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.