Zacharias Ehnvall

Variationer över B Ä C K

för violin,viola,violoncell och piano All extended technics and the notation of them are explained throughout the piece as they appear. The most frequently used ones, however, are also explained below.

Bow pressure:

H.B.P. - Hard Bow Pressure S.B.P. - Soft Bow Pressure

Bow position:

S.P. - Sul Ponticello (closer to the bridge) A.S.P. - Alto Sul Ponticello (as close to the bridge as possible) S.T. - Sul Tasto (closer to the fingerboard) A.S.T.- Alto Sul Tasto (high up on the fingerboard)

N. - Naturale- Normal bow position and pressure. dmu - 1/4 tone low - Tremolo, as fast as possible Z - Very uneven tremolo

Distortion: Black fields above the note indicates the amount of distortion applied to the note (practically the amount of A.S.P. combined with H.B.P.)

The example above shows a gradual decrease of distortion. At max distortionlevel, play very close to the bridge combined with very hard bow pressure. Bowspeed should always be flowing and not to slow (as compared to scratch tone).

Squeal hit:

The upsidedown triangle is a very strong accent played A.S.P and with H.B.P. The string is always damped (X-notehead) and bow speed should be fast. The result is a percussive, "K"- effect.

Squel to air noise:

The intensity of the dotted black field indicates the amount of bow pressure and the transition from a squealy noise to air noise. This technic is always played A.S.P and the string is always damped (X-notehead). Tremolo ritardando: Decelerate the speed of the tremolo as natural as possible during the duration of the notevalue and "arrive" at the next note after the tremolo.

Harmonics Artificial harmonics are notated with a "Touch fourth" (sounding 2 octave up) normal notehead showing the fundamental and "touch third" (sounding 2 octaves and a diamond-shaped notehead showing and a major third up) are used. the fingered node.

Natural harmonics are notated with a diamond-shaped notehead showing the position of the fingered node on the open string. Additionally, a small notehead above shows the resulting, sounding pitch.

However, notation of natural harmonics sounding at the same pitch as the fingered node are instead notated with a normal notehead and a circle above the note. Notes Strings: -Senza vibrato is the norm. Always play without vibrato if nothing else is specified. This is not mainly to create a pale sound but rather to "sharpen"/ make clearer the relationship between the pitches in a chords (in tune or not).

-The strings often play "inside" the sustained sound from the piano- try to balance the dynamics so that the resonans from the piano and the strings blend as much as possible. Strings may play louder then specified if necessary.

-The number "7" next to a note is just a reminder of that the pitch is thought of as a member of a septimal interval (in a chord or in a melodic line). The septima is intonated slightly, slightly lower then the same pitch on the piano (approx. a 1/6 tone lower). This slightly lower intonation (in relation to that of the same pitch played on a piano) corresponds to the intonation of the natural septima, the 7th partial of the overtoneseries. The interval, when part of a chord, should sound good, very stable and "sharp" .

Piano: -The damper pedal is pressed down throughout the entire piece.

-The lid should be fully open to allow as much resonans to be heard as possible.

-The dynamic is often static and "fff" should always be played violantly, somewhat lika a percussion instrument, to bring fourth as much overtones as possible.

-Observe the 8va markings above the clefs, at times. Score ver.300119 Variationer över B Ä C K Till Siiri Alanko, Saara Kurki, Daniel Thorell och Joakim Martinsen Kammarmusiken på Edsberg / Harsch and violent/ Calm, with full sound

al tallone, fast bow speed damp strings with left hand Zacharias Ehnvall (A.S.P. , H.B.P.) 2019 IV   Violin       gliss.              al tallone, fast bow speed damp strings with left hand (A.S.P. , H.B.P.) gliss.   Viola                   

  (snap pizz, damp string with left hand ) pizz.  Violoncello               (!)             Piano          (Depressed throughout)   

Bow speed: flowing, not to slow (sempre A.S.P., damp string with left hand) N. ▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒▒░░░░░░░░░░░░░░░ 4   H.B.P./ Squeal S.B.P./ Air noise Vln.                 

Bow speed: flowing, not to slow (sempre A.S.P., damp string with left hand) N. gliss. ▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒▒░░░░░░░░░░░░░░░   H.B.P./ Squeal S.B.P./ Air noise Vla.                  

arco (very uneven trem.)

Vc.                        4          Pno.       

© 5

arco (snap pizz., (very uneven trem.) damp string lightly S.P. with left hand )

N. N. III     7   Vln.                                  

N. gliss.     ▓▓▓▓▓▒▒▒▒▒▒░░░░░░░░░░░░ Vla.                              

al tallone, fast bow speed damp strings with left hand (sempre A.S.P., damp string with left hand) (A.S.P. , H.B.P.) Bow speed: flowing, not to slow

pizz. arco ▓▓▓▓▓H.B.P./ Squeal ▒▒▒▒▒▒░░░░░░░░░░░░S.B.P./ Air noise      Vc.                   

7                 Pno.               

S.P. N. IV            11            Vln.                                N. gliss.   ▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒▒▒▒▒░░░░░░░░░░░░░░ Vla.                    

pizz. ▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒▒▒▒░░░░░░░░░░░░░ arco  Vc.               

11          Pno.  

        6

N. IV N. 14 ▓▓▓▓▓▒▒▒▒▒▒▒▒▒░░░░░░░ gliss. Vln.                          

N. N. gliss. gliss.   ▓▓▓▓▓▒▒▒▒▒▒▒▒▒░░░░░░░   Vla.                             

pizz. S.P. pizz. arco    Vc.                I           14              Pno.   

       

S.P. II I III III 16            Vln.             12     gliss.    

gliss.   ▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒░░░░░░░░░░░ Vla.                     

▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒░░░░░░░░░░░░░ arco       Vc.                 

16            Pno.              7

N. S.P. 19 IV            Vln.            12     

▓▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒▒▒▒▒▒▒░░░░░░░░░░  Vla.                                           

arco S.P. N.     Vc.            II        19             Pno.            

N. S.T. III 22 II      Vln.                           N. gliss. N. gliss.  ▓▓▓▓▓▓    Vla.                                       (sempre senza vib.) arco     (II)    Vc.                     

22                    7 Pno.                             8

III 25       A.S.P. light and swift Vln.                

IV Vla.                       

II light and swift    A.S.P. Vc.              25               Pno. 7               

(A.S.P. , H.B.P.) (trem. rit.)

29 (N)      Vln.                       (III)   (A.S.P. , H.B.P.)

(N)           Vla.     IV         d    (IV)  (trem. rit.)  (A.S.P. , H.B.P.)  (N)     II          Vc.         (II)  (trem. rit.)  

29                7        Pno.                 9 poco ST flautando S.P.  III 32 A.S.P.      d     d   Vln.                        3 III  5  

      Vla.                         

II  A.S.P. II     Vc.                         III  

32                              7      Pno. 7                             

IV (sempre senza vib.) III 36          Vln.                   (III)         

           Vla.              III        (III)        

A.S.P. arco pizz. II  7 Vc.                              36                                        Pno.    7                            10 I IV 40 III   IV  Vln.                              

(sempre senza vib.)      Vla.             

II N. A.S.P.    Vc.               

 40                                   Pno.  7                                

III 43 IV         Vln.                              

S.T.          Vla.              

 A.S.P. N. Vc.                               

43                                                 Pno.    7 7                                   11

IV 47  Vln.                         

    S.T. Vla.                 

3 S.T. Vc.                                     3 3 3 3 3   47                              Pno.  

                              

(Wide gliss. vibrato) (senza vib.) 49   Vln.                 

S.T.       Vla.                    

Vc.                                          3 3 3 3  3 3 3 3 3      

49                                           Pno.    3                                                12

51      Vln.                   3  3 3 3 3    S.T.  (II, III) (senza vib.) Vla.          

 Vc.           IV  51   1                                   Pno.   2 3 3 3                              1: This figure: always 2: This figure: always , like a bell  53 (senza vib.)         Vln.       3 3 3 3     1/4   Vla.      

   Vc.       53                                                     Pno. 3 3 3                                

56 III Vln.          

 Whole tone     Vla.                 Vc.      (IV)        56                                            Pno. 3 3 3                                                59 13 Vln.           Whole tone I        Vla.       

   Vc.      III     59                                                Pno. 3 3 3                                   

62    Vln.          S.P.      Vla.      (very uneven trem.)      Vc.          62                                           Pno. 3 3 3                                                

65       Vln.                I        Vla.            (trem. as fast as possible)   Vc.                    

65                                              Pno. 3                                           3     14   68        Vln.             d Vla.                 

Vc.                                           

68                                               Pno. 3 3 3                                        accel.( to in )   71       Vln.                     Vla.              

Vc.                           

71                                                    Pno. 3 3 3                                             

S.T. 74         Vln.         S.T.         Vla.                  S.T. Vc.                   

74                                                        Pno. 3 3 3                                     15

N. Scratch tone (Slow bow speed, hard pressure) 77      Vln.     ▓▓▓▓▓▓▓▓     Scratch tone N. (Slow bow speed, hard pressure)      Vla.            ▓▓▓▓▓▓▓▓    

N. Scratch tone (Slow bow speed, hard pressure) Vc.        ▓▓▓▓▓▓▓▓         

 77                                          Pno. 3 3                       

/ behind the bridge  N. 79            Vln.                                                       behind the bridge

 N.      Vla.                                                     behind the bridge      S.P.  (Harmonic gliss.)  IV Vc.                    

79                                                            Pno.  3 3 3                                  16

82                Vln.                                                        Vla.                                         Vc.                   

82                                                 Pno. 3 3                                     

85          Vln.                                                 Vla.                                        Vc.                                

85                                          Pno.                             

88            Vln.                               Vla.                       IV          Vc.                   

88                                                Pno.

                                         17 92      Vln.                      Vla.           

Vc.           

92                                   Pno.

                                           

96    Vln.           Vla.          Vc.        96                                    Pno.

                                   

101       Vln.              

Vla.                

Vc.                       

101                  Pno.                       18

 A.S.T. 104 (sempre senza vib.) Vln.            m      A.S.T. (sempre senza vib.) 7 Vla.                  

A.S.T. (sempre senza vib.) Vc.                   104            Pno.              

108 N. A.S.T. Vln.                  m      .   N. 7 A.S.T. Vla.                        .  

N. A.S.T. Vc.                          .   108               Pno.

             

  112 N.           Vln.                     .  .    N. N. S.T. 7   Vla.     m                      .  S.T. N. N. 3 Vc.                                         .        112                        Pno.                  19    117            Vln.            . . .    7  Vla.                 .   

Vc.                   .    117               Pno.              

120             Vln.                    . . 

  7 Vla.                      . 

Vc.                                .  .  120                     Pno.             

Molto vibrato

123     Vln.                     Molto vibrato       Vla.                       . Molto vibrato

Vc.                         .  

123                              Pno. 12  

           20 Molto vibrato 125        Vln.                   Molto vibrato        Vla.                   Molto vibrato  Vc.                       125                                 Pno.  12 6             

vib. ord. 127         Vln.                       vib. ord.          Vla.                                (m. vib.)        vib. ord. Vc.                         

127                                  3     Pno.      3 3 3 3                               

sempre senza vib. d d d 132          Vln.        

sempre senza vib. Vla. 7           

sempre senza vib. Vc.            132                  3  Pno.             3 21

135      S.P. Vln.           7                    N. 7  7 S.P.  S.P. Vla.                                 

pizz. arco pizz.  S.P. N.   Vc.                                    135                                  Pno.                             

N. Con sord. 139       Vln. 7                          N. 7     III  7   Vla.                             arco pizz. pizz. ord. Vc.                        

139                        Pno.                 

S.T. 144

Vln. 7  7   7                         Con sord.    S.T. 7  7   7   7  Vla.                                 

IV (Harmonic gliss.) Vc.                                             144                     Pno.                   