Oscar Bianchi ÉTUDE no.1 for piano
Oscar Bianchi ÉTUDE no.1 for piano
commissioned by the Association MusiKa for Joseph-Maurice Weder
score
First performance: 29 November 2018 Steinway Hall Suisse Romande, Lausanne
Joseph-Maurice Weder, piano
© 2018 Oscar Bianchi Tous droits réservés pour tous pays All rights reserved version of 01 October 2018 O & B 53
COMPOSER'S NOTE Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves). .Altered pitches might be sometimes respelled within the measure for cautionary purposes. EXTRA REQUIREMENTS Ebow, guitar plectrum, used credit cards, crine (string bow hairs)
LEGEND
Slide a credit card over the keys resulting in a “güiro” like sound. If a pitch is given in the score it refers to starting and arrival points. If no specific pitch is given, then the graphic refers from the lowest point of the piano keyboard to the highest. (examples: bars 1 - 22 and 27 - 28)
Multiphonics (such as at measure 23 and further): use your left hand to trigger the node of the corresponding string by playing the indicated note while your right hand is muting the vibrating string at the specific location point in order to produce the resulting harmonic indicated on the top staff. Locations of where the contact points are located inside of the piano are specified in the score (see board terminology for reference).
Place an ebow over the string (one octave below the noted resulting sound) and behind the dampers. The ebow should be allowed to ''ring'' until the ÂŤ Segno Âť mark will indicate to be taken off the string (examples at measures bars 23 and 29).
Produce an harmonic glissando by sliding the finger through all the nodes in between the indicated harmonics. Please note that higher harmonics are closer to the keyboard while lower are further from (example at measure bar 47 and further).
pluck the string to create a short pizzicato like sound. The specific pitch and location is given in the score (see chart given for reference). (examples at bars 47 and 72).
Press only the white notes on the keyboard within the given range of the cluster (in this case a fifth interval). Example at measure 46 and further.
Pull the string rightwards so vigorously that it will strike back leftwards against the frame, hence producing a thunderous sound (example at measure 64).
The flanger effect is created by quickly ‘intercepting’ the vibrating string: approach the surface of the thumb's nail against the vibrating string (after the pizz). Example at measure 64
Continuously bow ad libitum as much as needed in order to sustain the sound and according to the indicated dynamics. Bow again when notes are restated (untied). Example at measure 65 and further.
Scrape the tuning pins with a guitar plectrum (examples at measure 78)
Use both forearms to create a full cluster (both black and white keys) around the given pitch area (examples at measure 104 and further)
BOARD TERMINOLOGY
to Fred Lerdahl
ÉTUDE no. 1 for piano
Oscar Bianchi 2018
A Il fruscio (pungente ed impenetrabile) q = 40
3 4
~~~~~~~~~~~~
~~~~~~ ~~~~~ ~~~~~ ~
~~~~~ ~~~~~ ~
~
~~~~~ ~
~~~~~ ~~~~~ ~~~~~ ~~
ë '' f '' '' pp ''
'' pp ''
~~~~~
~~ ~~~~~
~~~~~~
~~~ ~~~~ ~~
~~~~ ~~ ~~~~ ~~~
˙
3 4
~~~~~
~~~~~~ ~~~~~ ~~~~~ ~
~
~~~~~ ~~~~
˙
œ
~~~~
~~ ~~~~~
~~~~~
~ ~~~~~
œ
~~~~~
4 4
~~~~~
˙
œ ~ ~ ~~~~ ~ ~ ~ œ ~~~ ~ ~ ~ ~ 3 ~~~ 16 ˙ ~~ ~~~~ ~~~~ 3 ~~~~ 16 œ ~~~~ ~~~~ ~~ œ ë '' f ''
˙
~~~ ~~~~~~
3 8
4 4
~~~~~~
~~~~ ~~~~~ ~~~~~ ~~~~~
?5 4
{
~~~~~
~
Piano
~~~~~
~~~~~
j œ J
˙
˙ ~ ~~~~~
~~~~~
~~~~~ ~~~~~ ~~~~~ ~~
˙ ~~~~~
~~~~~
5 &4
œ ~~~ ~~~~~ ~~~~~ ~~ 3 ~~~~~ 8
~~~~~~ ~
˙
œ
Dynamic are relative to the nature of the sound quasi sub
quasi
= accel
a tempo
5 16
˙
œ
~~~~~ ~~~~~ ~
~~~~~ ~~~~~ ~~~~~ ~~~
~~~~~ ~~~~~ ~~~~~ ~~~
~~~~ ~~~~ ~~~~ ~~~~ ~~~
~ ~~~~~ ~~
~~~~~ ~~~~~ ~~~~~ ~~~
~
~~~~~~
~~~~~ ~
~~~~~ ~~~~~
5 16
˙
~~~~ ~~~~~ ~~~~~ ~~~~~
~~~~~
˙
~~
~~~~~
~~~
˙
~~~~~
~~
~~~~~
~ ~~~~
'' pp '' sub
4 4
j œ
~~~~~
5 ? 3 ˙™~~ 4 ~~~~~~ 16 j ~~~~~~ ~~~~~~ ~~ œ™
{
~~~~~
~~~~~
~~
~~~~ ~ ~ ~ 5 ~~~~ 4 ˙ ~~ ~~~~ ~~~~ ~~~~ 45 ~~~~ ~~~~ ~~
˙
œ
~~~~~
~ ~~~ ~~~~
~~~~~
~~~~~
4 4
˙
~~~~~
~~~~~
œ J
˙
~~~~~
~ ~~~~~~
~~~~~
~~~~~ ~ ~ ~ ~ ~ 6 ~~~~~ ~ ~ ~ ~ ~ ˙ ™~ 3 5 &4 16 J
˙
~~~~~ ~~~~~ ~~~~~ ~~~
Ϫ
'' pp '' sub
ê'' f '' quasi
= molto accel.
a tempo
~~ ~~~~~~
~~~ ~~~~~ ~~~~~ ~
~~~~~~ ~
~~~~~~~ ~~~~~~~ ~~
~~ ~~~~~~~ ~~~~~~~ ~
~~~~~~ ~
~~~~~
3 4
Œ
˙œ
~~~~~ ~~~~~ ~~~~~ ~~~
~~~~
~~
~~~~~ ~
~ ~~~~
Ϫ
~~~~ ~~~~~ ~~~~~ ~~~~~
4 4
~ ~~~~
3 4
~~~~ ~~~~
j
~~~~~
~~~~~~~ ~
~~~~~ ~~
~~~~~ ~~~
~~~~~~~ ~~
~~~~
~~~~~
~~~ ~ ~ ~ ~ ~~~ ~ ~ ~ ~ ~ 3 4 4 ˙™~~~~~ 4
~ ~~~~~
J
~~~~~
~~
~~~~~ ~~
~~~~~~~
~~~~~~
~~ ~~~~~~~
~~~~~ ~~~~~ ~~~~~ ~~
˙
~~~~
~~~~~ ~~~~~ ~~~~~ ~~~
waves ✶
ord
~~~~~
~~~~~~
œ
~~~
~~~~~~ ~
˙
waves ✶
~~~~~
~~~ ~~~~~~ ~~~~~~
~~~~~
5 4
Ϫ ~~~~~
~~~~~
~~
~~~~~~
~ ~~~~~ ~~~~~ ~~~~~ ~~~~~
~~~~~~
3 8
~~
~~~~~ ~~~~~~ ~~~~~~
~ ~~~~~~
3 8
˙
molto rall.
~ ~~~~~
~~~~~
~~~~~~ ~
~~ ~~~~~
~~~~~~
~~
5 4
˙
~~~~~
~~~~~
~~~~~
quasi sub waiving back an forth the card
œ
˙
~~~ ~~~~~ ~~~~~ ~~~~~
~~~~ ~~~~~~~
~~~~~ ~~~~~~ ~~~~~~
~~~~~
{
~ ~~~~~~
˙
3 4 ? 5 œ™~~ 5 16 J ~~~~ 4 16 J 4 ~~~~ J ~~~~~ ˙ œ ˙ ë '' f '' '' pp '' ê '' f '' '' pp '' sub quasi quasi sub = waves ✶ ord waves ✶ ord ˙~~~ ˙ ~~ ~~~~~~ ~~~~ ~ ~ ~~ ˙ ~~~~~~~~~~~ ~ ~~~~ 17 ~ ~ ~ ~~~~ 3 3 4 ~ j ~ ~ &8 16 œ 4 ˙~ J ~~~~ ~~~~ 4 3 ?3 ~~~~ 16 8 4 ~ ˙~~~ ~~~~ ~ ~ ~ ~ ~~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ ~ ~ ~ ~ ˙ ˙ ~~ ë '' f '' '' pp '' (✶) reach the following note while
{
˙
~~~~~~
4 4
~~~~~~~
r œ R
~~
3 16
˙
~ ~~~~~~
j
˙
~~~~~~
~~
~~~~ ~~~~ ~~~~ ~~~~ ~~~~
~ ~~~~~~
~~~~~
~~~~~~ ~
˙ ~~~~~~ ~~~~~~ ~
œ
~~~~~~
~ ˙ ~ ~ ~ ~~~ ~ ~ ~ 11 ~ œ ™~~~ J 5 5 & 16 J 4
? ‹
3 4
˙ ê '' f '' '' pp ''
'' pp '' sub
quasi sub All rights reserved for all countries
© 2018 Oscar Bianchi
O & B 53
2
L'irruzione (assoluto e confuso) Tempo I (q = 40) accel rit multiphonics in front of dampers (multiphonics) 25th 24th
ebow (resulting sound) 32nd
≈ 3 4
>-O #O 3 & 4 ‰™
23 resulting harmonics by damping the string corresponding to the depressed l.h. pitch ✶
> 5 #OO ≈ ‰™ 2 16 4
(lv until segno)
2 4 œ
?3 ‹ 4
credit card (R.H.)
∑
? ‹
‹ &
3 4
2 4
? ‹
œ
5 16
∑
2 4
5 16
∑
2 4
5 16
≈ ‰ ™ 42
œ
✶✶
œ
?3 ‹ 4
credit card (L.H.)
∑
? ‹
‹ &
3 4
2 4
? ‹
œ
œ
✶✶
{
?3 ‹ 4
pressed keys for multiphonic
‰ ™ Œ Œ 43 >œ fff °
2 4 ë
ppp
œ >fff ° ø
pp
''f'' quasi
ø
(✶) nd the right position over the string in order to produce the indicated resulting harmonics (✶✶) uidly bind the gesture between le and right hand resulting in an overlapping the two the hands.
=
q = 60 in front of dampers come un corale, monumentale 12th 11th
27
2 &4
≈ 4 #O 4
3 4
3µO
10th
n12th O
n≈ 3O
15th
14th
n3O
n3O 3
ebow
≈ #‚ 4 &4
˙™ › 3 &4
?2 ‹ 4
? ‹
pizzicando la corda (sul B4)
‚
3
‰ Ó
∑
Ó
&‰
≈‚ Œ
˙ mf
™ › ˙ 3 &4
?2 ‹ 4 ˙ ?2 ‹ 4
% (ebow off)
4 4
? ‹
≈
{
3 4 ê '' f ''
≈
?4
? ‹
4 # ˙pp > f °
ppp quasi
=
n ˙>
˙ >ø°
˙ >-
˙ >ø°
# ˙> ø°
ø
q = 50 32 15th
12th
behind the dampers 2/7 ✶ l.v.
#O & n3O
rit
O O
#O
5 8
nO
4 4
∑
ordinario (press key)
œ #˙ ∑
œ
˙ #œ
Œ
&
5œ 8
Œ
4 4
‰
mf
{
? ‹ #˙ >ped sim.
˙ >-
#˙>
˙ >-
#˙>
n˙>
mf (✶) second node, seventh harmonic (resulting pitch -35 cents) O & B 53
5 8
∑
? ‹
4 4
3
Foga e tonicità B q = 72 ～80 9th
> O
O 4 &4 ‰ >
resulting harmonics R.H by damping string with hand ✶
25th 24th
multiphonics in front of dampers 12th 24th
36
> #O>O ‰ ≈ Œ O
≈
4:3
(✶) please note that the furthest from the tuning pins the lower the harmonic 5 5
?4 ‹ 4
L.H
≈
≈
≈ nœ. nœ. nœ. nœ. b œ. n œ b œ # œ # œ œ . . . œ. . .
œ. # œ. # œ. œ.
6
3
≈ œ. >œ. n>œ. b >œ. >œ. n>œ. >œ. œ. b >œ. > >
f 4:3
pressed keys L.H
{
?4 ‰ ‹ 4bœ >
‰™
≈
‰
>œ
≈ Œ
œ >-
fz
n œ>
sim.
= ø°
°
ø 25th 24th
32nd 37
>-O
Tonal pedal (individual pitches only)
>-O # O ≈ ≈ ‰
7
‰
‰™
Œ
‰
‰
& 4:3
4:3
7
? ≈ œ. bœ. nœ œ bœ bœ bœ b œ ≈ n œ œ #œ #œ #œ. nœ #œ nœ ‹ º º º º º > > nœ nœ nœ º . . . #œ nœ .> ? ‰ Œ ‰™ ‰ ‰ ≈ ≈ ‰ ‹ œ œ > > = 12th 38 24th > 24th O O ‰ ‰ ≈ O ‰ ‰™ ‰ & ≈ > > 7
{
9
4:3
5:3
? ≈ ® ≈ œœœ ‹ œ œ œ œ # œ œ #œ#œ œ nœ nœ œn œ b œ œ œ œ n œ #œ#œ œ œ # œ œ. # œ n œ œ. nœ. #œ. nœ. #œ. œ. #œ. . . . . . . .
{ {
? ≈ ‰ ‹ b >œ = 25th 24th 9th 39 >-O ™ > # O R™ & O ‰
? ≈ ‹
‰
≈ >œ
‰™
‰
‰
>œ 13th
≈™
≈™
®
‰
> #O
Π5
4:3
5:3
4:3
≈ 3
5:3
≈ œ. œ. œ. ≈ ≈ b œ bœ. # œ œ # œ n œ # œ . b œ n œ b œ n œ œ œ. . . . . œ b œ n œ. # œ. œ. . . . . . œ œ œ. œ. # œ. >. >œ. > >œ. … . . >. >. ? ‰ ≈™ ≈™ ® ≈ ≈ #œ Œ r ‹ bœ > n>œ ™ b >œ > ®
O & B 53
4
32nd 13th
>- ™ 16th 3 O #>-O O >-O 3 4 8
13th 5
13th 40
> & ≈ O‰
> ≈#O
‰
‰
OŒ
3
5
9
3
3 ≈ ∑ bœ. 4 œ n œ # œ œ # œ œ b œ œ n œ b œ . b >œ. n œ. b œ. n œ. >œ. >œ. b œ. >œ. œ œ œ œ # œ n œ œ # œ œ. > >œ. >. œ > > >> > > … … 3 ? … ‰ ‰ ≈™ Œ 4 ‹ œ <n> œ b >œ œ œ bœ œ ™ > > > >œ #>œ œ > ? ‰ ‹
≈®
3 8
5
{
3 8
= 6
4Œ
≈ ≈ ‰ Ó ¿ ¿
le thumb pizz or hit
&4
f harmonic glissando 32nd
28nd 14th 14th
28nd
>O 3 R &8 ≈ ‰
‰
>-O 5 b>-O >-O ™ 8th j 58 8 #-O >
(q) . 32nd . # O. 7th . . . j J O
O. . . . 14th . ≈ #14th 4 O O 4
∑
5
7
6
6:5
(white keys clusters) 5
? 3 ≈ bœ bœ œ œbœ. 5 ‹ 8 >. >œ. >. >. >. > 8
5‰ ™ 8
∑
‰ ‰ ‰ ‰
‰J
4 4
∑
mp 6
(q) 7
{
?3 r ≈ ‰ ‹ 8œ >
‰
5
5 5 j 8 8 #œ œ > > >œ™ #>œ f
∑
4 4
≈ >œ >œ >œ >œ >œ # œ
j j œ œ. œ. œ. œ. œ. œ.
f
= 32nd 32nd 32nd 32nd 32nd 32nd . . . b O. . . . . . O . . . . . O # O 14th . . . O # O 14th . . . . . O O 14th 14th 46 (q) . . (q) . (q) . . . .. . .. . 9th . . . 7th . . r . . 7 R R 3 R . . & .r . 4 16 O . . 32nd
5
5
5
5
7 7
7
(q)
(q)
(q)
7
7
5 7
5
5
5
7 ? r r r 43 r r b œ œ œ œ œ 16 œ œ œ œ œ ‹ œ. œ. œ. œ. œ. œ. œ. œ. œ. œœœœœ . . . . . . . . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œœœ . . . œ. . . . . . . . . . . #œ. œœœ . . . œ. œ. œœœœœœœœ
{
O & B 53
5
32nd . . 14th . . . n O32nd O . b O . . 14th . .
32nd
n>-O
48
25th 24th 7
7 & 16
‰
2 8
Œ
9 16 ‰™ 5
‰
‰
>-O # O ≈ ≈‰
4 4
5
f 4:3
7 4:3
? 7 ≈ nœ #œ ‹ 16 >œ. b>œ. n œ. n œ # œ f > ? 7 ‰ Œ ‹ 16 œ >
{
2 8
9 16
∑
œ œ
4 œ œ bœ bœ bœb œ ≈n œ œ#œ#œ#œ. 4 œ º º º º º º . . . 7
5
5
2 8
9 16 ‰™
‰
‰
b œ. œ. œ. œ. œ. n œ.œ œ.œ œ.œ œ.œ œ.œ
≈
4 4
≈‰ >œ
= 28nd 14th 14th
b>-O 12th 51 24th
24th
O‰ >
4 &4 ≈
> ≈ O ‰™
O ‰
>-O >- 8th 4 #O ™ j 4 O >-
5 8
Œ
7
> 9
4:3
5:3
?4 ≈ ® ≈ œ. œ. 58 œ 4 œ œ œ œ # œ . œ # œ n œ œ # œ n œ # œ ‹ œ œ # œ œ #œ œ nœ n œ b œ œ œ n œ #œ œ. # œ. œ. # œ. n œ. œ. nœ. #œ. . . . .
4 4
∑
7
{
?4≈ ‹ 4
‰
‰
‰™
≈
b >œ
>œ
5 4 j4 8 œ bœ > > b >œ ™ >œ
Œ
>œ
= 25th 24th
13th
53
4 &4
> #O ≈
b O>-O
9th
® ≈™
‰
‰
‰
Œ
∑
O > 4:3
5:3
4:3
5:3
5
(anche nota singola, cantabile) 3
?4≈ ™ ® œ. œ. œ. ≈ ≈ bœ ≈ b œ ‰ # œ ‹ 4 œ # œ n œ # œ . . œ œ. œ. # œ. œ. b œ. n œ. . . œ. b œ. n œ. # œ. œ. b œ. n œ. . . . >. >œ. > >œ. >œ. >œ. mp ‰ ‰ …
{
?4 ‹ 4
® ≈™
‰ >œ
‰
‰
‰ 5
?
‰
≈
b >œ
#œ ‰ >
‰
≈ >œ
O & B 53
∑
6
14th 32nd 55
>-O >O #O
&
(q)
(-28 cents) O. . . . 14th 14th O. ≈ #O
> >-O ™ -O
.
. #32nd O.
. 7th
.
. J
j b OO
7 8
j œ. œ. œ. œ. œ. bn œœ
7 8
5:4
f 6
6:4
(q) 5:4
?
{
? ‹
>œ
>œ
>œ >œ >œ >œ >œ
œ n>œ ™
#>œ
≈ j œ.
#œ
= . . 32nd . # O(32nd) . . . # O O . . . . . O O n O # O . . . . b O n O (14th) . . . O (q) sim. . . . . . . . # ‚ ‚ . 7 3 r R ÷ 16 &8 . . .
57
5:4
5:4
5:4
5:4
7
(q) 7
5:4
5:4
5:4
5:4
3 ?7 r r 8 16 # œ œ œ œ œ œ œ œ œ œ ‹ b œœ œœ œœ œœ œœ œœ œœ œœ œœ# œ.œ œ.œ œ.œ œ.œ œ.œn œ.œ œ.œ œ.œ œ.œ œ.œ nœ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. . . . . . . . . .
{
= ngers position ✶ 58
‚ 32nd:
3 ÷ 16
7 O 16
∑
4 4
O™ O J
≈ O
‚ 14th: 6
6
? 3 ‹ 16
{
7 16
∑
4 4
≈ œ >.
œ >.
œ. b >œ. >
œ. n>œ. >
œ. # œ.
œ.
œ.
ff
=
(✶) r.h. four ngers (2-5) hold the same positions over the four strings A0, A#1, B0, C1. Steps up and down in the graphic correspond to increase or decrease of resulting harmonics
60
9
O ÷ 44 O
O O
O™ O
4
O™
O ® O™
&8
O™ 9
4:3 5:3
?4 ‹ 4
{
≈
®
nœ #œ œ œ nœ#œ œ œ nœ#œ œ œ nœ#œ œ œnœ #œ nœ #œ œ
O & B 53
4 ≈ 8 œ œ n œ. # œ. œ. n œ. # œ. œ. n œ. # œ. œ. . n œ. # œ. œ. . n œ.
7
q = 60
accel (ord)
attacca
. . . . # O. . . . O. . . . b O. pull string ✶ « anger pizz » ✶ subito 61 (14th) . . O . . . ≈ . . 4 4 ? 10 ‰ ≈Œ j‰ ‰ Œ ‰ Œ ≈ Ó &8 4 ‹ 4 6 -¿ -¿ -¿ -¿ -¿ -¿ >(32nd)
5
3
5:4
5:4
5:4
5:4
'' mf ''
(bar's lenght should be proportional to decay's lenght) 5:4
5:4
5:4
5:4
?4 ‹ 8 œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ b œ. œ. œ. œ. œ. . . . . . . . . . . . . . . .
{
10 4
?4
∑
4 sffz
° (✶) pull the string rightwards so vigorously that it will strike back le wards against the frame, hence producing a thunderous sound. (✶✶) e anger effect is created by quickly ‘intercepting’ the vibrating string: approach the surface of the thumb's nail against the vibrating string (a er the pizz).
O & B 53
8
C Plenitudine e rifrazioni q = 60 partials gliss (sounding) ✶✶✶ quasi giubilante, esuberante
O OO
63 partials:
?4 ‹ 4
O O OOO O O JJ
3
O™ J
fundamental:
∑
O
O O O O™ O J 5
5 5 5
crine (in front of dampers) ✶ (still) (resume bowing) (right)
≥ ≥ ✶✶ ‰ ‚j ‰ ‰ ‚ O ™ 3
(le ? 4 O≤ ™ 4-
)
5
{
5
3
3
5
O
f
5
j j ‚ -‚ -‚ ≈ ≈ ‚ ™ ‚ ‚ ‚ ‚ ‚ ‚ ‚ O ø
j ‚ ‚ ‚ ‚™ ‚
O
(✶) continuosly bow ad libitum as much as needed to sustain sound according to indicated dynamics. Bow again when notes are restated (untied) (✶✶) over long notes change bow direction if needed (✶✶✶) by applying pressure and slighly changing bow's angle harmonic partials become more prominent and audible
°
= pizzicato beyond trebble bridge (result 15va) (III-IV sections)
‚
b‚
‚
‚
J
J
‚
69
‚ #‚ J
‰
#‚ n‚ #‚ ‚ #‚ ‚ R ‰
& 5
5:3 3 3
5
fz
pizzicato over strings (between dampers and trebble bridge) sounds loco 3 3
‚ Œ Œ
‰
‰
‰
Œ
& (fundamental)
& O
O ∑
{
? O
∑ O
= n‚
(III section)
‚ 71
‚ #‚ ‚ j b‚ n‚
&
‰ Œ
‚ Œ
≈
Ó
3
b‚
✶ ‚ ‚ #‚ # ‚ # ‚ ‚ ‚ ‚ #‚ ‚ b‚
& Œ
n‚
‰
Œ
Ó
5:3
partials (sounding) fundamental (✶) picchettato (tap) if too fast for pizz
“ b O b O O O™O™O O™ O™ O O Œ ‰ &
∑
&
O O
O
crine (behind dampers) ✶
{
? ∑
Œ ‰ O O
O
O™
-‚. J
-‚. -‚. -‚™‚™‚ . -. -. -‚™ . -‚™ . -‚. ‚ J 5
f 5
O & B 53
ø
9
3
(pizz)
‚ ‚ b ‚ #‚ 3 4 & ‰ J ‰ ‚ J 16 ∑ 4
75
scrape on tuning pins
‚ 3
(pizz)
‚ b‚ #‚ &
‚
¿™ 3 4 16 J 4
partials gliss (sounding)
O 3 ÷ 4 OO fundamental: 16 ∑ 4
3
partials:
&
∑
Œ ‰ O™
O O O O O O™ J
O O
O O O O ™ O (fundamental) O O J
&
5 5 5 5
(still) (resume bowing)
{
3 3 5 5
? ∑
3 ∑ 4 ‰ ‚≥ ‚ √ 16 4 - ‚ ‰ ‚ ™
5 5
j ‚ ‚ ‚ ‚ ‚ ‚™
O
O
j ‚ ‚ ‚ ‚™ ‚ O °
O
=
più mosso (qq = 72) 82
#‚ n‚ #‚ ‚ ‚ n‚ ‚ #‚
&
8 8
3 8
8 8
3 8
#‚ ‚ #‚ ‚ #‚ #‚ ‚ ‚ &
improvvisamente ritmico
bO O O O O O O O O O bO O O O O O O O O O O OO O O O O O ∑ &
8 8
‰ 83 5
{
? ∑
3
> > > > > > > > > > > > > > > > > > >>> >> >> 8 ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚R ‚ ‚R ‚ ‚ ‚ ‰ 3 8 8 Ô Ô 5
O & B 53
3
10
D q. = 60 (pizzicato beyond trebble bridge) III section
III s. ‚ ‚ ‚ II s. b‚ b‚ ‰ #‚ ‰
‚ 85
‚
3 &8
‰ ‰
f quasi
‚
#‚ ✶✶
‚ ‰
‰
b‚
5 8
‰ Œ
3 8
‰ Œ
3 8
(✶) chromatic gliss 3
(pizzicato on the strings)
‚
#‚ ‚
#‚
3 &8 ‰
‰
‰
‰
‰
‚ ‚
‚
(III section)
≈ ‰
‰
5 ‰ 8
‰
mp
#œ #œ ordinario (press key)
-œ
-œ
{
3 &8 ‰
‰
‰
# -œ
# -œ ™ ✶
‰
‰
≈
n œ ™✶✶
5 ‰ ‰ 8
‰ ‰
3 8
mp (✶✶) white keys gliss (✶) black keys gliss
= “IV s. 90 I‚ ‚ b ‚ ™™™ 3 ≈ ≈ &8
‚
‚ 5
b‚
‚ ‚™™™
‚
>‚
‚
b>‚
‚ ≈
≈
6 8
≈
≈
5
≈
≈ ≈
‰
≈
3 8
‰
6
3 &8
∑
6 8
∑
3 8
∑
œ
◊œ
6 5
œ
œ œ œ œœœœœ œœœœœ œ b œΩ œΩ Ω œ œ b œ #œ nœ 3 œœœœœ œ #œ œ 68 ≈ ≈ ≈ ≈ ≈ ≈ œ 8 œ œ bœ œœ œœœœ œ œœœœ œœœœœ œœœœœ œ 4
3
{
3 &8 ≈
≈
3
5
3
6
3
5
= tuning pins (with plectrum)
rapido III s.
¿
<“>
‚
‚
‚ ‚
5
™™™
93
b‚
3 &8 ≈
≈
‚ ‚™™™ ‚
‚
¿ ™™™
b‚ #‚ ™™™
≈
≈
≈
b‚ ™™™ ‰
3 4
‰
III s.
f
f
5
II s.
‚ b‚ ™™™
3 &8
∑
∑
‰
‰
‚‰ ‰
3 4
∑
3 4
b ‚ ™™™ f
f
◊ œ
5
œ
{
3 &8
b œ #œ nœ ≈
#œ œ ≈ bœ
œ ≈
œ b œΩ œΩ Ω ≈ œ
5 6
3 3
O & B 53
∑
11 IV s.
a tempo
“‚ ‚
III s.
‚ ‚
97
3 &4
3 8
∑
‚
‚
#‚ ‰ # ‚J
✶✶
‚ ‰
#‚ ‰
5 8
‰
‰
Œ
3 8
5 ‰ ‚ ‚ ‰ 8
Œ
3 8
3
(✶) chromatic gliss
“‚ b ‚
#‚
3 &4
3 8 ‰ bœ
∑
‰
‰™
‰
‚ ‰
‰ œ
#œ
-Ϫ
{
3 &4
-œ J
3 8
≈ ‰
# -œ
#œ ™ ✶
✶✶
‰
≈
‰
5 ‰ ‰ 8
‰
3 8
b˙™ (✶) black keys gliss
mp (✶✶) white keys gliss
= IV s. III s.
‚
‚
5
102 I n ‚ #‚ n‚ 3 ≈ ≈ &8
™™™
™™™ ≈ ‚ ≈ ‚ ≈ ‚
3 4
∑
≈ 3 8
‚ ‚ ‰
‰
5
‚ b‚
3 &8
∑
3 4
∑
∑
3 8‰
‰™
“œ
-Ϫ
bœ
◊ œ
{
3 &8 ≈
6 5
✶✶
Ω Ω Ω #œ œ nœ #œ nœ 3 ≈ #œ ≈ œ bœ œ ≈ ≈ # œ 4 œ œb œ n ˙ ™
3 8
≈ ≈
5 3
(✶✶) white keys gliss 3
=
‚ ‚ 106 ✶✶
‚ #‚ ‰ &
5 8
‰
Œ
3 8
‰
Œ
3 8
(✶) chromatic gliss
‚ & ‰
‚ ‰
5 ‰ 8
‚
œ #œ
{
& ‰
# -œ J ‰
5 ‰ 8
‰
“ ben articolato œ #œ nœ #œ œ œ œ # œ œ # œ œ #œ œ # œ 3 8 14
mp
O & B 53
12
q = 60 III s.
‚
‚
5
108
‚ ≈ ‚ ≈b‚ ™™™ 3 &8
≈ ‚ ≈b‚ ≈n‚ ™™™
4 4
∑
∑
5
crine (in front of dampers) esuberante
3 &8
∑
≤ ?4 ‰ 4 -O
∑
di nuovo esuberante
≥ ‰ ‰ ‚j ‰ Œ -
3
≥ Œ ‚j ‚ -
3
Œ
f
f improvvisamente introverso
◊
cluster with hand
>œ > Ω > >Ω >œΩ n œ nœ œ œ > >œ# œ >œ 4 œ # œ œ 3 ≈ œ #œ ≈ ≈ #œ &8 ≈ ≈ 4 ‰™ Œ Ó
{
-.
5
?
6 5 3 3
f
-. -. -. ord l.v. . ‰ . ≈ ‰ ‰ ‰ ‰ ‰ j Ó œmp > “ 7:6
f sub
= multiphonics in front of dampers 32nd (articolato)
>- ™ 16th > O > j - 4 3 ‚ ‚ ‚ ™ & 4 #-O O O 4 Ó 5
112
œ#œ œ#œ œ # œ ‰ œ#œ œ ‰ Œ
5
? O
Œ
3 8
Ó
ff pp introverso cluster with both forearms ✶
? ∑
3 4
-- ™ - ÷4 4 - ™ -- - - -- Œ -- -
∑
Œ
-™ -- -- -- - - ™ ---- - Œ 3 8 - 5
p quasi
5
p quasi lv
{
? ∑
3 4
4 4 œ> ™#>œ œ >œ
∑
3 8
∑
(✶) pitches ad libitum: nd a comfortable position and follow contour of the line
f
= (articolato)
bœbœnœbœnœ b œ n œ b œ n œ œ b œ n œ œ
116
3 &8
∑
4Ó 4
Œ
≈
bœ (sospeso)
∑
5 8
∑
5 8
14
p
÷ 83
{
∑
-- ™ - 4-™ 4 - - - -- - -
-R
≈
5
pp quasi O & B 53
‰
13
accel
e = 160
harmonic gliss
. . . . # O. . . . . OO. . (32nd) . . b O.≈ O . . . . . . 5 ‰ &8
32nd . 14th . . . n O32nd O. . b O . . . 14th .
119
(sospeso)
(14th)
∑
2 8
5 ∑ 7 8 8 5
5:4
5:4
5
5:4
5:4
≈ ‰ œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ.œ œ.œ œ.œ œ.œ œ.œ b œ. œ. œ. œ. œ. 5:4
?5 8
{
5:4
5:4
5:4
mf
5
∑
5
2 8
5 ∑ 7 8 8 b œ. œ. œ. œ. œ. n œ.œ œ.œ œ.œ œ.œ œ.œ
ffff
ff
=
32nd
32nd
>-O 7 & 8 ‰™ ‰ Ó
5 8
?7 8
5 8
∑
>-O 3 5 8 ≈‰ ‰ 8
∑
3 8
123
‰™ ‰ Ó
{
≈ ‰ ‰ 58 b >œ
>œ
∑
O 9 24th 8 ≈ ‰ ‰ Œ™ >
Ϊ
4 4
∑
9 8
Ϊ
4 4
≈ ‰ ‰ Œ™ b >œ
fff fz
fff
ø
° ø
°
ø
°
=
q = 50 128
behind the dampers 2/7 ✶
#O 4 &4 J ‰ Œ
Ó
Ó
#O J ‰ Œ
∑
“ O J
‰
Œ
√ Ó
œ J Œ
Ó
Œ
√ Ó
3
4 &4 Œ
#œ ™ ‰ Ó
#œ Ó
Œ
‰™
∑
‰ ‰
Berlin, 28 September 2018
ordinario (press key)
mf
{
?4 4 #œ. ‰ Œ >
n>œ. Ó
Ó
nœ. ‰ Œ >
∑
‰
mf (✶) second node, seventh harmonic (resulting pitch -35 cents)
ø°
° O & B 53
ø
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