Additionally, the normal horizontal beam is occasionally replaced with a jag- CELLO ged, trill-like beam. This indicates a leg vibrato, which will extend for as long as the beam remains jagged. This ‘shake’ beam is understood to override The cello part eschews the standard tones produced through the bowing any other simultaneous normal beams. of a vibrating string in favour of a tiny soundworld of tapping and scraping. The notation follows the same positional logic as the bass flute and accorIn the example below, the leg vibrato is in effect for the entire duration of dion parts, and is laid out as follows: the 4:9 beam, affecting all materials that lie under it.
Bowing information:
Right hand
- articulated strings - bow direction - bow pressure - bowing type (where applicable) - bow position (ast to msp)
Finger actions Left hand
Ornamentation
Finger position Hand position
The accordion part makes use of the following ornaments. These should all have a highly localised, relatively prominent sonic outcome, in accordance with the desription of the role of ornamentation in the piece, above. A rapid, momentary change in bellows direction, followed by a return to the notated direction.
The right hand The operation of the right hand is described in terms of the string(s) with which the bow is contact, the direction in which the bow is moving, the pressure of the bow upon the string, and the vertical position on the string at which the bow makes contact. In the score, these are presented roughly in this order, from top to bottom. In some instances, the bowing is also described in terms of special bowing techniques (e.g., col legno).
A momentary, significant increase in bellows pressure. This should present as a heavy accent. Finger ornament. The indicated pitch is depressed momentarily (the note should be short, but not staccato). 15