Earle Brown, Cross Sections and Colour Fields (1972-75) by Edition Peters

Earle Brown

CROSS SECTIONS AND COLOR FIELDS for Orchestra (1972–75) For the Denver Symphony Orchestra Commissioned by the Koussevitzky Music Foundation in the Library of Congress Dedicated to the memory of Natalie and Serge Koussevitzky

Score (in C) Instrumentation 3 Flutes

Percussion (6 players):

Alto Flute

Timpani, Glockenspiel, Xylophone,

Oboe

Vibraphone, Marimba, Tubular Chimes

English Horn 2 Clarinets in Bb

2 Harps

Bass Clarinet (sounding an octave lower)

Celesta

Soprano Saxophone

Piano

2 Bassoons Contrabassoon (sounding an octave lower)

Violin 1 (16) Violin 2 (14)

4 Horns

Viola (10)

3 Trumpets in C

Violoncello (8)

3 Trombones

Double Bass (6) (sounding an octave lower)

2 Tubas

percussion

cue high center

win d wood eft

br a

cue risgsh t

cue l

strings

harp 1 piano

cue low center

harp 2 celesta

far right

far left

The seating and clarity of cueing as indicated, is ABSOLUTELY ESSENTIAL to maximum fluidity and control in open-form sections at F, L, and P. Duration: 17-20 minutes

Program Note

Directions for Performance

The first part of the title of this work, cross sections ,

There are basically four different kinds of notational control

refers to sound structures which may not change as

in this work:

to their pitch content over relatively long periods of time, but only in terms of orchestration . . . their “sound color”. These color changes occur frequently across (and within) the major orchestral families; i.e., woodwind, brass, percussion, and strings. color fields is a phrase borrowed from the visual arts (which have continually

1) areas of sound transformation indicated in minutes and seconds; 2) strictly controlled areas in metric notation (as in most music); 3) more loosely controlled sections of figurative material

been a major influence on my work) and refers to areas

in “proportional”* notation which will result in slightly

in the work in which one or two simple sound-colors

different juxtapositions and sequences in each

come to rest and are quietly listened to and “observed”

performance;

as one might observe various details in a landscape.

4) fully “open-form”** areas where the inner time and color sense of the conductor has more “free play.”

Since approximately 1966 there has been an aspect of my work which is a kind of reaction against the

In all open-form areas, all of the hand signals (down-beat

sometimes violent and /or very busy kind of activity in

for sustained sound, “karate chop” for very short attack with

much contemporary music; my own included. In this

no sustained sound, cut-offs to specific sections (one hand)

work (which can move very rapidly at times) I would

or entire orchestra (two hands), changes of loudness, etc.),

like to have sounds “just sit there” sometimes, so that

and their accurate sectional placement) must be extremely

I can observe the various intricate inner structures and

clear and well rehearsed for the benefit of the conductor as

relationships at my own tempo, and you at yours.

well as the musicians.

There are different kinds of conductorial controls in the

General directions for performing open-form sections and proportional notation (Excerpts from novara , 1962)

work: areas of transformation indicated in minutes and seconds; strictly controlled areas in metric notation (as in most music); more loosely controlled sections of figurative material in “proportional” notation which will result in slightly different juxtapositions and sequences in each

Preliminary Notes

performance; fully “open-form” areas where the inner time

Spontaneous decisions in the performance of a work and

and color sense of the conductor has more “free play.”

the possibility of the composed elements being “mobile”

There is no improvisation in the work (as we commonly

have been of primary interest to me for some time; the

think of it). All of the material and the basic form and

former to an extreme degree in FOLIO (1952), and the latter,

structure of the piece are composed by me but, as in my

most explicitly, in TWENTY FIVE PAGES (1953). For me,

work since 1952, I am strongly committed to including a

the concept of the elements being mobile was inspired by

kind of “renewal factor” so that the work can come to life,

the mobiles of Alexander Calder, in which, similar to this

transform, and express itself somewhat differently in

work, there are basic units subject to innumerable different

each performance, yet continue to be its very distinct “self.”

relationships or forms. The concept of the work being conducted and formed spontaneously in performance was

Earle Brown

originally inspired by the “action-painting” techniques and

December 11, 1975

works of Jackson Pollock in the late 1940s, in which the

immediacy and directness of “contact” with the material is of great importance and produces such an intensity in the working and in the result. The performance conditions of these works are similar to a painter working spontaneously with a given palette. The conductor may conduct the [open-form] events in any sequence or juxtaposition, in changing tempi, loudness, and in general mold and form the piece. The inherent flexibility of the materials allows the work to constantly transform itself and re-express its potential, while the sound materials and characteristics which I have composed contain the essential “identity” which makes this work different from any other. I have felt that the conditions of spontaneity and mobility of elements which I have been working with create a more urgent and intense “communication” throughout the entire process, from composing to the final realization of a work. I prefer that each “final form,” which each performance necessarily produces, be a collaborative adventure, and that the work and its conditions of human involvement remain a “living” potential of engagement. Time Notation There is a built-in factor of flexibility in the notation and scoring of [some sections in] this piece because the availability of forms is based on letting go of the idea of metric accuracy. This is achieved through the notational system used [in these sections]. This system, which I have called a “time-notation,” is a development of the work in FOLIO (1952 and 1953) and most clearly represents sound-relationships in the score as I wish them to exist in performance independent of a strict pulse or metric system. It is a “time-notation” (now generally called “proportional notation”) in that the performer’s relationship to the score, and the actual sound in performance, is realized in terms of the performer’s time-sense perception of the relationships defined by the score and not in terms of a rational metric system of additive units. The durations are extended visibly

through their complete space-time of sounding and are

and tempos, spontaneously created during the performance.

precise relative to the space-time of the score. It

All events are always prepared by a left-hand signal and

is expected that the performers will observe as closely as

initiated by a down-beat from the conductor; the size and

possible the “apparent” relationships of sound and silence

rapidity of the down-beat implies the loudness and speed

but act without hesitation on the basis of their perceptions.

with which the event is to be performed. The conductor must, as with any notation, insist on accurately articulated

It must be understood that the performance is not expected

relationships from the rhythmic “shape” of phrase and

to be a precise translation of the spatial relationships but

pitch sequences in [these sections].

a relative and more spontaneous realization through the involvement of the performers’ subtly changing perceptions of the spatial relationships. The resulting flexibility and

open-form sections:

natural deviations from the precise indications in the score

General Modifications of Events

are acceptable and in fact integral to the nature of the work. The result is the accurate expression of the actions of

Conducted Stop

people when accuracy is not demanded but “conditioned”

The conductor may stop any event or combination of events

as a function within a human process.

at any time during the performance. The normal, two-hand cut-off signal will silence his entire group. Leaving the hands up with fists clenched will hold that silence until the

open-form sections: Conducting

signal to continue from the point of interruption is given. If the hands do not remain up in the “hold” position, the

The conducting technique is basically one of cueing; the

musicians are to expect another event-signal from the left

notation precludes the necessity and function of “beat”

hand and a down-beat.

in the usual sense (although the conductor does indicate a tempo). The number of the event to be performed is

Dynamics

indicated by the left hand of the conductor – one to five

All indications of dynamics are relative to the instrumental

fingers. A conventional (right-hand) down-beat initiates the

technique and register of the particular sound called for, i.e.,

activity. The relative speed and dynamic intensity with which

a string sound to be played col legno tratto, sul ponticello,

an event is to be performed is implied by the speed and

with a dynamic of ffff, must be played as loudly as possible

largeness of the down-beat as given with the right hand.

regardless of the dynamic intensity produced by the same

Nearly all of the events in the score have been assigned

dynamic marking in an instrument of a different nature.

dynamic values. These are acoustically accurate in terms of

Thus, a low C in the Flute marked as ffff is not expected to

instrumental and ensemble sonority and balance and must

have the same volume as a middle-register tone marked ffff

be respected as written, although the conductor may “over-

in a Clarinet. This simply means that the flutist is to play his

ride” the indicated dynamic values and raise or lower the

tones at the maximum volume available in that register of

overall loudness.

his instrument. The pppp indicates that the sound is to be as soft as possible. All dynamic indications are “balanced”

The conception of the work [open-form sections] is

in this way, relative to their acoustic functions within the

that the score presents specific material having different

event-structures and the characteristics of the instrument

characteristics, and that this material is subject to

employed in them.

many inherent modifications, such as modifications of combinations (event plus event), sequences, dynamics,

Earle Brown

Cross Sections and Color Fields

SCORE IN C

for Orchestra Earle Brown (1926-2002)

[

I 1 L.H.* A

! YY AA

Flutes 2 3

Oboe

mp YA pp

Sop. Sax.

1 Clarinets

! ! #

Bassoons 1 2

15" pp

10"

A A

p A A A

p A A AA

p A

p 5"

*Hold one finger of L.H. and two fingers of R.H. visible to orchestra throughout this system.

Breathe comfortably when necessary and re-enter with as little attack as possible

L.H.

mp XX AA pp WA

Bass Cl.

YA pp

XA pp A pp

Eng. Hn.

]

mp mp

! XA

Alto Flute

Cbsn.

I 2 R.H.

1 L.H. 2 R.H. 1 and 2 ,

í í

20-30" í

arhythmically, SLOWLY, never louder than alternate the two timbres, as above.

mp ,

pp mp

etc.

final quiet tutti: mp (all winds held by L.H.)

Contrabassoon, common to both chords, must maintain flexible “average” balance.

Litolff/Peters Nr. 11130

[

! (Y)(Y) AA

Fl. 2 3

A. Fl.

(Y) A !

Ob.

E. H.

S. Sax.

(Y) A ! A

Cl.

cut off at string chord

B. Cl.

(W ) A

1 2

# ]

Cbsn.

Bsn.

10-15" 1 Tpt.

Conductor: slight changes of speed & loudness (no more than ).

2 3

Tbn. 1 2 Tuba 1 2

10"

L.H.

I AA

A ! YY AA A pp

1) glk.

Vib.

! Y XY AAA pp # X WX AAA 2)

Mar.

1-4

1-3

Vn. 2 7-12 sord.

4-6

1-3 7-10 4-6

Vc.

2 2 2 2

Cb.

2 2 2

]

1) 2)

ffff

play top 3 notes on Vibraphone (in sync.) play top 3 notes on Marimba (in sync.)

AA A A

AA AA

A WY AA A

: :

Y XY AAA X WX AAA

[

A pp ! YY AA ppA X X # A pp # W X AA ] pp !

: : :

Re-attack arhythmically

XA Y AA YA " Y X AA # X X WX AAAA # XW A AA

13-16

Vla.

pp # WA X AA

W AA A

Pno.

Vn. 1 9-12 5-8

Y YX

Y W

WAA

pp # Y AAA A W AA A A ! A pp

Cel.

[

Hp. 2

I ppp X X AA YA A

! WY AA AA pp #

Y YX

xyl. help/6 med. mallets

Hp. 1

R.H.

Y YX AAA A X AA

help/6 soft mallets

Musicians: alternate these three structures, slowly, l.v., arhythmically, so as to maintain a homogeneous tutti texture. Follow dynamics and tempi of conductor until stopped.

ppp u

senza sord.

3) continuing

but prepare for final attack at Letter A -

mf , l.v., simultaneous with brass entrance.

A I

> Y YX AAA A X AA mf > Y A Y X AA mf X WX AAA >A Y AA A W AA mf mfA AA Y W AA> A A> AA

W AA X >A

l.v.

cue í

[

W.W.

2 3

! YY AA

Fl.

cue

! XA

A. Fl.

W.W.

[

Ob.

! YA

E. H.

S. Sax.

! YA

1 2

Cl. 2

B. Cl.

! XA

Bsn. 1 2

1 2 Hn.

= 96

2 3

! (Y)(Y) BB OO

Tpt.

O # (X ) (X ) BB O

1 2 Tbn. 3

Tuba 1 2

]

S YC Y C

S # (W ) (X ) BB OO

X X CC

BB OO BB OO

fff

fff S XC mp fff

fff S mp S mp S mp

BB BO mp YY BB OO mp XX BB OO B

fff S W X BB OO mp

cue

BRASS

pp mf mf S pp

[

! YY AA

1 2

pp S

fff

cue í BRASS

OPEN FORM S

]

# X X AA

! A ! AA

3 # AA

Hn.

1,2,3,4,5,

in any order or juxtaposition, changing dynamics & durations, (macrodynamics basically ff pp ) Normal hand downbeat for sustaining - edge of > hand for single j h attack. Approx. 20"-30" Rapid alternations of the 5 timbres.

# AA

3 4

X AA

4 Tbn. 3

]

LAST SOUND OF OPEN FORM SECTION, to Strings

3 4

]

# WA

[

3 4

Cbsn.

# XA

? X Y Y AAA A X AA

Vib.

Mar.

! Y XY AAA # X WX AAA !

AA A Y W AA A

Hp. 1

5 !

Hp. 2

AA A Y W AA A A AA !

Cel.

# !

Pno.

W AA XA

B Vn. 1

The last measure of 3/4 leads directly to box 3 of an open-form section. The five boxes in this section may be conducted in any order; and dynamics, durations and superpositions may be varied at will, though the general dynamic shape of the entire section ff . The fingers of the left hand indicate the chosen box. The size of the right hand (total duration: 20-30") will be pp down-beat (initiating the sound) indicates loudness. If sustained, the individual sound will be terminated using the same procedure. A stiff “karate chop” down-beat (hand and fingers vertical, edge of hand toward the orchestra section) can be used for a single, instantaneous “punctuation” attack; either over a sustained sound, or during silence. The open-form section must end with box 4 pp which is held in preparation for the string chord at B. The open-form section returns for 10-15" (page 5), this time ending with box 5 (very loud and therefore masking the quiet violin and double bass entry at the end of the page).

Vn. 2

4 4 4 4

3 3

sul pont. Vla.

3 3 2 2

Vc.

2 2 2

[

X XX

_ pp_ _ ! YY AA pp_ " X X AA_ X W AA pp __ # W ] X AA A pp

fff

ppp

fff

ppp

fff

ppp

fff

ppp

2 3

! YY AA

A. Fl.

! XA

Fl.

[

W.W.

[

Ob.

! YA

E. H.

S. Sax.

! YA

1 2

Cl. 2

B. Cl.

! XA

Bsn. 1 2

Cbsn.

]

# WA

]

# X X AA í

BRASS

OPEN FORM Hn.

1 Tpt.

2 3

! YY AA # X X AA

Tbn. 1 2

Tuba 1 2

]

X AA

tremolo. (10"-15") Ending with 5 (perc.) ffff l.v.

Tbn. 3

# W X AA

3 4

Rapidly Repeat open-form materials, QUIETLY ( mp - mf ), over string

]

# XA

[

! YY AA

1 2

BRASS

[

? X Y Y AAA A X AA

Vib.

Mar.

! Y XY AAA # X WX AAA

AA A Y W AA A

! Hp. 1

5 !

Hp. 2

[

AA A Y W AA A A AA !

Cel.

STRINGS ENTER BEFORE FINAL PERCUSSION DIES.

ffff

# !

Pno.

Vn. 1

4 4 4 4

Vn. 2

3 3

Vla.

3 3 2 2

Vc.

2 2 2

(X ) (X(X) ) AAA A_ ! _ _ ! (Y)(Y) AA_ [

]

" #

(X ) (X (X) (W) )

HOLD FOR 10" MINIMUM AFTER PERC. CHORD FADES

W AA XA

? XX Ë‚A YY Ë‚A pp Ë Ë YY ‚A X X ‚A pp

u í

AA_ __

(X (W) ) AA A Cb.

2 2 2

]

[ #

X WX AAA ppp

3 8

Fl.

XA X AA !

1 2 3

A. Fl.

YA !

Ob.

E. H.

mp YA A

[ !

Brass: sord. 1 2 Hn.

cup

1 Tpt. 2 3

1 Tuba 2

]

! #

Timp.

Hp. 1

Hp. 2

! WA

4 4

[

(X ) ‚ O (Y) ‚ ! (X ) C O(Y) C OO [ pp ] ! (Y)(Y) ‚C (XOO (X) ) ‚C O O [ pp ] mf T CC T T

Vn. 1 4 4

Vla.

3 3 2 2

Vc.

2 2 2 2

Cb.

2 2 2

con sord.

Vn. 2

3 3 3 3

mf O XX Y CCCC OOO mf T # T " #

] (X ) (W(X) ) CCC OOO [ ppp ]

J K

T CC

p W CC mf h mf g W W CC p

# WA AA

A YY AA A ! A W AA e mp ?

‚A ‚A

‚A ‚ A pp AA AA pp pp AAA A pp pp AA A A pp AA A

XA mf

ppp 4"

I ff

l.v.

YA A Y AA X AA

l.v.

Y AA W A WA WA AA

W AA

A YY AA A

l.v.

[

pp ] strings alone 2"

A W AA e ff í

l.v.

C WC YC

l.v.

5"ca.

l.v.

]

Y AA

Y Y AA A A YY AAA A

l.v.

W AA

l.v.

C WC YC

A ! WY AA

l.v.

! YA A YA # X AAA

Chimes

38 AS FAST AS POSSIBLE CLEANLY

Mar.

Cel.

Cbsn.

X AA mp

Vib.

Bsn. 1 2

XA X A

! YY AA A A YY AAA A

Xyl.

1 2

B. Cl.

I mp

Glk.

Pno.

Cl.

# W X AA W A

1 Tbn. 2 3

S. Sax.

X Y AA XA X AA

3 4

tight cup

ppp

I mf

[

l.v.

[

pp ]

5"ca.

CUT OFF

Fl.

1 sign

1 2 3

2 signs I? [

1 [ IO ! B p

B mp

! YBO p

B mp

! XBO p

E. H.

S. Sax.

Cl.

B. Cl.

! YBO WBO p

1 2

] !

BO p

X X BB OOO YB mf ? XBO mf

] !

A. Fl.

Ob.

FLEXIBLE SPACING BETWEEN SIGNS but rather quickly.

3 16

= 190

T U T U X jh C p

? A

g TU TU X C i p

B mp

B B mp B mp

Bsn. 1 2

Hn. 3 4

# ]

Cbsn.

1 2

[ #

GI T T g CC G mp T T g YC mp

BB OO BO

[

! WX BB mp

2 signs

] !

WB B mp

3 16

mf mf 1

[ # YC ] Y X CCmp

1 Tbn. 2 3

[

con sord. Vla.

3 3 2 2

] !

I G

T X Y CCC X Cmp

[

Harmon 1 Tpt. 2 3

] !

BO BB OO p

Vn. 2

BB OO BB OO

3 3 3 3

[

] !

I W C

R p

XICC Y Y C T hC pp

B BB

T U W CC p

g C O C O

TU g WC C p

T U T U gi YC WC p T U T U gi XC p TU X C g X C p TU g YC p

(quickly)

g Y C Y X CC OOO p

3 16

gi Y C T U T U X CCC p

X YY C h

A A A AA A ?

44 AA

C C OO

g CC OO C O AA

CC OO C OO

AA?

g CC OO CC OO

At letter D: 1 sign, 2 signs, etc., permit a degree of flexibility. The meter is only “suggestive”. The attacks are conducted “out of tempo”. Each attack is numbered in both score and parts. (This also applies to the second system of page 8, and elsewhere.) The last chord of page 7 is held for 8-10".

g TU TU Y C i p

4 signs

8-10"

A AA AA

Fl.

A. Fl.

[

C = 84 Legato C

! C YC TO YC mf mp mp ! C YC C TO YC mf mp mp ! C C YC TO C mf mp mp TO ! C YC ] YC C mf mp mp

C YC

XBO

WC C mf

f YC C XC XC f mf C YC WC C f mf

f p YBO

C C

Ob.

f p YBO

C XC mf [ !

E.H.

1 Bsn.

] !

p WC YC C YC XCO C YC YC mp mp mf p WC C C YC C XCO XC C mf p mp mp # WC O Y C X C C C Y C C YC mf p mp mp O C # WC YC WC XC C C C p mp mp mf C

g T

C WX CC p T C p YC T C C C C

A C

3 Vla. 2 con sord. 2

4 Vc. 4

4 signs

3 signs (quickly) (FLEXIBLE SPACING)

Fl.

T !

Tpt. 1

3 Vla. 2

4 Vc. 4

34 [ C = 84] [

Vib.

! C f ffW C ! C f ff C C " f ff WC C " f ff YC C #

f ff YC # C ] f ff

! Y Y BBB B mf

C C

C f XmpC WC W C mp C f XC C XC f mp C WC W C WC f mp C C Y C YC C

WC f

? G , YC YC YC B pp mp mf XC XC XC B pp mp mf XC YC YC B ?

mp YCYC

Vn. 1

pp mp mf WC XC XC B pp mp mf XC C XC B pp mp mf X C B YC YC pp mp

p p p p p p

senza sord.

G I> T C h f G > T WC fh

g G C T CC C 3 I XCO h mp

C G mp

I ff B

W C. C > fff

C X C mfC mf YC YC C mf XC XC C C X C mfC C X C mfC mf

I XC p

C TU

YC XC C

1 sign

IW C C

YC C C ! ff ! CWC WC ff ! YC C C ff ! C WC ff C C YC YC # ff # C XC C ] ff

T S

[

24 [ C = 84]I

4 I Ë W W ‚C h mf

Igi ‚BË

C W CCC mf

Ë‚ B

G ?

34 , T

T " T

CUE HIGH CENTER

F OPEN FORM

(Approx. 1'-2') “Karate chop” with R.H. vertical ig means very short C NORMAL downbeat means L.V. until sound dies (perc.) or HOLD until cut-off by conductor. ALL SECTIONS.

1 YAA A ! WA

L.H. Glk.

YAA A W AA A W ! A W AA A #

Xyl.

Vib.

Mar.

CUE FAR LEFT

2 Y W AA YA T A A CD¢E C F¤GA¢B¢ Y A E Y AA T WA

(1)

Hp. 1

WA XA

Chimes

L.H.

? A WX A A

2 ? W A Y W AA

3 ? A YY AA

Fl.

1 2 3

[

3 A YA Y AA

WA Y AA A X AA W AA A WA 3?

YY AAA A Y AAA A

CDE¢ FGAB

# J1

2 W X AA YA W X AA YA

C 1) YC YC C YC Y CC WC Hp. 2

L.H.

R.H. 2)

YA XA

CC 1) YC CC CC C CC

(2) 1A H L.H. A T WW AA A C E T

(C¤F¤)

A W AA

I 1

Ob.

1 Tbn. 2 3

W A

Tuba 1 2

YAA

W AA

X AA

L.H.

! !

S. Sax.

CUE LEFT Cl.

Cl.

B. Cl.

Bsn.

Cbsn.

1 2

]

improvise any patterns on these pitches arhythmically until stopped by conductor.

A. Fl.

E. H.

CUE FAR RIGHT

1 2

[

Hn. 3 4

! !

1 Tpt. 2 3

]

? WW AA

2 ? AA

3 ? Y AA

XA A A W AA

YX A A W Y AA XA

XA Y A Y YA AA

W AA WA

A WW AA

A Y AA

YX AA

R.H. 2)

I 2

CUE RIGHT

X X AA

3 CUE LOW CENTER

L.H.

4 4

Vn. 1 4 4

3 3

Vn. 2 3 3

Vla.

3 3 2 2

Vc.

2 2 2 2

Cb.

2 2 2

[

? YA

! ! !

A XA A

2? Ë W W ‚A

3 ? Y AA

Ë X X A‚

Y X AA

Ë X W A‚ W Y AA

YAA

WA ! W A Y A YX A A " X X X AAA X A A Y AA # W AA W Y X A A W AA # YA A ] X A A W W AA 2)

X Y AA A Y X AA A X Y AAA A

R.H. 2)

WX AA A

subdivisions of major sections (High, Mid, Low) if desired and very well rehearsed.

This is the first fully open-form page and is laid out as the orchestra appears to the conductor. It is “formed” by the conductor giving cues accurately and clearly IN THE DIRECTION OF INDIVIDUAL SECTIONS: The LEFT hand indicates which of the three chords he wants (1-3); the RIGHT hand indicates down-beat and loudness. In the case of really sufficient rehearsal, the conductor may signal numbers 1, 2 or 3 with his RIGHT hand to indicate the high, middle or low components of the chord indicated by the LEFT hand, (1 for high, 2 for the middle, and 3 for the low). All five fingers is a signal for the complete chord (all components played simultaneously). The conductor must allow adequate time for the cues to be seen before giving the downbeat, but the continuity should move quickly and intensely. Dynamics, durations and superpositions may be varied at will. As before (page 4), the size of the down-beat indicates loudness. Each sound must be stopped individually (in the manner of starting), unless the conductor selects a sequence of chords within one section, in which case a new indication automatically stops a previous one and the chords move smoothly from one to the other. As before, single, instantaneous attacks may be made with “karate chop” down-beats. This section should be rather fast and exploit the timbral differences and at least 1-2 minutes in duration.

Fl.

1 2

[

G ! ]

X AA

EACH CHORD STOPS ON NEXT SIGN

p Fl.

[ !

Ob.

Cl.

! XA mp

[

Hn.

12 signs 1

A pp

! WX AA mp

p p

Tbn. 1 2

[ # pp Y AA Y ] pp

2 2"

] ! WA A mp

3 4

] ! YA WA mp

1 2

] !

E. H.

S. Sax.

! YA pp XA

A. Fl.

[

4 p

Xyl.

Mar.

C X CC C pp

CC CC CC CC

Glk.

__ pp

Vib. soft mallets

wood mallets trem.

CC CC W CC CC

soft mallets

C C CC C C C C C C

C C C CC C

Timp.

l.v.

C W Y CC C mp CC CC mp

YY CC pp

trem.

! W Y CCC C pp

Restrike arhythmically, randomly

Cel.

Restrike arhythmically, randomly

Pno.

Vla.

Cb.

2 2 2

[ # YA Y A ] XA p

3 3 2 2

[

Y AA ! ] X AA mp Vc.

5-6 7-8

]

[ #

pp AA pp

! X CC C pp # CC

Fl.

[

pp A

pp A pp A pp

A. Fl.

Ob.

E. H.

S. Sax.

XA ff XA ff YA ff

Cl.

1 2

! YA pp

1 Bsn. 2

YA pp A pp

XA pp XA pp

mf mf mf

XY A A

WA # W A ] pp

XA ff

B. Cl.

[

Cbsn.

[

1 2

[

3 4

1 Tpt. 2 3 Tbn. 1 2

[

Y pizz. C trem. _ ! _ mp p

Vn. 1 4 4

Vn. 2

3 3 3 3

Vla.

3 3 2 2

# XC mp

pizz. trem.

2 2

Vc. 2 2

2 2 2

fz p

X eAA

fz p arco W X AA

4 4

Cb.

]

fz p X A Y Y X A AA

fz p YA ! X X AAA fz p arco A A

p fz p # XA A fz p Y # Y AA XA fz p

ff pp

cup mute

11 1"

mf p

YA pp

WAA pp WX A AA

! XW AA A p Y # Y AA ] p

10 2"

]

! W A A p

Tuba 1 2

XA pp XA A pp

WX AA pp

Tbn. 3

YA W A pp

] !

! WX AA p

Hn.

pp YA

A ff

] !

1 2

YA ff

! YA pp

[

X X AA

[ #

pp YY AA pp

XA pp # ] XX AA e pp 12

X eAA

pp W X AA

pp X A Y Y X A AA con sord.

pp X YX AAAA pp XX A A pp XA A pp YY AA XA pp

H OPEN FORM 1)

(ANY ORDER) Basically fast and virtuosic FLEXIBLE SPACING BETWEEN SIGNS

5 signs L.H.

[

Fl. 2

C TU

] !

A. Fl.

3 signs

2 WIC

2 3

h mp

ff I G C WC C CO à p 4

I I

C WCWC 5 > C CI mf e W C >C T W loco CC G f mf

Mar.

I WC !

Hp. 1

IC C O WC

mf WC

C C

l.v.

C YC mf 3 Ë

C C WC mf ff

1 I>. C

C¤D¤EFGAB

[

2 WIC C

1 Fl.

CC !

2 3

] !

A. Fl.

[

Hn. 3 4

C OO C CO CO

]

C mf

fff

Bsn.

Tuba 1

]

[ #

I C> fff

T 3

l.v.

I ?

! WC WC

Glk.

GI ? T T g C BO mf p g YY CC . . . . . . . . . . . C pp mf C mf g C XC fff

Mar.

Cb.

1 Ig ? YY CC BB p

[ #

2 2 2 2

C !

Mar.

con sord.

]

C C C

YC C

YC YC

YC C

CD¢E¢FGA¢B

WC WC

C C

WC C C C

l.v.

C C C

C WC

5 YC YC C C

1 YIC O C

C C OO C C h f Y CC

p l.v.

fff # WC C CC C OO 2 K C Y W C OO C CC h f p

WCWCWC

C YC C C

C YC

! YC Hp. 1

C B

ffff W >CC X C jh 3 IC O C O Y W C CC OOO C CC OOO h h f mp

fff

2 Igi YY CC BB p

]

! Vc.

I Y C>

IC B

C¤DEFGA¢B

l.v.

1 sign

[ #

! C CC CC ] Y C mp p

2 3

Hp. 1

1 sign

]

3 signs [ #

1 2

g C O

Tpt.

1 WC B C B I WU CC Y Y CC ff C B UT C X X CC X C B YC

! 3

II g

Cel.

Cb.

1 2

[

WC T T h p

# ]

GI T T Y C C C C OO

Cbsn.

3 signs

[ # Bsn. 1

G T T

[ # ] YmfC

5 signs

G CC T T CC

YC C h mp g

1 2

G C T T

1 sign

cup mute

2 signs

C WC WC

WCWC

C C

C YC C

C C

YC C

C C

YC : YC

YC :

YC YC

AN EVENT MAY BE PLAYED MORE THAN ONCE. (VARY TEMPO OR NOT). Pages 12 and 13, letter H: both open-form pages: the ten events may be conducted in any sequence. Move quickly from event to event making linking sequences and overlappings of events. The two pages are instrumentally independent of one another; they can be conducted alternately and/or independently, or superimposed (it is possible to conduct page 12 with the left hand and page 13 with the right hand). Event 5 on page 12 is a “loop” and continues until stopped by the conductor, even while other events are introduced. However, although there is no conflict between event 5 on page 12 and the events on page 13, events 1, 3 and 4 on page 12 conflict with event 5. So, if the conductor were to start event 5, page 12 and then add event 1, page 12, the Harp 1 and the Marimba would leave event 5, perform event 1 as scored, and then return to event 5 at the conclusion of their responsibilities in event 1. The problem of combining 5 with 3 or 4 requires a similar solution (only one of the instruments would leave and return). All the events must be performed at least once. Dynamics and tempo are chosen by the conductor. The figurations should be generally fast, brilliant and virtuosic.

H OPEN FORM

3 signs 1 I G [ I WC C WC h T T ] ! C C C

I Ob.

Hp.

3 WICC. . . . . . W CC. . . . . .

WC W C 2

fff J

WC W C

g W CX C C B mp mf

¿/¿

Cl. 1 2

W Y CC OO CC OO

] !

YCO CO h h mp

WCO C mf h h

[

CD¢E¢FG¤AB¢

Vla.

1 [ pizz. I> (pizz.) ! W W CC C CC C BB B OO W C C B OO pizz. f > mparco "

4 4 4 4

3 C

YY CC YC mp

C C

]

[ # YB

BB #

]

f mf

3 3 3 3

C C OO 2 Igi C Y W CCC C

Vn. 2

[

] !

4 g CC OO CC C OOO 3 I G T WC Y CC C

CC CC 2 Ig CC OO CC C OOO 3 Igi W Y CCC C

CCC C

5 signs 4

C WC C T YC C C G mf 5 YIC

T 2 IB O mf

CCCC

O C OOOO

mp T

3 IC YC

GI T T Wh C C W C W C C

2 Ig WC Y CCC C mf !

Vla.

]

Vib.

[ "

[

2 3

Y >C ff

J [ IC WC C C BO ! C Y C ] mf f mf

Pno.

! WB

Tbn.

g C O

I WC UT .C .

2 signs

Tbn.

3 signs

E. H.

mp mf

1 Ig gi C C

Ob.

]

Cl.

[

3 I > YY CC T YC h fff g C Y C>

Vn. 1

YW W CC >CC h f

T U C. C. W C. .C ff

3 signs

Hp. 2

WC BO h mp pp

] !

E. H.

Y CC BB OO

] !

2 signs

4 IG YW W CC CC CC T Y W CC f mp

2 YIC Y C C C B

Ob.

Y C> f

mp O pp C B

]

Xyl.

Vla.

[

[ #

pp arco

h 3 IC O C CO C

Tuba 2

¿/¿

p > W C. X C . C B mp G ff

3 signs

C O C CYC

YmfC C

S. Sax.

B. Cl.

pizz.

YC YC C mf mp

]

C¤DEF¤GAB¢

[ #

[

I mp

2 signs

FLEXIBLE SPACING BETWEEN SIGNS

R.H.

Cb.

4 signs

(ANY ORDER) Basically fast and virtuosic

I G

> T Y .C ff

mf d

BO f

C ff

C G C

pp T

mf í

to pont.

WC pp

__ B O mp

(trem.)

? A

BBB B

CONDUCTOR: GIVE EACH ENTRANCE AND CUT-OFF

1 bar = 4"

[

] !

1 2 3

Fl.

p Ob.

Cl.

E. H.

[ !

1 2

B. Cl.

Bsn.

1 2

]

YA p

[

mp WA !

] !

p ,

A mp

A p

A mp

Stop individually just before breath runs out.

Hn.

[ !

1 2 3 4

cup mutes

1 Tpt. 2 3

1 Tbn. 2 3

Tuba 12

[

Vn. 1

Vn. 2

con sord.

1-4

]

cup mutes

pp [

YA p A p pp ,

1-8

WA "

# #

WA pp

, WA pp

At letter J: the conductor must give direct cues to each instrument or group, notably the five string sections in bars 2 and 3.

YA pp

1-12 pizz.

1-10 pizz.

1-2

1-3

1-8 pizz.

1-4

YA pp

Vc.

]

Vla.

Cb.

[String ensemble]

1-3

YA pp a3 A

A p 1. W A

WA pp

ff W >C

WC > ff

Fl.

[

XA !

1 2 3

p !

Ob.

E. H.

A p

A. Fl.

A p !

1 2

A p

S. Sax.

Cl.

A p A !

B. Cl.

# ]

Hn.

Tpt.

Tbn.

[

1 2 3 4

# ]

Tuba 1 2

YA p

p A

A p

" # ]

Harmon

(a3)

A mp ,

pizz.

ffff pizz. > C ffff pizz. > C ffff pizz.

open

W C> ffff

arco, tutti

A pp WA pp

YA pp XA pp

e>C

ffff > pizz. C senza sord.

mp A mp

ca. 8"

A mp (a3) A

(a2)

(1-4)

A p A p

(a4)

(1-8)

Vc.

A p

YA p , ,

Last cut-off

(1-10)

Vla.

YA p XA ,

(1-12)

Vn. 2

p XA ,

A p

ca. 10"

p XA

mp A

WA ,

(1-8)

Vn. 1

Cb.

(Y) A

[

# (Y) A

1 2 3

! (Y) A

1 2 3

Bsn. 1 2

Cbsn.

WA p

Second cut-off

p p

First cut-off

WA p

arco, tutti

ca. 6"

A p

Page 15: woodwind, brass and strings should hold their last chords. Each section, beginning with the strings, will be stopped individually by the conductor. These last chords, like ALL the conducted fermata, should be long, calm and resonant.

Fl.

[

K (5 signs)

Ob.

A. Fl.

XA mf WA

! ! ! #

Bsn. 1 2

# ]

IA ! !

Tbn.

1 2 3

! # # ]

Tuba 1 2

Vn. 2

6 3 3

Vla.

3 3 2 2

Vc.

2 2 2 2

Cb.

2 2 2

[ !

XC X CC C >'> # Y X YY CCCC ]

! #

X X CC WC > ffff

5 cut off

XC WC TU T

TU C T C TU

gi 4 C [ 16 = 170] f .>gi U T CC T

= 170

3" G.P.

1. 2.

= 170

Y CC U T T XC Y CC T U T f

Y CC T U T mp

4 16

f p fz e W >C A C A

2" G.P.

gi 4 C 16 [ = 170] T

YC A Y C A T U jh C A f p fz

arco

pizz.

TU W C T mp

TU T

Y 'C Y C

8 8

Vn. 1

ffff e> W 'C X C

after res.

1. 2.

fff Brass

X CC

fff

X CC

mp> gi CC T U T

fff

A ep

C T

4 16

fff

YWX AAA p

(a2)

fff

AA p W A Y AA p

3 4

1 2 3

A p

TU C T

T U W W CC T mf

5 cut off

Hn.

Tpt.

YA mf

[

A e mf W W AA mf

mp. g TU X C i T

TU X C T

X AA mf

B. Cl.

XA mf

1 2

XA mf

S. Sax.

mf> . UT gi T C

Cbsn.

A pp

E. H.

Cl.

AA A pp

1 2 3

4 I W AA W A

g CC i T U W C> f

T T

arco

TU TU

p W eC X C

YC Y C

T U X CC XCC YC T U Y X Y CCC

T U X X CC WC j ph

Approximately 20"-30" Harps follow starts and stops and speed and dynamics from conductor. This continuity first time: play any sequence of figures between dotted lines after first time through. CUE FAR LEFT

Hp. 1

T OO

CD¢E¢FGA¢B

CUE FAR RIGHT

Hp. 2

YC G

CD¢E¢FG¢AB¢

[ !

Vn. 1 88

Vn. 2 3 3

Vla.

3 3 2 2

Vc.

2 2 2 2

Cb.

2 2 2

? pp (W ) eA (X ) A

C TU O

YC YC

YC C C C

YC T U OO C Y C

YC C

Y C T OO

TU O

C YC

U YC T

YCO

T U OO YC

C C

YC : :

(Y)(Y) AA A

(X ) A (X ) AA A

(X ) A (X ) A (W ) A pp

# (Y)(X )(Y) AAA (Y) A ]

C C

YC C T

The soloistic character of the harp writing should be emphasized.

CUT OFF

L OPEN FORM [

1? W X AA !

1 2

XA !

XA WA

E. H.

S. Sax.

Bsn.

A e # W W AA

Cbsn.

1 2

]

WA 1. WA

YA YA

WA WA WA

Y a2A

YA fff p f pp

“Karate chop” with R.H. vertical means very short C NORMAL downbeat means L.V. until sound dies (perc.) or HOLD until cut-off by conductor. ALL SECTIONS.

1? AA

[ !

1 2

Y AA

Hn. 3 4

1 Tpt.

2 3

A # XA

1 2

Tbn. 3

Tuba 12

[

1 ? !

4 4

Vn. 1

6 3 3

Vla.

3 3 2 2

! XX AAA A # Y AA 1-4

Vc.

Cb.

2 2 2

]

2 ?

YY AA

Vn. 2

CUE LOW CENTER

3 ? W eA A XA

]

CUE RIGHT

2? AA

Y AA

XA X A YA

3? AA

YX AA WA

YX AA X AA

AA e

4? 5? fff p f pp a2 AA A AA XX AA WA

YX AA

6 ? p

mp a2

WA WA

YA YA AA e fff p f pp

4 5? ? fff p f pp W eA WA eA

XA X AA A Y X YY AAAA

WA WA WA

YY AA

5-8

WA WX AA

XA W W AA

X AA

6 ? p

XA A

B. Cl.

1 2

XA !

Ob.

4 5 ? ? fff p f pp W X AA Y a2A

3 ?

2 ?

A. Fl.

Cl.

CUE LEFT

Fl.

Legato, connected but rapidly

(W.W., BRASS, STRINGS ONLY)

mp mp

WA p

6? p

AA AA

A A

XA X X AA WA fff p f pp

A mp

The section comprising chords 1, 2 and 3 is open-form, and should be gentle and prolonged with much variety of timbre. 4, 5 and 6 is a given sequence, a dramatic frequency “collapse” (a kind of quasi glissando) ending with a mid-register, 3-note cluster.

[ !

1 2

! ! ! ! !

S. Sax.

1 2

B. Cl.

YA #

Bsn. 1 2

YA #

]

(6) p?

[ ! #

WA WA

Hn. 3 4

ffff

8-10"

1 Tpt.

WA WA

2 3

1 2

WA #

Tbn. 3

WA #

]

(6) ? p

[ !

Vn. 1

! A ! A

Vn. 2

! A

Vla.

A #

Vc.

]

E. H.

Cb.

Ob.

Tuba 1 2

A. Fl.

1 2

Cbsn.

ffff

Fl.

Cl.

(6) ? p

ffff

Raise and lower volume of each section individually to SLIGHTLY bring out woodwind brass and string timbre over the mass effect.

M OPEN FORM 1)

ANY SEQUENCE AND/ OR SUPERIMPOSITION

(notation proportional (non synchronized) in Events 1, 2 and 3.)

! WC WC

Glk.

C C YC g YC !

Xyl.

CWC

C C TU O WC

XC C C YC CXC WC T WC T

C C W Cg

XCWC

Vib.

TO WC XC C WC C C Y C YC C YC T C YC WC WCWC

C !

Mar.

YC !

Hp. 1

T OO

C C

YC TU

! Hp. 2

YC G

Pno.

pp Y CC

Fl. 2 3

A. Fl.

C [

C pp CC pp

T !

(tight) cup mute

Tpt.

1 2 Tbn. 3

CO CC OO

= 72 Legato

2 3

CC OO

4 pp 4

] !

1 2

Cl.

g C O

YC p

C 4 Yp C "4 T CC p cup mute # T C ] p 1)

TU T

mp C UT T Y C mp TU T Y C mp C TU T C mp

C C C C YC mp p C W C C W CC Y CC Y C X C C mp C p W C C CC Y CC W C C C mp p C C C C YC mp p

p CC

YC TO

TU mf C

p C CC

C TO CC T O

mp mp

> T T

4 S S

W CC mp T Y W CC mp

CC OO

T WC mp

CC OO

YCO

C TU Y C mf mp W CC T U C C mf mp W CC T U W C C mf mp W C TU W C mf mp

: YC C

T U OO

C C

YC YC mf Y CC YX CC mf CC C C mf YC C mf

: eAA A YW A AA

A AA

A YY AA G

Y XYA AAA YY AA XA

Y YY AA AA

AA A

T WC C C p mp C O C mp mf p T Y W CC CC O C O CC X CC C p mp mf p mp

CO C p mp mf p mp T W CC CC CC OO CC Y CC p mp mf p mp

U YC T

AAA A

XC YC h C

C S

G T

W CC f Y W CC f WC f

A YY AA

T WC

C W CC UT X W CC mf pp TU Y C Y C Y C mf pp W CC Y C T U Y C YY CC mf pp

XCYCO

eAA A YW A AA

C B pp

Y Y A AAA

WCWC

Y C T OO

AA AA

YY AA XA

C C

TU O

Y AA X AA

AA YA A g

T U OO

C C WC C : YC WC

pp C

C C

XC C g : WC

C WC

.C .C C.

WC C C C C C C C C

TU O

YC C

C C

= 84 Legato

[

AAA

C C C

A YW AA A !

YC C

Y YA AAA

Cel.

X C TU

CD¢E¢FG¢AB¢

T CWC C h WC C WC C C C XC TO C TU C C W C YC

CD¢E¢FGA¢B

XC C C . . . . W C W C TU O X C C C C pp . WC CO U YC C T C WC YC XC T

. . . . . C C C C C

TU O

T CC C CC

XA ?

G C

p mp C CC Y C BB W C Y T W CC W C p mp C B T C C p C mp T X CC W C Y CC CC BB Y C p mp

pp pp pp pp

? C

p CC

p C p

1, 2 and 3 are “loops” (repeating ¿ / ¿ ) - 4 and 5 are “figures” (ANY REASONABLE number of times each - varying tempi and loudess.)

At letter M: this section, comprising five events, is open-form. Events 1, 2 and 3 are “loops” for percussion, and may be combined in any way, with widely-varying tempi and dynamics. Events 4 and 5 may be inserted or added (in which case the other events must be very quiet). They can be played individually (in 4/4) or together, or both (with changed tempi and dynamics). 4 and 5 may be played more than once but not more than twice each. In event 5, “tight” indicates that the “cup” of the mute should be very close to the bell of the trumpet or trombone. The smaller bore of the C-trumpets may necessitate the use of harmon mutes with the stems completely out. The sound must be mellow, not strident.

(MUSICIANS STOP CHORD AT NEXT SIGN FROM CONDUCTOR)* NORMAL DOWNBEAT = SUSTAINING FLAT EDGE OF HAND = VERY SHORT ATTACK

[ >C

General L.H. signals to

A. Fl.

E. H.

! A

entire orchestra for

[

each event.

[ !

3 4

1 2

A !

1 Fl.

] !

2 3

Tpt.

YY A A

1 2

Glk.

Timp.

Vib.

Timp.

Hp. 1

Vn. 1

# YA

A AA

CD¤EFGA¢B¢

] !

eAA W AA

AA #

Bsn. 1 2

]

Glk.

Timp.

Hp. 1

4 !

Vib.

Timp.

! Hp. 1

2 2 2

Vn. 2

# W W AAA

Hp. 2

Cb.

5 W W AA YA

YA !

[ # YA Y A ] XA

YY AAA AA A Y AA YA

A A

! Y AAA C¤DE¢F¤GAB W # W AA

A YY AA

YW AA

A !

Timp.

YY AA

]

Glk.

Vib.

[ #

1 Tuba 2

Y AA

Glk.

YA A ! X AA

Vib.

# YA ]

Cbsn.

YY AA

Hp. 2

[

YY AA

YA W A !

4 4 4 4

1 !

Vib.

2 !

Glk.

Tbn.

Y AA

] !

[ #

1 2

Harmon 2 3

YY AA

] !

B. Cl.

Hn.

[

S. Sax.

Cl.

Ob.

N OPEN FORM

3 3 3 3

[

] !

Hp. 2

AA #

Vla.

3 3 2 2

Vc.

2 2 2 2

YY AAA ! A ]

[

AA AA

*As a potential variation, it is possible to indicate a fermata to the sustaining instruments after each chord attack and add the other chords, one by one, resulting in the accumulation of the full orchestral complement of winds, brass and strings. At letter N: this section is open-form: any sequence may be chosen, and the events may be freely combined, as on page 4. The entire section is basically slow and quiet; the attacks of the sustained sounds will be masked by the percussion attacks, emerging eventually when the percussion sounds fade.

O SLOWLY - IRREGULARLY*

[NON-PERIODIC SPACING]

14 signs 1

Glk.

Vib.

Y Y AAAA WA

Mar.

Y Y AAAA WA !

Hp. 1

(C¤B‹)

YA W AAA

YA A W AA

(G¢)

WA !

Hp. 2

W AAA

(C‹)

(C¤F‹)

A YA A Y AA

Cel.

Pno.

Y YY AAA

Y YY AAAA

! #

W AA A

A W AA A

(F¤)

YA W AA YW A A

YA AA

A W AA A

*May be played through more than once. 2nd time through, vary rhythm, dynamics and tempo. At letter O: fourteen percussion chords, very calmly, irregularly spaced. Durations and dynamics (basically quiet) are chosen by the conductor. The sequence may be played more than once with a different rhythm and dynamics, (indicate 1 with the LEFT hand when beginning the sequence again).

23 CUE HIGH CENTER

P OPEN FORM

YA AA YA ! Y AAA Y AA ! Y Y AA !

Glk.

Xyl.

Vib.

Y AA W AA YA

Mar.

Chimes

# W AA

Timp.

CUE FAR LEFT

Fl.

1 2 3

YA ! Y Y AAA ! Y YY AAAA WA X AA

CUE FAR RIGHT

BUILD LONG TUTTI, HOLD A

! !

Bsn. 1 2

]

Y AA XA Y ! AA # W WX AAA

1 2 3

1 Tbn. 2 3

WA # WA XA

B. Cl.

1 2

XAA

1 2

! Y Y AA

Hn.

Tpt.

Tuba 12

pp ffff

[

1 2

! YA

S. Sax.

Cbsn.

A W AA

E. H.

Cl.

Pno.

Ob.

AND DURATIONS

CUE FAR RIGHT

! YA

A. Fl.

CUE LEFT

VARYING DYNAMICS AA

YA [ XA ! YA

INTENSELY;

A Y AA YA

Hp. 1

Cel.

VARIATIONS; QUIETLY AND

Hp. 2

CUE FAR LEFT

LEGATO AND STACCATO

]

CUE RIGHT

FOR END

ffff ppp

XX A A

CUE LOW CENTER

XA Vn. 1

8 8

Vn. 2

6 6

Vla.

3 3 4

Vc.

2 2 2 2

Cb.

3 3

YA A

[ ! !

YX AA

YA " Y X AA # W X AAA XA

# WA X A ]

At letter P: this section is open-form, and is similar to the section on page 5. There are three frequency components (high, middle, low) but only one chord. The music should be lively and active with high contrasts of dynamics, timbre and rhythm and then move slowly towards an enormous climax (woodwind, brass and strings being kept in balance). This should be held for a time and then abruptly terminated. The usual signal for EVERYONE to stop is a normal CUT-OFF gesture with both hands.