SY 4749 | Shiori Usui - From Scratch (2017) by Ricordi

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Shiori Usui From Scratch

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(Tectonics Glasgow Version) for orchestra, vocal and percussion improviser and live electronics 2017

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Full Score

Sy. 4749/01 ISMN 979-0-2042-4749-3

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C © 2017 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin Alle Rechte vorbehalten Copyright © 2017 by G. Ricordi & Co. All rights reserved / Tutti i diritti riservati  Bühnen- und Musikverlag GmbH, Berlin Alle Rechte vorbehalten All rights reserved / Tutti i diritti riservati

"iii

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Percussion Instruments: Suspended Cymbal, Guiro Beater & Handheld Electric Milk Frother (x1) Sellotape (x1) Djembe, Handheld Electric Milk Frother (x2) & Tawashi Scourer (x2) Old Conductor’s Podium & Garden Fork (x1) Snare Drum & Tawashi Scourer (x1) Guiro & Bamboo Skewer (x1) Bass Drum & Handheld Electric Milk Frother (x2) Sandpaper attached to clothes of Percussionists I-III & forks (x3)

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Piccolo Flute 2 Oboes Clarinet in B ßat Bass Clarinet in B ßat 2 Bassoons 2 Horns in F 2 Trumpets in B ßat Tenor Trombone 3 Percussion (see list of percussion instruments below) Violin I “A-F” (6) Violin II “A-D” (4) Viola “A” and “B” Violoncello “A” and “B” Voice & Percussion by vocal and percussion improviser (see list of percussion instruments below) Live Electronics (MaxMSP)

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Instrumentation

Microphones

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6 contact microphones (for percussion instruments) 1 vocal microphone (for vocal improviser) 4 miniature microphones with radio packs (for sandpaper and skin)

Other Equipment

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Max MSP Patch Speakers (x4) Small desk for placing sellotape (x1) Stopwatch (x1) for conductor Sandpaper attached to clothes for 3 percussionists and 2 string players (Violin I “C” and Violin II “A”)

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Full Score is Transposed

"iv

Sandpaper attached to clothes Sandpaper is attached to the clothes of Percussion I, II & III, Violin I “C” and Violin II “A” as indicated below.

Sandpaper attached to top (i.e. turtleneck top)

Sandpaper attached to bottom

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Percussion I: Top & Bottom

Percussion II: Top

Sandpaper attached to top (i.e. turtleneck top)

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Percussion III: Bottom

Violin II “A”: Top

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Violin I “C”: Top

Sandpaper attached to bottom

" Sandpaper attached to top (e.g. High visibility safety vest for cycling)

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" Sandpaper attached to top (e.g. High visibility safety vest for cycling)

Music Stands

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Woodwind and brass players (except trombone) will share one music stand between two players. The string players and three orchestra percussionists will play music from memory. A music stand should also be placed in front of the guiro and “voice & skin” (see Positions). The position of each music stand is indicated by ✚ (see Positions).

Other Notes Strings and percussion should play their entire parts from memory. Flute and Oboes should play towards the end of Section D from memory (see score/parts). Everyone except Live Electronics player should stand when they perform the music. Bass Clarinet & Violoncelli performers should also stand when they play with the pegs pulled out at maximum length, but if it is too difÞcult, use a chair to sit down.

Positions The string/woodwind/brass players should face inwards (i.e. towards the direction of conductor in the middle) until they move in Sections C and D.

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POSITION 2

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POSITION 1

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POSITION 3

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G & o. /

POSITION 5

POSITION 6

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"vi

POSITION 4

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Position of Percussion Instruments

? bO ™ b˙ ™ u

∑ ∑

"f"

ŒŒ

The ÒHMLÓ clef used in combination with a Þve-line stave indicates the approximate pitches of high, middle or low.

∑

" f " Dynamics in quotation marks refer to the intensity of the performance manner rather than the resultant dynamics.

1 - f ¿ approximate/indeterminate sound

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¿ 1 - f

f sound possible ¿ 1 -highest f sound possible ¿ 1 - lowest

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H M H L

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? bO ™b˙ ™ u b˙ ™ u

∑

? bO ™Notation ™ b ˙ bO ™

∑Œ

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Position of Speakers

"f"

" f "the Òjet whisteÓ effect on ßute Notehead used to indicate

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¿ 1 - f

"f"

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Winds and Brass

"f"

Rapid wide vibrato: contour indicates the scale of the intended effect.

Clarinet Fingering for the multiphonics on bar 23.

Trombone

? bO ™ b˙ ™

SY. 4749/01 Œ Sing the diamond-shaped note while you∑ play (sing an octave higher or lower if it is too low/high)

H M L

¿ 1 - f

"f"

"viii

Section E This section consists of a structured improvisation.

Position

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POSITION 6

Performers

In addition to the three percussionists, the vocal and percussion improviser, the conductor, some of the orchestral players led by the conductor, and the live electronics performer join in this section with improvisation.

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Structure

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The rough structure of the section is as below:

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Section 1 This section is played by Percussion II, Percussion III, Vocal and Percussion Improviser and Live Electronics performer until the sound of the podium is heard. The sound world of this small section is quiet, obsessive, repetitive and “grainy”, focusing on small movements of sound.

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Section 2 This section consists of the alternation between “QUIET” and “LOUD” musical types, and is played by Percussion I, Percussion II, Percussion III, Conductor, Vocal and Percussion Improviser and Live Electronics performer according to the instructions given below.

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The sound world of the musical type “QUIET” should sound obsessive, repetitive and “grainy”. The musical type “LOUD” should be intrusive, obsessive, and repetitive, as if you are digging deeper and deeper into your own skin. Listen out for the sound of the podium scratched with a garden fork by the Vocal and Percussion Improviser as it should be used as a signal for changing the musical types between “QUIET” and “LOUD”. When this sound is heard, either gradually stop whatever you are playing at that point or start playing your instrument immediately.

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Section 3 The granular synthesis is played by the Live Electronic Performer. When it is played, the Percussionists, Conductor and Vocal and Percussion Improviser should gradually stop playing the percussion instruments and move on to Section 3.

Detailed Instructions

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More detailed instructions below for the performers concerned.

Three Percussionists Each of the three percussionists is allocated to a musical type (either “loud” or “quiet”), the main percussion instrument(s), a small instruction of how the instrument(s) should be played, the playing style, the list of other instruments that he/she could also play in addition to the main percussion instrument(s), and other notes.

Musical Type:

Loud

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Playing Style:

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Other Percussion Instruments Available:

Other Notes:

Cymbal and Guiro beater  Cymbal and Handheld Electronic Milk Frother

Main Percussion Instrument(s):

How to Play:

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PERCUSSION I

Guiro beater should be used for rubbing/ scraping the surface of the cymbal  Handheld Electronic Milk Frother should be gently placed on the surface of the instrument

“Intrusive, obsessive, repetitive, destructive, as if digging deep into your own skin” Bass Drum and Handheld Electric Milk Frother  Sellotape  Djembe and Handheld Electric Milk Frother Run if you move from one instrument to another

Djembe and Takashi Scourer

How to Play:

Takashi scourer should be moved slowly on the surface of the Djembe skin to obtain a “grainy” sound.

Playing Style:

“Obsessive and repetitive, as if being absorbed in your own world and cannot hear anything else.”

Other Percussion Instruments Available:

Bass Drum and Handheld Electric Milk Frother  Sellotape  Snare Drum and Tawashi Scourer Guiro and Bamboo Skewer

Other Notes:

Run if you move from one instrument to another

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PERCUSSION III

Quiet

Skewer should be used instead of the giro stick and played with various speeds.

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Playing Style:

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Other Percussion Instruments Available:

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Other Notes:

Guiro and Bamboo Skewer

Main Percussion Instrument(s):

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Musical Type:

How to Play:

Main Percussion Instrument(s):

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Quiet

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Musical Type:

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PERCUSSION II

“Obsessive and repetitive, as if being absorbed in your own world and cannot hear anything else.” Bass Drum and Handheld Electric Milk Frother  Sellotape  Djembe and Tawashi Scourer Snare Drum and Tawashi Scourer Run if you move from one instrument to another

"xi

Vocal and Percussion Improviser The vocal and percussion improviser is the only player who performs throughout this section. He/she can play both “quiet” and “loud” musical types, and is able to play all other percussion instruments in addition to his/her main instruments. The sound of the podium is used for signaling the changes between “QUIET” and “LOUD” musical types.

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VOCAL AND PERCUSSION IMPROVISER Quiet and Loud

Main Instrument:

Podium and Garden Fork  Skin  Voice

How to Play:

¥ Podium should be scratched by Garden Fork quite vigorously. ¥ Your skin (especially arms) should be rubbed with a contact microphone. ¥ Vocal improvisation should consist of a series of high-pitched materials, and vocal noise including white noise imitating the sound of granular synthesis and low growling sound.

Playing Style:

Quiet style:  “Obsessive and repetitive, as if being absorbed in your own world and cannot hear anything else.”

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Musical Type:

All other percussion instruments

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Other Percussion Instruments Available:

Loud style:  “Intrusive, obsessive, repetitive, destructive, as if digging deep into your own skin.”

Run if you move from one instrument to another

Other Notes:

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Conductor: The conductor joins in this section with a percussion instrument. The musical type, the name of the percussion instrument, a small instruction of how the instrument should be played, the description of playing style, and other notes are indicated below.

CONDUCTOR

Loud

Percussion Instrument:

Djembe and Handheld Electric Milk Frother

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Musical Type:

How to Play:

Whisk should be gently placed on the surface of the instrument

Playing Style:

“Intrusive, obsessive, repetitive, destructive, as if digging deep into your own skin.”

Other Notes:

Direct some orchestral players towards the end of the section

"xii Orchestral Sound Directed by the Conductor In addition, the conductor should direct some of the orchestral players scattered around the space to play the musical Þgures towards the end of the piece. The suggestions for the musical Þgures are notated below.

¿ 1 - f

H bO ™ ? - f Þgures M Œ Suggestions for ¿the1musical L H b˙ ™ M L u

"f"

Oboes: sound of reed

¿ 1 - f

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∑

"f"

H M L

"f"

H Y™ M L H Y™ M f L f

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skin.

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? bO ™ H ™ sound could be Œused in parallel with what is ∑happening at the MLtime, or/and to emphasize the sound of scratching skin b ˙ O The orchestral ? H ∑ same time as the M ™ string players toŒ play scratching sound at the by directing bu˙the L ÒVocal and Percussion ImproviserÓ scratches his/her

p p

≥! ≥^ ≥ ≥^ ≥ ≥^ ≈ ≈ ≥ ≥^ ≈ ≈ ¿f liss. ≈ ≈ ¿ liss. ≈ p≈ g g ¿ liss. ¿ liss. g g ≥ ≥ ^ ≥ ≥^ ≈ ≈ ≈ ≈ ¿ liss. ¿ liss. g

≥ ≥ ¿ liss. g ¿ liss. ≥ ¿

gliss

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fff

! ≥ ≥^ & ‰ ™ ≥r ≥^ ≈ ≈ & p‰ ™ # ¿r ≈ ≈ &scratch liss. Strings: gtones fff # ¿ liss. g fff ≥ ≥ ^ ™ & ‰ r ≈ ≈ # ¿ liss.

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Y™ !f &! &p

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Horns & Trombone: squeaky and wobbly sound, wide vibrato

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Live Electronics Performer As in the previous section, the Live Electronics performer should continue to take care of the sound transformation used on each percussion instrument. Please note that a Djembe is used for two different types of the sound transformation, one is played by a Tawashi scourer in ÒQuietÓ musical type and another one is played by a Handheld Electric Milk Frother in ÒLoudÓ musical type. The granular synthesis is used in section 3 (see Structure on p.viii) and it is also used as a signal for the other musicians to move from section 2 to section 3.

LIVE ELECTRONICS

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Playing Suggestion for Granular Synthesis:

ÒAs if some liquid comes out as a result of excessive scratching of skin. Immersive and overwhelmingÓ

FROM SCRATCH (Tectonics Glasgow version)

POSITION 1

∑

Violin II "C"

Violin II "D"

4 4 Viola "B" B 4 ?4 Violoncello "A" 4 ?4 Violoncello "B" ¢ 4 °‹4 Piccolo & 4 4 Flute & 4 4 Oboe 1 & 4 4 Oboe 2 & 4 4 Clarinet in Bb & 4 Bass Clarinet 4 &4 in Bb ‹ Viola "A"

Thin and pintched sound mp

wB4 Œ Bassoon 1 2¢ 4

1° 4 Horn in F 2 &4

œ J -

∑

1™

1 J

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Percussion III

¢/

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Voice & Percussion Improviser

∑

(a 2)

∑

Œ ∑

r œ

1. con sord. mp

‰™

œ™ ≈™

> œœ œœ œ RÔ J > mp

2. con sord.

∑

> œœ ™™ œœ œœ œ >

1. con sord. (straight mute)

∑

œ-

-œ

> œœ ™™ œœ œœ œ >

-œ

sim.

1™

1 J

∑

Stand behind Violin I "C" Scratch sandpaper "Right Leg" for eight beats with a fork. Immediately after that, scratch sandpaper "Arm" for another eight beats. Repeat this until you hear the vocal sound of the trombonist. Always follow the beat of the conductor and/or brass.

> ¿

Right Leg

> ¿

Arm

> ¿

™™îü †

> ¿

™™îü †

> ¿

™™îü †

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SCRATCH 1 Stand behind and between Viola "A" and Viola "B" Scratch sandpaper "Neck" for eight beats with a fork. Immediately after that, scratch sandpaper "Arm" for another eight beats. Repeat this until you hear the vocal sound of the trombonist. Always follow the beat of conductor and/or brass.

> ° í¢™™ ¿

Neck

> ¿

Arm

> ¿

"f "

SCRATCH 1

°/ Live Electronics

4 4

∑

SCRATCH 1

> ° í¢™™ ¿

4 4

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Percussion II

œ J -

squeaky and wobbly sound wide vibrato

?4 Ó ¢

° Percussion I /

wœ™

1 Trumpet in Bb 2

Tenor Trombone

‰

∑

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Violin II "B"

∑

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Violin II "A"

Violin I "F"

Violin I "E"

Violin I "D"

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Violin I "C"

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∑

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∑

Violin I "B"

∑

° 4 &4

Violin I "A"

Shiori Usui

q = ca.60

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Stand behind Violin II "B" Scratch sandpaper "Right Leg Side" for eight beats with a fork. Immediately after that, scratch sandpaper "Left Leg" for another eight beats. Repeat this until you hear the vocal sound of the trombonist. Always follow the beat of conductor and/or brass.

> ° í¢™™ ¿

4 4 4 4 4 4 4 4 4 4

> ¿

Right Leg Side

> ¿

Left Leg

> ¿

"f "

(PERCUSSIONISTS/SANDPAPERS)

Percussionists I, II & III [Radio Mics]: Sandpaper attached to their clothes scratched by forks Guiro [Contact Mic]: Scratched with bamboo skewer

(GUIRO)

(OLD CONDUCTOR'S PODIUM)

(VOICE)

4 (PERCUSSION) 4

Guiro: Cued by conductor (i.e. play when horns start playing). Scratch with bamboo skewer

° í¢™™ ‰

Sy. 4749/01

SY. 4749/01

æj œ

‰

æj œ

‰

æj œ

‰

æj œ

™™îü †

° &

∑

Vln. I "B"

∑

Vln. I "C"

∑

Vln. I "D"

∑

Vln. I "E"

∑

Vln. I "F"

∑

Vln. II "A"

∑

Vln. II "B"

∑

Vln. II "C"

∑

Vln. II "D"

∑

Vla. "A"

∑

Vla. "B"

∑

Vc. "A"

∑

°‹ Picc. &

Jet Whistle (high-low)

∑

H M L

‰

f ‰

∑

f ‰

∑

f > f

>f f f ≈ f ≈f ≈f f ‰ > f > f

∑

‰

f ‰

reed only wide vibrato

& Ó

H M L

‰™

≈f

¿™

gliss.

. ¿ g™ liss ¿

gliss.

∑

f f f ≈f f ≈ f f ≈f >f > >

Ob. 2

r f > f

gliss.

mf reed only wide vibrato

∑

H M L

. ¿ ™ gliss ¿

∑

B. Cl.

& ‹

∑

b -œ œ f

wœ

> > > > ° r ® & œœ ™™œœ œœ œ œœ ™™œœ œœ œ œœ ™™œœ œœ œ œœ ™™œœ œœ œ œœ ™™ ® ‰‰ Œ R > > > > & œ-

œ-

∑

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B Tbn. ¢

‰

œ- œ

‰

œ- œ

œ-

b œ- œ f

‰

wœ

1 R ‰™

gliss.

œ- œ

‰ p

œ- œ

‰ p

∑

∑ wœ

r œ

‰™

œ-

-œ

œ-

œ ‰™ R

œ-

Perc. III

¢/

L.E.

/ Guiro [Contact Mic]: Scratched with bamboo skewer

/ /

Voice & Perc.

/ sim.

¢/

° í¢™™ ‰

ad lib.

Sy. 4749/01

SY. 4749/01

æj œ

‰

æj œ

‰

œ-

-œ ∑

°/

Perc. II

> > > > > > > > œ™™ œœ œœ œ œœ ™™œœ œœ œ œœ ™™œœ œœ œ œœ ™™œœ œœ œ œœœœ™ œ ™ œœ œœœœ™ œ ™ œœ œœœœ™ œ ™ œœ œœœœ™ œ ™ œœ ≈ > > > > > > > > > > > > mp (1.)

∑

con osord. (harmon mute owith stem in) + >+ >o + > + >o + >o + >o + >o + >o + ≈ ™ œ bœ œ œ ® œ œ œ œ ® œ œ œ œ ® œ œ œ œ ® œ bœ œ œ ® œ œ œ œ ® œ œ œ œ ® œ œ œ RÔ

œ- œ

p f

∑

œ-

‰

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Perc. I

œ- œ

(1.)

Tpt. 1&2

‰

Hn. 1&2

‰

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Bsn. 1 & 2.

∑

gliss

gliss.

Cl.

1 R ‰™

gliss.

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Ob. 1

H M L

f ‰

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Fo rp

∑

& Ó

Fl.

∑

ff Jet Whistle (low-high-low)

∑

f ‰

∑

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∑

Vc. "B"

Vln. I "A"

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æj œ

‰

æj œ ™™îü†

-œ

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∑

Vln. I "B"

∑

Vln. I "C"

∑

Vln. I "D"

∑

Vln. I "E"

∑

Vln. I "F"

∑

Vln. II "A"

∑

Vln. II "B"

∑

Vln. II "C"

∑

Vln. II "D"

∑

Vla. "A"

∑

Vla. "B"

∑

Vc. "A"

∑

°‹ Picc. &

∑

> œ™

norm. r œ�

∑

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∑ ∑ ∑ ∑

∑

>œ ≈Œ

∑

Fo rp

Vc. "B"

Vln. I "A"

‰

> œ æJ

œ æ

b >œ > > œ b œ b>œ

œ #œ æ æ f

∑

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norm.

Fl.

∑

≈Œ

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r œ�

> œ™ æ

>œ ≈Œ

‰

b >œ > > œ b œb>œ ≈Œ

> œ œ æJ æ æ fp

œ# œ æ æ f

B. Cl.

∑

& ‹

∑

wœ

& œ-

-œ

? Ó

-œ

œ ˙

senza sord. voice through instrument ("Argh, ka-yu-i-yo, Argh, kaiii, kaiii" in Japanese translated to "Argh, itchy! Argh! Itchy, itchy")

H M L

> ≈¿ ™ J

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argh f

¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

ka yu - i yo

argh ka-iii

norm. 5

bœ ™ ff

>œ ™

∑

> > r œ œ œœ™ œ ™ œœ œœœœ™ œ ™ œœ ® > > > > -œ -œ

‰™

‰

∑

Œ Ó

-œ

¿ J

∑

¿™

gliss.

> > > > r ® Œ Œ ° œ & œ ™œ™ œ œœ œ œœ ™™œœ œœ œ œœ ™œ™ œ œœ œ œœ ™™œœ œœ œ œœ ™™ ®‰‰ Œ Ó R > > > >

Tpt. 1&2

Tbn.

∑

¿™

gliss.

Hn. 1&2

∑

Bsn. 1 & 2.

H ¿ M L mp

Cl.

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Ob. 2

∑

Ob. 1

sim.

œ ≈Œ

≈Œ

b >œ

¿ J

bœ ™ >œ ™

∑

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Perc. II

Perc. III

¢/

> ° í¢™™ ¿

"f "

> ° í¢™™ ¿

"f "

œ-

-œ

11™

œ-

> ¿

"f "

-œ

squeaky and wobbly sound wide vibrato

> ¿

™™îü †

> ¿

™™îü †

> ¿

™™îü †

SCRATCH 2 After hearing the vocal sound of the the trombonist, stop SCRATCH 1 and freeze for a moment. Then start scratching any part of sandpaper attached to your clothes fast and freely. SCRATCH Continue this as long as the vocal sound of the trombonist lasts.

>> > > ° í¢™™¿ ¿ ¿ ¿ ™™îü† "f "

> ° í¢™™ ¿ "f "

ad lib.

> ¿

°/ L.E.

Guiro [Contact Mic]: Scratched with bamboo skewer

/ / Voice & Perc.

¢/

° í¢™™ ‰

æj œ

sim.

‰

∑

-œ

After hearing the vocal sound of the trombonist, stop SCRATCH 1 and freeze for a moment. Then start scratching any part of sandpaper attached to your clothes fast and freely. Continue this as long as the vocal sound of the trombonist lasts. SCRATCH ad lib.

> > > > œœœœ™ œ ™ œ œ œœœœ™ œ ™ œœ œœœœ™ œ ™ œœ œœœœ™ œ ™ œ œ > > > > > > > >

SCRATCH 2

>> > > ° í¢™™¿ ¿ ¿ ¿ ™™îü†

b >œ ≈Œ

> > > > œœ ™™ œœ œœ œ œœ ™œ™ œ œœ œ œœ ™™œœ œœ œ œœ ™œ™ œ œœ œ > > > >

> ¿

"f "

> > œœœœ™ œ ™ œœ œœœœ™ œ ™ œœ > > > >

ka-iii

ad lib.

œ≈ Œ

SCRATCH 2

>> > > ° í¢™™¿ ¿ ¿ ¿ ™™îü†

wœ

After hearing the vocal sound of the trombonist, stop SCRATCH 1 and freeze for a moment. Then start scratching any part of sandpaper attached to your clothes fast and freely. SCRATCH Continue this as long as the vocal sound of the trombonist lasts.

° Perc. I /

‰ Œ

æj œ ‰

Sy. 4749/01

SY. 4749/01

æj œ ™™îü†

-œ

° &

∑

Vln. I "B"

∑

Vln. I "C"

∑

Vln. I "D"

∑

Vln. I "E"

∑

Vln. I "F"

∑

Vln. II "A"

∑

Vln. II "B"

∑

Vln. II "C"

∑

Vln. II "D"

∑

Vla. "A"

∑

Vla. "B"

∑

Vc. "A"

∑

Picc.

°‹ &

∑

Fl.

∑

‰

Cl.

∑

B. Cl.

& ‹

∑ wœ

wœ

& œ-

Tbn.

B ¢ Ó

-œ

-œ ‰

> ¿ J

-œ

voice through instrument

H M L

rig

f Argh!!!

° Perc. I /

ka - yu

SCRATCH > > > >2

° í¢™™ ¿ "f "

¿ ¿

¿ ¿ ¿ ™™îü†

er us a ∑

o. /

Fo rp

∑

∑ ¿ ‰™ Œ R

reed only wide vibrato

H M L

∑

-œ

¿ ¿ ¿

argh

-œ ¿

¿ ¿

ka - iii

‰

wœ

b -œ

≈ ‰

œ-

≈ ‰

œ-

≈

-œ

¿ ¿ ¿ ¿

yu - i

argh

-œ ¿

¿ ¿

ka - iii

w¿

Y™

ka - iii

> ¿

"f "

> ¿

SCRATCH 1

ad lib.

¢/

SCRATCH > > > >2 ° í¢™™ ¿ ¿ ¿ ¿ ™™îü† "f "

ad lib.

° í¢™™

"f "

SCRATCH 1

° í¢™™

SCRATCH 1

° í¢™™

°/ L.E.

∑

ad lib.

SCRATCH > > > >2 ° í¢™™ ¿ ¿ ¿ ¿ ™™îü† "f "

op y

Perc. III

∑

> > > > > > > > > > > > ° & œœ œœ™ œ ™ œ œ œœ œœ™ œ ™ œ œ œœ œœ™ œ ™ œ œ œœ œœ™ œ ™ œ œ œœ ™™ œœ œœ œ œœ ™™ œœ œœ œ œœ ™™ œœ œœ œ œœ ™™ œœ œœ œ œœ œœ™ œ ™ œ œ œœ œœ™ œ ™ œ œ œœ œœ™ œ ™ œ œ œœ œœ™ œ ™ œ œ ww > > > > > > > > > > > > > > > > > > > >

Tpt. 1&2

Perc. II

Hn. 1&2

∑

ht by

Bsn. 1 & 2.

∑

Ob. 2

¿ J

H M L

Ob. 1

ic or

Vc. "B"

Vln. I "A"

nl y

/ / /

Voice & Perc.

¢/ Sy. 4749/01

SY. 4749/01

"f "

Section A: ca. 1min 10sec. (timed by conductor) Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

Vln. I "B"

∑

Vln. I "C"

∑

Vln. I "D"

∑

Vln. I "E"

∑

Vln. I "F"

∑

Vln. II "A"

∑

Vln. II "B"

∑

Vln. II "C"

∑

Vln. II "D"

∑

Vla. "A"

∑

Vla. "B"

∑

Vc. "A"

∑

∑ ∑

Fo rp

∑

& Ó &

Ob. 2

H M L

‰™

¿ ‰™ R

Ó Œ

b -œ

≈ ‰

œ-

≈ ‰

° & œœ

Tpt. 1&2

& œ

œ-

≈ ‰

≈

‰

(low-high)

Œ f

œ-

≈

‰

wœ

b œ-

≈ ‰

œ-

≈ ‰

œ-

≈

‰

b œ-

≈ ‰

œ-

≈ ‰

∑

+ œ

>o + >o + >o + >o + ® œ bœ œ œ ® œ œ œ œ ® œ œ œ œ ® œ œ œ f

> ¿

™™îü †

> / ¿

> ¿

™™îü †

> ¢/ ¿

> ¿

™™îü †

/ To Vocal mic.

Sy. 4749/01

SY. 4749/01

f > f

≈ f

norm.

œ-

≈ ‰

œ-

≈

∑

‰

∑

> ¿

rig

‰

∑

> ¿

op y

(low-high-low)

f >

∑

> °/ ¿

¢/

∑

Voice & Perc.

f > f ™

∑

°/ L.E.

∑

Multiphonics

norm. con sord. (harmon mute with stem in)

p f

(low-high)

∑

o + o + o + o ? ≈ ™ œ b>œ œ œ ® œ >œ œ œ ® œ >œ œ œ ® œ >œ Tbn. ¢ RÔ

∑

ht by

Hn. 1&2

Perc. III

‰

Perc. II

& ‰ ‹

Bsn. 1 & 2.

Perc. I

(norm.)

∑

Cl. & Ó

B. Cl.

H M L

f ™

Ob. 1

Jet Whistle (low-high-low)

f >

ic or

Fl.

H M L

∑

™™îü †

gliss.

nl y

Jet Whistle (low-high-low)

°‹ Picc. &

b Ȯ ™™

gliss.

o. /

Vc. "B"

° í¢™™

b Ȯ

∑

er us a

° Vln. I "A" &

>o + >o + >o + >o + ® œ bœ œ œ ® œ œ œ œ ® œ œ œ œ ® œ œ œ f

POSITION 2

ad lib.

Vln. I "C"

Vln. I "D"

Vln. I "E"

Vln. I "F"

Oœ

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play. gliss.

gliss.

__™™

™™îü †

gliss.

Ȯ ™™

∑

‰

∑

° í¢™™

gliss.

bO ° í¢™™ b œJ

œO

gliss.

Oœ R

° í¢™™

Oœ

™

gliss.

∑

Picc.

B Ó

‰

f >f

f > f ™

(low-high-low)

H M L

‰

f ∑

Ob. 2

∑

Cl.

∏∏∏∏∏

& ‰ ‹ wœ Bsn. B 1 & 2. ¢

Tpt. 1&2

Tbn.

b -œ

≈ ‰ œ

? œ

rig op y

°/

‰

œ-

≈

° í¢™™

‰ w

b œ-

≈ ‰

o o o o œo o o o o o o œ o o o o o œ

Harmonics Glissandi: IV, molto sul pont.

oj ≈° í¢™™ œ™

o œ

°o ≈ í¢™™ œ™j

∑

∑ œ-

œ-

≈ wœ

∑

œ ‰™ R

™™îü †

∑

>o + ® œ œ œ

˙ ∑

>o + >o + >o + ® œ bœ œ œ ® œ œ œ œ ® œ œ œ œ

∑

≈ ‰

∑

>o + ® œ œ œ

o œ

‹ &

Harmonics Glissandi: IV, molto sul pont.

∑

œ-

gliss.

∑

≈ ‰

##Oœ

gliss.

#Oœ

SCRATCH 3

As soon as you hear the sound of strings (i.e. high pitch harmonics glissandi), walk agitatedly clockwise around the circle of string players until you arrive behind Violin II "A". While you walk, scratch any parts of the sandpaper attached to your clothes as shown in the example below. (e.g. Stop and scratch Arm) (e.g. Scratch Right Leg as you walk agitatedly)

> ° í¢™™ ¿

"f "

> > ¿ ≈ ¿

> ¿ ≈

> ¿

> > ¿ ≈ ¿

> ¿

> > ¿ ¿

> > > > ¿ ¿ ¿ ¿ ™™îü†

ad lib.

SCRATCH 3 As soon as you hear the sound of strings (i.e. high pitch harmonics glissandi), count eight silently in your head. After that, walk agitatedly anticlockwise until you reach behind Violin I "C". While you walk, scratch any parts of the sandpaper attached to your clothes as shown in the example below. (e.g. Walk agitatedly and scratch Arm) (e.g. Walk agitatedly and scratch Neck)

>j ° í¢™™ ¿ "f "

‰

>j ¿

‰

Perc. II

≈ ‰

>o + >o + >o + ® œ bœ œ œ ® œ œ œ œ ® œ œ œ œ f

Perc. I

œ-

≈ ‰

ht by

B. Cl.

f >

f ™

™™îü †

##œO ™™

gliss.

Multiphonics

gliss.

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

f f > (low-high-low) >f ≈ f

ad lib.

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

∑

° &

O ° í¢™™ #œJ

∑

(low-high)

° í¢™™ bbOœ J

11 ™™

gliss.

Ob. 1

Hn. 1&2

‰

∑

M L

gliss.

∑

°H

Fl.

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

Vc. "B"

j ° í¢™™ ##œO

™™îü †

gliss.

pp Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

j í¢™™ ##œO ™™ ≈ °

? Vc. "A"

‰

Vla. "B"

∑

Vla. "A"

gliss.

Oœ

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

ic or

Vln. II "D"

#œO

gliss.

° í¢™™ Oœ

Oœ

™™

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

gliss.

Fo rp

bbOœ

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

‰™

o. /

& Ó

j ° í¢™™ #œO

gliss.

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

‰

Vln. II "C"

Harmonics Glissandi: Start with slow glissandi as suggested below and gradually make it faster and faster as you play.

Vln. II "A" & Ó Vln. II "B"

ad lib.

nl y

Ȯ ™ ° í¢™™ ™

& Œ

Vln. I "B"

° &

er us a

Vln. I "A"

>j ¿

‰

>j ¿

‰

> ¿

>3 ¿

‰

> ¿

>3 ¿

‰

> ¿

>3 ¿

‰

> ¿

SCRATCH 3

>3 ¿

‰

™™îü †

As soon as you hear the sound of strings (i.e. high pitch harmonics glissandi), count four silently in your head. After that, walk clockwise (with a relatively fast speed) from where you are to Violin I "C". While you walk, scratch any parts of the sandpapers attached to your clothes as shown in the example below. (e.g. Walk and scratch; Right Leg Right Leg Side)

Perc. III

> > ° í¢™™ ¿ ¿ ™ "f "

¢/ °/

L.E.

/ /

Voice & Perc.

¢/ Sy. 4749/01

SY. 4749/01

> ¿

> ¿™

> ¿

Vln. I "C"

Vln. I "D"

Vln. I "E"

gliss.

ad lib. .

™™îü †

gliss.

Ȯ ™ & ™

Vln. II "A"

Vln. II "B"

Vln. II "C"

Vln. II "D"

ad lib. .

™™îü †

ad lib.

™™îü †

gliss.

ad lib.

ad lib. .

™™îü †

gliss.

bbOœ

gliss.

B R

Vla. "B"

B j

™™îü †

ad lib.

ad lib. .

o œ

œo

o œo

o 6

o œ

o ü œ ™™î†

ad lib. (ﬂuctuating speed)

o œo

o œ pp

o œo mf

& ‹

B Bsn. 1. 2 ¢

Hn. 1.2

° &

Tpt. 1.2

Repeat this until Section B.

rig

Tbn.

ad lib. (ﬂuctuating speed)

B. Cl.

o ü œ ™™î†

ic or

Cl.

ht by

Ob. 2

H M L

°‹ Picc. &

Ob. 1

°/

Perc. II

ad lib.

op y

Perc. I

Perc. III

> ¢/ ¿

> ¿™

> ¿

> ¿™

> ¿

> ¿™

> ¿

™™îü †

°/ L.E.

/ /

Voice & Perc.

ad lib. .

™™îü †

gliss.

™™îü †

? o Vc. "A"

Fl.

Vla. "A"

? Vc. "B" ¢

™

Vln. I "F"

ad lib. .

™™îü †

nl y

er us a

Vln. I "B"

Fo rp

° &

o. /

Vln. I "A"

/ ¢/ Sy. 4749/01

SY. 4749/01

ad lib.

Cue to Voice

Cue to Cellos

Vln. I "C"

Vln. I "D"

Vln. I "E"

Vln. I "F"

Vln. II "A"

Vln. II "B"

Vln. II "C"

Vln. II "D"

Vla. "A"

Vla. "B"

er us a

Vln. I "B"

Fo rp

° &

nl y

Vln. I "A"

Scratch Tone (extremely distorted): "As if digging into skin" I

≥ ° í¢™™ >¿

o. /

? Vc. "A"

>≥ gliss. ¿

>≤

>≥¿

fff sempre

Scratch Tone (extremely distorted): "As if digging into skin" IV

Ob. 2

Cl.

B. Cl.

& ‹

Bsn. 1. 2

° &

Tpt. 1.2

≥

rig

Tbn.

Hn. 1.2

≥

ic or

fff sempre

≥

Ob. 1

≥

H M L

Fl.

≥

°‹ &

≥ ° í¢™™ #>¿

Picc.

ht by

Vc. "B"

°/

op y

Perc. I

Perc. III

¢/

Perc. II

° L.E.

/ / / Vocal improvisation: high, coarse, and intense inhaled voice Start when cued by conductor (i.e. ca.37" after the start of string harmonics glissandi) and continue until hearing the distorted scratch tone by cello.

Voice & Perc.

° Y / í¢™™

™™îü †

¢/ Sy. 4749/01

SY. 4749/01

To "Old Conductor's Podium" with a mic.

™

gliss.

>≥ ¿

>≤

POSITION 3 9

B Section B: - Cue to Brass & Wind - Percussion & Strings start in Section B (i.e. ca. 1min 10sec. later from start of Section A) Scratch Tone: Play the same musical ﬁgure as Vln. I "B" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone". but it can be slightly earlier/later ≥ ≥ ≥ ≥

Vln. I "A"

° &

° í¢™™

≈≈

#¿

≥ ^ ¿

≈≈

≥ ^ ¿

≈≈

≥ ^ ¿

≈≈

sffz Scratch Tone: Play the same musical ﬁgure as Vln. I "C" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone".

≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ° í¢™™ ≈ ≈ ≈≈ ≈≈ ≈ ≈ ™™îü† #¿ ¿ ¿ ¿ ¿

Vln. I "B"

≥ ü ™™î † ¿

nl y

sffz

Scratch Tone: Count four beats silently in your head when a percussionst starts "scratching" the sandpaper attached to the back of your clothes. Then play the musical ﬁgure indicated below following the beats provided by the percussionist's "scratching" on your back.

Vln. I "D"

sffz

≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ° í¢™™ ≈ ≈ ≈≈ ≈≈ ≈ ≈ ™™îü† #¿ ¿ ¿ ¿ ¿

four beats after he/she starts playing his/her "scratch tone".

Vln. I "E"

sffz

Scratch Tone: Play the same musical ﬁgure as Vln. I "E" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone".

≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ü ° í¢™™ ≈ ≈ ≈≈ ≈ ≈ ≈ ≈ ™™î† #¿ ¿ ¿ ¿ ¿

Vln. I "F"

er us a

Vln. I "C"

≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ° í¢™™ ≈ ≈ ≈≈ ≈≈ ≈ ≈ ™™îü† #¿ ¿ ¿ ¿ ¿ Scratch Tone: Play the same musical ﬁgure as Vln. I "C" (i.e. the same timing etc.) sffz about four beats after he/she starts playing his/her "scratch tone". ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ° í¢™™ ≈ ≈ ≈≈ ≈≈ ≈ ≈ ™™îü† #¿ ¿ ¿ ¿ ¿ Scratch Tone: Play the same musical ﬁgure as Vln. I "D" (i.e. the same timing etc.) about

Fo rp

sffz

≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ° í¢™™ ≈ ≈ ≈≈ ≈≈ ≈ ≈ ™™îü† #¿ ¿ ¿ ¿ ¿

Vln. II "A"

sffz

Vla. "A"

Vla. "B"

≥ ≤ ≥ IV >≥¿ >¿ > >≥¿ >¿ ≥ ≥ ≥ ≥ ≥ ≥ ? ≈ Vc. "A" > > > > > >™ ( fff sempre)

≥≥≥≥≥≥ > > > > > >™

≥ ≤ ≥ ≤ ≥ ≤ ≥ >≥¿ >¿ > >≥¿ >¿ > >≥¿ >¿ > >≥¿ >¿ ≈Œ

? Œ Vc. "B" ¢ °‹ Picc. &

( fff sempre)

≥ ≥ ≥ 3≥ ≥ ≥

#>¿ > > > > > ™

≥ ≥ ≥ 3≥ ≥ ≥

≥ ≥ ^

‰™

#>¿ > > > > > ™ gliss.>¿ > > > > > ™ gliss.

#¿

≈≈

H M L

> > > > > >™

Ob. 2

Bsn. 1. 2

° Hn. 1.2 & &

∑

Perc. I

∑

#>¿ > > > > > ™

≥ ≥ ≥ 3≥ ≥ ≥

™ >¿ > > > > >

b-œ

˙™

œ™

p fp

œ ≈b-œ

bœ-

∑

wœ™

œ ≈ -œ

œ ˙ J -

∑

œ œ

p fp

-œ

˙™ ˙™

wœ™

∑ œ J -

#>¿ > > > > > ™ ∑

‰

œ™

‰

œ™

‰

œœ œœ R

senza sord.

‰™ .

≈ œj™ .

™ ≈œœJ ™

œ ≈ -œ

>œœœ ™™

™ ≈œœJ ™

(a2)

œ ≈ -œ

ad lib.

∑

w squeaky and wobbly sound wide vibrato

≈ œ™j -

™™îü †

∑

≥ ≥ ≥ 3≥ ≥ ≥

∑

≈ #>¿ > > > > > ™

≥ ≤ IV >≥ >≥ >≥ >≥ >≥ >≥ >≥ >≥ >≥ >≥ >≥ >≥ >≥ > > ≥ ≥ ≥ 3≥ ≥ ≥ ≈ ¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿ ¿ ¿ #>¿ > > > > > ™ ∑ ∑

≥ ≤ ≥ ≤ >≥¿ >¿ > >≥¿ >¿ > ü ™™î †

≥ ≥ ≥ 3≥ ≥ ≥

op y

Tbn.

¿ #>¿ > > > > > ™

≥ ≥ ≥ 3≥ ≥ ≥

œ ≈b-œ

≈ œ™ J

rig

Tpt. 1.2

≈≈

>≤ >≥ >≥ >≤ >≥ >≥ ¿ ¿ ¿¿

ht by

& ‹

B. Cl.

≈bœj™ -

Cl.

sffz

≈bœJ ™

≈≈

≥ ≤ ≥ >≥¿ >¿ > >≥¿ >¿

≥ ≥ ≥ ≥ 3≥ ≥ ≥

∑

Ob. 1

≥ ≥^

>≤ >≥ >≥ >≤ >≥ >≥ >≤ >≥ >≥ ≥ >≥ ¿ ¿ ¿ ¿ ¿ ¿ ≈ >¿ ¿

≥ >≥¿ >¿

≥≥≥ ≥ ≥≥

Fl.

≥ ≥^

Vln. II "D"

ic or

Vln. II "C"

≥^ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ü ° í¢™™ ≈ ≈ ≈≈ ≈ ≈ ≈ ≈ ™™î† #¿ ¿ ¿ ¿ ¿

o. /

Vln. II "B"

Scratch Tone: Play the same musical ﬁgure as Vln. II "A" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone".

œœ

™ ≈œœJ ™

œ-

˙™

‰

œ™

œ-

∑

˙™

œœœ œœ œœœ-œ ™™ ˙˙ ™™

(a2) ff

Sing the diamond shaped note while you play (sing an octave higher or lower if it is too low/high).

bO ™ Œ ? ™ b˙ u f

SCRATCH 4 Scratch the sandpaper attached to the back of the clothes of Violin II "A" with the rhythm indicated below until the string players break up their own circle and move outwards. Follow the beats provided by the conductor if you can.

> ° í¢™™ ¿

"f "

SCRATCH 4

> ¿

™™îü †

Scratch one of the sandpapers attached to the back of the clothes of Violin I "C" with the rhythm indicated below until the string players break up thier own circle and move outwards. Follow the beats provided by conductor if you can.

Perc. II

> ° í¢™™ ¿

"f "

> ¿

™™îü †

SCRATCH 4

Scratch one of the sandpapers attached to the back of the clothes of Violin I "C" with the rhythm indicated below until the string players break up their own circle and move outwards. Follow the beats provided by Percussion II.

Perc. III

> ° í¢™™ ¿

¢/

"f "

°/ / / Voice & / Perc. ¢/ L.E.

Sy. 4749/01

SY. 4749/01

> ¿

™™îü †

Vln. I "C"

Vln. I "D"

Vln. I "E"

Vln. I "F"

Vln. II "A"

Vln. II "B"

≥ ≥ ≥ ≥ ° ^ ≈ ≈ ≥ ^ ≈ ≈ ≥ ^ ≈ ≈ ≥ ^ ≈ ≈ ≥™ ü ™î† Vln. II "C" & í¢™™ #¿ ¿ liss. ¿ liss. ¿ gliss. ¿

Scratch Tone: Play the same musical ﬁgure as Vln. II "B" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone".

sffz

≥^ ≥ ≥^ ≥ ≥^ ≥ ° í¢™™ ≈ ≈ ≈ ≈ ≈ ≈ #¿ ¿ gliss. ¿ gliss. ¿

Vln. II "D"

Vln. I "B"

≥^

er us a

° &

nl y

Vln. I "A"

Scratch Tone: Play the same musical ﬁgure as Vln. II "C" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone".

sffz

≈ ≈

gliss.

≥ ü ™™î † ¿

≥ ≥ ≥ ≥ ° ^ ≈ ≈ ≥ ^ ≈ ≈ ≥ ^ ≈ ≈ ≥ ^ ≈ ≈ ≥ ™ü ™î† Vla. "A" B í¢™™ #¿ ¿ liss. ¿ liss. ¿ liss. ¿ g g g Scratch Tone: Play the same musical ﬁgure as Vla. "A" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone". sffz ≥^ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ü ° ™ ™™î í B ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ™ Vla. "B" ¢ † #¿ ¿ liss. ¿ liss. ¿ ¿ gliss. g g Scratch Tone: Play the same musical ﬁgure as Vla. "B" (i.e. the same timing etc) about four beats after he/she starts playing his/her "scratch tone". sffz ≥ ad lib. ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ? ™ ™ r ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™ ‰ Vc. "A" # ¿ gliss. ¿ liss. ¿ liss. ¿ liss.

Fo rp

Scratch Tone: Play the same musical ﬁgure as Vln. I "F" (i.e. the same timing etc.) about four beats after he/she starts playing his/her "scratch tone".

H M L

∑

Ob. 1

∑

Ob. 2

∑

Cl.

∑

B. Cl.

& ‹

∑

° &

œ J -

∑

°/

Perc. II

Perc. III

¢/

p f

1 p

∑

bO ™ b˙ ™

Voice & Perc.

/ ¢/ Sy. 4749/01

SY. 4749/01

1 p

1 f

∑

wœ™

≈™ œ œ >

∑ Œ

≥ ≥^

∑

œ J -

norm.

mfp

‰™

>j œ œœ ™™ R >

≈ œ >

mfp

>j œœ ™™

≈

≥ ≥^ ¿

≈

≥ ü ™™î † ¿

œ ® œ œ >

°/ L.E.

≈

∑

1 R ‰™

squeaky and wobbly sound wide vibrato

≥ ≥r ^ ≈ # ¿ liss.

° í¢™™ ‰™

mfp

∑

œ J -

1 R ‰™

op y

Perc. I

rig

ht by

Tpt. 1 2

squeaky and wobbly sound wide vibrato

wœ™

Hn. 1 2

Tbn.

ic or

wœ™

B Bsn. 1.2 ¢

∑

Fl.

∑

°‹ &

Picc.

g Scratch Tone: Play the same musical ﬁgure as Vc. "A" (i.e. the same timing etc) about four beats after he/she starts playing his/her "scratch tone".

o. /

? Vc. "B" ¢

œ ® œ œ >

mfp

œ ® œ œ >

mfp

1 R ‰™

p mf

≈ œ >

mfp

>j œœ ™™

mfp

>j œœ ™™

≈ œ >

mfp

≈ œ >

mfp

!™ p

CUE TO VIOLAS AND CELLOS rall.

Vln. I "C"

Vln. I "D"

Vln. I "E"

Vln. I "F"

Vln. II "A"

Vln. II "B"

Vln. II "C"

Vln. II "D"

Vla. "A"

scratch tone extremely distorted

norm.

° í¢™™ #œ

¿™

scratch tone extremely distorted

#œ > ff

? Vc. "A"

° í¢™™

scratch tone extremely distorted

#¿ ™ >

° í¢™™

°‹ Picc. &

∑

H M L

∑

Ob. 1

∑

Ob. 2

∑

Cl.

B. Cl.

& ‹

Hn. 1 2

∑

mfp

≈ >j œ œœ ™™ >

mf mfp

≈ >j œ œœ ™™ >

mfp

∑

mf mfp

≈ >j œ œœ ™™ >

mfp

≈ >j œ œœ ™™ >

mf mfp

≈ >j œ œœ ™™ >

mfp

∑

mfp

œ ®œœ œ ®œœ œ ®œœ œ ®œœ > > > >

mfp

œ ®œœ >

mfp

∑

mfp

œ ® œ œ œ œ™ > >

mfp

≈™

œ >

mfp

norm.

mfp

∑

mf mfp

≈ >j œ œœ ™™ >

mfp

≈ >j œ œœ ™™ >

mfp

≈ >j œ œœ ™™ >

mfp

≈ >j œ œœ ™™ >

mfp

≈ >j œ œœ ™™ >

mfp

∑

≈ >j œ œœ ™™ >

mfp

≈> ≈ >j j œ bœœ™™ œ œ b œœ ™™ R > >

mfp

®‰

œ™

bœ œ ™ >

f mfp

œ ®œœ >

œœ >

mfp

≈ >j œ œœ ™™ >

≈

mfp

> j œ™ Œ

mfp

œ™

œ RÔ >

> ® bœ œ

œ ® >œ œ

œ™

mfp

Perc. I

bœ œ ™ >

f mfp

œ œ™ >

f mfp

œ œ™ >

f mfp

Perc. III

¢/

mfp

/ Old Conductor's Podium [Contact Mic]: Scratched with garden fork

/ / Voice & Perc.

Old Conductor's Podium Cued by conductor (i.e. start playing around the time when the brass starts the descending musical ﬁgure), and continue until the start of section E. Scratch with a garden fork and always follow the beat of the conductor.

> ° í¢™™ ¿

¢/

Sy. 4749/01

SY. 4749/01

> ¿

™™îü †

œ >

f mfp

mfp

>œ œ œ ™ >œ œ œ ™ >œ œ œ ™ >œ œ

°/

L.E.

mfp

bœ œ œ™ œ œ œ™ œ œ œ™ œ œ > > > >

op y

mfp

Perc. II

∑

norm.

mfp

≈

mfp

> ≈™ œ œ

mfp

f mfp f mfp f > > > œ œ œ œ œ™ œ œ œ™ œ œ œ™ œ œ J > > > f mfp

mfp

∑ mf mfp

> œ ≈™

mfp

œ ®œœ œ ®œœ œ ®œœ œ ®œœ > > > >

mf mfp

mfp

œ ˙ J -

ææ œ œ œ ®œ œ œ ®œ œ œ ®œ œ > > > >

rig

mfp

∑

ht by mf mfp

mfp

Tbn.

∑

≈™

ad lib.

∑

mfp >j & œœ ™™

Tpt. 1 2

fff

∑

° & œ ®œœ œ ®œœ œ ®œœ œ ®œœ > > > > mf mfp

ad lib.

™™îü †

∑

wœ™

mfp

norm. scratch tone extremely distorted

∑

fff

∑

ic or

™™îü †

∑

Bsn. 1.2

scratch tone extremely distorted

œ ¿™

™™îü †

∑

Fl.

#¿ >

fff

¿™

fff

Y™

norm.

ad lib.

™™îü †

∑

¿ >

fff

scratch tone extremely distorted

o. /

scratch tone extremely distorted

norm. scratch tone extremely distorted

fff

Vc. "B"

Fo rp

° í¢™™

norm.

fff

norm.

Vla. "B" B

er us a

Vln. I "B"

nl y

° Vln. I "A" &

mfp

POSITION 4 12

Cue to Violins Strings start walking outwards (alternatively, cello can move after section D) q = ca.40

Walk away outwards from where you are to wherever you like in performance space while you play. norm.

#œ

scratch tone extremely distorted

¿™

fff

scratch tone extremely distorted

norm.

¿™

norm.

¿™

fff

Vln. I "C"

>¿

° í¢™™

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone norm. extremely distorted extremely distorted

#œ

¿™

fff

¿™

ad lib.

™™îü †

ff fff ff Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone norm. extremely distorted extremely distorted

norm.

Vln. I "D"

ad lib.

™™îü †

fff

™™îü †

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone extremely distorted

° extremely distorted norm. Vln. I "B" & í¢™™ #¿ ™ œ >

ad lib.

nl y

° í¢™™

#¿ ™ >

fff

>¿

#>Y

fff

° Vln. I "A" &

ad lib.

™™îü †

er us a

Walk away outwards from where you are to wherever you like in performance space while you play. norm.

#œ ff

° í¢™™

#¿ ™ >

¿™

fff

#¿ ™ >

>¿

¿™

fff

° í¢™™

™™îü †

ad lib.

™™îü †

ad lib.

#œ

¿™

fff

° í¢™™

¿™

Vla. "A"

Walk away outwards from where you are to wherever you like in performance space while you play.

Vla. "B"

Walk away outwards from where you are to wherever you like in performance space while you play (alternatively, move after Section D).

Vc. "A"

Walk away outwards from where you are to wherever you like in performance space while you play (alternatively, move after Section D).

#¿ ™ >

? Bsn. 1.2 ¢

& &

Tbn.

mfp

œœ >

mfp

bœ ™

bœ œ >

mfp

rig

Tpt. 1 2

®œœ >

f mfp

® #œ œ > mfp

> bœœ™ f

>œ œ

œ™

mfp

op y

SCRATCH 5

> ° ° Perc. I / í¢™™ ¿

œ >

mfp

œ™ œ™

bœ œ >

ht by

Hn. 1 2

ad lib.

>¿

™™îü †

#>Y

fff

ic or

> œœ™

° &

f mfp

° & ‹

™™îü †

fff

B. Cl.

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone extremely distorted extremely distorted norm.

norm.

¿™

fff

ad lib.

™™îü †

ad lib.

™™îü †

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone norm. extremely distorted extremely distorted

Vln. II "D"

Vc. "B"

¿™

norm.

fff

¿™

fff

¿ >

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone extremely distorted norm. extremely distorted

fff

Vln. II "C"

¿ >

fff

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone extremely distorted norm. extremely distorted

#œ

° & í¢™™

>¿

norm.

Vln. II "B"

norm.

° & í¢™™

¿™

Walk away outwards from where you are to wherever you like in performance space while you play. scratch tone scratch tone norm. extremely distorted extremely distorted

fff

Vln. II "A"

¿™

fff

scratch tone extremely distorted

norm.

o. /

Vln. I "F"

scratch tone extremely distorted

Fo rp

Vln. I "E"

° í¢™™

œ œ >

f mfp

> œœ™

œ >

mfp

œ™ œ™

®œœ > mfp

œœ >

mfp

> œœ™

œ >

mfp

œ™

mfp

œ™

b>œ œ

œ™

>œ œ

mfp

œ œ >

f fp

> bœœ ™

bœ œ > mfp

œ™

œœ >

∑

f mfp

®œœ fp > bœ œ fp

œ >

œ™

> œ œ

œ™

bœ œ >

œ > œœ ™

®œœ fp > f

œ œ™ > œ™

> œœ

œ™

> œœ ™ œ œ

œ œ™ >

œ >

œœ >

> œœ

œœ

bœ œ >

œ ®œœ fp >

œ™ ∑ œ™

œ ®œœ fp >

> œœ ™ œ œ

> bœœ ™ bœ œ

œ™

œœ >

œ™

> œœ

œ™

œ ®œœ >

œ œ™ >

"f "

°> / í¢™™ ¿ "f

> œœ

œ™

> œœ

> œ™ œ œ

> ¿

™™îü †

> ¿

™™îü †

Scratch any parts of sandpaper attached to your clothes with the same rhythm as "SCRATCH 4". Walk towards Guiro while you play and when you reach the Guiro, wait quietly until the beginning of Section E. > > > > > > > > ° ™ í ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ Perc. III ¢ / ¢ ¿ "f "

Voice & Perc.

¢/

Sy. 4749/01

SY. 4749/01

>œ >œ™

> ¿

/ /

œ œ™ >

SCRATCH 5

L.E.

™™îü †

> œœ ™bœ œ > fp

œ™ œ œ >

œ™ œ œ fp >

> œœ ™ œ œ

œ™ b œ œ >

> ¿

°/

œ >

œœ >

Scratch any parts of sandpaper attached to your clothes with the same rhythm as "SCRATCH 4". Walk towards Djembe while you play and when you reach the Djembe, wait quietly until the beginning of Section E.

Perc. II

ffp

Scratch any parts of sandpaper attached to your clothes with the same rhythm as "SCRATCH 4". Walk towards Cymbal while you play and when you reach the Cymbal, wait quietly until the beginning of Section E.

SCRATCH 5

f fp fp

œ™

f p fp

œœ >

> œœ ™ œ œ > fp

bœ œ ™ >

œ >

œ œ™ >

œ >

®≈

∑

œ™ œ œ > fp

œ™

œœ >

POSITION 5

Vln. I "C"

Vln. I "D"

Vln. I "E"

Vln. I "F"

Vln. II "A"

Vln. II "B"

Vln. II "C"

Vln. II "D"

Vla. "A"

≥ ≥ ≥^ ≥ ≥^ ≥ ü ≥ ^ ™™î ≈ ≈ ≈ ≈ ≈ ≈ r # ¿ s. ¿ ¿ ¿ †

Stop moving and play.

° í¢™™ ‰™

fff

glis

≥ ≥ ≥^ ≥ ≥^ ≥ ü ≥ ^ ™™î ≈ ≈ ≈ ≈ ≈ ≈ r # ¿ gliss. ¿ ¿ ¿ †

Stop moving and play.

Vla. "B" B

° í¢™™ ‰™

fff

≥ ≥ ≥^ ≥ ≥^ ≥ ü ≥ ^ ™™î ≈ ≈ ≈ ≈ ≈ ≈ r † # ¿ liss. ¿ ¿ ¿

Stop moving and play.

Vc. "A"

er us a

Vln. I "B"

° í¢™™ ‰™

Fo rp

° &

nl y

Vln. I "A"

Section D - Violas and Cellos stop walking - Brass and Winds start walking

fff

≥ ≥ ≥^ ≥ ≥^ ≥ ü ≥ ^ ™™î ≈ ≈ ≈ ≈ ≈ ≈ r † # ¿ liss. ¿ ¿ ¿

o. /

Stop moving and play.

? Vc. "B" ¢

° í¢™™ ‰™ ∑

∑

bœ

> bnœœ™ œ œ >

œ™

Perc. I

°/

Perc. II

Perc. III

¢/ °

L.E.

ffp

> œœ™ œ œ >

ffp

œœ™ bœ œ >

> œœ™ œ œ >

ffp

œœ™ œ œ >

> œœ™ œ œ >

œ >

ffp

œ™

bœ œ ™ >

œ œ™ >

œ >

œ™ bœ œ > fp

œ™ œ œ > fp

ffp

œ œ™ >

ffp

œ >

ffp

≈ Ó

≈

Walk away outwards from where you are to wherever you like in performance space. .

#˙

œœ

˙˙

Walk away outwards from where you are to wherever you like

in performance space while you play (ca. 4").

Walk away outwards from where

you are to wherever you like in

performance space while you play

(ca. 12").

squeaky and wobbly sound, wide vibrato

° 1 ‰ í¢™™ J

ffp

1 ° í¢™™

∑

ad. lib. .

™™îü †

° í¢™™

Walk away outwards from where you are to

wherever you like in performance space while

you play (ca. 12").

squeaky and wobbly sound, wide vibrato

1 p

™™îü †

Walk away outwards from where you are to wherever you like

in performance space while you play (ca. 12").

squeaky and wobbly sound, wide vibrato

œ ™ bœ œ > fp

œ™ œ œ > ffp

œ™ œ œ > ff

ffp

r œ™ ® ‰ ff

° í¢™™

/ / /

Voice & Perc.

>œ ™ J

Walk away outwards from where you are to wherever you like in performance space while you play (ca. 12").

squeaky and wobbly sound, wide vibrato

j bœ œ ™ >

œ™

> œœ

ffp

œ œ™ >

ffp

∑

? ¢ œ™ >œ œ

op y

Tbn.

ht by

bœ œ ™ >

p fp

rig

Tpt. 1 2

œ™

œ™ œ œ >

œ œ™ >

p fp

œ™ œ œ >

Hn. 1 2

ffp

bœ œ ™ >

œ ™ #œ œ >

ffp

œ >

œœ ™ bœ œ >

œ™ œ œ >

>ff ? Bsn. 1.2 ¢ bœœ ™ bœ œ >

ffp

∑

ic or

œ™ œ œ >

° &

Walk away outwards from where you are to wherever you like in performance space while you play (ca. 12").

& œ ‹

œ >

B. Cl.

Cl.

fff

°‹ Picc. &

Vocal improvisation: Coarse, and intense inhaled voice Start when cued by conductor (i.e. around the time when there are high, wide vibrato ﬁgures by brass) and continue until the start of section C. Perform this at the same time as scraping the old conductor's podium with another hand.

° í¢™™ Y

¢/ Sy. 4749/01

SY. 4749/01

™™îü †

POSITION 6

Violins Stop Walking ° &

≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. fff

≥ ≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss.

Stop moving and play.

Vln. I "A"

Stop moving and play.

nl y

Vln. I "B"

fff

≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. Stop moving and play.

Vln. I "C"

fff

≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. Stop moving and play.

Vln. I "D"

er us a

fff

≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. Stop moving and play.

Vln. I "E"

fff

≥ ≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. Stop moving and play.

Vln. I "F"

fff

≥ ≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss.

Vln. II "A"

fff

≥ ≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. fff

≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. fff

Vln. II "D"

Vla. "A"

≥ ≥ ≥^ ≥ ≥^ ≥ ≥^ ≥ ≥ ^ ° ≈ ≈ ≈ ≈ ≈ ≈ ™™îü† í¢™™ ‰™ r ≈ ≈ # ¿ gliss. ¿ gliss. # ¿ gliss. ¿ gliss. ¿ gliss. fff

Vla. "B"

Vc. "A"

Vc. "B"

Stop moving and play.

Vln. II "B"

Stop moving and play.

Walk away outwards from where you are to wherever you like in performance space while you play (ca. 12")

™™îü †

ad. lib.

∑

(Continue walking outwards without playing

if necessary to make more space for Section E) .

Play from memory. Walk away outwards from where you are to wherever you like in performance space while you play. Jet Whistle (low-high-low)

H M L

ic or

° ‹° Picc. & í¢™™

(low-high)

norm. ﬂ.

(low-high-low)

> > f ™ f ® f ≈ ‰ f f >f ≈ f f f >f

Fl.

Stop moving and play.

o. /

Vln. II "C"

Fo rp

Stop moving and play.

Jet Whistle (low-high-low) (low-high)

(low-high-low) norm. ﬂ.

>f > r f H ® f ≈ ‰ f &≈ bœæ æ œææ œæ MLf f ≈ ™ f f f >f > mf

Jet Whistle (low-high-low)

r f r f H &≈ bœæ æ œææ œæ MLf f ‰ ‰™ f f f ‰ > > mf

(Continue walking outwards without playing

if necessary to make more space for Section E)

Play from memory. Walk away outwards from where you are to wherever you like in performance space while you play. reed only, wide vibrato

H M L

& Œ

Ob. 1

Y™ f

(Continue walking outwards without playing if necessary to make more space for Section E)

ht by

Play from memory. Walk away outwards from where you are to wherever you like in performance space while you play. reed only, wide vibrato

& Ó

Ob. 2

Cl.

& j ‹ #œ ? Bsn. 1.2 ¢ ° 1 & Hn.

op y

& &

Tpt. 1 2 Tbn.

(Continue walking outwards without playing if necessary to make more space for Section E)

Y f

p .

(Continue walking outwards without playing if necessary to make more space for Section E)

™™îü †

ad. lib.

(Continue walking outwards without playing if necessary to make more space for Section E) .

(Continue walking outwards without playing if necessary to make more space for Section E)

rig

B. Cl.

H M L

™™îü †

(Continue walking outwards without playing if necessary to make more space for Section E)

° Perc. I / Perc. II Perc. III

L.E.

¢/ °/

/ Voice & Perc.

¢/

Sy. 4749/01

SY. 4749/01

ht by

rig

op y

ic or

G & o. /

Fo rp

er us a

nl y

65‹

Picc.

& ∑

SY. 4749/01

Sy. 4749/01