I. II. III. IV.
In which a bunny ponders its meaningless existence. ………………………………………………..1 In which an irascible bunny takes out its frustration on others. ………………………………………..8 In which a lavender bunny is a yellow chicken. ………………………………………………………20 In which a bunny, delirious from the sugary fumes, degenerates into a hysterical grinagog. ………26
Marimba 1 Five-octave marimba (shared with Marimba 2)
Marimba 2 Five-octave marimba (shared with Marimba 1)
MALLETS: Long cotton swabs (medical), various marimba mallets
MALLETS: Long cotton swabs (medical), various marimba mallets
Percussion 1 Drinking Straw Golf ball (soft) Handful of small rocks (shared with Percussion 2) (some “muted” with duct tape) High wood block (shared with Percussion 2) Kazoo Large rock on a string (small enough to fit in a water glass) Low wood block Metallic noise Noisemaker (shared with Percussion 2) Police whistle Pot of water Squeaky toy (shared with Percussion 2) Three water glasses (tuned to E, G, and A)
Percussion 2 Air horn Balloon (inflated) and needle or pin Bubbles and bubble wand (optional) Handful of small rocks (shared with Percussion 1) High wood block (shared with Percussion 1) Kazoo Noisemaker (shared with Percussion 1) Old pot Sandpaper blocks (coarse) Squeaky toy (shared with Percussion 1)
MALLETS: chopsticks, various marimba mallets, triangle beater, wooden mallets
MALLETS: chopsticks, heavy metal object (wrench, hammer, soup ladle, etc.), various marimba mallets, wooden mallets
1. The percussionists should be seated in front of the marimba, so as to have access to the resonators in the third movement. In order to conceal the objects being used to create the different sound effects, they should be out of sight of the audience; this can be achieved using any kind of thin screen. They can face away from the audience or face each other. 2. The parts for Marimba 1 and Marimba 2, as well as those for Percussion 1 and Percussion 2, can be adjusted so that one performer plays passages that were meant for the other performer. However, in the fourth movement, the two marimbists are deliberately asked to move quickly from one part of the instrument to the other, often having to run around the other player; these passages were meant to be theatrical and should be played as written. 3. The marimbists should consider what kind of footwear to wear to create the best stomping sound in the second movement, but they will also need to wear quiet shoes with good traction for the fourth movement, in which they must frequently run behind each other. It may be necessary to change shoes or take off shoes between movements, since hard soles would make the loudest stomping sound but soft soles or bare feet would provide the best traction for the fourth movement. If possible, stomping on a platform or wide sturdy box would be ideal. 4. Beaters are specified in the score, but those suggested in the marimba parts are only general suggestions. In general, beaters marked “hard” (e.g., hard rubber mallets) should have a bright, audible attack comprised of high overtones. Those marked “soft” (e.g., soft yarn mallets) should have little to no audible initial attack. “Medium” mallets are generally specified in situations in which a “harder” sound was desired but was unobtainable because of the fragility of the low marimba notes. A “+” over a note indicates that the note should be played with the butt end of the mallet (except in the case of the squeaky toy – see “Notation for Percussion 1 and Percussion 2”). 5. The performers assigned to the Percussion 1 and Percussion 2 parts need to be able to hum (and play the kazoo) in tune with the marimbas and with each other. In addition, the part for Percussion 1 requires whistling. 6. The pitched vocal material in the Percussion 1 and Percussion 2 parts (KAZOO, HUM, and WHISTLE) can be in an octave other than the one notated, but high passages should be relatively high, and low passages should be relatively low. In the fourth movement, the Percussion 2 kazoo line should be in the same octave as, or lower than, the Percussion 1 kazoo line. 7. When shouting or mumbling, etc., is indicated by a sustained duration, the words should be uttered as fast as possible and within the duration indicated. If not all the words can be expressed within that time frame, the excess words should be cut off; the vocals should never continue beyond the indicated duration, nor should they ever end early. 8. In the first movement, the feathered beams should fill the duration of the measure, and should mimic the sound of a ball dropping. For example, the first measure contains nine accelerating notes in the space of nine eighth notes at m.m. 160, and so the figure should last about (9x60)/160 seconds. The first few notes of each feathered beam should be very slow, and the last few should be extremely fast (but very quiet). When more than one feathered beam is in a measure (measure 36), the notes in the different instruments should be simultaneous. The same is true of course when the marimbists play together, as in measure 3. It may occasionally be helpful to have one of the percussionists conduct. A fermata over a blank space indicates an indeterminate rest (NOT a true fermata); these rests precede an entrance which is simultaneous with that of another instrument (as in measure 3, for example). 9. The end of the first movement features the drinking glasses, one of which must slowly change pitch as it is being played. In order to achieve this, volume must be added to the glass. One possible unusual method is for the performer to lower a large rock on a string into the glass with his or her teeth. Any method which achieves this end (without making extraneous noise) is acceptable (for example, using two beaters in one hand while lowering with the other, having the other percussionist lower the object, etc.). The rock should be removed from the glass at the end of the first movement. 10. When there is a scarcity of performance instructions (dynamics, accents, etc.), this is intentional. The performers should bring their own interpretation to these sections. 11. The slow movements should remain light and should not drag, and the fast movements should be almost as fast as possible; approximate durations are: 2’10” – 1’30” – 3’30” – 1’10”. 12. The facial expressions of the marimbists can add to the effectiveness of the piece (suggestion: angry faces in the second movement, silly smirks in the last movement, etc.).
PROGRAM NOTES Serving Size 4 Bunnies was written for the Original Skin Percussion Project (http://www.originalskinpercussion.com). The unusual title for this work was stolen from a box of seasonal marshmallow confections. Each of the four brief movements depicts a different anthropomorphized bunny, each of whom exists in a unique emotional state. The work belongs to two current, concurrent, and none-too-disparate strands in the fabric of my compositional philosophy: (1) absurd music, and (2) music using the squeaky toy, an instrument whose versatility I discovered while playing with my dog Jaga. My goal in writing the work was not by any means the stereotypical goal of a “new music” composer – that is, to produce a work of the “masterpiece” ilk (unless there is such a thing as a masterpiece of frivolity) – but rather to contribute to the seriously under-represented genre of humorous “serious music.” SS4B is “serious music” only inasmuch as it is written out on paper and at times demands that the audience listen carefully. This is not of course careful-listening-music in the tradition of Babbitt and Wuorinen, and yet the casual concertgoer may be surprised to learn that the piece continuously uses the mathematical “Rabbit sequence” (1, 10, 101, 10110, 10110101, …), which arises in the hypothetical reproduction of rabbits and which possesses many interesting properties, not the least of which is its relation to the Fibonacci sequence (add the digits of each term…). Then again, a glance through any bit of nonsense is sure to reveal some number play – think Alice in Wonderland and nursery rhymes –
Notation for Percussion 1 and Percussion 2 GLASSES initial pitches: E, G, A
NOISEMAKER
OLD POT
METAL
OLD POT throw rocks in pot DROP BALL
GLASSES dampen rim with palm
POLICE WHISTLE
SANDPAPER BLOCKS
WOOD BLOCKS (Low and High)
ROCKS IN WATER
POP BALLOON
AIR HORN
BLOW BUBBLES
SQUEAKY TOY
RESONATORS Perc. 1: Med. and High Perc. 2: Low
SQUEAKY TOY (Notated release)
SQUEAKY TOY (Inaudible release)
KAZOO , HUM , WHISTLE , etc.
UNPITCHED VOCALS (Raspberry, Grunt, etc.)
(etc.)
AIR HORN can be found in stores that sell boating safety equipment, such as Wal-Mart. Any size air horn can be used. Some air horns can create a whistle sound by removing the horn attachment; do not remove the horn attachment. Air horns are extremely loud and should not be aimed directly at a person; read the safety instructions on the air horn before using it.
OLD POT doesn't have to be old, but it should be one you don't mind hitting with a HEAVY METAL OBJECT. It should also have a handle, to make it easier to shake with one hand. Diamond noteheads indicate the use of a beater on the pot, while regular noteheads indicate that ROCKS should be thrown into the pot. The rocks should be marble- to walnut-sized, and can be the same rocks used for ROCKS IN GLASS.
BLOW BUBBLES IN WATER indicates that the performer should blow into the drinking glass with a STRAW. An optional visual effect is for the Percussion 2 player to BLOW TOY BUBBLES simultaneously, over the screen.
POLICE WHISTLE
DROP BALL indicates that a (very soft) golf ball should be dropped from a height of about 6 inches (higher or lower depending on the dynamic) onto a hard surface (the floor, unless it is carpeted) and allowed to bounce until it comes to a stop. It should not have a bright sound, so a paper towel on the floor may be necessary to temper a bright impact; this may also help to control the dynamic level, although the duration of the bounce should always be at least two seconds. A paper towel shouldn't be necessary as long as a soft golf ball is used. FAST SIBILANT CONSONANTS indicates that the performer should make a whispering sound using the sibilant consonants f, h, s, sh, and th, changing sounds as fast as possible. GLASSES are three drinking glasses (goblets or wine glasses) filled with water so that they are tuned to the pitches E, G, and A (in close position, ascending). These pitches will change over the course of the piece, so the three glasses are notated as unpitched. A TRIANGLE BEATER should be used to play the glasses. The glasses should be on the large side, so that they are somewhat resonant. Staccato markings indicate that the performer should place his or her palm on most of the rim of the glass, so that the sound is short instead of ringing. "X" noteheads are used to indicate ROCKS IN GLASS (see below), and diamond noteheads are used to indicate BLOW BUBBLES IN WATER (see above). GRUNT indicates that the performer should make a grunting pig sound by creating suction in the back of the throat. The same noise is indicated in the marimba parts.
POP BALLOON with a PIN RASPBERRY is a "raspberry" sound; that is, blowing through the mouth while the tongue is sticking out. RESONATORS are the resonators of the marimba; these should be played with CHOPSTICKS so as not to damage the instrument. The Percussion 2 part requires a low-pitched resonator, while the Percussion 1 part requires high- and medium-pitched resonators. ROCKS IN WATER, denoted by an "X" notehead on one of the three GLASSES lines, can be the same rocks used in the second movement with the OLD POT. However, it is best if the rocks used for this purpose are coated with something soft, such as duct tape, so that they do not make a sound when they hit the bottom. Rather than using the glasses, a big pot full of water is preferable to create an effective "plop" sound, but the water glasses can be used if necessary. In this case, the rocks should not hit the glass before hitting the water, and ideally the sound of the rock hitting the bottom of the glass should not be noticeable. For this reason, it is best if the glasses are relatively full at the beginning of the piece. These rocks should be left in the glasses until the conclusion of the work. SANDPAPER BLOCKS should be fairly coarse and moved together in a circular motion. SHOUT the text in quotes written below as loud and as fast as possible, but in a relatively low voice and without clarity.
METAL is any high-pitched metallic sound with short resonance, similar for example to what a small brake drum would sound like when struck with a metal beater.
SQUEAKY TOY can be found at any pet store. It should be chosen for its ability to make expressive noises; it should be easily controlled and should not be too wheezy. You may find that using different toys (one loud and one expressive) is preferable -- a recommended brand for the loud passages is Cuz. In general, only the squeezing of the squeaky toy is notated, and the release can be audible or inaudible and should happen immediately after the squeeze. However, an "X" notehead indicates that the release should be audible and should occur in the rhythm indicated. A cross over a note indicates that the release should be inaudible. To achieve the fast repeated squeaks in the second movement, it may be necessary to hit the toy rather than squeeze it.
MUMBLE the text in quotes written below; don't enunciate.
WHISTLE should not be confused with POLICE WHISTLE.
NOISEMAKER is a common party favor for New Year's parties, usually made of plastic and aluminum. A ratchet may be substituted if a loud noisemaker cannot be obtained; it may in fact be preferable in the loudest sections.
WOOD BLOCKS (high and low)
HUM KAZOO (2)
SERVING SIZE 4 BUNNIES FOR PERCUSSION QUARTET Carl Schimmel
I. In which a bunny ponders its meaningless existence. Marimba 1
e» 160 9 &8
∑
6 8
G.P.
∑
14 8
soft yarn mallets
SEE PERFORMANCE NOTE 8
? 9 œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ 6 8 œ œ œ œ œ œ œ œœ 8 soft yarn mallets
Marimba 2
π
÷ 98 Percussion 1
Percussion 2
G.P.
∑
P œœ œœ œ œ œ œ œ œ œ œ œ 85 œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
14 œœœœ œœœ œœœ œœœ œœœ œœœ œœœ 8 œœœ œ œ œ
œœ œœ
π
œœ œœ œœ œ œ œœ œœ œœ œœœ œ
SEE PERFORMANCE NOTE 8
∑
11 8 11 œœœ 8 œ
5 8
G.P.
5 8
G.P.
∑
11 8
∑
p
p 4 œ œ œ œœœ œœœ œœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ 8
œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœœ œ
G.P.
∑
π 6 7 8 œœ œœ œœ œ œ œ 8 œœ œœ œœ œœœ œœœ œœœ 6 œœœ œœ œœ œœ œœ 8 œ œœ œœ œœ
7 8
G.P.
∑
6 8
∑
7 8
4 8
G.P.
∑
4 8
∑
π
∑
6 8
G.P.
÷ 98
∑
6 8
G.P.
∑
14 8
∑
5 8
G.P.
∑
11 8
∑
4 8
G.P.
∑
6 8
∑
7 8
÷ 98
∑
6 8
G.P.
∑
14 8
∑
5 8
G.P.
∑
11 8
∑
4 8
G.P.
∑
6 8
∑
7 8
÷ 98
∑
6 8
G.P.
14 8
∑
5 8
G.P.
11 8
∑
4 8
G.P.
6 8
∑
7 8
GLASSES
∑
∑
14 U 8
G.P.
strike together with fourth note of marimbas
(L.V.)
w p
© 2004, by Possibly Music
∑
∑
2
A 4 8
p 5 ≈ ¿ ‰ Œ 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ R # œœœœ F ƒ grunt 4 # œœ ¿ ‰ Œ 5 œœœœ œœœœ œœœ œœœ œœœ 8 4 œ œ œ #œ F # œƒ p
G.P.
Mar. 1
7 &8 ?7 8
G.P.
Mar. 2
÷ 78
G.P.
∑
48
∑
÷ 78
G.P.
∑
48
÷ 78
G.P.
∑
48
≈ ‚ ‰ Œ 45 R ƒ
÷ 78
G.P.
∑
48
8
8
Perc. 1 8
Perc. 2 8
∑ ∑
GRUNT
∑ GRUNT
5 8
∑
p 13 8 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œ œ 5 œœ œœ œœ œœœ œœœ 8
∑
13 œœœœ œœœœ œœœœ œœœœ œœœœ 8
œœ œœ
grunt
œœœ œ
45 w p
∑
≈ ‚ ‰ Œ 45 œ .. R F ƒ
r r œ œ œ .. p P
SANDPAPER BLOCKS
15 8
∑
9 8
4 8
G.P.
∑
15 8
∑
9 8
∑
15 8 Ó
j œ 48
∑
85
∑
13 8
∑
48
G.P.
∑
15 8
∑
98
85
∑
13 8
∑
48
G.P.
∑
15 8
∑
98
j œ œ 85 œ œ . ≈ ‰ 13 8 π p
∑
48
G.P.
∑
r r r j 15 8 œ .. œ œ œ .. œ .. œ œ œ . œ 98 π P F p P
(L.V.)
DROP BALL
45
∑
13 8 ˙ p
œ
drop ball just before ninth marimba note
p
œœ œœ œœ œ œ œœ œœ œœ œœœ œœœ
G.P.
85
GLASSES
U
œœœ œœœ œœ œ œ œœ
4 8
j œ
œ P
œ ˙
˙
3
(L.V.)
G.P.
Œ
3
˙ ˙3œ
œ.
(L.V.)
98
B π 9 & 8 œœœ œœœ œœœ œœœ œœœ œœ œœ œ œ œ œ œ œœ œœ
15
Mar. 1
Mar. 2
? 9 œœ œœ œœ œœ œœ œœ œœ œœ œœ 8 œœ œœ œœ œœ œœ œœ œœ œœ œœ π
÷ 98
15
Perc. 1
Perc. 2
∑
÷ 98 w
÷ 98 œj œj œ .. π p
15
˙.
6æ 8 π
4 4
6 8
4 4
68 ˙ . p
j 6 œ 8
15
÷ 98
3
∑ ≈ Œ.
∑
&
(L.V.)
44
w
tremolo (not a trill)
æ ƒ b ˙˙ ˙˙3 ˙˙ ƒ
b ww 3 ∑ 4 æ 8 4 Ï ?
œ
bœ
œ œ >
Œ
Ó
4 8
∑
ƒ
˙˙
˙˙
?
3
GLASSES
2 ∑ 7 b œœ œœ œœ œœ œœ œœ œœ 3 8 8 œœ œœ œœ œœ œœ œœ œœ 8 p
∑
38 ∑ 44
∑
48
∑
44
∑
28 ∑ 78 ˙ .. P
38 ∑ 44
∑
48
∑
44
∑
28 ∑ 78
∑
38
œ . œ œ œ . œ Œ 28 ∑ 78 π p
∑
38
44
68
∑
68
44 ˙ ˙ ˙ ƒ
∑
HIGH WOOD BLOCK 3
∑
38 ∑ 44
Ó
44
æ ƒ # # ˙˙
p 2 ∑ 7 3 8 8 œœœ œœœ œœœ œœœ œœœ œœ œœ 8 œ œ œ n œ œ œœ œœ
∑
œ Œ Ï
48 ˙æ π
&
4 4
˙
3
38 œæ. 44 π
LOW WOOD BLOCK medium yarn mallet
∑
44
3 ∑ 4 8 4
tremolo slows down
œœ .. œœ 4 æ æR ≈ 4 8 4
w
r r j œ .. œ œ œ .. 48 œ œ . p F ƒ F f
44
˙ ƒ
3
˙
˙ f
28 œ 78 (L.V.)
∑
38 38
4
D
C SEE PERFORMANCE NOTE 4
Mar. 1
3 &8
G.P.
Mar. 2
?3 8
G.P. ∑ &
÷ 38
G.P.
÷ 38
G.P.
÷ 38
G.P.
24
24
Perc. 1
24
Perc. 2
÷ 38
24
∑
3 4
long cotton swabs play random single notes (no chords or dyads) in the highest octave of the marimba, as fast as possible, in the major scale indicated
3 4
long cotton swabs play random single notes (no chords or dyads) in the 2nd highest octave of the marimba, as fast as possible, in the major scale indicated
Bb
p (ƒ ) Bb p (ƒ )
∑
43 ˙ p
∑
43
∑
43
∑
∑ ∑
G.P.
F
F
œ ˙ ∑
∑
Eb
Ab
D
œ œ ˙
GLASSES
Ab
D
˙.
Eb
A
œ œ ˙
˙ ∑
A
∑
∑
7 8 7 8
∑
78 œ ˙ 78
4 4
G
∑
∑ 3
j œ 44 wæ ƒ
(L.V.) LOW WOOD BLOCK
44
∑
3 Œ ‰ œ . œ ‰ Œ Œ Œ ‰ œ ‰ Œ œ . ‰ ‰ œ . ‰ œ 78 œ ‰ ˙ œ 44 ˙ ˙ ˙ æ æJ æ æ æ æJ æJ æ æJ π p F π π π ƒ
∑
∑
∑
∑
∑
∑
78
∑
44
∑
5 8
∑
4 2 4 b ˙˙˙ ˙˙˙ ˙˙˙ 4 b ˙˙˙ œœœ b˙ ˙ ˙ b˙ œ ƒ
HIGH WOOD BLOCK
43
2 4
3
?
5 8
42 ˙æ œ
85
42
85
3
∑
24 ˙ 3 œ 42
∑
œ # œ n8:7œ nœ œ œ 9 ≈¿ ‰ ≈ #œ bœ œ 8 R ƒ ƒƒ p F ƒ grunt bœ bœ ¿ ‰ Œ ‰ b œœœ œœœ œœœ œœœ œœœ 98 œ bœ œ œ œ œ œ ƒ ƒ grunt
‰ ˙æ
œ œ ƒ
n
GRUNT
85 85
œœœ œœœ3 œœœ œ œ œ
≈‚ ‰ Œ ‰ R ƒ ‰
GRUNT
˙ æ ƒ
œ
œ
œ
œ
98 98
∑
p subito ƒ
≈‚ ‰ Œ ‰ R ƒ
œ
œ
98
3:5
∑
98
5
9U &8
P 4 œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ 4
?9U 8
œœœœ
SEE PERFORMANCE NOTE 8
36
Mar. 1
enter together on fourth wood block note
Mar. 2
GLASSES
U ÷ 98
44 44
G.P.
÷ 98 œ œ œ œ œ œ œ œ œ 44 P
G.P.
enter together on fourth wood block note
÷ 98
36
˙.
(L.V.)
P
DROP BALL
U ÷ 98
36
Perc. 2
G.P. ∑ &
G.P.
36
Perc. 1
P
œœœ œœœ œœ œœ œœ 4 œ œ œœ œœ œœ 4
∑
G.P.
˙. P
∑
44
3 8
œœœ œœœ œ œ
3 ‰ œœœ 8 #œ #œ nœ ƒ 6
∑ ∑
38
∑
38 œ œ ƒ
∑
LOW WOOD BLOCK
n
38
3 2 4 4 œ œ œ 4 œ œ œ
ƒ
38 Ͼ.
G.P.
œœœ œ
?
2 4
œ
3
G.P.
∑
9 8
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
4 8
G.P.
∑
48 j 4 œ 8
∑
48
∑
48
G.P.
GLASSES
(L.V.)
œœœ œ
p
98
44 w f
98 Ó
42 Œ æœ
44
98
42
44
∑
n
∑
4 8
42 œ œ œ 44 w ƒ ƒ 42
∑
œœœœ œœœœ3 œœœœ 44
∑
p 9 8 œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ
∑
>œ ‰Œ Ó J ƒ ∑
98
œœ œœ
˙ P
∑
π 6 8 œœœ œœœ œœœ œœ œœ œœ œ œ œ œœ œœ œœ
∑
4 8
∑
6 œœœ œœ œœ œœ œœ 8 œ œœ œœ œœ
∑
4 8
G.P.
∑
68
∑
∑
48
G.P.
∑
68
∑
G.P.
∑
68
∑
∑
48
∑
68
∑
∑
48
π
48
˙. p
6
E 4 &8
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
G.P.
∑
∑
?4 8
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
G.P.
∑
∑
G.P.
∑
∑
∑
G.P.
∑
∑
G.P.
45
Mar. 1
Mar. 2
GLASSES
SEE PERFORMANCE NOTE 9
÷ 48
play a random note pattern, one or two notes at a time
45
Perc. 1
F 45 ÷ 48 ÷ 48
Perc. 2
÷ 48 œ .. ƒ
45
(L.V.)
gradually lower object into highest-pitched glass
5
5
5
5
5
5
5
5
5
5
5
n
diminuendo poco a poco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
U̇
SQUEAKY TOY
∑
∑ r œ œ œ œ. F f
SANDPAPER BLOCKS
∑ j œ œ. P F
∑ œ œ œ œ p P
∑ j j œ œ œ π p
∑
∑
∑
∑
∑
∑
p
make several sad noises
œ.
œ œ œ. ∏ π
œ
Œ
∑
∑
∑
∑
G.P.
∑
∑
8
II. In which an irascible bunny takes out its frustration on others. medium rubber mallets
Marimba 1
medium rubber mallets
Marimba 2
SQUEAKY TOY
Percussion 1 POLICE WHISTLE
OLD POT
Percussion 2
use heavy metal object as beater
9
7
Mar. 1
Mar. 2
7
NOISEMAKER
Perc. 1
7
7
Perc. 2
7
10
12
F
Mar. 1
12 Stomping
Mar. 2
12 Stomping
12
Perc. 1
12
12
Perc. 2
SQUEAKY TOY
NOISEMAKER
12
POLICE WHISTLE
OLD POT throw rocks in pot
use heavy metal object as beater
11
G 20
Mar. 1
20 Stomping
Mar. 2
20 Stomping
20
Perc. 1
20
20
Perc. 2
NOISEMAKER
20
throw rocks in pot
scoop rocks out of pot and throw in pot over and over
12
26
Mar. 1
26 Stomping
Mar. 2 jump up and down with both feet, any rhythm or tempo
26 Stomping
Perc. 1
Perc. 2
26
SQUEAKY TOY
26
POLICE WHISTLE
26
OLD POT use heavy metal object as beater
26
NOISEMAKER
scoop rocks out of pot and throw in pot over and over, as fast as possible
SQUEAKY TOY
use heavy metal object as beater
32
H
SEE PERFORMANCE NOTE 7
Vocals
!
mumbling
"smells like marshmallow" 32
Mar. 1
32 Stomping
32
SEE PERFORMANCE NOTE 7
Vocals
!
mumbling
"marshmallowy air"
Mar. 2
32 Stomping
32
Perc. 1
NOISEMAKER
!
MUMBLE
32
"thick marshmallow stench" 32
Perc. 2
32
throw rocks in pot and shake
use heavy metal objects as beaters
!
MUMBLE
"marshmallow marshmallow marshmallow"
13
14
41 Vocals
I "
shouting
"WRATHFUL RABID MAD AND SAVAGE GNASHING PLASTIC"
"the pink glints and twinkles off the wrap" 41 Vocals
"
"ACID WAFTS OF STAGNANT NASTY FATTY GASES"
"sugar spray peepers dissolving into stink"
41
"GROSS AND HORRID CHOKING ODOR"
SQUEAKY TOY
41
Perc. 1
"FEROCIOUS RODENTS' HOPELESS THROES"
shouting
"
MUMBLE
NOISEMAKER
# POLICE WHISTLE
"sweaty sucrose lumps fumigate the box"
SHOUT
"OVERLOADED WOEFUL CONEYS"
41
Perc. 2
41
MUMBLE "
"the air is a puddle of saccharine miasma"
SHOUT
"RABBITS PACKED AND SMASHED AND TRAPPED AND SHACKLED"
"ROASTING TOASTING FOAMING SCORCHING"
15
Vocals
%mumbling
Vocals
%
48
J
shouting
"SUGAR CORN"
"keep your stupid ears out of my whiskers" 48
48
SQUEAKY TOY
%
MUMBLE
"suffocating in the syrupy air"
48
%
%
MUMBLE
"marshmallow marshmallow marshmallow"
"FLAVORS"
"SORBATE ARTIFICIAL"
"FRENZY OF"
"DOUGHY CLAWS AND"
&
"YELLOW NUMBER FIVE" "CARNUBA WAX"
"GRITTY PELTS"
"ACOLOUS CRITTERS"
$ SHOUT
"RABBIT PUNCHES" "TAKE A HIKE NINNY"
"SHOVE IT CRUMBUM" "GRUESOME RUMBLE BUNNY"
"JUST STEP OFF"
"TASTY MASSACRE"
"EAT ME"
$
SHOUT
"GO AWAY"
"PLUMP AND FIERCE"
$
OLD POT use heavy metal object as beater
48
Perc. 2
"POTASSIUM"
$
"SARDINE BUNNIES" "FLAILING IN A FRANTIC"
"this damned heat makes me a sticky goo"
Perc. 1
"SYRUP GELATIN"
shouting
mumbling
48
$
$ "DESPERATE SKIRMISH"
"HEAD THUMPER"
"WATCH IT YOU MORON"
"YOU'RE GONNA GET IT" "MAD FRACAS" "DERANGED FRAY"
16
G.P.
54
K
Vocals (use here a series of exclamations or curses, preferably not obscene)
G.P.
54
Mar. 1
"
#
54
G.P.
54
G.P.
%
non crescendo
%
non crescendo
Stomping
Vocals (use here a series of exclamations or curses, preferably not obscene)
G.P. Mar. 2
"
54
#
jump up and down with both feet, any rhythm or tempo
G.P.
Stomping
Perc. 1
54
NOISEMAKER
54
POLICE WHISTLE
G.P.
SHOUT
etc.
54
Perc. 2
54
OLD POT throw rocks in pot and shake
POLICE WHISTLE
G.P.
throw rocks in pot
G.P.
(use here a series of exclamations or curses, preferably not obscene)
(hit with heavy metal object while shaking)
(or ASAP)
G.P. (use here a series of exclamations or curses, preferably not obscene)
use heavy metal object as beater
%
non crescendo
17
Poco piu mosso 62
G.P.
62
G.P.
Mar. 1
Stomping
G.P. Mar. 2
62
G.P.
62
G.P.
62
G.P.
62
G.P.
62
G.P.
Stomping
Perc. 1
Perc. 2
NOISEMAKER
POLICE WHISTLE
throw rocks in pot and shake
use heavy metal object as beater
18
69
L
Mar. 1
69 Stomping
Mar. 2
69 Stomping
69
Perc. 1
69
69
Perc. 2
69
SQUEAKY TOY
NOISEMAKER
POLICE WHISTLE
OLD POT throw rocks in pot and shake
'
use heavy metal object as beater
77
19
shouting
Vocals "HERMETIC LEPORICIDAL FILM BREWING DEATHLY MARSHMALLOW HASENPFEFFER" 77
Mar. 1 crescendo 77 Stomping
77
shouting
Vocals "SHIRTY AND BEGRUMPLED HADEHARIA-STRICKEN NOVELTY EDIBLES"
Mar. 2 crescendo 77 Stomping
77
Perc. 1
77
crescendo 77
Perc. 2
crescendo 77
SHOUT
"IF I HAD A LEG I WOULD KICK IN YOUR HEAD I WOULD KICK IN YOUR HEAD I WOULD KICK IT"
20
III. In which the lavender bunny is a yellow chicken.
M
medium rubber mallets
Marimba 1 slow down tremolo
poco
Marimba 2
LOW WOOD BLOCK wooden mallet
Percussion 1 WHISTLE
poco OLD POT upside down on floor soft rubber mallet
Percussion 2
HIGH WOOD BLOCK wooden mallet
OLD POT soft rubber mallet
GLASSES
" !
5:3
"
21
hard rubber mallets
8
" $
Mar. 1
"
!
soft yarn mallet
Mar. 2
# 8
Perc. 1
" "
# #
#
8
8
#
! #
"
#
!
WOOD BLOCKS wooden mallets
NOISEMAKER
5:3 GLASSES
8
Perc. 2
+ LOW WOOD BLOCK
#
!
"
WHISTLE
#
#
#
#
! $
WOOD BLOCKS
(very slow, individual clicks, with two hands)
22
14
N "
Mar. 1
!
soft yarn mallets
"
" 3
hard rubber mallets in R.H.
Mar. 2 crescendo
14
Perc. 1
#
3
3
#
# #
14
3
!
! % $
#
#
# #
%
OLD POT soft rubber mallet
"
$
SQUEAKY TOY
WHISTLE
SANDPAPER BLOCKS
!
%
crescendo 14
#
'
WOOD BLOCKS (wooden mallets)
14
Perc. 2
(
%
"
3
' &
&
3
'
FAST SIBILANT CONSONANTS
(
% %
$
FAST SIBILANT CONSONANTS
)
(
$
23
22
5:6
O
Mar. 1
$
#
#
# non cresc.
diminuendo
soft rubber mallet
Mar. 2
#
#
diminuendo poco a poco
22
Perc. 1
slow down tremolo
&
# #
5:6
* *
v. slow tremolo
"
*
NOISEMAKER 22
22
Perc. 2
SQUEAKY TOY
# #
5:6
FAST SIBILANT CONSONANTS
OLD POT use heavy metal object as beater 3 3 3
$ 3
3
3
3
3
* *
3
diminuendo poco a poco 22
FAST SIBILANT CONSONANTS
$
*
5:6
24
28
P "" # " '
Mar. 1
Mar. 2
&& ' '
Perc. 1
'
"
slow down tremolo
&
& " &
&
%
28
POLICE WHISTLE
'
OLD POT use heavy metal object as beater 3
'
28
AIR HORN
+
"
n
% n slow wheezing
%
NOISEMAKER
28
Perc. 2
"" "
&
SQUEAKY TOY 28
"" # "
%
Q
lunga
" $
" " $ n
lunga
" $
n lunga
lunga
n
" !
"
"
" !
n
n
" !
"
n
n
n ROCK IN WATER
WHISTLE
, (
% %
lunga
RESONATOR chopsticks
"
n
" " $ n RESONATORS chopsticks
n
" $ medium and high
n
low
" $
"
n
" $
"
"
"
"
n
ROCK IN WATER
, (
$ n
lunga
" $
n
"
n
n ROCK IN WATER
RESONATORS chopsticks
"
3
n
(
, ,
drop several rocks one by one
&
n
"
n
n
3
n
" n
25
40
Ritardando
A Tempo
Mar. 1
n
$
n
Mar. 2
$ 40
Perc. 1
$
n
3
!
n
#
$
!
n
n
-
BLOW BUBBLES
3
n
n
(
!
n
$
n
3
$ 40
n
$
40
40
n
RESONATORS chopsticks
, $
Perc. 2
#
!
n POP BALLOON
'
26
IV. In which a bunny, delirious from the sugary fumes, degenerates into a hysterical grinagog. medium rubber mallets
Marimba 1 medium rubber mallets
Marimba 2
SQUEAKY TOY
METAL
Percussion 1
OLD POT use heavy metal object as beater
Percussion 2
(dampen if necessary)
27
R 9
Mar. 1
Mar. 2
9
Perc. 1
Perc. 2
9
9
KAZOO
KAZOO
28
S 15
Mar. 1 crescendo poco a poco
Mar. 2 crescendo poco a poco
15
Perc. 1
Perc. 2
15
15
KAZOO
KAZOO
29
T
22
Mar. 1
Mar. 2
22
Perc. 1
Perc. 2
SQUEAKY TOY
WOOD BLOCKS
22
22
WOOD BLOCKS
SQUEAKY TOY
wooden mallets
KAZOO
RASPBERRY
30
U ! # "
27
Mar. 1
3
V
# "#
3
3
# " #
" # #
" #
#
piu
Mar. 2 piu 27
Perc. 1
Perc. 2
WOOD BLOCKS
GLASSES (hold palm on rim while playing)
wooden mallets
GLASSES
piu WHISTLE 3
27
27
"
KAZOO
3
WHISTLE
"
"
"
$
3
"
"
"
31
W
Molto Ritardando
Andante quasi una cadenza
%
10
35
"
Mar. 1
"
diminuendo
%
( )
Mar. 2
diminuendo 35
Perc. 1
35
"
SQUEAKY TOY
GLASSES
RASPBERRY
NOISEMAKER
Perc. 2
&
(hum note)
35
RASPBERRY
(hum note)
(L.V.)
KAZOO
HUM
%
HUM
%
OLD POT use heavy metal object as beater
32
X
Tempo I 41
Mar. 1 crescendo poco a poco
Mar. 2 crescendo poco a poco WOOD BLOCKS
41
Perc. 1
wooden mallets
41
KAZOO
crescendo poco a poco
Perc. 2
41
KAZOO
crescendo poco a poco
33
Y
Poco piu mosso
Mar. 1
'
Mar. 2
'
49
Perc. 1
49
'
49
' '
Perc. 2
49
'
METAL
OLD POT rubber mallet
34
Z 56
Mar. 1
(
crescendo
Mar. 2
(
crescendo
56
Perc. 1
"" #
GLASSES
METAL
(
KAZOO
OLD POT rubber mallet
56
6 NOISEMAKER
"
$
KAZOO
(
6
SQUEAKY TOY
(dampen drinking glasses by second beat if possible)
56
(
Perc. 2
(L.V.)
3
3
3