for solo violin and ensemble Robert Hasegawa 2008

SPIRAL for solo violin and ensemble

Robert Hasegawa 2008

PERFORMANCE NOTES

Spiral is a study in sustained timbral combinations, drones, and just intonation harmony. The harmonic language of the piece is based on a progression of overtone series chords. These chords

are centered around five successive drones—on the third, fifth, seventh, ninth, and eleventh overtones of a low F. Harmonies are arranged around each drone so that the drone pitch is heard successively in different harmonic meanings: for example, the initial C drone is heard first as the 3rd overtone of F, then the 5th overtone of A-flat, then the 7th-overtone of D, and so on. A low F

appears at the beginning of each of the five sections, as one drone gives way to another.

Microtonal pitches are notated as follows:

closed-headed arrows indicate an adjustment of 16 cents (a sixth of a semitone) up or down

open-headed arrows indicate an adjustment of 33 cents (a third of a semitone) up or down

Altered accidentals indicate quartertones:

quartertone sharp:

quartertone flat:

The notated pitches are the closest approximations in 72-tone equal temperament of pitches in just intonation: players may make slight adjustments to make the just intervals perfectly in tune. In a few instances, a held note must be corrected by a small 16-cent interval—here, a dashed tie

indicates that the pitch adjustment should be made without a new attack.

Long tones for wind instruments should be played in one breath where possible—when this is impractical, a brief break in the tone and a discreet re-entrance is acceptable. String instruments should change bow as necessary. Both wind and string instruments should play with a full, rich

tone without vibrato.

Duration: ca. 7’45”

This piece is dedicated to Gabriela Diaz, Eric Hewitt, and the White Rabbit Ensemble.

q = 80 Robert Hasegawa (2008)Spiral

Clarinet in Bb

Bassoon

Horn in F

Trumpet in C

Trombone

SoloViolin

Violin

Violoncello

Double Bass(sounds 8ve lower)

breathe as necessary - re-enter as unobtrusively as possible

cresc. poco a poco

dim. poco a poco

unison w. hn

cresc. poco a poco

5th harmonic of Cbreathe as necessary - re-enter as unobtrusively as possible

cresc. poco a poco

change bow as necessary

unison with trumpet

cresc. poco a poco

7th harmonic on C string

change bow as necessary

cresc. poco a poco

SoloVln.

cresc. poco a poco

unison with solo violin's upper note

cresc. poco a poco

SoloVln.

dim. poco a poco

cresc. poco a poco

tremolo gradually faster...

peak speed of tremolo

slower tremolo and fade out...

unison with solo violin's lowest note

dim. poco a poco

SoloVln.

adjust pitch slightly upward:unison with bass harmonic

dim. poco a poco

7th harmonic of A (T2)

dim. poco a poco

cresc. poco a poco

dim. poco a poco

(harmonics also notated 8ve above the sounding pitch)

7th harmonic on A string

dim. poco a poco

SoloVln.

7th harmonic of G (T12)(unison with solo violins)

change tremolo speed:slow... fast... slow...

gradually accelerate tremolo....

match pitch with the solo violin

49 q = 100

SoloVln.

dim. poco a poco

horn ossia: tacet until 57, then enter with a crescendo from niente (only if necessary for endurance)

dim. poco a poco

tremolo gradually slower... end on high Bb

cresc. poco a poco

dim. poco a poco

7th harmonic on C stringharmonic glissbeginning on downbeat

4th harmonic on A string

SoloVln.

cresc. poco a poco

change tremolo speed:slow... fast... slow...

non trem.

cresc. poco a poco

SoloVln.

unison with oboe

cresc. poco a poco

unison with flute

cresc. poco a poco

dim poco a poco

5th harmonic of Db (23)

horn ossia: tacet until 87 (only if necessaryfor endurance)

dim. poco a poco

tremolo gradually slowing....

(C# slightly higher - a just minor sixth below A)

non trem.

A to harmonic... and fade out

cresc. poco a poco

dim. poco a poco

SoloVln.

cresc. poco a poco

SoloVln.

dim. poco a poco

3 trem. faster...

tremoloslowing...

dim. poco a poco

(slight pitch adjustment, no new attack)

97 q = 60

SoloVln.

7th harmonic of F (0) - unison with trombone

7th harmonic of F - unison with horn

fade out Bb

SoloVln.

unison with tbn(can be omitted if no viable fingering can be found)

5th harmonic of G (13)

5th harmonic on G string

SoloVln.

fade out F#

dim. poco a poco

fade out top note

125 q = 70

SoloVln.

trem slow...

fast...

slowing...

non trem.

trem slow...

fast...

SoloVln.

slowing...

cresc. poco a poco

7th harmonic on D string

4th harmonic on G string

SoloVln.

dim. poco a poco

perfect 5th above flute

dim. poco a poco

seventh harmonic of G (T12)

dim. poco a poco

(perfect 4th below db)

fade out Eb

dim. poco a poco

(ossia: alternate stopped notes ad lib with natural harmonics)

cresc. poco a poco

espressivo

153 q = 80

SoloVln.

(play as a single long tone if possible)

cresc...

cresc. poco a poco

7th harmonic of C (13) - unison with tbn

cresc...

7th harmonic of C - unison with hn

cresc...

cresc. poco a poco

dim. poco a poco

fade out F#

dim....

slow... gradually faster

SoloVln.

unison with trumpet

unison with hn

dim. poco a poco

unison with oboe

unison with flute5th harmonic of Bb (1)

(semitone trill to B-1/4tone-flat)

dim. poco a poco

espressivo, legato

cresc. poco a poco

unison with clarinet

dim. poco a poco

espressivo

SoloVln.

dim. poco a poco

7th harmonic of D (12)

unison with db

dim. poco a poco

(keep Eb soft but intense until the end!)

dim. poco a poco

SoloVln.

unison with db

last to fade out

unison with tbn

for solo violin and ensemble Robert Hasegawa 2008

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