A Library on Lightning by AF_Scores

A Library on Lightning for Bb Trumpet, Bassoon, and Double Bass

by Ashley Fure (2018)

Commissioned by the Wittener Tage für neue Kammermusik Premiered by Klangforum Wien on April 28th, 2018

Circa 14’ Score is in C; parts are tranposed. Audio and video examples of performance techniques can be found at https://tinyurl.com/yahd79yu

Trumpet Performance Notes ø

µ n

Subtone split tones focus on increased spectral energy below the fingered pitch, adding an audible second spectrum a tritone below.

B µwO

÷.

÷ J

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

— Ó.

‰ — J

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.

slowly spin valve to color air, map speed of undulation to volume curves

~~~~~~~~~~~~~~~~~~~~~~~ – ¬ ¬ J n P

> ~~~~~~~~~~~~~~~~~~~~~~~ µw w f P

Spun valve air is produced by slowly spinning the first valve while blowing air softly through the instrument without the mouthpiece, creating soft white noise colored by undulating vowels.

metal plate buzz

Triangle noteheads indicate air sounds produced by blowing through the instrument without the mouthpiece.

–

High partial split tones focus on increased spectral energy above the fingered pitch.

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.

Bassoon Performance Notes —.

‰ —j

j — —

—

± ..

j —

Triangle noteheads indicate air sounds produced by blowing through the instrument without the reed. They are written on a two line staff showing “high” and “low” white noise, altered by variably fingering the first fifth of the range.

tongue slap

¬. p

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Œ ˜ ˙˙ . œœ ww ˙˙.. p f p F P vocal beating

Square noteheads indicate slapping the tongue against the bocal, with the reed removed, producing a rapid, gunshot like ricochet.

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.

Double Bass Performance Notes

? µœ µœ Bœ i

This part is written for 5 string double bass with the following scordatura: It requires one auxilliary object: a stiff plastic credit card.

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

i ii iii iv v

44 Ó . 44

Ó.

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

±.

MSP

‰ –J ± f p ‰

— ––

œœ .. œœ œœ œœ œœ .. > Sf œœ

j œœ œœ

j œœ œœ ..

iii

œ œ

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

Regular noteheads indicate open strings.

ORD

Ó.

MSP

œœ .. œœ ‰

œœ

subito

Card clef: The single clef line represents the bridge. Thick lines indicate movement of the card up and down the strings, 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.

Diamond noteheads indicate multiphonics. String and partial number are written above the string clef. The most prominent pitch in the cluster (corresponding to the harmonic at that node) is specified below. 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.

j ‚ ‚. P iii-6

&= Bœ

j œ ˙ F

Oo ~~~~~~~~~~~~~~~~~~~~ ‚ O ii-7

bœ &=

Harmonic trill: press and release the multiphonic node, so that the tone flutters between the open string and the multiphonic.

ii i

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

microtonal beating

˙ & B µ ˙ ..

n œœ ? =

Microtonal beating indicates a near unison double stop that produces audible beating phenomena. In these passages, upper staff pitches are transposed, indicating fingering positions that take into account both scordatura and octave transposition. Heard pitches are indicated below. Note that the high pitch should come from the lower string; in this case fingered C quarter sharp produces a B just below middle C on the third string. Retake bows freely to maximize beating phenomena at the indicated dynamic marking.

A Library on Lightning

by Ashley Fure (2018)

for Bb Trumpet, Bassoon, and Double Bass

q = 66

Tpt

Bsn

& 44 ? 44

i ii iii iv v

∑

44 Ó . 4 4

∑

Ó.

∑

≥ ‰ –J ± f p MSP

g & œ Ó.

Bsn

i ii iii iv v

∑

±.

Œ µ ø.

w F

w ORD

æ w P

progressively overblow through spectrum

#œ œ & J

˙ .. f

≤ ≥ ≤ ≥ . œœ . œœ œœ œœ œœ œœ œœ œœ .. ƒ

— ≤– ≥– œ œ

æ w

ORD

∑

≥j œœ œœ

≤ œœ .. œœ

MSP

Ó.

œœ

∑

˙˙˙ .. .. ˙ #˙.

subito

j ‰ i

Ó.

∑

≤j œœ œœ ..

≤ ≥ œœ . œœ . œœ œœ œœ œœ .. Sf >

∑

o ø

high partial split tones

progressively overblow through spectrum

∑

— ≤– ≥–

±.

∑

i j ‰

7 Tpt

∑

harmon (stem in)

∑ f ≤j œœ œœ

MSP

≥≤ œœ œœœœ j ‰ i

œœ

— .≥— — ≥— — . ≥— — . ≥— F

13 Tpt

Bsn

∑

overblow multiphonic, slowly explore different regions of the spectrum

µø

Ó.

≥ ≤ ii-13 ‚ –– –– O .

MSP

i ii iii iv v

—.

≥— ± J

Bsn

ii-13 — —≤ ≥–– –– O

±.

always let ricochets bounce organically towards still

Tpt

MSP

g & gœ . µ œJ ø ?

i ii

ø.

j ‰

˜œ &=

Œ n

ii-13

Ó.

˜œ &=

remove mute, mouthpiece, and crook; prep valves for digital whites

∑

‰Ó

∑

remove reed

iii-open O o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O Ȯ

œ.

∑

≥ ≤ ≥ ≤ ORD ORD Ooiii-6 j ‚œ –– –– .. –– –– .. ‚ ~~~~~~~~~~~~~~~~~~~~~~~ O O .. œ w J f F ƒ f MSP

i ii iii iv v

Ȯ

ii iii

j ‰ . .

wŒ ˆ ‰ Ĵ ‰ . wŒ. Ĵ Ó R̂ π left hand open string pizzes

‰ Ó

&= Bœ 2

˙ ..

j œœ

∑

Tpt

∑

ingressive spit

Bsn

∑

i ii iii iv v

œœ ..

j œ ˙

j œœ

˙ ..

air

— æ

œ œ

i ii

÷ Œ.

Tpt

.. ÷ ±

Bsn

slowly spin valve to color air, map speed of undulation to volume curves ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ –¬ ¬ ¬ ¬. J π n P P

j — — π P

≥ ≤ ‚ –– –– –– MSP

i ii iii iv v

Ó.

i ii

≈

ø J

— —æ . —æ. p P ≤

≥

–– –– ..

— ± .. J

ii-13

ø ..

˜œ &=

—

MSP

≤ œœ œ œ œ

˙˙

±æ. P

≥– –

ii-13

Ó.

˜œ &=

∑

replace crook, mouthpiece, mute, and valve

j — —.

— —. J

j — ±.

replace reed

Oo ~~~~~~~~

37 Tpt

Bsn

Moderato

& & Ó.

i ii iii iv v

∑

harmon (stem in)

slow, unstable waver between + and o o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µø ø ø µø ø ø n π n ∏

slow, unstable waver ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ B œj w Œ ˙. n p n coloration key

~~~~~~~~~~~~~~~~~ –≤ – O. ‚––

≥

Ó.

–– œiii-open œ π

i ii

≈

~~~~~~~~~~~~~~~~~~~ & ø

43 Tpt

‚

ii-7

Bsn

∑

j ‰ Ó.

‚.

‚O J

ii-6

µœ &=

bœ &=

o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µø ø ø n π P π slow, unstable waver between + and o

∑

www w & w w π

∑

µ µ˙˙˙ µ ˙˙ b˙

MSP

teeth on reed multi

www ww w

slow, unstable waver œœœ coloration key ~~~~~~~~~~~~~~~~~~~~~~~~~ œœ ‰ ˜ œj˙ w œ n P n P

≥ Oo ~~~~~~~~~~~~~~~~~~~~~~~~≤ O. ‚ –– –– œ . f

∑

MSP

i ii iii iv v

Ó.

i ii

≈

j ‚ ‚. P iii-6

&= Bœ

j œ ˙ F

Oo ~~~~~~~~~~~~~~~~~~~~ ‚ O ii-7

bœ &=

49 Tpt

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ & ø ø. P n teeth on reed multi

Bsn

& Ó

µ µ˙˙˙ µ ˙˙ b˙

www ww w ‚O J F iii-6

&= Bœ 55 Tpt

& gø .

o ~~~~~~~~~~~ j µø ø ø teeth on reed multi

Bsn

i ii iii iv v

˙.

µ µ œœœ µ œœ & bœ π

Ó ..

∑

Œ µø

www ww w P

j œ˙

≥

MSP

≤

overblow multiphonic, slowly explore different regions of the spectrum

Œ.

Bø F

www ww w F

~~~~~~~~~~~~~~~~ O .. œ œ. J f

i ii iii iv v

j µ gø ø

ii-7 ii-8 iii-open Ooii-6~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ – – – ‚ ‚ O .. ‚ O ‚œ Ȯ œ –– – ‚ O J

O. i ii

Ó.

ii-8

j ‰ Ó.

≈

œœœ œœ Ó. œ

bœ &=

µœ &=

o ø

µø

Ó.

µœ &= o

µø

overblow multiphonic, slowly explore different regions of the spectrum

≥ ii-13 ≥ ≥ iii-open ii-13 ii-7 iii-6 ≤ ≤ O o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ~~~~~~~~~~~~~~~~~~~ ≤ Ȯ .. ‚œ –– –– –––––– –– –– –– –– O O Ȯ ‚w. ‚ O ‚ . ‚J O ƒ ƒ f ˜œ ii bœ & &= j &= = Bœ iii ‰ Ó.

µø

& ø

Tpt

Bsn

slow, unstable waver between + and o o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bø ø ø

˙˙˙ # & ˙ #˙ P

www ww

ø ∑

ø.

ø ∑

remove reed

≤

œ œœ

∑

π i

∑ y

‰—

∑ ∑

∑

remove mute, mouthpiece, and crook; prep valves for digital whites

& i ii iii iv v

www ww

∏

µœ &=

Bsn

www ww

≥ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j Ow.. ‚ Ow Ow.. ‚ Ow Ow Ȯ .. œ œ‚œ œ œ

i ii iii iv v

Tpt

o ø

slowly gliss multiphonic toward bridge

ii-9 iii-open

ii-8 iii-open

74 Tpt

Bsn

∑

& ÷ Œ

ingressive spit

Œ.

ø— j æ —æ . —æ ±æ P p P

i ii iii iv v

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ –¬ ¬ ¬ ¬ ¬ ¬ J n P π P P F p slowly spin valve to color air, map speed of undulation to volume curves

. —æ Ó

Ó.

÷ ¬

÷ —æ ¬. f p

tongue slap

Bsn

i ii iii iv v

÷ ÷. J P F

¬ .. ƒ

∑

— æ —æ – f P

∑

≥ —≥ . —≥— —≥ — . ––––

f π

≥ ≥ ≤– – . ≤– – –MSP± –– . – – –

. . .

∑

—æ æ —æ — Œ . æ . — — . æ —æ – f ƒ

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

i ii

—— j ± æ — — π P

÷ – ¬

pressure multi

∑

± ..

j — ——

Piu Mosso {q = c 78}

digital whites

Tpt

. ‰ —j —

— . —≤ ≥± . P

‰

—

—.

j —

P Œ n

Tpt

Ó.

replace reed

—

∑

÷ ÷ J P ∑

≤ ≥ ‰ —J ± n P

ORD

— ±≤ .

≥– .. –≤ ≥–r – – –œ œ œ . F Sf p

i ii

j . ‰ Ó

93 Tpt

Bsn

÷ ¬

∑

Œ ±.

–¬ J π vocal beating

Œ ˜ ˙˙ . p

≥ ˙

≥ ≥ ≤– – . ≤– – ± . r . œœ. – – – –

r ‰ . ii .

DB i

∑

±.

≤ j œ ˙ F

Ó.

— —≤ ≥±

≥ œ œ. P

ORD 3

Ó.

± P

~~~~~~~~~~~~~~~~~~~ remove reed ∑ & ww f p

i ii iii iv v

÷.

~~~~~~~~~~~~~~~~~~~~~~~~~~ j œœ ˙˙.. F P

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

Ó.

i ii iii iv v

slowly spin valve to oolor air

∑

÷ ± π

Bsn

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¬ ¬ –. P n π S

Ó. n

≤j ≥ œ œ ˙ f

≤ œœ p

‰ — ±. J n P π

‰ —j y

Ó n

≤ ≥ ‰ —J ± n P

— —≤ Œ

99 Tpt

Bsn

÷ Ó. ÷ Ó.

i ii iii iv v

‰ — — Ó. J n P

‰ —j — Ó . n P

‰ —j—

≤ ≥. ‰ —J ± n P

Ó.

‰ —— J

Œ n

Bsn

∑

i ii iii iv v

≤. Œ ± n

— . . — æ —æ. æ

j –

≤ ≥ ‰ —J ± n P

—æ

—. æ

≥— . ≥—— ≥— — . ≥—— – – – . ≥— — ≥— — . ≥— — – – – –– – . –– – ƒ

i ii

. — Ó F

∑

— —≤ —

— ≥— Ó .

÷ ÷. J P

—æ

∑

¬ ..

– ƒ

— Ó. F

‰— ± J

≤ ≥ . ≤ ‰ —J —— — —J — Œ Ó . p F n P

107 Tpt

Ó.

— æ

–

—æ

–

P ±æ

ii i

∑

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

microtonal beating

˙ &B µ ˙ ..

n œœ ? =

In microtonal beating passages, main staff pitches are transposed, indicating fingering positions that take into account both scordatura and octave transposition. Heard pitches are indicated below. Note that the high pitch should come from the lower string; in this case fingered C quarter sharp produces a B just below middle C on the third string. Retake bows freely to maximize beating phenomena at the indicated dynamic marking.

111 Tpt

Bsn

÷ ¬ ÷

—æ

÷ ÷ J P f

¬ ..

¬ ƒ j –

—æ.

replace mouthpiece and crook; reset valves

—æ

— . — . æ —æ æ

–

∑

high vocal fry Å æ— — . . — — æ —— æ æ — — . ææ ææ subito p

~~~~~~~~~~~~~~~~ –≤ ≥– –≤ ≥— . ≥—— ≥— — . ≥— — –≤ ≥– – . –≤ – ≥— — . ≥— — ≤–≥– – beating ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ –– –. –– – – –& # ˙˙ .. n # œœ – – – ˙˙ .... µ ˜ œœ &˙˙ .. J F ƒ f œœ ? µ œœ ? = = ?µ œœ i = ii i microtonal

i ii iii iv v

Ó.

116 Tpt

Bsn

∑

Å.

≈

‹

Œ.

÷÷ J

— ‹Å — —. — æ æ ææ f subito p

high vocal fry

vocal beating ~~~~~~~~~~~~~~~~~~~~~ ÷ j ÷ J µ œœ ˙˙ . ˙˙ .

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

Å .. f

— æJ —æ.

j –

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙˙ .... œœ n # ˙˙ œœ B µ œœ ww & ww J J microtonal beating

55 ? Ó. =

? µ 55 =

i ii iii iv v

i ii

‰

replace reed

≥

∑

vocal beating

µœœ œœ P

~~~~~~~~~~~~~~~~~~~ ˙˙ . n œœ f

∑

≤ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ –– –– n # ˙˙ . ˙˙ B µ ˙˙ J & . ƒ 55 µ ? j = Ó.

122

c. 10" vocal beating

Tpt

& ww

c. 10"

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µ ww ˜ ww µ ww n ww µ ww ƒ

Try to circular breathe this entire passage, understanding that the voice will fade in and out as you retake breath. Think of this as a slow globular rise progressively increasing in intensity and pitch. Explore beating within your own double stop and between your double stop and that of the bassoon.

c. 10" vocal beating

Bsn

& ˜ ww p

c. 10"

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˜ ww µ ww µ ww B ww ww c. 10"

c. 10"

c. 10" ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n # ww B µ ww n # ww Bµ ww n # ww Bµ ww n # ww B µ ww & ww n# ww B µ ww n # ww Bµ ww ƒ f Swell freely between f and ff, but maintain a relatively stable intensity plane across the entire passage. microtonal beating

128

Tpt

Bsn

c. 10"

{q = c 78}

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ww ww ˙˙ . œœ ‰ ˜ & ww J Ï

add harmon mute without stem

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ww ww œœ ‰ ˙˙ . ˜ & ww J Ï i ii iii iv v

c. 10"

––≤ ≥–– –– ±

± ..

—≤ ± J

— ≥±

––≤ ≥–– — .

∑

—≤ ± J

— Ó. n

≤ ≥ ‰ —J — — n p

MenoMosso {q = c 66}

135 Tpt

∑

Bsn

∑

i ii iii iv v

— Ó. n

≤ ≥ ‰ —J — — ± n p

Ó.

harmon (without stem)

∑

± n

metal plate buzz Place metal flat against the harmon mute to add a snare like buzz to each tone.

> ~~~~~~~~~~~~~~~ ˜w p f P

‰ ÷J

˜ æw F ≥ ≤ ‰ ––J œR œœ ˙˙ f ƒ

Ó.

≥ œœ œœ ∑

141 Tpt

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j & w w w w w œ. µ œ ˙ P

Bsn

& æw

i ii iii iv v

œœ ..

wæ f ≤j œœ ˙˙

˙˙˙ .. # . œæ # ˙˙ .. P

≥ ≤ ≥ œœ œœ œœ œœ œœ œœ œœ ˙˙

www ww

≥j œœ œœ ..

≤ œœ œœ ..

œæ µ ˙æ.

˜ æw

≤j ≥œœ ≤ ≥ ≤ œ œ œ . . œœ œœ œœ œ œœ . œœœœ œœ œœ œœ . œœ œœ .. MSP

ORD

≥j œœ œœ ..

≤j œœ

147

(metal plate buzz)

Tpt

& w

Bsn

& ˙æ..

j B œæ wæ F

æw

MSP

ii-6 iii-open

æw

f ii-7 iii-open

Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤ ≥ ≥j ≤ ≥œ ≤ . ≥‚ ‚ ‚≤ ‚ . ≥‚ ‚ ‚ œ œ ‚ ‚ . œ œ œ œ . œ œ œ œ œ .. œ œ œ œ œœ œœ œœ œ œ œ J J

œœ ..

i ii iii iv v

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 w œ . µ œj˙ w w ˙ Bœ ˙ P P f f p

µœ &=

bœ &=

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & w w ˙

153 Tpt

˙æ

≤j œœ ˙˙

≥ œœ œœ ˙˙

wæ

µ ˙æ P

≤ œœ œœ œœ ..

f ≥j œœ œœ ....

j ‰ i

Ó.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ Bw ˙. n n π

≤ œœ

∑

I would like the metallic snare to continue even at these quiet volumes. If the plate is having trouble vibrating at such a soft dynamic, try adding high partial split tones or soft bits of flutter to activate it. These should be stretched, fragile tones however, so value affect over buzz if need be.

(flutter stops)

Bsn

& w

i ii iii iv v

subito

coloration key

Œ Bœ n

slow, unstable waver ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w œ Ó. n π

~~~~~ Œ µœ

159 Tpt

Bsn

∑

Ó.

slow, unstable waver ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & w w œ Ó. n π

i ii iii iv v

~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ B øj w Ó ˙ n p n

(metal plate buzz)

subito

Ó Ó.

∑

slow, unstable waver ~~~~~~~~~~~~~~~~~~~ Bœ w

~~~~~~~~~~~~~~~~~~~~~~~~ w Ó B˙ n p

~~~~~~~~~~~~~~~ B˙ ˙ Ó n p n

∑

slow, unstable waver ~~~~~~~~~~~~~~ Bw n

subito

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bw w Bœ w w ˙. œ w ˙ µ Œ & π p n P π F

167 Tpt

Bsn

i ii iii iv v

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w ˙. Œ P

b ˙˙ b bb ˙˙˙ b˙

ww ww ww

—

ww ww ww

Try to let mm. 170- 192 swell and sing like a multiphonic melody. Retake bows as needed to maintain the integrity of the line.

iii-6

Ó.

&B= œ

‚

ii-7

F bœ &=

ww ww ww

174 Tpt

Bsn

Try to circular breathe from here until the end of m. 200, treating the entire passage as a single morphing gestural thrust slowly building in intensity.

(metal plate buzz) ~~~~~~~~~~~~~~~~~~~ w

˙˙ & ˙˙˙ ˙

i ii iii iv v

˜˙

#˙

Bœ 3

˙.

‚ O.

iii-6

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

œœ œœ œ p

w F

ww ww w

œœ Œ b ˙ œœ œ

˙ ˜œ ˙

‚ O.

Tpt

Bsn

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

& w

. & œ

i ii iii iv v

OO ....

j œ œ # œ ˙˙˙ # œœ ˙˙

ii-7 iii-5

ww P

‚‚ OO J

bœ &= µœ

&= Bœ

ii-7 iii-6

‚‚

OO ....

bœ &= Bœ

ii-8 iii-5

‚‚ J

µœ &= µœ

Put down metal plate and slowly pull the harmon mute to half-out position. Look for the point at which the pitch breaks into a beating pattern and try to hold the mute there to maintain the beating.

www ww

iii-6

bœ &=

ii-7

&= Bœ 180

ww P www ww

Swell freely between mp and mf.

˙˙˙ ˙˙

progressively overblow through spectrum

O ..

iii-5

&= µœ 15

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ iii-5 OOo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚‚ OO OO .... ‚ J J ƒ bœ &= &= µœ µœ ii-7 iii-5

186 Tpt

Bsn

& ww

# œœœ # œœ

˙˙˙ ˙˙

www ww

˙˙˙ ˙˙

O ..

‚ O J

ii-7

bœ &=

#˙

˙ Bœ

set down mute, pick up metal plate

˙ ..

j œ F

OOoo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ OO OO OO OO .... œœ J ƒ ii-7 iii-5

slowly gliss multiphonic double stop toward bridge

bœ &= µœ

MSP

192

c. 12"

c. 8"

c. 20"

c. 15"

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sub tone split tone æ w wO wO wO wO wO f ƒ ƒ Ï f

metal plate buzz

Tpt

& w F

Bend and discolor the pitch; mix in bits of flutter; swell between mf and f.

c. 12"

c. 8" Bsn

overblow

c. 8" MSP

i ii iii iv v

ii-open iii-5

wO f

Dip into subtone split tone; increase swells toward ff. Continue discoloring and destabilizing the timbre.

c. 20"

# www & w #w F

overblow

w f

c. 5"

c. 12" ORD

ii-6 iii-open

Add flutter to the subtone split; volume swells and timbral alterations become increasingly violent and erratic.

# www & w #w

c. 5" ii-open iii-5

overblow

w ƒ

c. 5" ii-6 iii-open

c. 15"

# www # ww

˜w

c. 5" ii-open iii-5

c. 15" MSP Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~ slowly gliss multiphonic toward bridge

ii-6 iii-open

Bow freely to maintain volume. Speed of changes should become increassingly erratic, unstable and violent across the 55" span.

µ5 ? = µ5

µ5

? = B5

µ5 ? = µ5

µ5

? = B5

µ5 ? = µ5

µ5

? = B5

199

Tpt

Bsn

c. 33"

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ remove mute, mouthpiece, and crook; prep valves for digital whites æ & wæ wO O ƒ Ï

& ˜ æw ƒ

Bw æ Ï

i ii iii iv v

c. 5"

remove reed

æ w

Flutter erratically through the spectrum. Try to match the intensity of the trumpet.

c. 15" MSP

c. 33"

c. 18"

c. 15"

Bend and discolor these pitches, mix in bits of flutter; erratically swell between ff and fff. Try to match the intensity of the trumpet.

c. 5"

c. 33"

c. 18" ORD

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c. 38" SP

œœ subito

i ii

Violent erratic card swipes up and down strings i and ii. Bow changes (in terms of direction and position) should happen in sync with the shifts in card pull direction. When the card pulls toward the bridge, the bow pulls away from the bridge to SP. When the card swipes away from the bridge, the bow pushes back towards MSP, as though there's an elastic band between the two hands drawing them back toward each other after they stretch away. This should produce a wild, electric guitar like distortion.