Asphodel
Viola
Nick DiBerardino
Musical Notation:
Harmonic Glissandi
The typical representation of harmonic glissandi in this work is as follows:
No pitches except the starting and ending pitch need be fingered. This notation was chosen
to emphasize that the natural harmonics should speak as clearly as possible within the
context of the glissandi. In other words, each of the harmonic glissandi should bring out the
overtones of the harmonic series as much as possible; the diamond noteheads between the
starting pitch and the ending pitch, though slightly unconventional, should help to visually
emphasize this desire for clear natural harmonic content within the gestures.
• N.B. that–
• The rhythms of these harmonic glissandi should be observed precisely. One of the
advantages of the above notation is that it helps to clearly display different rates of
speed; the leftmost and rightmost examples above, for example, represent the same
harmonic glissando, but unfolding at different rates with respect to the meter. The
“sul E” example above shows a very fast rising harmonic glissando, one that should
occur for the exact duration notated above.
• Harmonic glissandi that start on an open string (shown with a black notehead, as
in the leftmost figure above) should be initiated at the bottom of the string. (I.e.,
the glissandi should not begin at the next pitch notated in the gesture [D in the
leftmost example above], but rather should start at the lowest note possible above
the open string [G# in the leftmost example above]).
• The harmonic glissandi in this piece occur with several different contours and in
several different types of gestures, one of the most common of which is the “rapid
harmonic gliss:”
•
The top fingered pitch of this gesture should be attempted with accuracy, but in
this case the overall contour of the gesture is far more important to its success than
is its specific high point. Its rhythm, however, should be observed with precision.
Some harmonic glissandi in the piece lead to indeterminate noteheads, as follows:
When an indeterminate end point appears, the harmonic glissando should
continue until it has reached as high a pitch as possible within the context of the
given passage.
Special Noteheads and Indications
− appears above the staff and signifies a smooth transition from one type of playing to
another. One such transition might be from ordinario playing to sul ponticello playing,
or vice versa, but the score should make clear what each specific arrow means.
− appears above the staff and signifies a very wide molto vibrato. To avoid confusion
with a standard trill marking, this graphic notation is also accompanied by the words
“molto vib.” when it occurs in the music.
− signifies that the gesture notated with these noteheads should be realized
approximately, placing a much larger emphasis on the contour of the given gesture
than on its notated pitches. This indication occurs very sparingly in the work, always
as part of a glissando between a few of these noteheads. It is intended to allow for
expressive freedom and to create a somewhat wide pitch valence in the ensemble
realization of the gesture.
− appears on top of the staff, always above a rest, as an indication to dampen all
sound coming from the instrument. This indication always follows pizzicati that would
otherwise ring (all pizzicati without such dampening indications should, in fact, be
allowed to ring). The easiest way to achieve this dampening will likely be to place the
fingers of the left or right hand flat across all four strings.
− indicates a snap pizzicato (also known as a Bartok pizz.). This symbol appears above
a pizzicato note in conjunction with the other standard markings for pizzicato passages.
N.B. that while this marking is sometimes accompanied by the words “snap pizz.” in
this piece, it is not always; it is important that any pizzicato note with this symbol
above be played as a snap pizzicato, even if the passage in question is marked with just
the word “pizz.”
− appears above the staff, towards the right side of a measure, to aid in counting tied
notes in the work’s final section (which is conducted in 1). This notation is intended as
a counting aid, and can be ignored as desired; x6, for example, would simply mean the
note in question is held for six measures (where one starts counting on the downbeat
of the measure that includes this notation).
− indicates a very slight decrescendo. This notation is also paired with crescendi in
the work. Often, these markings coincide with crescendi, decrescendi, or hairpins that
do not lead to a defined dynamic level; all such markings should be considered small
gradations within the previously specified dynamic level of the passage.
Other Considerations
o Accents at the end of tied notes should be observed with a sudden surge in volume at the
point of release of the note. The same is true for sforzandi at the end of tied notes.
o All sul pont. passages should be audibly rich in high partials.
o Some passages call for tremolo 6ths, e.g.:
These sixths should be always played across two strings, bowing as indicated. Two slashes
indicates a slower rate of tremolo than three slashes; neither indicates a specific rhythm.