not this for ensemble
music and text Šcolin tucker (bmi) 2013-14
A. Instruments and Equipment Bass Flute Bass Clarinet in B-flat B Alto Saxophone in E-flat/Baritone Saxophone in E E-flat
Piano (lid closed as much as possible; possible muted with blanket or other acoustically absorbent material on underside of lid) Percussion (1 player): Glockenspiel (range:
)
4 Almglocken
Medium Tam-tam Tam (~26 in/65 cm) (laid flat on table, muted with towel or cloth underneath) 1 set of high, h minimally resonant Chimes himes (wood or seashell) “Mute Surface urface,” to be struck (must must make little or no sound when struck with mallets; a cushion or pillow may be suitable) Optionally: metal surface1 Mallets/implements required: 1 medium yarn mallet, 1 chopstick chopstick, ca. 5 small coins (i.e. Euro 1¢/2¢/10¢, US 1¢/10¢, etc.)
Mezzo-Soprano
Violin Viola Cello Double Bass
The score core is in C, with the usual octave transpositions for bass flute, double bass, bass and glockenspiel.
B. Layout/Staging Optimally, the piece should be performed in a chamber music music-sized venue. Minimize ambient noise in the hall during the performance. The stage layout should clarify the identity of sub sub-ensembles. Flute/voice and strings trings should be on opposite sides of the stage in front, not too far from each other; clarinet/saxophone and percussion/piano should be on opposite sides of the stage in back, quite distant from each other. Given the importance of the visual dimension, the visibility of all musicians should be maximized; maximized; music stands should obstruct as little as possible. The percussionist must be particularly visible, as silent and nearly-silent silent gestures play a pivotal role in her/his final “solo.” Piano far to the back of the stage, facing AWAY from audience if possible. Possible arrangement: sax cl
pf vn
mz-s
perc
va
fl
vc cond
db
(audience) 1
The metal surface can be used in lieu of the tam-tam tam tam in m. 35 35—to drop objects onto, and to knock onto the floor.
NB: the slightly unconventional score layout reflects this arrangement.
C. About the Piece 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 immobile, tense, and “loaded” as possible. These should be approached not as pauses, but as active interruptions of sonic/rhythmic continuity. Performers must remain absolutely motionless, with eyes into the stand, when not playing; page turns as well as changes into and out of playing position must be as gradual and unobtrusive as possible.
D. Explanation of Symbols 1. General Symbols a. Dynamics The work’s lowest dynamic levels indicate the utmost quiet possible. The resulting sound should be inaudible to the audience and perhaps even to the player her-/himself as well. Tone quality may be timbrally unstable as well. Players should not try to temper either of these qualities; rather, the risk inherent in attempting to execute extremely delicate gestures is an essential component of the piece. Dynamics range from ffff to pppppp, and are sometimes abbreviated: pppppp=6p, ppppp=5p, etc. In interpreting dynamic levels, attempt to balance the following two considerations: a. Extreme dynamics should be interpreted as extremes of physical effort, i.e. ffff should be the most forceful muscle tension possible without strain, without overt theatricality, without adversely affecting the continuity of the sound, and pppppp should be the most delicate muscle tension possible. b. The same dynamic level should yield more or less comparable sonic results on different instruments, or on the same instrument with different playing techniques/mallets, etc.* In crescendos beginning from nothing, in the first third of the crescendo, nothing should be audible to the audience, and likewise, as diminuendos approach nothing, nothing should be audible during the last third of the diminuendo. *In the context of playing techniques requiring an “excessive” amount of physical effort compared to the resulting sound, dynamics are written in quotations, i.e. “ffff”, “ppp”, in the manner of Helmut Lachenmann and others.
b. Other Symbols Numerals above fermatas specify their duration in eighth-notes. During fermatas contained within a accelerando or ritardando, the accelerando or ritardando continues during the fermata, at the same rate as outside the fermata.
Quarter tones are equal-tempered; arrows affixed to accidentals indicate inflections of approximately one eighth-tone.
tr : trill to nearest discernibly different microtone above tr : trill to the nearest discernibly different microtone below
All mordents to the nearest discernibly different microtone above (
m) or below (M).
All trills, mordents, and grace notes as fast as possible.
In saltando gestures (strings, percussion), the number of attacks is approximate; however, note distinctions between few/some/many attacks:
2. Instrument-Specific Instructions a. Woodwinds i. Notations that apply to flutes, clarinets, and saxophones: Blow air into the instrument without producing discernible pitch; mouthpiece sealed by lips:
No pitch content. Minimal tonguing; accents should be created instead by air speed. Encircled numbers indicate different fingerings for the same pitch, with higher numbers indicating darker tone colors: 012
ii. Notations specific to Flute: Rotation of the Instrument Normal position:
Instrument rotated as far outward as possible while still producing discernible pitch
Instrument rotated as far inward as possible while still producing discernible pitch:
Aperture of the embouchure: Normal embouchure—sound consists mostly of tone, with minimal air sound:
Wider embouchure, creating a mixture of tone and air:
Very wide embouchure—sound consists mostly of air:
In conjunction with air sounds created by sealing the lips around the embouchure, the following apertures indications are used: Normal aperture for this playing technique:
Tight aperture (do not allow the lips to buzz), possibly necessitating an “unnaturally” high amount of breath pressure:
b. Piano
Played una corda throughout. At extremely low dynamics, the attack pressure/speed should be slight enough that there is a palpable risk of the hammer not striking the string. Muting: Significantly muted: pitch is unclear, significant physical effort is expended in pressing on the string. Press on the string, as near as possible to the location where the hammer strikes it, possibly with multiple fingers:
Normal tone—not muted:
Partially muted—some clarity of pitch, slightly resonant:
Muting instructions apply until cancelled by another instruction.
c. Percussion Iterated gestures in the percussion part are meant to be performed by one hand alone; the resulting awkwardness is intended by the composer. Almglocken (or at least the A-flat and D) must be set up so that they can be quickly grabbed and dropped (near the end). Muting: Significantly muted: pitch is unclear, significant physical effort is expended in pressing down onto the instrument. Press as near as possible the striking point, possibly with the entire palm (almglocken) or entire forearm (tam-tam):
Normal tone—not muted:
Partially muted—some clarity of pitch, slightly resonant:
NB: In the case of the latter two instructions, “laissez vibrer” is always implied. Muting instructions apply until cancelled by another instruction.
d. Mezzo-Soprano Final consonants should be placed at the end of a notated duration. With longer notes, this is explicitly notated, while with shorter notes, this is not, owing to reasons of spacing. Low volume levels will often compromise the clarity of the text—this is fully intended by the composer. There are numerous overt incompatibilities between volume and textual clarity—for instance when consonants are indicated at a “niente” level. In these cases, fidelity to volume indications should take precedence over clarity of the text. The vocalist should make their best attempt to crisply pronounce the indicated syllable; if the indicated volume level prevents that syllable from audibly registering to the audience, this should in no way be considered a “failed” execution of the indicated gesture.
e. Strings Finger pressure is shown above the noteheads:
Normal finger pressure:
Light finger pressure, barely touching the string:
Intermediate finger pressure, between light and normal:
Bowing techniques:
col legno tratto (CLT) ½ col legno tratto (½CLT): equal mixture of wood and hair ½ arco: bow tilted so that a minimum amount of bow hair is in contact with the string Bow positions:
On the string: molto sul ponticello (msp) ( sul ponticello (sp) ( poco sul ponticello (psp) posizione ordinario (ord) ( poco sul tasto (pst) ( sul tasto (st) ( molto sul tasto (mst) ( sul tasto possible—as possible far over the fingerboard as is possible with the given string/left hand position combination (“st”) msp and mst should be quite extreme but not so much that some pitch content is not audible. Elsewhere:
Upper Purfling Center Purfling Lower Purfling
The indicated locations may be bowed on either side of the instrument. The choice is at the player’s discretion, and need not be the same throughout the piece.
Bridge (absolutely no extraneous noise from bow contact with strings strings)
Notation:
(“purfling” or “bridge” will be specified in context)
f. Conductor The conductor should be visually unobtrusive: no baton should be used. Page turns should be as quiet as possible. During fermatas, assume an active posture, perhaps with both arms in the air. During fermatas contained within a accelerando or ritardando, the accelerando or ritardando continues during the fermata, at the same rate as outside the fermata. In certain passages, the conductor should minimize visible movement: mm. 1-4, 14, 21, 43-44. Do not beat silence during 38-41. Numerous passages in the piece, particularly after m. 33, will not, at the notated dynamics/playing techniques, produce a normative “wellbalanced” ensemble situations. This is fully intended by the composer and need not be tempered. While it is not desirable that any musician is wholly drowned out for, for instance, an entire phrase, it is expected that certain parts (particularly the voice) will at times be briefly masked by other parts.
E. Text The text was created by the composer. It samples and filters excerpts from texts by Isaac Newton, G.M. Hopkins, Robert Smithson, newspapers, and online blogs, which are re-notated in the score in IPA.
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 6 minutes.
Written for ensemble soundinitiative, with utmost gratitude and admiration for their efforts. Thanks are also due to David Felder, Emi Ferguson, Tom Kolor, Lena Nietfeld, Lana Stafford, Christine Tucker, and above all to the members of soundinitiative for their helpful input on practical matters.
1
SCORE is in C with conventional octave transpositions
‰=96 bass clarinet
5e
U∑
?9
16
in playing position with embouchure in place
baritone saxophone
5e
U∑
?9
16
in playing position with embouchure in place
percussion almglocken
piano
bass flute
mezzo-soprano
violin
viola
cello
&
&
&
&
&
5e
U∑
9 16
SEMPRE una corda
9 16
5e
U∑
5e
9 16
U∑
in playing position with embouchure in place
5e
9 16
U∑
5e
9 16
U∑
in playing position with bow near/on string
B 169 ?9
16
5e
U∑
in playing position with bow near/on string
U∑e 5
in playing position with bow near/on string
5e
double bass
& 169
colin tucker
not this
U∑
in playing position with bow near/on string
œœ œ œ œ œ Ó Œ µµ nm
‰ ..
5p
o
B m œœ œœ
œ Ó ≈ Œ
‰.
o
o
ppppp
‰
‰.
Œ
‰
‰.
Œ
‰
‰.
Œ
‰
‰.
Œ
‰
‰.
Œ
sp ½ arco
nM œ Ó ‰ 6:5
‰.
o
½ arco sul II "st" s
µ ˙·
∑ œ
Œ
o
ppppp
pppp
o
≈ o
·s b ˙ ≈
½ arco "st"
o
pppp
o
2
‰=76 accel.
?7
3
b cl
16
8
U∑
5 8
Œ.
Œ
®. Ó– . ≈ . Œ . Ó o
‰.
6 8
"f"
bar sax
?7
16
B nµ
∑∑ 9:8œ
8
U∑
& 58
Œ.
m œ œ œ œ ®‰
≈ . ∑∑ ®. Œ . –.
‰.
6 8
ppppp
o
o
"f"
8
almgl
& 167
U∑
& 167
U∑
5 8
Œ
Œ.
6 8
Ó.
5 8
Œ
Œ.
6 8
Ó.
8
pf
8
3
b fl
& 167
U∑
The effect of the composite of bass flute, voice, and cello/viola/violin must be legatissimo. Beginnings of notes must be very gentle (perhaps tongueless in the flute).
5 8
o
µœ . ®Ó ‰
Œ
o
6 8
o
4p 8
mz s
& 167
U∑
5 8
‰
ppp
vn
&
7 16
U∑
5 8
5p
µ œ œ . ‹∑ ≈ . ‰
œ ≈
z
8
va
B 167
5 8
‰
€∑ ∑ œ ∑B œ B œ µœ arco µœ ‰ ®µ œœ . ≈µ œœ ®. Œ ppppp
vc
?7
16
8
U∑
db
&
i
Œ.
o
o
& 68
5p
‰.
& 58
5 8
o
≈ . >œ . Ó
PURFLING
"f"
o
·
Œ
≈. ‰.
"p"
PURFLING arco
≈ ® œ œ . µ œ . m œ œ œ n œ µ œ 68 µ œ ≈ . ≈ ®. >œ . œ œœ µ ÓÓ BB m o 5p o
8
7 16
®œ µ œ Œ
upper half s ½ clt 3 st sul II
ppp
U∑
6 8
abd
ppppp
U∑
5p
o
€∑ half ∑m œ œ ½upper clt ∑œ nµ sul III B œ . B œ Bœ µœ ≈ . m œœ. ≈ .. ≈ Ùœœ ≈ .. 68 ≈ . µ œ œ œ ®Œ .
8
3
ppp
o
o
r
Bœ œn œµ . œ µœ ≈. Œ. ®
"f"
4p
œ œ Ó ‰ ‰. 7:5
sp upper half tr arco
ppppp
∑ œ
œµœ
6 8
≈ œ
PURFLING
œ . >œ .
≈ œ. œ.
"p"
≈. ‰.
ppp o
"f"
"p"
‰=96 rit.
(accel.)
?Œ
6
b cl
®– . ®. Œ . ÓÓ "f"
bar sax
&Œ
pf
13
®. – . ≈ . ‰ . ÓÓ o
Œ
∑ 9:8œ
®®. ∑∑ Œ . –.
5 8
∑∑ ®. ∑∑ ≈ . ∑∑‰ œ µœ –. M
o
& Ó.
5 8
13
®œ œ œ œ ®‰ µnµ
pppp
o
"f"
& Ó.
5 8
5 8
U∑
Œ
U∑
& Ó.
5 8
13
Œ.
Bœ bœ
b œ b œ ..
‰
5p
‰ ..
pppp
‰
bœ
vn
& Ó.
‰
arco
5 8
va
∑ 4:3œ
µœ Bœ
vc
œ.
5 8
5p
‰
œ
6p
5 8
Œ.
œ. o
13
‰
B œ ®‰
U∑
13
5p
&œ >œ . œ . ®. ∑ ∑.. bœ œ
"ff"
5 8
o
®‰ 5p
13
U∑
o
o
>œ . ®. œ .
"ff"
13
U∑ U∑
sul II "st"
o
db
ppppp
o
µ · b ≈ œ œ œ b œ .. 4p
o
‰.
‰
upper half ½ clt sul III "st" s
& Ó.
‰
13
U ∑
sp tr
o
B œ ®‰ o
z 6
13
ppppp
o
mz s
o
∑ œ∑
‰
U∑
P 7:6 P ∑∑ ®bœ ≈ œ ®œœ ®Œ
(»)
& Ó.
3p
o
"f"
medium 6p yarn mallet
6
b fl
U∑
"f"
o
o
almgl
5 8
3
(rit. continues through fermata)
œ. œ. ®‰ o
13
U∑
&
4
(rit.) 9
b cl
& Œ.
4p
o
B bµ
& Π7 8
o
U∑
∑ 19:16œ
≈ . b œ∑∑ ‰ ‰ . n œ∑. ≈µ œ œ œœ 28 ®œ œ ≈ . n œœœ∑œœ‰œœ n B m mB m nB o pppppp o 5p o
p
o
4p
Ó
o
U∑
4 8
almgl
pf
Œ
n œ Bœ ≈ ‰ 5p
2 8
b˙
vn
o
va
&78 Œ
db
7 8
7 8
Ó
Ó
≈ . ≈ . bœœœœ ‰.
≈.
7 16
Π..
7 16
Π..
4p
2 8
Œ
Ó
U ∑
4 8
≈
ppp
o m Bœ . B œ . œœ
4p
U∑
‰ Bœ. Bœ.
21
6p
Œ.
µ œ Bœ 28 Œ
œ. Bœ.
o
U∑
4 8
pp
o
5p 5p
o
4 8
Mœ Ó ® 7 Œ .. 16
6p
o
∑
œ ®167 Œ .. ‹ Ó
z
≈ . m œ Bœ . B œ .
5p
o
≈.
7 16
Œ
o
nœ ‰ Ó o o 6p
upper half arco sp tr tr
œ nœ µœ ‰ o
vc
≈.
4 8
21
5p
o
upper half ½ clt sul III mst
·s &78 b ˙
p
Š. B Ϸ.
& Ó 9
4 8
21
8
6p
7 8
U∑
Œ
µ œ B œ 2 n œ nœ ..
œ. B œ . Ó
»
o
mz s
U∑
Œ
Q
21
& Ó ..
&78
Π..
o
∑∑ 13:10œ
5p
7 8
9
b fl
2 8
7 16
?
f
21
& Ó ..
Π..
tr ∑∑ 5:4œ
21
7 8
7 16
ppp
∑ 3:2œ
o
4 8
f
o
bar sax
21
≈ ≈ .µ œ nœ ≈ 28 ®œœ∑œœ ≈ n œ µœ ‰ œœ œ
Œ
7 8
∑∑ 11:8œ
∑∑ 9:8œ
≈ œ. Ó o
2 8
Œ
U∑
tr
‰
≈ n œ bœ ≈ ‰ . 3
4 8
o
5p
PURFLING
≈ œ. Ó o
msp
21
2 8
Œ
2 8
Œ
U∑
7 16
Π..
4 8
Ó
7 16
Π..
4 8
Ó
7 16
Π..
21
U∑
pppp
‰
"mp"
‰ "mp"
21
B
?4
14
b cl
8
– . ®. – . ≈ . ‰ –.
o
bar sax
o "ff"
"ff"
o
3 8
b fl
mz s
∑ 3:2œ
tr
‰
® ≈‰ B œ bœ
5 8
œ ≈.
6p
o
3 8
‰
≈ ∑‰ Bœ o
o
3 8
6p
m œ Bœ .
& 48 Œ
≈.
B œ ®B œ n œ
4 8
o
o
∑ B œ ..
3 8
f
®®. ∑∑ –.
Œ
ppp
∑ 3:2œ
pppp
6p
3 8
Œ.
3 8
Œ.
pppp
Œ.
≈.
oœ bœ µ œ œ . œ Bœ ≈. œ ≈.
5 8
≈
5p o
o
o
5p
o
4p
3p
o
3 8
≈ . B œ nœ œ ®‰ Bœ œ. r
6p
6p
o
o
m ≈ mœ ≈ mœ Bœ ≈ œ
msp
∑ 7:6œ
o
mmM ®n œ ≈ . µ œ œ œ ≈ ÓÓ 5:6 psp
3 8
o
3 8
∑ œ
4p
®. œ>. ≈ . ‰ . Ó "f"
œ.
o
3 8
t
nœ o
4p
tr
5 8
o
5 8
Œ
œ.
3 8
‰.
Œ.
d
œ≈ œ ® 6p
o
sul III sp
3 8
Œ
∑3 µœ ‰ M o
m µ msp Bn Mœ œ œœ œ œ ≈.
∑ 5:4œ
®œ œ ®
o
o
psp
6p 4p 5p
e
∑∑ ‰ .. œ
ppppp
Bµ M µ œ œmœ ‰ ..
sp
tr
5p
‰
5 8
œ œ œ Bœ
10
5p
4p
o
®∑ B œ ..
œ.
6p
4p
6p
4p
o
(sub.)
Q
Œ
v
5p
o
® 38 ‰
sul II upper half sp tr tr
"ff"
B œ‰ . µ œ ≈ n œ B œ mœ
® ® 38 ® ≈ . œ µœ œ ® 58 ≈ . ≈ ≈ œ µ œ B œ n œ œ B œ nœ œ Bœ Bœ œ. o o pp
‰
œ . >œ . œ . o
tr
sul III
mst
o
‰
o
5p
o
o
5 8
pppp
o
o
db
tr
∑ 4:3œ
®B œB œ ‰
o
6p
B4 ‰ 8
o
P m œ œ ‰ œ œ œ ≈ ‰ ..
∑∑ 6:5œ
5p
m œ Bœ . B œ
5p
vc
‰
o
o
Œ.
∑ œ
3 8
14
va
‰
®– . ®. ÓÓ
Œ
4p
m
pppp
5 8
& 48 Œ & 48 ‰
5 8
P 7:5Q ‰ ≈ ≈ . ® 38 Œ . B œ œœ ∑ 5:4œ
vn
∑∑ 5:4œ o
3 8
f
& 48 Ó & 48 ‰
‰.
‰
"fff"
& 48 ‰ .
14
5 8
o
o
4p
pf
®. – . ≈ . ‰ . ÓÓ "f"
& 48 ≈ . ®. ∑∑ Œ –. o
almgl
3 8
5
Bmœ µ œ ® ‰.
‰=60 accel.
3 8
Œ.
3 8
Œ.
ppp
5p
(accel.)
6
?5 Π. 8
18
b cl
> . >– . . – ®® ≈ Ó ÓÓ
9 16
Œ.
‰.
5 8
Œ.
Œ
Œ
9 16
Œ.
‰.
5 8
Œ.
Œ
9 16
Pœ œ œ œ œ œ Pœ ‰. ≈
5 8
Œ.
Œ
5 8
Œ.
Œ
"ff"
"p"
alto sax
almgl
& Œ.
take alto sax
5 8
& 58 Π.
Œ
ppp
pf
& 58 Π. 18
b fl
& 58
œ
Œ B œ µœ µœ m œ
6p
9 16
œo n œB œ ≈. ≈. ˜ 6p
o
mz s
& 58 B œ 18
vn
va
& 58 ‰ & 58 ‰ .. ®. œ . Ó o
9 16
ppp
rd
o
ev
(sul III)
®µ œ ‰ ÓÓ 4p o
M µ œ nœ ®‰ ..
∑∑ 10:7œ
®. ‰ .
3p
i
mœ. Ó o
9 16
9 16
vc
db
5 8
®. œ . Ó o
œ Ó
Bœ nœ ≈
5p
p 5p
∑∑®Œ ‹
nœ ‰ Ó
d
m
o
"mp"
6p
≈ r œÓ . o
5 8
mm ®œ œ≈ . ‰ .
≈. Œ.
o
≤ ≈. µœ.
½ arco
®Óœ . Œ .. pp
o
o
6p
o
5 8
tip
o
∑ µœ
®‰
6p
o
msp
tr
9 16
pp
9 16
Œ.
o
∑ 3:2œ
≈ Œ
‰.
5 8
Œ
5 8
Œ.
"mp"
®. ‰ .
tœ Ó Œ.
pppp
o
ppp
PURFLING
5 8
B œo ®B ˜ ® 58 ‰ . Ó o o
œ œo ˜ ˜ ≈. Œ
‰ ..
‰.
p
4p
∑ 4:3œ
Œ.
o
œµ œ ≈ m œ œ . n œ ≈ m œ œ 4p
‰=60
‰=76 rit.
9 16
Œ.
‰.
5 8
Œ.
Œ.
œ. Ó o œ. Ó o
≈ "p"
o
≈ "p"
o
7
‰=76 accel. b cl
∑∑ – . Œ .. . 5 ≈. ® ® . b– 8 Ó
55
U ®≈
?7 Π. 8
21
– . ®. ‰ . ÓÓ o
"ff"
"f" 55
a sax
U ®≈
& 78 Π.
®. ∑∑ ‰ . –. o
pp
o
P ∑ ∑ ≈ œ œ ≈ . ®.œ∑. 58 ® ∑≈ . Œ Bœ ppp
pf
U ®Œ ...
5 8
55 m µmB U . ≈ œ µ œ œ œ œ ‰. & 78 ®œ . œ ® ≈ ®≈
21
b fl
4p 5p
o
5 8
∑Œ µœ
U ®®‰
P∑ ®mœ .
Ó
& 78 Π.
55
21
& ‰.
U
sul III
®®œ µœ . ‰ œ ® œ œ B œ œµ B n ½ clt
7 8
4p
o
œ ≈ . ÓÓ ‰
kœ
œ. ≈. Ó
‰.
PURFLING
vc
o
5 8
∑∑ œ≈
pp
o
∑∑ œ . ®. 58 ‰
ppp
Π..
≈
m œ œµœ
œn œ µ œ
≈.
3p
o
l
o
o
3p p
sul II sp
& 58
∑ œ∑
msp
pppp
œ. ≈. Ó
o
"f"
o
‰
sp tr
∑ 7:6œ
o
3p
Mm n œ µœ ≈
5 8
U ®Œ ...
7 16
tr
5p
pp
n mB o
Π..
p
5 8
≈ . >œ . ‰ . Ó "f"
o
o
n tr m b µ n19:14 ∑∑ œ
œœœœ œµœ ‰ . o
7 16
m"st" œ ‰ & Ó
o
psp
∑ 7:8œ
o
t
œ ≈ µ œ ≈ . m œ nœ ≈
psp
tr ∑
3p
o
o
o
n
msp
m ®nœ B œ B œ nœ Œ . tr
∑ µœ. ≈. µœ Ó 5p
‰.
®µ œ œ bœ ®œ œ ® 167 ‰ o
55
7 16
®m œ∑.
o
Œ
o
m
∑∑ ∑ œ ®œ Œ
o
55
db
7 16
®m œ∑.
‹
m
U ®Œ ...
o
‰.
œ. m0œ 1
4p
œ. ≈. œ Œ
sul II
m 7:8 m U m & 78 ‰ ® ≈ . ∑∑ ≈ ®®œ µœmœ ‰ .. m œ Bœ B œ 7 8
ppppp
7 16
4p
p ∑
o
o
"f"
o
∑ 3:2œ
key gliss.
o
55
7 8
P ∑ ≈ . œ∑≈
∑ 7 bœ ‰. 16
pppp
pp
o
o
æ
va
3p
o
5p ppp
ppp
o
3p
55
vn
tr
5p
o
mz s
M b œ n œµœ
∑ 6:7œ
pppp
o
o
pppp
»
pppp
Q3 ≈. bœ ≈ œ
55
& 78 Π.
M 7 n œ bœ ‰ . 16
M ≈ m œBœ ‰
∑ 5:4œ
pp
∑ œœ bœœµœ ≈
‰.
‰
o
o
U ®‰ ..
& 78 Π.
"f"
∑∑ ®. ® 58 Œ . b–.
"ff"
55
almgl
o
7 & 16
7 16
œ .. pppp
mBmœ Bœ 3p
8
(accel.)
b b œ &38 ®œµœ œ œ µœBœ œ ‰
24
b cl
∑∑ 4:3œ
o
a sax
pp
5 8
pp
Π.. bB mm
m ®B œnœœœœœ ‰
œœ
‰
4p
o
œ
nµ
"ff"
13:12 n®Mœ ≈ . µ œ B œ ≈ . ÓÓ œ œµœmœ œ ®nœ œ œ ≈ µ œ nœµœ mœ pppp pp ppp ∑ œ
tr
m œœ œ‰œ .. ÓÓ
6 8
o
pp
>– . . . . > ®. >– . ®‰ ® ≈ ® b–. Ó
"mp"
p
o
5 8
≈.
b œ œ œ ®® 68 ? ‰ µ n B œ µœ
o
m b œ &38 ®n œ ®Œ ∑∑ 4:3œ
‰=96 accel.
∑∑ 4:3œ
chopstick 24
glsp
almgl
& Œ. 3 8
5 8
&38 ≈ .
Bœ
P
∑ . ≈ bœ . œ
Œ.
Œ ∑ 7:5œ
5 8
‰ bœ œ œ œ œ ‰. 4p
ppp
ppppp
‰
6 8
f
molto
P
6 8
b œœœ ≈ ®œ ®œ ≈ . ≈ œ ≈ . œœœ≈ ≈ ∑ 7:5œ
4p
pf
P∑ nœ ‰
&38 ‰ .
5 8
pppp
œ ≈ Ó Œ
Œ
?6 8
ppppp
œ
œ mœ œ
∑∑ 7:6œ
∑ 11:8œ
pp
5p
pp
Qœ ≈ . ÓÓ ‰
P ∑ ‰. œ
‰ ∑ 5:4œ
mPœ . ®Ó
‰
pppp
o m µ B µœ œ » œ bœ œ œ œ nœµœ 3 ≈ &8
24
b fl
o pp
3p
mz s
5 8
4p
o
» nœ n œ B µ o o œ œ µ œ B œ ® ®œ œ 68 m œBœB œ ®nœBœBœnœ ≈ ≈ B œB œ nœ ®Óœ Ó
Πo
6p
4p
o
µœ µœ Bœ
ppp
molto
tu
u
o
ste
nt
p
o
pp
o
o
o
pp
o
p pppp
Bœ nœ Œ. µ œ µ œ ® 58 µ œ µ œ
&38 µ œ œ ‰ . o
ppp
f
o
6 8
ve k ns
≈ œ
≈ Bœ m œ Bœ B œ n œ œ u
be
uv
4p
pp
œ ‹≈
æ
nd
AND...
sul III µ œ µœ œB œ µ œB œm œ œ œ µœ 6 ® ≈ ≈ ≈ µ œ 8 ® B œ µ œ B œ n œ n œ B œµ œ B œ B œ B œ µœBœBœ m œ o pp 4p 6p 3p
&38 µ œ œ œ bœ µœBœmœ ®µ œ µ œmœ 58 Œ
24
vn
o
pp
m
∑∑ 19:24œ
ppp
vc
& ‰ ..
5 8
o
œ n œbœµœBœmœ 3 Ó ®‰ &8 pp
o
4p
5 8
≈ Óœ
Œ
o
o
5 8
pp o
µœ o
ord tr
tr tr tr
œ
o
œœ o
db
3p
M m tr tr ≈ b œ ‰ n œ ≈ œ B œ b œ ‰ B œ b œ œ 68 m œ∑ Œ Ó Ó 3:2 msp
psp
sul II "st"
3 8
p
msp
M &38 ≈ œœœœœœœœ ≈ .. µB µµB b sp
va
4p
o o
4p
‰
œ Ó ≈ >œ Ó o
"f"
∑ 8:7œ
o
œ Ó
6 8
"p"
≈ œ Ó
"p"
M m 13:10 œ œ B œ œ µ œ µ œ œ œ ‰ ngliss. o
tr
∑ ≈ œ Bœ . ÓÓ o pp œ ≈. Ó "ff"
tr
msp tr ∑∑ tr tr
‰
≈.
o
>œ . ® ∑ µœ.
®. œ>. ≈ .
o
o
"mf"
®. œ . ≈ . ÓÓ "p"
pst
œ
p
"ff"
6 8
o
o
p
PURFLING
5p
pp
o
"ff"
®. œ>. ®. >œ . >œ . ®. ≈ "ff"
B µb
(accel.)
?4 –>. ®. >– . – . – .
> . b – . ® ® 78 ÓÓ
27
b cl
8
"p"
"f"
> ‰ – Ó
∑ 3:2œ
∑ 15:12œ
œœ
& 48 ‰ . &
m . m œœœœœ œœœ ®
œœœœœ
saltando ≈ . œ ≈ . ®. ® 78 b œ ≈ . ≈ . œ œ ® ‰ B œœ. œ pppp 4p
4 8
tamt
4 8
≈ ..
?4 Π8
27
b fl
Q œ. ®Ó ‰
& 48
µ œ ≈ œ . œ ®œ ®
œ
o
mz s
& ‰ 4 8
7 8
Œ
ppp
œ.
œ . m œ ‰ ..
∑∑ œ 78 œ .
ni
n
‹
p
pp o
∑ 5:4œ
& 48 .
1 1 œ0œ œ
≈
pp 4p p
o o
9 16
M 3 b œ 78 œ µ œ nœ sp
.
3p
tr
o
œ ®‰
9 16
pp
o o
∑∑ ∑ œ œ ..
& œ 4 8
7 8
œ
4p
p
œ.
œ. Ó pp o
db
4 8
œ>. ®. œ . œ . œ . "p"
≈ bœ Bœ mœ
œ>. ®. ® 78 Ó
"f"
œ> ‰. Ó
"ff"
mœ. ≈ & Ó o
‰
≈
t r
€
9 16
æ msp
∑ œ
≈ ≈ >œ Ó 3
PURFLING œ mœ . œ œ œ œ ≈ œ Ó p 6p
o "ffff" poss.
msp
∑ nœ
œ B œ µ œ œ m œ m œ nœ . ∑ 12:9œ
p
o
®œ . Ó f
≈ mœ. o
o "4f" poss.
"fff" "f"
œ.
9 16 mp
o
mst
o
9 16
mf
nd
mst ord
œ> ‰ Ó 5:4
o
msp
f
9 16
f
œ. ‹
mst
o
bœ µ œ µœ œ µœ œ œ œ ≈ B œ ‰ o Bœ pp ∑ 7:6œ
6p
6p
pp
æ
pp
∑ mœ.
‰
pp
ppp
vc
‰.
no
o
molto
mœ ≈ œ œ œ. µœ
3p
≈ . m œ ≈ œ . œ . ®œ . ≈ . œ
pp
∑ 5:4œ
≈ ∑ ∑ œ œ
msp mst
œ ≈ ®.
pppp
o
œ. œ µœ
‰.
9 16
pppp
∑∑ 9:10œ
P
œ. œ .
o
œ ® œ œ . ®œ ® 78 ‰ .
& 48 µ œ
P ®∑ mœ
∑ 5:4œ
Q œœ≈
∑∑ 6:5œ
bœ œ œ Bœ.
4p mp
pp
œ. mœ. ® ‰. pp
P œœ
9 16
9 16
pppp
air
P œ
"4f"
poss.
poss.
pppp
mœ. œ. ®Ó ≈ . Ó ‰ .
o
3p
o
msp
o
va
pp
4p
27
vn
7 8
f
o
B m œ œ mœ m m n œb –n m– – – œ ? 9 œ m œ œœ œ œ m œ µ œ œ œ 16 > > > bœœ 3 3 >3 "ffff" 9 16
≈
p
7 8
"f"
o
pitch
*all saltandi played with chopstick
7 8
9 16
bœ ≈ . ∑. ≈ . Ó ® ∑ – b –o . tr tr tr tr 11:9œ∑
pp
pp
pf
"f"
∑∑ œ
27
almgl
∑ 5:4œ
"fff"
air
> ≈–≈ Ó3
µ nbœ œ m n n œ b œ b œ – – – – – – b œn œ œ œ œ 78 & 48 œ œb œ œm œ ≈ m œœ mœ œ œ œ œb œ œn œb œn œm œm œnœ œ œ œ œm œn n –m – – m –n – – 5:4 œ n œ m µm pppp ∑∑ 11:8œ
glsp
–> ‰ Ó
‰
o
"ff"
∑ 19:16œ
a sax
œœ œœœ œ Ó ≈ ∑ b–. o p
‰=120 9
µB b œ œ œœ œœ œ
o
≈ . œ . ≈ . œ> ®œ . Ó Ó Ó o
"f"
"ff"
o
poss.
"ffff"
‰=48
‰=96
10
[trill between pitches of dyad] tr
∑ b –– ..
? 7 ‰. 16
30
b cl
o
≈
U ∑
6 8
Ĺ’
– –
– – b–.
tr
"f"
"ff"
o
a sax
[trill between pitches of dyad] tr
b –– .. Ó
? 7 ‰. 16
o
≈
––tr
8
U∑
~ ∑ UÂŽ. –∑ Ă™ – tr
13
8
6 8
Ĺ’
"f"
–– b–. "ff"
o
o
o
13
U≈ ÙÙ
take bari sax
o
In this section, the percussionist's actions must be approached as musical, not theatrical actions. Actions should be executed in a committed, straightforward, "deadpan" fashion, without overt theatricality.
almgl
& 167
mute surface
7 16 7 16
chimes
(lower into original flat position)
f
f
‰.
?7 ‰ 16
  PĹ“ Ĺ“ Ĺ“ Ĺ“ ∑ Ĺ“ ‰
4p pp
6 8
P P P ≈ Ĺ“ Ĺ“ ÂŽ Ĺ“   œÙ ÂŽ Ĺ“ Ĺ“ ÂŽ Ă“Ĺ“
6 8
5p
p 6p
∑ Ĺ“âˆ‘
f fff
(strike with wooden shaft of yarn mallet)
P ∑ Ĺ’ mĹ“
P∑ ÂŽ Ĺ“.
8
U∑
6 8
Ĺ’
p
U∑
& Ĺ’ .. 7 16
6 8
Ĺ’.
6 8
8
U∑
& 167 Ĺ’ ..
Ĺ’.
6 8
â‚Ź Ĺ“ BĹ“. n ≈ Ă“Ĺ“ ≈ Ă“ o
o
ppppp
va
& 167 Ĺ’ ..
~ ∑ U ∑ ÂŽ Ă™ َ– – o
5p
∑ 3:2Ĺ“
o
∑ bĹ“
13
U Ž ≈
Ĺ’
5p
ÙÙ
o
₏ ¾œ
6 8
‰
o
13
ĂŚ
½ clt "st"
8
U∑
[trill between pitches of dyad] 13 tr
o U ∑ ∑ ∑ ≈ Ĺ“ Ĺ“ Âľ Ĺ“ ≈ ÂŽ Ùَœ Ă“ 3
½ clt "st"
30
ÂŽ Ă™ Ă™â‰ˆ
ppppp
o
8
& 167 Ĺ’ ..
U
bĹ“ ≈ ‰ Ă“ f ° "sf " "sf " o o 3:2 Âť Ĺ“ Ĺ“ ≈ ≈. ‰ Ëœ Ëœ o
U∑
13
∑ Ĺ“
8
vn
Ă™ Ĺ“ Ĺ“ Ĺ“ Ĺ“Ĺ“ Ĺ“Ĺ“Ĺ“Ĺ“Ĺ“Ĺ“Ĺ“
ffff
30
mz s
U
pp 4p "f" "3p" poss. "ffff"
6 8
f
b fl
PĹ“ Ĺ“ Ĺ“ Ă“ ÂŽ Ĺ“ 5:4
∑∑ 9:10Ĺ“
∑∑ 6:4Ĺ“
13
∑∑ 6:4Ĺ“
8
U ∑
 œœœœœ
Q bœ
6 8
P  .  œ. 7 Ĺ“ ≈ 16 Ă“ Ă“
tamt
pf
(lift one edge of tam-tam)
13
U Ž ≈
Ĺ’
5p
ÙÙ
o
PURFL.
vc
db
7 16
7 16
‰.
‰.
Ĺ“. Ă“ o Ĺ“. Ă“ o
≈ "f"
≈ "f"
8
U ∑
6 8
Ĺ’
Ĺ“
BRIDGE
Ĺ“
"ff"
o
UÂŽ. Ĺ“ Ă™ Ă“ Ă“ o
o
13
8
U ∑
Ĺ“.
13
6 8
Ĺ’
Ĺ“ o
Ĺ“
Ĺ“. "ff"
UÂŽ. Ĺ“ Ă™ Ă“ Ă“ o
o
~~~~ ?5 – . – . ®. – . – . 8 –. accel.
5
33
b cl
"fff"
bar sax
‰.
"fff"
o
o
U ≈
tr
6 8
o
®. – . – . ® . – b–
tr
–.
bb ––
"f"
o
"fff"
o
o
o
?5 Π. 8
‰.
œ
33
≈
6 8
Ó
& 58 &
mute surface
5 8
pf
6 8 5
P b œœ œ
∑ 6:5œ
Œ
B œœ œ œ œœ œ œ
Q U ∑ ≈ ≈ œœœ œœ
œœ .œœœ®
6 8
ppppp
œ .
f
≈ œ
Œ
≈
U≈
6 8
≈
"fff"
o
‰.
"fff"
5
U≈
∑∑ 5:4œ
6 8
"sf "
®. – . – . ® . – . – –
o
6 8
∑ ≈ Bœ Ó ‹
mœ
‰.
3
& 58 Π.
‰.
‰.
"fff" "ffff"
Œ
PURFLING
6 8
Œ
PURFLING
6 8
3
æ
"ffff"
≤ ≥ 3:2 ≈ œ œ œ œ œ œ≤
≥
"fff"
"fff" o
∑ œ
5
U≈
≈ ‰.
≥ ≤ 3:2 ≈ œ œ œ œ œ œ≤ > o o
o
o
"fff"
"fff"
o
"fff" o
3
vc
5 8
œ œ ≈ œ. > >
Œ
"fff"
db
5 8
œ
3
œ > ≈
"fff"
5
U≈
6 8
o
o
œ
Œ
f
o
œ
5
U≈
6 8
œ o
3
œ œ >
"f"
œ >
"f"
≥ ≤ 3:2
∑ œ
≈ œ œ œ œ œ œ≤ > o o "fff"
o
"fff"
"fff" o
≤ ≥ 3:2
∑ œ
≈ œ œ œ œ œ œ≤
o
o
"fff"
o
o
∑ œ
5
U≈
ppp
o
t
"fff"
& 58 Π.
o
o
pp
o
n
va
"fff"
o
3
vn
tr
o
U≈
33
"sf "
"f"
o
5
o
~~~~~~~~~~~ – –. –. – –.
ff
°
f molto
tr
o
& 58 œ œ ≈ Œ .. 5p
Qœ bœ n œ. bœ ® ®≈
P œ ≈ Ó
p
~~~ & 58 – .. ®. – . – . – . –
knock over table underneath tam-tam, allowing tam-tam to fall onto the floor *ossia: knock over metal surface, allowing it to fall onto the floor
*ossia: drop chopstick/coins/ amglocke onto metal surface
5
Pœ . ®Ó
?5 ‰ 8
˜
drop A b almglocke onto tamtam
drop drop 3-5 chopstick coins on on tamtam tamtam
6 8
"p"
b˜.
˜˜˜
˜
œ œ 6 8 ppp
33
mz s
o
Ó.
p
b fl
"ffff"
ossia: omit
ppp 5 8
o
b– b– o
"ffff"
5 8
tamt
"ffff"
tr
∑ 6:4œ
(yarn)
almgl
o
5
U (freeze)
glsp
11
‰=76
o
"fff"
o
"fff" o
≥
"ffff"
o
o
≥ "ffff"
o
≥ "ffff"
o
12
?4
35
b cl
8
34
U ‰.
tr
b–.
–
7 8
"pp" non cresc.
bar sax
?4 8
b –– ® – .
–
≈ "pp"
o
"4f"
tr
‰.
‰
o
"4f"
bb–– ® – ‰
"4f"
o
o
tr tr
– ® –– – ≈ . b– –
"4f"
o
∑∑ tr –– ® –– ..
–
"4f"
o o
tr
tr
tr
"ffff"
o
o
molto
7 8
tr
–– –– ® –– ..
–
34
U ‰.
tr
tr
tr
– ≈ –
"4f"
o
"4f"
o o
o
tr
–– – ® – b–
o
"4f"
o
"p"
o
34
almgl
Uœ
& 48 (‰ ).
‰
pick up D almglocke and very gradually raise it as if preparing to drop it
‰
7 8
Ó ..
7 8
mPœ ® Ó ≈ Œ.
34
pf
?4U ‰. 8
‰.
‰
mQœ . ≈ Ó
Œ
∑ 5:4œ
∑ 5:4œ
ppp
p
34
35
b fl
&
4 8
U ‰.
‰.
‰
tr
– –– ® Œ
7 8
o
"4f"
o
6p
34
mz s
U‰ .
& 48
‰.
‰
‰
7 8
o
3
‹ t
34
35
vn
4 8
U ‰.
œ.
BRIDGE
œ
34
va
4 8
‰.
o
"4f"
o
U‰ .
4 8
‰.
ϲ
PURFLING
‰
7 8
"ffff"
ϲ
"4f"
≥œ œ "4f"
U‰ .
4 8
œ. "p"
œ
7 8
≈ ≥œ œ≤ ‰ 3
"ffff"
"4f"
o
"4f"
"4f"
ϲ
o
"4f"
o
"4f"
3 o
"4f"
o
3
"4f"
o
o
"4f"
o
"4f"
o
œ œ œ œ œ ≈ "4f"
o
o
"4f"
3 o
"4f"
o
œ œ œ œ œ œ œ œ œ 3
o
‹
œ œ œ œ œ ≈
≥œ œ
o
∑
3
"4f"
o
œ ≥œ œ œ œ œ œ œ œ
o
≥œ œ≤ œ ® œ≤ . o
"4f"
o
4p
3 o
o
∑∑ 10:9œ
3
db
"4f"
œ≤ ≥œ œ Œ
7 8
"ffff" 34
o
œ Bœ µœ Bœ nœ
3
vc
o
3
‰
tr
o
o
o
o
34
tr
–– ® –– – ® – ≈ – –
≈.
µœ µœ Œ
"p"
U‰ .
"4f"
5p
Œ.
7 8
–– ® –– ..
––
tr
tr
tr
tr
tr
"4f"
3 o
"4f"
o
"4f"
o
"4f"
o
13
∑∑ ? ®. ≈ . b –– .. tr
47
37
b cl
o
‰.
47
‰
UÓ
∑ b–
≈ b –∑ b–
UŒ
≈
tr
7 16
"4f"
o
hold almglocke in midair, utterly immobile
pf
7 16
"mf" non cresc.
? ≈ . –∑ ≈ . b– o
almgl
21
UŒ
"f"
tr
bar sax
UÓ
UÓ
mP œ ?≈ Ó ® Œ
7 16
‰.
47
UÓ
∑∑ 5:4œ
"ff"
21
47
& Œ.
21
7 16
UŒ
21
‰.
UŒ
‰.
UŒ
‰.
UŒ
œ. Ó
21
UŒ
‰.
21
UŒ
‰.
UŒ
œ. Ó
UŒ
pp
47
37
b fl
& ® ∑.. –
‰
UÓ
7 16
21
"mp"
47
mz s
& Œ. 37
vn
œ.
BRIDGE
UÓ
7 16
47
UÓ
7 16
"f"
va
vc
21
"f" 47
Œ.
UÓ
œ.
47
UÓ
7 16
7 16
21
"f"
db
Œ.
47
UÓ
BRIDGE
7 16
"f"
21
‰=96 rit.
14
‰=60
?4 Π8
39
b cl
®b –∑. ‰ b– .
Ó
8 2
∑
∑
∑
∑
®b –∑. ‰ b– .
Ó
8 2
∑
∑
∑
∑
tr
"ffff"
o
bar sax
?4 Π8
tr
"ffff"
o
gradually lower almglocke
almgl
& 48 Ó
P∑
pf
nœ Ó
?4 Π8
‹
f
°
(mute A only)
‰
∑ ®– . ‰ –. tr
b fl
& Π4 8
o
mz s
3
½ clt "st"
vn
€ 39 nœ. & 48 Ó
∑ nœ
≈ Œ
∑
∑
∑
Ó
8 2
∑
∑
∑
∑
8 2
∑
∑
∑
∑
∑
∑
∑
∑
6p
ppp
∑ ∑ bœ Bœ.
n
o
∑∑ bœ 8 2 ‹
( _______________ )
Ó
8 2
∑
∑
∑
∑
Ó
8 2
∑
∑
∑
∑
∑ œœœœœœœœ Œ
Ó
8 2
∑
∑
∑
∑
∑ œœœœœœœœ Œ
Ó
8 2
∑
∑
∑
∑
4p
o
∑
"ffff"
ŠϷ
& Œ.
8 2
Ó pp
4 8
Ó
"sf "
"sf " 39
almglocke lowered all the way to its original height
o
½ clt "st"
va
€. µœ 4 ®Ó Œ. &8 o
ppp
o
PURFLING saltando
vc
4 8
‰
‰
"ff"
PURFLING
db
4 8
saltando
"ff"