Manifolds
Manifolds / Territoires prominenced pitch cells
Pitch cells 13 - 15 after the insertion of alternately upward- and downward-sweeping materials in imitation of solar prominence. Red diamond note heads in cell 15 show the first part of one occurrence of this type of insertion. The insertion starts from the fourth cell of field seven segmented on the left.
Manifolds / Territoires pitch cells
Cells three through five of pitch field three partitioned in a special way.
Ascending order spelled with sharps indicates unordered materials in the sketch.
Manifolds / Territoires pitch field five
Manifolds (unaccompanied cello) and Territoires (unaccompanied cello) share eight pitch fields total.
This is number five. Twenty pitches.
Manifolds measures, section 7
The section lasts 2'06" for 202 sixteenth notes, all over 56 measures.
Cyphered battuti
Six battuti classes cyphered (0) through (5).
Notes marked (0) remain in contact with the string and give a type of false battuti. Notes marked (1) through (5) drop from increasingly greater distances above the string.
The notation is cyphered because of the presence of the (0), (1), (2), ... indicators. Another notation might parameterize the same type of information.
This notation shows neither speed nor force. It is, therefore, conceivable that each of these different battuti could be taken quite gently or, alternatively, with great force.
Battuti classes
Types of bow battuti, or, bow drops. First tight from some small distance above the string. Then somewhat more loosely with more space between the bow and the string at the starting point of the path the bow visits to the string.
Do longer paths engender greater force? No. Because it is the human hand (and wrist and arm) that cuts this particular path through space. An inanimate bow falls exponentially. But the human hand falls according to design.
Do shorter paths engender less bounce? Perhaps. Because here force collected on the downward part of the path acts as a limiter on the force required to bounce from the surface of the string.
Angled perturbations
Two pages of notes written at Heathrow en route to Cork.
The progress of the bow from tip to talon and back again is the same in both cases. Full bow strokes all the way up and all the way down in a regular and considered progress of eighths.
At left we take this bowing pianissimo and set the hair at a normal angle relative to the string. The rhythm at bottom left then animates our motion with paired and rapid flicks of the wrist at first up towards the neck, then down towards the stand, then up once again.
At right we take the bowing fortissimo but with a type of accents in photonegative. Patterned antiaccents at first pianissimo and then mezzo piano and then forte and then back again cut notches in a block of otherwise uniform loudness.
Perturbations in both cases. Angled perturbations. Or perturbations of pressure.
Between legno and crine
Another page of Hyphologies notes.
The idea of bow tilt parameterized with its own lifeline.
These examples ask for a four-line staff. The lowest of the four stafflines reads crine and indicates the hair fully in contact with the string in the usual way. The second lowest staffline reads 45 degrees and indicates that the bow tilts about halfway towards the string, as if reaching for half col legno tratto but not quite getting there. The second highest staffline reads 1/2 cl for half col legno tratto and indicates a tilt of the bow towards the string sufficient to draw both the wood and the hair of the bow in equal measure against the string. The topmost staffline reads cl for col legno and indicates that only the wood of the bow is to draw against the string.
The position at 45 degrees represents an intermediate degree of tilt between the more usual crine and half col legno positions. The dotted staffline given in some of the examples hints at the intermedial nature of this position.
Rapid changes in bow tilt now notate as trills, tremolos or fully written-out rhythms.
