Nr. 12540 R
Unter der Nr. 12540 R in die Edition Peters aufgenommen
Commissioned by the Sächsischen Staatskapelle Dresden and Casa da Musica Porto.
General Within this very reduced palette of sounds, the extremes of articulation are very important - absolute contrast of timbre, attack and intent. Take every opportunity to explore soft, expressive and warm sounds, in contrast to the loud, distorted and choleric sound material. Silence is the canvas - despite choleric nature of sound material, all sounds surface out of and disappear into silence. Change bellows freely adapting and changing notated suggestions as necessary.
Tempi At “slower” take your time to draw out expressive and melodic moments. Sudden contemplation. Absolute contrast to the driven and passionate music.
In the faster section ( e = 66 is maximum) the double bass solo defines the driving pulse.
Duration 12 minutes.
R.S. Berlin, XII.2010
Satz und Layout
General Within this very reduced palette of sounds, the extremes of articulation are very important - absolute contrast of timbre, attack and intent. Take every opportunity to explore soft, expressive and warm sounds, in contrast to the loud, distorted and choleric sound material. Silence is the canvas - despite choleric nature of sound material, all sounds surface out of and disappear into silence.
Tempi At “slower� take your time to draw out expressive and melodic moments. Sudden contemplation. Absolute contrast to the driven and passionate music. The faster section (@66 is maximum) the double bass solo defines the driving pulse.
Duration 12 minutes.
Satz und Layout:
Bass clarinet in Bb Written for the Boehm clarinet system. Written in Bb in the score.
Multiphonics:
Either an exact fingering is given for specific multiphonics, e.g dyads, or a description of the characteristics of a multiphonic is given in the score, e.g: high partials, stable. Some very effective complex multiphonics (sustained and tongueslap) can be found using the r3 key.
For all multiphonics (sustained and tongueslap) a) with written tone:
Tongueslap:
a) written tone only:
b) without written tone:
b) multiphonic tonugeslap with or without written tone:
c) high and complex, bass tone irrelevant:
Dyad – a 2-part sound given with the notated fingering. With and without fluttertongue - Ossia: replace fluttertongue with bisigliando on the dyad, if necessary.
There are four dyads:
For alternative dyad-fingerings for the German clarinet system, please contact the composer.
Underblown. Play written tone and „release“, allowing a second tone to be added (about 10th below). Subtle, beautiful and quiet.
Clear two-part sound, written tone and it´s overblown very high partial. The dominating high partials can be controlled. When quiet, shimmering and delicate, when loud, very distorted:
air
No tone. a) air - closed normal embrochure. b) open air – upper lip removed from reed.
To an extreme wide vibrato with crescendo. Assume non vibrato unless otherwise given.
1/4-tones, they have an expressive and melodic function and need not be exact.
Continuous and even transition from one timbre to next.
A very slow and gradual tongue glissando, dark and special timbre – enjoy!
bis.
Bisbigliandi – key trill with same tone.
1/8-tones
Fluttertongue (FLZ).
Tonguestop abruptly onto next beat.
Crescendo and decrescendo from and to nothing.
Accordion
Button accordion with three manuals MI, MII and MIII. Range MII/III:
Range MI:
MII: F+ = major chord; F- = minor chord; +7 = dominant 7th chord; -7 = diminished 7th chord.
MI chin registers for sudden register changes and double register sounds: [out]
[In]
Written at sounding pitch. Where there are octave pitch combinations from registers/stops, the lowest octave is notated. Re-distribute chromatic chords between MI and MII as you feel necessary. A chromatic cluster outer tones included.
A wide chromatic cluster in given range, exact tones not important.
Gradually depress for gentle start, as if from nothing.
Decresendo as if to nothing.
Single tones naturally emerge one by one with crescendo, and disappear one by one with decresendo.
Half-depress button (M1) to lower tone by ca 1/4-tone. Bring out beats between the tones on MI and MII.
Bellows shake (trem.).
Accents always at maximum dynamic sf.
Bellows stop, dead onto next beat.
vib.
air
Air only.
Possible types of vibrato include: ord. LH vib, ord RH vib, knee vib, button vib – use as you feel appropriate. Always without vibrato unless otherwise stated.
Piano Grand piano with sosenuto (third) pedal. Open piano-lid fully, but do not remove. Remove music-stand and place further back on the frame, or use the top section of a heavy music stand. Use stickers to mark the strings inside the piano. Requires a hard plectrum or a hard stiff plastic credit card to glissando strings. On the keys: Chromatic cluster.
palm
Chromatic cluster with fore-arms, written tones important.
ord.
Chromatic cluster with palm of hand.
Prepare and hold down cluster silently.
There are occasional ordinary tones – these are always marked!
On the keys and inside:
Damp at the bridge.
Damp in front of dampers sounding the given overtones. Other tones also heard. A fast release of fingers from strings helps harmonic to sound longer and clearer.
Slide finger along string during repititions from bridge to dampers, raising pitch and tightening sound.
Left hand fingertips stop strings in front of dampers. Sounding mid-range overtones.
Completely damped, behind the dampers, at top of the piano – percussive and wooden.
Ordinary tones.
Inside the piano: In
Following an action on keys or keys-and-inside, shows a return to sounds inside the piano. Should frame of piano be in the way, choose a different cluster very near by.
Light glissando with finger pad of 3rd finger. In front of dampers.
Flat palm hits wide cluster of strings behind the dampers.
Flat palm hits wide cluster of strings behind the dampers.
Abrupt „flick“ action with nail away from body behind dampers. Sounding high overtones and written tones partly heard.
Fast glissando on strings in front of, or behind, the dampers with hard plectrum. Brutal if low and ff.
Fingertips (2,3,4) hit strings staccato in front of dampers. Find position where rhythm is heard clearly.
Fingertips (2,3,4) held tightly together brush stringly lightly back and forward in front of dampers. Find position where rhythm is heard clearly.
On lower cross of metal frame inside piano with hard felt beater.
Low:
Medium:
Pedal: 3rd pedal.
Sustaining pedal.
Pedal-action attack. Stamp foot for big pool of resonance.
Percussion
Instruments: Bass drum Bell plate Tamtam 4 large glass vessels Timpani, with can and chain Metal plate Lions roar Sizzle cymbal Guiro Woodblock Ratchet
BD BP TT Glass Timp. + Can Metal LR SC guiro woodblock ratchet
Large natural skin, double-sided.
BD
Just off-centre for full resonance. dowel + needle
Wooden dowel Ă˜ 12mm, length ca. 25cm (short), very fine rings. Knitting needle size 3,2mm. Dowel is laid flat on skin of drum. Needle moved slowly back and fowards, giving very high changing overtones. At
rim.
combines with deep resonance of drum. At
hear very high partials only.
Play on wooden rim. Two soft large beaters, the first at
BP
1cm from rim, hear very high overtones and no deep bass drum resonance.
on skin of bass drum, the second hits first beater. Vary pressure of first beater on drum head as shown:
Extremely large, aluminium.
1. fundamental in middle of plate contrasting 2. 2. lowest fundamental at bottom of plate. 3. and 4. contrasting partials on top edge.
Fundamental pitch: 4 contact points:
*) Alternative for 3. and 4. - extremely high buzzing partials:
1. or 2.:
TT
1. or 2. and 3. or 4.:
two coils placed on foam for very long resonance, struck at contact point giving highest overtone with metal triangle beater (heavy).
3. or 4. only:
Ă˜ 95-100cm Paste tamtam. A Wuhan tamtam is too heavy for theses sounds. 3 contact points:
1. absolute centre 2. in centre ring 3. in outer ring
+ chain
Glass *)
Hang a very light thin chain or wire over the edge of the tamtam when indicated. When tamtam is struck chain vibrates lightly on surface of tamtam in a regular pulse. Timbre combines with metal shimmering overtones of BP contact points 3. and 4., and the overtone sounds of the inside piano.
Very large glass vessels (oversize glasses or vases) partly filled with water to obtain given pitches, are played with moist fingers around outside top edge. Bowl of water also needed. Pitches:
*) Alternative: Rins Klangschalen from Asian Sounds in KĂśln, Germany, on Timpani or on Bass drum (natural skin) for very long resonance.
Timp.
Pedal alters pitch up to about one octave. Highest pitch:
Ă˜ 26-inch, lowest pitch tuned down a fourth:
Lowest pitch:
Glissando from highest to lowest pitch.
+ Can
A very light empty aluminium can, e.g a 1000g light coffee can, placed on centre of timpani head with tiny very light sizzle chain inside. Superball beater/s dragged back and forward across the skin. Note: a change of direction gives a clear accent. Use two beaters as necessary. When loud this is ferocious. Lowest pitch has much resonance. Highest pitch is very distorted.
Metal
Large metal plate laid flat on bobbly foam, with a complex spectrum and no clear tonal centre.
LR
Very low pitch lions roar (from large drum head).
SC
Large sizzle cymbal, hung.
Guiro
Medium.
Woodblock
Mid-low ptich.
Ratchet
Low and loud, fixed to stand.
Beaters: Large-headed superball beater/s i) see Timp. ii) gently dragged over surface of BP for deep ringing sound.
Bow with bass bow at edge of BP, TT or SC. Start the tone sooner if necessary. Vary the overtone spectrum according to the brief description, e.g: mid, complex or; high single partial. On BP one specific tone is given: BP. Find 2 positions on top edge (contact points 3. and 4.) producing extremely high shimmering overtones, which ring for a long time. Hit with a square-edged (not rounded) iron implement (e.g: kolberg crotale holder!) or similarly shaped not too heavy implement. Large soft tamtam beaters.
Hard plastic beater.
Bass drum beaters.
wirebrush
Rubber beaters.
Wire brush, light.
Snare stick. Chose a thicker snare stick for the sff attacks on BD if necessary. At rim there are 2 contact points on snare stick: a.:
b.:
Violoncello s.t.
Sul tasto.
½-s.p.
SP-colouring, but at all dynamics written tone remains audible and noise/overtone content is heard but not dominant.
s.p.
Sul pont. :
a. at pp/ppp, hear overtones – no written tone b. p - f distortion and noise content grow c. at ff complete “noise“.
Bring out high overtones.
flaut.
s.p.
s.t.
Gradual and constant change of timbre.
Flautando – very fast and light bow stroke.
Crescendo from silence, or decrescendo to silence.
Raise or lower by ¼-tone - a timbral and expressive function which need not be exact.
”Noise” attack, marcato extreme accent, deep in the string, and then subito ordinary, unless otherwise indicated.
Raise or lower by 1/8-tone
Vibrato pulse at start of note, like an expressive accent.
Bow stop onto next beat.
Double stops: on long notes bring out interference beats between the two tones by controlling speed of bow and allowing open string to ring.
Glissando to highest pitch on given string.
Glissando from highest possible tones on given strings.
Vertical motion back and forwards between fingerboard and bridge – complete distortion.
Battuto violently, sff (crini) on the fingerboard and hear wood of bow hit fingerboard. Sempre secco.
Fast left hand ”release“ pizzicato of all open strings.
Barrée glissando to top of strings bringing out distortion and overtones.
A clear break.
Let the open strings ring.
Play like a harmonic at non-harmonic node around the area of the 4th – 8th harmonic. Heavy staccato. Avoid “proper” overtones and seek double layers of overtones with sul pont bow position. Very loud and complex noise component.
Play around the area of the 4th – 8th harmonic and seek double layers of overtones with the sul pont bow position. With distortion.
Left hand or right hand slap on given strings. Loud and percussive.
Right hand Bartók pizzicato.
Battuto ord. with the hair.
Solo Double bass For large double bass with five strings. For scordatura tuning please see bar 1.
s.p.
Sul pont. :
a. at pp/ppp, hear overtones – no written tone b. p - f distortion and noise content grow c. at ff complete “noise“.
s.t.
Sul tasto.
½-s.p.
SP-colouring, but at all dynamics written tone remains audible and noise/overtone content is heard but not dominant.
Bring out high overtones.
flaut.
s.p.
s.t.
Gradual and constant change of timbre.
Flautando – very fast and light bow stroke.
Crescendo from silence, or decrescendo to silence.
Raise or lower by ¼-tone - a timbral and expressive function which need not be exact.
”Noise” attack, marcato extreme accent, deep in the string, and then subito ordinary, unless otherwise indicated.
Raise or lower by 1/8-tone
Vibrato pulse at start of note, like an expressive accent.
Bow stop onto next beat.
Double stops: on long notes bring out interference beats between the two tones by controlling speed of bow and allowing open string to ring.
Glissando to highest pitch on given string.
Glissando from highest possible tones on given strings.
Vertical motion back and forwards between fingerboard and bridge – complete distortion.
Battuto violently, sff (crini) on the fingerboard and hear wood of bow hit fingerboard. Sempre secco.
Fast left hand ”release“ pizzicato of all open strings.
Barrée glissando to top of strings bringing out distortion and overtones.
A clear break.
Let the open strings ring.
Play like a harmonic at non-harmonic node around the area of the 4th – 8th harmonic. Heavy staccato. Avoid “proper” overtones and seek double layers of overtones with sul pont bow position. Very loud and complex noise component.
Play around the area of the 4th – 8th harmonic and seek double layers of overtones with the sul pont bow position. With distortion.
Left hand or right hand slap on given strings. Loud and percussive.
Right hand Bartók pizzicato.
fury II (2009)
The score is transposed
Rebecca Saunders (* 1967)
concerto for solo double bass and ensemble
Slow = 50
R
[– R4 & L4]
½ -air
tone
air
Boehm - Bass Clarinet in B
sub. vib.
Accordeon
non vib.
B.S.
(
)
(
In
Piano
) 3
3
In
3.
8
3. P
3.
+ chain
TT Percussion BD
2
3
Slow = 50
s.p. flaut
ord.
Violoncello s.p. flaut. Solo Double Bass
8
ord.
8
Scordatura: Litolff / Peters Nr. 12540 R
33034
© 2010 by Henry Litolff’s Verlag
2 ½-air
8
air
[circular breath] very long! ½ -air
air
sub. = 69
sub. vib. pulse
tone
Bcl.
Acc.
B.S.
( mid.
Pno.
)
(
In
)
6
8
P 3.
3
1
chain
BP MP TT BD
pressure
BD
(no chain)
P
3
P
l.v.
sempre
sub. = 69
pizz. vib.
very long!
arco v. warm vib.
s.p. flaut.
s.p. distort (non flaut.)
Vc.
sub. s.p. ord. Solo D.B.
3
3.
1
s.p. flaut.
I s.p. distort II
3
8
33034
batt. viol.
15
sub. = 60
3
sub. = 54
bis.
Bcl.
1 by 1
1 by 1
Acc. 3
B.S. 2. 3. R.H. 4. (
)
(
Pno.
) Th
3
In
sempre
sim.
3
8
L.H.
loco
P
3.
sim.
2. 3. 4.
P
arco
*
Glass BP TT BD
mid + complex
sub. = 60
fl warm vib.
sim.
fingers
arco
* Pace carefully, start
approx. where shown, play until ca. bar and l.v.
sub. = 54
Vc.
3
Solo D.B.
sub. ord.
sub. ord. s.p. flaut.
3
3
8
sub. 33034
(IV:
)
4 21
Bcl.
poco vib.
Acc.
Pno. 8
P
3.
P
P
P
P
l.v.
3.
P
l.v.
Glass
ord. II III
III
ord. II poco vib.
Vc. IV *)
Solo D.B.
sub.
sub. vib. ord.
poco vib. expr.
sub. s.p. flaut.
8
s.t. 8
8
sub.
*) ossia: no IV 33034
ca. 3
27
10
3½
5
sub. = 66
5½
air
tone
Bcl.
ca. 3
non vib.
10
5½
sub. poco vib.
3½
Acc.
ca. 3
(
ord. 4½
)
(
Pno.
air
)
nail
8
5½
let difference tones ring
In (ord.) palm 3
8
P
3
ca. 3
8
glasses BP TT BD
[
continue before glasses die away completely.
1
M
+ chain
4½
5½
] 8
ca. 3
s.p. flaut
4½
5½
(s.p. flaut.)
sub. = 66
Vc.
ca. 3 Solo D.B.
pizz.
8
6½
8
33034
5½
II
arco
(III:
)
6
R
flz.
= 54 33
Bcl.
tone
poco vib.
[ ]
MII: A + F+ B -
Acc.
(silent) (
)
(
ord.
)
let difference tones ring
ord.
Pno. 8
P
P
3
P
sempre
M
pressure
BP TT BD 1
= 54
3
leave chain on
½ s.p. flaut.
vib.
Vc.
(III: Solo D.B.
)
s.p. flaut 3
[ ]
sub. vib. sub. ord.
½ s.p. flaut.
8 8
8
sempre 33034
7 multi: stable + thick
= 66
41
Bcl.
sempre
Acc.
8
ord. palm
Pno.
silently
In
8 loco
P
P
3.
P
P
+ chain slow
2
TT BD
dowel silently [ Place ] on BD
= 66
Rim a. b. b.
BD [dowel + needle]
a. LH viol. LH pizz. batt. pizz. RHs 3 III IV
s.p. sub. ord.
Vc. sub. non vib. Solo D.B.
(
)
s.p. distort
sub. ord.
8
33034
sub.
8 48
Bcl.
vib.
non vib.
Acc.
8
ord. palm In
Pno.
ord.
8
3.
3.
P
+ can
MP Timp. BD
S
P
3
sempre arco
s.p. vib.
(s.p.) vib.
Vc.
s.p.
sub. ord.
½ s.p. 3
Solo D.B.
sub. s.p.ord.
s.p.
s.p. ord.
LH viol. pizz. batt. s.p. 3
3
8
sub. 33034
sub.
sub. ord.
warm slow vib. pulse
56
9
multi: complex, thick
Bcl.
Acc.
B.S.
(
(
)
(
)
)
ord.
Pno. 8
P
3.
P
P S
+ can
Timp. BD
+ can S
(s.p.)
fl
flaut.
s.p.
s.p. distort
LH pizz.
(dist.)
viol. batt.
Vc. sub. sub. s.p. ord. Solo D.B.
sub. s.p. distort s.p. ord.
LH pizz.s.p. 3
8
sempre
sub.
33034
[
All of LH wrapped around V pulling away from fingerboard for extreme distortion and fast glissando.
]
(distort)
10 warm vib. pulse
63
Bcl.
sub.
Acc. 8
ord. palms
In
Pno. 8
P
3.
P
P
3.
rim
b.
BD
arco fl
non vib.
poco vib.
½ s.p.
Vc. sempre
Solo D.B.
I II
s.p. LH viol. LHs s.p. distort pizz. batt. II I II 3 III II II
LH pizz.
ord.
LHs RHs LHs s.p. pizz. III I IV II
LH RHs LHs pizz. III I IV II 3
3
viol. LHs s.p. batt. I II
viol. batt.
s.p. LH I pizz. II
III IV
LH RHs LHs LH viol. pizz. III I pizz. batt. IV II
8
sempre
heel trem. 33034
sempre
3
3 3
3
sub. g = 54
multi: complex dense, stable
69
[Boehm: see Legende]
11
air
tone
air
’ ’
air
Bcl.
Acc.
sub.
RH
tone
B.S. 2. 3. 4.
In 8
palm
Pno.
(piano is the sounding dynamic.) [at bridge]
sempre
In
8
P
3. no chain
BP TT BD
arco
sub. s.p. ord.
P
high partial
sub. = 54
s.p. distort ( )
2. 3. 4. arco
P
3.
3.
mid-partial 3
½ s.p.
batt.
Vc.
Solo D.B.
arco ord.
sub. s.p.
ord.
warm vib.
8
3
poco
33034
sub.
12
76
accel.
air open "Te"
= 66
ord.
tone
Bcl. sub. RH
Acc.
LH
In
Pno.
In palm
(non cluster!)
ring
8
P
P
P
3.
3.
chain on
TT LR BD
accel. ord.
3
= 66 sub. s.p.
III IV
Vc. sub. s.p. Solo D.B.
LH viol. LHs RHs LH pizz. batt. I III pizz. s.p. 3 II IV
8
LHs I s.p. II
viol. batt. s.p. 3
(s.p.)
sub. ord.
I sub. II
sempre
33034
(
l.v.
ord. vib. expr.
s.p. dist.
s.p.
(I:
)
ord. )
sub. vib. expr.
sub.
sub.
81
air "Te"
ord.
Bcl.
13
sub. flz. ½ air
sub.
air
Acc.
tone
3
ord.
(
(
)
LH+RH arms
)
high
In palm
Pno. 8
loco
P
P
P
3
P
3.
3.
M
+ can
BP TT Timp. BD
+ chain
3
S
S
ord. vib.
viol. batt.
s.p.
distort ( )
LHs III IV
s.p.
Vc.
Solo D.B.
RHs LHs sub. LH viol. I III pizz.s.p. I s.p. pizz. batt. II IV II
3
s.p. viol. LH I batt. pizz. II 3
vib.
sub.
sub. 3
s.p.
3
8
sempre
sub. ord.
sub. 33034
3
sub. ord.
s.p. distort molto vib. ( )
LHs I II
sempre
LHs RHs LHs LH viol. LHs pizz. III I pizz. batt. I IV II II
sub. s.p.
3
3
14
multi: low, thick stable
86
Bcl.
Acc.
B.S. 8
In
ord.
Pno.
In palm 8
P 3.
P
sizzle on SC low ratchet LR BD
III
(s.p.) distort
LH RHs pizz. III IV
s.p. I
LH RHs LHs pizz. III I s.p. IV II
III IV
edge
l.v.
LH pizz.
s.p.
arco ½ s.p.
viol. batt.
vib.
Vc.
Solo D.B.
II III IV
heel vert.
LH viol. pizz. batt. pizz. 3
8
6
sub.
sempre 33034
LH viol. sub. pizz. batt. s.p. 3
sub. ( ½ s.p.
sub.
)
vib.
8
much slower ca. = 46-48 91
ossia:
15 (circular breath)
g
Bcl. sempre sub. 1 by 1 vib.
delicate poco vib.
non vib. (MI+MII)
Acc.
behind [direct ] dampers
sempre (
)
Pno.
In
Th
(
8
let difference tones ring
) 8
loco
.
3.
3
P
3.
arco
SC BP TT
ord.
arco
high and complex
high arco
P
P
P
3
P
P
l.v.
glasses fingers: [no sizzle]
[no sizzle]
l.v.
no chain
much slower ca. = 46-48
mid. ½ s.p.
ord. III
Vc.
ord. Solo D.B. 8
flaut.
non vib.
sub. non flaut.
sub. poco vib.
( )
s.p. flaut.
sub. sub. sempre
ord. expr.
sub. 33034
( non vib. )
poco vib. 3
sub. ½ s.p. vib.
sub.
sub. non vib.
a little faster ( ca. 56-60)
16
a tempo = 66
100
ord.
Bcl.
3
3 8
Acc.
1 by 1
pressed! 8
loco
(ord.) ord. RH
Pno.
3
3
arm
In
LH
(
ord. arm
)
ord.
ord. In
8
8
In
P
3. low ratchet BD
(loco)
P
P
(no pedals)
rim
a little faster ( ca. 56-60) ord. poco vib.
non vib. I II
( )
(loco)
sempre
a tempo = 66 s.p. distort
LH viol. pizz. batt.
II III
arco ord.
3
Vc.
sub. ord. vib. expr. Solo D.B. 8
II
s.p. distort III
sim. [
( )
sub. ord.
]
(I
3
V
sub. sub. ) s.p. ord. ½ s.p.
(I:
ord. sub. vib. )
3
(I:
)
8
sempre
3
sub. 33034
3
sub.
17
multi:
high partials 107
Bcl.
8
8
Acc.
3
(
RH silent
)
(high) (
Pno.
high
)
In
5
5 8
sim. P
P
P
+ can
Timp. LR
3.
S
P
P S
+ can
3
sempre ord.
sim.
s.p. dist.
s.p. dist.
viol. batt.
3
III IV
s.p.
ord. vib.
Vc.
LH sub. pizz. s.p.
3
sub. ord.
I II
Solo D.B. sub.
sub.
sub. s.p.
sub. ord.
sub. vib.
s.p.
ord.
sub. s.p. distort
sub. ord. vib.
V
sempre
3
33034
sub.
s.p.
18 ’Tu’ open air
114
tone
Bcl. 3
8
Acc.
15
(
)
(
ord.
)
(
)
Pno.
In
palm silent
8
P 3.
loco
P
P
3 3
5
BP TT Timp. BD
S
S
S
sub. s.p. ord.
l.v.
+ can
s.p. distort LH RHs III pizz. III IV IV
ord. (IV:
s.p. distort [ ]
)
ord.
II
Vc. III 3
sempre
sub. ord. Solo D.B.
RHs LHs LH III I pizz. IV II s.p. 3
LH viol. pizz. batt.
ord.
sub. sub. s.p. ord.
5
I
( )
8
(II:
8
)
3
33034
II sub.
s.p. distort [
ord.
] (I:
)
expr. vib. (I)
19 ord. vib.
120
Bcl.
sub. 15
sempre
Acc.
loco
silent In
Pno.
Th.
P
P
1
SC BP Timp.
edge
M
(sizzle on)
3.
3
+ can
S
3
( ½ s.p. flaut.
P
vib.
III)
3
ord.
s.p. sub. ord. IV/III
Vc.
½ s.p. flaut. (non vib.) Solo D.B.
vib.
ord. ( )
disappear into piano resonance
8
8
3
ord. non flaut.
s.p. flaut. II non vib. (III: 33034
)
(gliss. III)
II
I
3
sub. s.p. ord.
20 126
flz
Bcl.
8
Acc.
Pno.
In
palm
In nail
8
5
loco
P
3.
P
b BP TT BD
a a
b sim.
rim 3
flaut. IV
Vc.
sub. (III
Solo D.B.
III
s.p. vib.
sub. vib. flaut.
8
)
sub. vib.
(I:
)
ord. (expr.)
s.p.
poco non vib. vib.
sub. sub. s.p. ord.
s.p.
vib.
sub.
3
)
expr.
sub.(IV:
ord. non vib.
sub. vib.
sub. sub. s.p. ord.
s.p.
sub. distort non vib. vib.
( ) 8
8
3
33034
sub.
sub.
sub.
3
21
multi: with base tone, high partials
132
Bcl.
8
Acc.
(no cluster)
sub.
8
LH (
)
(
)
(no cluster)
In (
(
)
)
Pno. 8
P
3. sub. BD
3
sub.
sub.
sub.
s.p.
s.p. distort IV
rim s.p. sub. ord.
ord.
sub. s.p. distort III
s.p. sub. distort ord.
sub. ord.
ord.
3
Vc. 3
Solo D.B.
I II 8
II s.p. distort III
ord.
III 3 IV sub.
III IV 33034
ord.
22
R
multi: thick + low
137
G
Bcl.
1 by 1
Acc. 8
loco
1 by 1
3
LH
RH
In
Pno.
[ (
LH stops strings inside, RH hits keys. )
nail
8
loco
LH
] In palm
ord. 8
P
P
3.
P
3.
P arco complex
Guiro Woodblk TT BD
P
III (s.p.) IV
sub. s.p. distort
ord.
LH pizz.
ord. warm vib. expr.
viol. batt.
Vc. sub. s.p. distort 3
Solo D.B.
LH pizz. l.v. ord.
sub. s.p.
ord. 3
8
sub.
sub. s.p.
3
sub. ord.
sub. sempre
sub. 33034
expr.
( )
vib.
8
23 142
Bcl.
Acc.
( Pno.
In
(
)
)
Th.
8
P
arco
[non ped.]
3
high partials
BP BD
l.v.
s.p. flaut. ( ) Vc.
(non vib.) III II
Solo D.B.
( )
sub. vib.
sub. sub. s.p. ord. vib.
3
8
8
sub.
sub. 33034
sempre
24 sub. vib.
148
Bcl.
8
Acc.
M II
B.S.
Pno.
pizz.
In 8
In
palm
P
P
Low Ratchet
III IV
LH viol. batt. pizz. s.p.
s.p.
3
sub. ord. vib.
s.p. dist.
II III
(s.p.)
Vc. LH RHs LHs pizz. III I IV II s.p. 3
Solo D.B.
vert. heel
sub. s.p.
ord. (non vib.)
LH viol. LHs pizz. batt. I II 3
3
vib.
LH s.p. LH viol. s.p. pizz. batt. ord. pizz. I II
8
3
sub. 33034
sub.
3
sempre
25 152
ord.
Bcl.
8
Acc.
8 8
ord.
In
Pno.
sempre
silent 8
P
P
3.
3. 3
l.v.
guiro metal BD
sempre
P
non dim. sub. s.p. distort
ord. II vib.
II
3
III (s.p.) viol. IV batt.
Vc. sub. III IV Solo D.B.
s.p. viol. LH I batt. pizz. II
II III
RHs LHs LH viol. LH III I pizz. batt. pizz. IV II 3
s.p. I II
LH pizz.
RHs LHs LH viol. LHs III I pizz. batt. 3 IV II
s.p. distort
I II sub. III ord.
8
3
sempre
3
33034
sub.
sub.
26 multi: high + unstable
long
156
ord.
Flz.
Bcl. poco [out of high percussion]
long
8
15
sempre
Acc.
3
long
(
(
In pizz.
)
)
Pno.
long 8
P
3.
long
M
BP LR TT + chain 1
ord. vib.
s.p. distort
long
s.p.
ord. poco vib.
Vc. poco s.p. I II III Solo D.B.
long 3
( )
sub. LH RHs LHs s.p. pizz. IV I viol. III II batt. 3
I II
s.p. distort
sub. ord. V
vib.
s.p. I II
LH RHs pizz. III IV
LHs LH s.p. I pizz.III II IV
sub.
3
sempre
3
3
33034
heel vert. ord.
8
sub.
I LH viol. II pizz. batt.
3
27 161
Bcl. sub. 3 15
3
Acc.
loco
sempre 3
ord.
(ord.) 15
15
Pno.
Th
In 8
P
3.
P
P S
+ can S
Guiro BP Metal Timp. BD
S
l.v.
P
rim s.p.
LH viol. pizz. batt.
Vc.
LH RHs LHs pizz.III I IV II
LH s.p. I II Solo D.B.
s.p. LH viol. I pizz. batt. II
s.p. I II
3
sub. ord.
vib.
molto vib.
vib.
I s.p. II
I II
3
8
3
sub.
3
sempre
3
sempre 3
33034
LH pizz.
viol. batt.
RHs LHs III I IV II
28
[max.
165
= 66]
Bcl.
sim.
sim.
15
3
Acc.
6
3
6
3
6
3
6
3
sim. 3
3
3
Pno.
ord. 8
In palm
3.
5
In
loco
3
3
*)
sim.
ord.
15
sempre
5
5
ord.
5
sub.
5
8
loco
P
3
P
P
P P
Woodblk Ratchet BD
3
s.p.distort
[max.
vib.
ord
= 66]
3
(s.p.distort) IV
ord. III
Vc. LH viol. heel pizz. batt. vert. Solo D.B.
sub. ord.
sub. I s.p. II
vib.
8
3
LH viol. ord. pizz. batt.
5
8
sub.
8
sub.
sub.
sub. 33034
sub.
*) ossia: without damping if necessary in bars 168 till 176.
29
multi: high stable partials
170
Bcl.
sim.
sim.
15
6
Acc.
3
6
3
6
3
6
3
6
3
6
3
sim. 3
3
ord.
3
ord.
5
3
ord.
5
sub.
Pno.
3
5
sub.
5
5
5
ord.
5
ord.
ord.
5
5
ord.
5
sub.
5
sub.
5
sub.
5
ord. 8
P 3.
rim
sim.
BD sub.
sub.
sub. sim.
dist. II III
s.p.
I II
Vc. (IV:
) ½ s.p. flaut.
s.p. Solo D.B.
(
)
ord.
8
(I:
(
)
:III) 33034
LH viol. pizz.batt. 3
I s.p. II IV - I
LH viol. pizz.batt. 3
30 174
Bcl.
sim.
15
6
3
6
3
Acc.
6
6
3
6
6
3
sub.
6
3
sub.
6
sim.
3
sub. ord.
ord. 15
5
5
sub.
Pno.
5
sub.
sub.
5
5
5
5
sempre
sub.
5
5
8
P
P
P
3.
BD sub.
½ s.p. molto vib
s.p. distort I IV - I II
s.p.
LH viol. pizz. batt.
distort
LH viol. pizz. batt.
Vc. 3
s.p. LH viol. I II pizz. batt. 3
Solo D.B.
s.p. I II
3
s.p. IV
8
33034
viol. batt.
IV
5
31
multi: high + stable
177
Bcl.
sim.
15
3
3
6
3
6
3
6
3
6
3
Acc. sim. 3
ord. 15
5
Pno.
5
5
5
5
5
5
sempre 5
5
sub.
5
5 5
5
8
P
P
LH viol. s.p. dist. pizz. batt.
sim.
P
3.
BD
s.p. dist.
Vc. 3
I II Solo D.B.
(s.p.) V - II I
s.p. I
LH viol. pizz. batt.
8
3
33034
s.p. V - II I
32
high noise
multi: complex
Much slower ca. = 46
multi: complex
180
Bcl.
sim.
15
loco
6
Acc.
3
sub.
6
3
6
3
sub.
6
3
3
3
sempre
sim. 6
6
3
3
15
5
5
5
5
Pno.
sub.
5
5
5
5
5
5
5
5 loco
8
8
3.
P
P
sempre
3.
BD
[
]
s.p. dist.
Much slower ca. = 46
s.p. dist.
LH viol. pizz. batt.
Vc. gradually surfaces out of piano resonance very warm poco vib. expr. arco
3
Solo D.B.
I II
LH viol. pizz. batt.
s.p. I II
s.p.
IV
III IV
II
LH viol. pizz. batt.
8 8
3
3
33034
33
R
ord. non vib.
184
Bcl. sempre non vib. 1 by 1
vib.
15
Acc.
8
2. In 3. 4. RH
15
8
In
In
Pno. 8
5
sempre
LH pad.
5
5
sim. In
5
palm ring
loco
P
arco mid-partial
wire brush
S
3
BP TT
1
arco very warm
expr. ord. III II
s.p. flaut.
s.t.
expr. s.p. flaut.
vib.
s.t.
poco vib.
Vc. sub. sub. s.p. ord. Solo D.B. 8
3
sub. sub.
3
I
( ) 3
(II:
) 33034
sub. ½ s.p. I flaut.
s.p. (flaut.)
s.t.
poco vib.
34
still 189
10
air
Bcl.
still 10
Acc. 8
still 10
(sim.)
5
5
5
5
5
5
5
8
Pno.
5
8
5
no ring
sim. P
P
still
dowel + needle
10
BD sempre
still 10
Vc.
8
non gliss.
Solo D.B.
s.p. flaut.
III 8
8
sub. ord. non vib.
IV sub.
still (IV
V
)
s.p. flaut.
(IV continues)
3
IV sub. sub. 33034
poco
8