Score in C
Based on Texts drawn from James Russell Lowell, John Clare, Adina Wagner, and NIV Bible
Isaac Raymond Smith (2021 2022)
for Soprano and 15 Instruments on the subject of loneliness
5 Percussion 2 mallets required: 1 superball; 2 timpani mallets; 2 cello or bass bows; 2 drumsticks; 2 cloth covered rattan sticks; 2 snare brushes; 1 tam tam beater; 4 medium yarn mallets; 2 soft yarn mallets; 2 hard yarn mallets; 1 medium length chain, 1 triangle beater
Percussion 1 (Crash Cymbal; Crotales; Bass Drum; Vibraphone; 5 Temple Blocks; Triangle; Snare Drum; Styrofoam Block)4 Percussion 2 (4 toms; 32”, 26”, and 23” timpani; Tam tam; Marimba; Suspended Cymbal; Hi hat; 4 nipple gongs pitched at approximately A4, Eb4, C#5, and F#5)5
Duration: ~25 minutes
Instrumentation:
Flute (doubling Piccolo and Alto Flute) Oboe (doubling English Horn) Bb Clarinet (doubling Bb Bass Clarinet) Bassoon (doubling Contrabassoon)
2 Violins Viola Violoncello
F Horn1
4 Percussion 1 mallets required: 2 cello or bass bows; 2 hard plastic mallets; 2 bass drum mallets; 1 superball; 4 hard yarn mallets; 2 drumsticks; 2 snare brushes; 1 sheet of aluminum foil; 1 cleaning brush; 4 medium yarn mallets; 4 soft yarn mallets; 1 piece of 8 5x11 printer paper
6 The pianist needs 1 sheet of aluminum foil; 1 spoon, 2 hand towels; 3 notebooks or folders with plastic covers; 1 credit card; 1 light chain; and 1 piece of 8 5x11 printer paper for piano preparations (see Instructions on Piano Preparation for more details)
Written in partial fulfillment of MM requirements at the University of Louisville
1 Horn mutes required: metal straight mute
Score in C
health 3. Why,
7 All mute indications in the strings refer to the standard rubber mutes that fit on the bridge
3 Trombone mutes required: metal straight mute; harmon mute (with stem); stone lined bucket mute
on the subject of loneliness
Piano6 Soprano
1. Must we forever be alone? adverse, synergistic effects of loneliness and social isolation on Lord?
2 Trumpet mutes required: harmon mute (with stem); metal straight mute; stone lined bucket mute
Double Bass with C Extension7
2 The
Bb Trumpet2 Trombone3
Oh, tis a bitter and dreary word, The saddest by man ' s ear ever heard! We each are young, we each have a heart, Why stand we ever coldly apart? Must we forever, then, be alone? Alone, alone, ah woe! Alone!
10 Do you show your wonders to the dead? Do their spirits rise up and praise you?
13 But I cry to you for help, Lord; in the morning my prayer comes before you
iii
I long for scenes where man has never trod; A place where woman never smil'd or wept; There to abide with my creator, God, And sleep as I in childhood sweetly slept: Untroubling and untroubled where I lie; The grass below above the vaulted sky
1 Lord, you are the God who saves me; day and night I cry out to you
I am confined and cannot escape; 9 my eyes are dim with grief
4 I am counted among those who go down to the pit; I am like one without strength
By Adina Wagner
Original Manuscript excerpted from Thesis
2 May my prayer come before you; turn your ear to my cry
14 Why, Lord, do you reject me and hide your face from me?
15 From my youth I have suffered and been close to death; I have borne your terrors and am in despair
5 I am set apart with the dead, like the slain who lie in the grave, whom you remember no more, who are cut off from your care
I am! yet what I am none cares or knows, My friends forsake me like a memory lost; I am the self consumer of my woes, They rise and vanish in oblivious host, Like shades in love and death s oblivion lost; And yet I am! and live with shadows tost
3 I am overwhelmed with troubles and my life draws near to death
7 Your wrath lies heavily on me; you have overwhelmed me with all your waves
The world is happy, the world is wide Kind hearts are beating on every side; Ah, why should we lie so coldly curled Alone in the shell of this great world? Why should we any more be alone? Alone, alone, ah woe! Alone!
The darkness is pressing coldly around, The windows shake with a lonely sound, The stars are hid and the night is drear, The heart of silence throbs in thine ear, In thy chamber thou sittest alone, Alone, alone, ah woe! Alone!
11 Is your love declared in the grave, your faithfulness in Destruction?
17 All day long they surround me like a flood; they have completely engulfed me
Isaac Raymond Smith, March 30, 2022
on the subject of loneliness was written in partial fulfillment of the requirements for the Master of Music degree from the University of Louisville
Loneliness has been experienced since ancient times, but all were made acutely aware of the need for social interaction during the long periods of lockdown during 2020 and 2021 on the subject of loneliness draws inspiration from a variety of texts which examine the complex effects of loneliness from emotional, scientific, and spiritual viewpoints Redactions and rearrangements of these texts form a new narrative which does not always follow a linear form or work toward a clear goal The speaker’s internal dialogue formed from the disparate texts reflects the impact of loneliness on the music itself; only in retrospect do these jumbled thoughts come together
I Am!
Text (Original Forms with redactions): Alone
Into the nothingness of scorn and noise, Into the living sea of waking dreams, Where there is neither sense of life nor joys, But the vast shipwreck of my life's esteems; And e en the dearest that I loved the best Are strange nay, rather stranger than the rest
Psalm 88 From NIV Bible
I call to you, Lord, every day; I spread out my hands to you
Social isolation and loneliness have synergistic effects: The higher the social isolation, the larger is the effect of loneliness on mortality; And the higher the loneliness, the larger is the effect of social isolation on mortality (Beller & Wagner, 2018b) Thus, the adverse effects of Loneliness and Social Isolation appear to be strongest in those that are lonely and socially isolated at the same time A potential explanation for these synergistic effects on mortality may be the differential effects of loneliness and social isolation on physical and mental health While loneliness predicts mental health outcomes such as depression best, physical health is best predicted by social isolation (Beller & Wagner, 2018b) And while its effect on depression largely explains the association between loneliness and mortality, the mechanisms with which social isolation contributes to mortality are to more complex and intertwined (Elovainio et al , 2017)
Program Notes:
A song A psalm of the Sons of Korah For the director of music According to mahalath leannoth A maski of Heman the Ezrahite
6 You have put me in the lowest pit, in the darkest depths
8 You have taken from me my closest friends and have made me repulsive to them
12 Are your wonders known in the place of darkness, or your righteous deeds in the land of oblivion?
By James Russell Lowell
Smith on the subject of loneliness Front Matter
By John Clare
From the close shut windows gleams no spark, The night is chilly, the night is dark, The poplars shiver, the pine trees moan, My hair by the autumn breeze is blown, Under thy window I sing alone, Alone, alone, ah woe! Alone!
16 Your wrath has swept over me; your terrors have destroyed me
18 You have taken from me friend and neighbor darkness is my closest friend
Rhythmic cues provided for clarity when tuplets cross barlines
Play figure as fast as possible
Repeat figure for duration of extending line; do not synchronize with overall tempo or neighboring players
Move between figures separated by dotted lines; do not pause between figures; do not move from left to right; do not repeat the same figure more than twice in a row; continue for duration of extending line
Gradually alter manner of playing
e Smith on the subject of loneliness Front iMatter v General Notation Guide
Repeat notes within box in any order; play rapidly and do not adhere to overall tempo; do not repeat same pattern more than twice in a row
lllllllllllllllllllll :::::::::::::: >
Feather beaming gestures: accelerate/decelerate gradually within given duration; do not heed the overall tempo
Quarter tone accidentals (3/4 flat, 1/4 flat, 1/4 sharp, 3/4 sharp)
(Cl only) Alternate normal embouchure () with muffled tone () through changing tongue's position on the reed
Key clicks timb v
Multiphonic: Produce any multiphonic based on given pitch that can produce given dynamic shape
Notation
Blow air through horn while performing random, rapid key clicks
Timbral trill
Overblow fundamental indicated with diamond notehead to produce partial shown in parenthesized note
(Cl only) Slap tongue
Flutter tongue with only air, no pitch
Air puffs: Blow air through horn as if playing normally, but do not sound pitch
(Fl only) Jet whistle
Scoop/Doit
Flutter tongue; a guttural growl may be substituted if that is easier for performer
(Fl only) Tongue ram: Diamond notehead indicates fingered pitch; normal notehead indicates sounding pitch
(Fl only) Indeterminate overblowing: loosely follow contour of indicated partials to follow dynamic curve given
Guide for Winds
air + keys flz flz n p jet M Smith on the subject of loneliness Front Matter
air + valves flz flz n p shank split tone Smith on the subject of loneliness Front vMatter i Notation Guide for Brass
Blow air through horn while rapidly depressing random values
Split tones: Split the 2 partials given; aggressive, growling sound expected/desired over exact pitch accuracy
Flutter tongue with no pitch
(Hn only) Stopped/open; always accompanied by text description
Mouthpiece pops; leave mouthpiece on instrument
Flutter tongue
/ /
Remove mouthpiece and blow over shank, creating a high, piercing whistle
(Tpt and Tbn ) Indicates hand placement over harmon stem (+=hand covering stem; o=open stem)
(Timp only) scoop up quickly using pedal
/
Closed/open hi hat
Notation Guide for Percussion
on the subject of loneliness Front Matter
Choke off/damp immediately
Drag stick/mallet across resonators of vibraphone Though sound is mostly unpitched, the position on the staff relates to the resonators played in the same way as the keyboard (moving up on staff=moving right on keyboard and moving down on staff=moving left on keyboard) The bottom of the staff represents the resonators farthest to the left, and the top of the staff represents the resonators farthest to the right
Drag mallet in circular motion on drum/cymbal; speed of revolution indicated by duration of note associated with symbol
Move to center of drum while still playing
Rapidly rub aluminum foil or brush over drum in back and forth motion
Play on the rim (this is used for a crotale being placed on a snare drum)
Smith
Play in circular motion around drum, but alternate scraping clockwise/counterclockwise as indicated by symbols
Scrape cymbal
Play as close as possible to the rim while still being on the drum head
Play in the center of the drum (typically accompanied by verbal description as well)
Irregular, frantic bowing; vary speed of bow almost constantly but maintain a rapid pace overall
** Note for Percussion 2: You will notice that 2 hard yarn mallets are requested although you never play any of the instruments with them These are used for preparation of the marimba in the section beginning in measure 178 The two mallets should have thin enough handles that they fit in between the cracks of the marimba When you play, these two extra mallets will bounce and create a rattling sound
vii
Knock on soundboard inside piano
Instructions for Piano Preparation
Gliss with a spoon inside piano (part of the spoon to use is indicated in text)
Scrape string inside piano with fingernail or credit card; change speed of scrape frequently to create frantic, unpredictable sound
credit
slam scrape gliss knock/slap scrape sbd knock lid gliss gliss pluck Mark the following dampers/strings inside the piano so they are easy to find quickly Smith on the subject of loneliness Front vMatter iii Notation Guide for Piano Slam strings inside piano
use
Pluck string inside piano
Dampen string just in front of damper inside piano while pressing key with other hand
Scratch string inside piano with fingernail or card (as indicated with text); consistent, slow speed so as not to produce any pitch
Slam piano lid down over keys
Knock/slap crossbeams inside piano (4 spaces indicate 4 crossbeams, with low to high relating to left to right on piano)
Gliss up/down top of keys with credit card or back of fingernails; do not press down on the keys as to sound any pitch
Use back of hand to perform rapid gliss on the keys; sound should be raucous and energetic
mm. 19 21: Pick up metal spoon The spoon should be fairly standard size it should be small enough to use easily inside the piano without be too unwieldy
mm. 342-392: Remove foil; place plastic notebooks on strings from around C5 to C7
mm. 83 86: Place towel(s) on strings from around C3 to C6 Towels should be heavy enough to dampen the strings standard hand towels should work well for this The towel(s) should be placed in such a way that they contact as many strings as possible Depending on the crossbeam setup inside the piano and the size of the towel(s), more than one may be necessary
mm 61 65: Remove foil
mm. 11 17: Place aluminum foil on lowest octave of strings inside piano; leave room near dampers (but still behind the dampers) to scrape the strings with a spoon and slam the strings with one palm
m 258: Pick up spoon
mm 241 244: Place light chain on bottom two octaves of strings inside piano The chain should be light enough that it vibrates heavily when the strings are played
mm. 42 47: Put down spoon
mm. 259-271: Put down spoon and remove chain
mm 108 116: Place composition notebooks, spiral notebooks, or heavy folders on strings from at least G1 G4 (they may extend beyond this if desired) The type of notebook is not important, but it should have a plastic cover and be heavy enough to affect the sound of the piano strings The resulting sound should be pointed and bring out the sound of the hammers hitting the strings, with a tone color somewhat similar to a harpsichord
m 496: Remove paper
mm. 24 25: Put down spoon
Smith on the subject of loneliness Front Matter
mm 95 98: Remove towel(s)
mm. 236 237: Put down credit card
mm 450 451: Pick up credit card
mm. 459 466: Place plastic notebooks on bottom two octaves of strings inside piano (credit card still in hand)
mm 471 472: Put down credit card (while playing with LH)
mm. 480 481: Pick up spoon
mm 313 317: Place foil on lowest octave of piano
mm 484 486: Remove notebooks (while holding pedal)
mm. 488 490: Place piece of 8 5x11 printer paper on lowest strings inside piano It should cover about 1 1 5 octaves
Piano Preparations (continued)
mm 34 37: Pick up spoon
mm 217 226: Remove plastic notebooks, pick up credit card
ix
mm. 408 411: Remove notebooks
Cover mouth with hand/hand completely
within given duration; sometimes manner of speaking altered
force out
Sing
Sing
Inhale/exhale audibly through indicated sound
conveys relative placement in
nothingness
of text
note
Sprechstimme
removed
(<) or exhalation (>)
Speak through inhalation/exhalation given rhythm
( ) throbs (ss) Lone li ness what I am none cares Smith on the subject of loneliness Front xMatter Notation Guide for Voice
fry
staff
Occasionally placed above freely spoken through inhalation
verbal indication above staff
an
text Continue speaking freely, but
Scoop into/fall off of written
on gradual gliss between two end points; lean into the microtonal nature / <>
text on given notes within time frame indicated by extension line; do not adhere to overall tempo, instead floating over the time
air
Speak on given rhythm; position voice (higher on staff=higher in
Vocal fry (through inhale/exhale)
on
Speak freely through
Re articulate final syllable using diaphragm to little bursts of
voice, vice versa)
Drum on most resonant part of instrument’s body with fingernails
Seagull effect
Snap pizzicato
Guide for Strings
Full scratch tone (always performed on a downbow)
Choked/abrupt cutoff
Bow on copper winding behind bridge
Variable bow pressure indication The thickest part of the wedge indicates full scratch, with the thinnest part showing normal pressure
Ricochet/throw bow and let bounce while also glissing up
Notation
winding I Smith on the subject of loneliness Front Matter
Bow on string behind bridge
Knock on most resonant part of instrument’s body; whenever possible use full hand to knock, but knuckle of thumb alone may be used if easier for transitions
Circular bowing: move gradually from sul tasto to sul pont by moving bow in circular motion and dragging the hair sideways along the strings
Bow on tailpiece; produces very quiet humming sound unless indicated
Bow on bridge; damp strings to eliminate any slips making sound on the strings
Ricochet: throw bow so that it bounces on string a number of times (sometimes accompanied by col legno, indicated by “col legno ricochet”)
s p /m s p /s t /m s t knock on bridge drum xi
Sul pont/molto sul pont/sul tasto/molto sul tasto
air + keys a r + keys air + valves air + valves straight mute flz sul tasto con sord sul tasto con sord full scratch full scratch m s p Slow, Lamenting = 50 52 (oh) Slow, Lamenting = 50 52 Crot Alto Flute English Horn Bass Clarinet Contrabassoon French Horn Trumpet Trombone Crash Cymbal Floor tom Piano Soprano Violin 1 Violin 2 Viola Violoncello Double Bass blow air through horn while performing random, rapid key clicks blow air through horn while performing random rapid key clicks blow air through horn while rapidly depressing random valves with bow with hard plastic with superball slam Inside Piano slam vocal fry
Copyright © 2022 Isaac R Smith Music Texts drawn from James Russell Lowell, John Clare, Adina Wagner, and NIV Bible Isaac Raymond Smith Score in C 1. Must we forever be alone? Written in partial fulfillment of MM requirements at the University of Louisville
on the subject of loneliness
air + keys air + valves air + valves scrape scrape m s p (oh) Timp Fl. Tom. Cr Cym A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Cr Cym Timp Pno S Vln 1 Vln 2 Vla Vc D B timb with bow B Dr with B Dr mallet with timp mallets with superball slam on the tailpiece; do not synchronize Nnnnnnnnnnnnnnn on the tailpiece; do not synchronize Nnnnnnnnnnnnnnn varied overpressure On the tailpiece; do not synchronize nnnnnnnnnnnN varied overpressure On the tailpiece; do not synchronize nnnnnnnnnnnN bow on copper winding behind bridge 6 6 2 Smith on the subject of loneliness
air + keys air + keys air + valves full scratch full scratch ful scratch (oh) (ho) (oh) (ho) Tam A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B tongue ram flz with no pitch with superball with bow place aluminum foil on lowest octave of strings breathe audibly 11 11 S3 mith on the subject of loneliness
flz gliss (oh) Fl Tom A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn B Dr Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B air puffs air puffs air puffs air puffs air puffs with superball slam pick up spoon gliss w/ spoon fry nnnnnnnnnnnnnnn on tailpiece nnnnnnnnnnnnnnn on tailpiece nnnnnnnnnnnnnnn on tailpiece bow behind bridge on copper winding winding 18 18 4 Smith on the subject of loneliness
f z A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn B Dr Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B with bow On Keys put down spoon (OP behind bridge) (OP behind bridge) (OP behind bridge) (OP behind bridge) (OP behind bridge) 23 23 S5 mith on the subject of loneliness
From the close shut win dows gleams no spark The night is A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B replace straight mute with harmon mute stem in with bow Dark Lamenting Intimate sprechstimme normale 28 28 6 Smith on the subject of loneliness
scrape sul tasto col egno ricochet dark dark ness is press ing cold ly a round The pine tres moan Like sha dows A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Vib Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B flz w/ no pitch Inside Piano slam pick up spoon Spoken in a panic fry spoken through inhalation winding 31 31 S7 mith on the subject of loneliness
gliss gliss gliss pizz su tasto arco col legno tratto m s p ord col legno battuto col egno ricochet col legno tratto col legno tratto ord The stars are Vib A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Vib Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B alternate normal/open embouchure and muffled tone stopped with Hard Yarn; Motor off Drag hilt of spoon along strings circular bowing at medium speed 35 35 8 Smith on the subject of loneliness
flz flz harmon mute stem in gliss gliss gliss sul tasto sul tasto ord sul tasto sul pont sub sub hid, The si lence throbs, A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Vib Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B open slam put down spoon Normal Fry (on an inhale) Into the nothingness of scorn and ( ) 40 40 S9 mith on the subject of loneliness
air + keys air + keys air + keys air + valves n p flz s p s t s p s t s p s t noise Dark ness is my clos est Dfriend ark ness is press ing cold ly a round A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B (on an inhale) The nothingness of scorn and knock on instrument; rhythm ad lib; tempo ad lib; do not synchronize Kkkkkkkkkkkkkkkk knock on instrument; rhythm ad lib; tempo ad lib; do not synchronize kkkkkkkkkkkkkkkK knock on instrument; rhythm ad lib; tempo ad lib; do not synchronize kkkkkkkkkkkkkkkK knock on instrument; rhythm ad lib; tempo ad lib; do not synchronize kkkkkkkkkkkkkkkK ( ) 43 43 10 Smith on the subject of loneliness
flz harmon mute stem in open m s p ord m s p ord m s p noise Crot A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B jet overblow on 1st partial repeat notes in any order; play freely and rapidly; do not repeat pattern more than twice in a row repeat notes in any order; play freely and rapidly; do not repeat pattern more than twice in a row (Vib ) On Keys repeat notes in any order; play freely and rapidly; do not repeat pattern more than twice in a row repeat notes in any order; play freely and rapidly; do not repeat pattern more than twice in a row 47 47 S11 mith on the subject of loneliness
m s t ord A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Cr Cym Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B timb jet Fl Tom with superball Speak confidently Under thy window the night is dark, (beat 3) the pine trees moan, the windows shake (on an inhale) (like vapours into nothingness) (exhale) 51 51 12 Smith on the subject of loneliness
multiphonic From the close shut win dows gleams no spark the night is A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Cr Cym Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B M In thy chamber the silence throbs (inhale) (the nothingness of scorn ) (exhale) speak 53 53 S13 mith on the subject of loneliness
straight mute straight mute dark, the pine trees moan Dark ness is press ing cold ly a round Cr Cym Crot A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Cr Cym Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B (2+3+2) (2+3) replace harmon mute with straight mute with sticks (scrape) with hard plastic with bow with sticks Timp with timp mallets fry (fall off) (speak on an inhale) (What I am none cares or knows) (2+3+2) (2+3) ( ) 55 55 14 Smith on the subject of loneliness
gliss gliss gliss gliss con sord m s t con sord m s t con sord m s t m s p The stars are hid the si lence throbs (ss) A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Timp Pno S Vln 1 Vln 2 Vla Vc D B with cloth covered rattan sticks remove foil nervously re articulate using diaphragm 61 61 S15 mith on the subject of loneliness
air + keys air + keys n p f z ord A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B flz with no pitch (Like shadows in love's frenzied stifled throes) knock nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn I knock nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 65 65 16 Smith on the subject of loneliness
gliss gliss gliss Dark ness is my clos est friend In thy cham ber thou sit test a lone Fl. Tom. A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B timbjet flz with no pitch with brushes On Keys dampen strings slam Inside Piano Speak firmly but with a hint of sadness Under thy window I sing alone on the tailpiece kkkkkkkkkk on the tailpiece kkkkkkkkkk ( ) 67 67 S17 mith on the subject of loneliness
con sord sul tasto con sord sul tasto sul tasto con sord A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Fl Tom Pno S Vln 1 Vln 2 Vla Vc D B (stir in a slow constant motion with brush) Inside Piano slam 74 74 18 Smith on the subject of loneliness
a r + keys a r + keys n p flz air flz n p flz scrape m s t con sord Why should we lie a lone in the shell of this great world Why stand we e ver cold ly a part? To Cl Toms A Fl Eng Hn Bs Cl Cbsn F Hn Tpt Tbn Crot Toms Pno S Vln 1 Vln 2 Vla Vc D B air air with plastic B Dr with hands (move hands in slow, circular motion around rim of drum) with sticks (move hands in slow, circular motion around rim of drum) with hands speak 76 76 S19 mith on the subject of loneliness
ord senza sord senza sord ord I live like va pours tossed in to the no thing ness of scorn and noise Cl. Timp A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn Cr Cym Timp Pno S Vln 1 Vln 2 Vla Vc D B replace straight mute with harmon mute Cr. Cym. with bow with mallet " scoop up " with pedal 80 80 20 Smith on the subject of loneliness
ord senza sord sul pont senza sord sul pont ord Why should we be a lone? Must we for e ver be a A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn Cr Cym Tam Pno S Vln 1 Vln 2 Vla Vc D B pick up straight mute Tam with bow place towel(s) on strings from C3 C6 82 82 S21 mith on the subject of loneliness
multiphonic straight mute harmon mute m s t con sord pizz arco m s p m s p = 75 78 lone? 75 78 A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn Cr Cym Tam Pno S Vln 1 Vln 2 Vla Vc D B M M <=e> (q=75 78) e On Keys <=e> (q=75 78) e 85 85 22 Smith on the subject of loneliness
multiphonic pizz A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb timb M M M e q with beater h e e 89 89 S23 mith on the subject of loneliness
open open su pont arco pizz su pont pizz su pont B Dr A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn B Dr Mar Pno S Vln 1 Vln 2 Vla Vc D B starting right on the downbeat play figures as fast as possible except where marked; move between figures separated by dotted lines; do not move from left to right; do not repeat the same figure more than twice in a row before moving to another figure 1 2 1 2 (scoop) 1 2 1 2 with hard yarn 1" 1" 1" 1" 1" 1" 92 92 24 Smith on the subject of loneliness
a r + keys air + keys a r + keys air + keys n p f z n p flz sul tasto sul tasto m s t (oh) Crot. A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn Crot Mar Pno S Vln 1 Vln 2 Vla Vc D B timb with back of yarn with bow remove towel(s) fry II repeat harmonic glisses rapidly; vary length and rhythm of gliss II 95 95 S25 mith on the subject of loneliness
su pont pizz su pont pizz su pont Mar. A Fl Eng Hn Cl Cbsn F Hn Tpt Tbn Crot Mar Pno S Vln 1 Vln 2 Vla Vc D B To Picc attacca To Ob (scoop) 1 2 1 2 with medium yarn 1 1 attacca 1 1 1 1 99 99 26 Smith on the subject of loneliness
straight mute stra ght mute straight mute pizz Subito 130 134 Subito = 130 134 Piccolo Oboe Clarinet Contrabassoon French Horn Trumpet Trombone Temple Blocks Marimba Piano Soprano Violin 1 Violin 2 Viola Violoncello Double Bass (2+2+3) e e e q (2+2+3) S27 mith on the subject of loneliness 2 The adverse, synergistic effects of loneliness and social isolation on health
p zz arco arco sub sub Picc Ob Cl Cbsn F Hn Tpt Tbn T Bl Mar Pno S Vln 1 Vln 2 Vla Vc D B (2+2+3) e e e e h q q (2+2+3) e h q q e e q q h e e e 106 106 28 Smith on the subject of loneliness
sul tasto gliss ord sul tasto gliss sub sub sub sub sub sub sub and lone li ness sub sub Picc Ob Cl Cbsn F Hn Tpt Tbn T Bl Mar Pno S Vln 1 Vln 2 Vla Vc D B q q h q q q q h q q remove straight mute remove straight mute Speak in time q q h q q 110 110 S29 mith on the subject of loneliness
open open m s p m s p sul pont sub Have sy ner gis tic e ffects Timp Picc Ob Cl Cbsn F Hn Tpt Tbn T Bl Timp Pno S Vln 1 Vln 2 Vla Vc D B (3+2) e q q Tri T Bl (3+2) 114 114 30 Smith on the subject of loneliness
stopped flz m s p m s p pizz Lone li ness Picc Ob Cl Cbsn F Hn Tpt Tbn T Bl Timp Pno S Vln 1 Vln 2 Vla Vc D B (2+3) double trill (2+3) 119 119 S31 mith on the subject of loneliness
flz flz gliss ord gliss m s t ord ord gliss m s t ord ord gliss m s t m s p ord gliss m s t m s p ord arco gliss m s t p zz = = so cial i so la tion Mor tal i = Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B (3+2) replace straight mute with bucket mute place sus cym upside down on center of 32 timp head (3+2) 125 125 32 Smith on the subject of loneliness
flz flz arco = = ty What I am none cares or knows = sub sub Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B (2+2+3) pick up harmon mute roll on cymbal with drum tuned to indicated pitch; adjust pitch using timp pedal with soft yarn (ad lib pedal movement) Speak freely The higher the social isolation (2+2+3) very slow circular bowing ( + ) 130 130 S33 mith on the subject of loneliness
gliss sul tasto sul tasto sul tasto pizz so cial i so la tion Lone li ness Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B The larger is the effect Continuing on I slow circular bowing slow circular bowing III slow circular bowing ( + ) 135 135 34 Smith on the subject of loneliness
stopped harmon mute stem in col legno tratto col legno tratto arco m s p p zz m s p ord mor tal i ty You have ta ken from me my clo sest friends Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B (3+2) bend down with pedal bend up with pedal (3+2) III II III 141 141 S35 mith on the subject of loneliness
flz p zz arco p zz arco p zz arco p zz arco p zz They rise and va nish In o Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B timb timb (3+2) quick fall with pedal On mortality Concluding the previous thought (3+2) slow circular bowing slow circular bowing slow circular bowing slow circular bowing ( ) 150 150 36 Smith on the subject of loneliness
m s p m s p ord m s p = 87 89 sub sub bli vious host = 87 89 Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B <q =q> (q 87 89) (2+2+3) play on drum; cymbal will resonate slightly remove cymbal <q =q> (q=87 89) (2+2+3) 156 156 S37 mith on the subject of loneliness
flz m s p m s p m s p m s t ord m s p ord m s p ord m s p What I am none cares or knows Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Timp Pno S Vln 1 Vln 2 Vla Vc D B (2+2+3) with cloth covered rattan sticks And the higher the loneliness, the larger is the effect of social isolation Speak freely in a "scientific" manner (2+2+3) ( + + ) 161 161 38 Smith on the subject of loneliness
bucket mute bucket mute Lo li ness So cial i so Picc Ob Cl Cbsn F Hn Tpt Tbn Sn Dr Sus Cym Pno S Vln 1 Vln 2 Vla Vc D B timb Sn Dr with brushes rapid circular motion slower circular motion On mortality (Beller and Wagner 2018b) Thus the adverse effects ( + + ) 166 166 S39 mith on the subject of loneliness
flz flz gliss gliss = 117 la tion mor ta li ty You have = 117 To Bsn Sus Cym Picc Ob Cl Bsn F Hn Tpt Tbn Sn Dr Sus Cym Pno S Vln 1 Vln 2 Vla Vc D B <=q> (q 116 119) mouthpiece pops mouthpiece pops mouthpiece pops roll with brushes moving in rapid circular motion without lifting off of drum alternate direction of rapid circular motion (alternating hands) with stick scrape around rim with fingernails Of loneliness <=q> (q=116 119) ( ) 173 173 40 Smith on the subject of loneliness
flz flz flz flz flz pizz arco s t ta ken from me my clo sest friends What I am none cares or knows Picc Ob Cl Bsn F Hn Tpt Tbn Sn Dr Sus Cym Pno S Vln 1 Vln 2 Vla Vc D B jet (3+2+2) jet blow over top of mouthpiece shank creating high whistling sound shank replace bucket mute with straight mute blow over top of mouthpiece shank, creating high whistling sound shank place hard yarn mallets in cracks surrounding G#3 bar on marimba Inside Piano knock on crossbeams slam And social isolation (3+2+2) knock knock knock ( + ) 177 177 S41 mith on the subject of loneliness
f z scrape sul tasto m s p sul tasto sul tasto m s p sul tasto sul tasto ord m s p ord Bsn Mar To Fl Picc Ob Cl Bsn F Hn Tpt Tbn Sn Dr Mar Pno S Vln 1 Vln 2 Vla Vc D B turn snares off; place D4 crotale on edge of drum and hold in place with finger with bow
On Keys
appear to be strongest in those that are lonely and socially isolated at the same time II II II 183 183 42 Smith on the subject of loneliness
gliss gliss = = Fl Crot. (on Sn Dr) Fl Ob Cl Bsn F Hn Tpt Tbn Crot (on Sn Dr) Mar Pno S Vln 1 Vln 2 Vla Vc D B timb (2+2+3) (2+3) with bow on rim move to center turn on snares turn off snares while still ringing (with 2 bows) (2+2+3) (2+3) I III 189 189 S43 mith on the subject of loneliness
m s t m s p m s t ord m s t ord poco rit = = = = = = sub sub Un der thy win dow I sing a lone poco rit sub sub sub sub Fl Ob Cl Bsn F Hn Tpt Tbn Crot (on Sn Dr) Mar Pno S Vln 1 Vln 2 Vla Vc D B (2+3) Reflectively in a daze (2+3) fast circular bowing 195 195 44 Smith on the subject of loneliness
sul pont sul pont = sub sub so cial i so la tion = sub sub sub sub Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Mar Pno S Vln 1 Vln 2 Vla Vc D B (2+3) (2+3) 204 204 S45 mith on the subject of loneliness
ord m s t ord m s t ord ord Slower, = 90 Lone li ness Mor ta li ty Slower, = 90 To Bs Cl Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B 208 208 46 Smith on the subject of loneliness
gliss stopped straight mute gliss m s t poco accel = 102 Must we for e ver be a lone? poco accel = 102 Bs Cl Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb timb (3+2) harmonic (normal fingering) slap (still in harmon) (3+2) I seagull effect I I seagull effect I "seagull" effect 213 213 S47 mith on the subject of loneliness
gliss gl ss gliss g iss gliss con sord sul tasto gliss con sord ord gliss m s p m s t Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb timb timb timb timb timb timb timb timb (2+3) II seagull effect (2+3) I II I IV I II II I III I II I II I "seagull" effect I I I 220 220 48 Smith on the subject of loneliness
gliss gliss gliss gliss p zz sul tasto s p gliss s p s t s p gliss s t p zz Subito = 66 70 Lone li nes So cial i so la tion Subito = 66 70 Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb Inside Piano On Keys Inside Piano dampen string with finger with credit card scrape in irregular frantic motion (resume scraping with credit card) 227 227 S49 mith on the subject of loneliness
air + valves air pizz arco gliss pizz ord s p accel Mor ta li ty They rise and accel Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb air puffs knock on soundboard slap crossbeams put down credit card On mortality knock knock slow circular bowing knock knock ( ) 233 233 50 Smith on the subject of loneliness
n p flz gliss gliss gliss gliss gliss = va nish In o bli vious = Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B On Keys bow on tailpiece one full rotation per symbol bow on tailpiece bow on tailpiece 238 238 S51 mith on the subject of loneliness
air a r s t 120 host = 120 Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B pick up sheet of alumium foil and lay on bass drum head lay light chain along bottom 2 octaves of piano strings Speak freely May be the differential effects bow on tailpiece ( + ) 241 241 52 Smith on the subject of loneliness
air air + keys air + keys air + akeys ir a r n p flz Lone li ness, So cial i so la tion, mor ta li ty " " " " Tam Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb with superball Inside Piano On Keys slam Sing text on given notes within given time frame; rhythms should float over the time Of loneliness Speak freely on bridge continue bowing on bridge; do not synchronize lllllllllllll on bridge continue bowing on bridge; do not synchronize lllllllllllll continue bowing on bridge; do not synchronize on bridge continue bowing on bridge; do not synchronize lllllllllllllL nnnnnnnnnnn + 244 244 S53 mith on the subject of loneliness
stopped ord ord ord m s p You have ta ken from me my clo sest friends B Dr Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B timb timb rub foil on drum head with hands move foil around drum head in circular motion As before And social isolation Beat 3 Beat 4 Beat 2 248 248 54 Smith on the subject of loneliness
air + keys air + keys a r + keys s t s t s t s t col egno tratto = What I am none cares or knows Must we for e ver be a = = H hat Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr H hat Pno S Vln 1 Vln 2 Vla Vc D B (2+3) rapidly rub foil over drum in back and forth motion pick up brush in one hand; hold foil with other closed with sticks open scrape around rim Speak freely On physical (2+3) pizz trem pizz trem pizz trem 252 252 S55 mith on the subject of loneliness
air + keys air air air a r arco arco arco ord lone? My friends for sake me like a mem o ry lost " " Fl Ob Bs Cl Bsn F Hn Tpt Tbn B Dr H hat Pno S Vln 1 Vln 2 Vla Vc D B timb perform rapid side to side motions with brush on foil constant circular motion with brush; ad lib speed Inside Piano with spoon slam lid down over keys pick up spoon remove chain from inside piano; put down spoon Speak freely And mental health winding on bridge winding on bridge ( ) 257 257 56 Smith on the subject of loneliness
p zz p zz p zz pizz arco col legno battuto s p nat ord col legno battuto col legno tratto nat While lone li ness Dark ness is my clo sest friend " " Fl Ob Bs Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B timb timb jet Speak in time Speak freely Predicts mental outcomes such as depression ( + ) 261 261 S57 mith on the subject of loneliness
arco ord s p s t ord arco ord m s t ord p zz s p m s t ord ord s p pizz pizz arco m s t ord What I am none cares or knows Fl Ob Bs Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B timb timb (3+2) slap best, Speak freely Frantically Physical health is best predicted by social isolation Speak quickly (Beller & Wagner, 2018b) sing on a gradual gliss (3+2) 266 266 58 Smith on the subject of loneliness
gliss gliss arco s t s p ord Subito = 52 54 = = so cial i so la tion Lone Subito = 52 54 = = Fl Ob Bs Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B timb timb (2+2+3) (2+3) And while its effect Spoken freely (2+2+3) (2+3) 272 272 S59 mith on the subject of loneliness
gliss s t s t = 52 54 li ness Mor ta li ty Dark ness is my clo sest friend = 52 54 To Cl Fl Ob Bs Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B timb timb timb alternate fingerings (like a slow timbral trill) On depression Speak freely I slow circular bowing 277 277 60 Smith on the subject of loneliness
harmon mute stem in = 87 90 You have = 87 90 Cl Vib. Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B timb <=> (q 87 90) pick up harmon with medium yarn Speak loudly and quickly Largely explains the association between (Begin on downbeat) loneliness <=> (q=87 90) ( ) 282 282 S61 mith on the subject of loneliness
ord ord ord ord m s p ord ta ken from me friend and neigh bor Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B mute out slam keys 285 285 62 Smith on the subject of loneliness
air + valves n p flz scrape m s p ord m s p m s p m s p " " " " And mor ta li ty They rise Toms Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B with sticks Inside Piano On Keys Speak in time on bridge on bridge on bridge on bridge 289 289 S63 mith on the subject of loneliness
seagull effect; ad lib rhythm/tempo I
SssssssssssssssssssssssssssssssssssssssssssssssssssS
seagull effect; ad lib rhythm/tempo I
SsssssssssssssssssssssssssssssssssssssssssS
SssssssssssssssssssssssssssssssssssssssssssssssssssS
effect; ad lib rhythm/tempo I 294 294 64 Smith on the subject of loneliness
and va bli vi ous host Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B (3+2)
SssssssssssssssssssssssssssssssssssssssssssssssssssS
seagull
"seagull" effect; ad lib rhythm/tempo I (3+2) SsssssssssssssssssssssssssssssssssssssssssS seagull effect; ad lib rhythm/tempo I
= 87 dear est that I loved the best = 87 Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B all strings minus vla decrease in density while building in dynamics 298 298 S65 mith on the subject of loneliness
= 130 134 = 130 134 Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B <=e> (q=130 134) with bow The mechanisms with which social isolation contributes to mortality are more complex and intertwined (Elovainio et al 2017) pause briefly for a breath then continue Speak freely and somewhat frantically <=e> (q=130 134) 300 300 66 Smith on the subject of loneliness
pizz As at the Beginning of Mvmt 2 As at the Beginning of Mvmt 2 Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B 306 306 S67 mith on the subject of loneliness
flz m s p m s p sul pont sub sub sub sub sub Fl Ob Cl Bsn F Hn Tpt Tbn Vib Toms Pno S Vln 1 Vln 2 Vla Vc D B dbl trill 309 309 68 Smith on the subject of loneliness
Fl Ob Cl Bsn F Hn Tpt Tbn Cr Cym Tam Pno S Vln 1 Vln 2 Vla Vc D B indeterminate overblowing place foil on lowest octave of the piano 313 313 S69 mith on the subject of loneliness
Tam Cr Cym B. Dr. Fl Ob Cl Bsn F Hn Tpt Tbn Cr Cym Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+2+3) with stick with B Dr mallet with beater drag chain across edge of tam ; speed follows dynamics same as before with chain (2+2+3) 318 318 70 Smith on the subject of loneliness
Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B attacca replace straight mute with harmon mute with medium yarn (continue to let vibrate) attacca 326 326 S71 mith on the subject of loneliness
( = 130 134) molto rit ( = 130 134) molto rit Flute Oboe Clarinet Bassoon French Horn Trumpet Trombone Vibraphone Tuned Gongs Piano Soprano Violin 1 Violin 2 Viola Violoncello Double Bass 72 Smith on the subject of loneliness 3 Why, Lord?
harmon mute stem in n p flz Much Slower, = 60 64 sub Lord You are the God who saves me sub Much Slower, = 60 64 sub sub sub sub Fl Ob Cl Bsn F Hn Tpt Tbn Vib Gongs Pno S Vln 1 Vln 2 Vla Vc D B with soft yarn (motor on, very slow) remove foil; place plastic notebooks on strings from C5 to C7 342 342 S73 mith on the subject of loneliness
air air + keys air air + keys Day and night I cry out to you B Dr Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B with cleaning brush Whisper freely through inhalation or exhalation; with a noticeably tense emotion What I am none cares or knows; I am the self consumer of my woes ( + ) ( + ) 346 346 74 Smith on the subject of loneliness
air + keys air + keys n p flz I am o ver whelmed with trou bles You have ta ken from me My clo sest friends Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B stem in with hand (pads of fingers) fry 351 351 S75 mith on the subject of loneliness
harmon mute stem out motor on slow speed and my life draws near to death I am count ted a mong those Vib Fl Ob Cl Bsn F Hn Tpt Tbn Vib Gongs Pno S Vln 1 Vln 2 Vla Vc D B stem 1/2 out with bow Whisper quietly but with high intensity Under thy window I sing alone; In thy chamber thou sittest alone ( + ) 356 356 76 Smith on the subject of loneliness
air air n p flz sub Who go down to the pit Fl Ob Cl Bsn F Hn Tpt Tbn Vib Gongs Pno S Vln 1 Vln 2 Vla Vc D B My friends forsake me like a memory lost; Vocal fry through exhalation + ( ) 360 360 S77 mith on the subject of loneliness
flz air stopped flz flz edge center col legno r cochet m s p col legno ricochet m s p pizz pizz pizz " " I am like one with out strength I am set a B Dr Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B (2+2+3) replace harmon mute with straight mute Rub 8 5 x 11 sheet of paper in circular motion around membrane near the rim Move paper back and forth in short, rapid motion Into the nothingness of scorn and noise Speak frantically; through an inhalation Spoken plainly, with a dull pain and numbness evident in the voice Where there is neither sense of life nor joys, But the vast shipreck of my life s esteems (2+2+3) ( ) ( + + ) 363 363 78 Smith on the subject of loneliness
air + valves open air + valves arco arco arco s t part With the dead Lone li ness Like the slain who lie in the mgrave or ta li ty Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B speak in time; out of vbreath ocal fry through inhalation social isolation Speak plainly but intensely bow on bridge; rhythm ad lib; do not synchronize kkkkkkkkK lllllllll rhythm ad lib; do not synchronize bow on bridge; rhythm ad lib; do not synchronize kkkkkkkkK rhythm ad lib; do not synchronize lllllllll on bridge Nnnnnnnnnnnnn rhythm ad lib; do not synchronize on bridge on bridge on bridge on bridge ( ) ( ) 368 368 S79 mith on the subject of loneliness
gliss gliss s p ord sub sub sub Whom you re mem ber no more sub sub sub sub sub Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B with BD mallet with paper Vocal fry; freely switch between inhaling and exhaling as needed I am overwhelmed with troubles Why, Lord, do you reject me and hide your face from me? Speak very sternly and angrily Overpressure behind bridge Overpressure behind bridge Overpressure behind bridge Overpressure behind bridge Overpressure behind bridge ( ) ( + ) 373 373 80 Smith on the subject of loneliness
straight mute sub sub Who are cut off from your care Mor ta li ty sub sub sub sub Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B with mallet Speak freely, sounding forlorn Must we forever be alone? Loneliness Speak through inhale, sounding strained Social isolation Exhale as if gasping ( ) ( ) ( ) 377 377 S81 mith on the subject of loneliness
sub sub You have put me in the low est pit Fl Ob Cl Bsn F Hn Tpt Tbn B Dr Gongs Pno S Vln 1 Vln 2 Vla Vc D B remove straight mute rattle paper by lightly holding it on drum with other hand sul G 381 381 82 Smith on the subject of loneliness
air air m s p m s p m s p m s p m s p In the dark est depths Fl Ob Cl Bsn F Hn Tpt Tbn Vib Gongs Pno S Vln 1 Vln 2 Vla Vc D B Vocal fry; alternate between inhale and exhale freely You have overwhelmed me with all your waves on bridge on bridge on bridge on bridge on bridge ( + ) 384 384 S83 mith on the subject of loneliness
pizz pizz You wrath lies Tam Fl Ob Cl Bsn F Hn Tpt Tbn Vib Gongs Pno S Vln 1 Vln 2 Vla Vc D B with medium yarn with back of mallet 390 390 84 Smith on the subject of loneliness
arco arco hea vi ly on me Gongs Fl Ob Cl Bsn F Hn Tpt Tbn Vib Gongs Pno S Vln 1 Vln 2 Vla Vc D B timb timb with medium yarn on tailpiece on tailpiece 394 394 S85 mith on the subject of loneliness
gliss gliss gliss. gliss s t s p s t s p s p gliss gliss s p s t s p s t sub sub (oh) (oh) You have o ver whelmed me sub Tam Gongs Vib. Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B iiiiiiiI random key clicks; ad lib rhythm; do not synchronize iiiiiiiI random key clicks; ad lib rhythm; do not synchronize On Resonators with back of yarn with medium yarn with fingernails Lightly drum near edge of tam tam gliss on top of keys with credit card (don t press down keys) (play) Like shadows in love's frenzied stifled throes Speak through inhale; very quiet and subdued fry drum on body of instrument with nails on tailpiece drum on body of instrument with nails drum on body of instrument with nails drum on body of instrument with nails drum on body of instrument with nails ( + ) 397 397 86 Smith on the subject of loneliness
s p ord s p con sord s t = with all your waves You have ta = Tam Gongs Tam. Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B (3+2) (2+2+3) with bow; motor on slowest speed with soft yarn; motor off (3+2) (2+2+3) 403 403 S87 mith on the subject of loneliness
n p flz gliss s t con sord s t con sord pizz con sord ord pizz pizz = = poco accelerando " " " " " " " " ken from me my clo sest friends dreams oh = = poco accelerando " " " " Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B timb M M (2+3) k(multiphonic) ey clicks kkkkkkkk k(multiphonic) ey clicks kkkkkkkkK key clicks kkkkkkkk key clicks kkkkkkkk On Resonators with back of yarn with sticks with fingernails normale remove notebooks (hard cutoff) Into the living sea of waking speak through inhale whisper through exhale fry knock kkkkkkk (2+3) knock kkkkkkk knock kkkkkkk knock kkkkkkk knock kkkkkkk + ( ) 408 408 88 Smith on the subject of loneliness
open gliss senza sord senza sord senza sord arco senza sord arco senza sord ord arco a tempo You have made me re pul sive to them they a tempo To Cl Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B M M (2+3) jet On Bars with medium yarn damp with finger on string fry (2+3) + + + + + + + + + + + 415 415 S89 mith on the subject of loneliness
n p flz n p flz open n p flz col legno battuto col legno battuto co legno ricochet p zz col legno ricochet arco col legno battuto co legno battuto " " accelerando " " rise and va nish in o bli accelerando Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B M M M M M M M M M M M M iiiiiiiiiiiI key clicks (2+3) iiiiiiiiiiiI key clicks (multiphonic) On Resonators with back of yarn with fingernails speak through inhale; ascend in pitch fry fry speak through exhale (sim ) (2+3) 419 419 90 Smith on the subject of loneliness
scrape col legno tratto ord col legno tratto ord col legno tratto ord col legno tratto ord col legno tratto ord a tempo " " vi ous host I am con fined and can a tempo To Picc Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B M M M M M M M M M M M M M with medium yarn Inside Piano + + 423 423 S91 mith on the subject of loneliness
pizz arco pizz arco pizz arco not es cape Picc Picc Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+3) Speak in a quick and generally anxious tone E'en the dearest that I loved the best Are strange nay, rather stranger than the rest And yet I am and live like vapours tossed (2+3) + ( + ) ( ) 428 428 92 Smith on the subject of loneliness
Slower, with Extreme Intensity, = 48 52 sub sub accelerando sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub Why, Lord, Do you re ject me and hide your face from me? Slower, with Extreme Intensity, = 48 52 sub sub accelerando sub sub sub sub sub sub sub sub sub sub sub sub sub Picc Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+3) with bow (2+3) 433 433 S93 mith on the subject of loneliness
Slightly Faster, 70 72 Slightly Faster, = 70 72 B. Dr. Picc Ob Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+3) with mallets with triangle beater with Tam T beater tone clusters alternating RH LH descending entire range of piano (lowest notes on pno) (start even higher on keyboard) (start on same notes as first time) (2+3) 438 438 94 Smith on the subject of loneliness
mu tiphonic multiphonic Picc Ob Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B M M M (2+3) (2+3) with bow irregular, frantic bowing; ad lib tempo and speed Styfm with bow (2+3) (2+3) 441 441 S95 mith on the subject of loneliness
gliss multiphon c split tone split tone gliss gliss gliss gliss gliss gliss ord m s p ord m s p ord m s p ord m s p ord m s p Picc Ob Cl Bsn F Hn Tpt Tbn Styfm Tam Pno S Vln 1 Vln 2 Vla Vc D B M M M M M M M M M M M M M M M M M M M with beater with sticks gliss as indicated 444 444 96 Smith on the subject of loneliness
stopped harmon mute stem out harmon mute stem out sul pont ord sul tasto ord sul pont sul tasto sul tasto ord sul otasto rd " " sub " " " " " " " " " " Gongs B Dr Vib Picc Ob Cl Bsn F Hn Tpt Tbn B Dr Tam Pno S Vln 1 Vln 2 Vla Vc D B M M M (2+2+3) key clicks iiiiiii key clicks iiiiiii key clicks Iiiiiiii pick up harmon mute (stem out) pick up harmon mute (stem out) with B Dr mallets with bow with beater with stick (alternate hands) Inside Piano pluck strings On Keys with credit card pick up credit card on bridge (2+2+3) oI n bridge III on bridge on bridge ( ) ( ) ( ) + + 448 448 S97 mith on the subject of loneliness
sub sub sub sub Tam A Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+3) (dbl trill) with superball (2+3) 452 452 98 Smith on the subject of loneliness
sub sub sub sub sub sub sub You have sub sub sub sub sub A Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+3) with beater move card up and down in frantic motions Inside Piano scratch string with card (2+3) I II 455 455 S99 mith on the subject of loneliness
f z ta ken from me friend and neigh bor Dark ness is my clo sest friend A Fl Ob Cl Bsn F Hn Tpt Tbn Vib Tam Pno S Vln 1 Vln 2 Vla Vc D B (2+3) (3+2) (2+3) jet remove harmon mute remove harmon mute with bow place plastic notebooks on strings of bottom two octaves inside piano (credit card still in hand) (2+3) (3+2) (2+3) 459 459 100 Smith on the subject of loneliness
air air open open gliss gliss pizz = 140 144 " " " " 140 144 " " " " Timp A Fl Ob Cl Bsn F Hn Tpt Tbn Vib Timp Pno S Vln 1 Vln 2 Vla Vc D B <q=h> (q=140 144) e e e On Resonators with back of yarn with timp mallets with credit card <q=h> (q 140 144) on bridge iiiiii on bridge iiiiii on bridge iiiiii on bridge iiiiii 467 467 S101 mith on the subject of loneliness
air air open open pizz pizz sub " " " " " " A Fl Ob Cl Bsn F Hn Tpt Tbn Vib Timp Pno S Vln 1 Vln 2 Vla Vc D B with superball put down credit card with fingernails on bridge iiiiiiI on bridge iiiiiiI on bridge iiiiiiI on bridge iiiiiiI 471 471 102 Smith on the subject of loneliness
sul pont ord ord sul pont = 70 72 sub sub sub sub sub 70 72 sub sub sub sub Crot A Fl Ob Cl Bsn F Hn Tpt Tbn Crot Timp Pno S Vln 1 Vln 2 Vla Vc D B <h=q> (q=70 72) with bow (on 32 timp) with mallets (No pedal) pick up spoon <h=q> (q=70 72) 476 476 S103 mith on the subject of loneliness
air + valves n p flz gliss gliss gliss sul tasto ord sul pont ord sul pont A Fl Ob Cl Bsn F Hn Tpt Tbn Crot Timp Pno S Vln 1 Vln 2 Vla Vc D B timb timb pick up straight mute Inside Piano slap with lip of spoon remove notebooks (while still holding pedal) I seagull effect I seagull effect 482 482 104 Smith on the subject of loneliness
straight mute n p flz sul tasto ritardando Slow, Lamenting = 50 52 ritardando Slow, Lamenting = 50 52 A Fl Ob Cl Bsn F Hn Tpt Tbn Crot Timp Pno S Vln 1 Vln 2 Vla Vc D B timb timb (2+3) place piece of printer paper on strings of lowest 1 1 5 octaves of piano (2+3) I seagull effect; ad lib rhythm/tempo pppppppppppppppppppppppppppppppppppppppp I seagull effect; ad lib rhythm/tempo pppppppppppppppppppppppppppppppppppppppp 488 488 S105 mith on the subject of loneliness
air + keys air + akeys ir gliss air n p flz " " " " A Fl Ob Cl Bsn F Hn Tpt Tbn Crot Timp Pno S Vln 1 Vln 2 Vla Vc D B (2+3) pick up straight mute (2+3) on bridge 492 492 106 Smith on the subject of loneliness
stra ght mute A Fl Ob Cl Bsn F Hn Tpt Tbn Crot Timp Pno S Vln 1 Vln 2 Vla Vc D B remove paper bow on bridge while damping strings; rhythm ad lib but focus on longer bow strokes; fade out until the end, decreasing density as dynamics drop iiiiii 496 496 S107 mith on the subject of loneliness