Edmund Scott Miller
for chamber ensemble
2016 Stonemill Art Publishing
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! piano, violin, viola, ! and cello ! ! ! ! ! ! ! ! ! 2016 ! Stonemill Art ! Publishing ! ! ! ! ! ! ! !
for chamber ensemble
flute, clarinet, percussion,
!
www.musicmiller.com
Performance Notes General
µ B
Microtones:
o Crescendo from scilence: = quarter-tone sharp
o Diminuendo to scilence: = quarter-tone flat
Tempo: The two main tempos in this piece (q = 63 and q = 94.5) are indicated with such specificity because their relationship is very precise: triplet 8th notes in the first are equivalent to regular 8th notes in the second. This is especially evident in the music the first time there is a gapless metric modulation (mm. 16-17) – the flute’s repeated note keeps the same duration across the tempo change. It should be noted that some flexibility is acceptable and encouraged as regards the exact metronome marking, so long as the metric relationships remain precise.
Clarinet Multiphonics: The three multiphonics used in the score are shown below with a suggested fingering*. In the score, the multiphonics are notated using the pitches notated below (in B-flat) along with their corresponding label (*1, *2, or *3). The given pitches are, of course, approximations that will vary somewhat for different instruments and performers. Both *1 and *2 should have a delicate quality, while *3 should produce a louder, more aggressive effect. *1
*2
*3
#B w w Bw
&
#w µw
µµ w w w nw w
(*fingerings are taken from http://www.clarinet-multiphonics.org/clarinet-multiphonics.html)
Produce a tone that is mostly air noise, very little pitch.
& 1
!
(ppp - p)
#bis œ
Bisbigliando: rapid trill-like alternation between two alternate fingerings for the given pitch.
&
Flute
?™ ?
closed/covered completely with mouth ordinary playing position (pos. ord.)
?™ 2 (inhale) [o]
[e]
& !
1
1
Air sounds through the flute. There is no pitch, but use C fingering. Vowels may be indicated to change the color/quality of the noise. An upward arrow above a note indicates "inhale," unmarked indicates "exhale" (see m. 103) Tounge pizzicato
&
¿ b¿
?™ & -j b œ.
O & ˙
Tounge ram: triangle notehead is the fingered pitch, sounding pitch is in parentheses.
OO O ˙
Flute multiphonics are performed by producing two or more overtones at once. In the score, the fingered note is given like normal, with the overtones written in diamond noteheads as harmonics. Notes in parentheses are not the primary pitches, but may sound while executing the multiphonic.
Copyright ©2016 by Stonemill Art. All rights reserved
ii
Percussion • Metal Bowl: a heavy metal bowl (the composer's is stainless steel, approximately 7" in diameter) turned over and covered with a lightweight cloth like a handkercheif to mute slightly. Played with heavy snare sticks. • Paper: a single sheet of printer paper (20 lb. or similar) is hung from music stand, percussion stand, or similar. • Foil: a sheet of aluminum foil crumpled slightly before being folded in half into a shape that is roughly 4 to 8 inches square — any convenient shape or size may be used. This is hung from a music stand, percussion stand, or similar. It may be helpful to also secure one or more sheets of printer paper behind the foil as extra support to keep it from changing shape when struck during the performance. (This seems to work best if the paper is also crumpled up somewhat). • Bow: Any size bow can be used, though a bass or cello bow may enable a louder air effect since the bow hair is typically wider. - to produce air noise (a 'swoosh' or 'swish'), the bow is swung quickly through the air. - at certain points in the score, the tip of the bow must also be used to play the paper or foil like an oversized mallet. This is simply for the sake of practicality. - when playing the edge of the tin foil with the bow hair ('arco'), a quiet noise effect is produced. Keep the bow perpendicular to the sheet of foil and use a very slow bow speed.
center
(gradual shift)
edge side of bowl
metal bowl
≥ 3œ /4
œ
œ
≤œ
œ
œ
edge with side-stick
g
¿
strike-rub (after initial attack, drag the stick slowly to produce a subtle rustling effect) strike
-œ
paper
/ œ
rub with tip of stick or bow strike
arco
strike-rub producing subtle rustling effect
Œ
foil
/ œ
H
O
œ-
swish
bow
/ -
Strings (pizz.) a la chitarra "double tapping"
&
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ /#¿œJ 0 b˙ ¿ f pos.
Double tapping trill: with the violin or viola in 'guitar' position, stop the string with your left index finger and trill with the middle finger, all while tapping (hammer-on and pull-off) with the right hand. Maintain approximately a major second between each pitch (spanning a major third, total) throughout the glissando.
p
Oœùù
?
Artificial harmonic glissando ("seagull" effect): keep a fixed distance between the stopped note and node.
b ˙O mf
&
ppp
HH -6
/
hh -6
-6
Bow noise (no pitch). Mute the indicated strings with the left hand and use light to medium pressure to produce a subtle bow noise effect.
Rub palm and fingers on body of the instrument. Long and slow motions with quick changes in direction, not unlike bow technique.
œ Harmonics
&
Oœ
iii
Strings (cont.)
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ BO w
(s.p.)
?
Harmonics trill: trill between the regular note and the harmonic node to produce a flutter, unpredictable multiphonic. Always performed sul ponticello.
ppp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ J bO O
&
f pos.
Harmonics trill with glissando: trill between two harmonic nodes. Keep the lower node in constant contact with the string. Keep a fixed distance between the two nodes. The result is a quiet and unpredictable fluttering effect.
p
s.t. c.l.b.
s.p. normale
ricochet
.
.
.
.
.
.
.
.
Ricochet (c.l.b.): bounce the bow, col legno battuto, an undetermined number of times on the pitches written. Begin quickly and slow down over the duration of the written note (half note). This example also dictates contact point: begin witht he bow sul tasto and gradually move to sul ponticello.
& ˙ ˙ p
ppp
s.p. and m.s.p. = sul ponticello and molto sul ponticello s.t. and m.s.t. = sul tasto and molto sul tasto ord. = ordinario — return to playing with regular contact point c.l.b. = col legno battuto: strike the string with the wood of the bow norm. = normale — return to playing with bow hair, as normal
» = snap pizzicato or "Bartok pizz."
œ
From measures 27-39, this alternate notation is used to show the relative speed for individual players. Repeat the given gesture out of time with very short, irregular breaths (breif pauses) between gestures. The three-line staff represents speed. At the bottom line, play slower (c. q = 60) with more space (longer breaths); at the top line play faster (c. q = 100) with less space (shorter breaths). Please note that these tempos are simply a guideline not to be strictly adhered to. It is important that this music sound fluid and unmetered.
* (q = c.100)
™™îü †
SPEED
° & í¢™™
+ Bœ
(q = c.60)
mf
c.l.b.
B
Bœ œ œ œ œ œ œ œ œ µœ œ œ œ œ œ œ œ œ
∑
3
3
pp
From measures 49-71, a new staff is added between the viola and cello to show the contact point for the bow (col legno). The top and bottom of the staff represent molto sul ponticello and molto sul tasto, respectively.
3
f
bridge (m.s.p)
3
÷
Bow Placement ÷ (Viola and Cello)
÷ 3 3
fingerboard (m.s.t)
c.l.b.
? ∑
œ œ œ œ œ œ œ œ œ Bœ œ œ œ œ œ œ œ œ 3
pp
3
3
f
Please email the composer at scottmusicmiller@gmail.com with any questions.
Most poems go unread Score in C
Edmund Scott Miller
Hushed, q = 63 q = 63 q = 94.5
° 3 Flute & 4 1p ¿ bis
3 #œ &4 -
Bb Clarinet
¢ pp
≥ 3 œ /4
Percussion
‰ b¿ 1 1 . *1 œ B œ œœ ≈ ‰ Bœ œ œ o p o œ œ œ ≤œ ‰
mp
∑
‰ b¿ 1 1 . *1 œ B œ œœ ≈ ‰ Bœ œ œ o p o œ œ œ ≤œ ‰
1 ¿ bis
#œ ∑ pp
≥œ ∑
pp
mp
∑ 44
∑
j 1 ¿ b¿ b¿ ¿ 1 ™ œ.
˙
*2
∑ 44 ‰
˙ ∑
˜œ ˙ œ o p o œ≥ œ œ œ œ œ œ ≤œ 4 ∑ 4
pp
mp
œ.
*2
‰
‰
“”
“”mp # œ. œ. œ. p. ∑ ‰ ‰ ‰ œŒ
. p # œ. . 3 ‰ œ ‰ œ ‰ œ. Œ &4 7:4
‰ b¿ 1 1 . *1 œ B œ œœ ≈ ‰ Bœ œ œ o p o œ œ œ ≤œ ‰
1 ¿
bis
‰
3 #œ 4 -
∑
˜œ ˙ œ o p o œ≥ œ œ œ œ œ œ ≤œ
pp
∑
≥ 3 œ 4
∑
pp mp
mp
3 4
∑
j 1 ¿ b¿ b¿ ¿ 1 ™
“”mp n œ. œ. œ. . œ. . pp 4 ∑ 4 ‰ ‰ ‰bœ ‰ œ. œbœ. ∑
7:4
pp
mp
“”mp n œ. œ. œ. . œ. . pp ‰ ‰ ‰bœ ‰ œ. œbœ.
7:4
pp
“”mp p . . # œ. œ. œ 3 ‰ ‰ œŒ 4 ‰
∑
7:4
7:4
Piano 5:4
? 43 Œ
{
∑
∑ 44 Œ b∫˙˙˙˙ ™™ ˙ ™
Œ
&
b∫˙˙˙˙˙
(l.h. release is precise and abrupt)
pp
5:4
b∫˙˙˙˙˙
∑
Œ b∫˙˙˙˙ ™™ ˙ ™
3 4 Œ
œœœœœ Œ Ó
Ó
sim.
Hushed, q = 63
q = 63 q = 94.5
(pizz.) a
Violin
la chitarra "double tapping"
° 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~ &4 ¿ /#¿œ0 ‰ b˙ f pos.
∑
p
f pos.
»
p
»
B 43
Viola
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ /#¿œ0 ‰ b˙ ¿
Œ
Œ
∑
# œ.
Œ
Œ
» ∑ 44 Œ Œ Œ œ. a la chitarra (pizz.) "double tapping" ~~~~~~~~~~~~~~~~~ Ÿ ∑ 44 ¿ #¿ Œ /œ0 ‰ b˙
3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 4 /#¿œ0 ‰ b˙ ¿
» ∑
Œ
Œ
Œ
∑
œ. (pizz.) Ÿ~~~~~~~~~~~~~~~~~ ∑ #¿ Œ /œ0 ‰ b˙ ¿
f pos.
∑
3 » 4 # œ.
∑
3 4 O b˙
# œ. f pos.
p
f pos.
p
Œ
Œ
p
mp (approximate ending pitches)
"seagull" effect
Oœùù
? 43
Violoncello
¢
Oœùù Œ
sim.
Oœùù
∑
b ˙O
b ˙O
∑ 44 O ˙
Oœùù Œ
∑ ˙O
Oœùù
mp mp
mp mp
ppp
ppp
ppp
mp
ppp
ppp
= q = 94.5
q = 63
10
° &
∑ 45
‰ Œ 43
1 ¿ *1
/
1 1 ¿ b¿ 1 1 *2 œ œœ. œ. 3 ‰ Œ 4 ‰ ‰ œ ˜œ œ œ o o p o œ œ œ œ ≤œ 3 ≥œ œ œ œ ≤œ Œ 4 ‰
b¿ b¿ 1
bis
¢&
∑
B ˙˙ ˙
∑ 45 #œ- ≈ Bœ pp o œ≥ œ 5 ∑ 4
p
œ
4 4
1 ¿
b¿ b¿ b¿ n ¿ 1 *1
bis
∑
∑
4 #œ- ≈ 4 Bœ pp o ≥ 4 œ œ 4
B ˙˙ ™™ ˙™
5 4
Ó™
‰ Œ
1 œ. 5œ‰ Œ 4 œ
œ. œ. œ. œ. -œ. œ. -œ. œ. -œ. œ. -œ. œ. 4 4
Œ
3
3
3
3
pp bis *1
Ó™
o p
œ œ œ œ œ œ 5 œ œ œ œ≤ Œ Ó 4
œœ. ‰ Œ œ o p œ œ œ œ œ ≤œ Œ
B ˙˙ ˙
#œ- ≈ Bœ pp o œ≥ œ
4 4
4 4
mp mp
&
pp
mp
pp
” “mp “”mp . . # œ œ. œ. œ. #œ. . œ. pp 3 n œ œ. œ. bœ.p 5 ∑ 4 ‰ ‰ ‰ ‰ nœ nœ. Œ 4 ‰ ‰ ‰ Œ 7:4
mp
∑
pp
p
“” mp . # œ. . œ. .ppp . 4 ‰ œ ‰ œ ‰ œ. ‰#œnœ. œ. nœ. 5 ‰nœ Œ Œ Ó 4 4
7:4
7:4
“”mp # œ. œ. œ. . . pp ‰ ‰ ‰ œ ‰#œ nœ. Œ
3
Œ
4 4
Œ
4 4
Œ
4 4
7:4 5:4
5:4
5:4
{
∑ 45 Œ
° &
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 » ∑ 45 Œ Œ #¿œ ‰ Œ 4 0 ¿ / ™ b˙ n œ. f pos. p (pizz.) Ÿ~~~~~~~~~~~~~~~~~~ » 5 3 ∑ 4 Œ Ó™ #¿ 4 ¿ /œ0 ‰ b˙ # œ.
&
Œ 43 Œ nb ∫˙˙˙˙ n ˙
b∫˙˙˙˙˙ ™™™™
œœœœœ Œ Œ 44 Œ
q = 94.5
B
f pos.
? ¢
∑ 45 b ˙O ™™
Ó
Œ b∫˙˙˙˙˙ ™™™™
q = 63
∑
Oœùù
ppp
ppp
4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 4 #¿œ ‰ 4 /0 b ˙ ™¿ f pos.
∑
p
Oœùù Œ 3 4 ˙O mp
5 4 ˙˙ ™™ ˙˙˙ ™™
bn∫˙˙˙˙˙ ™™™™
∑
4 » 4 # œ. mp
∑
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ #¿œ ‰ Œ / 0 ¿ b˙ f pos.
p
» Œ
5 4
Ó
4 4 O™ b˙™ mp
mp
Copyright ©2016 by Stonemill Art. All rights reserved.
∑
Œ
4 4
Ó™
# œ. Oœùù 5 4
3œùù Œ
∑ b ˙O
ppp
mp
ppp
Œ
4 4
2
q = 94.5 17 ° 4 œ. œ. œ. œ. œ. œ. œ. œ. 5 œ. œ. Œ Ó™ 4 &4
. . . .. . .. .. .. 4 œ œ œ œ œ œ œœ œ œ œœ Ó 4 3
p mf
œ. œ. œ. -œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
q=63
. . . -. . -. . 7œ œ œ œ œ œ œ 8
3
3
Œ
3
3
pp
˙™ œ œ. 5 ‰ Ó™ 4 ˜œ ˙ ™ œ œ o mp o ≥ ≤ 4 œ œ œ œ œ œ œ œ 5 œ œ œœœœ œ‰ Œ 4 /4
3
3
3
3
mf
ppp
pp
p
*2
œ
*2
4 ¢& 4 ‰
œ
. . . . œ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œœœœ
˙ 4 B˙ 4 ˙
*1
7 8‰
j Bœ
˜œ œ œ o mp ≥ 7œ œ œ œ œ œ œ 8
Œ
Π3
3
3
3
3
Ó
3
pp ppp p o ≤ 4 œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ Ó 4
mp p
pp
f
p
œ. œ.
pp
pppp
œ.
4 4
‰
“”mf n œ. œ. œ. . œ. # œ. œ. œ. . # œ. . ppp . . . b œ n œ n œ. œ œ. œ. . . 3 n œ œ. œ. . nœ. . nœ œ 5 . nœ œ bœ . 4 5 7 ‰ ‰ ≈≈ ®® ® 44 ‰ ‰ ‰ ‰ ‰ ‰ J ≈≈‰ œŒ & 4 ‰ ‰ ‰ ‰ œ œbœ. 4 bœ. ‰ œ. ‰ œ. ‰ ‰# œ Œ Œ 8 ‰ 5 . 7:4 7 3 mf 7:4 5:4
p
5:4
pppp
. ‰ œ‰ Ó
Œ
3
5 ppp
5 5
> ‰ nœ ™
˙
w > arco µ˙
˙
ppp
mp
p
4 & 4 Œ nbn∫˙˙˙˙˙ ™™™
5 4w w w ww
{
Œ 87 Œ
b∫œœœœœ
4 Œ 4 b ∫˙˙ ™™ n ˙˙˙ ™™
œœœœœ ™™™
q = 94.5
?
w w w ww
q = 63 to regular playing position
° 4 » &4 nœ
Œ
5 4
Ó
mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~ 5 B 44 ¿ #¿ /œ0 ‰ 4 b˙™ f pos.
p
œO ™™
Oœ. Oœ. 5 Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. 7 Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. Oœ. 4 8
mf
ppp
p
¢
f pos.
mf
∑
p arco
B˙
4 » Œ 4 # œ. . 4 Oœ ‰ 4 ˙
pp
Oœùù J Œ
? 44
4 Ÿ~~~~~~~~~~~~~~~~~~ 4 #¿œ ‰ Œ /0 b˙ ¿
7 » ∑ Œ Œ™ 8 œ. to regular playing position Ÿ~~~~~~~~~~~~~~~~~~~~ o œ arco, m.s.p. ˙ booœ 7 œ ‰ ‰ ∑ 8˙ ‰ ‰
ppp
Ó
˙
∑ mp ppp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . . . . . . nO œ ‰ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ # O # O œ ˙™
mp
ppp
pp
= . 23 q .= 94.5 ° œ œ &
œ. œ. œ. œ. œ. œ. ∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ¢& Œ œ≥ œ /
œ. œ.
‰ œ≥ œ
œ œ œ œ œ œ ≤œ
œ œ
œ. ‰ Œ
Bœ
˙
pp
mf
Bœ
˙
pp
mf
w
Œ
Ó
w
Œ
œ œ œ œ œ œ œ≤ œ œ œ
œ œ
‰ Œ
gœ Œ Œ
Ó
Œ
mf mf
ppp
p
‰
7:4
mf
mf 5:4
pp
n ‰‰œ œ wø 3
? œ ‰ &b∫œœ œœœ pp œ.
{
?
˙˙˙˙˙
˙
µœ
ff
3 5 œ. #œ. œ. . . ‰ ‰ ‰ œ œ #œœ. #œœ ‰ œ ‰ nœœ ‰ ‰ #œœ œœj ‰ Ó nœ œ œ7:4 5:4 pp p 3 œ ‰ Œ ‰ ‰œœ w œJ ˙ ˙ œ ™ ø -ø t >ø Bœ ˙ ˙™ Œ Œ
3
Œ
‰
j œ bœœ nœ œ
œ œ œ
3
mf
> œ™ œ œ œ œ J
œ b∫ œœ-œœœ J
œ 3
p 3
release softly
q ˙= 94.5
° &
ppp
n œ. n œ.
“”n œ. . #œ # œ. nœ. #œ. œ. œ. ‰ ‰ ‰ ‰ & #œ. Ó
w
Œ
# œ. œ. ‰
Ó
œ. œ. ‰ ‰ 7:4
pp
mf
pp
mf
f solo pizz.
Bœ Bœ
B
˙
˙™
('hammer-on')
Bœ ° í¢™™ œ
w
Œ
Œ
Œ
*(q = c.100)
™™îü †
SPEED
˙
(q = c.60)
pp
mf
pp
mf (pull-off, l.h. pizz.)
(pizz.) pizz.
Ó
» œ—
Œ
∑
Œ
mf œ B œ+ œ B œ+ ° í¢™™ Œ ‰ 3
p
* (q = c.100)
™™îü †
SPEED
. . . . ? Oœ ≈ Oœ Oœ ≈ Oœ Ó ¢
œ B œ+
(q = c.60)
mf mp
pppp
mf
* Repeat gesture out of time with very short, irregular breaths between gestures. The three-line staff represents speed. At the bottom line, play slower (c. q = 60) with more space (longer breaths); at the top line play faster (c. q = 100) with less space (shorter breaths). Please note that these tempos are simply a guideline not to be strictly adhered to. It is important that this music sound fluid and unemetered.
3
B˙ ™
28
Bœ ° &
∑
Ó
w
˙
œ
3 4
Πpp
Œ
4 4
ff
B˙ ™ µœ Ó
4 4
mf f
∑
Œ
w
3 ˙ 4
œ
Œ
¢& pp
mf
f
ff
gœ ∑
∑
Œ
Ó
3 4
∑
/
4 4
∑
f 3 #œ œ #œ œ n œ j œ n œ #œ œ œ œœ Œ & œ œ#œ
j “” 3 œ # œ #œ œ#œ#œ n œ j œ œ œ œ # œ n œ 3 œœ bœœ œ œ œ Œ 4 3
3
3
∑
Ó
Œ
œ œ
‰ œ
4 4
Œ
3
ff
ff f
f p
{
Ó 3 œ™ >ø n œ. œ. œ. . . . b œ n œ œ. œ b œ. b œ. . ‰ ‰ ‰ ‰ ‰ œ
∑
# œ.
n œ. œ. n œ. œ.
. ‰ nœ Œ
° ‰ &
œ œ b#∫ œœœœœ J
> œ œ™ œ œ œ œJ J 3
ww w ? ww
∑
5:4
˙˙˙˙˙™™™™
˙˙˙˙˙
3 4
p
5
œ. ‰
f solo 7:4
3 4 œœ ‰
bœ œ n œœ œ -
≈≈ ‰
5:4 3
4 4
3
Œ
4 4
Œ
B
/
° í¢™™ œµœ
3 4o
mf
?
¢/
œ Bœ+ sim. ü ° ™ ™™î í¢™ †
p
B4 4
o o p SPEED
p
™™îü †
SPEED
sim.
3o 4o
?4
4
o p
mf
=
33
° 4 œ &4 æ
œ µœ
œ # œ n œ œ# œ œ œ œ µ œ œ œ ‰ œ ‰ Bœ ≈ ‰ ‰ ‰‰ Œ
‰™
‰
3 3
B œ. œ. œ. œ.
µ œ. œ. œ.
B œ. œ. ≈‰
∑
3
3 7
mp 7
B œ. œ. œ. œ. ‰ ‰ pp
3
ff
µ ˙ ™™*3 4 µn˙˙˙ ™™ ¢& 4 ˙™
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
*3
Œ nœ
w
˙™
p
f
œ œ
µµ ˙˙˙ ™™™ n˙ ™ ˙™
Πf
p
f "roll" on either side of bowl 4 æY Ó /4æ mf
gœ
œ
œ
œ
œ
œ
œ Ó
p
4 &4
œ
Ó f
∑
p
mf
∑
Œ
‰ œ
p
j3 œ œœ œ œ
œ œ
3 j “” 3 #œ œ#œ œ œ n œ œ#œ œ œ # œ # œ Œ œ œœ Ó
3
mf f ff p
œœœœœ ? 44
{
Œ
Œ
Œ
j nœ
Ó
> œ™ œ œ œ œ J
œ b#∫ œœ-œœœ J
œ
w w ww w
3 3
pp
n>œ ™ µ œ. œ.
ø ° 4 &4
∑
Ó
‰
œ. ‰
B œ. ‰
µ œ. n œ. œ. . B œ. . Bœ ‰ ‰ nœ 5:4
f solo 7:4
3
5
œ. ‰
≈ ≈ ‰ Bœ œ n œœ œ -
(pull-off, l.h. pizz.)
mf sim.
° B 44 í¢™™ œ Bœ
SPEED
™™îü † p
mf
f
p
f
p
('hammer-on')
sim. SPEED
µœ ? 44 ° í¢™™ nœJ J ¢
™™îü † p
mf
œ œ
‰
Œ
4
?™ covered [o] ° Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~‰ & ! ™ #1 1 >
(exhale)
q = 63
2 (inhale) [o] [e] Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ! #1 ! 1 !
[e]
37
tounge ram
[o]
?™ 3
Ó
Ó
‰
Œ
Ó
n œ.
b œ.
sounding pitch:
mf ff
‰ #- ‰ Œ
p
p very breathy; at least half air sound
p 3 (flutter tongue)
5 3 3
3
‰ ‰ ¢&
‰ œ-
‰ ‰
‰ ‰ bœ-
œ-
3
‰
‰ b œ- œ -
b œ-
mp
≈≈‰ œ-
∑
∑
Œ
n œ- œ > mp
pp
3
æ æ ‰ œæ æ ææ - œ- œ.
æ‰ æ œ.æ b œæ -
æ œ-æ
pp sotto voce strike paper with tip of bow
bow swish f (pick up bow)
œ
œ
œ
œ
˙
˙
˙ ∑
- Œ
Π~
/ ~
‰ - Œ ~
œ
œ
œ
3
f
pp rub foil with snare stick
∑
∑
∑
∑
∑
∑
∑
∑
& œœ ? œœœ Œ ˙ nn ˙˙-˙˙
{
w w w w-w ø
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ #¿œ ‰ Œ / 0 ¿ b˙
∑
s.p. (arco)
back to regular playing position
a la chitarra "double tapping"
(pizz.)
° &
fluttery, airy effect producing unpredictable harmonics
q = 63
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~
Œ
‚ ‰ O
bO f pos.
f pos.
fluttery, airy effect producing unpredictable harmonics
s.p. (arco)
o h.
÷
Πmp
p
p
B
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~ ‚ ‰ bO O
Œ
ppp f pos.
p
rub palm and fingers on body of cello
h. o
¢÷
Œ
∑
÷
-6
Œ
-6
-6
mp ppp f
=
° Ó &
?™
?™ -
42
Œ
? ⪠Ϫ
q = 42
‰
3 4
4Π4
∑
‰ -
b œ.
(pos. ord.)
n ‚‚ œJ
b œ.
OO ˙
Ó
pp p
p almost entirely air sound
3 3
‰
Œ
æ æ ‰ bœ-æ æ 43 ææ œææ œœ. -
Œ
¢& œ
3
3
æ æ œ.æ ‰ n œæ œ ‰ -
æ æ ‰ µœæ æ - œ-
4Π4
æ œ.æ
æ œ-æ
ææ ‰ ææ æ æ5 æ ‰ æ æ æ ææ œ. µ œ B œnœ nœ Bœ œ µœ œ
3
‰ n1
ppp fpos.
fpos. f
p
p
- œ
‰ / œ~
œ
3 4 œO ™
œ
3 4
∑ &
œ
f
4‰ 4~
pp
- œ
œ
4 4
∑
œ
œ~
œ i i i
œ OOOO O
œ
i i i
I I
∑
trap chord in sostenuto pedal (until measure 82)
? ∑
{ ° Ó &
Œ
3 ∑ 4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ‚ ‰ 4 b‚ O f pos.
B Ó
Π-6 p
Œ
-6 f
‰
-6
∑
q = 42
mute on
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ
‚ bO ™
Œ
4Π4
-6
4Π4
p
346
∑
4Π4
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ‚ 4 b‚ O f pos.
¢÷ 6
4 4
mp
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bO ™ O
‚
mp
p
-6 f
‰
Œ
Ó
‰
Œ
Ó
-6
-6
O
p
-6
-6
-6
-6 p
?
5 46
q = 63
° &
∑
2 4 4 ∑ 4
∑
∑
2 4
∑
2 4 4 ∑ 4
¢& 1 1 1 1 1
1
∑
2 4
1 1
1
1 1
1
1
1
1 1
4 4
∑
∑
∑
4 4
Œ Ó
∑
∑
1 1
pp airy
n fpos. 3
3 2
∑
3 2
1
1
ppp airy
pp airy
1 1
1
3
fpos.
Ó / ~
‰ -‰ Ó
ΠΠΠ~ -O significant sympathetic vibrations
O
2 4 4 O∑ 4 ~
O
∑
‰ -‰ Ó
Π~ -O
O
2 4
‰‰ &
4 4
∑
O
2 4O∑
O
Œ - Ó
Ó
O
~
O
‰‰
3
- Œ
4 Ó 4
- Œ
- Ó
Œ
3 2
~
2 4
4 4
∑
Ó
3 2
2˙ 4
4 4
∑
Ó
2 4
4 4
∑
∑
∑
∑
3 2
2 4 4 œœ ‰ Œ 4
∑
∑
∑
∑
3 2
3
3
3
bw #˙ ∑
#˙
2 4 4 ∑ 4
‰‰œ œ -
&
f
‰‰œ œ -
pp
f
2 4 4 ∑ 4
? ∑
∑
{
˙
pp
∑
f
∑
∑
3 2
w pp
f
with mute s.p.
q = 63
° &
∑
∑
2 4 4 ∑ 4 Bµw w
∑
˙™ ˙™
œ œ
pp
mp
pp (D-flat major, 1/4-tone higher)
c.l.b. c.l.b. Bœ œ œ œ Bœ œ œ œ œ B 4 µœœ œœ œœ œœ œœ œœ Bµœœ œœ œœ œœ œœ œœ Œ Œ µœ œ œ œ µœ œ œ œ œ Bµœœ 3 4 2
(B-flat major, 1/4-tone higher)
B
∑
2 4 Bœ œ œ œ œ œ Bœ œ œ 4 ∑ 4 µœ œ œ œ œ œ µœ œ œ Ó
∑
2 4
∑
3
3
3 3
3
3
3
pp
3
f
3
3
pp
3
f
pp
f
3
bridge (m.s.p)
p
3 3
3
3
Bow Placement (Viola and Cello)
2 4
÷
4 4
∑
2 4
Ó
4 4
∑
3 2
Œ Œ
3
fingerboard (m.s.t)
3 3
3 3
3
c.l.b. 2 ∑ 4 œœ œœœ œ œ œ œ Ó 4 4 Bœ œ œ œ œ œ Bœ œ œ
? ∑
∑
2 4
c.l.b. 4 œ œ œ œ œ œ œ œ œ œ œ œ Œ ŒBbœœ œœ œœ œœ Bbœœ œœ œœ œœ œœ œ 3 4 Bœ œ œ œ œ œ Bœ œ œ œ œ œ Bœ 2
∑
¢ 3
3
3 3
3
3
3
pp
3
f
3
3
pp
3
f
pp
f
p
= bb OOO ˙
56
° 3 &2
4 bO 4 b˙
∑
3 2
4 Œ Œ3 4
3 ¢& 2 1 1 1 1
1 1
∑
Œ 23 ˙ ™ >
OO O ˙
4 O 4 ˙
∑
∑ >œ
4 4 ˙
™ >˙
>˙
œ œ
˙
œ œ™ J>
˙™
fpp
fpp
pp ppp airy
fpp
fpp fpp
(rub foil)
3 / 2 ~™
- Œ 23 Ó ~™
4Ó 4~
3 ~™ & 2 Ó™
O
Œ
4 4
‰ - ‰ - ‰ - Œ 44
∑
Œ
∑
O™
4 4
∑ ~
O
O™
O
3 ~™ 2 Ó™
~
∑
O™
OO Ó
‰
Ó
bw
3b w &2
3
3 #œ œ 2˙ nœ 3
Œ œ 44 bw
pp
f
pp
b˙
4 ˙ 4
bœ ˙ ™ J
œ
œ
Ϫ
pp f f pp f
? 23
{
4 4
∑
3 2
∑
4 4
∑
pp
f
∑ bœ
4 4
∑
3 2
∑
œ#œnœ œ œ œ µ œ 4 µœ ‰ ‰ ≈ 4 œ æ 3
∑
Ó
‰ œ™
&
œœ
(mute on)
° 3 &2
pp
∑
mp
µœ ‰
‰
f µœ œ œ Bœ œ œ œ b œ. œ. BO ‰‰ ‰™ ≈ Œ Œ µœ 3
3 3 3
ppp ppp p
7
(G major, 1/4-tone higher)
Bœ œ œ œ B 23 Œ Œ µœ œ œ œ ÓÓ
4 Œ µµœœ œœ œœ œœ œœ 3 Ó 4 2
µœ œ œ œ œ œ µœ µ œ œ œ œ œ œ 44 µ œ
µœ œ Œ µœ œ
œ œ
œ µœ œ µœ
3 3
œ œ Œ
Œ Bµœœ œœ œœ œœ œœ œœ
Ó
3
3 3 3
mp
pp
3
3
mp
3
f
pp
f
pp
p
f
3 3 3
÷ 23 Œ Œ
Ó
4 Π4
3 2 Ó
4 4
3
Œ
Ó
œ Œ œ
Œ
Œ
3 3 3 3 3
3
œœ œ œ Ó ?3 ¢ 2 Œ Œ Bœ œ œ œ Ó
3
4Œ œœ œ œ œ 3Ó 4 µœ œ œ œ œ 2
3
3
œ œ œ œ œ œ 4 œ µœ œ œ œ œ œ 4 µœ
Œ µnœœ œœ
œ œ
œ œ
œ µœ
Œ
Œ nœ œ œ œ œ œ Bœ œ œ œ œ œ
3 3 3
3
mp
pp
3
mp f
pp
f
pp
p
f
6
bisbigliando, in rhythm
62
° &
3œ 4
∑
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ 4 ˙ 4
Ó
ppp 3
3
3
3
3
3
3
3
3
3
3
œ Œ
¢& ˙
3 Ϫ 4
‰
œ œ œ J
œ œ œ
œ œ œ
œ œ œ
œ
œ œ
œ œ œ œ œ œ
4 ˙ 4
Ó
∑
3
ppp bisbigliando, in rhythm
3 4
∑ /
∑
∑
∑
∑
4 4
∑
∑
4 4
3
OO ™™
O
3 4
‰ Œ
&
OO™™
OO
O
Œ
Œ
O™ O J
bœ pp
˙
œ ˙ bœ bœ œ œ œ ‰ ‰ 43 J bœ œ
Π&
œœ
œœ
œ Œ
Œ
‰
4 4
b˙ ™
4 4 ˙
Œ
∑
3 3 3
#˙ ™
#œ ™
{
‰ nœ .
& p
3 4œ -
‰ Œ
Œ
œ ˙ bœ ˙
∑
f
j nœ
f
pp f
BO ™ ‰B œ ™
pizz. . #pizz. . arco . µ O œ n . µ œ µ O ‰ ‰µ œ ‰ œ ‰
3O 4œ
ppp
mf 5:4
p
5 . œ. n œ ‰ ‰ ≈ ≈ ‰ Bœ œ nœ œ 3 p œ -
∏∏∏∏∏∏∏∏
° O˙ &
µ œ. n œ. n œ. . B œ. Bœ
p
œ ‰ Œ œ
4 4
Œ
∑
mp 7:4 (B-flat major, 1/4-tone higher)
B Œ Bµœœ œœ œœ œœ Œ pp
3 4
∑
∑
∑
4 Bµœœ œœ œœ Œ ‰ µµœœ 4
∑
mp
3
pp
÷
Œ
3 4
Œ
∑
∑
∑
4 4
∑
Œ
‰
3
¢
3 4
? Œ œ œ œ œ Œ Bœ œ œ œ pp
∑
∑
∑
4 œ œ œ Œ ‰ nœ 4 Bœ œ œ µœ
∑
mp 3
pp
= 68
° &
∑
Œ
‰ Bœ ˙
œ ‰ µ˙ ™
µœ
Œ ˙™
∑
µ˙™
ppp
˙™ œ ˙™
œ
˙™
œ
œ #˙ ™
B# œœ Bœ œ *1
˙
œ œ
˙
¢& ‰
‰ ppp
p
ppp
pppp
p
≥ ¿¿¿¿
∑
∑
∑
∑
≥¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≤¿ ¿ ¿ ¿ ¿
Œ
Ó
Œ
/ 3
3
3
p ‰ ~
O™ O
OO J O™
O~
O™
O™
~ ~
O
3
p
ppp ~
~
& pp
b œpp œ œ
f f
b˙ & ‰
œ œ
f
pp pp
œ
mf
#˙
b˙ œ ‰ nœ nœ
œ œ
w ˙
#œ ™ mp
p
˙ Ó
˙O
œO
3 3
{
& œ
j bœ ˙ œ ø pp
3
j #œ œ ˙
˙™
bœ ˙ œ œj œ œ™ J
?
nœ Ó
œ pp mf
f
p
pp f (mute off)
° &
∑
∑
∑
∑
arco
µB˙O
Ó
Œ
n pp s.t. c.l.b.
s.p. normale
sim..
. . . . . . .
ricochet (E-flat major, 1/4-tone higher)
˜ œ œ B µµœœ ˜œ œ
œ œÓ
˜ œ œ ˜œ œ ‰ Bœ œ œ J µœ œ œ
3
œ ‰ Œ Bœ µµœœ œœ œœ Œ œ µœ
. µœ œ œ Œ µœ œ œ ‰ Œ n˙˙
. . . .
.
. .
Œ
Œ
˙ µ Œ ˙œ
Œ
3 3
pp
mp
ppp
p
p
p
ppp
pp
ppp
3
÷
Ó
‰
‰
Œ
Œ
Œ
‰ Œ
3 3
arco (s.p.) 3
3
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? œ nœ œ ¢ µœ ˜ œ œ
œœ Ó
˜œœ œœ ‰ nœ œ œ J Bœ œ œ
œ ‰ Œ œ µnœœ œœ œœ Œ œ Bœ
Œ µ#œœ œœ œœ ‰ Œ
∑ w bO
3
pppp pp
mp
ppp
p
p
7
-œ -b œ œ n œ œ ≈
74
q = 63
° Œ &
‰ Bbœ ˙
œ Œ
pp
Ó
Œ
n
mp
œ.
-˙
-œ -b œ œ
w
œ œ w ≈
3 4 4 ∑ 4 Œ
3 4 4 ∑ 4
mf
œœ. *2 # ˙ ‰ ‰ ¢& œ ˜œ ˙
nœb œmp
‰ Œ Ó œ p o ≥ ≤ ≤ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿¿¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ Ó / 3
3
3
ppp
3
-˙
3 4 4 ∑ 4 b>œ
3 4 4 ∑ 4
œ-
w
w
b œ-
b>œ
3 4 4 ∑ 4 œ œ œ
œ
œ œ
paper
œ œ œ œ
œ œ
Ó
3 4 4 ∑ 4
Ó
3
pp
pppp
p
O
Ó
∑
3 4
∑
&
∑
4 4
3 4
∑
4 4
∑
˙ œ ‰
∑
Ó
3 4 4 ∑ 4
Œ bœ
&
bœ
3 4 4 ∑ 4
w
w
œ mf mp
{
œ Œ
œ
‰
3 ∑ 4 b˙ ™ 4 4 Ó
b-˙
3
? Ó
j #œ œ
˙ ˙
3 4 4 ∑ 4 ˙
w
w
mp bow noise, no pitch (mute strings w/ l.h.)
° BO &B ˙
‰BbBbOœ ™™
O˙ ™™
nnhh
hh hh hh hh
hh hh
3 4 h h h 4 ∑ 4 h h h
Ó
hh
hh hh
Ó
3 4 4 ∑ 4
3 4 4 ∑ 4 Ó
bœ œ œ œ #œ ˙ Œ ≈
3 4 4 ∑ 4
œ
3 4 4 ∑ 4 Ó
bœ œ œ—
3 4 4 ∑ 4
-œ - b œ œ
œ œ ≈
pp sim.
. . . . . . . .
B Œ
Œ
sim.
Bb ˙ b˙ œ
. . . . . . . .
(arco) ord.
Œ
n˙ ˙
Œ
pppp
p
ppp
b œ œ #œ ˙ Œ bœ œ ≈
Ó
mp pp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ arco Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (s.p.)
bœ œ œ—
? ¢
bO
nO
bw
w
pppp
œ
ord.
arco (s.p.)
˙
œ
˙
œ
˙
pppp mp
=
B-œ B-œ B œ
82
° 4 Œ &4
œ Bœ ≈
-œB-œB -œ œ B œ w B 2 4 ≈ 4 ∑ 4 Œ 2 ∑ 4 BœB˙ 4 4 b>œ w b œ2 4 œ œ 4 ∑ 4 œ œ œ œ
w
B-˙
4 ¢& 4
Bœb>œ
b œ-
4 /4 œ
œ
œ
œ
w œ
œ
Ó
2 4 4 ∑ 4 Œ
w
-˙
2 4 4 ∑ 4
œb>œ
b œÓ
w p
2 4 4 ∑ 4 œ
œ
œ
œ
œ
œ
Ó
mp
“”œ. . b œ. b œ. n œ. œ. œ. b œ. b œ. n œ. # œ. œbœ # œ. 4 ‰ ‰ ‰ ‰ ‰ ‰ ≈≈‰ Œ 42 ∑ 44 &4
∑
“”œ. . œ b œ b œ. . nœ. bœ . 2 4 4 ∑ 4 ‰ ‰ ‰ ‰ œ
∑
∑
5:4 7:4
3
7:4
f 5
bœ b ? 44 ˙ ™ Ó
{
˙
w
bœ bœ
b 2 4 ˙™ 4 ∑ 4 Ó
w
˙
w w w
5:4
2 4 4 ∑ 4
œ. bœ .
∑
release sos.
° 4 h &4 h B 44 Ó
hh
hh
hh barco œ œ
hh
hh
Ó
2 4 h 4 ∑ 4 h
œ
œ #œ ˙ ≈
2 4 4 ∑ 4 Ó
barco œ œ œ œ #œ ˙ 2 4 Œ ≈ 4 ∑ 4 Ó
2 4 4 ∑ 4 Ó
bœ œ œ—
Œ
hh
hh
hh
hh hh
Ó
2 4 h 4 ∑ 4 h
hh
hh
hh
3 5
‰‰ bœ- ‰ œ ‰ - #œ - # œ- œ mp hh
arco bœ Œ bœ œ
hh
Ó
œ #œ ˙ ≈
pp
bœ œ ?4 ¢ 4 Ó
œ œ
œ—
˙
œ œ
˙ 42 ∑ 44 Ó
bœ œ œ— pp
œ˙#œ p
ppp
8 90
q = 94.5
° &
3 4
∑
q = 63
∑
∑
7 8
∑
3 4
∑
∑
7˙ 8
∑
Ϫ
˙
Ϫ
Ϫ
˙
Ϫ
ppp
3 4
∑ ¢&
∑
∑
7 8
∑
3 4
∑
∑
7 8˙
∑
ppp
œ Œ
paper: strike and rub
- - - - - - 3/ œ œ œ œ œ œ 4œ 3
-œ
-œ
-œ
-œ -œ
-œ -œ Œ 7 8
34œ
∑
-œ
-œ
œh Œ‰ h 87 œh
œh h œ h ‰ J
∑ h h h h™
bœ œ b œ ™
™ ‰ #œ œ œ
3
arco ppp mf
∑ &
3 4Œ
? ∑
3 4œ
{
bœ œ b œ œ ˙ ˙
‰ #œ ˙
7 8
∑
˙™
7˙ 8Ó
Ϫ
3 4œ ˙
bϪ
mp
˙™
bœ œ b œ
3 4Œ
∑
œ ˙ ˙ œb œ
‰ #œ ˙
7 8Œ
˙™
7 8œ ˙ ø
ø
q = 94.5
° h h h h h h 3h & h h h h h h 4h
Ϫ
œO ™™
˙O
nn œO ™™
œœ J œO
˙O
œO ™™
Ϫ
q = 63
h h
h h
h h
h h h h
Œ BBO˙
pp 3
˙
˙™
mp
ø
Ϫ Ϫ
nœ œ œ
7O 8 œ µµœO œO ™™
pp
3 4 œO
Œ
Œ BBO˙
Œ
pp
7 8 Oœ
BBœO
pp
3
mf pizz.
B
arco
3 4
∑
Œ
Œ
BO O Œ Œ µœ 87 ˙
∑
œ mp
œœ ˜O 3 O J˜ œ 4 œ
pp
bnOœ Œ
7 O˙ 8
bbO˙
Œ
pp
pp arco
pizz.
3 4
?
‰ Œ
Œ
Œ Œ 87 Ó œ
∑
¢
3 4Ó
bœ ™
‰
7 8 Ϫ
∑
j œ œ
j œ
œ bœ œ™
2 (inhale) 3
2
1
1
bœ
˙™
#œ
œ pp
mf
ppp
p
= [e] air
q = 42
˜ œ œ™
99
° Œ &
˙
Ϫ
˙
3 4
‰
Œ
[o] 3
∑ 1
1
j 1
ppp p
¢& Œ / œh
™ ‰ µœ œ
Ϫ
˙
3 ˙ 4
Œ
∑
∑
ppp
œh h œ h J
‰
Πh h
œh ™ ™
Πh
Ϫ
- - - - - 3 œ œ œ œ œ œ 4 h h h
- - œh œ œ ‰ ™ ‰
- - - - - œh œ œh œ œh œ
Œ Œ
p
p
bœ™ & Œ
bœ
bœ œ
‰™
Ó
‰ #œ ˙
bœ œ
3 4 Œ
Ϫ
Œ
bœ œ b œ
p dim. to the end
Ϫ Ϫ
œ œ ? œ œ
{
˙
œ ˙ 3 œ ˙ 4 ø° to the*end
Ϫ
œ ˙ œ ˙
˙™
s.p. (ord.)
q = 42
Bœ
œ m.s.p.
Bœ Bœ ° & O™ œ™
‰
Bœ Bœ ™ J
Bœ ™ B O ™ ™ Bœ
œ Bœ
3 4
‰ Œ o
5:6
Œ
(ord.)
‰ #œ Bœ œ œ œ ‰ BBOœ
Œ
Oœ™™
‰ Œ
pppp pp 5 mostly bow noise
ppp sotto voce (s.p.) c.l.b.
(c.l.b.)
s.p. (ord.)
B œO ‰ bœ
œ
œ J
3 œ bœj œ œ
œ™ ææ
œ œ bœ 3 œ 4 œ. œ œ œ œ œ œ pp
3
pppp
3
∏∏∏∏∏∏∏∏
œ œ œ™ p
3
j œœ
j b œœ œœ
Œ œœ
œ œ bœ œœ œ œ œ œ œ œ ppp
3
j œœ
l.v. 3
Viola bow placement
÷
3 4
Œ
∑
J 3
(s.p.)
s.p.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙™
˙™
(ord.)
? ¢ Œ
œ
œ
j ˜œ
j µœ œ™ œ™
3 4 ˙™
ppp
bO
9 [e] air
104
2 3 ° & 1j 1
Œ
2 3
Π1
ppp
[e] air
[o]
2 2 3 1 1
1
3
j 1
Πj 1 1
p
∑
23
1 1
j 1 1
Π1
ppp
∑
[o]
2 3
2 [o] 3
Πj 1 1
pp
Œ
pppp
∑
∑
‰ Œ !™
1
pp
pppp
∑
∑
Œ
∑
∑
∑
¢& - - / œh ™ œ œ ‰‰ ŒŒ
- - - - - œH œ œ œ œ œ ™
- œ œ ‰ Œ ∑
œ
H™
H™
H™
Πo
h
pp
Œ
∑
ppp pp
bœ #œ ˙ & ‰
Œ
? ˙™
œ ˙ œ ˙
bœ œ
bœ ‰ #œ ˙
Œ
˙™
œ ˙ œ ˙
bœ œ
bœ ‰ #œ ˙
Œ
˙™
œ ˙ œ ˙
bœ œ
‰ #œ ˙
∑
pppp
{ ° &
∑
∑
∑
∑
∑
˙™ ∑
∑
∑
∑
rotate bow wood
hair tap strings with bow tap strings with bow hair (barely audible) hair (barely audible)
3
bœ B œj œ œ œ œ
3
Œ
œ œ bœ 3 œœ œ œ œ œ œj œ œ œ
3
j b œœ œœ œœ
ppp
Œ
œ œ bœ 3 œœ œ œ œ œ œj œ œ œ
j b œœ œœ œœ Œ
pppp
3
œ œ bœ 3 œœ œ œ œ œ œj œ œ œ
j b œœ Œ œœ
Œ
∑
ppppp
pppp pppp
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ∑ ¢ ˙™
˙™
˙™
˙™
˙™
˙™
˙™
pppp (mostly bow noise) n