Bára Gísladóttir: exaudi

Bára Gísladóttir exaudi (2019–20) Opera for soprano, tenor, flute, clarinet, violin, cello, percussion and piano Dur. 35′

SCORE

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Bára Gísladóttir exaudi (2019–20) Opera for soprano, tenor, flute, clarinet, violin, cello, percussion and piano Dur. 35′

INSTRUMENTATION Soprano Tenor Flute Clarinet in Bb (or Bass Clarinet in Bb) Violin Cello Percussion: Tam-tam Crotales Thunder sheet 2 Sleigh bells Triangle Temple bowl Opera gong Cymbal Wind chimes Small handbell Cabasa Thunder drum 2 Sand paper blocks Party horn Bass drum Piano

exaudi

TRANSPOSED SCORE

Bára Gísladóttir 201 9-20

SCENE 1 q = 30

Bass Clarinet in Bb Percussion T. - t. Crot. T. S. 2x S. Bells Triangle T. B. O. G Cymbal W. C. S. HB. Cabasa T. D. 2x S. P. P. H. B. D.

° 4 ¢& 4

overblow as rough as possible

5 4 #w

fff (as strong as possible)

#˙ ™

Tam-tam hard wooden mallets drum *the drumming should not be too rythmical, feel free to vary in rhythm but make sure to always play extremely fast

ææ 4 ° w ¢/ 4

5 4

ææ ˙™

ææ ˙

fff chain strike tam-tam *2x chains recommended so both hands can be used for faster passages

4 ≈ ‰ Tam-tam (pianist) { / 4 ¿

‰™

5 4 Ó™

¿ ¿ ≈¿ ‰ >

¿ ‰ ¿ ≈ ¿ ‰ >

fff

° = 3

B. Cl.

Perc.

° ¢&

#˙ ™ ææ ° ˙ ¢/ ™

˙ ææ ˙ 3

≈ ¿ ≈ ≈ ¿ ‰ ™™ T. - t. (pianist) { / >

¿‰ >

≈ ¿ ≈Œ

4 4

#w æ 4 wæ 4

4 4 3

4 ®¿ ≈ ≈ ¿ Œ 4 > >

‰ ‰ ¿

≈ ≈ ¿ ≈ ¿ ≈¿ ≈ >

‰

4 4

= 5

Fl.

B. Cl.

Vln.

accel.

° 4 ¢& 4

∑

q = 48

∑

3 4 Œ

∑

3 4 Œ 3 4

° 4 &4

#w ∑

∑

4w 4

4~ 4

Ex w.t.

Flute

° 4 &4

4 ¢& 4

plain, senza vib. when in need to breathe, please do so in a very exaggerated manner ppp

‚

as strong as the technique allows

4 4

#˙ ™

3 4

∑

∑ I m.s.p.

∑

4 4

∑

“” ~≤ o

III m.s.p. Vc.

?4 ¢ 4

∑

ææ ææ 4 ° w w Perc. ¢ / 4 go berserk with the chains ææ ææ 4 w T. - t. (pianist) { / 4 w

∑

3 4 3 4 3 4

∑ ææ ˙™ ææ ˙™

~≤ o

4 4

∑

4 4

∑

4 4

∑

b >œ œ œ

° ˙™ ¢&

ppp

6 w™ 4

‰

au - di

Fl.

Vln.

ppp

4 ˙™ 4

∑

° ¢& ~ :“; ° w &

o 4w 4~ o

6 4 ~™ ~

6 ~™ 4

wo ~

ppp

4~ 4

4 ~w 4

ppp Vc.

? ~

~™

6 4 w™

ppp

Piano strings T. - t. (pianist) {

∑

6 4

4 4

∑

ææ U pp °

mp pp

° Ó ¢&

≈

Fl.

° wo ¢& ~

wo ~

Vln.

:“; ° O &

3 > œ Bœ nœ bœ

œ Bœ

‰™

nœ i

œ™

nœ J

∑ o

˙O

pp Vc.

Perc.

Pno. - str.

? ~w pp

° Ó ¢/ {

~ Crotales arco

? ææ U

ææ U 2

Fl.

16 o ° w & ~ o

wo ~

Vln.

Vc.

¢&

∑ b~ o

:“; ° w &

? w

w.t.

5 4 #O ™

6 4 ~™

˙o ˙o bO O

6 4

wo b~

5 4

˙o ™ bO ™

Ȯ ™™

#˙ Ȯ

6 #w ™ 4

nȮ ™™ 5 4 ˙™

˙ Ȯ

6 4 ˙™

5 ˙™ 4

bw <b>wn~

gliss down from the top of the string Pno. - str.

Pno.-keyb.

? ææ U

{

ææ U ∑

5 _™

∑

#˙ ™ “‘

~w ™™

4 #w~ 4

#˙ ™

O™

4 #w 4

#w~

6/1

∑

4 4

∑

ppp

4 4 #~

as strong as the techn. allows

# wo B. Cl.

wo ~

& 4 #œ

≈‰ Œ

Ó™

4 4

∑

6 4

≈‰ Œ

Ó™

4 4 *

∑

#‚ p

° ¢&

∑

3 4

∑

‰

œ 4 œ bœ œ ‰ Ó 4

Fl.

Vln.

Vc.

? #~

˙o ™

° ¢& #~ :“; ° #w &

3 4 O™

#w~

3 O™ 4

3 ˙™ 4

∑

O™

4Œ 4

O™

4~ 4

O™

4~ 4

O™ o

˙o ™ O™

Fl.

26 wo ° & ~

wo ~

# wo

˙o ™

5 4 O™

˙o ™ O™

˙o ™

˙o

4 4

∑

4 4

∑

B. Cl.

Vln.

Vc.

Perc.

¢&

5 4

b~ o

O™

bO ™

˙o

:“; w ° &

5 ˙™ 4

O™

4w 4

? #w~

5 4 ˙™

Ȯ ™™

Ȯ

4w 4

° ¢/

T.S. thimbles drum

ææ w

æ 5 ˙æ™ 4

ææ ˙

æ 4 wæ 4

5 ææ 4 U™

ææ U

4 4

ææ w

Pno.-str.

{

ææ U

p ° œ ¢&

screeching singing voice

œ œ3 œ œ œ

o - ra - ti

Fl.

Vln.

o - nem me

‰

∑

w.t.

° ¢&

∑ II m.s.p.

° & Ó

as strong as the techn. allows

? ~w

ææ ° w ¢/

ææ w

ææ ˙

bœ

‚

pp Vc.

Perc.

Pno.-str.

Pno.-keyb.

{

ææ U™

Œ ∑

gliss down from the top of the string

/ &

ææ U ∑

w™ 6 4 ~™ o

Fl.

B. Cl.

° & b~

3 4

∑

¢&

Vln.

° bw &

Vc.

? bw~

3 4 O™

∑

3 bO ™ 4

6 4

∑

3 4 O™

6 4Ó

Perc.

Pno.-str.

{

3 4

b˙™

3 4

4 4 4 4

6 4

ææ ˙™ o

6 / 4 Ó™

wo ~ o

wo #~ ∑

4 4

∑ th.dr.t. mid reg. lightly shake on strings

ææ U™

w ~

4~ 4

ææ U

∑

w 4 4~ pp

6 4

Crotales arco

° bw ¢& o

w™ ~™

∑

æ 4 wæ 4 pp

harmonic surge jet

Fl.

° ‚ & ˙ mp

B. Cl.

¢&

wo ≈‰ Œ

~ o wo

wo #~

pp I m.s.p.

Vln.

Vc.

° w & o ~ ? æ ¢ æ

Pno.-str.

wo #~

~ wo ~

wo ~ wo #~

˙o ™

˙o ™ O™

˙o ™

˙o ™ #O ™

3 4 O™ 3 4

O™

4 4 o

4 4

(non dim.)

~ ææ

T.S. thimbles drum

Perc.

wo ~

ææ ° w ¢/ o

ææ w

ææ w { /

3 4 w~

O™ 3˙ ™ 4 Crot.

3 &4 o

bow

∑ p

O™

3 4

4 4 4 4

arco

˙™

4 4 f

˙™

4 4 f

Fl.

w.t.

° 4 ¢& 4

∑

5 4 O™

4 4

as strong as the techn. allows

Vln.

Vc.

Perc.

° 4 &4

~ ?4w ¢ 4 ° 4 ¢& 4

~ bI~

œ b œ ‚ O™

∑

5 4

bO ™

5 4

w o

∑

O™

5 4

4 4 4 4

4 4

∑

plain, senza vib. p spp

° 4 ¢& 4

œ ™™

∑

œ ˙™

3 4

∑

Nnn

Fl.

B. Cl.

Vln.

Vc.

° 4 &4 ~

4 ¢& 4 ° 4 &4 ?4 ¢ 4

∑

∑ ~

w b~

3 4 O™

~ harmonic overblow

“” nw

‰™ ‰™

‚ ‚ œ fff

3 4 3 4 3 4

∑ O™ O™

= SCENE 2 *Singers should perform this scene as if they were intoxicated while sight reading their parts for the first time

q = 60

Fl.

B. Cl.

wo ™

wo ™ ~™

° 6 &4 ~™ o

6 ¢& 4 Ó

6 /4

wo ~

4~ 4

‰ ™ b‚ bœ R

wo ~

3 4

b‚

4 4 n‚ nœ

n‚

≈ ‰ ‚ œ

‚

≈ ‰ Œ

≈ ‚ œ

‚

‰

b‚ b‚ bœ

≈ ‰ Œ

3 4

∑

4 4

3 4

mid reg. cloth go berserk on strings Pno.-str. {

plain, senza vib. mp

° 3 ¢& 4 ˙o ™

Fl.

5 4 Œ

∑

œ œ œ œ œ œ œ œ œ œ œ œ Are you

˙o ™ O™

° 3 ¢& 4 O ™

‰

do - ing an - y - thing to

Pno.-keyb.

{

cli - mate change?

w.t.

5 4 Ó™

6 4

as strong as the techn. allows

f Pno.-str.

fight

6 4

11 /2

3 /4 3 4

∑

5 &4 œ ≈ ‰

6 4

≈ ‰

#‚

Fl.

B. Cl.

° 6 ¢& 4 ‹

4œ œ œ 4

∑

3 4

I don' t know,

w.t.

° 6 &4

4 4~

∑

6 ¢& 4 ‚ œ

‚

‚ ‚ œ

‚ ‰

‚ œ

as strong as the technique allows

‚ ≈ ‰

≈ ‚ ≈ œ

3 4

‰‰

4 4

∑

3 4

4 4

∑

3 4

mid reg. cloth go berserk on strings Pno.-str. {

6 /4 f

3 ° ¢& 4 œ œ ‹ œ

œ™

us - ing tote - bags

Fl.

hesitant spoken voice

screeching exhale in a shy manner p mp

° 3 & 4 #O ™

4 œ 4

∑

mmm...

4 ~ 4

3 ¢& 4

∑

4# w 4 o

heroically (but not entirely sure of yourself) mf

&œ œ œ œ œ

3 #œ 3œ œ 4

œ œ œœœ

fol - low - ing Gret - a

Thun - berg on

so - cial me - di - a?

‹

and

bisbigl.

B. Cl.

plain, as if you have just come up with an idea you're not yet convinced about

3 4 O™

#~ ÍÍÍÍÍÍÍÍÍÍÍ ∑ ppp

3 4

∑

Fl.

# wo

° & #O ™

˙o ™

wo #~

4 4 #~

3 4 #O ™

B. Cl.

¢& #‚ #œ

≈

‰

w 4 ˜# w 4 w

˙™ 3 ˜# ˙˙ ™™ 4

8va

5 4

ff IV m.s.p.

ff Vln.

5 4

harmonic overblow

#‚

˙o ™ #O ™

° &

4 4

∑

3 ≤ 4 #O ™ o

5 4

3 ≤ 4 #O ™ o

5 4

IV m.s.p.

Vc.

4 4

∑

∑ mid reg. cloth go berserk on strings

Pno.-str. {

4 4

∑

let vib.

3 4

o °

5 4 fff

= 64

° 5 ¢& 4 Œ

mp 3 3 3 ‰ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 #œ œ œ œ œ œ œ œ œ œ œ œ œ 43 Do you wann - a

Vln.

° 5 & 4# O ™

#‚

to the ex - hi - bi - tion a - bout

glob - al warm - ing in the Mu - se - o

4 4#œ ‚ œ

‚

p Vc.

Pno.-str.

?5 ¢ 4# O ™ 5 { / 4

#‚

Ci - vi - co di

3 4

O mf

4 4

‚

#˙

4 4

∑

œ‚

3 4

∑

* = 66

° 3 #pœ œ œ œ œ œ œ ‰ &4

∑

4 4

sto - ri - a na - tu - ra - le?

Fl.

Vln.

3 ¢& 4 ‹

∑

° 3 ¢& 4

∑

4 4

∑ unconvincing spoken voice mp

‰ Œ

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

Sure...

w.t.

° 3 & 4#˙ ™

4 4~

#O ™

3 4 nO ™

4 4~

3 4

as strong as the techn. allows

O™

∑

4 4

∑

3 4

∑

4 4

∑

3 4

Ȯ ™™

∑

4 4

∑

3 4

∑

4 4

∑

3 4

pp Vc.

?3 ¢ 4#˙ ™ pp

Fl.

Vln.

° 3 ¢ 4

∑

4 &4 ‰

‹

° 3 ¢& 4 O™

How

œ œ ≈ ‰

œ™

much was your flight

3 4

∑

here?

4 4~

3 4

III m.s.p.

° 3 ¢& 4

4 ≤ 4~ o

∑

3 4

= 74

Fl.

° 3 ¢& 4 O™

4 4

∑

Vln.

° 3 & 4 O™ o

4 4O > mp

≤ ? 3 O™ 4 ¢ o

4 >˙ 4

II m.s.p.

Vc.

omp

∑

ppp

>˙

o ppp

= 78

Fl.

Vln.

Pno.-str.

Pno.-keyb.

° ¢ & b~

q = 60

{

∑

≤ bw o

∑

Pno.-str.

Pno.-keyb.

∑

3 4

∑

& b~

∑

3 4 *

° closed flute “”

b wo

bœ

° 3 ¢ & 4 b˙ ™

4 4w

° 3 & 4 bO ™

?3 ¢ 4

{

∑

3 4

gliss up from the bottom of the str.

b~ o

Vc.

bwn~

Vln.

3 4

III m.s.p.

° ¢&

Fl.

INTERLUDE

3 /4

3 &4

4 4

∑

4 4 4 4

∑

≤ bw o

wo b~

bw≤

∑

o ∑

wo b~

mf I m.s.p.

∑

3 4 o

∑

4 4

3 4

∑

4 4

3 bO ™ 4

4 4

p gliss up from the bottom of the str.

∑

3 4 !™

4 4

∑

4 4

∑

3 4 bO ™ °

4 4

Fl.

Vln.

Vc.

Perc.

Pno.-keyb.

° 4 ¢& 4

∑

w.t.

5 4 Ó™

∑

4 ~ 4

as strong as the techn. allows

° 4 ≤ & 4 bw o

sim.

bwn~

5 4 b˙ ™

bwn~

bn˙O ™™

b˙ bn˙O

˙O ™™

4 4

∑

? 4 b~ ¢ 4

b˙≥

5 b˙ ™ 4

2 x Sleigh Bells shake

° 4 ¢ 4

∑

4 {& 4

∑

4 bw~ 4

O˙

ææ w o

ææ ˙™

5 4

ææ ˙

4 4

∑

4 4

∑

5 4

∑ *

∑

Fl.

Vln.

Vc.

° ¢ & b~ ° & ¢

∑

4~ 4

3 4 bO ™

4~ 4

™ 3O 4

? w

3 4 O™

˙ o ˙≥

3 4 O

Fl.

Vln.

q = 100

˙o ™

° 3 ¢& 4 O ™ o ° 3 & 4 ˙™ f

Vc.

Perc.

Pno.-str.

Pno.-keyb.

?3 ¢ 4

˙™

3 &4

4 4 ~

wo ~

rit.

to B. Fl.

q =52

∑

b˙O ™™

4 bw~ 4

˙O ™™

f shake

ææ 3 ° ˙ ¢/ 4 ™ o 3 /4

{

˙o ™ O™

4 4

arco

æ 4 wæ 4

Crot.

∑

11 /2

w ∑ o

∑

4 4

∑

≈ ‰ Œ

∑

4 4

∑

≈ ‰ Œ

∑

#‚ p

° 10

3 4 3 4

SCENE 3 104 q = 52

ppp

° ¢&

∑

Perc.

™ 5˙ 4

had

p ppp

4w 4

4 4

∑

last night

™ 4˙ 4

5 4 Ó™

œ œ

‰™

dream

arco

Crotales

° ¢&

™ 4˙ 4 p

108

° Œ ¢&

where my

Perc.

œ œ œ ˜œ œ œ b œ 3

° Ó ¢/

and

2 4‰

bœ œ œ were

Triangle triangle beater strike

j ¿ 42

‰

5 4

bœ

roof - top

5 4

∑

œ œ œ œ

par - ty

2œ 4

at some ho

4 4

∑

4 4

2 4

∑

3 4

tel

2 4

∑

= 112

in a distracted manner

° 4 œ ¢& 4

look

TRIGGER 1

Perc.

° 4 ¿ ¢/ 4

˙™

Pno.-keyb.

‰

ing...

crotales mallets strike

b˙™

œ œ ˙™

Crotales arco

11 /3

Pno.-str.

4Ó 4

4¿ ‰ Œ 4

in an unfocused manner slightly bend tone

the

ho - tel

œ œ

˙™

must have been...

TRIGGER 2

‰ ¿

∑

2 4

∑

3 4

p mf

#œ œ 4 ‰ ‰ Ó &4

4 4

∑

2 4

∑

3 4

?4 4 ‚ ‰ ‰ ‚ Ó

4 4

∑

2 4

∑

3 4

{

= 117

° 3 #œ œ œ Œ Œ 4 #œ œ œ œ œ œ Œ 5 #œ œ œ œ œ#œ œ ™ œ 4 #œ œ œ ˙ &4 4 4 J 4 mp

An - y- way,

we were look - ing to - wards

bleating whisper pp T.

Pno.-keyb.

3 ¢ 4

∑

4 4

?3 { 4

∑

4 4

œ œ ˙

we we - rrrr

Arc - o del - la pac - e

I felt lost

4 4

∑

2 4

∑

3 4

5 4

4 4

∑

2 4

∑

in a diz- zy way

weakly, shivering 5 ˙™ Ó 4 Ah

∑

and

in a drunk manner pp

2 œ œ œ Bœ œ 3 4 4

∑

3 #˙˙ ™™ p

123

° œ & p

and

œ œ œ

then

re - a - lised

that

the whole

œ œ ‰

ci - ty had been re - versed and

mirr - ored.

mp in an exaggerated manner as when doing your best not to understand

∑

4Ó 4

‰

∑

4 4

∑

‰

∑

4 4

∑

‰

∑

4 4

∑

Hmm?

triangle beater strike

Triangle

Perc.

> 3 œ œ œ œ œ 4œ 4

° ¢/ Ó

¿ p 11 /2

Pno.-str.

Pno.-keyb.

& Œ

? Œ

{

#‚ p

a little annoyed (as when one is misunderstood) mp

126 S.

° œ 3œ bœ œ 3œ bœ &

3 3 œ œ œ œ œ œ œ 42 Œ ‰ œ 44 œ œ œ œ œ œ œ œ œ œ b>œ œ œ ‰ 42 Œ

This does- n' t real - ly make sense when I put it in - to words,

but

2 4

∑

this was my vis- u - al un - der - stand - ing an - y- way.

in a murmuring manner p

4 4

∑

‰ œ 44

2 4 ‰ œ™

∑

4 4

= 130

p ° 4 œ œ œ 3œ œ œ œ œ œ œ œ œ 3 œ œ œ œ >œ œ Œ Œ ‰ œ œ œ œ œ œ œ œ œ bœ ‰ œ 2 &4 4 4 J J we were look - ing to - wards Arc - o del - la Pa - ce

in the break of

dawn,

ex - cept Na po - le - on' s Arch of " peace"

was

suffocated aerial whispering voice whisper as if being strangled

4 ˙™ ¢ 4 look

stuttering, weak, aerial

> mp 3 œ œ œ œ œ œJ œ &4 J ing ‹

in the break of

˙~~™ ~~~~~~~~~~~~~~~~~~ ˙ ~~~~~~~~~~~~~~

∑

Ehhh

dawn,

2 4

" peace"

= dolce

135

mf mp f ° 2 b>œ >œ œ ®‰ œ œ œ œ œ œ ≈ 3 bœ œ œ œ >œ œ œ œ 5 nœ œ œ œ œ œ œ œ 3 &4 4 4 4 f

some - how

al - so serv - ing as a

Mosque with a dram - a - ti - cal - ly

3 4 ˙™

2 ¢ 4˙

5 4

Nnn

2 ° ¢/ 4 ¿

3 4

‰Œ

5 ˙™ &4 æ æ

∑

Pno.-keyb.

2 &4

∑

3 4

∑

5 4

?2 4

∑

3 4

∑

5 )™ &4

{

2 3 4 #œ œ œ œ œ 4 W hen I think of it,

3 4

2 4

∑

3 4

3 2 4¿‰Œ Œ 4

∑

3 4

∑

2 4

∑

3 4

) 3 4

∑

2 4

∑

3 4

∑

TRIGGER 4

˙ ææ

Pno.-str.

roof.

Crotales 2x crotales mallets drum

TRIGGER 3

Perc.

curved gold - en

∑

dampen strings with rubber

)™

)

° 12

140

° 3Œ ¢& 4

‰ #œ œ #œ

Temple Bowl t.b. mallet strike

Perc.

°? 3 ¿ ¢ 4

‰

was much

4‰ 4

œ œ œ

#œ œ œ

œ œ œ

and per - haps

e - ven more pur - pose - ful

beau - ti - ful,

small medium soft gong mallet strike Opera Gong T.B

-stir outside of bowl to withold sound ˙ œ o

‰™

t.b. mallet strike

¿ 44 ≈

3 4

œ œ œ

˙™

stir

‰

3 4

= 143

° 3 #œ œ œ œ œ œ ‰ Œ &4 this way than in real life.

like a cold gust on a window p

3 ¢ 4

inhale as in surprised in slow motion

4 œ~~~~~~~~~~~~~~ ˙ Œ ™ ˙~~~~~~~~~~~~~~~~~~~~~ 4 ~~~~~~~~~~~~~

∑

°? 3 ˙™ ¢ 4

tak - ing in the sur - real mys - ter - i - ous view with an

stood there for ag - es in sil - ence.

Perc.

3 >3 Œ ‰ œ 44 œ œ œ œ œ œbœ œ œ ‰ 43 œ œ œ œ œ œ™ œ œ œ œ œ œ œ 44 3

3 4Œ

4 4

stood

˙™

4w 4

3 4

∑

4 4

8/3

4 gliss down from the top of the string 3 4_ 4

∑

4 4

∑

4 4

gliss up from the bottom of the string to 8/3

Pno-str.

Pno.-keyb.

3 & 4 !™

{

œ≈‰ Œ Œ

?3 4 O™

‚

4 4w “‘

≈‰ Œ Œ

3 4

= b.c. loud inhale mp

147

° 4 œ 3œ œ œ œ Ó &4 awe - filled re

!™

5 4Œ

Mmm..

spect.

q = 60

b.c. loud inhale mp T.

4 ¢ 4 1 °? 4 4

Perc.

!™

5 4Œ

Mmm..

∑

said

fingers drum

Cymbal fingers stroke

mp T.B

4 Ó™

>œ œ 6œ œ œ œ noth - ing but it

small, suffocated, aerial

ææ ¿ ‰ / >-™ 1 1 - - ‰ 45 ˙ ™ > >

TRIGGER 5

all

œ œ œ

œ œ œ 46

said

noth - ing.

ææ ˙

6 4

t.b. mallet strike

6 4

stir

‰

6 4

150

° 6œ &4 felt

œ 3œ œ œ œ

p 3 ‰ œ œ œ œ œ bœ œ œ ‰ 45 ‰ œ œ œ œ œ œ œ™ ‰ œ œ œ bœ bœ œ œ 43

ver - y loud

and ov - er - whelm - ing an - y- way,

aerial growl T.

ææ ˙

6 ¢ 4 Ó™

ææ œ

Mmm

Perc.

and I felt a

æ 5 ˙æ 4

ache

from the core of my bod - y.

ææ ˙™

mmm

3 4

mmm

æ ° / 6 wæ ™ 4

æ 5 ˙æ™ 4

? 6 w™ ¢ 4

5 4

deep

ææ ˙

3 4 3 4

∑

rit.

152

b.c. frightened inhale

° 3!™ &4

q = 52

4 & 4 œ ˙™

Mmm..

Af - ter

ææ 3 ˙ ¢ 4 ™

4 4

just

2 4

∑

#˙

stand - ing there

6 4

∑

sing words as fast as possible on C#

2 6 4Œ œ 4œ œ ˙

1 4 ‰ #œ

sing words as fast as possible on C# f

1 4 ∑

& ‹

mmm

Crotales arco

TRIGGER 6

Perc.

Pno.-keyb.

° 3Œ ¿ ‰ Œ ¢/ 4 ?3 { 4

4 &4

w o

4 4

∑

2 4

never really admitting each other' s presence

and

∑

2 4

Œ 46

Y æ æ

1 4 ∑

∑

5 4

never really admitting each other' s presence 2x crotales mallets drum

∑

5 4

6 4

∑

#“w” n w

1 4 ∑

∑

& f

158

we went in - side

join

the

∑

4 œ œ œ œ œ œ Œ 5 œ œ œ œ œ œ bœ œ 3 4 4 4

par - ty.

As I un - der - stand it,

5 ¢ 4 Ó™

Œ ‰ œ 3 ˙ 4

∑

4 4

5 4

∑

3 4

∑

side.

arco

° 5 ¢& 4

af- ter wak - ing up

like a cold gust on a window mp

Perc.

° 5 Œ ‰ #mp œ œ œ œ œ œ 43 #œ œ œ œ œ œ &4

3 4Œ Œ

#œ o

4Ó 4

˙™

#œ 5 ˙ ™ 4 o

3 4

9/2 Pno.-str.

Pno.-keyb.

{

5 4 5 &4

∑

3 4

∑

4 5 ∑ & 4 #œ œ œ œ œ œ Œ 4

∑

3 4

∑

Œ & 45

‚ ‚ ‚ ‚ ‚ ‚ * °

* 14

∑

3 4

∑

3 4

with triumph ff

163

° 3 ‰ bœ &4 this

œ œ œ 3

par - ty

> œ œ œ œ 4œ 4

was thrown by the Ice -

land

>œ

sing words as fast as possible on G p

>œ™ œ œ œ

2 4

two of the guests seemed to be sociopaths of the most disguisting type.

Em - bas - sy and

b.c. aerial Gollum-like growl mp T.

Perc.

Pno.-keyb.

3 ¢ 4

4 4

∑

s.b.m. Tam-tam drag

° 3 ¢& 4

∑

3 {& 4

∑

4 >

1 >

& ‹

w æ æ

2 4

∑

4 bœœœ 4 bœ > f °

œœ œœ

œœ œ >œ

œœ œœ

w w w w

2 4

hoarse, weak half chanting mf

166

° 2 ¢& 4

∑

4‰ œ œ œ œ œ œœ œœ Œ 4 like the type that oen - ly en - joys

Temple Bowl t.b. mallet strike

Perc.

°? 2 ¿ ‰ Œ ¢ 4 f

tor - tur - ing eve - ry liv - ing be - ing in their en - vi - ron - ment,

˙™

stir

4Œ 4

3 3 5 œ ™ œ œ œ œ œ œ œ œ œ 3œ œ œ œ œ œ3 œ ‰ 4

5 ™ 4˙

169

almost whispering

° ‰ pœ œ 3œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ & or maybe just tor - tur - ing the whole

Perc.

en - vi - ron - ment,

œ 3 4

∑

5 ™ 4˙

I don' t know.

3 4

∑

5 4

mp pp

3 3 bœ 4œœ œ œ

felt

ter - ri - ble.

∑

pp 3œ œ ˙ 4

4 4

Ter - rrrrrr

°? w ¢

Tam-tam s.b.m. drag

3 _™

5 4

∑

3 4

∑

3 4

∑

4 4

mp super ball mallet cast iron frame drag

Pno. - str.

3 _™

∑

5 4

173

mp mf mp ° 4 ‰ œ œ œ œ œ mf œ œ œ œ œ œ œ 43 &4 mp

The

mf p 2 œ bœ3 œ b>œ œ œ 3 Œ 4 4

∑

at - mos- phere was threat - en - ing, suf - fo - cat - ing.

I don' t know why I stayed.

jokingly, bleatingly, a little evil mf

aerial, stuttering T.

4 mp 3 2 ¢ 4 w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 ˙™ ÍÍÍÍÍÍÍÍÍ 4 ˙ Mmm

Crotales

° 4 Œ &4

‰ œ 44

mmm

˙™

arco

3 4œ

mmm.

2 4

∑

Mmm

3 _™ -

∑

4 4

T.-t.

thimbles drum

Tam-tam

4 ¢ 4

3 4

∑

4 œ 4

s.b.m. drag

Tam-tam

3 4

>œ

2 4

∑

3Œ /4

∑

ææ œ

4 4

super ball mallet cast iron frame drag

Pno. - str.

Pno.-keyb.

{

4 /4

4 &4

“” bw w

3 4

2 4

∑

° 4œ &4

œ œ œ

was

min - gl - ing

‰

œ œ œ œ œ œ

3 4

∑

4 4

bœ

jok - ing man - ner, charm - ing

the

4 ¢ 4w

œ œ œ œ œ œ œ œ œ œ œ 3 4 crowd with an

ææ 4 ° w ¢/ 4

œ œ œ œ œ

hm hm hm hm

‰

3 4

ææ w

thimbles mid-reg. stir

4Ó { / 4 °

ap - peal I had - n' t seen be - fore.

Mini Me-evil laugh mf

Pno. - str.

4 4

T.-t.

3 4 -_™

∑

177

2 4

∑

3 4

∑

3 4

ææ ˙

ææ w

3 4

= 179

° 3Œ &4

>œ œ œ œ œ œ >œ œ

Not

that

per - son - al - ly founf it charm - ing.

bœ

bœ œ œ

just

freaked me out

b.c. Gollum-like growl

3 ææ ¢ 4 ˙™

∑

œ œ œ œ 45 to

be hon - est.

5 4

Mmm

Sleigh Bells

Perc.

°/ 3 4 3 ¢/ 4

Œ ææ ˙™

ææ œ f

ææ 3 ™ ˙ { / 4 p

Pno. - str.

ææ œ

∑

5 4 5 4 5 4

in a very suffocated manner pp mf pp mf pp

181

° 5‰ ¢& 4

bœ œ

œ™ œ œ œ œ œ

Perc.

bœ

4‰ 4

won - dered if he had

æ ° 5 ˙æ™ ¢/ 4

œ œ

‰ ‰

sup- pressed him- self

ææ ˙

œ this

æ 4 wæ 4

5 4

œ™

œ œ œ >œ œ

mf p

œ ˙ J

whole

≈ 44

time

we were to - geth - er,

æ 5 ˙æ™ 4

ææ ˙

4 4

184

b œ 6 b œ œ3 œ ° 4 Œ b œ œ œ ‰ ‰ bœ &4 4

or e-ven worse,

I had sup- pressed him

œ œ œ 3œ œ œ œ bœ œ 2 ‰ 4

∑

3 4

from be - hav - ing the way he wished for.

b˙

bœ

‰ 45

Mmm...

ironically, screeching as if coming to a realisation mp pp T.

4 ¢ 4

6 4

∑

2œ œ 3 ˙ 4 4

∑

5 4

Mmm...

Perc.

ææ 4 ° ¢/ 4 ˙

Cymbal brush jazz-like

Triangle triangle beater strike

¿ ‰ 46 Œ >

‰

thimbles drum

™

æ 2 ˙æ 4

™

3 4

ææ ˙™

5 4

188

° 5 &4

as when a person that can't sing pretends to be singing opera in a joking manner mf 6 3 3

q = 72 in a stereotypically evil voice

accel.

5 ¢ 4

4‰ 4

∑

Œ b œ >œ >œ At one point

3 4 œ

œ œ

œœ œ œ œ œ œ œ

œ œ

3 ˙™ 4

∑

4 4

start - ed act - ing out - in front of some of the crowd where he

aerial shivering mf

4 4

∑

‰

4 4

Mmm...

Cymbal brush jazz-like

°/ 5 4 Perc.

4 4

∑

s.b.m. Tam-tam drag

5 ¢/ 4 Ó

™ >_

4Ó 4 s.b.m. low reg. strike strings (cluster arpeggio)

super ball mallet cast iron frame drag

4 4

∏∏∏∏∏

Pno. - str.

™

4 4

5 _™ { / 4 >

3 4

≈ ‰? Œ

>⁄ °

3 4 >_™

4 4

bow

3 4 b˙

b˙™

4 4

191

° 4 ¢& 4

in a static manner

‰ œ

seemed to

æ ° / 4 ˙æ™ 4

3 4

‰

mak - ing

fun

TRIGGER 7

3 4 ¿

Œ o

4 ¢ / 4 >_ {

193

U ∑

darkly, coldly, wearily as low in reg. as possible (something between sung and spoken voice) major second down mp

q = 80

3 4Œ

‰

4 4œ œ œ

3 4

silence while playback ends

U ∑

3 4

pissed me off. very dark growl in low reg. mp

4 4

∑

ææ w

b˙™

Perc.

Pno. - str.

° ¢/ {

æ 3 ˙æ™ 4 U ∑

3 4 *

4 œ œ œ 4

‰

But it was

ææ ˙™

4 4

æ 3 ˙æ™ 4

4 4

ææ ˙™

4 4

3 4

aaa...

æ 4 wæ 4 thimbles low reg. stir

4 ææ w p °

∑

3 4Œ

Aaa...

U ææ w

æ 3 ˙æ™ 4

‰

thimbles drum

?4 4

° &

˙™

what

Perc.

Pno. - str.

3 4

= 197

softer p

as if becoming filled with life f mp

3 3 ° 4 3 ™ ‰ Œ ‰ œ œ œ4 ˙ ¢& 4 œ œ œ œ œ œ œ

un - be - liev - a - ble, real - ly.

I mean I

œ œ œ œ3 œ œ 3œ œ œ œ 6 œ œ œ ™ bœ œ ˙ 4

can' t

think of an - y- thing furth - er from his per

son

I m.s.p.

Vln.

° 4 &4

∑

3 4

∑

6 4 o

~w™™

w™ mf

I m.s.p.

Vc.

?4 ¢ 4

∑

3 4

∑

6 w™ o

Œ 43

~™

3 4 o ?3

4 o

Sleigh Bells

°/ 4 4

∑

3 4

∑

6 4

ææ w™

3 4

mf Perc.

Pno. - str.

Pno.-keyb.

ææ 4 w ¢/ 4

{

4 /4

4 &4

æ 3 ˙æ™ 4

Wind Chimes

ææ ˙™

æ 6 wæ ™ 4

3 4

ææ w

3 4 ∑

3 4

ææ ˙™

9/2

ææ ˙™

6œ œ œ &4

Œ Ó

3 4

Œ Ó

3 4

∑

6 4

‚ ‚ ‚ 18

201

strictly

° 3œ œ œ &4

œ œ œ œ Œ

act - ing out

distractedly p

4œ 4

thst man - ner.

y -

mumble "before I knew it" repeatedly as fast as possible until next bar pp

˙™ way

buzzingly (as if a bee was stuck in your mouth) p

3 ¢ 4

4w 4

∑

Mmm...

W.Ch.

3 4

∑

3 4

mmm...

TRIGGER 8

3 ° ¢/ 4

4¿ 4

∑

‰

∑

3 4

∑

4 4

= 204

rit.

q = 60

° 3Œ &4

‰™

œ 44 bœ œ œ ™ ˙ ™

3 ¢ 4

3 4 ‰ bœ œ ™ œ œ œ ‰

an - y - way,

4 &4 Œ

∑

‹

be - fore

bœ

3 4œ

˙ -

I knew it,

4 4

˙™

di.

small medum soft gong mallet strike W.Ch.

3 ° ¢/ 4

4 4

∑

O.G.

3 4

∑

‰ ™™

4 4

ff s.b.m. low reg. strike strings (cluster arpeggio)

Pno.-keyb.

3 &4

4 4

∑

{

3 4

∑

‰ ™™

∏∏∏∏∏

Pno. - str.

>⁄ °

4 4

3 &4

4 4

∑

3 4

∑

4 4

= 208

q = 48

° 4œ œ œ œ œ ¢& 4 he

T.-t.

Perc.

as in slow motion

4 ° ¢/ 4 Œ

had

put

dog

œ œ œ that was there

œ œ œ at

the

par - ty

drumsticks drum

ææ ˙™

> folky, but also choking up a bit 3 #œ œ œ œ ˙ fir

O.G.

Œ f

4 /4Œ

_™

!™

small medum soft gong mallet strike

>⁄

≈ ‰

ff s.b.m. low reg. strike strings (cluster arpeggio)

∏∏∏∏∏

Pno. - str. {

ææ ˙

s.b.m. cast iron frame drag

≈ ‰

purely, almost childishly mf

210

° #œ œ œ œ œ &

almost whispering out of horror p

œ œ œ

He had placed it in

sadly but plainly

3 3 œ œ œ œ ‰ ≈ œ œ 3Ó 6 4 #œ œ œ œ œ œ œ œ 4

the

fir - e - place and was burn - ing the poor

crea-ture

‰ œ 45

a - live.

Its

strained, weak, aerial p

Perc.

6 4

∑

¢& ‹

ííí

s.b.m. drag

T.-t. s.b.m. drag

° ! ¢/

6 4 _™

Pno. - str. {

3 5 4 ˙ ™~~~~~~~~~~~~~~~~~~~~~ 4

∑ !™

s.b.m. cast iron frame drag

/ _

3 4 _™

low reg. cloth go berserk on strings

6 4

5 4

3 4

5 4 mp

= shivering mp

213

° 5œ &4 howls

an - guish were

œ bœ ™ un

œ œ

‰

bear - a - ble.

œ œ œ œ œ œ 3 4

2 4

screamed like

more strained and screeching

a craz - y

2 4

per - son.

3 4

∑

ooo

5 ° ¢ / 4 _™

Pno. - str. {

5 4w ¢ 4~~˙™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 ooo

Perc.

4Ó 4

less aerial

overdramatically highest pitch possible

almost spoken p

5 /4

4 4

2 4 -_

∑

3 4

f s.b.m. cast iron frame drag

2 4 -_

4 4

3 4

216

° 3Œ ¢& 4 ° 3 /4

Perc.

3 ¢ / 4 !™

Pno. - str. {

3 / 4 !™

in s desperate aerial spoken voice mp

≈ #œ œ œ œ œ

∑

q = 84

4 4

∑

6 4Œ

W hen I think of it,

4Ó 4

≈ #œ œ œ 46

this must...

My cries were

TRIGGER 9

∑

thimbles drum

ææ ˙™

o pp thimbles low reg. stir

ææ ˙™ o pp

4 4

∑

6 4¿ ‰ Œ

∑

4 4

∑

6 4

4 4

ææ w

6 4

ææ w™

4 4

ææ w

6 4

4 4

ææ w

6 4

ææ w™

4 4

ææ w

6 4

221

° 6 #>œ &4

#œ œ œ

worse

mp T.

than the dog’s and

part

œ œ

my - self

de - spised

purely

6 œ ¢& 4 ‹ Ex

small medum soft O.G. gong mallet strike

Perc.

œ œ3

œ œ

> ≈ ‰ 6 ° ¢/ 4 ¿

#œ

œ œ œ

5 4

‰

me for that.

4 4

∑

5œ 4

4 4

di.

> ¿ ≈ ‰

big hard wooden mallet strike

Tam-tam

‰™

¿ 45

∑

4 4

∑

4 4

2 bdreamily 4œ œ œ ‰

5 4

s.b.m. low reg. strike strings (cluster arpeggio)

6 /4

≈ ‰

∏∏∏∏∏

Pno.-str. {

5 4

>⁄

q = 60

223

4 &4

coldly mp 3

5 4

œ œ œ œ œ œ No - one did an - y- thing.

œ œ œ œ œ œ œ œ œ œ œ™ œ™ œ

Some peo - ple seemed fro - zen in

state

shock while

oth - ers

just

= 226

° 5œ &4

œ bœ œ bœ œ œ œ bœ ™ œ œ 2 4

gazed dreamily mp

Crot.

zi - ly

° 5 #arco ˙™ ¢& 4 o

at the in - ci - dent.

5œ œ œ œ ¢& 4 ‹ gazed la -

∑

œ œ

Oth - ers did - n' t

2 4

∑

slightly

bend tone 5 bœ œ œ œ œ œ œ ™ œ œ œ œ œ >œ œ & 4 e - ven care e - nough

5 4

look.

∑

zi - ly

Tam-tam s.b.m. drag

2 _ >

5 4 -

Œ o

Ó™

s.b.m. cast iron frame drag

Pno.-str.

5 { / 4

> 2 _ 4

∑

5 4 -

= 229

q = 84 brusquely

° ‰ ™ bœ nœ œ œ œ œ œ >œ œ œ & 6

The dog kept howl - ing and I

œ œ œ bœ œ œ œ œ œ

kept scream - ing and the so - ci - o - path in the

a.f.a.p. on Eb mp

5 4

shell of an actor slash dad just smiled at me with this a.f.a.p. on Eb mp

∑

shell of an actor slash dad just smiled at me with this

°/ Perc.

TRIGGER 10

¿ ‰ Œ

∑

Triangle triangle beater strike

¢/ ¿ ‰ Œ

mp Pno.-str. {

5 4

Tam-tam s.b.m. drag

U _

U Ó

5 4 5 4

U !

∑

5 4

furiously ff

231

rit.

3 3 > > 3 ° 5 œ bœ œ #œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ 4 &4 4

q = 60

œ 3 ˙™ 3 4Œ Œ ‰ 4

∑

smug fuck - ing grin, en - joy- ing the tor - ture to its full - est.

frustrated growl mf

nœ ææ

5 ˙™ ¢ 4 ææ

Mmm

This

o œ æ æ

mmm

T.-t.

œ œ œ œ œ œ 2 4

all

hap- pened in just sec - onds,

pexhale with weak voice

Œ - ~~~~~3~~~~ _™ 4

4 /4 Ó

3 4

∑ thimbles drum

‰¿‰ Œ >

2 4

∑

Eee

chain strike

° 5Œ ¢/ 4

4 4

3 4

∑

æ 3 ˙æ™ 4 pp

∑

ææ ˙™

2 4

236

T.-t.

Pno.-keyb.

° 2 ¢& 4

5 ˙™ 4

∑

but

ææ 2 ° ˙ ¢/ 4

2 {& 4

æ 5 ˙æ™ 4

b˙ ™

felt

ææ ˙

4 &4 Ó

ææ ˙

5 4

ææ ˙™

∑

3 3 bœ œ œ œ œ œ œ Œ 4

4 bw 4

had been go - ing on

Crotales

3 4

4 4

∑

b˙

weak, vulnerable voice pp

b˙ ™

4 bw 4

for

∑

days

∑

4 4

“w”

3 4

∑

4 4

/ ppp

rit.

243

° bw &

2 4˙

4 4

∑

3 4

innocently mp

∑

4‰ œ œ œ œ œ œ œ œ œ Œ ‰ œ œ 4

nnn...

I put my arms in - to the

∑ ææ w

a bit sobbingly mp

2 4

Small handbell

°/

2 4

∑

4‰ œ œ œ ˙

&4 ‹

ææ ˙

4 4

3 4 4œ ‰ Œ Œ 4

ææ w

3 4

ææ ˙™

TRIGGER 11

∑

Wind Chimes

2 4 4¿ ‰ Œ 4Œ

ææ ˙™

3 4

ææ ˙™

p Small handbell shake close to strings

Pno. - keyb.

ææ w { /

4 4

Perc

æ 2 ˙æ 4

flames,

∑

see - ing

∑

Ex - au - di

¢/

in a whispering manner mp

q = 40

æ 4 wæ 4

æ 3 ˙æ™ 4

ææ w Crotales thimbles drum

ææ w

4w ææ p

w ææ

æ 4 wæ 4

ææ w

249

q = 60

a.f.a.p. on D

° w &

pulled

out,

but it

∑

only the dog’s outlines

pulled

th.dr.t. high reg. lightly shake on strings

3 ˙™ 4 ææ

U ∑

4 4

did - n’t come out

whole.

sloppily howling p mf

Bœ Œ

4 œBœ nœ œBœnœ œ 4 6

3 4

Pno.-str. {

with sorrow p

a.f.a.p. on D mp

¢& ‹

as intoxicated mp

3 4 5 4 4 Œ Œ ‰ œ 4 œ Bœ nœ Bœ nœBœnœBœ Œ ‰ œ œ 4 œ œ œ œ œ µœ œ bœ Œ ‰ œ 4

only the dog’s outlines

sloppily howling mf

with sorrow

œµœ œ œbœ œ Ó

5 4Ó

out

4 4

whole

w æ æ

5 ˙™ 4 ææ

˙ æ æ

4 4

fragile, dying spoken voice

253

almost whispering

hands dug in - to the flames sev - e - ral times,

Perc.

Pno.-str.

melancholically p

° 4 bœ œ œ œ œ œ bœ œ œ œ œ ‰ 43 bœ œ œ Œ Œ &4 3

pul - ling out

sin - gle

3 4œ

b˙

Œ bœBbœbœBbœbœBbœbœBbœ 44

flames

bo - dy

bo - dy- parts.

At melancholically p

4 wæ { / 4 æ

∑

4 4

∑

∑ *

= screeching howling inhale mp

257

° & bœ œ œ œ 3

last

I pulled out

œ œ

its how - ling

bœ

3 4 !™

muz - zle

Perc.

¢& ‹ last

I pulled out

° ¢/

how - ling

2 4Œ

‰ œ 44 œ bœ œ Ex

screeching howling inhale mp

œ œ Bb œ b œ Bb œ b œ Bb œ b œ Bb œ its

Gregorian mp

Ahh...

b œ 3œ œ œ

bœ

- !™

4_ 4

3 ˙™ 4 ææ

Œ ‰

3Œ

∑

Œ ‰ bœ

parts

s.b.m. drag

T.S.

4 ° ¢/ 4

œ™ œ œ œ Ó

neutrally

4 ¢& 4 Ó ‹

4 bœ ™ 4

3 4 !™

muz - zle

∑

2 4Œ

‰ œ 44 œ bœ œ Ex

∑

di.

Gregorian mp

Ahh...

3 4

au -

2 4

au -

di.

ææ thimbles ˙ ™drum

4Œ 4

∑

= 261

bewilderedly

° Ó &

‰ nœ

bleatingly aerial

5 4œ

The neutrally p

Perc.

Pno.-str.

Pno. - keyb.

¢& Ó ‹ ææ ° w ¢/

{

#11œ/2

so - ci

- o

œ -

œ œ œ #œ œ œ œ ‰

path

bleatingly aerial

did noth - ing to stop

æ 5 ˙æ™ 4

ci - o - path

th.dr.t. mid reg. lightly shake on strings

≈ ‰ Œ

5 /4

me.

6 ‰ nœ Bœ nœ Bœ 45 nœ Bœ nœ œ Bœ nœ œ Bœ µœ Bœ nœ Bœ µœ Bœ ‰ Œ

The

4 4

ææ ˙™

4 4

ææ ˙

4 4

ææ ˙

4 4

? ‚

≈ ‰ Œ

5 4 °

∑

* 23

4 4

263

° 4Ó &4

exhaustedly

‰

bleating/shivering aerial

#œ

guess

the

whole

pro

slimy growl p

Perc.

Pno.-str.

œ œ œ ce - dure

œ œ

e - vents

was

suffocated subvoive

ææ 4 ¢& 4 w ‹ Mmm

#œ µœ #œ µœ #œ µœ #œ µœ #œ œ œ µœ #œ µœ #˙ 3

whole

pro

ce - dure

ææ 4 ° w ¢/ 4

4 { / 4

plainly

‰™

mmm

∑

ææ w

265

° Œ &

‰ #œ

œ œ œ œ œ œ œ

more sat - is - fy - ing to him this

Pno.-str.

Pno. - keyb.

¢& ‹

{

3 4Œ

fragile

‰

way.

Its

3 4Œ

#˙

‰

œ œ

œ œ œ

howls were much weak - er now,

4 ˙™ 4

ííí

ææ w /

4œ 4

bleatingly aerial pp

#˙

∑

3 4

∑

4 4

3 4

∑

” #“œ

4Ó

268

al - most like much

œ de

œ -

œ œ ‰

layed

‰

¢& œ œ œ œ Bœ nœ Bœ nœ Bœ nœ Bœ nœ Bœ nœ Bœ Œ ‹ al - most like much de layed :“; #w {&

3 4Œ

gently p

5 4 5 4

3 4 * 24

#œ

Ex -

pp 3

Pno. - keyb.

3 4Œ

ech - oes.

p T.

religiously p

mp pp 3

∑

5 4

270

voice crack mf p

° 5 #œ œ œ œ œ œ #œ Œ 4 3

#œ

˙™

di,

3 3 ‰ ™ œ œ 43 #œ œ œ ¿ nœ œ Œ

o - ra

tio - o - nem me - am

ad te

mp T.

5œ ¢& 4 ‹ au

mp p

#˙ 5 4 #œ œ

œ œ Œ

nis

œ bœ bœ œ œ

4n˙ 4 ca

ro ve - ni - et.

3 ˙™ 4

5 4˙

#œ 4#w 4

#œ œ di

Sleigh Bells shake

274

æ ° / wæ

ææ ˙™

æ 4 wæ 4

æ 3 ˙æ™ 4

æ 4 wæ 4

∑

4 bœ ≈ ‰ 4

∑

4 4

∑

3 4

Perc.

Small Hand Bell shake

ææ w ¢/

∑

ææ w

pp 9/2

Pno.-str.

Pno. - keyb.

9/2

œ ≈ ‰ &

3 4

{

b‚

≈ ‰

b‚

≈ ‰

q = 54

278 S.

° b˙ ™ &

‰

That' s

œ œ

when

slowly gliss microtonally pp

¢& ‹

3 bœ 4

bœ

up,

feel - ing

3 ˙™ 4

noth - ing

but

the

˙™

Cymbal

ææ œ

3 4

thimbles drum

ææ œ

arco

‰

pp thimbles hig reg. stir

w / ææ

4 4

&4 ‹

Nnn...

° ¢/ Ó

Pno. - str. {

woke

thimbles drum Perc

mp pp

‰

3 ˙™ 4 ææ

4 4

˙™ ææ

ææ ˙

4 4

281

mp pp

° 4 bœ ™ &4

œ™

same

void

4 bœ ™ ¢& 4 ‹ same

mp pp

mp 3

5 bœ nœ #œ œ 4

œ #œ œ

most

unvoiced inhale mp p

of the

5 b˙ ™ 4

void

Nnn

3 4Œ

time

#œ

and

the

4 4

unvoiced inhale p

rapid microtonal trill pp

œ™

3˙ 4

nnn...

and

the

4 4

Small Hanbdell

æ ° / 4 wæ 4

5 4

3 4

∑

4 4

∑

p Perc.

ææ 4 w ¢/ 4

æ 5 ˙æ™ 4

4w / 4 ææ

5 ˙™ 4 ææ

Pno. - str. {

arco

‰

3 4œ

‰

4 4

˙ ææ

3 ˙™ 4 ææ

4 4

284

° 4 #mp œ™ ¢& 4 deep

Perc.

ææ 4 ° w ¢/ 4

œ™

ache

from

pp mp

5 #œ 4

#˙

3 4

4 4

∑

fore.

5 4

Crotales arco

ææ ˙™

#>œ 3 &4 f

‰

287

B. Fl.

plainly, senza vib.

° 4 Œ ‰ mp œ œ œ ≈Œ ¢& 4 ‹ That’s fucked up. ° 4 &4

4 œ 3œ œ œ œ œ œ3 œ œ œ œ œ œ œ ‰ 3 4 4

∑

May- be you should - n’t eat so much piz za be - fore bed - time.

Bass Flute growl

4 4

∑

ææ ˙>

3 4 ææ >˙

3 4

∑

fff to Cl. growl B. Cl.

4 ¢& 4

4 4

∑

fff I m.s.p.

Vln.

° 4 &4

b œ b ‚œ œ ‚œ

4 4

∑

3 4

∑

Œ fff I m.s.p.

œ œ‚ œ œ‚ Vc.

?4 ¢ 4 Triangle

Perc.

4 ° ¢/ 4 Ó

4 4

∑

3 4

∑

s.b.m. fff drag Tam-tam

triangle beater strike

¿ ‰ 44

Pno. - keyb.

{

4 /4

∑

ææ œ

fff

s.b.m. cast iron frame drag bounce 7

4 4

∑

thimbles drum

> 3 _ 4

Pno. - str.

3 _ >

œœœœœœœ

∑

fff

?4 4

4 4

∑

3 4

∑

= SCENE 4

290 q = 52

Vln.

° 6 &4

∑

4 4

∑

II m.s.p.

3 4

pp I m.s.p.

bw Vc.

Perc.

?6 ¢ 4

6 ° ¢/ 4

∑

4 4

3 4

∑ pp

∑

æ 4 wæ 4

ææ œ (pp)

fpp

th.dr.t. low reg. lightly shake on strings Pno. - str. {

6 /4

∑

4 4

ææ w

(pp)

fpp

° 27

3 4

Flute

293

Fl.

° 3 &4

4 4 ~ o

∑

Vln.

Vc.

3 ¢& 4

4 4

∑

Pno.-str.

Pno. - keyb.

˙o ™

wo b~

˙o ™ bO ™

3 4 O™

~ o

˙o ™

3 4

˙o ™

O™

4 bw 4

3 4 b˙ ™

O™

b˙™

O™

b˙™

O™

4 4

4 /4

ææ ˙™

4 4

{

3 /4

4 4

3 4

4 4

T.-t. thimbles drum

° 3 ™ ¢ & 4 b˙

4 4

O™

?3 ¢ 4

4 4 o

° 3 b˙ ™ &4

Crot. arco let vib.

Crot.

wo pp

Clarinet in Bb Cl.

wo b~

ææ w

∑

ææ ˙™

3 4

4 4

fpp

?3 4

9/2

ææ w

∑

4 4

∑

3 & 4 bœ ≈ ‰

∑

3 4

∑

≈ ‰

4 4

b‚ mp

297

seriously and purely mp

° 4 bœ œ œ œ &4

3 ˙™ 4

4 4

∑

3 ˙™ 4

4 4

∑

Ex - au - di seriously and purely mp

Fl.

Cl.

Vln.

4 bœ œ œ œ & ¢ 4 ‹ Ex - au - di ° 4 &4

∑

4 ¢& 4

3 4

∑

3 4

∑

° 4 b~ &4

Vc.

Perc.

Pno.-str.

Pno. - keyb.

?4 ¢ 4

∑

4 4

∑

3 4 b˙ ™ O ™

4 bw~ 4

b ~w

b ˙ ™ b Ȯ ™™

bb ~w

3 4

~ o

∑

wo ~

wo b~

˙o ˙o

O #O o

4 4 pp

ææ w

Crot. arco

æ 3 ˙æ™ 4

4 4

th.dr.t. low reg. lightly shake on strings

4 &4

∑

?4 4

∑

ææ w

3 4

∑

3 4

ææ 4 ° w ¢/ 4

{

∑

4 4

∑

wo b~

∑

& bw o

T.-t. thimbles drum

æ Œ œæ

9/2

ææ ˙™ ∑

4 &4

∑

bœ ≈ ‰ Œ Ó

4 4

∑

≈‰ Œ Ó

ææ w

b‚ mp

∑

304

° &

∑

3 4

∑

Ex - au

Fl.

∑

¢& ‹

∑

wo ~ b~

° &

Vln.

¢&

n~ o

° & bnw~

Perc.

œ œ ˙

wo ~ b~

wo b~

leave stage

∑

wo b~

~ wo

wo ~ b~

™ 4 3 4 b˙ ™ bȮ ™ 4 bw

bb~w

b˙™ O ™

3 4

∑

3 4

∑

3 4

∑

3 4

∑

3 4

∑

o wo

wo ~

b~ æ æ

4 4

bbw~

3 4 mf

ææ w

° ¢/

ææ w

Pno.-str. {

ææ w

3 4

ææ w

3 4

ææ ˙™

4 4

ææ ˙™

4 4

ææ w

ææ ˙

˙™ O™ p

Crot. arco

ææ w

∑

soprano leaves stage

3 4

mp 4 bœ ˙™ 4

˙o ™ ˙o ™ wo 3 4 4 O ™ bO ™ 4 ~ o o wo ˙o ™ ˙o ™ wo 3 4 ~ 4 O™ 4 O™ ~

b~ Vc.

∑

Ex - au

Cl.

3 4

accel.

œ™™b œ bœ ˙ ™

4 bœ ˙ 4

∑ Ó

3 4

∑

ææ U p

ææ U

3 4

ææ U™

q = 64

312

mp maniacally

° œ bœ ¢& ‹ Di

Cabasa turn handle

Perc.

° ¢/ -

Gollum-like scream lightly (also maniacally) pp in high reg.

voice crack mf

>˙

œ œ œ ™ bœ œ 4 œ bœ œ 3œ œ >¿ Ó 4 di

la - la - la - LA

Tam-tam

4 ! 4

bœ œ œ œ œ œ œ œ

& ‹

La - la - la - la - la - la - la - la

cabasa strike

> ¿ ≈ ‰ Œ

∑

fff

Pno.-str.

Pno.-keyb.

? ?

{

∑

4 4

∑

4 4

∑

#1œ0/3 &

nœ °

≈ ‰ Œ

accel.

315

mf pp

Fl.

Cl.

Vln.

Vc.

jodl

3 3 ° b œ bœ œ >œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 4 ¢& ‹ La - la La - la - la - la Lai - a lai - a Lai 3

q = 88

>œ œ™™

2 4

∑

2 4

∑

¢& ° &

∑

° ¢/

A - i - ah a - i - ah A- ha - ha - ha

3 4

∑

2 4

∑

˙o ™ bO ™

3 4 bO ™ o

∑

2 4

2 4Œ

∑

Gollum-like

> manic scream 3 bœ ™bœ œ œ™ œ œ œ œ œ œ 4 mp 4 > 4 w >

LAI

T.S. Perc.

evil laugh f

b ˙o ™

° &

highest pitch possible (still jodling) ff mf

3 4

˙o ™

˙o ™ nO ™

bO ™ b˙™

4 4

wo n~

4b w 4 bw 4 4

bO ™

~w ~

T-t. super ball mallet drag

3 4

4 w

∑

Pno.-str. {

b˙O ™™

punch

th.dr.t. low reg. lightly shake on strings

wo b~

4 b~ 4

3 4

¿≈‰

Aaa...

strike

ææ w pp °

2 4Œ

≈ 3 ææ ¿ 4 ˙™ >

‰

4 4

ææ w

= 319

picks up sth. like a square box (ca. 60x60x60 cm) and holds it up close to his belly

° ¢

∑ b wo

Fl.

° & b~

wo Cl.

¢&

∑

wo b~ wo n~

wo b~ wo b~

∑

wo b~ wo n~

q = 52

2 4

∑

4 4

∑

4 4

∑

4 4

∑

4 4

∑

4 4

∑

& ‹

w.t.

2 4O

n~ o

as strong as the techn. allows

2 4

∑

o Vln.

Vc.

Perc.

° bw & bw ? ¢ ° ¢/ w

bw b~

2 4 2 4

# Ȯ

∑

2 4

∑

4 4

∑

2 4

∑

4 4

∑

p Pno. - str. {

æ / wæ

* 30

lullaby-like (the box is perhaps your (imagined) baby) mp

324 T.

° œ ¢& ‹ lou

3 >œ 4

- lou - lou - lou

Crotales crotales mallet drum

Crot.

playingly mf

soprano enters stage unseen by tenor

goul - ly

≈

goul - ly

° ¢& ¿

3 4 Y™

Y™

{& œ

3 4 ˙™

˙™

Pno.-keyb.

326 T.

° œ ¢& ‹ La p

œ la

˙o ™

Fl.

Cl.

Vln.

bœ

œ™

œ.

4 œ™ 4

˙o ™ bO ™

° & O™ o

shriekingly as if seeing sth. very cute while being quirkily joyful mf

‰

2 4

wo b~

2 4

4 4~

˙o ™

¢& O ™ o

O™

4 4~

° &

O™

4 4

2 4

2 4 p

Vc.

‚

‚œ

‚ b œ‚

˙O

4 4

w p

2 4

Gollum sings a happy tune for the children f

328

2 œ ° ¢ 4 Oi

œ oi

Cl.

TIOU H

˙o

Fl.

3 >œ™ 4

° 2 &4 O o ˙o 2 ¢& 4 O

TIOU H

˙o bO

˙o ™

3 4 O™

˙o ™ bO ™

˙o

˙o ™

3 4 O™

O™

Vln.

˙O

° 2 &4 ?2 ¢ 4

˙O ™™

˙™

3 4 pp

Vc.

‰

˙™

˙O

O™

3 4 pp

shriekingly as if seeing sth. very cute while being quirkily joyful

330

° ¢

>œ œ

4œ &4

‹

O shioh - shioh - shioh - shioh - shioh - shioh - shioh

Vln.

° &

˙O ™™

˙™ O™

Vc.

Crot.

lou - lou

lou

˙O

4˙ 4

˙O ™™

Lou

4 4

2 4

2 4 2 4

∑

4 /4 ¿

∑

œ œ.

Small Handbell

ææ ˙

Triangle

° ¢&

2 4

= 332 T.

2 &4 ‹

∑

very weirdly while doing rapid high knee lifts mp

a bit smaller pp

cutely p

5 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 4 4

Hee hee hee hee Ee hee hee hee hee o - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh - hioh

= 334

in a kissing manner with face turned down towards box (not touching though)

3 ° ¢ 4œ

œ.

4 >œ 4

mou - mou - mou - mou - mou - mou - mou

Perc.

° 3 ¢/ 4

kiss box champingly mp

¿.

& ‹

GOH

s.b.m. Tam-tam drag

4 4>

∑

bounce

¿. mp

mf weirdly but joyfully 336 while wriggling hips

Vln.

œ™

° ¢& ‹ Ou

bœ -

œ™

ii - ou

smiles at box while shaking head rapidly as some people do when they see babies

looks up

insecurely p

sees sop.

‰

ii - ou

awkward silence

œ.

Lou - lou - lou

° w &

Vc.

Perc.

pp T.D. shake

° ¢/

ææ w o

∑

th.dr.t. low reg. lightly shake on strings Pno. - str. {

∑

ææ w pp °

338

Fl.

Cl.

Vln.

Vc.

Perc.

° ¢& ‹

turns away from sop., in a bit of a childish, sahemful manner (even with a little frown)

∑

° ~ & w ? ¢

Pno. - str. {

3 4 bO ™ o ˙o ™ 3 4 O™ o bO ™ 3 4 b˙™ 3 4

∑

¢&

° ¢/

3 4 Œ b ˙o ™

° &

ææ w

3 4

ææ ˙™

3 4

ææ ˙™

æ / wæ

a bit morosely p

faces audience neutrally

bœ

don’t

4 4

˙o ™ bO ™

4 4 pp

˙o ™

4 4

O™

4 4 ˙O ™™

4 4

4 4 4 4

340

bel canto you are a true tenor hero ff

gaining confidence

° 4 bœ ™ ¢& 4 ‹ see

gen - der

b wo

Fl.

Cl.

‰

>œ

race

wo b~

° 4 & 4 b~ o wo

for

that

>œ

smiling proudly at audience (also proud of holding square box)

‰

mat - ter!

wo b~

b n O≤

> b Ȯ

>Ȯ

Ȯ

>˙

Ȯ

4 ¢& 4 ~

Vln.

° 4 &4

b˙

<b> ˙

Vc.

?4 ¢ 4

b˙

˙O

b >˙

˙O

f T.-t. superball mallet drag

°/ 4 4

∑

f Perc.

punch

T.S.

4 ¢/ 4

‰

∑

¿ >

≈

Pno. - str. {

2 x th.dr.t. low reg. go bersersk, strike strings as rapidly and forcefully as possible

4 æ / 4 wæ

ææ w

342

Perc.

° ¢& ‹ ° ¢/

Pno. - str. {

sop. just stares neutrally at ten., but is a bit perplexed

sop. leaves stage with a modest indignation.

∑

3 4

∑

4Ó 4

∑

3 4

∑

4Triangle 4Ó

∑

3 4

thimbles low reg. stir

some sort of fabric falls ten. (and perhaps also musicians)

¿ p

ææ ˙™

4 4

ææ w

‰

SCENE 5 *Spoken passages should be relatively free in rhythm. The rhythm given in the scene serves as an indication to what could be interpreted as a natural spoken flow. This scene is perhaps the most theatrical of the five and it is important that the dialogue becomes as normal/natural/casual as possible - as though it was a scene from the real world - hence the rather free rhythm. Singers should feel free to add “mmm’s”/“ehhh’s”/“ahhh’s” etc. to the conversation if that is something they would do if placed in similar circumstances in their own personal life.

T.-t. superball mallet drag

345

Perc.

4 ° ¢ / 4 >_

Pno.-keyb.

{

4 bottom of the str. /4! ?4 * 4 w °

6 4 >_

gliss. down from the top

3 &4 œ

≈

‰

3 4

≈

‰

7/2

gliss. up from the

Pno. - str.

> 3 !™ 4

‚

6 of the string /4 _ 6 4

ææ U E

w™

q = 100

348 T.

° ¢

a bit dominantly f in a cis-gender alfa male colgate smile manner

‰™

‰

O - K,

B. Fl.

>œ

think

shoud

skip

all

small - talk

œ and

>œ 3œ

get straight to

Perc.

‰

3 4

ææ œ

3 4

the point.

very airy flutter

° Bass Flute & Ó

‰

Bass Clarinet in Bb B. Cl.

mf very airy flutter

¢& Ó > ° ¢ / _™

‰

> !™

ææ œ mf

° 3 4

B. Cl.

∑

3 ¢ 4 ‰™

œ just

B. Fl.

° 3 &4

ææ ˙™

3 ¢& 4

ææ ˙™

tell

why

you’ re

here.

Vc.

Perc.

b Ȯ ™™

4 4

∑

4 4

∑

4 4

∑

4 4

“O™”

I m.s.p.

?3 ¢ 4 2 x Sand Paper

œ I

° 3 b Ȯ ™ &4 ™ o

3 ° ¢/ 4 Œ

‰™

‰

III m.s.p.

Vln.

3 4

completely neutral and a bit coldly p

349

3 4

∑ ææ ˙

o ææ ˙™

rub agains each other

4 4 4 4

gliss. down from the top of the string Pno.-str. Pno.-keyb.

{

?3 4 ?3 4

∑

_™

˙™ p

° 35

4 4 4 4

351

° 4œ œ œ œ œ Œ 4 want to kill my- self.

‰™

3 œ œ œ œ œ œ œ œœ œ 4

Just real - ly don' t want to live an - y- more.

as in wanting soprano to continue

‰™ œ œ ‰ >

4 ¢ 4Ó

4 4

∑

3 4Œ

∑

‰ œ œ 44

A - ha

Vln.

Vc.

Perc.

° 4 b Ȯ &4

O - K.

:“; O™ ?4 ¢ 4

˙ œ ‚

ææ 4 ° ¢/ 4 ˙

b Ȯ

˙™

3 4 œ bœ‚ Œ

Ȯ

˙ O™

‚

4 4

‚

3 4

Œ Party Horn

ææ w

> 3œ ‰ Œ 4

gliss. up from the top

Pno.-str.

Pno.-keyb.

{

4 of the string /4!

?4 4

3 4

ææ U pp

3 4

∑ w

4 4

ææ U™

4 4

∑

354

4 2 5 ° ¢ 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ 4 ‰ œ œ œ& 4 œ How long do you think this has been go - ing on for?

growl + sing

B. Fl.

° 4 æ & 4 b wæ)

Vln.

4 ¢& 4

° 4 &4

I mean,for

‹

how

œ œ

ææ w

2 4

∑

ææ ˙o

5 4

III m.s.p.

2 4 b˙

have you been su - i - cid - al?

ææ ˙™

5 4 ˙™

œ œ œ œ œ œ œ œ 43

long

2 æ 5 æ 4 b ˙æ) ~~~~~~~~~~~~~~~~~~~~~~4 b ˙æ) ~~~~~~~~~~~~~~~~~~~~~~~~ ™™ o mf

mp growl

B. Cl.

neutrally

to Fl.

ææ 3 ˙)¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 f

ææ ˙

O™

3 4 f

b Ȯ Vc.

Perc.

?4 ¢ 4

4 ° ¢/ 4

∑

2 4

5 4

Ȯ ™™

Ȯ

3 4 f

Crotales

∑

2 4

3 4

∑

5 &4 Ó

arco

bœ o

3 4

357

Vln.

3 ° ¢ 4

5 4 ‰™

∑

° 3 & 4 O™

Crot.

It’s

hard

say.

‰™

think

start

O™

Ȯ ™™

O™

O™ ?3 ¢ 4

5 4 ˙™

Vc.

5 4

when

was

3 4 3 4

° 3 ¢ & 4 b˙ ™

5 4

∑

3 4

gliss. down from the top of the string

Pno.-str.

Pno.-keyb.

{

3 / 4 _™

5 4

∑

3 4

?3 4

5 4

∑

3 4

˙™ °

359

° 3 ¢& 4 œ

eight

q = 88

rit.

4 4

œ œ œ œ œ œ œ œ œ and

has gone

∑

3 4

∑

2 4

∑

3 4

ebb and flow since then.

closed flute

“”

Flute

Fl.

w.t.

° 3Œ ¢& 4

4 4w

3 4 ˙™

2 4O as strong as the technique allows

as strong as the technique allows

Vln.

° 3 Ȯ ™ &4 ™

O™

3 4

I m.s.p.

4 4

∑

3 4

∑

2 4

3 4

Vc.

?3 ¢ 4

‚

I m.s.p.

˙O

4 4

Pno.-keyb.

{

3 /4Œ

?3 Œ 4

3 4

∑

2O 4

3 4

pp gliss. up from the top of the string

Pno.-str.

∑

° Œ œ pp

4! 4

3 4

4 4

3 4

∑

˙™

4 2 4

ææ U pp ˙

3 4 3 4

mockingly, belittling T's predictable take on the matter mp

363

° 3 ‰™ 4

œ œ œ œ Did an - y - thing

3 ¢ 4 ‰™

œ œ œ œ

Vln.

Vc.

Crot.

Pno. - str.

hap - pen

>œ œ ‰

b˙™

∑

hap - pen

‰

when you were a - round that age?

4 4

∑

b ˙O ™™

O™

4 œ œ 4 I mean

O™

b Ȯ ™™

˙™

4 4

o ‚

∑

4 4

∑

2 x Sand Paper rub against each other

° 3 ¢& 4 ?3 4

œ œ œ œ œ œ œ

‰

™ ?3 O ¢ 4

{

‰

when you were a - round that age?

° 3 ¢& 4 O ™ ° 3 &4

accel.

œ œ œ œ œ œ œ

‰

a little gentlier and more vulnerable than before mp Did an - y - thing

Fl.

>œ œ ‰

ææ ˙™

4 4

ææ U™

4 4

ææ U™

heroically fff

366 q = 100

° 4 Ó &4

≈

>™ œ

3 4

Noth 3

4 ¢ 4 œ an

Vln.

œ -

y - thing

you

think

could

have

trig - gered

your

œ su

œ -

≈

3 4

‰

i - cid - al thoughts?

b~ ° 4 w ¢& 4

3 4

æ ° / 4 wæ 4

3 4

Perc.

T.-t. s.b.m. drag

4 ¢/ 4 _

3 4

coldly mp

367

°& 3 œ 4 -

œ œ œ œ œ œ œ œ 45

4 4

∑

ing that I can think of, no.

3 ¢ 4

neutrally, but feeling a bit perplexed 3

5 4

∑

4 œ œ œ œ œ& ‰ 45 4 œ œ œ œ œ œ œ œ ˜ œ œ ‹

∑

O - K, but did you

Vln.

° 3 ¢& 4

bO ™

5 4

∑

bO ™ 5 ææ 4

O ææ

4 4

tell an - y - one at the time?

5 4

= 370

° 5 Œ &4

œ œ

≈ Ó

4Œ 4

Tell what?

3 4

No.

p T.

Fl.

B. Cl.

Vln.

5 ¢& 4 Ó ‹

≈ œ œ œ œ œ œ œ œ That you had su - i - cid - al

° 5 &4

5 ¢& 4 ° 5 ¢& 4

4Ó 4

‰ ˜œ œ œ

thoughts?

∑

4 4

∑

4Ó 4

3 œ œ œ œ 4

4 4

° 5 b˙ ™ ¢& 4 o

œ Œ

3 4

4 4

3 4

˙)

b˙™

3 4

∑

Crotales arco

Perc..

‰

3 4

∑

= a little wearier p

372

° 3 4

4Ó 4

∑

‰

No.

mp T.

Fl.

3 ¢ 4 >œ

ther - a - py,

an - y

° 3Œ &4

form

coun - sel - ling

4 4

∑

ei - ther?

w.t.

4 4~

b‚ Œ as strong as the techn. allows

B. Cl.

Perc..

3 ¢& 4 ° 3 ¢& 4

˙) ææ

œ6

4 4

∑

4 /4 Ó

∑

T.-t. superball mallet drag

> -

374

° & bw

3 4

Bbw

4 ‰™ 4

∑

Nnn

œœ‰

œ œ œ œ œ œœœ œ

3 œ œ4

I think it has got - ten to a place where it

3 4 4œ œ œ œ œ œ œ œ œ 4

O - K.

3 4

∑

W hat made you de - cide to seek help now?

growl + sing

Fl.

° ææ 3 & bw)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 pp

4 ææ 3 4 bw)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4

∑

growl + sing B. Cl.

3 4 ¢& ææ # w) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pp

Vln.

° &

“~”

Vc.

Perc.

∑

3 4

4 4

∑

thimbles drum

ææ w

3 4

ææ ˙™

4 4

ææ w

3 4

4 4

ææ w

3 4

th.dr.t. low reg. lightly shake on strings

Pno.-str. {

~ 4 ææ 4

° ¢/

3 4

4 3 4 ææ 4 # w ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

∑

ææ w pp °

3 4

ææ ˙™

= 377

3 4 ° ¢ 4 œ œ œ œ œ œ œ œ œ œ œœœ œ 4 5

q = 60

q = 160

∑

5 3 4 ‰™ œ œ œ œ œ œ œ œ œ œ œ œ 4

can’t get an - y worse be - fore I actu - al - ly do it.

Fl.

The prob - lem is

airy growl

° 3 4 & 4~~~b˙) ™™ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4

∑

3 4

ææ ˙

3 4

O™ 5 ææ 4

3 4

bO ™ 5 ææ 4

3 4

ææ ˙

3 4

ææ ˙

3 4

pp airy growl B. Cl.

Vln.

Vc.

Perc.

3 ¢& 4

# ˙) ™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

:“; ˙™ ° 3 &4 ?3 ¢ 4

bO ™

ææ 3 ° ¢ / 4 ˙™

O™

4 4

∑

do - ing it,

ææ ˙

5 4

ææ ˙™

not that I’ m scared of

5 4

ææ ˙™

4 4 4 4

T.S.

4 4

∑

5 4

thimbles drum

ææ ˙™

pp thimbles low reg. stir

Pno.-str. {

3 ææ / 4 ˙™

4 4 * 40

∑

Δ 5 ææ 4 ˙™

380

3 ° ¢ 4

sincerely p

q = 60

rit.

2 4 ‰™

∑

5 ‰™

‰

œ œ I mean,

Fl.

B. Cl.

Vln.

Vc.

Perc.

I would just real - ly love

° 3 &4

2 ææ 4 ˙ææ ˙ ™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 3 æ 2 4 ˙ææ ¢& 4 ˙æ™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

?3 ¢ 4

2 4

∑

æ ° 3 ˙æ ¢/ 4

Pno.-str. {

2 4

∑

5 4

3 ææ / 4 ˙™

2 4

hav - ing

œ ™ b‚ O

4 4

4 4 4 4

4 4

IV m.s.p.

5 4

˙ o

œ™

‚ O™

2 4 Œ

not

œ œ œ

ææ Ó ˙ ™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~o

5 4

b˙ o

ææ Ó ˙ ™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~o

5 4

IV m.s.p.

° 3 &4

‰

œ œ œ œ œ œ

s.b.m. drag

‰

ææ ˙

5 4 -

5 4

4 4

∑ *

= 383

° 4 ¢& 4 œ ‰

œ œ ‰

live

Vln.

an - y

° 4 bœ ‚ &4

œ ‰ more.

œ œ œ œ œ œ œ œ œ W hen

b nO≤

Œ b‚œ

4 ¢& 4 w

‰

4 /4

ææ ˙

Œ o

q = 100

° Œ ¢&

Vc.

Perc.

¢&

re - lief.

b~w

Ȯ

‰™

ææ ˙

œ ˜œ

But that’s

‚œ

Ȯ

ææ w

carelessly mp half sung/half spoken

ææ w

on - ly

one

# Ȯ

œ side

3 œ œ 4Œ of

‰

it.

W hat

3 4 ‚œ

œ‚

#œ‚

œ‚

4 4

3 4 ˙™

æ ° ¢/ w

3 æ 4 ˙™

Pno.-str.

huge

∑

° bb‚œ &

Vln.

feel

b˙O

386

kill - ing my - self,

~ s.b.m. drag

4 ° ¢/ 4 Ó

Pno.-str. {

œ œ œ

T.-t.

Perc.

think

bb~w

I m.s.p. Vc.

œ œ œ

O™

4 4 4 4

ææ { / w

3 4

ææ ˙™

4 4

388

wor - ries me

Vln.

Vc.

bleatingly, suffocated

fully sung

° 4 ¢ & 4 œ œ œ µœ œ œ œ œ œ œ b œ ™ œ œ

5 4 ‰

are the peo - ple close to me.

° 4 &4 ˙ o

It would just

5 4 #˙O ™™

#Ȯ

œ œ œ

cruel

O™

œ œ & 43 to

3 4

4w ¢& 4

5 4 ˙™

O™

3 4

O f

Perc.

æ ° 4 wæ ¢/ 4

5 4

æ ˙æ™

4 æ / 4 wæ

5 4

ææ ˙™

Pno.-str. {

Ó o Ó o

3 4

= lightly chanting mp

390

° 3 ¢ & 4 bœ

‰

mum,

≈ œ œ ‰

œ œ boy friend,

‰ bœ

sib - lings,

best friends,

growl

Fl.

B. Cl.

° 3 bœ & 4 ææ

œ ææ

3 æ ¢& 4 b œæ

ææ œ

ææ œ™

‰

œ œ œ œ œ œ 44

œ™

≈ æœ æœ ‰ æ æ ææ œ

‰ bæœ æ

œ™ ææ

ææ bœ

ææ ˙

‰

et - cet - era, et - cet - era.

growl + sing

4 4

œ ææ Œ

ææ bw)

5 4

f growl + sing

4 æ 4 æ bn w)

° 3 & 4 #˙ ™ p

Vc.

4 4 #w~

#˙ ™

O™

b˙O ™™

O™

4 bw 4

5 4

Crotales crot. mallet strike

Perc.

5 4

3 O™ ¢& 4 ° 3 b¿ ¢& 4

5 4

Vln.

5 4

∑

¿ ¿

‰

≈

¿ ¿

‰

b¿

¿™

s.b.m. drag

> _™

¿ ¿ ¿ ¿ ¿ ¿ 4 S.D. Œ /4 3

5 4

= 393

Vln.

Vc.

° 5 Œ ¢ 4 ° 5 &4

‰

œ œ œ But

it’s hard

Soprano

œ œ œ œ œ œ œ œ œ œ & 2 bœ 4 to

keep liv - ing when you feel like you’ ve got

∑

5 O™ ¢& 4 b ˙ ™

noth - ing

œ Bbœ bœ Bbœ 45 live I m.s.p.

2 4 Œ

#‚œ

2 4 b˙

for

5 4 5 4

395

B. Fl.

5 ° ¢ 4 ‰ ° 5 &4

And

the

œ œ œ

œ œ œ œ peo - ple

men - tioned be - fore

would

Vc.

some - what

œ œ œ œ ‰

4 4

dev - as - tat - ed

Bass Flute

ææ ææ ˙) ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ <n>˙ b) ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 44

5 ¢& 4 b ˙ ™

ææ b˙

b˙™

Vln.

of course

pp growl B. Cl.

4 4

° 5 #Ȯ ™™ &4

˙™

˙O

4 4

5 ¢& 4 ˙™

b˙O ™™

Ȯ

4 4

= 396

4 ° ¢ 4

œ 3œ œ œ œ3 œ œ œ œ œ œ

‰

but

hon - est - ly think it would be

the best

œ œ œ œ 43 œ for them in the

long

œ œ œ œ œ œ

run

not

hav - ing to deal with me.

4 4

growl

B. Fl.

° 4 & 4 bw

3 4 b˙ ™

4 4

˙™

mf growl + sing

B. Cl.

Vln.

Vc.

3 4 ææ b ˙) ™

4 4

° 4 ##w~ &4

3 #O ™ 4

4 4

4 ¢& 4 bw~

3 4 ˙O ™™

4 4

4 ¢& 4

ææ b w)

= 398

q = 60

rit. f

° 4 ≈ œ œ œ >œ 4 I

mean, it’s

œ œ œ

cra - zy

how much

œ 3œ œ œ œ

4 4

∑

hu - mans can live with, right?

mp T.

4 ¢ 4

∑

œ œ œ œ

4 4

W hat do you mean?

Vln.

Vc.

° 4 nw &4

4 ¢& 4 w~

4 4 4 4

400

q = 80 mp

° 4 œ™ œ œ œ œ œ œ œœ œ œ Œ 4 3

First of all,the cir - cum - stanc - es we all share,

B. Fl.

4 ¢ 4

∑

° 4 &4

∑

plan - et

ru - ined by our - selves mp

4 ¢& 4

˙)™™

5 O™ 4

2 4

4 ¢& 4 O

5 4 ˙™

O™

2 4

#˙O

5!™

?4 4 ææ U mp

{

gliss up from the bottom of the sting

Pno.-keyb.

2 4

#) ™

Pno.-str.

2 4

)™

Vc.

2 4

Vln.

But

˙)™™

5 4 ææ ˙

° 4 w~ &4

2 4

‰ #œ

mmm

5 ææ 4 b˙

∑

#œ µœ#œ µœ#œ µœ#œ µœ Ó

5Ó

&4 ‹

p B. Cl.

5 & 4 #œ œ œ œ œ œ œ µœ#œ µœ ‰

‰ œ

?4 4

5 4

∑

4 2 4

˙™

402

° 2 darkly, hoarsely œ ¢ 4œ œ

al - so stuff very airy growl

B. Fl.

° 2 ææ ¢ & 4 b˙

p 3

œ a

4œ

buse,

4 4

mp 3

‰

bul - ly - ing,

Vln.

° 2˙ &4

Ȯ

4˙ 4

Ȯ

œ œ œ œ œ œ œ œ œ œ

be - ing com - plete - ly

ææ ˙™ ˙

calm spoken voice

Œ o b Ȯ

bro - ken - heart - ed

4 4

4 4 4 4

Vc.

Perc.

2 ¢& 4 #˙

4w 4

4 4

pp T.-t. thimbles drum

2 ° ¢/ 4

∑

æ 4 wæ 4

4 4

pp Pno.-str.

{

?2 4

U pp

4 4

U 44

terrified/bewildered

404

° 4œ ¢& 4

œ bœ

some - one

B. Fl.

B. Cl.

you

love

much

that

3 bœ œ œ œ 4

ven

4 )w & ¢ 4

lov - ing that per - son

3 b) 4 ˙

b ~w

3 4

œ œ œ phys - i - cally

hurts.

growl

œ æ æ

3 6 4 æœ æ

Vln.

° 4 b)w &4

° 4 &4

sreaching exhale mf

6œ æ æ

œ6 æ æ

b Ȯ ™™ o

Vc.

3 b˙ ™ 4

4w ¢& 4

Perc.

æ ° 4 wæ ¢/ 4

æ 3 ˙æ 4

ææ œ

Pno.-str.

{

?4 4 ææ U

3 4

ææ U™

= 406

2 4

∑

3 4 ‰

hesitatingly mp T.

2 4

∑

So,

mean they would get

3 4

o - ver,

≈

œ œ 45 or

5 4

∑

So?

B. Fl.

B. Cl.

° ˙ &æ æ ˙) ™™ ¢&

œ æ æ

2 4 æ˙ æ 2 6 4œ

œ6

3 4 æœ æ 3 )™ 4˙ ™

˙ æ æ

‚œ

3 bO 4

5 4 5 4

Vln.

° &

b Ȯ

2 4

∑

3 4

5 4

Vc.

Perc.

¢&

2 bO 4

∑

‚

5 4

p s.b.m. drag

° ¢/ Ó

2 4 _

3 4

∑

5 4

Pno.-str.

{

∑

2 4

th.dr.t. low reg. lightly shake on strings

∑

3 ææ ˙™ p °

5 4

409

5 ° ¢ 4 >œ

least

learn

live

with

hav - ing

com - mit - ted

œ -

4 4

Ó o

4 4

i - cide.

to Fl.

B. Fl.

° 5 ˙™ &4 æ æ

B. Cl.

5 ˙) ™™ ¢& 4

to Cl.

Vln.

° 5 &4

b >˙ ™

O™

4 4 pp

Vc.

b>˙ ™ 5 ¢& 4

Pno.-str. {

O™

4 4

5 æ / 4 ˙™ æ

ææ ˙

4 4

q = 100

410

Vln.

Vc.

4 ° ¢ 4 Ó

° 4 &4

œ™

Hmm,

œ -

‰

But

the

4 æ / 4 wæ

∑

gli ss.

n‚

ææ w

rea - son you’ ve sought help

4 bO ™ ¢& 4

Pno.-str. {

Ó o

still

the

&4 ‹

5 4

5 4 5 4

folky ff

412

Fl.

° 5 ¢& 4 ˙ ™ ‹ fear

lyrically mp

2 4 œ ˜œ

Flute

° 5 &4

2 4Œ

∑

5 ¢& 4

Pno.-str. {

4 4

Clarinet in Bb B. Cl.

2 4Œ

∑

5 ææ / 4 ˙™

ææ ˙

2 4

œo

‚ o

‚

œo

‚ o

‚

4 4

∑

414

casually

° 4 4

3 4‰

∑

≈™ œ œ

Yeah.

fearfully T.

˙o ™

Fl.

œ.

œ œ œ œ

ones

O™

com - mit - ting

3 œ œ œ 4

Cl.

4 ¢& 4 O

∑

œo

‚

3 4‚

‚

˙o

Vln.

Vc.

° 4 &4

˙o

œo

3 4‚

‚

4 /4

O™

to B. Cl.

O™

3 4

4 ¢& 4 w~ o

Pno.-str. {

Œ o

˙™

guess the

su - i - cide?

˙o

‰

˙o ™

° 4 &4 O™

I mean,

ppexaggerated dark voice

p 3

4 ¢& 4 œ œ œ œ. ‹ hurt - ing your loved

≈ œ œ œ

3 4 ˙™ pp

3 4

∑

ææ ˙™ mp °

˙O ™™

q = 60

416

best

thing would

some - how

find

just

4œ

touch

life

4Ó

&4 ‹

∑

˜œ

3 4

lust

3 4

˜˙

˙ Nnn

w.t.

Fl.

° ¢& O ™

4~ 4

3 4

as strong as the technique allows

Perc.

Crotales arco

° ¢/

Pno.-str. {

4œ o

∑

ææ / ˙™

4 4

3 4

∑ *

418

q = 100

3 ° ¢ 4‰

T.S. thimbles drum

Perc.

that

could

then

grow

build

on.

bitterly

‰™

2 4Œ

‰

4 4

Right

æ ° 3 ˙æ™ ¢ / 4 pp

2 4

ææ ˙

4 4

q = 60

420

4 ° ¢ 4œ œ œ œ œ œ œ œ œ œ œ Œ now

‰

I don’t have an - y- thing like that at all,

° 4 &4 ~

B. Cl.

Perc.

ææ 4 ° ˙ ¢/ 4

an - y

how

clue

where

Bass Clarinet in Bb

∑

find

it.

3 4 pp

growl

ææ wo

3 4

∑

3 4

œ bœ

wo ~

~ o

as strong as the techn. allows

4 ¢& 4

œ œ œ œ œ œ &œ wo

w.t.

Fl.

lightly as in disconnected to what you're saying

3 4

feeling a bit exhausted p

422

3 ° ¢ 4

‰™ œ ≈ ‰ ‰ œ œ œ œ œ œ œ œ œ

∑

O - K,

B. Cl.

mp œ 3œ œ œ œ œ œ œ œ œ 45 ‰ ™ œ œ™ œ œ ‰

can you point out an - y mo - ments where you feel a - live,

° 3 ¢& 4 ˙) ™™ b ) ™ b ˙) ™™

ææ b ˙) ™™

œŒ 2 4

or most a - live? You’ re a mu - si - cian, right?

5 4 o

∑

2 4

∑

5 4

∑

2 4

∑

5 4

∑

2 4

Vln.

° 3 m.s.p. & 4 b˙ ™ O ™ bO ™ p I m.s.p.

Vc.

3 ™ ™ ™ ¢ & 4 b˙ O bO p

Perc.

3 ° ¢/ 4

ææ ˙™

∑

ææ ˙™

5 4

ææ ˙™

ææ ˙

2 4

ææ ˙™

5 æ 4 ˙™

æ ˙

2 4

Δ -thimbles low reg. stir

Pno.-str. {

3 /4

ææ ˙™ pp °

∑

= 426

2œ ° ¢ 4 How

Perc.

you

feel

when

you’ re

3 4

‰

play - ing?

æ ° 2 ˙æ ¢/ 4

Pno.-str. {

∑

æ 3 ˙æ™ 4

2 æ / 4 ˙æ

3 4

ææ ˙™

428 q q = 80 S.

° mp œ ¢&

q q = 100

That’s when

B. Cl.

° ¢&

used

feel

the most

a - live.

Re - cent - ly,

just

œ œ œ œ œ œ™ ‰

feel noth - ing when I

per - form.

growl + sing

ææ ˙™

ææ # )˙ ™™

5 4

Vln.

Vc.

° m.s.p. & O™ ¢

˙™

O™

p IV m.s.p.

O™

˙™

O™

5 4 5 4

rit.

q = 80 430 q purely

B. Cl.

Vln.

Vc.

Perc.

Pno.-str.

° 5 ‰ ¢& 4

screeching purely, but with a tiny touch of added tension

It’s

al - most

œ œ œ

Fl.

B. Cl.

Vln.

Vc.

Crot. Pno.-str.

ææ )˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~# ˙) ™™

° 5 ˙™ &4

O™

?5 ¢ 4 O™

˙O

° 3‰ ¢& 4

3 4

sound

now,

3 4

˙™

O™

˙O ™™

3 4 3 4

˙O

Crotales

˙)

˙™

ææ ˙

arco

˙™ o

ææ ˙

3 4 mp

3 4

∑ *

œ or

q q = 100

per - haps

° 3 &4

I’ ve

4 in despair but also a little ironic œ œ œ œ 4 œ some - how

man - aged

cre - ate

œ™

œ œ

ab - so - lute

4 4 w) p

∑

airy growl

3 ¢& 4 )˙ ™™

4 ææ 4# w

° 3 O™ &4

4 w 4

?3 ¢ 4 ˙O ™™

4 4 ~

bw~

thimbles T.S. drum

° 3 ¢& 4 3 { / 4

∑

4 4

ææ w

ææ w ° rit.

434

the

˙O

to Crot.

° 5 ˙ææ™ ¢/ 4 5 æ { / 4 æ ˙™ °

6 œ œ œ œ œ œ œ Bœ nœ

is pro - duc - ing

° 5 æ ¢& 4 # )æ˙ ™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

= S.

some - one else than

q = 60 a little crazier 432 q

œ™

œ œ œ œ œ œ 3

œ œ œ œ œ œ œ Œ

5 4

a little annoyed silence

q q = 60

3 4

∑

dis - con - nec - tion be - tween what’s phys - i - cal and what’s men - tal.

∑

thinkingly (even just not listening to Sop. and thinking of something else) mp low reg.

5 4œ

a little annoyed silence

3 4

Hmm...

Vln.

° w &

nw~

5 O™ 4 pp

Vc.

Perc.

Pno.-str.

? w

5 4 Ȯ ™™

ææ ° w ¢/

5 Bass Drum 4Ó

s.b.m. drag

_™

Ȯ

3 4 3 4

æ { / wæ

4 Ó™

ææ U pp

3 4

q = 100 436 q mp

3 ° ¢ 4‰

œ™

œ Well,

Fl.

B. Cl.

Vln.

Vc.

ac - tual - ly,

° 3 &4

reason why I decided to come here, is that i experienced this sort of

the

∑

Pno. - str.

?3 { 4

3 4 p

to Cl.

~ o ~

?3 ¢ 4 b˙O ™™

3 ° ¢/ 4

wo ~

~ o wo

° 3 O™ &4

Perc.

∑

3 ¢& 4

as fast as possible, but in a natural rhythm

‰

3 4

bw~ o o thimbles æ æ drum w

∑

3 4

ææ U™

q = 80 438 q

3 ° ¢& 4 œ

last

Vln.

Vc.

ææ U

q q = 100

truly

œ œ >œ œ œ œ >œ œ œ 6

straw sce - nar - i - o

‰

œ œ œ œ œ œœ œ œ ≈ ≈ œ

‰

the oth - er day

° 3 ˙O ™™ &4 æ æ p 3 ? ¢ 4 ˙™

was play- ing

˙™ b O ™™ ˙

so - lo con - cert,

œ œ œ 45

and

there was a

O™

5 4 5 4

b O ™™ ˙

= 440

° 5œ ¢& 4 beau

Vln.

Vc.

° 5 ˙™ &4

œ -

ti - ful

œ™

at - mos - phere

#˙O ™™

œœ œ

in the hall

due

the

œ™

œ œ œ

au - di - ence - ’s

in - tense

lis - ten - ing.

˙O

?5 ¢ 4 bO ™

6 4 6 4

6 4

= prayingly, sorrowfully p

441 q = 40

Fl.

° 6 Œ &4

6 ¢& 4 Œ ‹

‰

Ex - au di prayingly, sorrowfully p

‰

Ex - au

‰

accel.

di.

5˙ 4 ex

° 6 w.t. ¢& 4 ~™

5œ 4

˙ -

5 4

2 4

∑

6 4

2 4

∑

6 4

2 4

∑

6 4

di.

∑

as strong as the techn. allows

Vln.

° 6 n˙O &4

5 ˙™ 4

˙O ™™

˙O

5 4 ˙™

O™

2 ˙O 4

6 4

2 4 ˙O

6 4

ppp Vc.

?6 ¢ 4 bO

ppp

˙O

444 S.

Vln.

q = 120 neutrally

6 ° ¢ 4 ‰™

œ œ™

œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ

I don’t

re - call

ex - per - i - enc - ing an - y- thing close to this be - fore

3 4Œ

‰

œ œ œ œ œ œ œ 44 and I guess I play a - round

~ ææ

3 4

∑

4 4

?6 ~ ¢ 4 ææ p

3 4

∑

4 4

° 6 &4

p Vc.

(Bass Drum) Perc.

° 6 ¢/ 4

3 4

∑

ææ ˙™

4 4

Pno.-str.

Δ thimbles -low reg. stir æ 6 { / 4 æ w™ pp °

3 4

ææ ˙™

4 4

q = 100

rit.

446

4 œ œ œ œ œ œ 3œ œ œ 2 ° ¢ 4 4

∑

thir - ty to for - ty con-certs per year

Fl.

airy growl

° 4Œ &4

ææ ˙™

p Clarinet in Bb Cl.

4 ¢& 4 Œ

Gen- er - al - ly,

airy growl

ææ #˙ ™

° 4 &4

∑

It’s not a de - lib - er - ate choice I think, or

growl + sing

2 4 ˙)

ææ 4 4 w) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w)

2 4 ææ ˙

4 4 ææ #˙

2 4

4 ~ 4

growl + sing

p Vln.

I per - form with my eyes closed.

∑

ææ #n ˙)

ææ #n œ6 ˙) ™

p Vc.

?4 ¢ 4

∑

2 4

∑

4 ˙O 4

bw~

T.S.

° Perc.

Pno.-str.

4 Œ

œ‰ >

ææ 4 ˙ ¢/ 4 ™

Œ 2 4

ææ ˙™

Œ 2 4

4 { / 4

thimble strike

∑

thimbles drum

s.b.m. drag

ff B.D. thimbles drum

æ 4 wæ 4

Ó ææ w

Piano

∑

ææU p °

4 Ó

* 52

‰ œ œ œ œ6 œ œ œ œ œ œ œ ‰ ™œ

4 œ 3œ œ œ ‰ œ œ œ 3œ œ >œ >œ 4

U ææ

ææ ˙

450

Cl.

Vln.

° ¢

‰™ maybe it’s because I have a bit of a stage fright and would rather not risk making eye contact with the audience,

° ¢&

œ œ

may - be

œ œ

just keep them closed to

∑

3 4

‰ œ

fo - cus

3 4

∑

° w &

3 4

pp Vc.

? w~

Pno.-str.

ææ w / ææ w ¢/ {

3 4

ææ w

3 4

° Perc.

? U æ æ

3 4

U æ æ

= 452

3 ° 3 ‰ wearily œ œ 4 œ œ > œ œ ‰ ¢

what the fuck do

Fl.

Cl.

Vln.

° 3 &4

4Œ

I know.

An - y - way,

I could - n’t re -

∑

this

par

- ti - cu - lar con - cert

3 4Œ

˙o O o o˙

˙o O

6 4

˙o

4 4

∑

3 4Œ

4 4

∑

3 4

∑

6 4

4 4

∑

3 4

∑

6 4

∑

° 3œ &4

œ œ œ œ & 46

4 4

∑

3 ¢& 4

3 #œ œ œ ‰ œ œ ™ œ 4 œ œ œ œ œ ‰ ™

O o

6 4

p Vc.

?3 œ ¢ 4 p

Crotales

° 3Œ &4

crot. mallet strike

‰™

T.S.

4Œ ¿ /4 f

ææ ˙™

3 4

ææ ˙™

6 4

3 4

ææ ˙™

6 4

3 4

ææ ˙™

6 4

pp thimbles drum

Perc.

3 ¢/ 4

thimbles drum

4Œ 4

ææ ˙™

Pno.-str.

{

?3 U ™ 4æ æ

Δ thimbles low reg. stir ææ 4 Œ /4 ˙™ pp

455

Fl.

Cl.

° 6œ &4

œ œ œ œ œ

sist

o - pen - ing them up

see

what this

in - tense

wo ° 6 &4 ~

wo ~

4 4

˙™

nnn

w.t.

4 4

˙o ™

6 ¢& 4 O ™

#O ™

O™

ppas strong as the technique allows

˙o ™

4 4

O™ o

æ ° / 6 wæ ™ 4

4 4

ææ w™

4 4

6 ææ / 4 w™

4 4

Perc.

6 ¢/ 4 Pno.-str. {

4 4

‰

lis - ten - ing looked like,

˙™

6 œ œ ˜œ œ œ œ œ Œ ¢& 4 ‹ Nnn

œ œ œ œ

456

°& 4 œ 4

spoken voice

vis - u - al - ly

Fl.

Perc.

speak - ing.

≈

was

4 ¢& 4 Ó ‹

œ™

sur - prised

see

that

there

was

œ ˜œ

5 4 œ

5 4

nnn

° 4 ¢& 4 O™

b‚

5 4

æ ° / 4 wæ 4

5 4

ææ 4 w ¢/ 4

5 4

q = 80

chantingly

457

° 5 œ 4

hard

rit.

œ ly

dry

eye

the

hall.

5 ¢& 4 ‹

q = 52

3 4

∑ dark, zombie-like as in slow motion mp

3 4œ

∑

Was

æ ° 5 ˙æ™ /4

ææ ˙

3 4

Perc.

5 ¢/ 4

n' t

that

ææ ˙™

s.b.m. drag

3 4 >_™

∑

mp 11 /2 Pno.-str. Pno.-keyb.

{

5 &4 œ

≈

‰

3 4

∑

?5 4

≈

‰

3 4

∑

#‚ *

° mp

= S.

bitterly mp

q = 100

459

2 4

∑

4 œ 4

∑

œ œ œ œ ‰

‰

That’s where you' re mis - tak - en. 3

Vln.

2 4œ œ œ œ œ Œ

quite

spec

4 4

2 4

∑

One would think

that

∑

4 4

∑

2 4

∑

æ ° / ˙æ™ Perc.

b ~w

° & ¢

ta - cu - lar feel - ing?

pp Vc.

œ œ

æ 2 ˙æ 4 2 4

¢ / >_™

æ 4 wæ 4 4 4

∑

b˙O ™™

b˙ ™

4 Œ 4

∑

th.dr.t. low reg. lightly shake on strings

Pno.-str.

2 4

∑

4 ææ w pp °

∑

= 462

° ¢

>œ

cir - cum - stanc - es

Vln.

Vc.

Perc.

° & ¢

this

type

were

ex - treme

touch - ing

but

felt

3 4

? bbw~

° ¢/

Pno.-str. {

b w~

>œ

ææ w

3 4

ææ w

3 4

(T.S.)

463

3 ° ¢ 4 œ™ œ œ œ œ œ ‰ ab - so - lute - ly noth - ing

Fl.

Vln.

Vc.

Perc.

a little pissed off >œ œ œ Œ 5 œ 4 Like

hon - est - ly,

‰™

?3 ¢ 4

as strong as the technique allows

4 4

o b˙ ™

5 4Ó

∑

ææ 3 ° ˙ ¢/ 4 ™

5 4

ææ ˙™

3 æ / 4 ˙™ æ

5 4

ææ ˙™

fpp

O™

‰

Vln.

Vc.

fpp

di - rect re - ac - tion to

the

4 4

∑

Ó o

4 4 *

∑

cir - cum - stanc - es

œ œ œ 3œ œ œ

was

feel - ing noth - ing at all,

5 Ó™

5 4 nO ™ o w

˙™ p

4 4

˙o ™ O™

˙o O

O™

˙O

Ȯ

5 4

? bw

Nnn

n ˙o ™

&4 ‹

∑

° ¢& #~

Ó o

5 œ œ œ œ ‰ &4

œ œ œ œ œ œ Œ

° &

4 bw 4

q = 60

Fl.

to say,

4 4~

b ˙O ™™

5 4Ó

∑

466

That is

∑

= S.

œ œ œ œ ‰

e - mo - tions.

5 4

∑

° 3 &4

mp 3

4Ó 4

œ œ œ ‰

w.t.

° 3 ¢& 4

Pno.-str. {

>œ

5 bn˙O ™ 4

<b>˙ ™

4 4

4 4 4 4

rit.

468

° 4 Œ &4

‰

œ but

Fl.

4 ˙ ¢& 4 ‹ wo ° 4 ¢& 4 ~

af - ter

œ ˜œ

‰

got home,

Vln.

Vc.

the

fact

that

˜œ

œ #œ I

had

œ felt

noth - ing

5 4

˙o O

5 4

nnn

wo ~

˙o O

° 4 &4

w o

~ ? 4 bw ¢ 4

# w~

5 4 I

5 4

q = 48

470

° 5 œ ¢& 4

#œ

all,

Vln.

with defeat mp

° 5 &4

˙O ™™

#˙ ™

4 Ó 4

˙O

# w~

Perc..

?5 ¢ 4

œ œ œ œ

‰

noth - ing while play - ing

3 4 pp

#˙ ™

O™

b w~

3 4

and

4 4 mp

Vc.

4 4

3 4

arco ° 5 ˙™ ¢& 4 o

4 4

3 4

∑

= 472

3 ° ¢ 4 œ

noth - ing

Vln.

Vc.

° 3 &4 ?3 ¢ 4

O™

when

saw

its

pact

the

4 4

ence,

4 4

b ˙O ™™

4 4

= 473

4 ° ¢ 4 ‰

just

Vln.

œ œ œ œ œ™ œ œ ~

œ œ œ™ œ œ œ œ Ó

Just com - plete fu - til - i - ty.

b~ Vc.

‰

made me feel the most de - pressed that I’ ve ev - er felt.

° 4 &4

œ œ œœ œ ‰

?4 ¢ 4

= 475

Vln.

° ¢

° &

weak and vulnerable

‰

tru - ly

be - lieve there’s

&#œ no

œ™

œ œ

turn - ing

back

for me.

3 4Œ O™

w~ ˙

O™

3 4

≈ ™ #œ œ œ œ

And if there was,

3 4 nO

Vc.

spoken

œ 3œ œ œ

477

° ¢

œ I

Vln.

° &

don’t think I’ d

œ œ œ œœ œ

in - teres - ted

Perc..

an - y- way.

#O ™

>œ

just

≈ œ œ œ full

life.

# w~

4 4 #˙ ™

Vc.

4 ‰ 4

‰

poetically

≈

O™

4 4

° ¢/

Party Horn

4 Ó 4

∑

œ mf

479

° ¢

œ œ œ œ Œ

No - ta

Perc.

be - ne,

>œ

full

° ¢/

œ œ œ œ œ œ œ œ œ œ

œ œ œ

af - ter the

in stuffed

∑

most

ææ œ pp °

/ Ó

6 4

e - nor - mous meal im - ag - i - na - ble.

Crotales

arco

#˙ o

th.dr.t. low reg. lightly shake on strings

Pno.-str. {

‰

/4 p

ææ w

6 4

481

° 6 œ. œ œ œ œ œ œ œ œ3 4 œ œ œ œœ œ œ œ œ œ‰

q = 112

∑

‰œ œ œ œœ œ œ œ

œ >œ œ œ ‰ ™ œ œ ‰ 45

not full as in an o - ver - load of rain - bows and u - ni - corns and joy and lust.

ironically, patronisingly mp T.

Vln.

Vc.

Perc.

6 ¢& 4 ‹ ° 6 &4 ?6 ¢ 4

∑

So you actu - al - ly feel like you' ve done eve - ry -thing in life?

˙O

˙ Ó

Ó o

~™

w™

° 6 ¢/ 4

Pno.-str. {

˙O

oo ∑

6 ææ / 4 w™

ææ w™

nw o

5 4 5 4 5 4 mp

5 4

483

° 5 ‰ #mp œ #œ œ œ œ œ &4 œ œ Ó

3 4 Œ

‰ #œ œ

Well, ev - ery- thing I wish for, yes.

W hat a -

#œ

œ œ œ ‰

bout

chil - dren?

ignorantly T.

Fl.

5 ¢& 4 ‹

growl

° 5 Ó &4

Vln.

growl + sing

ææ ˙™ o

5 ¢& 4 Ó

##˙)o ™™

˙™

° 5 &4

∑

W hat a - bout chil - dren?

Bass Clarinet in Bb B. Cl.

3 4 œ œ œ >œ œ Œ

∑

3 4

ææ ˙) ™™

œ6

˙)

ææ 6œ ##˙)

3 4 ##˙) ™™

# ˙O ™™

3 4

# ˙O ™™

Vc.

Perc.

? 5 #˙ ¢ 4

™

O™

3 #O 4

œ‚

pp T.S. thimbles drum

5 ° ¢/ 4 Ó

ææ ˙™

#O mf

æ 3 ˙æ™ 4

ææ ˙™

pp Pno.-str. {

5 æ / 4 ˙™ æ

ææ ˙

3 4

= 486

angrily

° &

stupidly

Fl.

B. Cl.

Vln.

¢& Œ ‹

#œ ™

Don' t

#˙ ™

want

Perc.

>œ ™

W ho

the

fuck

œ œ œ œ wants

6 4 #nœ6

to have

chil - dren

these

∑

4 4

ææ ˙) ™™

˙) ™™

4 4 ææ ) #˙

6 4 w)

O™

4 4

# Ȯ

6 4

? ˙™

4 4

them?

Vc.

#œ

œ œ µœ #œ µœ 6 4 you

° & ˙) ™™ ææ & # ) ¢ #˙

° &

6 4 Œ

∑

4 4 p

#˙O ™™

6 #œ‚ 4

˙™

˙O ™™

#˙

Ȯ

4 4

ææ ° ¢ / ˙™

6 4

∑

4 4

ææ / ˙™

6 4

∑

4 4

Pno.-str. {

488

fff

° 4#˙ &4

#˙

∑ sheepishly bleating in a shameful and confused manner mp

4 ¢ 4

∑

˙ Ehh...

Fl.

B. Cl.

Vln.

ææ w) 4 ææ & ¢ 4 #œ6

ææ ˙

#˙

# Ȯ

airy growl

° 4 &4

ææ w

ææ 6œ

˙) ™™

œ6 Ȯ

∑ ff

Vc.

? 4 #˙ ¢ 4

# Ȯ

b˙

˙O

∑

Perc.

Triangle

4 ° ¢/ 4

triangle beater strike

∑

≈

‰

= 490

° & ‰™

solution-oriented p

#œ œ

œ 3œ œ œ œ œ.

‰

Be - sides,

Fl.

B. Cl.

Vln.

su - i - cide

Perc..

3 4

ææ w ææ ¢& w)

3 4

Pno.-keyb.

{

ææ ˙) ™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

#˙ ™

‚œ

n Ȯ ™™

3 4 mf

3 b˙ ™ 4

∑

3 æ 4 ˙)æ ™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

## Ȯ ™™

? bw

° ¢/

op - tion.

growl + sing

° &

3 4 Œ

en - vi - ron - ment - al - ly friend - ly

bn˙O ™

p T.S. thimbles drum

ææ ˙

æ 3 ˙æ 4

pp gliss up from the bottom of the string Pno.-str.

‰

the most

pp Vc.

#œ œ œ 6 œ œ œ œ œ œ œ

mp down

3 4 _™

3 4

? Ó #˙ pp

˙™ mp

° 60