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Nirantar Yakthumba: "Mulasankhyachakra" #quartweet (2021)
- 1. मूलसंख्याचक्र mūlasankhyāchakra for string quartet (2021) Nirantar Yakthumba
- 2. Performance Notes The piece is constructed with precise time-brackets. The durations of these time-brackets vary through the piece. Hence, the use of a stopwatch is recommended. The time-brackets of the different strings parts are generally asynchronous and only coincide at the indicated rehearsal marks and on the final note that is indicated with a fermata. In the parts (Vl. 1, 2, and Vla.), the upper staff indicates the sounding pitches, while the lower staff indicates the fingered notes. The piece is played entirely with either natural harmonics or open strings. Microtones as small as twelfth-tones are indicated in the score in order to precisely determine the position of the node (natural harmonic) and to describe how the sounding tone deviates from twelve-tone equal temperament. Further performance notes are provided in the parts. The piece requires the use of scordatura, which is prepared in the following manner: The recommended steps for the execution of this preparation is recommended below. The use of an electronic tuning device is essential, at least for the performance of the piece. 1. Violin 1: Tune II to A = 441; this is exactly equal to A = 400 + 4 cents and must be prepared with a tuning device. 2. The rest of the strings tune as they normally would to this A given by Violin 1 (pure-fifths) 3. Cello IV: C - D (pure-fourth with III) 4. The rest of the performers must then prepare the indicated strings one after the other; a tuning device must be used to ensure that the tuning is as accurate as possible. Notational Key ‘regular’ accidentals +16.7/-16.7 cents (twelfth-tones); arrows apply in the same way to the regular accidentals above +33.3/-33.3 cents (sixth-tones); arrows apply in the same way to the regular accidentals above quarter-tones
- 3. Nirantar Yakthumba Mūlasankhyāchakra मूलसंख्याचक्र Violin I Vln. I Vln. I Vln. I Vln. I Violin I Son r. Son r. Son r. Son r. Son reél (molto sul pont.) II II III IV II III IV simile III III I simile IV III I II loco II IV III simile II sempre sul pont. I III 2'57 2'51 2'39 2'15 2'08 2'33 2'27 2'00 1'53 2'45 2'39 2'21 1'45 1'38 2'15 1'30 1'30 1'21 1'12 0'45 0'36 0'27 1'03 0'54 loco 0'45 0'18 0'09 0'00 - Niente attacks for each note. Similarly, diminuendo al niente when applicable. - The cresc. durations of successive notes become progressively longer while the dim. durations get shorter throughout the piece. - The peak dynamic levels of successive notes become progressively louder throughout the piece. - The position of the bow gradually goes from sul pont. to molto sul pont. from the beginning of the piece till the end. - The bow pressure gradually increases from light to overpressure from the beginning of the piece till the end. - All glissandi are harmonic glissandi, ie. light left hand finger pressure. - Bow changes must be done as smoothly as possible, no audible rests between successive notes. D C B A
- 4. Nirantar Yakthumba Mūlasankhyāchakra मूलसंख्याचक्र Violin II Vln. II Vln. II Vln. II Violin II Son r. Son r. Son r. Son reél II II II I IV IV simile III IV IV loco II I simile II sempre sul pont. III 2'15 2'10 2'05 1'55 1'30 1'50 1'20 1'45 1'10 2'00 1'55 1'40 1'00 1'35 0'50 loco 1'30 0'40 0'40 0'30 0'20 0'10 0'00 - Niente attacks for each note. Similarly, diminuendo al niente when applicable. - The cresc. durations of successive notes become progressively longer while the dim. durations get shorter throughout the piece. - The peak dynamic levels of successive notes become progressively louder throughout the piece. - The position of the bow gradually goes from sul pont. to molto sul pont. from the beginning of the piece till the end. - The bow pressure gradually increases from light to overpressure from the beginning of the piece till the end. - All glissandi are harmonic glissandi, ie. light left hand finger pressure. - Bow changes must be done as smoothly as possible, no audible rests between successive notes. A
- 5. Vln. II Vln. II Son r. Son r. IV (molto sul pont.) III IV II IV III simile I IV 2'57 2'51 2'45 2'39 2'39 2'34 2'29 2'25 2'20 2'15 D C B scord. 2
- 6. Nirantar Yakthumba Mūlasankhyāchakra मूलसंख्याचक्र Viola Vla. Vla. Vla. Viola Son r. Son r. Son r. Son reél II IV I IV IV II II II IV simile III IV IV loco II III simile II I sempre sul pont. 2'15 2'11 2'07 2'03 1'50 1'30 1'46 1'22 1'42 1'14 1'59 1'55 1'50 1'38 1'06 1'34 0'57 loco 1'30 0'49 0'49 0'41 0'33 0'25 0'16 0'08 0'00 - Niente attacks for each note. Similarly, diminuendo al niente when applicable. - The cresc. durations of successive notes become progressively longer while the dim. durations get shorter throughout the piece. - The peak dynamic levels of successive notes become progressively louder throughout the piece. - The position of the bow gradually goes from sul pont. to molto sul pont. from the beginning of the piece till the end. - The bow pressure gradually increases from light to overpressure from the beginning of the piece till the end. - All glissandi are harmonic glissandi, ie. light left hand finger pressure. - Bow changes must be done as smoothly as possible, no audible rests between successive notes. A
- 7. Vla. Vla. Son r. Son r. (molto sul pont.) III IV II simile IV I IV II III simile IV 2'57 2'51 2'48 2'39 2'35 2'31 2'27 2'45 2'42 2'39 2'23 2'19 2'15 D C B scord. 2
- 8. Nirantar Yakthumba Mūlasankhyāchakra मूलसंख्याचक्र Cello Vlc. Vlc. Vlc. Vlc. Cello IV 2'51 2'15 2'39 IV 2'48 III 2'45 2'04 IV 2'33 1'53 2'27 III III II IV molto sul pont. simile II 2'42 simile simile 1'42 II 2'21 III 2'39 IV 1'30 2'15 IV III 1'30 IV 1'08 III 0'45 II simile I II 0'23 I sempre sul pont. 0'00 2'57 2'54 2'51 scord. - Niente attacks for each note. Similarly, diminuendo al niente when applicable. - The cresc. durations of successive notes become progressively longer while the dim. durations get shorter throughout the piece. - The peak dynamic levels of successive notes become progressively louder throughout the piece. - The position of the bow gradually goes from sul pont. to molto sul pont. from the beginning of the piece till the end. - The bow pressure gradually increases from light to overpressure from the beginning of the piece till the end. - All glissandi are harmonic glissandi, ie. light left hand finger pressure. - Bow changes must be done as smoothly as possible, no audible rests between successive notes. D C B A