Sy. 4829 - Haas - solstices (2017) by Ricordi

nl y ru sa lo

Georg Friedrich Haas solstices

C o.

for ten instruments to be performed in complete darkness 2018

op y

rig ht

.R ic

or di

Score in C

nl y ru sa lo pe or /F C o. & or di .R ic G by rig ht op y

Corrected version, 05.05.2022 Sy. 4829/01 ISMN 979-0-2042-4829-2 Copyright © 2019 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin Alle Rechte vorbehalten All rights reserved / Tutti i diritti riservati

Flöte Bassklarinette in B Posaune

Flute Bass clarinet in Bb Trombone

Percussion [Klangwerk]

Percussion

Vibraphon Timpani und, z. B.: Tamtam Becken Rainstick Güiro Tempelblock (tief) Peitsche und unterschiedliche Instrumente ad lib. (Membran, Holz, Metall)

nl y

Instrumentation

Vibraphone Timpani and, i.e.: Tam-tam Cymbal Rainstick Güiro Temple block (tief) Whip and other instruments ad lib. (membrane, wood, metal)

Piano

Gitarre

Guitar

Violine Viola Violoncello Kontrabass

Violin Viola Violoncello Double bass

C o.

Klavier

op y

rig ht

.R ic

or di

ru sa lo

Besetzung

III

nl y

to be played in total darkness no music stand lights, no emergency lights, no light sources whatsoever in the auditorium. the distance between the instruments must be just sufÞcient in order to avoid accidental physical contact in the dark

attached indicate to raise or lower the pitch by a twelfth of a tone:

C o.

Accidentals with

bedeuten eine Erniedrigung oder Erhöhung um einen Zwölftelton:

Vorzeichen mit

ru sa lo

in völliger Dunkelheit zu spielen kein Pultlicht, keine Notbeleuchtung, keinerlei Lichtquellen im AuffŸhrungsraum der Abstand zwischen den Instrumenten muss gerade gro§ genug sein, um versehentliche BerŸhrungen in der Dunkelheit auszuschließen

Vorzeichen mit Pfeil bedeuten eine Erniedrigung oder Erhöhung um einen Sechstelton:

Vierteltöne wie üblich.

.R ic

or di

Accidentals with a regular arrow attached indicate to raise or lower the pitch by a sixth of a tone:

Quartertones are all notated as usual.

rig ht

Innerhalb von Obertonakkorden deuten die Vorzeichen lediglich Annäherungen an: die Spieler sollten die reine Stimmung Þnden, die sich den notierten Tonhšhen annŠhert.

op y

Within overtone chords, the alterations only give approximations. The performers are asked to Þnd the just intonation close to the notated pitches.

III IV

Georg Friedrich Haas

solstices ALL INSTRUMENTS EXCEPT BASS CLARINET AND TROMBONE: Begin as soon as it is completely dark (fade in from ppp )

ca. 8 sec.

Vibraphone

#œ # œ n œ nœ & b œ bœ poco presto

Percussion

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

{

nœ

nœ nœ # œ #œ

Viola

nœ

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

ca. 4 sec.

nœ n œ b œ bœ

nœ

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

op y

poco presto pizz.

? nœ bœ n œ n œ nœ

Violoncello

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

Contrabass (sounds 1 octave lower)

poco presto pizz. nœ

#œ

nœ nœ

ca. 3 sec.

poco presto pizz.

ca. 3 sec.

ca. 4 sec.

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

nœ nœ

° &

poco presto pizz. #œ # œ

rig ht

Violin

nœ

bœ n œ b œ & nœ nœ nœ p

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

add D5 in irregular, very slow repetitions poco presto pp

ca. 3 sec.

ca. 4 sec.

nœ

C o.

nœ n œ nœ # œ #œ

poco presto

Guitar (sounds 1 octave lower)

nœ

poco presto pp

nœ

add D5 in irregular, very slow repetitions

or di

Piano (keys)

{

.R ic

Piano (sound, approx.)

nl y

ru sa lo

nœ. bœ nO bO . b -. p n -.

Trombone

repeat ad lib. all 4 pitches, or 3, or 2 (always in the notated progression)

Bass Clarinet in Bb (sounds as written)

poco presto

Flute

° &

dedicated to Mollena

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

ca. 4 sec.

ca. 3 sec.

Sy. 4829/01

Full Score in C

STRING INSTRUMENTS, GTR., PERC., PNO.: Start at approx. the same time (fade in from ppp)

Tbn.

nl y

B. Cl.

nœ. nœ nO n O . b -. n p . nw

˙

ru sa lo

Fl.

poco presto

° & œ

ca. 8 sec.

Perc.

repeat ad lib., all 7 pitches, or 6, or 5, or 4, or 3 (always in the notated progression)

#œ n œ # œ & nœ nœ b œ nœ poco presto

{

poco presto pp

nœ nœ n œ #œ nœ

poco presto pizz. #œ n œ

rig ht

op y

Vla.

Vc.

poco presto pizz. nœ

nœ nœ bœ

nœ n œ #œ

nœ bœ

o repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

Cb.

poco presto pizz. nœ

#œ nœ nœ

ca. 4 sec.

ca. 5 sec.

poco presto pizz.

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

bœ

ca. 4 sec.

° & nœ #œ

ca. 5 sec.

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

Gtr.

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

nœ bœ nœ & n œ #œ nœ poco presto

Vln.

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

C o.

#œ nœ

#œ

nœ nœ

ca. 4 sec.

or di

poco presto pp

ca. 5 sec.

.R ic

Pno. (keys)

{

Pno. (sound, approx.)

(Vib.)

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

ca. 5 sec.

ca. 4 sec.

p Sy. 4829/01

Full Score in C

ca. 1 0 sec.

STRING INSTRUMENTS, GTR., PERC., PNO.: start at approx. the same time (fade in from ppp )

poco presto

bœ. nœ bO n O . n -. n p .

short

& ˙

B. Cl.

, nbisb. ˙ nO

short

avoid unisons with the trombone

. . nœ. n œ n œ . nœ. # œ . #œ

short

poco presto

bbisb. ˙ bO

b˙

, n œ. nœ. nœ. nœ. . #œ # œ.

Tbn.

avoid unisons with the ﬂute

n˙ °

#˙

Pno. (keys)

{

ca. 1 0 sec.

n˙ #˙ °

poco presto

° b˙ &

arco

ca. 1 0 sec.

b˙

B n˙

n˙

? n˙

n˙

op y

Vla.

Vc.

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

. . b œ. n œ n œ . #œ. nœ

b˙

n˙

poco presto

n˙

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

n˙

#œ. nœ. n œ . # œ. nœ. p poco presto

Cb.

nœ b œ n œ #œ nœ nœ

? #arco ˙ #˙ ¢

nœ

poco presto

arco

nœ

#˙

#˙ °

. . n œ. # œ n œ . bœ

arco

nœ

poco presto

n˙

b˙

rig ht

Vln.

nœ

add C3 in irregular, very slow repetitions

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

Gtr.

nœ nœ & n œ #œ nœ

bœ

b˙

#˙

#˙ °

allow pauses in both hands, but never at the same time

n˙

nœ

C o.

n˙

add C3 in irregular, very slow repetitions

{

allow pauses in both hands, but never at the same time

b˙

or di

Pno. (sound, approx.)

n˙

#˙

n˙

.R ic

Perc.

(Vib.)

poco presto

? w

bisb.

p short

nl y

short

ru sa lo

Fl.

° œ &

#˙

n œ. n œ . #œ. #œ

n˙

poco presto .

p Sy. 4829/01

repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

Full Score in C

bœ. nœ bO nO . n -. p # -. . poco presto . nœ n œ . . nœ. #œ n œ # œ. n œ.

nl y

B. Cl.

nw #w

ru sa lo

Fl.

poco presto

° &

nœ. #œ. nœ. nœ. # œ.

poco presto

(Vib.)

b˙

n˙

nw n˙

Perc.

avoid unisons with the ﬂute

Tbn.

ca. 4 sec.

{

C o.

Pno. (sound, approx.)

.R ic

repeat ad lib., all 6 pitches or 5 or 4 or 3 (always in the notated progression)

o ca. 4 sec.

° &

rig ht

Vln.

Vc.

ca. 4 sec.

Cb.

ca. 5 sec.

op y Vla.

ca. 5 sec.

or di

{

Gtr.

ca. 4 sec.

Pno. (keys)

ca. 5 sec.

o o

Sy. 4829/01

& ca. 5 sec.

Full Score in C

STRING INSTRUMENTS, GTR., PERC.: start at approx. the same time (fade in from ppp )

ca. 1 2 sec.

short

˙ VIBRAPHONE poco più presto

Perc.

b œ nœ nœ nœ & n œ# œ p

#w poco più presto

b œ nœ nœ #œ n œn œ p

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

ca. 1 2 sec.

#œ

Pno. (keys)

{

#˙

nœ °

#œ

nœ n œ n œ # œ #œ

Vla.

Vc.

bœ bœ nœ nœ “‘ °

™™î

repeat 2-3x

í ™™

#œ #œ nœ nœ

n˙

™™î

™™î í ™™ nœ nœ nœ nœ “‘ °

ca. 1 2 sec.

repeat 3-5x sempre ppp

™î í ™™ nœn œ# œn œ ™ “‘ °

í ™™nœ

#œ nœ n œ

poco più presto

nw nw

nœ #œ n œ #œ

w #w

& nnw w n#w w

Sy. 4829/01

™™î

repeat 1 -2x

ca. 1 2 sec.

? nnw w ¢

a,b, c,d ad lib.

sim.

repeat

repeat 2-3x

#œ

repeat 1 -2x

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

n˙

#n˙˙

allow pauses in the right hand

sim.

repeat

repeat 1 -2x

Cb.

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

n˙ #˙

í ™™

nw B nw

op y

Vln.

n˙

™™î í ™™ #œ nœ n œ n œ b œn œ# œ

rig ht

° &

nœ # œ #œ #œ

™™î

b sempre ppp

nœ

í ™™

appp

#œ

poco più presto

Gtr.

#œ

repeat 3-5x

C o.

#œ °

#œ

a ppp

or di

allow pauses in the right hand

.R ic

{

p p

n˙

#˙

Pno. (sound, approx.)

ru sa lo

nl y

short

? <#>w

B. Cl.

Tbn.

, bw

Fl.

° & œ

short

nœ

™™î í ™™ n œn œb œ n œ “‘ °

repeat 1 -2x

a,b, c,d ad lib.

repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)

Full Score in C

FL., B.CL., TRB., STRING INSTRUMENTS, PNO. (right hand): start at approx. the same time (fade in from ppp )

Fl.

° œ &

ca. 5 sec.

ca. 8 sec.

nœ. # O #nO- # œ. #œ. n -. .

ru sa lo

# œ. # œ. . nœ nœ. #œ. # œ.

? w

B. Cl.

nl y

Tbn.

nœ. # œ. n œ # œ. #œ. .

? ¢ <#>œ

(Vib.)

{

ca. 5 sec.

or di

n˙

a,b,c,d

ca. 5 sec.

n œ. n œ. . nœ nœ.

ca. 5 sec.

op y ¢

? n<#>œœ

presto

ÂÊÂ ÊÂÊÂ ÊÂÊÂÊ nœ nœ#œ #œ nœ nœ#œ #œ nœ nœ nœ nœ ~~~ pp

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

n œ. #œ. #œ. nœ.

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

ca. 5 sec.

Cb.

nœ

ca. 8 sec.

·. Â ‰ „. #‚œ. n œ . #œ nœ. nœ

rig ht

quickly tune string 6 approx. a quarter-tone lower

& ˙˙

Vc.

nœ

n˙ #˙

ad lib.

w <#> B w

Vla.

.R ic

left hand: always repeat

° &

ca. 5 sec.

{

Gtr.

Vln.

? #n˙˙

Pno. (keys)

n˙

n˙ #˙

n# ˙˙

C o.

Perc.

Pno. (sound, approx.)

slowly take two mallets in each hand

nœ. nœ . #œ. # œ . p

ca. 5 sec.

#œ. #œ. n œ n œ. . p Sy. 4829/01

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

Full Score in C FL., B.CL., TRB., STRING INSTRUMENTS, PNO. (right hand), PERC.: change pitch material at approx. the same time (+/- 1 sec.) sim.

ca. 7 sec.

nœ. # O #nO- # œ. nœ. n -. .

#œ n O nO nœ. nœ. . # -. # -.

n œ. # œ. #œ. nœ. nœ. # œ.

n œ. n œ. #œ. #œ. nœ. n œ. p

Tbn.

. . nœ # œ . . #œ n œ. nœ

#œ. # œ. n œ # œ. nœ. . p

take hotel mute (silently, slowly)

(Vib.)

nn˙˙

## ˙˙

nœ

presto pp

nœ

#œ nœ nœ #œ nœ nœ nœ nœ #œ #œ #œ nœ nœ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

{

nœ

Play fast chromatic scales descending and ascending etc. Not higher than D3.

nœ

or di

nœ

C o.

{

presto pp

nœ

Play fast chromatic scales descending and ascending etc. Not higher than D3.

#œ nœ nœ#œ nœ nœbœ nœ#œ nœ #œ nœ n œ ~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

.R ic

Pno. (keys)

Pno. (sound, approx.)

n#˙˙

n˙ #˙

Perc.

nl y

B. Cl.

ru sa lo

° &

ca. 6 sec.

Fl.

Play fast quarter-tone scales on 5th and 6th string, descending and ascending etc. No interruptions.

~~~ & ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ° &

n œ. n œ. #œ. nœ.

n œ. n œ. #œ. #œ.

rig ht

Vln.

Gtr.

op y

Vla.

Vc.

Cb.

n œ. nœ. #œ. #œ.

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

n œ. p

nœ bœ. bœ. .

#œ

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

#œ. nœ . nœ. # œ . p

# œ. nœ. nœ. #œ.

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

#œ. #œ . nœ. n œ . p nœ. nœ. b œ nœ. . p

Sy. 4829/01

repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)

nœ #œ

Full Score in C

Fl., B.Cl., Vla., Cb., ﬁnish at approx. the same time (after the beginning of Vc.’s double stop)

ca. 9 sec.

ca. 5 sec.

° &

#w nw

B. Cl.

nl y

ru sa lo

Fl.

? nœ n œ # œ nœ #œ p nœ °

Tbn.

(Vib.) slower

{

Continue playing fast chromatic scales of various lengths, descending and ascending, never playing higher than D3

? ~~~~~~~~~~~~~~~~~~~~~

Play fast quarter-tone scales of various lengths on strings 5 and 6, descending and ascending etc. No interruptions.

Gtr.

° <#>w &

ca. 5 sec.

Vln.

rig ht

sempre p

op y

Vla.

<n> w ? <#>w

Vc.

ca. 5 sec.

string instruments: begin at approx. the same time

ca. 9 sec.

nw w ææ nw ææ

#w nw ææ

&#w

w w ææ

sempre p

Cb.

C o.

? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

or di

Pno. (keys)

.R ic

Pno. (sound, approx.)

Perc.

no repetitions

ca. 9 sec.

nbw w æ æ Sy. 4829/01

n# w w ææ

Full Score in C ca. 1 4 sec. cresc. and decresc. ad lib., diﬀerent durations (2 to 7 sec.), independent from other instruments

presto scales ad lib., very soft, pitches ad lib., allow microtones

/F C o.

ca. 1 4 sec.

or di

{

.R ic

rig ht

#w ° #w & nw & #w

op y

ppp

{

Vla.

ca. 1 4 sec.

STRING INSTRUMENTS: cresc. and decresc. ad lib., diﬀerent durations (1 .5 to 5 sec.), each instrument independently

#w ? nw

Vc.

Cb.

nœnœ bœnœ nœ#œ nœ#œ nœbœ nœbœ

Gtr.

Vln.

presto scales ad lib., very soft

no repetitions

Pno. (keys)

nœ # œ n œ #œ n œ #œ p ° (Vib.)

Perc.

Pno. (sound, approx.)

Tbn.

œ œœœœœ œœœ œ œ œœ œœ œ œ œ œ œœœœœ ppp

ru sa lo

? w

B. Cl.

nl y

° nw &

Fl.

? nbw w f

p Sy. 4829/01

Full Score in C

ca. 9 sec.

Hotel Mute intonation ad lib., use plenty of micro-intervals presto . .

. œ œ œ. œ. . . œ . œ œ. œ. œ œ

œ œ œ œ. œ. œ. œ. œ. . . .

remain within the lower register

(Vib.)

œ œ. œ. œ. œ. œ. .

nœ #œ #œ #œ nœ #œ

sempre presto

{

bœnœn œ # œ nœ#œnœ#œnœ#œnœ

Â‰„‚· #œ#œ n œ b œnœ

Gtr.

nœ bœ B œ œ

C o.

or di

Pno. (keys)

{

n œ bœ n œ Bœ #œ # œ n œ # œ n œ nœ #œ nœ nœ

.R ic

Pno. (sound, approx.)

sempre presto

Perc.

ru sa lo

B. Cl.

Tbn.

nl y

° &

Fl.

nœ #œ nœ nœ #œ nœ #œ

quickly tune string 2 approx. a quarter-tone lower

ca. 9 sec.

rig ht

Vln.

nw ° <#> w &

#w & nw

op y

Vla.

bw ? bw

Vc.

Cb.

nw ? nw

ca. 9 sec. presto scales ad lib., descending and ascending, intonation ad lib., use plenty of micro-intervals

œœœœ

ppp

œœœœœœ œœœœœœ Sy. 4829/01

œœœœœ œ œ œ œ œ œ

nœ bœ nœ nœ #œ

n·œ n‚œ b·œ b‚œ n·œ n‚œ #·œ #‚œ n·œ n‚œ

Full Score in C

ca. 1 2 sec. scales ad lib., very soft, pitches ad lib., allow microtones

Fl.

œ œœœœœ œœœ œ œœœœœœ œ œ œ œœœ œœ

° bw &

nl y

ppp

ru sa lo

B. Cl.

sempre ppp

{

sempre ppp

sempre pp

C o. &

ca. 1 2 sec.

sempre pp

or di

{

sempre p

nw w

rig ht

° &

ÊÂ ÊÂÊÂ Ê Â

op y

w bw

ca. 1 2 sec.

nw bw

<#>w & w

Vla.

nw ? w

Vc.

Cb.

n‚œ n·œ#‚œ#·œ n‚œ n·œ#‚œ

bœbœ nœnœ nœnœ #œ#œ

.R ic

Gtr.

Vln.

gradually use the vibraphone’s whole register, always in fast chromatic scales

(Vib.)

Pno. (keys)

sempre pp

Perc.

Pno. (sound, approx.)

Tbn.

presto scales ad lib., descending and ascending, intonation ad lib., use plenty of micro-intervals

œ œœœœ œœœœœœœœ œ œœ œ œ œœœœœœœœœ ppp ca. 1 2 sec.

Sy. 4829/01

Full Score in C

ALL INSTRUMENTS EXCEPT VLN. AND VLA.: play fast microtonal scales, up and down within the whole pp-range of the instrument (the Vibraphone plays chromatic scales)

ca. 1 2 sec.

or di

{

.R ic

? quickly tune string 4 approx. a quarter-tone lower

rig ht

#w ° nw & n w & w

play fast quarter-tone scales in the instrument’s whole range, descending and ascending etc., of diﬀerent lengths, no interruptions.

nw #w bw nw

nw nw

op y

Vla.

Vc.

Cb.

Gtr.

Vln.

{

(Vib.)

œœœ œœœœ œœœ œ œ. œ. œ. œ. . . . œ. œ. œ. œ. œ. œ œ œ œ. œ. œ. œ. œ. . . . . . . . œ. œ. œ. . . . . sempre pp

Pno. (keys)

sempre presto

C o.

Perc.

Pno. (sound, approx.)

ru sa lo

B. Cl.

Tbn.

nl y

° &

Fl.

? Sy. 4829/01

Full Score in C

AFTER THE VIOLIN STARTS PLAYING SCALES: All instruments change to playing ascending scales. Instruments, who by chance, are already playing ascending, continue to the end of the instrument’s pp-range. Those who are playing descending, continue and later change direction (ascend), independently from the others. Always use the instrument’s full pp-range.

ca. 5 sec.

pe or

& ?

{

(Vib.)

.R ic

rig ht

#w ° nw & œ & œ

op y

Vla.

Cb.

presto scales ad lib., always ascending intonation ad lib., use plenty of micro-intervals

œœœœ œ œ œ œ œœœ œœœœ

œ œœ œ œ œ œ B œœœ œœœœœ

Vc.

both hands play chromatic scales in parallel motion, 3 octaves apart

or di

{

Gtr.

Vln.

C o.

Pno. (keys)

ru sa lo

Perc.

Pno. (sound, approx.)

nl y

° &

B. Cl.

Tbn.

ca. 6 sec.

Fl.

? Sy. 4829/01

Full Score in C

at least 35 sec., much longer if possible ALL INSTRUMENTS:

(Vib.)

Perc.

{

C o.

Pno. (sound, approx.)

ru sa lo

B. Cl.

Tbn.

nl y

° &

Fl.

or di

{

Vln.

° &

rig ht

Gtr.

.R ic

Pno. (keys)

crescendo poco a poco

op y

Vla.

Vc.

Cb.

? Sy. 4829/01

Full Score in C

ca. 4 sec.

microtonal scales as before

° &

í ™™ ~~~~~~~~~~~/nœ 0 ™™î ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ n œ ~~ / 0 ~~ fff microtonal scales as before

B. Cl.

ru sa lo

nœ ~~~~~~~~~~~~~~~~~~~~~/ 0 ~~ ~~ ~~ ~~ ~~ n œ ~~ ~~ ~~ ™™î í ™™/ 0 fff

fff

Perc.

microtonal scales as before n œ ~~~~~~ n œ 0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ / 0 / ™™î í ™™

chromatic scales as before

™î í ™™ ~~~~~~~~~~~~~~~~~~~~~ /nœ 0 ™ ~~ ~~ ~~ ~~ ~~ ~~ n œ ~~ ~~ / 0

(Vib.)

í ™™

{

rig ht

Vln.

° &

.R ic

Gtr.

op y

Vla.

Vc.

n œ # œnnœœbbœœnnœœ ™™î nn œœ## œœnnœœbnœœn#œœn œ # œ fff

Pno. (keys)

fff

C o.

{

n œ bœ nnœœ ™™î nn œœ ## œœ nnœœ bnœœ n#œœ nnœœ #nœœ n œ n œ

or di

Pno. (sound, approx.)

í ™™

fff

Tbn.

~~~~~~~~ /n œ 0 ™ í ™™ /nœ 0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™î microtonal scales as before

fff microtonal scales as before

í ™™ ~~~~~~~ /nœ 0 ™™î ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ /n œ 0 ~~~~~~ fff

~~~~~~~ n œ í ™™/nœ 0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ / 0 ™™î microtonal scales as before

fff microtonal scales as before

~~~~~~~ n œ n œ 0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ / 0 / ™™î í ™™ fff

Cb.

nœ ~~~~~~~~~~~~~~~~~~~~ / 0 ™™î ~~ ~~ ~~ ~~ n œ ™ ~~ ~~ ~~ í ~~ ™ & / 0 microtonal scales as before

fff Sy. 4829/01

nl y

Fl.

ca. 9 sec.

Full Score in C

ca. 25 sec. ALL INSTRUMENTS:

pe or C o.

& ?

{

or di

Pno. (keys)

{

(Vib.)

Perc.

Pno. (sound, approx.)

ru sa lo

B. Cl.

Tbn.

nl y

° &

Vln.

° &

rig ht

Gtr.

.R ic

Fl.

decrescendo poco a poco

op y

Vla.

Vc.

Cb.

¢& Sy. 4829/01

Full Score in C

ca. 25 sec. microtones ad lib.

sempre mp

B. Cl.

microtones ad lib.

™™î í ™™ n œ B œ b œ ~~~ ~~~ ~~ µ œ n œ B œ b œ ~~~ ~~ ~~~ ~~~ ~~ ~~ ~~~ ~~~ ~~ ~~ ~~~ ~~~ ~~~ ~~ ~~~~~~~~~~~~~~~~~ n œ µ œ# œB œn œ µ œ ~~~~~~~~~~ sempre mp microtones ad lib.

™ í ™™ ~~~~~~~~~~~~~~ nœ. Bœ. bœ. µœ. nœ. Bœ. bœ. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™î ~~~ ~~ ~~~ ~~ ~~~ ~~ ~~~ ~~ ~~~ B œ n œ µ œ ~~ n œ. µ œ. # œ. . . .

n œn œb œn œ# œn œ n œ n œ# œn œ# œ n œ ™™î & í ™™ (Vib.)

Perc.

sempre mp

Tbn.

sempre mp

í ™™

C o.

sempre mp

™™î nœ bœ nœ bœ nœ #œ nœ #œ nœ n œ n œ n œ n œ # œ n œ n œ nœ nœ #œ nœ #œ #œ ca. 25 sec.

n œ n œ b œ n œ# œ n œ n œ n œ# œ n œ b œ n œ ™™î í ™™

{

sempre mp

™ í ™™ nœ bœ nœ bœ nœ #œ nœ #œ nœ n œ# œ n œ ™î n œ # œ n œ # œ n œ n œ # œ n œ# œ #œ

Gtr.

or di

Pno. (keys)

{

n œ n œ bœ #œ nœ nœ nœ nœ nœ #œ bœ n œ ™™î í ™™

.R ic

Pno. (sound, approx.)

ÂÊÂ ÊÂÊ ÂÊÂÊ ™™î í ™™ b œ b œ n œ n œ b œ b œ n œ n œ# œ n œ # œ n œ n œ n œ# œ n œ# œ n œ n œ ca. 25 sec.

sempre mp

microtones ad lib.

° &

n œ B œ n œ B œ b œ µ œ n œ B œ# œ µ œ n œ Bœ µ œ n œ µ œ n œ µ œ# œ B œ n œ µ œ b œ B œ n œ ™™î í ™™

rig ht

Vln.

sempre mp

microtones ad lib.

op y

Vla.

Vc.

n œ B œ n œ B œ b œ µ œ n œ B œ# œ µ œ n œ µ œ n œ µ œ n œ µ œ # œB œ n œ µ œ b œ B œ n œ B œ ™™î í ™™ sempre mp

microtones ad lib.

™™î í ™™ ~~~~~~~~ nœ Bœ bœ µœ nœ Bœ bœ ~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~ ~~~ ~~ ~~~ ~~ ~~~ ~~~ ~~ ~~~ ~~ ~~~ ~~~~~~~~~ n œ µ œ# œ B œ n œ µ œ sempre mp

Cb.

nl y

° &

ru sa lo

Fl.

n œ B œ n œ B œ b œ µ œ n œ B œ# œ µ œ n œ Bœ µ œ n œ µ œ n œ µ œ# œB œ n œ µ œb œB œn œ ™™î í ™™

¢&

? í ™™ nœ µœ#œ Bœ nœ µœ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ microtones ad lib.

ca. 25 sec.

nœ Bœ bœ µœ nœ Bœ bœ ~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ ™™î

sempre mp

Sy. 4829/01

Full Score in C

ca. 1 5 sec. ALL INSTRUMENTS: Start playing the microtonal scales immediately after the ﬂute. Each player must start independently; do not try to synchronize entries. microtonal scales

œœœ œ œ œ œ œ œ œœ œœœ ° œ œ ™™î ™ í & ™

nl y

Fl.

ALL INSTRUMENTS, after approx. 5 sec.: slow, continuous decresc. al mp

ff subito

œ œ œ œ œ œœ œœ œ œ œœœ ™ í ™™ œ œ ™î

B. Cl.

ru sa lo

microtonal scales

ff subito

œ œ œ œ œ œœ œœ œ œ œœ í ™™ œ œ œ ™™î

ff possibile

Perc.

(Vib.)

í ™™

nœ nœ#œ nœ#œ nœnœ bœ

n œ #œ nœ #œ nœnœ bœ

nœ #œnœ nœ bœnœ#œnœ ™™î #œ

ff subito

Pno. (keys)

{

Gtr.

C o.

n“œ” n œ b œ n œ # œ n œ

í ™™

œ œ œ œ œ ~~~~~ œ œœ œ œ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™™î ~~~~~~ ff subito

í ™™

œ œ œ œ œ œ œœ œœ œ œ œœœ œ ™™î í ™™

by ff subito

rig ht

° &

quarter-tone scales, starting as high as possible

microtonal scales

Vln.

# œ n œ n œ ~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ™™î

nœ ” n“œ # œ n œ # œ n œ b œ œ # œ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~ ™™î ™ & í™ ff subito

or di

{

œ œ œ œ œ “œ” ~~~~~~~~~~~~~~~~~~~~~~ œ œ œ ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ ™™î ™ í & ™ ff subito

.R ic

Pno. (sound, approx.)

“œ” œ œ œ œ œ œ œ œ ~~~~ ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ ™™î í ™™

Tbn.

microtonal scales

œ œ œ œ œ œ œœ œœ œ œ œœ í ™™ œ œ ™™î microtonal scales

op y

Vla.

Vc.

ff subito

œ œ œ œ œ œ œœ œœ œ œ œ œ œ ™™î & í ™™ œ ff subito

œ œ œ œ œ œ œœ œ ™™î ™ œ œ œ œœ &í™ œœ ff subito

B mp

microtonal scales

? mp

microtonal scales

Cb.

Sy. 4829/01

? mp

Full Score in C

TUNING PROCESS Dminus-OVERTONES

° &

Perc.

o (Vib.)

{

f help Vln., Va., Vc. and Cb. tune their strings

nœ nœ

G by

tune both strings approx.

rig ht

° a major second down & nœ /n œ 0 B

op y

sempre mp tune the string approx. a minor third down

/n œ 0

sempre mp

Vc.

III IV

/n œ 0

sempre mp

nœ B œ

nœ n œ nœ

nœ nœ nœ

tune the strings within the harmonic series of low D

ÊÂ‰ „‚ · 2 3 4 5 7 9 nœ #œBœ n œ nœnœ

tune the strings precisely to the piano (5th and 7th partial)

tune the string precisely to the piano (3rd partial)

nœ II

tune the string precisely to the piano (4th partial)

tune the string precisely to the piano (fundamental note)

sempre mp

Cb.

nœ #œ n œ nœ

nœ nœ nœ#œ nœ

nœ

#B œœ

nœ tune the string approx. a major second down

nœ

nœ nœ

.R ic

nœ °

Vla.

C o.

nœ

Gtr.

Vln.

#œ B œ nœ nœ

Pno. (keys)

f help Vln., Va., Vc. and Cb. tune their strings

nœ Bœ nœ nœ #œ

Pno. (sound, approx.)

ru sa lo

via sord.

Tbn.

B. Cl.

or di

Fl.

nl y

Vln., Vla., Vc., Cb.: always tune audibly the strings’ slow gliss. must be clearly recognizable by the audience

nœ Sy. 4829/01

bring the 6 strings to vibrate as continually as possible

Full Score in C

OVERTONE-CHORD Dminus (at least 4 minutes) Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, A making sure to avoid unisons with B.Cl. or Tbn.

nw Bw #w nw nw#w nw

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.

B. Cl.

general dynamic: p slow cresc. and decresc. ad lib.

nl y

° &

#wnwB w n w nw

nwBw#w nw nw #wnw

ru sa lo

Fl.

general dynamic: p slow cresc. and decresc. ad lib.

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.

TIMPANI

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch.

& ?

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch.

{

general dynamic: p slow cresc. and decresc. ad lib.

always keep the pedal down

.R ic

2 or 3 times within this segment, accent the lowest D as a signal to Cb.

continuous vibrations of the 6 strings

III IV

° & Bw #w

interrupt by playing a single string (in repetition) and by natural harmonics ad lib.

general dynamic: p slow cresc. and decresc. ad lib. continuously play the strings in long, slow changes of dynamics and color (to sul pont., sul tast.) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre III or IV)

op y

Vla.

? nw

Vc.

Cb.

sometimes: add some of these pitches in perfectly tuned double stops with one of these 2 open strings

#œ nœ nœBœ#œ n œ n œ nœ

general dynamic: p slow cresc. and decresc. ad lib.

continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tast.) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre IV)

rig ht

Vln.

2 or 3 times within this segment: give accents to the lowest D - a signal to cb.

always keep the pedal down

Gtr.

C o.

general dynamic: p slow cresc. and decresc. ad lib.

Pno. (keys)

{

general dynamic: p ver y rarely: slow cresc. and decresc.

Pno. (sound, approx.)

very slow repetitions, also with accel. and rit., some tremolos, plenty of silence

Perc.

general dynamic: p slow cresc. and decresc. ad lib.

if possible, play the pedal-tone low D for at least for 5 seconds once or twice within this segment

or di

Tbn.

nw#w nwB w n w # w nw nw

sometimes: add some of these pitches in perfectly tuned double stops with IV

#œ nœ nœ Bœ nœ nœ

general dynamic: p slow cresc. and decresc. ad lib.

continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tast.) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre II)

nœB œ

sometimes: add some of these pitches in perfectly tuned double stops with II

Bœ nœ nœ #œ nœ

general dynamic: p slow cresc. and decresc. ad lib. continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tast.) also: repetitions, rit., accel., tremolo

when the piano or the trombone give an accent to the low D1 : play nat. harmonics (sempre IV)

general dynamic: p slow cresc. and decresc. ad lib. Sy. 4829/01

Full Score in C

TUNING PROCESS Ab minus-OVERTONES

Perc.

ru sa lo

nl y

B. Cl.

Tbn.

° &

Fl.

Vln., Vla., Vc., Cb.: always tune audibly the strings’ slow gliss. must be clearly recognizable by the audience

{

bœ B œ

bœ

nœ bœ

C o.

Pno. (sound, approx.)

help Vln., Vla., Vc. and Cb. tune their strings

bœ

bœ bœ

Bœ

.R ic

#œ °

Gtr.

tune the II. string approx. II III

° & Bnœœ

rig ht

bœ

Vln.

tune the I. string approx. I

nœ B/0

Vla.

#œ nœ

nœ bœ

or di

{

Pno. (keys)

help Vln., Vla., Vc. and Cb. tune their strings

#œ

Â ‰„‚· 2 3 4 5 6 bœBœbœ b œ bœ

bœ Bœ nœ

tune the string precisely to the piano (7th partial)

op y

tune the I. string approx. I II

? nnœœ

Vc.

bœ

bœ I

tune the string precisely to the piano (4th partial)

Cb.

III IV

nnœœ

bœ

Bœ bœ bœ

bœ

#œ nœ#œ#œ # œ #œ#œ

tune the strings within the harmonic series of low Ab

II tune strings precisely to the piano III (5th and 9th partial)

#œ nœ # œ #œ

bœ bœ nœ

tune the string precisely to the piano III (fundamental note)

bœ

Sy. 4829/01

bring strings · to Â to vibrate as continuously as possible

Full Score in C OVERTONE-CHORD Ab minus (at least 4 minutes) Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.

nw Bwb w n w

general dynamic: p slow cresc. and decresc. ad lib.

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.

B. Cl.

bw bw Bw bw bw n w b w Bw bwB w bw bw

&b w

nw bw bw Bw

nl y

Fl.

° &

general dynamic: p slow cresc. and decresc. ad lib.

ru sa lo

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.

Timpani

general dynamic: p slow cresc. and decresc. ad lib.

always keep the pedal down

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch.

{

general dynamic: p slow cresc. and decresc. ad lib.

always keep the pedal down

continuous vibrations of the 5 strings

Gtr.

Two or three times during this segment, accent the lowest Ab as a signal to Cb.

.R ic

Pno. (keys)

Two or three times during this segment, accent the lowest Ab ﬂat as a signal to Cb.

{

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch.

general dynamic: p slow cresc. and decresc. ad lib.

interrupt by playing a single string (in repetition) and natural harmonics ad lib.

Â ‰„ ‚·

sometimes: add some of these pitches in perfectly tuned double stops with one of these 2 open strings

Pno. (sound, approx.)

general dynamic: p ver y rarely: slow cresc. and decresc.

bœ

general dynamic: p slow cresc. and decresc. ad lib.

B nw

op y

Vla.

Vc.

I ? bw

Cb.

III

Bœ bœ bœ bœ nœ bœ

nœBœ b œ n œ b œ

sometimes: add some of these pitches in perfectly tuned double stops with I

rig ht

° bw & Bw

continuously play the strings in long, slow changes of dynamics and color (to sul pont., sul tasto) II also: repetitions, rit., accel., tremolo III rarely: nat. harmonics (sempre II or III)

Vln.

very slow repetitions, also with accel. and rit., some tremolo, plenty of silence

Perc.

general dynamic: p slow cresc. and decresc. ad lib.

Once or twice during this segment, play the lowest Ab strong and long (repeated) as a signal to Cb.

C o.

bwbw

or di

Tbn.

Bw bw nw bw bw bw

continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre I)

bœ Bœ bœ bœ bœ

general dynamic: p slow cresc. and decresc. ad lib.

sometimes: add some of these pitches in perfectly tuned double stops with I

continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre I)

bœ

general dynamic: p slow cresc. and decresc. ad lib. continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo

bœnœ

Bœ bœ nœ

bœ

when the piano or the trombone give an accent to the low Ab1 : play nat. harmonics (sempre III)

general dynamic: p slow cresc. and decresc. ad lib. Sy. 4829/01

Full Score in C

TUNING PROCESS C-OVERTONES Vln., Vla., Vc., Cb.: always tune audibly The strings’ slow gliss. must be clearly recognizable by the audience

° &

(Timp.)

o Help Vln., Vla., Vc. and Cb. with tuning their strings

{

bœ

nœ °

nœ

C o.

Pno. (sound, approx.)

ru sa lo

Perc.

nl y

B. Cl.

Tbn.

Fl.

nœ

nœ n œ

Help Vln., Vla., Vc. and Cb. with tuning their strings

nœ

° &

rig ht

Vln.

Vc.

& o

‰„‚· 2 3 4 5 nœ nœ n œ nœ

keep the tuning II (7th partial)

bœ

nœ

? nœ ¢ bœ

nœ

nœ nœ

nœ

bœ nœ nœ nœ µœ

bœnœ nœ nœ#œ b œ nœ nœ

Tune the strings within the harmonic series of C

tune the string precisely to the piano IV (fundamental note)

II III

Cb.

nœ

tune the string precisely to the piano III (3rd partial)

op y

Vla.

nœ

or di

{

Gtr.

.R ic

Pno. (keys)

bœ

bœ nœ nœ

tune the string precisely to the piano II (fundamental note)

nœ

Sy. 4829/01

make sure strings · ‚„‰ vibrate as continuously as possible

Full Score in C

B.Cl., Tbn., Pf.: take care that the low C (the fundamental) is always audible Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.

OVERTONE-CHORD C (at least 5 minutes)

? p

nw nwn w nw

general dynamic: p ver y rarely: slow cresc. and decresc.

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch. general dynamic: p slow cresc. and decresc. ad lib.

general dynamic: p slow cresc. and decresc. ad lib. always keep the pedal down

.R ic

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch.

continuous vibrations of the 4 strings

° II &b w

‰„ ‚·

general dynamic: p slow cresc. and decresc. ad lib. continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre II)

general dynamic: p slow cresc. and decresc. ad lib. continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) III also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre III) nw general dynamic: p slow cresc. and decresc. ad lib.

rig ht

interrupt by playing a single string (in repetition) and by natural harmonics ad lib.

op y

Vla.

Vc.

continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) IV also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre I)

? nw II

Cb.

sometimes: add some of these pitches in perfectly tuned double stops with II

nœ µœ nœ b œ n œ n œ n œ nœ nœ

{

very slow repetitions, also with acc. and rit., some tremolos, plenty of silence

always keep the pedal down

Gtr.

Vln.

general dynamic: p slow cresc. and decresc. ad lib.

Pno. (keys)

{

nwbw

(Timp.)

Pno. (sound, approx.)

nw µw

general dynamic: p slow cresc. and decresc. ad lib. Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.

Perc.

nw bw nwnw

C o.

&nw

Tbn.

nwn w nw

nl y

B. Cl.

ru sa lo

bwnwnw#wnwbw n w µ w n w n w nw bw nw nw n w nw

or di

Fl.

° &

general dynamic: p slow cresc. and decresc. ad lib.

continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo general dynamic: p slow cresc. and decresc. ad lib.

nœ#œnœbœ

sometimes: add some of these pitches in perfectly tuned double stops with III

nœ

bœnœnœ nœ µœ n œ nœ nœ

sometimes: add some of these pitches in perfectly tuned double stops with IV n œ n œ

nœ nœ

sometimes: add some of these pitches in perfectly tuned double stops with II

n œ nœ

Sy. 4829/01

nœ

Vc. and Cb.: sometimes play “monologues” with harmonics on the C-string(s) or “dialogs”, both are playing harmonics on C (a. avoid unisons b. enjoy the vibrations of the “unisons”)

Full Score in C

TUNING PROCESS LOW F#-OVERTONES

o Help Vln., Vla., Vc. and Cb. tune their strings

{

& f

#œ

Bœ

C o.

Pno. (keys)

ru sa lo

Perc.

nl y

B. Cl.

Tbn.

° &

Fl.

Vln., Vla., Vc., Cb.: always tune audibly The strings’ slow gliss. must be clearly recognizable by the audience

#œ

#œ # œ

{

.R ic

° &

rig ht

op y

C ¢

„· 2 3 #œ #œ

I (7th partial) II, keep he tuning (5th partial)

#Bœœ

#œ

? nnœœ

#œ

#œ# œ

#œ # œ n œ

#œ# œ n œ n œ # œ #œ #œ

tune the strings within the harmonic spectrum of low F#

tune the string precisely to the piano III (fundamental note)

I II

Cb.

#œ

Vc.

tune the string precisely to the piano II (3rd partial)

Vla.

#œ #œ °

Gtr.

Vln.

or di

Pno. (keys)

#œ nœ

Help Vln., Vla., Vc. and Cb. tune their strings

#œ Bœ #œ #œ

tune the string precisely to the piano I (fundamental note)

#œ

Sy. 4829/01

make sure strings ·‚„‰Ê vibrate as continuously as possible

Full Score in C

B.Cl., Tbn., Pno.: take care that the low F# (the fundamental) is always audible Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.

OVERTONE-CHORD LOW F# (at least 5 minutes)

Fl.

° &

#wnw

general dynamic: p slow cresc. and decresc. ad lib.

nl y

#w #w# w n w # w # w B w #w #w # w #w

B. Cl.

#w # w

&#w#w #w

ru sa lo

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.

general dynamic: p slow cresc. and decresc. ad lib.

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch. general dynamic: p slow cresc. and decresc. ad lib. always keep the pedal down

{

general dynamic: p slow cresc. and decresc. ad lib. always keep the pedal down

continuous vibrations of the 3 strings

I II

Vln.

° Bw &# w

B #w

interrupt by playing a single string (in repetition) and by natural harmonics ad lib.

„·

general dynamic: p slow cresc. and decresc. ad lib. continuously play the strings in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre II) general dynamic: p slow cresc. and decresc. ad lib.

continuously play the string in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre III)

rig ht

op y

Vla.

III

Vc.

? #w I

Cb.

Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to ﬁnd the correct pitch.

.R ic

Gtr.

C o.

general dynamic: p ver y rarely: slow cresc. and decresc.

Pno. (keys)

{

Pno. (keys)

very slow repetitions, also with accel. and rit., some tremoli, plenty of silence

general dynamic: p slow cresc. and decresc. ad lib.

(Timp.)

Perc.

take straight mute (silently, slowly)

or di

Tbn.

#w #w # w

general dynamic: p slow cresc. and decresc. ad lib.

continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo rarely: nat. harmonics (sempre I) general dynamic: p slow cresc. and decresc. ad lib.

sometimes: add some of these pitches in perfectly tuned double stops with I or II

#œ #œ # œ n œ # œ # œ # œ #œ

Bœ #œ #œ nœ

sometimes: add some of these pitches in perfectly tuned double stops with III

#œ #œ

# œ Bœ #œ #œ # œ n œ &

sometimes: add some of these pitches in perfectly tuned double stops with IV n œ

nœ n œ nœ

continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo general dynamic: p slow cresc. and decresc. ad lib. Sy. 4829/01

Vc. and Cb.: sometimes play “monologues” with harmonics on the low F# string(s) or “dialogs”, both are playing harmonics on low F# (a. avoid unisons b. enjoy the vibrations of the “unisons”)

Full Score in C

Fl.

° &

OVERTONE-CHORD LOW Eb (at least 3 minutes)

nwbw bw Bw b w

nw Bw bw

hold pitches long enough to allow slow cresc. and decresc., take breaks

Tbn.

bw bw

hold pitches long enough to allow slow cresc. and decresc., take breaks

straight mute

bw bw

sempre p

hold pitches long enough to allow slow cresc. and decresc., take breaks

sometimes: play long, continuous sounds in middle and lower register Tam-tam tremolo duration: 3 to 25 sec. Tam-tam arco pauses between these sounds: 90 sec to 4 min. Cymbal tremolo very rarely: shorter pauses (3 to 1 2 sec.) Cymbal arco Rainstick dynamic: pp to p Güiro Low Temple Block tremolo cresc. to mf: signal for the other instruments to change harmony etc.

sempre p

TACET

Perc.

ru sa lo

B. Cl.

nl y

sempre p

add these pitches several times (not too strong, not too much in the foreground)

{

bœ nœ bœbœ b œ b œ bœ nœ b œ bœ

bœ

3rd partial

° &

n wo Bw

“” bœnœ nœ#œ nœ

add these pitches several times (not too strong, not too much in the foreground) 9th partial 6th Â

Â o b œo b œ

play the harmonics either as double stops or as single pitches try to adjust intonation, either by remaining in harmonics or by ﬁnding the correct pitch with “normal” technique

rig ht

Vln.

Â bœo

II 3 III 3

add these pitches several times (not too strong, not too much in the foreground)

Gtr.

C o.

bœ

or di

Pno. (keys)

{

“” bœ nœ Bœ nœ bœ

.R ic

Pno. (keys)

Bœ bœ bœ nœ bœ nœ B œ bœ bœ bœ

sometimes play the open string ad lib. (ord. or sul pont.) II

bœ

sempre p

n wo

op y

Vla.

Vc.

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

sempre p

bwo

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

sempre p

b wo

III 3

Cb.

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

sempre p Sy. 4829/01

Full Score in C

Fl.

F ° &

OVERTONE-CHORD LOW A (at least 3 minutes)

#w nw nw n w

hold pitches long enough to allow slow cresc. and decresc., take breaks

sempre p

hold pitches long enough to allow slow cresc. and decresc., take breaks

ru sa lo

B. Cl.

sempre p

{

nœ

nœ n œ

“” nœ #œ nœ nœ nœ #œ

nœ

Êo nœ

° &

#B w w

Ê o n œo n œ

III 6 IV o6

add these pitches several times (not too strong, not too much in the foreground) 9th partial 6th Ê

play the harmonics either as double stops or as single pitches try to adjust intonation - either by remaining in harmonics or by ﬁnding the correct pitch with “normal” technique

Vln.

nœ

3rd partial

Gtr.

nœ

C o.

{

” B œ n œ n œ “# œ n œ n œ nœ n œ

or di

Pno. (keys)

sempre p

Perc.

Pno. (keys)

hold pitches long enough to allow slow cresc. and decresc., take breaks

.R ic

Tbn.

nl y

sempre p

rig ht

try to adjust intonation - either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

IV 2

op y

Vla.

Vc.

o nw

nwo

IV 4

n wo

IV 6

sempre p try to adjust intonation - either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique IIo 6 II 3

o nw

sempre p

Cb.

¢&

IV o6

try to adjust intonation - either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

sempre p Sy. 4829/01

Full Score in C OVERTONE-CHORD HIGH F (at least 3 minutes)

Fl.

nw ° & nw

sim., many breaks

ru sa lo

& nw

B. Cl.

nl y

sempre p

Gtr.

“” nœ bœ nœ nœ

#œ

# œ “n”œ # œ n œ

{

7th partial

Â nœo

“” n wo nw

play the harmonics either as double stops or as single pitches try to adjust intonation, either by remaining in harmonics or by ﬁnding the correct pitch with “normal” technique

“I”7 n wo

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

rig ht

° &

& nœ

C o.

II 7 III 7

Vln.

{

nœ

or di

Pno. (keys)

sempre p

Pno. (keys)

sim., many breaks

.R ic

Perc.

Tbn.

op y

Vla.

Vc.

n wo

sometimes play the open string ad lib. (ord. or sul pont.) I

nœ

I7 try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

III 7

Cb.

¢&

nwo

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

Sy. 4829/01

Full Score in C

Fl.

OVERTONE-CHORD LOW Bb (at least 2 minutes)

bw ° b w &

sim., plenty of breaks

ru sa lo

sim., plenty of breaks

& bw

B. Cl.

nl y

sempre p

{

or di

° &

7th partials

‰ “” b œo

II 7 “” n wo

‚ b œo

try to adjust intonation, either by remaining in harmonics or by ﬁnding the correct pitch with “normal” technique sometimes play the open string ad lib. (ord. or sul pont.) II

bœ

rig ht

Vln.

“” b œ b œ n œ n œ bœ nœ #œ

Gtr.

{

C o.

& bœ

Pno. (keys)

bœ

Pno. (keys)

“” bœ nœ n œ Bœ nœ nœ bœ

.R ic

Perc.

sim., plenty of breaks

Tbn.

n wo

III 7

op y

Vla.

Vc.

o & bw

IV 7

b wo

II 7

Cb.

¢&

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique or enjoy the vibrations with the Cb.

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique or enjoy the vibrations with the Vc.

Sy. 4829/01

Full Score in C

Fl.

OVERTONE-CHORD HIGH Db (at least 2 minutes)

° & bw

sim., plenty of breaks

ru sa lo

B. Cl.

nl y

sempre p

Gtr.

bœ

{

“” n œ n œ nœ #œ nœ

& #œ ?

1 1 th partial

Â b œo

play the harmonics either as double stops or as single pitches try to adjust intonation, either by remaining in harmonics or by ﬁnding the correct pitch with “normal” technique

“” b wo nw

rig ht

° &

C o.

II 1 1 III 1 1

Vln.

“” nœ bœ bœ nœ bœ

or di

Pno. (keys)

{

Perc.

Pno. (keys)

TACET

.R ic

Tbn.

“”o nw

I 11

op y

Vla.

Vc.

I 11 “” b wo

b wo

III 1 1

Cb.

¢&

try to adjust intonation, either by remaining in the harmonic or by ﬁnding the correct pitch with “normal” technique

Sy. 4829/01

Full Score in C Element 1 INTERRUPTIONS, STARTING WITH THE VIBRAPHONE

ru sa lo

This tremolo starts very soft, almost inaudible, and gets louder and louder. One instrument after the other doubles one of the two pitches; String instruments and guitar may perform both pitches at the same time (guitar: always adjust intonation). The piano keeps the harmony of the overtone chord and fades out when all other instruments have left this chord.

nl y

At any part of the piece, after establishing the harmony of C and before the beginning of the ﬁnale , the vibraphone may play a tremolo of a constant interval ad lib. (minor second to tritone) the interval sould be chosen freely and spontanousely, just avoid unisons with the harmonies.

If the interval is a minor second, a major second, or a minor third, the instruments double in unison (if it is out of the instrument's range: rest). If the interval is a major third, a perfect forth, or a tritone, the instruments double in diﬀerent octaves. Always take care to achieve a very precise intonation.

slow cresc. and decresc., ad lib.

op y

rig ht

.R ic

or di

C o.

Within the whole piece: vibraphone plays these “interruptions” 6 to 1 0 times.

When this interval has been performed tutti for at least 60 seconds, the piano starts again with the interrupted harmony. All other instruments return to this harmony, one after the other. The vibraphone sustains the interval until after all other instruments have left it, and then fades out. ossia: the vibraphone changes the interval to another, before the piano re-enters. The other instruments follow (as described before).

Sy. 4829/01

Full Score in C

Element 2 PULSATIONS / GAMES OF PULSATIONS

nl y

After the overtone chord of high Db has been established ( I ), each of the instruments (except the violin) may start a pulsation process by playing the fundamental (see below for instrumentation), the other instruments build the overtone-chord exactly in the same pulsation as the fundamental. Vc., Vla., Vln. and Gtr. may play other overtones than the originally notated harmonics (the guitar will have to do this if the strings’ tuning has changed) — please execute precise intonation. The instrument which plays the fundamental leads the ensemble: accel., rit. ad lib.; dynamic, cresc., decresc. ad lib.

endings of these pulsations:

ru sa lo

ritardando until fermata or accelerando until tremolo and changing to sustained notes (each instrument at a different time) or the instruments gradually lose the common pulsation and gradually change to a static chord or an instrument plays a new fundamental in a different pulsation — a “game” starts (see below) or an instrument starts with another element of the piece (“interruption, starting with the vibraphone” or “common pitches of chords” or “microclusters” or “chaos” or — towards the end of the piece — “finale”).

“Games”:

fundamentals:

Contrabass III

Piano

n œ n œ n œ n œ n œ n œ ÍÍÍÍÍÍÍÍÍÍÍ “‘

Guitar play the notated E' at

Timpani

#œ #œ #œ #œ #œ #œ ÍÍÍÍÍÍÍÍÍÍÍÍ

.R ic

Viola I

ÍÍÍÍÍÍÍÍÍÍÍ

Â ÍÍÍÍÍÍÍÍÍÍÍÍ

C: ?

Violoncello

n œ n œ n œ n œ n œ n œ n œ ÍÍÍÍÍÍÍÍÍÍÍ

?nœ nœ nœ nœ nœ nœ ÍÍÍÍÍÍÍÍÍÍÍÍÍ Trombone

Bass Clarinet

bœ bœ bœ bœ bœ ÍÍÍÍÍÍÍÍ

& bœ bœ bœ bœ bœ bœ bœ

Flute

ÍÍÍÍÍÍÍÍÍÍÍ

&nœ nœ nœ nœ nœ nœ

? bœ bœ bœ bœ bœ bœ

or di

bœ bœ bœ bœ bœ bœ ÍÍÍÍÍÍÍÍÍÍÍ “‘

C o.

There are two fundamentals in two diﬀerent pulsations. Each of them tries to “convince” the other instruments to follow. Maybe one of them “wins”. Maybe a third — or forth — fundamental (with a third or fourth pulsation) comes in and tries to convince the others too. Have fun!

ossia:

b œ b œ b œ ÍÍÍÍÍ

“joker” within the “games”:

rig ht

The piano may play any of the overtone chords (or extracts of these chrods, which may be idientiﬁed exactly) from B to I , with or without the fundamental, and tries to “convince” the others to join this overtone chord

op y

STRING INSTRUMENTS / GUITAR: DURING THE WHOLE PIECE - RETUNE THE STRINGS, IF NECESSARY!

Sy. 4829/01

Full Score in C Element 3 COMMON PITCHES OF OVERTONE CHORDS After the overtone chord of high Db has been established ( I ), the violin plays the open II string, very intense, All other instruments (except the percussion) double this pitch in a perfect unison.

Accelerate the process of the changes.

ru sa lo

Now the ensemble moves to the overtone-chord of A, B , or C , starting with the fundamental. When this overtone-chord is established, move back to the unison. When this unison is perfect again, the ensemble moves to another overtone-chord of A, B , or C , again starting with the fundamental.

nl y

When the unison is perfect, allow it to sustain.

The violin may also play the open I. string, very intense, all other instruments (except the percussion) double this pitch in a perfect unison (the trombone only plays this pitch, if the instrumentalist feels safe to do it).

Now the ensemble moves to the overtone-chord of C , or D , starting with the fundamental. When this overtone-chord is established, move back to the unison. When this unison is perfect again, the ensemble moves to the other overtone-chord of C , or D , again starting with the fundamental.

Accelerate the process of the changes.

op y

rig ht

.R ic

or di

C o.

These “common pitches” segments may also be performed very slowly. During the whole piece, no more than four (better) or ﬁve of these segments should happen. Perform each segment diﬀerently!

Sy. 4829/01

Full Score in C

Element 4 MICROCLUSTERS After the overtone chord of high Db has been established ( I ), at any moment of the piece the piano may start with fast clouds of microclusters (see below).

These microclusters may be added to other elementss of the piece (quasi “polyphonic”); also, two or more diferent microclusters may be performed at the same time or, rarely, just one microcluster and nothing else. range of sounding pitches

nœ ~~~~~~~~~#œ

n œ nœ #œ nœ

Some of these groups may be performed more than once; it is not necessary to perform all of these groups

“” nœ#œnœ#œ nœ

or di

{

.R ic

Pno.

#œnœbœ

“” # œ ~~~~~~~~~~~~~ # œ

C o.

range of sounding pitches

# œ ~~~~ n œ

nœ n œ # œ

nœ #œ nœ bœ

nœnœ#œ nœ

#œ nœ #œ nœ

n œ~~~~~~~~~ # œ

{

nœ ~~~~~~~~~nœ nœ #œ nœ nœ

& ?

µœ ~~~~ # œ

nœ ~~~~~~~~ nœ

Pno. (keys)

#œ ~~~~~~~ #œ

ru sa lo

Those instruments which are able to play pitches within this range join the piano by playing trills, tremolos, fast sequences of ﬂageolets, bisbi., etc. at the same dynamic as the piano.

nl y

Vary the dynamic between static pp and static ff. Also allow cresc. and decresc.

Element 4a VARIATION: “ﬁnd my pitch”

rig ht

or:

Vln., Vla., Vc., Cb., Gtr.: one of these instruments plays a natural harmonic very loud and clear. This harmonic must be able to be easily identiﬁed as a pitch NOT belonging to the actual sounding chord. The others copy this pitch, if possible, within a range of approx. a semitone higher or lower — preferably a harmonic of an open string. Also Fl., B.Cl., Tbn. and Vib. play, if possible, this pitch within a range of approx. a semitone up and down.

op y

Fl., B.Cl., Tbn.. and Vib.: one of these instruments plays a pitched sound very loud and clear. This pitch must be able to be easily identiﬁed as NOT belonging to the actual sounding chord. The others play, if possible, this pitch within a range of approx. a semitone up and down. Also Vln., Vla., Vc., Cb., Gtr. copy this pitch, if possible, within a range of approx. a semitone up and down — preferably a harmonic of an open string. Each instrument may do this once during the piece — it is not necessary for all instruments do it within the piece.

Again: Vary the dynamic between static pp and static ff. Also allow cresc. and decresc. and trills, bisb., tremolo etc. and: These microclusters may be added to other elements of the piece (quasi “polyphonic”) Also, two or more diﬀerent microclusters may be performed at the same time or (rarely) just one microcluster and nothing else.

Sy. 4829/01

Full Score in C

Element 5 SCALES OF DOUBLESTEPS IN PERFECT FIFTHS After the overtone chord of high Db has been established ( I ), at any moment of the piece the Vln., the Vla. or the Vc. may start playing scales in perfectly tuned perfect fifths (please adjust the tuning on the unusually tuned strings) up and down in different ranges as fast as possible. The other string instruments (including Cb.) join, always playing fast scales in perfect fifths.

nl y

Vib. and Gtr.also play fast scales in fifths (the Gtr. tries to find fifths in the best approximation possible) Pno. will be the last instrument to join. Play fast scales in perfect fifths up and down within the range of the other instruments.

ru sa lo

Vary the dynamic between static p and static mf. (Fl., B.Cl., Tbn.: continue playing the previous element and fade out al niente.)

Element 5a SCALES OF DOUBLE STOPS IN MAJOR SEVENTHS

Element 6 MULTIPHONIC-ORGANISM

C o.

The B.Cl. starts with a multiphonic ad lib., mf, rich in beatings, stable.

As above, but play major sevenths instead of perfect ﬁfths.

The Fl. joins, also a multiphonic ad lib., mf, rich in beatings, stable.

The Tbn. joins with “spaltklang” or pitch plus human voice, sung in a dissonance to the trombone’s performed pitch (resulting in strong vibrations).

or di

Fl., B.Cl. and Tbn. play diﬀerent multiphonics all the time, only interrupted by breaks for taking a breath. After breathing, start with a new one. The other instruments continue playing the previous element for 25 sec. maximum and fade out to zero. Later, the string instruments may join, performing multiphonics themselves.

.R ic

Also the perc. may join: arco on the Tam-tam or the Cymbal (try to imitate the sound of multiphonics)

Element 6 is only performed once during the piece, after (estimated) 40 minutes or more. Duration: at least 3 minutes.

rig ht

Element 7 PIANOFORTE-STRING-GLISS. The pianoforte plays a loud gliss. over all the strings (or: as many strings as accessible) Keep the pedal depressed and allow the strings to vibrate.

op y

All other instruments fade out quickly (max. 2 1 /2 sec.), take a long break Before the piano strings sound disappears, another instrument softly starts with a new element.

Element 7 is only performed once during the piece, after approximately 30 minutes or more.

Sy. 4829/01

Full Score in C

Element 8 NAT. FLAG. GLISS., CHAOTIC after the overtone chord of high Db has been established ( I ), at any moment of the piece the Vln., the Vla. or the Vc. may start playing scales of natural harmonics, changing the string after each gliss. up and down. Play the harmonics fast, but always slow enough that each pitch may be identiﬁed. The other string instruments (including Cb. and Gtr.) join, always playing fast sequences of harmonics, changing the strings

nl y

Later, Vib. and Pno. perform some isolated groups of fast pitches up and down. The Vib. again plays the pitches of the broken chords from the beginning of the piece The Pno. plays broken augmented chords higher than C4

ru sa lo

Vary the dynamics between static p and static mf. (Fl., B. Cl., Tbn.: continue playing the previous element and fade out to zero.) EXAMPLES:

“”

o o o o o o n Oo n Oo Oo # O µ O µ O # O n O n Oo n Oo n Oo o o o n O o #O #O nO o nOo n O nO

Violin (action is notated, not the resulting pitch)

o o o o o o n Oo n Oo n O n O µ O µ O n O n Oo n Oo n Oo n Oo o o n O o n O n O nOo o o nOnO nO & IV

nœ n œ # œ # œ n œ & # œ nœ

” n œ n œ #“œ n œ n œ n œ # œ n œ n œ # œ

C o.

n œ nœ #œnœnœ #œ

Element 9 NAT. FLAG., HARMONICALLY ORGANIZED

Piano

# œ # œ #œ nœ#œ nœ nœ n œ & bœ bœb œ bœ

Vibraphone

or di

After the overtone chord of high Db has been established ( I ), at any moment of the piece the Pno. may start playing fast broken chords of A, B , C , or D . (ﬁnd diﬀerent ways of breaking the chords for each of these four). Vln., Vla., Vc., Cb. and Gtr.: play harmonics on those strings, which are related to these harmonies. Vary the tempo from very slow to quite fast.

.R ic

A: Vln. III + IV, Vla. IV, Vc. II, Cb. IV, Gtr. Ê B: Vln. II + III, Vla. I, Vc. I, Cb. III, Gtr. Â

C : Vln. I + II, Vla. I, Vc. IV, Cb. II, Gtr. ‰ + ‚

D : Vln. II, Vla. II + III, Vc. III, Cb. I, Gtr. „ + ·

Vary the dynamics between static mp and static f. Enjoy the vibrations. Include using the highest possible partials.

rig ht

(Fl., B.Cl., Tbn., Perc.: continue playing the previous element a little bit and quickly fade out to al niente.) Fl., B.Cl., Tbn.: sometimes (rarely) play pitches perfectly in tune with the actual harmonic row. The piano is always focused on the lower partials, especially on the fundamental.

op y

Allow enough time for these elements: at least 3 minutes, maybe much longer. It is not necessary to play all four within the piece.

Sy. 4829/01

Full Score in C

38 Element 10 SCALES WITHIN A DEFINED SPACE

After the overtone chord of high Db has been established ( I ), at any moment of the piece the Pno. may start playing fast chromatic scales within an ambitus of a major seventh and a minor tenth.

nl y

The other instruments join (if they are able to play within the piano’s range) always playing fast scales (if possible, microtonal intervals smaller than a major second) within the same range.

ru sa lo

Vary the dynamics between static mp and static molto f.

Element 11 CHAOS ( pp )

After the overtone chord of high Db has been established ( I ), at any moment of the piece Vln., Vla., Vc. or Cb. may start with fast pizzicati over all four open strings. The other three players join as quickly as possible, Gtr. follows. Vln., Vla., Vc. and Cb. change to ﬂag. ad lib. (Vln. and Vla. arco, Vc. and Cb. pizz.) and back to pizz. open strings.

Later, the Pno. plays fast clusters (maximum range: major third) at the same fast tempo as the pizz. before.

sempre pp Element 1 0 is played a maximum of four times during the piece.

C o.

Duration of each element 1 0: not too long, between 1 5 sec. and 45 sec.

Then the guitar changes to chords on four to six strings; no open strings. Move these chords stochastically up and down, maintaining a constant ﬁnger position, as fast as possible without getting any resultant sound from the ﬁngers gliding from one position to the next.

Element 12 FORTISSIMO 1

After approximately 40 minutes or more, when the overtone-chord based on the low D is performed ( A ), the timpani may play a tremolo cresc. to fffand remain in this dynamic for several seconds. All other instruments also increase their dynamic to fff.

or di

Vln. Vla. Vc. Cb.: ﬁnd the strongest double stop (or triple stop), bow-change ad lib. to achieve the loudest dynamic. Fl., B.Cl., Tbn.: ﬁnd the strongest sounds of your instrument within this overtone-chord and play them for as long as comfortably possible, breathing as you wish.

.R ic

Percussion: timpani always plays the low D, tremolo, single beats, random pulsations — always stochastic. Gtr.: join the chord as loud as possible.

Pno.: play ffftremoli and martellati, pedal always remains sustained

Duration of the fff: at least 35 sec. (or longer) The end is initiated by the Pno.: the Pno. stops, but keeps the sound in the pedal. The other instruments, (as soon as they recognize that the piano has stopped, decrescendi to p.

New elements may start now.

FORTISSIMO 1 is performed only once during the whole piece.

rig ht

FORTISSIMO 2

Similar to FORTISSIMO 1 , but when the overtone-chord based on the low F# is performed ( D ), the trombone (instead of the timpani) may play a cresc. to fffand remain in this dynamic for several seconds.

op y

FORTISSIMO 2 is performed only once during the whole piece.

FORTISSIMO 3 After (estimated) 40 minutes or more: if element 2 is performed and the Vc. leads the pulsation of the overtone-chord in C ( C ) or if the Cb. leads the overtone-chord in low Ab ( B ) they may lead all the instruments into a fff. Continue in analogy to FORTISSIMO 1 If the Tbn. leads the pulsation of the overtone-chord in low A ( F ) or if the Vla. leads the overtone-chord in high F ( G ) or if the B.Cl. leads the overtone-chord in low Bb ( H ) they may lead all the instruments into a fff. Continue in analogy to FORTISSIMO 1 . Please be aware: there will be two fortissimo versions of element 2 within the whole piece: One either on the low Ab ( B ), organized by the Cb. or on the C ( C ), organized by the Vc. One either on the low A ( F ), organized by the Tbn. or on the high F ( G ), organized by the Vla. or on the low Bb ( H ), organized by the B.Cl. Sy. 4829/01

Full Score in C Element 13 SILENCE after the overtone chord of low A has been established ( F ), at any moment of the piece, Fl. or B.Cl. or Tbn. may play their “initiation melody” (see below). While this melody is played, all other instruments have to fade out. Piano: no pedal.

When this melody is ﬁnished, break (maximum 4 sec.)

nl y

Then 1 —6 instruments play the “materials of silence” (see below) almost inaudibly. This material may be repeated and varied, allow breaks (up to 4 sec.) with no more than six instrumnets playing at the same time.

nwnw-

µw nw

µw

nwnw-

cca. 25 sec.

nw Bw bw

short

? nw

sfffp

accidentals with arrows: raise or lower a sixth of tone cca. 25 sec.

sempre pppp “initiation melodies”

ru sa lo

There must be exactly 3 elements of “silence” within the whole piece, one starting with the flute’s “initiation”, one with the Bass Clarinet’s “initiation”, one with the trombone’s “initiation”. Duration of each: at least 45 seconds and up to several minutes. The first of these elements is finished by continuing that element which has been interrupted by the “silence”. The 2nd and the 3rd are finished by starting a new element, whoever wants to start with any element they want. The 2nd must be performed before the “finale” starts. The 3rd may be performed before or during the “finale”.

cca. 25 sec.

? #w #w nw nw

n w B w nw

, nw µw #w Bw bw bw nw

short

“materials of silence”

Flute

bœ nœ nœ nœ bœ nœ nœ nœ nœ nœ n œ nœ

sim. (based on C#, D, or D#)

or di

whispertones

pppp

only air-sound

just a glimpse of a sounding pitch

í ™™

•

.R ic

&n~

#w Bw nw

C o.

short

Trombone:

nw nw bw bw bw

repeat ad lib. transpose to any pitch between C#5 and B5

™™î •

pppp

Bass Clarinet

quasi subtones, pitch ad lib.

6 66 6 6 6 6 6 6 6 6 66 6 pppp

Trombone

?«

slap

air-sound

rig ht

n- Y

start elaborating a multiphonic. Do not allow the multiphonic to develop its sounds — as soon as the ﬁrst pitches appear, stop it.

repeat ad lib. transpose to any pitch between F1 and Bb1

extreme high pitches, with highest lip-tension

the trombone generally plays ver y rarely during element 12

ppp

op y

Guitar and Piano

pppp

˙ ææ

tapping-trill with 2 ﬁngers on the instrument’s wood

gliss. with ﬁngernails or a plectrum along the lowest strings.

Percussion

pppp

æ tremolo on wood or membrane ˙æ any non-pitched vary the durations between 1 1 /2 sec. and 20 sec.

pppp

Vln., Vla., Vc., Cb. gettati (4 attacks or more) either on open strings or in gliss. (minimum minor third) either one single string or double stops pppp

ﬂag.-gliss. on open strings ad lib. very rarely O

O O O O

pppp Sy. 4829/01

O O

O O O

tremolo directly on the bridge no pitch, just noise mute the strings with left hand!

ææ Y

" ppp"

Full Score in C

40 Element 14 CHORDS A TO I

Overtone-chords, which are performed by harmonics on these open strings and which are supported by the piano, are also very signiﬁcant: E , F , G , H , I ).

ru sa lo

These chords may be re-established at any moment in the piece before the “ﬁnale”.

nl y

The piece’s main tonal material are the 4 overtone-chords, which might be realized by open strings ( A, B , C , D ).

Each instrument is allowed to start this act of re-establishing — misunderstandings may (should!) happen. Please solve the problem!

Element 15 CATACLYSMIC INTERRUPTION No. 1

After appoximately 50 minutes, the percussion performs an extremely loud, aggressive, short noise (e.g. whip) the other instruments react immediately, all in fff: Fl., B.Cl. and Tbn: overtone gliss. until the highest possible register Gtr.: arpeggio sul pont. over all open strings Pno.: gliss. up, starting from middle range Vln. Vla., Vc., Cb.: double stops gliss. up in 3/4-tones (Cb.: II+III)

C o.

Quite short, maximum 1 1 /2 sec.—afterwards continue as before—giving the impression that nothing terrible has happened.

Element 15a CATACLYSMIC INTERRUPTIONS Nr. 2

or di

At least 8 minutes (approx.) after the ﬁrst “cataclysmic interruption”, the Cb. plays an extremely loud Bartók-pizz. on an open string. The other instruments react immediately as above, all in fff: Fl., B.Cl. and Tbn.: overtone gliss. until the highest possible register Vib.: gliss. from the lowest to the highest register Gtr.: arpeggios sul pont. over all open strings Pno.: gliss. up, starting from low range Vln. Vla., Vc.: double stops gliss. up in 3/4-tones (Cb.: II+III)

.R ic

Repeat for approx. 6 sec. All instruments stop at approx. the same time. Afterwards, continue as before, giving the impression that nothing terrible has happened.

Element 16 PIANO/PERCUSSIONADDITIONS

op y

rig ht

piano: After the overtone chord of high Db has been established ( I ), at any moment of the piece the Pno. may add playing trills and fast scales and permutations within the keys, notated below, each of them once in f, two or three times in p, durations between 1 1 /2 sec. and approx. 8 sec. strive for variety

nœ bœ nœnœ “‘

n œ # œ n œ nœ “‘

#œ nœbœ nœ

percussion: After the overtone chord of high Db has been established ( I ), at any moment of the piece the perc. may add tremoli with wood or metal sounds. Each of them once in mf, once or two times in pp p , or p , durations between 2 1 /2 sec. and approx. 1 2 sec. No repetition of similar sounds in the same dynamic at all.

Sy. 4829/01

Full Score in C

FINALE

Each instrument continously plays a strong fff always as loud as possible.

(after the initial sound)

diﬀerent sounds, wood or membrane

ææ ˙

ææ œ

fff

œ œ œ œ

fff

20 sec. or more

>œ

Perc.

ru sa lo

nl y

A 3rd cataclysmic interruption begins, again started by the percussion, performing a sound diﬀerent from the 1 st cataclysmic interruption. The other instruments react immediately, all in fff: Fl., B.Cl. and Tbn.: overtone gliss. until the highest possible register, after 3 to 5 times: multiphonics ad lib., (Tbn.: “Spaltklang” or dissonant intervals sung into the instrument) always very loud and strongly vibrating Gtr.: arpeggio sul pont. over all open strings, up and down, also tremoli Pno.: gliss. up, starting from middle range, after some seconds add clusters ad lib. within all the instrument’s range Vln. Vla., Vc.: double stops gliss. up in 3/4-tones, after 2 to 4 sec.: arpeggios over the 4 open strings, later also tremoli (on 1 or 2 strings) Cb.: arpeggios over the 4 open strings, later also tremoli (on 1 or 2 strings)

after approx. 1 2 sec. the piano starts playing the pitches of the overtone-chord on high D

{

bœ

nœ b œ bœ

bœ n œ

nœ

sustain the pedal until the end of the piece

Gtr.

G by rig ht

play the B' less prominent than the lower partials - but help the Vln. to tune the I string

Vln.

Vla.

Vc.

tune the strings within the harmonic series of high D

ÊÂ‰„‚ · 2 3 4 5 7 9 nœ & #œ nœ n œ nœ nœ

° &

Cb.

#œ

nœ nœ

nœ

tune the strings within the harmonic series of high D IV III II I 3 5 7 11 try to tune the strings in fff #œ

nœ

#œ nœ

tune the strings within the harmonic series of high D IV III II I

nœ

nœ nœ

try to tune the strings in fff

tune the strings within the harmonic series of high D IV III II I try to tune the strings in fff

? nœ nœ ¢ nœ nœ

Sy. 4829/01

try to tune the strings in fff

tune the strings within the harmonic series of high D IV III II I 5 8 12 13 try to tune the strings in fff

nœ

op y

nœ

nœ n œ

C o.

nœ

nœ nœ

.R ic

Pno. (keys)

{

nœ

or di

Pno. (sound, approx.)

Full Score in C

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, and avoiding unisons with B.Cl. or Tbn.

general dynamic: p slow cresc. and decresc. ad lib.

nl y

Fl.

nw nw #wnw #wn w n w # w n w # w n w n w & nw nw #w #w

B. Cl.

#w nw nw

nw n w

ru sa lo

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, and avoiding unisons with Fl. or Tbn.

nw nw nw#w nwnw#w#w

general dynamic: p slow cresc. and decresc. ad lib.

Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, and avoiding unisons with Fl. or B.Cl.

#w #w nwn w n w n w # w nwnw

general dynamic: p slow cresc. and decresc. ad lib.

Tbn.

tune the instruments precisely in the overtone-chord’s intonation

Timpani

30 sec. or more

Perc.

Gtr.

30 sec. or more

“” n b œœ nBœœ & nœ n œ ? nnœœ n n œœ nœ

nœ ? nbbœœœ bœ bœ

add these pitches casualy

perform these partials very clear and in the foreground help the other instruments to ﬁnd their intonation

“” nb œœ nnœœ & nœ

add these pitches casualy

perform these partials very clear and in the foreground help the other instruments to ﬁnd their intonations

rig ht

tune the strings perfectly during the decresc. and later during the p p

op y

Vln.

G by

{

.R ic

Pno. (keys)

C o. &

{

or di

Pno. (sound, approx.)

Vla.

tune the strings perfectly during the decresc. and later during the p p

Vc.

tune the strings perfectly during the decresc. and later during the p p 30 sec. or more

Cb.

tune the strings perfectly during the decresc. and later during the p p Sy. 4829/01

Full Score in C

ru sa lo

Perc.: Make the 4 membranes vibrate (tremoli, fast pulsations over all 4 instruments) sometimes play long, continuous sounds in the middle and lower register, between pp and mf. Tam-tam tremolo Tam-tam arco Cymbal tremolo Cymbal arco Rainstick Güiro Low Temple Block tremolo etc.

nl y

Fl., B.Cl., Tbn.: Change the colors of the tones, allow cresc./decresc., allow breaks Fl.: also play higher pitches, copying exactly the pitch of a harmonic.

Gtr.: Create a solid basis for the ensemble’s sound with all 6 strings sometimes play harmonics ad lib. sometimes play chords with all the 6 open strings — sul pont. and f in cases where Vln., Vla., Vc. and Cb. play the same “special” (see below): try to join them always retune, if necessary

Pno.: Create a solid basis for the ensemble’s sound, the fundamental and the 2nd partial must always be perceivable; hold the pedal throughout

C o.

Vln., Vla., Vc. Cb.: Continuously play the strings (single strings or two strings at the same time) in long, slow changes of dynamics and color (to sul pont., sul tasto) also: repetitions, rit., accel., tremolo. rarely: nat. harmonics always retune, if necessary

or di

reduction 1: Cb. plays III. string Vc. plays IV. string and II. string - if possible, also play both at the same time all other instrument fade out. Piano keeps the sound in the pedal (and may carefully refresh these sounds) Fl.: play whispertones on C', within 3 to 9 sec., long breaks in between

.R ic

reduction 2: Each instrument plays the lowest pitch of the overtone, which can be performed on this instrument. pp Tbn.: slaps, stochastic, distance between two slaps: 4 to 1 1 sec. (once or twice: play 3 to 5 slaps irregularly in intervals of less than 2 sec.) (reduction 1 and reduction 2: each of them must be performed once)

V ln.,V la.,V c., Cb specials: a.) play pizz. on the 4 open strings, accel. and rit., vary the dynamics b.) play harmonics and gradually get higher and higher. fpossibile c.) play harmonics fast: either in harmonic gliss. or stochastic; change the strings (sometimes quickly) d.) play “virtuoso, soli” on the 4 open strings: tremoli, tremoli sul pont (or estremamente sul pont.), transitions from sustained sounds to tremolo and back, transitions from ord. to sul pont. and to estremamente sul pont. crescendi to ffand decrescendi back to p — sometimes allow these crescendi/decescendi plenty of time or do them fast e.) I II III IV III II œ several times, ™ í™ œ œ ™™î repeat œ œ sometimes molto accel. and molto rit.

op y

rig ht

These V ln.,V la.,V c., Cb. specials may be performed individually, as part of a “polyphonic” network in cases where a second instrument performs the same " special" , the other 2 instruments have to follow and create a “tutti” [ example: Vln. plays the pizz. of a.), than the Cb. also starts with pizz. — now the Vla. and the Vc. have to play pizz. too] if one of the instruments leaves the “tutti”, the others leave too. One time during the ﬁnale each of these “tutti” should be performed for longer — c.) at least for 40 sec., d.) at least for 90 sec. Gtr: joins the other string instruments, Pno. keeps the solid harmonic background (ppp) Fl., B.Cl., Tbn., Perc: reduce intensity of sounds to pp, some rare sudden outbreaks into mfor fare possible. ALLOW THIS OVERTONE-CHORD ENOUGH TIME — AT LEAST 1 2 MIN.!

Sy. 4829/01

Full Score in C

44 always overtone-chord of high D

ca. 25 sec.

°ì ¢

ca. 20 sec.

ca. 1 5 sec.

ca. 1 2 sec.

ru sa lo

nl y

all instruments

fff ( all instruments play their parts of the overtone-chord as strong, as loud, and as intense as possible)

& or di .R ic G by rig ht op y

Sy. 4829/01

at least 45 sec.

ca. 1 5 sec.

°ì ¢

C o.

all instruments

very gradually, the light comes back the brighter the light, the softer the music decrescendo al niente at least 1 20 sec.

New York, July 1 2 201 8