de/ter| |ior.ation (in/ |minate| (2015) by Jason Thorpe Buchanan

www.jasonthorpebuchanan.com

de/ter| in/

|ior.ation

|minate| FOR CHAMBER ORCHESTRA

Commissioned by the BlueWater Chamber Orchestra

JASON THORPE BUCHANAN

Premiere: May 9, 2015

First Draft Copy – March 24, 2015

GENERAL/ALL PERFORMANCE NOTES:

Many of the techniques in this work are employed explicitly to destabilize or distort the timbral qualities of each instrument, and thus require quite detailed notation. Once the performers understand the character and intent of these techniques and their context within the work, it may be possible (and preferable) to play more freely within this syntax with a more organic, or even improvisatory character. The performance should not be constrained or adhere too rigidly to what is written on the page, but rather flow fluidly and naturally.

PITCH NOTATION: Series of quarter-tones (one semitone = 100 cents (ct), one octave = 1200 cents):

Three-quarter-flat (-150 ct)

Flat (-100 ct)

Quarter-flat (-50 ct)

Natural (0 ct)

Quarter-sharp (+50 ct)

Sharp Three-quarter-sharp (+100 ct) (+150 ct)

Series of sixth-tones: (arrows may also be used in conjunction with quarter tones to approximate smaller inflections):

6th-tone lower (-133 ct)

6th-tone higher (-66 cents)

6th-tone lower (-33 cents)

6th-tone higher (+33 cents)

6th-tone lower (+66 cents)

6th-tone higher (+133 cents)

TEMPORAL NOTATION:

A relatively short fermata.

DYNAMIC & TEMPORAL INDICATIONS: All dynamic markings should be considered relative, indicating the extremes of each instrument while utilizing a given technique. For example, the maximum amplitude (dynamic level) possible with an artificial harmonic is lower than that of a normally fingered pitch. Similarly, lateral bow motion is much softer than vertical (up/down) bow motion; some multiphonics are softer than others, air tones and other extended techniques might be softer or louder, etc., so it should be understood that the dynamics indicated apply to the upper and lower dynamic range of whichever particular technique or context within which it exists. In the same way, all temporal indications, such as accel. or decel. markings (below), are completely relative to the rate of rearticulation directly preceding or succeeding the indication. If there is no rate specified, it is left up to the discretion of the performer to determine a musically appropriate interpretation. These symbols can be applied to a variety of techniques, such as trills, multiphonic tremolos, harmonic tremolos, bisbigliandos/timbral trills, rearticulations, and event box tempi to indicate relative acceleration and deceleration. In other words, the number of beams does not indicate a precise subdivision, but rather an increase or decrease of speed.

OTHER MARKINGS: All passages inside event boxes are to be repeated ad libitum with a consistent pulse that is independent of the ensemble’s pulse. These are accompanied by additional instructions, such as accel. or decel., change of pitch, bow pressure, regularity, etc. The clarinet is written in Bb, and sounds a Major Second lower than written. The bass clarinet is written in Bb, and sounds a Major Ninth lower than written. The horn is written in F and sounds a Perfect Fifth lower than written (same in bass clef!) The trumpet is written in C SUGGESTED SEATING ARRANGEMENT: To optimize the spatial relationship between winds and brass, it is best to have similar instrument pairs separated on opposing ends of the performance space, with instruments that are not paired in the center. Adjustments may be made as necessary to accommodate different size spaces or repertoire that would prevent this arrangement. The suggested order is as follows (left to right): 1st flute, english horn, 2nd trumpet, 1st clarinet, bassoon, horn, 2nd clarinet / bass cl., 1st trumpet, oboe, 2nd flute

FLUTE (HEADJOINT ALONE) A: m.33-34 Headjoint alone, sealed embouchure, flutter tongue. Insert finger fully into tubing, and gradually remove over duration of breath (exhalation). Demonstration video: www.jasonthorpebuchanan.com/deterioration/fluteA.mov B: m.35-36 Headjoint alone, sealed embouchure. Exhale with increasing force, on arrival of downbeat simultaneously shut tubing with palm & execute tongue ram/stop followed by rapid “d” tonguing with tubing fully sealed on both ends. Repeat ad libitum, gradually decrease duration of gesture with each repetition. Demonstration video: www.jasonthorpebuchanan.com/deterioration/fluteB.mov C: m.37-38 Headjoint alone, regular embouchure, seal tubing with thumb for lowest possible pitch. Slowly roll embouchure inward to bend pitch gradually. Demonstration video: www.jasonthorpebuchanan.com/deterioration/fluteC.mov D: m.38-39 Headjoint alone, regular embouchure. Insert finger fully into tubing, and make light rhythmic pulsations with a tapping motion to bend pitch. Slowly roll embouchure inward to bend pitch down gradually while playing over duration of gesture (corresponding to length of breath). Demonstration video: www.jasonthorpebuchanan.com/deterioration/fluteD.mov E: m. 39-40 Headjoint alone, regular embouchure. Rapidly insert and remove finger inside of tubing to destabilize fundamental pitch. Slowly overblow from fundamental (shifting), and slowly return to fundamental while slowly rolling embouchure inward to bend pitch down over duration of gesture (corresponding to length of breath). Demonstration video: www.jasonthorpebuchanan.com/deterioration/fluteE.mov

CLARINET/BASS CLARINET

MULTIPHONICS: Nearly all of the multiphonics utilized in this work (with the exception of 84b), are taken from Harry Sparnay’s book “The Bass Clarinet” (Periferia Music, ISBN: 978-84-938845-2-9) and are numbered accordingly. The fingerings shown are the same as are given there, though the pitch material notated is a product of my own sampling and spectral analysis of each of these multiphonics. “Multiphonic Fades” begin from the fundamental and gradually add the additional pitch content before fading back, as fluidly as possible.

CLARINET ARTICULATIONS:

Unless otherwise indicated, slap tongue should always be molto secco, extremely dry and percussive, with almost no definite pitch content. Exhalation through instrument should typically be executed with the lowest fingering, all holes closed.

(MOUTHPIECE ALONE)

A: m.39-40 Mouthpiece alone, insert finger partially to both dampen and lower pitch. While playing, gradually insert finger to lower pitch and eventually stop air flow. Demonstration video: www.jasonthorpebuchanan.com/deterioration/clarinetA.mov B: m. 40 Mouthpiece alone, use embouchure to begin on a slightly higher pitch and bend down while rapidly tapping with finger to open and shut air flow. Demonstration video: www.jasonthorpebuchanan.com/deterioration/clarinetB.mov

BASSOON

Multiphonic fingerings in the order they appear. Can be found, along with sound files at http://www.leslieross.net/multies1T.html

A b29

1B b13

F14

1E5

1B b7

1B b11

G19-A

BRASS

Horn m.30 and onward: see/listen to Ligeti’s Ten Pieces for Wind Quintet Mvt. 6 for reference. Slap tongue should always be extremely dry and without explicit pitch.

PERCUSSION TIMPANI: 2 Timpani (29” & 32”), superball, wooden dowels, large cymbal PERCUSSION: large frame drum (18”-24”) on a stand (keyboard stand or similar), suspended cymbal & china cymbal (similar sizes, reverse above on same stand), china or thai gong with rope (damped on trap table), singing bowl, metal canister, small tam (or wind gong) superball, wooden dowels, 1 A-natural crotale and 1 F-sharp crotale (preferably both from lower octave set). In order to execute the Gong scrape w/Singing Bowl and Crotale strike with Brass beater in m.35-36 & 43-44, it may be necessary to position crotales very close to Gong on trap table so that the rope may be held and lifted as the crotale is struck. Alternatively, the crotale could be struck with the singing bowl itself.

STRINGS (with STYROFOAM CUP) Cups should be purchased in bulk as they may wear during rehearsal and need to be replaced. Approx. 19 cups required for performance. Larger, somewhat more firm cups are preferable to very small cups or soft Styrofoam.

NOTEHEAD TYPES: Diamond noteheads indicate harmonics (natural or artificial). STRINGS: Trill between a “normal” pitch (pictured: open string, semi-pitched, low bow speed) and a “half-press” (finger pressure between norm. and harm.), producing a multiphonic or split-tone, not necessarily on a harmonic node. Trill between a harmonic and “half-press” by lightly changing finger pressure while remaining in the same location on the string. May also be between “normal” pressure and harmonic, or “normal” and “half-press.”

BOW PRESSURE/LOCATION: Semi-scratch tones, medium bow pressure, very little definite pitch.

Full-scratch tones, high bow pressure, no definite pitch whatsoever.

Gradual increase of bow pressure to scratch, followed by gradual decrease of bow pressure. A: Styrofoam cup alone, arco. Extremely slowly, shuddering, as little pitch as possible. Hold base of cup with a loose grip to allow for vibration. Tilt cup slightly toward frog for downbow, so that bow hair primarily contacts opposing lip. Upon reaching tip, change to upbow and tilt cup slightly away from frog so that bow hair primarily contacts lip of cup closest to frog. Dynamic swells correspond with bow direction changes, as slowly/long as possible. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsA.mov B: Same as A with increased bow speed and friction. Maintain as little pitch as possible and maximize shuddering sound. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsB.mov C: Same as B with increased pressure/friction to produce some pitch content while maintaining a balance with shuddering sound. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsC.mov D: Press open end of cup onto strings relatively high up the fingerboard. Produce rapid, wild vibrato by pushing cup into strings to bend pitch erratically. Bow should contact both string IV and lip of cup. Rhythmic pulsations replace vibrato gesture. Rhythm indicates rate of l.h./cup pulsation, not bow changes. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsD.mov E: Move both bow and cup laterally along strings III & IV with extremely slow bow motion. Fundamental pitch is suppressed, but some upper harmonic partials will be activated by cup at nodes on strings III and IV. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsE.mov F: Bow rim of cup along along length to produce a small amount of pitch. Downbow is more effective. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsF.mov G: Slowly bow along side of cup, completely flat so that bow contacts the entire length. Will be very quiet and no pitch is produced. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsG.mov

H: Rotate cup so that there is a small contact point with the side of cup along the width rather than length. Will be extremely quiet with no pitch. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsH.mov

I: One-by-one, seamlessly transition from bowing side of cup to bowing body of instrument (in lap) without interruption of sound. Will be extremely quiet. Demonstration video: www.jasonthorpebuchanan.com/deterioration/stringsI.mov There is certainly some information that has been omitted from this initial draft of the score, so please do not hesitate to contact me with any questions at: jasontbuchanan@gmail.com

de/ter|

Transposed Full Score v.03.24.15 19.54

Piccolo

Flute

English Horn

Clarinet in B b

Bass Clarinet

Horn in F

Trumpet in C I & II

Timpani 29" & 32"

Commissioned by the Blue Water Chamber Orchestra

Percussion

Violin I

3 4

$ ‚.

‚

damping w/l.h.

cont'd ad libitum

+ O" . ? + ˙. ?

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senza vib.

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port.

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3 4

= + Oœ

port.

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poco

D D Oœ

O˙

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Multiphonic

IV [4+11+7+3]

+˙. O

‰. Œ O

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port.

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port.

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sim, sempre legato

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port.

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ooo

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O. O d + O˙ .. ( O ) ˙. ˙

5 4

n n Oœ

port.

xST

III/4. l.h. pulsations

rest body of instrument on leg, quasi-cello position press side of string IV lightly (harmonic), and bend pitch 1/2 tone by pulling inward on each pulsation

half-press trill xSP

DO Dœ

port.

poco

* ‰ n oν oν oν oν oν oν oν

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‰

‚

with wooden dow

3 4

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legato ST

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BOWED CYMBALS (mounted in opposition)

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4 4Œ

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port.

roll dowel between palm of hand and membrane maximum variability in timbre

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senza vib.

Contrabass

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Violoncello

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FRAME DRUM with WOODEN DOWEL

3 4

activate upper partial (3)

˙.

w/ superball

senza vib.

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4 4

Violin II

‰ nœ

molto vib.

superball, wooden dowels cymbal

large frame drum suspended cymbal china cymbal (rev) china or thai gong singing bowl metal canister small tam superball wooden dowels 1 A n crotale 1 F # crotale

3 4

Jason Thorpe Buchanan March 2015

for chamber orchestra

Oboe

Bassoon

in/

q = c28

|ior.ation |minate|

Oœ

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‰

Oo Oo RŒ O

de/ter|

Fl.

tone nwhistle ˙.

pppppossibile, scarcely audible

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|ior.ation

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to Piccolo

>> >> >> >> >> >> >> >> & bœ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ $ Œ 5 5 5 5 5 5 5 O # 5 P 5

nœ.

# Ob.

E. Hn.

B b Cl.

B. Cl.

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( P)

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pppppossibile

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3 4

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pppppossibile

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6 poco

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molto vib.

? " IV [7+10+13+3] =O. F> ppp ? " IV [5+9+13+4] +O. F> ppp

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Multiphonic

xSP

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sub

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Multiphonic

sub

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(O )

legato

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4 4

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3 Ø

to Clarinet

m. 1B 13 3

‰b + œœœ ˙˙˙ ... ppppossibile

CHINA or THAI GONG w/SINGING BOWL

(damped)

scraping

3 4

—

‰.

3 4

w/wooden dowel

4 4 dO O

port.

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O .. ˙

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pppppossibile

œ.

l.v.

*lift gong by rope and allow both gong and bowl to resonate

3 4

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" g O & >O .. F pp 5

IV/7.

sub

> pp F sub

xSP 5

xSP

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‰.

‰

legato

(O)

% P + νo νo . νo νo . νo νo . νo νo . νo νo . νo νo . 6

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port.

harmonic trill Ÿhalf-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ + O O (O )

Multiphonic

IV [4+11+7+3]

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port.

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nœ

harmonic trill Ÿhalf-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ # O (O) O O j +O n œ œ œ +œ O O P half-press harmonic trill Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3

press side of string IV lightly (harmonic), and bend pitch 1/2 tone by pulling inward on each pulsation

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Cb.

( P)

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m. 1

reed alone, high multiphonic

P # # F pppppossibile ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & O . (O ) O . (O ) O O O . (O ) ˙. ˙. w() ˙. O ppppposs pppppossibile F half-press harmonic trill Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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˙˙ ˙

with fingertips, damped with palm, head as loose as possible

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Vln. II

3 4Ÿ

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pitch 1/2 tone by pulling inward on each pulsation

‰

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ooo

*press side of string IV lightly (harmonic), and bend

III/4. IV/7.

ooo

harm. gliss.

B B erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

3 # 5

P 5

harmonic trill Ÿhalf-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ + O O ( O ) violent, irregular bow changes ad libitum

Multiphonic

IV [4+11+7+3]

de/ter|

Picc.

poco accel.

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Ob.

E. Hn.

B b Cl.

Bsn.

Hn.

C Tpt.

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FRAME DRUM with SUPERBALL

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port.

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2 4 2.

sub

prepare with cymbal, upside down

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‰

‚

SMALL TAM with SUPERBALL

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= œ˙

3 4

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lowest tension possible

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ad libitum, free tempo

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sub

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sub

w/ superball

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senza vib.

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REPLACE REED

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Fl.

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3 4 $

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*rest body of instrument on leg, quasi-cello position

port.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vln. II

& O.

B Vla.

P + νo νo . νo νo . νo νo . νo νo . νo νo O

P 3

+ νo νo . oν oν 3

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‰

og ? gν

port.

sub

(F)

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‰

I/8. II/11.

‰.

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III [4+11+7+3]

sub

xSP

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SOLO xSP 3

5 3

sub

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r O

O ..

.. 5

increase pressure

3 to scratch tone

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O ..

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sub

Multiphonic

+ äO O

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II [4+11+7+3]

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port.

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Cb.

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O O

port.

6 o+ ν νo . νo νo . νo νo . νo νoP. νo νo .

half-press harmonic trill

harm. gliss.

Vc.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ näO O˙ .. j ‰n œ (O ) Oœ O˙ .. ( O ) =O = œ O 3 P % P F pp

B O˙

$ Oœ Oœ

legato

r" O fl Î

poss.

de/ter|

q = c36

˙.

Picc.

Fl.

Ob.

E. Hn.

B b Cl.

Bsn.

Hn.

C Tpt.

(&) ˙. &

3 4

Vln. II

Cb.

port.

sub

& Œ

5O P pp O P pp P P timb. trill timb. trill Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ d äœ . œ ˙. œ. œ n œ$d œ . $

O 5P pp

sub

œ œ$ nœ ˙ Œ # œR ˙

port.

O P pp

b b œ˘œ œäœ œœ

m. F14

‰b #Oœ OœOœ 5

‚

$ œœ æ 6

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FRAME DRUM with WOODEN DOWEL

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$œ æ 5

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l.v.

‚

port.

œ æ

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flat strike across drum with dowel

F pp

sub

+ >œ # O RŒ J

pizz.

> n νo n 5

$n O b O $nO . b O ‰ 3 #O

half-press harmonic pizz.

arco

nœ ˙ R O

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F pp

+ oν oν oνoν oν oν oν oν oν

sub

‰. ‰ 6

legato

! !

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sim, sempre legato

j dO d œ >

Oo OoOo Oo R Oo OoOo Oo R

nœ ˙ R

xSP 5

sub

œ ‰ b >œ Œ pizz.

n>νo $

$Œ

œ.

F pp sub

+ >œ RŒ

pizz.

Oo OoOoOo R Oo OoOoOo R

5 F

F pp sub

4 4

$#O . nO J

nœ ‰. > ß

n>νo $

snap pizz.

t. ¡¡¡¡por ¡¡ ¡¡¡¡

5 pp F sub

extremely gradual portamento

sub

half-press harmonic pizz.

3 ß Œ

bb>Oœ bOœ Oœ Oœ Oœ O F F pp II/4. j o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o ‰ b O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O Oo Oo Oo Oo F pp

sub

" ' $x‚ ®x‚ .

‰ dO dœ

$ x‚" x'‚ x‚ ß $ >œ . œ

sub

¡¡¡¡¡¡¡¡ ν

sub

F5 pp

j 3 nO ‰ nO nO #O F

5 pp F

4 4

¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ¡

erratic, wild vibrato port. ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ¡¡¡¡

3 4

$œ œœ

Oo OoOo Oo R Oo OoOo Oo R

5 $nO . ‰ n O # O $#O

oOäOo OOç Oo OoOoOo R R 5 5 ßä pp Oo Oo OO Oo OoOoOo R R 5 5 ß pp 5

sub

ä Oo OoOo Oo R 5 f oOOoOoäOo R 5 f

Oo OoOoOo R Oo OoOoOo R

j ‰ . bbOœ bbOœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ b Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ >

Oo Oo OoOo R Oo Oo OoOo R

arco

F pp

Oo Oo RŒ

sub

Oo Oo R O

D Oo O-oOo O-o Œ R O

j Oo O-oOo O-o Œ R 5

m. 1B 11

$ +O O O O + O O O O O O O O O O O O O O O d œœœœ d œœœœœœœœœœœœœœœ O F >+o port. ν $ν JŒ

+d Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ +d Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ +d Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ ‰ .

sim, sempre legato

II/7. III/9.

D Oo O-oOo O-o Oo Oo OoOo Œ R R

I/8. II/11.

F5 pp

xSP

sub

erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ¡¡¡

ä + œä +$b œœœ ® ´ # œ # b+ OœO b

m. A 29

F pp

G erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

3 4

x'‚

‰ >œ . ˙

# œ˘ äœ œ

(damped on edge with firm object, pressed into drum)

m. 1B 7

m. 1E5

BOWED CYMBAL

friction or buzzing sounds, roll dowel between palm of hand and membrane maximum variability and abrasion in timbre

#´ äœ œœ $ $ b œ´ nœ œ O n œ´

œ.

˙˙

sub

˙ > ß

sub

l.v.

r nœ ˙ ß> pp

port.

sub

? Œ

port.

pppppossibile

4 4

sub

‰ Œ ++Oœ Oœ Oœ Oœ ++Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ ++Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ ++Oœ Oœ Oœ Oœ Oœ OœO F F pp $+>νo .+ n port. +>νo Œ $

j dO dœ >

‰

& Œ

‚ ‰.

port.

sub

poss.

? Vc.

B Œ Vla.

(sempre)

‰ Dœ ˙ œ. $ Œ

" b‚ ‚ R

3 4Œ

Vln. I

œ = äœ . $

P œ + äœ œ œ $

˙.

? Œ ã

sub

3 O5P pp pp P P abrasive, cracking, SOLO libitum 5 flatt. (quasi-rubato) b ä ´ ´ ad flatt. œ multiphonic œ nœ´ ornamentation n œ´ n ˘œ # œ ä æ ‰ n œ n œ´ # œ´ œ´ n œ´ n œ´ # œ œ ? $ n œ . œ$ nœ´ # œ´ Œ Œ æ æ #œÿ â b œ´ sfffz 6 5

4 4

port.

sub

(bell down, finger in center)

Perc.

sub

port.

P pp

˙.

port.

sub

œ œ + äœ w $ 5

timb. trill

sub

P pp

timb. trill sim. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Ÿ~~~~~ œ + äœ œ. œ 18 ˙ nœ +œ. œ nœ nä œ 19 J nœ R$ $ $b œ 5 5 O OP OP P pp pp P 5 P pp timb. trill timb. trill Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ä ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ œ n äœ ˙ ˙ œ œ . d œ $n œJ œ . dœ $ $ O O P 3 pp P P O5 P pp

timb. trill trill Ÿtimb. ~~~~~~~~~~~~~~~~~~ j +ä . œ œ + äœ Ÿœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ # œ . $ $ J 5 O P pp pp P O5 P pp P P timb. trill timb. trill Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ j+ ä œ œ = äœ œ ˙. œ + äœ Ÿ. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ œ œ. œ . nœ $ $ $ J 5 P pp O 5P pp O 5P pp P P timb. trill timb. trill Ÿ~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j sim. ä œ d äœ . ˙ œ d œ ˙ ˙ n œ n œ n œ . $ $ $ œb œ

˙.

sub

P pp œ . # äœ ˙ $ 5

BOWED CYMBAL

Timp.

(&) ˙.

œ = äœ . ˙ $

|ior.ation

Oo Oo OoOo R Oo Oo OoOo R

Oo Oo Oo Oo R Oo Oo Oo Oo R

Oo Oo OoOo R Oo Oo OoOo R

Oo Oo R Oo Oo R

de/ter|

q = c40

poco accel.

timb. trill sim. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ j ä ä Ÿ~~~~~~~~~~~~~~~~ œ j ä Ÿ~~~~~~~~~~~~~~ . + œ$ n äœ . 21 œ œ . + œjd äœ 23Ÿ~~~~~~~~~~~~~~~~~~~ 20 œ + œ nä œ œ œ 22 24 j ä ä Ÿ~~~~~~~~~~~~ j ääŸ~~~~~ +œ nœœ œ œ. œ. œ nœ dœ. œ nœ dœ œ. œ $ $ + œ $d œ œ œ œ $ b œ $ $ r & #œ bœ nb œ œ œ 5 dynamics sim. 5 O P 5 O 5 P F pp 5 3 (&)Ÿtimb. trill sim. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~j ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~j ä Ÿ~~~~~~~~~~~~~~~~j ää Ÿ~~~~~~~~~~~~~~~~ ääŸ~~~~~~~~~~~~~~~~~~~~~ ä ä ä j dœ. œ j j nœ dœ œ œ nœ dœ. œ nœ bœœœ. œ œ œ . n œ$ d œ œJ œ œ . jœ b œ œ . jœ b ä œ œ äœ Ÿ. ~~~~~ J $ $ n œ $ $ J $ n œ &œ n œ j #œ œ œ 3 5 3 F pp O dynamics P sim. 5 5 &) (~~~~~~~~~~~~~~~~~~~ trill Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿsim. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j äŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ä äŸ~~~~~~~~~~~~~~~~ j bä j ä ä. . œ .. œ œ œ œ #œ œ j ää . =œ b œ œ œ =œ bœ œ œ . + œj$b œ ä œ œœ . + œj$ djäœ Ÿ~~~~~~~~~~~~~~~~~~~~~~ jœ dœ œ J $ $ $ R $ & œ n œn œ nœ O 5 F pp dynamics sim. P O5 P 5 3 5 trill ~~~~~~~~~~~~~~~~ j ä Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿsim. ~~~~~~~~~~~~~~~~~~~~~~~~~~~j äŸ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ ä Ÿ ~~~~~~~~~~~~~~~~~~~~~~~ ä j Ÿ ~~~~~~~~~~ ä ä j j nœ nœ œ œ œ n œ œ œ ä ä +œ œœ œ j . +œ nœœ +œ nœ œ œ. +œ dœ. œ. œ œ œ = œj $ =œ dœ $œ œ $ $bœJ $ b œ J R $J & O 5 dynamics sim. 5 5 5 5 3 P P O F pp timb. trill sim. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ä ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~j ä Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ä äŸ~~~~~~~~~~~~~~~~~~ Ÿœ ~~~~~~~~~~~~~~~~~~~ äœŸœ~~~~~~~~~~~~~~ œ. œ j nœœ œ. j Dä . +œ nœ œ œ. œ œ +œ nœ œ œ œ jD ä œ œ œ œ # œj d äœ . . = œ = œ # œ j $ $ $ J b$œ $ œ $œj & #œ 5 O5 F P O5 dynamics sim. pp P 5 5 trill sim. ~~~~~~j äŸtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ä j nœ nœ œ ˙ œ äœŸ~~~~~~~~~~~~~~~~ äŸ~~~~~ j ä j ä j ä +œ nœœ + œ nä œ œ œ œ äœ . œ œ = œ$ njœ = œ $D œ œ = œ $D œ œ œ œ $ j $ $ R b œ j & bœ bœ J œ nœ œn œ 5 3 O F pp 5 O 5 dynamics sim. 5 P 5 m. F14 5 ä— . — ä m. G19-A 5 ´ 3 b bäœœ œœ œœb bœœ .. œœ n œ´ œ´ b ˘œ ´ # œ´ ´ b œ flatt. j # œ œ n œœä.. œœ .. œ ´ Oœb#Oœ .. Oœ ? œ + œ .. œ .. $ Œ bœ´ ´?# œ´b‰#OœOœ Œ B ‰ Œ $# œ ´n œ´ œÿ n œ $ jn œÿ ‰ . Œ Œ ‰ n œb œ nœ œj ‰ B ‰ b œj ‰& O œO O n œbœ´ ´ nœ œb œ ÿ # œœÿ O 5 3 œ æ 7æ 5 3 ÿ ÿ 5 5

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j port.

Picc.

|ior.ation

port.

sub

port.

Fl.

port.

sub

port.

Ob.

port.

sub

port.

E. Hn.

port.

sub

port.

B b Cl.

port.

sub

B b Cl.

port.

sub

Bsn.

Hn.

C Tpt.

Timp.

Perc.

4 4

& Œ

Vln. II

r nœ˙

j œ œ ˙. > ß > 3 j œœ œœ ˙˙.. J 3 > ß

x‚ .

$ Œflip cymbal Œ

‚· R

‚

SMALL TAM (BOWED)

r nœ˙

%5 3

j œ ˙. > F

port. ¡¡¡¡¡¡¡¡¡¡¡¡ ¡¡¡¡¡¡¡¡¡¡¡ ν

Œ d d Oœ

port.

Vc.

? Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo ‰ .

r #œ ˙ ST

arco xSP

j Dœ

$dO +œ

5 %

‰ Œ

d >œ

œ ‰.

˙˙

œœ R

$ >¿ .

‰. O

$ AD . LIBITUM

SOLO ad libitum friction & striking sounds with wooden dowel

3 4

f/ p sub

extremely gradual portamento

D$ ν

xSP

extremely gradual portamento

j œœ >f > n νo Œ J œ

xSP

œ ‰.

¡¡¡¡¡¡¡¡¡¡¡¡port. ¡¡¡

¡¡¡¡¡¡¡¡¡¡¡

F pp

sub

$+O +œ

¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ν

? bO O O5 O O O O O5 O O O O O5 O O O O O5 O O O O O5 O O O O O5 O O O O O5 O O O O O5 O O Œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œO f

5 F pp

flat strike across drum with dowel

+O Œ dœ

+ oν oν oνoν oνoν oνoν oν

‰ nœ. Œ > ß

pizz.

$ >œ

legato

Í Í

¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡port. ¡¡¡¡¡

‰ >¿ >¿

FRAME DRUM with WOODEN DOWEL

$ Œ

œ.

‰. ‰

sub

5 F pp

‰

r b œ ˙˙ n œ Œ R

xSP

> n νo $

extremely gradual portamento

j œ œœ > ß 3 > j œœ œœ œœ J 3 > ß Œ Œ 3

3 %

‚‚ l.v. ‰ Œ

*rhythm indicates rate of l.h. pulsation, NOT bowing

arco

‰ +O +œ

n$ ν ν ν ν

Í $‚‚ ‚‚ ‰ 3

r nœ ˙

‰ >¿ . ¿

w/drum stick

(mounted in opposition)

B Vla.

¡ν

BOWED CYMBALS

l.v.

port. ¡¡¡¡¡¡ ¡¡¡¡

& Œ &

œœ.. $ Ó J

‰ $>¿ ¿

& +OOOOOOOOOOOOOOOOOOOO Œ d œœœœœœœœœœœœœœœœœœœœ 5

$ Ó

œ.

? x‚ x‚" .

4 4

Vln. I

5 r Œ & n n œœ˙˙ R

3 4

+œ O

extremely gradual portamento

sub

extremely gradual portamento

+ + Oœ

‰bœjnO O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O ‰ . bœn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O O F arco F> pp 5 5 5 5 5 5 5 ? b Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ b Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ Oœ b Oœ Oœ ‰ Œ > d O #œ ‰. Œ ‰d œ O % f ß ä o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o DOO OOOO OOOO OOOO OO OO OO D OOOO OO OO OOOO OOOO OOOO OO OO OOOO OOOO OOOO OO OO Oo Oo OoOo Oo Oo Œ R R R R R RŒ R R R R R R R R R R RŒ & Œ

sub

pizz.

extremely gradual portamento

Cb.

ƒ 5 jOoäOo Oo OoOoOo ? ƒ

Oo OoOo Oo Oo Oo OoOo R R

Oo Oo OoOo Oo Oo R RŒ

j Oo O-o Oo O-o Oo Oo OoOo Oo Oo Oo Oo Oo Oo OoOo Oo Oo Oo Oo Œ R R R R R

5 5 5 ƒ 5 Oo Oo OoOo Oo Oo Oo Oo Oo Oo OoOo Oo OoOoOo Oo Oo OoOo

Oo Oo OoOo R

Oo Oo RŒ O

q = c44 26 + ˘œ n œ 28 œ . 5 Ÿ~~~~~~~~~~~~~~~~~~j ä Ÿ~~~~~~~~~~~~~~~~~~~ 29 œ 27 Ÿ~~~~~~~~~ 5 ä ä j + œ$ n œ . R‰ œ œ j j œ $ n jœ j œ $b œ œ . j j‰ ‰ n œ œ & j œ $b œ œ jœ 5:3 ââ 5 â 5:4 Î 5 ß ß 5 ç ç ç ä Ÿ ~~~~~~~~~~~~~~~~~~ + ˘œ closed Ÿ ~~~~~~~~~~ n œ œ œ embouchure &) äœ œ ä (~~~~~~~~ j dä j ä Ÿ~~~~~~~~~~~~~~~ j 3 flatt. $ d œ œ œ $ flatt. Ÿ ~~~~~~~~~~~~~~~ 3 =œ =œ D œ ä ä ä j bä j # œ j r œ œ œ b œ . dœ $ jœ $b œb œ $j J R =œ $ b œ . $ $ $ æ & $ j æ œ n œ œ œ ‚ æ 5 3 5:3 ß5 â ß 5ß Î â 6ß 5ç ç 5 ç Ÿ~~~~~~~~~~~~~~~~~~ j Ÿ~~~~~~~~~~~~~~~~~~~~ (&Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ) ˘œ ( f ) + äœ œ äœŸ~~~~~~~~~~~~~~~~~j œj$ +jäœ œ œ . j äŸ~~~~~~~~~~~~~~~ j jœ nä d . œ œ n œ œ œ + œ ä j $ n œ $ œ œ dœ j j œ $ œœ bœ R R‰ +œ œ J bœ $bœ & bœ J 5 5ß 5 5:3 3 3 ß 6 ß ç Î % ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~ jß Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~ ä ä j Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~ 3 Ÿ ~~~~~~~~~~~~~~~~ dœ œ œ . = œ $n äœ œ œ j nä j 3 5:3 n œ djœ ä . . œ dœ $bœ œ œ. œ$ œ j j R r‰ $b œ + œ$r œ j & $ bb œ œ œ œ #œ d œ $ r œ œ 5 5 5 5 5 â 5 ß ß 5 ß ß â fl ç Ÿ~~~~~~~~~~~~~~~~~j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ ç Î air only Ÿ ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 Ÿ ~~~~~~~~~~~~~~~~~ ä ä 5:3 œ d äœ . œ ä ä j j j œ $b œ œ . œ b œ œ œ j . jœ $ j œ $n œ j nœ œ j +œ $dœ j & œ œ œ. nœ $ dœ j nœ œ œ æjflatt. # œ n œ 5 5 â â 5 ß 3 œ‚ ç 6 ß ç ß â ( f) Î ~~~~~~~~~~~~~~~j ä ä Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ j Ÿ~~~~~~~~~~~~~~~~~~~~~5 Ÿ~~~~~~~~~~~~~~~~~~~ 3 air only 5:3 j dä # œ$ d œ œ œ œ œ j n œ $ n œ $ $ bœ. œ & n œ$ n œ j j J œ œ. æjflatt. bœ # œ rœ $ œ œ jâ . â 5 y œ œ 5 3 5 œ œ‚ â â ß â â ç m. F14 ä m. A b29 nœ Î ( f) ´ äœ b ´ n œ b œ , ´ ´ ´ 5 b œ n œ 5 bœ n œÿ #jœ ? b œn œ ˘ b˘œœ ˘œœ ˘œœ äœœ œœ œb œ´ n œ´ ´ ˘ . j n œ´ bœ´ n œ´ ˘ # œ ´ b O j ? + $ n œ œ ? j j $ œ œ œ œ œ $ n œ œ´ ‰ n œ $ ‰ n œÿ $ $ ‰ & n œÿ $# œj $ Œ & œ b œ n œ # œ # œ# œ n œ n œj n œ n œÿ &n œÿ n œ ÿ bœ b œ ÿ ÿ # œ n œ ÿ ÿ 5 #œ #œ Î poss. n œ nœ ÿ ÿ b œÿ ÿ n œÿ 5 ÿ 7 6 fl 5

de/ter|

~~~~~~~~~~~~~~~ j

Picc.

poco accel.

|ior.ation

port.

Fl.

port.

poss.

port.

Ob.

port.

E. Hn. B b Cl.

port.

fall!

poss.

B b Cl.

port.

fall!

poss.

Bsn.

Hn.

& ‰.

œ. > ß 5 > œœ œœ. . 5 > ß œ

sub

C Tpt.

sub

Timp.

Perc.

#ν Œ %

œ. >f

$ J

¡¡¡¡¡¡¡¡¡¡¡¡port. ¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ν

B Œ

$ +>ν

r d >ν ƒ pp

ƒ pp sub

extremely gradual portamento

Cb.

& ‰.

‰

3 ç 3

nν O

+ν

d >ν

‰.

*rhythm indicates rate of l.h. pulsation, NOT bowing

ƒ pp sub

n g Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo $ >ƒ O ƒâ pp sub

äœ

‰

äœ

Ï ä bœ ‰ ‰

‰ ‰ ‰

pizz.

n >œ

# >œ

pizz.

‰B

‰

‰ ‰

arco

(sul C)

‰

ç 5

‰

dν O

‰

ä ‰ IV‰ n œ

‰

äœ

extremely gradual portamento

ä j # Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo Oo>Oo $

III/4. IV/7.

extremely gradual portamento

I/7. II/10.

‰

+ν

äœ

3 5 Ï arco ä ‰ ‰ nœ œ Ï 5 pizz. arco ä # >œ $ ‰ ‰ #œ

äœ

œ 5

$# äœ œ

n >œ

äœ

‰

‰ b >œ 5

‰ 5

b äœ J

äœ .

‰ n >œ

œ äœ

arco

IV (sul C)

œ äœ

$ # äœ

œ J

‰ b >œ ‰ ç

‰

port.

5:3 port.

port.

5:3 port.

5:3

port.

5:3

äœ J

arco ä ‰ bœ œ

poss.

5:3

äœ J

IV (sul C)

‰

port.

fall !

5:3

pizz.

5œ 16

œ äœ

5:3

port.

n äœ J

arco

sfffz poss.

$ n >œ ? arco

œ œ œ œ "‰ choke >> œ sfffz > > >

œ äœ

œ # äœ œ J

‰ ‰

pizz.

äœ J

œæœ æ Ï

xSP

+O ‰ dœ fl äœ ƒ œ äœ J 3

fal l!

5:3

ä $ #œ

r‰ œ R 5:3 5:3 choke nœ> "‰ n>œ #œ bœ jœ > >> flatt.

$ n >œ

œ # äœ œ J

œ Ï

scratch

sfffz poss.

# >œ

+ ˘œ R‰

5:3

d ˘œ R‰

+ ˘œ R‰

b ˘œ R‰

III & IV laterally exhalation. no pitch.

j œÚ ( f)

poss.

III & IV laterally exhalation. no pitch.

j œÚ ( f)

poss.

III & IV laterally exhalation. no pitch.

j œÚ ( f)

poss.

>œ ä # >œ > j œn œ œ |

# >œ > 5:3 Î œ> ä #œ >œ j +œ œ |

5:3

3 4

s. lis .g t ch ra sc

+ + Oœ Œ

port.

‰.

3 8

ä $ß œ nœ J 1.

‰

5:3

. ss gli h.

ƒ pp B

œ J

extremely gradual portamento

sub

pizz.

*rhythm indicates rate of l.h. pulsation, NOT bowing

extremely gradual portamento

œ ‰.

‰.

5 8

n äœ

j nœ ßâ

3 4

5:3

tc ra sc

? Œ

‰ +>ν

œ AD LIBITUM

sub

*rhythm indicates rate of l.h. pulsation, NOT bowing

>œ ‰ . R

‰ n œ> $ b>œ n >œ b >œ n >œ 3

FRAME DRUM with WOODEN DOWEL

‰.

*rhythm indicates rate of l.h. pulsation, NOT bowing

n >œ

senza sord.

5 16

s. lis .g tch ra sc

Vc.

+O +œ

B Vla.

scraping

ä j $nœ œ ß $bœ ‰ 2. 3â ß 3 ‰ b >œ $ n >œ 3

on membrane w/ heavy dowel or stick (quasi rim-shot) 5

‰.

(damped)

5 #

nœ œ

CHINA or THAI GONG w/SINGING BOWL

extremely gradual portamento

& ‰. &

œœ R

‰.

3 8Œ

˙˙

+O Œ dœ

extremely gradual portamento

$ >¿ >¿ >¿ >¿ Œ O ßßßß

‰

Vln. I

Vln. II

œ ‰.

on cymbal

port.

nœ œ ßâ pp ä & ‰. n n œœ œœ R on membrane ßâ pp w/wooden dowel ?—

5 8

de/ter|

q = c48

senza tempo

to Flute

Fl.

Ob. E. Hn.

B b Cl.

Bsn.

Hn.

C Tpt.

Timp.

Perc.

& æ ‚ &

( f)

& æ ‚

( f)

Vln. II

possibile

air only flatt.

& æ ‚

( f)

‚

æ ‚.

‚

æ ‚.

possibile

↓

$æ #y

yæ yæ $ yæ yæ.

( Fp)

‚

$ yæ $ ! # yæ 5

( Fp)

yæ$ yæ .

yæ . $

sim. ad libitum

*length of breath !(‚æf ) $ " O poss.

c.25"

! $# yæ yæ$ yæ .



port.

!D O

port.



port.

O l.h.

↓[CH] (Shhhh, tongue high)↓

j $ "add 2nd player ‚ ‚.

!·

% (F)

Small Tam scraped with Canister

r.h.

continue ad libitum

port.

FRAME DRUM with SUPERBALL

c.30"

( Fp)



↓ w/superball, slow speed 'stuttering'

! c.25" 3

1 player solo 5 senza vib.

O˙

pppppossibile, scarcely audible

↓

add 2nd player

O˙ ..

extremely slow, wide vibrato

pppppossibile

& nO nw

1 player solo

pppppossibile

*rest body of instrument on lap, prepare STYROFOAM CUP

*rest body of instrument on leg, quasi-cello position

sealed embouchure finger inserted

HEADJOINT ALONE

↓

*rest body of instrument on leg, quasi-cello position

1 player solo III & IV laterally exhalation. no pitch.

( f)

extremely slow bow speed, lateral motion along strings III & IV

xST

Cb.

↓

REMOVE PREPARATIONS

& $gO g œ

↓

c.30"

↓ !

c.9" 3

to Bass Clarinet

TUTTI

Vc.

↓

c.9" 2

↓

attack with repeated tonguing, almost no tone production mostly breath, staccatissimo, very pointed & distinct

B Vla.

‚æ.

↓ !

c.7" 1

c.6" 4

REMOVE REED

3 4 ?

REMOVE HEADJOINT

c.9" 3

c.8" 2

REMOVE REED

air only flatt.

REMOVE REED

3 4

Vln. I

possibile

REMOVE HEADJOINT

closed embouchure flatt.

c.7" H 1

|ior.ation

!^^ .. %

ral late

on moti

lat er a

suppress pitch, some harmonics

↓

ad libitum

xST xSP

˙.

˙. ad libitum

˙.

!˙

xST xSP

+˙.



c.5"

extremely gradual portamento



c.5"

!r ˙



c.4"



c.5"

D˙ r ˙ %



c.7"

b˙



c.7"

d˙



c.6"



c.4"



c.3"

c.6"

+˙

g˙

j˙

d˙ "



c.3"



c.6"



c.5"

Ø cont'd ad libitum

c.6"



c.4"

c.5"

+˙ g˙ r˙

Ø cont'd ad libitum

d˙

+˙

cont'd dynamic swells ad libitum increasingly wide dynamic contrast

port.



b˙

port.

oti on

cont'd dynamic swells ad libitum increasingly wide dynamic contrast

6 6

sim, dynamics ad libitum

HEADJOINT ALONE

Fl.

↓

de/ter|

2 c.12"

1 c.9"

& !

sealed embouchure finger inserted

*length of breath ! ‚æ O$ " ( f)

c.8" 3

c.10" 4

↓

e = c84 35

poss.

E.Hn.

1 c.9"

c.8" 3

↓

slap tongue, molto secco, percussive, almost no pitch

yÿ yÿ . y. y. y. y. y.

( ff )

Bsn.

$ $" y yy y

(F)

possibile

tongue slap, without reed

yÿ yÿ yÿ yÿ yÿ yÿ y´ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ % ( ff )

Timp.

? with dowel ‰. ¿F fl

ã œ œ œ´ œ œ œ œ œ œ œ œ´ œ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿO F & gO gw

extremely slow, wide vibrato

&nO nw

add 2nd player

j ‚

‰

sim, dynamics ad libitum

4 c.4"

↓

sim, dynamics ad libitum

2 c.12"

TUTTI

3 8

Oœ ..

‚ !

l.v.

„

scraping

l.v. port.

(F)

‰

l.v.

A n CROTALE with BRASS MALLET

gong by rope and allow F *lift both gong and bowl to resonate scratch tone into bridge, at frog

possibile

‚ ·

scratch tone into bridge, at frog

yy fl P yy fl P

1 player solo

*rhythm indicates rate of l.h. pulsation, NOT bowing *do not match pitch! *press side of string IV lightly (harmonic), and bend pitch 1/2 tone by pulling inward on each pulsation

ν νν νν ν

! Ø

" p

O 4 c.10"

↓

‰.

c.7" 5

↓

1 player solo

*do not match pitch!

ν νν νν ν

! Ø

↓

‰.

F dynamic swells ad libitum

c.5" 4 xSP1 player solo

*rest body of instrument on leg, quasi-cello position

press side of string IV lightly (harmonic), and bend pitch 1/2 tone by pulling inward on each pulsation

erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ν*do not match pitch!

dynamic swells ad libitum

3 c.10"

5 c.7"

solo ↓1*doplayer not match pitch!

*rest instrument on leg, quasi-cello pos. press side of IV lightly (harm), bend 1/2 tone pulling inward each pulsation

ν νν νν ν

! Ø

xSP

3 c.8"

xSPerratic, wild vibrato

c.38"

↓

*rhythm indicates rate of l.h. pulsation, NOT bowing

" P

add 2nd player

dynamic swells ad libitum

( P)

dynamic swells ad libitum Ø cont'd increasingly wide dynamic contrast

add 2nd player

↓

*rhythm indicates rate of l.h. pulsation, NOT bowing *rest body of instrument on leg, quasi-cello position press side of string IV lightly (harmonic), and bend pitch 1/2 tone by pulling inward on each pulsation

continue as slowly as possible

dynamic swells ad libitum

1 player solo

poss.

TUTTI

y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y sim, dynamics ad libitum

c.38"

rapidly "crawl" over damped strings with all fingers, quasi-pizz

poss.

possibile

y ‰. fl ) (F

" b‚ J

poss.

$5 yÿ . . . . . . ( f)

possibile

yÿ yÿ yÿ yÿ yÿ yÿ y´ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ %

( ff )

↓

yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ p

solo ↓1 player extremely slowly, shuddering as little pitch as possible add 2nd player A dynamic swells correspond to bow direction changes, ad libitum

Styrofoam Cup, Arco

$5 yÿ . . . . . . ( f)

poss.

( ff )

c.7" 5

↓

$5 yÿ . . . . . . ( f)

slap (single tongue), molto secco

‰

tongue, ↓ slap molto secco

tongue slap, without reed

c.5" 4

c.10" 3

( )

( ff )

CHINA or THAI GONG w/SINGING BOWL

‰

continue as evenly as possible, breathe when necessary

yÿ yÿ . y. y. y. y. y.

(bell down, finger in center)

(damped)

‚ fl ( f) ·

BOWED CYMBAL

‰

continue as evenly as possible, breathe when necessary

( f)

‚ fl ( f)

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

3 8

exhale through instrument

( p)

possibile

repeat ad libitum, gradually decrease duration of cell with each repetition

↓

slap tongue

repeat, tempo ad libitum

ÿÿ

( f)

*length of breath $

↓

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

j ‚

↓

!y y. ‰ "

repeat ad libitum, gradually decrease duration of cell with each repetition

slap tongue

‰

c.7" 5

*length of breath $

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

4 c.10"

c.39"

extremely slow, wide vibrato

ppppposs

Vla.

‰

into instrument without reed air only

TUTTI

Vln. II

‰

‚ fl ( f)

c.5" 4

c.10" 3

↓

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

breath only, cont'd

on rim

Vln. I

‰

into instrument without reed air only

FRAME DRUM with WOODEN DOWEL

Perc.

‚ fl ( f)

? &

! ‚j P

‰B! j ‚ P

B b Cl.

‰

c.39"

C Tpt.

‰

sealed embouchure tongue ram breath only + palm

c.7" 2

c.9"

↓

tongue, molto secco, ↓ slap irregular rhythms ad libitum

possibile

Hn.

sealed embouchure tongue ram breath only + palm

‰

& Ob.

B. Cl.

‰

senza tempo

|ior.ation

xSP

xST

add 2nd player ν ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

*do not match pitch!

dynamic swells ad libitum

Multiphonic xST IV [7+10+13+3] xSP

Vc.

= Oo

snap pizz., damped w/ l.h.

y flƒ ? Cb.

(F)

‰.

cont'd dynamic swells ad libitum

dynamic swells ad libitum

*prepare STYROFOAM CUP

dynamic swells ad libitum

! !

‚o .

scratch tone into bridge, at frog

lateral m

otion

˘y y ‰.

(F)

scratch tone into bridge, at frog

c.7"

ν νν νν ν

*press side of string IV lightly (harmonic), and bend

pitch 1/2 tone by pulling inward on each pulsation *rhythm indicates rate of l.h. pulsation, NOT bowing

dynamic swells ad libitum

cont'd dynamic swells ad libitum, increasingly wide dynamic contrast

extremely slowly, shuddering as little pitch as possible

‰. y Ffl y Ffl

( P)

cont'd dynamic swells ad libitum increasingly wide dynamic contrast

↓*do not match pitch!

pppppossibile

Styrofoam Cup, Arco

‰.

dynamic swells correspond to bow direction changes, ad libitum

*prepare STYROFOAM CUP

↓ A

slowly, shuddering ↓extremely as little pitch as possible ‰ A

c.5" 4

Styrofoam Cup, Arco

5 c.7"

Styrofoam Cup, Arco

dynamic swells correspond to bow direction changes, ad libitum

extremely slowly, shuddering as little pitch as possible

dynamic swells correspond to bow direction changes, ad libitum

J 37

Fl.

Ob.

E. Hn.

B b Cl.

c.5" 2

c.7" 1

↓

↓ C

!%˙- .

j‰ "

port.

& & !

& !

Bsn.

!%˙ .

! (P)

( f)

· %

? tongue slap cont'd

......

$5 yÿ . . . . . . ( f) , poss.

poss.

" %

( f)



(P)

increasingly abrasive with each repetition

$5 yÿ . . . . . . ( f)

Hn.

C Tpt.

Timp.

Perc.

( F5 )

!( F )

j$ roll inward

!·

(F)

? !

BOWED CYMBAL

& FINGERTIPS ad libitum

c.10" 4

 $.

( f)

j $ ‚ ‚. "

!·

% (F)

"' $ x‚ x‚ x‚ F

c.9" 3 TUTTI

↓



‰

$ P O "

TUTTI

Vln. II

! #$œæ œæ $ œæ. " 5

( Fp)

↓

!n ˙

>ν

b˙ r˙ d˙ " ( f) · · ·" ! port.

port.

*prepare STYROFOAM CUP

‰.

¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

>ν

*prepare STYROFOAM CUP

D ¡¡¡¡¡¡¡¡¡¡¡¡¡¡

Ø Sfposs.

>ν

with CUP

ν νν νν ν

( f)

*rhythm indicates rate of l.h. pulsation, NOT bowing

ν νν νν ν

2 c.5"

3 c.6"

(F)

dynamic swells ad libitum

5 c.4"

4 c.2"

vib. on ↓ wild strings with CUP ¡¡¡ ! D

(F)

ν νν νν ν

fast bow speed, shuddering as little pitch as possible

( f)

*rhythm indicates rate of l.h. pulsation, NOT bowing

↓ slow shuddering ↓ increase speed ↓ some pitch ! ! B C! A

senza vib, pulsing erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

dynamic swells ad libitum

poss.

senza vib, pulsing erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

↓ B

( f)

dynamic swells ad libitum

Ø Sfposs.

c.9"

ν νν νν ν

Ø Sfposs.

>ν

dynamic swells ad libitum

senza vib, pulsing *rhythm indicates rate of l.h. pulsation, NOT bowing erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ *prepare STYROFOAM CUP

 !

( f)

wild molto vib. on strings with CUP bow contact with both CUP & string IV

poss.

Ø Sfposs.

Øcont'd dynamic swells ad libitum

>ν

ν ¡¡¡¡¡¡¡¡¡¡ D

3 players

(F)

ν νν νν ν

wild molto vib. on strings with CUP bow contact with both CUP & string IV

1 player solo

Øcont'd dynamic swells ad libitum

frictio n swe ep

sweep

senza vib, pulsing *rhythm indicates rate of l.h. pulsation, NOT bowing erratic, wild vibrato ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

poss.

c.7" 2

↓

port.

poss.

roll dowel between palm & membrane, maximum variability in timbre

increased pressure, shuddering increasing pitch content

 !

Øcont'd dynamic swells ad libitum

Ø Sfposs.

c.9"

*do not match pitch! TUTTI

port.

w/superball, slow speed 'stuttering'

TUTTI

add 2nd player

poss.

w/finger 1

friction

c.10" 4

cont'd dynamic swells ad libitum, increasingly wide dynamic contrast

, O

TUTTI

add 2nd

add 2nd player

poss.

↓

add 2nd player

MOUTHPIECE ALONE

c.28"

3 c.9"

2 c.5"

! ( f)

c.25"

↓

increase bow speed, irregular rebowing

irregular rhythms, alternate 'stuttering' freely between long and short

'stuttering'

increasingly abrasive with each repetition

c.10" 4

fast bow speed, shuddering as little pitch as possible

j œ

roll inward

port.

irregular rhythms, alternate freely between long and short

Ø cont'd dynamic swells ad libitum

!˙

[˙

[CH] (Shhhh, tongue high)

↓

Vc.

reed alone, high multiphonic

$ x'‚ . x‚

↓

rapidly insert finger

Øcont'd dynamic swells ad libitum

" E

AD LIBITUM

↓

¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

Vla.

↓

5 c.4"

REMOVE MOUTHPIECE

(damped on edge with firm object, pressed into drum)

FRAME DRUM with WOODEN DOWEL

port.

4 c.2"

poss.

*do not match pitch!

Vln. I

(F) 5

3 c.6"

[CH] (Shhhh, tongue high)

& !

port.

>> $. . 

>>  $ .

REMOVE MOUTHPIECE

↓

j $" ‚ ‚.

! (F)

light pulsations to bend pitch roll inward

with finger fully inserted, light pulsations to bend pitch

begin flatt.

↓ reed alone, high multiphonic

c.30"

begin flatt.

↓

↓ with finger fully inserted,

↓

4 c.10"

 $.

yÿ

port.

reed alone, high multiphonic

slap tongue, molto secco

j‰ "

seal with thumb roll inward

air only

↓

2 c.5"

1 c.11"

c.9" 3

3 c.8"

↓

breath only, as evenly as possible

B. Cl.

|ior.ation

2 c.7"

↓

seal with thumb roll inward

de/ter|

c.9" 1

c.10" 4

poss.

*rhythm indicates rate of l.h. pulsation, NOT bowing

dynamic swells ad libitum

increased pressure, shuddering increasing pitch content

wild molto vib. on strings with CUP bow contact with both CUP & string IV

D ¡¡¡¡¡

poss.

2 c.5"

↓ B

fast bow speed, shuddering as little pitch as possible

(P)

cont'd dynamic swells ad libitum

c.10" 4

↓ B

cont'd dynamic swells ad libitum

c.8" 3

Cb.

cont'd dynamic swells ad libitum

(P)

Ø Sfposs.

↓ C

c.9" 3

↓ C

(F)

xST xSP

c.2" 4

port.

poss.

?     !r ˙ d ˙ r ˙ g˙ " dynamics % Sfâ

ad libitum

↓

?   !r ˙ d ˙ " dynamics p Sfâ ad libitum

ad libitum

increased pressure, shuddering increasing pitch content

c.4" 5

1 c.11"

fast bow speed, shuddering as little pitch as possible

↓ fast bow speed, shuddering as little pitch as possible B

(P)

(F)

D ¡¡¡¡¡¡¡¡¡¡¡ wild molto vib. on strings with CUP bow contact with both CUP & string IV

increased pressure, shuddering increasing pitch content

xST xSP

port.

poss.

port.

ad libitum

1 c.5"

↓

K E

[˙

&! ˙

Fl.

Ob.

E. Hn.

B b Cl.

2 c.6"

rapidly insert finger

↓

roll inward

port.

j œ

Bsn.

Hn.

C Tpt.

Timp.

Perc.

↓

! c.7" 3

↓

‰

w/finger

 1

port.



port.

( f)

↓

? !

( f)



port.

2 c.6"

>>  $ .

4 c.5"

↓

( f)

‰

c.23"

‰

into instrument without reed air only

( f)

$‡ p

y y . .' .' .' .' .'

yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ % ( ff )

3 8

dynamic swells cont'd ad libitum

$‡ p

dynamic swells cont'd ad libitum

( f)

poss.

c.5" 4

↓

‚‚" ..

cont'd dynamic swells ad libitum

( f)

¡¡¡¡¡¡

cont'd dynamic swells ad libitum

c.5" 4

2 c.6"

¡¡¡¡¡¡¡ ( f)

decrease speed and intensity to pulsation

poss.

↓ E

( f)

! ^^

(F)

↓ E

decrease speed and intensity to pulsation

poss.

n otio al m later

lat er a

oti on

suppress pitch, some harmonics

6 6

with CUP gliding

! ^^

ral late

ion m ot

c.7" 3

Vla.

( f)

↓

( f)

↓

¡¡¡¡¡¡¡ ( f)

increase speed and intensity to wild vibrato

poss.

cont'd dynamic swells ad libitum

senza vib., pulsing pitch bends

( f)

cont'd dynamic swells ad libitum

↓ ÓE

senza vib., pulsing pitch bends

( f)

(F)

!^^

on moti

! ^^.. Sf

c.3" 5

(F)

on moti

tio n

suppress pitch, some harmonics

poss.

j # Oo Oo $

( P)

dynamic swells ad libitum

poco vib, flautando, molto espress.

cont'd dynamic swells ad libitum

extremely slow bow speed, lateral motion along strings III & IV bow + CUP damping

! ^^

r late

al m

(F)

lat er a

oti on

suppress pitch, some harmonics

6 6

! al

tio n

suppress pitch, some harmonics

poss.

6 6

poco vib, flautando, molto espress.

6 6

I/7. II/10. moderately fast

moderately fast III/4. 5 IV/7.

$gOO oo p

5 5

ƒ ƒ

dynamic swells ad libitum

rim of CUP along length ↓bow small amount of pitch, downbow F !

with CUP gliding n tio

bow rim of CUP along length small amount of pitch, downbow

# ( P)

extremely slow bow speed, lateral motion along strings III & IV bow + CUP damping lat with CUP gliding er

extremely slow bow speed, lateral motion along strings III & IV bow + CUP damping lat with CUP gliding er ral late

dynamic swells correspond to bow direction changes, ad libitum

cont'd dynamic swells ad libitum

ral late

Oœ ..

poco vib, flautando, molto espress.

„

senza vib., pulsing pitch bends

decrease speed and intensity to pulsation

↓

1 c.6"

cont'd dynamic swells ad libitum

(F)

senza vib., pulsing pitch bends

poss.

senza vib., pulsing pitch bends

↓

decrease speed and intensity to pulsation

extremely slowly, shuddering as little pitch as possible

3 c.10"

↓

¡¡¡¡¡¡¡¡

6 6

A !

¡¡¡¡¡¡¡

increase speed and intensity to wild vibrato

oti on

suppress pitch, some harmonics

l.v.

2 players

lat er a

pppppossibile

extremely slow bow speed, lateral motion along strings III & IV bow + CUP damping

(F)

extremely slow bow speed, lateral motion along strings III & IV bow + CUP damping

with CUP gliding

& gO g w

poss.

increase speed and intensity to wild vibrato

senza vib., pulsing pitch bends

3 8

↓

1 player solo

 ! c.10"

decrease speed and intensity to pulsation

*prepare STYROFOAM CUP

¡¡¡¡¡¡

increase speed and intensity to wild vibrato

roll dowel between palm of hand and membrane (r.h.)

‰

( f)

4 c.4"

¡¡¡¡¡

j yæ

( Fp)

decrease speed and intensity to pulsation

possibile

$ ( f ) # yæ

c.31"

↓

Vln. I

¡¡¡¡

‰

tongue slap, without reed

molto secco, tongue ram 5 moderately fast

c.23"

c.6" 2

( fÿ ) ÿ

continue ad libitum

↓

'''''

poss.

slap tongue, molto secco, percussive, almost no pitch

(mounted in opposition)

increase speed and intensity to wild vibrato

! yÿ yÿ . . . . . . . . . . "

BOWED CYMBALS

Vln. II

‚

slap tongue, molto secco, percussive, almost no pitch

molto secco, tongue ram 5 moderately fast

TUTTI

lowest possible tension

( f)

‚

‰

c.31"

‚

cont'd dynamic swells ad libitum

closed embouchure air only

into instrument without reed air only

‚

poss.

strike w/fingertips

embouchure air only

‰

REPLACE MOUTHPIECE

e = c80 closed

REPLACE MOUTHPIECE

↓

increase speed and intensity to wild vibrato

Cb.

c.3" 5

↓

c.7" 3

Vc.

c.4" 4

c.10" 3

& &!

↓

MOUTHPIECE ALONE

B. Cl.

4 c.5"

|ior.ation

c.8" 2

3 c.7"

de/ter|

c.6" 1

gradually increase speed/shorten length of dynamic swells, ad libitum

senza tempo

↓

Fl.

↓

rapidly open/close closed tubing with palm embouchure ™™™™™ flatt.

& ‚ ( (Ffl)

)

$ æ ‚ ( P)

c.3" 4

↓

& ‚ ( (Ffl)

)

& ‚ ( flf )

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

E. Hn.

& ‚ fl ( f)

continue as evenly as possible, breathe when necessary

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

B b Cl.

B. Cl.

Bsn.

& &

slap tongue, molto secco, percussive, almost no pitch

3 c.6"

↓

possibile

yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ % ( ff )

‰

? $ ! # yæ yæ $ yæ . "

‚ fl ( f)

$ ‚ ‚ P ( flf ) 45

sealed embouchure

‰.

breath only

tongue ram + palm

‚ fl ( f)

, ‚ P

‚ fl ( f)

'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd' 'd'

$ $

exhale into instrument without reed

!$‚ . O

yÿ yÿ . .' .' .' .' .' ( f)

yÿ yÿ .

( f)

3 8,

‡

( f)

‰

poss.

? by ÿ

port.

´´ ´´ ´´ ´´´´´´ ã œœ œ œ œ œ œ œ œ œ œ œ O P

on rim

& O w

1 player solo

Vln. I

↓

(damped)

scraping

add 3rd player

‡) (P

yy ( fÿ )ÿ

U! U!

4 c.3"

y y yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ

%ÿ ÿ

·.

3 c.7"

↓

‡ %

Oœ ..

c.27"

3 c.8"

↓ G

2 c.5"

↓ extremely slowly, shuddering as little pitch as possible A dynamic swells correspond to

1 c.8"

Vln. II

↓ A

(P)

bow direction changes, ad libitum

(P)

↓

5 c.3"

4 c.3"

↓

O Po

extremely slow bow speed, lateral motion along strings III & IV bow + CUP damping

DOo Oo $

( P)

I/8. II/11.

j oOo ? $O

II/7. III/9.

P P

‚o . Ø

↓ F

bow rim of CUP along length small amount of pitch, downbow

5 c.3"

(P) O

scarcely audible

P Oo

3 c.8"

extremely slowly, shuddering as little pitch as possible

(P)

D Oo Oo $

dynamic swells ad libitum

j Oo Oo $

% %

gradually & seamlessly shift to bowing body of instrument

4 c.9"

^ ^

U U

(F)

I O( F )

2 c.5"

↓ rotate, very soft sound H

(F)

gradually & seamlessly shift to bowing body of instrument

(F)

gradually & seamlessly shift to bowing body of instrument

extremely slow bow speed, lateral motion along strings III & IV

^ ^

gradually & seamlessly

gradually & seamlessly shift to bowing body of instrument

^ ^

↓ slowly bow along side of cup, flat G

bowing body ↓ rotate, very soft sound shiftof toinstrument H I

slowly bow along side of cup, flat

extremely slow bow speed, lateral motion along strings III & IV

gradually & seamlessly shift to bowing body of instrument

I O(F )

I % O

extremely slow bow speed, lateral motion along strings III & IV

one-by-one, seamlessly shift to bowing body of instrument

(F)

(F) I

% O I

rotate, very soft sound

↓ rotate, very soft sound H

↓

‚. $

gradually & seamlessly shift to bowing body of instrument

↓ rotate, very soft sound H

1 c.6"

Oo #

ppppppppossibile,

slowly bow along side of cup, flat

bow direction changes, ad libitum

poco vib, flautando, molto espress.

IV [4+11+7+3]

3 c.7"

↓ extremely slowly, shuddering as little pitch as possible A O dynamic swells correspond to

Multiphonic

poco vib, flautando, molto espress.

? $5 + ‚o Oo .

slowly bow along side of cup, flat

dynamic swells correspond to bow direction changes, ad libitum

1 c.7"

extremely slowly, shuddering as little pitch as possible

↓ G

‚. $

c.20"

add 5th player

add 4th player

possibile

flautando, molto espress.

‚. $

exhalation through instrument

F CROTALE with BRASS MALLET

3 c.7"

↓

U U

·.

exhalation through instrument

( f)

‰

↓

2 c.5"

Cb.

repeat, tempo ad libitum

dynamic swells correspond to bow direction changes, ad libitum

!·

↓

# y l.v. # J Œ gong by rope and allow P*lift both gong and bowl to resonate

3 8

↓

Vc.

slowly, breath only, as evenly as possible

c.8" 3

close to rim

c.3" 5 CHINA or THAI GONG w/SINGING BOWL

c.25"

pppppossibile

Vla.

( f)

↓

1 c.7"

FRAME DRUM with WOODEN DOWEL

Perc.

!·

2 c.5"

molto secco, tongue ram

‚$ "

slowly, breath only, as evenly as possible

possibile

! $ ‚æ.

possibile

flat strike across drum with dowel (l.h.)

Timp.

·. ( P)

‚. $ "

yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ % % ( ff ) ( ff )

possibile

↓

tongue slap, without reed

!( ‚Pæ )

c.9" 4

( P) O

·. ( P)

yÿ yÿ . y. y. y. y. y. ( ff )

flatt.

‚. $ "

slap tongue, molto secco, percussive, almost no pitch

poss.

‰

! ‰

↓

exhale into instrument without reed

slap tongue, molto secco, percussive, almost no pitch

tongue ram + palm

! $‚ .

↓

c.7" 3

c.5" 2

↓

c.8" 3

+ palm

$ ‚ ‚ P ( flf )

slap tongue

( Fp)

‰.

slap tongue

C Tpt.

, ‚ P

repeat, tempo ad libitum

tongue slap, without reed

possibile

Hn.

c.6" 1

↓

+ palm

‚ fl ( f)

cont'd slap tongue, secco, percussive, almost no pitch

yÿ yÿ . y. y. y. y. y. ( ff )

‚ P ‚ P

continue as evenly as possible, breathe when necessary

slap tongue

breath only

( P)

sealed embouchure

$ $ æ æ$ ‚. ‚ O

|ior.ation

1 c.7" senza tempo M e = c76 c.5" ↓ sealed embouchure sealed embouchure breath only tongue ram 2 tongue ram breath only

closed rapidly open/close embouchure tubing with palm flatt. ™™™™™

slap tongue

Ob.

c.6" 3

de/ter|

c.3" 5

(F)

gradually & seamlessly shift to bowing body of instrument

(F)

March 24, 2015

c.5" 2

1 c.8"

de/ter| |ior.ation was commissioned by the Blue Water Chamber Orchestra and written in early March of 2015. The work is closely tied to my multimedia opera in-progress Hunger, which explores themes of psychological decay, irrationality, and self-destruction through the fragmentation of concise musical objects, gestures, text, and video, as well as the obfuscation of semantic content in regard to speech and the human voice. In de/ter | |ior.ation, these themes are manifest in the character of the musical materials themselves, navigating a spectrum between maximum density or saturation and tremendous fragility. I imagine this work almost as an estranged overture to the multimedia opera – it exists as a separate entity with its own materials and identity, but they remain inextricably entwined. The music gradually unravels as an unconventionally executed gesture, a pulsation in the strings, slowly infects the rest of the orchestra. This infection causes the ensemble to swell and burst, giving way to delicate timbral and microtonal fluctuations in the lower strings and an entirely disparate sonic territory. In my recent work, I am drawn to instability, abrasion, and chaos, visual/aural dissonances between a sound and its source, and the pursuit of greater variability through controlled aleatory and elastic time (i.e. simultaneities rather than synchronization) – notation that influences or prescribes behavior rather than singular musical events. As suggested by the subtitle, in/ |minate|, this new territory is increasingly indeterminate and the materials are thus designed in such a way to provide greater freedom to the performers and opportunities for extreme virtuosity (or anti-virtuosity), exploring the interior of the sounds themselves as an analogue for the human experience as they drift in and out of temporal synchronicity and causality. In contrast to much of my recent work, I have found myself imagining sparser textures and softer sounds that delicately reveal the relationships between individual layers, parameters, or individual sonic events, and am intrigued by the dialogue that takes place as these layers generate a composite. Each instrument is broken down, quite literally, as the work gently reaches toward nothingness, fading away to terminate in complete silence. I feel that the exploratory nature of what we do as artists necessitates instability and fluctuation as opposed to stasis. I might say that my goal is, above all else, to try new things; not for their own sake, but for the sake of changing my own perspective and discovering beauty in sound objects and processes that are unfamiliar to me. With each piece, I believe that it is absolutely necessary to challenge not only my own technical faculties and their limitations, but to entirely reassess what I believe in both aesthetically and ideologically. The purpose, and value of art should always be in question; what does it mean for a piece of art to be ‘good’ or for a piece of music to be ‘bad’? In challenging my own preconceptions, I hope that at least some sliver of this reassessment process that takes place will also transfer to each individual that experiences the work, and in turn question their own values, aesthetic or otherwise, and hopefully find something in the work that they can recognize as being ‘beautiful’ (perhaps I am an optimist). The forces for which I write inform my process as much as any conceptual device, extra-musical narrative, or ideological motivation. The attributes of each instrument, timbral qualities, and personal role of each performer are absolutely integral to the work, and the relationship between the sounds themselves provide the focal point rather than purely conceptual or theoretical schema. Many thanks to the musicians of the Blue Water Chamber Orchestra, Carlton Woods, and to Joe Drew and Dolf Kämper at Analog Arts/Iron Composer to whom I owe this opportunity. _______________________________________________________________________________

Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, and electroacoustic music. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Marc Lowenstein, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, Iktus Percussion, the [Switch~ Ensemble], The Industry, wild Up, OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, and TAD Wind Symphony (Japan), among others. Nominated for the 2015 Gaudeamus Prize, his works will be presented by Insomnio, Nadar Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek in September 2015. Scenes from his Multimedia Opera Hunger have received performances at the Darmstadt Contemporary Opera Workshop (2014) with Ensemble Interface, The Industry’s FIRST TAKE Opera Workshop in Los Angeles (2015) with wild Up, and the MATA Interval 8 Series in New York City (2015) with the [Switch~ Ensemble] on a concert of new works for Ensemble & Multimedia curated by the composer. Los Angeles Times critic Mark Swed writes: “Jason Thorpe Buchanan's Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a [sic] wailing orchestral effects, cuts the ear like a knife. Buchanan delivers.” Awarded a Fulbright Fellowship (2010-11) at the Hochschule für Musik und Theater in Hamburg (Germany) as a visiting scholar, he was recently selected as Artist-in-Residence by USF Verftet and the City Council of Bergen, Norway to complete work on Hunger in late 2015. Additional honors and awards include the ASCAP Morton Gould Award (2014) & Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, a commission from the International Horn Society and ASCAP Morton Gould Award (2015) for Double Concerto (2014) with soloists Jeff Nelsen, Mike Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman, antistasis (2014) for the Tzlil Meudcan Festival (Tel Aviv) with Ensemble Nikel, oggetti 1 (2014) as composer-in-residence for Chamber Music Campania (Italy), both winner of the newEar 4th Annual Composer’s Competition (2013), and selection at the NYC Electroacoustic Music Festival (2014) for Asymptotic Flux: First Study in Entropy co-commissioned by the [Switch~ Ensemble] & OSSIA, 2nd place in the American Prize composition competition (2012) for Berlin Songs, commissioned by the German/American Fulbright-Kommission and premiered at the Akademie der Künste (Berlin) during the European Fulbright Conference, and winner of the 2014 International Iron Composer 5-hour composition competition in Cleveland. He has studied composition with Ricardo Zohn-Muldoon, Carlos Sánchez-Gutiérrez, Robert Morris, Allan Schindler, David Liptak, Virko Baley, Peter Michael Hamel, Jorge Grossmann, Pablo Furman, Manfred Stahnke, Brad Lubman, Georges Aperghis, Brian Ferneyhough, Raphaël Cendo, Chaya Czernowin, Augusta Read Thomas, Hans Abrahamsen, Philippe Leroux, Clemens Gadenstätter, José María Sánchez-Verdú, and Pierluigi Billone, among others. He is coordinator of the VIPA Festival’s Composition & Contemporary Music Program (Spain), from 2007-2012 served as founder and director of Melos Music, a composer’s consortium and concert series in Chicago, San Francisco, and Philadelphia. He has served as assistant conductor for Eastman’s Musica Nova Ensemble with conductor Brad Lubman and Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, as well as board member of Ossia and co-founder, conductor, and artistic director of the ECMC’s ensemble-in-residence, the [Switch~ Ensemble] as a Ph.D. candidate at the Eastman School of Music. He holds degrees in Composition and Music Technology from San José State University and the University of Nevada, Las Vegas, where he taught courses in composition and theory (2008-2010), with highest honors from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a work for Andrew J. Allen (saxophone), electronics, and video (World Saxophone Congress, Strasbourg, 2015), a work for Peter Ferry (percussion) and electronics (Chicago, 2016), a commission from the New York Virtuoso Singers (NYC, 2015), a commission for the Blue Water Chamber Orchestra as winner of Iron Composer 2014 (Cleveland, May 2015), and a commission for Slagwerk Den Haag to be premiered at Gaudeamus Muziekweek (Netherlands, Sept. 2015).

For more information or to contact the composer, please visit www.jasonthorpebuchanan.com

de/ter| in/

|ior.ation

|minate|

FOR CHAMBER ORCHESTRA First Draft Copy – March 24, 2015