Bára Gísladóttir otoconia (2017) for a slightly amplified string quartet and electronics Dur. 6′ SCORE
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continue the technique indicated gradually change from one technique to the other lowermost spot on the fingerboard harmonicartificial harmonic a.f.a.p. – as fast as possible a.s.a.p. – as strong as possible a.w.a.p. – as weak as possible s.p. – sul ponticello s.t. – sul tasto m.s.p. – molto sul ponticello m.s.p. – molto sul tasto O.P. – overpressure 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. The majority of the piece consists of passages marked a.f.a.p., however, during these, the players should feel free to slightly speed up and slow down. Bowing should be used freely, but sparingly. Bára Gísladóttir otoconia (2017) for a slightly amplified string quartet and electronics Dur. 6′
Explanations continue the technique indicated gradually change fromone technique to the other lowermost spot on the fingerboard harmonicartificial harmonic a.f.a.p. as fast as possible a.s.a.p. as strong as possible a.w.a.p. as weak as possible s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.p. molto sul tasto O.P. overpressure 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
The majority of the piece consists of passages marked a.f.a.p., however, during these, the players should feel free to slightly speed up and slow down Bowing should be used freely, but sparingly. The tempo is given both metronomically, and in the form of seconds. A few bars are not marked with time span, but contain indications regarding the manner they should be played in. Metronomical passages played in the exact tempo, whereas passages marked with seconds can be more free and intuitional.
EXPLANATIONS
The majority of the piece consists of passages marked a.f.a.p., however, during these, the players should feel free to slightly speed up and slow down. Bowing should be used freely, but sparingly. The tempo is given both metronomically, and in the form of seconds. A few bars are not marked with time-span, but contain indications regarding the manner they should be played in. Metronomical passages played in the exact tempo, whereas passages marked with seconds can be more free and intuitional.
Explanations continue the technique indicated gradually change fromone technique to the other lowermost spot on the fingerboard harmonicartificial harmonic a.f.a.p. as fast as possible a.s.a.p. as strong as possible a.w.a.p. as weak as possible s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.p. molto sul tasto O.P. overpressure
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.
Explanations continue the technique indicated gradually change fromone technique to the other lowermost spot on the fingerboard harmonicartificial harmonic a.f.a.p. as fast as possible a.s.a.p. as strong as possible a.w.a.p. as weak as possible s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.p. molto sul tasto O.P. overpressure 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.
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. The majority of the piece consists of passages marked a.f.a.p., however, during these, the players should feel free to slightly speed up and slow down. Bowing should be used freely, but sparingly. The tempo is given both metronomically, and in the form of seconds. A few bars are not marked with time span, but contain indications regarding the manner they should be played in. Metronomical passages played in the exact tempo, whereas passages marked with seconds can be more free and intuitional.
Explanations continue the technique indicated gradually change fromone technique to the other lowermost spot on the fingerboard harmonicartificial harmonic a.f.a.p. as fast as possible a.s.a.p. as strong as possible a.w.a.p. as weak as possible s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.p. molto sul tasto O.P. overpressure
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. The majority of the piece consists of passages marked a.f.a.p., however, during these, the players should feel free to slightly speed up and slow down. Bowing should be used freely, but sparingly. The tempo is given both metronomically, and in the form of seconds. A few bars are not marked with time span, but contain indications regarding the manner they should be played in. Metronomical passages played in the exact tempo, whereas passages marked with seconds can be more free and intuitional. toconiaslightlyamplifiedstringquartet and electronics
Explanations continue the technique indicated gradually change fromone technique to the other lowermost spot on the fingerboard harmonicartificial harmonic a.f.a.p. as fast as possible a.s.a.p. as strong as possible a.w.a.p. as weak as possible s.p. sul ponticello s.t. sul tasto m.s.p. molto sul ponticello m.s.p. molto sul tasto O.P. overpressure
The tempo is given both metronomically, and in the form of seconds. A few bars are not marked with time-span, but contain indications regarding the manner they should be played in. Metronomical passages should be played in the exact tempo, whereas passages marked with seconds can be more free and intuitional. Each instrument is slightly amplified and connected to a sample in Ableton Live. A Max for Live Convolution Reverb Pro-effect collects the quartet’s frequencies that match the ones of the samples, and reverbs them through speakers. There should preferably be four speakers set up in a surround system.
The majority of the piece consists of passages marked a.f.a.p., however, during these, the players should feel free to slightly speed up and slow down. Bowing should be used freely, but sparingly. The tempo is given both metronomically, and in the form of seconds. A few bars are not marked with time span, but contain indications regarding the manner they should be played in. Metronomical passages played in the exact tempo, whereas passages marked with seconds can be more free and intuitional.
II
° ¢ ° Violin Viola mf o p f o f o mp mf 6'' 5'' 7'' 9''q = 780 '' mf mp f p f p f pp mp mf mp f f pp mp Vla Vc q = 90 p mf p p mf p mf p pp p f mp fp & rapidly s p IV rapidly m s p IV ≤ . . rapidly s p IV . ≤ . . m s p IV . ≤ . . let ring7 5 9 3 Bára Gísladót ir 2017 q = 90 & V otoconia s t O P 2/4 (non stuttering bowing) a f a p & O P 3/4 (non stuttering bowing) > > (IV) > O P 2/4 (non stuttering bowing) a f a p & > 3 B IV III 0 III 0 s t O P 2/4 (non stuttering bowing) a f a p B III O P 3/4 (non stuttering bowing) > > O P 3/4 (stuttering bowing) a f a p B IV >3 3 7 & 0 8''Vln I m s p (non stuttering bowing) a f a p 7'' 5'' m s p a f a p & II & Vln II O P 3/4 (non stuttering bowing) a f a p s.p. O.P. 3/4 (non stuttering bowing) IV O P 2/4 (npn stuttering bowing) a f a p O P 4/4 (stuttering bowing) O P 3/4 (non stuttering bowing) gliss in free range a f a p ? ? m.s.t. O.P. 3/4 (non stuttering bowing) > s p O P 1/4 O P 3/4 O P 1/4 O P 3/4 (non stuttering bowing) a f a p 5 7 ‚‚Ó b‚ ‚ ‚ ‚ ‚ bœ bœ nœ œ bœ bœ nœ œ œ bœ œ bœ œ œ œ œ œ œ œ œ -Œ œbœ nœ bœ œ œbœbœbœ bœ œ bœ bœ œ œ ‰ bœ bœ œ Œ ‰ bœ bœ
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œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œœ b‚ b‚ n‚ ‚ bw ~w œ bœ bœ bœ -™ ‰ bœ - bœ œ œ œ œ œ œ b‚ œ bb‚ œ bb‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ - bœ ˙ bœ bœ bœ nœ œ œ ™ ‚ ‚ ‚ ‚ ‚ b‚ ™ b‚ ‚ œ ™ - bœ bœ œ œ b‚ œ ‚ œ ‚ ‚ œ =
¢ Violin I
œ ‰ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ bO ™ Ó bO ™ bO ~b ~b bO œ ™ œ j œ bœ œ œ œ œœ œ bœ‚ b‚ b‚ ‚ ‚ ‚ ‚ ‚ ‚ b‚ - b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ≈ œ œ œ œ œ œ œ œ œ œ œ œ - - - - - bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ≈ œ - œ œ œ œ œ œ œ œ ‰ bœ ‚ ‚ ‚ ‚ ‚ b‚ ™ b‚ ‚ ‚ - ‚ - ‚ - ‚ - ‚ - b‚ b‚ ‚ ‚ ‚ œ ‚ œ ‚ œ ‚ ‰ ≈ bœ ˙ ˙ ™ = 2
bœ
° ¢ ° ¢ Vln II Vla Vc o mp q = 60 mf pp po q = 80 f pp o p A o pp o p Vln II Vla mp fff ppp mp pp ppp pp ff p q = 80 B mp pp p ppp ff p mp ppp p ppp fff &Vln I s p II let ring 2'' 7'' 6'' & IV s p O P 3/4 (non stuttering bowing) IV ~( ) > s t O P 3/4 (non stuttering bowing) a f a p 3 7'' B IV B m s p O P 2/4 (non stuttering bowing) III ~( ) > O P 3/4 (non stuttering bowing) a f a p ? ? O P 3/4 (non stuttering bowing) IV O P. 3/4 (non stuttering bowing) gliss. in given range a.f.a.p.7 &Vln I m s p II gliss between range given a f a p s.p & s t O P 4/4 (stuttering bowing) > s.p. O.P. 1/4 (non stuttering bowing) gliss. in free range (but same fingering pos.) a f.a.p m s p O P 1/4 (non stuttering bowing) gliss a f a p s p O P 2/4 m s p O P 1/4 (non stuttering bowing) gliss a f a p > 3 B s t O P 4/4 (stuttering bowing) IV > > > m s t O P 4/4 (stuttering bowing) gliss a f a p m s t O P 4/4 (stuttering bowing) gliss. a.f.a.p. >7 3 3 ?Vc s.p. O P. 2/4 (non stuttering bowing) > > O P 1/4 (non stuttering bowing) gliss a f a p m s p ord s.t. O.P 4/4 (stuttering bowing) > 5 7 bO ™ œ œ bœ nœ bœ - - -bœ nœ bœ nœ ≈ bœ - -bœ nœ nœ
3
° ¢ ° ¢ Vc. fff fp pp 7'' 3'' 2'' 7'' q = 120 5'' 4'' 6'' C fff o ppp pp ppp pp o pp ppp fff o ppp pp pp ppp ff ppp 4'' Vla p mp ff mp mf p pp 4'' 4'' 4'' 7'' q = 60 2'' 2'' p mp p p mp pp pp p Vln I convolution reverb fades out U let ring s p II m s p a f a p & III Vln II let ring s t O P 3/4 (non stuttering bowing) a f a p & s t O P 4/4 (stuttering bow) a f a p > B II Vla let ring s t O P 4/4 (stuttering bowing) a f a p B s t O P 3/4 (stuttering bow) II gliss in free range a f a p > ? ? m s t O P 4/4 (non stuttering bowing) gliss in free range a f a p let ring s p s t O P 2/4 (non stuttering bowing) a f a p ≤ &Vln I 2'' gliss between range given a f a p whole bar on one bow s p O P 1/4 let ring m s p ord II gliss a f a p n 3 & II Vln II s t O P 3/4 (non stuttering bowing) a f a p O P 4/4 & m s p O P 1/4 a f a p s p ord B IV s t O P 4/4 (stuttering bowing) a f a p B s p O P 2/4 gliss between range given a f a p Vc O P 3/4 O P 2/4 O.P. 3/4 ‚ ‚ O b‚ œ œ bœ bœ bœ ≈ bœ œ bœ bœ bœ œ bœ bœ œ ‰ bœ b‚ bœ nœ œ œ bœ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ~ ~ ~ ~ ˙ œ ‚ œ ~ w ‚ œ ‚ œ ‚ #œ œ ‚ #œ nœ #œ nœ #œ nœ #œ œ bœ bœ bœ b‚ œ ˙ bO bœ nœ bœ nœ b‚ b‚ =
Vln I
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° ¢ ° ¢ Vln II Vla p pp mf 1'' 4'' 3'' 4'' 2'' 3'' 7'' q = 90 o ppp D 8'' ppp pp fp ppp f 2'' 7'' pp ppp o f mf Vln I Vla pp mp pp fp mp pp pp ppp pp 4'' q = 120 7'' 4'' p pppp (a w a p ) pp p pp p ppp q = 60 pppp (a w a p ) p pp p o ppp mp pppp (a w a p ) mp ppp & s p m.s.p. gliss in free range a.f.a p. s.p. let ring & III V 0 m s p O P 1/4 (non stuttering bowing) a f a p m s p O P 2/4 (non stuttering bowing) > O P 3/4 > > 3 3 B V V B m s p O P 2/4 gliss between range given a f a p s p O P 1/4 m s p O P 2/4 (non stuttering bowing) a f a p s t O P 3/4 stuttering bowing) a f a p B O P 4/4 > > > > > > > 3 ? IV IV Vc s p O P 1/4 (non stuttering bowing) a f a p s t O P 3/4 (stuttering bowing) a f a p ? 2 rapid vertical bowing from mid fingerboard to s t O P 4/4 > 2 > bow vertically between mid fingerboard to s t a f a p O P 2/4 ∑ s p I rapidly > ≤ . > > m s p I s.p. I> ≤ . 3 7 3 &Vln. II O P 4/4 > > > s p O P 1/4 IV a f a p s p ord IV a.f.a p. s t O P 4/4 (stuttering bowing) IV > gliss in free range a f a p > 3 3 B IV B > > s p O P 2/4 s t O P 3/4 (stuttering bowing) > > m s t O P 3/4 (stuttering bowing) a f a p > > 3 3 Vc O.P. 1/4 s t O P 4/4 (stuttering bowing) > gliss in free range a f a p > ‚ #œ ~ #‚ O b‚ b‚ b‚ œ ‚ ‚ #‚ ‚ Œ ‰ œ
œ œ œ œ œ œ œ œ œ #‚ ‚ #‚ #‚ #œ œ#œ #œ bœ bœ‚ w~bb O #œ œ œ œ ‰ œ - - œ œ œ œ œb‚ n‚ ‚ ‚ bœ nœ œ œ ‰ œ œ ‰ Œ ‰ b‚ ‚ ‚ b‚ ‚ ‚ ‚ ‚ ‚ ‚ O ˙ Ó ‚ œ ‚ ‚ ‰ Œ ≈ b‚ ‚ ‚ ‚ ‚ ‚ ~b œ - - - -O ~ ‚ ‚ ‚ ‚ ‚ ‚ O ™ ‚ ‚ œ ‚ œ ‚ œ ‚ œ ≈ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œœ œ œ bœ nœ ≈ - -Œ Ó ~ ≈ ≈ œ œ œ ≈ œ œ œ ‰ œ -™ œœ = 4
Vln I pp mfo pp ffff 3'' 6'' 5'' 5'' 4'' 6'' 4'' 2'' 1'' 2'' ffff(a s a p ) pppo mf ffff(a s a p ) pppo f ffff(a s a p ) pppo ff & IV a f a p & s p gliss between range given a f a p I m s p a f a p I & s p O P 2/4 (non stuttering bowing) gliss between range given a f a p O P 1/4 m s p O P 2/4 (non stuttering bowing) O P 4/4 (stuttering bowing) B B IV s p O P 2/4 (non stuttering bowing) O.P. 3/4 (stuttering bowing) O P 4/4 (stuttering bowing) ? & II I I II I II let ring II I b let ring convolution reverb fades out U & IV 0 & m s p ord a f a p O P 1/4 O P 2/4 let ring convolution reverb fades out U B IV 0 m s p ord a f a p O P 1/4 let ring convolution reverb fades out U ? IV ? m s p O P 1/4 (non stuttering bowing) a f a p let ring convolution reverb fades out U œ ‚ ‚ ‚ b‚ ‚ b‚ ‚ ‚ ‚ ‚ ‚ ‚ w ~ w b ‚‚‚‚‚ ‚ b‚ n‚ ~ w w b ~ w ~ b w w w ~b ~ w w ~ w ~w œ b‚ n‚ b‚ ‚ œ ‚ ‚ ‚ œ ‚ ‚ ‚ b‚ = 5
° ¢ ° ¢ Vln I 3'' 5'' 7'' 3'' 7'' 6'' ppp pp 4'' E pp ff 7'' 4'' ff ff