Anima for Augmented String Quartet
by Ashley Fure (2017)
Performance Notes Setup Each instrument is augmented with two transducers: one fixed to the back of the instrument and one held in the hand of the performer and used like a type of electric bow. The mobile transducer either projects precomposed sound or produces live feedback from a chain reaction established between it and the DPA mic attached to the bridge of each instrument. Notational Strategy Because the placement of this mobile transducer on the instrument so greatly affects the filtration (and thus, the color) of the projected sound, the notation is largely choreographic. I have attempted to devise a clear system to indicate intricate movements across the body and the fingerboard of the instrument over time. My primary strategy in doing so relies on custom clefs that redefine the reference point of staff lines at different moments in the score. Underneath this action staff, a second line attempts to offer a graphic hint at what the mobile transducer will project at any given moment. • • • • • •
Breath: sculpted, continuous white noise Propeller: spastic white noise attacks that cut the air like propeller blades Click Waves: short impulses that project a steady, motoric pulse Noise Onslaught: aggressive frenetic screeches Cymbal Wash: a soft, wet mix of field recording and cymbal roll Feedback: Larsen tones that emerge through live interaction with the DPA microphone.
Hand Movement The piece unfolds in 3 large sections (which correlate roughly to the three metronome shifts in bars 1, 183, and 340). The first section requires a bow only at its very end: at the start of the piece, the players hold the mobile transducer in their right hand. During the second section, transducers are held in the left hand and bows are held in the right. When the bow and the transducer move simultaneously, dotted lines indicate transducer movement and straight lines indicate bow movement. During the third and final section, the bow is put down and the mobile transducer returns again to the right hand of the players. All of these shifts are indicated in the score and parts. Preparation The viola and cello each need three alligator clips, which they will quietly fasten onto their open strings just above the end of the fingerboard (toward the bridge) at the indicated moment in the score. These clips will be removed for the final part. Techniques Lines connecting stems without note heads indicate continuous slides of the mobile transducer across the indicated positions. When note heads are present, the performer
should reattack each duration by briefly lifting the transducer off the instrument before each onset. “Palm Gliss Pressure Squeaks,” indicate a frenetic mixture of vertical and horizontal tremolos. In the violins and viola, the left hand palm slides up and down the fingerboard variably constraining the distance of each vertical swipe as it travels. During horizontal tremolos, the palm should press the bow right against the bridge so as to produce the highest note possible on strings I and II (hence the triangle note heads). Use extremely heavy pressure at the start of this section (mm. 144 – 180) and fade to whisper or ‘air’ bowing by the end. In the cello, the “palm gliss pressure squeak” is produced not with the entire palm on the strings, but rather with the forefinger extended over the strings from the left hand while it rubs the mobile transducer against the body of the instrument. The finger functions exactly as the palm does for the violins and viola, producing the highest pitch possible during the horizontal tremolo and variably constraining the outer boundary of the vertical tremolo windshield swipes.
Anima
by Ashley Fure (2017)
for Augmented String Quartet 5
RH: Trans
q = 66
4 4
∑
∑
∑
Ó
∑
‰
œ.
slowly explore edge
w
π
Breath
5
q = 66
4 4
∑
∑
∑
∑
∑
∑
∑
∑
5
q = 66
4 4
q = 66
44 Ó .
∑
∑
RH: Trans
F
.
∑
∑
5
ƒ
P f F P p
Breath
1
w
w
slowly explore center
10
w
w
w
slowly explore edge
w
∑
P
n
RH: Trans
10
∑
∑
∑
∑
∑
∑
Ó
˙
∏ Breath
10 RH: Trans
∑
∑
∑
j œ. œ ˙ ∏
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˙.
œ
Breath
10
Ó
n
2
∑
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∑
œ
slowly explore edge
15
∑
∑
∑
∑
˙ ..
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π
15
w
P
j œ ˙ ..
3
˙ ..
œ
w
œ˙ J
j œ
15
œ.
j
w
n
∑
15
∑
∑
∑
∑
3
∑
∑
20
25
œ œ ˙.
slowly explore center
˙.
. œ œ œ P
œœ œ J
œ P
F
20
25
∑
∑
∑
n
follow edge down body
20
Œ.
j ∏
20
∑
25
œ œ P F f P F
n
∑
P
4
25
p
30
Œ
Œ.
∑
n
J ∏
œ
œ œ
follow edge down body
˙
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π
˙
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˙
30
œœœ
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j œ œ.
j œ œ œ
30
œ œ P P f
30
5
œ œ. F
F
j œ˙
P
~~~~~~~~~~~~~~~~~~~~~ ‰. R P f
F
15
15 Tape and fixed transducer interlude.
~~~~~~~~~~~~~~~~~~~~ ‰. R f
15
15 Tape and fixed transducer interlude.
r ~~~~~~~~~~~~~~~~~ ‰. f
15 15 Tape and fixed transducer interlude.
f
P
r ‰. f
15 15 Tape and fixed transducer interlude.
6
50
∑
55
∑
∑
∑
∑
50
∑
∑
∑
Œ
∑
˙.
∑
∑
55
œ œ œ . œj˙
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p
œ ˙
55
∑
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∑
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P
50
∑
∑
∑
∑
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∑
P
50 55
Ó
R R L R L j Œ. p P F
7
π
60 5 5 j j j œ . œ œ œ . œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ . œœœ œ œ œ œ œ . œ œ . œ 3
3
Œ
∑
P
Feedback
j œ œ
œ.
w
œ
p
œ œ
60
œ F
œ œ
œ
œ
60
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F
8
60
w
p
˙
F
P
œ
65
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3
‰.
∑
3 5 3 r 3 œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
65
∑
65
∑
n
r j œ œ œ œ œ œ ‰. Œ
j œ œ œ œ œ œ.
œ œ œ œ.
f
∑
∑
65
9
r . ‰. Œ
∑
5 3 3 j . . . . œ œ œ œ œ œ œœœ œ œœ œ œœ œœœ œ œ œœœ œ œ œ œ œ .
70
∑
∑
∑
70
∑
∑
∑
∑
70
∑
∑
∑
œ.œ π
F
∑ ∑
˙.
w
œ. œ ˙.
∑
∑
∑
∑
∑
70
∑
75
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
˙.
∑
slowly explore center
slowly explore edge
75
∑
∑ w
w
∏
n
On Strings 75
∑
∑
∑
I II
Œ
∑
˙.
w
w
w
Start a slow, delicate feedback glissando down the fingerboard
π
P
Feedback
75
∑
∑
∑
Slowly snake transducer up instrument, avoiding F-hole
Œ ˙.
∑
π
10
w
w
w
80
∑
80
80
˙.
w
∑
w
œ œ œœœ P
œœ˙
œ
F
. œ . œœ œ œ . œœ œ œ . œœ œ œ ˙ F
w
w
w
80
85
œ
85
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85
w
85
w
w
w
w
11
w
˙
Ó
F
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π
œ˙
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90
j œ œ œ œ œ œ œ.
j
F
90
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w
j œ œ.
j œ œ œ œœœ
On Body
w
Œ
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P
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j œœ œ
j œ œ.
˙.
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j œ ˙.
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90
j œœ œ
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90
∑
∑
∑
∑
12
∑
p P
95
∑
∑
∑
n
95
œ.
j œœ œ
œ œœœ œœ œœœ œœœœ ˙
Ó
95
˙
œ F
95
‰ j œ˙ P
‰ j j‰ œœ
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π
13
j‰ Ó œ
100
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P
F
˙
100
Œ.
j F P
œ œ œ œ œ.
j œ
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j œœ œ
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p
P
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P
100
F
œ
œ ˙
p
P
œ
F
f
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p
100
w
P
14
105
œœ˙
œ œ œ.
j œ œ œ œ œ œ œ.
j
F
p
105
F
On Back
j‰
105 On Back
ΠF p
105
f
œ œ œ œœœ
œ œ œ œ œ.
P
j
œ. œ
F
slowly explore ridge
w subito
w
p
15
w
j œ
w
On Strings
115 110
110
ƒ
jj œœ ‰
Start a slow, delicate feedback gliss down the fingerboard.
w
∑
I II
F
On Front
œ œ.
ƒ
110
5
œ œ œ œ P
On Front
j ‰ . ƒ
110
115
.
F
ƒ
16
115
115
j œ ˙
œ.
˙
P
slowly explore ridge
P
3
œ œ.
œ J
w
w
œ. œ œ œ ˙
3
w
œ œ
‰
j œ œ.
w
œ œ œ. 3
‰ Œ
120
w
j œ œ ˙
j œ œ. 120
‰
w
j œ˙
j œ˙
œ.
n
œ œ œ œ œ.
3
‰ Ó
œ œ œ
œ.
j œ œ.
j œ ˙
3
œ ˙
120
3
œ ˙
œœœœ ˙
3
œ œ œ n
120
œ œ œ œ œ 5
œ œ œ œ œ 5
œ.
œœ œ J
17
œ.
œ˙ J
œ ˙
œœ œ œ œœœœ n
w
w
w
125
w
w
w
w
w
130
w
w
w
w
w
∑
∑
∑
I II
130
∑
∑
∑
∑
∑
∑
∑
∑
w
w
w
w
135
On Strings 125
135
Start a slow, delicate feedback gliss down the fingerboard.
w
w
w
w
w
w
w
∑
∑
∑
P
n
Feedback
On Strings
I Start a long, slow, feedback gliss II down the fingerboard.
125
∑
∑
∑
130
∑
∑
∑
w
w
w
w
w
w
w
135
P
n
Feedback
125
130
Switch transducer from right to left hand; pick up bow.
∑
∑
∑
∑
∑
∑
∑
∑
135
∑
18
∑
∑
∑
∑
œœ œ œ œ œ ƒ
3
œœ œ œ œ œ ƒ
œ
3
œ œœ œ œ
ƒ
3
140
Ó
∑
Put down transducer, pick up bow.
∑
∑
∑
∑
∑
140
Ó
Put down transducer, pick up bow.
∑
140
Ó
Put down transducer, pick up bow.
∑
140
LH: Trans
Ó
∑
≈œ œ œ œ œ ‰ œ œ œ œ œ œœ œ œ œ œ œ 3
3
3
3
j œ œ œ œ. œ œ œ œ. œ ˙ 3
œ. œ
3
I II III IV
Ó.
RH: Bow
MSP
œœ
n
Extremely distorted; no audible fundamental
19
145 Palm Gliss Pressure Squeaks
RH: Bow
∑
∑
I II III IV
y. —— yy .. —— — y æ æ æ Ï Mimic and interact with transducer noise
— —— —— æ
yy
Noise Onslaught Fixed Transducer
145 Palm Gliss Pressure Squeaks
∑
∑
RH: Bow
I II III IV
yy ..
—— — y . æ æ
——
Ï Mimic and interact with transducer noise
yy ..
yy
—— — æ
Noise Onslaught Fixed Transducer
145 Palm Gliss Pressure Squeaks
∑
∑
RH: Bow
I II III IV
y. —— —— —— —— —— .. — — . æ æJ æ Ï Mimic and interact with transducer noise
—— yy J
—— y . æ
Noise Onslaught Fixed Transducer
I II III IV
w
w
ww
ww
uuuu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
—— —— —— —— ..
— —. æJ æ
—— yy J
Ï Mimic and interact with transducer noise Noise Onslaught
20
—— y . æ
y. æ
——
150
I II III IV
——
y. æ
y æ
— —— —— æ
——
—— —— —— ..
— —. æJ æ
—— yy J
—— —— yy ..
150
I II III IV
y æ
— —— —— æ
——
—— —— —— ..
— —. æJ æ
—— yy J
——
y. æ
—. æ
—— yy J
150
I II III IV
y. æ
——
yy ..
—— — y æ æ
— —— —— æ
yy
——
y. æ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 150
uuuu
I II III IV
yy ..
—— — y æ æ
— —— —— æ
yy
——
21
y. æ
—. æ
—— yy J
155
I II III IV
—— — — —— yy ææ
—— ..
—— ..
— æ
yy
yy
yy
yy
yy
yy
yy
yy
yy
F
155
I II III IV
—— —— yy ..
—— ..
—— — — —— yy ææ
—— ..
— æ
F
155
I II III IV
—. æ
—— yy J
—— —— yy ..
—— ..
—— — — —— yy ææ
—— ..
— æ
F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 155
uuuu
I II III IV
—— —— yy ..
—— — — —— yy ææ
—— ..
—— ..
— æ
22
yy
yy
yy
F
160
I II III IV
yy
170
165
yy
yy
yy
yy
yy
yy
yy
yy
yy
yy
yy
P
Cymbal Wash
165
160
I II III IV
yy
yy
yy
yy
yy
yy
170
yy
yy
yy
yy
yy
yy
P
Cymbal Wash
160
I II III IV
yy
170
165
yy
yy
yy
yy
yy
yy
yy
yy
yy
yy
yy
P
Cymbal Wash
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
160
uuuu
I II III IV
yy
yy
165
yy
yy
yy
yy
170
yy
Cymbal Wash
23
yy
yy
yy
yy
P
yy
175
I II III IV
yy
yy
yy
yy
180
yy
yy
yy
yy
yy
yy
yy
yy n
175
I II III IV
yy
yy
yy
yy
180
yy
yy
yy
yy
yy
yy
yy
yy
yy
yy
180
yy
yy
yy
yy
Put down bow, pick up transducer with right hand.
yy n
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
yy
yy
yy
yy
yy
yy
∑
∑
Quietly prepare strings with clips.
n
24
∑
∑
∑
∑
∑
∑
180
175
uuuu
I II III IV
yy n
175
I II III IV
yy
∑
q = 84
185 190
Keep bow in right hand, pick up transducer in left.
∑
∑
∑
∑
∑
∑
∑
185
q = 84
∑
j œ. œ ˙
q = 84
‰
P
j œ˙.
∑
∑
∑
190
Keep bow in right hand, pick up transducer in left.
∑
∑
∑
∑
185
˙.
w
∑ œ œ
π
p
∑ œ ˙ .. ‰J
Ó
∑
slowly explore edge
˙
190
‰
∑
Ó
w
Mobile Transducer
185
q = 84
∑
∑
190
∑
∑
∑
∑
∑
∑
∑
195
LH: Trans
≥ Ó. ‰ . 5 RH: Bow F
On Strings
∑
Vn 2
Bow and trans can move freely across all strings but they must always be on the same two strings so the transducer acts as a mute to the open strings on which the bow is sliding.
CL
Arco
Propellor Mobile Transducer
Va
w
w
195
∑
∑
25
∑
∑
f
LH: Trans
200
∑
∑
On Strings
∑
∑
III IV
RH: Bow
‰
J P
Ó.
∑
Ó.
∑
∑
200
P
Ó.
‰ Œ. J J
Ó.
Ó.
‰
J
Ó.
‰ J
LH: Trans 200
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó.
‰ J RH: Bow P
On Strings
III IV
200
∑
∑
26
∑
205
210
‰ Œ. J
‰ Ó J
∑
Ó J
∑
∑
∑
210 205
Œ.
J
Ó
‰ Œ. J
‰ Ó J
Ó J
∑
≥ ≥ ≥ ‰
Ó.
F
205
210
∑
Œ ‰ Œ. J
Ó
Ó J
∑
∑
∑
205
210 LH: Trans
∑
Vn 2
Ó
∑
On Strings
III IV
Œ.
RH: Bow
Ó J
≈ .
∑
Ó
5
∑
‰ 3
27
∑
5
‰
J
220 215
. Œ ‰J‰ J J f ∑
LH: Trans
Œ . ‰ J ‰ J J f
∑
∑
∑
∑
Ó.
∑
j œ ‰œ˙ P
j œ ‰œ˙
On wood at very end of fingerboard, just in front of the pegs
‰ . Bow Bridge œ w RH: Bow R∏
w
220
215
∑
∑
∑
∑
∑
Bow and trans can move freely across all strings but they must always be on the same two strings so the transducer acts as a mute to the open strings on which the bow is sliding. 220
215
Light, whisper bow
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ . . . . . w . . ∏ 5 5 F
∑
I II III IV
Propellor
215
I II III IV
Ó.
j ‰ œœ œœ .. RH: Bow
≥
≤≥ ≤ ≥ j œ. œ œœ œœ .. œœ œœ œœœœ œœ œœ.. gggg œœœ ... œœ œœ gggg œœœ w ≥ ≥ ≥
w
w
O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Fragile, flautando harmonic trill produced by fluttering the transducer on and off the string. Bow and tansducer should be right next to each other, about two inches up the fingerboard from the faux bridge. Look for a delicate, audible harmonic.
LH: Trans On Strings III IV
Propellor
220
f
28
j ‰œœ
Ó
Start a long, slow, glissando toward the bridge, interspersed with occasional harmonic trills, as marked
˙.
œ œ w
MSP Molto Flautando
w
w
œ w œ œ w
˙.
I II III IV
O ~~~~ œœ œ ˙ .
∏
π
MSP Molto Flautando
œ˙ œ . œJ ˙
w
ww
I II III IV
p
225
∑
∑
∑
∑
∑
Fragile, flautando harmonic trill produced by fluttering the transducer on and off the string. Bow and tansducer should be right next to eachother. Look for a delicate, audible harmonic.
O ~~~~~~~~~~~~~~~~~~~~~ I II III IV
w
w p
w
225
w
∑
∑
∑
~~~~~~~~~~~~~~~~~~~~~~~~~
w
w
w
w
w
w
w
P
225 I II III IV
w
w
w
w
w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ π
P
Soft Fire
29
~~~~~~~~~~ I II III IV
˙˙ ..
230
œœ œ w
w
p
∑
230
∑
MSP
˙
∑
~~~~~~~~~~~~~~~~~~~~~~
˙˙
O ~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ww
ww P
∑
∑
∑
∑
∑
∑
œ ˙
œ œ œ œgggg œœœ œ œgggg œœœ
230
I II III IV
w
w
Quietly prepare strings with clips.
n
∑
230 I II III IV
w
˙.
œœ w
˙.
œœ ˙
3
O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
30
F
~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ~~~~~~~~~~~
I II III IV
˙˙ ..
œœ œœ œœ ˙˙ ..
œ p
~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 240
235
w
˙
˙˙
MSP
œœ ..
œœ ˙˙ J F
œœ œœ ˙˙
œœ œœ
240
235
On wood at very end of fingerboard, just in front of the pegs
∑ ∑
LH: Trans
œ. P
j œ œ.
‰
∑
j ‰œ w
w
w ∏
w
w
w
˙ ..
I II III IV
Bow and trans can move freely across all strings but they must always be on the same two strings so the transducer acts as a mute to the open strings on which the bow is sliding. 240
235
LH: Trans
∑
RH: Bow
‰
J P
‰
Ó.
‰J
Ó n
Propellor
235 I II III IV
w
˙ ..
≤ œ J
~~~~~~~~~~~~~~~~~~~~~ p
j œœ
MSP
Bow Bridge
RH: Bow
Ó.
Start a long, slow, glissando toward the bridge, interspersed with occasional harmonic trills, as marked
ggg ≥œœ gg œœ œ Ó
‰ œ Ó. J
‰œ w J
F
P
f
31
240
w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 245
I II III IV
˙˙
3
œœ ˙˙
˙˙ ..
œœ œœ œœ ˙˙
3
œœ ˙˙
ww
ww
ww
˙˙ ..
œœ .. œœ
245
I II III IV
˙˙
MSP
œ w œœ w
3
œ˙
˙.
p
˙˙ ....
MSP
j œ w π
w
˙˙
˙
245
∑
∑
∑
∑
∑
245
I II III IV
˙.
œœ
∑
∑
∑
32
∑
∑
Low Multiphonic Bow just in front of faux bridge, with very soft pressure. Look for the lowest sounding multiphonic you can find.
∑
∑
Ó
˙ π
~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ~~~~~~~~~~~~~~~~~~~~~~~ 250
I II III IV
≥
≥
≥
œœ ˙˙
≥
œœ œœ œœ œœ ˙˙ ..
ww
˙˙ ..
œœ .. œœ œœ ˙˙
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ j 250
I II III IV
œœ ˙˙ ....
ww
ww P
œœ œœ ˙˙
œœ .. œœ œœ .. F
≥
≥
œœ œœ ˙˙
≥
œœ ˙˙ J
˙˙
≥
œœ ˙˙
3
≥ 3
œœ ˙˙
RH: Trans Start a long, slow, feedback gliss down the fingerboard.
∑
∑
250
∑
w
∑
w
n
I II III IV
w
w
250
œ ˙˙
œœ
O ~~~~~~~~~ On Strings
On Body
j œœ ww ≥
ggg œœœ ˙ .... gœ ˙ subito p
ƒ
33
III IV
F
˙˙ ..
p
P
œœ œœ
260 255
I II III IV
ww
≥
˙˙ ....
p
~~~~~~~~~~~~~ ~~~~~~~~~~~~~
≥
œœ œœ ˙˙ J F
≥
≥
≥
œœ œœ œœ ˙˙
œœ
ww
˙˙ ..
≥
≥
œœ œœ œœ œœ œœ œœ
˙˙
3
œœ ˙˙
≥ 3
œœ œœ œœ Ó .
~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ p
w
˙
˙˙
ww
F
ww
255
w
≥
260
255
I II III IV
≥
œœ œœ Ó
‰ œœ J
260
w
w
w
w
w
w
Click Waves
255
I II III IV
ww ≥ F
260
˙˙ ....
j œœ ww
ww
ww
ww
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p
34
j ‰ œœ
œœ œœ Ó P
~~~~~~~~~~~~~~~ ~~~~~~~~~~~~
265
∑
I II III IV
I II III IV
Œ.
∑
Ó.
∑
‰ œœœœ ˙˙ .... F
œœ ˙˙ .... J
265
œœ Œ œœ J
∑
∑
∑
∑
f
Ó.
‰ œœœœ F
265
w
w
w
w
w
w
265
I II III IV
Œ.
j œœ Œ œœ
∑
∑
∑
35
∑
œœœœ
∑
270
I II III IV
Ó.
≥ ‰ œœ œœ ww
ww
F
ww
˙˙ ..
œœœœœœœœ œœ ..
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œœ w w ˙ œ 270
I II III IV
˙˙ ..
w
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œœ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ
˙ ....
w
œœ ˙˙ J
≥
≥
œœ œœ œœ œœ .. œœœœ
œ œœ w
≥
≥
œ œœ .. J
œœ ˙˙ J
270 Top of Fingerboard Gliss between 1st and 4th strings, following indicated rhythm
I II III IV
Ó.
I II III IV
Off strings, near pegs
F
‰ œj œ ˙ P
270
œ
w
w
O ~~~~~~~~~~~ On Body
36
œ ˙˙
≥œ j j œœ œœœ œ œ œ ˙ O ~~ p
On Strings
ƒ
subito
275
~~~~~~~~~ ~~~~~~~~~ ˙˙ ..
Hold transducer at the very end of fingerboard, just in front of the pegs.
œœ œœœœ œœ ‰ Ó . J
∑
∑
∑
∑
∑
Unstable Clicks
~~~~~~~~ ~~~~~~~~œ œœ œ ‰ Ó . ˙ ˙ ..
Hold transducer at the very end of fingerboard, just in front of the pegs. 275
œ œœ œ J
∑
∑
∑
p
∑
∑
Click Waves
I II III IV
˙.
œ
˙.
œ
Slide between positions
œœ
275
œœ
Strings II and III, at the very tip of the fignerboarad
œ.
œœ J
œ
œœ
œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
275
w
œ ˙˙
≥ œœ gggg œœœœ
O ~~~~~~~~~~~~~~~~~
∑
∑
Slap Mute Strings with Transducer
37
∑
∑
∑
~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ~~~~~~~~~~~~~~~~~~~~~~~~~~œœœ 285
280
≥
≥
Ó.
‰ œœ ˙˙ J F
280
∑
280
I II III IV
3
œœ ˙˙
≥
œœ ..
œœ œœ œ J
≥
Ó.
‰ œœ ww J F
I II III IV
∑
∑
Ó.
≥ ggg œœœœ œ w g subito
On Body
≥
œœœœœœœœ œœ ..
≥
œœ ˙˙ J
˙˙ ..
285
˙.
w
L
F
˙ ..
≤ œ J
O ~~~~~~~~~~~~~~~~~~~~~~~ p On Strings
ƒ
38
j œ˙
285
On Clips
f
œœœœ œ .
˙.
˙˙ ..
Slide trans down strings in indicated pattern
280
w
≥
≥ ggg œœœœ œ ˙ g
Πn
œ œ
285
ß
œœ
On Body
R
I II III IV
≥
≥
290
œœ˙
∑
œ œœ
∑
∑
∑
Ó.
≥
≥
≥
‰ œœ œœ œœ œœ ˙˙ œœ FJ 3
290
≥
Hold transducer at the very end of fingerboard, just in front of the pegs. I II III IV
Ó.
CL
‰ œœœœ
∑
P
˙.
w C
Ó.
∑
œ œ ˙ .. R
‰ . œœ œœ .. œœ ˙˙ J R
œœ œœ ˙˙
≤ ≥œ œœ œœ ggg œœœ ˙ g
L C œ œ œ œ œ œ œœœœœœ œœœœœœœœ œ œ œ œ J œ œ œ œ L
R L
(Slide between positions)
R
Behind Bridge
subito
290
w
w
∑
290
Bridge
I II III IV
œœ œœ
w
˙
O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p On Strings
j œ œœ ..
On Body
39
˙˙ ....
j œœ ˙˙ ....
Slowly explore body; look for shifting feedback partials
j œœ
ƒ
295
I II III IV
≥
œœ œœ ˙˙ ..
300
≥ ≥
∑
œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
œœ œœ ww
On Body 295
∑
∑
∑
≥
ww f
F
p
295
œ œ œ œ œ œ œ œ
I II III IV
˙˙ ..
œ. œœ œ œ œ œ œ œ œœ œ . œ œ œ œ œ œ
≤ ≥ œœ gg œœœ gg œ w
ww
300
300
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≤ ≥ g œœ œ ggg œœ
300
295
w
ww
w
w
w
˙.
O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ subito p On Strings
40
∑ Put down bow, switch transducer from left to right hand
f
305 Hold transducer at the very end of fingerboard, just in front of the pegs.
RH: Trans (Slide between positions) Center Bridge
Put down bow, switch transducer from left to right hand
ww
∑
∑
∑
∑
n
œ . œœ œœ œ œ œ œ œ . œ œœ œ œ œ œ œœ œ
F
Behind Bridge
305
œ.
RH: Trans (Slide between positions)
∑
∑
F
n
œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
305
œœœœœœœœ
œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ œ œ œ œ œœ œ œ œ œ œ œ
305
∑
w
On Strings
On Body
On Body
RH: Trans
˙.
œ ˙ .
œ J
F
41
j œ œ.
J
On Strings
j œ œ œ J
œœ˙
j œœ J
310
œ œ œœ œ œ œ œ œ œ œ œ œ . œ œœ œœ œ œ œœ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œœ œœ œ œ œ œ œ. Left Bridge
Right Bridge
œ.
310
œ œ œ œ œ œ œ œœ œ œ . œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ . œ œœ œ œ œ œ œ œ œ œ œ œ œ
310
œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœœ
œœ œ. œ œ œœ œ œ œ œœ œ œœ œ œœ œ œ œ . œœ œ œ œ œœ œ œ f On Body
310
Stay on strings; gliss toward bridge
On Strings
œL f
On Bridge (Slide between left and right edges of bridge)
œ
R
42
œ œ œœ œ
œ œœ œ œœ œ
œ
œœ œ œ
On Body
œ . œœ f
œ œ.
œ . œœ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œœ œ œ . œ œ œ œœ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œœ œ œœ œœ œ . œœ œ 315
On Strings
315
Slide trans down strings in indicated pattern
.
L . œœ œœ œœœœœ œœ œ œ œœœœœ œœ œœ œœ œœœ œœ œœ œœœœœœ œœœœœœœœœœœœœœœœ On Bridge (Slide between left and right edges of bridge)
R
. œ œœ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ . œœ œ . œ œ œœ œ . œœ œ œ . œœ œ œ . œœ On Body
315
œ œœ œ œœ
315 On Body
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
œ. f
œ.
œ
43
œ
œœ
œœ
œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœœ
320
∑
‰ J Ó .
325
Ó.
‰ J π
∑
320
∑
π
∑
∑
Œ. Ó J
‰ J Ó .
∑
∑
325
∑
‰ Ó. J
∑
320
∑
Œ. Ó J
∑
∑
∑
Œ Ó
∑
325
∑
∑
∑
‰ Ó. J π
Ó. ‰ J
∑
Œ. Ó J π
∑
‰ Œ J
Ó
325
320
∑
Ó ‰ Œ Ó . ‰ J J
∑
∑
∑
Œ. Ó J
∑
44
Ó. ‰
J
∑
330
Œ. Ó J
335
‰ J
Ó.
∑
∑
∑
‰ Ó J
‰ Œ. J Œ J
330
335
Ó.
∑
‰ J
∑
∑
‰ Ó. J
Ó.
330
Œ. Ó J
∑
‰
J
Œ. Œ J J
335
Œ. Ó J
∑
‰ Ó. J
Ó.
330
Ó.
‰
‰ Œ. Œ J J
335
∑
Œ. Ó J
∑
45
Œ. Ó J
‰ Ó. J
Œ.
J
Œ
q = 58
340
345
350
355
360
365
Slide transducer in a figure 8 around the f-hole of instrument. Coordinate speed of the movement with the speed of the impulses projecting from the transducer, starting with extremely fast figure 8s and decelerating to extremely slow movements as the clicks slow down.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w p ƒ Extremely Slow
Frenetic
Motor Break
q = 58
350 355 360 345 340 Slide transducer in a figure 8 around the f-hole of instrument. Coordinate speed of the movement with the speed of the impulses projecting from the transducer, starting with extremely fast figure 8s and decelerating to extremely slow movements as the clicks slow down.
365
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w ƒ p Frenetic
Extremely Slow
Motor Break
340
345
350
355
360
365
q = 58 Slide transducer in a figure 8 around the f-hole of instrument. Coordinate speed of the movement with the
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ speed of the impulses projecting from the transducer, starting with extremely fast figure 8s and decelerating to extremely slow movements as the clicks slow down.
w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w p ƒ Extremely Slow
Frenetic
Motor Break
340
q = 58
345
350
355
360
365
Slide transducer in a figure 8 around the f-hole of instrument. Coordinate speed of the movement with the speed of the impulses projecting from the transducer, starting with extremely fast figure 8s and decelerating to extremely slow movements as the clicks slow down.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w p ƒ Extremely Slow
Frenetic
Motor Break
46
370
375
On Strings
380
385
390
III IV
Start a long, slow, feedback gliss down the fingerboard.
w
w
w
n
w
P
w
w
370
w
w
w
w
w
375
∑
∑
∑
∑
∑
∑
∑
w
w
w
w
w
w w
∑
∑
∑
∑ ∑
w
∑
∑
∑
∑
375
w
w
∑
∑
Remove Clips
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
On Strings III IV 390 Start a long, slow, feedback gliss down the fingerboard.
380
∑
w
380
385
370
w w
∑
∑
∑
∑
∑ ∑ Œ . œJ ˙ w w n
∑
370
375
∑
∑
Remove Clips
∑
∑
∑
∑
Ó˙ w
w
n
w
380
w w P
Start a long, slow, feedback gliss down the fingerboard. On Strings
III IV
47
w
w
w
385
w w
w w
w
P
w
390
w
w
. . . . . F 395
395 On Strings
III IV
Start a long, slow, feedback gliss down the fingerboard.
∑
∑
∑
∑
w
w
w
w
w F
w
w
w
n
w
P
395
w
w
w
w
w
w
w
w
395
F
48
405 . . . . . f 400
400
w
w
w
405
w
w
w
w
˙
. .
400
w
w
w
w
w
400
w
w
F
405
w
w
˙.
w
49
œ f
f
. .
405
.
.
410
410
w
w
w
w
w
œ
410
. L . . . œœ œœ œœœœœ œœ œ œ œœœœœœœ œœ œ œ œ œ œœ On Bridge Slide between positions
On Body
œ . œœ œ œ œ
R
ƒ
œ
œ œ. œ œ œ œ. J
410
. . .
50
œ
415
On Body
.
. œ
œ œ
. . . œ œ œœ œœ œœ œ ƒ
415
(Slide between positions) . œL . . œœ œ œ œ œ œ œ œ
œ.
f
415
415
.
On Bridge
R
. . . .
51
420
œ.
œ˙ œ . œœ œ œ . œœ œ œ .
œœ œ œ . œ . œ œ œ œ œ. œ œ. œ œ œ. œœ œ œ œœ œ œ œ œœ œœ
420
On Strings
œ.
œœ
œ . œœ
œ œ.
œœ œ œœ œœ œ œ œ œœ œ œ . œ œ. œ œ œ œœ
œ œ . œœ
œ
On Body
œ œ . œœ
œœ
On Bridge
œ . œœ œ
j œ. œ œ ƒ
420
. œ˙ œ œ œ
œ
œ
œ
. .
420 On Bridge
On Rim
œ . œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ . œœ œ œ . œœ œ œœ œœ œœ . œ œ œ R On Body ƒ
L
52
œ œ
œ œ œœ œ œ œ œ œ.
œ.
425
œ œ œ œ œ. œ œœ œ œœ œ œ œ œœ œ œ . œœ œ œ œ œœ œ œ œ . œœ œ œ œ œœ œ
œœ œ œ . œœ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ
œ
425
œ.
œ ˙
œ œ œ . œ œ . œœ œ œ . œœ œ
425
˙.
œ . œœ
œ.
œœ
œ . œœ
œ œ. œ œ On Body
œ˙
œ . œœ œ œ . œœ œ .
. œ. On Body
On Rim
On Rim
53
425
œ. œ œ œ œ œ œ
œ. œ œ œ œ
œ
œ
œœ
œ
œ
430
œ œ
œ
œ
œ
œ
œœ œ œ œ. œ œ œ œ œ œ. œ œ. œ œ œ . œ œ œ œ œ œœ œ œ
œ œ œ œ œ œœ œ œ œ œ œ œ
430
430
œ. œ œ œ œ. œ œ œ
œ.
œœ
œ œ
œ
œ
œ
œ
œ.
œœ
œ œ
œ
œ
œ
œ
œ œ.
œœ œ
œ
430
54
œ.
œ œ J
œ
œ
œ
œ
œ
œ
˙. æ
œœ
œ
Erratic Slide Tremolo
œ.
435
j œ œ . œœ œ w æ
w æ
Erratic Slide Tremolo
. . œ . œœ œ œ œ œœ œ œ œœ œ œœ œœ œ œ œœ œ œ œ œ œ œ w æ
Erratic Slide Tremolo
œ
œœ . . œ œ œœ œ æœ
j œœ
œ œ. œ. æ æ
œ œ. æJ æ
Clicktrain cuts Hold feedback
˙. æ
435
˙. æ
435
œ œ . œœ œ œ . œœ œ ˙ J . æ
œ
F
Clicktrain cuts Hold feedback
œ
F
Clicktrain cuts Hold feedback
œ
F
Clicktrain cuts
œœ œ
435
. . . . œ œ . œœ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ
55
Hold feedback
œ
F
440
w
w
w
w
œ œ.≈ Ó J
œ œ.≈ Ó J
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
440
∑
440
w
w
œ œ.≈ Ó J
w
w
œ œ. J ≈Ó
∑
440
∑
Tape and fixed transducer postlude.
56