the dreams of the sound convincer
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dimitar g. pentchev©2010
Violoncello [ ]mf
Ritmico mysterioso q=144(3+2+3)
pp keep emphasizing rhythmic groups
Vc.
5
Vc.
Pno.
9
pp
Vc.
Pno.
13
simile
l.h. 'hammer-onand pull-of'
The Dreams of the Sound Convincer
Dimitar Pentchev
I. Rondo Somnambuloso
pizz.r.h.
0
r.h.:on the keys
inside the pianomute strings with palm of l.h.
Vln.
Vla.
Vc.
Pno.
Ped.Snd
pp
17
pp
pp keep emphasizing rhythmic groups
rfz
Vln.
Vla.
Vc.
Pno.
Ped.Snd
fp
21
sul tasto
sul pont.
R.H.:muffle the strings with palm of hand inside the piano
molto vibr.sul tasto senza vibr.
col legno
col legnoarco
nat.
2
2
Vln.
Vla.
Vc.
Pno.
Ped.Snd
mf
24
mf
Pno.
Ped.Snd
molto rit. 28
Vln.
Vla.
Vc.
Pno.
p
Slow and eerie q=50A
ppp
ppp
Slow and eerie q=50A
ad lib. ricochetnat.
2
nat. ad lib. ricochet
2
Wait till pianopedal sound fades away
flautando
actual pitch
actual pitch
3
Vln.
Vla.
Vc.
Pno.
fpp
38
sfz
pp sempre
Vln.
Vla.
Pno.
mf
rit. Tempo I q=144B42
mf
mf
rit. Tempo I q=144B
Vln.
Vla.
Vc.
Pno.
45
mf
3 6 5
nat. 5
3
3
3
4
Vln.
Vla.
Vc.
Pno.
49
Vln.
Vla.
Vc.
Pno.
53
5
Vln.
Vla.
Vc.
Pno.
57
Vln.
Vla.
Vc.
Pno.
61
6
Vln.
Vla.
Vc.
Pno.
n
molto rit. 65
n
n
sfz
molto rit.
fp
Vln.
Vla.
Vc.
Pno.
mf molto espress.
Tempo II q=50C70
p
p
Tempo II q=50C
pp
3
attacca
3
3
attacca
attacca
senza vibrato
attacca
7
Vln.
Vla.
Vc.
Pno.
ppp
Tempo I q=144D75
mf
mf
Tempo I q=144D
pp p
Vla.
Vc.
Pno.
79
00
3 3 6 3
8
Vln.
Vla.
Vc.
Pno.
mf espress.
83
Vln.
Vla.
Vc.
Pno.
87
f
Pno.
90
9
Vln.
Vla.
Vc.
Pno.
93
Vln.
Vla.
Vc.
Pno.
97
mf
p
sempre
sempre
Pno.
100
0
Or.h.
l.h.
R
10
Vln.
Vla.
Vc.
Pno.
f
102
f
f
Vln.
Vla.
Vc.
Pno.
104
Vln.
Vla.
Vc.
Pno.
106
11
Vln.
Vla.
Vc.
Pno.
108
Vln.
Vla.
Vc.
Pno.
111
Vln.
Vla.
Vc.
Pno.
113
sempre
sempre
r.h.
l.h.
RO
12
Vln.
Vla.
Vc.
Pno.
115
Vln.
Vla.
Vc.
Pno.
117
Vln.
Vla.
Vc.
Pno.
119
13
Vln.
Vla.
Vc.
Pno.
121
Vln.
Vla.
Vc.
Pno.
123
Vln.
Vla.
Vc.
Pno.
ff p espress.
125
ff p espress.
ff p espress.
f
14
Vln.
Vla.
Vc.
Pno.
127
Vln.
Vla.
Vc.
Pno.
129
15
Vln.
Vla.
Vc.
Pno.
131
Pno.
133
Vln.
Vla.
Vc.
Pno.
pp mf
r=r135
pp mf
pp mf
ff p
r=r
16
Vln.
Vla.
Vc.
Pno.
rit. 140
rit.
mf
Vln.
Vla.
Vc.
Pno.
ppp p
molto rit. Adagio q=66E144
ppp
ppp
molto rit. Adagio q=66E
3 35 6 5
3 3 5
3 5
3
3 3 33
3 3 3
17
Vln.
Vla.
Vc.
150
Vln.
Vla.
Vc.
Pno.
fp
rit. Largo q=50F156
fp
fp
mf sfz
rit. Largo q=50F
sempre pp
molto port.
3
3 molto port.3
3
3
18
Vln.
Vla.
Vc.
Pno.
162
sfz sfz
Pno.sfz sfz sfz
166
Pno. pp
170
mf
Pno.
173
sfz sfz sfz sfz
slowly leave the stage, with your instrument
slowly leave the stage, with your instrument slowly leave the stage, with your instrument
3 3 33 6 5 3
3 3 33 6 5 3
3
3 33 6 5 3
33 6 5 3
19
Pno.
176
sfz sfz
Vln.
Vla.
Vc.
Pno.
mp
179
pp p
pp p
Vln.
Vla.
Vc.
n
184
n
n
3 5 6:4e 3 6 5
off stage
3
3
off stage
off stage
3
3
3 3
20
Ad Libitum
Vc.
match ball bounces as close as possible (rhythm is approx.)
II. Adagio Allettante
The movement starts with the pianist carrying the bag of ping-pong balls and standing center stage. He/she will have to ensure that there is absolute silence before proceeding. When relatively slow succession of bounces is required, the ball could be thrown upwards initially.
1.Bounce one ball offthe floor, catch it, pause for approx. 3''
Dur.: 25-30''
3.Gradually increase the frequency of bouncing, still using only one ball, with shorter pauses in between.
3''
2. Let it bounce 3-4 times with the bouncing speed accelerating slightly, pause for approx. 3''
3''
The cello player walks in, as if "lured" by the sounds of ping-pong balls bouncing. Takes his/her place.
Dur.: 20-25''
4. Throw upward a ball so that it will bounce at least once or twice slowly before accelerating. Repeat.The cello player will "match" thesound of the balls with his/her 3 groups of pitches.
Group 1
3
21
Vc. rhythm is approx. rhythm is approx.
rhythm is approx. rhythm is approx.
rhythm is approx. rhythm is approx.
rhythm is approx. rhythm is approx.
4. ...continued
At the same time as the cello is playing together with the bouncing ball sounds, the other two players enter and take their places.
Group 2
0
Group 3
5. The pianist, standing with their face to the players, starts to bounce more than one ball, at different heights, frequency and loudness. Start with 2 balls and clearly acknowledge which of the players should follow them: cello+violin, cello+viola, violin+viola. Try to leave as little gap between bouncing balls as possible:the audience has to have the feeling that the created texture of sounds + bouncesthickens gradually. Each instrument has 4 groups of pitches:choose randomly between them for each bouncing succession. N.B. It is not necessary to catch all the balls after bouncing - leave them on the floor and use new ones.
Dur.: 1:30 min
Vln.
Group 1
0 Group 2
Vla.
Group 1
Group 2
Group 1 (reset count)Vc.
0
Group 2
0
22
Vln.
Vla.
Vc.
rhythm is approx. rhythm is approx.
rhythm is approx. rhythm is approx.
rhythm is approx.
rhythm is approx.
Vln.
Vla.
Vc.
f
f
f
Group 3
0
5. ...continued
Group 4
Group 3
0
Group 4
0
Group 3
0
Group 4
0
Pitch group 5
6. Start throwing three balls simultaneously: violin, viola and cello each "follows" a different one with his/her pitch group (p.g.5 pitches are playedin random order alternating articulations between legato-staccato, going gradually "out of sync" with the bouncing rhythm.
If the ball you are following stops bouncing, follow another or just keep playing similar rhythm until No.7 (watch pianist).
Dur.: approx. 20''
Pitch group 5 If the ball you are following stops bouncing, follow another or just
keep playing similar rhythm until No.7 (watch pianist).
Pitch group 5 If the ball you are following stops bouncing, follow another or just
keep playing similar rhythm until No.7 (watch pianist).
23
Vln.
Vla.
Vc.
mp
191
mp
mp
f n
P
7. Piano: throw all the remaining balls up in the air to start bouncing and take your place at the piano. Violin, Viola and Cello: respond by playing next group of pitches, startingwith the rhythm of bouncing but quickly alternating between staccato and legato and short and long note values and changing the rhythmic patterns. N.B. Long note values should be used only on open string pitches.
Pitch group 6
0
0
Dur.: approx.15''
0
Pitch group 6
0 0
Pitch group 6
0 00
Violin: Continue playing and stop abruptly on the first piano note.
Dur.: approx.10 ''
Piano
Violoncello: Continue playing and stop abruptly on the first piano note.
Viola: Continue playing and stop abruptly on the first piano note.
24
Piano p pp p pp
Adagio q=50192
Vla.
Vc.
Pno.
ppp
G
ppp always open strings
mp
pp
Vln.
Vla.
Vc.
Pno.
always open strings
mp
202
always open strings mf
p
0
0
0
0
3 3
0
0
3 3
3
3 3
25
Vln.
Vla.
Vc.
Pno.
mf p
205
p
mfp
mf f
Vln.
Vla.
Vc.
Pno.
208
let it ring3
5 5 5 5
let it ring
3
3
3 3
3
3
5 5
5 5 5
3
3
3 3 3 3 3 3
33
3 3 5
26
Vln.
Vla.
Vc.
Pno.
mf
211
mf
mf
Vln.
Vla.
Vc.
Pno.
f
H213
f
f
p f
5 5
5 5
3
3 3
3 3 3
5 3
3 3
5 5
5
5 5
3 3
3 3
3 3
3 3 3
27
Vln.
Vla.
Vc.
Pno.
215
mp f
Vln.
Vla.
Vc.
Pno.
217
f
5 5 5 5 5 5 5 5
5 5 5 5
3 3 3 3
3 3 3
5 5
3 33 3
3
3 3 3 3 3 3 3 3
28
Vln.
Vla.
Vc.
Pno.
ff
218
ff
ff
Vln.
Vla.
Vc.
Pno.
p n
219
p n
p n
npp
3 3
5 5
3
actual pitch
actual pitch
actual pitch
3 3 3 3
29
Pno. mf
Improvisation q=66222
p con Ped.
Pno. mf
223
Pno.
225
Pno.
227
Pno.
228
Gather as many balls from the floor as you can find. Then stand with your back to the audience, next to each other, as if hiding the pianist from view.Then start dropping the balls inside the piano while the pianist plays the followinf section.
3 3
3 5 3 5
3 3 3 3
3 5 6
5
3 3 3 3
3
5
3
5
3 7
3
3
30
Pno.
230
Pno.
231
Vln.
Vla.
Vc.
Pno.
pp
rit.I232
pp
pp
f
6 6
5
3 3
6
5 6
3 3
3
31
Violin
Viola
Violoncello
pp mf pp mf pp
q=50236
pp mf pp mfpp
pp mf pp mf pp
Vln.
Vla.
Vc.
mf pp pp
J240
p pp mf
mf mf pp pp
Vln.
Vla.
Vc.
fp
244
f f
3
III.Trio di sogno
3 3
3
3 3
3
3
3 3 3 5
5
3
32
Vln.
Vla.
Vc.
mf
248
mp
mp
Vln.
Vla.
Vc.
p pp ppp
250
p ppppp
p pp ppp
Vln.
Vla.
Vc.
mp espress.
K
mp espress.
mp espress.
3 6
3
3 3 3
5
senza vibr.
3
senza vibr.
3
3
senza vibr.
3 3
3
3
3
33
Vln.
Vla.
Vc.
Pno.
mp
L
mp
mp
mp
L
Vln.
Vla.
Vc.
Pno.
261
33 5 3
3 3 3
3 5 5 6 3 3 3 5
34
Vln.
Vla.
Vc.
Pno.
263
Vln.
Vla.
Vc.
Pno.
attacca
rit. 264
attacca
attacca
rit.
attacca
3 3 5
3
3
5 3
35
Vln.
Vla.
Vc.
Pno.
q=160267
f mp
f mp
f
q=160
Vln.
Vla.
Vc.
Pno.
M271
f p mf
f p mfM
0
IV. Allegro Risvegliare
0
36
Vln.
Vla.
Vc.
Pno.
275
Vln.
Vla.
Vc.
Pno.
279
37
Vln.
Vla.
Vc.
Pno.
mf
283
mp
mp
pp
Vln.
Vla.
Vc.
Pno.
N287
N
3
3 3
una corda
3
0
0
3
tre corde
38
Vln.
Vla.
Vc.
Pno.
291
Vln.
Vla.
Vc.
Pno.
O295
O
39
Vln.
Vla.
Vc.
Pno.
299
f
Vln.
Vla.
Vc.
Pno.
P303
P
3
40
Vln.
Vla.
Vc.
Pno.
307
Vln.
Vla.
Vc.
Pno.
310
41
Vln.
Vla.
Vc.
Pno.
espress.Q
ppp sempre
Q
Vln.
Vla.
Pno.
316
f
Vln.
Vla.
Vc.
Pno.
318
42
Vln.
Vla.
Vc.
Pno.
320
f
Pno. mf
rall. r=r q=132322
Pno.
325
Pno.
328
Pno.
331
43
Pno.
334
Pno. f
R338
Vln.
Vla.
Vc.
Pno.
pp espress. mf
342
pp espress. mf
pp espress. mf
p
44
Vln.
Vla.
Vc.
Pno.
r=rS
346
pp niente
r=rS
Vln.
Vla.
Vc.
Pno.
352
mp
3
3
3
45
Vln.
Vla.
Vc.
Pno.
p sotto voce
359
p sotto voce
p sotto voce
p sotto voce
Vln.
Vla.
Vc.
Pno.
pp
365
pp
pp
mp
3 3
3 3
3 3 3
46
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