Thebutterflyeffect by Caroline Mallonee

CAROLINE MALLONEE The Butterfly Effect for the spektral quartet

Ink to Paper 2014

Caroline Mallonée

The Butterfly Effect for the spektral quartet Violin I Violin II Viola Cello electronics

(delay; heard through speakers in the back of the hall)

4-8 rainsticks

(to be played by additional performers in the back of the hall) PROGRAM NOTE The title of this piece comes from an oft-repeated trope: the beating of a butterfly’s wings in Brazil may cause a hurricane on the other side of the world; this may be extrapolated to imply that any action undertaken or any decision made may have unanticipated, far-reaching consequences. “The Butterfly Effect” was written for the Spektral Quartet for performance at The Walden School in July 2014.

NOTES ON THE SCORE The entire piece should be played in just intonation, i.e. tuned to the G harmonic spectrum, and senza vibrato. The seventh partial in the G harmonic series is 31 cents below an F in equal temperament.

The eleventh partial in the G harmonic series is 49 cents below a C-sharp in equal temperament (about halfway between a C-natural and a C-sharp).

In addition to the two adjustments above, all B naturals should be slightly (14 cents) lower than an equal tempered B. The cellist is to retune his/her A string down one whole step, to G, to allow for natural harmonics. The passages played on this string are transposed in the part (i.e. written a whole step higher than sounding).

SUMMARY OF SECTIONS Section I: Butterflies The cellist begins the piece seated on the stage with a stand. Violin I, Violin II, and the Viola enter from off-stage and read music from paper butterflies that are posted on the back wall and clipped to music stands, etc. Cells are repeated; one may double back; one may rest between cells. Section II: Tune (Journey) The second section begins when the first violin stops playing the music from Section I and plays the first phrase of the tune. The second violin joins the first violin in canon (1 bar apart). Then Violin I, Violin II and Viola play in canon (at the half-bar). Violin I, Violin II and Viola may pause between phrases in this section (i.e. the canon will begin at the half-bar, but will change over time). Throughout Section II, the cello is to improvise his part, playing only notes of the G harmonic spectrum, pizzicato. Section III: Rain In the third section, the quartet repeats the music from Section II pizzicato and then plays the material for Section III. Cells may be played in any order, and rests may be inserted between the cells. Everyone should end with the rolled chords, which do not need to line up with the other members of the quartet. The electronics will sample the pizzicato cells and play back over the speakers in the back of the hall. The performers in the back of the hall begin using their rainsticks. The quartet diminuendos al niente. The electronics and rainsticks are heard together for a bit, and then the electronics fade out. The piece is over when the sound of the rainsticks stops.

THE BUTTERFLY EFFECT Caroline Mallonée

II.

VIOLIN I

Cells may be repeated; one may double back; one may insert rests in between cells.

q = 76

˙ & 44 æ Ó !

.. ..

œµœ œ œ œ œ œ œ œ œ œ œ œ œ- œ ˙ .

œ œ œ œ œ. œ ˙

.. .. ‰ p

œ µœ œ œ œ . œ U˙ œ œ œ œ œ œ œ ˙ œ œ ˙ œ . . K Kœ œ œ œ œ . . œ O Kœ J .. œ # œ œ Oœ .. .. ‰ J æ . . & .. ‰ 3

œ œ œ

œœœœ œ œ & ..

K œ œ .. ˙ .

K œŸ œ ˙ .

.. .. Oæ ˙ >

o o . . œ K œ œ œ œ K œ œ sul˙ pont. ˙ œ œ . µ & . œœœ œ œ œœœ œ œ . . ‰ J J J æ æ

>˙o æ

˙ æ

Œ o œo o œo œ œ œ œ œ œ œ . µ œ œ œ . . . . œ œ .. µ . . µ œ œ œ ‰ œ œ œ ‰ œ ‰ Ó œ ‰ œ ‰ Ó œ œ œ . . . . . . & . œ œJ œ œ Œ 6

œœ œœ œœ œœ œœ œœ œœ œœ µœœ œœ œœ œœ œœ œ œœ œ j‰ j‰ œ œ œ œ .. & .. œ œ œ .µœ œJ ‰ œ œ œ .µœ œJ ‰ .. .. 6 6 6 P 6 6

q. = 84

œœ œœ œœ œœ œœ œœ œœ œœ œ œj œ œ œ . œ . 6 Œ Œ .. 8 & .. · · · · ·. ·. 6 6 J J

j œ j œ œ œ ˙.

· · · · ·. J J

THE BUTTERFLY EFFECT Caroline Mallonée

VIOLIN II

Cells may be repeated; one may double back; one may insert rests in between cells.

q = 76

o 4 ˙ &4 æ !

Ó ˙

& .. "

o .. .. œj œ . o "

Ÿ ˙

.. .. œo œo œo œ œ œ . œO œ œO œ œO

˙·æ

µ œ œ œ œ œ ˙.

œ œ µw J ‰ ‰ J p

œ œ œ œ œ . & . œ Oœ # œ œ Oœ & .. œ œ

o œ œ œ œ œ

œ-œ œ-œ œ-œ œœ . & .

.. .. ‰ K œJ œ

q. = 84

œ 6 &8 ·

j œ œ

· · J

j œ

· J

œ.

·.

œ.

·.

.. ..

o o ‰ .. µ œœ œ . œ œ œ œ Ó œ

.. .. œ . ˙

æ ˙O U œ ˙ J

œ µœ œ œ œ .

œ œ

.. .. æ ˙O

æ ˙O

o œ œ œ œ .. .. œœ œ œœ œ .

.. "

sul pont. > œ œ œ œ œ œ ˙ .. Kœ œ œ œ ˙ . J ‰ J ‰ Œ .. .. Oæ & . æ ˙

j œ œ

· · J

j œj Kœ K œ. ˙ j œ

· J

˙.

·.

.. 68

Cells may be repeated; one may double back; one may insert rests in between cells. VIOLA

q = 76

B ..

œo

I. œ

œo

THE BUTTERFLY EFFECT Caroline Mallonée

j j œ .. .. ·œ ·œ ·œ . ·œ œ· ‰ ·œ ·œ ·œ . ·œ œ· ‰ .. . .

o o o o o œ œ œ œ œ œ œ œ œ œ µœ œ œ œ œ œ . œ œ œ . œ œ œ œ œ œ œ œ .. .. œ œJ‰ œ œ B .. œ ‰ ‰ Œ ‰ .. 6

j . B œO œ œO œ œO . œ œO œ œO œ œO ‰ B .. · · · · ·

.. ·œ .. œ ·œ œ ·œ œ ·œ ‰ J

· · · ·

œo .

Oœ

œo

Oœ

œo

Oœ

·œ .. œ ·œ œ ·œ œ ·œ J

‰

o o o o o o .. .. œ œ œ œ ·œ œ œ œ œ œ ·œ œ ..

· · B .. · · · · · · · · .. .. · · · · œo œo . B ..

œo

Oœ

œo

···· 3

œo œo Oœ .. .. J

·····

œo O . œo O œo O J œ. œ œ ..

CELLO *retune A string down to G (transposed; sounds a whole step lower) I

? ..

Cells may be repeated; one may double back; one may insert rests in between cells.

q = 76

· #· · · · · · · · · · ·

.. ..

(transposed; sounds a whole step lower)

? ..

· · · · · #· ·. · · · · · · ·. 3

œo œo ? .. œ ? ..

œo

o · œ œ

(transposed; sounds a whole step lower)

œo

œo œo œ · œo œ œ œ

o o o œ œ ? .. œ œ œ œ III

œo

œ o œ

œo

? .. · · · · o o ? .. œ œ œ

· · ·.

o ·œ œ

···· 3

· · · · · · ·.

.. ..

· #· · · · ·œ

œo

··· · · œo œo œ œo ·œ œ

.. ..

œ .. .. Oœ œ Oœ .. œ Oœ ‰ Oœ œ Oœ .. œ Oœ ‰ .. J J o œ

.. .. · · · œ

· · ·.

o o o œ œ œ · œ œ œ

œo œo .. .. œ

· ? .. · . . · · · · · . . · · · · · · 3

THE BUTTERFLY EFFECT Caroline Mallonée

j · · · ·

· · · · · · ·. .. .. · · · · ·

o o .. .. œ œ œ

o ·œ œ

j . · .

· ··· · ·

o o o œ œ œ · œ œ œ

.. .. ..

THE BUTTERFLY EFFECT Caroline Mallonée

II.

Throughout Section II, the cello is to improvise his part, playing only notes of the G harmonic spectrum, pizzicato. First time: Violin I (with cello). Violin II and Viola may play cells from Section I. Second time: Violin II enters one bar later in canon with Violin I. Viola may play cells from Section I.

q. = 84

6 &8 œ œ. œ & œ.

j œ œœ .

j µœ œ œ.

j œ œ. œ.

œœ . .

j œ µ œj œ . œ œ. œ.

j œ K œœ

Kœ œ. œ œ.

j œ œ œ œ ˙.

j Kœ œ œ.

œ. ..

j œ K ˙˙ . .

Begin canon at the half bar: Violin I, Violin II, Viola. (Rests may be inserted between phrases.) Violin I, Violin II and Viola may pause between phrases in this section (i.e. the canon will begin at the half-bar, but may change over time).

& œ œ.

j œ œ œ .

& œ œ.

j œ K œœ

œ & œ. œ.

j Kœ œ œ.

j œ œ œ.

j µœ œ . œ.

& œœ ..

œ.

œœ .

& œ œ.

j œ œœ .

j œ œ. œ.

j œ µœ œ j œ œœ . œ. .

j œ œ œ.

j œ œ. œ. œœ . .

j œ œœ . œ œœ . .

œ. œ.

µœ œ. Kœ œ. ©

j œ K œ œ.

j œ ˙˙ . .

j Kœ ˙ . ˙.

j Kœ œ œ.

j µœ ˙ . ˙.

j œ œ œ

j œ

j œ K œœ

j œ œ˙ . œ œ ˙.

˙˙ . . œ.

THE BUTTERFLY EFFECT Caroline Mallonée

III.

VIOLINS

In this section, repeat any of these cells, in any order. End with the rolled chords. Do not line up with the others in the quartet. pizz. 6 . j &8 . · · · œ œ œ

o 4 & 4 .. œ & .. œ· & ..

j ·œ œ· ..

o o o œ œ Kœ œ œ

œ·

U . & .gggK ww gg w

˙æ ˙

œ·

o o œ œ K œ œ .. .. · · · œ œ œ œ

˙o

.. ..

œ œ œ œ œ

&µ ˙˙æ

· œ ..

œ œ œ

o œ

U g o o g . . .. .. µ œ œ œ œ œ œ œ œ œ œ œ .. .. ggg ww gg w œ œ œ gg w œ U

. ·œ œ· .

ggg ww gg w

ggg KU w gg w ggg w gw

.. 44

j ·œ ˙· .. j · · · œ· œ œ œ

j .. œ·

œo .

j œo

.. .. ‰ œj œ K

(Vary the speed of the roll.)

ggg w ggg ww

j · · œ œ

ggg U w ggg ww ggg w U

ggg w ggg ww

œæ œ

œ w gg KU ggg w gg ww g

After electronics enter and rainsticks begin to play, diminuendo al niente.

THE BUTTERFLY EFFECT Caroline Mallonée

III. VIOLA

pizz.

B ..

o œ œ œ.

In this section, repeat any of these cells, in any order. End with the rolled chords. Do not line up with the others in the quartet.

o œ œ.

ggg ˙˙ gg ˙

B .. œ· œ œ·

o œ o o œ œ .. .. .. ..

œo

.. .. ·œ ·œ ·œ ·œ œ· œo œ J

‰

œ· œ· œ· œ·

œ œ œ J œ

‰

.. ..

o œo œ œo œo œo œ œo œ · · · · · · · · · . ·œ . . B . œ · . . œ œ œ œ œ œ œ œ œ œ· .. œ œ (Vary the speed of the rolls.)

U w

g B .. gggg ww g B

U w

.. ggggK w ggg w

U w

gg KU ww

ww ggg K U gg w

w ggg U gg ww g

gg w ggg w

ggg w

U w

ggg w gg w g

U w

gg w ggg w

ggg KU ww ggg w w gg U ggg w gw

gg w ggg w gg w

ggg µ w ggg ww

ggg ww ggg w

w gg U ggg w gw

.. ..

After electronics enter and rainsticks begin to play, diminuendo al niente.

III.

CELLO *retune A string down to G

·œ ·œ J

· ? 68 .. œ

(transposed; sounds a pizz. whole step lower)

? 4 .. œo 4 J œ ? 68 .. · œ ? 44 .. œ

j ·œ œ· œo

(top line transposed; sounds a whole step lower)

#gU w ? .. gg w gg w g

(top line transposed; sounds a whole step lower)

gg w ? .. ggg w ggg w g

# ·œ J

In this section, repeat any of these cells, in any order. End with the rolled chords. Do not line up with the others in the quartet.

·œ ..

œo œ J œ o œ

III

. œ· .

(Vary the speed of the rolls.)

gg w ggg w g

w ggg µU ggg w ggg w

#gU w ggg w gg w

ggg #U w ggg w gg w

·œ

ggg w gg w g

ggg K#U w ggg w gg w

ww ggg K#U gg w ggg

j 6 ·œ .. 8

j ·œ ˙· ..

.. 44 · œ

œ· U ggg µ w gg ww gg

U # gg ww ggg w g

U w

.. 44

j · ·œ œ œ· œ·

(transposed; sounds a whole step lower)

·œ .. ..

·˙ ..

# ·œ J

j ·œ œ·

œ·

· œ

œ·

·œ ·œ J

·œ

.. .. · · · œ œ œ

j ·œ œ· ..

œo

U w

THE BUTTERFLY EFFECT Caroline Mallonée

#gU w ggg w gg w w ggg #U ggg ww gg

.. ..

After electronics enter and rainsticks begin to play, diminuendo al niente.