the goldfinch whisper, mata
DESCRIPTION
ÂTRANSCRIPT
Dorotea VejnovicDorotea VejnovicDorotea VejnovicDorotea Vejnovic
The Goldfinch WhisperThe Goldfinch WhisperThe Goldfinch WhisperThe Goldfinch Whisper
For string quartetFor string quartetFor string quartetFor string quartet
THE GOLDFINCH WHISPER
Goldfinch is a specific specie of finch family of birds. It’s habitat is in Peruvian Andes, and this goldfinch is different from
other finches. When in danger, Andean goldfinch does not attack, but produces a broad variety of sounds in order to make the intruder
leave. Those birds have wide range of sounds, and this is mentioned in many Quechuan traditional songs.
This quartet is based on traditional song from Peruvian Andes, which is about different transformations in nature, refering to
plants, animals, but also humans. This idea of transformation and progress found it’s pendant in music, making gradual progress from undefined,
unstable sounds (representing archaic sources of sound and the use of instruments, raw sound that demonstrates the nature of materials of which
instruments are made, such as wood, animal hair, metal etc.) to precisely defined sounds and pitches of Quechuan melody which is represented in
it’s original form only once, in the central part of formal structure of piece.
Combining contemporary composition techniques with folklore melody of peruvian tradition and using various modes of transformation of basic
melody while still keeping its traditional sound present, although in different context, was a challenge and inspired me through this piece.
Note: Quartet should be amplified.
Dorotea Vejnović
NOTATION AND PERFORMING TECHNIQUE - THE GOLDFINCH WHISPER
Gently mute the string using palm
Perform strong pressure on bow strings, in one place, with turning the hand wrist in direction of arrows (bow is rolled over strings or soundboard ’ through’ bow strings)
Discontinue muting string with palm Flautato Very light contact between bow strings and strings (tone should be barely heard)
Hit strings with palm of left hand, so that the sound of string hitting fingerboard is heard Constant strong pressure on the string
Bow movement: Play near the bridge, very strong pressure on the string
Irregular circular movement
Arbitrary pitch in high register
U-turn movement Arco c. l. Slightly bend the bow, play in the same time with bow strings and legno
Wavelike movement in both directions
Col legno balzando
Arco balzando
Let the bow drop on the string in one spot, and let it bounce
in indicated duration (bounce is naturaly accelerated by the
weight of the bow)
Rectilinear movement in direction towards or/and away from the bridge (bow is slightly bent, so that strings are played with edge of bow strings)
Col legno gliss Legno is sliding towards bridge in bouncing motion.
Rapid movement across the strings with fingernails, behind bridge (harp-like)
Bartok pizzicato
Speed of bow movements:
Pizzicato performed with left hand
1
2
3
4
very slow
moderate
fast
very fast
Pizzicato with fingernail
Stopped pizz After pizzicato, mute the string with palm
Pizzicato with fingernail, performed on pegbox, near scroll
Knuckles Hit the soundboard with knuckles. Palm Making rhythm with palm
Right hand – col legno on the bridge, improvised rhythm Left hand – making a certain rhythm with palm underneath the strings, between f-holes
Hit the soundboard rapidly with fingertips. Rhythm is arbitrary
Left hand making rhythm by hitting the strings with palm Right hand making a certain rhythm with palm underneath the strings, between f-holes
Tap the soundboard with fingernails.
Notes: Bar 32.-40.
Bar 96.–101.
Sul corpo con l’arco Jete sul corpo
First violin- play by gently shaking the hand to produce
‘tremulous’ tone
Eight notes and 16th notes should be performed with minimal possible movement of bow
Play on C-bouts, on narrow part, on the edge of soundboard
Fingertips tr Rapidly hit upper bout, alternating index finger and middle finger