Wolfgang von Schweinitz

Plainsound String Quartet “HOLY HOWL”

in 19-limit Just Intonation

op. 57 2011-2012

P L A I N SO U N D M U S I C E D I T I O N

Wolfgang von Schweinitz

Plainsound String Quartet “HOLY HOWL”

in 19-limit Just Intonation

op. 57

2011-2012

PART 1

Cadence and Modulations (Exposition and Development)

PART 2

Chords and Tunes (Final Dance and Postlude)

SCORE

Besides this study score there is also a set of parts

which should be used for a performance of this piece.

P L A I N SO U N D M U S I C E D I T I O N

This score is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

A C C I D E N T A L S for microtonal just i ntonation

EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION The exact intonation of each pitch is written out by means of the following harmonically defined accidentals:

E e n v V Pythagorean series of perfect fifths, based on the open strings ( … c g d a e … )

dmuU Ffow lowers / raises the pitch by a syntonic comma 81 : 80 = ci rca 2 1 . 5 cents

cltT Ggpx lowers / raises the pitch by two syntonic commas ci rca 4 3 cents

< > lowers / raises the pitch by a septimal comma 64 : 63 = ci rca 2 7 . 3 cents

• ¶ lowers / raises the pitch by two septimal commas ci rca 5 4 . 5 cents (not used in this score)

4 5 raises / lowers the pitch by an 11-limit undecimal quarter-tone 33 : 32 = ci rca 5 3 . 3 cents

0 9 lowers / raises the pitch by a 13-limit tridecimal third-tone 27 : 26 = circa 65 . 3 cents

: ;‰� lowers / raises the pitch by a 17-limit schisma 256 : 255 = circa 6 . 8 cents

/ \ raises / lowers the pitch by a 19-limit schisma 513 : 512 = circa 3 . 4 cents

∞ ±# raises / lowers the pitch by a 23-limit comma 736 : 729 = circa 1 6 . 5 cents (not used in this score)

These 'Helmholtz-Ellis' accidentals for just intonation were designed in collaboration with Marc Sabat. The attached arrows for pitch alterations by a syntonic comma are transcriptions of the notation used by Hermann von Helmholtz in his book "Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik" (1863). – The annotated English translation "On the Sensations of Tone as a Physiological Basis for the Theory of Music" (published 1875/1885) was made by Alexander J. Ellis, who refined the definition of pitch within the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents. – The accidental sign denoting an alteration by a septimal comma was devised by Guiseppe Tartini (1692-1770), the composer, violinist and researcher who investigated the difference tones created by double-stops. P i t ch-bend info rm a tio n In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to specify its absolute pitch-height as a cents-deviation from the respectively indicated chromatic pitch in the standard 12-tone system of Equal Temperament. – In this score, however, such additional pitch-bend numbers are only used for the notes representing the micro-chromatic scale or cantus f irmus which is played on the lowest string of the viola and constitutes the backbone of the harmonic musical structure. Frequency rat ios The score also denotes the mathematical frequency ratios of the various just intervals performed as double stops or melodic steps. The numbers of these ratios contain a lot of information which is extremely valuable for tuning the intervals by ear. The frequency ratio serves as the stenographic “code name” of the interval, specifying not only its size, but also the partial-unisons and difference tones relevant for its timbre, as well as the fundamental pitch or root of the interval (its periodicity pitch) and the relative degree of consonance or harmonic complexity of the tone relationship. PERFORMANCE DURATION circa 30 minutes This piece was commissioned by the Lucerne Festival and premiered at this festival on August 24, 2013 by the JACK Quartet..

Wolfgang von Schweinitz (*1953) Plainsound String Quartet “Holy Howl” in 19-limit Just Intonation, op. 57 (2011-12) PART 1: Cadence and Modulations (Exposition and Development) PART 2: Chords and Tunes (Final Dance and Postlude) Over the past twenty years, I have been fascinated by the mesmerizing sensations that can be established by making use of the ancient musical performance practice of microtonal Just Intonation—as opposed to Equal or unequal Temperament, which has been the prevailing performance practice in Western music throughout the past 500 years. I have dedicated my music entirely to exploring and featuring some of the many new sounds that can be found in what James Tenney has called harmonic space, a concept he devised as a model of our ear’s astounding psychoacoustic capability of harmonic perception. This experiment requires the development and systematic rehearsal of appropriate new instrumental tuning and ensemble playing techniques. At the same time, it requires the conception of compositional methods to organize the specific sonorities, the various non-tempered intervals between all the carefully tuned pitches. A functional microtonal counterpoint is needed—and a whole new harmonic language with cadences and microtonal modulations—to create musical contexts which ensure that all pitches may be tuned and performed with a sufficient degree of precision, so that the characteristic timbre of just intonation can in fact be generated and perceived. While composing this string quartet, I was concerned with facing the intrinsic paradox of just intonation counterpoint: How can several simultaneous melodies be perceived at once, when all their successive pitches are absorbed by a strikingly strong harmonic gravitation, getting fused into the momentary overall sounds, simply and exactly because of their well-focused non-tempered intonation? But even if the tunes are not completely audible, I believe their melodic energy cannot possibly get lost. Whenever they can actually be sung and performed with a caressing phrasing and articulation, they must contribute their gestures to the musical flow of the sound progressions. The counterpoint of this composition is based on a micro-chromatic scale played by the viola in the lowest register on the C string. Each note of this “cantus firmus” is also sounded as a double stop with the adjacent open G string. Even though these dyads are always harmonized in the most consonant possible way by the pitches of the other three instruments, some of these chords constitute the most somber and dissonant timbres of the piece. This sequence of precisely tuned “howls” is stretched out across the entire performance duration and has suggested the title of the piece, which is inspired by Allen Ginsberg’s enthusiastic Footnote to Howl, written in Berkeley in 1955. (WvS)

h ca. 96 con rubato, sempre non vibrato **

Wolfgang von Schweinitzop. 57 (2011 - 2012)

Plainsound String Quartet "Holy Howl"in 19-limit Just Intonation

PART 1 : Cadence and Modulations (Exposition and Development)

ritenuto

Vn. 1

Vn. 2

Va.

Vc.

Use open strings whenever possible! *con sord. (tourte)

p

°4-

marc.

π

9 / 2

m<

p

m

u

m

m

m

m

S

π

<

13

3

-2-

tempo primo ( h ca. 96 )25

avanti ( h ca. 97 ) 6

SLIDE PAGE

p

0

°3

f

o

po

5 / 3

o

espr.

7 / 4<

>u

p

SLIDE PAGE

338

>

S

>v

7 / 4

p

espr.

>

S

>v

7 / 4

21 : 20(-84 c)

p

>u

>u 5 / 3

>

>-1-

S

p

espr.

o

>o

21 : 20(-84 c)

p

>

> 5 / 3

>S

n

p

7 / 4

>

>

-2-

p

20 : 21(+84 c)

o5 / 4

>o

>

>

S

5 / 3

p

espr.

5 / 4

f 7 / 4 f21 : 20(-84 c)

>5 / 3

f

f-3-

p

>o

+43 1- (near the nut)

espr.

>of

S

p

>

espr.

7 / 2

(+84 c)20 : 21

10 / 3

7 / 2

ord.

più vicino al pont.

f

-1-

>>>u

p

espr.

o

>f

al tasto

π

espr.

°4-

p espr.

°1>

3

37

7 / 4

>v

21 : 20(-84 c)

>

p

>u

>u>

5 / 3

f

>u>

25 : 24(-71 c)

>

p

>o 8 / 5

>o>o

espr.

>o

> 5 / 3

>o>o

marc.

f

> >o

p

espr.

>>o

8 / 5

n7 / 4

>

p

>

>

>o

5 / 3

>

f

>

>op

5 / 3

espr.

>

>

>o>

>o

8 / 5

>o

1-

f

>o

5 / 3>>

p

>o

espr.

>

5 / 4

f 7 / 4

>5 / 3

f 7 / 4

f

>5 / 3

>8 / 5

f

>of

f

>o

>

f

p

espr.

>o

f

f

>

p

>o

>oespr.

ord.

7 / 2

>u

(+84 c)20 : 21

5 / 1

>8 / 5

>o4 / 3

> f

°2-

>

1

f

>

p

espr.

o

>

>o

>o>o

>o

f

>o

p

9 ritenuto41

tempo primo ( h ca. 96 )

>o

5 / 3

>

>o>o

π

3- please leave 3rd finger on E string

and prepare 1st finger on A string

np

36 : 35(-49 c)

n°2-

π

n1-

8 / 3

m

p

4 / 3

>12 / 7

-3-

>

>u

espr.

>

>

>u

marc.

48 : 49(+36 c)

f

>o

>o

π

f4-7 / 4

>o

>o

48 : 49(+36 c)

21 : 20(-84 c)

>u

>u5 / 32- (+35c)

>

espr.

>

>3

>

(+27c)8 / 5

>>u

5 / 3

12 / 7

>

n3 (-27c)

7 / 4

f

f 7 / 4

f 4 / 3 8 / 5

f 4 / 3

5 / 3

(+231 c)7 : 8

7 / 4

21 : 20(-84 c) >u 5 / 3

7 / 4 5 / 3

f

π

f (+63c)1

espr.

n

f

π

espr.

p

>

espr.

>u >

f

(+267 c)6 : 7

5 / 2

7 : 5

7 / 2

7 / 3

7 / 2

15 / 2

°4- (-49c)

espr.

f

(-119c)1

π

°2-

espr.

f

>

p

(+119c)1

f

espr.

°4-

molto sonore

>

°2-

f

f

°22

f

ritenuto

45

10 a tempo

8 / 3

m

<

3-

7 / 4

(+36 c)

ƒ

<21 : 20(-84 c)

p

m5 / 3

S

°3-

p

4 / 3

m

espr.

8 / 3

SLIDE PAGE

(+36 c)48 : 49

<

<7 / 4

m

12 / 7

ƒ

m

m 5 / 3

p

m8 / 5

SLIDE PAGE

π

con sord. (tourte)

flautando

<

<7 / 4

5 / 3

m

m

8 / 5m

m 8 / 5

5 / 3m

49

change position

°1-

S

p

(+182 c)

1

9 : 10

m10 / 3

(+165 c)10 : 11

4not too much bow pressure on G string!

sonore

411 / 3

m

m

411 / 6

m

4

4

S

11 / 3

p

m

m10 / 3

61accelerando ritenuto a tempo

poco vicino al pont.

°2-

espr.

°4

o

1-

>o

(near the nut)

o7 / 4

S

(-84 c)21 : 20

>

>

5 / 3

>o>

S

>o

>

>o

8 / 53 (+27 c)

>>o

S

>o

(+71 c)24 : 25

>u

>u>

5 / 33 (+71 c)

>f

>u

(+84 c)20 : 21

p

n>

7 / 4

S

(+84 c)20 : 21

of

5 / 3

f 7 / 4

f

(-84 c)21 : 20

>5 / 3

>8 / 5

(+71 c)24 : 25 5 / 3>u (+84 c)

20 : 217 / 4

(+84 c)20 : 21

5 / 3

5 / 4

>oS

f

S

>oS

f

> >o

>o

>

S

>o

>

>u

>

n

f

>

p

f

S

f

please leave 1st finger on C string

14 / 3

SLIDE PAGES 5 & 6

S

°2-

>

-1-

f

>

p

°4

espr.

°4-

1365

ritenuto

-1-

>u

sonore >>

7 / 5

espr.

21 / 10

please leave 1st finger on D string

SLIDE PAGE

65 : 63(-54 c)

sonore

>>

7 / 4

p

espr.

3

o5 / 4

o

sonore

o

p

(-112 c)16 : 15

n

2

(-119 c)15 : 14

4 / 3

espr.

7 / 3 over vc.

10 / 71

u

1

>>v

(+35 c)

(+84 c)20 : 21

4 / 3

5 / 2

n

5 / 2

u

7 / 5

5 / 2

4 / 3

(+44 c)39 : 40

2 / 1

5 / 3

please leave 4th finger on A string

p

4-

espr.

o 3-

SLIDE PAGE

7 / 2

>u

14 / 3

>

7/2 & 14/5 below vn.2

14 / 3

7 / 2

(+84 c)20 : 21

u

10 / 3

7 / 2

10 / 3

(+44 c)39 : 40

>

sonore

>

>

espr.

>

sonore

p

o

espr.

>

o

14 avanti ( h ca. 100 )69

ord.

f

°4-

3 / 1 over vc.

p

9 9m

(-54 c)

9

1573

9

13 / 9

99m

sonore

13 / 6

allargando

85

a tempo ritenuto

mn

p

4 / 3

S

m

40 : 39(-44 c)

13 / 5 = 13 / 2 over vc

0o3 (-44 c)

u

espr.

>

p

°1

please leave 2nd finger on D string

SLIDE PAGES 8 & 9

ord.

espr.

°4-

2 / 1

p

m

m

move elbow to the left

espr.

7 / 4 over va

m

u

42

and put 3rd finger 39 c lower than 2nd finger (or a 6/5 minor third below E)

6 / 5

43-

4

m

11 / 6

4

47 / 4

1-

>4>4u

espr.

u

m 7 / 4

u6 / 5

S

u

p

espr.

-1-

>up

m

>uS

mp

espr.

m please leave 1st finger on C string

7 / 1

vicino al pont.

4

m

4

4

7 / 3 over vn. 2

°2-

S

f

p

dolce

>

3

espr.

>

°4

p

marc.

°2

f

°2

f

S

f

4f

°3°1

p

4e

(3 close to 2)

espr.

m

°3°1

m(+17c)(+39c)

4f

°3°1

S

4e °4

p

4f

°3°1

4eintenso

°4

8

97

a tempo ( h ca. 103 ) allargando a tempo

vicino al pont.

°1-

espr.

-2-

>

>

7 / 6

>

f

>

>u

°4

marc.

>v>

7 / 4

>

7 / 6°1

ƒ

°4

>

9 / 7

>u

>

ord.

p

>4

4

>4

>4n

4

>

11 / 7

vicino al pont.

n

S

m0

4

411 / 6

(+81 c)21 : 22

>4>4

4

1-7 / 4

sonore

>4

4

11 / 7

f

11 / 7

>4>

>

marc.

n

ƒ

21 / 11

>4

>4 n

ord.

p

n

vicino al pont.

m 7 / 5 m 7 / 5

m 7 / 5

SLIDE PAGE

p

>u

-1-

f

>u

marc.

ƒ

>u

4

7 / 2

4

7 / 2

7 / 1

ord.

4f

°3°1

S

4e

°2

f

>

(+66 c)1-

espr.

4fS

4e

f >

sonore

>>u

f

> f

marc.

°2-

f >

°3

ƒ

>

3

f

p

20101

π

>

7 / 6

9 / 7

p

F

(-49 c)36 : 35

5 / 2

m

p

m 2- (-49 c)

espr.

sonore

m

m5 / 4

π

6 / 5

S

m

p

8 / 5

espr.

>u

π

u 7 / 5(+39 c)1-

>>

p

°3 m

m

u

u

espr.

>u

u7 / 5

π

u

u7 / 4

>u>t

>uu

S

p

espr.

u

m 7 / 5

m 7 / 4u

6 / 5

m 7 / 4

m

8 / 5

ord.

F

>u

p

m

m

π

m

>um

S

p

espr.

change position

m

vicino al pont. u III-15

ord.m

7 / 1

>π

p

f

SLIDE PAGE

espr.

°3

f°4-

m

°4°1

>u °4-

S

m

p

>u

1-

espr.

allargando105

a tempo

m

p

espr.

m

m

S

π

u

u

marc.p

n

<

< 7 / 4

SLIDE PAGE

<

(+35 c)49 : 50

>t

°3

m

m

p

u

u

S

u

u

dolciss.

0

u

u

9 : 10(+182 c)

6 / 53-

m2

u

4 / 3

m

u

m

m

>u

7 / 4u

>u

(-84 c)21 : 20

5 / 3

>u

>t

2->t (+119 c)

espr.

u6 / 5

m 8 / 5

m 6 / 5

m

8 / 5

m 7 / 4

u

u6 / 5

m 7 / 4

m

S

p

espr.

m

m

sonore

m

>um

S

π

u

p

m

>u

espr.

m

10 / 3

m

10 / 3

m

7 / 1

4 / 1

m

7 / 1

>u

p

m

0

S

m

°4-

p

0

sonore

0 m

>u

°3-

f

π

0

p

°4-

m

>u

espr.

9

21 ritenuto109

a tempo

SLIDE PAGE

S

5 / 2

mm -2-

8 / 5

p

m5 / 4

1-3-

>t

>t 5 / 3

>u

>t

>u

>u

8 / 5

espr.

(+898 c)25 : 42

>t

m

°3

π

m(-27 c)

p

14 / 5

S

m

m

p

(+31 c)55 : 56

m

m

2-

5u

sonore

(+31 c)

11 / 4

m

7 / 1

28 / 5

(+31 c)55 : 56

11 / 2

11 / 2

5uu

°3-

π

m

p

>u

°4-

π

n

S

p

-55

5

(+31 c)1-

5sonore

m

u

7 / 1

28 / 5

n (+31 c)

55 : 56

11 / 2

>u

m

°4-u

>u

°4-

π

n

S

f

°3-

p

°4-

sonore

(+31 c)1-

5

°3-

f

f

22 avanti ( h ca. 105 )113

ritenuto

m

marc.

-1--3-

(+31 c)55 : 56

121

avanti ( h ca. 106 )

°4

S

p

°1

vicino al pont.

<

1w ≈ 54 Lento con rubato, sempre non vibrato,* ... e poco a poco più mosso, accelerando sin' al fine: => w ≈ 72

PART 2 : Chords and Tunes (Final Dance and Postlude)

*) i.e. no frequency vibrato, please! But the occasional use of amplitude vibrato (once the intonation has been established) is very welcome and strongly encouraged.

Use open strings whenever possible!

con sord. (tourte)

con sord. (tourte)

p

°1 cantare!

espr.

2 / 1

2 / 1

amp. vibr. ad lib.

cresc.

8 / 3

m

4 / 3

m

m

non vibr.

5 / 4

con sord. (tourte)

cantare!

6 / 1

8 / 3

m

(+112 c)15 : 16

5 / 2

f

8 / 5

6 / 5 (-204 c)9 : 8

7 / 3

u

-1-6 : 7

(+267 c)

n

3 / 2

5 / 4

5 / 4

5 / 321 : 20(-84 c) 7 / 4

f f

+25

>sonore

>

più p

m n (+22 c)80 : 81

4 / 3

(+27 c)63 : 64

7 / 2

5 / 3>u

**) These precise tempo markings may help to facilitate the rehearsal of a gradual intensification of gesture and movement; in concert, everything can be played a little bit faster (beginning at 55 bpm, instead of 54).

m

°3°1

m

°1n

(+22c)

dolce

n

°1>

(+27c)

°2-

f sonore

>

1-

f

>u

espr.

>

>u>

>

9

ritenuto

(-63 c)28 : 27

6 / 1 over vc>

4 (+27c)

espr.

>7 / 4

>

p

>

f

7 / 4

p

nn

°4 (-27c)

-1-

>S

(+267 c)6 : 7

p

>f

(+267 c)6 : 7

>

1-

p

7 / 4

n0

(+84 c)20 : 21

f

5 / 3

5 / 3>u

(+84 c)20 : 21

7 / 4 21 / 16

21 / 4

8 / 3

>m

>

espr.

>n

S

>u

tutto d' arco

p

f

>

-1-

p

n0

°3-

5 / 3>u

(+84 c)20 : 21

7 / 4

7 / 2

5 / 3>u

7 / 4

7 / 3

7 / 4

20 : 21(+84 c)

5 / 3

>>

>u

dolce

>

espr.

f > >>u

p

>

f

>

>

>

p

°2

f

f

°1

f

12

2 a tempo13

ritenuto avanti ( w ≈ 55.4 )

3- 2 / 1

4 (-22c)m

m5 / 3

SLIDE PAGE please leave fingers on D & A strings

-3-

espr.

2 / 1

(+44 c)39 : 40

-3-

(-841 c)13 : 8

2 / 1 over vc

9e

2 (+44c)

-3-

espr.

>

-1-7 / 4

(+128 c)13 : 14

9e

9m

9m

n13 / 8

9e

(-231 c)8 : 7

m°2-

+41

9msonore

(+17c)1-

°3-

9m

n

(+44 c)39 : 40

13 / 4

2nd finger very close to 1st finger - elbow up!

13 / 4

4 / 3

9

13 / 4

4 / 3

9

9e2- (+44c)

f

9

f9e

sonore

9

9

>v

>u

>v

>u

>

5 / 3

espr.

>u

>u

>

5 / 3

>vp

13 / 8

9e9m

(-44 c)40 : 39

f

n2

5 / 3(+44c)

ffß

5 / 4

op

o

5 / 4

SLIDE PAGE

p

0 o

o

o

5 / 4

1-

2 / 19m

40 : 39(-44 c) 3 / 2

(-267 c)6 : 7

>u7 / 2

>u

7 / 6

please leave 1st & 2nd finger on C & G string

9m

dolce

n0

°4-

>

>

>u

>

2-

SLIDE PAGE

13 / 2

(+1156 c)20 : 39

5 / 4

change position

5 / 4

9

f

o

oo

o

SLIDE PAGE

o°4

p

o

o

o

13

25

7 / 2under vc

espr.

-1

>v

>u

>u>

5 / 3

25 : 24(-71 c)

p

>v

>o

>o>v 2

8 / 5(-71c)

espr.

>oo>o

7 / 4

marc.

ç

o -2->o

f

(-84 c)21 : 20

S

of

9 / 5

o

op

5 / 4

f

o

5 / 4

o

o

f

p

marc.

o

o

f

ç

o

o

f

350 : 351( +5 c ) 7 / 6

>v5 / 3

>v

(+84 c)20 : 21 o 7 / 4 35 / 27

>o n

7 / 4

n

f

>-2-

p

+47

>o

1- (+5c)

espr.

>

>o o

>o

ç

n>o

tutto d' arco

o

f

o

7 / 4

5 / 4 o7 / 4

S

o°4

p

o (leaving finger on D string)

espr.

o-4-

>o

1-

o

S

o

>o

29

ritenuto 4 avanti ( w ≈ 56.0 )

5 / 3

>(-1249 c)72 : 35

>o n

p

please leave 2nd finger on A string

SLIDE PAGE

243 : 245(+14 c) (+1263 c)

27 : 56

2

π

5 avanti ( w ≈ 56.25 ) 37

m

u

S

m

m

m

m

m

u

m

m

m

u

u

u

u

u

S

u

m

m

m

um

u

m

S

4 / 3

espr.

m

u 16 : 15

u

t

tu

5 / 4

mn

u6 / 524 : 25

t

t

m

5 / 4

t

p

2 / 1

u

u

n

sonore

24 : 256 / 5

t

t

u

5 / 4

n

u

m5 / 3

f

n

u6 / 5

m

8 / 5

224 : 225( +8 c )

t8 / 5

m 8 / 5 (+71 c)

24 : 25 t5 / 3

u

6 / 5 t

8 / 5

Sn 32 / 25125 : 128

(+41 c)

m

S

2-

3-

-31

t

1- (+8c)

u

m

-3-

nS

n

t

m

n

tm

-1-

usonore

n

49

ritenuto

f

°4-

-1-

>u

21 / 10

tutto d' arco

π

7 / 5

>u

dolce

n0

m

m°3

5 / 2

m

°3-

S

>

1- (+112c)7 / 3

>

f

°4-

-1-

>

7 / 4

>

tutto d' arco

π

>

(-27 c) (-22 c)64 : 63 & 81 : 80

n0

n

n1 (-27c)

4 / 3

S

m

1m

dolce

(-22c)5 / 3

9 / 5

>Sn 56 / 45

n 56 / 15

amp. vibr. ad lib.

n

please leave 1st finger on C string

sonore

n

-1-

>uf

tutto d' arco

°4-

π

n>u

-1-

n

n0

SLIDE PAGE

8 / 5>u

8 / 5>u

7 / 2

32 : 63(+1173 c)

8 / 3

please leave 2nd finger on G string

sonore

>

f

>u

>

tutto d' arco

°3-

π

f >-2-

n0

SLIDE PAGE

8 avanti ( w ≈ 58.9 ) 53

mm

0

dolce

u

u

6 / 5

1- °3-

sonore

u

8 / 5

espr.

(+31 c)55 : 56

5

9 avanti ( w ≈ 60.0 ) 61

(+14 c)120 : 121

p sonore

4

4

1-11 / 6

m

(+14c)

73

S

4 / 3

ƒ

tutto d' arco

SLIDE PAGE

play 2nd time only!

p

-1-

4 / 3

12 avanti ( w ≈ 61.7 ) 85

>

7 / 2

2- (+31c)

5

>S

7 / 6

espr.

>

> 4 / 3

>>

(+182 c)9 : 10

>u

3-

>u6 / 5

tutto d' arco

f

please leave 3rd finger on G string

SLIDE PAGE

espr.

>u

u7 / 5

>umarc.

>u

>u

tutto d' arco

f

>u>u

>u

S

u

π

u

7 / 2

7 / 6

>4 / 3

+29>

dolce

2- (+31c)

>sonore

>S

>u

tutto d' arco

f

>

p

1-

π

7 / 1

14 / 3

change pos.

II-8

5

tutto d' arco

7 / 2

ord.>u

8 / 5

m

2->

dolce

(+31c)

o

espr.

>

°3

f(-182c)

>°2

5

fS

°3-

>

>

>u

f

1-

>up

°4-

π

m

p

89

ritenuto a tempo

>u

-3-

>u

>u

>u

4 / 3

(-119c)

n

n

°3

n

m

>

10 / 7

(-35 c)50 : 49

n

n

S

n

p

u

>

>

-2

marc.

°2

°4-

S

(+112c)

p flaut.

f

f

sonore

m

marc.

f

13 avanti ( w ≈ 63.0 ) 93

ritenuto a tempo

(-81 c)22 : 21

4

4

<

< (close to 2)7 / 41

f

<

<

7 / 4

4 11 / 6tutto d' arco

u<

u

4

p dolce

11 / 6

<7 / 4

espr.

(+81 c)21 : 22

11 / 6

4 m

<

<

97

14 avanti ( w ≈ 64.0 )

1-

m

m(-84c)

5 / 3

m

8 / 52- (-53c)

15 avanti ( w ≈ 64.8) 109

5 / 4

f

5 / 3

π

3-

p

cantare!

espr.

ff

5 / 3

(+165 c)10 : 11

121

cantare!

π

4

2

4

11 / 6

(+151 c)11 : 12

p espr.

n2 / 1

(+165 c)10 : 11

11 / 2 over vc.4

4f11 / 5

più

( 1214 c )

f

121 : 60

2 / 1

(+151 c)11 : 12

sonore

5

11 / 6tutto d' arco

p

11 / 2

dolciss.5

°2-

S

5u

tutto d' arco

-1-

11 / 5

55

p

dolciss.

5u

m

5 / 2 over vc.6 / 1 (+151 c)

11 : 12

5 / 2 over vc.22 / 5

5 / 2 over vc.3 / 1

(-165 c)11 : 10

22 / 5

5 / 2 over vc. 11 / 10

please leave 2nd finger on C string

m

π

m

1-

°2-

p espr.

2-

5u

°3-

n

3

°2-

più f

-2-

5usonore

tutto d' arco

SLIDE PAGE

9 / 1

(+151 c)11 : 12

11 / 2

5 / 1

(-165 c)11 : 10

11 / 2

tutto d' arco

11 / 2

f

°2-

f

π

p espr.

5

f

più f

5sonore

p

dolciss.

5

125

ritenuto a tempo

55

5sonore

11 / 8tutto d' arco

5f

11 / 8tutto d' arco

SLIDE PAGE

please leave 1st finger on G string

5u

5u

sonore

tutto d' arco

5u-1

f

°2

marc.

5°4-

m

u

S

π

11 / 2

5u

(+39c)2-

p

22 / 5

11 / 10

5

11 / 10

m 11 / 2

°2-

S

p

-2-

5u

5u

sonore

tutto d' arco

f

5

5u

tutto d' arco

°4-

S

m

π

-2-

5u

p

5

11 / 3

tutto d' arco

please leave 1st finger on G string

5

espr.

5

°2-

f

5

f sonore

5

5

55u

f

SLIDE PAGE

129

ritenuto 17 avanti ( w ≈ 66.0 )

p

5

11 / 2

11 / 6

sonore

(-53c)

m

m

1-

5 / 3

4

(+165 c)10 : 11 4

11 / 6

f

4

4

11 / 6

(+151 c)11 : 12

n2 / 1tutto d' arco

p

(+165 c)

m

m

10 : 11

5 / 3

5u

dolce

m

u

amp. vibr. ad lib.°3

espr.

<

133

ritenuto 18 avanti ( w ≈ 66.5 )

4

4

11 / 6

(+151 c)11 : 12

n2 / 1

(+151 c)11 : 12

5

11 / 2

(-32c)

1-

n

-3-

11 / 6

5u

145

ritenuto

1

f

f

(-17c)15 / 8

sonoref

f

f

f

tutto d' arco15 / 8

p dolce

f6 / 5

f

n

espr.

-4- 1 / 1 with va.

ritenuto 157

ritardando a tempo

SLIDE 2 PAGES

changeposition

vicino al tasto

u

m

S

°3

dolce

7 / 1 over vc

m

π

>u

m

1-7 / 4

con sord. (legno)

Postlude

vicino al sord.

S

°4-

21 / 10

>u

-1

85 : 84(-20 c)

m

u

4 / 3

u

espr.

>u

u7 / 4

u

21 : 20(-84 c)

dolce

>t

>t 5 / 3

>uπ

con sord. (legno)

S

vicino al sord.

°3-

>u

-1

28 / 5

85 : 84(-20 c)

4 / 3u

u6 / 5

please leave 2nd finger on C string

u

m con sord. (legno)

u vicino al sord.

m

um

-2-

espr.

m-1-

u°1°4m

dolce

m

π

m

m

S

m

10 / 3

m

u

5

7 / 1

m

m

con sord. (legno)

vicino al sord.

42 / 5

m

espr.

u

5

>usonore

m

dolce

>u

m

π

°4-f

S

(-71c)

>u

-1-

21 avanti ( w ≈ 67.8 ) 161

17 / 8

¨umarc.

1- (-20c)

¨usonore

cantare!

sempre vicino al sord.

S

p

¨u

espr.

The 13/6 sonority must not be confused with the more consonant 11/5, which is only 26 c larger.

¨u

(+34 c)51 : 52

¨

169

°4-

¨u

17 / 8

espr.

¨u

(+34 c)51 : 52

4

¨0u

(+34c)13 / 6

°4

n

(-34c)17 / 8

17 : 15(-217 c)

¨u

3 / 2 & 5 / 2 over vn.2

¨t15 / 8

¨u

¨u¨t¨t

sempre vicino al pont.

°3-

-1-

¨u

17 / 3

¨t

¨t

5 / 3

¨t

¨u

¨t

¨t

(-13c)°3-

6 / 1

17 / 4

16 : 17(+106 c)

17 / 16

amp. vibr.

¨u

0

¨u

S

0

p

17 / 2

7 / 4¨

181

ritenuto

Æ

(-298 c)

19 : 16

Æ

Æπ

Æu

Æu 5 / 3

p espr.

Æu

(+165 c)10 : 11

11 / 6

ÆÆ4 Æu

Æ<

f

Æ4

(+151 c)11 : 12

ÆÆ

Æv tutto d' arco2 / 1

(+94 c)18 : 19

p

ord.

°4

(+201 c)57 : 64

S

°3-

π

1-

Æ

19 / 8

ÆÆ4

p dolce

Æ

f

Æ

Æ

tutto d' arco

please leave 1st finger on D string

(-94 c)19 : 18

(-204 c)9 : 8

19 / 18

Æv

-2-

espr.

π

p

0

espr.

-2-

Æv Æ

Ævf

tutto d' arco

p

espr.

vicino al sord.

19 / 4

19 / 6

(-1106 c)19 : 10

5 / 3Æu

Æ

°4-

Æ

2-

π

p espr.

°1-

f

Æ

2-

Æ<Æ0v

f

Æ

4 (+94 c)Æu tutto d' arco

°3

p

espr.

23 avanti ( w ≈ 68.6 ) 185

p

°1- (+94 c)

π

9 / 2

n

p dolce

2 / 14- (+94 c)

sonore

f

tutto d' arco

S

p

m

m

marc.

SLIDE PAGE

56 : 57(+31 c)

p

°3-

f

1- 7 / 3

>n

(+31 c)tutto d' arco

>>

S

5 / 2m

(+9 c)189 : 190

7 / 4m

(+84 c)20 : 21

m 5 / 3

21 / 20 (-182 c)10 : 9

°1 (+94 c)

π

m

4-

p dolce

m

+12>u

2- (+9 c)

espr.

>u

m

n

3

f

>u

-2-

tutto d' arco

S

m

(-173 c)21 : 19

vicino al pont.

ord.

7 / 3

tutto d' arco

m

°2 (-18c)

SLIDE PAGE

S

°4-

>

°4°1

f sonore

>

1-

fS

°2-

ritenuto189

24 avanti ( w ≈ 69.1 )

p

amp. vibr. ad lib.

espr.

dolce

(+84 c)20 : 21

n

(+31 c)

>u

p

m

-4

espr.

>n

-1

>u

2-

dolce

0

SLIDE PAGE

7 / 2

amp. vibr. ad lib.

(+84 c)20 : 21

5 / 1

>

-1-

f

p

°2

espr.

°4-

>

-1

dolce

f

2-

π dolciss.

f

p flaut.

f

espr.

27

193

7 / 2 over vc.-1-

205

u

u

p

°2

-°3-

S

π

5 / 2

1-

f

°3-

p

m

m

(-112 c)

espr.

25 / 8

f

-1

m

mgliss.

26 : 25(-68 c)

9m

1-

13 / 4

13 / 4

9msonore

9t9m

13 / 4

9m

9t9m

u

u

-°3-

please leave 1st finger on A stringSLIDE PAGE

-°3-

u

u

espr.

-1-

9m

9t

π

2-

9t

9m

5 / 3

u

u-°3

624 : 625(+3 c)

m

u

m

SLIDE PAGE

p

°1

°4-m

espr.

mm

26 : 25(-68 c)

209

ritenuto a tempo ritenuto a tempo

9m

9m2 / 1

9m9m

marc.

9m

9m-4-

espr.

n

0(+44 c)39 : 40

9m9m

9m

9m

9m

f

-1-

9m

9t

9t

9m

5 / 3

p dolce

9t-2-

°4

(-68 c)

26 : 25

9t

espr.

-2

-1-9t

9m

5 / 3

3-

9n

9m 5 / 4

f

26 / 5 m

m

(-68 c)26 : 25

please leave 2nd finger on C string

+289t

2- (+3 c)

m

9t

m

espr.

0

9t

-2-

°1-

-°1

m

13 / 2

m

m

8 / 59m

°2-m

S

(-41 c)

π

9m

1 (-68 c)

p dolce

9m

m

espr.

9m

9e

dolce

2 (-27 c)

sonore

9e

9m

f

ritenuto213

26 avanti ( w ≈ 69.4 )

9m 9m

tutto d' arco

dolcep

9m9m

(+76 c)

112 : 117

n0

π

u

>u

1 (+76c)7 / 5

espr.

u

>u

>u

4>u

(+76c)

2 / 1

cantare! (+84 c)20 : 21

9m

9m5 / 4

9

tutto d' arco

9p

-3-

dolce

-1

9m

9m5 / 4

112 : 117

40 : 39

(+76 c)

(-44 c)

espr.

n0

(+76 c)

3-

>v

7 / 6

>u

26 / 25 please leave 2nd finger on C string

(+5 c)350 : 351

amp. vibr. ad lib.

-2-

9tf

tutto d' arco

p

0

dolce

0

°3-

π

espr.

13 / 4

112 : 117(+76 c)

7 / 2

9m

9etutto d' arco

p

°1

fdolce

(+68 c)

-2-

9e(close to 1)

f

9

espr.

°4-

>n

°4-°2

dolciss.

>

>u

-2-

sonore

>

29

217

dolciss.

0

-4->u

-1-

>u

5

π

0

flaut.

amp. vibr.

espr.

>u>u

>u>u

cresc.

0

5

dolciss.

0

-3-

>v

7 / 6

dolce

>v espr.

>v

sonore

>v

amp. vibr.

please leave 3rd finger on D string

u

8 / 3

u

>v7 / 4

please leave 2nd and 4th finger on C and G string

dolciss.

4-

-4-

+33

π

>v

2- (+5 c)

espr.

>v

SLIDE PAGE

please leave 2nd finger on G string

7 / 2

>u

SLIDE PAGE

°4-

p dolce

>-2-

sonore

>

°4-

f

221

ritenuto

f

amp. vibr.

p

(+821 c)28 : 45

>u

>u

espr.

>u amp. vibr.

>u

-4-

5 amp. vibr.

-1-

>u

>uf

>u>u

tutto d' arco2 / 1

SLIDE PAGE

p

f

-3

>v

7 / 6

>u

tutto d' arco

(+63 c)27 : 28

S

amp. vibr.

8 / 3

57 / 4

28 / 27

espr.

°3-

-4-n

5

5

-2-

>v

-2-

>vf

tutto d' arco

7 / 2

tutto d' arco

>

2-

p

°4-

sonore>

2-

°4-

f

>

-2

°4- (-204 c)

espr.

27 avanti ( w ≈ 69.8 ) 225

ritenuto a tempo

SLIDE PAGE

225 : 224(-8 c)

p espr.

1-

f

(-8 c)

8 / 5

f

f

f 2 / 14 (-8 c)

F

1- (+92 c)4 / 3

°4-

p

33 : 32(-53 c)

2 / 1

p

3 (+63c)

π

p

f

dolce

f

6 / 5

espr.

(+182 c)9 : 10

4 / 3

marc.

°4

m

m

S

p

espr.

3 / 2 with vn. 2

m9 / 2

9 : 8

(-204 c)

please leave 1st and 2nd finger on G and C string

°1

S

π

1-

°1-

p

-1-

marc.

°1

°4--1-

SLIDE PAGE

(-119 c)15 : 14

5 / 1

5 / 4

16 : 15(+112 c) 4 / 3

8 / 3

°2 (-119 c)

f

π

°4-

f

2-

p

fdolce

espr.

f

n

F

p

espr.

30

229

S

°3-

p

(-53 c)

5

1-

11 / 2

5sonore

espr.

5

55

4--1-

(-53 c)

2 / 1

please leave 1st and 4th finger on G and D string

SLIDE PAGE

0

°1

°4

marc.

espr.

marc.

891 : 896(+10 c)

amp. vibr. ad lib.

amp. vibr. (-204 c)9 : 8

(non vibr.)

°1

p

marc.

0

-1-

°1

16 / 3

33 : 32(-53 c)

11 / 2

(+165 c)10 : 11

5 / 1

n

m

5

1- (-53 c)

5sonore

241

più

-2--4-

5p

253

cantare!

espr.

-4-

m

8 / 3

gliss.

(+53 c)32 : 33

4

4

4

dolce

<

11 / 4

4

4

sonore

<

S

4

4

<

dolcep

mn

4 (-53 c)

8 / 3

sempre marc.

più vicino al pont.

m

m

<

<

4

4

5

4

S

4

S

tutto d' arco

please leave 1st finger on G string

cantare!

2 / 1

SLIDE PAGE

0

dolce

°1

S

p

1-

dolce

change position

m

u

5

5 / 2

mvicino al tasto

più vicino al pont.