Andrián Pertout. Sonus dulcis. for Clarinet and Pianoforte. No. 375g

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1 Andrián Pertot Sons dlcis for Clarinet and Pianoforte No 75g

3 Andrián Pertot Sons dlcis for Clarinet and Pianoforte No 75g Composed in Agst, 000 (Revised in anary, 00) Arranged for Do DICTO (Marco Antonio Mazzini clarinet; Ward de Vleeschhower pianoforte) In 00, Sons dlcis for String Orchestra was oint-winner of the dges' Prize and Winner of the Adience Prize of the 00 Oare String Orchestra Third International Msic for Strings Composing Competition (Faversham, UK) World Premier: Novemer, 005 (Centro Cltral de España, Tercer Festival Internacional de Música Clásica Contemporánea de Lima, 1-1 Novemer, 005, Lima, Perú) Do DICTO Eropean Premier: 7 April, 007 (Bösendorfersaal, Harmonia Classica 5th Anniversary Concert, Vienna, Astria) Do DICTO Dration: 5 9 Copyright 00 Andrián Pertot

4 PROGRAMME NOTES The overtones of a specific pitch are generally referred to as the harmonic series, and the msical scale derived from this series is constrcted arond pre (or st) intervals This system of st intonation is strikingly dissimilar to the Twelve-Tone Eqally-Tempered Division of the Octave, which is ased on the division of the octave into twelve eqal intervals, technically referred to as tempered half-tones; the freqency ratio of each semitone therefore mathematically representing the twelfth root of two, or in different terms, the distance etween any two tones representing twelve times the logarithm on the ase of two of the freqency ratio The ratio of the eqally tempered semitone is expressed in mathematical terms as 1: 1 =1:105909, or approximately 89/8 In Lo Harrison: Composing a World Leta E Miller and Fredric Lieerman descrie st intonation ths: Pre intervals arise when the freqencies of the individal tones reflect the precise mathematical proportions that occr in the series: / for the fifth, / for the forth, etc Intervals manifested natrally within the harmonic series are particlarly favorale in st intonation, and certainly ones with sperparticlar viration ratios, where the nmerator exceeds the denominator y one sch as the st perfect fifth (/), st perfect forth (/), st maor third (5/) and st minor third (/5) German physicist Herman Ldwig Helmholtz was its passionate advocate, and his research sggests that in actal performance string players have a natral tendency towards st intervals, and especially in the asence of fixed pitch keyoard instrments The Fndamental C and its Harmonics (Overtones) First Partial, throgh the nd Partial Sons Dlcis or Ephony the Latin expression characterizing a sond, noise, voice, or tone that is sweet, pleasant, delightfl, charming, or dear was conceived in Agst of 000 originally as a work for string trio, serving as an exploration of the system of st intonation, or pre intervals, and therefore attempting to avoid seqential intervals with non-sperparticlar viration ratios sch as the Pythagorean limma (5/, or 905 cents), acte or large tone (5/5, or cents), agmented second (75/, or 758 cents), Pythagorean minor third, or trihemitone (/7, or 915 cents), Pythagorean maor third, or ditone (81/, or 0780 cents), acte or large maor third (/5, or 77 cents), grave or small forth

5 (0/, or 759 cents), acte or large forth (7/0, or cents), grave or small agmented forth (5/18, or cents), st tritone, or agmented forth (5/, or 590 cents), cyclic tritone, or agmented forth (/5, or 0977 cents), acte diminished fifth (/5, or 18 cents), grave or small fifth (0/7, or 809 cents), acte or large fifth (/10, or 701 cents), agmented fifth (5/1, or 777 cents), Pythagorean minor sixth (18/81, or cents), st minor sixth (8/5, or 818 cents), st maor sixth (5/, or 8859 cents), Pythagorean maor sixth (7/1, or cents), acte or large maor sixth (18/75, or 9518 cents), grave or small minor seventh (5/18, or 9757 cents), Pythagorean minor seventh (1/9, or cents), acte or large minor seventh (9/5, or cents), st diatonic maor seventh (15/8, or cents), Pythagorean maor seventh (/18, or cents), and acte or large maor seventh (8/5, or 1198 cents); in favor of melodic strctres tilizing the grave or small st chromatic semitone, or minor half-tone (5/, or 707 cents), st diatonic semitone, or maor half-tone (1/15, or cents), st minor tone (10/9, or 180 cents), st maor tone (9/8, or 0910 cents), st minor third (/5, or 151 cents), st maor third (5/, or 81 cents), st perfect forth (/, or 9805 cents), and st perfect fifth (/, or cents) In striking contrast, vertical sonority is given more freedom, with the limited inclsion of the dissonant *Pythagorean minor third, or trihemitone (flat st minor third) within the harmonic scheme, in the interest of tension and release The Harmonic Characteristics of the In Scale The apanese In scale is generally associated with art, koto and shamisen msic, and is essentially a hemitonic pentatonic scale incorporating two axiliary tones, EÝ and BÝ It featres the st diatonic semitone, or maor half-tone (1/15, or cents), st minor tone (10/9, or 180 cents), and st maor tone (9/8, or 0910 cents) intervals

6 The Harmonic Division of the Octave The Harmonic Division of the Octave is ased on the harmonic series It is a scale of st Intonation, where the intervals are called pre (or st), ecase there are no eats etween the notes or their harmonics Relative Pitch: A = 0Hz/C (Middle C) = 1555Hz DEGREE NUMBER ÐÑ NOTE INTERVAL RATIO (FRACTION) C nison 1/1 FREQUENCY (HERTZ) 1 CENTS 0000 TUNING +00 ÐÒ D st diatonic semitone, or maor half-tone 1/ ÐÓ D² st minor tone 10/ ß18 ÐÔ D st maor tone (9th harmonic) 9/ ÐÕ EÝ st minor third / ÐÖ E st maor third (5th harmonic) 5/ ß1 Ð F st and Pythagorean perfect forth / ß0 ÐØ ÐÙ F F st tritone, or agmented forth (5th harmonic) cyclic tritone, or agmented forth 5/ / ß ÑÐ G st and Pythagorean perfect fifth (rd harmonic) / ÑÑ AÝ st minor sixth 8/ ÑÒ A st maor sixth 5/ ß1 ÑÓ B¹ septimal or sminor seventh (7th harmonic) 7/ ß1 ÑÔ B Pythagorean minor seventh 1/ ß0 ÑÕ BÝ acte or large minor seventh 9/ ÑÖ B st diatonic maor seventh (15th harmonic) 15/ ß1 ÐÑ C octave /

7 The Harmonic Series The overtones of a specific pitch are generally referred to as the harmonic series The following tale presents the fndamental C and its harmonics (overtones) from the first partial, throgh the nd partial Relative Pitch: A = 0Hz/C (Middle C) = 1555Hz DEGREE NUMBER ÐÑ NOTE INTERVAL RATIO (FRACTION) C nison 1/1 (1) FREQUENCY (HERTZ) 1 CENTS 0000 TUNING +00 ÐÒ CP (17th harmonic) (17) 17/ ÐÓ ÐÔ ÐÕ ÐÖ Ð ÐØ D EW E F+( F, FX( st maor tone (9th harmonic) (9, 18) overtone minor third (19th harmonic) (19) st maor third (5th harmonic) (5, 10, 0) septimal or sforth (1st harmonic) (1) netral tritone (11th harmonic) (11, ) (rd harmonic) () 9/8 19/1 5/ 1/1 11/8 / ß0 ß1 ß9 ß9 +8 ÐÙ ÑÐ ÑÑ ÑÒ ÑÓ ÑÔ G GÚ AO A( B; B_ st and Pythagorean perfect fifth (rd harmonic) (,, 1, ) agmented fifth (5th harmonic) (5) overtone sixth (1th harmonic) (1, ) Pythagorean maor sixth (7th harmonic) (7) septimal or sminor seventh (7th harmonic) (7, 1, 8) (9th harmonic) (9) / 5/1 1/8 7/1 7/ 9/ ß7 ß59 +0 ß1 +0 ÑÕ ÑÖ B B8 st diatonic maor seventh (15th harmonic) (15, 0) maor seventh (1) 15/8 1/ ß1 +5 ÐÑ C octave (,, 8, 1, ) /

8 INSTRUMENTATION PLAYERS BÝ Clarinet Pianoforte Transposed score PERFORMANCE NOTES In this score, accidentals apply throghot the ar All instrments, with the following exceptions, sond as written in the score: the BÝ clarinet sonds a maor second lower than written All intervals (in the original String Trio arrangement) correspond to the In scale otlined in the programme notes, except for DÜ (measre 1, 5), which relative to the tonic shold sond as a maor tone (9/8, or 0910 cents) This in effect generates a Pythagorean minor third, or trihemitone (/7, or 915 cents) etween the viola and the violin, and constittes the only delierate se of dissonant intervals in the piece The minor seventh reqired from the performers is a five-limit 9/5 ratio (the acte or large minor seventh, eqal to cents) as opposed to the alternatives offered y three-limit and seven-limit systems of st intonation (the septimal or sminor seventh and Pythagorean minor seventh, eqal to 7/ and 1/9, or 988 and cents) Clarinet dll, reathy tone sing and play play with a dll, reathy tone, imitating sl tasto string owing techniqe the performer shold sing the notated pitch while playing with enogh force to prodce distortion

9 ephony, sons dlcis sons, â m sond, noise; voice; tone dlcis, e sweet; pleasant, delightfl, charming, dear (Langenscheidt's Latin Dictionary) B Clarinet Arranged for Do DICTO Sons dlcis Andante amoroso»ª dll, reathy tone p for Clarinet and Pianoforte reve Andrián Pertot, No 75g 000 (Rev 00) Pianoforte p dolce * U reve Ÿ~~ natrale F ped sim 8 Ṗ ṡenza ped Sons dlcis Copyright 00 Andrián Pertot wwwpertotcom PO Box 17 Richmond East Victoria 11 Astralia Made in Astralia International Copyright Secred

10 Sons dlcis 1 1 > > F 0 p p AP 75g

11 Sons dlcis 8 f F F ḟ Ṗ AP 75g

12 Sons dlcis 0 ḟ dll, reathy tone p p dolce U reve n U * ped sim AP 75g

13 Sons dlcis 5 8 U reve ( ) Ÿ~~ F slap tonge with no sonding note (natrale) p p 5 5 r AP 75g

14 Sons dlcis 0 r 8 modo ordinario F p AP 75g

15 Sons dlcis r 80 f P AP 75g

16 8 Sons dlcis 8 88 F sing and play ƒ ƒ 9 AP 75g

17 Sons dlcis molto rit (normale) Ÿ~~~~~~~~~~~~~~~~~ Ï Ï AP 75g

18 10 109» p P p f p molto espressivo Sons dlcis poco accel 11 P ƒ > > 11 > > poco rit > > a tempo > p P p 10 n f p P π 1 ƒ p (s) U 18»ª primo tempo dll, reathy tone p reve p dolce * U AP 75g

19 Sons dlcis reve Ÿ~~ natrale F ped sim 15 Ṗ ṡenza ped 19 AP 75g

20 1 Sons dlcis 1 > > F 17 p p 151 AP 75g

21 Sons dlcis f F F ḟ 159 Ṗ 1 AP 75g

22 1 Sons dlcis 17 ḟ dll, reathy tone p p dolce 171 U reve U reve n U * ped sim 17 Ÿ~~ reve poco rit U molto rit Ÿ~~ n ( ) n AP 75g

With Ease. BETTY WAGNER Associate Trinity College London, Associate Music Australia READING LEDGER LINE NOTES

With Ease. BETTY WAGNER Associate Trinity College London, Associate Music Australia READING LEDGER LINE NOTES READING LEDGER LINE NOTES With Ease f G f o o BETTY WAGNER Associate Trinity College London, Associate Msic Astralia READING LEDGER LINE NOTES A Nova WITH EASE Book Company Page Pblication http://www.msic-with-ease.com