bradley g. robin
TRANSCRIPT
CREATING MUSICAL MOMENTUM: TEXTURAL AND TIMBRAL SCULPTING WITH
INTUITIVE COMPOSITIONAL SYSTEMS AND FORMAL DESIGN
Bradley G. Robin
Dissertation Prepared for the Degree of
DOCTOR OF PHILOSOPHY
UNIVERSITY OF NORTH TEXAS
August 2016
APPROVED Dr. Joseph Klein, Major Professor, Chair of the Department of Music
Composition Dr. Andrew May, Committee Member Richard DeRosa, Committee Member Dr. Benjamin Brand, Director of Graduate
Studies, College of Music Dr. Warren Henry, Interim Dean, College
of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School
ii
Copyright 2016
by
Bradley G. Robin
iii
Table of Contents ACKNOWLEDGEMENTS……………………………………………………………………..iv LIST OF FIGURES ......................................................................................................... vii!LIST OF TABLES .......................................................................................................... xii!PART I .............................................................................................................................. 1!CRITICAL ANALYSIS ..................................................................................................... 1!
CHAPTER 1 ........................................................................................................................ 2!
TOOLS FOR ANALYSIS .................................................................................................. 2!
Introduction – Historical Overview!.......................................................................................................!2!
Sound!..................................................................................................................................................................!4!
States of Sound!..........................................................................................................................................!10!
Periodicity!......................................................................................................................................................!11!
Time and Perception!................................................................................................................................!19!
Form!.................................................................................................................................................................!23!
CHAPTER 2 ...................................................................................................................... 31!
ANALYSIS OF GERARD GRISEY'S PERIODES AND PARTIELS ........................ 31!
Respiration: Macro-periodicity!............................................................................................................!31!
Semiotics of Sound!...................................................................................................................................!32!
Timbral Morphology!..................................................................................................................................!34!
States of Sound (Transformation of the Attack-effluvial continuum)!..............................!36!
Textural Magnification!.............................................................................................................................!39!
State “Shift”!...................................................................................................................................................!41!
Transformation through Reiteration!.................................................................................................!42!
CHAPTER 3 ...................................................................................................................... 55!
BRIAN FERNEYHOUGH'S LEMMA-ICON-EPIGRAM .............................................. 55!
Categorization of Textures!...................................................................................................................!55!
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Beginnings and Development of Categories!...............................................................................!60!
Respiration in Lemma-Icon-Epigram!...............................................................................................!62!
CHAPTER 4 ...................................................................................................................... 79!
ANALYSIS OF PHASE: AGONY TRANSMUTED ...................................................... 79!
Form and Conception!..............................................................................................................................!79!
Number Systems: Aria 1 and Interlude 1!......................................................................................!81!
Textural Transformations: Aria 2!.......................................................................................................!92!
Respiration: Aria 3 and Interlude 3!...................................................................................................!98!
Re-contextualization: Aria 4!...............................................................................................................!101!
APPENDICES .............................................................................................................. 107!Respiration of Materials, Lemma-Icon-Epigram, mm. 24-48. ................................. 108!
Momentum with dynamics and tessitura, Lemma-Icon-Epigram, mm. 42-48. ..... 109!
Categorical respiration (continued), Lemma-Icon-Epigram, mm. 48-59. .............. 110!
Categorized final respiratory cycle, Lemma-Icon-Epigram, mm.160-177. ........... 111!
Phase form with “macro-phenomenological” annotation ......................................... 112!
BIBLIOGRAPHY .......................................................................................................... 113! PART 2: COMPOSITION………………………………………………………………………1
Phase: Agony Transmuted……………………………………………………………..1
Performance Notes………………………………………………………….…..2
Stage Setup……………………………………………………………………...3
Prologue………………………………………………………………………….5
Movement I………………………………………………………………...…….6
Aria 1: Impact…………………………………………………………….6
Interlude 1 Breath……………………………………………………....13
Aria 2: Submersion………………………………………………....…...14
Interlude 2: Recovery………………………………………....……….30
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Movement II………………………………………………………………….....34
Aria 3: Discovery………………………………………………………..34
Interlude 3: Core………………………………………………………..50
Movement III...……………………………………………………………….....52
Aria 4: Integration………………………………………………………52
Interlude 4: Wield……………………………………………………....56
Aria 5: Peace……………………………………………………………58
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ACKNOWLEDGEMENTS
I wish to express my sincere thanks to Joe Klein, Chris Moore, Claudia Howard Queen
for keeping the bar high; Andrew May for a commitment to the creative integrity of the
whole artist; Richard DeRosa for helping me not to forget where I came from; Steve
Harlos for helping me get it back, and then some; David Schwarz for combining the
mind, meaning, emotions, and music; David Stout for an aesthetic vision; Jon Nelson for
a continued warmth of heart and brilliance of mind; Timothy Jackson for a forward way
of thinking; and Shelley Korshak for believing in me before I could believe in myself.
And a special thanks to my beloved wife Nicole for her seemingly endless patience,
love, and support.
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LIST OF FIGURES Figure 1.1 Hindemith's categorization of consonance......................................................6
Figure 1.2 ADSR Envelope...............................................................................................6 Figure 1.3 Varèse “Hyperprism,” mm.7-12.......................................................................8 Figure 1.4 Varèse “Hyperprism,” mm.13-18.....................................................................9
Figure 1.5 The Attack-effluvium continuum....................................................................10 Figure 1.6, Continuous and static periodicity, Grisey, Periodes, p.15............................13
Figure 1.7 Statistical acceleration...................................................................................14
Figure 1.8 Acceleration by elision (discontinuous)..........................................................14
Figure 1.9 Textural acceleration, Tempus ex Machina, p. 1...........................................17
Figure 1.10 Decompression, Tempus ex Machina, p. 14...............................................18
Figure 1.11 Sciarrino, Come Vengono, opening.............................................................22
Figure 1.12 “Monkey wrench” Waver, 119-124...............................................................28
Figure 1.13 End of Limud mm.224-226...........................................................................28
Figure 1.14 “Monkey wrench” Periodes, p. 32.................................................................29
Figure 1.15 End of Partiels.............................................................................................30
Figure 2.1 Respiration in Periodes....................................................................................31
Figure 2.2 Establishment of sonic identity, Periodes, p. 1..............................................33
Figure 2.3 Timbral development, Periodes, p. 7.............................................................34
Figure 2.4 Transformation of flute articulation, Periodes, p. 11......................................35
Figure 2.5 Re-contextualization......................................................................................35
Figure 2.6 Dynamic swells as a composite sonic entity, Periodes, p. 6.........................36
Figure 2.7 States and transformation, Periodes, p. 10...................................................37
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Figure 2.8 States and transformation (continued), Periodes, p. 10-11...........................38
Figure 2.9 Magnification, Periodes, p. 12.......................................................................39 Figure 2.10 Magnification (continued), Periodes, p. 12..................................................40
Figure 2.11 Static periodicity, Periodes, p. 15................................................................41
Figure 2.12 Continued stretching of iterative material, Periodes, p. 41..........................43
Figure 2.13 Transformation from iteration into attacks, Periodes, p. 44.........................44
Figure 2.14 Iteration amidst an effluvial composite, Periodes, p. 45..............................44
Figure 2.15 Periodicity, Periodes, p. 46..........................................................................45
Figure 2.16 Effluvial iteration, Partiels, p. 1....................................................................46
Figure 2.17 Introduction of iteration, Partiels, p. 15........................................................48
Figure 2.18 Measured tremolo, contrabass, Partiels. p. 18...........................................48
Figure 2.19 Un-measured tremolo violin and vibraphone, Partiels, p. 24.......................49
Figure 2.20 Repeated pitch effluviality, Partiels, p. 31....................................................50
Figure 2.21 Compression of glissandi, woodwinds, Partiels, p. 39.................................51
Figure 2.22 Decompression of string glissandi, Partiels, p. 39.......................................51
Figure 2.23 Decompression and elongation into granules, woodwinds, Partiels, p. 40..52
Figure 2.24 Noise granulation, Partiels, p. 60.................................................................53
Figure 3.1 Lemma-Icon-Epigram, m. 24.........................................................................56
Figure 3.2 Block chords, Lemma-Icon-Epigram, mm. 38-39..........................................57
Figure 3.3 Sustained sonority, Lemma-Icon-Epigram, m. 89.........................................58
Figure 3.4 “Spattering” in Lemma-Icon-Epigram, m. 35.................................................59
Figure 3.5 Opening gesture, Lemma-Icon-Epigram, m. 1..............................................60
Figure 3.6 Introduction of categories, Lemma-Icon-Epigram, mm. 2-4..........................61
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Figure 3.7 “Spattering,” Lemma-Icon-Epigram, m. 5......................................................61
Figure 3.8 Disjunct Material, Lemma-Icon-Epigram, mm. 6-8........................................62
Figure 3.9 Proportions of opening textures, Lemma-Icon-Epigram, mm. 1-11...............62
Figure 3.10, Layering of Categories, Lemma-Icon-Epigram, mm. 14-15........................63
Figure 3.11, Layering of Categories, Lemma-Icon-Epigram mm. 16-17.........................64
Figure 3.12 Textural contrast, Lemma-Icon-Epigram, mm. 1-24....................................65
Figure 3.13 Respiration of materials, Lemma-Icon-Epigram, mm. 24-48.......................65
Figure 3.14 Momentum with dynamics and tessitura, mm. 42-48...................................66 Figure 3.15 Categorical respiration (continued), mm. 48-59...........................................67
Figure 3.16 Integrating contrast, Lemma-Icon-Epigram, mm. 60-64..............................67
Figure 3.17 Micro-respiration, Lemma-Icon-Epigram, m. 66-67.....................................68
Figure 3.18 Transitional State, Lemma-Icon-Epigram, m. 68.........................................69
Figure 3.19 Blurred categories Lemma-Icon-Epigram, m. 84.........................................69
Figure 3.20 Transition into Icon, mm. 88-89...................................................................70
Figure 3.21 “Lost,” slow secco spattering, Icon, m. 99...................................................71
Figure 3.22 Beginning of textural transformation, Icon mm. 108-109.............................71
Figure 3.23 Glissandi as the primary category, Lemma-Icon-Epigram, m. 116..............72
Figure 3.24 Oscillation between layered materials and space, mm. 120-122................73
Figure 3.25 Expanding Containers, Icon, mm. 123-125.................................................73
Figure 3-26 “Hyperventilation,” Icon, m. 129..................................................................74
Figure 3.27 Return of the secco texture, m. 135............................................................74
Figure 3.28 Respiration of the Icon section, and beginning of Epigram.........................75
Figure 3.29 Distinction between materials, Epigram mm. 157-162................................76
x
Figure 3.30 Blending of categories, Epigram mm. 163...................................................76
Figure 3.31 Final measures, Lemma-Icon-Epigram, mm.170-174..................................77
Figure 3.32 Categorized final respiratory cycle, Lemma-Icon-Epigram, mm. 160-177...77
Figure 4.1 Phase form.....................................................................................................79
Figure 4.2 “Heartbeat Grundgestalt” (in three periods)...................................................83
Figure 4.3, Unit durations and respirational phases, “heartbeat Grundgestalt a”...........84
Figure 4.4 Canonized “heartbeat Grundgestalt a” ..........................................................84
Figure 4.5, Unit durations and respirational phases, “heartbeat Grundgestalt b”............85
Figure 4.6 “Heartbeat Grundgestalt b,” A1.2-A1.3...........................................................85
Figure 4.7 “Heartbeat Grundgestalt,” orchestrated, mm. 65-67......................................86
Figure 4.8 Timbral categorization....................................................................................87
Figure 4.9 Raw “broken clock” material...........................................................................88
Figure 4.10 Octave displacement managed through Fibonacci, Phase, I1.....................89
Figure 4.11 Phrasing in piano, Phase, I1........................................................................90
Figure 4.12 Orchestration of the “broken clock” and “heartbeat Grundgestalt,” A2.1.....91
Figure 4.13 String transformations, violin, A2.3..............................................................93
Figure 4.14 Entrances for strings, A2.3 and A2.4...........................................................94
Figure 4.15 Durations, “string wall,” A2.3........................................................................94
Figure 4.16 Entrances and (gaps), A2.3.........................................................................95
Figure 4.17 Phrasing for string “wall(s),” A2.3 – A2.4.....................................................95
Figure 4.18 Strings, A2.3................................................................................................96
Figure 4.19 Strings (continued), A2.3..............................................................................96
Figure 4.20 Interlude 2, mm.111-113..............................................................................97
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Figure 4.21 Respiration in A3.1.......................................................................................98
Figure 4.22 Inhalation, A3.1.1.........................................................................................98
Figure 4.23 Retention, A3.1............................................................................................99
Figure 4.24 Exhalation A3.1............................................................................................99
Figure 4.25 Suspension, A3.1........................................................................................100
Figure 4.26 Re-contextualization through process.........................................................101
Figure 4.27 Source material from Glimpse.....................................................................101
Figure 4.28 Categorization of Glimpse material, A4.......................................................101
Figure 4.29 Raw “scrubbed” piano material A4............................................................102
Figure 4.30 Arrangement of the cells by number (scrubbed Glimpse, m.30)...............103
Figure 4.31 Glimpse scrub fragments with phenomenological commentary................103
Figure 4.32 First three measures of “scrubbed” Glimpse piano, annotated.................104
Figure 4.33 “Scrubbed” Glimpse material woven through “heartbeat Grundgestalt”....104
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LIST OF TABLES Table 1.1 Classification of intervals and of timbres………………………………………..12 Table 1.2 Integration of Smalley's textural categorization and Grisey’s periodic table...16
Table 3.1 Table of Textural Characteristics, Lemma-Icon-Epigram................................59
Table 4.1 Proportions of formal section lengths, Phase..................................................83
Table 4.2 Application of number systems to timbral categories, A1.4............................88
Table 4.3 Piano materials categorization, I1...................................................................89
Table 4.4 Distribution of phrasing and materials, I1........................................................90
Table 4.5 Groupings of foreground materials, A2.3........................................................92 Table 4.6 String activation and bow pressure talea........................................................93
Table 4.7 Phase form as a function diagram................................................................105
1
PART I
CRITICAL ANALYSIS
2
CHAPTER 1
TOOLS FOR ANALYSIS
Introduction – Historical Overview
When pitch is no longer the primary factor, other musical dimensions can be
used to organize and create clear relationships between musical materials. Through
clear differentiation of timbral and textural roles, systematic transformations of material,
and control of musical density, periodicity, and momentum, composers can move
beyond traditional approaches to create a visceral and engaging experience – which
can be satisfying for both composer and audience.
Throughout the evolution of Western music over the centuries, composers have
developed a variety of organizational frameworks for musical materials. In the
fourteenth century, Machaut employed isorhythms in his motets; later composers such
as Ockeghem explored the use of canon extensively during the Renaissance. The use
of imitation and various contrapuntal techniques has been explored throughout history,
including many methods of motivic development such as retrograde, inversion,
augmentation, etc. During the eighteenth and nineteenth centuries, composers
expanded previously used forms, most notably the sonata-allegro plan, which provided
a way to present and ultimately combine two contrasting ideas through a dialectic
framework. Beethoven brought this a step further by adding an extended coda at the
end of many of his pieces, which would sometimes introduce new material as the result
of synthesizing previously introduced and developed materials. The twentieth century
has seen a revisiting of earlier methodologies, such as the employment of canon and,
particularly in serial music, the use of motivic manipulations such as retrograde and
3
inversion. Examples include Anton Webern's Symphony Opus 21, Structures by Pierre
Boulez, Quatuor pour la fin du temps by Olivier Messiaen and the many pieces for
player piano by Conlon Nancarrow.
The twentieth century has also seen radical developments in exploration of
musical dimensions such as rhythm and timbre, and in the organization of these and
other elements. The radical extension of harmonic practice by such composers as
Schoenberg, Webern and Boulez opened new ways to express ideas and to
differentiate materials.
Timbre became a realm of greater importance, especially at the turn of the
century: klangfarbenmelodie was a concept introduced by Schoenberg and later
developed by such composers as Helmut Lachenmann in works such as Pressions for
cello and Mouvement for chamber orchestra, which emphasized timbre over pitch. With
the aid of computers, new processes and sounds became available, including the
analysis of sound spectra and performance of complexities beyond human capabilities.
Spectralists explored a new continuum as they sought to codify ways of thinking about
pitch in its connection to timbre. A focus on musical sounds and behaviors as processes
led toward forms that are more concerned with process of transformation than with clear
definition of musical materials and identities.
Changing approaches to musical material and form yield new results, posing
additional and different (often unanswered) musical and phenomenological questions.1
Two schools emerging in the second half of the twentieth century – Spectralism and
Complexity – apply different approaches to the processing of compositional material
and the development of formal models. Spectralism deals not with the individual events 1 Cone, “Schubert's Promissory Note: An Exercise in Musical Hermeneutics,” 233-241.
4
as much as with the resulting composite sonic experience. Examples of compositions
derived as an expression of naturally occurring sonic phenomena include Grisey's
Partiels and Modulations. “Complexity” may apply algorithmic processes to generate
and develop materials. Recursive operations continually renew and recycle old
materials, sometimes producing innovative results as in the case of Brian
Ferneyhough's Lemma-Icon- Epigram.2
Within this essay, momentum will be used to describe innate characteristics of
musical energy. As an overarching theme, a number of musical textures will first be
categorized followed by ways of transforming them, and a subsequent exploration of
organizing these concepts on a formal level. An analysis of Periodes, Partiels and
Lemma-Icon-Epigram using these concepts will be followed by an investigation into the
construction and completion of my dissertation piece, Phase.
Sound
Throughout the exploration of new forms of musical expression in the twentieth
century, new ways of both listening to and composing music emerged.
Sound vs. Note
Kramer's claim about Debussy may illuminate the beginning of a new way of
thinking about sound for its own sake. In reference to hearing a Javanese gamelan
orchestra, perhaps at the world's fair,
[Debussy] understood that the strange sounds he was hearing were unfolding in a different time world. He heard sonorities that were allowed to be themselves, that did not exist primarily in functional relationships to other sounds, that were not participants in an upbeat-
2 Toop, “Brian Ferneyhough’s Lemma-Icon-Epigram,” 52.
5
downbeat compositional world.3
In a preponderance of music prior to the twentieth century, musical organization derives
from the atomic particles at the “note” level. Though thirty years later than Debussy, and
perhaps as a development of this way of thinking, Spectralism prioritizes the resulting
sonic composite over its construction at the level of individual notes. Grisey describes
the evolution of a sound as follows:
To take account of the relativity of perception: if the music is the becoming of the sound, rather than the sonoric object proper, the metabolism will have to be controlled – what I call its “degree of transformation” – in other words its voyage in time and its adventure.4
In many cases, the individual pitches matter less than the overarching trajectory
of the gesture. In the case of stochastic composition, which informs many of the choices
and methodologies in the creation of Phase,5 the desired effect results from a statistical
approach to the creation of musical elements and their development, examples of which
will be explored later in Phase.
Consonance vs. Dissonance!
In Spectralism, new ways of thinking about old dialectical models emerged.
Grisey did not think of consonance in the same way as common practice composers,
though he did not entirely abandon the equal-tempered pitch world. Figure 1.1 illustrates
Hindemith's categorization of the consonance ←–→ dissonance continuum within the
realm of equal temperament.
3 Kramer, The Time of Music, 44. 4 Grisey, Periodes, performance notes. 5 The music of Iannis Xenakis provides a good representation of stochastic music. Much of his music is
governed by the application of algorithms and statistics.
6
Figure 1.1, Hindemith's categorization of consonance/dissonance.6
Spectralists view this scheme as a subset of a continuum between harmonicity
and inharmonicity: pure spectral consonance followed by an increasing harmonic
dissonance leads to pure white noise. Within this model, two or more instruments
playing the same note create dissonance merely by their differing timbres. Through
analysis, the spectral profile of a flute most resembles a sine wave, while a clarinet
bears a greater semblance to a square wave. The two instruments do not blend as
purely as do flute and bowed vibraphone, the latter of which also bears semblance to a
sine wave. If struck, the attack differentiates the vibraphone from the flute immediately,
while bowing gives more control over the length of the sustain envelope. Thus, certain
instruments may blend better because they share similar attack and sustain
characteristics.
Attack – Decay – Sustain – Release (“ADSR”) Electronic music has given us terminology for describing the different phases of a
sound’s evolution over time: the ADSR envelope model, consisting of attack, decay,
sustain, and release phases.
Figure 1.2, ADSR Envelope.
6 Hindemith, The Craft of Musical Composition, 87.
7
This can be applied to various elements of a sound, such as timbre, spectral extent,
spectral harmonicity, vibrato, and so forth. Depending on the sound and how the sound
is generated, each phase can have varying lengths, often highly controllable by the
player, as in when a key is released or how a player applies bow pressure and speed,
or varies breath. The attack phase of a sound’s envelope can be slow, as in the case of
gently introducing a sustaining clarinet from niente. It can also be immediate, as in the
case of a piano attack. In the case of piano and percussion, notes generally begin to
decay soon after struck though in fact, usually some elements of their spectra will
“blossom” after the initial attack; the envelopes of real-world sounds are neither singular
nor unified between sonic dimensions. Length of the sustain varies per instrument and
in the case of the piano is not controllable by the player, whereas strings, brass and
woodwind players can modulate and control both the attack, sustain, and decay
depending upon the players intent. Pitched instruments produce a periodic waveform,
making a piano distinguishable from an oboe, for example. Sustain exists as the
continuation of the instrument’s waveform. This process results in what is described in
electroacoustic music as ADSR: attack, sustain, decay, release.
Though initially used with regard to synthesized sounds, ADSR modeling can
also be used as a compositional tool by acoustic composers in the application of
musical gestures, phrases, sound masses, and the “fusion” of the attack by one
instrument to the sustain of another. As an application of ADSR modeling to acoustic
analysis, the following example illustrates how Edgard Varèse fuses drum and cymbal
attacks with a number of brass instruments to control the sustain and decay of a chord.
8
Figure 1.3, Varèse “Hyperprism,” mm.13-18.
Notice how the clarinet and trumpet attacks in the first two measures are coupled
with a cymbal. Also, the horn decay in m.16 is followed by a dramatic crescendo, and
the release is marked by a combination of bass drum, cymbal and tam-tam.
Another example of Varèse’s work illustrates the transformation of timbre as the
gesture evolves.
9
Figure 1.4, Varèse, “Hyperprism,” mm.7-12.
By beginning with the tenor trombone and overlapping the attacks of the bass
trombone, French horn, and lion’s roar, before returning to the bass trombone at the
end, Varèse crafts the envelope of the gesture, simultaneously adding textural support
10
in the percussion. This would be an example of “strange sounds unfolding in a different
time world.”7
States of Sound Composers have searched for new ways to identify and categorize various
characteristics of sound in the service of new aesthetics, including computer music.
Dennis Smalley attack-effluvium continuum illustrates a number of states to which
parallels in the physical world can be made. He defines the extremes as particle vs.
solid; the former he calls an attack “impulse” and the latter the “effluvial” state. Figure
1.2 shows Smalley's continuum between the two extremes, including intermediate
states, where perceivable periodicity and individual notes no longer prevail; the sound
exists as an unstable, “granulated” state.
Figure 1.4, The Attack-effluvium continuum.8
Separated attack-impulses Iteration Grain Effluvial state
An attack impulse can be any single point of sound, or a single waveform.
Examples include short bursts of noise, like the striking of a woodblock, or a hammer on
a nail. A “pure” attack impulse does not have an identifiable “sustain,” but exists merely
as a point in time.9
Iteration could best be described as a repetitive cycle below the threshold at
7 Kramer, The Time of Music, 44. 8 Smalley, Language of Electroacoustic Music, 72. 9 Ibid, 72.
11
which humans perceive an identifiable pitch. On the Bösendorfer Imperial grand, the
lowest note C (16.35Hz) is barely identifiable. At higher frequencies, the “effluvial” state
is no longer perceptible as a series of single events, as is the case of the “iterative”
state. Instead, the sound congeals into a fluidly constant, possibly identifiable pitch—or
in the case of a cymbal crash, a sustaining flow of noise.
However, the iterative state may contain variation within it, such as the change in
the frequency of repetitive attack impulses by either accelerating or decelerating. There
also exists a state between these two states: “granulation,” not recognizably iterative
nor fluidly constant, exists as an erratic cross between the two. Within the “granulated”
state it is possible to move to either extreme: just before the congealing of an effluvial
state, or to the point just before the sound becomes noticeably iterative. Though written
initially in reference to computer music, Smalley's concepts may be universally applied.
Periodicity
Though not restricted to the innate nature of a sound as previously described by
Smalley, another word for iteration is periodicity. Within any pitched sonority there exists
a natural periodicity, expressed through the repeating waveform, which makes it unique.
Periodicity can exist on local, rhythmic, and formal levels. On a local level, it may
be an exploration of evolving texture and timbral phenomena, including “beating.”10 On
a rhythmic level it may be perceived as motor rhythm, metric regularity, or metric and
tempo variance. On a formal level, it may be perceived in the rising and falling of energy
from phrase to phrase, section to section, and movement to movement. Depending on
10 Two simultaneously occurring sine waves with frequencies of 440Hz and 441Hz result in phase
cancellation, experienced as the phenomenon of "beating" at the rate of 1Hz. If the two frequencies are 440Hz and 490 Hz, respectively, the result produces a perceivable "difference tone" of 50 Hz.
12
how it is used, periodicity, or the lack thereof, can create engagement on the part of the
listener.
Periodicity as a Compositional Element
We do not consider periodicity as either basic material nor as the unit of rhythmic structure, but the most simple, most probable phenomenon; it is tempting to see it as an ideal point of reference for the perception of time, as is a sinusoidal sound for the perception of pitches, but not at all the a priori foundation of a hierarchical system. We would as well have the same attitude to consonance.11
From this statement, we can conclude that Grisey's subsequent classifications of
materials in the following table are meant to apply not only to rhythms, but to harmonic
(tonal and non-tonal) and timbral materials as well.
Table 1.1, Classification of intervals and of timbre.12
a) Periodic Maximum predictability
ORDER
b) Continuous – dynamic 1) Continuous acceleration 2) Continuous deceleration
Average predictability
c) Discontinuous – dynamic 1) Statistical acceleration or
deceleration 2) Acceleration or
deceleration by stages or elision
Slight predictability
d) Statistical 1) Complete re-division 2) Unpredictability of divisions 3) Maximum discontinuity
Zero predictability DISORDER
e) Smooth – rhythmic silence
11 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 245. 12 Ibid, 244. In the original table the full title was: “Classification of intervals (by their degree of
dissonance) and of timbres (by the extent to which they are non-harmonic).”
13
Static and Dynamic Periodicity13
Repetition, continuous acceleration or deceleration provide predictability and
inherently set up expectations in the listener. The following example demonstrates the
application of this concept to compositional materials.
Figure 1.5, Continuous and static periodicity, Grisey, “Periodes, p.15.”
The first nine beats of the page demonstrate the gradual, yet relatively
continuous deceleration of a texture. If broken up into three-beat cells, the flute, clarinet,
violin, and viola each exhibit a continuous decrease in density by reducing the number
of attacks in each three-beat cell. This dynamic periodicity is followed by an example of
static periodicity, wherein the materials repeat themselves.
Changes in periodicity will be easily recognizable in the case of continuous
acceleration or deceleration. In the case of statistical acceleration, predictability will
decrease as the pattern becomes more irregular, but the overall trajectory remains
13 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 247.
14
perceptible nonetheless.
Figure 1.5, Statistical acceleration.14
Discontinuous change is not as reliably predictable as its degree of change is thwarted
through interruption or modulations in the amount of change.
Figure 1.6, Acceleration by elision, (discontinuous).15
In both cases, the overall phenomenological effect is that of rising tension. In the
latter, momentum is gathered through increasing acceleration and thwarted
expectations as result of a, c, and e being disrupted by the “interruptions” b and d. The
length of each section a, c, and e become progressively shorter, and the rate of
acceleration continues to be heightened in each subsequent segment.
Grisey goes on to conclude that:
All sounds can be given a duration...dynamic curves, changes in timbre, sound quality and vibrato, or, more generally, the actual form of a sequence or sound, constitute as much material as one can rhythmically
14 Grisey, “Tempus ex Machina: A composer's reflections on musical time,”, 253. 15 Ibid, 252.
15
express.16 Dynamic periodicity (i.e., deceleration and acceleration) can refer to frequency,
tempo, additive or subtractive rhythms, gradual compression (or decompression) of time
signatures, and gradual changes in as many parameters as one can imagine and
manipulate, including density and temporal transformations of texture. As intervals,
rhythmic profiles, textures, and timbres change, the descriptions of predictability can be
applied to how they change. As predictability and expectations affect our perception and
emotions, awareness of the effects of predictability, as well as the setting up and
thwarting of expectations in these dimensions, becomes essential in crafting a
composition.
Respiration (Macro-Periodicity) “Respiration” will be used to describe how momentum and materials are
organized compositionally. Grisey describes natural occurrences of periodicity, what he
refers to as “soft periodicity,” as follows:
Our heartbeat, our breathing, the rhythm of our walk and doubtless many other unknown rhythms (our nerve impulse, for example) are never as rigorously periodic as a clock; they vary around a time constant...17
Respiration is a complex example of periodicity comprised of up to four phases:
inhalation, retention, exhalation, and suspension. Due to its cyclical nature, each stage
possesses its own characteristic energy, momentum and implicative set of
expectations. An inhalation requires storing energy, represented by a particular dynamic
curve—like climbing up a hill, which can ultimately go only so high. As the peak of the
inhalation is reached and momentum subsides, it transforms into the next stage of
16 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 244. 17 Grisey, Periodes, performance notes.
16
respiration. Retention exemplifies stasis with high potential energy, as the breath is
stored. Even as the breath is retained, tension builds as the expectation of (and need
to) release increases. Release of the breath represents a transformation from potential
to kinetic energy, while generating momentum as the breath builds, peaks, and
subsides. Suspension, the last stage of respiration, embodies stasis with low potential
energy. Following an exhalation, a longer suspension may build tension through the
expectation of a subsequent inhalation.
Combining the two aforementioned categorizations begins to approach how
these materials can be used with compositional intent. The following table compares the
various states of momentum, as described by Grisey and Smalley.
Table1.2, Integration of Smalley's textural categorization and Grisey's periodic table.
Grisey Smalley Momentum Periodic Statically iterative Static (holds
potential energy)
Continuous – dynamic Iterative with change in rate Yes Discontinuous – dynamic Quasi-iterative/granular Yes Smooth Effluvial Static
With this in mind, musical materials can be logically applied to generate
momentum as needed within a respirational model. In this paper, the aforementioned
terminology will be used to analyze musical materials in Periodes, Partiels, Lemma-
Icon-Epigram, and Phase.
Textural Transformation: Magnification
Let us imagine ourselves . . . contemplating the water at the edge of the river, then progressively, mentally reduced to the size of the molecules of water until we ourselves become molecules; we would certainly be surrounded by an unheard of landscape, but would we still feel the force
17
which sweeps these molecules of water out to sea?18
As an example of dynamic periodicity, Grisey describes a metaphor of changing
natural states: the phenomena of “magnification” as applied to water. While looking at
water and magnifying it to an atomic level, perception passes through different levels as
the states become clearer: first a homogenous substance, then a differentiation into
particles – molecules, atoms, subatomic particles – and finally, quarks. In Partiels and
Tempus ex Machina, Grisey expresses these states musically, as well as gradual
transformations between them. At times, Grisey combines discernible layers of more
than one state.
Figure 1.7, Textural acceleration, Tempus ex Machina, p. 11.
Above, Grisey creates a statistical acceleration of a blurred state including elements of
iteration and granulation. The clear overall trajectory creates an expectation of
18 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 268.
18
continued compression.
By extension, one may “stretch” an attack impulse enough to “see” (hear) the
surface of a point by extreme magnification. There are two perspectives to this
approach, the abstract and the physical. From an abstract perspective, a point exists
with no area, regardless of the amount of magnification. From a physical perspective,
though minute at a certain distance (tempo), the object would increase in size (duration)
as the tempo decreases, as if one were approaching a planet from afar. Sonically, a
point has some perceptible duration, otherwise it wouldn't exist; to stretch an attack
impulse would reveal its innate duration. Grisey magnifies the sound through
deceleration in the following example.
Figure 1.8, Magnification, Tempus ex Machina, p. 14.
The sforzandi mark the attack of each gesture, which continue to increase in
length and decrease in density.
19
Time and Perception
States of Time One may first simply ask, what is time? How many kinds of time are there?
Though certain varieties of time may be regarded as precise, perception of time is
variable and unique to the individual. Thus, further differentiation of perceived and
measured time needs to be made. Ferneyhough addresses this issue regarding the
listening experience:
When we listen intensively to a piece of music there are moments when our consciousness detaches itself from the immediate flow of events and comes to stand apart, measuring, scanning, aware of itself operating in a 'speculative time- space' of dimensions different from those appropriate to the musical discourse in and of itself. We become aware of the passing of time as something closely approaching a physical, objectivized presence.19 Kramer refers to “ordinary time [as] absolute time, especially as agreed on by
social convention.”20 There is also “chronometric time, [the] articulated time set up within
a musical measure and larger units (meter).”21 And finally, “psychological time –
Stravinsky's term for subjective time, in which durations may be distorted from their
absolute-time norm.”22
The first two are mathematically identifiable; the third implies that time may be
perceived as a pliable current, uniquely experienced by each individual. Ultimately,
composers have the opportunity to harness and manipulate two phenomenological
extremes including the area in between “time flies when you're having fun” and “time
stands still.” The first instance requires no explanation, though perhaps mystical in
19 Ferneyhough, Collected Writings, 43. 20 Kramer, The Time of Music, 454. 21 Ibid, 452. 22 Ibid, 454.
20
creation. When first speaking of timelessness (“time stands still”), silence may come to
mind — experienced either as boredom (“when will this ever end?”) or a state of
surrender to the never-ending (vertical time) moment.
In the linear mode, time is directional, a duration carrying us from the past into the future; the present is always fleeting away behind us. In the nonlinear mode, however, the present exists, and is all that exists.23
Kramer speaks of “vertical time” as “the temporal continuum of the unchanging,
in which there are no separate events and in which everything seems part of an eternal
present.”24
Without a reference point, how can time be measured? Periodicity provides
stability and predictability, thus providing the detached listening mind a way to
experience time via changes in tempo. “Time” in music is often measured through
periodicity controlled through tempo. But what about music without overt periodicity?
John Cage’s 4'33” was impactful in this regard, in that it framed the silent container
traditionally filled by music.
Temporal Expansion and Contraction As previously discussed regarding periodicity, the perception of time can be
divided into three categories: “micro” reflects our experience of time moment to
moment; “middle” may be per phrase or period; “macro” can be applied to experiencing
sections and the overall form of a piece. Regarding the micro level:
Let us imagine a sound event, A, followed by another event, B. . . If the sound B is entirely predictable, time seems to move at a certain speed. By contrast, if the sound B is radically different, and virtually unpredictable, time unfolds at a different speed.25
23 Ornstein, The Psychology of Consciousness, 98. 24 Kramer, The Time of Music, 454. 25 Grisey, Tempus ex Machina, 258.
21
The most obvious example of predictability would be a metronome, or the second
hand of a clock. In both cases, we have a good chance of accurately merging perceived
with chronometric time. Grisey speaks to the experience of timelessness regarding
music:
A series of extremely predictable sound events gives us ample allowance for perception. The slightest event acquires an importance. Here, time has expanded . . . The acuity of auditory perception is inversely proportional to that of temporal perception.26
Examples of minimalism exemplify the success of music drawing in a listener by
the conscious use of predictability. Enjoyment is derived from experiencing an
environment created for focused listening. Small changes are made obvious and can be
minutely manipulated by composer and perceived as listener. The opposite effect can
be achieved as well:
There must exist holes in time, analogous to what aeroplane passengers call "air pockets". Chronometric time is never obliterated, but our perception of it can overshadow the linear aspect for a more or less brief instant. Thus, for example, an unexpected acoustic jolt causes us to skate over a portion of time. Sounds perceived during the ensuing moment of readjustment — a moment which is necessary for us to regain a relative equilibrium — no longer have anything like the same emotional or temporal value. This jolt which disturbs the linear unfolding of time and which leaves a violent impression in our memories, makes us less likely to grasp the shape of the musical discourse. Time has contracted.”27
Cohesion, Contrast, and Saturation28 Another example of predictability will demonstrate a number of relevant
phenomenological concepts from a compositional perspective. Imagine a metronome or
clock: One might become desensitized by the experience of listening; expectations may
26 Grisey, Tempus ex Machina, 258-259. 27 Ibid, 258-259. 28 As discussed at length in lessons with Richard DeRosa.
22
become fulfilled enough so that prolonged immersion (saturation) in the experience of
cohesion creates a potential “need” or “want” for another dynamic to be developed –
i.e., contrast. If the imaginary metronome began to make every other “click” slightly
different, a listener might at first be shocked and/or fascinated. Perhaps the alternating
timbre could be developed in such a way that the semiotics of the “metronome piece”
could engage attention for a while, reengaging and avoiding saturation by carefully (and
artfully) crafting the contrasting material with cohesion in mind. An excellent example is
Come Vengono by Salvatore Sciarrino, where “tongue attacks” dominate:
Figure 1.9, Sciarrino, Come Vengono, opening.
Extreme, prolonged cohesion with well-placed accents and dynamic swells
thwart expectations of continuation just long enough for contrast to reengage attention,
playing right at the edge of the saturation point.
Structural Gap Imagine watching the second hand of a clock, when all of a sudden it stops. Most
likely as an observer, either alarm or fascination would ensue; in either case, one's
perception of time will be affected. In the moment, one might experience a “pocket in
time,” requiring a moment to “readjust.” Regardless, the unpredictable event changes
our perception of time and events. The stopping of the clock demonstrates a concept
23
Leonard Meyer introduced as the structural gap, wherein an expectation is not fulfilled
for the listener. Meyer posits that emotion experienced by a listener is induced as a
result of these “structural gaps,” as well as by subsequently “closing the gaps.”29 An
example in tonal music includes the deceptive cadence where the expectation of the
tonic, I is thwarted. An upcoming significant cadence to I may be experienced as
closing the gap. If a pattern goes uninterrupted, we may be unaware of it; when a
pattern is interrupted, we may be more aware of its interruption than of the pattern
itself.30
Within the respirational model, momentum and tension can affect our perception
of time. Tension can make moments seem to last longer or shorter than they actually
do. A static moment of retention so charged with potential energy can make seconds
feel much longer. Insofar as musical situations can evoke visceral reactions, the
perception of time is at the mercy of the composer.
Form
Accepting that individuals’ experiences are unique, can a composer manipulate
the listening experience of an audience member? Grisey states:
One of the most arduous tasks for the composer will be to determine up to what point complex structuring affects perception in a non-negative way. On either side of such a point are two poles of boredom due to a lack or saturation of information, but this threshold is not any less dependent upon the complete subjectivity and responsibility of the composer.31
Trajectory and Momentum Momentum describes “force” associated with trajectory. Traditionally in the 29 Meyer, Emotion and Meaning in Music, 130-135. 30 Ibid, 24. 31 Grisey, Tempus ex Machina, 245.
24
physical world, moving objects continuing on a path are referred to as having
“trajectory.” Smalley refers to various kinds of “trajectories” within the sonic space. First,
trajectory can refer literally to a sonic object moving across the aural landscape. As a
corollary, stasis refers to a stationary sonic object. In physics, the formula for an object’s
momentum equals speed x mass. With regard to music, especially in acoustic music
where sound objects are not spatialized with the use of technology, can the musical
material still have momentum? In addressing this question, one of the purposes of this
paper is to explore the innate energetic qualities imbued in musical material, and how
arrangement on a formal level can create, guide, and thwart such momentum.
Thus, momentum, trajectory, states of sound, energy, and the fulfillment or
subversion of expectation are all considered in the creation of a form, on the micro,
middle and macro dimensions.
Creating Momentum and Temporal Immersion
How does music create momentum? According to the New Oxford Dictionary,
momentum is defined as “the impetus and driving force gained by the development of a
process or course of events.”32
In physics, the “course of events” or “process” may be naturally occurring or
intentionally induced physical or chemical reactions. For this essay, Kramer expands
the definition to include numerous descriptions of the ways an audience experiences
time. In music, the course of events may be related back to the earlier definition of
cohesion. Kramer speaks of this another way, stating that linearity is, “[the] principle of
composition and of listening under which events are understood as outgrowths or
32 The Oxford Dictionary Online
25
consequences of earlier events.”33
Establishing the semiotics of an unfamiliar musical work helps an audience
experience it on anything other than the “sensuous” plane.34 However, I am not
convinced of Kramer's assertion that non-musicians listen to music completely
holistically. In the case of Western music, listeners to contemporary pop music (in which
a final cadence has often been eliminated completely by means of the “fade out”) may
be familiar with the V – I paradigm, whether or not they understand the concept. I would
posit that a certain amount of cultural programming has instilled the necessary
information to take in the “folk music” of our time. Certainly, music education helps a
listener to improve their analytical approach to listening, the part that hears details and
relationships.35 However, in the case of unfamiliar aesthetic approaches, the piece itself
is the education. The music needs to educate its audience as to its own internal
relationships. Some “goals” may not be so difficult to teach, as in the case of a
compressing texture. Perhaps in the event of “magnification,” the understanding that
something is happening may be all that is necessary – resulting in a visceral experience
of the process.
Thus, the composer is responsible through clarity, orchestration, and form to
sonically illustrate important internal musical relationships, significant events, and their
potential consequents. To the extent that these relationships can be perceivable by a
listener as a result of providing adequate sonic markings, subsequent psychological
manipulations of expectations can be reinforced and eventually thwarted – providing
what Meyer states as the cause for emotion.
33 Kramer, The Time of Music, 453. 34 Copland, What to Listen for in Music, 9-19. 35 Kramer, The Time of Music, 453.
26
Affect or emotion-felt is aroused when expectation . . . activated by the musical stimulus situation, is temporarily inhibited or permanently blocked.36 Kramer refers to goal-directed time as a “temporal continuum in which
events progress toward predictable goals.” When exerting oneself climbing a
mountain, time may seem to expand or compress as one both anticipates and
arrives at the top. Achieving the goal, the climber may experience a sense of joy
and timelessness. If however, one reaches instead a plateau at which point
another incline must be ascended before reaching the top, one’s expectations
have been thwarted, resulting in a different emotional state. Perhaps one might
simply enjoy the process (climb) itself, though the expectation of reaching the
peak may provide even more satisfaction.
The experience of musical form obviously demonstrates similar characteristics.
What if, instead of reaching the expected peak, musical climax, or end of a plateau, a
section of cohesive saturation is prolonged for an undetermined amount of time – long
enough that the expectations of reaching the top subsides? Musically, enough time
would have to elapse in order to erase prior memories, in which case one experiences
temporal immersion. The use of temporal proportions to induce such states will be
discussed later in this paper.
“Monkey Wrench” Meyer refers to a number of elements necessary for a pleasant emotional
experience as being (emoticons added):
. . . first arousing apprehension, then dispelling it. . . !37
36 Meyer, Emotion and Meaning in Music, 31. 37 Emoticons are used to semiotically represent emotional states.
27
. . . belief in resolution [of a situation]. . . " . . . control believed to exist over a situation. . .38 "!39 Musically, we must first arouse apprehension through expectation (or thwarted
expectation). In either case, the expectations must first be established. In the case of a
structural gap, apprehension is resolved as the gap is closed. In a different paradigm,
however, the gap is never closed: A || B || A/B synthesis/transformation→ C ?!
With the creation of longer works, form becomes increasingly important. By
opening a new gap in the midst of overall cohesion, there exists opportunity for creating
engaging, unexpected, and “believable” contrast. Ideally, the contrast comes as a
welcome, and very unexpected surprise. Placement is of utmost importance: perhaps at
the peak of a climax, at the point of saturation, or even when the audience may have
been “lulled” into a sense of contentment. Not just a contrasting section – but also the
essence of the piece: the phenomenological twist of opening this special gap serves
multiple purposes. First, it must be extremely memorable, and second it must be
satisfying to the point that the opening of the gap makes closing it inconsequential. This
special formal device needs a name – for the purposes of this essay it will hence be
referred to as a “monkey wrench.”40
Making drastic contrast “believable” requires providing a connected context
wherein it may exist. In Waver, the monkey wrench occurs in the middle: bowed vibes
producing “beating” by pitch bending the same note against itself.
38 Meyer, Emotion and Meaning in Music, 20-21. 39 David Bard-Schwarz uses ! and ? as means of adding emotional emphasis to musical analyses. 40 Coined in lessons with Christopher Moore.
28
Figure 1.10, “Monkey wrench” Waver, mm. 119-124.
Up to this point, all six players had played simultaneously and amounted to great
volume and density. What makes it work in this case is the stark change in texture:
stark, quiet, sustained, pitch monophony. The piece started with sustained noise, and
then introduced particulates of pitch. Formally, the sustained pitch of the vibes comes
as the next logical structural development. Contextually, the entire piece’s structure
demonstrates wavering, including the way the instruments spatialize from one player to
the next making the sound “waver” across the stage. In these ways, the piece
foreshadows the “wrench.” Thereafter, the new texture is not abandoned, but
incorporated – closing the gap.
In the case of Limud, the piece ends with all the players whispering the text,
Figure 1.11, End of Limud. mm. 222-226.
29
which opens a phenomenological, developmental door, providing a glimpse of new
possibilities that are never fully explored, thus leaving the gap open. Both of the
previous examples provide stark dynamic shifts in contrast to what preceded them.
Thus wrenches come in all shapes and sizes, depending upon the tastes and
tendencies of the composer deciding to use them.
An excellent example of this concept from popular culture is the 1984 blockbuster
film, Ghostbusters. The movie climaxes with the absurd introduction of a one hundred-
foot marshmallow man destroying New York City. What makes this scene effective is
the way the movie provides opportunities for the suspension of disbelief throughout,
such that when the ultimate wrench occurs, we buy into the premise.
Meyer explains that “pleasure” results from a belief in some degree of control
over a mildly fear-provoking experience. A monkey wrench fulfills the need for belief in
control over an unresolved, potentially “dangerous” musical situation. Periodes contains
an example of a musically successful monkey wrench, when in the middle the work, the
violist “tunes” the instrument:
Figure 1.12, “Monkey wrench” Periodes, p.32
While this event is theatrically evocative, it makes perfect musical sense as a
soloist providing periodicity through “beating” in the context of the work. A monkey
30
wrench can heighten the sensuous experience in unexpected, yet —in retrospect —
seemingly inevitable ways. In the best monkey wrenches, there is a re-contextualization
of previous material in a new way.
The end of Partiels offers another kind of wrench, one where apprehension is
induced, and the impending expectation is not realized.
Figure 1.13, End of Partiels
The notes read:
Raise the arms, excessively restrained, mysteriously and formally. With muscular and psychological tension hold them ready for an impending fff attack.41 Though not essential, theatrics can be effective in producing visceral dramatics,
and thus creating a successful monkey wrench. The overall importance of the concept
is such that it bears a name and serves a special phenomenological function and, if not
named, may not come into play as viscerally both in analysis and in the phase of pre-
composition, which may make a difference.
41 Grisey, Partiels, 63.
31
CHAPTER 2
ANALYSIS OF GERARD GRISEY'S PERIODES AND PARTIELS
Respiration: Macro-periodicity As a way to organize the form of Periodes, Grisey refers to a “three-part cycle”
in his program notes regarding periodicity and the concept of “respiration.” According to
Grisey, Periodes explores the compression and expansion of periodicity.42 In so doing,
the music expresses the perceptions of various respiratory “states.”
Figure 2.1, Respiration in Periodes.43
Each rest area...exercises an authentic force of attraction and repulsion on the development of the sound. Each cell contains microphonic elements which...become altered...up to maximum tension and complexity. This first stage corresponds to inhalation. A different direction follows...we gradually enter into the sphere of attraction to the next cell; to return gradually to calmness and simplicity. This second stage corresponds to exhalation.44
Grisey has re-contextualized the notion of periodicity to include a non-tonal harmonic
procedure. In this case, periodicity includes a harmonic oscillation of increasing and
42 According to Grisey, Periodes is titled in reference to the respiration cycles. “How does the evolution off textural/timbral modulation develop through the course of the respirating cycles in Periodes?” is a topic for further study. 43 Grisey, Periodes, Program notes. 44 Ibid, program notes.
32
decreasing complexity. Grisey creates pillars of harmonic stasis and the intermediate
state of harmonic complexity as sonorities transform between these two states. Within
Periodes, there are four such cycles.45
Grisey also uses process of respiration to create momentum. Within the periodic
cycles, Grisey respects the innate energetic attributes of each respirative phase while
varying the timbral and textural characteristics. In this case, the respirative periodicity
and the timbral variation of materials within each phase (exhalation, rest, and inhalation)
create a visceral experience of the cycle, one that is not boring or predictable, and with
enough variation so as to continue to engage the audience.
Semiotics of Sound The beginning of Periodes demonstrates how Grisey introduces the musical
language of the piece and how changes of state and timbre occur. Grisey establishes
the aesthetic and idiom of this piece by beginning with blocks of stasis. Though
synchronized and contrapuntally static within each chord, subtle internal activity exists.
For example, following the first attack, the contrabass begins alto sul tasto moving
towards ordinario in the second chord, whereupon the contrabass continues to
modulate between alto sul tasto and ordinario. Additionally, both the violin and the viola
slightly bend (microtonally) their respective highest notes over the course of each chord
before re-attacking the next chord. Thus, each sound block moves with an internal
waver, the result of the beating created through microtonality. This waver serves as the
seed (from which more will grow) or the “first words” of a language, which Grisey will
continue to “teach” to the listener as the work progresses.
45 For more see Feron, “The Emergence of Spectra in the Gerard Grisey's Compositional Process,”
Contemporary Music Review.
33
Figure 2.2, Establishment of sonic identity, Periodes, p.1.
Once the pattern has been established, Grisey builds upon the previous material.
In this case, after numerous iterations, he adds clarinet, then flute. On page five, the
bending pitches are staggered, as a means of extending and pushing the material
farther. He then teaches a “new word,” the color trill in the viola at rehearsal two. On
page six, Grisey introduces the parameter of dynamic swell, which establishes a sort of
temporal amplitude motive. The swells continue, staggering throughout the ensemble
just as the bends were earlier, and these staggered attacks themselves become an
orchestrational motive. The trombone exaggerates the swell, and as the moment of
expected saturation is reached right before rehearsal three, the new element appears,
in the form of chaotic string noise in the viola.
34
Figure 2.3, Timbral development, Periodes, p. 7.
Timbral Morphology
At this point, Grisey has introduced core materials and a basic developmental
strategy. The waver, initially a microtonal bend, has individuated and become a color
trill, then a flutter-tongue and further morphed into the introduction of the chaotic string
noises.
Figure 2.4 Transformation of flute articulation, Periodes, p.11.
35
Each modification represents the morphological trajectory in progress, wherein a state
of being turns into a heightened version of itself, as in the case of a pitch bend turning
first into a color trill, and later into a flutter-tongue. A direct modulation would be to move
the flute flutter-tongue to a viola tremolo. However, the chaotic string noise is a sort of
“timbral modulation” – not exactly a trill or a flutter-tongue, or even a tremolo (the string
equivalent of a flute flutter-tongue). More so, it is both a modulation and an integration
of new elements, chaos and noise.
Grisey continually and logically builds on choice aspects of the sonic composite.
The piece teaches the listener how to understand its musical language. Logic functions
as an important element, allowing a listener to make connections either consciously or
intuitively. The development of the material proceeds coherently, moving from a familiar
element to a similar version of itself in an unfamiliar and unexpected re-
contextualization.
In the same way as a sonata merges multiple ideas in the development, Grisey
continues to resynthesize and integrate previously presented materials. In the present
essay, re-contextualization refers to taking an established process and applying it to a
different source, thus yielding new material.
Figure 2.5, Re-contextualization. New material Application of process Original material
In effect, it may be viewed as another version of the “monkey wrench” model.
The chaotic string noise of the viola marks the temporal saturation point, where the
material phenomenologically emerges out of the previous stasis to achieve a sort of
36
composite identity comprised of the previously introduced elements such as trill, flutter
tongue, bends, and dynamic swell. After establishing itself as a composite entity, the
entity has become aware of its need to develop further, essentially pushing its own
material farther.. The use of the ensemble dynamic swell introduces an idea of a
segregated event, and a sort of composite entity has emerged.
Figure 2.6, Dynamic swells as a composite sonic entity, Periodes, p.6.
All elements are integrated into a single pulsating composite entity, which are in
contrast to the opening static chords. On the static end of the continuum are sustained
tones, and on the active extreme, flutter tongue and tremolo.
States of Sound (Transformation of the Attack-effluvial continuum)
Although Grisey may have never intended for this parallel to be made, textural
categorization can be applied to Periodes, pages 10-11. After a few attack impulses, a
noticeable silence, and four seconds of sustained pitch representing the effluvial state,
37
the music begins an iterative phase.
Figure 2.7, States and transformation, Periodes, p. 10.
Attack impulses Attack ––“effluvial” Attack → “iterative” –––––––→
Notice the fusion of an attack “envelope,” where there exists a brief crescendo
from pp to fp at the beginning of the first sustained pitch. This momentary fusion
connects the unified composite amplitude swells with the individuated attack impulses
before the preceding silence. In this way, Grisey has taken the ensemble from a number
of individual particles and brought them together to form a unified composite. Once
unified, it again begins to iterate at an increasing rate until the individual iterations are
no longer perceptible, as the players switch to tremolo.
The glissandi, at this point moving “outwards” in contrary motion, become rapid
enough to transform into tremolo. Flute and trombone join with their analogous flutter-
38
tongues.
Figure 2.8, States and transformation, Periodes, p. 11. ––→ grain ––→ “effluvial” –––→ “iterative”
By nature of the consistent pitch content inherent in the tremolo, the unified tremolo can
be heard as effluvial, though by another perspective it would yield a blended state:
effluvial with an iterative layer. The granular state exists between the iterative and the
unified tremolo, not clearly one nor the other. The granular state is created through
staggering the attacks between the instruments, thus avoiding simultaneities: increasing
the density and thwarting the perception of individual events aids in creating the
perception of blur. Following the homogenous tremolo composite, the sound begins to
diffuse to its individual components again, thus returning to an iterative state. Alternating
between states in this way the music breathes, representing what Grisey refers to as
39
“respirating.”
Textural Magnification
At the point where the current materials' trajectory reaches its climax and
saturation point, the composite texture transforms and re-contextualizes the glissando
gesture. Previously, the glissandi were generally used in contrary motion “inward,” with
a few notable exceptions where they began to move “outwards.” In those instances, the
predominant hierarchical event was not the direction of the glissandi, but the quickening
periodicity towards the climax. On page 12, all glissandi now ascend in staggered
attacks throughout the ensemble, as the density gradually becomes sparser. Composed
of a tapestry of multiple threads, each moving at independent rates, the composite
gradually relaxes and provides a denouement for the previous climax.
Details become clearer through magnification, as a transformation between
states occurs. While crossing an arbitrary “state threshold,” long, pitch bends transform
into shorter, fingered gestures.
Figure 2.9, Magnification, Periodes, p. 12.
40
Beginning with the flute and followed by cello, contrabass, clarinet, viola, and
violin, Grisey introduces the more articulated texture. By staggering the entrances, he
ensures a gradual transformation between these two states. The differing number of
notes, durations, and subdivisions in each gesture prevent noticeable simultaneities
between the layered ascending waves. The revealing of details can be seen more
clearly as the “surface” of each of the notes, perceivable earlier only as sustained
bends.
Figure 2.10, Magnification (continued), Periodes, p. 13.
Continuing through the attack-effluvial spectrum, the blurring once again
produces a dynamically transforming, granulated state—one that starts dense and
closer to the threshold of the effluvial state, though not crossing over. Figure 2.11 shows
the target texture, that of a somewhat sparser representation of the previous example.
41
Figure 2.11, Static periodicity, Periodes, p. 15.
Not only has the time between attacks been stretched, but also the
intervals between pitches; this, what were previously scalar passages have had notes
removed to become arpeggios. This transformation began at a quasi-iterative/granular
state and progressed through a gradual decrease of rhythmic and harmonic content.
Arriving at a texture wherein the instruments fuse into a repeating homogenous effluvial
composite, Grisey marks the reiteration with “quasi-pizzicati” in the flute. In this case,
periodicity occurs on a middle-ground level—applying to a segment of material—rather
than to micro-level elements of a texture. The resulting effect is that of the materials
repeating like a broken record.
State “Shift”
Modulation, which in tonal music refers to a change from one key to another, will
be used here in reference to a change in texture. Granted, the term modulation poses
problems, as it has a history of notably harmonic and pitch related connotations and
usages; in this essay, however, the terms modulation and transformation apply to states
42
and categories of sound. For the purpose of this discussion, the term transformation is
used to refer to a gradual metamorphosis from one state to another or, within a
granulated state, a progressive and systematic movement from one side of the
continuum to another. An example would be a primarily iterative texture transforming
gradually to predominantly effluvial state. In contrast, the term “state shift” will be
applied to an abrupt change of state.
Transformation through Reiteration
The previously described iterative material (Figure 2.11) reaches an even more
elongated state near the end of the movement. At this point, various states blend and
mix, existing in an “in-between” transitory state. Depending on perspective, a slow
repetition of sustained attacks could be considered as an effluvial composite, or as a
slow iterative state. The material serves as what could be described as a pivot state,
convincingly arguable as one or the other. If the material speeds up, it reveals an
iterative nature. If slowed down further, the material would distinguish itself as
definitively effluvial. The rate of change as well as the curve of the rate of acceleration
contributes to the momentum in the change of state.
More than augmentation, magnification refers to the aesthetic qualities of sound
rather than duration and placement in time. For the purposes of this paper, reiteration
will be applied to a segment of material that is repeated, like a broken record, as in the
case of the opening gesture of Partiels. In terms of transformation, if magnification is a
way of “stretching the surface” of compositional materials, reiterational transformation
changes the nature of the repeated material at an atomic level. Periodes prepares
through reiterational transformation the beginning of Partiels by magnifying the material
43
further.
Figure 2.12, Continued stretching of iterative material, Periodes, p. 41.
In the previous example, the addition of an aggressive amplitude envelope
(beginning with the trombone) differentiates individual effluvial elements from within a
gradually decelerating iterative texture. In this passage, the material transforms slowly
back from iteration into attacks. Additionally, the loud attack of the trombone followed by
loud iterations of string attacks foreshadows the distinctive opening of Partiels.
On the following page of the score (page 42), the effluvial nature of the previously
elongated iterative material asserts itself further with the addition of multiple loud attacks
in the accompanimental, staggered attacks of the strings. This material does not have
an identifiable periodicity, that being a necessary quality of iteration; thus I hear this as
an elongated and stretched state of granulation.
44
Figure 2.13, Transformation from iteration into attacks, Periodes, p. 44.
Transformation from one state to another continues on page 45, where the
trombone declamation remains. Alongside this, multiple iterations of brief overpressure
in the contrabass complement its decay, which, along with the trombone, continues to
develop into the opening of Partiels. The following figure shows the development of the
iterative/effluvial composite.
Figure 2.14, Iteration amidst an effluvial composite, Periodes, p. 45.
Notice how the contrabass continues layering iterative pizzicati over sustained
45
and gradually increasing overpressure, followed by two sfffz bowed attacks, before
returning to the layered iteration amidst an effluvial composite. Formally, iterative attack
impulses of the bass transform from points of attack into sustained sounds. In so doing,
they extend and cross over into re-articulations of the effluvial state as a primary voice,
which functions as a means of perfectly transforming into the beginning gesture of
Partiels.
The first page of Partiels replicates the same material on the final page of
Periodes.
Figure 2.15, Periodicity, Periodes, p. 46.
The previous overpressure iterations of the contrabass transform into three sustained fff
attacks in quick succession, accompanied by the loud trombone statement. Grisey
46
follows the trombone and iterative contrabass composite with an emerging spectrum
orchestrated with strings and winds.46 The combination of both the trombone/contrabass
statement and the emerging string/winds answer result in a larger form of iteration; in
this way Grisey reframes periodicity within a larger context.47
The iterative/effluvial composite at the beginning of the page modulates to a re-
contextualized version at the end. The contrabass pizzicato/overpressure iteration
changes to sustained attacks along with another sustained trombone declamation,
exactly the same as what follows in Partiels. Grisey's transformation seamlessly
connects the two movements.48
Formally, Periodes and Partiels share similar compositional materials, albeit
arriving at them in different ways. Partiels uses the materials presented in Periodes for
further transformation within and between categories. Over the course of the movement,
Partiels moves from the effluvial state through iterative material, granulation of pitch
material, and at the end, granulated noise.
The piece begins with three attacks, followed by the orchestration of the spectral
analysis of a trombone note.49 The sustaining strings, flute, and clarinet emerge from
under the receding trombone/contrabass gesture of the opening.
46 Partiels is based on the spectrum of a computer analyzed trombone note. Fineberg, Joshua.
Sculpting Sound. 47 The repetitive cell mechanism returns again and again in Partiels, yet another re-contextualization of
periodicity. 48 This essay describes textural and categorical modulations and transformation, leaving pitch content
virtually untouched. 49 Fineberg, Sculpting Sound, 56-58.
47
Figure 2.16, Effluvial iteration, Partiels, p. 1.
The entire cell repeats, representing effluvial iteration. The first fourteen pages continue
to explore large statements of this material, each segment adding more “noise” as
partials are registrally displaced from their original position in the pure spectrum and
noise elements are added.50
On page fifteen, Grisey introduces iteration, first in the percussion. He delegates
it to three instruments, starting slowly on the bass drum, then slightly faster as staccato
points are added in the bass clarinet, and then on the tambourine.
50 Rose, “Introduction to the Pitch Organization of French Spectral Music,” 10.
48
Figure 2.17, Introduction of iteration, Partiels, p.15.
Grisey continues to explore iterative material, first by adding tuba and pizzicato in
the bass (referring to the end of Periodes). Initially, all instruments create
distinguishable points, either by their innate nature as in the case of bass drum or
tambourine, or by the playing method, such as staccato or pizzicato. A gradual
transformation from iteration to effluvial ensues, beginning with bass introducing
measured sixteenth note tremolos on page 18.
Figure 2.18, Measured tremolo, contrabass, Partiels, p.18.
The nature of tremolo on string instruments requires a caveat for categorization
based upon playing technique. Iteration by this definition would include any musical
49
materials of a periodic nature, such as tremolo, flutter-tongue and vibrato. Grisey
continues to add measured tremolo, first in the bass then later in the cello and viola,
pushing the state of iteration further by modulating to the unmeasured tremolo in the
violin.51 By introducing unmeasured tremolo impercible in the vibraphone on page 24,
an instrument whose spectrum is closer to a pure sine wave than that of the more
complex violin, the result may be perceived as having more fully crossed over into the
effluvial state.
Figure 2.19, Un-measured tremolo in violin and vibraphone, Partiels, p. 24.
Through orchestration, Grisey develops the iterative materials through changes in
speed and timbre of the repeating element, as well as by the size of the grain via
51 In the case of additive synthesis, one sine wave is added to another. At some point, the two waves
interact such that a difference tone is created. A difference tone is created as the result of the difference of the two original waves. For example, adding a 50 Hz wave to a 55 Hz wave would create a difference of 5 Hz, well below an audible tone threshold; however the listener would experience “beats” at the rate of 5 per second. Beating occurs commonly when two similar instruments play the same note slightly out of tune, or in the case of tuning a guitar, beating goes away when the strings fall “in tune” with one another. In another additive example, adding a 75 Hz wave to a 125 Hz wave would create a “difference” tone of 50 Hz, in which case the listener would hear three pitches: 125 Hz, 75 Hz, and 50 Hz because all three are above the threshold of frequency effluviality. There exists a point where the rate of beating crosses over the threshold of iteration to effluviality.
50
“magnification.” Throughout the previous exploration of iteration, there has also been a
gradual transition from iterative percussive sounds to effluvial pitch, blended with an
iterative layer, thus setting up the next section to be more pitch based.
The following section first proceeds from a relatively static, moderately sparse
texture, through deceleration and crescendo to slow, repeated, pitch effluviality, then
later to a state of accelerating and compressing repetitions building to a saturation point
of iterative material. First, layers of iterative material blend to create a static fabric,
which Grisey develops through the use of dynamic envelopes to create momentum.
Slowing the periodicity and decreasing density in conjunction with the decrescendo
reduces the momentum of the phrase.52
Figure 2.20, Repeated pitch effluviality, Partiels, p.31.
Again, note how synchronicities are avoided, favoring layered, repeated patterns
of similar, though revolving pitch structures. Thus in Partiels, Grisey continues to reuse
materials previously presented in Periodes, furthering developing them. Another
52 Denis Smalley describes multiple categories of trajectory and momentum in his article, The Language
of Electroacoustic Music.
51
example of this approach includes the articulated glissandi material from pages 12-13 of
Periodes, though revisited this time in reverse. The ascending gestures of the previous
statement are now presented inverted in every way: sparse, “slow,” descending, and
increasing in speed, density, and range over time.
Figure 2.21, Compression of glissandi, woodwinds, Partiels, p.39.
In the preceding section, Grisey gradually develops iteration through changes in
timbre and continues to do so here by transforming textural elements into motives
capable of being exploited and manipulated. The use of spectral runs, prevalent in both
Periodes and Partiels, is used motivically in Partiels, not only as a state but as a self-
contained gesture as well.
Figure 2.22, Decompression of string glissandi, Partiels, p. 39.
52
As a result of the staggered canonic nature of the material, the texture
progresses from dense to sparse as the voices finish their statements. The composite
exists in a quasi-granular state comprised of short iterative granules.
The magnification process earlier applied to an attack impulse reveals musical
“surface area” in the form of time-based effluviality. The same process of magnification
applies here, revealing the “water molecules” audibly moving around, to borrow Grisey's
metaphor.53
Figure 2.23, Decompression and elongation into granules, woodwinds, Partiels, p.40.
Pitch iteration continues to develop as a category, changing from dense to
sparse. Considering the short, descending run to be a “grain,” the following example
illustrates the development of that motive, where grain size becomes augmented or
diminished. A macro-granular state is created as the material within the grains ascends
or descends. The texture is erratic with no identifiable periodicity.
53 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 268.
53
Figure 2.24, Macro-granulation, Partiels, p.46.
Partiels ends with crinkling cellophane and paper. Here, Grisey explores one of
two possible unexplored categories: noise granulation and a state approaching effluvial
noise (static white noise).
Figure 2.24, Noise granulation, Partiels, p. 60.
54
In order to create a cohesive work, one of the first things I do as a composer is
look at possible combinations of texture and dynamics. Within a given texture, there are
two overarching categories, each with its own subcategories: the first category is one of
predictable periodicity of a recognizably iterative state which has the potential for
various rates of iteration, including a quasi-iterated/granulated state; the second
category, stasis, can be subdivides into chaotic stasis with unpredictability, and effluvial
stasis that is smooth and without interruption. Within the chaos also exists opportunities
to incorporate various densities. Each of these categories can be manipulated within its
own continuum of density or rate as applicable, within four possible combined states:
sparse and soft, dense and soft, sparse and loud, dense and loud. Formal decisions will
create a perceived shape of the resulting piece consistent with desired
phenomenological effects. Further analysis will explore methodologies regarding formal
design as a result of designated categorical possibilities.
55
CHAPTER 3
BRIAN FERNEYHOUGH'S LEMMA-ICON-EPIGRAM
Lemma-Icon-Epigram has been the subject of much analysis regarding pitch
processes.54 The purpose of this essay is to create a categorical analysis that will
explore the various musical materials both from an energetic and a textural perspective.
After identifying the categories, describing their characteristics with respect to
momentum, and exploring their developmental origins, it will be shown how Lemma-
Icon-Epigram “respirates” between each category within the context of cohesion and
contrast. Throughout, concepts of momentum on a macro-formal level will be discussed.
Categorization of Textures Once pitch has been deprioritized as the primary hierarchical element,
composing for the piano can become difficult. Traditional keyboard playing limits timbral
possibilities and tends to restrict one to pitch, rhythm, and resonance. Meanwhile,
crescendi can be achieved only through gesture and repeated attacks. Ferneyhough's
Lemma-Icon-Epigram will serve as an example of a piano piece limited to playing only
on the keys that nevertheless lends itself to an analysis in terms of texture and
momentum. Without the need to examine pitch structures closely, we may see that
Lemma-Icon-Epigram accomplishes many differentiations of material through texture
and register. Even though the work uses mostly traditional playing techniques, it
demonstrates clear examples of a number of categories of sound, and later develops
and combines these to create memorable moments resulting in an effective form.
Four main textural categories in Lemma-Icon-Epigram are: single notes/block
54 Toop, “Brian Ferneyhough’s Lemma-Icon-Epigram,” 52-100.
56
chords, trills/tremolo, runs/glissandi, and “spattering.” A few clear examples of these
categories are given below, followed by descriptions of their origins from the beginning
of the piece. How these elements are used to create memorable moments and
connections within and throughout the form will be explored, as well as how they
contribute to the overarching concept of momentum.
Though there are rare examples of isolated single notes, more often these are
found in the context of a given musical moment. The following illustrates two categories
of single note gestures: secco and sustained.
Figure 3.1, Lemma-Icon-Epigram, m. 24
The left hand marks the end of the first extended period with a loud sustained
sonority, while the right hand echoes the attack of the left hand, creating a brief
experience of temporal stasis in contrast to the high level of activity in the previously
extended material. The notes at the beginning of the example are farther apart both
temporally and intervallically. One may perceive the first attacks as individual elements
rather than members of a larger gesture. Near the end of the measure, the notes are
closer together and “cohere,” resulting in a composite gesture.
57
Single note are extended by either adding elements horizontally or vertically. The
following examples demonstrate both techniques: the first example illustrates staccato
chords followed by brief moments of silence; the second shows multiple instances of
simultaneities within close proximity to one another.
Figure 3.2, Block chords, Lemma-Icon-Epigram, mm. 38-39.
Measure 39 demonstrates multiple sonorities in quick succession. The contrary
motion results in expanding intervals between the hands. There is crossover between
categories: one could argue the third gesture of measure 39 consists of two fragmented
runs in simultaneous contrary motion. More examples of hybrid gestures show up
throughout the piece, especially in the Icon and Epigram sections.
Per the respiration analogy, the seemingly prominent space between the
staccato attacks in measure 38 may be interpreted as an interruption to create silence
and “breath.” Though brief in the previous example, more prolonged instances of
silence occur throughout the piece. Both silence and sustained sound play an important
role in the form of Lemma-Icon-Epigram, and serve as examples of “stasis,” or the
suspension of momentum. The following figure provides an example of stasis
manifested by a held sonority.
58
Figure 3.3, Sustained sonority, Lemma-Icon-Epigram, m.89.
This moment marks the first exaggerated and sustained stasis in the piece—the onset
of the Icon section—and is later explored in context with greater detail.
Accelerating single notes congeal into perceivable gestures of trills/tremolo, or
runs/glissandi. Trills/tremolo are generally static regarding pitch trajectory, as opposed
to runs/glissandi, which have a clear ascending, or descending trajectory. However, the
tessitura of intervals in a tremolo can be modulated in such a way to create
expectations and an experience of either expanding or contracting pitch trajectory in a
dynamically changing way.
Without the pitch repetition of trills/tremolo, “spattering” gestures generally
consist of disjunct intervals having a relatively wide tessitura, although the tessitura may
vary. It has no discernible pitch trajectory, and in its purest state has no rhythmic
trajectory either, creating a sense of temporal “stasis.”
Figure 3.4, “Spattering” in Lemma-Icon-Epigram, m. 35.
59
Though the above example is relatively dense texturally, later examples will show
how it such a gesture can be transformed into simpler textures. In fact, the first example
of “single notes” could be considered a “slow spattering.” As in the previous category,
notes must occur close enough together to create a categorical congruency, otherwise
they fall into the “single note” category. Far more often, “spatterings” appear as above.
However, single notes and spattering gestures may be considered extreme points on a
continuum, and that some events may be interpreted as being between these two
extremes.
Regarding momentum, the following table describes the innate energetic
characteristics of the various categories of material:
Table 3.1, Table of Textural Characteristics, Lemma-Icon-Epigram.
Gesture/Category Momentum Single notes Low (stasis) Runs/Glissandi High (perceivable pitch trajectory) Tremolo/trill Varied. It depends on the kind of change in pitches, pitch trajectory,
and also perceivable rhythmic trajectory. It is possible to create stasis with trill/tremolo, without a clear trajectory, thus without expectation of momentum
Spattering Stasis (Momentum could be generated through perceivable and predictable change in density thus resulting in a clear trajectory. A perceivable change in tessitura over time can also create a clear trajectory.
60
Beginnings and Development of Categories
The above categories will be applied in the following analysis of Ferneyhough’s
work.55 The piece begins with a legato spattering gesture as seen below.56
Figure 3.5, Opening gesture, Lemma-Icon-Epigram, m. 1.
The use of register immediately creates a distinctive counterpoint between the
smoothly flowing upper voice and the conspicuous single notes outlining a lower voice
an octave below. Articulation contrasts (staccato/secco vs. legato) play an important
role in the development of material. Ferneyhough also uses both sustain and sostenuto
pedals extensively to create a background resonance over which a secco foreground
can be placed. Activation, the way sonorities are articulated, plays a large role in the
development and differentiation of categories.
The second system introduces pitch simultaneities and trilling, the latter of which
may be considered another form of note “activation.” Both trilling and pitch repetition
provide a way of creating a dynamic envelope where single attacks do not. When the
tessitura changes, as in measure eight (Figure 32), the texture can be extended and
developed, potentially indefinitely. The secco/staccato category is developed further in
55 Also refer to Richard Toop’s analysis regarding formal concerns and cycles of time signature
development. Toop, 63. 56 This analysis will not concern itself with pitch content and specific rhythmic figures. For more
information in this realm, please refer to the analysis done by Richard Toop in conjunction with Brian Ferneyhough's sketches. Toop, 57-59.
61
measure three:
Figure 3.6, Introduction of categories, Lemma-Icon-Epigram, mm. 2-4.
The use of staccato articulations creates a secco repeated note gesture, what I
will be calling a pivot texture between single notes and the trill/tremolo category. From a
phenomenological point of view, the second system provides a contrast to the first:
whereas the first system consists of three texturally similar, cohesive phrases, with short
breaths in between, the second system contains five contrasting gestures and is far
more disjunct. In order to avoid saturation due to excessive contrast, a shift in texture
thwarts expectations by further developing the opening gesture, the intervallic
expansion creating a “spattering” effect.
Figure 3.7, “Spattering,” Lemma-Icon-Epigram, m.5.
62
This passage parallels the familiar legato wash heard in the beginning. Though
rhythmically similar, the pitches are widely distributed throughout several registers. The
second half of the measure differentiates an upper voice by use of dynamic accents and
a wider gap between the upper and lower voices. The first gesture of the measure
resembles a transitional state between the materials in measure three, and the cohesive
tremolo/trill of measure eight.
Figure 3.8, Disjunct Material, Lemma-Icon-Epigram, mm. 6-8.
In measure seven, the secco texture introduced in measure three is extended,
resulting in a slow “spattering” with some repeated pitches—a hybrid between single
notes, a protracted spattering, and an embryonic tremolo state.
Respiration in Lemma-Icon-Epigram Within this development, the materials follow a “semiotic” logic as the piece
unfolds in an orderly fashion: one textural state leads to another in turn.
Figure 3.9, Proportions of opening textures, Lemma-Icon-Epigram, mm. 1 – 11.
63
In mm. 2-4, the seeds for both the trill and secco gestures are planted. Though
these are contrasting elements, each plays a role in the subsequent development.
Measures 2-4 are lumped together as a cohesive unit because of the overarching
disjunct nature of the materials within, and the way the materials switch from one state
to the next in rapid succession. Labeling measures 2-4 as “disjunct” identifies the
internal relationship of the materials' elemental surface texture. In contrast, the two
surrounding materials of spattering and “proto-trill/tremolo” have been labeled “conjunct”
due to the smoother resulting texture. The groups that follow alternate between conjunct
and disjunct materials, resulting in a categorical periodicity.
After the five marcato attacks in measure ten, the material proceeds without
pause until measure 24. In contrast to the opening passage, where the alternating
textures are relatively transparent and overt, Ferneyhough continues in measures 12-23
with a varied textural counterpoint, at times using multiple layers simultaneously.
Overall, the material becomes denser as a result of the layering and blurring of
categories. Use of space constitutes the main difference between the opening passage
and mm. 12-23.
Figure 3.10, Layering of Categories, Lemma-Icon-Epigram, mm.14-15.
64
Figure 3.11, Layering of Categories, Lemma-Icon-Epigram mm. 16-17.
Notice the absence of spattering in the example above. Of the four categories
previously described, cohesion is achieved through the use of the first three while the
fourth is reserved for contrast.
Whereas the “disjunct” materials consistently convey a disruption (or suspension)
of momentum, the “conjunct” materials demonstrate a perceivable dynamic trajectory.
The alternation of materials may be metaphorically compared to the “respiration”
concept presented by Grisey. Viewed from this perspective, the “breathing” represented
in the opening would appear to be accelerating, building momentum, and increasing
tension by creating an expectation of either further acceleration (eventually reaching a
“critical mass”) or a saturation point. At m. 11, the peak is reached and the material
continues to flow without a break until m. 24. The following figure shows
contrast/cohesiveness on a larger structural level.
65
Figure 3.12, Textural contrast mm. 1-24, Lemma-Icon-Epigram.
A recursive respiratory analysis can be applied to mm. 1-11 as a respiratory
cycling within itself, gradually storing energy – as an inhalation. Measure 11 has been
included in the first group because of the homogenous texture of the material. Measures
11-23 represent one macro exhalation, ending with a “suspension” – a single static
secco measure in 24, marked for memory as a result of its contrast with the previous
material. The music “catches its breath” for a moment before continuing to exert itself in
the next respiratory cycle. 57
Figure 3.13, Respiration of Materials mm. 24-48, Lemma-Icon-Epigram.
57 The number of sixteenth notes between first two sections (62:51) reflects a sort of “tilted symmetry”
between the two sections. Perceptually, tilted symmetry subverts the experience of predictability.
66
Chords may be regarded as a suspension of time, the low energy state of
respiration. However, the loud, low register sustained chords are especially visceral,
marking for memory both the register and the “texture” as a potential contextual
reference point. In hindsight, knowing that they play a predominant role in the Icon
section, one could trace their overall development in the Lemma section as preparatory.
Characterizing the other side of the continuum (retention), spattering holds the
high potential energy state of respiration. As a means of transitioning between the two
contrasting states of stasis, the two active textures (runs and tremolos) provide the
inhalation and exhalation, respectively. Differences in color in Figure 3.14 have been
used to illustrate this change in energy within the “active” category – blue representing
lower energy and red representing higher energy. Upon reaching temporal suspension
in measure 48, the material continues to oscillate between states of activity, with
multiple respites of stasis. The following diagram illustrates these relationships, as well
as tessitura and dynamics with an increase in the latter indicated by the darker color.
Figure 3.14, Momentum with dynamics and tessitura, mm. 42-48.
Even though the dynamic marking in m. 48 is ppppp, the material in context
retains a high state of potential energy due to the contour and activity of all that has
preceded it. The previous diagram illustrates especially well the textural cohesiveness
67
of this particular passage. As the material progresses, secco moments of stasis provide
respite for the exertions of the runs.
Figure 3.15, Categorical respiration (continued), mm. 48-59.
One may consider both secco moments as periods of high potential energy,
reinforced by the use of register and dynamics. Overall, the material continues to build
momentum and energy with longer stretches between moments of stasis. This effect,
coupled with the use of dynamics and tessitura as illustrated in the above figure, creates
a greater contrast when stasis is finally reached in measure 59.
Measures 60-89 continue the process, generally increasing momentum and
tension through respirating materials and integrating a new textural element, glissandi.
By providing just enough contrast within the extended cohesion, the material creates
opportunities to reengage attention – thus, the saturation point is avoided.
Figure 3.16, Integrating contrast, Lemma-Icon-Epigram, mm. 60-64.
68
Figure 3.16, Integrating contrast, Lemma-Icon-Epigram, mm. 60-64 (cont.)
By interspersing brief moments of single notes, the material invokes an internal
respiratory quality, maintaining overall cohesiveness while providing a perceivable
internal contrast.
Figure 3.17, Micro-respiration, mm. 65-67.
At this point, a state of temporal immersion has been achieved through extended
continuous activity – making the subsequent final arrival in measure 89 all the more
striking. Postponing the peak, Ferneyhough first explores the glissandi marked with
single note “breaths.”
Measure 68 provides a transitional texture, a state between single notes and
69
runs, while in m. 69, Ferneyhough weaves in a tremolo layered under an ascending run.
Figure 3.18, Transitional State, Lemma-Icon-Epigram, m.68.
Following m. 70, Ferneyhough continues to explore a final exertion before the arrival
point in m. 88. An analysis of m. 84 shows how these categories are layered and
blurred.
Figure 3.19, Blurred categories Lemma-Icon-Epigram, m.84.
The low register fff chord continues to resonate while runs and tremolo continue
above, followed by an upward quasi-spattering run at the end of the measure. In this
way, the material continues to find moments to “catch its breath” before the final
exhalation into the breakdown in mm. 88-89.
70
Figure 3.20, Transition into Icon, mm. 88-89.
Demonstrating extreme dramatic contrast, the “edge” between measures 88-89 is
unmistakable. Coupled with the loudest moment thus far, it marks the end of the Lemma
section and the beginning of Epigram with an energetic release thus far unparalleled in
the work. This sets up another paradigm: that of space versus activity in a more clearly
defined relationship, allowing for single notes to be more closely examined. If I were to
name a “wrench” in the piece, it would be the transition between Lemma and Icon.
Imagine again the water model as previously introduced by Grisey. The effect of
the following measure's texture relates to that of previous examples of spattering,
though slowed down.
71
Figure 3.21, “Lost,” slow secco spattering, Icon, m.99.
Compositionally, this presents an opportunity to look at the “musical clay” and
explore all of its possibilities: what would this look (sound) like if it were compressed to
its extreme? What if it were slowed down to create detached points? How are these
points articulated? In this instance, Ferneyhough attaches new material to these points,
allowing it to gradually overtake the old material.
Figure 3.22, Beginning of textural transformation: Lemma-Icon-Epigram, mm 108-109.
Glissandi are introduced as echoes of the chords, as the material enters a new
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phase, and activity begins to build again. Though space and sustained chords still play
a predominant role in the interactions between glissandi/runs, the “streams” become
more prominent. Transforming from stasis, the influx of glissandi provide the necessary
energy to create momentum as the music inhales before “holding its breath.”
By increasing the length of the grace note passages, the quasi-
glissandi/spattering gestures gradually take over the secco material, as in measure 116.
Figure 3.23, Glissandi as the primary category, Lemma-Icon-Epigram, m.116.
With interruptions of the 1stasis punctuated by chords, the “sputtering” glissandi
continue, creating an increasingly disjunct texture. As the differentiation between stasis
and activity becomes more distinct, these categories are blurred as textures are layered
and fragmented within the edges of the cells. The overall surface effect is the result of a
blurring of internal textures.
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Figure 3.24, Oscillation between layered materials and space, mm. 120-122.
Within the activity of m. 121, the right hand plays an arching gesture of chords
while the left hand presents downward runs. The overall effect of m. 123 is an
expanding and contracting spattering gesture. It may be construed that at this point, the
musical material is having trouble holding its breath, or even “hyperventilating.” Short
bursts of activity are interrupted by ever increasing space between them.
Figure 3.25, Expanding Containers, Icon, mm. 123-125.
Measure 132 marks the penultimate cell of this cycle, punctuated by a loud low cluster
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at the end.
Figure 3-26, “Hyperventilation,” Icon, m. 129.
Throughout each “hyperventilating” cell, categories have been blurred and
overlapped. The disjunct nature of this phase ends with a period of prolonged activity
similar to the previously segregated material. After extending the intensified texture for
the next three measures (mm. 133-135), Ferneyhough provides a much-needed release
with the return of a prolonged section of secco texture beginning in m. 137.
Figure 3.27, Return of the secco texture, m. 135.
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Marking the beginning of the next period of suspension, m. 135 begins the
penultimate macro-respiratory cycle of the piece. The material begins secco and
somewhat sparse, cohesive, and with a clear trajectory, then continues to increase in
activity, overall dynamics, and density until it ends with an accented middle register
chord. The following figure shows cycles of respiration from the beginning of the Icon
section through m. 157.
Figure 3.28, Respiration of the Icon section, and beginning of Epigram.
As in the beginning, respiration between disjunct and conjunct materials provides
contrast and cohesiveness, providing time to “reset” our attention in the gaps. Similar to
the first cycle, these oscillations build cohesion through the association of related
materials. Active materials such as glissandi and runs continue, with chords marking the
end of m. 135 and the return of the secco texture, in contrast to the highly differentiated
alternations between dense activity (granulation?) and space (effluvial silence).
Additionally, the return of the secco texture makes a cohesive connection to mm. 90-
105, reengaging memory of prior materials to reinforce the semiotic context of the piece.
The alternations of space and spattering throughout the second cycle build a sense of
expectation through a dynamic intensification, even though the space between each
outburst increases each time, akin to the expectation of reaching the final plateau.
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Figure 3.29, Distinction between materials, Epigram mm. 157-162.
Whereas the material in Icon generally involved a blurred or layered integration of
elements, Epigram tends to be more clearly differentiated, with notable exceptions of
blending.
Figure 3.30, Blending of categories, mm.163.
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Figure 3.31, Final Measures, Lemma-Icon-Epigram, mm.170-174.
The final measures exhibit clear evidence of contrasting methodologies. On one
hand, the blending of categories is followed by clear alternation of categories.
The following figure shows the final respiratory cycle.
Figure 3.32, Categorized final respiratory cycle, mm.160-177, Lemma-Icon-Epigram.
Bringing all of the elements back together before the final measures, Epigram
continues with an increasingly compressed alternation of all categories in the final
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measures. Beginning with the suspension of breath of the previous chords of m.157, the
active spattering and tremolo material (mm.159-166) marked by interruptive, as the
material embarks upon its last tentative inhalation, rising to suspension represented by
the tremolo material in mm. 167-169, itself “sputtering” as if running out of breath. The
final exhalation beginning with the spattering of m.170, continuing with resonant
sustained sonorities holding the space between the last gasps, as the material
“expires.”
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CHAPTER 4
ANALYSIS OF PHASE: AGONY TRANSMUTED
Form and Conception
Laborintus II by Berio was influential to the form of Phase, in particular the way
the composer combines multiple elements within the work. Berio successfully integrates
such disparate elements as a narrator, eight “actors,” electronics, and jazz by first subtly
hinting at these elements, then bringing them to the foreground once the existing
material has been established and adequately explored to the point of saturation. The
resulting composite continues to be explored until the next point of saturation is
reached, at which point a new twist is revealed.
I intended to follow a similar course with Phase, with fixed media serving as the
primary monkey wrench in the work. Conceived as three continuous movements
preceded by a prologue, Phase is divided into five “Arias” separated by four “Interludes.”
Figure 4.1, Phase form.
Throughout the work, Phase integrates and explores the various elements of
pitch, noise, video images, and movement. Abstractly programmatic, the piece exhibits
multiple dramatic arcs including two moments of extreme contrast: the first of these is
the third interlude with the extended electronics; the second is at the end of interlude
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four, with an exaggerated drop in dynamics and activity, coupled with a change of light
highlighting the dancers.
As an extension of the music, intermedia would include Butoh dance and digital
background video art. Like the acoustics and the fixed media, both the dance and the
video are highly abstract. Throughout the work, Butoh dancers move slowly, creating
evocative human sculptures. At times reaching towards the sky, at other times turning
inward, and at other times individuated, shapes and “movement qualities” evoke
energetic metaphors. Slowly transforming pieces of background video art are projected
behind the ensemble. Live quasi-randomly morphing electronics use Max/MSP/Jitter to
process both pre-generated video clips and a live camera feed of the dancers, creating
an algorithmically controlled piece of self-generating video background art. Both the
dancers and the video art are more active during certain segments of the piece, most
notably the interludes.
The purpose of the prologue is to create an “accessible” experience for the
audience by setting up a context for unfamiliar, dissonant, and disjunct materials and
events to happen in a “safe” psychological environment. It introduces the main
characters: the piano and the electronics in an “overture” which gives glimpses of
materials and aesthetic highlights to come. Accompanied by video and dance as a
means of immersing the audience in an engaging, though potentially unfamiliar
aesthetic, the intention is that the experience will create a positive response in the
audience. The semiotic elements in the work may not as of yet be understood by the
audience at this point, nor is it intended for the audience to grasp the numerous
systems and mechanisms that have generated the material. Hopefully, the aesthetic
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tone of the work at the outset proves to be inviting to the audience, creating a taste for
the unknown, and providing a context for the musical “challenges” that are yet to be
revealed in the work.
After the introduction of the piano and the electronics, the ensemble enters at the
end of the first aria. Respirating multiple times, the first movement “catches its breath”
during the first two acoustic interludes (I1 and I2) where the focus returns to the piano.
The second movement breaks the pattern with the electronic centerpiece, I3 after the
third development of A material in A3. As my vision was to extend the piece further with
the final movement, another phenomenological twist was needed in order to maintain
momentum and audience engagement. Having mastered the prior musical challenges
of being overwhelmed by both the electronics and acoustic instruments, the audience
experiences the last movement, which re-contextualizes all the previous materials in a
visceral, energetic climax. As the accompanying ensemble respirates between string
quartet and wind/brass/percussion quartet, the piano transmutes and wields the bulk of
the energy, as the piece comes to a close by finally integrating all the elements through
various expressions of periodicity and respiration between various states of noise, pitch,
phasing and beating.
Number Systems: Aria 1 and Interlude 1
Macro (Form) Used extensively throughout Phase, number systems generate and control the
behavior of musical materials, ranging from choice of dynamics, transformation of
timbres and durations on a micro level, to the lengths of sections on a formal level.
Preliminary conception of the form included assigning proportional lengths of the
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sections to one another. A combination of Lucas and Fibonacci numbers were
combined to create a master list: 1, 2, 3, 4, 5, 7, 8, 11, 13, 18; these numbers were
rearranged, resulting in the following generative sequence: 7, 1, 11, 4 || 7, 3, 2, 8 || 18,
5, 13. In order to translate this number sequence into durations, a multiplier of 20 was
initially determined to yield the optimum durations for the work, resulting in the following
durational units (in beats at MM=60; double-bars represent breaks between
movements): 140, 20, 220, 80 || 140, 60, 40, 160 || 360, 100, 260. In considering
number placement, attention was given to relative differences between adjacent
sections; for example, at the end of the second movement moving into the third (40,
160, 360), the latter section is significantly longer than the first creating an experience of
temporal immersion by resetting the experience of the former. The ratios were applied
to the number of beats rather than duration in seconds – an important approach to
creating the malleable “musical clay” that can be stretched and squeezed in whatever
needs or wants that may arise.
An important aside needs be made at this point. Defaulting to MM = 60 results in
a 1:1 relationship between chronometric time (in seconds) and number of beats. An
awareness of temporal perception thresholds was considered in choosing where to
place the longest sections, which would be the most “immersive.” Because tempo is
completely malleable, time values could be stretched or compressed to whatever
phenomenological needs might develop as the composition progressed. Results are
achieved through pushing systematic composition as far as it can go on its own, then
applying mindful “tweaks” to the system and intuitive sculpting of the material to meet
the needs (wants) of the given situation. Often, a well-designed system creates
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opportunities for the music work as a result of the limitations imposed by the system
itself. Thus, revising and allowing for different multipliers per section resulted in the
following proportions:
Table 4.1, Proportions of formal section lengths, Phase.
A1 I1 A2 I2 A3.1 A3.2 I3.1 I3.2 A4 I4 A5 7 1 11 4 7 3 1 8 18 5 13
X20 X30 X11 140 20 220 80 210 90 30 240 !?! 55 143
A multiplier of 30 was applied to derive the number of beats per section in the
second movement, and a multiplier of 11 was applied to the third movement. These
factors were determined by applying the number sequences through trial and error in
order to arrive at the most satisfying composition results.
Micro (Durations)
Intending to create the experience of increasing momentum as the result of an
accumulation of attacks, the “heartbeat Grundgestalt” was arrived at from a top-down
approach: macro → middle → micro. Initially, the number of beats for each period was
determined by dissecting the length of section A1 into four segments (A1.1, A1.2, A1.3,
A1.4), using an altered Lucas series and multiplying by ten, yielding (in beats): 40, 20,
10, 70.
Figure 4.2, “Heartbeat Grundgestalt” (in three periods).
A1.1: 18, 11, 7, 4, 2, 3, 5, 8, 13 | 11, 7, 4, 2, 3, 5, 8, 5, 3, 2, 2 123 onsets = 3 eighths/beat for 41 beats A1.2: 8, 5, 3, 2, 1, 2, 3, 5, 8, 5, 3, 2, 1, 2, 3, 5, 3, 2, 1, 2, 3, 5, 8, 1, 2, 3, 5, 1, 2, 3, 1
100 onsets = 5 quintuplets/beat for 20 beats A1.3: 1, 2, 3, 1, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 2, 1, 2, 2, 1, 2, 2, 1, 2, 2, 1, 2, 2 50 onsets = 5 quintuplets/beat for 10 beats Guided by a phenomenological desire to express an intensifying state of
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respiration, the first segment (A1.1) moves between decreasing Lucas series and
ascending Fibonacci series numbers, compressing both the length and number of
attacks for each subsequent cycle. Though originally intended to fit into 40 beats, an
extra beat was added in order for the section to end with an intensification of the onsets,
culminating on the first beat of the next section. The slowest thread subdivided each
beat by triplet eighths, yielding 120 onsets @ 40 beats x 3 (subdivisional unit). After
numerous attempts to squeeze a satisfactory stream of respirational cycles into 120
onsets, I decided to break the pattern and add the beat, thus allowing intuition to temper
the systematic approach.
Figure 4.3, Unit durations and respirational phases, “heartbeat Grundgestalt a.”
18, 11, 7, 4, 2, 3, 5, 8, 13, 11, 7, 4, 2, 3, 5, 8, 5, 3, 2, 2 inhale | exhale | inhale | exhale | inhale
Each cycle represents a compression and expansion of the number of units
between each onset. Once crystallized, the “Grundgestalt a” sequence was distributed
across three strands of different subdivided values: triplet eighths, sixteenths, and
quintuplet sixteenths. The entry of each canonic thread was delayed such that the
arrival point of all three would occur on the first beat of section A1.2.
Figure 4.4, Canonized “Heartbeat Grundgestalt a.”
The second segment (A1.2) was designed to reflect a state of respiration and
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subtly introduce a “heartbeat” motif, expressed in durational units “1, 2” (or notationally
as x e). Appearing first in A1.2, this motif repeats in A1.3 with one or more added
beats. This time the original beat schematic was adhered to with A1.2 and A1.3
equaling twenty and thirty beats, respectively, with the master subdivisional unit as five.
Mathematically, the quintuplet thread fits exactly:
Figure 4.5, Unit durations and respirational phases, “heartbeat Grundgestalt b.”
The onset of A1.2 represents the center of canonic activity. As the point of
convergence for the canonic material of “Grundgestalt a,” it also as serves as the point
of divergence for “Grundgestalt b.” Though in canon, there are “sculpted” anomalies. At
the beginning of A1.2, the triplet thread has been erased to create space and allow the
material to build up again with the goal of climaxing at the beginning of A1.3.
Figure 4.6, “Heartbeat Grundgestalt b,” A1.2 – A1.3.
Though followed throughout A1.2, at A1.3 the triplet thread aborts what would be
its prescribed path at beat two of m. 16 (*), resuming the system presented by the
quintuplet thread at the beginning of m. 15. Breaking the system again at m. 17 of the
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sixteenth thread (**), attacks are chosen to express a compressed cyclical periodicity
with emphasis on beats with simultaneities. Later occurrences of the “heartbeat
Grundgestalt” allow the canons to complete as well retrograde, stretching the “clay”
further. In the score, the Grundgestalt reveals itself first in the prologue as the flickering
video heartbeats, returning later in A2.1-A2.2 by providing a structural framework for
acoustic counterpoint: the triplet thread for the cello/bass, sixteenths for trombone/bass
clarinet, and quintuplet sixteenths for the flute.
Figure 4.7, “Heartbeat Grundgestalt,” orchestrated, mm. 65-67.
Within this framework, instruments vary articulations by using sustained,
particulate, or “active” materials (“active” in this context refers to flutter-tongue, tremolo,
or jeté). This same framework later provides onsets through which pitch material would
be woven to create the re-contextualized “musical clay” of Aria 4.
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Middle (Phrasing) and Timbral Categorization With a duration of seventy beats, the entrance of the ensemble at A.1.4
illustrates the use of number systems applied on a “middle ground” level: integrating
numbers from both Lucas and Fibonacci series yields the sequence 5, 8, 13, 4, 7, 11;
multiplying the last three elements by a factor of two provided the beat framework for
A1.4.
Section A1.4 employs rotating blocks of sound as a means of introducing the
basic differentiated qualities of timbre to be explored in detail throughout the piece:
noise and pitch. When first conceiving Phase, the following gradient was considered:
Figure 4.8, Timbral categorization.
The X-axis represents duration whereas the Y-axis represents degree of decay.
This chart illustrates the possibilities, roles, and relationships between instruments that
have emerged in the creation of this work. The snare drum represents the closest thing
to an unpitched particle with string pizzicato, a pitched particle, situated on the other
side of the Y-axis, A1.4 uses primarily sustained materials, bridging both sides of the
pitch-noise continuum. When combined with the previous number series set at a middle
ground level, a loose structural framework emerged:
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Table 4.2, Application of number systems to timbral categories, A1.4.
Representing a slow periodicity, the entry of the ensemble was intended to be
explosive and overwhelming, orchestrated in two respirational cycles. The fortissimo
onset of the distortion was, in each case, followed by an expansion and denouement.
Pitch and Rhythmic Microperiodicity In Phase, there are two basic categories of material:
1. “Heartbeat Grundgestalt” 2. “Broken clock”
The “broken clock” creates a lopsided periodicity on the local level through
repeated pitch and rhythmic material. It appears in the piano first in the prologue in mm.
6-7, then again in Interlude 1 at the end of A1.4. Two taleas of differing lengths, one for
pitch and the other for durations, combine to create the notational “clay” of the raw
“broken clock.”
Figure 4.9, Raw “broken clock” material.
Formally, the interludes provide a respite, allowing both the audience and the
ensemble a moment to rest, regroup, and “reset.” Musically and phenomenologically
throughout Phase, orchestral space and moments of sustained, non-textured effluvial
sound occur within gaps and fermata, providing contrast to prolonged sections of active
material. The main local compositional challenge of I1 was to transform the piano from a
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“scintillating and shimmery” effect into a “broken clock” texture, representing a transition
from “ease and grace” into “struggle and challenge”– the descent from mania into
depression.
Applying more systems further sculpted the musical clay. Using a “fixed”
spectrum assured that the color would be maintained, while octave displacement was
used to vary the material, increasing the amount of registral displacement over time.
The distance between the displaced notes was managed by “scrubbing” through the
Fibonacci sequence: 2, 3, 5, 3, 2, 3, 5, 8, 5, 3, 5, 8, 13, etc.
Figure 4.10, Octave displacement managed through Fibonacci, Phase, I1, mm. 49-51.
Applying systems to govern phrase lengths, tessitura through octave
displacement, and the density from beat to beat were a way to sculpt the characteristics
of each “state,” as defined in Table 4.3.
Table 4.3, Piano materials categorization, I1.
“Shimmery spurts” “Broken clock” (Quasi-spattering) Quicker, denser legato “fluid”
Wider, disjunct intervals Slower marcato “clumpy”
To avoid “clumpiness,” the cluster was split into two dyads when applied in the
“shimmery” phrases, and octave displacements were used in the final measure to
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augment the distance between the upper and lower dyads.
Table 4.4, Distribution of phrasing and materials, I1.
Material Spurt Denouement Gap Spurt Clock Spurt Clock Seconds 14'' 4'' 1.25'' 4'' 2.75'' 2.5'' 4.5'' Beats 11 b 6 b 2 b 6 b 4 b 3 b 5 b Tempo 3b @ q =60
8b@ q =120
ritardando Fermata q = 90 rit. rit. → q = 60
The “clay” was sculpted through the phrases as defined by the material
characteristics, and octave distribution continued as appropriate yielding the following:
Figure 4.11, Phrasing in piano, Phase, I1.
The second phrase of “spurt” material gradually transforms into the “broken
clock.” Revealing the raw material more overtly in measure 56 at a rapid tempo,
magnification occurs as the tempo slows and octave displacement increases further in
mm. 57-58.
Setting up a rhythmic periodicity at the end of the interlude provides an
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opportunity to re-contextualize the clock through orchestrational changes. The
ensemble returns in Aria 2 transferring the texture of the “broken clock” to a
violin/viola/flute composite. Simultaneously, materials from the particle side of the
sustain-particle timbral continuum are emphasized through the Heartbeat Grundgestalt
triplet stream by the cello and bass.
Figure 4.12, Orchestration of the “broken clock” and “heartbeat Grundgestalt,” A2.1.
The preceding example demonstrates how categorization was applied to timbre,
types of material, and orchestrational roles. Once timbres were chosen, relationships
between the different timbres were defined and developed through the following
sections. For example, in the transition from A2.2 to A2.3, the piano plays a leading role
whereas the percussion provides counterpoint (and commentary), filling the gaps
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between the phrases. Three primary groups exist.
Table 4.5, Groupings of foreground materials, A2.3. PRIMARY (sustained pitch)
“Glue” (“noisy” pitch)
SECONDARY (noise particulates)
Piano Flute overblow Percussion (battuto) “Active” flute Clarinet overblow Trombone (breath attacks) Membrane friction attack Trombone bends Bass clarinet (key clicks + slap
tongue) As a side note of phenomenological interest, the timbres used as “glue” (serving
as an “in-between” state while primary and secondary voices exchange positions for the
foreground of A2), were earlier introduced in the distortion category of A1.4. An
important part of creating cohesion relies on referencing previous materials and
developing them further. The use of the overblown wind instruments in this case
subverts its role into the background, while its presence establishes a context for when
it becomes foreground material in the climax of A2.2.
Textural Transformations: Aria 2 After the build-up at the end of A2.2, I wanted to create a state of “energetic
suspension,” while continuing the momentum and shifting texture. What was required
was a drop in dynamics and overall orchestral “mass,” but with continued density and
activity, similar to the “spattering” texture discussed previously. A system of categorizing
and transforming both timbral and activation materials was applied in sections A2.3 and
A2.4, resulting in a gradual progression from high activity to sustained sounds. String
materials of A2.3 were categorized in an order reflecting the effects of activation and
timbre, creating a “string wall” that would initially overwhelm the piano before subsiding.
Categories of activation in the strings include tremolo, jeté, and ordinario.
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Organizing the onsets by the following algorithm, a gradual transformation of sound was
produced. In order to push the extremes perceptibly farther, the middle tremolo would
become “chaotic” in the case of adjacent occurrences, including the opening one.
Table 4.6, String activation and bow pressure talea.
Activation (T = tremolo, J = jeté, O = ordinario) T* 3
T 3
J 2
T 3
J 2
O 1
J 2
O 1
O 1
O 1
J 2
O 1
J 2
T 3
J 2
T 3
T* 3
T 3
J 2
T 3
J 2
O 1
J 2
O 1
O 1
O 1
J 2
O 1
J 2
T 3
J 2
D 4
D 4
N! D 3
D 4
N! D 3
D!N 2
2 4
N! D 3
D!N 2
N 1
N! D 3
D!N 2
N 1
D!N 2
N 1
N 1
N 1
D!N 2
N 1
D!N 2
N! D 3
N 1
D!N 2
N! D 3
2 4
D!N 2
N! D 3
2 4
N! D 3
2 4
2 4
Bow pressure (D = distorted pitch resulting from overpressure, N = normal pressure) By combining two number series of different lengths, a variety of combinations
are possible. The following figure shows how all these number series were integrated in
the violin.
Figure 4.13, String transformations, violin, A2.3
Due to the the fact that jeté bowing is ineffective with increased pressure, a
change in bow position was necessary to create a transformative timbral “filter” to
metaphorically simulate the change in bow pressure.
Aided by the entrance of distorted string sounds in the fixed media at m. 65, the
goal of A2.3 was initially to overwhelm the piano, then allow the piano to emerge from
the string wall by giving it a registral “boost” at the end. Similarly, the initial goal in A2.4
would be to submerge the piano as in A2.3, but in this instance it remains submerged.
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Instruments were given clear roles with corresponding timbral characteristics to define
distinct orchestrational textures. Entrances were shaped to produce a perceivable
change in the registral profile of the sound mass.
Figure 4.14, Entrances for strings, A2.3 and A2.4
For A2.3, the violin was given the longest stream (a), and bass the shortest (d). In
A2.4 the strands were inverted with bass taking the longest and the violin the shortest.
Quicker respective entrances ensured a more aggressive onset of the wall in the latter
section, as well as a slower and more gradual decay. Number systems were again used
in crafting the durations for each of the threads.
Figure 4.15, Duration sequence, “string wall,” A2.3.
Streams a, b, and c were generated by adding to stream d. Dividing the values of
d by 2 (resulting in the sequence 1, 2, 1, 2, 3, 5, 1, 1, 1, 1, 2, 1, 2, 3, 1, 1, 1, 2, 1, 2, 3, 1,
1, 2, 3, 1, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 1, 2, 1, 1, 2, 4), suggests that the result may be
considered a variation of the Grundgestalt sequence. This “Grundgestalt variation”—
discovered upon analysis after the fact—would later be used as one of two rhythmic
frameworks in A4, to be discussed in the section on “re-contextualization.”
For phrasing purposes, a variation of the Lucas series was used to determine the
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length of gaps, which later perforated the string wall texture; these Lucas umbers were
chosen in order to prevent alignment of the gaps in the first of the two walls. Entrances
were also staggered as illustrated in Figure 4.15 above.
Figure 4.16, Entrances and (gaps), A2.3.
VLN: 11 (2) 7 (3) 11 (3) 4 (2) 4 (1) 3 (1) 7 VLA: (7) 11 (4) 7 (2) 11 (3) 7 (1) 4 CL: (7) (4) 11 (3) 7 (2) 4 (1) 3 (2) 4 (1) 7 CB: (7) (4) (3) 11 (3) 7 (1) 4 (2) 7(1) 4 The numbers in parenthesis represent the number of silent beats, including those
of the staggered entrances; thus, the viola entrance was delayed seven beats, the cello
eleven, and the bass fourteen. Color coding is used in the following figure to show the
individual strands for each of the sections, reflecting the numeric figure used.
Figure 4.17, Phrasing for string “wall(s),”A2.3 – A2.4.
Intentional artifacts emerge as a result of the gap system in the case of A2.3 and
A2.4. First, phrasing was designed for sound to remain relatively continuous throughout
A2.3 with only a few instances where the density drops below three instruments.
Because of quicker entrances in A2.4, the gaps in the individual phrases fortuitously
aligned, producing interesting edges and a “stuttering bass” at the end. Though the
same taleas are used in both A2.3 and A2.4, the changing alignment of entrances
creates two completely different effects: A2.3 “shimmers” and tends to transform more
gradually, whereas A2.4 “hiccups” in a manner that was intentionally avoided in the
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previous section. Aligning at the end of A2.3, the canonic nature of the material creates
perceivable waves:
Figure 4.18, Strings, A2.3.
Figure 4.19, Strings (continued), A2.3.
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As in the first interlude, the second interlude provides a contrasting instrumental
texture, consisting of piano, flute, bass clarinet, and percussion.
Figure 4.20, Interlude 2, mm. 111-113.
The piano material refers back to the prologue, with the wind and percussion
instruments echoing the piano gestures. The timbral choices are eclectic, borrowed
from the preceding material, while glimpses of the electronics provide commentary
during the gaps between the piano phrases and foreshadow later development and
foregrounding. Instrumentation here introduces the second of two “quartets” used in the
piece. The significance of the instrumentation becomes more apparent later in Aria 4,
when the composite material oscillates between the wind/trombone/percussion quartet
of I2 and string quartet in a “macro-respiratory” fashion.
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Respiration: Aria 3 and Interlude 3 In contrast to the relatively homogenous “walls” of A2.3 and A2.4, section A3.1
both extends existing categories and clarifies others in the context of a respirational
model. The other purpose of Aria 3 is to provide a build to the main monkey wrench of
the piece, I3.
Figure 4.21, Respiration in A3.1.
Respiration – – – – – – – – – – – – – – – – – – – – – – – – – | Exhale / Inhale | Retain
Like the simple three-celled model of A1.4, the beginning of Aria 3 uses the
phases of respiration as a “container” wherein multiple textural categories are integrated
in a macro-periodic model. Flute, bass clarinet, and bass trombone provide the first
stage of inhalation involving “air” sounds, with some accompanying textures provided by
key clicks.
Figure 4.22, Inhalation, A3.1.1.
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As used in A3.1, the “inhalation” section brings back familiar materials, providing
cohesion with earlier moments of the piece. Foreshadowing materials from A4,
subsequent retentions and exhalations introduce familiar timbres (harmonics and col
legno battuto) processed in new ways, the construction of which shall be discussed in
depth momentarily.
Figure 4.23, Retention, A3.1.
Figure 4.24, Exhalation A3.1.
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With a return to familiar materials, the subsequent suspension in A3.1 re-
contextualizes them with a different state of momentum. Originally presented in A2.2,
the double-trilled glissandi were presented in an alternately expanding and contracting
contrary motion, creating trajectories akin to inhaling or exhaling. Here, they are layered
in a quasi-random arrangement so as to create an experience of temporal immersion
and stasis.
Figure 4.25, Suspension A3.1.
A3.2 respirates as well with expanding periodic cycles, incorporating all prior
acoustic elements much in the same way that Ferneyhough created cohesion through
prolonged exposure to related materials. The phenomenological “other” is the
progressively overwhelming electronics, to which the acoustic forces eventually
succumb in Interlude 3.1. Through expanding periodic cycles, Interlude 3.2 reintroduces
the acoustic elements. As I3.2 transforms, Aria 4 gradually enters as a background
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layer, transforming into Interlude 4 and integrating all the elements—acoustic,
electronic, visual, and dance—in a massive sensory overload.
Re-contextualization: Aria 4
Figure 4.26, Re-contextualization through process.
A || B || (“material A” re-contextualized through “process B” → C
During the course of composing Phase, an opportunity arose to write a piece for
a new music festival: this new work, Glimpse (for 2 electric pianos and found
percussion) became source material in a multitude of ways. Glimpse provided the
source material for numerous quotations in the prologue as well as material for the
electronics in Aria 4.
Figure 4.27, Source material from Glimpse.
Pitch material for A4 was derived by “scrubbing” segments of Glimpse,
highlighted in Figure 4.28 below. Beginning in m. 30 of Glimpse, the following figure
shows how beats 1-3 were categorized and used as source material for Phase:
Figure 4.28, Categorization of Glimpse material, A4.
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Only “active,” foreground material was used: the chords in the right hand of m.30
and the left hand of m.32 were deliberately left out. The process of “scrubbing” is
derived from recording studio editing techniques, and in the present work refers to:
1. Repeating segments (as in a broken record); 2. Unfolding materials moving forward, then backwards; 3. “Recursive scrubbing” of materials generated by either 1 or 2 above.
The goal was then to create viable raw material that could be used as is, or
redistributed through further processing. The three distinguishable cells were then
“scrubbed” via methods 1 and 2 above, resulting in the following:
Figure 4.29, Raw “scrubbed” piano material A4.
The order of “scrubbing” was designed with the phenomenology of Grisey,
Meyer, and DeRosa in mind. Engaging the attention of the listener was considered a
high priority, achieved by creating and fulfilling structural gaps, as well as generating
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cohesion (through repetition) and contrast..
Figure 4.30, Arrangement of the cells by number (scrubbed Glimpse, m.30).
1 1 2 | 1 2 | 1 2 2 | 1 2 2 | ½of2 ½of2 | 1 2 3 ½of3 | 2 3 ½of3 | 2 3½of3 | 2 3 ½of3 | 4
Creating expectations and predicting reactions to their subsequent thwarting
generated the following micro-phenomenological analysis. Emoticons are used in
addition to punctuation marks introduced by theorists David Bard-Schwarz and David
Lewin.58
Figure 4.31, Glimpse scrub fragments with phenomenological commentary.
The process was continued throughout the three measures of source material.
Repetition was used to approach the fine line between comfortable familiarity and
potential boredom, avoiding prolonged repetition, which may induce the perception of
vertical time as intended by minimalist composers such as Reich, Feldman, and Glass.
As a fixed pitch spectrum, the material would be used in two ways. First, it would
be woven through the heartbeat Grundgestalt of A1. The “heartbeat” canons of the first
aria, initially presented in the video imagery and later by flute, bass clarinet/trombone,
and strings respectively, become the rhythmic framework. The “scrubbed” pitch material
is woven through the rhythmic framework, differentiated into three streams—strings,
58 David Bard-Schwarz, lectures, 2013.
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piano, and winds/bass trombone—reflecting the onset of the triplet eighth, sixteenth,
and quintuplet sixteenth threads, respectively. The results of this process provided the
“clay” for composition and orchestration.
Figure 4.32, First three measures of “scrubbed” Glimpse piano part, annotated.
Figure 4.33, “Scrubbed” Glimpse material woven through “heartbeat Grundgestalt,” A4.
Triplet e Sixteenths x Quintuplet x
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Re-contextualization at the beginning of A4 demonstrates how process A
(“heartbeats”) was applied to material B (“scrubbed” piano). Further sculpting was
required at this point: for example, notes allocated to the string quartet were limited to
sounding pitches available to open strings and harmonics. This material was further
sculpted through “subtraction”: timbral paths were carved out such that the piano
remained as a “tissue” between two alternating subgroups (string quartet and
winds/brass/percussion/electronics).
Later, the electronics would be separated as its own group. These materials
would be alternated with the “broken-clock” material, referenced in the beginning by the
prologue, and by the electronics at the end of I3. At this point, the “clock” material
becomes both secondary material and part of the process., the rhythm provided by the
Grundgestalt variation of the string wall and durations through which the Glimpse tissue
can be overlapped.
Periodicity as a Function of Re-contextualization
Re-contextualization as a “function” can be thought of as f(x) whereas process f
is applied to material (x). In the context of exchanging materials and processes, at least
four possible permutations exist between any two musical materials: a(a), b(b), a(b) or
b(a).
Table 4.7, Phase form as a function diagram.
As a process, b was used as a rhythmic framework in A1, and later A4, wherein
scrubbed Glimpse materials were woven through it. As a material, (c) represents
106
sustained timbral materials, whereas process c represents a slow cycling periodicity, as
a “container” for material as in the beginning of A1.4, A3.1, and later in A5. C' of I3.2
functions as a rapid cycling of materials. Re-contextualization as a formal de-coupling of
material and process was used as a means of merging contrast and cohesion by
creating new musical clay that contained elements from both its sources. In this way an
audience could find familiar elements in an unfamiliar substance. As a compositional
tool, re-contextualization can be applied recursively, as it is in I4, to integrate multiple
previously “unrelated” elements.
Conclusion As a means to close the piece, the phenomenological twist at the end was to be
a “pleasant” surprise. As I4 climaxes, alternating blocks of electronics and acoustics,
immersive fixed media create a “wobbling” effect in the room through a manipulation of
beating, phase-cancellation, and spatialization, bringing attention to the moment when
everything stops except a spotlight on the Butoh dancers, and providing an opportunity
to experience Kramer’s vertical time with a willing and enthusiastic embrace of
“timelessness.”
Both Grisey and Ferneyhough provide excellent examples of how the mindful use
of clear categories and a sense of how energy can be used to provide a visceral and
engaging experience for an audience. Also, an awareness of the innate
phenomenological potentials of materials on both a structural and energetic level can
provide guidance and new directions as the innate nature of compositional elements
guide the process of re-contextualization.
107
APPENDICES
108
Respiration of Materials, Lemma-Icon-Epigram, mm. 24-48.
109
Momentum with dynamics and tessitura, Lemma-Icon-Epigram, mm. 42-48.
110
Categorical respiration (continued), Lemma-Icon-Epigram, mm. 48-59.
111
Categorized final respiratory cycle, Lemma-Icon-Epigram, mm.160-177.
112
Phase form with “macro-phenomenological” annotation
113
BIBLIOGRAPHY David Bard-Schwarz, “Analytical Techniques,” lectures, University of North Texas, 2013. Cone, Edward T., “Schubert's Promissory Note: An Exercise in Musical Hermeneutics,”
19th Century Music 5, no. 3 (Spring 1982): 233-241, Accessed February 28, 2013, http://www.jstor.org/stable/746462.
Copland, Aaron. What to Listen for in Music. New York: New American Library, 2009. Ferneyhough, Brian. Collected Writings. Singapore: Harwood Academic Publishers, 1998. Fineberg, Joshua. “Sculpting Sound: An Introduction to the Spectral Movement-its ideas, techniques and music.” DMA diss., Columbia University, 1999. Fraser, Jonathon. Time, Conflict, and Human Values. University of Illinois Press, 1999. Kramer, Jonathon. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books, 1988. Grisey, Gerard. “Tempus ex Machina: A composer's reflections on musical time.” Contemporary Music Review 2, no. 1 (1987): 239-275, Accessed September 11, 2013, http://www.jstor/stable74646. Hindemith, Paul. The Craft of Musical Composition. New York: Associated Music Publishers, Inc., 1945. Husserl, Edmund. The Phenomenology of Internal Time Consciousness. Bloomington: Indiana University Press, 1964. Krier, Yves. “Parties, de Gerard Grisey, manifestion d’une nouvelle esthetique.” Musurgia 7, no.¾ (2000): 145-172, Lewin, David. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception: An Interdisciplinary Journal 3, no. 4 (Summer 1986): 327-392. Lewin, David. Musical Form and Transformation: 4 Analytic Essays. New Haven: Yale University Press, 1993. Meyer, Leonard. Emotion and Meaning in Music. Chicago: UC Press, 1956. Ornstein, Robert E. The Psychology of Consciousness. New York: Penguin, 1972. the Oxford English Dictionary Online, Accessed December 26, 2015,
http://www.oxforddictionaries.com
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Reiner, Thomas. Semiotics of Musical Time. New York: Peter Lang Publishing, 2000. Rose, Francois. “Introduction to the Pitch Organization of French Spectral Music.” Perspectives of New Music 34, no. 2 (Summer 1996): 6-39, Accessed March 4, 2011, http://www.jstor.org/stable/833469. Smalley, Denis. “Spectro-morphology and Structuring Process,” In Language of Electroacoustic Music, edited by Simon Emmerson, 61-93. New York: Harwood Academic Publishers, 1986. Toop, Richard. “Brian Ferneyhough’s Lemma-Icon-Epigram.” Perspectives of New Music 28, no. 2 (Summer 1990): 52-100, Accessed April 24, 2011, http://www.jstor.org/stable/833008. Xenakis, Iannis. Formalized Music. Stuyvesant, New York: Pendragon Press, 1992.
SCORES Ferneyhough, Brian. Lemma-Icon-Epigram. London: Edition Peters. 1981. Grisey, Gerard. Partiels, pour 18 musiciens. Paris: Ricordi. 1978. Grisey, Gerard. Periodes, per sette strumenti. Paris: Ricordi. 1978. Grisey, Gerard. Tempus ex Machina, per sei percussionisti. Paris: Ricordi. 1978. Sciarrino, Salvatore. Come Vengono prodotti gli incantesimi?. Rome: Rai Trade. 1985.
Phase: Transmuted Agonyfor chamber ensemble and intermedia
Brad Robin (2016)
screen
pianoFl.
Vln.
Vla. Perc.Speaker
Speaker
SpeakerSpeaker
3
dancersSeating Seating
Seating
2
Vc. B.Cl B.Tbn.
Cb.Cond.
: Chaos pressure, erratically vary bow pressure between indicated states.
GENERAL INDICATIONS:
: Change between indicate states.
: Sporadic dynamics within specified range.
: Perform gesture within specified duration.
STRINGS: Scordatura remains throughout piece. Notation reflects fingered pitches.
: Complete distortion, imperceptible pitch
: Increased pressure, produce partially distorted pitch
: Normal pressure
: Frenzied "chaotic" tremolo.
m.s.p. : molto sul ponticellos.p. : sul ponticellos.t. : sul tastoc.l.b. : col legno battuto
FLUTE:: air sound
: pitch/air blend
: full pitch
pizz. : lip pizzicato
ord. : normal
: tongue ram
: Perform specified formant with or without pitch content as indicated.
Overblows are to be performed to relative indicated level.
`
: Use credit card at a perpendicular angle and scrape parallel to coils. Make metallic “scraping” sound.
: Attack with mute open, immediately close.TROMBONE:
BASS CLARINET:
: Slap tongue
PIANO:: Use plastic poker chip to scrape strings at a perpendicular angle to string. Scrape indicated string back and forth rapidly.
PERFORMANCE NOTES
PERCUSSION:TAM-TAM : Prepare triangle beater with fi shing line or string such that beater can be dangled from top of tam-tam.
Objects include: thin, plastic grocery bags, set of keys, pan, small and large pot.
F.A. : Activate friction attack with superball mallet.
lowestmaximum possible
Overtones re to be performed to relative indicated level.
lowestmaximum possible
lowestmaximum possiblelowest
Bend to indicated note.Do not re-articulatedestination pitch.
: “Friction attack” tremolo
: Swirl object upon indicated surface.
: Double trill, alternate between normal and harmonic fi nger pressure.
: Upper staff indicates bowing, string number, pressure, and placement on string. Lower staff indicates left hand fi nger location and pressure combinations.
: Mute with palm of hand while striking surface.
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Phase: Transmuted Agony Brad Robin
© 2016 Brad Robin
Concert Score
Prologue
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Pno.
Vid.
◊ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
19 œm . œm .œm . œm . œn . œ
⁄ œb œn œœn œœ œb3
œ.œ. œm . œm œœm
°œœ ‰ œb
3
œ Œ # œ 5
∑# œ œ ‰ œ ‰ . œ
œœœ Œ –– œœœœnµµ
œ #œn . œ. Œ
œ
Œ Œ ‰ Ó––
∑
n
n#P
n
n#
Fpf
sub
F
P n
El.
subsub
œ œn œb œb œn œm œn œb⁄œnœn
3 3
œn œn # œn œb œb œœ œb
°
œœn3 3
‰ . œ ‰ œ œ5 5
Œ Óœ Œ3
Œ ‰ . œœœœœ
œœœœ ‰Óœœœœn
µn
œB . œ. œB .œœœB
œn æ œæ œæ
Œ œ œ œ œ œœ&
π f
loco
sub
n
π
nF
n
‰ Óœ( ) ˙
∑
‰ .œ ‰ .œ Œ5 5Ó ‰ œ3
∑
Óœœœœ œB œ œ œœ œ œ œ œ œn œ œ œœœ
œœœ Œ Œ
œœ œ œ œ œBæ œ œ( )œ
œBæ ˙ œ( )F
F F
p
psub
π
Silently depress.
n
F p
P
np
# œ œ œ œœb œm ⁄ œn œœb∑œ œ. œ.
œ. œ. œb . œ. ‰3
‰ # œ .œ œn . œ.œ. œb . œ. œb .
œb . ‰3
œ Œ ‰ . œ Œ5Œ Œ Óœ Œ œ Óœ
3 3
œ Œ ‰ . ÓÓœ Œ
.œœB œB .œ
Œ Œ
œB œB œ ∑œ.Œ ‰ ‰
œ œ( ) œæ œæœ œ œ œ œ œ œ
œæ œæ œ œ œ œ œ œ œ œæ!p f p
f p F
F
F
p
&?
÷÷÷
&?
&
&?
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
12 3
Pno.
Vid.
◊
23∑
∑
Œ ÓÓœ Œ # œ œ .œ5 5 5
Œ Óœ Œ ‰ œ Œ3 3
‰ Óœ ‰ Óœ .œ œ Œ
œµ œ œ œ œ œ œ Œœœœœn
µµn
∑ &
œn œ œ œ œ œ œ œœ œ œ œ œ
?
œæ Œ ..œœ œœ∑œœ ‰
Ó ..œœµ œœ Óœœ ‰ ÷
f p
fEl.
n
P
n P π
œb œ œ œœbœb œ œ œ œ œ œœœ
‰
Œ ‰ ∑œœn
°œœ œb œ œ œ œ‰ œ œ
&
œ> œ> ‰ . œ ‰ . œ # œ œ5 5 5
Œ œ> Œ Óœ Œ Óœ ‰ œ3 3 3œ> Œ œ # .Óœ œ œ
œœœœnµµn ‰
Óœœœœn
µn œœœœ Ó ÷
œ œ œ œ œ Œ Œ Œ # ––B .œµ
3
œœœœµ œœœœ œæ Ó œœœœœnBB&
‰ Óœœœœµ
Óœœœœ ‰ Ó Œ? ÷
‰ Óœnæ œæ œæ Ó Œ
p
p
n#
n
P ππBalloon shaker with rice.
Pn π
F pnsub
F p
P
π
π πsub
Ó––b
Œ
Œ œœœœœÓ?
œ ‰ . œ ‰ . œ # œ œ œ>5 5 5
œ Œ œ # .Óœ
˙ ÓInhale. ÷
œœœœœnBB œœœœœ ∑œœœœœ ‰ ––B œnæ œæ œæ
∑œœœœœ ‰ ––œœœœµµ œœœœ
œœœœnµn? &
# 6 xæ .xæ 6 Œ ‰ ∑6∑6
6 ‰ 6 xæ 6 6 ‰ . xæf
F Fz
p
pShake can of
p
pFz Pz
bottlecaps.
p
PzShake can of rocks.
π
p
Pn#
f
n#P
Gradually releasepedal.
Pppsub
nn#
n
F
n
F
p
subn
n
F pn
P
nsub
7
&
?
÷÷÷
÷
&
&
?
÷
÷
45
45
45
45
45
45
45
45
45
45
45
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
12 3
Pno.
Vid.
(◊) ◊
26Ó ‰ Ó––b Œ
Œ ‰ ∑œœœœœ ∑––°
‰ Œ
# .œ œ Œ ÓÓœ Œ ‰ .œ5
5
5Ó Óœ œ> œ3
œ œ œ>> # .Óœ œ # .Óœ
Ó Œ ¿Exhale.
œ œœœœœBB∑œœœœœ ‰ ‰ Ó
œœœœnµµ œœœœ
œœœœœœœœn œœœœ Ó
œœœœ ‰ ‰ Ó––B œn æ œæ
Œ ‰ ∑–– ∑–– ‰ Œ
Œ xæ xæ 6 ‰ 6 6 .6
Óœæ ‰ # 6 xæ xæ # 6 ‰ ∑6 ÓxP π fp(rice)
pF
(caps)
pFz
n#
n#
n#F
n
El.
p
loco
n#
Fzp
π n P p
n p Pnsub
π
F
π P
F p
œm œn> ‰ # œn> œ ‰∑œm œ œœm . œ œn œ œ> œ> œœn> ∑œb
3
3 3
œb œb œn # œ œb œ œn . œ œœb. # œ œ ∑
œm œ œ.œ. œm . œ.
# .∑œn3
‰ .œ œ œ> œ .œ œ ‰ . œ # œ œ œ>5 5 5 5 5œ Œ Ó Œ
Œ # .œ ‰ œ # œ œ œ œ
œµ œ œ œ œ œ œ œ œŒ Œ¿
&
Ó Œ œ œ œ œ œ Œ # œn œB
.>œµ œn œœB œµ œn œ œ œn œ œn ‰ œ>5 3
.ϵ ϵ
#œ œB
œB œB œ œ œœB œ ∑œn œ œœB
∑X Œ ÓExhale, phase against opposite speaker.
f ƒ f
f
Ff
loco
fp
Psub
Œ Œ Ó––b
‰∑œ
Œ œœœœœ°
‰ ‰
# .œ œ Œ ÓÓœ Œ Ó5 5Ó Œ Óœ Ó3
# .œ ‰ œ # œ œ Ó
Œ Œ œInhale.
÷
∑
œœœœœnBB Œœœµµ
Œ ––œœn
# 6 yæ .yæ 6 Œ
6 ‰ 6 yæ 6 6 ‰ .
n
n#
(rice shaker)f
F Fzp
pShake can of
p
pFz Pz
bottlecaps.
p
Pz
n#f
F
subsubP n nF f
&
?
÷÷÷
÷
&
&
?
÷÷
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
12 3
Pno.
Vid.
√
29 œœ ∑œ œœ Œ∑œ œœ>
..œœb ––...œœbn ––.
Œ ..œœb> ––.‰ œ œ> .œ œ ‰ . œ œ> # .œ œ5 5 5
5œ> Óœ Œ Óœ Ó3 3
œ> œ # .Óœ ‰ Óœ Œ
œ Œ ÓœœœœœœœœœBBBBŒ
Óœœ ‰ Œ œœœœ
µn œœœœ
Óœœ
‰ Œ ŒœœœœœBB
Ó ∑6∑6 ‰ ‰ ∑yæ
Œ ‰ Óyæ yæ yæ ‰ . ∑∑0P π
n
p(rice)
n
n
n#n# n#fF
loco
Key sounds.
El.
(caps)
F
F
f
f F
sub
∑
∑œ> œ œ # œ œ> œ .œ œ œ> # .œ œ
5 5
5
5Œ Œ Óœ œ œ3
‰ œ œ # .Óœ œ # œ œ
Œœ œ œ œœ œæ Œ
&
œæ Œ Œ œæ ?
œn œ œœ Œ Óœ ‰œœœµ œB
æ Óœæ ‰ œæ œæ ‰ Óœæ
.yæ 6 ‰ ∑6 6 .6 6 Œyæ yæ # 6 ‰ ∑6 xæ xæ ∑6 6fp
(rice)
p
F ßp ß
Fz ß πPπ(rocks)
F p
pn
n
n
F
p
nsub
pF n pF
n
∑
∑œ> œ œ œ> œ œ œ> œ œ œ> œ œ
5
5 5 5
Œ Œ Óœ œ Óœ Œ3 3
.œ œ Œ œ œ> œ œ
Óœ œ œ œ œ œæ
œB œ œ œœ œæ Ó
∑
œæ –– ––
œB æ Óœæ ‰ œæ
xæ xæ xæ 6 ‰ ‰ ∑6 ∑6 ‰ ∑6
‰ xæ xæ ‰ # 6 xæ xæ xæf
F ßpp
p Fz Pπ(rocks)
F Pz
F
n#
F
pz
∑ ?
∑œ> œ œ œ> œ œ Ó5
5
Óœ œ œ Ó3
œ> œ œ œ> œ œ Ó
œB œœ œ œ œ œ Ó
œæ œB œ œ œ œ Ó &
œ œ œœ œœ œœ œœ œœ œœ Óœ œµ œ œ3
‰ ÓœBæ œæ œœœœµµ
Ó
# 6 xæ .xæ 6 Ó∑6 ‰ xæ Óπ
P
(caps)
(rocks)
8
&
?
÷
?
÷
?
?
&
&
B
B
?
?
?
t
&
&
?
÷
÷
÷
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
B. Cl.
Vox
Bs.Tbn.
sm.cymb.: med. lg.
tam
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)Cb.
Dncrs.
Pno.
66666666666666666666666666 666
666666666666666666666666666666666666 6666
6666666666666666666666666666666666666666666666
◊
33 .˙æ
˙æ
.æ æ
.æ ær
.˙mŸœ( )
˙
œ
Ó Ó
∑
.... ________ ___ __b#
VISA
°
________ ___ __
..OOmm OO OO
..OOmm
≥OO OO
ƒ
..OOmm OO OO
..OOmm
≥OO OO
..OOmm OO OO
..OOmm
≥OO OO
..OOb OO OO
..OOb≥
OO OO
œœœœnµµ
Ó
œœœœ ‰œœœœn
µn œœœœ Ó
––Bœnæ œæ œæ ∑œæ ‰ Ó
Œ Œ Œ Ó
Œ Œ ‰ ∑6 ‰ Ó ?
Œ xæ Óxæ ‰ Ó
∑Continue Butoh "sculpture - reaching with hands out, backs to one another in torment.
q = 60
Scrape length of strings with credit card parallel to coils.
ƒ
ƒ
ƒ
ƒ
IVIIIm.s.p. s.t.
FSfF
IVIIIm.s.p.
Sf
s.t.
ƒ FF
IVIIIm.s.p.
ƒ
s.t.
Sf
IVIIIm.s.p.
ƒ
s.t.
Sf
Roll italian "r".
Use trigger to perform erratic trill.
flt.
ƒ
F
A1.4
flt.
F
F
El.
n#
Timpani beater.Triangle beater freely dangles against tam.
sempre
loco
wæ
wæ
wæ
˙ Ó
∑
ÓXæ
$500
F
________ ___ __ ________ ___ __
∑
∑
∑
∑
wwb
ww
≥
F
wwB
ww≥
∑
p
Tremolo scrape with poker chip.
Insert harmon mute stem out.
Bow slow, produce undertone.
Bow slow, produce undertone.
con sordino
P
P
P
F
F
∑
∑
∑
∑
Xæƒ
∑
∑
∑
Ó ˙˙µn&
Ó ˙Oo
&
ww &
ww
ww?
ww
∑
p
III
n cresc. poco a poco
Take plunger.
.˙m ˙
.æ æ
wm
∑
¿æ _______
$500
∑
..˙B ˙
..˙m ˙
..˙˙µn œœ œœn
.
.˙Oo œ
OœOo
..˙˙Bm ˙˙
..OO OO
wBŸœB( ) œ œB
ŸœB( )
wŸ
pO( ) œ œ
ŸO( )
∑
III
III
F
n cresc. poco a poco
n cresc. poco a poco
p
∏
F
Erratic trill between normal and harmonic finger pressure.
flt. (throat growl)
Drag chip along single string coil by coil.
fast slow
9
&
?
?
÷
÷
?
?
&
&
&
&
&
?
?
t
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Fl.
Ovtns.
B. Cl.
Bs.Tbn.
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)Cb.
Pno.
◊
66666666666666666 6666666666666666 666666666 666666
6666666666666666666666 66666666666666 666666666666666666666666666666
6666666666666666 666666666666666666666666666
666666666666666 6666666666666666666666666666
37wmæ
œæ .œ œ
‚
œP
œp
œ
.˙
∑
∑
∑
∑
˙ ˙B
˙ ˙m
..˙˙ œœµn
.
.˙Oo œ
Oo
wwBm
OO
˙ .œ œBŸ
œB( )œ
˙O( ) .œ œ
ŸO( )œ
(∏)
(∏)
(∏)
π
° sempre
(F )
p
π(p)
( )
wmæ
‚
œF
œp
œæ .œæ œ
‚
œF
œ
∑œb
∑
∑
∑
∑
ww
ww
ww
wOo
wwBm
OO
œ ∑œ œBŸ
œB( ) œ œŸ
œB( )3
œ ∑œ œŸ
O( ) œ œŸ
O( )3
p
p
p
(pp)
(pp)
p
(pp)
F p
n
∑
∑
œm ∑œŒ Œ ‰
∑
∑
∑
∑
∑
Ó Œ ‰
˙˙ Œ ‰ ?
˙Oo
Œ ‰ B
˙˙ Œ ‰ ?
O Œ ‰
∑
∑
∏
Remove mute.
∏
∏
∑
∑
∑
∑œ ‰ Œ Ó
∑œ ‰ .˙
∑
wæ
$500
ƒ
wwmm
OOmm
wwBB
OOmm
..˙mm œœ
..˙mmF
ŸOO(
( )) œœ
ŸOO( )
)(
..˙mm œœ
..˙mmF
ŸOO( )( )
œœƒ
ŸOO( )( )
IIIIIm.s.p.
IIIII m.s.p.
IIIIIm.s.p.
IIIII m.s.p.
S
S
ƒ
sub
sub
ƒ
ƒ
Tremolo scrape with poker chip.
p - )f
F
Timpani beater
F
Medium density.
w/ butta
a
F
∑
∑
∑
∑
w
∑
œæ .æ
..˙ œœ
..OOmm OO
..˙BB œœ
..OOmm OO
ww
wwF
ww
wwF
s.t.
s.t.
F
F
ƒ
ƒ
F
F
s.t.
s.t.
(gradually sparser)
ppp - p
10
&
&
?
÷
?
&
÷
÷
?
?
&
&
?
B
?
?
?
t
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
VoxVox
B. Cl.
VoxVox
Bs.Tbn.
Vox
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
∑
&
∑
∑
∑
.˙ ˙
∑
∑
..˙ ..∑œœ
# œœ
..˙≥
..∑œœ
# œœ≥
..˙µB œœ ..Óœœ #
..˙≥
œœ ..∑œœ
#
∑
∑
∑
∑
ffP
Bow slow, produce undertone.
fp
ffP
° sempre
ppp - p
Bow slow, produce undertone.
Low density.
42
( )
Ó Œ œb
Ó Œœb
pV -
∑
∑
Ó .
w
∑
∑
˙ ..∑œœ
# œœ
˙ ..∑œœ
# œœ≥
..˙µB ..Óœœ #
..˙≥
..∑œœ
#
∑
∑
∑
∑
Fpp
fp
p˙ œ œ ‰ ∑œb œ
œn ∑œb‰ ∑œ œ
V
Ó ‰ Óœb ˙
Ó ‰Óœ ˙
Ó Œ Œ ‰ . œb5
Ó& Œ Œ ‰ .œb
5
tu
∑
.œ ‰ Œ Ó
∑
Ó Œ Œœ
$500
œœ ..∑œœ
# œœ ˙
œœ ..∑œœ
# œœ≥
˙
˙µB ..Óœœ # ˙µB &
˙≥
..∑œœ
# ˙≥
∑ &
∑
∑ &
∑
Fpp
π
π
p
p
Density of activty:medium
f
Diaphragmatic "grunting."
Fpp
Fpp
œn fl œfl œfl‰ œ
‚œm . ∑œ
3
3
œb fl œfl œfl‰
œ œ œ3 3
V V V V V
˙ œb . œB . œb . œB . Œ
œ. œ. œ. œ. Œ
.˙ œ œb . œB . œb . œ.5
.˙ œ œb . œ. œ. œ.
5
tu tu tu tu
∑
∑
∑
wƒ
˙B ∑œœ œœ œœ3
˙m ∑ œœ 3
˙µµ∑œœ œœ œœ3
˙Ó œœ
3
˙˙ ∑œœ œœ œœ3
OObp
∑OO OO OO3
˙˙mm ∑OO OO OO3
OOmp Ó
OO OO OO3
IVIII
III
IIIII
IIIII
ord.
f
f
p
p
F
F
F
F
pizz.
p
p
p
p
highmedium
subp
subp
p
p
F
Erratic tremolo scrape with poker chip.
sub
sub
11
&
&
?
÷
?
&
÷
÷
?
?
&
&
&
B
&
?
&
t
&
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Ovblw.
Fl.
Vox
Ovtns.
B. Cl.
Vox
Bs.Tbn.
Vox
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sost.
√
œn . œ. œ. œm .
‚
œm ∑‚
œ ‰ œn . œ.œ
3 3
3
œ. œ. œ. œ. œ œ‰
œ. œ. œ œ3 3 3
V V V V V V V V
œ œ .œ œ œ .œb
œ œ .. œ œ œ .. œ œ
œb œ œ. œµ . œn 5
Match flute and clarinet dynamics.
œb œ œ œ œ œ œ5
tu tu tu tu
∑
∑
∑
˙
œœ ..œœ ..œœ œœB ˙
œœ ..œœ ..œœ œœm ˙
œœ ..œœ ..œœ œœµµ ˙
œœ ..œœ ..œœ œœ ˙
œœ ..œœ ..œœ œœ ˙
OO ..OObF
..OO OOp
OO OO
OO ..OO ..OO OO OO OO
OO ..OOmF
..OO OOp
OO OO
∑
F p
Í
Í
Í
Í
ƒ
ƒ
f
Í f
Í f
f
F p
Continue erratic tremolo scrape.
° sempre
p
p
p
p
F
El.
ƒ
ƒ
46
( )
Ó
‚
œm
>
Ó œ ‰ ∑œ œ
3 3
3 3
∑œ> œ œ ∑œ œ‰ ∑œ œ
3 3 3 3
V V V V V V
‚
œ
>
.œ œ œn . œ œ. œ. œ‰
œ. œ.
œ> .. œ œ œ. œ œ. œ. œ Œ &
ÓÓœB > œn . œm . . œn
ÓÓœm . œ. œµ . œm . ‰
5 5 5 5
∑∑œb > œ œ œ œ œ œ ∑∑œ œ œ œ‰5 5 5 5
tu tu tu tu tu tu tu tu tu tu tu
Ó æ
∑
∑
˙ ˙
wwB
wwmf
wwµµ
wwf
ww
OObf
wwmm
OOmf
∑ &
IVIII
III
lowhigh
F - ff
F
F
ppp - p
p F
P
˙ .˙b
˙
F
.˙V
˙ .˙m
˙ .˙
œn œb œ œb œ œb œ œb œ œb
˙b .˙u
æ .æ
∑
∑
œŒ
......˙˙˙˙
mnm
nm
˙B ..˙
˙m ..˙
˙µµ ..˙
˙ ..˙
˙˙ ..˙˙
OO ..OO
˙˙ ..˙˙
OO ..OO
œœœB œB
œ œn œB
œ
œ
œBœ œn œ
œ œB
œœB
œœB
œ
œ
œœnµœ
œn
œBœµ
œBœµ
œ
œn
œœ œ œœB
œn
œnœ œ œB œ œ
œn
œ
œn
œ
œ
œn
œœBœn
œ
œBœ
œ
œœ
œ œnœB
œB
œB œ œ œ
œ
œœB
43 43
F
P
Color trill.
Ï
Ï
Ï
Ï
Graduallyreleasepedal.
)(
subπ
p
p
p
p
π
π
P
Depress silently.
12
&
&
?
&
?
&
÷
÷
?
?
&
&
&
B
&
?
&
t
&
44
44
Fl.
Vox
B. Cl.
Vox
Bs.Tbn.
Vox
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
(√)
˙ ˙ .œ œ.
˙ ˙ .œ œ.
˙ ˙ .œ œ.&
˙ ˙ .œ œ.
œ œb œ œb œ œb œ œb .œ œb .
˙ ˙ .œ œ.u
æ œæ Ó
∑
Ó œœ œœbb œœ> œm
œ
>⁄ œ> œœ> œœbb œ> œ œm ⁄œœ> œœ
œœbb >œ> œ
∑œm>œœ
3 33 3 3 3
&
∑
˙B ˙ ..œœ œœ.
˙m ˙ ..œœ œœ
˙µµ ˙ ..œœ œœ
˙ ˙ ..œœ œœ.
˙˙ ˙˙ ..œœ œœ
OOb OO ..OO OO.
˙˙mm ˙˙ ..œœ œœ
OOm OO ..OO OO.
œ
œ
œ œ
œBœBœ œ
œBœœ
œœBœ œœnœB
œ
œ
œB
œ œœœ œ œB
œB œ œœB
œ
œ œBœB
œ
œœ œ
œBœœ
œB
œ
œ
œ œ
œn
œnœn
œœBœ œ
œ
œn
œB
œ œn
œ œn
œn
œœµœB
œµ œn
43 43
p
non dim.
non dim.
non dim.
non dim.
non dim.
p non dim.
∏
∏
∏
p
p
p
∏
π
°
P
π
π
El.
Pf
49I1 "Breath"
œœ œœbb >œœ œm œ
œ œœ œœbb > œ.œ
œm .> œ.œ.> œœ .
∑œœbb .
∑f
œ. œ.>
œmœœ œœ œœbb œ
œ> œm œœ œœ œœbb œ. # œ. œm . œ.
33 3
3
∑ƒ
13
&
?
42
42
44
44
Pno.
52œ. œœœœbb
.>œ œ œ œm œ. Ó
œ. œœœœbb-
œ>⁄ œ
œmœ
œ> œm œœ
3
3 3 3 3 3
∑f
subp FP
sub
°
rit.
(Sostenuto remains depressed.)
(ff)sub
œm œœœU
3
Œ ∑œœb œœU3
(~2 sec.)
p‰
∑œœbb> œœ
œœ
Óœm
œœ⁄ œœbb
3 3
˙˙b
q = 90œœ
œœ œm > ∑œ
œœœbb œœ œ œ ∑œm œ
œœœbb⁄ œœ œ
Œœ
>⁄ œmœ
œ œœbb Óœœ œ⁄
œ
33 3 5
3
∑
&
?Pno.
56 œm œœ> œ œœœœbb
⁄œ œ.
œmœ>
œ⁄ œœœbb
Óœ> Ó
œ.
œmœ⁄ œ
33
3 3
∑
rit.
(p)
œœbb > œœ œ œ œ œm œœ œœbb œœ> œ œ œb
œn Óœn > œœ
œœbb
œ
⁄œ>
3 3
5
3
∑
œb œ> œn œœœ
œœbb
⁄œ
>
œœ œœbœn
∑œn∑œœ
œœbb >
œ œb œœ
œn >U3
3 3
3
œœ
(~1 sec.)
&
&
?
÷
&
?
&
&
&
B
?
?
?
t
Ovblw.
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
√
√ √
√
√
)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) )))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
‚
œ
.
‰œb
Óœ Œ
œ œ ∑œ‰ #
Ó
‚
œ
˘
‰5
3 35
∑
∑
Y
Ó X÷
∑
# .Óœµ
Ó ∑œµ œµ œ œn œm
Óœ œœµ
3
3 3
# ..∑Oœ
∑ ∑OœO O O Oœbb
ÓOœ OO
3 33
Œ Óœ œ
∑œ œ Ó
œµ œ Óœ ∑œ
3
3
3
3
Œ ÓO O ∑œ œ Ó
œoŒ Ó
Oœ∑Oœ
3 3 3 3
∑œœb ‰ œœ œœ ‰ Œ3
∑œo
‰ œo
œo ‰ Œ3
Óœ œ œ
∑œœBm ‰ œœ œœ ‰ Œ3
∑œ ‰ œ œ ‰ Œ3
ÓO O O
q = 60
F
m
pp - )p
Brush with one hand on snare in circular motion.
IIIII
I IIIIIpizz.
p
arco
III
pizz.
pizz.
IIV
f
f
IVIII
arco
arco
IIV
π
π
IV
π P
p ßF
Í
fÍ ç
slow
Crinkle plastic bag continously creating erratic noise.
pp - )p
Snares on.
A2.1
(sost.sempre)
"Submersion"59
œbæ
∑œ‰
œb œ‚
‰ œ- # #œn .
‰3 5 5
∑
∑
Óy yæ yæ Y
3
X
∑
Óœœ œ ‰
œ œœœµ
œœµÓœœ œm
3 3
3
3
ÓOO œo> ‰ O O œœ OO
ÓOO
œm
3 3 3 3
Œ Óœ œ
Óœm œ
Óœ ∑œ # œµ
œ
3 3 3 3
Œ ÓO O
ÓOœmm Oœ
ÓOœ ∑Oœ # œn o O
3 3 33
Ó ∑œœb ‰œB
Ó ∑œo
‰ OÓœ
Ó ∑œœBm ‰œœb
Ó∑œ ‰
OOÓO
pizz.III
arcoI II
I
I I I II I
f F ßp
III
pizz.
pizz.
IIV
f
f
IV
II
III
arco
arco
π
π
F
Fπ
I
slowfast
fsub
pp - )p
F
flt.
locoloco
‚.
œ œ # œb.∑œ ∑œb Ó
œ. Œ Óœnæ æ œm
‚
5
5
3 3
Ó # .∑œ œ?
Ó # .∑œ œb ∑œ* When in unison, match clarinet dynamic.
y yÓyæ yæ
∑y y3 3
Óy y
X
∑
# .Ӝ
Ó ∑œ œµ œ œn œm
Óœ œœµ
3
3 3
# ..∑Oœ
∑ ∑OœO O O Oœmm
ÓOœ OOn
3 3 3
Œ Óœ œ
∑œ œ
‰ œ Œ3
3 3
Œ ÓO O ∑œ œ ‰
œoŒ
3 33
œŒ ∑œœb Ó
3
O Œ ∑œo
Ó3 Ó
œ
œœŒ ∑œœBm Ó3
OO Œ∑œ Ó
3ÓO
I IIIIIpizz.
p
III
IIV
IV
Í
Í
f
f
p
p
π
π
pizz.
f
fp psub
f
f
pizz.
F
F
f
F
IIIII
π P
fast
p - )fmedium(Density):
pp - )p (Density): low
f
flt.
sub
14
&
?
?
÷
÷
?
&
&
&
B
?
?
?
t
Ovblw.
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
(√)
√
√√
√
√
$$$$$$$$$$$$$$$$$$)))))))))))))))))))))))))))))))))))))))))))))))))) )))))))))))))))))))))))))))))))))))))))))))))))))) $$$
‚ ‚
œ ∑œm ‰ # œb . œ. ‰ œ ∑œ‰ # œ
æœ
æ3
5 3 5
Ó ‰ . ÓÓœ.
Œ
Ó ‰ . ÓÓœb .
Œ
.Y yæ
¿ Œ Ó
∑
Óœœ œ ‰
œ œ œœµ œœµÓœœ œm
3
3
3
3
ÓOO œo ‰ O O œœ OO
ÓOO
œm
3 3 3 3
Œ Óœ œ
Óœm œ
Óœ ∑œB # œµ
œ
3 3 33
Œ ÓO O
ÓOœmm Oœ
ÓOœ ∑Oœ # œn o O
3 3 33
∑œœb ‰ ‰ œœœB ∑œœ ‰
3
∑œo
‰ ‰ œo
O ∑œo
‰3Ó
œ œÓœ
∑œœBm ‰ ‰ œœnœœb ∑œœn ‰
3
∑œ ‰ ‰ œ OO ∑œ ‰3Ó
O œÓœ
pÍ
II
III
III
III
IVIII
III
IV
pizz.
f
f
ß
ß
pizz.arco
arco
p
p
pizz.III
arcoI II
I
III
pizz.
pizz.
IIV
ç
ç
IV
ß
ƒ P
III I
pf
f p
I
locoloco
pp - )p ƒ
F
flt.
62
(P)
Ó
‚ .‚
‰ ..œœm( ).
‰ œ. œ. œ. œ. œæ
Ͼ
∑
œ ‰ ‰ ∑œœb( ).
5
3 33
Œ ‰ Óœ
Ó œb . œ
‰3
Œ ‰ Óœb œ
Óœ œ. œb ˘
‰3
.yæ∑y y ∑y yæ
3
Óy y
Óy
X
∑
Óœ œµ œ œn
‰ ‰œœµ
3 33
Ӝ
O O O ‰ ‰OO
3 3 3
œ œ∑œœ œœ Ó
œµ œ Óœ ∑œ3
3
3
O O ∑œœ œœ Óœo
Œ ÓOœ
∑Oœ
3 3 3
Œ ÓœB
Ӝ
Ӝ
Œ ‰ œœb3
3
ŒÓOæ Oæ O Œ ‰ œœ
o
3 3
œ
Œ Óœœb œœ œœ
Œ ‰ œœBm3
3
Œ ÓOOæ Ó
OOæ ÓOO Œ ‰ œ
33
OIII
III
IIV
IVpizz.
pizz.
f
f
arco
arco
II
III
II
IIIIIpizz. arco
p
p
f
f
p
p
f
f
p
f
p
p
F
F
I
fast
ƒ
fast high
)p - f
ß ßp
pp - )p
F ff
flt.
‚
∑œœm( ).
‰ ‰ œ œ # œmæ
œBæ
œm æ ‰ .œœm
( ).3 5
5
# œ. # œb .‰ ∑œ .œ
œ œÓœ.
3
# œb . # œ.‰ ∑œn .œ
œb œÓœ.
3
yæ Óy y y
Óy y
Óyæ
3 3 3
X Ó
∑
œœ œ ‰œµ œ œœµ œœµ œœ
3
3
OO œo ‰ O Oœœ OO OO3
3
Œ Óœ œ
Óœm œ
Ӝ
3 3 3
Œ ÓO O
ÓOœmm Oœ
ÓOœ
3 3 3
Ó Œ Œ ÓœB3
Ó Œ ŒÓO3
Ó Œ Œ Óœœb3
Ó Œ Œ ÓOO
3
fp
II
III
p
fP
pizz.III
arcoII II
I
III
p F
p F
p f
ß
ß
p
F
f
P
P
ß
p
loco
slow
p
medium
ß
flt.
f
15
&
?
?
÷
÷
?
&
&
&
B
?
?
?
t
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
√
√
√
√ √
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
‰ œœb( ).œœm
( ).‰ œœ( ).
# ‰ œœ( ).# Œ
5 5 5
‰ . ∑∑œb œ œ ∑œ Œ 3
‰ . ∑∑œ ∑ ∑œb Œ 3
yæ yæ yæ Óyæ y
3
Œ .X
∑
# .Ӝ
Ó ∑œ œµ œ œ œB
Óœ œœµ
3 3 3
# ..∑Oœ
∑ ∑OœO O O Oœmm
ÓOœ OOn
3 3 3
∑œBÓœ œ
∑œ œ Ó
œµ Œ Óœ
3
3
3
3
∑OœBB ÓO O ∑œ œ Ó
œoŒ Ó
Oœ3 3 3 3
Ó Œ ‰ œœb3
Ó Œ ‰ œo 3
œ
Ó Œ ‰ œœBm3
Ó Œ ‰ œ3
O
∑
III
IIV
IV
III
II
IIIII
pizz.arco
π P
Í
Í
F
pizz.
pizz.
ƒ
F
F
I
p
I
f
f
F
ƒ f F f
I
)p - ff
fast
ƒ
highmedium
pp - )p
El.
65
∑œœb( ).‰ # œb . œ. ‰ ‰ ∑œ
œm( ).
# œ. œ. œ. œ.
5 5
œ œ‰ ‰ . ∑∑œ.
Œ3
œ ∑œb‰ ‰ . ∑∑œb . Œ
3
Y Ó
X
∑
Óœœ œ ‰
œ œœœµ
œœµÓœœ œm
3 3
3
3
ÓOO œo ‰ O O œœ OO
ÓOO
œm
3 3 3 3
∑œ‰
œ œÓœm ∑œ
Óœ œ # œµ
œ
3 3 33
∑Oœ‰
O OÓOœmm ∑œœ
ÓOœ Oœ # œn o O
3 3 33
ŒœB
Óœ œ
‰ œœb Óœ3 3 3
Œ Oæ ÓO O O O O O O O O O O O ‰ œ
o ∑O3 3 3
œ
ŒœœB
Óœœ œœ
‰ œœBm Óœœ3 3 3
ŒOOæ Ó
OO OO OO OO OO OO OO OO OO OO OO OO ‰ œÓOO
3 3 3
O
∑
II
III
IIV
pf
pizz.III
arcoI II
I
II I
f
ß
p
p
Í
Í
f
f
arco
arco
π
Pπ
Í P
ß
F
F
pizz.
II
p
III
ƒ
jeté
IVIII
pizz.
π f
crini
P
jeté
π
crini
fsub
subf
I
locoloco
p - )f
low
Œ ∑∑œœm( ).
Œ ‰ œœb( ).‰ œœnm( ).
œœbn( ).#5
3 5
‚ ‚œ œ œ
œbœb ∑œ# œn . Œ
‰ Óœb œ
œœ. # œb . Œ
∑
¿ Œ Ó &
∑
# .Ӝ
Ó ∑œ œµ œ œµ œB
3 3
# ..∑Oœ
∑ ∑OœO O O Oœmm
3 3
Œ Óœ œ ∑œœµB
B œœ Óœµ& Œ
3
33
Œ ÓO O ∑œ
œœœ
Óœo
Œ3
3 3
Œ ∑œœb œœ ‰œB
Œ3
3
Œ ∑œoæ œ
oæ œ
o‰ O Œ
33Ó
œæ œæ œ
Œ ∑œœm œœ ‰œœb
Œ33
Œ∑œæ œæ œ ‰
OO Œ3 3
Óœæ œæ œ
Ó Œ œœœœœ
Undertone composite.
I IIIII pizz.
p
arco
arcoIII
p
Í
Í
III
II
f
IIIIV
P
pizz.
pizz.
f
IV
F
P ß
ßf
f
f P f
p ƒP
f ƒ f
II
π P
F
F
ß
ß
π16
&
?
?
÷
&
?
&
&
&
B
?
?
?
t
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Ovblw.
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Pno.
√
(√) √
√
√
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sost.
68‚ ‚ ‚.
œ œb œ œ ∑œ ‰ .œœmfl( )
‰ . œ œB œ œ5
5 5
œb œŒ œ œ
.œœ.
œ.
œ œb ∑œŒ œb
.œbœ.
œ.
.æ æ.æ æ
Ó ¿ X
÷www
wb( )
∑
Ó ∑œµ œœµ
Óœœ œ ‰
œ œœœµ
œœnµÓœœ œm
3 3 33
3
Ó ∑Oœµµ
OOnÓOO œo ‰ O O œœ OO
ÓOO
œm
3 3 3 3 3
‰ # œ œŒ Ó
œ œÓœm ∑œ
Óœ ∑œB # œµ
œ3
3 3 33
Œ ÓOœ
∑Oœ Œ ÓO> O
ÓOœmm ∑Oœ
ÓOœ ∑œœ # œn o O
3 3 3 3
3
&
Œ œœb œœ ÓœB œ ∑œœ ‰
œ3 3 3
Œ œo ∑œ
oœ
oÓO O ∑œo ‰ O
3 33
œÓœ œ
Ӝ
3
Œ œœBm œœ Óœœb œœ ∑œœn ‰
œœ3
3 3
Œ œ ∑œb ∑œÓOO OO ∑œ ‰
OO3 3
33
œÓœ œ
ÓO
œœœœœŒ Ó Œ
ƒffP
II
III
III
III
IVpizz.
III
II
arco
arco
ç
ç
f
IIV
pizz.
IIIIVpizz.
arco
III
f
I
pizz. arco
Í
Í
Í
Í
Í
ƒ
ƒ
Í
ç
III
f PP
P
Fp p
IIII
F
f
II I
p F
ß
ß
f ç
Pf
P P
PP
locoloco
( )
slow
mf
Crinkle plastic bag continously creating erratic noise.
P
El.
π
Depress silently. pp - )p
Fz
( )
(P)
‰ ‰ . œœb .( )‰ œœ.( )
# Œ5 5
‰ Œ œ œ .œ
‰ Œ œm œ . ∑œm
∑œæ œæ æÓœæ œ ˙
.¿ Œ Œ &
∑
Óœ œ œ ∑œœµ
∑œœµ œœ3
O Óœ ∑O
Óœœ O
O( )( )
œœ3 3 3
Óœ œ œ
Óœœµ
∑œœµ œœ3
ÓO œ O œ ∑œ
Óœœ O
O( )( )œœ
3
‰ Œ Œ ∑œœBm œœ3
&
‰ Œ Œ ÓOOæ
OOæ3
Óœœnn
ÓœœB ‰ Œ Ó
œœb œœ3
ÓOO OO
ÓOO OO
‰ Œ ÓOOæ
OOæ3
‰ œœœœœ œœœœœŒUndertone composite.
III
π
π
f F
Fp
Fp
F
F
III
π
III
π
III
plunger mute
IIIVIII
III
jeté
f P
fast
medium
)p - f
A2.2
arco
Fπ π
arco
(batutto)
# .œ œ
‚
æ
‚
ϵ
.
. . . . œn . ‰ œ œ
‚
5 5 5 5
œ( ) œb( )
œ œµ . œb > œ .œµ œm œ # .∑œn
œn œ. œ> œ .œ œm œ # .∑œn
Ó œŒÓœ ‰
œœ> œœbb œ> œ œm œœ> œœ
œœbb > œ> œœm>œ
œ œœ œœbb >œ
œ œm œœ œœ œœbb >
3 3 3 3
∑
∑œœµ )(..˙ œœmm
Óœœ O
O( )( )œœ ˙
œœmm3
..˙∑œœµ( )
œœmm
Óœœ O
O( )( )œœ ˙ œœmm
3
B
∑œœ œœBm œœ œœ œœ∑œœb? ‰3 3
ÓOOæ OO
> OO OO
> OO Ó
OO> O
OÓ OO
> OO ∑œ
o ‰3 3 3 Ó
O
Óœœ œœnB œœ œœ œœb ∑œœm ‰
3 3
ÓOOæ OO
> OO OO> OO Ó
OO> OO
Ó OO
> OOb ∑œo
‰3 3 3 Ó
O
∑ &
p
p
m.s.p.
m.s.p.
F
Í
Í
Í Í
Í
ƒ
F
F
F
sub
jeté
IIIIV
pizz.
p
p
Íp F
P
f
f
F
F
f
ƒ
Í ƒ
ƒ
ƒ
IIIIV
IIIII
III
P
jetéIIV
pizz.IIIIV
IIIII
III
ƒ ç
ƒ P çP
Psub
p f
pp - )p
flt.
°
n
IIIII
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
17
&
÷
?
?
&
÷
&
?
&
&
&
B
?
?
?
t
÷÷÷
Ovblw.
Fl.
Vox
Ovtns.
B. Cl.
Bs.Tbn.
Vox
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Pno.
Vid.
Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~ ~~~~~~ ~~~~~
Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~ ~~~~~ ~~~~~~~~~Ÿ~~~~
Ÿ~~~~~~~~~~~~~~
~~~~~~ ~~~~~~~ ~~~~~~
Ÿ~~~~~
Ÿ~~~~~ Ÿ~~~~~~~~~~~~~ ~~~~~ ~~~~~~~~~Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~ ~~~~~ ~~~~~~Ÿ~~~~
~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~~ ~~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~
Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~~ ~~~ ~~~~Ÿ~~~ Ÿ~~~~~~ Ÿ~~~~~~~ ~~~~Ÿ~~~
~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~ ~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~
~~~~Ÿ~~~ ~~~~ ~~~~~~~ Ÿ~~~~~~~~~~~~~~~ ~~~~~~~~~Ÿ~~~~~~~~~
Ÿ~~~~~~
Ÿ~~~ Ÿ~~~~~~~~~~~~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~~~~ ~~~~~~~ Ÿ~~~~~~~ ~~~~Ÿ~~~
Ÿ~~~~~~~~~~~Ÿ~~~ Ÿ~~~~~~~~~ ~~~~~ ~~~~~~Ÿ~~~~~ Ÿ~~~~~~~ ~~~~Ÿ~~~
Ÿ~~~~~~~
Ÿ~~~~~~~ Ÿ~~~~~~
Ÿ~~~~~~~~~~~ Ÿ~~~~~~~
~~~~~~~~~Ÿ~~~~~~~~Ÿ~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~Ÿ~~~~~~
~~~~~Ÿ~~~~~
~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~ ~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~ ~~~~~~Ÿ~~~~~
~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~
~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~ Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~Ÿ~~~
Ÿ~~~
Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~ ~~~~~~~~~~
√
Ÿ~~~~~~~~~~~~~~~~~~~
◊◊
Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~
√
~~~~~~~~
√ √Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~
Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~ Ÿ~~~~~
Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~
Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~
Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~
Ÿ~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~
Ÿ~~~~ Ÿ~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~
Ÿ~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~
Ÿ~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~
Ÿ~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~
~~~~~~Ÿ~~~~~
œ œ # œ
‚
œ ‰ œœb .( )# œœ.( )
Œ ∑œœ.( )5 5
3
Œ ‰ œ œ ‰ Œ Œ5
fa f f fa
‚
œ ‰ œ œ œ. œµ . œn - ∑œ œfl œfl œfl œfl œ>3
3 3
œ ∑œ # .œ # # .∑œ œ # œm œn .
5 5
Ó #.∑
œ œ
Œ ‰ œ œ ˙
œ>œn
œm> œ
œb⁄ œn
œœbb > œœnœn
> œb > œœ⁄œ>
œœbb œœn‰
Óœœn œœ
..œœbb
3 3 3 3
3
Ó œn .œb œœb .
œœœœ
œ œœn
3
œœµ
∑œœ
µ œœµ
m ∑œœn œœÂ∑œ
œÂ
Óœm œ œ
œµ ∑œ
œµn œœm ∑œœn œœµ ∑œœµ
3
Oœ ÓœO( )
( ) Oœm ÓœO( )
( ) Oœm ÓœO( )
( )Óœm œ Oœ Óœ
O( )( ) Oœm Óœ
O( )( ) Oœ Óœ
O( )( )
3
œœµ
∑œœ
µ œœµ
m ∑œœµm œœµn∑œ
œnÂ
Óœµ œ œ
œµµ ∑œ
œnµ
œœµ
m ∑œœµµ
œ
ϵ
µ ∑œœ
µ
3
Oœ ÓœO( )
( ) Oœm ÓœO( )
( ) Oœ ÓœO( )
( )Óœ œ Oœ Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( )
3
œœb
∑œœ
b œœ
∑œœ œœ
∑œœ ‰ ‰ ∑œœ
b& ∑œœb
œœ
∑œœb œœm∑œ
œ
3
?
Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) ‰ ‰ÓOœ Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( )3
œœb œœÓœœnB ‰ ‰
∑œœ
∑œœ
œœ
m ∑œœ œœnm∑œ
œm
OO> OO OO
> OOb OO
> OO
‰ ‰ÓOœ ÓœO( )( )
Oœ ÓœO( )( )
Oœm ÓœO( )
( )
∑∑∑
IIIII
III
IIIIV
IIIII
III
IIIII
P
P ß P
f
s.p.
humming
ç ßF ff
F
fSprechstimme - in speakingtone - follow pitch contour.
f
F
sub
P
F
p
p
p
sub
sub
p
p
Fz
F
F
F
IIIVIIIIIIjeté
f
IIIII
p
III
P
p
F ppp - psubito
P
I
sm.med.lg.tam
f
(Sost.)
arco
arco
(f )
f
f
71
ord.
ord.
-
-
-
-
-
# œœm( )
. # œ‚>
œ # .œ
‚
œ
b ˘ ‚
œb
˘
œ
˘
œn
˘
œb
˘ ‚
œ
˘œ œ
‚∑œ
55
5
Œ ÓÓœ œ Œ Œ œ œ
5fa f fa v fa
œf f f f fa
Ó
‚ ‚ -
-
-
-
-
-
.œm
‚
œ
.
.∑œ ∑œb # œµ œb # .œ œn
œm œn # œm ‰ œn fl fl ∑œ # œæ œæ5 5
55
‰ y ‰ Œ Œ Œ ∑y3
3
œ Œ Ó
œœbœœn
œœn >œ
œ>œb œ
œœn œm œn œ>œœ œœ œm œ ∑œm
>3 3 3
œœ œb . œb œ
# ..œœbb
°
‰ ∑œœœœ
bb
°
œœœ œ
œœ>3 3
‰œœb
∑œœ
œœb
m∑œœ œœb
∑œœœœ
µ ∑œœµ
œ
œ
B∑œœB œœnµ
∑œœµ
m œœµ
∑œœ
µ œœµ
m ∑œœµm
33
‰ Oœn≤
ÓœO( )
( ) Oœn ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( )Oœm Óœ
O( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( ) Oœm ÓœO( )
( )
3 3
‰ œœµ
µ ∑œœµ
µœœB
µ ∑œœBB œœBµ∑œ
œµB œ
œµµ ∑œ
œµµ
œœµ
∑œœµµ œœµµ∑œ
œµµ œœnµ
∑œœµ
µœœµ
 ∑œœµÂ3
3
‰ Oœn ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( )
Oœ ÓœO( )
( ) Oœm ÓœO( )
( )
3 3
‰ œœb
B&
∑œœB
bœœb
µ∑œœbµ œœbB
∑œœB
n œœb∑œ
œbœœ
n ∑œœnbœœn
b ∑œœb œ
œb∑œ
œb
œ
œ
n∑œœ œ
œn
∑œœ œœ #
3 3 3
? &
‰Oœ≤ Óœ
O( )( ) Oœm Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( ) Oœn Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ
. #3 3
3
‰œœ
b ∑œœb
œœ
∑œœµ œœm∑œ
œmm
œœm∑œ
œm œ
œm ∑œ
œ∑œ
œ∑œ
œœœB
∑œœ
µ œœ
# œœn
m ∑œœb
n
3
33
‰Oœ≤ ÓœO( )( ) Oœ ÓœO( )( ) Oœ Óœ
O( )( ) Oœm Óœ
O( )( )
Oœ ÓœO( )( ) ÓOœ ÓœO( )( )
Oœm ÓœO( )
( ) Oœ # Oœ≤ ÓœO( )( )
3 3 3
∑∑∑
f
ƒ
fç f F
F
f
f
p
f PP
Fp p F πsub
S
F
IIIIV
IIIII
III
IIIIV
IIIII
III
IIIII
IIIIIIIV
s.p.s.p.
III
IIIII
III
IIIIV
s.p.
ç
ƒ
ßsub
f F
P
f
Ff
s.p. ord.
f
s.p. ord.
F
ord.s.p.
ord.
P
s.p. ord.s.p.
s.p.ord.
ƒ
ord.
ƒ
p - )f
Strike with timpani beater, triangle beater freely dangles against tam.
P
f
flt.
Â
F
F
P f
Fsub
III
-
-
-
-
-
œ œ
‚B ∑œ ‰
‚
œb
˘
œ
˘ œn
˘ œb
˘ ‚
œ
˘
œ
F
œ
∑‚
œ ‰
‚
œ
>
ϵ
-
3
35 3 3
Œ ŒÓœ œ
Óœ ‰ œ œ
3 33
vv v v v v v
œ
‚
œB ∑œ Œ ∑œ œæÓ
‚
œæƒ F
‰ œæ
∑‚
œb3
33
∑œb fl‰ ‰ ∑œfl
Œ ‰ œ3
∑
‰ œfi‰ œ œ œ
fi.m œ #
3
œ œnœ# œn œœnm
> œn œ œœœbb ˘‰
∑œ œœ> œœœœ œnœb
œn œœœbb œœœœn >
3
3
3 3 3 3
œœœœœnbb >‰ ∑œ œœb > œœ œœb >
‰ œœœœœbnbn >œœb
3 3
œœ ‰ œ
œb∑œ
œ
œ
œ
m∑œœ œ
œ∑œœ œ
œµ ∑œ
ϵ
œœ
 ∑œœÂ œœnµ∑œ
œµm œ
œµ∑œ
ϵ
œœ
m ∑œœµm œœmnÂ∑œ
œÂ
3
3
3
Oœ ‰ Oœn ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )( )
Oœm ÓœO( )
( )Oœ Óœ
O( )( )
Oœ ÓœO( )
( ) Oœm ÓœO( )
( )Oœm Óœ
O( )( )
33
3
‰ œœµ
µ ∑œœµ
µœœB
µ ∑œœµ
BœœBµ
∑œœµ
B œœµ
µ ∑œœµ
µœœµ
 ∑œœµµ œœµµ∑œ
œµµ œ
œµ∑œ
œnµ
œœµ
m ∑œœµm œœµn∑œ
œµÂœœµ
m ∑œœµm
3 33
‰ Oœn ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( )
Oœ ÓœO( )
( ) Oœm ÓœO( )( ) Oœ Óœ
O( )( ) Oœm ÓœO( )
)(
33 3
œœbB∑œ
œœœb
µ∑œœbµ
œœb
B ∑œœB
bœœ
∑œœb
n œœ
∑œœnb
œœ
b?
∑œœb
œœb
n ∑œœ
bœ
œ
n ∑œœ
n œœ
n ∑œœn3
&
Oœ≤ Óœ
O( )( ) Oœm Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( )
Oœ ÓœO( )( ) Oœ Óœ
O( )( ) Oœn Óœ
O( )( ) Oœ ÓœO( )( ) Oœ Óœ
O( )( )
3
œœ
m ∑œœµ œœm∑œ
œmm
œœm∑œ
œm œ
œm ∑œœn œ
œ∑œ
œ œœB
∑œœ
BœœB
m ∑œœB œœBn∑œ
ϵ
3
3
Oœ ÓœO( )( ) Oœ ÓœO( )
( ) Oœm ÓœO( )
( )Oœ ÓœO( )( )
Oœ ÓœO( )( ) Oœ ÓœO( )( ) Oœm ÓœO( )( ) Oœm ÓœO( )
( )3 3
ŒÓ¿
Ó¿ ¿ ¿ ¿ ¿ ‰3 3 3
‰ ¿Ó¿ ¿ ¿ ¿3 3
‰ ¿Ó¿ ¿ ¿
ff
ff
F F
f sfffz f
ff
ç
F
ffFwith gutteral growl
Ï f
IIIIV
IIIII
IIIIV
IIIII
III
IIIII
IIIIV
III
IIIII
IIIIV
Ï
Ï
Ï
Ï
P
P
Pƒ
ord.
“Chaos” roll : include dampening.
)p - f ß
F
Match dynamics of Clarinet.
ƒ
loco
flt. flt.
f
Take
loco
F
Mutewithhand.
F
18
&
?
÷
?
÷
÷
&
?
&
&
&
B
&
?
t
÷÷÷
÷?
Ovblw.
Fl.
Ovtns.
B. Cl.
Vox
Bs.Tbn.
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)(sound)(sound)(sound)
Vln.Vln.Vln.Vln.
(sound)
Vla.
(sound)
Vc.
Cb.
12 3
Pno.
Vid.
√
√
# œm . ∑œb œ
‚
œb ∑œ
œ. œm œ œ.‰ œm
⁄. œ. œ.
œm . œn3
∑
Ó Œ ‰ ∑œ
∑œ
‰ Œ Ó
._ # œ
œ œ5
œb > œb > œ œm > œ. ∑œb œb .> œ. œm .> œ ∑œn œb> œ œb⁄œ œm œ>
œn œm > œ3 3 3 3
Ρ
‰ . ÓÓœœn
& # ..Óœœn
°
∑œn œœm?
œœµ
µœœm
œ
œ
µœœµ
œœµ œœµ œ
œ
œ
œ&
OOm œO Oœ œœ OO œO œœ Oœ
œ� œ œæ œæ œæ # œœ œ œ œ œ œ œæ œæ3 3 3
wµ
Owbb
w
Owb
∑
∑Œ
Ó¿ Œ Œ
Ó¿ ¿3 3
Ó¿ .¿ Œ ¿ ¿
‰ ¿Ó¿ ¿ ¿ ¿3 3
Heartbeats (forward and reverse)
wHarmonics to undertones composite.
(Triangle beater freely dangles against tam from top.)
πjeté
Pz Fz
I+II
s.p. s.t.
c.l.b. crini
Bow
ord.II+III
fastslow Tremolo speed
sub
subπ
subπ
III
Fz
I+II
P
pp - )p
F p
P
Bassdrum mallet.
F.A. (Friction attack with superball mallet.)
ßp Fz F
loco
I
f
p
FzF p
p
Plunger mute.
II+III
p
Continue to cycle through thesepitches in order (bisbigliando effect)
p
A2.3
II
fingering
El.
74
Cb.
œ
‚
b ∑œ ‰ ∑œ
‚
œ
.œm . . . œn . œn . ∑œb œ
‚
œb
.œ
‚
œb
‚
∑∑œ‰ . Œ ÷
Ó ‰ ∑¿ ¿Fffff!
. œm ∑œ‰ X
Fffff!
÷
# œ œ œ ._5
œ ∑œm œœ> œb œ> œb œb œ ∑œn
œm .>œ. œn œ œb ⁄œœb œb œ ∑œb
3 3
Óœn . ‰ # .
Ӝ
°
∑œ œœ
∑œ
Óœœ œ. œ. œ. œ. œ.
3 3
∑œn∑œ
œµ&œµ œœµ
&œœµ œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ # >œ œ œ œ œ3
.˙µ œœnµ œœ œ
œµœœ
..O OO œO œœ Oœ
œ� Óœæ3
w
Ow
∑
∑¿ ¿ Œ
Ó¿ ¿
Ó¿3 3
¿ ¿ ¿ ¿
ŒÓ¿ Œ Œ
Ó¿ ¿3 3
w
jetés.p. ord. s.t.
c.l.b.
I+II
Bow
ord.
II+III
F
F
II
I+II
ßp
F
F
p
f
F
pF
p
p
f
F.A.
P
Take m�
p
π
p
f FF psub
F
pOœ
œ
O
O
IIœ
O
II+III IIIp
œ
O œ
œ
Continue to cycle through thesepitches in order (bisbigliando effect)
O
jeté
Produce air sound throughout.p
Air sound.
fF p f
f
sub
sub
( )
∑œ
œb œb .‰ œm
‚
œn
. . .
œ
‚.
œ
‚
œ
.
. .
œ
. ‚
œ
.
# # ∑œb œ
‚
œb ∑œ
¿ ¿ ¿ ¿ .¿ ¿ ¿ ¿ # ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ .¿ ¿ ¿ ¿ ∑¿ ‰ ¿Fffff! Shhh! Fffff! Shhh!
X Xæ?
Œ œ œ œ œ> # œ œ # œ> œ # œ> œ # œ #3 3 3 3 3 3
œ œb > œb œb œ œm ⁄
œn
œn >œn . ∑œm œ. œ>. ∑œ
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œœœ œœb
3 3
3 3
3
Óœb - >∑œ. ‰ Ó
œ ∑œ œœb # œm - œœn .œb œb . ∑œb œn
33
œ&∑œ
œ ∑œ œ œ œ œ # Œ3 3 3
œœµµ& ∑
œœµ œ
ϵ
œ
œ
µœµ&
ϵ
œæ # œ œ œ œ œÓ œæ Óœæ œ œ œ œ œ œ œ ∑œ3
3 3 3
.˙œœBb œ
œB œœb
œ
œ
..O OO œO œœ Oœ
œ� Óœæ
3
∑
Ó ‰ . ¿ ‰ ¿ ¿5 5
Ó ŒÓ¿ Œ3
Ó Œ ‰ . ¿
¿ ¿ ŒÓ¿ ¿
Ó¿3 3
w
ord.
crini
s.p.
F
jetés.t.
c.l.b. crini
s.p.
crini
s.t.
I+II
ord.
Bow
II+III
III
II
I+II
slow fastTremolo speed
f
Key clicks - fingering follows contour.
flt.
f
f
m
F Fp p
ff fP Fsub
Fzp F
P
π
F
psub
F
pœ
O œ
OII+III OœII
f
F
F
O
O œ
œ
Continue to cycle through thesepitches in order (bisbigliando effect)
jeté
p - )f
F
ƒf p ppFsub sub sub
p
sub
19
&
÷
÷
?
÷
&
?
&
&
B
?
?
t
÷÷÷÷
&?
Ovblw.
Fl.
Ovtns.Ovtns.
B. Cl.B. Cl.
Vox
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)
Vln.Vln.Vln.Vln.Vln.
(sound)(sound)(sound)(sound)
Vla.Vla.Vla.Vla.
(sound)(sound)(sound)(sound)(sound)(sound)
Vc.Vc.Vc.Vc.Vc.Vc.
(sound)(sound)(sound)
Cb.Cb.
12 3
Pno.
Vid.
√ √√ √ √ √ √
√
77
‰ œm⁄
.œm .
œn .œ. ∑œ œ
‚
b
œ œ
‚
Ó ∑œ ‰
‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ®œ# #
œ œ?
‰ ∑¿ ¿ ÓFfff!
œ # ® œ œ œ ‰ œ . ∑œ . ∑œb f f f f f f f f f f f f f f
œ œ œ œ # œ œ>
œ œ œ> œ ‰ . œ5 5
5
∑œ
œ>
œ œ œ>
œ3 3
wwn >
‰œn .
∑œb œœ œœ ˙5
∑œœµ
& ∑œœµ ∑œœ ∑
œ
œ
œœ
µ
& œœmœ
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&œœµ ∑œœ ∑
œ
œ
ŒOOm œO Oœœœ
Œ� œ
&
œ œ œ œ œ œ œæ œæ œæ # œ> œ œ œ œ œ3
3
œµœµ ∑œœµ
& ∑œœµ œ
ϵ
œ
œ
µ
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3 3 3 3
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.
.∑œœ
m? ∑œœm œœœ
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OO œO œœ Oœ
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3 3 3 3 3
œœm
m œœ œ
œœœ?
ÓOO œO œœ Oœ
œ� œæ œæ # Óœ> œ œ œ œæ
3 33
‰ .¿ ‰ .¿ Œ ¿5 5
Œ Œ ‰ ¿ Œ3
Œ Œ Œ ¿Œ
Ó¿
Ó¿ ¿ ¿ ¿ ¿ ¿3 3 3
∑w
ß
s.t. ord.jeté
c.l.b.
(s.p.)
crini
jeté
c.l.b.
jetés.t. s.p.
crinic.l.b.
s.t. s.p.
jetés.t. s.p.
II+III
Bow
ord.
(II)
II+III I+II II+III
II+III
II+III III
ç
p
F
F p
slow
slow fast
π F
P
slap tongue
F
p
pz
p
F
PzBreath attacks. Small notehead indicates partial pitch.
mf sub
Pz Fz
f FF
p Fz
f
f
fast
f
F
psub
f
c.l.b.
I+II
p - )f
œ
O
O
œ
II+IIIO
O
œ
œ
p
II+III
O
œ
œ
O
p
Fœ O
III
p
I+II
(II)
ß
O
O
œ
œ
Continue to cycle through these pitches in order (bisbigliando effect)
I+II II+IIIO
O
œ
œ
O
O
œ
œ
crini
jeté
jeté
g
+ - of
p - )f
Bow
Bow
Bow
Ffingering
fingering
fingering
fingering
( g )
p
El.
œm æ
‚
œæ œ. œB . . . œn . œB . ∑œb œ
‚
œb
‰œ
‰3
Ͼ
‚
æ
‚
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œn . œb ∑ ∑œ ‰f f f
.œ œb . œ œb
1 �# œ> œ # œ œ œ œ3 3
Ó œb œb œ œ œb œœm œn œb>⁄ œb œ>
3 33
Ó # œn œ ∑œ œ .œ
œæ Óœæ œ œ œ
æœ
æœæ # œ> œ œ œ œ œ
3 3 3
œµ&œµ œœµ
& ∑œœ œ
ϵ
œ
œ
µ
œ # œ œ œ œ œ œ œ œ œœœ œ œ œ œ Œ3 3
œœ?
œœ œœ
œ
œœœ? œœm œœ
œ
œœ?
œ
œ # œœ œ œ œ œ œ œ œ œ # œœ œ œ œ œ œ3 3 3 3 3
œœ
m? œœ œœ
œ
œ
œœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ #3 3 3
Œ ‰ . ¿ Œ ŒÓÓ¿5 5
ŒÓ¿ Œ ¿
Ó¿ Œ
Ó¿3 3 3
Œ ‰ . ¿ Œ ‰ ¿‰ ¿ ‰ ¿ ¿ ‰ ¿ ‰ ¿ ¿3 3 3 3
‰ ∑œ œb œ ∑œ‰
œ œŒ
w
jeté
crini c.l.b.
crini
F
jetés.t.
c.l.b.
s.t. s.p.crini
jeté
crinic.l.b.
jeté
crinic.l.b.s.p.s.t.
jeté
c.l.b. crini
II II+III
III+IV II+III III
Ff f ç
p ß FF p
slow fast
F ßp F p
Fp
f
pF.A.
F fF P
p
F
fF
ƒ
ƒsub
F
Take superball mallet.Take soft mallet.
f
f
psub
ß
F
II+III
s.p.
O
œ
œ
O
F
(s.t.)
IIIF
Oœ
œ
O
O
œ
II II+IIIç F f F ß
O
œO
œ
II+III
fII+IIIIII+IV
O œœ O
O
œ
œ
O
pIII
œ O
pO
œO
œ
II+III
OO œ
œ
O
O
œ
œ
O
O
œ
œ
O
O
œ
œ
O
O
œ
œ
II+III
OO
O œ
jeté
jeté
fß
P
p
flt.
( )
∑œ
œ. œB œn œ.‰ œm . œµ . œm œ œµ œm œµ . . . . Ó
œµ ‰3 3 3
‰ . ∑∑œ ‰ . ∑œ# ‰ ∑œ ∑œ ‰
œ . œ># ® œ ‰ ∑
œb œf f f f f f f f f f f
∑∑œ‰ .
.� œ
œ 1 � �
œm œœn œœm .
œb . œ. œ. ∑œ œœb œœœn
∑œnœœbb .
∑œb .œn? ∑œbœœ
3
33
‰ œn ∑œb œ œ œb . ‰ ‰ ∑œ ∑œb .3
3
∑œ&∑œ ∑œœµ
&œœµ ∑œœ ∑
œ
œ
‰ ‰ Œ ‰ ‰ œ
&
œ # œ œ œ3 3 3
œœµµ&
œœµ œ
ϵ
œ
œ
µ
‰ œ
?
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œœ?
œœ œœ
œ
œœœ? œœm œœ
œ
œ
œ œ œ œ œ œæ œæ œæ # œ œ œœ ‰ Œ3 3
œœm
m?
œœ œ
œœœ
OO œO œœ Oœ
œ œ œ œ œœ Óœ Œ Ó3
Œ # ¿ ¿ .¿ ¿>5 5
Œ ‰ ¿ Œ Œ3
‰ ¿ .¿ ¿ Œ ¿>
‰ ¿ ‰ ¿ ¿ ‰ ¿Ó¿ ¿3 3 3 3
# œb œb œ .œÓœ ‰ Œ ?
.˙ œ ∑œ3
jeté
jeté
s.p.c.l.b.
s.t.
c.l.b. crini c.l.b.
s.p.
jeté
s.p.
c.l.b.
s.t.
crini
jeté
s.t.
III II+III
II+III
III+IV II+III
slow fast
F
çß
F.A.
F
p
Fz
f
F p
F
çFz
F
c.l.b.
I+II
p
œ O
jeté
ç
œO
II+III
O
œ
F
FI+II
ß ç
ß
III+IV
O
O
O œO œ
ƒ
Fœ œ
œ O
f
œ O
jeté
crini
ç
Fpsub sub
20
&
÷
?
?
÷
?
?
&
&
B
?
t
÷÷÷÷?
Ovblw.
Fl.
Vox
Ovtns.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)(sound)(sound)(sound)
Vln.Vln.Vln.Vln.
(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)
Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.
(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)
Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.
(sound)(sound)(sound)(sound)(sound)(sound)
Cb.Cb.Cb.Cb.Cb.Cb.
12 3
Pno.
Vid.
◊
√ √
◊
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IŸ80
œm
‚
œæ œ.œB . . . œn . œB . ∑œb œn
‚
œb ∑œ
∑œ ‰ .œæ
‚
Ͼ
.
.Ó
æ
∑‚
œb #‚
Ͼ
# ∑ œ œb .# ∑œ œ œ>
# œ>. œf f f f f f f f f f
œ
∑œ ‰ .ÓÓœ
∑œ
‰ œ ‰ œ œ # œ33 3 3
œ # œ ‰ ∑œ œ3
œœ..œœb œb& œ œœbn œœ œn . œœb œ
œb .# œn
œœ˘5 3 3
.œb œœb . .œn > œn >œœb ∑œb œœn >
œb œœnm .>œœ
∑œ œ>
5 3 3
œ&
∑œn
œ O
� œ œ œ œ œ œ ∑œ œ œ œ œ3 3
..∑œœB& ∑œœ œ
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œ
œ
∑∑∑œœµµ&
œœµ œ
ϵ
œ
œ
µ
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&œœµ œ
œ
œ
œ œB& œB
O œ œ O
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∑œ3 3 3
œœ? ∑œœm œœ
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m?? œœ œœ
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m œœµ? œœ œ
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¿> ‰ . ¿ ‰ . ¿ # ¿ ¿5 5 5
¿> ŒÓ¿ Œ
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Œ ¿ # .Ó¿ ¿ ¿
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w
(jeté cont.)
crini
s.p.s.t. s.t.jeté
c.l.b.
jetés.t. s.p.
crinic.l.b.s.t. s.p.
jeté
crinic.l.b.
s.t.
s.t.
jeté
c.l.b.
s.t.
jeté
s.p.
crini
s.t. s.p.
c.l.b.
s.t. s.p.
crini
crini
criniIV
s.p.III+IV III II+III IV
III+IV III IVIII+IV
ƒ
ƒ f ç
çfƒ
ƒç ç
f
f F fF Pƒsub
pç f
P
ƒ
ƒ
m
ç
π
II+III III+IV
π
F
IV
II+III
FIII+IV
O
œ
II+III
œ O
III+IV
O
œ
II+III
œ O
III
O
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II+III
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IV
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F FII+III
O
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F
F
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O
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jeté
jeté
jeté
y y
F
flt.
+ - o ad lib.
P
Bow
fingering
Bow
fingering
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fingering
Bow
fingering
°
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psub p
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El.
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‚
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5
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3 3
f f f f f f f f
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3 3 3 3 3
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3 3 3
# œn œœ œœm
m . ...œœœ
nn œœœ
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∑œb .œn? œœb.5
5 3
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n œœn
b œb ∑œn œb> œb . œb .
œb .‰ ∑œ
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5 5 5
œ œ œ œ œ œ œæ3
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3 3 3
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w
s.t. s.p.
s.p.
c.l.b. crini
s.p.
jeté
s.t. s.p.
s.t. s.p.
s.p.
f
s.t. s.t.s.p.
fƒ
p
ƒ p
F
ß ßF
f F
f
ƒ
ƒ
F
f F f ç
III+IVII+III
F ƒF ƒO œ
O OII+III
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fF F
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.
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3 3 3 3Ӝ
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3
&
œb .œb . œb œb .
‰ œ ∑œœ ∑œœb .
‰œ. ∑œ œ
5
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œœ?
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m? œœ œœ
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m
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5 5 5
5
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w
slow jeté
s.p.
c.l.b.
s.t.
F.A.
P
Fz
fp
F Fz
s.p.s.t.
F
P
slow fast
slow
slow
p
πp p
π
II+III
P
fast
crini
p
f
s.t.
π
F
p
p
sub
21
&
?
?
÷
&
?
&
&
&
B
?
?
?
t
÷÷÷÷?
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B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)(sound)(sound)(sound)
Vln.Vln.Vln.Vln.
(sound)(sound)(sound)(sound)(sound)
Vla.Vla.Vla.Vla.Vla.
(sound)(sound)(sound)(sound)(sound)
Vc.Vc.Vc.Vc.Vc.
(sound)
Cb.
12 3
Pno.
Vid.
Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~
Ÿ~~~~
Ÿ~~~~~~~~~~~~~~~~~~~
√
~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~
~~~~~
~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
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√
√
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5
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5
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3
3
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3
# œ œm œ œnœb
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3
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OO
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Ó¿ ¿> ¿ ¿ Œ3
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jeté
crinic.l.b.s.p. s.t.
s.t.
jeté
jeté jeté
piu f
arco
s.p.
(F.A. cont.)
m
P
ß ß
π P π
ß ß F p f fp
ƒ
fasts.p. s.t.
c.l.b.crini
s.p.c.l.b.
s.t.s.p.
crinic.l.b.
ord.
ß
f(ff) ß
ç
F
F
F
ƒ
ƒ
ƒ
F
F
F
F
p
P p
pP
arcoord.
II+III
II+III
I+II
IIIIII
III
III+IV III+IVIII+IV
III+IV
IV
O
œO
œ
II+IIIIV
(IV)
(IV) I+II
O O
œ O
II+III
F
f f FF
f
O
O œ
œ
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p
pizz.pizz.
pizz.
ƒ
f
Take m�
Bow
fingering
fingering
fingering
Bow
Bow
(F )
F
p
El.
83
F
sub
œmœ
œ œm⁄
.œ
‚
ϵ
‚
œb
>
∑œn # œ. ‰ ∑œ
‚
œb
.
œB . . . œn . œB .>
∑
∑
‰ ∑œÓœ
# œ>
œ # œ>
œ œ ∑œœ
∑œ œ>
‰ œ
3 3
3
# ∑œ>
‰ Óœ ‰ ‰
Œ3
œœœœbnb œ œb œ œ> œ⁄ œb
œn œ œœbn>
Óœœ
∑œb
Œ ‰ #œn œm
3 3
3
3
∑œ œ&
°
∑œb∑œb œ
œn∑œœœœnb
nb œœœœœœœœ œb œ.
œb œb œ œb3
3
33
Œ # œ œœb ..œœœœ œœ
Œ # œ œœ ..œœ OO OO
..œœµµ&
œBœœ
∑∑œœŒ Œ
5
..œœ œœœ
∑∑œœ Œ Œ5
œœ∑∑œœ
œœ
œœ œb ‰ œ œ œœ
5
5
5
œœ∑∑œœ OO ..
∑OO ‰ ‰ . œœœ œœ œœ œœ œœ œœ
5 5
5
∑œœœœ‰ # œœ œœ œœ œ
œœœœmm
(( )( )
)....
œœœœ œm
ÓOO ‰ # œœ œœœ œœ œœ œœ œœ œ
OOm OO OO œ
.¿ ¿ ‰ . ¿ # ¿ ¿ ¿> # .¿ ¿5 5 5 5Ó Ó
‰ ¿ # ¿ ¿ ¿ ¿ # .¿¿ Œ Óœ Œ Ó
s.t. s.p.
crini
s.t.
arco
s.t.
piu f
jeté
jeté
c.l.b.
P
p ff pßsub
f Psub
P
arco
arco
ord.
ß
ß
arco
s.t.
arco
s.t.s.p.
c.l.b.
f
III+IV
II
III+IV
III+IV II
III II I
II
II
ord.II+IIIII+III
II+IIIIV ord.
I
arco
s.t.
III+IV
slowII+IIIIII
arco
slow
F
F
F
III
F
ƒ
F
pizz.
ß
ßpizz.pizz.
pizz.
pizz.IIIpizz.
IIpizz.
IIIpizz.pizz. pizz.
s.t.
s.p.
arco
s.t.
c.l.b.
jetés.p.
ƒ f
II Is.t.II+III
F
II+III
ç F f Fß
pizz. pizz.
Take
pizz.
loco
ord.
IIslowIII
∑œb œ
‚
œb œ
‚
œb œ∑œb
œB . œn . . . œB .>#
‚
œb
>
∑œ
∑
∑
œ ‰ œÓœ # œ # ∑œ œ œ
>∑œ œ œ
>∑œ œ
33 3 3
‰ 1
�
� �
# œm >‰ œn œn
œm>
œ œ Óœœœœn > ∑œ œ œ
œ œ œœb -
œn > ∑œœœœbnb.
3
3
3
3 3
38
œ- ∑œn
œn - œ. œœœœbb ∑œ œ. œœœbb
> œ œb > œ œ>∑œbœ? - œn >
⁄
œn
33
œ ‰ . œœ œœ œ ..œœ œœ ‰ . ‰ œ œœµ∑œ
ϵ
5 5 5 5
œ ‰ . œœ œœ œ ..œœœ œœ œœ œœ œœ œœ ‰ . ‰ œ Oœ ÓœO( )
( )5 5 5 5
‰ . œœµµ ..œœ œœœµ ..œœ œ
œœ
µ ∑œœµ
µ œœ
5 5
5
‰ . œœœ œœ œœ œœ œœ œœ. œœœ œœ œœ œ Oœ Óœ
O( )( ) ..Oœ Oœ
5 5 5 5
..œœ œb œœbn ..œœ œb œœ
∑œœb..
œœ
œœ œ
œb œœB& œœ5
5 5
5
4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28
. œ œœ ..œœ œ Oœ ÓœO( )( ) ..Oœ Oœ Oœ œ
œœ œœ
5 5 5 5
4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28
œœm∑œ
œm œœ œm
œœm œœœœm
..œœm œœOO( )
( )œœ œ
œœ œœ ..œœ OO
ŒÓÓ¿ Œ ‰ ¿ ¿> .¿ ¿
5
5 5
Œ ŒÓ¿ ¿>
Ó¿ Œ
Ó¿3 3 3
‰ ¿ # ¿ ¿ ¿> ¿ # .¿
∑
arcoarco
arco
F.A.
F
f
loco
F f
p
P f
ƒ
p f
F
F
ƒ
ßf
p
I+II
jeté
III
s.p.
I+II
III
ord.
s.p.III+IVarco
psub
F p
sub
ßß
F f Fß
II+III
Ff
p
F Ff
pizz.
ƒ
c.l.b.
F F
° °
çç ß
ß
ß ç
F
arco
~~~~~~~~~ ~~~~~
22
&
?
?
÷
&
?
&
&
&
B
&
?
?
t
÷÷÷
÷
Ovblw.
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Pno.
Vid.
~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~
√
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~
~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~
~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IŸ
86
‰ ∑œ
‚
œb ∑œ.œm .⁄œn .
œ. œm . ‰ œ
‚
œb
∑
∑
∑
œœ
b > œb œb œ œb œm .# ∑œ
œm œnœm
œbœn ∑œ
œb œœœbb⁄ œb œm œ.
33 3
‰œœœœbb #
œ# œn .>
œb∑œ
> #œb .>
œn # œ # œ œ3
33
œœµ∑œ
œm ∑∑œµ
œœBÓÓœœ ‰ . ‰ . œ
55
Oœ ÓœO( )
( ) ..Oœ œœœm œœ
ÓÓœœ ‰ . ‰ . œ
5 5 5
œœ œµ..œœµ œœ
..œœB œœ ∑∑œµ Œ5
5
5
œœ œœœ œœ œœ ..
OO OOÓÓœ Œ
5 5 5
∑œœ‰ Œ ∑∑œB
‰ ..œœbB∑œ
œB œœ5 5 ?
Óœœ ‰ Œ ÓÓ
œ ‰..œœ O
O( )
)(œœ
5 5
..Óœœ # Œ Œ ‰ . ∑∑œm
..ÓOO # Œ Œ ‰ . ÓÓ
œ
‰ . ¿ ¿> # .¿ ¿ ¿> ¿ ¿ # ¿ ¿> ¿5 5 5 5Ó Œ Œ
‰ ¿ Œ ‰ ¿ ¿ # .¿
∑
arcoord.
arco
arco
f
P ß
ßP
ßP
P
f F ß f
P fß
f Fpf F
I
I
I
III
I
I
III
II
II
II
II
slow
ß
F
fsubF
ß
p
pizz.
pizz.
pizz.pizz.
pizz.pizz.
sub
°
f P
F
El.
P
∑œ.œm .⁄œ. œn .
œm . ‰ ‰ Óœ ˙
Ó Œ––––œb
∑
∑
∑œnÓœ
œnœœœnnn ⁄
œ œœm ∑œ œ
œm ∑œn œ∑œœœœbnb ‰ ∑œœn
œb > ∑œn œœb ∑œb3 3 3 3
œ- œb⁄ œn
Óœœm œb > ∑œœœœbb œœœœ œn ∑œ
œœb œ œ œœœœnn > œ œ
œn3
3 3 3 3
#..
ÓœœB
∑œœ
B œœ ‰ œ œœµ œœ
# ..Óœœm O
O( )( ) œœ ‰ œ œœœ œœ œœ œœ œœ œœ œœ
Œ ‰ œ œœµµ œœ‰
..œœµ∑œ
œB
5
Œ ‰ œ œœœ œœ œœ œœ œœ œœ œœ ‰..œœ O
O( )( )
5
‰ œB œœb ..Óœœ # ‰ ..œœbB&
∑œO œœ
5
5
‰ œ œœœ œœ œœ œœ œœ œœ. # ‰..œœ O
O( )
)(œœ
5 5
œœmÓÓœœ #
Óœœm
∑œœ
m œœÓœœ ‰ &
œœ œœ œœ œœ œœ œœ œœ # œœ OO( )
( )œœ œœ
Óœœ ‰ B
.¿ ¿ ¿> # .¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿5
5 5
5
Ó¿ ¿ ¿ Œ Œ
Ó¿3 3
¿ # ¿ ¿ .¿ ¿ Œ
∑
jeté
c.l.b.II+III
arco
s.p.
ƒ
s.t. s.p.
jeté
c.l.b.
s.t.
jeté
c.l.b.s.t.
jeté
c.l.b.
s.t. s.p.
ç
Fp
I
I+II
II
II
I
I
I
II
p
π
s.p.
crinis.p.
f
III
slow
crinis.p.
III
slow
s.p.
I
f
crini
IIslow
p
p
P
P
ß Fç
fç
f
F
ç
pizz.
pizz.
pizz.
sub
ord.
°
ß ßf P
III
arco
arco
I
arco
˙ œ Œ
––––œ..
�
Ó Œ ¿÷
∑
œœœœnb œœn
> œm >#
œn⁄ œb œ œ œœœœbnb
œb œb œ œ œ œ œn œb œb33 3 3
œb œœ
n >n œn
⁄ œœœbbb ∑œœœn>œb œ⁄
œ ‰œb .>
∑œn œm>
‰œn
33
3
&
#..
ÓœœB∑œ
œB œœ ˙˙
# ..Óœœm O
O( )( ) œœ O
O
œœ ..˙µµ
œœ ..OO
w
Ob
w
Owbb
¿> ¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿5
5 5 5
FLICKERINGS
¿Ó¿ Œ
Ó¿ ¿ ¿3 3
¿ ¿> ¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿
∑
ç
F
F p
p
III
IIIIV
πF
π
crinis.p.
III
Pπ
I
( h )IIIIV
P
Multiphonic: Play fundamental plus note(s) within range indicated.
Produce air sound.
~~~
23
&
?
÷
÷
&
&
&
&
&
B
&
?
&
B
÷÷÷
÷
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Ovblw.
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Pno.
Vid.
(√)
√
89 (3-5")
∑
∑
Ó¿ .¿ Ó
∑
‰ œn⁄ œb œ
Óœb > œm ⁄ œn
.œœ⁄ œm
œœ
Ó
3 3
œn∑œ
œnb
> Óœ œœœ. œ
⁄ œœœbbb œœm ∑œn
Óœn . ‰ Œ
3
œœ..˙˙µn
OO
OOæ
OOæ
wwµ
OOæOOæ Ó
OOæOOæ Ó
OOæOOæ
3 3
œ.˙B
OOœ Oœ Oœ
ÓOœ
3
cross string trill
w
Owbb
∑∑∑∑
subπ
( q )
fast( q )
III
F
slow
( q ) ( h )
I
III
F
fastslow
( h )
F
fastIIslow
f P
El.
(F )n
(pp)
(pp)
(p)
∑
∑
∑
∑
∑
∑
˙˙µ
OOæ
œœµµ
OOæ
˙
Oœ
˙
Obb
∑∑∑∑
rit.
( h )
p
slow
IIIII
( h )slow
p
(6-8")
¿ ¿ ÓShh
‰ ¿Ó¿ ¿ Œ
Shh!
Œ ¿ ¿Ó¿ ‰
Shh!
∑
Œ ‰ . œ⁄ œm
œÓÓœ
Ó
3
Œ ‰ œœm
Ó3
?
œœµ ..˙˙µn
OOæ Ó
OOæ
OOæ
OOæ
OOæ
3
ww
OOæ
OOæ ÓOOæ Ó
OOæOOæ
3 3
œ .˙b
Oœ Oæ Oæ ÓOæ Ó
Oæ Oæ3 3
w
Ow
∑∑∑∑
P
( q ) IIIII
fast
F
( q )
p
slowslow
( q )
II
fast( h )
F
p
slow
F
fast
p
slow
slowTremolo speed
( q )
p F p
p f p
fP P
a tempo rit.
slow
∑U
∑
Ó Œ #? ∑œb œ. œ ∑œ œ.3
∑
‰œ⁄œ œœœœbb œ œb
œb ⁄ œb œÓœœœœnbb .
œ⁄ œb œ
œnœb⁄ œ œ œœœœbnb
3
3
‰ . ∑∑œn > œœ>
œœ
n œœ
œm .> œœn
œœ
œœ
b.
œœ>
œn .3 3
˙˙ œœµ œœ œœµ
œœ
O œ œ OOOæ
œ� œæ œæ # Óœ>
œœ œ œ œæ3 3
3
œœµ
&œœ œ
ϵ
œ
œ
..OOæOO œO œœ Oœ
œ� Óœæ
3
œœBb œœB œ
œb
œ
œ
.˙
..Ob OO œO œœ Oœ
œ�∑œæ3
w
Owbb t
∑∑∑∑
I+II
Bow
ord.I+II
π
I+II
ord.
Bow
I+II
π
jetés.t. s.p.
Bow
ord.
slow
π P
fast
c.l.b.
I+IIπ
I+II
( h )
( h . )
œœO
O
p
a tempo
p
p
+ - o
loco
(s.t.)
24
&
?
?
÷
÷
&
?
&
&
&
B
&
?
?
t
÷÷÷
÷?
Ovblw.
Fl.
Ovtns.
B. Cl.
Bs.Tbn.
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)(sound)(sound)(sound)(sound)
Vln.Vln.Vln.Vln.
(sound)(sound)(sound)(sound)(sound)(sound)
Vla.Vla.Vla.Vla.Vla.Vla.
(sound)(sound)(sound)(sound)(sound)
Vc.Vc.Vc.Vc.Vc.
(sound)(sound)(sound)(sound)
Cb.Cb.Cb.Cb.
12 3
Pno.
Vid.
√
93
Œ. ∑œb œ
‚
œb ∑œ
œn œB ∑œn‰ œm
⁄œ
œœm
œ
.œb
‚
œ ∑œ ∑œ‰
œ
‚
œ
# ∑œb œ> œb . # ∑œ œ. œ ∑œ œb . # ∑œ œ œ. œ. # ∑œ œ. ∑œ œ- ∑œ œ.3 3
w
I
_
œœœœ œ> œb œ
œb
œ⁄ œb
œ> œœœœnbb œ ∑œb œnœœ
b ->
Óœ. œœœœbnbn ->
œ⁄ œ
3 3
3
œb œœ
œœ.>
œœ
n>
œœ
# œœ
b œm 3 3 œ œ œ œ œ œ œ œ
œœµn
&
œœµ
nœœ
œ
œ
µ
œ� œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ #3 3 3
œœµ
µ
& ∑œœµ œœµ
œ
œ ∑œµ&œµ
OO œO œœ Oœ
œæ� # œœ œ œ œ œæ œæ Óœ œ œ œ œ œ œ œ ∑œ3 3 3 3 3
œœm&∑
œ
œm
œœm?œ
œ
m
ϵ& ϵ
œæ� # œ œ œ œ œÓ œæ ∑œæ œ œ œ œ œ œ œ ∑œ3
3 3
3
œœ
µœœ œœ
œ
œ
œœ? œ
œ œœ
œ
œ
OOb œO œœ Oœ OO œO œœ Oœ
œ� œ œæ œæ œæ # œœ œ œ œ œ œ œæ œæ3 3
3
∑∑∑
œ ∑œ œ œ œ3
‰ OœÓOœ Oœ Oœ Oœ
3 3
Undertone/harmonic composite, more distorted.
I
F
s.p.
P
jetés.t.
c.l.b. crini
s.p.
crini
s.t.II+III II
slow fastTremolo speed
Pzπ P πsub
πœO
œ
O
II+IIIOœ
II
πjeté
I+II
s.p. s.t.
c.l.b. crini
Bow
ord. II+III
fastslow Tremolo speed
sub
I+II
PzP πII+III
π
jetés.t. s.p.
crinic.l.b.
s.t. s.p.
II+III
II+III III
PFz PπsubπP
œ O
III
s.t. s.p.crini
jeté
c.l.b. crini
P Pzπ P πPπsub
II+III
πO
œO
œ
II+IIIO
O œ
œ
œO O
œ
F.A.
)p - f
(Triangle beater freely dangles against tam from top.)
f PP
pp
Fpsub
F p ßFz
FzF p Fp F
subp p
jeté
jeté
jeté
+ - o
A2.4
Bow
Bow
Bow
fingering
fingering
fingering
fingering
f
p
El.
(p)
œ
‚
b ∑œ ‰ ∑œ œ .œ ∑œb Œ
œ
‚
œ ∑œÓ
# ∑œb œ.>∑œb œ ∑œb œ. Œ Ó
3
‰ . ∑∑œ ∑œ
‰ œ ‰ œ œ # œ # œ œ # œ œ3 3 3 3 3
œ
# œ ‰ ∑œ œ œ ∑œ œ3
œ. œbœ œ œœœœn ⁄ œn œ œn
œb ∑œn œœœœbbb œn .
∑œn .> œb -œ⁄
œ3 3
33
œœ
n œœ
∑œ œœ
œœ
œb > œœ>
#œ>
⁄ œb > œœ>
œœ
œœ
œœ
n.>
œn . œœ
b3 3 3
œœµ& œœ œœµ
œœ
OO œO œœ Oœ
œ œ œ œ œœ Óœ Œ Ó3
œœµµ& œœµ œ
ϵ
œ
œ
œœ
µ
& œœµ œœµ
œ
œ œµ& œµ
œ # œœ œ œ œ œ œ œ œ œ # œœ œ œ œ œ œ3 3 3 3 3
œœm& œ
œm
œœm?œ
œ
m
œ ∑œ œ # œ œ œ œ œÓ œ œ ∑œ3 3 3 3
œ? œ œœ?
œ
œ œœ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ # >œ œ œ œ œ3
∑∑∑∑
Œ ∑œ Œ Œ ∑œ œ3 3
ß
crini
jeté
c.l.b.II+III
π F pPII+III
O
œ œ O
p
jetés.p. ord. s.t.
c.l.b.II+IIIII
çpF ƒπsub
FOœ
œ
œ
IIO
O
II+III IIIF
œ
jeté
crinic.l.b.
jeté
crinic.l.b.s.p.s.t.III+IV
IIII+III III
π Pz fP π ƒII+IIIIII+IV
O œO œ
OO
œO
πIII
œ O
PO
s.p.
c.l.b.
s.t.
crini
jeté
I+II
PI+II
O œ Oœ Oœœ œ
O
œ
œ
O
O
œœO
O œ
f
ƒ
F pFp
p
F
g Fp
p
jeté
F
F p
Con sordino
p
Ó Œ # ∑œb œ
‚
œb ∑œ
Ó ‰ œm⁄ œm
œnœ ∑œ
‚
œ ∑œ
Œ # ∑œ œb œ. œ. ∑œ œb> œ œb ∑œb. œn .
# œb >∑œ œb . œ œb ∑œ œ.
3 3 3 3
# œ œ # ∑œ # œ œ œ œ∑œ
ŒŒ
fi
3 3 3
œ œ œ ‰ ∑œ ‰ œ œ>
œ œ œ3 3 3
œœœœbb œ.>œ œ œm
⁄ œœn œœœœnmmm . œn > œm œ Ó
œn .>œ œœœœbb .>
‰œ⁄œ
33
3 3
œœ
n>
œb . œœ-
œnœ>
œœ>
œœ
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b.fl
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n ∑œb œœ
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3 3 3 3 3
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& ∑œœµ
nœœ ∑
œ
œ
µœœ
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œ
œ
œ
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‰ œœ œ œ œ
&
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ϵ
œ
œ
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3 3
œ? ∑œ
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∑∑∑∑
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crini
F
jetés.t.c.l.b.
IIs.p.
II
ord.
criniIII
s.p.s.t.III+IV
slow fast
O œœO
III+IVF
jeté
c.l.b.
s.t.jeté
s.p.crini
s.t. s.p.
c.l.b.
s.t. s.p.
crini
ƒç ç ƒ
II+III III+IV
F FII+III
___
III+IV
O O œ œ
_O œ œ O
O O œ œ
O œ œ O
f F
fPb
P
P f Pf
F
p
p
jeté
jeté
f
+ - o + - o
P
ƒ
sub
Con sordino
Con sordino
25
&
?
?
÷
&
?
&
&
&
B
&
?
?
t
÷÷÷÷?
Ovblw.
Fl.
Ovtns.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)(sound)(sound)(sound)(sound)(sound)
Vln.Vln.Vln.Vln.Vln.Vln.
(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)
Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.
(sound)(sound)(sound)(sound)
Vc.Vc.Vc.Vc.
(sound)(sound)(sound)(sound)(sound)(sound)(sound)
Cb.Cb.Cb.Cb.Cb.Cb.Cb.
12 3
Pno.
Vid.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IŸ
√
96
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∑œ œ
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.
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‚
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3
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œ œ>fi
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.
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& ∑œœµ
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µ
& œœµ œœµ
œ
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m
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3
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jetés.t.
crini c.l.b.II+III
ord.jeté
c.l.b.I+II II+III
sfffz
slow fast
Ï fœ OO œ
III+IV I+II
œO O œ
II+III
jetés.t. s.p.
crinic.l.b.
s.t. s.p.jeté
crinic.l.b.
s.t.III+IV III IVIII+IV
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O œ
O O
III+IV
O
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f
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c.l.b. crini
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f ƒ sfffz
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O
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_ _ _ _
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III+IVs.t.
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F
p f
jetéjeté
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II+III
jeté
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f
p
ßFsub
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3 3 3
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m
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3
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3
3
3
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3 3
‰ œ ‰ œ œ ‰ œ ‰ œ œ3 3 3 3
crini
s.p.s.t. s.t.jeté
c.l.b. crini
s.p.III+IV III II+III IV
Ï f sfffz
II+III
fIII+IV
O
œ
œ
O
II+III
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III
O
œ
œ
O
II+III
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IVf
jeté
crini c.l.b.
fÏ f ç
slow fast
sfffzœ O
O
œ
œ
O
f
(s.t.)
III II+IIIf
s.p. s.t. s.t.s.p.
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slowjetés.p.
c.l.b.II+III
fast
O
œO
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II+III
O
O œ
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O œ
O œ
O œ
s.t.
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pizz.I+II
II
I+II
f
Ï sfffz
f F
P
jeté
s.p.
P p
III+IV
+ - o
sub
F
F
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flt.
f
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sub
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3 3 3
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# œœ
5 5 5 3
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µ œœ œµ
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B
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5
5
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s.p. s.t. s.p.
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jeté
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s.p.slow fast
F
IV
III+IV
f
OO œ œ O
O œ œ
pizz.arco
arco
p
ß ç
ç ß
ß
crini
Con sordino
II
fsub
sub
26
&
?
?
÷
&
?
&
&
&
B
?
?
t
÷÷÷
÷?
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)(sound)(sound)(sound)(sound)
Vla.Vla.Vla.Vla.Vla.
(sound)(sound)
Vc.Vc.
(sound)(sound)(sound)(sound)
Cb.Cb.Cb.Cb.
12 3
Pno.
Vid.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~√
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
∑
∑
∑
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3
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œ ∑œ œ ∑œ ‰ œ œ3 3 3
s.p.s.t.slow
(jeté cont.)s.t.
criniIV
fIV
P
jeté
p
s.t.crinic.l.b.
ord.
Fz
F f F
I+II
II
I+II
(IV) I+II
arcoc.l.b.
jetés.p.
arco
ord. s.t.
c.l.b.
jetéIII III
IVs.t.II+III
F
II+III II+III
ß F pFz
III+IV
p
pizz.
pizz.
pizz.pizz.
O O œ OO œ œ O
Bow
Bow
Bow
fingering
fingering
fingering
F
99
p
psub
El.
(p)
(f )
(III+IV)
arco
∑
∑
∑
∑
∑
∑
œœm∑œ
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..œœ œœOO( )
( ) œœœ
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Œ ‰ . œœµµ55
5
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ÓÓOO Œ ‰ . œœœ œœ œœ œœ œœ œœ
5 5
5
œœm& œœm
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œ
m
œæ œ œæ # œœ œ œ œ œ. œæ # .œœ œ œ œ œ
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œ
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Óœ ‰ œ3 3 3
Œ œ # .œ œ œ
85
3ŒÓœ Œ œ ‰ œ ‰ œ # œ3 3 3 3
∑
jeté jetéfast s.p. s.t.
c.l.b. crini
s.p.
c.l.b.
ßf F
II+III
O O
œ O
II+III
s.t. s.p.s.p.
F
s.t.s.p.jeté
c.l.b.arco arco
s.t.
arcoI+IIIIIIII
ord.II+IIIII+III
III
arco
s.t. slow
arcoarco
pFz F
III+IVIVIIIII
ord.
œ œ
O œ
III+IV
s.t.
Fz
II
pizz. pizz.
pizz.
III+IV
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O œ œ OO O œ œ
p
pizz.
IV
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∑
∑
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œ
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5 5
5
4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28
. œœœ œœ œœ
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55 5
4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28..œœµB& œm œœ
∑∑œœœœµm
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5 5
?
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ÓÓOO Œ
5 5
∑œæ œ œ Ó3
∑∑∑
Crackling white noise.X
∑
p
arco
F
IV
ß
criniI+IIord.
I+II
F pp
pizz.
Fz Fz Fz
Fz
Ipizz.
sempre
27
&
?
&
?
÷
&
?
&
&
&
B
?
?
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t
÷÷÷
÷
Ovblw.
Fl.
B. Cl.
Vox
Bs.Tbn.Bs.Tbn.
sm.cymb.: med. lg.
tam
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)(sound)(sound)(sound)
Cb.Cb.Cb.Cb.
12 3
Pno.
Vid.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~
Ÿ~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
102
Ó Œ ‰ . œm . .5
Ó ˙
Óu
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∑
∑
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Óœœm
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m œœÓœœ ‰
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5 5 ?
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)(œœ
5
5
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b ∑œœ
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5
5
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œ
œ
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?
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∑∑∑
X
arco
P
IIIII
ßF f F
II+III arco
jeté jeté
crinic.l.b. c.l.b.
s.t.
f p
II+III
O
œO
œ
II+III
arcoord.
Fzp
IIIIV IVslow
jeté
c.l.b.
s.t.III+IV
s.p. III
crini
IV
slow
pF
IIord. slow
III
ord.
∏
pizz.pizz.
pizz.
O
O
œ
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F
II+III
P
P
Bow
fingering
F p
F
pizz.
P
p
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. ‚
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⁄ œœm Ó
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5 5
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X Ó
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∑
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55
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5 5
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5 5
55
Oœ œ œœ œœ œœ ..OO OO ∑∑œ ‰ ..Oœ ÓœO( )
( )
55 5 5
Óœœm? ..œœ
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‰ ‰ Óœœ ..œœ OO OO
∑∑∑
X
arcom.s.p.arco
PzπFz
IIIIIIII IV
III+IVslow
crini
s.t.
s.p.
I+II slowII+III
p
s.p.jeté
c.l.b.
s.t.II+III
IV
crinis.p.
IIIIV
slow
πP
II
III
pizz.
pizz.
pizz.
π
π
P π
P π
f
ord.
p p P
p
F
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pizz.III
pizz.
∑ ∑œn ‰ Ó
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3 3
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5
5
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Oœm ÓœO( )( )
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5
∑∑∑
X
s.p.
crinis.p.
IIIIV
slow
p
c.l.b.
jetés.p.s.p.
p
I+IIs.t.
IIIII
pizz.arco arco
jetés.t.
p
c.l.b.II+III
°
ord.
F
P
π
π
28
&
&
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&
÷
&
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&
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&
&
&
B
?
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t
÷÷÷
÷
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Fl.
Vox
B. Cl.
Vox
Bs.Tbn.Bs.Tbn.
Vox
sm.cymb.: med. lg.
tam
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Pno.
Vid.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
105
Ó œ
‚
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.
œB . . . œn . œB .> ∑œbÓœ
Ó ˙u
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Ó ˙u
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œm . Œ3
3
.œ ∑œ. œb œ ∑œb œ œ. ∑œ. ‰
Ó˙˙µ
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ww
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m ..œœ œ œœB œœ
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œB
55 5
5
Oœm ÓœO( )( ) ..Oœ œ>
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5 5 5 5
∑∑∑
X
IVIII
π
arco
pF
III
IVIII IVpizz.
pizz.
p
P
π
P
f psub
PsubF p
P
π
°
s.p.IIIII
π
crini
F.A.
(p)
El.
( h )
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(pp)
‚
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# ..∑œœ OO( )( ) œœ ‰ œ œœœ œœ œœ œœ œœ œœ œœ
∑∑∑
X
jeté
c.l.b.
arcos.t. s.p.
s.t. s.p.III
IIVpizz.
π
F p F p
P π
( h . )
π
arco
∑
∑
∑
∑
∑
∑
˙˙ ˙˙µ
OO OO
œœ ..˙˙µµ
œœ ..˙
ww
OO
# ..∑œœB
∑œœB œœÓ
# ..∑œœ OO( )( ) œœ Ó
∑∑∑
X
crinis.p.
IIIIV
29
&
?
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÷
&
?
&
&
&
B
?
?
?
t
÷÷÷
÷
43
43
43
43
43
43
43
43
43
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Pno.
Vid.
◊
∑
∑
∑
∑
∑
∑
ww
OO
˙˙ Ó
˙ Ó
ww
OO
Ó ˙˙B
Ó OOæ
∑∑∑
X
slowTremolo speed
rit.
m.s.p.
π
senza sordino
(pp)
(pp)
El.
108
(pp)
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
OOæ OOæ
∑∑∑
X
fast slow
senza sordino
senza sordino
∑
∑
∑
∑
∑
––––
∑
∑
∑
∑
∑
∑
∑
∑
∑∑∑
X
U
U
U
U
U
U
U
U
(10-12")
((sost. sempre)
)U
senza sordino
U
U
Depress silently.
∑
∑
∑
∑
∑ ?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑∑∑
∑
U
U
U
U
U
U
U
U
U
(6-8")
U
U
Œ ‰ . ∑∑œœm.( )
‰ . œb œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œb ∑œ.‰ Œ ∑œ.
.œ ∑œ œfl3
∑
‰ ∑œ Œ Œ # ∑∑œ ‰
Œ ‰ ∑œb Óœn . ‰ . ÓÓ
œb .œb ∑œ
3
œœb œn
∑œœn œœb œm
œb .‰ œ
3
œb œ ∑œ œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑∑∑
∑
p
pizz.
π F
P
P p
q = 54
I2
p
loco
Rubber mallet.
"Recovery"
sub
30
&
?
÷
?
?
÷÷÷
?
÷
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
Fl.
B. Cl.
Obj.Sm. pt.Lg. pt.
12 3
Pno.
Vid.
))))))))))))))))))))))))))))))))
113
‰ œœm( ).
‰ # ∑∑œœ( ).‰ # ∑∑œœ( ).
‰3
‰ . ∑∑œ.‰ ∑œ ∑œb .œ œ.
#ÓÓœ
‰ ∑œ Œ Œ.X
œ œn . # œœbb . ∑œb .œn œb . œ œ. œn .3
5
∑œœb ∑œœb‰ ‰ ∑œ .œb .œ œb .
5 5
∑∑∑
∑
∑
p F
fP
p - )fCrinkle plastic bag.
p
(p)
El.
‰ ∑œœ( ).Œ Œ ∑œœb .( )
3
Œ Œ ‰. ∑œ.
Óœ‰ Œ Œ.X
Œ Œ œb œ œœbn3
Œ Œ # œn œ∑∑∑
œB Ó ‰œ œ œ œ œ œ œ œ œ
Œ œ œ
F
π P πSwirling rocks and metal on metal
π P
F
p
Œ œ œ. # œb . œœm( ).
‰ ∑œœb( ).
‰. œ œ.# œb . œ.
# ÓÓœ.
‰ # ÓÓœb .‰
3 3
# ∑∑œ ‰ ∑œ Œ Œ ∑œ Œ
œœœn . œœb œb . #
œn œœ.# œn œœ œb . ..œœb œ œœn
3 5 5
∑œœb - ∑œœnb .‰ Óœb ∑œn .
‰ œm ⁄œ œ œm . œb
œœbnœb ∑œn œb
5 5
∑∑∑
∑
∑6 ‰ Ó .
fP
f P
F
large pot
ß
œ æœ.
œ.
œ.
œ.
œ.
œ.
œ.
‰ . ÓÓœb ‰ œb œ # ÓÓœ ‰ Œ3
Œ ‰ ∑œ Œ ‰ ∑œ>∑œ
œœ œ. ..œœbœb . œœn œ. œœn - œ.
# œœbb . œœ œn œœb
5 5 3
∑œ œ œb œœbn œb flœb - œn œ
∑œm œ œb fl # ∑œœnb - œœ#
œb
5 5 5 3
∑∑∑
∑
∑
pizz.
f
flt.
πP
pf
&
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÷
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?
÷÷÷
÷
?
&?
÷
÷
43
43
43
43
43
43
43
43
43
43
43
43
43
43
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43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
B. Cl.
Obj.Sm. pt.Lg. pt.
12 3
Pno.
Vid.
117# œb œ⁄œ œ œ Œ3
∑
Œ ‰ ∑œ ¿
œœ œb œ ‰ œb . ‰ ∑œ Œ3 5
œn
œœb . .œn œ ∑∑œ.Œ5
∑∑∑
∑
Œ ‰ Óœæ œæ
Ͼ Ͼ Ͼ Ͼ
∑
∑
Œ Œ xGrinding rocks.
π
El.
∏
∏ P
p
Crinkle plastic bag.p - )f
π
p(F )
P
∑
∑
.X
∑
∑
∑∑∑
∑œæ æ
∑
∑
∑
.X
p
Œ ‰ œb # œœ
.œ
.œ
.œ
.œ
.œ
.œ
.
Œ ‰ . ÓÓœB ∑œn .œ ∑œb œb .
‰ .ÓÓœ
Œ ‰Óœ>
# ÓÓœ ‰X
Œ #∑œb .∑œ œb
.œ œn œ. œn œ ‰3 3
∑œb
Œ Óœœbn. ‰ # œœb . œb
.œ œb
∑∑∑
∑
Óœæ ‰ Œ Ó
∑
∑
∑
X
∏
pizz.
p
ord.
P
p
P
f
œB œb .> ‰ # .œb ‰ œœb( )3
3
œ.
œ.
œ.
œ.
œ.
œ.
‰ Óœb .œ ∑œm Œ
#ÓÓœ
‰ Œ Œ.X
œœbb œ .œ Œ Œ
∑œb .œn œn .Œ Œ
∑∑∑
Œ Œ ––B œnæ∑
œœœœœnBB Œœœµµ
Œ ––œœn
# 6 yæ .yæ 6 Œ
6 # 6 yæ 6 6 ‰ .(rice shaker)
f
F
p
p
Fz
p
π
p π
pCan of bottlecaps shaking.
p
pFz Pzp
Pz
n#
n#
pizz.
F
F p
Fsub
large pot
P
largepot
∑
∑
¿ Œ Œ
∑
∑
∑∑∑
Ͼ Ͼ Ͼ &
∑œœ œœœµn œœœn
œœ œ œ
Œ ∑6 ∑6 ‰ Œ
xæ xæ xæP π
f
Grinding rocks.
π
p
pP
smallpot
π
f
31
&
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÷
?
?
÷
&?
&
?
÷
÷
44
44
44
44
44
44
44
44
44
44
44
44
83
83
83
83
83
83
83
83
83
83
83
83
43
43
43
43
43
43
43
43
43
43
43
43
83
83
83
83
83
83
83
83
83
83
83
83
43
43
43
43
43
43
43
43
43
43
43
43
83
83
83
83
83
83
83
83
83
83
83
83
Fl.
B. Cl.
Obj.Sm. pt.Lg. pt.
2
Pno.
Vid.
122Œ ‰ œœb( ).
‰ Œ ∑œb ∑œ œ3 3 3
Œ ‰ Óœb .œ œ # œb œ œ.3 3
‰ . ∑∑œ Œ ‰ ∑œ # ÓÓœ ‰
Œ œn œb . Ó
Œ ∑œb œ œn . œbœb . Œ3
∑
œœœœœBB Óœœœœn
µµ
∑œœœµ Œ Œ ––B œnæœ
–– Œ Œ
‰ Óxæ .xæ 6 Œ ‰ ∑6
‰ . ∑∑6 xæ Œ # 6 ‰ ∑6fp
(rice)
P
F
f π
p
ßp(caps)
p ß
Fz
n#
n#
Pf
p
sub
ßFz
P
P
Pß
F
El.
F
œ œ. # œm ∑œ3 3
∑
‰ # œ œ ∑œ
∑
∑
∑
Óœœœœ ‰
Óœœœœn
µn
∑∑œæ œæ
∑
6 .6 6 ‰
xæ Óxæ π
πf
Pπ(rocks)
F p
psub
œm.œm œ ∑œm Œ Œ
∑
∑
∑
∑
.œ œ> œ.
œ # œ ‰.˙Sustained swirling embryionic figure background.
Flickering heartbeat.
Óœœœœ
œœœœ ‰ œœœœBnnB .œnæ
∑
œœœœœBB Œœœœœn
µµ
Œ –– Œ
‰ Óxæ .xæ 6 Œ
∑6∑6 ‰ xæ ‰ . ∑∑6
f
π
ßp(caps)
p
p Fz
n#
F
p
F
p
Fp
p
∑
∑
∑
∑
∑
‰ Óœ ‰
∑œæ œæ
∑
Óœœœœ ‰
Óœœœœn
µn
∑
6 6 ‰ ∑6
xæ Óxæ
πF
πPπ(rocks)
F
F p
p
∑
∑
∑
∑
∑
∑
Óœœœœ
µ œœœœ ‰ œœœœBnnB .œnæ ÷
∑
œœœœœBB Œœœœœn
µµ
Œ –– Œ
‰ Óxæ .xæ 6 Œ
∑6∑6 ‰ xæ ‰ . ∑∑6
F
f
n#
fp(rice)
F ßp(caps)
p
p FzF
∏
F p
pAttackless piano.
&
?
÷
?
?
÷
÷
?
&
?
÷
÷
83
83
83
83
83
83
83
83
83
83
83
83
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
B. Cl.
Obj.Sm. pt.Lg. pt.
2
Pno.
Vid.
))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
127∑
∑
∑
∑
∑
∑
∑œæ œæ
∑
Óœœœœ ‰
Óœœœœn
µn
∑
6 6 ‰ ∑6
œæ Óœæ
F
πPπ(rocks)
F Pz pz
El.
∑
∑
‰ Óœ # œ œ œ .œ œ
∑ &
Ó Œ ∑œm
.˙
œœœœœBB Œœœœœn
µµ
∑
œœœœ Œ ––B œnæ
Œ –– Œ
# 6 œæ .œæ 6 Œ
∑6 ‰ œæ Œf
F Fz
P
(caps)
(rice)
f
ß p p
PFz
n#
n#
P
g
p F p
π p
∑
∑
# œ ‰ ∑œ ‰> œ .œ Óœ ‰ ‰ ∑œ Óœ>X
œ œnœœ>œ œœb
∑œœœbb œœœ>œœœœbbb > ∑œn
œb œn∑œn œ>3 3
3
œ œ. œ> œb œœ
œœbœ œœœœnnbb > œ- œb ⁄ œn Ó
œb .3 3
wwwww
Phasing and beating,reflecting the harmonic content of the piano offset by microtones.
∑
w
w
wPhasing white noise, breathing.
w
p
p
p
p
F p F
Swirling keys on a pan.
∑
∑
Œ # ÓÓœ ‰ ‰ Óœ œ ‰ œ3
X
.œ œœœœ.> œ œb œn .œ
∑œ
œœœœbnb ∑
œb
œ œ œb œnœb œb
∑œœœœbb3
3
3 3
.œ- ∑œœœœbb # œ⁄ œŒ°
œb œ Œ œb°
œœ œb .
wAdd flickering.
w
w"Wobble."
w
w
w
w
f P
32
&
?
÷
&?÷÷÷
&
?
Ovblw.
Fl.
Ovtns.
B. Cl.
Obj.Sm. pt.Lg. pt.
12 3
Pno.
Vid.
131
Œ .œæ œ‚
æ œæ Œ
‰ Óœ œ..‚œ ∑œ ‰ ∑œ ‰ œ œ
3
‰ . ∑∑œ ‰ . ÓÓœ> Œ # œ œ>
œœœœ
œn
⁄
œm
œn Óœœb> ∑œn
œœb> œ œœœœbnb ˙˙˙˙3
œœœœbnbb ∑œœ œn ∑œn œœœœmmm œb°
œn>∑œn
∑œb ∑œ> ‰ ∑œœœœbnn
33
3
∑∑∑
∑
∑
F
f pp
Fp
flt.
ß ß Fz
F
p
(P)
El.
sub
Ó Óœbæ .Óœæ ‰ .
œæ Óœæ ‰Œ ‰ ∑œæ ∑œæ ‰
œ .œ œ ‰ ∑œ ∑œ> Œ # ÓÓœ> ‰
œ œ œ œb œ>....œœœœn
bbbœœn
b œœ œ œn> œœœœn5
œœœœ°
œ œb> œ œ>⁄œb>œœ>
œœœœnbb œ°>
œb
œ œn Óœb> œœ°>
œœœœbb œn ⁄ œ3 3
3
∑∑∑
∑
∑
π
F p
fp pPπflt.
p F
∑
∑
# ∑∑œ ‰ Œ Ó
œ œœnb .> œn
œœ> œœœœbb œ œœb> œn
œb> œb œœœœnbb œ œm> œœnœœb> œœn œœœœn5
3 3 3 3 3 3
œ. œœnm.> œn . œœœœ œn> œ œn ∑œb
œn> œœœœbbb œn - œn°
œ œœb>œb ⁄œ
3 3
∑∑∑
Ó œn œ œ œ‰ œ
œœœµ Œ Œ œBæ œæ
fsub
p
p
p
÷
&
?
÷÷÷
&?
&?
÷
45
45
45
45
45
45
45
45
45
45
45
Obj.Sm. pt.Lg. pt.
12 3
Dncrs.
Pno.
Vid.
∑œœb œœ
> œœm œ> œn œœœœnbb œb œ œ œœœœbb Œ3 3 3
œœb> œn - œn> œ œ œn>œœœœ œ œœn .>
∑œ.‰3 3
∑∑∑
Œœ œ œ œ œ œæ Œ
œæ Œ Œ œæœn œ œ œ Œ Óœ ‰œœœµ
)œBæ Óœæ ‰ œæ œæ ‰ Óœæ
∑
subff
p f
F
Pf
pp
134∑
∑
∑
∑∑∑
Óœ œ œ œ œ œæ
œB œ œ œ œ œæ Ó
∑œæ –– ––
œB æ Óœæ ‰ œæ œæ
∑
f
n#
F p
∑
∑
∑
∑∑∑
Óœœœœn
µµnœœœœ Œ
œæ œB œ œ œ œ Ó œµæ œ œ œ œ Œ ∑œæ ‰ œB œ œ œ œ œœ ‰
‰ ÓœBæ œæ œœœœµµ
Œ Œ ‰ Óœæ &
∑
p
FF
P F
P
p p
33
&
÷
÷
?
÷
&
?
&
&
&
B
?
?
?
t
÷÷÷
&
?
&
&
÷
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Fl.Fl.
Vox
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~
137Ó Œ ¿¿¿¿
¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿¿¿¿¿÷
Ó Œ X"Fff"
Ó ¿ XFff...ff..fff...fffff....fff..f...fffff...ff....fff..fffff...fff...fffff...ff....fff....
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑∑∑
Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ Œ Œ X ÷
Œ Œ œ œ œ œ œ œ‰ ∑œæ œæ
œ
œæ œm @ œµ @ ∑œ@ ‰ Ó
∑f
p f
P
P
πCrinkle plastic bags.
F p
Sustain remains depressed.
Sustain remains depressed.
)p - f
q = 90
F"Chaotic flutter tongue"
)p - f
A3.1
Con sordino
Con sordino
Con sordino
Con sordino
"Discovery"Produce random key clicks while making air sound, no pitch; alternate clamping all left hand fingers with right hand fingers.
¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿
∑¿¿¿¿ ∑¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿ X Ó
¿ Œ ¿ XFff...ff..fff...fffff....fff..f...fffff...ff....fff..fffff...fff...fffff...ff....fff....
____________Erratically vary diaphragmatic breathing
‰ œ # œ#
f f f f f
Ó ‰ ∑∑ #
∑
∑
∑
œ œ œ
.
.œœ
˙˙
œ œ .œ œ..
Oœ
œ( ) Oœ
Oœ
Oœ
Œ ‰ ∑œµ ˙œµ
Œ ‰ ÓO O O O
‰ ∑œ œ .˙&
‰ ∑O O O O O
∑
∑
∑∑∑
œ œ œŒ Ó
3
Ó ‰Ó¿ X
Air noise.
œ œ œ œ œ œ œ œ Œ
Ó . ‰Ó¿ ¿Air noise.
÷
∑Gradually become still.
IIIcrini
ord.
π P
π
III
P π
P
π
F
III(IV)
Pπ
p
π
n
f
( q ) ( h )
( q ) ( q ) ( q )
∑
∑
® œ ‰ ∑œb œ
‰ Ó Œf f f f f f
∑
∑
∑
˙˙µn ..˙˙µn
OO
.
.OO
œÓœ œ
∑œ( )
.œ œµ œ œ3
OÓO O ∑œ( ) .O O O O
3
˙..
˙˙
b
O ..OO
Œ œµ œ œ Óœm
∑œm( )
œ3
Œ O O O ÓO ∑œ( ) O O3
∑∑∑
∑
∑
∑
¿ Œ Ó Œ ?
∑
III
I
IIIII
IIIII
π
arcoIVord.
π
I
F
π PPπ
( q )
( h )
34
÷
÷
÷
?
÷
&
?
&
&
&
B
&
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43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
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Fl.
Vox
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
√
Ÿ~~~~ Ÿ~~~~~~~~~~ ~~~~ ~~~~~~~Ÿ~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~
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∑
∑
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3
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∑œµ‰ ˙µ
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3
# œ ‰ # œm ‰ ∑œm ‰3 3
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Eyes and heads turn. Arms and body respond to pizz.and speakers.
Pz
pizz.
pz
III
π
arco
pizz.
p
I
IIIpizz.
π
(pp)
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( q )( q )
( q ) ( q )
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33
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3 œ œ œ œ œ œ
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Ó # œ #œm œ # œ œm ‰
Óœm
3 3 3
Ó ‰ ∑œbœ
œ #œ ∑œ
‰ # Óœ ∑œ ‰
3
3
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Breathing w/frequency shifting, phasing, and "wobbling."
III
III
I
c.l.b.
m.s.p. s.t.I
m.s.p.II
crini
s.t. m.s.p.
p
IVpizz.
pizz.
Fz
III
arco
s.t.III
pz
jeté
ß
arco
jeté
ß
jeté
crini
Breathing w/frequency shifting and phasing.
π
Fz
F
p
jeté
Fz
s.t.
( q ) ( q ) ( q )
( q )
Ipizz.
p
sub
∑
∑
∑ __Erratically vary diaphragmaticbreathing.
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∑ ÷
∑
Ϸ
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O O O
˙ .˙µ
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# œ ∑œ ‰ ‰ œm ∑œm‰ Œ Ó
3
3
∑
m.s.p.
III
s.t. m.s.p.III
s.p.
ord.II
c.l.b.
c.l.b.
pp - )p
Crinkle bags.
arco
II
jeté
jeté
p
πsub
( q )
( h )
( h )( q )
ord.
p
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_________Erratically pucker lips while blowing.
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_______Erratically vary diaphragmatic breathing.
Œ ‰Ó¿
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X
∑
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m ∑œœn œœÂ∑œœÂ
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3 3
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III
I
π
p
π
pp - )p
Crinkle bags.
Icrini
fp F
pp - )p
p
π
( q )
35
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Fl.
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Bs.Tbn.
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(sound)
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(sound)
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(sound)
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12 3
Dncrs.
Pno.
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33
Œ ‰ Oœ≤
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33
‰ Oœ ÓœO( )
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∑∑∑
∑∑œœnm Œ ‰ ∑œµ ‰ ∑œn ‰ Œ
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3
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s.p.
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ord.s.p.ord.
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P π
s.p. ord. s.p.
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p
f
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pizz.
f fp
( h )
Œ ∑œœm( ).
Œ ‰ œœb( ).‰ œœnm( ).
œœbn( ).‰3
3 3
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œ # œ# ® œ ‰ ∑
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∑∑œ‰ .
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œ
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∑
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m ∑œœ
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( ) Om ÓœO( )( ) O
Ó Œ ‰ œœµ
µ ∑œœµ
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µ ∑œœµ
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( ) Oœ ÓœO( )
( )
3
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µ∑œœbµ œ
œbB ∑œ
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∑œœb
n œœ
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bœ
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n ∑œœ
n œœ
n ∑œœn3
&
Oœ Oœm ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO
( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( ) Oœ Óœ
O( )( )
3
Œ œœb œœ ∑œœB‰ ‰
∑œœn
∑œœ
ŒOO> OO OO
> OOb OO
> OO
‰ ‰ÓOœ ÓœO( )
( )
∑∑∑
XCoughing and ambient squeaking.
∑
∑
∑
IIIIV
IIIII
F
IIIVIIIIII
jeté
F
IIIII
crini
p
III
p
IIIIV
π
ord. s.p.
p
Fz çFzç
F f ƒ f
c.l.b.
P π
pF
p
arco
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Fp
36
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t
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45
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45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
VoxVox
B. Cl.
VoxVox
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~ ~~~Ÿ~~ Ÿ~~~~~ Ÿ~~~~~~~Ÿ~~~~~ Ÿ~~~~~~~~~ ~~~~~
~~~~~~ ~~~~~ ~~~~ ~~~ ~~ ~~~ ~~~~~~Ÿ~~~~~ Ÿ~~~~ Ÿ~~ Ÿ~~ Ÿ~~ Ÿ~~ Ÿ~~ Ÿ~~
√
Ÿ~~~~~~~~~Ÿ~~~~~~~~ ~~~~~~Ÿ~~~~~ Ÿ~~~~~~ ~~~~Ÿ~~~ Ÿ~~~~~ Ÿ~~~~~Ÿ~~Ÿ~~~~~
~~~Ÿ~~ ~~~~ ~~~~~~ Ÿ~~~~~~~~~~~~~ ~~~~~~~~Ÿ~~~~~~~~ ~~~~~~~~Ÿ~~~~~~~Ÿ~~~~~~~~~~~~~~Ÿ~~~ Ÿ~~~~~Ÿ~~Ÿ~~~~~~~ ~~~~Ÿ~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~Ÿ~~ Ÿ~~~ Ÿ~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~ ~~~~~ ~~~~~Ÿ~~~~ Ÿ~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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∑
÷
∑ ÷
÷
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X
X
∑
.
.˙˙µ
m ∑œœµmœœ ‰ œ
œb3
..Om œO( )
( )Oœ ‰ Oœn
3
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œµB œ
œµµ ∑œ
œµµ
œœµ
 ∑œœµµ œœµµ∑œ
œµ œ
œµ∑œ
œnµ
œœµ
m ∑œœµm œœµn∑œ
œµÂ œ
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33
Oœ ÓœO( )
( ) Oœ ÓœO( )
( )Oœ Óœ
O( )( )
Oœ ÓœO
( )( )
Oœ ÓœO( )
( ) Oœm ÓœO( )
( ) Oœ ÓœO
( ))(
Oœ ÓœO( )
)(Œ
3 3
‰ ∑œ ˙œb
‰ O O O O O O O O O O O · ·
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m ∑œœ œœm∑œ
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b ∑œœb
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∑œœµ œœm∑œ
œm œœ∑œ
œm œ
œm ∑œ
œ∑œ
œ∑œ
œœœB
3 3
3
Oœ ÓœO( )( )
Oœm ÓœO( )
( ) ‰Oœ≤ ÓœO( )( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœm ÓœO( )
( )Oœ ÓœO( )( ) Ó
Oœ ÓœO( )( )Oœm
3 3 3
∑∑∑
∑∑∑
∑
IIIII
III
pF
s.p. ord.
III
IIIII
P
IIIIV
P
IIIIVs.p.
s.t.
p
III
c.l.b.
F
π
π
p
jeté IIs.t.
Swirl keys or coins in pot.
pp - )p
IVIII
pp - )p
147
El.
Ó Œ ¿¿¿¿¿¿¿¿ ¿¿¿¿
¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿
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Ó Œ ¿Ffff!
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∑¿¿¿¿
Œ Œ ∑¿ ¿ ¿3
Shhh!
XŸ
¿ .Ó¿ #
Shhh!
X
X
∑
∑œœ
œ
œ
m∑œœ œ
œ∑œœ œ
œµ ∑œ
ϵ
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 ∑œœÂ œœµ∑œ
œm œ
œµ∑œ
ϵ
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m ∑œœµm œœmnÂ∑œ
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Œ3
3
ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( )Oœm Óœ
O( )( )
Oœ ÓœO
( )( )
Oœ ÓœO( )
( ) Oœm ÓœO( )
( ) Oœm ÓœO
( )( ) Œ
33
Œ ˙n œµ
Œ œ.
Oœ œ œ œ œ œ O O O O O
œœœbB
∑œœ
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µ∑œœbµ œ
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œbn œ
œ∑œœnb
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3
?
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3
∑œœ
µ ww
ÓœO( )
( ) Oœm ÓœO( )
( )Oœ Oœ Oœ
∑∑∑
∑∑∑
∑
III
IIIII
f
F
ord.
p
s.p.
F
ord.
IIIIV
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II
fp
crini
s.p.
s.t.II
crini
f
c.l.b.m.s.p.s.t.
III
f
p
jetéjeté
F
F - ff
fF
F - ff
F
FErratic "trill" with F trigger. Continue "trilling."
ff
F fp ff
¿¿¿¿¿¿¿¿ ¿¿¿¿
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X Œ Œ .¿ ¿.Ffff!
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Ffff!
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œ ∑œµ ‰ Ó ‰ œ3? &
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&
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n ∑œœ œ
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m ∑œœb
n œœ
m ∑œœµ œœm∑œ
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m ∑œœB œœBn∑œ
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3
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Oœ # Oœn ÓœO( )( ) Oœ ÓœO( )( ) Oœ Óœ
O( )( ) Oœm Óœ
O( )( ) Oœ ÓœO( )( ) Oœ ÓœO( )( ) Oœ ÓœO( )( ) Oœm ÓœO( )( ) Oœm Óœ
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3 3
∑∑∑
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X .XBeating and phasing.Filtering white noise.
?
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π
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pizz.
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c.l.b.ord.
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Fz
ffp
jeté
( h )
f
37
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?
÷
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.Fl.
B. Cl.B. Cl.
Bs.Tbn.Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
Ó ∑œœm( ).
‰ ‰ Óœm .
&
Ó ‰ œ ‰ ‰ œm ‰3
3
?
Ó ‰ Óœm .
‰ ∑œm .?
Ó
�
Œ œ
# œ
∑
∑
∑
∑
∑
.œ œµ œ œ œB Œ?
.O O O Oœ
ŒB
œœœ
b ..œœ Ó
ϵ
O OO OO OOO
˙µ œ Óœm œ3
O O ÓO O3
∑∑∑
˙˙˙
µµ Œ ‰ ∑œmÓ Œ # œ ∑œ ‰
3wwww
µµ
"Spectral object" phasing and beating, reflecting the harmonic content of the piano offset by microtones.
∑
∑
q = 75
III
III
P π P π
pizz.
Pz
p
(pp)
πsub
p
F
F
pTake
150
El.
( q )( q ) ( q )
( h ) ( q )I
∑
∑
∑
œ> œ .œ Ó .
!
�∑
∑
Œ ‰œ œ œ
3
Œ ‰œ ˙3
Ó Œ ‰ ∑œµ&
Ó Œ ‰ ÓO
œ œ ‰ ∑œ œ
O O‰ ∑O O
œ #œ
‰ Ó3
O # œ ‰ Ó3
∑∑∑
‰∑œm #
œœœœµµ œœœœ œm
œ œœ œn œm3
‰ œm ∑œm‰ ‰ Ó
œm ˙
3
Pointilistic.
Œ # œ. ∑œ> ‰ ˙
3
?
Ó # œ ‰ # œm ‰3 3
Points gradually transform into sustaining texture.
∑
IIIpizz.
arco
III
π
IIIarco
p
p
P
F.A.
P
( q )( q ) ( q )
( q )
∑
∑
∑
∑
� � Ó �
∑
∑
œ
.
.œœ
œœ
œœ
œœµn
œ..Oœ
Oœ
Oœ
OO
˙˙µ
O O
w
O
∑
∑
∑∑∑
# œ # œ .˙3
∑ww
wm
∑
III(IV)
IIIII
III
Take , keep (same hand)
38
&
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÷
÷
÷
?
&
&
&
B
&
?
?
t
÷÷÷
&
?
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÷
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
∑œœm( ).‰ ‰ Ó
œm .Ó
‰ œ ‰ ‰ œm ‰ Ó3
3
‰ Óœm .
‰ ∑œm .Ó
Œ # ∑∑œ
‰ œ># œ œ> œ .œ
Œ Œ ∑œ fi. ‰ Œ
Ó ________ ___ __b#
VISA
°
?
∑
˙˙µn œœ œœ #œ
OO
OO
OO #
œ œ œ œ œ œ œ
Óœ œ .œ œµ œ œ # œµ
3
ÓO O .O O O O # œ
3
œ œ œ œ œ œ
œœœ
b ˙˙
O OO OO
œµ œ œ Óœm
Œ ∑œ
33
O O O ÓO
Œ ∑œ3
3
∑∑∑
Œ œ œ #œb œ
œ
‰ ∑œ œbœ
# œ3
3 33 3
Œ ‰ ∑œbœ œB œ
.œ‰ ∑œ
3
Sustained.
∑
∑
III
I
arcoIVord.
π
I
IIIII
III
arco
s.t.III
f
F
ord.jeté
(p)
pizz.
ß
(pp)
F
ß
f
P
P
jeté
I
pizz.
Scrape length of strings with credit card parallel to coils.
π
π
153
ç
sempre
El.
ord.
(pp)
( h )
( h ) ( q )
# #œb . #
‚
œ>
œB.
‚
œb # œbœ
.œ
.œ
.œ
.œ
.œ
.œ
.
œ
.
.
.
.
.
œ
.
∑
Œ œ # œ># ® œ ‰ ∑
œb œf f f f f f f f f f f
Óœ ‰ ∑œ ∑œ ‰ Ó
!�
Ó Œ y y y y y>
________ ___ __
∑
.œÓœ ˙
O O
˙ ˙µ
O
∑œB‰ ∑œ ˙
œb
∑œ ‰ O O O O O O O O O O O O O O O
Œ ‰∑œ
‰ ‰ Óœµ œ
Œ ‰ ∑œ ‰ ‰ O O O O O O O O
∑∑∑
# œ ‰ ∑œ # ∑œb # #œb
œb ∑∑œb∑œ
‰ .∑œœnm Œ
33
.œbœ
∑œb‰ ∑œ Ó
œb ‰∑œb# œ ‰ œb œ ∑œn œ
3Pointilistic.
Ó œ # œ># ® œ
f f f f f f f
∑
q = 60
m.s.p.
III
s.t. m.s.p.III
ord.II
p
p
c.l.b.
P
sub
π
pizz.
ord.
f
pizz.
P ß f
IIjeté
F.A.fP
F F p Fp
Take m�
mp
ƒ
F
F
F Fp
f ƒ
s.p.c.l.b.
jeté
sub
sub
s.p.
( h )
( h )
Œ
∑
∑
∑
y>
y # ® y>
y y ‰ y>
y y y>
________ ___ __
Xæ$500
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O Œ
œ Œ
O Œ
œ Œ
‰
œ Œ
∑∑∑
‰ ∑œµ ‰ œn∑œ
3
œœb
Óœ ∑œb
‰
∑œ œ ® œ œb œ œ ®f f f f f f f f f f
∑
P
P
P
F
39
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÷
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&
&
&
B
&
?
?
t
÷÷÷
&
?
÷
÷
÷
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
◊
Ó ∑œœm( ).
‰ Œ ∑œœ( ).‰
Œ ‰ . ∑∑œ Œ ‰ . ∑∑œ Œ
∑
∑
∑
Xæ
°
¿æ
Œ ‰œ
Œ ‰œ
Œ3 3
Œ ‰œ
Œ ‰œ
Œ3 3
˙µ ˙ œ
O O O
˙µ ˙ œ
O O O
œm #œ
‰œ #
œ‰
œ3 3
O # œ ‰O # œ ‰
O3 3
∑∑∑
# œm œ # œ œm ‰ ∑œm ‰ Œ ∑œ ‰3
3
∑œbœ
œ.œ ∑œ
‰ # œ ∑œ Œ . # œ ∑œ ‰ ‰ œm3
3 3 3
∑
∑
∑
π
P
III
p F
arco
IIIpizz.
π
P
p F
P
p
arcoarco
P
criniI
F
π
f p
pizz.
criniI
I I
P
p
p
IIIpizz.
P
q = 75156
sempre( )
sub sub
π πsub sub
El.
( h ) ( q )
( h ) ( q )( h )
( h )ord.
ord.
ord.
( q )( q ) ( q )
Œ ‰ ∑œœm( ).
‰ ÷
‰ ‰ . ∑∑œ Œ ÷
∑ ÷
∑
∑
. ______$500
‡ ______‡
Œ ‰œ
‰3
Œ ‰œ
‰3
˙µ ‰
O ‰
˙ ‰
O‰
œ #œ
œm3
O # œO3
∑∑∑
∑
∑
∑
∑
∑
p F
F
Drag chip along single string coil by coil.
sub
arcoI
π P
IIIpizz.
P
π
sub
( h )
( h )
( q )
( q )
Ó Œ XFfff!
Œ ŒÓ¿ ¿ ¿
Ó¿ ‰3
Shhh!
X ¿ .Ó¿ # ‰
Ó¿
Shhh! Ffff!
∑
∑
. _______ _______
‰œ
Œ ‰œ œ
‰œ
‰œ
3 3 3 3
‰œ
Œ ‰œ œ
‰œ
‰œ
3 3 3 3
˙µ œ œ œ
O O O O
˙µ œ œ œ
O O O .O O O
#œ
‰œm #
œ‰ #
œ‰ #
œ‰
3 3 3 3
# œ ‰O # œ ‰ # œ ‰ # œ ‰
3 3 3 3
∑∑∑
∑œm œ œm∑œÓÓœ ∑œ ‰ Ó Œ
∑œmœ ∑œ œm ∑∑œ œ Œ Ó Œ
Ó # 6 yæ .yæ 6 Œ
Ó 6 ‰ 6 yæ 6 6 ‰ .
∑
ƒ
p
f
fp F p fp
arcoI
F p
π
p
IIIpizz.
IIIpizz.
P f
pFsub
pFsub
pFsub
f
P psub
F ff
q = 60
fF F
(rice shaker)
f
F Fz
p
p
Shake can of
p
pFz Pz
bottlecaps.
p
Pz
sub
(2-3")
( h ) ( q )
( h ) ( q ) ( q ) ( q )
( q )
¿ X ∑∑¿. ‰ . ŒUFfff!
&
‰ ¿ XÓÓ¿. ‰ . ŒU3
Ffff!
?
¿ XÓÓ¿. ‰ . ŒU
Ó Ó ŒU
Ó Ó ŒU
Ó Œ¿æ$500
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œ‰
œŒ Ó ŒU
3
œ‰
œŒ Ó ŒU
3
w ŒU
O ŒU
w ŒU
OŒU
#œ
‰.˙m
ŒU3
# œ ‰O O
ŒU3
Ó Ó ŒUÓ Ó ŒUÓ Ó ŒU
œm∑œm œ # Œ Ó ŒU
œÓœœm
œm Œ Ó ŒU
‰ ∑6∑6 Œ yæ yæ 6 ‰ ŒU ?
œæ Óœæ ‰ # 6 yæ yæ # 6 ŒU
∑
f
Fast tremolo.
arco
p
I
π
F
f
π
Ïfp
fp Ï
Ï
π
p
P π fp
(rice)
p
F
(caps)
p
Fz
sub
Shake can of rocks.
( q )( h )
40
&
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÷
÷
?
?
&
&
&
B
&
?
?
t
÷÷÷
&
?
&
?
÷
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
(◊)
∑œœm( ).
‰ ∑œœ( ).‰ ∑œœ( ).
‰ ∑œœ( ).‰ ∑œœ( ).
‰
‰ . ∑∑œ Œ ∑œ ‰ # ∑∑œ ‰ ‰ ∑œ
∑
∑
‰ . ÓÓœb
œb .# œ
œ.# œ
œ.# œ
œ.# œ
Xæ Œ
‰œ
‰œ
‰œ
‰œ œ
‰œ
3 3 3 33
‰œ
‰œ
‰œ
‰œ œ
‰œ
3 3 3 3 3
˙µ œ œ œ
O O O O
˙µ œ œ œ
O O O O
#œ
‰œm
œ
œ
œ
œ
œ
œ3
# œ ‰O
œO
œO
œO3
∑∑∑
#œm œ # œ œm ‰ ∑œm ‰ Œ ∑œ ‰3
3
œb∑œ
œ.œ ∑œ
Œ Óœ ∑œ Œ . # œ ∑œ ‰ ‰ œm
3
3
3 3 3
∑∑
∑
F
q = 90
F
P
p
IIIpizz.
p
pizz.arco arco arco arco
π
F
pizz. pizz.
Psub
πPsub
πPsub
π π
pFsub
pFsub
pFsub
F
160
p
El.
(F )
( h ) ( q ) ( q ) ( q )
( h ) ( q ) ( q ) ( q )
III II III I III I
( q )
p
∑œœm( ).
‰ Œ ∑œœ( ).‰ ∑œœ( ).
‰ ∑œœ( ).‰
∑œ ‰ Œ ∑œ ‰ # ∑∑œ ‰ ‰ ∑œ
∑
X .X
Óœb .
‰ ‰ . ÓÓœ
œ.# œ
œ.# œ
œ.# œ
∑
Ó ‰œ œ
‰œ
‰œ
33
3
Ó ‰œ œ
‰œ
‰œ
3 3 3
˙µ œ œ œ
O O O O
˙ œµ œ œ
O O O O
#œ
‰œm
œ
œ
œ
œ
œ
œ3
# œ ‰O
œO
œO
œO3
∑∑∑
#œm œ # œ œm ‰ ∑œm ‰ Œ ∑œ ‰3
3
∑œbœ
œ #œ ∑œ
‰ # œ ∑œ Œ ‰ # œ ∑œ ‰ ‰ œm3 3
3 3 3
∑Phasing white nose.
Ó Œ X
∑
P
p
P
p
P
pizz. arco
p
P
Crinkle bags.
p - )f
πsub
πsub
Psub
ππ
Fsub
pFsub
pFsub
F
sub
q = 75
f
f
P
sub
( h ) ( q ) ( q ) ( q )
( h ) ( q )
( q )
( q ) ( q )
sub
Ipizz. arco arco arcopizz. pizz.
III I III I III I
∑ ÷
∑ ÷
∑
X�
.X
Ó Ó Œ ∑œ&
Ó Ó ‰ . ∑∑œ&
∑
∑
∑
∑
∑ ?
∑
∑
∑
∑∑∑
∑œm œ œmœ ∑∑œ ‰ . Œ ∑œ ‰
∑œ # ∑∑œ ‰ ÷
∑œmœ ∑œ œm
œ Œ # œ ∑œ ‰ ‰ œ ∑œ‰ Œ3 3
∑ X ÷
∑
f
senza sordino
senza sordino
senza sordino
senza sordino
Take and in same hand.
41
÷
÷
÷
÷
÷
&
&
&
&
&
B
?
?
?
t
÷
?
&
÷
÷
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Ovblw.
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
√
163
Xæ ¿æ Ó¿æ ‰
Fffff!
‰Ó¿æ ¿æ ¿æ ¿æ ¿æ
Fffff!
Œ ‰Ó¿æ ¿æ ¿æ ¿æ
Fffff!
X Ó
∑
œnœb . œ
œœ
. ∑œœm œ.Œ Œ ∑œ œn
œb . œœœ
. ∑œœm œ.
3 3
œœb œn œœ œm ‰ . ∑∑œ œœb œn œœ
‰ . ∑∑œ œ ∑œ Óœµ œ
‰ . œ O O
œ œ œ œ œ
‰ Óœµ ˙ œµ
‰ O O O O O O O O
Œ∑œB ‰ Ó
œ ˙&
Œ∑œ ‰ O O O O O O O
Œ ∑œ
Œ ‰∑œ
‰ ‰ Óœµ3
Œ ∑œ Œ ‰ ∑œ ‰ ‰ O3
O O O O O O O
Œ X ¿Fffff!
With phasing and beating.
‰ œm ∑œm‰ Ó .3
∑œm ‰∑œm # ∑∑œ ‰ ‰ ∑¿ ¿
Fffff!
With phasing and beating.÷
Œ ‰ ∑¿ XFffff!
With phasing and beating.
∑
I
IIIpizz.
pizz.
c.l.b.
s.t. m.s.p.III
F
criniII
Fz
s.t. m.s.p.
F
III
ß
crini
ord.II
P
p
p
arco
arco
c.l.b.
arcoc.l.b.
A3.1.2
III
π
q = 60
Í
p
P
pF
F
Í F
p F
π
c.l.b.
jeté
jeté
jeté
jeté
arco
s.p.
p
Continue to crinkle bags.
p - )f
F
sub
sub
flt.
flt.
flt.
(f )
El.
Takem and in opposite hand.
Œ ‰ œb Óœ.⁄ œ
.œ
.œ
.œ
.œ
.œ
.
&
Ó¿æ ‰ Œ Œ Ó
.¿æ ‰ Œ Ó
ÓÓœ ‰ Ó
Œ ∑œ∑œ
‰ Œ ∑œ ‰ ∑œ ∑œ
fi. ‰
‰œm .
‰œ œm œ ‰ Ó
œœœœœnn Ó Œ5œ
œm Œ Ó Œ
˙ Œ Óœµ Ó
3
O Œ ÓO Ó
3
˙œn œ œµ
O O O œ Oœ œ œ œ œ œ O O O O O
˙bÓœ ‰ ∑œ Œ ‰ œB3
O ‰ ∑O Œ ‰O 3
O O O O O O
˙Óœ ‰ ‰ . ÓÓ
œµ œ
‰ ‰ . O O O O O O O
∑¿ ‰ Œ Œ Ó
∑
¿ ∑¿ ‰ # ∑∑– ‰ ‰ . ∑∑–
¿ ∑¿ ‰ Œ – ‰ – Œ
∑
III
I
IIpizz.
pizz.
F π
s.t.II
s.t.
F
IIc.l.b.III
m.s.p.
pF
ß
Fz
arco
π
π
p
P
ππ
π
jeté jeté
p
pizz.
p
p
s.t.
p
Pz
Fz
Fzp
Pz
sub
( h )
‰ œb œb
‚
∑œ ‰œ.⁄ œ
.œ
.œ
.œ
.œ
.œ
.
∑
∑ ?
ŒÓœ ‰ #
ÓÓœ ‰ ∑œ ‰
∑œ ‰ Œ ∑œ Œ Œ ∑œ
‰ Óœœœœœ Œ
œœœœœŒ
Ó ‰ ∑–– ––?
‰ . ∑∑œµ Œ #.∑
œŒ
‰ . ∑∑œ Œ #.œ.
œ œ œ œ œ
œœµ? Œ œµ
& ÓœB3
∑œ‰ Œ O ∑Ob
3
O O O
Œ Œ ÓœB ‰ . ÓÓ
œB œ3 ? &
Œ Œ ÓO
‰ . œ 3 œ œ œ œ
œ ‰ Óœm #
œ‰
œœµ5
‰ ÓOm # œ ‰ O
O5
∑
∑
Œ ‰ ∑–∑– Œ Œ
– – ‰ . Œ Œ # ∑∑– ‰
∑
I
II
I
IV
IIIV
pizz.
pizz.s.t.
I
crini
Fz
Fzß
F
c.l.b.
ß
ç
Fz
arco
arco
III
pizz.
m.s.p.
jeté
jeté
F
arco
Ijeté
P f
pizz.
F fp p
P
f
ß
Fz ß
π
p
p
n#P
ord.
ord.
ord.
42
&
÷
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÷
÷
÷
&
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&
&
&
B
&
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?
t
÷
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÷
÷
÷
Fl.
B. Cl.
Bs.Tbn.
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Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
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(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
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~~~~~~~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~ ~~~~~ ~~~~~~~~Ÿ~~~
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~~~~~~~~Ÿ~~~~~~~~ ~~~~~
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~~~ ~~~~ ~~~Ÿ~~~ Ÿ~~~ Ÿ~~~
~~~~~~~~~~~~~~
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~~~ ~~~Ÿ~~~ Ÿ~~
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Ÿ~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~Ÿ~~~ Ÿ~~~
Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~~~~ ~~~~~ ~~~~~
Ÿ~~~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~
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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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f
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p F F
p
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Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
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(sound)
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(sound)
Vc.
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Cb.
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œm
3
Oœ # Oœ ÓœO( )( ) Oœ ÓœO( )( ) Oœ Óœ
O( )( ) Oœm Óœ
O( )( ) Œ Oœ ÓœO( )( )
Oœm ÓœO( )
( )3
∑
∑
∑
∑∑∑∑
IIIII
IIIIIIIV
IIIII
IIIIV
Â
IIIII
III
ord.
IIIII
III
p
π
π
p
P
P
172
(pp)
(pp)
(p)
(p)
El.
loco
(p)
Ó ‰ œ ∑œ( )œm
∑œ( ) œ ∑œ( )œµ ∑œ( ) œB
lœ
33
Ó ‰ œb ∑œ œb ∑œ œb ∑œ œ ∑œµ œ ∑œB œ
33
Œ
œ
∑
∑
œœ>œœbb œ>
œ œm ⁄œ
œ> œœ
œœbb > œ> œ∑œm >
œœ œ
œm œœ ∑œ œœœ>∑œn œ .œm> œ
3 33 3
œm.>
œ.
Ó ‰ .∑œ
ÓÓœœn # ∑œn ..
Óœœ Œ
Ó
œœ
∑œœ
µ‰ Œ
œœ
m ∑œœµm
Ó
œœ Œ Œ
Ó
œœb
3
3
ÓOœ Óœ
O( )( ) ‰ Œ
Oœm ÓœO(
( ))
ÓOœ Œ Œ ∑Oœn3
3
œœµµ∑œ
œµµ œœµµ
∑œœµ
µ ∑œœ ‰ Ó ‰ œœµµ ∑œœµµ
œœB
∑œœBb
3
Oœ ÓœO
( )( )
Oœ ÓœO( )
( )ÓOœ ‰ Ó ‰ Oœ Óœ
O)(( )
Oœn ÓœO( )
( )
3
œœbb∑œ
œ œœb∑œ
œbœœn
∑œœn
œœ
b ∑œœb œ
œbn ∑œ
œb
œ
œ
n∑œœ œ
œ
∑œœ
Œ3
3
Oœ ÓœO( )
( ) Oœ ÓœO( )
( )Oœ Óœ
O( )( )
Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO
( )( )
Œ3
3
‰œœ
b ∑œœb
œœ
∑œœµ œœm∑œ
œmm
œœm∑œ
œm œ
œm ∑œœn Ó
3 3
‰Oœ ÓœO( )( ) Oœ ÓœO( )( ) Oœ Óœ
O( )( ) Oœm Óœ
O( )( ) Oœ ÓœO( )
( ) Ó3 3
Ó Óœ
Ó Œœæ Œ
Ó Œ œn œ œ œ Œœ ‰
Ó Œœœœµ œB
æ Óœæ ‰
∑∑∑
III
IIIII
III
s.p. ord.
IIIII
IIIIV
III
IIIIV
n f
( ) ( ) ( ) ( ) ( )
F
p
p
F
Fsub
Attach sizzle chains to small and medium cymbals.
p
Fz
Ó ‰ œ ∑œ( )
œm ∑œ( ) œ ∑œ( )œµ ∑œ( ) œB
l3 3
Ó ‰ œb ∑œ œb ∑œ œb ∑œ œ ∑œµ œ ∑œB
33
Ӝ
∑
∑
‰œb ⁄ œb œœb
Óœœœnnn .>
∑œ ‰œn> œb> œn œ œb> œb œn>
3
∑œn ∑œ ‰ ‰ ∑––.? ∑œœb Œ œb œœb œœ&
∑œœ
œ
œ
m∑œœn œ
œ∑œœ œ
œµ ∑œ
ϵ
œœ
 ∑œœÂ œœµ∑œ
œµm œ
œµ∑œ
ϵ
œœ
m ∑œœµm œœmnÂ∑œ
œÂ
Œ3
3
ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( )Oœm Óœ
O( )( )
Oœ ÓœO
( )( )
Oœ ÓœO( )
( ) Oœm ÓœO( )
( ) Oœm ÓœO
( )( ) Œ
33
œœBµ∑œ
œµB œ
œµµ ∑œ
œµµ
œœµ
 ∑œœµµ œœµµ∑œ
œµµ œ
œµÂ
∑œœµµœœµµ ∑œ
ϵ
œœµ
 ∑œœµµœœµn ..
∑œœ
µŒ
3
3
Oœ ÓœO( )
( ) Oœ ÓœO( )
( )Oœ Óœ
O( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( ) Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ œO( )
)(Œ
3 3
Ó Œ ‰ ∑œœbB∑œ
œ&
Ó Œ ‰ ÓOœ Óœ
O( )( )
Ó∑œ
œ∑œ
œœœB
∑œœ
µ œœ
# œœn
m ∑œœb
n3
ÓÓOœ ÓœO( )( )
Oœm ÓœO( )
( ) Oœ # Oœ≤ ÓœO( )( )
3
œbæ Œ Ó
Œœæ œB œ œ œ œ œæ
∑œæ œæ ‰ Ó
œBæ œæ–– ––
Ͼ
Ó yæ yæ yæ 6 ‰
∑6 yæ Óyæ ∑6 ∑6 ‰‰
Óyæ Ó
yæ ‰
∑
s.p.
III
IIIII
IIIII
III
IIIII
IVIII
n#
fp
(rice)ßp
(caps)
p
pπPπ(rocks)
Fz
p
p f
sub
n#
loco
III
p
( ) ( ) ( ) ( ) ( )
f
f
F
(pp)
(pp)
F
45
&
&
?
?
÷
÷
&
&
&
&
&
B
&
?
?
t
÷÷÷
&?
&
?
÷
÷
÷
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Ovblw.
Fl.
Vox
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
◊ ◊
~~~Ÿ~~ ~~~~ ~~~~~~ Ÿ~~~~~~~~~~~~~Ÿ~~~ Ÿ~~~~~Ÿ~~
Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~
Ÿ~~~~ Ÿ~~~ Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~
~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~
√
Ÿ~~~~~~~~~~~~ ~~~~~~~~~~~~Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~
Ÿ~~ Ÿ~~~~ Ÿ~~~~~~~~~~~~~~
~~~Ÿ~~~Ÿ~~ Ÿ~~~~~~~~~~~~~ ~~~~~~~~~~~
Ÿ~~~~~ Ÿ~~~~~~~ Ÿ~~~~~
~~~~~~Ÿ~~~~~Ÿ~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~
Ÿ~~~~~~~ ~~~~~~Ÿ~~~~~
Ÿ~~~~ Ÿ~~~~~~~
√
Ÿ~~~~~~~ ~~~~~~~ ~~~~~Ÿ~~~~Ÿ~~~~~~
Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~
Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~~~ ~~~~~~~ ~~~~~~~
Ÿ~~~~~~~ Ÿ~~~~~~~
Ÿ~~~~~~~~~~~~~~ ~~~~~~ ~~~~~
Ÿ~~~~~~~~~
~~~~~~~~Ÿ~~~~~~ ~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~
Ÿ~~~~~~~~~Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~ ~~~ ~~~Ÿ~~~ Ÿ~~ Ÿ~~ Ÿ~~~~~~~
Ÿ~~~~~~~~
Ÿ~~~~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~Ÿ~~~~ Ÿ~~~~ Ÿ~~~
Ÿ~~~~
Ÿ~~~~
Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~
175
œµ ∑œm( ) œ ∑œm( ) œ
‚
∑œ
œ ∑œµ( ) œµ ∑œ( ) œ÷
œ
∑
∑
œ. œœbbœ œn Œ
œb ∑œ∑œœbn œm œn œn œœ
3
∑
∑
∑
∑
œœbµ
∑œœbµœœb
B ∑œœB
bœœ
∑œœb
n œœ
∑œœbœœ
b ∑œœb
3
?
Oœm ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO
( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( )
3
œœ
m∑œœµ œœm∑œ
œmm
œœm∑œ
œm œ
œm∑œœn
œœ
∑œœ
3
Oœ ÓœO( )( ) Oœ ÓœO( )
( ) Oœm ÓœO( )
( ) Oœ ÓœO( )( ) Oœ œO ))
((
3
∑∑∑
œ œ œ œœ œæ
Ó
Ó
Óœæ ‰
Ͼ Ͼ
‰ ∑6 ∑6 ‰ ∑6
# 6 yæ yæ yæ
∑
IIIII
IIIII
pf
Fz Pπ(rocks)
Pz
πpz
F
f
f
A3.1.3
f
ƒ F
ƒ
F
F
IIIII
(pp)
(pp)
(F )
El.
‰ œb œ.
œ.
œ.
œ.
œ.
œ.
œ.
‰ ....¿¿¿¿ ¿¿¿¿
Œ
∑
∑œ I∑œ
>‰ Œ ∑œ
‰ Óœœœœœnn
Œ
œœ œb œ∑œm œn œ
3 ?
œœµ
∑œœ
œ
œ
B∑œœB œœn
∑œœ
m
Oœ OœÓœO( )
( )Oœm Óœ
O( )( )
Oœ ÓœO
( )( )
‰ Óœœµµ œœn
‰ OO OO OO OO OO OO
œœ
b ∑œœb
œœb
∑œœ
bœ
œ
n
Oœ ÓœO( )
( ) Oœn ÓœO( )( ) Oœ
œœB
∑œœ
BœœB
m ∑œœBm œœBn∑œ
ϵ
3
Oœ ÓœO( )( ) Oœm ÓœO( )( ) Oœm ÓœO( )
( )
3
∑∑∑
œB œ œ œ œ œ œ
œæ œB œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœœ œµ œ œ
3
‰ œBæ œæ
œœœœµµ#‰ 6 yæ .yæ 6∑6 ‰ œæ
∑
c.l.b.s.t.
IIIjeté
pizz.
ff
)(LH.
R.H.
"Key click trill" (Alternate clasping left and right hands.)
f p
P
Fz
s.p.II
slow
Fz
p
IIIIV
IIIIV
f P
f P
q = 75
F
p
p
sempre
œB ‰œ.
œ.
œ.
œ.
œ.
œ.
œ.
&
....¿¿¿¿ ¿¿¿¿ ‰ ?
‰ œ ∑∑ ‰ .f f f f
∑
Œfi
Œ ∑œ
œœœœœŒ
‰ ∑œœœœœ œœœœœ
œœ∑œ
œb∑œ
œ
œœb
m∑œœ œœb
∑œœ
3
Oœ ∑Oœ ÓœO( )
( ) Oœ ÓœO( )
( ) Oœ ÓœO(
( ))
3
˙˙µµ
OO OO OO OO OO OO
∑œœ œ
œ∑œœ œœ
∑œœ ‰
ÓœO( )
( ) Oœ ÓœO( )
( ) œœœ œœ œœ œœ œœ œœÓ ‰
‰ÓœœnB
Óœœn ‰
‰ OO OO‰
∑∑∑
∑∑∑
œœœœŒ
‰ ∑6 ‰ Œ
yæ Óyæ ‰
∑
IVIII
p
)(f psub
f
f
F
s.p.jeté
II+III
Fz
Fz
c.l.b.
jeté
s.t.
IIIIV
s.t. s.p.jeté
ß
ß
f Pœb
‚
∑œn ‰ Œ
œb œ ∑œ ‰ Œ
‰Ó
––––œb––––œ Œ
‰ œ # œ # œ>#
f f f f f f f f f
∑
Œfi
‰Óœ Œ∑1
œœœœœ œn œb œœn œ œ œ ∑œ œ.
3 3 3
‰ ∑œœœœœœb
œb ‰ œbœb3
œœ œœµ∑œœ ‰ œ
œb∑œ
œÓ
œœb
m3
Oœ œœ ‰ Oœ œO( )
( )∑Oœ
3
œ œœ œœ œœ œœ œœ
œœµµ Ó
œ
ϵ
µ ∑œœ
µ
Ó
œ
œœœ
m ∑œœµµœœµµ ∑œ
œnµ
3 3
œœ ÓOœ Óœ
O( )( )
ÓOœ Oœ Óœ
O( )( )
Oœ ÓœO(
( ))
3 3
œ œœ œœ œœ
œœmm œœnn∑œœ ‰ œœ
‰ œœ œœœœbb œœœ œœ œœ œœ œœ œœ
œœmm œœnn∑œœ
‰ œœ
‰ œœ œœœœbb œœœ œœ œœ œœ œœ œœ
∑∑∑
∑∑∑∑
∑∑∑
rit.
F pp
F.A.f
P
f
s.p.jeté
ß
s.p.jeté
ß
IIIIV
p
Fp
p F p
p
F p
psub
slow
III
jetéII
ß
jeté
ß
II+III
t
crini
IIIIV
s.t.
s.t.
F
F
ß
loco
ß
sub
f
f
crini
sub
loco
ord. ∑
∑
∑
® œ ‰f f
∑
∑œ ‰
œ œœbn
# œb # ∑œ
œn
3 3
Ó
œœ
∑œœ œœb∑œœ
3
∑OœÓœO( )( ) Oœ Óœ
O( )( )
3
∑
∑
œœ
œœ
œœ
œœ
∑∑∑
∑∑∑∑
∑∑∑
F
F
q = 60
œb
‚
∑œb ‰ Œ
œb ∑ ∑œn ‰ Œ
Œ ¿¿¿¿ ¿¿¿¿∑¿¿¿¿ ‰÷
Œ œ .
Œf f f f
∑
Œ ∑œ ‰ Œ
œœœœœ ∑œ# œ. Œ Œ
œb°
œ.∑œœœœœn .
Œ Œ
œœµ ‰Ó
œœµ ∑œ
œµ œœmn∑œœÂ œœµ
∑œœµ
œœ Oœ Óœ
O( )( ) Oœm Óœ
O( )( ) Oœ ÓœO
( ))(œ œœ œœ œœ œœ œœ
‰ œœµµ ∑œ
œµµ
œœµ
 ∑œœµµ œœµµ∑œ
œµµ
Œ3
‰ Oœ ÓœO( )( )
Oœ ÓœO( )
( )Oœ Óœ
O( )( ) Œ
3
∑œœ‰ œœ
∑œœ ‰
∑œœ‰ œœœ œœ œœ œœ œœ œœ œœ ‰
∑œœ ‰ Œ Œ
∑œœ ‰OO> OO OO
> OOb OO> OO
‰
∑∑∑
Œ Œ ¿÷
∑∑∑
∑∑∑
"Wup" (bw H.B.)
P
p
IIIVIIIIII
jeté
f
III
P
c.l.b.arco
)(fsub
s.p.jeté
f
Fp
p F p
p
ß
F
loco
p
F
F
jeté
ß
II+III
p
P
p
II+III
q = 75
sub
46
&
÷
?
÷
÷
&
?
&
&
&
B
?
?
?
t
÷÷÷
÷
?
&?
÷
÷
÷
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12 3
Dncrs.
Pno.
Vid.
◊
√
Ÿ~~~~~~~~~~~~~~~~
√ √
√
œ ‰ Œœ.⁄ œ
.œ
.œ
.œ
.œ
.œ
.
Œ ....¿¿¿¿ ¿¿¿¿ ‰
‰ œ # œ ∑∑ ‰ .f f f f f f f f
∑
‰ ∑œ Œ Œ
œœœœœœ œb > œœnn
.œ œm
œœb œœn
3 3
‰ ∑œœœœœ.
‰ ∑––.‰ ‰
œbÓœ
‰3
& ?
œœµ Œ Œ
œœ ‰ Œœ œœ œœ œœ œœ œœ
œœµµŒ Œ
œœ ‰ Œœ œœ œœ œœ œœ œœ
‰ ∑œœ œœ Œ
‰ œœœ œœ œœ œœ œœ œœ Œ
‰ ∑œœ œœŒ
‰ œœœ œœ œœ œœ œœ œœ Œ
∑∑∑
Œ X
∑Œ ‰
œ œ œ œ‰3 3
∑
∑∑∑
"Wup" (bw H.B.)
F pP
)(f
ç
s.p.jeté
ß
s.p.jeté
ß
s.t.
jeté
Fz
II+III
jetéord.
ß
II+III
ß
n#F
P
ß loco
loco
P
crini
s.t.
II+III
II+III
rit.181
El.
p
(ord.)
∑
∑
œ # œ # œ># ® œ
f f f f f f f f f f f
∑
∑œ ‰ ‰ ∑œ>Œ
œœ œn œœm> œœ œm
œœ
n . # œb.
‰
3 3
3
‰œ. œ
3
–––>–––.
‰ Óœn
‰ ‰ ∑––.?3
& &
œœB œœ œœ œœ
OOb OO OO OO
œœmm œœ œœ œœ
OOmm OO OO OO
œœ∑œœ ‰ Œ
œœœ œœ œœ œœ œœ œœ ‰ Œ
œœ∑œœ
‰ Œ
œœœ œœ œœ œœ œœ œœ ‰ Œ
∑∑∑
‰ ¿ ‰ Œ ∑¿
∑Œ Œ œ œm œ
3
∑ &
∑∑∑
"Wup" (bw H.B.)
F pP F
s.t.
P
s.p.
ß
f
s.p.
s.p.
P
s.p.
ß P
n# n#loco
F
f P ƒ
ƒ
sub
sub
o
loco
s.t.
I+II
I+II
a tempo
n#ß
∑
∑
∑
∑
Œ Œ ∑œŒfi ∑œ ‰
œn > œb> œn œ œb > œb œn > œ. œœbbœ œn œn
œ œœb ‰ œb œœb œœ œb ∑œ∑œœb œm œn œn œœ
3
ww
OO
ww
OO &
Ó œœ œœ
Ó œœ œœœ œœœœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ
Óœœ œœ
Ó œœ œœœ œœœœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ
∑∑∑
Ó¿ ¿ ‰ ¿ Œ
∑ ÷
œ œµ œ œn œµ œ ‰ œB œ œµ œ œm œ œµ3
œ œm œ œ œµ œ œn œµ œ ‰ œB œ œµ œ3 3
Ó œ œm œ œ œµ œ3
&
∑∑
"Wup" (bw H.B.)"Wup" (bw H.B.)
çç
f
loco
F
c.l.b.
c.l.b.jeté
jeté
molto rit.
ß Fz
ß Fz
P
q = 54
III
∑
∑
∑
∑
∑
œ ∑œnœn > ∑œ Œ Ó
œœ œb œ∑œm œn ∑œ
‰ Ó3
wwB
wwm
˙˙µn ˙˙µn
˙Oo œ
OœO
∑œœ ‰ Œ Ó
œ ‰ Œ Ó
∑œœ‰ Œ Ó
œ ‰ Œ Ó
∑∑∑
Œ ¿ Ó
Œ ‰Ó¿
Ó¿ ‰ Œ
œ œm œ œ œµ œ œn œµ œ ‰ œB œ œµ œ3 3
∑
œ œµ œ ‰ œB œ œµ œ œm œ œµ Œ3
Œ œ œm œ œ œµ œ œn œµ œ ‰3 3
& ÷
∑
"Wup" (bw H.B.)
"Wup" (bw H.B.)
p
p
sub
sub
s.p.
s.p.
47
&
÷
?
÷
÷
&
&
&
&
&
&
?
?
?
t
÷÷
÷
÷
÷
&
&
÷
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Fl.
B. Cl.
Bs.Tbn.
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
12
3
Dncrs.
Pno.
Vid.
Ÿ~~~~
~~~~Ÿ~~~
Ÿ~~ Ÿ~~~~ Ÿ~~ Ÿ~~
Ÿ~~~ Ÿ~~~ Ÿ~~ Ÿ~~ Ÿ~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
~~~ ~~~ ~~ ~~ ~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~
Ÿ~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~ Ÿ~~~ Ÿ~~
Ÿ~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~
Ÿ~~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~
Ÿ~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~
Ÿ~~~
∑
∑
∑
∑
∑
∑
∑
˙
˙
œœB Œ
˙O B
∑
∑
∑
∑
∑∑∑
∑
∑
œm œ œµ Œ
œB œ œµ œ œm œ œµ
∑
185
El.
(p)
(p)
∑
∑
∑
∑
.œ>
œ.fi
.œ œ.fi∑œ ‰
5 5
‰ ∑œœb
b.
‰Óœœœb
. Œ
Œ Œ Œ Óœœ
b .
3
?
..OOmm
..OOmm
..OOmm
..OOmm
Œ œœ œœ
Œ œœ œœœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ
Œ œœnB œœ
Œ OO OOOO OO
∑∑∑
∑
∑ &
∑ ÷
∑
∑
IIIII m.s.p.
IIIII m.s.p.
s.p.
ß
s.p.jeté
c.l.b.
II+III
ß
c.l.b.jeté
s.t. s.t.
p F p
q = 75
ß ß
ord.
∑
∑
∑
∑
œ>
∑œ ‰3
# ÓÓœœ
b .‰ ‰
‰ ‰ .ÓÓœœœb
OO ‰
OO ‰
OO‰
OO ‰
Œ ∑œœ∑œœ
3
ŒÓœœ
Ó
3œ œœ œœ œœ œœ œœ œœ
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Óœœ3
Œ OO OOÓ
3
∑∑∑
∑
o
œ o
# ‰f f f f
....¿¿¿¿ ¿¿¿¿
∑
∑
s.p.
ß
f F
f
f
e = 120/q=60
)(f P
F
ß
∑
∑
∑
∑
Œ ∑œ Œ Ó3
∑
Óœœœ ‰
∑œœ
b.
‰ Œ ∑œœb
b.
Œ3
OOmm
OOmm
OOmm
OOmm
∑œœ ‰ œœ Œ ∑œœ œœ3
‰Óœœ Œ
Óœœ
3œ œœ œœ œœ œœ
Ó œ œœ œœ œœ œœ œœ
Œ œœB ŒÓœœ Œ3
Œ OO OOŒ
ÓOO OO
3
∑∑∑
Ó¿> ‰ Œ ¿ ‰ ¿3
Wu-u-u - p WUPWUP
&
œ # ‰ œ œ # œ #f f f f f f f f f f f f f f f
....¿¿¿¿ ¿¿¿¿ Ó
––––œb––––œ
––––œ?
Ó œb œ
∑
s.p.
ß
s.p.s.t. s.t.
ß
s.t.
Take t
f F
P
P
)(f fP P
p f p
ß ß
sub
Takeo
∑
∑
∑
‰ œ œ
∑1
∑
∑
Œ .Ó
œœµ ∑œ
œµÓ
œœ
Â
Œ . Oœ ÓœO( )
( )Oœm Óœ
O(( )
(
œœµµ ∑œ
œµµ
œœµ
 ∑œœµµ œœµµ∑œ
œµµ
Ó
œœµn ∑œ
œnµ
Ó
œœµ
m
Oœ ÓœO( )( )
Oœ ÓœO( )( )
Oœ ÓœO
( )( )
Oœ ÓœO( )( ) Oœm Óœ
O((
))
∑
∑
∑
∑
∑∑∑
∑œœµ
Bœœµµ ∑œ
œµµ
œœµ
 ∑œœµµœœµµ∑œ
œµµœ
œµn ∑œ
œnµ
Ó
œœµ
m
‰ ∑œœµm∑œœµn
∑œœn
µ
Ó
œœµ
m∑œ
œµµ∑œ
œµn ∑œœµµ
∑œœµµ
Ó
––––œ––––œ Œ &
∑ ∑ ∑œn Œ ‰
∑
III
F pF.A.
o
f P
f p
F
IIIIIs.p.
ord.
∑
∑
∑
∑
∑
∑
œœ Œ Œ
œœ Œ Œ
œœµ
mŒ Œ
œœ Œ Œ
∑
∑
∑
∑
∑∑∑
∑œœµ
µœœµn ∑œœµµœœµµ
∑œœµ
µœœµ
 ∑œœµ
Bœœµµ Œ ÷
œœ∑œ
œµµœ
œµn ∑œ
œnµ
œœµ
m ∑œœµmœœµnŒ ?
∑œœµ
µœœµ
 ∑œœµµœœµµ∑œ
œµµœ
œµn ∑œ
œnµ
œœµ
m∑œ
œµµœ
œµn ∑œœµµœœµµ
∑œœµmœœµn∑œ
œnµ
œœµ
m∑œ
œµµ∑œ
œµn ∑œœµµ
∑œœµµ œœ∑œ
œµµœ
ϵn
∑
π
π
48
&
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÷
&
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&
&
&
B
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t
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&
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42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Fl.
B. Cl.B. Cl.
Bs.Tbn.
sm.cymb.: med. lg.
tam
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)Cb.
12 3
Dncrs.
Pno.
Vid.
666666666666666666666666 6666666666666666666666
√
Œ ‰ Óœœ
.œ
.œ
.
Œ ‰ œ f f f
?
‰ ∑œb œ # œ
∑
∑
Œ ‰..
œœ5
‰Óœœb
. ..
œœ
b œœn5
Œ ‰Óœœ
Œ ‰ÓOO
∑
∑
‰ ∑œœ œœ
‰ œœœ œœ œœ œœ œœ œœ
Œ œœnB
Œ OO OO
∑∑∑
∑
∑
∑œœµ
µœœµ
 ∑œœµ
Bœœµ
µ Œ
∑œœn
µœœµ
m ∑œœµmœœµnŒ
∑
Fz
_
ß
pizz.
ß
ß
q = 75
IIIs.p.
IIIII
s.p.jeté
c.l.b.II+III
F
P
P
191
s.t.
p
jeté
ß
IVIIIc.l.b.
El.
p
Take 2o
œ Œœ.
œ.
œ.
œ.
œ.
# œ œf f f f f f f f f
Œ œn œb
∑
‰ ∑œ ‰ ∑œ
Óœœ ‰ # œœb ‰
3
Œ ∑œœb
b Œ
Œ ‰Óœœ
Œ ‰ÓOOmm
œœmm‰ ∑œœ
OOmm ‰ ∑OO
‰ ∑œœ œœ
‰ œœœ œœ œœ œœ œœ œœ
Œ œœ
Œ OO OOb
∑∑∑
∑
∑
∑
∑
∑
ç
ç
ç
s.p.
ß ç
s.p.
ß
P f
ß
f
f
s.t.
IIIII
p‰ Ó
œ œ.
œ.
œ.
œ.
œ.
œ œ.
œ.
‰ œ œ #f f f f f f f
∑ ∑œ ‰ Œ
∑
‰ . ∑∑œ Œ
‰ Óœœn Œ
∑
‰Óœœ œœ
‰ÓOOmm OO
‰ ∑œœmm œœ
‰ ∑OOmm OO
Œ œœ
ŒÓœœœ œœ œœ œœ œœ œœ
Ó
Œœœb
ŒOO OO
∑∑∑
œ ‰Óœ"WUP!" "WUP!"
∑
∑
∑
∑
pizz.
f
f
s.p.
ß
P
f
f
P
f pp
p
p
F
III
Ó ‰ Œ ‰
œ># ® œ Œ ‰
f f f
Œ Œ ‰
∑
∑œ ‰ Œ ‰
# œœœ.> œœn œœ
œœbb œœ Óœœb
œn œb œb .œn >°
œb œ œœn
œœ œb .> œb
3 3
œœ œœÓœœ
OOmm OOÓOO
œœmm œœ∑œœ
OOmm OO∑OO &
‰ ∑œœb ..œœ
o œœ ..œœ
‰ ∑œœB ..œœ
‰ ∑œœ ..œœ
∑∑∑
‰ .ÓÓ¿ .¿ .¿"WH" "WUP!""WHU!"
∑
∑
∑
∑
f
f
Bow slow, produce undertone.
Bow slow, produce undertone.
loco
f
F
F
F
s.t.
sub
subƒ
ƒ
crini
crini
œ œ
‚
œ
‚
œ œ ∑œ
Œ––––œn
––––œ––––œ Œ
Œ œn œ œ Œ
œ œæfi œæ œæ Ó
œæ ‰fi
∑œ ‰ Œ Ó
Óœœn ‰ œ œ
œ œb∑œ œb .
‰ œb œ œn œœb⁄
œœ
3 3
3
∑œ
‰ œb œ œbœb œb œ
œœœ œb œ
œ
wwB
wwm
wwµn
wO
œœ œœœœBm ˙˙
& ?
œœ œœOO OO
œœ œB∑œB
˙
œœ.O( )œ
Ÿ˙
∑∑∑
∑
∑
∑
∑
∑
With sizzle chains attached.
fP
sub
ƒ
p
fP
fP P
fP P
Erratic trill between normal and harmonic finger pressure.
P
q = 60
subp
p
p
psub
o
P
œ
‚
œ œ ∑œ
Ó
––––œ––––œ
Ó
––––œ Œ
∑œ œ ∑œ Œ
.œæ Óœæ Ó
œæ ‰fi
∑
œ œœ œb
∑œ œb .‰ œb œ œn œ3 3
3
œb œ œbœb œb œ
œœœ œb œ
œ
..˙
..˙m
œœn œœ œœµn œœ
œO
œO
œO
œO
œœbœœBm ˙˙
&
œœOO OO
.˙B∑œB
.O( ).˙Ÿ
∑∑∑
∑ &
∑
∑
∑ ?
∑
f
f P
P
f P
ç psub
49
&
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&
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÷
÷
&
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&
&
&
&
&
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t
÷÷÷
&
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÷
÷
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45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Ovblw.
Fl.
B. Cl.
Vox
Bs.Tbn.
sm.cymb.: med. lg.
tam
Obj.Sm. pt.Lg. pt.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)Cb.
12 3
Dncrs.
Pno.
Vid.
66666666666666666666666666666666666666666666666666666
√
6666 666666666666666
197
Œ œ
‚
‚
œ
∑
∑
∑
æ Œ
∑
œœb⁄
œœ œ œb œ œb
œ œœb⁄œ
œ œnœb⁄
œœ
3
œœœb œb œœ ‰ œb œ
œ Œ
..˙
..˙
..˙˙
.
.˙Oo
B
˙˙ Œ ?
OO OO Œ
œ œBœB
˙
œ œŸ
O( ) ˙∑∑∑
Œ Œœ œ œ œœ
œB œ œ œ œ œæ Œ ∑
œæ–– ––
œB æÓœæ ‰
œæ œæ œ 6 ‰ ‰ ∑6
‰ ∑œæ ∑œæ ‰ # 6 œn æ
∑fp
F ßpp
p Fz π(rocks)
F
n#
q
ff
p
f
(rice)
I3.1
f
El.
(ff)
(p)
(p)
(p)
(p)
P
.˙æ
˙æ
.æ æ
.æ ær
.˙mŸ
œ( ) ˙
.˙ ˙Hold cymbal in left hand and scrape surface with stick tip - produce "chalkboard sound."
∑
∑
Ó ________ ___ __
b#
VISA
°
________ ___ __
..OOmm OO OO
..OOmm
≥
OO OOƒ
..OOmm OO OO
..OOmm
≥OO OO
..OOmm OO
..OOmm
≥OO
..OOb OO
..OOb≥
OO
∑∑∑
œæ œB œœ œ œ œ œ
Ó
Œœæ œB œ œ œ œ Ó &
œ œ œœœœ œœ œœ œœ œœ Ó
––Bœnæ
œ œµ œ œ3
œæ œæ ‰ ÓœBæ œæ
œœœœµµÓ
∑6 ‰ ∑6 # 6 œæ .œæ 6 Ó
œn œæ∑6 ‰ œæ Ó
∑
ƒ
ƒ
Use trigger to perform erratic tremolo.
ƒ
sempre
IVIII m.s.p. s.t.
subSf F
IVIII m.s.p.
Sf
s.t.
ƒFsub
IVIIIm.s.p. s.t.
ƒ
IVIIIm.s.p. s.t.
ƒ
P
Pz
πpz
p P
f
ƒ
"Core"
wæ
wæ
wæ
˙ Ó
˙ .œ ‰
∑
ÓXæ$500
F
?
________ ___ __ ________ __
_ __
∑
OO
∑
OO
wwb
ww
≥
F
wwB
ww≥
∑∑∑
∑œœœœn
µµ
Ó
œœœœ ‰œœœœn
µn œœœœ Œ ?
œæ œæ ∑œæ ‰ Ó
Œ Ó .
Œ Œ ‰ ∑6 ‰ Œ
Œ œnæ Óœæ ‰ Œ
∑
P
P
P
F
p
Tremolo scrape with poker chip.
Bow slow, produce undertone.
Bow slow, produce undertone.
p
p
F
p
sub
sub
∑(~10")
∑
∑
∑
w
∑
Xæ
ķ
∑
∑
∑
∑
ww
ww
ww
ww∑∑∑
∑
wwww ∑
∑
∑∑∑
p
U
p
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/
0/0/0/0/
0/
0/0/
0/
0/0/0/
p
F p
50
?
?÷÷÷
&?
&?
÷
43
43
43
43
43
43
43
43
43
43
85
85
85
85
85
85
85
85
85
85
87
87
87
87
87
87
87
87
87
87
42
42
42
42
42
42
42
42
42
12 3
Dncrs.
Pno.
Vid.
201∑
(~30")
∑∑∑∑wwwwwU
wwwwU
∑
wwwwU
∑
ƒ
Ï
I3.2U
El.
∑
œ( )∑∑∑
œœ œm œœn œm œœn œm œœn œm œœn œm œœn œm œœn œm œœn œm œœn œm7 6 5Distorded piano continues.
œœmm
œnœœm
mœn
œœmm
œnœœm
mœn
œœmm
œnœœm
mœn
œœmm
œnœœm
mœn
œœmm
œ7 6 5
Distorded piano
∑String harmonic compositie
.˙mString undertone composite
∑
Sost. sempre
q = 60
Depress silently.
∑
∑∑∑∑
œœ ∑œm œœn ∑œm œœn ∑œm œœn ∑œm œœn ∑œm œœn Óœœ ∑œm
3
5
œœmm
œnœœm
mœn
œœmm
œnœœm
mœn
œœmm
œnœœm
m œœmm
œn3 3
5
˙ ∑œ∑
∑
∑
∑∑∑∑
œµœ
œœ
œœ
œœ
œœ
œœ
œœ
3 3 3 3 3 3 3
œœ
œœ
œœ
œœ
œœ
œœ
œœ
Œ Œ œ Óœ
˙ Œ ‰
∑
??÷÷÷
&?
&÷
42
42
42
42
42
42
42
42
42
1615
1615
1615
1615
1615
1615
1615
1615
1615
169
169
169
169
169
169
169
169
169
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
.. ..
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
.. ..
85
85
85
85
85
85
85
85
12 3
Dncrs.
Pno.
Vid.
205∑∑∑∑∑
œ œn œ œn œ œn œ œn3 3 3 3œn œB
œn œBœn œB
œn œB
Distorded piano.
œ œ œ œ œ œ œ œ3 3 3 3
∑
El.
∑∑∑∑∑
œb œ œ œ œ œ œ œ œ œ
œm œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ∑
∑
∑ &
. ..∑–––- . ..∑–––- . ..∑–––-&
∑∑∑
œb œ œ œ œ œ
œm œœœœœ œ œœœœœ œ œœœœœ∑
∑
n# n# n#fsecco
–––- –––- –––- –––-
# œ œb œ ∑œn # œ œb œ ∑œn # œ œb œ ∑œn # œ œb # ––.3 3 3 3
?
∑∑∑
‰ # œ œB ‰ # œ œb ‰ # œ œb ‰ # œ œB3 3 3 3
‰ ∑œœœœœ‰ ∑œœœœœ
‰ ∑œœœœœ‰ ∑œœœœœ
∑
∑
n#
n# n# n# n# –––- –––- –––-
‰ ..–– ‰ ..–– ‰ ..––5 5 5
∑∑∑
∑
Œ ∑∑œœœœœŒ ∑∑œœœœœ
Œ ∑∑œœœœœ5 5 5
∑
∑
n# n# n#
n# n# n#
&
?÷÷÷
&?
÷
85
85
85
85
85
85
85
85
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
83
83
83
83
83
83
83
83
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
.. ..
82
82
82
82
82
82
82
82
12 3
Dncrs.
Pno.
Vid.
210‰ . ÓÓœ œ œb > œ œ>
∑œn3 3
œ œ.
#∑œ œb
œ> œm ‰ ∑œm . ‰3
∑∑∑
Œœ
‰∑
∑
El.
F.œ œn œ> œb . # œn Óœn >
3 3
#∑œ œb > œ œm . ‰ ∑œm°
∑œ3
∑∑∑
Œœ
‰∑
∑
œ # œn œ œb . # œn œn œ.3 3
#∑œ œb
œ œm ‰ ∑œm ‰3
∑∑∑
Œœ
‰∑
∑
‰ . ÓÓœn œ œb # œn œn œ.3 3
#∑œ œb
œ œm ‰ ∑œm . ‰3
∑∑∑
Œœ
‰∑
∑
# œœbn# œœn # œœn # œœn # œœn
3 3 3 3 3
œm œ. œm œ. œm œ. œm œ. œm œ.∑∑∑
∑∑
∑
# œœbn ‰ ∑œ œn œ3
3
Repeat 4 times.
œm œ.. ‰ œbœb3
∑∑∑
‰ Óœœm ‰
‰ ∑œn
‰ œ3
∑
&?
÷÷÷
&
?
÷
82
82
82
82
82
82
82
82
83
83
83
83
83
83
83
83
82
82
82
82
82
82
82
82
85
85
85
85
85
85
85
85
44
44
44
44
44
44
12 3
Dncrs.
Pno.
Vid.
◊ ◊ ◊ ◊ ◊
216 œœm∑œ œn
∑œn
‰
∑∑∑
∑
‰ œmœm
œ3
∑
El.
(F )œœm
∑œ œn
∑œn
‰
∑∑∑
∑
‰ œmœm œ3
∑
œœm∑œ œn
∑œn
‰
∑∑∑
∑
‰ œmœm œ3
∑
# œmœm #
œ
3 3
∑œ ∑œ.‰ ∑œ
∑∑∑
∑
∑
∑
loco
# œmœm #
œ
3 3
œ ∑œ.# œ.
∑∑∑
∑
∑
∑
loco
∑
∑
∑∑∑
..œœbæ
∑
∑
# œmœm #
œ
3 3
∑œ ∑œ.‰ ∑œ
∑∑∑
∑
∑
∑
loco
# œmœm #
œ
3 3
œ ∑œ.# œ.
∑∑∑
∑
∑
∑
loco
# œmœm #
œ
3 3
∑œ ∑œ.‰ ∑œ
∑∑∑
∑
∑
∑
loco
∑
∑
∑∑∑
..œœb朜æ
∑
∑
51
&
?
÷÷÷
÷
44
44
44
44
44
44
45
45
45
45
45
45
12 3
Dncrs.
Pno.
Vid.
226œm # ∑œm
œn œm ‰ # œ œ œ œm œ ∑œn œn . ‰ #œm œ3
3
3
3
‰ œ3
# ∑œ œ # œ œœœn œœ œ. ‰
œœn
>‰ # ∑œb
œn . # œ3 3 3
3 3
∑∑∑
∑
(F )œm # ∑œm
œn œm ‰ # œ œ œ œm œ ∑œn œn . ‰ #œm œ3
3
3
3
‰ œ3
Pause at any time, "aleatoric breaths." Continue holding notes if pause occurs within a phrase.
# ∑œ œ # œ œœœn œœ œ. ‰
œœn
>‰ # ∑œb
œn . # œ3 3 3
3 3
∑∑∑
∑
œm # ∑œmœn œm ‰ # œ œ œ œm œ ∑œn œn . ‰ #
œm œ3
3
3
3
‰ œ3
# ∑œ œ # œ œœœn œœ œ. ‰
œœn
>‰ # ∑œb
œn . # œ3 3 3
3 3
∑∑∑
∑
&
?
÷
45
45
45
44
44
44Dncrs.
Pno. √ √ √ √
229œ œœb œœ œb œœnn
.œ œm
œœb œœnœœ œn œœm œœ œm
œœn . œnœœb .
3 33 3 3
œ
œ œ.3
‰ ∑––.‰ œb > ‰ –––> –––.
‰ Óœn ‰ œn3
3 3
& ? & ?
∑
p ßn#n# n#
locoloco
n#sub
œ œb œœnn. œ œm
œœb œœnœœ œn œœm œœ œ œœn . # œb . ‰
3 3 3
3
œ
œ œ. œ3
––. ‰ œb Óœ ‰ –––>? –––.
‰ Óœn ‰ ‰ ∑––.?
3
3
& &
∑
ß F ß
n# n# n#loco locosub
&
?
&
B
?
t
&?
&
&?
÷
44
44
44
44
44
44
44
44
44
44
44
44
(sound)
Vla.
(sound)
Cb.
Dncrs.
Pno.
◊
231œ œœb œœ œn œn œ œ ∑œ œ œn œœb . œ. # .Óœ
∑œb .
3 3
33
œm œm ‰ œbœb # œb # ∑œµ œ œb
>œ œb
3
3 3
∑ ?
∑
∑
∑
∑
∑
∑
# ∑œ ‰ . ‰ . ∑∑œ Ó
Óœ ‰ Œ #œB
œB ‰ ‰ ∑œ‰
3
∑
A4
ß
Pz
Fz Fz
Pz
psub
p
p
El.
"Integration"
sempre
‰ Óœb ˚ œ œ. ‰ œb .œ œ .œb
Óœ ‰ ––– ––– Œ ‰ ∑œœœœœ
wµ
w
∑
∑
‰ # ÓÓœ œn œb # œn œ œ # œœb
œœmn ∑œ œn ∑œ œ3
33
3
#∑œ œb
œ œb ‰ ∑œb ‰ œb œœn œ œ
œ3
3
∑
Œ Œ Ó
# ∑œB # ‰ Œ Ó
∑
π
#n #nß
FzFz
Pz ç
p
p
ord.
œm # ∑œmœm œ œ # œ œ> œ œm œ ∑œ œn . ‰ #
œm œ33
3
3
‰ œ>3
# ∑œ œ # œ œœ.‰ œ ‰ œn > ‰ # œb œn . # œ
33 3
3
wµ
w
Ó Œ œm
Ó Œ ·
∑Œ ‰ œ œœ ˙3
wÓ Œ œµ
wµ
∑ ÷
∑
I
π
P
s.p.
loco
ƒß ç ß ç
ç
ord.
52
&
?
?
÷
÷
&
?
&
&
?
B
&
?
?
t
&
?
&
&
÷
Fl.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
∑
∑
∑
∑∑
‰ œm ‰ œm œ œn . ‰œm œ # œ. œb >
3
3
3
œ .œm ‰ Óœœm
n .# œ> œn ‰
..
.œœœm- œ
œ.>
3
∑
∑
w
˙ ˙
wµ
·
.˙‰
.∑
œ5
7
· · ·‰ .œ
5
∑
œ œœ œ
œm œmœm ‰
œmœm ∑œ
œn œœœ # œb
3 3
3
3 3
Óœµ ‰ Ó .
Ó . ‰.œ
5?
∑
I
III
π
π
π
P
( q ) ( q ) ( q )
p
El. p
p
p
234
sub
∑
∑
∑
∑∑
œ œn>
œ œb . ‰ # œb > œ œ œb ∑œn>
# œb œn .> œ3
3 3
œ .œ
Œœb>
‰∑œb œ
œÓœ
>œ
Ó ∑œ
‰ Œ
Ó ∑œ
‰ Œ
.˙ Œ ∑∑œµ5
.˙Œ ∑∑œ
5
w
·
˙# œ œ5
œ œ œ # O O O O O O O O
œ œœ œb ‰ # œb #
œ œb ∑œn # œb œn #œ3
3 3
‰œb œb
œœb œb #œb
‰ ∑œ # ∑œbœ # œ # œ
œb3
3 3 3
& ?
∑Ó ÓÓ
œ œ Œ ∑∑œ5 5
∑
II
c.l.b.
pizz.
I
m.s.p. s.t.
P
Fz
p
PP
ord.
π π
p
jeté
∑
Œ Œ # .∑œ œ
∑
Œ œæ œæ œ ‰ ‰
Ӝ
∑
.œb - œœœœœnnn .Œ Ó
œ œ∑œœb
>3
˙b>
#œ
‰ Œ
∑
∑
w &
˙ ˙
œ Œ Óœµ # .œ? œ3
&
·Œ Ó
· #.O
3
O O O O O O
‰ . Óœm œ ∑
œ‰ Œ
∑œ5
‰ . O O ∑œ ‰ Œ ∑O5
# œb ∑œn œ œb œ œ œn # œ œ œ œ ∑œbœn œœm œ
œb œ œ3 3
3
œbœ œb
œ ‰ œ ‰ œb ‰œ œb ∑œn # œ
œ ‰3 3
3 3 3
‰ . œµ Œ Óœµ Ó5 3
Œ Œ∑œ
# .œ Œ ÓÓœ5
∑
I
IIII
crini
pizz.
pizz.
π
I
P π ß
π
c.l.b.s.t. m.s.p.
f P
III
ord.
Fz
arco
ord.s.p.
Fzpp
Shake can of rocks.
jetéIV
F
53
&
?
?
÷
÷
&
?
&
&
&
B
&
?
?
t
&
?
&
?
÷
Fl.
Ovtns.
B. Cl.
Bs.Tbn.
Obj.Sm. pt.Lg. pt.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
Ó ‰ . ∑∑œm
œ
‚
œ œ ∑œ ∑œm .‰
∑
Óœ ‰ ∑œ # œ œ
æ.œæ
œ Œ
Ó Œ ‰ ∑1
Ó ‰ . ∑∑œm∑∑œ
œm
.‰ .
œÓœ œœ œœœ
ÓÓœœœ
. ‰ .3
∑
∑
Œ ‰ œ .œ œµ œ3
Œ ‰ O .O O .O O3
& B
.˙œœ
b
O O OO
Ó ˙µ?
Ó O
œ.œ œ œb
∑œ œ ‰ œb œ # œœmœ ∑œb # ∑œ œ œ
3 33
‰ œb œ œ ‰ . ÓÓœ # œb ∑œ
œ œœb
‰∑œ
œ3 3
3
3
Œ ‰ œ ‰ . ÓÓœ œµ3
˙œµ
ϵ
∑
IIIII
III
crini
I
πP Pz
p
arcoIV
ord.
ord.
P(p)
π
π P π
π
P
Tape
p
p
p
p
Pz f Pzp F.A.
p
237
p
sub
( h )
( q )
( h )
∑
∑‚
œB ‰ Œ Ó
Ó Œ # .Óœm
∑
∑
!
Œ ∑œ œ œœ œœ
∑œœœ3
3
‰œ.
‰ ‰ œ.Œ
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Ó Œ ‰œ
3
Ó Œ ‰œ
3
œœµ
Ó .
Oœ
Œ Ó
.
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œµ ˙
OO OOO O
œ Óœm œ œ #
œ‰
33
O ÓOm O O # œ ‰
3 3
œn œœ œb Œ Óœn œb œœb ∑œn œ œœ
3 3
3
‰ ‰ œb ∑œ∑œ ‰ Œ
œœ
b œ # œ3 3
Œ ‰ Óœµ Ó
Œ ∑œ Óœµ
Œ Œ ‰∑œ
œ3
3
∑
I
I
III
F
pizz.
p
p
π
Pz
p
pizz.
Fz
arcoord.
( h )
‰ . ÓÓœm œB ∑œm # Œ ‰ œ
œ
3
œ. # œmÓœ
‰ # ∑œn œ œ œÓœ.3
# œ œ ∑∑œ ‰ . ‰ . ∑∑œm .Œ
∑
∑
œ œœ œœb Œ # œmœœ
m œœ #
∑œn œn .
3
.
.œœm
œm . ‰ ∑œ œ ‰ ∑œ.Ó
œn.
œ
.œ œ Ó
œ.O O Ó
# œµ œ œœµ Œ ‰ . œµ
3 5
? &
# O O O O O Œ ‰ .œ
3
5
˙B# .
Óœm œ ?
O # .O O O O O O O O O O O O O
‰ . ÓÓœµ œ œ Œ Ó
œm3
‰ . O Œ ÓOm
3
O O O O O O
‰ œn ∑œb ‰ ‰œ ∑œb ‰ Œ ‰ # œb
33
3
œœb œ œ Ó
œb‰ Ó
œ œb œœbœb
‰3
3
3
# ∑œ.
Óœ ‰ Ó
œ # ∑œµ ‰ . Œ
œ # œµ Œ ‰ . ∑∑œµ Œ ∑œ Óœµ3
∑
III
III III
I
c.l.b.m.s.p. s.t.
p
m.s.p.II
c.l.b.
s.t. m.s.p.
P
IVpizz.
pizz.
f
P
F
P P
p
π πP
F p
Fzp F p
Pz
Pπ
Fp
P
arco
Fz
jeté
jeté
I
ord.
sub
54
&
?
?
÷
&
?
&
&
&
B
?
?
?
t
&
?
&
?
÷
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Fl.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
◊
œµ œn œn œb Œ Óœµ
Ó œb ∑œn ‰ œ
33 3
‰ œm . #œm .
œ œµ ∑œn‰ # œ œ
53
3
Œ ‰ œ œ œ œ œ3
∑
œ ∑œ œœœ
œœ
œ œœ œœ œœ # œmœœ
m œœ
3
3
‰ ‰ œm Œ ‰ œm œ œ œœ.3
3
‰ . ∑∑œ œ∑
œÓœ œ
‰ .O
O O O O O O O
‰ Óœµ ˙ œµ
‰ O O O O O O O O
Œ∑œB ‰ Ó
œ ˙&
Œ∑œ ‰ O O O O O O O
Œ ∑œ
Œ ‰∑œ
‰ ‰ Óœµ3
Œ ∑œ Œ ‰ ∑œ ‰ ‰ O3
O O O O O O O
œœœ
∑œb
Óœ .œm
œœn œ ‰
∑
œb
œœb3
3
∑œ‰
œ# œb œb Œ ‰ ∑œ
3
‰ ∑œµ ‰ ‰ ∑œ ‰ ‰∑œ ‰ Œ
‰ .∑∑œ
œ œ Œ Œ ‰ ∑œµ ‰
∑
I
IIIpizz.
pizz.
c.l.b.s.t. m.s.p.
III
F
criniII
Fz
s.t. m.s.p.
F
III
ß
π
p
f
πP
F
P P
p
s.p.
criniord.
II
ßf P
b
P
p
p
arco
arco
ßFz
arco
c.l.b.
arcoc.l.b.
ord.
El.
c.l.b.
jeté
jeté
jeté
jeté
240
(F )
(p)
sub
sub
œ
‚
œ œ œœm œ œ œ # œm . # .∑œn
œm
‚
œ œ œ
‚
œ œœm .
‰ œ œ3
˙mæ Óœæ ‰ œ. ‰ œn
Óœ œ3 3
∑
œœ
œœ
œœ œ œ
Óœœ
.
.œœ
∑œ œb Œ ∑œn3 3
3
˙n œœ # œm ‰∑œn
œm3
˙ ‰ . ÓÓœ Œ Œ
O ‰ . ÓÓO Œ Œ
œ .Óœ # œn œ œµ
O O .ÓO # œ Oœ œ œ œ œ œ O O O O O
˙bÓœ ‰ œ ‰ œB 3
O ‰ ∑O Œ ‰O3
O O O O O O
˙Óœ ‰ ‰ . ÓÓ
œµ œ
‰ ‰ . O O O O O O O
‰ œ # œn∑œn ‰ Ó œ
œmm œ œm3 3
Œ œb ‰ œ ‰ œ #œ
‰ œ ∑œm3 3
33
ÓœB ‰ ∑œ ‰ ∑œ ‰ #
∑œn # Óœ œB Œ
3
∑œµ ‰ Œ ‰ # ÓÓœµ Œ Œ
∑
IIII
II
pizz.pizz. pizz.c.l.b.
c.l.b.
c.l.b.
pizz.
pizz.
F π
f
F
P
P f P ß
fp p
Pzp
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s.t.II
s.t.
F
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f
III
m.s.p.
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p
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p
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F
çç
ß
f
πF
p
jeté
s.p.
flt.
sub
‚
œb œœb .
‰ ∑œn .œn œn œm œn æ œæ œæ3
‰ œm . ‰ ∑œm >Œ+ # œm . # œm
‚
œ œœm
3
33
3
‰ ∑œm æ œæ œæ ∑œæ ‰ ‰ œ œ3
∑
œ œœn œœ œœ œœm œœ # œm Ó
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‰3
3
3
‰ . ∑∑œµ Œ #.∑
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& ÓœB3
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‰ ∑œµ∑œ ‰ #
∑œ
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∑
IIV
IIIV
pizz.
F
pizz.
P π p p
P
P
c.l.b.
s.t.
c.l.b.
I
crini
ff P f
ß
Fzß
f
c.l.b.
F
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ß
ç
arco
arco
arco
III
FzPz π πfPz
ß Fz P
F
I
I
jeté
jeté
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ord.
s.t.
flt.
55
&
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÷
&
?
&
&
&
B
?
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t
&
?
&
?
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÷
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
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44
44
44
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44
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45
45
45
45
45
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45
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45
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44
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44
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44
Ovblw.
Fl.
Ovtns.
B. Cl.
Bs.Tbn.
Sn.Cng.B.D.K.D.
(sound)Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
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‚
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‚
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∑œm >‰ ‰ ∑œ.
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+œ
3
∑
œœ
∑œn œœ ∑œœ œ
œm œ œœœœ œn œb œ3
3
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∑œ
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œm3
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# œµ œœœ
n œœ
n Œ œ œ3
# O O ∑∑O ‰ . O O3# œ œ œ œ
œµ ∑œµ Œ # Óœ ‰ # .∑œ # œ œ3 3 3
O ÓO Œ #
ÓO ‰ # .
Ӝ # O O3
3 3
œB Œ ‰ œB œ # œ ‰ ® .œ3
&
œ ‰O O # O ‰ ® .O3
œ œ œ œ œ œ
∑œ
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‰ ‰ œ ‰ Óœ # ∑œ # œb
Óœ Œ
33
# ÓÓœm ‰ Œ ‰ ∑œm ‰ . ÓÓ
œ Œ
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.œ3
3
3
3
œµ Óœ
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‰ ‰ Óœµ # ∑œ
# ‰ ∑œ ‰ # œ3
3
∑∑
III
II
III
IV
IIII
I
III
III
II pizz.
pizz.
arco
pizz.
f
ß
P
c.l.b.I
pizz.
II
crini
f
Fz
arco
arco
arco
arco pizz.
fÍ
FP
F ç
f fFf ç
ççp F p
ç
ß
çß
çFz
ß
ƒ P F f
ß
f F
243
El.
f
f
f
pFsub
p
sub
(F )
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subƒsub
F
flt.
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∑‚
∑œm
‚
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3 3 3 3
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‚
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3
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3
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3
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OU
Œ Ó
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OU O Ó
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OU
O O Œ
œ œ ˙
OU
O O
ŒU Œ œb œ œb œnœb œ
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ŒU Œœb œ
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œ3 3
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U œœ Œ ∑œ Ó
ϵ #
∑œ
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µ
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3
ŒU Œ œœ œœ&
ŒU Œ Ó
arco
Í
F.A.
f π
ƒ f P
p
Pπ
p F
F p
P f P Fp
f
F
f
P
π
π
π
π
P
P
I4 "Wield"
P
‰ œn œ œ Œ ∑œm
‚
œ
‚
œm . Œ # œ. œ ∑œB
33
# œm . œm .œm . œ
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3
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3
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3
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∑
I
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p
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P
pizz.I
pizz.
pizz.
p
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p
p
p
p
sub
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III
56
÷
&
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&
&
&
B
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t
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&
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44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
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3
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? &
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5
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5
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Œ ‰ ÓO5
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‰œ
3
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3
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ϵ
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µ
Ӝ
3
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3
∑∑
III
II
III
I
I
II
III
pizz.
arcopizz.
pizz.arco
arco
III
(p)
(p)
(p)
P
arco
pizz.
pizz.
arco
p
(p)
246
El.
sub
∑
#œm .
œ. œn # œ œnœ œ œ œm .
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33 3
3
3
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3
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3
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3
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3 3 3
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5
O # O ‰O .O
æ O5
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Ӝ3
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O3
# œ œ ∑œ œ∑œ
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ϵ
œn
œn
œB
œ # œœµ
3
3
3 3
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œ ∑œµ œ
œ œ œœ ‰ ‰ œ œµ ‰ œ œ œ œn
3 3 3 3
‰œµ
® .œµ #∑œ
.Óœµ ‰ œµ œ
‰ # œ3
3
3
∑∑
IIIV
II
III
III
I
II
III
arco
pizz. arco pizz.
arco pizz.arco
pizz. arcopizz.
II
Ó ∑œ ‰ Œ
œœm˘∑œ
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œmœm ‰ # œ
∑œ œ œ ∑œm œœ œœ∑œ œ.
3
3
3 3 3
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œflœ œ œ. ‰ ∑∑œn .
‰3
33 3
3
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œ œ
35
Om ∑O .OOæ O
æ#
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5
œ œ œ œ œ œ œ
.œ œ Œ œµœµ Œ&
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‰ ÓœB œ ∑œ œ ‰ œb œ3 3
‰ ÓO O ∑Oæ Oæ
‰O 3
3
O O O O O O
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œ# .
Ӝ
˙
5
&
‰ .∑œµ æ # .O æ5 O O O O
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œ œ œb ‰∑œ3 3
œbœb œb
œb # ∑œœ
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œœ
œœ
œœ#
œ
3
œµ œ
∑œB
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33 3 3
œ∑œn
#œ
œB œ‰ œµ ‰ ∑œ
œµ ‰œµ
‰3
3
∑∑
III
I
II
I
III
III
I
I
IVIV
pizz. arco c.l.b.
arco
jeté
arco c.l.b.jeté
jeté
jeté
p
57
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&
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&
&
B
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t
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÷
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Sn.Cng.B.D.K.D.
(sound)
Vln.
(sound)
Vla.
(sound)
Vc.
(sound)
Cb.
Dncrs.
Pno.
249Œ # .∑1 1 Œ
‰ #œm œ ‰ œ
⁄ œmÓœ
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œm œ
3 3 3 3
# ∑œbœn # œ
>
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.
œm .œm . ‰
œm .œm
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3
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O O O O
# œµ # œ œB? œµ& œ œ # œ ‰ œ3
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Ͼ
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3
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ŒO O O
æ
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# œ œm3?
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O
3
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Œ Óœm ∑œ ‰ œ œ ‰ œ # œ œb
33
3
œb œ‰ ∑œ # œœnb
‰ Óœ
∑œ‰ # œ
œœm
œœ
3
3
3 3
∑∑
III
I
II
F.A.
III
IIIIV
crini
arco
c.l.b. crini
c.l.b.
jeté
El.
P
I I
Icrini
jeté criniIV
jeté
(P)
π
π
π
π
IIIpizz.III
"pizz."
jeté
sub
sub
Ó ∑œ
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œn œb ‰ # œb œ œ œb ∑œn .#3
3 3
œ.œœ œœ œb . ‰
œb œbœœb œb . #
œb .‰ ∑œ # ∑œb
œ.3
3
3
# œœ œœœµ œ # œ
œœœ
3
# œœ O # œO
3
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3 3
&
# O # œœ # œ
æœ
æ3 3 3
O O O O œœ œœ œœ œœ œœ
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3
# Óœ ‰ # Ó
œm ‰ ∑œm ‰ ∑œb‰ ∑œb
œœ
3 33
∑∑
III
III
III
IV
I
I
c.l.b.jeté
jeté jetécrini
π
jeté jeté
III
c.l.b.
arco
( h )
∑
œb œn # œb⁄œb
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œ œ œ ∑œbœ
3 3
# œ œ œbœ œb
œn . ‰ œ ‰ œbœb œ œ œb >
œ.
3 3 33 3
3
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Óœæ ‰ Œ Ó
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∑
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Om # .∑œ Œ
Œ Œ Óœm #
.∑
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œ # œ œm ‰ ∑œm ‰∑œm # ∑∑œ œ œ #
œb3 3
3
# ∑œ ∑œ
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œm ∑œm‰ ‰ ∑œb
œ œB3 3 33
∑∑
pizz.III
( h )
÷Dncrs. ÓDancers undulate, reaching for the ceiing.
3.20.2016 ~18 minutes.
BlackoutU(~10-15 sec.)
0/
A5 "Peace"252
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