trittico per gs, for double bass

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onventions ofRhythmic Notation

Much of t he str uctu ral tension inhering in Trit t ico p er G.S.I1 is gen erate d by the superposit ion and inter fer enc e patte rns of two

( three) independent layers of ac t iv i ty , whereby events f requent ly cut in to th e nota ted dura t ion of ac t iv i ties on o ther s taves . In

consequence, durations are not always held to their full notated value.

The in terruptio n of a n event by an event on another stav e is signalled throughout by a vertical l in e connecting the interrupting

note-head with the end of horizontal beam following th e not e interrupted. In th e example, values ar e foreshortened on both staves.

Where (as in the opening measures) g li ssandi a re employed, the f ina l -brackete d grace note indica tes th e goal p i tch of t he ac t ion ,

which is arrived t immedia te ly pr ior to the in tervention of th e in ter rupt ing event on the o ther s tave. Al though, for convenience , th i s

note-head i s accommodated on the sa me ver tica l l ine s the commence ment of the in ter rupt ing ac t ion , i t i s invariably t o be unders tood

s imm ediatel y preceding th e latt er , e.g. NOT

s

being performed simultaneously.

Every ef for t should be made t o impar t the impress ion of imm edia te cu t t ing f rom o ne such event to the next , regardless of

discrepancies of register, amplitude or prevail ing texture.

I t i s impor tant to preserve t all t imes a vivid sense of th e independent c ha rac ter and mode of l inear extension/variation of each

component l ine , even though the energy se t f ree by the i r cont inual in terac t ion is t the forefront of the discourse.

Frequ ently long notes a re ac compan ied by instructions t o be perform ed with varying degre es of vibrato. W here verbally indicated,

s u ch a c t i o n s a r e t o b e u n d e r s to o d

s

being normal (finger roll) vibrato; only where graphic aids ar e employed should a form of

portamento-glissando (rapid to-and-fro sl ide of th e finger) be introduced. Th e vertical width of th e symbol refer s to width of

-pitch-fluctuation, while the horizontal distance between undulations gives rough indication of speed of action.

(N.B.) The s cor e is NOT wr it ten otherwise in any form of space notation. Distances on the page do not offer reliable guidelines

to actual durational proportions between events.

In Par t 111 an a t tem pt has been made to sugges t a new form of phrase-s t ruc ture , serv ing t o connect events superf ic ia l ly d iscrepant

in l ine of origin and art iculation. D otte d lines represent less well-ar t iculated groups of this type, while legato connection s (even across

staves) indicate constellations requiring the sense of great internal coherence. Events not connected in one of these ways should be

regarded s a) interruptive or b) autonomous in nature.



Further Symbols

f inger pi tches with indicated rhythm whilst bowing

wi th rhythm and ar t i cula t ion indica ted above or be low

pi t ch s tave ( ~ e l e v an t t r i ng us ua l ly i nd ica t ed )

excess bow pressure , resul ting in d i s tor t ion of a t t a ck

subs idiary accentu at ion of he ld tone by ex t ra

pressure on bow in given rhythm

glissando-act ion. End point indete rmin ate: s wide s

fl

poss ible whi l s t observing the executabi l i ty of theapid "quivering1' within held tone produced by small

increases in bowing speed (NOT change of bowing

direction )

bow-vibr

sur rounding context

fmfm

gettato-act ion for given durat ion. Number of rebounds

- id no t p r ec i s e l y no t a t ed

inger percussion. Impulse produced by str iking f inger

on s t r ing when f inger ing the indica ted pi tch

( ~ y n a m i c s n quota t ion marks indica te subjec t ive

violence of a t t ack, NOT actual resul tant ampl i tude )

d i t t o , bu t w i t h t he ge t t a t o execu t ed above

, rhythmically-sp ecific group of pi tch es

19

t remolo. Always s f a s t s possible (non misurato)

exe cute four -s t r ing gl issandi as indica ted L.H.)

while bowing across successive str ings

a tura l harmonics. Always nota ted a t f ingered pi tch

on given str ing

gl issando-act ion, exec uted wi th speci f ied deg ree of

vibra to

ul ponticel lo (near bridge). Other variants are: "sul

pont. estr." -

s

close t o br idge as poss ible; "mol t0

s.p"

-

very near t o br idge

* - ' I t e ra t ionl l . per form the f igure indica ted s many

t i m es s poss ible in the dura t ion speci f ied . Fina l

s ta tement of f igure may be incomple te . Order of

. .A

pi tches may NOT be modi f ied

during the note(s ) in t he upper s taf f , begin and end

a t remolo a t the exact point s indica ted on the lower

s taf f

s t a r t i ng w i t h g r ace - no t e a t t a ched t o m a i n no t e s t em ,

play group s f st

s

possible, finishing with main

note given in bracket s . Th e ac t ion beg ins ' a t th e point

in t ime indica ted by the rhythm of the l a t t e r , which

t hen ex t ends t o f i l l up t h e r em a i nder o f t he i nd i cat ed

dura t ion not occupied by grace-note ac t iv ity . Th e

grace-notes ar e ALWAYS legato , and connected legato

to the i r respect ive main note . Dynam ics given ar e for

th e grace-note ac t ion; dynamics in bracke t s refer t o

main note

glissando which makes gradual t ransi t io n from

l 'normall ' f inger-pressure to l 'harmonic"

col l egno bat tu to

c.1.t ra t t col legno tr at to

bow with half hair , half wood (Exact proport ion

d i c t a t ed by con t ex t

quasi

c.l.tratt

double tr i l l : rapid tr i l l act ion al ternat ing irregularly

main note with indicated tr i l l tones. Frequency of

main pi tch should sl ightly predominate

uration of Work

c.8'30



ritticoper

G S

BRI N FERNEYHOUGH

ord

Edition Peters No 7361

Copyright 989 by Hinrichsen Edition Peters Edition Ltd London



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trittico per gs, for double bass

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