Signo | ruptura meaning’s suspension for amplified Violin and Contrabass 2017 Omar Fraire Denton - Tx
Specific sound production techniques Performance notes Amplification must be done trough small condenser microphones, placed very near the bridge. The utilized ones for the recording were DPA SMK 4060.
Bouncing the peak of the bow between two strings, getting a continuous granular sound. Bouncing the
Time unit is = 90 - 110 MM. The numbers above the staff indicate group of units. Duration of the sounds are extended with a line. The line changes its shape according with the sound production technique. Each of the instruments is notated in two staffs. One for the position of the bow: between molto sul tasto and molto sul ponticello. The bottom staff is used here mainly for the position of the left hand. The bottom line for the violin is the bridge. A thick line indicates the movement
The top line for the bass is the bridge
General string conventions Beams indicate bowing changes. flautato = Very soft bow pressure, obtaining an airy sound. ov = Overpressure, obtaining an almost non pitched noise. clt = Col legno tratto, bowing with the wood of the bow. = Circular bowing, circular motion on the indicated strings. = An horizontal arrow indicates gradual transition from one state to another.
IV
= Left hand pizzicato. = Bartok pizzicato. = Violin only. Tapping the instrument body with the tip of the right hand fingers. On the space among the right corner (from the performer’s view), the f-hole and the fingerboard. = Highest pitch as possible. On the string indicated by the roman number. = Mute the indicated string with the hand, no harmonic production. Should be played with normal pressure, unless indicated, obtaining a non-pitched sound. = Bow the bridge to obtain an airy sound.
Violin. Place the tension screw between two strings, beat gently with a left to right motion.
Bass. IV string needs to be is tuned down 3 octaves below middle C. Bass. Rest the tip of the legno on two strings, Tap gently and continuously on the tip plate of the bow, making the bow to bounce a little, to obtain a dense granular texture.
Bass. Bow normally the IV open string. Push the III string with left hand, towards the IV to get the sound of the two string colliding.
Bass. Hit the string against the fingerboard. With the left hand fingers or palm.
Bass. Bow the tailpiece
5
4
flaut
3
5
5
3
2
clt (peak)
Volin p
mp
ppp
(jeté) flaut
clt
ov
flaut
Bass
p
5
mf
4
pizz bow
clt (peak)
p
1 pizz 4
5
3
(jeté)
bow
ppp
5
f
6
(tapping)
Vn
I II
I
sffz mf
mf
pizz bow
f
op
pizz
mf
sfz
ff
(bow)
legno
LH taping on bow tip plate
Bs ff
2
3
mf
mf
7
mf
mp
mf
p
3
4
flaut
mp
ff
5
4
5
ord
4
(bow on bridge) III
Vn p
mp
I
p
pp flaut
accel
mp
accel
clt
Bs
accel
mf
pp
mp
p
5
x3
op
2
ord
5
pizz
4
f
pp
sffz
5clt
4
(peak)
Vn
clt (peak)
mf
x3
tailpiece
op
flaut
Bs
ff
mp
4
5
3
2
clt
4
3
ord flaut
2
4
f
3
mf
2
1 5
Vn
mp
pp
mf
legno
f
flaut
ord
mf
pp
mp
LH taping on bow tip plate
Bs
pp
mp
4
3
2
mf
f
ord
2
5
7
2
4
clt
5
Vn
clt (peak)
pp
mf
ff
mp
Bs mf
f
p
f
pp
2
7clt
clt
6
ord
4
5
flaut
4
5
6
I
Vn
ff
mp
p
Bs ff
5
p
2
1 5
3
7
Vn mp (ord)
Bs
LH string against string
mp
2
5
3
4
III IV
5
2
pizz
4
3
bow
4
pizz
5
Vn
ff pizz
mf
ff
bow
Bs
III IV
mf
ff
mf
f
3
3
2bow
pizz I
Vn
ff
op
1
4
flaut
3
clt (peak)
op
2
3
7
clt (peak)
IV
ff sffz
sffz
7
mp
f clb
op LH string tap
Bs
LH taping on bow tip plate
f
ff
5
2
1 3
ff sffz
2
4
ord
mf
ff
2
3
screw between strings
Vn mf
2
sfz
p
4
3
mf
f
x3 pizz
LH string tap
Bs
p
5ord
pizz
ff
4
flaut
ff
mf
2
8
4
pizz
clt
LH taping on bow tip plate
ff
p
bow
f
2
ord
5
flaut
I
Vn
I
ff
p
ff sffz
IV
mp
mf
mp
p
Bs
4
4
5
3
mp
p
6
7
4
Vn
pp
Bs
2
mp
10
Vn
f
mp
5’ ca.
LH string tap
Bs
f
ff
mf
Omar Fraire 2017 - Denton TX