Amy Beth Kirsten
Pirouette on a Moon Sliver Commissioned by Tim Munro
for solo flute
! 2011 Cover art by Nicholas Schutzenhofer, ! 2011
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Pirouette on a Moon Sliver – Text by A.B. Kirsten
What you see can’t be seen, But you see what you see By what you can’t see. What you see can’t be seen, But you see what you (see what you) can’t. See? Ha ha! Only a sliver of a moon On the night we last saw Pantaloon. And who could say now where he goes? All is what the shadow knows. ‘Though late was I in passing through, I fear I saw what can’t be true…! But, then again, ‘twas dark and dim And I am on a lark and limb. ‘Twas dark I say – so let’s forget! And dance away on pirouette...
Pirouette on a Moon Sliver - Performance Notes Pitch !
!" All accidentals pertain only to the specific pitch to which they are assigned #no octave equivalences" and are neutralized at the beginning of the next measure$ The accidental carries through the measure unless otherwise cancelled$ %" All glissandi begin immediately& unless marked otherwise$ '" Trills are always up ( step
Hierarchy of Dynamics within a given dynamic setting: • Words and laughing: most audible #foreground" • Vocal )percussion* #i$e$ pitched consonants and vowel sounds": fairly audible #middle ground" • Grunts #i$e$ low register vocalizations& think of these as bass notes": least audible #background"
Notation"Note#heads ! FLUTE: • cue+sized triangle note+heads: breathy; use the air from pronunciation of text to drive flute pitches • upward sweeping arrow #see m$ !" over grace notes: use the air from the first #unvoiced" sound of the following word to generate the pitches , in this case& the air used to create the )y* in the word YOU$ • tie into rest: elide the flute pitch with the vocal sound as smoothly as possible , usually to make one word VOICE: • regular note+head with slash: like Sprechstimme& pitched vocalization& very breathy& animated& and theatrical , slide into and away from pitches as rhythm allows; for those notes with a staccato #or where the rhythm makes it impossible to slide into and away from pitches" assume these pitches are approximate • tea+cup shaped note+heads - your choice of pitch , pitch choice should suit given quality of character • .x/ - audible exhale • regular note+heads: pitched& voiced consonants and0or vowels • x note+heads: unpitched consonants • letters in parentheses versus letters in brackets: letters in parentheses have no function except to help identify words , letters in brackets are used to distinguish IPA symbols from regular text • Open circle note+heads with diamond shaped designation underneath: audible inhale , much like a gasp$ Non+voiced; has no pitch$ #m$ ! beat % at letter A" • Capital letters are used to differentiate between words and mere sounds , sounds #consonants and vowels" are notated inside of brackets
• Diamond shaped note+heads #normally used for harmonics": pitchless whispering , their location on the staff corresponds to intensity and dynamic , the higher on the staff the more intense • Squiggly line over note: #see m$ !1" flailing pitch • Circular note+head with x in the middle: make a glottal croak #see m$ %2" • Caret accent: expel A LOT of air upon speaking the word or sound #see m$ %2" • Notes above c3 #one octave above middle c" are falsetto , as if you are impersonating the Queen of England or Julia Child , bend into and off of notes • Dynamics for the voice: think of forte and fortissimo in terms of relative intensity rather than loudness
Pirouette on a Moon Sliver - Performance Notes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
for Tim Munro
2
Pirouette on a Moon Sliver I. Illusion (The Set-Up)
a wildly colorful, untrustworthy tale q = c. 54 sound of air and slight pitch, as if you're trying to speak
voice only; freely to letter A Flute / Voice
√ Œ
, Un. & ¿
, ≈n. ¿
[wh...]
Amy Beth Kirsten
U Œ
mf
p
O
[wh...]
Ϊ
n.
Œ
f
p
O J
[wh]
raspy p
n.
O
‰
œ.
[wh]
[wh!]
release flute posture
¿.
‰
[t]
with flute in playing position, near mouth, but not touching, fashion your lips into the shape of the beginning of the word "what" but make no sound - lay it on thick...the audience is putty in your hands
‰™
3
&
directed to the audience hissing f mf mp
f mp hissing
r > ¿. ‰ ™ O ¿. ¿. ¿. O ¿. ‰ O f ™# h h > #h . 3
mf
‰ h. h. r >
" [wh] [a] [t]
f
¯¯¯¯ #œ œ ‰ ™ œ#œ ‰ ™ œ#œ ‰ ™ Œ # œ . s s œ >n œgli ™ p
mf
[wh] [a] [t] [t] [t] [wh!] [t] WHAT YOU SEE
CAN'T
closed mouth laugh, in back of throat - sounds like you're laughing with the last bit of air you have - acheive this effect by purposely having little air left by the time you get to this point
&
piercing, pure, no vib. mf
n˙ ™
SEEN
&
3
# œ.
# œ.
WHAT YOU
11
&
O >.
mf
3
¿.
b œ.
[s]
SEE
mp gliss to lowest grunt note
nœ ™
(S)EE
gli ss.
p
œ
[!]
œ
CAN'T
‰™
j œ
mf 3
nœ.
WHAT YOU
raspy
9
mp
,
BE
pp
‰
bœ gliss j > .œ
BUT
mp
f
≈ ¿ O > œ.
œ # œ.
3
h h
[a#nt] SEE
mf
‰ ‰ ≈
3
BY WHAT YOU
œ œ nœ
3
œ
h ‰™ œ œ R
BUT YOU SEE WHAT YOU SEE
œ
ùœ-.
#œ-.
SEEN
pp
h
3
YOU
f
¿ ≈ Œ >
[k] [x] [a#n] [t] (CAN'T)
3
œ œ
BY WHAT YOUCAN'T
BE
to the audience (still) - accusatory! not shouting, but intense, like a close-up on the Joker's painted mouth ff
mockingly, perhaps nasal (or in headvoice) like a mean kid on the playground
mp
p
p 3
¿
# œ-. û
[s]
(S)EE
f
> ¿ O
[k] [x] (CAN'T)
hissing
≈ rgl j ‰ O. œ iss. SEE
≈
mf 3
O.
-h
WHAT? WHAT? WHAT? (c. 50")
3
A
take time with gliss.
&
# hJ
gliss
WH
.
A tempo q = 54
.
44 ≈ h
-
mp
.
œ #œ
A
T
[t]
f
‰ & 42 Œh ≈ f ##hû œ œ . . ha ha
≈
. #œ
[gh]
"
[t]
f
#¿
#¿
. | fi - ≈ #-#h œ f
. œ
≈
≈
. œ ≈
[gh]
"
[t]
[gh]
"
[t]
YOU
[t]
¿
f
42 f
¿ [gh]
"
(see hierarchy of dynamics)
3
SEE
≈
"
- -
3
#- -
3
gliss.
WH see note p
-
. . . . . . | ≈ ≈ ≈ ≈ ≈ ≈ fi 44 œ œ #œ #-#nh #œ h œ œ ≈ f f f # ¿ ¿ f #¿ ¿ A
T
[t] [gh] "
[t] [gh] "
YOU [t] [t] [gh] "
[t] [gh] "
mf
. .
. . œ®≈
** sprech in high > 5 register if poss. # œ # œ ®n œ # œ œnœ œ 5 4+5 -nœ œ œ n œ b œ n œ œ # œ # #œ œ #- - #9 bœ nœ #œ nœ#œ œ #œ œ#œ nœ œ œ œ 7** œ & 16 16 nœ ‰ ≈ hû f ≈ ≈ ¿ Œ
>
legato
#¿
mf
[S]
. . œ . 7 # œ œ ≈ ≈ 2 ‰ & 4 #h ≈ ≈ ≈ f f ¿ ¿ CAN' T mf
[t] [gh] "
[t] [gh] "
-
SEE [gh] " [t] [t] f
"
. . . . . . . . # œ œ œ œ #œ ≈ ≈ #≈ ≈ œ ≈ #® ® ≈ nœ œ #h œ # h ≈ ≈ f ≈ ≈ ≈ ≈ ≈ ¿ f ≈ f ¿ ¿ BE [t]
[t] [tuh] [gh] [t]
[t]
"
SEEN [t]
[t] [gh] "
[t] [t]
[t] [t]
"
. . ® #œ ≈ ≈ ® œ ≈ ≈ 5 6 16 16 O f nh #h ® h f #h ® ≈ ≈ h
[wh] WHA [TY] SEE C AN'T BE SEEN" BUT " YOU S EE [wh] WHA CHU SEE " BY
mp
[t] [t]
2 4 f
. . œ
® #- ≈ - ® ≈ ® ‰ ‰ - ® #- ® & #® # h ≈ n h ® h # h ®- h f # h f # h ®n h ® #h
10
9 16
WHA T CHU " CAN' T
4
(3+2)
5 ≈ & 16 n f
13
"
≈ h
® #h
YOU CAN' p sub.
.r exaggerate 16 #œ ≈ for affect Œ 2 &4 ‰ f ™ T
Ÿ . 19 œ & œJ ™ #œ mp
"
. œ ®
b-
≈ ≈
T
. œ
® b ® h
≈
≈ h
® #h
S
"
YOU
CAN'
EE
f
®
n-
≈ ≈
® ® nœ
T
S
28 Πf
EE
"
h YOU
mp
B
[t]
42
CAN' mf
q. = 76 Excessively saccharine; it smells rotten
. . Ÿ r r Ÿ bœ œ U b œ n œ œ™ nœ ≈ œ #œ ≈ 6 #œ ™ nœ œ bœ ≈ nœ ≈ n 8 #œ ™ #œ #œ . œJg™l œ œ. ≈ ≈ R ≈ R ≈ ‰ iss. Jgliss.
accel.
r œ œ R
fifififi #h
[t]
[t]
[t] [t]
sung
f
mf sub.
. . . . . . in your own private ecstasy Ÿ . . Ÿ œ . Ÿ nœ#œ œœ œ . Ÿ . . bœ™ œ Ÿ . . œ b œ nœ #œ œ b œ bœfij œ ≈ nœ ≈ #œ b œ b œ œ b œ n œ nœ ™ #œ Ó™ Ó™ nœ #œ Ó™ n œJ ™ mf mp
accel.
. . . . . . . . Ÿ~~~~~ . . . . . . . . . . œ œ œ œ œ œ . œ. œ œ. œ. . œ œ œ œ œ œ œ # œ œ # œ œ # œ œ # œ 23 ≈ œœ Œ œ œ. ≈ œ ≈ #œ ≈ œ ≈ # œ 10 ≈ #œ 6 ≈ ≈ & Ó™ 8 Œ™ 8 Ó™ ™ â f f Œ toying with ä cresc. as if stuck
us
"
no breath q. = 84 Laughing . .œ . . rit. œ # œ. # œ. œ œ. n œ œ. œ # œ . . . . . . . . . . pitch follows contour of line 27 ≈ œ # œ ≈nœ œ ≈ ≈ œ œ ≈ Œ™ Œ™ ≈ 2 n œ ≈ ≈ œ & œ#œ Ó™ ≈ ≈ ≈ ≈ ≈ ≈4 . . . . . . . . . . mp f sub. . . f ha ha
ha ha
ha ha
mf
ha ha
ha ha
ha ha
ff
C
j.w.
.
3
™ & 42 Y‰ ≈c œ .v
30
nya HA mf
33
5
Tempo I q = 54
2 &4≈ Ó nœ nÆœJ . .
. œ
. #œ
ya [buh] [t]
≈
œ .
. nœ ‰ ™ & ≈ h #h f
‰
‰
. œ
& ‰
S f
-
#-
‰ #h
#h
-
. #œ
& 78 ‰ #- ≈Y ‰ a [S]
‰ #h
O
A
CHU
. œfij
nœ ≈ ≈ O
5
nœ œ nœbœbœ œnœnœn≈ n œ œ#œnœ - #- n-#- nh œœ
S
Quick, evil laugh
h
EE CAN'T
. nœ
‰
#h
"
BE
f
#œ
Unrepentingly rowdy
. ® nœ Œ nh h ® f h f
Suddenly coy
≈
-
3
SEE?
p
mf
(S)LI - VER
OF A MOON
42
® ® #h
≈
S
"
f
EEN
|
. #œ
-
® ≈ ® ≈ ® ≈ ® ≈ n h # h nh ® # h ® f ® f ® h ≈ BU T CHU S EE " WHA T "
D
YOU
a tad slower momentarily hushed for dramatic effect - lika a story teller about to reveal something important...
HA HA! f
Ó 58 Œ ™ Œ ‰ ‰ ‰ h nh h h. # h h Œ
,
ZOOM! f
. . . . . 3 #œ ® #œ ≈ ‰ ≈ œ ® Œ ≈ ≈ ≈ 4 œ œ œ #œ Ó‰ h ® ≈ ‰ #h#œ≈ ≈ ‰ 4 #œ œ œ œ Ó nh #h . . pp mp > . . # œfij
EE WHA T YOU CAN' T.
- - n- b- - -
#œ ® ® #h
WH A CHU SEE CAN' T " BE SEEN "
mp sub.
41
gliss.
® ‰ ≈ ≈ ≈ ¿ ≈ f #- h nO ® h
#h
>
[Z] -
WH mp
[ch] [ka] [ku] " [ts] [ch] [k] "
38
œ # œ #œ#œnœ œ#œ#œb œ #œ
> n nœ bœnœ œ
[tz] [k] "
HA
.
#œ œ œ
the riddle returns
35
# -û -fi
extremely indulgant
‰h ≈ 3 ≈ ≈ 10 16 16 bœ ≈ œ ≈ f .
nervously
[$] HA mf
(4+6) legato
78
on - ly
< x = x >
A tempo boisterous
44 ∑ ≈ @ @≈ @ ≈ @ @ f . . . . . [$] [ha#] [$] mf
Suddenly coy
h #h
[h!] [h!] " ON THE p
Œ
12 16
6 with a dark, evil quality
aspirate "w"
3
œ > ™ ™ 12 ‰ ‰ ‰ 4 Œ ≈ n- n-#- ‰ & 16 4 #-- n- - - - - - - œ œ ¿ ¿ ≈ #¿ # ¿ n¿ œ #œ œ ≈ Y ¿ Y > 3
44
night
[w]
suddenly joyful
"wh" >. . of mystery aspirate bend ™ ≈ 38 #h œ œ ≈ ‰ 44 - gliss. n ≈e ™ # œ f n h ‰™ œ ® ‰ . HA! mf
" and mp
jolly
aspirate "wh" bend
b- gliss.
& 42 ‰ ™
with an air
suddenly sweet
mp
49
-- ≈
3
≈™ ≈Œ , 5 bœ e gliss. 16 b h beR ≈ ææ ææ ææ *
[wh] - WHERE
HE
3
- -
[wh] -
¿
*back of throat fluttertongue
Œ
ææ ææ æ h æ gliss.
WHO
#-
≈ - n- - ‰ - #- ≈ ¿ #¿ # ¿ ¿ #¿ n¿ Y
WE LA -S [s] -[t] [m] [s] SAW PAN-TA - LOON PAN-TA-LOON PAN-TA LOON PAN-TA mf ("LAST")
æ & 42 Œ finœ#œ nœæ™ œ Œ Y ,
46
¿
3
bend
b- gliss.
‰™
COULD[s] mf mp sub.
42
LOON
≈ Œ e gliss. h 42 æ æ æ SAY
-
NOW mf
becoming possessed 3 Ÿ~~ . -. . . -. . ææ æ æ æ æ æ ≈ ™™ œ œ œ ‰ ‰ œ ™ûnœæœæ œæ œ 4 œ ® œ #œ ® œ hh 9 œ 16 # œ û 4 œŒ e ‰™ R. ‰ ™ ≈ f Y Y >
GOES [s]
za!
ZOOM! " ALL IS [s] [w]
*voice: an octave lower if necessary
.
-
n& 43 ‰ h f h œ .
[d!] [%] [d!] THE
Πnh
54
[za#] THE [%æ]
buidling intensity
"
bh f
[do&]
h "
. n-
.
œ b- œ ≈ 4 b œ ≈ ‰ ‰ b e e b h 4 b œ n œ ≈ ≈ ≈ bœ f h . . . >
n-
≈ 9 & 16 Y- nh ‰
52 4+5
H!T THE [%]
.
. #-
® ‰ ® g f n h #h
œ
Œ
h f
SH A DOW " THE SHA - DOW KNOW [s] " THE SHA - DOW "
n#h #e
dramatic breath
I h ‰ f nh >-
THE SHA - DOW "
Explode!
KNOWS
f
Frenzied (as fast as possible)
5 #16 ‰ [z]
-
- 6 - b-
- b-
h
# œ gliss.
43
KNOWS
. . . . . . œ nœ œ œ œ œ 16 7 ‰™
7
. . 5. . .
. . 3. . . . . . æ æ æ j 3+4 æ æfij b œ n œfi bœ œ œ b œ œ b œ œ n œ#œ #- nœ œ œæ œ œæ œ 7 œ œ œ 44 & 16 Ó™ ∑
56
3
Regaining composure A tempo (a little slower than before) q = 50
5
. . . ‰ nœ œ ≈ nœ
. - # - n- # -
™ 5 r ‰@ @ ‰ 16 œ ≈
nœ
HA! HA! mf
[z]
mp
Æ Æ œ ≈ ® œ ‰ Ó gliss. h b h ≈ ≈
. 58 with an air of mystery œ ≈ ≈ ® 5 ∑ 4 bh & 16 nœ ≈ 4 œ. ‰ f ÆJ n hJ ™ .
E
'THOUGH [g!] mp
60
&
nÓh
gliss.
#h
[t!]
" LATE
nœ
THROUGH
[d!]
WAS [s]
Æ Æ œ nœ
≈
≈
[t]
@ @ Π. .
I
IN
f
PAS-SING
Allargando ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ h™ h 2gliss. #h ∑ e™ 4 Y f .
"
wide vibrato
≈
f
HA HA! mf
h h bh h
AND mp
FEAR
I
"
SAW
Y .
7 16
q =46 Wide-Eyed; Playing Innocent this measure: everything is extremely breathy 62
4+3
7 & 16 h f
œ f >
WHAT " CAN'T "
∑
œ f >
BE
"
44 #œ ‰
#œ . I
‰ , œ #h #œ ‰
[S]
AW
I
[S]
‰ , œ h nœ ‰
AW
I
[S]
‰ , #œ e e ‰ œ #h nœ ¿ . ‰ 3
AW
I
[s]
[w!] [t] ("WHAT")
mf
A tempo q = 54
œ ® œ‰ & ® @ ≈h
64
[k] [a#n] [t]BE ("CAN'T")
‰
œfij
. bœ
3
≈bœ nœb œ œ f hJ ‰ Œ nœ#œ . .
[t](T)RUE
f
"
breathy, flirtatious
Œ bœ
‰ œ Œ
HEY
mp
3
bœ bœ œ
3
bœ œbœ f
Æ
rit. 3
#œnœ
3
Æ ‰ n œ #œ œbœ Æ ‰ œ nœ ‰ œ ¿#h ‰ #h # eJ F
[ts] I [s]
(S)AW
F
√
long, dramatic, inhale
Œ
nf
"
mf take time to annunciate this "I" and this "SAW" as clear as poss.
9 16
8 short, silence, to "ponder"
≈
^ Æ3 Æ 3+3+3 ^ Æ use the "m" to n œ swirl the pitch 66 5+4 bœ * squeak b œ nœ ≈ ≈ ≈ ≈ ≈ nŒh ™fifififi ‰ 3 9 Œ jfi ∑ bœ œ & 16 nh ≈ J ‰ 4 h fij ‰ b œ ≈ n h Œ œ h nh h #h nh h h ≈ nh h ≈ h nh R R R A tempo q = 54
BUT mp
THEN A GAIN
'TWAS mf
^ Æ 69 ≈ œ ≈ ‰ ™ fifififi 6 bœ nh bhJ ™ & 16 bh LARK mp
AND
LIMB mf
legato
≈ 2 &4 œ
71
#-
-
- #-
-
DARK
AND DIM
AND
3
I
Ó 44 œ œ ≈ f #h f # œ . . . HA HA
"
[hæ]
"
b- b- #b- bb- bb-
HA! [Z]
œ œ ≈ ≈ nœ Œ œ œ œ ≈ f nœ ≈ œ >. .
[h!]
[d!] [t!] [d!]
- b- b-
-
-
"
-
-
[ta#]
-
-
. . . fifififi œ œ œ œ 72 #œ œ œ ≈™ ≈ 4 & 4 #h ≈ h
Ÿ~~~~~~~~~~~~~~~~~
I
≈ ‰
œ [s]
œj ‰ ‰ œ
[t] sing
[h!]
-
.
[h$]
≈ ≈fifififi , 44 h nh
nh
Œ œ #œ. œ. #œ. œ. # e e ® e #e e #h
(S)AY
HA mf
HA
Ÿ~~~~~~~~~~ . . . . Ÿ~~~~~~~~ 73 n œ œ œ œ œ œ œ œ œ œ ≈sprech. ≈ œ ≈ ≈ h 3 h ™™ œ œ œ & 4 h ≈ ≈ ≈ ‰ ≈ ≈ ≈ ≈ #h nh FOR - GE(T) [t]
œ
(Z)OOM! 'TWAS mp sub. f
mf
F
LE(T) [ts]
ON A
p
Groovin' out for a moment *squeaked laugh gliss.
DARK
5
AM
AND DANCE mp
[$]
HA
bh h ∑ A - WAY
œ
HA
‰
SO
#hJ ON
9
, ≈ A tempo 3 - Ÿ~~ - æ n# b œ æ 75 œ œ Œ™ nœ bœ ≈ ™ b œ b œ œ œ™ b œ b œ œ #-n ≈™ 6 b œ n & 8 œ ™ bœ œ œ ™ ® ‰ ‰ ∑ O n - -#rit.
suddenly struck by a memory...
U™ Œ O f @ @ Œ™
ff
sing
PIR
-
OU- ETTE [t]
[Z] pp
12 8
‰
(Z)OOM!
(c. 5')
" HA HA! p
II. Delusion (Love Imagined and Destroyed)
q. = 72 Overall character is delight in "the dark side" with interjections of melancholy poco rit. 78
privately laughing
& 12 8 O O ‰ O O ‰ ∑O O ‰ O O ‰ 68 (See Notes on > > > > whispering) ha# ha# mf
ha# ha#
poco rit.
A tempo
ha# ha#
lost in thought...
∑
ha# ha#
A tempo
12 8 O O ‰ O O ‰ ∑O O ‰ O O ‰ 98 > > > > hi# hi# mf
n.
hi# hi#
hi# hi#
(approx.)
< e = e >
∑
44
hi# hi# n.
("hee")
. . . . Æ Æ Æ Æ not into flute œ œ . . . # œ # œ œ œ œ œ #œ ‰ ‰ Œ #œ ‰ ‰ 5 #œ ‰ ‰ Œ #œ Œ ‰ ∑ 44 Œ & 44 Œ 4 Œ ‰OO Œ Œ O OŒ œ O OŒ œ O OŒ œ O O ˙™ J Ó Ó Ó * L sing > > q = 96
82
ha# ha# ha# ha# p *emphasize every other downbeat thru m. 90
playing p singing mp
Æ œ #œ Œ Œ & O O n˙ ™ >
87
ha# ha#
. œ
‰
[x]
ha# ha#
ha# ha#
(legato as poss.) mp
. . . Æ Æ Æ œ # œ # œ œ œ œ #œ Œ #œ Œ #œ Œ Œ ‰ Œ ‰ Œ ‰ œ ™ œ œ Œ # ˙ œ O O #œ œ ™ œ O O nœ œ bœ J
ha# ha#
ha# ha#
G
. œ . . Æ Æ . . . . . 91 . n œ . . # œ œ œ # œ # œ # œ œ # œ Œ ‰ ‰ Œ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ ‰ œ œ œ & Ó O O Œ œÓ O O Œ œÓ O O Œ œ ‰ O O ‰ ‰ O O ‰ > rit.
q = 88 Relishing the breath
mf
ha# ha# p
ha# ha#
mf
ha# ha# mp
ha# mf
ha#
10
q = 84 . . . . . œ >. . œ#œ >. . 95 3+4 œ ≈ . ‰ ‰ #œ œ # œ 78 ‰ ‰ ‰ 3 œfij ∑ 44 ‰™ Œ œ & œ O O ‰ œÓ œ 4 ‰ O O Ó Œ œ O ™ *grace note O ‰ played by flute > h!
h!
pp
ha#
Œ Œ ™ ≈ O O Œ
[ja#]
[%]
Breath sounds take over...increasing intensity and wildly varying dynamics through m. 110. At m. 111, instensity is fierce. 5
œ ‰ Œ Ó & ‰ O O O OOÓ
99
[tu#] [d' - di# ja#] p
œ . œ pp œ . ff≈ œ ≈≈ œj *** œ . ÆJ ‰ Œ™ Ó ‰Œ Ó ‰ Œ . . . . . ≈ ≈≈≈ ‰ œ O O‰™ O O O O O O O O O O Ó O O O OOOOOO O. O. O. Œ œ O ff Œ 6 6 ** 3 [s]
5
[( d!] [%u# t (mp) f
mp
3
t] [%o& ... ... ... ... ...] [a#] [%' %u# %)# %)# [ha# pp ** mf p mf ***I'll have to demonstrate this one... **bounce abdomen air while
≈ 5 . . . . . fltg. . ææ ææ æ. æ. Œ 103 œ œ œ Œ ‰ 1 # 1. ≈ . œ # œ. ‰ # 1 æ 1æ # œ ‰Œ ‰ Ó œ 1 b1 & Œ ‰ O. O. O. >O. O. >O. O. O. ≈Œ O. O. O. O. O. O. O. O. ≈ œ‰ ‰ OJ. Œ O. O. O. O. ≈Ó Œ ff poco accel.
f
mp
3
6
Ó™ & >O. O. O. [h)# h)# h)#
A tempo (q = 84)
5
3
[hu# h)# h)# ha# ha# ha# ha# ha# ha#] ** mf mp
[ha#]
[h)# h)# ha# ha#] ** mf mp
mp
6
Æ œ ‰ ‰ .O O. >O. O. >O. O. O. ≈ ≈ O O O O O ‰ O 6
3
h)# h)# ho& ho& ha# ha# ha#]
[%a# tu# d)# a#] mp
** mf
3
3
mf
106
holding phoneme - sounds like a sinister, whispery laugh
sweetly
3
3
3
[s s s h)# h)# ha# ha# ha#] ** mf mp
3
œ. Œ
[h)#]
Æ œ Œ ‰ ‰ O O O O. ‰ Œ ≈ ‰ ff 3
[kh]
3
œ#œ . Œ
9 16
3
[hu# h)# ja# jo&]
,(take time for big breath here)
the I q. = 60 Becoming all air 5 H. . > . >3 >3 demon that tortures you... 3 3 - . . b1 nœ #œ nœ < x = e > I 108 4+5 1 œ œ ≈ ≈ ≈ # - #- n- O ≈ ‰ ‰ œ ‰ ‰ 1 nœ ≈ # 1 ≈ n 1 ≈ 9 3 b 1 6 1 1 n 1 . & 16 Ó 4 O. O. O. 1 O O Œ . . 8 FO I F I f Œ mp mf pp ** R "
5
[h! j! jo& k! mf
t!]
f
mf p sub.
mf p sub.
**Rapid-fire breathing: alternating between inhale and exhale - these breaths are extremely fast and shallow and require sharp pulsation of diaphragm - close soft pallette slightly to make it more audible. Alternate in and out breaths as many times as possible for each beat, accelerating (and increasing dynamic) as you move toward flute notes and slowing down slightly after flute notes. It goes without saying that in order to produce the flute notes, you'll have to land them with an exhale. Execution of this gesture is made easier by alternating between ha#, hi#, and hu# while keeping embouchure consistent and lips touching flute. [Tim, I'm not sure if this will work...you might pass out...let's talk]
11
œ‰‰œ‰‰
111
&
Ɯ
œ
œ ‰ ‰ #œ ‰ ‰ nÆœ J
nƜ
œ
œ ‰ ‰ #œ ‰ ‰ ÆœJ
Ɯ
œ ‰ ‰ #œ ‰ ‰ nÆœ
œ
nœ Æ
J
I
œ
#œ ‰ ‰ œ ‰ ‰
œ Æ
œ
bƜ J becoming more insane
#œ ‰ ‰ œ ‰ ‰ nÆœ J
q = 108 Like a warning
< q. = q >
>œ œ b œ ‰ ‰ # œ # œ b -œ n œ # œ œ # œ b œ >œ œ 117 œ œ >œ # œ ‰ ‰ ‰ ‰ fi fi fi œ œ œ # œ # œ n œ œ œ œ 98 nÆœ 78 bÆœ ‰ ‰nÆœ ‰ ‰ 44 #œ œ ≈nœ œ ≈#œ œ ÆœJ &Æ J (stop rapid-fire breathing!)
mf flute only
molto accel.
120
7 &8
œ
fi œ nœnœ
>œ œ3 >œ œ 3 > # > #œ œ >œ œ œ œ œ œ fi fiœ R ≈#œfiœ œ J 44 œ œ œ fiœ œ f
J 124
&
3
fiœ œ
finœ œ
n>œ œ 3#>œ œ
U ∑
finœ œ
ff
q = 76 Haunted by a memory - resigned to the despair of your irredeemable nature
w
sweetly
bw
45
sing p (both)
130
&
#>œ œ
(take as much time as you need here to stabilize your breath)
<#> w
œj ˙
b˙™
Ó ˙
˙™
44 Πw
œ bœ™
-j œ nœ ™ #œ ™
3
œ ™ œ œ # œ œ #œ œ™ #œj w
‰≈ Ó ‰ Ó
#w
(enharm.)
45 Œ
∑ ‰ O O Œ J into flute
[x]
Œ
44
U ∑
air only
from pure breath (only) to the full, focused beauty of the flute and back again
#O ! ™ ∑ pp
w
w
∑
mp
œ !
∑
O ppp (c. 7' 45")
, 68
12 III. Dance of the Asinine - (Coda)
q. = 63 Forgetting the previous memory; suddenly spinning and drunk with pleasure; erratic
accel. ≈ . b œfij œ œfij b œ œ œ. #œ #œ. œ. œ. œfij œ. 6 9 ‰ ‰ 8 bœ ‰ &8 rit.
f
Ÿ œÆ œfij b œ. . . . bœÆ Æ Æ b œfij œ ™ . œ bœ bœ. œ œ œ nœ œÆ 2 ‰ ‰ 68 4 A tempo
rall.
mp
f
A tempo ≈ . Ÿ . 140 b œfij # œfij œ œ. # œ j bœ fij œ . fi b œ œ bœ. œ. #œ. œ. Æ Æ nœÆ Æ œ #œ œ œ œ. . œ. #œ œ œ œ . . 6 œ #œ #œ œ œ #œ œ œ 5 #œ #œnœ#œ ‰ 68 #œ #œ. ‰ ≈ œ &8 8 A tempo
accel.
mp
rit.
A tempo
accel. rall. A tempo A tempo accel. rit. accel. ≈ Ÿ > >. . œfij # -œ œfij # œ # œfij œ fij n œ œfij # Æ # œ œ n œ #œ# œ . œ œÆ œÆ bœÆ œÆ n œ # œ #œ. n œ # œfij œ. œÆ nœÆ Æ # œ # œ 10 œ 6 # œ #œ nœ ≈ ≈ ≈ ≈ ≈ ‰ 8 ‰ 8
A tempo # œfij
n œ. # œ. œ. 5 &8
144
5
f
>. œ
‰
accel.
q. = 132
accel.
~~ n -œ # œ n œ. # œÆ Æ n -œ # œ n œ. b œÆ Æ n Ÿ-œ # œ œ. b œÆ Æ Æ n>œ. Æ #>œ. n>œ. #>œ. Æ Æ Æ #œ œ #œÆ œ #œ #œ nœ œ #œ #œ nœ œ œ bœÆ #œ #œÆ œ #œ #œÆ œ &
148
>. n>œ. n>œ. U œÆ bœÆ #œÆ # œ #œÆ œÆ #œÆ Œ™ &
153
e = 192
. œfij œ . œfij # œ. # œ. >. œfij b œ - j œ fij b œ œfij b œ n œfi # n œ j 48 J ‰ ‰ J 78 ‰ ‰ ‰ 48 nœfij #œ. ‰ J ‰ œfij
(f )
p
mf
√ -œ nœ . 158 b œfij # œÆ √ œ œ œÆ bœÆ œÆ . #œ. bœ. œfij b œ œfi œbœ#œ . œ. œ. œ. # œ œ # œ œ œ. ≈ œ 58 J œ 68 ®‰ ‰ J ‰ ‰ ®‰ ‰ J ‰ ‰ & 68 pp (sub.)
mf
p (sub.)
mf
f
pp
#œ p
. . nœ . œ nœ œ ®‰ Œ ™ #œ#œ f (c. 8' 45")