PDF score - Society of Composers, Inc.

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EQUILIBRIUM
EQUILIBRIUM
NIMA HAMIDI
FOR STRING QUARTET
FALL 2015 - JACK
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EQUILIBRIUM
A state in which, opposing forces are balanced. In other words, the condition of a
system exists in such a way that all-competing influences are stabilized, in a wide variety
of contexts. EQUILIBRIUM is an attempt to reconstruct a similar situation. The concept
of creating a stable unit, using unstable elements, is a feature of this work. Recently I’ve
been experimenting with several unstable musical elements including timbre, rhythm, and
dynamics, and more specifically, the concept of timbral instability. The notion is
influenced by a unique performing practice in traditional music of the Middle East, which
reflects an expressive bowing system. Several features including the random positions of
bowing, dynamics, and a flexible left hand finger pressure combined with drastic textural
changes, range transformations, and a variety of sounds fields all provide unstable states
of equilibrium. In order to balance these features, the composition is constructed carefully
using proportional relationships, developmental processes, smooth transformations, and
careful temporal considerations. EQUILIBRIUM is an auditory experience that tries to
compare a stabilized moment along side an extreme number of unstable musical ideas.
Nima HAMIDI – November 2015
PERFORMANCENOTE
The piece is featuring the concept of timbral instability. To achieve this notion all the following bowing instruction and
extended techniques are used to fulfill mentioned criteria. Keeping the concept in mind in order to produce the requested
sounds would be extremely useful.
BOW POSITION
Symbol
s.t.
a.s.t.
ord.
s.p.
a.s.p.
Behind the bridge
Rand.
Rand i.
Rand ii.
Full Instruction
sul tasto
alto sul tasto
ordinary
sul ponticello
Alto sul ponticello
On the bridge
Behind the Bridge
Random
Random
Random
Over Pressure
Over Pressure
Note
close to the fingerboard
close to the fingering
normal position
close to the bridge
almost on the bridge
almost no pitch produced
it will activate pitch which defers accordingly
Bowing vertically instead of horizontally
random changes in bow positions (s.t. to s.p.)
random changes in bow (a.s.t. to a.s.p.)
randomness goes behind the bridge sometime
functions as accent but with overpressure
the pressure continues until the next indication
TECHNIQUES
Symbol
Note
Three quarter flat, the mentioned pitch should be flatter than flat note
Quarter flat, the mentioned pitch should be flatter than natural note
Quarter sharp, the mentioned pitch should be sharper than natural note
Tremolo with random speed, speed should change irregularly
Tremolo as fast as possible
Wide vibrato but musical
No clear pitch, it happens mostly when bowing in on or behind the bridge
Pitch produced from overpressure
Natural harmonic, it is Also used for touched note (described in score)
Grinding with the bow irregularly very close to the bridge!
Highest possible pitch,
EQUILIBRIUM
EQUILIBRIUM
for JACK Quartet
q = 90
Struggling, Expressive, Exaggerated
Nima HAMIDI
a.s.p.
Sul A
Sul A
ord. - col legno tratto
s.t.
Punta d' arco
5
~
Violin I
W
° 4 W
& 4 n>O
s.p.
Muted
s.p.
O O @
5+4
4
Ϊ
s.p.
Oœ
W
5 nOW
4>
5+4
4
˙
Notes are random and conected with glissandi.
Overall range can go up to 5th
p
è
OY ™™
ÆW
>O O-™™
œ ˙
J
ppp
f-ppp
mp-ppp
p
Punta d' arco
s.t.
Sul D
Sul D
ord. - col legno tratto
>O
a.s.p
rand.
4 WW
& 4 nO
>
Violin II
s.t.
5+4
4
˙™
˙
j‰
œ œ
Œ
s.t.
˜˙˙ ™™
˙
˙œ
2q
W
œ œ 45 nOW
J >
p
Notes are random and conected with glissandi.
Overall range can go up to 5th
p
5+4
4
ppp
mf-ppp
Sul G
ord. - col legno tratto
Punta d' arco
Sul G
s.t.
Muted
1
rand.
W
B 44 nOW
>
p
Viola
5+4
4 µ˙˙ ™™
n ˙˙
è
œ µœœ YY
rand.
s.t.
ÆW
µ˙˙ ™™
˙˙
W
5 W
j 4
2
n>O
5+4
4
4q
Notes are random and conected with glissandi.
Overall range can go up to 5th
ppp
p
Sul D
ord. - col legno tratto
a.s.p.
s.t.
s.p.
Punta d' arco
Sul D
Violoncello
5
1
5+4 ‰™ ∑
4 r
6
W
? 44 nOW
>
¢
Notes are random and conected with glissandi.
sOverall range can go up to 5th
p
5
1 s.t.˙
r ‰™
6 ppp
∑
è
Y™
WW
5 nO
4>
rand.
ÆW˙™
5+4
4
p
f
f
Sul A
ord
è
è
s.t.
s.t.
5"
5
° 5+4 s.t.
& 4
œ
nO ™
è
œj
ÆW
˙
U
∑
3/2q
Bb ˙
Y
WW
5+5 nO
4 >
7
4
˙
p
mp
ppp
Sul A
ord
è
s.t.
s.p.
5"
s.t.
s.t.
rand.
s.p.
5+4
& 4
‰ @
˙™
2q
˙
˙
˙
U
∑
j
œ
WW
5+5 nO
4 >
7
4
mp
p
ppp
mp
ppp
è
slow bow scratch tone
ord
5"
rand
1
B 5+4
4 )™
ÆW
˙™
p (as soft as possible)
ÆWè
Y
ppp
s.p.
5
œ™ œ
U
∑
f
>Sul A
5+5 nO
4 W
W
s.t.
7
4
p
mp
Sul A
è
s.t.
è
s.t
5"
a.s.p
rand.
? 5+4 5 ™
¢ 4 6r ‰ Ó
1Æ
J
@
U
∑
W
5+5 OW
& 4
>
!
7
4
?
O
2q
j
œ
6q
p
f
mp
è
O˙
ord.
2
>O
° 7 ˙
&4
8
5
O˙s.p.™™
5+5+5
4
rand.
a.s.p.
O˙ ™™
ord. Sul D
@
Ó
j
œ
5q
ppp
mf-ppp
3 7
4 nO
>
s.t.
rand.
a.s.p.
O˙ ™™
O˙ ™™
3"
O˙ ™™
O™
ÆW˙ ™
f- ppp
p
U
∑
8+5+3+2
4
ppp
mp
rand presure.
s.p. - jéte
.
BB Oœ
. . . . . . n Oœ O˙
7
&4
BBÆO˙
W
è
nn O˙
s.p.
a.s.t. Sul G
˙
Ó™
j
œ
p
rand.
nnÆO˙ ™™
W
µ~
5+5+5 µ w
4
4q
ppp
ppp
3 7
4
n>O
mp
5 n5O5
n˙
55
µµ O˙ ™™
s.p.
a.s.p.
Oè
ÆW˙
s.t.
3"
Oœ ™™
J 5r
œ
U
∑
8+5+3+2
4
ppp
ff
Sul C
a.s.p.
1
5
1
ÆJ
muted
µ˙
˙
w
µw
B 47 Œ
s.t.
@
¿ ˙
ppp
p
Æ
YW
ppp
15
3 7
4
n>O
mp
3"
s.t.
5+5+5
4
è
s.p.
s.t.
a.s.t.
B˙
˙
Y™
U
∑
j
µœ
œ
8+5+3+2
4
p
rand presure.
1
5+5+5 5
4
j
Y™
nœ
a.s.p
1
5
!
? 47 5r
¢
œ
‰™
ord.
1
s.t.
h.t.
3
4
Ó
j
œ
4q
¿ Y
O µ˙
˙
3q
˙™
5
1 55
s.t.
è
Y
3"
s.t.
U
∑
Y
8+5+3+2
4
˙™
Y
ppp
f
mp
f
p
ppp
mf
f
ppp
mp
ppp
Extremely Energetic
Punta d' arco
WW
13
° 8+5+3+2 >O
& 4 WW
WW
O
WW
5
O4 ~
4
rand. presssure / rand. bow position / slow bowing
2q
3q
ppp
5q
8q
mp
ff-ppp
rand. dynamic (ppp-f)
mp
Extremely Energetic
1
a.s.p
Punta d' arco
al Tallone
5
5
W
8+5+3+2 OW
& 4 >
8q
1
J
WW
WW
4
4
@
∑
∑
2q
3q
ppp
5q
mp
mp
Ó
Œ ‰≈ ≈
6
>f
∑
Ó
≈‰ Œ
6
Extremely Energetic
al Tallone
3 1
5
6 ≈‰ Œ ‰ ‰ 6 Œ
>
s.t.
Punta d' arco
O
>
B 8+5+3+2
4 WO
W
WW
WW
8q
mp
3q
ppp
5q
O 44
W
∑
∑
∑
∑
2q
mp
1
)5
scratch tone-slow bowing
s.p.
1
1
rand.(between and normal)
1
5
? 8+5+3+2
4 Ó™
¢
mp
˙œ
R
>
f-mp
˙™
Y
˙™
WW
O
4
4
∑
∑
∑
∑
Ó
f
2q
mp
ppp
p
3
19
°
&
no movement in bow
rotating to make hair noise
a.s.p
s.t.
s.t.
5
a.s.p
5
a.s.p
5
s.t.
3
3
∑
≈ ‰ Œ
Œ
&
6
≤
‰
‰
)
6
‰ ‰ Œ
∑
≈ ‰ Œ
6
Ó
5
‰ 6j Œ
Œ
1
5
‰ ‰ 6 6J ‰ Œ
5
‰ j
6
Œ
6
f
5
‰ 6j Œ
Ó
f
s.t.
B
∑
no movement in bow
rotating to make hair noise
1
5
5
1
5
)
norm.
3
Œ
6 ≈ ‰ Œ
‰
6
Ó
6
6
f
p
≤
6™
‰
1
5
≈ j
6™
Œ
)
j ‰ Œ
6
3
mp
f
f
a.s.p
no movement in bow
rotating to make hair noise
5
al Tallone
1
s.t.
3
s.t.
?
∑
≈ ‰ Œ
Œ
65 ≈ ‰
Ó
‰ 6 ‰ Œ
¢
∑
Œ
≤
‰ 6j )
j
6 ‰ Œ
6
>
f
5
≤
6 ‰ ‰ j
J
6 6
r≈ ‰ Ó
6
f
O
26
°
&
‰
3
s.t.
1
a.s.p.
1
al Tallone
1
≤
5
‰ 6 Œ
3
≤
3
5
3
3
3
∑
∑
‰ ‰
Œ
Ó
‰
‰
&
6
>
3
Œ
6
>
6 6
>
6 ≈ ‰ ‰ ‰
Œ
‰ 6 6
>
6 )
>
f-mf
‰ ‰
6
f-mf
f
f-mf
a.s.p.
al Tallone
a.s.p.
1
5
B
∑
Œ
3
‰ Œ
6
1
≈ 6™j 6
>
≈ ‰ Œ
)
‰ ‰ 6 Œ
6
f-mp
al Tallone
3
5
≤
‰ 6j )
s.t.
≈
‰ Œ
∑
>6
1
5
6
≈ Œ
6
f
f
mp
6 >6
f
s.t.
s.t.
s.t.
1
5
s.t.
?
∑
¢
Œ
5
‰ 6 ‰ ‰ Œ
J
Œ
5
)™
Ó
)
≤
‰ 6 6
J
5
≈ 6™j
3
3
‰
f-mp
f
f
∑
‰
≈ Œ
‰ ≈
‰
6
p
>6
f
6 6
Stay still for 15". bow on the strings
no move until the last beat beforre next section
More Energetic
Punta d' arco
15"
4 33
ord.
U
∑
°
&
n>O
W
>
>
sfz
sfz
p
More Energetic
Stay still for 15". bow on the string
same possition until the last beat beforre next section
Punta d' arco
ord.
15"
WW
nO
>
U
∑
&
#2
2
>
O
3
f-p
p
Stay still for 15". bow on the string
same possition until the last beat beforre next section
WW
#O
>
‰ 2
More Energetic
Punta d' arco
2
15"
2
ord.
U
∑
B
n>O
WW
2 W
W
Sul C
O
WW
#@
p
mf
p
Stay still for 15". bow on the string
same possition until the last beat beforre next section
1
5
Y
15"
U
∑
?
Ó
¢
rand.
norm.
2
¿
f
¿
p
mf
p
2¿J œ
>
ÆW˙
WW
5
œœ&
J
O
1
5
¿ ¿
>2
norm.
¿
#2
p
f
p
3
f-p
f-p
O
39
5
4˙
4
è
Y
f
ppp
5
4˙
4
è
Y
f
ppp
Sul A
WW
°
&W
W
WW
3
4W
W
O
4q
mp
Y
4
4
Y
4
4
ppp
mp
Sul A
WW
&
WW
W
O
3
4W
W
ppp
4q
mp
mp
Sul C
5
4˙
4
O
3
4
B
W
W
W
4q
mp
WW
f
Sul C
˙
O O
>œ ˙
w~
rand. dynamic (ppp-f)
3
mf
ppp
mp
5
4˙
&4
rand. presssure / rand. bow position / slow bowing
œ
4
4
O
rand.
ÆWœ
Y
ppp
s.t.
˙
¢& ÆW
Yè
p
O
4
W
?3
è
Y
O
f
f-p
mp
ppp
Y
4
4
q = 60
5
very slow bow - bow changes as smooth as possible
bow changes shouldn't occur on gliss direction changes
a.s.p
45
3
° 4 s.t.
&4 w
j
œ
Bbœ
˙
Bbœ
Bœ ™
#˙ ™
B˙
n˙
Bœ
µ˙
œ
p
ppp
ppp
3
very slow bow - bow changes as smooth as possible
bow changes shouldn't occur on gliss direction changes
a.s.p
s.t.
3
4
&4 ˙
j Bbœ ™
B˙
3
j
Bœ ™
µ˙
µœ
nœ
ppp
#œ
#œ
p
œ œ™ œ œ™ œ ˙
µ˙
ppp
mp
very slow bow - bow changes as smooth as possible
bow changes shouldn't occur on gliss direction changes
a.s.p
s.t.
µœ
w
B 44
Bœ
µœ
#œ
#œ
˙
#œ
œ
3
ppp
p
ppp
very slow bow - bow changes as smooth as possible
bow changes shouldn't occur on gliss direction changes
a.s.p
s.t.
3
4
¢& 4 ˙™
Bbœ
µœ
nœ
3
Bœ
3
µœ
ppp
b˙ ™
p
nœ
53
˙
#˙ ™
#˙
s.t. on the same bow
1
#Y ™
s.t.
°
&
#œ
µœ
ppp
ord.
3
5
µ˙
œ µœ nœ œ ™ œ œ ™ œ ˙
µ¿
#˙ ™
µ˙
mp
œ
nœ
ppp
f-ppp
s.t. on the same bow
1
s.t.
ord.
5
nœ
3
˙
µœ
B¿
& w
#˙ ™
µ˙
ppp
B˙
f-ppp
3
1
s.t.
ord.
µ˙
˙™
µœ
w
bœ
˙
ÆW
B
3
µœ
#˙
3
3
p
mp
ppp
ppp
s.t. on the same bow
1
s.t.
ord.
3
¢ & µ˙ ™
Bœ
#œ ™
j
#œ
Y™
œ
bœ
b˙ ™
5
µ˙
norm.
˙
f-ppp
5
µœ
3
µœ
f
ppp
6
by including random dynamic, discover unexpected sounds
on the same bow
1
61
s.t.
3
°
&
˙
B˙
5
µ˙
Y
#Y ™
#˙
#œ
ppp
rand.
f-ppp
by including random dynamic, discover unexpected sounds
1
5
s.t.
3
3
˙™
&
B˙ ™
µ¿
¿
œ
B¿
œ
rand.
ppp
f
by including random dynamic, discover unexpected sounds
1
#˙
>œ ™œ ™œ
œ œ œ œ µœ œ œ O O
∏ ∏
s.t.
#¿
#˙
µœ
B
˙™
rand.
ppp
mf
p
mp
by including random dynamic, discover unexpected sounds
on the same bow
1
¢&
s.t.
#œ5
B˙
œ œ™ œ œ™ œ œ
˙™
˙™
b¿
œ
B˙
BY
mp
ppp
3
ppp
rand.
f-ppp
69
rand.
°
&
#˙ ™
œ
bœ
œ
˙
B˙
3
f
ppp
ord.
s.t.
rand.
#˙ ™
Ϫ
&
µœ œ œ ™nœ œ ™ œ œ
1
Y™
nœ
w
ppp
mp
ppp
f
bœ ™
ÆW
Bœ
#œ
J
ppp
µ˙™
rand.
˙
bw
™
J bœ
B
B˙
˙
3
ppp
f
ppp
rand.
3
¢&
bœ
˙
B˙
˙
œ
˙
w
f
ppp
7
77
° 1
&
˙5
5
ord.
#œ
#Y
#w
p
ppp
f-ppp
f-ppp
1
ord.
œ5 œ
j
bƜ
W
>œ ™ œ ™œ
œ œ œ œ µO O O O O œ w
#¿ ™
&
˙
p
ppp
f-ppp
mf
p
mp
ppp
#¿
1
ord.
B
5
#œ
ÆW
#œ
#˙ ™
p
ppp
f
ppp
1
ord.
œ5
3
#œ
3
#Y ™
¢&
˙
#˙
b¿
p
ppp
˙
f-ppp
randomly changing between s.p. and on the bridge with no pitch
# œ5
s.t.
85
s.p. /
è
1
ord.
rand.
°
&
j
Y
˙
5
4
nœ
#œ ™
f-ppp
1
randomly changing between s.p. and on the bridge with no pitch
5
ord.
5 Ϫ
J
s.t.
s.p. /
è
rand.
Y
5
4
&
œ
w
f-ppp
f-ppp
randomly changing between s.p. and on the bridge with no pitch
s.p. / è
”
#“w
œ5
norm.
ord.
1
s.t.
rand.
Y
˙
5
4
B
#w
f
3 ppp
randomly changing between s.p. and on the bridge with no pitch
norm.
5
œ
s.t.
s.p. /
è
ord.
rand.
1
5
4
?
#œ
¢&
˙™
#w
#œ
f
ppp
#Y
8
q = 90
q = 60
è
OY
Punta d' arco
ord.
>
~w
>
° 5 1W
&4 W
96
O
ÆW˙
4
4
s.t.
norm.
5
Bœ
#¿
5
4
µ˙ ™
µœ
f-ppp
3
4
µw
fff
ppp
Notes are random and conected with glisses.
Overall range can go up to 5th
f
è
OY
Punta d' arco
ord.
1>
5W
&4 W
O
ÆW˙
>
‰ Oœ
J
4Œ
4
s.t.
5
norm.
3
¿
µœ
B¿
µ˙
5
4
fff
Notes are random and conected with glisses.
Overall range can go up to 5th
f
3
4
#w
ppp
f-ppp
Punta d' arco
ord.
!>
1>
5
B 4 WW
norm.
5
s.t.
è
˙™
¿
4Œ
4
Æ
˙W
5q
bœ
#˙ ™
5
4
3
4
Y
3
3
fff
ppp
f
f-ppp
Notes are random and conected with glisses.
Overall range can go up to 5th
1>
5
4œ
4
? 45
norm.
Æ
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