Bára Gísladóttir: Animals of your pasture (2021) by Edition·S

Bára Gísladóttir Animals of your pasture

(2021)

for ensemble Dur. 20

Commissioned by and written for Riot Ensemble in the summer and autumn of 2021.

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

With support from Koda’s Cultural Funds. Projektet er støttet af Kodas kulturelle midler.

Written with support from the Artists’ Salary Fund of the Icelandic State and the Danish Arts Foundation. Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond.

Bára Gísladóttir Animals of your pasture

(2021)

for ensemble Dur. 20

Animals of your pasture i. dýrin skýr og sljó ii. dýrin fjær og nær iii. to think the great discomfort iv. dýrin (agnarsmá) v. þeysast, geysast vi. og þusa vii. ringluð, reið viii. ringulreið(beinleið) ix. dýrin blíð og góð x. stretched in the black branches of this night Animals of your pasture is based on the thought of all kinds of animals existing together in a flock that functions as an organism on its own. The piece plays with the idea of following this flock from various angles and views (close up, extreme long shot, in focus, out of focus, in fragments, slow motion, fast forwards, through different textural filters, etc.) on various occasions (running over endless miles of prairies, fighting, dancing, napping, singing, etc.). This concept is intertwined with an unclear thought where wild chaos is allowed to be wild chaos, with no parts stepping in to take or gain control, with no attempts to structure or systemise something that just is. The title itself, and two of the movement titles, are borrowed from Hilda Hilst’s With my Dog-Eyes which I was truly influenced by while writing the piece.

INSTRUMENTATION Bass Flute Oboe Bass Clarinet in Bb Tenor Saxophone Percussion 1 1. Bass Drum a. Layers of crumpled paper b. Superball Mallet c. Thimbles (6) d. Mute e. Hard Mallets f. Anything else you may find suitable for the improv.-phrases of the piece 2. Thunder Sheet a. Bow b. Thimbles (6, can be the same as the ones used on B.D.) c. Anything else you may find suitable for the improv.-phrases of the piece 3. Crotales (A6, E7, F7) a. Bow Electric Guitar 1. Effects a. Attack on/off b. Distortion - buzz - overdrive - whitenoise - heavy c. Heavy Metal Vibes d. Bass Boost e. 8va, 8vb, 15va, 15vb doubler (should preferably be able to isolate a certain octave, more information in the part) 2. Equipment a. Thimbles (2) b. Metal Slide c. Anything else you may find suitable for the improv.-phrases of the piece Harpsichord a. Thimbles (at least 50, more would be good) b. Superball mallet c. Bow hair (enough to be able to bow the strings of A1 and E4) d. Anything else you may find suitable for the improv.-phrases of the piece Double Bass Electronics

Electronics The electronics are run from Ableton Live 10 Suite (Max for Live required) and need to be controlled by someone outside the ensemble. Amplification The amplification requires a PA with 2 speakers. Speakers should preferably be placed on a low level or floor by the instruments amplified (electric guitar and harpsichord) to balance the acoustic and electronic sound as best possible. An audio interface with four inputs is required. The electric guitar and harpsichord are both run through Ableton Live, creating live electronics. Both instruments can go through the same audio interface. The harpsichord needs around 3 mics. One close to the part of the soundboard used, one for the low register, and one for the mid register. If it’s possible to place one mic so that it picks up the action on the soundboard and one of the registers used simultaneously, 2 mics will do.

Transposing score.

EXPLANATIONS General Animals of your pasture see-saws between fully written and freely improvisational passages. The piece also flutters between temporal firmness (marked with time signatures and metronome marks) and temporal freedom (marked in seconds). The improvisational content is all within (a certain) temporal freedom and is accompanied Explanations with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that Explanations Explanations Explanations could be perceived as a unity in terms of texture and perhaps discuss a bit what you want the improvisation to General Explanations General General Animals ofifyour pasture between fully i.e. written and freely passages. The piece also flutters between temporal firmness (marked withthick), time signatures and metronome marks) and temporal freedom (marked General look like itpasture had aseesaws visual aspect, form (isimprovisational itimprovisational a planet, is it an organism?), texture (wet/foggy/smoky, Animals ofyour yourpasture seesawsbetween between fully written and freelyimprovisational passages. Thepiece piece alsowith flutters between temporal firmness (marked withtime timesignatures signatures andbe metronome marks) andtemporal temporal freedom (marked Animals of seesaws fully written and passages. between temporal firmness (marked with and and freedom (marked in seconds). improvisational content is all within (a freely certain) temporal freedom and isThe accompanied some minor guiding notes. Since this is extremely it could helpful to marks) aim towards something that could be Animals of yourThe pasture seesaws between fully written and freely improvisational passages. The piecealso alsoflutters flutters between temporal firmness (marked with timeopen, signatures andmetronome metronome marks) and temporal freedom (marked inseconds). seconds). The content allwithin within (a certain) temporal freedom and isaccompanied accompanied with some minor guiding notes. Since this extremely open, could behelpful helpful toaim aim towardsthick), something that couldbe be in The content isis (a temporal and minor guiding notes. Since isis could be to that could General colour, direction movement if any, etc. is isnot all aand makes it(isworse. Then youitititcan at perceived as improvisational aimprovisational unity in of texture and perhaps a certain) bit whatPerhaps you wantfreedom thethis improvisation tohelpful look likewith ifat it some was visualjust aspect, i.e. form itthis a planet, is it an open, organism?), texture (wet/foggy/smoky, colour, direction of in seconds). 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Animals of as your pasture seesaws between fully written and freely passages. flutters between temporal firmness signatures and metronome marks) and temporal freedom (marked perceived as a if unity intexture texture and perhaps discuss bit what youimprovisational want the improvisation toThe lookpiece like if itwas was visual aspect, i.e. form (is itaa(marked planet, iswith it antime organism?), texture (wet/foggy/smoky, thick), colour, direction of movement any, etc.to Perhaps thisisisnot nothelpful helpful alland andjust justmakes makes worse.Then Thenwork youcan canat atleast least them holdon onto to thepiece’s piece’sfirm firmelements elements andsteadily steadily workwith withthem themthrough throughthe theimprovisation. improvisation. least hold on the this piece’s firm elements and steadily through the improvised movement ifif any, etc. atat all itit you the and work in seconds). The improvisational content all within certain) temporal freedom and is accompanied withonsome minor guiding notes. Since issections. extremely open, it could be the helpful to aim towards something that could be movement if any, etc.Perhaps Perhaps this is notis helpful at all(aand just makes itworse. worse. Then you can with at leasthold hold to the piece’s firm elements andthis steadily work with them through improvisation. perceived as a unity in texture and perhaps discuss a bit what you want the improvisation to look like if it was a visual aspect, i.e. form (is it a planet, is it an organism?), texture (wet/foggy/smoky, thick), colour, direction of movement if any, etc. Perhaps this is not helpful at all and just makes it worse. Then you can at least hold on to the piece’s firm elements and steadily work with them through the improvisation.

Explanations General Hringla is a piece where improvisational and fully written music merge together as one. The double bass part is extremely open. A lot of the time it consists of free improvisation, and the music that is written into the part serves mainly as keynotes - meaning the written music is an indication towards a certain direction rather than a demand of a certain or specific outcome. The orchestra part does not really include such improvisational aspects, but there are a few places where performers are asked to imitate another sound of another player/instrument. Although these improvisational aspects are rather free, it is important to keep in mind that they should still aim towards BassFlute Flute Bass something that could be perceived as a unity in the otherwise ongoing texture - sort of like branches growing out of a trunk.

Bass Flute Bass Bass Flute Flute

ord. - ordinario

Bass Flute ord.--ordinario ordinario ord. - ordinario ord.

Woodwind ord. - ordinario

ord. - ordinario

Y YY Y Y YY Y Crossnoteheads noteheadsindicate indicatekey keyclicks. clicks.Further Furtherinformation informationin inthe thescore scoreand andparts. parts. W.t. – whistle tones Cross In the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: Ythe ææscore andY parts, Cross noteheads indicate key clicks. Further information in the score and parts. æ Flutes and Bass Flute Cross noteheads indicate key clicks. Further information in the score and parts. Cross noteheads indicate key clicks. Further information in the score and parts. Cross noteheads indicate key clicks. Further information in the score and parts.

æ ææ w) wo wo wo æw) wo bshould be performed in the form of a voiced throat flutter. wo wo growling ow The ææ wo Growl. æ ~w) Growl. The growling should be performed in the form of a voiced throat flutter. Growl.The The growlingshould should beperformed performed inthe the formof of a voicedthroat throat flutter. Growl. Growl. Thegrowling growling shouldbe be performedin in theform form ofaavoiced voiced throatflutter. flutter.

Growl. The growling should be performed in the form of a voiced throat flutter. Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Square notes be voiced, preferably in the octave written, but otherwise inThethe octave that feels somewhere close be toshould the pitchpreferably given. Square notesshould should voiced, inthe the octavewritten, written, butotherwise otherwise inthe the octavethat that feelsbest best forthe the performer.The voicedparts parts ofthe the pieceare are absolutelynot not requiredto to bein in perfecttune, tune, butpreferably preferably Square Squarenotes notes shouldbe bevoiced, voiced,preferably preferablyin in theoctave octave written,but but otherwisein in theoctave octave thatfeels feels bestfor for theperformer. performer. Thevoiced voiced partsof of thepiece piece areabsolutely absolutely notrequired required tobe be inperfect perfect tune,but but preferably somewhere close tothe thepitch pitchgiven. given. The voiced parts of the piece are absolutely not required to be in perfect tune, but best for the performer. somewhere close to somewhere close to the pitch given. Harmonic timbral trills and bisbigliando Square notes be voiced, in the octavevoiced written, butinotherwise the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Thisshould notehead indicatespreferably a (very) approximate pitch the giveninregister. preferably somewhere close tosomewhere the pitch given. close to the pitch given. Thisonotehead notehead indicatesaa(very) (very) approximatevoiced voiced pitchin in thegiven given register. This Thiswnoteheadindicates indicates a (very)approximate approximate voicedpitch pitch inthe the givenregister. register. wo The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: ~ ~ Thisnotehead notehead indicates a (very) approximate voiced pitch in the given register. pitch in the given register. This indicates a (very) approximate voiced Thevoiced voiced passagesare are oftenfluttering fluttering inpitch. pitch. Thisisisindicated indicated withwavy wavy glissandi,e.g.: e.g.: The The voicedpassages passages areoften often flutteringin in pitch.This This is indicatedwith with wavyglissandi, glissandi, e.g.:

U U U U U

w) passages are often fluttering inUpitch. w This is indicated with wavy U w The voiced glissandi, The voiced passages are often fluttering in pitch. This is e.g.: indicated with wavy glissandi, e.g.: U U w) w w U The harmonic timbral trills occur in variable speed in the piece, where four lines indicate the fastest possible. These can also increase and decrease in speed, indicated in the following way: U w) w w U w) w Uw There asking w) are also places in the parts simply w for a colour trill not as specific as the harmonic timbral trills. Uw marked with bisbigliando (bisb.)U

ww w w

Wavy glissando

“Normal” notes are also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with embouchure only. “Normal” notes arethe also accompanied bywavy wavy linesaalot lot ofthe the time.The The linesdiffer differ onthe the wavescale, scale, callingfor for everythingfrom from vibratoto to a moreextreme extreme bendingof of pitch,but but shouldalways always be “Normal” “Normal”notes notesare arealso alsoaccompanied accompaniedby by wavylines lines a lotof of thetime. time. Thelines lines differon on thewave wave scale,calling calling foreverything everything fromvibrato vibrato toaamore more extremebending bending ofpitch, pitch, butshould should alwaysbe be performed with the embouchure only. “Normal” notes are also accompanied by wavy lines a lot of the time. The lines differ on the wave performed performedwith withthe theembouchure embouchureonly. only. Notes are accompanied by wavy lines a lotbyofwavy the time. differ onThe the lines wavediffer scale,on calling for everything from to a more pitch, but should be performed withbe “Normal” notes are also accompanied linesThe a lotlines of the time. the wave scale, calling forvibrato everything from extreme vibrato tobending a more of extreme bending of always pitch, but should always scale, calling everything performed with thefor embouchure only. from vibrato to a more extreme bending of pitch, but should always the embouchure only.

be performed with the embouchure only.

W.t. – whistle tones In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: W.t.––whistle whistle tones W.t. W.t. – whistletones tones Inthe thescore score andparts, parts,tones thefundamental fundamentalposition position ofthe thewhistle whistletones tonesisisgiven givenin inthe theform formof ofaadiamond diamondhead. head.Travel Travelfreely freelybetween betweenthe thepossible possibleovertones. overtones.Ex: Ex: In and W.t. whistle In the – score and parts, the fundamental positionoof Oboes and Corthe Anglais o b wof thewowhistlewo tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: o w W.t. – whistle tones o w the fundamental oo tones position the whistle tones given the form of aovertones. diamond wparts, oo whistle oo of the o parts, InInthethe scorescore and the fundamental is given of in the form of a diamond head. is Travel freelyin between the possible Ex: head. Travel woand wow bbwow wow owoo position oo carefully w b w o w reed o w w w Without and staple, exhale (lips close to the aperture of the oboe with very strong lip pressure) producing soft harmonic-like high sounds, resembling the whistle tones of the flute. o w wo ww o

freely _ ~ ooobetween wowo wwthe possible overtones. o E.g. o

w w o ww wo w wo b w wo o ~~~ o ow wo wo wo o b w o w w w Whistle tones with embouchure wo are Notes accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with o embouchure wo closed ~wClose the and with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure.

the embouchure embouchure only. Whistletones tones withclosed closed Whistle Whistle toneswith with closedembouchure embouchure Close the embouchure and with verylight light pressureobtain obtain a harmonicrange. range. Toascend ascend withinthe the range,increase increase thepressure. pressure. Close the and Closeclosed theembouchure embouchure andwith withvery very lightpressure pressure obtainaaharmonic harmonic range.To To ascendwithin within therange, range, increasethe the pressure. flute Whistle tones with closed embouchure ” Trills“and tremoli œand closed flute Close embouchure and veryspeed light in pressure obtain a harmonic range. To ascend within the range, increase theincrease pressure. Trills tremoli occur in with variable the piece, where four lines indicate the fastest possible. These can also and decrease in speed, indicated in the following way: closed flute ” the closed flute

“““œ”” œ w “” Multiphonics w œw The w piece requires a few multiphonics, see the detailed information on the images below: Oboe w 1 œ flute closed flute closed

W.t. – whistle tones General Explanations In the score and parts, theseesaws fundamental position of the whistle tonesimprovisational is given in the passages. form of a The diamond Travel freely between the firmness possible overtones. Ex:time signatures and metronome marks) and temporal freedom (marked Animals of your pasture between fully written and freely piecehead. also flutters between temporal (marked with in seconds). The improvisational content is all within (a certain) temporal freedom and is accompanied with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that could be o wo you want the improvisation to look like if it was a visual aspect, i.e. form (is it a planet, is it an organism?), texture (wet/foggy/smoky, thick), colour, direction of perceived as a unity in textureo and perhaps woa bit what o b wdiscuss oPerhapswthis iswnot helpful movement if any, etc. w at all and just makes it worse. Then you can at least hold on to the piece’s firm elements and steadily work with them through the improvisation. o ois a piece w where improvisational and fully written music merge together as one. The double bass part is extremely open. A lot of the time it consists of free improvisation, and the music that is written into the part serves Hringlaw mainly ~ as keynotes - meaning the written music is an indication towards a certain direction rather than a demand of a certain or specific outcome. The orchestra part does not really include such improvisational aspects, but there are a few places where performers are asked to imitate another sound of another player/instrument. Although these improvisational aspects are rather free, it is important to keep in mind that they should still aim towards Whistle tones with closed embouchure something that could be perceived as a unity in the otherwise ongoing texture - sort of like branches growing out of a trunk.

General

Close the with embouchure and with very light pressure obtain a harmonic range. Whistle tones closed embouchure Close the embouchure and with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure. To ascend within the range, increase the pressure.

Woodwind closed flute

“” œ Flutes and Bass Flute w

W.t. – whistle tones In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex:

Harmonic timbral trills

o wo wo o wo b w wo wmore ow — awo little reed than normal (push inwards)

o w

'Harmonic timbral trills

Harmonic timbral trills Harmonic timbral trills and bisbigliando Harmonic timbral trills trills Harmonic timbral Harmonic timbral o o trills

w w Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and woo w~oo o o increase w~ o w walso wo tremoli can and decrease in speed, indicated in the following way: wo w wo w ~ ~

~ ~ ~~ ~

Oboe

Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: The harmonicTrills timbral trills occur in variable speed in the where fourfour lines indicate the fastest possible. These canand alsotremoli increase and decrease speed, indicated in theinindicated following andTrills tremoli occur in occur variable speed in piece, the piece, where lines indicate the fastest Trills can also increase and decrease in speed, inway: the following way: tremoli in variable speed in the piece, where lines indicate thepossible. fastest possible. tremoli alsoinincrease and decrease speed, indicated Trills -and tremoli occur in and variable speed in the piece, where four lines indicate thefour fastest possible. Trills and tremoli canTrills also and increase andcan decrease in speed, indicated in the following way:in the following way: ord. ordinario Oboeare also places in the parts simply marked with bisbigliando (bisb.) asking for a colour trill not as specific as the harmonic timbral trills. There

Oboe mph. - multiphonic Oboe Oboe ord. - ordinario Oboe

ord. - ordinario Wavy glissando mph. - multiphonic ord. - ordinario ord. - ordinario ord. -- multiphonic ordinario Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling mph. mph. - multiphonic - multiphonic Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with mph. - multiphonic mph. for everything aofmore extreme bending of scale, pitch, butforshould betoperformed Notes are accompanied wavy linesto a lot the time. The lines differ on the wave calling everythingalways from vibrato a more extreme bending of pitch, but should always be performed the embouchure only. frombyvibrato Notes areembouchure accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with the only. withwiththe embouchure only. Notes are accompanied by wavyby lines a lotlines of the time. Thetime. linesThe differ ondiffer the wave scale, calling everything from vibrato a moretoextreme bending bending of pitch, of butpitch, should performed Notes are accompanied wavy a lot of the lines on the wave scale,for calling for everything fromtovibrato a more extreme butalways shouldbe always be perform theare embouchure only. Notes accompanied by wavy lines with the embouchure only.a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with the embouchurewith only.the embouchure only.

w w

Bass Flute

Without reed and staple, carefully exhale (lips close to the aperture of the oboe with very strong _ Without Oboes andreed Cor and Anglais staple, carefully exhale (lips close to the aperture of the oboe with very strong lip pressure) - producing soft harmonic-like high sounds. _ord. - ordinario Without_reed andlip carefully exhale (lips close to the aperture of the oboe with very strong lip pressure) - producing soft harmonic-like high sounds. pressure) – producing soft harmonic-like high sounds. _staple, Without reed and staple, carefully exhale (lips close to the aperture of the oboe with very strong lip pressure) - producing soft harmonic-like high sounds.

Without reed and staple, carefully exhale (lips close tooboe the aperture ofstrong the oboe with very-strong lip pressure) - producinghigh softsounds. harmonic-like high sounds. _ Without Withoutreed reedand andstaple, staple, carefully exhale (lipsclose closetotothe the aperture theoboe withvery verystrong pressure) producing softharmonic-like harmonic-like carefully exhale (lips aperture ofofthe with liplippressure) - producing soft high sounds, resembling the whistle tones of the flute. _Explanations Explanations

YY Cross noteheads indicate key clicks. Further information in the score and parts. Y Cross noteheads indicate key clicks. Further information in thelines score and parts. YAnimals Cross indicate clicks. Further information in calling the score and parts. Notes arenoteheads accompanied by wavy lines akey lotclicks. of the time. The differ the wave scale, for everything from vibrato a more bending of pitch, butmarks) shouldand always be performed with Yembouchure Cross noteheads indicate keynoteheads clicks. Further information the score and parts. pasture seesaws between fully written and freely improvisational passages. The piece flutters between firmness (markedtowith timeextreme signatures and metronome temporal freedom (marked wY ofof your Cross noteheads indicate key information in on the score and parts.and Y Y Cross indicate keyFurther clicks.in Further information inalso the score parts. temporal Y Animals your pasture seesaws between fully written and freely improvisational passages. The piece also flutters between temporal firmness (marked with time signatures and metronome marks) and temporal freedom (marked Y Cross noteheads indicate key clicks. Further information in the score and parts. the only. in seconds). The improvisational content is all within (a certain) temporal freedom and is accompanied with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that could be inæseconds). The improvisational content is all within (a certain) temporal freedom and is accompanied with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that could be perceived as a unity in texture and perhaps discuss a bit what you want the improvisation to look like if it was a visual aspect, i.e. form (is it a planet, is it an organism?), texture (wet/foggy/smoky, thick), colour, direction of perceived as a unity in texture and perhaps discuss a bit what you want the improvisation to look like if it was a visual aspect, i.e. form (is it a planet, is it an organism?), texture (wet/foggy/smoky, thick), colour, direction of movement if any, etc. Perhaps this is not helpful at all and just makes it worse. Then you can at least hold on to the piece’s firm elements and steadily work with them through the improvisation. æææææ andFlutter æ movement if any, etc. Perhaps this is not helpful at all and just makes it worse. Then you can at least hold on to the piece’s firm elements and steadily work with them through the improvisation. w Trills tremoli tongue Growl. Theæ growling should be performed in the form of a voiced throat flutter. æ ææ and tremoli ww) Trills occur æ in variable tongue speed in the piece, where four lines indicate the fastest possible. These can also increase and decrease in speed, indicated in the following way: Flutter Flutter tongue w tonguewFlutter tongue Flutter tongue w Flutter General General

Multiphonics Tremolo Tremoli The requiresnotes a few see information on the images Tremolo Trillspiece andSquare tremoli occur inmultiphonics, variable speed inthe thedetailed piece, fourwritten, lines indicate thebelow: fastest possible. and tremoli increaseThe andvoiced decrease in of speed, indicated in the following way: to be in perfect tune, but preferably should be voiced, preferably in where the octave but otherwise in the octaveTrills that feels best forcan thealso performer. parts the piece are absolutely not required Tremolo Tremolo Trills and tremoli occur in occur variable speed in the piece,speed where four lines indicate the where fastest possible. Trills andindicate tremoli can also increase and decrease in speed, indicated in the following way: somewhere close to the pitch given. Trills and tremoli in variable in the piece, four lines the fastest possible. These can Tremolo Trills andTrills tremoli occur in occur variable speed in speed the piece, where four linesfour indicate the fastest Trills andTrills tremoli can also can increase and decrease in speed,inindicated in the following way: tremoli in variable in the piece, where linespossible. indicate thepossible. fastest possible. tremoli also increase and decrease speed, indicated Oboe Trills1and tremoli occur in and variable speed in the piece, where four lines indicate the fastest Trills and tremoli can also and increase and decrease in speed, indicated in the following way:in the following way: Multiphonics also increase and decrease in speed, indicated in the following way: Multiphonics The piece requires few multiphonics. them are fixed, seepitch the detailed information This anotehead indicates a Some (very)ofapproximate voiced in the given register.on the images below: Multiphonics Multiphonics The piece requires a few multiphonics. Some of them are fixed, see the detailed information on the images below: Multiphonics The piece requires a few multiphonics. Some of Some them are fixed,are see the detailed on the images below: requires a few of multiphonics. them see the information detailed information The piece requires a The few piece multiphonics. Some them are fixed, seeofthe detailedfixed, information on the images below:on the images below: Multiphonics The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.:

U w w w ‹ nw ‹ B# w w The piece requires a few multiphonics, seeµw the detailed information on the images below: w µ & & µw w Uw w strong air-pressure bw w w B ww w) Uw w µ µ ‹ BB w w w µ w ‹ b w b w ‹ w B w µ ‹ B w w µ w µ ww ‹ µw µw w w w wµw B w w B ww B w

bw bw w ‹ µ wµww b w w B ‹µ w µbww w µ ‹& w B w B w w ‹ & w w µ b w w ‹ & w ‹ B w ‹ &‹ b w b w w ‹ w µ w µ ‹ w w w w B w w µ µ w w ‹ &‹ µ ww w & w µ & B w w w µ w µ w w µ & w µ & w w µ & & & & # w & w µ & b w w & “Normal” notes are also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for # everything from vibrato to a more extreme bending of pitch, but should always be w w µµw & w bw & µ wµw & µonly. performed with the embouchure ww #µww #µww w b w w w w b w µ w & #µµww & & nw w µ & w µ b w w w w w µ & & &µw µw w µ w w µ & & & nw & & w & w & µw much more reed than normal (push inwards) w n w & w µ n w & w & nw much more reed than normal much more reed than normal (push inwards) & & Bbµwww ‹ &‹ b w µw & b w&

‹ w bµ& w

w bµw w

much more reed normal (pushnormal inwards) muchthan more reed than (push inwards) much more reed than normal (push inwards)

(push inwards)

a little more reed than normal W.t. –2whistle tones Oboe (push inwards)

In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex:

o w w wo b w bo w o wo w µw o w w Simply a fundamental isµgiven, w ww w Other multiphonics do not require a specific fingering or outcome. followed by a description of the desired outcome. ‹ w ‹ ww w fingering or‹outcome. w Other multiphonics do not require a specific Simply a fundamental is given, followed by a ~ Other multiphonics do not require a specific fingering or outcome. Simply a fundamental is˜given, followed by a description of the desired outcome. w w w µ Other multiphonics do not require a specific fingering or outcome. Simply a fundamental is given, isfollowed by a description of the desired & Other multiphonics do not require a specific fingering or outcome. Simply a fundamental followed bydesired a description of theoutcome. desired outcome. & & is given, followed description ofdothe outcome. Other multiphonics not desired require a specific fingering or outcome. Simply a fundamental by a given, description of the outcome. Bass Clarinet inclosed Bb embouchure Whistle tones with w Bass Clarinet in Bb w range. To ascend within Close#the and with very light pressure obtain a harmonic wwembouchure µµwthe range, increase the pressure.

Bass Clarinet in Bb

ord. - ordinario Bass Clarinet Bass Clarinet inBass Bb Clarinet in ord. - ordinario mph. - multiphonic closed flute ord. - ordinario ord. - ordinario “” -- multiphonic ord. ordinario mph. bisb. œ - bisbigliando mph. multiphonic ord. –- multiphonic ordinariomph. - multiphonic mph.- bisbigliando bisb. Bass Flute bisb. - bisbigliando bisb. - bisbigliando Bass bisb. bisbigliando mph. – multiphonic w -Flute

bisb. – bisbigliando ord. - ordinario Cross noteheads indicate key clicks. Further information in the score and parts. ord. - ordinario

YY Y YYææ

ææ w) w) æ ææw) æ w)

key clicks. Further information in the score and parts. YYY CrossYnoteheadsYCrossindicate noteheads indicate key clicks. in the score and parts. Crosskey noteheads indicate keyFurther clicks.information Further information Cross noteheads indicate clicks. Further information in the score and parts.in the score and parts. Y Y YY Cross noteheads indicate key clicks. Further information in the score and parts. Cross noteheads indicate key clicks. Further information in the score and parts. Cross noteheads indicate key clicks. Further information in the score and parts.

Growl. The growling should be performed in the form of a voiced throat flutter. Growl. The growling should be performed in the form of a voiced throat flutter. Growl. The growling should beshould performed in the form of aform voiced flutter. growling be performed in the of athroat voiced throat flutter. Growl. The growlingGrowl. shouldThe be performed in the form of a voiced throat flutter. Growl. The growling should be performed in the form of a voiced throat flutter. Growl. The growling should beshould performedbe in the form of a voiced Growl. The growling performed inthroat the flutter. form of a voiced throat flutter. Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Square notesclose should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere to the pitch given. Square notes should beshould voiced, in the octave otherwise in the octave feels bestfeels for the performer. The voiced parts of the piece arepiece absolutely not required to be in perfect buttune, preferably Square notes beinpreferably voiced, preferably thewritten, octave but written, but otherwise in best thethat octave best forvoiced the performer. Thepiece voiced of the are absolutely required intune, perfect but pre somewhere close to the pitch given. Square notes should be voiced, the octave written,inbut otherwise in the octave that feels for thethat performer. The parts of the areparts absolutely not required to be in not perfect tune,to butbepreferably somewhere close topreferably the pitch given. somewhere close to the pitch given. Square notes close should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere to the pitch given. Square should be voiced, preferably in the octave in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Thisnotes notehead (very) approximate voicedwritten, pitch inbut theotherwise given register. somewhere close toindicates the pitcha given. somewhere close toindicates the pitcha given. This notehead (very) approximate voiced pitch in the given register. This notehead indicatesindicates a (very) approximate voiced pitch in the given register. Thisa notehead avoiced (very) pitch approximate voiced pitch in the given register. This notehead indicates (very) approximate in the given register. This notehead indicates a (very) approximate voiced pitch in the given register. This notehead a (very) approximate voicedwith pitchwavy in theglissandi, given register. The voiced passages are oftenindicates fluttering in pitch. This is indicated e.g.: The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: The voiced passages often fluttering in pitch. isglissandi, indicated with The fluttering ininare pitch. This isisindicated with wavy Thevoiced voicedpassages passagesare areoften often fluttering pitch. This indicated withThis wavy glissandi,e.g.: e.g.: wavy glissandi, e.g.:

U U U U U

ææ w)

U U

Explanations Explanations Y YExplanations æ General

W.t. – whistle tones Cross noteheads indicate key clicks. Further information in the score and parts. In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: Cross noteheads indicate key clicks. Further information in the score and parts. General

Animals of Growl. your pasture seesaws should between improvisational piece also flutters between temporal firmness (marked with time signatures and metronome marks) and temporal freedom (marked o written wo freely wo inand o bebfully The growling performed the form of a voiced throatpassages. flutter. The Animals of your pasture seesaws between fully written and freely improvisational passages. The piece also flutters between temporal firmness (marked with time signatures and metronome marks) and temporal freedom (marked w

ææ ææw) wo w ~w) Explanations

w is all within (a certain) temporal freedom and is accompanied with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that could be in seconds). The improvisational wo content General wo in seconds). The content is all within (a certain) temporal freedom and is accompanied with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that could be o improvisational

perceived a unity in texture and perhapsfully discuss a bitand what youimprovisational want the improvisation toThe look like ifalso it was a visual aspect, i.e. form (is it a (marked planet, is it antime organism?), texture (wet/foggy/smoky, thick), colour,freedom direction of Animals of as your pasture seesaws between written freely passages. flutters between temporal firmness signatures and metronome marks) and temporal (marked perceived as a unity in growling texture and perhaps discuss a bit what youof want the improvisation to lookpiece like if it was a visual aspect, i.e. form (is it a planet, iswith it an organism?), texture (wet/foggy/smoky, thick), colour, direction of Growl. The should performed inand the form a voiced throat flutter. movement any,improvisational etc. Perhaps this is notbeis helpful at all(a just makes it worse. Then you can at least hold onsome to the piece’s firm elements and this steadily work with themit through improvisation. in seconds).if content all within certain) temporal freedom and is accompanied with guiding notes. Since is extremely open, could bethe helpful to aim towards something that could be movement ifThe any, etc. Perhaps this is not helpful at all and just makes it worse. Then you can at least hold on to theminor piece’s firm elements and steadily work with them through the improvisation. perceived as a unity in texture and perhaps discuss a bit what you want the improvisation to look like if it was a visual aspect, i.e. form (is it a planet, is it an organism?), texture (wet/foggy/smoky, thick), colour, direction of Square notesthis should be voiced, preferably inThen theyou octave written, but otherwise in the octave that feels movement if any,notes etc. Perhaps is not preferably helpful at all andoctave just makes it worse. least hold on tobest the for piece’s firm elements steadily them thenot improvisation. Square should be voiced, in the written, but otherwise incan theat octave that feels the performer. Theand voiced partswork of thewith piece are through absolutely required to be in perfect tune, but preferably somewhere close to the pitch given. The voiced parts of the piece are absolutely not required to be in perfect tune, but General best for the performer. Harmonic timbral trills and bisbigliando AnimalsSquare of your yournotes pasture seesaws between fully written written and freelywritten, improvisational passages. The piece also flutters between temporalThe firmness (marked with time signatures signatures and metronome metronome marks) and temporal freedom (marked Animals of pasture seesaws between fully and freely improvisational passages. piece also flutters between temporal firmness (marked time and temporal (marked should be voiced, preferably in the octave but otherwise in theThe octave that feels best for the performer. voiced parts ofwith the piece are absolutely not requiredmarks) to be inand perfect tune,freedom but preferably preferably thetemporal pitch freedom given. somewhere close tosomewhere the pitch given. in seconds). seconds). The improvisational improvisational content is all all close within (a (ato certain) temporal freedom and and is is accompanied accompanied with with some some minor minor guiding guiding notes. notes. Since Since this this is is extremely extremely open, open, itit could could be be helpful helpful to to aim aim towards towards something something that that could could be be in The content is within certain) indicates a (very) approximate voiced pitchthe in the given register. perceived as aaThis unity in texture texture and perhaps perhaps discuss bit what what you want want the improvisation to look look like like ifif itit was was aa visual visual aspect, aspect, i.e. i.e. form form (is (is itit aa planet, planet, is is itit an an organism?), organism?), texture texture (wet/foggy/smoky, (wet/foggy/smoky, thick), thick), colour, colour, direction direction of of perceived as unity in and discuss aa bit you improvisation to wo wonotehead movement ifif any, any, etc. etc. Perhaps Perhaps this this is is not not helpful helpful at at all all and and just just makes makes itit worse. worse. Then Then you you can can at at least least hold hold on on to to the the piece’s piece’s firm firm elements elements and and steadily steadily work work with with them them through through the the improvisation. improvisation. movement ~ ~ Thisnotehead notehead indicates a (very) approximate voiced pitch in the given register. pitch in the given register. This indicates a (very) approximate voiced The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.:

U U

The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: The voiced passages fluttering pitch. This is indicated with These wavy e.g.: Uwlines The timbral trills occur are in variable speed in the piece,in where four indicate the fastest possible. canglissandi, also increase and decrease in speed, indicated in the following way: w) harmonic Uwoften There asking w) are also places in the parts simply w for a colour trill not as specific as the harmonic timbral trills. Uw marked with bisbigliando (bisb.)U

w w

Wavy glissando

performed with the embouchure “Normal” notes are alsoonly. accompanied by wavy lines a lot of the time. The lines differ on the wave Notes are accompanied by wavy lines a lotbyofwavy the time. differ onThe the lines wavediffer scale,on calling for everything from to a more pitch, but should be performed withbe “Normal” notes are also accompanied linesThe a lotlines of the time. the wave scale, calling forvibrato everything from extreme vibrato tobending a more of extreme bending of always pitch, but should always scale, calling everything performed with thefor embouchure only. from vibrato to a more extreme bending of pitch, but should always the embouchure only. be performed with the embouchure only.

W.t. – whistle tones In the scoreand and parts, fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: Oboes CortheAnglais Multiphonics W.t. – whistle tones The multiphonics do noto require awo specific outcome. a freely fundamental is given, followed by a In the score and parts, the fundamental position the whistle is given in theor form of a diamondSimply head. Travel between the possible overtones. Ex: wo tonesfingering b wo of(lips w exhale Without reed and close to the aperture of the oboe with very strong lip pressure) - producing soft harmonic-like high sounds, resembling the whistle tones of the flute. o staple, wo carefully

_ wo wo of wthe desired description outcome. wo o wo o o w

w ~Tremoli

Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with the embouchure only. Whistle tones with closedoccur embouchure Trills and tremoli in variable speed in the piece, where four lines indicate the fastest possible. Trills and Close the embouchure and with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure. tremoli can Whistle tones withalso closedincrease embouchureand decrease in speed, indicated in the following way: Trills and tremoli Close the embouchure and veryspeed light in pressure obtain a harmonic range. To ascend within the range, increase theincrease pressure. Trills and tremoli occur in with variable the piece, where four lines indicate the fastest possible. These can also and decrease in speed, indicated in the following way: closed flute

“” œ closed fluteSaxophone Tenor closed ” flute Tremolo “Explanations Multiphonics œw piece Trills and requires tremoli occur variable speed thedetailed piece, where four lines indicate thebelow: fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: The a fewinmultiphonics, seeinthe information on the images ord. ordinario Oboe w 1–Flute Bass General Bass Flute Tenor – Saxophone mph. multiphonic Hringla is a piece where improvisational and fully written music merge together as one. The double bass part is extremely open. A lot of the time it consists of free improvisation, and the music that is written into the part serves Bass Flute ord. ordinario mainly as keynotes - meaning the written music is an indication towards a certain direction rather than a demand of a certain or specific outcome. The orchestra part does not really include such improvisational aspects, but there bisb. – bisbigliando ord. -- ordinario

w ‹ nw ‹ B# w w w µ w µ & & Bass YY Flute YY Cross noteheads indicate keyinformation clicks. inFurther information in the score and parts. Cross noteheads indicate key clicks. Further the score and parts. w Woodwind Cross noteheads indicate key clicks. Further information in the score and parts. w µwinformation inin thethe score w YY Cross Y& ord. ordinario ord. Cross noteheads noteheads indicate indicate key key clicks. clicks. Further information score and and parts. parts. &Further Y -- ordinario

are a few places where performers are asked to imitate another sound of another player/instrument. Although these improvisational aspects are rather free, it is important to keep in mind that they should still aim towards mph. - multiphonic something that could be perceived as a unity in the otherwise ongoing texture - sort of like branches growing out of a trunk. ord. - ordinario bisb. - bisbigliando

ææ æ ææw) ææ Y Yw) w) Square notes wo wo o b wo o should w o w be voiced, preferably in the octave written, but otherwise in the octave that feels ææ wo wo w best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but ~ w) Flutes and Fluteshould Growl.Bass The growling be performed in the form of a voiced throat flutter. Growl. The growling should beshould performedbe in the form of a voiced Growl. The growling performed inthroat the flutter. form of a voiced throat flutter.

W.t. – whistle tones Growl. The growling should be performed in the form of a voiced throat flutter. In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: Cross noteheads noteheads indicate indicate key key clicks. clicks. Further Further information information in in the the score score and and parts. parts. Cross Growl. The growling should be performed in the form of a voiced throat flutter. Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given. somewhere close to the pitch given. Square notes be voiced, preferably in the octave but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Growl. Theshould growling should be be performed performed in the the formwritten, of aa voiced voiced throat flutter. flutter. Growl. The growling should in form of throat Oboe 2 somewhere close to the pitch given. This notehead a (very) approximate voiced pitch inbut theotherwise given register. Square notes shouldindicates be voiced, preferably in the octave written, in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably This notehead indicates a (very) approximate voiced pitch ingiven. the given register. preferably somewhere close to the pitch somewhere close to the pitch given. This notehead indicates a (very) approximate voiced pitch in the given register. Harmonic and fluttering bisbigliando The voiced timbral passagestrills are often in pitch. This is indicated with wavy glissandi, e.g.: The voiced passages oftenbe fluttering in pitch. This is indicated with wavy glissandi,in e.g.: Square notes notesare should be voiced, preferably preferably in the the octave written, written, but otherwise otherwise in the octave octave that that feels feels best best for for the the performer. performer. The The voiced voiced parts parts of of the the piece piece are are absolutely absolutely not not required required to to be be in in perfect perfect tune, tune, but but preferably preferably Square should voiced, in octave but the Highest possible voice pitch Highest possible voice somewhere close close to to the the pitch pitch given. given.pitch somewhere The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: ‹ o o

U U U bw

µw w

w w w w w U ‹ µw w w w‹ w w ˜ w) w w U w µ U w) w w U &voiced & ~notehead This notehead notehead indicates indicates aaa (very) (very) approximate approximate voiced pitch pitch in in the the given given register. register. & pitch in the given register. U This indicates (very) approximate pitch in the given register. This ~ This notehead indicates a (very)voiced approximate voiced U

w Uw µw w # w w µ w & The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: The indicated with wavy glissandi, e.g.: w &voiced passages are often fluttering in pitch. This is & w)

w “Normal” notes are also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be w performed with the embouchure only. performed with the embouchure only. U There are also places in the parts simply withaccompanied bisbigliandoby (bisb.) asking trill not specific timbral trills. “Normal” are also wavy the time. Theaslines differasonthe theharmonic wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be w) w marked wlines aforlotaofcolour Unotes w U w) w Uwwith the embouchure only. performed

The voiced passages are often fluttering in pitch.fluttering This is indicated wavyThis glissandi, e.g.: The voiced passages are often in with pitch. is indicated with wavy glissandi, e.g.: The harmonic timbral trills occur in variable speed the piece, where four lines the time. fastestThe possible. Theseoncan increase and decrease in speed,from indicated in to thea following way:bending of pitch, but should always be “Normal” notes are alsoinaccompanied by wavy linesindicate a lot of the lines differ thealso wave scale, calling for everything vibrato more extreme

Wavy glissando

w ww

“Normal” notes are also accompanied by wavy lines a lotby of the time. The linesadiffer wave scale, The callinglines for everything to a more extreme bending of pitch, but should always be “Normal” notes are also accompanied wavy lines lot on ofthe the time. differfrom on vibrato the wave W.t. – whistle tones performed with are the embouchure only. W.t. – whistle tones “Normal” notes are also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to moreof extreme bending ofalways pitch, but but should always always be Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending pitch, but should be should performed withbe “Normal” notes also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to aa more extreme bending of pitch, In the score and parts, the scale, fundamental positionfor of the whistle tones isfrom given in the form of head. Travel freely between the Ex: calling everything toaa diamond a more extreme bending ofpossible pitch,overtones. but should always In the score and parts, thethe fundamental position of the whistleonly. tones is given invibrato the form of diamond head. Travel freely between the possible overtones. Ex: performed with the embouchure embouchure only. embouchure only. performed with the W.t. – whistle tones o embouchure o whistle be performed the only.of a diamond head. Travel freely between the possible overtones. Ex: In the score and parts, the fundamental the is given in the form oo ofwith Multiphonics w w oo position bb w wo tones oo a specific wo or outcome. w w o w The multiphonics do not require fingering Simply a fundamental is given, followed by a description of the desired outcome. w wo o w

o wo

w wo

b wo

w w Tremolo wo Multiphonics ~~ wo inAnglais o occur Oboes and Cor o w Trills and tremoli variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: W.t. – whistle tones W.t. – whistle tones w The multiphonics do not require fingering orform outcome. a fundamental is given, followed by a In the score score and parts, parts, the the fundamental fundamental position of of a thespecific whistle tones tones is given given in in the the form of aa diamond diamondSimply head. Travel Travel freely between between the the possible possible overtones. Ex: In and position the whistle is of head. freely overtones. Ex: ~ the Without reed and staple, carefully exhale (lips close to the aperture of the oboe with very strong lip pressure) producing soft harmonic-like high sounds, resembling the whistle tones of the flute. Whistle tones with description ofclosed the embouchure desired outcome. Whistle tones with closed embouchure oa harmonic range. To ascend within the range, increase the pressure. Percussion o o Close the embouchure and with veryo lightbpressure obtain w w w Close the embouchureoand with wo verywlight pressure obtain a harmonic range. To ascend within the range, increase the pressure. Whistle otones with w embouchure o closed w Close embouchure and with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure. R.H. -the Right hand closed Tremoli flute Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with ”” wflute ~““closed L.H. Left hand the embouchure only. œœ Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and closed flute B.H. “” - Both hands

œw tremoli can also increase and decrease in speed, indicated in the following way: Whistle tones with closed embouchure Whistle tones with closed embouchure w the Trills and tremoli Close embouchure and with very light pressure obtain harmonic range. To ascend ascend within the range, range, increase theincrease pressure. Close the embouchure and with very light obtain aa harmonic range. To within the increase the pressure. Tremolo Trills and tremoli occur in variable speed pressure in the piece, where four lines indicate the fastest possible. These can also and decrease in speed, indicated in the following way: w and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: Trills

Percussion closed flute flute closed Overpressure “” Multiphonics

œœ piece Some of therequires bowed aThunder Sheet passages include overpressure. is indicated by black graphics above staves: The few multiphonics, see the detailed informationThe on overpressure the images below:

R.H. Oboe w 1- Right hand L.H. - Left hand Electric Guitar B.H. - Both hands

nw w ‹ - Left whand L.H. w µ &

R.H. - Right hand

w w

w # w B ‹ w w µ & w µw

Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more wavy glissando.

This notehead indicates a (very) approximate pitch in the given register.

Woodwind Explanations

Flutes General

˙O

the two beats. That is, not a new bow on every trill between the first and second note.

and Bass Flute

Gliss from the very start of the tremolo.

Animals of your pasture seesaws between fully written and freely improvisational passages. The piece also flutters between temporal firmness (marked with time signatures and metronome marks) and temporal freedom (marked inMultiphonics seconds). The tones improvisational content is all within (a certain) temporal freedom and is accompanied with some minor guiding notes. Since this is extremely open, it could be helpful to aim towards something that could be W.t. – whistle perceived as aand unity in not texture andaperhaps discuss bit youtones want to look like if ithead. was aavisual aspect, itoutcome. a planet, is it anEx: organism?), texture (wet/foggy/smoky, thick), colour, direction of In the score parts, therequire fundamental position ofa the whistle isthe given in the formis ofgiven, a diamond freely between the(is possible overtones. The multiphonics do specific fingering orwhat outcome. Simply aimprovisation fundamental followed byTravel description ofi.e. theform desired movement if any, etc. Perhaps this is not helpfulAattremolo all andofjust it worse. Then you can least hold on are to the piece’s firm elements and steadily work with them through improvisation. fourmakes lines should be played as fast as at possible. There a few spots where tremolo increases and decreases in speed, indicatedthe in the following way:

o Tremoli w in mind that some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. Tremolo wo be kept o speed should wo inb wtheItpiece, o w Trills and tremoli occur in variable where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: w o o w Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli

Tremolow ~ and Trills tremoli occur in variable speed in theSolo piece, where fourBass lines indicate the possible. Trillsway: and tremoli can also increase and decrease in speed, indicated in the following way: can also increase and decrease in Double speed, indicated in fastest the following

Percussion

m.s.p. Harmonic timbral Bass Tenor Saxophone R.H. -Flute Right hand trills and bisbigliando Overpressure L.H. - Leftof hand Some ord. ordinariothewo bowed ord. wo - -ordinario B.H. - Both hands mph. multiphonic~ The- overpressure is

move back and forth between the area of the techniques given, freely and in your own tempo <---> ord.

thunder sheet passages include overpressure. Overpressure The overpressure is indicated by black graphics above staves: indicated by black graphics above staves:

bisb. - bisbigliando Tremolo On the freedom of improvisation Trills and tremoli occur in variable speed in theThe piece, fourextremely lines indicate the fastest possible. Trills cantoalso and the decrease in speed, indicated in the way:texture and mood. In that sense, the improvisation should part where may seem open (and to be fair, it is), but it is and quitetremoli important keepincrease in mind that improvisation should serve the corefollowing of the general

Electric Y Guitar YOverpressure noteheads indicate key clicks. Further information in indicate the scorethe and parts.possible. These can also increase and decrease in speed, indicated in the following way: The harmonic timbralCross trills occur in variable speed in the piece, where four lines fastest Cross Sheet noteheads indicate key overpressure. clicks. FurtherThe information in the and by parts. Some of the bowed Thunder passages include overpressure is score indicated black graphics above staves: Y Y - Right There are also places in the parts simply marked with bisbigliando (bisb.) asking for a colour trill not as specific as the harmonic timbral trills. R.H. hand serve as an extension to the piece, rather than an addition.

Electronics and amplification Growl. The growling should be performed in the form of a voiced throat flutter. L.H. - Left hand The electronics are run from Ableton Live 10 Suite (Max for Live needed) and are in the form of seven different samples placed within Convolution Reverb Pro effects in Max for Live. The samples are triggered by th

ææ w) Guitar Electric ææ w w) Wavy glissando

bass, that is, the electronics in the piece are solely live.

Apart from amplified bass, therea is lot one part the piece where the percussion department is amplified (furtherscale, information on this and more in the Electronics/Amplification part). It is very important that th R.H. - RightGrowl. hand The growling performed in the the form ofof adouble voiced throat Notes arebeaccompanied wavy lines ofofonthe The lines on the wave calling for Notes areshould accompanied by wavy lines aby lot the time. The flutter. lines differ the time. wave scale, calling for differ everything from vibrato to a more extreme bending of pitch, but should always be performed with amplification for the percussion is muted before and after this one passage.

Square be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably the embouchure only. L.H. - Left handnotes should everything somewhere close to the pitch given.from vibrato to a more wavy glissando.

w U

Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more wavy glissando. Square should be voiced, preferably in the octave written, in the that feelsregister. best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably Thisnotes notehead indicates a (very) approximate voiced pitch in but the otherwise given register. This notehead indicates a (very) approximate pitch in octave the given somewhere close to the pitch given.

Oboes and Cor Anglais

! !

The voiced passages are oftenindicates fluttering in pitch. This is indicated This notehead a (very) approximate pitch inwith the wavy given glissandi, register. e.g.: Highest possible register Highest voice pitch Without reedpossible and staple, carefully exhale (lips close to the aperture of the oboe with very strong lip pressure) - producing soft harmonic-like high sounds, resembling the whistle tones of the flute.

U _

Uw w)U Highest Uw possibleindicates register a (very) approximate voiced pitch in the given register. Tremoli This notehead are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with w and tremoliNotes Trills occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli the embouchure only. Tremolo The voiced passages are often fluttering in pitch. This is indicatedindicated with wavy glissandi, can also increase and decrease in speed, in thee.g.: following way: Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way:

“Normal” notes are also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be Trills and tremoli performed withinthe Trills and tremoli occur in variable speed theembouchure piece, whereonly. four lines indicate the fastest possible. These can also increase and decrease in speed, indicated in the following way: Uw w) Uw Scordatura Scordatura

w w ww w w w

scordatura Bass Flute The electric guitar serves as the piece’s solo aspect and binding material (accompanied by the Multiphonics

The piece requires a few multiphonics, see the informationby onwavy the images “Normal” notes aredetailed also accompanied lines abelow: lot of the time. The lines differ on theFeel wave scale, for everything vibrato to ayou more extreme bending of pitch, but should always be & harpsichord) all at once. The part is very free and improv.-based. freecalling to interpret it from in the way ord. - ordinario performed with the embouchure only. W.t. – whistle tones Oboe 1 feel suits theposition pieceof the best. It could to think your part as atheforward aiming In the score and parts, the fundamental the whistle tones is given inbe the helpful form of a diamond head.as Travel freely between possible overtones. Ex:force, that is to

say that the sound has ao certain direction rather than serving as an essence of still life. Regarding the Multiphonics o w wo or outcome. o b wfingering The multiphonics do not require a specific Simply a fundamental is given, followed by a description of the desired outcome. o w o w request any particular use of type, but the ones chosen should be able to fulfil the effects wished for wI don’t o serves The electric guitar as the piece’s solo aspect and binding material (accompanied by the harpsichord) all at once. The part is very free and improv.-based. Feel free to interpret it in the way you feel suits the piece the best. o pedals, w Cross noteheads indicate key clicks. Further information thethe score andhas parts. w Tremolo It could be helpful to think as your part as a forward aiming force, that is to sayinthat sound a certain direction rather thanin serving as an essence (see Instrumentation Chart). The guitar is additionally sent through some patches Ableton Live.of still life. Regarding the use of pedals, I don’t request any particular type, ~but Trills tremoli occur in variable speed theeffects piece, wished where four linesInstrumentation indicate the fastest possible. Trillsisand tremoli can also increase andpatches decrease speed, Live. indicated in the following way: theand ones chosen should be able to fulfilinthe for (see Chart). The guitar additionally sent through some inin Ableton

Y Y ‹ nw w w w & µ

ææ w w) & w

w ‹ B# w w µ &

Growl. The growling should be performed in the form of a voiced throat flutter. Harpsichord Harpsichord w Whistle tones with closed embouchure Percussion

µw

Close the embouchure and with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure.

R.H.- Right - Right R.H. handhand

R.H.flute - Right closed

hand

” - Left L.H. hand “L.H. - Left handshould be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably L.H. -Square Leftnotes hand œ somewhere B.H. - Both hands close to the pitch given. Harpsichord

Tremolo This Thisnotehead notehead indicates a (very) approximate voiced pitch in the given register. U indicates a (very) approximate pitch theregister. given register. This indicates (very) approximate pitchthe infastest thein given Trills occur notehead in variable speed in the a piece, where four lines indicate possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: Uand tremoli R.H. - Right hand L.H. - Left hand

Overpressure The voiced Oboe 2 passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: Circular movement Some of the bowed Thunder Sheet passages include overpressure. The overpressure is indicated by black graphics above staves: indicates a (very) approximate pitch in the given register. The partmovement containsU quite aThis lotnotehead of circular movement, where the performer stirs the thimbles on the strings. The Circular U w)The part w w performer stirs the thimbles on the strings. The circular movement exists on various levels. Most of the time the movement should U contains quite a lot of circular movement, where the b w circular movement exists on various levels. Most of the time the movement should boast of neat static circles, e.g.: µw Electric Guitar

movement w w ‹ thimbles: whandstir Circular ‹ wmovement, w where the performer ‹ µw The part contains quite a lot of circular stirs the thimbles on the strings. The circular movement exists on various levels. Most of the time the movement should boast of neat static circles, E.G.: w R.H. Right w w ˜ w µ small rapid circles & & & L.H. thimbles:notes stir are also accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be w?- Leftææhand ææ-“Normal” small rapid circles performed with the embouchure only. µw ææ w ?Notesææ are accompanied # w U U w wdiffer on the wave scale, calling for everything from vibrato to a more wavy glissando. µ w by wavy lines a lot of the time. The lines & w & & U U

When the circular movement should be variable/uneven in size frequency, it the iswithin notated graphically within When the circular movement should be more variable/uneven in size andandfrequency, is notated graphically the staff, E.G.: When the circular movement should bemore more variable/uneven in size frequency, it it isand notated graphically within staff, E.G.:

W.t. – whistle This tonesnotehead indicates a (very) approximate pitch in the given register. staff, Inthe the score and e.g.: parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex:

o w

Highest possibleoregister wo

b wo

~Tremolo Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way: Whistle tones with closed embouchure Close the embouchure and Tremolo with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure. Scordatura Tremoli

occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli w tremoliPreparation “”& ww also andthe decrease indicated the like following way: œcan damper from in the speed, jack of A1 and E4 (and morein if you’d to experiment some more during the improv.-phrases). w increaseRemove Tremolo scordatura

Trillsflute and closed

Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way:

w w

Place thimbles all over the registers used. Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way:

w Preparation The harpsichord serves as the binding material in the piece along with the electric guitar, but the guitar part contains more solo aspects, so the harpsichord really has the steady role of keeping the piece together. Hence, the part Preparation may look quite repetitive, but it has a very important purpose. The entire part is played on the strings and soundboard of the instrument. Remove damper from the jack of A1 and and E4 more if you’d like to experiment more during thefree improv.-phrases). Remove the damper from the jack ofbinding A1(and and E4(accompanied (and more if you’d likeallsome to experiment some more duringFeel thefreeimprov.The electricthe guitar serves as the piece’s solo aspect material by the harpsichord) at once. The part is very and improv.-based. to interpret it in the way you feel suits the piece the best. ItPlace could thimbles be helpful to think as the yourregisters part as a forward aiming force, that is to say that the sound has a certain direction rather than serving as an essence of still life. Regarding the use of pedals, I don’t request any particular type, all over used. phrases). Place thimbles all over thewished registers used. but the ones chosen should be able to fulfil the effects for (see Instrumentation Chart). The guitar is additionally sent through some patches in Ableton Live. Double Bass

The harpsichord serves as theas binding material in the pieceinalong with thealong electricwith guitar, the guitar part contains more solo part aspects, so the harpsichord really has the steady role of keeping The harpsichord serves the binding material the piece thebutelectric guitar, but the guitar ord. - ordinario may look quite repetitive, but it has a very important purpose. The entire part is played on the strings and soundboard of the instrument.

contains more solo s.p. – aspects, sul ponticello so the harpsichord really has the steady role of keeping the piece together. Hence, m.s.p. – molto sul ponticello but it has a very important purpose. The entire part is played on the strings and the part may look quite repetitive, soundboard of the instrument. Gradually move from one technique to the other. Double Bass ord. - ordinario s.p. – sul ponticello

Wavy gliss.

s.p. – sul ponticello Remove the damper damper from the the jack of of A1 A1 and E4 E4 (and (and more you’d like like to to experiment some more more during during the improv.-phrases). Remove from you’d some improv.-phrases). Preparation Remove the the damperRemove from the jack jack of A1 and andfrom E4 (and more ifof you’d like to experiment some more during theexperiment improv.-phrases). the damper themore jackifif A1 and E4experiment (and more if you’d like tothe some more during the improv.-phrases). Place thimbles all over the registers used. Place thimbles all over the registers used. Remove the damper from the jack of A1 and E4 (and more if you’d like to experiment some more during the improv.-phrases). Place thimbles all over the thimbles registers used. Place all over the registers used. m.s.p. – molto sulused. ponticello Place thimbles all over the registers

The harpsichord harpsichord serves as as the binding binding material in in the piece piece along with with the electric electric guitar, but but the guitar guitar part contains contains more solo solo aspects, so so the harpsichord harpsichord really has has the steady steady role of of keeping the the piece together. together. Hence, the the part The The harpsichord serves serves as the the binding material material in the the piece along along with the the electric guitar, guitar, but the the guitar part part contains more more solo aspects, aspects, so the the harpsichord really really has the the steady role role of keeping keeping the piece piece together. Hence, Hence, the part part may look look quiteasrepetitive, repetitive, butmaterial it has has aa in very important purpose. The entire part part isthe played on the strings strings and soundboard of the instrument. instrument. The harpsichord serves as the binding material in piece along with the electric guitar, but the guitar part contains more solo aspects, so the harpsichord really has the steady role of keep may quite but it very important purpose. The entire is played on the and soundboard of the The harpsichord serves the binding the piece along with the electric guitar, but the guitar part contains more solo aspects, so the harpsichord really has the steady role of keeping the piece together. Hence, the part may look quite repetitive, but it has a very important purpose. The entire part is played on the strings and soundboard of the instrument. may look quite repetitive, but may it has look a veryquite important purpose.but Theitentire is played on the strings and soundboard of the instrument. repetitive, has apart very important purpose. The entire part is played the strings to andthe soundboard Gradually move from one on technique other. of the instrument.

Double Bass

Double Bass Double Double Bass Bass Double Bass

Double Bass ord. - ordinario ord. ord. - ordinario ord. -- ordinario ordinario ord. - ordinario s.p. – sul ponticello s.p. ponticello s.p. sul ponticello s.p.–– sul – sul ponticello ord. - ordinario s.p. – sul ponticello m.s.p. –– molto molto sul sul ponticello ponticello m.s.p. m.s.p. – molto sul ponticello m.s.p. – molto sul ponticello m.s.p. – molto sul ponticello s.p. – sul ponticello

Wavy gliss.

Gradually move move from one one technique to to the other. other. m.s.p. – molto sul ponticelloGradually Gradually move from from one technique technique to the the other.

Gradually movemove one technique the other. from oneto technique to the other. This noteheadGradually indicates afrom (very) approximate voiced pitch in the given register

Gradually move from one technique to the other.

Wavy gliss. gliss. Wavy Wavy gliss. Wavy gliss. Wavy gliss.

Harmonics and harmonic trills/trem. Thisnotehead notehead indicates indicates (very) approximate approximate voiced pitch in in the given given registerpitch in the given register U indicates a (very) approximate voiced aaa (very) voiced pitch register Wavy gliss. This notehead notehead indicates (very) approximate voiced pitch in the the given register U ThisThis This notehead indicates a (very) approximate voiced pitch in the given register

Harmonics and and harmonic harmonic trills/trem. trills/trem. Harmonics Harmonics and harmonic trills/trem.trills/trem. Harmonics and harmonic Harmonics and harmonic trills/trem. Harmonic

~ ~

This notehead indicates a (very) approximate voiced pitch in the given register

Harmonic Harmonic Harmonic Harmonic Harmonic Harmonics and harmonic trills/trem.

~ ~ w~ ˙

~~ ww

Artificial harmonic harmonic Artificial harmonic Artificial Artificial harmonic Artificial harmonic Harmonic Artificial harmonic

˙˙

˙O

˙˙O

Slurred tremolo tremolo is to to be played played on one one bow throughout throughout its whole whole time value value (but with with free bowing bowing during improvisational improvisational passages). Take Take for instance instance the visual visual example given given here in in the explanations; explanations; Slurred Slurred tremolo is is to be be played on on one bow bow throughout its its whole time time value (but (but with free free bowing during during improvisational passages). passages). Take for for instance the the visual example example given here here in the the explanations; the tremolo tremolo should beon played on one one bow only, through the two two beats. That is, not a new new during bow on onimprovisational every trill between the first first andfor second note. Slurred tremolo is to be played on one bow throughout its whole time value (but with the should be played on bow only, through the beats. That is, not a bow every trill between the and second note. Slurred tremolo is to be played one bow throughout its whole time value (but with free bowing passages). Take instance the visual example given here in the explanations; the tremolo should be played on one bow only, through the two beats. That is, not a new bow on every trill between the first and second note. Artificial the tremolo should be playedharmonic on one bow only, through the two beats. That is, not a new bow on every trill between the first and second note.

w~ ˙O

free bowing during improvisational passages). Take for instance visual example given Slurred tremolo is to be played on one bow throughout its wholethe time value (but with free bowing during improvisational passage here in the explanations; the tremolo should be played one bow only,That through the two bow on every trill between the first and s the tremolo should be played on one bow only, throughonthe two beats. is, not a new A tremolo tremolo of of four four lines lines should should be be played played as fast as possible. There are a few spots where tremolo increases and decreases in speed, indicated in the following way: A as fast as possible. There are a few spots where tremolo increases and decreases in speed, indicated in the following way: beats. is, There not aarenew bowwhere on tremolo everyincreases trill between the first indicated and second note.way: A tremolo of four lines should be played as fast asThat possible. a few spots and decreases in speed, in the following

˙O

A tremolo of four lines should be played as fast as possible. There are a few spots where tremolo increases and decreases in speed, indicated in the following way:

Slurred tremolo is to be played on one bow throughout its whole time value (but with free bowing during improvisational passages). Take for instance the visual exa

should be be kept in in mind that that some of of the harmonics harmonics are very pure, pure, others are very grungy grungy (not really harmonics). Take thembeats. as they they come. come. the are tremolo should beare played on one(not bow only, through Take the two is, not a new bow on every trill between the first and second note. ItIt very others very really harmonics). them It should should be kept kept in mind mind that some some of the the harmonics are very pure, others are very grungy (not really harmonics). Take them as as theyThat come. It should be kept in mind that some of the harmonics are very pure, others are very grungy (not really harmonics). Take them as they come.

Overpressure A tremolo of four lines should be played as fast as possible. There are a few spots where tremolo increases and Overpressure Overpressure A tremolo of four lines should be played as fast as possible. There are a few spots where tremolo increases and decreases in speed, indicated Overpressure decreases speed,byindicated thestaves: following way: The overpressurein is indicated indicated black graphics graphicsin above The The overpressure overpressure is is indicated by by black black graphics above above staves: staves: A tremolo of four lines should be played as fast as possible. There are a few spots where tremolo increases and decreases in speed, indicated in the following way: The overpressure is indicated by black graphics above staves:

in the followi

It should be kept kept in mind It mind that that some of the the harmonics are very pure, pure, others others are very grungy grungy (not (not really reallyharmonics). harmonics). Take them as they come. Conductor Conductor Conductor It should be kept in mind that some of the harmonics are very pure, others are very grungy (not really harmonics). Take them as they come. Conductor Take as they come. Animals them of your your pasture pasture seesaws between fully fully written written and and freely freely improvisational improvisational passages. passages. The The piece piece also also flutters flutters between between temporal temporal firmness firmness (marked (marked with with time time signatures signatures and and metronome metronome marks) marks) and and temporal temporal freedom freedom (marked (marked Animals of seesaws between Animals Animals of of your your pasture pasture seesaws seesaws between between fully fully written written and and freely freely improvisational improvisational passages. passages. The The piece piece also also flutters flutters between between temporal temporal firmness firmness (marked (marked with with time time signatures signatures and and metronome metronome marks) marks) and and temporal temporal freedom freedom (marked (marked inyour seconds). The amount of seconds seconds given at each each time should should be taken taken as suggestive guidance rather thanbetween a long bar bar in == 60. 60. The actual actual temporal outcome is, at at the end of the the day, up to to and you!temporal Althoughfreedom it is not not of of the the greatest The amount of at time be suggestive rather than in The temporal outcome is, of up Animals ofin pasture seesaws between fullygiven written and freely improvisational passages. Theguidance piece also flutters temporal firmness (marked with time signatures andend metronome marks) in seconds). seconds). The amount of seconds given at each time should be taken as as suggestive guidance rather than aa long long bar in = 60. The actual temporal outcome is, at the the end of the day, day, up to you! you! Although Although itit is is not(marked of the greatest greatest importance whether bar given given in seconds ends up being being few seconds longer or shorter, shorter, should be kept kept in mind mind to contain an overall proportional proportional correctness in terms of form form (especially when entering longer passage passage of in seconds). The amount of seconds given in at seconds each time should be taken as seconds suggestive guidance ratheritit a long bar in = 60.to The actualan temporal is, atcorrectness the end ofin theterms day, of up to you! Althoughwhen it is not of theaaagreatest importance whether aaa bar ends up aaa few longer or should be in contain overall (especially entering longer Overpressure importance whether bar given in seconds ends up being few seconds longer or shorter, itthan should be kept in mind to contain an overall outcome proportional correctness in terms of form (especially when entering longer passage of of Overpressure temporal freedom). don’t think bars bars and passages marked with seconds need to to beshould beat, aabecue cue in in and out to of contain them should should be enough, enough, maybecorrectness some more more cues/finger cues/finger signs(especially for the the longer bars. Perhaps the entire entire focusofshould should be on on III don’t think passages marked with seconds need in out be maybe signs bars. Perhaps the focus Overpressure importancetemporal whetherfreedom). a bar given in seconds endsand up being a few seconds longer or shorter, kept mind an overall proportional terms of form when entering a longer passage temporal freedom). don’t think bars and passages marked with seconds need toitbe be beat, beat, a cue in and and out of of them them should be enough, maybe some some more in cues/finger signs for for the longer longer bars. Perhaps the entire focus should be be on dynamics and such during these passages, but all of this is entirely up to you of course! dynamics such during passages, but all of this is entirely of temporal freedom). don’t think barsthese and passages marked with seconds needup toto beyou beat, acourse! cue in and out of them should be enough, maybe some more cues/finger signs for the longer bars. Perhaps the entire focus should be on dynamics Iand and such during these passages, but all of this is entirely up to you of course! The overpressure indicated byupblack above staves: The overpressure is indicated indicated byentirely black graphics above staves: dynamics The and such during these passages, but all ofisthis is to yougraphics of course! overpressure is by black graphics above staves:

Conductor

ConductorAnimals of your pasture seesaws between fully written and freely improvisational passages. The piece also flutters between temporal firmness (marked with time signatures and metronome

in seconds). The amount of seconds given at each time should be taken as suggestive guidance rather than a long bar in = 60. The actual temporal outcome is, at the end of the day, up to yo

importance whether a bar given in seconds ends up beingand a few seconds longer or shorter, itpassages. should be kept in mind to contain an overallbetween proportional correctnessfirmness in terms of (marked form (especially Animals your pasture seesaws between fully written freely improvisational passages. The piece also flutters temporal wit Animals of your pasture see-saws between fully written and freely improvisational temporal freedom). I don’t think bars and passages marked with seconds need to be beat, a cue in and out of them should be enough, maybe some more cues/finger signs for the longer bars. in seconds). The amount of during seconds given at but each time should be taken as suggestive guidance rather than a long bar in = 60. The actual temporal outcom flutters between temporal (marked marks) and temporal freedom dynamics and suchfirmness these passages, with alltime of thissignatures is entirely up and to youmetronome of course! importance whether a bar given in seconds ends up being a few seconds longer or shorter, it should be kept in mind to contain an overall proportional corre (marked in seconds). The number of seconds indicated at each point should be taken as a suggestive guidance temporal freedom). I don’t think bars and passages marked with seconds need to be beat, a cue in and out of them should be enough, maybe some more cue rather than a long bar in | = 60. The actual temporal outcome is, at the end of the day, up to you! Although it is dynamics and such during these passages, but all of this is entirely up to you of course! not of the greatest importance whether a bar given in seconds ends up being a few seconds longer or shorter, an overall proportional correctness in terms of form (especially when entering a longer passage of temporal freedom) should be kept in mind. I don’t think bars and passages marked with seconds need to be conducted, a cue in and out of them should be enough, perhaps with additional cues/finger signs for the longer bars. Perhaps the entire focus should be on dynamics and such during these passages, but all of this is entirely up to you of course!