s.p.

I II

m.s.p

~

clear harm.

s.p.

~

ord. o

œo

œ

ord.

0

B V.c.

&ê

1 4œ

B3 &

ê mf marcato

pp sempre distant, opaque

.

8 œ gliss o

s.p.

“o” #>œ J& ff

p - mp 0

f sub.

√ e._ e + e_ e. s.p

harmonic gliss.

ord. s.p.

increased bow pressure I II

5

harmonic gliss.

s.p.

” I “ oœ II

~

o œ

&ê

1o

“o” œ

œo

#~

II

1o

ord.

II

0

o 1

I 1o

œ0 œ

?5

B

1 4

8

œ p - mp glassy, dirty

s.p.

I

∑

2 4

mf - f ff sub.

p

ff

0

mp

√

B

poco rit. s.p. rapid

arco III

o 1>

s.p.

s.p. s.p. ord. pizz.

8

, j »j œ f œ >

I 1o

0

? ™™2 4 fp

ord.

&

ê

II

o 1

harmonic II gliss.

o o 1 œ

p - f ecstatic

I 1o

?

>œ œ >œ f »

harmonic gliss.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ o o œ #œ

0 0

1o

III

? &

pizz. © 2016 Cory Bracken

ord.

s.t. ≈

7 16 œ

7 j ‰ ™™ 16 œ

p - mp 0

p

p sub. mf morendo

√

a tempo

≈

harmonic gliss.

s.p.

1o

apply scratch pressure ad lib.

ord. os.t.

11

O 5 œ 8 µœœ ™™ & ™™ 8

~I

j >œ œ ‰ & ™™ ê IV

?7 16

O œ

III

ord.

?3

0

f

pp sempre as before

p sub.

0

- rit.

III IV half

e._ e + e_ e.

m.s.p.

bridge

,

III

s.p.

êœ

-

µœœ œ

1 4

p sub. ff sempre very ignorant

ff sub. pp

c.l.

5 œœo o o o o 8

ord.

?

mp

pp

Long, steady bow strokes to create difference tones

C

U

a tempo increased bow pressure

≈

s.p. s.t.

-6 ™ ™™ 163 6™ J II III

? ™™ 1 4 -è -è > >

O O % O O œ œ œ œ &ê -

s.p.

ord. on the bridge

17

U ∑

IV

™™41 è è >- >-

III

j 6

™™

I II

II 6 j J ¿ ¿ J

6 j J ¿

f sub. mp sempre

mp sempre

f

p - mp

D

√

≈ II 1 III 1

rapid

O O % O O Ÿ~~~~~~~~~~~~~~~~~~~ o III o œ œ œ œ #œ œ &ê p - mp -

21

poco rit. gradually increase radius of circular bowing

*b 0 0

?

˙˙ --

b

≈ B˙˙

b 0 0

˙˙f

˙˙

b

≈ ˙˙ B ˙˙

˙˙

f p * tune down via peg

pp poco cres. mp - f

f fff beyond ignorant

U ≈

rubato

rall. gradually decrease radius to s.p.

b

b

23

≈

I

?

™™ & è è ™™ >- >ppp - p

˙ ˙ poco decres.

-

o œ

m.s.p.

bridge

œo

I

~ ?

U ?

ê

&

ê

œ

w pp sempre as before

o

distant ppp loosest possible tension

December 2016 Ridgewood, NY