Bára Gísladóttir: Yung Leo (2017 – 18) by Edition·S

Bára Gísladóttir Yung Leo (2017 – 18) for solo saxophone (tenor and alto), string quintet, three percussionists and electronics Dur. 12′

Yung Leo was commissioned by Anja Nedremo in 2017 in the occasion of her debut concert from the Royal Academy of Music in Aarhus.

SCORE

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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Bára Gísladóttir Yung Leo (2017 – 18) for solo saxophone (tenor and alto), string quintet, three percussionists and electronics Dur. 12′

Bára Gísladóttir

i. stormurinn í þokunni, ii. og himnarnir gráta, and iii. leaking green hours.

Yung Leo

i. stormurinn í þokunni ii. og himnarnir gráta iii. leaking green hours

Yung Leo is in three movements, each built on a strong individual character, however, the goal is to create a compelling overall picture for the piece, mainly in the form of a steady and ever going overlapping through texture, instrumental techniques, and dynamics. Yung Leo is built on young love, Prokofiev’s and Shakespeare’s Romeo and Juliet, young Leonardo DiCaprio, lions, the zodiac sign Leo, thugs, Yung Lean, milestones and more.

phone (tenor and alto), string quintet, three percussionists and electronics 12’

EXPLANATIONS

Explanations Explanations

Saxophone

Saxophone Saxophone

Explanations

Explanations Saxophone w.t. – whistle tones

Saxophone w.t. – whistle tones w.t. – whistle w.t. – whistle tonestones Explanations

Explanations w.t. – whistle tones

Inhale

inhale inhale

inhale Saxophone Saxophone

inhale

Explanations Saxophone w.t. – whistle tones

inhale Explanations

Explanations Explanations Saxophone w.t. – whistle tones

Saxophone

inhale exhale

Saxophone

Explanations Explanations

w.t. – whistle tones inhale

Saxophone exhale Saxophone w.t. – whistle tones

exhale w.t.tones – whistle tones w.t. – whistle exhale w.t. – whistle tones exhale w.t. – whistle tones exhale exhale inhale inhale Growl. The growl should be in the form of a throat flutter boosted with the use voice. inhale Growl. The growl should be in the form of a throat flutter boosted wi inhale inhale Growl. The growl should be in the form of a throat flutter boosted with the use voice. Growl. The growl should be should in thebeform a ofthroat boosted with the use voice. Growl. The growl should be in the form of a throat flutter boosted with the use voice. Growl. The growl in the of form a throatflutter flutter boosted with the use voice. Growl. The be growl should be of in athethroat form flutter of a throat flutterwith boosted the use voice. Growl. The growl should in the form boosted the with use voice. exhale exhale Square noteheads are sung exhale exhale Square noteheads are sung Square exhale noteheads are sung Square noteheads are sung Square noteheads are sung Square are sung Square noteheads are noteheads sung Square noteheads are sung This notation represents a fluttering air sound; the effect is performed with mouthbepressure only, of a fluttering main Growl. The growl should in the form a throat technique flutter booste Growl. The growl should bethe in form flutter of is a throat flutter boosted with the usepressure voice. This notation represents a fluttering air sound; performed with mouth Growl. The growl should be in the form of the a effect throat boosted with useform voice. mouthpiece (further information in score).with The different position of note-tails is to indicate the minor pitch-changes of the re b This notation Growl. The growl should be the in the of a throat flutter boosted the Growl. use voice. This notation represents a flutterin The growl should be in the form of a throat flutter booste fundamentals. The flutter should not at allThis be rhythmical. notation represents a fluttering air sound; the effect is mouthpiece performed with (fu only, a fluttering technique mainly performed withoutThis thenotation mouthpiece (further information This represents notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique mainly performed wi mouthpiece (further information i a fluttering air sound; the effect is performed with(further mouth information pressure only, a fluttering techniqueposition mainly performe mouthpiece in score). The technique different of note-ta fundamentals. This notation represents a fluttering air in sound; effect is performed mouth pressure a fluttering mainly performe mouthpiece (further information score).the The different position ofwith note-tails is to indicateonly, the minor pitch-changes of theThe breath, creating aT fundamentals. mouthpiece (further information in score). The different position of note-tails is to indicate thenot minor pitch-changes of the flutter breath,should creati fundamentals. The flutter should at all be rhythmical. in score). The different position of note-tails is to indicate the minor pitch-changes of the fundamentals. The flutter in should not The at alldifferent be rhythmical. mouthpiece (further information score). position of note-tails is to indicate the minor pitch-changes of the breath, creati fundamentals. The flutter should not at all be rhythmical. Square noteheads are sung Squareare noteheads are sung fundamentals. Theall flutter should not at all be rhythmical. Square sung breath, creating a soar of noteheads fundamentals. The flutter should not at be rhythmical. gradually move fromSquare one technique to the noteheads areother sung Square noteheads are sung gradually move from one technique gradually move from one technique to the other to the other gradually move from one technique to the other gradually move fromrepresents one technique to the other notati This notation air effect sound;isthe effect is with performed with mouth pressure only, atechnique flutteringThis technique Gradually move from one technique to the other This notation represents a fluttering aairfluttering sound; the performed mouth pressure only, a fluttering mainly per gradually move from one technique to the other mouthpiece This notation represents aposition fluttering sound; is thetoeffect is performed mouth pres (further information in score). The different ofisair note-tails indicate the minor with pitch-changes of gradually move from one technique to the other This notati circular breathing mouthpiecemouthpiece (further information in score). The different position of note-tails to indicate the minor pitch-changes of the breath, fundament mouthpiece (further information in score). The different position of note-tails is to indi fundamentals. The flutter should not at all be rhythmical. mouthpiece fundamentals. The flutter should not at all be rhythmical. The flutter should not at all be rhythmical. fundamentals. circular breathing fundament Circular breathing circular breathing circular Thebreathing first two movements are performed on an amplified tenor saxophone, boasting the piece with live electronics with effects run from Ableton Live and Max for Live. Additionally, the s circular breathing circular breathing and is performed on theon alto Further information regarding playing circular breathing initiating the playback that goes through the first two movements. The third movement is entirely The firstacoustic, two movements are performed an saxophone. amplified tenor saxophone, boasting the piece wit gradually move from one technique to the other gradually move from one technique to the other The first two movements are performed on an amplified tenor saxophone, boasting the piece with live electronics with effects run from Ableton Live and Max for Live. Additionally, the saxophonist is re The first two movements are performed on an amplified tenor saxophone, boas The first two movements are performed on an amplified tenor saxophone, boasting the score.from one technique to the other gradually move initiating the playback that goes through the first two movements. The third movement is entirel gradually move from one are technique to the The first two movements performed onother an amplified tenor saxophone, boasting themove piecefrom withone livetechnique electronics with effects run from A gradually the other initiating the playback that goes through the first two movements. The third movement is entirely acoustic, and is performed onthe theplayback alto saxophone. Further information playing techniques aremf initiating that goes theLive. firstregarding two to movements. The third Thelive first two movements are performed on run an amplified tenor saxophone, boasting the piece with live electronics with effects run from Ableton Live andthrough Max for Additionally, the saxophonist piece with electronics with effects from Ableton Liveboasting and Max for Live. Additionally, score. The first two movements are performed on an amplified tenorinitiating saxophone, the piece with live the electronics with effects run from Ableton Liveisand Max for Live. Additionally, the saxophonist the playback that goes through first two movements. The third movement entirely acoustic, and is performed on the alto s score. score.on the alto saxophone. Further information regarding playing techniques initiating the playback that goes through the first two movements. The thirdgoes movement is entirely acoustic, the saxophonist responsible for initiating themovements. playback that through the first and is performed Strings initiating theisplayback that goes through the first two saxophone. Further information regarding playing techniques score.The third movement is entirely acoustic, and is performed on the alto circular breathing circular breathing score. circular breathing two movements. The third movement is entirely acoustic, and is performed on the alto s.p. – sul ponticello Strings score. circular breathing circular breathing

Exhale

Strings

s.t. – sul tasto saxophone. Further information regarding playing techniques are found in the score. m.s.p. – molto sul ponticello

s.p. – sul Strings ponticello

The first twoeffects movements are Ableton performed onand an amplified tenorAdditionally saxophone, s.p. – sul ponticello Strings The first twom.s.t. movements performed on an amplified tenor saxophone, the live piece with electronics with run from Live Max for Live. s.t. –live sul tasto – molto are sul on tasto The first two movements are performed an amplified tenor saxophone, boasting theboasting piece with electronics with effects run from Ableton Live and Max foreffects Live. Additionally, the saxoph Strings s.t. – sul tasto o.p. – overpressure The first two movements are performed on an amplified tenor m.s.p. s.p. –The sulponticello ponticello saxophone, boasting the piece with live electronics with run from Ableton Live – molto sul first two movements are performed anfirst amplified tenorregarding saxophone, initiating the playback that goes throughon the two movements. The thi Strings initiating thethat playback that goes through first– two movements. The third is movement is entirely acoustic, and is on performed on the alto saxophone. Further information pl s.p. sul ponticello m.s.p. – molto sul ponticello s.t. –sul sultasto tasto initiating the playback goes through theinitiating first twothe movements. The third movement entirely acoustic, and is performed the alto saxophone. Further information regarding playing techn m.s.t. – molto the playback that goes through the first two movements. The third movement is entirely acoustic, and is performed on the alto saxophone. F s.p. – sul ponticello m.s.t. – molto sul tasto s.t. – sul tasto initiating the playback that goes through the first two movements. The thi score. m.s.p. – molto sul ponticello o.p. – overpressure s.p. – sul ponticello score. score. s.t. – sul tasto o.p. – overpressure m.s.p. – molto sul ponticello m.s.t.score. – molto sul tasto score. between m.s.p. and m.st. Strings s.t. – sul tasto vertical bowing m.s.p. – molto sul ponticello m.s.t. – molto sul tasto o.p. – overpressure m.s.p. – molto sul ponticello m.s.t. – molto sul tasto vertical bowing between m.s.p. and m.st. o.p. – overpressure m.s.t. – molto sul tasto Strings o.p. – overpressure Stringsvertical bowing between m.s.p. and m.st. – Strings overpressure s.p. – sulo.p. ponticello Strings Strings vertical bowing between m.s.p. and m.st. s.p. – sul ponticello s.p. – sul ponticello harmonic s.t. – sul tastos.p. – sul ponticello vertical bowing between m.s.p. and m.st. s.t. – sul tasto s.p. – sul ponticello s.t. – sul tasto harmonic s.p. – sul ponticello vertical bowing between m.s.p. and m.st. s.t. – sul tasto bowing between m.s.p. and m.st. m.s.p. – molto sul ponticello s.t. – sul tasto artificial harmonic harmonic m.s.p. – molto sulvertical ponticello m.s.p. molto sul ponticello s.t. – sul tasto m.s.p. – molto sul –ponticello m.s.t. – molto sul tasto m.s.p. – molto sul ponticello m.s.t. – molto sul tasto m.s.p. – molto sul ponticello molto sul tasto artificial harmonic m.s.t. – moltom.s.t. sul –tasto o.p. – overpressure m.s.t. – molto sul tasto harmonic o.p. –artificial overpressure harmonic m.s.t. – molto sul tasto o.p. – overpressure harmonic o.p.tremolo – overpressure Slurred is to be played on one bow throughout the bar. That is, the bowing does not with every individual tremolo. o.p. – overpressure o.p.change – overpressure harmonic harmonic artificial harmonic Slurred tremolo is to bowing be playedbetween on one bow throughout the bar. That is, the bowi vertical m.s.p. and m.st. vertical bowing m.s.p. andbow m.st. artificial harmonic Slurred tremolo isbetween to be played on one throughout the bar. That is, the bowing does not change with every individual tremolo. vertical bowing between m.s.p. and m.st. vertical bowing between m.s.p. and m.st. artificial harmonic between m.s.p. andbut m.st. Vertical bowing between m.s.p. and m.st. Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the vertical first notebowing of the tremolo to the second, as a pendulum between th artificial harmonic

tremolotheisnotes to beindicated. played on oneis,bow throughout thetobar Gliss back andSlurred forth between That the glissando is not be tremoloisisnot to to bebeplayed one bow the Thattois, bowing not change with the every Gliss back and forth between the notes indicated. That Slurred is, the glissando playedon only from thethroughout first note ofharmonic the bar. tremolo thethe second, but does as a pendulum between twoindividual notes. harmonic Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo. harmonic Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo. harmonic Things to keep in mind: harmonic The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-audibility as possible. Some of the harmonics artificial harmonic Things to keep inaremind: artificial harmonic Gliss back and forth between the notes indicated. That is, the glis grudgy, almost a white noise. Take them as they come, if you are positioned as indicated in the score, you right! harmonic Things to keep in mind: artificial harmonicGliss back and forth between the notes Artificial harmonicartificial Theindicated. levels of o.p..are into fourisdifferent groups, from 1/4from to 4/4, 1/4 isofa the slight o That is,divided the glissando not to be played only thewhere first note trem artificial harmonic The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-audibility as possible. the harmonics are very pure, Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of thenoise. tremolo the as second, but as a pendulum between the twoinnotes grudgy, almost a white Taketothem they come, if Some you areofpositioned as indicated the s Gliss backalmost and forth between the notes That is, the to be in played onlyyou from first note of the tremolo to the second, but as a pendulum between the two notes grudgy, a white noise. Take them indicated. as they come, if you are glissando positioned is as not indicated the score, arethe right! Percussion Slurred tremolotremolo. is to be played on one bow throughout the Slurred is toon beone played on one bow throughout theis,bar. That is, the bowing does not change individual with every individual tremolo is totremolo be played bowSlurred throughout the bar. bowing does not not change tremolo. Slurred tremolo is to be Slurred played on one bow throughout the bar. That is, thethebowing does Things toThat keepis,inthe mind: tremolo is toThat be played on one bow throughout thewith bar.every bowing does not with every individual tremolo. the r.h. – right hand Percussion ischange todifferent be played on one bow1/4 throughout Things to keep in mind: The levels of o.p..areSlurred dividedtremolo into four groups, from to 4/4, whe Percussion tremolo. l.h. – left hand change with Thingsevery to keep individual in mind: The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pi as r.h. – rightgrudgy, hand almost a white noise. Take them as they come, if you are positioned Things to keep in mind: t.s. – thunder sheet The levels of o.p..are divided into four different groups, fromgrudgy, 1/4 to 4/4, where 1/4 noise. is a slight o.p.., and 4/4 iscome, a full o.p. with as little pitch-audibility asthe possible. Some ofright! the harmonics are very p r.h. – right handt.d. almost a white Takeo.p.., themand as they ifo.p. you are positioned as indicated in score, you are l.h. – left hand thunder drum The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight 4/4 is a full with as little pitch-audibility as possible. Some of the harmonics are p Gliss back andtremolo forth between the notes indicated. Thatvery is, the Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the to the second, but as a pendulum betw –Gliss leftnoise. hand grudgy, almost al.h. white Take them as they come, if you are positioned as indicated inisthe score, you are only right! back Take and forth between thetail notes indicated. Thatand is, as the glissando notscore, to beindicated. played the sheet first note of the to tremolo to the second, but as a pendulum between the twos t.s. –from thunder th.dr.t. – thunder drum grudgy, almost at.s.white noise. them as they come, if you are positioned indicated in the you are right! Gliss back forth between the notes That is, the glissando is not be played only from the first note of the tremolo to the – thunder sheet Gliss back and forth between the notes indicated. That is, the Gliss back and forth between the t.d. thunder drum th dr.b.notes – thunderindicated. drum bottom That is, the glissando is not to be played

Harmonic

Percussion

t.d. thunder drum

mallet – superball mallet Percussion only fromPercussion the first note the sb. tremolo but as a pendulum between the two th.dr.t.of – thunder drum tail to the second, th dr.b. – r.h. thunder drum bottom –Things right hand to keep in mind: thThings dr.b. – thunder drum bottom Percussion to keep in mind: sb. mallet – superball mallet r.h. – right hand Things to sb. keep in mind: l.h. – left hand notes. mallet – superball mallet The of o.p..are into four different groups, Some from 1/4 to 4/4, Things keep in groups, mind: from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 The levels of o.p..are divided into fourtodifferent is levels a full o.p. with asdivided little pitch-audibility as possible. of the harm th.dr.t. – thunder drum tail

r.h. – right hand Things toas keep inpitch-audibility mind: l.h.from – left hand The levels different groups, 1/4 to 4/4,into where 1/4 is a slight o.p.., and 4/4 istoa4/4, full with little as them possible. Some of little the harmonics are v t.s. where –o.p. thunder sheet r.h. – right hand of o.p..are divided into four grudgy, a white noise. Take aso.p. they come, if you are position Thethunder levels ofthey o.p..are divided four different groups, 1/4almost is of asheet) slight o.p.., and 4/4 a full with as pitch-audibilit sheet (don’t mind the noise occurring from thimbles from getting in touch with theright! thunder noise. your Take as if sheet you are as positioned asinindicated inyou the1/4 score, you are l.h. – left hand grudgy, almost a white Swing The levels o.p..are divided intoisfour different groups, from 1/4 to 4/4, t.s. – come, thunder grudgy, theythem come, if you are positioned indicated the score, are right! t.d. thunder drum l.h. – left handalmost a white noise. Take them asgrudgy, almost a white noise. Take them as they come, if you are positionedgrudgy, as indicated in the score, you are right! t.s. – thunder sheet almost asheet white noise. Take them as they come, if you are position t.d. thunder drum th.dr.t. thunder drum tail(don’t – thunder sheet Swing–your thunder mind the noise occurring from thimbles getting in to Things tot.s. keep in drum mind t.d. thunder th.dr.t. thunder drum tail Swing your thunder sheet (don’t mind the noise– occurring from thimbles getting in touch with the thunder th sheet) dr.b. – thunder drum bottom t.d. thunder drum Percussion th.dr.t. – thunder drum tail Percussion th dr.b. – thunder The levels ofPercussion o.p..are divided groups, from 1/4 todrum 4/4,bottom where 1/4 is a slight sb. mallet – superball mallet th.dr.t. – thunder drum tail into four different Percussion th dr.b. – thunder drum bottom sb.thunder mallet sheet – superball mallet Percussion Kick your neighbour’s th dr.b. – thunder drum bottom r.h. – right hand r.h. –with right hand o.p.., andsb.4/4mallet isr.h.a––full o.p. as little pitch-audibility as possible. Some of the harmonics are superball mallet hand sb. mallet – right superball mallet l.h. – left hand r.h. – right hand l.h. – left hand r.h. –your rightneighbour’s hand Kick thunder sheet l.h. – left hand very pure, others aret.s. very grudgy, a l.h. white noise. Take them as they come, if you are t.s. – thunder sheet – leftsheet hand Kick youralmost neighbour’s thunder – thunder sheet l.h. – left handyour thunder sheet (don’t mind the noise occurring from thi t.s. – thunder sheet Swing t.d. thunder drum – thunder sheet thunder positioned ast.d.indicated in thedrum score, you aret.s.right! t.s. – thunder sheet getting in touch with the thunder sheet) Swing your thunder sheet (don’t mind the noise occurring thimbles thundert.d. drum th.dr.t. from – thunder drum tail thunder drum sheet th.dr.t. – thunder drum tail mindt.d. Upwards-going motion onoccurring thunder Swing your drum thunder sheet (don’t the noise from thimbles getting in touch with the thunder sheet) t.d. thunder drum th.dr.t.Swing – thunder tail your thunder sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet) th dr.b. – thunder drum bottom th.dr.t. – thunder drum tail th dr.b. – thunder drum bottom th.dr.t. – thunder drum tail th dr.b. – thunder drum bottom sb. mallet – superball mallet Upwards-going motion on thunder sheet th dr.b. – thunder drum bottom sb. mallet – superball mallet th dr.b. – thunder drum bottom sb. mallet – superball mallet motion on thunder Upwards-going sheet – superball mallet sb. mallet sb. malletKick – superball mallet your neighbour’s thunder sheet Downwards-going motion on thunder sheet Kick your neighbour’s thunder sheet Kick your neighbour’s thunder sheet Downwards-going motion on your thunder sheet sheet (don’t mind the noise occurring from Kick your neighbour’syour thunder sheet Swing thunder thunder sheet (don’t mind the noisefrom occurring from thimbles getting in the touch with the thunder sheet) Downwards-going on thunder Swing yourSwing thunder motion sheet (don’t mindsheet the noise thimbles getting touch thunder Swingoccurring your thunder sheet (don’t mindinthe noisewith occurring from sheet) thimbles getting in touch with the thunder sheet) Swing your sheet (don’t mind thehave noise occurring At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications arethunder solely suggestions, and do not to be followedfrom if th

Upwards-going motioninonthe thunder times finger drumming is indicated form ofsheet numbers, where 5 is little finger, 4 is rin The second movement is quite strictly choreographed, and the three on players should keep inAt mind to the be as coordinated as possible. Upwards-going motion thunder sheet At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely suggestions, and do not have to be followed if they do not make Upwards-going motion on thunder sheet Upwards-going motion on thunder your neighbour’sand thunder sheet The second movement is quiteKick strictly choreographed, the three players should keep in mind Kick your sheet neighbour’s thunder sheet Kick your neighbour’s sheet The second movement is quitethunder strictly choreographed, and your the three players should keepsheet in mind to be as coordinated as possible. Kick neighbour’s thunder Downwards-going motion on thunder sheet Downwards-going motion on thunder sheet Upwards-going motion sheet on thunder sheet Upwards-going motion on thunder

Downwards-going motion on thunder sheet

Kick your neighbour’s Downwards-going motion on thunderthunder sheet sheet

Upwards-going motion on thunder sheet At times the finger drumming is indicated in the form of numbers, where 5 is l

Percussion r.h. – right hand l.h. – left hand t.s. – thunder sheet t.d. thunder drum th.dr.t. – thunder drum tail th dr.b. – thunder drum bottom sb. mallet – superball mallet

Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the sec Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from t Things to keep in mind: Things to keep in mind:divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-aud The levels of o.p..are The levels of o.p..are divided different to 4/4, where 1/4 is a slight and 4/4areisright! a full o.p. with as little pitch-audi grudgy, almost a white noise. into Takefour them as theygroups, come, iffrom you 1/4 are positioned as indicated in theo.p.., score, you Thingsgrudgy, to keepalmost in mind: a white noise. Take them as they come, if you are positioned as indicated in the score, you are right! Things to keep in mind: The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-audibility The levels o.p..are divided into four different groups, from 1/4you to 4/4, where 1/4 is a slight o.p.., and 4/4 is a fu grudgy, almost a white noise. Take them as theyofcome, if you are positioned as indicated in the score, are right! Percussion grudgy, almost a white noise. Take them as they come, if you are positioned as indicated in the score, you are right!

Percussion

r.h. – right hand

r.h. hand Percussion l.h.––right left hand

Percussion l.h. handsheet t.s.–– left thunder r.h. – right hand t.s. thunderdrum sheet t.d.–thunder l.h. – left hand t.d. thunder drum drum tail r.h. – right hand th.dr.t. – thunder l.h. – left hand t.s. – thunder sheet th.dr.t. th dr.b.– –thunder thunderdrum drumtail bottom t.s. – thunder sheet t.d. thunder drum thsb.dr.b. – thunder drum bottom mallet – superball mallet t.d. thunder drum th.dr.t.sb. – thunder tail mallet mallet –drum superball th.dr.t. – thunder drum tail th dr.b. – thunder drum bottom th dr.b. – thunder drum bottom sb. mallet – superball mallet sb. mallet – superball mallet Swing your thunder sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet) Swing your thunder sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet)

Swing your thunder Swing your thunder sheet (don’t mind the noise occurring from sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet) Swing your thunder sheet (don’t mind the noise occurring from thimbles getting in touch with the thund thimbles getting in touch with the thunder sheet) Kick your neighbour’s thunder sheet Kick your neighbour’s thunder sheet

Kick your neighbour’s thunder sheet Upwards-going motion on thunder sheet Downwards-going motion on thunder sheet

Kick your neighbour’s thunder sheet Kick your neighbour’s thunder sheet Upwards-going motion on thunder sheet Upwards-going motion on thunder sheet Upwards-going motion on thunder sheet Upwards-going motion on thunder sheet Downwards-going motion on thunder sheet Downwards-going motion on thunder sheet

Downwards-going motion on thunder sheet Downwards-going motion on thunder sheet At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely sugge At times the finger drumming is indicated in the formtheoffinger numbers, where 5 isinlittle finger, 4 is ring At times drumming is indicated the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely sugges The second movement ishave quite strictly choreographed, and the three players should keep in mind to be as coordinated as possible. finger, etc. These indications are solely suggestions, and do not to be followed if they do At times fingermovement drummingisisquite indicated in choreographed, the form of numbers, where is littleshould finger, keep 4 is ring finger, etc.asThese indications are solely suggestions, Thethe second strictly and the three5players in mind to be coordinated as possible. At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is ring finger, etc. Thes not make sense to you. The second movement is quite strictly choreographed, and the three The second movement is quite strictly choreographed, and the three players should keep in mind to be as coordinated as possible. players should keep in mind to be as coordinated as possible. The second movement is quite strictly choreographed, and the three players should keep in mind to be as coordinate

Electronics The electronics are in the form of playback and live electronics created with effects for the tenor saxophone (run from Ableton Live/Max for Live). The sound is projected through two speakers placed on the floor, close to the ensemble.

Conductor The score is transposed. The first two movements are to be conducted with metronome an in ear monitor (this is for the ensemble to coordinate correctly with the electronics). The last movement is entirely acoustic and can be conducted more freely than the others.

INSTRUMENTATION Tenor saxophone (amplified) (doubling Alto Saxophone) String Quintet 3 percussionists 1. Thunder sheet, thunder drum, sustended cymbal, crotales (E7) a. Thimbles (on four fingers of each hand) b. Superball mallet c. Double bass bow 2. Thunder sheet, thunder drum, sustended cymbal, crotales (A6, Eb7) a. Thimbles (on four fingers of each hand) b. Superball mallet c. Double bass bow 3. Thunder sheet, thunder drum, sustended cymbal, crotales (D6, F6) a. Thimbles (on four fingers of each hand) b. Superball mallet c. Double bass bow d. Cymbal (used on thunder sheet)

for Anja Nedremo Bára Gísladóttir 2017-18

TRANSPOSED SCORE

Yung Leo i. stormurinn í þokunni ii. og himnarnir gráta iii. leaking green hours i. stormurinn í þokunni q = 68 start playback

°& 4 œ 4 mph. nr. 17 12356

Tenor Saxophone

mph.tr.

˙™

12356123

?4 w ¢ 4 o

3 4 ˙™

˙™

2 4˙

˙™

3 4 ˙™

4 4

Thunder Sheet fingertips with thimbles both hands: drum

ææ 4 /4w

Percussion 1

3 4

ææ ˙™

2 ˙ææ 4

3 4

ææ ˙™

4 4

3 4

ææ ˙™

2 4

æ ˙æ

3 4

ææ ˙™

4 4

3 4

æ ˙æ™

ææ ˙™

æ ˙æ™

2 ˙æ 4

3 4

ææ ˙™

4 4

ppp Thunder Sheet fingertips with thimbles both hands: drum

4 /4

Percussion 2

ææ w ppp Thunder Sheet fingertips with thimbles both hands: drum

ææ 4 /4w

Percussion 3

ppp

mph. nr. 17 12356

°? 4 w ¢ 4 12356123

Ten. Sax.

3 4 ˙™

4w 4

3 4 ˙™

p th.dr.t. whip t.s., let vib. 3 3

4 ≈ / 4 >œ ‰ Œ

≈œ‰ œ≈‰ 3 4 > >

∑

mf mp finger tips with thimbles (one hand)

Perc. 1

ææ 4 /4w

3 4

ææ ˙™

4 œ ≈ œ ≈ ‰ ≈≈œ‰ ‰ œ ‰ ‰ œ 4> > > > >

œ≈‰ Œ

≈ ≈ 3 4 Œ >œ >œ ‰

æ 4 wæ 4

≈œ >

ææ w

3 4

∑

pp th.dr.t. whip t.s., let vib. 3

3 3

4 / 4 ‰ >œ ‰ Œ

‰ ‰ œ ‰ œ ≈ 43 > >

∑

4 ≈œ≈≈ œ ‰ ≈ œ ≈ œ ‰ ‰ œ ≈ Ó 4 > > > > >

mf fingertips with thimbles (one hand)

Perc. 2

ææ 4 /4w pp

3 4

ææ ˙™

æ 4 wæ 4

ææ w

‰ ≈œÓ

3 4

ææ w pp

∑

3 3

≈ ≈ ≈ ≈≈œ Ó 3 4≈ 4 Œ œ ‰ Œ 4 >œ ‰ ‰ ‰ >œ >œ ‰ ‰ >

p fingertips with thimbles (one hand)

4 /4

fingertips with thimbles (one hand) 3

Perc. 3

‰ œ 43 Œ ≈ œ ≈ ≈ œ ≈ ≈ œ ≈ ‰ > > > p

4 /4Œ

3 4

ææ ˙™

4 4

ææ w

œ ≈ œ≈ > >

‰ œ ‰ 43 Œ Œ p

ææ w

3 4

∑

2 scream along with the mph. (sorry)

Ten. Sax.

°? ˙ ™ ¢

4w 4

3 4 ˙™

4 4

∑

3 4

fff I s.p. Vln. I

° &

4 4

∑

3 #O ™ 4

∑

4 ~ 4

3 4

4 w~ 4

3 4

4 4

3 4

ppp II m.s.p.

4 4

∑

Vln. II

3 O™ 4˙ ™

∑

ppp III m.s.p.

4 4

∑

Vla.

3 4

∑

#O ™

ppp III s.p.

4 4

∑

Vc.

3 4 O™

∑

4 4 ~

3 4

4 ~ 4

3 4

ppp III m.s.p.

4 4

∑

Db.

3 4 O™

∑

ppp 3

Perc. 1

/ Œ

≈≈œ‰ ‰ œ 4 ‰ > 4 >

‰

œ ≈ œ ≈ œ≈‰ > > >

≈œ‰ >

≈≈œ 3 ‰ >4

≈ œ ‰ ‰ œ ≈≈œ≈ œ 4 > > > 4 >

∑

3 4

≈ ≈ œ ‰ 4 ≈ œ ≈ ≈ œ ≈ ≈ œ ≈ ≈ œ ‰ œ ‰ œ ≈ œ ≈ 3 ‰ œ3 ‰ œ ≈ œ ≈ ≈ œ ≈ œ ≈ 4 4 > > 4 > > > > > > > > > > >3 4

∑

3 4

∑

3 4

fff 3

3 3

Perc. 2

œ≈‰ >

/ Œ

fff 3 3

Perc. 3

‰ œ ‰ œ ≈ ‰ 44 œ ≈ œ ≈ ‰ œ ‰ œ ≈ œ ≈ ≈ ≈ œ ‰ > > > > > > >

/ Œ

3 ≈ ≈ ≈≈œ‰ 4 >œ >œ

œ ≈ œ ≈ 44 > >

fff

Ten. Sax.

°? 3 Œ ¢ 4

5 4 Ó™

4 ∑ 4

growling, downwards glissing exhale

mph.tr. nr. 17

gross noisy up-glissing slurp on inhale

noisy slow spit

3 4 ˙™ o

˙™

æ 4 wæ 4

6 4

5 4

∑

mp m.s.p.

Vln. I

° 3 #O ™ & 4 ææ

5 #O ™ 4 ææ

‚ ææ

œ ææ

~ œ ææ 44

3 O™ 4

4 w 4

6 w™ 4

Vln. II

Vla.

3 O™ & 4 ˙ææ ™ B 43 ææ #O ™

5 O™ 4˙ ™

˙O

4 w~ 4

3 O™ 4˙ ™

4 w~ 4

4 4 #O ™

3 4 #~

6 O™ 4˙ ™ 6 4

?3 4

ææ O™

5 4 O™

4 4 ~

3 4 O™

4 4 w

5 4 5 4

#w™

Vc.

O™

4 4 O™

5 4

~™

pp m.s.p.

6 4 ˙

œ‚ œ ˙

5 œ‚ 4

mp IV Db.

? 3 Oææ™ ¢ 4

5 Oææ™ 4

ææ O

s.p.

4 4 ~

3 4 O™

4 4 w

æ ˙

4 wæ 4

æ 3 ˙æ™ 4

æ 4 wæ 4

6 4

ææ w™

5 4

æ ˙æ

4 4

æ wæ

3 æ 4 ˙™

4 4

ææ w

6 4

æ wæ ™

5 4

æ ˙

4 wæ 4

3 æ 4 ˙™

4 4

ææ w

6 4

ææ w™

5 4

thimbles (both hands) drum

Perc. 1

ææ 3 / 4 ˙™ o

æ 5 ˙æ™ 4

Perc. 2

5 4

ppp

thimbles (both hands) drum

3 æ / 4 ˙™ o

6 4 ~™ ~

5 æ 4 ˙™ ppp

thimbles (both hands) drum Perc. 3

3 /4

ææ ˙™ o

5 4

ææ ˙™ ppp

3 22

Ten. Sax.

violently spit into mouthpiece

exhale while double tonguing

°¢? 5 b˙ ™ 4 o

4 bæ_ 4

3 ≈ ‰ Œ 4 ¿

Vln. I

4 ~ 4

hold your breath

4 bæ_ 4æ

b ˙˙ ™™

s.p.

° 5 O™ &4

growling exhale

3 ˙™ 4

screeching inhale

3 b! ™ 4

4 4

Vln. II

4 w 4

4 4

4 ~ 4

3 O™ 4

m.s.p.

3 O™ 4

4 ~ 4

mp m.s.p.

B 45

Vla.

4 4 # O™

3 4 ~

4 4 # O™

Vc.

˙O

4 4 w

3 4 ˙O ™™

3 4 s.p.

?5 O™ 4 ˙ ™

3 4

s.p.

5 O™ &4

4 b_ ™ 4

b O˙m.s.p. ™™

b ~w

exhale in an exhausting manner

4 4 # O™

m.s.p.

4 ~ 4 w

3 4 O™

4 ~ 4

pp m.s.p. Db.

? 5 O™ ¢ 4

4 4 ~

3 4 O™

ææ ˙™

ææ ˙

ppp

5 /4

Perc. 1

5 æ / 4 ˙™

Perc. 2

æ ˙

3 4 O™

4 4 ~

4 wææ 4

3 4

æ ˙æ™

æ 4 wæ 4

3 4

ææ ˙™

æ 4 wæ 4

4 wæ 4

3 4

æ ˙æ™

4 4

ææ w

3 4

ææ ˙™

4 4

ææ w

4 wæ 4

3 æ 4 ˙™

4 wæ 4

3 4

æ ˙æ™

4 4

ææ w

ppp

ææ 5 ˙ /4 ™

Perc. 3

4 4 ~

æ ˙æ

ppp

= mph. nr. 18 12356 + C#

A 28

mph. tr. 12356 + 12356 + C#

Ten. Sax.

°? ¢

5 4

∑

3 4

∑ n‚

Vln. I

° bw &

n‚ ‚

b‚

n‚ b‚

5 4 ˙™ o

∑

n‚ ‚

n‚

b‚

5 4

n‚ ‚ b‚

3 4

b‚ ‚

˙ n‚ b‚

n‚ b‚

5 4

ppp

~s.p. &

Vln. II

b‚ ‚ ‚ ‚

5 O™ 4

‚ 3 b‚ ‚ ‚ ‚ ‚ 5 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 4 4

ppp s.p.

5 4

B Vla.

3 4 O™

O™

5 4 bO ™

O™

bO ™

ppp

b‚ Vc.

? ~

5 4 O

5 4 ‚

3 bO ™ 4

b‚ n‚

5 4 O™

Db.

‚ ‚ ‚

scratch (one hand) drum 32 3 let vib.

‚

3 4 ˙™

O™

5 4 ˙™

O™

‚3 p

Perc. 1

‚

hit with all fingers and stay scratch

32 3 54 32

≈ / >- ‰

‚

œœœ ® ‰ Ó

5 4 œœœœœ œœ Œ

œ -_

mf mp thimbles (one hand) drum let vib. 5 4 32 5 4 32

3 4

∑

5 4

∑

3 4

∑

5 4

∑

3 4

∑

5 4

∑

scratch Perc. 2

/ œœœœœœœœ Œ mp super ball mallet drag

Perc. 3

/ ‰

_™

5 4 -

Œ o

1 -_ o

bounce 6

drag

5 4 Œ o

œœœœœœœ œ 1 mf

_ o

growl and gliss down as far as possible

harmonic overblow mph. tr. 12356 + C#

12356 mph. nr. 18 12356 C#

‚ œ œ‰ Œ

12356 + C#

Ten. Sax.

°? ˙ ™ ¢

™ ˙

4 w 4 o

‚ œ ≈‰ Œ

‚ œ œ‰ Œ o pp

O™

˙™

O™

œ ææ æ æ Œ 43

Vln. I

4 #~ 4

∑

˙™ # O˙ ™™

# ‚œ

3 4

4 4

˙ 3 b O˙ ™™ 4

4 4

3 ˙O 4 #˙ ™ #˙O ™™

4 4

Œ pp

4 4

s.p.

O™ ° &

∑

ppp

I m.s.p.

4 w~ 4

bb ˙O ™™ Œ

bb ~~ Vln. II

∑

bb ˙O ™™

˙™

bO Œ

ppp

s.p.

4 4

∑

Vla.

Œ O™

˙™

O™

#˙O

~ ff

ppp II s.p.

4 4 ~

∑

Vc.

™ Œ bO

b˙ ™

O™

b~ Œ bw

Db.

O™

˙ O 44 ~ >

O™

(pp

ffpp

b O˙ ™™

4 4

ppp

III m.s.p.

bow side of bridge let vib.

? ¢ ˙™

3 b˙ ™ 4

let vib.

˙™

œ > f

4 Œ 3 Œ #˙ 4 ˙ 4 o

r.h. shake let vib. T.D.

/ Ó™

ææ ˙ o

æ 4 wæ 4

ææ w

ææ w o

∑

3 4

ææ ˙™

4 4

Perc. 1 l.h. scratch up and down (T.S.) scratch

/ _™ mf

Ó o

4 _ 4

∑

_™

∑

3 4

∑

4 4

r.h. shake let vib. T.D.

/ Ó™

ææ ˙ o

4 4

ææ w

ææ w o

∑

3 4

ææ ˙™

4 4

Perc. 2 l.h. scratch up and down (T.S.) scratch

/ _™ mf

Ó o

4 _ 4

∑

_™

∑

3 4

∑

4 4

r.h. shake let vib. T.D.

/ Ó™

ææ ˙ o

æ 4 wæ 4

Ó o

4 drag 4 >_

ææ w

ææ w o

∑

3 4

ææ ˙™

4 4

Perc. 3 (T.S.) l.h.

/ _™ p

ffpp

! ppp

_™ pp

Œ ∑

3 4

∑

4 4

5 38

mph. tr. 123567

TC growl forced inhale

™

1235671235671

Ten. Sax.

°? 4 bw ¢ 4 o

5 4 b˙ ™

3 4

5 ˙™ 4 ææ o

∑

˙ æ æ

2! 4

4 4

w æ æ

3 b6˙ 4

m.s.p.

# O˙ Vln. I

#O ™

#˙ ™

6 Œ Œ

4 4

I s.p.

O™

s.p. bow side of vln.

° 4 &4

5 4

5 O™ 4

3 4

˙ O

2 4˙

4Ó 4

3 œ ‚ bO 4

4 4

I m.s.p.

s.p. bow side of vln. Vln. II

b~ 4 &4

5 bO 4

™

3 b˙ 4

™ b˙O ™™

5 ˙O ™™ 4

˙O

2 4˙

4Ó 4

B 44 #~

5 4 #O ™

3 4 #O ™

5 4 O™

3 ˙O 4

# œ‚

3 4 ˙

O ‚

2 4˙

III s.p.

4Ó 4

˙ O

Vc.

bO ™

‚

bO ™

5 4

II s.p.

m.s.p.

5 ™ 4 O

3 4

2 4˙

4 4

∑

3 ™ 4 O

s.p. Db.

?4 ¢ 4 #w

m.s.p.

5 4 ˙™

ææ 4 /4 w

æ 5 ˙æ™ 4

3 4 ˙™

5 4 ˙™

2 4˙

4 4

III m.s.p.

bow tail piece

4 4

bow side of bridge

bO ™ ? 4b ˙™ 4

4 4

bow side of vla.

Vla.

˙ ˙O

4 4

∑

3 4 bO ™

4 4

ket vib.

ææ ˙

3 4

ææ ˙™

5 4

2 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

Perc. 1 th.dr.b. rub let vib. drum

ææ 4 /4 w o

æ 5 ˙æ™ 4

ææ 4 w /4

æ 5 ˙æ™ 4

ææ ˙

3 4

∑

5 4

ææ ˙™

ææ ˙

drag

2 4 >_

ket vib.

ææ ˙

3 4

ææ ˙™

5 4

2 4

∑

Perc. 2 th.dr.b. rub let vib. drum

ææ 4 /4 w o

æ 5 ˙æ™ 4

ææ 4 w /4

æ 5 ˙æ™ 4

ææ ˙

3 4

∑

æ 5 ˙æ™ 4

ææ ˙

drag

2 4 >_

ket vib.

ææ ˙

3 4

ææ ˙™

5 4

2 4

∑

Perc. 3 thimbles drum

th.dr.b. rub let vib.

ææ 4 /4 w o

æ 5 ˙æ™ 4 pp

ææ ˙

3 4

∑

5 4

ææ ˙™ pp

ææ ˙

drag

2 4 >_ p

some sort of harmonic gliss.

6 45

growl and sing (hehe)

‚ œgrowl 4 4Ó ææ o p oo f

subtone Ten. Sax.

°? 4 w) ¢ 4 ææ

3 ˙™ 4 ææ pp

Vln. I

° 4 b~ &4

3 b˙ ™ 4

O™

# w~

˙™

# ˙O ™™

3 b‚ 4

‚

growl

2 4 b˙ o

4 b)w 4

2 bO 4

4 4 o

∑

3 4

∑

4 4

∑

3 4

œ æ æ

3 4

# ˙O

4 &4

3 4

2 4

4 4 o

∑

3 4

∑

4 4

∑

3 4

B 44 #~

3 4 #O ™

2 4 #O

4 4 o

∑

3 4

∑

4 4

∑

Vla.

3 4

?4 ~ 4

3 ™ 4˙

O™

2 4 O

4 4 o

∑

3 4

∑

4 4

∑

Vc.

3 4

?4 ¢ 4 b~

3 4 b˙ ™

O™

2 4 bO

4 4 o

∑

3 4

∑

4 4

∑

Db.

3 4

Vln. II

r.h. shake

4 /4

∑

3 4

∑

2 4

ææ ˙ o

4 4

ææ w

3 4

ææ ˙™

ææ w

3 4

æ 4 wæ 4

3 4

æ 4 wæ 4

3 4

4 4

ææ w

3 4

4 4

ææ w

3 4

4 4

ææ w

3 4

4 4

Perc. 1 l.h. with thimbles drum

4 /4

∑

3 4

∑

2 4

∑

4 4

∑

3 4Ó

ææ œ pp

r.h. shake

4 /4

∑

3 4

∑

æ 2 ˙æ 4 o

æ 4 wæ 4

3 4

ææ ˙™

Perc. 2 l.h. with thimbles drum

4 /4

∑

3 4

∑

2 4

∑

4 4

∑

3 4Ó

ææ œ pp

r.h. shake

4 /4

∑

3 4

∑

2 4

ææ ˙ o

4 4

ææ w

3 4

ææ ˙™

Perc. 3 l.h. with thimbles drum

4 /4

∑

3 4

∑

2 4

∑

4 4

∑

3 4Ó

ææ œ pp

harmonic overblow whilst somehow growling

Ten. Sax.

ææ 51 °? 3 ‚œ ¢ 4

æ ‚æ 7 subtone

subtone

˙ œ

4 4

‰ p

∑

3 ˙™ 4

2˙ 4

3 4

∑

4 4

ff (as strong as possible)

II s.p. Vln. I

° 3Œ &4

bO o

3 ™ 4 b˙

4~ 4

O™

2 4

∑

3 4

∑

4 4

2 4

∑

3 4

∑

4 4

2 4

∑

3 4

∑

4 4

2 4

∑

3 4

∑

4 4

2 4

∑

3 4

∑

4 4

II m.s.p. Vln. II

3 &4 Œ

bO o

4~ 4

3 4 O™ o

IV s.p. Vla.

B 43 Œ

O o

4 4~

3 4 O™ o

s.p. Vc.

?3 Œ 4

O o

3 ™ 4O

4~ 4

II m.s.p. Db.

?3 ¢ 4Œ

3 /4

ææ ˙™

bO o

4~ 4

3 4 O™ o

4 4

ææ w

3 4

ææ ˙™

2 4

ææ ˙

3 4

ææ ˙™

4 4

ppp

Perc. 1 let vib.

3 /4

ææ ˙™

4 4

3 /4

ææ ˙™

æ 4 wæ 4

∑

3 4

∑

ææ ˙™

2 4

∑

æ 2 ˙æ 4

3 4

∑

ææ ˙™

4 4

ppp

Perc. 2 let vib.

3 /4

ææ ˙™

4 4

3 /4

ææ ˙™

4 4

∑

ææ w

3 4

∑

ææ ˙™

2 4

∑

ææ ˙

3 4

∑

ææ ˙™

4 4

ppp

Perc. 3 let vib.

3 /4

ææ ˙™

4 4

∑

3 4

∑

2 4

∑

3 4

∑

4 4

8 mph.tr. 123456 + B 12356 + B

B °? 4 Ó Ten. Sax. ¢ 4

Vln. I

growl + gliss down w voice only 123456+B

˙ o

œ mp

bbw~

° 4 bbw~ &4

œ6 ææ

5 4 Ó™

bb˙O ™™

™ 5 bb˙O ™ 4

bnw~

4 & 4 bnw~

B 44

bn˙O ™

bn˙O ™™

5 bn˙O ™ 4

?4 4

bn˙O

bbw w

bb˙˙ ™™

5 bO ™™ 4 b˙

nO˙ ™™

Vc.

˙O

Vla.

Vln. II

w.t. through mouthpiece

mouthpiece off!

O˙

s.t. o.p. 4/4

m.s.p. ord.

s.t. o.p. 4/4

5 ™ 4 ˙

m.s.p. ord.

s.t. o.p. 4/4

m.s.p. ord.

O™

Db.

4/4 ? 4 bo.p. w ¢ 4

b˙

5 4 b˙ ™

ff fp

(T.S.) th.dr.t. whip T.S. violently always let vib. Perc. 1

4 /4

œ ‰ >

>œ

thimbles both hands: scratch

œ >

≈ œ ‰ œ > >

‰

>œ

œ >

≈ œ ‰ >

>œ >œ

5 4 Ó™

(T.S.) th.dr.t. whip T.S. violently always let vib. Perc. 2

4 /4

≈ œ ‰ œ > >

thimbles both hands: scratch

≈ œ ‰ >

œ ≈ œ ‰ > >

≈ œ ‰ >

œ >

≈ œ ‰ œ > >

5 4 Ó™

4 /4

‰

_ p

(T.S.) th.dr.t. whip T.S. violently always let vib. Perc. 3

œ ≈ œ ‰ > > ff

thimbles both hands: scratch

>œ

œ ‰ >

œ >

‰™

œ ‰ >

œ >

‰™

œ 5 Ó™ > 4

_ p

9 through sax fluttering air sound + key clicks

Ten. Sax.

°¢? Ó™

3Ó 4 ææ ææ æ æ æ æ æ æ æ ææ ææ ææ ææ ææ ææ ææ æææ æ æææ o mp

ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ æ ææ ææ ææ ææ ææŒ æ mp

o mp

Œ 2 4

m.s.p.

Vln. I

b˙O ™™

° b˙ ™ &

b O˙

3 b˙ ™ 4

3 ™ 4˙

3 ˙™ 4

bœ

b ‚œ

œ ‚œ bnœ‚ 2 4

m.s.p.

O™ &

Vln. II

œ 42

m.s.p.

™ B nO Vla.

s.p.

3 ™ 4O

3 4 bO ™

Vc.

s.p. Db.

r.h. let vib. dum 3 2 3 3 54 32

let vib. 5 432 5 432

/ œœœœœ œ œ Œ

œœœœœœœœ‰

32 3 3

let vib. 23

œœœœ œ Œ

r.h. let vib. drum 5 432 5 432

/ œœœœœœœœ‰

let vib. 5 432 5 432

œœœœœœœœ‰

let vib. 5 432 5 4 32

œœœœœ œ œœŒ

r.h. dum

32 3 3

r.h. dum 3 2 3 3 54 32

let vib. 23

54 32 Perc. 3

/ ‰

2 4

ppp

O™

2 4

ppp

m.s.p.

? bO ™

Perc. 2

O™

m.s.p.

? O™

Perc. 1

˙™

œ œ œ œ œœœœ œ ‰ mp

‰

œœœœœ œ œ ≈

let vib. 54 32 54 32

both hands scratch

bO ™ ppp

r.h. scratch back and forth

3 4 _™

ææ ˙™

ppp

both hands scratch

ææ ˙™

ppp

œ œ œ œ œ œ œ œ ≈ 43 _™ p

2 4

r.h. scratch back and forth

3 4 _™

both hands scratch

2 4

r.h. scratch back and forth

ææ ˙™ ppp

2 4

10 drool grossly with some undelicate noises

Ten. Sax.

°¢? 2 Œ 4

4 ææ ææ ææ ææ ææ ææ ææ ææ 4

ææ ææ ææ ææ ææ ææ ææ ææ Ó

swallow 3

drool

2 œ ‰ œ ‰ œ 3 ˙™ 4 pp 4

w p

ææ ææ ææ ææ ææ ææ ææ ææ

5 4

bow top of bridge

s.p. m.s.p. Vln. I

4 <n>~ 4

° 2 bn˙O &4

O™

œ ‚ 2O 4

3 4 ˙™

ppp

5 4

bow top of bridge s.p. Vln. II

2 &4 œ ‚ ‚

m.s.p.

b~w

4 ~ 4

2 bO 4˙

3 4 ˙™

ppp

5 4

bow top of bridge s.p. Vla.

™ B 42 ‚

b‚ J

4 b~ 4

m.s.p.

2 4 bO

3 4 ˙™

ppp

5 4

bow top of bridge s.p. Vc.

4 ~ 4

?2 O 4

m.s.p.

O bO

2 4 bO

3 4 ˙™

ppp

5 4

bow top of bridge s.p. Db.

? 2 b˙ ¢ 4

4 bO ™ 4

m.s.p.

œ ‚ œ ‚ ‚ O™

‚

2O 4

3 4 ˙™

ppp

5 4

T.D. shake

Perc. 1

ææ 2 ˙ /4

æ 4 wæ 4

∑ o

æ 2 ˙æ 4 o

æ 3 ˙æ™ 4

5 4

ppp

T.D. shake

Perc. 2

ææ 2 ˙ /4

4 4

ææ w

∑

2 4

ææ ˙ o

3 4

ææ ˙™

5 4

ppp

T.D. shake

Perc. 3

ææ 2 /4 ˙

4 4

ææ w

∑ o

2 4

ææ ˙ o

3 4

ææ ˙™ ppp

5 4

11 w.t. through mouthpiece

exhale as in drool swallow sighing wearily

splutter inhale drool into sax

Ten. Sax.

°¢? 5 4

6 4 ~™

∑

2 4

∑

3 4 ˙™

Vln. I

°& 5 ˙ ™ 4

4œ 4

!™

6 4 w™

2 4˙

3 4 ˙™

2 4œ

4w 4

2 4˙

Vln. II

5 & 4 ˙™

6 4 w™

2 4˙

B 45 ˙ ™

6 4 w™

3 4 ˙™

2 4˙

4w 4

2 4˙

? 5 ˙™ 4

6 4 w™

4w 4

2 4˙

3 4 ˙™

4w 4

2 4˙

5 ¢? 4 ˙ ™

6 4 Ó™ p

3 4

bow top of bridge

O™ Db.

3 4

II m.s.p.

3 4

3 4 ˙™

2 4˙

3 4

Vc.

˙ mf

Vla.

3 4 o

2 4˙ o o

3 4 ˙™

4w 4

2 4˙

3 4

T.S. stroke, let vib. let vib.

Perc. 1

ææ 5 ˙ /4 ™

ææ ˙

6 4

∑

2 4

∑

3 4

∑

4 4

∑

2 4

∑

3 4

T.S. stroke, let vib. let vib.

Perc. 2

5 /4

ææ ˙™

ææ ˙

6 4

∑

2 4

∑

3 4

∑

4 4

∑

2 4

∑

3 4

T.S. stroke, let vib. let vib.

Perc. 3

ææ 5 / 4 ˙™

ææ ˙

6 4

∑

2 4

∑

3 4

∑

4 4

∑

2 4

∑

_ mp

3 4

harmonic overblow

∫‚ 12

C 74

Ten. Sax.

mouthpiece on!

°¢? 3 4

inhale with voice while glissing downwards

subtone

4 bw 4 o

∑

3 4 ˙™

6 4 w™

2 4 b!

3 4

b‚ 4 bœ 4

∑

subtone

œ ‰

˙ o

3 4

I s.p. Vln. I

4~ 4

°& 3 ˙ ™ 4

6 ~™ 4

3 O™ 4

~ 4 w 4

œ ‚ 3 O™ 4

2 4Œ

II m.s.p. Vln. II

4 b~ 4

3 & 4 ˙™

3 4

3 O™ 4

6 b~ ™ 4

2O 4

3 bO ™ 4

4 4

3 4 O™

6 4 ~™

2 4O

3 4 O™

4 O 4

2 4‚

3 œ ‚ 4 ˙™

3 4

O Vla.

B 43 ˙ ™

4w 4

3 4

m.s.p. III Vc.

? 3 ˙™ 4

4w 4

3 4 ˙™

6 4 ~™

4 4 ‚

O™

‚

O™

3 4

pp mp

bow side of bridge Db.

3 ¢? 4 ˙ ™

4w 4

3 4 ˙™

6 4 w™

2 4 >˙

3 4

∑

4m.s.p. 4 w

3 4

ææ w

3 4

T.D. shake

ææ œ o

3 /4Ó

4 4

ææ w

3 4

ææ ˙™

6 4

ææ w™

2 4

ææ ˙

3 4

ææ ˙™

4 4

Perc. 1

T.S. thimbles drum, let vib.

3 /4

4 4

∑

3 4

∑

6 4

≈ 2 4 œ >œ ‰ Œ

∑

3 4

4 4

∑

3 4

mp f

T.D. shake

ææ œ o

3 /4Ó

æ 4 wæ 4

3 4

ææ ˙™

6 4

ææ w™

æ 2 ˙æ 4

3 4

ææ ˙™

æ 4 wæ 4

3 4

Perc. 2

- thimbles big, slow circular movent (all fingers placed on t.s. the whole time)

T.S.

3 /4

4 4

∑

3 4

∑

6 4

2 4

∑

3 4

∑

4 w 4 o

3 4

ææ w

3 4

T.D. shake

ææ œ o

3 /4Ó

4 4

ææ w

3 4

ææ ˙™

6 4

ææ w™

2 4

ææ ˙

3 4

ææ ˙™

4 4

T.S. super ball mallet drag, let vib. T.S.

3 /4

∑

4 4

∑

3 4

∑

6 4

∑

2≈ 4

œ™ p

3 4

∑

4 4

∑

3 4

13 mph. tr. 123567

mph 123456 + B

1235671235671

Ten. Sax.

°? 3 b)˙ ™ ¢ 4

)™

4 bw 4

5 4

Vln. I

˙™

4 bw 4

3 4 ˙™

5 4 o mp O™ 5 4

O˙™™

° 3 ˙™ &4

4 w 4

O™

œ ‚ œœ‚˙

5 4

> #œ n˙

>˙

mph. 123567

O™

4 4

3 4

Ó o

b˙™ Vln. II

O™

3 &4

bb ˙O ™™

b w~

4 4

Vla.

4 4

∑

3 4

∑

5 4

∑

4 4

∑

3 4

O™ 3 B4

4 ‚ ‚ O™ 4

O˙

O™

5 4

mp Vc.

4 4

˙O

5 4

3 4

4 4

∑

3 4

∑

5 4

∑

4 4

∑

3 4

?3 4 O™

4 4 w~

5 4

∑

4 4

∑

3 4

∑

5 4

∑

4 4

∑

3 4

4 4 ~

5 4

∑

4 4

∑

3 4

∑

5 4

∑

4 4

∑

3 4

4 4

∑

3 4

∑

5 4

∑

4 4

∑

Db.

?3 ¢ 4 ˙™ mp

let vib.

ææ 3 / 4 ˙™

æ 4 wæ 4

5 4

mp thimbles drum

Perc. 1

3 /4

ææ ˙™

ææ ˙

mf thimbles drum

ææ ˙™

4 4

ææ w

scratch

5 4

_™

4 4

3 4

∑

ææ ˙™ o

5 4

ææ ˙™

ææ ˙

4 4

æ wæ

3 4

let vib.

3 /4

ææ ˙™

4 4

ææ w

5 4

ææ ˙™

ææ ˙

4 4

∑

3 4

∑

3 4

mf scratch

T.S.

3 / 4 ˙™

4 w 4

5 4

_™ mf

5 4

∑ ææ ˙™ o

4 4

∑

5 æ 4 ˙™

æ ˙

∑

4 wæ 4

3 4

let vib.

ææ 3 / 4 ˙™

æ 4 wæ 4

5 4

mp drag, let vib.

T.S.

3 ≈ / 4 >œ ‰ Œ

ææ ˙™

ææ ˙

4 4

3 4

∑

5 4

∑

4 4

∑

thimbles drag drum

4 4

5 4

∑

˙™

4 4

3 4

∑

5 4 _™

∑

æ 4 wæ 4

3 4

Ten. Sax.

gradually change to mph. nr. 14 12356 + C

°? 3 ˙ ™ ¢ 4

growl and yell mph. nr. 14 with all subtone tones possible

mph. nr. 14 gradually add more tones

4w 4

3 4 ˙™

˙™

4 4

w 4 ææ 4

3 4

f ff

ppp

shake

3 /4 Perc. 1

ææ 3 ˙ /4 ™

3 /4 Perc. 2

∑

4 4

∑

æ 4 wæ 4 ∑

ææ 3 / 4 ˙™

4 4

∑ ææ w

∑

æ 4 wæ 4

∑ ææ w

ææ ˙™ o æ 3 ˙æ™ 4 shake æ 3 ˙æ™ 4 o æ 3 ˙æ™ 4

3 4

4 4

ææ wæ

3 4

ææ ˙æ™

4 4

∑

3 4

4 4

∑

3 4

4 4

∑

3 4

4 4

∑

3 4

4 4

∑

3 4

ppp

4 4

∑

ææ 4 wæ 4

3 4

∑

ææ 3 æ 4 ˙™

ppp

4 4

∑

3 4

∑

T.D. shake

Perc. 3

3 /4

∑

4 4

∑

3 4

ææ ˙™ o

4 4

ææ wæ ppp

3 4

ææ ˙æ™

harmonic whisper flow freealy between the harmonic row of the given fundamental

14 mph. 123456 + Bb Ten. Sax.

95 °? 3 æ˙™ ¢ 4æ

5 ˙™ 4

6 4Ó

Ó o

Vln. I

° 3 &4

∑

6 4

5 4

∑

D 4 b~ 4

b‚ ‚ Œ

∑

4 Ó 4

3 4 o

I II s.p.

4 4

bO ‰ Œ 43 Œ

~~ o

∑

3 O™ 4 O™

4 ~w 4

3 4

4 ~ 4

3 4

˙O

3 4

II s.p. Vln. II

3 &4

∑

6 4

5 4

∑

4 4

∑

3 4 O™

~ o

∑

˙O ™™

IV m.s.p. Vla.

B 43

∑

6 4

5 4

∑

4 4

∑

3 4 O™

∑ ~ o

4 4 O

IV m.s.p. Vc.

?3 4

∑

6 4

5 4

∑

4 4

∑

3 4 O™

∑ b~ o

4 4b~

3 4

4 4 w

3 4

IV m.s.p. Db.

?3 ¢ 4

∑

6 4

3 / 4 _™ f T.S. s.b. mallet drag

Perc. 2

3 / 4 _™ f T.S. s.b. mallet drag

Perc. 3

3 / 4 _™

∑

4 4

∑

3 4 ˙™

∑ w o

T.S. s.b. mallet drag Perc. 1

5 4

∑

let vib. let vib.

6 4_

5 4

∑

4 4

∑

œ Œ Ó

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

let vib.

6 let_ vib. 4

5 4

∑

4 4

∑

œ Œ Ó

˙ p

let vib.

6 let_ vib. 4

5 4

∑

4 4

∑

œ Œ Ó

˙ p

= U 3 ˙™ 4

103

forceful inhale Ten. Sax.

°? 3 ¢ 4

drool

∑

forceful inhale

4 ˙™ 4

!™ f

3 4 !

splutter

4w 4

4 4

˙OO ™™™ Vln. I

° 3 ˙OO ™™™ &4

Vln. II

3 & 4 ˙O ™™

˙OO ™™™

4 4

∑

3 4

∑

4 4

∑

3 4

U ∑

4 4

∑

3 4

∑

4 4

∑

3 4

U ∑

4 4

∑

3 4

∑

4 4

∑

3 4

U ∑

4 4

∑

3 4

∑

4 4

∑

3 4

U ∑

4 4

∑

3 4

∑

4 4

∑

3 4

U ∑

4 4

3 4

U ∑

4 4

3 4

U ∑

4 4

3 4

U ∑

4 4

O™ mp

Vla.

B 43 O ™ ˙ ™

˙˙ ™™ mp

Vc.

?3 4 bO ™

˙™

bO ™

˙™

mp Db.

?3 ¢ 4 ˙™

µO ™

n˙ ™

µO ™

mp thimbles scratch Perc. 1

3 / 4 _™

s.b. mallet drag

swing let vib.

Œ V

4 4

∑

3 4 ˙™

swing let vib.

4 4V

mp s.b. mallet drag

thimbles scratch

kick back Perc. 2

3 / 4 _™

_™

4 4

∑

mp thimbles scratch Perc. 3

3 / 4 _™ mp

3 4 ˙™

4‰ ¿ ≈ Œ 4 >

mp s.b. mallet drag

_™

4 4

∑

3 4 ˙™

ff swing let vib.

4Œ 4

mp *conductor: use this bar to change tempo on metronome

E mph.tr. 12356 + C

ii. og himnarnir gráta 109 q = 60 Ten. Sax

°¢? 4 4

∑

3 4 !™

w o

∑

15 exhale on a repeated "tttt" (reminding of breath under water)

surrenderous inhale

12356

2 4

4 /4

∑

ææ w

∑

Perc. 2

4 /4

∑

3 4V

pp thimbles, both hands drum

Perc. 3

4 /4

∑

6 4V

Ó™

3 4

6 ≈ 4¿ ‰ Œ

Ó™

3 4

Ó™

3 4

kick back (lightly)

2 4

∑

mp swing let vib.

ææ w

∑

2 4V

swing let vib.

ææ w

∑

swing let vib.

æ 3 ˙æ™ 4

pp thimbles, both hands drum

3 4 o

thimbles, both hands drum Perc. 1

6 4 w™

∑

3 4V

2 4

6 4Ó

∑

= inhale with an up-glissing voice

inhale as in to calm exhale w. a suffocating voice down

116

Ten. Sax.

°¢? 3 !™ 4

2 4

3 4 _™

∑

Perc. 1

3 /4

Perc. 2

3 /4V

Perc. 3

3 /4Ó

2 4 !

!™

2 4V

∑

4 4

∑

3 4

4 4

∑

3 4

4 4

∑

3 4

4 4

∑

3 4

∑

3 4

∑

3 4

∑

2 4

3 4

∑

2 4V

∑

3 4

∑

2 4V

∑

3 4V

∑

3 4Œ

∑

3 4

Œ V

∑

kick back

¿ ≈ ‰ 42 >

∑

Ten. Sax.

exhale in a dying manner

growl w. a downwards glissing voice

124

°¢? 3 4

∑

2 4 æ˙ æ

∑

To Alto Sax.

3 4

!™

∑

Perc. 1

3 /4

Œ ∑

∑

3 4V

∑

2 4

∑

3 4Œ

∑

4 4

∑

4 4

∑

2 4

4 4

Œ ∑

∑

kick back and dampen (stay in a freezed position w. foot) (foot down) Perc. 2

3 / 4 Y™

Y™

∑

= cymbal arco, let vib.

T.S. thimbles (l.h.) drum, let vib.

132

Perc. 1

/ Œ

V Ó

∑

3 4

∑

? Œ

2 4

∑

4 4V Œ

Œ V

kick back mp

Perc. 2

/ Œ

V Ó

∑

3 4

∑

2‰ ¿≈Œ 4V Œ

3 4 ˙™ o

Œ mp

cymbal arco, let vib.

4 4

Œ V

∑

3 4 ˙™ o

Œ Perc. 3

/ V

∑

3 4

∑

2 4

∑

4 4V Œ

Œ V

3 4 ˙™ o

pp T.S. thimbles (l.h.) drum, let vib.

Œ mp

cymbal arco, let vib.

ææ ˙

ææ ˙ pp

T.S. thimbles (l.h.) drum, let vib.

ææ ˙

F iii. leaking green hours

Alto Saxophone subtone

q = 76 141

Ten. Sax.

°¢?

∑

subtone

4 &4

6 4 bw

2 4

3 4

∑

2 4

∑

w™

b˙ o

5 4

I II s.p.

3 4 ˙™

m.s.p.

I m.s.p.

s.p.

b˙ b 2 ˙ 4

bow bridge Tape

° & ˙™

4 4

6 4

∑

O O

b˙™ b 3 ˙™ 4

II m.s.p.

b‚

O™ O™

bO b 2 O 4

3 µO ™ 4

2 µ˙ 4

O™ 5 O™ 4

bO bO

5 µO ™ 4

3 4

bow bridge s.p. Tape

4 bO ™ 4

& ˙™ p

6 4

µO

2 4

∑

bow bridge

3 4

III m.s.p.

4 ~ 4

B ˙™ Tape

6 4

2 4

∑

3 4 O™

∑

2 4 O

5 4

∑

3 4

5 4

∑

3 4

2 4

5 4

∑

3 4

2 4 ˙ o

5 4

∑

3 4

I m.s.p.

O™

bow bridge

4 4

? ˙™ Tape p

6 4

2 4

∑

3 4

∑

2 4 p

I m.s.p.

Tape

◊ÿ bO ™

◊ÿ b~

bow bridge

4 4

? ™ ¢ ˙ p

6 4

2 4

∑

/ ‰ œ ˙

thimbles (r.h) drum

cymbal arco, let vib.

4 Ó 4

3 4

∑

ææ ˙

6 4

ææ w

ppp

arco let vib.

2 4 œ o

3 4

∑

T.S. thimbles (l.h.) drum, let vib.

Perc. 1

∑

4 Ó 4

ææ ˙

6 4

ææ w™

æ 2 ˙æ 4

æ 3 ˙æ™ 4

æ 2 ˙æ 4

5 4

2 4 ˙ o

5 4

ææ ˙™

ææ ˙

3 4

ppp

thimbles (r.h) drum

cymbal arco, let vib.

/ ‰ œ ˙

4 Ó 4

ææ ˙

æ 6 wæ ™ 4

arco let vib.

2 4 Œ

œ 43 o mp

ppp

∑

3 4

∑

T.S. thimbles (l.h.) drum, let vib.

Perc. 2

∑

4 Ó 4

ææ ˙

6 4

ææ w™

æ 2 ˙æ 4

æ 3 ˙æ™ 4

æ 2 ˙æ 4

5 4

ææ ˙™

ææ ˙

3 4

ppp

thimbles (r.h) drum

cymbal arco, let vib.

/ ‰ œ ˙

4 Ó 4

ææ ˙

æ 6 wæ ™ 4

arco let vib.

2 4

∑

ppp

3 4 ˙™ o

2 4

∑

5 4

∑

3 4

2 4

∑

5 4

∑

3 4

T.S. thimbles (l.h.) drum, let vib.

Perc. 3

∑

4 Ó 4

ææ ˙ ppp

6 4

ææ w™

2 4

ææ ˙

3 4

∑

17 148

-tromba

° 3 Alto Sax. ¢& 4

5 4 ˙ ™

4 4 ˙™

∑

3 4

∑

6 4 ˙™

5 4 w™

2 4 ˙™

spp mf

I II s.p.

m.s.p.

Vln. I

bow bridge

O ° 3 O &4

m.s.p.

b~ b~

5 4 ˙™

4 4

bO ™ b 3 O™ 4

b~ b~

∑

bw™ b 6 ~™ 4

~™

bœ ‚ ™ O b 5 œ ‚™ O 4

O O

2 4

spp

II m.s.p. m.s.p.

bow bridge

b~ ™ 3 #O˙ ™ 4

~ Vln. II

Vla.

3 &4

B 43

5 4 ˙™

4 4

∑

bow bridge

II m.s.p.

5 4 ˙™

4 4

∑

3 4 O™

I m.s.p.

Vc.

?3 4

6 4 w™

bow bridge

5 4 ˙™

4 4

#~w ™™

™ 5 #‚œ ‚œ ™ O˙ 4

™ 6 ~ 4

˙O ™™

3 4

∑

#w~ ™™

2 4

˙O

2 4

spp

5 4 #œ‚ œ‚ ™™ ˙O

w™ w~ ™™

œ‚ œ‚ ™™ ˙O

6 4

O˙

spp

˙O

5 4 mf

2 4 ff

spp

I m.s.p.

◊ÿ b~

bow bridge Db.

?3 ¢ 4

5 4 ˙™

4 4

bO ™

bw™

3 4

∑

3 /4

∑

~™

6 4

b œ ‚™ O

5 4

4 Ó™ 4

∑

œ o

∑

3 4

∑

5 4

6 4

2 4 ff

∑

5 4

spp

∑

Perc. 1

3 /4

ææ ˙™

3 /4

5 4

∑

ææ ˙™

5 4

ææ ˙

4 4

ææ w

4 Ó™ 4

∑

ææ w

œ o

ææ w

3 4

∑

3 4

ææ ˙™

∑

6 4

ææ w™

6 4

5 4

∑

ææ ˙™

5 4

2 4

ææ ˙

2 4

∑

Perc. 2

3 /4

ææ ˙™

5 4

ææ ˙™

ææ ˙

æ 4 wæ 4

ææ w

æ 3 ˙æ™ 4

æ 6 wæ ™ 4

3 4

6 4

æ 5 ˙æ™ 4

cymbal on t.s. drag down slowly let vib.

Perc. 3

3 /4

_™ mp

5 4

∑

4_ 4

∑

5 4

∑

2 4

G -tromba 4Œ 4 b˙™

156

° 2 Alto Sax. ¢& 4 ˙

4 4

3 4 w

6 4 ˙™

2 4 w™

3 6 4 4 nb 6˙™ n 6 b 6 b )w ™

ppp

3 4

4 4 ˙™

s.p.

Vln. I

° 2 &4

∑

I m.s.p.

O™ 3 O™ 4

b~ b 4 ~ 4

6 4

∑

2 4

∑

3 4

∑

6 4

∑

bridge 4 bow 4w

™ 3 O 4

4 4

I m.s.p.

‚

s.p.

Vln. II

2 &4

™ 3O 4

4 ~ 4

∑

bow bridge

6 4

∑

2 4

∑

3 4

∑

6 4

∑

4w 4

3 bO 4

s.p. Vla.

B 42

s.p.

4 #~ 4

∑

4 4

3 4 O™

6 4

∑

2 4

∑

3 4

∑

6 4

∑

bridge 4 bow w 4

3 4 #O ™

4 4

m.s.p.

s.p.

O™

‚

bow bridge Vc.

?2 4

4 4

∑

3 4

6 4

∑

2 4

∑

3 4

∑

6 4

∑

4w 4

3 4

m.s.p. ◊ÿ b‚ b‚ O

s.p.

◊ÿ b~ Db.

?2 ¢ 4

O™

4 4

∑

3 4

6 4

∑

2 4

∑

3 4

∑

6 4

∑

bridge 4 bow w 4

t.d.t. whip t.s. let vib. swing (T.S.)

Perc. 1

4 4

Perc. 2

ææ w

3 4

¿ ‰ ? 44 >

∑

≈ ‰ ¿ ≈ ≈ ¿ 4To Crot. 2 œ /4 > ∑ >4 >

3 4

Perc. 3

ææ ˙™

6 4

let vib.

To Crot.

ææ w™

2 4

∑

3 4

∑

6 4

∑

4 4

∑

3 4

∑

4 4

3 4

cymbal hit t.s. let vib.

4 4

(T.S.) kick back swing

2 / 4 ‰™

3 4

T.D. shake

≈‰ Œ 2 œ /4 ‰ ? Œ

4 4

ææ ˙™ o

6 4

let vib.

To Crot.

ææ w™

2 4

∑

3 4

∑

6 4

∑

4 4

∑

3 4

∑

4 4

2 4

∑

3 4

∑

6 4

∑

4 4

∑

3 4

∑

4 4

kick back

∑

6 4

∑

19 165

Alto Sax.

° 4 ¢& 4 w

5 4 ˙™

Vln. I

3 4 w

6 4 ˙™

w™

O™

5 4

4 4

O™

˙™

w™

˙™

6 4

5 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

ppp

O™

~™

O™

3 4

4 &4

w™

4 4 mp

Vln. II

3 4

“~” ° 4 &4

4 4

~™ bO ™

3 4

6 4

ppp

m.s.p.

n~ Vla.

B 44

O™

5 4

b ~w

4 4

˙™ b O˙ ™™

3 4

b ~w ™™

6 4

s.p.

m.s.p.

O™

~ Vc.

?4 4

ppp

5 4

4 4

˙ ™ ˙O ™™

3 4

w~ ™™

6 4

ppp

s.p. m.s.p.

Db.

:◊; b~ ?4 ¢ 4

bO ™

5 4

b˙™

4 4

O™

3 4

b~™

6 4

ppp

Crotales arco let vib. To T.S Perc. 1

4 /4

5 ˙™ ∑ &4

4 4

∑

3 4

∑

6 4

∑

3 4

∑

4 4

∑

4To T.S 4

∑

3 4

∑

6 4

∑

3 4

∑

4 4

∑

3 4

∑

6 4

∑

3 4

∑

4 4

∑

Crotales arco let vib. Perc. 2

4 /4

5 ∑ & 4 ˙™ p

Crotales arco let vib. To T.S Perc. 3

4 /4

5 ∑ & 4 ˙™ p

4 4

20 174

° Alto Sax. ¢&

3 4 w

bb )˙™

˙™

4 4 bw

3 4

6 4

Vln. I

5 4

4 4

∑

3 4

∑

4 4

˙™

bO ™ ° &

∑

3 4

∑

4 4

∑

3 4

~™

bO ™

6 4

5 4

O™

4 4

3 4

4 4

ppp

O™ &

Vln. II

∑

3 4

∑

4 4

∑

3 4

~™

O™

5 4

6 ~™ 4

5 O™ 4

~™

O™

6 4

4 4

3 4

4 4

4 ~ 4

3 O™ 4

4 4

O™

ppp

∑

Vla.

3 4

∑

4 4

∑

3 O™ 4 ppp

O™ ?

∑

Vc.

3 4

∑

4 4

∑

3 4

6 4

5 4

4 4

3 4

4 4

ppp

“O™” ?

∑

Db.

3 4

∑

4 4

∑

3 4

~™

O™

6 4

5 4

O™

4 4

3 4

4 4

ppp

Perc. 1

∑

3 4

T.S th.dr.b. on t.s. drag

∑

4 /4 _

let vib.

3 4 !™

6 4

∑

5 4

∑

4 4

∑

3 4

∑

4 4

6 4

∑

5 4

∑

4 4

∑

3 4

∑

4 4

6 4

∑

5 4

∑

4 4

∑

3 4

∑

4 4

Perc. 2

∑

3 4

T.S th.dr.b. on t.s. drag

∑

4 /4 _

let vib.

3 4 !™

Perc. 3

∑

3 4

T.S cymbal on t.s. drag

∑

4 /4 _

let vib.

3 4 !™

H 21 183

tromba

° 4 Alto Sax. ¢& 4

3 4 bw

5 4

6 4

∑

4 4

3 4

∑

˙™

bw o

˙™ pp

fff

m.s.p. ord.

s.t. o.p. 4/4

b˙™

O Vln. I

° 4 &4

Ó o

∑

3 4

b˙™

5 4 ff

“” 6 b~ ™ 4

fff

Vln. II

4 &4

∑

3 4

4 b~ 4

bO ™

3 bO ™ 4

5 4

™ 3 O™ b O 4

5 4

3 O™ 4

5 4

m.s.p. ord.

˙o.p.™ 4/4

˙™ Ó o

b~™

ppp

s.t.

5 4

5 4 ff

“” 6 4 ~™

fff

b~™

4~ 4

b~ ~

ppp

m.s.p. ord.

~™

s.t.

s.p.

‚

o.p. 4/4 Vla.

O B 44

Ó o

∑

3 ˙™ 4

5 ˙™ 4

6 ~™ 4

fff

Vc.

Db.

?4 4

:“; O ?4 ¢ 4

Ó o

∑

o.p. 4/4

˙™

5 4 ff

“” 6 ~™ 4

fff

˙™ ∑

3 4

˙™

5 4 ff

b~™

4~ 4

b~ ~

b‚

3O 4

5 4

m.s.p. ord. o.p. 4/4

∑

ppp

s.t.

Ó o

m.s.p. ord.

˙™

3 4

O™

ppp

s.t.

4~ 4

“” 6 ™ 4~

fff

b~™

4~ 4

bO ™

3 ™ 4O

5 4

ppp

s.b. mallet drag let vib. Perc. 1

4 /4

∑

3 4 _™ ff

5 4 _™

6 4

∑

4 4

∑

3 4

∑

5 4

6 4

∑

4 4

∑

3 4

∑

5 4

6 4

∑

4 4

∑

3 4

∑

5 4

fff

s.b. mallet drag let vib. Perc. 2

4 /4

∑

3 4 _™ ff

5 4 _™

fff

s.b. mallet drag let vib. Perc. 3

4 /4

∑

3 4 _™ ff

5 4 _™ fff

22 192

tromba

° 5 Alto Sax. ¢& 4

Ó™

∑

growl

4 4 B˙ o

3 4 w

2 4

4 4 B˙

˙™

3 4 ææ B˙ ™

tromba

3 4

4 4 n˙ ™

6 4 w

pp mf

˙™ O™

O™

c.l.b.

Vln. I

:“; bO ° 5 &4

O™ b‚ ˙ O b O ™

4 O™ 4

Œ 43

2 4

4 4

3 4

spp

3 4 mf

4 ~ 4

6 4

4 µ~ 4

6 4

c.l.b.

Vln. II

:“; bO 5 &4

bO ™

O™

4 O™ 4

‚ ˙ O

‚ O Vla.

2 4

O™

˙™

O™

3 4 mf

O™ ˙™ Œ 43

O O

2 4

˙O ™™

˙O

4 4

˙™

3 4

spp

s.p.

Vc.

3 4

spp

4 4

b‚ O

4 4

m.s.p.

O™

B 45

:“; ?5 O 4

˙™ O™

Œ 43

˙ ™ O˙ ™™

3 4

˙ O˙

2 4

˙O

˙ ˙O

˙ ™ ˙O ™™

O™

4 4

3 4

bO ™

4 4

6 4

4 µ~ 4

6 4

bO ™

6 4

“” b~

3 4 mf

Db.

4 4

m.s.p.

nO ™

4 4

:“; b O ™ b O ? 5 O™ ¢ 4

˙O ™™

3 4

4 4

2 µO 4

3 4

4 µw 4

3 µ˙ ™ O™ 3 µO ™ 4 4 mf

thimbles l.h. drum

Perc. 1

5 /4

∑

4 Ó 4

ææ ˙ o

3 4

ææ ˙™

2 4

ææ ˙

4 4

ææ w

3 4

ææ ˙™

3 4

ææ ˙™

4 4

ææ w

6 4

2 4

ææ ˙

4 4

ææ w

3 4

ææ ˙™

3 4

ææ ˙™

4 4

ææ w

6 4

thimbles l.h. drum

Perc. 2

5 /4

∑

4 Ó 4

ææ ˙ o

3 4

ææ ˙™ pp

s.b. mallet drag, let vib. To Cym. Perc. 3

5 /4

∑

4 Ó 4

! f

3 4

∑

2 4

∑

4 4

∑

3 4

∑

3 4

∑

4 4

∑

6 4

Alto Sax.

gliss down as far as possible

screeching inhale

201

° 6 ¢& 4

5 4 !™ w) ™™ p

2 4

∑

I tromba 4 4w

2O 4

4 4w

3 4

p f

m.s.t. Vln. I

2 4˙

° 6 ~™ &4

5 O™ 4

o.p 2/4

m.s.p.

4~ 4

2 O 4

4w 4

3 4

m.s.t.

m.s.p. o.p 2/4

Vln. II

6 µ~ ™ &4

5 µO ™ 4

2 µO 4

4 µ~ 4

µ~

2 µO 4

4 µ~ 4

3 4

s.t.

w™ Vla.

~™

B 46

O™

o.p. 2/4

5 4 mp

o.p. 3/4

2 4

4 4

2 4

∑

4 4

∑

3 4

2 4

∑

4 4

∑

3 4

2 4

∑

4 4

∑

3 4

2 4

∑

4 4

∑

3 4

ord.

Vc.

:“; b~™ ?6 4

bO ™

5 4

b Oo.p. 2/4

O bO ™

2 4

4 b~ 4

b~ p

o.p. 1/4

~™ Db.

O™

m.s.p. ord.

s.t. o.p. 2/4

?6 ¢ 4

µO

5 4 p

2 µO 4

4 µ~ 4

µ~

T.D. shake

let vib.

ææ 6 / 4 w™ o

æ 5 ˙æ™ 4

ææ 6 / 4 w™

æ 5 ˙æ™ 4

ææ ˙

2 4

ææ ˙

4 4

∑

Perc. 1 th.dr.b. scratch slowly let vib.

let vib.

ææ ˙

æ 2 ˙æ 4

4 4

∑

2 4

∑

4_ 4

3 4

T.D. shake

let vib.

ææ 6 / 4 w™ o

æ 5 ˙æ™ 4

ææ 6 / 4 w™

æ 5 ˙æ™ 4

ææ ˙

2 4

ææ ˙

4 4

∑

2 4

∑

4 4

3 4

∑

Perc. 2 thimbles scratch slowly let vib.

let vib.

ææ ˙

æ 2 ˙æ 4

4 4

∑

2 4

∑

4_ 4

3 4

Cymbal arco, let vib. Perc. 3.

6 /4 œ mf

To T.S

Ó™

5 4

∑

2 4 Œ

œ mp

4 4

∑

2 4œ mp

4 Ó™ 4

œ p

3 4

24 208

° 3 Alto Sax. ¢& 4 ˙™

4 4 w

˙™

6 4 w™

4 4 w

3 4 ˙™

5 4 ˙™

4 4 w

ppp

s.t.

Vln. I

o.p. 1/4 ° 3 O˙ ™™ &4

o.p. 4/4 ord.

O˙ ™™

~™ 6 w ™ 4

4 4

™ n Oord. Vln. II

4 w~ 4

3 O™ 4

bn ˙O ™™

5 O™ 4

4 w 4

ppp

bn ˙O ™™

3 &4

o.p. 3/4

µµœ‚ 6 µµw~ ™™ 4

4 4 pp

w™

4 µ~ 4

3 µO ™ 4

5 µO ™ 4 Ó™

4 µ~~ 4

ppp II

m.s.p. s.p.

˙O ™™ Vla.

B 43

4 4

∑

˙O ™™ b˙O ™™ 6 4

o.p.4/4

~ 4 bw w 4

m.s.t. O™ b 5˙ ™ 4

O™ 3 b˙ ™ 4

˙O

~ 4 bw 4

ppp

s.p. o.p. 4/4

~™

bs.p. O™ Vc.

w™

˙O ™™

m.s.p.

O™

?3 4 p

4 ~ 4

6 4

4 4

˙O ™™

3 4

5 4

Db.

˙™ pp

∑

drum

æ Œ 4 wæ 4

Perc. 2

∑

æ Œ 4 wæ 4

Perc. 3

T.S. drum

æ Œ 4 wæ 4

To T.S

5 4 ˙O ™™

Crotales arco, let vib.

let vib.

æ 6 wæ ™ 4

3 4 ˙O ™™

˙O

3/4 4 wo.p. ~ 4

ppp

To Crot.

4 4

∑

3 œ &4

To T.S

Œ Œ 45

∑

4 4

∑

4 4

∑

4 4

∑

Crotales arco, let vib.

let vib.

æ 6 wæ ™ 4

To T.S

To Crot.

4 4

∑

T.S. s.b. mallet Cymbal drag, let vib. To Cym. arco, let vib.

3 /4 ‰ - - Œ

4 ~ w~ 4

drum

3 /4

6 4 n~ ™ p

thimbles scratch slowly let vib. Perc. 1

4 4

s.t.

4 4 µ~

∑

3 /4

ppp

IV m.s.p.

?3 ¢ 4

3 bœ &4

Œ Œ 45

Crotales arco, let vib.

let vib.

æ 6 wæ ™ 4

To Crot.

4 4

To T.S

∑

3 &4 œ p

Œ Œ 45

25 add voice in any range that adds some essence to a dying suffocating atmosphere :)

216

Alto Sax.

° ¢& w

3 4 ˙™

2 4˙

Vln. I

~ ° & mf

s.t. o.p. 4/4 Vln. II

m.s.p. ord.

spp

˙™

3 4 o

∑

O 2˙ 4

m.s.p.

O™

4 4

∑

3 4

∑

2 4

∑

m.s.p. ord.

s.p.

spp

~ word.

II s.p.

B Vla.

˙™

2 4 ˙

s.p.

3 4 ˙™

µw w

bw~m.s.p.

4 4w

tromba (in a rather caracterless manner)

spp

3 4 ˙™

3 4 o

O˙ ™™

∑

4 ~w 4

2 4 O˙

3 ™ 4 O˙ ™

O™

2O 4 b˙

4 4

∑

3 4

∑

s.t. ord

s.p.

2 4 O˙

O˙ ™™

b˙ ™

2 4

m.s.p.

O™ bO ™

? Vc. mf

spp

3 4 o

∑

? w ¢ mf

~ spp

Perc. 1

/ o

ææ w

3 4 o

æ 3 ˙æ™ 4

T.S thimbles (both hands) drum Perc. 1

ææ w o

ææ w

æ 3 ˙æ™ 4

T.S thimbles (both hands) drum Perc. 1

ææ w o

ææ w pp

4 4

∑

3 4

2 bO 4

∑ pp

III IV m.s.p.

T.S thimbles (both hands) drum

ææ w

2 4 mp

m.s.p. ord. Db.

#m.s.p. O˙

æ 3 ˙æ™ 4

∑

2 4 O˙

3 O™ 4˙ ™

4~ 4w

O™ ˙™

µO˙ ™™

æ 3 ˙æ™ 4

ææ ˙™

æ 3 ˙æ™ 4

ææ ˙™

scratch both hands let vib.

let vib. drum

2 4 _

æ 4 wæ 4

scratch both hands let vib.

drum

2 4

ææ ˙

let vib.

2 4 _

æ 4 wæ 4

4 4 f

2 4

ææ ˙

Cymbal arco, let vib.

s.b. mallet drag, let vib. To Cym.

2 4 _

2 4 µO

∑

3 4

∑

œ mp

2 4

∑

INSTRUMENTATION Tenor saxophone (amplified) (doubling Alto Saxophone) 3 percussionists 1. Thunder sheet, thunder drum, sustended cymbal, crotales (E7) a. Thimbles (on four fingers of each hand) b. Superball mallet c. Double bass bow 2. Thunder sheet, thunder drum, sustended cymbal, crotales (A6, Eb7) a. Thimbles (on four fingers of each hand) b. Superball mallet c. Double bass bow 3. Thunder sheet, thunder drum, sustended cymbal, crotales (D6, F6) a. Thimbles (on four fingers of each hand) b. Superball mallet c. Double bass bow d. Cymbal (used on thunder sheet)

String quintet

EXPLANATIONS

Explanations

Explanations Explanations

Saxophone

Saxophone Saxophone

Explanations Saxophone Saxophone

Explanations w.t. – whistle tones

Inhale Exhale Growl. The

inhale inhale

Saxophone

w.t. – whistle tones

w.t. – whistle tones w.t. – whistle tonestones w.t. – whistle Explanations

inhale

Saxophone Saxophone

exhale

Explanations w.t. – whistle tones

Explanations inhale Saxophone

Explanations Saxophone Explanations

w.t. – whistle tones

Saxophone

inhale Explanations Explanations inhale

w.t. – whistle tones

Saxophone exhale

w.t. – whistle tones exhale Saxophone w.t.tones – whistle tones w.t. – whistle w.t. – whistle tones exhale exhale exhale exhale w.t. – whistle tones inhale The growl should be in the form of a throat flutter boosted Growl. inhale Growl. The growl should inhale inhalebe in the form of a throat flutter boosted with the use voice. Growl. The growl should be in the form of a throat flutter boosted with the use voice. inhale growl should be in thebeform a throat flutter boosted with the use voice. Growl. The growl should be in the form of a throat flutter boosted with the use voice. Growl. The growl should in should theof form ofthe a throat flutter boosted with the use the voice. Growl. The be growl be of in form flutter of a throat flutterwith boosted use voice. Growl. The growl should in the form a throat boosted the with use voice. exhale exhale Square noteheads exhale are sung exhale Square noteheads are sung

Square noteheads are sung

exhaleare sung Square noteheads are sung Square noteheads Square are sung Square noteheads arenoteheads sung Square noteheads are sung This notation represents a fluttering air sound; the effect is performed with mouthbepressure only, aoffluttering main Growl. The growl should in the form a throattechnique flutter booste This notation Growl. The growl should bethe in formThe of is agrowl throat flutter boosted with the voice. This notation represents a fluttering air sound; performed with mouth pressure mouthpiece (further information in score).with The different position of note-tails is to indicate the minor pitch-changes of the b Growl. The growl should be in the form of the a effect throat flutter boosted with the useform voice. Growl. should be in the of ause throat flutter boosted the use voice. mouthpiece ( This notation represents a flutterin fundamentals. The flutter should not at allThis be rhythmical. notation represents a fluttering the effect is performed with This notation represents a fluttering air sound; the effect is performed with mouth pressure only, be aair fluttering technique mainly performed wi Growl. The growl should insound; the form of a throat flutter booste only, a fluttering technique mainly performed withoutThis thenotation mouthpiece (further information fundamentals mouthpiece (further information i represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique mainly perform mouthpiece (further score). The different position of note-ta mouthpiece (further information score).the The different position ofwith note-tails is information to indicateonly, theinminor pitch-changes of the breath, performe creating a This notation represents a fluttering air in sound; effect isposition performed mouth a fluttering technique mainly fundamentals. should mouthpiece (further information in score). The different of note-tails is flutter topressure indicate thenot minor pitch-changes ofThe theflutter breath, creat fundamentals. The should at all be rhythmical. in score). The different position of note-tails is to indicate the minor pitch-changes of the fundamentals. The flutter should not at all be rhythmical. mouthpiece (further information in score). The different position of note-tails is to indicate the minor pitch-changes of the breath, creati fundamentals. The flutter should not at all be rhythmical. Square noteheads are sung Squareare noteheads are sung fundamentals. The flutter not at all be rhythmical. Square sung noteheads are sung breath, creating a soar of noteheads fundamentals. The flutter should not at all be should rhythmical. gradually move fromSquare one technique to the other Square noteheads are one sungtechnique to the other gradually move from gradually move from one technique to the other

gradually move from one technique to the other

gradually move fromrepresents one technique to the other This notati This notation air sound;is the effectaisfluttering performed mouth pressure only, atechnique fluttering technique This notation represents a fluttering aairfluttering sound; effect performed with mouth pressure only, a fluttering mainly per Thisthe notation represents airwith sound; the effect is performed with mouth pres mouthpiec mouthpiece (further information in score). The different position of note-tails is to indicate the minor pitch-changes of gradually move from one technique to the other circular breathing mouthpiece (further information in score). The different(further positioninformation of note-tails to indicate the minor pitch-changes of This theisbreath, mouthpiece in isscore). The different position of note-tails to indi notati fundament fundamentals. The flutter should not at all be rhythmical. fundamentals. The flutter should not at all be rhythmical. The flutter fundamentals. should not at all be rhythmical. mouthpiec circular breathing circular breathing Circular breathing circular breathing fundament The first two movements are performed on an amplified tenor saxophone, boasting the piece with live electronics with effects run from Ableton Live and Max for Live. Additionally, the s circular breathing circular breathing initiating the playback that goes through the first two movements. The third movement is entirely acoustic, and is performed on the alto saxophone. Further information regarding playing The first two movements are performed on amplified tenor saxophone, boasting the piece wit circular breathing first movements arean performed on anAdditionally, amplified saxophone, b gradually move from technique to the tenor other The first two movements are performed on an amplifiedto tenor saxophone, boasting the piece with live electronics withThe runtwo from Ableton Live and Max one for Live. the saxophonist is re gradually froman one themove othersaxophone, The first two movements aremove performed on amplified tenor boasting theinitiating the effects score.from move gradually one technique totechnique the other gradually from one are technique to the other playback that boasting goes through the firstwith two live movements. The third movement isfrom entirel The first two movements performed on an amplified tenor saxophone, the piece electronics with effects run initiating the playback that goes through the first two movements. The third initiating the playback that goes through the first two movements. The third movement is entirely acoustic, and is performed on the alto saxophone. Further information regarding playing techniques areA f gradually move to the other Thelive firstelectronics two movements with are performed an amplified tenor saxophone, boasting the piece with live electronics with effects run from Ableton Live andfrom Maxone for technique Live. Additionally, the saxophonist piece with effectsonrun from Ableton Live and Max for Live. Additionally, score. The first two movements are performed on an amplified tenorinitiating saxophone, live the electronics with effects run from Liveisand Max for Live. Additionally, the saxophonist the boasting playbackthe thatpiece goeswith through first two movements. The thirdAbleton movement entirely acoustic, and is performed on the alto s score. score. initiating the that goes through the first the two movements. The thirdgoes movement is entirely Further information regarding playing techniques the saxophonist isplayback responsible for initiating playback that through theacoustic, first and is performed on the alto saxophone.Further Strings initiating the playback that goes through the first two movements. information regarding playing techniques score.The third movement is entirely acoustic, and is performed on the alto saxophone. circular breathing circular breathing score. two movements. Thecircular third breathing movement is entirely acoustic, and is performed on the alto Strings s.p. – sul ponticello circular breathing score. Strings s.t. – sul tasto Strings circular breathing saxophone. Further information regarding playing techniques are found in the score. s.p. – sul ponticello m.s.p. – molto sul ponticello s.p. – sul ponticello The first twoeffects movements areAbleton performed onand an amplified tenorAdditionally saxophone, Strings The first twom.s.t. movements performed amplified tenor saxophone, the live piece with electronics with runlive from Live Max forfrom Live. s.t. –live sul tasto s.p. – sul ponticello – molto are sul on tasto The first two are performed an amplified tenor saxophone, boasting on theboasting piece with electronics with effects run from Ableton Live and Max foreffects Live. Additionally, the saxoph The first on twoanmovements are performed an amplified tenor saxophone, boasting the piece with electronics with run Ableton Live s.t. –movements sul tasto Strings m.s.p. – molto sul ponticello o.p. – overpressure s.t. – sul tasto initiating the playback that goes through the first two movements. The thi Strings m.s.p. – molto sul ponticellothat goes through thes.p. initiating the playback first two movements. The third movement is entirely acoustic, and is performed on the alto saxophone. Further information regarding plF – sul ponticello The first two movements are performed on an amplified tenor saxophone, initiating the playback that goes through theinitiating first twothe movements. Thegoes thirdthrough movement is entirely acoustic, and performed on theissul alto saxophone. Further information regarding playing techn m.s.t. –ismolto sul tasto playback that the first two movements. The third movement entirely acoustic, and is performed on the alto saxophone. m.s.p. – molto ponticello m.s.t. – molto sul tasto s.p. – sul ponticello s.t. – sul tasto score. o.p. – overpressure s.p. score. m.s.t. – molto tasto that goes through the first two movements. The thi initiating thesul playback – overpressure score. s.t. –– sul sul ponticello tasto o.p. score. between m.s.p. – molto sul ponticello vertical bowing m.s.p. and m.st. Strings s.t. – sul tasto o.p. – overpressure m.s.p. – molto sul ponticello m.s.t. – molto sul tasto score. m.s.p. m.s.t. –– molto molto sul sul ponticello tasto vertical bowing between m.s.p. and m.st. o.p. – overpressure vertical bowing between m.s.p. and m.st. m.s.t. molto sul tasto Strings o.p. ––overpressure Strings Strings Strings s.p. – sulo.p. ponticello – overpressure vertical bowing between m.s.p. and m.st. harmonic s.p. – sul ponticello Strings s.p. – sul ponticello vertical bowing between m.s.p. and m.st. s.t. – sul tastos.p. – sul ponticello s.p. – sul ponticello s.t. – sul tasto s.t. bowing – sul tasto harmonic vertical between m.s.p. and m.st. s.t. – sul tasto s.t. – sul tasto s.p. – sul ponticello harmonic artificial harmonic m.s.p. – molto sul ponticello vertical bowing between m.s.p. and m.st. m.s.p. – molto sul ponticello m.s.p. – molto sul ponticello m.s.p. – molto sul ponticello m.s.p. – molto sul ponticello s.t. – sul tasto sul tasto m.s.t. – molto m.s.t. –tasto molto sul tasto harmonic m.s.t. – molto sul artificial harmonic m.s.t. – molto sul tasto m.s.t. – molto sul tasto m.s.p. – molto sul ponticello o.p. – overpressure harmonic o.p. –artificial overpressure o.p. – overpressure o.p. – overpressure harmonic m.s.t. – molto tasto Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with sul every individual tremolo. o.p. – overpressure harmonic o.p. –artificial overpressure harmonic harmonic Slurred tremolo is to be playedbetween on one bow throughout the bar. That is, the bowi vertical bowing m.s.p. and m.st. Slurred tremolo isbetween to be played on one throughout the bar. That is, the bowing does not change with every individual tremolo. vertical bowing m.s.p. andbow m.st. artificial harmonic vertical bowing between m.s.p. and m.st. vertical bowing between m.s.p. and m.st. artificial harmonic Vertical bowing between m.s.p. and m.st. Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note bowing of the tremolo to the second, as a pendulum between th vertical between m.s.p. andbut m.st. artificial harmonic Slurred tremolo is to be played on one bow throughout the b

Gradually move from onemove technique to the other gradually from one technique to the other

Gliss back and forth between the notes indicated. That is, the glissando is not to be

Gliss back and forth between the notes indicated. That Slurred is, the glissando playedon only from thethroughout first note ofthe the bar. tremolo thethe second, but does as a pendulum between twoindividual notes. tremoloisisnot to to bebeplayed one bow Thattois, bowing not change with the every harmonic harmonic Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo. harmonic harmonic Things to keep in mind: Slurred tremolo is to be played on one bow throughout the bar. That is, the bowing does not change with every individual tremolo. The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as and littleforth pitch-audibility as notes possible. Some ofThat the harmonics harmonic Gliss back between the indicated. is, the g artificial harmonic to keep grudgy, almost a white noise. Take them as they come, if you are positioned as indicated inThings the score, youinaremind: right! artificial harmonic artificial harmonic Things to keep in mind: artificial harmonic Theindicated. levels of o.p..are into fourisdifferent groups, from 1/4from to 4/4, 1/4 isofa the slight o Artificial harmonic The levels of o.p..are divided into four different groups, from 1/4Gliss back and forth between the notes That is,divided the glissando not to be played only thewhere first note trem to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as artificial little pitch-audibility as possible. Some of the harmonics are very pure, harmonic Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to theassecond, but as a pendulum between the twoinnotes grudgy, almost a white noise. Take them they come, if you are positioned as indicated the s grudgy, almost a white noise. Take them as they come, if you are positioned as indicated in the score, you are right! Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes Percussion Slurred tremolo is to be played on one bow throughout the Things to keep in mind: Slurred is toon beone played on one bow throughout That the bowing doesthe not change with individual tremolo is totremolo be played bowSlurred throughout the bar. is,bar. the bowing does not not change with every tremolo. tremolo is toThat be the played on oneis,bow throughout bar. That individual is, theevery bowing does nottremolo. change with every individual tremolo. Slurred tremolo is to be Slurred played one bow throughout the bar. That is, the bowing does r.h.on – right hand The levels of o.p..are divided into four different groups, from 1/4 to 4/4, w Percussion Things to keep in mind: Percussion l.h. – left hand Slurred tremolo isthem to beasplayed on oneifbow the grudgy, almost a white noise. Take they come, you throughout are positioned change with every individual tremolo. Things to keep in mind: The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pi r.h. – right hand t.s. – thunder sheet Things to keep in mind: r.h. – right hand into four different groups, from The levels of o.p..are divided 1/4 to almost 4/4, where 1/4noise. is a slight 4/4 is a full as little pitch-audibility possible. Some of the harmonics are very p a white Takeo.p.., themand as they come, ifo.p. you with are positioned as indicated inasthe score, you are l.h. – left t.d. thunder drum groups, fromgrudgy, Gliss back and forth between theofright! notes indicated. That is, the The levels of o.p..are divided four different 1/4 to 4/4, where 1/4 isis,a the slight o.p.., and 4/4 isright! a full o.p.hand withfrom as little pitch-audibility as possible. Some the harmonics are very p l.h. – left hand into Gliss back andthey forth between the notes indicated. That glissando is not to be played only first note of the tremolo to the second, butof asthe abetween pendulum grudgy, almost a white noise. Take them as come, if you are positioned as indicated inisthe the score, you are Glissnoise. back Take and forth between the notes indicated. That is, as the glissando notscore, to beindicated. played only the first notethe of the to tremolo to the second, but as a pendulum twos t.s. –from thunder sheet Gliss back and forth between notes That is, the glissando is not be played only from the first note tremolothe tobetw the th.dr.t. – thunder drum tail grudgy, almost at.s.white them as they come, if you are positioned indicated in the you are right! – thunder sheet Percussion t.d. thunder drum Gliss back and fortht.d.between the th dr.b.notes – thunderindicated. drum bottom That is, the glissando is not to be played Gliss back and forth between the notes indicated. That is, the thunder drum th.dr.t. – thunder drum tail sb. mallet – superball mallet Percussion th.dr.t.of – thunder drum tail to the second, r.h. – right hand only fromPercussion the first note the tremolo but as a pendulum between the two th dr.b. – thunder drum bottom th dr.b. – thunder drum bottom Things to keep in mind: – leftmallet hand sb. mallet – l.h. superball Things to keep in mind: r.h.in – right Things to sb. keep in mind: Things to keep mind:hand mallet – superball mallet notes. Percussion The levels of o.p..are into four different groups, Some from 1/4 to 4/4, t.s. –isthunder sheet The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 a full o.p. with asdivided little asSome possible. of the harm r.h. – The rightlevels hand of – left hand o.p..are divided into four different groups, from 1/4 to 4/4,into where 1/4 is a slight o.p..,from and 4/4 istoa4/4, fullt.d. o.p. with as little as possible. of little the harmonics are v Thethunder levels ofl.h. o.p..are divided four different groups, 1/4 where 1/4toalmost isdrum asheet) slight o.p.., andpitch-audibility 4/4 is them a fullas o.p. with as pitch-audibilit Things keep in mind: r.h. – right hand grudgy, grudgy, apitch-audibility white noise. Take they come, if you are position thunder Swing your sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder almost a white noise. Take them as they come, if sheet you are as positioned asinindicated inyou the score, you are right! l.h. – grudgy, left handalmost a white t.s. – white thunder noise. Take them as they come, if you are positioned indicated the score, are right! grudgy, almost a noise. Take them as they come, if you are positioned as indicated in the score, you are right! The levels of o.p..are divided into four different groups, from 1/4 to 4/4, l.h. – left hand th.dr.t. – thunder drum tail t.s. – thunder sheet t.d. thunder drum Swing your thunder (don’t mind the noise from thimbles getting in to almost drum asheet white noise. Take themoccurring as they come, if you are position –thunder thunder sheet Things tot.s. keep in mind th grudgy, dr.b. – thunder bottom Swing your thunder sheet (don’t mind the noise– occurring from thimbles getting in touch with the thunder sheet) t.d. drum th.dr.t. thunder drum tail t.d. thunder drum sb. mallet – superball mallet Percussion th.dr.t. – thunder Percussion drum tail into four different groups, th dr.b. – thunder The levels ofPercussion o.p..are divided from 1/4 todrum 4/4,bottom where 1/4 is a slight Percussion th.dr.t. th dr.b.––thunder thunderdrum drumtail bottom sb.thunder mallet sheet – superball mallet Kick your neighbour’s r.h. – right hand th dr.b. – thunder drum bottom Percussion o.p.., andsb. 4/4mallet isr.h.a–full o.p. as little pitch-audibility as possible. Some of the harmonics are r.h. –with right hand – superball mallet hand r.h. – right hand l.h. – left hand sb. mallet – right superball mallet l.h. – left hand Kick your neighbour’s thunder sheet l.h. – left hand – leftsheet hand very pure, others are very grudgy, a l.h. white noise. Take them as they come, if you are r.h. right hand Kick youralmost neighbour’s thunder t.s. –– thunder sheet Swing your thunder sheet (don’t mind the noise occurring from t.s.sheet – thunder sheet t.s. – thunder t.s. – thunder sheet l.h. – left hand t.d. thunder drum thunder positioned ast.d.indicated in thedrum score, you aret.d.right! Swing your thunder sheet (don’t mind the noise occurring from thimbles getting thundert.d. drum thunder drum t.s. – thunder sheet th.dr.t. – thunder drum tail in touch with the thunder sheet) Upwards-going motion on thunder sheet th.dr.t. – thunder drum tail mind Swing yourdrum thunder sheet (don’t the noise occurring from thimbles getting in touch with the thunder sheet) th.dr.t.Swing – thunder tail th.dr.t. – thunder drum tail t.d. thunder drum sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet) th dr.b. – thunder drum bottom thyour dr.b.thunder – thunder drum bottom th dr.b. – thunder drum bottom th dr.b. – thunder drum bottom th.dr.t. –motion thunder drummallet tail sb. mallet – superball Upwards-going on thunder sheet mallet –mallet superball mallet Upwards-going motion on thunder sheet – superball mallet sb. mallet –sb. superball sb. mallet th dr.b. – thunder drumneighbour’s bottom Kick your thunder sheet Downwards-going motion on thunder sheet sb. mallet – superball mallet Kick your neighbour’s thunder sheet Kick your neighbour’s thunder sheet Downwards-going motion on your thunder sheet sheet (don’t mind the noise occurring from Swing thunder Downwards-going motion on thunder sheet Kick your neighbour’syour thunder sheet thunder mindoccurring the noise occurring from thimbles getting in the touch with thunder sheet) Swing yourSwing thunder sheet (don’tsheet mind(don’t the noise from thimbles getting touch thunder sheet) Swing your thunder sheet (don’t mindinthe noisewith occurring fromthe thimbles getting in touch with the thunder sheet) At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely suggestions, and do not have to be followed if th Swing your thunder sheet (don’t Upwards-going motion on thunder sheetmind the noise occurring from

Harmonic

At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is rin

The second movement is quite strictly choreographed, and the three on players should keep in mind to be as coordinated as possible. Upwards-going motion thunder sheet At times the finger drumming is indicated in the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely suggestions, and do not have to be followed if they do not make Upwards-going motion on thunder sheet your neighbour’sand thunder sheet The second movement is quiteKick strictly choreographed, the three players should keep in mind Upwards-going motion on thunder sheet Kick your thunder Kick sheet The second movement is quiteneighbour’s strictly choreographed, and your the three players should keepsheet in mind to be as coordinated as possible. Kick your neighbour’s thunder sheet neighbour’s thunder Downwards-going motion on thunder sheet Kick your neighbour’s thunder sheet Downwards-going motion on thunder sheet Downwards-going motion on thunder sheet Downwards-going motion on thunder sheet motion on thunderinsheet At times Upwards-going the finger drumming is indicated the form of numbers, where 5 i

Gliss back and forth between the notes indicated. That is, between the glissando is notindicated. to be played from the firstisnote theplayed tremolo to the sec Gliss back and forth the notes Thatonly is, the glissando not of to be only from

Percussion r.h. – right hand l.h. – left hand t.s. – thunder sheet t.d. thunder drum th.dr.t. – thunder drum tail th dr.b. – thunder drum bottom sb. mallet – superball mallet

Things to keep in mind: Things to keep in mind: The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-aud The levels of o.p..are divided into four different groups, from 1/4 to 4/4, where 1/4 is a slight o.p.., and 4/4 is a full o.p. with as little pitch-audi grudgy, almost a white noise. Take them as they come, if you are positioned as indicated in the score, you are right! Thingsgrudgy, to keepalmost in mind: a white noise. Take them as they come, if you are positioned as indicated in the score, you are right! Things to keep in mind: The levels of o.p..are divided into four 1/4 to 4/4, where 1/4 isgroups, a slightfrom o.p..,1/4 andto4/4 a full 1/4 o.p. iswith as little pitch-audibility Thedifferent levels ofgroups, o.p..arefrom divided into four different 4/4,iswhere a slight o.p.., and 4/4 is a fu grudgy, almost a white noise. Take them as they come, if younoise. are positioned in the score, are right! grudgy, almost a white Take themasasindicated they come, if you are you positioned as indicated in the score, you are right

Percussion Percussion

r.h. – right hand

r.h. – right hand Percussion l.h. – left hand

Percussion

l.h. – left hand t.s. – thunder sheet r.h. – right r.h. – right hand t.s. – hand thunder sheet t.d. thunder drum l.h. – left t.d. hand thunder drum l.h. – left hand th.dr.t. – thunder drum tail t.s. – thunder t.s. – thunder sheet th.dr.t. –sheet thunder drum tail th dr.b. – thunder drum bottom t.d. thunder th dr.b.drum – thunder drum bottomt.d. thunder drum sb. mallet – superball mallet th.dr.t.sb. – thunder tail mallet th.dr.t. – thunder drum tail mallet –drum superball th dr.b. – thunder drum bottom th dr.b. – thunder drum bottom sb. mallet – superball mallet sb. mallet – superball mallet Swing your thunder sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet) Swing your thunder sheet (don’t mind the noise occurring from thimbles getting in touch with the thunder sheet)

Swing your thunder sheet (don’t mind the noise occurring from sheet (don’t mindSwing Swing your thunder the noise from(don’t thimbles getting in touch with the thunder sheet) youroccurring thunder sheet mind the noise occurring from thimbles getting in touch with the thun thimbles getting in touch with the thunder sheet) Kick your neighbour’s thunder sheet Kick your neighbour’s thunder sheet

Kick your neighbour’s thunder sheet Upwards-going motion on thunder sheet Downwards-going motion on thunder sheet

Atform times the finger drumming is indicated the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely sugge At times the finger drumming is indicated in the offinger numbers, where 5 isininlittle finger, 4 is ring At times the drumming is indicated the form of numbers, where 5 is little finger, 4 is ring finger, etc. These indications are solely sugges finger, etc. These indications are solely suggestions, and do notishave toinbe followed ifand they do5 players The second movement quite strictly choreographed, the three should 4keep in mind to etc. be as coordinated as possible. At times fingermovement drummingisis indicated the numbers, where is little finger, ring finger, indications solely suggestions, At timeschoreographed, theform fingerofdrumming isthree indicated in the formkeep ofisnumbers, where is little finger, 4 are is ring finger, etc. Thes Thethe second quite strictly and the players should in mind to be as5These coordinated as possible. not make sense to you. The second movement is quite strictly choreographed, and the three The second movement is quite strictly choreographed, and the three strictly playerschoreographed, should keep in mind to three be as players coordinated as keep possible. The second movement is quite and the should in mind to be as coordinat players should keep in mind to be as coordinated as possible.