engulfed, constrained in a widening gap version for flute/piccolo, soprano saxophone, violin, viola, and cello
colin tucker (bmi) 2013
Notes on Performance
A. Instrumentation
C. About the Piece
Flute/*Piccolo
This work inhabits a narrow space on the threshold between sound and silence. The effort and strain involved in executing the notated actions is at least as important as the sounding result of those actions. In an adequate performance, the work’s intensity will not only be heard; it will be seen and “felt” as well. Silences and extended durations must be as tense and “loaded” as possible; performers must remain absolutely motionless throughout silences.
*Soprano Saxophone in B-flat Violin Viola Cello *Pitches are notated as played.
D. Explanation of Symbols B. Stage Set-Up A number of stage set-ups are possible, provided that they facilitate the visibility of the performer’s movements, particularly those of the cellist. If performers are seated in a semi-circle, the cellist should be on the circle’s stage left end, in order that her/his left hand is highly visible.
1. Dynamics The work’s lowest dynamic, pppppp, indicates the utmost quiet possible: this will likely be inaudible to the audience and perhaps even to the instrumentalist him/herself as well. Dynamics are sometimes abbreviated: pppppp=6p, ppppp=5p, etc. At extremely low dynamics, the resulting sound may be inaudible to the audience and timbrally unstable. Players should not try to temper either of these qualities; rather, the risk inherent in attempting to execute extremely quiet actions is an essential component of the piece.
2. Winds
Flute:
Ordinary actions of the fingers and mouth:
Rotation of the Instrument: Normal position:
Normal action of the fingers without airflow from the mouth; embouchure is always kept in playing position:
Key-percussion, always aggressive; likewise, embouchure is in playing position, without airflow:
Instrument rotated as far outward as possible while still producing discernible pitch
Instrument rotated as far inward as possible while still producing discernible pitch:
Aeolian sounds, produced with the embouchure and mouthpiece in normal position: mostly air : tone contains more air than tone, pitch is barely discernible partially air : intermediate between the above and normal tone
3. Strings Ordinary actions of the bow and the fingering left hand:
Bow positions:
sul ponticello (SP) poco sul ponticello (PSP)
Normal action of the left hand fingers, without bow:
posizione ordinario (PO) sul tasto (ST)
Finger pressure is shown above the noteheads: Normal finger pressure:
E. Conductor The piece may be performed without conductor.
Light finger pressure, barely touching the string:
If the piece is conducted, the conductor should be seated and as visually unobtrusive as possible; page turns should be as quiet as possible.
Intermediate finger pressure, between light and normal:
The conductor should minimize activity in m. 20-22, as well as from m. 41 to the end (from m. 60 to the end, the conductor should mostly give downbeats).
There are three degrees of bow pressure: pesante (pes.): extremely heavy ordinario (ord. press.) flautando (flaut.): light, wispy
F. Miscellaneous No vibrato. Accidentals carry throughout each bar but not across octaves. Durations of silences should be counted precisely—“think through” the silence.
Duration is approximately 9 minutes.
colin tucker 1
engulfed, constrained in a widening gap partially air
‰=80 flute
soprano saxophone in b b
(transposed)
violin
viola
'cello
& &
20 e 3 8
U
∑
in playing position with embouchure in place
20 e
3 8
&38 &38 &38
U
∑
in playing position with embouchure in place
20 e U
∑
in playing position with bow on string
20 U
∑
e
in playing position with bow on string
20 e
U
∑
in playing position with bow on string
b bB Bµ B b œ µ œ œœ œ≈b œœ œ≈B œ œ œ 5 4 Ó 16 8
woodwinds: restless, delicate, skittish
Œ.
7 16
Π..
µmµB B œ µ œ . m œ n œ œ œ œ ‚ n œ œœ‚b ‚B ‚B 7 ≈ ®‰. 16 ∑ µœ
o
∑ 7:6œ
3p
Ø
Œ.
∑
π6:4œ
o
Π..
Ø
∑∑ 9:10œ
strings: smooth, impassive, always tenuto
flaut. ST
mœ Ó
Ø
‰.
7 16
n œ. ≈ Ó ‰ n œ. Ó
flaut. ST
7 16
∑∑ 5:4œ
5 16
œ Ó Œ
5 16
∑ µœ
gliss.
Øpp
µœ ®Ó
7 16
Ó Œ.
∑∑ 15:10œ
b œ œ µ œ œ µ œm œB œ 5 ® ≈. 16 Ø
5 16
‰
2 8
Bœ œ ®
flaut. ST
Ø
‰
‰.
nœ
B œ ®‰
4 8
µ b œ µ œœ n œ œ œœ mœ µœ nœ ≈ µ‚ ≈ ® ® œ ® 28
bœ 4 Ó 8
4 8
Π..
4 8
Ó
∑
3 ∑ 5:4œ
∑ 5:4œ
Øp
Œ.
2 8
mœ Ó
Øp
2 8
2 8
2
6
fl
s sax
vn
va
vc
mb B n µ B œœ n œ œœB œœœ œ œ œ œ ≈ ≈. ≈ 4 5
&28 Œ &28 ≈
16
µb m œ- ‚‚ ‚ ‰ n œ
&28 ‰ m œ. &28 Ó &28 Œ
∑
Ø3:2œ
µœ Ó
Ø
≈
8
Ø 5 16
µ œ m B B n œµ >Bœ œn œœ œ œ œ œ œ b œ œ
∑∑ 15:10œ
∑ 11:8œ
œ ‚ m ‚ m ‚B ‚ ® œ . µ œ . m œ µ œ ∑∑ 9:10œ
4 8
Bœ
π
‰
Ø
œ nœ µ œ ≈ n œ ∑ 7:8œ
9 16
9 16
Bœ
5 16
‰
nœ œ ®
5 16
‰
‰.
4 8
Ó
9 16
5 16
‰
‰.
4 8
Ó
9 16
4 8
9 16
3
9
fl
s sax
&169
œ Bœ µœ
n œ œ µ œ µ œm œ .
≈.
∑∑ 15:18œ
π
µ bb œ œ œ m œ µ œ œœ≈ m œ ‰ .. &169
n µ m œn œ 2 B œ . œœœœ . . 5 ® ® 16 8 4p
vn
&169 ≈
Øp
≈
µœ
≈
œ
≈
µœ
Ø
3p
mB µ b b n œœœœœœœœ≈ ® nœ 5 2 8
∑ 13:9œ
œ bœ
∑ 7:8œ
2 8
Bœ
n œ œ œB ≈. ® ® 5
16
∑∑ 5:4œ
sempre tenuto, legato
va
vc
&169 ‰ . &169 Œ .
µ œ. Ó
Ø
16
∑ 3:2œ
‰.
Bœ bœ 2 Ó 8
‰.
2 8
Œ
5 16 3
5 16
4
11
fl
s sax
& 165 ‰
& 165
n µmn µmn µ m µ µ nb m œœœ œœ œ œœ œœ œ œ œ‚µ ‚µ œ œ‚ ‚ ‚‚ œ œ œ œ µ œ œ µ œ ‚ n œ ‚ œ 5 3 Ù Ø
Bœ m m œm n µ œn µ œ œœœ œœœ œ œœ œÙ Ù
va
vc
& ‰ 5 16
& ‰ 5 16
∏
3 16
∑ 7:6œ
π
4p
mB b n µ n œ œ ‚ ‚ ‚ œ œ œ >œ œ
œ
5 8
4p
π
nœ Ó
3 16
∑ 6:5œ
‰.
∑ œ
Œ
5 16
‰
3 16
3 16
≈.
µ n œ œ mœ œ ∑∑ 7:6œ
œ Bœ Bœ ≈ Ó
Ø
≈
5 8
µ‚ œ µœ œ m‚ œ œ µœ µœ œ Bœ bœ ‚ n‚ ∑ 7:5œ
5 8
nœ
‰.
µœ ∑ 6:5œ
œ 5 8
≈
nœ nœ
∑ 9:10œ
Œ
π
‰.
‰
2 8
15:10 Ø
5 16
∑ 13:10œ
œ µœ ® ‰ .. &165 Ø
8
∑∑ 9:10œ
Ø
vn
16
œ œ µœ
Π4p
∏
‰
5 16
≈
Œ
5 16
π
5 16
∑∑ 9:10œ
µœ
π
o molto
≈
nœ
œ.
n PSP œ
œ.
PSP
Bœ ∑ 6:5œ
œ µ ‚ B œ n‚ µ œ œ bœ
∏
∏
µn ‚ œœ œ
Bœ
2 8
o
≈
2 8
2 8
2 8
5
fl
mm nœ µm n µ µ ‚µ n ‚n B µ n œ m B B 15 µ ˘ b œ B œ œ œœœ‹ ‚œœ 5 œ ‚ ‚ ‹ ‚ ‚ ‚ ‹ ‚ ‚ œ œ 3 µ œµ œ ® œ œœœb ‚ 5 ‹ m ‚ 2 ≈ &8 œ 16 16 8 œ o
o
3p
s sax
va
vc
∑∑ 15:10œ
4p
mµn nn n b œ œ œ œ ‚ ‚B œ œ œœ œ œµ œm œB œ œ œ B n ‚ n œ mœ ‚ ‚ 5 & 28 mœ 16 4p
vn
π
&28 &28
∑ 5:4œ
œ
P
π 4p
√ nœ ≈ µœ œ
œ & Ó 2 8
∑∑ 7:8œ
≈
5 16
5 16
Bœ Ó p
5 16
‰ ‰
‰.
nœ
œ.
Ø
∑∑
µ ‚m‚# m‚ B‚ B‚ m m œ ‚ 5 œ 3 ‚ œ 8 Bœ 16 ‚ 4p
π 3 16
∑∑ 11:12œ
µœ ≈ Ó
Øp
m œ. 3 Ó 16
Ø
3 16
B œ. ≈. Ó
‚
‹
‚
‚
‹ µ‚
7 16
Π..
7 16
Π..
‰=60 5 4
∑ 9:10œ
‚
Œ.
‚
5 4
∑ 7:5œ
Øp 5 8
‚
p
π 5:6 Pœ
∑∑ 5:6œ
‰.
œ.
rit.
œ.
nœ
gradually change to resting position and turn page by end of m. 20
7 16
œ Ó ‰ ‰.
5 4
rit.
5 8
5 8
œ µœ œ Ó Ó
œ nœ
gliss.
µ œ∑ Ó ≈ Œ o
7 16
7 16
Bœ
Π..
œ n œ. Ó ®ÓÓ ≈
‰=60
5 4
3 spiccato, gently brushed, upper half of bow
5 4
6 tempo I mostly air
mœ œ œ µ‚ U U n ‚ m ‚ ‚ ® Ó ..
20
fl
& ‰ 5 4
s sax
m œB œ n œ ‚ n ‚ U U n œ n ‚ ® Ó .. &54 ≈ o
vn
&
∑ 5:6œ
4p
vc
21 8
gradually change to resting position and turn page by end of this bar
o
U
∑
5 4
& Œ
ST
5 4
U·s
Bœ Ó
Øp
·s ST m œ . &54 ≈
Øp
21 8
≤ µUœ . Ó
4e
7e
tempo I va
take piccolo, turn page, and change to resting by end of this bar
3p
o
21 8
7e U œ
Œ ≈.
Œ .. m œ. œ B œ µ œ Ø
4p
œ. π
œ U ‰.
21 8 3p 4p
21 8
21
va
&218
n ˙>
3:2œ
π
7
µœ turn page by the end of the bar and remain in playing position Ó ‰ ∑ ...
37 8
o
rit.
vc
œ B œ. &218 ≈ Ó
Ø
@
mœ
gliss.
∏
o
spiccato, gently brushed, upper half of bow
nU‚ ‚ µ · .
22
& Ó Ó 37 8
(accel./rit. continue normally throughout fermatas, i.e. this rit. occurs evenly over 39 eighth-notes)
Ø
µ‚
‚.
µ œ.
œ B‚
·∑
n‚
37 8 o
o
4p bow ends near tip and rests on the string until the 28th beat of the next bar
(sax.: change very gradually, almost imperceptibly to playing position)
‰=120 12e
vc
‚ µ œ. ‚ µ œ . ÓÓ Ó Ó Ó oÓ ∏
n‚
‰=60 accel.
20e
œ U· n ‚ · .. Ó
‰=240 tempo I
‰=40
œ µ ·.
‚ (use 1/8 of the bow or less) ≤ m ˙ ..
pes. [ ]
flaut. tip
∑ n‚ 15
o the beginning of this gesture should be so gradual that the audience is not able to perceive bow movement or sound until at least halfway through the crescendo
6p
fi
&4 2
abruptly "choke" the sound by suddenly increasing bow pressure; this gesture should not in itself produce any sound
8 mostly air
33e
U
23
picc
s sax
& 24 ‰
55 e
U
Œ
‰
move to playing position
7 8
utterly tense, immobile
& 24 ‰
55 e ‚ ‚ ‚ m ‚ m œµ œ œ ‚ U ‚‚ ‰
≈
o
6p
o
m. œ Ùœœ œ œ œ œ œ œ ®Ó ‰ ∑
‚ ‚ ‚ ® ‚ B‚ bœ µœ Bœ ≈
‰
7 8
utterly tense, immobile
‰
œ Bœ bœ œ B‚ ∑ 4:3œ o
6p
≈.
π
5p
o
∑∑ 5:6œ
33e U
nµm µ n mµ m
3
b œ ‚ n œ µ œ nœnœ B œ bœn ‚
o
6p
∑ 9:8œ o molto
p
‰
p
‚ ‚ ‚
µbn B n œœœœœœ
3 8
freeze!
3
o
e
U4
œb œB œb
U4 e
œ œ Ù‰
3 8
freeze!
∑ 3:2œ
6p
4p
4p
o
strings sound TWO OCTAVES HIGHER from here to the end 15
vn
U
&24 ‰ 15
va
33e
Œ
move to playing position
flaut.
&24 ‰
7 8
≈.
10 e 23e U‚ œ 3 œ. œ . gliss. U n ‚ &24 Ó ®ÓÓ o
o
6p
55 e
U
‰
. ®n Óœ ≈ ≈ . Ó Øpp
7 8
‰
press. ord. upper half of bow
œ gliss.
∑ Bœ
œ. ® œ. ® ‰ ÓÓ ÓÓ
6p o 5p
spiccato, gently brushed, upper half of bow
∑ 55 e Bœ U
Ó.
‰
o utterly tense, immobile
Bœ 7 . 8
o
4e U
‰
3 8
freeze!
4e U
‰
3 8
freeze!
immobile
15
bow pressure changes with no horizontal bow motion
‰
Øpp utterly tense,
flaut.
vc
U
spiccato, gently brushed,
utterly tense, immobile
œ µ ® Óœ o
33 e
U
55 e
µ œ. ≈ . ÓÓ
∑ press. ord. nœ 5p 6p
. n œ ≈ ÓÓ ≈ ‰ ∑ 5:4œ
4e
U
‰
freeze!
3 8
9 mostly air ∑∑ 13:16œ
∑ 5:6œ
picc
s sax
& 38 ‰
Ù ‚ ‚ ‚ ‚ œ Bœ µ œ n ‚ B ‚ b ‚ ‚
∑ 18:12œ o
15
vn
&38 ‰
œ. ≈ ÓÓ
p
6p
µ œ. ≈ ÓÓ 5p
2 8
∑ œ ∑3:2 3:2œ
6p
œ. ® ÓÓ
&38 Œ . . µ œ &38 ÓÓ ≈ . 15
2 8
vc
6p
2 8
. ® Óœ ‰ . Ó
4p
6p
15
va
3:2œ
œ œ µœ 4 ‚ b‚ ‚ œ mœ B œ b œ nœ B œ b ‚ ‚ B ‚ 8 b ‚ ‚ ‚ b flœ ‚ ‚ ‚ n ‚ ‚ ‚ > . o π o π o o πo P P molto µBB B bnµœ œ µ œ œ m œ m œ œ µ œ œ mœ œ n œ B œ m œ B œ m œ œ œœ œ œ mœ œ m œ œ œ œ œ œb œ n œ. mœ œ mœ ‚ ‚ ‚ m‚ ‚ ‚m‚ ‚ 2 4 & 38 ‚‚‚‚ 8 8 ‚ ‚
25
2 8
≈.
µ œ. ® œ. ® m ˘Óœ ÓÓ ÓÓ Ó
Œ ≈.
4 8
4 8
œ. ≈ œ. ≈ ÓÓ Ó 3 5p
‰
6p
∑ ∑ 3:2œ 11:8œ
.. battuto B œœ
. m œ ® ÓÓ ≈
œ. ÓÓ ≈ π
4p
µ œ. ÓÓ ≈ . 5p
m ˘œ ÓÓ p
Ó ‰
3 16
3 16
3 16
. . œ µœ
battuto
4 8
p
3 16
≈ Óœ ≈ ‰ .. Ó 5:4 ∑ œ
∏
µ ˘œ ÓÓ p
3 16
10 partially air
28
picc
&
3 16
b >œ bœ œ
m¬ œ n œ œ Ùœ 9 Ó ≈. Ó œ µ œ 16 œ
overblow
Sf
p
∑∑ 7:6œ
. . œ µœ
oP
4p
œ ÓÓ ≈ . π
& ≈ 3 16
9 16
15
va
& ‰. 3 16
9 16
n¬ ∑ ∑ ÓÓ ®bœ∑®B œ∑‰ . ch π Ffl S ∑ 13:9œ
Sff ch
Ï poss. .... .. . full bowstroke m œ n œ µ œ œ ≈ gliss. Ó Ó o ƒ molto poss. œ.
œ
o
. . . œB œ œ
mœ &163 ® ÓÓ ≈ . 15
vc
¬ ÓÓ ® ‰
∑∑ ∑∑ œ. ≈ n œ. ≈ . ∏
3 4
Ï m œ œ b œœ bœ œ œ mœ µœ Bœ œBœ œ µœ bœ œ œœ 9 œ 3 ≈ b œ œ ® B œm œ B œ n œ &16 16 œ m œ m œ o o molto
15
vn
∑∑ 11:12œ
ch
p
s sax
mostly air
π
.. .. . nœ
full bowstroke
4p
∑ 11:9œ
. . œBœ
µ œ ® µflaut. œ. ÓÓ Ó Ï o
... œ
F
Bœ Ó
4p
(tune to viola F#)
mœ
F
flaut. Bœ n œ n œ. n œ 9 ® ≈ ® ® ÓÓ 16 ÓÓ ÓÓ Ó Ó π P ƒ poss. Ï 4p molto
.. œœ
3 4
π
Ø
µ œ. Ó
(tune to viola F#)
π
3 4
3 4
3 4
11
. ∑ 3 ≈. b œ ® ∑ ‰ &4 ÓÓ µ flœ
30
picc
s sax
&34 bœ œ bœ œ µ œ
‰
mœmœ œ Bœ œ
∑∑ . ∑∑ . . . ≈ ≈ ≈ ≈ ≈ n œ. œ. ® Œ ∑ 15:12œ
bsempre œ œ tenuto œ Œ. &34 Ó ≈ ≈ . Ø
o
15
va
&
3 4
&
≈. ‰.
2 4
m n Œ
∑ 3:2œ
9 32
® œ ®≈ . ≈ œ ‚‚
2 4
4p
b œ. Ó
œ. ®≈ Ó ≈ . p 4p
Œ.
9 32
œ.
œ. m œ. Ó
œ.
9 32
µ œ mœ. Ó ®Ó Ø œ.
œ.
n œ.
œ.
2 4
2 4
change bow with gentle re-articulation
15
vc
˙.
9 32
∑ 4:3œ
n b µb Bn mB n n œ b œ bœ œ ≈. nœ Bœ n œ mœ œ œœ m œ µ œ mœnœ mœ mœ œ œ œ œ œ œ œ nœ œ µ œB œ nœ
15
vn
Œ.
3 4
œ
Ø
œ
≈.
B œsempre tenuto ‰ ≈ Ó ∏
4p
n œ. Ó
∏
œ. Ó
®Œ
4p
Œ.
9 32
Ø
2 4
12
‰=108
vn
œ m œ. & Ó
3 8
œ.
5 8
3 8
œ.
5 8
15
va
2 4
Bœ &24 ‰ Ó
≈mœ Ø Ó
15
vc
@
36 15
vn
&167 Π15
va
& 15
vc
7 16
.
B œ. ≈. Ó
3 4
mœ Ó
3 4
5p
œ.
Øp
&167 Œ
mœ Ó
Bœ ≈Ó ≈
m œ B œ µ œ m œ .. ≈ 38 Ó ≈ Ó ≈ Ó ≈ 58
m œ ≈ B œ. 2 ‰ &4 Ó Ó Ø
33 15
Ø
≈
3 4
œ µ œ µ œ. ÓÓ ≈ . Ó ≈ Ó
Øp
œ
œ ‰ µ œ. Ó
mœ ≈ Ó
œ.
3 8
‰
7 16
≈
3p
œ ≈ . Ó 38 Ó
œ m œ. Ó Ó
˙ œ
œ.
3 8
7 16
7 16
4p
œ Bœ œ Ó≈ Ó ≈ Ó
19 32
œ. µœ
19 32
œ.
≈
19 32
mœ ‰ Ó ‰ œ ..
‰
œ œ Ó ®Ó
Ø
≈
m œ œ.
‰ ..
3 8
3 8
µ œ. Øp
œ.
µ œ B œ. Ó Ó ® 38 Œ .
7 8
7 8
7 8
13
µ œ5 Ó ≈ Ó 8
41 15
vn
&78 Ó .. 15
va
&
7 8
Øp
˙ ..
5 8
15
vc
& Ó .. 7 8
@
43 15
vn
11 ‰ &32
15
va
&
11 32
15
vc
œ
11 ‰ &32
11 32
5 8
œ .. Ó Øp
5 8
m œ. Ó
µœ ≈ Ó
Bœ
Øp
œ œ.
≈
Œ .. œ.
Bœ m œ. 5 ≈ Ó ≈ 8 Øp
œ.
∏
9 32
9 32 5p
11 32
nœ
9 32
œ
5 8
m œ.
11 32
‰
µœ ≈. Ó
3 8
®
n œ ..
œ Ó
m œ. œ
‰
n œ. µ œ. Ó ≈ 38
3 8
œ. œ ÓÓ
œ.
11 32
3p
11 32
Ø
œ œ. µ œ. Ó
11 32
3 4
5p
mœ
œ. Ó
œ. Ó
œ. ≈ Ó
∏
5p
3 4
3 4
14
œ µœ ÓÓ
48 15
vn
& Π3 4
15
va
&4
&34 ‰
@
œ
3 8
3p
‰.
&98 15
vc
2 4
π Øpp 8
≈
Bœ
3 8 3p
5p
µœ
‰
2 4
œ
œ
œ. Ó
≈
3p
Ó.
µ ˙.
&98 Π.
3 4
œ.
Øpp
Ó.
π
gliss.
5 16
œ
gliss.
5 16
4p
µœ
œ.
∏
11 32
‰
nœ ® Óœ . µ Óœ Ó 98 Ø Ó
remain in playing position during extended rests
3 4
3 4
B œ. n œ. œ ‰. Ó Ó Ø
Øp
B œ œ.
7 4
(viola changes to A )
µœ
˙ mœ
o
‰
µ
7 4
∑ .. w ..
n œ. Ó ≈ . 74 ∑ .. (viola changes to A µ )
11 32
œ. Ó
µ œ. œ Ó Ó
œ∑m œ . B Óœ ≈ . ÓÓ π
11 32
9 8
∏
6p
(viola changes to G )
remain in playing position during extended rests
va
mœ Ó
(viola changes to G )
m œ. 3
œ.
5 16
œ. Ó
µ
&98 Π. 15
B œ B œ µ œ . ®m œ µ œ œ 2 4 Ó Ó Ó Ó ÓÓ
œ. Ó Ø
µ
Øpp
53 15
vn
5p
Bœ µœ Ó Ó
m ˙. 3
15
vc
4p
œ. Ó
B œ. µ œ ‰ Ó Ó o
3p o
π
9 8 o
5 8
5 8
5 8
15
œ Ó
56 15
vn
&58 Ó
o
2 4 o
‰
4p
œ
15
va
&58 15
vc
&58
@
mœ
&154 „ 15
va
&154 15
vc
œ.
5 8
6p
œ µ œ .. 2 Ó 4
2 4
œ
5 8
Bœ
∑ mœ
5 8
œ µœ B œ n œ µœ Ó Ó Ó Ó≈Ó ≈‰ œ µœ Ó
∑ 3:2œ
œ Ó
W
&154 „
œ
3 4
3 4
bœ mœ B œ Ó Ó‰ Ó ≈
µ œ. œ
œ.
œ 6p
3 4
µ œ. Ó≈‰
œ Ó
∑ 3:2œ
15 4
6p
œ o
B œ. œ . ®Ó
gliss.
∑ mœ
∑ ..
15 4
6p
∑ .. w.
15 4
spiccato, gently brushed, upper half of bow
œ
4p
6p o
o
60 15
vn
œ.
B œ.
5 8
œ µ œ. ÓÓ
5 8
5 8
16
Bœ &58 Œ Ó Œ
61 15
vn
o
6 2
o
Ó
va
&58 15
vc
&58
@
œ.
œ
b œ.
B œ∑ B ˙ ..
Øpp
„
o
o
6 2
6 2
œ.
µ œ ..
œ W Ó‰
vn
& Ó ..
7 4
15
va
& Ó .. 7 8
7 4
vc
& Ó ..
Œ
Ó
7 4
5p
≈m Óœ Ó .
∑ mœ
6p
o
3 o
Π...
6p
œ.
œ.
µœ w Ó ˙.
œ
Ó
7 8
7 8
Vn., Va., Vc.: gradually move bow to resting position, while relaxing overall muscle tension and leaving the space of the piece
œ. œ . ≈Ó‰ Ó
o
∑ Bœ
œÓ
5p
o
20-30e
U
≈ Ó ..
B œ . ÓÓ
7 8
6p
b œ. µ œ . Ó4‰ 2
µ œ. o
15
7 8
4 2
n œ w .... Ó
64 15
7 8
4 2
∑
m œ nœ ≈Ó ≈Œ ∑
5p
5p 15
∑
µ gliss. œ µœ Ó Œ.
∑
‰.
20-30e
U
Ó
3p
∑
6p
‚. o
‚ &
loco
∑ ‚
20-30e
U
∑