Study for String Instrument #1

Simon Steen-Andersen Study for String Instrument #1 Dur. 7′

SCORE

(2007)

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Simon Steen-Andersen Study for String Instrument #1

(2007)

Dur. 7′

NOTE

NOTE

Movement of the sound or sound of the movement? One simple “sample” is repeated over and over and is slowly broken down in its individual elements in a process of autonomizing the movements themselves. The piece is notated only as movements (and can therefore be played on any string instrument and maybe even on other instruments), and it is just as much a choreography for the player as it is a sounding piece for the instrument.

A choreographic game – or even a kind of dance, accompanying itself.

Lydens bevægelse eller bevægelsens lyd? En ”sample” gentages igen og igen og brydes langsomt ned i dens individuelle bestanddele i en proces, hvor selve bevægelserne langsomt får et eget liv. Stykket er kun noteret som bevægelser (og kan derfor spilles på alle strygeinstrumenter og måske også andre instrumenter), og det er ligeså meget en koreografi for musikeren som det er et klingende stykke for instrumentet. En koreografisk leg – eller måske en form for dans, som akkompagnerer sig selv.

Study for String Instrument #1 - if played in a very big or noisy hall amplification may be used.

- can be played on any string, but I recommend the 4th string.

- always use as much bow as possible and always move between the lowest possible position and the very highest (the end of the fingerboard) - the harmonics should be artificial quarter harmonics - the forte should be a very loud forte (~fff) - the signs and techniques are explained as they appear

q

Simon Steen-Andersen 2007 =60-80



move bow back in position

Ó ã 48 ® ‰ Œ Ó point (inaudible or whatever sound the f of the hand makes) high O ..  movement  8    ã 4œ frog

bow

string(s)

Ó 

deep



ã 85 J Œ fj O 5 ã8 œ

4

bow

str.

11

bow

str.

ã

str.

ã 41 œ

bow

ã 43

str.



ã 43 ˙



O









 .. 

 .. O

O

œ

 45

45 ˙ .

f

7 16



f



J  j O œ

œ

O 

œ

O O O 81 œ 41 œ œ



O





 ...  ...

rK







3 43 J Œ Œ f 3 3 jO  4œ

 j 

f

O

 œ

O

œ

J

. O

œ

j





O

œ

J



   43 f O 3 4 RÔ ˙ .

1

44 

pppp

44 w







43 

43 ˙ .



O

œ

41

.

O.

41

r

2  ..

4



O

42 œ ..

R

(very exponential movements, crescendi and diminuendi)



5 8



œ.

œ

85

Œ

.

J  j O

O 

O.

. 



 

.







O. 

38 œ.

3

Œ



. 

3 .

8

3

Œ

38 œ

J

 

 1  1  8 4 

38

O.



Œ

Strong downbeats

‰.

7 16 œ



O.

3 3

œ

42 œ .

O

.

œ.

J

1  ã4

27

.

O

ãœ

19

bow





Œ

42

Œ

j



.



 45  ‰ Œ f 5 O.  4œ







f

O









3 4 43

42 42

 ã 42 pppp ã 42

33

bow

str.

41

bow

str.

ã

str.

ã

bow

str.

ã

str.



str.

j

O

ã



f

ãœ

ã ‰. ãœ

œ

œ

3

O

 O

j 



p O

J

O

J j ,



œ

f

œ

J

38 œ .



p f

O

J

j  ‰ ‰   J

œ

O.

j 

(not too short)

O

.

38 .

O

J

œ

œ



J

O

J

J

.

J

O.



œ

,

. œ.

f

œ

j



p O

J

41  ‰ 41 œ





3

œ

41 O

O

œ

j



O

O œ.

J 5





J

   81  41   

œ œ œ œ 81 O 41 O O

3

O

5

‰ ‰

œ

j



J

œ

Œ



O

œ 2

j



‰ ‰

J

œ

O

(inaudible, don't active the tone only the sound of sliding the finger, if any)

38 

41 

œ 41

. O

‰ ‰

O

œ

. 



O

O

 41

O



œ O

J



œ

J



O

J

O

j

œ

j



38 œ

j

œ œ

j 

38 





œ O

J

J





J j œ

j 

O

œ

 O

j



(hands practically touching each other)

œ

p

j

O





j



O O œ



 ‰ œ

 œ.



œ.

 14 3 j   16   . f  f  f.

O 14 O O 3 œ 16 œ J

.

j



(small break in the sound, when returning to the point, but within the time)

O

J











j

œ

J

3

74

bow

O



O







ãO

65

bow

j



ãœ

56



f

O

ãœ

48

bow



˙

38  . f 38 œ.



38 Π.

38 O .

. 

. O

38 œ

j



‰ ‰

J

œ

O

43  .

43 œ

j





O

œ



‰ ‰

J

œ

O

‰ Œ O



j



O

J

42 42

ã 42  P ã 42



82

bow

str.

bow

str.

ã

ã‰

str.

ãœ

O.



j  j  J 

J

œ

œ



J





O

O



O

œ

O

œ

(inaudible only the sound of the finger, if any)

str.

ã

    J f p· · j 

bow

str.





O





œ



. O

œ



3

œ







.



O

œ

j









 œ

 O



œ



.

j



f j

œ

ã 41 

bow

str.

ã 41 œ

 O

‰   f ‡

(tapped)

O

 œ

‰  –



c.l.



f  œ

(scratch several strings with fingernails)

O

ord.





c.l.



ord. c.l.



f  f 

O

œ

O

œ

3

c.l.

‰ 

‰

œ

‡

–



c.l.

O

O



O



3

c.l.

‰ 

œ



O

œ



O

j





j

J

p O

J

. O .

3

œ



.  .



j

O

œ

J

–

j

J

38 j   J p f j 38 O J œ

. œ . ‰ œ



O





.  . ‰

c.l.= col legno; 100% wood 120



œ

6

First tempo

.   J F O .

O . O  œ  œ . O J 

O

41       > > f p fp 14 O œ O œ O œ







6

J j

œ

3



œ

J

O

œ



J

j  j  J 





O

.  . ‰ J  F j O O . . ‰ œ

6



O



Slower sul pont. estremo! ("as if dancing")

6







œ

. 

38 J  fp f p f p j O O O 38 œ œ œ J

O

 . . ‰ ã  . .  .    F F  O .

O ã  œ . . œ  œ . œ . ‰

114

O

j   . .

41       38  fp f  O O 41 œ  œ  œ 38 J œ  . œ  .



ãœ

œ



(sim.)

108

bow

J

1 4œ



œ



 41

J

‰

J



(the hands practically touching each other)

O





O

œ

J

 j  J  J

O

ãœ

38  f 38

‰.

œ

j



100

bow

O

œ

90

7 16  F 7 16

‰.

(Strong downbeats)



1 4

O

41

J

Slower (according to the room; find a tempo where the smallest sounds are still audible...) ord. c.l. c.l. c.l.



‰

ƒ  O

‡

‰  –

œ

‰  ‡

O

c.l.

132

bow

str.

ã ã

O



c.l.

‰

‰

‰ 3

–

str.



‰ ‰ ƒ  O

œ

bow

str.

38 ‰  J 3– j 8J œ

O

œ

ƒ O

42 œ

‰ 42 

38  . ƒ 3 O. 8

vibrato)

.

.

41  ‰ ƒ  – 41 ‡æ

.

 O.

r

¿O .

ƒ

(the hands practically 3 touching each other, as if two objects exchanging (percussive sound by kinetic energy...)

38 38

3



j 2 æ‡ 4 ˙ (molto

38 .  ‰ ‰ ƒ  38 – ‡ ‡‡



41 ‰  . . .  O 41 ‡ ‡ ‡

(both hands' tremoli and vib. should be clearly visible (=a bit exaggerated) and very equal - as if it was the same movements)

(hard bow pressure, pure noise)



3



42 

3

3

j  81  42  ƒ 18 j 42 O

3 . ã 16 J ƒ 3 O. ã 16 J

150

‰

ƒ  3 ‡ O O ‡ ‡

 41 ‰  . . ‰ æ .  ´ 1 ‡O – O 4 ‡‡ æ

("tremolo scrath")

. . . 

(c.l. "jeté")

O

œ

3

ƒ O.

3– O – ã 8 æJ J J œ .





–

‡

.

 ã 38 ‰ J ‰  .

141

bow

c.l.

ord.



–

‡ ‡‡

œ

c.l.

sim. ppp=c.l. ff=ord



41   1 4œ

‰



‡ œ ‡‡

O

æ

 œ

3

3 16 3 16

.

‰

ƒ  –

‡‡

‡

3

hitting the strings hard)



j

.

O

–

159

bow

str.

ãJ r ¿O

ãJ J ƒ  

‰

O

–

169

bow

str.



ã ã

. .

ã  . ‰ 3

str.

ã

‰ ‡æ 

ƒ

‰

æ

œ

–

‡ ‡‡ 3

–

‡

‡ ‡‡

3 ‰ æj ‰ 8 

. .

3

1  4  . . ‰ .



. 

3 O O 38 æj j æj 41 ‡ ‡ œ ‡ ‡ œ ‡

O

–

3

. . œ

. .

 . ‰

‰

.

‡ ‡‡ 3

. . .

‰

O

–

3

‰



O

æ

‰

–

‡æ

‰ æ

‰

œ

‡

–

3

O

–

3

. . œ

 . ‰

.

‡ ‡‡ 3

3

O

O

3

. 

O

2+3

. .

‰

. .

–

æ

æ O

‰

æ

–

O

æ

4

O

æ



æ

‰

œ

‡æ

. . .

3

œ

‰

. .

–

O

æ

2

1+3

O

–

O

–

(molto vibrato)



O





O

‰  . . . ‡ ‡‡

O



.

‰ ƒ  –

‡‡

‡

3

1+2

‰ æ æ

3

. 

2+3

3

3

(these remarks are for a version with 3 instruments, ignore for the solo version) (only)

3

3

180

bow



‰ æ

æ

2

‰ æ ‰ æO

3

‰ æ ‰ O

1

‰ æ ‰ O

fine: pforzheim oct./07

duration: ca. 5 min.