ÁB EL M/G /E/

DALOM
F O R C O N TR AB AS S AN D E L E C TRO N I C S
 P E R F O R M AN C E N OTE S

e Ped. marking indicates using the expression pedal, which controls signal input into live processing: ½ indicates
to begin with the pedal half-depressed and 0 indicates beginning with the pedal all the way off. However, all pedal
markings should be taken as approximations, both in timing and amount depressed. e performer is encouraged to
play with the pedal to nd new sounds.

A circled number 1 . indicates using the 2nd pedal, to trigger xed media electronics. An 'Electronics' staff is used to

k K j J l L - An accidental with an up or down arrow attached to it indicates playing an eighth tone (25 cents) sharp
show this material where it is clearly pitched. is staff does not show the sounds made by the expression pedal.

or at of the written pitch, respectively.

is piece makes use of scordatura, with solo tuning as a basis. As notes played on the 3rd string sound an octave
lower, the 3rd string should not normally be used when not speci ed. All notes written between A1 and D2 will
specify which string to play them on.

S C O R D AT U R A:

P RO G R AM N OTE S

DALOM, meaning "my song" in Hungarian, is based on a recording of "Arra alá" a folk song, collected by Vilmos
Seemayer, Lajtha László, and Béla Bartók in the Hungarian region of Somogy. e xed media are made up of the
original recording slowed down between 8x and 32x, and the pitch material of the score and its tuning are derived
from the recording.

e piece is my attempt to embrace and process Hungarian musical heritage and its place among many other
in uences within my upbringing, cultural experience, and musical voice.

Audio is from:
- Institute for Musicology of the Research Centre for the Humanities of the Hungarian Academy of Sciences.

Recording available at:

- http://systems.zti.hu/br/en/search/1 2525?inc=arra+al%C3%A1
- BR number: C 1 008j

SCORE AT WRITTEN PITCH

(sounding one whole-tone higher)

DURATION: 6’
 Written for Toby Hughes as part of the PSAPPHA ' C omposing for…' scheme. Dedicated to my dog Scruffy, who recently passed
and to my sister Shara, who supported me through a difficult time.

DALOM
F O R C O N T R AB AS S AN D E L E C T R O N I C S
ÁB EL M/G /E/

° 4 œkœ -œ -œ ™ ,œj -œ -œ ™ , œ -œ k œ - œ
œ œ ™ k œ. œ œ œ ™ œ
q = 88 freely, ebbing and owing slightly
5

¢& 4
1

Contrabass J ≈ J ≈ œ œ
flight and energetic, with life 5

Electronics
? 44 ∑ ∑ ∑

42 œœ k œ œ ™ œ 43 ˙ ™
rit.
, U ,
# œ kœ œ œ œ
4 non vib.
44 + 81 œ 5 ‰ 44 kœj n œ ˙ 78
& œ œ
f oating, glassy
suddenly more
q = 120 in tempo subdued and settled

78 k >œ œ œ 43 k œ œ œ. ‰ Œ 4 kœ œ œ 5 3 kœ
. œ. k œ. Œ . œ. k œ. œ. 4 b œ. -> œ œ. œ. ‰ 4
j j 2
poco accenti
-
8
14 +10
&
lighter yet

& 4 k œ œ œ. œ. k œ. 4 œ. k œ. œ- œ œ. b œ ‰ 4 ‰ b œj k œ œ 4 œ. k œ. œ œ b œ 4 Œ
5 5 5
-
12
2 3 2 2 2
œ. b œ k œ
3

. . > .
p p
>

& k œ- œ n œ. 4 k œ œ œ. œ. k œ. œ œ k œ ? 8 k œ jœ œ b œ
17
b . œ. . . IV. 3
œ
3 7 3 3
j ‰ ‰ 43
. b œ
. b œ n œ n œ
b œ. > > . œ> > . . >.
> 3
f sub.

A q = 108 With forward drive (L'istesso tempo)

Œ kœ
20
? 43 ‰ œj œ
pizz. III.
œ Œ Œ Œ ‰ j Œ Œ
nœ œ œ #œ œ
> ° œ ½ °
fwith force

(h)
>œ
arco - poco sul pont.

‰ # œ œ œ kœ b œ kœ b œ œ b œ œ œ R ≈ ‰
IV.
n
IV.
3
b œ œ pizz.
25
? #œ
(molto accel.)
Œ œ Œ bœ Œ œ

-
0° ½°
f
2 Dalom

? jœ
arco - poco s.p. IV.

‰ b œ ‰ œ b œ 42 b œ b œ œ. ‰ Œ
29 pizz.

J 43 œ Œ œ Œ Œ bœ 42
½°
3
f

jœ œ œ , b œ jœ œ œ œ
arco - poco s.p.
6
pizz. arco - poco s.p.

n œ ‰ kœ Œ
5
,
34 œ˙ b œ œ œ œ œ œ œ Œ
33 pizz.
? 42 Œ n œœ Œ
œœ
nœ 5 n œ
j J 
œ °
° °
p f

molto rit.
(h) (h) bœ #œ
? #œ b >œ œ
37 œ
Œ œ B nœ œ Œ #œ œ &
>
° ° ½ °
f sweetly

B q = 80 Floating unpredictably, whipped aside like a small sail in strong winds

kœ k˙
arco - s.p. sempre
exaggerate dynamics
œ œ œ
41 non vib.
& œ œ #œ œ #œ Œ œ #œ bœ Œ
° ° °
sub. n

45
Kœ œ œ #œ nœ #˙ nœ kœ #œ œ œ b˙
Œ Œ

& œ

° ° ° ° ø
p f p n

& k˙
, non
œ œ œ
Ϫ
vib.
œ
œ
49 vib. molto poco #œ
œ œ nœ œ œ #œ ˙ œ
> °
° °
f p sweetly

C q = 108 Tempo Primo - like a Transformer

Ȯ> o o o o o
n >œ
II. seagull effect
53
œ œ (sul pont.)
o n >œ
pizz.
œ #œ ‰ >œ
&
œ
& #œ Œ & Œ ? # œO
J
°
n
 Dalom 3

» . . . . . . . . . b œ» . . . . . npizz.
c.l. battuto

Ϫ >
arco - s.p. pizz. (free rhythm) pizz. c.l. (in time)

œ ‰ #œ ‰ ≈ lœ
b œ
6
n >
œ j r
? ‰ #œ œ œ œ J ‰
57

° 3 
° ½°

j
>
>œ. ™ >œ.
arco - s.p.
n >œ
arco (ord.) s.p.
b œ > c.l.
pizz.
nœ œ œ
b œ œ #
3
œ
pizz.

‰ J nœ . . . .
60
? Œ ‰ J œ B≈ J ≈ ≈
5 5

»œ
o
œœo ™™ ? n >œ.
>œo
œ # œ œ œ œ j >œ
>œ o o
> s.p. ord. o pizz.
œ œ # œ œ
B #œ œ ‰ & J J ‰
63 œ
? J ‰& J ‰ Œ
5 f 5
°

>œ # ˙» #œ™
nœ œ œ œ µœ #œ
arco

>œ ‰ ™ b >œ ‰ n œo o o o o
s.p.
66 IV. (harmonic gliss.)
? J ‰ B
o o n œj

R J
3
° ° > 6

l
arco (ord.)

≈ -œ œ b œ œ œ œ œ b œ j œ ≈
69 >œ.
ord.
5
>œ.
(ord.)
b
pizz.
IV. >
.n œ 3
B ‰ n œj 4
#œ nœ œ œ bœ œ œ 4
? B‰
> 6
5
f f f

molto rit.

n O O. – ‰ & # œ œ œ œ œ b -œ œ œ œ -œ b œ 43 œ b œ œ
s.p. ord.

B 44<b> œ > -
6 3
˙
71
C

J J -
3 6
°
f
D 80 = h gently pulsing

73
II. o
n -œ -œo -œo -œo -œo -œo -œo -œo
&C Œ Œ Œ Œ 23 ∑ C Œ Œ Œ Œ ∑
soft, mellow, breathy
4 Dalom
II.

-œo œo. ˙˙-o ˙˙-o -œo -œo -œo # œo. ˙-o ˙o (-33c)
o
II. I.
79 3 -œ
& ∑ Œ Œ ∑ 23 Œ Œ Ó C
3 p 3 3

1.

B
-œo -œo >œo. ˙-o I.˙o -œo -œo oœ. µ ˙o ˙o œo
° Ó
II.
I.

¢&
85
Œ Œ Ó Ó Œ Œ Ó
3 3 3
p f p
B
#w w w w ww ww
E. &

<B>
n

©
œo ˙o µ ˙-o wo ™ wo ™
°
I.

-œo
¢&
œ œ œ
91

23 - Œ - Œ Ó Ó Ó -o Œ
C Œ Ó
3 o o
II.
p
<B>
<#> ww 32 # www ™™™ www ™™™ C www
E. &
f

o
-œo -œo œo œo œo œ -œo -œo
°
¢&
95
∑ Œ Œ ∑ Œ Œ Ó
5

<B>
2.

<#><#> wwww wwww wwww wwww wwww

E. & w w w w

o o
œo œo œo œ œo œo œo œo œo œo œo œo œo -œo -œo
°
-œ
œj
o
œ œ
¢&
100
Ó 23 J ‰ Œ J ‰ Œ J ‰ Œ ? 44
5 5
f
<B> ©
<#><#> wwww
with more grit
wwww w™
E. & w w 23 # w ™ ? 44
p
 Dalom 5

E q = 60 Lento, very freely

°? 4
Sul III. sempre (8vb sounding)
"Final boss battle" molto sostenuto, leviathan-esque
œ œ œ
¢ 4
k œ œ œ ˙
103
œ œ œ œ 43
j
∑ ∑ &
sweetly and with weight 0 ° ½

? 44 n w w w 43 ˙™ ˙™
˙™ ˙™
E. &
nw w w

œ™ kœ
44 œ 43 k œ ˙™
108
‰ Œ œ œ œ nœ

& œ
n (Cb.) ? œj
(Electronics continue)

œ kœ œ™ œ kœ
(III.) IV.

44 b ˙ 34 o
112 3

& ∑ œ J ˙ j
œ œ œ œ
°

44 µ œ k œ œ # œ kœ µ œ j j 3
117 III. with anticipation
44
˙™
∑ Œ

& #œ œ #œ œ 4 nœ
dolce

Ϫ
? 44 43 Œ
w ˙ œ ˙
(Cb.)

° 4 -œ ™ ≈ -œ ™ ≈ -œ ™ ≈ œ 34 # œ œ œ œ 44 œ œj œ œœ œœ Œ # œœ œ k œ µ œ
Sul I.

¢& 4 J
122

J J 43
appassionata

? 44 43 44 43
˙™
E. ˙ w
w ˙

° 3 kœ ™ ˙˙ ™
II.

¢& 4
126 I. with anticipation 3
œ œ 44 Ó
II.

J bœ œ ˙ œ œ jœ ˙ œ
˙ bœ
p dolce
3. ?
˙

˙™ ˙™
? 43 44
˙™
˙ bœ œ ˙
E. ˙
6 Dalom

° œ œ™ œ > œœ n œœ ™™ >œ
II. II.
>
(I.)

¢& œ œ ™ œ b œœ ™™
III. III.
œ # œœ œ
(II.)
j j œ
131

œœ œ œœ œœ œ œ ˙˙ œ

J œ J
bœ œ 4. 0°
f
?
œ

? ˙ œ ˙ œ
E. w œ œ
˙ œ

A little slower - very freely

F
° b œœ ,? b >œ
keeping loose coordination with the electronics

œ™ # œ ,? >œ œ™
,
Ϫ
œ #œ
¢&
134 III. III. sim.
œœ œ
& œ
b ?
œ & œ œ &œ
ø ø
J J > J
½°
f f
con forza

? bw œ ˙™ œ ˙™
˙™ ˙™
E.
bw œ œ

° b œœ ,? œ ,? >
œ ™ & bœ # œ ,? >œ œ™
Ϫ
œ #œ
¢&
137
œ bœ bœ œ & œ
J
bœ &œ
ø ø
> J J
°

b˙ ™ ˙™
b˙ ™
? œ
b˙™
œ
˙™
œ
b˙™
E.
œ œ œ

° œ ,? ,
œ 42 œœ ? >œ œ ™ & œœ 43
¢& œ œ> œ ™ &œ b œ ? b œ œ™ œ™
140
œ œ œ œœ
&bœ
?œ
&œ
ø J ø > J > J
f f

? œ ˙™ œ b˙ ™ ˙™ 42 œ
j Ϫ 43
˙™ ˙™ œ™
œ
b˙™
E.
œ œ œ œ
 Dalom 7
II.

° 3 b œœ
, œ œ
? b >œ ™ œ™
III.
U œ œ 4
¢& 4 J
144
œ & œœ 44 œœ ?œ j 45 œ ?œ ˙

&œ 4
œ
p f p somber
f senza forza

? 43 œ b˙ 44 œ ˙™ 45 œ ˙
44
˙™
E. b˙
œ b˙ œ œ ˙ b˙

œ™ œœ b œ ™™ œœ b œ ™ œœ œ ™™
°? 4 b œ ™ bœ bœ ™ œœ ˙˙
¢ 4
147
J J œ
J J ˙˙ ww
lifeless
5.

? 44
<b> ˙ b˙
<b> ˙
E. b˙ ˙ w w
b˙ b˙ ˙ w w

q = 60 Hollow (in tempo)

G pizz.
poco rit.

œo œo œo œo œo œo œo
III. sempre Tune III. down
151
?
ossia: play on IV.
U
∑ œ ∑ œ ∑
œ
tune down until
sound is gone
(Electronics continue)