Prelude & Fugue & Postlude

Numerical Associations


for

Solo Cello





Joseph Buchheit













Prelude & Fugue & Postlude
Numerical Associations
for Solo Cello

Numerical Associations is a collection of three pieces for solo cello. They are a
Prelude: 5ths by 3rds, a Fugue: 1 Less, and a Postlude: Odds and Squares. Each
piece uses a numerical association as the basis for its composition. The performer does
not need to know about the following in order to perform the piece.

The Prelude, 5ths by 3rds, uses a collection of three notes a fifth apart. Three
groupings of these collections, transposed by a major third, are used in all. The three
three-note collections are A-E-B, D!-A!-E!, and F-C-G. The melody uses only these
notes, and is in 11-measure phrases. After completion of the phrase, the whole melody is
transposed by a major third. The only constant, non-transposed element of the melody is
open C. This is because C is zero. The third statement of the melody cuts off where A-E-
B would be played, this is because
A-E-B is a collection from the prelude that is used as the first half of the subject of the
Fugue, 1 Less. The second half of the subject is an inversion of the F-C-G collection. A
fugue for solo cello can be somewhat limiting, as opposed to a keyboard instrument or
ensemble of instruments, because most counterpoint is impossible with a solo
instrument. The subject had to be deliberately chosen as a melody that is recognizable,
yet adaptable and interesting in the context of where the fugue goes musically.
Including a countersubject with a defined set of pitches would have been very difficult,
and probably would have made the fugue very mechanical and predictable. The phrase
1 Less refers to the relationship between the tonic key and the leading tone key. The
leading tone key is one half step less than the tonic. The recurrence of this 1 Less key
serves as the countersubject.
The Postlude, Odds and Squares, is based off the association of odd and square
numbers. The sum of N sequential odd numbers will equal N
2
, which, also, is equal to
the sum of N sequential integers and the N-1 sequential integers. An integer
corresponds to one half step of pitch. C2 is equal to 0 in this piece. The pitches rise from
C as N sequential odd numbers, and fall as pitches that are !(N
2
) apart. For example, if
N = 3, the first sequence of pitches is [(C+1), (C+1+3), (C+1+3+5)], which corresponds to
the pitches [C#, E, A]. The second sequence of pitches are [C+3, C+3+3, C+3+3+3],
which correspond to the pitches [D#, F#, A].
Each section lasts 12 quarter note beats, and is divided by the ration of N:(N-1). The
sequence of N odd numbers sustain for (N/12) quarter note beats, and the sequence
of !(N
2
) pitches sustain for ((N-1)/12) quarter note beats.








Performance Notes



Prelude

A little bit of space can be put between the low grace notes (open C and G strings) and
the high notes. This may just be the natural space that occurs because of the string
crossing.
At the end of the piece, take a short pause before going into the fugue. While the prelude
and fugue are different entities, it should not be longer than 3 seconds between the end
of the prelude and the beginning of the fugue.


Fugue

All fermatas should be held for at least 3 seconds, as they provide a small break in the
middle of the piece. All bowings and slurs are intentional. However, if the performer
can get the same effect using a different bowing or slurring, then the performer should
do what is best for his or her own performance.

[Feathered Beaming] :: Increase speed of notes and reduce
speed of notes, respectively. In this piece, all feather-beamed notes last the duration of
one half note (m. 26, 27, 65).

:: Arpeggio. All arpeggios should be played from lowest pitch to highest. The
highest pitch (or pitches, when notated) should be sustained as written.

:: Hammer-on. Player should strike string with left hand to produce the notated pitch.

o above a note :: Open Harmonic

sfz :: sforzando with an accent. Dig deep into the string to get a harsh sound, but not so
harsh that it would be considered overpressure. sfz only applies for the note it is marked
on; the following notes go back to the original dynamic.

sf :: sforzando without an accent. Play forte, but pay special attention to bring it out as a
sudden forte. Unlike the above sforzando, play following notes forte until dynamic
changes.


Postlude

All lines of music should be played in standard, top-to-bottom order. The physical
length of each line is no indication of note duration.
Performer can hold quarter note rest with fermata at the end of a line for however long
he or she sees fit. However, all sound from the previous staff line should end before
beginning a new staff line, whether it is natural dying off of sound or the performer
damping the strings.
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Prelude
Joseph Buchheit
(2013)
5ths by 3rds
attacca
ca. 3 sec
Copyright Joseph Buchheit 2013
All Rights Reserved
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Postlude
Odds and Squares
0
1
2
3
4
5
6
7
6