Score in C

Us Alone
For Violoncello and Two Sound Icons
 Sound Icon I uses six different chords, Sound Icon II uses seven.
Instrumentation These are achieved by pre-setting rosined nylon bows around
Violoncello, scordatura the strings in question:

2 Sound Icons, spectrally tuned

Notes
Duration: c. 18’
!
Score In C
It is not necessary to tune each Sound Icon fully to the harmonic
Tuning spectrum. For Sound Icon I, eleven notes are needed to be tuned,
The piece is based on a scale derived from the natural harmonics for Sound Icon II, it is fourteen.
of a low, even-tempered F quarter sharp. Ideally, the Sound Icons
should be tuned to octave transpositions of this scale, making
use of their de-tunings:

!
The cello should be tuned to the same harmonic series, with the
same detuning transposed down an octave where necessary.
!
If the whole icon is tuned a quarter tone sharp, then special
attention only need be given to those notes that are more that 5
cents detuned, which have been marked with a star. This gives a
total of three notes on Sound Icon I seven notes on Sound Icon II.

!
Special Techniques
Repeat technique indicated, in free time, until the
next rest. If notes are connected with a beam, stick
to the given order and approximate rhythm.
Otherwise, improvise freely on the given set of
notes.

Quarter sharp
 sounding nodes, but should instead include the dead nodes in
Quarter flat
 Bowing the Sound Icons
White noise created by very fast bowing, light bow
pressure and half finger pressure (as in a harmonic,
but not touching a harmonic node).
! With improvised rhythm.
A downwards glissando at the very end of a note,
crossing over into the rest beyond.


Played with a plectrum, scraping up the string.
W.N. White noise. Either using the technique above, or a
very light bow pressure with very fast tremolo.
Glissandi
Glissandi should take the full amount of time given by the note
head from on which they begin. Where glissandi last across bar
lines, or a specific bowing rhythm is called for, this is indicated
by stems without note heads.
If a glissando begins and ends on a harmonic, it should be
played as a harmonic glissando. This should not emphasise the
between with equal prominence.
The Sound Icons should be bowed freely according to the
sensibility of the players, except for when they are marked with
a tremolo. Here they should be bowed to create a rhythmic,
crotchet feel.
Where transitions between chords are needed to be as fast as
possible, the rest before as has been marked “trans. poss.”. The
rest should be as short as practical, but the next chord should not
arrive earlier than marked.
“With Spoons”
The spoons should be used to string the strings, creating a
metallic, jangling sound. There will be miss-hit notes, this is not
a problem.
 Us Alone
A Con Rubato, q=c.56
In Free Time, for c. 20"
>
bœ œ œµœ œµœ
non vib. Joe Bates

-œ œ b -œ µ œ IIIo
con sord. 6

µœ b œ œ œ œ µœ 3 µœ µœ œ œ œ o o IV
bœ >œ bœo ?
5

? bœ œJ 4 µ œ bœ bœ œ œ œ & j
µœ µ œ œ µœ
‰
µœ
J
µ
Violoncello
J
œ œ 3
o
3 3 3

° µ µ√ 34 µBµ˙˙˙ ™™™
mp mf

B
w
w
Sound Icon I & w ‘ ‘
o
34 ò & µ˙
mp f mp

¢ & µ µw µ˙ µœ µ ˙
µ˙ ™
µ ˙ ™™
?
‘
µw µ˙ µ˙
w
Sound Icon II

o mp mp

µ µ
o -œ œ ≤o ≥o ≤o ≥ etc.
slow harm. gliss.
o
> œ µ œ µœ
œ o o o
µ
trem.
o b œ b œ œ œ b œ
µ o œo œo œo œo œo œo œo µœo µ
œ œ o o o
? µœ ™
poco marcato norm.

ææ ‰ ææ
5
œ
norm. trem.
œ b œ œ œ
µœ µ œ œ œ µµ œœ
j
3
Vc.

o mp3 mf 6 5

°
mp pp
4 8
S.I. I & ‘ ‘ ‘ ‘ ‘

¢&
4
S.I. II ‘ ‘ ‘ ‘ ‘
 B
U æætrem.
-
ææV
- slow
µ
2
o
µ
harm. gliss. trem. w.n.
≤o ≥o ≤o ≥o etc. o o o o
µ œ µœ ææ
œ œ
Œ µœ ™ µœ ™ µœ œ µ œ œ œ œ œ
b œ œ œ œ µœ b œ
10 senza sord.
œ
norm., vib. normale
? Œ bœ™ œ œ bœ œ
µµ œœ ™ µœ œ
Vc.
6
- -
°
mf
f mp pp
12
S.I. I & ‘ ‘ ‘ ‘

µ˙ æ æ™
¢& µ µ
µµ ˙˙ ™™
8
Œ Œ
µµ ˙˙ µµ ˙˙
S.I. II ‘ ˙ ˙
V C norm., with free rhythm µ o o
œ µœ µ œ µœ
ppp

b œ œ œ µœ œ µœ
trem.

? ææ ææ
œ ≥ o o o
µ
≤ ≥ ≤
slow harm. gliss.
o
µ
o o o
µ & µœ µœ µ
14 etc.
b œ œ œ œ
µœ µ œ
Vc. œ œ œ ?
mp

°
mf
16
S.I. I & ‘ ‘ ‘ ‘

¢&
4
S.I. II ‘ ‘ ‘ ‘
+™
mp pp

œ µ œ µœ
? ææ œ œ œ µœ œ bœ µœ œ µœ ?µ œ µœ0 bœ0
w.n.

µœ & b œ œ µœ
µœ b œ
18

µœ
norm., with free rhythm
b œ
Vc.
µœ µ œ
°
pp
mf espress. 20
S.I. I & ‘ ‘ ‘ ‘

¢&
8
S.I. II ‘ ‘ ‘ ‘
mp p
 Uæ
bœ0 µœ ++æ™™trem., w.n.
With increasing bowing speed, and random harmonics/dead notes 3

œ0 œ0
22
? œ0
µœ µ œ œ ++ ™™
∑
0

∏∏∏∏∏∏∏∏
Vc.
œ œ œ
0 0
0
0
0
0
o
p

° U
24
S.I. I & ‘ ‘ ‘ ‘ ∑

√
non dim.

æ
U
¢& µµµ ˙˙˙ ™™™
12
S.I. II ‘ ‘ ‘ ‘
mp

µ -˙ ™ µ˙ œ µœ ™
Bœ
norm., espressivo
D q=42 bœ œ œ non espress.
˙ œ Œ
27
? Ó J ‰ Bœ bœ
3 3
bœ bœ
µœ µœ
Vc. Ó ‰ ‰ ‰ Œ
mp mf p o mp mf p o mp p o p
° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
S.I. I &

æ
¢& µµµ ˙˙˙ ™™™
4 8
S.I. II ‘ ‘ ‘ ‘ ‘ ‘ ‘
 “”
4

µœ
espress.
œ ˙ o o ≤o ≥o ≤o nœ≥o
‰ Bœ µœ µœ œ µœo
o o o œ
œ B µœ Bœ bœ œ
E
µœ œ œ˜œ
Ϫ
Bœ
non espress.
b œ œ
35 3
œ œ bœ
espress.
? Œ bœ
µœ J ˙
Vc.
3
& & bœ J 3
p mf
3

°
mp mf p pp

µ˙ ™
bB ˙˙ ™™
S.I. I & ∑ ∑ ‘
o pp

¢&
12
S.I. II ‘ ‘ ‘ ‘ ‘ ‘ ‘
decresc.

F Sul II ≥o3 ≤o o
≤o ≥ ≤o ≥ etc. ≤o ™ trem. ≤ ™ ≤ ≤ ≤
o o o o G q=64
norm.
42
b œ œ o
œ o
œ o
œ o
œ b œ ≥ œo ≥
o b o
œ ≥
o o
œ ≥
o o
œ o o
œ o b œ œ œ bœ ˙
bœ œ œ œ œ œ bœ ™ œ™ bœ œ œ œ bœ
etc.
B b œ Œ ∑ ∑ B4
Vc. & 4
p pp p
o

° µ˙ ™
b ˙ ™™
S.I. I & ‘ ‘
4
‘ ‘ ‘ ‘
44
B˙
µœ µ ˙™
mp

¢&
æ Ó &Bbœœ Bb˙˙ ™™ 44
µµµ ˙˙˙
16
S.I. II ‘ ‘ Œ ∑ ‘
o mp
 34 œ œJ -œ œ œ œ œ œµ œ œ µœ. û 44
(on beat)

b˙o ˙o b˙o ˙o b˙o ˙o b˙o ˙o

5
o 3
bœfij
49

Vc.
B 4
4 ∑ &
o
° 4
ppp cresc. 3 6
mf p pp

43 44
4 8
S.I. I & 4 ‘ ‘ ‘ ‘ ‘ ‘
cresc. ff descresc.
4 43 44
¢
4 8
S.I. II & 4 ‘ ‘ ‘ ‘ ‘ ‘
cresc. ff descresc.

o o
œo b˙o ™ o nœo ˙o
H poco sul pont.
nœ bœo ææ ææ
trem.

bœ œ œ œ µœ. bœµ œ œ
55

™
wn
Œ j ‰ Ó Ó B3
+
3 6
Vc. & 4
6
bœ
.
° µw
p mp pp

43
4
S.I. I & ‘ ‘ ‘ ‘ ‘
bB w
w
µbw
p

S.I. II & B w
w
¢ 43
4
‘ ‘ ‘ ‘ ‘
p

µ Ȯ I µ ˙o µ ˙o
Væ ™ µœ œ œ œ œ œ œ bœ œ œ œ œ œ. µ œ bb Ȯ ™™
with lighter than usual finger pressure

B 43 Œ ™ ææ
wn trem. norm.

æ
61
? Œ Œ
IV
Vc.

° 3
5 7
pp p
8 12
S.I. I & 4 ‘ ‘ ‘ ‘ ‘ ‘
3
¢
8 12
S.I. II & 4 ‘ ‘ ‘ ‘ ‘ ‘
 µ œo µ œ≤o
≥
µ o µ œo œ µ œ b œ µ œ µ œ b œ µ œ µœ
6

µœ µœ œ œ œ
67 ≥o etc.
o o o o œ
? Œ
µœ
0
bœ bœ
µ
œ
3 “‘
Vc.
3
mp
3 œ œ
0

°
p
16
S.I. I & ‘ ‘ ‘ ‘ ‘ ∑ ∑

¢&
16
S.I. II ‘ ‘ ‘ ‘ ‘ ∑ ∑

J √ µ˙ µ˙ œ µ˙
molto vib.

û
non vib.
74
fi µœ œ ˙ œ ˙
? bœ Œ ∑ bœ œ ∑ bœ
µœ
√
Vc.
µœ
o
°
mp p
mf

µœ Œ µ˙ µ˙ ™
µ˙™
with spoons 4

µ œ bœ µ mp
S.I. I & ‘ ‘ ‘ ‘ ‘
˙
√
ff

Œ µ˙ µ˙æ™™
¢ & µ œ b œ µœ
with spoons 4
S.I. II
b˙ b˙ ‘ ‘ ‘ ‘ ‘
mp
ff
 µœ
accel., con rubato 7

œ >œ
more and more vib.

µ˙ œ B˙ µœ b œ µœ b œ µ
>œ œ
µœ
espress.
˙ K
82 3
œ b
B˙
? Ó bœ
Vc. œ œ
>œ J J nœ œ bœJ œJ nœ
°
f 3 3 3 3 3 3
8 12
S.I. I & ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘

¢&
8 12
S.I. II ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘
µ
µ µ “” ≤o
A tempo (Tuned as harmonics of G )
œ œ o
µ µœ bœJ œJ
œ
µ µœ #œj œj bœ
œ
µµOœo
≥ bOœ≤o Oœo
µµ Ȯ ™™ µµœO
90
nœ bœ
Bœ
? œ œ b œ œ œ b œ Œ bbœO
Vc. n>œ
°
3 3 3 3 3 3 3 3
3 mf mp p
16 20
S.I. I & ‘ ‘ ‘ ‘ ‘ ‘ ‘
p

¢&
16 20
S.I. II ‘ ‘ ‘ ‘ ‘ ‘ ‘
p

Free improv. on Cµ harmonic series

L In free time, for c. 30"
? <b>Ȯ µµOœ Ȯo ™™ Ȯ ™™
97 o o
Vc. 43
°?
µw
free dynamics

43
24

µw
S.I. I ‘ ‘ ‘ &

µ˙ ™ µw
&µ˙™ µw
free dynamics
S.I. II
¢
? ∑ ‘ 43
8 A Tempo
101 cont. (cue S.I.s)
Vc.
? 43 ?

° 3
B˙ ™
Cued by cello 4
S.I. I & 4 ∑ ‘ ‘ ‘ ‘
Bb˙˙ ™™
3 µ˙ ™ µ˙ ™
p

S.I. II & 4 µ ˙ ™ µ˙™

Cued by cello

¢
∑ ‘ ‘
p

M
B˙ µœ Œ Bœ µœ # œ
Cue S.I.s
107

µœ µœ b œ µ œ # œ µœ
IV
? œ
µ˙ ™û µ˙
∑ Œ bœ ˙ Œ
3
&
Vc.
œ bœ p
mf mp

°
mf f p

S.I. I & B˙ ™
Cued by cello 4 8
‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘
p

b ˙™
b˙ ™
Cued by cello

S.I. II & æ
¢
4 8
‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘
p
 µ˙
9
o o o
116
o o bœ œ bœ ˙o µœ ˙û
N legato, non vib.
44
& b˙ µ˙ ™ ˙™ µ˙-
œ Œ? Œ ‘ ‘
Vc.
˙-
o o cresc.

°
p fp

B˙ ™
S.I. I & ‘ ‘
12
‘ ‘ ‘ ‘
44 Bw ‘ ‘
fp cresc.

44
¢&
12
S.I. II ‘ ‘ ‘ ‘ ‘ ∑ ∑ ∑ ∑ ∑

126 Bœ œ Bœ œ œ œ O
?
µœ
4 4
Vc. ‘ ‘ ‘ Œ ‘ ‘ ‘ ‘ ∑
mf cresc. f p

° 4 8
µw
S.I. I & ‘ ‘ ‘ ‘ ‘ ∑ ∑ ‘ ‘
bB w
w
f

¢& µ˙ µw
4 8
Ó
µµ ˙˙ µµ w ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘
S.I. II
w
o
f
mp cresc. mf cresc.
10

b œ ™ œ œ µ œ œ µ -œ µ -œ ˙ ™ bœ ™ œ œ œ œ µœ Bœ µ˙ Bœ Bœ ˙ B˙ Bœ
P Q
q=42 - ˙ œ µœ œbœ œ ˙
Ϊ J
136

Vc.
? J J Œ

° µw µBµw
f 3 mf 3 f mf mp p mf

w
4
S.I. I & ‘ ‘ ‘ ‘ ∑ w ‘
bB w
w mf

µw
¢ & µ µw
4
‘ ‘ ∑ ‘ ‘ ‘
bw
µw
w
S.I. II
mf

µ -œ b œ œ œ µ Ÿw~~~~~~~~~~~~~~~~ b œ ™ œ œ µ œ œ µ -œ
µ
µ˙
R
144
? œ œ bœ ˙ œ œ J
-œ œ œ œ™™ µ-œ -
Vc.
bœ bœ
3 3
f nf mp p f

° 4
µw
S.I. I & ‘ ‘ ‘ ∑ ‘
Bw
bw
mp
f

¢&
∑ µw
‘ ‘ µµ w ‘ ‘
S.I. II
mp w
p f
 11

b -œ œ µ œ œ œ -œ -œ S Poco sul tasto

µœ-
150
? -œ b-œ bœ -œ œ bœ bœ
bœ- B˙ µœ œ- œ µœ- b œ ˙ ™ Bœ- µœ œ- b œ b œ
-#œ µœ
Vc. b˙
ff decresc.
>
° µBµw
mp f mf

w
4
S.I. I & ‘ ∑ w ‘ ‘ ‘ ‘
mf decresc. mp

µw
¢&
4
‘ ‘ ‘ ∑ ‘ ‘
S.I. II
bw
mp

µœ µœ µœ
œ Bœ bœ œ
non vib., poco sul tasto
T
µœ
œ
œ œ bœ œ
157
?
µœ µœ µœ
bœ œ œ œ œ bœ œ œ œ œ
3 3 3 3 3 3

<µ> œ µœ œ µœ œ µœ
Vc.
œ œ œ œ
3 3 3 3 3 3

°? µw
p decresc.

∑ &µw
?
S.I. I ‘
p (non dim.)

¢&
4
∑
Bµ w
S.I. II ‘
p w
p (non dim.)
12

µœ œ µœ ™
œ bœ Bœ bœ bœ œ bœ µœ
bœ
µœ µœ
160

µœ œ b œ Bœ œ µ œ µœ œ œ œ µœ µ œ œ ™ œ œj œ J
? J
µœ œ
œ
3 3 3 3 3

µœ
Vc.
œ
3

°?
3 3
pp ppp

S.I. I ‘ ∑ ∑ ∑ &

¢&
4
S.I. II ‘ ‘ ‘ ‘

164 µ œ µ˙ Bœ œ µœ bœ ˙ µœ Bœ µœ Bœ µœ œ bœ œ
U dolce, con vib.
#œ µœ
? -˙ µœ
&
µœ
Vc. t.
por
pp p

° µ µw µw
S.I. I & Bww ‘ ∑ µw
p

¢&
8
S.I. II ‘ ‘ ‘ ‘
p
 13
V
≈
A Tempo [q=42]

µ
molto espress. >
œ µœ -œ - µœ b œ œ µœ n-œ
molto espress.
-
rit.

& Bœ- µœ œ œ nœ
œ
µœ œ µ˙
168
- œ b˙
non vib.

µœ 43 ˙ 4
µœ # œ œ 4
3

#œ
Vc.
bœ mp p

° µBµw
pp f

S.I. I & ‘ ∑ w
w ‘ ‘ 43 ∑ 44
f p

¢& 43 44
12
S.I. II ‘ ‘ ‘ ‘ ‘ ‘
f p

µœ
b-œ œ µœ µ˙
W œ
œ -œ µœ œ µœ œ µœ Bœ œ µœ
174 con sord.
4 bœ œ
µœ µ œ œ
&4 Ó ?
Vc.
˙
f mf mp pp

° 4 µw
p

& 4µ w
4
S.I. I ‘ ‘ ‘ ‘ ∑
f p

¢
4 µw
16 4
∑
µµ w
S.I. II & 4 ‘ ‘ ‘ ‘
w
f mp mp p
14

180 µ œ b -œ ™ œ œ µ œ œ µ œ -œ
X
œ œ œ b -œ œ -œ b -œ µ œ œ œ œ œ œ œ œ µtrem. +
6 6

æ ææ
œ ˙
µœ b œ
w.n.
? bœ œ œ œ œ
µœµ œ œ µœ
j
Vc.
œœœ œ
3 3
mp mf mp mf p pp

° µw µw
S.I. I &µw ∑ µw ∑
mp mp

¢&
8
S.I. II ‘ ‘ ‘ ‘
f mp p

b œ œ œ µ œ œ µ œ œ -œ
Y
Ϫ
? µœ
bnorm.
æ æ
trem. w.n

+æ
5

j & µœ
184 gliss.

- µ˙ œ œ µœ œ œ œ œ œ œ œ ˙ µœ œ œ œ œ œ œ œ
bœ œ
Vc.
µœµ œ œ 3 3
µ œ
3
p mp p pp

° µw µw µw
S.I. I &µw ∑ µw ∑ µw
p

¢&
12
S.I. II ‘ ‘ ‘ ‘ ‘
mp p
 15

b-œ µœ µœ œ œ œ œ œ œ œ
-
& µœ- bœj œ œ œ Bœ- µœ
norm. trem. w.n norm.

Væ œ
189
-
æ
˙ œœ œœ œœ œœ œ
3 3

æ
gliss.
Vc.
p p pp p pp

° µw µw
S.I. I & ∑ µw ∑ µw

¢&
16
S.I. II ‘ ‘ ‘ ‘

Z
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ µtrem.
repeat pattern, getting higher until sound fails.

µœ æ Vææ
¿ w.n n¿
& æ Væ ™™
193 trem. w.n norm. gliss.
œ gliss.
Vc.
ppp pp ppp

° ™™ µµw µw
S.I. I & ∑ w ∑ µw ∑
pp (non dim.)

™™ µw
¢&
4
‘ µµ w ‘ ‘ ‘
S.I. II
w
pp (non dim.)