On And Off And To And Fro

Simon Steen-Andersen On And Off And To And Fro

(2008)

for soprano saxophone, vibraphone, double bass and three players with megaphones (alternative instrumentation with Eb clarinet and cello instead of saxophone and double bass) Dur. 15â&#x20AC;&#x2122;

On And Off And To And Fro was written for IMD, Darmstadt 2008 and is dedicated to the Duffies.

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

Simon Steen-Andersen On And Off And To And Fro

(2008)

for soprano saxophone, vibraphone, double bass and three players with megaphones (alternative instrumentation with Eb clarinet and cello instead of saxophone and double bass) Dur. 15’

PERFORMANCE NOTES Dynamics: Action dynamics are written in parenthesis and are to be performed with the amount of energy normally needed to produce this dynamic –not regarding the actual resulting dynamic or the dynamics of the other players. Resulting dynamics (normal dynamics) are shared dynamics, and instruments with the same dynamics should match and blend. In the beginning of the piece all 3 (ordinary) instruments are playing pppp while amplified by the megaphones. In this case it is the resulting amplified dynamic that should match more or less between the instruments.

vibraphone. It might be necessary to construct a lighter “reibestick”to be able to perform the soft dynamics demanded. Even better if it could be combined with one of the ordinary sticks … Remember that in the beginning of the piece megaphone player 1 is following every key played with the microphone. This might call for some mutual coordination … Megaphones: The lower line of the 3-line system indicates the button on the megaphone (the “trigger”), the middle line indicates the button on the microphone. The upper line and above the system indicates actions with the detached microphone.

The pppp in the beginning should be almost inaudible without amplification – like whispering, actively holding back. Around m. 92 there are fast switching between pppp amplified and mf unamplified – in this case try to make the mf match the amplified pppp.’ Some actions only have one dynamic level (like pulling the weights on the slides or the fog horn on a megaphone) and therefore has no written dynamic. Tempi: There are 3 different tempi in the piece. Tempo 60 (tempo primo), poco piu mosso and poco meno mosso. The poco piu mosso and poco meno mosso are always meant to be relative to tempo 60 (always a bit fast or a bit slower than 60, no matter the context). The piu mosso and meno mosso in the end could be a bit more extreme. Vibraphone: Slides: One slide should be placed at the right end of the vibraphone. The other slide should be placed at the left front of the vibraphone. A weight with a piece of string attached to it should be placed at the bottom of each slide (on something soft to avoid a bumping sound when hitting the ground). Something should be attached to the other end of the string, so that one can easily grab it (also with sticks in the hands) and leave it (without it falling down). The strings should only be so long that they just reach over the tops of theslides. The weights are lifted by pulling a string horizontally above the

When nothing else is indicated point the speaker toward the audience. Be careful to keep the microphone behind the speaker out of feedback areas.Be very careful with the feedback tones produced by moving the microphone to the front of the speaker. Get familiar with the feedback tones alone and with ear plugs. Every micdistance and angle is reacting differently (and produces different tones). Get familiar with the feedback starting points at all the different (approx.) distances (0, 5, 10, 15 cm., with the micfront side or back side pointing into the speaker). When movingthe micin front of the speaker be extremely careful and only advance very slowly. The reactions of the megaphones change a lot in different acoustics, which calls for individual rehearsal time in the concert hall. If the speaker is pointed toward an obstacle feedback may occur much faster. The sensitivity may vary from megaphone to megaphone and it is influenced by battery status. Every player should mark their ownmegaphone clearly, so that each player always plays the same megaphone. The microphones should always be detached and the volume set to 10. Watch out that the on/off button on the micdoesn’t get stock in the “locked”position. Notation: The signs are explained as they appear. There is no program note.

rough staging INSTRUMENTATION

ROUGH STAGING

Vibraphone (with a powerful motor/fan) 2 “slides” standing on the floor, leaning on the vibraphone (see staging) with an angle of about 70 degrees. megaph. 1 position 2 low table

BD s

2 sli de

s. 1

mp.3 pos.3

sc or e

bucket

mp.2 pos.1 (chair)

low s t table and/ card with boar d

p. 1

sli de

tick

sa x

mp.1

scor e

r) ye la

sa xo ph on e

c vibr. s

ore sc db

1 “sticky board”: a board (e.g. plastic or hard and thick cardboard) sized to cover the natural and the sharp keys from G-D in the second octave, with ordinary (not too sticky) tape attached underneath in too lanes (one touching the natural and one touching the sharp keys), in such a way that the sticky sideis out. The upper side of the board should have some kind of handle for easy lifting.

megaph. 3 position 2 low table

le ub do ass b

1 “bend stick”, 1 “reibestick”, “light sticks” (like chop sticks, but with a bit more tone) and ordinary sticks.

megaph. 2 position 2 low table mp.2 pos.3

vib ra ph on e

2 objects/weights with pieces of string attached to them, to be slid up and down the boards by pulling the strings from the position of the player. The objects should have sand paper on the side they slide on. (If the sliding sound is not loud enough, also put sandpaper on the surface of the slide).

ore

mp.3 pos.1 (chair) low s t table and/ card with boar d

1 straw (to stick into the rotating fan). 1 bow.

conductor

Soprano Saxophone (written in transposition) 1 sound insulated bucket, for the saxophone (bell) to play inside. Also the opening of the bucket should be covered, only leaving a small hole or some loose foam. The bucket should be well attached to a low stand to the left of the player, the opening pointing toward the player. 1 big bass drum stick attached to the foot of a stand to right of the player. The soft surface is used to lower the deep Bb ¼ of a tone by putting the bell against it. Double Bass (4 strings, 4th string tuned down at least one octave) A (plastic) microphone is going to be held against the body of the bass and even slid a bit back and forth, so it might be an idea to attach a piece of paper, cloth or something else in this area to protect the instrument. Megaphone 1-3 (megaphones must be “Velleman M25 SFM”) “Foam mutes”: round pieces of ~5 cm. thick foam cut to fit into the speaker (“bell”) of the megaphone. Pillows for all 3 players (or at least 1 and 2, and then player 3 using the pillow of player 2 in the end). A table/stand for each player (position 2) with a large piece of (rough) cardboard on. A low stand/table for player 2 and 3 (position 1) with a piece of cardboard on. An extra music stand for player 1 at the vibraphone. Megaphone 1 is the most difficult part and should preferably be performed by a percussion player

Position 1: in the beginning of the piece the megaphones are amplifying the instruments. Mp.1 stands face to face with the vibr. player on the other side of the vibraphone, mp.2 sits on a chair next to the saxophone, reading the score of the saxophone (if necessary move the bucket away Position 1: and put it back when changing position), mp.3 is seated next to the double bass, reading the score In the beginning of ofthe thedouble piecebass. the megaphones are amplifying the instruments. Mp.1 stands face to

face with the vibr. player on the other side of the vibraphone, mp.2 sits on a chair next to the saxophone, Position 2: The megaphones move to each their low table (standing position). The vibraphone reading the scoreplayer of the (if tonecessary move the bucket away and put it back when changing cansaxophone move the stand middle. position), mp.3 isAll seated next to the double bass, reading the score of the double bass. note stands should be set as low as possible (readable) to make the actions of the players visible to the audience.

Position 2: The megaphones move to each their lowtable (standing position). The vibraphone player can move the stand to middle. All music stands should be set as low as possible (readable) to make theactions of the players visible to the audience.

(gruadually damp key with the hand)

(use fingers for gliss. if too loud with sticks) (never use pedal for the gliss. if not indicated)

vb.

>œ & 38 J Ø

œ mœ

ﬂ

Bœ. nœ. Bbœ. (use "bend stick" to

41 bœ 5

(dotted line means gradual transition)

make the quarter tonal scale)

(gradual transition from pitch to key sound by fading out tone and exagerating keys a bit)

highest tone (on 1st string if non indicated)

db.

38 b¿ >

(the "ornament sign" means use "reibe-stick")

≈

— t 38 J Ø

scales in a different transpotision)

√+ mœ

(l.h. pizz.) (arco)

(l.h. pizz.)

q =60

pushing a bit foward

(pz=pizz. and is only valid for the specific tone(s)) pz

mœ

≈

(dotted line means gradual transition)

> 38 œ J

mœ.

41 œ ﬂ Ø

b¿

œ.

(key sound of fingering the D#, gradual

transition from air sound topitch) > > 6 Ÿ~~~~~~~~~~~~~~~~~~~ o 1 3 3 œmœmœbœ œ b œ œ ( ) œ &8 4 8 m–¿ .. œ œ œ œ œ > (false fingering trill) as normal with the indicated Ø 5 (play (dotted line means gradual transition) key open, resulting in microtonal [l.h. C open]

sx.

(cross means completely dampened; no pitch)

(bow on the body on the treble side)

body and string) – – – m O æ 38 J ¿ ≈ > (tap 4th string)

1 4œ ﬂ

(tilt between

œ.

. . . . . m œ 41

Bœ. nœ. Bbœ.

œm œ

ﬂ

÷ 38 ¬˜ ..

Position 1: seated next to the saxophone player. Hold mic in front of ("inside") the bell of saxophone, supporting with the hand actually holding the edges of the bell. Megaphone in the lap pointing at the audience.

mp.2

÷ 38 ˜ .

Position 1: seated next to the double bass player. Place mic on the front of the body of the bass. Megaphone in the lap pointing at the audience.

mp.3

÷ 38 ˜ .

vb.

sx.

db.

1 &4 œ ﬂ

œ.

> 38 œ J

mœ.

& 41 bœ ﬂ

œ.

. . . . . m œ t1 4

mp.1

÷ 41 ˜

mp.2

÷ 41 ˜

mp.3

÷ 41 ˜

1 4˜

3 . 8˜

41 ˜ 41 ˜

√+ mœ

— 38 J

Bœ nœ Bbœ. ﬂ . .

œmœ

3 . 8˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

(arco)

41 bœ

> 6 > 3 œmœmœbœ œ (œ) ‰ œ 41 nœ 8 œ œ œ œ œ (if you can't bend it > 5 [l.h. C open]

— 3J 8

3 . 8˜

(bend)

all way in this dynamic, just bend as much as pos.)

√+ mœ

. 3

1 4

mœpz

≈

38 b¿ >

≈

> 3 ¿. 8m – . – æ 3J 8¿ >

≈

‰

1 4œ ﬂ

√> bOœ 38 æJ

≈

‰

38 ˜ .

41 ˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

√> bOœ 1 4æ

mœ.

œ.

‰

œ.

≈

œmœ

ﬂ

≤ m ¿ J

41 ¿. ≈ bœ > Ø

38 b¿ >

≈

b¿

. 3

1 4

mœpz

≈

– æ 3J 8¿ >

≈

–

≈

‰

– æ 38 J ¿ >

≈

1 4 –

≈

–

3 . 8˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

38 ˜ .

≈ œ œ mœ ﬂœ Ø

. . . . . mO m O m œ O O œ µœO œ mœO œ 41 > 5 3

38 b¿ >

1 4˜

r4 œ bœ

m–

mœpz

[r.h. F open]

(œ)

41 bœ

Bœ. nœ. Bbœ.

41 œ ≈ ﬂ Ø

> 6 Ÿ~~~~~~~~~~~~~~~~~~~r 3 n>œ 3 œ m œm œ b œ œ ¿ 8 œ 41 bœ (œo) 8 œ J œ œ œ œ > 5 √+ mœ

√+ mœ

[l.h. C open]

— 3J 8

ﬂ

>œ œ œ œ

[l.h. C open]

3 . 8˜

œm œ

> > 6 o 3 œmœmœbœ œ 1 bŸ~~~~~~~~~~~~~~~~~~~ 3 ¿. œ œ ( ) œ 8 4 8m – . œ œ œ œ >œ 5

1 4˜

41 ˜

> 38 œ J

œ.

— 38 J

38 ˜ .

œ.

. . . . . m œ 41

3 . 8˜

1 4œ ﬂ ‰

> 38 œ J

mœ.

41 œ ﬂ Ø

b¿

1 4˜

41 œ ﬂ Ø

b¿

mœpz

≈

[l.h. C open]

1 4˜

38 b¿ >

> > 6 o 3 œ mœmœbœ œ 1 bŸ~~~~~~~~~~~~~~~~~~~ 3 ¿. œ œ ( ) œ 8 4 8m – . œ œ œ œ >œ 5

Position 1: standing on the "wrong side" of the vibraphone, facing the vibr. player. FOLLOW THE PLAYING ON THE VIBR. WITH THE MIC, STAYING JUST A FEW MILLIMETERS AWAY FROM THE KEYS PLAYED. Use left hand for the mic and wear the megaphone on the shoulder (with the strap) poiting backward, using the right hand to point as much toward the audience as possible.

mp.1

41 bœ 5

>œ

≈ mœ Bœ nœ Bbœ. ﬂ . .

1 4

> 41 bœ.

≈

≤ m ¿

>¿ >œmœ – 6 3 mœbœ œ 1 œ 8 4 œ œ œ œ >œ 5

(any fingering)

[l.h. C open]

√ b>Oœ 3æ 8

(noisy)

1 4

mœpz

14 1 4˜

≈

2 4

1 4˜

3 . 8˜

1 4˜

3 . 8˜

1 4˜

3 . 8˜

1 4˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

3 . 8˜

1 4˜

3 . 8˜

1 4˜

3 . 8˜

1 4˜

3 . 8˜

1 4˜

3 . 8˜

1 4˜

2 4

3 . 8˜

OO æJ

2 4

‰

2 4

m> . 2 &4 ¿

(bend)

23 vb.

sx.

≈

‰

> 2 ¿ & 4 m– Ø

≈ œ

mp.1

÷ 42 ˜

mp.2

÷ 42 ˜

mp.3

÷ 42 ˜

(E key)

sx.

3 8 œ b œ œ œ œ œ mœ n œ ≈ bœ > ﬂ Ø n

œ.

√ b>Oœ O ≈ µœO O O æJ O

≈

˜.

38 ˜ .

˜.

Ÿ~~~~~~~~~~~~~~~~~~~ œœ

1 4

>¿ –

O µO O ‰ t 3µ O œO m O O œ O 8œ œ mœO œ œOO ‰ > Ø n

db.

mp.1

÷ 38 ˜ .

˜.

mp.2

÷ 38 ˜ .

mp.3

÷ 38 ˜ .

– æJ ¿ >

≈

‰ ‰

≈

– æ ≈ 41 J ¿ >

≈

œ ﬂ Ø

≈

>≥ 24 m¿

Ø6

˘– 2 b¿ 4

–

41 ˜

42 ˜

[C2 open]

≈ œ

≈

>œmœ mœ

≈ œ [l.h. G open]

bœ œ ‰

2 4˜

˜.

41 ˜

42 ˜

˜.

1 4˜

2 4˜

œœ > >o Oœ

œ.

II > bOœ kkkkkkkkkkkkkk b>Oœ

42 ‰

≈ 38 œ

>œmœ mœ 5

≈ 38 œ

(E key)

≈ bœ Ø 3

mœ

bœ œ 38 œ bœ n œbœ > œ œ bœ œ œ mœ Ø5 n

‰

¿ >

˘ œ œ œœ

[r.h. F open]

√+ mœ 38

mœpz

m¿

≤ m ¿

1 4 OO æJ

Bœ. nœ. Bbœ.

œm œ

ﬂ

>– 2 b¿ ¿ b¿ ¿ >œ œ œ œ nœ 4 ¿¿ œœ > 6 6 Ø

≈

41 ‰

˘ . . . — . mœ. . 2 4

1 4˜

2 4˜

≈

[l.h. G open]

3 œ 8 > œœœ 5

(œ) œ

>o o Oœ mO œ

b>Oœ II

˜.

38 ˜ .

˜.

41 ˜

42 ˜

38 ˜ .

˜.

41 ˜

42 ˜

>œ 3

3 . 8˜

˜.

38 ˜ .

3 . 8˜ 2

mœ ﬂ

m¿

m≤ ¿ n

>≥ 24 m¿

Ø3

m ≈ œ

≈ œ 3

[r.h. F open]

>œ

≈

[C2 open]

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > [C2 open] ¿ œ œ. œ >– – œ – œ 3 1 2 b¿ ¿ b¿ ¿ >œ œ œ œ nœ b œ 4 4 ¿¿ œœ œ œ œ 8 œ bœ œ œ œ œ mœ nœ > bœ > 6 6 5 Ø Ø n n III √ clb – O – O – O 5 3 3 >O kkkkkkk > O O bœ O kkkkkkk b>Oœ kkkkkkkkkkkk b>IIOœ o O O O O kkk 1 2 mOœ 3µ O œ m O O œ æJ æ 8œ 4 4 œ mœO œO µœO O O > Ø 3 n 5

m> . 42 ¿

¿ m– >

≈

√ b>Oœ æ

≈

3 . 8˜

j mœ œ Ø n 3

≈ œ

III

42 ˜

41 ˜

1 4˜

(o)

[C2 open]

m ≈ œ 3

œ ﬂ Ø

2 4˜

III √ clb – O – O – O >O kkkkkkk kkkkkkk b>Oœkkkkkkkkkkkk b>IIOœ O kkk 1 2 4 4

–

≈

>– 2 b¿ ¿ b¿ ¿ >œ œ œ œ n œ. 4 ¿¿ œœ

–

1 4˜

mpzœ

(natural harmonic gliss. while doing arpeggio: III-IV-III-II-I)

‰

b¿

≈

m 14 j b¿

≈

Ÿ~~~~~~~~~~~~~~~~~~~~ ˘ 3 1 b œ b(œo) œ 4 ¿– œ œ

38 ˜ .

>œ ¿

41 b¿ >

[l.h. C open]

˜.

Ÿ~~~~~~~~~~~~~~~~~~~ r bœ (œo) ¿ ‰

3 &8 ‰

ﬂ

Bœ.

≈

3 . 8˜

j mœ œ Ø n

& 38 ‰

32 vb.

œm œ

[r.h. F open]

˘ . . . — . mœ. . 3 8

>O kkkkk kkkkkkkk b>Oœkkkkkkkkkk kkkk ‰ t 42

>œ J Ø

≈ 38 ‰

≈

œ ﬂ

(clb: col legno battuto) III clb (jeté)

db.

≈ œ

3 8

j mœ œ Ø n

≈ 38 œ

[l.h. G open]

3 bœ œ (œ) œ œ œ 8 b œ œ œ n œ œ > œ œ b œ œ œ mœ > Ø5 n 5

>o o Oœ mO œ

[r.h. F open]

œœ

2 4

O O 2 3µ O œO m O 8œ œ mœO œO œ µœO O O O 4 > Ø n 3

1 4˜

2 4˜

˜.

41 ˜

42 ˜

38 ˜ .

˜.

1 4˜

2 4˜

3 . 8˜

2 4

( o)

3 . 8˜

2 4

& 42

41 vb.

m¿

≥ m>¿

≤ m ¿

Ø3

sx.

2 &4

>¿ –

Ø6

¿¿

>œ œ œœ

≈ 38 œ

3 n>œ œœ 8 J

n(œ) œ

≈ œ 3

≈

>kk >II t 2 bOœ kkkkkkkkkkk bOœ 4

b>Oœ

mp.1

÷ 42 ˜ -

‰

mp.2

÷ 42 ˜ -

‰

mp.3

÷ 42 ˜ -

‰

>œ

≈ mœ Bœ ﬂ .

b>Oœ II

≈

24 ≤

breath in, mouth touching the microphone

move mic to the mouth

≈ mœ Bœ ﬂ .

38 œ

œ >

œ œ œ œ > >

3 >œ 8J œ œ œ >

b>Oœ

> m>Oœ µO bOœ

> 3 bOœJ 8

[l.h. C open] 3

m>Oœ µO

≈

–. 2 4˜ (P)

42 ˜

2 bœ nœ & 4 œ bœ œ œ œ > >

db.

‰

˜.

>œ

III

>O kkkkk kkkkkkk b>Oœ kkkkkkkkkk kkkk 2 J J 4 Ø

∑

> 38 bOœJ Ø

‰

≈ mœ Bœ nœ Bbœ. ﬂ . . [l.h. C open] 6

œ œ œ œ œ œ >

≈

>œ J

— J

(I)

> mOœo

>– 1 b¿ ¿ b¿ ¿ >œ œ œ œ 3 n>œ n(œ) œ œ 4 ¿¿ œœ 8 J > œ œ œ >œ bœ œ œ 6 Ø6 >o o Oœ mO œ µœO ﬂ

>O kkkkk kkkkkkk b>Oœkkkkkkkkkkkkkk b>IIOœ k3 J 14 8 III clb

≈

prepare to follow vibr.

1 4˜

3 . 8˜

38 ˜ .

41 ˜

38 ˜ .

41 ˜

[l.h. C open]

œ œ œ œ œ œ >

√+ mœ

µ+œ

>œ J

‰

>œmœ mœ

41 bœ ¿ 5

bœ œ ‰ √œ

‰

≈

œ.

>≥ m 42 ¿

m ≈ œ

Ø3

≈ œ 3

>o o Oœ mO œ µœO ﬂ

38 ˜ .

42 ˜

38 ˜ .

42 ˜

Bœ nœ Bbœ. ﬂ . .

œm œ

≈

1 4

≈

— 3J 8

√+ mœ

3 j 8 -˜

‰

3 8 -˜

‰

-˜ .

‰

j -˜

‰

38 ˜ -

‰

-˜ .

‰

j -˜

‰

41 ˜

38 ˜j -

‰

3 8 -˜

‰

-˜ .

‰

j -˜

‰

1 4˜

3 j 8 -˜

‰

1 4˜

2 4

≈

[l.h. G open]

3 bœ œ bœ œ n>œ n(œ) œ œ œœ J œ œ œ 8> >

n(œ) œ

>kk >II 38 bOœJ kkkkkkkk bOœJ

> mOœo J

> mOœo

III

2 œ 4 > œœœ 5

38 ˜ .

42 bœ ¿ bœ ﬂ

mœpz

[C2 open]

≈ 42

2 4

[l.h. C open]

mœpz

≈ œ

3 . 8˜

≈ œ

>O kkkkk kkkkkkk b>Oœ kkkkkkkkk >IIOœ kkkk 24

> 6 Ÿ~~~~~~~~~~~~~~~~~~~ o 1 bŸ~~~~~~~~~~~~~~~~~~~ 3 œmœmœbœ œ œ œ ¿ ¿ ( ) œ œ 42 bœ 4 8 œ œ œ œ œ mœ œ œ > ﬂ 5 +œ

[l.h. G open]

III clb

≈

m ≈ 38 œ

≈ œ

[C2 open]

[r.h. F open]

> 38 œ J

>– 2 b¿ ¿ b¿ ¿ >œ œ œ œ nœ n(œ) œ œ 4 ¿¿ œœ > œ œ œ >œ bœ œ œ > 6 6 Ø [l.h. G open]

≈

2 4˜

[l.h. C open]

— J

œ. Bbœ.

≈ œ

follow vibr.

Bœ nœ Bbœ. ﬂ . .

bœ œ

≈ 38 œ

3 . 8˜

œmœ

>œmœ mœ

m ≈ œ

[C2 open]

[r.h. F open]

≥ – ˜

Ø3

[l.h. G open]

breath out

>≥ m 41 ¿

∑

3 n>œ 8J Ø

III clb

38 ˜ .

≈

2 œ ¿ ¿ œœœœœ 4 >

÷ 42 ˜

sx.

Ø6

–

42 ˜

mp.3

[C2 open]

˜.

÷ 42 ˜

[C2 open]

>– b¿ ¿ b¿ ¿

– J

38 ˜ .

mp.2

[r.h. F open]

‰

≈ œ

≈

slide down (by moving back to the right)

–.

3 . 8˜

mp.1

m & 42 œ

œ.

m>¿.

‰ ˜.

÷ 42 ˜

≈

3 >o o Oœ mO O œ µœO œ mœO >

III

≈

≤ m ¿ J

œ > œ œ œ >œ bœ œ œ

≈ œ

[l.h. G open]

clb – O – O – O >O kkkkk kkkkkkk b>Oœkkkkkkkkkkkkkk b>IIOœ O k3J t 42 8

vb.

[C2 open]

√

db.

>– b¿ ¿ b¿ ¿

–

m ≈ œ

pull up (by pulling the cord to the left with the right hand) RIGHT HAND WEIGHT

œ.

œ. nœ.

> 38 œ J

mœ.

œ.

. . . mœ. . 5

2 4Œ

-˜

‰

42 Œ

‰

2 4Œ

‰

> 3 œmœmœbœ œ ‰ 8

‰

1 4

‰

1 4

— 3J 8

√œ

‰

3‰ 8

-˜

1 4

-˜

38 ‰

-˜

3‰ 8

-˜

1 4

vb.

& 41 bœ 38 b¿ ≈ b¿ >

mœ 41 œ œ. . ﬂ Ø

> o 3 ¿. 1 bŸ~~~~~~~~~~~~~ œ œ ( ) &4 8m – .

œ 3 1 4 œ œ œ. . 8 ﬂ .

sx.

db.

∑

m 2 r4 œ

∑

> o 1 bŸ~~~~~~~~~~~~~ 3 ¿. œ œ ( ) 4 8m – .

∑

√ pz – – – mœ O m O œ 2 æ ≈ 38 J 41 4 ¿ ≈ >

2 r4 œ

38 œ Bbœ bœ ¿ 43 . . 5

∑

√pz . – – – mœ O . . . . m O œ m œ æ t 41 38 ≈ 38 J 41 ¿ ≈ 5 >

5 m 14 bœ 38 b¿ ≈ b¿ >

[l.h. C open] Ÿ~~~~~~~~~~~~~ 3 o 3 b ¿ 43 œ 8 œ œ œ (œ)

∑

2 4

∑

[l.h. C open]

œŒ œœœœœ > 6

√ mpzœ +

∑

mœ Bœ. nœ. B bœ. Œ ﬂ

∑

√+ pz œ mœ O 38 ≈ 43

∑

mœ

mp.1

÷ 41

∑

3 j 8 -˜

‰

1 4

∑

3 . 8 -˜

1 4

∑

3 8

∑

2 4˜

-˜

3 8

∑

3 4˜

-˜

2 4

mp.2

÷ 41

∑

38 ˜j -

‰

∑

38 ˜ . -

∑

42 ˜

-˜

∑

43 ˜

-˜

mp.3

÷ 41

∑

38 ˜j -

‰

∑

38 ˜ . -

∑

42 ˜

-˜

∑

43 ˜

-˜

& 42

70 vb.

sx.

>œ

‰

> 2 œmœmœbœ œ ‰ &4

db.

t2 4

—

‰

÷ 42 ‰

˜.

mp.2

÷ 42 ‰

mp.3

÷ 42 ‰

70 mp.1

48 –– –– ƒ

∑

5 4

‰

MULTIPHONIC (loud and dense)

∑

5 4

chromatic CLUSTER (gliss. as fast as possible with 2 sticks)

~~~~

whistle tone by blowing a focused air stream very softly on the reed (does not have to 100% stable)

8 –– 4 –– ƒ

ppppp

8 4 –– (Ï)

œ ppppp

O-

pure noise by hard bow pressure on the indicated strings (damp strings with left hand)

∑

move mic to the mouth

-– 8 4˜

blow into the mic at 5 cm. distance

5 4˜

˜.

45 ˜

-˜

˜.

5 4˜

-˜

8 move mic away from bass 4

‰

˙.

2 4

∑

2 4

–- .

& 42 mœ. Bœ. Ø

73 vb.

‰

43 Œ

∑

mœ. Bœ. Ø

nœ. Bbœ.

∑

3 8

∑

sim.

slide down

pull up RIGHT HAND WEIGHT

–

≈

–3

–

∑

[C2 open]

sx.

db.

2 &4

∑

t 42

– æJ ¿ ≈ Ø

‰

÷ 42

∑

mp.2

÷ 42

∑

mp.3

÷ 42

nœ. Bbœ.

bœ. >

3 &4 ‰

n>œ

[l.h. G open]

sx.

db.

t3 Œ 4Œ

(œ) œ

≈

[r.h. F open]

œ > œ œ œ >œ

√pz mœ

‰

≈

‰

– æ ¿ >

≈

‰ ‰

√ bOœ 2 4æ

3 8

∑

mœ. Bœ. Ø œmœ mœ

Ø5 ‰

> bœ œ œ

nœ. B bœ. >– b¿ ¿ b¿ ¿

[C2 open]

[l.h. C open]

≈

> bœ.

≈

– æ 3J 8¿ >

mp.1

∑

2 4

∑

3 8

mp.2

÷ 43

∑

38 ˜j -

mp.3

÷ 43

∑

2 4

∑

3 8 5

≈

–

mœ.

3 8

∑

3 4

∑

3 8

∑

sim. breath in, mouth touching the microphone

≈

–

‰

‰ ∑

mœ.

≥ –

34 3 4

sim.

≈

–

– ˜

≈

42 mœ ﬂ

‰ >œ mœ mœ

‰

–

slide mic back away from your self

˘œ

≈

∑

Bœ.

[l.h. C open]

> bœ œ 42 œ

≈

nœ. Bbœ.

bœ. >

>¿ –

–

≈

√> Oœ ≈ æ

bOO

2 4æ

‰

2 4 -˜

‰

follow vibr.

∑

2 4

place mic on bass again

√pz mœ

38 mœ

‰ >– b¿ ¿ b¿ ¿

[C2 open]

∑

≈

–. 34 ˜

j œ Ø

bœ œ œ mœ ﬂœ Ø n mO

≤3 –

≥ – ˜

breath out

[r.h. F open]

3œ 8 œœœœ‰ >

œ ¿¿ œœœœœ‰ >

[l.h. G open]

√pz mœ

∑

–. 3˜ 4 (P)

∑

≈ 38 ‰

3 4

34 ≤

mic on carboard; start an arms length away and slide the mic all the way toward you (making a straight line between you and the center of the audience)

∑

÷ 43

‰

∑

‰

3 4

2 4Œ

≈

˘œ

√O bœ 38 æJ Ø

∑

& 43 mœ. Bœ. Ø

79 vb.

∑

mp.1

∑

3 bœ 4 œ bœ œ œ œ ‰ Ø

Ø6 O

≈

3 ¿¿ 8‰

n>œ

– æ 3J 8¿ >

‰

m j bœ

≈ ‰

≈

(œ) ‰

>o o Oœ mO œ

3 8

∑

3 j 8 -˜

‰

86 vb.

&œ ≈ ﬂ Ø

j œ

‰

[r.h. F open]

sx.

& œ b œ œ œ œ œ mœ bœ > n

db.

. t mœ

œ mœ mœ

Ø5 ˘—

>œ 3

bœ œ

[l.h. C open]

>œ

√ m+œ

≈

mp.2

÷ ˜ -

mp.3

∑

sx.

˘œ

db.

‰

≈

œ ﬂ F

b¿

–æ

≈

¿ >

–æ Œ

2 4‰

∑

42 -˜

–

œ Ø >– b¿ ¿ b¿ ¿

[C2 open]

Ø6

˘ . . . — mœ. . Ø

– O – O

42 Œ

‰

≈

≤ m ¿

m ¿. ≈ > Ø

∑

‰

≈

>¿ –

œ. œ

≈

‰

m n

&‰

pz m>œ

-˜

∑

&œ Ø

√

‰

93 vb.

‰

≈

>¿

bœ œ bœ œ œ œ mœ > . Ø

>O kkkkkk kkkkkkkkkkk

III clb

‰

-˜

‰

-˜

‰

n>œ

(œ) ‰

m˘œ pz

≈

b>Oœ

III

≈

>œ

˘ œm œ

≈

œ œ œ b>œ.

µœO œO mœO m O œO œO µœO œ > ﬂ Ø n 3

n>œ

F ‰

b¿

œ.

œ ﬂ Ø

‰

bœ œ œ b œ

Œ ≤ II > O bœ ..

Ø3 ˘ bOœ

B BOœ

≈

‰

œ ﬂ

√–

‰

≈

‰

≈

bœ œ bœ œ nœ œœ > >

œ bœ œ œ œ œ œ ﬂ >

≈

>o Oœ

o mOœ

-˜

≈ mœ.

Bœ.

nœ. Bbœ. Ø

bœ ﬂ

≈

bœ

—

√+ m˘œ

mp.2

÷ ˜

-˜

mp.3

÷ ˜

≈

‰

b¿

˘œ

mœ.

œ.

œ ﬂ Ø

≈

>œ

≈ 3

[l.h. C open]

bœ

‰

√ mpzœ

‰

œ˘

‰

mœ

(œ)

>—

III

[l.h. C open]

clb O O >O kkkkkkkkkkk kkkkkk ‰

÷ ˜

œ.

[C2 open]

(œ)

˘œ

mœ.

bœ. Ø

OO æJ

mœ.

≈

¿ >

m¿

> ¿ m–

‰

≈

mp.1

(o)

√> bOœ ≈ æ

‰

≈

bœ

nœ œ >œ

-˜

‰

>œ

[l.h. C open]

œ. >

œ.

≈

∑

≈ bœ ¿ >

œ.

-˜

œ.

b>Oœ

‰

≈

>œ ¿ ¿ œœœœœ ‰ √+ mœ

œ ﬂ Ø

bœ

‰

≈

˘ œm œ

[C2 open]

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ > 2 bœ (œo) ¿ 4 – J

mp.1

œ √ ≈

‰

œ pz

mœ

œ F

mœ

≈

‰

b˘œ mœ œ mœ œ œ Ø 3

–æ

¿ >

≈

–æ Œ

‰ n

b>Oœ

≈

n>œ

‰

œ mœ m œ

(œ)

> F

‰

-˜

‰

bœ œ œ œ œ Ø

b>Oœ

≈

‰ ˜

100 vb.

≈ &œ œ Ø & œ œ œ bœ. > F 3

sx.

db.

t‰

√pz mœ

mœ œ F n ≈

mp.2

mp.3

÷ Œ ÷ Œ

vb.

sx.

db.

–.

≥ –. ÷ ˜

107 mp.1

mp.2

mp.3

>œ 43

œ.

OOæ

œ.

≈

Œ ˜

‰ ˜

‰

≈

m> ¿.

≤ – ˜

≈

‰ ˜

m œ ¿

√ mœpz

‰

‰ ˜.

–

‰

follow vibr.

∑ – ˜

–≈ æ ¿ ≈ > Ø

(nœ)

‰ ‰

‰ –-

‰

√ 5 ˘ bOœ O µœO O O O

‰

‰ ‰ ‰

place mic on bass

Œ Œ

≈ ‰

≈

mœ ﬂ

‰

. mœ. .

≈

œmœmœ

Ø5

˘ . . . —

>œ

≈ ‰

[l.h. G open]

‰ œœ > œœœ

‰

–-æ

‰ ˜

‰

bœ œ

≈

œ œ œ œ œ œ > F

–

–3

–

∑

bend 4th string outside the fingerboard and play so "loud" that it vibrates percussively against the wood

(use as mutch bow as poss.)

m≥3 œ ¿

≤ OO (f)

˜. ˜. ˜. ˜. ˜ ˜

–

≤ OO

–

. . . œ. .

–æ ˜

–æ 7

move mic away from vibr.

‰

m ¿˜

∑

‰

≈

‰

m ¿˜

‰ ‰

(prepare to follow vibr)

–

mœ. Bœ. Ø œm œ m œ

>Okkkkk kkkkkkkkkk b>Oœkkkkkkkkkkkkkkk >IIOœ kk

III clb

∑

≤ –

–

. . . ˘— n

œ.

(œ)bœ œ b œ œ œ œ ¿ ¿ ¿ ¿ ¿ ¿ ‰ > >

– ˜

≥3 –

≤ – ˜ (P)

sim. slide mic toward you and back again on the cardboard

move mic to the cardboard

m ¿

‰

[C2 open]

>œ

–-

≈ ‰

move mic to the mouth

guiro with a nail across the mic

(slide back and forth on the bass as fast as poss.)

RIGHT HAND WEIGHT

[l.h. C open]

[l.h. G open]

‰ ˜

TEMPO PRIMO

≥ –

∑ ≈

> bœ.

‰

[C2 open]

≈

POCO MENO MOSSO

42 ˜æ

≈

mœ œ ﬂ Ø n

>œ ¿

(mouth touching the microphone)

42 ˜

6 >– b ¿ œ ¿ œ ≈ ¿ ¿ ¿ ¿ œ œ œ œ nœ > > 6 Ø

on/off as fast as pos.

≈

˘ bOœ

nOœ

2 4Œ ˜

œ Ø

Ÿ~~~~~~~~~~~~~~~~~~~ > ¿ b¿ ¿ m– Ø n

‰

≤ m ¿

∑

‰

43 ˜

‰

≈

œ > F

> bOœkkkkkkkkkkkkkk 2 b>Oœ 4

slide mic back and forth in smal movements as fast as pos. on the bass

–

∑

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -¿ 2 bœ (œo) 4‰ J Ø F

43 ˜ –-æ

42 Œ

≈ ‰ 3

– O – O – O O

3 4‰

‰

˘ 3œ 4

≥ m>¿ ≈

Bœ. nœ. Bbœ. bœ. >

√ bOO 34 æ

∑

–

mœ ﬂ

b>Oœ æ Ø

œm œ.

÷ –. ÷ ˜

‰

≈

& m t œ. ¿.

‰

≈

÷ ˜

107

100 mp.1

‰

>¿ m– Ø

œ˘

bœ œ

[l.h. C open]

œ ﬂ Oœ

follow vibr.

≈

nœ. Bbœ.

‰

3 4

>o o Oœ mO œ

3 4

34 3 4

3 4

& 43 bœ. Bbœ. œ. Bœ. mœ. nœ

114 vb.

‰

[r.h. F open]

3 & 4 œ bœ œ bœ œ œ 3

sx.

db.

t 43 µ O ≈ ‰ œ ﬂ

mp.2

mp.3

sx.

db.

mp.2

mp.3

>— F

‰

÷ 43 ˜

‰

& 43

‰

—

∑

œ ÷ 43 ˜

‰ ÷ 43 ˜

‰

Ÿ~~~~~~~ œ- œ

‰

>¿ –

42 ‰

2Œ 4˜

‰ Œ

42 ˜

˘O O

OO æJ

¬˜

Œ ˜

‰

mœ

Ø3

≈ ‰

œ 3

m ¿˜

2 4Œ

‰

m ¿-

‰ ˜

>Okkkkk kkkkkkk

III clb

m ¿˜

‰

m ¿-

‰ ˜

m ¿-

Ø m ¿-

2 ‰ 4˜ œ 42 ˜ P

Œ ‰ œ

2 the bass again 4Œ place mic on

(o)

‰

> bOœkkkkkkkkkkkk

‰

¬˜

‰

–˜æ

æ ˜–

≈ ‰

‰

˜ ˜

Œ ˜

œ. œ. œ. œ.

b¿

Ø5

bOœ

æ F

‰

bOœ

æ Ø

–

F m ¿-

‰ ˜ ˜ æ –-

‰

move mic away from vibr.

≈ ‰

˜. ˜. ˜. ˜. ˜

≈

‰ ‰

Œ ˜

‰ ˜

˜. 8

–æ ˜

– n

≈ ‰

. . . – ‰ mœ. . æ ¿ ≈ ‰ 5 >

‰

(o)

m ¿˜

‰

3 4

guiro with a nail across the mic

‰ ‰

œ 42 ˜

m ¿-

mj ¿˜ J F

‰ 42 ˜

m ¿-

‰ ˜

(reibe stick back and forth)

>¿ –

m 2 ¿-˜ 4

feedback tone; slowly turn the speaker toward the mic and back again.

38 ‰ ‰

m¿-

∑

‰

38 ˜ .

m ˘ ≈ œ Ø F Ÿ~~~~~~~~~~~~~~~~~ œœ œ-

mj ¿-

3 ‰˜ . 8

move mic away from the bass

œ >¿

m ¿-

3 4

∑

‰ ˜

∑

. . . — œ. . 38

˜æ

‰

3 œmœmœbœ œ œ 42 b˙ 8 œ> œ œ œ œ 5

¿¿‰

‰ ≈ ‰

‰ ˜

[C2 open]

√˘ bOœ O O O ≈ O œ œ µœO mœO m O œO µOœ O œ O >

b¿ ¿ b¿ ¿

Œ ˜

bœ ¿ ‰ Ø

m -˜¿

follow vibr.

≈ ‰

Œ ˜

>o o Oœ mO œ

‰ ‰

move mic away from the vibr.

>. œ ≈ ‰

œ Ø ‰

˜ ˜

(nœ)bœ œ bœ œ œ œ ¿ ¿ ¿ ¿ ¿ ¿

– æ ¿ >

‰ [l.h. C open]

[C2 open]

III > – O clbOkkkkkk kk kk kk kk k bœOkkkkkkkkkkkkkk‰ O Œ 3

follow vibr. with mic

≈ œ > F

√bOO æ

m 38 -¿ J F

‰

¬˜

m¿

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ n>œ bœ (œo) b-¿

move mic along the sounding keys making an echo of the vibr. gliss. (the high G to the G (sim. from of the vibr. gliss.) high to low)

‰

mœ. Bœ. nœ. Bbœ. b>œ. ≈ ‰ Ø

[C2 open]

≈ ‰

‰

>– b¿ ≈ ‰

– n

√ bOœ æ

∑

PED.

2 4˙

t3 4

m ¿ 3 ÷ 4 -˜

2 4

œ mœ. œ ≈ P

m42 ¿

3 &4 ˙.

œ œœ

Ø5

122 mp.1

nœ

122 vb.

bœ

bœ œ m œ n œm œ n œ

÷ 43 ˜

114 mp.1

‰

œ 42 ‰

‰

æ F >– b¿ ¿b¿ ¿

[C2 open]

Ø6

‰

>œ n >œ ¿ ¿ œœœœœ

n(œ) ‰

‰

– – mO æJ ¿ ≈ >

Œ Œ

put on "foam mute"

nœ F

(œ) ≈

–

‰

mœ ˘œ

≈

‰ ˜

–æ

— F

∑ ˜ Œ ˜

‰

> . œ. œmœmœ bœ œ œ œ. Ø 5

∑ ˜

–æ

‰

‰.

˜.

≈ Œ

‰

vb.

&Œ

‰

m¿ æ F

(back and forth)

Ÿ~~~~~~~~~~~~~~ > o nœ b ¿ œ & œ œ œ œ œ œ (œ) > F [l.h. C open]

sx.

db.

—

‰

mp.1

mp.2

÷ ˜

mp.3

-œ ˜

sx.

db.

mp.2

& 43 ‰

3 &4

m-¿ æ (Ï)

(back and forth)

‰

m ¿˜

Œ ÷ 43 Œ

œ ÷ 43 ˜

3 – ÷ 4 ˜æ

˜ ‰ ‰

Œ Œ

œ -¿ (f) ‰

‰

mœ-

42 ‰

Œ Œ

place mic on bass

¿¿ ¿¿

‰

38 ‰ ‰

∑

2 4

‰

œ3

‰

œ ‰

∑

‰ ‰

- kkkk 2 bOœ kkkkkk œO ‰ 4 Ø

‰ ‰

2 4‰ œ 42 ˜ P

follow vibr.

œO-

œO

‰

2 4˜

˘ bOœ

≤

‰

– P ≤ OO (f)

(move mic to the mouth)

˜. ˜. ˜. ‰

˜. ˜. ˜

‰ ˜

(P)

˜. ˜. ˜. ‰

˜. ˜. ˜ ˜

m≥ œ ¿

42 ˜

move mic to cardboard

‰

j mœ œ Ø F

– ˜.

‰ ‰

2 4

˜. ˜.

move mic along the sounding keys making an echo of the vibr. gliss. (right to left)

‰

43 ˜. ˜. ˜. ‰ 3

3 4˜ P

-¬ ˜ J

(stay on the high F)

¬˜

∑

j – 38 ˜ .

j –

œ. Bbœ. bœ. Bœ. nœ ﬂ Ø

≈ ‰

œ œo œo œo o ˘o œœ 5

≈ ‰

‰

. m>+œ

≈ ˜ ˜ ˜ ˜ . . . .

2 4˜

‰

œ ¿

‰

3 4

≈ ‰

≈

œ + m˘œ

Ÿ~~~~~~~ œ œ œ

‰

˜.

˜. ˜

≈ ‰

®‰

-˜

‰

follow vibr.

‰ ‰

˜æ

˜ ‰ ‰

–

on/off as fast as pos.

3 4

move away from vibr.

sim. feedback tone

Œ Œ

m -¿˜

‰ ‰

43 ˙ .

œ. F

˜.

æ (Ï)

TEMPO PRIMO

≥ – ˜

‰

‰ ˘—

m¿-

(back and forth)

‰

3 Ø

∑

– 24 ˜ .

‰

‚

‰

¿ ¿ ¿

Ÿ~~~~~~ œ œ

3 4

œœ

[r.h. F open]

œœ bœ œbœ

œ œ bœ

∑

–

∑

j mœ. Bœ. nœ ≈ mœ ﬂ

2 4 ≈ ˜. ˜. ˜. ˜

follow vibr.

–

– 2 4˜

√ pz œ +

≤

24 ≤

‰

j –

–

42 OO

‰

≥j –

j – ˜.

‰

2 4

‰

m j œ ¿

≤j – ˜.

‰

‚ J

j OO

‰

≥j –

2 4 Ø

38 ≤

– J

≤ j –

‰

m j œ ¿

j – 3 8 ˜.

‰

– J

‰

‚ J

µœo

3 4Œ

‰

≤ 38 Oj O

‰

–

42 Œ

∑

‰

sim. slide on cardboard

œJ

≥ – ˜

– J

sim. teeth sim. on reed breath in

3≤ 8 j –

∑

√µ˙o . 3 4

‰

≤ –

3 4

feedback tone; slowly turn the speaker toward the mic and back again.

≤ œO

‰

‚

PED.

∑

– 38 J

POCO MENO MOSSO

42 Œ

43 ‰

‰

∑

2 4‰

-j –˜æ J

–

breath in very high and thin (open up a bit (random) tone by putting to let air in at the teeth on the reed the mouth piece)

‰ ‰

38 ˜ .

∑

œØ

mj -¿ F

3 ‰˜ 8

‰

– – – . . . m O œ œ ‰ 42 æ ¿ ≈ ‰ 3 F > Ø

∑

–

RIGHT HAND WEIGHT

œœ œ 3 2 8 œ bœ œ œ œ œmœn œbœ 4 b œ > Ø Ø5 n

+œ

¿ ˜

‰

[r.h. F open]

fingersnapping or tapping on the mic, hitting it with a flat piece of finger nail

–˜ ƒ

>œ ¿

(as "percussive" as possible)

‰

Œ Œ

m ¿˜

m+œ

blow, 5 cm.

–æ

(try to match the dynamic of megaphone 1 (vibr.))

t3 Œ 4

m -˜¿

‰ ˜

‰

–– (Ï)

slap tongue

noise

‰ ‰

˙.

(mic on cardboard)

mp.3

Œ Œ

∑

140 mp.1

>¿

hit strings with l.h. palm

Œ Œ

remove "foam mute"

140 vb.

–– –– ƒ

œœœœ ‰ œ > Ø

‰

38 m-¿

multiphonic

–‰ æ ¿ ≈ ‰ > Ø

‰

feedback gliss.; mic in front of speaker; move from 0 cm. to 15 cm.

130

÷ ‰

—

‰

[l.h. G open]

(œ) ‰

>¿

–– –– ƒ

cluster

~~~~~~

130

3 4Œ

move mic away from the vibr. change the position of the MP feedback; mic backside so that you can freely move the mic in front of the speaker in front of speaker at 0 cm. pointing toward the audience.

3œ 4˜

-˜

Œ ˜ ( o)

–-

æ Ø

≤

–œ (breath in through the instrument)

√o œ

≤

2 4

–-

‰

2 4

Œ ˜

2 4

‰

43 ˜

–æ ˜

‰

3 –æ 4˜ ( o)

–æ ˜

˜. ˜. ˜. 42 3

‰

2 4

& 42 ˙

148 vb.

sx.

db.

mp.2

(√) ˙

÷ 42 ˜ .

˜.

38 ˜ -

˜. ˜. ˜ ˜ 3

œ ÷ 42 ˜

BOW

156 vb.

sx.

db.

&œ

mp.2

mp.3

P œ

÷ ˜

˜. ˜. ˜. ˜.

>œ

˜.

42 ˜-

P ˜

mic to cardboard

∑

9 16 ‰ .

9 16

-œ

mic to cardboard

∑ ∑

˜.

˙ ˙

. 9 ‰ 16 ‰ . P

–

≤

‰

breath in sim.

– P

‰

–

‚

‰

6 16

sim. teeth on reed

‰

6 16

‰. ‰.

–

≤

–

‰

≤ OO ‰ (f)

≤ 6 16 OO ‰

≤ – ‰ ˜. J (P)

≥ – ‰ ˜. J

– 6 ˜. ‰ 16 J

. 9 ‰ 16 ‰ .

– ‰ ˜. J

– ‰ ˜. J – ‰ ˜. J

˜.

m≥ œ ‰ ¿

– ‰ ˜. J

˜.

slide mic sideward on (right to left) (left to right) the cardboard

9 16

˜.

6 16≤

– ‰ 6 ˜ 16 J. – 6 ˜. ‰ 16 J

–

‚

‰

m≥

œ ‰ ¿

≥ – ‰ ˜ J. – ‰ ˜ J. – ‰ ˜ J.

œo

9 16

–

≤

–

‰

–

≤

–

‰

≤ 9 16 OO ‰

≤ OO ‰

‰.

– 9 ˜. ‰ 16 J

≤ – ‰ ˜ J.

‰. ˜. J

9 16≤

(stay on the cardboard)

– ‰ 9 16 J˜.

2 4

–

≤

–

≈

–

‚

m≥

≤ 2 4 OO ≈ œ ¿

24 ≤

≥ – ≈ – 2 4˜

move mic away from the sax bell

sim.

43 Œ

n teeth on reed (different tone)

Œ Œ

– ≈ – 24 ˜

– ‰ ˜ J.

‰. ˜. J

– 2 ≈ – 4˜

Œ Œ

3 4Œ √o µœ 3 4 π

‚

2 4

‚

try to copy the last mic position

3 4˜ P 43 Œ

feedback; mic frontside, 10 cm.

feedback; mic frontside in front of speaker at 0 cm.

3 œ 4˜

2 4

P ‚

3 4

œ 42

2œ 4 P

>œ

34 TEMPO PRIMO 42

feedback; mic backside in front of speaker at 0 cm.

∑

BOW

‰. ˜. J

feedback; mic backside, 10 cm.

– ‰ ˜ J.

(stay on the cardboard)

– 9 ˜. ‰ 16 J

˜æ

Œ ˜

–æ

‰.

˜ ‰ ˜

∑

POCO MENO MOSSO

(try to remember mic to the mic position) mouth

9 ‰. 16

(keep bow on the string)

˜-

˜ P

feedback; mic front side, 5 cm.

≈

˜-

≈

˜-

√µœo

Ÿ~~~~~~~~ œ (œo) œ

RIGHT HAND WEIGHT

‰

P Œ

œ 42 ˜

≈

(√) œ t Ø

B˙

156 mp.1

2œ 4

> ˙ P

b˙

feedback; mic backside, 5 cm.

38 œ˜ . .

√ µ˙o

3 œ. 8

∑

Ÿ~~~~~~~ o œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ (œ)

sim. feedback tone

mp.3

38 Ø

∑

3 bœ 2 bœ 8 œ œ œ œ œ œ œ œ œ œbœ œ 4 œ œ œ œ bœ œ œ ≈ bœ œ.

œ ÷ 42 P

148 mp.1

œ œ m œ œ µœ

bœ

∑

[C2 open]

[l.h. C open]

∑ [l.h. G open]

2 &4

t 42

(let ring from here) BOW

˜ P

˙.

˙. n

‚

3 4

∑

feedback; mic backside, 15 cm.

2 4

∑

3 œ 4

2 4

œ 43 P

3 œ 4

2 4

feedback; mic frontside, 5 cm.

vb.

sx.

db.

2 &4

mp.1

mp.2

mp.3

sx.

db.

mp.2

mp.3

œ put the mic on a pillow (mic front side up) on the stand or on the floor

÷ 42

∑

œ ÷ 42

& 42

–

2 ≤ &4 – P ≤ t2 4 OO (f)

3 4

∑ ‚

3 4

∑

÷ 42 ÷ 42

∑

43 ˜

œ 43 P

–

‚

m≥ œ ¿

–. > 43 ‚–‚ ...

‰ ‰

3 ≤ 4 –.

‰

≤ 3 4 OO ..

‰

–

Œ ˜

∑ ∑

–. 3˜ 4 43 3 4

‰

∑ ∑

– ¿–¿

P ‚

m≥ œ ¿ ≥ – ˜

≈‰

54 5 4

∑

slowly move closer, trying to keep a steady tone (making a small glissando)

24POCO MENO43MOSSO ≤ ≤ ≥

– ÷ 42 ˜

4 4

go to the 2nd possition

feedback tone by slowly turning the megaphone toward the mic, approx. 15-20 cm. away.

go to the 2nd possition and put on the "foam mute"

∑

7 4

∑

5 cm.

cover the mic with the speaker of the megaphone pressed hard against the pillow

74 ƒ π sub.

∑

3 8

∑ œ

STICKY BOARD

∑

3 8

∑

RIGHT HAND WEIGHT

∑

7 4

∑

5 4

∑

4 4

∑

‚

∑

÷ 42 P

178 mp.1

‚

178 vb.

‚

t 42

168

∑

prepare sticky board (place silently on the keys)

-œ

– ¿–¿

‰ ‰

j –≈– ‰ 38 >‚–‚ ≈ –¿¿ ≈ ‰

‰ ≈‰

PED. (lift the board, (put it down) use pedal for the duration) (teeth on reed)

≤

‚

∑

2 4

∑

≤ m≥ 24 O ‰ œ ‰ O (f) ¿

– P

‰

24 ≤

‰

43 –– –– ƒ

(leave board on keys)

‚ ≤ 3 ≈J 8 –

frame

cluster

3 –– 4 –– ƒ

multi

‰

slap tongue

m+œ

+œ

(bend)

+ œ

—

2 4

≤ m 38 O ≈ O œ ‰ ¿

hit strings with l.h. palm

¿¿ ¿¿

43 –– (Ï) noise

38 ≤

¿¿ ¿¿

POCO MENO MOSSO POCO PIU MOSSO

∑

-œ

keep exact possition

38 ‰

-œ 38 ˜ J

‰

≥ – ˜

– 2 ˜ ‰ 4 (P)

mic to mouth

feedback gliss.; (with "foam mute") mic frontside in front feed; 0-15 cm. of the speaker., move from 0-15 cm.

∑

– > 42 ‚–‚

~~~~~

& 42

168

‰

≥j –≈– ‰ 3 ˜. 8

‰

∑

– 3 -˜ 4 ƒ

blow, 5 cm.

∑

43 Œ

fingersnap mic

¿ ˜

‰

∑ Œ

2 4

‰

-œ ˜

feed; 0-15

∑

4 4

∑

3 8

∑

3 4

∑

3 8

∑

5 4

∑

3 4

∑

3 8

4 4

∑

3 8

∑

3 4

∑

3 8

∑

5 4

∑

3 4

∑

3 8

44 TEMPO PRIMO

4 4

put on the "foam mute"

44 ˜ 4 4

∑

˜ ∑

∑ -œ ˜

Œ -œ ˜

sim., 0-15 cm.

feedback gliss.; mic frontside in front of the speaker., move from 0-15 cm.

-œ ˜

-œ ˜ J

(with "foam mute") feed; 0-15 cm.

3‰ 8 38

0-15 -œ cm. 3˜ ‰ 8J

‰

3 4Œ œ

43 ˜

∑ -œ ˜ J

15-0 cm.

3 4Œ 11

Œ -œ ˜

‰

-œ ˜

sim., 0-15 cm.

Œ -œ ˜

0-15

‰

-œ ˜

-œ

Œ ‰

-œ ˜

15-0

Œ ˜

‰

-œ ˜

3‰ 8

-œ ˜ J

Œ 0-15

‰

15-0 3 œ˜ ‰ 8J

‰

5 4

45 ˜

∑ -œ ˜ J

5 4

POCO PIU MOSSO

∑ œ

∑

quickly move 5 or 10 cm. away from pillow

-œ

3 4‰ 43 Ï

-œ ˜

0-15

-œ ˜

15-0

3 8

move the mic to the mouth and point the speaker toward the audience

0-15 -œ 3˜ ‰ 4

‰

∑

-œ ˜

15-0

‰

-œ ˜

15-0

‰

3 8

j ≈ – – > ¿– 2 ‚– ≈ ¿ ≈ 4‚

188 vb.

BOARD

sx.

db.

3≤ &8 – P

≤ ≈ j –

≤ m≥ t 38 O O œ œ. (f) ¿ ¿.

mp.3

∑

≤ ≥ – – –. ÷ 38 ˜ . (P) ÷ 38

– 203 >‚ & –‚

STICKY BOARD

≤

sx.

db.

≤ t OO (f)

∑

≤j ≥ ≈ – –. ˜.

‚ ≈ J

≈ OO ..

m ≈ œj ¿

–.

– ¿–¿

– >‚ –‚

‚3

≤

– P

– ¿–¿ ‚

– m≥3

≤ OO

œ ¿

≤ ≈ –. ˜.

∑

RIGHT HAND WEIGHT

vb.

≤

≈

≤ m ≈ OOj œ . ¿.

(breath in and out, mic touching the mouth)

mp.2

‚.

38 POCO MENO MOSSO

÷ 38

188 mp.1

‚ ‚.

– >‚ –‚

– ¿–¿

‚

≤

œ ¿

≤

–.

– m

–. >‚ . –‚ ..

œ ¿

OO ..

mp.1

–≤

sim.

mp.2

mp.3

÷ ÷

∑

∑ (P)

≥3 –

–≤

∑

≥ –

≤ –3

≈ ≈

≈

– ¿–¿ ‚

m ≈œ ¿

∑

–≤ .

≈ ∑

≥–

– ¿–¿

‰

–

‰

3 4

≈Œ

œ. ¿.

≥ ≤ ≈– – ˜

‰ ˜

≥ -– .

3 4Œ

∑

3 8

∑

2 4

∑

3 8

∑

2 4

∑

3 4

∑

3 8

∑

2 4

∑

3‰ 8

(with "foam mute")

-œ ˜ J

15-0

∑

(with "foam mute")

∑

4 4

∑

4 4

‰ Œ

∑

15-0 38 œ˜ ‰ J

42 Œ

0-15

-œ ˜ J

15-0

-œ . ‰ ˜.

4Ó 4

-œ 3˜ 8

-œ ˜

‰

-œ ˜

SIREN

Ur ‚

3 –– 4 –– ƒ

3 4 –– (Ï)

Ur œ

wait for M2's siren and then break off immediately

‚

¿ ¿ ¿

m+œ

‚

-‚

point speaker toward the audience

43 Œ

(turn off)

3 4Œ

∑ 12

+œ

¿¿ ¿¿

—II

œo

‰

¿ ¿ ¿ ˜ ‰ ƒ 3

feed; 0-15

-œ ˜

0-5

∑

4 4

∑

4 4

∑

‰

-œ ˜

0-5

‚‰

4Ó 4

-œ ˜

... 5-15 3 ˜ ‰ 4

5-15

43 43 ‰

‰

-œ ˜

15-0

‰

-œ ˜

5-15

‰

3 œ˜ .. 8

≈ ‰

∑

-œ ˜

‰

-œ ˜

2 œ˜ 4

∑ -œ . ≈ ˜.

38 ‰

∑

(move mic to mouth)

-œ ˜

42 Œ

∑

2 4

∑

2 4

place megaphone on the stand/table, SIREN/FOG button pointing up, speaker pointing toward the audience, operate button with one hand, support the megaphone with the other use band aid on switching fingers to avoid burns/blisters ... (upper line): SIREN (middle line): OFF

MEGAPHONE 1 CADENZA

reomove "foam mute"

∑

-œ ˜

5-15

∑

put speaker against the the stand/table (without the pillow) (off)

-œ ˜

0-5

FOG

∑ Œ

4 œ˜ 4

fingersnap mic

bœ

+œ

hit strings with l.h. palm

¿¿ ¿¿

-œ ˜

slap tongue

-œ ˜

0-5

∑

blow, 5 cm.

frame

-œ ˜

∑

-œ 24 ˜

noise

∑ ‚

‰

-– 3˜ 4 ƒ

‰

∑

multi

∑

-œ ˜

2 4‰

cluster

∑

43 –– –– ƒ

∑

‰

-œ 38 ˜

WAIT FOR THE SIREN AND THEN GO ON

put speaker against the pillow on the stand/table

44 Œ

‰

∑

-œ ˜

∑

4 œ˜ 4

-œ ˜

∑

∑ 5-15

‰

38 (bring the pillow) ∑

∑

0-15 -œ 2˜ 4

go to the 2nd possition

34TEMPO PRIMO44 43

38POCO PIU42MOSSO

∑

‚.

‰

15-0 3 œ˜ .. 4

∑ ≥ –

m ≈ œ OO ¿

≤ – 42 ˜

POCO MENO MOSSO 203

42 OO

∑

‰

≤

≈

2 4

≥j ≈ –

‚

– >‚ –‚

2 ≤ 4 –

∑

≈– ¿– ≈¿

~~~~~

j – – . ≈ – –. ≈ –. > >‚ . > ‚–‚ ¿–¿ –‚ .. & 38 ‚–‚ ¿–¿ ‰ ‰ ≈ ‰ J STICKY P

RIGHT HAND WEIGHT

‚

Ur œ

wait for M2's siren and then break off immediately

‚

(lower line): FOG

‚ ∑

‚

(no conduction)

Ur ‚

wait for M1's siren and then break off immediately

2 4

∑

2 4

put on "foam mute"

wait for the siren to start before counting the time...

(change the button 213 possition as fast as possible)

mp.1

÷ 42 ‚

U‚

‚

2 U‚

1 U‚

(sim.)

38 ‚ .

‚

1 81 161 32 1 U‚

‚

1 U‚

1 .. ‚ 32

U‚

44POCO PIU MOSSO

REPEAT 7-10 TIMES

‚ .. 44 ‚

‚

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚

‚

"groovy"

÷ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 42 ‚

(as fast as possible)

226 mp.1

mp.2

∑

mp.3

∑

2 4

& 42 –– –– ƒ

vb.

cluster

~~~~

234

2 –– & 4 –– ƒ

multi

sx.

t 42 – – (Ï) noise

db.

¿ ¿ ¿ ¿

frame

slap tongue

m+œ +œ +œ +œ

mp.2

mp.3

bœ-

m≥ j œ ¿

œ-o

‰ >‚ –‚

‰ ¿–¿.

(signal rythm to the conductor)

‚

¿ ¿ ¿ ¿ ˜ Œ ∑ ∑

‰ œ

feed; 0-15

m -¿˜ J ƒ

guiro

fingersnap mic

‰

‚-

FOG

‰

∑

RIGHT HAND WEIGHT

– >‚ –‚

– – ≈ – ¿–¿ ≈ >‚–‚ ≈ ¿–¿.

– >‚ –‚

– ¿–¿.

∑

4 4

∑

2 4

∑

(with "foam mute")

43 ‰

-œ ˜

-œ 3 ˜ 4

‰

feed; 0-15

(with "foam mute")

∑

feedback gliss.; mic frontside in front of the speaker., move from 0-15 cm.

∑

3 8

∑

(mic to mouth)

‰

-œ ˜

‰

-œ ˜

‰

-œ ˜

∑

– >‚ –‚

– ¿–¿

‰

-œ 3˜ 8J

– ¿–¿.

– >‚ –‚

2 4

∑

-œ ˜ J

– ¿–¿.

0-15

15-0

˜ J

‰

2 4

– ≈ – >‚ ¿ –‚ ≈ –¿ ≈ ‰

STICKY BOARD

– P3

38 ‰

– >‚ –‚

≤

-œ ˜

0-15

(conduction)

2‚ ‚ ‚ ‚ ‚ ‚ 3 ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 4‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 4 ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 4 ‚ ‚ ‚ ‚ ‚ ‚ 4

‚

≤

–

≤

–

≤ m≥3 ≤ m OO œ OO œ (f) ¿ ¿

≈

‚

m ≈ OO œ ¿

‚

≤

– m

œ ¿

POCO MENO MOSSO

234 -– ÷ 42 ˜ ƒ

÷ 42

j æ¿

all keys

—II ¿¿ ¿¿ ¿¿ ¿¿ J ¿¿ ¿¿ ¿¿ ¿¿

÷ 42

œ J

j ¿

hit strings with palm

blow, 5 cm.

mp.1

œ J

(guiro on) tubes

wait for the normal siren sound and then switch back and forth as fast as possible

≤ ≥3 ≤ ≥ – – – – ˜ ˜ (P) (mic touching mouth)

∑ ∑

≤ ≥ – ≈ – ˜

≤3 –

≥ –

3 8

2 4

∑

3 8

∑

3 8

∑

38 ‰

∑

3 œ˜ 8J

15-0

2 4

∑ -œ ˜ J

5-15

‰

‰ -œ ˜ J

15-0

15-0 24 œ˜

0-15

2 4˜

∑ ‰ ‰

3 8

∑ -œ ˜ -œ ˜

5-15

‰ ‰

-œ ˜

15-0

-œ ˜

5-15

0-15

15-0

‰ ‰

-œ ˜

15-0

-œ ˜

5-15

38 ˜ J

0-15

3˜ 8J

15-0

2 8

∑ ‰ ‰

œ0

˜ J

28 ˜ J

œ5

2˜ 8J

˜ J

3 4

∑

POCO PIU MOSSO

2 8

∑

3 4

∑

3 8

∑

3 8

∑

˜ J

43 ˜

œ0

˜ J

3 4˜

œ3

˜ ˜

0-15 -œ . 38 ˜ . 15-0 3 œ˜ .. 8

∑

≤

– P

‚

≤

–

≤

–

2 4

‚

≤

–

≈

‚

≤ m≥ ≤ m3 O œ OO œ OO ¿ (f) ¿

m 24 œ ¿

m OO ≈ œ ¿

≤ ≥ ≤ ≥3 ≤ – – – – – ˜. (P)

– 2 ˜ 4

≤ ≥ – ≈ – ˜

24 ≥

POCO MENO MOSSO

(mic to mouth)

∑

2 4

∑

247 vb.

sx.

db.

∑

3 4

∑

POCO PIU MOSSO

247 mp.1

mp.2

÷ ˜

œ 5

mp.3

3 4

∑

÷ ˜

43 ˜

œ 43 ˜

¿¿¿¿¿

sx.

&‰

–– –– ƒ

~~~~~

vb.

cluster

&‰

–– ––

multi

slap tongue 5

m+œ +œ +œ +œ +œ

db.

t‰

¿¿ ¿¿

–– (Ï)

œ J œ J

œ.

-0-15 œ 54 ˜

– >‚ –‚

‚–‚

all keys

bœ- .

¿ æ

o œ- .

m œ ¿

≈ ≈

‚

—

-– ÷ ˜ ƒ

mp.1

mp.2

mp.3

÷ ÷

∑

Œ fingersnap mic

¿¿¿¿¿ ˜ ƒ 5

∑

∑ œ

feed; 0-15 FOG

˜ J

‚- .

guiro with a nail across the mic

‰

–

P ‚

– >‚ –‚ ≤

– ¿–¿ ‚

–

– >‚ –‚ ≤

–

– ¿–¿ ‚

– – – >‚ 3 ¿. >‚ –‚ 4 –¿ –‚

≤ 3 4 –

‚

≤

–

– ¿–¿. ‚

(P)

≤

–

m 3m ≤ m≥ ≤ m m 3 œ O œ O œ O 4 œ OO œ OO ¿ ¿ ¿ ¿ ¿

‰

∑

≤3 ≥ ≤ – – – – – – – – – – – – 3 ˜ ˜ ˜ 4˜

try to match the last pos. and slowly move a bit to find a good differential tone if none is already there

∑ ∑

–

-– ˜

6 4 ppppp

‚

∑ ∑

4 4

– ˜

4 4

∑

44 ˜

∑

44 œ˜

5-10

15-9

keep the possition and hold the breath

6 4˜

-œ ˜

3œ 4˜

-œ ˜

6 4

(freeze)

5 4

∑

slower and slower ...

– 34 ¿–¿ ≈ ‰ P ‚

(teeth on reed)

3 4

˜ ˜

œ 45 ˜

–. > 38 ‚–‚ .. .

‚

≥ 3m 4 ˙. ¿. (f)

≥ – 3˜ 4 (P)

∑

3 4

remove "foam mute"

– ˜

˜ ˜

–. ¿–¿

38 ≤

‰

‚.

∑

3 8

–. >‚ . –‚ ..

–. ¿–¿ ‚.

≤

‚

≤

–

‰

(remember pos.)

œ 42 ˜

(remember pos.)

–. >‚ . –‚ ..

–. ¿–¿ ‚.

≤

–.

‰

– >‚ –‚

‚–‚

2 ≤ 4 –

–

≤ OO ..

m≥ œ. ¿.

≤ 2 4 OO

≥ –.

≤ –. ˜.

≥ –.

≤ –. ˜.

≥ –.

≤ – 2 4˜

– ˜

–. ˜.

–.

–. ˜.

–.

– 24 ˜

∑

≤

42 ˜

m≥ œ. ¿.

∑

‚

≥3 ≤ ≥ ≤ ≥ ≤ – – – – – – – 2 ˜ 4˜ (P)

≤ OO ..

–.

≤

–

m≥ œ. ¿.

mic on cardboard (left) (right)

–. 38 ˜ .

–.

–. 3 ˜. 8

∑

3≤ 8 –. ≤ 3 . 8 OO .

– ˜

around 9 cm. - search a bit for a good differential tone with M2 and freeze

around 10 cm. - search a bit for a good differential tone with M3 and freeze

24 ≤

∑

45 ˜

– – – – ≈ >‚ ¿ >‚ ¿ –‚ –¿ –‚ –¿ ≈

≤ m≥3 ≤ m≥ ≤ m≥ ≤ 42 OO œ OO œ O œ O (f) ¿ ¿ ¿

∑

– ¿–¿.

2 ≤ 4 – P3

∑

– > 42 ‚–‚

∑

5 4

∑

44TEMPO PRIMO

∑ O

∑

64 POCO MENO MOSSO

‚

6 4 w. ppppp

43 ˜

m 42 ˙ ¿

(freeze)

≥ – 2 ˜ 4

whistle tone by blowing softly on the reed (does not have to 100% stable)

(mic to mouth, speaker toward audience)

(tilt the speaker a bit to match the ff of the others if needed) guiro

m-¿ ˜

≤

– ¿–¿

34 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥

(covered feed) cover mic on table with the speaker

– >‚ –‚

m≥ ≤ œ O ¿

POCO PIU MOSSO 256 blow, 5 cm.

2 4

–.

≤ –. ˜.

‚

– 42 ¿–¿ ≈ ‰

≤

j ≥ – – 3 ˜. 8 (P)

teeth on reed

‚

≤ OO ..

≈ ‰

–. >‚ . –‚ ..

m≥ œ ¿

38 ≤

∑

15-0

bend

∑

38 O≤j O (f)

54 œ˜

tubes

— ¿¿ ¿¿ ¿¿ ¿¿ J ¿¿ ¿¿ ¿¿ ¿¿

hit strings with palm noise

frame

256

∑

3≤ 8 j – P

– ¿–¿

POCO MENO MOSSO

5 4

∑

5 4

∑

j – 38 >‚–‚ J

∑

2 4

∑

5 4

54 5 4 45 5 4

vb.

sx.

5 &4

db.

t 45

mp.1

mp.2

÷ 45

mp.3

÷ 45

2 4

∑

(freeze)

(freeze and hold breath)

(freeze)

‚

– >‚ –‚

‚

≤

≥ – 2˜ 4 (P)

∑

– 42 ˜

∑

– ¿–¿ ≈ ‰

‚

≤

‰

–

≤ m≥ ≤ m≥ OO œ OO œ ¿ ¿

∑

– – ¿–¿ ≈ >‚–‚

–

m≥ 42 ˙ ¿ (f)

∑

(freeze)

÷ 45

267

∑

(freeze)

≤ – ˜

– ˜

≥ –

– ˜

≤ – ˜

–

cluster

–– –– ƒ

≥ –

– ˜

‰

–– ––

multi

sx.

®– ®‰ 280 > 5 & 8 ®‚–‚ ®‰

5 &8

≤

≈ ‰

– ≤

db.

t 5 ® ®‰ 8 OO

mp.2

mp.3

‚

– ‰ ¿–¿ ‰

Œ.

2 8

Œ.

m≥ 2≈ 8 œ ‰ ¿

≈ ‰

28 ≥

– ≈ ‰ ÷ 85 ˜ ≈ ‰

Œ. Œ.

– 2˜ ≈ ‰ 8 ≈ ‰

®– ®‰ ÷ 85 ˜ ® ®‰

Œ. Œ.

≈ – ‰ 28 ˜ ‰ ≈

Œ. Œ.

2 –˜ ≈ ‰ 8 ≈ ‰

280 mp.1

58 ≤

Œ. Œ.

≈ 28 ≈

– ≈ ‰ ÷ 85 ˜ ≈ ‰

∑

–

¿ ¿ ¿ ¿ ¿

38 j –– –– ƒ

cluster

3 –j 8– (Ï)

¿¿ ¿¿

-– 3˜ 8J ƒ

¿¿ ¿¿

38 3 8

‰ ‰

‰

¿¿ ¿¿

‰

-– ˜ ƒ

all keys

bœ- .

¿¿ ¿¿

¿ æ

—II o ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ J œ- . ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿

2 4

¿ ¿ ¿ ¿ ¿ ˜ 42 ƒ

m -¿˜ ‰

¿¿¿¿¿¿ ˜ ƒ

guiro

∑

˜ J

"clear throat" (2-3 cm. from mic)

‚- .

FOG

‰

–

– – 5 ˜. 8 (P)

all keys

¿ æ

3 4‰

m -¿ 43 ˜ 3 4Œ

– 58 ˜ . –

m¿. m¿. m¿. . œ 3

‚

blow on reed 3

–. —I

–.

noise

–. –.

‚ J

3≤ 8 j –

– > 42 ‚–‚

2 4

‰

‰ ‰

≤

‰

–

– –

bœ.

œ.

mœ. . œ œ. ˘œ

. œ

–

‰

≤

–

≤j m≥ OO œj ‰ ¿

≤ 42 OO

m≥ ‰ œ ‰ ¿

≤ OO

– ˜

j j – – ‰ 3 ˜. 8

– 2 ˜ 4

‰

≥ – ˜

‰

≤ – ˜

– 42 ˜

‰

– ˜

‰

– ˜

– 24 ˜

‰

– ˜

‰

– ˜

‰

– ˜

‰

– ˜

‰

j j – – ‰ 38 ˜ . j – –j ‰ 38 ˜ .

∑

‰ 34 ‰ ≤

∑

3 4

˘ ˘o mœ ˘ œ 3 œo 8

∑

3 4‰

– P

III

‚

– >‚ –‚

3 8

bœ.

– ‰ ¿–¿ ≈ ‰

m≥ œ ‰ ¿

mic on cardboard

–. –. –. ‰ – ˜ 85 ˜ . 3

∑

guiro

∑

≤

‚

j j – – ‰ 38 >‚–‚ ¿–¿ ≈ ‰ J

58POCO MENO MOSSO 38 24 ≤ ≥ ≤ ≥ ≤ ≥ ≤

‚- .

3m 4œ ¿

∑

‚

mic on cardboard

3 4

o œ- .

m≥ ≤ –. –. –. 5 ‰ 8 œ OO (f) ¿ 3

teeth on reed

bœ- .

‰ – – ‰ ¿–¿ ≈ >‚–‚ –¿¿ ≈ ‰

noise

feed; 0-15 FOG

‰

fingersnap mic

cover mic on table with the speaker

2 4 ˜J

5≤ 8 –. –. –. – P

blow on reed

cover mic on table with the speaker

œ.

feed; 0-15

‚

—I

m œ ¿

∑

Œ ˜

œ 42 J

—II 2J 4

(covered feed)

fingersnap mic

∑

m+œ +œ +œ +œ +œ œ+

blow, 5 cm.

38POCO PIU MOSSO 24 blow, 5 cm.

‰ > 85 ‚–‚

teeth on reed

bend

hit strings with palm

noise

bend

slap tongue

–– (Ï)

–

œ 5 2J m+œ +œ +œ +œ +œ 4

3 –––– 8J ƒ

œ J

œ.

tubes

slap tongue

multi

œ J

m¿. m¿. m¿.

frame

POCO PIU MOSSO

–

– ˜

frame

~~~~~

vb.

(freeze)

– ˜

tubes

hit strings with palm 6 noise

mic on cardboard (still with "foam mute")

¿¿¿¿¿¿

frame

~~~~

& 45

267

– 42 ¿–¿ ≈ ‰

34 ≤

– ≈ Œ >‚ –‚ ≈ Œ

‰ ‰

‰

sim. "clear throat"

–. ˜

–.

3 8 38

œ.

. . . ˜ ˜ ˜ ˜ 38

feed; 0-15 (stacc. not too short)

∑

‰

m≥ ‰ œ ¿

‰ ‰

‰ ‰ ‰ ‰

Œ Œ

∑

– 3˜ ≈ ‰ 4 ≈ ‰

mic to cardboard

‰

ppppp

– P

≈‰

≤ OO ≈ ‰ (f)

‚

2 4

≈‰

5 8

m≥ 24 ≈ ‰ œ ¿

– 2˜ ≈‰ 4 ≈‰

Œ Œ

3 4˜

Œ Œ

‰ ‰

– ˜

∑

Œ Œ

–≈‰ ˜ ≈‰

Œ Œ

–≈‰ 42 ˜ ≈ ‰

Œ Œ

‰ ‰

– ˜

∑

Œ Œ

–≈‰ 42 ˜ ≈‰

Œ Œ

2 4˙ ppppp

– ≈ Œ ˜ ≈ Œ

≤

≤ –≈‰ ˜ ≈‰

Œ Œ

(mouth touching mic, hold breath)

3 4

Œ Œ

≥ – ˜

≤ OO ≈ Œ (f)

Œ Œ

–≈‰ 42 ¿–¿ ≈ ‰

Œ Œ

2 4 ppppp

Œ Œ

∑ (whistle tone)

–≈‰ >‚ –‚ ≈ ‰

Œ Œ

43 . ˙ ppppp

(P) – ≈ ‰ 3 4˜ ≈ ‰ ‰

‚

≈ ‰

∑

mic to cardboard

– ¿–¿ ≈ 43

‰

POCO MENO MOSSO (covered feed)

‰ ‰

∑

‰ Œ

‚ P ‰

2 4˜

∑

2 4

∑

≈ – Œ ¿–¿ ≈ ‰

≈ ‰

m≥ ≈ œ Œ ¿ (f)

‰

Œ Œ

≈ – Œ ˜ ≈ Œ

– ≈ ‰ ˜ ≈ ‰

Œ Œ

≤

– P

≈ ‰

≤ – ≈ ‰ ˜ ≈ ‰ (P) ∑

Œ Œ

58 5 8

∑

≥ (P) – ≈ ‰ ˜ ≈ ‰ ‰

–≈‰ ˜ ≈‰

24 ≥

– ≈ ‰ ˜ ≈ ‰

3 8

38 3 8 38 3 8

~~~~

vb.

cluster

œ 5 2 J m+œ +œ +œ +œ +œ 4

3 –– & 8 ––J ƒ

t 38 –j – (Ï)

mp.1

mp.2

mp.3

vb.

¿¿ ¿¿

blow, 5 cm.

‰ ÷ 38 ‰

‰

2 4

‰

¿ ¿ ¿ ¿ ¿ ˜ 42 ƒ

3J &8 — t3 J 8 I

m¿.

blow on reed 3

–.

noise

–.

(covered feed)

÷ 38 ˜ J

299 mp.1

mp.2

mp.3

‰ ÷ 38 ˜ J ÷ 38

o œ- .

m œ ¿

∑

‰

m -¿˜

–.

–. ˜

∑

∑ œ

feed; 0-15

–.

m¿.

œ.

‚

–. —I

–.

noise

–. –.

–.

˘œ

–.

bœ.

2 4

24 42

. œ

bœ.

œ mœ œmœœmœ œ

– ≈ ‰ Œ >‚ ‰ –‚ ≈ Œ

‰

˘ ˘o mœ ˘ — œ œo

(very highest)

—— R

≤ OO ≈ ‰ (f)

‰

–. ˜

bœ.

–.

∑

. . . feed;- 15-0 œ ˜ ˜ ˜ ˜ ˜

. œ

‰

38 ‰

‚–‚ J

¿–¿ ≈ P

– –

‰

III ˘ I ˘o mœ ˘ — œ œo

—— R

‰

∑ ∑

feed; 0-15 œ. . . . feed; - 15-0 2 ˜ ˜ ˜ ˜ œ˜ ‰ 4

Œ œ

(teeth on reed)

3 8

∑

2 4Œ

m≥ 3 2 ∑ 8 4œ ¿ ( f ) TEMPO PRIMO

3 8 38 3 8

∑

∑ ∑

2Œ 4Œ

‰

mic on cardboard

(P) Œ 43 Œ

∑

– –

‰

O-

mic on cardboard

– 43 ˜

Œ m≥ œ ¿ (f)

‰ ‰

‰

‰ ‰

Œ Œ

‰

j –– –– ƒ

cluster

œ.

≤

–

≤ –

–

≤

– P

42 Œ

Œ Œ

– 2 ˜ 4

Œ Œ

Œ 42 Œ

24 ≤

m¿.

–– –– J ƒ

multi

Œ ≤ OO (f)

‰

j –– (Ï) noise

all keys

bœ- .

¿ æ

o œ- .

m œ ¿

œ.

blow on reed 3

–. — I

–.

noise

–. –.

–.

‰

–.

bœ.

œ.

-– 2˜ 8J ƒ

blow, 5 cm.

‰ ‰

bœ.

œ mœ œmœ œmœ œ

‰

-˜

– ˜

-– ˜

‰

m -¿˜

guiro

∑ ‰

III ˘ I ˘o mœ ˘ — œ œo

‚- .

FOG

—— R

‰

‰ ˜

∑

"clear throat"

–. ˜

∑

–.

∑ œ.

. . . feed; - 15-0 ‰ ˜ ˜ ˜ ˜ œ˜

feed; 0-15

œ.

j æ¿

3 8

mj œ ¿

bend

2 4

—II

all keys

bœ- .

o œ- . 42

2 4

‰

∑

cover mic on table with the speaker

Œ 42 Œ œ

feed; 0-15

FOG 42 ‚- .

˜ J

43 ‰

m -˜¿

>‚ –‚

‚–‚ ¿–¿ P

‰

– –

3 4Œ

‰

Œ œ

3Œ 4Œ

Œ Œ

43 Œ

‰

mic on cardboard

3Œ 4Œ

mic on cardboard

Œ Œ

m≥ œ ¿ (f)

– ˜

3 8

guiro

‰ ‰

(covered feed)

‰

∑

j ¿

tubes

(teeth on reed)

POCO PIU MOSSO blow, 5 cm.

28 Œ

28 ‰

. œ

28POCO PIU MOSSO 24

Œ Œ

mœ. . œ œ. ˘œ

28 – – (Ï)

noise

Œ Œ

‰ ‰

‚

2 –––– 8 ƒ

multi

– ˜

m¿.

28 –– –– ƒ

‰

‰ ‰

– 24 ˜

‰

cluster

≤ OO (f)

teeth on reed

ppppp

œ ppppp

2 4

Œ Œ

tubes

– –

42 Œ

Œ Œ – ˜

‰ ‰

≈ ¿–¿ Œ

(whistle tone)

Œ – ˜

– 3˜ 4

Œ Œ

‰

≥ – ˜ (P)

2Œ 4Œ – 24 ˜

mic on cardboard

‰

– ≈ ‰ ˜ ≈ ‰

mic on cardboard

œ.

‰

43 Œ

∑

feed; 0-15

∑

‚- .

œ.

–.

‚

3 POCO MENO MOSSO4 ≥

∑

"clear throat"

3 4

∑

‰

–

43 Œ

(high) I

III

˘œ

gliss. on the white keys

œ.

mœ. . œ œ.

blow on reed

FOG

mœ. . œ mœ œmœ œmœ œ œ œ. 2 ‰ 4 bœ.

2 4

‰

"clear throat"

‰

cover mic on table with the speaker

guiro

œ.

m¿.

(covered feed)

42 ˜J

∑

299 œ & 38 J

¿ æ

÷ 38

‚

db.

bœ- .

fingersnap mic

teeth on reed

sx.

all keys

—II 5 ¿¿ ¿¿ ¿¿ 2 J ¿¿ ¿¿ ¿¿ 4

38POCO PIU MOSSO 24

-– ÷ 38 ˜ J ƒ

290

¿¿ ¿¿

m¿.

teeth on reed

hit strings with palm

noise

db.

œ.

bend

slap tongue

multi

sx.

œ 42 J

~~~~~

& 38 ––j –– ƒ

290

tubes

~~~~~

¿ ¿ ¿ ¿ ¿

frame

≤

–.

≥ ≤ – –. ˜ (P) Œ – –. ˜

38 38

œ.

~~~~~

vb.

‚

m¿.

– 38 J

‰

>‚– ‚

¿–¿ P

– J

tubes

42 ––j –– ƒ

cluster

œ.

–– & ––J ƒ

sx.

all keys

bœ- . o œ- .

t –j – (Ï) noise

db.

-– ÷ ˜

308 mp.1

mp.2

mp.3

blow, 5 cm.

& 85

vb.

sx.

db.

5 &8

mp.1

mp.2

mp.3

‰

m -¿˜

Œ Œ

silently put sticky board aside

œ. ƒ

tubes

j ¿ j æ ¿

÷ 85 Œ . Œ. ÷ 85 Œ. FOG ÷ 85 ‚ . -

m j œ ¿

J —I J

(covered feed)

‰

mj -¿˜ J ƒ

guiro

˜ J ‰ ‰

–.

–. 42 ˜

2 4

–.

Œ Œ

3 8 j œj 3œ 8J

FOG

‚

j ¿ j æ ¿ m j œ ¿

‚

38 ‰

m-¿ ˜ J

‚

3 j 8‚

‰

‚

—I J

‰

2 4

bœ-

o 2 œ4

¿ æ m œ ¿

2 4Œ

‰

42 Œ

m-¿ ˜

‰

2 4 ‚-

˜ J

-– 2˜ 4 ƒ

‚

—I

m œ ¿

‰

–.

noise

m -¿˜

"clear throat"

‰

–. ˜

–.

j ¿ j æ ¿ m j œ ¿

3‰ 8

‰

38 ‰

m-¿ ˜ J ‰

œ J ‚

—I J

˜ J

2 8

œ ¿

‚

¿ æ

—I

2m 8œ ¿

‰

m28 ¿˜

‰

2 8 17

æ ¿ m œ ¿

2‰ 8

∑

æ ¿ m œ ¿

∑

‰

m-¿ ˜ ‰

2 8

28 ≥

m-¿ ˜

guiro

≤

‚

¿ æ

—I

m œ ¿

m-¿ ˜ ∑

2 4

–

2 æ 4 ¿ m

2 4œ ¿

2 4Œ

‰

m24 ¿˜ 2 4

–– ––

—I

noise

––

–-

blow, 5 cm.

∑

–.

‰ ‰

‚

multi

–. noise

3 8˜ J

∑

–– ––

—I 38 J

mj œ ¿

FOG 42 ‚- .

cluster

blow on reed

3J 8

(covered feed)

Œ 42 Œ

–

m¿.

‚

j æ¿

bœ- . ƒ

2 4

∑

m¿.

> 81 ‚–‚ J

teeth on reed all keys

≤ –

j ¿

œ. ƒ

m¿.

œ 38 J

tubes

o œ- . 42 ƒ

∑

– 2˜ 8 (P)

‰ ‰

‚

∑

28 –˜

mic on cardboard

3 j 8 ‚-

–.

∑

‚- .

o 3 œ8J

–.

FOG

3 8 j bœ-

–.

‰

38 j œ

–.

(covered feed)

42 Œ

‚

blow on reed

–.

guiro

42 ‰

¿ æ

o œ- .

blow, 5 cm.

œ œ

bœ- .

∑

all keys

j 42 –– (Ï)

– ˜ J

‰

–– –– J ƒ

multi

noise

∑

– 38 ˜ J

œ J

m≥j œ ¿

‰

(covered feed)

‰

‚

‰

3‰ 8

FOG

38 O≤j O (f)

mic on cardboard

-œ ˜

mœœ

2 4Œ

2 4‚

–.

∑

3 8

feed; 15-0

Âœ

—— R

—I

∑

bend by putting the bell on the bass drum stick (don't close completely)

2 œo 4

‰

2 4

38 j œ

bœ

3 8

42 ‰

œ mœ œmœ œmœ œ

–.

42 Œ

teeth on reed all keys

bœ- .

‚

–.

"clear throat"

œ J

–.

2 4

‰

–.

–. 42

guiro

noise

‚

‰

‚- .

o t 5 œ- . 8

317

m œ ¿

FOG

317

—I

m¿.

teeth on reed blow on reed

2 4

(covered feed)

Œ ÷ Œ

÷ ‰

¿ æ

m¿. 3

teeth on reed multi

m¿.

m -¿˜

guiro

‰

‰ 38 ˜ .

–.

3 j 8 æ ¿ m 3 j 8œ ¿

3 8

m38 ¿˜ J 3‰ 8

j –– ––

j bœ

m+œ

+œ

œo J

j ––

¿¿ ¿¿

‰ j ‚

FOG

–J

‚

‰ blow, 5 cm.

+œ ¿¿ ¿¿

‰ ¿

fingersnap mic

J —I J

1 8

∑

5 8

∑

1 8

∑

j ¿ j æ ¿ m j œ ¿

˜ J ¿ ∑

‰

58 5 8

œ J mœ œmœ œmœ œ 7

j œ

j bœ

—— Ro

— J

‰

œ J

–– –– J

∑

–.

∑

frame

j œ

–.

‰

38 j ¿

‰

"clear throat"

~~~~~

308 cluster

m¿.

~~~~~

& ––j –– ƒ

~~~~~

tubes

œ J

‰

2 4

24 2 4

∑ m-¿ ˜ J

‰

FOG

j ‚

2 4

feed; 15-0

˜ J

sx.

2 &4

–– ––

blow on reed 3

–. –. –.

t 42 –. –. –. – –

3 4 mœ œ œ œ œ +++++ ¿ ¿ ¿ ¿ 43 ¿¿ ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ ¿ 5

"clear throat" (2-3 cm. from mic)

– – – Œ ÷ 42 ˜. . . Œ

329 mp.1

mp.2

mp.3

sx.

-–

& 38

3 &8

˘œ ƒ ˘‚

˘—

t3 8

place sticky board silently

≈ ‰

œœ

π √

mœ œmœ

5 4

b˘œ F

≈ ‰

œ.

. . . ˜ ˜ ˜ ˜ Œ

≤ µœo

III

o œ

–– œ–

–. –. –. Œ ˜ Œ

Œ Œ

FOG

œ.

(covered feed)

mp.1

÷ 38 ˜ .

mp.2

÷ 38

mp.3

÷ 38

5 4Œ

‰

∑

5 4Œ

remove "foam mute"

breath in and out, lips touching the mic

O-

-–≤ ˜ (p)

≥-– ˜

‰

œœ

π √

mœ œmœ

b˘œ F

≈ ‰

π œ

œ.

mœ. . . œ . œ. 2 . 4

˘œ .

–– œ– P III

(completely covered)

Œ Œ

–. –. –. –. –. –.

noise

–– œ-–

–. –. –. 3

∑

O-

≥–˜

-–≤ ˜

‰

Œ Œ

–-

mœœ

b bœœ

mœ.

œ.

˘œ

œœ

œ.

˘ œo

mœ œmœ

b˘œ F

b bœœ ≈ ‰

–– œ– P ≤ µœo

‰

ƒ ‚

–. –. –. —I

˜ ≈ ˜ ≈ ˜ ≈ ˜ ≈ ‰

–

–– œ-–

O-

≤–˜

≥-– ˜

‰

˘œ .

œœ ..

œ. .

bœ. .

III m˘œ .

˘o œ.

˘ œo .

3 8

ƒ ‚

j –.

—I

38 œ

∑

3 8˜

∑

38 ‰

‰ bœœ

–

‰

œœ

π √

mœ œmœ

b˘œ F

–

Œ Œ

–

(r.h.)

b bœœ ≈ ‰

o o µœo oœoœoœœ oœ œ

˜ ≈ ≈ ˜ ‰

feed; 0-15

l.h. weight (releasing)

–– œ– P ≤ µœo

III

‰ mœœ

(l.h.)

–

–– œ–

–– œ-–

µœo mœo œon œo o + œœo o o œo . m œœ II

O-

≥–˜

-–≤ ˜

‰

Œ Œ

‰

œ.

‰

˘o œ

∑

(l.h.)

–

b˘œ p

–

(r.h.)

b bœœ. ≈ ‰ ≈ ‰

Œ –≤

on the bridge

˜ ≈ ‰

‰ mœœ.

‰

III m˘œ

‰

œo ﬂ

≈ ‰

œœ -

‰

–– œ-– p

‰

√

mœo œo œo œo o œmœo o œŒ ≈ II

O-

≤-– ˜

≥-– ˜

‰

–

(r.h.)

œœ

mœ œmœ

Ø 6

7:6

‰

˜ ≈ ‰

–

3 8

38 ˜ ≈ ‰

(l.h.)

‰

3 8

(π)

bœ.

‰

≥-– ˜

œœ

œ.

∑

‰

4 4

π √ o o µœo oœoœoœœ œoœ

˘œ

mœ.

‰

‰ bœœ

œœ

feed; 0-15

–

‰

b bœœ

44 ˜ ≈ ‰

(r.h.)

mœœ

∑

mœ œmœ

bœœ

–. J

–. ˜ J

‰

7:6

‰

4 4

"clear throat"

˙˙

≤ –˜

(covered feed)

œ 43 ˜ ≈ ≈ ˜ ‰

r.h. weight

œ. .

˙˙

–– œ–

mœ. .

–. –. –. ˜ 3

‰ mœœ

b bœœ ..

m¿. J

frame

"clear throat"

feed; 0-15

l.h. weight (pulling)

3 4

mœœ ..

3 4

7:6

‰

–. –. –.

noise

bœœ .. F

blow on reed

Œ Œ

≥–˜

µœo mœo œon œo o + œœo o o œo . mœœ

III

frame

(covered feed)

∑

–

m¿. m¿. m¿.

bœ.

III m˘œ

˘o œ

r.h. weight

o o µœo oœoœoœœ oœ œ

µœo mœo œon œo o + œœo o o œo . mœ œ

œœ

π √

42 ‰

Œ bœœ

‰

42 ––

bœœ

"clear throat"

˙˙

–– œ–

2 –– 4 ––

2 4

take the weight strings in the hands, so that they are just tight at the position for playing the first chords - shift positions so that the weights move as notated - but as natural as possible, as if it was the movements needed anyway to get from position to position.

mœœ

42 –– ––

blow, 5 cm.

∑

mj 38 -¿˜ .

7:6

‰

3 8

feed; 0-15

-–≤ ˜

∑

(covered feed)

blow on reed

38 mj œ ¿

(covered feed)

œ 42 ˜ ® ˜ ® ˜ ® ˜ ®‰

3 j 8 æ ¿

III —I ˘ ˘o mœ . ˘ œ. œo .

38 j ¿

bœ. .

‰

m¿. m¿. m¿.

frame

ƒ ‚

‰

feed; 0-15

≤ µœo

œ.

b bœœ

o o µœo oœoœoœœ oœ œ

whistle tone(s) by blowing a focused air stream extremely soft, touching the mic with the lips

∑

‰

bœœ

7:6

-–

‚

bœ .

2 4Œ

blow, 5 cm.

‰

œ.

TEMPO PRIMO

339

–. –. –. – –

sim. "clear throat"

µœo mœo œo n œo o + œœo o o œo . mœœ

54 POCO MENO MOSSO

—II

noise

‰

–– œ-–

–– ––

–. –. –.

˙˙

quartertonal multiphonic with a B fundamental

–– œ– P

bœ-

m-¿ ˜

feed; 0-15

b bœœ

≈ ‰

mœœ

œ ¿

43 Œ

bœœ

o o µœo oœoœoœœ oœ œ 5

db.

III ˘ —I ˘o mœ ˘ œ o œ

æ ¿

–– ––

blow on reed

bœ.

≈ ‰ –¿¿ ‰

˘œ

‚

¿ ¿ ¿ ¿ ¿ Œ 43

‰

motor on as fast as poss.

mœ. . œ œ.

. œ

fingersnap mic

feed; 0-15

‰

¿¿ ¿¿

bœ.

frame

(covered feed)

3 4Œ

blow, 5 cm.

÷ 42 Œ

339 vb.

÷ 42 Œ

—II

noise

db.

œ.

m¿. m¿. m¿.

already now, start to use the movements similar to m. 342 performing the 4 chords yet natural looking...

~~~~~

vb.

~~~~~

& 42

329

¿ ¿ ¿ ¿ ¿ œ.

~~~~~

m¿. m¿. m¿.

frame

Œ Œ

vb.

(l.h.)

‰ 345 bœ œ &

–

(r.h.)

–

‰ b bœœ ≈ ‰ . ∏

–

≈ ‰

œœ p-

(l.h.)

‰ mœœ.

‰ bœœ.

–

(r.h.)

‰

(l.h.)

–

‰ ø.

(r.h.)

≈ ‰ b bøø ≈ ‰ .

hit the keys with the stick it self (not with the head)

(l.h.)

–

≈ ‰

(l.h.)

‰ frame ¿ –

–

(r.h.)

œœ ≈ ‰ π.

π ‚

‰

(r.h.)

–

‰ ø.

≈ ‰ b bøø ≈ ‰ .

teeth on reed

sx.

db.

&Œ

≥ o o œoœoµœo œoœœ

–≤

bridge

‰

–– œ-– p

≥ o o œoœo µœo –≤ œoœœ

‰

bridge

mœo œoœoœo o œmœo ‰ II

‰

–– ≈ Œ œ-– π

≥–

‰

–

≈ ‰

≤

≥ o o œoœo µœo œoœœ

bridge

≤ mœo œoœoœo o œmœo Œ

‰

OO≤

‰

– IV III

(l.h.)

–

≈ ‰

≤ mœo œoœoœo o œmœo Œ

‰

m≥ œ -¿

‰

(l.h.)

‰ frame ¿ –

(r.h.)

‰

–

‰ ø.

≈ ‰ b bøø ≈ ‰ . ‚

≥ o o œoœo µœo œoœœ

‰

(r.h.)

–

≈ ‰

–

≈ ‰

≤ mœo œoœoœo o œmœo Œ 6

‰

(r.h.)

–

‚

‰

grab board

≈ ‰ b bøø ≈ ‰ .

‰

m≥ œ -¿

‰

(l.h.)

‰ frame ¿ –

(r.h.)

–

IV III

‰

≤

‰ OO≤

(l.h.)

almost close bell against bass drum stick

Âœ≥ o o œoœoµœo œoœœ 6

‰

IV III

‰

OO≤

(l.h.)

–

(r.h.)

–

> –‚‚ –¿¿ ≈ ‰ ø

≈ ‰ ≤

‰

œœ

mœ œmœ

≤ mœo œoœoœo o œmœo Œ

m≥ œ -¿

mp.1

mp.2

mp.3

÷ Œ

÷ Œ -–≤ ÷ ˜

‰

(l.h.)

–

& 44 ‰

351 vb.

sx.

db.

4 &4

Âœ

t4 4 π

‰

mp.3

≥–˜

-–≤ ˜

(r.h.)

–

bœ-

‰

grab board

into the bucket

‰

(l.h.)

–

OO≤

‰

≈ ‰

‰

÷ 44 Œ

≥-– 4 ÷ 4˜

‰

–˜ Œ

-– ˜

‰

–¿¿ ‰

œ π

≈ ‰

≤ mœo œo œo œo o œmœo Œ

‰ ≤-– ˜

‰

straw on fan

æ µ¿

‰

(l.h.)

–

Œ Œ

≤–˜

≥– ˜

(r.h.)

–

‚

œ bœ- .

‰

IV III

≥ o o œo œo µœo O≤ O œo œ œ 6

-– ˜

≥-– ˜ J

(l.h.)

–

–¿¿

–‚‚ Œ

œ (f)

‰

-O

(r.h.)

straw on fan

– ø

œ π

‰

≤-– ˜

‰

œ m≥ œ -¿

æ ¿

≈ ‰

–

(r.h.)

3 4

≥-– ˜

‰

(l.h.)

–

bœ

OO≤ 3J 4

– 3˜ 4

‰

– 34 ˜

‰

3 4‰

-– ≤-– ˜

‰

–

mic on cardboard

into the bucket

IV III

‰

–-

mic on cardboard

‰

Œ -– ˜

∑

≈ ‰

–-≤ ˜

-–

–-

>‚ –‚

¿–¿

out of the bucket

œ (f)

œ π

≈ ‰

II (left ≥ o o œo œo µœo ≤o oœ œ œ mœ œo œo œo o hand) œmœo j I

–

(r.h.)

– ˜

–

– ˜

≥-– ˜

≤-– ˜

lift mic 10 cm.

œ m≥ œ -¿

put mic back down

–. ≈ –. ≈ – ˜

lift mic 10 cm.

put mic back down

-¿ æJ

‰

j œ

≥-– ˜

3 8

–

(r.h.)

2 4

j -˜æ

3‰ 8 38

‰

3 8 19

‰

bœ

– 2˜ 4

∑

– 24 ˜

∑

2 4‰

Œ ≤-– ˜

‰

–

(l.h.)

(r.h.)

–

I ≥ o o œo œoµœo oœ œ œ ≥

µ-¿

–

85 æ

j -œ

≥-– ˜

‰

-¿ æJ

-–

‰

–-

≤-– ˜

≤ mœo œo œo œo o œmœo

œ π

≈ ‰

‰

-–

–

– ˜

– ≤-– ˜

5 8‰ 85 Œ 5 8

‰

Âœ bœ . œ

3 4

≤ OO–O OO –

æ -˜

‰ –æ˜

‰

mic on cardboard, small movements back and forth as fast as pos.

‰

∑

‰

mic to cardboard

3 4

(body, bass side)

-– 2˜ 4

‰

42 ‰

-– ˜

2 4‰

-– ˜

3 4‰

-– 34 ˜ mic to mouth

≤-– 3˜ 4

∑

–-

(l.h.)

‚–‚ ...

¿–¿ J

2 4

≥–˜ (π)

2 4

‰

2 4

≈ ‰

(mic to mouth)

Œ Œ

œ ﬂ (Ï) ˘—

4 4

-O

43 ‰

∑

O 34 π

into the bucket

2 4Œ

∑

4 4

sim. whistle tone

(body, treble side)

5 8

∑

3 4

(r.h.)

2 4Œ

Œ.

3 4

– ˜

‰

5 8

–

≥-– ˜

‰

straw on fan

(l.h.)

‰

-–

out of the bucket

œ f

-–

into the bucket

OO≤ 2J 4

∑

‰

IV III

–. ≈ –. ≈ – ˜ Œ

‰

straw on fan

3 8 j Âœ

-–

µ-¿ 38 æ J

‰

mic on cardboard

-–

(toward your self)

(toward audience)

˜ ≈

BD stick

≤ mœo œo œo œo o œmœo ‰

-– ˜

‰

out of the bucket

Œ -– ˜

‰

into the bucket

Âœ

‰

–‚‚ . ‰ ≈ bbøø

‰ -– ˜ J

move to the right to the BD stick

Œ ‰

–

m≥ j œ -¿

≥-– ˜

(r.h.)

44 POCO PIU MOSSO

-– ÷ 44 ˜

‰

out of the bucket

œ (f)

O-

–‚‚ ≈ ø

(move bell in the direction IV of the arrow) III II

mic on cardboard

mp.2

move bell to the front of the insolated bucket (to the left)

‚

b bøø. ≈ ‰

≥ o o œo œo µœo œo œ œ

351 mp.1

‰

µ¿ æ

put sticks away and TAKE STRAW

43 ˙ppppp

‰

TEMPO PRIMO 345

b>˙˙

straw on fan (in the tube next to F)

‰

–

‰

(slowly out of the bucket)

covered feed, speaker standing on cardboard

-œ ˜

& 42

359 vb.

–-

µ¿

–-

µ¿

‰

∑

into bucket

sx.

db.

2 &4

t 42

∑

æ -˜

‰

mic on cardboard, speaker toward audience

mp.2

mp.3

÷ 42 Œ

‰

–æ˜

‰ ≥–-æ ≤ ˜

∑

¿ æ

straw on fan

vb.

æ -˜

–æ˜

∑

(mic to cardboard)

‰

-– ˜

¿ æ

‰

¿ æ

45 ≈‰ Œ

>IIO

‰

-– ˜

‰

m OO œ -¿ (f)

µ¿ 64 @

Âœ

‰

∑

¿ @

‰

-– ˜

∑

¿ @

bœ π

∑

-– ˜

set motor to half speed

≥O O

pull straw out on the beat

¿.

≈ ‰ œ ( ﬂÏ )

Âœ bœ . œ π

hyperventilation/ rapid panting

÷ 42

370 µ ¿ & 48 æ

∑

÷ 42 Œ

359 mp.1

∑

(out of bucket)

¿ @

¿.

74 ≈‰ Œ

–-

‰

– ˜

-– ˜

set motor to min speed

‚–‚

¿–¿ ≈ π

42 æ

‰

∑

3 4

∑

2 4

∑

8 4

∑

3 4

∑

2 4‰

∑

‰ put mic on pillow and cover with the speaker

43 –‚‚

tie down the string to the left hand weight, so it stays in the exact same positioin

∑

-– ˜

>‚ –‚

µ-¿

–

lift put (covered 5-10 cm. back down feed)

43 ˜ π

∑

µ¿ 44 !

¿ !

-œ

˜ f

æ -˜

42 Œ

‚

42 Œ ‰

˜ π

speaker standing on back and forth between SIREN and FOG as fast as possible pillow on the table

–æ˜

‰

≥–-æ ≤ ˜

‚

speaker standing on the table (no pillow) back and forth between SIREN and FOG as fast as possible

‚.

‰

‚.

back and forth between SIREN (speaker pointing and FOG as fast toward the audience) as possible

‚

‰

‚.

‚

(off)

stop fan with straw by sticking it further down

¿.

45 ≈‰ Œ

set motor to max speed

∑

µ¿.

‰

–æ˜

≥–-æ ≤ ˜

(off)

pull out quickly

¿.

sim.

≈‰ Œ

sx.

8 &4

∑

5 4

∑

6 4

∑

7 4

∑

4 4

∑

5 4

∑

6 4

∑

9 4

∑

db.

t8 4

∑

5 4

∑

6 4

∑

7 4

∑

4 4

∑

5 4

∑

6 4

∑

9 4

∑

÷ 48

370 mp.1

this last part can not be rehearsed/performed in too small a room/hall because of easy feedback

this last part should be learned by heard, and can not be rehearsed/performed in too small a room/hall (because of feedback)

∑

(hold MP out in front of you on the last beat before and while playing)

54MENO MOSSO 46 PIU MOSSO 5 4˜

rehearsed/performed in too small a room/hall (because of feedback) ÷ 48 ∑ 45 Œ move to a third position in front of the stand one arms length this last part should be learned by heard, and can not be

mp.2

away from the "bell" of MP.1 - hold MP out in front of you on the last beat before and while playing

÷ 48 rehearsed/performed in too small a∑room/hall (because of feedback) 45 Œ move to a third position in front of the stand one arms length this last part should be learned by heard, and can not be

mp.3

away from the "bell" of MP.2 - hold MP out in front of you on the last beat before and while playing

˜ ˜

˜ ˜ ˜

˜ ˜

(release on the beat)

6 4 ˜. ≈‰ Œ

(release on the beat)

˜. ≈‰ 46

(release on the beat)

˜. ≈‰ Œ

6 4

∑ ∑

74 MENO MOSSO 7 4˜

(hold mic far back, pointing backward)

74 Œ

¬ ˜

-¬ ˜

place mic in front of the mp.1 speaker (experiment with the distance to get the loudest noise without feedback) mp.1 (move mic away)

place mic in front of the mp.2 speaker (experiment with the distance to get the loudest noise without feedback) mp.2

7Œ 4

¬˜

(move mic away)

44PIU MOSSO 45 MENO MOSSO 4 ≈‰ Œ 4 ˜. 44 ˜ ≈‰ Œ . 4 ≈‰ Œ 4 ˜. 20

5 4˜

45 Œ

5 4Ó

sim.

˜ ˜

¬ ˜

mp.2

mp.1

¬ ˜

reactivate button

(the mouth should be open, like when at the dentist, already before moving the mic) open (move (move mic mouth away) (close mouth...) toward mouth)

reactivate button

¬ 6 4˜

¬ ˜

¬ 64 ˜

¬ ˜

-¬ ˜

¬ 6 4˜

-¬ ˜

9 4 ˜. ≈‰ Œ

˜. ≈‰ 49

∑

˜. ≈‰ Œ

9 4

∑

(as soon as the feedback comes move away experiment with the distance to avoid too loud feedback)

(move away)

94 PIU MOSSO

(move away)

¿.

æ -˜

8 4

‰

48 48

≈‰ Œ

¿.

fine 16.06.08, Irmo/South Carolina