Serving Size 4 Bunnies, by Carl Schimmel (for percussion quartet)

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