red is the rows

- 172 elizabeth  hoffman    (2011)           red  is  the  rows     in  memorial  tribute  to  Milton  Babbitt     for  two  violins   written  for  Conrad  Harris  and  Pauline  Kim  Harris     This piece is my intuitive response to thinking about Milton. The piece implements idiosyncratic mathematical and combinatorial procedures on a series of note grouplets. Around this central core grew offshoots of timbral and contrapuntal ideas. In this piece there is also an homage to popular music. The reference is not necessarily to the popular music that was closest to Milton's heart, but I would like to think that he would appreciate the title and the musical joke. His humor and tolerance and interest in a wide range of musical and intellectual influences are testament to his complex and generous persona. Recorded  by  Scott  Lehrer  at  2nd  Story  Sound,  NYC,    September  26,  2011.   Edited  and  mixed  by  Elizabeth  Hoffman,  home  studio,  NYC.         elizabeth  hoffman    (2011)           red  is  the  rows     in  memorial  tribute  to  Milton  Babbitt     for  two  violins   written  for  Conrad  Harris  and  Pauline  Kim  Harris     This piece is my intuitive response to thinking about Milton. The piece implements idiosyncratic mathematical and combinatorial procedures on a series of note grouplets. Around this central core grew offshoots of timbral and contrapuntal ideas. In this piece there is also an homage to popular music. The reference is not necessarily to the popular music that was closest to Milton's heart, but I would like to think that he would appreciate the title and the musical joke. His humor and tolerance and interest in a wide range of musical and intellectual influences are testament to his complex and generous persona. Recorded  by  Scott  Lehrer  at  2nd  Story  Sound,  NYC,    September  26,  2011.   Edited  and  mixed  by  Elizabeth  Hoffman,  home  studio,  NYC.         - 173 - & & 4 3 4 3 Violin 1 Violin 2 ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ 7œ r :2œ 7œ r K :8œ r K ..· ˙ ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ . .· ˙ b n e = c. 240 is the 16ths tempo Vln II e = c. 210 is the 16ths tempo Vln I (q = 60) P P Use the same finger for II and I; the harmonics on I are thus intermittent in sync with II finger motions. Touch string II, bouncily, with more pressure than harmonics, but do not hit the fingerbd. Use the same finger for IV and III; the harmonics on III are thus intermittent in sync with IV finger motions. Touch string IV, bouncily, with more pressure than harmonics, but do not hit the fingerbd. ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ 7œ r K :8œ r K 7œ r :2œ ..· ˙ ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ . .· ˙ b n & & 3 ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ 7œ r :2œ 7œ r K :8œ r K . ˙ 3 ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ . .· ˙ b n p p move from the D back to the fluttering harmonics, ad hoc, SOME TIME during in this measure ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ 7œ r K :8œ r K 7œ r :2œ ..· ˙ ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ . .· ˙ b n & & 5 ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ 7œ r :2œ 7œ r K :8œ r K . .· ˙ 5 ‚ n j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ..· ˙ n P P ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ 7œ r K :8œ r K 7œ r :2œ . .· ˙ ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ n j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ· œ b n · ˙ n & & 7 ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ 7œ r :2œ 7œ r K :8œ r K . ˙ 7 ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ . ˙ n p F ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ 7œ r K :8œ r K 7œ r :2œ ..· ˙ ‚ b j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ‚ j œ ..· ˙ n p P red  is  the...