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Vertical Para-Fibonacci Sequence no. 10

Performers’ Notes

 

 

 

I. Notes on this Composition

 

This work was written as part of a series of works for 7 or 8 violins. Horizontal Para-Fibonacci Sequence no. 8, Lucas Sequence no. 6, and Fibonacci Sequence no. 7 precede this work. They might be performed on the same concert as this work, but preferably with an unrelated work or long pauses in between.

 

 

II. Selection of the Instruments

 

The instruments used in the performance of this work should all have a 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 right side, and player eight on the left.

 

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 rooms or small halls, but it can just as well be performed outside. Performances in large halls and other spaces with longer decay times are not desirable.

 

 

IV. Tuning of the Violins

 

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

 

Player 1 – 419.1000000000 Hz

Player 2 – 413.6580726223 Hz

Player 3 – 408.2868075533 Hz

Player 4 – 402.9852872574 Hz     

Player 5 – 397.7526061132 Hz     

Player 6 – 392.5878702583 Hz

Player 7 – 387.4901974372 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.

 

Tuning tracks and click tracks can be found at the following web adress:

../../catalogue/b82.htm. Personalized click tracks are available from the composer on request.

 

 

V. Performance of the Work

 

This work uses graph notation. The players should familiarize themselves with the works Vertical Para-Fibonacci Sequence nos. 1 – 9, also available for download at caseymongoven.com. The players should study the scores, and familiarize themselves with the notation.

 

This work is to be executed with the use of a 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.

 

The composite rhythm of the work is comparable to straight eighth notes. Each player’s note should last exactly as long as one unit (.234 seconds); it should start as the previous pitch ends and end as the next pitch starts (excluding the first and last pitch). The players should work to try to match the other players’ pizzicato technique as exactly as possible.

 

The most difficult part of performing this work is the balancing of the dynamic levels. If other works in this series are played on the program, the dynamics should match the dynamics written in those works so that mezzoforte, for example, has the same level of loudness in all the compositions. The performers will need to visualize the number line in which they are standing as having 8 different dynamic levels:

 

The arrow above indicates a perceptually linear change of dynamic between mezzoforte and forte. Exact dynamic levels are not given in traditional notation for the inner parts (players 2 through 7), as they lie in between these marks.

 

Rehearsals should be held in which all that is practiced is the balancing of the dynamic levels. The players should rehearse in the same place where the work is to be performed several times. A director should critique the ensemble. The players should internalize their exact dynamic levels in rehearsal, and practice playing that note exactly the same each time.