Into the Green Inverted Dawn

Into the Green Inverted Dawn From ‘Shoals’

For string quartet

Nigel Morgan

This study score has been downloaded from the website archive of composer Nigel Morgan. The PDF file is solely for personal study, repertoire research or educational reference. It is not intended for use in public performance except in educational situations when an extract is required for illustration purposes.

Performance scores and parts are available from Tonality Systems Press in two formats: as standard printed and bound paper copies, and as PDF electronic masters carrying a special electronic license for an unlimited number of performances over an agreed period. For more information please e-mail Tonality Systems Press.

ISMN 979-0-57043-177-9 (Full Score)

Words into Music!

Into the Green Inverted Dawn is a specially-composed piece in one movement for the Cranbrook Quartet. It forms part of a sequence of new pieces for student ensembles called Shoals: Sons de Mar. In performance there is an optional part for laptop musician who will trigger samples and effects as you are playing (and also turn pages of the computer-based score should you all have access to laptop computers – see note 6 on this, below).

This quartet movement is based on a poem by Robert Francis called Deep Sea Diver, which has become a kind of signature text for the Sounding the Deep project. The poem describes a diver descending to the ocean floor, discovering an unknown sea creature - ‘an uncouth thing’- and then ascending to the surface.

This has already proved to be an inspiring scenario for six other compositions composed as part of the ‘meet the composer’ workshops held between May and July 2011.

Into the Green Inverted Dawn For string quartet Nigel Morgan

Into the Green Inverted Dawn uses the text of the poem to generate its music.

Nigel Morgan used this device in a recent Quintet for piano and winds (composed for Stephen Hough and members of the Berlin Philharmonic). In Quintet he took a long ‘stream of consciousness’ poem and found a way of providing musical transformations for different nouns, verbs, conjunctions and so on. You can explore the score and recording of Quintet on Nigel’s web archive at www.nigelmorgan.co.uk.

Deep Sea Diver as a poem couldn’t be more different from the one used in Quintet. It’s quite short and has mainly one-syllable words. The composer has employed a few of the devices found in Quintet but has made one fundamental transformation, which you can see easily when looking at the score. The poem is split into two parts: in part one each word from the text is sorted so that the words ‘descend’ like this – Diver go down becomes vried og wond ; in part two each word in the text is sorted so that the words ‘ascend’ like this – Diver come up becomes deirv cemo pu. The organisation of the text is never rigorous because each part is slightly modified depending on the grammatical content. See the whole poem as a parallel text with the original words placed next to the sorted words.

i

Guide to performance and developing the score further The score of Into the Green Inverted Dawn should be thought of as a starting point, not a final statement by the composer. Despite following the poem, the music can be altered by the performers in the following ways:

‘Diver go down’ (bars 1-3)

1.

‘Diver come up’ (bars 48-50) 2.

This is how the alphabet is mapped on to musical pitches:

3.

4.

Of course, there’s a friendly computer system behind this that does all the processing of text to pitch in an instant. If you want to find out more about the software that does this (and very much more), look on the Internet under Symbolic Composer.

5.

ii

Repetition – in poetry as in music, repetition is used not only for emphasis but is also able to suggest that a word or phrase has several meanings. A few passages with such repetitions have already been included. Players are invited to add more. A repeated section can (as in early music) alter the scoring, add or erase musical events, add ornamentation or figuration, play with different effects like pizzicato or tremolando.

Dynamics, expression and articulation - with dynamics there is a scheme laid out, but that’s only to show in general how each ‘word phrase’ follows in part one (bars 1-47) a descrescendo and part two (bars (bars 102 onward) a crescendo. Between letters E and I dynamics may be a free mixture between crescendo and diminuendo. There are no other dynamic markings as such, so invent your own! At letter A (bars 10-12) there’s a good example of where dynamics have been inverted to bring out the viola part. Any expression and articulation marks should be seen as guides, no more.

Musical and Instrumental effects – the string quartet can produce a vast range of different colours: pizzicato, arco, con sord, tremolando, playing sul pont or sul tasto, using portamento and glissando, using different strings and positions, playing with or without vibrato, using harmonics, playing col legno, using percussion (tapping on the body). Colour the music as much as you like! Make this piece you own!

Intervention – this is probably the most radical option in the score! Along with the laptop player you can decide if you want to add new ideas / improvisations / found sounds / etc. into the progress of the score. You might want to begin with a slow ambient introduction . . . you could expand the moment at 1 bar before letter E when there is a moment of stasis (a held chord) before the ‘Ascent’ section begins.

The laptop part – the extra performer involved with your performance will be mentored in laptop techniques by a student from Hull University.

Together they’ll devise textures, treatments and samples that can be played alongside your performance. Your instruments will be ‘mic’ed’ to be processed, amplified and projected into the vast space of Hull City

6.

7.

Hall where the sound will be diffused around a multi-speaker system.

This is not to say that this score can’t work equally well in an intimate setting, even without the laptop part.

Playing from the score – many quartets do this when they study a contemporary piece. It isn’t always possible to perform from the score, although some composers (like Lutoslawski) make this possible.

Although we are providing you with the paper parts, if all the players have laptop computers we can supply a PDF score in landscape so the page turns can be triggered by the laptop performer attached to your quartet or by one of the quartet using a USB footswitch.

The Reference Recordings – if you look at Nigel’s other pieces for string quartet in his archive (he’s written 5 works for this medium) they all come with reference MP3 recordings. These can be a good way to get to know a new score – at least to start with. There’s a downloadable MP3 of this score on the Sounding the Deep website.

Works for String Quartet by Nigel Morgan Objects of Curiosity (SuperCity) – string quartet (with digital media) Commissioned for the Kronos Quartet 9 min Le Jardin Sec – string quartet Commissioned for the Johnston Quartet 7 min Allegories - string quartet Commissioned for Pro Corda 10 min QUARTET – string quartet Commissioned by the Norwich Triennial Festival 25 min

Resources for Sounding the Deep Twitter www.twitter.com/SoundingTheDeep

To find out more about these works with score and audio extracts, please visit: http://nigel-morgan.co.uk/NewChamberMusic/

Facebook www.facebook.com/SoundingTheDeep The web www.soundingthedeep.co.uk www.nigel-morgan.co.uk/SoundingTheDeep

iii

Deep Sea Diver

Deep Aes Deirv

Diver go down Down through the green Inverted dawn To the dark unseen To the never day The under night Starless and steep Deep beneath deep Diver fall And falling fight Your weed-dense way Until you crawl Until you touch Weird water land And stand.

Vried og wond Wond utrohhg the rngee Vtrnieed wnda Oto the rkda usnnee To the vrnee yda The urned tnihg Tsssrlea nda tspee Peed tnheeba peed Vried llfa Nda nliigfa tihgf Yuro weed sneed ywa Utnli yuo wrlca Utnli yuo utohc Wried wtrea nlda Nda tsnda

Diver come up Up through the green Into the light The sun the seen But in the clutch Of your dripping hand Diver bring Some uncouth thing That we could swear And would have sworn Was never born Or could ever be Anywhere Blaze on our sight Make us see.

Deirv cemo pu Pu ghhortu eht eegnr Inot eht ghilt Eht nsu eht eens Btu in eht cchltu Fo oruy dgiinppr adhn Deirv bginr Emos chnotuu ghint Ahtt ew cdlou aersw Adn dlouw aehv norsw Asw eenrv bnor Or cdlou eerv be Aeehnrwy Abelz no oru ghist Aekm su ees Trroeb Srnifca

Robert Francis

iv

¬

Violin I

5 B8

Viola

Violoncello

Vn.II

Va.

Vc.

A

∑

5 L? 8 Œ

œ œ bœ

5 & 16

∑

5 ‰ B 16

œ. œ œ 24 œ œ œ œ

10

Vn.I

5 ‰ œ œ œ #œ &8

q = 60

5 œ œ œ Œ &8

Violin II

¬

Largo e Cantabile

24 ‰

allargando

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5 œ. n œ. œ 2 Œ 16 & œœ 4 œ œ

5 L ? 16

∑

24 œ œ bœ œ

38 38

Into the Green Inverted Dawn

∑ ∑

24 ‰ œ #œ œ 24 œ œ Œ II

38 œ #œ. œ œ. œ œ. 24 œ bœ œ bœ 38

∑

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34 œ

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34 ‰

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bœj-

‰

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∑

normale

166

‰

85 ‰

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85 ‰

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∑

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166

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85 ‰ bœ bœ œ œ

∑

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∑

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delicato

165 165 165 165

38 ‰ nœ œ

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44

38

. .

163 œ œ œ 165 bœ œ bœ œ bœ 85 Œ

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∑

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∑

∑

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44

44

¬

4 Π& 4

19

Vn.I

4 œ. & 4

Vn.II

4 ΠB 4

Va.

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4 L? 4

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repeat & rescore ad lib con forza sempre

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28

Vn.I

Vn.II

Va.

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∑

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.

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85 ‰ ‰ bœ œ bœ. 24 bœ

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38

Vn.I

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Va.

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∑

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5 5 bœ œ 3 ∑ bœ. bœ bœ 16 œ bœ œ { 8 B 16 . . œ bœ bœ œ œ 5 516 3 ‰ œ œ ∑ 16 {8 L?

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q = 60

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48

Vn.I

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Vn.II

Va.

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∑

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58

Vn.I

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68

Vn.I

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Vn.II

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rit .

n œ #œ œ

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∑

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≥ n œJ

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‰

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165 #œ #œ #œ ‰ . . .

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24

∑

24

165

∑

24

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28 ‰ 28

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∑

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28 ≈ bœ ≈ œ 78 28 bœ ≈ œ ≈ 78

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28 ‰

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28 #œJ

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¬

7Π& 8

77

Vn.I

Vn.II

Va.

Vc.

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Œ.

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¬

3 ‰ & 8

87

Vn.I

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Va.

Vc.

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7Π& 8

Vn.II

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3 #œ ‰ & 8 #œ 3 B 8 #œ

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#œ

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≈ #œ #œ n œ n œ 28 n œ n œ 24 n œ ‰ Œ œ œ œ œ œ #œ

jœ

H

38 œ‰ œ #œ

28

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24 Œ

∑

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5

‰

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∑

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a tempo arco

.

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pizz.

œ œ

arco

163 #œ #œ ≈ 38 #œ #œ ≈ ‰ .

#œ 3 œ œ œ 163 #œ #œ 8 œ œ 163

∑

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38

28 œ ‰ nœ

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28

∑

165

∑

28 #œ ‰ #œ

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28 ≈ 5 ≈ œ œ 85 œ #œ 16 #œ #œ œ œ #œj #œ œ #œ œ

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28 ‰ 3 #œ #œ 8

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#œ

#œ œ #œ

38

#œ œ #œ 38 38

∑

‰ ‰ ‰

œ #œ #œ 85 #œj

28 28 28 28

¬ 2 œ œ #œ 7 ‰ 16 & 8 ≈ 97

Vn.I

2 L? 8 œ

Vn.II

Va.

Vc.

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¬

167 #œ

5 ‰ & 8 #œ

#œ œ

107

Vn.I

a tempo

œ ‰.

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Va.

Vc.

#œ 167 #œ

2 #œ ‰ & 8 œ

Vn.II

poco accel.

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5 œ.

B 8

5 L? 8 œ

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‰

#œ œ #œj

bœ œ

28 28

∑

∑

163

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œ

n œ #œ

85

‰

163

163

85 ‰

∑

∑

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∑

24

∑

24 . œ. œ œ . œ. œ œ œ œ

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œ œ #œ #œ .

85 #œ œ #œ Œ 85 ‰

∑

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85 #œ œ #œ #œ

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163 163 163

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163

∑

6

‰ #œJ ‰ Jœ 28 œ

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∑

∑

œ 163 œ œ #œ. #œ. œ

28 œ

nœ

#œ #œ #œ #œ #œ #œ 5 œ 165 œ œ n œ œ œ œ 8 #œ #œ #œ 165

‰.

28 œ

nœ ‰ 165 œ #œ

œ œ 24 œ #œ

n œ 169 ≈ #œ #œ ≈ œ œ nœ 9 16 #œ #œ ≈ œ œ ≈

Œ

œ nœ

n œ. 24 ≈

#œJ ‰ Jœ ‰

#œ. œ œ œ. #œ #œ ‰.

169

28

∑

∑

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#œ #œ ≈ ≈

∑

166

∑

85 85

616 œ œ #œ. œ n œ 85 œ œ #œ. œ. œ

#œ #œ œ œ 2 œ 8

œ. 24 ≈ ‰ nœ œ œ

. .

169 œ #œ #œ œ œ œ ‰ .

28

166

166

∑

85

œ. . #œ 34 œ œ 168 #œ œ #œ œ œ n œ (3 + 2 + 3)

œ. œ

‰

168

24 œ œ #œ œ œ œ 168 . . #œ œ 24 . . #œ #œ . . œ œ 168 œ œ œ œ

#œ n œ œ. 34 œ #œ œ œ #œ . ∑

34

∑

34

¬

34 ‰ œ bœ ‰ œJ œ bœ bœ & jœ œ

115

Vn.I

J

3‰ ‰ Œ & 4 jœ n jœ pizz.

Vn.II

Va.

Vc.

Vn.II

Va.

Vc.

‰ œj Jœ ‰ Œ

34 œ ‰ œ bœ ‰ ‰ œ bœ ‰ œ j j B œj jœpizz. arco œ bœ pizz. arco œ bœ 34 ‰ œ bœ ‰ œ bœ œ œ j j L?

¬

K

7 Π& 8

123

Vn.I

œ bœ

bœ #œ œ n œ ‰

7 Œ. & 8 œ œ #œ œ

#œ œ œ œ œ 78 œ B œ

n œ bœ œ œ #œ 78 L? œ œ

85 ‰

38

bœ

∑

44 bœ bœ

‰

∑

44 bœ bœ bœ

bœj bœJ

bœ œ #œ œ 38 œ œ œ bœ œ 44 bœ bœ bœ bœ n œ n œ n œ n œ bœ bœ 24 n œ œ Œ œ arco

38 38

œ œ bœ bœ

85 bœ n œ bœ Œ œ 85

44 Œ

∑

bœ 5 œ ‰ œJ 24 ‰ œ n œ 8

œ

œJ

œ 58 bœ n œ bœ bœ

28 28 28 28

œ

167

bœJ

œ

œ

œ bœ bœ

∑

œ

167

∑

7

85 bœ œ Œ .

bœ ‰ Jœ 24 œ Œ

85

œ

œ bœ

œ œ

œ

165 165

‰

165

œ œ 5 œ œ 2 bœ 5 bœ 4 œ bœ n œ 8 bœ n œ 16

85 ‰

œ œ bœ œ

sotto voce

sotto voce . bœ. . œ 58 œ. œ. 167 œ œ œ bœ bœ œ ‰ œ œ œ œ . leggiero bœ bœ. œ. œ 7 œ œ œ ∑ 85 œ . . . 16 œ œ bœ

leggiero

bœ

‰

œ bœ œ 58 œ œ sotto voce

‰

œ œ #œ œ

œ œ œ Œ

œ œ œ œ #œ sotto voce

∑

12 16

œ

24 ‰ > >œ bœ> 7 œ { 8 {

2 7 { 4 œ œ> Œ { 8 > . .œ . bœ. bœ. bœ 24 œ> œ> 7 bœ { œ { 8 bœ > > œ >œ bœ> > > œ 7 ≈ { 24 œ { 8 ∑

(3 + 5 + 4)

∑

œ bœ bœ n œ bœ. . œ œ bœ œ . œ n œ œ. . . œ. . bœ ardito bœ bœ n œ 12 œ 16 œ bœ œ œ n œ œ. .

12 16

12 16

ardito

∑

85 85 85 85

¬

5 ‰ & 8

130

Vn.I

5 & 8

Vn.II

ardito

œ œ

#œ

5 L ? 8 #œ

ardito

¬

138

Vn.I

Vn.II

Va.

Vc.

œ #œ œ

‰

‰

. .

58 œ bœ œ. bœ œ œ. bœ œ œ B bœ

Va.

Vc.

œ

& &

B

‰ œ Œ

œ

œ

œ #œ

œ œ œ ‰ bœ œ bœ Œ œ bœ

œ

œ œ Œ bœ œ

Œ L ? œ. œ. œ œ

‰

œ

œ #œ œ

#œ

œ

Œ

œ

. . bœ . œ. bœ œ œ n œ bœ œ

#œ

œ œ n œ #œ

L

(3 + 5)

168 #œ œ + 168 #œ œ+

85

œ #œ œ

168

Œ

#œJ œ œ 5 bœ œ 8 œ #œ œ ‰

Œ œ œ œ œ

œ nœ œ œ 24 #œ Œ . œ #œ #œ

œ bœ ‰ 168

œ œ œ 85 ‰ bœ bœ œ œ #œ œ bœ Œ œ bœ

œ nœ œ 2 . œ #œ œ 4 ‰ #œ œ œ normale

œ #œ 85 œ #œ œ

‰.

∑

24 #œ #œ œ n œ 24 #œ

#œ œ œ

a tempo . #œ. . n œ #œ 24 ‰ œ œ 167 œ œ #œ œ œ (2 + 5) poco rall.

167 167 167

M

81 #œ œ 163 ≈ œ #œ 85 ‰ œ #œ #œ œ 81 #œ œ 163 œ œ ≈ 85 #œ œ #œ Œ

œ œ 81 #œ 163 n œ œ 85 #œ œ œ #œ #œ #œ nœ 18 #œ œ 163 œ œ 85 #œ œ #œ #œ 8

24 ‰

∑

jœ-

∑

24

∑

24 ‰ œ pizz.

24 ‰ 24

œ œ œ

œ œ

Œ

24 œ œ œ œ 24 œ œ œ œ

Œ

28 ‰ #œj28 28

∑ arco

œ œ

#œj-

24 ‰ 24

‰

sotto voce

81 #œ

#œ

34 Œ

#œ 18 #œ 34 œ

œ

œ #œ œ

nœ

Œ

œ œ bœ œ

24 Œ n œ. œ. œ œ

81 #œ #œ 34 Œ #œ #œ œ

œ bœ

24 Œ

∑

28 #œ- œ-

#œ 81 #œ 34 Œ

œ

œ œ œ bœ bœ

œ

œ #œJ ‰ Œ

sub.

œ

π

jœ sub. π

‰ Œ

œ #œJ ‰ Œ π œ #œ-J ‰ Œ sub. π

sub.