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Horizontal Para-Fibonacci Sequence no. 8

Performers’ Notes

 

 

 

I. Notes on this Composition

 

The series of works based on sequences starting with work B1 was originally intended to be a series of purely electronic works. The idea behind this was to obtain the maximum control possible over the accuracy of execution. It seemed that an accurate human performance of a work in this style would be impossible.

 

This work for 8 violins is the first in that series for acoustic instruments.

 

 

II. Selection of the Instruments

 

The instruments used in the performance of this work should all have a relatively similar sound; there should be no instrument that stands out in the group.

 

 

III. Environment

 

The performers are to be situated in front of the audience in a straight line. They should be evenly spaced, 2 to 6 feet (.6 to 1.8 meters) from each other. It is recommended that the players use a measuring string and mark the stage where they are to stand. From the audience’s point of view, player one should be on the left side, and player eight on the right.

 

The posture of the musicians must be identical; the f-holes on the instruments should all be pointed in the same direction. A director should oversee and critique the posture of the musicians.

 

The work is intended to be performed in small rooms or halls, but it can just as well be performed outside. Performances in large halls and other spaces with relatively long decay times are not desirable.

 

 

IV. Tuning of the Violins

 

This work employs scordatura tuning. String IV is tuned on each violin according to the chart below:

 

Player 8 – 197.604102 Hz

Player 7 – 193.485523 Hz

Player 6 – 189.452786 Hz

Player 5 – 185.504102 Hz  

Player 4 – 181.637719 Hz  

Player 3 – 177.851921 Hz

Player 2 – 174.145029 Hz

Player 1 – 170.515398 Hz

 

The instruments are to be tuned directly before the performance. The performers should tune the instruments pizzicato and at their indicated dynamic level in the score.¹

 

 

V. Performance of the Work

 

This work is notated in graph notation. The players should familiarize themselves with some of the works Horizontal Para-Fibonacci Sequence nos. 1 – 7. The players should study the scores, and familiarize themselves with the notation.

 

This work is to be executed with the use of a metronome or click track. Several methods are acceptable; the performers can use an earplug in their right ear, a metronome with a blinking light or a conductor. If a conductor is used, he should use a metronome and try to stand (or sit) in a position that does not distort the audience’s spatial perception of the instruments. He should give the beat and nothing else.

 

Each player has one note, representing a number, and each time this note is played it should sound exactly the same. Players six through eight play their note only once. The composite rhythm of the work is comparable to straight eighth notes. Each player’s note should last exactly as long as one unit; it should start as the previous pitch ends and end as the next pitch starts (excluding the first and last pitch).

 

A conductor should see to it, that all players play their dynamic level exactly as indicated in the score. The transition from ppp to fff should be perceptually totally linear. Rehearsals should be held in which all that is practiced is the balancing of the dynamic levels.²

 

 

Notes

 

 

1. Tuning tracks, click tracks and Horizontal Para-Fibonacci Sequence nos. 1 – 7 are available at ../../catalogue/b43.htm. Personalized click tracks are available on request.

 

2. The players should rehearse the following exercise until they are satisfied with the balance:

 

 

This exercise, playing the scale from bottom to top, should be mastered in the first rehearsals. It should be practiced in the same formation as in performance.