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Curva Triangulus

Catherine Lamb
for Ensemble Proton

clear harmonic duo


Kontraforte
Violoncello

shadow ensemble
Flute
Lupophone (or other mid-upper double reed)
Bass Clarinet and/or recorders
Violin

continuo
Barberini Triple Harp

© sacred realism 2018


Bridget Riley Cascando (2015)
Extended Helmholtz-Ellis JI Pitch Notation and Partial Theory explained

2-limit intonation (2nd partial initiated) is multiplying or dividing a tone by its octave equivalent.

ne 3-limit / Pythagorean Intonation (3rd partial initiated), is structured from the circle of fifths in pure, non-beating relationships (3:2), inversions and saturations (9:8, 4:3, 27:16, etc.)

mu 5-limit / Just / Ptolemaic Intonation (5th partial initiated), a Just major third (5:4) and its Pythagorean multiples (such as 15:8, 45:32, etc.)

7-limit / Septimal Intonation (7th partial initiated), a low Septimal minor seventh (7:4) and its Pythagorean multiples (such as 21:16, etc.)

Combination Tones are created when multiplying different prime-limits (above Pythagorean) together, such as 5 x 7 = 35th partial

Saturation Tones are created when multiplying a prime limit by itself, such 7 x 7 = 49th partial

Concert A calibration is to the ensemble's standard (such as A442), utilized for cent measurement reading (100 cents/equal-tempered semi-tone),

whereas the Eb is considered the fundamental at 0 +/- cents

Curva Triangulus is modulating between Pythagorean, Ptolemaic, and Septimal relationships, including septimal saturations and Ptolemaic/Septimal Combinations
 
 
 
 
pedal tone  long sustained (up to next indicated tone or rest), held tones through harmonic space, freely taking breaths and bows as needed

 
harmonic tone  harmonic space leads melodic movement/momentum, allowing for harmonic interaction to clearly color the air before moving to new tone

 
melodic tone  melody leads harmonic interaction, tone moves through harmonic space

 
clear tone  timbre contains a clear core to the tone, including harmonic vibrancy, unforced and natural

 
shadow tone  timbre is situated within the total harmonic space, highlighting/ emerging from the others timbre.

 
spectral tone  timbre loses fundamental tone and moves into lighter, upper spectrality

silence an open moment of rest between each modulating section, stopping clearly together as an ensemble

 
 

 
 
 
balance  clear timbres are to balance together in the harmonic space as to create clear tonal interactions without one overtaking another,
while shadow timbres are to highlight and emerge from within these harmonic clarities
 
phrasing is unforced and in a plain and natural manner, allowing the interaction of tonality to be the prominent expressivity,
while allowing some subtle contour, flexibility and irregularity in the overall rhythmic feel.
 
rate of movement the shifting of the harmonic space is sensitively balanced between sustaining, interacting tonalities and their momentum forward in time.
melodic movements shape the total perception of harmonic space, and are in relation to the other parts.
slurred material is to move slightly faster than the others, suggesting an ornamentation
 
plain articulation in an unforced, plain manner, devoid of vibrato and focused on clear resonance,
sustaining from beginning to end, with slight roundedness.
endings are more precisely together than beginnings

 
ornamentation occasionally, some slight and subtle ornamentations are allowed, particularly in clearly sounding lines and in the harp continuo.

 
harp continuo  flows freely but in parallel closely aligned to the material, harpist is allowed to expand the written phrases with related materiality
and with some subtle ornamentations. the continuo is quietly flowing from within the ensemble sound, never overtaking.

time the overall timing is somewhere between 2-3 minutes per page, depending on the materiality in moment form
 
1 Curva Triangulus
Catherine Lamb
+/-0 -12 +4 +/-0 +4 -14 -10 -14 +4 +/-0 -12
ù? e ˙ m˙ n˙ e˙ n˙ m˙ m˙ m˙ n˙ e˙ m˙
Kontraforte
clear +/-0 -27
-12 +6 -12 +6 -12 -12 -12
-14

-10

+2
e˙ m˙ +2 -10
eœ m ˙ nœ m ˙ +2 -10 +2
eœ m œ eœ n œ m ˙ e˙ m œ n+6œ +2e˙ +6
n˙ m˙ -43
m˙ e< ˙
Violoncello
? <
û clear

ù +2 -10 +6 +2 +6 , +6 -12 +2 -10 , -27


Flute & e˙ m n˙ e˙ n˙ n m˙ e˙ m˙ e<˙
shadow
+4 +/-0 +4 -14 +4 -12
Lupophone & n e˙ n˙ m n m
shadow
+2 -10 +2 +2 -43
Bass Clarinet & e m e
shadow
e m
II2 <
III2
o -10 II2
-12
m
III2
o -10
mm +/-0
e mo
Violin &
û shadow -12

eœ nœ em œœ mm œœ neœœ em œœ m œ nœ m œ nœ
Triple Harp {& mm œœ nm œœ e œ mm œœ m œ nm œœ em œœ mœ mœ
m œ nœ eœ m œ nœ m œ
mœeœ enœœ eœ nm œœ n œ me œœ n œ m œ eœ m
m œœ e
< œ m œ m<œ m œ
<

-29
ù? -27
e<˙
-23
n<˙
-41
m˙ +4

+8
n˙ -23
n<˙
-27
e<˙
-45

-41
m˙ e<˙
Kf < < <
-12 -39 -27 -12 +10 -39
m œ -43
m˙ -25
e<˙
-21
n< ˙ m˙ -21
n< ˙ e< ˙ m˙ +6
n˙ n˙ -25
e<˙
-21
n< ˙ m< ˙ -25
e<˙
-43
m˙ -27 -39 -43
Vc
? < < < &
û e<˙ m˙ m˙
< <
ù -23 -27 +8 -21 -25
, -29
Fl & n< n˙ n<˙ e<˙ e<
e<˙
-27 -23 -41 -10 -25 -37 -27 -41
Lp & e< n<˙ m m˙ e< m˙ e< m
< < <
-25 +4 -23 -41 -27
B Cl & n n< m e<
e< <
, -21 -39 +6 +10 -39 -43

Vln & n< m n n m m


û < < <

o o o o o o o
m œ e<œ nœ m œ eœ
nnœœ < nœ n e<œœ n<œ m<œ e<œ m œ n œo m œo m œo eœ eœ m œ m œ m œo m œo eœ m œo m œo e<œ m œo m œo eœ m œ
Hp { & ee<œœ m<œ n<œ e<œ mœ m m<œœ n<œ m<œ < e< <œ < < < < < < m <œ < < < < < < < < <
< < < mœ <
2 2
U
-41 -29 +2
e˙ Œ +2
e˙ +4 -29 +/-0
+2

ù? m˙ e<˙ n˙ e<˙ e˙
Kf <
clear
-25 -39 -43 -27 -45 -31 +6 -31 +6 +2 +4 -31 +6 +2 +2 +6 -31 +6 +2 +6 +2 +4 -31
Vc & m˙ e<˙ m˙ e<˙ e<˙ nœ e<˙ e<˙ nœ e<˙
û e< ˙ < m˙ < n˙ n˙ e˙ clear
nœ e ˙ eœ nœ nœ e œ nœ e ˙
<
ù +8 +4 +6
n
-29
Fl & n˙ n˙ e<
shadow
-29 -29 +8 +4 +/-0 +4
Lp & e< e< n˙ n˙ e˙ n
shadow
-27 +6 +2 -27 +4 -31
B Cl & e<˙ n˙ e<˙ n˙ e<
e˙ shadow Lp 3:2
-31 +4 +6
e< n n
Vln &
û shadow

nœ e<œ e<œ e<œ e<œ e<œ eœ nœ eœ e<œ


Hp { & e<e<œœ e<œ m œ
<
e<œ m œ e<œ e<œ e< œ
eœ e<œ nœ nœ ne<œœ eeœœ enœœ nœ e<œ eeœœ nnœœ nœ eœ nœ
e< œ nœ
< <

-29 +4 +/-0 +4 -31 -27 +4 -27 +4 -27 -31 -27


ù? e<˙ n˙ e˙ n˙ e<˙ e<˙ n˙ e<˙ n˙ e<˙ e<˙ e<˙
Kf

-27 -31 +6 +2 -29 +2 +6 -31 +6 +2 -29 +6 +2 +6 -29 -25 +6 +6 -29 -25 +6 +6 -29 -25 -29 +6 -31 -27
Vc & e˙ eœ e<˙ e<œ e<˙
û < < nœ e œ e< œ e œ n œ nœ eœ e< œ nœ e˙ nœ e ˙ e< ˙ n ˙ nœ e œ e< ˙ n˙ nœ e< œ e< ˙ e< œ n ˙
< <
-31 +6 -25 +6 -25 -29
ù e< n e<˙ n˙ e<˙
Fl & e<
+/-0 +4 -27 +4 -27
Lp & e n e<˙ n˙ e<
+2 -29 +8 +4 +6
B Cl &
e e< n˙ n n
+2 -29 -25 +8 +4 -27 -23 +8 -29 -25 +6 -31 -27
e e< e<˙ e<˙ e<˙ n˙ e<˙ e<˙
Vln & n˙ n˙ e<˙ n<˙ n˙
û clear towards shadow....

nœ nœ e<œ nnœœ eœ eœ nœ eœ nnœœ ee<œœ eœ e<e<œœ nnœœ nœ eœ e<œ


Hp { & e< œ eœ < eœ < eœ eœ eœ
e< œ e<œ n< œ < nœ nœ e<œ nœ e<œ nœ nœ ne<œœ e<e<œœ enœœ nœ e<œ eœ
nœ < nœ
<