Variationer över
B Ä C K
Zacharias Ehnvall
för
violin,viola,violoncell
och piano
Bow pressure:
H.B.P. - Hard Bow Pressure S.B.P. - Soft Bow Pressure Bow position:
S.P. - Sul Ponticello (closer to the bridge)
A.S.P. - Alto Sul Ponticello (as close to the bridge as possible) S.T. - Sul Tasto (closer to the fingerboard)
A.S.T.- Alto Sul Tasto (high up on the fingerboard) N. - Naturale- Normal bow position and pressure.
Distortion:
Black fields above the note indicates the amount of distortion applied to the note (practically the amount of A.S.P. combined with H.B.P.)
The example above shows a gradual decrease of distortion.
At max distortionlevel, play very close to the bridge combined with very hard bow pressure. Bowspeed should always be flowing and not to slow (as compared to scratch tone).
All extended technics and the notation of them are explained throughout the piece as they appear.
The most frequently used ones, however, are also explained below.
dmu
- 1/4 tone low - Tremolo, as fast as possibleSquel to air noise:
The intensity of the dotted black field indicates the amount of bow pressure and the transition from a squealy noise to air noise. This technic is always played A.S.P and the string is always damped (X-notehead).
Z - Very uneven tremolo
Squeal hit:
The upsidedown triangle is a very strong accent played A.S.P and with H.B.P.
The string is always damped (X-notehead) and bow speed should be fast.
The result is a percussive, "K"- effect.
Notes
Strings:
-Senza vibrato is the norm. Always play without vibrato if nothing else is specified.
This is not mainly to create a pale sound but rather to "sharpen"/ make clearer the relationship between the pitches in a chords (in tune or not).
-The strings often play "inside" the sustained sound from the piano- try to balance the dynamics so that the resonans from the piano and the strings blend as much as
possible. Strings may play louder then specified if necessary.
-The number "7" next to a note is just a reminder of that the pitch is thought of as a member of a septimal interval (in a chord or in a melodic line). The septima is
intonated slightly, slightly lower then the same pitch on the piano (approx. a 1/6 tone lower). This slightly lower intonation (in relation to that of the same pitch played on a piano) corresponds to the intonation of the natural septima, the 7th partial of the
overtoneseries. The interval, when part of a chord, should sound good, very stable and
"sharp" . Piano:
-The damper pedal is pressed down throughout the entire piece.
-The lid should be fully open to allow as much resonans to be heard as possible.
-The dynamic is often static and "fff" should always be played violantly, somewhat lika a percussion instrument, to bring fourth as much overtones as possible.
-Observe the 8va markings above the clefs, at times.
Natural harmonics are notated with a diamond-shaped notehead showing the position of the fingered node on the open string. Additionally, a small notehead
above shows the resulting, sounding pitch.
Harmonics
Artificial harmonics are notated with a normal notehead showing the fundamental and a diamond-shaped notehead showing the fingered node.
However, notation of natural harmonics sounding at the same
pitch as the fingered node are instead notated with a normal notehead and a circle above the note.
Tremolo ritardando:
Decelerate the speed of the tremolo as natural as possible during the duration of the notevalue and "arrive" at the next note after the tremolo.
"Touch fourth" (sounding 2 octave up) and "touch third" (sounding 2 octaves and a major third up) are used.
Violin
Viola
Violoncello
Piano
/
(Depressed throughout) gliss.
IV
gliss.
(A.S.P. , H.B.P.)
pizz.
Harsch and violent/
Calm, with full sound
al tallone, fast bow speed (A.S.P. , H.B.P.)
damp strings with left hand damp strings with left hand al tallone, fast bow speed
(!)
(snap pizz,
damp string with left hand )
Vln.
Vla.
Vc.
Pno.
░░░░░░░░░░░░░░░
▒▒▒▒▒▒▒▒▒
▓▓▓▓▓▓▓▓▓
░░░░░░░░░░░░░░░
▒▒▒▒▒▒▒▒▒
▓▓▓▓▓▓▓▓▓
4
4
H.B.P./ Squeal
(sempre A.S.P., damp string with left hand) Bow speed: flowing, not to slow
N.
H.B.P./ Squeal
(sempre A.S.P., damp string with left hand) Bow speed: flowing, not to slow
N.gliss.
arco
(very uneven trem.)
S.B.P./ Air noise S.B.P./ Air noise
Variationer över B Ä C K
Zacharias Ehnvall 2019
©
Score
Till Siiri Alanko, Saara Kurki, Daniel Thorell och Joakim Martinsen Kammarmusiken på Edsberg
ver.300119
Vln.
Vla.
Vc.
Pno.
▓▓▓▓▓
▓▓▓▓▓
▒▒▒▒▒▒
▒▒▒▒▒▒░░░░░░░░░░░░
░░░░░░░░░░░░
7
7
gliss.
pizz.
N.
N.
arco (snap pizz., damp string lightly with left hand )
arco(very uneven trem.)
(A.S.P. , H.B.P.)
damp strings with left hand al tallone, fast bow speed
H.B.P./ Squeal
Bow speed: flowing, not to slow S.P.
N. III
(sempre A.S.P., damp string with left hand)
S.B.P./ Air noise
Vln.
Vla.
Vc.
Pno.
░░░░░░░░░░░░░
░░░░░░░░░░░░░░
▒▒▒▒▒▒▒▒▒▒▒▒
▒▒▒▒▒▒▒▒▒▒▒
▓▓▓▓▓▓▓▓▓
▓▓▓▓▓▓▓▓
11
11
pizz.
IV
arco N.
N.gliss.
S.P.
Vln.
Vla.
Vc.
Pno.
▓▓▓▓▓▒▒▒▒▒▒▒▒▒░░░░░░░
▓▓▓▓▓▒▒▒▒▒▒▒▒▒░░░░░░░
14
14
pizz.
IV N.
N.gliss.
I
arcoS.P.
gliss.
gliss.
pizz.
N.
N.
Vln.
Vla.
Vc.
Pno.
▓▓▓▓▓▓▓▓▓
▓▓▓▓▓▓▓▓▓▒▒▒▒▒▒▒▒
▒▒▒▒▒▒▒▒
░░░░░░░░░░░░░
░░░░░░░░░░░
16
12
16
arco III
gliss.
S.P.
III II I
gliss.
6
Vln.
Vla.
Vc.
Pno.
░░░░░░░░░░
▒▒▒▒▒▒▒▒▒▒▒▒▒▒
▓▓▓▓▓▓▓▓▓▓
19
12
19
S.P.
II IV
S.P.
N.arco
N.
Vln.
Vla.
Vc.
Pno.
▓▓▓▓▓▓
22
22
III
arco gliss.
N.
N.
II
N.
(II) gliss.
7
(sempre senza vib.) S.T.
Vln.
Vla.
Vc.
Pno.
25
25
7
IV III
A.S.P. light and swift
A.S.P.
light and swift II
Vln.
Vla.
Vc.
Pno.
29
29
7
(trem. rit.) (N)
(A.S.P. , H.B.P.)
IV
(trem. rit.) (A.S.P. , H.B.P.)
(N)
II
(A.S.P. , H.B.P.)
(N)
(trem. rit.)
(III)
(IV)
(II)
d
8
Vln.
Vla.
Vc.
Pno.
32
32
7
III
A.S.P.
A.S.P.II
d
5
7
flautando poco ST
II
d
3
S.P.
III
III
Vln.
Vla.
Vc.
Pno.
36
36
7
IV
pizz.
III
II 7
(sempre senza vib.)
arco
III
A.S.P.
(III) (III)
Vln.
Vla.
Vc.
Pno.
40
40
IV
A.S.P.
N.
7
III
I
IV
II
(sempre senza vib.)
Vln.
Vla.
Vc.
Pno.
43
43
7
IV
A.S.P.
S.T.
N.
III
7
10
Vln.
Vla.
Vc.
Pno.
47
3
47
IV
3 3 3 3 3
S.T.
S.T.
Vln.
Vla.
Vc.
Pno.
49
3 3 3 3 3
49
(Wide gliss. vibrato)
(senza vib.)
S.T.
3 3 3 3
3
Vln.
Vla.
Vc.
Pno.
51
51
3 3
3 3 3 3 3
3
IV
S.T. (senza vib.)
1
1: This figure: always
2
2: This figure: always , like a bell
(II, III)
Vln.
Vla.
Vc.
Pno.
1/4
53
3 3 3 3
53
3
3
(senza vib.)
3
Vln.
Vla.
Vc.
Pno.
Whole tone
56
56
3
(IV)
3
3
III
12
Vln.
Vla.
Vc.
Pno.
Whole tone 59
59
3
3
III
3
I
Vln.
Vla.
Vc.
Pno.
62
62
3
3
3
S.P.
(very uneven trem.)
Vln.
Vla.
Vc.
Pno.
65
65
3
(trem. as fast as possible)
3
I
