she_wolf-compressed by Voloko Gorlinksy

V. Gorlinsky

Волчица / Die Wölﬁn Dedicated to Nadar Ensemble

commissioned by ACHT BRÜCKEN | Musik für Köln and financed by Ernst von Siemens-Musikstiftung

2013

Main information: This is a game, musical game of performers with their instruments and their surrounding. The first part of this piece takes place outside. This event is been recording. It's important for performers keep two things: been in a specific state of mind during performance, kind of out of thoughts. Second — an attempt to remember the time segment between events during the performance of the first movement and try to transfer it to concert hall.

Part 1. Other All performers are getting together to make an arrangement to start the piece. They are getting comfortably settled and start meditating individually: they shouldn't do anything together, it's just important to be together in order to start feeling each other. It’s starting point of piece. Then they are going apart in free directions (cellist and flutist are in a visibility range close enough from each other).

Meditation techniques: It's important to focus on a situation here and now, no outside thoughts can get into your mind. Close your eyes. Control your thoughts. Try slow down your stream of thoughts. Stop thinking. Control your thoughts again. Try slow down your stream of thoughts. Stop thinking. rit.

|------------------------| í: s t o p

accel.

rit.

|------------------------|

If you fulfill all this instructions you are in a right state of mind and ready to perform. Start to play your score keeping of right state of mind. If you need to restore your concentration relax, take your time. After the ending your score go to starting point and wait for all musicians will get back.

Part 2. It The second part is a live performance in concert hall with previously recorded video projection. It's necessary to have a full darkness in the concert hall â&#x20AC;&#x201D; not only for projection quality reason, but mostly for comfort feeling of performers. The silent in a concert hall supposed to be signal to begin video projection. Musicians should start meditating the same way how it was at beginning of ďŹ rst part. The performers memories control the time of piece sounding, try to get as much memories as you can from that past performance. Another important: musicians are independent from each other (except few fragments that you can see in the score). Performers should concentrate only on their own activity and take away all outside actions and sounds, especially their own past performance sounding on video. Make it clear: performers should not look at video screen.

Technical requirement: Bass Flute Wireless microphone for flute Baritone Sax Wireless microphone for sax Two tin-whistles in C Earphone player (it should have possibilities to switch music track on earphone cord by button). Acoustic guitar with metal strings Wireless microphone for guitar Keys from kevlar xylophone Piano Usual amplification Megaphone Cello Hi-res camera

Sound speaker for each performer (should locate close to their stage position) 5 channel reverberator

_____________________________________ screen ______ sax. piano. / __/

flute. cello.

guitar.

Two tin-whistles, the second has two closed holes by sticky tape.

Performance notes (Saxophone): wœ

R — close hole

W — open hole

ª — half close hole

— it's the ﬁngering for the tin-whistles (use 4 ﬁngers on each hand):

— the dynamic in whistle part means an airstream force for different overtones playing.

Whistle 2 (C)

Countrapunct

Baritone Saxophone:

w œ ¿ — divide each note using formula on next page. e — usual note without division. ) — sing into saxophone.

fiab fifi - _ fiab fifi 1v

— separate key click

— teeth on the reed (usual note without division) — teeth on the reed (whole note with division) — pitch bend up to writed note

(≈)

— Add slightly moisture between the reed and mouthpiece.

(≈)

— Move away the moisture quick and silent as possible.

> ø

— about tin-whistles part: the sound should be as long as breath possible, stop it without any fade out. After that try get yourself slow down, concentrate your attention on earphones sound only. Wait a right moment for the going to the next sound and...

N ~~~~

— it's not usual time duration. The whole note should sound very long ( not 10" but not 1' ), the black should be as a 'grace note' in this incredible slow tempo.

Whistle 1 (C)

The headphones with button for tracks changing.

— the slurs should play without breath changing. Or it's possible to take a breath really on the border of breath shortness.

w W WW W

— The throat activity: make the separate kion movement (as a gulp). — The quick permanent kion movements. It's means only musculation activity without any sound. — Open your mouth sharply. — To be in a speciﬁc state of mind, a kind of out of thoughts, try get yourself slow down. Lie down on the ﬂoor slowly continue to play.

& &

w w

& w

Electronic countrapunct is a different audiotracks in the player (is heard in the headphones). You can also use smartphone with phone garniture. You should switch tracks by wire button clicking. The headphones button should be attached on the tin-whistle under your right hand thumb.

w or v

Devide each whole note duration using this example:

™ bb œœ ™

Devision for a 'grace note' case:

use both the second and third ﬁngering.

œœ œ œœ œœ œœ œœ œœ ™™™™™™

œœ ™™ œœœ

depends on situation: open or close this hole.

fij

(≈)

™ bb œœ ™

(≈)

‰

œœ œ œœ œœ œœ œœ œœ ™™™™™™

¿™

¿ ¿ ¿ ¿ ¿¿ ¿ ™™

¿fi ¿ ¿

¿ ¿fi ¿ ¿ ¿

¿fi ¿ ¿

¿ ¿fi ¿ ¿ ¿

456`

¿fi ¿ ¿

¿ ¿ bb ff

(≈)

fij

fiab fifi ff

í ™™

¿¿¿

™h

¿ ¿¿¿ ¿¿¿¿ ¿ Æ

¿¿¿ Æ

fi ¿¿¿

¿¿ Æ

¿¿

fi ¿¿¿

5 6

Division for acceleration of cross note passage (also key kicks with voice):

¿¿¿ Æ

™

¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿¿ ¿ ¿ ¿¿ ¿ ¿ ¿¿ ¿ ¿ ¿¿ ¿ ¿ ¿ Æ Æ Æ Æ 6

fi ¿¿¿

¿¿¿ Æ

fij

ab fififi ff

í ™™ ¿¿¿¿ ¿¿¿¿ ™™î

(≈)

Division for repetition of cross note passage (key kicks with voice):

Division for a cross 'grace note' case (with key kicks):

Freeze the ﬁngering of main note, open these holes (or close, it depends on ﬁngering situation).

œœ

¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿fi ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Æ Æ Æ Æ Æ Æ 6

fi ¿¿¿

fi ¿¿¿ ¿ ¿ ¿ Æ

¿ ¿

¿¿¿ Æ

etc. ¿

¿¿¿ Æ

fi ¿¿¿

¿¿¿¿ ¿

™™î

fi ¿¿¿

Performance notes (Guitar):

‚œ œ ·œ œ ‚w 1

·ww„

w- Ê

— Perform by both hands tapping.

— Play this sound by right hand as usual.

— Pitch band up.

œ œ-

Use these xylophone keys:

& œ

— Keep third ﬁnger on a string and hit by second. It will sound string part between ﬁnger and head.

— Keep touching these strings by right hand ﬁngers before playing real sound.

#¿

œ #œ

— It should be a really long time. Try to get yourself slow down, stay out of thoughts.

— Xylophone part: try to combine notes under the slur in one phrase: these sounds can be played far apart, make your transitions as fast as possible for getting 'legato'. To be in a speciﬁc state of mind, a kind of out of thoughts, try get yourself slow down. Lie down on the ﬂoor slowly, continue to play.

Performance notes (piano): œ

These notes got to be like short flashes of light. If note has written in a middle of glissando you should play it at the moment when a glissando making hand flying over it. So one hand plays only glissando and another hand plays just notes-flashes. If flash-note corresponds with beginning on glissando, you should play the note particularly on beat. In this case you start playing glissando at the point where yourv note is played.

#œ & ? œ œ

Piano

{

œ e

Pno.

œ & 6 #œ 6 b6 e e e e e e e e e e e e e e e e

{

Sing to megaphone till the breath ending

(almost cry) V.

&?)

One hand plays glissando up and down slightly toughing black keys. You should imitate a speed and ﬂow of your walk as it was in the past performance. Try to remember as many details of your past performance as possible.

Stop playing glissando (without losing a sense of walking). From now your walk (I mean a sense of walk) exists just in your head, you keep playing notes-ﬂashes.

Try to imitate those notes-ﬂashes by singing with your closed mouth. At the beginning you may keep playing those notes-ﬂashes by piano but to the end of a bar it should be performed only by your voice.

The rule of thumb is all your singing notes are taken in one breath, try to hold singing as long as you can. Slow down your pace when you feel that you are out of breath even upto complete stop. After this you can take the next breath. You might move further only after you will catch your breath and being in a right state of mind. Don’t wait for some special moment to go just keep moving when you are ready to.

Glissando

Megaphone feedback.

w V.

?U The rule for megaphone feedback sound: it always means the gradual and continious acceleration of steps speed.

.. e > Ó

q> Ó.

.. e > Ó ì 20 steps

20 steps

ì ≈10

q> Ó. ì

h> Ó h> Ó ì ≈5 ì ≈5

≈10

The ﬁrst note in this bar is short or long sound (megaphone fedback is in this case). The sound means a movement (the accent means running, tenuto means walking), and the following silence after this means slowdown to complete stopping. The whole thing (one bar) consists of 20 steps, but some bars will starts earlier, in this case you should interrupt this bar and accordingly take fewer steps. When you play piano you can play two bars at the same time by both hands.

on the video:

20 notes 20 notes 20 notes

20 notes

in piano part:

If bar starts with short sound (eighth or sixteenth) and then long pause it means you should dart off and after 20 slowdown steps make a stop. If bar starts with quarter or half note it means you should start walking and during ≈10 (in quarter note case) or ≈5 (the half note) steps slow down a little but can not make a stop because new bar just starts and you keep walking.

The sound material for 'ﬂash sound' layer. œ

#œ &

™™

Pno.

{

sempre ppp

œ œ °

#œ

œ #œ

“”œ

™™ œ

nœ

“#”œ

#œ

#œ œ

& ?

bœ

nœ

Pno.

{

œ œ

œ œ œ

” n“œ

“#”œ

“”œ

nœ #œ

nœ & ?

Pno.

{

œ œ

œ “” bœ

“”œ & ?

“n”œ

b“œ” bœ

nœ

bœ

œœ

bœ œ

Pno.

{

“œ” œ

“”œ

#œ

bœ

nœ

nœ &

œ *

bœ

œb œ

œœ

nœ

œ œ# œ

Pno.

{

œ œ

œ “œ”

“œ”

#œ

œ nœ

#œ œ

Pno.

{

œ œ

œ *

“” bœ

“n”œ

“” bœ

bœ

nœ

bœ

œœ nœ

bœ ? œ

Pno.

{

œ œ

œ “”œ œ

“”œ

#œ

bœ

nœ bœ

nœ

& ? œ

œ œ

Pno.

{

œ “‘ œ

œ œ

œ “” #œ * œ

“œ”

nœ °

#œ œ

Pno.

{

“” bœ

“”œ

“n”œ

œ œ

œ ™™

nœ & ?

™™

Pno.

{

œ ™™

Performance notes (Cello):

U — It should be a really long time. Try to get yourself slow down, stay out of thoughts. CSP — carta sul ponticello (play directly on piece of paper on the string for getting speciﬁc noise)

ASP — alto sul ponticello

Cello tuning

Vc.

‰

œ ‘ “

„ œ

CSP

‚ ·œ

ASP

ASP I.

SP I.

ORD I.

Two ﬁrst strings should be prepareted by crumpled pieces of aluminium paper (with slice of plastic).

The second string should be completely unstrung to the border of noise and low soundpitch. A brigde

More than usual microchromatic notation in this piece uses special notation for generation a strange microchromatic rows. It uses a distance beetwen fingers of usual fingering positions but in 'wrong' position situation. For example: you can play in 1st position using fingers distance from 7th position. Usual notehead means a real note (if we forget about preparation it's possible to say 'real sound'). The small notehead shows which position you will use for distance between finger definition.

sounding

wrided 3

& b f bf bœ

b œ µ œ b œ Bb œ b œ

„ — this note is a middle between ﬂagolet and usual pressed note „ — this note is a middle between ﬂagolet and usual pressed note ¿ — the cross notehead uses for left hand pizz. X — changing the bow playing angle and pressure you can get a kind of noise melody.

It should be just a melody in your mind. Certainly, you shold try to catch these soundpithes, but ﬁnal sounding can be some different.

— keep current distance between ﬁngers in same case for getting microtonal intervals.

~~~~ — molto vibrato 1

≥ ≤ ÓÓ ≥

A 'brigde' I

Microchromatic aspect of the piece:

Vc.

SP I. CSP the slow and gradual transition of bow.

Bow activity: — the light bow (a kind of ﬂautando). — play with some more pressure.

… — the thumb. … 1, 2, 3, 4

Fingering: — keep the thumb on a string.

— usual ﬁngering

— it means a special left hand technic. You should put your ﬁngers between string and ﬁngerboard, in this case you will not press on a string, but draw off it to up.

Flute story

Start your meditation.

VIDEO & STAGE

You should play each next bar in a different acoustic area: inside or outside of building. You can choose and prepare several places in advance: open doors, put copy of score etc.

x=92

l.s. V.

-‚

& e

‚

-‚

‚ ‚

quazi f sempre

‚

& e

Try to remember time between start of your meditation and the ﬂute ﬁrst sound.

WR RR RRg# RR

Very melodical

bJ-‚ ‚ -‚

‚ ‚

& E

Bb‚

e™

b‚ be

‚ e

‚ be

R RR WR RR RRg# RR RR eb RW j ‚

‚

W WR RR R c# R

WR RR RR g# R c# R

‚ µ ‚ -‚ ‚ ‚ L-‚ ‚ K5-‚ j µ‚ ‚ J j ‚

‚. e

-‚ e

‚

RR WR R c# R

‚

e ne

1n ‚ L ‚ 1n ‚

‚

‚. e

L‚

#‚ #‚ ™

‚

Any sound is a kind of legato-smorzato, try make a short fade in and fade for each note.

Take your time for going to new place

‚ O

WW RR RR c# R

-‚ ‚ -‚ ‚ ‚ <µ> ‚ Lv.s. ‚

‚ ‚ O ‚ ‚

‚

WR RR RR g# R eb R j -‚ J‚ ‚ ™

& be

-‚ ‚ ‚ -‚ ‚ K -‚ 5

O™

pp sempre

W RR RR RR

b-‚

‚

be ne

imagin that listen needed notes

b‚ be

v.s.

‚ b‚ e

Try to remember how long it was.

‚. b-‚

be be k e

RÔ

R WR RR RW

k‚ ™ n‚ ™ b6 ™

& b˙) RRWR RRg# W #‚ W5 #e 5

‚ ™™ S.

& e ™™

‚ e

#‚ 5 #e 5

R WR RRg# W ‚ W# 5 #e 5 J

‚ e

R RW RRg# µ ‚ WW ‚

‚

µe

Bbe

bœ ™ nœ ™

m ‚™

WR R RR c#d# R # ‚ RR µ ‚

#‚

µe

ne ™ #e

3 3

The close breath tone on inhale

& bw

‰

WR RR R # ‚ d# RR µ O ™ c# R

& #e

µE ™

RRWR WW K O3 d# R RWW 5 c# R

R RWW WK O d# R RWW 5 c# R #œ œ nœ nœ œ

#‚

‚ #‚

‚

& #e

‚ & e

o 6 ™™ œ

‚ ‚

#‚

‚ ‚

‰™

Œ e

#‚ #e

nœ ™

#‚ ™ #e ™ J

j ‚™ e™

‚™ eJ ™

µ6 ™

6™

VOICE with usual ﬂute sound (with also 8th transport)

bœ ™

WR WR R R eb R R Jœ

& bœ

R RR RR W R

WR RR R g# RR R

R WR WR RR

WR WR R R c# R R j

R RW RR R R 3

Bœ

µœ

Jœ

5b œ

#œ

nœ

kœ

j ‚™ & e™

‚™ e™ J

‚™ be ™ J

b‚ ™

n‚ ™

be ™ J

ne ™ J

6™

b6 ™

6™

& µ6 ™ J

R RRW WW WW +

WW WW RWŸ~~~~~~~~~~~~~~~~~~~~~ etc. -‚ -‚ -‚ -‚ ‚

& e e e #e R R

v.s.

#-‚ -‚

r r e œ- œ- e e R R

WW WR WWŸ~~~~~v.s. Ÿ~~ - g# #‚ ‚ #‚ e ne # e

R RR RW j j RR g# eb n-‚ -‚ bJ ‚ #‚ ‚ b‚ ‚ # ‚ ne RR

-‚ n ‚ -‚ be

etc.

b ‚ -‚ n‚ be e ne

‚ ne

R WR R WR RW RW g# RR RR c# -‚ ‚ µ e‚ ™ µ-‚ µn e‚ ™ ke e J J J

j

g# 3

#‚

‚‚ v.s. k‚

b‚ ™ & be ™ J

n‚ ™ ne ™ J

‚™ e™ J

6™

)

6™ J

#‚ ‚ #e e R J

‚ ™# ‚ ™ # ‚ ‚ ™ n ‚ ‚ ‚ #‚ be ™#e ™ #e e ™ ne be #e #e R

#‚ ™ #e ™ J

‚ ‚‚ #‚ e e e bw #e R

V.&S.

For the video: play this fragment in a motion through various spaces and acoustics.

RW WR Smorzato with some whistle tone addiction. RR legato as possible b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ RW x11 ‚ ™ ™™î í ™ be V.&S. & ee ee

‚™

R WR RR RRW K ‚™ 5

R WR RR g# RRW ‚™

J S.

R WR RW WR RW g# RW W WW W j‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ > ‚

K‚

Continue to play long note and start thinking upper line in your head. In some moment without any arrangement leave long note and continue to play fast line. Keep this smorzato speed

R RW R WR W RWg# RWRW W RW Bb ‚W™ ™ 5bœ

R R RW R RW RW R WR R WR RW WR R WR R RW WR W WR W WR RR RWg# R R RR RW R W R R W R R W R R W W R R RR Rg# R 5 5 RR RR RR RR RR WRW RR +g# RR+g# WRW +g# RW+g# W WW R R R W W W RR g# Rg# R Rg# R RR qqqqq qqqqq WW WW W RW cR R R R R b ‚ j b‚ j‚ ‚ ‚b ‚‚‚‚‚ ‚# ‚‚‚‚ k œW k œ™ R c# R LœR n œR µ œRW Lœ n œ µ œ x2 µ ‚1n ‚‚‚ ™ ‚‚‚‚‚‚‚‚#5 ‚ ## ‚e #5 ‚ ## ‚e nn ‚e ## ‚e K ‚#n ‚e ‚ # ‚e B ‚ ‚e 5 n‚ # ‚ n ‚ # ‚ n ‚ # ‚ n ‚ n ‚ n ‚n ‚‚ K ‚‚ ‚ nœ œ œlœ #œ ne #e ne b e ne ™™î ne í ™™#œ & ebe e e bœe#e e e e 5 #e ne #e ne # e ne j ene e nen e e e e e 3 RÔ 3 3 3 R RW R RR R RR R WRWR WRŸW RRW R R3 R RR R RR R R RR W R WR R W WR WR R RW 3 RR R RR R R RW RR R R R RR RRg# R W R W R RRg# RR g# Ÿ Ÿ RR RW ŸWR RW RR Close whistle tone RWRW ŸWR RW RR R RR with quite RR R RR RR Ÿ R R ŸW RW R RWRW R ŸR ŸW jet intonation. W R W R 1n # ‚ ‚‚‚ ‚‚ n ‚# ‚ n ‚ # ‚ n ‚ # ‚ n ‚ ‚ ‚™ # ‚n ‚# ‚n ‚ # ‚ ™ n ‚n ‚ ‚ # ‚ ™ b ‚ ‚ ‚ ‚™# ‚ n ‚ ‚ ‚ K ‚ ‚ ‚ ‚ ‚ µ ‚ n ‚ # ‚ ‚ µ ‚ ‚ n ‚ ‚ ‚ ‚µ ‚ 5 5 5 5 5 ˜ ‚ x12 x5 5 ™ ™™î ™™î í ™™ V.&S. & í ™#‚ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ n ‚ Ÿ Ÿ ŸŸ ŸŸ Ÿ R R R J Ô (don't compare it to another rhythm process).

3 3 3

cresc.

piu f

RWŸWR R RW R RW RRWR R RW RR ŸRR 3 3 WW RR RR RR RR WW WW WW ( Ù )Ÿ Ÿ Ÿ Ÿ Ÿ ® ( Ù)Ÿ Ÿ ® etc. 1 1 1 ‚n‚#‚ n ‚µ‚˜‚ n‚ #‚ n ‚µ‚ n‚n‚ #‚ n ‚µ‚˜‚ #‚ ® nœŸ Ÿ Ÿ Ÿ Ÿ œŸ œŸ Ÿ œŸ Ÿ ® Ÿ Ÿ Ÿ Ÿ Ÿ & Ÿ Ÿ Ÿ Ÿ Ÿ ® ( Ù )Ÿ Ÿ Ÿ Ÿ Ÿ ® Ù nœ Ù nœ Ù nœ Ù nœ Ù Ù #œ œ Ù œ Ù œ Ù µœ Ù œ Ù µœ ≈ ™ Cover sounding hole by lips. 3

WR RR RR RR

Usual lips position.

Ÿ Ÿ Ÿ Ÿ Ÿ Ù œ Ù œ Ù Ù œ Ù œ Ù ®nœ ≈ ™

r V.&S. 3

3 3

6™ b6 ™ #6 ™ k 6 ™ b6 ™

j 6™ µ6

® B6 ™ b6 ™ n6 ™ B6 ™ n6 ™

≈™

n6 ™ µ6 ™ b6 n6 ™ #6 ™ nœ œ

œ µœ Ù

Cover sounding hole by lips.

& œ œ bœ ™ œ ™

Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ nœ ™ Ù œ Ù Ù œ Ù Ù œ Ù #œ Ù nœ Ù œ Ù Ù b œ ™ œ™ œ œ

V.&S.

& 6™

b6 ™ B6 ™

n6 ™ 6™ n6 ™ n6

Ù 6

Ù 6™

#6 ™

˜6 ™

RW RW RWRW W

‚

‚ >‚ ™

& e

e e™

‚ e

r j S.

& œ

œ œ œ

‚ ‚ ‚ #‚ ‚

K‚ 5

W WR RRg# R W K‚

RR RR WR W RW RR W RWW 1n ‚ n ‚ ™ ‚

e e e #e be r œ #˙

Ù ˜6 ™

˜6

RW W R W R WR RWW RWW R WR RRWR R RR W WR RR R R RW W W W Rg# Rg# RRg# RR RRW RR RR RWRW RWRW RR RR W WW W W W W W W W

RW W WR W RR RR RR RR W c# R 1n ‚ ™ #‚ K ‚

v.s. v.s.

k ‚ ˜ ‚ # ‚ L‚ # ‚ œ K5 ‚ 5

e r œ

r j bœ œ ™

k ‚ n‚ K ‚ n‚ ™ n‚ ™ r bœ

œ™

pp sempre

WR RR R RW RRg# RR R R cR R ‚ ‚ ‚ ‚ V.

& e & bw )

R WR R WW R WR R WR R WR RW WW RW RR WR WW WW WW RR RR ‚ ‚ ‚ ‚ #‚ ‚ ‚ ‚ #‚ ‚ ‚ ‚ ‚ ‚ ‚ n‚ ‚ e b‚ œ e

R WW WR W WR RR ŸR~~~ RR R RR Rg# RR R RR R œ B‚ œ

R WW WR RR R WR W WR R WR WR RR R RW RW R R RR RR RW RR RR W W R RR WW R W WW R R cR  b ‚ ‚ ‚ ‚ B‚ n ‚ # ‚ ‚ ˜œ #œ ˜ ‚ µ ‚

W RW W RRW W RR WR RR RRWR R RWW W WW RR g# RR WRW WR WW W R R RW RW W W R R RW RW œ Bœ œ œ œ bœ œ &

R WR RR WR

R RR RW WR R WR R RW Rg# RRg# WR RR RR R R R W d# Rj R c R #œ n œ # œ œ Bœ nœ Bbœ ™ J J

R WR RW RR #œ

R WR RW WW

‚ ‚

#>œ J

‚

& #œ)

#œ 6

Stand up, to come to guitarist ... ... play to him

Cover sounding hole by lips.

& ˜#˙)

n˙ ˙)

n˙

˙ #)

R RR RR RW

R RR RW RR #‚

R RR RR RW œ n‚

n‚

‚

n‚ ™

& #eÓ

# e ™ #6 ≈

n‚ 6

# e6

b)˙

Usual lips position.

& w)

‰

R RR RW RR #&˙

The form of your mouth and throat should be as a crying position.

#‚ #e œ

j 6 ‰ ‰ ≈ #6œ nœ œ œ n œ 3

n˙ ™ µ) ™

≈

#œ6

≈

R RW œ RW WW Kw ) µ

& )w

#‚

#w #)

n)˙

WR WR RR R eb R

& ≈

r 6 œ R r 6 œ R

R RR RR RW

R RW R RRW W

R WW RR RR

v.s.

Ó™™

œ™

bœ ™

≈

œ bœ 3

Ó™™

#œ )

nœ

œ œ

Sax story

All performers are getting together to make an arrangement to start the piece. They are getting comfortably settled and start meditating individually: they shouldn't do anything together, it's just important to be together in order to start feeling each other. It’s starting point of piece. Then they are going apart in free directions.

Start your meditation...

VIDEO

not 10", but not 1'

Whistle 1 (C)

Whistle 2 (C)

Countrapunct

Try to remember time between start of your meditation and your ﬁrst sound.

Wh.1

Wh.2 C-t.

Bari. Sax.

STAGE

Wh.1 Wh.2

C-t.

Bari. Sax.

& #w &

bw bw sempre ppp

Start play this unstead the moisture sound.

WRRW #œ & ªWW p RWW nœ & WW &

WRRW œ WW

WRW œ RWW mf

WW œ WW

w % %

be be

WRRW w RW W

œœ

WW w W W

WRW œ RW mf W WRW w RW W w

w w

œ œ

w w

WR w WW W mp

WR w WW W

WRW œ WW

WRW œ RW Wœ

WRW œ RWRW f

w e be

e e

n ee

e be e ee e e1 e ™ be be nw ® nw R R

m be e e e e eb e Æœbœ e ™ be e b e ™b e ne e e e

bbw w

WW œ W mp W RWRW œ W W

WR w WW W mf RWRW w WW

WW w & WW & w &

Baritone Saxophone

ª# w WW W mf ªW #w W W

ªW b œ WW mf

ne ne

WRW œ RWW

#e #e

WRªW #w WW

WRRW w WW

Ke R

bb œœ

w bw

`vyx

`vG32

`v21

`v421

`v65321

`yv65321

µe k e ne L e Le L e e

Wh.1

Wh.2

C-t.

Bari. Sax.

WRRW #w & ªWW mp RWW #œ & WW #w

œ bœ b)

í ™™¿¿¿¿¿¿¿¿ ™™î )

Wh.2

Bari. Sax.

Wh.2

Bari. Sax.

WRRW œ RWRW mp RWRW œ W W

WRW œ RWW

ªW #w W W

ab fififi ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ -

Change the breath after beginning of this bar.

WRRW œ RW mf RW WRW œ RWW

WW œ WW

WR nœ RWRW W

ªW #œ WW

WRW #œ RWW

ªW # œ WW

WR RWRW œ W

bWW Wœ Wp

WRRW RWRW œ

N~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ N N N N N N N N N N N & #_ #_ n_

Wh.1

C-t.

WRRW ªW #w W

WW w W W

Wh.1

C-t.

> WRRW # œ ªWW mf RWRW w WW

? #w

WRW RWRW #œ

WRW WW œ

WRRW RWW œ

WRRW w RWW mp RWRW w RWW

WRRW RWW w

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ N N N N N & #_ > ø

WRªW #œ WW mf WRW œ RWW

bw z

b>z

bz >

nœ

24 Wh.1

Wh.2

C-t.

Bari. Sax.

Wh.1

Wh.2

C-t.

Bari. Sax.

Wh.1

Wh.2

C-t.

Bari. Sax.

WRRW w & RW mf W WRW w & RW W ? w

RWRW œ & WW

? w &

WW nw WW

WW w W f W ªW # w WW w

Ww & RWRW W RWRW w & WW #w

WW w WW ªW #w W W

WRRW nw WW RW w RWRW W

Start play this unstead the moisture sound.

WRªW#œ W W WRW œ RWW

WRRW œ WW

w #_

WR w WW W WRW w RWW w

e # e # e # e #e ™ n e # e e e #m #e e ne #e e e #e nw R R

WWnw WW

WRW RWRW bœ p WW WW œ

WR RWRW RW w w _

WRRW RWRW w

nœ

ab fififi

WRRW RWRW w RWW RWRW w w #_

bœ “‘

Guitar story

Guitar Story Perform these notes by hits on two xylophone keys. Perform every new sound in new location farther and farther from starting point, Play with walking direction and speed.

w ( Wait a moment, listen to environment )

Start your meditation... All performers are getting together VIDEO to make an arrangement to start the piece. Xylophone They are getting comfortably settled keys and start meditating individually: they shouldn't do anything together, it's just important to be together in order to start feeling each other. It’s starting point of piece. Then they are going apart in free directions.

STAGE Guitar Try to remember time between your meditation starting and the piano ﬁrst sound.

& w Take your time for going to new place

sempre ff Every next bar sould play much more slowly.

molto legato

q≈88

‚œ œ ·œ œ

„ w

Try to remember how long it was.

‚œ

& sempre p

w & w ‚˙ 1

w w

˙™

#‚ œ

#œ

#·œ

# œj

#œ

& J 3

w w V.

& #„˙ ™

#œ Œ

#œ ‰

#œ bœ Â

g lis s .

œ 6:5

nœ

œ‰ ˙ R

j œ

g li

ss.

Â œ œ „ & œ

g li

w & w ss. eœÂ e

Â bœ

bœ

g lis

·ww„

j ‰ j œ œ˙™

wÊ

6:5

w w V.

& b·œ

b ‚œ

„ bœ

‚œ

j ·nœ

„ bœ

‚ bœ

& #œ nœ

n„œ ™

˙™ ˙™

· ‚ œ

 bœbœ

w V.

& w ‚·  „#œ œ ‚œ #œ

b„ œ ™ ·œ ‚˙ S.

 ·‰„‚ œ œ#œ ‚œ ™

‚ „ nœœ ‰ # œœ Â -

#œ

‚ nœ #œ ™™ Â

W W W W

œ nœ nœ œ œ

· œ nœ œ

ÆJ

R 5

w w

w w V.

& „ ˙ & ˙ Ê

œ #œ ™

‚ #œ n¿ ™

‰ ˙ ˙ Ê

·œœ„™ œ- Ê™

‰ molto vibr. b˙ ™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

w w V.

‚œ

Â & œ

œ‚ œ œ

b·œ ·œ ≈

ÆJ

œ œ

„n œ œ

#œ

·n œ

„œ #œ ™

„œ

‚œ

·œ

‚ ™ #œ

Ê œ™

Ê J R

#w & w j ‚œ

· „ ·œ

 #œ œ œ

·j

„œ

#¿

œ S.

n¿ ≈

 œ

‚ œ

„ œ

≈ nœ ™ Ê

b¿

œ„

-œ „

3 3 3 3

w & w

w w

w „

‚



#¿ ™™ & ‰n--ff #œ Â Ê i p



n ¿ ™™

nœ ™™#¿ #¿ #¿

U e a m

œ œ

·f œ - œ-

j œ

UU œ œ-

Piano story

Piano Story Start the walking with your speed.

Start your meditation... VIDEO

œ q

= step

#œ & Use the score from performance notes for generate 'ﬂash' sounds.

? œ œ

STAGE

Try to remember time between start of your meditation and your ﬁrst sound.

{

œ œ

sempre ppp Imitate the steps movements by glissando under black keys (it should sound the scratching only, don't real press keys).

Sing to megaphone till the breath ending

(almost cry) V.

) &? sempre f Sing with closed mouth

till the breath ending

& ) ? S.

{

œ œ

U 31

) &?

U ) ?

& S.

{

œ 6 b6 )

U n6

U S.

6 & { b6 )

Megaphone feedback.

)

) “‘

Imitate the feedback sound by voice.

U Imitate one octave lower the megaphone sound from video performance .

{

œ œ e e e ee œ œ e e e ee

Stop playing glissando (without losing a sense of walking). From now your walk (I mean a sense of walk) exists just in your head, you keep playing notes-ﬂashes.

...ﬂittering running Start the running.

UU w V.

œ6 & 6 #œ b 6 eee ee eee eee ee eee

{

Please, stop when megaphone sound dies. Now you have to follow new rule: when sound begins you start to move and when there is a silence you should stop. Get yourself settled comfortably take a deep breath and get completely relaxed.

{

.. e > Ó

& œœœœœœœ œ œ œ bw bw >œœœœœœœœ œ œ > pp pp

bw bw >

{

V. S.

eeeeeeee eeeeeeee

Stop any sound (without losing a sense of run).

Feedback.

UUU

.. e > Ó

q> Ó.

.. q> Ó. q> Ó. q> Ó. e > Ó

.. e > Ó

20 steps

eeeee e e e e e eeeeee e e e e ° ...sense of run

w >

w w > w b w # w# w

w w

#w >

bw >

Еach bar consists of 20 notes. At the beginning of a bar you play notes with the same speed as your walk-steps, not current walk but other one from the past performance, at the end of a bar you play as or slow as you breath now. We are talking about gradual slowdown. Try to get as much memories as you can from that past performance.

Long feedback sound.

U U *

.. e > Ó V.

.. e > Ó

q- Ó.

h> Ó

q- Ó.

h> Ó

{ & ww > pp

bw bw > o

bw bw > o pp

w w >

w >w

b ww

ww # w# w

ww bw w

q- Ó.

h> Ó

b w bw

bw bw

h> Ó

w w w w

h> Ó

q- Ó.

h> Ó

q- Ó.

ww bw bw

bwbw

h> Ó

.. e > Ó

w bw

w#w

Imitate the feedback sound by voice, till breath ending.

UUU § V.

& UUU

{& *

Now note is gradual slow down (in this part you should stay on one place because before you not have walking activity), silence is walking with acceleration 34

— take a breath when you need, make a several steps in breathing.

{

& &

& {&

{

& &

bw b w

1/2

#-)

1/2

Forget about the connection to steps. Divide each bar on 20 notes as a previous, play it more freely and slowly.

≤

( )

You can sing more freely, now you shouldn't take a care about steps etc.

b-)

#-)

w w

b w bw

etc.

& bw

#-)

(start walking when silence and continue during fermata).

bw w

-) w # w# w

#-) #w w

n-)

> w w

w >

UUU UUU *

≤

( )

.. e > Ó

#-)

bw bw

b-)

œw

bw bw

#-) cresc. poco a poco.

nœ w bœbœœ w

{

& ww > pp

° ) V.

bwbw

bwb w o pp 1/2 °

w #w

? bw bw

b w bw &

o dim. poco a poco. 1/2

etc.

#-)

b-)

#-) bœ œ œ #œ #w

bœ w &

nœ œ

œbœ w

#œ #w

#œ nœ w bw

{

bw bw

w w

#w w

)Imitate the feedback sound by voice till breath ending. V.

bw bw

bw w

ww U

& fff

w & S.

œœ

? wbw

{

pppp

& bœ œ

o instead last 4 notes of bar

>x∑..

.. e > Ó

w w >

w > w

#w#w

w w

In corresponce of your performance in the past.

V. S.

{ & œ œ œœœœœœœœœœœœœœœœœœ bw bw > > ppp ° >x∑.. w bw

{ {

bœ

più p

?) #w

bw bw

w #w

w w

#w #w

#w #w UU U

#w w

#w#w

& & #w ? w

bw w

œœ ?)

.. e > Ó

UUU

instead last 4 notes of bar

?) &

& w

bw >

q> Ó.

œ nœ # #œ

instead last 7 notes of bar

UU U

UUU

x >

˙ ™™

& ≈

{

& &

{

> œ

≈

˙ ™™

> œ

nw >

w >

1/2

w w

? bw

#w bw

bœ bœ œ w

op °

w >

1/2

#œ

etc.

bw w

w #w

Mute the sound whenever you want. After the ending your score go to starting point and wait for all musicians will get back.

#w w

#w bw

˙ ™™™

≈

In corresponce of your performance in the past.

& &

w w

#œ œ œ

nœ

Cello story

Cello Story

It’s starting point of piece. Then they are going apart in free directions (cellist and ﬂutist are in a visibility range close enough from each other).

Cellist works here as a camerman better to say he doesn’t work but improvises and he does it within a speciﬁc set of rules:

Camera On 1) A general task for the camera man is to shoot without an active subject searching. He never focuses his camera on a performing artist, camera is sort of scanning along the subject even at the time of a direct contact with him.

I. Start your meditation...

2) Cellist is supposed to treat a camera as though as it’s his “eyes”: like if he wants to see something behind him he moves a camera ﬁrst and then he turns his head in the same direction. He is supposed to respond to all surrounding sounds as follows: every time he hears the sound he moves a camera toward it and then make few steps in the same direction. 3) Cameraman as other musicians has to be in a speciﬁc state of mind sort of out of outside thoughts. Camera (but not a recording) can stop only if cameraman feels he is getting out of right state of mind. Then he must stop moving a camera get back to right mid condition and be ready to perform again

VIDEO

Try to remember time between start of your meditation and the ﬁrst ﬂute sound.

Try to catch some ensemble points with ﬂute. It's possible to change a little long notes duration (in more than quarter case). Sometimes it will coincidence of sound pitches (not only unison) or just synchronization of beginning or ending of sound.

q=36

6 3

SP I.

j · STAGE Violoncello

& ˜œ

bœ ™ #œ œ

#f bœ

nf ™ #f ™ nf ™ œ

nœf ™™#f nf ™#f f bf œ

bf f #f nf bf bf f bf f bf bf f

ff f

nœ

sempre pp 3 3 6

‚o 3

· bf

CSP

U f

Vc.

bf bf

f f

‚

SP I.

j s.

Vc.

& œ

# œ œ™

œ ™ œ ™ „b„#œ œ # œ ™ œ™#œ ™ œœ ™ nœ ™

#„ „ #„ #„ „ „

#„ „ #„ „ #„ „ #„ ™

s #„ „ #„ n„ #„ „gli

J sub.

„

it's not ﬂageolet, ﬁnd right speed and place of bow playing for to get this interval.

Vc.

~ &/ 0 w pp Ó™

j & œ œ œ œ œ œ™ ? œ‚ w

#œ ™ œ #œ˙ œ #œ œ #œ œ™ œ ™ ™™™ „o œ™

j œ œ œ œ™

ORD I.

CSP

œ œ

Read upper voice in violin clef and the low voice in bass clef.

j ?œ

Œ™ o

œ˙ ™ ˙ ™™ ÓÓ ≥

SP I.

≥

≤

Vc.

? b˙

1b ˙

b˙

1n ˙

n˙

·f # f œ >œ œ

˙ #˙˙

≥ f

Vc.

& œf#f

n #

f f f f

Try to get beauty sound.

…3

con vibrato

… j

# h ™ h™# h ™# h ™# h

…

# h # h™

n„ „ „ „ „ b„ b„ „

„ ™ #œ ™ „ n„ „ n„ n„ ™ #„#„ „#„ œ ™™™ # œ ™ # œ œ …

Vc.

…r

„b „

… „j

…

Keep this note till the appearance of sound from 3rd string.

‚ ? n˙ ˙ h „ j

j œ b˙˙ œ 2

…

n h n h h h h h ™ h h# hn h h hn h h hn h h h

ORD I. 3

œœ pp

sub.

œ K˙ œ b˙ J

(1/8 tone)

j œ jn˙˙ œ

œ œ J

Vc.

j œ Bn˙˙ œ

? n˙ ˙

& œ Bb˙˙ œ J

œ b˙ œ n˙ J

ÓÓ ≥

≥ œ ˙ Vc. & nX n X X X X bX ™ #X n X #X X virtual J melody

r ≥j œ œ™ X X™ J

œ n˙ œ ˙ J

j K˙ œ #˙ œ

œ n˙ œ -#˙ J

(1/6 tone)

≥ ≥ ÓÓ j Kr ≥ j SP I. œ œ œ œ œ #œ ™ nœ f b X n X X X X bX œ nX œX X # X ™ # X # X X X œ # œ #X #X J J J ÓÓ ≥

Kr nn¿¿ ¿¿

l.h. pizz

œ nn˙˙ œ J

ÓÓ ≥

ÓÓ ≥ nœ

ASP I.

ASP I. molto flautando

f f f f f f f f f

n b

™™

f f

A little more pressure for getting the basic tone.

œ œ œ œ œ œ™ œ

cresc.

Leave a ﬂutist after her big solo (played in motion), VIDEO run to saxophonist... 3

Vc.

& nœ œ œ#œ œ œ nœ œ ™

molto vibr., expr.

ÓÓ ≥

≥

ASP

œ œ œbœ œ#œ œbœ#˙ nœ œ œ ~~~~~~~~~~~~~~~~~~~~~~ #w ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ∑ ?

quazi f

œ ≤

Play this note till the bow ending than stop the bow.

II.

with sax ...

VIDEO Try to catch some ensemble points with sax...

?‰ b œ ™™

ASP

Vc.

run to ﬂute immiteately after catching saxophonist sounds...

Since this moment you should remember how long time you spent for getting some destination, how long time you was there etc. You shouldn't count a seconds, just try feel it intuitive.

ppp

œ ™™

˜œ ™™

bœ ™

™ #f ™ #f ™ œ™ œ ™™ f

It should sound like some incredible fresh in intonation.

n-œ ™™

nœf ™™ nf ™ n bœ ™ œ ™™

ppp

µ œ ™™

≥ ≥ ≥ ÓÓ SP bœ · ≈ œ‚ bœ

Overtones gliss. down.

till the bow ending.

43 run to sax immiteately after catching ﬂutist sounds...

...with ﬂute... V.

SP ...with ﬂute... Vc.

b˙

#˙

˜˙

nf #f #f bœ ™ #œ ˙

™ œ ™™# n #f f f f

b˙

≥

‚

?œ„

on the bow ending.

...with sax again...

?‰ ˙

ORD ...with sax again...

Vc.

pppp

j œ b˙

j œ B˙

j œ ˙E

Vc.

The real sounding, try to ﬁnd these notes as a clean sound.

nE ˙

E ˙

j #f

‚ „nœ œ œ

...be with pianist, go with she to starting point, turn off camera.

...with piano...

Then play these notes: Change every sound together with piano harmony changing.

Camera Off be as a shadow of piano performer...

Wait till this bar in piano part will be played 3 times in a row.

ASP I.

III.

run to pianist...

·w &

molto legato, very melodical

œ œ œ #œ 66 b6 bb66 R #œ O b6 etc. The piano harmony.

nœ

nœ bœ bœ n œ bœ

nœ