Constrict-Deart String Quartet No. 1 by radley S. Green
General Perormance Notes Proortional Notation The time rames in Constrict-Deart are strict in that they should last only as long as the notated time indicates (usually 30 seconds, but the individual erormers should ill the time rames ith the material indeendent o the ensemble. This means that, aside rom some seciic events, the erormers need not attemt to artiicially align the arts, but instead concentrate solely on illing the roortions o the time rames ith their on material. The only excetions to this are the olloing: 1 When there is a large hollo arro above the sta, hich means that all o the erormers should begin the sound event together, 2 When to or more events are connected by a double-sided hollo arro, hich means to begin these sound events together, 3 When to events are connected by a single-sided hollo arro, meaning the 2 nd event should occur immediately ater the 1 st event, or 4 When a sequence o numbers recedes each sound event, hich means the erormers should enter in a seciic order according to roortion. Lastly, henever to dashed barlines rame a blank area o the sta, this means that there needs to be a deinite and roortional silence in the blank area, hich may require some level o coordination deending on ho short or long the silence lasts. To give an examle: In the above excert rom movement II, the time rame lasts 30 seconds (all time rames in movement II are 30 seconds in length, hich is hy it is not seciically notated above. The hash marks above the sta indicate 10 second increments. From let to right, each erormer ill ill the roortions o the time rame ithout regard or the other arts ith only 3 excetions: 1 There should be a silence roughly beteen 3 05 and 3 10 as indicated by the dashed barlines, 2 At roughly 3 16, a dashed hollo arro connects three events, hich means that the violin I event should begin directly ater the viola event, and the violin II event should begin directly ater the violin I event (in other ords, each event should trigger the next event, and 3 At roughly 3 23, The double-sided hollo arro Indicates that each o the events in the violin I, violin II, and cello should begin together, though they should continue indeendently. Dynamics In some cases, the dynamics are not meant to literally translate into a seciic volume o sound (e.g. orte is objectively loud, iano is objectively sot, etc., but are or the erormer to kno the amount o energy to ut into an attack or assage. To give an examle, in the 4 31 time rame o movement I, it may not be ossible to erorm the jeté at ortissimo dynamic since it is a airly quiet technique, but the erormer should attemt to erorm the technique very loudly in order or the assage to be aurally eective. 2
Accidentals Accidentals should only aect the note it is directly beside and should not be carried over to any other itch. Naturals and courtesy accidentals are used only in cases o extreme roximity. Page Turns ecause o the need or each erormer to read rom the score, there needs to be secial attention given to age turns. Ultimately, it is u to the erormer to decide ho best to tackle the age turns, but here are a e otions: 1 Print the score only on one side o the ages, hich ill allo the erormer cycle through the ages henever a ause allos or a ree hand (some ages may need to be taed together, 2 Paste the ages to a large sheet o cardboard to have all o the ages in vie, 3 I available, read the score rom a tablet or other device and use a oot edal to acilitate age turns (this has been the most eective method or ast erormances. YOU WILL NEED 2 EGG SHAKERS FOR MOVEMENT II. Secondary Sta in Movement II oth movements o Constrict-Deart are erormed in the ay described reviously and use mostly the same notations. The main dierence in the 2 nd movement is the use o a secondary sta underneath each instrument s rimary sta. The secondary sta is or the olloing: 1 Percussive sounds made on the body o the instrument (the x notation, 2 Unvoiced (hisered sounds made ith the mouth on the given syllable, though, or sace reasons, this notation may also aear on the main sta and is erormed the same ay (the square noteheads, usually or a hite noise tye eect, and 3 at the end o the iece, the ercussive notation (oen noteheads ith x s indicates the use o egg shakers. Only 2 egg shakers are required (used in the violin II and cello arts. The egg shakers should be grased rom the to and erormed ith a circular motion to achieve a continuous hite noise tye sound ith as little ulse as ossible, though there ill robably be some noticeable ulse as it may not be ossible to achieve a loud enough volume hile also avoiding a ulse. 3
Lines, Arros, and rackets A technique attached to a bracket means to continue the technique until the end o the bracket Continuance Lines - Lines that are attached to seciic rhythms, atterns, or techniques are meant to be continuous until the line ends. An arro means to continue the material into the next time rame. Seciic rhythms (excluding hole notes are alays associated ith 60 bm. Continuance lines attached to hole notes are sustained notes (these are not associated ith 60 bm. Notes in arentheses that are attached to continuance lines (either hole notes or solid noteheads indicate one o 2 things: 1 Reerence oints or itches in a glissando (as shon above, i the arenthesis contains a solid notehead and is attached to a seciic rhythmic attern, do not change the attern, only the itch, or 2 A courtesy reminder o the material that continues rom the revious time rame. A box that is attached to a continuance line means to continue the contents o the box until the line ends. In the case o a box aearing above the sta containing to techniques and a double-sided arro, continuously transition beteen the to techniques until the end o the continuance line (the seed o the transition deends on the length o the double-sided arro, short or quick transitions, long or slo transitions. In some cases, the box is attached to a diagonal line, hich means to raise or loer the register o the contents o the box roortionally in the seciied direction. In both cases, the contents o the box only give an aroximate reresentation o hat should be erormed, and it is ultimately u to the erormer to determine ho to realize the notation. Deending on the shae, curved lines are either ideirregular vibrato or irregular glissandi. In erormance, the realizations o these lines are aroximate, but the erormers should stay ithin the general notated range. I these lines are not attached to a seciic starting itch, then begin the vibrato or glissando in the general notated area. To techniques attached by arro means to transition sloly rom one technique to the other. 4
ST CL CLT Sul Ponticello Molto Sul Ponticello Sul Tasto Molto Sul Tasto Col Legno attuto Col Legno Tratto Symbols and Acronyms Over Pressure. I the amount o ressure is not seciied, it should be enough ressure to create a very grinding sound that almost comletely obscures the itch (i ossible. For the sake o visual clarity, dark edges indicate a slo transition to or rom over ressure. The thick end indicates the greatest amount o ressure, and the thin end indicates light or normal ressure. Abbreviation or izzicato. With ingernail Highest ossible itch or itches. Solid noteheads are single attacks, hile oen noteheads are sustained notes. Vertical box - Sla strings on an unseciied area o the ingerboard. When attached to to lines (as in the given examle, the erormer should immediately erorm a glissando on all strings in the seciied direction. Sometimes there are seciic ingerings inside the box, hich means to inger those itches during the sla. Play belo the bridge Play on tailiece When a diagonal line cuts through the stems and beam o a grou o notes, it means to erorm the beamed material as ast as ossible. Quarter shar Three-quarter shar Quarter lat Three-quarter lat Instances o staccatissimo should be exaggerated in extreme contrast to staccato. I staccato is a light and detached attack ith resonance, staccatissimo should be a very short and shar attack ith as little resonance as ossible. 5
Violin I Violin II Viola Violoncello 0" (30" 6. 5:4... Ị 31" (30" For all seciic rhythms: q=60 (excluding hole notes, hich are sustained itches IV 7:4 æ b.. qqq 7 4 n. 3:2 3 2. 5:4.. ( ST (10" Constrict-Deart String Quartet no. 1 I..... 7 :. 4. qqq n. n. n. IV. 9:8... 9:8.. :. ( ST æ n. ( ( ò n. ( ( ( n. 5 : 4 IIIII (. 3:2.. (20" sim. II b... bq. Q. : Q. 9 8.. :. qqq IVIII ò IVIII 7 4. :.. qq q ( IIIII ( ST Q. Q. Q. b ST ST radley S. Green ST
1' 01" (30" 1' 31" (30" ---... æ 7 4 : : 9 8 3:2 m m m quarter tone vib. 5:4 5:4 9 8 : 7 4 : 3:2 7 4 : --- ---........... - : 5 4... 3:2 3:2 # 3:2...... 5 4 : --- quarter tone vib..... --- 5:4 rit. 5 : 4.. # ~ 7:4 b--- ( b ( ( ( 9 : 8 - - - 9 : 8 - - - b ( ( ( ( b - - - ~ ~ ~ - - - ( ( b #- -- # - - - ---- - # 1 9 8 : 9 8 : rit. 5:4 ~ ~ ( 7
2' 01" (30" ( b 2' 31" (30" ( b ( IV ( # IV III III II I molto vib. II ST b III ~ b n III IV # # b (slight detune molto vib. IVIII # # b I II # # -» b ( # # # - ST.. # bn. # #.»... b# ST #.. b# # b molto vib. # b 8 # # b IVIII b # IIIII vib. II b # # bmolto b b IIIII # molto vib. bmolto vib.
3' 01" (30" IIIIV 3' 31" (30" *. n. 2 ( ~ ~ n. * * * 7 8.. :. * As ast as ossible and ith over-ressure, lay any random itches (including microtones ithin the notated range. jeté... III IV n. n. III ( ( ( ( ( 1 ST IV IV II 9
4' 01" (30" IV ST (ST sub. dim. IV ST (ST sub. dim. sub. sub. ST (ST sub. dim. sub. ST (ST sub. dim. sub. 4' 31" (30" 10 CL jeté # jeté! I jeté! jeté! # jeté - - - - - b 5 IIIII jeté # # # jeté # # jeté b bb
5' 01" (30" Frame durations diminish ater this oint. (5" 5' 31" (25" IV - --7:4 - - IV ( IV ( - - -9:8 - -- - b 1 II - ( - - - ( # 2 3 4 # # û O O ( -3:2 - -3:2 - # b # ( 5:4 m - # Æ Æ b 3:2 3:2 Æ Æ b b - b b æ (10" sim. ( ( # 5:4 III 9:8 Æ Æ» b quick trem. # # Æ næ! ( ( ù 5:4! (! 7:4 jeté med. trem. slo trem. # # O # * 1 1 1 1 1 * 1 1 1 1 1 1 * Quick glissandi rom unseciied highest itches over ressure. 11
5' 57" (15" 6' 13" (10" 12 CLT è CL è ò òò ò n. molto accel CLT * on bridge ò ~ ~ n. * Damen strings notated ith the diamond notehead (any area o the ingerboard, let ring the standard notehead. bæ b Æ CLT Ḻo and grainy sound on tailiece -- è Æè ~ IV æ * ~ ~ ~ 0 molto accel» CL molto accel ~ ò ò ò 0 ~ ò slo bo, heavy ressure CLT
6' 24" (8" 5:4 Æ Æ Æ Æ Æ Æ 7:4 ( n. (4" 6' 32" n. Æ Æ Æ Æ Æ Æ 9:8 3:2 ( Reset timers or movement II as quietly as ossible. Leave roughly 15"-20" o time beteen movements Æ Æ Æ Æ Æ à I and II. Æ Æ Æ Æ Æ 13
Viola 14 0" 31" 1'01" All Time Frames 30" Alays non. vib unless otherise notated n. ~ I n. n. sim. IV n. (10" III ~ b ~ II. n. n. n. n sim. (20" sim. b b ~ b b ~ b ~ ~ ~ b ~ ~ ~ ~ ~ ~ ~ b b b~ b ~ ~ ~ # # ~ # ~ ~ b # # IV n. n. + + + ##~ ~ b b ~ bb ~ n ~ # m n. III ~ b ~ ~ n. ~ # ~. b. n. sim.
1'31" III ~ ~ ~ II ~ b b ~ b b~ ~ ~ ~ I # II ~ ~ II b b 2'01" 1 + 2 3 b b b b # n ( b n # n ## * 2 1 4 ST ST ST b b b è * The areggiated izzicato chords should occur very quickly, one ater the other in the numbered order (there should be overla beteen arts. To do this, each erormer should start his or her chord immediately ater the revious chord in the sequence starts. Each erormer should then continue to the boed chord immediately ater their areggiated ch 3 # b ST» b # # # # # # 15
2'31" n b b molto vib. b Æ # Æ # # n.. continue non vib. ~ * * * òò òò ò ò ò ò * ò ò ò òò ò b æ * The "x" notation on the secondary sta indicates an attack ith the ingers on the ood body o the instrument. The edge symbol that aears above the "x" notation means to attack ith the ingernail. Cello Only: In addition to the above inormation, i the "x" notation aears belo the line on the secondary sta, this indicates an attack ith the alm, hile the notation above the line indicates an attack ith the tis o the ingers. 16
3'01" b æ ò b æ b æ ST #. b. b. Æ Æ - - # - b n ST bæ - ST b æ - Æ Æ b # molto vib. b Æ #. b..» Æ Æ # # Æ Æ Æ Æ» b n # b» æ s.. 17
3'31" ( æ æ æ! * sss. æ b æ ( * æ ( sss. b b~ æ continue non vib. ( æ * sss... 1 18 æ ( # æ * * The square notation belo the sta indicates a soken (but unvoicedhisered sound on the given syllable to roduce hite noise. sss.
4'01" II ~ ~ # # ~ ~ Æè...shhst. 6 ~ ~ b ~...shhst. 6 ~ # #~...shhst. 6 è...shhst. 6 19
20 4'31" 5'01" CL CL CL CL molto vib. # CL tsh...... # # # # 6 Æ Æ Æ Æ Æ Æ.. tsh. tsh. b b # # # # # æ æ 6. 6. III * < b 1 n ' 1 1 1 1 b b~ # - b- b b- - b- b b b n continue non vib. # b - n n - n - b- b - ò ò * egin a slo tremolo (do not sto the sound that gradually evolves into the notated unmeasured tremolo. - - -- b æ b b~ tsh! 6. sss... t
5'31" b b~ b Molto vib. b sss... b # b Non Vib. sub. b b~ b b sss... b Molto vib. b b # # Non Vib. sub. Molto vib. b b b b b b Non Vib. sub. IV b Molto vib. z ȧrco # b + Non Vib. sub. 21
: ; (.. #. Æ Æ Æ è Æ è O.P. b # b æ bo # # Æ # # n ' ' 6'01" * 6 tsh. tsh. t tsh. #.. è 6 6 6 t ST b b. (. c.l.b..... #»» b b # # bæ * tsh. ò 6 b Æ Æ Æ # # # ' ' b b (. Æ b Æ. # è è # - - #- b # # '. Æ Æ O.P. Æ Æ Æ ST # n # b Æ n * tsh. tsh. tsh. 6 6 6 22 (begin gliss. * For this time rame only, the dynamics notated underneath the main sta alies to both the main sta and the secondary sta. < * tsh. 6 6 tsh. ST b ' ' b ' b ' '
6'31" Æ Æ. # Æ. Æ Æ æ # b b b b b b b b bæ bæ Æ n b ' 7'01" Y b æ bæ Æ b Æ æ ' #. Æ b æ # '. è b.. * Y b.. CL. # ' ' ' ' # ' # ' # # slo transition beteen timbres on bridge * Y # sto all sound immediately (no resonance i ossible b sto all sound immediately (no resonance i ossible b b~ b b slo transition beteen timbres on bridge b Finish time rame ith roortional silence (to 7'30". sto all sound immediately (no resonance i ossible Y sto all sound immediately (no resonance i ossible * With an egg shaker, erorm a slo circular motion (do not shake ith the goal o creating a continuous hite noise ith as little ulse as ossible. Continue the hisered "" as ell, though hen breath is needed, decrescendo to niente and then enter again ith a crescendo rom niente. oth the egg shaker and the hiser should sloly and smoothly crescendo and decrescendo together as notated. 23