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Tristan Murail - C'est un jardin secret, ma soeur for viola solo. You can download the PDF sheet music Tristan Murail - C'est un jardin secret, ma soeur for viola solo on this page.
Notes for viola player: Do not hesitate to mark, even exaggerate, accelerandi and rallentandi, as well as accelerations or decreases in value of groups: in the "Sp" position do not fear a very nasal, metallic, almost "electronic" sound.
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FIRST PAGE :
4th line: during the harmonic formula to be repeated, the fingers, which touch the strings, must then gradually increase their pressure on them until they obtain normal "supported" notes. But at the same time, "Sp" so that, progressively moves from the "ord" position to the position when we reach the "supported" chords, we have the impression to always hear the previous harmonics, drowned in a halo of other sounds. Then, during the formula to repeat next, as we go from "sp" to "ord", the fundamental ones Gradually, little by little, you will pass insensibly natural harmonics produced by a certain fingering, to the normal sounds given by this same fingering.
6th line: at the end of the line: very tight tremolo, from the tip. Stay a moment on the first chord, then slide in the diminuendo. Agreement in parentheses indicates only the limit of slips and must not be specially marked. Same as the next two lines.
SECOND PAGE:
3rd line: pay attention to differentiate the crossed out and tremolo notes.
4th line: 1st triplet of sixteenth notes: la and soil by the same finger, which produces a small slip.
5th line: arpeggios on the 4 strings in "thrown". The darts are weighed down little by little until the sounds are longer and longer.
Last line: begin with a ricochet and then extend it, as naturally as possible, increasing gradually, until repeat in the sound for the last notes. Lighten the pressure of the bow, making it run quickly, and vibrating. The resulting sound must be "hollow", and show clearly the octave or double fifth harmonics mixed with the main sound.
THIRD PAGE:
4th line: Just pass naturally and almost imperceptibly from the legato to the detache, then to more and more pronounced accents: Naturally play chord the chords in the movement of the notes preceding them, in a progressive slow motion. In the following chords, extended by a harmonic, one of the fingers must remain in place, but lift up in a flicked position to produce the harmonic. The bow must run in the direction that will link the harmonic to the chord that precedes it. The chords gradually disappear to leave room for the only harmonics.
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