time is a cage 2013.mus
Transcript
time is a cage 2013.mus
Suzanne Farrin TIME IS A CAGE for solo violin Notes to the Performer The line above the staff indicates bow placement (normale, tasto-molto tasto, ponticello, molto-ponticello). These changes should be as fluid as possible and for the approximate durations indicated by the traditional staff below. All accidentals apply only to the beat and remain in effect through all tied notes. Scordatura: please note that the 2nd string is tuned up one half-step (to a Bb). The score is written at pitch. [3o5] = "Harmonic Fingered Tremolo" Move your finger rapidly on the node given (up and down, almost a flapping motion). The harmonic, fingered pitch and open string will all sound. Aim for a balance of the three elements. The bow does not tremolo during these passages unless indicated with a BT ("bowed tremolo"). = "Wild Vibrato" Vibrate on the pitch as fast as possible with little regard for accuracy or evenness. 9 = Dramatically increase bow speed. Increase bow speed suddenly and with intensity for the duration indicated (the gesture does not carry over through rests). TIME IS A CAGE ! ! tasto norm. b œœ œ œ scordatura Violin !norm. »60 9j 9j œ-j 9 & j j j j œ . b œ œ‰ œ . . œ . . œ œœ . . œœ œ . œ J J J J p f PJ J % gl. œ œ . & œ. œ . ! J J œ. œ f piu mosso gl. 9 œ œ !T !P 9j 9 > & œ . œ œ ˙ œ b œœ œœ .. b œœ œœ œœ .. b œœ œ . œœ œœ gl. J III J p ƒ P IV a tempo 9j ! Emphatic! q 9j !N 9 9 @ @ @ -j -j œ œ œ . œ œIV # œœ # œœ . . œœ œœ œ œ œ . œ œ j bœ . J J sub.p ƒ !N 9 9j 9 U œo ȯ J rubato, dolce œo . !N !T !T q 84 9j » U j j ‰ j j j œ œ . œ œ.. bœ œ . œ J J gl. P 9 9 œ œ œ œ œ Nœ œ & œ b œ œ œ b œJ œ b œR œ 5 # 3 p 5 j œ ‰ (II) b œœ # œœ œœ n œœ J F j j œœ b œœ œœ # b œœ œœ b œœ b œœ A œ . nœ. 3 œ .. "fingered harmonic tremolo" 3o5] j œ œ œ@ wæ . J (IV) dolce [ 5 III IV II III ! œ . b œ œ b œœ œ. œ œ œœ .. b œ œ b œ . œ œ œ. !N ! P j œo@ 5 3 !T !N !N subito tranquillo (poco meno mosso) œo jæ œ œ-æ œ@ @J P œo @J r œo œo œo " J ˙ œp # IV , œo R œo poco rit... $ [so loud that the open string overpowers the upper voice] ! P ! œæ # # œœ p !T (molto) T ! 9 P w æ w " & >r ! . œ . b # œœ œ . R œ. F ! !T % [3o5] > œ! # # œœ .. œœ œœ œ@. wæ (molto) T III IV !N @ o! œo! œo! ȯæ @ @ o @ o jIVœæ. j œo œo œ œ œ œ o œ@ œ œ . œo œ œ œ œ œ œ œ ˙ J æ @J @ @ @ @ ! ! ! æ 3 5 molto ƒ (poss.) œ ! œ ˙ #œ ˙ # œ œ > gl. # œ j œ œ #œ #œ œ œ #œ. œ . œ œ œ œ. œ . œ œ œ œ œ ˙ œ ˙ æ æ æ subito p poss. F P legato e prestissimo posibile dolce ! ! !T ! !P 9 œ9 [Fingered Harmonic Tremolo: move your finger rapidly on the node given (up and down, almost a flapping motion). N The harmonic, fingered pitch and open string will N all sound. Aim for a balance of the three elements. The bow does not tremolo unless indicated with "BT"]. !N œ # œ œ " % gl. œ œ b œœ œ # œ œ œ #œ #œ œ #œ. ! #œ. œ œ œ. œ # œ œ œ bœ œ œ œ #œ #œ #œ œœ œ. œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ J J J F p 5 5 9 j3 œ œ #œ œ œœ œœ œœ œœ # œœ œœ .. œ œ œ œ J F f 3p sub. j j j œ œœ . . ˙˙ œœ œ # œ œ œ . œ œ œ œ . œ œ . œ Ó J J ( ) J 3 sub.p p P p sub. f sub. ! !N 99 3 (molto) T Suzanne Farrin (2007) œ œ n (molto) T 9 œ œ 9 œj [ œ œ !N 9 . bœ œ œ bœ. 3o5] near the tip 3 œœ ˙ p . œœ œ@.k œ! œæ œ. œ œ @ ! æ P bend legato poss. ! T »9120 Puo Mosso, Meditative q II ! N œ bœ œ bœ œ J 3 "j o o o oœ œo œ œ œ œo œo œo œo b # œœJ F # !P 9 . œ bœ j% œœ . . J ( ) 3 æœ # œ@j œ œ æ @J 3 !N œ. œ bœ. f bend œ@lœ@ œœ @@ > @œ# # œ@œ œ @ @ ƒ œ@œ .. n œ @ sub.P 9 œ #œ œ œ œ œ. œ bœ œ bœ œ bœ. J 3 sub. p o o o o œ " glissando molto lento œœœ j ‰ b # œœ .. bœ J # f Time is a Cage III---II tremolo & ˙ b b ˙˙ !N j b b œœ J legato poss. ! tasto o@ ! !o o (.œ ) œ ( oœ) œ(œ ) (œ ) œ & æ œ œ œ œœ .. sub.# œœ .. b œ N œ ! % nœ P gl. III IV 3o5 ] o ( œ) œ œ ‰ bœ œ. ‰ œ œ ‰ n œ œ . œ œæ wæ @J æœ w 3 # $ 3 N ord. (no trem) [ "fingered harmonic tremolo" (See note on page 1). [ 3o5 o ] (œ ) b œ œœ@.. sub. # !P ! P 9 o o wwæ p [BT: bowed tremolo] (œ ) wwæ b ˙˙æ.. P (œ ) BT o (œ ) œœ@ œœ@ Í ! wæ w p 5 BT o ( œ) œ@ ˙ . Ó œ@ œ œ ˙. ß p [ 3o5] oæ ( œ) o œ œ .(œ ) ˙æ ˙ . œ œ. ˙ ˙. ß p not a harm. Œ ! 3 j ! @œ . œ(œo) œæ œ@(œo ) œ œ. œ œ œ œ ß ß tasto (moltissimo) 9 o o oœ ( œ) o BT BT ( œ) ( œ ) BT( ) j œ@ œ@ æ œ@j œ œ@. æœ . b œ œ œ. œ œ œ œ. œ œ œ œ œ. 3 p 9 3o5o˙æ [ (no trem) (œ ) j œ ˙ P ] ! o œo œo œo o o œ b œ o II o œo œ b œ III b œ at the tip [ 3o5] æ o j ˙ (œ) -œ ˙ F (no trem) P molto accel. al fine œ œ œ œ œ œ œ œ œ @ @ @ @ @ @ @ @ æ 5 # 3 ÿ. R [let the bow "put out" the last pitch: move the bow so far tasto that it comes in contact with the finger] &‰ sonno beato J.S. œ . ( œo!) BT o o @ ! @ @ @ ! œ@. œ . œœ œœ .. b œœ œœ œœ œœ œœ œ . ƒ ƒ ç$ (œ ) BT o (œ ) ( œ) oj œ@ . œ. ƒ (œ ) j œ@ .( œo) œ. ƒ
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for violin solo christopher burns
Performance notes:
Dynamic changes are instantaneous unless explicitly connected by hairpins.
Accidentals persist through the measure of their appearance. In instances of composite meter, accidenta...
Koyunbaba
The upper system gives the sounding pitch. The lower system shows the fingerings
(’scordatura’). Therefore I basically took the usual tuning
Michael F. Zbyszynski
explore this quality whenever possible. Each performance should be unique, and adjust to the particular
response of the instrument, electronics and player during the performance.