by Yuval Avital · for string quartet, video, ... (start high then get lower along the finger board; ... 1/4 bemol 3/4 bemol1/4 dies play Ad. lib.

SILENT QUARTETfor string quar tet, video, soundtrack & live electronics

by Yuval Avital

© Yuval Avital 2014

SILENT QUARTET / YUVAL AVITAL

SILENT QUARTET / YUVAL AVITALFOR STRING QUARTET (AMPLIFIED WITH PICK-UPS/CONTACT MICROPHONES)

VIDEO (FULL HD 1080P)

SOUNDTRACK (8 + 2 SPEAKERS OR 4 + 2 SPEAKERS)

LIVE ELECTRONICS

DURATION: 59 MINUTES

CONTAINS:

SCORE

SOUROUND SOUNDTRACK + VIDEO SET CREATED WITH ABLETON LIVE (9 OR HIGHER) & MAX FOR LIVE (MAX/MSP 6.8.1 OR HIGHER).

LIVE ELECTRONICS SET CREATED WITH ABLETON LIVE (9 OR HIGHER) & MAX FOR LIVE (MAX/MSP 6.8.1 OR HIGHER).

PATCHES & EFFECTS FOLDER (MAC OS X.9.4 or higher).

WORLD PREMIERE : EST-OVEST FESTIVAL 2014OCTOBER 24 2014, TURIN, ITALY; PERFORMING: XENIA ENSEMBLE.

I


CONCEPT

THE QUESTIONNAIRE

II

The Silent Quartet is an investigation of nine parallel journeys of nine immigrants living in Italy into their inner memories of home, childhood, family, fears, hopes, confrontation and adaptation and some thoughts regarding their future as well. The basis of this investigation was the Jungian archetype of the hero’s journey, known also as Joseph Campbell's Monomyth, which is based on the analysis of thousands of legends and fairy tales (view The Hero with a Thousand Faces - 1949).Partly inspired by this idea and intuiting that similar life patterns of very different individuals could be told as a tale composed of identical (but of course always different) station, I had decided to base this work on a sort of questionnaire I had made, in which the 9 subjects needed within a precise timeline relive different emotive states connected to their past, present and future.

The Jungian dealing with Monomyth argued that a life story of ANY individual could be summed-up or represented as a cycle of significant stations and transitions of an individual “fairy-tale” parallel and symmetrical to the diverse stages of the life-line (birth-early childhood-childhood-puberty and so on), but the main difference that make the case of an immigrant unique is the fact that his or her entrance to the “unknown” or the “dark world” is concrete and real. It is a significant leap of development which is taking place in an unknown and unfamiliar ambient in which he or she need to cope with the challenge not only of adaptation and integration but also to create a new home, modify their cultural paradigma and set of values to the hosting society and at the same time continue to relate to their “old home”, its culture, collective memory and and set of values - all that without loosing their unique collective and individual identity.

The 59 minutes journey within Silent Quartet is anchored in a parallel timeline in which I asked the 9 subjects to remember, think or aim to a general theme and then to narrate it in silence, rarely saying a word or a name related to these experiences. The Questionnaire was divided to 5 sections (4 of 10 minutes and one of 15+ minutes), which created the general timeline of this work.

The main sections of the Silent Quartet can be summed in the following manner :PART 1 : PRESENT, LOOK AT ME, INTO MYSELF (01’-11’:05”)PART 2 : CHILDHOOD, MOTHER / (FATHER), INTO MYSELF n.2 (11’:05”-21’:30”)PART 3 : INTO MY DARKNESS, MY JOURNEY IN DARKNESS, MY DEMONS (21’:40”-30’:30”)PART 4 : MY BODY, MY SKIN, MY JOURNEY (30’:30”-41’:20”)PART 5 : MY END, MY HOPE, MOTHER n.2 (41’:20”-57’:20”)

a diagram of Joseph Campbell's Monomyth a part my scetch for the Silent Quartet questionnairewritten in a mixture of english & italian.


IDIOMATIC TECHNIQUES

IV

1. Bow positions :

2. Harmonic glissando :

3. Bow pressure :

4. Bow speed, special effects:

5. microtones & special dynamic indications :

6. “X” note-heads and percussive elements :

All “X” note heads represent a non-pitched sound (that could have a relative height though) that could be a sonic effect, an overpressure distorted sound or a percussive element. In cases that a note might “escape” it is advised to dump strings with left hand. Here are the cases in which these note-heads are used:

sul ponte molto sul ponte dietro ponticello sul tasto molto sul tasto dietro e avanti

zona ponticellodietro e avanti zona sul tasto

transizione continua ponticello -> sul tasto

high bow full range

harmonic glissando

high bow small range

harmonic glissando(lower harmonics)

high bow minimal range

harmonic glissando(highest harmonics)

low bow full range

harmonic glissando

low bow small range

harmonic glissando(lower harmonics)

low bow minimal range

harmonic glissando(highest harmonics)

harmonic glissandi Ad . lib.

- - -

molto flautatoflautato(low pressure & fast bow)

poco distorto(overpressure)

molto distorto loco (pressure) variate within the given range freely the bow pressure

- extremely slow bow

("snoring bow")slow bow regular velocity bow fast bow fastest possible bow extremely slow / slow bow seagull effect

vertical bow

fast vertical bow on all strings with dumped strings.fast percussive element on the strings,obtained with a fast rotative movement of the wrist (start high then get lower along the finger board; if there is no immediate necessity of the bow, also right hand could be used).

left hand percussions on the instrument’s body (if there is no immediate necessity of the bow, also right hand could be used).

slow bow (”snoring sound”) on 4th string with portamento of the dumped string.

transition from slow bow on 4th string to fast bowwith clear pitch (open string) remove dumping gradually.

fast vertical bow

example for seagull effectwithin the score.

1/4 bemol

1/4 dies play Ad. lib. within given range

play a continuosrepeating dynamic wavewithin the given range

£ Ø

1/4 dies

ê

3/4 bemol

p-F ppp ff

á± ± ± ±IIIF

YYYYP-F

°

yyæyyæ

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ß~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ transition from molto distorto to molto flautato,together

with portamento of the left hand, dumping the strings.

col legno battuto on open strings (without dumping).

a portamento of 2 strings with molto flautato without clear pitch.

ÅÅÅÅÅÅÅÅ

ÅÅÅÅÅÅÅÅ

col legno batt.Jeté L.V.

fYY

YY

pSenza sord.

GGGGGGGG GGGG

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~~~~~

x x x x x x x x x x x x x x x xL.H. percuss. on body

F

ZZ

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~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~

Y wF


IX

Toward the end of the piece, from section “N” onwards, I start using ornaments taken from the virtuosic vocal and instrumentaltraditions of different nations. Some of these ornaments might be on the limit of possible, some might be beyond - especially in the given time frame. Do your best, and if needed - simplify. After all performing music should be a challenge not a torture.

** AN IMPORTANT NOTE REGARDING SECTIONS “N” TILL THE END

See the video once, with the stereo soundtrack reduction, then leave the video alone. work acoustically on the score, thenadd the live electronics as soon as possible - the effects will change completely your sound and interpretation. Then start playing with the tape - it will be a third important change. Only at the end, when feeling safe, play with the video as well.

* SUGGESTION REGARDING THE STUDY OF SILENT QUARTET

YUVAL AVITAL 09/09/2014, MILAN

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Silent quartetYuval Avital

© 2014 Yuval Avital

Score

for string quartet, video, soundtrack & live electronics

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3Silent quartet


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ad- lib. gliss.+ tremolo sulla

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marcato, senza glissando

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4 Silent quartet


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5Silent quartet

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6 Silent quartet

NO VIBRATO !!!

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97

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5" 12':30

wOw#

#

#

á ·&

P-F

morse code

morse code

30" 13':00

0

0

0

ã

&

&

B

&

Time

Vln. I

Vln. II

Vla.

Vc.

102

102

wOw

wOw#

#

#

?

pp-P

40"13':40

Grain. (Leg) 1700 ; (Den) % 17

Trasp. high (24/36) ; (Wet) 60%

*

pp-PGrain. (Leg) 1700 ; (Den) % 17

Trasp. high (24/36) ; (Wet) 60%

20"

wOwb

b

b

Ow

pp-P

F 0

20"

14':00

Dist. (T) 50% ; (D) 60%

wOwb

bb

wOwæ

10"

14':10

0

wOw

30"

14':40

*

wOw

15"14':55

Grain. (Leg) 1700 ; (Den) % 17

Trasp. high (24/36) ; (Wet) 60%

wOwØØØ

wOwb

5"15':00

Grain. (Leg) 1700 ; (Den) % 17

Grain. (Leg) 1700 ; (Den) % 17

Trasp. high (24/36) ; (Wet) 60%

Trasp. high (24/36) ; (Wet) 60%

wOwÙÙÙ

10"

15':10

Grain. all (Den) to 70% Trasp. high all to (Wet) 00% -> close Trasp.

wOw°°°

15':2515"

ã

&

&

B

?

Time

Vln. I

Vln. II

Vla.

Vc.

110

110

wOwn

nn

5"15':30

*

wOwn

nn

wOwn

nn

10"

15':40

Grain. all (Den) to 5%

wOw#

##

wOw

5"15':45

wOwØØ

Ø

wOwê

êê

15"

16':00

wOwÙ

ÙÙ

wOw#

##

5"


wOw

wOw

5"16':10

wOwê

êê

wOw#

##

2"

wOw

wOwwOwwOwÙ

ÙÙ

8"16':20

wOwn

nn

5"

wOwwOwÙ

ÙÙ

wOwwOwØ

ØØ

5"16':30

0

0

0

0


7Silent quartet





ã

?

Time

Vc.

120

ww

q = 48 (w=5")

F

più legato possibile

16':30

* Rev 06" ; 60%Grain. (Leg) 1800 ; (Den) % 50 ; (Wet) 20%

Dist. (T) 60% ; (D) 40%

wwb ˙˙ ˙ ˙ ˙bF ˙ ˙b ˙ ˙b ww ˙b ˙bbFwwf

ww wwPwwbF

˙˙ ˙ ˙ ˙bbF

ãB

?

Time

Vla.

Vc.

134

ww

17':40 .ca

˙b ˙ ww ˙b œœb œœf ƒww œœbb ..˙˙

F

Ó . œ-

˙b ˙b

f ˙ œ œ œ3

˙ ˙b

.˙b œ

ww

f w

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œ œ- œ- ˙3

..˙ ˙

. .˙ jœb>

˙˙b ˙b

f

ã&

&

B

?

Time

Vln. I

Vln. II

Vla.

Vc.

146

146

˙ œ- œ- œ-3

˙b ˙P

18':40 .ca

˙ ˙b

˙ ˙b

P ƒ

f

˙ œ œ> œ3

˙ ˙b Psubito p

subito pjœ .œ Œ Œ Œ œ œ

œœb ˙ œœ ˙f

˙b ˙

wwbF

Ó jœ .œb jœ

.œ œ œ œb œ .œb .œ Jœ

˙b ˙bb

f

Œ ‰ . œ œ œb œ . .œb

œ .œ œ œ œb œ . .œb


œœ .œ œ œ œb œ . .œb

f

f

œb œ .œŸi .œŸ Œ jœ œ œ jœ œ

jœ .œŸi

.œŸ Œ œ œ œ

jœ .œŸi .œŸ Œ œ œ œ


ã

&

&

B

?

Time

Vln. I

Vln. II

Vla.

Vc.

154

154 .œb œ œ œ jœ .œ ‰

.œb jœ .œ jœ

.œb jœ .œ jœ

˙ ˙bF

più legato possibile

19':22 .ca

‰ œ œ jœ œ jœ .œb œ œ Jœ

œ œ œ œ .œb jœ


œœ ˙ œp

˙ Ó

.œ ‰ Œœ œ œ

.œ ‰ Ó

w

.œ ‰ Ó

.˙ œœbF

Ó Œ ˙b3

œœ œœ œœb œœbb

pizz.

P

Œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3

œ Œ Œ ˙5 3

œœ ˙ œœbb

Fœ œ œ œ œ œ œ œ

Ó3 3 3 3

Œ œ Œ jœ ‰ jœ œ3

Œ Œ ˙ œæ3 5

..˙ œœb

pizz.

arco

Í

8 Silent quartet

ã

&

&

B

?

Time

Vln. I

Vln. II

Vla.

Vc.

161

161

Jœ ‰ Œ Œ . Jœb

Œ Œ jœ Ó3

˙ œœb œœbb

pizz.

P

20':00 .ca

Ó ‰ ‰ Rœ œ œ œ œ3 3 3

Jœ ‰ Œ Œ jœ œ

‰ œ Œ ‰ Œ œæ3 9

œœ œœ ˙

F

arco

Í

œ œ œ œ œ œ œ œ œ œ‰ Œ

3 3 3 3 3

œ œ œ œ> œ œ œ œ> œ œ œ> œ œ œæ Œ œb Œ3 3 3 3

Œ Œ ˙ Œ jœœ33

˙ ˙bb

arco pizz.

P f P

Ppizz.

Ójœ œ œ œ œ œ> œ œ œ œ> œ œ œ> œ œ

3 3 3

Ó . œ

Œ Œ ˙˙ œæ3 5

œœ ˙b œœ

pizz.

F

Í

arco

˙æ Ó

˙ Ó

Œ œ œ œ œ> œ œ œ œ> œ œ œ> œ œ œæ Œ3 3 3

ww

ƒ

P F

ã

&

&

B

?

Time

Vln. I

Vln. II

Vla.

Vc.

166

166 Ó˙

Œ .˙

Œ ˙b œæ Œ3 5

˙b œœ œœbb

pizz.

P

F

P

arco

Í

20':25 .ca

˙ ˙b

˙ œb œ

Œ ˙ Œ Œ jœ3 3

œœ œœbb ˙˙P

pizz.

˙Ó

.˙ œ

œ Ó .

œœ ˙b œœb

œ œ œ œ œ œ œ œ œ œ œ œ Œ3 3 3 3 3 3

.˙ œ

Œ Œ ˙ Œ3

..˙ œœb

F

.Jœ ˙b œ

œ ˙b œ

Ó ‰ œæ ‰5

œœ ..˙

arco

fœ Œ Œ œ œœ Ó œ œŒ Œ Œ œ œ

œœœœ ˙

arco

f

f

f

*accelerate if needed to match timeline

˙b ˙

˙b ˙

˙b ˙

wwb

.œ œ œ œb œ .œb .œ jœ

.œ œ œ œb œ .œb .œ jœ

.œ œ œ œb œ .œb .œ Jœ

˙b ˙bb

ã&

&

B

?

Time

Vln. I

Vln. II

Vla.

Vc.

174

174



œ .œ œ œ œb œ .œb œ

œœ .œ œ œ œb œ .œb œ

21':05 .ca


jœ .œŸi

.œŸ Œ œ œ œ

jœ .œŸi œŸ Jœ ‰ ‰ œ œ œ

jœ .œŸi œŸ Jœ ‰ ‰ œ œ œP

P

P

P.œb jœ .œ jœ

.œb jœ .œ jœ

.œb jœ .œ jœ

˙ ˙b

œ œ œ œ .œb Jœ



œœ ˙ œœb

f

f

f

F

.œ œ œ œ œb

.œ œ œ œ œb

.œ œ œ œ œb

œœ œœb œ œ œ œbf

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ jœb œ œ œ œ œ œ

œ jœb œ œ œ œ œ œ

œ jœ œ œ œ œ œ œ

œ jœ œ œ œ œ œ œ

w

.˙ Œ

˙ Ó

˙b ˙Fã?

Time

Vc.

182

˙˙ ˙

21':45 .ca

˙ ˙b

22':00

9Silent quartet

by Yuval Avital · for string quartet, video, ... (start high then get lower along the finger board; ... 1/4 bemol 3/4 bemol1/4 dies play Ad. lib.

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