In spite of, and maybe even therefore by Edition·S

Simon Steen-Andersen In spite of, and maybe even therefore (2007) for flute, clarinet, contra bassoon, horn, percussion, piano & double bass or cello Dur. 9â&#x20AC;&#x2122;

Commissioned by and written for NJĂ&#x161;TOS

SCORE

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

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Instrumentation: Group 1: Flute (sitting at a small low table) Horn in F + practice mute (sitting at a low table, must be a double horn and have a detachable bell) Clarinet in Bb (sitting at a small low table)

Group 2: Piano (slightly prepared, completely closed and dampened underneath with pillows or blankets) Contra bassoon Double bass / cello (4th string detuned about 1 octave) Percussion (vacuum cleaner tube with guiro-like surface, plastic card, rods, ping pong bat)

Group 1 is notated with 2 systems each: Upper system; in C / resulting pitches and sounds Lower system; in transposition / action notation

Suggested staging + amplification: (audience)

(conducto r

)

thre

bles

contra bassoon

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percussion double bass/cello

hor

flute

The trio sitting at the tables should be amplified (as much as possible!) with one or more microphones per player (for example a combination of overheads and head-sets). All actions by the trio should be visible for the audience (not covered by stands or the conductor). The players in the quartet to the left should sit very close and may also be amplified. Use low stands for the quartet to make all actions as visible to the audience as possible.

piano

Flute:

Horn:

The flute is slowly taken apart: The flute is only played normally in the very beginning. Mostly the flute part consists of taking the instrument apart, playing on the bits and sliding them around on the table. Dynamics: The flute only has one dynamic in the piece; ppppp – as soft as possible, but always sounding, and always trying to match the different sounds dynamically. All actions are amplified. Resulting system: Above the main system is a small system with a reduced and quantized result of the actions to show the wanted sound or pitch. A normal note head means pitch, a squared note head means noise, a cross means percussive sound. Tuning: The pitches in the resulting system are quantized pitches. Many of the alternative playing techniques produce tones, that are more or less out of tune or very noisy. The harmonies (Bethoven Bagatellen op. 126) are not intended to be in perfect tune, but nevertheless, an effort should be made to get as close to the written pitches as possible. Quasi legato / tenuto possible: All actions marked with a tenuto sign (-) are to be held evenly during their whole value, actively trying to make a quasi legato to the next action of the other instruments. Score: the part should be placed on the table, avoiding a stand to make all actions visible for the audience. M*21: repeat single measure 21 times.

Mute: The beginning of the piece is played with a yahama silents brass practice mute. The horn is slowly taken apart: The horn is only played normally in the very beginning. Mostly the horn part consists of taking the instrument apart, playing on the bits and sliding them around. Dynamics: The horn only has one dynamic in the piece; ppppp – as soft as possible, but always sounding, and always trying to match the different sounds dynamically. All actions are amplified. Resulting system: Above the main system is a small system with a reduced and quantized result of the actions to show the wanted sound or pitch. A normal note head means pitch, a squared note head means noise, a cross means percussive sound. Tuning: The pitches in the resulting system are quantized pitches. Many of the alternative playing techniques produce tones, that are more or less out of tune or very noisy. The harmonies (Bethoven Bagatellen op. 126) are not intended to be in perfect tune, but nevertheless, an effort should be made to get as close to the written pitches as possible. Quasi legato / tenuto possible: All actions marked with a tenuto sign (-) are to be held evenly during their whole value, actively trying to make a quasi legato to the next action of the other instruments. Score: the part should be placed on the table, avoiding a stand to make all actions visible for the audience. Tubes: The tubes (and the corresponding keys) are numbered by size and horn (1 being the smallest); F-1, F-2, F-3 (middle pos., upper, lower), Bb-1, Bb-2, Bb-3. F-0 and Bb-0 are the tubes, leading the air to the vaults. M*21: repeat single measure 21 times.

1) detach / pick up 2) put on table. Noise sound – for example from sliding off a part of the instrument. Blow into the instrument (as indicated) 1 cm. away from the hole. Slide object on table. 1) tap opening of the instrument with 1 finger 2) tap with the palm. 1) close tube 2) open tube. Blow into the key holes as close as possible – as if playing pan flute. Tremolo: Always as fast / dense as possible.

1) detach / pick up 2) put on table. Noise sound – for example from sliding off a part of the instrument. Blow into the instrument (as indicated) 1 cm. away from the hole. Slide object on table. 1) close tube 2) open tube. “Air guiro”: During the piece tubes are sled to the “front position”, just in front of the player. Blow on the setup of pipes one after the other, from one side to the other, very close to the pipes.

Clarinet:

Piano:

The clarinet is slowly taken apart: The clarinet is only played normally in the very beginning. Mostly the clarinet part consists of taking the instrument apart, playing on the bits and sliding them around. Dynamics: The flute only has one dynamic in the piece; ppppp – as soft as possible, but always sounding, and always trying to match the different sounds dynamically. All actions are amplified. Resulting system: Above the main system is a small system with a reduced and quantized result of the actions to show the wanted sound or pitch. A normal note head means pitch, a squared note head means noise, a cross means percussive sound. Tuning: The pitches in the resulting system are quantized pitches. Many of the alternative playing techniques produce tones, that are more or less out of tune or very noisy. The harmonies (Bethoven Bagatellen op. 126) are not intended to be in perfect tune, but nevertheless, an effort should be made to get as close to the written pitches as possible. Quasi legato / tenuto possible: All actions marked with a tenuto sign (-) are to be held evenly during their whole value, actively trying to make a quasi legato to the next action of the other instruments. Score: the part should be placed on the table, avoiding a stand to make all actions visible for the audience. M*21: repeat single measure 21 times.

Preparation: The 2 very highest and the 2 very lowest notes should be dampened completely (for example with “sticky tag”). The piano should be closed completely (and preferably covered with its “coat”). The una corda pedal should be fixed down. If the piano is still outmatching the other instruments of group 2, the piano should be dampened underneath with foam, pillows or blankets, until it matches/blends dynamically with the other instruments. Dynamics: The general dynamic of the piano is fffff – as loud as possible, even though the result is not very loud because of the preparation. Glissandi: The piece could be performed with finger gloves (the ones with holes for the fingers) to avoid burns when doing the glissandi. Glissandi should start right away and be performed with an even speed. “Guiro-gliss.”: Toneless glissando without pressing down the keys with a “business card” or sim. (not a plastic card which will be too loud). M*21: repeat single measure 21 times. n: niente / quasi niente

Contra bassoon: Dynamics: The general dynamic of the bassoon is fffff – as loud as possible, even though the result (by the nature of the instrument) is not very loud. Crescendi and diminuendi should be performed very exponentially: Very late and exploding crescendo, very fast (reverb-like) diminuendo. M*21: repeat single measure 21 times. n: niente / quasi niente Breath in - audible but not too exaggerated. Multiphonic. 4 different quick responding, dense and loud multiphonics should be found for the piece, ordered relatively by register: Low, mid, high, highest. Pitch trill quasi transforming to a percussive key sound trill by fading out the tone while making the key sounds louder (and exagerated) and gradually adding more keys once the tone is gone. Blow directly on the sharp edge of the reed from about 1 cm. away.

Double bass (4 strings) / cello: Scordatura: The 4th string should detuned about one octave. Dynamics: The general dynamic of the bass/cello is fffff – as loud as possible, even though the result is not necessarily very loud. Glissandi: Glissandi should start right away. M*21: repeat single measure 21 times. n: niente / quasi niente. pz: pizzicato (only active where written). + : Left hand pizzicato. [ ] : Actual pitch on the 4th string. (Transposing up one octave and correcting the intonation of the loose string.) Percussive sound by hitting the strings with left hand. Gradual transition between pure pitch and pure noise (by adding pressure). When ending on an accented staccato, stop the bow on the string. (Can help to also go from normal left hand pressure to “harmonic” pressure). Noise sound by sliding the bow (at the frog) along the indicated strings. Highest possible note. Col legno battuto. Gradual transition between normal tone and harmonic. The D# harmonic is meant to be more or less “dead” making a percussive sound when pizz’ed.

Gradually bend string outside fingerboard to make a percussive, rattling sound, when bowed hard.

Percussion: Instrumentation: - Vacuum cleaner tube (with a guiro-like surface). - A “bell” (schall piece) should be made for the end of the tube to amplify and spread the sound (plastic or cardboard can be used). - Plastic card (for playing the tube like a guiro). - Rods (of plastic or tree). - Ping pong bat (for hitting the opening of the tube). The main instrument is the vacuum cleaner tube. The tube can either be attached to a stand or be worn around the body, point one end (with the bell) in the direction of the audience. The tube is played like a digiridoo / brass instrument and furthermore blown on, whistled into, tapped with the bat, hit with the rods and scratched with the plastic card. Dynamics: The general dynamic for the percussion part is fffff – as loud as possible, even though the result is not very loud. Crescendi and diminuendi should be performed very exponentially: Very late and exploding crescendo, very fast (reverb-like) diminuendo. M*21: repeat single measure 21 times. n: niente / quasi niente Lowest possible tone with very loose lips – as if playing a digiridoo. Glissando by increasing lip tension – like on a brass instrument. Normal note head: Approximate pitch (brass technique). Air noise by blowing (F-sound) on the edge of the tube 1 cm. away. Transformation from pitch to noise by gradually changing from “brass” tone to F-sound while moving a bit to the side until blowing on the edge 1 cm. away. Sharp S-sound with the mouth alone. Guiro with the plastic card; either staccato or with a glissando line meaning moving along the tube with the card. Whistle into the tube (relative pitch). Hit the tube with the rod. Transition from F-sound on the edge to whistling into the tube. Tap the opening of the tube with the ping pong bat.

In Spite Of, And Maybe Even Therefore: Introduction, concept and remarks – NO PROGRAM NOTE! Setup: The ensemble is divided into two groups; one group always plays as loud as possible (maximum energy on instruments that are not very loud in them selves or that are somehow dampened or hampered), the other group always plays as soft as possible, but is amplified to match or outmatch the the first group. The two groups never play at the same time; even though together on stage, they stay clinically isolated in each their world. Form: The piece consists of two musical materials that are both being build and destroyed at the same time. 1) The material of the first process only consists of a seven bars sequence of linear, pseudo-unison music played by the “as-loud-as-possible-group”. The seven bars end where they start and forms a linear loop when repeated in its complete length. In the beginning of the piece the first tiny bit of this long loop is being repeated over and over again. Slowly these repetitions get longer, revealing more and more of the total sequence. At the same time, though, this music is being interrupted by breaks or inserts of another music (played by the other group). In the beginning the interruptions are seldom and very short of duration, but slowly the interruptions come more often and get longer. Just before the sequence would have finally been revealed in its whole, the intervals between the interruptions get shorter than the total length of the entire sequence, and thus we never get to hear the complete sequence uninterrupted. Soon the interruptions take over and the sequence gets more and more fragmented, ending up being only short echoes of the beginning. 2) The material of the second process is directly taken from the fifth of Beethoven’s Piano Bagatels opus 126 and is played as soft as possible by group two amplified flute, clarinet and horn, sitting at tables at the stage front. To begin with they only play a single short chord once in a while, but slowly the chords come more often. In the beginning one only realizes that this is a tonal music and later one also realizes that the chords are getting closer and closer. At one point one probably realizes that - if the given direction continues - the chords will eventually get so close that they will form a tonal music or chord progression. Eventually the fragments of Beethoven’s music get together in time to form an extract of the tones and harmonies from the original piece. But each time a chord is played, a piece of one of the instruments is being dismantled, slowly making the chords harder and harder to play in tune, and slowly distorting the timbre. Exactly at the point where the chords finally come together, all three instruments have been completely taken apart, leaving only bits and pieces on the tables in front of the musicians. The musicians try very hard to play the Beethoven movement on the bits, but the original music almost disappears in the sound of picking up and putting down the pieces, and the noisy and out of tune alternative ways of playing the notes. After a while the tones disappear, leaving only the sounds of the “choreography” needed to perform these notes. Out of this “musical ruin” the music attempts to build up new relations and logics, and new ways of creating continuity, but this attempted continuity is slowly being destroyed by “freezes” getting longer and longer, eventually obstructing the new continuity. Rehearsing (flute, clarinet and horn): Since the two groups never actually play together a lot of time can be saved by rehearsing the groups separately until the very last rehearsal. Horn, clarinet and flute by far have the most difficult parts that all demand an extended study period - approaching the piece as if they were soloists in a concerto grosso. Among the three, the horn has the hardest job (being able to dismantle the instrument into 12 pieces!). A percussion player with basic horn skills could also be considered for the part. Since the construction of the instruments vary in detail from brand to brand and model to model, the first task is to adapt the part for the exact instrument being used - or even in some cases to seek another instrument better suited for the part. It is in no way a problem to use old or cheap instruments. The players should go through every pitch-producing action and check if it produces the right pitch. If not, they should search for another solution (with the same technique) that gives or comes close to the pitch in question. Use any trick for intonation. The intention is not to have the chords always in perfect pitch or completely stable - on the contrary, but never the less, it is essential that a constant effort is made to come as close as possible to what is written. Especially the horn player needs to plan out the “choreography” of the part very detailed.

Obstruction+resistance: When an obstruction or a resistance is introduced into a performance situation, various things may happen. When the demanded actions are not just unfamiliar but also by nature impossible to fully master (relative to a recognizable ideal like pitches, harmonies or a very soft general dynamic), the performer can never relax or fall back on any degree of routine, he will always have to be 110 procent present in the situation, always ready to react and adjust. Already in this aspect the situation becomes something else than a REpresentation of the score or the REpresentation of a drama, because in many ways it is a real drama - the “fight” is real. (This is why the piece is not and should not be staged or performed as “music theater”). This unavoidable insecurity and fragility of course exposes the performer - in this case multiplied many times by the extreme amplification. But by engaging in this fragility the performers invite the audience into a very intimate and intense space. In this context the instruments can also be seen not just as sound producing objects but also as distractions for the performers that allow everybody else to see and experience the persons behind the “every-day masks” - portraying the human beings behind the instruments (not unlike the strategy in Five Obstructions by Lars von Trier). Last, but not least, the hampering approach to historic music should empathize and thematize the sometimes forgotten distance to these old works and the distance to the experiences that their composers might have hoped for of their contemporary audiences. Audio/visual?: This kind of music relies a lot on elements that can only really exist or appear in live situations. If documented, it should preferably be with visuals. If it is documented as sound only, an attempt should be made to compensate for the visuals - in live recordings by adding compression, in studio recordings by getting so close the instruments as you can never get with live amplification ... as if looking at the softest sounds under a powerful microscope.

In Spite Of, And Maybe Even Therefore was commissioned by and written for NJÚTON (is), and was premiered during Dark Music Days 2008 in Reykjavik, Iceland. Duration: Approx. 10 minutes

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‰

(fffff)

–– –

–– ≈ –

˘–

´ ˘–

[F]

38 ‰

––. ––

≈ 3

–– –

–– –– mbœœœ œ –

≈

–– –

38 J I

––. 3

˘–

[S]

––.

m˘ ¿

—

3 J 8

bœ

‰

mœ

‰

mœ

˘—

‰

˘ II

(fffff)

mœ

mœ √œ 3

˘ ˘ ˘

III

˘œ II

–´

[F]

3 8 J

O. . . 3

( œ. )

2 4 42

∑

œ b œœ œœœ ∫ œœœœ m œœœœœ 2

b œœ . ◊.

bœ œ

œ bœ œ œ œ mœ œ œ œ mœ œ œ 5 >

≥j

¿¿ ¿¿œ

-‡ .

––. ––

˘–

–– –

≈

mœ J

‰

mœ J ‰

mœ

42 2 4 2 4

‰

(fffff)

–– –

–– ≈ –

˘–

´ ˘–

[F]

≈ 3

–– –

–– –– mbœœœ œ –

38 ‰

––. ––

> m˘

∑

3 8√

≈

–– –

38 J I

––. 3

˘–

[S]

––.

m ˘¿

—

3 J 8

bœ

‰

mœ

‰

mœ

˘—

˘ II

(fffff)

mœ

m œ √œ 3

˘ ˘ ˘

III

˘œ II

–´

[F]

3 8 J

O. . . 3

( œ. )

‰

5 4 Œ

‰

fl.

∑

& ?

‰

hn.

∑

45 ‰

∑

& cl.

∑

pno.

cfg.

db.

pc.

mœ œ œ œ > ¿¿œ

> m˘ ¿

-‡ .

5 4

œ b œœ œœœ ∫œœœœ m œœœœœ

˘–

bœ œ

œœ

mœ J

≈ ‰

œ bœ œ œ œmœ

mœ œ J ‰

mœ

J œ

–.

[F- 2]

ppppp

‰

¿.

(prepare to detach F-2)

‰

ppppp

¿.

‰

∑

(fffff) ˘–

´ ˘–

––. 5 4

˘–

5 4

ppppp

4 8

∑

2 8

∑

3 8

∑

4 8

∑

2 8

∑

3 8

∑

-œ

4 8

√–

–– ––mbœœœ œ

48 ‰ (fffff) 3 3 48 ≈ – ‰ –– –. –– –

48 ≈ ≈ J –– – (fffff)

∑

4 ≈ 8 –– . (fffff) m ˘¿ 4 ≈ 8

∑

[S]

[F]

-œ

[F-3]

‰

–– –– ≈ – 5 4 –

(put on (play the indicated tone through table) the tube, where the F-3 is missing)

(detach)

-œ

¿.

––. –– 5

–– –

t ¿¿ ?

∑

b œœ . ◊.

≥j

5 4 Œ

∑

( – .)

∑

(fffff) 3

—

‰

bœ

mœ mœ

–´

mœ

√ mœ œ

(fffff)

3 8(fffff)

˘ ¤œ œ œ œ œœ 28 ≈ 38 ≈ ‰ 28 28

m œ. œ. œ. œ. œ. 5

38 n

m œŸ~~~~~~~~~~~~~ (gradually fade out the tone and exagerate the key sound)

¿ ≈ ‰

38 –´ .

O. . . 3

(blow on reed)

(gradually change from normal tone to harmonic) 3

( œ. ) .

. 2

(˘œ ) ¿ ¿ ¿ ¿

(hot-rods on tupe)

(fffff) [S]

‰

–´ – . n

‰

¿ ≈ ‰ – ‰ 3 J

‰ ∑

PED.

I ˘— II > √ ˘ III IV III ˘II ˘ ˘ ˘ 2 m œ. pzœ 3 m OJ 8 8 œ 3

[F]

‰

2 8

–.

(f)

‰ ‰ –´ .

(F-sound on the edge)

(S-sound away from the tube)

[F]

–.

(f)

7 Œ 4

74 Œ

(play through F-3, also pressing down F-1)

fl.

2 4

∑

3 8

∑

2 8

∑

1 8

∑

? hn.

∑

( –)

& cl.

∑

pno.

cfg.

db.

pc.

(fffff)

> m˘

mœ J

¿ ≈ ‰

-‡ .

(fffff)

bœ œ 2 b œ œ m œ 4 œ œ œœ 5

œ mœ œ œ œ ¿¿œ

∑

˘ œb œœ œœœ∫œœœœm œœœœœ ––– –

––. ––

mœ J ‰

mœ

2 4

‰

2 œ 4

(fffff) ––– –– ≈ ≈ – ˘–

´ ˘–

[F]

––. [S]

–– –

≈ 3 J –– 8 –

––.

m ˘– ˘¿

–– ––mbœœœ œ –

38 ‰

—

3 J 8

2 8

∑

3 8√

––. ––

t ¿¿ ?

b œœ . ◊. > (fffff) ≥j

3 8

∑

2 4

∑

2 4

bœ

‰

mœ mœ

–´

3 8 J

mœ

m œ √œ

(fffff)

∑

¿.

[F-1+F-3]

ppppp w

2 8

(detach (put bell on the bell) table, upright with the small opening pointing upward)

2 8

∑

7 4

∑

2 8

7 4

∑

2 8

mœ. œ. œ. œ. œ. 5

81 n

Ÿ~~~~~~~~~~~~ mœ

( œ. ) .

ppppp

¿.

–

ppppp

˘ ¤œ œ œ œ œœ 28 ≈ 18 ≈ ∑

PED.

¿ ≈

81 –´ J

II ˘— II > √ ˘ III IV III ˘ ˘ ˘ ˘ 2 mœ. pzœ 1 JO 8 8 œ

O. . .

7 4

1 7 8(fffff) 4

[F]

‰

2 8

1 8

(prepare to detach [bell] bell by pulling it almost off)

2 8

. 2

(˘œ ) ¿ ¿ ¿ ¿ n

¿ ≈ –

1 8 J

(fffff) [S]

fl.

2 &8

∑

3 8

∑

2 4

∑

3 8

∑

2 8

∑

3 8

∑

9 4

∑

3 8

∑

2 4

∑

3 8

∑

2 8

∑

3 8

∑

9 4

? hn.

& 28 &

cl.

2 &8

& 28

∑

? 28

∑

pno.

cfg.

db.

pc.

2 8

t 28 ≈ t2 8 ?2 ‰ 8

3 8 38 38 –.

–

–. 38

(f)

∑ –´ .

–.

(f)

[F]

∑

(fffff)

œ b œœ œœœ ∫ œœœœ m œœœœœ 42

b œœ . ◊ . 5

œœœ mœ œ œ œ

> (fffff) ≥j

-‡ .

(fffff)

∑

≈

mœ J ‰

œ œmœ œ

bœ

mœ œ J ‰

bœ œ

˘– –– –

mœ

2 4

2 œ 4

(fffff) ––– –– ≈ ≈ – ˘–

´ ˘–

[F]

–. – 3

˘–

[S]

38 ––. ––

‰

3 8√

––. ––

3 ¿¿ 8 ¿œ ¿ > (fffff) m˘ 3 8

2 4

–– – ––.

m˘ ¿

–– ––mbœœœ œ –

38 ‰

bœ

‰

–– –

≈ 38 J

mœ mœ

˘—

3 J 8 –´

mœ

mœ √œ

(fffff)

¤œ œ œ œ 28 ≈ 28 28

( œ. ) .

. 2

38 n

Ÿ~~~~~~~~~~~~~~~~~~ mœ

mœ. œ. œ. œ. œ.

√ ˘ ˘ ˘ ˘ 2 mœ. pzœ 8 œ

O. . .

3 8 J

3 8(fffff)

[F]

‰

—

2 8

(˘œ ) ¿ ¿ ¿ ¿ n

˘ œœ

≈

‰

¤ >œ œ œ œ œ

9 4

‰

PED.

¿ ≈ 38 –´ .

> O 3 J 8 > ¿ –

3 J 8

(fffff)

≈.

∑ ‰

‰ ≈

–´ .

‰

‰ ‰

‰ –´ J

mœ œ œ œ œ œ ◊ . . . . . . (fffff) n ¿ – ≈

ﬂ m œ œ œ œ. œ. (fffff) n . . . (fffff) + (c.l.b.) ´5 +

pz (arco)

m œ œ œ œ œ œ.

[

actual pitch (+oct.)

˘¿

œ. ]

49 9 4

(rod)

–

(hit tube opening with palm)

[F]

[S]

(fffff) n

œ¿ œ¿ œ¿ œ¿ œ¿ 5

(fffff)

œ¿

9 4

‰

9 &4 Œ

‰

( –)

¿.

fl.

? hn.

(prepare to detach Bb-2)

& 49

ppppp

cfg.

db.

pc.

(detach)

‰

¿.

‰

ppppp

‰

[F-3]

(put on table)

œ-

( –)

¿.

(prepare to detach mute)

–

¿.

‰

[mute]

‰

9 &4 Œ

‰

-œ

9 4

ppppp

& 49

∑

? 49

∑

t 49 t9 4 ?9 4

3 8

∑

2 4

∑

3 8

∑

2 8

∑

3 8

∑

2 4

∑

3 8

∑

2 8

¿.

¿. (put on table)

(detach)

[+F-1?]

pno.

–

[Bb-2]

¿.

œ-

& cl.

–

¿.

‰

3 8

38 38 38

∑

∑ 9

œ mœ œ œ œ

bœ œ 2 b œ œ m œ 4 œ œ œœ

3 ¿¿ 8 ¿œ œ mœ ¿ J > (fffff) m˘ ¿ ≈ ‰ 3 8 -‡ . (fffff)

∑

˘ œ bœœ œœœ ∫œœœœmœœœœœ ––– –

mœ œ J

mœ

2 4

(fffff) ––– –– ≈ ≈ – ˘–

–. –

2 4

–– ––mbœœœ œ –

38 ‰ –– –

‰

—

˘—

– –. –

3 J 8

bœ

≈ 3 J –– 8

[F] ´ [S] m ˘– ˘– ˘¿ 3

‰

––. ––

‰

3 8√

––. ––

> (fffff) ≥j

∑

(fffff) b œœ . ◊ .

2 4

mœ mœ

–´

3 8 J

mœ

mœ √œ

(fffff)

28 28 28

˘ ˘ ˘ ˘ 2 œ 8

[F]

‰

2 8

O. . . 3

( œ. ) .

. 2

fl.

2 &8

3 8

∑

11 4

∑

& 28

∑

2 &8

∑

2 8

pno.

cfg.

db.

pc.

? 28

3 8

∑

& 28 ≈

‰

-œ

‰

-œ

‰

-œ

‰

[F-1+F-3]

‰

( –)

¿.

‰

–

11 4

∑

[F-1+F-3]

ppppp

& cl.

‰

ppppp

? hn.

3 8(fffff)

¤œ œ œ œ

m œ. œ. œ. œ. œ. 5

˘ œœ

∑

≈

t2 8 ?2 8

(˘œ ) ¿ ¿ ¿ ¿ n

∑

‰

¤ >œ œ œ œ œ

11 4

‰

≈.

∑

PED.

> (√) Ÿ~~~~~~~~~~~~~~~~~~~ mœ ¿ ≈ 38 –´ . t 28 √ m œ. pzœ

11 4

>O 3 J 8 > ¿ –

3 J 8

(fffff)

‰

‰ ≈

–´ .

‰

‰ ‰

[S]

‰ ‰ –´ J

[F]

mœ œ œ œ œ œ ◊ . . . . . . (fffff) n ¿ –

≈

ﬂ m œ œ œ œ. œ. (fffff) n . . . (fffff) + (c.l.b.) ´5 +

pz (arco)

m œ œ œ œ œ œ.

[ actual pitch (+oct.)

˘¿ –

(fffff) n

œ¿ œ¿ œ¿ œ¿ œ¿ 5

(fffff)

m -œ

œ. ] œ¿

ppppp

(unscrew reed-attachment)

‰

–

(slide out reed)

¿.

‰

[reed]

(detach)

‰

¿.

¿. (put on table)

ppppp

œ-

ppppp

(very noisy/airy tone)

(half open key - or as much as needed to sound the E)

‰

4 8

[1/2 key]

4 8 m -– ppppp

4 8

(blow into the mouthpiece ~1 cm. away from the hole)

11 4

∑

11 4

∑

11 4

∑

11 4

∑

4 8

11 4

∑

4 8

‰

4 Œ 4

-œ

‰

( –)

fl.

4 &8

3 8

∑

2 4

∑

3 8

∑

2 8

∑

? hn.

& 48

∑

44 Œ

∑

& cl.

4 &8

∑

4 8

n (fffff) ¤œ œ Ÿ~~~~~~~~~~~ œ œ 4 J J ‰ ≈ &8 3 (fffff) 3 Ÿ~~~~ ? 48 ‰ ‰ j m œ. œ. œ. œ ◊ (loudest (fffff) n sounding

pno.

3 8

Ÿ~~~~~~~~~~~~~~~~ ¿ t 48 j j j J mœ ¿ œ (p) (fffff) (gradually fade out tone key trill and exagerate key sounds) - all keys)

cfg.

db.

t4 8

[

mœ

(fffff)

œ] ¿

(actual pitch)

pc.

(gradually bend string outside (hit strings fingerboard) with l.h.)

¿ ¿ ¿ ¿ ≤j

3 8

42 42

b œœ . ◊ .

bœ œ 2 b œ œ m œ 4 œ œ œœ 5

œ mœ œ œ œ œ

mœ J

¿ ≈ ‰

-‡ .

∑

˘ œbœœ œœœ∫œœœœmœœœœœ ––– –

––. ––

mœ œ J

mœ

2 4

38 ‰

m ´ [S] ˘– ˘– ˘¿

–. –

[F]

––.

bœ

––

˘–

‰

–– ––mbœœœ œ –

–– – (fffff) ––– 3 – ‰ –– ≈ ≈ ≈ 8 J –

2 8

∑

3 8√

––. ––

> (fffff) ≥j

3 8

∑

2 4

∑

3 ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 8 ¿œ œ ¿ > (string vibrating against the m˘ fingerboard)

slow guiro gliss. with plastic card, accelerating...

m ?4 ≈ 8 ¿. œ¿ (fffff)

∑

3 8

2 4

—

3 J 8

‰

–´

3 8 J

‰

mœ

m œ√œ

‰

mœ

˘—

(fffff)

∑

œ œ œ œ

28 ≈

m œ. œ. œ. œ. œ.

28 28

(f)

n¤

4 4

[F-3]

œ-

ppppp (+F-1?)

‰

–

(unscrew the bell)

–

¿.

( –)

–

¿.

m -– ‰ ppppp

[1/2 key]

‰

[bell]

(detach)

‰

( –)

∑

¿.

¿. (put on table)

3 4

∑

4 4

∑

3 4

4 4

∑

3 4

Ÿ~~~~~~~~~~~~~~~ mœ ¿

√ ˘ ˘ ˘ ˘ 2 m œ. pzœ O œ 8

[F]

2 8

4 Œ 4

ppppp

3 4

∑

O. . 3

( œ. ) .

. 2

(˘œ ) ¿ ¿ ¿ ¿ n

(f)

‰

3 &4 Œ

‰

-œ

‰

& 43 Œ

‰

fl.

hn.

& cl.

3 &4 Œ

3 4

& 43

pno.

cfg.

db.

pc.

? 43 t 43 t3 4 ?3 4

‰

ppppp œ

( –)

ppppp

(slide off the [1/2 key] reed attachment)

m -– ppppp

∑ ∑

∑

( –)

–

‰

44 ‰ œppppp

‰

´ 4 4 -– ‰ ppppp

2 4

3 8

∑

2 4

∑

3 8

∑

unscrew the screw at the end of the mouthpiece

4 8

∑

–

∑ ¿.

¿.

‰

[reed att.]

2 4

42 42 42 2 4 2 4

∑ ∑

∑

[F-3+1]

∑

¿.

¿. (put on table)

(detach)

∑

3 8

¤˘ 38 38

2 4

∑

œœ

≈ ‰

(fffff) PED.

‰

∑

¿ ≈ ‰ ‰ 38 –´ . –´ .

> √ pzO 3 J ‰ 8 (fffff) > ¿ ≈ ‰ – 3 J ‰ 8 (fffff) [S]

¤>œ œ œ œ œ

≈

œ œ œ œ 5

‰ ‰ [F] –´ J n

∑

3 8

(fffff) Ÿ~~~~~~~~~~~~ œ œ 38 J J ‰

38 ‰ 42 ≈. m œ œ œ œ. œ. œ. œ. œ. œ. ◊ . . . (fffff) n n 5

(fffff)

2 4(fffff)

3 8

∑

¿ 24 – ≈

2 4

3 8

mœ œ œ œ œ œ ] (actual pitch)

˘¿ –

(p)

œ ¿

¿¿ ¿¿ ¿¿ ¿¿ j ¿¿¿¿œ

(sim. acc.) m ≈ ≈ 38 ¿. œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ (fffff) (fffff) n (fffff)n 5

2 4

◊

∑

4 8

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿ 38 j j J

ﬂ mœ œ œ œ (fffff) . . . (fffff) n (c.l.b.) + ´ 5 + pz [

‰

4 8

(fffff) Ÿ~~~~ j 48 48

4 4 œ b œœ

b œœ .. 5

œœœ mœ œ œ œ

> (fffff) ≥j

4 ¿¿ 8 ¿œ ¿ > m˘ 4 8

‰

4 -œ ‰ 4 ppppp

-œ

[Bb-2+1]

( –)

mœ J

¿ ≈ ‰

-‡ .

œ œmœ œ

bœ

mœ œ J ‰

bœ œ

œœ

mœ

J œ

J j

‰

∑

4 4

∑

4 4

∑

fl.

& ? hn.

( –)

–

¿.

( –)

–

¿.

[screw]

(detach)

& Œ

‰

¿.

-œ

∑

(put on table)

‰

[F-3]

œ-

–

[Bb-3]

(prepare to detach Bb-3)

¿.

–

¿.

(detach)

‰

3 4 Œ

-œ

‰

¿.

(+F-1?)

& cl.

& Œ

∑

pno.

‰

¿.

m -–

3 4 Œ

∑

3 4

∑ ∑

‰

-œ

‰

[F-3+1]

[1/2 key]

m-–

∑

2 8

∑

3 8

∑

2 8

‰

(put on table)

œ [1/2 key]

‰

3 8

‰

3 8

(fffff) bœœ. ∫œœœ. œœœ. 38 œ œ m œœ

˘– –– –

√– –– ––mbœœœ œ

––. ––

∑

cfg.

db.

pc.

∑

3 4

∑

3 4

∑ 13

∑

38 ‰ œ

(fffff)

3 J 8 (fffff) œ

3 8 J (fffff)

–– –

–– ≈ –

˘–

´ ˘–

[F]

–.

≈

–– –

–

–.

˘–

m˘ ¿

[S]

––. ––

–

bœ

‰

≈

–– –

‰

mœ

‰

˘—

mœ

–´

mœ

m œ √œ

(fffff)

28 28 28

˘ ˘ ˘ ˘ 2 8 œ

[F]

‰

—

2 8

O. . . 3

. 2 ( œ. ) . 8 3

‰

fl.

2 &8

4 8

∑

4 ‰ 4

∑

? hn.

‰

& 28

∑

44 ‰

∑

‰

& cl.

2 &8

4 8

∑

2 8

4 8

(fffff) n ¤œ œ œ œ œ˘œ 48 ≈‰ & 28 ≈

pno.

? 28

m œ. œ. œ. œ. œ. 5

(fffff) 5

cfg.

db.

pc.

4 ‰ 4

∑

‰ ∑

¤>œ œ

t2 8 ?2 8

√m œ. pzœ 5

(˘œ )¿ ¿ ¿ ¿

> mO 4 J 8 >

¿ ≈‰ – ‰

4 J 8

(fffff) [S]

‰

‰ ‰ –´ J

[F]

n n

ppppp œ

œ-

ppppp œ

-–

[F-1+3]

¿.

( –)

–

ppppp ‰

(prepare to detach [mouthpiece] mouthpiece)

ppppp

¿.

–

(detach)

¿.

(prepare to detach Bb-1)

‰

¿.

( –)

¿.

Œ ‰

[Bb-1]

‰

(detach)

‰

¿.

‰

[F-3]

‰

ppppp

‰

œ-

‰

(put on table)

˙.

¿´ æœ

¿ æœ

¿. æ˙ .

¿ æœ

œ-

ppppp

(+F-1?)

(tap opening with one finger)

‰

˙.

ppppp

( –)

‰

(prepare to detach ext.)

3 4

‰

¿ ≈ 44 –ÿ

∑

4 4

∑

4 4

∑

∑ 14

∑

‰ œ¿ (p) (fffff)

(detach)

3 4

∑

¿ –

‰

∑

¿.

[extension]

3 4

∑

mœ œ ]

‰

¿.

¿. (put on table)

‰

2 4 Œ

‰

42 Œ

‰

ppppp

∑

‰ (fffff)

–

¿.

‰

∑

[

-œ

∑

PED.

(fffff)

> √mŸ~~~~~~~~~~~~ œ ¿ ≈‰ ‰ 48 –´ . t 28 –´ –´ J

4 4

2 4 Œ

2 4

œ-

ppppp

3 8

38 œppppp [F-1+3]

(blow into the hole ~1 cm. away)

‰

3 8 – ppppp

3 8

∑

3 4

∑

2 4

∑

3 8

∑

3 4

∑

2 4

∑

3 8

‰

4 œ ‰ 4 ppppp

fl.

3 &8

∑

4 8

∑

? hn.

& 38

∑

44 ‰ œppppp

‰

[F-1+3]

∑

& cl.

3 &8

∑

3 8

pno.

cfg.

db.

pc.

? 38 ≈ m œ œ œ. œ. œ. œ. œ. ◊n (fffff) 3

‰

?3 8

mœ ] (fffff)

œ ¿

[

m ≈≈ ¿. œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ (fffff) ( p ) (fffff) n 3

ppppp Œ

¿.

[Bb-0]

(detach)

‰

¿.

¿. (put on table)

‰

[F-3]

‰

œ-

ppppp

(+F-1?)

œ-

ppppp œ

-œ

[F-1+3]

ppppp mœ

‰

tap hole with palm

4 4 m-– ‰ ppppp

‰

∑

4 4

∑

4 4

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿ j t 38 ‰ j J mœ ¿ œ (p) (fffff) t3 ‰ 8

–

‰

ppppp

∑

(fffff) ◊

(prepare to detach B-0)

¿.

œ-

‰

4 8

∑

(fffff) n (fffff) ¤œ œ œ œ œ œ œ œ J ≈ & 38

‰

¿¿ ¿¿ ¿¿ ¿¿ j ¿¿¿¿œ

4 8

œ b œœ

b œœ .. 5

œœœ mœ œ œ œ

> (fffff) ≥j

4 ¿¿ 8 ¿œ ¿ > m˘ 4 8

4 4

-‡ .

mœ J

≈ ‰

œ œ mœ œ

bœ

mœ œ J ‰

bœ œ

œœ

mœ

J j

‰

-–

ppppp

‰

m œ-æ ppppp

‰

fl.

& ‰ ?

hn.

‰

& ‰

œ-

‰

-œ

( –) (prepare to detach mouthpiece)

–

¿.

‰

¿.

[mouthpiece]

‰

¿´ æœ ppppp

tap hole with one finger, doing the indicated fingering

‰

[F-1+3]

‰

[F-3]

‰

( –)

¿.

-œ ppppp

‰

ppppp

œ-

ppppp œ

-– ppppp

(prepare to detach joint)

–

¿.

‰

[joint]

‰

¿.

ppppp

œ-

ppppp

(+F-1?)

´ m–

(blow into the hole ~1 cm. away)

(detach)

‰

(put on table)

∑

‰

(put on table)

pno.

‰

& ‰ &

cl.

‰

3 8

∑

2 8

∑

4 4

∑

3 8

∑

2 8

∑

4 4

[F-3]

m-– ppppp

3 8

∑

(fffff) b œœ. ∫œœœ. œœœ. 38 œ œ m œœ

∑

˘– –– –

√–

–– ––mbœœœ œ

––. ––

∑

cfg.

db.

pc.

∑

38 ‰

∑

(fffff)

3 J 8 (fffff)

∑

3 8 J (fffff)

∑ 16

–– –

–– ≈ –

˘–

´ ˘–

[F]

–. – 3

˘–

[S]

––. ––

≈

–– – ––.

m˘ ¿

bœ

‰

≈

–– –

‰

mœ

‰

˘—

mœ

–´

mœ

m œ √œ

(fffff)

4 4

(f) ¤œ œ œ œ 28 ≈ 44 28 28

m œ. œ. œ. œ. œ. 5

(fffff) 5 n Ÿ~~~~~~~~~~~~~~~ mœ ¿

44 44

√ ˘ ˘ ˘ ˘ 2 m œ. pzœ O 8 œ

[F]

‰

—

2 8

O. . . 3

( œ. ) .

. 2

(˘œ ) ¿ ¿ ¿ ¿ n

(f)

4 4 4 4

fl.

´ 4 ¿ & 4 æœ ‰ ppppp œ

‰

& 44 œ ‰ ppppp [F-1+3]

& cl.

tap hole with finger

? hn.

‰

4 &4

m –ppppp

4 4

‰

(–)

¿.

–

(prepare)

¿.

‰

¿´ ‰ æœ ppppp

sim. fingertap

‰

[F-0]

‰

¿.

[F-0]

(detach)

(put on table)

‰

–ppppp

¿´ ‰ æœ Œ ppppp Œ

( –)

¿.

‰

(detach)

[F-0/Bb-0]

( –)

¿.

‰

¿.

(put on table)

–

(prepare)

‰ mœ ppppp

[lower key-part] (prepare)

–

fingertap

Ó Œ

‰

[upper key-part]

´ n–

¿.

(put on [F-1] table)

¿.

(detach)

¿´ æœ ppppp

¿ æœ

fingertap

Œ ¿.

˙.

¿ æœ

3 ¿ 4 æœ

˙.

¿ æœ

˙- .

43 ˙ .

44 Œ

˙.

¿.

[F-0/Bb-0]

¿.

[lower]

[upper key-part]

–ppppp

–

3 4

–

∑

? 44

∑

cfg.

t 44

∑

db.

t4 4

∑

pc.

?4 4

∑

pno.

¿.

–œ

œ-

‰

´ 3 4 -–

( –)

¿.

[mouth piece]

¿.

‰

[upper]

–

ppppp -

¿.

(put on table) (detach)

(prepare)

‰

¿.

( œ)

‰

¿. upper]

-–´

([Bb-0])

‰

4 4

key-part and put the upper key-part on the table)

( –)

–

‰

¿. ¤( œ )

(fingertap)

-–´

¿.

∑

3 4

∑

3 4

-–´

‰ ≈

(detach (blow into the "spit tube" indicated and blow "vault-tubes" into it sim.) ~1 cm. away)

‰

[upper]

the lower key-part on the table)

∑

‰.

[spit [spit tube] tube] [vault-holes F-2+Bb-2]

[lower->

3 4

‰.

¿´ ‰ ‰ m – ‰ ≈ n œ 38 -

(blow into mp the hole ~1 cm. away)

‰

‰.

-¿ ¿ ¿4 ‰ ‰ ‰ 43 æœ ‰ ‰ æœ ‰ . ‰ 4 æ œ- (pick up the upper (pick up the lower (palm) key-part and put (palm) (palm) [lower]

(blow into the hole ~1 cm. away)

Œ ‰

‰

[F-0]

& 44

4 Œ 4

˙.

[F open]

¿ 3 8 œ

(palm)

3 8

∑

4 4

∑

3 4

∑

3 8

∑

4 4

∑

3 4

∑

3 8

fl.

3 &8

∑

? hn.

& 38

∑

¿´ ‰ mœ æJ -

‰

-–´ 48 J ‰ ppppp [vault-holes F-2+Bb-2]

3 &8

∑

3 8

pno.

? 38

(fffff)

‰

cfg.

db.

pc.

¿ ≈ ‰ ‰ t 38 –´ . –´ .

(fffff)

> √pzO t3 J ‰ 8 (fffff) > ¿ ≈ ‰ – ?3 J ‰ 8 (fffff)

[S]

‰ ‰ –´ J

[F]

‰

(put down s.-t. and pick up F-3)

¿. ´ 38 j J -– (blow into

[Bb-2]

[F-3]

the detached tube sim.)

-¿ æœ -J

‰

≈ J

´ ≈ -– J

3 16

¿.

-–´ J

[Bb-2]

¿.

´ j ¿´ m -– æœ -

¿.

-–´

¿.

≈ ≈

[Bb-2 -> Bb-3]

¿.

≈ ≈ 68 J

≈ œj

´j –-

3 16

-¿ ≈æ œ J-

6 ´ 8 –

-–´ J

[Bb-3]

¿.

[Bb-1]

J œ

´ 6 æ¿ 8 œ -

[F-3]

3 16

¿.

‰

¿.

(close the tube in the other end)

‰

¿´ . æœ .

[Bb-3]

´j m -– J

[Bb-1]

-¿ æœ J-

œ.

‰

¿. J

‰

œ.

‰ ‰ [Bb-1] -–´ . ø. ‰

[mouthpiece] [mouth piece]

‰

¿.

-– ø

¿.

‰ œ J

3 ‰ ¿. ¿. -‰´ ´ – J -–

¿.

[upper] [lower]

‰

mouthpiece hole)

[Bb-2]

[F-3]

¿.

‰

into tube J (blow while closing the

œ [Bb-1] [Bb-2]

[F-3]

(sim.)

¿.

‰

œ.

‰ ´ -– .

¿.

œ.

‰

´ -– .

[flute]

¿.

‰ ‰

[Bb-2] [F-2]

¿.

‰

¿.

[F-3]

‰

œ.

mœ .

∑

3 16

∑

3 16

∑

3 16

∑

3 16

∑

Ÿ~~~ 4 j 8

∑

3 16

∑

3 16

∑

4 8

∑

3 16

∑

3 8

∑

3 16

∑

6 8

∑

3 16

∑

3 8

∑

3 16

∑

6 8

∑

‰

mœ œ œ œ œ œ ] –n

‰

3 16

¿. .

´ ‰ m –j ¿.

∑

(arco)

˘¿

[spit-tube -> F-3 (tube)]

the vault-holes

(put on table)

´ 3 æ¿ 8 œ J-

(put horn aside

‰

∑ ¿. .

still be blown ¿. can without picking

‰

3 16

ﬂ mœ œ œ œ (fffff) . . . (fffff) n (c.l.b.) + ´ 5 + pz [

3 16

[horn] in a way so that

it up again)

‰.

´ 3 j ‰ 8 -–

4 8

> 5 48 ≈. m œ œ œ œ. œ. œ. ◊n . . . (fffff) ¿ –≈

‰

(palm)

∑

PED.

(fffff) ¤ >œ œ œ œ œ

¿.

4 æ¿ ‰ 8 œ Jppppp

∑

¤˘ œœ 3 ≈ ‰ &8

‰

´ 4 æ¿ ‰ 8 œ Jppppp

& cl.

‰

(fffff) 4 8 ¿œ œ¿ œ¿ œ¿ >œ¿ œ¿ (fffff) 5

(palm)

3 16

3 8

3 16

(palm)

6 8

´j m -–

‰

(palm)

-–

‰

[lower]

æ œ (palm)

‰

¿.

æ -œ .

-– .

¿. œ

¿.

´ -– J

[F-3]

[F-2]

¿.

[Bb-2]

¿.

´ -– ø J

(close tube softly)

107

fl.

œ.

-– .

-–

[mouthpiece]

& ø.

-–´ & J

–´ ø

–´

[Bb-2]

& cl.

cfg.

db.

pc.

mœ

-–

‰

-j

(palm)

æ b -œ

æ œ-

-j ¿

æ b -œ

¿.

[mouthpiece]

3 æ¿œ 8 -

-–´

[Bb-2]

[F-2] ´ 38 j –-

æ œ-

(finger)

´j

– ø

´ 6 b ¿œ 4 æ -

–

[Bb-2] ´ 64 -– ø

œ.

-j

¿´ bœ æJ-

[flute] (palm)

3 8

¿œ´

æ-

¿œ´

æ-

6 ¿ 4 æ b -œ

b -– .

æ-

¿œ´

´ 3 ¿œ 8 æ -

-–´ J

æ-

-–´ ø

-–´

-–´ ø

6 4

´ 38 -– ø J

–´

–´ ø

æ œ-

∑

3 8

∑

3 8

æ œ-

∑

3 8

∑

1 8

∑

6 8

∑

1 8

∑

3 8

∑

1 8

∑

6 8

3 ¿ 8 æ œ-

3 8

1 8

¿œ´

mœ J

mœ

∑

¿. J

∑

‰

107

pno.

& hn.

(blow into tube, mouth hole closed)

‰

j b-–

1 8

n Ÿ~~~~~~~~~~~~ ¤œ œ œ œ 18 ≈ 38 J J ‰ 81 ∑ 3 (fffff) 3 Ÿ~~~~~ 1 18 38 ‰ ‰ 8 j b œœ j m œ. œ. œ. b œœ œ ◊ ◊ (fffff) n 5 Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ¿ j 81 j 38 j J 81 œ mœ ¿ œ mœ œ œ œ > (fffff) (p) (fffff)

∑

6 4

∑

3 8

∑

1 8

∑

6 4

∑

3 8

∑

1 8

3 8(fffff)

mœ ] (fffff) [

3 8

œ ¿

m ≈ 38 ¿. œ¿ (fffff)

¿¿ ¿¿ ¿¿ ¿¿ j ¿¿¿¿œ

≥j 1 ¿¿ 8 ¿œ ¿ > m˘ 1 8

¿ ≈

-‡ J

6 8 68 68 68 6 8 6 8

114

fl.

‰

¿.

œ.

cfg.

db.

pc.

6 8

-j ´ j ¿ ¿ ´ æ æ j œ œ –-

6 ¿. &8 æ b -œ .

œ.

mœ

>´ ¿

´j

(finger)

æ m -œ

n-– œ

m -– .

œ ?

¿. -–´ –´ –´ –´ –´ J J J

[Bb-2] [horn on table: vault-holes F+Bb-2]

J ¿.

¿.

œ.

. . >´ ¿ ¿ [upper] ´ J J j –- . m -– [upper] [lower]

‰

¿. J

¿.

mœ J

mœ

[ext.]

-¿ ´ j æ ‰ J mæœ -– m-œ (take F# with ¿

¿. œ

‰ [F-2]j ¿ [F-3] . ´ ´ -– – J ø J œ.

[flute] (palm)

¿. œ

left hand only)

&œ

¿.

[F-3] [Bb-2] ‰ ‰ ¿j ¿j ´ . . ´ [F-2] – – ‰ J

–- .

–-

‰

¿´ œ

´ m ¿œ

´ ‰ n -– ‰ J æJæ-J

(finger)

¿. œ

poco rit.

¿.

æJ-

´ ‰ –j œ

œ.

‰

¿.

¿. œ ≈ J

a bit of the end)

´j –-

´ ´ ´ ´ j ´ -¿ j j j j – – – – – æœ -J

poco rit. (palm)

´j ´

–

∑

? 68

∑

t6 8 ?6 8

poco rit.

∑

∑ poco rit.

∑

∑ poco rit.

∑

∑ 20

œ œ

mœ J

j j j j j – – m– –

–

∑

¿.

[F-2] [Bb-2]

[F-2->3] -‰ ‰ ≈ ¿. -–´ ´ -–´ R ø – ø J J J

poco rit.

∑

t 68

-–´

piece] [mouth piece]

mp-hole closed)

¿. œ

[F-2] [Bb-3] ‰ [Bb-3] j [F-3]j ‰ ¿j ¿j [Bb-3] poco rit. [Bb-2] ¿ ¿ b . . [Bb-2] . -–´ –´ –.´ – – – -–´ . J ø J ø J ø the tone J (lower J J by covering

œ.

J [mouth

¿.

‰

j ≈J ø -– – (tube end, J

& 68

114

pno.

[F-3] ¿. ¿. [Bb-2] ´ –´ ´ – & 68 ‰ J J J ø –j J -

& cl.

¿. ´ -–´ J [ext.] j J m -–

[F-2][F-3]

hn.

[extension]

´ ´ ´ 6 - j b -– & 8 –J b-– J ¿.

¿.

‰

[mouth piece]

a tempo .

œ.

‰´ ¿ ‰ (finger) ¿´ . J m– . næœ . j

¿. œ œ

j –ø -

≈. ´ ´ ¿ ´ ´ ´ [Bb-2] – j j j jR – –ø –ø ø –ø J [F-3]

[F-3]

¿.

œ.

[lower] ´ ´ ¿. ¿. ¿ . j J J æ -– [low.] [upp.] œ . (finger)

a tempo

¿. œ

–

œ.

‰

b´

3 ´ 8 -–

æœ J

‰

¿.

(palm)

‰

æ -œ .

-j ¿

æ ‰ œ-

5 4

[vault-holes [breath in] F+Bb-2]

[F-3]

-–´

¿.

-≤ ´ ´ – ´ J– [Bb-3] -– j j J –ø J –ø

[Bb-3] [Bb-3]

-–≤ ´ ´ J j æ¿ -– Jœ -

[breath in]

´ -– .

[Bb-2]

a tempo

–

œ.

b [F-3] 38 ´ j –´ ´j 45 – J – [Bb-3]

[F-3]

´j

(finger)

3 ¿ 8 æ œ-

3 8

5 æ 4 œ-

5 4

∑

3 8

∑

5 4

∑

3 8

∑

5 4

∑

122

fl.

´ 5 ¿ & 4 æœ ?

hn.

5 ¿

cl.

&4 æ œ-

5 4

& 45

122

pno.

cfg.

¿´ æœ

´ & 45 –

? 45 t 45

db.

t5 4

pc.

?5 4

˙.

¿´ æœ

2 8

∑

´ 3 ¿ 4 æœ

∑

–ø

æ œ-

–ø

æ œ-

æ -œ

∑ ∑

–ø

∑

˙.

æ œ-

2 8

∑

2 8 28

(fffff)

3 ¿

4 æ œ-

3 4

‰

œ.

´ 3 8 m-–

‰

6 ‰ 8

‰

´j m-–

¿´ . n æœ .

¿.

–ø

38 j – -ø

–

æ œ-

¿.

–ø

3 ¿ 8 æ œ-

j -–

∑

R 43

¿.

[Bb-2]

68 J

‰

(palm)

3 8

[Bb-3]

œb œœ œœœ∫œœœœm œœœœœ

b œœ

6 ‰ 8

6 8

‰

j –ø -

[F-3]

-j ¿

28 mœ œbœ œ œ œœ (fffff) 5

∑

2 mœ 8 J (fffff)

∑

2 8 ( œ) (fffff)

mœ

b œœ

mœ œ J

‰

n 5

–

[F] 5

R 43 21

œ.

(finger)

¿.

œ-

œ- .

∑

3 8

∑

6 8

∑

3 8

∑

6 8

∑

´j

[Bb-2]

–ø

∑

´ 43 –

[F-3]

¿´ æœ

‰

˙.

¿´ æœ

– ø

[F-3]

–ø

128

fl.

œ.

¿´ . & æœ . &

hn.

[F-3]

& – & cl.

cfg.

db.

pc.

[vault holes]

–´ ø

‰

¿.

–

¿.

‰

æ œ- .

J ¿. J

¿.

-–´ .

‰

‰ ¿. J

¿.

[F-3]

j –ø -

–´

ø. J

–

–ø

b´

[Bb-3]

–ø

œ.

¿´ . æœ . -

¿´ æœ

[upper]

–

[F-3]

–ø œ

j ¿´ œæ

-–≤ J

¿.

[mouthpiece]

(breath in - as if preparing to play a note)

–

¿. J

‰

-–≤

´ j -–

[flute]

ø œ

–

[mouthpiece]

[upper] [lower]

œ.

[mouth piece]

[Bb-2] [Bb-3]

[F-3]

(blow into one of the F-3 vault tubes, close the other one)

œ.

‰ J

‰

¿.

[F-3]

‰

(breath in as if preparing to play a note)

¿.

[Bb-1]

Œ.

‰

[F open]

Œ.

‰

¿´ æœ -J œ

-–´

[Bb-1]

J j

-¿ æœ -J

(palm)

œ.

´j m-–

¿´ . æœ . -

¿.

[Bb-3]

J œ

j -–

‰

[Bb-1]

‰

¿.

‰

œ.

ø.

‰

[mouthpiece]

‰

‰ -–´ .

¿.

‰

¿.

‰

3 ‰ ¿. ¿. ‰ Œ.

¿. ¿.

¿.

-–≤ J

‰

‰ ‰

‰

œ.

‰

[flute]

¿.

[Bb-2]

[F-2]

‰

´ -– J

‰

¿.

´ -– .

¿.

‰ ‰

‰

¿.

‰

[F-3]

Œ.

‰

[upper] [lower]

‰

(breath in)

‰

[Bb-1] [Bb-2]

[F-3]

¿.

‰ Œ.

¿.

–

Œ.

‰

mœ .

-j

æ -œ

-– .

4 8 j

¿. œ

¿.

´ -– J

[F-3]

[F-2]

‰

j[Bb-2]

´ -– ø J

9 4

∑

48 ‰ ‰

j ( œ)

( Jœ )

¿ ø.

¿ ˜

‰

(try to match the 2 sounds dynamically) [Bb-2]

ﬂ

(close tube softly)

–

‰

-–≤

‰

(remove finger suddenly)

(breath in as if preparing to play a note)

4 ‰ 8

4 8

‰

9 4

∑

4 8

∑

9 4

∑

4 8

∑

9 4

∑

128

pno.

‰

fl.

¿.

–

134

[mouth (breath in)piece]

9 &4

hold possition (non theatrically)

-–≤ 2 J 8

∑

¿.

& 49

hold possition (non theatrically)

∑

´ 68 j –-

[F-2]

9 &4

pno.

9 4

hold breath and possition (non theatrically)

2 8

∑

& 49

∑

? 49

∑

134

bœ æJ-

´j

– ø

´j

–

2 8

∑

6 8

–

‰

-–≤ J

‰

j ( œ)

( ¿œ ) J

j ( œ)

(breath in)

(finger)

(sim. (sim. close) open) (close) [Bb-2]

¿.

œ.

& cl.

‰

¿´

6 æ¿œ 8 -

[flute] (palm)

& hn.

mœ J

mœ

¿ ˜

¿.

ﬂ

‰

–

-–≤ J

4 8

∑ ‰

‰

¿. J

¿–. J

[F-2] [F-3]

¿.

-–≤ J

‰

3 8

∑

2 8

∑

3 8

∑

2 8

‰

(breath in)

‰

b -– .

‰

4 8

∑

3 8

38 ‰ ‰ (fffff) 3 ˘– –– 38 – ––. ‰ ––

cfg.

db.

pc.

t 49 t9 4 ?9 4

∑

2 8

∑

2 8 23

∑

6 8

∑

6 8

∑

√ ––– ––mbœœœ

––. ––

∑

4 8

∑

3 8

∑

4 8

∑

3 8

˘–

–– –

— ––. J ––.

(fffff)3 m ´ [F] ´ ˘– ˘– ˘¿ – . O (fffff)3

28 28

––

– (fffff) –– 38 ––– ≈ – ≈ ≈ J

2 8

28 2 8 2 8

fl.

2 J j 6 &8 8 m –-

¿.

( œ) J

. . ( ¿œ) ( ¿œ ) J ( œ) J ( œ) J J

¿. ˘¿ ¿. ˘¿ ¿.

[Bb-2] [horn on table: vault-holes F-2]

–´ ´ & 28 ø –j 68 J ø ˜ ø ˜ ø J J J J J J (close)(open)

‰

¿.

¿–.

‰

j j ¿. Œ . ´ ¿ 2 6 ≤ &8 æ j 8 ‰ ‰ -J– Œ . œ- –-

2 8

´j

& 28

∑

? 28

∑

[upper][lower]

6 8

–

‰

¿.

-–≤

[ext.] (breath in)

‰ ‰ J

∑

[Bb-2] [F-3]

139

pno.

‰

¿. [ext.] ´

& cl.

[extension]

& hn.

¿.

139

‰ ¿.

(breath in)

‰

¿. ( œ)

‰

[F-3]

‰

Œ.

‰

–

‰

¿. J

j ¿. ¿. Œ. j ( Jœ ) ( œ) ( œ)

‰ ¿j [Bb-2] . ¿ ¿

j ¿. ¿

[F-2] [Bb-3]

‰

‰ 58 ‰

poco rit.

Œ.

J J J ﬂ Œ.

‰

–

-–≤ ‰ ‰ J

‰ ‰ j Œ. –-

Œ.

‰

‰ ≈ ¿. ¿. R 11 ø ‰ 4 J J J [Bb-2] ﬂ

∑

¿.

∑

¿. ¿. ( œ) j ≈ J ( œ)

j j

¿. ¿. –´ ¿ ø ˜

[Bb-3][F-3]

‰

t 28

∑

t2 8

∑

6 8

∑

?2 8

∑

6 8

∑

‰

a tempo

11 æ æ æ æ æ æ æ 4 > (smallest and fastest posible trembling movement on the table [upper]

11 4

lifting the piece a tiny bit and putting it down again resulting in a nervous uneven tremolo)

3 4

∑

11 4

∑

11 4

∑

3 4

∑

3 4

85 5 8 5 8

a tempo

∑

11 4 a tempo

∑

poco rit. pc.

‰

a tempo

poco rit. db.

[Bb-2]

a tempo

poco rit. cfg.

´ 5 8 ‰ –j ‰ ‰ ‰

5 8

a tempo

3 4

poco rit.

∑

¿.

∑

[upper]

(breath in)

[mouth piece]

11 4

poco rit.

[upper]

¿.

-–≤ [flute] ´ 5 J j Œ 8 -–

poco rit.

[F-3][Bb-2] ‰ ¿.j ‰ ‰ ¿.j ¿.j ´ ‰ ¿ø. -–˜ Œ . J J [F-2]

–

‰

-–≤ ‰ ‰ ‰ J ‰ ‰

‰ ¿. J

‰

11 4 a tempo

∑ 24

11 4

145

fl.

3 &4 Œ ‰

& 43 ‰ ¿.

& cl.

-–≤

3 &4

3 4

¿.

‰

( œ. )

¿.

[F3]

ø ‰

‰

¿.

‰

( œ)

˘¿

¿.

[F3] [B2]

‰

[upper]

-–

‰

¿.

–

¿.

-–

[mouthpiece]

(breath in)

& hn.

–

‰

¿.

(slide m.p. on table)

¿.

‰

˘¿ ˘¿ ¿.

[B2]

øø

‰

˜˜

‰

¿.

‰ ¿.

¿.

[upper]

‰

–

¿.

–-≤

¿.

(breath in)

-–≤

¿ ‰ œ (.)

‰

–

‰ ‰

( œ. )

¿. ˘¿

[F3]

ø ˜ 3

‰

[upper]

‰

–

-–

‰

(slide on table in direction of the front pos. * see preface)

‰

¿. ¿.

[F3][B2]

[B1]

‰

‰ ‰

‰

Œ ¿.

-–

‰

‰ ¿.

˘¿ ˘¿

(slide on table)

‰

øø ¿.

˜˜

˘¿ ø

‰

¿.

‰ ¿.

‰

˘¿

‰

(press palm hard against the small opening of the bell standing upright on the table, then lift suddently - support bell with other hand)

-O

–

‰

-–≤

‰

( œ. )

¿. ˘¿

[F3]

‰

ø ˜

–

‰

[upper]

-‚

¿ ‰ œ (.)

‚

‰

–

‰

-–

‰

-–

‰

(slide further in the direction of the front pos.)

[upper]

‰ ‰

‰ ‰ 74

¿. ¿.

(blow into the key holes as if playing the pan flute, move the instrument sideward, keep the head still)

2 8

∑

¿. ¿. [F3][B2]

[B1]

‰

(breath in)

[mouthpiece]

(whistle tone on m.p.)

(C pointing to the right)

‰

[B2] [F3]

[B2]

[bell]

[upper]

-–

[extension]

(sim.)

–

‰

(breath in)

[F3]

(close both holes with palm, press hard, lift away suddently)

¿.

‰

¿. æ

¿. 74 øø

[B2]

¿. æ

¿. ˜˜

¿.

øø

¿. æ

¿. ˜˜

¿.

øø

¿. æ

¿. ˜˜

¿. æ

¿.

øø

˜˜

¿.

øø

¿. æ

¿. ˜˜

¿.

øø

¿. æ

¿. ˜˜

¿.

øø

¿. ˜˜

(close and open with palm as fast as possible)

7 4

∑

7 4

2 8

& 43

∑

? 43

∑

cfg.

t 43

∑

db.

t3 4

∑

7 4

∑

2 8

pc.

?3 4

∑

7 4

∑

2 8

145

pno.

¿.

151

fl.

2 &8

6 4

∑

hn.

& 28

¿.

[B2]

46 ø ø

∑

¿. æ

¿. ˜˜

¿.

øø

¿. æ

¿. ˜˜

¿.

øø

¿. æ

¿.

˜˜

øø

¿. æ

¿. ˜˜

¿.

øø

¿. æ

¿. ˜˜

¿.

øø

¿. ˜˜

2 8

& 28

√œ bœ

6 4

∑

? 28 ‰ mœ 46 (fffff)mœ

‰

cfg.

∑

151

pno.

6 4

t 28 ‰

m œ√œ

mœ

(fffff) ˘— ˘ ˘ ˘ ˘˘ 6 t2 8 œ 4

˘¿

-–

¿.

˘¿

3 4

(sim.)

‰ 3

‰

–

-‚

[flute]

‚

-O

(blow into the key holes - like a pan flute, move flute sideward, keep head still)

¿.

‰

¿.

‰

¿.

–

[upper]

-‚

‚

[upper]

‰

-–

(sim. blow into the holes)

-–≤

(breath in)

‰

–

-–

‰

≈‰

-O

‰

≈

‰ Œ

¿. ¿.

¿. ˘¿

[Bb2]

[mouthpiece]

(slide almost to(whistle tone the front pos.) by blowing a

‰

˘¿ ˜ J Œ

‰

≈ ‰

(whistle tone)

[Bb1]

‰

–

‰

[mouthpiece]

[Bb2] [mouthpiece]

43 ø ˜ ‰ ‰ ø ˜ 3

‰

[extension]

‰ ‰

[bell]

∑

–

˘¿ ˘¿ ¿.

2 &8

¿.

& cl.

˘¿

[mouthpiece]

3 4 ø ø

∑ ¿. æ

(close the mouthpiece hole and close the tube hole (audible) by pressing the palm hard against the opening, then lift this hand away suddently (audible))

‰

≈

focused and very soft air stream very close to the sharp edge of the tube)

øø

¿.

˘¿

¿.

‰

–

‰

-– ˘¿ [extension] J Œ ˜ J

øø ¿.

¿.

˘¿

¿.

˘¿ ˘¿ øø

¿.

˘¿ ˘¿ 3

ø ˜ 3

–

‰ ‰

-–

‰

(slide toward front pos.)

–

-O

[F1]

(close both ends hard, open one end suddently)

‰ ‰

‚

(sim. blow into the holes)

‰

–

‰

-–≤

[mouthpiece]

[flute]

‰

[mouthpiece]

˜˜

-‚ J

‰ ‰

[mouthpiece]

[bell]

‰

–

‰

– 3

‰

-–

‰ œ

‰

OOO

[Bb1] [mouthpiece]

‰

˜ø˜

‰ ‰ Œ

‰ ‰

-‚

‚

-–

˘¿ ˘¿ øø

‰ ‰ Œ

∑

3 4

∑

3 4

∑

2 8

15 4

∑

¿. ¿. ¿.

¿.

˘¿ ˘¿ ˘¿

˘¿ 28 ‰ ˜˜ J

[B2]

øø ˜ øø ¿. .

¿.

˘¿ . ø.

˘¿

[bell] 3

¿.

[mouthpiece]

3 (slide TO 3 front pos.)(close the other end in the indicated rythm while making the whistle tone)

[upper] [upper]

‰

¿.

‰

15 4

–

‰

æJ

2 ‰ ‚j 15 8 - 4 [upper]

2 8

‚

15 4

∑

15 4

∑

15 4

∑

15 4

∑

2 8

∑

15 4

∑

2 8

∑

15 4

db.

pc.

?2 8

3 (fffff) O. . .

3 (fffff)

. 6 ( œ. ) . 4 3

‰

158

fl.

15 &4

∑

& hn.

4 & 15

2 4 ‰

–

-–

[F1]

(slide around on table in even circles)

-‚

[flute]

‚

Œ ¿.

‰

¿.

‰ –

≈

-‚

15 &4

‰

OOO

[mouthpiece] [mouthpiece]

˜ø˜

‰

˜ø˜

3 3 (close tube in the indicated rythm while making the whistle tone)

[B2] ["air guiro"]

‰

‚

–

-–

≈

‰

[F2]

‰

OOO

‰

˜ø˜

≈ ‰

‰

–

-‚

[flute]

-‚

–

‰

–

-‚

‚

3 8

‰

‚ ¿.

["air guiro"]["air guiro"][F2]

[mouthpiece]

(move TO (put in the front pos. next to front pos. Bb1 and F1, leaving 6 parallel pipes 3 next to Bb1)in even distance: an "air-guiro", blow on the pipes from right to left)

& cl.

–

‰

‚

‰

(right to left)

‰

(left to right)

–

∑

2 4

∑

4 & 15

∑

? 15 4

∑

cfg.

t 15 4

∑

db.

t 15 4

∑

2 4

∑

3 8

pc.

? 15 4

∑

2 4

∑

3 8

158

pno.

15 4

2 4

[upper]

–-

≈ ‰

‰

[upper]

-‚

‚

3 8

162

–

-O -–≤

–

-–≤

(breath in)

fl.

3 &8

hn.

∑ ¿

2 4 Œ

¿.

[F2+ horn]

–

[F2 key]

& 38 J J J

(attach F2 (push (press on horn) F2 in) F2 key)

42 ‰

press down F0 on horn

-–

‰

∑

& 38

∑

? 38

∑

cfg.

t 38

∑

db.

t3 8

pc.

?3 8

162

pno.

3 8

2 4

–

[F2+ horn]

‰ ‰

¿.

3 4

˘¿ ˜

˘¿ ˘¿

‰

øø

‰

– [F2+ horn]

14 4

¿.

˘¿ ˘¿ ø

–

-–

2 4

∑

–

(push in)

[bell]

‰

14 4

[F2 key]

press down F0 on horn

¿.

˘¿

(pull F2 almost out)

[bell]

3 &8

2 4 – -

–

(slide toward front pos.)

[upper]

3 4 Œ

[mouthpiece]

(breath in)

[Bb2]

& cl.

–

‰

¿.

[mouthpiece]

‰

¿.

–

(pull out)

[F2 key] press down F0 on horn

¿.

–

¿.

–

¿.

–

¿.

–

¿.

–

¿.

(sim.)

¿.

–

¿.

–

¿.

–

¿.

–

¿.

–

¿.

–

¿.

∑

–

(pull out all the way)

–

¿.

‰

[reed attachment]

‰

(slide on table)

14 4

∑

14 4

2 4

∑

2 4

∑

14 4

∑

14 4

∑

14 4

∑

2 4

∑

3 4

∑

14 4

∑

2 4

∑

2 4

∑

3 4

∑

14 4

∑

2 4

∑

167

fl.

¿.

‰

& &

pc.

-‚

¿.

¿. ø

˘¿

˘O

‰

‰ ‰

≈ ‰

-–

[Bb3]

‰

(slide to front pos.)

¿.

–

[mouthpiece] [extension]

3 4 ‰

–

[air-guiro]

‚

‰

–

-‚

‰

‚

(as when blowing into the holes, but starting at the left edge, ending at the right edge of the tube)

2 4

∑

17 4

∑

3 4

∑

17 4

∑

–

-–

[air-guiro]

‚

-‚

[F3]

(slide to front pos.)

(10 pipes wide, right to left)

[upper]

–-

¿.

[upper] [lower]

∑

3 4

∑

167

db.

[bell]

cfg.

‰

3 (detach) (put in the (8 pipes wide, front pos. right to left) . next . to the other ones)

cl.

pno.

–

[F2]

hn.

¿.

-–≤

≈

[mouth (breath in) [mouthpiece] piece]

∑

& &

-O

œ.

–

2 4

–

‰

[lower]

–

E-hole while trilling the key) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (blow softly into the

b‚

(E pointing to the right)

17 4

‚

3 4

∑

17 4

∑

17 4

∑

17 4

∑

3 4

∑

2 4

∑

17 4

∑

3 4

∑

3 4

∑

2 4

∑

17 4

∑

3 4

–

172

fl.

3 &4

hn.

∑ ‰

1 8

–

‚

[air guiro]

& 43 ‰

–

–.

‚

˘‚

≈

‰

–

& cl.

–

‰

-‚

(left to right)

(12 pipes)

–.

(left

right

≈

–

left)

‰

–

–.

‚

3 4

‚

b‚ ﬂ

≈

‰

‚

¿.

ﬂ

1 8

‚

ﬂ

≈

2 4 Œ

–

‰

-‚ J

3 8

¿.

∑

3 8

‰

(right to left)

‰

∑

? 43

∑

cfg.

t 43

∑

db.

t3 4

∑

1 8

pc.

?3 4

∑

1 8

m œ. œ. œ. 3

‰ –

m˘œ pzœ pzO (fffff)3 √˘ ¿ ¿ ( œ)

(fffff) ( p ) ( f ) 3

‰

‚-

–

2 4

–.

–

[lower + upper]

2 4

‚

‰

(left to right)

b‚

‚

ﬂ

∑

3 8

∑

2 4

∑

3 8

∑

2 4

∑

(fffff) ( p ) √mŸ~~~~~~~~ œ ¿ 18 J 38 (fffff)

‚

[flute + extension]

(hold extension next to flute with ~1cm. between)

42 Œ

(hold upper in right hand, C pointing to the right, hold lower in left hand next to upper, E pointing to the left - as if one long tube)

‰

[air guiro]

‚

‰

–

‰

æJ

¤n œ (œf ) 38 81 ≈

& 43

pno.

38 ‰

∑

≈

[air guiro]

[upper]

3 &4

172

∑

[flute]

[air guiro]

≈

3 j 8 ‚

–.

–

≈

‰

≈

‰

‚‚

‚