Unity
свой непреходящий характер
Voloko Gorlinksy
piu tranq. (q=78) press the bow on reed to make it trembling play using thin reed's edge
q=93 4 &4
Viola
) ∑
6
6 6 6 6 6 6 6 6
∑
6 6 6 6
‰
‰
Ó
Œ
pppp
Ó™ o
J pppp
with love
# œœ
[ it's possible to use sustain pedal for soft sound release ]
4 &4
Electric Guitar
∑
∑
∑ o
off
tremolo 1
4 w & 4 #w
w w
4 &4 w w o
w w
#w w
w w
Electric Piano
{
w w
w o
pppp
ppppp put the bow softly on white Marimba's keys
ha--------------u
j œ œ
˙ Exhalation Marimba
4 &4
∑
∑
Ó ˙
‰
œ
ppp ppppp
‹ Sounding &
#œ J
Ó™™
o Violoncello (Sampler)
?4 4
Ó™™ Sampler
&
œ
= a tempo
poco tranq. (q=87)
'flute' sound
q=93
col legno tratto
· #¿ # ¿ #¿ Œ &
5
Vla.
#¿
‹¿
¿
≈ Œ ‰
#¿
5
E.Gtr.
‰
≈ ≈ ·o (touch the reed by bow hair) #‚e O Œ
S.P.
5
o
o
ppp
5
‰
≈ Œ Ó™
‚# Oo ™
ppp
O™
& Πo
œ oo
ppp
w tremolo 1
w & #w
˙˙ ™™
#œœ
œœ #˙˙
˙ ™™ ˙
##œœ œ o
œœ œ
off
#œœ
E.Piano
{
& #w w o
pppp
pppp
˙ ˙ p
œ œ ppp
Glockenspiel play by fingers
Glsp.
& Ó
>e >e > > >e b>e >e >e >e ‰l.v. ™™ e #e RÔ
l.v.
Ó
ppp left hand
Sound.
‹ <#>˙ &
Sampler (Vc.)
& Ó™
e >e e >e >e e >e >e e e e ∑ > e e >e > >e > >e > ppp o
( another corporeity )
#œ J
‰
nœœ #œ
˙˙ ˙
∑ œ
œœ ™™ œ™
>œ œ Œ œ
∑
∑
p
ppp
play arco 1cm behined the bridge (with clip on 1st string), very light bow
· )™
6
8
2 Vla.
∑
&
∑
Ó™
Πpppp
it's possible to use rec. machine for fix this sound
wah 1>0 pitch shift +12 8
E.Gtr.
o
Oo
off
∑
&
Œ #O ™ # O™
w
o · #O Œ
pp
in advance and play it back during performance
Ó
3
3
ppp off
tremolo 1
tremolo 1
off
tremolo 1
<#>œœ #˙˙
œœ #˙˙ ™™
#œœ
œ™ œ #œ œ #œ œ œ œ #œ
œœ
œ™ œ œ œ™ #œ
œ œ œ œ
œ
#œ ™
& 5
5
{
& œ œ
Ÿ#~~~~~~~~~~~~~~~ ™ œ œ ˙
˙
œ
Œ
# œœ 5 ‰
Œ
5
5
‰
J o
p
op
ppp
p
5
# œœ 5
E.Piano
Œ
Ó
J o
ppp Low whistle (real sounding)
Mar. Arco
ha-----------u
œ
#O
Exhalation Mar.
˙™ Y™
& œ ¿
˙™ Y™
Œ
Œ
Ó ˙ o
ppp ppp Col legno tratto
o
pp
# œ ™™ Œ #˙
#œ
Sound.
‹ & Œ
Sampler (Vc.)
& Œ
Œ ˙
Œ
œ œ ™™
# œ œ ™™
µ œ ™™ # œ œ# œ œ# œ #œ‹œ#œ#œ#œ#œ#œ
œ œ
3
∑
Œ
∑
Œ
Ó
∑
œ
3
= play with the bow on right side of viola (sounding-board)
≥ 2
12
Vla.
@
2≤ 2≥ 2≤ 2≥ 2≤ 2≥ 2≥ 2≤ 2≥ 2≤ 2≥ 2≤ 2≥ 2≤ 2≥ 2≤ 2≥ 2≤ 2≥ 2≤ 2≥ 2≤
@
& Ó™
Ϊ J o
J 4:3
ppp
o
p
K o o o #‚o #‚o O ‰ ‚ n‚
12
E.Gtr.
& ∑
< Œ
Ó
o stop frozen sound Œ™ > Ó
o o o #‚o ‚ Ó ‚#‚
this dynamic is independent from frozen sound
o
3
o
o 0
0
off
tremolo 2
<#>œ &
#œ
œ #œ#œ œ œ #œ œ œ œ œ œ œ R
œ Ó
Ó™
R
# œ #œ ™ #œ ™ ˙
#œ
œ œ #œ ™™
#œ
œ œ #œ ™™
5
5 5
E.Piano
3
{
& ∑
r œÓ
Œ œ
5
?
∑
#˙
5
Mar. play by caoutchouc ball
Spring by very thin metal stick
>6 Mar.
Ó™
&
‰
eeeeeeee mp pp
Sound.
‹ ##œ˙ &
l.v.
‰ Ó™ ∑ 6ÍÍÍÍÍÍ press and leave bass drum skin to get spring vibrated J 3
#œ ÆJ
∑
∑
∑ [ next notes will activated by a1 key on sampler ]
<∑ play in the middle of reed
Sampler (Vc.)
& œ
Ó™
C„)
?
∑
∑
œ
Œ
Vc.
< >> p
and tap strings by left hand fingers
( on the right side )
( on the bridge )
≤ ·w
@≥ ™™
16
œ
œ J ‰ Ó
‰ Vla.
& o
3
∑
ppp
ppp
pitch shift +12 3
#w #w
16
>∑
<Ó E.Gtr.
w w
o
o
#œ J o
Ó™™
& pp
p
“” [ use pitchband ] off
& #œ
#œ # ˙
#œ
‹œ
#œ #œ
3
#œ
#œ
#œ œ #œ ™
nœ
œ µœ nœ µœ
˙
Ó
œ 4:3
o
o
p
4:3
o
o
o
o
o
J o
5:4
o
o
p
E.Piano
{
#œ #˙
? #œ
∑
œ
Spring play two different sounds on spring >6 placed on the bass drum
3
Mar. Arco Arco Mar.
& Œ
˙
Œ
w Y
˙ Y
Col legno tratto
Ó o
pp
Ó
>6
Œ
l.v.
‰ mf
pp
Sound.
#>œ
‹ & Œ
µ˙
˜œœ
Œ
œ
> œ #œ
> œ Kœ
J
J
œ ‰ > Ó™
‰
≈
∑
3 3 3
D‰ Vc.
3
3
play on the reed thin edge
j
? 6 b6 J
6
B ‚ 6™
6
play on the reed thick edge
„ 6 6 J
6 J
etc.
‚ ™ 66 66 66 ™
‰ ™ b66 ™
6
3
„™ 66 ™
Sampler
‰ 6 6 J
( by left hand )
)™ )™
&
66
3
3
continue to play by right hand
=
#O ™
˜œ #O
20
‚ III+ # Oo ™ ‚ E™
‚
<#>œ E.Gtr.
& o
o
p
o
p
:“; # œ ˜ œ n œ µ œ # œ ˙™ E.Piano
~ freeze sound
o
p
p
[ pitchband ]
w
˜œ
˙™
w
{& 5:4
ha----u----
œ Mar.
cresc. & ∑
∑
∑
Ó œ ppp
Sound.
‹ & ‰
nœ µœ #œ ˜œ Ó™ 3
Sampler (Vc.)
& nœ
‰ Vc.
∑ ‚ „ ‰6 6 ? b6 6 J
66 66
„ ‰ b66
3 3
∑ ‚ 6 6 ‰
∑
Ó™ Sampler
&
·6
play arco 1cm behined the bridge (with clip on 1st string), very light bow
<∑>
24
4 Vla.
<Ó >
Ó™
& ∑
Ó pppp off
<#> ~
~
switch to small combo
‚
24
E.Gtr.
Ó™
& :“; <˜> w
nœ #œ œ ‹œ #œ #œ‹œ#œ#œ‹œ #œ
#œ ™ œ #œ #œ E.Piano
∑
Ó™
{&
Œ
∑
R 5
5
5
5
o
pppp
Sound.
‹ &
Ó™
œ ™ œ Bœ ≈ Bœ œ Bœ œ ≈ Bœ #œ
Ó™
œ
‰
≈ #œ Bœ œ œ œ œ œ œ œ œ ‰
∑
∑
∑
5 5 5
Sampler (Vc.)
∑
&
= S.P. II (play with bow near to the reed
1
q=76 using it as a second bridge, find the fingering for getting these sound pitches)
„j œ ˙
28
Vla.
∑
&
Ϊ
∑
„˙
œ „ ™ œ J
œ
o
pp
o o o ‰ ‰ œ ‚ œ ‚ œ ‚ œ
28
E.Gtr.
& Ó
Oo
O ™™
Ó™
( only by left hand )
#œ #œ # œ œ #œ #œ #œ œ ‰
Ó™™
Â
5
o
7
ppp pp Mar. Arco
hau 3
Mar.
& Ó
Ϊ
j #œ
#˙ w ˙™ Œ # Y ™Col legno tratto ‹
œ
œ
œ ë
pp
Sound.
‹ &
Ó™
?
∑
∑
Œ ˙™
Sampler (Vc.)
∑
&
∑
Œ
œ
Ó
w
œ
∑
∑
1) play with small combo (3-5V), use enough volume to get feedback effect, use only bridge pickup. 2) put combo on strings (≈ XXII fret) and start very slow and invisible gliss. 3) "catch" string's feedbacks: immediately mute string if it begins feedback effect, keep the finger on the string antill you start hear new feedback on another string — then leave current string and mute string with feedback sound. Don't allow loud sounds.
=
gliss. 33
E.Gtr.
·
&Ê pppp
= 4) then start combo's trembling on the strings not stopping gliss. movement. Continue game with feedbacks muting as a previous. gliss. 39
E.Gtr.
&
= gliss. 45
E.Gtr.
&
œ
w
Ó™ p
Œ
S.P.
· o #‚e
52
Vla.
∑
&
Ó™
∑
(touch the reed by bow hair)
o ‚
o3 ‚
5
O
Πo
pppp
> · > l.v. ( open strings ) Ê Ó
gliss.
<Œ
52
E.Gtr.
&
ë
∑
5) End gliss. movement directly above the bridge pick-up. Tear off the combo from pick-up immediately after loud sound uprising.
mf
tremolo 2 off
soft, tender 3
E.Piano
™ {& Ó
œœœ ‰ Ó™ o ç j Crotalie
œœ # œœ #œœ #œœ #œœ ##œœœ # œœ œœ
##œœ ppppp
∑
mf Mar.
∑
&
∑
#œ ‰ Ó >
ΠNeedle
5
5
5
5
5
pppp hit a glass handle by the needle
=
56
Mar.
& 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
=
2 q=93 Vla.
(more on the reed then on string)
· oS.P. #OE
61
& Ó
o
~
o #OE ™™ o
‚
‚
~
poco
p
p off
pitch shift +12
∑
& switch back to big combo
##‹˙˙˙ ™™™™™™ # ˙ ™™
## ˙˙ ™™™™ ‰ ##˙˙ ™™™™
61
E.Gtr.
Ó™
o
o
pppp
tremolo 1
#˙ ‰
Ó o
p
tremolo 1
#˙
& Ó
#œ
#˙ ™
œ
off
k ( pitch band ) w
#œ #œ ˙
p
#œ
˙
Πk
E.Piano
#œ
nœ œ ˙
#˙ ™
{
? Ó
#˙ o
#œ
œ o
o
w
˙ Œ o
try to hold by right hand
o o Mar. Arco
Mar.
Œ
&
#˙ p 5
5
5
5
5
5 5
5
5
5
5
5 5
Sound.
‹ &
∑
∑
∑
∑
Ó
#˙ S.P. I S.P. I (play between a reed and a bridge) find on 3rd string thise sounding ‚„ .j the real sounding with quite intense bow pressure „ #e e #„e ™ ‚ # e e & ## ee Sampler 3 3 7 ≈j # e ‚ @ 7 7 @ „@ Œ ‰? Œ ™ & nœ Œ ss. gli # œ # œ # œ #œ . #œ #œ . J . ‰¿ o p o o ppp p p .J S.P. II (play near the reed)
Sampler (Vc.)
&
Vc. &
Ó
left hand pizz. p
play using thin reed's edge 6
F 66
( open strings ) Vla.
∑
&
∑
Ó™
∑
B
6 o
off off
ppp
tremolo 2 66
<#>˙ ™™ E.Gtr.
‰
&
∑
∑
∑ ( stop sound with sinus tougether )
Mar.
Sound.
Ó
& <#>w
w
w
˙
‹ & <#>w
w
w
˙™
Œ
=
( + high sound ) 70
o ~)
B Vla.
)
)
b)) ™™™ )
‚6
off
delay [+ phaser] 5
5
very soft, sky sound
70
E.Gtr.
∑
&
# œ #˙
#˙
∑
Ó
“” # œ # œ # œ nœ œ œ n œ # œ œ œ œ # œ œn œ œ nœ Ó #œ œ ≈ #œ ≈
& Ó™
#˙
o
Œ
o ” “
ppppp
∑
œ œ œ #œ œ œ œ œ#œ œ
Ó
7
5
5
7 7
o
E.Piano
#˙
{
˙
? Ó
‰ Œ
∑
∑
&
J o
ppp Marimba arco
#œ Mar.
pp
œ
∑
&
Ó™
∑
Arco
œ # ‚ # ‚ # œ # Olow whistle J
‰
5
ppp
low whistle (real sounding)
= [ whistle, the real sounding ]
#~ 74
∑
&
∑ pp
S.P. II (play near to the reed using it as a second bridge) „ )
Vla.
) B <b>))
) b))
) )) o
:“; 74 # œ Œ E.Piano { & R
Ó™
pp
∑
∑
5
Mar. play by fingers right hand
#e #e Mar.
e
ne e e e e e # ee ee ee ee ee ee n e e e e
ee e e Œ ≈
&
7 7
pppp
7 left hand
7 7
7
7
#e e e e e #e e e e e e #e e ‰™ ≈Œ Ó #e e e e e e #e e ee e R #e e e e #e e 7 o pppp
7
q=82 Inhalation
<#> ~
˙
77
Ó o
&
∑
∑
∑
∑
∑
during playing move the bow smoothly and increase pressure
( play on 3rd string over the reed )
Vla.
G#) B )
)) )
))
Ó
play with E-Bow and slider
S.P. I @ n) ))
#œ ∑
∑
Ó™
∑
& p
ppp pp
tremolo 1
[ freeze sound by sustain or rec. mach. ]
off XIX
‚ # ‚o O
~
~
E.Gtr.
Ϊ
∑
&
o ‚ #O ™
‚ · # ˙ ‚ Oo · ˙
~
77
J 3
o ppp o ppp o ppp o o
pppp
E.Piano
{& ∑
#w #w
∑
w w o
∑
∑
∑
∑
∑
∑
ppp
pp
Mar. arco ( don't stop the bow movement, divide notes by left hand muting )
j 3 j Ó ™ & #œ œ œ œ œ #œ œ œ ˙ f Sing # f 3
Mar.
∑
∑
with closed mouth pp
=
place E-Bow on the fingerboard, change sound pitches by slider from bridge to nut (in opposite way than usual) 84
˙™
<#>w Vla.
#œ Œ o
&
∑
∑
∑
∑
∑
∑
Ó™ pp off
tremolo 2 [ freeze sound by sustain or rec. mach. ]
<#> w
w
w
w
w
5 ˙ ‚ # Oo · ˙ ‚ # Oo · ˙ ‚ # Oo
w
84
E.Gtr.
& pppp
ppp
Mar. arco
œ Mar.
&
∑
∑
Œ #f ™ o ppp
Ó
∑
∑
∑
∑
∑
w w w Ó
o w
∑
∑
∑
s
Sing with closed mouth
### ˙˙˙ ™™™ ∑
Sound.
‹ &
Sampler (Vc.)
&
∑
∑
∑
∑
∑
∑
∑
w w w
Œ
Œ œ Ó
#˙ œ
∑
Ó
Œ
O
8 93
<#>w Vla.
w
w
w
w
w
w
w
w
& play with E-Bow
very clean sound (it's possible use the bridge pick-up only)
<#> ˙ ™ 93
E.Gtr.
Œ
&
∑
∑
∑
∑
∑
· #w
w
∑ o
pp
o off
tremolo 2 5
#w #w
w w
w w
w w
w w
œ œ
w w
∑
&
∑
∑
∑
∑
E.Piano
?
{
∑
&
#w #w o
w w
w w
w w
w w
œ œ
w w 5
pppp
= play with E-Bow, make clear transitions between sounds by slider (without gliss.)
3 [ make a gliss with slider ]
102
gliss.
#˙ Vla.
w
w
w
#w
& Ó
#˙
œ #˙ ™™ J
<∑>
œ # ˙ ™™
gliss.
#˙
J
<∑>
3
pp
<#> w
w
w
w
#w
102
E.Gtr.
& 3
cresc. [ bend 1st string up ] off
tremolo 2 5
#œ #œ ™ J
3
E.Piano
{& ∑
∑
#w #w o
Ϫ
Ó w o
ppp
#œ Œ J
∑
∑
o
ppppp Mar. arco ( don't stop the bow movement, divide notes by left hand muting ) Arco Mar.
& ∑
∑
∑ œ™ œ™ o pp o pp
< ‰> ™ œ œ o pp o pp
Ó
‰
∑ # ˙ ™™ pp
=
3
3 3 3 3
109
Vla.
#˙ ™
œ #œ #œ
#œ # œ
#œ
&
#œ
œ #œ #œ
nœ
#w
#˙
˙ #œ
œ
J
J mp
play with slider (ord.), make clear transitions between sounds (without gliss.)
stop E-Bow
#˙ ™ 109 E.Gtr.
play by left hand only
· #œ
“” · # œ ‚ œ # œ· # œ
œ #œ #œ
œ
#˙
nœ µœ #˙
#˙
‚ #œ
#˙
œ
Œ
&
J 3 3
3
3
3
mp 5:6
#œ
#œ & ∑
∑
#œ
œ #œ
Ó o
o
o
o
o
[ ppp]
E.Piano
{
& ∑
∑
Ó #œ
#œ
#œ
œ #œ
5:6
9
#˙
113
n˙
#˙ Vla.
Ó
Ó
˜˙
n˙
&
∑
∑
∑
∑
5
:“; #˙ 113 ·
#˙
n˙
µ˙
˙
µœ œ ™
˙
˙™
œ
˙
#˙
J E.Gtr.
Ó
& 5
3
3
∑
3
poco cresc.
> b ww w &
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
bb ww w
E.Piano
{
& ppp
Mar.
Sound.
& bw o ppp ‹ & bw
p
w
w
w
w w bw b w o œ
œ Sampler (Vc.)
Ó™
&
∑
Ó™
∑
=
play using thin reed's edge
F 119
Vla.
&
Ó
q=93 Low whistle (real sounding) o‚ 1 1 ! · Œ
5
# 1 gliss. #whistle !
5
o ·‚
!
1
( open strings )
Ó™
B &
) o
o
pppp
o
pppp
)
ppp
pp
pitch shift +5, +12 [mix 50/50] 5
[by left hand]
119
E.Gtr.
&
Ó
„ œ
œ
˙
5
œ
#œ
Œ
„ œ
œ
œ #œ
œ
œ #œ
Œ
#œ
#œ
1
3
œ #œ #œ
œ
1 3 3
4
4
4
2 3
4
1
3
4
œ #œ #œ
œ
1
1
pp
poco cresc. 5 5
E.Piano
{&
Ó œ
œ
˙
#œ
œ ˙
œ
œ
œ #œ
œ
œ #œ
#˙
poco cresc. pp
Sound.
‹ & w <b><b> w w
∑
∑
∑
∑
10
q=82 [ whistle ]
#! 124
&
∑
∑
∑
∑
∑
~o &· o
∑
∑
∑
∑
∑
Vla.
pp off
124
E.Gtr.
[ bend up ] gliss.
#œ #œ ‚ œ
tenderly [ by right hand fingers ]
3
µœ
·b˙
Ó
& 1
3
2
1
[ bend up ] gliss.
œ
& œ #œ
[ by left hand only ]
œ ∑
1
œ œ ‰pppp
˙
œ
˙
œ œ #œ œ œ
œ
#œ ‰
˙ Â
‰
1
3
4
3
b˙
œ
µœ
Ó
∑ nœ
œ œ #œ œ œ
œ
#œ
˙
5
E.Piano
[ by pitch bend ]
{
j ™ Œ œ
Ó™
∑
&
Kœ
w
n˙
o
j
Ó™
∑
œ Mar. arco
ppp
5
Mar. arco Mar.
& ˙™ ˙™
œ ‰
∑
∑
∑
Œ
Œ œ
#s
Sing with closed mouth
œ o
s o
ppp
ppp
s o
o
s #s s
ppp
#e e e #e Sound.
‹ & Œ
‰™ e
Ϊ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
5:3
œ Sampler (Vc.)
& Œ
‰™
Ó
=
off
tremolo 2
off
tremolo 1
5
130
E.Gtr.
1
3
o
~o
& œ #œ œ ˙ „ ‰
∑
w
pp
pp
pp
w w
w w
∑
 #~
#w
4
#˙ & œ #œ œ ˙
pp
#w #w
w
w
w
#w
w
w
E.Piano 5
{
Ó™
& w
w
w
∑
∑
∑
œ o
poco a poco dim.
Inhalation Sing with closed mouth
ha-u
œ
5
Œ
molto legato
Mar.
& œ s ∑
s #˙ nœ
s
˙™ ˙
Ó
5
ppp
4
5
o
ppp
f
#w # ˙ Œ o o ppp
f œ J ‰
#œ œ œ Œ o J Œ™ p
∑
∑
( pitch bend by fingers )
µ#µ w w w Exhalation ( hau ) nw w w
137
E.Gtr.
∑
&
∑
w w w w w w
w w w w w w
2
11
off
tremolo 2 Exhalation ( hau ) ( pitch bend )
( pitch bend ) 9 9 3
˙ E.Piano
{& w
œ #œ
˙
2
w o
#˙˙ µB˙˙ œœœ œnœ# œ n œ # œ. œ. œ. œ. œ # œ #œ n œ # œ # œ #œ #œ almost on o perception border
˙ ˙ o
ppppp
pppp
Exhalation ( hau ) ( low whistle gliss. )
‚ ‚
‚ Mar.
∑
&
Mar. arco
∑
‚
‚ ‚
2 Ó
pppp
w
w
˙
ppp
Sound.
‹ & w
2 w
w
w
w
œ Sampler (Vc.)
2 Ó™
&
∑
Ú
∑
= play using thin reed's edge with changing fingering
4 q=63 ( + high sound )
( open strings )
B Ó™
o
j „ #6
j
F
144
‰
)™
)
Vla.
6
)
n ‚6
)™™
~
~
ppp 144
n˙ ™ E.Gtr.
∑
&
Œ
E.Piano
∑
w
w
w
∑
∑
Ó
∑
∑
∑
∑
∑
˙
{& o
∑
o
pppp
#w
∑
pppp
Mar. arco ( don't stop the bow movement, divide notes by left hand muting )
Mar.
j #œ ™ œ œ œ œ
& Ó
3
j œ ˙
Ó
∑
∑
3
ppp
=
( tune this whistle from sound of viola [major 3rd] )
( whistle, breath free )
~
~
O
#O
~
~
151
& o ppp
S.P. I with enough (high) bow's pressure
Vla. play behined the bridge
„ #@
@
2
‰ ˙™
2 1
B„ B))„ n µ) ‰ 1
)) )
n) ‚ „ B#)) ‰
)) )
( high oscillations )
&
3
mp also press 3rd string by same finger, it will changes sound
Inhalation 156
&
w
œ
mf sub p
Vla.
& =
œ
w
Ó™™
J o
œ
Inhalation
Sing with closed mouth Very tranquil, very free
ha----------------------------------------------------------u
12
Ó
o
#f
o
#f
ossia: -8 pppp
B
w
( on the bridge)
∑
w
∑
ppp
o
pppp
19
161
Ensemble
The whole performer existence stipulates a certain inner substance. We are talking about deep concentration on breathing process and transition from real body breathing to playing on instrument. Find connection between breathing and the way of bow movement speed. It's possible to talk about deep immersion of performer into his inner substance. Visually you can image it as a plant freely fluctuate into slow river flow. The possible performing scheme are notated in the score. The most important to find the way to make this scheme very personal for performer: it's possible to create another scheme or to improvise. From this bar play your part unsynchronized with ensemble. They will count their pause and start to play not correspondent to you part. Play your part independent from counting and even from inner substance untill next ensemble pause coming (bar 210 in their parts). If your score ended earlier than ensemble pause comes make a long fermata on your last note and wait for ensemble. If ensemble pause occurred before performer's score ending go to bar 210 without playing the rest. Sing with closed mouth
Inhalation
w
& # f ( ossia: -8 ) exh.
w
#f
F
S.P. I ‚w
( open strings )
B
)
=
o
pppp
w
& #f
=
‚
Vla.
=
~
low whistle
& Vla.
„#@ &
play behined the bridge
p
3
o
w
#f
w
#f
F
„ ) ‰ #)
pppp
@
etc.
#f
F ‚ µ)
w
#f
‚
ppp
w
low whistle gliss.
‚
#f
@
B
o
pppp
w
#f
w
play using thin reed's edge with increased bow pressure
@ #6 ‚6 „6#6#6 #6 6 6 ‰ ‰ n6
ppppp
w
#f
@
@
improvise freely with melody curve (notes are playing by left hand)
low whistle gliss.
#f
pppp
w
S.P. I ˙ ‰ ˙„ ‰˙
F
pppp
&
#f
‰w
@
6
B
w
( on the bridge )
#f
F@
Vla.
#f
etc.
exh. inh. inh. use your breath speed as a whole notes tempo
Vla.
w
‚
w
@
‚
#f
‚
‚
@
‚
w
#f
&
Inhalation
w
S.P. I
play with higher bow pressure ( high oscillations )
‰w
mp
Sing with closed mouth
f
play on the tailpiece with bow pressure
w p
o
13
( + viola )
5
q=93
E.Gtr.
& ∑
{
∑ #˙
& Ó
E.Piano
& Ó
Mar.
&
∑
5
∑
# œ œnœ œ œ œ ‰™ Ó nœ#œnœ nœ œ œ œ#œnœ nœ#œ œ 5
ppp
on the rack (play by hard plastic sticks)
>˙
>œ
&
>˙
˙ ˙
>œ
o
>˙3
3
3
mp
Vc.
nw nw
Tuned flexatones
Ó™
∑
˙ ˙
o
pp
Ó
nw nw
∑
5
o
5
very soft timbre
∑
pp
#œ
#˙
Œ
#œ#œ#œ#œ
&
„ ˙
auto-funk (wah): lp. lo, up
180
>œ
Ó
h
„1
Ó™
1
„1™
h
o
mp
Ó
ppp
S.P. II ( real sounding ) „ 3 œ ˙
play on the tailpiece then make gliss. through the bridge
∑
Ó
mp
j
h
o
mp
h
=
„1
ppp
o
( + viola )
q=111
185
E.Gtr.
E.Piano
Mar.
&
{
˙
˙
˙
tremolo 2
‰ ˙
o
˙
 O
O Ó™
&
∑
∑
&
∑
∑
?
prepared by paper (distorted sound) play by soft plastic / rubber stick
&
&
˙ o
g
G™
Œ
˙
˙
˙
G
3
pp
g Œ
Ó
˙
˙˙
œœ
Ó
˙g
œ
Mar. arco
50 / 50 Col legno - bow hair
#˙ o
∑
Ó
Play with singing with closed mouth
· #˙ #X o
ppp
œ Œ œ œ
Ó
œ ˙
Glockenspiel
∑
‚˙ ‰˙ ˙
˙ ˙ 3
Ó
pp
Vc.
„ #˙ ˙
off off
œ™ ¿™
o
pp
Œ
Ó™
overdrive (fuzz), spin box
Ó
Ó
p
˙
˙ o
Ó
pp
w
˙
pppp
j œ ˙ ¿ X o ppp
„œ œ
[ by left hand ]
Ó o
· #E
e œ
molto S.P.
˙ X
˙ f o
ppp
˙ f
3
˙
pppp play low notes molto S.P. for getting high overtones
14
( + viola )
eq.(+hf), flanger # Ÿ#~~~~~~~~~~~~~~~~ o Ÿ~~~~~~~~~~~~ · ·j 3 l.v. 3 œ œ „ „ ‚œ œ ‚œ œ œ œ # œ œj „œ ‚# œ œ · œ 192 ‚ VII 5 œ ‚ # œ # œ #œ #‚ ‚ œ œ œ #œ & B‚ Ê
o
o
o
#‚ ‚
#‚ ‚
#‚ ‚
3
2
2
1
E.Gtr.
1
VI+ mp
5
œ™ œ œ œ™#œ œ œ œ™ # œ
& Ó™
œ œ™
œ
#œ ™
œ œ œ#œ#œnœnœ #œ#œnœ nœ nœ nœ
nœ œ™ œ œ b œ nœn œ œœ#œœ œ
J
J 5
5
6 5
6
5 7
E.Piano
5 5
{
?
Ó™
∑ o
&≈
≈ nœ nœ nœ#œ ?≈œ
#œ #œ#œ Œ # œ # œ #œ
≈
#œ œ œœ
ppp
o
mp
o
p
Low whistle
Tuned flexatones
‚
3 3
Mar.
& ∑
>‹ ÆJ
Ó™
∑
>‹
>‹
>‹ ÆJ
>Y
>Y pp
mp 50 / 50 Col legno / bow hair
j
3
Vc.
#e & E˙ œ Ó
∑
∑
˙ ™™ f ™™
œ s
Play with singing with closed mouth p
o =
( + viola )
VII 196
E.Gtr.
·o o o ‚ ‚ ‚
& #‚ ‚ ‚ Â IV
‚o ‚
o
o ‚o ‚o ‚o ‚ IV #‚ ‚ ‚ ‚ ˜‰‚
‚‚
o
o
˜#‚‚
‚‚ „
VI+
o nœ‚
III o„ o „II‰ o ‰ ‚ o o oÂÊ o o Âo Ê ‚ ##‚‚b‚ ‚ ‚ n‚ „ II+ n ‚ n‚ n O > > p
o ‚ #‚ ‰ II+
„
7
6
nœ #œ #œ œ # œ # œ ≈≈nœ#œn œ # œ Œ nœ n œ ≈œ & œ R
œ#œ œ n œ # œ
œ œ œ œ œ™
œ œ J
( release as far as possible )
#˙ #˙
˙ ˙
5 5
5
5
E.Piano
{
?
≈ œ
j ≈ & œ œ œ #œ nœ œ nœ œ #œ ‰ œ J œ
œ™ œ nœ ® bœ. œœœœœœœœœœœœœœœœœœœœœ® ..................... Ó
. . . . . œ. œ. œœœœ . . . œbœœnœœ œœœœœ
5
o
mp
mp
o
mp
5
Mar. arco
~
Low whistle
˙™ ‚
Mar.
O
>‹
& o
pp 3
· j molto S.P. Vc.
& ˙ ™™ f ™™
#œ #s
˙™ f ™
#e
#e
#e #e ™
#œ
œ
#œ œ ™
>‹
>‹
ÆJ ÆJ ÆJ >‹ >‹ >‹ >‹ mp #e #e #e ne
#œ œ#œ nœ
play low notes on molto S.P. for getting higth overtones 3
o
p
o
p
o
p p
>‹ ÆJ
>‹
15
( + viola )
III II IV III+ IV IIIIII IV III-IV- II III II- III- III IV IV o o 5 „ ‚ · ‚ · ‚ · ‚ ‚ · · „ · IV o o o ‚ 199 „ ‚ „ „ „ „ „ ‚ ‚ ‚ ‚ o o o o o o o #‚ o ‚o ‚ ‚o ‚ o b‚o o Bb‚o o ‚o o B‚o o o o #‚ n‚o #‚ o n‚o #‚ o o o„ #‚o ‚ ‰n‚ „b‚ b‚ ≈ b‚ Bb‚ ‚ b‚ b‚ n‚ ≈ n‚ B‚ #‚ ‰ ‚ & n‚ Â # ‚Â #‚ n ‚ Ên ‚ III- IV
E.Gtr.
5 5
mp
“” . . œ. œ. œ. œ. b œ. œ. n œ. # œ. œ. œ. œ. œ. # œ. œ. n œ. œ. # œ. œ œ
œ œ
<#> ˙ <#>˙
œ.
œ. # œ. œ. # œ.
œ.
œ. œ.
& 5
5 5
E.Piano 5
{
. bœnœnœnœ œnœ Œ & œœ
≈ œ œ œ #œ œ œ
. . . . n œ #œ œ # œ # œ œ œ n œ œ n œ. œ. œ. œ. œ. œ. œ. œ. # œ. #œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ ® ® ® ® J 6
o
7
o
mp
o o
mp
j ‚ ˙
Low whistle
O™ Mar.
& ‹ >
>‹ ÆJ
>‹
>‹
>‹
>‹
mp
Ϊ
Low whistle
‚™
œ
>‹ Mar. arco
J 4:3
%
% ?
Vc.
& poco cresc.
=
( + viola ) off off III5 o o o o o „ Bb‚‚ Œ & Ê ÂB ‚ ‰B‚ Bb‚ B‚
· #œ ™ ‰
201
E.Gtr.
o
#˙
˙
˙
· # Oo #E
· o
p
O
VII (II)
o
p
V
o · nO o
p
mf
:“; w & w
∑ 3
∑
∑
w w o
œœ
3
E.Piano
˙
˙
˙
˙
{
˙ ˙
nœ ÆJ
#˙
& Low whistle Mar. arco
‚
‚™ ˙
Mar.
& J
pp j Œ ‚ Œ™ > >‹ ‹ >‹ ÆJ > ‹ ÆJ >‹
o
pp
Mar. arco ( don't stop the bow, divide notes by left hand muting )
œ >‹
>‹ ÆJ
>‹ ÆJ
>‹
>‹
Ó™
Œ œ
Tuned flexatones
œ
œ
œ
œ
ppp
play on the reed thin edge
3
D 3
? Vc.
) ppp
#) „
)
Ó™
6
)™ ‰
)
œ
p
16
( + viola )
O
205
E.Gtr.
E.Piano
Sound.
Vc.
&
{&
“” ˙™
Œ
œ
o
#w
∑
„ C #6
play in the middle of reed
? )™
Ó™
∑
∑
∑
∑
∑
∑
ppp
‹ &
=
∑
Ó
&
Sampler
w
w
nœ
Ó™
w
∑
∑
6
Ensemble
&
Sing with closed mouth
Vla.
& B-s
pppp
=
q≈ ≈72 222
Vla.
12
( don't wait ending of viola solo, play bar 222 in its time )
210
B-s
s s
Sing with closed mouth (sing mostly for yourself then for any listners)
& s
s
s
s s
It's possible to sing another melody here, most important to find the way to make this melody very personal, very touching for performer.
s
Bs ns
b-s
4:3
s s s s f s
s
j
B-s
-s
b-s
j3
f ™
r j3 s s bs
5
s #s s
f
s s bs bs
s
s ns
ppppp From this bar play your part unsynchronized with ensemble. Sing this melody in convinient tempo or improvise and follow ensemble score for starting tougether bar 229. Then play synchronized with ensemble.
=
Vla.
& f
f
s s
3
s
s
s
j3 s
s
s s
s
ns
5
s
5
s
bs
s
s s
s
gliss.
bf
3
s s s
17
( + viola's melody )
auto-funk (wah): bp. hi, up
off
off
overdrive (fuzz), spin #~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 o o # Ÿ˙ ™ VI+ „œ µ‚ ‚ ‰ > > > ë mp
222
E.Gtr.
& Œ
„ ˙™ o
w ppp
œ ∑
&
Ó™
∑
5
E.Piano
{
∑
&
œ
Ó™
∑
œ
œ œ o
œ o
p
Mar. by 2 soft plastic sticks
˙™
˙™
w
#œ Mar.
& Œ
œ
œ
œ o
pppp pp
=
( + viola's melody )
Glockenspiel prepared by paper (distorted sound) play by soft plastic / rubber stick
> 5 > >5 > 5 Glockenspiel œœœ œœœœ œœ œœœœœœœ œ œ œ œ 6 6 6 6 6 6 6 6 6 6 6 g™ g™ g ‰ g g g g g g g ‹ ‹ ‰ ‹ ‹ ‰ ‹ ‹ ‹ ≈‹ ‹ ‹ ‹ ‹ ‹ 5
œ œ6 6 6 nœ#œ œ #œ# œ g ™ g ™ g ≈ & œ
225
Mar.
5
5 5 3
7
5
5
5 5
mp
Tuned flexatones spring spring
l.v. S.T. 50 / 50 Col legno / bow hair 3 3
as a love song
& #˙ #f Play with singing with closed mouth o Vc.
port. port.
ppp
˙ f
˙ f
#œ œ #s s
#˙ #f
j # œ #s
˙ f
port. por t.
˙ f > ëp
∑
10
18
very clean sound arco 1cm behined the bridge (with clip on 1st string)
œ
231
( + viola's melody )
Ó™ & ( make singing fade out )
pppp
o off
pitch shift +12 [mix 50/50]
delay [+ phaser]
o o o o o o ™™ VII „ o o‚ #‚‚o IIIo „ #‚ „ n‚ #‚ ‚o #‚ o ≈ n ˙ ‰ ‚ µ ‚ & ‰œ n‚ ‚ nœ n‚ œ n‚ IV IIIo
228
E.Gtr.
231
œ J
˙™™
œ
˙™
#œ J
5
w & w
w w w w
E.Piano
? w
{
œ œ œ œ œ. œ. œ. œ. œ. #œ œ œ œ œ œ 5 light 5 # œ œ Ó™ ‰ ™ œ œ œ#œ#œ
w #ww w w Ó™
Œ
p
o
5
5
o
ppp pp
Ord. very tranquil
Vc.
∑
&
∑
Ó™
∑
œ pppp
=
232
Vla.
w
w
œ
3 4
Ó™
∑
& o
o
232
E.Gtr.
˙™
œ
œ #œ ™ J
˙
&
w æ ≈ x 7 o
ppp
E.Piano
{&
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. Œ 5
5
∑
3 œ 4 æ ≈ x o 7pppp
Ó™
∑
∑
3 4
∑
∑
3 4
5
o hit the reed for getting percussive chord 5
Vc.
& ˙™
Πh > p
19
˙™
236
Vla.
w
3 &4
4 4 off
overdrive, eq.(+hf), pitch shift (+3,7)
E.Gtr.
3 &4 œ ææ
4Ó 4
Ó
o K >‚o IVo > K‚ #>‚ ‚ · ‚
IIo L >‚ ·
236
‰
III-
5
o
o
III
o #>‚ ™
>‚o >o >o b‚ ‚ ‚ „ ‰
·
mf 3 6
3
6 6
3 & 4 Ϊ ppp E.Piano
{
?3 Ó 4
#œ#œ#œ #œ #œ #œ 44 #œ #œ#œ#œ#œ ≈ #œ #œ#œ #œ nœ nœ œ ‰ # œ #œ œ o o o o o 5 5 n œ 4 ≈ ≈ 4Œ ≈ ≈ Ó nœ nœ #œ #œ nœ #œ #œ o o pp pp
Œ
Tuned flexatones 5
Mar.
3‹ &4
6>
ç #>œ
6 ‹ç #œ #‹ ‹
Marimba 2 metal sticks
Metal spring
by 2 metal sticks
‰™
4Ó 4
Œ
® #>œ >œ #œ > #>œ
‰
‹ 5
#>œ #>œ #>œ
5
mf mf
œ bœbœ
[ next notes will activated by d3 key on sampler ]
Sound.
‹ 3 &4
4< Ó 4
∑
µœ œ œ
œbœ œ n œKœ B œ b œ œ œ Jœ œ µœ
‰
5
6 3
mf S.P. I (bow on the reed)
œ
3
'cosmos' sound Vc.
3 &4
4 4
∑
Œ
3
‰ „œ
Vc.
œ
&
œ
œ
œ
mf press 3rd string to fingerboard by left hand fingers
=
7 arco in 1cm behined the bridge (with clip on 1st string), leaping bow
q=120 ·” “. 238 œ Vla.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ
œ
œ.
œ.
œ.
œ.
œ
5
3
5
o o5 o o o & # ‚ #‚ n>‚ #>‚ > >‰ „ Ê Â IV
238
l.v.
#>‚ Œ ™ ‚
Ó
∑
∑
∑
∑
∑
o
Metal spring ( Flex. )
6 Mar.
>‹
& ≈
‰
Ó™
∑ o
3
Kœ nœ Bœ Sound.
nœ nœ
‹ &
>‰
Ó™
∑
∑
∑
‰ Ó™
∑
∑
∑
5
3
Vc.
œ.
˙
& pppp
E.Gtr.
œ
& œ
œ
20
Vla.
q=111 :“; . œ. œ. ˙ 242 œ &
œ.
œ.
œ
‰
w
w
w
‰
w
+ high sound oscilations ( change bow pressure )
o
3
o
p
hit to sounding-board, relise open strings sound 242
E.Gtr.
& ∑
Ó™
∑
∑ h >
H >
H >
p p
& ∑
∑
p
∑ #˙ ™
nœ
#˙ ™ o
nœ
∑
∑
∑
∑
E.Piano
{
? ∑
∑
∑
o
pppp
Marimba arco with 2 bows 5
5
5
nw Mar.
Ó
˙
& #˙ o
p
o
#˙
˙ o
˙ o
molto legato
˙
& ∑
Ó
o
p
o
o
S.T. con vibr. tenderly, very tranquil
hit the reed for getting percussive chord Vc.
Ó
#w
#w
∑
· Œ #˙ ™
∑ H >
w
p
p
=
Sing with closed mouth
:“; 248
˙™ s
Vla.
f
s
f ™
&
Œ
f ™
f f
f ™ s
f ™ s
3
ppp
pitch shift -12 [mix 50/50] off 248
E.Gtr.
&
∑
∑
∑
∑
Ó #˙ o
&
∑
∑
Ó
#˙
w
w
Ó™
˙ µ˙
#˙
∑
#œ #˙ o
E.Piano ppp
{
?
∑
∑
∑
∑
Ó
#œ
˙ f
˙ f
Œ
∑
∑
50 / 50 Col legno / bow hair
Vc.
& #œ#œ ˙
Œ
œ s
w f
o pp Play with singing with closed mouth
w f
˙™ f ™
œ s
œ s
˙™ f ™
œ s
˙™ f ™
21
255
Vla.
& f
Ó o
∑
∑
∑
∑
E.Gtr.
&
∑
Œ
 ˙™ o
Vc.
& œ s
˙™ f ™
˙™ f ™
œ s
˙™
œ
œ
 ˙™
pppp
Ó™
œ s
‰
„ 3 µœ J œ n˙ ™
255
∑
∑
∑
∑
∑
=
Continue to play melody using last bars as an example. Play very tenderly, almost in silent (on a verge of hearing). 261
5 15 E.Gtr.
& w
w o
Sound.
‹ &
∑
&
∑
5 15 ∑
5 15 Vc.
Sampler
&
=
8 278
2 E.Gtr.
Sound.
& œ o ‹ & Œ
Ó™
∑
#œ #œ
Œ
2
#œ
#œ ‰
œ
Œ
Œ
œ
œ œ
œ
2 Sampler (Vc.)
& Œ
Ó
Œ
Ó
= finis soft 282
E.Gtr.
∑
&
∑
∑
Ó™
· œ
Ó ∑
Ó
pp Mar. arco
Mar. arco
Gong Gong
?
Ó™
Mar.
˙™
œ
p
ppp
#œ o
Ó™
w
w
ppp
p
#œ o
˙ ppp
Ó