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gleb!kanasevich!(b.!1989)!
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‌she!was!but!an!apparition‌!(2014)!
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for$string$quartet$
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LEGEND!
STRING$AND$BOWING$INDICATIONS$ Strings!are!specified!in!two!ways:!
SCORDATURA$ Violin!1!
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!!Violin!2!
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!!!!Viola!!!!
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Cello!
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!!N!over!notes!that!are!not!harmonics!or!passages!that!include!nonNharmonic!notes! !
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! 698.5!Hz!!(698)!
!!631.3!Hz!!(631)!
!!!501.1!Hz!!(501)!
233.1!Hz!!(233)!
459.5!Hz!!(460)!
!!409.4!Hz!!(409)!
!!!293.7!Hz!!(294)!
138.6!Hz!!(139)!
311.1!Hz!!(312)!
!!285.3!Hz!!(285)!
!!!207.7!Hz!!(208)!
98!Hz!!
198.9!Hz!!(199)!
!!164.8!Hz!!(165)!
!!!136.6!Hz!!(137)!
55!Hz!
(frequencies$listed$top$to$bottom,$according$to$the$diagrams)$
Using!a!tuner!with!fine!frequency!recognition!capabilities!is!preferred.!!!Maximum!possible!precision!in! tuning!preferred,!although!pitches!higher!than!C3!may!be!allowed!+/N!3Hz!!fluctuation.! Starting!with!rehearsal!letter!J!pitch!becomes!gradually!obscured,!and!as!strings!gradually!grow!out!of! tune!the!coda!(starting!at!rehearsal!letter!O)!is!to!be!tuned!by!ear,!especially!the!conclusive!1st!violin! solo.! !
INTONATION$AND$HARMONICS$ All!harmonics!used!in!the!piece!are!natural!to!aid!precision!of!intonation,!with!their!specific!string! indicated!by!the!small!solid!noteheads!in!parentheses.! ! Resulting!pitch!is!indicated!in!the!smaller,!top!line!of!each!instrument’s!double!staff!notation.!!Fingered! pitch!is!notated!in!the!larger,!bottom!line,!along!with!all!phrasing,!bowing,!articulation,!expressive,! technical,!stylistic,!nuance,!and!dynamic!markings.! Due!to!a!large!vocabulary!of!accidentals,!double!sharp,!double!flat,!3/4Ntone!sharp,!3/4Ntone!flat,!5/8N tone!sharp,!5/8Ntone!flat,!7/8Ntone!sharp,!and!7/8Ntone!flat!accidentals!do!not!occur,!to!achieve! maximum!conciseness!and!clarity.!!Accidentals!are!broken!down!according!to!the!following!system:! !
N!1/2Ntone!sharp!
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N!1/2Ntone!flat!
N!1/4Ntone!sharp!
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N!1/4Ntone!flat!
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N!3/8Ntone!sharp!
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N!3/8Ntone!flat!
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N!1/8Ntone!sharp!
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N!1/8Ntone!flat!!!
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!!N!base!notes!of!natural!harmonics!or!multiphonics! Traditional!Roman!numeral!string!indications!are!substituted!with!Arabic!numerals!to!achieve!greater! positional!precision!with!bracket!extensions!for!further!clarity.! Bow!position!in!relation!to!the!bridge!is!always!indicated!below!the!staff!with!the!following!signs:! N N N
sul!tasto! sul!ponticello! ordinario! N!indicates!a!gradual!transition!from!one!bowing!style!to!another!
“semi$c.l.$tratto”$–!bowing!with!half!hair/half!wood! !
MULTIPHONICS! Multiphonics!generally!occur!at!the!approximate!5/8Ntone!sharp!(3/8Ntone!flat)!fingered!pitch!position! with!halfNpressed!left!hand!fingering!and!greater!bow!pressure!in!“sul!ponticello”!position.!!They!can! produce!a!variety!of!spectra,!depending!on!the!strings/pitches!combined.! A!multiphonic!in!the!fingered!pitch!staff!is!notated!as!a!regular!natural!harmonic:!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! with!fully!pressed!pitch!being!the!smaller!note!in!parentheses!and!the!harmonic!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! being!the!semiNpressed!note/position.! A!multiphonic!in!the!sounding!pitch!staff!is!notated!with!square!noteheads:!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! with!the!lower!pitch!being!the!fundamental!and!the!higher!pitch!being!the!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! most!prominent!resulting!overtone!partial.!! !
ACCENTS$AND$MISCELLANEOUS$$ sfz (or!any!of!its!gradations)!–!a!very!sharp!explosion!in!volume!with!an!almost!immediate!drop.! >!!N!a!heavy!lean!on!a!note,!but!less!sudden!than!a!sfz and!more!sustained.! When!a!string!crossing!occurs!in!the!middle!of!a!fast!running!passage,!the!player!should!not!stop!the! sound!by!lifting!the!bow,!but!quickly!play!through!the!passing!string,!making!the!least!amount!of!pitch! possible.!!Quasi!glissando/brief!careless!scratch!tone!is!optimal.! Dynamics!are!relative!and!express!the!optimal!balance!of!the!four!parts!within!the!texture.! From!rehearsal!letter!O!until!the!end,!vibrato!should!return!to!normal.!