Berio - Sequenza 14a

September 5, 2017 | Author: TomCafez | Category: Elements Of Music, Notation, Musical Notation, Musical Compositions, Music Theory
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Commissinne della$ffinscfrer Rundfunk Kôln, della Fundaçâo calousûeculbenkian, Lbboa, e dela socbtà del euartetto di Maiano.

Pcrlormance instnrc.tions The instrument must be tuned in the following

way:

TE=F -_-"

It should be noted that it is clearly indicated in the score which G$'s must be played as an open string. All other G$'s may be fingered according to their context. No attempt has been made to transpose any part of the ècore. The written pitches are those which are to be heard, and therelore the player must find a suitable fingering wherever the third (G) string is employed.

Where the music is notated on two staves the player is to produce a percussive sound which follows the contours and rhythms of the lower stave, played by four fingers of the right hand on the body of the instrument.The best area somewhere on the belly - will be determined by experimenting where it is possible to produce four ditferentiated sounds (derived from ceremonial Kandyan drumming from Sri Lanka) which range from high to to*. During these sections the upper stave notates the simultaneous left hand finger percussion.

-

Spielanwci3ungen Das lnstrument ist in folgenderWeise zu stimmen:

]F ___7-

Es ist genau angeçben, welche Tône Gis auf der leeæn Saite zu spielen sind. Alle anderen Tône Gis kônnen ihrem Kontext gemâB gegritfen werden Es liegû keine transponierende }lotation \lor, die angeçbenen Tonhôhen entsprechen dem realen Klang. Wo die drttte Saite (die G-Saite) benuûd wird, muss der Spieler daher selbst die passenden Fingercâtze linden. An jenen Stellen, wo die Musik auf zrei Zâ|crl ndiert ist, sof der SÉrbr einen perkussiven Klang erzeugen, der den Ïonhôhen und Rtrythmen der unbæn Zefe erfsgitf. Hbrtroa sdrËd er mit vbr Fingem der recÈten Haàd auf den Korpus des lnstrumentes. Db am b€sfien ge.ignt Sle zn lGrpus sol der Spbbi selbst finden, wobei es moglich sein soll, vier verscfiiedere Todrôherr wr hoclr tÈ H, at orangpn. Oirse fecnnik ist dem zeremoniellen Kandyan-Trommeln auf Sti lat*a nactremnnrglfrJrrsrd descr pæqen ist in der oberen Zeile ein simultan zu

erfolgendes Schlagpn mit den Rrgcrn

ûr ffii lH nrËdt

lnstnrzioni Lo strumento deræ

esero

dbd

Nella partiùra è rÙdhlç---frpossmo esl rst o ttrasposta Lc lrob cn i

.'EÈ

T

rzrl otd e nû.Tr.rûi gli altri sot diesis d, {ÉI b ffi. hn p.rb dela partitura è stata tb E f û5fn ûtr crnque rænga usata {, f Ét

ts4 DoYe la mli:e Ô il I Ët I tb ËlË E lË r FEuo se€frendo le direzioni pËn i d i c tl re ï, 5 tc tD ûrrlnrilo La zona meliore Ëf 9 ry dovrà esÉF rfE i b atfô J rbËË r- h- tnirlû (derivati dai tamburi kanlari nËl t l#ËD I f Ë pt i ffgcwna srperk re si trwa lapaun*rribpb-ttntff. -. la terza

@dr

scrttta per Rohan de Saram

Sequenza XIV

Luciano Berio

accordatura, sempre

(1

e25-2003)

per violoncello (2002) c = 92 ca.

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