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M a r c S a b a tTrio for piano violin cello
P L A I N S O U N D M U S I C E D I T I O N
Marc SabatTrio for piano violin cello (1998)
P L A I N S O U N D M U S I C E D I T I O N
for Christina Sabat (1942-1998)
PROGRAM NOTE
This piece is part of a series of compositions that are based on a systematic documentationor cataloguing of a set of possible acoustic circumstances. The process used in this case isbased on one possible realization of an instruction from Christian Wolff’s “Burdocks”, inwhich a performer is invited to make about 511 sounds, each different from the others.
This number happens to enumerate the set of all possible non-silent combinations of ninesounds: (29 - 1).The idea of presenting all combinations from a fixed set of sounds has beentranslated into a list of chords tuned in Just Intonation. Each chord is made up of pitches fromthe first eight odd partials of the harmonic series over A (1-3-5-7-9-11-13-15).
These tones are transposed into various octaves within a fixed range of the piano, following asimple cyclic pattern. The 12 pitch-classes available on a piano are retuned in all octaves to asubset of the overtones of 13.78125 Hz (5 octaves below A-441 Hz and 1 octave below thelowest key of a standard modern piano), which produce sympathetic resonances depending onthe type of pedalling used.
The violin and cello, muted with apartment mutes throughout, sustain various tones from thechords, producing melodic lines. At the same time, the pitches played in the music, theresonances controlled by the pianist, as well as the nonlinear distortion produced in the airand in our ears, are all tuned components of a sustained sub-audio tone which remainsconstant throughout the duration of the composition.
The music is dedicated to Christina Sabat (1942-1998).
PERFORMING NOTES :
The piano is to be retuned in Just Intonation based on the harmonic series of a low A (13.78125 Hz).The deviation of each chromatic pitch-class (in cents from Equal Temperament is as follows:
low A to D# = A (+ 0) [2nd partial of 13.78125 Hz]E to G# = E (+2) [3]A, A#, B, C = A (+ 0) [4]C#, D, D# = C# (- 14) [3]E, F, F# = E (+ 2) [6]G, G# = G (- 31) [7]A, A# = A (+ 0) [8]B, C = B (+ 4) [9]C#, D = C# (- 14) [10]D# = D# (- 49) [11]E, F = E (+ 2) [12]F# = F# (- 59) [13]G = G (- 31) [14]G# = G# (- 12) [15]
and subsequently all 12 pitch-classes are tuned similarly to:
A (+ 0) [16]A# (+ 5) [17]B (+ 4) [18]C (- 2) [19]C# (- 14) [20]D (- 29) [21]D# (- 49) [22]E (+ 2) [24]F (- 27) [25]F# (- 59) [26]G (- 31) [28]G# (- 12) [30]
The pianist plays the written dynamics without compensating for the reduced volume of the strings(which play with metal apartment mutes and remain pp throughout). The indications “ped.” and “1/2ped.” at the beginning of bars indicate that the pedal should be fully or 1/2-depressed slightly beforeplaying the written chord (to produce sympathetic resonances), and kept at that position until a lift orpedal change is indicated. The bracketed indications “(ped.) ” which occasionally occur aresuggestions to aid in a legato change of hand position between chords, and have no specific timbralfunction. The rhythm should be played exactly, without rubato. For the string players, the sound of eachtone is to be sustained very evenly throughout the indicated duration, without any tapering of volume ortimbre at the end of the note.
The score is notated in Just Intonation based on the harmonic series of A. Deviations in cents are alsonotated in the string parts, to facilitate rehearsal with an electronic tuner calibrated to 441 Hz. Openstrings are to be tuned in pure, rather than tempered fifths. The following accidentals are used:
A B C# D# E F# G G# [chromatic pitch-classes]
rA rB xC CD rE !yF "G xG [Helmholtz-Ellis JI Pitch Notation]
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206
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231 w<- 31
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236 w œ
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47
47
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251 .˙2V - 59
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