Fure shiver lung score

Shiver Lung

for septet and electronics

by Ashley Fure (2016)

Soprano 1 Soprano 2 Alto Saxophone Bassoon Cello Percussion 1 Percussion 2

Shiver Lung

by Ashley Fure for Ensemble and Electronics 2 Sopranos, 2 Percussion, Alto Saxophone, Bassoon, Cello, and Electronics Spatial Diagram In addition to their instruments, the ensemble in Shiver Lung performs with prepared subwoofer speaker cones (see p. 2). These players are positioned around the audience, with one 15” subwoofer at each station, while the sopranos stand back to back in the center of the public with two 12” subwoofers placed between them. All 7 subwoofers are controlled by Max/MSP and should be routed to the primary soundcard connected to the laptop.

The Max/MSP patch will also send out stereo soundfiles, which can be routed to the main house projection system.

If a quad setup is available, the stereo soundfiles should be mirrored front and back to more fully envelop the audience. The diagram below roughly follows the original space in which the piece premiered. The placement of the laptop and amps isn’t important, as long as there’s plenty of speaker wire to route the subs to the soundcard.

Speaker 2

Speaker 1

15”

15” Public

Bassoon

Percussion 1: Lap Steel into Tam-Tam

Soprano

Public

Public

12”

Soprano

Saxophone

Cello

Public

15”

Percussion 2: Bass Drum

Speaker 4 (if available)

12”

15”

15” Laptop, Soundcard, Amps, Etc.

Speaker 3 (if available)

Required technical gear:

5 15� Subwoofer Cones (without cases), such as this model:

2 12� Subwoofer Cones (without cases), such as this model:

5 Small Bullhorns, stuch as this model:

Amplifers for each subwoofer, such as this model:

1 Laptop 1 Soundcard with at least 9 channels of audio Speaker wire to connect subwoofers to amplifiers 1 Bass Egg Transucer

Instructions for Singers: The two female singers stand back to back in the center of the audience and perform their entire part through a bullhorn. Ideally they read from ipads to allow more flexibility with lighting.

Bullhorn Technique: The Bullhorn should be set at medium volume so as to avoid any distortion. There are two basic textures projected through the bullhorn: unvoiced, aspirated whispers (led by the singers and occasionally doubled by the rest of the ensemble) and sung tones (performed only by the singers).

•

Unvoiced, Aspirated Whispers o

Consonants and vowels should be whispered into the bullhorn from a very close distance – roughly 1/2 an inch away from the microphone.

o

The shape of the mouth should remain slightly open during whispers, as if subtly caught by surprise. Indicated consonants and vowels only slightly alter the shape of the mouth – vocalists should slur each phoneme languidly into the next and avoid clearly enunciating the letters.

o

Symbols pertaining to whispers: § § §

•

Aspirated inhale with mouth shape of indicated phoneme Aspirated exhale with mouth shape of indicated phoneme Glottal consonant produced at the back of throat like a with lips still slightly parted. Neither inhale nor exhale during this gesture.

Sung Tones o

Morphing vowels § Like the phonemes in the whisper passages, vowels during sung tones should slur and morph languidly into the next. Sharp shifts of mouth shape should be avoided. Singers should focus on exploring how these continuously morphing mouth shapes affect which overtones are most pronounced at a given moment.

o

Pitches between m. 70 and m. 124 should be sung without vibrato.

o

From m. 144 until the end, singers can fade in between straight tone and slight vibrato.

•

Symbols pertaining to bullhorn placement:

o

: Bullhorn placed close to mouth, roughy ½ inch away from microphone, used in unvoiced whisper sections.

o

: Bullhorn placed roughly 6 inches from mouth. Bullhorn should remain still and centered while the head of the singer slowly scans left to right like a searchlight across the audience. When the mouth passes in front of the microphone of the bullhorn, a slight alteration in timbre will be heard.

o

: Both bullhorn and mouth slowly scan left to right like a searchlight across the audience.

Instructions for Subwoofer Speaker Cones: In addition to their instruments, the bassoonist, cellist, saxophonist, and two percussionists in Shiver Lung play prepared subwoofer speaker cones. These subwoofers oscillate at a sub-harmonic frequency (10.67 hz) that is inaudible to humans until hands and objects are slid across its palpitating surface, producing polyrhythms.

Each of the five perimeter performance areas should be equipped with a subwoofer and the following materials: •

All subs should begin with a piece of 11x17 paper taped to one edge so that it hangs vertically downward, ready to be quickly flipped across the surface of the speaker at m. 65.

•

All subs should have a small handful of aquarium gravel in a plastic bag set near them, ready to be quietly inserted at m. 143

•

The cello and percussion 1 should additionally each have a 12” half styrofoam ball.

•

Both percussionists will use other auxiliary percussion instruments on the subwoofer (see below).

Symbols pertaining to speaker cone techniques: •

From m. 4 – 26 the subwoofers are still. Players swipe their fingertips, palms, and fingernails across the surface of the cone to produce softs arcs of white noise hiss.

o

Slide fingertips of both hands in a semi-circle across the cone, avoiding the nipple.

o

Slide palms of both hands in a semi-circle across the cone, avoiding the nipple.

o

•

Scrape all ten fingernails in a sharp flick across the cone.

At m. 27 the cones begin vibrating at 10.67 hz.

o

Slowly slide palms in a straight line from the top of the cone (farthest away from the player) to the bottom (closest).

Let fingernails bounce across the surface of the cone.

o

Trail fingertips back and forth across the soft rim of the speaker

o cone. o

At m. 64, the paper, which had been hanging off the speaker cone, should be quickly flipped up and laid across its surface, producing a rippling white noise.

o

At m. 78 the paper should be un-taped from the cone and held medium taut just a few inches above its surface. The paper is then raised and lowered above the cone according to the indicated graphic, from roughly ½ inch at its lowest to 6 inches at its highest. Though it never touches the surface of the speaker, the shifting air pressure emerging from the cone causes the ripple of the paper to crescendo and decrescendo.

o

Players reattach their paper and leave it vibrating across the surface of the speaker cone m. 98.

o

From mm. 144 – 177, Percussion 1 and 2 should improvise on the speaker cones with various auxiliary percussion instruments. Explore loud, metallic timbres, using china cymabls and piccolo snare drums to interact with the bouncing gravel and produce shifting chaotic accents in the underlying polyrhythmic pulse.

Instructions for Saxophone: •

The alto saxophonist trades between three types of sound making : speaker cone, bullhorn, and alto sax. For instructions on bullhorn and speaker cone techniques, please see above.

•

Multiphonics are pulled from Marcus Weiss’s The Techniques of Saxophone Playing.

Instructions for Bassoon: •

The bassoonist trades between three types of sound making : speaker cone, bullhorn, and bassoon. For instructions on bullhorn and speaker cone techniques, please see above.

•

Directions for producing multiphonics are indicated in the score.

Instructions for Cello: •

The cellist trades between three types of sound making: speaker cone, bullhorn, and cello. For instructions on bullhorn and speaker cone techniques, please see above.

•

The fourth string of the cello should be detuned a minor third to a low A.

Instructions for Percussion 1: Percussion 1 trades between two types of sound making: playing the bass drum, and performing on a subwoofer speaker cone. For instructions on speaker cone techniques, please see above.

Required instruments/objects: •

1 Concert Bass Drum (as large as possible)

•

3 12” China Cymbals o Note: 2 of these should be turned upside down and placed inside the two 12” subwoofers in the middle of the space, placed between the singers.

•

Speaker cone prepared with paper (see above), to be played with: o Small handful of aquarium gravel in a plastic bag o 1 sheet of foamcore, roughly 2’x4’ o 1 12" Smoothfoam Half Styrofoam Ball (the cellist needs one also, order two!) o Auxuilliary Objects as desired, such as: § Piccolo snare § 12” china cymbal § Metal chain or mardi gras beads

Instructions for Percussion 2: Percussion 2 trades between three types of sound making: Playing the lap steel guitar, whispering through a bullhorn, and performing on a subwoofer speaker cone. For instructions on bullhorn and speaker cone techniques, please see above.

Required instruments/objects: • • • •

1 1 1 1

Lap Steel Guitar (with built-in stand or table, such as the Rogue RLS-1) Electric Guitar Amp (with output capability) Tam-Tam with Stand Bass Egg Transducer (affixed to the back of the Tam-Tam)

•

Speaker cone prepared with paper (see above), to be played with: o Small handful of aquarium gravel in a plastic bag o 1 sheet of foamcore, roughly 2’x4’ o 1 12" Smoothfoam Half Styrofoam Ball o Auxuilliary Objects as desired, such as: § Piccolo snare § 12” china cymbal § Metal chain or mardi gras beads

Lap steel Guitar Instructions The Lap steel is played with a violin bow and tuned in the following scordatura:

The guitar should be set up in it’s standard fashion: laid flat on its built-in stand (if it has one) or on a table (if it doesn’t). The output of the guitar is fed into an electric guitar amp. This amp is not projected live into the air, the sound instead is fed out of its headphone jack (or other aux ouput) and into a large Bass Egg Transducer. This transducer is affixed to a hung Tam-Tam. What we hear, then, is the lap steel amplified through the natural metallic distortion of the tam-tam.

The tablature notation uses a clef that indicates the space between the bridge and the tuning pegs. Frets are indicated with roman numerals and dictate where the left hand finger pressure should lie. The bow (in the right hand) should always remain one fret to the right of the left hand. In the excerpt above, the left hand palm swipes from the pegs to the 4th fret, and then lands with a single finger placing harmonic pressure on String I. The bow in this case slides from the bridge to the 5th fret, producing a smudged, high partial growl and then returning to normal bowing after the slide accent.

Symbols Pertaining to Lap Steel Techniques:

•

Arco Whip: Starting wherever the bow is, slide it quickly toward the bridge and back to produce a smudged, high partial growl across all strings.

•

(Upbow): Bow pushes away from the body

•

(Downbow): Bow pulls toward the body.

(When no bowing movements are indicated, the player can bow freely).

•

Harmonic trill: trill between harmonic pressure and the open string on the indicated fret and string.

•

Full finger harmonic trill: use a flat finger to harmonic trill across all six strings at once

Electronics All 7 subwoofers and the projected soundfiles are controlled by Max/MSP. Triggers to launch specific events are indicated in the score.

The players will follow a click track on wireless headsets, which will be synced to the electronics.

q = 76

Sop. 1

÷ 44

∑

∑

Slowly raise bullhorn to mouth.

∑

Ó.

≈ Ó .

j ‰ Ó.

Ó.

P

s fuh

Sop. 2

Slowly raise bullhorn to mouth.

÷ 44

∑

∑

∑

Ó.

huh

≈ Ó .

j ‰ Ó.

Ó.

P

s fuh

Sax

Basoon

Cello

÷ 44

∑

Perc. 2

∑

Slide fingers of both hands across the speaker cone to produce a soft, white noise hiss.

Ó.

≈ œ. ˙.

J P

Speaker Cone

÷ 44

∑

÷ 44

∑

∑

∑

∑

Ó.

≈ œ. ˙.

J P

w æ ∑

÷ 44 œ Ó .

∑

Œ

n

∑

∑

Slide fingers of both hands across the speaker cone to produce a soft, white noise hiss.

Ó.

≈ œ. ˙.

J P

Speaker Cone

w æ

*

w æ

∑

∑

∑

∑

π

Œ

n

∑

∑

(Subwoofers still; no soundfiles)

∑

∑

∑

Slide fingers of both hands across the speaker cone to produce a soft, white noise hiss.

Ó.

≈ œ. ˙.

J P

Speaker Cone

1

Electronics

n

∑

(mute)

÷ 44 w æ Ø ÷ 44

∑

Œ

Slide fingers of both hands across the speaker cone to produce a soft, white noise hiss.

Speaker Cone

Bass Drum

Perc. 1

∑

huh

∑

Œ

n

∑

∑

∑

∑

∑

2

j ‰ .

8

S1

÷ Ó.

f

j ‰ .

8

S2

k

÷ Ó.

f

k

j Ó

∑

j ‰ Ó.

Ó.

t

j Ó

j ‰ Œ.

huh

∑

t

j ‰ Ó.

Ó.

t

j ‰ Œ.

huh

t

j Œ

j ‰ Ó.

huh

huh

j Œ

j ‰ Ó.

huh

huh

Soft, aspirated inhale.

8

Sax

÷

∑

∑

∑

∑

∑

∑

Bullhorn

j ‰ Ó. π

huh

Soft, aspirated inhale.

Bullhorn

8

Bsn

÷

∑

∑

∑

∑

∑

∑

j ‰ Ó. π

huh

Soft, aspirated inhale.

8

Vc.

÷

Bullhorn

∑

∑

∑

∑

∑

∑

j ‰ Ó. π

huh

8

P1

÷

∑

∑

∑

∑

Swipe nail around perimeter of bass drum; volume correlates to speed.

∑

∑

œ ˙. ‰J P π

Soft, aspirated inhale.

8

P2

÷

∑

∑

∑

∑

∑

∑

Bullhorn

j ‰ Ó. π

huh

8

Elec.

÷

∑

∑

∑

∑

∑

∑

∑

3

15

S1

÷ Ó.

ŠΠ. sfuh

15

S2

÷ Ó.

ŠΠ. sfuh

j Œ

j ‰

k

t

uh

j Œ

j ‰

j ‰ Œ

k

t

uh

huh

xx 15

Sax

÷

∑

∑

Speaker Cone

j ‰

j ‰ Ó.

Ó

huh

uh

j ‰

huh

p

j ‰ Ó.

Ó

uh

j ‰

huh

p

Slide palms across surface of speaker cone. Sharp scrape of fingernails Rhythm indicates changes of direction.

‰ œ œ J P

œ œ œ

œ >œ

˙.

ß

∑

Slide palms across surface of speaker cone.

Rhythm indicates changes of direction.

xx 15

Bsn

÷

∑

∑

Ó

‰ œ œ J P

Speaker Cone

Sharp scrape of fingernails

œ >œ

˙.

ß

∑

xx 15

Vc.

÷

15

P1

Speaker Cone

÷

∑

w

P

∑

∑

∑

∑

Œ

Sharp scrape of fingernails

œ >œ

˙

P

ß

∑

∑

∑

Slide palms across surface of speaker cone.

Rhythm indicates changes of direction.

xx 15

P2

÷

∑

∑

∑

∑

∑

∑

Ó.

Speaker Cone

15

Elec.

÷

∑

‰ œ w J P ∑

4 20

S1

÷

∑

j j ‰ Œ ‰ Œ

Ó

f

20

S2

÷

∑

÷

∑

÷

∑

÷

20

P1

÷ Œ

∑

˙.

‰ œ œ >œ Œ .

J P ß

Ó

Speaker Cone

˙ ..

n

Large, heavy, soft mallet

œ Œ.

J P ∏ Sharp scrape of fingernails

20

P2

‰ œ œ >œ Œ .

J P ß

Ó

Speaker Cone

xx

20

Vc.

‰ œ œ >œ Œ .

J P ß

Ó

Speaker Cone

xx

20

Bsn

÷ ˙.

œ œ œ >œ Œ .

œœ ˙

P ß

20

Elec.

÷

t

xx

20

∑

k

t

j j ‰ Œ ‰ Œ

Ó

f

Sax

t

∑

k

t

xx

œœ œ J ß xx

œœ œ J ß xx

œœ œ J ß œŒ œ J xx

œœ œ J ß ∑

j j ‰ ‰ ‰ Œ ‰ Œ huh

f

t

huh huh

j j ‰ ‰ ‰ Œ ‰ Œ huh

f

t

Œ.

Œ.

huh huh

j Œ

k

s fuh

j Œ

k

s fuh

j Œ

xx

‰ œ œ œ œ.

J

Bullhorn

œ J ß

∑

Œ.

π

k

s fuh

j Œ

k

s fuh

j Œ

k

s fuh

xx

‰ œ œ œ œ.

J

Bullhorn

œ J ß

∑

Œ.

π

xx

‰ œ œ œ œ.

J

œ J ß

F œœ ‰œ‰ œŒ

Bullhorn

∑ F œœœ Œ ‰J Œ

Œ.

π Ó.

‰œ æJ ∏

To Rollers

xx

‰ œ œ œ œ.

J ∑

Bullhorn

œ J ß

∑ ∑

Œ.

j Œ

k

s fuh

π ∑

5

26

S1

÷

∑

∑

Ó.

Ó.

∑

∑

j ‰

Ó.

s fuh

26

S2

÷

∑

∑

Ó.

k

Œ Ó

∑

∑

j ‰

Ó.

s fuh

k

Speaker Cone 2 Palm Slide

26

Sax

÷

∑

∑

XX

∑

Fingertips on Rim

Speaker Cone

26

Bsn

÷

∑

∑

Ó.

Œ Ó

Ó.

2 Palm Slide

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

s fuh

26

Vc.

÷

∑

∑

Ó.

Œ Ó s fuh

26

P1

÷ w æ

w æ

w æ

26

P2

÷

∑

∑

π

Ó.

∑

Œ Ó s fuh

2

26

Elec.

÷

∑

œ Ó.

Perimeter subs start to vibrate.

∑

∑

XX

‰

J

6 33

S1

÷

∑

j ‰ Œ

Ó

j ‰

Ó

∑

huh

33

S2

÷

∑

s

j ‰ Œ

Ó

huh

s

∑

∑

j j ‰ ‰

fuh

k

j ‰

Ó

∑

∑

∑

∑

∑

t k

s fuh

j j ‰ ‰

fuh

k

t k

s fuh

2 Palm Slide 33

Sax

÷

slow

XX

Fingertips on Rim

33

Bsn

÷

Speaker Cone

33

Vc.

÷

∑

33

P1

÷

∑

÷

XX

2 Palm Slide

Ó ‰

J

∑

∑

Œ.

2 Palm Slide

XX

J

XX

XX

∑

∑

∑

Speaker Cone

slow

Fingertips on Rim

33

Elec.

÷

∑

∑

∑

∑

slow

Fingertips on Rim

XX

XX

slow

Fingertips on Rim

‰œ J

slow

Fingertips on Rim

‰œÓ J

XX

‰ œ ‰ œ Œ. œ Ó J J J

Ó

Speaker Cone

33

P2

XX

∑

∑

∑

∑

7

j j ‰ Œ Œ. ‰ ‰

41

S1

÷ Ó

huh

÷ Ó

huh

41

Sax

÷

÷

s

∑

∑

∑

∑

∑

∑

huh

∑

∑

j ‰

Ó.

s

huh

÷

÷

Rotational slides with no coordination between hands.

fast

fast

Rotational slides with no coordination between hands.

Rotational slides with no coordination between hands.

Rotational slides with no coordination between hands.

fast

41

P2

j ‰

Ó.

fast

41

P1

huh

41

Vc.

k

∑

fast

41

Bsn

huh

j j ‰ Œ Œ. ‰ ‰

41

S2

k

∑

÷

Rotational slides with no coordination between hands.

41

Elec.

÷

∑

∑

∑

∑

∑

∑

∑

∑

8 49

S1

÷ Ó.

j ‰ Œ.

‰ Ó . sf

49

S2

÷ Ó.

k

sf

49

Sax

÷

Bsn

÷

÷

49

P1

÷

P2

÷

j ‰ Œ.

huh

k

j ‰ Ó

j ‰ Œ.

huh

k

j Œ

s

k

k

f

t

‰ ‰ Œ.

t

s

fuh

s

‰ ‰ Œ.

t

fuh

s

÷

∑

∑

∑

j

f

Vamp fingertip slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

Vamp fingertip slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

Vamp fingertip slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

Vamp fingertip slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

∑

f

49

Elec.

j

Vamp fingertip slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

t

j Œ

f

j ‰ ‰ Œ.

j ‰ ‰ Œ.

f

j ‰ Ó

49

t

f

j Œ

49

Vc.

k

49

t

j ‰ Œ.

‰ Ó .

j Œ

∑

∑

∑

9

56

S1

÷ . k

56

S2

÷ . k

j Πt

t

Bsn

÷

Fingernails

56

P1

÷

P2

÷

s fuh

fuh

t k

fuh

s fuh

t k

fuh

s fuh

s fuh

s fuh s fuh

Fingernails

fuh

s fuh

s fuh

s fuh s fuh

÷

∑

∑

∑

∑

s fuh

Vamp fingernail slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

Vamp fingernail slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

t k

Vamp fingernail slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

∑

∑

∑

∑

56

Elec.

s fuh

Vamp fingernail slides from the edge to the center with left and right hand in opposite motion. Try to maintain polyrhythmic intensity.

s fuh

t k

Fingernails

56

s fuh

j ‰ ‰ ‰ ‰ ‰ ‰ ‰ huh

÷

∑

fuh

Fingernails

56

Vc.

∑

56

j ‰ ‰ ‰ ‰ ‰ ‰ ‰ huh

Fingernails

÷

∑

fuh

j Œ

56

Sax

∑

∑

10

j j j ÷ ‰ ‰ ‰ Ó.

63

S1

s fuh

s fuh

s

fuh

s fuh

s fuh s

∑

∑

∑

∑

∑

∑

∑

∑

fuh

F

j j j ÷ ‰ ‰ ‰ Ó.

63

S2

s fuh

s fuh

s

fuh

s fuh

s fuh s

fuh

F

Leave one hand on fingernail slides, use the other to pick up the hanging paper and prep it to drop across the face of the sub.

63

Sax

÷

÷

÷

Drop paper across sub

Leave one hand on fingernail slides, use the other to pick up the hanging paper and prep it to drop across the face of the sub.

63

P1

Drop paper across sub

Leave one hand on fingernail slides, use the other to pick up the hanging paper and prep it to drop across the face of the sub.

63

Vc.

Drop paper across sub

Leave one hand on fingernail slides, use the other to pick up the hanging paper and prep it to drop across the face of the sub.

63

Bsn

x

÷

Drop paper across sub

3

~~~~~~~~~~~~~~~~~~~~~ (leave vibrating) ∑ ∑

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

(leave vibrating)

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

(leave vibrating)

&

Ó

Alto Sax A-113

# ˙˙ π

∑

∑

∑

∑

∑

∑

~~~~~~~~~~~~~~~~~~~~~~~ (leave vibrating) ∑ ∑

∑

Bow Slide (RH) 63

P2

Bridge

÷

∑

Lap Steel

∑

Pegs

J

* Harmonic pressure on string I at indicated fret; all other strings open. Bow follows LH movement and should be always one fret higher (i.e. to the right).

IV *

j ‚ O. π

O

O

O

O

Palm Slide (LH) 63

Elec.

3

÷ œ

Ó.

∑

Perimeter subs increase volume slightly.

"f "

∑

∑

∑

∑

∑

&

11 Hold bullhorn, still, a few inches from your face and scan your head left and right extremely slowly while you sing, so your voice travels across the room like a searchlight.

70

S1

& Ó.

(Tune to Saxophone Multiphonic)

w

w

˙.

oh uu ah ee uu ah Continuously morph from one vowel to the next. Mouthshape should never be stable.

uu

oh

#œ w

w

w

w

π

n

œ

"ƒ "

ee s f

Hold bullhorn, still, a few inches from your face and scan your head left and right extremely slowly while you sing, so your voice travels across the room like a searchlight.

70

S2

÷

∑

Ó #˙

Slowly bend your pitch above and below soprano 1 (never more than a quarter tone), exploring different rates of beating.

&

w

w

w

w

oh uu ah ee uu Continuously morph from one vowel to the next. Mouthshape should never be stable.

π

n 70

Sax

& ww

ww

ww

ww

ww

70

Bsn

÷

ww

w

˙.

ah

uu

ww

˙˙ ....

‰

˙ ..

‰

Bassoon Slowly sag into a multiphonic by lessening air pressure and embouchure slightly and with great control.

Œ #˙.

w π

ee s f

"ƒ "

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

n

w

œ

P

70

Vc.

÷

70

P1

÷

70 Arco Whip

VII

Bridge

V

‚ O.

O ‚ O 3

O. ‚ ‚ O

O

P2

VIII

X

‚‚ O

O.

O

‚ O.

‚

XII

ß

3

Pegs

70

Elec.

÷

∑

∑

∑

∑

∑

∑

∑

∑

l.v.

12 78

S1

&

∑

∑

∑

∑

∑

∑

Ó.

∑

‰ P

sfuh

78

S2

&

∑

∑

∑

∑

∑

∑

Ó.

∑

‰

P

s fuh

Speaker Cone Detach paper and hold it medium taut and flat roughly 10" above speaker cone, so that it vibrates subtly with the subwoofer air but doesn't slap against the surface.

78

Sax

&

Slowly lower to speaker.

∑

Slowly raise just above.

Roughly 1/2 " above speaker cone

Speaker Cone Detach paper and hold it medium taut and flat roughly 10" above speaker cone, so that it vibrates subtly with the subwoofer air but doesn't slap against the surface.

78

Bsn

÷

78

Vc.

P1

∑

Roughly 1/2 " above speaker cone

Detach paper and hold it medium taut and flat roughly 10" above speaker cone, so that it vibrates subtly with the subwoofer air but doesn't slap against the surface.

÷

78

Slowly raise just above.

Slowly lower to speaker.

Slowly lower to speaker.

Slowly raise just above.

Roughly 1/2 " above speaker cone

Detach paper and hold it medium taut and flat roughly 10" above speaker cone, so that it vibrates subtly with the subwoofer air but doesn't slap against the surface.

÷

Slowly lower to speaker.

Slowly raise just above.

Roughly 1/2 " above speaker cone

78

P2

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

78

Elec.

÷

13

86

S1

& Ó.

‰ ‰ . r ‰ j Œ

≈ ≈

∑

∑

‰ ‰ . r ‰ j Œ

≈ ≈

∑

∑

f k

86

S2

& Ó.

t

f k

86

Sax

&

86

Bsn

÷

86

Vc.

÷

86

P1

÷

t

k

s fuh

k

s fuh

Slowly lower to speaker.

Slowly raise just above.

Slowly lower to speaker.

Slowly raise just above.

Slowly lower to speaker.

Slowly raise just above.

Slowly lower to speaker.

Slowly raise just above.

.

Bow Slide (RH) Bridge

86

∑

P2

Ó.

≈

Lap Steel

Pegs

÷

O

String I

π

O

Palm Slide (LH)

86

Elec.

.

J

VII Extremely slow bow speed; extremely light bow pressure

∑

∑

F

∑

∑

14 90

S1

& Ó.

‰ Œ. t k

90

S2

& Ó.

‰ Œ. t k

j j ‰ Œ

Ó.

j j ‰ Œ

Ó.

uh

≈ Œ

huh

uh

s f k

≈ Œ

huh

s f k

Œ

‰ j

Œ

‰ j

uh huh

uh huh

uh

uh

90

Sax

&

90

Bsn

÷

90

Vc.

÷

90

P1

÷

90

u ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ ≥‚ O O. ‚ ‚≤

Bridge

‚

P2

Harm Trill on String I

≤O .

O.

P

Pegs

90

Elec.

÷

∑

∑

∑

∑

15

94

S1

j & ‰ Ó.

Œ.

p

huh

‰ . r ‰ . r ≈ ‰ . r ‰ . r .

j Œ

‰ . r ‰ . r ≈ ‰ . r ‰ . r .

k

94

S2

j Œ

j & ‰ Ó.

Œ.

p

huh

k

t

t

F

s f

s f

F

huh

s f

huh

s f

p t

p t

k

k

t

t

k

k

s p

s p

t

t

94

Sax

Reattach paper to subs; leave vibrating

&

94

Bsn

÷

94

Vc.

÷

94

P1

÷

94 Bridge

P2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O O. ‚ ≥‚ O O

Pegs

94

Elec.

÷

∑

∑

∑

∑

16 98

S1

& Œ.

Œ. s f

98

S2

& Œ.

Œ. s f

j

&

≈

P

j

f

Ó.

˙

k

oh

n

≈

P

Ó

∑

"f "

uh

∑

∑

"f "

uh

f

k

B

98

Sax

Ó.

PIck up alto sax.

∑

Ó.

‰

Alto Sax

j œœ

A-31-1

n

C

ww

ww P

98

Bsn

÷

∑

Pick up bassoon.

Reattach paper to subs; leave vibrating

?

Place Styrofoam ball on top of paper; Let it bounce against the speaker; use fingers to keep it centered.

98

Vc.

÷

Reattach paper to subs; leave vibrating

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

Place Styrofoam ball on top of paper; Let it bounce against the speaker; use fingers to keep it centered.

98

P1

÷

Reattach paper to subs; leave vibrating

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

98 Bridge

P2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ O≤ .

O. ‚ . ß

Pegs

98

Elec.

÷

∑

∑

VIII

≥O .

‚ ‚≤

String I

subito

p ∑

IX

‚ ≥‚

O. ∑

17

102

S1

& w

uu

w

ee

ah

w

ee

uu

œ

˙.

ah

uu

s

p

"f "

P

Continuously morph from one vowel to the next. Mouthshape should never be stable.

t

102

S2

& Ó

Slowly bend your pitch above and below soprano 1 (never more than a quarter tone), exploring different rates of beating.

n ˙.

w

ee

oh

ah

P

w

uu

ah

˙.

œ

ee

uu

Continuously morph from one vowel to the next. Mouthshape should never be stable.

n

s

p

"f "

t

A-31-2

Sax

& ˙ ˙

3

µœ œ

˙ ˙

w w

? Ó.

bœ n

102

Vc.

÷

102

P1

÷

˙ ˙

˙˙ ..

œœ J

‰

Finger low Bb - by tightening lip pressure and tongue height, gently explore the harmonic spectrum. Experiment by adding pinky resonance keys - especially c# - to allow the note to break into a spectral event. Avoid ever playing a 'normal' low Bb.

102

Bsn

j œ µ œœ .. œ

A-31-3

102

w

w

j ‰ œ

˙.

P

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

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

102 Bridge

O

P2

‚

VIII

O≤

‚ ≥‚

‚ ‚≤ O

O

‚

Pegs

102

Elec.

÷

&

∑

∑

∑

∑

ß

18 106

S1

& Œ

Œ.

Œ

Œ

Œ.

Œ

Œ

P

uh huh

106

S2

& Œ

P

uh huh

106

Sax

Pick up bullhorn.

ŠΠs fp t

Œ

Œ

uh huh

uh huh

Œ

Œ

uh huh

uh huh

Œ

Œ

uh huh

uh huh

Œ

Œ

∑

∑

∑

Œ

Bullhorn

Œ

uh huh

Œ.

Œ.

Œ.

uh huh

uh huh

k toh

k toh

uh huh

uh huh

uh huh

k toh

k toh

Slowly turn and explore styrofoam on paper, looking for timbral shifts while maintaining polyrhythmic complexity.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

106

P1

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

106

Vc.

Œ.

Bullhorn

∑

&

&

s fuh

s fp t

Pick up bullhorn.

106

Bsn

s fuh

≈ Œ

Slowly turn and explore styrofoam on paper, looking for timbral shifts while maintaining polyrhythmic complexity.

106 Bridge

≥‚

P2 Pegs

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚≤ ≥‚ ‚ ‚≤ ≥‚ ‚≤ ≥‚ ‚ ‚≤ ≥‚ ‚≤ ≥‚ ‚ ‚≤ ≥‚ ‚≤ ≥‚ ‚

Slow arco slide across open strings

All Strings

u Full finger harmonic trill u u u u

F

S

106

Elec.

÷

∑

∑

∑

∑

P

19

110

S1

&

Ó.

Ó

‰

huh

∑

Œ #˙

∑

f k

œ

ah

s f

p "f "

n

110

S2

&

‰

huh

∑

Ó

∑

f k

C

110

Sax

Ó.

Ó

&

Ó.

Ó

‰

huh

3

PIck up alto sax.

Ó

∑

Ó

Alto Sax

f k

A-19

µ œœ µœ œ n

110

Bsn

&

Ó.

Ó

‰

huh

∑

B œ # œ π p sf "f "

˙˙ .. ˙. ˙.

∑

P

j œœ œ ‰ œ

∑

f k

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

110

Vc.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

110

P1

110 Bridge

P2 Pegs

F

II

‚≤

π

* Harmonic pressure on string I at indicated fret; all other strings open.

Bow follows LH movement and should be always one fret higher (i.e. to the right).

O

110

Elec.

÷

∑

∑

∑

∑

∑

20 115

S1

r j r r & ≈ ≈ ‰ . ‰ ≈ ‰ ‰ . ‰ . s f

t k

s f

t k

s fk t

p

p

p

p

s f

toh

huh

toh

huh

115

S2

r j r r & ≈ ≈ ‰ . ‰ ≈ ‰ ‰ . ‰ . s f

t k

s f

t k

s fk t

p

p

p

p

s f

toh

huh

toh

huh

‰ . r ‰ j ‰ . r ‰ k

k

k

f koh

"ƒ "

‰ . r ‰ j ‰ . r ‰ k

k

k

f koh

"ƒ " 115

Sax

&

∑

∑

115

Bsn

&

∑

∑

‰ . r‰ j ≈ ‰ ‰ . r ‰ . r

∑

p

p

p

p

s f

toh

huh

toh

Pick up bassoon.

∑

&

huh

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

115

Vc.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

115

P1

115

u ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ ≤‚ O . ‚ ≥‚

Bridge

‚ ≥‚

O.

P2

Harm Trill on String I

O.

O

p

Pegs

115

Elec.

÷

∑

∑

∑

∑

21

119

S1

‰ œJ w

& Ó.

w

119

‰ nœ w J

Sax

& Œ

#˙. ˙.

w w

n

Bassoon

119

Bsn

w

P

œ

w

F

uu

w

huh

˙.

œ

ah

F

huh

π

w w

# œœ J

˙ .. ˙ ..

A-31-3

ww

ww

P

π

˙˙ 3

#œ œ. œ œ.

‰

π

Play and finger high d (very softly!). By relaxing air pressure and embouchure (slightly!) sag into a multiphonic the back to a D. Bend the pitch to match and then conflict with the singers' pitches. Blend with them!

Œ ‰ œJ w

& Ó

ah

uu ee ah Continuously morph from one vowel to the next. Mouthshape should never be stable.

n

A-31-2

˙.

Slowly bend your pitch above and below soprano 1 (never more than a quarter tone), exploring different rates of beating.

B C

w

π

Ó.

∑

&

119

w

uu uu ee ah Continuously morph from one vowel to the next. Mouthshape should never be stable.

n

S2

w

w

P

n

w

w

˙.

w

œ‰ J F

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

119

Vc.

Remove Styrofoam ball, add foamcore Use the palms of the hand to exert pressure at different points of the foam core, adding a subtle accent pattern to the emergent polyrhythm.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

119

P1

119

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤ ‚ ≥‚ O ‚ ‚≤ O .

O ≥‚ O O. ‚≤ O . ‚ O. ‚ ‚ O.

Bridge

P2

IV

P

Pegs

119

Elec.

÷

∑

ß

3

∑

∑

∑

∑

∑

∑

22 126

S1

&

∑

Ó.

‰

Œ.

f koh

œ ˙ J

˙.

oh

uu

n

126

S2

&

∑

Ó.

‰

œ p

f koh

B

Sax

∑

&

Ó.

Eb

j ‰µ œ œ

œ Ó

p

oh

Bsn

∑

&

p

oh

3

uu s f

µœ œ uu

nœ ah

n

p

A-28

w w

w w

P

n

126

œ ˙ n

n

126

3

ah s f

µ ˙.

∑

Ó

π

w w

Play a high C. Start SOFT! Bend the pitch microtonally up and down at an uneven rate (but mostly slowly) to weave in and around the singers. Become the third voice.

Continue in this way as the pitch bends upwards to an Eb (or E if it feels right) in bar 134.

‰ œ J

Ó.

w

P

n

w

w

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

126

Vc.

126

P1

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

126

Bridge

XII XI XI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ XII ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~ ≥‚ O. ‚ ‚≤ O O O. ‚ ≥‚ O≤ ≥‚ ≥O . ‚ ‚≤ VII

P2 Pegs

126

Elec.

÷

ß

3

P

∑

∑

∑

∑

ß

∑

23

131

S1

& ˙

µ˙

w oh

uu

131

S2

& w

˙.

& w

131

P1

uu

w w

˙ ˙

#w

w

3

ah

s

œ œ.

"ƒ "

3 ah

f

s

P

f

"ƒ "

B

µ œœ

˙˙

C

π

˙˙ ..

F

œ

˙

œœ J

‰

œ J

‰

F

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

131

Vc.

œ P

˙

A-31-3

131

Bsn

w

ee

& w w P

˙.

ee

#œ

oh

131

Sax

Bœ

˙.

÷

Pick up bullhorn.

Quietly remove styrofoam.

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

131 Bridge

P2

XI XI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ ≥ O. ‚ ‚≤ O . ≥‚ O ‚≤ O O ‚ ‚ IX

IX

ß

Pegs

131

Elec.

÷

∑

∑

ß

3

∑

∑

24 135

S1

Slowly inhale and exahle while voicing consonants; slowly turn the bullhorn left and right while you do so.

& P

s f s f s f s f s f s f s f s f

P

s f s f s f s f s f s f s f s f

F

& s f s f s f s f s f s f s f s f

135

Sax

F

s f s f s f s f s f s f s f s f

Slowly inhale and exahle while voicing consonants; slowly turn the bullhorn left and right while you do so.

135

S2

s f s f s f s f s f s f s f s f

&

Pick up bullhorn.

s f s f s f s f s f s f s f s f

P

Ó

∑

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

F

P

Slowly inhale and exahle while voicing consonants; slowly turn the bullhorn left and right while you do so.

Bullhorn

s f s f s f s f

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

F

n

135

Bsn

&

Pick up bullhorn.

∑

∑

Bullhorn

Slowly inhale and exahle while voicing consonants; slowly turn the bullhorn left and right while you do so.

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

F

n

Vc.

Slowly inhale and exahle while voicing consonants; slowly turn the bullhorn left and right while you do so.

Bullhorn

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

135

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

F

n

P

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

135

P1

s f s f s f s f s f s f s f s f

135

Bridge

P2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚≤ O ‚ ≤ ≥‚ ≥O ≥O . ‚ ‚ O.

XI

VII

XI

VII

ß

Pegs

135

Elec.

÷

∑

∑

∑

∑

25

139 (Continue rotation of the head)

S1

& P

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

F

P

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

"ƒ "

139 (Continue rotation of the head)

S2

& s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

P

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

"ƒ "

F

139 (Continue rotation of the head)

Sax

& s f s f s f s f s f s f s f s f

P

s f s f s f s f s f s f s f s f

F

s f s f s f s f s f s f s f s f

P

s f s f s f s f s f s f s f s f

"ƒ "

139 (Continue rotation of the head)

Bsn

& s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

P

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

"ƒ "

139

÷ (Continue rotation of the head)

Vc.

s f s f s f s f s f s f s f s f

s f s f s f s f s f s f s f s f

F

s f s f s f s f s f s f s f s f

P

s f s f s f s f s f s f s f s f

"ƒ "

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷

139

P1

139

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚≤ O ‚ ≤ ≥O ≥O . ‚ ‚ O ..

J ß

Bridge

P2

XII

VII

XI

Pegs

139

Elec.

÷

∑

∑

∑

Ó.

r ‰. œ 4

26 143

S1

&

Breathe as discreetly as possible, staggering with soprano 2.

Fade in and out between straight tone and very slight vibrato.

w

c. 2'07"

∑

w

˙

Freely and slowly undulate between all vowels. Mouth shape should never be stable.

Focus on the shifting overtones that arise with these morphing mouth shapes.

F

n

143

S2

&

Breathe as discreetly as possible, staggering with soprano 1.

Fade in and out between straight tone and very slight vibrato.

w

c. 2'07"

∑

w

w

Freely and slowly undulate between all vowels. Mouth shape should never be stable.

Focus on the shifting overtones that arise with these morphing mouth shapes.

F

n

B

Bb 143

Sax

&

c. 2'07"

Pick up alto.

Ó

C

∑

Quietly place plastic bag of gravel on subwoofer under paper.

A-52-1

B˙ µ ˙˙

Alto Sax

n

143

Bsn

&

c. 2'07"

∑

Vc.

÷

c. 2'07"

∑

Pick up bassoon.

P1

c. 2'07"

∑

Quietly place plastic bag of gravel on subwoofer under paper.

143 c. 2'07"

P2 143

Elec.

÷

Œ

F

n

˙. µ˙.

#˙ n

w

P

w

Indicated pitches represent only the center of what should be a continual timbral morphing through subtle shifts in vibrato, bow pressure, motion from molto sul pont to molto sul tasto and back, slight microtonal bends, and fluctions of finger pressure. Try to make the cello sound as much like a wailing female voice as possible. Try to fuse with the bassoon (doubling your pitches, slightly offset) into one complex, hybrid timbre.

&

Ó

#˙ n

w

P

w

Freely imrovise with auxiliary objects on the subwoofer. Explore a mf - ff range, using metal objects such as chinal cymbal to mute the shaking gravel and create timbral swells. Look for active, dynamic textures that maintain consistent polyrhythmic complexity. At the downbeat of m. 178, stop abruptly.

143

÷

Ó

PIck up cello.

Quietly place plastic bag of gravel on subwoofer under paper.

w ww

A-57-1

C

Indicated pitches represent only the center of what should be a continual timbral morphing through lip tremors, slight microtonal bends, flucutations of breath, slight vibrato, timbral trills, etc. Try to make the bassoon sound as much like a wailing female voice as possible. Try to fuse with the cello (doubling your pitches, slightly offset) into one complex, hybrid timbre.

Quietly place plastic bag of gravel on subwoofer under paper.

143

µ˙

∑

Quietly place plastic bag of gravel on subwoofer under paper.

∑

Permimeter subwoofers suddenly stop; sharp cut to internal subwoofers, very quietly vibrating. Internal subs start a progressive 2 minute crescendo; permiter cymbals join the crescendo about 40" in.

A soundfile launches 25" before the end of the crescendo, peaking at a very audible attach which cues the singers to enter.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w F ƒ Freely imrovise with auxiliary objects on the subwoofer. Explore a mf - ff range, using metal objects such as chinal cymbal to mute the shaking gravel and create timbral swells. Look for active, dynamic textures that maintain consistent polyrhythmic complexity. At the downbeat of m. 178, stop abruptly.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w F ƒ ∑

∑

∑

27

147

S1

&

147

S2

&

w

w

˙

œ µ ˙.

w

w

n˙

w

w

˙

˙

3

nœ

w

Bb 147

Sax

w & w F

A-52-1

w w

Œ

w

#w

C

n

B˙ . µ ˙˙ ..

w ww F

w ww

147

Bsn

& œ B ˙.

˙

B˙

w

147

Vc.

& w

147

P1

÷

147

P2

˙

3

œ ˙

˙.

#œ

w

˙

3

Bœ

˙

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w

147

Elec.

÷

∑

∑

∑

∑

∑

28 152

S1

&

152

S2

&

w

w

˙

w

w

w

152

Sax

w & ww

µ˙

w

˙

B A-57-1

w ww

ŒC n

˙. µ ˙.

w w

n˙.

F

˙.

µ˙

F

152

Bsn

& w

w

œ

w

w

#œ P

152

Vc.

& w

F

nw

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷ w w w w

152

P1

152

P2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w

152

Elec.

÷

∑

∑

∑

∑

29

156

S1

&

˙.

Œ

#w

w

F

n

156

S2

&

w

˙

Ó

#œ

w

w

w

3

F

n

A-11-2 156

Sax

œ & œ

ŒC n

µµ ˙˙ m˙ ˙

ww w w

F

156

Bsn

#œ

˙.

& w

ww w w

œœ œ œ

w

w

P

n

156

Vc.

Artificial Harmonic Trill

& ˙

#˙

w

˙

?

# # O˙ æ

n

A-19

B

C

˜ ˙ Œ m ˜ ˙˙ m˙ n

~~~~~~~~~~~~~~~~~~~~~~~~~ O˙ b b O˙ æ æ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷ w w w w

156

P1

156

P2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w

156

Elec.

÷

∑

∑

∑

∑

30

w

w

w

˙.

w

w

w

w

ww & w w F

˙˙ .. ˙. ˙.

˜ ˜ wwww µw

ww ww w

160

S1

&

160

S2

&

160

Sax

160

Bsn

& ˙

B˙

F

A-11-2

Œ

C

n

w

? n

Œ

˙.

˙.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Ow Ow # # Ow æ æ æ P

160

Vc.

160

P1

÷

160

P2

#œ

œ

f

Ó.

œ

n

n

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w

160

Elec.

÷

∑

∑

∑

∑

31

164

S1

&

164

S2

&

w

˙

w

#˙

Œ

˙

˙

˙.

w

w F

n

ww & ww w

œœ œœ œ

164

Sax

w

Bb

Œ

˙ B˙ b ˙˙

w w ww

A-32-2

n

w w ww

f

164

Bsn

?

˙.

w

n

œ

w

f

164

Vc.

?

164

P1

÷

164

P2

w

f

Œ

˙.

w

w

∑

n

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w

164

Elec.

÷

∑

∑

∑

∑

32 168

S1

&

168

S2

&

w

œ

w

w

bw w & w w

œ œ œœ

168

Sax

#˙.

˙

˙

w

µw

A-11-2

Πn

C

µµ ˙˙ m˙ ˙

w

Bb

˙˙ .. ˙. ˙. f

n

# # # www ˜w w

#œ

w

A-1-1

Œ

f

168

Bsn

?

168

Vc.

?

w

n

∑

w

˙. f

w

w

n

168

P1

÷

168

P2

n

f

w ƒ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w

168

Elec.

÷

∑

∑

∑

∑

33

172

S1

&

172

S2

&

w

˙

w

w

œœ & œœ œ

172

Sax

C# A-30-2

#˙ # ˙ b ˙˙

Œ

Eb

n

w w ww

#˙

œ

˙.

˙

nœ ˙

3

w

Bb

˙. ˙. ˙˙ ..

f

w

Πn

# # # www ˜w w

A-1-1

ƒ

172

Bsn

?

œ

˙.

n

w

œ

f

#˙.

w

n

f

172

Vc.

?

w

w

w

f

ƒ

w

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷ w w w w

172

P1

172

P2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w

172

Elec.

÷

∑

∑

∑

∑

34 176

S1

&

176

S2

&

œ µ ˙.

f ˙

µ˙

˙. f

ww w w w

176

Sax

œ# ˙

&

˙˙ .. ˙. ˙. ˙.

Ï

176

Bsn

?

˙. ƒ

w

176

Vc.

?

˙.

w

2

F

‰

2

F

sfuh

n

Ó.

.

Œ.

j Ó

∑

∑

P

sfuh

4

Ó.

.

∑

P sfuh

4

Ó.

Bullhorn

.

∑

P sfuh

n

2

Œ

∑

4

Ó.

Bullhorn

.

∑

P sfuh

n

2

Œ

∑

4

Ó.

Bullhorn

.

∑

P

sfuh

n

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w

2

P2

4

huh

2

Œ

j Ó huh

2

176

Œ.

sfuh

n

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ÷ w w

176

P1

‰

∑ ∑

4 4

∑ Ó.

Bullhorn

∑ .

∑

P

sfuh

5

176

Elec.

÷

∑

Ó.

j ‰œ

2

∑

4

6

∑

Soundfile and perimeter subwoofers stop abruptly; cut to internal subs slightly shivering.

œ Ó.

All off.