el pulso de lo inmovil
TRANSCRIPT
-
8/6/2019 El Pulso de lo Inmovil
1/32
eduardo moguillansky
el pulso de lo inmovil
for string quartet
2005
-
8/6/2019 El Pulso de lo Inmovil
2/32
el pulso de lo inmovil / B
(the pulse of the immobile / B)
for string quartet
De vrtices quemados
de subsueo de cauces de preausencia de huracanados rostros que trasmigran
de complejos de niebla de gris sangre
de soterrneas rfagas de ratas de trasfiebre invadida
con su animal doliente cabellera de lbido
su satlite angora
y sus ramos de sombras y su aliento que entrecorre las algas del pulso de lo inmvil
Alta noche,Oliverio Girondo, 1956
General remarks
el pulso de lo inmvil (the pulse of the immobile) is constructed upon a constant zooming-in. Each measure has a fixed duration of 5 seconds, divided in many different ways.As consequence of this, each measure has also a specific tempo attached to it. For instance, each measure divided into 4 has the same tempo, 48, independent of it being a4/4 or 4/8 measure. As long as possible should these tempo changes be performed as tempo relationships, sometimes this having been made clear by having an instrument
play a continuous rhythm across the bar, showing the metric modulation.The zoom-in is achieved by the following process: each measure takes a fraction of the preceding one and expands it into a full bar (again 5 seconds). The overall process isthat of a constant rallentando, each bar being always slower than the preceding one. It is very important NOT to make a rallentando within the measure.
The gain in resolution reveals new aspects of the material, at the same time leaving parts of each measure forgotten, since only a fragment is taken as model.
Amplification
Due to the extreme dynamics asked for in this piece, the use of amplification is desired, remaining possible to play it without it, given it is performed in a small hall. In the caseof a version with amplification, this should not be set in the same level from beginning to end, but it should accompany and balance the dynamic development of the piece. Thespeakers should be placed circling the audience, with a mixing-desk in the centre.
-
8/6/2019 El Pulso de lo Inmovil
3/32
-
8/6/2019 El Pulso de lo Inmovil
4/32
-
8/6/2019 El Pulso de lo Inmovil
5/32
-
8/6/2019 El Pulso de lo Inmovil
6/32
Bow position
MT: molto sul tasto.
T: sul tasto
ORD: ordinario. Normal position.
P: al ponticello
MP: molto al ponticello. Play very near to the bridge, but not on the bridge. The tone must be very rich in upper partials, almost no fundamental.
t: ON the bridge. No audible pitch.
Bow pressure
molto flaut.: molto flautando. Very little bow pressure, the bow hardly touches the string. When used together with col legno, some extra pressure must be applyed in orderto make any sound at all.
flaut.: flautando.
NP : normal bow pressure. Cancels all sings related to bow pressure.
Scratch: extra bow pressure. If the notes are between bracketsethen only noise should be audible (no pitch)
: transition from extra bow pressure (scratch) to normal pressure. If at the end of the there is a sign offlaut. ormolto flaut. then the transition shouldfrom extra pressure to the pressure indicated in each case. The amount of bow pressure used for scratch is indicated in context.
Other signs regarding bow actions
tremolo, AS FAST AS POSSIBLE (almost like a texture). If it is indicated together with flaut. or molto flaut., perform always on the tip of the bow.
-
8/6/2019 El Pulso de lo Inmovil
7/32
b col legno. Play with the wood of the bow. ` crini. With the hair of the bow, cancels the previous sign% circular bowing.
If not otherwise indicated, it is to be performed slow so that all changes in sound are smooth and continuous. The direction is to be respected. Whenperformed over a chord using the technique described above of pressing down one string, circular bowing does not imply that all pitches are audible all thetime. On the contrary, the slow shifting in bow position that comes together with circular bowing should result in a very smoothly changing sound.If a bow position is indicated (sul tasto, for example), this should be interpreted as being the centre of the circular bowing.
10 the same as above, but fast.
quasi perpendicular bow: play with the bow in almost PERPENDICULAR DIRECTION to the strings.
v bow vibrato. Perform the indicated bow (up bow or down bow) with a trembling arm. Do not confuse with tremolo!
6 very violent down stroke, like ripping off the string. Begin ON the string and violently produce the down-bow.# 2 up and down-bow with extra bow pressure
very violent down stroke with extra bow pressure. Begin ON the string and violently produce the down-bow with extra bow pressure.
! as short as possible, independent from the duration of the notes where it is placed.
-
8/6/2019 El Pulso de lo Inmovil
8/32
&
&
B
?
45
45
45
87
45
Violin IViolin IViolin I
Violin II
Viola
Cello
q=
. KAKbB
bT
flaut. molto
col legno tratto 1)
1) play with the wood of the bow. A portion of the hair of the bowmight be used depending on the dynamics indicated in order toachieve more sound.
depress the III string (D) atthe position indicated withthe X, allowing the bow toreach the IV and II string
without touching the III string.
,da lontanissimo 4)
4) unless otherwise indicated, dynamics are absolute: they indicatenot the effort but the dynamic level and are independent from thecontext. Thus, to make some sound at all in such extreme situationas in the beginning, it might be necessary, if amplification is notused, to counterbalance col legno and the lack of bow pressurebyusing more bow (bow speed). The sound should be on the limit of
audibility for the audience (that means, louder than the"environmental" sounds in the hall)
2)
2) the amount of bow pressure is relative to the context: when usedtogether with col legno tratto, a little more bow pressure is needed
than in connection to normal bow (crini). A hint of pitch should beaudible.
II, 3III, 1IV, 2
3)
3) if there is no indication above the harmonics as to which resultingpitch is asked for, it means that only the action of playing with verylittle finger pressure is needed, independent from the result (seeprologue)
ALL measures last the same amount oftime: 5 seconds. The tempo changes shouldbe made subito, without any kind ofritardando between measures.
. KAKbB -
5
IKAKb
B-
e=
3
KAKbB T
KfK
ORD
by moving the bow in direction to the bridge,the D string is reached by the bow andbegins sounding. The left hand doesn't move.
el pulso de lo inmvil / B eduardo moguillansky2005
for string quartet
("the pulse of the immobile)
-
8/6/2019 El Pulso de lo Inmovil
9/32
&
&
B
?
45
44
87
45
44
Vn. IVn. IVn. I
Vn. IIVn. IIVn. II
Vla.
Vc.
q=
KAKbB T
KfK
ORD
3
K-bMP
flaut. molto
III
col legno tratto 1)
1) play with the wood of the bow. A portion of the hair of the bowmight be used depending on the dinamics indicated in order toachieve more sound. This does not apply in the caseamplification is used.
, da lontanissimo 3)
3) unless otherwise indicated, dynamics are absolute: they indicatenot the effort but the dynamic level and are independent from thecontext. Thus, to make some sound at all in such extreme situationas in the beginning, it might be necessary, if amplification is notused, to counterbalance col legno and the lack of bow pressurebyusing more bow (bow speed). The sound should be on the limitof audibility for the audience (that means, louder than the"environmental" sounds in the hall)
2)
2) the amount of bow pressure is relative to the context: whenused together with col legno tratto, a little more bow pressure is
needed than in conexion to normal bow (crini). A hint of pitchshould be audible.
q=
KAKbB T
KfK fP
fade in-fade out: the same as before, but this timethe bow moves even closer to the bridge, the II andIV strings are not reached by the bow anymore
5
5-P
K-
III
e=
5
KAKbB T
KfK f
MP
.
. fP
KfK
T
.
by moving the bow towards the fingerboard, theII and IV strings are reached by the bow andbegin sounding. Do not move the left hand.
II, 3III, 1IV, 2
5B( )&
3
K5BB b
flaut. molto
MT
.col legno tratto 1)
1) play with the wood of the bow. A portion of thehair of the bow might be used depending on thedinamics indicated in order to achieve more sound.
2)
2) the amount of bow pressure is relative to thecontext: when used together with col legnotratto, a little more bow pressure is needed thanin conexion to normal bow (crini). A hint of pitchshould be audible.
q=
3
3
KAKbB
T
KfK K
MP
fP KfK
T
fP
5 IK5BB
IJ
K5 . .
- 4 -
-
8/6/2019 El Pulso de lo Inmovil
10/32
&
&
B
?
44 43 45 44 87
Vn. IVn. IVn. I
Vn. IIVn. IIVn. II
Vla.Vla.Vla.Vla.
Vc.
q=
9
3
3
KAKbB
T
KfK
MP
K Kk
5
fP K
fK
T
fKP
5B( 5 )&
. K5BB
K5
q=
KAKbB
T
KfK
MP
K Kk
5
fP
KfKKK
T
KfK K
P
5
K5BB
K5
q=
3
KAKbB
T
dolcissimo
KfK
K
o
MP T
Kk
3
fP
dolcissimo
KfK
KK
T
KfK K
o
MP
. K5B B -
5 K5-
q=
3
KAKbB
o
T
KfK
K
o
MTMP
Kk
3
K
o
P
KfK
5
KMT
KfK .K
MP
oKm
3
K5BBb
5 K5
`
- 5 -
-
8/6/2019 El Pulso de lo Inmovil
11/32
&
&
B
?
87 86 45 44 87
Vn. IVn. IVn. I
Vn. IIVn. IIVn. II
Vla.Vla.
Vc.
e=
13
.3
KAKbB
o
T
KfK
f
MP
K
o
MT
Kk
. K
o
MP
K- KfK
K
T
KfK K
MP
oKm
. 3
K5BBb
dolcissimo
K5
5 K5
`
o
e=
3
KAKbB
b
o
T
5
KK
KfK f
MP
K
`
o
MT
Kk
Kb
o
MP
K- KfK 3
KK
MT
5:4
KfK K
- - -`
o
MP
Km
. KK5BBb
MT
o
KK5
35 ...KK5Bm`
o
q=
. KAKbBb
o
T
5
KfK
f K
MP
o
T
Kk
`
3
Kb
o
MP
K- KfK 3
KK
T
5:4
KfK f- K-
MP
- Km-`
o
T
55b[ 55m ]&
5
...KK5bbb
o
T
KK5
3...KK5mb
`
o
q=
. KAKbBb
o
T
5
KfK
f K
MP
`
o
T
Kk
3
Kb
o
MP
KKfK
3
KK
T
5:4
KfK f K
MP
Km
`
o
T
55b55m
...KK5bbb
&
T
o
KK5bb
`
5
KK5mb
MT
o
- 6 -
-
8/6/2019 El Pulso de lo Inmovil
12/32
&
&
B
?
87
86
45
89
87
Vn. IVn. IVn. I
Vn. IIVn. IIVn. II
Vla.Vla.
Vc.
~~~~~~~~~~~~~~~~~~~~~~~~~~
e=
17
KAKbB
b
o
T
KfK-f-
oK-
MP
Kk
`
K
.
JKb
o
KKfK
3
KK
K5K
D
`
Dm
o
55
55k
55
5l
55m
&
3
KK5kkk
b
o
P
KK5
KK5
`KK5
lll
KK5 Kl
MT
whole hand gliss.
e=
55[
555m ] 55
5mn&
KAKb
o
T
KAKbB
5
KfK- Kf- K- Kk
MP
.Ko
the pitches indicated between brackets arethe theoretical result of the node positionindicated, but they are not expected to beaudible in the playing conditions asked for(molto flaut.+col legno).
JKb
o 3K
KfK
KK-
`
o
KfK-
f-
f-
MP
5
5
5
555kb
55
55b&
Ko
. K5K
o
P
K5K 3:2
K5Kkkk
oKKMT
IIIIV
55555
BB
[&
3
JK5Kkk
bflaut. molto
MT
o dolcissimo
punta
(only a shadow of the viola)
q=
punta
55
5555m
m 555m
n
KAK[o
T
KfK
3
KfKbb -
Kf-f- K
MP
Kk}]
3K
o
55L[55
5 55L ]&
. KBo 3
b
MP
f
KfK 3
KfK`
MT
5
Kf K- - Kb-
ORD
o
5
5
55
m
&
3
JK5K>
P
55}} K5K
5
...K5Km MT
3jK5K
o
pressure trill
555
m ]
55555
bn
JK5K
`ORD
o
3
JK5Kkkmb
o
MT3K5K
dolcissimo
JK5K`
e=
55
5555m
m 555m
n 5m555m
m
.3
KAK
KfKbb f ifib
b -
if-f- -
KMP
.Kk iK J5jKmpunta
o
P
K( ) J5jK
VERY LITTLE bow
fb
MP
o
flaut.
f
ifi
ii
ifib- MT
o5
ifi- if- - K-
P
.
. . K5KmmK5K
MP
S55}}
jK5K K5Kmm
MT
o
555
m
55m
55
3
K5Kmm
o
ORD
JKKmm
b
&flaut.
o
ORD
KKl
l( )( ) KK`
o
III
- 7 -
-
8/6/2019 El Pulso de lo Inmovil
13/32
&
&
&
B
?
8
7
4
5
4
3
8
4
Vn. IVn. IVn. I
Vn. IIVn. IIVn. IIVn. II
Vla.
Vc.Vc.
()
e=
555
m 55
5555m
m555m
n
21
K5J o
3
3
KAK-
- - KKbb- f
5
i5iibb -
i5i- i5- 5P
5 ..K5l K5t
I
(natural harmonic)
55
f
flaut. molto
o
MP
fKfK
5
KK
f5fib-MT
3
ffi-
o
ffi- f-
K-MP
5Kmb
!p
MT
K`
P
flaut.
3
K K5m
5
K5KmmMP
S
flaut.
55}}j 5 ...K5Kmm
flaut. molto
jK5Kdolcissimo
ADG
C
same speed
5
55
-
5
55-
55-
55-
55
-55-
5
55-
55-
55-
55-
55-
5
55-
55--
55-
55-
55-5
555m
b&
K5Klkl
P
oJK5K
o
q=
3
5:4
KAKb-T
flaut. molto
o- - - KfKbb
f f5fibb - f5f- f5- f-
MP
3
K ..Kz
MT
p o
55
55m
5
...KAKb
flaut. molto
o 5
KK
KKn
m
ii
3
i5fimn
MT
p o5:4
ifi- if- - K-
MP
55m 55mm
7
K5K
MT
o .
3K5Kmm
t
flaut.
F55
m}( ) JK5KP
K5Kmm
same speed
7
55-
55-
55-
55-
. . 6
55
55
-55-
55-
55-
55-
6
55-
55-
55
55
55
55
6
55
55
55
55
55
55
legatissimo, brushing the strings
55mb
IK5K . 3
K5Kb bb
Pflaut.
oK5K
q=
3
ifib -MT
flaut. molto
- - - f
MP
5ifib
Sii
oKK
MT
. IKAKm
m
o
flaut.
3
ifi f
3
f5fimnm
S
MT
5:4
f5fim- ff-
o
- KK-MP
K5K
flaut. molto
5
K5Ko
MT
. 5
55J
k!!
NP
Fn
55
P
KK
&
5
55
55
55
55
55
5
55
55
.55b
55555
lm
n
J555bbb o
K5Klkl
F
P
K5K
flaut.
soft accents on the tremolo
same speed
> > > >
- 8 -
release
-
8/6/2019 El Pulso de lo Inmovil
14/32
&
&
&
?
8
4
16
7
4
5
8
6
Vn. IVn. I
Vn. IIVn. II
Vla.
Vc.
e=
24
3
5Aib -MT
p
flaut.
3
- - - 5f5bb - f
MP
3:2ifibb
S
T
KK
P
3
fim%%%%
flaut. molto
fif5fi
>MT
p
NP
5
f5fib-
ffi- - KK-
MP
o
flaut. molto
5
KKJ
P
.KAKm
m flaut. molto
3
KK
ifi
5
nfi
IJJifim
b! NP
F
.
24
555555mmmm 5
55m
n555555
mb
J
S
3
K5K}
o
7
. Kk-MP
NP
K- K- KKB-
in same speed
24 6
>
p
> > > > >
x=
5555m
m
&
. ff5ib -MT
p
flaut.
ff5i- ff5- ff- ff
P
3 ifibb
ji5>
3:2
ifi
Sii KK
P
NP
III
1) the gesture is that of a filtering of the chord, where finally one note isleft alone. When exactly each note ceases to sound is not as importantas the clarity of this filtering effect.
1)
fim MP
flaut.
fif5fi%%%%MT
Sp
f5fibf5fi- f5f- f5- 5- 5-
o
II
IIIIIV
fKbflaut. molto
ofK
KfK
JKfK
mm I
KfK
`
AD
GC 5
55
55
5 5 5
55 5
5 5 5
5
555b
KKB
k-
p
KK- KK-K- K- - - - - 5-
MT
. . K5Kb
o
P
IK5K
q=
55555m
m
3
f5fib-
flaut.
pf5fi- ffi-
3
ff- ff- f- f
punta ifibb
ifib
i5 if5b
Sii
3
KK
F
NP
3
JAi5
m
flaut.
i53f
if 5m%%%%
pJf5fim
3
f5fif5fi-
MT
p
NP
f5fi- f5f
- f5f- ff-
o3
ff- f-P
II, 3I, 0III, 1
open string!
3
KfKb
P
3
ifi
m ( )( )
-MP
o
flaut.
- - -
3
- - ifinm- i
fi- i
fi- i
fi-
noteheads between parenthesis: only fingering, do NOT play withthe bow. They indicate the beginning position of the hand, which
remains constant. The notes become audible through the shift inbow position.
same speed
55
555555
mn
3K5K
P o
KKn
MT
flaut. molto
KKKK
( )( )
IIIII
- 9 -
1)
1) the gesture is that of a filtering of the chord, where finallyone note is left alone. When exactly each note ceases tosound is not as important as the clarity of this filtering effect.
-
8/6/2019 El Pulso de lo Inmovil
15/32
&
&
&
?
8
6
8
4
8
7
8
5
Vn. IVn. I
Vn. II
Vla.Vla.Vla.
Vc.
e=
27
5
. i5fib-
flaut.
oi5fi-
5
ifi-p
ifi- if- f- f- .f
ifibb
ifi
m
P
NP
i5
ifi
..fi
o
MP
fim
III
IIIIIIV
...JAi5
m o
..i5 ifi 5m 1pS
flaut. molto
i5fim
i5fi3
f5fi-
P
NP
f5fi- f5f-
7
f5f- f5- f5- f-
flaut.
f-
II, 3
III, 1I, 0
open string!!
bow vib. faster than before
5m
5
55m
5
ifim-
p
T
ifi-
o
ifi- ifi- ii-
5
ii- ii- i-
MT
i- i-
3
ifim
NP
F
ifi
3f
K
P
Kk( )K
very fast, no morethan 3 bounces
with the same finger
II
5m
3
KK
q }
P
NP
JKK
P o
KK
3
55m( )
flaut. molto
MT
55( )
K5
&
e=
IiAi
flaut.
oiib
p 3ifi f
ifib
m ifib
NP
f5n
m
>!
P5
Ai5
III
IIII
bow vibrato
.fo
ifibm>pS
ifib
ii
3
f5finb-
F
f5fi- f5f-
7
f5f- f5- f5- f- f-
55
m
K
o KKm
o
P
KK KKP o
6
ifib.
f
MT
ifi. ifi. 5fi.f.P
f.
IIIII
I, 3II, 1III, 2
555mn
m
3
K5
MP
K5k
NP
o
7
K5mn-P
flaut.
-
7
- - 55m}- 5- 5- 5- K5n-
7
5- 5- 5- 55}-
same speed
5- 5- 5-I
flaut. molto
e=
s f $
3
i5
o
5
iAibm
f
ii
p
punta
ifi
3
f
flaut.
ifimii
m
5
i
o
fi5
3 i5
IIIIII
IIII
5
3
f
o
MP
ifibm>
T
fp 3ifib
n .f
P
i5ib
m
T
ii
55n 55 5
IJ5o
.
III
. f-flaut.
of- f- ifi
m - ifi- ifi-
ifi- ifi- ii-
o5
ii- ii- ii-
5
o
2)
2) quasi perpendicular bow: play with the bow in almostPERPENDICULAR DIRECTION to the strings.
(normal bow)
5-MT
o
flaut. molto
5- - - - - - D- 5
D
z-
MT
D
z- D
z- D- D-
same speed
release
very rythmic, autistic
1) mute the string (between the depressedfinger and the nut) to avoid upper partials:very hollow sound
1)
I
- 10 -
whole hand gliss.
-
8/6/2019 El Pulso de lo Inmovil
16/32
&
&
&
&
85
84
83
45
Vn. I
Vn. IIVn. II
Vla.
Vc.
e=flaut. molto
s ff
555m
kl
30
3 DDb
flaut.
p 3 DD
!
3
Dm
flaut.
T`
5
3
Dm
53
KK5lm
PNP
fIIIII II I
like a shadow of vn. II
3
iAim!
T
Ff
MP
3
f ifim%%%%
T
3
ifi ifim Jff5i ,op
3
5ifi
m
3
iAi iAi
m ifi
Ff
ifi
ii
mMT
ii
iff5
m
3
5 5n
MP
K
5555b
7
D-}
p
- - - D-
D-ORD
..55
l
P
5m K5Kkk
dolcissimo
AD
GC
same speed
?
5
5
-5
5
-5
5
-5
5
-5
5
-5
5
-
flaut. molto
e=
punta
f
MP
flaut.
f5m F
.
..i
fi
b
iib
b MT ii
ifip
3
5
P
D oDm
5555m
m
iAimm
!
T
f
f
MP
3f KfKmm
p
KfK3
ifi
T
ifim%%%%
....ff5io
5
5
m
3
ftflaut.
5f
...ifinmT .
..iif
m
p o
K5KmPNP
o
5m 5m5m
5m
J55l5mK5Kkk
5
K5Km
o
p 3
K5m
o
MP
flaut.
K5
K5
55}
o
T
5
5
5
-5
5
-5
5
-5
5
-5
5
-
5
5
5
-
flaut. molto
e=
flaut. molto
MT
5555m
m
&3
iAi
m
! i
i
!
>
F 3
KfKm
m
KfK
m
KfK D>
MP
p oDb( )
3
f
flaut.
MP
o 3f KfKm
m
P 3KK
ii
T
iimm 3
ifi fi f5i
II, 3I, 0III, 1
open string!
5
5
m
K5KF
K5Km
o
3
f
o
flaut.
ifinm
3
ifiifi
m
P
iif 55
p5
5
5555m 5 5 5[ 5m 5 55
. ijKKJK
o
P
3
KK KKF
KnK}
3
K Kz
Kz
fawcett: mute the C string with first finger, the pitches above are partials of theE produced by the shifting position of the bow. The pitches in the upper staff
are an approximation and no accuracy is asked for in this respect. It would bedesirable, however, that the upper pitch (C#) is made audible, as indicated.
- 11 -
-
8/6/2019 El Pulso de lo Inmovil
17/32
&
&
&
&
?
4
5
4
3
8
4
4
5
Vn. I
Vn. II
Vla.
Vc.
q=
55km
33
3
tAtm
T
flaut.
ott
f
3
Jtt 55nm tft3
ifi
MP
f Kbp
II, 3III, 1
IV, 2
3
5imo
KAKm
mflaut.
o
3KK J
tft
P
tft f
MP
ifimm
3
ifi
T
ii
o
312
3
55bMP
o 3 Jfn
flaut.
P
o 3f
Jif5b
b tfi
5fin
ti
T
KK
p o
312
3
55
5 5 5 5m] 5555m 5n[ 5b 5b 5 5 ]3
Kz
t
o KKJK
o
MP
KKp
3jKK K
Kzb Kz
T
K
MP
P fawcett: mute G string with 1. finger, the 2. finger remains
in the same position. The pitches on the upper staff are tobe produced by the position of the bow, as indicatedabove.
punta
flaut. molto
q=
flaut. moltofinger-pressure trill
3
KAKT
o
flaut.
3
Jii ifip 3
ifinm .f
Kb
MP
p
II, 3IV, 2
312
&
JiAi
mo 3
ii
...ifiifi
p 3
ifi
Ai
i5
II, 3III, 1IV, 2
III, 1I, 0
*) press down the II string so that you can play on the I (open
string) and III at the same time. The pitch of the 3 finger when thestring is being pressed down is not important since this string is notbeing played.
*)
*) move the bow in the direction of the bridge tosound only the III string. As you do that, the 3. fingerdepresses the II string to let you play simultaneouslyon the I and II I string, as indicated.
. IfMP
of
ifi
p 5
ifi
iiT
KK
m F
II, 1
312
555 5 5b
555
m 5m[ 5 5
K K
3jK Km
NP
D} Km D} jK KB||
Kznp
punta
IIIIV
flaut. molto
e=
flaut. molto
MT
55k[ ]
fo
P
flaut.
3
f ifimii
mT
i5
p
ii fiS
P
KKb
MP
III, 1
II
I
IIIV
IIIIV
EADG 5
5 5 5 ij5 55[ ]
3
K5
F
3
iAim
o
T
ifiifi
55m
p
MP
3
A55
K5
o(3)10
3
fMP
Ff
...KfK
m
3
ifi
T
ifi
m%%%%
ifim
slow (as smooth as possible)
5 5m ]5b 5
iKz
T
KKb
b
F
3
KK
m
o
P
K5m
P
NP
KmII III
- 12 -
-
8/6/2019 El Pulso de lo Inmovil
18/32
&
&
&
?
45
44
43
87
Vn. I
Vn. II
Vla.Vla.Vla.
Vc.
flaut. molto
q=
resulting rythm
Ss ff
36 3
f
o
flaut.
3
f Jifi
3
Jifi
ifi
ji
i
m
33
i
5
m
F
NP
i
i
i5
ii
ifi
3
Jf ,DD
flaut.
P
f
III
IIIV
EADG
5 5 5 5 5 5 5 5 5
3JK5 3
KAKT
NP
oJii
3
ifi
p.f fm
MP
3f
ifi
iim
iAi( )
T
555m
o
*)
*) Bow remains SUL TASTO!! Releasefinger-pressure on the III string (G#) inorder to make it touch the bow.
3
ifim
55b>flaut.
T
355 J55m
o 3 DDp
3DD DD
`!
f .
III
5k 555 55b 55 55b
555m
&
K5m Km3
J K5kkF
Kk K5 K
o
3
...K5Km
>P
f
K5Kn
3 K5Kbbb KJ
3o2
5[3
j 5 j5 ]
flaut. molto
q=MT
s ff
MT
J oDDb
3
.f
o
NP
ifi
m
3
i
fi 5
m
f
i
fi
m
3
f
..55 55mMP
o
II, 3I, 0III, 1IV, 2
III, 1IV, 4
3
.5 5553
555 55
555555
555
3j5 5 5
3
iAim flaut.
oii
3
Jifi ifi%
T
3
ifimn ff5i ff5im
1) apply the bow on the 4 strings. Throughthe circular bowing, the number of stringssounding at the same time should variatebetween 2 and 4.
1)
5m 5&
35Km>
P
PNP
K( )3
J5jK
o
3
iAi
o
.
.ii
bifi
3
Jifi
5
MP
K5J
harmonic trill:ALTERNATE between 3.
and 4. finger
5[ 5b 5b 5 5] 5K[ 5b 5 5b 5b ]
K Kzt
( )3
KzMP
JKz5
..Kzbo
3
5 5b
5bK
F
ORD
Kb( )
ON the bridge, no pitch
2
o
punta
flaut. molto
s ff
flaut. molto
s ff
q=
vib
punta
flaut. molto
3 J
f5fi
TNP
5
.3
f
5if
>
3
3
f
fi .f
MP
pD}
Dm
( )
II, 3I, 0III, 1IV, 2
*)
*) bow position where it is possible to play on the fourstrings simultaneously. Adjust also the finger pressure(fingers 1 and 3) in the inner strings (II and III).
keep the 1. finger always down
5
ffi5
o fmbNP
3
Jf ffi5m
`
3
ffi5nm
NP
f
5
5b
5 K5J
F . 5 ....
jK5K5bbb
&
f
ORD
3
K5K5K5K5
F o
MP
K5K5
5b 5
3K5
J5( ) J5( )MP
o
5
K5bbP
o
NP
K5b
1) play as near to the bridge as possible(not on the bridge), as to get only the
upper partials of F, no fundamental.
1)
- 13 -
-
8/6/2019 El Pulso de lo Inmovil
19/32
&
&
&
&
&
?
87
45
44
87
Vn. I
Vn. II
Vla.
Vc.Vc.Vc.
ddddddddd
flaut. molto
e=
39
Jf
f5im
NP
o
f
f5i
n
m
>
f
f
f5im
.D
MP
5 Dm F
II, 3I, 0III, 1IV, 2
try to keep all four strings soundingtrill with the open D string(results in a sort of vertical trill)
f
F jfm !
f
P
ifim
T
if5
ifimm
f
KK
K K5
NP
MP
F
1) I, open string
1)
5m
5m 5555bn
&
3
KmP
pJ K5mm
fJK
p
K5 K
f
K5
pJK K5 K5KLK
...K5K%%%%
K5K
II
*)
*) use the whole bowfor the indicated note
this multiphonic is very unstable. Other notesrather than the indicated might appear. Moreimportant than the exact pitches are the dinamicsand the smooth change between a violentdownbow and the circular bow which follows.
5
55b 55b 5m[ 5n 5m ] 5m 5m
3
K5bK
F
K5Jb
o J
K5Bm
P
o 3
5
Km K.5
f
pitches are only approximative, onlyshow the area of the spectrumwhich should be rendered audible.
punta
flaut. molto
s ff
q=
punta
3
fbMP
NP
o
3i
fib
b
Ji
in
T
5
i
i
i5
ii
i
5
i
i 5 5 5
gliss
3
i
i
b
i
fib fb
MP
3
D
5 jD5mNP
IIIV
III
5[ 5m 5 5 5m 5 5m 5m 55 5m 5m ]5 5m 555nn
555n
&
IK5o
3Kz-
F
MP
3
- - - - K
MPP
J
Km3
JKJ
fKK JK K
o
pitches are only approximate,but should give you an idea ofwhich part of the register isbeing asked for.
3
iAim
mK
!
3
KK
KfKm f
f
ifi
m
5
Iiif
mm
iif%
3iif i 5
f
MP
5b 5b
5 5m
5 5m 5n 5 5 5 5m
K5bb>P
fK5
35m K Kn J5m K
Kn
P5K K K
5
.
KKMP
FKB( )
3
K K
ORD
5
q=
55m5m
3
Km
MP
Pfm 5
ifim
n i
fi
n i
i
T
3
5
i
f
5
5
5i
5
5
5
i
5 5 5 53
i
i
b
n
i
ifm f
MP
II
IIIV
III
55
KAKmmm !
[ ]
ii
3ifi ifim f
3
f
ffi 5
ffi 51
flaut.
5555mn%%%%
1) 1) It is not important if you do not getthe indicated pitches. There shouldbe, however, a subtle change intimbre due to the transition fromharmonic to real note in the l.h.
transition from fast toslow circular bowing
5m555
m 55555
n
n
b
&7I5
o
K5m -P
5-
7
5- 5- 5-FK5J - K5- K5-
5
5
b !6
. KKJk[ ]
P
very violent downstroke(like ripped off). Begin ON
the string
B
5555mb
5m 55 5m5m 5m 5 5 5
5555n
n
J
3
KmP
o
K( ) K
F
K
o
3
5
p
K
P
Km( ) Km>
f
Kn( ) Kn Km( )5 5 Kk
K
MP
F
III
I
- 14 -
-
8/6/2019 El Pulso de lo Inmovil
20/32
&
&
B
&
?
87
43
84
85
Vn. I
Vn. II
Vla.
Vc.Vc.Vc.
MT
e=
flaut. molto
punta
MT
42
.5
t
o Jfm
flaut.
Jf
fi55
f
f5 i
.NP
. . fif5
b1
.
f
i5fm
%%%%
flaut.
II, 3III, 1I, 0IV, 2
II, 3IV, 2III, 1I, 0
gliss. with all3 fingers!
fm
t
o 5f ifi
pii Jiif
Jffi 5
3
fif5b
fif f
MP
*) try to achieve a constant and fluid transition from the II and IV string toall strings together. The number of repetitions of the chord should berespected carefully, but the exact instant in which the new strings (III, I)come into play is only approximate.
55
b
&
KK
KK>
3
DD
T
pf
f
DDm
p .
5
KKn
-PNP
psame speed
- - - -III
& B
5L[ 5m 5 5 K5 5m 5 5]
K
..Kz
flaut.
pIKz o
. 5
K5Kb-P
NP
-
p
- - -
5
K5Kkbj-
f
- -
MT
q=
f
5ifo .
f
MP
o
flaut.
f
i
fi3
f
f5 i
-NP
- - fif 5m
1
p
5:4
KmMP
of ifi
T
ifi if57
i-
i-
flaut.
fi- fi- ifi- ifi 5- ifi 5-
IIIIII
IIIIIIV
II
5555
nb5 5 5k
55
7
- -
F
KKJ
B- -- - 55J
B-
p
3KJ( )
jKn
MP
3
K K5kk
p
Kk
harmonic trill, alternatebetween the two fingerings
IVIII
5 5
7
K5>
MT >
>
>
7
>
>
>
f
>
K5b
>
P sempre
K5b K K5b KI sempre
J J
3
f
i5f
%%%%
flaut. molto
5( ).K
f
MP
whole hand gliss.
IV
pressure trill, very fast: the finger goesup und down letting the E sound ashalf-flageolet, flageolet and incidentallyallowing the open string to sound.
5
if5 im 6
iif5b.
NP
iif5
. iif5.
iif5
!
fi>
}MP
IIIIV
stop the ricochet violently byadding bow pressure (mainlywith the index finger of the R.H.)
5k
55
5
5l
3
K5kkKk
oFJKK5lkl 5n( )( )
JDj5flaut.
o
II
III
pressure trill, very fast: the finger goesup und down letting the E sound ashalf-flageolet, flageolet and incidentallyallowing the open string to sound.
5
5
..K5b
P
.K
flaut.
K5n K
NB: keep the bow-speed constant,
the dynamic changes should be theresult of the change in bow-pressure.
- 15 -
-
8/6/2019 El Pulso de lo Inmovil
21/32
&
&
B
?
85
167
84
165
87
Vn. I
Vn. II
Vla.
Vc.
e=
S
45
f
t
}
flaut. molto
.ff
f5 i
T 5f5 i
f
f5 i
fif5
b 1flaut.
P
poco scratch
K
Jfm
o
MP
flaut.
ifi
ii
T
i59:8
ii
i5 ifi if5 ifi if5 ffi 5
( )
>
MT
.
.
IV
II
I
II
IV
IIIII
IV
IIIII
I
5
555
m55mm
&
5JD IJD
f
5>
.jKKjMP
p
jKK
FKKm
MT
flaut. molto
KK5
mmm
NP
P
III
5 5
3
K5
f
NP
K K5
flaut.
K
.K
.K
harmonic trill: alternate the fingers
J J If
i5f
b
m
%%%%
D
5
IV
6
. . . . . .
NP
ffi5b .
. . ffi5b . .
. .
iffi5b
!
j5m 5>#
flaut.
5
MP
j55m
IIIIV
55mm
KK5mmm
oFJKK5
KK5
. K5K}}!
f
T
5
5
55m
5
55m 5n
Km
Kl
f
NP
.Kl
p
.KmI II
e=
S
S
D>MP
f .
3
f
MP
flaut.
i
fi
b
i
fi
3
f
55i
>MT
6
f
fi5
n
m
>%%%%
flaut.
p
poco scratch
fm
flaut.
MP
5
f
ifi
ii
T
i55
ii
i5 ifim if5 ifi5
if5 ffi 5>
NP
. . .
II
I
II
IV
5
e
55b
K5K
NPP
p
...5K5
!
p
P
5
5K5
KK5bb
flaut.
f
T
6
KK5
fm
ORD
flaut.
i fin
resulting dynamic, compensateloss of bow-pressure with anincrease in bow-speed ("fff").
I, 1
II, 4
III, 2
I55555mm 55m 5m
JKKk
5IJ5m
6
5MP
pKm
3
5K 5
fKm
1) the lower harmonic is a very unstable multiphonic:
of the pitches present in this multiphonic, the moreimportant is the F#. It has been proved helpful to playfirst the normal node for F# and then go down withthe finger to find the multiphonic.
1)I II
&
3
> > >3
> > >
f5m
i
i
n
55 Ii
5fim
m
bow accents (keep the circular bowing)
6
. .
. . . . ffi5b
.>
. . ffi5b
.>
. . . iffi5b
!
p
3
ifn MT
f
fK
I55 iK5K
}}!
T
f
555b&
5Km
p KKm
MP
pKKb
1)
1) always tremolo. Try to achieve a very continuous
texture, as if you could play continuously on threestrings at the same time. Bowing is only a suggestion.
- 16 -
begin ON the string
-
8/6/2019 El Pulso de lo Inmovil
22/32
&
&
B
&
&
8
7
8
4
8
4
8
3
8
5
Vn. I
Vn. II
Vla.
Vc.
q=
s ff
NV
49
3
K
flaut. molto
MP
f
ifi
m
ii
ifi
>MT
if5
ifi
if5 f f f f f f
ffi5m
m%%%%>
flaut.
fp
scratchpitch always audible
555
555 555
555 555
555 555
555 555
5555555
55b
P
o
fm
flaut.
MP
p 3f
ifi
ifi
3
ii
T
i5 ii
3
i5 ifi if5
3
ifi if5 ifi>
3
ffi 5>
f
- -III
IV
poco scratch
j
iK5K
P
p
NP
55K55
!p
MP
fI5K5
3
JKK5bb
T
flaut.
fIKK5
p
555
JKKKmb J
KKK
JKKK
KKKm 5 !
. . iAimnn
T
p( as loud as possible)
I, capo tastoII, 3III, 2
tremolo segue
MV NV
> > > > > >
555m
..f5..
fim
m
..55n
JKfKmmT
bow accents (keep circular bowing)
7
- -
- - - 3
3
ffi5b .
NP
. .3
ffi5b .
. . ffi5b!
#5 ( )j55m
1) stop the bouncingwith extra bow pressure
1)
3
555
m%%%%
flaut.
MT
. K5K
ORD
K5K
p
3
ifi
f>
MP
f
ifKm
ORD
7:4
ifKn
B -
p
ifK- if
K- if
K- 55- 55- 55-
same speed
e=
NV Vib molto
I II
S
s ff
3
KKKKf
mORD
6
f
( )flaut.
KKf
m
6
iif
m 555
>
56
5 5 5 5ffi5
mm
>1flaut.
P
scratch
1)
1) very fast sf, then back to pp (cello should be audible)
3
ee
5556
5 555555
555555
6
555
555 555
555 555
555
6
555
555 555
5555555
5
iiflaut.
p
i5
ii
5
i5
ii i5 ifim if5
5
ifi if5 ifi> if5> ifi> Jf5
fi>
55
poco scratch
5:4
5555
> - -
3
5K5
6
MPNP
5K5
5
. .. .. .5K5
5K5
3 J
KK5bb
p
5 )(&
11:8
5B >MP
f
5> 5 5> 5
p
Km- 3 Jiim
p
T
flaut.
(stay beneath viola in balance)
the last note still audible
I
II
as near the left hand as possible
..f5..
fim
m
(..
55n)P
J JNP
p
ffi5b!
5
ffi5
!
5
etc.
11:8
3
ifi
m%flaut.
MT
3 JKfK
p
P1)
I, 1II, 4III, 3
555
mmm )(
555mb })(&
3
KKMP
NP
s fff
3
JKK
o K5Kmmm
MP
p- 17 -
same speed
-
8/6/2019 El Pulso de lo Inmovil
23/32
&
&
B
&
85
84
45
43
Vn. I
Vn. II
Vla.
Vc.
scratch
e=
NV Vib molto
s ff
53 f5fimm f
MP
f
f
p
ifim
T
f f f Jififfi5mm
>
> >>> > 1ffi5>
flaut.
f
f5fi 5
5
p
j555
*) pitch always audible
molto scratch *)
555
555 555
555 555
555 555
5555555
7
ifi
flaut.
p
if5 ifi if57
ifi if5 ifi if5 ifi if5 ifi>if5>fi>f5 > fi >f5>f5m
55
J I
p
iffi5bm 5 J
#
5555
5555 5555
5555
5555
5555
5555
5555
5
555
555 555
555 555
5
555 555
555 555 555
5555
3
> > >
5:3
...5K5
MP
p
NP
5K5
5:3
.
KK5bb
p
ORD
3
ifin
m1flaut.
MT
p
. KfK
P
bow accents
555
mm 555
3
K5K
K5K
>
s fff 3
K5K
KK
[KK
]K Kf
5
m
}
flaut. molto
T
5
KKf
55
K
}
touch the III string only slightlywith the bow, like a shadow
highly unstable harmonics, thepitches indicated are only a r eference
2)
2) horizontal trill: alternate between open stringand harmonic.The open string must sound like ashadow, allow very little bow-contact. It's ok if,instead of the low G, the octave sounds, at leastat soft dynamics
(completely covered by the other instruments)
?
e=
s fff
MV
i i i
5
f
j
p
MP
NP
f f f JfiiMT
55
j
5
ffi5mm>
>>
j
5
..Jf5..
fi
1
..55
j
p
j5555m
n
flaut.
f
sim.
molto scratch
5
555
555 555
555 5555
555 555
555 555
5555555
10
ffi
NP
P
ff5 ffi ff5 ffi ff5 ff ff5 ff ff510
ffi>f5>fi>f5>fi>f5> f5>
scratch
f5 55
..Jf5..fi ..
55
f
NP
....5fi5mB >
!
5
f
5
#
10:8
5555
> 5555> 5555
> 5555>
11:8
5555
>5555>5555
- 5555- 5555
- 5555-555
555 555
555 5555:4
555 555
555 555 555
5555
5
5 3> > >
55b
3
KfK
p
. KK
p
P
..KK
KK5bm
3
ifin
m1T
flaut.
P
. ifi
>NP
III, 2IV, 2
III, 2IV, 3IV, 1
I, 3II, 1III, 2
(as loud as possible)
&
jKf
55
K
}
5
Kf
5
}5
KKf
5
f
NP
o
5
Km
jKf . i
j55!
flaut. molto
MP
1)
1) keep bow speed constant, make cresc. only with bow pressure
I, capo tasto!!
q=
molto scratch
SVib
NV
3
5#
,>
P
f5
T
55
fm
p
fi
3
fif5 55
ffi5mm>
ffi5>
3
>
3
ffi5
1>NP
3 p
.>Jf
fi5m sim.
IV III
molto scratch
3
5 5555
555 555
555
3
555
555 555
5555555
....Jff5in
F
..f5\ f5
fi 55
.
f
NP
ffi5Bm!#
tremolo sigue
555555 555
555 555
555 555
555 555
555 555
5555555
> 5555> 5555
> 5555> 5555
> 5555> 5555
> 5555> 5555
> 5555>
555
- 555-555
- 555-555
- 555-555
555 555 555 555
555 555 555
5555
> >>> >
5
ifi ..KK
P
3
KK
JKK5bm
s fffIKK5
IfMP
p
3
Jf ifinm1
ORD
f
ifi
>
(as loud as possible)
number of bow accents does not have to be exact
ifim
T
5}
3
fiim if
e
B 5iif
if
5
f
NP
55
o KKm
p
MP
K KKb
(as long as the 3 notes sound simultaneously)
stop tremolo, only open string
?
- 18 -
-
8/6/2019 El Pulso de lo Inmovil
24/32
&
&
&
&
43
85
44
84
165
89
Vn. I
Vn. II
Vla.
Vc.
molto scratch
molto scratch
Vib molto
q=
56
..f5m..
fi ..
55p
ffi5mm
>
> > > > >
555
555 555
555 555
5555555
5
....Jff5i
p
5
f5\ If5fin
55
5
555 555
555
5
555
555 555
555 I5555
>
5
5555
> 5555> 5555
> 5555> 5555
>
7
> }>>> >>>
3
ifi
5K5
MP
p
3
J5K5
5K5
...KK5bnb
P
s fff p
(as loud as possible)
3jKKK
KKKm
s fff
3
KKK
p
K
3
JiAi
m
flaut.
T
//stop trem.
1) as usual, the indications for bow-position becomerelative in the context of playing on non-adjacentstrings. In this case, TASTO means as near to thefingerboard as possible as long as only the stringsindicated are reached by the bow.
1)
keep tremolo
S
S
Vib
> > > > ffi5mm
>1
( )
NP
ffi 5m>
P
3
!
f
ffi5m
5
5555
> 5555> 5555
> 5555>I555
-
5
555-555
- 555-555
- 555
3
555
555
3
}
> > >
5
. fMP
FJf ...ifimm1
ORD
ifi
II, 1
Jifif
ifip
...ifi
mm
f
MP
compensate flaut. with bow speed
molto scratch
q=
molto scratch
S
Vib molto
NV
MVNV
..f5m
.
.fi ..
55
ffi5m
>
ffi5
> ffi5
> ffi5
> ffi5
> ffi5
> ffi5
> ffi5
> ffi5
> ffi5
> ....
ffi5
>1NP
j555m
555
555 555
5555
5
ff5im
f
5
I f5fin 55
5
....ffi5m ffiBb!
f5
555
555
555 5555
I555
5555
> 5555> 5555
> 5555>
5
5555
> 5555> 5555
> 5555> 5555
>
5
I5555
>555
- 555-
555
555
8
}> > > > >>> >
3
ifi
5K5f
MP
5K5
KK5bnb}
s fff
5
KK5} . f!
>
MP
f
Vib molto
3
f...
ifim
m1ORD
ifi
>
Vib molto
same speed
>
(as loud as possible)
poco
3
f
f
p
ifim
m
5
.
.ii
ORD
i
3
i
jif
5
f
3
if
5
...ifim
p
NP
ifi
!#)(
poco scratch
I, capo tasto !!II, 1III, capo tasto !!
?
molto scratch
e=
molto scratch
NV
55mB
55
mn
55n
55m
ffi5
Bm
ffi5mm
ffi5
ffi5
ffi5
5
....ff5im
f
f5
fiB 55
J
5
555
555
5555555
5555
5
5555
5555 5555
5555 5555
5:43
> >>
iAi
T
f
ifi
5
f
..5fB
}ORD
5.... . . . . .
I, 3II, 1III, 2
III, 2II, 1
1) very regular, clear tremolo, quasispiccato. Number of repetitions ad lib.
1)
poco
3 Jf
MP
3
ifim
m
F
.
.ii
T
i
I, capo tasto
II, 1III, capo tasto
MVNV
ffi5mm
ffi5
ffi5
Jffi5
>1NP
J5
ffi5nm 5 j}
5 5 5fibm!
3
f!>
5
Jfiimm1
55 3
iif
B
>
Vib moltosame speed
> >
i if
5
ifim
p
NP
I, 3II, 1III, 2
?
- 19 -
-
8/6/2019 El Pulso de lo Inmovil
25/32
&
&
&
&
89
87
86
45
Vn. I
Vn. II
Vla.
Vc.
e=
sempre
molto scratch
NV
molto scratch
NVMV
61ffi5m
B
>
ffi5mm
( )
ffi5
ffi5
ffi5
ffi5
ffi5
ffi5
ffi5
>0
5
Jffi5m fiB
55
fiB 55
f f5
ffi5>
ffi bB
the gliss. begins here
5:4
555
5555
5555 5555
5555
5:4
5555
5555 5555
33
> > >
iAi
T
f
ifi
ORD
55B}
....... .
555
B.
3
f!
Vib molto
f!1
5
fiin 5
5n I
iif
B!#
1)
1) transition to very regular, short tremolo
3)
3) as short as possible
III, 2II, 1IV, 2
2)
2) the 2. finger plays on both III and IV strings. As the strings are ratherfar apart from each other at such a high position, the intonation of eitherthe lower or the upper pitch might not be very accurate.
poco
61
5
ifi
!#
. 5!
P
f
...if
i
f
fii if
imm ORD
55
)( T j55
5
5
.5 5
5
?
e=
ffi5mm
#
ffi5
#
ffi5
#
ffi5
#
ffi5
#
ffi5
#
ffi5
#
molto scratch sempre
NB: keep in mind that if the notes are not in parenthesis,always some "scent " of pitch should be audible.
5
f5m 55
fiB 55
fi
f
5
ffi5
molto scratch sempre
sim.
sempre
1*) always keep the finger actions, even if the bow actions are short.
1)
NB: keep in mind that if the notes are not in parenthesis,always some "scent " of pitch should be audible.
5:4
5555
5555 5555
5555
5
5555
5555 5555
5
I5555
3
Jifi
T
f
5 )(55B . . ... 55
5 . ... .}
3
f!
Vib molto
f!1
3
Jfii
55
n Iiif
mm!#
3
if
5
ifim NP
f
ifi
!
ifi!
.
fii1
f
ifim
m if
3
i ifm if
5
?
e=
NV Vib
MV
3
ff55mm
( )
3
ff55
3
ff55
3
ff55
3
ff55
3
ff55
1)
1) begin the stroke ON the strings: fi rst apply extra pressure, thenproduce a very violent down-stroke, like ripping off the strings.
mute with the bow
5
f5m 55
fi f5fiB 55 5
. ffi5
always on the four strings
5
5555
# 5
# 5
5 # 5 # 5 #
5
5 # 5
#
3
ifi
f
ifB} . . . .
3
Jif . . . .
.3
3
fn!
f!
ifim
n 5555m
1
I, 3/4II, 1III, 2IV, 2
if
5
m
. . . . . . .3
i5im
NP
f
i5im
!
! ! . ifim
n1
!
5
ifim
m3
ifi
fi5
II, 1III, capoI, 0
open string
always mute in then pauses
- 20 -
-
8/6/2019 El Pulso de lo Inmovil
26/32
&
&
&
&
45
84
84
163
84
165
Vn. I
Vn. II
Vla.Vla.Vla.
Vc.Vc.Vc.
q=
molto scratch
64 Iff55mm>
. Iff55>
. Iff55>
. Iff55>
. Iff55>
.
5
f5M( )>sempre
fi
m
55
fi
5
f5M( )fiB
55
fi .
5
f5M
.f5M
5
.f5M
5
ffi5 M
1) begin the stroke ON the strings: first apply extra pressure, thenproduce a very violent down-stroke, like ripping off the strings.
1)
2)
2) mute with the bow
like before, always with the open II and IV strings
5b
3
555
5
b #!
3
555.
. .3
3
. . .3
. . 555n .
3
.f!
f!
3
f i
fi
. i
ff
5
Bm
!#II, 3 !!III, 2IV, 1
I, 3II, 1III, 2
I, 3II, 1III, 2IV, 0
3
fi5
3
fi5m
...
3
. . .
33
if
5
m
. 5. 5.
f
NP
...ifim
m1
ifi
bn
5
5b
f
55555
5
I, capoII, 2
III, capo
I, capoII, 2
III, 1
?
e=
Vib molto
MV
Iff55mm>
. Iff55>
.
5
.ffi5B M
5
f5M
5
555.2
.# .5
. . . . . 5IJ555!
II, 3 !!III, 2IV, 1
3
555
55 55
55 53
if
5.
.
.
33
.
.
.
"
NP
f
?
+
Iff55mm>
. ff55#
!
>5 . iff555
#
!
>
the bouncing of the bow should begin almost unnoticed andshould be always as fast as possible. The number of repeatsare not ment to be exact, they give only an approximateindication of the relative size of each gest ure.
5
f5M
.
5
f5M .f5M I
ffi5 M
mutates into ric. (always extra bow pres sure)
3
.f!
sempre
f!
ffi5
ffi5m
m!#
II, 3III, 2I, 0IV, 1
II, 2III, 3IV, 1I, 0
3
ifimm1
NP
ifim
ifi
5
5n
55m5555
e=
. iff55mm 5#
! . iff555
#!
5
Iffi5m M .
5
if5
M!
#
. if5
M
!
#ric.
mordente mutates into molto vibrato
5
. 555.#
.2
5
. . . . 555m !
555m
555n
m IJifib!#
. .
A
DGC
II, 2I, capoIII, 3
1) regular tremolo, continue thegesture of the previous measure
1)5 55
- 21 -
-
8/6/2019 El Pulso de lo Inmovil
27/32
&
&
&
&
16
5
8
5
8
4
8
3
16
12
Vn. I
Vn. II
Vla.Vla.
Vc.
68 iff55mm
#
! .always mute at the pauses
5
.iffi5
!
#
always mute at the pauses
.3
f!
ff55
!
e=
SHAKE
Vib molto
ff55mm >
#
!
sempre
5
ff55>
#
!5 ff55>
#
!5
1) shake violently the arm, in a spasmodic movement while thefingers press violently on the fingerboard, trying to stay in position.The result should be a very irregular vibrato which, because of theviolence of the movement, also influences the bow.
1)
try to produce a transition from ric. to ric. + tremolo
5
.ffi5
m
#
!5
5
ffi5
m
#
!5
5
ffi5
#
!
transition from vib. molto to shake
5
5555mm !#
5552! #! ! !
5
! 555nm!# .
6
ff55!5
ifibn
!
NP
...ifib
1
6
ifi55n - 55b
-
6
55- 55b-
6
fiim. fiin . fi . fi . fiib
!#
I, capoII, 2III, 1
II, 2I, capoIII, 3
e=
gliss
(SHAKE)
SHAKE
MV
5
IJff55mm
#
>!
6
5
#
>!
6
5
#
>!
1) gliss with the whole hand, unperceptible
1)
2)
2) ric. + bow tremolo: the bow is thrown violently against the strings (as ifyou were to play a ricochet, just like before) and at the moment of firstcontact with the strings, a tremolo is played (always with extra bowpressure).
5
ffi5
#
!5
5
ffi5
#
!
sempre
5
try to produce a transition from ric. to ric. + tremolo
1) shake violently the arm, in a spasmodic movement while thefingers press violently on the fingerboard, trying to stay in position.The result should be a very irregular vibrato which, because of theviolence of the movement, also infl uences the bow.
1)
5
5555mm !2
555!#
!2 555nm !#
.
3
ifib
NP
6
ifi
55>
sempre
55b. .
6
f5im!#
!
f5i!2 f5!#
f5!2
6
f5!#
f5ib!2
NB: always means as short aspossible, independent from theduration of the note where it is placed.
e=
MV
MV
tonwolf mute (metal)
5#
>!
. 5#
>!
5
ffi5
m
( )!
#
5
5
IJJ
ffi5
#
!
1) ric. + bow tremolo: the bow is thrown violently against thestrings (as if you were to play a ricochet, just like before) andat the moment of first contact with the strings, a tremolo isplayed (always with extra bow pressure).
1)
5IJ555m!
NB: if dynamics fall under the limit of audibility whenplaying very softly, or if the tonwolf makes the productionof harmonics too difficult, then use a normal mute.
6
ifib!#
sempre
!2
! !
6
fiim! fii! fi! fi! fi! fiib
!
6
fii! !
always mute on the pauses
- 22 -
-
8/6/2019 El Pulso de lo Inmovil
28/32
&
&
&
&
1612
169
169
168
84
165
165
Vn. IVn. I
Vn. IIVn. IIVn. II
Vla.
Vc.Vc.
ek=
72 . . . Iff55#
!
. ffi5#
>!
. .
. .5:3
fiim!#
fii!2 fi!
q .}fi! fi!
. . Iff55#
!
ffi5#
>!
. .
555 55
. KK-
K
MP
KK- KK
- - KK-o
NB: dynamics always absolute, you mightneed to compensate the effect of the mute.
5:3
fiimb! ! ! fiin
! .
ek=
. . IJff55#
!
8
. . ff55m !
#!
. .
.5:3
fiim!# fi!#
fi!#
s=s
IJff55#
!
.
3
ff55 !
#!
5
fiimm-T
5fii ...fii-
5
..fi- fi-1)
1) rythmic precission is not important: thewritten gesture is a continuation of thequintuplets in cello. Just keep this samespeed, even throughout the bar.
gliss. of the 3. finger only
NB: dynamics always absolute, youmight need to compensate the effectof the mute by using more bow-speed.
like a shadow
same speed
555
m&
5:3
fiimb!# !#
!#
fiimn!#
2)
2) this chord requires a big extension of the 2. finger and thethumb. If you cannot reach all three notes, drop the lowestone (the 3. finger on the G string) and then play G# and E.This is valid until the end of the piece. A second possibility isto play the chord given as ossia insted of this last chord.
OSSIA
( )
II, 2I, capo
III, 1
e=
IJJff55
#
!
!
. .
IJJff55 !
#!
. .
13:8
fi ..fim-} ..fi- ...fii- ...fii-
o
3
fiim!# sempre
3
fi!
.
.
7
. ff55!
>#
3
fiimb!
!
3
fiin m!
- 23 -
-
8/6/2019 El Pulso de lo Inmovil
29/32
&
&
&
&
165
164
166
44
Vn. IVn. I
Vn. IIVn. II
Vla.
Vc.Vc.
MV
x=
78
IJJ
ff55
#
!
!
.
IJJff55 !
#!
. . .
...ifi
flaut.
o
.>
.>
>
very subtle accents, inppp
.
3
fiim!
.> .>
same speed
3
fiimb!
IJfiim! sempre
.
x=
IJJ
ff55
!
#!
.
3 I55m o
flaut. molto
I55
III, 1IV, 2
in one bow, if possible(VERY slow bow)
NB: dynamics are absolute
55B
>%%%% >
o K5K5BBB
o
MP
NP
-
- - - -only the insinuation of a pulse
same speed
3
fiimb !
3
fiimm!
q=
IJ
ff55
m
!#
! . .
NB: stay always as still as possible in thepauses. The attacks are to be played asunexpected, sudden outbursts of energy.
J55 ....if5f ....5555 55MT
55 5555m
II, 3III, 1I, 0IV, 2
avoid a cresc. (very slow bow)
1)
1) the bow position doesn't change!! Theinner strings come in contact with the bowthrough the increase in bow pressure.
55
m
&
3
- - 3 JK5Kbb}}
punta o
T
3K5K J
K5K
P
B
3
I55m!
IJ
ff55
m
!#
! . .
55553
J5555o 3 5fi
flaut. molto
T
oEADG
legatissimo, bowing ad lib.
5555
m )(
K5K
3
K5K
K5KP
KK
KKl o
3
55m!
IJ
ff55
m
!#
!} . .
.p
3J 5fi
fi5mB
o
55m
MP
punta
o5
flaut.3
55
J55
o//&
3
I5m!
- 24 -
-
8/6/2019 El Pulso de lo Inmovil
30/32
&
&
&
&
Vn. IVn. IVn. I
Vn. IIVn. II
Vla.
Vc.
bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbAT
tonwolf mute (metal)
84
IJ
ff55
m
!#
. .
fD5
flaut.
Dm fD
as near to the L.H. as possible
accents with bow-pressure
84
7:4
> > > > > > >
..55iff
5}
T
iff
5
iff
5
iff
51)
1) barely touch the IV string with the bow, enoughonly to make the C sound in the octave indicated
VERY slow transition to the outter strings.bow: very slow and steady.
legatissimo 2)
2) if you need to change bow, then use circularbowing, trying to avoid any interruption in the sound.
molto fragile
NB: if dynamics fall under the limit of audibility when playingvery softly, or if the tonwolf makes the production ofharmonics too difficult, then use a normal mute
NV
IJ
ff55
m
!#
. .
fD
p
7..JfD
. ...Jfi5m
o
flaut.
II, 3 or 4III, 2 or 3I, 0
in one bow
7:4
> > > > >
555
5
555
5
555
5
iff
5
IJ
ff55
m
!#
} . .
fi5 fi5
fi5 fi5
molto fragile, instabile
poco vib.
55kl
&3i
ff
5o
. iK5K5lkk k
o
PNP3
K5K5 jK5K5
p1)
1) more important than the exact intonation of the1/8-tones is the fact that they are an inflection of thepitches in cello, and thus they should be interpreted as"slightly higher".
5
5m
&
3K5
}o
P
NP
JK5K5m
3
JK5K5
K5K5p
NB: dynamics are absolute,compensate the effect of the mute
&
NV
dolcissimo
MV
IJ
ff55
m
!#
. .
fi5
fi5 fi5 fi5
3
K5K5 jK5K5
3
K5K5
o
5 )(
o
55m
&
K5K5
3
J55
K5K5nm
....J
K5K5 o
IJ
ff55
m
!
. .
fi5
%%%%
fi5 fi5 fi5
5
fiim-
flaut.
T
-
5
- - fiinm m -
III, capoIII
legatissimo, only subtleaccents with bow pressure
55m&
3 J55o
T
55 IJ55I!
P
. . . IKKb%%%%
o
III
I
II
slow and continuous
?
- 25 -
5
-
8/6/2019 El Pulso de lo Inmovil
31/32
&
&
&
&
?
Vn. IVn. IVn. I
Vn. II
Vla.Vla.
Vc.
bbbbbbbbbbbbbbbbbbb
89
IJ
555
!
. .
Ifi5o
. 5
iAA5m
flaut.
oIiff5
5
....iff5 ff2)
2) if you need more time to prepare this fingering,the previous gesture could be ended before.
legatissimo, very slow bow ( in one bow)
5
fii fiimm -
o
5555b 55555mm )(
KK KKKJ
KKKKKK
KKKB
+III
1)
1) the G string should deserve major attention sincethese multiphonic harmonics requiere special control.
/ (small variations in dynamics, always very slow changes)
IJ
555
!6
. .
55 55MP
KK
55m
&
3
K5Kmm
o
MP
3
JK5Kp
K5K
555555mmn
3KKK JKK
KK KK3J KK
this is a multiphonic harmonic: the listed pitches are thetheoretical result of the fingering indicated and serve asorientation. All pitches are not expected to be present atall times, since they are very unstable. An attempt shouldbe made to make the higher partials sound (G# and E).
legatissimo, bowing ad lib., very slow and continuous
IJ
5
5
!6
. .
555
n
m
..JKKo
KK5
MP
NP
oKK5
balance: the IV stringshould be louder thanthe III string (the mainpitch is the lowest one).
...K5K o
3
K5mm
flaut.
o
MP
K5
3jK5
o
KK KK KK
3
KKo
555}
IJ5K5K!6
. .
I, 0II, 1-4III, 2
555mn
3
KK5o
KKmKo
KK
3 KK5
o
MP
NP
KK5
...KK5o
5
5&
...K5K
o
MP
JK5K
IJ5K5!6
. .
..KKo
...K5Kmm
o
MP
K5K
K5K
...K5Ko
K5K
o
3
JK5K K5K
- 26 -
-
8/6/2019 El Pulso de lo Inmovil
32/32
&
&
&
?
Vn. IVn. IVn. I
Vn. II
Vla.
Vc.Vc.Vc.
94
IJ55K5!6
. .
I, 0II, 2III, 1+3
IK5Ko .
K5Kmm
o
K5K
IK5K
o .
...K5Ko
...K5K
o
K5K
3K5K
o
IJ55!6
. .
I, 0II, 2
K5
o K5m
o
3
K5
o
..K5
o
IJ55 5!6
. .
I, 0II, 1III, 4
.jK
o o B
IJ55 5!6
. .
IJ55 5!6
. .
duration: ca. 7' 10''
salzburg, 27.III. 2005
- 27 -