gioseffo zarlino - marc sabat · gioseffo zarlino (2015) for variable instrumentation with every...

M a r c S a b a t

Gioseffo Zarlino

for variable instrumentation

P L A I N S O U N D M U S I C E D I T I O N

Gioseffo Zarlino (2015) for variable instrumentation

With every new consonance come new possibilities for melodic movement as well as new harmonic complexities, paradoxes and dissonances. Tonal systems evolve, reflecting musical practice, discovering new perceived relationships of sounds. Inspired by his reading of the remarkable scientist-musician Claudius Ptolemy, in 1558 the Renaissance Italian theorist Gioseffo Zarlino describes a diatonic and chromatic tonal space defined by rational intervals between the numbers 1 through 6 (the Senario). This space expands the Pythagorean division of the octave, including consonant thirds and sixths to better describe the contemporary practice of vocal counterpoint. In addition to the major whole tone 8:9, produced by moving between the perfect fourth 3:4 and perfect fifth 2:3, there is a minor whole tone 9:10, between the perfect fifth 2:3 and major sixth 3:5. A singing voice sometimes makes a major tone step, at other times a minor tone step, almost without consciously perceiving the small enharmonic difference of a comma between them. Zarlino describes how these two whole tones produce two diatonic species of the melodic major third 4:5 (major+minor, minor+major). In my piece, the two main voices move mainly by tones, occasionally by a pure major third, making consonant counterpoint. The comma differences are composed and notated; by intoning simple ratios, the two voices realise different size tones. Their successive combinations outline three different thirds: the Ptolemaic 4:5 (major+minor or minor+major), Pythagorean 64:81 (major+major), and the small third 100:81 (minor+minor) sometimes heard in Byzantine chant. Zarlino’s proposal to sing in 5-limit Just Intonation is part of a century-long exploration of diatonic/chromatic/enharmonic tone systems and music. Unlike his contemporary Nicola Vicentino, who separates genera to seek out the enharmonic, Zarlino sees the greatest subtlety and beauty in diatonic genera mixed with subtle chromatic and enharmonic intervals. Both theorist-composers opened doors to a remarkable universe of microtonal explorations. My “Zarlino” is the third in a series of pieces inspired by ideas in the history of music theory, which I seek to experience and unfold in a sounding world.

Berlin, 17 February 2016

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I

II

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III(ad lib.)

IV(ad lib.)

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pp sotto voce, semplice e preciso

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o nFb

n n oo Fbn no n

o mm

n n no no

Fb

n no oo

oo no n

o m m m n no no

Fbnno o

o

Marc Sabat

for at least two sustaining instruments or voices

in memoriam Friedemann Weigle

Gioseffo Zarlino

B(C only on repeats)

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no n n n no oo

oo

n m n oo

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&(E only on repeats)

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B no n n m n oo no n n m n o

o no n n m n oo

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B n n n n n m m n n n o o n n n m n m m n n n o n n n n n n m m m n n o o

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˙n ˙n œn œ ˙n Œ Ó Œ˙n ˙n œn œ ˙n ˙n

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˙n ˙n wn ˙n Ó ˙n ˙n wn ˙n Ó ˙n ˙n wn ˙n Ó

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&

?(A tied last time only)

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˙ ™ ˙n wn ˙n œn ˙ ™ ˙n wn ˙n œn ˙ ™ ˙n wn ˙n œn

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œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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oo no n

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B oo no m m n no no o no n m m no oo o no n m n no oo o

B oo

n m n n no oo

n m n n no oo

n m n n no

&(E 1st time only)

?

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B o o n n m m m n n n n n n o n n n m m n m n n n o o n n n m m n n n n n o


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œ ˙n Œ Ó Œ˙n ˙n œn œ ˙n ˙n

Œ Œ˙n ˙n Œ Œ ˙n ˙n

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5

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-6

HARP PITCHES / TUNING (harmonic circles indicate 2. partial of string one octave lower)

n+16

oo

m-24

-2no

m-20

+2no

+2 Fb or F retuned

nnn n

in a one harp version play these 3 harmonics as 3rd partials of C, D and E

oo m n o m n o

?-8

n +14o o-4

n +18o o-22

m 0n o-18

m +18n ow w w w w w

www w w w w w w

w w w w w w w w

6

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CP

I

II

Kbd(ad lib.)


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CP

I

II

Kbd

4

62

62

62

62

62

&‹

The uppermost staff indicates common partial unisons between harmonics, which may be heard when the intervals between the two main voices (I and II) are well-tuned in their natural ratios.The arrow notates an alteration of the respective Pythagorean pitch by one syntonic comma (80:81). If singing, use any changing vowels, for example the Italian sequence i-o-e-u-a-i-o.

n n n m m m n n n n n o n n n mm

n n n n n n o o n n m m m n n nn

n o

for at least two sustaining instruments or voices with optional keyboard

Marc Sabatin memoriam Friedemann Weigle

Gioseffo Zarlino

&(C only on repeats)

o n m n n n o n m n n n o n m n n n o? n n m n n o n n n n n o o n m n o o


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?

&‹ n n n n n m m m n n n o

n n n mm

m m m n n nn

n n n n n m m m m n n o

& o n n m n n o n m m n n n n n m m n o? n n n m n o n n n m n o n n n m n o

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˙n ˙n Ó ˙n ˙n Ó ˙n ˙n ˙n ˙n ˙n Ó ˙n ˙n Ó ˙n ∑


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m n n no n n n m m m n n n n n

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&(E 1st time only)

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3

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ppp sotto voce, flautando, espressivo sometimes disappearing into white





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&senza sord. ≥

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m

Marc Sabat

for 2 violins, cello and piano : in memoriam Friedemann Weigle

Gioseffo Zarlino

&con sord.

(C only on repeats)

o n m n n n o n m n n n o n m n n n o?con sord. n n m n n o n n n n n o o n m n o o


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Tune the natural pitches F, C, G, D, A, E in pure untempered fifths and play all intervals as justly in tune as possible.An arrow notates a correction by one syntonic comma (80:81) to produce pure thirds and sixths.

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& o n n m n n o n m m n n n n n m m n o? n n n m n o n n n m n o n n n m n o

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˙n ˙n Ó ˙n ˙n Ó ˙n ˙n ˙n ˙n ˙n Ó ˙n ˙n Ó ˙n ∑

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&‹ n+

+ +n+

+ +n+

+ +

Oœn œOn œOn OE e

Oœ œOn œOn Oœn ˙n ™ Oœn œOn œOn œO

e EO œOn œ

On Oœn œn On

ŒOœn

œOn

OE e

Oœ œOn œOnOœn Oœn On

œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

œŒ˙n ˙n ˙n

Œ ˙n ™Ó ˙n ˙n ˙n ˙n ™Ó

œ ˙n ˙nŒ˙nŒ ˙n ˙n ˙n ˙n ˙n ™

Óœ ˙n ˙n

ŒÓn ™ ˙n ˙n

∑˙n ™

OœnOœn

œOn

On O

En ™™™

œOn œOnOn Oœn

Oœn

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œOe %~w œOn œ

On Oœn Oœn Œ

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En ™™™

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eœOn

On

œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

œ ˙n ˙n ˙n wnŒ Œ ˙n ˙n ˙n

Óœn œ ˙n ˙n

ŒwnÓ Œ ˙n ˙n ˙n

Óœn œ ˙n ˙n ˙n wn

Œ Œ ˙n ˙n ˙nÓ

œn

{

{

™™™™™™™™

™™™™™™™™

™™™™™™™™

™™™™™™™™

Vln

Bsn

Vlc

Gtr

7

™™™™™™™™

™™™™™™™™

™™™™™™™™


™™™™™™™™

Vln

Bsn

Vlc

Gtr

10

&≥ m

mmm

≤ mm

mm

≥ mm

mm


≤

B o n n n m n o n n n m n o n n n m n o

? o o n m n o o n n n n n o n n m n n

&‹ +

+ +

+

+ +

+ +

+ +

(A tiedlast time only)

+

&mm mm

mmmm

mm ≤ m

m mmm m

m≤ m

m mmm ≤

B o n m m n n n n n m m n o n n m n n o

? o n m n n n o n m n n n o n m n n n

&‹(E 1st time only)+ +

+

+ +

+

+ +

+

On Oœn Oœn

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EœO

eœOn

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œn

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On œO

eœO

eœOn œOn

OœnOn ™™ O

œn

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EœO

eœOn œOn

Oœn

œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

Ó˙ ™ ˙n ˙n ˙n wn Ó ˙n ˙n

Óœn

Ó˙ ™ ˙n ˙n ˙n wn ˙n ˙n ˙n ˙n œn

Ó˙ ™ ˙n ˙n ˙n wn Ó ˙n ˙n ˙n œn

Oœ œOn œOn œOe

œOe

OE

œO

eœOn œOn Oœn œn Oœn O

œn

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eOE™™™

œOe

œOn œOnOœn Oœ

Oœn

œOnœOn œO

eOE™™™

œOn œOn œOnOœn Oœ Œ

œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

œ ˙n ˙nŒ

wnÓ Œ ˙n ˙n ˙n ˙n œn œ ˙n ˙n ˙n Œ ˙n ™Œ Œ ˙n ˙n ˙n ˙n Œ Œ ˙n ˙n ˙n Œ ˙n ™Œ Œ ˙n ˙n ˙n ˙n Œ ˙

3

gioseffo zarlino - marc sabat · gioseffo zarlino (2015) for variable instrumentation with every...

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