Andrián Pertot Sons dlcis for Clarinet and Pianoforte No 75g
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
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
(0/, or 759 cents), acte or large forth (7/0, or 519551 cents), grave or small agmented forth (5/18, or 58717 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 79180 cents), st minor sixth (8/5, or 818 cents), st maor sixth (5/, or 8859 cents), Pythagorean maor sixth (7/1, or 90585 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 99090 cents), acte or large minor seventh (9/5, or 101759 cents), st diatonic maor seventh (15/8, or 10889 cents), Pythagorean maor seventh (/18, or 1109775 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 11171 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 701955 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 11171 cents), st minor tone (10/9, or 180 cents), and st maor tone (9/8, or 0910 cents) intervals
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 1/15 7907 11171 +1 ÐÓ D² st minor tone 10/9 9095 180 ß18 ÐÔ D st maor tone (9th harmonic) 9/8 99 0910 +0 ÐÕ EÝ st minor third /5 1951 151 +1 ÐÖ E st maor third (5th harmonic) 5/ 70 81 ß1 Ð F st and Pythagorean perfect forth / 88 9805 ß0 ÐØ ÐÙ F F st tritone, or agmented forth (5th harmonic) cyclic tritone, or agmented forth 5/ /5 7911 7090 590 0977 ß10 +10 ÑÐ G st and Pythagorean perfect fifth (rd harmonic) / 98 701955 +0 ÑÑ AÝ st minor sixth 8/5 1801 818 +1 ÑÒ A st maor sixth 5/ 0 8859 ß1 ÑÓ B¹ septimal or sminor seventh (7th harmonic) 7/ 5785 988 ß1 ÑÔ B Pythagorean minor seventh 1/9 511 99090 ß0 ÑÕ BÝ acte or large minor seventh 9/5 709 101759 +8 ÑÖ B st diatonic maor seventh (15th harmonic) 15/8 9058 10889 ß1 ÐÑ C octave /1 551 100000 +00
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) 17/1 77977 10955 +05 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 /1 99 1080 70 8 5975 7087 0910 9751 81 70781 55118 87 +0 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/ 9/1 98 08790 51 19 5785 719 701955 777 8058 90585 988 109577 +0 ß7 ß59 +0 ß1 +0 ÑÕ ÑÖ B B8 st diatonic maor seventh (15th harmonic) (15, 0) maor seventh (1) 15/8 1/1 9058 50900 10889 1150 ß1 +5 ÐÑ C octave (,, 8, 1, ) /1 55 100 +00
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 101759 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 99090 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
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
Sons dlcis 1 1 > > F 0 p p AP 75g
Sons dlcis 8 f F F ḟ Ṗ AP 75g
Sons dlcis 0 ḟ dll, reathy tone p p dolce U reve n U * ped sim AP 75g
Sons dlcis 5 8 U reve ( ) Ÿ~~ F slap tonge with no sonding note (natrale) p p 5 5 r AP 75g
Sons dlcis 0 r 8 modo ordinario F p AP 75g
Sons dlcis 7 7 7 r 80 f P AP 75g
8 Sons dlcis 8 88 F sing and play ƒ ƒ 9 AP 75g
Sons dlcis 9 9 100 10 molto rit (normale) Ÿ~~~~~~~~~~~~~~~~~ Ï Ï AP 75g
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
Sons dlcis 11 11 reve Ÿ~~ natrale F ped sim 15 Ṗ ṡenza ped 19 AP 75g
1 Sons dlcis 1 > > F 17 p p 151 AP 75g
Sons dlcis 1 155 f F F ḟ 159 Ṗ 1 AP 75g
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