divisio spiralis

Catherine Lamb
for the JACK Quartet

This commission has been made possible

by the Chamber Music America Classical Commissioning Program,
with generous funding provided by The Andrew W. Mellon Foundation.

© sacred realism September 2019, Berlin

 scordatura

IV1 III1 II1 I1

20 30 45 64
mœ eœ
Violin 1 & 2:3
mœ 2:3 45:64
mœ 450 640
300
200 Hz

IV1 III1 II1 I1

16 28 42 63
e<œ e<œ
Violin 2 & 4:7
e<œ 2:3 2:3
420 630
eœ 280
160 Hz

IV1 III1 II1 I1

12 18 27
B nœ n36œ
Viola 2:3 2:3 3:4
eœ nœ
270 360
180
120 Hz

IV1 III1 II1 I1

6 10 14 21
? e<œ e<œ
Violoncello 3:5 5:7 2:3
mœ
eœ 100
140 210
60 Hz
tonal palette
1 = 10 Hz (partial x 10 = Hz)
29 limit, reductionist*
vaIV1
vcIV1 vcIII1 vcIV2 vcII1 v"IV1

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
? ? 4eœ eœ 'œ e<œ mœ eœ
‹ eœ mœ e< œ eœ nœ mœ
eœ eœ eœ
(20 Hz 30 Hz...)

vaIII1 v!IV1 vaIV2 vaII1 v"III1 v!III1 v"IV2

vcIV3 vcIII2 vcI1 vcIV4 vcII2 vcIII3/IV5
18 20 27
17 19
/eœ mœ e<œ
21
4e22œ 23
n3œ
24
eœ
25
lœ
26
'œ nœ
28
e< œ 29 30 32
? :nœ nœ &
`vœ mœ eœ

v"IV3
vaI1/III2/IV3 v!IV2 v"II1 v!II1 vaIV4
vcIV6 vcIII4 vcI2/II3/IV7 vcIV8
33 34 35 36 38 39 40 42 44 45 46 48
& 4eœ /eœ 'œ mœ e<œ 4eœ mœ n3œ eœ
:nœ mœ nœ
<
v!III2/IV3
vaII2/III3 v"III2 vaIV5 10 v"I1 v!I1
vcIII5 vcIV9 vcII4 vcI3 v"IV4
vcIII6/IV

49
e,œ
50 51
:nœ
52
'œ
54
nœ 4m55
œ
56
e<œ /e57œ 60
mœ e<œ
63 64
eœ
& lœ
 vaI2/III4/IV6 v!IV4 v"II2/III3 v!II2/III3 v"IV6
11 12 13 v"IV5 vaIV7 v"III5
vcIV vcII5/III7 vcIV vcIV vaII3 vaIV8
vcIII8 vcI4/II6/IV14 vcIII9/IV15 vcIV16
65 66 68 70 72 75 76 77 78 80 81 84 85 88 90 91 92 96
4 4e œ 'e< œ eœ
'&œ 4eœ :nœ mœ nœ tœ /eœ e< œ 'œ m œ nœ e< œ :uœ mœ n3 œ
& <

v!III4/IV6 v"I2/II3
v!IV5 10 vcIV 17
vcI5 vaI3/II4/III6/IV9 vcIII 11
v"III4/IV7 vcIV 19
vaIV1210 vaIII7 v!I2
vcIII vcIV 18 vcII8 vcIII vcI6/II9 v"IV8
‹ 98 99 100 102 104 105 108 110
4m œ
112 114
/eœ
117 120
44e121 125 126 128
4 e<œ 'œ mœ œ sœ e<œ eœ
& e,œ eœ lœ :nœ 'œ mœ
<
nœ

v!IV7 v!IV8
13 11 v!II3
vcIII vaIV vaII5
v"III5
10 14
v"IV9 vcI7 v!III5 vcII 11 vaIV13 v"IV1016
vcII /III vaI4/III8/IV
12
vcIII15 vcIII
‹ 130
4132 135 136
:nœ
140
mœ
144
nœ
147
e,œ
150
tœ /152
eœ ;153 4e154
vœ < œ
156
'œ
160
mœ
'&œ eœ mœ <
&

v"II4/III6 v"I3 v!I3

12
vaII6/III9 vaIV14 11 vaII7 v"IV
vcI8/II12 vcIII17 v"IV v!II4/III6/IV9
10 15 vcII13 vcI9 vaIV16
vaI5/III /IV
162
‹ nœ 4m165
œ
168
e< œ
170
:uœ /e171
œ
175
lœ 4e176
œ
180
mœ
182
'e< œ
184
n3œ
189
e< œ
192
eœ
& <

* system is created by reducing multiples of primes backwards from 29, where 29 is multiplied only by 1, 23 by 2, 19 by 3, and so on, omitting numbers outside of the system
accidentals shown are adaptations of the Extended Helmholtz-Ellis JI Pitch Notation
active
the momentum forward is approached more from melodicism,
relative to the occurring interactions

active/passive
the momentum forward is approached more from harmonic alignment/resonance

passive
the tone is played in definition to the others
movement in a forward direction is proliferated by the interaction of tonalities in harmonic space

differences in periodicities (frequency response) may direct the velocity of forward motion
as well as the vibrancy of coloration in a given moment, always allowing for alignments
to bloom into clear resonances, so that the movement of harmonicity coming into focus
is also a determining element in the rate of forward motion

in general, the momentum gradually slows over the unfolding of the piece,
as frequencies descend and harmonicity expands
spectral/light bow
refers to a change in bow pressure to de-emphasize the fundamental
and rather move into spectrality, particularly highlighting partials
that might encourage the activity, moment to moment

this is a subtle change/unforced, while occasionally moving towards the bridge,

allowing for shifting spectralities (non static)
tones
(in their fundamental state) are unforced/relaxed, with vibrant cores,
yet balanced together to define their interactions and total shapes

so that one does not overpower the other

melodic phrases are to highlight/unfold the harmonic space and the edges of the shapes,
often embedded within the total sound

expressivity lies in the clear and plain unfolding of the harmonic colorations
silences
between each section, in order to allow resonances to dissipate

if open strings have wavered from their centered frequencies,

re-tuning between sections is intermittently allowed,
followed by a moment of silence before continuing onwards
 divisio spiralis
1 Catherine Lamb
(sounding one octave higher than written)
II2
‹ 96 92 96 98 91 98 96 91 90 90 o
ù eœ n3œ e e,˙ 'e<œ e,œ eœ 'e<˙
Violin I & m˙ m
23:24 14:13 vla 13:14 1:1 1:1 1:1 15:16 vla 1:1
1:1 vc vII vc vII vla 9:10 vc vII

‹ 96 98 91 96 , 96 90 100

Violin II & e˙ e,˙ 'e<˙ e eœ m œ l

1:1 1:1 1:1 1:1 16:15 1:1 1:1 vc
vI vI/vc vI vI vI vI 10:9 vI

‹ 96 92 96 91 96 98 91 96

Viola & e˙ n3œ e˙ 'e<˙ eœ e,œ 'e<˙ e

1:1 vI 23:24 48:49 1:1 1:1
vII vII

II7
‹ 98 o , 100

Violoncello & e, l
û 14:13 25:24
vla vla
 ‹ (90) , 99 96 99 88 99 96 88
ù 4eœ eœ 4e˙ 4eœ 4eœ eœ 4e
VI &
33:32 1:1 33:32 8:9 9:8 1:1 vla 1:1
vla vla vla vII vII 12:11 vII vII

‹ (100) 99 88 99
4e˙ 4e 4e
V II &
1:1 1:1 9:8
vI vI vI

IV8
‹ (96) 100 96 90 100 96 o 99
l œ eœ m œ l ˙ e 4e
Vla &
1:1 1:1 1:1 1:1 24:25 1:1
vII vc vc vII vII vII

‹ 96 90 , 88

Vc & e˙ m˙ 4e
û 1:1 1:1 1:1
vla vI vI

2
 II2 IV5
‹ 96 90 o 102 , 100o
ù e :n l
VI & m
12:11 1:1 vla 1:1 10:9
vc 15:17 vII vla vla

‹ 102 96 102 85 90 85

V II & :nœ eœ :n :u˙ m œ :u˙

17:16 1:1 17:16 1:1 1:1 1:1
vI vI vI vc vla vc

III5
‹ (99) 90 96 102 90 o
Vla & mœ eœ :n m
15:16:17 16:17 1:1 18:17
vI/vII vII vII vc

‹ (88) 102 85

Vc & :nœ :u
û 1:1 5:6
vla vla

3
 II2
‹ (100) 90 o , 96
ù e
VI & m
9:10 1:1
vc vII

IV6
‹ 100 90 85 90 , 96 o
V II & l œ m œ :uœ m˙ e
1:1 1:1 1:1 9:10 16:15
vI vla vc vI vI

‹ (90) , 85 96

Vla & :u e
1:1 1:1
vII/vc vI/vII

‹ (85) 90 100

Vc & m˙ l
û 1:1 1:1 (25:24)
vII vI

4
 ‹ 104 96 104 96 104 91
ù 'œ e˙ ' eœ 'œ 'e<
VI &
13:12 1:1 1:1 8:7 1:1
vla vla vII vII vII

‹ 104 91 104 96 104 91 104

V II & '˙ 'e<˙ 'œ eœ 'œ 'e< '

13:12 7:8 1:1 12:13 1:1 7:8 8:7
vI/vla vI vI vI vI vI vI

‹ (96)
Vla &

‹
Vc &
û
5
 ‹ 105 100 105 100 105 100 90
,
ù mœ lœ mœ lœ mœ lœ m˙
VI & < < <
1:1 10:9 1:1 10:9 1:1 10:9 1:1
vc vIa vc vIa vc vIa vla

‹ 105

V II & m
<
1:1
vc

III5 IV7
‹ 90o 84 o , 105 98 105 96 84

Vla &m e< m œ e,œ m œ eœ e˙

< < <
6:7 4:5 1:1 vII 7:6 5:4 8:7 1:1
vc vII/vc 5:4 vc vc vc vc vc

I5
‹ 105o 84

Vc & m< e<

û 7:6 1:1
vla vla

6
 ‹ 96 84 108 96 84 96
ù eœ e<œ nœ eœ e<˙ e
VI &
1:1 1:1 9:8:7 1:1 1:1 1:1
vII vc vII/vc vII vc vII

IV6
‹ 96 o , 84 108 96 108 96 84 81

V II & e e<œ nœ eœ nœ eœ e<œ n

8:7 1:1 1:1 1:1 1:1 1:1 1:1 3:4
vc vc vla vI vla vI vc vla

I3
‹ 98 108 o
Vla & e, n
7:6 1:1
vc vI

I4
‹ 96 98 96 , 84 o
Vc & eœ e,œ eœ e<
û 48:49 1:1 48:49 6:7
vla vla vla vla

7
 ‹ (96) 84 81 84 108 96 84 81 84 96
ù n˙ e˙ e˙
VI & e<œ nœ e<˙ e<˙ n e<˙
1:1 1:1 1:1 1:1 1:1 1:1 1:1 7:8 1:1
vc vla vc vla vII vc vla vII vII

IV6
‹ (81) 84 , 96o
V II & e<˙ e
1:1 8:9:7
vc vla/vc

I3
II3
108
‹ 81
o , 108 96 84 81 84 96
Vla & nn nœ eœ eœ nœ eœ eœ
< <
4:3 4:3 1:1 1:1 1:1 1:1 1:1
vI vII vc vI vI vII

‹ (84) 81

Vc & n
û 1:1
vla

8
 III3
IV4
IV4 90 III3
‹ 108 80 o 80 o 90
ù n
VI & m mm
4:3 vc 1:1 9:8
9:7 vla vII 1:1 vII

‹ (96) , 96 108 96 84 80 84 80 90 100 96 100 90 80 96 90

V II & eœ nœ eœ e<œ m œ e<œ m ˙ m˙ l œ eœ l œ m œ m ˙ eœ m ˙

8:9:7 1:1 8:9 1:1 5:6 1:1 5:6 9:8 vI 10:9:8 1:1 10:9:8 1:1 1:1 1:1 1:1
vI/vla vI vI vla vc vla vc 15:16 vla vI vla vI vI vI vla vI

IV8
‹ 84 96 o
Vla & e< e
7:8 1:1
vII vc

III8
‹ (81) 84 96 80 o
Vc & e<˙ e m
û 1:1 1:1 1:1
vla vII vI/II

9
 IV5 IV4
‹ (90) 100 o 80 o
ù l
VI & m
1:1 vII 1:1
5:4 vc vc

‹ 100 96 , 80 90 100
4m110 100

V II & l˙ eœ m˙ m˙ l˙ ˙ l
5:4 1:1 1:1 1:1 5:4 11:10:9:8 5:4
vc vla vc vla vI/vc 1:1 vc vI

IV8
III5
96 III5
‹ 90o 90
o
Vla & me˙˙ m
16:15 9:8
vc

11
III
‹ (80) 4m110o
Vc &
û 1:1
vII

10
 2

‹ 96 84 105 96 105 112 105 84 80 84 80 105 112

ù m œ eœ m œ e<œ m œ eœ m œ e˙ e<˙
VI & eœ e<œ < < < < < m œ m<˙
1:1 1:1 5:4 1:1 1:1 1:1 1:1 1:1 1:1 1:1 16:21 1:1 1:1
vla vc vc vla vc vII vc vc vII vc vII vc/vII vII

III4
IV5
112
‹ o 80 , 112 105 112

V II & me<
e<œ m ˙ e<˙
<
7:5 4:3 1:1 4:3
vla/vc vc vla

IV8 IV7
‹ 96o 84 o , 112

Vla & e e< e<

8:7 1:1 1:1
vc vc/vI vI
I5
II6
II6 105
‹ 84o 84 o , 84

Vc & e< me e<

û <<
7:8 vla 5:4 1:1 vla
3:4 vII 3:4 vI

11
 ‹ 96
ù e
VI &
1:1
vII

‹ 104 96 104 84 78

V II & '˙ e˙ '˙ e<˙ '

13:14 6:7 13:12 1:1 13:14
vla vla vI vc vc

‹ (112) 91 104 91 84

Vla & 'e<˙ '˙ 'e<˙ e<

1:1 vc 4:3 1:1 vc 3:4
7:6 vII vII 7:6 vII vc

II8
‹ (84) 84 78 91 84 78 84 91 104 112 112

Vc & e<œ 'œ 'e<œ e<œ 'œ e<œ 'e<œ 'œ e<˙ e< o
û 3:4 1:1 7:6 12:13 1:1 14:13 7:6 vII 4:3 16:13 4:3
vla vII vII vla vII vII 7:8 vla vII vla vIa

12
 ‹ 99 88 84 88 99 88 77 ,
ù 4e˙ 4e˙ 4e˙ 4e˙ 4e˙ 4e˙
VI & e<˙ <
9:8 1:1 3:4 8:9 9:7 4:5 7:8:9
vII vII vII vla vc vla vla/vc

III4
‹ 77 84 88 99 112 , 4m110 112 ,
V II & 4e<˙ e<˙ 4e˙ 4e˙ e<˙o ˙ e<˙
11:16 1:1 11:14 vc 9:8:7 1:1 1:1 vla 16:11
vc vla 22:21 vla vI/vla vc 5:4 vc vI

‹ (84) 77 88 99
4m110 99 ,
4e˙ 4e˙ 4e˙ ˙ 4e˙
Vla & <
7:8:9 1:1 33:28 10:9:7 9:8
vI/II vI vI vI/vc vc

‹ (112) 77 88 ,
Vc & 4e 4e˙
û <
7:8:9 vI/vla 1:1 vI
11:16 vII 4:5 vla

13