Marco Longo

studio sul buioviola

piano

ViolaScordatura:

The viola part is on two staves.In the first one are indicated the movements of the bow along the strings; the clef gives this reference points:

In the second staff, two clefs are used: the normal G clef and a “strings-clef”, that will modify the traditional notation.After this one, the four spaces of the pentagram show the four open string:

Left hand

half pressure, stop the sounding vibrations

string free to vibrate

harmonic pression

Bow

with bow-hair

half wood, half bow-hair

with wood

hit with wood

flautando

beyond the bridge

circular motion of the bow

longitudinal movement of the bow (more or less wide)

longitudinal movement of the bow and concurrent up/down bowing

very high pressure, scratch

pressure gradation

Note-heads figures

only rustle (only with longitudinal bow motion)

indetermined sound - noise

rustle and indetermined sound; normal bowing and longitudinal bow motion.

sounds beyond the bridge

harmonic sounds

flautati sounds

in presence of the “strings-clef”, shows on which string a normal sound or an artificial harmonic must be played.

Others

high-possible sound

short fermata

medium fermata

long fermata

abrupt stop

artificial harmonic on the indicated string; then glissando, holding the artificial harmonic position.

Piano

For the performance are requested:

- two plectrum, a soft one and a hard one- an e-bow- a bottle-neck, preferably of steel- patafix or bluetack- a little wedge (of wood or an other material)

Preparation and dispositions for the performance

The performer must stand up all along the piece. The lid must be open and the desk must be lean after the lid prop, perpendicular to the strings.Press and block the damper pedal with the wedge; the damper pedal must stay depressed along all the piece.The strings corresponding to the following pitches must be blocked:

block the three corresponding strings just before the bridge with a little ball of patafix.

apply longitudinally to the three strings a stripe of patafix (ca. 6 cm).The stripe must be put on the strings between tha hammer and the capotasto.

The piece is notated on two staves.

In the first one are notated the operations to act in the strings-board; the staff defines the space between capotasto and the desk.In this staff, the several symbols are signed in the point of the strings where the performer must act for producing the sound.The used clef gives this reference points:

In the other staff are notated both the pitches correponding to the strings on which act and the sounds produced pressing the keys.Two examples:

string on which perform the requested action

play the corresponding key

Stringboard

pression on the string, blocking the sounding vibration (and release)

high pressure on the string (and release)

string free to vibrate

touch lightly the string, let emerge the armonics

hard plectrum

soft plectrum

bottle-neck

pizzicato with hard plectrum

pizzicato with soft plectrum

let the string vibrate (after the release)

turn the e-bow on - real note: will risult the pitch of the string where it is placed.

turn the e-bow on - harmonic note: will risult the second harmonic (an octave higher).

turn the e-bow off

Keyboard

string on which act

sounds corresponding to an harmonic pression on the string

sounds corresponding to a full damped string

Others

use the right hand

use the left hand

use a finger of the left hand

abrupt stop

short fermata

medium fermata

long fermata

FOR BOTH

NB. The piece is divided in bars of 4 or 6 slow pulsations! (Π= 42 ). Though respecting this

scansion, a metrical rigour in the collocation of the sonic events inside the bar is neither requested, nor desirable. The duration of an event is indicated by a thick line that starts from the note-heads. Syncronies are highlighted by a dotted line.

Examples of the used notation along the piece, related to particular performing techniques.

Viola

Play two harmonics on two strings, the highest possible.Bow’s pression changes from extreme pressure (distorsion) to normal pressure.

Block the IV string with a finger; play col legno battuto, moving the bow from the far extremity of the fingerboard to the near one. Follow the indicated speed.

Harmonic descending glissando, alterning III and IV string.

Play col legno battuto beyond the bridge, alterning the four strings. Fast, but free.

Block with the fingers III and IV string. Rub longitudinally the hair-bow, starting from the near extremity of the fingerboard and moving the bow toward the pegbox.

Block with the fingers the IV string.Combine the longitudinal motion of the bow and the up/down normal bowing. Use half wood and half bow-hair.

Block with the fingers III and IV string.Play col legno battuto alterning the two strings. Move the bow along the fingerboard toward the bridge.

Play III and IV string; the III string is open (v. scordatura); harmonics glissando on the IV string.

High pressure of the bow on III and IV string (distorsion).Dynamics are indipendent of more or less pression.

Piano

Ribattuto on the keyboard (notated pitch); a finger of the left hand touches lightly the string, obtaining harmonic sounds.Move the finger from the hammer toward the desk.

Turn on the e-bow (real note); the e-bow is placed on the string corresponding to the notated pitch.Block initially any vibration, pressing the strings near capotasto with a left hand’s finger, then release gradually.

Ribattuto on the keyboard (notated pitches), alterning them, touching lightly the two corresponding strings with two left hand’s fingers, obtaining harmonic sounds.Follow freely the drawn shape.

Press with the bottle-neck at least two of the three strings corresponding at the notated pitch, then pluck one of the strings with the soft plectrum.Glissando on the strings with the bottle-neck, following the indicated direction.

Play the written notes on the keyboard, then pluck the string and use the bottle-neck as explained above; then play again on the keyboard.Place freely the sounds inside the bars, respecting roughly their disposition in the space.

Run slowly the hard plectrum along the string corresponding to the indicated pitch; must be audible the noise of the plectrum against the notches of the copper cover.Block the same string with a left hand’s finger, just beyond the hammer.

Run slowly the hard plectrum along the string corresponding at the indicated pitch, from the desk toward the hammer.Obtain the exponential crescendo with a fast and sharp movement; let the string vibrate.Then touch lightly the same string with a left hand’s finger, obtaining an harmonic sound.

Run slowly the soft plectrum along the string corresponding to the indicated pitch; must be audible the noise of the plectrum against the notches of the copper cover.Use a very high pressure with the left hand on the same string, following the right hand’s direction.Then release the string and make it vibrate with a fast movement of the plectrum.

!

�Piano

Viola

������

7

ScordaturaIIIIIIIV

L

M

C

1R

L/ 0 � 0

Scuro, dilatato, lontano q = 42

4

4

0 0�

��

6

0 �� $M

6

W

4

�

crine

D.P.

É

pos. e-bow7always depressed, blocked till the end!

�Pno.

Vla. �ÈÈ�

4

��

G��1R

L/

�

L

M

C

4

$ M

7

1R 4

�

4

-

�

41/2 legno

MÉ

ª

�Pno.

Vla.

�È �Þ �ÈÈ�

7

7�

6L

M

C

�$W

L/

1R

6legno

$--

�� � �h M $ M �

@

C

4

.

4

42

É

�Pno.

Vla. ��

10

7

L

M

C �

1R�

4

0

!

M ê

T

�h

-L/�

1/2 legno

A

A

crine

É

ª

!

�Pno.

Vla.

13

���

7

765432110/*******/01223456

L

M

C

e-bow on;real note

0

êvibr.

L/

T¹

MAX.

��� gliss.

3

���gliss.

a lot, modifying intonation!

!

�Pno.

Vla.

¥

16

®��

7

@ @

6

6L

M

C

M $®TRM 0

-

4

4

0

R

©

7

6

6

$ �

clb

1R L1

C

e-bow off

É

ª

�Pno.

Vla.

bbbbbbbbbbbbbbbbbbbbb

�¥�

19

©©�

7

L

M

C

4

4

$

crine

�

� .

L1

1R

®T�

!

G¯

� subito

-

M

4

É

�W

!

Pno.

Vla.

¥

22

®T

�

L

M

C

jjijjiihhggffeeddccbbZZbbcdefghhiijjijj

1RL1

®©

7

¹

��

T

¯

C �

@

6

6�

@

1/2 legno

-L/

� �

gliss.

ª

W

!

�Pno.

Vla.

25

©

G¯ ¯

4

4L

M

C

1�M�

-L/

1R

$ M

ZZZZZZZZZbbdefghhiijjijj

M

crine

!

�

C©� �

7� �

6

6

--�

�pizz.

nL1�

C M

$

5

É

1R-

!

�Pno.

Vla.

28

¯¯

III

IV

�

-4

4 -

M

L

M

C

.©© !. �

clb

C �

T� �

G¯

-

$

1/2 legno

� �êÉ

L/

1R

ª

!

�

Pno.

Vla.

31

���� �

(�� (��

legno

� subito

h h

5410/+,.'&%$&%$%$&%$%$&%$%$',+/0145

6

6L

M

C

III

IV

vibr.

T� TC

4

4 -

crine

¯�

IV

M

C �M

6

����

L/

1R

�Pno.

Vla.

�ÈÈ�

34

��

(��7�

É �

1/2 legno 4

M

.

L

M

C

pos.e-bow

�

4crine�

6

6

7�

4

4

$ �

�n

pizz.

C

4

4

r�ÈÈ�È�

--

L11R

ª

�

Pno.

Vla.

37

©

7�

�

L

M

C $

$ �

clb

®�7®�7

� �

� .

"gull" gliss.

M 0 � 0

6

6

®Æ7 ®Æ7� 0

�

M$

M

�

�

7

É

npizz.

crine

�

Pno.

Vla.

40

®T7�

��

4

L

M

C

®Æ7�

�®Æ7�

7�

�

jjijjiihhggffeeddccbbZZbZZbZZbZZb

e-bow on;harmonic note

0 MAX.

É4

L/

ª

�

Pno.

Vla.

43

T� �!

G���7�

6

6L

M

C

h

MAX. 0

IV

�

1/2 legno

G��G� G�

4

4

. M �

CM

5410/+,.'&%$&%$%$&%$%$&%$%$',+/0145

crine

����

G��7�

. $ 0

$

8

rÉ gliss.

!

�

Pno.

Vla.

46

TK

G� G�7�

L

M

C

$ .

M $0

. 0

©©

G�

� MAX.

1�C�

ZZZZZZZZZZZbbdefghhiijjijjijjijjijjM

!

G��G� G���C . M

0

6

6

�É

ª

!

�

Pno.

Vla.

49

�

4

4L

M

C

M

flaut.

e-bow off

II���

�

���

7

ord.

OP

�ÈÈ�ÈÈ� 0

�� �

6

6

9

É

7

1R

�Pno.

Vla.

52

G¯��

L

M

C

4

4

-

. �

�

clb

�

OP

��

npizz.

©

7�

. M

�

$

É

L 11R

ª

L/

�

Pno.

Vla.

�ÈÈ� |

55

®Æ7

G��

G� 7�

L

M

C

�n

C

�

jjijjiihhggffeeddccbbZZbZZbZZ

crine

MG��� � O)� �� �

G� G�� G��C $ C

--

G���

h

¹

4 4. $

10

É

pizz.

C 8

L1

�

Pno.

Vla.

�ÈÈ�

58

--

¯

4

6L

M

C

-

CM M

6

�È$ÈÈ�

7 �

4�

4

4�C

!

G��� � O)� O)��

4

$

M �

M

É�È

L/

1R

1RL1

W

ª

!

�Pno.

Vla.

¥

61

7 7�

II

III

�ÈMÈ� C

-

L

M

C

�n

pizz.

$

�

C

�

G¯

$ �

-

$G¯ �

--ZZZZZbbdefghhiijjijj¹

-

�

11

�ÈWL 1

1R

!

�

Pno.

Vla.

64

7� 7

--C

e-bow on;real note

0 MAX.

L

M

C

�pizz.

n

.

����

�

7 7

6

6

.

OP

1/2 legno

�M

e-bow

��

4

4

� M �

clb

-

M �

�

É

ª

�

Pno.

Vla.

¥

67

®Æ7

7 7�

L

M

C

�n

.

1�M�

crine

7�

$

jjijjiihhggffeeddccbbZZZZbbcdefghhiijjijjjjijj

�

7K�

C.

e-bow

�

12

É

pizz. 1RL 1

�

Pno.

Vla.

70

7

7(��

G�M

L

M

C

M

1/2 legno

©

7�

�n.

clb

� $ �

�pizz. �� �

©�!

7�

e-bow

IV

�É

ª

!

�Pno.

Vla.

e-bow

¥

73

T� T

7�

+ III

IV-���

L

M

C

TT�

7�

7654321//0223456IVvibr.

6

6 � M

�

4

4

$

.

13

�È'È7È�

1RL1

!

�

Pno.

Vla.

76

T� T

7K7�

( III + IV )7654321//0223456vibr.

M

IV

L

M

C

�n

pizz.

�

e-bow

TK �K� �����

G���G� �� � � �

C

IV

$

M � M �

npizz.

e-bow

�� ���� �

7� �

�

III

��

M �

1/2 legno

gliss.gliss.

ª

!

�Pno.

Vla.

¥ ¥

79

�������

7�7

6

6L

M

C

���

1/2 legno

. C M

0

e-bow

®Æ7

C C �

� �

crine

®Æ7

7 �

�

M �

$

4

4

14

É

1R

L 1

�

Pno.

Vla.

82

7�7�

��� 0

L

M

C ��pizz.

n

e-bow

®Æ71È�M� � 0

MAX. M

T� �!

�0

e-bow off

�

1/2 legno

IIIÉ

ª

!

�Pno.

Vla.

85

����� �

7K

6

6

�

crine

flaut.

L

M

C

M

��

7

�� �

15

III

1RL1

gliss.

!

�Pno.

Vla.

87

��

7 7�

�

� �� �

4

4L

M

C

npizz.

����

7K 7�

0

A

� �

. �

ª