"Increscent" for violin and piano/bowed piano by Kirsten Soriano

Kirsten Soriano Broberg

INCRESCENT

Violin and piano 10 minutes

Resonant Strands Program Note: The works of the Resonant Strands cycle instrumentation: piano, bowed piano and string quartet (34'). For Resonant Strands, the ensemble is treated as a hyper-instrument that explores how the piano and string instruments may function both as string and as percussion instruments. Throughout, the piano is prepared with bows made from fishing line. The bows are woven around strings for seven pitches that are structurally important to the work, which are all drawn from an overtone series based on a low C fundamental. The title Resonant Strands has a double meaning. The nylon fishing line woven through the piano strings are literally strands that produce resonance when used as bows. The cycle also focuses on resonance as a structural feature and each work begins with the pitch, or pitches, on which the previous ends: as if there is a thread woven through from beginning to end. When all of the works are performed on the same concert, they are programmed in the following order: I) “emerge” for piano and bowed piano (5') II) “of resonance” for string quartet (9') III) “opening” for solo cello (5') IV) “increscent” for violin and piano (11') V) “cadence” for piano, bowed piano, and string quartet (4') All of the works, except “Cadence” may be extracted and performed as individual works.

Glossary Piano

· # ···

= Depress silently. Silently hold these keys down while playing lower notes on the piano to cause these pitches to sympathetically vibrate.

harmonic

(

·)

˙ ◊

)

˙ pizz.

(

= Harmonics. Lightly touch string inside piano on the node while simultaneously playing that key on the keyboard to produce the designated harmonic (in parathesis).

= Pluck strings inside piano.

felt mallets

≤≤

≤ ≤≤≤≤ ≤≤≤≤

= Hammer on the strings with felt mallets to produce cushioned sound. Pitches should sound as ambiguous as possible.

Strings

subharmonics

˙. (˙ .)

= Subharmonics. Apply pressure to string (upper note) to obtain resulting tone that sounds one octave lower than the open string. The result will likely be incredibly unstable (which is acceptable).

( )

harmonic glissando

nIV·

= Harmonic glissando. Move finger from designated harmonic along string toward the bridge to obtain as many natural harmonics as possible.

n· .

col legno battuto

. . . . ..... = Battuto. Let the bow bounce on the string. If "col legno battuto," with the wood; if "half col legno battuto," with half wood and half hair; if "battuto," only with the hair of the bow.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

I nœ

II nœ

( )

& n· n· nœ

= Harmonics color trill. Trill between designated harmonics. The resultant pitches are indicated by small noteheads should the performer choose to use alternative fingerings to achieve the same eﬀect. When only a harmonic notehead is indicated, the harmonic notehead, is in fact, also the desired resultant pitch.

bow travel (to fingertip)

nœ

& n n ·œ

bœ

& b· bœ

= Bow travel. While executing bowing, move bow along the fingerboard or toward the bridge as indicated. Toward where the fingers are positioned on the fingerboard if indicated "fingertip" or "ft.," toward the bridge if indicated "toward the bridge."

2 = Increasing bow pressure. The level of bow pressure is indicated by numbers, 1 being very little bow pressure resulting in a mildly noise-like tone and 3 being moderate bow pressure to produce a moderate noise-like tone (should not be as dramatic or jarring as a scratch tone). When the number zero appears, the overpressure ends.

Both Piano and Strings

#œ œœ œ #œ œ œ œ #œ œ bœ

#œ œ #œ # œ &

(ppppp)

#œ

= Grace note figures. Play as fast, lightly, delicately and swiftly as possible.

= Grace note figures with three ligatures. Play with the same delicacy and swiftness as grace notes with one ligature, only three times faster.

= Invisible barlines, dotted barlines, solid barlines. Invisible barlines indicate a lack of meter and extraordinary rhythmic freedom and rubato, dotted barlines are somewhat less rubato, solid barlines indicate a presence of meter and ordinary rubato (left to the discretion of the performer). = Niente (nothing, silence). = Sentiment of dyamic. Even when physically impossible (i.e., while achieving overpressure or subharmonics which are naturally loud) play as close to the dynamic indicated within the parenthesis (in this case, as close to quintuple piano as possible, or with the sentiment of quintuple piano). = Dovetailing. When a vertical dotted drawn between two instruments playing the same pitch in the same register, dovetail these enunciations to line up or overlap as if one instrument's gesture is being passed to the other. = Transformational arrow. One sound or idea located to the left of the arrow should gradually and seemlessly become the sound or idea located to the right of the arrow.

for J. Austin Wulliman

Increscent Kirsten Broberg

Calmly, tenderly arco poco sul pont.

prior to starting, weave bows onto the specified piano strings

˙˙ black white blue # ˙ ˙ green b ˙

Piano

˙ red

yellow

& 74

Vln.

5 ≥ 4 #O. -˙ .

4 ≤ 4 #O w-

Violin

≥

# Ow

O˙ ..

pppp

∑ ∑

7 4

O˙

∑

5 4

∑

7 4

4 4

∑

5 4

∑

7 4

# O˙ .. -

O˙ ..

˙.

≤ 46 # O . ˙- .

6 4 Ó

Pno.

?7 4

# O˙ ..

4 4

O˙ .. blue

7 &4

≤

O˙

6 4

#œ

˙.

arco

normale non. vibrato

# Ow

O˙ ..

ppp

7 4

˙.

#˙

arco

pppp

6 4

damper pedal siempre

7 4

pizz.

#˙

5 4

pppp

ppp

∑

≤

∑

6 4

∑

5 4

Increscent 2

5 &4

Vln.

& 45

# O˙ ..

Oœ

#˙.

6 4

# O˙ ..

5 4

O˙ ..

ppp

#˙

46 Ó

ppp

Pno.

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normale vibrato

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∑

pizz.

O˙

5 4

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#˙.

4 # w4

+ œ

J pizz.

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4 4

∑

5 4

45 5 4

∑

Vln.

& 45

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arco

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Pno.

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∑

44 Ó

46 Ó .

pizz.

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pizz.

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arco

∑

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#˙.

46 ∑

Increscent 3

Vln.

#˙. & 46 -

6 &4

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pizz.

J +

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arco j

5 4

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#arco œ

˙.

4 4

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? 6 Ó. 4

5 4

keyboard

4 Ó 4

∑

pizz.

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pizz.

5 4 Ó.

Pno.

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6 4

5 4

∑

6 4

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œ #œ

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Vln.

6 &4

& 46 Ó .

pizz.

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arco

j œ+ .

5 4

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∑

5 4 Ó

# ˙- .

46 Ó .

∑ keyboard

6 4

˙. œ

pizz.

∑

3 4

43 3 4

bœ

bœ.

Œ ∑

pizz. arco j

œ R +

5 4

45 5 4

Increscent arco j

Vln.

5 # ˙˙ .. &4 æ

˙˙

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˙.

5 4

4 # œœ 4 æ

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pizz.

5 &4

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Pno.

? 45 Œ

Ó.

6 4 Ó

Ó.

keyboard

pizz.

5 4

Ó.

keyboard

bœ

tremolo on strings

4 4

∑

# ˙˙ ..

wæw ∑

no need to line up

Vln.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ (# œ) ˙˙ &b ˙ 45 æ æ 29

& bœ

keyboard

5 4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ . (# œ ) œ ˙. œ æ æ

#œ

pizz.

Pno.

∑

5 4

bœ

keyboard

arco 3

b # œœ # œœ

3 4 3 4

b œœ æ

bœ

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≈

no need to line up

œ #œ œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙˙ b ˙ . ˙ . ( # œ) 43 æ æ

pizz.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ( #œ ) 5 4 ∑

5 4

bœ

#œ

œ ∑

Ÿ~~~~~~~~

# œœ ( œ )

3 4 3 4

Increscent 5

3 œ & 4 œJ

Vln.

& 43

#œ

bœ œ œJ +

no need to line up

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w 4 #w (œ ) 4

#œ.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˙˙ ..

˙˙

3 4

bœ

˙ä˙ .. æ

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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(œ )

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pizz.

2 4

bœ

ggg # œœ gg b œ gg œ g

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arco

4 4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #˙ œ 24 ˙ (# œ )

Pno.

? 43

∑

Vln.

& 44

arco

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pizz.

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arco

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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? 44 37

∑

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Pno.

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∑

pizz.

∑

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non-metered but cohesive; as if one instrument

# œ-

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on the string

Vln.

Increscent

# œ-

# œ.

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Pno.

∑

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bœ

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pizz.

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arco

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‰

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pizz.

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∑

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∑

arco

Vln.

& Pno.

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pizz.

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∑

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. bœ

arco

# œ. # œ. . œ

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∑

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KrK …= œ œ.#œ # œ

sfzpp

# œœ bœ

#œ bœ œ œ œ #œ

œ . ∑

œ œ .

#œ

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œ bœ œ œ ∑

œ œ œ bœ nœ

Increscent 7

Vln.

#œ œ œ bœ bœ œ œ #œ &

#œ #œ œ bœ

Ÿ~~~~~~~~ œ

( )

sfz

sfzp

bœ

œ œ œ #œ #œ

bœ

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b œœœ

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sfzp

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Pno.

∑

Vln.

#œ

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bœ bœ bœ

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sfzpp

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Pno.

∑

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œ nœ #œ

œ ( œ)

Ÿ~~~~

Increscent

œœ

Vln.

nœ

bœ nœ

with angst! metered sharply œ bœ ä œ œ #œ œ 74 bœ œ œ œ

Pno.

# # ˙˙˙˙

#œ

( )

#œ

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#œ #œ nœ

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ä˙

∑

sfz

∑

#œ #œ œ bœ œ œ œ #œ œ œ œ

∑

#œ œ #œ

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bœ

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#œ

nœ

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Ÿ~~~

œ ( œ)

sfz sfzp

œ #œ œ œ œ #œ

& Pno.

œ bœ œ

#œ œ #œ

Ÿ~~~~~~~~~~ œ

bœ œ œ

˙ ˙

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sub.f

œß

˙- . # 5 ˙.

w w

˙ ˙

ppp

f sharply!

ä˙ . # gg # ˙˙˙ .. ggg b ˙ ggg gg ggg gg w gg gg w

˙#˙

45 Ó .

∑ Œ

∑

ppp

∑

˙- . # 6 ˙.

˙. ˙.

Ó.

46 46

∑

74 74

Increscent 9

Vln.

& 74

œ #œ œ œ bœ œ œ

˙ ˙

w w pp

gliss. ˙- . 5 #˙.

˙- . 5 #˙.

˙˙

gliss. ˙- . 6 #˙.

˙- . ˙.

˙- . #˙.

w w

sfz

# # œœœ¨ œœ J

& 74

‰

w#w

?7 4

sub. p

sfz

Pno.

˙ ˙

5 4

∑

6 4

∑

4 4

∑

2 4

∑

Vln.

& 42

bœ

#œ

œ œœ œ

œ œ

˙- . ˙.

˙ ˙

sub. p

˙- . #˙.

˙ ˙

sfz

& 42 Pno.

?2 4 69

# # œœ¨ œœ J

bœ

œ œœ œ

bœ

#œ

˙- . ˙.

gliss.

sfz

‰

˙#˙

45 Ó .

˙. ˙.

# # œœ¨ œœ J

sub. p

∑

5 4

∑

‰

˙#˙

Ó.

sfz

6 4

∑

5 4

∑

6 4

Increscent

Vln.

6 &4

˙- . ˙.

˙ ˙

bœ

œ # œœ œ J

‰

w#w

sfz

& 46

˙. ˙.

# # œœœ¨ œœ J

? 46

œ œ J

. œ.

4 4

sfz

. ˙.

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bœ

gliss.

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3 4

sfz

œœ

äœ≤ œ# œ bœ œ J œ

gliss.

œœ

sfz

≤ n äœ œ œ J

gliss.

sfz

˙#˙

sfz

Pno.

‰

bœ

gliss.

# # œœœ¨ œœ J

‰

44 Ó

# # œœœ¨ œœ J

sfz

∑

sfz

∑

‰

# # œœœ¨ œœ J

43 Œ

sfz

∑

œœœ¨ œœ J

∑

Vln.

œ œ

&Œ Pno.

non metered; agitated, restless: intense! s.p. œœ œ nœ

äœ #œ

œ œœœ œ œ œ

sfz

# # œœœ¨ œ J

‰

sfz

∑

äœ œ J œœœ¨ œ J

s.t. normale non. vibrato

‰

# œ œ œn œb œ œ

#œ #œ nœ œ œ nœ nœ bœ

ppp

‰

# # œœœ¨ œ J

sub. p

‰

œœœ¨ œ J

‰

ppp

∑

œ #œ# œ œ

#œ

œ #œ

# œœœœ #œ

#œ

# œœ

sfzp

œ # œœœœ

sfzp

∑

œ nœ œ

#œ

# œœ

sfzp

# œœ # # œœœ

sfzp

∑

œ #œ nœ

nœ œ

Increscent 11

Vln.

& Pno.

œ #œ

sfzp

&# œ

?œ

#œ

#œ #œ

œ bœ

œ nœ œ #œ

#œ #œ

∑

œ #œ #œ

#œ #œ œ

œ bœ

nœ

œ # # œœœ

nœ

nœ nœ œ œ #œ

œ nœ

œ #œ

œ #œ #œ nœ

#œ #œ

œ #œ

#œ

nœ

44 # œ œ #œ #œ

4 œ 4# œ b œ n œ 4 4

∑

Ÿ~~~~~

œ nœ (œ ) œ

œ #œ

∑

œ nœ #œ

#sfzp œ œœ

sfz

∑

& Pno.

œ # # œœ

Vln.

#œ

œ nœ #œ

œ bœ

œ #œ

œ #œ #œ #œ

œ bœ bœ bœ nœ bœ nœ nœ

∑

#œ

œ #œ

∑

œ nœ

Ÿ~~~~~

œ # œ # œ # œ (# œ )

∑

œ nœ

#œ

œ #œ bœ

œ nœ

œ # œ # œ n œ (œ ) Ÿ~~~

Increscent 12 sul pont.

Vln.

& #œ

œ bœ bœ

œ nœ #œ nœ

∑

& Pno.

bœ

#œ

œ bœ bœ

bœ

œ nœ

œ bœ

#œ

œ bœ

(# œ) œ œ œ œ # œŸ~~~~

œ #œ

œ nœ

œ #œ

œ bœ bœ bœ bœ

œ #œ (œ ) #œ nœ Ÿ~~~~~

∑

ppp

œ #œ

œ bœ

bœ

œ nœ

∑

pppp

œ #œ #œ

œ #œ

œ nœ

œ #œ

œ nœ

∑

Vln.

normale arco

& bœ nœ

œ bœ bœ #œ #œ nœ

œ #œ #œ

œ #œ

œ nœ #œ #œ

œ bœ

nœ bœ #œ bœ nœ œ nœ #œ

bœ œ

bœ

#œ

œ œœ œ

& Pno.

∑

œ #œ

œ #œ #œ #œ nœ nœ

∑

#œ

randomly strike lowest strings of piano with soft mallets

œ #œ

œ nœ nœ #œ

¿¿¿¿¿¿¿¿

∑ Ó

√ ä # # # # ˙˙˙˙˙˙˙

≤

˙ ˙

˙. ˙.

∑

Increscent 13

Vln.

& 44

aggressively

#w mf

& 44 Pno.

? 44

‰

∑

¿ ¿ ¿ ¿ ¿ ¿

U ˙

pizz.

∑

overpressure gradually increasing

44 44 Ó

very strong overpressure

∑

sub. f

¿ ¿ ¿ ¿ ¿ ¿

∑

0 46 0

Vln.

gently and freely; with great resonance

U œ

ord.

6 &40

œ bœ

( )

Pno.

? 46 101

U œ

white

bœ

yellow

sub. black

6 & 40

7 4

7 4 74

˙æ .

o Œ

red

4 4

∑

4 4

∑

Increscent

& 44

Vln.

w æ

pppp

w ..

overpressure as strong as possible gradually transforming into a pure tone

white

& 44 Pno.

?4 4

74 Ó

∑

¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿ ¿ ¿ ¿

sub. f

sub. p

randomly strike lowest strings of piano with soft mallets

7 4

œ pp

6 4 Ó.

∑

randomly strike lowest strings of piano with soft mallets

Ó.

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ( ˙ .)

42 æ ˙

42 2 4

∑

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

105

Vln.

& Pno.

5 4 æ ˙.

& æ ˙

109

pure tone

∑

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

45 45

˙.

∑ ∑

˙.

∑

˙.

with bow

∑

˙.

7 4

Increscent 15

7 &4

∑

˙ .) . 6 # ˙˙O .. 4

˙ .) ˙˙O ...

7 &4

∑

6 4

∑

5 4

∑

6 4

∑

4 4

6 4

∑

5 4

∑

6 4

∑

4 4

arco

(

Vln.

Pno.

?7 4

al fine

˙. ppp

. 5 # ˙O˙ .. 4

˙˙O

. 6 # ˙O˙ .. 4

˙O˙ ...

ppp

113

Vln.

4 &4

& 44 Pno.

? 44 117

ethereal, timeless

# wwO

7 4

∑ ∑

74 74

#œ

U O.

˙.

pppp

keyboard

#œ

˙O˙ ...

˙.

˙O˙ pppp

∑ pppp

5 4

∑ pppp

˙.

4 4

Increscent 16

Vln.

Pno.

#œ

˙O˙ ...

120

˙O˙

harmonics

(

)

(

·) ˙

#œ

˙O˙ ...

‰ ‰

˙O˙

(

)

(

· ˙

)

(

·) ˙

˙O˙ ...

˙O˙

# · .)

(

#œ

o (

˙.

·) ˙