UCLA Contemporary Music Score Collection Title Fallen Permalink https://escholarship.org/uc/item/4v1579hf Author Bilir, Can Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Fallen String Quartet III can bilir 2018-2019 Violin 1 Violin 2 Viola Violoncello Approx. 16’– 17’ i Performance Notes: Dynamic pitch illusions: the auditory illusions through mm. 60–87 and mm. 94–116 can be clearly performed via maintaining the ascending and descending continuity and arrivals between the overtones and fundamental tone. Listen and detect the difference (logarithmic) between the motion in the sliding fundamentals and its predominant spectral content. The dynamics should be very carefully controlled in bow changes during these auditory illusions. Stereograms: you can either look at these pictures as a stereogram or engage with your normal view. Stereogram’s advantage is seeing multiple layers and additional motion in one look. Play the impulses as in the black–white contrasting motion on these pictures. i.e. m.42 in violoncello. Pont: ponticello a.s: alto sul, i.e. alto sul ponticello, alto sul tasto Cue Stems: no accents on the cue stems in the quartet note and eight note on the slides. i.e. m.115 Arrowed accidentals: these accidentals can be performed as 31cents lower, or if you wish, they can be approximated to 1/8 tone that corresponds to 25 cent difference. Black diamond notes: touch the string on the indicated position such as the harmonics, not fully pressed. Circular motion: indicates the physical action, both the dynamic, timbre, and the bodily movements will change according to the circular motion. Follow the other intructions along with the circular motion. m.22, Doppler Effect: four instruments will create a complex sound together that reminds us doppler effect of an airplane. On violins, the bow speed and timbral (spectral content) quality should be adjusted accordingly. On lower strings, the hissing sound should be emphasized. ii m.52: even though the actual touching positions and pitches are written, due to the technique they will not simply produce the written pitch. If you decide to approximate the pitch positions in this passage, try to stay away from simple diatonicism and keep the microtonal texture. Violoncello in m.88: left hand thumb touches on the third and fourth strings right before the bridge; start bowing right under the thumb. Fourth finger touches the largest position after the bridge. The bow slides towards the fourth finger. Third finger and bow, along with the thumb should slide together towards the tail piece. The narrative and the speech: the performers who have lyrics in their line should accompany their lyrics with their instruments. The instrument will follow the linguistic aspects of the text and will align with the speaking, instead of a musical accompaniment. Poetic and theatrical expressions are welcome. The Statement: The narrative roles can be allocated between different combinations of violins and viola, not the violoncello: i.e. allocated Narrator 1: Violin I, Narrator 2: Viola If viola player is the narrator, his or her line should be played by a violin player iii Fallen String Quartet III can bilir 2018—2019 A q=60 c.l.tr: emphasize the wood sound and overtones +mute l.h. position 1 ° 4 Violin I &4 Œ Ó ∑ œ ˙ œ œ o pppp p pppp c.l.tr: emphasize the wood sound and overtones m+ute l.h. position1 4 Violin II &4 Œ Ó ∑ œ ˙ œ œ œ o pppp p pppp mute the 1st position of all strings with the l.h. index finger, no open string resonance Bow: col legno tratto only with the wooden part, imagine a plane sound and doppler effect l.h. muted bow all way bow all way back to the bow cl. tr. back to the l.h. 1st position alto s.p. 4 alto s.p. l.h. 1st position alto s.p. Viola B 4 ##¿ arco: s.p. I > ^. #œO ™ œOµ˜œO #œO œO µ#œO 4 Ó æ ≈™ ‰ Œ Ó ∑ ? Violoncello ¢&4 æ ÔR pppp "f" = jete simile hit cl. bt., arco: s.p. > jete, c.l. bt. > >jete simile 4 > . p.lay cl.tr. cl.tr. ° O ™ O µ˜O O O nœ µœ œ œ µœ œ™ œ œ œ œ Ó #œ œ œ #œ œ ‰ J ‰ Ó ‰ ® Œ Vln. I & æ 6 6 pppp "f" ppp 6 f p f p arco a.s.p. >jete, c.l. bt. >jete simile hit cl. bt., ◊ÿ arco: s.p. > . >play cl.tr. ‚ #œO ™ œO µ˜œO #œO œO nœ µœ œ œ µœ œ œ œ æ Ó ‰ J ‰ Ó ‰ ® ® ‰ Œ ‰ æJ Vln. II & æ 6 pppp "f" ppp 6 p 3 f p arco: s.p. O ™ O µ>O O O µO^. #œ™ œ˜ œ#œ œ # œ cl. bt. sempre l.h. full hand mute æ ÔR ™ jete æ Vla. B Ó ≈ ‰ µ æ™ <µ> ™ Ó µ œ . œ™ œ œ <µ> œ œ œ œ œ™ œ pppp "f" . ("f") p o l.h. muted* bow all way back to the bow all way bow cl. tr. l.h. 1st (to alto s.p.) alto s.p. back to the alto s.p. position l.h. 1st position ? Vc. ¢ bb¿ "f" p *mute and press slightly the all strings with the l.h. fingers, no open string resonance Bow: col legno tratto only with the wooden part, imagine a plane sound and doppler effect 2 ‚™arco: slig‚htly scratch °7 Vln. I & Œ Ó ∑ ∑ ∑ ppp p o Loud whispering <◊> and simulateneous playing on the notes ‚ Loose bow æ IV æR ≈ ‰ Œ Ó ∑ ® ™ j ∑ Vln. II & j™™ µ‚ ‚ #œ o ‚ [Jinn] [Jinn] [Ji - nn] "p" ppp Speak & Play acoustic synthesis: speak by loud whispering and match the pitches tasto not fully press; only touch IV IV behind the bridge w 3 Vla. B µw ‰ Œ Œ æ æ [ ] J ¿ ¿ ¿ ¿æ ¿æ™ ¿ ¿ ¿ ¿ "f" [A specter is haunting my mind] [specter of the Future] > o "f" IV or III, approximately 12th position not fully press; only touch alto s.p. *Speak & Play acoustic synthesis: tiny circular motion around the same s.p position speak by loud whispering and match the pitches ? œ ‰ Œ Ó Vc. ¢ J ppp "f" p o [it doesn't have [this] to be like] "ff" = drunken l.h. tremolo: repeat it irregularly a.s.p throughout the assigned time ◊ÿ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚™ ‚ °11 ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ #‚ Vln. I & ‰ pppp p pppp p drunken l.h. tremolo: repeat it irregularly a.s.p throughout the assigned time ◊ÿ . ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ O O æ R Vln. II & Œ ≈ ‰ Œ pp o p "mf" a.s.p. B Ó ∑ Vla. œ & pp, "f" o tasto IwV not fully press on the fingerboard s.p. ?[ µ w ] Vc. ¢ [For millions of years, mankind lived] [just like the animals. Then something happened] 3 ◊a.sÿ.p <◊> 13 < > ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ° # ‚ #‚ ‚ Vln. I & o o pppp p ” <◊> “ O O O O O O O O O BO <n>lo‚coµ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ B>‚ b‚ Vln. II & Œ Œ p "mf" p "mf" "f" p ff #œOµ˜œO #œO œO˜œO œO Vla. & J ‰ Œ Œ ∑ & p mf, p sub alto .s.p. ? Vc. ¢ [which unleashed the power of our imagination] [We learned to talk and we learned to] = B fastest <◊>tremolo BO™ O (1") 15 ~ æ , µœ ° æ æ æJ J Vln. I & Ó ∑ ∑ ∑ ‰ ff o o p tasto, scratch, slow bow; emphasize impulses <“> ◊ÿ due to bow friction of the bow <b>‚ b‚ , ord. ™ ‚ ‚ º touch with nail ‚µ‚™ ‚ µœ œ œ œ Vln. II & µ‚ ‚ ‚ ‚ ‚ ‰ p pp p "f" "f" 3 p mf a.sÿ.p circular bow approx. ◊ with overtones ‚ ‚ O a.s.t. a.s.p. IV <n>‚ ‚ ‚ æ a.s.t. a.s.p. æ æ æ æ æ æ æ O BO B Œ Œ Œ Ó Œ Vla. & æ æ æ æ æ æ œ œ ˙™ œ ˙™ & pppp ff pp p approx. knuckle hit and speak on sound board ord. ord. œ™ œ #‚ ‚ ~ ‚µ‚™ ‚ µœ œ ? ¿ Œ Ó Ó Œ ‰ Vc. ¢ & µ‚ 3 3 [listen.] o p mf "f" p mf 4 C *Doppler effect Scratch tone; think about a Fighter jet flying above sempre approx., the interval doesn't necessarily be the same ◊ÿ bow underneath the I ‚ O ‚ ‚ ‚ strings touching on (loco) I & IV µ‚ 21 nœ ‚ O ‚ ‚ ‚ ° J IV Vln. I & ‰ Œ Ó ∑ B‚ o p fff p o se◊mÿpre approx., the interval doesn't necessarily be the same bow underneath the I O™ ‚ ‚ ‚ strings touching on (loco) œ I & IV O™ ‚ ‚ ‚ µ‚ J IV Vln. II & ‰ Œ Ó ∑ ∑ B‚ o p fff p poco vib. poco vib. (less than 1/4 tone) (less than 1/4 tone) light richochet > ord. overtones ‚ O™ ~ ~ ‚. ‚ ‚ O™ ~ ~ ~ Vla. & fff, ppp sub 5 senza vib. ord. overtones subtle scratch scratch over ‚ O™ ~ ~ ~ ~ ~ ~ Vc. ¢& fff, p sub [Jinn] *For this whole section, for viola and violoncello: find the ponticello bow position that will naturally brings out between 5th to 8thovertones of the open string. Flautando technique, small changes in bow pressure and where the bow is will create the sonority = ◊ÿ O™ ‚ ◊‚ÿ ‚ (simile) ™ µ‚ °28 O ‚ ‚ ‚ Vln. I & B‚ o o o p fff ◊ÿ p fff O™ ‚ ◊‚ÿ ‚ (simile) O™ ‚ µ‚ ‚ ‚ Vln. II & B‚ o o p fff p o o fff (senza vib.) subtle scratch scratch over subtle scratch ~ ~ ~ ~ ~ ~ ~ Vla. & light richochet subtle scratch scratch over subtle scratch ~ >‚. ‚ ‚ O™ ~ ~ ~ ~ ~ Vc. ¢& 5 [Jinn] ÿ D n◊‚ ordinario bowing 5 µ‚ touch the 1st position random overtone changes, sempre 35 ‚ finger tremolo ° 5 Vln. I & B‚ ∑ ^ ‚ p o ~ ‚µ‚n‚µ‚n‚µ‚n‚µ‚n‚µ‚n‚µ‚n‚µ‚n‚µ‚n‚µ‚ fp ff ÿ n◊‚ µ‚ ‚ ‚ µ‚ Vln.