Absence, for solo guitar

ADAM GREENE

ABSENCE for guitar solo

SMMP No. 121

Printed in USA

ADAM GREENE

ABSENCE for guitar solo

Senza Misura Music Publishing (SMMP) 3633 Indiana Street, Suite 22, San Diego, CA 92103

Absence is dedicated to Pablo Gómez Cano, who commissioned the work and provided generous advice on practical issues concerning the guitar and whose artistry was a tremendous inspiration for me. The work is a sort of compressed suite in three movements, a vague allusion to a common formal conceit in the standard repertoire. Each movement has a binary form, although this is partially subverted by the use of codas and interludial material. The materials in this piece tend to limit or impede the instrument’s natural resonance. The broad aim, here, is to construe a sense of entropy, impermanence, and loss. The poetic environment for each movement is animated by a textual fragment whose dramatic potency should invite the performer to investigate the musical behaviors and mine its expressive territory.

Notational Conventions begin exactly at the indicated rhythm then proceed as quickly as possible through the figure. Sustain the last note in the figure to sound the full duration of the primary rhythmic value. glissando with indeterminate ending; only the arrival register is indicated

drag nail along open string; pitch indicates position of fingernail

“hammer-on” -- left hand (m.s.) only

half harmonic pressure; pitch should be evident

finger percussion

pluck string between stopped pitch and nut

“quasi arco tremolando” -- hold i,m,a together, perpendicular to the strings.

Brush up and down, imitating a bowed instrument tremolo. Deemphasize the iterative nature of the attack in favor of a more continuous sound envelope.

“tamborare unghiato” -- rapidly tap strings with fingernails, which strike the string perpendicularly; position of the right hand is indicated, and is often in flux. Avoid striking the fretboard. There should be some pitch identity to the right hand activity, as well as a soft “shadow tone” emanating from the halfharmonic stopped pitches

Slurs in this piece are very specific -- sometimes long phrases consist only of left hand activity. Tap technique is invoked on several occasions, usually using two staves.

a radical glissando figure emerges in the second movement. Sometimes the overall trajectory is a small gliss, sometimes it is more stagnant, but the intermediary activity consists of very fast, wide glissandi. Later, this figure is written in shorthand:

Scordatura

This work uses scordatura tunings on the 5th and 6th strings (NB, the score is not transposed, but a small staff occasionally appears below the primary staff indicating the resulting pitches).

The tuning is self referential. The 6th string will be tuned down so that the sounding pitch resulting from the harmonic at the tenth fret is equal to the C# found on the 1st string.

Similarly, the 5th string will be tuned up so that the sounding pitch resulting from the harmonic at the ninth fret is equal to the C# found on the 1st string.

The result produces the following scordatura, which remains in effect throughout the piece:

Duration: ca. 10 minutes

I Surely you see her now! – that Fiend from Hell! And on her head look at the snakes, their mouths wide open, writhing for my blood!

Orestes, in Iphegenia in Tauris, by Euripedes, trans. Richmond Lattimore

for Pablo Gómez Cano

ABSENCE

ADAM GREENE

for guitar solo

Scordatura:

I Erratico, in tormento (e=44) tamb. ungh. (a,m,i)

AB C

3

V 38

m.d.

¿ ¿                                                 ¿

 rr À 3 # r V8 ' f ' poss. poco rall.

# >œ .

tasto

D 3 V 8 œ# œœ œ P AB C

m.d. 

5

œ

XVIII

1 2

m.s.

5

 rr r J

m.s.

m.d.

XIX

XVI

XIV

&

U

®

>–– J

X

poco tasto

√ kœ œœ œ

 rr À 4 r 8

œQ ß

œo

&

                            

rrr    4 V8

 rr  rr r r 



m.s.

6

SMMP No. 121

6

3 8

XVIII

¿ ¿                   ¿

# # rr r  

# #n r r r  J

f

# œo

' ' poss.

#œ

XI

V

F U VII 5 5 IV j o o 8 œ œ #œ œ D 3 r       B r V8 œ ‰ C Q ® . ß ≈ p

AB C

5

3

6

5

3:2

28 ®Cœ- œ œ œ œœ œb œ o P

A tempo

r   rr



A tempo

ord.

XV



3 8

XVI *

AB m.d.

C l.v.

nœ

jŒ œ œ

œœ‰ XVII

j œ 3 œ.

16 rall.

œ 3

XVI

B A– – – 3 > > 8

3 16

poco tasto

¿ ¿                              ¿

48 #   rrr

m.s.

f

#   rrr

48

# n   rrr

 rr # r

38

' ' *) mm. 9-10, maintain octave interval between hands

poco Copyright © 2012 by Adam N. Greene. All Rights Reserved.

2

AB C

XIX

m.d. 

10

accel.

poco tasto

sul pont.

ord.

                                              

# r r  r 

r # r  r

# r 3 # n r  r V8 m.s.

r r .. r .

j r #  rr

Ÿ~~~~~~~~~~~ XVII Ÿ~~~~ ½ C IX C VI Ÿ~~~~~~~~ XVI A œQ j ½* CIII ½Ÿ~~~~~ œ œ s.p. j ( œ X #œ  # œ (œ 12 ) bœ Ÿ~~~~~ œ j B Ÿ~~~~~~~~~~~~ )  b œ  U œ - . (œ ® # œ (œ  # œ ≈ V B A C 3:2 3:2 ∏ P F π P 7:6 π p ß A tempo

ord.

m.s., molto pressione X

> A 1 œ   14 2 V8 Fz

           œ

Liberamente

B # –^ m.d.

2 V8

œ

16

V 28

m.s.

17

^

œ 0 F

B– Œ

m.d.

V

œœ

œ

œœ

nœ

œ œ#œ

œ

p

bœ

VII

o 5 ‰ œ 16 Eœ ßQ

instabile

XII

VII

œ

≈ C œ . B r   µ r ® 2 8 œ . ƒ. . . .

1 7:6

j

6

5

#œ

œo

p nœ

(angle finger [m.s.] so nail makes contact with string)

24:16

#œ

nœ

nœ

œ

œnœ#œ nœ#œ nœ#œ œnœ #œ œ nœbœ #œ œ nœbœ œ œ U

#œ

F B– – – – – – – – VÙ m.s.

F

rall.

A tempo

**) play both sides of string with p, m (one simultaneous attack only).

XIV

2 8

*) hold barre over all 3 strings throughout m. 13

Meno mosso

**

,

u

A tempo

s.p.

XVII

A CB

¿ ¿                  ¿

r r ..

5 # 16 r  . ' f ' poss.



j #  rr r

(, 3 16 3 16

3

ord. rasg. (u,a,m,i) ½ CX

s.p.

ord.

s.p.

n œœ 4  r  r        r    n œœ  r  r        r    r r 3 r ® ® # œœ 2 r       # œœ r       r 3 2 V 16 œ 1 œ 16 œ. œ. p p ƒJ ƒJ

19

ord.

X m i

œœ 43 œœ b œœ 43 œl 21 n œœ œœ n œœ 2 ®## œœ 2 V 16 œ 1 œ# œ œœ 1 ƒ

poco rall.

VII (u,a,m,i)

IX p

V

s.p.

œœh .. n lœœ hœœ .. b b œœœ œœœ   rrr       rr        r       b œr        4 bœ œ œœ .. n# œœ œœ . 16 R . œ. # œ œ. ‰ ≈ p A tempo m.d.

V

–

#–

b–

–

12:8

5 32

W U Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ) b œ n œ œ nœ nœ œ œ# œ œ 2 Aœ ) 1 œ 2 œ bœ 5 V8 8 J 8 32 ∏ sospeso ∏

23

Ÿ~~~~~~~~~~~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~~~~~~~~~~ j j o l.v. œ ) o l.v. œ . ) 27 œ (œ ) ) bœ œ œ) bœ bœ bœ œ œ) bœ bœ œ œ œ œ 5 28 5 28 4 V 32 32 16 A B C πA B C ∏ pA pA n œœ œœ œœ œœ r  r r  r r   n œœ 43 œœ 31 r # œ œ # 4 œœ œœ                          16 3 # œœ 2 œœ V 16 œ œ œœ rasg.

X

ƒ P

sub

s.p.

p

ord.

CV

ƒ

œœ bnb œœœ 13 œœœ b œœ 43 œœ œœ n œ 3 œ œI œ œ œ œœ n# œœ 2 œœ b œœ 2 œœ œœ n #œœœ 02œœœ n # œœ œœ œœ œœ b œ œ œ 1 bœœœœ œ C IX

C VI

10:8

IV

rall.

F

4

 rr r

(K œo D

Senza Tempo

X

o # œ o  rr #œ E 4                       V r 16 p delicato, ma suonante P ,

XII

Meno mosso

33

tagl. sub.

liberamente IX

6

U V n œo C

1 2 3

A tempo (e=44)

) lhV o 35 œœo Væ π 5 6

rasg. (a,m,i)

o œœo æ

4 5 6

œœ œœ œœ ƒ

œœ œ 37 2 J V8

oo œœo œ

œœ œœ œœ

W œo

III

IV

ooo # ## œœœ

œœ œœ œœ

>oo œœo l.v. #œ 4œ nœ 4 œ # œ œ 2 n œœœ03 œœœ   b œœ    n œœ œœ       R 3 b 16 b œœ 21 œœ b œœ nœ œ Ï œ œ ½ CV

½ C VII

28

^ U œ 3 n œœœ 34 ® ‰  µ r µ r    B r ® ≈ 16 # œœ 12 Ù ÿ E ƒ 5 π 5 severo

5

D œQ #r    ® ® 6

P5 Xoscuro

œœ^´ 43 40 bœ V Ù œœœ 2 ® ‰

ooo œœ œœ œ œ

(rasg.)

X

C VIII

≈

^ bn œœœ 43 ® Ù # n œœ 2 ≈ œÿ ½ C IX

^´ # # œœœ 43 2 ® œœ Ù ≈ 16 œ XII

‰.

38

intensificando poco a poco 3

3

3

3

3

3

3

3

3

r     C B A r r r r    r #  r    #  3 r2  # r   r r 3   6 #  r ≈ ® 1 V8 32 √o P P Dœ o 6 œ œ V 38 32 œ

44

*

ßQ

5

F

*) bring m.s. around fretboard (as if playing above 12th fret); angle fingers so nails make contact with strings (to obtain clearer pitch identity). Harmonic nodes can be touched with the thumb (p)

5 3

3

3

3

3

3

3

3

3

3

3

3

3

3

r   r # r   B rB r n r   # r r r r    r  r    n    r nr         6 r   # r  B r 2 n r   V 32 8 Qo œ œ Q E o 6 2 ≈ . ®. œ.

V 32 ≈ .

8

45

6

ß

3

V 38

47

b r

r rb 

3

3

5

3

3

3

3

3 V8 ‰

≈

D

Qo #œ.

5

√ ** œœ b b œœ 3 # œ n 48 b # œœ 2   œ b œ   4 V8 æ1 æ æ æ æ æ æ Î con massimo violenza

6

oo j œœ

5

œ n n œœ b b œœœ

b bn œœœ # n# œœœ   æ æ æ æ æ

ƒ

E œo .

F

æ

3 8

3

b r      rn r r     r       r #     n  r      # r r   

cresc.

1 2 3

3

3

3

3

ß

3 8

sul pont. estremo

48 4 8

h  , tagl. hh sub.   Ù 3 8 æ æ

con tutto la forza

**) tremolando il pìu presto poss., m.s.: molto pressione (much pressure; pitches are approximate) m.d.: strum 'quasi plectrum' with i and p held together

II A black stormcloud of pain shrouded Akhilleus, on his bowed head he scattered dust and ash in handfuls and befouled his beautiful face....

Iliad, Book 18, by Homer, trans. Robert Fitzgerald

III Ecuba trista, mesera e cattiva, poscia che vide Polissena morta, e del suo Polidoro in su la riva del mar si fu la dolorosa accorta, forsennata latrò sì come cane; tanto il dolor la fé la mente torta.

Hecuba, wretched, a captive, after they killed Polyxena with her there witnessing, Saw her Polydorus washed ashore: the weight Of sorrow drove her mad, her soul so wrung She began barking like a dog.

L’ Inferno, Canto XXX, by Dante, trans. Robert Pinsky

7

II Sempre sospeso e=55

œo D V 38 ≈ R ben F

9 V 16

C œo œ J

6

V

œo J

o lœ

Eo œ. k œo

5

œœ . .

7 16

œ.

œ.

≈ V 38 ®

6

3 V8 ‰

IV

E# œo œo .

p

3

delicato

o. # œ D

A tempo

8

7 V 16

F chiaro

7 ‰.

V 16

V

W V j œ D œo œ C# œJ X P

bend

œ

9 16

X IX X IX

f

3 8

5

accel.

IX 3

œ # œo VIIo œ Eœ œ ≈ .

P jC Œ B bœ ) b œ œ- œœ Œn œ œ œ ‰ J p enigmatico

7 16

6

j (œ ‰

IX

œ

œ  r #  B ≈ æ æ P oscuro

5

o o œo # œo . œ o #œ D # œo C œ B A J

l œo l œo k √ œo

√ 5 B œ # œo J

o Dœ

œœ

# œo

IX

6

IV

6

4:3

√ III II o o œ œ œ # œo En œo œ .

5 J 16 V

V

6

III

3

IX œo # œo E J

X

lascia vibrare gli armonici

œo .

3

œ

VII

IX

5

œ #Eœo o 5 œ 16 J p 5 ‰ 16

D n√ œo .

J P

5

X

VII 6

j b r

≈

C œ- bend tasto

5

7 16

p

j œ ≈

8

Eœo IVo Cœo œ X DV œo D# œ œo œo .

X

10 6

V

6

5

V ‰

F

oo œ.

13 .

3 œ V8 F ord. ® Bœ 3 V8 p

œ

P B œQ … j ≈ # œ ≈ 5

V

√ B j o A œ # œo œœ 38 ≈ ‰ 3 l P 38 # œœœ ® ≈ Œ bb œœ œ ÿ ß

√ ® A# œo . œ . œœ œœ ..

5 16 p tasto l 5 # # œœ œœ ..

16 œ œ. p

A tempo

accel.

# œo ß

VII

o # œo œ E œ R J p 6

3

V

k œo

o Dœ

1 4

œ o Eo œ. œ 4

38

3

6

P ® Cµ *œ 1 µ œœ œ µ œ 4 œ

œœŒœ œ

38

P

5

V

2

l œo

‰ 3

œœ

5 16

‰

5 16

*) bend with 1 and hold so subsequent pitches are raised

5 ≈ V 16

15

E # œo A œo U œœ ..

√ 3 B o Aœo œ œ . #œ œ œ.

5 V 16 œ p 5 ‰ V 16

17

38 o œF 38 Œ .

6

p

bend j 2 1+ C 5 œ (#œ œ . #œ œ.

V 16 V P 5

œ. ‰.

-5:4 Eo D œo .

-œ œœ ..

Giusto

œ œ œ J

5 16 5 16

Flessibile

o o C œ œ œ.

38

œ

X

38 ‰

5

B -œ œŒœ œ b œ b œ œ œ # œ n œ , # œ ≈ . loco

F

frenetico

7 16 7 16

IX

o D #œ.

7 V 16 P‰

19

1 2

À b œœ j Q j 7  b œ Œ ≈ V 16 ® C 1 2

f

3 ≈ V8

oo j o 23 œœœ ...

7 V 16 7 ≈ V 16

oo œœ

œœ œo œ . Ù

œœœ. .

‰

‰.

III

6

p

sfz 5

oo j o œ Cœ 21 3 œ V8 A tempo

9

accel.

V

l œo

D# œo . o 1 D E œo 1 œœ 2 œ 8 J p leggiero 3 B C# œ # œ 2 ≈ 2 8 VII

o. œ œ E o D œo ® 2 J œ 8 P cantabile 2 Œ 8 5

III

O A tasto œ #œ

Œœ œœ œ ≈

P

3

œœœ B œ* ~À~ ~ ~ j C À j bAœ À .~~ jb Bœ À jC j ~ ~ ~  œ ≈ œ ~~~~~~   ~~  À~ 4:3 F intenso

3 ≈ 16 3 16

≈

3

#œ œ œœ Œ œ Q ß

VII

III V

o # œ E VII œo

IX

C# œ 2 ≈ V8 F 3

œ 5:4

doloroso

bend

(œ

œœ

Œ# œ

molto vibr.

#œ.

‰ j #œ œ

+

≈ Œœ

molto vibr.

n œœ œ 5

® ‰

6

7 16

oœ œo IVo ® E #œ 2 8 p 28 ‰ 6

Meno mosso

molto vibr.

7 16

6

*) radical glissando, as in measure 18

oo 25 œœ 2 V 8E

3 8

3

D œo bO Abœ

3 8

P

6

5 16 5 16

10 A tempo

V

III

Do ≈ C œo B# œo √ o Aœ œœ . œ 27 5 .

5 œ 2 9 œ. oœ œ V 16 8 ‰ 16 j Œ F j # œ p B b œQ … œ A # œ C b œ … Q œ A n œ œœ œ* . ~~~~~  5 2 9 #œ # œ œŒ ≈ Ù V 16 ‰ 8 16 3

6

ß

F

ß

F

*) continue radical gliss.

VII

9 V 16

29

E # œo .

œ.

IX

P

9 V 16 ‰

C

œ Q ß

ooo œœ ..

31 3 œ.

V8 bœ # œœœ V æ

bend

U

bœ

b œ œ. # œœœ œœ .. @ æ sub ∏ P

b˙4 4 # ˙˙˙ 213 8 æ ! ∏ 1 2 3 4

Aœ # a œœœ æ

A œœ a œœ æ

6

p A B r # r C D 5 r ≈ 16 r

u

F

œ œ. œœœ œœ .. @ æ sub ∏ P poco

œ œœ æJ

quasi arco trem. (i, m, a)

# œo .

5 16 ≈

≈

œ

Meno mosso (e=50)

poco accel.

35

œ.

œ.

V

œ œœ æJ

3 8 3 8

‰.

k œo

œ. œ œœ .. œœ æ æ! sub ∏ P

(, b œ 3 # œœœ 8 @

breve

E# œoDn √ oœ Cœo B# œo # n œœ^ ~~~~~~~~~~~~ n œ^ ~~~~~~~~~~ b œ^ ~ j ~~ ~ ~~~~~ 18 ® 38 # œ ~~~~~~~~~~~~~~~# # œœ ~~~~~~~~~~~~~~~~~~~~~~ œœ ~~~~~~~ ~  48 A tempo

subitamente isterico

IX X IX

1 2 3

p

F

5:4

3

ƒ

5:6

sub

# œœ^ ~~~~~~~~~~~~ n œ^ ~~~~~~~~~ œ^ ~~~~ j ~ ~ ~~ ^ ~ ~~ ~ ~~ ~ ~ ~~ ~ ~ œ ~~~~~~~~~~~~ # # œœ ~~~~~~ # œœ ~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~ 5 ~~~~ ~~ œœ ~~ ~~ ~~ ~~ ~~ 4 n ~ ~~ ~~ ~~~~~~~~ œ ~~~~~~  16 V8 J 3 ƒ f

38

A œo #Bœo .

f

# œœ^ ~~~~~~~~~ # œ^ . ~~~~~~~~~~~~ œ ~~~~~~~~~~~~~~~~~ œœ .. ~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~ 28 ƒ

11

~~~ œœ^ .. ~~ ~~~~ ^ ~~~~~~~~~~ j ~~~~ ~~~~ ~~~~ ~~ ~ ~~ ~ œ ~~ ~~~~~ ~~~~~  48 ~~~~~~~~ V 28~~ œ . ~~~~~~~~~~~ b b œœ ~~

40

5:4

f

Senza misura rasg.

4 5

.. œœ

sempre sost.

V .. œ 4 ƒ minaccioso

..

6

œ >

B œ nœk œ

œœ

.. œœ

œ

œ

..

e=38

~~

œœ œœ

>5 Ao œ2

œ œœ œœ

3 % # œœ œ 16 b œœœ +

5

Poco più mosso

..

œ

attacca

œœ œœ œ

‰ 5 16 % œœ n œœ J

3

% œœ œ+ # œœœ œœ #b œœ

4 16

A tempo

½CI

œœœ # 4 V 16 b œ.

.. œœ

~~~

‰ %# œœœ 40 5 V 16 œœ 03 J1 P

V

n œœœ œ.

4

U7"

x2

III

Quasi una fantasia

½ C VII

œ

(œ

U5"

~~~

V

U5"

x3

j (œ

œo œ .

bend with tuning peg

~~

Ul V .. ( œœ¿ 210

42

œQ ß

U

CI (non arpegg.)

3:2

b œœœ 2 œ.

5 bœ.

16 b œœœ ... 2 p oscuro

bb n œœœ 3 ≈ b œ.

poco

VI

3

V

b œœœ œ

œœ .. œœ ..

3

III

3

3 16

2 3

IV

3

D bCœ 4B nAœ Bœ Aœ E bCœ B nAœ #Cœ 3 n œ # œ 1 4 bœ ® œ œ œ2 œ V 16 œ œ œ b œ œ œ b œ1 2 œ # œ # œ B œ b œ n œ œ # œ D Eœ D n œ œE C b œ 1 P F

6

3

3

3

6

6

,

12

Poco meno mosso sost. poss. elegante

A bœ C b œB A n œ b œ B A C B A Bœ Cœ D œ # Bœ pocoCrubato D C 8 B œ #œ œ #œ #œ œ n œ œ b œ n œ #œ œ bœ #œ œ œ V P sonoro

A b œA C # œA Bœ A œ œ œ B œ b œ œC Aœ bCœ n œ b œ Bœ b Cœ B D bCœ Bœ n Aœ D C B Aœ œ # œ , œ 4 #œ œ œ œ bœ œ V 16 œ nœ luminoso

9

j

4 V 16 œ b œ D Q EQ ß 

10

7:4

P

pizz.

j 

9:8

A tempo 3

# œ b œ nCœ b œ œ œ E œ #œ E D E p 3

a# œœ œ œ œœ # œ # œ œ# œ . nb œœ b œ œ œ V b œœ ..

12

5

nœ D

bœ

j # œ œœ 2 œ œ 16 ® Œ

U,

Aœ

œo 5 16

V œo 6

~~~

15

j 3 n 16 œœœ ... bœ .

P

(non arpegg.)

>œ . # œ œœ 3 œœ .

2 # œ .. œ V 16 œ œ 32 œ œ # œ œ œ œ sub # œ œ œ C Eœ # œ D F p 9:8

18

œ C B œ # œ œ œ % œœ .. 3 # œœœ ... 2 b œ.

F

# œœ 4 16 œœœ

3

œœœ # œœ poco

b >œœ . b œœ ...

#œ œœ œ

brillante ½ C VI

6

3

% ½# Cœ .IX4 b œœ .. 2 #œ. œ.

3

3 16 # œ D F chiaro

poco 1 2 3 4

F

10:8

~~~

F

b œœ n œœ

bœ 2 16 æ!J π

2 16

3 16

13

U

1 2 3

A b œœ b œœ œ . o b œœ . n œœ .. œ . œ B B œ C A B A C E D œ D . . .

C B bœ œ nœ œ #œ #œ œ nœ nœ œ 3 œ . # œ n œ 2 n œ b œ b œœ ..

3 œ V 16 b œ œ # œ œ . 16 n œ 16 bœ œ Dn œ D E D E P F p P3 o l.v. o E # œ o o B œ A o # œ 24 D C o œ œ œ oœ 3 3 V 16 8 21

6

6

3

‰ 3 V 8 b œœœ ## œœœ À π

26

3 4 5

j o o D E # œo 1 œo œ K œ œœ Àœ # œœ 4 œœ ≈ ≈ b œ n œœ œ œ 6

6

π

F

tasto Bœ3 C D # œ 1 3 œ2 V 16

-  .

29

Frenetico e=56

ooo ooo .. œ # œ œœ ..

32 3 œ.

V 8 !œ . æ p

#-  .

ooo oo œ # œœ 2 œœœ 8 æ

-  .

oo o œœoo œœ œœ æ Pp P

rall.

tamb. polp.

VII

tamb. ord. polp.

ord.

p

œQ ß

% rr  r r

‰

~~~

r  µ r r   r

j

s.p.

F

œ p

5 16

3 r 32 œo .

P 6

π

6:5

E # œo

l.v.

3

œœ . . *

3 16

e=e

j (œ

À

( ∏)

3

38

*)gliss. with much pressure, both sides of the string will sound

√ ^oo ^ooo 4:3 s.p. r o IV o o o V o #œ œœ B # Aœ œœ # œœ ... œC B 1 œœœ # # œœ ... 3 œœ œ œ œ #Cœ Bœ Aœ bDœ Bœ AœD œ Aœ 4 16 œ # œ 16 œ 8 œ A tempo

f

2 3 4 5 6

p

tamb. polp. ord.

^oo C VIII oo s.p. œ j # œœ % r r 43 œœ r œ # r r

F f 2

3

rasg. s.p.

CX s.p.

1 2 3 4 5

4:3

3

3:2 F ß

V

kœ

3

C IX

ord. j ord.

IX æ æ  % n  rr 4 XQo bb  rrr n#  rr # œQo # r 23 # œ b r # n  rr r b r # r r

~~~~

œo .

Cs.p.B À

A n - . 4 i

5:4 1 2 3 4

F

~~~

√^o ooo oo œ 36 œœ V 48 œœœ f

E œo 4Cœo E # œo b œ¯ b b œœ 5 32 nœ

3

f ß

5 16

14

% n# œœ 43 5 # œœ 2 V 16 1

poco tasto

37

~~~ P

# ## œœœ ... œ.

# œœœ 28 œ

sim.

# # œœœ bœ

1 2 3 4

U,

4 3 2 1

π

rasg. ord.

3 16 3 4 5 6

tamb. ungh. (m,i)

E 6

XII

40

m.d.

oo œ V 38 œ

gliss. arm.

o œœo 5 16

œœ ..

38 sul pont. estremo

ord.

m.d.

¿ ¿                                                  

o ## œœo V 38 J

œœ

m.s.

ord. CII rasg.

æ b œœ .. 34 2 V 8 #œ. 2 # œœ .. ƒ

44

XIX

œœ J

f

√ œœ IIIoo n œoo œœ œ

œœ 48

CIV 5:4

æ. b œ 4 b œ . ® n œœ .. 2 ® ≈ # # œœ ..

^

3

œœoo

oo II # œoo œ # œœ # œ œ

poss.

o æ¿ ^¿ œoo .. m.d. Cin disperazione j j œ nœ Œ D œj # œ œ b – .

3 2 – P ® 16 œ j 8 #– Q  f A– B jB ç m.s. j b– œ #– 2 œ *) perc. on V 8 *

6

F

tamb. polp.

ooo oo s.p. r o # ## œœœ ... œœ .. œœ % b  rr .. % bb   rr 47 œ . œ b n  rr .. n r 5 V 16 œœ œœ œ F >œ > f 3:2

28

3

tamb. polp. (p,m)

top

~~~

~~~

6

1 2 3 4

j bœ bœ œ œ ®

¿ ¿                                       

' '

E

œ ç

œœæ.. œ œœ .. ç

XIV

m.s.

42

æŒ n œj n œœ # œœ #œ œ

5:4

E Qo nb r  rÆ #œ j B œj D rr ® m.d.  œ 7 ® – 32 n  81 – ß ® ß m.s.® j C œ – V 81 F

5:4

p

j nœ

5 16

3:2

œ

œ

l.v.

15

Senza misura

V

m.d.*

– œ – œ

ƒi p

ca. 4"

– œ

segue

(µ ) – œ

µ– œ P p sub

V

V

n– œ – œ

P p

n– œ – œ

Pp

N– œ

– œ

F

– œ – œ

p

Sospirando e=44

– œ

π sospeso

(l ) – œ

l– œ

4 ƒ 8 ¿ œ. p

œ

^ ¿

**) slightly scrape nail along string without interrupting trill

*) trill as rapidly and evenly as poss. with m.d. index fingernail; use light pressure

V

^ ¿

**

1"

^ ^ ¿ ¿   œ ^ ¿

– œ

Fz

^ ^ ¿ ¿ œ ^ ¿

– œ

Fz

K . ¿r ≈ œ ∏ 10/18/2012 San Diego

N.B.: This section involves a constant, metallic trill produced by lightly pressing the fingernail of the right hand index finger against the 6th string. Light pressure keeps the string from touching the fret, therefore it allows for a true glissando towards other pitches (including microtones).

The timing for the Senza misura section is up to the performer, who should nevertheless extrapolate from the first two 'bars' for which timing (in seconds) is indicated.

Music by Adam Greene CHAMBER

SOLO Sibyl (2015) viola SMMP No. 123

Duration: 5 ½’

Flame (2013) prepared guitar, bass flute, violoncello SMMP No. 122

Duration: 9’

Absence (2012) guitar SMMP No. 121

Duration: 10’

Accord (2010) percussion and piano SMMP No. 119

Duration: 14’

Ripples (2011) alto flute SMMP No. 120

Duration: 4’

String Quartet “Threnody” (2009) SMMP No. 118

Duration: 19’

Shoji (2006) violin SMMP No. 116

Duration: 8’

Scène II: Pas de deux à travers le jardin de sculpture (2001) violin duo with sculptures and projections Duration: 15’ SMMP No. 113

Duration: 11’

Pas de deux à travers le jardin de sculpture (2001) violin duo SMMP No. 113a

Duration: 14’

for nothing (2005/2014) piano SMMP No. 115

Duration: 10’

To Look Within (1998) violin duo SMMP No. 112

Duration: 14’

Emerging Landscapes (1997) percussion SMMP No. 111

Duration: 3’

Non Plus Ultra (1996) piano duo SMMP No. 108

Duration: 10’

Omphalos (1996) violin SMMP No. 110

Duration: 5’

Five Phases of the Naiad’s Lament (1993) violin and celesta SMMP No. 104

Duration: 7’

Quattro Esercisi Soli (1993) oboe, bassoon, viola, contrabass SMMP No. 106 Requiem for Richard’s Knee (1993)` clarinet in B∫ SMMP No. 105

Duration: 5’

ENSEMBLE (with conductor)

Initiation (1991) piano SMMP No. 102

Duration: 7’

A Breath Between (2003) Duration: 23’ Double Concerto for flute and violin with small ensemble (ob, cl, bn, pno, vln, vla, vc, cb) SMMP No. 114

ORCHESTRA In Winter (2007) Duration: 9’ Orchestra: 3(2Picc,3Alto)3(3E.H.)3(3B.Cl)2(2C.Bn.) – 322(2B.Tbn)0 – Perc(3) – Cel., Hp., Strings (10-8-6-6-4) SMMP No. 117

Jabberwocky (1994) Duration: 10’ soprano, oboe, bassoon, viola, contrabass, harpsichord Text by Louis Carroll SMMP No. 107 Palindrome (1992, rev. 1993) flute (picc), B∫ cl. (B.Cl.), perc, pf, vln, vc SMMP No. 103

Emblems (1997) Duration: 15’ Chamber Orchestra: 2(1picc.,2Alto)1.1(B.Cl.).0 – 0.1.1.0 – Perc(3) – String Quintet SMMP No. 109

Performance materials for orchestral and ensemble works are available for rental.

For information, to hear sound samples, and to purchase materials, go to www.adamgreene.net

Duration: 15’