[duo] viola and piano 2012…the four quadrants of the piano are numbered i.-iv. from right to left...
Post on 05-Apr-2021
2 Views
Preview:
TRANSCRIPT
[duo]
viola and piano
John Rot
2012
piano - preparation
In measure 42, an object is placed across the strings of C - B inclusive, fully muting these notes while leaving all others unaffected. A cloth-wrapped book of appropriate size is recommended, though any object that effectively mutes the required strings is acceptable.
all
m
B
Â
µ
bB
b
n
L
G should be tuned down 31 cents to match the seventh partial of A
A should be tuned down 49 cents to match the eleventh partial of D
both notes are still notated as and
3 0
5 2m
4 4
The four quadrants of the piano are numbered I.-IV. from right to left (highest to lowest, as with the strings of the viola). The strings of the piano are numbered 1-88 from lowest to highest (A = 1, B = 2, C = 88) 0 0 7
1 88
IV. III. II. I.
mark the necessary positions (see general notes for piano 1 and 2 for explanation of positions) on relevant strings, the composer recommends the following:
piano 1, 2 - general
Pianists 1 and 2 stand at either side of the lidless piano (specific locations are noted in the music), and manipulate the strings of the piano directly. The parts for pianists 1 and 2 are written on a single-line staff. On this staff, the horizontal dimension represents time, with rhythmic values and durations notated traditionally. The vertical dimension represents relative position between the keyboard and non-keyboard ends of the piano. The line of the staff corresponds to the midpoint of any string, designated as position 2 (since touching the string at this point allows the 2nd partial to be produced). Positions 3, 4, 5, 6, and 7 (as well as their “negative” counterparts) correspond similarly to the locations of their respective partials. Non-integer positions correspond to points in between integer positions (e.g. 3.5 is halfway between positions 3 and 4, -2.2 is between 2 and -3, etc.) All positions are relative, determined by the locations of natural harmonics on each individual string, so the physical distance between positions on shorter/higher strings is less than on longer/lower strings.
All struck, articulative activity is notated using the following noteheads: - pluck the indicated string with a plastic plectrum (or the handle of a mallet, if necessary) - strike the indicated string with the hand
- strike the target (string, plate, rim, tuning pins, etc.) with a mallet The mallets used in this piece are constructed by poking two holes in opposite poles of a ping-pong ball and inserting a thin dowel through the center.
ric = ricochet, performed using the weight and rebound of the mallet, as with a bow
exam
ple
strin
g
B (bridge)
D (damper)
3
-3
4
-4
2
5
-5
6
-6
7
-7
piano 1, 2 staff notation:
(“positive” half)
(“negative” half)
(on line, arabic numeral)pluck or strike
sounding portion of indicated string
(above line, roman numeral)pluck or strike
portion between bridge and hitch pin
of any string in indicated quadrant
61 61(on line, roman numeral)
pluck or strike sounding portion of any string in
indicated quadrant
(above line, roman numeral and pitch)pluck or strike
portion between bridge and hitch pin of
whatever string yields indicated sounding pitch
(on line, two numbers)slap indicated range
of strings with palm of hand
2013
strike anywhere on cast-iron plate
inside piano
plate
strike anywhere on top surface of
wooden rim of piano
(below line)strike tuning pins
pinsrim
(on line, single number)strike indicated string
with fleshy part of finger
7
o
(see explanation of implement notation below)
IV. IV.IV. IV.
G7G7IV. IV.
(notated on line for sake of convention)
The following implements are used:
- rubber squeegee, roughly 12 inches across
- wooden dowel, at least 1 inch in diameter (the composer recommends having several available of various lengths for different moments, ranging roughly from 5 to 14 inches)
- the palm of the hand, or a single finger if target it so small for palm (e.g. single string)
- a hammer or mallet consisting of a metal cylinder on the end of a wooden handle, or some equivalent. The metal portion is placed against the string; the handle is merely for added control.
piano 1, 2 - struck notation
piano 1, 2 - non-struck notation
All non-struck, non-articulative activity is notated using horizontal or sloped bolded lines to indicate position on a given string. Rhythm is notated using traditional stems and beams above the bolded lines, as well as rests on the staff line. The string to be manipulated is indicated by bolded numbers below thebeginning of the line in the following manner (see explanation of measure 1 - 6 below for further details):
- (single number) only string 5 is manipulated
- (two numbers, vertical) all strings in the range 14 - 20 inclusive are manipulated
- (two numbers, vertical, with separating line) string 11 is manipulated according to the top bolded line, string 8 is manipulated according to the bottom bolded line
- (two numbers, horizontal, with comma) strings 13 and 15 are manipulated according to the single bolded line
The position on the string at which the activity is to be performed is indicated by unbolded numbers next to the beginning of the bolded line in question (as well as at other critical points such as the termination of motion along the string). The use of any implement is specified by an image next to the bolded string number; if no implement is specified, the fingers are to be used.
measures 1 - 6 with explanation:
5
2014
11 8
13,15
Piano 1
Piano 2
13 1
7+
21
3
2013
ff
11 8
76.5
2013
63
19,20
4.53.5 3.5
3
2221
-5-6
2013ff
-3.5
6.5
18
5 7
4 1,15
3
prior to the downbeat of measure 1, press rubber squeegee against strings 1 - 13, past position 7 (in between 7 and bridge). lift fromstrings on second eighth-note of measure 1 to allow maximum resonance of multiphonics
place fingers on string 11 at position 7, and on string 8 at position 6.5 (halfway between 6 and 7). on second eighth note of measure 3, start moving both fingers toward keyboard end of piano, arriving at position 4.5 on string 11 and 3.5 on string 8 by the third beat, at which point the fingers are lifted
place fingers on strings 19 and 20, both as position 3.5. immediately begin moving both fingers toward keyboard end of piano, arriving at position -3.5 on both strings (rest)
(rest)
place finger on string 4at position 5 and holdfor notated duration
place finger on string 18at position 6.5 and holdfor notated duration
etc.
etc.
use the palm of the hand to loudly slap strings 13 - 20. this should create enough vibration to cause a loud rattle when the dowel is placed on the strings in thenext measure.
on downbeat, placewooden dowel horizontally againststrings 13 - 20 (perpendicular to string) at position 6. immediately begin moving dowel toward keyboard endof piano, arriving at position 3 before dowel is lifted. increase pressure over course of measure, creating clearly audible friction that rises in pitch throughout
place fingers on string 22 at position -5, and on string 21 at position -6. hold this position until lifting on the final eighth note of measure 4. additionally, use the palm of the hand to slap strings 13 - 20 when written
location of performers around piano
piano 1, 2 - other
For non-struck activities, dynamics (including hairpins) refer to intensity of pressure.
Accents during a dowel slide (e.g. measures 31-32) should be performed using short, sudden changes of pressure and direction to create a clearly heard articulation.
The use of a wavy line in conjunction with the dowel symbol indicates a “tremolo.” The dowel should be rubbed vigorously back and forth perpendicular to the strings within the indicated range.
During the solo viola passage (measures 55 - 59), pianists 1 and 2 should go to the keyboard to assist pianist 3 in depressing the large chord notated in measure 59, so that it may be sustained with the middle pedal. The muting object should then be removed.
Using the palm of the hand to rub along the length of a set of strings (e.g. measures 10, 14-15, etc.) should yield clear, high partials similar in timbre to a waterphone.
In measure 24, as well is in measures 65 - 86, the following technique should be used:
Every note that is played by pianist 3 should sound as a rich, resonant multiphonic. This is accomplished by lightly touching the string in a (random, varying) location between integer positions (e.g. 2.3, 4.8, various locations in the range of 7+, etc) before it is struck, and lifting immediately once struck to allow maximum vibration. Pianist 1 is responsible for strings 1, 8, and 11; pianist 2 is responsible for strings 13, 17, and 20. The multiphonics should be as varied complex, and beautiful as possible.
viola
bow pressure
- light
- normal
- slight overpressure, not yet a scratch tone
- overpressure, scratch tone
bow position mst - molto sul tasto
st - sul tasto pst - poco sul tasto
ord - ordinario (applies only to bow position)
psp - poco sul ponticello sp - sul ponticello msp - molto sul ponticello ob - on bridge
finger pressure
- normal pressure - half pressure (between normal and harmonic) - harmonic pressure
techniques
clb - col legno battuto
clt
- use both wood and hair of bow
- col legno tratto
pizz
- pizzicato
- left hand pizzicato (applies only to indicated note)
ric - ricochet
an
- arco normale
harmonics
Harmonics are notated at fingered pitch with a harmonic-pressure notehead. The following fingered pitches (relative to the G-string in this example, though the same intervals are applicable to any string) correspond to the given sounding partials. Any interval above the open string that is not included here should sound as a relatively unfocused multiphonic.
scordatura The C-string should be tuned to C for the entire piece. All music utilizing this string is written at sounding pitch.
From measure 70 through the end of the piece, the D string should be tuned to C (in tune with the fifth partial of A )
other measure 15 - The bow (top staff) and left hand (bottom staff) are notated independently of each other for the first two beats. Follow the glissandi on strings II. and III. in the left hand, leaving strings I. and IV. open for these two beats.
measure 23 - Find a bow position over the fingerboard that allows the realization of the notated triad. Use the lowest possible dynamic and bow pressure that achieves the triad.
b mµ
µ
second third fourth fifth sixth seventhsounding partial:
1
B
piano 3
Pianist 3 sits at the keyboard.
pedals and - indicate the use of the right pedal
and - indicate the use of the middle pedal
other
- indicates the key should be silenty depressed and held for the notated duration
(p.)
(m.p.)
m.p.
L
º|
Viola
Piano 1
Piano 2
Piano 3
13 1
7+
q = 33, e = 66
21
µ
5
B
III.
IV.
3
2013
ff
ff
ff
3
11 8
76.5
2013
63
µ
3sp psp
19,20
4.53.5 3.5
3
2221
-5-6
2013
3
ff
ff
m
-3.5
mb n
6:4 6:4
6:4 6:4
mp mf ff mf
3
3
B
pst(sub.)
6.5
18
35
f ffmp+
sfz sfz-sub. f
Âpst psp
5 7
4 1,15
f+
ff
Vla.
1
2
3
7
n
5psp
3
6.2
6IV.
3
5.7
12,15
76
1819
5
b
m
5
(p.)
f
mf
ff f ff
mf
ff
mf+
fff
21
ffÂ
3
B
4
7
14 7
7+
14 7 -2.5
33
mf+
fff
ff
5 3
B
III.
mst
cresc.
3
57+
4,1IV.
13 6
3 5 3
II. IV. (sim.)G 7
5
f
f ff ffmp
mf+
f ff
mf+
µ n
3
B
msp
2
3
(m)23
(any multiphonic)
4236
-3
3
ff
f ff
fff
B
35
3
msp (pst)
+ +
3
IV. 4.4
3,7,16,20 lift each once struck for maximum resonance
B
61
5 4
26 3421
-6 -5
5
26,30,32
(light pressure)
m
m b
3 3 3
m
ff
ff fff
mf+
ff
f f poss.
ff mfff
[duo] John Rot
heavy pressure
3
3
q
Vla.
1
2
3
12
B
33pst
msp
3
52
116
B6
15 8
15 8
IV. 2.5
5 5 5 7
32 31,33 35,39 12
b n
3 53
(p.)
mf fffff
fffff
ff
21
3
3
µ µ
5 3 3
B
ord psp
3
37+
21
hold dowel at angle to strings, as though chiseling along their length(contact should be between strings and edge of dowel's circular face)
lightpressure
3
-3
B53
5
2732
9 4236
b
3 3
fmf
ff
ff
mf ff mfff
µ m Â3 3
B
n
pst mst+
3
20 1
or
3
7+mute fully
19
IV.D
3834
m
m
n
33 5
f fff
ff
ff
ff
Vla.
1
2
3
15
Â
mµ
B
µ n
µ n
n
 n
B
5
3
54
n
3 (bow)
II.III.I. III.
IV.
+
3 55
5
5
3
53
B
61
drag across strings past bridge
(high) (low)
m
b
5
6:4
(p.)
ff ff ff
f ff fffff
21
Â
3
B
psp
msp psp pst
7+
2013
fff
fff
fff
m
B
nµ B
n
53 3 5sp psp pst
14 6
7+ 3.23.2
4
25-4
m
5
bb
3
f ff
mf+ ff f
-2-
IIIIIIIV
n
III.
Vla.
1
2
3
18
µ
Âm
nb
µ
b
B
n m
B
35psp
3
B
IV.
51
76
68
(p.)
21
ff ff+
ff
ff
m
B
µ
m Â
Â3 3
5 3
3
3
43
3 3
4.5
1811 fff
f+ mf ff mf ff mf ff mf
ff f
ff
m
B
3msp mst
1811
4 3
-2.24 5
3
3
7
810 5
3
fff
ord sp (overbridge)
3
27 50
7
3
m.p.
f
pp
mf+
f
f
mpB
bB n
µ
3 3mst psp sp pst
67+
5
610 1
7+
3 4
20 37
5
mm
3
ff mf
ff
mf+
f+f
f+mf+ ff
Vla.
1
2
3
23
B
m
35
mst st*
II.III.IV.
"minimum" dynamic, bow location, and bow pressure necessary to achieve triad
3
3.9 3.1
13 13
5
(p.)ff
p mf
21
m  m n L
35
33 3
f f+
B
b B
5 3pststpsp
7
4
5
15
3 3
m.p.
f+
f
mff
1214
75
5
2015
-2.7
bb
b
5
m.p.
mf
f f
f
B
bbB
5clb, ricsp mst psp
an
3
21
D
33
12 8
9, 8
4.5 5.5 7
m
3
b
m.p.
ffmp+
B µ53
II.
pizz
+
1612
35
47+
3
2016
b b
5 5
b
mf+ mf mp mp+
mf+
p
mfmp
f
-3-
B
(see performance notes)
3
3
Vla.
1
2
3
29
B b m Â
b b
n
B B
bµ
µn B n n
B
bb
36:4 6:4 6:4 7:4 3
Â
3
anIII.
IV.staccato
psp psp msp
20
2.37+
3435
73
20
mm
n
b
6:4
b
m
(m.p.)
mf f+ mpp pp
f
mp
mf
p
mf
21
b B
m33pizz
anord
pizz
6
5.5
7
5755
(mute)
B
3
mf mpp
mf
mp
B
m µ
3clb, ricpstan
ob obmsp
33 5 4
51
7+heavy pressure
2
D
G 7B
5
m.p.
mp mf mf p
mp
mp+mf
pf+
mp
µ B µ m
3 35 5 5msp ob msp clb, ric
written rhythm applies to left hand only
º|
3 5
3.5
3
ric
F 7µ
bm
7:83
3 3
mp
p
mf p
p
1
Vla.
1
2
3
33
µm m
b
n
m3 7:8 3 3
pizzclbst sp
anmst
drag across strings past bridge
(high) (low)
III.(move around player 1 as needed)
3 5
65
III. II.
m
b
m n43
3
m.p.
p p mp p
mppp
p
pp
pmp
21
m
b Bb
µm
35
6:4staccatopizz an
ordI.II.
7:8
III.
35-3
3431
b
m
m
53
m
bb
3
m.p.
mp p pp
mp pp ppp
p
mp
n
µ
µ
B
b
bb n3
5 3
5 3clbsp pizz
anpsppst
I. II.
3
I.
33
3
n
m
b m
53
n3 3
m.p.
p mf p
pp ppp
p
-4-(pizz)
3
3
Vla.
1
2
3
36
µ b n  µ
B m n mnm
Bn3
3 53 3
6:4 3
pizz
anord
II.III.
pspmspI.
II.
pstI.
3 3
53
I.plate
E6IV.
(low)
3
7
15
5
24
I.
m m bb
m3 5
5 5 3
b3 5 5 3
(m.p.)
21
p mp pmp pp p+ pp mp
ppp
p mp pp ppp pp
p
pp
mp p
b B B µ m m  µ m n b µ5 5 5
III.
against bridge, very slowly
(high) (low)
5 5
30 26
b
b
n bb m3 3
5 5
n b5 5
p
mp+ mp+pp
mf mf
Vla.
1
2
3
38 µµ
m m m m µn B B n n
nn5
5 5 53:4µ
5
obpizz clb
anpst II. I.
IV. +pizz
3 3
IV. IV.7+
18 1517
75
5 3 4 4 3
I. II. II.
(slow)
(high) (low)
ric (allow mutiple strings/pitches)II.
m b b b b b m m n m m3
5 6:4 4 4
lightly
m3
21
mf pp p mpp
mp mf
p mp pp ppp
p
pp
pp p+ pp
mp+ mp
µ Bb B
bB n µ B B n µ
m B B nb
53 3 5 3
clb, ricpsp pst
anpsp st pizz an
pst
lightly, slightly detached
sp
3
3
pinsII.
21–24 (exposed at non-keyboard end of piano) drag in circular motion within area past bridge
3 5 3
55
ricII.I.
I.
m m m n5 5(loco)
m.p.
mp p+ ppmf
ppp
p+
p
mf mppp
1
-5-
3
3
!
f
f
�
�
� �
Vla.
1
2
33
40 � �B x ± � � �m ��m � ��µ � ��Bµ ���� ± ±� �m �B �� x
�b ®n � x �m �µ �n3 3 5 3
36:4 5
3 +pizz
anord
pst msp ordpsp�
� ± � �5 3
19,20
4.53.5 3.5
76.5
11 8
IV.
� � � � � x � � � � � � � � ± 5 3
5
II. / I. (alternate freely) pins
plateIII.
against bridge
(low) (high)
-5-6
2221
± � �m x��m �m ��n x ± �b �b x ��n � � �b �m �n � ��n ±
5
3
4 3
���� ��� ��� ��
± ��� ��
�3
(m.p.)
pp p pp p pp
p mp
pp ppp
mp+
pp
p
x � ®µ ��µ x �m � �µ �n ® x �B � ��m � �m ���x � �µ x
�m �n x �µ � x�� � �n �B � �m �m �µ 5 5
4
5 3 35 5 5
+
®�ÈÈÈÈÈÈÈÈ�
pizz
anord st
III.
clbmsp sp pst msp
ric
�ÈÈÈÈÈÈÈÈ������������������������
anpst
� � � � � � � � 3 3 3
-3.5pins platepins
� � � � � � ±3 5 3
pinsric
���������������������������������������
I.
�
�m � � �b � � � � � � � � � � � � � � � �n � 6:4 6:4
6:4 6:4
p pp+ p+ ppp
p p+ ppp+
p+ pp
pp
!
f
f
�
�
�
Vla.
1
2
3
42
x� � �B �b � �B ��µ ®B x ��n ��µ x �®m ��n �µ � ��µ x �� x � �B �m �µ x � ��µ x ��Bn ��m ��µ x ��µn �� � �µ �6:4 6:4
3
5
6:43
5 3
very lightly, always short and detached (unless otherwise notated)
sp pizz anord
pspclbord
(clb) sp+
� � � ± � � ± � � � � � �5 3 5 3
IV. II.
pins
6.5
18 platepins
± � � � � � � �II.
(high) (low)
I.
against bridge place object across strings 40 – 51, muting fully
± �� x� �b ��n � G�b ��b ��mn � � �� x ��n �m ��m �G��m
�� ��b ± x � �n ��b � �m �m �� �n x �m � ��n �n �m3 5
3
3 5 5 5 53
3
very lightly, always short and detached (unless otherwise notated)
� � � ± �� ±� �� �3
5
ppp pp
pp+ ppp pp p
pp
pp ppp
p ppp pp
ppp
± ± ®� x �m � ®�x ± � �B � �m �µ � �b �B �B5
5 3
III.
ansp
I. pstpizz
� � � 3
5 7
4 1,15rimric �����������������������������������������������
IV.
± � G� � � � �3
II I. II. I.�����������������������������������������������ric
�� � x �b��b �
x ��b� ��m x � �m �n �b �n x �m ��m ��nb x �� ��
�b3 5 3
3
6:4 5 3
� ± ��± � �3
ppppp ppp
p
pp ppp
p
pp+ ppp
p+
-6-
21
3
21
3
!
f
f
�
�
� �
Vla.
1
2
3
44
± ®B ®� ®� � �B �n �b ± x ®B ® x3
5 3anpsp
II. IV. III.
� � ± �3 3
6.2
6
IV.rim
±3
5.7
12,15
76
1819
��� ±
�b � �x � x ��
��
x ��n �
���m �
±3 5
5
5 3
��x �� ��b �
5
pp ppp
pp
pp pp
ppp
pp
±� �B �B �µ � ± �n �B ± x ��µ5 3:5 3
pizz clbst an
mst pizzclbpst psp
ric ������������������������������������
� � �4
7
14 7
� � � 3
7+
14 7
-2.5rim ������������������������������������������������ricpins
� �m � �n x �b �b �n �b � �n � ±��m �b x � � �m � �n �b6:4 5
33
3
5 5
� ��� ��
����
�33
p ppppp
pp
pp
pppp
pp
ppp
�� ± ± � � � (� � � �BÅ3 33
3pizz
clbpsp msp an
� ± � 3
57+
4,1IV.
13 6
± � ± ± � ± � � ± � � ±3 5 3
II. IV.G7
(mute)
�� �x � � � � �m �m � � �m ��n
� � � �3 5
4 7:83
� � ±��± ± � x � ��
3 5
mf+
p
p ppp
pp
(pp)
!
f
f
�
�
� � �
Vla.
1
2
3
47
± �b � �B � � �B3 3pizz
anpst
�2
� G 3
(m)23 42
36
-3
� �b � x �m � �b �5 5
G� ���
�� �3
p+
p poss.
p
ppp
�B� �µÅ
� (� x � � x � � � �B x �b � �b �µ �µ
5
35
3 5 6:4
msp
clb
mute stringZLWK�ÀQJHUV
�ÈÈÈÈÈÈ�clt
clbanpst
� ± � 3
IV. 4.4
3,7,16,20
� ± B
61
5 4
26 3421
-6 -5
5
26,30,32
� x � �b � � �b x � � x �m � �b �n � �b� ± �3 5 5
� �� ± ± ��mm � � � � �b � ��3 3 3
� � �m �
ppp+ pp
p
pp
pp+ppp
p
�Å ��µÅ ± x �µ �m � x x � ± ®B� � �m ± ��µm x ��µ ��µ ��Bb¬À �n � À �µ �n �5
3 35
6:4 7:8psp clbpst
anord
pizz
an
� �5 5 5
32 31,33 35,39
± � �b �b �b � �m � �n �n �n �b �b � �n �n � � �n �b � �m �m � � �m �5 11:8 13:8
continue similarly, with roughly 10-14 notes per beat
don't maintain strict rhythm
� � (�� ± �b � �� ± ��� �3 5
mf
mf pp+ p ppmp+
pp
ppp
-7-
21
3
21
3
Vla.
1
2
3
50m
b
B
µ m
n
mB
µ
m µ
n
3 33
35 6:4
º|clb
pizz
III. IV.
clb,º| II.ric
an
3
pins
ric
3
II.
mf+ f pp
p
pp
b B
B
B B
µµ
m nB
n
3 5 311:8an
y
3
IV.
3
ricII.pins
p pp
mp pp p
pp
3
ric
pp
p mp
Vla.
1
2
3
53
3 3
5
IV.
mp pp p
p pp
5 5
p pp p+
mp
B
bµ
µn m
mb
µ
µ
5 37:4
psp
f+(pp)
-8-
21
3
21
3
(Vla.)
Vla
ord
B µµ
n
B
b
6:4 7:8
(should be light and detached, but prioritize dynamic level over clarity of articulation)
increase rate of notes, maintain tempocontinue similarly (rest)
ord
pp(pp)
B
n
3(ord)
ff
n
B
Bn nÂ
3 st
n
B
mf
B
nn
B
nÂ
5
mp+
56b
n
m nn
3ord
decrease rate of notes, maintain tempopsp
f
nm
n
ff
nn
m
m
5 pst
pst
f ff
B
m nµ
n
µn
µ
5 mst ord
mf+ ff
n
n 3
ppp
ppp
pst
pspdetached
cresc.
sptenuto
56cB
µ µm
7:4 6:4msp mst
mf p mfm
µ
5msp
f f+
B
3 psp
ff
msp
Vla.
3
59 ord pst
m
m
silently depress (with assistance of 1 and 2) and sustain with middle pedalm.p.
psp
f
mp
B
µ
µ
B
6:4 5
pspord
II.I.
psp
hold to end of piece
mf mpb n µ µ n
Bb B
6:4 5 3ord
5
-9-
Vla
VlaB
B
31 2
n
56a
top staff should interrupt bottom staff as briefly, and insistently, as possible
Vla.
63B
B b
B
3 3
3II.III.
pspIII.IV.
mf
msp
3
(random variation within range)
q = 44
pp – mp
mp
L
p+
3 3
33 3
B
µ3
3pizz, let each ring
m
mp+
Vla.
3
3
70scordatura: D C L
m
3
m
L
3ob
m
3
p
oscillate slowly (ca. 5" – 10" per cycle) between:
let each parameter vary independently of the others and of (maximally unobtrusive) bow changes
m
3
m
3
3
m
3
3
m
3
3
m
3
3
m
3
m
33
3
m
3
viola concludes
3
m
3
m
3
-10-
21
3
21
3
21
3
an
continue if necessary(see performance notes)
78
(covered by pianist 1)
(covered by pianist 2)
µ
top related