Bára Gísladóttir: Hringla (2021–22) by Edition·S

Bára Gísladóttir Hringla (2021–22) for amplified solo double bass, orchestra and electronics Dur. 16′20″

Written on the occasion of receiving Gladsaxe Music Prize 2022.

SCORE

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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 Hringla (2021–22) for amplified solo double bass, orchestra and electronics Dur. 16′20″

Bára Gísladóttir

Hringla is a piece for orchestra, amplified solo double bass and live electronics. The word “hringla” can mean rattle (both noun and verb), but is also often used when implying the indecision of the constant change of something. Soundwise, the word often refers to the rattling sound of metal objects. All of these interpretations serve as the main elements of the piece.

Hringla

for amplified solo double bass, orchestra and electronics 16'20''

INSTRUMENTATION Solo Double Bass 2 Flutes Flute (doubling Bass Flute) 2 Oboes Cor Anglais 2 Clarinets in Bb Bass Clarinets in Bb 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bb 2 Trombones Bass Trombone Tuba 3 Percussionists Percussion 1 1. Crotales (B6, C≥7, D7, E7, F≥7) a. Bow 2. Push Bells (2 × B3, B4) 3. Chinese Opera Gong (upwards-sounding) a. Small, medium soft gong mallet 4. Small Handbell (B4) 5. Wind Chimes 6. Temple Bowl (B3, B4) a. Temple Bowl mallet 7. Euler’s Disk 8. Tam-tam (large) a. Big gong mallet Percussion 2 1. Crotales (B6, C≥7, D7, E7, F≥7) a. Bow 2. Temple Bowl (B3, B4) a. Temple Bowl mallet 3. Chinese Opera Gong (downwards-sounding) a. Small, medium soft gong mallet 4. Wind Chimes 5. Sleigh Bells 6. Euler’s Disk 7. Push Bells (2 × B3) 8. Tam-tam (large) a. Big gong mallet Percussion 3 1. Crotales (B6, C≥7, D7, E7, F≥7) a. Bow b. Crotales Mallet 2. Chinese Opera Gong (upwards-sounding) a. Small, medium soft gong mallet 3. Small Handbell (B4) 4. Wind Chimes 5. Temple Bowl (B3, B4) a. Temple Bowl mallet 6. Euler’s Disk 7. Push Bells (2 × B3) 8. Tam-tam (large) a. Big gong mallet Strings (14.12.10.8.6) Transposing score. Amplification The double bass should be amplified with two microphones; one AKG C414 EB that goes straight to the system and one contact microphone or pickup that is connected to the live electronics in Ableton 10 Live Suite through an audio interface. The Euler’s Disks used in the percussion section should be amplified with a DPA microphone each. A sound engineer is needed to take charge of adjusting the amplification. Electronics The electronics are run from Ableton Live 10 Suite (Max for Live required) and need to be controlled by a sound technician.

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 that the written music is an indication in a certain direction rather than a demand of a certain or specific outcome. The orchestral parts do not really include such improvisational aspects, but there are a few places where performers are asked to imitate the sound of another player/instrument. Although these improvisational aspects are rather free, it is important to keep in mind that they should still aim Explanations General General towards that could beand perceived asand unified with the as otherwise ongoing texture –bass sortpart ofislike Hringla is asomething pieceHringla where improvisational is a piece where improvisational fully written music fully merge written together music merge one. The together double as bass one. part The is double extremely open. Aextremely lotbranches of theopen. time itAconsists lot of theoftime free itimprovisation, consists of free and improvisation, the music thatand is w t Explanations mainly as keynotes mainly meaning as keynotes the written meaning music the is an written indication music towards is an indication a certain towards direction a rather certain than direction a demand rather of than a certain a demand or specific of a certain outcome. or specific The orchestra outcome. part The does orchestra not really part include does not such really improv incl growing Generalout of a trunk.

Explanations Explanations

are a few places where are a few performers places where are asked performers to imitate areanother asked tosound imitate of another sound player/instrument. of another player/instrument. Although these improvisational Although theseaspects improvisational are ratheraspects free, it are is important rather free, to keep it is important in mind that to keep they in should min

Hringla is a piece improvisational and written music together one. The double part is extremely lot theatime it consists improvisation, and the music that is written into the part serves something that where could something be perceived that could as afully be unity perceived in the otherwise as merge a unity ongoing in theasotherwise texture -ongoing sort bass of like texture branches - sortgrowing ofopen. likeAbranches outofof trunk. growing out of offree a trunk. 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 WOODWINDS Hringla a piece where improvisational andtofully written music merge togetherplayer/instrument. as one. The doubleAlthough bass partthese is extremely open. A lot of theare time it consists of important free improvisation, thethat music is written intotowards the part serves are a fewisplaces where performers are asked imitate another sound of another improvisational aspects rather free, it is to keep inand mind theythat should still aim mainly as keynotes the written music is an indication towards a certain rather than a demand certain or specific outcome. The orchestra part does not really include such improvisational aspects, but there something that could- meaning be perceived as a unity in the otherwise ongoing texture - sortdirection of like branches growing out of a trunk. 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 something that could be perceived as a unity in the otherwise ongoing texture - sort of like branches growing out of a trunk.

General

Flutes and Bass Flute Woodwind Woodwind W.t. – whistle tones Woodwind In the score parts, the fundamental Woodwind Flutes andand Flutes Bass Flute and Bass Fluteposition of the whistle tones is given in the form of a diamond head. Explanations Flutes freely and Bass Flutethe possible overtones. E.g. Travel between W.t. – whistle tones W.t. – whistle tones Flutes and Bass Flute wo W.t. – whistle tones wo o b wo o

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o o o b wo o wo wo wb wo o w o w w wo o w wowo wo wo b w w w wwo w o ~ Harmonic ~ wo wtimbral ~ trills and bisbigliando o

~w w Woodwind

Harmonic timbral~trills and bisbigliando

Harmonic timbral Harmonic trills andtimbral bisbigliando trills and bisbigliando Harmonic timbral trills and bisbigliando Flutes and Bass Flute wo wo The harmonic timbral trills occur in variable speed in the piece, where four lines indicate the fastest possible. ~wo w owo W.t. ~w woo – whistle tones wo 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: These can also ~ ~ increase and~ decrease in speed, indicated in the following way: ~~ ~ o o

b wo

w oplaces w in The harmonic occur speed insimply the piece,marked where four lines the fastest possible. These can alsofor increase and decrease speed, in the following way: oalso wtrills There aretimbral invariable the parts withindicate bisbigliando (bisb.) asking a colour trillinnot asindicated specific o w

The harmonic timbralintrills occursimply in variable speed in bisbigliando the piece, where fourasking lines indicate the fastest These canharmonic also increase andtrills. decrease in speed, indicated in the following way: There are also places the parts marked with (bisb.) for a colour trill notpossible. as specific as the timbral as harmonic timbral trills. ~ the

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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. Wavy glissando There are also places There in are the also partsplaces simply inmarked the partswith simply bisbigliando marked with (bisb.) bisbigliando asking for (bisb.) a colour asking trill not for as a colour specific trill as not the as harmonic specifictimbral as the harmonic trills. timbral trills. Harmonic timbral trills and bisbigliando Wavy glissando Wavy glissando 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 wo wo the embouchure only. Wavy glissando Wavy glissando 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 Notes are accompanied byonly. wavy lines a lot of the time. The lines differ on the wave scale, calling for everything

w w

Notesextreme are accompanied Notes are by wavy accompanied lines abut lot byof wavy the time. lines The a lotlines ofbe thediffer time.on The thelines wave differ scale, oncalling the wave for everything scale, calling from for vibrato everything to a from more vibrato extremetobending a more extreme of pitch, bending but should of pit alw from bending of pitch, should always performed with the embouchure only. w vibrato towa more the embouchure only. the embouchure only. Oboes and Cor Anglais 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: Oboes and Oboes and Cor Cor Anglais Anglais There are also places in the partscarefully simply marked with close bisbigliando (bisb.) asking for a with colour trillstrong not aslip specific as the harmonic soft timbral trills. Without reed and staple, exhale (lips to the aperture of the oboe very pressure) - producing harmonic-like high sounds, resembling the whistle tones of the flute.

_ Without reed and staple, carefully exhale (lips close to the aperture of the oboe with very strong lip 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. _ glissando Wavy pressure) – producing Oboes and Oboes Cor Anglais and soft Corharmonic-like Anglais high sounds, resembling the whistle tones of the flute. w ww

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. 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 Notes are accompanied Notes are accompanied wavy lines a close lot of exhale the time.aperture The lines differ on the wave calling everything from vibrato to a soft moreharmonic-like bending of harmonic-like pitch, but should alwayssounds, bethe performed with reed the andembouchure Without staple, carefully reed exhale staple, (lips carefully to the (lips close of to thethe oboe aperture withscale, very of the strong oboeforlip with pressure) very strong - producing lip pressure) -extreme producing soft high sounds, resembling high whistle resembling tones the of the whistle flute only.andby the embouchure only.

Without _ _ Trills and tremoli

Notes are accompanied by wavy lines a lot of the time. The lines differ on the wave scale, calling for everything Trills and tremoli 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: Trills and tremoli to a more extreme bending of pitch, but should always be performed with the embouchure only. from vibrato Trills and tremoli 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: Notes are accompanied Notes are by wavy accompanied lines a lot byofwavy the time. lines The a lotlines of thediffer time.on The thelines wavediffer scale,oncalling the wave for everything scale, calling from for vibrato everything to a from more vibrato extremetobending a more extreme of pitch, bending but should of pit alw Oboes and CorwAnglais w Multiphonics the embouchure only. the embouchure only.

The piece requires a few multiphonics, see the detailed information on the images below: Trills and tremoli Multiphonics 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. The piece requires a few multiphonics, the detailed information on the images below: Oboe 1 _ Trills and tremoli occur in see variable speed in the piece, where four lines indicate the fastest possible. These can Trills and tremoli Trills and tremoli Oboe 1 also and in speed, indicated following way: Trills increase and tremoliTrills occurdecrease and in variable tremoli occur speed in in variable the piece, speed where inin four thethe piece, lines indicate where four the lines fastest indicate possible. theThese fastestcan possible. also increase These can and also decrease increase in speed, and decrease indicated in in speed, the following indicatedway: in the following way: 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 w nw w the embouchure only. w # w ‹ w ‹B w Multiphonics Multiphonics w Multiphonics ww µ w µ n # B The piece requires The a few piece multiphonics, requires a few see multiphonics, the detailed see the detailed on the information images below: onon thethe images below:below: ‹ ‹ &see w & and w The piece requires a few multiphonics, the detailed information images Trills tremoli winformation w µ Trills and tremoli occur in variable speed in the piece, where fourµlines indicate the fastest possible. These can also increase and decrease in speed, indicated in the following way: & w & 1w Oboe Oboe 1 w & µw Oboe & 1 w Multiphonics w won the images below: µ The few multiphonics, see the detailed information & &piecewrequires astrong air-pressure

‹ nw w w µ & nw w

Oboe 1

‹ w Oboe 2µw &

w w

‹ & &

nw w w µw w w

w ‹ B# w w µ w&

w ‹ B# w w µ &

w w µ w b w — a little more reed than normal (push inwards) & µ ww & w w w w ‹ bw ‹ wµ w w w w &‹ wµw &‹ w w w µ & w & w # w & w & w w # w & w & 2w Oboe 2 Oboe Oboe 2

Oboe 2

w µw

w ‹ B# w w µ & &

‹ µw w ww ˜ µ &‹ w w & ˜µw & µµw w & µw

w µw

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 something that could be perceived as a unity in the otherwise ongoing texture - sort of like branches growing out of a trunk.

Woodwind

Oboe 2

Oboe Flutes2and Bass Flute

bw w w w o wwo w

bw w w w wow

µw w ‹ ww w µ & w

‹ µw w 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:

‹ &

‹ o &w

b wo

# w & w

Harmonic timbral trills and bisbigliando

w w

w µµw

— wo a little more reed than normal (push inwards) ~

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: 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. Wavy glissandoand Bass Clarinet in Bb Clarinets

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. Oboes and Cor Anglais Clarinets and Bass Clarinet in Bb Trills and tremoli Explanations 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. _ and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. These can Trills 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 w increase and also decrease embouchure only. in speed, indicated in the following way:

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mainlyand 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 Trills tremoli There are also places inspeed the parts simply marked with bisbigliando (bisb.)alsoasking for a aspects colour. are a few asked to imitate another sound another player/instrument. improvisational rather free, it is to keep Trills and places tremoliwhere occurperformers in variable are in the piece, where four linesofindicate the fastest possible.Although These canthese increase and decrease inare speed, indicated in important the following way:in mind that they should still aim towards something that could be perceived as a unity in the otherwise ongoing texture - sort of like branches growing out of a trunk. Trills and tremoli Clarinets andinBass Clarinet in with Bbbisbigliando (bisb.) asking for a colour trill not as specific as the harmonic timbral trills. There are also places the parts simply marked Trills and tremoli 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:

Multiphonics Multiphonics accompanied by wavyThis lines aa lotmultiphonic. of the time.a The lines differdoes on the not wave scale, callingaafor everythingis from vibrato a more extreme bending of pitch, but should always be performed with the There is one inare the piece asking fordoes This require specific fingering/multiphonic w is one There place inplace theNotes piece asking for a multiphonic. not require specific fingering/multiphonic - simply, fundamental given along to with a description on- the desired result. Woodwind Multiphonics embouchure only. The piece requires a few multiphonics, see the along detailed information on the images below: simply, a fundamental is given with a description on the desired result. Bassoon and Contrabassoon Flutes Oboe Trills 1and and tremoliBass Flute Trills and tremoli 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: Helicopter tonguing Bassoon and Contrabassoon W.t. –The whistle tones is always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE N.B.: technique In the score andplaces parts,inthe the bisbigliando whistle tones(bisb.) is given in thefor form of a diamond head. Travel betweentimbral the possible There are also thefundamental parts simplyposition markedofwith asking a colour trill not as specific as freely the harmonic trills. overtones. Ex: Helicopter tonguing w w n w The techniqueo is balways with air-flow, to make it more audible. An example can be found in æ‹ N.B.: Multiphonics w wo‹ B# w w wo performed wo o askingwfor a multiphonic. There one place in the piece This does not require a specific fingering/multiphonic - simply, a fundamental is given along with a description on the desired result. o w w µ wæ isµothe w wo w video at 3′14″: https://youtu.be/DCmn93c5MBE & & w following Bassoon and Contrabassoon ~ and tremoli Trills w w Trills and tremoli occur in variable speed in the piece, where fourµw lines indicate the fastest possible. These can also increase and decrease in speed, indicated in the following way: Trills and tremoli w Helicopter tonguing & & N.B.: The technique isinalways performed with air-flow, to makeinit the more example can not be lines found inindicate theasfollowing video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE Harmonic timbral and bisbigliando There are also placestrills the parts simply marked withspeed bisbigliando (bisb.)audible. asking An for a colour four trill as specific the harmonic timbral trills. Trills and tremoli occur in variable piece, where the fastest possible. These can also increaseo and decrease in speed, indicated in the following way: o

ææ w w Brass ~

w ~

There are also places in the parts simply marked with bisbigliando (bisb.) asking for a colour. Trills and tremoli

Trills and tremoli 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: General 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: Oboe 2 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. Wavy glissando BRASS 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.

w bw µw Brassw w ‹ w w ‹ ww w ‹ µw w w Trills and tremoli w on the wave scale, calling for everything from vibrato to a more extreme bending of pitch, but should always be performed with ˜ Notes are accompanied by wavy lines a lot of the time. The lines differ w µ w & & and tremoli occur inthevariable & possible. General Trills speed only. in the piece, where four lines indicate the fastest These can also increase and decrease in speed, indicated in the following way: embouchure

w differ on the wave scale, calling for everything Wavy#glissando Notes are accompanied by wavy lines a lot of the time. Theµµlines w w w w w & & & from vibrato to a more extreme bending of pitch, but should always be performed with the embouchure only. Horns in F 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 Oboes and Cor Notes Anglais the embouchure only. Trills Without and tremoli from one technique to the other reed and staple, carefully exhale (lipsgradually close to move the aperture of the oboe with very strong lip pressure) - producing soft harmonic-like high sounds, resembling the whistle tones of the flute. Trills and tremoli _ Trills and tremoli occur in variable speed in the piece, where four linescanindicate the These can way: Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. These also increase andfastest decrease inpossible. speed, indicated in the following Stopped effects also increase and decrease in speed, indicated in the following way:

There are a few stopped effects in the piece. These are to be performed with the hand and not a mute. 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.

Horns in F Trombones Horns in F

gradually move from one technique to the other Trills and tremoli Rip Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest gradually move from one technique to possible. the other These can also increase and decrease in speed, indicated in the following way:

w Stopped effects Multiphonics Stopped effects The piece a few stopped multiphonics, see the detailed information onThese the images below: There areare arequires fewastopped effects in the piece. These to bepiece. performed with the are hand and mute. There few effects inarethe to not beaperformed with the hand and not a mute.

This notation requires the player to rip back and forth as fast as possible. Please keep in mind that this does not need to be pitch perfect (at all, preferably) and should serve as a small, grotesque outburst.

Oboe 1

Trombones Trombones Percussion Rip Rip w w nww #register w This notehead indicates an approximate pitch in‹ the given. w B This notation requires requires the player to the rip back and forth asrip fast as possible. Please keepas in mind does not need to be pitch perfectin (atmind all, preferably) and should serve as a small, grotesque outburst. U ‹ This notation player to back and forth fastthatasthispossible. Please keep that this w w µw w µ does not need to be pitch perfect & (at all, preferably) and should serve as a small, grotesque outburst. &

w w

w µw

Tremolo In the percussion department, the tremolo is mostly marked with four lines, calling for the action to be as fast as possible (not rhythmical).

& Percussion

The tremolo can also increase and decrease in speed, indicated in the following way:

This notehead indicates an approximate pitch in the register given.

Rip

PERCUSSION Percussion

This notehead indicates an approximate an pitchapproximate in the register given. This notehead indicates pitch

in the register given.

Tremolo Tremolo In the percussion department, the tremolo is mostly marked with four lines, calling for the action to be as fast as possible (not rhythmical).

In the percussion section, the tremolo is mostly marked with four lines, calling for the action to be as fast as The tremolo can also rhythmical). increase and decrease in speed, indicated in the following way: possible (not The tremolo can also increase and decrease in speed, indicated in the following way: STRINGS Strings m.s.t. – molto sul tasto Strings m.s.t. molto sul tasto s.t. – –sul tasto Strings s.t. – sul tasto m.s.t. – molto sul tasto ord. ordinario ord.– -sul s.t. tasto sul tasto m.s.t. –ordinario molto s.p. – sul ponticello ord. ordinario s.p.–-–sul sultasto ponticello s.t. m.s.p. –molto molto sul ponticello s.p. –- sul ord. ordinario m.s.p. – ponticello sul ponticello m.s.p. – molto sul ponticello s.p. – sul ponticello m.s.p. – molto sul ponticello

Wavy gliss. Wavy gliss.

Strings gradually move from one technique to the other gradually move from one technique the other gradually move fromtoone technique to the other m.s.t. – molto sul tasto gradually move from one technique to the other s.t. – sulcontinue tasto continue the given action given the action

continue the action given

ord. - ordinario continue the action given s.p. – sul ponticello

m.s.p. – molto sul ponticello Harmonics trills/trem. Harmonicsand andharmonic harmonic trills/trem.

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

Wavy gliss. Harmonic

~~Harmonic ~ w~~ Artificial harmonic w w~ w ~

Harmonic

gradually move from one technique to the other

Harmonic

continue the action given

Artificial harmonic

Artificial harmonic Artificial harmonic

˙ ˙˙

#˙ ™ ##˙˙™™

#˙ ™

Harmonics and harmonic trills/trem. Slurred tremolo is to be played on one bow throughout its whole time value. Take for instance ˙˙OO the visual example given here in the explanations; the tremolo should be played on one bow only, ˙O˙O through the two beats. That is, not a new bow on every trill between the first and second note.

O™ O™O™

O™

Slurred tremolo is to be played on one bow throughout its whole time value. Take for 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. Slurred tremolo is to is beto played on oneon bow throughout its wholeits time value.time Takevalue. for instance the instance visual example givenexample here in thegiven explanations; the explanations; tremolo should the be played on should one bowbeonly, through Slurred tremolo be played one bow throughout whole Take for the visual here in the tremolo played on one bow only, through Harmonic thethe twotwo beats. ThatThat is, notis,a not new every between the first and note. beats. abow newonbow ontrill every trill between thesecond first and second note.

‚ ‚ ‚ Gliss from the very start of the tremolo. Gliss from the very start of the tremolo.

‚

w~Gliss from the very start of the tremolo. Gliss from the very start of the tremolo. Artificial harmonic

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: 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: It should be kept in mind that some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.

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:

˙ ˙O Double ASolo tremolo of Bass four lines should be played as fast as possible. There are a few spots where tremolo increases and Solo Double Bass #˙ ™ in theO™following‚way: decreases in speed, indicated very start of the tremolo. move back and forth between the area of the techniques given, freely Gliss and infrom yourthe own tempo m.s.p. Solo <--->Double ord. Bass

tremolo to be played one bow throughout itsaswhole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, throug It should be kept in mind that some of the harmonics are very pure,Slurred others are very is grungy, almost on a white noise. Take them they come. thepure, two beats. not grungy, a new bow on every trill between the first andassecond note. It should be kept in mind that some of the harmonics are very othersThat areis, very almost a white noise. Take them they come.

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

should be kept in mind that the some ofthethe harmonics are very pure, others are very grungy, almost a white noise. move back and forth graphics between area oflines techniques given, in your own A tremolo four should be played as freely fast as and possible. There aretempo a few spots where tremolo increases and decreases in speed, indicated in the following way: m.s.p.ItOverpressure <---> ord. The overpressure is indicated by black aboveof staves: Overpressure Take them as they come. The overpressure is indicated by black graphics above staves:

It should be kept in mind that some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. On the freedom of improvisation Overpressure The part may seem extremely open to graphics be fair, it above is), but staves: it is quite important to keep in mind that the improvisation should serve the core of the general texture and mood. In that sense, the improvisation should very much Thethe overpressure indicated by(and black On freedom of is improvisation serve as an extension to the piece, rather than an addition. The part may seem extremely open (and toSolo be fair,Double it is), but itBass is quite important to keep in mind that the improvisation should serve the core of the general texture and mood. In that sense, the improvisation should very much serve as an extension to the piece, rather than an addition.

Solo Double Bass <----> move back and forth between the area of the techniques given, freely and in your own tempo. On the freedom of improvisation move between the area of theintechniques freely and in your own tempo The part may seem extremely open (and to be fair, it is),back butand it isforth quite important to keep mind thatgiven, the improvisation should serve the core of the general texture and mood. In that sense, the improvisation should very much m.s.p. <---> ord. Electronics and amplification serve as an extension to the piece, rather than an addition. Electronics and amplification Overpressure 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 the double Overpressure bass, that is, the electronics in the piece are solely live.

overpressure indicated byand black graphics above The electronics are run from Ableton Live The 10 Suite (Max forisLive needed) areabove in the form of staves: seven different samples placed within Convolution Reverb Pro effects in Max for Live. The samples are triggered by the double The overpressure is indicated by black graphics staves:

Electronics and amplification

bass, that is, the electronics in the piece are solely live. Apart from the amplified double bass, there is one part of the piece where the percussion department is amplified (further information on this and more in the Electronics/Amplification part). It is very important that the amplification for the percussion is muted before and after this one passage. improvisation Apart from the amplified double bass, thereOn is the one freedom part of theofpiece where the percussion department is amplified (further information on this and more in the Electronics/Amplification part). It is very important that the The electronics arepercussion run from Ableton Live 10 (Max forpassage. Liveopen needed) initthe differenttosamples within Convolutionshould Reverb Prothe effects inthe Max for Live. The are triggered byimprovisation the double should very m The part may extremely (and and to beare fair, is),form but itof is seven quite important keep in placed mind that the improvisation serve core of general texture andsamples mood. In that sense, the amplification for the is muted before andSuite afterseem this one serve an extension bass, that is, the electronics in the piece are as solely live. to the piece, rather than an addition.

On the freedom of improvisation The part may seem extremely open (and to be fair, it is), but it is quite important to keep in mind that the Apart from the amplified double bass, there is one part of the piece where the percussion department is amplified (further information on this and more in the Electronics/Amplification part). It is very important that the improvisation of this the general amplification for theshould percussionserve is mutedthe beforecore and after passage. texture and mood. In that sense, the improvisation should very Electronics andoneamplification much serve as an extension to the piece, rather than an addition.

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 the doubl bass, that is, the electronics in the piece are solely live. Apart from the amplified double bass, there is one part of the piece where the percussion department is amplified (further information on this and more in the Electronics/Amplification part). It is very important that the amplification for the percussion is muted before and after this one passage.

ELECTRONICS AND AMPLIFICATION The electronics are run from Ableton Live 10 Suite (Max for Live required) and are in the form of seven different samples placed within Convolution Reverb Pro effects in Max for Live. The samples are triggered by the double bass, that is, the electronics in the piece are solely live. Apart from the amplified double bass, there is one part of the piece where the percussion section is amplified (further information on this and more in the Electronics/Amplification part). It is very important that the amplification for the percussion is muted before and after this one passage.

TRANSPOSING SCORE

Violin I

° &

4 4

Hringla

q = 60 I m.s.p.

≤ w

smp

≤ w

O™

smp

Violoncello

≤ w

˙™

‚

Double Bass

smp

s.p.

w≤

m.s.p.

w s.p.

s.p.

I m.s.p.

Bára Gísladóttir 2021 -22

I m.s.p.

s.p.

≤ w

s.p

III m.s.p. Viola

m.s.p.

II m.s.p. Violin II

s.p.

smp

SAMPLE 1: fade in

Electronics

1 o

I m.s.p. Solo Db. Perc. 1 Crotales Push Bells Chinese Opera Gong Small Handbell Wind Chimes Temple Bowl Euler's Disk Tam-tam

°? ¢

∑

Crotales

‚≤

bow

let vib.

improv. m.s.p. <---> ord.

w To Push Bell

∑

Perc. 2 Crotales Temple Bowl Chinese Opera Gong Wind Chimes Sleigh Bells Euler's Disk Push Bells Tam-tam Perc. 3 Crotales Chinese Opera Gong Small Handbell Wind Chimes Temple Bowl Euler's Disk Push Bells Tam-tam

∑

Crotales

∑

bow

let vib.

To Temple Bowl and Chinese Opera Gong

∑

Crotales

∑

bow

let vib.

Vln. I

° ~ &

Vln. II

& ~

Vla.

Vc.

B ~

? ~

s.p.

Db.

Solo Db.

Vln. I

I s.p.

‚

° ¢?

° &

3 4

O™

4 4 4 4

m.s.p.

> w

Ó o

& ~

Vln. II

O™

> w

∑

O™

w >

Vc.

m.s.p.

O™

> w

Db.

? ~

19 © Copyright Bára Gísladóttir 2022

O™

> w

sfzmp

˙™

O™

≥ w > >≥ w

˙™

O™

>≥ w

sfzmp

s.p.

˙™

O™

˙™

O™

w mp

s.p.

m.s.p.

s.p.

sfzmp

m.s.p.

s.p.

>≥ w

sfzmp

4B 4 4 4 w

m.s.p.

s.p.

sfzmp

m.s.p.

∑

q = 60

m.s.p.

s.p.

>≥ w

sfzmp

∑ m.s.p.

s.p.

sfzmp

? ~

sfzmp

B ~

∑

3 4 3 4

m.s.p. Vla.

q = 40

s.p.

sfzmp

m.s.p.

accel.

rit.

˙™

O™

s.p.

3 4

2 s.p. <---> m.s.p.

Solo Db.

°? ¢

4 4

˙™

improv.

mp Chinese Opera Gong

small, medium soft gong mallet beat, let vib.

Push Bell

Perc. 1

To Chinese Opera Gong ° push, let vib. Ó & œ ‰ Œ

∑

¿ ‰ Œ

To Small Handbell and Wind Chimes

∑

mp Temple Bowl

T.B. mallet stir beat

& ¿ ‰ ˙™ o mp

˙™

¿ ‰ ˙™ o

Chinese Opera Gong

Perc. 2

small, medium soft gong mallet beat, let vib.

¿ ‰ Œ

To Sleigh Bells

∑

mp Chinese Opera Gong

small, medium soft gong mallet beat, let vib.

crot. mallet beat, let vib. To Chinese Opera Gong

Perc. 3

¢& ¿ ‰ Œ

∑

3 4

Vln. I

° ~ &

¿ ‰ Œ

To Small Handbell and Wind Chimes

∑

4 4

O™

m.s.p.

˙™

& ~

Vln. II

O™

m.s.p.

˙™

B ~

Vla.

O™

Vc.

? ~

O™

Db.

? ~

O™

¢ 28

˙™

O™

m.s.p.

accel. rit.

˙™

œ ‚

œ ‚ ˙™

O™

q = 60

q = 40

Electronics

SAMPLE 1 fades out on its own

Fl. 1

w p

Solo Db.

w m.s.p.

Turn off SAMPLE 1

w o

° ¢?

∑

3 4

o w.t.

° &

∑

O™

‚

O™

‚

O™

‚

as strong as the technique allows

w.t.

∑

Fl. 2

∑

as strong as the technique allows

w.t.

∑

Fl. 3

∑

as strong as the technique allows

without reed, imitate w.t. of fl.

∑

Ob. 1

∑

_™

without reed, imitate w.t. of fl. Ob. 2

∑

¢&

∑

highest reg. gently tickle

Wind Chimes

°/

∑

U ææ

∑

Small Handbell

Perc. 1

ring by hand

w æ æ

pp Sleigh Bells

ææshake

To W. Ch.

& w

/˙

w æ æ

ææ w

w æ æ ∑

œ æ æ

∑

f Perc. 2

highest reg.

Wind Chimes gently tickle

∑

U ææ

∑

Wind Chimes

∑

highest reg. U ææ gently tickle

pp Perc. 3

U ææ

∑

? ææ

∑

ring by hand

° œ &

˙™

> w

O™

& ˙

> w

B w

w >

>≥ w

>≥ w sfzmp

w ææ

œ ææ

s.p.

sppp

s.p.

sppp

sfzmp

? w

m.s.p.

s.p. Vc.

w ææ

q = 60

sppp

sfzmp

? ˙

sfzmp

pp Vla.

sfzmp

pp Vln. II

q = 40

w ææ pp

accel.

Db.

U ææ

Small Handbell

Vln. I

U ææ

s.p.

sppp

~ sppp

s.p.

3 4

4D 4

SAMPLE 2: fade in

! o

ord. <---> m.s.p.

Solo Db.

Fl. 1

Electronics

3 4

∑

& O™

∑

∑ Bass Flute

To Bass Flute

& O™

Fl. 3

˙™

O™

˙o ™ O™

4 4

˙o ™

O™

∑

o o˙ ™

˙™

˙o ™

O™

o o˙ ™

˙o ™

O™

& _™

∑

˙o ™

O™

˙o ™

O™

˙o ™

O™

reed on

˙o ™

Ob. 1

3 4

° & O™

Fl. 2

feel free to vary this phrase with a little improv.

∑

˙™

w pp

& _™

Ob. 2

reed on

∑

˙™

w pp

∑

C. A.

∑

˙™

#w pp

bisb.

#˙ ™ ∑

Cl. 1

∑

bisb.

#˙ ™ ∑

Cl. 2

∑

bisb.

¢&

∑

°/

∑

#˙ ™

∑

#˙ ™ B. Cl.

#˙ ™

∑

#˙ ™

∑ o

U ææ

™ æU

U ææ

? ææ

To Temple Bowl

U ææ

w ææ

˙™ ææ

w ææ

œ ææ

w ææ

ææ w

ææ ˙™

ææ w

ææ œ

Perc. 1

∑

U ææ

U™

U ææ

ææ?

∑

U ææ

U™

U æ

U ææ

? ææ

¢&

∑

w ææ

˙™ ææ

w ææ

œ ææ

Perc.

To Temple Bowl

Perc. 3

3 4

m.s.p.

4D 4 ~

Vln. I

O™ ° &

Vln. II

& O™

Vla.

B O™

Vc.

? O™

Db.

? O™

3 4

4 4

s.p.

˙™

O™

˙™

O™

˙™

O™

˙™

O™

m.s.p.

m.s.t.

3 4

˙™

O™

˙™

O™

˙™

O™

˙™

O™

˙™

O™

m.s.p.

m.s.t.

s.p.

m.s.p.

Solo Db.

° ¢?

continue improv. (1 )

(2)

(3)

(4)

˙™

(5)

4 4

O™

Fl. 1

4E 4

° &

Fl. 2

wo ~

o o wo ~

wo B. Fl.

o o wo ~

wo ~

3 4

Ob. 2

C. A.

wo ~

∑

wo ~

˙™ o ˙™ o

#˙ ™

˙™ o

˙™

∑ mp

∑

˙™

bisb.

∑

˙™

Œ o

∑ pp

∑ o

˙™

∑

∑ o

˙™

bisb.

reed off

Cbsn.

∑ o

∑

reed off

˙™

∑

O™ o

bisb.

Bsn. 2

˙o ™

O™

˙™

o o

Bsn. 1

O™

˙o ™

˙™

o o

∑

˙o ™

O™

˙o ™

O™

o o

˙o ™

O™

˙o ™

<#> w

O™ o

˙o ™

O™

∑

<#> w

B. Cl.

∑

Cl. 2

∑

<#> w

O™

˙o ™

Cl. 1

˙o ™

<#>w

O™

˙o ™

∑

˙o ™

o o

Ob. 1

˙o ™

Temple Bowl

Perc. 1

° &

T.B. mallet stir beat -

‰ ˙™ o

let vib.

To Push Bell

∑

Temple Bowl

T.B. mallet stir beat -

Perc. 2

‰ ˙™ o

let vib.

œ f

Temple Bowl

T.B. mallet stir beat Perc. 3

¢&

4E 4

Vln. I

° &

ord.

‰ ˙™ o

let vib.

ord. Vc.

ord. Db.

∑

˙™

sfzp

O™

sfzp

˙™

O™

˙™

O™

m.s.p.

˙™

m.s.p.

ord. Vla.

m.s.p.

3 4

ord. Vln. II

To Crotales

˙™

sfzp

m.s.p.

˙™

O™

sfzp

m.s.p.

˙™

sfzp

˙™

O™

˙™

O™

˙™ pp

O™

4 4

4F 4 s.p.

Solo Db.

Fl. 1

°? ¢

improv.

3 4

w.t.

° &

∑

4 4

O™

wo ~

as strong as the technique allows

w.t.

∑

Fl. 2

∑

B. Fl.

∑

O™

as strong as the technique allows

~ o

w.t.

O™

_™

as strong as the technique allows

without reed, imitate w.t. of fl.

∑

Ob. 1

∑

~ o

wo ~

wo ~ wo ~ wo ~

reed on

∑

without reed, imitate w.t. of fl.

∑

Ob. 2

∑

reed on

∑

C. A.

∑

∑ bisb.

w ∑

Cl. 1

∑

∑ o

bisb.

w ∑

Cl. 2

∑

bisb.

∑

B. Cl.

∑

∑ o

bisb.

Bsn. 1

∑

ppp

bisb.

Bsn. 2

∑

ppp

Cbsn.

∑

∑ w ppp

Push Bell

Perc. 1

push, let vib. To Wind Ch. ° Ó & œ ‰ Œ

U æ æ

æU æ

Temple Bowl

To Temple Bowl

Wind Chimes

Ó o

∑

‰

beat

& ¿ ‰ Ó™

Perc. 2

∑

Crotales Perc 3

¢& ¿ ‰ Œ p

4F 4

Vln. I

w ° &

˙™

U ææ

ææU

Temple Bowl

Ó o

∑

3 4

s.p.

˙™ o

To Temple Bowl

Wind Chimes

beat, let vib. To Wind Ch.

¿ ‰ ˙™ o pp

¿ pp

O™

4 4

‰

˙™ o

ppp

& w

Vln. II

O™

s.p.

m.s.p.

ppp

Vla.

O™

ppp

? w

Vc.

m.s.p.

s.p.

B w

w pp

O™

s.p.

ppp

Db.

s.p. ? ~

ppp

m.s.p.

w pp

4 4

6 Solo Db.

°? ¢

3 4

Fl. 1

° & ~

wo ~

3 4

œo œo Œ O O

& ~

Fl. 2

wo ~

œ œ Œ O O

wo & ~

wo ~

œ œ Œ O O

& w

∑

Ó o

∑

Ó o

∑

o w o w

? w

w o

? w

˙™

° &

∑

Perc. 1

∑

? w

∑

Cbsn.

∑

Bsn. 2

∑

Bsn. 1

∑

B. Cl.

∑

Cl. 2

∑

Ó o

Cl. 1

∑

C. A.

∑

Ob. 2

Ob. 1

B. Fl.

4 4

˙™

let vib.

∑

let vib.

& w

Perc. 2

w mp

let vib. Perc. 3

¢&

w mp

m.s.p. Vln. I

° w &

s.p.

3 4

m.s.p.

# w~

˙O ™™

4 4

s.p.

& w

Vln. II

3 4

ord.

#˙ ™

4 4

˙O ™™

s.p.

ord.

˙™

B w

Vla.

˙O ™™

s.p.

ord.

˙™

m.s.p.

? w

Vc.

#w~

#˙O ™™

#s.p. ~

Db.

? w

#˙ ™

ord.

˙O ™™

ord.

˙™

Electronics

SAMPLE 3 fade in !

° Solo Db.

! w

o w

improv. ord. <---> m.s.p.

bisb.

Cl. 1

#˙

° &

∑

o #˙

Cl. 2

∑

#w p

bisb.

∑

˙™

#œ

Ó o

bisb.

B. Cl.

∑

Bsn. 1

∑

#˙

ææ w

helicopter tonguing

ææ w

helicopter tonguing Bsn. 2

∑

Cbsn.

∑

ææ w

Perc. 1

° &

Perc. 3

Vln. I

∑

¢&

∑

° &

‰

˙™ o pp ¿ ‰ ˙™ o pp ‰ ¿ ˙™ o pp

ppp

∑

w p

m.s.p.

~ s.p.

& ~

‚

˙™

O™

œ ‚

‚

O™

m.s.p.

? ~

s.p.

O™

œ ‚

Db.

O™

‚

O™

œ ‚

œ ‚ O™

m.s.p.

? ~

s.p.

m.s.p.

B ~

m.s.p.

O™

Vc.

∑

m.s.p.

Vla.

∑ w

pp Vln. II

Perc. 2

Solo Db.

Cl. 1

III m.s.p. <---> m.s.t.

° ¢?

° <#> w &

<#> w

Œ o

Cl. 2

B. Cl.

Bsn. 1

æ ? wæ

ææ w

Bsn. 2

æ ? wæ

ææ w

∑

Ó o

∑

ææ w

∑

ææ w

∑

° &

˙™

Perc. 3

Vln. I

∑

¢&

‰

∑

∑ ( ) ≤ s.p.

˙™ ææ

Vln. II

& ~

Vla.

B w

œ o ¿ ‰ œ o pp ‰ ¿ œ o pp

‚

∑

Ó Ó

m.s.p.

w ~

s.p.

? ~

? O

m.s.p.

O O

˙ mp

O™

w w

Ó o

Ó Ó

m.s.p.

˙™

‚

œ o ¿ ‰ œ o mp ‰ ¿ œ o mp

m.s.t.

s.p.

O™

‰

s.p.

III m.s.p.

s.p.

m.s.p.

~ s.p.

∑

m.s.p.

Db.

∑

Vc.

#w o

∑

° &

#w o

pp Perc. 2

#w o

Ó ˙ ppp

Perc. 1

<#> w

Cbsn.

w o

O ~

s.p.

˙™

≤ w

˙™

O O™

III m.s.p.

≤ w

Œ o

≤ w o

m.s.t.

˙ m.s.t.

3 4

8 Solo Db.

Fl. 1

°? w ¢ ° &

˙™

4 4

˙™

w o

pp To Fl.

˙™

∑

w o

reed off

˙™

∑ o

∑

Ob. 2

∑

reed off

˙™

∑ o

∑

C. A.

∑

˙™

#˙

˙™

#˙

˙™

#˙

˙™

Cl. 1

Cl. 2

& <#> w

˙™

& <#> w

˙™

3 4

˙™ o

∑

˙™

w mf

˙™ o

∑

Ob. 1

˙™ o

∑

B. Fl.

˙™

3 4

∑

Fl. 2

4H 4

& <#> w

B. Cl.

˙™

#w mf

Bsn. 1

∑

∑ w mf

Bsn. 2

∑

∑ w

˙™

airy Cbsn.

? w

˙™

Hn. 1 - 3

° &

∑

˙™

∑

Hn. 2 - 4

∑

˙™

mp Tpt. 1 in Bb

∑

˙™

mp Tpt. 2 in Bb

∑

˙™

mp Tpt. 3 in Bb

∑

˙™

Tbn. 1

∑

˙™

w mp

Tbn. 2

∑

˙™

w mp

B. Tbn.

∑

w Tba.

˙™

∑

° &

˙™

w pp

˙™

˙™ o

˙™

¢& w

‰

˙™

‰

m.s.p. w ° &

˙™ o

˙™

m.s.t.

& w

3 4

4H 4

II m.s.p.

m.s.t. ˙™

˙™ o

˙™

W. Ch.

3 4

˙™

4 4

ææ U

lowest reg., gently tickle

ææ U

ppp W. Ch.

o lowest reg., gently tickle

ppp

lowest reg., gently tickle

ææ U

ppp

3 4

m.s.p.

˙™

m.s.p.

B w

mf Vla.

To W. Ch. let vib

Vln. II

Vln. I

To W. Ch. let vib

˙™

& w

Perc. 3

To W. Ch. let vib

‰

Perc. 2

w mf

∑ mp

Perc. 1

∑ mp

w pp

˙™

O ppp

m.s.p. Vc.

? w

˙™

m.s.p. Db.

? w ¢

˙™

O™

w mf

˙™

w pp

3I 4

SAMPLE 3: fade out SAMPLE 4: fade in

!™ _™ o

Solo Db.

! _

m.s.p.

Fl. 1

4 4

s.p. <---> m.s.p.

O™

sppp

° &

improv.

w.t.

O™

∑

as strong as the technique allows

w.t.

Fl. 2

O™

as strong as the technique allows B. Fl.

∑

Flute

∑ without reed, imitate w.t. of fl.

Ob. 1

∑

w.t.

~ as strong as the technique allows

∑

without reed, imitate w.t. of fl.

∑

Ob. 2

∑

Œ o

∑

& <#> œ

Œ o

∑

C. A.

Cl. 1

& <#>œ

Œ o

Cl. 2

& <#> œ

B. Cl.

Bsn. 1

œ ?

Bsn. 2

Œ œ

Cbsn.

o o

? ˙™ p

Hn. 1 - 3

° &

∑

Hn. 2 - 4

∑

Tpt. 1 in Bb

∑

Tpt. 2 in Bb

∑

Tpt. 3 in Bb

∑

Tbn. 1

∑

Tbn. 2

∑

B. Tbn.

∑

Tba.

Perc. 1

°/

Perc. 2

Perc. 3

Vln. I

¢/

ææ U™

ææ U

ææ U™

ææ U

ææ U™

ææ U

3 4I

° &

O™

4 4

To Temple Bowl

ææ U

To Temple Bowl

ææ U

To Temple Bowl

ææ U

s.p.

o ~ o

ppp

s.p.

Vln. II

O™

ppp

Vla.

O™

s.p.

‚

O™

s.p.

Vc.

O™

ppp

s.p. Db.

O™ ppp

4 4

improv.

Solo Db.

°? ¢

3 4

ord. <---> s.p.

° & ~

O™

‚

Fl. 2

& ~

O™

‚

Fl. 3

& ~

Ob. 1

& _

Ob. 2

& _

C. A.

∑

Cl. 1

∑

Cl. 2

∑

B. Cl.

Bsn. 1

Bsn. 2

Fl. 1

∑

° &

∑

To B. Fl.

Cbsn.

Hn. 1 - 3

O™

‚

_™

reed on

Œ reed on

Hn. 2 - 4

∑

#˙

p Tpt. 1 in Bb

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

˙™

#œ

p Tpt. 2 in Bb

∑

w w Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #w

p Tpt. 3 in Bb

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

#˙

˙™

˙™ o -

˙™ o

#œ

rip back and forth as fast as possible

Tbn. 1

∑

Tbn. 2

∑

B. Tbn.

∑

∑ w

Tba.

∑

∑ w p

Perc. 1

°/

Temple Bowl

∑

‰

p Temple Bowl

Perc. 2

∑

‰

p Temple Bowl Perc. 3

¢/

∑

¿ p

Vln. I

° &

∑

Vln. II

∑

Vla.

∑

Vc.

Db.

1 05

3 4

∑

4 4

‰

∑

Electronics

4J 4

SAMPLE 5: fade in N.B.: SAMPLE 4 stays on !

o s.p. w

improv.

Solo Db.

Fl. 1

°? ¢

° &

∑

3 4

∑

o wo ∑

Fl. 2

∑

Ob. 1

∑

o wo

Bass Flute Fl. 3

∑

wo ~ p

wo ~

3 4

O™

˙o ™

~ wo ~ wo ~

O™

wo ~

˙o ™

O™

˙™

o o #w

˙™

o o #w

˙™

o o

O™

˙o ™

O™

˙o ™

4 4

∑

˙™

wo ∑

O™ mp

pp Ob. 2

∑

w pp

C. A.

#w pp

bisb.

#w ∑

Cl. 1

B. Cl.

Bsn. 1

∑ o bisb. #w

∑

Cl. 2

∑ ∑

∑ o bisb. #w

∑

∑ o

∑

œ pp

Bsn. 2

∑

Œ œ

Cbsn.

Hn. 1 - 3

∑

#˙ ™

sppp

#w ˙™ #w ppp mp sppp <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

& #w

Tpt. 2 in Bb

#˙ ™

& #w ˙ #˙ <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Tpt. 3 in Bb

& <#> ˙

#˙

? w ? w

˙™

° &

sppp

° &

˙™

ppp

˙™

ppp

˙™

flutter

ææ ˙

∑

‰

3 4

‰

¿ mp

∑

4 4

˙™ o -

˙™ o

∑

≤ w

∑

≤ w

∑

11 2

∑

3 4

˙™

O™

m.s.p.

o ~

˙™

O™ o

˙™

O™ o

m.s.p.

4 4

˙™

O™

∑ ≤ w

I s.p.

m.s.p.

Db.

˙™ mf

I s.p.

≤ w

˙™

I s.p.

≤ w

˙™

Vc.

˙™

o ∑

˙ ppp

I s.p.

Vla.

ææ ˙

˙™

o ∑

˙™

I s.p.

Vln. II

˙™

∑

˙™

¢& w

Vln. I

sppp

∑

let vib. Perc. 3

˙™

sppp

let vib. Perc. 2

let vib.

sppp

? ˙

ææ ˙™

sppp

flutter

Perc. 1

B. Tbn.

rip back and forth as fast as possible Tbn. 2

sppp

#˙ ™

w w

˙™

ppp Tbn. 1

& <#>w

Tpt. 1 in Bb

∑

° & #w

Hn. 2 - 4

Tba.

∑

m.s.p.

˙™

O™

∑ o

12 Electronics

Solo Db.

Fl. 1

° ¢?

4 4

° &

improv. m.s.p.

SAMPLE 4: fade out

4 4

ord. <---> m.s.p.

3 4

˙™

Fl. 2

˙™

flutter

B. Fl.

(flutter)

w æ æ

w ‹ &

flutter

Ob. 1

Ob. 2

˙ ææ

w ææ

∑

& ‹

#w o

Bsn. 1

w w w w

nw w µw w

˙˙ ™™ ˙˙™™

w w

˙˙ ™™

bw w w w w

w w w w w

bw w w w w

˙˙ ™™ ˙˙ ™™ ˙™

#ww

˙˙ ™™ f

˙™

& #w o ? w

B. Cl.

nw w µw w

& #w o

Cl. 2

w æ æ

p Cl. 1

p C. A.

˙™ æ æ

˙™

Bsn. 2

˙™ f

p Cbsn.

Hn. 1 - 3

? w

° & &

Hn. 2 - 4

∑

œ pp

#w #w

ppp

flutter

ææ w

ææ #w p

& #w

p Tpt. 3 in Bb

ppp

& #w

ppp

Tbn. 1

Tbn. 2

˙™

ææ #w

˙™ f

˙™

flutter

ppp

ææ w

ææ #w

ææ ˙™

ppp

˙™

ppp

p Tpt. 2 in Bb

˙™ f

ppp Tpt. 1 in Bb

˙™

ppp

˙™

ppp B. Tbn.

Tba.

ppp

° &

‰

Perc. 3

¢&

4 4

Vln. I

° &

˙™ f

let vib.

¿ mp

‰

˙™ o -

˙™ o

˙™ f To Euler's Disk

let vib.

˙™ f To Euler's Disk

let vib.

m.s.p.

∑

≤ w

∑

≤ w

ord.

∑

≤ w

˙™

3 4

m.s.p.

˙™

˙O ™™ f

m.s.t.

m.s.p.

˙™

œ œ

˙™

#˙ ™ f

III m.s.p.

ppp

m.s.p.

Vla.

˙™

To Euler's Disk

Vln. II

w ppp

Perc. 2

w p

? p

Perc. 1

ord.

m.s.p.

˙™

O™

III m.s.p.

Vc.

∑

≤ w

m.s.t.

m.s.p.

˙™

O™ f

III m.s.p. Db.

11 9

∑

≤ w

˙™ f

4 4

Solo Db.

Perc. 1

°? ¢

4K 4

ord. w

4 4

improv. ord. <---> m.s.p.

Euler's Disk (amplified)

spp

free bowing m.s.p.

ord.

Spin. Wait until spinning ends on its own, then spin again!

° &

∑

w as " strong" as the technique allows Euler's Disk (amplified)

Spin. Wait until spinning ends on its own, then spin again!

∑

Perc. 2

w as " strong" as the technique allows Euler's Disk (amplified)

Spin. Wait until spinning ends on its own, then spin again! Perc. 3

Vln. I

¢& ° &

∑

3 4

spp

˙O ™™

# w~

# ˙O ™™

O™

spp

Vla.

w as " strong" as the technique allows

4 4

Vln. II

4 4 w~

# w~

s.p.

spp

s.p.

Vc.

spp

s.p. Db.

m.s.p.

O™

spp

1 27

¢ Hn. 1 - 3

SAMPLE 5 fades out almost on its own

s.p.

Solo Db.

3 4

4L 4

fade out

SAMPLE 6: fade in

_™

˙™

m.s.p.

! w

ord. w

? pp

° &

∑

#œ

∑

Hn. 2 - 4

Tpt. 1 in Bb

∑

Tpt. 2 in Bb

∑ ∑

∑

#w pp

∑

˙ mp

#˙ ™

#˙

pp Tpt. 3 in Bb

∑

#œ

˙™

Tbn. 1

∑

Tbn. 2

∑

B. Tbn.

∑

˙™ pp

˙ pp

Perc. 1

°/

Perc. 2

Perc. 3

¢/

Vln. I

° & ~

3 4

s.p.

& #~

m.s.p. Vla.

Vc.

4L 4

(IV) m.s.p.

O™

B ~ ? ~

O O

? ¢ ~

1 35

#œ

~ (III)

s.p.

~ ~ ~

~ m.s.p.

O™ O™ s.p.

Db.

œ pp

s.p. Vln. II

O™

(III)

~ ~

∑

o o o

m.s.p.

14 m.s.p. Solo Db.

Hn. 1 - 3

°? ¢

° & <#>˙ ™

improv. m.s.t. <---> m.s.p.

∑

& Œ

Tpt. 2 in Bb

& Ó

∑

#˙ ™

#˙

∑

#˙ ™

∑

˙™

∑

#˙ ™

∑

#˙ ™

? w

∑

˙™

∑

˙™

? w

ppp

∑

Tba.

? w

B. Tbn.

˙™ mp

Tbn. 2

˙™ mp

∑

˙™ mp

∑

? w

& <#> ˙

Tbn. 1

œ mp

Tpt. 3 in Bb

∑

Tpt. 1 in Bb

& #w

Hn. 2 - 4

do not correct the intonation

¯ #w

∑

do not spin again after this bar

°/

∑

Perc.

∑

do not spin again after this bar

∑

Perc.

∑

do not spin again after this bar

∑

Perc.

∑

Vln. I

° &

∑

Vln. II

∑

Vla.

∑

Vc.

∑

Db.

1 43

M m.s.p. Solo Db.

Hn. 1 - 3

°? ¢

spp

Any B s.p.

improv.

h™ ° + & ™

∑

#œ pp

do not correct the intonation

¯ & #w

Hn. 2 - 4

Tpt. 1 in Bb

& Œ

Tpt. 2 in Bb

#˙ ™

& Ó

#˙

∑

#˙ pp

∑

o ∑

∑

#˙ ™ pp

∑

˙™

∑

Tpt. 3 in Bb

∑

#œ

Tbn. 1

∑

Tbn. 2

∑

˙™

? w

B. Tbn.

Œ o

∑

∑ w

Tba.

? w

ppp

∑

∑ w

(if still spinning) kill spin with finger snap

° ¿ ≈‰ Œ / >

Push Bell

To 2x Push Bells

push, let vib.

‰ Œ

To Tam - tam

∑

mp Perc. 1

Push Bell

push, let vib.

∑

‰ Œ

(if still spinning) kill spin with finger snap

≈ / >¿ ‰ Œ

Push Bell

To 2x Push Bells

push, let vib.

‰ Œ

To Tam - tam

mp Perc. 2

Push Bell

push, let vib.

∑

‰ Œ

(if still spinning) kill spin with finger snap

≈ / >¿ ‰ Œ

Push Bell

To 2x Push Bells

push, let vib.

‰ Œ

To Tam - tam

mp Perc. 3

Push Bell

push, let vib.

∑

‰ Œ

M I m.s.p.

Vln. I

° &

~≤

>˙

I m.s.p.

sfzpp

∑

~≤

I m.s.p.

>œ ‚ ˙

‚™

∑

~≤

O™

‚

∑

~≤

O™

‚

I m.s.p.

1 50

∑

~≤

ppp

‚™

ppp

s.p.

œ ‚ ˙™

>˙

˙™

œ ‚

ppp

s.p.

O™

>œ O

sfzpp

ppp

Db.

œ ‚

m.s.p

œ ‚ ˙™

sfzmf pp

I m.s.p.

s.p.

œ ‚ ˙™

sfzmp pp

ppp

Vc.

ppp

Vla.

∑ ppp

Vln. II

w o

ppp

˙™

O™

>˙ sfzpp

˙™

ppp

˙ pp

œ ‚ ˙™ ppp

4 4

16 Electronics

Solo Db.

° ¢?

improv. s.t. <---> m.s.p.

(1 )

(2)

(3)

(4)

(5)

3 4

Fl. 1

° &

∑

Fl. 2

∑

B. Fl.

∑

‹ &

∑

& ‹

∑

C. A.

∑

Cl. 1

∑

Cl. 2

∑

B. Cl.

∑

Bsn. 1

∑

Bsn. 2

∑

Ob. 1

Ob. 2

Cbsn.

Hn. 1 - 3

° & <#>˙ ™

˙™

#œ

& <#>w

Hn. 2 - 4

Tpt. 1 in Bb

& <#> w

˙™

& <#> w & <#> œ

#˙

Tbn. 1

#œ

#˙

˙™

#˙

˙™

˙™ ˙™

B. Tbn.

Tba.

˙™

#˙ ™

? w

Tbn. 2

˙ mp

˙™ mp

? ˙™

˙ #˙ ™

#˙ ™ pp

mp Tpt. 3 in Bb

mp Tpt. 2 in Bb

˙™

œ mp

? ˙

˙™

big gong mallet

Perc. 1

Tam-tam beat, let vib.

° &

∑

¿ ‰ Œ

¿ ‰

‰™

big gong mallet beat, let vib.

Tam-tam Perc. 2

¿ ‰ Œ

Perc. 3

∑

¢&

Vln. I

° &

Vln. II

¿ ‰ Œ

‰™

¿ Œ

¿ ‰

big gong mallet beat, let vib.

Tam-tam

¿ ‰

¿ ‰ Œ

¿Œ

¿ ‰ Œ

¿≈‰ pp

¿ ‰

‰

¿ ‰ Ó

¿ Œ

¿ ‰ p

3 4

∑

Ó o

∑

Vla.

∑

Vc.

? œ

∑

O™

∑

o Db.

? œ

1 57

O™

‚

Œ o

4 4

4O 4

SAMPLE 6: fade in N.B.: SAMPLE 5 stays on

! o

Perc.

any octave, free bowing m.s.p.

ord.

Fl. 1

° & &

Fl. 2

w o w o

w o

improv. ord. <---> m.s.p.

˙™

æ wæ

˙™

ææ w

flutter æ

ææ w

bisb.

B. Fl.

∑

Ob. 1

& ‹ &

Ob. 2

∑

Cl. 1

& #w o

˙™

nw w µw w

w w w w

nw w µw w

w w w w

w w

µw w w wµw w

w w w ww w

µw w w wµw w

w w w ww w

w w

#˙ ™

∑

C. A.

‹ & &

#˙

˙™

overblow into a rough, hard multiphonic

Cl. 2

w o

& #w

B. Cl.

˙™

œ mf

˙™

˙™ spp

Bsn. 1

w pp

Bsn. 2

w w

˙™

& <#>œ

#˙ ™

∑

˙™

œ œ

#˙

#˙ ™

˙™

#˙ ™

˙™

#˙ ™

˙™

œ œ

#˙

ææ w

ææ ˙™

˙™

& <#> w

flutter

& <#> w

Tpt. 2 in Bb

mp Tpt. 1 in Bb

pp Hn. 2 - 4

∑

#˙ ™

∑

° & <#>œ

w ff

pp Hn. 1 - 3

pp Cbsn.

˙™

#œ œ

#˙ ™

˙™

mf Tpt. 3 in Bb

& <#> w

Tbn. 1

Tbn. 2

B. Tbn.

#˙ ™

˙™

Tba.

Perc. 1

w pp

Œ Ó

mp Perc. 3

Vln. I

¢/

¿ ‰ Œ

4 4

° & &

Vln. II

Vc.

1 63

˙™ œ

≥ w o m.s.t. ≥ w o

≥ w o

¿ ‰

Ó ¿ ‰ Œ ¿ ‰ Œ

¿ ‰ Œ

Ó Ó

¿ ‰ Œ

¿ ‰ Ó f

¿ ‰ Ó

‰ ¿ Ó

‰™

¿ ‰ Ó mf

‰™

¿Ó mp

¿ Ó mf

‰™

¿ Ó

˙™

˙O ™™

œ œ‚

¿ ‰ mf

m.s.p.

ord.

III m.s.p.

ord.

œ œ‚ ˙

m.s.p.

˙O

ord.

O™

œ ‚

≥ w o

ord.

˙ ff

m.s.p.

(III)

m.s.p.

≥ w o

III ord. Db.

IV s.p.

III m.s.p.

Vla.

mp Perc. 2

˙™

¿ ‰ Œ

#œ

œ œ ˙™

°/

˙™

#˙ ™

m.s.p.

ord.

m.s.p.

˙™

18 Electronics

SAMPLE 5 and SAMPLE 6 fade out on their own

w w

Solo Db.

free bowing m.s.p.

° ¢?

ppp

Fl. 1

° & œ

flutter

˙™

ææ ˙

ææ w

∑ o

ææ & ˙

Fl. 2

ææ w

Œ o

˙™

flutter

ææ & ˙™

B. Fl.

Ob. 1

ææ œ

ææ ˙

‹ ˙˙˙ & <µ>˙

n ˙˙˙ µ˙

w w w w

& ˙˙

˙˙

w w

(ord.)

˙ ææ

˙ ææ w w w w

Ob. 2

w o

nw w µw w

w w w w

œœ œœ

reed off

w w

œœ

w w w ww w

µw w w wµw w

w w w ww w

œœ œœœœ

˙˙

w w

œœ

sfzmf

µ ˙˙ ˙µ˙˙˙

& w

Cl. 1

C. A.

w w

<µ> ˙˙ ˙˙˙ & <µ>˙ ‹ & ˙˙

˙™

reed off

Œ o

˙™

w p

˙™

#œ

Ó o

ord.

Cl. 2

˙ p

overblow into a rough, hard multiphonic

B. Cl.

#˙ ™

#œ

? w

Bsn. 2

f Cbsn.

f Bsn. 1

ord.

˙™

#w w

Œ o

˙™ w

¯ #w

Hn. 1 - 3

° & œ

˙™

Tpt. 1 in Bb

& <#>w

Hn. 2 - 4

#˙

#˙ ™

˙™

#œ

Œ o

œ +h

¯ w

˙™

do not correct the intonation h

Ó o

Œ o

#˙

#˙ p

Tpt. 2 in Bb

& w

˙™

#œ œ

˙™

# œ œ ˙™

˙™ p

Tpt. 3 in Bb

& <#> w

#˙ ™

œ œ

Tbn. 1

˙™

w p

? w

Tbn. 2

B. Tbn.

Tba.

˙™ ¢

˙™

œ œ

? w

˙™

Perc. 1

°/

¿ ‰ Œ

‰™

Perc. 2

Perc. 3

Vln. I

¢/

¿ ‰ Ó

¿ ‰ Œ

° & œ

¿ mf

¿ ‰ Œ

¿ ‰ Œ mp

s.p.

œ‚

¿ ‰ Œ f

¿ ‰ Ó

¿ ‰ Œ

∑

˙™

¿ ‰ Œ

‰ ¿

Ó Œ

¿ ‰ pp

m.s.p.

ord.

˙O ™™

¿ ‰ Œ

‰ ¿ Ó

¿ ‰ Œ

¿ ‰ Œ f

˙™

œ ‚

œ ‚ O™ p

ord.

Vln. II

˙™ sfzf

B w

Vla.

œ m.s.p.

m.s.p.

ord.

s.p.

m.s.p.

ord.

œ ‚ ˙™

s.p.

Vc.

˙O ™™

œ‚

˙O

œ‚ p

ord. Db.

1 69

˙™

ord. let vib.

m.s.p.

œ‚

G≥ ‰ œ

˙ ff

˙O ™™

˙™

IV m.s.p.

O™

œ ‚

w w

3 4

w w

˙™ ˙™

4P 4

Solo Db.

? w

° ¢& <#> ˙

Tpt. 1 in Bb

° & <#> œ

Tpt. 2 in Bb

Tpt. 3 in Bb

Tbn. 1

Tbn. 2

B. Tbn.

Perc. 1

Œ o Œ o

∑

Ó o Œ o

˙™ Œ

2x big gong mallets light tremolo

ææ w

ppp

ææ w

Db.

ææ w

To Crotales

ææ ˙™

To Crotales

ææ w

let vib.

ææ w

ææ ˙™

Œ o Œ

& ¢

ææ w

ppp

° & O™

Vln. II

ææ ˙™

2x big gong mallets light tremolo

Vln. I

ææ w

let vib.

ææ w

ppp

¢/

ææ w

2x big gong mallets light tremolo

Perc. 3

∑

Œ o

°/

Perc. 2

Ó o Ó

˙™

œ ¢

s.p. <---> m.s.p.

(ppp)

B. Cl.

Tba.

turn off SAMPLE 5 and SAMPLE 6

3 4

To Crotales

let vib.

∑

4P 4

∑

o ~

1 75

Solo Db.

°? w ¢ II m.s.p.

Vln. I

° ~≥ &

3 4 3 4

˙™

O™

4 4 4 4

rit.

s.p.

≥ ~

m.s.p.

3 4

˙™

s.p.

O™

m.s.p.

O™

ppp

O™

s.p.

I m.s.p.

≥ ? ~

O™

ppp Db.

div.

ppp

1 84

s.p.

O™

IV m.s.p.

? ≥ ¢ w

O™

II m.s.p.

Vc.

q = 40

s.p.

O™

ppp

≥ ? ~

rit. s.p.

˙™

s.p.

IV m.s.p.

≥ B ~

q = 40

ppp

Vla.

2 4

3 4 3 4

IV m.s.p.

ppp

Vln. II

˙™

s.p.

w pp

˙™

m.s.p.

˙™

4 4 4 4

4Q 4

Solo Db.

Fl. 1

°? ¢

accel.

q = 60

# wo

° &

∑

wo ~

#~ o

wo ~

∑

Fl. 2

wo ~

#~ pp

bisb.

#w o

w o

Perc.

∑

¢&

∑

#˙ ™

¢/

∑

4Q 4

#O ™

#˙

w o

˙™

˙ p

∑ bow

#œ

˙ œ

let vib.

Vln. I

° &

Vln. II

Vla.

Vc.

#˙ ™

∑

3 4

4 4

s.p.

˙™

O™

˙™

s.p.

m.s.p.

Db.

m.s.p.

Ó o

˙™

q = 60

˙o O

accel. m.s.p.

˙o

bow, let vib.

Crotales Perc.

˙o ™ O™

#˙ ™

4 4

#˙ ™ ˙o ™

wo ~

#~ o o

˙ oo

bow, let vib.

Crotales Perc.

pp Crotales

°/

# wo

#w o o

bisb.

B. Fl.

3 4

s.p.

1 94

s.p. Solo Db.

Fl. 1

°? ¢

° &

∑

~ o

& w

Fl. 2

m.s.p.

w mp

wo ~

° œ &

Perc. 2

Perc. 3

¢&

Vln. I

˙™

Ó Œ

Œ œ

∑

wo ~

∑

m.s.p.

#˙ ™

w Ó

(II)

° ~ &

wo ~

∑

~ Ó

w p

˙o O

œo œo ‚ ‚

˙o O

˙o

˙o O

o po ˙ O

o pp Œ

p Perc. 1

# w~

∑

¢& ˙

p B. Fl.

Œ #w~

∑

#w~

˙o O

w ˙

˙™

Ó ∑

˙™

#w~

(IV)

& ~

Vln. II

#w~

˙ pp

#˙O

˙ p

m.s.p.

B ~

Vla.

? O

Vc.

s.p.

m.s.p.

O™

œ ‚

w pp

? ~ Db.

m.s.p.

? w

201

ord.

˙ p

˙O

Solo Db.

Fl. 1

°? ~ ¢ ˙o ™ ° & wo

wo ~

Œ o

Perc. 1

˙o ™

wo ~

˙o Ó

˙o ™ O™

O™

˙o

smp

˙o

˙™

∑

m.s.p.

∑

ord.

& w ?

s.p.

∑

very airy

Cbsn.

˙™

spp

B. Fl.

4 4

& ~

Fl. 2

3 4

∑

∑ w

° &

˙™

∑

ppp

>˙

∑

Perc. 3

& Ó

Perc. 2

∑

¢& s.p.

Vln. I

° #O &

>˙

∑

˙™

3 4

m.s.p.

˙™

4 4

˙™

˙™ mp

>˙

∑

œ mp

s.p.

O™

s.p.

& w~

Vln. II

s.p.

m.s.p.

B ~

Vla.

s.p.

Db.

Solo Db.

Fl. 1

˙™

∑

Cbsn.

Perc. 1

wo ~

˙™

O™

˙o ™

˙o ™ O™

¢& ˙

#~ sfzfp

# wo #~

sfzfp

# wo #~

˙™ ˙™ ˙™

˙™

wo #~

# wo

o pp # wo

wo #~ wo #~

? w Db.

m.s.p.

? ¢ w

21 4

#~ p

sfzfp

wo #~ wo #~

o pp w o w o w o

∑

~ ~

∑

3 4

œ fff

s.p.

˙™

O™

4 4

˙™ ˙™

s.p.

m.s.p.

˙™

m.s.p.

s.p.

O™ O™

m.s.p.

∑

#>˙ ™

∑

#>˙ ™

O™

m.s.p.

O™

∑

sfzfp

s.p.

#~ pp

#w p

sfzfp

#w s.p.

sfzfp

˙™ ˙™

∑

sfzfp

#>˙ ™

fff

sfzfp

m.s.p.

∑

m.s.p.

sfzfp

m.s.p.

(II)

sfzfp

Vc.

sfzfp

˙o ™ O™

O™

Perc. 3

fff

˙ ˙

Vla.

∑

& Ó

& w

#w # wo

Perc. 2

Vln. II

4 4

˙o ™ O™

˙o ™

Vln. I

∑

° m.s.p. & w

° Œ &

O™

wo ~

s.p.

˙o ™

wo ~

O™

o bisb. ˙

& Ó

B. Cl.

∑ o bisb. ˙

& Ó

Cl. 2

~ o w

bisb.

& Ó

~ o wo

∑

O™

3 4

s.p.

˙™

~ o wo

∑

Cl. 1

˙™

° &

B. Fl.

(II)

°? w ¢

Fl. 2

O™

207

m.s.p. ? w

O™

? œ

~ pp

? ~

Vc.

˙O ™™ mp

#w p

s.p.

#~ pp

R SAMPLE 7: fade in

° Solo Db.

Fl. 1

Fl. 2

o ° <#> w & <#> wo & To Flute <#> wo &

B. Fl.

Cbsn.

∑

Vln. I

° #~ &

∑

4 4

ppp

fff

∑

o o

? <#> ~ Db.

(4)

<#> ~ ? <#> ~

Vc.

(3)

∑

3 4

∑

4 4

(2)

Vla.

3 4

(1 )

∑

& <#> ~

Vln. II

improv. s.p. <---> m.s.p.

o ? ¢ <#>~

221

imitate Cbsn., free bowing

Solo Db.

Fl. 1

°? ¢ #w

∑

3 4

∑

4 4

s.p. <---> m.s.p.

fff

w.t.

° &

∑

O™

_™

as strong as the technique allows

w.t.

∑

Fl. 2

∑

#O as strong as the technique allows

Flute

∑

B. Fl.

∑

w.t.

#O as strong as the technique allows

without reed, imitate the w.t. of the fl.

∑

Ob. 1

∑

reed on

without reed, imitate the w.t. of the fl.

∑

Ob. 2

∑

pp Cbsn.

? #w

Vln. I

# O≤

° &

∑

3 4

fff

I s.p

wave-like

∑

ppp

reed on

4 4

#O ™

ppp

‚

ppp

#O ™ pp

II m.s.p.

∑

Vln. II

∑

#O≤

#O ™

‚

ppp

#O ™ pp

III s.p.

Vla.

∑

≤ #O

#O ™

‚

ppp

#O ™ pp

III m.s.p.

Vc.

∑

uniti imitate Cbsn. s.t.

Db.

? #w≤

ppp

229

≤ #O

#O ™

‚

ppp

#˙

s.p.

let vib

#˙

˙ ff

#O ™ pp

III m.s.p.

∑

≤ #w p

Solo Db.

Fl. 1

°? ¢ #w

3 4

4 4

∑

23 imitate Cbsn., free bowing

m.s.p.

ppp

fff ppp

w.t.

° &

∑

#O w.t.

∑

Fl. 2

∑

#O w.t.

∑

Fl. 3

∑

‹ &

∑

w B#µw w w

∑

µw w

w w

Ob. 1

Ob. 2

Cbsn.

Vln. I

∑

µw ˜w w

w w w

∑

µµw w

w w

° <#> O &

˙™

#w o

3 4

m.s.p.

#O ™

(III) s.p.

#O ™

? <#>O

Vc.

(III) s.p.

m.s.p.

‚

#O ™

‚

Db.

? ¢ #w

imitate Cbsn. s.t.

#˙ ™

∑

∑ reed off

∑ ∑

O™

s.p.

Œ o

Ó ppp

m.s.p.

#O≥

ppp

m.s.p.

≥ #O

ppp

m.s.p.

≥ #O

ppp

s.p.

#˙

ppp

236

# O≥

‚

s.p.

reed off

‚

B <#>O

∑

fff

(II) s.p.

& <#>O

ppp

4 4

#O ™

Vla.

w w w w

& ‹

? ¢ <#>w

Vln. II

#w fff ppp

turn off SAMPLE 7 Electronics

Solo Db.

°? ¢ #w ° & <#> ~

Fl. 2

& <#> ~

Fl. 3

& <#> ~

Fl. 1

3 4

& Ó

SAMPLE 7 fades out on its own

U w

#w pp

O™

o U ∑

O™

#~ #_

O™

without reed, imitate the w.t. of the fl.

Ob. 1

#˙ ™

4 4

U ∑ U ∑ U ∑

O™

_™

U ∑

_™

U ∑

without reed, imitate the w.t. of the fl.

Ob. 2

Vln. I

¢& Ó ° <#> O &

3 4

m.s.p.

#O ™

4 4

& <#>O

s.p.

#O ™

B <#>O

Vc.

? <#>O

s.p.

#O ™

s.p.

#O ™

s.p.

m.s.p. Db.

? #w

244

∑

U ∑

∑

U ∑

∑

U ∑

pp Vla.

∑

pp Vln. II

∑

m.s.p

#˙ ™

o O

U ∑