Pirouette score

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 ! ! ! "!#$%!&'%!()**)+,-.!/%0!1$!1!23)-#-4,1&,)-!.#,5%!67)$&!)(!&'%$%!13%!89:;!<#&!$)7%!

13%!,-=%-&%5>! !! ?!@!,-'1*%!6,A%A!&1/%!1#5,<*%!<3%1&'!71/,-.!,&!1!B2%34#$$,=%C!$)#-5>! !!@!#!,-!B3#-C!! "!@!%!,-!B<%&C!!

1#!@!B%0%C!!

1$!@!1!,-!B(1&'%3C!! )%!@!)!,-!+')*%!! #@!,!,-!B5,5C!! &!@!$)#-5$!*,/%!&'%!D3%-4'!+)35!BE%C! '!@!$'! ,$!@!&'%!B%C!,-!3%%7! #$!@!)#!,-!B&'3)#.'C! (3!@!B%3C!,-!'%35!)3!B#3C!,-!<#3-!

E!@!0!

F!@!B&'C!,-!&'%-! %#!@!B10C!,-!510!

G!@!1!,-!<1.!

H!@!B-.C!,-!/,-.! &'!@!B4'C!,-!4'#4/! )!@!B)C!,-!-)&! %!@!B#C!,-!2#&! !

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")