Nachtlied For String Trio
Sean Harold 2014
Nachtlied For String Trio Duration: Approx. 12’
NOTATION: Arrows: Arrows connecting one technique to another (for example, ord. to sul pont) indicate a slow change over the duration of the arrow. Behind the Bridge: Notated with X noteheads on the pitch of the string to use (D4 for string III on violins or string II on the violas, A3 for string I on the celli, etc). Bow Drag: To do this, drag the bow vertically, as opposed to horizontally, over the strings between the bridge and the fingerboard. There should be absolutely no horizontality in the bowing, only an up and down vertical motion. This is best achieved by holding the bow in one’s fist and playing near the frog. The rhythm of the drag is non-specific, but should be rapid. Box notation: A series of pitches given in a box indicate that those pitches should be played repeatedly and quickly for the indicated duration (see Wavy Lines). Circular Bowing: Circular bowing is a constant shift between molto sul pont and molto sul tasto (unless a specific area is given) while bowing. “Dynamics”: Dynamics given in quotation marks indicate effort, but not necessarily the actual resulting dynamics. (Dynamics): Dynamics given in parentheses indicate resulting sound, but may require less or more effort than expected (usually used to marry naturally quieter sounds to the rest of the texture). Harmonics: Harmonics in this piece are written as normal, but with the addition of a circled number that indicates the partial number of the harmonic. For example, 2 would be the second partial (the octave harmonic), 3 the third (octave plus a fifth), etc. Harmonic Gliss: Harmonic glissandi are glisses up and down the harmonic series. They are notated simply with the open string(s) to be used in the gliss. Harmonic Trill: Harmonic trills are played by rapidly trilling between the open string and the given harmonic. Muted Pitches: Muted pitches are played by placing multiple fingers gently on the string with enough pressure to mute the string, but not enough to produce a pitch (à la natural harmonics). The pinky finger (or whichever finger is nearest the bow) should be placed at the written note, with the other fingers behind it (nearer the nut). Muted pitches are notated with square noteheads. Mute Trills: Mute trills are trills between muted pitches and normal ones. To do this, the muted sounds should be played as explained above. To move to the pitched sound, the player should simply press fully down with their pinky (or finger playing the given nodal point/pitch). The rest of the fingers should remain in position to facilitate a smooth movement between the two sounds. The trill should be non-pulsed, moving quickly between the sounds, but not so fast as to prevent either one from singing. Vibrato: Vibrato is sometimes given as a written instruction. Other times, however, vibrato is written graphically. When this is the case, the general contour of the vibrato should be followed, but it need not be exact. Wavy Lines: Wavy lines indicate the continuation a specific technique, and give the duration of the ad lib. box moments.
Written for the ECCE for the Etchings Festival
Microtonal Notation No microtonal accidentals are used in this piece. The microtones in this piece are primarily based on simple ratios. As such, the bulk of the pitches in the piece should simply be played “in tune” (according to a 5-limit Just Intoned system). The fundamental of each movement or section is given in an ellipse (IE: Do, Re, Fa…), and the tuning of each movement or section revolves around these fundamentals unless otherwise noted. Fundamentals, too, are related to each other by simple ratios, so when modulating from a Re to a Fa fundamental (as happens in the second movement), the Fa fundamental should relate to the F pitch played while using a Re fundamental (meaning that the 6/5 ratio used to tune an F while using a Re fundamental should be maintained so that the F, whether acting as the tonal center or the minor third, is the same pitch). The following scales show the ratios that should be used unless otherwise noted (again, all revolving around the given fundamental):
Do
&
1/1
16/15
œ
bœ
+12¢
9/8
nœ
+4¢
6/5
bœ
5/4
nœ
+16¢
-14¢
6/5
5/4
4/3
45/32
-2¢
-10¢
4/3
45/32
-2¢
-10¢
4/ 3
45/ 32
-2¢
-10¢
œ
#œ
3/2
8/5
5/3
16/9
15/8
+14¢
-16¢
-4¢
-12¢
8/5
5/3
16/9
15/8
+14¢
-16¢
-4¢
-12¢
œ
8/ 5
#œ
5/ 3
16/ 9
bœ
15/ 8
+2¢
+14¢
-16¢
-4¢
-12¢
5/ 3
œ
16/ 9
œ
15/ 8
-16¢
-4¢
-12¢
œ
+2¢
#œ
œ
bœ
nœ
Re 4
1/1
&œ
16/15
bœ
+12¢
9/8
nœ
+4¢
œ
#œ
+16¢
-14¢
6/ 5
5/ 4
œ
#œ
3/2
œ
+2¢
#œ
œ
œ
#œ
Fa 7
1/ 1
&œ
16/ 15
bœ
+12¢
9/ 8
nœ
+4¢
bœ
+16¢
nœ
-14¢
bœ
nœ
3/ 2
œ
nœ
Sol 10
1/ 1
&œ
16/ 15
bœ
+12¢
9/ 8
nœ
+4¢
6/ 5
bœ
+16¢
5/ 4
nœ
-14¢
4/ 3
45/ 32
-2¢
-10¢
œ
#œ
3/ 2
8/ 5
œ
#œ
+2¢
+14¢
#œ
When the above ratios should not to be used, the ratio that should be used instead is given. This is shown with a dotted line that connects two pitches: the pitch using a different ratio, and the pitch to which it should be tuned. This connection is labeled with the ratio that should be used instead. These alternate ratios use a 7-llimit Just Intoned system. Cent deviations are occasionally given in these moments as a reference, but the ratios themselves are what are important for tuning, not specific cent values. The cent deviations from the pitches are given in relationship to 12-EDO, with the fundamental always being 0¢ (IE: If the fundamental is C, a Bb marked -31¢ would be 969¢ away from C, a D marked +27¢ would be 227¢ away from C, etc).
Nachtlied
I.
Sean Harold
The breath of the unmoved Do
q = ca. 60 flexible, like a breath
4 ! &4 w
Violin
Πw
( )
p cresc. (poco a poco)
Chain of 3/2
! B 44 ( Ó ) ˙
Viola
œ œ
œ œ
pcresc. (poco a poco)
? 4 ( Ó! ) 4 w
Cello
(Π) 7/
p cresc. (poco a poco)
A
1 œ &4 œ
5
Vln.
Vla.
7/
1 & 4 œœ
+48¢
F
# 3 œ 4 ˙.
œ B 41 œ
F
+21¢
# 3 4 ˙œ .
-41¢
5/
4
Vln.
F
4 4
$
Ó
$
4 w 4 (Ó )
Ó
( )
$
w w Ó
circ. bow (fast)
p
cresc.
flaut.
r . B# # œ‚ œ‚ . *
circ. bow (fast)
˙ ˙
sub.
flaut. 1 MST
Vc.
*b ‚
?b œ p
sub.
1
*
7/
œ
( )
5
œ
+6¢
4
w œ
n
œ œ
˙˙
œœ
+8¢
+10¢
7/
r œœ
+38¢
4
œ
&
# œœ
œœ
+12¢
Œ ˙
n
˙ ˙
w
4 w 4 (‰ ) œ LH +
( )
sub.
p
4
˙ w
"
bœ ˙
5 -25¢ 7/
4
œ.
1 4 #œ œ
+20¢
#œ œ
+18¢
+16¢
œ # œ # ˙˙
1 4
+14¢
( )
‰ #œ
4
1 4
ww
3
5/
-27¢
n
w
1
*MST
b ‚œ r
+r + + ‰ œ œ œ w w LH
cresc. (poco a poco) circ. bow (fast)
˙. ˙.
cresc. (poco a poco)
w w ‰ LH œ œ œ + + +
f
sub.
œo .
II
˙
œ (‰ ) œ . r+ +
# ˙o . I
Œ
( )
œ œ ( ‰ )œ + 3 r+ +3
LH
`
* MSP #
o ˙z. ‰ œ œ œ z˙ . LH + + + harm. Fo 1
*
f
ord.
MSP simile...
gliss. (x2) MST
MSP simile...
#o ˙z. ˙. zo
F
harm. gliss. (x2) MST MSP 1
*
zw#o w zo
F
MST = Molto Sul Tasto MSP = Molto Sul Pont.
©2014
# ˙o .
MSP simile...
˙.
B
Harm. Tr.
sub.
MST
1 MSP
˙o .
Harm. Tr.
œ
5
·˙
‚œ ..
œ
4
œ& r sub. f
harm. gliss. (x2)
1MST
Vla.
w ˙
-31¢
Ó
‚œ b ‚ · .. œ ˙
&
‰ bœ
( )
( )
flaut.
10
5/
r œ˙
n
Re
# ˙. 3 œ 4
4
( )
5
3
\hÇ =q| (ca. 90)
+22¢
Vc.
4
œ œ
Œ
3
b œ‚ ‚ . œ. œ œ "f" r
‚œ # · #˙ r
˙.
?
2 4
ord.
œ œ‚ ·w œ r "f"
2 4
œz b b ·˙ .. œ
z
ord.
2 4
Nachtlied
2
B
œ
14
Vln.
Vla.
%o ˙
?2 4
&œ œ B ˙w
Vc.
5/
4
˙
-4¢
( p)
II
œ I
$
sub.
bœ
wœ II
II
œ
n 9/
+32¢
œ I
p
III
5
Œ ˙
ord.
ww 6/
3
p
8
5/
œ
˙
bw w
4 ww 4
œ w
3 ! 4 ˙
#r U œ- ‰
! 3 4 bœ
# U # œ- ‰ r
VERY LONG
œ
VERY LONG
4
+8¢
III
8/
rr ˙
˙˙
-16¢
b˙ 4/
? wœ
r œ œ.
˙.
Harm. Tr.
U , 6 ˙ 4 Ó
œ˙ .
IV
Vla.
or r ˙
Ó w
IV
4 w 4 w
˙ II
LONG
II III
4 Π4
&
p
18
Vln.
6 4
Harm. Tr. % # ˙o LONG , III U & 2 6 ˙ B4 4 w.
Harm. Tr.
Vc.
\q. = q| (ca. 60)
U ‚ ,
2 a ‚œ &4
LONG
Sol
#˙
n
3 ˙! 4
#r U œ- ‰
VERY LONG
5
b˙.
+27¢
III
Nachtlied
II.
Gentle triad dies away within one (after KV 404a, No. 1) C
Vln.
·˙!
Re
q = ca. 45
$
! B 44 œœ
Vla.
p
Ó
Vc.
?4 Π4 1
*
2
*
Vla.
F
"
ord.
œ.
Bow Drag Mute Tr.
pizz.
MSP
"
flaut.
˙
$
sub.
Ÿ~~~~~ MST #œ œ!. ‰ 3 4 r flaut.
˙
arco pizz. I Wide vib. II
r œ œœ .
MSP
– œ Œ – œ
z z
f"
Ÿ~~~~~ MST # œ!. #œ ‰ 43 r
$
sub.
ord.
3
F
r œ œ.
p
f"
%œo z z – œ ‰ I " r ‰ –– .. œœ .. – œ z z
z œ.
f"
"
˙
Wide vib.
I pizz. II arco
#œo
˙˙
!. œ œ r ‰& 43
Harm. Tr. flaut. MST
p
Mute Trill is a tremolo between a muted pitch and the sounding (ordinario) pitch. Mutes should be achieved by fingering the pitch as one would a harmonic, but so that no distinct pitch sings.
3 &4 Œ ‚œ!
B 43
p
‚œ!
P+ + + ‰ œœ . œ œ œœ . œ œ LH
"
z
$
sub.
+ + œœ . œ œ F œœ . œ œ
IV + + + III # o P ‰ œœ . œ œ b ˙o . œœ . œ œ & z ˙. Drag LH
"
f " Bow
Drag
7 4
z
z
+ + + . œœ œœ œ œ F z.
z
f
circ. bow (fast & confined): II MSP ord. simile... III
˙z. œ
P+ ‰B
+ + œœ . œ œ F œœ . œ œ LH
z
MST
LH
P ‰? œœ
bœ.
sub.
‚œ!
3
Œ
˙œz..
p
p
* ( p)
circ. bow (fast & confined): I MSP ord. simile... II
˙˙! ..
circ. bow (fast)
7
( p)
3
P+
Fa
flaut. MST
LH
‰
p
f " Bow
#oo . 3 ˙˙ . &4 III II
Vc.
z. – r ‰ " ‰ –. 3
ord.
– .. œ .. œ. œ. " ‰ – œ z z r
p
f" 1 Bow * pizz. Drag %œo *2Mute Tr. "
Bow Drag Mute Tr.
r r œ œ ˙ p r
Wide vib.
Bow Drag is a rapid vertical (up and down the strings) bow movement. The sound should be overtly noisy. Moving to ordinario, the bow movement should shift from vertical, to circular, to horizontal.
25
Vln.
! œœ .. " ‰ – . œ . # œœ –. œ. r z z
ord.
*
Œ
$
1
Drag 2 Mute Tr.
I
II III pizz. arco
flaut.
* Bow
ord.
·˙!
flaut.
4 &4 Ó
21
3
4
Œ
‰
+20¢
+18¢
circ. bow (fast)
œz.
MST
f
sub.
MSP
*(not open)
z
MSP
œ.
z˙
9
circ. bow (fast & confined): III MSP ord. simile... IV
˙z ˙.
œz
z z
81/
80 3/
2
5/
4
œz œz œz œz œz œzN œz ˙.
˙z ˙.
z
z
f
sub.
* Marry dynamic levels of the harmonic and the open string. 4 * Do and Sol are sharp (not open) in order to transition to the Fa tonal center.
z
Aœ œ
z
0
10/
˙˙z.
These alterations continue for the duration of the Fa tonal center. The viola's Do and Sol will clash.
I Ÿ~~~~~ ! 30 II z ˙ œ œ . &Azœ zœ œ œ œ œ œ (Ó )
flaut. MST
MSP
Vln.
Vla.
Vc.
z z z z
z B ˙œ . z
? z. ˙˙ . z
I
œ
$
4 4
sub.
œz b œœz œz z b œœ
! Aœ (Ó )
MST flaut.
MSP
III IV
II
3/
2
6/
MSP
r œ
(not open)
œ
$
sub.
5
!
flaut. MST
b˙
$
sub.
bœ 3/
&
b œœ p
4 Π4
œœ .. r
b ‚œ! .. "
flaut.
œ ‰ "r‰ pizz.
p
2
4 Ó 4
‰
‰ 45/
b œœ
32
Bow Drag
N œz.
"F " Bow Drag
b œz.
"F "
œz
ord.
œz
ord.
œœ .. r
‚œ! ..
flaut.
"
œ ‰ "r‰
MSP
pizz.
p
Œ
MSP
‰
‰ Bow Drag
b œz.
"F " Bow Drag
(not open)
œz.
ord.
Nachtlied
4
D
œ œ. 34 œ œ .. & r "‰ r
Vln.
Vc.
&
bœ "rŒ
?
‰
(F )
Aœ. ‰ œ.
F
+18¢
f p
œz
Vla.
P
+. +. +. +. +. arco flaut. n œ MST b œ bœ nœ ‰ œ r B ˙. ‰ œ b œ œ A œz ÿ ÿ ÿ z˙ . circ. bow P 3/
32
81/
6/
2
5
(fast)
Vc.
œ &œ
?
œz
80
‰ +r + + œ œœ œ œr œ +
(P ) LH
0 0
˙. " P" ˙.
Bow Drag
circ. bow (fast)
z
o œ œ
IV 4
ϫ
MSP
LH
œ
f
œ. rœ MSP
œ +
LH
f
o ‰ œ &
III 5 3
Ï
arco
Vln.
&
. œ´ œ´ – œ œ œ z–
z
œ. œ. –
z
Œ
p
‰
B‰ œ œ œ Œ . . . MSP
Vc.
p
! b b ‚œ ‚œ ?Œ r &Œ
4
1
7
U #
# ! , œo œ œ bœ œ œ Aœ‚ ƒ
p
sub.
VERY LONG
6
o 3o œœ . œ r IV
#^o œ r ‰
III 4
Ï
U U , # #œo II a #œ^o !
VERY LONG ord. MST
#œ œ œ œ b ‚œ p
sub.
VERY LONG
‰ o IV œ. Œ œ o III
III
U
z œ
5
p
Wide vib. ! ! ! # ‰ œ œ œ b ' A ˙ ~~G~li~ss~an~~do~~ œ . z z > Mute Tr.
MSP
œ. œ. œ. ! # ‚œ
flaut.
3
*
z
+. r œ
LH
Bow Drag
VERY VERY LONG LONG MST ord. III 3
œ. œ. œ. –
o ‰ # œ . IIo œ Œ I
IV
0 0
5
P
5
U
ƒ
b œ‚
p
sub.
œ
r ‰B
Ï
VERY LONG
! ord., U#o II
Œ
4
&
5
4
ƒ
pizz. I3
o œ ‰ r Ï
Fa
flaut.
Vla.
f
5
Ï
Drag
r œ+
flaut.
7
flaut.
42
z
MST ‚œ ‚œ- ‰ œ´
+. +. arco o %o III œ #œ I œ œ ( ‰) ( ‰) B œ & œ œ Œ Œ œ " P " ƒ z
Sol
‚œ!
+. +. arco œ œ ‚œ œ
+. arco r +. +. ‰ +. +. +. oo 3 ‰ ( ) III o œœ œ œœœ œ ˙˙ œ œ œ œ ˙. Œ & r b˙. z z z F
(not open)
œ´ œ´ ‰ b œ œ œ ‰ b œ A œ œ œz & 45/
LH
z
Bow Drag LH
! # > ‰? r œ sub.œ " P "Bow
‚œ!
ord.
38
Vln.
3
+ (‰ ) œ œ œ " f"
ƒ .r
Bow Drag
p
(F )
&
‚œ
+. +. +. LH + + + + F .r . . . ƒœ b #‚œ (‰ ) (‰) (‰ ) Bœ œ œ œ b ˙ . bœ œ œ œ sub. " P "z zœ ˙ .
˙o
MSP
œ
p
sub.
!
r œ
A ‚œ n ‚œ ‚œ r
II
harm. gliss.
b˙.
ord.
˙!o
arco ord.
pizz.
Vla.
r œ
\hÇ =q| (ca. 60)
#‚ b ‚ .. œ œ r
harm. gliss.
œ œ r
ord.
flaut.
Œ
f
!. œ!. œ!. #' ˙ # œ ‰ z z (MSP)
Mute Tr. Wide vib.
f
‰
p
P
o b œo œ
Wide vib. ord. (MSP) IV 7 III 3
8/
p
The pitches of the bowing hand show the strings to be bowed. These pitches often do not actually sound due to the left hand fingering an interfering pitch. Whenever the LH is not interfering, however, the notated RH pitches should be allowed to sing.
LH tap
z
1 circ.
*
bow (fast)
(‰) " F " ˙ œ œ œ z˙ . . . LH tap
1
"F " ( )
LH tap
3/
2
3
œo " F " ord. ... "b œ œ œ ‰ r ( ‰˙ ) œœ œœ œœ p ˙ pizz. II 4
Mute Tr. sando œ # !. !. # œ!. z' z˙ ~G~~li~s ~~~~~ ‰ œ œ r ‰ > f MSP
b b ·˙
·˙
flaut.
bow * circ. (fast)
5
‰ bœ œ œ b b ‚œ ˙˙
z
1circ.
* (fast)bow
. . . œœ œœ œœ œ œ ‰ (‰ ) œ ( ) w w
z
. . . ‰ ‰ ( ) w œ œ œ( ) œ œ œ w
z
8
Nachtlied
+´ +´ +´ Fœ œ œ 46 œ œ ‰ œ ( ) œ ˙ ˙ & z˙ ˙
Vln.
+. +. +. arco (‰ ) œ œ œ ‰ œ œ œ œ œ œ ˙ (Ó ) z˙
z
Vla.
z
z
œ œ #œ (‰ ) . . +. F+ +
?œ ˙ ˙
z
LH
% ord. II # œo œ &Œ r
Œ ( Ó)
œ
Bow Drag
# œo œ Œ r II 10
11
3
f
Œ
3
! # œœ ‰ r
2 œ 4
œ ‰ +r
50
Vln.
&Π#w Bw w
strum
Vla.
z
P
Vc.
?Œ
& œz
54
Vln.
Vla.
Vc.
Bœ
z
?
˙z
œ Œ œœ Ó r
strum I 3 II III
I II (mute III) IV
b ‚œ.
#œ
z
Ó
F
f
oo ˙ #˙
œ œ. œœ œœ .. r z f P
II 9 III 11
?
œz
r œ"‰ ÿ
Moltissimo SP
p
sub.
´ œ"‰ r
Moltissimo SP
œ
z p
sub.
b œz
Moltissimo SP
p
sub.
, !o œ
&
ord. III
f
˙ ˙˙
U
#oo II oœ 2 œœ III r 4 9
f
arco MSP MST fast arps.
Œ
z z
Behind bridge: Ad lib. pizz and strums LH (dense and fast)
+ œ
Œ
#œo . œ r
˙
&
IV œ!o
f
5
& œœ
oo
f
p
o ˙˙o
arco III 7 II 4
4 5
?
LH arco Ÿ~~~~ flaut. pizz. . . œ œ œ +œ. MST œ œ œ. œ. œ œ œ MST
z z
p
F
sub.
r (o r #œ œ Œ # œ (‰) Œ # œ œ r f œ ( ‰) r+ 3 3 LH MST
Ÿ~~~~ œ ‰ œ r sub. MST flaut.
˙ ˙ ˙
p
+ œ
6
˙
¿ .. ¿
F
f
Œ
Behind bridge: Ad lib. pizz and strums (dense and fast)
? ¿¿ ..
œo ‰ r Œ pizz. II 2
LH
#œo .IV œ r Œ
pizz. III IV
pizz.
n
Π7
œ# œ 4 ?œ 4 Œ œ
F
LH
( )
F
Ó
˙ ˙ ˙
Œ
¿ ¿ ¿ ¿
8 7
œœ œÓ r
Œ
MST
z
f P
4 Π4
strum I 3 II III
+LHr LH +r Ÿ~~~~ flaut. pizz. Œ ‰ Œ œ ( ) ( ) ( ) ( ‰) œ œ. œ œ œ #œ œ œ œ œ œ œ z z sub. . . . . + arco p F MST
simile...
z
simile...
flaut. MST
q = ca. 60
˙ b ˙˙
z
œ œ ˙ b œœ A œœ ˙˙
strum
III
6
simile...
P
p
pLH
VERY LONG
z
f P
arco MSP MST strum fast arps.
œ ‰& r
œz
r # œ a œz. œ œ. œ œ.
4 wzw 4 w
II strum I III
œo !r U #
rit. arco strum MSP MST fast arps.
flaut. MST
Harm. Tr. VERY LONG
II
3
\hÇ =q| (ca. 90)
2 4 œœ oo f
arco
MSP
Bow Drag
Vc.
(Ó ) œ b œ ˙œz #œ nœ œ #œ œ +- +. +. +. +- F
$˙
œ
B œ˙˙
U #
F
"F "
Bow Drag
E
harm. gliss. (x2) VERY LONG
Re
LH
5
# œo
‰&
n
II
5
ƒ
˙o . ˙.
I
7
oo IIIIV ˙ b ˙ .. ƒ
Ó 6 7
B
œ œ ? r ‰
Nachtlied
6
!r ‚ œ
arco
‚œ ‚œ ‚ ‚ œ œ &‰ r r r
58
Vln.
Vla.
Vc.
p
Vc.
‚œ
· ?˙
&
p
&‰
?
4
‚œ arco r r ‰œ œ œ
‚œ! 2 4
b ‚œ
œ
pizz.
+
f
LH
#o œ
II
‚œ
p
f
4
?
‰ œ ˙. r (Ó ) +
LH arco
f
œ r
œ.
MSP Fast, unmetered
III IV
# œ œ œ ˙œ œ œ œ wœ# œ œ œ œ œ œb œ p
r B œ œ .# œ Œ Œ
œ!o
I
pizz.
‰r r œ œ œ . + arco
r # ‚! ‰ œ 42# œ
arco
LH
p
III
Vla.
#‚ œ
! # bb ‚œ ‚œ ‚r‚ ‚œ## ‚œ ‚œ œœ B‰ r r r !r ‚ œ
63
Vln.
!r b‚ œ
˙œ œ b œ
IV
3
II ‰ III r b œœ œ˙. r
p
r œ
MSP Fast, unmetered
œw œ # œ œ œ œ œ 3
œw.
Fast, unmetered MSP
r b œ œ#œ œ œ
arco
p
\q. = q| (ca. 45)
&
2 4 # œzœ
z
2 z 4 n œzœ
Œ
p
‰ œ œ œ 44 ‰ œ œ œ Œ r f
I o MST # œMSP 4 œ ? 4 z & ‰ b˙ 5
&
p
z
#˙
MST
pizz.
! b2 b ·˙ 4
2 4 œz #œ
4 z 4 œ
MSP
harm. gliss. (x2) LONG
Uo
œ œ o
ƒ
harm. gliss. (x2) LONG
Uo
œ œ o
ƒ
harm. gliss. (x2) LONG
Uo
œ œ o
ƒ
3 4N œ
p
3
$
sub.
3 4 œ
ord.
$
sub.
3 4 ˙
ord.
$
sub.
U
LONG
ord.
œ
Œ
U
LONG
#œ
Œ
U
LONG
Œ
arco MST
r ‰ œ p
Nachtlied
III.
The reflected glory of fallen angels (after BWV 853, WTK No. 8)
F
Vln.
Sol
q = ca. 60
4 &4 Ó
67
Vc.
IV Mute (pitchless)
Œ
ord. r ‰ b – – œ . œ˙ . Œ p III ( p)
r ‰ "œ˙
ord. III
Vla.
7
ΠB 44 w
II
p
r œ ˙w
œ.
r IV œ œ. œ ˙ bœ.
˙ œ
ww
! # ˙˙
flaut.
?4 4
&
Ó
œ w
œ œ. œ
n
n
‰
#œ
nœ 5/
œo .
+r ‰ œ
˙˙o . .
˙
LH
IV 4
p
# 6 ˙ 4 ˙
4
r III œAœ.
˙w
ord. III 3
œ
F
G 71
Vln.
&b œ w
˙.
P
Vla.
r œ œœ . œ . r
P
œ G ? w~~~li~ss~.~ œ . ˙ ( " )r II I
Vc.
P
4 &4 œ
75
Vln.
Vla.
B 44 œ
œ
P
œ
P Chain of 4/3 3
Vc.
œœ
7/
#˙ #œ œœ Œ -1¢
3
b ˙˙
r œ. œ œœ ‰ r
6 +32¢
4/
3
7/
-3¢
3
4/
7/
6
˙˙
?4 œ ˙ œ ˙ 4 ˙· Œ P
œ
4/
3
˙˙
6
œ
! ˙ ˙.
I II
4 4
$
sub.
bœ
œ b˙
II
III
$
sub.
œ bœ œ œ
$
-6¢
-8¢
-10¢
bœ
! b˙ œ. $
sub.
œ
# w ..
˙ œ
4 4
II III
œ œ. r
sub.
b˙ ˙ ˙ bœ œ œ 3
$
r œ œ
bœ
œ.
sub.
6 4
b œ!
+34¢
3
# 6 4 œœ
r œ 42 ˙ œ ˙ r
œœ ..
b œœ
-33¢
-31¢
œ
II III
$
r 4 œ 4
bœ
œ.
œ
sub.
r# œ . 2 œ œ. 4 œ r
r # œœ ˙˙ r
œ. œ.
bœ œ
B ˙.
œ œ
2 4 ˙ ˙
bœ œ
r œ bœ œ. œ. r
nœ r
r œ˙ # œ .
œ
Uo
harm. harm. gliss. (x2) gliss. (x2)
Uo
œ nœ Nœ œ o osub. F p
Uo
harm. gliss. (x2) harm. gliss. (x2)
œ œ o sub.
Uo
p
œ œ o F
œ œ o sub.
œ œ o
Uo
Uo
harm. harm. gliss. (x2) gliss. (x2)
p
F
Nachtlied
8
w &w
79
Vln.
Vla.
flaut. circ. bow (fast)
r ‰ œ œ ord.
B˙ ˙
0
œo III
Vc.
Vln.
Vla.
Vc.
4
œo
œ.
IV 4
III Mute Tr. IVflaut.
z
z
?4 œ 4z
z II Mute Tr. III flaut.
˙z ˙
œ
z
!r # ‰ œ œ
œ
‚œ
arco
5 4
F f
œ
œ!
œ
f
!# ‰ œ œ ˙. ord. 3
F
f
II flaut. III Mute Tr.
œ
ord.
5 #˙. 4z
# b˙
4 4
˙
4 4
z
œ
flaut. Mute Tr.
˙z. b˙.
œ
*
'z. '.
"F " sub.
˙. b˙.
flaut.
1Mute
*
z
F
Emphasize the pitched material during this mute trill and let the progression be heard. The cello should come out over the trill, but only slightly.
! œ
œ
sub.
3 4
z
sub.
# #œ
3 4
'. '.
Tr.
"F "
! #œ
4 4
˙˙z z' z
1
œ! # œ œ
!r # ‰ œ ˙ ord.
F
·w
5 4 ˙z ˙
œ
z'
z
0
3 rb œ . 4 œ
'z.
wz w
'z
pizz.
ord.
'z
˙z.
œ
3 4 ˙z. ˙.
˙
z
'
3 4
! @ æz ˙ ˙
˙z ˙
'
B 44 w
*
flaut. circ. bow (fast)
p
z
1
˙
p
œ ˙ r
f
4 &4 w wz
83
œ
p
ord.
?
‰ œ œ r ord.
z
œ
3 4
H
˙z..
4 b wz 4 w
wz
Vln.
b ˙ .. 3 b B 4 z˙
˙ .. ˙
bw 4 w 4
w w
Vla.
Vc.
?3 z 4 ˙. F
˙
z
w
z
4 z 4 œ
MSP
z
>. ˙
ord.
b wz w
bw w
z
w
wz w w w
z
5 b œ œ wo 4 œ œ w . œ wo > o
4 4
~~~~
3 & 4 bb ˙˙z..
87
harm. gliss. (x3): High and fast fast arps.
p - f ad lib.
ord. b œ. 5 œ ‰ >˙ 4 r
˙
F
5 œ bœ. 4 r F
sub.
œ.
4 4 œ.
4 4
Nachtlied
4 & 4 ww w
91
Vln.
Vla.
Vc.
B 44 œ ? 4 bœ. 4
œ
r œ œ
bœ
œ
œ
95
Vln.
Vla.
Vc.
œ.
B bb ·w ?
˙
‚œ r
p
‚œ ·w
p
·˙
p
bœ
·w
˙ ˙
˙
molto rit.
& œ œ. r
r œ ‰ œ œ œ. F>
w w w œ
9
‚œ .. b ‚ ‚ ‚ . b œœ b œ . r
b˙ œ
r œ. œ
œ.
b˙
œ
P
P
˙. P
œ.
bœ œ
œ
œ œ
œ.
bœ. œ
˙ r bœ œ
œ