The Insects Became Magnetic

Christopher Cerrone

The Insects Became Magnetic for orchestra and electronics (2018)

Version correct as of: 09/24/18 Outburst-Inburst Musics s Brooklyn, NY

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ORCHESTRA 3 Flutes (3rd doubling Piccolo) 3 Oboes (3rd doubling Cor Anglais) 3 Clarinets in Bb (3rd doubling Bass Clarinet in Bb and Clarinet in Eb) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F (all doubling harmonica) 3 Trumpets in B-flat (all doubling harmonica) 2 Tenor Trombones (all doubling harmonica) 1 Bass Trombone (doubling harmonica) Tuba (doubling harmonica) 3 Percussionists Harp Piano (doubling celesta in an L-formation) Strings (minimum 10.8.6.6.4) (most basses must have an extension 5 sting basses) Electronics (prerecorded sound files triggered live) PREMIERE November 18, 2018 Walt Disney Concert Hall Los Angeles, CA Roderick Cox, conductor Commissioned by
 the Los Angeles Philharmonic Association Gustavo Dudamel, Music and Artistic Director DURATION 13 minutes SCORE IN C

Note on electronics Electronics are triggered onstage by a performer. An additional sound engineer is needed to balance the mix from the audience perspective. There are two main electronic elements to be cued: drones and an “aura”—a prerecorded reverb that augments the live orchestra. They should be balanced throughout: the result is a texture where neither dominates— it should be ambiguous what is electronic and what is live. The conductor should have a monitor to be able to clearly hear the electronics. The sound engineer should consult the reference recording provided by the composer for balance. Vibrato usage Unless otherwise indicated, all musicians should always play without vibrato.

Harmonicas All brass players double on Harmonicas. Cheap ones will do. All holes besides the ones the players draw from should be taped off to avoid extraneous pitches. All players play harmonica in C except Trumpet 3 who plays harmonica in D. Percussion Disposition

Player 1:

Crotales (2 octaves) Bass Drum (large and deep) Tam-tam (large and deep) Guiro Very large sizzle cymbal 1 (with a very long decay)

Player 2:

Glockenspiel Vibraphone 1 (not shared with player 3) 6 Almglocken (C4, F#4, G4, A4, C5, D5) (suspended, not mounted, for maximum resonance) Very large sizzle cymbal 2 (with a very long decay)

Player 3:

2 Individual Crotales (written C5 and C6) Vibraphone 2 (not shared with player 2) Guiro The composer suggests Vic Firth M240 or equivalent for all “soft mallets” used on vibraphones, cymbals, and almglocken. Glockenspiel and crotales should be played with hard plastic mallets covered in moleskin. Both vibraphones must have working motors.

NOTE There are some other things in the painting that I didn’t see the first time around. The hull of a car. The trash scattered in the air. And scholars thought they were birds. I kind of did too. After all this time, goodbye to all that and this and that. I hope the insects become magnetic, to eat plastic hillsides, to pull a drone down, even. It might even be a collage, now that I look. What does any of this even mean? What is there in the world that we do not say goodbye to? Goodbye to war? A scholar once said that war makes us rhyme with each other. And music is the fluttering trash in the collage or painting or whatever we want to call it. It is under glass so I place my face up against the reflection and wait for it to pull me inside. — Adam Clay, Goodbye to All That, The Birds Included

When I started composing The Insects Became Magnetic, noise was on my mind—and it quickly became urgent. I’d set up a microphone to record myself playing the piano, opened up my laptop, and clicked record. But I’d forgotten to plug in the mic, leading to the computer speakers feeding back a painfully high screech. Fighting the normal human impulse to turn it off as quickly as possible, I thought: maybe there’s something in this noise. I grabbed my iPhone and quickly recorded a 30-second snippet before the sound became too much for me. I thought: could I possibly make something beautiful out of this obviously unpleasant sound? Rather than avoiding it, maybe the key is to find a way through and finally out of the noise by thoroughly exploring it. Noise itself has long been the condition of modernity. Articles proclaim a need for “Mindfulness in an age of Twitter noise.” The Guardian inquires: “Is modern life too noisy?” Nate Silver wrote a book about separating the “signal” from the “noise”—that is, getting rid of the noise to get to facts. In my own life in New York City, I can often feel overwhelmed by the noise of a routine commute—the train itself, not to mention the Ivesian cacophony of 30 strangers’ headphones bleeding beats over one another. Back in my studio, the first thing I tried was pitch-shifting the screeching feedback down a few octaves: It immediately became much more palatable. Then I slowed it to a third of its original speed, at which point it became a lush, evocative, slowly changing soundscape. It reminded me of the guitar solos in the music that I grew up with — feedback is littered throughout Nirvana and Rage Against the Machine records — music that turned the manipulation of feedback into a powerful expressive device. This became the sonority that opens my piece. From there I set out to blend the orchestra with this sonority. Bowed vibraphones and crotales—almost electronic-sounding instruments themselves—became the glue that melded the electronic with the acoustic. Swarms of string tremolos connected to the insect-like electronics, and finally—after being detuned down seven full octaves—the now almost unrecognizable feedback became low swells in the trombones and tuba. While recording myself improvising the middle section of the piece (a lullaby-like section), the water kettle went off, producing a harmonica-like drone. When I played it back among the other sounds of the piece, it happened to be just in the right key, and, keeping in the spirit of incorporated noise of daily life, I felt I had to incorporate that too. Hence, the harmonicas. As the piece progressed, I began thinking about a passage from Adam Clay’s “Goodbye to All That, the Birds Included”—a poem I’d loved for years: “I hope the insects become magnetic, to eat plastic hillsides, to pull a drone down, even. It might even be a collage, now that I look.” I realized I, too, was making a kind of collage: mixing electronic feedback with centuries-old violins, street noise and rarified orchestral acoustics, the canon and the vernacular, hoping to find something new in it all.

commissioned by the Los Angeles Philharmonic Association Gustavo Dudamel, Music and Artistic Director

THE INSECTS BECAME MAGNETIC Christopher Cerrone (2018) h = 40 (conduct in quarters)

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© 2018 Christopher Cerrone | Outburst-Inburst Musics (ASCAP)

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Christopher Cerrone—

2

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Christopher Cerrone—

Fl. 1

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e Insects Became Magnetic—Full Score

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Christopher Cerrone—

4

Fl. 1

A a tempo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ #œ w ˙

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26

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Fl. 2

e Insects Became Magnetic—Full Score

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mp

?

Ó #w ™

∑

∑ ˙™

∑

Ó

∑

w™

Hn.

1 2

¢

?

mp crossfade with Bsn. 2

∑

∑

ppp

∑

°›

Ó

Ó

Ó ∑

& ppp

œ– J ‰ ¢&

mf

Œ Œ

f

w™

Hp.

Cel.

Pno.

Ó Ów ™

p

w™

bw ™

f

Ó œ— J

Ó

Ó

Œ Ó

æ wæ ™ Ó̇

pp

p

Ó

Ó

ww ™™ & ææ

˙™ # ˙˙ ™™ æ

æ œæ # œœ #w ™ ææ

Œ #˙ ™ œ— J ‰ Œ Ó

˙™ ˙˙ ™™ æ

ppp

O™ & æ

O™ æ

˙

p

Ó

O™ & ææ

~™ æ

ÛŒ Ó pp

O™ ææ

pp

∑

f

Ó

Œ

pp

™ & ~ææ & Ó

Œ

II III

#O

œo œo

Ó

Ó

Œ

˙

˙

œ– J ‰ Œ Ó

pp

Ó

Œ

#œ

#œ

˙

pp

pp

p

∑

Û

&

O™ ææ

O™ ææ

Ó

f

∑

æ wæ ™

æ wæ ™

æ wæ ™

æ wæ ™

æ wæ ™

pp

Ó

Œ

#œ

~™ æ

O™ æ

push tempo forward

O™ æ

O™ ææ

f

pp

f

O™ ææ

ی

pp

mp

Ó II III

∑ pp

O #O O O

œo o æ

o

o

œo ææ

ppp

Œ Ó

œo ȯ ™ ææ ææ

Ó

ppp

? Ȯ ™™ æ

o ˙ æ p

##Ȯ ™™ æ

p

? ~w æ Ȯ ™™ æ

o ˙™ æ

Œ

Œ

∑ ~w ™™ ~w ™™

Ȯ æ

pp

##~w ™™ ææ

p

pp

p

∑

~w ™™

∑

°

Œ

#O

œo œo

repeat bariolage independently and freely

O

pp

∑ pp

#O

œo œo

O

ÛŒ Ó

mp

pp

repeat bariolage independently and freely

Û

pp

pp

mp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

repeat bariolage independently and freely

Û mp

O™ ææ ȯ ææ œo o æ

o o œo ææ

pp

O™ ææ

O™ ææ

mp

ȯ ™ ææ œo ȯ ™ ææ ææ

O™ ææ

~™ ææ

O™ ææ

ppp

∑

∑

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

& ‹

#wo ™ æ p

wo ™ æ

wo ™ æ

wo ™ æ

mp

wo ™ æ

wo ™ æ

poco

high drones fade

w™

mp

Œ Ó

& #w

O™ ææ

p

sul D

? ¢‹

∑

ppp

ppp

##~w æ

Ó

Œ

ppp

~w ™™ æ

pp

∑

∑

∑

wo æ ppp

p

o w æ

∑

p

Ó I II

pp

f

ȯ ™ ææ

I II

ÛŒ Ó

Û ~æ ™ æ

ȯ ææ

∑ ppp

pp

O™ ææ

~™ æ

mp

~™ æ

mp

O™ ææ

O™ æ

ppp

ppp

wo B æ

Ó

œ– J ‰ Œ

∑ w™ æ

pp

repeat bariolage independently and freely

pp

¢&

˙

pp

w™ æ

O™ ææ

& O #O O O

Elec.

Ó

p

w™ æ

repeat bariolage independently and freely

O

∑

repeat bariolage independently and freely

O #O O O pp

Vln. 2

Db.

Ó

w™ æ

pp

O™ ææ

ppp

p

p

pp

mp

I II

Û

? #Ȯ æ

æ wæ ™

˙—

pp

p

#w ™ æ

O™ æ

f

p

æ wæ ™

w–

œ– J ‰ Œ Ó

˙

ppp

∑

ppp

&

Vc.

œ– J ‰ Œ #˙

mp

I

f

& Ó

∑

æ wæ ™

pp

˙

pp

repeat bariolage independently and freely

B Œ

w™

∑

p

pp

#w

mp

Œ Ó

a tempo repeat bariolage œo œo #O O independently and freely

~™ æ

&

Vla.

∑

w™

Ó

I II

f

ppp

ppp

pp

°

II III

p

∑

∑

Ó

æ wæ ™

( nd some way to secure the celesta pedal to be held down throughout)

∑

mp

pp

w™

ppp

∑ ∑

mp

mf

pp

mf

‹ ?

˙—

˙ p

f

bw ™

pp

w™ ∑

p

Ó #˙

A

Vln. 1

pp

w™

‰ Œ

f

œœ – — J ‰

w

{&

{

˙˙ –

Œ

ppp

#˙ ™

Ó

ppp

j ‰ Œ # œ œ̇ –

w

œ– J ‰ Œ

˙

Ó

æ the so est beater you own suspended wæ ™ and attached to the tam-tam

p

∑ ˙

Vib. 2

mp

#w ™

w™

mf

Large Tam-tam

/

T.-t.

w™

mf

˙—

˙

ppp pp

(stagger breathe)

#w ™

∑

j ‰ Œ œ—

& ˙

mp

#w ™

∑

a2 con sord.

∑

#w ™

∑

∑

f

Vib. 1

pp

w™

pp crossfade with Bsn. 2

° ¢&

w™

∑

mp

Crot.

#w ™

∑

pp crossfade with Bsn. 1

Bsn. 3

to B. Cl.

Ó p

#w ™

?

w

Œ

∑ pp

Bsn. 2

Ó

ppp

w

Πp

Bsn. 1

Ó ppp

˙

p

˙

Œ

mf

& Œ

Eb Cl.

mp

#œ w

˙

#w ™

Trigger G# Drone Trigger F# Drone

w™

w™

w™

w™

w™

Christopher Cerrone—

°

34

Fl. 1

e Insects Became Magnetic—Full Score

5

a tempo

æ & #wæ ™

æ wæ ™

æ wæ ™

æ wæ ™

æ wæ ™

æ #wæ ™

∑

f

f

æ & wæ ™

Fl. 2

æ wæ ™

æ wæ ™

æ #wæ ™

∑

æ wæ ™

æ wæ ™

æ wæ ™

æ wæ ™

f

(1.)

Ob.

1 2

∑

&

Ó

#w

w

ppp

∑

&

Ob. 3

œ J ‰ Œ

pp

∑

Ó

Ó

ppp

& Ó

#˙ ˙

Ó

w w

˙ ˙

#w

w

p

& w™

Cl. 2

œ œ

mp

Ó

w

pp

mp

w

œ J ‰ Œ Ó

pp

œ J ‰ Œ

pp

w w

˙

ppp

ppp

Cl. 1

#˙

Ó

Ó

pp

#w

w

ppp

∑

∑

œ J ‰ Œ

pp

∑

ppp

#w

Ó

ppp

Œ

ppp

∑

Ó

w™ w™

#œ Œ œ

Ó

w™ w™

p

˙

Ó

ppp

p

Ó

Ó

w

pp

mp

pp

w

w™

˙

pp

mp

Ó

Œ

p

mp

j ‰ Œ Œ œ œ ˙

˙

Ó

#œ œ p

#w ™

pp

mp

Bass Clarinet

∑

&

B. Cl.

Ó

Œ

#œ

˙

pp

?

Bsn. 1

w™

mp

#w ™ ppp

?

∑

Bsn. 3

Hn.

1 2

¢

pp

mp

Ó

w™

Œ

#œ

˙

Ó

Ó

mp

#w ™

w™

p

pp

Ó ˙

Ó

mp

mp

w

˙

pp

mp

pp

#w ™

mp

p

w

mp

w™

mp

w™

˙

pp

ppp

w™

#œ ˙

Œ

ppp

œ œ ˙ J ‰ Œ Œ

w™

mp

w™

w™

pp

w™

#œ ˙

#w ™

w™

p

Œ

p

mp

#˙

ppp

mp

w

pp

°

p

Ó

Ó

w™

#˙

w™

pp

?

Ó

ppp

Ó mp

Bsn. 2

Ó

w™

mp

œ

pp

to Cbsn.

Œ Ó

Ó

mp

(a2)

& w™

w™

w™

w™

w™

w™

w™

w™ mp

2. con sord. pp

Hn.

3 4

mp

& w™

mp

wÓ

Œ

Ó ˙

#œ pp

pp

Œ

˙w ™™

mp

˙

mp

wÓ

pp

# ˙˙

Ó

p

pp

mp

j ‰ Œ Œ œw ™ ˙™

wÓ

mp

p

pp

ww ™™

# œ ˙˙

Œ

mp

p

pp

˙

mp

Ó

Ó

p

4. con sord. 1. con sord.

w™

pp

Tbn.

?

1 2

mp

w Ó

∑

Ó ˙

#œ

Ó w™

pp

Ó

mp

˙

w Ó

Πpp

‰ Œ Œ pp œjw ™ œ ˙

# ˙˙

mp

w Ó

Ó

mp

p

pp

ww ™™

# œ ˙˙

w™

∑

Œ

mp

p

o

mp

2. con sord.

#w ™

con sord.

B. Tbn.

Crot.

¢

?

∑

∑

∑

∑

∑

∑

mp

°›

Ϫ

(bowed)

˙

∑

&

‰ ˙

pp

Vib. 1

∑

& Ó

#œ

Ó

Œ

˙

œj– ‰ Œ

˙ Ó

˙

Ó

Ó

Ó

Ó

Œ

˙ ˙

œ

p

˙ Œ #œ

œj– ‰ Œ ˙

Ó w™

˙ ˙

Ó

˙

pp p

w

˙

Ó

#˙

#˙ w™

pp

Ó

˙

Ó

Œ

˙

Vib. 2

¢& w ™

(bowed)

j ‰ Œ Ó œ—

Ó

Ó

w– œJ ‰ Œ Ó

#˙ ˙

Ó

p

Cel.

Pno.

‹ w™ ? ææ

æ wæ ™ Ó

æ & wwæ ™™ æ

ææ ww ™ æ

{

°

Œ #æœ

˙ æ Ó

æ w˙æ ™ æ æ wÓæ ™

æ wæ ™ Ó

œ æ Œ Ó

#˙ æ

Ó

æ #wwæ ™™ æ

˙ æ

Ó

∑

~™ æ

∑

Œ

æ #wwæ ™™ æ æ #wÓæ ™

~™ & ææ

O™ ææ

ppp

ȯ ™ æ

ppp

Vln. 2

™ & ææO

O™ ææ

Œ æœ æ˙ æ

æ #wwæ ™ æ

O™ æ

~™ æ

O™ æ

ȯ ™ æ

ȯ ™ æ

B

∑ poco pont. II

Vc.

o tutti w ™ ? ææ pp

Db.

Elec.

ȯ ™ æ

∑

wo ™ & ¢ æ ‹

° Trigger D Drone ¢& ww ™™

Ó wo ææ

Œ #œ ææ

∑

˙ ææ

pp balance with celli

Ó

w™ ææ

Ó

mp

ȯ ææ

II

Ó

mp

Ó

wo ææ

pp

wo ™ æ

wo ™ æ Trigger C# drone

# ˙˙ ™™

˙

Ó

pp

Ó œ Œ

˙

˙–

∑

w ™—

Œ #æœ æ˙ œ æ Œ

æ #wwæ ™ æ æ #wwæ ™™

œ æ Œ

w™ ææ æ #wæ ™ #w ™ mp

∑

∑

ppp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

#˙ ææ

w™ ææ

p

mp

ȯ ææ

œo ææJ ‰ Œ Œ

mp

wo ™ æ

Ó p

œo ȯ ææ ææ II

p

wo ææ

wo ™ æ

˙

Trigger C# Drone

ww ™

#˙

mp

mp

wo ™ ææ pp

wo ™ æ Trigger D Drone

w˙ ™ ™

w™ ææ

ȯ ææ

wo ™ æ

˙™

w˙ ™™

w™ ææ #w ™ æ

tasto

mp

wo ™ æ

p

poco

Trigger D Drone

#ww ™

Œ #œ ˙ ææ ææ

pp

poco

˙˙ ™™

Œ #œ œ Œ

ppp

tutte molto tasto

Vla.

Ó

ppp

mp

O™ ææ

Ó w

#œ ˙

mp

~™ ææ

mp

I wo ™ æ &

#˙ w

œ ˙

æ #wæ ™ Ó

ppp

Vln. 1

∑

p

(1st stand)

∑

Ó

Ó

p

p

a tempo

&

Ó

˙ pp

p p

˙

Ó

˙

Trigger C# Drone

#˙ ™

Trigger low F# Drone

ww ™ ™

#w ™ #w ™

p

Christopher Cerrone—

6

B

°

42

Fl. 1

æ & wæ ™

æ wæ ™

q = 60 (Tempo II)

3 æ 4 ˙æ™ 3 4

∑

(q = 63)

pushing the tempo

æ ˙æ™

æ œæ poco

æ & wæ ™

Fl. 2

e Insects Became Magnetic—Full Score

∑

∑

‰

æ #˙æ

æ ˙æ™

‰

æ ˙æ

æ ˙æ™

æj œæ

æj #œ-æ

æj #œ-æ

æ ˙æ

æ ˙æ™

‰

æ #˙æ

æ ˙æ™

poco

p

Flute

∑

&

Fl. 3

3 4

∑ #˙

(1.)

Ob.

1 2

∑

&

Ó

Ó

∑

∑

3 ˙ 4

œ

ppp

&

Ob. 3

w

œ J

w & w

pp

Œ

Œ

air sound "shhh"

∑

#O ™

O™

p

mp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

ppp

to Eng. Hn.

‰

pp

Cl. 1

œ

∑

˙ ˙

Œ

3 4

∑ w™ w™

∑

3 4 Œ

∑ #œ œ

Œ

mp

ppp

œ œ

air sound "shhh"

˙ ˙

O™

pp

O™

p

mp

air sound "shhh"

&

Cl. 2

1 2

¢

?

∑

3 4

Œ

∑

˙™

j œ

˙™ ‰

Πo

Œ

& w™

∑

Œ

Œ

∑

O™

-̇ ™

˙™ poco

∑

-̇ ™

˙™

mp

pp

∑

∑

3 4 ˙™

w™

‰

∑

pp

°

O™

p

poco

3 4

∑

∑

o

3 4 œJ

∑

∑

p

pp

w™

?

Œ œ

∑

? w™

Bsn. 1

Hn.

w™

&

B. Cl.

Bsn. 2

w™

3 4

∑ j œ

˙™

‰

∑

Œ

Œ

∑

poco

balance with B.Cl.

˙™

˙™

˙™

˙™

˙™

œ ™ #œ ‰ Jpp

pp sub.

Hn.

3 4

∑

&

3. con sord.

3 4

∑

∑

∑

‰

j #œ-

˙

pp

∑

&

Tpt. 1-3

‰

Œ

4. con sord. 1.2. cup mute a3 3. senza sord. air sound "shhh"

3 4

∑

˙

∑

∑

∑

∑

/

O™

O™

p

3 ™ 4 #˙

˙™

(con sord.)

?

Tbn. 1

∑

∑

œ J

pp

?

Tbn. 2

∑

Œ

Œ

B. Tbn.

w™

∑

#˙ ™

∑

˙™

œ J

¢

?

∑

3 4

∑

“

‰

Œ

Œ

∑

∑

O™

∑

/

∑

æ & #wæ ™

suspended; tremolo inside instrument

∑ O™

p

˙™

˙™

˙™

˙™

mp

˙™

p pp

˙™

p pp

Very Large Sizzle Cymbal

∑

3 4

∑

3 4 œ—

∑

∑

∑

æ ˙æ™

∑

ppp

∑

œ—

(very so mallets)

Alm.

Œ

æ ˙æ™

very so mallets

°/

B. D.

Œ

p

∑

pp

Cym.

‰

air sound "shhh"

3 4 œJ

con sord.

Tba.

˙™

p

pp

? w™

&

mp

#˙ ™

∑

(con sord.)

3 4

∑

‰

∑

˙™

Œ

Œ

æ wæ ™

3 æ 4 #˙æ™

œ– J ‰

3 4

œ—

∑

p

æ ˙æ™

Œ

Œ

æ ˙æ™

æ ˙æ™

æ ˙æ™

˙–

Œ #˙ ™

Œ

Œ

∑ æ ˙æ™

pp

(bowed)

Vib. 2

¢& Œ

#œ

˙

˙

Œ

Ó

Ó

∑

∑

#˙

Œ

pp

p

Œ

mp

p

mp

œœ – —

#˙

p

Œ

Œ

mp

l.v. sempre

& #w ™

Hp.

{

3 4 #˙ ™

bw ™

#w ™

mp

mf

∑

&

Pno.

bw ™

?

∑

mp

3 4

Œ

Œ

æ & #wæ ™ #w ™

{

æ #wæ ™ #w ™

∑

3 æ 4 ˙æ™

°

poco

3 4

∑

mp

b˙ ™ poco

Œ

œ— “

Œ

b˙ ™

#˙ ™ mf

#˙ ™

mp

b˙ ™ poco

∑

Œ

Œ

Œ

œ— “

Œ

∑

q = 60 (Tempo II)

œ— “ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ œ #œ #œ ˙ ˙™ #˙ ™ #˙ ™

p

poco

mp p

poco

Œ

œ— “

Œ

∑

Œ

œ— “

Œ

∑

(q = 63)

pushing the tempo

∑

∑

3 4

∑

∑

∑

∑

∑

∑

&

∑

∑

3 4

∑

∑

∑

∑

∑

∑

B

∑

3 #˙ ™ 4 ææ

∑

? w™ æ

w™ æ

sul pont.

{

?

poco

o™

wo ™ ææ

‹

? ‹

{ ? ‹

3 4

∑

˙˙ ™™ ææ

˙˙ ææ

mp p

∑

˙˙ ™™ ææ poco

˙˙ ™™ ææ

mp

poco

∑

∑

‰

#œ æJ

˙™ æ

˙ æ

p

sul pont.

3 ™ 4 #ææ˙ 3 4

˙™ ææ

poco

mp p

˙™ ææ

˙™ ææ

poco

mp p

˙™

poco

mp p

˙™

˙™

poco

mp p

poco

˙™ ææ

˙™ ææ

poco

˙™

˙™

poco

1 solo sul pont.

˙™

p

gli altri, pizz.

3 4

œ—

Œ

Œ

∑

mp gong-like

°

œ ## œœ æ ææ

sul pont.

p

w ¢& ææ

tutti, div. sul pont.

˙™ ææ

œ—

Œ

Œ

∑

œ—

Œ

Œ

∑

Trigger low D Aura

∑

&

∑

Elec.

¢& w ™ w™

w™ w™

?

3 4 #˙ ™ #˙ ™ 3 4 ˙™

mf

∑

&

div. a2

Db.

mf

#˙ ™

mp gong-like

p

Vc.

b˙ ™

#˙ ™

(pp)

pp

∑

æ ˙æ™

half section sul pont.

Vla.

b˙ ™ poco

œ— “

B

Vln. 2

#˙ ™

mp gong-like

?

Vln. 1

b˙ ™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™

˙™

˙™

˙™

˙™

mp

Christopher Cerrone—

(q = 66)

°

æ & œæ

æ #œæ

50

Fl. 1

a tempo (q = 60)

æ ˙æ

æ ˙æ

æ & #˙æ™

Fl. 2

æ #˙æ™

Œ

mp

æ ˙æ™

‰

æj #œæ

e Insects Became Magnetic—Full Score

æ ˙æ

2 4 ˙æ

3 æ 4 #˙æ™

2 æ 4 ˙æ

3 4

& #O ™

Fl. 3

p

O™

#O ™

mp

p

∑

&

Ob. 1

‰

mf

mp

2 4 O ∑

2 4

j œ

2 4

∑

æj #œæ

æ ˙æ

(q = 66)

2 4 ˙æ

3 4

2 æ 4 ˙æ

3 æ 4 #˙æ™ mf

mp

3 4

mp

7 (q = 63)

push the tempo

to Picc.

2 4

∑

& ‰

˙™

˙

œ

pp

p

& O™

Cl. 1

O™

p

B. Cl.

j œ

∑

3 4

∑

3 4

3 æ 4 #˙æ™ 3 #˙ ™ 4

∑

2 4

˙

2 4 ˙

æ ˙æ

2 4 ææ ˙

3 4

2 4 ææ ˙

3 4

∑

Œ

Œ

∑

Bsn. 1

Bsn. 2

?

Cbsn.

¢

˙™

p

poco

2 æ 4 œæ

æj œæ

Œ

Œ

1 2

°

4 4

‰

4 4

∑

‰

2 4

∑

4 4

pp

‰

Œ

Œ

2 4

∑

4 4

‰

Œ

Œ

2 4

∑

4 4

mf

æj œ mp

poco

j œ

Œ

Œ

2 4

∑

3 4

œ J

‰

Œ

Œ

2 4

∑

™ 3 4 #˙

2 4

˙™

∑

3 4

2 4

∑

3 4

2 4

˙™

poco

2 4 ˙

2 4

∑

mp

4 4 poco

3 4

˙

4 4

˙

p

2 4

p

∑

j œ

œ

p

3 4

p

∑

æj œæ

‰

poco

‰

œ

2 4

∑

4 4

∑

Contrabassoon

3 4

∑

2 4

˙™

p

Hn.

4 4

2 ˙ 4

mp

poco

2 4 ˙

poco

?

3 4 mf

ææ #˙ ™

3 4

˙

p

˙™ pp

æj œæ

mp

3 4

mp

2 4

#˙ ™ j œ

‰

mp

˙™

∑

3 4

2 4 O

p

∑

‰

j œ mp

2 4 O

p

p

?

2 æ 4 ˙æ

mp

p

pp

O™

mp

‰

Œ

p

O™

p

?

‰

O™

mp

& O™

Cl. 2

4 4

mp

solo

Eng. Hn.

2 æ 4 ˙æ

Piccolo

English Horn

j œ

æ ˙æ

mp

‹ &

∑

æj #œæ

‰

˙

4 4 poco

(a2)

& ˙™

˙™

2 4 ˙

˙™

3 4

˙™

3 4

‰ œ

2 4 ˙

3 4

2 4 ˙

3 4

2 4 ˙

˙™

4 4

p pp

‰ j & œ ™ #œ

3 Hn. 4

˙

‰

Œ

a2 (air)

Tpt.

& O™

1 2

/ O™

#œ pp

? #˙ ™

Tbn. 2

œ

B. Tbn.

Tba.

¢

‰

O™

O™ mp

˙™

° / ˙ææ™

æ ˙æ™

/ œ—

Œ

¢&

{ {

?

Vln. 1

°

Vla.

b˙ ™

#˙ ™

æ ˙æ

æ œæ

œ— “

æ ˙æ™

& Œ

Œ

˙

2 ˙ 4

™ 3 4 #˙

Œ

mp

æ œæ

2 4

3 4

2 4

3 4

p

æ œæ

æ ˙æ

II III

æ ˙˙æ ™

#˙˙ æ

∑

˙

˙

p

Œ

2 4

˙

3 4

˙

p

œ

Œ

2 4

∑

4 4

∑

&

‰

2 4 #˙

4 4

2 4 ˙

4 4

2 ˙ 4

4 4

2 4

4 4

poco

#œ J

˙

3 4

æ ˙æ™

3 4

œ—

2 ææ 4 ˙

3 4 #‰˙ ™ ææ

æj œæ

Œ

Œ

2 4

æ œæ

æ œæ

2 4

∑ p

æ ˙˙æ

poco

˙™

2 4

˙™

3 4

æ ˙æ™

3 4

œ—

˙

poco

mp

poco

4 4

˙

poco

2 ææ 4 ˙ Œ

Œ

3 æ 4 #˙æ™

4 4

2 4

4 4

∑

2 4 ˙æ

4 4

2 ˙˙ 4 ææ

4 4

mp

2 4

3 4

∑

2 4

∑

3 4 #˙ ™

#˙

3 ## ˙˙ ™™ 4 ææ

∑

mp

2 4 #˙

b˙ ™

mf

3 4

Œ

2 4

Œ

2 4

∑

3 4

2 4

∑

3 4

mp

mp

‰

œ— “

3 4 #˙ ™

#˙

2 4 #˙

b˙ ™

4 4

b˙

mp

2 æ 4 ˙æ

mp

2 4 æ˙

mp

æj œæ

0

Œ

mp

mf

#˙ ™ æ

2 4

∑

3 #œ 4 ææ

2 ˙ 4 ææ

3 4 ææœ

mp

mf

mf

3 4

mp

mf

?

3 4

‰

æ œæ

4 4

mf

œ œ— “

Œ

3 4

Œ

∑

2 æ 4 ˙˙æ

3 4

2 ˙˙ 4æ

3 ## ˙˙ ™™ 4 æ

pp

2 4

∑

?

4 4

æ œœæ

Œ

Œ

2 4

∑

4 4

2 4

∑

4 4

mp

˙˙ æ

2 ˙˙ 4æ

#˙˙ æ

2 ˙ 4 æ˙

3 4 mf

2 ˙˙ 4æ

4 4

mp

mf

œœ æ

4 4

(q = 66)

∑

mp

mf

˙ æ

mf

2 æ 4 ˙æ

(q = 63)

3 ## ˙˙ ™™ 4 æ

2 ˙˙ 4æ #œ æJ

æ ˙æ

ææ &˙

mp

3 4

∑

æ œæ

push the tempo

## ˙˙ ™™ æ

poco

Œ

mp

mp

poco

œ

mf

Œ

æ œœæ

poco

˙˙ ™™ æ

non div.

2 4

2 æ 4 ˙æ

∑

poco

p

œ

3 4

˙

2 4 #˙

b˙ ™

œ— “

˙˙ ™™ æ

˙˙ æ

˙

mp

˙˙ ™™ æ

4 4

æ æ 2 æ œ œæ ˙æ 4 ˙æ œ— œ— œ— “ “ “ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2 3 2 3 2 4 #˙ 4 #œ œ ˙ 4 ˙ 4 #˙ ™ 4 ˙ #˙ ™

poco

?

∑

pp

#˙ ™ mf

2 4 ˙

mp

mp

b˙ ™

Œ

so est mallets, motor on

˙–

#˙

Œ ˙

3 4

∑

3 4

2 4 ˙æ

∑

p

™ B ˙æ˙ ™ non div.

Œ

a tempo (q = 60)

∑

p

#œ J

pp

(q = 66)

&

Œ

æ #˙æ™

æ ˙æ™

ææ &˙

p

? œ æ

2 4

2 4 ˙

p

p

? œ # œæœ æ æ Vc. div.

∑

™ 3 4 #˙

2 ææ 4 ˙

œ—

∑

Œ

half section sul pont. 0

Vln. 2

3 4

2 ˙ 4

‰

mp

p

œ— “ <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & #˙ ™ #˙ ™

Pno.

2 4 ˙

3 4

p

æ ˙˙æ™™

∑

?

˙

#œ J

p

mp

æ ˙æ™

Œ

æ ˙æ

& Œ˙ ™ ææ

mp

∑

2 4 ˙

2 4

˙™ poco

& #˙ ™

Hp.

Œ

œ ‰

p

p

(bowed)

Vib. 2

j œ

˙ Œ pp

mp

˙™

p

Alm.

j #œ

3 4

mp

˙

mp

p

p

˙™ <“>

B. D.

2 4 O

#œ J

‰

p

p

pp

Cym.

3 4

mp

#˙ ™

˙™

p

?

2 4 O

p

˙™

∑

p

O™

pp

?

2 4 ˙

p

mp

‰

#œ J

Œ

O™

O™

p

? œ J

∑

mp

(air)

Tbn. 1

œ ‰

O™

p

Tpt. 3

˙™

Œ ˙

‰

mf

#œ æJ

˙ æ

2 ˙ 4 ææ

4 4

mp

mf

™ 3 4 #æ˙

2 4 æ˙

mp

mf

4 4 mf

2 soli, div., sul pont. 1 solo

? ‹ ˙™

˙™

p

mp

3 4

˙

? ¢‹ œ —

°

& ˙™ ˙™ ? ¢ ˙™

Œ

Œ

∑

#œ – œ—

˙™ ˙™

˙™ ˙™

˙™

˙™

Œ

Œ

2 4 2 4 ˙ ˙ 2 4 ˙

∑

2 4

˙™

mp

mf

I IV non div (pizz.)

Elec.

˙™

poco

Db.

gli altri

2 4

3 4 3 4 3 4

#œ – œ— ˙™ ˙™ ˙™

3 4

˙ mf

Œ

Œ

2 4 2 4 ˙ ˙ 2 4 ˙

∑

˙™ ˙™

2 4 ˙ ˙

0

4 4 mf

mp

3 4 3 4 3 4

#œ – œ— ˙™ ˙™ ˙™

Œ

Œ

2 4 2 4 ˙ ˙ 2 4 ˙

∑

4 4 4 4 4 4

Christopher Cerrone—

8

e Insects Became Magnetic—Full Score

C Fl. 1

Fl. 2

Picc.

a tempo (q = 60) 58 ° 4 #w & 4 æ mf æj æ 4 & 4 ‰ #œæ ˙æ™ mp ‹ æ 4 ˙ææ™ œæ & 4

f

mf

Ó pp

˙™

4 & 4

Ob. 2

œ

mp

Eng. Hn.

4 & 4

‰

Cl. 1

4 & 4

‰

#˙ ™

œ

mp

mf

œ J

mf

j œ

‰

Œ

˙™ æ

#œ æJ

‰ f

mf

f

#w æ mf

f

˙

4 & 4

Ob. 1

pushing the tempo #w æ mf #œ ˙ ™ ‰ æJ æ mf æj œæ ‰ Œ Ó

æ ˙æ™

æ œæ

mp

mf

˙

Ó mp

Ó

4 & 4

Cl. 2

mp

mp

˙™

œ

Œ

Ó

Œ

æ ˙æ™

æ œæ

Œ

Ó

‰

ææ #w

‰

mp

? 4 4

B. Cl.

? 4 4

Bsn. 1

mf

‰

j œ œ

Œ

Ó

Œ

æ ˙æ

æj # œæ

Ó

? 4 4

˙™

Cbsn.

mf

mf

#w

‰ ‰

Œ

w

mf

poco

‰

Œ

Ó

æj œ

‰

Œ

Ó

5 4

‰

æj # œæ

Ó œ

mp

mf

Ó

æ ˙æ

mf

5 4

˙ mf

˙

mp

mf

poco

Œ

mp

mf

poco

5 4

w

mp

4 & 4

w

w

w

æ ˙æ

æj œ

w

mp

‰ œ

j #œ

˙™ Œ

(a2)

j œ

˙™

4 & 4

#œ J

˙

Tpt.

1 2

4 & 4

‰

Tpt. 3

4 & 4

œ

Ó

Œ ˙™

ppp

Œ ˙™

Ó

5 4

‰ œ

∑

‰

j œ

˙™

œ

Œ

Ó

5 4

Œ

˙™

‰

j œ

˙™

‰

5 4

œ

mp

œ

˙™

œ

#œ

‰ j ? 4 #w #œ 4

1 2

˙™

mp

? 4 4

B. Tbn.

w

mp

Tba.

Cym. B. D.

mf

poco

mf

poco

? 4 ¢ 4 w <“> mp ° / 44 wææ 4 / 4 œ—

mf

Œ

w

pp sub.

w

p

Œ

poco

w

mp

5 4

˙ ˙

3 4

∑

4 4

Œ

œ

3 4

pp

˙ ˙

4 4 4 4

∑ œ

˙

mf

pp

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

∑

∑

3 4 3 4

4 4 4 4

f

˙

˙

œ

w

5 4

mp

poco

œ—

Œ

w

˙

œ—

Ó

Œ

˙

mf

f

˙™

˙

mf

poco

æ wæ

f

˙™

poco

w

æ wæ

Ó

4 4

f

j #œ œ

mf

poco

p

poco

æ wæ

∑

f

‰ #œj 5 4 #˙ ™

˙™

poco

w

pp sub.

3 4

mf

˙™

mp

poco

œ—

Ó

#w #œ ‰ J

poco

w poco

˙™

p

pp sub.

4 4

mf

‰ j #w #œ

˙™

#w #œ ‰ J

∑

3 4

∑

4 Ó 4

˙

mp

Tbn.

3 4

f

mf

j #œ

4 4

3 4 æ˙ ™ æ

pp

˙

˙™

j ‰ œ #œJ ‰

ææ ˙

4 4

f

˙™

˙™ ˙™

Ó p

4 #w 4 æ æ

˙

mf

j #œ œ

∑

f

˙™

‰ œ

Ó

w

æ ˙æ

˙

mf

j ‰ œ #œJ ‰ mp

3 4

f

mf

3 4

∑

4 ˙ 4

˙

‰

5 4

4 4

pp

f

˙™

mp

Hn.

4 4

˙

mf

°

4 4

Ó

f

mf

mf

poco

(a2)

∑

ppp

˙

mf

mf

3 4

mp

ææ #˙ ™

5 4

˙

mp

w

∑

4 wæ 4 æ

mf

mf

˙

4 4

pp sub.

4 4

˙ ææ

‰

5 4

3 æ 4 ˙æ™

mf

mf

#w

mp

w

5 4

æ œæ

mp

Ó

f

˙ æ

mf

w

˙™

#œ J

q = 72

4 ææ 4 #w

˙ æ

mp

mp

mf

poco

Œ

˙ æ

mf

Œ

#˙ ™

œ J

mf

mp

1 Hn. 2

mp

(q = 66) #œ 5 4 ‰ æJ mf 5 #˙ ™ 4 æ 5 ˙™ 4 æ mf 5 ˙ 4 ˙™ 5 4 mf ™ 5 ˙ 4

mf

‰

j œ

mp

mp

? 4 ¢ 4

œ

mp

˙

j œ

œ

˙ æ ˙æ™

æj œ

f

∑

ææ #w

mp

mp

Bsn. 2

æ œæ

˙

˙™ æ

∑

mp

æj œ

(q = 63) #w æ mf #œ ‰ æJ mf æj œæ ‰

Ó

f

æ ˙æ™

5 4 5 4

æ ˙æ

œ—

Œ

Œ

æ œæ

ææ ˙˙ ™™ ææ

4 wææ 4 4 4

Ó

∑

mp

Alm.

Vib. 2

æj œ

4 & 4 #‰w ææ

æ œæ

mp

æ ˙æ

æj œw ææ

4 ## www ¢& 4 æ

‰

Œ

Ó

æj œ

‰ #w ææ

æ œæ

mp

æ ˙æ

ææj wœ ææ

## www æ

## ww æ

‰

Œ

˙ ™™ 5 ## ˙æ˙˙ ™™ 4 mf

## ww æ

mp

{

mp

? 4 4

Cel.

‹ 4 ? 4

{

bw

“

ææ &˙ ™

œ—

#w ?

œ “œ —

Œ

∑

bw

#w

bw

Ó

œ “œ —

ææ &˙ ™

∑

∑

∑

∑

?

5 4

“

ff

Pno.

? 4 4

“

ææ

&˙ ™

œ œ—

?

a tempo (q = 60)

°

œ œ— “

Œ

Ó “

∑

∑

II e

‰

h

O ææ

tutti poco pont.

4 & 4

∑

∑

II

œo ææJ

ȯ ææ

‰

O ææ

mf

b˙ ™

˙

ææ &˙

œ œ—

˙ ff

æ ˙æ

5 4

œo ææ

4 & 4

Œ

p

mf

Œ

Œ

‰

? ‹ ?

∑

Ó

5 4

‰

Ó

‰

‰

#œ æJ

4 & 4

Vln. 2 div. a3

Œ

p

4 & 4

Œ

p

mp

œœ ææ

mf

˙˙ ™™ æ #˙˙ ™™ æ

œ æ

mp

2 soli (div.)

? 4 ‹ 4

æ wæ w

mf

(trem. upper voice only)

mp

Db.

gli altri

? 4 4

¢‹

#œ – œ—

mf

p

Œ

Ó

Œ

Œ

Ó

mf

mp

˙™ æ

œ # œœ ææ ææ mf

#w æ

mp

mf

æ wæ w

mp

œ—

mf

I II IV

Œ

Ó

œ æ

mp

œœ

mf

˙˙ ™™ æ

mp

#˙˙ ™™ æ

mf

mp

mf

œ æ

ææœ

ææœ

ææ˙

˙ ææ

5 œ 4 ææ

#œ œ æ

5 ## ˙˙ ™™ 4 ææ

f

f

#œ ææ

œ ææ

mf

4 & 4

Elec.

¢

? 4 4

∑ -ø-

wo 4 æ 4

‹ ?

4 4 4 4

3 4

4 4

∑

3 O 4æ

O æJ

œo 3 æ 4

œo ææJ

‰

Œ

4 4

‰

Œ

4 4

o o

4 4

∑

3 4

∑

4 4

Û 44

∑

3 4

∑

4 4

˙ ˙ æ

4 4

∑

3 4

∑

4 4

˙˙ ææ

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

4 4

∑

3 4

∑

4 4

ff

#œ

œ

repeat freely

œ ff

#œ ææ

mf

mp

˙™ æ

5 œ #œœ 4 ææ ææ

Ó

5 4 ææœ

mp

f

æ wæ w ææ

5 4

w w

w w

w w

w

w

w

w

ff

ff

ww æ ff

#ww æ

æ ˙æ™ ˙™ æ

Œ

Ó

5 4 5 4

ff

æ ˙æ ˙ ææ

f

#œ – 5 4 œ— œ— Trigger E drone

w w

œ œ æ

f

#w æ

#œ – œ— œ—

œ œ æ

f

œœ

f

°

4 4

Œ

mf

p sub.

˙

sul pont.

mf

pizz. (non div.)

Œ

mf

4 #w – 4# w—

p sub.

ȯ æ

œ

œ

4 4

∑

3 o 4 œ– Œ >˙ – 3 œ– ‹ & 4 “ >˙ ¶ 3 4 œ

– 4 ##ww — 4

ff

5 œ 4 æJ

mf

æ wæ w

#œ – œ— œ—

œo æ

œ

˙ æ

## ww ææ

mp

3 4

q = 72 4 ~æ 4

f

p

mf

#œ ææ

4 4 #w o— mf 4 #wo 4

-̇ ™

poco pont.

## ww ææ

mp

ff

f

poco pont.

œ æ

4 4

4 4

Oh æ

œ #œ

5 4

#œ ææ

3 4

ff

mf

æ ˙˙æ ™

p

œœ

#œ –

œœ

sul pont. 0

mf

mp

? 4 4

Œ

## ww ææ

? 4 #æœ 4 æ Vc. div.

Ó

p

æ œœæ

# w B 44 # w æ æ

Vla.

Œ

mf

æ ˙˙æ ™

sul pont.

æ ˙˙æ ™

sul pont. 0

Oq æ

œo æ

˙ ææ

p

æ œœæ

œo ææJ

œ ææ

mf

æ ˙˙æ ™

sul pont.

4 #w – 4 # w- —

C Oq æ

f

I

5 4

æ ˙æ

&˙

(q = 66) I Oe 5 4 ‰ æJ

p

∑

ææ

œ “œ —

p

mf

Ó

Ó

œo ™ ææ

œo ææ

p

ȯ ™ ææ

ord. tutti

œ — “œ

(q = 63) q. O™ ææ

q

O ææJ

p

Vln. 1 div. a2

?

pushing the tempo poco pont.

4 & 4

ææ

&˙ ™

œ œ—

4 4

mf sub.

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 5 & 4 #œ œ ˙ ™ 4 #œ œ #œ œ ˙ ™ #œ œ ˙ ™ #œ œ ˙ ™ ˙ ˙ mp

3 4 ˙æ™

p

˙ ˙˙˙ æ

5 4 #˙ ™

bw

#w

4 æ 4 #w

f

f

4 & 4 #w

Hp.

æj œæ

5 4 #‰˙ ææ

Ó

Œ

Ó

ff

Œ

˙™

˙

˙™ ˙™

˙ ˙

˙™

˙

4 4 4 4

w

3 4 ∑

Cut off Low Aura Trigger Crotale Aura

3 4

˙™

4 4 ∑

4 4

Christopher Cerrone—

° 4 æ &4 œ 65

Fl. 1

p

Fl. 2

Œ

3 4

Ó

4 æ 4 #w

∑

pp

3 4 ˙æ™

4 & 4 #wæ æ

3 4 æ˙ ™ æ

4 œ 4 æ æ

‹ 4 &4

3 4

4 4

∑

p

Œ

3 4

Ó

Œ

Ó

pp

4 #w 4 æ æ

∑

pp

p

∑

9

4 æ 4 œ

pp

pp

Picc.

e Insects Became Magnetic—Full Score

3 4

∑

2 2

w ææ

2 2 ˙™

4 4

∑

#w ææ

∑

2 2

Πpp

Cl. 1

Cl. 2

4 & 4 æœ æ p

Œ

3 4

Ó

pp

pp

4 æ & 4 #wæ

3 æ 4 ˙æ™

4 ææ 4 œ

pp

B. Cl.

?4 Ó 4

Πa2

?4 ¢ 4 Ó

3 4

Œ

œ

3 4

pp

Hn.

Hn.

1 2

3 4

Tpt. 1-3

° 4 &4

∑

4 &4

∑

4 ¢& 4

Œ

Crot.

Glock.

p

3 4

Ó

∑

œ

˙

mf

pp

œ

˙

mf

pp

3 4

4 Ó 4

3 4

1.

4 Ó 4

3 4

Œ

œ

3 4

pp

4 4

air sound a3 no pitch

Œ

/4

œ

˙

mf

pp

œ

˙

mf

pp

æ #wæ

2 2

æ wæ

2 2

pp

O

‰

Œ

∑

∑

2 2

4 4

∑

∑

2 2

∑

/

∑

4 Ó 4

Œ

/

Œ

f

°/ 4 4

∑

3 4

∑

4 4

∑

3 4Œ

› 4 &4

∑

3 4

∑

4 4

∑

3 4Œ

œ

8O

p

f

air sound no pitch

tongue stop

tongue stop

∑

3 4

4 4

∑

2 2

Ó

&

2 2

Œ

Ó

&

2 2

8O

p

f

O

8O

p

f

J

J

‰

‰

‰

4 4

∑

Œ

œ

Ó

2 2

Œ

4 4

∑

Œ

œ

Ó

2 2

Ó

2 2

struck

3 4

∑

&

O

pp

› 4 &4

Ó

J

Œ

pp

œ

O

air sound no pitch

4 4

∑

38 4 OJ

4 4

4 4

∑

3 4

∑

4 Ó

∑

Ó

4 ææ 4 #w

∑

3 4

∑

4 4

∑

3 4

Œ

pp

∑

Œ

pp

œ

p

Tri.

4 œ 4 æ æ

p

œ pp

1 Bsn. 2

3 4 æ˙ ™ æ

4 #w 4 æ æ

∑

pp

struck

4 4

∑

∑

œ

Œ

pp

4 & 4 wæ

3 4 ˙æ™

4 æ 4 w

3 4 ˙æ™

4 æ 4 w

Vib. 2

4 #w – ¢& 4 # w- —

3 4 ™ -̇

4 #w – 4 # w- —

3 4 ™ -̇

4 #w – 4 # w- —

3 4Œ

4 4 #w o— 4 #wo 4

3 4Œ

Hp.

4 & 4 #w o— ? 4 #wo 4

Alm.

Cel.

Pno.

{

3 o 4 œ– Œ

– ‹ 4 ##ww — ? 4

{

3 4

‹ œ–&

mp

4 & 4 ##ww – —

° 4 &4

“ ˙– ¶

3 4œ

∑

Œ

>˙ –

3 4

3 o 4 œ–

– ‹ 4 ##w ? w—

“ >˙ –¶

4

3 4 œ–

4 #w – 4 # w—

3 4œ

4 4

∑

“ ˙– ¶

Œ

‹ &

>˙ –

-̇ ™

Œ “ ˙ ™– ¶

o œ–

Œ

‹ &

2 2 2 2

Œ

– ‹ 4 ##w ? w—

O æ

2 2

Ó

>˙ ™ –

4

œ–

4 #w – 4 # w—

œ

2 2

4 ~æ 4

~ æ

2 2

wo 4 æ 4

wo æ

2 2

4 w 4

w

2 2

2 2

“ >˙ ™ – ¶

pp

gli altri div. a2

Vln. 1

Œ

2 2 (do not clear resonance)

4 4 #w o— 4 #wo 4

“ >˙ –¶

3 4Œ

∑

æ wæ —

4 &4

∑

3 4

4 4

∑

ȯ æ

3 4Œ

∑

pp

back stand

4 &4

∑

3 4Œ

con sord.

Œ

#œ

4 œ 4

mp

ord.

gli altri

4 &4

∑

3O 4

pp

O

O J

ff

pp

f

‰

4 4

˙™

3 4 ˙™

mp

3O 4

∑

pp

O

O J

ff

pp

‰

4 4

∑

q O ææ

q O ææ

O ææJ

pp

ff

pp

‰

Œ

2 2

Vln. 2 ord. back stand

4 &4

∑

3 4Œ

con sord.

Œ

#œ

4 4 w

mp

3 4 ˙™

Vla.

∑

3 4

∑

w

2 2

wo 4 ææ 4

wo ææ

2 2

mf

poco sul pont.

B 44

4 4 w

˙o ™ 3 ææ 4 II

4 4

∑

pp

Vc.

?4 4

∑

3 4

∑

œo –

tutti, pizz. II

4 4

3 4

∑

Œ

Œ

4 4

Œ

Œ

4 Ó 4

œo –

∑

Œ

Ó

2 2

Œ

Ó

2 2

mf bell-like

Db.

Elec.

?4 ¢‹ 4 ° 4 ¢& 4

∑

3 4

∑

4 Ó 4

tutti sul pont. II

Œ

O

3O 4

p

w

3 4

˙™

4 4

w

f

3 4

˙™

p

4 4

w

Œ

O

O

p

f

w

p

2 2

Christopher Cerrone—

10

D

e Insects Became Magnetic—Full Score

h = 60

° 2 w &2 æ æ 71

Fl. 1

w ææ

mf

Fl. 2

Picc.

Cl. 1

˙ æ p ‰

Œ

2 & 2 ˙æ mf

Cl. 2

Ó

∑

∑

∑

Ó

Œ

Œ

mf

∑

Ó

∑

Ó

∑

∑

Œ

œ

∑

˙

ppp

Ó

∑

∑

Ó

Œ

œ ææ

p

˙™ ææ

œ ææ

œ æ

˙™ æ

œ æ

p

pp

æ œæ

2 ¢& 2

∑

p

2 & 2 wæ mf ‹ œ 2 &2 J

∑

w

∑

w

∑

w

mp

∑

∑

∑

∑

∑

∑

∑

∑

ppp

∑

∑

∑

pp

tongue stop

Tpt. 1

Vib. 1

° 2 ¢& 2

w

˙™

8œ

pp

p

mp

w

Ó

(cup mute)

∑

° 2 &2

∑

∑

∑

∑

∑

∑

∑

∑

∑

J

‰

∑

œ

Œ

∑

mp

Vib. 2

2 nw ¢& 2

∑

Œ

˙™

∑

Œ

œ–

∑

Œ

∑

∑

Ó

∑

∑

Ó

∑

∑

∑

∑

∑

mp

(do not clear resonance)

2 & 2 #w –

Hp.

{

w— (do not clear pedal)

{

∑

Œ

∑

Œ

n w—

D

œ–

Ó

∑

∑

Ó

∑

∑

Ó

Œ

∑ b œ—

w–

Ó

Œ

Ó

Œ

œ–

∑ ∑

w—

b œ—

b œ—

h = 60

° 2 ~æ &2

back stand

∑

mp but full, gong-like

?2 2

Vln. 1

Œ # œœ – —

w—

b œ—

2 & 2 nw –

gli altri div. a2

Ó

mp but full, gong-like

?2 2

Pno.

# ww – —

∑

∑

∑

∑

∑

∑

∑

Ó o

∑

∑

∑

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

∑

∑

∑

Œ

Ó

∑

∑

∑

∑

∑

∑

∑

Πo

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

o

ȯ 2æ &2

2 & 2 œJ

‰

(back stand)

Vln. 2

2 & 2 œj

‰

f

Vla.

Vc.

œo æ 2 B2

?2 2

∑

8j

molto s.p. stop bow on string sharply

ord., con sord.

?2 ≤ ‹ 2 w

w

œ

pp

œ

‰

8j

molto s.p.

ord.

Ó

∑

∑

≤ w

p

pp

ord., con sord.

8

˙™

>œ mf

‰

∑

2 soli

Db.

?2 ‹ 2

∑

∑

Œ

molto s.p. stop bow on string sharply

≤ b˙ ™

w

pp

j >œ

w

‰

Œ

Ó

≤ bœ

ord.

Ó

Œ

w

pp

p

pizz. gli altri

?2 ¢‹ 2 œ —

Œ

Ó

∑

Œ

Ó

∑

Œ

mp bell-like

° 2 &2 Elec.

Ó

bœ —

∑

∑

∑

∑

œ—

Œ

Ó

Ó

Œ

∑

bœ

œ ∑

∑

∑

∑

Trigger C Drone Fade Crotale Aura Trigger Piano Aura

2 w ¢& 2

w

w

w

w

w

w

w

Christopher Cerrone—

° w & æ æ

mp

ppp

& wæ

˙ æ mp

Ó

Fl. 2

˙ ææ

Ó

∑

∑

∑

∑

∑

&

Ó

Œ

œ-

w

pp

Ó

Œ -œ

ppp

w

˙™

w

p

∑

Œ

mp

solo

Eng. Hn.

11

E

79

Fl. 1

e Insects Became Magnetic—Full Score

∑

w>

w

p

mp

∑

∑

∑

∑

p

>œ J ‰ Œ

Ó

Ó

-̇

˙™

8œ

pp

p

mp

tongue stop

∑

&

Cl. 1

w-

w

pp

p

∑

∑

pp

-̇

˙™

8œ

pp

p

mp

J

‰

∑

tongue stop

∑

&

Cl. 2

?

B. Cl.

Ó

∑

∑

J ‰

∑

∑

∑

∑

∑

∑ Œ

∑

-̇ ™

∑ j œ

˙™

pp

?

Bsn. 1

∑

∑

∑

∑

‰

∑

p

∑

∑

non vib. sempre

w>

B

∑

p solo

Bsn. 2

¢

?

∑

∑

∑

∑

∑

∑

Ó

Œ

œ-

w

p

Tpt. 1

° &

∑

∑

∑

∑

w

w

8œ

pp

p

mp

O

8O ≈

p

mf

air sound "shhh"

?

Tbn. 1

∑

∑

∑

∑

∑

∑

/

R

Vib. 1

¢

?

∑

° &

∑

∑

∑

w

∑

∑

w

∑

∑

w

R

p

8O ≈

p

mf

mf

tongue stop

Œ

/

‰ O

O

air sound "shhh"

Tbn. 2

8O ≈

tongue stop

R

‰ O p

‰

J

O

8O ≈

p

mf

8O ≈ R

mf

tongue stop

R

‰ O p

‰ O p

8O ≈ R

mf

8O ≈ R

‰ Œ

Ó

sim.

‰

O

O ≈ ‰ O R

O ≈ ‰ R

mf

8O ≈

‰ O

R

p

sim.

‰ O

O ≈ ‰ O R

mf

œ

∑

Œ

Ó

mp

very so mallet

Alm.

∑

&

˙

Ó

Ó

Œ œ

∑

∑

Œ

˙™

Ó

Œ

œ

∑

Ó

Œ œ

∑

∑

Œ

˙™

Ó

Œ

œ

∑

Ó

Œ

∑

# œœ – —

o # œoœ – —

Ó

Œ

o # œoœ – —

Ó

Œ

œ—

mp

Vib. 2

∑

¢&

˙

Ó

mp

Hp.

Pno.

&

{

∑

?

∑

&

{

∑

?

∑

o # ˙o ˙—–

# ˙˙ —–

Ó

o # ww – — # œoœ – —

∑

∑

˙— ‹ &

˙–

Piano

Celesta (R.H.)

˙—

Ó

Œ

œ—

&

w–

œ–

∑

∑ w—

˙ ™—

œ—

b w—

∑ œ—

b w—

Ó

‹ &

# œœ – —

Ó

b w—

Celesta (R.H.)

Piano

Œ

˙—

Œ

˙ ™—

Ó

Œ

œ—

Ó

Œ

œ—

&

w–

b w—

E

° &

∑

∑

∑

∑

∑

∑

∑

∑

Vln. 2

&

∑

∑

∑

∑

∑

∑

∑

∑

Vla.

B

∑

∑

∑

∑

∑

∑

∑

∑

Vc.

?

∑

∑

∑

∑

∑

Vln. 1

pizz.

Œ

œ—

Ó

Ó

Œ

mp

8j

? ‹

∑

≤ w

w

pp

>œ

8j

molto s.p.

molto s.p.

ord.

ord.

‰ Œ Ó

∑

≤ w

w

p

8

Db.

? ‹ w

∑

Œ Ó

∑

Ó

b œ—

Œ

Ó

‚

‚

‚

mf

8

molto s.p.

ord.

j ‰ Œ Ó œ> mf

‰ Œ

>œ

mf

2 soli molto s.p.

∑

œ—

≤ bw

j ‰ Œ œ

w

p

ord.

Ó

∑

Ó

∑

≤ bpw

mf

pizz. gli altri

? ¢‹

∑

œ—

b œ—

Œ Ó

∑

œ—

Œ

mp

Trigger Filter-pulse (conductor should loosely follow)

° &

∑

∑

∑

∑

∑

‚

‚

‚

‚

‚

‚

‚

‚

Elec.

¢&

w

w

w

w

w

w

w

w

‚

Christopher Cerrone—

12

° w &

e Insects Became Magnetic—Full Score

87

Fl. 1

w

Ó

Œ

pp

mp

œ

w

w

3 4

w

pp

mp

solo

& bw

Ob. 1

w

p

∑

˙™

8œ

pp

p

mp

w

p

3 4

pp

‰

∑

∑

∑

-̇

Ó

tongue stop

J

∑

∑

&

Cl. 1

-̇

Ó

∑

&

Eng. Hn.

w

mp

&

Ob. 2

w

∑

∑

∑

bw

w

mp

mf

∑

3 4

∑

3 4 3 4

w

∑

pp

solo

& bw

Cl. 2

w

p

Bsn. 1

B

Bsn. 2

?

w

mp

?

B. Cl.

w

∑

˙

˙

p

w

œ

j ‰ œ

p

Tpt.

1 2

∑

∑

solo

w

w

p

mp

w

w 2. solo senza sord.

Πw

˙

3 4

œ

pp

3 4

∑ o

¢

3 4

∑

p

Ó

w

w

w

Ó

˙

° &

Ó

Œ

œ

p

w

w

8œ

pp

p

mp

1.

∑

J

‰ Œ

Ó

p

bw

w

p

mp

3 4

Ó

˙

3 4 (cup mute)

Tpt. 3

∑

&

∑

∑

∑

∑

˙™

Œ

3 4

pp

/ O

Tbn. 1

Tbn. 2

B. D.

O≈‰ O R

¢ / OR ≈ ‰ O °

O≈‰ R

O≈‰ O R

O

O≈‰ O R

O≈‰ O R

O≈‰ O R

O≈‰ O R

O≈‰ O R

O≈‰ O R

O≈‰ R

O

O≈‰ O R

O≈‰ R

O≈‰ O R

O≈‰ O R

O≈‰ O R

Ó

œ—

Ó

O

O≈‰ O R

O≈‰ R

O

O≈‰ O R

O ≈ ‰ 43 R

O≈‰ O R

O≈‰ O R

3 4

∑

Ó

œ—

Œ

3 4

∑

Ó

œ—

Œ

3 4

O≈‰ O R

O≈‰ O R

very so mallet

/

∑

œ—

∑

Œ

p

Œ

very so mallet

/

∑

&

∑

T.-t.

Vib. 1

œ—

∑

Œ

Ó

p

w

∑ w

∑

∑

3 4

∑

mp

Alm.

∑

&

˙

Ó

Ó

Œ

œ

∑

∑

œ

Œ

3 4

Ó

mp

Vib. 2

∑

¢&

˙

Ó

Ó

Œ

œ

bw

∑

ppp

Hp.

Pno.

&

{

∑

?

∑

&

{

∑

?

∑

o # ˙o ˙ – —

# ˙˙ – —

# ˙˙ – —

# ˙˙ – —

‹ &

˙–

˙—

Œ

Ó

Œ

o # œoœ – —

# ˙˙ – —

mp

Ó

# œœ – —

∑ ∑

# œœ

# œœ – —

b w—

Celesta (R.H.)

Piano

˙—

Ó

Œ

œ—

˙—

Ó

Œ

œ—

&

3 4

w–

œ–

∑

o Ó # œoœ – —

∑ œ—

b w—

3 4

Ó

# œœ – — ‹ &

3 4

Celesta (R.H.)

Œ

˙—

∑

∑

Vln. 2

&

∑

∑

Vla.

B

∑

∑

Ó

Œ

bœ

œ

p

ff

Œ

Ó

∑

∑

3 4

∑

∑

3 4

p

∑

∑

molto sul pont.

Vc.

?

∑

Ó

wpp

wp

Ó

˙—

Œ

˙

∑

∑

œ—

p

>œ

‰ Œ

Ó

8

Db.

tutti div. a2

ord.

j ‰ Œ œ

Ó

≤ bw

∑

mf

gli altri

? ¢‹ ° ‚ &

∑

‚

‚

‚

Œ

Ó

‚

‚

‚

∑

‚

‚

‚

‚

‚

w

{

8

molto s.p.

3 4

Ó

mf

b œ—

Œ

Ó

‚

‚

‚

Elec.

3 4

j ‰ Œ œ

p

œ—

3 4

mp

mf

molto s.p.

˙ ™–

≤ w

∑

2 soli

? ‹ w

-̇

mp

mp

8j

w

3 4

senza sord. (sempre ord to sul pont., stop bow on string)

molto s.p.

≤ w

∑

w

œ—

ord.

? ‹

3 4 3 4

˙ ™—

tutti, unis. senza sord., sul pont.

° &

Vln. 1

Ó

˙™

œ

â ‚

‚

‚

‚

‚

‚

‚

‚

‚

3 4

Trigger Db

w ¢&

w

w

w

b ww

ww

3 4

Christopher Cerrone—

Fl. 1

3 & 4

∑

push the tempo 2 bw 2

∑

2 w 2

∑

2 2

slow timbre trill

w

w

pp

3 & 4

w

w

w

w

p

w

quick timbre trill

∑

∑

tongue stop

8œ

3 & 4 ˙™

2 2 J

p

Ÿ -œ ~~~~~~~~~~~~~ œ ˙™

∑

œ

‰

Œ

Ó

p

Eng. Hn.

+ = alternate ngering o = normal

∑

2 œ 2

∑

mf

∑

+ œ

o œ

Ó

Œ

Ó

∑

+ œ

o œ

+ œ

o œ

3

pp

3 ™ & 4 ˙

Ó

p

slow timbre trill

2 2

∑

Œ

mp

fast slow Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bw œ w w w w

mp

3 & 4

Ob. 2

w

mp

p

Ob. 1

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bw œ

mp

w

pp

‹ 3 & 4

Picc.

13

F

°93

Fl. 2

e Insects Became Magnetic—Full Score

o œ

+ œ

3

+ œ

o œ 3

∑

+ œ

o œ

o œ

3

+ œ

+ œ

o œ

3

o œ

3

bw

∑

+ œ

o œ

+ œ

o œ

3

w

pp

quick timbre trill

3 & 4 ˙™

Cl. 1

pp

Πo

+ = alternate ngering o = normal

3 & 4

Cl. 2

~~~~~~~~~~~~ ™ Ÿ œ- œ ˙

2 ˙™ 2 + 2 œ 2

∑

+ œ

o œ

o œ

∑

w

∑ p

+ œ

3

∑

o œ

+ œ

3

o œ

+ œ

o œ

3

+ œ

+ œ

o œ

3

+ œ

o œ

+ œ

o œ

3

o œ

w-

mp

w-

w

bw

w

p

3

pp

? 3 4 ˙™

B. Cl.

¢

w

Ó

mp

B 3 4

Bsn. 1

Bsn. 2

2 bw 2

2 2

∑

? 3 4

∑

°

3 & 4

2 O

∑

/2

w

8O ‰ ™ O 8O ‰ ™

O

R

R

R

3 & 4

Hn. 2

mf

p

O

/2

mf

O ‰™ O R

3

2 Œ

∑

O

3

3 p

p

3 & 4

mf

8O ‰ ™

2 O

∑

8O ‰ ™ R

/2

p

mf

R

p

8O ‰ ™

p

R

mf

Hn. 4

∑

p

R

R

mf

O

3

mf

2 /2 Œ

p

mf

p

R

3

mp

mf

Ó

mf

R

mf

w

O

p

mf

R

p

8O ‰ ™ R

p

8O ‰ ™ R

p

mf

sim.

8O ‰ ™

mf

R

mf

p

O

mf

p

R

O

p

mf

R

p

p

mf

mf

8O ‰ ™

8O ‰ ™

O

mf

mf

Œ

O

R

8O ≈ ‰ R

3 p

mf

O ‰™ O R

w

O ‰™ O R

r ≈‰ œ

w> mp

O

8O R

mf

p

mf

p

O ‰™ O R

3

8 &

O ‰™ O R

O ‰™ R

∑

3 ™ & 4 b˙

Tpt. 2

w

pp

mp

2 œ 2

p

2 8œ 2 J

3 & 4 ˙™

Tpt. 3

2 bw 2 Œ

Ó

pp

w

O ≈‰O R

Œ

w

p

mp

Tbn. 1

Œ

Ó

3

Tbn. 2

∑

mf

≈‰

Œ

Œ

&

mf

>œ

w

w

mp

mf

w

˙

w

°/

3 4 3 / 4

O ≈ ‰ 22 O R

∑

2 2 2 œ— 2

› 3 & 4

∑

2 2

3 & 4

∑

2 œ 2

T.-t.

Glock.

Alm.

∑

Hp.

O ≈‰O R

O ‰™ O R

3

O ‰™ O R

O ‰™ O R 3

O ‰™ O R

O ‰™ R

O

3

O ‰™ R

Ó

O ‰™ O R

O ≈‰ O R

Pno.

Vln. 1

3 & 4

∑

2 # ˙˙ – 2 —

? 3 4

∑

2 2

{

O ‰™ R

3

O ‰™ O R

O ‰™ O R 3

O ≈‰O R

O ‰™ O R

3

O ‰™ O R

3

O ‰™ O R

3

O ‰™ O R

O ‰™ R

O

3

O ‰™ O R

3

œ—

Œ

Ó

∑

œ—

Œ

Ó

œ—

Œ

Ó

∑

∑

mp

∑

∑

O ‰™ R 3

Ó

∑

O ≈‰O R 3

O ‰™ O R

Œ

mp

Ó

∑

w ˙

Ó

bb ww

˙

ppp

# ˙˙ – —

∑

˙™ ˙™

∑

2 w– 2

‹ &

˙–

∑

2 2

∑ ˙—

bw — push the tempo

Ó

# ˙˙ – —

# ˙˙ – —

Celesta (R.H.)

˙—

˙ ™– ˙ ™—

˙—

Ó

Œ

# œœ – — Piano

&œ –

Œ

∑

œ—

bb ww

w– w—

# œoœ – —

f

Ó

w w

œ œ o

o # ˙˙ ™™

# ˙o ˙ – —

∑

w ˙

∑

˙ ˙ o

mf

Ó

Piano

F

O ‰™ O R

œ—

∑

mf

°

mp

3

O ‰™ O R 3

∑

bw —

∑

O

3

mf

? 3 4

Ó

w

O ‰™ O R

O ≈ ‰ O R

3

O ‰™ O R

3

O ‰™ O R

mp

Œ

mp

&

Œ

extremely so mallet

2 w 2

∑

O ‰™ O R

3

O ‰™ O R

O

3

∑

∑

‹ 3 & 4

œ

bw

∑

3

O ‰™ O R

3

∑ Œ

O ‰™ O R

O ≈‰O R 3

O ‰™ O R

p

3 ¢& 4

{

mp

w

∑

mf

Vib. 2

bw

Ó

p

∑

3

B. D.

O ≈‰O R 3

Ó

p

O ‰™ O R 3

3 ¢ / 4 OR ≈ ‰ O

O ‰™ O R

senza sord.

‰

2 O ‰™ O 2 R

O ≈‰ O R

O ‰™ R

ord.

mp

3 / 4 O

O ‰™ O R 3

O ‰™ O R

3

pp

bw

O ‰™ O R 3

senza sord.

3 & 4

Tpt. 1

O

3

O ‰™ O R

3

3

p

O ‰™ O R 3

O ≈ ‰ O R

3

3 p

O ‰™ O R 3

O ‰™ O R

O ≈‰ O R

R

mf

R

O ‰™ O R

O

3

R

3 p

w

3

8O ‰ ™ O 8O ‰ ™ Œ

O p

R

mf

O ‰™ R

3

8O ‰ ™ O 8O ≈ ‰ O R

O ‰™ O R

O 3

3

mf

O ‰™ O R 3

sim.

R

8O ‰ ™ O 8O ‰ ™

∑

mp

O ‰™ O R

3

3

mf

p

Œ

3

8O ‰ ™ O 8O ≈ ‰ O

p

o

mp

O

3

mf

3

p

R

3

8O ‰ ™ O 8O ≈ ‰ O

O

R

3

8O ‰ ™ O 8O ‰ ™

O

R

8O ‰ ™ O 8O ‰ ™

O

3

8O ≈ ‰ O

p

3

3 & 4

w

œ

3

Hn. 3

w

mf

8O ‰ ™

mp

∑

mp

Hn. 1

w

p

∑

2 2 w

∑

˙

p

ppp

∑ ∑

bw w– w—

∑ ∑

bw —

(sul pont.)

3 & 4 Œ

Œ

bœ

2 2 œ

p

Œ

Ó

∑

Ó

Œ

œO

ff

Œ

œO

p

Œ

œO

ff

Œ

œO

p

Ó

∑

ff

at the tip

Vln. 2

3 & 4

half section

2 2

∑

∑

∑

∑

∑

w æ

w æ

ppp

Vla.

Vc.

B 43 ™ ˙

2 2 w -

∑

w

? 3 4

∑

? 3 ‹ 4 ˙™

w-

pp

II IV

2 œ– 2 bœ —

Œ

2 j ‰ 2 œ

Œ

Ó

∑

mp

˙–

˙—

arco sul pont.

Ó

Œ

mp

Ó

≤ w

∑

mf

w-

bbœO

œO

p

ff

j œ

w

mp

w

‰

Œ

Ó

∑

Œ

Ó

∑

mf

senza sord. (sempre ord to sul pont, stop bow on string)

Db. div. a2

? 3 4

¢‹

2 ≤ 2 bw

∑

j ‰ œ

w

mp

Œ

Ó

≤ bw

∑

w

mp

mf

(conductor should loosely follow but feel free to speed up more)

°

3

3 & 4 ‚

‚

‚

2 ‚ 2

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

‚

3

‚

‚

Trigger triplets and Eb

Elec.

¢&

3 ™ 4 ˙˙ ™

2 b ww 2

b www

www

www

www

www

‚

3

‚

‚

‚

‚

Christopher Cerrone—

14

Fl. 1

e Insects Became Magnetic—Full Score

h = 68 (continue push) slow timbre trill ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ o ȯ ™ fast slow 100 <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b w œ ° w w w 3 2 w & 4 2 mp

w

&

Fl. 2

w

mp

‹ &

Picc.

p

w

mp

quick timbre trill

~~~~~~~~~~~~~~ Ÿ -œ œ ˙™

∑

mp

fast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ȯ ™ n wo œ wo slow timbre trill 3 2 4 2

˙

f

Ó

∑

Ÿ~~~~~~~~~~~~~~ 3 ˙ 4 œ œ

∑

mf

&

Ob. 1

bw

w

p

mf

w + œ

∑

+ œ

o œ

o œ

3

pp

œ

3

Œ o œ

Ó

&

Cl. 2

?

œ

Ó

o œ

œ

+ œ

Hn. 1

¢

?

Œ

œ

o œ

+ œ

o œ

+ œ

o œ

3

Œ

Ó

°

O ‰™ O R

/

O

/

O ‰™ O R

O ‰™ O R

>œ mp

w

œ

˙™

O ‰™ O R

3

O ‰™ O R

o œ

Tpt. 1

&

Tpt. 2

&

Tpt. 3

&

w

Tbn. 1

/

O ‰™ O R

Tbn. 2

¢/

o œ

+ œ

+ œ

o œ

o œ

O ‰™ O R

O ‰™ O R

O ≈ ‰ R

Œ

Ó

r ≈ ‰ œ

Œ

Ó

O ‰™ R

>œ

J

O ‰™ O R

O

&

O ‰™ O R

Vib. 2

Hp.

Œ

w

Cel.

Pno.

O ≈‰ O R

O ‰™ O R

O ≈ ‰ R

O ‰™ R

O œ—

Œ

Œ

œ—

Œ

Ó

mp

∑

mp

˙

O O ‰™ R

O

Ó

Œ

O ≈ ‰ O R

w

œ

w

2 2 2 2

O ‰™ R

3

O O ≈ ‰ O 22 R J 3

3

3 4 ˙™

2 2

Œ

>œ

3 4 ˙™

2 2

3 4

bw

3 ˙™ 4

2 2

w

3 ˙™ 4

2 2

3 4 ˙

w O ‰™ O R

O ‰™ R

O

3

O ‰™ O R

O ≈ ‰ O R 3

O ‰™ O R

O ≈ ‰ O R

3

O ‰™ O R

3

O ‰™ O R

O ‰™ R

O

3

3 4 Œ

>œ

Œ

O ‰™ O R

O ‰ ™ 43 O R 3

∑

∑

∑

∑

∑

∑

∑

∑

O ≈ ‰ O O ≈ ‰ O 22 R R J 3

˙

Ó

2 2

f

3

O ‰™ O R 3

∑

?

2 2

Œ

p

O ‰™ O R 3

O ‰™ O R

2 2

∑

f

3

O ‰™ O R 3

œ

∑

mf

O ‰™ O R

œ

˙™

3 4

O ‰ ™ 43 O R

mp

Œ

w

O ‰™ O R

3

2 2

3

3

3 4 ˙ —™ 3 4 ˙ —™

2 2 2 2

3 4 ˙™

2 2

3 4 ˙™

2 2

3 4 ˙™ mf ˙ 3 4

2 2

mf

∑ ˙

o # ˙o ˙ – —

mf

mf

‹ ? œ

Œ

œ—

?

Πmf

œ–

—

‹ &

œ—

œ œ

w w

˙™ ˙™

#œ #œ

w w

˙ ™– ˙ ™—

Œ

œO

˙

Œ

bœ

w

œ œ

w w

∑

Œ

bœ

w

œ ææ

w ææ

‹ ? œ

Œ Œ

œ–

—

‹ &

>œ

2 2

œ

2 2 2 2

∑

˙ 3 4 ˙

2 2

>œ

3 4

˙—

œ— h = 68 w ææ

Œ

3 4

# ˙˙ – —

œ—

w ææ

3 4 Œ

# ˙o ˙ – —

# ˙˙ – —

ppp

ff

o

# ˙˙ – —

∑

œ

œ

∑

ord.

œO

p

Vln. 1 div. a2

bbb www

Œ

(sul pont.)

∑

∑

(continue push) Ó

∑

Œ

Ó

˙—

∑

˙™ ˙™

Ó

# ˙˙—

# ˙˙—

‹ &

∑ ˙ ˙

mf

?

&

O ‰™ O R

w

nw

3

O ‰™ O R

3

∑

Ó

— & # ˙˙ –

°

O ‰™ O R

Ó

˙™

3

O ‰™ O R

∑

f

w

bw

3

O ‰™ O R

∑

¢&

{

O w

mf

Ó

3 4

mf

p

3

nw

3

3 4 ˙™

>˙

mf

3

+ œ 22 J

mp

p

O ‰™ O R

3

› &

{

O ‰™ R

∑

∑

mf

Crot.

3

Ó

Œ

œ O ‰™ O R

+ o œ œ

o œ

p

˙™

p

‰

3

O ‰™ O R

/ › & &

+ 3 4 œ

o œ

p

°/

Alm.

Œ

mf

œ

p

∑

8>œ

2 2

∑

3

œ

3

w

∑

3

Glock.

+ œ

o œ

mf

Œ

w

3

T.-t.

+ œ

o œ

o

3

8

2 2

Œ

3 4

3

w

O

mf

B. D.

+ œ

3

mf

O

+ œ

˙™

mp

w

3 4 ˙

w

3

œ

3

O ≈ ‰ R

w>

w

3

pp

w

O

3

Ó

&

3

+ œ 22 J

mf

+ œ

3

O ‰™ R

mp

Hn. 4

+ o œ œ

o œ

3

w

w

w

3

O ‰™ O R

3

∑

3

+ 3 4 œ

o œ

Œ

3

3

&

Hn. 3

O ‰™ O R

O ‰™ O R

O ≈‰ O R

+ œ

o œ

mf

b>œ

O

3

3 Hn. 2

O ‰™ R

3

+ œ

o œ

Œ

˙™

-̇ mp

mp

+ œ

o œ

f

+ œ

mp

Bsn. 2

+ œ

w

˙™

3

Ó

∑

o œ

Œ

3

Œ

B

Bsn. 1

+ œ

o œ

3

pp

B. Cl.

o œ

+ œ

mf

p

mf

+ œ

o œ 3

pp

~~~~~~~~~~~ Ÿ œ- œ

quick timbre trill

&

Cl. 1

+ œ

o œ

bw

Œ

p

w

+ œ

2 2

mf

˙™

w

&

Eng. Hn.

3 ˙™ 4

bw

w

mp

∑

&

Ob. 2

2 2

mf

2 2

∑

˙™ æ 3 4æ

2 2

mf

p

(sul pont.)

&

Ó

Œ

œO p

(half section)

Vln. 2

&

Vla.

B

Œ

œO ff

w ææ

Œ

œO

p

Œ

œO

p

ff

w ææ

Ó

∑

Ó

Œ

3 4 œO

œO p

p

wæ æ

w ææ

ff

2 2

Œ

p

˙™ 3 æ 4æ

wæ æ

p

Œ

2 2

mf

poco sul pont.

w

w-

w-

p

˙–

pizz.

Vc.

?

˙—

Œ

mf

? ‹ ? ¢‹

≤ w

œO

p

ff

Œ

&

‚

3

bb www

∑

˙—

Ó

‚

‚

∑

‚

‚

‚

3

‚ 3

www

p

mf

w

div. a2

Œ

ff

p

œO bbOœ

2 2

p

3 ™ 4 ˙

∑

2 2 f

≤ bw

‚

‚

‚

‚

‚

3

‚

www

‚

‚

‚

‚

‚

3

3 4 ˙™

w

w

3

Elec.

¢&

Ó

f

mf

‚

œ–

2 2

f

mf

°

Œ

w≤

w

j ‰ œ

pp

pizz.

bbœO

mf

Db.

w

arco, sul pont.

Ó

3 4 æ™ >-̇ mf arco, sul pont. Oœ O 3 œ 4

∑

‚

‚

3

nw b wwww Trigger E with octaves

‚

‚

‚

2 2 f

mf

‚

3

‚ 3

w b wwww

‚

‚

‚ 3

‚

3 4 ‚

‚

˙™ 3 ˙˙˙˙ ™™™ 4

3

‚ 22 J

‚ ‚ 3

2 2

Christopher Cerrone—

e Insects Became Magnetic—Full Score

15

h = 72 <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ȯ ™ œo œo œo ° 2 & 2 fast

slow

slow timbre trill

Fl. 1

mf

Ó

˙

mp

f

Ó

mp

w

˙

∑

w

p

f

bw Œ

w

∑

˙

2 & 2

+ œ

o œ

œ J

+ œ

o œ

3

+ œ J

o œ

+ œ J

3

3

Cl. 1

3

3

o œ

? 2 2

o œ

w

‰

w

mf

Cbsn.

Hn. 1

mp

mf

w >

w

+ œ

+ œ

o œ

+ œ J

o œ

+ œ J

3

3

2 / 2

O

2 & 2

Hn. 3

2 & 2

Hn. 4

2 & 2

Tpt. 1

2 & 2

w

Tpt. 2

2 & 2

œ

œ+ J

œo

œ+ J

3

+ œ

o œ

3

˙™

œ+

œo

+ œ J

+ œ

o œ

+ œ J

5 4

œ+ J

5 4

+ œ J

5 4

3

œ+

œo

œo

3

3

œ

œo

3

3

+ œ J

o œ

3

3

+ œ

o œ

o œ 3

3

5 4

w n

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ w

w Œ

o

5 4

f

˙™

w

>œ

w

bœ

w

5 4

f

O ≈ ‰

O

O ≈ ‰ R

O

O ≈ ‰ R

3

Œ

œ

8 j œ

>œ

O J

O

O ≈ ‰

O

O ≈ ‰ R

3

3

O

O ≈ ‰ R

3

∑

Ó

∑

w>

Ó

O J

&

Œ

5 4

∑

∑

Ó

Œ

Œ

∑

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