UCLA Contemporary Music Score Collection

Title Vurtruvurt

Permalink https://escholarship.org/uc/item/330781tg

Author Sigman, Alexander

Publication Date 2020

License https://creativecommons.org/licenses/by-nc-sa/4.0/ 4.0

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alexander sigman VURTRUVURT for solo violin and live electronics (2011)

VURTRUVURT (2011)

performance notes:

general remarks:

I. Performance context: This piece may be programmed in the context of an evening-length performance of the VURT cycle, as a member o of a subset of VURT pieces, or as an autonomous work.

II. VURT sections: There are four types of sections (labeled accordingly in the score):

V: The two V sections consist of pre-recorded electronic material. V is for vehicle and volume, but NOT violin. U: In the three U sections, the violin and electronics interact as “equal partners” throughout. U is for union. R: The three R sections are effectively composed-out fermatas, during which the violin plays against and filters immediately preceding material. R is for resonance, recording, reflection, etc… T: During the two T sections, varying degrees of reverberation are applied to primarily (but not exclusively) impulsive violin sounds. T is for trigger.

Pauses between sections should be avoided, to the extent possible.

III. Violin Preparation:

The electronics are to be projected through 2 small transducers: 1 attached to the violin (preferably on or near the bridge), the other on the upper left-hand corner of the left-most music stand. As such, the distance between transducers increases (slightly) over the course of the piece.

See TECHNICAL RIDER for details.

IV. Violin/Electronics Interaction Model and Balance:

The electronics are conceived neither as a mirror to the violin, nor as an independent voice/instrument/layer. Rather, all material is projected from the same source, the violin functioning as both active conveyor of content and passive resonating body. The electronics extend the range of violin emissions, without introducing an additional sound-source. As such, all efforts should be made to blend the violin source material and electronic output.

! "! violin:

general remarks:

tempi should be followed as strictly as possible. although not recommended, if the fastest tempo cannot be attained, the initial tempo relationships should be preserved, and thus scaled down accordingly. Unless otherwise indicated, all tempo changes occur subito.

accidentals (including quarter-tones, excluding inflections) obtain throughout the measure, except if introduced by a grace-note, trill-note, etc.

articulations, bow positions, etc. obtain until cancelled.

jeté articulations should be executed evenly over the given beat, as densely and rapidly as possible. N.B.: the number of indicated stems (usually 4) does not refer to an exact quantity of desired jeté iterations, but more generally signifies a jeté (rather than balzato) articulation.

trills should be executed as rapidly as possible, and should commence directly at the onset of the beat. the alternation between principal and trill notes need not be r regular/periodic, however.

unless the symbol is indicated (signifying irregular, fluctuating tremolo-speed), all horizontal and vertical tremoli should be executed with as evenly as possible.

glissandi should occur during exact indicated durations; transitions of finger-pressure and/or interval-span (if glissandi occur on more than one string) should be as even as possible over the given duration.

signs and symbols:

= gradual and continuous transition from one “state” to another

= transition from full to harmonic finger-pressure

= transition from harmonic to full finger-pressure

’ = Luftpause (ca. 0.5-1”): demarcates phrase endings

m.v. = molto vibrato

n.v. = non-vibrato

! ""! Bow positions:

AST = alto sul tasto

ORD = ordinario

ASP = alto sul ponticello

DSP = dietro sul ponticello: behind, but near to the bridge

Articulations:

c.l.b./c.l.t. = col legno battuto/tratto (absolutely no bow-hair)

1/2 c.l.b./c.l.t. = ! wood, ! hair

crini: with bow hair; cancels col legno

batt. = battuto (crini or col legno)

balz. = balzato (controlled “bouncing” of the bow over given number of iterations)

bow-vibrato: rotate bow back and forth as rapidly as possible as it is drawn across string(s)

Bow direction:

= circular bowing, to and from initial position (i.e., AST-ASP-AST or ASP-AST-ASP) in clockwise or counterclockwise motion. 1 symbol/rotation.

= rapid vertical bowing

Bow pressure:

flaut. = light, minimal pressure, high bow speed

= slightly exaggerated bow pressure, medium bow speed (unless otherwise indicated)

= over-pressure: high noise-content, maximally-reduced pitch-definition, low bow-speed; approx. the same degree of pressure, relative to changes in position, duration, etc., should be maintained throughout.

! """! = == transition transitiontransition from fromfrom full fullfull to toto harmonic harmonic finger-pressure finger-pressurefinger-pressure = transition from full to harmonic finger-pressure = == transition transitiontransition from fromfrom harmonic harmonicharmonic to to full fullfull finger-pressure finger-pressurefinger-pressure = transition = == transitionfrom transitiontransition harmonic from fromfrom to full fullfull full to toto finger-pressure harmonic harmonic finger-pressure finger-pressurefinger-pressure = transition from full to harmonic finger-pressure , ,, = == transition transitiontransition = from= from=from “trem-accel/trem-rit”: “trem-accel/trem-rit”:“trem-accel/trem-rit”: harmonic harmonicharmonic to to full fullfull finger-pressure finger-pressurefinger-pressure gradual gradualgradual transition transition between betweenbetween tremolo-speeds tremolo-speedstremolo-speeds (executed (executed (executed during during during entire entire entire given given given duration). duration). duration). , = transition =from “trem-accel/trem-rit”: harmonic to full finger-pressure gradual transition between tremolo-speeds (executed during entire given duration).

, , = == “trem-accel/trem-rit”: “trem-accel/trem-rit”:“trem-accel/trem-rit”: gradual gradualgradual transition transition between betweenbetween tremolo-speeds tremolo-speedstremolo-speeds (executed (executed (executed during during during entire entire entire given given given duration). duration). duration). m.v.m.v.m.v.== =molto , molto molto vibrato vibratovibrato = “trem-accel/trem-rit”: gradual transition between tremolo-speeds (executed during entire given duration). m.v.= ,molto vibrato n.v.n.v.n.v. = = =non-vibrato non-vibratonon-vibrato n.v. = non-vibrato STm.v.STSTm.v.m.v. = = ==alto =alto =altomolto moltomolto sul sulsul tastovibrato tastovibratotastovibrato STm.v. = =alto molto sul tastovibrato ORDn.v.ORDORDn.v.n.v. ======non-vibratoordinario non-vibratoordinarionon-vibratoordinario ORDn.v. = non-vibratoordinario ASPSTASPASPSTST == = = =altoalto alto altoalto sul sul sul sulsul tasto pontincello tasto pontincellotastopontincello ASPST == altoalto sulsul tastopontincello DSPORDDSPDSPORDORD = = =dietro = =dietrodietroordinario ordinarioordinario sul sulsul ponticello ponticelloponticello (behind, (behind,(behind, but but near nearnear to to thethe bridge) bridge) DSPORD = =dietro ordinario sul ponticello (behind, but near to the bridge) ASP = alto sul pontincello = == transition transitiontransition ASP ASP from from from == = = =fullalto full full executealto executeexecute totosulto sul harmonic harmonic pontincello pontincellonear nearnear tailpiece tailpiecetailpiece finger-pressure finger-pressurefinger-pressure of of instrumentinstrument = transition ASP from == full alto execute to sul harmonic pontincello near tailpiece finger-pressure of instrument = == transition transitiontransitionconDSPconcon DSPDSP from from fromsord. sord. sord.= = =harmonic harmonicdietroharmonic dietro dietro(piombo) (piombo)(piombo) sul sulsul to toponticello ponticelloponticello full full =full == with with with finger-pressure finger-pressurefinger-pressure the the the (behind, (behind,(behind, lead lead mute mute but but near(or near(ornear(or in in in to to the the the thethe case casebridge) bridge) of of the thethe cello, cello,cello, a a arubber rubberrubber practice practice practice mute) mute) mute) = transitionconDSP from sord. = harmonic dietro (piombo) sul to ponticello full = with finger-pressure the (behind, lead mute but near(or in to the the case bridge) of the cello, a rubber practice mute) senza senzasenza sord sord=sord = = execute . execute execute.=. == remove removeremove near nearnear lead lead tailpiecelead tailpiecetailpiece mute mutemute of of instrumentinstrument senza sord = execute. = remove near lead tailpiece mute of instrument , ,, 1/2con 1/2 1/2con con = = =c.l.b./c.l.t. “trem-accel/trem-rit”:sord. “trem-accel/trem-rit”:c.l.b./c.l.t. c.l.b./c.l.t.“trem-accel/trem-rit”: sord.sord. (piombo) (piombo)(piombo) = == half-way half-wayhalf-way = == with withwith gradual gradual gradualbetween between between the thethe lead lead transition transition arco mute arcomute and and and(or (or(or between betweenbetween col in colincolin the thethelegno legno case tremolo-speedscase tremolo-speedstremolo-speeds battuto/tratto battuto/trattoof of the thethe cello, cello,cello, (executed (executeda a (executedarubber rubberrubber practiceduring practice duringpractice during entire mute)entire mute) entiremute) given given given duration). duration). duration). , 1/2con = c.l.b./c.l.t.“trem-accel/trem-rit”: sord. (piombo) = half-way = with gradual between the lead transition arcomute and (or between colin the legno casetremolo-speeds battuto/tratto of the cello, (executed a rubber practiceduring entire mute) given duration). 1/2senza1/21/2senzasenza c.l. c.l.c.l. sord= sord=sord= 1/2 1/21/2. .=.col = col= colremove removeremove legno legnolegno lead(battuto lead(battutolead(battuto mute mutemute and and tratto)tratto) 1/2senza c.l. sord= 1/2. =col remove legno lead(battuto mute and tratto) m.v. m.v. = = = molto moltomolto vibrato vibratovibratoc.l.b./c.l.t. c.l.b./c.l.t.c.l.b./c.l.t.1/2 1/21/2 c.l.b./c.l.t. c.l.b./c.l.t.c.l.b./c.l.t. = == col colcol =legno legno==legno half-way half-wayhalf-way battuto/tratto battuto/trattobattuto/tratto between betweenbetween (absolutely (absolutelyarco arco and andand col colcol no nono legno legnobow-hair) bow-hair) battuto/tratto battuto/tratto c.l.b./c.l.t. 1/2 c.l.b./c.l.t. = col legno= half-way battuto/tratto between (absolutely arco and col no legno bow-hair) battuto/tratto m.v.= molto vibrato batt. = battuto (arco or col legno) n.v. n.v. = = = non-vibrato non-vibrato non-vibratobatt.1/2batt.1/21/2 c.l.= c.l.c.l.= battuto battuto= == 1/2 1/21/2 col (arco colcol(arco legno legnolegno oror col col (battuto (battuto(battuto legno)legno) and and tratto)tratto) batt.1/2 c.l.= battuto = 1/2 col(arco legno or col (battuto legno) and tratto) n.v. = non-vibrato balzbalz.. == balzatobalzato (“bouncing”)(“bouncing”) ST ST = = = alto altoalto sul sulsul tasto tastotasto balzc.l.b./c.l.t.c.l.b./c.l.t.c.l.b./c.l.t.. = balzato = == col col col(“bouncing”) legno legnolegno battuto/tratto battuto/trattobattuto/tratto (absolutely (absolutely no nono bow-hair) bow-hair) balzc.l.b./c.l.t.. = balzato = col (“bouncing”) legno battuto/tratto (absolutely no bow-hair) ST = alto sul tasto spiccspicc == spiccatospiccato ORD ORD = = =ordinario ordinarioordinario spiccbatt.batt.batt. = = =spiccatobattuto battutobattuto (arco (arco(arco or oror col colcol legno) legno)legno) spiccbatt. == spiccatobattuto (arco or col legno) ORD = ordinario alal tall.tall. == alal tallonetallone (with(with thethe frogfrog ofof the the bow) bow) ASP ASP = = =alto altoalto sul sulsul pontincello pontincellopontincello al balzbalztall.. . = == albalzatobalzato tallone (“bouncing”)(“bouncing”) (with the frog of the bow) balz. = balzato (“bouncing”) ASP = alto sul pontincello al balz tall. . = = balzato al tallone (“bouncing”) (with the frog of the bow) flaut.flaut. == light,light, minimalminimal pressure,pressure, highhigh bow-speed bow-speed DSP DSP = = = dietro dietrodietro sul sul sul ponticello ponticello ponticello flaut.spiccflaut. spiccspicc = = = spiccatolight, (behind, (behind, spiccatolight,spiccato minimal minimal but but near nearnear pressure, pressure, to to thethe bridge) bridge)high high bow bow-speed-speed spiccflaut. = = spiccato light, minimal pressure, high bow-speed DSP = dietro sul ponticello (behind, but near to the bridge) = = = execute executeexecute near near near al al al tailpiece tailpiece tall.tailpiece tall. tall. = == al alalof oftallone tallone tallone instrumentinstrument (with (with(with the thethe frog frogfrog ofof the thethe bow) bow)bow)

= execute near al tailpiece tall. = al of tallone instrument == (with over-pressure:over-pressure: the frog of highhigh the noise-content,bow)noise-content, maximally-reduced maximally-reduced pitch-definition, pitch-definition, low low bow-speed bow-speed conconcon sord. sord.sord. (piombo) (piombo) (piombo) = = =flaut. withflaut. withflaut.with the =thethe = = =over light,over-pressure: light,lead light,lead-pressure: mute minimalmute minimalminimal (or (or(or highin pressure,in inpressure,highpressure, the thethe noise casenoise-content, case - highofhighcontent, of the thethe bow-speed bow-speedbow-speed cello, cello,cello, maximally maximally-reduced a a arubber rubberrubber- reducedpractice practice practice pitchmute) mute) pitch-definition,mute)-definition, low low bow bow-speed-speed = flaut. over-pressure: = light, minimal high noise-content, pressure, high maximally-reduced bow-speed pitch-definition, low bow-speed con sord. (piombo) = flaut.with the = light,lead mute minimal (or in pressure, the case high of the bow-speed cello, a rubber practice mute) == harmonicharmonic finger-pressurefinger-pressure (does (does not not produce produce partial, partial, in in most most cases) cases) senza senzasenza sord sord sord . .=. == remove removeremove lead lead lead mute mute mute= =harmonic harmonic finger finger-pressure-pressure (does (does not not produce produce partial, partial, in mostin most cases) cases) = harmonic finger-pressure (does not produce partial, in most cases) senza sord . = remove lead mute 1/21/2 c.l.b./c.l.t.c.l.b./c.l.t. == half-wayhalf-way xx x between between = == suppression suppressionover-pressure:over-pressure:suppression arco arco and and of ofcolof col highpitch high pitchpitch legno legno noise-content,noise-content,via viavia battuto/tratto battuto/trattomuting mutingmuting string string stringmaximally-reduced maximally-reduced with with with hand hand hand and and and applying pitch-definition, applyingpitch-definition, applying a aflautando a flautando flautando low low bowbow-speed bow-speedbow-pressure, bow-pressure,-pressure, producing producing producing only only only “colored “colored “colored breath”breath” breath” 1/2 c.l.b./c.l.t. = half-way x between == over over-pressure:suppression- pressure: arco and of highcol high pitch legno noise noise-content, via -battuto/trattocontent, muting maximallystring maximally-reduced with-reduced hand and pitch pitch-definition, applying-definition, a flautando low low bow bow-speed bow-pressure,-speed producing only “colored breath” 1/2 c.l.b./c.l.t. = half-way x between == suppressionover-pressure: arco and ofcol high pitch legno noise-content, via battuto/tratto muting string maximally-reduced with hand and pitch-definition,applying a flautando low bow-speed bow-pressure, producing only “colored breath” 1/21/21/2 c.l. c.l.c.l. = == 1/2 1/21/2 col colcol legno legnolegno (battuto (battuto(battuto and and tratto)tratto) = = harmonic == harmonic harmonicharmonic finger finger-pressure finger-pressurefinger-pressure-pressure (does (does (does(does not not notnot produce produce produceproduce partial, partial, partial,partial, in in mostinin most mostmost cases) cases) cases)cases) 1/2 c.l. = 1/2 col legno (battuto and tratto) == asas highhigh onon fingerboardfingerboard as as possible possible = harmonic = =as asfinger-pressure high high on on fingerboard fingerboard (does asnot aspossible produce possible partial, in most cases) c.l.b./c.l.t.c.l.b./c.l.t.c.l.b./c.l.t. = == col colcol legno legnolegno = battuto/tratto battuto/tratto battuto/trattoas high on fingerboard (absolutely (absolutely as no nono possible bow-hair) bow-hair) xxx = == suppression suppressionsuppression of of of pitch pitchpitch via viavia muting mutingmuting string string string with with with hand hand hand and and and applying applying applying a aflautando a flautando flautando bow bow-pressure, bow-pressure,-pressure, producing producing producing only only only “colored “colored “colored breath”breath” breath” c.l.b./c.l.t. = col legno battuto/tratto x (absolutely = suppression no bow-hair) of pitch via muting string with hand and applying a flautando bow-pressure, producing only “colored breath”

batt.batt. = = =battuto battutobattuto x(arco (arco (arco or or or= col colsuppressioncol legno) legno)legno) of pitch via muting string with hand and applying a flautando bow-pressure, producing only “colored breath” Tremolofermatas: speed:threethree typestypes areare employed.employed. aa fixedfixed durationduration should should not not be be assigned assigned to to each each type. type. rather: rather: batt. = battutofermatas: (arco or three col legno)types are employed. == asas highhigh a fixed onon fingerboard fingerboardduration should as as possible possible not be assigned to each type. rather: fermatas: balz balzfermatas:balz three. .=. = =balzato balzato balzatotypes three are(“bouncing”) (“bouncing”)(“bouncing”) employed.types are employed. a = fixed =as as high highduration aon fixeon fingerboard fingerboarddshould duration not as shouldbe aspossible assigned possible not be to assigned each type. to rather:each type. rather: == 1-2”1-2”as high on fingerboard as possible balz . = balzato (“bouncing”) = 1-2” spiccspicc = = spiccato spiccato spicc = spiccato = 1-2” spicc = spiccato = variable = 1-2” bow -speed (vertical or horizontal) alal fermatas: tall.tall. == alal tallone tallone three three types(withtypes(with are thearethe employed. frogemployed.frog ofof the the abow) abow) fixedfixed durationduration should should not not be be assigned assigned to to each each type. type. rather: rather: alfermatas: fermatas:tall. = al tallone three three types (withtypes are theare employed. frogemployed. of the a a bow)fixed fixed duration duration should should notnot bebe assignedassigned to each type. rather: al fermatas: tall. = al tallone three types(with arethe employed.frog of the abow) fixed duration should not be assigned to each type. rather: trem - rit/trem = 3-4” - accel == := 1-2”uniform1-2” 3-4” decrease or increase in tremolo-speed over given duration flaut. flaut. = = light, light, == 3-4”3 - minimal minimal4” = 1-2” pressure,=pressure, 3-4” highhigh bow-speed bow-speed flaut. flaut. = = light, light, minimal minimal pressure, pressure,= 3-4” high high bow bow-speed-speed flaut. = light, minimal = pressure, 1-2” high bow-speed = 1 - 2” = 4-6” = 4-6” = 4-6” = 4 - 6” == 4-6”4-6” Finger pressure: = == over-pressure: over-pressure:over-pressure: = 3-4” = high highhigh 3-4” noise-content, noise-content, maximally-reduced maximally-reducedmaximally-reduced pitch-definition, pitch-definition,pitch-definition, low low low bow-speed bow-speed bow-speed microtones: = over == - pressure:3-4”3 - 4” high = 3-4” noise-content, maximally-reduced pitch-definition, low bow-speed microtones: = over-pressure: microtones: high noise-content, = 3-4” maximally-reduced pitch-definition, low bow-speed microtones: microtones: microtones: = harmonic harmonic== harmonicharmonic finger finger-pressurefingerfinger-pressure-pressure-pressure (does (does (does (doesnot not not produce produce producenot produce partial, partial, partial, in partial,in mostin most most cases) cases) cases)in most cases) = harmonic = 4-6” finger-pressure= 4-6” (does not produce partial, in most cases) = harmonic finger-pressure = 4-6” (does not produce partial, in most cases) = quarter-tone = sharp 4 - 6” == 4-6”4-6” = quarter-tone x xx = == suppression =suppressionsuppression quarter-tonesharp of ofof pitch sharp pitchpitch via viavia muting mutingmuting string string string with with with hand hand hand and and and applying applying applying a aflautando a flautando flautando bow bow-pressure, bow-pressure,-pressure, producing producing producing only only only “colored “colored “colored breath”breath” breath” x = suppression== quarter-tonequarter-tone of pitch sharpsharp via muting string with hand and applying a flautando bow-pressure, producing only “colored breath” x microtones: = suppression = quarter of pitch-tone via sharp muting string with hand and applying a flautando bow-pressure, producing only “colored breath” microtones: M icrotones: microtones: microtones: microtones:microtones: = three quarter-tones == asas highhigh on onsharp fingerboardfingerboard as as possible possible = three quarter-tones = =as =as high three high on quarter-toneson sharpfingerboard fingerboard sharpas aspossible possible  = as high on= fingerboardthree quarter-tones as possible sharp  = quarter-tone  = =three three sharp quarter quarter-tones - tones sharp sharp = quarter-tone  = quarter-tonesharp sharp   = = =quarter quarter-tone quarter-tone -tone sharp sharpsharp = quarter - tone sharp

fermatas: threethree typestypes = quarter-tone areare employed.employed. flat aa fixedfixed durationduration should should not not be be assigned assigned to to each each type. type. rather: rather: fermatas:fermatas: three three types types = quarter-tone are are employed. employed. = quarter-toneflat a a fixed fixed duration durationflat should should notnot bebe assignedassigned to each type. rather: fermatas: three types are employed. = three aquarter-tones fixed = = quarter quarter-tone duration-tone sharp should flat flat not be assigned to each type. rather: = == three 1-2”1-2” quarter-tones = = = quarterquarter-tone three quarter-tones -sharptone flat flat sharp  = three quarter-tones sharp  = 1-2”  = =three three quarter quarter-tones-tones sharp sharp = 1-2” = three quarter-tones  flat = 1 - 2” = three quarter-tones  flat == threethree quarter-tones quarter-tones flat flat = =three three quarter-tones quarter -tones flat flat = quarter-tone flat = quarter-tone = quarter-toneflat flat = 3-4” = 3-4” = = quarter quarter-tone-tone flat flat == 3-4”3-4” = quarter-tone flat == 3-4”3-4” Duration: ca. 8:30-9:00 = three quarter-tones flat = 4-6” = three= 4-6” quarter-tones flat = 4-6” == threethree quarter-tones quarter-tones flat flat = 4 - 6” = = 4-6” 4-6” = =three three quarter-tones quarter-tones flat flat

microtones: microtones: microtones: Primary Sections (I-III): microtones: microtones:microtones: Primary Sections (I-III): PrimaryPrimary Sections Sections (I-III): (I-III): Primary Sections (I-III): = quarter-tone sharp = quarter-tone = quarter-tonesharp sharp == quarter-tonequarter-tone sharpsharp = quarter- tone sharpgeneralgeneral remarks:remarks: general remarks: generalgeneral remarks:remarks: PrimaryPrimary SectionsSections (I-III):(I-III): = three quarter-tones sharp Primaryeacheach Sectionsmeasure measure should (I-III):should be be treated treated as as a adiscrete discrete entity, entity, with with no no attempt attempt to to provide provide continuity continuity between between measures measures (unless (unless otherwise otherwise = three quarter-tones= three quarter-tones sharp PrimaryPrimary sharp SectionsSectionseach (I-III):(I-III): measure should be treated as a discrete entity, with no attempt to provide continuity between measures (unless otherwise indicated.)indicated.) however, = =threeno=no threethree singlesingle quarter quarter-tonesquarter-tones eventevent-tones withinwithin sharp sharp sharp aa measuremeasure should shouldeacheach take take measuremeasure precedence precedence shouldshould over overbe be treatedanytreated any other. other. as as a a discrete discrete entity, entity, with with no no attempt attempt to to provide provide continuity continuity between between measures measures (unless (unless otherwise otherwise   indicated.) indicated.)    however, nono singlesingle eventevent within within a a measure measure should should take take precedence precedence over over any any other. other. ! indicated.) however, no single event within a measure should take precedence over any"" !other. generalgeneral for remarks:remarks: sections I and II, it is recommended that the cellist direct/provide cues to the violin and viola (if no conductor is present.) for sectionsgeneral Iremarks: and II, it is recommended that the cellist direct/provide cues to the violin and viola (if no conductor is present.) = quarter-tone flat generalgeneralfor remarks:remarks: sections I and II, it is recommended that the cellist direct/provide cues to the violin and viola (if no conductor is present.) = quarter-tone = quarter-toneflat flat forfor sectionssections II andand IIII, ,it it is is recommended recommended that that the the cellist cellist direct/provide direct/provide cues cues to to the the violin violin and and viola viola (if (if no no conductor conductor is is present.) present.) = == quarter quarter-tonequarter-tone Maquette-tone flat flatflat I + II: each measure should be treated as a discrete entity, with no attempt to provide continuity between measures (unless otherwise Maquette I + II: each measure should be treated as a discrete entity, with no attempt to provide continuity between measures (unless otherwise indicated.) however, no single event within Maquette a measure I + II: should eacheach measuretake measure precedence should should be over be treated treated any other.as asa discretea discrete entity, entity, with with no noattempt attempt to provide to provide continuity continuity between between measures measures (unless (unless otherwise otherwise indicated.) = three however, quarter-tones no single flat event within MaquetteMaquette a measure II ++ II: II:should each take measure precedence should over be treatedany other. as a discrete entity, with no attempt to provide continuity between measures (unless otherwise = threeindicated.)indicated.) quarter-tones however, flat nonogeneral singlesingle eventremarks:event within within a a measure measure should should take take precedence precedence over over any any other. other. ! indicated.) == threethree however, quarter-tones quarter-tones nogeneral single flat flat remarks: event within a measure should take precedence over any"" !other. = =three three quarter-tones quarter-tones flat flatfor sections I and II, it is recommended that the cellist direct/provide cues to the violin and viola (if no conductor is present.) forgeneralgeneral generalsections remarks: remarks:remarks: I and II , it is recommended that the cellist direct/provide cues to the violin and viola (if no conductor is present.) for sections I and II, it is recommended that the cellist direct/provide cues to the violin and viola (if no conductor is present.) forfor eacheach instrument,instrument, the theforfor upper upper sectionssections and and lower lowerII andand staves staves IIII, ,it it denoteis isdenote recommended recommended L.H. L.H. and and R.H. that R.H.that activity,the theactivity, cellist cellist respectively. respectively. direct/provide direct/provide At At times, cues cuestimes, to theto the therhythms rhythmsviolin violin ofand and ofthese viola theseviola lines (if lines(if noare no areconductor conductor is is present.) present.) incompatible, resulting in either Maquette “silent Iglissandi” + II: in the L.H., or open strings (activated w/ the R.H.) Left-hand motion must remain continuous nonetheless. incompatible, resulting in either Maquette “silent Iglissandi” + II: forforfor in each eacheach the instrument,L.H., instrument,instrument, or open the the thestrings upper upperupper (activated and and and lower lower lower w/ staves staves thestaves R.H.) denote denote denote Left-hand L.H. L.H. L.H. and and and motionR.H. R.H. R.H. activity, mustactivity, activity, remain respectively. respectively. respectively. continuous At Attimes, nonetheless.At times, times, the the rhythmsthe rhythms rhythms of these of of these these lines lines linesare are are Maquette I + II: incompatible,incompatible,incompatible, resultingresulting inin eithereither MaquetteMaquette “silent “silent“silent Iglissandi” Iglissandi”glissandi” ++ II:II: in inin the thethe L.H., L.H.,L.H., or oror open open open strings strings strings (activated (activated (activated w/ w/ w/the the the R.H.) R.H.) R.H.) Left-hand Left-hand Left-hand motion motion motion must must must remain remain remain continuous continuous continuous nonetheless. nonetheless. nonetheless. glissandiglissandigeneralgeneral remarks:remarks: shouldshould be be executed executed as as continuously continuously and and evenly evenly as as possible; possible; changes changes in in position position should should occur occur at atthe the onset onset of of the the beat, beat, rather rather than during the preceding glissando. When executedgeneral without remarks: corresponding bowing (RH action,) string-noise resulting from finger-nail friction against the string during than during the preceding glissando. 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L.H. between between lines lines of measures ofmeasuresparts, parts, such such(unless (unless that that the otherwise otherwisethe R.H. R.H. of ofone one indicated.) however, no single event within a measureothersothers duringduring should thesethese take sectionsprecedencesections over any other. ! indicated.)indicated.)instrument however,however, will nono be singlesingle rhythmically eventevent withinwithin compatible aa measuremeasure with shouldshould the L.H. taketake of precedence precedence another. over over any ""any !other. other. instrument will be rhythmically compatible withTheThe Thethe enclosed enclosedL.H.enclosed of another. “ “x“x”x” ”symbol symbolsymbol denotes denotesdenotes a apassage/eamsurea passage/eamsure passage/eamsure involving involving involving the the the “crossing” “crossing” “crossing” of ofR.H. of R.H. R.H. and and andL.H. L.H. L.H. lines lines lines of parts,of of parts, parts, such such such that that thethat theR.H. the R.H. R.H.of one of of one one forfor sections sections I I and and II II, ,it it is is recommended recommended that that the the cellist cellist direct/provide direct/provide cues cues to to the the violin violin and and viola viola (if (if no no conductor conductor is present.)is present.) instrumentinstrumentinstrument willwill bebe rhythmicallyrhythmicallyfor sections compatible compatiblecompatible I and II with withwith, it is the the therecommended L.H. L.H.L.H. of ofof another. another.another. that the cellist direct/provide cues to the violin and viola (if no conductor is present.) 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R.H. activity, mustactivity, activity, remain respectively. respectively. respectively. continuous At Attimes, nonetheless.At times, times, the the rhythmsthe rhythms rhythms of these of of these these lines lines linesare are are incompatible,incompatible,incompatible, resultingresulting inin eithereither “silent “silent“silent glissandi” glissandi”glissandi” in inin the thethe L.H., L.H.,L.H., or oror open open open strings strings strings (activated (activated (activated w/ w/ w/the the the R.H.) R.H.) R.H.) Left-hand Left-hand Left-hand motion motion motion must must must remain remain remain continuous continuous continuous nonetheless. nonetheless. nonetheless. glissandiglissandi shouldshould be be executed executed as as continuously continuously and and evenly evenly as as possible; possible; changes changes in in position position should should occur occur at atthe the onset onset of of the the beat, beat, rather rather than during the preceding glissando. When executed without corresponding bowing (RH action,) string-noise resulting from finger-nail friction against the string during than during the preceding glissando. When executedglissandiglissandiglissandi without should shouldshould corresponding be bebe executed executedexecuted bowing as as as continuously continuously continuously (RH action,) and and string-noiseand evenly evenly evenly as as possible;asresulting possible; possible; changesfrom changes changes finger-nail in inposition in position position friction should should should against occur occur occur the at string theat at theonset the during onset onset of theof of the beat, the beat, beat,rather rather rather glissandi is desired. glissandi isthanthan thandesired. duringduringduring thethe precedingpreceding glissando.glissando. 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R.H. of ofone one instrument will be rhythmically compatible with the L.H. of another. instrument will be rhythmically compatible withTheThe Thethe enclosed enclosedL.H.enclosed of another. “ “x“x”x” ”symbol symbolsymbol denotes denotesdenotes a apassage/eamsurea passage/eamsure passage/eamsure involving involving involving the the the “crossing” “crossing” “crossing” of ofR.H. of R.H. R.H. and and andL.H. L.H. L.H. lines lines lines of parts,of of parts, parts, such such such that that thethat theR.H. the R.H. R.H.of one of of one one instrumentinstrumentinstrument willwill bebe rhythmicallyrhythmically compatible compatiblecompatible with withwith the thethe L.H. L.H.L.H. of ofof another. another.another. InIn orderorder toto facilitatefacilitate rhythmic rhythmic coordination, coordination, it it is is recommended recommended that that the the respective respective inactive inactive performer performer of ofthe the given given segment segment direct direct the the others during these sections others during these sectionsInInIn order orderorder to toto facilitate facilitatefacilitate rhythmic rhythmicrhythmic coordination, coordination, coordination, it it isit is recommendedis recommended recommended that that that the the therespective respective respective inactive inactive inactive performer performer performer of the of of thegiven the given given segment segment segment direct direct direct the the the othersothers during duringduring these thesethese sections sectionssections VURTRUVURT (2011)

technical rider:

I. Hardware:

The following devices are suggested for the performance of this piece:

A. 1 pair of small transducers:

B. 1 50-100W 2-channel power amp, e.g.:

C. 1 power-supply , e.g.:

D. 1 2-channel audio interface (MOTU, Lexicon, etc.)

E. 1 condenser mic (violin input)

F. 1 laptop running pd-0.42.5-extended or later version.

! "!

II. Violin Preparation and Transducer Placement:

A. Place left channel transducer on upper left-hand corner of left-most stand; remove adhesive cover. The music stands may be metal or wooden.

B. Place right channel transducer on/near bridge (or at whatever location there will be minimal resonant frequency interference or possible damage to the instrument—experiment with this, USING LOW-SOUND LEVEL OUTPUT!). Remove adhesive cover.

C. The condenser mic should pick up all violin output. Place at central position with respect to performer/music stands. Angle away from transducers to minimize any possible feedback.

! "#!

Figure 1: VURTRUVURT pd patch.

! "##! III. pd Patch Functionality and Operation

A. Software compatibility: This patch was created using pd-0.42.5-extended. This (or a later) version may be downloaded from: http://sourceforge.net/projects/pure-data/files/pure-data/ and various other mirror sites.

B. Directory: The patch is entitled VURTRUVURT_MASTER_PATCH.pd. Place this patch in the VURTRUVURT_sourcefiles folder. All soundfiles used in the patch are located in this folder.

C. Operation: 1. START/STOP: For all V (violet), U (yellow), R (red) , and T (turquoise) sections: The GREEN BUTTON = START ADC/output/recording; the RED BUTTON = STOP ADC/output/recording. The YELLOW BUTTONS are only to be clicked in “emergency” situations.

2. Output sound level: The global sound level is indicated on the VU meter in the main patch. Individual I/O levels may be controlled in each section’s subpatch. 3. Execution order: The 10 sections have been numbered. 4. Clock: The timer is automatically started/reset and stopped when the START/STOP buttons for each section are

clicked. 5. File recording and playback: The U1, T1, U2, and U3 subpatches output soundfiles. The R1-R3 subpatches read and process these files. All files are saved to the VURTRUVURT_sourcefiles folder. 6. Score indications: the lower 2-line system in the score indicates a) generalized descriptions of electronic material/channel (Left and Right, respectively) and b) directions for the laptop performer. 7. Violin/electronics coordination: Violin/electonics section onsets and offsets should be as closely coordinated as possible, but need not be exact. With the exception of U3 and R3, all subpatches are to started and stopped at the respective section boundaries indicated in the score.

! "###! VURTRUVURT [VURT Cycle II, Mancunian Codex a] dedicated to glenn cornett (new spectrum foundation) & miranda cuckson (violin) a.sigman V1 45"

violin & ! 165 15" 15" 15" L recycling truck machine drone

electronics + glass shattering R recycling truck + machine drone + industrial equipment machine drone

(l.v.Ò until end of soundfile) U1

flaut. (3 rotations) n.v. II I ASP ORD n.v. (analytic and unstable) AST I ASP ASP AST I III II ASP e @ III (1 rotation) AST ASP II ! ! ! II (no bow changes) III v.m. æ III AST œ »¢¢ 5:4 rK @ } ! " flaut. 2 flaut. œ flaut. æ n.v. æ } 5:4}rK } n.v. } } } } }œ } B III v.m. µ œ œ B · · II · vln. n n m n O · n œ 5 œ œ œ œ. œ œ œ œ œ 7 µ œœ œœ µ œ 5 µ n µ œ 7 n nœ·§ 4 & 16 Bœ µ µ µœ œ œ 16 b ·œ ·œ · Bœ 16 œ œ. œ µ · œ b ·œ ·œ Bœ œ 16 œ 8 µ n > œ. œ · bœ. · · œ œ œ > F Ï " F f " f p F " p f p Ï p elec. filtered machine drones + vln. input

ADC ON! jeté ASP ORD ORD AST ORD AST ASP AST ! ! ! ! ! v.m. æ n.v. AST flaut. jeté ! ! æ n.v. v.m. ASP jeté 5:4 rK K } 5:4 rK œ 5:4 r ! v.m. II œ } # # # #@ œ æ ! 8 œ III } Ÿ~µ~·~~~~~ I B · · µ· µ IV µ # # µ II · · B · @ œ œ µ m n } } · µ m · µ # # # # µ # # B · . · · · ( ) · · > II > · . · · · vln. œ œ m · · µ · µœ µ · µ œ · · µ· · ·· 4 · n· · § · œ œ œ n œ 5 n · · m·# # # # 5 n & 8 · œ n b · · œ 8 · · · # # # # 16 œ œ # # # # œ œ œ œ œ · " œ œ. œ œ œ f p J " p " F f " f Ï p elec.

STOP RECORDING! 2 AST ! AST ASP AST ! AST 45" n.v. flaut. flaut. flaut. R1 } } flaut. } } 12 · µ· vln. & 1611 Ï ! 6-7" (simile) ! f ! f ! f elec. filtered noises, variable register

T1 AST ASP

jeté crini AST ASP crini AST crini 1/2 c.l.b. 1/2 c.l.b. ORD 1/2 c.l.b. crini ASP ! balz. jeté AST ASP 1/2 c.l.b. c.l.b. ! e 1/2 c.l.b. balz. balz. 1/2 c.l.b. c.l.b. (sempre balzato) ! ! ! 13 »"™jeté B # # # # 3:2 rK 3:2 rK 3:2 rK 3:2 j 3:2 r 5:4 rK 7:6 rK @ µ œ œ œ œ 3:2 r 3:2 r œ œ œ @ œ# # # œ µ # # # # , jeté 5:4 rK 5:4 rK 5:4 rK œ œ 5:4 rK , œ œ œ œ œ œ vln. œ œ œ œ œ œ œ œ œ 11 # # # # ‰ . R . 4 J 11 6 n 13 & 16 µœ# # # # # # # # ‰ ‰ 8 Œ ‰ $ r ‰ Œ 16 µœ œ œ œ œ œµœ œ œ 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ µ 16 œ mœ# # # # b # # # # œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ S ! œ ! p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ S S œ œ œ S S S Sf S ! S elec. reverb (max-> min)

VOLUME: 0.5 6500 0.7 6500 1 6500 ASP bow-vibrato AST (tratto) AST ASP flaut. (sempre) ORD ! ! ORD AST AST ASP ASP crini ! } } ! 18 c.l.b. @ AST 1/2 c.l.t. flaut. trem-accel. ! ! ! , 3:2 j 5:3 r , æ µ œ @ œ , B trem-accel. · @ B B } vln. · · µ ! œ · 13 n @ 8 . n · 4 n n µ n & 16 µ $ r $ ! · ‰ r 8 !Jtrem-accel.æ$ œ $ $ œ $ j 8 trem.-rit. œ œ $ · œ ‰ µ · ·œ · · œ œ œ œ œ b · b R b @ æ trem.-rit.æ @ b @ b b œ œ bœ œ · ! · · · œ œ. · · · ·. · · S p ! 0.5 6500 p ! p p F p p !0 6500 p AST (sempre) STOP RECORDING! R2 45" 23 bow-vibrato @ flaut. flaut. flaut. } } } } } } 1/2 c.l.t. @ vln. n j µ B n · 9 & œ· nœ µ œ· B œ· ( œ ) 8 ! f ! f ! f Ï p F 11-12" (simile) f ! elec. filtered noises, variable register 3

U2

1/2 c.l.b. crini 1/2 c.l.b. crini ASP jeté (tratto) 1/2 c.l.b. crini AST e jeté (tratto) ! ! @ æ 1/2 c.l.b. »¶§(erratic) AST ASP I 1/2 c.l.t. crini ! 1/2 c.l.t. 1/2 c.l.b. ! batt. ! ! ! ! jeté ! 24 AST ASP 1/2 c.l.t. (come sopra) II 5:4 rK 5:4 rK 1/2 c.l.t. crini n.v. !. ! œ æ n . œ ! ! mœ! ! ! B ! ! ! ! @ m œ œ µ vln. œ. ! ! œ. m j œ. m œ m œ 9 ! N ! ! ! ! N · 6 · · œ œ nœ 13 œ ·œ ·. ·. œ µ 7 9 & 8 œ. œœ. n 8 5:4 rK œ 16 œ œ Bœ n œ 8 œ 8 b .(simile) b œ œ œ œ œ . œ µœ œ œ ( œ ) œ B > > œ œ œ p p · ‚ · · ‚ · ß F p ß" F p F p " p " elec. explosions, industrial sounds, Smiths fragment

ADC ON! ASP 1/2 c.l.b. AST crini AST ASP 1/2 c.l.t. crini ORD ! 1/2 c.l.t. ASP ! " 1/2 c.l.b. ! crini 1/2 c.l.t. crini AST 1/2 c.l.t. jeté æ crini jeté jeté ASP 1/2 c.l.t. crini 1/2 c.l.t. ASP 1/2 c.l.t. crini 1/2 c.l.t. crini ! crini (irregular)II ! ! ! ! AST ! 5:4 rK ! 28 @ O œ ! II AST 1/2 c.l.b. b ! ! ! ! b µ ! ! ! ! · 1/2 c.l.b. b µ I B ! ! ! · · µ œ ! ! ! ! n · œ µ n · @ µœ œ œ œ œ ·. œ! ! ! ! · · · !O · @ vln. 9 œ œ nœ œ œ b· ·. > b· · · 9 b· 6µœ. bO· · µ> n n æ K " j & 8 5:4 rK œ 5:4 r 16 r 8 œ. œ œ n œ œ œ µœ œ b B œ B æ µœ œ B " œ B œ œ œ · · (irregular@ trem.) œ" œ · æ · p 5:4 rK p F @ p œ (simile) " " p F F p æ @ p " elec. F ß " F ß

STOP RECORDING!

AST ORD ASP ORD V2 45" n.v. @ (change bow as needed) 1/2 c.l.t. crini @ 32 · vln. & 85 15" " 15" 15" "fractured bell" accel. elec. "fractured bell" + periodic band-saw drone

machine drone (l.v. until end of soundfile) START U3 4 U3

(spettrale) ORD e ASP v.m. n.v. 1/2 c.l.t. crini »•• ORD 3:2 r 5:4 rK ASP ORD œ œ flaut. AST ORD n.v. AST ASP ORD ORD v.m. AST ORD ASP æ 3}:2 r trem.-rit. œ n.v. v.m. 33 1/2 c.l.t. 5:4 rK crini v.m. flaut. n.v. 3:2 r œ B 1/2 c.l.t. æ œ · · · · · · · · · · · · b n æ æ æ b b vln. 5 · ‚ · · 6 · b æ @ ! 7 · · 8 J ·. 5 · · · · · 5 · · · · · · 5 · ‚ ‚ ‚ ·. 5:4 rK & 8 J 8 J 8 8 ! ! @ 8 (varied trem. speeds) 16 ! 8 œ n B µ B œ æ @ @ @ æ ! p !æ @ p · · · · · · · · · · · · · · p " ! p p ! elec. filtered noise

v.m. n.v. ASP AST ORD AST crini 1/2 c.l.t. crini ASP v.m. ASP crini K ASP n.v. AST ASP 5:4 r AST 5:4 rK ! crini 5:4 rK 1/2 c.l.t. œ œ crini AST ! ! æ crini æ trem-accel. œ 1/2 c.l.t. æ æ 1/2 c.l.t. 42 æ v.m. 1/2 c.l.t.æ n.v. n n.v. trem-accel. æ n v.m. 3:2 r 1/2 c.l.t. . . . n.v. · · · · · œ b µ · · · · · · · n b æ @ vln. @ 5 · · · 5 @ n 5 · · · · · · · b·. 5 b· 5 · æ æ æ · · ‚ ‚ · @ 3:2 r · æ æ & 8 @ æ œ æ æ B B ! ! 16 8 B B 16 8 B B ·. · · · · ·. µ· · · ! · · · µ· · · ! · µ· · · · ·æ ·æ · · µ· ! p p " æ @ p ! p (alternation between vertical and horizontal bowing) " p ! ! F p ! p elec.

STOP RECORDING! START R3 START U2 playback @ 30" @ ASP 4-5" ORD 53 } } } } vln. senza trem. senza trem. 7 & æ ! æ bæ !· 8 · m· B· n· µ· · · p ! F Ï F f elec. filtered violin, variable register

START U3 playback R3

5

T2 (spasmic and mechanical)

ORD ASP ORD AST ORD AST ASP ORD ASP AST ASP e v.m. n.v. v.m. n.v. v.m. ASP v.m. n.v. AST ORD AST »¡£™ 7:6 j n.v. v.m. n.v. v.m. n.v. v.m. œ 54 n.v. bow-vibrato } 8:7 j flaut. } œ } } v.m. 6:4 j } } }5:6 r n.v. , œ 6:5 j 3:2 j} n.v. æ æ ! m m · · m · œ } œ œ , , vln. n n n m · · · · m· · · · · · · · m· · n & 78 · · ·œ · · · ·œ ·æ 8 · · · ·œ · · " · · · · · · " 1611 85 ‰ · · · · · · · · · · · · · · ‰ bœ œ œ œ bœ œ œ œ œ bœ œ œ bœ œ œ ! ! æ æ b·æ ·æ ·æ · · ·æ ·æ · · ·! · · J ! ! ! b· · > ! Ï p ! p ! p ! Ï f F Ï F ! F ! p ! p F ! F ! F ! p Ï STOP R3 p elec. reverb (variable): 0.3 6500 0.5 6500

0.1 6500 VOLUME: 0.1 6500

ORD AST ORD AST ORD AST * ASP ASP AST ASP (tratto) c.l.t. crini v.m. c.l.t. } } } } n.v. 1/2 c.l.b. crini v.m. n.v. c.l.b. n.v. c.l.b. crini c.l.b. crini 62 } } } } , v.m. v.m. jeté jeté 3:2 j batt. flaut. jeté 5:3 j 5:4 j 5:4 j jeté jeté jeté jeté · · · · æ œ œ œ œ " " " b} b , , , , @ vln. 11 · " · " · " · " · · " · " · œ œ # # 5 8 n # # # # # # # # m· · 5 @& ‰ " 16 ‰ " ‰ # 8 œ œ ‰ " " " 8 ‰ j j j œ œ ‰ ! 8 æ æ æ æ b·æ " ·æ " ·æ b·æ " ·æ " ·æ " ·æ " ·æ b·æ œ# · ‰ · ‰ · b· ‰ ·! ‰ ·æ œ # # # # ·æ ‰ ·! bœ# # # # œ# # # # œ# # # # æ *"louré":Sf stop bow on each impulse F ! F F ! ! p ! S ! p S p S S S S S F elec. 0.5 6500 0.5 6500

0.1 6500 VOLUME: 0.1 6500

(tratto) ASP AST ASP AST ASP ORD ASP ASP crini crini ASP AST ORD ORD ORD jeté AST ASP AST v.m. c.l.t. crini c.l.b. crini c.l.b. c.l.b. (sempre) AST 70 jeté jeté crini } c.l.b. c.l.b. } c.l.b. 5:4 r jeté } } jeté jeté jeté jeté œ jeté jeté jeté jeté c.l.t. c.l.b. jeté # jeté c.l.t. jeté c.l.t. , jeté jeté @ œ b œ , # œ œ b œ b # # vln. @ m æ !n # n n œ n # # # # n n œ # # # n # m # n 5 · # · # 11 5 . ( œ ) #( œ ) R 8 œ # # #( œ ) #( œ ) . & 8 ‰ # # œ # j j r r œ 16 œ r j j œ œœœ œ 8 œ" ‰ œ ‰ j # # ‰ œ " 8 œ # jŒ j # # · Œ " ‰ # # ‰ j # # Œ b # # b # # # # # # # # # # # # # # # # b b b # # # # b # # # # # # # # R b b b b # J J # b æ # J b # # F œ p S œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ . œ · œ œ · œ œ œ S S S S S S S S S S S S S Sf S p S ! S S S p S Sf S 1 6500 elec. 0.5 6500

0.1 6500 ASP DSP ASP DSP (sempre) jeté 78 c.l.t. c.l.t. c.l.b. c.l.b. (sempre) c.l.b. c.l.t. c.l.b. c.l.t. m b # # # # vln. @ m · œ r @ Ó. " œ ‰ " R ‰ œ æ ‰ Ó 4 $ 5 " R ‰ " 8 ‰ Ó Œ " – Œ – " Œ. " Œ. – " Œ " ‰ Œ – " Œ r " Œ & R b 8 16 8 æ – R R r R r – ! S · S – – S – S S S ! S STOP T2 p p S S S elec. 0.7 6500 0.8 6500

0 6500 (ca. 8:30-9:00) Stuttgart, New York & San Francisco, Summer 2011