Vertical Para-Fibonacci Sequence no. 10
for 8 Violins
Casey Mongoven
Vertical Para-Fibonacci Sequence no. 10
Performers’ Notes
I. Notes on this Composition
This work was written as part of a series of works for 7 or 8 violins. Horizontal ParaFibonacci Sequence no. 8, Lucas Sequence no. 6, and Fibonacci Sequence no. 7
precede this work. They might be performed on the same concert as this work, but
preferably with an unrelated work or long pauses in between.
II. Selection of the Instruments
The instruments used in the performance of this work should all have a similar sound;
there should be no instrument that stands out in the group.
III. Environment
The performers are to be situated in front of the audience in a straight line. They should
be evenly spaced, 2 to 6 feet (.6 to 1.8 meters) from each other. It is recommended that
the players use a measuring string and mark the stage where they are to stand. From
the audience’s point of view, player one should be on the right side, and player eight on
the left.
The posture of the musicians must be identical; the f-holes on the instruments should all
be pointed in the same direction. A director should oversee and critique the posture of
the musicians.
The work is intended to be performed in rooms or small halls, but it can just as well be
performed outside. Performances in large halls and other spaces with longer decay
times are not desirable.
IV. Tuning of the Violins
This work uses scordatura tuning. String II is tuned on each violin according to the chart
below:
Player 1 – 419.100000 Hz
Player 2 – 413.658073 Hz
Player 3 – 408.286808 Hz
Player 4 – 402.985287 Hz
Player 5 – 397.752606 Hz
Player 6 – 392.587870 Hz
Player 7 – 387.490197 Hz
Player 8 – 382.458717 Hz
The instruments are to be tuned directly before the performance. The performers should
tune the instruments pizzicato and at their indicated dynamic level in the score.
Tuning tracks and click tracks can be found at the following web adress:
http://caseymongoven.com/catalogue/b82.html. Personalized click tracks are available
from the composer on request.
V. Performance of the Work
This work uses graph notation. The players should familiarize themselves with the works
Vertical Para-Fibonacci Sequence nos. 1 – 9, also available for download at
caseymongoven.com. The players should study the scores, and familiarize themselves
with the notation.
This work is to be executed with the use of a click track. Several methods are
acceptable; the performers can use an earplug in their right ear, a metronome with a
blinking light or a conductor. If a conductor is used, he should use a metronome and try
to stand (or sit) in a position that does not distort the audience’s spatial perception of the
instruments. He should give the beat and nothing else.
The composite rhythm of the work is comparable to straight eighth notes. Each player’s
note should last exactly as long as one unit (.234 seconds); it should start as the
previous pitch ends and end as the next pitch starts (excluding the first and last pitch).
The players should work to try to match the other players’ pizzicato technique as exactly
as possible.
The most difficult part of performing this work is the balancing of the dynamic levels. If
other works in this series are played on the program, the dynamics should match the
dynamics written in those works so that mezzoforte, for example, has the same level of
loudness in all the compositions. The performers will need to visualize the number line in
which they are standing as having 8 different dynamic levels:
The arrow above indicates a perceptually linear change of dynamic between mezzoforte
and forte. Exact dynamic levels are not given in traditional notation for the inner parts
(players 2 through 7), as they lie in between these marks.
Rehearsals should be held in which all that is practiced is the balancing of the dynamic
levels. The players should rehearse in the same place where the work is to be
performed several times. A director should critique the ensemble. The players should
internalize their exact dynamic levels in rehearsal, and practice playing that note exactly
the same each time.