sign in sign up
<<
Home , Ninth

Wolfgang von Schweinitz

Plainsound Sonata “Arcadia”

for Marco Fusi’s viola d’amore

11-limit Study

based on the classical 5-limit Dorian mode

op. 64

2018

for Marco Fusi

PLAINSOUND MUSIC EDITION

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

NOTES

This intonation study features the timbre of the most consonant 11-limit quartertone harmonies, all of which may be tuned by ear: the -expanded quartertone-augmented fourth (11/4) and its octave expansion (11/2), the neutral (11/6) and its octave expansion (11/3), and the neutral (11/5).

The piece also provides some practice material for the refinement of the melodic ear – with a focus on the size of the diatonic (16:15 or 112 cents, i.e. the difference between a and a pure major ) and on the subtle distinction between the major whole tone (9:8 or 204 cents, i.e. the difference between a perfect and a perfect fourth) and the minor whole tone (10:9 or 182 cents, i.e. the difference between a perfect fourth and a pure ). – These two whole tone steps constitute the basis for the performance practice of non-tempered just intonation, and they have a distinctly different melodic character or feeling, even though their difference in size is but a (81:80 or 21.5 cents). The major whole tone (8:9) sounds strong (like the sun) and straightforward (“Beethoven”), whereas the minor whole tone (9:10) sounds soft (like the moon) and very touching (“Schubert”).

The distinction between the two different whole tones may best be practiced within a tonal context that can establish a secure “key feeling”. So this piece is composed in the traditional 5-limit Dorian mode with its two alternative tunings for the 6th and the 4th scale degree – simultaneously based on G in the treble voice and on D flattened by a quartertone in the lower voice – and it is a challenging experiment for the performer to try maintaining a reliable melodic key feeling even under the unfamiliar circumstances of quartertone bitonality.

TUNING INSTRUCTIONS

The seven strings are tuned in pure thirds to the pitches A – F – D – Bb – G – Eb – C by carefully optimizing the between their partials (please see the next pages for details). Regular viola strings should be used for the strings I, III, V, and VII. String II should be a standard viola d’amore F# string, lowered by a chromatic semitone (25:24 or 71 cents). String IV should be a standard viola d’amore low A string, raised by a diatonic semitone (15:16 or 112 cents). String VI should be a standard viola d’amore low D string, raised by a diatonic semitone (15:16 or 112 cents).

The seven sympathetic strings should be custom-made from harpsichord strings, as Marco Fusi suggested. They must be tuned according to the non-tempered diatonic scale degrees of F major, lowered by a just 11- limit quartertone (33:32 or 53 cents), using either a tunable synthesizer or the playback of previously recorded drones with the seven reference pitches, played on the viola d’amore (please see the next pages for details).

PERFORMANCE DURATION circa 15 minutes

ACCIDENTALS for microtonal just intonation

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

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

lowers / raises the pitch by a syntonic comma: dmuU Ffow 81 : 80 = circa 21.5 cents

lowers / raises the pitch by two syntonic commas: cltT Ggpx circa 43 cents

raises / lowers the pitch by an 11-limit quarter-tone: 4 5 33 : 32 = circa 53.3 cents

The following accidentals are not used in the score, but some of them are needed to notate the difference tones in the “Table of the featured 11-limit consonances” on the last three pages of the preface:

lowers / raises the pitch by a septimal or 7-limit comma: < > 64 : 63 = circa 27.3 cents

lowers / raises the pitch by two septimal commas: • ¶ circa 54.5 cents

lowers / raises the pitch to diminish the Pythagorean 0 9 27:16 by a 13-limit third-tone to represent the 13:8 median sixth: 27 : 26 = circa 65.3 cents

lowers / raises the pitch to diminish the 16:15 diatonic semitone : ;‰ by a 17-limit to represent the 17:16 semitone: 256 : 255 = circa 6.8 cents

raises / lowers the pitch to augment the 32:27 Pythagorean minor / \ third by a 19-limit schisma to represent the 19:16 small minor third: 513 : 512 = circa 3.4 cents

raises / lowers the pitch to augment the Pythagorean 729:512 ∞ ±# by the 23-limit comma to represent the 23:16 augmented tritone: 736 : 729 = circa 16.5 cents

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 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.

Pitch-bend information: 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. – Such additional pitch-bend numbers are not included in the score, as every pitch can be tuned by ear, so that there is no need for rehearsals with the aid of a tuning device. But they are given for the pitches of the seven sympathetic strings (please see the chart on the next page).

Tuning of the strings 1760.00 Hz partial unisons: ww ww √ 586.667 Hz n n ww ww n w 195.556 Hz n n ww ww ° n n w & ∑ n I II III IV V VI VII w viola n nw nw d'amore o w ow ow B n w nw nw w w f f nfw nw nw 440 Hz f w fw fw n w n w DRONE w o f w ? o w w f w w ∑ w f f ¢ difference tones: o 5/4 w w The tuning of the 7 strings f6/5 f5/4 w w f6/5 f5/4 w may also be established, or f6/5 rechecked, with this drone. Tuning of the sympathetic strings 10 : 9 9 : 8 16 : 15 45 : 32 9 : 8 10 : 9 4 : 5 5 : 6 4 : 5 5 : 3 4 : 5 5 : 6 (182 c) (204 c) (112 c) (590 c) (204 c) (182 c) (386 c) (316 c) (386 c) (884 c) (386 c) (316 c) 1 2 3 4 5 6 7 5 7 3 1 6 4 2

5w 5ow w w 5w 5ow B 5o 5w w 5w 5w 5o w 5w -53.3 -35.7 -39.6 -51.3 -41.55fw -39.65o -55.2 5fw 5o 227.556 Hz 284.444 Hz 341.333 Hz 426.667 Hz 256.000 Hz 320.000 Hz 384.000 Hz bassa ad libitum “” or: 113.778 Hz 142.222 Hz 170.667 Hz 213.333 Hz 128.000 Hz 160.000 Hz 192.000 Hz 53 cents 53 cents 53 cents 53 cents 32 cents 39 cents 32 cents DRONE 1 DRONE 2 lower than lower than lower than lower than lower than higher than lower than 768.000 Hz Bb string D string F string D string C string Eb string G string √ 640.000 Hz √ 512.000 Hz 5ow ° 5w w The seven sympathetic strings can be tuned with either one of these drones (more conveniently with Drone 2) & 5o which can be generated with a precisely tunable synthesizer, like Marc Sabat's additive synth for microtonal 426.667 Hz w MIDI playback called "31-Limit Helmholtz-Ellis Calculator", which runs on Max/MSP and can be down- w 5 w loaded for free at his website "www.marcsabat.com/#writing". B 5 5 341.333 Hz Both drones may also be played on the viola d'amore, recorded on two or on four tracks which are then mixed 142.222 Hz 227.556 Hz together. Headphones should be used in this step by step procedure for the playback of a previously recorded track to optimize the intonation (please see below for details). 5ow B 5f w ¢ 5 w 5 w Listen to the playback of track 1 at low Procedure for tuning and recording the drones volume and í™ ™î í™ 3/2 ™î Slow ™ ™ ™ ™ record drone œo ™ ™ ™ ™ record drone í™ partial ™î í™ ™î on track 1 o o ™ o o o o o o o ™ on track 2 oœ 5œœ™ o o o o o o o o o o nœ™ œ œ™ œ œ™ œ œ™ ™ nœ™ œ œ™ œ œ™ œ œ™ ≈ √ J ≈ √ ° nœœ™ J J & nœ™ œ œ™ ≈ Œ J ≈ J ≈ ∑ ≈ ≈ Œ ≈ ∑ VII 8/3J 4/3 VI 16/3 11/2 II III 11/4 0 -2 5œ™ 5w f‚ ‚ r r j j g ™ n‚™ ‚ ‚™ ‚ ‚™ ‚ ‚™ J B œ œ ≈ ≈ œ œ ≈ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ≈ ∑ J ≈ J ≈ Œ ≈ n°3‚™ ‚ ‚™ n n ™ (n ) °3-™ ™ ™ ™ °2 °1 °2 3 2- 1- I -1 1 (-53c) I 5œ™ 5œ™ œ™ œ œ™ 5w B Œ j ≈ j ≈ j ≈ Œ j ≈ j ≈ j ≈ Ó Œ J ≈ J ≈ J ≈ J ≈ ¢ nœ™ œ™ 1 ("+17c" only, i.e. "almost nothing") nœ™ nœ™33 : 325 œ™ œ™ 5 w < F > (53 c) tuned a twelfth (3/1) above the pitch on track 1 Listen to the Listen to the playback of playback of track 1 at low track 2 at low volume and 4/3 3/2 volume and record drone í™ ™î í™ ™î í™ ™î record drone o í™ ™î í™ ™î ™ ™ on track 3 o o o o o 5oœœ™ 5oœœ™ on track 4 I tuned a major sixth (5/3) tuned a (8/5) above the pitch on track 1 and a minor whole tone (10/9) below the pitches on track 2 The 5-limit Dorian mode The traditional 5-limit Dorian mode - notated here on D - is transposed up a perfect fourth in the treble voice, and down by an 11-limit quartertone (with the frequency ratio 33 : 32 or 53 cents) in the bass voice. It has two different pitch classes for its 6th scale degree (the minor sixth and the major sixth) and also two alternative tunings for its 4th scale degree which are a Syntonic comma apart from each other. - When B flat is used, tuned as a pure minor sixth above the tonic D, the mode sounds like the Aeolian mode on D, with a comma-augmented fourth between G and C. But when B natural is used, it is tuned as a above the 2nd scale degree E to serve as the diatonic semitone below C; and whenever the 4th scale degree G appears in conjuction with this Pythagorean Sixth (27/16), it is tuned as a pure below B and a perfect fourth below C, and therefore raised by a Syntonic comma, so that the 4th scale degree is now represented by a comma-augmented fourth. In this solo piece, the Aeolian minor sixth is featured in the lower octave register (together with the lower G), and the Dorian major sixth and the raised fourth appear in the upper octave. (Perhaps it should also be mentioned here that the idiomatic Dorian "Amen Cadence" with a major subdominant triad preceding the tonic minor triad could only come about once the mode was transformed and reinterpreted within the realm of Meantone Temperament.) Pythagorean Sixth 5 : 6 8 : 5 5 : 6 4 : 5 5 : 6 4 : 5 5 : 6 4 : 5 27 : 8 8 : 9 15 : 16 9 : 10 8 : 9 (316 c) (814 c) (316 c) (386 c) (316 c) (386 c) (316 c) (386 c) (2106 c) (204 c) (112 c) (182 c) (204 c) ≈ n w ow nw B fw w ow nw ow n ow nw n w n w < nw > 15 : 16 4 : 5 9 : 8 15 : 16 8 : 9 9 : 10 8 : 9 15 : 16 8 : 9 9 : 10 8 : 9 (386 c) (204 c) (112 c) (204 c) (182 c) (204 c) (112 c) (204 c) (182 c) (204 c) (112 c) U n w n w n w o w ow nw nw ow B ow nw nw fw "How to think of the notes" - Pitch Repertoire and Finger Positions Except for the three notes marked with an asterisk in this chart (G-4, G-3, and D-3), all stopped notes in the piece are lowered by an 11-limit quartertone (frequency ratio 32/32 or 53 cents). These pitches may be tuned by ear as an 11-limit quartertone consonance (11/2, 11/3, 11/4, 11/5, or 11/6) below a natural harmonic played on an adjacent string. In the 1st position (quartertone-flat), the 1st and the 4th finger remain in the same position on all strings, whereas the positions of the 2nd and 3rd finger are generally a chromatic semitone (24 : 25 or 71 c) apart from each other on adjacent strings. - The cent numbers in quotation marks must be adjusted, because they do not refer to the distance between the finger position of the stopped note to the node of the nearby natural harmonic, but to the finger position for the corresponding stopped note (the perfect fourth, or the pure minor third), which is located a little bit closer to the nut than the corresponding node for harmonic # 4 or # 6. - Therefore the finger movement from the node of harmonic # 4 to the slightly higher stopped note "39 c up" is actually a little bit smaller than the finger movement "32 c down", and the very small finger movement "17 c up" from harmonic # 6 feels like almost nothing. These finger movements should first be studied in the low register (e.g. as in measure 13 - 19 or 42 - 45). ” o o “o nœ œ < ne > n wo ° n & 21.5 c

O nO nO I w < o > n ~ B n & "53 c down" or: the slightest bit "53 c down" "53 c down" lower than harmonic 7 œ œ 5oœ 5nœ 5n B 5n ¢ 11 : 12 15 : 16 (112 c) 9 : 10 (182 c) 8 : 9 (204 c) (151 c) o o o ” nœ nœ “o oœ o ne oœ o ° ow & 9 : 10 (182 c) nO O O fO oO II w n œ g n o~ B o & 54:55 "17 c up" (slightest bit) "39 c up" (32 c) * "53 c down" 5o œ œ 5nœ 5nœ B 5o ne ¢ 11 : 12 9 : 10 (182 c) 8 : 9 (204 c) 15 : 16 (112 c) (151 c) o nœ o o nœ œ o ° n w & n

III O n ~ oO nO n B nw "53 c down" or: the slightest bit lower than harmonic 7 "32 c down" "53 c down"

œ 5oœ < 5nœ > B 5nœ 5o ¢ 11 : 12 15 : 16 (112 c) 8 : 9 (204 c) 9 : 10 (182 c) (151 c) o < oe > o fœ o o ° oœ & fw

IV f ~ O fO oO B fw < g > "17 c up" (slightest bit) "39 c up" "53 c down"

5oœ B œ 5nœ 5nœ ¢ 11 : 12 5o 9:10 (182 c) 8 : 9 (204 c) 15 : 16 (112 c) (151 c) o ne o o o nœ ° nœ & nw V O B fO nO n n ~ nw "53 c down" or: the slightest bit lower than harmonic 7 "32 c down" "53 c down"

5nœ B œ 5fœ 5oœ ¢ 11 : 12 5n 15 : 16 (112 c) 8 : 9 (204 c) 9 : 10 (182 c) (151 c) o o f o o o < e > nœ ° fœ & fœ fw

VI f~ B O fO < gO> nO f fw "17 c up" 32:33 "39 c up" "53 c down" (53 c) * B œ 5nœ 5fœ ¢ 11 : 12 5oœ 9 : 10 (182 c) 5n ne 8 : 9 (204 c) 15 : 16 (112 c) (151 c) o o o o ° nœ nœ & nœ n w VII B n ~ O nO w 32 : 33 fO n n (53 c) * "32 c down" "53 c down" B 5 : 6 (316 c) 5oœ 9 : 10 (182 c) < 5nœ > ¢ 11 : 12 5nœ ne (151 c) 24 : 25 (71 c) 24 : 25 (71 c) 80 : 81 (The notes in brackets are not used in the piece.) (21.5 c) Table of the featured 11-limit consonances with their lowest common partials and most prominent difference tones 14 short introductory etudes 1 œœ œœ™ n œœ™ œœ™ ˙˙ ˙˙ n ™ n ™ n ™ Ó n Ó n partials 4 nœœ nœœ™ & 2 Ó ‰ ‰ Œ ™ ‰ Ó Œ ‰ ‰ ™ 5 w 5 w ™ repeat Slow í™ ™î í™ ™î ™ ™ o o o ™o o o o ™ ad lib. o o o o o œ œ œ œ œ œ œ ≈ ˙ ˙ ° 4 œ œ œ ≈ n ™ ™ ™ n n &2 n ™ ™ ‰ Ó™™ ‰ J ‰ J J ‰ ™ Ó Ó ™ VII J 8/3 4/3 VI 16/3 11/2 11/2 0 -2 viola 4 j j j j j j d'amore B2 j œ œ ‰ ‰ œ œ ‰ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ™ Ó O Ó O ™ n°3‚™ ‚ ‚™ n n ™ (n ) °3-™ ™ ™ n n 2- 1- I -1 1 (-53c) I ≥ ≤ B42 Ó ‰ ‰ ‰ Ó Œ ‰ ‰ ™ ™ nœ™ nœ™ ™ ™ ¢ nœ™ nœ 5 œ™ 5 œ™ 5 w 5 w 1 33 : 32

œ œ™ œ™ ˙ ˙ 4 0 œ 5 œ™ 5 œ™ 5 ˙ 5 ˙ œ™ m <5 <5 ™ <5 <5 ™ difference & 2 n ™ ™ m œ™ < œ 5u œ™ 5u œ™ 5u ˙ 5u ˙ tones ‰ m œ™ ‰ Œ ‰ ‰ Ó Ó Ó œ œ™ œ™ Ó ˙ Ó ˙ ? 4 œ™ n 5 5 ™ 5 5 ™ 2 n œ™ ™ ™ œ™ n œ™ œ™ ˙ ˙ n œ™ œ 5 5 5 5 { n n

2 3 œœ™ œœ™ ˙˙ ˙˙ n œœ™ n œœ™ n ˙˙ n ˙˙ f ™ f ™ Ó f Ó f Ó Ó ∑ ‰ ‰ ™ ™ ∑ ‰ ‰ ™ ™ & ™ 5o w 5o w ™ ™ 5 w 5 w ™

í™ ™î í™ ™îí™ ™î í™ ™î o o o o o o o o œo œo o o o o o o ° U o ≈ ˙ U o fJ ≈ ‰ œ nœ œ ‰ œ œ™ œ œ™ ‰ ™ Ó ˙ Ó f ™ ‰ nœ ‰ nœ œ™ œ œ™ ‰ ™ Ó n˙ Ó n˙ ™ & f J f ™ f ™ J J ™ ™ VI VII VIJ 11/4 J 11/4 11/3 VII VI VII 11/4 11/4 B ‰ j ‰ j j ‰ Ó Ó ‰ j ‰ j j ‰ Ó Ó f‚ f‚ ‚™ ‚ ‚™ ™ fO O ™ ™ ™ ‚ ‚ °4 °4 ( )f°3 n‚ g‚ ‚ ‚ ‚™ ‚ ‚™ O O °4 n°2 I °2 °1 n°2 n n 2 ("-32c") (close to 2) I B ∑ ‰ ‰ ™ ™ ∑ œ ‰ œ ‰ ™ w w ™ ¢ 5oœ™ 5oœ™ 5ow 5ow 5n1 ("+17c"™ 5 only,™ 5 5 < F > slightest bit up) 2 3

˙ œ œ ˙ ˙ œ™ œ™ ™ ˙ 5f ™ 5 ™ 5 ™ ™ 5 5 ™ & 5o œ™ 5o œ™ ™ 5o ˙ ™ <5 œ™ <5 œ™ ™ <5 ˙ <5 ˙ ™ <5f œ™ <5f œ™ <5f ˙ 5n ˙ œ™ œ™ ˙ ˙ ∑ 5 ‰ 5 ‰ Ó 5 Ó 5f ∑ 5m ‰5m ‰ Ó 5m Ó 5m ? œ œ ˙ œ™ œ™ ˙ ˙ 5o ™ 5o ™ ™ 5o ˙ ™ 5 5 ™ 5 5 ™ 5f˙ œ™ œ™ ˙ 5f œ™ œ™ ˙ ˙ { 5o 5o 5o 5 5 5 5

4 n œœ™ n œœ™ n ˙˙ n ˙˙ n ˙˙ n ˙˙ n ˙˙ n ˙˙ Ó Ó Ó Ó Ó Ó w w & ∑ ‰ ‰ ™ 5 w 5 w ™ ™ 5 5 ™ ™ 5 w 5 w ™

í™ ™î í™ ™îí™ ™î U o o o o o o o o o o o o o ° œ œ ≈ n˙ n˙ ‰ nœ f ‰ nœ œ™ œ œ™ ‰ ™ Ó n˙ Ó n˙ ™ ™ Ó Ó ™ ™ Ó Ó ™ & J J J ™ ™ ™ n˙ n˙ ™ ™ ™ V VI V 11/4 11/4 VII 11/6 VII 11/3 V j B ‰ n‚ ‰ n‚ ‚™ ‚ ‚™ ‰ ™ Ó nO Ó nO ™ ™ Ó Ó ™ ™ Ó Ó ™ f‚ ‚ J J ™ ™ ™ nO nO ™ ™ nO ™ °4 °2 °4 °4 °4 f°1O °2 (-2-) B ∑ œ™ ‰ œ™ ‰ ™ w w ™ ™ w w ™ ™ w w ™ ¢ 5n 2 ("+39c")5 5 5 5 5 5 5 F 4 ˙ ˙ œ™ œ™ ˙ ˙ /5n˙ /5n˙ ˙ ˙ 5 5 ™ 5 5 ™ ™ 50n 50n ™ ™ 5 5 ™ & <5 œ™ <5 œ™ ™ <5 ˙ <5 ˙ ™ ™ ™ ™ ˙ ˙ ™ œ™ œ™ ˙ ˙ ˙ ˙ 5u5 5u5 ∑ 5u ‰ 5u ‰ Ó 5u Ó 5u Ó <5n Ó <5n Ó Ó œ œ ˙ ˙ ˙ ˙ ? 5 ™ 5 ™ ™ 5 5 ™ ™ 5u 5u ™ ™ ˙ ˙ ™ ™ ™ ™ ™ ™ 5 ˙ 5 ˙ ™ œ™ œ™ ˙ ˙ 5 5 5 5 5 5 ˙ ˙ { 5 5 2

5 6 “” “” “” “” œ“”œ œ“”œ ˙“”˙ ˙“”˙ f œœ™ f œœ™ Ó f ˙˙ Ó f ˙˙ o ™ o ™ Ó o Ó o w w & ∑ ‰ ‰ ™ 5fw 5fw ™ ∑ ‰ ‰ ™ 5o 5o ™

™ ™ ™ ™ ™ ™ ™ ™ o o í™ ™î o í™ ™î í™ ™îí™ ™î o

j j j o‚ o‚ ‚™ ‚ ‚™ oO B ‰ ‰ ‰ ™ Ó Ó ™ ‰ n‚ ‚ ‰ ‰ ™ Ó Ó ™ f‚ ‚ ‚ f‚ ‚™ ‚ ‚™ ™ fO fO ™ J J ™ fO ™ °2 sligtest bit down) I 5 6 ˙ œ™ œ™ ˙ ˙ œ™ œ™ ˙ /5f˙ 5o œ 5o œ ™ 5o ˙ 5o ˙ ™ <5f5o œ™ <5f5o œ™ ™ <5f5o ˙ 50o ™ & <5f œ™™ <5f œ™™ ™ <5f ˙ <5f ˙ ™ œ™ œ™ ™ ˙ ˙ ™ 5n ‰ 5n ‰ 5n 5n 5 ‰ 5 ‰ 5 <5f ∑ Ó Ó ∑ œ œ Ó ˙ Ó ˙ ? œ™ œ™ ˙ ˙ 5o ™ 5o ™ 5o 5n 5o 5o ™ 5o 5o ™ ™ ™ œ™ œ™ ˙ ˙ œ™ œ™ ˙ 5f 5f 5f 5f 5o 5o 5o ˙ { 5o

7 “œ”œ™ “œ”œ™ “˙”˙ “˙”˙ “œ”œ™ “œ”œ™ “˙”˙ “˙”˙ n ™ n ™ Ó n Ó n n ™ n ™ Ó n Ó n w w w w & ∑ ‰ ‰ ™ 5 5 ™ ∑ ‰ ‰ ™ 5 5 ™

œo œo í™ ™î í™ ™î U o o o o o o o o U o o o o o o o o o ° nœ J nœ œ™ œ œ™ ≈ n˙ n˙ nœ œ œ nœ œ™ œ œ™ ≈ n˙ n˙ & ‰ ‰ J J ‰ ™ Ó Ó ™ ‰ nJ ‰ J J ‰ ™ Ó Ó ™ V IV V 11/4 11/4 VI V VI 11/4 11/4 j j B ‰ n‚ g‚ ‚ ‰ n‚ ‚™ ‚ ‚™ ‰ ™ Ó nO Ó nO ™ ‰ n‚ ‚ ‰ ‰ ™ Ó Ó ™ J ™ ™ n‚ J n‚ ‚™ ‚ ‚™ ™ nO nO ™ °2 °1 °2J J °1 °3 °1 œ œ w w œ œ w w B ∑ 5n ™ ‰ 5 ™ ‰ ™ 5 5 ™ ∑ 5n ™ ‰ 5 ™ ‰ ™ 5 5 ™ ¢ 1 ("+17c" only, 3 ("-53c") < F > slightest bit up) I 7

œ™ œ™ ˙ ˙ œ™ œ™ ˙ ˙ 5 œ 5 œ 5 ˙ 5 ˙ 5 œ 5 œ 5 ˙ 5 ˙ & <5 œ™™ <5 œ™™ ™ <5 ˙ <5 ˙ ™ <5 œ™™ <5 œ™™ ™ <5 ˙ <5 ˙ ™ 5u ‰5u ‰ 5u 5u 5u ‰5u ‰ 5u 5u ∑ œ™ œ™ Ó ˙ Ó ˙ ∑ œ™ œ™ Ó ˙ Ó ˙ ? 5 5 5 5 5 5 5 5 ™ ™ ™ ™ œ™ œ™ ˙ ˙ œ™ œ™ ˙ ˙ { 5 5 5 5 5 5 5 5

8 “œ”œ “œ”œ “˙”˙ “˙”˙ ” “œ”œ “œ”œ “˙”˙ “˙”˙ n ™ n ™ n n œ“œ n ™ n ™ n n Ó Ó œœ o Ó Ó w w f w w & ∑ ‰ ‰ ™ 5 5 ™ ‰ ‰ Œ ‰ ‰ ™ 5 5 ™ 4/3 í™ ™î í™ ™îí™ ™î í™ ™î o œo œo o o o o o o o o o o o o o U nœ f nœ œ™ œ œ™ ≈ n˙ o U ≈ ≈ ° J J J ˙ oœ œ œ œ™ œ œ™ o˙ o˙ & ‰ ‰ ‰ ™ Ó Ó n ™ ‰ ‰ ‰ J ‰ J J ‰ ™ Ó Ó ™ III IV III 11/4 III 11/4 V 11/6 IV 9/4 11/5 11/5 0 ‚ ‚ ‚ ‚ ‚ O n ‚ ‚ n ™ ™ n o‚ ‚ ‚ ‚ ‚ ‚ oO oO B ‰ f ‰ J J ‰ ™ Ó Ó nO ™ ‰ ‰ ™ ™ ‰ ™ Ó Ó ™ J ™ ™ fœ J J J ™ ™ °4 °2 °4 °4 °4 °4 III œ™ œ™ w w œ œ œ™ œ™ w w B ∑ 5n ‰ 5 ‰ ™ 5 5 ™ ‰ f ‰ f Œ 5n ‰ 5 ‰ ™ 5 5 ™ ¢ 2 ("+39c") 1 1 (+39c) F F 8 44 : 45 ˙ œ œ œ™ œ™ ˙ ˙ œ™ œ™ ˙ /5n˙ 4fœ 4fœ <5f œ™ <5f œ™ <5f ˙ <5f ˙ <55vœ™™ <55vœ™™ ™ <55v˙ 50v ™ f

9 10

& ∑ ™ ∑ ™ ∑ ™ ∑ ™ ™ ™ ™ ™ ™ ™ ™ ™ o o í™ ™î o í™ ™î í™ ™îí™ ™î o

o‚ ‚ ‚ o‚ ‚™ ‚ ‚™ oO f‚ ‚ ‚ f‚ ‚™ ‚ ‚™ fO fO n J J oO B ‰

œ œ w w 5oœ™ 5oœ™ 5ow 5ow B ∑ 5o ™ ‰5o ™ ‰ ™ 5o 5o ™ ∑ ‰ ‰ ™ ™ ¢ 1 ("-5c" only, the 2 ("-32c") < I > sligtest bit down) I 9 10 ˙ œ œ ˙ ˙ œ™ œ™ ˙ /5f˙ 5o ™ 5o ™ 5o 5o 5o œ™ 5o œ™ 5o ˙ 50o <5f œ ™ <5f œ ™ <5f ˙ <5f ˙ <5o œ™ <5o œ™ <5o ˙ & 5n ™ 5n ™ ™ 5n 5n ™ 5n 5n ™ 5n <5f˙ ™ ∑ œ™ ‰ œ™ ‰ Ó ˙ Ó ˙ ∑ œ™ ‰ œ™ ‰ Ó ˙ Ó ˙ ? 5o 5o 5o 5o 5o 5o 5o 5n ™ ™ œ œ ™ ˙ ™ 5o œ™ 5o œ™ 5o ˙ 5o ˙ 5o ™ 5o ™ 5o ˙ { 5o

11 12

& ∑ ™ ∑ ™ ∑ ™ ∑ ™ o o í™ ™î o í™ ™î í™ ™îí™ ™î o oœ œ o o o o o o o o o o o o o œ oœ œ œ œ™ œ œ™ ˙ o nœ nœ œ™ œ œ™ n˙ n˙ n n n ˙ ° U J J J ≈ U J J J ≈ n & ‰ ‰ ‰ ™ Ó Ó ™ ‰ ‰ ‰ ™ Ó Ó ™ III II III 11/4 11/4 I II I 11/4 I 11/4 III 11/6 n‚ ‚ ‚ n‚ ‚™ ‚ ‚™ nO ‚ g‚ ‚ ‚ ‚™ ‚ ‚™ O O f nO B ‰ n J ‰ nJ J ‰ ™ Ó n Ó n ™ ‰ J ‰ J J ‰ ™ Ó Ó ™ °2 °1 °2 ™ ™ °4 °2 °4 ™ °4 °4 ™ œ œ w w 5nœ™ 5œ™ 5w 5w 5n ™ 5 ™ 5 5 B ∑ ‰ ‰ ™ ™ ∑ ‰ ‰ ™ ™ ¢ F 1 ("+17c" only, 2 ("+39c") < > slightest bit up) F 11 12 ˙ œ™ œ™ ˙ /5n˙ œ™ œ™ ˙ ˙ 5v 5v 5v 50v 5 œ 5 œ 5 ˙ 5 ˙ <5 œ™ <5 œ™ <5 ˙ <5 œ™™ <5 œ™™ <5 ˙ <5 ˙ œ™ œ™ ˙ ˙ & 5u 5u ™ 5u 5u ™ 5u 5u ™ 5u <5n ™ œ œ ˙ ˙ ∑ œ™ ‰ œ™ ‰ Ó ˙ Ó ˙ ∑ 5v ™ ‰ 5v ™ ‰ Ó 5v Ó 5u ? 5 5 5 5 ™ ™ œ œ ™ ˙ ™ 5 œ™ 5 œ™ 5 ˙ 5 ˙ 5 ™ 5 ™ 5 ˙ { 5

13 14

& ∑ ™ ∑ ™ ∑ ™ ∑ ™ œo œo í™ ™î í™ ™î o

f‚ sligtest bit down) F 13 14 œ™ œ™ ˙ ˙ œ™ œ™ ˙ ˙ <5f œ™ <5f œ™ <5f ˙ <5f ˙ <5f5o œ ™ <5f5o œ ™ <5f5o ˙ <5f5o ˙ 5o œ 5o œ 5o ˙ 5o ˙ 5n ™ 5n ™ 5n 5n 5o œ™™ 5o œ™™ 5o ˙ 5o ˙ œ™ œ™ ‰ ™ ˙ ˙ ™ 5o 5o ™ 5o 5o ™ & 5o 5o ™ 5o 5o ™ ™ ™ ∑ ‰ ‰ Ó Ó ∑ ‰ ‰ Ó Ó ? œ œ ™ ˙ ˙ ™ œ œ ™ ˙ ˙ ™ { 5o ™ 5o ™ ™ 5o 5o ™ 5o ™ 5o ™ ™ 5o 5o ™

Plainsound Sonata "Arcadia" 11-limit Just Intonation Study based on the classical 5-limit Dorian mode for Marco Fusi's viola d'amore

Wolfgang von Schweinitz circa 56 con tempo rubato * op. 64 (2018) q ™ partial unisons: ˙˙ œœ 9 ˙˙ œœ™ n n o q ™ ˙˙ œœ n n >o o o o o o n n ™ j œ™ n˙ œ™ ° 27 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ n˙ ‰ o ‰ ‰ o ‰ fœ™ & 8 nœ ˙ V IV III II III II viola ≈ O nœ ‚ O ‚™ n ‚™ d'amore 27 ‰ ‰ ‰ œ ‰ o˙ ‰ ‰ n ‰ ‰ nO ‰ o ‰ ‰ o ‰ B 8 ˙ n ™ J & f‚™ ˙ nœ™ f °4 °4 °4 °4 °4 f> °4 j n˙ 27 ‰ oœ™ ‰ ‰ oœ ˙ oœ B 8 ˙ nœ ˙ œ ˙ n˙ J J n˙ f J n˙ f ¢ ˙ f˙ f˙ per lo più:n > piano sonore (molto d'arco), e sempre non vibrato ** All natural harmonics may be played as loud as possible. This objective will determine the bow's contact position on the string and the timbre of each . **) i.e.: no frequency vibrato, please! - But the occasional use of some subtle amplitude vibrato (once the intonation has been established) is encouraged and recommended: periodic or aperiodic changes of bow pressure, bowing speed, or bow position (distance from the bridge and angle of the bow, controlling the amount of hair on the strings) produced by the right hand, or by shaking the instrument underneath the bow with the left hand, arm and shoulder, or with the head and chin (which probably works best) - whenever there is enough time to create a vibrating sond. If a personalized form for such a humble amplitude vibrato can be found and executed with comfort, then it is a nice option for some of the drawn-out sounds notated with dotted and double-dotted half notes. *) The rhythm, which is very simple and nearly always the same, should be counted and fully established. Then the pulse may always be freely molded "with stolen time" at the performer's discretion, or suspended with a short fermata on any sound - however it may be needed in the moment for the response to the way the notes are speaking. 3 o o o o o ≈o >o o o o o o o o o o j n˙ oœ ° n˙ ‰ ‰ ‰ ‰ ‰ ‰ ˙ f˙ nœ ˙ & fœ™ ˙ œ ˙ n fœ ˙ J n œ™ œ n J J IV III IV V fVI nVII˙ fVI V VII VI V j j nO ‰ ‰ ‰ ‰ ‰ ‰ B ‚ O o‚ f‚™ ‚ O n nO J & nO ‚™ ‚ n‚ O O f fO J °4 °4 °4 f°4 O f°4 °4 ( )n°1 °2 °1 ( ) °2 °1 °2 n°4 I I ˙ j B n˙ j ‰ ‰ ‰ ‰ Œ™ ‰ ‰ Œ™ ‰ ‰ Œ™ fœ ˙ ˙ ˙ f˙ ¢ n fœ ˙ f˙ n nœ™

5 ≈ o o > o o o o o o œo o œ ˙ o o o o o o >o o n˙ œ ˙ o ™ œ o ™ nœ ˙ n˙ œ ˙ f˙ œ ˙ o o o fœ™ œ ° ˙ nJ J ‰ J ‰ J J ‰ nJ & I III II III II IV III n‚ O ‚ O o‚ O f‚™ o‚ f‚™ O o‚ O ‚ O n nO J J J nO J n B fO J ‰ ‰ f‚™ ‰ J °1 °2 °1 °2 °1 °2 °1 ( ) °3 °1 °3 °1 °3 I ˙ o˙ n o˙ B n˙ ‰ ‰ Œ™ ‰ ‰ Œ™ ‰ ‰ Œ™ Œ™ ‰ nœ™ ‰ ‰ ‰ ‰ Œ™ n˙ ‰ ‰ Œ™ ¢ espr.

ritenuto 7 ˙˙ o > ≈ n ˙ o o o o o o o >o o o o o >o ≈o ≈ n˙ œ ˙ o nœ œ ≈™ ° o f˙ œ ˙ nœœ™ J n nœ™ ‰ œ ˙ ‰ n˙ J ‰ nœ ˙ ‰ ‰ & J fJ n˙ J V IV VI V VII VI VII VI VII 8/3 1- 4/3 O j o‚ O ‰ ‰ j ‰ j ‰ ‰ B nO n‚ O ‚ O J fO J f O ‚ ‚ °3 °1 °3 n‚™ ( ) °4 n°4 n°3O n°2 n°3‚ O œ™ °1 °1 I 2 n B ˙ ‰ ‰ Œ™ ‰ ‰ Œ™ ‰ ‰ Œ™ ‰ ‰ Œ™ Ó™ Œ™ ‰ f n˙ n˙ n˙ ˙ ¢ f˙ a tempo 9 ˙˙ > n U o ≈o ≈o o o o o o o o o o ≈ ° n˙ ˙ œ ˙ ˙ œ ˙™™ œ ˙ ˙ œ ˙™ & J œ J ‰ J J Œ™ Ó™ Œ™ VI 16/3 5u11/2 j j j j B O O ‚ O O ‚ O ‰ ‚ O O ‚ O Œ™ Ó™ Œ™ ( )n°3- ™™ ™ -1 1 (-53c) I I B Œ™ Œ ‰ ‰ ‰ ‰ ‰ Œ™ Ó™ Œ™ ¢ marcato nœ™ 5più˙ forte ˙ ˙™™ 5 ˙ ˙ ˙™ 33 : 32 (-53c) This score is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. 2

11 arco o œo œo ° Œ™ Œ™ Œ™ Œ™ Œ™ n ‰ & Ó™ Ó™ Ó™ Ó™ Ó™ Œ™ nœ J pizz. (on the sympathetic strings) VII VI > 5œ 5œ 5œ > > 5oœ 5oœ œ j B Ó™ Œ™ J ‰ ‰ Œ™ J ‰ ‰ Œ™ 5 œ 5œ ‰ ‰ Œ™ Œ™ 5œ ‰ ‰ Œ™ Œ™ Œ™ ‰ 5fœ 5o ‚ ‚ ¢ bassa ad libitum J J n‚ n “” °4 °3

13 >o o o o o o o o >o o o o o o o >o o o o o o o n˙ ˙ œ ˙ ˙™ o o nœ œ ° ‰ ‰ ‰ ‰ fœ œ ‰ ˙ ˙ œ ˙ ˙™ ‰ ‰ ‰ J nœ œ f˙ ˙ œ ˙ ˙™™ œ n J & nœ J J J nœ VII VI J 11/4 V VII j j j ‰ ‰ j ‰ ‰ ‰ nO O ‚ O O ‰ ‰ j ‰ B fO O ‚ O O ‚ ‚ ‚ ™ nO O ‚ O O™ n‚ ‚ ‚ ™™ f J n‚ ( ) °4 n°2 ( ) °4 °2 ( ) °4 °4 f°1‚ ‚ 1 F F 2 ("-32c") F 2- ("+39c") I F B Œ™ Œ ‰ ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ ‰ Œ™ Œ™ 5œ™ ˙ ˙™ 5oœ™ ˙ ˙™™ ¢ 5œ™ ˙ ˙™ simile

16 > >o o o o o o o >o o o o o o o o o o o o o o ˙ ˙ œ ˙ ˙ o œœ o fœ œ n˙ ˙ œ ˙ ˙™ o œ œ ° n ™™ n o˙ ˙ œ œ™ oœ n J ‰ nœ J ‰ ‰ J ‰ J ‰ ‰ nœ J ‰ & J ‰ f˙™™ V IV VI IV III V VI

nO O ‚ O O™ ‰ ‚ ‰ oO O ‚ ‚™ ‰ o‚ f‚ ‚ ‰ ‰ ‰ ‚ j ‰ B j n n‚‚ J ‰ O J n °4 f°4 ™™ J ( ) °4 n‚ ‚ fO O ‚ O O™™ °4 °2J ( ) °2 °4 °1 -2 I F

Œ ‰ ‰ Œ™ Œ™ Œ ‰ ‰ ‰ Œ™ Œ™ Œ 5œ™ ‰ ˙ ˙™ ‰ ‰ Œ™ Œ™ B Œ™ œ™ ˙ ˙™™ Œ™ 5oœ™ ˙ ˙™ Œ™ ¢ 5 2 2- I F

19 o o > o o >o o o o o œo œo o o o o o oœ œ ˙ ˙ œ ˙ ˙™ n > o nœ œ ˙ ˙ œ œ™ o œ n o o o o o o nœ o o nœ ° ˙ ˙ œ ˙ ˙™™ J J o˙™™ J J J & n J ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ V III II IV II I III 11/6 O O ‚ O O oO O ‚ ‚ o‚ n ™ n‚ ‚ ‚ ™ f‚ ‚ n‚ ‰ n ‰ J oO™™ ‰ J ‰ J ‰ ‰ o‚ ‚ ‰ B nO O ‚ O O™™ J ‰ J J °4 °2 ( ) °4 °2 ( ) °4 °4 °1 °4 I F œ™ ˙ ˙™ 5oœ™ ˙ ˙™ 5 B Œ™ Œ 5œ™ ‰ ˙ ˙™™ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ ‰ Œ™ Œ™ -2 2 2- ¢ I F ritenuto a tempo o o 22 o o ˙˙ ˙˙™™ œ ˙ o o œ œ 5 ™™ o o o o o o ™ o œ œ >o o o o o o n oœ œ œ ˙ o˙ o œ n ˙ ˙ œ ˙ ˙ œ o˙ n ° n ™™ n & J ‰ J ‰ Ó™ Œ™ ‰ Œ J J ‰ J ‰ J ‰ III II 11/5 III

5œ™ ˙ ˙™™ f‚ ‚ ‚ O fO oO nO O ‚ O O™™ n‚ ‚ ‚ g‚ O™ n‚ ‚ ‚ B J ‰ oJ ‰ Œ™ Œ ‰ ‰ Œ J J ‰ J ‰ oJ ‰ °4 °1 3- °2 ( ) °4 °1 °2 °1 œ I ˙ œ œ™ ˙ ˙™™ >˙ ˙ œ ˙ ˙™™ 5 5 ™ B Œ™ Œ 5 ‰ ‰ Œ™ Œ™ 5 J ‰ ‰ Œ™ ‰ ‰ Ó™ Œ™ Ó™ Œ™ ¢ -2- dolcissimo -3- sonore

ritenuto a tempo ritenuto a tempo 25 ˙˙ ˙˙ ˙˙ ˙˙™™ >o o o o o o o 5 ™ o o 5 ™™ o o o o œ œ n˙ ˙ œ ˙ ˙™™ œ nœ œ œ nœ œ ° n n n & Ó™ Œ™ ‰ Œ J ‰ J ‰ J ‰ Ó™ Œ™ ‰ ‰ J ‰ > III 5˙ ˙ œ ˙ ˙™™ 5œ™ ˙ ˙™ n‚ ‚ O O ‚ O O™™ n‚ ‚ ‚ n‚ ‚ ‚ B J ‰ Œ J ‰ n J ‰ nJ ‰ Œ™ Œ ‰ ‰ ‰ nJ ‰ -3 °2 °4 °2 2- ("-53c") °4 °3 ( ) I °4 > I (close to 2) 5œ™ ˙ ˙™™ œ 5œ™ ˙ ˙™™ 5˙ ˙ œ ˙ ˙™ B Œ™ Œ ‰ ‰ ‰ Œ™ Œ™ Œ ‰ ‰ Œ™ Œ™ J ‰ ‰ Œ™ Œ™ ¢ F 1- ("+17c" only, slightest bit up) -1- 3 colla parte 28 o >o o o o o o o o >o o o o o oœ o o o˙ ˙ œ ˙ ˙ œ œ œ ™™ nœ œ n˙ ˙ œ ˙ ˙™™ ° o & Ó™ Œ™ Ó™ Œ™ Œ™ J ‰ J ‰ J ‰ J ‰ Œ™ Œ™ 10 : 9 II III I 15 : 16 (182 c) (112 c) ‚ ‚ nO O ‚ O O™™ f‚ o fO O ‚ O O™™ ‚ ‚ ‚ B Ó™ Œ™ Ó™ Œ™ Œ™ J ‰ J ‰ nJ ‰ J ‰ Œ™ Œ™ ( ) °2 °4 °2 °2 °4 F > 5˙ ˙ ˙ œ 5o˙™ 5oœ™ ˙ ˙™™ 5œ™ ˙ ˙™™ œ 5oœ œ B 5 J ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ J ‰ -1- -2- 1- (-71c) 2- 3 ¢ dolcissimo F espr. I simile ad lib. This phrase may also be played while quietly singing along. 31 > > o œo œo ˙o ˙o œo ˙o ˙o o œo œo o o o o œ n n ™™ œ o˙ ˙ œ œ™ o ° n n o˙™™ & Ó™ Œ™ Ó™ Œ™ Œ™ J ‰ J ‰ J ‰ J ‰ ‰ Œ™ Œ™ 9 : 8 III II IV 9 : 8 (204 c) (204 c) oO O ‚ ‚™ n‚ n‚ ‚ nO O ‚ O O™™ n‚ ‚ ‚ O B Ó™ Œ™ Ó™ Œ™ Œ™ J ‰ J ‰ J ‰ J ‰ o ™™ ‰ Œ™ Œ™ °4 °2 ( ) °4 °2 °4 °4 > I ˙ ˙ 5oœ ˙ ˙ œ ˙ ˙ 5 5 J 5 5 ™ 5 ™ ™™ 5oœ™ ˙ ˙™ œ œ œ B ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ ‰ 5oJ ‰ ¢ -2- 1- (+71c) -2 -1- -1 2 1- (-71c) F I I 34 > > o o o o o o o o >o o o o >o o o o f˙ ˙ œ ˙ ˙™™ fœ œ n˙ ˙ œ œ™ o f˙ ˙ ° J oœ J J ˙™™ ™ ™ ™ o˙ ˙ & ‰ ‰ ‰ n ‰ Œ Œ Ó™ Œ ‰ ‰ IV III V 15 : 16 IV 11/3 (112 c)

nO O ‚ ‚ O O ‚ O O o‚ ‚ ‚ ™ oO O O O B f ™™ ‰ f ‰ J ‰ nO™™ ‰ Œ™ Œ™ Ó™ Œ™ ‰ f ‰ °2 ( ) J °4 °2J °4 °4 ( ) °3 (close to 2) F °4 I > Œ 5oœ™ ‰ ˙ ˙™™ ‰ Œ™ Œ™ Œ œ™ ‰ ˙ ‰ ˙™ ‰ œ 5oœ œœ‰ 5o˙ ‰ Œ ‰ Œ ‰ B Œ™ Œ™ 5 J 5o˙ Œ™ œ™ Œ™ œ™ ¢ -1 2- 3 F 2- (-71c) I 37 ≤ > ˙o œo ˙o ˙o œo ˙o ˙o o o o >o o o o o ˙o ˙o ° n ™™ œ fœ œ ˙ ˙ œ ˙ ˙ n & Ó™ Œ™ Œ™ ‰ J J ‰ n J ‰ n J ‰ ‰ Ó™ Œ™ 9 : 10 V VI V 15 : 16 (182 c) (112 c) Œ™ ‰ j ‰ ‰ ‰ Œ™ B Ó™ Œ™ ‰ nO ‚ O O ‚ O O™™ n‚ nO O ‚ O O nO O Ó™ f‚ ‚ J °2 ( ) J J °4 °2 °4 ( ) °3 (close to 2) F 2- I 1- (-71c) F I j j B ˙ 5œœ œ ‰ ˙ ‰ ‰ Œ 5˙ ˙ ‰ 5˙ ˙ ‰ Œ™ Œ™ Œ Œ ‰ ‰ Œ Œ ‰ ‰ 5o ™ ™™ ™ œ™ ˙ ˙ ™ œ™ ˙ 5fœ œ œ ¢ 1-J (+71c)J -1 5 5 5 F 40 ≤o o o o o o o >o o o o o >o o ≤o o o o o ° f˙ œ ˙ ˙™™ ‰ œ œ ‰ ‰ f˙ ˙ ‰ Œ™ ˙ œ ˙ ˙ œ & Œ™ ‰ J fœ n f˙ ˙ œ ˙ ˙ Ó™ Œ™ ‰ n VI VIIJ J 9 : 10 VII J J VI (182 c) j B Œ ‰ j ‰ j ‰ ‰ ‰ Ó Œ™ Œ ‰ j j ™ O ‚ O O™™ f‚ fO O ‚ O O O O ™ ™ f°2 ( ) °4 n°2‚ ‚ °4 ( )f°3 (close to 2) n°2O ( ) ‚ O O ‚ -1- I 2- I 1- (+71c) F -1 I F B ‰ ‰ Œ™ ‰ Œ™ Œ™ Œ™ Œ ‰ ‰ Œ™ Œ ‰ j j ‰ ‰ ‰ Œ™ ‰ 5f˙ 5f˙ ˙™™ œ œ ˙ ˙ ˙ ¢ 5oœ™ ˙ ˙ 5oœ™ 5o˙ 5 œ 5

43 > > U o o ˙o œo œo >o o o o o ˙o ˙o œo ˙o ˙o œo ˙o ≈ ° ˙ œ ‰ n J ™ ‰ ˙ ˙ œ ˙ ˙ ‰ Œ™ n J J ™ Œ™ Œ™ & ™ n n J Ó™ Ó™ V VI VII VI

‰ j ‰ j ‰ Œ™ j j Œ™ Œ™ B nO Ó™ Ó™ O™ ‚ n‚ ‚™ O O ‚ O O nO O ‚ O O ‚ O™ n ( ) °3 °2 n°3 ( ) °3- I 2 ("-53c") 1- I -1 I B Œ™ Ó™ Œ™ Œ™ Œ ‰ ‰ ‰ Œ™ Œ ‰ ‰ Œ™ Ó™ Œ™ ¢ 5˙™ 5œ™ 5˙ ˙ ˙ > 5 ˙ 5 œ™ 5 ˙ ˙ ˙™ 4

46 arco o o o ° nœ œ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Œ™ nœ J ‰ & pizz. (on the sympathetic strings) > VII VI 5œ 5œ 5œ > > 5oœ 5oœ œ j B Ó™ Œ™ J ‰ ‰ Œ™ J ‰ ‰ Œ™ 5 œ 5œ ‰ ‰ Œ™ Œ™ 5œ ‰ ‰ Œ™ Œ™ Œ™ ‰ 5fœ 5o ‚ ‚ ¢ bassa ad libitum J J n‚ n “” °4 °3 48 partial unisons: œœ >o o o o o ™ 5 ™ 5œœ™ ˙˙ 5˙˙ 5˙˙ n˙ ˙ œ ˙ ˙™™ œœ™ œœ™ ˙˙ œœ™ ° J ‰ Œ™ Œ™ Œ ‰ ‰ 5 ™ ‰ ‰ 5 ™ ‰ 5 œœ ‰ ˙˙ ‰ ‰ ‰ 5 ™ ‰ & Œ™ ‰ 5 ™ 1- -1- j ‰ Œ™ Œ™ Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ B Œ™ œ ˙ 5fœ nO O ‚ O O™™ œ™ ˙ 5œ™ ˙ 5œ™ 5˙ 5 ™ ™ ˙ 5œ™ 1- 2 -1- 5o 5o 5o B Œ™ Œ ‰ ‰ j ‰ ‰ ‰ j j ‰ j 5œ œ ¢ 5œ™ ˙ ˙™™ œ 5più˙ forte˙ ˙ ˙ ˙ ˙ œ ˙ 5 ˙ œ ˙ ˙ ˙ ˙ œ 51 ≤o o o o o o o >o o o o o o o o ° Œ™ Œ™ Œ™ j ‰ ‰ j fœ™ ‰ ‰ ˙˙™ Ó™ Ó™ Œ™ ‰ fœ œ f˙ n˙ œ f˙ n˙ & 5 9 : 10 8 : 9 n˙ œ ˙ ˙™™ œ J n˙ œ J (182 c) (204 c) VII VI VII VI VII VI VI VII j B ‰ j ‰ ‰ Œ™ ‰ j ‰ ‰ j j ‰ ‰ 5˙™ œ ˙ œ 5fœ™ ˙ O ‚ O O ‚ f‚ ‚ O ‚ fO f‚™ fO 5o˙ 5 n°4 ( ) ™™ °4 n nO ‚ nO > 3- F °4 °4 °3 °3 °4 °3 B Œ™ Ó™ Œ™ Ó™ Œ™ ˙ ‰ ‰ Œ™ ˙ ˙™™ ‰ Œ™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ ¢ ˙™ piano marcato 5> 5 marcato 54 > >o o > o > > o o o o o o o o œ o o nœ o o o o o o o o o o nœ œ n˙ nœ ˙ n˙ n˙ f nœ™ n˙ n˙ ˙ œ ˙ ˙ ° ˙™ œ ˙ fœ œ™ f˙ o ™ œ™ o J ™ & n ‰ J n ‰ J ‰ J n ‰ ‰ ‰ ‰ J ‰ V VI V VI V IV V IV V III IV III V O ‚ j o‚ oO n ‚ ™ B nO™ ‚ ‰ O ‚™ ‰ ‚ ™ ‰ O ‚ n‚™ ‰ O ‰ f ‰ O™ ‰ O O ‚ O O ‰ f‚ fO n n n J n f‚ n °4 °3 °4 °3 °3J °4 °3 J °4 °4 °3 °4 °3 °4 °3 °2 °3 J

B Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Œ™ Œ 5œ™ ‰ ˙ ˙ ‰ ¢ marcato F 2- ("+17c", < F > slightest bit up) 57 >o o o o o o o colla parte ≤o o o o o n˙ ˙ œ ˙ ˙ œ ˙™ n˙ œ ˙ ˙ œ ° Ó™ Œ™ J J Œ™ Ó™ Œ™ Ó™ Œ™ Œ™ ‰ J ‰ Ó™ Œ J & 15 : 16 10 : 9 VI (112 c) (182 c) VI j j j j B Ó™ Œ™ O O ‚ O O ‚ O Œ™ Ó™ Œ™ Ó™ Œ™ Œ™ ‰ O ‚ O O ‰ Ó™ Œ ‚ n°2 ( ) ™ 2 ("-124c") 4 3 n°2- ( ) 1- F F -1- I j > B 5˙ ‰ Œ Œ ‰ ‰ ‰ ‰ 5œ œ ‰ 5˙ ‰ ‰ Œ™ 5˙ ˙ ‰ ˙ ‰ ˙ ™ œ™ ˙ ˙ ˙™ œ ˙ 5fœ œ™ 5f˙ 5o ™ ˙ ¢ 5 5 5 5 J 4- 5 60 œœ œœ™ ˙˙ 5 ™ ˙˙ colla parte o 5 ™ œœ™ ˙˙ 5 œœ™ ˙™ 5 ™ 5 œœ™ ˙˙ 5 ™ ˙˙™ ° Œ™ Œ™ Œ ‰ ‰ ‰ ‰ 5 ‰ ‰ ‰ ‰ ‰ 5 Œ™ Ó™ Œ™ Ó™ Œ™ & 9 : 10 8 : 9 (182 c) (204 c)

Œ™ Œ ‰ ‰ ‰ ‰ œ™ ‰ ˙ ‰ 5oœ™ ‰ ‰ ‰ ˙™ œ ‰ ˙ œ 5oœ™ ‰ ‰ B Œ™ 5oœ™ ˙ 5œ™ 5˙ 5 5o˙ 5œ™ 5 5o˙ 5˙ O™ 1- J 2- j j B ˙™ œ ‰ ˙ ˙ ‰ ˙ ˙ ‰ ˙ ˙ œ ˙ ˙ ‰ ˙ ˙ œ ˙™ Œ™ Ó™ Œ™ Ó™ Œ™ ¢ 5 più forte 5 piano marcato

63 ritenuto a tempo ≤ ≤o o o o o o o > o o o o o o o o o ˙ œ ˙ ˙ œ ˙ œ o ˙ o œ ˙ f˙ ° ˙ œ ˙ ˙ n ™ ˙ n o˙ n o˙ n & Œ™ ‰ n J ‰ Ó™ Œ™ Œ™ ‰ J J ‰ n ‰ J ‰ V V IV V IV V IV

oO oO O B Œ™ ‰ nO ‚ O O ‰ Ó™ Œ™ Œ™ ‰ O ‚ O O ‚ O™ ‚ ‰ nO O ‰ ‚ O f ‰ J n n n n °4 ( ) °3 ( ) J J °4 °3 °4 °3J °4 °3 °3 > F > I ˙ ‰ ‰ Œ™ ˙ ˙ ‰ ˙ 5oœ œ™ ‰ ‰ ‰ Œ™ Œ™ Œ™ Œ™ Œ™ B 5 5 J 5 5˙ 5˙ ˙ ‰ ˙™ Ó™ Ó™ Ó™ ¢ 3- 4 ("-53c") -2- I 5 ritenuto 66 > o o o > o o o o o o nœ œ o o o o > o o o˙ ™ œœ™ o o n˙ n˙ n˙™ œ n˙ n˙ n˙ ˙ œ ˙ 5 ™ ˙ fœ ˙ o˙ ™ ° n ™ n & ‰ ‰ ‰ ‰ ‰ J ‰ J Œ™ Œ™ ‰ ‰ ‰ III IV III II III I II I III

oO nO nO O O nO ‚ fO nO O O O ‚ O 5˙ ˙ ™ ‚ n n ™ n o‚ ‚™ n ™ B f ‰ ‰ ‰ ‰ ‰ J ‰ J Œ™ ‰ °4 °3 °4 °3 °4 °3 °4 °3 °4 °3 °2 °3 -2 1-

5œ™ ˙™ œ B Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Œ™ Œ ‰ ‰ Œ™ Œ 5œ™ ‰ 2- ("+17c" only, slightest bit up) ¢ marcato < F > a tempo 69 œ ˙ ˙ œ ˙ 5oœ ˙ 5 ™ 5 œ™ ˙ ˙™™ œ œ™ ˙ 5œ™ ˙ 5 ™ 5 ™ 5 5œ œ °B Œ™ Œ 5o ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Œ™ Œ ‰ ‰ J ‰ 1 2- 3- 4 4 (same position) 3- (-92c) -2 ˙ > I ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ œ ˙ 5 5œ™ 5˙ ˙ œ ˙ ˙™™ B 5 ‰ ‰ J 5 J ‰ Œ™ Œ ‰ J ‰ Œ™ Œ™ ¢ più forte -3 -2- piano

ritenuto 9 : 8 a tempo ≈ (204 c) U > 72 o o œo œo o o o o >o o >o o o > o o ˙ n ™ n˙™ ≈œœ nœ ˙ o œ œ ˙ o o o >o o n˙ n˙ o n ™ n˙ o o ™ nœ ˙ n˙ ˙ o˙ ≈ oœ ˙ fœ œ ° n ™ n & ‰ ‰ J ‰ Œ™ Œ™ ‰ J ‰ J J ‰ J III II I II I III II I III II IV III

‚ ‚™ n‚ O O oO O fO n nO ™ n‚ O f‚ f‚™ O o‚ O ‚ n nO n J n ˙™ nœ™ œ™ œ ˙ nO J nO J n B ‰ ‰ ‰ Œ™ ‰ J ‰ f‚™ ‰ J °4 °3 °4 °4 °3 °2 °4 °3 °3 ( ) °4 °3 °4 °3 °4 1- 0 I

o˙ B Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ n˙™ Œ™ Œ™ Ó™ Œ™ Œ™ ‰ nœ™ ‰ ‰ ‰ ‰ Œ™ n˙ ‰ ‰ Œ™ ¢ espr. (climax) ritenuto a tempo 75 ˙˙ “œœ”™ œœ™ 5 o o >o o o o o 5 ™ œœ™ 5 ™ ˙ œ 5 œœ™ ° n ™ oœ ˙ ˙ œ œ™ 5o œœ™ & ‰ J J Œ ‰ Œ™ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 5 ‰ V IV 11/5

5oœ 5oœ œ O ™ ™ 5 ™ 5œ™ œ™ ‰ o‚ O O ‚ ‚™ Œ ‰ ‰ ‰ 5o ‰ ‰ 5o˙ ‰ œ™ ‰ B n‚™ J J ‰ ‰ 5 °3 °4 11 : 12 4 ("-53c") 3 4 3 (-71c) 4 3 (+71c) (151 c) I F I 1 F ‰ ‰ Œ™ ‰ œ™ ‰ ˙ ˙ œ œ™ ˙ ‰ ‰ j j B n˙ 5 5 5oœ œ™ ˙ f˙ J 5œ ˙ ˙ œ ¢ marcato 1 espr. 1J ritenuto a tempo 77 > ˙˙™ >o o o o o >o o o >o o o > 5 ™ n˙ œ ˙ o o o ° ™ œ™ o fœ™ œ ˙ Œ n ‰ J ‰ n nœ™ ‰ œ ˙ ‰ n˙ ˙ œ & J f n˙ J V IV VI V VII VIJ VII VII j ˙ œ ‰ ‚ ‰ o‚ O ‰ ‚ O ‰ ‰ j B 5 ™ n ™ nO J ‚ n f‚ O f ™ J ‚™ nO O O ‚ 2 ( ) °4 °3 °4 °1 °3 n°1 ( ) °4 °4 n°3 F I 2- B Œ™ Œ™ ‰ ‰ ‰ ‰ ‰ Œ™ ‰ ‰ Œ™ ‰ ‰ Œ™ Œ™ Œ ‰ ˙™ fœ™ ˙ ˙ œ ¢ 10 : 11 (+165c) n f˙ n 33 : 32 (-53c) 5 ™

79 ≤ ≥ ≤ ≥ ≤ ≥ o o ≈ o o o o o o o o o o o o o o ° œœ™ n˙ œ ˙ ˙ œ w œ w œ w œ ˙ œ w™ & ˙ ˙ ‰ Ó™ 5 ™ Œ™ ‰ J J J J J ‰ J 4/3 VI -2 j j j j j j B ‰ ˙ ˙ ‰ Œ™ ‰ O ‚ O O ‚ ‚ ‚ ‚ O ‰ ‚ O O 5 n°3 ( ) ~ ~ ~ ~™ > 1- I 11 : 12 (151 c) B ‰ Œ™ Œ ‰ ‰ ‰ Œ™ ‰ ‰ ‰ ‰ ‰ ‰ 5˙ ˙ ¢ 5 œ™ ˙ 5 ˙ ˙ w w 5 w ˙ 5 w™ > n più forte pizz. (on the sympathetic strings) 82 > 5œ 5œ 5œ œ > > Œ™ ‰ ‰ Œ™ ‰ ‰ 5o 5oœ œ ‰ ‰ Œ™ Œ™ ‰ ‰ Œ™ Œ™ Œ™ B Ó™ J J Œ™ 5 œ 5oœ 5œ 5œ Ó™ bassa ad libitum 5f J J “”