Trittico Per Gs, For Double Bass

Conventions of Rhythmic Notation Much of t h e structural tension inhering in "Trittico per G.S.I1 is generated by the superposition and interference patterns of two (three) independent layers of activity, whereby events frequently cut into the notated duration of activities on other staves. In consequence, durations are not always held t o their full notated value. The interruption of an event by an event on another stave is signalled throughout by a vertical line connecting t h e interrupting note-head with the end of a horizontal beam following the note interrupted. In the example, values are foreshortened on both staves.

Where (as in the opening measures) glissandi are employed, the final -bracketed grace note indicates t h e goal pitch of the action, which is arrived at immediately prior t o the intervention of t h e interrupting event on the other stave. Although, for convenience, this note-head is accommodated on the same vertical line as the commencement of the interrupting action, it is invariably t o be understood as immediately preceding the latter, e.g. NOT as being performed simultaneously.

Every effort should be made t o impart the impression of immediate cutting from one such event t o the next, regardless of discrepancies of register, amplitude or prevailing texture. It is important t o preserve at all times a vivid sense of t h e independent character and mode of linear extension/variation of each component line, even though the energy set free by their continual interaction is at the forefront of the discourse. Frequently long notes are accompanied by instructions t o be performed with varying degrees of vibrato. Where verbally indicated, such actions a r e t o be understood as being "normal" (finger roll) vibrato; only where graphic aids are employed should a form of portamento-glissando (rapid to-and-fro slide of the finger) be introduced. The vertical width of the symbol refers to width of -pitch-fluctuation, while the horizontal distance between undulations gives a rough indication of speed of action. (N.B.) The score is NOT written otherwise in any form of space notation. Distances on the page do not offer reliable guidelines to actual durational proportions between events.

In Part 111 an attempt has been made t o suggest a new form of phrase-structure, serving t o connect events superficially discrepant in line of origin and articulation. Dotted lines represent less well-articulated groups of this type, while legato connections (even across staves) indicate constellations requiring the sense of great internal coherence. Events not connected in one of these ways should be regarded as (a) interruptive or (b) autonomous in nature.

Further Symbols finger pitches with indicated rhythm whilst bowing with rhythm and articulation indicated above or below pitch stave ( ~ e l e v a n tstring usually indicated)

excess bow pressure, resulting in distortion of attack subsidiary accentuation of a held tone by extra pressure on bow in given rhythm bow-vibr

glissando-action. End point indeterminate: as wide as possible whilst observing t h e executability of t h e surrounding context

fl

rapid "quivering1' within held tone produced by small increases in bowing speed (NOT change of bowing direction!)

Afmfm

gettato-action for given duration. Number of rebounds

*y(

-(id not precisely notated

finger percussion. Impulse produced by striking finger on string when fingering t h e indicated pitch ( ~ y n a m i c sin quotation marks indicate subjective violence of attack, NOT actual resultant amplitude )

. ,

,

ditto, but with t h e gettato executed above a rhythmically-specific group of pitches

(19

tremolo. Always as fast as possible (non misurato)

execute four-string glissandi as indicated (L.H.) while bowing across successive strings

natural harmonics. Always notated a t fingered pitch on given string

8

glissando-action, executed with specified degree of vibrato

sul ponticello (near bridge). Other variants are: "sul pont. estr." - as close t o bridge as possible; "molt0 s.p" - very near t o bridge

*&-

during t h e note(s) in t h e upper staff, begin and end a tremolo a t the exact points indicated on t h e lower staff

--.-.A

l'Iterationll. perform t h e figure indicated as many times as possible in t h e duration specified. Final statement of figure may be incomplete. Order of pitches may NOT be modified

c.1.t ratt

col legno t r a t t o

quasi c.l.tratt

bow with half hair, half wood (Exact proportion dictated by context )

starting with grace-note attached t o main note stem, play group as fast as possible, finishing with main note given in brackets. The action begins'at t h e point in time indicated by t h e rhythm of the latter, which then extends t o fill up t h e remainder of t h e indicated duration not occupied by grace-note activity. The grace-notes a r e ALWAYS legato, and connected legato t o their respective main note. Dynamics given a r e for t h e grace-note action; dynamics in brackets refer t o main note

double trill: rapid trill action alternating irregularly main note with indicated trill tones. Frequency of main pitch should slightly predominate

Duration of Work c.8'30"

glissando which makes a gradual transition from l'normall' finger-pressure t o l'harmonic" col legno battuto

J

Trittico per G.S. BRIAN FERNEYHOUGH ord.

Edition Peters No. 7361 Copyright 1989 by Hinrichsen Edition. Peters Edition Ltd.. London

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