Filament: for Trio, Orchestra, and Moving Voices

FILAMENT for trio, orchestra, and moving voices

by As hle yF ur e 8) 01 (2 Score

COMMISSIONED BY THE NEW YORK PHILHARMONIC J A A P VA N Z W E D E N , M U S I C D I R E C T O R

for Amplified Solo Bassoon Amplified Solo Trumpet in Bb Amplified Solo 5-String Double Bass with: 4 Flutes (1st and 2nd doubling Piccolo) 4 Oboes 4 Clarinets in Bb 4 Bassoons (4th doubling Contrabassoon) 4 Horns in F 4 Trumpets in C 4 Trombones 2 Tubas 4 Percussion Violin I Violin II Viola Cello Double Bass and: 15 Moving Voices

Duration: c. 14’

S T R U C T U R E A N D S TA G I N G Filament is scored for orchestra, three amplified soloists (bassoon, trumpet, and double bass) and fifteen moving voices. The soloists perform from pedestals triangulated across the audience and stage. Singers are dispersed throughout the hall, projecting their voices through custom radial megaphones that both amplify and directionally focus each vector of sound. The goal of these bodies in the space is threefold: 1) to democratize proximity and spread access to the intimacy of performance throughout the hall, 2) to create a dynamic spatialization of sound whose angles and arrays shift around the audience in real time, and 3) to activate a theater of the social – toying with the codes of access and intrusion that bind the orchestral ritual. Throughout the piece these distinct forces -- orchestra, soloists, and singers -- call out out to each other across the void, from edge to edge, from periphery to center, tuning toward and pushing against one another as the work unfolds.

CONDUCTING NOTES Filament extends the power of the conductor into a network of relations both on and off-stage. It has a fixed orchestral layer, fully scored and conducted, and a freer vocal layer, more loosely scored, performed by voices moving through the hall. The trio of soloists acts as a conduit between these distinct planes of the piece, translating the conductor’s influence into a series of cues legible to singers without scores. The soloists perform on pedestals both so the vocalists in the audience can see them more clearly, and to delineate a plane of intimacy and interaction unique to themselves. The trio is with the orchestra, but they are also with the audience. They occupy the stage, but they also push through the fourth wall into the space of the spectators.

The vocal material itself is designed to dynamically engage and expand the orchestra’s activity without requiring metric allegiance to a written score or baton. Given the directional power of their megaphones, even simple sung phenomena take on an arresting architectural complexity as they bloom and collapse across the auditory field of the audience. Thick layers of soft white noise and near unisons that bend and twist across the hall spread the visceral energy of the scored music straight to the skin of the listener. Logistically, the rehearsal process unfolds as follows: first, trio and voices rehearse off-site, developing as they do a system of communication that translates timing information from the conductor into cues that are legible to vocalists on the move. Then, when the orchestra joins the equation, the trio is equipped to transmit the conductor’s control through a communication strategy prepared and tested in advance. The execution of this piece takes teamwork, by design. Given the hyper-directionality of the megaphones, the audience in the hall will have a very different experience than the conductor on-stage. This variability and site-specificity is central to the concept of the piece. A creative team involving specialists in movement and immersive theater will be onsite to guide the visual presence of the singers in the hall and offer feedback to them outside of orchestral rehearsal time. The singers themselves are seasoned improvisers accustomed to building acoustic richness from simple instructions. Filament asks the conductor to focus on the orchestra in front of them while listening to the voices behind them, drawing on multiple levels of perception to fully take in and steer the acoustic energy in the space. This heightened state of full-body listening—of attending to what’s behind, what’s off-stage, what can’t be seen but can be felt—is brought to the fore in the last 90 seconds of the piece. There, the conductor holds a charged fermata that stills the orchestra while the vocalists slowly migrate down the aisles of the hall, building a thick web of whispered white noise as they move toward the edge of the stage, just inches from the conductor’s back.

PERFORMANCE NOTES GENERAL Score is in C with the following exceptions: piccolo sounds an octave higher than written; contrabassoon and double bass (ensemble not solo) sound an octave lower than written. The solo 5 string double bass is scordatura. In the score, resultant pitches are indicated. The part is conveyed in choreographic tablature form. Parts for horn, clarinet, and solo trumpet are transposed. Accidentals hold throughout the bar. Arrows indicate gradual processes of transition. Between pitches they indicate glissandi; between score expressions or mute positions they indicate progressive transitions from one timbral state to the next. Dynamics in quotation marks indicate the intensity of a physical gesture and do not necessarily correlate to heard volume. Quarter-tone symbols (seen here as 1/4 sharp, 3/4 quarter sharp, and 1/4 flat, respectively) should be thought of as internally stable, independent pitches. Eighth-tone symbols are present when ‘audible beating’ phenomena are desired. These should be considered less as stable independent pitch positions, and more as colorations of a near unison that produce audible, interference patterns. Note: When quarter and eighth tone symbols are present, “tuning tips” specifying intervallic relationships within instrument families are often offered for quick on-sight reference.

WINDS AND BRASS On a 2-line staff, square note heads indicate unpitched air sounds with shifting spectral focus. The two lines of the staff indicate high and low registers. Changes in register can be achieved with key depression on winds, and with embouchure changes in brass. When consonants and vowels are present they should be forcefully whispered through the instrument, while vigilantly avoiding any audible tone. Inhales and Exhales: Arrows above square (air) noteheads indicate ingressive or exgressive sounds. When no arrow is present, exhale should be presumed. Kiss: Smack lips against mouthpiece in a loud, kissing sound.

PERCUSSION Player 1: Waterphone, styrofoam, spring drum (5” x 7”) Plectra: bow Player 2: waterphone, styrofoam, sizzle cymbal, thunder sheet, whip Plectra: bow, percussion brushes Player 3: waterphone, large tam-tam, bass drum (large), snare drum, ratchet, ocean drum, thunder sheet Plectra: bow, large, soft beaters, bristle brush, superball Player 4: Instruments: ocean drum, bass drum (XXL – as large as possible), sandpaper blocks, large tam-tam Plectra: bow, large, soft tam beaters, bristle brush, superball, beads that can be dropped on bass drum at m. 170 to add a snare like rattle to each attack STRINGS All strings require one auxiliary object: a standard, wooden colored pencil. Double basses also require a stiff plastic credit card. MSP: Molto Sul Pont MST: Molto Sul Tasto Card Swipe: In the double basses, dampen the strings with the left hand and swipe the corner of the card across all four strings to produce a sharp, brittle unpitched pizzicato Square noteheads: are used to indicate sounds of indefinite pitch performed on open strings. Vertical Ricochets: dampen the strings with the left hand and ricochet the bow vertically up or down the strings to produce a burst of bouncing white noise.

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Triangle noteheads indicate stopped pitches of indefinite pitch in the highest region of each string. Stop the string roughly one centimeter from the bridge with the bow squeezed between the bridge and the pressing finger. This technique should produce high, intense hiss, not overpressure, or discenerable pitch. In violins and violas, use the pinky finger of the left hand to stop strings i and ii as close to the bridge as possible.

Pencil Bounce Pizz: Quietly insert pencil under string iii right where the fingerboard meets the body of the instrument. During “Pencil Bounce Pizzes,” push down and release this pencil forcefully so it ricochets back and forth under the string, creating a chaotic and unstable pizzicato texture.

Pencil Tremolo: Hold the pencil vertically between strings i and ii and shake it back and forth so it taps against the strings creating crystalline pizzicato clouds whose pitches change in relation to distance from the bridge.

Quietly insert pencil under string 3 at the edge of the body.

Pinky finger stops string 1 cm from bridge; bow is squished between pinky finger and bridge.

Press down and release

43 2 1

Pencil Bounce Ricochet: In the double bass, hold the pencil against string iv with the right hand and pluck the string forcefully with the left hand thumb. The pencil should bounce up and down chaotically while the strings vibrate.

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Pluck string with left hand thumb.

Hold pencil against string with right hands so it bounces while the string vibrates.

SOLO TRUMPET AND BASSOON

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Digital whites are produced with the crook removed, the mouthpiece removed, and the first valve unscrewed. Rapidly press and release the valve and stop and release the back crook hole with the the thumb of the left hand while blowing forcefully through the instrument. This produces a binary, on-off shift of color in the white noise as it is rapidly redirected through different escape hatches in the deconstrted instrument.

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Metal plate buzz is created by placing a thin-gauged metal sheet against the bell of the instrument (or against the mute in certain passages). The metal vibrates against the trumpet when blown, adding a snare like buzz to the tone. Tongue Slap indicates slapping the tongue against the bocal, with the reed removed, producing a rapid, gunshot like ricochet. Often combined with flutter tongue.

High partial split tones focus on increased spectral energy above the fingered pitch and are indicated with a half harmonic sign. Subtone split tones focus on increased spectral energy below the fingered pitch, adding an audible second spectrum a tritone below.

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Pressure multiphonics are produced with extreme air pressure barely allowed through the mouthpiece, creating a dense, wild screech.

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Vocal beating is produced by bending microtonally with the voice around the fingered pitch to produce audible beating phenomena. The sung tone should always fade in and out of niente. This description pertains to bassoon as well as trumpet.

On a 2-line staff, square note heads indicate unpitched air sounds with shifting spectral focus. The two lines of the staff indicate high and low registers. Changes in register can be achieved with key depression on winds, and with embouchure changes in brass. When consonants and vowels are present they should be forcefully whispered through the instrument, while vigilantly avoiding any audible tone.

SOLO DOUBLE BASS

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The solo double bass part is written for 5 string double bass with the following scordatura:

ii

iii

iv

v

For much of the piece, the player uses a plastic credit card held in their left hand that slides across the strings while they are being bowed to complicate the natural vibrational patterns of the instrument. The entire solo double bass part consists of either multiphonics, card distortion, or open strings: the only stopped notes that arise are in close dyads meant to produce audible beating phenomena.

String Clef: indicates which of the five strings the bow is touching.

Triangle noteheads indicate an extremely high whistle tone performed with the bow squeezed between the card and the bridge.

Square noteheads indicate a distorted sound of indefinite pitch, caused by movement of the card on the string being bowed.

Half-diamond noteheads indicate double bass multiphonics. The string and partial numbers of the harmonic cluster are written above the sounding pitch, with the most prominent overtone indicated in bold and transcribed in staff notation. Bow position is never indicated for multiphonics; place the bow wherever it needs to be and use whatever pressure is necessary to make the multiphonic speak at the desired dynamic.

Card movement: Thick lines indicate movement of the card up and down the string being bowed, toward and away from the bridge. Diagonal lines show vertical movment across the specified duration; horizontal lines imply the card should be held still. Always use very light pressure: the goal is not to stop the string, as the finger would, but to complicate and destabilize its vibrational patterns.

Trill between multiphonic and open string.

ACKNOWLEDGEMENTS Filament is the product of a deep and rich collaborative process, for which I am immensely creatively and existentially grateful. It bears the imprint of the design brilliance of Brandon Clifford, Johanna Lobdell, and Wes McGee of Matter Design, the team that designed and fabricated our custom megaphones and contributed tirelessly to all manner of visual decisions, from soloist placement to the creation of the custom graphics embedded in this very score. CĂŠsar Alvarez and Lilleth Glimcher indulged my wildest multisensory imaginings and helped shape them into a lean, mean, immersive experience machine. Their directorial perspective on bodies, light, movement, drama and conceptual focus emboldened me to reach past the fourth wall with abandon and glee. Marisa Michelson brought her vocal and improvisational skills to bear on five days of megaphone madness in Rome. Lester St. Louis, Yi Zhao, and Lilleth Glimcher came too, and together we turned a series of jet lag fueled 14 hour days into a migratory performance through the tunnels of the American Academy that has indelibly stretched my sense of the possible. Nate Wooley, Rebekah Heller, Uli Fussenegger, Lorelei Dowling, and Anders Nyquist shared their virtuosity without boundary, and marked the soloist material in this score in profound ways. I would also like to thank Deborah Borda and Isaac Thompson for their uncommon appetites for the unknown, James Egelhofer for his elbows in the trenches, and Jaap van Zweden, in advance, for the adventure we are about to share. I wrote this piece, from first thought to final bar line, at the American Academy in Rome, and will remain humbled for aeons to come by the riches of time, space, and expansive friendship this fellowship has afforded me.

Filament

for trio, orchestra, and moving voices q = 66

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Flute 3, 4

Oboe 1, 2

Oboe 3, 4

Clarinet in B b 1, 2

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Copyright © 2018 Ashley Fure. All Rights Reserved.

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by Ashley Fure (2018)

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#œ #œ #œ œ #œ 3 44 œ ∑ ∑ &4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies

Perc. 3

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Trio, voices, and orchestra start a tentative exchange of breaths. At this point the vocalists have been heard but not seen, or at least not seen in aggregate. So there's a sense that the trio is trying to feel out the situation. Tiptoeing into the piece. Trying to hear through the darkness how many bodies are actually out there. This is a very intimate and interior moment -- for the audience and the performers alike. Like the whole hall is trying to figure out how to breathe together, and trying to count those breaths through the darkness so they can understand the countours of the void.

The first card slide of the DB soloist cuts off the orchestra, like Œ Ó it’s snapping shut pandora’s box. We hear a soft sung resonance passing freely across the voices.

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ƒ

˙. æ ∏

— —≤ ±≥ .

"ƒ "

P

n

Tam Large, Soft Beaters

Œ

n

±

. µ Óœ .

44 œœ

˙

'yah'

Voices

≈ –≥ . J

4 Π4

∑

ã

16 Fl. 1, 2

Fl. 3, 4

Ob. 1, 2

17

∑

&

∑

∑

&

19

∑

∑

∑

&

18

∑

∑

∑

20 ∑

∑

∑

÷

∑

∑

21

B

÷

÷

–

π

"f "

≠

–

'si'

a2

Œ

'si'

π

a2

∑

≠

a2

Œ

22

'hoh'

–

"f "

≠

'hoh'

–

No Reed

Œ

–

'si'

Ob. 3, 4

∑

&

∑

∑

∑

∑

÷

≠

–

No Reed

a2

Œ

'si'

a2

B b Cl. 1, 2

∑

&

∑

∑

∑

Breath sounds colored by fingered pitch.

∑

Œ

O

a2

B b Cl. 3, 4

Bsn. 1, 2

Bsn.3, 4

Hn. 1, 3

∑

&

∑

∑

∑

÷

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

÷

O

π

Breath sounds colored by fingered pitch.

∑

Œ

O

O

π a2

Ó.

÷

Ó. Œ

‰

‰

a2

a2

–.

'hoh'

¬

‚

‚ F

‚

j ¾

¾

j ¾

¾

n

–

'si'

–

'hoh'

n

Hn. 2, 4

÷

∑

∑

∑

∑

∑

Œ

a2

¬

–

'si'

–

'hoh'

n

C Tpt. 1, 2

∑

&

∑

∑

a2

Senza Sordino

∑

∑

÷

Senza Sordino

Œ

¬

–

∑

&

∑

∑

∑

∑

a2

Senza Sordino

÷

Senza Sordino

Œ

¬

–

Tbn. 3, 4

Tuba 1, 2

Perc. 1

Perc. 3

Perc. 4

S. Bsn.

S. Tpt.

S. DB.

÷

∑

÷

∑

÷

&

∑ ˙. æ p

ã w æ ÷ Œ

n

¬.

Œ

∑

÷ ¬

'ss' n

– –. J

'ss' n

j – ¬

Vln. II

Vla.

Vc.

n

Œ

P

'hoh'

¬

n

÷

Œ

¬.

∑

∑

w æ

¬

– –

F

—≤ ≥— ‰ J π

Œ ¬

¬ 'ss'

—≤ . π

‰ –J –

Ó –

P n

¬. Ó

F

¬.

‰ n

≥— ± . P

—≤

–.

P

¬ ¬ J

– J

∑

¬ 'ss' n

¬.

P

– J

¬

‚

∑

O. n

‚

∑

O. n

F

F

n

¬

∑

'si'

"f "

n

¬

∑

'si' n

¬

∑

'si' n

Œ

Ó

n

"f "

∑

∑

Œ

&

∑

∑

∑

∑

∑

Ó

B

∑

∑

∑

∑

∑

Ó.

?

∑

∑

∑

∑

∑

Ó.

±≤

Ó n

n

Œ

w æ p

¬

"f "

n

¬. 'ss' n

—≤ .

¬

n

¬ n

"f "

≥— J

±

Ó

F

"ƒ "

π

–

n

∑

n

—

‰

—≤ J n

—

—≥

P —≥

P ≤ FLAUT. — ‰ J n

‰

∑

"ƒ "

n

"ƒ "

n

¬

'ss'

n

FLAUT.

–

FLAUT.

—≤ J

n

±. n

± —. —.

Ó

˙.

¬

–

FLAUT.

n

n

¬

'ss'

¬

Œ

˙

n

¬.

Œ

¬.

¬

Œ

'ss'

∑ ∑

"f "

Œ

– ¬ J

Replace Reed

'si'

Ó

"f "

∑

n

w

P

Replace Reed

n

n

∑

∑

'si'

w F

±.

∑

≠

≥œ

n

¬.

∑

n

¬

Ó.

"f "

&

∑

'si'

¬

n

'hoh'

≠

w æ

Œ –

– J

j ¬

'sh' n

n

'ss' n

n

¬.

˙

'ss'

≥—

∑

Bass Drum Bristle Brush Slide * Swirl brush against surface of drum. Speed of movement maps to volume.

–.

'hoh'

n

‰

œ

n

F

j – ¬

'ss'

˙≤

–

n

Œ

¬ "f "

'sh' n

n

¬.

Œ

'tss'

±.

'hoh'

n

– ‰ J

Ó n

P

–

P

n

–

'ss'

∑

P

'ss'

∑

≠

"f "

j – ¬ a2

Œ

Ó

Ó

Ó

ã

∑

j – ¬

‰

j – ¬

Styrofoam Bow

∑

F

'sh' n

Ó.

∑

'ss' n

n

Ó

∑

Œ.

‰

a2

∑

∑

∑

Ó

n

Vln. I

–

∑

P ∑

P

∑

∑

i ii iii iv v

?

l.v.

¬.

÷

∑

∑

Ó

∑

n

'hoh'

a2

∑

∑

∑

∑

∑

∑

∑

∑

∑

ã

∑

∑

∑

÷ Œ.

Voices

∑

–

'si' n

Tbn. 1, 2

F

∑

'hoh'

n

C Tpt. 3, 4

–

'si'

3

n

‚ F

n

Œ

'si'

–

P

n

–

–

–.

'hoh'

≠

'si'

–

P

n

–

–

23

—≥ J P —≥ J P

± ±

∑

Œ

∑

n

∑ ± ±

n

n

Ó Ó

4

24

25

Fl. 1, 2

÷

∑

& n

2.

Œ

j Ͼ

‰

O

n

1.

˙æ

"f "

Breath sounds colored by fingered pitch.

Fl. 3, 4

Ob. 1, 2

Ob. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

Bsn. 1, 2

Bsn.3, 4

Hn. 1, 2, 3, 4

C. Tpt. 1, 2, 3, 4

Tbn. 1, 2

Ó Œ

÷

4.

‰

3.

O.

n

O

‚. n

"f "

Breath sounds colored by fingered pitch.

÷

∑

÷

∑

&

∑

&Ó

÷

∑

Ó.

‰

4.

n

µœ.

‰

n

j µœ

a4

÷ Œ ÷ Ó.

– J

¬

–

–

–

F

–

–

–

n

Tbn. 3, 4

Tuba 1, 2

÷

∑

÷ Ó

Œ

F

¬

Ó

'ss'

∑

∑

Perc. 2

&

∑

∑

Perc. 3

ã

∑

ã ˙ æ

µœ J

π µœ µœ ‰ J π

1.

2.

π j ‰ µœ Bœ

3.

π

4.

¬.

'hoh'

–

¬.

–

'ss'

–

"f " &

"f "

'hoh'

–

n

K˙ .

S. Bsn.

–.

¬

p

n

S. Tpt.

÷ Œ

¬

'ss'

–.

–

'hoh'

¾

– J

–

Waterphone

˙ æ

π

'ss'

n

P

P

ww

(tuning tip: major 2nd)

Jœ

n

i ii iii iv v

S. DB.

Œ

±≤

≥– – – –

–– ..

ii-(7-8-9)

&

≤ µ O

÷ Œ

Voices

–

'ss' n

÷

π

Vln. II

Vla.

&

∑

&

∑

B

j –

–.

ç

π

'shiu'

∑

Œ

≤ —

—

n

∑ ∑

—≥

—

P

&

Œ

—≤

&

π

π

P

p

P

ww

¬

–

'ss'

–

–

F

∑

π

π

'hoh'

n

Œ

–

B

–

'ss'

– p

∑

n

∑

¬

∑

n

–

w

∑

n

'ss'

Ó

∑

w æ

w æ

f

'yah'

µœ ∏

Œ

Œ

π

3,4 add Harmon Mute

P

ww p

P

n

n

Œ

‰

– J

π

w æ

P

'ss' n

∑ ∑ w æ ∑

π

˙.

w

p

n

Replace Crook and Mouthpiece; Add Harmon

Ó.

¬

µœ

Ó.

Œ

∏

∑

∑

(trill between multiphonic and open string) Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O O µ O . O p ∏ P

'oo'

—

π

π

Ó

w æ

µœ ‰ J ∏

,

p

ii-(7-8-9)

∏

Œ

ww

π

ww

F

¬.

p

n

µw˙ . – –æ & 'oo' ∏ 'frrr-ah" ç (rolled r)

–

ç

'shiu'

n

"f "

F

P

P ww

(tuning tip: minor 3rd)

–

≥– – – –

–– ..

,

π

ww

n

j bœ i Ó. ∑ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies "ƒ " Bow i œ ‰ ∑ ∑ J ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies "ƒ "

¬

'ss'

As the double bass multiphonics start to warm up, vocalists and orchestra are pulled back from breath into soft color. After the chordal arrival at m. 27, the voices fade back to pianissimo and explore vocalisations just at the edge of sung of tone, like they're softly spreading the resonance of the soloists across the hall, and then fading back into breath.

÷

Vln. I

"f "

–

π

F ¬

–

p

π

(tuning tip: audible beating) try to produce audible acoustic beating between the two pitches of your near unison dyad.

P

ww

π

w w p

ww

p

n

p

Œ

¾

'hoh'

P

(tuning tip: audible beating) try to produce audible acoustic beating between the two pitches of your near unison dyad.

¬

n

"ƒ "

–

p

π

ww

‰

Ó

j –æ

∑

P

ww

Destabilize tone with subtle, irregular, diaphragm accents

÷ Ó

∑

Waterphone Bow

Ó.

w æ ∑

∑

p

w w

π

'ss'

Ó.

n

p

¬.

¬

¬.

w æ

Ó

F

'hoh'

Large Tam Large, soft beaters

l.v.

–

π

(tuning tip: major 7th)

¬.

–

∑

P

Ó. w

Œ

n

29

P

ww

π

Π1. w

˙

π

(tuning tip: minor 3rd)

n

¬

'hoh'

ã

Perc. 4

Ó.

–

–

–

n

Perc. 1

µœ ‰ πJ

P

B

'ss' n

¬.

–

P w w

28 1., 2. switch to Piccolo

Ó

∑

p

'hoh'

–

'hoh'

œ

π j ‰ µœ Œ

4.

n

P ww

¬.

P

–

'ss'

Ó

˙æ

π µB œœ

π

2.

3.

Ó.

¬

'ss'

'hoh'

1.

'oh'

– J

–.

'ss'

π

'hoh'

Ó

Ó.

B

–

¬

F

'oh'

n

œ˙ ..

∑

'hoh' n a4

n

∑

–.

O

27

C

n

w

P

(tuning tip: minor 3rd)

∑

÷ Ó

µœ

P

ww

n

&

2.

∑

÷

&

∑

Œ

3.

"f "

Breath sounds colored by fingered pitch.

26

P wæO

Extremely Breathy + Diffuse

'oo'

µ˙˙.

œ

∏ 'oo'

?

ww f

'yah'

µœ

µ ˙.

π

f

π

ww

slowly morph between 'oh' and 'waie' --> "oh' - 'waie' - 'oh' - 'waie'

π

ww f

w

F

∏ ±. æ

—

F

n

∑

≥ —

—.

π

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

slowly morph between 'oh' and 'waie' --> "oh' - 'waie' - 'oh' - 'waie'

±. æ F

≤ ±

ww

π

slowly morph between 'oh' and 'waie' --> "oh' - 'waie' - 'oh' - 'waie'

w

'oo'

ww

— æ ≤ — J

± ∑

—≤

—≥ .

— Ó

—≤ J ≥ —

ww ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

w Ó

∏ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

±

±

—

— Œ

µ˙

‰

≤ — —≤ J

n

—

±

—

±. ≥ —

—

Œ

≤ —

≥ —5

P

≤ —

n

≥ —

30

31

32

33

34

Piccolo 1., 2.

Fl. 1, 2

Ob. 1, 2

Ob. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

Bsn. 1, 2

Bsn.3, 4

Hn. 1, 2, 3, 4

C Tpt. 1, 2

C Tpt. 3, 4

Tbn. 1, 2

∑

&

&

&

∑

p ww

π p w w

n , J˙

& ˙ µw

B ÷

ww

ww

π

p

a2

– ¬ J

–

F

Tuba 1, 2

Perc. 1

Perc. 3

Perc. 4

S. Bsn.

S. Tpt.

S. DB.

÷

–.

¬.

¬.

– F

'ss'

ã Ó

'ss'

÷

Spring Drum

Œ

˙. æ Softly shake spring

n

w æ ˙ æ

n

π p

∑

÷

∑

∑

p

∑

∑

∑

Ó

n

p

ww

n

˙˙

n

n

∑

∑

÷

∑

∑

∑

∑

∑

∑

÷

∑

∑

∑

∑

∑

P &

& O

O

+ o

– – J

+

p

–

'ss'

Πw

'hoh'

.

o

o

Morph slowly between stopped and open mute positions. Harmon 1.

o +

o +

+

+

œw

p

5

o +

w æ

o

+

Ó.

œ

no vib

poco vib.

+

œ

n

O

f

o

w

œ

P

∑

∑

Œ

∑

∑

∑

Ó

∑

˙ æn

w æ Ó

w

π

Ó

˙ æn

˙

poco vib.

Œ w æ

o +

o +

w

∏

o

Œ

w æ

w æ π

˙ æ

+

O

ww ww w

ww ww w

o +

œ + ∏ –

Ó

P

f

– ¬ J

'si'

∑ ∑

Ó

∑

l.v.

n

–

'hoh'

l.v.

w æ

Œ

F F

'si'

Ó

∑

O .

–

l.v.

#œ ‰ æJ π

–

'hoh'

¬

–. F

oj ‰ +

Œ

Ó.

∑

O

f

o +

˙ æ

˙

F

P

o +

¬.

'hoh' n

w æ

n

˙.

Œ

5

Ó

f

o

¬

Œ

p

# Ͼ

p

'si' n

∑

O

p

∑

o ∏ + b˙

n

∑

+

Ó.

Ó Ó.

n

l.v.

œ

n

Œ

Œ

– ¬

π

F

2.

n

˙i æ

˙.

Harmon

∏ B ˙æ

Œ & #w + ∏

n

¬.

w æ p

w æ

∑

n

∑ o +

∑

Add Harmon Mute

'ss'

–

o o j ‰ + + w æ P

–æ

– ¬.

–

Ó.

Speed of mute/release: palm covers and uncovers tube opening to mute and release resonance

π Harmon

3.

p ∏+̇

∑

˙

Ó.

4.

˙. + o ∏

Œ

no vib

n

F

Morph slowly between stopped and open mute positions.

Œ

–æ.

– –æ

j о ¾ F

'hoh'

π

œ J ‰ Œ

& ww

∑

∑

'ss'

w æ π

∑

∑

∑

w

n

w

÷

÷

∑

π

–.

–

– F

Ó Œ

&

'hoh'

¬.

– J

∑

ã w æ P

B

¬.

¬

'hoh' n

f

Harmon

¬.

j – –. F

π ww

p

Ó

¬.

–

'hoh'

Harmon

∑

'hoh'

&

Remove Reed

π

÷ Ó

∑

n

n

Tbn. 3, 4

π

∑

Remove Reed

∑

p µ˙ ,

ww

∑

Remove Reed

∑

¬

∑

÷ Œ

Remove Reed

Ó

'ss'

÷

Ó.

n

kœ

37

n p π p p ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b œæ wæ ww ˙ w˙ . w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ timbrall trill P n p π n n

n

36

n

¬

'hoh'

π n˙

Remove Reed

wœ

P

w˙

p

Remove Reed

Ó

timbral trill

∑

π

p

n

n

ww

∑

˙˙ .

w Ó

P

n

π

P

˙˙

¬

˙.

ww

P

n

P

÷ Œ.

P

n

K ww

˙˙

p

n

Remove Reed

ww

p

‰ œj

Remove Reed

Ó

n

π

∑

n

˙ ˙ ,

Ó. Œ

Ó

n

p

p & ww

B

n

˙˙

p

∑

n

(sounding 8va)

5

35

F

p

+

o

#˙. æ ∏

µ O . Oo ~~~~~~~~~~~~~~~~~~~~ (trill between multiphonic

ii-(7-8-9) iii-open

P

f

i ii iii iv v

–– ..

–– ––

?

B ˙ .( µ œ )

and open string)

i ii iii iv v

f

P

n Tutti: freely layer pitch and vowel patterns.

& ww

µ µ ˙˙ .. µµ ˙˙ .. µ˙.

n

Voices

Pattern Choices

? ww P

'loo loo loo loo'

÷

ww ww w

Pitch Choices

Œ

ww ww w

Vln. II

Vla.

Vc.

&

B

Œ

∑ ±

?Ó

≤ ≥ — — — —

± n

Œ

≤ ‰ —J n

¬

n

π

'tch tch tch tch'

—.

≤ ±

≥ — —

—. F

≤ — —. J

≥ — J

±.

≤ ≥ ‰ —J — —

±

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

—≥ ± J P

≤ — — ±

≥ — —

±. n

Œ

Œ

n

Ó

n

~~~~~~ F

∑

'loo-loo-loo-loo'' accelarating and decelerating freely

n

&

Ó

µ b µ b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'oh waie oh waie' slowly morph between 'oh' and 'waie' , bending sharp a quarter-tone with each 'waie' and sliding back with each 'oh' n ∏ P

n

±.

÷

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Volume Range

Vln. I

ww ww w

n

Œ

≤ ≥ — — — —

P

6

Fl. 1, 2

38

39

π wæw æ P

wæ µ w & æ

(tuning tip: 1/4 tone)

40

p ˙æw æ π

n

41

Ó

n

˙ æ

p

Ó

n

Ó j # B œœ ‰ J

ww

j µ B œœ ‰ J

ww

n

Ob. 1, 2

Ob. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

÷ Ó

÷ Ó

Bsn.3, 4

C. Bn.

Hn. 1, 3

Hn. 2, 4

C Tpt. 1, 2

Tbn. 1, 2

Tbn. 3, 4

Tuba 1, 2

Perc. 1

Perc. 3

Perc. 4

S. Bsn.

S. Tpt.

S. DB.

a2

No Reed

p

5

'toh'

'toh'

3

–

"f "

&

Ó.

&

Ó.

"f "

(simile)

––

Replace Reed

Ó

¬

&

∑

∑

∑

Ó.

÷ Œ

Rapid, tongued air

No Reed

a2

No Reed

p

Rapid, tongued air

– (simile) "f " ∑

'toh'

÷

(tuning tip: perfect 4th)

(tuning tip: minor 6th minus 1/4 tone)

n

bœ µœ

∑

F

o & ˙wæ

n

+ & ww o

o

Ó

+

+

÷

–

p

÷

+

Œ

n

– J

¬.

¬

"f "

a2

p

‰

¬.

¬

‰

'si'

–

––

'toh'

'toh'

–.

–

–.

–

'toh'

Œ

wæ

π

w æ

w æ

F

?

n

– –

'toh'

'toh'

–

–

–

Œ

Œ

œ π

w

'toh'

Œ

Œ

'ss'

¬

'ss'

–

"ƒ "

n

∑

+

B O

Ó

n

µ #µ œœœœ µ µ œœ µœ Jπ

–æ

&

o

O

¬.

P

&

"f "

∑

& — J

∑ ±

BÓ

Œ ∑

‰

n

—

3

—≤

— ≥— J P ∑

'ah' n

Œ Ó

—≤ J

±

n 'yah'

µ ˙.

¾.

Œ

µ˙

'yah' n

—

—≤

—.

o r + ‰

π

∑

l.v.

w æ P

Ó

?

Ó

o j +

¬æ π ‰. w æ

ã

µw (B ¥) (B ¥ )

f

p

P 'yah' µ ˙~

f

∑ — n

∑

D.B.

∑

∑

∑

∑

∑

∑

Œ

Ó.

F

p

o

o

r

+ ‰ +

p

F

w w

Ó

? n

j

Ó

P

Ó

1.

Ó

˙ Œ

2.

œ π

∑

l.v.

∑

ww ww ww w Œ

F

π

l.v.

wi æ

f

+

µ O . n

j œ (‚) ( ‚)

ii-(6-7-8)

O

&b .

P

B˙ µ˙

œ œ f

wÓ

MSP no vib.

NORM

Œ

b˙. n

MSP no vib.

NORM

Œ

µ ˙.

MSP no vib.

Œ

∑

˙ ˙ π

4.

NORM

∑

F ww

π

3.

B ˙. n

NORM

Œ

MSP

˙ .. ˙

n

?

∑

π

2.

œœ

f

n

∑

±

P

∑

π b B ˙˙

1.

n

≥— J

π

(tuning tip: perfect 4th plus 1/4 tone)

˙ (¥) ( ¥)

p

'yah'

˙ ˙.

F

w w

w æ

n

µ µ ww

π

∑

P

'yah'

f

?

∏

∑ ≥—

b˙ ˙ π

n

∑

—

∑

?

poco vib

P ww F

π

n

iii-open(5) *emphasize 5th partial with bow

µ˙

P

Œ

O

'yah'

∑

n

≥—

f

¾.

o o o o ‰ + + + + ‰. w æ

j

π

w

n

5

P

∑

± —≤ J

Bœ

˙. π

–æ

+

i ii iii iv v

¬ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

–æ

ww ww ww w f

(trill between multiphonic and open string) Oo~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O –– –– µ O . O O . O R p P f P f f P

Ó w

n

Œ

P

w P

no vib

–æ

¾

˙˙ ˙ ˙˙ ˙

ii-(7-8-9)

–– &

f

'hoh'

F

w æ

ƒ

–æ

P

w æ

œ.

f

'hoh'

‰ Ñ

Ó. w æ

–æ

"ƒ "

–æ

–æ

n

P

n

b˙

3.

Ó

&

n

˙. ˙.

n

(simile)

P

Œ

n

π (tuning tip: major 2nd) µ ww B ˙˙

2.

Ó

n

P

(tuning tip: major 3rd plus 1/4 tone) π b µ ˙˙ & Ó π

Ó

–æ

"ƒ "

'tch' 'tch'

¬

F

n

(simile)

˙˙ ..

p

p

Ó

n

F

Œ

Ó

n

˙˙

p

˙

B

Ó

–æ

– –æ

'si'

˙. æ

–æ

π

Ó

n

n

Ó

–æ

– –æ

¬.

–

–æ

–æ

n

Œ

P

n

n

w

Œ

–æ

'tch' 'tch'

Ó

Building ricochets of white noise push the aggregate texture toward the chordal arrival at m. 42.

—.

"ƒ "

overblow multiphonic, slowly explore different regions of the spectrum

+

˙. &æ F

'toh'

–

(simile)

Ó

w æ

π

n

Ͼ

– –

Ó

∑

∑

˙. æ

P

'toh'

– –æ

n

∑

ã

–.

––

¬

'hoh'

ã w æn

P

'toh'

¬.

÷

–.

"ƒ "

'tch' 'tch'

∑

p

"f "

(simile)

µ ˙. n

1.

∑

(simile)

a2

P

F

˙˙

p

w w

Contrabassoon (sounding 8vb)

– –æ

'tch' 'tch'

∑

® –

'toh'

'toh'

– J

Œ

Rapid, tongued air

'si'

÷ –.

–– ..

p

(simile)

Œ

F

n

˙æw æ

P

ww

∑

a2

∑

a2

'toh'

+

+ o p

÷ –.

n

B

∑

∑

∑

P

∑

∑

∑

P

w w

∑

∑

4. Switch to Contrabassoon

∑

P

F ww

B B œœ

F ww

44

(tuning tip: 1/4 tone)

ww

π

π

n

∑

∑

∑

÷

?

∑

– (simile) p "f " p 'toh'

?

&

Replace Reed

P

n

n

÷ Œ

i ii iii iv v

4.

n

Ó.

B

(tuning tip: minor 2nd) 3.

P

n

43

F ˜ ˙. æn

wæ Œ

˙æ

p

n

∑

÷

2.

n

– – – – – –.

'toh'

Ó

¬

(tuning tip: 1/4 tone)

n

5

–

'toh'

(simile)

––

∑

÷

Vc.

– – – – – –.

–

∑

Voices

Vla.

3

–

Replace Reed

&

'tch tch tch tch'

Vln. II

–

'toh'

÷ ¬

Vln. I

–

p

p

C Tpt. 3, 4

No Reed

'toh'

a2

Bsn. 1, 2

1.

a2

42

D

n

o O

o

+

+

P

O

p P

˙. ˙.

µœ œ P

w µw f

n

n

SP

poco vib.

w

π

SP

poco vib.

w

π

SP

w

poco vib.

π

SP

w w

π

SP Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (sounding) (œ œ ) O. ( O ) O f

MSP

Œ

Sul IV

'yah'

µ˙

ww ww ww w

45 Fl. 1, 2

46

˙. &æ

n

Œ

47

∑

∑

n

Fl. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

÷

∑

&

∑

&

∑

Ó

(tuning tip: minor 2nd plus 1/4 tone)

˙ #˙

n

Ó

(tuning tip: perfect 4th)

B B ˙˙ n

Bsn. 1, 2

Bsn. 3

C. Bn.

Hn. 1, 3

Hn. 2, 4

C Tpt. 1, 2

p

B ww

˙˙ ..

P

n

,

# # œœ

,

& ww

p

n

˙w.

P

Bœ n , ,n B ˙.

œ w

,

F

∑

w

F

,

(tuning tip: perfect 4th plus an octave)

C Tpt. 3, 4

∑

Tbn. 1, 2

Tbn. 3, 4

Tuba 1, 2

P

no vib

?

?

π

π ww

ww

P P P

Perc. 1

ã

∑

Perc. 4

ã

∑

S. Bsn.

S. Tpt.

S. DB.

œœœ œ &œ œ & O .

µ µœœœ µ œœ bœ

Ó n

O

n

P

π ww

Bw

j œ ˙

π

&

˙. æ ∏

n

o

Ó

Vla.

Vc.

D.B.

D.B.-2

µ O .

O

ii-(5-6-7)

w

&

n

&

w

n

ww

?

O

∑

∑

Ó

n

Ó

Œ

o +

‰.

oj +

Ó Ó

f

Ó

or +

‰.

–– –– ? µ œ R J (B‚ ) (B ‚ )

p

F

F

∏

Œ

œ π

˙ æ

˙.

w

Ó

∑

n

+

µ O

B O J

iii-(5-6-7)

O

O

P ∑

Œ

Group 3: Layer slightly offset undulations around this same pitch and vowel set.

Bœ

∏

'loh'

3

#œ

'loh'

œ

'loh'

œ

3

#œ

'loh'

Bœ

œ

'loh'

o

O

3

œ

'loh'

Bœ

'loh'

∑

F

w Œ

∑

Œ

+

bO

ii-(6-7-8)

iii-open(5)

µ˙ (B · ) (B ·)

F

Bœ

∏ 'loh'

œ µœ

'loh'

œ

no vib.

'laie'

∑

∑

Œ Œ

MSP

n˙.

Œ

n˙

œ.

œ

œ

'loh'

poco vib.

P poco vib.

w

˙˙ ..

kœ

w

(tuning tip: audible beating)

poco vib.

P f

SP

w

n

P

ORD

ww

n

n

µœ œ

'loh'

SP

n

MSP

P

'lah'

w

MSP no vib.

MSP

Divisi by Desk

j µœ œ

œ.

MSP

µ ˙. B ˙.

∑

Bœ

SP

Œ

∑

P

w

n

∑

∑

(µœ)

SP

b˙.

∑

∑

Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O

~~~~~~~~~~~~~~~~~~~~~~~~~~

MSP no vib.

+ n

Group 1 & 2: Layer slightly offset undulations around this same pitch and vowel set.

n

Divisi by Desk

o

O

P

'loh loh loh loh'

n

∑

P

w æ

∑

*emphasize 5th partial with bow

∑

o

F ww

n

˙˙

π

+

F ww

Ó.

Œ

o

n

Ó

n

iii-open(5)

i ii iii iv v

oj +

‰

Ó

n

O j .

Œ w æ

P

w æ P Coloration Key - Slow Waver ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ó Bœ w w ˙ ∏ P n

∑

+

or + ‰

o

ww

π B b ˙˙

π

o

P

+ # ˙ 4. ˜ +̇ 3.

?

n

P ww

+ B µ ˙˙ + 2. n

(tuning tip: perfect 4th plus 1/4 tone)

∑

∑

Ó.

œ

Ó

n

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~MSP ?

O

∑

∑

n

(tuning tip: major 3rd) 1.

n

no vib.

ww

∑

∑

w

Bw

∑

∑

no vib.

&w

?

P

no vib.

&w

o +

O

Orchestra and trio are quite rich and harmonically present here. Singers grab prominent pitches in those chords and subtly elongate them into the hall.

÷

Vln. II

œœœ œœ œ

∑

Voices

Vln. I

∑

o5 +

F

n

(tuning tip: minor 3rd minus 1/4 tone)

∑

Ó

P

w

n

o ‰ + w æ p

∑

www ww w

O

˙˙ . P

P

(tuning tip: minor 3rd minus 1/4 tone)

n

n

n

π

O

& O ˙ &˙

n

Œ

Teeth on Reed Multi

µ O J

n

ww

P

µ b ww

n

no vib

w

n

n

∑

no vib

P w w F

∑

∑

ww

∑

n

n

w ?w

P

(tuning tip: major 2nd plus 1/4 tone)

n

n

ww

œ.

π

π

n

w w P

p

∑

∑

wæ b w æ

p (tuning tip: 1/4 tone) p

n

n

÷

j B œæ ˙æ

n

w w

n

P

F

w w p

(tuning tip: perfect 5th)

∑

p

P ww

p

F

,B ˙ .

P

p

w

π

w œ

p

ww

µ œæ

w w

P

p

ww

F

B ˙.

P

P

n

n

‰

n poco vib

Bw w

p

#œ æ

,

w˙æ. æ

poco vib

w œ

P

poco vib

F

n

w

&w w ÷

ww

œ

P

p

P

n

no vib

˙.

w

F

no vib

π

w w

F

no vib

Bw ?

P

p

F ww

n

wæw P æ

Œ w æ

n

P

7

50

Ó.

π

F w w

n

49

∑

P

wæw æ p

n B ˙æ˙ æ n

Ó

48

F SP

F

Bœ

'laie'

œ

P

'loh'

8

Fl. 1, 2

Fl. 3, 4

51

P & ˙æ˙ .. æ

52 n

p

∑

n

P

æ. ÷ ˙˙ . æ

Œ

B b Cl. 1, 2

B b Cl. 3, 4

,

n

B œœ ,

&Ó &Ó

p

n

˙ #˙ n

(tuning tip: perfect 4th)

n

B B ˙˙ p

B ww p

P

P

poco vib poco vib

Bsn. 3

C. Bn.

Hn. 1, 3

Hn. 2, 4

C Tpt. 1, 2

C Tpt. 3, 4

Tbn. 1, 2

Tbn. 3, 4

Tuba 1, 2

#œ

B ˙. ?

˙

? Ó.

3. (tuning tip: perfect 4th)

+ & ww +

4.

o

o

P + + π

p

o

& ww + o P w ?w

B B œœ

ww

n

n

+

+

n

n n

n

w w

n

F

n

Perc. 3

ã

∑

Perc. 4

ã w æ

‰

œ æJ ∏

µ µœœœ µ œœœ bœ ∏

Teeth on Reed Multi

∑

&

f

j µœ

& œ.

'lah'

Bœ

œ

˙

π

'laie'

Voices

&w

SP no vib.

&w

MSP

SP

Vla.

Vc.

D.B.

D.B.-2

&w Bw ?

(tuning tip: perfect 5th minus 1/4 tone)

π

p

P

P n

?

P

(tuning tip: perfect 5th)

F

µw

F

poco vib

b˙.

w

,

(tuning tip: minor 3rd minus 1/4 tone)

ww

n

F

µ b ww

, µw œ.

F

F

F ˙

µœ J

P F

p ww

P

n

π no vib

no vib

n

,

p

P P n

F

∑

∑

∑

∑

(tuning tip: major 3rd)

Ó

∑

1.

oj +

‰

o o5 o o ‰ + + + + ‰. w æ

p

∏

or + ‰

oj +

&

∑

∑

∑

∑

∑

www ww w w

P F

Bw π

w

Ó.

Waterphone

Waterphone

Ó

&

Œ.

O

'lah'

'laie'

i ii iii iv v

–– ––

p

n

n

F π

ww

n

P

n

w

F

∑ œ bœ bœ œ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "f " slowly rock waterphone until resonance dies Rock base during resonance ≤ b œœ iI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "f "slowly rock waterphone until resonance dies ∑

w

∑ œ ‚ ‚

∑

œ

3

µ ˙. (BO .) ( B O .)

F

P w w

n

# ϲ i J ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "f " slowly rock waterphone until resonance dies

˙

n

r œ ‚ ‚ f

π

∑ ∑ ∑ Ó

˙ æ ∏

overblow multiphonic, slowly explore different regions of the spectrum

j œ

∑

O

‰

Waterphone

Ó.

n

iii-open(5)

‰

∑ ?

ww

Œ

µ O

O

ii-(5-6-7)

?

∑

+

µ O . π

o

O b O

ii-(6-7-8)

j B O F

O .

F

O

ii-(7-8-9) Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µ O µ O O O

no vib.

˙

˙ ˙

?w p

P P

n

n no vib. n MSP

µ˙

π

Bœ.

'yaie'

Bœ œ

'yaie'

µœ

œ

'yaie'

Ó

∑

∑

∑

∑

Ó

∑

∑

∑

∑

Ó

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

n

˙. ˙

n

n

Ó

Œ

(tuning tip: perfect 5th)

Bœ

f

iii-open

Group 1: Layer slightly offset undulations around this same pitch and vowel set.

'yaie'

n

w

F Ó

Bœ

n

(tuning tip: minor 6th)

∏ B µ ww

,

,

F

∑

F w w

n

no vib

∑

∏ Bw µw ∏

,

n

w˙ .

P

n (tuning tip: perfect 4th)

n

w w

P

ww

n

ww F

P

F

F

F w w

w F

n

n

ww

P

w w ww

poco vib

P

F

poco vib

n

n ,

π

. , µµ ˙˙ . n

œ

n

P

F

,

, (tuning tip: perfect 4th) µ µww ,

n

p

n

œœ

n

∑

B˙

˙

˙

MSP

w w

?w

b ww

2.

ww

p

p ww

1.

n

∑

B O J

'lah'

F

n

P

P

ww

(tuning tip: minor 3rd)

P

∑

iii-(5-6-7)

µœ

n

p ww

π

1.

œ æ

n

∑

F

3

P

F

P

2. ww

(tuning tip: minor 2nd)

P

w˙ .

P

nœ

n

n

MSP

Vln. II

µ œ. ( B ‚ .) ( B‚ .)

µ˙

π

,

∑

P

iii-open(5)

n

µ ˙.

˙œ

n

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O

F

(tuning tip: minor 3rd plus 1/4 tone)

P

w˙æ . æ

∑

o o5 o o ‰ + + + + Œ w æ

www ww w w

P

n

µµ ww µœ

p

ww

nœ

π

∑

˙

l.v.

& Ó.

ww

∑

p

P

wwæ æ

56

∑

n

ww P

ww

P

n

∑

Vln. I

P

n

&

?

n

ww

w

˙˙ .

n

w

P

n

Perc. 2

S. DB.

n

BB œœ

2.

ã Ó.

S. Tpt.

w

µ˙ n

55

E

F

P

n

ww

P

p

n

ww F

P

n

Perc. 1

S. Bsn.

p

w

B˙

(tuning tip: perfect 4th)1.

?

ww

P

π ˙. w F

F

p

π

w

p

n

& Ó.

?

p

ww

n

p

F

w w P

P

ww

π

P w

µ˙

&Ó

P

ww

n

3.

π ww

P

n

poco vib

Bsn. 1, 2

P

ww

˙˙

&Ó

µ wæ µw æ n

∑

(tuning tip: major 2nd plus 1/4 tone)

n

Ob. 3, 4

54 n

n

Ob. 1, 2

53

µœ

'yaie'

œ Bœ

P

'yaie'

57 Fl. 1, 2

p

P

n

Fl. 3, 4

Ob. 1, 2

Ob. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

w ÷ w æ & &

(tuning tip: perfect 5th)

π

F

µ µww

p

n n ww

Bsn. 3

Hn. 1, 3

Hn. 2, 4

C Tpt. 1, 2

C Tpt. 3, 4

Tbn. 1, 2

Tbn. 3, 4

Perc. 4

S. Bsn.

S. Tpt.

S. DB.

w w P

(tuning tip: minor 6th plus 1/4 tone)

P

B# wB w

P

n

?µw

p

? Bw

π P

n

& B ˙w

B˙

P

,n B ˙.

? œw

π

?

w æ &

w

+

& O

n

Ó.

w

œ

œ µœ

'yaie'

k ˙. l ˙.

P

(tuning tip: audible beating)

Divisi by Desk no vib. ST

n

& B B ww

no vib. ST

n

Divisi by Desk

&Ó

Divisi by Desk Sul IV

no vib. ST

KK ˙˙

n

B µw

n

B

∑

Divisi by Desk

Divisi by Desk

Sul IV

?BB ww n

Vc.-2

D.B.

? Ó. ?

Divisi by Desk

K K œœ

ST no vib.

n

Divisi by Desk ST no vib.

Bw

'yaie'

? Ó.

'yaie'

w w π

∏

∏ #˙ B˙ ∏

–– &

F

'yaie'

i ii iii iv v

–– J

–– ..

Divisi by Desk

ST no vib.

Kœ n

o + ww P +

P

P

F

Ó

?

œ

'yaie'

+

F

b O

Œ.

∑ push that builds A rising scalar toward the cutoff at m. 68.

w w π

'yaie'

j µœ B œ. 'yaie' 'yaie' ∏

π

µœ œ 'yaie'

P

w w

P

ST no vib.

Lw

ww F

(tuning tip: audible beating)

ww

P

ww

P

f

F

w ww

F

p

µœ

ww

P

w

P f

ww w

Tune your tones barely sharp of the your neighbors' (roughly an 1/8 tone between you) so you hear audible beating tones between your near unisons.

f

w

w P

F P

Remove Mute

Ó

Remove Mute

Remove Mute

2.

#˙

π

1.

+ +

Remove Mute

n

π Bœ

ww

F

(tuning tip: major 3rd plus 1/4 tone)

F

˙

œ π

˙. æ

n

˙˙

o

n

Ó

w

F

w æ

n

w

ƒ o

O

+

µ O n

œ.

µœ œ B œ

œ.

'yaie'

'yaie'

'yaie'

'yaie'

˙ ˙

µœ

œ

'yaie'

f

j µœ

'yaie'

b˙

MSP

˙ F w F

'yaie'

j µœ

˙

'yaie'

F

∑

n

MSP

µ˙

w

n

n MSP

B˙

F ∑

MSP

w

n

∑

MSP

n MSP

n

f

w

n

w F

ww

œ.

MSP

˙

Bœ

µ˙ 'yaie'

w w π

˙˙

Tune your tones barely sharp of the your neighbors' (roughly an 1/8 tone between you) so you hear audible beating tones between your near unisons.

F

(tuning tip: audible beating)

w

w

o +o

œ

ww

π

+

Ó

n

Bœ J

ww

Tune your tones barely sharp of the your neighbors' (roughly an 1/8 tone between you) so you hear audible beating tones between your near unisons.

+

˙˙

o

œ.

ww

(tuning tip: audible beating)

n

Bw

ww

P

o

F

Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O O

˙˙

w

n

+

o

P

bw w

n˙

Ó.

ww P

w

n

ww

(tuning tip: major 3rd)

f

F

iii-open

Bœ

œ

'yaie'

œ (‚ ) (‚)

n

ww p

w P

P

F

w

w

ii-(6-7-8)

iii-open(5)

j µœ

˙ , B µ œœ ,

π w ˙. Œ

n

µ˙ ?( ) · (B· )

j œ µœ

p

w

n

˙˙ .

ww F

F

ww

n

Group 2 & 3: Layer slightly offset undulations around this same pitch and vowel set.

w w

(tuning tip: major 3rd plus 1/4 tone)

overblow multiphonic, slowly explore different regions of the spectrum

n

–– ––

˙

w w P

w w P

n

B b ˙˙

w

P o + ww +

+

∑

O j j µœ

o

F

o O P

B O œ.

o

œœœ œœ œ œ

iii-(5-6-7)

w

n

P

∑

n

˙˙

ẇ

o P

w w

Tune your tones barely sharp of the your neighbors' (roughly an 1/8 tone between you) so you hear audible beating tones between your near unisons.

w

n

D.B.-2

––

Bœ

n

ST no vib.

Vc.

––

p

ww

µ O .

n

, ˙

˙˙ . .

F

ww

(tuning tip: audible beating) Tune your tones barely sharp of the your neighbors' (roughly an 1/8 tone between you) so you hear audible beating tones between your near unisons.

ST no vib.

Vla.-2

––

∑

Divisi by Desk

Vla.

Œ

∑

n

n

P

ww

+

n

˙ P

Sul IV

& # ww &Œ

www ww w w P

µ˙

œ

∑ no vib. ST

Vln. II-2

––

i ii iii iv v

∏ + µ œœ + ∏ + ∏

∏ µ B ˙˙

(tuning tip: minor 3rd)

∑

Remove Reed

n

P

ww

∏ + œœ

∏

∑

Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r O O –– –– ?

(tuning tip: major 3rd plus 1/4 tone)

Ó

µ µ˙˙˙ ... µ ˙˙˙ ... b ˙. π

Œ

w

(tuning tip: major 9th plus 1/4 tone)

Teeth on Reed Multi

n

Divisi by Desk

Ó

∑

P

F

Ó.

∑

∑

ã w æ

Ó.

P

Remove Reed

n

p ww

p

ww

∑

∑

?

F

π

∑

&

&

Vln. II

P

(tuning tip: perfect 4th)

∑

Remove Reed

n

ẇ

, œ

f

Remove Reed

w w F

P

F

n

n

p

F

n

ww

F

π

˙.

P π

ww

∑

Voices

Vln. I-2

F

ww

P

p

w

∑

& ˙.

Vln. I

w

ww

P

w

P

ww

(tuning tip: perfect 4th)

&

?

n

w

F

π

F

w w

wæw æ F æ ww æ

n

P

p

(tuning tip: 1/4 tone)

# B œæœ n, æ

b b ˙˙æ æ

P ww

P

w w

P

p

ww

π

π P ww

,

n

9

62

n

˙˙ æ

p

ww

61

F ˙˙ ..

F

ww æ P

p

p

π w w

p

π

π

w w

P

π ww

(tuning tip: major 2nd plus 1/4 tone)

ww

F

ww

P

ww

P

F

w w p

P

ww æ p

p

π

ww

F

n

C. Bn.

P

π

60

π

ww

π

π

(tuning tip: perfect 5th)

&# w Bw

F

π

P

P

ww

P

Bw &B w

59

π

ww æ

p

(tuning tip: minor 3rd)

n

Bsn. 1, 2

p

, n (tuning tip: major 2nd plus 1/4 tone) µ˙ ww

˙æw

&

58

˙˙

ww MSP

n

Ó

MSP

˙˙ n

MSP

˙

w

n

MSP

n

∑

SP

10

Fl. 1, 2

Fl. 3, 4

B b Cl. 1, 2

63

F æw & w æ

64

p

π wæ ÷ w æ

P wæw æ

f

&Œ

Bsn. 1, 2

Bsn. 3

C. Bn.

Hn. 1, 3

Hn. 2, 4

Tbn. 1, 2

Tbn. 3, 4

&

k˙.

w

w

B ww ? ?

w

F

f

w

f

w

w ?w

P

P

π

F

P

ww

w

P

w

w

w P

ww

ww

F P

ww

F

f ww

P

P

w w

P

F

P

F

ww

f P

π

w

P ww

f ww

f

w w

w

f

P

∑

∑

∑

∑

Ó.

Perc. 2

&

∑

∑

∑

∑

Ó.

Perc. 3

&

∑

∑

∑

∑

Ó.

Perc. 4

ã w æ

S. Bsn.

S. Tpt.

S. DB.

?

w

w

& O f

+

?

&

Voices

P

w æ

˙ ww # ˙˙ ... w . ww œ # ˙˙ . P + o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µ O O

o

ii-(8-9-10)

˙

œ

œ.

µœ J

œ

'yaie'

œ

œ

w

µœ

œ.

'yaie'

œ Bœ

& ˙.

'yaie'

w

µœ J

Bœ

œ

'yaie'

µœ J

œ.

'yaie'

˙.

µœ

œ

'yaie'

œ #œ

'yaie'

Bœ

˙.

'yaie'

Bœ

˙.

'yaie'

f

'yaie'

w

Vln. I-2

Vln. II

Vln. II-2

Vla.

no vib.

w

MSP

&Ó &

&Œ

w

n

w

Vc.

P

L ˙.

Vc.-2

D.B.

D.B.-2

K˙ n

w

P

w

f

ww f

ww

ww

ww

?w f

w

?

?Ó

Œ

MSP

kœ n

ORD

f

w

P

(tuning tip: audible beating)

w

SP

f

w

P

F

w P

SP

ww

MSP

P f

P

w

∑

Ó.

4. Switch to Bassoon

∑

Remove Reed

Ó.

∑

j œ œ ‰ J

Ó.

∑

j œœ J ‰

Ó.

∑

Ó.

∑

# œ≤ Waterphone ‰ J ∑ "f " ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies Waterphone ≤ ‰ œJ ∑ "f " ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Waterphone ≤j slowly rock waterphone until resonance dies ‰ b œœ ∑ "f " ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies n

l.v.

F Remove Reed

ƒ

Ï µœ J

'yaie'

œ

∑

∑

∑

∑

O

p

f

–– –– ±

i ii iii iv v

œ J

n

π Œ

∑

n

'yaie'

Group 2: Layer slightly offset undulations around this same pitch and vowel set.

œ Bœ

µ˙

˙

'yaie'

'yaie'

œ #œ Bœ

F

'oo'

'ah'

œ œ œ# œ B œ 'oo' 'ah'

'oo' 'ah'

j œ œ

œ.

'oo'

‰

j µœ

'loh'

'ah'

p

'aie'

F

w

'oo' 'yee'

œœ

j œ ‰

w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ more rapidly in between vowel shapes in the mouth, trying to emphasize formant shifts F Ó.

n

∑

Quietly insert pencil under third string at the end of the body of the instrument.

Quietly insert pencil under third string at the end of the body of the instrument.

w

j ‰ œ

Ó. Ó.

Quietly insert pencil under third string at the end of the body of the instrument.

w

j ‰ œ j œ ‰

Ó.

Quietly insert pencil under third string at the end of the body of the instrument.

j œ ‰

Ó.

F

∑

n

∑

Quietly insert pencil under third string at the end of the body of the instrument.

n

f

w F

∑

n

f

n

n

l.v.

ww

w

'ah'

Group 3: Layer slightly offset undulations around this same pitch and vowel set.

Ó.

w

÷

±

˙.

Bœ

O

j œ ‰

w P P

n

n

ƒ l.v.

ww

w

Remove Reed

‰

n

SP

ww

Ó.

∑

Remove Reed

j œ ‰

w

w

P

œ J

Remove Reed

n

F

ƒ

w

w

Ó.

n

œ.

w P f

j œœ ‰ J

n

œ

w

P

w

ww P

f

f

P

ORD

MSP

ORD

w

w

ORD

w

ORD

w

w

f

ORD

w f

n

BÓ

ww

ORD

(tuning tip: audible beating)

Bw f

?

f

w

(tuning tip: audible beating)MSP

Vla.-2

P

(tuning tip: audible beating)

j˙

w

Remove Mouthpiece

n

A quasi-chorale like moment, quite prominent in the space.

&w F

Remove Mouthpiece

j œœ ‰ J

f

Ó. ORD poco vib.

∑

j ‰ œ

Remove Mouthpiece

n

P

˙.

w

&

Vln. I

ƒ

Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ MSP µ O O *Slowly gliss mulitphonic trill towards bridge. . O µ O O O ii-(7-8-9)

Ó.

Remove Mouthpiece

j ‰ œ

O

π

∑

j ‰ œ

n

ww w ww

B O .

Ó.

∑

n

w æ

&

O

µ O

w æ

∑

n

w

&

Ó.

1., 2. Switch to C Flute

n

f

F w w

Perc. 1

w æ

P

F

w

j n œœæ æJ ‰ n

F ww

P

Ó.

n

w

w

ww

F

w

P

69

j œæœ ‰ æJ n

F

w

f

F

w

π

68

F

wwæ æ F

w

w

f

wæw æ

w P

w

w

67

F

F æ ww æ

P

P ww

π

f

P

w w

F w ?w

P

P ww

f

w

& ww

?

P

æ ww æ

f

P æw w æ

f

wæw æ

P

66

1. (tuning tip: audible beating)try to produce audible acoustic beating between the two pitches of your near unison dyad with clarinet 3.

n

B b Cl. 3, 4

f

æ ww æ

P

65

ƒ f f

∑

Quietly insert pencil under third string at the end of the body of the instrument.

∑

∑

∑

∑

∑

j œ ‰

Ó.

∑

j œ ‰

Ó.

∑

n

n

70

71

72

73

74

G Più Mosso

C Flute

Fl. 1, 2, 3, 4

Ob. 1, 2, 3, 4

B b Cl. 1, 2, 3, 4

Bsn 1, 2, 3, 4

Hn. 1, 2, 3, 4

C. Tpt. 1, 2, 3, 4

Tbn. 1, 2, 3, 4

Tuba 1, 2

Perc. 1

Perc. 2

&

∑

∑

∑

∑

&

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

Perc. 4

ã

∑

∑

∑

∑

S. DB.

∑

&

÷

i ii iii iv v

÷

–

n

– – æ —æ f

P

∑

±

∑

∑

±

F

±

π

Group 1: Layer slightly offset undulations around this same pitch and vowel set.

µ˙

œ

π

P

'oo'

& œ#œ Bœ ˙

b œ µœ . œ œ œ œ

'yah' 'ee'

œ œœ ˙

µ˙

P

'oo' 'ah'

'oo' 'ah'

'yah' 'ee'

'yah'

œ b œ µœ œ œ œ ˙

– ‰

– J

'ts'

÷

÷

¬

–

'hoh'

ã

ã

Sandpaper Blocks

¬.

p

"f " 'ts'

–

–

a4

'ts'

–

"f " a4

r –æ –æ "fp"

‰.

±

±

–

–

'hoh'

–

–.

– –

–

>œ . æ F

>œ æJ >œ œ

Ó

– æ f

–æ

Ó ƒ

¬ .. ƒ

F

ƒ

'ts'

j – – 'hoh'

–

¬

"S "

'hoh'

r –æ –æ "fp"

p – J

f

—≥

–

‰.

≥ œ

–

"S "

–

œ >œ .

œ

>œ

œ.

æ

æ

≥ –– ––

—.

ƒ

æ .

÷.

f

≥ œ

ϲ

Œ

œ bœ œ œ. œ ˙

'ee' 'yah' n

–

'tsss'

– ¬ J

'tsss'

"ffp" "ffp" "ffp"

>œ æ "fp"

6 4 w. æ

œ.

>œ œ

>œ

6 4 ∑

–æ .

–æ æ –.

F

≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ –– –– –– –– –– –– –– –– –– ..

÷

'ss'

≤ w ≥œ œ

–æ

4 4

æ –

44

–æ "f "

4 4

≤– – 46 ––

46 ∑

Ó

* Let hair of the bow stutter bounce against styrofoam during up-bow.

4 4

ƒ

≥œ œ≤ ≥œ œ≤ ≥œ œ≤ ˙ æ 3 3

4 4 4 4 4 4

˙

Bass Drum Superball Rub

p –æ

6 4 ¬. f

≥ ≤– – . – –.

ϲ

'ss'

––

≥

MSP

–

π

44

Ï

4 4

Ï —.

±

Œ

A forceful white noise wave that tries to still the anxious energy of the trio and orchestra.

—≤ 4 4

P

44

–

'ss' n

4 4

'tsss'

n

'ah' more rapidly in between vowel shapes in the mouth, trying to emphasize formant shifts 'yee' ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'aie' F n p &w w B w˙ B˙ µw ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'loh'

4 4 4 4

"f "

–æ 6 – 4æ

–

¬

π

3

p

¬.

a2

œ≤ œ ≥œ œ≤ 46 œ .

n

–.

"f "

"f "

'ss'

6 4 ˙

÷

'yah' 'ee'

j –æ ¬æ. π

¬.

Œ

4 4

4 4

¾

–æ p

6 4 Ó.

œ æ >œ J

æ

≥œ

"fp"

¬.

–

‰

r 6 –æ 4 –æ "fp"

‰.

'ts'

44

No Reed

a2

6 4 Œ

÷

5

˙. æ

6 4 Ó

–

¬

–

6 – 4

'ts'

r –æ –æ "fp"

œ≤ ≥œ œ≤ ≥œ œ≤ ≥œ œ .

>œ æ "fp"

'ts'

n

ϲ

>œ œ æ æ

œ. æ

–

'hoh'

¬

˙

œ≤ ≥œ

– – 'ts'

'ts'

∑ œ≤

'hoh'

6 ¬ 4

'ts'

Œ

÷ J P

—≥ —

–

¬

'ts'

÷

–

–.

–

Pressure Multi

—≥ .

Ó

æ – P

F

–. 46

'ts'

'ts'

–

œ≤ ≥œ œ≤ ≥œ

p

– J

–.

–

'ts'

'ts'

'ts'

‰.

≈ œ≤ ≥œ œ≤ ≥œ .

>œ .

∑

–.

∑

*Ricochet: always let bow bounce naturally until still.

Fluttertongue + Tongue Slap

– J

'ts'

–

≤ ≥ ‰ œ ˙. J p F

∑

¬

–

"f "

Snare Drum Bristle Brush Slide

¬

'ts'

'ts'

6 – 4

"fp"

∑

∑

– ‰

'ts'

a4

÷

Styrofoam Bow

æ ¬. p

≈ –

'ts'

– J

œ b œµ œ ˙ .

'yah' 'ee' 'yah' 'ee' 'yah' 'ee'

'ee' 'yah'

–.

11

77

'ts'

'ts'

'ts'

¬ ..

"fp"

"fp"

"fp" 'ts'

– J

∑

Ó.

Digital Whites

Remove Crook, Mouthpiece, and Mute

&Ó

Voices

∑

¬

ã

–.

'ts'

Styrofoam Bow

∑

∑

÷

Senza Sordino

?

– J

76

q = 78

Mouthpiece Off (blow into barrel)

∑

∑

÷

–.

"f "

a4

∑

&

S. Tpt.

∑

∑

∑

÷

a4 No Reed

∑

Perc. 3

S. Bsn.

∑

(all 4 on C flutes)

B

&

a4

75

'oo'

4 4

n

&

∑

∑

∑

∑

∑

Vln. II

&

∑

∑

∑

∑

∑

Vla.

B

∑

∑

∑

∑

∑

Vln. I

Tutti

Vc.

?

∑

∑

∑

∑

Tutti

D.B.

?

∑

∑

∑

fi i - ii - iii

Dampen strings I, II, and III so that only string IV resonates with each vertical ricochet.

∑

∑

∑

≥—

— ≤— ≥—

f

‰. Tutti

Vertical Ricochet

fi i - ii - iii

Dampen strings I, II, and III so that only string IV resonates with each vertical ricochet.

Tutti

SP

Tutti

—≥ — R f

SP

MST

SP MST

– –.

–.

– –.

≥

≥

–. "f "

≥

≥

SP

SP MST

— —≤ —≥

≤— ≥— .

—

≤— ≥— —

—

— —≤ —≥

—

≤— ≥— —

≤— ≥— 6 >± . 4 æ Í

4 4

—≤ —≥ —

—≤ —≥ 6 >± . 4 æ Í

4 4

± æ F

≥

– "f " Vertical Ricochet

—≤ —≥ —

± æ Í

SP MST

≤— ≥—

—.

MST

j –

≥

≥

SP MST

SP

–.

– –

–

MST

–

j – –.

MST

SP

–.

≥

SP

≥

≥

SP

SP

MST

MST

– –.

≥

SP

p

MST

– –.

j – ≥

SP MST

j –

f

6 ±. 4 æ

4 4

f Release Resonance MSP

6 4

MST

–

æ w p

Ͼ

f

4 4

Release Resonance SP

46 – .

MST

j œæ wæ p

f

44

12

Fl. 1, 2

Fl. 3, 4

Ob. 1, 2

Ob. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

78

81

82

83

84

85

86

Ó

∑

∑

∑

∑

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

n

¬ ÷ 44

– ÷ 44

80

H

÷ 44 ¬

– ÷ 44

79

n

n

n

÷ 44 ¬

n

÷ 44 ¬

n

Bsn. 1, 2

Bsn.3, 4

Hn. 1, 2, 3, 4

C. Tpt. 1, 2, 3, 4

Tbn. 1, 2, 3, 4

Tuba 1, 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

S. Bsn.

S. Tpt.

÷ 44 æ ¬

Ó n

÷ 44 ¬æ

Ó n

÷ 44

∑

÷ 44 ¬æ f

n

÷ 44 ¬æ

n

4 ã 4

∑

4 ã 4 w 4 ã 4

∑

÷ 44 Œ

÷ 44

Large, soft beaters

Ó

–

n

œ æ

n

–.

∑

Ó

∑

Ó

∑

Ó

∑

≥œ J F

n

π

∑

Œ

– J

–.

n

P

n

–

Ó.

S. DB.

Voices

Vln. I

Vln. II

≥ 44 ±

∑ n

÷ 44 ¬ "ƒ " & 44

& 44

Œ

'ss'

Œ

"fp"

n

¬

∑

–

'oh' 'ah'

— —≥ P

n

¬

±.

±≤

n

∑

Ó

Ó

n

Ó. n

Œ

–æ

Ó

Œ

¾

j ‰ –æ

∑

j –æ ‰ Ó

Œ

–æ

Ó

Œ

¾

j –æ ‰

∑

j ‰ Ó –æ

Œ

–æ

Ó

Œ

¾

j ‰ –æ

∑

Œ

j –æ ‰ Ó "ƒ "

Œ

–æ

Ó

Œ

¾

j –æ ‰

∑

∑

Œ

œ ‰ Ó J ƒ

Œ

œ

Ó

Œ

˙

œ ‰ J

∑

∑

Œ

œ ‰ Ó J ƒ œ ‰ Ó æJ f œ ‰ Ó J "f "

Œ

œ

Ó

Œ

˙

∑

Œ

œ æ

Ó

Œ

Ó

Œ

˙ æ

œ ‰ J

a4

¬.

a2

∑

Œ

∑

Œ.

j æj Œ . –æ ƒ

Ó

Œ.

– – Œ. J J ƒ

Ó

Œ

F 'oh'

– ¬ J

–

'ss'

Ó. n

±

π

—.

—≤ — ≥— — J

— —≤ — ≥— ±

P

ƒ

Short, harsh slices of orchestral noise are cut off by sharp rolled r ∑ ∑ slices back from the singers; they are in battle here for three short burst to cut-off pairs.

∑

"ƒ "

Sandpaper Blocks

n

–.

"ƒ "

Œ

∑

∑

a4

"ƒ "

Ratchet

∑

F

∑

–

˙

‰ œ≤ œ ≥œ œ J n F ˙≤

w æ p

j – ¬ π

P

ϲ .

n

i ii iii iv v

j ‰ Ó –æ

n

÷ 44 æ ¬ "f "

4 ã 4 œ f

a4

Œ.

Œ

– Ó æJ

∑

Ó

(rolled r)

"ƒ "

'frrr-ah"

∑

÷

B 44

∑ Replace Reed

–æ

‰ æj æj ‰ ‰ æj æj ‰ Œ – –

–

Œ

Ó.

‰ – J

— ≥—

—.

ƒ

¬

"fp"

Abruptly grab pencil to stop bounce

fi ¿ ‰ Ó J

–

Œ

≥ — ± J p ƒ Ó

¿

– ‰ ‰ – – Œ. J J J ≥— .

≥— — . J

p

ƒ

‰ – æJ

– ‰ – – Ó J æJ J

"ƒ "

'frrr-ah"

fi Ó

p ƒ

p

—≤ J

'frrr-ah"

Œ

¿.

fi ¿¿ ¿ ¿ ‰ J

¿.

fi ¿¿ ¿ ¿ ‰ J

Only attack points indicated, always let pencil bounce as long as possible, unless a mute symbol is present, in which case the pencil should be grabbed and abruptly stilled.

"f "

∑

∑

∑

∑

Pencil Bounce Pizz

∑

∑

÷

Abruptly grab pencil to stop bounce

fi ¿ ‰ Ó J

Œ

Œ

¿

fi Ó

Œ

Only attack points indicated, always let pencil bounce as long as possible, unless a mute symbol is present, in which case the pencil should be grabbed and abruptly stilled.

"f " Vla.

œ ‰ J

Ó.

'tsss'

Œ

˙

∑

Œ

±≤

—

p

Pencil Bounce Pizz

œ

œ ‰ æJ

∑

∑

∑

∑

Pencil Bounce Pizz

∑

∑

÷

Œ

Abruptly grab pencil to stop bounce

fi ¿ ‰ Ó J

Œ

¿

fi Ó

Œ

¿.

fi ¿¿ ¿ ¿ ‰ J

Œ

¿

fiÓ

Œ

¿.

fi ¿¿ ¿ ¿ ‰ J

Only attack points indicated, always let pencil bounce as long as possible, unless a mute symbol is present, in which case the pencil should be grabbed and abruptly stilled.

"f " Quietly insert pencil under third string at the end of the body of the instrument.

Vc.

?4 4

∑

∑

∑

∑

∑

÷

Pencil Bounce Pizz

∑

Abruptly grab pencil to stop bounce

¿ fi‰ Ó J

Œ

Only attack points indicated, always let pencil bounce as long as possible, unless a mute symbol is present, in which case the pencil should be grabbed and abruptly stilled.

"f "

D.B.

? 44

∑

∑

∑

∑

∑

∑

Card Swipe

Œ

Dampen all four strings and swipe a credit card from I to IV in fast, dry pizz.

j ‰ ¿¿¿ Ó ¿ "f "

Ó

j ¿¿ ‰ Œ ¿¿

Ó.

j ‰ ¿¿¿ ¿

87 Fl. 1, 2, 3, 4

Ob. 1, 2, 3, 4

B b Cl. 1, 2, 3, 4

I

88

89

90

91

∑

∑

∑

∑

∑

Œ

÷

∑

∑

∑

∑

∑

Œ

a4

÷

∑

∑

∑

∑

∑

Œ

a4

÷

∑

Hn. 1, 2, 3, 4

÷

∑

∑

∑

– J

a4

Ó.

‰

–

–

'ss'

p ÷

∑

Tbn. 1, 2, 3, 4

÷

∑

Tuba 1, 2

÷

∑

Perc. 1

ã

a4

Ó.

Œ

∑

Œ

Perc. 2

ã

∑

Ó.

Perc. 3

ã

∑

Ó.

'hoh'

–

p

'shiu'

p

–æ "f "

–

"f "

'hoh'

'hoh'

˙≤ .

œ. P

n

Sizzle Cymbal Brushes

Snare Drum Bristle Brush Slide

‰ ‰

œ æJ π

w æ

œ J

w

n

Œ.

‰

j –æ Ó

–

–

'siu'

–æ

"f "

'hoh'

a4

¬

–

"f "

–

∑

–

∑

–

–

'hoh'

'siu'

≥œ œ

ϲ

–

–

Œ

j –æ

'hoh'

≥œ

ϲ

3

Ó

–æ

‰

–æ

–æ ‰

j –æ

1.

∏ nœ k œ

‰

j –æ –æ

‰

j –æ –æ

Œ.

Œ

–æ

j –æ ‰

‰

œ≤ œ ≥œ œ≤

œ

œ

≥œ œ

ϲ

w æ

P

w π

"fp"

–æ

‰

j –æ

Œ.

˙

–

"fp"

"fp"

¬

–

'ts'

'ts'

–

–

"fp"

'ts'

"fp"

"fp"

'ts'

'ts'

–

–

"fp"

'ts'

¬

–

"fp"

"fp"

'ts'

'ts'

'ts'

∑

∑

j –æ

j –æ

j –æ

Œ

‰

–æ

∑

–æ

∑

¬

p

'hoh'

w

–

∑

"f " 'ts'

∑

F

w æ

∑

P

w π

F

¬

F

j –æ

Œ

–

F

¾.

π

w

¬ 'hoh' p

Œ

∑

≥œ œ≤ œ .

¬ 'hoh' p

–

ww

∏

Œ

¬ 'hoh' p

'ss'

w æ

F

Ó.

–

≥œ .

π

P

j –æ

Œ

¬.

–

'siu'

j –æ

Œ. ‰

–

‰

–æ

'ss'

B

(tuning tip: audible beating)

13

93

a4

÷

Bsn. 1, 2

B b Cl. 1, 2, 3, 4

92

∑

F

Bass Drum

Perc. 4

S. Bsn.

ã

∑

∑

÷

∑

∑

Œ

˙.

w F

Bristle Brush Slide

n

∑

&

˙.

π Vocal Beating

Œ

˜ ˙O . p

Œ

F

∑

n

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œO wO ˙O .. P f F

Remove Reed

∑

÷

Sing microtonally around your fingered pitch to produce beating phenomena. Fade voice in from n.

S. Tpt.

÷

∑

Œ

¬

'ss' n

S. DB.

Voices

i ii iii iv v

÷

≥±

—

π

P ∑

Vln. I

÷

∑

Vln. II

÷

∑

÷

∑

Vla.

D.B.

D.B.-2

÷

∑

≥–– ..

F

One last rolled r ricochet from the vocalists launches the trio and orchestra back into their violent release of energy.

‰

Sf

&

—.

n

?

∑

∑

?

∑

∑

Bœ

"ƒ "

— J F

i - ii - iii

∑

r µœ

'frrr-ah"

∑ Dampen strings I, II, and III so that only string IV resonates with each vertical ricochet.

Vertical Ricochet

F

iii-open ORD

?

p

÷.

– J π

SP

≤

j œ ˙ F

œ.

SP

≥

———

—

¿.

¿ J

Ó

?

MST

≥

fi

œ. "f "

i - ii - iii - iv

¿¿ .. ¿¿ ..

¿¿ ‰ ¿¿

œ.

Bœ P

≥

ORD

f

œ

B˙

œ

j œ œ. j ¿¿ Œ . ¿¿

MST

∑

¿ J

Œ

¿

———

—

— — —

—

—.

≥

SP

∑

j œ

Œ.

‰

SP MST

≤

¿ J

‰

≥

œœ

œ j ¿¿ ¿¿

œ

¿

‰

¿

— ± æ

Ó.

SP MST

‰

˙

œ

¿ J

∑

Divisi by Desk

∑

Divisi by Desk

Œ.

SP MST

œ. Œ

MSP

Œ

MSP

˙. n

˙. n

≤ j œ.

B˙

i ii iii iv v

r œ

≥ –– –– .. R

≤

≥ –– ––

Œ.

¿ J

j œ œ.

¿ J

Œ

–

¿ J

'ss'

‰.

≥

¿ ‰ R

¿ J

Œ.

¿ J

j œ

œ SP

˙.

w

f

SP (tuning tip: audible beating)

kw

'hoh'

–

–

'hoh' 'ss'

±.

–

'hoh'

– – 'ss'

"fp"

∑ ∑

SP MST

'ss'

∑

P

SP MST

"fp"

‰

± æ ¿ J

– –

–

π

ƒ

Fast waves of white noise pull back and forth from the orchestra to the vocalists like they're playing tug of war with the focus of the audience and the spatial source of the sound.

‰ ≥

ƒ

≥

œ p

–

'ss'

∑

Ó

≥

œ

≤

p

SP MST

¬

f

SP

¿ J

‰

—

≥

¬

∑

¿ Ó

SP

¬

ORD 3

∑

¿.

ARCO

Ó

≥ ––≤ ––

– J

∑

fi Vc.

±≤ .

Ó.

÷ ÷ J P

–.

– 'ah' f

f

∑

∑

∑

–

–

'hoh' 'ss'

"fp"

14

Fl. 1, 2, 3, 4

Ob. 1, 2, 3, 4

B b Cl. 1, 2, 3, 4

Bsn 1, 2, 3, 4

Perc. 1

Perc. 2

Perc. 3

Perc. 4

S. Bsn.

S. Tpt.

94

÷

∑

Œ

÷

∑

Œ

÷

∑

B

∑

Voices

Œ ÷

∑

Œ

ã

∑

Œ

ã

∑

Œ

ã

∑

Ó.

÷ Œ ÷ –

Œ

–

–

Í Í Í -– –- –- –'ts'

5

'ts'

'ts'

÷ –

–

–-

–-

5

a4

'ts'

'ts'

'ts'

p ¬.

a4

p

÷

‰

˙≤

"ƒ "

a4

n

j – –

≥œ

œ

˙. æ

P

n

F

‰

œ J

n

–

¬.

–

¬.

F 'hoh'

±≥

∑

Ó

∑

Ó

n

Œ

Ó

∑

Œ

w

–

Í

p

"f "

p

p ¬

p

˙≤

∑

∑

∑

∑

Ó.

∑

∑

∑

∑

Ó.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ

F

n

P œ ‰ Ó. æJ P œ Ó.

˙ æ

n

n

Ó.

– ‰ –J

Ó.

'tsi-ah'

∑

P

¬

Í ç

'tsi-ah'

Ó.

–

'ts'

∑

– Ó

"f "

'hoh'

– J

Œ.

‰ –J

Ó.

ç

'tsi-ah'

'tsi-ah'

104

105

∑

∑

–

Œ

ç —≤ ±≥ ‰ J

ç

'tsi-ah'

106

J

– J&

Œ.

Œ

a4

C Tpt. 1, 2

Tbn. 1, 2

Tuba 1, 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

S. Bsn.

S. Tpt.

S. DB.

Voices

∑

∑

∑

∑

÷

∑

∑

∑

∑

÷

∑

÷

∑

∑

∑

∑

∑

ã

∑

∑

∑

ã

∑

∑

∑

∑

ã

∑

∑

∑

∑

¬

÷

i ii iii iv v

n

≥± P

Ó

¬. P

¬

n

¬

P

n

— —≤

±.

π

Vln. II-2

≥±

P

∑

˜w ˜w

Divisi I

— —≤

Œ

— ≥—

±≤

±.

Ó

'ss'

‰

a4

–

–

–

–

P

j – 'hoh' π

'ss'

'ss'

'hoh'

–

F

–

–

'hoh'

¬

–

'ss'

Ó

œ

œ Œ

∑

Ó œ

w

–

¬

¬ π

'ss'

¬. 46

–

46 –

–

˙

œ

F 'ss'

ϲ

∑

∑

∑

∑

&

∑

∑

∑

∑

&

∑

∑

∑

∑

n

Divisi II

‰

n

n

F

n

∑ —

n

—≤

≥—

Divisi I

‰

∑

–

–

'ss'

'hoh'

'hoh'

± n

—≤

—

‰

"ƒ "

'ss'

"ƒ "

—

—≥

—≤ J

n

—

≥œ J

ϲ J

œ.

œ

≥œ

F

ϲ

l.v.

F

—. —≥

—

44 44 4 4 4 4 4 4 44

6 4 Ó.

4 4

˙.

Superball Rub

Tam

n

46

∑

44

6 4

∑

4 4

—≥ —≤ — 46

± p

f

44

~~~~~~~~~~~~~~~~~~~~ 44

µœ

4 4

—≤ .

≥— ± J æ

n

46 Œ

—≤

—≤ J

— 46

—≥ .

—≤

—≥ 46

Ó

—

"ƒ "

'ss'

46 Ó

Œ

n

Divisi II

¬

6 4 w. w. F

±.

—≤ J

–

"ƒ "

¬.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 46 f

˜œ

F

Ó.

'ss'

–

F

n

≥± .

–

44

46 w .

˙

Slow Pour

±.

— —≤ J

–

6 4 w. æ

w w

≥— ± J P

¬.

'hoh'

6 4 œ.

n

p

4 4

6 4 ¬.

˙. æ

Ocean Drum

¬

'ss'

¬. 46

–

'hoh'

≥œ

– J

‰ n

'hoh'

¬.

Slowly transition from humming to 'ah'

—≤ .

'ss'

±.

π

6 – 4

3

π

w w

&

P

n

Œ

¬

∑

∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F

∑

n

≥±

π — —≤

109

n

F

w w

–

–

∑

÷

&

ϲ

j – – F

n

F

–

'oh' 'ah'

n

–.

–

Ó.

±.

w w

– –

'ss'

j – – 'hoh' π

Ó.

P

˜œ

–

–

Œ

œ

¬

p

'ah'

a4

˙

P

p

A slow melodic rise that crests in the last white noise onslaught of the trio and orchestra at m. 109.

π

∑

Group 3: Bend microtonally around indicated pitches. Try to produce audible acoustic beating with other singers.

π

Vln. II

Œ

'ss'

& ~~~~~~~~~~ ˜ œ µ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Slowly transition from humming to 'ah' P

'hmm'

Vln. I-2

n

n

– ¬. ‰ J

P

&

Vln. I

Œ

∑

±≥

‰ –J

Ó.

∑ — —≤

¬. n

108

Ó.

œ ≥œ

Œ

µ œ ˜ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

˙≤

∑

Œ

‰

∑

ã

÷ ¬.

a4

∑

n

Tutti: undulate slowly between pitches

'hmm'

– – 'oh'

p

±.

π

ç

–

Ó

∑

∑

P

'tsi-ah'

'ss'

¬.

n

∑

107

∑

÷

Œ

∑

'tsi-ah'

n

Hn. 1, 2, 3, 4

∑

n

¬.

n

– –

n

–

Ó.

œ

f

–

Œ

ç

'tsi-ah'

n

F

w

n

∑

102

œ ≥œ ˙ .

n

˙.

101

"ƒ "

‰ j . – ¬ n

100

"ƒ "

–

'ss'

99

Ó. "ƒ "

–

'ss'

¬

– Ó

p ¬

œ

P

–

'ss'

Ó

∑

98

¬

Ó.

Ó

¬ F

¬.

P

–-

Ó

n

n

˙.

97

∑

˙.

f

n

103 Fl. 1, 2, 3, 4

"ƒ "

'ss'

"fp" "fp" "fp" "fp" "fp" 'ts'

"ƒ "

'ss'

'ts'

— —≤ –-

p ¬. 'ss'

–

5

±.

i ii iii iv v

–

96

¬.

a4

Ó

ã

'ts'

S. DB.

95

—≤ 3

— ≥— — —≤ ≥— . —≤ — J —≥

—≤

—≥ 3

—≤

44 —≤ — ≥— —≤ 4 4 f

—≥ —≤ —≥ —≤ —≥ 4 4 3 f —≥ —≤ —≥ —≤ —≥ 4 4 5 f

110 Fl. 1, 2

Fl. 3, 4

Ob. 1, 2

Ob. 3, 4

B b Cl. 1, 2

B b Cl. 3, 4

Bsn. 1, 2

Bsn.3, 4

C. Bn.

÷ 44 ¬ "ƒ "

÷ 44

∑

(tuning tip: perfect 4th)

∑

(tuning tip: minor 3rd) 3.

÷ 44

Perc. 1

. ÷ 44 *

* ‰

* J

. ÷ 44 *

* ‰

*. ÷ 44

*

4 *. &4

*

‰ ‰

*. ÷ 44

*

*. ÷ 44

*

. ÷ 44 *

* ‰

4.

n

µ B ww

* J

* J

‰.

* ‰ R

* J

* J

‰.

* R ‰

* J

* J

‰.

* R ‰

Ó &

* J

p

* J

‰.

* R ‰

* J

*. ≈ J

* Add Harmon ‰ J Ó

* J

‰.

* ‰ R

* J

. ≈ *J

‰ *J Œ Waterphone

Waterphone

&

Ó.

≥ —

—.

≥ — —

n

n

Pencil Bounce Pizz

f

±≤ .

P

Tutti

÷

f Pencil Bounce Pizz

≈ ¿

"f "

Tutti

÷

P

ww

n

œœ

n

œœ

n

œœ

p

P

œ˙ .

n

n

∑

Ó.

∑

Ó.

∑

n

n˙

n

P

P

4.

n

Œ

n

˙w

œ + ∏ –

'hoh'

–.

–

–.

"f " "f "

– J

Ó

π –

'si'

–

–

–

'hoh'

– J

–

'si'

'hoh'

'ss'

n

∑

∑

Œ Ó

?

Ó.

2. Harmon Mute

∑

–

∏ b˙. ◊

3. Harmon Mute

n

–æ

÷ J P ≥ — — –– ––

ã

– æ ¬æ

–. æ ÷.

÷

–

¬

P

f k n ˙˙ ..

––

–

?

Microtonal Beating

F

–æ

j –

–æ.

¬. ww

∏

j #œ ◊

w Œ

Œ

n

Add Harmon

n

ƒ

––≤ ≥–– ––≤

≥— .

F F

#˙. ◊ ∏

∑

∑

.

¬ .. ≥— —

≥—

—.

≥— —

––≤ ≥––

–– ..

––≤ ––

≥—

—.

∑

∑

∑

∑

∑

∑

∑

∑

∑

¿ ‰ ¿ J R

‰

¿ J

‰

‰.

¿ J

∑

¿ ‰ R

¿ J

‰

¿ J

‰.

∑

¿ ‰ R

¿ J

Œ

Œ

¿ J

‰

∑

Ó

Œ

‰

¿ J

∑

Ó ∑

≈ ¿

¿ ‰ ¿ ‰. J

¿ ‰ ¿ J R

‰

¿ J

‰

¿ J

‰.

¿ ‰ R

¿ J

‰

¿ J

‰.

¿ ‰ R

¿ J

Œ

Œ

¿ J

‰

Ó

Œ

‰

¿ J

Ó

Œ

‰

¿ J

Ó

"f "

≈ ¿

¿ ‰ ¿ ‰. J

¿ ‰ ¿ J R

‰

¿ J

‰

¿ J

‰.

¿ ‰ R

¿ J

‰

¿ J

‰.

¿ ‰ R

¿ J

Œ

Œ

¿ J

‰

Ó

¿ ¿

¿

‰.

¿ ‰ R

¿ J

≈ ¿

¿ ‰ ¿ ‰. J

¿ ‰ ¿ J R

‰

¿ J

‰

¿ J

‰.

¿ ‰ R

¿ J

‰

¿ J

‰.

¿ ‰ R

¿ J

Œ

Œ

¿ J

‰

Ó

Ó

Œ ∑

SP no vib.

j ‰ b œœ n

ww Ó

f

œœ SP no vib.

˙ n

w

˙.

P

w w f

∑ poco vib.

w poco vib.

w

–æ

– æ

–. æ ÷ J P

∑

¿ ‰ ¿ ‰. J

Œ

w

ƒ i ii iii iv v

Œ

w æ

¬

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µ K œœ ˙˙ .. R

bœ ∏

Add Harmon

∑

¿ J

∑

–

æ π

¿ ‰ R

? 44

'hoh'

¬.

˙

∑ –æ

–

Sizzle Cymbal Brushes

Ó

4.

∑

‰.

∑

‰

∑

w

l.v.

Contrabassoon (sounding 8vb)

∑

w Ó

Ó.

∑

F

˙ ◊∏

¬.

¬ f

?

˙ ∏

Œ

n

'ss'

?

Ó

∑

'hoh'

1. Harmon Mute

?

∑

Ó.

¬.

–

n

n

¬.

–

n

n ˙ .k ˙ . ∑

Ó.

˙. –

F

Œ

∑ œ

ww

n

(tuning tip: audible beating)

¿

? 44

kœ

n

n

Ó.

F

(tuning tip: audible beating)

Ó.

n

¿ ¿

Pencil Bounce Pizz

∑

Ó.

Œ Ó

œ

(tuning tip: audible beating)

j ‰ œ Œ Ó ∑ œ "ƒ " ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies

˙

≥ ≥ — — — —.

œœ

n

‰ œj b œ Ó. ∑ "ƒ " ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly rock waterphone until resonance dies

w "f "

–– –– –– ..

P

ww

wœ p

˙

¬.

w

j –

n

n

4. Harmon Mute

w

–æ.

ww

∑

p

Ó.

¬ .. ≥ — —

œ J π

‰

∑

¬

&

– æ

–. æ

P

'hoh'

‰

œœ

1., 2. Switch to Piccolo

Ó.

∑

¬.

* Add Harmon ‰ J Ó

–æ

π

w Œ

n

n

jw

'si'

*. ≈ J

.

P

ww

ww

(tuning tip: 1/4 tone)

¬.

– ¬ ‰ J

* J

Ó

P

ww

œœ

15

115

Ó. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ π F

bw

Ó w.

* R ‰

∑

÷ 44 ¿ . "f "

∏ ‰ œ.

‰.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

÷ 44 ¿ . "f "

3.

* J

B

114

ww

∑

‰

& 44 w w

& 44

3. no vib.

P

µ ˙.

timbral trill

no vib.

π

'si'

P

≥ 44 — ..

Vln. II

* *

π bw B Œ

p * * – ¬ ≈ ‰ J

¬ ÷ 44 ƒ

—≥

Ó

2.

p π

1. poco vib.

∏ ˙ 2.

≈

∑

± & 44 æ

1.

F

ww

F

n

p

ww

P

n

∑

* ‰ R

n

÷ 44 – ƒ

& 44

D.B.-2

&

‰.

4 ã 4 ˙

Vln. I-2

D.B.

&

∑

& 44

Vc.

2.

µ µ ww

∑

4 ã 4 w

Vla.

n

1.

π

ww

F

n

÷ 44

Perc. 4