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Plainsound Etudes Wolfgang von Schweinitz Plainsound Etudes FOR VIOLIN SOLO Three Just Intonation Studies based on a flexible non-tempered 11-limit 31-tone scale op. 58 2013-2014 for Helge Slaatto and all violinists with an interest in the sound and performance practice of microtonal just intonation PLAINSOUND MUSIC EDITION This score is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License 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 lowers / raises the pitch by a septimal comma < > 64 : 63 = circa 27.3 cents lowers / raises the pitch by two septimal commas • ¶ circa 54.5 cents (not used in this score) raises / lowers the pitch by an 11-limit undecimal quarter-tone 4 5 33 : 32 = circa 53.3 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 Equal Temperament by introducing a division of the octave into 1200 cents. – The accidental sign denoting an alteration by a septimal comma was devised by Guiseppe Tartini (1692-1770), the composer, violinist and researcher who investigated the difference tones created by double-stops. 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 this score, as every pitch can be tuned by ear. There is no need for rehearsals with the aid of a tuning device. Frequency ratios The score also denotes the mathematical frequency ratios of the various just intervals performed as double stops or melodic steps. The numbers of these ratios contain a lot of information, which is extremely valuable for tuning the intervals by ear. The frequency ratio serves as the stenographic “code name” of the interval, specifying not only its size, but also the partial-unisons and difference tones relevant for its timbre, as well as the fundamental pitch or root of the interval (its periodicity pitch) and the relative degree of consonance or harmonic complexity of the tone relationship. DYNAMICS The piece should be performed without any frequency vibrato and with a soft, but confident and embracing sound that includes both strongly emphasized accents and the magic of a sudden pianissimo. Every tuned double-stop sonority may be interpreted at the dynamic level that seems most adequate for expressing its specific timbre, identity and feeling within the harmonic, melodic and rhythmical context. TEMPO The piece should be performed with a lot of rubato (always counting dotted half notes) within a gradually accelerated melodic forward movement that accommodates the liberty to prolong a sound whenever needed or desired. PERFORMANCE DURATION circa 27 minutes Etude 1: ca. 6 ½ minutes, Etude 2: ca. 5 ½ minutes, Etude 3: ca. 13 minutes. Each piece may also be performed separately. Plainsound Etudes for violin solo Three Just Intonation Studies based on a flexible non-tempered 11-limit 31-tone scale Etude 1 James Tenney & Marc Sabat 44 : 45 Wolfgang von Schweinitz ™ 16 : 15 11-limit sixth-tone op. 58 (2013 - 2014) Cantando con tempo rubato ( ca. 48 ) Diatonic semitone (+39c) ˙ 2/1 9/8 6/5 11/6 ** 6/5 4/3 °2- 9/2 15/8 3/2 3/2 > %% “”™™ I 1- “” “” “” °4- o EE™™ 3- (near % % %% °4- %% o o w u (-112c) u% % %% ™ œ w °3 3- the nut) 5u t o o ~ ™™ <5u u 15 œo wo œ w ‚ ~ w œ ww œ ˙™™ > w & 4 W w ‰ Œ n u˙ ‰ œ w uœ w œ w œ W o w œ w ˙ 5u˙ w Violin � � ™™ w < w ˙ w Difference tones ww ˙ w w <n 5t ˙ w ?15 ww u ? { 4 WW & w ˙™™ w w per lo più: piano sonore (molto d'arco), e sempre non vibrato * ˙ w ˙ 5u *) i.e. no frequency vibrato, please! But the occasional use of amplitude vibrato (once the intonation has been established) is 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 with the left hand, arm and shoulder, and/or with the chin. **) To secure the intonation, it may sometimes be helpful to sing or hum the root or fundamental of the sonority while playing, e.g. in case of this 11-limit neutral seventh: the pitch tuned a perfect fifth or twelfth below the stopped note. 24 : 25 54 : 55 Small chromatic semitone 125 : 128 8/5 (+71c) Lesser Diesis 6/5 4/3 8/5 8/5 16/5 64/25 5/2 8/5 %% EE™™ 5/3 EE %% °3- F 1- F °4- t F 1 t -1- °4- %% %% EE 5 u %% (+32c) EE -1 (+41c) (+204c) u 2- u 1- ™ > 0 œo œo œo wo ˙o >o o o >o o o o ™™ m m ˙ œ ˙ œ w œ w œo w mw œ ˙™™ ‰ mw œ w ‰ Œ ~ ~ & uw œ w ™ ~ w w ˙ ˙ t˙ nœ ˙ t˙ w ˙ ‚ ‚ ‚ tw ˙ O O ‚ œO ‚ f ‚ ‚ > m m w œ ˙ w f > w w ™™ u m ˙™™ ˙ ˙ w œ ? u u < f ww ww w ˙ ˙ w 4 œ ˙ { m ˙ m f w f ˙ m w avanti ( ™ ca. 50 ) 224 : 225 ˙ 15/8 Septimal 7/5 28/15 1 7/5 55 : 56 11/2 schisma %%™ %%™ 28/15 11/6 F o o ™ 9 u 1- (+8c only) u F 1- (+31c) œ w > ™ 0 ™ ™ o o o o o ™ o o o o o ™ o o o o o o o ~ & ~w œ w~ œ œ™ ‰ œ w™ ˙ œ ˙ œ ˙ œ w™ ˙ œ ˙ œ ˙ œ w~™ ‚ ™ Œ ‚ fw ˙ ‚ ‚ w O ‚ ˙O ‚ ˙O w O ‚ ˙O ‚ 5˙O ‚ 5w w > >u n >u n >u >u n >u n œ ™ ™ <5 w™ <f w ™ ˙ ˙ ™ ˙ ˙ w >0v >0v 5u 5u 5u w™ ? >vw™ >vw™ ? w w & 5 w { > > ™ ˙ w ™ w ˙ ˙ ˙ 5 5 5 w 54 : 55 f 80 : 81 > 63 : 64 > 48 : 49 5/3 9/5 Syntonic 4/3 Septimal 7/4 Septimal sixth-tone 9/7 7/4 9/7 comma comma %% %% ™ 12/7 7/4 F F ™ 13 F 1- (+32c) 1- 1- ee™ F 1- %%™ E E EE™ E E %% (+22c) (+27c) <m n <m n %%™ E E < < n > (+36c) m o o o o o o o o o ™ o o o ™ > m >n > > ™ ˙ œ ˙ œ ˙ œ w~ œ w œ œ™ ‰ œ w~ w~™ ™ ‰ ™ ˙ ™ ˙ œ & w ˙ ˙ w w ˙ w w œ ˙ <œ <w ˙ œ ˙ ˙ m ™ O ‚ O ‚ O ‚ m n > ‚ ‚ ‚ > > ™ ™ ™ w ˙ œ w> ˙ ˙ ˙ w ™ w > w w ™ ™ m˙ ™ ˙ ? w™ ˙ œ w ˙ { ™ w ™ >u ˙ ˙ w ˙ ˙ w > w w ™ ™ ™ > ˙ œ w ˙ 224 : 225 2025 : 2048 avanti ( ™ ca. 52 ) 8/5 ˙ 54 : 55 6/5 2 9/4 80 : 81 5/3 9/5 5/4 5/3 11/6 ” %% F 1 F 1- ” ” %% EE %“% t %“% “EE F 1- %% E E EE %% F 1- 17 (+8c only) (+20c) (+22c) E E 4 (+32c) u > > < o ™ o ™ o o o o o o o ™ >o o o > >o o o ™ w œ w œ œ w œ w œ ˙ œ w œ w œ w ™ œ & u Ó ™ ‰ ~ w~ ˙ œ ™ ‰ ~ w~ œ ˙ ˙ w~ w ˙ ™ ‰ tw ‚ ‚ ‚ n ‚ O ‚ ‚ o ‚ o 4n ‚ w ˙ œ w œ œ w ˙ ˙ > n fw o fw uw ? f˙ mw œ u w w w { w w ˙ f ˙ f n o n w œ This score is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. f ˙ please cut off 4 or 5 cm at the bottom 2 242 : 243 ™ 35 : 36 11-limit schisma avanti ( ca. 54 ) Enharmonic septimal quartertone 54 : 55 ˙ 8/5 12/5 7/3 11/6 18/11 11/3 11/9 6/5 %% 3 % %™ F 1- ™ %%™™ % % F 1- EE % %™ o o u <m n (+49c) n 21 4% %™ ™ (+7c u F 1- 4m o o o o uœ œ < 4 only) (+32c) > o o o ˙ œ ~w™ ˙ ™ o o œo wo wo œo ˙o œo ˙o œo O ‚ O u‚ ‚ ™™ & ™ ˙ œ œ™ ™ ˙ Œ ‰ œ w™™ œ w~ Ó 4nw™ O ‚ ˙‚ 5vw ˙ uw ‚ w uw w ˙ >v˙ w w w ˙ > ™ ™™ < > ˙ 5 w™ <5 ˙ w ™ <eœ w w 5u w ? ? m œ & w w w ˙ ˙ { ™ ™ ™™ > ˙ w 5 w 5 w 48 : 49 63 : 64 7/3 7/6 %%™ % %™ 8/7 8/5 F °2- 3/2 9/4 2/1 2/1 % %™ “” “” “” (+119c) F °4- “” “” “” EE F %% EE™™ F 1- %% EE 25 o o o ™ o ™ u >v EE™ EE 1- ™™ (+27c) EE ™ EE ™ < (+36c) < > o wo ˙ œ ˙™ œ™ ™™ > o œo wo ˙™ ™ ™ ™™ o o ™ n˙ ™ O ‚ O™ ‚™ ‰ ™ ™ Œ <f˙ ‰ ˙ œ ˙ O Œ & w ˙ œ œ w ˙ ˙ œ <˙˙ <ww œ ˙ n˙ nw ˙ n˙ œ ˙ œ >v ™ >v > O ‚ O w w œ ˙ > ™ ™ w™ ˙™ ˙ ˙ w ™™ m ˙˙ >u ˙ œ >u ˙ ™ ˙™ œ™ ? <f˙™™ ˙˙ ˙˙ ? w & >v <f & { > w ™ ™ w™ ˙™ ˙ >v ˙ œ > ˙ w avanti ( ™ ca.
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