SShhaatttteerr CCoonnee for violin and electronics

Panayiotis Kokoras

© 2004

PPAANNAAYYIIOOTTIISS KKOOKKOORRAASS

Shatter Cone for violin and electronics

Score

Duration 10:05 minutes

All Rights Reserved Rethimno 2004

Performance Notes

- CROSSED NOTEHEAD: Two (or more) L.H. fingers should touch the string lightly on the indicated note. The first finger (whichever is it) should be positioned at the written note, the rest behind it. It is necessary to bow these notes always towards on the bridge (SP, xSP) with light bow pressure and slow speed. By touching the string with two fingers (slightly angled), most of the harmonic content of the sound is muffled. The sound produced is noisy with a blurred sense of pitch content.

- DIAMOND NOTEHEAD: Touch the string with a finger (but do not hold it firmly). It is necessary to bow these notes always towards the bridge (SP, xSP) because otherwise the sound would lose its bright, flutey quality. The sound often can be lightly grazed, with varied harmonic content. ATTENTION: the written note does not always correspond to the one that is sounded. In this case the performer should follow the written note regardless of the sounding result. - STRING BOWINGS: the performer can hear the variations in pureness and timbre of a note moving from one bow position to another, from sul tasto (ST) to sul ponticello (SP), by passing through the intermediate playing position (ord.). CLT: col legno tratto (play with the wooden part of bow). The sound should be very noisy with a granular texture. ST: sul tasto (over the finger board) produces a soft, veiled sound, as if filled with breath. ord.: ordinary, the pitch intonation and the harmonic spectrum of the sound is stable, rich and warm SP: sul ponticello (close to the bridge), up to 2cm from the bridge. This produces a more metallic sound, sometimes nasal. xSP: extreme sul ponticello, bow as near to the bridge as is practical (some bow hairs might touch the bridge); the sound is filled with dissonant overtones which give it an unearthly, glassy, metal-scratchy quality.

- ABOUT CLEFS: sometimes the “traditional” 5 line staff changes to a four line staff that represents the four strings of the violin. According to the “clef” like symbol the vertical axis of the staff shows the pitch range from bottom line (lower part of fingerboard, pegs) to top line (higher part of fboard, bridge). Moreover, in bar 70 (angled bowing gesture) the vertical axis indicates the bow position from xSP to Ord The horizontal axis shows how the pitch curves change in time and per string or how the bow moves from xSP to Ord. On the top line (string E) the little ticks show the beats per quarter. ATTENTION: the order of the strings from bottom to top varies according to the gesture.

- BOW FORCE: increase or decrease the bow speed / force.

- TRIANGLE NOTEHEAD: Touch the string in any position beyond the fingerboard. Moreover, when the triangle notehead is crossed, you touch the string with two or more fingers (see CROSSED NOTEHEAD).

- GRAINY BOWING: slow down the bow speed so the sound quality transformed from the bright pure sound to a kind of granular, rich sound with sub harmonics. Two L.H. fingers should touch the string lightly on the indicated note. The bow should play ST at the position 1 cm before the end of the fingerboard.

- FINGER POSITION POINT: C.II, C.III etc It works as the barre technique for guitar. Each Latin number corresponds to a semitone on the fingerboard.

- BOW POSITION POINT: The thick top line (upwards, downwards and flat) in combination with the Latin numbers in square brackets indicates where to place the bow (mostly as col legno) and from which point to which one should move the bow horizontal to the strings. Sometimes except the horizontal movement of the bow, you may have to play vertical (“ordinary”) at the same time (see: col legno pitch shifting).

- TAPPING: tap the string whilst play. The left hand finger comes down hard on the string against the fingerboard, much like small hammer. When the notehead is crossed the percussive sound should be stronger than the “ordinary” notehead. Moreover, The force of the hammering depends on the dynamics. The effect gives a second pitch, and for a moment muffles the resonance of the string.

x

fiL

- REVERSED SOUND: to obtain this effect, move the bow from xSP to ord. and from tip to frog. Towards the end of the movement, increase the speed and pressure of the bow and then suddenly stop the bow motion whilst firmly holding it on the string. Tap the string by slapping or hammering the string with the left hand, causing a percussive sound. The effect sounds as if you have recorded a sound with a strong attack and then played it backwards.

- OPEN STRING TREMOLO: touch and instantly release the finger from the string with rapid movements whilst the hand is moving upwards or downwards (some times even on the same position) on the fingerboard or further up to the SP area. The sound produced is a rich tremolo between the steady pitch of the open string and the shifting pitch.

- GRAINY GESTURE: the speed of the bow is slower than the “ordinary” one with extra pressure (depending on the dynamics). The bow usually (with exceptions on G and E strings at the beginning and end of the gesture) plays double and triple stops at an “extreme” sul tasto area (ex. around the area of 2nd C on G string, ca. 5cm from the end of the fingerboard) and moves from string to string proportionally as indicated on the score. The Left Hand with the fingers to touch all the resonating strings moves up and down across the strings following the pitch curves. Occasionally, one could hold down the strings, for more timbral variety. The grain gesture has a quite improvisatory character.

- ANGLED BOWING: (right triangle notehead) the bow moves horizontal to the strings and the same time with a slightly vertical (ordinary) motion. It should be played close to the frog area and in between extreme sul pont to ord with extra pressure in order to maintain the strong and rough sound. The strings must follow each other (often with double stops). The up and down curved lines in the staff shows approximately the horizontal movement of the bow in time from xSP to Ord position. The Left Hand, with the fingers muffling the resonating strings, occasionally moves up and down across the fingerboard. In The notation here intends basically to give an approximate idea of the bow motion. An improvisational approach is suggested. The sound produced is a rich granular texture.

- DAMPER STRING: whilst the strings are vibrating, touch lightly and briefly the resonating strings with the left hand fingers causing the vibration to cease for a moment so to create rhythmic and timbral variations. The following symbols are used above the notes to indicate open or damper strings.

- COL LEGNO PITCH SIFTING: slide the tip of the wooden part of the bow from fingerboard (close to LH fingers) to [Ord] or [SP] (horizontal only motion) and vice versa. In case that the bow plays within the fingerboard the bow position is indicated or by the finger position points (see above) for example from C.V to C.XIV. At the same time the left hand hammers the string in a LH trill way. The sound produced is short tapings shifted upwards or downwards. When at the beginning of the figure the V or Π bowing symbol is indicated then the horizontal motion of the bow must combined with the vertical one.

- SCREAM BOWING: Play both bow and LH within 2-3 cm from the bridge. To sustain the amplitude and pitch as steady as possible the bow should move fast. The sound produced has a very high, scream-like quality.

- FEEDBACK BOWING: bow continuously as close as possible to the bridge (even with part of the bow hairs) so to not muffle the “left vibrate” resonance of the open string. The bow pressure should change (from light to ord.) accordingly to retain the double character of the sound. In that case the percussive taps damper instantly the resonance of the open string creating the sound of a feedback in which stops its development and starts again (or a kind of a reversed loop sound).

Electronics The sonogram below displays the frequency in Hertz on the vertical axis and the time on the horizontal axis. Moreover, the colourings of grey indicate loudness in terms of the frequency (from black for the loud frequencies to white for silence). The sonogram, works as visual representation of the tape part in order to guide / help the performer to follow it accurately. When the notehead appears shows the particular importance of that beat. The size of the notehead may indicate the dynamic.

STAGE LAYOUT - A contact microphone should amplify the violin (or any other high quality input device the performer prefers) - 2 high quality loudspeakers should be positioned at open Left and Right front of the violinist and a subwoofer. - A CD player in case the prerecorded material will not triggered from a laptop. - Reverb effect (ex. Lexicon, TC electronics etc.) [Only for the violin’s input], the amount of reverberation depends on the concert hall’s acoustics. - A Mixer - An Amplifier The balance between the violin output and the electro acoustic material should be matched properly to avoid the predominance of one over the other. Technical configuration and layout: Violin L Speaker R Speaker

In Mixer/

Amplifier

CD player

Reverb

LFE

i 44 45Violin

Tape

Ÿ~~~~~~~~~~~~~~ Ÿ~~~~

q»¶™

@

Bright, Vigorous trills are always playedone semitone higher

∑

Ó .© œ

çsul E

SP

p

.·≥  Œœb ‰ œ ≈ œ ‰ Ó

short push & press bowto create an accent

ADG

  . ≤  ä .   ä    ä   ‚‚

C.III

‚ ‚b

i 44Vln.

Tape

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~

ç

ST

PD A D

touch all the strings with 2nd finger on "fret" C.III and play the trill with 3rd finger on "fret" C.IV.

4

.·b≥

‚≤‚ ‚ ‚‰ . œb ‰ œ ≈ œ ‰ .

SP

PG

·b

C.II

·

≥≈ œ ‰ œ ‰ . œ ‰ œ Œ

© 2004 Panayiotis A. KOKORAS, All RIghts Reserved

Panayiotis Kokoras

00:15

-00:01

| |

| |

Commissioned by MATA Festival to be performed by Mari Kimura

Shatter Conefor violin and electronics

| | | |

i 45 44Vln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~

sul A D G

ST

@

7

· ‚≤‚‚≥ ‚C.III

‚

C.II

≤‚‰ . œ

ß

SP

DF‚≥‚≤‚≥·‰ œ ≈ ≈ œ ‰

sul G

ST

pF.·b≤ ≥

œ‰ œb ≈ ≈ œ ≈ œ Œ

iVln.

Tape

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

10

w≤

SP

pßw≥Œ ‰ œbâ

≈ Ó

ST

œ  â .    . â

≤

 â

i 45 44 89Vln.

Tape

DA

13

      

Ó . Œ ‰ . œ

çsul E

SP .Y≥Œ ∑

2

00:25

00:35

00:45

||

| |

| |

i 44 43Vln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

pizz.

sul G D A

after plucking the first noteplay the notes in bracketswith LH finger only (legato)

F

16

6

œ#

ä

œ( œœœœ)œäœ}œäJœ

6

≈œäœ( œœœ)

Ó . ‰ ≈ œ ‰

arco

sul D p

ST flautando

sul G

œäœ( œ œ œ œ)‰ ·b

œ œ œ œ œ œ œ œ œ œ œ Œ

.·

i 44Vln.

Tape

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~19

.· .·œbä≈ ‰

SP ST

pß·≥≤

jœ œ Œ Ó

i 42 44Vln.

Tape

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~@ xSP

reversed sound

22

.· ‚≤

ß

frog

‚ ‰ . . Œœ˘

‰ . . sul Aƒ

SP

fœ#≥¿ .·,

Œ Œ ‰ œ Œ

3

| |

00:57

01:06

01:15

| |

| |

iVln.

Tape

~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

sul Dsul G

f

25

· œ¿≤œ}¿ ‚≥k

≈ ≈ ≈ œ Œ Ó

·≤

ç çß ß‚≥

fl ‚ .‚≤

fl ‚ ‚≥

fl ‚≤

fl

œ Œ ‰ œ Œ

iVln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

SP

f

open string tremolowith upward motion

28

˙≥}          

                    

   —O

Ó . ≈ œ ‰

D fç çA E A

 ≤

      ·ä≥ ≤

k ‚bä≥

œ>‰ .

FA E

‚

≤jœ#‚ · ‚œ

> ‰ . Œ ≈ œbä‰

i 43 45Vln.

Tape

~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~open string tremolowith upward motion

ß

xSP

sul E

31 ‚ }     J—≥

                    

SP

F

.·# ≤

߉ ‚# · }  œä‰

               ‚

4

01:23

01:33

01:43

| |

| | ||

echo

i 44Vln.

Tape

Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~

@

ß F

ST

sul E A D A

34

Œ

≥

·# ‚≤¿      œä

çE

xSP

open string tremolowith downward motion

A

˙>}≥x 5

         5

     5

     5

    œ

˘

   

ß sul G

AD ß F.‚k≥C.I

‚k≤‚ ˙

≥

}  5

         5

      ¿

˘

 

iVln.

Tape

@

p

sul D

F

SPST

37

}  Œ‚

˙

≤

}  5

¿

˘

        5

     6

      double stop open stringtremolo and gliss on D

rit.

6

      6

                  

ST

p

‚  

≥

}                  ¿

˘

    ¿

˘

       

iVln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

E

SP

Psul G

40

˙ ‚≤ ‚≥k

C.I

A E A

‚k ‚k .·≤

k

ST

E A E

‚ ‚k ·k ‚ ‚k

5

01:53

02:03

02:13

iVln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

sul A

STSP

43

· ‰ œä≈

SP

·œä‰ .

ST

.·

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Œ

iVln.Vln.Vln.

Tape

@

Streched, Roarend of fredboard46

∑

grainy gesture

PŒE

ADG

GDAE

~~~~~~~~~~~~~~~~~~~~

YYYY

≥

œ‰

‰ ŒY Y≤

Vln.

Tape

damper the resonating string(s)with LH's little finger

49

Y YEADG

≥C.I

k k

‰ œfi‰ œfi≈ ≈ œfi‰ œfi≈ œfi≈ Œ ≈ œ

fi‰ œfi‰ .

Ó Ó

Œ Œ

6

02:33

02:23

02:43

| | | | | | | |

| | | | | | | | | | | |

pegs

43 45 44Vln.

Tape

@

f

end of fredboard52

‰EADGGDAE

Y Y Y Y

≤

f

YYYY

C.V≥,∑

43 44Vln.

Tape

@

F

55

‰GDAE

EADG

YY Y Y

≤

f

YYYY

≥,Ó .

43 44Vln.

Tape

f

58

‰GDAE

EADG

Y Y Y Y

≤

ƒ

YYYY

≥,Y Y Y

7

02:53

03:03

03:12

| | | | | | | | | | | |

|||||||||||

| | | | | | | | | | |

pegs

iVln.

Tape

@

D

[Ord]

61

∑ ∑AE

Œ..YY≤

i 45 43 44Vln.

Tape

Ÿ~~~~~~~~~~~

@

ç

xSP

D G

64

Y œœ¿¿

angled bowing

[Ord]

[xSP]

—Ô‰ . . Œ ‰E

ADG

8

C.III

≤8

fß

8 .‚≥ ‚≤

â8 8 8

C.I

6

8≥888≤88

œ ‰ .

œ Œ œ œ œ œ

43 44Vln.Vln.

Tape

Ÿ~~~~~~~~~ ~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~ ~~~

ß[xSP]

67

·≥C.II

EADG

‚

C.III

≤œ ‰ .

Œ Œ œ

ß f8≥

8≤‚≥ 8 8≤

œ ‰ œ œ ‰ œ Œ

ç

xSP

D

ß

SP

‚

C.IV

≥

‚ ‰

≤

‚ 8 ‚≥

â‚

jœ

Œ Œ œ œ œ œ

8

03:21

03:31

03:41

bridge

fboard

43 42 44Vln.

Tape

@

Distorted, Aggressive

ƒ

[Ord]

[xSP]

70

8EADG

fiL8 8 .8

fl8L

ç8 ≈ ‰ Œ j8

çƒ Psubito8

fi≈ j8

8 8 8 8

45 43Vln.

Tape

Ÿ~~~~~~

@

ƒ

73

.8EADG

88 88 8-

.8 ≈ ..88â

L88.

fi‰

çD

xSP

ƒ‚≥‚ ‰ Œ ‰ J8

≥

>8>88

>

œ Œ Œ Œ Œ

8 8 88 8â 8. 8

≥

44 43Vln.

Tape

Ÿ~~~~ Ÿ~~~~Ÿ~~~~~~

ƒ

all strings open

76

888EADG

L

çp ß

8 j‚

C.I,

‚ 8L. j8ƒ

3

8

C.I

88883

888 ‚

8

9

03:50

03:58

| | | | | | || | | |

| | | | | | |

04:09

||

| | | | | | | | | | |

||

bridge

fboard

44Vln.

Tape

Ÿ~~ Ÿ~~

@

ƒ[xSP]

[Ord]79 8EADG

fiL8

3

8 8 8 88 8 8L

ç8

C.III

fi

88 j8Lj8fiJ8 J8 8 88 8

L88fi

J8LJ8fiJ8LfiJ8LfiJ8 j8

  ‰.  ‰  

≈  ‰

i 42Vln.

Tape

Ÿ~~~~~~~~~~

@

xSP STpizz.

ç Fsul D GD

82

·≥

≈ .œ œ

3

œ œ œ Œ ‰ œ œ

xSP

sul A

arco

RH pizz

‰ œk 

Œ ‰ 8≤

‰ jœ œ Œ Ó

ord.

ç

8 ≈ ‰ Œ

i 44Vln.

Tape

Ÿ~~~~~~~~~~

ç DE A

G

SP ST

85 ‚#C.IV

≥ ..‚‚# ‚#   88≤œ#

ä‰ .

ç

xSP ST

8 .8≥Á

Œ ∑

10

| | | | | | | | | | | |

04:18

04:28

04:36

bridge

fboard

i 43 44Vln.

Tape

@

col legno

Pulsatory, Delicate

sul E

88

∑

touch with col legno on thefingerboard (harmonic like)

PLH pizz

‰ ‚#   ‚} Œ

Œ Œ ‰ . œ

LH pizz

‚Œ Ó

i 45Vln.

Tape

Ÿ~~~~~~~~~~

@

hold D# and hammer on note E with2nd finger; play trill by hammering note E with 2nd finger

Psul G

sul A

LH pizz

91

Ó ‰ . jœ#} œâ œ#

Œ œ œ Œ

col legno pitch shifting

œ œâœ

[C.X]

œ        ·#}  P

touch with col legno on thefingerboard (harmonic like)

[Ord] LH pizz

A

           3‚,‚ ‚ ‚

Œ ‰ œ œ œ Œ ‰ œ

i 43 44Vln.

Tape

psul D

94 3

‚>

[C.II]

‚ ‚J

3

‚ ‚>‚J

3

‚>‚ ‚J

rit.

3

‚ ‚ ‚3

‚>‚ ‚>

3

‚ ‚ ‚

col legno trattoE

A

release finger- open strings

‚ ‚ ‚ ‚ j‚

[C.IX]

J‚#≤ 

œ Œ Ó

11

04:46

04:55

05:06

| |

| | | | |||||

iVln.

Tape

@

p

LH pizz

sul A

bow except of the movement across the string in order to control thepitch (guitar slide like), move simultaneously up and down (in the"ordinary" way) in order to create a sustained grainy like sound

97  R .j‚#>·≥

J j‚>  ·>

≤  J 

j‚b>

≥‰jœ

[C.X]

3

œ œ œ·}  

iVln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~

@

sim...

[SP]

touch by col legno at the C.X "fret" with the very edge of the bow andslide towards the bridge

100 œb             ≤·}  

arcoST

light bowing

πsul A

˙ ·≥ œbä‰

πF‚ J‚≤ ‚b ‚ ‚ ‚ ‚b ‚

6

‚‚‚‚‚‚œb> ‰ .

Œ ≈ œ ‰ Ó

iVln.

Tape

103

‚ .·≥¿>‰ .

Œ ‰ œ œ Ó

P

 

6

‚≥, ‚‚‚‚‚#

6

‚‚‚‚# ‚‚‚æπ

·}æ

12

05:14

05:24

05:34

| |

| |

only

i 43Vln.

Tape

~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~

@

sul A

sim...

col legno pitch shiftingopen string tremolowith upward motion

open string tremolowith downward motion

106

‚≤œ

[C.XVII]

œ              

[C.IX]

 }  

π P

sim...

G D

‚ ‚≥œb

[C.XXV]

œœ           

[C.IX]

 }  

col legno tratto

p.·≤Œ ‰ œ ≈

œ œ œ œ œ≈ ‰ Œ

iVln.

Tape

~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

sim...

ßP

109

·≥}   j‚œ˘œ œ    

fl         

fl  ≈

‰ œ Œ Œ

sul D

arcoST

œ≤‚ œb ‚ œ ‚ œb ‚ œ .‚

˙ ˙

xSP

F.·≥

Œ œ Œ

i 44 43Vln.

Tape

~~~~~ST SP

112

‚ ‚ ‚≤m ‚ ‚ ‚ ‚ ‚ œ# œ·}  

≈ œ ‰ Œ Ó

xSP

f ƒE

œœ œ# œ œ œ ‚ ‚ ‚ ‚ ‚ ‚œ œœ≥

C.XXV

Ó Œ œ œ ‰

Fsubito

bow position

       

13

05:44

05:53

06:00

| |

i 44 43Vln.

Tape

Ÿ~~

@

115

∑col legno pitch shifting

sul G

sim...Ӝ

≤ [C.XI]

œ œœ œœ œœ·} 

Ó ‰ œ Œ

p

CLT

œ œ œ œ œ˘[C.IX]

œ œ œ˘œ œ˘œ≥

i 44Vln.

Tape

~~~~~~~~~~~~~~~~

@

G

D

D

118

.œfl‰ . œfl≈ œfl≈œ

sul A

LH pizz

P

col legno pitch shifting

œ œ≤œ œ œ œ

œ œ œ ‰ œ Œ

œ≥œ œ œ œ œ œ œ œ

[C.II]

i 45 44 43Vln.

Tape

arco

G

SP121

··æ——@ ‰

œ ∑

col legno pitch shifting

GD

CLT / xSP

pG

sim...

SP

Pœ

[C.IX]

œ                œœæ·}  

œ ‰ Œ Ó

——æ

14

06:10

06:18

06:26

3

1, 2

i 44Vln.

Tape

@

col legno pitch shifting

sim...

Psul G

124

œ

C.XXIV

œ œ                  }  

arco

           

C.V

Œ

xSP

sul D sul A

F

SP

tip

Screaming, Sharp

·æ @‚@‚@‚@

iVln.

Tape

@

sul D

SP

127 ·}æ ‚@ ‚@ ‚æ

f sul GD

xSPtip

A E A D

 æ ‚!œœ

!>J—@ @—@ @—@

çf

open string tremolowith downward motion

 !.—≤O   —≥O

J 

3

—O— O

} 

iVln.

Tape

P

ord. xSP

A

tip

D

up to fingerboard end130

6

      6

      

œjœ‚æ   

œ ‰ Œ Ó

f ç ç çDA

 æ œœ>

!. @

 

!œœ>

!

 

@œœ>

!

. 

@ ç ççE

—æO —!O

œ>!—@O —æO

œ>!—!O

œ>!—!O

15

06:36

06:45

06:55

||||||

i 43Vln.Vln.

Tape

@

ƒGD

ç

çED

A

tip frog

[nut]

sweep/ gliss fingers from SParea to bottom of fingerboard[nut] whilst you change strings

AD

G

[SP]

133—æO —@O —@O @ @ 

@œ

@¿k

[nut]

[SP]

œ¿æk œ¿! œœ>!œ¿@ ‚

≤

¿     —≥O —@O ±Oæ

i 44Vln.

Tape

Ÿ~~

@

çAE E

open string tremolowith upward motion

xSP

136 œœ>!

.—@

O —æO‚#≤ 3

‚  6

     —}  

ç ç ç

œ>!

≥—!O @ @ œ>!

≤—!O ! œ>!

≥—@O  æ

ßßsul A

—>≤O

6

œ> œ> 

≥

    —æ¿O

iVln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~xSP

f

139 ±}æ¿

ç  ‚≤k ‚ ‚ œ

>≥n ‚k ‚

Ó ‰ ≈ œ Œ

ç.·≤

‚ œ>n≥‚k≤

16

07:05

07:13

07:23

A

i 45 44 43Vln.

Tape

~~~~~~~~~~~~~~~~~~~~

@

ç

sul G

xSP

142

œn>≥.‚k .· ‚

≤

ç ç

open string tremolowith downward motion

—≥O   —@O  ! œ>! @ æ

ç

œ!> ! œ>! !±æO

i 44Vln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~

@

sul D

145 æ jœ ·æ

up to fingerboard end

ß

—≥OJ 

3

—O

}

≤  

6

             

œ  

xSP

ßP f

3

     

ϳ

> .‚k ·≤

iVln.

Tape

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~xSP

ßf

148

ϳ

>n .‚k .·≤

ST

·≤≥

π·≥

17

07:33

07:43

07:52

...

i 43Vln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

151

∑

G D A E

xSP

F

Ó‚#

≤C.I

‚# ‚#‚

A D G

‚≥

>‚# ‚# ‚# ‚ ‚ œn @

i 44Vln.

Tape

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@

[SP]up to fingerboard end

xSP

F

154—O

}

≤                

œœ  

P·k

≥ ≤ ≥

ST

·≤

iVln.

Tape

xSP

π

light bowing157

‚ .˙≥ ∑ ∑

18

| | |

08:02

08:10

08:20

iVln.

Tape

@

sul G

ST

Resonant, Feedback

p

feedback bowing160

Œ.˙

psubito

xSP

FwÓ ‰ ¿.

≈ Œord.

w

iVln.

Tape

@

Fpsubito

ord.xSP

F

163

œ œ¿˘‰ . ¿˘‰ . w

o

xSP

psubito

l. v.

œŒ

jœ jœ œ

i 43Vln.

Tape

sul E

subitop

l. v.166

Jœjœ .˙ ‰ œ.

fi≈

psubito

œ ˙ Jœ Jœord.

F πsubito

xSP

˙ rœ .Jœ≤

19

08:30

08:40

08:50

C G

B

E

i 44Vln.

Tape

@

subito subitop pP

169 .˙Œ œfi‰ . ‰ œ

fi≈

E Aß

ST

. .·¿˘

œ#

xSP

˙ œ œ œ

Ó œ Œ

iVln.

Tape

@

psubito psubito

xSP

172 jœ Jœ .˙‰ œfi≈ ‰ . œ

fi

pEApP

œ≥ Jœ Jœ œ œœo

P

oœ œœ‰ œfi≈ œfi‰ .

iVln.

Tape

A

ord.E

P

175 œœ œ ‚oœ ‚oœ ‚oœ ‚oœ ‚o

œ ‚o

SPgradually lift up the finger

rit.

.‚oœ.‚oœ.‚oœ.‚oœ

ord. SP

w‰ . œ ‰ œ ≈

20

08:59

09:08

09:18

iVln.

Tape

@

sul AP

178

˙ Rœ.j‚# o ‚oŒ œ# ≈ œ ≈ ≈ œ ‰

‚o‰ œ# ≈ ≈ œ ‰‰ œ œ Rœ

.j‚#o ‚o .·# o ‚o

iVln.

Tape

@

ord.

l. v.

181   œ œ ‰ . ŒxSP

p·# · .·} œ

iVln.

Tape

Fpsubito

l. v.184

œ œ œ œ ≈Óœ# ‰ .

sul Gπ

ST

Ó . ≤

k

Œ œ ≈ ‰ Ó

.  œ

Ó œ ‰ Œ

21

09:28

09:38

09:48

i 43 45Vln.

Tape

ç

187—Ô‰ . Ó

FINE

muffle the resonated stringsby taping them with LH fingers

ßF

hit the indicated open strings with themiddle arco side of bow (not collegno)creating a percussive slap sound

¿¿¿¿¿¿¿≈∑

Ó Ó .

22

09:58

10' 05''

©2006 Panayiotis A. KOKORAS, All Rights Reserved