Documente Academic
Documente Profesional
Documente Cultură
duration: 6’00’’
Additional items
double bass damper (=mute): practice (=“hotel”) mute (more difficult version) or standard mute (easier version)
ice scraper
anit-smog (anti-pollution) mask
music stand
Electronics set-up
for playing:
through:
mixer
stereo system:
2 speakers disposed closely to the D.B. player, one on each side (LR) —
— becoming an artificial “extension” of the instrument sound technician may be involved
D.B. part should be executed with very precise timing — scorefollowing movie significally facilitates this task.
Two staff notation is being used:
RH _______ right hand: standard D.B. notation — includes RH bowing information and left hand position (pitch)
(+lh) (+ lef hand occasionally) (in case the LH is involved into producing sounds on a upper stave)
LH ________ left hand: stave dedicated exclusively for a LH notation, which may include: 1) position 2) moving "position"
3) tapping the string
up/down the string,
if LH does not use this dedicated staff nor is included in RH staff —rests are written on LH staff against fingerboard
producing a scratchy
if LH does not use this dedicated staff but is included in RH staff — no rests are written on LH staff
sound (some tension
necessary)
normal position dietro pont. (behind the bridge): behind the bridge musical engraving font gets smaller.
AST ST ORD SP ASP asp sp ord rev. asp
Tabular notation system applies: notated pitches indicate more likely on which string the sound be procuded (G for the 1st
string, D for 2nd string etc.) than the actual sounding-pitch result (which may vary depending on a single instrument):
II
also aplies 2) natural harmonics —proportional division of the string
1) open strings (tabular notation)
based (normal-position-like); sp (and not reversed sp) side
is much more convenient to use
3) multiphonics
based on nat. harmonics
+ proper bow position and tension
needed; (P.A.=accurate pression)
4) inverted multphonics
based on nat. harmonics (dietro pont.)
+ proper bow position and tension asp sp ord ord rev. sp rev. asp
needed; (P.A.=accurate pression);
inverted bow position applies! bow
this: or this: side
circular bowing
(directly under the timeline:)
figure accel./rall. — speeding up/slowing down the tempo of the musical figure (streching it/
unloose it); always maintaining the general tempo (following timeline) though.
To make it easier, prompts for the general tempo (small-engraved rhytmic values) are sometimes provided:
Any theatrical actions to be performed are explained in the frames. Often with accompying graphics.
perform. breath. live.
...the skies would be frozen, if they were not high-cut filtered...
...небеса б замерзли, якщо б не було очищено їх найвищіх складових...
Paweł Siek
Lviv 2017 / rev. Louisville 2017
00:00 00:08 00:12
ELECTRONICS 00:02 00:04 00:06 00:10 00:14
e= 90 / q = 45 rev.
dietro pont. arco
≤0 ≥ ≤
asp asp
ASP asp
II (sempre dietro pont.)
? 2 ≈ ®œ œ œ . œ
0 0 ric. 3 col legno batt. (50%)
6 ric.3
≈ ≈ ‰ Œ ‰.
0
œ œ
3 00
#O #O ≈ # O. O. O. O. # O. O. O. O.
DOUBLE BASS
4 œ
œ œ
œ ‰ ≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
œ.
˙
˙
˙
˙
p
RH
œ F P Ø
(+lh)
3
f f IV
? b¿
tapping (normal position)
P.A.
(sempre dietro pont.)
**
rev. asp
spiccato multiphonic
asp damper ON
≤
O. O. O.
col legno batt. (50%)
≤ ≥œ *
ss.
œ ( œ) (œ) ( ) œ
RH 0
p
(+lh)
P F p
F
decided,
scratchy
3 3
¿
3 3
dietro pont.
j
sound
D.B.
? #¿ ≈ ≈
poco decresc.
¿
LH R ∑ & ≈
¿ ..
¿
¿ ..
glissando
¿
¿ ‰ ∑
¿
F
≤ ≤
≤≥ ≤ ≥ ≤ ≥ ...
K
≥ ≤≥
≤
rot. leg.
® ¿r¿ ¿ ¿ – j .
bow on the rib
¿ ‰ ‰ ¿ œ. ¿ ≈ ¿ ≠. ¿ ¿ . ®
3 3 rotated 3 rot. leg. rot. without legno sound
3
? Œ ∑ Œ
J R J R R
f P f
RH
ƒ F
ã
damper OFF
¿¿ ..
D.B. producing some sound
¿
nd o sempre dietro pont.
‰.
glissa
∑ ∑ ∑ ∑ ∑ ‰ ‰ Œ ∑ Œ ? #¿
if possibile
LH & ¿¿ .. # ¿
RÔ
F **
LH: puts down
damper fastly
≤
rot. without legno
j
sound
≈ ¿¿≠
put the bow on the strings
?Œ ¿ ‰
without moving it
RH
J Œ –– Œ ∑ ∑ ∑ ∑ ∑ ∑
P rK rK rK rK rK rK [no sound]
rK
? .. ..
®Œ ‰
¿
# ¿ .. .. ‰ Œ
¿
# ¿ .. .. Œ ‰
¿
# ¿ .. Œ ‰ ..
¿
# ¿ .. .. ®Œ ≈.
¿
‰ ‰ ≈.
¿ ¿ ¿ .. ..
D.B.
#¿ #¿ #¿ ¿
sempre dietro pont.
glissando
.. # ¿ .. # ¿ .. # ¿ . # ¿ .. # ¿ # ¿ # ¿ ¿ ..
LH
J J J J #¿ #¿ ¿ J
R
F Í Í Í Fp Í Í F
rather sctratchy (e sim.)
dietro pont.
arco (P.A.) (P.A.)
r
I string
O ≈‰
back to the
normal position
O
3 col legno
O
dietro pont.
O œ. œ. œ. œ. œ œ. . œ. . œ. .
? OOO O . O O O. O O.
ASP
. œ. œ. . . . .
batt. (50%)
‰ ≈ ≈
asp
œ œ œ œ œ œ œ œ œ œ
sp
#( Oœ ) (œ ) O #O
0
œ0 œ œ œ‰ œ œ œ œ œ œ œ œ ≈œœœ œœ œ .œ œ . œ œ .œ œ
œ œ œ œ œ œ œ
RH
R
rev. rev.
πp 3pp
(+lh) mult.
P
mult.
π P F ƒ
3 3
P p pp
3 3
3 3 3 3
D.B. 3 3 3 3
? œœœ ... ‰ ∑ ∑ ∑ ∑
œ.
LH
** if using standard mute – the action of putting damper off should be well-marked (even excessively)
2 (applies for every following putting ON/OFF damper action in the piece)
...the skies would be frozen, if they were not hi-cut filtered...
01:42 01:44 01:48
01:52 01:54 01:56 01:58 02:00 02:08 02:10
E. 01:46 01:50 02:02 02:04 02:06
(normal position)
NAT
superposition
b œo . ÷ b œo œo œo œo œo œo œo b œo
(sempre dietro pont.)
bœ œ
superposition SP
asp ast multiphonic
? J J ‰ Œ
rev. mult.
∑ ≈& ‰ Œ ≈
harmonic
asp
RH ( ˙O) (˙O) (œO) .. (œO) O O. O
R
p F f p
(+lh)
f F 3
P3 P
3
π
p
shuffling the objects / changing their locations
ã
D.B.
P
damper ON
P
(i.e. moving from one music stand to another)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
LH
02:12 02:14
02:16 02:22
02:24 02:26
E. 02:18 02:20
NAT
oASP F
œo . o o o o o ≤
figure rall.
œ ≥
oœ œo b œ œ œo œo œo b œ œ œo œo œo œ
dietro pont. (dietro pont.)
asp
≤
6
O
glissando sp
‰? ≈ ®( œ )
O O O. O O
&
# O ( œ) # O
# Oœ ( œ ) #O ≈ Œ Œ ‰ œ O
œ O O
O
# Oœ ( ) œ O
RH
#O
( ) œ
(+lh)
F π
damper
ã
3
F
3 3 3 3
D.B. 3
OFF
? –– .. ––
6
LH ‰ ≈
J ã LH: puts down *
f scratchy sound
lean the heal of the LH against the mute / bridge damper fastly
(dietro pont.)
sp
[j
asp
figure accel. normal r
[œ. œ ]
figure poco rall.
6
position
ASP
œ œ ]
O O O O
œœ
6 0 6
O
0 0 0
? O O O O O O O O #¥ nœ ¿
œœœœ ≈‰
glissando
O O O O O O O O O #O nœ œ œ œ ¿ ¿
ST
O O æ æ æ æ æ æ O #O nœ œ œ œ ¿ ¿
P
RH
#O nœ œ ¿
(+lh)
D.B.
6 6 6 6
ƒ
P f ƒ IV
tapping
ƒ Ï
6
¿ # ¿ glis
(normal
?
figure accel. s.
∑ ∑ Œ ‰
position)
LH
ƒ
3
...the skies would be frozen, if they were not hi-cut filtered...
* aciton necessary only if using "practice" mute
E. 02:44 02:46 02:48 02:50 02:52 02:54 02:56 02:58 03:00
ST
AST 6
œæ œæ æ æ æ œæ
dietro pont.
SP
U
0 0 0 03 3 6 6
asp
? ∑ œ œ œ œ œ œ œœ œ œœ œ #O O O O. O O Œ
· ·
‰ ‰
œ œœ œ œœ œœœ œœœ œ œ œ
RH
Ï
(+lh)
Ï P3 p f
D.B.
¿ ƒ f P f
–– ≈ U‰
rev.
≠≠ ––
.
?g J ‰
s mult.
lis
LH Œ ∑
lean the heal of the LH against the mute / bridge
(F)
well-marked release!
E. 03:04 03:20
2-dimensional improvisation
only in the normal position (suspended on the III and IV strings)
(sometimes , sometimes, sometimes ) improv - foreground
( )
AST - - - ASP - - - AST - - - slow - mo right hand actions or
˙˙ ( œ ) , ? œ
@
(events occuring from time to time)
(œ œ@ )
RH
( œœ ) ( œœ ) (œ) œ œ ˙
p f
(+lh) one or two strings should be bowed at anytime additional open string (optional)
f@ @ @
only short phrasal breaks ( ) can be make
@ @ @
D.B.
?
i m p r o v - b a c k g r o u n d (continues!)
LH b¿ n¿ glissando glissando
gliss
.
gliss.
starting 1- or 2-strings glissandos added occassionally
F ƒ
positions
general dynamics
03:04 04:04
E. 03:40 04:00
open
e= 90 / q = 45
[ ]
extension
?
œœœ œ*
**
˙˙ bœ
spreading down the improvisation pitch-range
œ bœ œ ( ˙
˙ œœ œ* U )
? improv - foreground (continues!) 2
glissando glissando glissando glissando
4
®
/ /
œ œ O œ
RH
Ï ƒ P p
(+lh) slow - mo right hand actions (events occuring from time to time)
D.B.
LH
œ
œ , , ,
1st I (sul G)
two freely chosen points on the G string
2nd
D.B.
RH
set down the bow,
take the scraper (quite slowly) * p put down the scraper,
take the bow
P
(+lh)
*
wipe with a scraper at the indicated point,
short movement with form pressure
and tension will produce only a littlle sound;
as if cleaning the string
from the smog dust
E. 04:20
U
U
, O
J
U O œ
pp
D.B.
RH glissando
? œ J
pP
(+lh)
glissando
F
p f
p
**
F
if the sound technician is involved into electronics realisation –
– he may operate the master volume level and so join D.B. in his
theatrical actions (improvisations):
,
= breathe out
) **
electronics start again
( 06:00
04:40
(D.B. sample)
E.
, ë
,
D.B.
O
( ) ** U
J ff F
put the D.B. set down the bow, ..............stand up still, look straight ahead, hardly breath................ put on breathe breathe (take off the mask)
P
down on the floor grab the mask (keep mask down, at a distance from the face) mask IN OUT
5
...the skies would be frozen, if they were not hi-cut filtered...