Bára Gísladóttir
To Marco Fusi
ORF (en líka axir og önnur pyntingatæki) (2018) for viola d’amore and electronics Dur. c. 8′30″
SCORE
Composed with support from the Icelandic National Broadcasting Service and STEF Composer’s Fund. Komponeret med støtte fra Ríkisútvarpi (RÚV) og STEFs Komponistfond (Tónskáldasjóður RÚV og STEFs).
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Viola d’amore s.p. – sul ponticello s.t. – sul tasto m.s.p. – molto sul ponticello m.s.t. – molto sul tasto c.r.p. – convolution reverb pro (effect in Max for Live)
o.p. 3/4
vertical bowing from m.s.p. to m.s.t.
bow as you interpret the graphics
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
ViolaExplanationsd’amore
vertical bowing from m.s.p. to m.s.t.
s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
o.p. 2/4
gradually move from one technique to the other
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
gradually move from one technique to the other
gradually move from one technique to the other
vertical bowing from m.s.p. to m.s.t.
s.p. sul ponticello s.t. sul tasto
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
bow as you interpret the graphics
vertical bowing between m.s.p. and m.st.
artificialharmonicharmonicSlurredtremolo is to be played throughout the bar. That is, the bowing does not change with every individual tremolo.
Overpressure
ViolaExplanationsd’amore
o.p. 2/4
PERFORMANCE NOTES
bow as you interpret the graphics
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
Dur. c. 8′30″
m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
gradually move from one technique to the other
bow as you interpret the graphics
ViolaExplanationsd’amore
s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
vertical bowing from m.s.p. to m.s.t.
gradually move from one technique to the other vertical bowing between m.s.p. and m.s.t. vertical bowing from m.s.p. and m.s.t.
bow as you interpret the graphics
Overpressure
bow as you interpret the graphics
ViolaExplanationsd’amore
o.p.Overpressure1/4
vertical bowing from m.s.p. to m.s.t.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
ViolaExplanationsd’amore
vertical bowing from m.s.p. to m.s.t.
vertical bowing between m.s.p. and m.st.
ViolaExplanationsd’amore
ExplanationsViolad’amore
vertical bowing between m.s.p. and m.st.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
o.p.Overpressure1/4 o.p. 2/4 o.p. 3/4 o.p. 4/4
for viola d’amore and electronics
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
o.p.Overpressure1/4
o.p. 4/4
Bára Gísladóttir
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
vertical bowing between m.s.p. and m.st.
gradually move from one technique to the other
o.p. 3/4
s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
ORF (en líka axir og önnur pyntingatæki) (2018)
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
Overpressure
vertical bowing between m.s.p. and m.st.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
vertical bowing from m.s.p. to m.s.t.
artificialharmonicharmonicSlurredtremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.t. molto sul tasto c.r.p. convolution reverb pro (effect in Max for Live)
gradually move from one technique to the other
o.p. 4/4
gradually move from one technique to the other vertical bowing between m.s.p. and m.st.
bow as you interpret the graphics
bow as you interpret the graphics
Overpressure
vertical bowing between m.s.p. and m.st.
Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not r ehearsal marks, but ques for when to turn on the next effect. There are six effects, marked as 1 6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
o.p. 3/4
o.p. 2/4
The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not r ehearsal marks, but ques for when to turn on the next effect. There are six effects, marked as 1 6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
o.p. 3/4 o.p. 4/4
decreased o.p. from 3/4 to 1/4
Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.
Things to keep in mind:
Electronics
o.p. 4/4
increased o.p. from 2/4 4/4
decreased o.p. from 3/4 ¼
Electronics
decreased o.p. from 3/4 ¼
o.p. 3/4
decreased o.p. from 3/4 ¼
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
decreased o.p. from 3/4 ¼
Electronics
increased o.p. from 2/4 4/4
Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
Four levels of overpressure:
Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.
o.p. 2/4
Electronics
The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not r ehearsal marks, but ques for when to turn on the next effect. There are six effects, marked as 1 6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not r ehearsal marks, but ques for when to turn on the next effect. There are six effects, marked as 1 6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way:
increased o.p. from 2/4 to 4/4
Slurredharmonictremolo
Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
o.p.Overpressure1/4
o.p. 1/4
The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way: increased o.p. from 2/4 4/4
decreased o.p. from 3/4 ¼
o.p. 3/4 o.p. 4/4
o.p. 2/4
o.p. 4/4
is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
Gliss
o.p. 2/4
o.p. 2/4
o.p. 4/4
Things to keep in mind:
o.p. 3/4
1/4 is a slight o.p., and 4/4 is a full o.p. with as little pitch-audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way:
Electronics
o.p. 3/4
o.p. 4/4
The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not r ehearsal marks, but ques for when to turn on the next effect. There are six effects, marked as 1 6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
o.p. 2/4
Electronics
Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.
o.p.Overpressure1/4
back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
Things to keep in mind:
o.p.Overpressure1/4
Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.
The electronics of the piece consist solely of live effects run from Max for Live. The squared numbers in the score are not rehearsal marks, but cues for when to turn on the next effect. There are six effects, marked as 1-6, both in Max for Live and the score. The electronics need to be controlled by an assistant.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way:
o.p.Overpressure1/4
artificial
The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way: increased o.p. from 2/4 4/4
o.p.Overpressure1/4
Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. Bars that initiate with dashed barlines are free from measure. Their length depends on how long it takes for the electronics to fade out.
The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch audibility as possible. At times there is a gradual movement between the different levels. This is indicated in the following way:
increased o.p. from 2/4 4/4
Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo.
Things to keep in mind:
Viola d'amore o mf pp o pp mpo o q= 60 1 VdA f p o 211 p pp VdA mp o p fff ppp 320 VdA mpo mfo pppo pp 31 VdA ppp mf mp 4 o sfzpp ppp ff 2 4 7 4 2 4 3 4 5 4 3 4 7 8 3 8 5 4 5 4 4 4 6 4 4 4 2 4 7 4 4 4 4 4 2 4 7 4 4 4 4 4 5 4 3 4 2 4 3 4 4 4 5 4 4 4 4 4 3 4 7 4 2 4 6 4 3 4 4 4 3 4 4 4 3 4 4 4 7 4 3 4 4 4 5 4 4 4 3 4 4 4 4 4 5 4 4 4 3 4 4 4 & ∑ mI.s.p. U wait until convolution reverb pro fades out III µ . . . . ∑ I ? VII5 5 9 9 ORF (en líka axir og önnur pyntingatæki) per Marco Fusi Bára Gísladóttir2018 ? > ∑ & sIIp ∑ m s p ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∑ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏? ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∑ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ & II U wait until c.v.p. fades out IIInb bn b IIIIII b & ∑ ∑ ? VII m s p ∑ & I ∑ ? & I I<>VII III fast circular bow movement including all strings mord.s p ∑ 3 ? > ∑ wµ ~ w ˙ O ˙ ™ wµ ~ œµ ‚ œ ‚ œ ‚ œ ‚ Oµ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ˙µ ˙O ™ ˙ ˙O œµ ‚ œ ‚ œ ‚ œ ‚ œ œµ ‚ œ ‚ œ ‚ œ ‚ œ ‚ ‚ ‚ ‚µ ‚ œ ‚ œ ‚ œ ‚ œ ‚ ‚ ‚ ‚ ‚ ‚ ˙ ™ O ™ ˙ O O Ó ~ ~ ™ ‚ ‚ n‚œ # ‚ ‚ ‚œ ‚ ‚ ‚œ ‚ ‚ ‚œ ‚ œœ ‚ # n# ‚ œœ ‚ ‚ œœ ‚ ‚ œœ ‚ ‚ œœ ‚ ‚ œœ ‚ ‚ œœ ‚ œ œ œ œ œ œ œ œ œ œ œ œ ‚ ‚ œ # ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ O ‚ œ ‚ œ w ~ ˙ ™ O b˙ ˙ O ˙ ~ bw ~ w bœ O bO œµ ‚ ‚ ‚ ‚ O ˙ O ™ O O w ‚ n‚ ˙ O #O ™ O #O ™ ˙ O O O O ~ ~ ~ ~ # ~ ~ ~ ~ O O O #O ™ ™ O O O O ™ ™ œ ‚#‚ ‚˜ ‚ œ ‚ #‚ ‚˜ ‚ bO ™ bO Œ w w w w w w ˙ ˙ ˙ ™ ™ ™ ˙ ˙ ˙ ™ ™ ™ œ ‚µ #‚ ‚˜ n‚ #‚ #‚ ‚ ‚ n‚ ‚ ‚ ~ ~ ~ ~#µ ~ ~ ~ ~ O O O O #µ ™ ™ O O O O O O O O #µ O O O O ‚ ‚ ‚ ‚ ≈ ‰ Œ w w w w w w ˙ ˙ ˙ ™ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ ≈ ‰ Œ
VdA mf o pp o p pp mp 48 VdA f mp ppmp p f ff mp pp p mp p 57 VdA mp ff pp ff fff mf ff mp 565 VdA p ff mp pp ff mf ff 674 VdA o pp mf pmf pp 83 pp o mp VdA p mp pp mfp mpo pp mp pp o 91 4 4 3 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 4 4 3 4 2 4 4 4 3 4 4 4 2 4 3 4 4 4 4 4 3 4 4 4 5 4 4 4 3 4 4 4 3 4 4 4 4 4 3 4 2 4 6 4 3 4 7 4 4 4 4 4 4 4 3 4 4 4 2 4 4 4 7 8 4 4 2 4 4 4 7 8 4 4 4 4 3 4 3 4 4 4 4 4 3 4 5 4 3 4 3 4 7 4 & m.s.p.II III ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ? & VIIVIVIV I 1 II 3 III 2 > 341 ? & > 3 & m.s.p. >>>>>>> ord. IIIIIInµ <µ> 312-4b< n> µ 7 & µ nnµ waituntilord.II c.v.p. fades out U ? s.p. II 3 III 1-2 µ ? µ > ord. ∑ s.t. ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∑ & & s.p.ord.II m.s.p. II ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∑ 3 ? ∑ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ (VII) & & II ? # > > VII m.s.p. b > > b ∑ U c.r.p. fades out ˙ O ˙ ˙ O ˙ ˙ ™ O ™ ~ w ~ ˙ ‚O ‚ Œ ‚‚ ‚ ‚ ‚‚ ‚ ‚ œ œ œ ‚r ‚‚ ‚ ‚ ‚‚ ‚ ‚ ‚‚ ‚ ‚ ˙˙ ˙ ™ ™ OO O ™ ™~ ~~ œ˙ œµ ww nw µ~~~ œ œ œ œ r OO nOµ nOµ ™ ™ ‚ ‚‚ ‚ ‚ ‚ ‚ ‚‚ ‚ ‚ n˙µ n‚µ Œ OO nOµ OO bO B œ ™ ™ ‚‚ ‚ ™ ™ ‚‚ ‚ J nOµ ™ ™ œO O œ O ˙O O O ˙O ˙ O O ˙O ˙ ™ ˙ ˙~ ~ ~ ~˙ ˙ ˙ ˙˙ ˙µ œœ œµ ~ ~ ˙ ˙w ˙ O w wµ ˙ O ˙ ™ ˙O ™ ™ w ˙O #˙O w ˙ ˙ ˙ ~ ~# ˙ ˙ ˙ ˙ ˙## ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ™ ™ ~ O ™ œ ‚ œ Œ œ œ œ œœ ‚ œ ‚ O˙ O˙ O˙ bœ‚‚œnb œ‚< n> bœ‚ bœ‚ ‚œnb ‚< n> ‚œ#‚ œ ‚ ‚œ ‚œ ‚ œ ‚œ ‚ œ ‚œ ‚ œ ‚œ ‚ œ ‚œ ‚ œ ˙ O#O ˙ O O œ ‚ #‚ n œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ œ ‚ ‚ ‚ ‚ ‚˜ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ ‚ œ œ œ ˙ O Œ O O œ ‚ œ ‚ O ˙ Œ œ ‚µ ‚˜ O ™ œ ‚ ‚˜ O œ O œ ‚ O œ ‚ O ~ ~ O O ™
