Unravelings by David Mettens

DAVID CLAY METTENS

Unravelings for ten instruments

2 Bassoons Percussion 1: Crotales (2 octaves), Sizzle Cymbal*, Suspended Cymbal*, Small Tam-tam, Tambourine 2 Horns in F Percussion 2: Vibraphone, Triangle, Sizzle Cymbal*, Suspended Cymbal*, Bass Drum Horns F Ccymbal and suspended cymbal may be shared between the two percussionists. 22Trumpets in * - Theinsizzle 2Trombones Trumpets in C 2Harp 2 Trombones Celesta Timpani (with a suspended cymbal to invert over oneInstrumentation of the drums) Timpani (withPiccolo) a suspended cymbal to invert over one of the drums) Flute (doubling Strings (minimum 10.8.6.4.2) Clarinet in B-flat (doubling Bass Clarinet) Percussion (2 players) ngs Percussion (2 players) Horn in F Percussion 1: Crotales (2 octaves), Sizzle Cymbal*, Suspended Cymbal*, Small Tam-tam, Tambourine David Clay Mettens mposers' Sinfonietta **, Suspended Cymbal **, Small Tam-tam, Tambourine Unravelings Percussion 1:Vibraphone, Crotales (2 Triangle, octaves), Sizzle Cymbal Performance Notes Percussion 2: Sizzle Cymbal , Suspended Cymbal , Bass – Vibraphone, Small Triangle, High Bongo, Guiro, and Wind Gong (with 2-3 coins Drum taped to the front of the gong) doubling Piccolo)Percussion David Clay Mettens for the Eastman Graduate Composers' Sinfonietta * * Percussion 2: Vibraphone, Triangle, Sizzle Cymbal , Suspended Cymbal , Bass Drum * - The sizzle cymbal and suspended cymbal may be shared between the two percussionists. General 2 suspended cymbal may be shared between the two percussionists. (with *3- TheAssistant) sizzle cymbal and 4 ! 2 Piano 4 3 Harp ! ! Instrumentation 4 Gossamer 4 qJHarp 4 cents) lower4 than b n # , approximating an untempered 7th partial =K50L 4sixth tone (33 2 2 Violins Celesta 4 3Flutes 4 doubles 3 4 3 2Celesta Instrumentation ! (2nd ! 43 Piccolo) ! 44 µ quarter ! 42tone !higher & 4 ! Viola 4 lower 4 ! 4 4 B24Oboes quarter tone (2nd doubles doubles English Horn) jet whistle . Piccolo) Cello 2 Flutes (2nd ± Strings (minimum 10.8.6.4.2) A b 10.8.6.4.2) Clarinets in Bdoubles œ bDouble œ2 2p7 Oboes (Strings G(minimum ),(2nd (4p11 ofjG) that the performer should try to approximate the intonation of an untempered 7th or 11th partial 2 J ‰ English jof Bass ‰ ÓIndicatesHorn) jet whistle nœ 4 22Bassoons œ œ 4 b y b ±. of the given fundamental. In the case instruments, the reference fundamental is given in concert A of transposing Clarinets in B ! ! 2 p f n œ œ b œ œ b œ Performance players should 4 Œ 2 Performance 4 ‰these Jpartials j pitch. j produce jNotes 2 Bassoons Œ Œ ‰ The ‰Notes Ó without correcting the intonation. J horn Performance Notes 4 # œ œ n œ 4 œ œ 4 b y 2 Horns in F ! jet whistle General ! ! . General ± p f 2 General Ÿ~~~~~~~~ o All 232Trumpets C are half-step trills. Horns in Fintrills j ‰ tone (33 cents)Œ lower Œ than bbnn##, approximating an untempered J42J2Trombones KTrumpets sixth partial œin (33 jet whistle KŒ LLSixth b ycents) C(33 approximating an an untempered untempered 7th partial sixth tone cents)lower lower than than ,, approximating 7th .7th ! œ tone ± 2 2 o 2 Trombones p f 2 3 4 3 BTimpani quarter tone lower µ quarter tone higher Winds ! ! Œ ‰ Œ Œ tonea8lower µ quarter tone higher suspended cymbal over one of4the drums) œj œ 4B quarter(with 4 to invert b y Winds ! tongue pizz. 3 Timpani (with a suspended cymbal to invert over one of the drums) Ÿ~~~~~~~ 44 3 4 j 3 (gradually p7p7of!ofG ),),((from p11 ofofG) Indicates that the performer the 7th or or 11th 11th partial partial p f t. An alternate fingering trill (also ashould timbretry trillto microtonal trill)intonation change normal tone ! Ó Œ Œ ( G p11 G) Indicates that the performer should try toorapproximate approximate the intonation of of an an untempered untempered 7th -G key Percussion (2 players) 4 to breathy, unfocused 4 tone An alternate 4fingering orknown timbreas trill o j > ofofthe given fundamental. transposing instruments, the is given given in in concert concert C œfundamental. œ + œ In the(2 given In the the case case*,of ofSuspended transposingtongue instruments, the reference reference fundamental fundamental is t.Ÿ~~~~~~~~ (2 piano players) match intonation f B 35Percussion Percussion 1:Gradual Crotales octaves), Sizzle Cymbal Cymbal pizz. *, Small Tam-tam, Tambourine œ œ 4 3 pitch. The players should produce correcting change from normal slightly unfocused tone 3!without !j #horn Œ to breathy, Œ * *4 these Óthe Œ ‰ J ‰Œ Ó O O3tone pitch. The horn players should produce these partials partials without correcting the intonation. intonation. Fl. Brass & 4 4 * # O * 3 3 4 j 3 O O b O 1 ! Percussion 1: Crotales (2 octaves), Sizzle Cymbal , Suspended Cymbal , Small Tam-tam, Tambourine Cymbal Suspended Drum ! ‰ b œtoæ completely "Vibraphone, ! ! Sizzle ! Ó Œ Œ Cymbal æ unfocused æ œ@ 2: 8breathy 4Percussion œThe 4Triangle, 4 slightly 4,the 4 * , Bassunfocused, K œ $ . C o * + o > Gradual change from breathy, unfocused tone to very completely airy * sizzle cymbal and suspended cymbal may be shared between two percussionists. 2: Vibraphone, Triangle, Sizzle Cymbal , Suspended Cymbal , Bass Drum Gradually cover the opening of the harmon mute with one hand. 3 3 Percussion Ÿ~~~~~~~~ P f are half-step trills. j @j * - TheAll All trills areand half-step trills. j trills ‰ Œ Œ b œ! pHarp "cymbal !suspended sizzle cymbal may be shared between the two percussionists. @Ÿ~~~~~~~~ +/- RH C # (slow) æ @ œ œ ˘ œ. t.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ Strings œ. ˙ ˙. J 4 œR ‰ . Œ 3 Harp breathy to completely unfocused ‰ Œ Œ # J Ó ! Celesta C o B b Cl. p & 4 4 Horn 3 3 3 3 1 ! !j j ƒ Winds Winds $ 1 Celesta !@j ‰ Œ j "G a natural ! ‰ ‰ Œ Œ ! horn effect. The note name is the sounding A note name with a dashed bracket @ @ @ @ @ @ tremolo. @ œæ indicates G @ @ . and should always be interpreted as unmeasured b œ b œ œ b œ œ Strings (minimum 10.8.6.4.2) œ œ œ œ . Ÿ œ ~~~~~~ @ æ K tongue pizz. t. d œ Horn in F. Play this figure as the 6th fundamental, but the written pitches are transposed + œ œ d œ 10.8.6.4.2) + œ œfor # œ # œ œ œ œ œ œ œ 4 3 Strings (minimum 3 œ œ K Ÿ~~~~~~~ Œthrough ‰ or ‰ Œ Do not ! position for ! œ 4 " rAn An fingering trill (also known timbreGtrill trill orœmicrotonal microtonal ‰J ‰Hn.Œ Ó& ‰ alternate Œalternate Œ Œ pfingering ! t.t.pŸ~~~~~~~ trill known aa timbre trill) 4 change valve 4 14th(also partials of! paasas sounding (written D) fundamental. All glissandi> start immediately, the beginning note value. Notes show the general speed or pace of the glissando, G key the at bracketed passageoforthe“correct” the intonation of any partials. " in parentheses F of the oœ œ 3 # f j Performance Notes " F should not be emphasized in any way. + œbutbongo 3

Vib.

Pno. Harm.

Brass tongue pizz. j Brass t.Ÿ~~~~~~ 44 ÷ General Œ4 Œ ‰ y Œ Œ œ œ pizz. y ! ! ! 43 3 Piano Assistant Œ Œ ! Ó Œ ‰ ‰ Œ Ó " ‰ Œ Œ ! D + o r O J + Gradually f 4 while Gradually4 cover the opening the harmon mute withmaking onef hand. hand. General 3 harmon cover the opening ofofthe mute with one O O b OPerc.O # O oJ& Play the given rhythm exactly in time a glissando from the firstœ to last pitch. œ œ 3 œ Lœ sixth œ œ œ œ 3 matchtone piano intonation œ 3 > K b n # 4 pluck (33 cents) lower than , approximating an untempered 7th partial b œ œ b œ Œ Œ Œ Œ b œ Œ Œ bstrings, œ Œ and ‰ Jglissando Œ bœ Œ Perc. The assistant stands at the opposite end of the piano and reaches inside to produce harmonics, &J Kpiano 4 4 # non. vib. f L sixth tone (33 cents) lower than b n # , approximating an untempered 7th partial 3 Strings 3 3 " 5 2 3 2 4 3 Strings different of"theœ strings and plectrum (a plastic credit card will work). The pianist plays only on the ˘œ Scorea nfingernail ÓP !B quarter Œ with K˙tone . areaslower 4 over 4 4 4 µ quarter tone higher 3o 3 o 3 o o o3 o keys. œ DŒ 3 B quarter tone lower µ quarter tone higher # ! # ‰ ‰ ( KAlban Œ ( Kœ ) trägt44 man Œ (mich," Œ C trill key is based on a melodic œ K œ R "Sleeping I$ am+carried..." fragment from Mombert Œsetting "Schlafend scatter references ) Œ Berg's ) Œ Op. 2, no. 2. I Œ ( Kœ ) - G key & 4 (bœ) (bœ) j oœ match piano intonation and should always be unmeasured tremolo. j melody j most fr the performer to this butinterpreted perhaps noticeable is thetremolo. poetic connection between Mombert's and theofatmosphere and form my11th piece.partial In a Pshould should always asasthat unmeasured ( and p7 G ), (throughout, p11 G) Indicates try to approximate theimagery intonation an untempered 7thof or + œ of œœof Pno. + œ should # O The nG) ObeO binterpreted non. vib. O assistant mark nodes on the passing low strings to produce the following harmonics: O b O ( p7 of G ), ( p11 of Indicates that the performer try to approximate the intonation of an 7th or 11th 3 should 3 3untempered 3 in partial dream, Mombert's speaker traverses a great distance to return home, over a landscape whose rough outlines and blurry forms appear only peripheral ? Œ ? ‰In the 4 reference 3 ofŒthe&given fundamental. case Œof transposing instruments, the fundamentalŒ is given in concert 4 ‰transports 3Œcase 2 œ Œ4th Œinstruments, 4 ! # b b œœfundamental. ‰ 27th sonic Œ and comes Œfundamental Œdisappear 5thŒ One idea Ó 7th 5th! 5th musical 4reference 4 2 O K ˙ . of the given In the of transposing the is given in concert vision. My piece the listener through a hazy landscape of overlapping ideas. emerges into focus, only to 4 4 4 4 4 œ # O n O b ˙or b˙ Allglissandi glissandistart start immediately, the beginning the note value. Notes in partials parentheses show the general generalthe speed or pace of the partial partial partial partialofpartial partial pitch. The horn players should produce these without intonation. 2 âimmediately, œ Iproduce œ correcting œ intonation. atat44the beginning of the note value. Notes in parentheses show the speed pace theœ glissando, glissando, flin the Ó O b O O All ! o o o o o o o o again, as another comes to the fore. Wispy lines strings and flutes wind around each other, and rumbles ascend the from the depths of theoforchestra. In a pitch. The horn players should these partials without correcting 4 $ but should not be emphasized in any way. °as the bass( Kœline P " molto sul. pont. ) & # œ ord. moment of clarity near the end, Berg's vocal line appears complete of a radiant chorale. This subsides, and the piece comes to rest on an extended but should not be emphasized in any way. molto sul. pont. ( ) IV/4. 35 > pizz. ˘œ ( œ) (œb œ ) (œ) 3 II/3. ( Kœ ) (# œ ) ord. % œ # œ # ( ) O. in the strings, concluding with a final evaporation of theO dream world.‰ Ÿ~~~~~~~~ P Vln. 1 &melody 4 Œ 3 All trills half-step trills. Œare #rhythm ‰ . Œwhile Œ the first r ‰. Ó œ+ Cpizz. œ a glissando œ ‰. j Ÿ~~~~~~~~ 4 to last‰ pitch. 4 jetŒthe whistle # trill key All trills are half-step trills. @ J R @ ? Play given exactly in time making from . & " O O O O O Schlafendinträgt michmaking I amfrom carried @J Sleeping, @R ± rhythm time while a glissando the first to last pitch. &æbfœœœœœj ˙ œœ pj Play the given p exactly 2 man b œ n œ f " $ p œ b œ in mein Heimatland! to my homeland. œ2 sul. pont. ! O2n O O b O O b O+ œ 4 ‰ 44 sul tasto œ œ b œ nmolto j J ‰ sulÓ tasto Ferne ! komm Ó Œ ‰ moltoJ sul.#pont. 3 I come, 4 4 4 ich her, From afar 4 j j rstrings between the bridge and the ± assistant Winds j the mid-range ! ŒBetween Œ pb the rehearsal F ‰and H, plectrum to glissando over Winds œ 4 œ uses‰ aüber œ œ depths, b# ˙ b œ Gipfel, über Schlünde, over peaks, over 3 . trägt44man mich," Op. Œ keyboard), Œ Berg's‰ Mombert ‰ strings !by2,a no. ! Vln. 2 &"Sleeping 4 â I am carried..." is based on3 a melodic fragment from Alban setting "Schlafend 2. I scatter references hitch pin (at the very end of the string, farthest from the but not on a section of dampened ribbon. The ˙ œ œ œ œ œ œ œ über einfrom dunkles Meer over a dark"Schlafend sea fon amost "Sleeping I amAn carried..." is based melodic fragment Alban Berg'strill Mombert setting trägt mich," Op. 2, 2. I of scatter references >f "microtonal >f P #timbre this throughout, but perhaps is" like theHeimatland. poetic connection between Mombert's imagery andman andno. form In a trill key guiro. "the atmosphere "my piece. t.tot.Ÿ~~~~~~~ alternate fingering trillnoticeable (also known as aCtimbre or trill) Ÿ~~~~~~~ sound ismelody glassy, brittle, not distinctly pitched, a+ametallic " p and inknown mein to my homeland. & An alternate fingering trill (also as trill or microtonal trill) j to this melody throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere and form of my piece. In a dream, Mombert's speaker traverses a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral molto sul. molto sul. pont. tasto sul tasto P). All rights reserved. j pont. - Alfred Mombert (1872-1942) Egreatsuldistance œœ #passing > O n O + œ dream, Mombert's speaker traverses a to return home, over a landscape whose rough outlines and blurry forms appear only in peripheral > O b O œ through œ a hazy sonic landscape of overlapping œ idea emerges and comes into focus, only to disappear vision. My piece transports the listener O b Oœ musical ideas.œ One ˙! r“guiro” 1 @ @ @ This sound contrasts with athrough fingernail glissando over the strings from F3 to G4 (and higher). pianist setsto disappear 44 from 3 4 œ œ œ œ idea Brass Transposed Score @ vision. My piece transports the listener a hazy sonic landscape of overlapping musical ideas. One emerges and comes intooffocus, only B ˙ ‰ Œ Œ ‰ œ ‰ .eventually ! The ! a . Brass @ again, as another comes to fore. Wispy lines in the strings and flutes wind around each other, and rumbles ascend the depths the orchestra. In ‰ Œ ! ! Œ ‰ Œ 43 ? b œ œ Vla. œseven œ 4 4 J J R " " " " J from F3 to E4 fore. onBerg's the sostenuto pedal, which ring out the glissando. The assistant should again, another comes to Wispy lines in appears the strings andDuration flutes wind around other, and rumbles ascend from the quickly depths ofdampen the orchestra. In a moment of clarity near the vocal line complete as the bassduring ofeach a9radiant -line ca. minutes 3chorale. This subsides, and the piece comes to rest on an extended + o f asnotes p theend, â + o " Gradually cover the opening of the harmon mute with one hand. f Gradually opening of the harmon mute with one hand. these strings theconcluding palm his hand after thecomplete glissando, but allow thea radiant highestchorale. pitch (G4, A4, and finally D5,comes not on p P moment of near the end,of Berg's vocal line appears as the bass line of This subsides, and the piece to the rest on an extended ord. melody in clarity thewith strings, withor a final evaporation of the dream world. molto sul. pont. b O O˙ Oœ j j ? 4 w melody in the strings, with a final evaporation of! theträgt dream sostenuto pedal) to concluding continue to sound. ‰ Œ Œ Œ Œ ‰ Œ 43 Schlafend manworld. mich‰ # œ Sleeping, I am carried # œ Vc. 4 Strings © 2015 Mettens Press (ASCAP). All rights reserved. Strings #œ in mein Heimatland! to my homeland. 3 Schlafend trägt man mich # œ Sleeping, I am carried 7 " fl fl toFrom Ferne komm ich her, afar I come, in mein Heimatland! my homeland. ƒ Strings " " " & molto sul. pont. über Gipfel, über Schlünde, over peaks, over depths, Ferne komm ich her, From afar I come, j should always j as unmeasured tremolo. as tremolo. ? and 4 ‰ always Œ be Œ ! dunkles ‰ # œ overŒpeaks, ! ! should always beinterpreted interpreted asunmeasured unmeasured tremolo #and œand should D.B. überGipfel, ein a dark sea 43 über über Meer Schlünde, over Œdepths, 4 fl over in mein to mya dark homeland. über ein Heimatland. dunkles Meer sea" ? ƒfl " " of the All glissandi start immediately, at the beginning of the note value. Notes in parentheses show general speed or or pace glissando, Alfred Mombert (1872-1942) All glissandi start immediately, beginning of the note value. Notes in parentheses showthethe general pace glissando, in mein Heimatland. my homeland. Natural harmonics are notated with a pair of Roman and Arabic numerals.toThe Roman numeral indicates thespeed string that theof the butshould should not be be emphasized in any - Alfreddesignates Mombert (1872-1942) but not way. harmonic should beemphasized played on, and theway. Arabic numeral the specific harmonic. For example, III/5. is the fifth partial Transposed Score pizz. pizz. harmonic on the D string of the violin, and IV/4. is theDuration fourth partial harmonic C string of the cello. + C # trill - G key - ca. 9Score minutes Transposed j onkeythe from o j 10 j Play the given rhythm exactly in time while making a glissando the first to last pitch. œ & rhythm exactlyDuration in time+ œ while making aœœglissando 40& tongue œ pizz. œ # O n O O b O O +b œO from the first to last pitch. œ ca. 9 minutes " " " 3 4 ‰ 2 3 ! & Œ Œ Ó ! O O #O nO Œ Fl. & 4 # r‰ Œ Œ 4 4 4 O b O > â P f P3 from "SleepingIIam am carried..." carried..." is is based based on aa melodic man mich," Op.Op. 2, no. 2. references "Sleeping on? melodic fragment fragment AlbanBerg's Berg'sMombert Mombert#setting "Schlafend trägt man mich," 2, no. I scatter references "fromAlban " ˙ . trägt " I2.scatter œsetting"Schlafend œ œ ˙ œ Transposed Score to this melody throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere and form of my piece. In a In 3 4 2 J ‰a 3 to this melody throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere and form of my piece. ! ! a great distance Œ to return home, passing over4 a landscape whose rough outlines and blurry forms appear only in peripheral B b Cl. &dream, 4 4 4 Mombert's speaker traverses Duration – ca. 8-8.5 minutes dream, Mombert's speaker traverses a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in"peripheral $ vision.My Mypiece piece transports transports the the listener listener through One idea G emerges and comes into focus, only to disappear vision. through aa hazy hazysonic soniclandscape landscapeofofoverlapping overlappingmusical musicalideas. ideas. One idea emerges andK comes into focus, only to disappear again, as another comes to the fore. Wispy lines in the strings and flutes wind around each other, and rumbles ascend depths of the orchestra. In a œ œthe 3 œ d the + œ from 13 # œfrom again, as another comes to the fore. Wispy lines in the strings and flutes wind around each other, and rumbles ascend orchestra. In a œ 3 4 œ 2 extended 3 K œ ! ! ! Œ ‰ ‰ . depths Œ of"tothe ! moment of clarity near the end, Berg's vocal line appears complete as the bass line of a radiant chorale. Thisœsubsides, and the piece comes rest on an Hn. &moment 4 4 4 4 " " of clarity near the end, Berg's vocal line appears complete as the bass line of a radiant chorale. This subsides, and the piece comes to rest on an extended melody in the strings, concluding with a& final evaporation of the dream world. 3 "3 F melody in the strings, concluding with a final evaporation of the dream world. 3 Schlafend trägt man mich Sleeping, I am carried j bongo Schlafend trägt man mich 4 Sleeping, I am carried 3 2 3 9

Performance Notes

@@ ææ

Program Notes

Program Notes Notes Program

@@ ææ

Program ProgramNotes Notes

Unravelings

Transposed Score

Flute

Clarinet in B b

Horn in F

Percussion

Gossamer q = 50

4 &4

3 4

∑

& 44

∑

triangle 3 ÷ 44 ¿ i Œ Ó 4 ∑ π vibraphone very soft mallets bœ i œ i 4 Œ Œ Œ b œ i 43 Œ b œ Œ Œ &4 3 π3 3 ° œ œ i bœ 4 J Œ œ iŒ 3 œ Œ( Kœo ) Œ &4 4 3 3 3 p π P 3 ? 44 ∑ 43 Œ Œ Œ nœ ° 4 3 ∑ ∑ &4 4

Violin 1

Violin 2

Viola

Cello

Double Bass

(match vibraphone)

4 &4

∑

3 4

∑

?4 4

∑

3 4

∑

B 44

3 4

∑

?4 4

3 4

∑

Fl.

∑

B b Cl.

∑

Hn.

∑

Perc.

Pno.

?Ó (°)

∑

3 4

∑

3 4

∑

3 4

Œ 43 Œ Œ

bœ

2 4

∑

3 4

∑

4 4

∑

4 4

∑

3 4

∑

4 4

∑

2 4

∑

3 4

∑

4 4

∑

44 Œ b œ Œ œ Œ œ 43

44 œ Œ b œ Œ œ œ 42 œ œ œ 3 π 3

∑

3 3 4 Œ Œ( Kœo ) Œ ( œo) Œ 3 ‰ o Œ Œ 4 4 (bœ)

44 Œ Œ3 4 4 4 4

3 4 Œ ( Kn œo ) Œ o Œ 4 (bœ) P 44 Œ 3 Œ Œ b œ nœ 4 ∑ 4

Œ 43 ‰ j bœ ˙ œ œ 3 ∑ ∑ 4 Œ

∑

3 4

∑

3 4

∑

3 4

∑

4 4

∑

4 4

∑

4 4

∑

3 4

∑

4 4

∑

4 4

∑

4 4

∑

2 4

4 4

∑

2 4

4 4

3 4 Œ Œ nœ œ j Œ ‰ bœ œ 4 #œ œ J nœ 3

44 Œ Œ o Œ ( Kœo ) ( œo) (bœ) 4 Œ Œ3 4

3 4

∑

4 4

∑

Vln. 2

Vla.

3 4 43

∑

2 4

∑

4 4

4 4 44

bœ

œ œ

∑ ∑

2 4

2 4 42 2 4

∑

2 4

∑

43 Œ Œ b œ Œ 3

43 Œ

2 4

∑

3 4

2 4

∑

3 4

2 4

∑ ∑ ∑

∑

∑ ∑

44 œ Œ b œ Œ œ œ 3

3 3 3 Œ( Kœo ) Œ o 4 Œ o Œ( Kœo ) 4 4 (bœ) (bœ) 3

3 4

Œ ∑

4 4

bœ

∑

4 4

∑

4 4

∑

4 4

∑

3 4

bœ

44 Œ 4 4

∑

3 4

A jet whistle ±. 4 ‰ jJ ‰ ∑ 4 by p f 4 ∑ ∑ 4 + o > 4 ‰ b œ @ œ@ ‰ ∑ 4 @J ß π guiro 4 ‰ ¿ Œ ∑ 4 @J p 3 j bœ j 4 œ #œ œ œ 4 Œ 3 π 3 o o Œ Œ ( Kœ ) 44 (w) 3 4 Œ Œ 4 œ bw

2 4

∑

2 4

∑

2 4

∑

3 4

Vln. 1

D.B.

∑

4 4

∑

œ œ œ 3 ˙. ˙ ‰ # œj & ‰ J J bœ Œ Œ 4 3 3 (°) 3 3 o o o o 3 Ó Œ Œ Œ Œ Œ Œ K K K œ œ œ ( ) ( ) ( ) & 4 (bœ)

Vc.

3 4

∑

4 4

∑

3 4

ª 9

∑

3 4

∑

4 4

∑

2 4

∑

4 4

∑

4 4

∑

(match piano harmonics)

Piano

3 4

∑

3 4

∑

4 4

∑

4 &4

David Clay Mettens

for the Eastman Graduate Composers' Sinfonietta

∑

∑ ∑

∑

Œ Œ œ nœ Œ œ Œ bœ œ 3

∑ ∑

4 ‰ b ˘œœ Œ Ó ∑ 4 J ƒ con sord. œ ‰ Œ 4 ‰ bœ œ ∑ 4 J J ∏ pizz. molto sul. pont. IV/4. o 3 ˘œ ( œ) 3 44 ‰ # œ Œ Ó Œ Œ Œ J O I OI OI pizz. ( œo) ƒ P II/3. Oi Oi 4 Ó Œ Œ Ó 4 3 pizz. P I/3. 3 o 44 ? ( œ)Œ Ó ∑ Œ & OI P molto sul. pont.

2 ∑ 4 +/- side keys 3/4 t.Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~ 6 3 24 Œ j ≈ # œ # œ b œ- œ œ œ œ nœ > ∏ π ß ∑ ∑ 42

∑

Fl.

B b Cl.

Hn.

Perc. Perc.

Pno.

∑

& & Ó

& Œ Œ œ Œ Œ o & #œ ( ) ?

o3 Œ 42 (œ) 3 Œ Œ 42

Vln. 1

∑

Vln. 2

∑

B Œ Œ 3

Vla.

Vc.

42 Œ

? # OI π

Fl.

b ˘œ J 3 ƒ

∑

2 O i ‰ œJ 4 3 ƒ

&‰

match piano intonation !

j & 43 œæ œæ œ@ . ≈

∑

˘ nœ J 3 f

Hn.

& 43

∑

÷ 43

∑

4 4

Perc.

bœ & 43 Œ Œ œ 3

b˙.

Vln. 1

3 8

∑

‰

∑

3 3 44 Œ # œo Œ o œo Œ ( ) #œ ( )

44 Œ 44

∑ ∑

π

loco

∑

Vln. 2

& 43

∑

Vla.

B 43

∑

4 4

∑

Vc.

& 43

∑

D.B.

3 &4

∑

4 4

∑

∑ ∑

∑

nœ ◊

3 4 Œ

3 4

œ Œ π o Œ (bœ)

∑

by p f

r 43 ≈ # œ ‰ Œ Œ 44 œ fl ƒ ord. # œ œ 44 œ 43 Œ ∏ π arco molto sul. pont. r 3 ≈ œ ‰ Œ Œ 4 4 œ 4 fl ƒ molto sul. pont. ˘ 34 ≈ œœ ‰ Œ Œ 44 R ƒ III/10. # œo . œo 3 J Œ 44 4 ≈ π

∑

Œ Œ j 43 ∑ >f +/- side keys 3/4 Ÿ~~~~~~~~~ 3 Œ Œ # œj 43 # œj. ≈ Œ Œ P ∏ ∑ ∑ 43 tongue pizz. 3

∑

44 œ b œ Œ Œ œ Œ 3 p 3 3 4 ‰ o Œ Œ Œ3 o 4 (bœ) (œ) p loco 4 ‰3 Œ Ó Œ bœ 4 bœ

molto sul. pont.

∑

44 Ó

∑

œ bœ

œ J‰

Ÿ~~~~~ 34 ≈ # œ # œ Œ Œ 44 Ó #œ ß ˘ 34 ≈ # œR ‰ Œ Œ 44 f 3 4 4 ∑ 4

bœ

œ œ

4 4

4 Œ o Œ o Œ o 3 Œ 4 Kœ ( œ ) 4 ( ) (œ) 3

change from normal B gradually tone to breathy, unfocused tone 3 ‰ 1æ 3 8 bœ 4 p 38 ∑ 43

Œ Œ

∑

+ o 38 ∑ ∑ b œ@. œ@ Œ Œ ∑ ∑ 43 43 ß π guiro 3 3 3 ¿‰ Œ Œ ∑ 4 ∑ ∑ 8 ∑ 4 @J p f 3 3 i 34 ‰ b œ ˙ Œ Œ œ Ó Œ Œ Œ b œ b œ Œ œ œ 38 ∑ 43 3 3 π 3o 3o o o3 o o o o3 Œ( # œ ) Œ ( œ) ( œ) 43 Œ ‰ ( œ) Œ Œ Œ Œ ( œ) Œ Œ 38 ∑ 43 (# œ ) ( Kœ ) (œ) loco 3 3 3 3 3 Œ Œ Œ Œ Œ Œ Œ 38 ∑ 4 Œ ‰ j 43 œ œ œ œ bœ œ nœ œ bœ ◊ # ˘œ 34 38 ‰ j ∑ ∑ ∑ ‰ 43 œ‰ Œ Œ œ J œ ƒ fl molto sul. pont. bœ œ œ œ œ. ∑ ∑ J ≈ Œ 38 ‰ # œj ‰ 43 43 œ ∏ π fl ƒ ˘œ 38 ‰ j #œ ‰ Œ Œ ∑ ∑ ∑ ‰ 43 43 œ J ƒ ƒ molto sul. pont. arco IV/5. o ˘œ ord. o o o o — o 3 J‰ Œ Œ ∑ ∑ ∑ & 38 ‰ ‰ 43 4 œ

+/- side keys 3/4

4 Œ 4

)

44 œ Œ œ Œ b œ Œ 43 Œ j 3

(

∑

∑ ∑

∑

‰

∑

44 œ Œ n œ Œ Œ œ

∑

o o 3 o o & 4 Kœ ( œ ) Œ ‰ ( œ ) Œ ‰ Kœ Œ ( ) ( ) P loco ?3 3 Œ ‰ 4 j Œ ‰ j œ bœ œ nœ œ ◊ ◊ 26 ∑ ∑ & 43

4 4

∑

‰

Pno.

3 8

∑

38 œ œJ 44

B b Cl.

∑

molto sul. pont.

& 43

∑

arco molto sul. pont.

42 Œ

∑

# ˘œ ‰ œ ‰ J 3 ƒ ‰ bœ 3 ∏

ª 26

(molto sul. pont.)

4 4

∑

38 ‰ b œ

∑

≤ 3 Œ O I Œ 42 Œ

III/5.

∑

42 Œ

≤ arco

D.B.

œ 42 Œ b œ

2 4

3 8

±.

jet whistle

3 4

∑

! j‰

b œ@. œ@ œ@ Œ p

‰ b1 œ@ œ@ @ ! @ ‰ Œ œ p

j ¿‰ Œ f

‰ ¿j ‰ Œ

∑

43 b œ Œ œ Œ 3

o o 3 Œ 4 Œ( b œ ) Œ ‰ œ ( ) 3

3 3 4 Œ bœ Œ ‰ j Œ œ

∑

o o o o (bœ) (œ) (œ) (œ) 3

bœ

o 3 Œ b œ! @j œ@j œæ @j ≈ œ. p

breathy to completely unfocused

∑

mouthpiece pop

P 6 π o III/6. o o o o — ord. o 38 ‰ œ ‰ 43 P 6 π

œ °

∑

œ Œ bœ Œ

‰ œJ

≈

o o Œ (bœ) (œ)

o (bœ)

bœ

≈ j bœ . œ

∑

Œ Ó

∑

3 4

∑

3 4

∑

Unravelings - pg. 2

∑

3 Œ b Oj Oj O r ‰ . b œ œ œ œO p 3

ord.

Œ ¿i Œ J 3 P

strike tailpiece with soft mallet

>o œ œ

- G key

Fl.

B b Cl.

∑

b ˘œ J & ƒ

‰

œ #œ +œ & œ Kœ œ G

Hn.

Perc.

Pno.

π

bongo

y f œ

≈ O O b O O # O Œ O

œ dœ Kœ

∑

? # >œ & œ æ f

b˙ & ˙ >f

Vc.

D.B.

>˙ B ˙ f molto sul. pont. ? # œj ‰ #œ fl ƒ molto sul. pont. ? # œj ‰ ƒfl

œ œ

molto sul. pont.

Vla.

∑

molto sul. pont.

Vln. 2

π

35 molto sul. pont.

Vln. 1

bœ

j +œ

œ œ

Fl.

B b Cl.

Hn.

Perc.

Pno.

3 & 4 ≈ r ‰ Œ > f

Vln. 2

Vc.

D.B.

∑

& 43

∑

∑ œ œ Œ ‰ œJ

÷ 43 & 43 Œ & 43 Œ ? 43 Œ 3 &4 3 &4

o3 Œ ( Kœ ) Œ Œ

o (bœ)

œo

j œ ‰

œ ˙ Œ J 3 π

œ≤ œ Œ &‰ J ∏

∑

∏

4 ‰ 4

P3 ˙

œ bœ J

˙.

∑

t.Ÿ~~~~~~~~ ‰ œJ œ ‰ Œ 3 ∏

4 œ 4

π

∑ ∑

â P

∑

3 4

∑

43 œ œ œ 3 Œ bœ Œ 4 ∑

o3 o Œ ( Kœ ) Œ (bœ) Œ

3 4 43

b˙

r ‰. Ó O ∑

3 4

∑

O˙

Oœ ‰Œ 3

∑

Œ œ Œ

4 ‰ 4

4 œJ . 4

43 43

∑

2 4

Kœ œ # œ +œ œ d œ ‰ . œ œ K œ

‰

j O@ p

π 3 j3 ‰bongo¿ f Œ 3

‰

œ œ @J ∏

Œ 3 #œ @Oj œ æf

molto sul. pont.

III/4.

œ œ æ Œ Œ Ó

sub. molto sul. pont.

≈ ‰ b œ œ > f molto sul. pont. >œ ≈ B ‰ œ 3

molto sul. pont.

‰

π

œ J ‰ 3 4

∑

2 4 ∑ ˙ 42

3 4 43

P o (bœ) poco F ?

3 4

∑

(match vibraphone)

bœ °

r œ . ‰ œ π sul tasto œ œ ‰. R π sul tasto

3 ‰ # œj #œ ƒfl3 (molto sul. pont.) 44 Œ ‰ # œj fl ƒ Unravelings - pg. 3

44 Œ

2 4

˙.

#œ

œ #œ J ˘œ # œ # œ 44 ‰ J f j 44 ‰ œ b œœ fl

. 4 œJ 4

œœ# O n O O b O + œj ObO

4 Œ 4 44 ‰

n ˘œ o œ J ‰ ( Kœ ) f 3 P b œœ ‰ ? & œ œ fl ° ord. II/3. O. ≈ @J p

44 Œ

∑ ∑

+ C # trill key

j +œ

O bO O O #O nO Œ

b˙.

ord.

arco ord.

∑

B 43 ≈ b œj. œ P ? 43 ∑ ? 43

∑

Œ Œ bœ

∑

ricochet

Vla.

3 &4

Vln. 1

‰ # œj fl

∑

- G key tongue pizz.

44 Ó

∑

5 P # (slow) +/- RH C t.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. ˙ ˙. 4 œR ‰ . Œ ≈ J Ó 4 ∏ G +œ œd œ 44 ∑ ‰ œ œ œ œ#œ ‰ Œ ∑ F π 44 ‰ yj Œ Œ ∑ ∑ f 3 3 œ 44 œ Œ b œ Œ ‰ œJ bœ Œ Œ Œ Œ bœ Œ 3 π n ˘œ 3 3 o 3 o o o ≈ œR ‰ ‰ ( Kœ ) Œ Œ Œ Œ ( Kœ ) 44 Œ ( Kœ ) Œ (bœ) f P r 3 3 b œ ?‰ 44 Œ 3 Œ Œ Œ Œ Œ & ≈ b œ ‰ œ b˙ œI œ œ fl ° molto sul. pont. ord. IV/4. ˘œ II/3. ord. ≤ # œ O O 44 Œ . ≈ @J . ‰ œ Œ ‰ j œ ‰. @R ‰ Œ J O O O R @ @ p f π ∏ p sul tasto molto sul. pont. sul tasto 3 j j r j œ œ œ . b œ 4 ‰ Œ Œ ‰ ‰ ∑ 4 œ œ œ œ œ >f π molto sul. pont. sul tasto sul tasto >œ œ œ œ 44 œ œ œ ‰. ‰ Œ Œ ‰ œ ∑ J J R J 3 π f ord. b Ow j 4 ∑ ‰ #œ Œ Œ 4 #œ π fl

ª 40

o3 42 Œ ( Kœ ) Œ 42 Œ 2 4

43 43

∑

3 4

2 4

∑

3 4

2 4

∑

3 4

∑

D piano intonation 45 match non. vib.

Fl.

3 & 4 K˙ . π

B b Cl.

3 &4

Hn.

3 &4

Perc.

Pno.

∑

wind gong (prepared with coins)

÷ 43 ¿ I Œ Œ ∏ 3 ‰ jŒ 3 Œ & 4 #œ œ ? 43

Vln. 1

& 43

Vln. 2

& 43

Vc.

?3 Œ 4

D.B.

?3 Œ 4

Œ Œ

III/10. ord.

B b Cl.

∑

Hn.

∑

Pno.

o & #œ ( ) ? ˙ (°)

Vln. 2

Vla.

2 4 O p ˙o 2 4

≤ # œo

∏

42 42

Œ Œ

o Œ (œ) Œ

3 3

œ Œ Œ

Vc.

D.B.

ord. I/5.

O R ‰.

π

∑

≤ ‰ œ 3 π

ord.

4 r ‰. 4 O œo . 4 J 4

≈

‰. &

j œ ƒ ord. b ˙ 44 ˙ π

∑

2 4

∑

2 4

∑

3 3

o o o3 Œ Œ (# œ ) (œ) (# œ ) œ

P 6 π o I/6. o o o — o o 44 œ ‰ Œ P 6 π

œ J ‰ Œ

‰ Œ

o o o —o o o 44 ‰ Œ œ

œ œ Ó

o (# œ ) 3

≤

? #˙

∏

w Unravelings - pg. 4

∑

Œ Œ Œ

nœ

≤

∑

o œ

( )

œ Œ

bœ

≥ ≤

∑

43 3 4 3 4

3 b˙. 4 P

∑

œœ # O n O O b O

â P

O >f

∑

∑ n ˘œ bœ J f ˘œ b &b œ nœ J ◊ loco

∑

˙. ˙.

∑

j O@ p

O b O+ œ

‰ Œ

∑

o ( Kœ )

43 ˙ . p

+ C # trill key

3 Œ ‰ j 4 œ œ œ bœ œ

n˙

∑

Kœ )

∑

O. O O O O O >f π sub. b œ≤ >œ ˙ . J

Œ bœ (

≤

O O O > Í œ . >œ œ

E 43

IV/5.

œ Ó

o (œ)

∑

o o3 o o Œ ( œ) ( œ) 43 Œ ‰ ( œ) Œ (# œ )

œ. bœ œ. œ. œ œ œ œ. œ œ ?

∑

Ó j œ

Œ f 3 ‰ bœ p o ( Kœ )

∑

∑ Œ nœ

∑

π

4 ‰ œ 4 J ƒ

∑

‰ Ó

o @ œ@ ‰ Ó

# ˘œ 4 ‰ & 4 œ Jƒ molto sul. pont. ˘ 4 ‰ œœ 4 J ƒ

∑

IV/4.

molto sul. pont.

œ@ @ œ@ œ ‰ . Œ

wind gong

œ # œj œ .

bœ p

±. J

j O O π ≥ œ b >œ œ≤ œ 44 nœ P sub.f π

r @!

4 4

44 Œ

∑

44 ‰

j 24 œO ‰ Œ

44 b œ@ p 44 4 4 ¿I π 4 œ 4

œ 42

π

≈ Œ

44 Œ

œ R

b ˙≤

b b ˙O

o 42( Kœ ) ˙

œ. J

≤ 44 ‰ Oj O œ œ π

∑

o o 42 Œ Œ ( Kœ ) 44 ( œ) 3 44 42 Œ Œ œ bœ 3

˙ 42

ord.

nœ

∑

44 œ p

jet whistle

4 ‰ j 4 b± p ˘ #œ œ 2 œ 4 J ‰ 4 ‰ J 4 f sub. + > 2 4 ∑ 4 4 ‰ b@œ J ß 44 ‰ guiro ¿ 42 ∑ @J p 3 2 bœ 4 4 œ Œ 4 Œ

∏

44 œ œ ˙ . p

2 4 Œ bœ

∑

≤ . ? #O

∑

2 4

∑

2 4

∑

4 4

∑

# œ≤ œ œ œ .. œ J 2 Œ ‰ œ & 4 ∏ π œ b˙. œ 2 & 4 B

∑

Vln. 1

ord. ≤ 42 # ˙ π

≤ O ∏ Œ

∑

44 ‰ ¿j Œ Œ Ó I p 3 Œ # œj 44 Œ ‰ b œJ œ p o3 o ∑ K( œ ) (œ) 44

42 Œ

ord.

∑

& Ó

bœ

∑

Perc.

4 w 4

42 Œ

∑

Fl.

œ œ J 3 π

42 ¿jIŒ π 2 œ 4

∑

ª 51

2 œ 4 ∏

o Œ Œ b œ 42 Œ ( )

Vla.

4 Ó 4

B 43

2 4

∑

o & 43( Kœ )

2 4 œ

bœ ˙ ‰ J 42 ∏

4 4 4 4 4 4

∑ ‰ Œ ‰ Œ ‰ Œ

III/4.

44 44 44

∑

≤ b˙. ∏

˙.

>o œ

- G key

Fl.

4 &4

B. Cl.

4 &4

Hn.

4 &4

Perc.

Pno.

÷ 44 4 &4

∑

bass clarinet

w ∏

bw p

∑ ∑

3 Œ Œ bœ bœ Œ œ p 3

∑ ∑

Œ Œ bœ

Ó Ó

o o3 Œ (œ) ( Kœ ) loco 3

nœ bœ ◊

bœ

o o ‰ (œ) Œ ‰ Œ ( Kœ ) ‰

3 4 ≈ O b O O O # O n O Œ

∑

P 3 j‰ Œ w 4 ˙. œ ∏ p + ˘ b 3 œ ∑ ∑ 4 ≈ R ‰ F triangle ∑ ∑ 43 ≈ yJ . i F œ Œ œ Œ bœ Œ 3 Œ b˙. 4 j

(match piano harmonics)

3 o o Œ Œ (œ) Œ ( Kœ ) poco F loco ? 44 Œ 3 Œ Œ 3 Œ œ bœ ◊ (°)

& 44

∑

jŒ ‰ j bœ nœ œ ◊

loco

œ bœ

Vln. 2

& 44

∑

Vla.

& 44

∑

43 Œ

Vln. 1

& 44

Vc.

D.B.

? 44 b w bw p ? 44

ª 64

Fl.

B. Cl.

Hn.

Perc.

Asst.

Pno.

∑

& ≈ & & ≈ &

ww Ó

w π

1 j b œ@ . > f

o bœ. J p

œæ ∑

∑

sub.

Vln. 2

Vla.

Vc.

D.B.

F ! @ œ@ 44 œ@j ‰ Œ p slap tongue 44 ‰ +j Œ bœ ƒ + j @ œ@ 44 œ@ ‰ Œ F 44 Ó

∑

π

44 j ‰ Œ œ 44 œj ‰ Œ

B ˙.

˙.

3 4

b œ ≈ œ Œ bœ P 3

o 3o ( Kœ ) ‰ Œ (# œ ) F 3 ‰Œ #œ œ I °

Ó Ó

Ÿ~~~~~~~~— 44 ‰ j b œ (b O ) . Ó π f 44 ‰ j #œ ˙. > p

3 4

gliss. with plectrum between bridge and hitch pins

¿ p

3 4 ‰

43 ‰ 43

˙.

∑

‰

oo Œ ( # K œœ ) P j Œ # œœ Ii

yi R f

‰

strike tailpiece with soft mallet

3 o ‰ bœ Œ

(

‰

loco

bœ

œ œj œ .

bœ

Œ ≤ ‰ œj œ ∏

‰ Œ

˙. p

‰.

Unravelings - pg. 5

3 16 ∑ 3 ∑ 16

3 16

3 16 ∑

∑

3 ∑ 16 œ. 3 J 16

œ Œ bœ Œ

œ >œ œ œ œ œ œ œ ≤

≈ j œ. ∏

Œ ‰

˙.

bœ

∑

œ œ. ˙ ≤ p ≈ ˙ œ œ π ∑

3 4

œ 43 b œ P

sim.

¿ p

o 3 Kœo 4(# œ ) 43 43

∑

# œœ œ

j œ

#œ œ #œ #œ œ #œ @ @ @@ @ @ ‰ 6 p f œ œ œ œ œœ ‰ p

œ Œ

o o3 o Œ œ Œ bœ Œ ‰ ( ) ( ) (œ)

∑

3 ∑ 16

)

∑

43 œr > f

o (bœ) poco F

3 4

3 16 ∑

œ bœ Œ œ J 3 P

∏ b ˙≤ . ˙. 43 ∏ 43 œJ ƒ 43

œ bœ Œ J

(trill between ord. pressure and harmonic pressure) sul C

∑

43 ‰ 43

∑

œ . ≈ Œ J

f ∑

∑

#œ œ #œ #œ œ #œ @ @ @@ @ @ ‰ Œ 6 p f œ œ œ œ œœ ‰ Œ p

∑

43 œ

∑

f 44 ‰ j Œ bœ fl w 44

∑

RH: continue to stop harmonic nodes LH: glisses

4 Ó 4

˙.

? ≈

>œ œ œ œ œ œ œ œ & œ 5

≤ r œœ ‰ . Œ ‰ b œJ œ ∏ #w

∑

œ æ

∑

œ≤ œ Œ J 3 ∏

∑

(°)

Vln. 1

∑

r œ ‰. Œ Œ ∑

43 Œ

nœ ◊

∑

Œ œ

o o 3 o 3 Œ (œ) Œ 4 Œ ( Kœ ) (œ)

Œ ˙.

œ≤ . 43 ≈ J π 43

j +œ

#œ œœœœœ ≈ @ @ @ @ @ @ ≈ Œ p 6 f œ œ œ #œ ≈ œ œ ≈ Œ ∑

œ. ≈ œ . J ¿ f

‰

j œ œ

≈

¿ p

oo ≈ œ (œ )

≈ j œœ .. ˙

œ 3

¿ f

œ J

≈ Œ

Œ Œ

œ. 3 œJ . 16

˙. ˙. 43

3 ∑ 16

43 œJ

3 ∑ 16

∑

3 ∑ 16

∑

‰

≈ œJ .

Fl.

B. Cl.

Hn.

Perc.

Asst.

Pno.

∑

4 4

∑

4 4

∑

4 ‰ œ ˙. 4 J π 4 Œ œ 4 #œ Ó

& Œ

Vln. 1

Vln. 2

Vla.

‰

O b b b OOOOOO

˙ ˙

f p

Vc.

D.B.

j #œ ˙ >p

B. Cl.

Hn.

œ #œ #œ #œ 3 &4 @ @ @ @ ‰ Œ p 3 f œ œ #œ 3 œ ‰ Œ &4 3 p f

Perc.

Asst.

Pno.

3 &4

& 43

¿ p

o & 43 (# œ ) ?3 4

œ °

Vln. 1

3 &4 Œ

Vln. 2

≤ 3 ˙. &4 ∏

Vla.

Vc.

D.B.

4 4

4 Ó 4

¿ ‰ Œ f

3 3

)

‰

œ Œ

¿ p

œ f

wi fi J

œ≤ ‰ J π

j B 43 œ ‰ Œ ‰ b b œœ J fl ƒ ~~~~~~~~~~~ — molto sul. pont. j ?3 ‰ Œ ‰ œœ 4 fl ƒ π molto sul. pont. ? 43 r ‰ . Œ ‰ œj œ fl > ƒ ƒ

molto sul. pont.

4 Œ 4 4 4

4 w 4 4 4 4 Ó 4 44 Ó

¿ f

≈ Œ

Œ ƒ

œ #œ ° Ó Ó

‰ n œj Œ

Œ Œ

3 4 Œ

3 4 ‰

3 b˙. 4

œ J P

∑

Ÿ~~~~~— ord. ≈ j R ‰ . œ . (O ) f ord. ≤ ≈ j Œ œ. p trill sim.

π

œI œ fi f J

(

‰ jŒ bœ fl

5 16

5 œ. 16 J

j ‰ œœ Œ fl

molto sul. pont.

Œ œ flœ ƒ

5 16 ‰ .

molto sul. pont.

palm dampen, allow D5 to ring

œI

with plectrum

‰

¿ p

¿ f

‰

7 16

¿ p

7 O. 16 J 7 16 ‰ .

œ≤

3 4 Ó bœ œ ˙ >œ œ œ œ ˙ œ œ

fo ord. œ 3 J 4 ‰ π

π

non. harm.

p œ

œ J ¿ f

≈

¿ p

‰

3 4

≈

∑

ƒ j #œ fl

3 4

∑

3 4

∑

3 4 43

‰

Ÿ~~~~~~ 3 j # œ ( # O) 4 f ord. ≤ j 43 #œ p ord. trill sim.

>œ

¿ f

œ œ J

œ. 7 J 16

∑

7 16

∑

7 ‰. 16

‰

>œ

+ r #œ ƒ

3 4 3 4 3 4

‰

3 4

‰

≈

K >œ

3 4

Unravelings - pg. 6

¿ f

‰

œ. 7 œ. 16 J wide vibrato

3 4

molto

7 . 16 J

π

+ j #œ ƒ ‰

3 4

#œ œ #œ #œ œ #œ #œ nœ œ œ œ @ @ ‰ 7 16 @ @ @ @ @ ® ≈ @ @ @ @ 6 6 p f p f œ nœ œ œ #œ œ œ œ œ 7 œ œ ® ≈ ≈ 16 p œ. 7 J 16

3 4

‰

∑

¿ p

Kœ )

molto sul. pont.

‰

with plectrum

5 16

7 œ. 16 J

œI œ fi J f

3 œ 4

j œ ˙I

œ. œ . ≈ Œ J

#œ #œ œ #œ #œ œ @ @ @ @ @ @ ‰ 6 p f œ œ œ œ œœ ‰

O o 43 O . ‰(# œ )

œ.

#˙. Í

depress silently

œ œœœ J œ œ ‰. R f

r œ

ord.

3 ƒ 3 3 ≈ r ‰ ‰ 4 œ œ ˙. fl loco ◊

œ bœ œ œ œ œ œ œ œ

O Œ

Ÿ~~~~~~~~~— R ‰. # œ ( # O) f π

o (# œ )

G 3 4 Œ

5 œ 16 p 5 >œ 16 R f 5 16

o 5 16 Œ Œ (# œ ) 3 3 5 . ≈ ‰ Œ Œ 16 ‰ . nœ œ ° œ. J ≈ Œ Ó 5 16

depress silently

ord. trill sim.

>œ R ‰. f

+ ≈ r ‰ Œ #œ

‰

‰.

≈ œ . J

Œ Œ bœ Œ

fingernail gliss., pos. ord., palm dampen, allow G4 to ring

Kœ ) n œ ( )

˙. π

Ó (

5 16 @ p

∑ Œ

œ #œ #œ #œ @ @ @ @ @ ≈ 6 f # œ œœ œ œ ≈ 6 f

(3+2) # œ # œ

∑

j‰ œ bœ #œ ° fl ˙

œ≤ . ≈ J ∏

fingernail gliss., pos. ord., palm dampen, allow A4 to ring

o depress silently 4 Œ (# œ ) O 4 O Œ Œ Œ

with plectrum

∑

4 ˙ 4 π 4 Œ 4

nœ Œ Œ

(Sost. Ped.) 74

∑

3 & 4 nœ P

(

44 j ‰ Œ Ó bœ ƒfl molto sul. pont. j 4 œ ‰ Œ Ó 4 œ ƒfl molto sul. pont. 4 j‰ Œ Ó 4 œ fl ƒ

π

Fl.

≈

molto sul. pont.

Ÿ~~~~~~~~~~~ — sul C j b œ ( b O) ‰ Œ

? ‰

Kœ ) # œ

œ 4 œR ‰ . Œ 4

(trill between ord. pressure and harmonic pressure)

? ‰

(

œ 4 R ‰. Œ 4

∑

sub.

œ I ˙I. œ fi f J

j O 44 O I Ó 4 Ó 4

œ œ œ œ œ.

fingernail gliss. over strings (ord.), damp immediately with palm, allow G4 to ring

not on Sost. Ped.!

Œ j Œ bœ fl Sost. Ped.

bœ œ. >œ œ œ . & œ B

depress silently, add to Sost. Ped.

? ‰ 69

stopped mute

∑

#œ #œ #œ #œ œ #œ ≈ @ @ @ @ @ @ ≈ Œ Ó 6 p f # œ + œœ œ œ ≈ œ ≈ j ‰ Ó 6 p f #œ ƒ >œ . ‰ Œ Ó R f b˙. Œ n ˙.

43 r œ fl ◊

3 4

‰

3 4

‰

3 4

‰

3 4 3 4

≈

r œ P

+ C # trill key

j œœ # O n O O b O O b O+ œ

3 &4 78

Fl.

B. Cl.

Hn.

Perc.

Asst.

Pno.

‰

âf

& 43

3 &4

Œ œ. J P

≈

÷ 43 & 43

#œ #œ #œ n œ # œ # œ œ # œ ≈ œ œ œ @ @ @ @ @ @ @ @ ® ‰. Œ @ @ @ 6 3 3 p f p f # œ œ œ + + œ œ œ œ œ œ œ œ ≈ ® ≈ ‰ 3 #œ œ 3 6 p f p f ƒ ˙.

˘ j œ 3 b œO &4 I . b œ˘œ ?3 J 4

(Sost. Ped.)

‰

¿ p

Vln. 2

& 43 3 &4

Vc.

D.B.

j B 43 b b œœ ƒfl molto sul. pont. j ? 43 œ œ flƒ ? 43 j œ fl ƒ

ª Fl.

B. Cl.

Hn.

Perc.

Pno.

‰

‰ ‰

4 &4

Œ 4 &4 w P triangle pj 4 ÷ 4 yy@ Ii F wind gong √ & 44

#œ

P œ 4 &4 & 44 4 &4

π

‰

j Œ œ fl

≈

‰

≈

j ‰ œ fl j ‰ œ fl

œ ≈ œ flƒ fl ‰ œ ≈ œ fl fl ƒ

œ @J P

>œ R ‰. Œ Ï bongo >œ ‰ Œ J ƒ r ¿ ≈ ‰ Œ f

r ¿ p

√ # œ˘œ œ ‰ Œ J # œ˘œ œ ‰ Œ J

œ bœ @J ƒ œ œ @J ƒ

≈ ≈

4 4

∑

4 4

∑

W W

W W Œ

4 4

∑

4 4

∑

very slow gliss

#œ œ

P very slow gliss

œ œ

44 4 4

∑

j œ Ï

4 4

U ∑

∏ sub. bnon. ˙ . vib. ˙.

— — R ‰.

∑

n˙. ˙.

∏ sub. —— R ‰.

non. vib.

Kœ . ‰

œ R ‰.

guiro

œ. J

∑

3 4

#O. ‰

œ œ œ

œ œJ

#œ

π

œœ

π

œ œ

œ œ œ œ

œ œ

œœ œœ

ord.

3 4

∑

œ œ

œ œ œ œ

œ œ

œœ

∑

43 O˙ ..

sing upper note to create 'multiphonic'

œ œœ œœ œœ B 44 œ œ œ œ œO O O O p O OO ord. O OO OO ? 44 O O O O bO O O O P ?4 ∑ 4 sub.

D.B.

ƒ œ œ œ œ nœ

∑

senza sord.

sul tasto

Vc.

˙≤ P

wide vibrato

œ ≈ œ fl fl ◊

‰.

8" - 10"

∑

sub.

Vla.

Scintillating q = 60

Vln. 2

O ≈

LH: loco (grace notes as fast as possible, on the beat) sul tasto

Vln. 1

‰.

& 44 82

¿ p

œ≤

‰

¿ R f

∑

molto sul. pont.

Vla.

≈

Vln. 1

¿ f

+ j ‰ œ

∑

‰

#œ œ œ #œ œ œ ® @ @ @ @ @ @R ‰ .

O˙ .. ∑ ∑ ∑

∑ ∑ ∑

∑

5 4

∑

45 O˙ .. f

O˙

5 4

∑

#œ #œ

44 P 44 # œ

∑

∑ #œ

¿ 4 ¿¿ 4 w p 44 r ‰ . Oœ R π triangle p 4 yy@jIi 4 P wind gong √

#œ

#œ #œ

‰

#œ

œ J ∑ œ

3 4 Œ

3 4

43 43

3 4

5 4

3 4

5 4

#O œ œ O 4 4 O œ œ O

3 4

Vlns., Vla., Vcl.: repeat continuously ad libitum, do no coordinate speed of bariolage figure with conductor or other players

3 4

∑

œœ

≤ Œ Œ ‰ . b œ 45 ˙ . R π

Unravelings - pg. 7

œ œ

œœ œ

#œ

∑

4 4

œœ

œ œ P

4 bw 4 F

œ œ bœ bœ œ œ

œ œ

43 3 4

3 4

& 43 Œ 87

Fl.

B b Cl.

Hn.

Perc.

Asst.

Pno.

¿. 3 ¿. & 4 ¿˙ .. F 3 &4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ ˙ œ J 5 J ‰ Ó ‰ 4 P ¿. ¿ ¿ 5 ¿¿ .. ¿ 4 ˙. ˙ t.

∑

÷ 43

∑

& 43 Œ

# œi J

‰

pizz. with fingernail

3 &4

∑

3 &4 (°)

∑

& 43

Vln. 1

5 4 ‰

#œ #œ

sub. π

bœ œœ

bœ bœ

Vln. 2

& 43

45 œ

Vla.

B 43

5 4 O O

Vc.

? 43

D.B.

?3 4

5 4 ‰

∑

3 4

∑

6 4

∑

3 4 43

#œ

π

43 œ

œ O œ œOO

œ œ œ

œ nœ

œœ œœ 6

œ œ

‰

œ œJ

Œ ˙. p

≤ bœ π

#œ

sub.

Oœ

3 4 b˙. F

∑

sub.

œ œ

œœ œœ

œ œ

œœœœ OOOO

P r œ ‰. π

O˙ ..

∑

6 4

∑

sub.

∑ ˙

yI P

3 4

sing upper note to create 'multiphonic'

wind gong

sub.

#œ

Pœ

sub.

∑

˙I

∑

3 4

∑

triangle 43 @yJ i p √

∑

5 4

∑

I 43

6 4 46 46

œO

6 4

O Œ

∑

6 4

ª 6 &4 92

Fl.

B. Cl.

Hn.

Perc.

Pno.

¿. 6 ¿¿ .. & 4 w. p & 46 ww .. F 6 ÷ 4

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

∑

& 46

∑

& 46 (°) 6 &4 & 46

#œ

∑ œ

œœ

œœœœ œ

¿ ¿ ¿ œ

3 4

∑

¿ ¿ ¿ ‰ Ó œ J p ∑

3 4

∑

44 44

F π œ

œœ

π

œœ

π

œ. œœœœ œ

œœ

3 4

œ œ

B 46

44 O O œ œ O O O O

?6 4

4 4

3 4 Œ

?6 4

∑

4 4 w > f

∏

Unravelings - pg. 8

yi π ˙ .i

3 4 ˙. p

4 4

∑

44 Œ

p ° Œ

∑ bœ bœ

œ œ œœ œ

∑

triangle

∑

34 n œ œ

œœ

4 4

∏

∑

˙.I

loco sub.

˙.

∑

4 4

œœ

∑

¿ 4 ¿¿ 4 w F 44 ˙˙

∑

& 46

4 4

∑

piccolo non. vib.

œ6 œ

O≤ O Œ J 3 ∏ I/4.

44 44 44 4 4 44

œ OOOOœ

‰

œœ

‰ œJ

π O.

π

˙.

4 4 4 4

J 4 ˙ &4 97

Picc.

Gossamer q = 50

œ bœ œ

K˙ .

œ Ó

B b Cl.

4 &4

∑

Hn.

& 44

∑

Perc.

Pno.

÷ 44

4 œ &4 J

bœ

bœ œ bœ

∑ œ

? 44 Œ

‰

(°)

& 44

nœ bœ

Œ j Œ œ

bœ

œœ

3 3

bœ

Vln. 2

4 &4

Vla.

B 44 Ó

Vc.

? 44

D.B.

O R ‰.

bO O ‰ œ œ 3 ∏

?4 4 w

& 42 ˙

44 bw

Hn.

Perc.

2 &4

∑

Vln. 1

Vln. 2

Vla.

4 4

& 42

∑

÷ 42

∑

j & 42 Œ # œ Œ (°) œ o 2 Œ ( Kœ ) &4 3

Pno.

? 42 Œ Œ œ (°) 104 ≤ 2 O O &4 œ œ ∏ 2 &4 O ˙ 3

B 42

Vc.

? 42

D.B.

?2 4

∑

44 4 4 44

‰ bœ Ó

∑

bœ

4 4

˙ ∏

nœ JÓ

o (œ)

j KK œO œO p

‰ bœ 3

bœ

∑

wO O

2 4 ˙˙ 42

∑

¿i Œ π œ

p b wO π œœ

π3

˙.

3 O. 4 ˙. Oœ 43 J ‰ Œ

Œ œ 3

Œ 42

3 4

∑

2 4

K˙

2 4

Kœ

˙ ∑

2 4

∑

j #œ #œ ‰

œ o #œ o o 3 # œ ( K œ ) ‰ ( Kœ ) ( # œ ) 3 3 3

‰

∑

œI

œ #œ

2 4

#œ 2 J 4

Œ ‰ # œ 42 3

Œ Œ

∑

b˙

∑

Œ Œ bœ Ó 3

œ bœ

jŒ Ó œœ 3

∑

Unravelings - pg. 9

∑

b˙

∑

œ ˙ Œ ‰ J

‰ yJ i ∏

U ∑

œi ‰ J

∑

j œœ ‰ Œ

≤j U Œ ‰ b œO œO œO œO wO π espress. p

∑

bœ

∑

Œ Œ bœ Œ bœ

Œ bO bœ π

j œœ ‰ Œ

∑

b b ˙O π ≤ bO O ‰b œ ˙ ∏

∑

˙O

b Ow

O˙

π wO

˙O ∑

2 4

j œ œ ‰ Ó ˙˙

2 4

˙.

∑

Ó ∑

3 Œ b Oj O bœ ˙ ∏ ∑

∑

œO

∑

3 4

∑

j 3 ≤ Oœ ‰ ‰ # # œO ∏ j œO ‰ Œ

œO

3 O j 4 œ b b œO ˙O 3 p

∑

2 O 4 ˙

œ bœ J Œ œ Œ b œ œ Œ ( Kœo ) o (bœ) 3 3 ∑

#œ œ J

p Œ

#œ

≤ 2 bO O 3 O. 4 œ œ 4 ˙. ∏ p

∑

43 Œ

œO b œO œO 42 ˙O p

ww π

bœ

œ 43 ‰

∑

triangle

3 4

∑

w P

3 4

3œ œ œ o 43 Kœ J ‰ J 42

3 4

espress.

bœ

π

wind gong

43 œO

˙.

jO œ p

o bœ œ 3

≤ O˙ ∏

œ ∑

I/4.

∑

œ ˙.

bœ

˙O

œ Kœ œ

∑

o3 bœ œ ( Kœ )

Œ b O. b ˙. π

44 b b œO

˙O

straight mute D

∑

4 4 # # ˙O .. p 4 4 ˙ ˙ 4 4

ww p

∑

Oœ bO O J ‰ Œ b œJ ˙ 3 ∏ ≤ . bO O O O O ‰ œ œ œJ œ ˙ . 3 3 ∏ p espress. j‰ Œ Ó œ ∏

∑

j Œ œœ œœ ∏

∏

104

B b Cl.

ª Fl.

˙˙ p

multiphonic

3 ˙ 4 π j 3 4 œœ .. ≈ Œ

∑

2 ∑ ∑ 4 YI œ œ b œ œ b œ œJ 3 œJ œ œ œ 2 π ‰ ‰ J 4 4 ∑

continue at same speed

2 4

∑

3 4

œi ‰J Œ

o œ bœ bœ ( )

bœ

œ œ bœ J 3

continue at same speed

bœ

3 4

‰ œ 43 œ J ∏ 43

B b clarinet

∑

œ bœ 3 o o œ œ j œ ‰ & 44 b œJ ‰( Kœ () b œ )J 3 3

Vln. 1

∑

j œ ‰ Ó

∑