HUNGER (Part III) by Jason Thorpe Buchanan by Jason Thorpe Buchanan

HUNGER A MULTIMEDIA OPERA IN FOUR PARTS

for two female singers, baritone, alto flute, bass clarinet, baritone saxophone, electric guitar, percussion, piano, violin, cello, electronics, & video Part III, Scenes 1 & 2 Internationales Musikinstitut Darmstadt Contemporary Opera Workshop, August 2014 The Industry FIRST TAKE Opera Workshop, February 2015 MATA Interval 8 Series, May 2015

JASON THORPE BUCHANAN Libretto by

DARCIE DENNIGAN after the novel by Knut Hamsun FULL SCORE (TRANSPOSED) Part III, Scene 1 - May 15, 2014; Rev. 1, Nov. 2014 Part III, Scene 2 – Jan. 2015

GENERAL PERFORMANCE DIRECTIONS:

Many of the techniques in this work are employed explicitly to destabilize or distort the timbral qualities of each instrument, and thus require relatively 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. CONDUCTOR: Barlines serve only as a means for synchronization; in performance, bars, bar division, or event numbers should not be noticeable. Beginnings of bars do not necessarily indicate stress, this occurs only where accents or sforzati are prescribed. In the sections marked “Senza Tempo” events are organized using numerical indications with arrows. These should be managed by the conductor by using a standard, unobtrusive beat pattern, e.g. four events will be treated like a measure in 4/4, 5 events in 5/4, and so on, effectively with a fermata on each beat. The conductor then controls the length of each event, reacting to how much time is taken by the singers and instrumentalists to perform the material and prescribed durations where applicable. This allows for a great deal of freedom and for measures to be easily stretched or made more compact based on the conductor and ensemble’s preferences and manner of playing.

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. 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, or a whisper is naturally softer than a spoken text. 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. Additionally, very soft techniques may be compensated through electronic means by selectively raising the amplitude of one instrument on a measure-by-measure or event-by-event basis. The alto flute is written in G and sounds a Perfect Fourth lower than written. The bass clarinet is written in Bb, and sounds a Major Ninth lower than written. The baritone saxophone is written in Eb, and sounds a Major Thirteenth lower than written (1 octave + a Major Sixth) The electric guitar is written in C and sounds one octave lower than written.

PITCH NOTATION:

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

D Three-quarter-flat (-150 ct)

TEMPORAL NOTATION:

Flat (-100 ct)

Quarter-flat (-50 ct)

Natural (0 ct)

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

+ Quarter-sharp (+50 ct)

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

Indicates a sustained tone for the duration specified.

6th-tone lower (-133 ct)

w 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)

A relatively short fermata.

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

NOTATION FOR VOICE: Individual vocal parts need not always be synchronized precisely between one another, the rhythms indicated exist rather as approximate simultaneities or suggestions for temporal placement, but are governed by the character and flow of each individual phrase and text. Because of this, there is great freedom built into the possible interpretation of the work. The score therefore is a guide or point of departure and is not meant to be executed verbatim; it is one possible realization of the event streams that make up the skeletal structure of the work. There should always be a sense of fluidity or elasticity in the interpretation of the notated rhythms. This applies to vocalizations in the instrumental parts as well. Parenthetical dynamic markings refer to the intensity of the breath in unvoiced sounds (whispering, etc.); an (ff) can therefore be balanced by a voiced p or even pp. Whispering should in general be executed very intensively (“stage whisper”); where (fff), (ff) or (f) is prescribed, a strong stream of breath is to be used; at (p) and (pp) the intensity of the breath depends on two factors: 1) If voiced sounds occur simultaneously in another voice, the unvoiced sounds must be sufficiently intensive so as not to be completely covered. 2) The acoustics of the room and the noise level of the audience are decisive; (p) and even (pp) must still be clearly audible. Only at the designation “niente” should the whispering become inaudible. The entire piece should be performed very expressively, at places with exaggerated expressiveness and correspondingly heightened mime and gesture (this applies above all to the singers). The barred and “senza tempo” sections are to be performed in an equally free manner; since the bar lines serve only as orientation for synchronization, no essential differentiation should be made between the character of the “senza tempo” and that of the “a tempo”. To fully realize the expressive and dramatic nature of the piece, it is recommended that the singers perform their parts from memory. It is possible that passages with complex rhythms or difficult text may be sung with the aid of strategically placed printed scores, digital tablets, or projections only visible to the singer.

Singing voice

Speech-song (“Sprechgesang”) with fixed pitches

Speaking voice with changing pitch

Murmuring (“mezza voce”), as high as possible

Breathing (unvoiced but very intensive)

Speaking voice (narrow range or monotone)

murmuring, as low as possible

inhaling

Gradual transition from singing, to speech-song, to speaking

Speech-song with changing, but not fixed pitches. (Horizontal line corresponds to middle register of the singer.)

speaking voice, as high as possible (falsetto for baritone)

murmuring, various pitches

speaking voice, as low as possible

unvoiced sounds (whispering)

exhaling

gradual transition from speaking, to murmuring, to whispering

Glottal stops, always accompanied by a specific phoneme o = small circle above or below an otherwise voiced sound indicates that the sound is unvoiced | desonorisation: a voiced sound becomes unvoiced, vice versa

WINDS: Alto Flute:

Black diamond shaped noteheads indicate a sealed embouchure. Notes that extend above the typical range of the instrument are intended to be extremely aspirated and “airy” or percussive, in other words the flutist should “shoot for” the prescribed pitch. Figuration such as in bar 26-27 is prescriptive rather than descriptive, and should result in a gradual microtonal slide. The tremolo in bar 57 should be extremely, extremely soft and as airy/unstable as possible. The tremolo should destabilize the pitch center so that it is nearly indefinite pitch.

Clarinet/Bass Clarinet:

VOCALIZATIONS: Vocalizations in the bass clarinet part are given on a three line staff indicating the approximate vocal range of the performer, or marked ad libitum. The prescribed contours and registers should be observed as accurately as possible, though much detail is left up to the discretion of the performer, keeping in mind the character of the work and musically appropriate gestures. The scratch tone symbol when it appears in the clarinet part indicates distortion of the clarinet tone by the voice and/or throat and embouchure, often accompanied by a pitch contour for the voice as well. It is important that the voice is never completely exposed, but only coloring or modulating the tone of the clarinet. When modulation with the voice occurs, do not be concerned with adhering to the notated pitch with accuracy; the distortion and sum/difference tones drastically alter the sounding pitch. “ngh” indicates a low, guttural vocalization, like clearing your throat.

A high register vocalization, distorting the clarinet with a rising then falling contour.

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: Slap tongue

Quasi-slap tongue

z Distortion of tone with voice/throat

TRILLS/TREMOLOS/BISBIGLIANDOS: CLARINET:

Bisbigliando or timbral trill, typically on a multiphonic (fingering provided). This results in a subtle timbral change using alternative/auxiliary fingerings less than a sixth-tone difference in pitch.

Baritone Saxophone:

MULTIPHONICS: Nearly all of the multiphonics utilized in this work are taken from Marcus Weiss’ online resources for saxophone and are numbered accordingly. “Multiphonic Fades” begin from the fundamental and gradually add the additional pitch content before fading back, as fluidly as possible.

PERCUSSION/PIANO: Percussion:

Bass Drum, Snare Drum (upside down), Thunder Sheet+Chain w/kick pedal, Bongos, Low Tom, Tam-Tam, 4 Woodblocks, 1 Sus. Cym., 1 China Cym., 2 Opera Gongs (alt. Thai), Spring Drum, Hard Wooden Surface, Flower Pot, Brake Drum, Metal Plate (alt. Pipe), newspaper metal canister, bow, hard yarn mallets, sticks

Piano:

The piano part extensively utilizes a “ceramic cup or metal plate” such as a ramekin, metal canister, or scrap metal. Please observe that when used inside the piano it is intended to be scraped laterally up and down a set group of strings, in other words it is not brushed across the strings. The lowest three strings should be prepared with magnetic tape, which can be found in any standard cassette tape, or VHS if necessary. The strings are activated by rubbing the tape with one hand while held taught by the other hand. Stockings filled with dry rice or beans are suggested for damping/weights where indicated. Amplification will be increased on a case-by-case basis in the Max/MSP patch for very soft techniques, such as the opening magnetic tape friction.

STRINGS: Electric Guitar: Solid or semi-hollow body electric, (humbuckers preferable to single-coil). Electro-harmonix “Big Muff” or comparable distortion/drive/fuzz pedal, DigiTech Whammy pedal, EQ pedal, Chromatic Tuner (visible), Noise Suppressor, Volume Pedal, Amp Head. Bass bow, rosin, sponge, wooden honey spoon (dipper), glass slide. Guitar should lay flat on a table of suitable height to play with fingers, bow, and various objects. The above pedals should be accessible and visible. The output from amp should be sent primarily to the master audio interface, which will be processed further in Max/MSP and sent out for amplification. Very little sound should come directly from guitarist’s amplifier, so as to properly balance the ensemble from the mixing console using input output from Max/MSP. Transposition & Scordatura Tuning: The electric guitar sounds one octave lower than written. Strings should be tuned to the following: 64.5Hz (C n ), 65.5Hz (C n ), 103.83Hz (G # ), 120Hz (B d ), 196Hz (G n ), 329.63Hz (E n , standard pitch). CHOREOGRAPHIC CLEF: Indicates position of object (bow, sponge, hand, honey spoon, etc.) in relation to length of string/body. Top line of staff is bridge, bottom line is top nut at headstock, center line is highest fret. Notation in treble clef is always sounding pitch transposed by one octave. Passages where precise pitch is crucial will include tablature given the scordatura tuning of the guitar.

Violin & Cello: NOTEHEAD TYPES: Diamond noteheads indicate harmonics (natural or artificial). Triangular noteheads: indicate the highest possible (or practical) pitch/location that can be achieved. Square noteheads with single or double slash marks indicate slow bow speed with lateral motion for the strings, or a soft, breathy/air tone that has very little definite pitch for the clarinet. Triangle noteheads that are open rather than closed (black), indicate a harmonic as high up the string as possible (often followed by a gliss/port.) Any type of half-filled notehead (triangular or diamond) indicates a “half-press,” the finger pressure being somewhere between that of a harmonic and a normal tone. “X” noteheads or regular noteheads with X slashes: always indicate a noise or indefinite pitch element; a scratch or semi-scratch tone, col legno, slap tongue, etc., dependent upon the precise indication. These often occur at the end of a phrase, indicating a “dead stroke”; meaning that the bow should suddenly stop the string, or the embouchure should suddenly seal.

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.

An additional staff above each part indicates the lateral position of the bow on the instrument. The center line represents a normal (ORD) position, with the upper line representing the bridge (ASP) and the lower line the fingerboard (AST). ASP: Alto Sul Ponticello, very close to the bridge. SP: Sul Ponticello ORD: Ordinario ST: Sul Tasto AST:Alto Sul Tasto, well above the fingerboard. h. sul pont -- Bow near the bridge, constantly adjusting the bow position, speed, and pressure ad libitum to emphasize different harmonics and drastically alter the timbre. DIAGONAL BOW POSITION: Nearly parallel to strings, with sufficient bow pressure to achieve a very rich and unpredictable harmonic spectrum. This is often accompanied by rotational bow motion and arpeggiation of multiple strings, notated using tablature for the location of the bow over each string. ON BRIDGE: Bowing directly on the bridge, or bowing diagonally with the bow nearly parallel to the strings, it may be possible to bow both the bridge and strings simultaneously.

CHOREOGRAPHIC CLEFS: Lateral motion up and down the fingerboard with only bow. String tablature, I, II, III, IV.

Reverse position of hand & bow, lateral motion with both bow and hand. Bow Position (ASP, SP, ORD, ST, AST, etc.)

HARMONICS: A circled number indicates a specific partial in the harmonic series and corresponds to the location of the written diamond notehead. For strings, this typically indicates a natural harmonic located at a particular node on an open string. For the bass clarinet, this number may be an approximate upper target when overblowing. Many of the passages employ arpeggiation of all four strings on natural harmonics, with these numbers indicating the position on all four strings that can be barred.

HUNGER A MULTIMEDIA OPERA IN FOUR PARTS

LIBRETTO BY DARCIE DENNIGAN PART III

Note: The man in Sult is split in two. Oumenos, the baritone, is his outer, public self. The nameless soprano is his inner self. The outer man seems to be a slave to the inner one’s pride. The cry of the man in Baudelaire’s “Heautontimoroumenos” might well be Oumenos’ own cry: “She's in my voice, the termagant! All my blood is her black poison!” Yet the inner self is a slave to the body. Most of the stage direction here is for the outer self, the baritone. The soprano has been given very little movement direction because her interaction is solely with Oumenos. However, her movements/staging could be quite dynamic. OUTLINE OF SCENE SKETCH FOR DARMSTADT CONTEMPORARY OPERA WORKSHOP AND THE INDUSTRY’S FIRST TAKE – ( PART III, SCENES 1 & 2): Oumenos is scribbling. He has no paper and may be scribbling on a wall, telephone pole, a piece of newspaper, or his own skin. When he writes, he has moments of stillness and of wildness. He turns suddenly sober and then stops writing when he sees from the corner of his eye children sitting in a doorway, eating bread. He begins walking swiftly across the stage, in a slightly odd fashion, eyeing the children all the while. He wants the bread badly and considers stealing it from them. He is then disgusted with himself for considering such a thing. He feels the desire for the bread and the self-disgust both very strongly. He begins to bark at the children. Perhaps by barking he can get them to run away and leave the bread. Or perhaps he barks because his higher mind has recalled the line from Matthew: It is not meet to take the children's bread and cast it to the dogs. Because of such base thought and behavior, he is the dog. He goes to grab the bread from the children with his right hand (his writing hand). As he does so, the soprano, his inner self, violently bites his hand (or alternatively, he bites or strikes himself). He is both dog and master. As he crouches, hurt, Ylajali steps out from the butcher shop and throws a pile of bones for stray dogs onto the sidewalk. She doesn't see him, or maybe if she does, he seems a dog to her at that moment. She disappears into the shop’s backroom. He has recognized her. Earlier in the piece, each time Oumenos has tried to sell something from his body for money, he has encountered Ylajali. At the bloodbank, Ylajali drew his blood. At the spermbank, she coaxed his orgasm. Etc. Oumenos stands, rapidly jerks his head around to see who is watching him and, holding his injured arm, enters the shop. He decides that he will place an order, as any normal customer would. He calls into the backroom. Throughout this scene, Oumenos' inner self fights his urges. He wants to eat the meat arrayed before him. And he wants Ylajali, as if she were meat, but also as if she were exalted-- a muse? He wants to fight his coarseness, his hungers, and appear presentable, normal. He also wants to satisfy his hungers. Ylajali recognizes Oumenos. She mostly sticks to her countergirl conversation, and a countergirl way of flirting, though she also feels much of what he isn't saying aloud (i.e., what the soprano is saying). There is some intimation of her inner life through a few lines that are asides, like "mica of crushed glass." Oumenos and Ylajali do have a moment that is exalted: when they share their inner names. As the scene goes on, his base part wins out and he finds himself examining her on the counter as if she were meat. Does he really do this, or does this happen only in his mind? I think it could go either way. Certainly, he feels humiliated by his inner self, and by Ylajali and so in turn humiliates the girl. He has again become, in his mind, a dog. Ylajali in the end is all tenderness, as if she were a willing participant in the degradation, or as if she were unaware that he wanted her in that way. She completes the butcher shop transaction. Does she really give him her own toes? Or is that only in his head? I leave this to the singers and director.

HUNGER A MULTIMEDIA OPERA IN FOUR PARTS

LIBRETTO BY DARCIE DENNIGAN PART III

Description

INNER SELF, Soprano

YLAJALI, mezzo-soprano

OUMENOS, baritone (outer self)

PART III SCENE 1: OUMENOS is scribbling underneath a streetlight. He has no paper and may be scribbling on a wall, telephone pole, a piece of newspaper, or his own skin. His forehead leans against the wall as he writes. OUMENOS barks at the children watching him. OUMENOS scrambles to fetch the bread crumb. As he reaches for the bread, his INNER SELF bites his hand. OUMENOS crouches, hurt, YLAJALI steps out from the butcher shop and throws a pile of bones for stray dogs onto the sidewalk. She doesn't see OUMENOS, or maybe if she does, he seems a dog to her at that moment. She disappears into the shop’s backroom. Measure 14 calling into the backroom to INNER SELF YLAJALI enters behind a counter or table, looking directly at him.

It is not meet to take the children's bread and throw it to the dogs.

(barking, growling)

It is not meet to take the children's bread. It is not meet… (barking, growling) It is…

I paused. (then through the doorway, into the butcher’s shop…) I held my right arm in my hand as if it were

Meat.

the chops in the case. the sausage hanging on pegs. Which to--

that is a minor question!

And flanks. Which flank… Had I invented that word? Flank. It quivered, it was full of import

PORK… (timidly, nervously, uncertain of what he's really seeing)

(more real than the chops in the countercase) concerned

and there was the counter girl offering me her mouth

Sir?

She recognizes him. He does not recognize her. Or rather, he recognizes a figure from his fantasies and is confused to find her… real. (unintelligible small talk) [Hello, yes, can I, what, sir, OK, etc.] Measure 38 (Ylajali: restrained – behaving naively, perhaps putting on her apron, dusting off the counter, straightening things that don’t need to be straightened, etc. – flustered, deliberately not looking at him. The sexuality of the lines should not be overplayed, as doing so diminishes the possibility of real sexual tension in the scene.)

talking, only talking… and there she was, as if she recognized me, turning to blush… she turned and there was only her ear and her delicious

(in response to baritone, turning back, composing herself)

You

No…

(Ylajali is somewhat startled by this outburst)

FLANK

Cow or pig? (*an earnest question; as she is saying it, she is becoming noticeably self-conscious and aware that it could be meaningful in other ways)

her lips the color of

BEEFSTEAK

Measure 48 (it was the girl from the spermbank) As an aside

Beef then With a mica of crushed glass Unless Yes?

Measure 52

(hadn’t I thought (yesterday?) that her lips were the color of…)

Yesterday you said my cheeks were the color of Yes Shhh

Had we met? Had we…she… that was not her.. that was not… meet (How much I’d rather sit still looking at her…)

Unless you've something better to offer? cum But we've never met Yes?

Shh… (This flickering at night…)

was she offering me her mouth?... Yes? (INNER SELF leans in very close to YLAJALI-- whispers in her ear as if to suggest what to say next?) PART III, SCENE 2 (YLAJALI begins to take off her apron, climb atop the counter to sponge herself, very chastely, shyly) (only the INNER SELF hears her, not OUMENOS)

The whisperings of the blood, the prayers of the bone…?

Sometimes I hear…

Yes? Yes?

(silence) Yes. First I must wash… (In the casing of my thoughts…) Yes! The skin is an admirably calculated machinery for restraining the consciousness it encases.

(interrupting, turning from INNER SELF toward YLAJALI) (calling on himself, OUMENOS, to return to scene in outer world) [But… Sir… my puntarella… my marmalata… my chubby little offal… Sir…]

(Speaking to OUMENOS now, getting in between him and YLAJALI, who is now lying, somewhat clothed, on the counter) Baritone takes out a notepad, scribbles down something said by soprano

If the material encasement be coarse & simple… (frustrated) They buried the hunger artist along with his straw and in what had been his cage they put a young panther…

(simultaneously) They buried the hunger artist along with his straw and in what had been his cage they put a young panther…

(These kabobs of chatter) These immediate products are but infallible indices of greatness…

These kabobs of chatter…

Not sausage, not tenderloin, but: the martyred breast of an ancient strumpet… The piss of hogwash… I keep returning to the miry path… To thinking belong the movement as well as the arrest of thoughts…

[a goat falls off a mountain, a donkey is consumed by bees…buzz…] [do you have goat heart… stung donkey flank…? a bone to gnaw…] (to INNER SELF)

Arrest, arrest!

[her apron now hung upon its peg] [revolting]

Shhh No: after long negotiations we will tell each other our names...

(YLAJALI hears this and stands on the counter)

Ylajali

Hers, (I said, was) Ylajali it had a gliding sound… divorced from any body Mine, she said, was

Oulomenos

She did not explain… Her mouth opened and moaned…her uvula flicking with o's… If I were to take the knife and (cut out her ululating parts)

Cut out your ululating parts Ylajali…!

(YLAJALI lies down on counter again)

She lay down Flesh crept up to cover her clothes, enfolded her groin… she was.. And I… a rich man before his rich sauce…

as softly as Dryope turning into a lotus Dryope

I distill the eternal from the transitory

Ylajali!

Afterward…would she wrap herself in butcher paper…?

Ylajali…

In her mouth my tongue became grotesque Oumenos (A separation again— A cash register or external sound--OUMENOS is living one scene—a transaction in a butcher shop (?) and the INNER SELF is living a more intimate transaction.)

Perhaps INNER SELF has a meat cleaver in hand now? Or a fork? Director may decide whether YLAJALI is really there lying on the counter or whether she is conducting a more normal transaction with OUMENOS

Goat heart! Merchant!

Her breasts (can I see your breasts)

The breast meat

Her pre-slaughter eyes

On lamb chops mint jelly goes best

She lay before me… (on the counter… for inspection…)

(a slab)

(the intelligent poor individual was a much finer observer than the intelligent rich one…) to herself INNER SELF steps between YLAJALI and OUMENOS (they both say this to S? perhaps Y sees S in some way, perhaps they say this at the same time, or perhaps staggered?)

And the lamp is very good (this is no light fed by cleric)

(a rich man in pause before his rich sauce)

Look at yourself! I did… (pause?)

to OUMENOS

You are lucky I’ve such a discerning eye…

Dead hair on your shoulders! Dead skin crusted on your sleeves

Humiliated, to Ylajali INNER SELF is taunting OUMENOS, while YLAJALI is trying to coax him back to a lighter scene

I… I… (Had I been wiping my eyes?) I!I!I! the filthiest of the pronouns The lice of thought

The lightest of thoughts

(B retreats to corner of shop like shamed dog?)

My desk… (CHOP…) (biting his finger)

Mange…! Mange…!

My thumb instead of an onion!

After long negotiations, I am become a dog eating its own skin… Woof (CHOP…) I am the mites on the skinbiting mongrel (moved by Y’s tenderness?)

Mongrel!

Shhh… (I meant light as a bird, not as a feather…) Shhh… A collar then, a collar and …morsels

Woof Ylajali!

She was offering me a packet of meat wrapped tidily by her tiny fingers The meat was her toes… her own toes… She’d have to take goat hooves from the waste pile to stand on (B could easily be accepting a small packet of scrapmeat from her)

It’s no inheritance, no goodluck charm

Took them… I took them… to suck on as I worked…

I will take them To suck on as I work Ylajali!

Ylajali does not have toes Ylajali is too pure… for a body

(offering him things)

But how will you (But I…)

And with what tenderness was she now chopping off her own thumb For me Her own thumb How beautiful you are now

If you smear yourself with ox marrow--

Or shower in this phial of dew--The moon will suck you up…

But… She was too pure Ox marrow!

For me? How beautiful

HUNGER: Concert Version Setup projection screen A large tam table metal plate (or pipe)

opera or thai gongs

sus. cym china cym.

snare

(rev. sus)

(upside down)

woodblocks

piano

(9)

thund

w/ kic

er she

k ped

bass clarinet alto flute

trap table

brake drum flower pot

spring drum

percussion

(13)

et + c

hain

(12)

bongos low to

bari sax (11)

(10)

amplifier

electric guitar

5 c d a

baritone mezzo soprano soprano

3 C

conductor

1 A

Stage Audience

(for staged version, the number of camera angles and projection surfaces must be expanded)

PROJECTION: Projector A (elevated): Large white backdrop Projector B: transparent mesh screen that singers can move behind

violin e

cello

projection screen B (transparent mesh)

VIDEO A. soprano, webcam 1 B. ylajali, webcam 2 C. baritone, webcam 3 D. behind mesh screen, webcam 4 E. computer musician, built-in iSight

concert bass drum

E Computer Projector B

Projector A (elevated)

Audio Interface A

Audio Int. B (optional)

Mixer

HUNGER

Transposed Full Score

Part III, Scene 1 v.01.07.15.17:43

Baritone

(in G)

Bass Clarinet

(in B b)

whistle tone

(in E b)

1`346 yj>œœ

46 B/D - 25

& +œ &

Electronics/Video

Violin

Cello

œ œ

œ#œnœ f n œ n w> pp

DIST. ON VOL. UP

˙˙

ORD

("#"#)

˙ > ( ƒ)

magnetic tape must be threaded under-over-under these three strings

( F )*result will be %

scarely audible

b n b www ! 3002 amplify: piano (heavily)

molto vib.

b˙. >

ç pp sub

p P

xSP

sub

ppp

interjections ad libitum

29 B/A + E b -3 33 B b/F -3 49 B b /B -23 20 B/A -47

1`346+A

SIM. AD LIBITUM

1`456Bc

1`3256A

1`24Eb

ORD

( ƒ)

‰ OO· b ‡ÿ ‡ÿ ‡ÿ F

bœ œ bœ ƒ n œ œ# œ . ' ƒ

________________________ V ________________________ O ________________________ X

sealed embouchure flatt.

air only

·ÿ · · · ‚æ. ‚ . >) ÿ > (F

soft "heartbeat" rearticulation, sim ad libitum

> pp ç sub

O #O O #O O ƒ

air only

· · ··

alternate between rearticulated multiphonic swells, vocalizations, tongue slaps, and low A ad libitum

#œ œ

bœ œ

( )

xST

$ ("#"#)

( ƒ)

( ƒ ) pp

sub

drag tip of drumstick across surface

y ‰l.v. 3

www

TAM-TAM

METAL PLATE / CHINA GONG (damped)

w/tip of drum stick ! ¿

www

3003 port.

port.

sub

port.

sim. ad libitum

xST

scratch tones & rearticulations ad libitum intermittent lateral scraping motion o.b. / xSP ad libitum

xSP # >O #O

¿¿

nœ nœ

ƒ 5

bœ

b˙

j˘œ # >O .xSP O bœ ˘ œ n œ j O & ´ j œ . O xST # O #œ ´ b œb œ j œ& n œ´ ´ O nœ ´ & Œ œ b œn œ´ bœ j ƒ bœ œ + ˙ molto vib, oscillatingb œj ç pp F ' + ˙ . molto vib, oscillating ç pp F ' > OF F O 3 > F f 3 ç ç xST ad libitum xST xSP ad libitum ŸxSP~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ xSP Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

¿¿ ¿¿ xSP I

w/bow, elliptical motion

III

- - -> (do not release pedal)

3001

¿¿ IV xST

activate harmonic nodes / upper partials w/sponge, 7, 9, 11, 13, etc. ad libitum V & VI cont'd

amplify: flute, cello at frog

& Œ

· · ··

n ww Ï

port.

sub

w/ superball

b˙

breathy bursts ad libitum

dynamic swells and rapid rearticulations ad libitum

BASS DRUM

5 4

b w pulsating > pp F ç sub

xSP/o.b. ad lib.

b ˙˙ .. â pp ç

ã >˙ F

œ & · ‰ ‚æ ‚ & ‚æ ‚æ ‚ÿ · . b ‡ÿ > fl > > ( F> )

sub

V O X

Piano

>œ

sub

*all dynamics for e.gtr indicate effort/acoustic volume. Volume pedal dynamics are independent. bow, honey spoon, sponge

Percussion

F pp

NOISE SUPRESSOR: ALWAYS ON

Whammy, Big Muff, Noise Supressor, EQ, Volume

n œn œ bœ

% poco accel. rearticulations

arco ORD

Electric Guitar

timb.

slow vibrato or oscillations in pitch

flatt.

· Oæ. b O O > Ø Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > air only #œ n w

nœ

whistle tone

(quasi ad libitum, rhythms and gestures suggest behavior) tongue ram sealed embouchure air only 5 5

Baritone Sax

Libretto by Darcie Dennigan

Part III - for The Industry FIRST TAKE Workshop, Los Angeles

(OUMENOS is scribbling underneath a streetlight. He has no paper and may be scribbling on a wall, telephone pole, a piece of newspaper, or his own skin. His forehead leans against the wall as he writes. Moments of stillness and of wildness.)

& Œ &

A MULTIMEDIA OPERA IN FOUR PARTS

q = c54

5 4

Alto Flute

Jason Thorpe Buchanan April 2014 - January 2015

port.

nw > Ï

(nO ) o

pulsating

sub

( O)

ppp

port.

Ï pp sub

port.

nw > Ï

(nO ) o

pulsating

sub

( O)

ppp

port.

Ï pp sub

port.

HUNGER

whistle tone

A.Fl. (in G)

& n O AD LIBITUM in the manner of the preceding five measures, preserving ß ppp continue the character and behavior of gestures and pitch collections while intermittenyly oscillating between low and high registers (pitch ad but similar). The ensemble should gradually drift apart b w> Ÿ~~~~~~ libitum, from one another and eventually deteriorate/fade to nothing.

sub

2 4 &

timb.

B.Cl.

(in B b)

B. Sx.

Pno.

Vc.

ppp

continue in the manner of the preceding five measures, preserving the character and behavior of gestures and pitch collections while intermittenyly oscillating between low and high registers (pitch ad libitum, but similar). The ensemble should gradually drift apart from one another and eventually deteriorate/fade to nothing.

" bow speed AS SLOW AS POSSIBLE to tip, damp w/sponge until no pitch

sponge only, extremely slow lateral motion along neck

AD LIBITUM

the character and behavior of gestures and pitch collections while intermittenyly oscillating between low and high registers (pitch ad libitum, but similar). The ensemble should gradually drift apart from one another and eventually deteriorate/fade to nothing.

( ƒ)

n >O nO

senza dim.

www

3004

port.

scratchy, indefinite pitch / half-press harmonics & multiphonics ad libitum

AD LIBITUM

sub

w > Ï

3005

xSP

ç pp

dynamics ad libitum

www

'Ú

ã AD LIBITUM continue in the manner of the preceding five measures, preserving

Elec.

Vln.

sub

E.Gtr.

Perc.

AD LIBITUM

2 4

scratchy, indefinite pitch / half-press harmonics & multiphonics ad libitum

HUNGER

c.4"

senza tempo 9

‰.

& Œ ?

(in G)

B.Cl.

(in B b)

B. Sx.

meet

↓very rapid, tense muttering, ad libitum: ↓ r & & & &

$ breathy, pulsating

nœ

( Œ)

" arco

(Dist. on)

crackling pitch noise, no

3 8

↓

& j & œ œ. œ œ yy y y yy > â OP O Ø fl (F) 3

œ œ â OP

slap tongue

Ú.

air tone, low

V O X

↓ pulsating, with strings œ ˙

BASS DRUM

? # ˙˙˙

$ ("#"#)

2Œ 4

& Œ ?

↓

b ˙˙˙ ...

œœœ O

soprano ‰ . 3006 amplify: fade amplification: piano

‰.



continue ad libitum

↓

take

#˙

% ( Œ)

( Œ)

# d ˙˙

œœ R ( Œ)

r œ

49 B b /B -23

1`456Bc8 E

( Œ)

tongue ram

↑

↓

( )

 # w/ soprano · SP

. 5

( P)

voiceless, stage whisper

↓ ‰

[n] [m] [t] [k] [th]Ú >

 &

3 8

[t]

[s]

[n]

[t]

¿¿

[m]

[t] l.v.

pppppossibile &

↓

↓ staccatissimo, percussive exhalation

crackling pitch e, no nois

[k]

[th]

↑ > j ¿ R ‰

ch–

[I]

BOWED CYMBALS (mounted in opposition)

$ $

VIDEO: Bread, Children

‚ ‰ R

- - -> (do not release pedal)

VIDEO: Exterior, Butcher Shop

V & VI "honey spoon multiphonic", normal bow speed

w/ceramic cup or metal plate drag laterally along high strings

3007

↑ &

↓

WOOD BLOCK

( Œ)

œ ↓ R &F

and throw

sim. ad libitum

Ooo

↓ ( Œ)

( P)

↓

3008



3009

3010

amplify: flute

↓ ↑ ↓ ↓ ↓ ↓ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

slow bow speed, creaking, increased bow pressure

Vc.

chil-[I]dren's bread

inh. exh.

w/ superball

- - -> (do not release pedal)

Vln.

the

↓

(looks around him, eyeing a piece of bread on the ground (or in a child's hand). A group of children are watching him.

Elec.

to take

6y y. y. y. y. ( flf ) O

leave sponge on neck, silently insert HONEY SPOON between strings V & VI w.L.H

continue bowing on strings V & VI, no pitch

sponge only, extremely slow lateral motion along neck

Pno.

[I]

ß c.1" % >!  n ˙ R &

(tongue-click)

AS SLOWLY AS POSSIBLE

E.Gtr.

Perc.

ch–

it is not meet to take the

( Œ)

ß > 12 ↓ (gasping) RÔ 1 c.2"

(stops outside of a butcher shop)

↓

( Œ)

not meet to take the

↓

(begins walking swiftly across stage, in a slightly odd fashion as if being watched or followed)

meet is meet it is meet it is not meet to take

senza tempo

q = c54-60

ß (gasping) > j ¿ J

c.1" 3

c.4" 2

1 prestissimo possibile

(turns suddenly sober)

2 4

A.Fl.

stage whisper

(upstage, in shadows)

a tempo

xST xSP

xST

‰. bœ

( b Oo )

F pp sub

F pp irregular, sim. ad libitum sub

xST xSP n ODO O= O O O O O Oo ( Oo ) . Ÿn Oo~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

IV/3.

xST xSP slow bow speed, creaking, increased bow pressure

"glassy"

F pp

sub

F pp irregular, sim. ad libitum sub

xSP Ÿo~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ III/9. n O. ( Oo )

xST

F pp sub

F pp irregular, sim. ad libitum sub

HUNGER

ß↓> . & J

meet

and throw

grrr

[6 .

# # œœ

A.Fl. (in G)

B.Cl.

(in B b)

port.

it to dogs

[wua] 6.

tongue ram 3

n# # & # F b‡ ‡ ‡ ÿ ÿ Í ( ƒ) ÿ

nb œœ

œœ

&# ‡ÿ

(

↓

irregular

________________________ V ________________________ port. O ________________________ X

5 dist. Ÿ~~~~~~~~~ port.

m.41

z ________________________ z ________________________ port. V V

Ÿ~~~~~~~~~ Ÿ~~~~~ continue ad libitum z z y œ & r'œ . # œ ®n œ . b x

fl ß

________________________ V ________________________ port. O ________________________ X

________________________ port. O ________________________ X

________________________ O ________________________ X

timb. 5

fl F> p ßfl ß

port.

slap tongue

________________________ V ________________________ port. O ________________________ X

m. 41

+ œ. n œ. n œ.

(

12 B/C -6

z imitation of baritone growling, barking continue ad libitum (mp. 12, 55, 95)

1`2345c

y œ. 1`px d y œœ.. O j œ.

55 B/A -14 95 B/

`2356cA

increasing intensity

bb + x

extremely slow

V O X

Perc.

Pno.

Elec.

↓

ã J

& ? ( Œ) 3011

‰

3 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

slow granulation, dragging over flange of tam-tam or fingernail

↓

(piano q = c40) 3 secco



vocalizations z ad libitum

# & ‚ .

, to laterally

bridge at

frog

h  œ ¡¡¡¡¡¡¡¡¡¡¡¡ ‰ ƒ P

↓ w/ superball

(

)



3012

3 4

3013

r‰ # Ú. p

3014



( f)

j nO

®O

Oç

damp w/L.H.

*200 & 400Hz cut, all others MAX

stage whisper

[th]

TAM-TAM

bowed

¿# ¿ R

( f)

4 4o

amplify: flute

‰

[ch]

[sh]

l.v.

possibile

- - -> (do not release pedal)

possibile

‰.

*noise supressor should cause a sort of 'reverse' effect poss.

‰

( P)

port.

VIDEO: Ylajali steps out from butcher shop and throws a pile of bones for stray dogs onto the sidewalk. She doesn't see OUMENOS, or maybe if she does, he seems a dog to her at that moment. She disappears into the shop's backroom.

3015

amplify: percussion

Oo + œ# œ xSP

Oo .

xSP

harm.

gliss.

%( F ) 5

port.

d ˘œ f

III o O . & IVo o o

( ) = Oo # œ '

( ƒ) port.

" () l >œ # d œ & lœ dœ port.

5 4 ˘

o Fsubpp5

n ˘œ & = "œ (œ# ) n ˘œ & Oo port.

F pp sub

( ƒ)

ooo

irregular, sim. ad libitum

( Oo ) ( O)

bow on bridge, flautando, high harmonics/glassy

pedal only

port.

5 4

. arm

. > > >>

O O

#œ nO bO O . œ œ #œ Ë Ë FË Ë ç



o.b.

oooh

‰

( P) 

xSP

sim.

‰.



~~~~~~~~~~~~~~~ Oo IV/13. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ violent, fast bow changes ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ J = Oo ~~~~~ ~~~~~ ~~~~~ o Ÿ~~~~~~~~~~ 7 III/half-press IV/half-press

(aspirated [t]) 7

c.4"

 Oo

>œœ

EQ ON

o.b.

b>œœ ..

s. lis

‰

xSP

III/11.

o ( O) ( O)

®n œ . œ œ œ œ ‰ .

O O

(begins to walk

the doorway, holding lifeless right O through arm in left hand)



c.4"

c.3"

amplify: baritone

‰

( f)

cover mouth with hand (echo)

œ ... P

DIST. OFF

c.3"

sub

4 4

p œ.

ppp ppp œ >œ œ >œ .



‰

c.3"

BASS DRUM

into the butcher's shop . . .

(rapidly jerking head around to see elsewhere)

c.4"

‚damp 3‰

& #œ.

(

‰



then through the doorway



‰

c.3"

o.b.

p 4

‰

prestissimo

c.4"

c.3"



 œ

III/half-press + Oo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ↓ ↓ ~~~~~~~~~~~~~~~~~~~~~~~~~ ↓o ŸIV/half-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oo ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ↓ ~~~~~ ~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ J

‰

(crouches, hurt)

pulsating

# Ú Ú. Ú. Ú. Ú. Ú. > ' F

(bites hand)

[th]

muttering, whispered

falsetto

&  œ

muted with palm, no definite pitch, only attack and resonance 3

c.4"

Vc.

↓

SPRING DRUM

distortion: baritone amplify: flute, percussion

[ch]

damped w/sponge

Vln.

O (F)

spoken:

®. ® .  ‰

ALL STRINGS

(Dist. on)

lateral motion Ø

[eh]

vocalizations z ad libitum

n œ.

increasing intensity

________________________ V ________________________ port. O ________________________ X

port.

(F)

(

port.

o pitch noise, n

[t]

not m__

m.41b

poss.

E.Gtr.

(

1xqewr5y 1sqwer5y or

sub

& r & j œ . b œz ®n œ . b x b ·. ·. ¿ yÿ & yÿ yÿ yÿ & yÿ yÿ & jœ . y œz p fl >p fl ' ß p ßfl ( f) ß col legno battuto continue ad libitum, irregular space between iterations >¿ . >¿ . & J J crackling

& &

ßp

®. ® ® . y &

3 4

↓

sub

&. r & & & # ·. ·. ¿ yÿ yÿ yÿ yÿ yÿ jœ . ' ' ( f)

tongue ram

(

It is not

continue ad libitum

& y y  &

(

animalistically

(chewing on paper)

F

c.3"

. . . I paused . . .

and /l/ bread to throw take /dren/ not the meet chi s is

continue ad libitum

a tempo

q = c60

)

the dogs dogs it

j # nœœ

Ó CONTINUE PROCESS

Ï˘ R

grr

irregular, ad libitum

B. Sx.

& b O O nO fl ß pp ƒ

3 ad libitum

slap tongue

& &

Pj œ

% Ú

˘j irregular œ

& O R

Ï˘ R ‰

P j œ.

? ‰

↓

( P) ↓ 3

(barking at the children watching him)

(he scrambles to fetch the bread crumb)

↓

"Frozen time"

ß > P P 7 & & y y & R‰ y . [ma] q = c38

detached/staccato 7

spoken:

(in G)

tongue ram

[ah]

[ma]

O#O O

ß Ú

# ˘œ

[5 .

sealed embouchure flatt.

˘j ä # œœ # œ # # œ

+ +n œœœ

m. 82

+œ

( f)

flatt.

port.

> & jbœ.

sub

nœ

œ 5

D œ.

glottal stop port.

[]

˘¿ ÚŒ R P

˘ & ¿Ú Œ

(or Thai Gong/Metal Plate)

5 4

3016

˘¿ . ÚŒ R

DIST. ON

& &O  O  III. o IV. ' lateral brushing

3017

o o o harm. gliss. o o o

 

IV. '

& ‰

" () l >œ # lœ F5 pp

port.

sub

# Oo . & ooo & #O.   7

O pppppossibile

r # œœ = + œœ

m. 67

& =œ

pppppossibile

r œ Œ

œ ‰. O

port.

j dO dO

‰ P

11.

‰

d ˘œ # Oo dœ & #O F5

port. port.

" () l >œ # lœ 5 F pp sub

l œ# & lœ

j dO dO

P '5 port.

port.

d ˘œ # Oo dœ & #O F5

d ˘œ # Oo dœ & #O F

l œ# & lœ ' P '5 port.

port.

j dO dO

3 4d O

3018

¿# .

+ Oo .

" l >œ dO & lœ P F5

(#)

amplify: piano

port. port.

' port. port.

port.

j dO dO

‰ P

‰. l.v.

j Oo

l.v.

& 5

d ˘œ # Oo dœ #O

" l >œ lœ

F5 pp sub

+ Oo .

sub

d ˘œ # Oo . & dœ #O. F

port.

œ- œ- œ- œ- - - D œ fl F 3 d ˘œ 3& # "œ œ d ˘œ ® œ

& 'œf

11.

r œ

& nœ.

( f)

l.v.

nœ.

pppppossibile

port.

‰

nœ

r nœ nœ œ

m. 27 5

l.v.

+ O- O- O- O- O. '

port.

use fingenail of index finger to pull high E string upwards at specified pitch damp other strings with palm of L.H.

amplify: bass clarinet delays: guitar, violin, cello

o o o harm. gliss.

& OO  o III. 3

b œ- ® œ

port.

(F)

4 4

port.

(w/Kick+Metal Chain)

exqw4y5

THUNDER SHEET

[3 5

m.67

TAM-TAM

amplify: flute, percussion

11 14 10

œ ‰.

3 4

œ œ- œ- œ- œ- œ- œ- œ- œ- œœ- œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œO& % % P P damp ( ( damp "œ # œ d ˘œ 3& & # œ# . I arco # œ œ d ˘œ 3‰ . œ. œ R 5 5 5 5 p 5 p p f f

nœ â P

(standing impatiently)

+ O- O- O- O- O- O- O- O- O- O- O'

possibile

Œ & & ˘¿ #bowed or scraped w/tip of stick [h] . Œ Œ ¿ ã j Ú ¿ R F ' F 7 7 7 F f . brush strings laterally with fingertips             & & 

F ppp

rqxty246s35

poss.

Vc.

damp w/L.H.

lateral brushing

Vln.

port.

*noise supressor should cause a sort of 'reverse' effect

CHINA GONG (damped)

sub

WOOD BLOCK

Elec.

port.

EQ OFF

Pno.

port.

bow on bridge, flautando, high harmonics/glassy

port.

4 4

[6 Ÿ~~~

n >œ

‰

port.

Meat

sub

E.Gtr.

Perc.

& œ

sub

( ƒ)

& ‰

˘j # œport.œ

port.

n ‡ÿ ‡ÿ

1q246s35

V O X

O F ppp > 5

breathy, pulsating, molto vibrato ˘ nœ bœ #œ & & ´ # >O n O O b ˙ O OO O . n ‚æ ‚ # O . n O œ # O n O O f . R æpp 3 m.27 pppp b‡ ‡ ß ‡ÿ ‡ÿ 3 ç ÿ ÿ ç m. 82 m. 27 slap tongue slap tongue œ .. n>œ . + +n œ> œ. 7 7 nœ. ˘ & . œ >œ . œ œ Œ œ œ. ‰ ‰ +œ ‰ nœ & % b y ny 5 O ÿ P ny F F pp F P ÿ Pÿ pulsating, dark, woofy

j nO

port.

B. Sx.

[ma]

(walks up to counter)

(in B b)

[ah]

arm

m.82

B.Cl.

ß &>

HUNGER

(calling to girl in the backroom as if placing an order)

5 4

A.Fl.

right

held

ß ß F ß 17 closed mouth, humming 7 7 % > > P > P bœ œ & y & nœ & y R ‰ y ‰ & asy ify ity were hand poco accel.

l.v.

#œ

3019 port.

port.

(#)

l œ# lœ P' j dO dO

port.

d ˘œ œ

d ˘œ dœ

HUNGER

6 1

senza tempo

P y y

2 spoken: (sensually, relatively low in the voice) ↓

↓ & ‰

the chops

y y y ‰.

in the case

r . ‰

muttering, ad libitum

? ‰.

k–

ch–

(in G)

B.Cl.

(in B b)

↓

air tone, low/dark, without pitch

¿¿ ¿¿ xSP ‰ ¿¿ ¿¿ xST IV V VI

w/bow, elliptical motion

sim. ad libitum

Elec.

ã ‰ &

6 y< y< y< y< y< y< y<

drag rattan (light drumstick/wooden dowel) across table or wooden surface in a straight line

y. &

$ $

¿¿ xST

& Ú.

¿¿

( f)

drag fingernail laterally down length of string (very slowly)

( Œ)

poss.

↓

Oc.5-6"

. E = j œœ œœ . R

72 B/B b -6 +C2

1`4523Bcw

( )

‚#  ‚ R

w/ soprano

tion forceful exhala

œœ Œ



( Œ)

r Ú IV Ú P

↑

Ú ..

xST

j Ú IV P

slow bow speed, lateral motion with increased bow pressure

Ú ..



r Œ Ú fl F

xSP

xST



> J

. .... .

' (F)

ah–

↓

[k]

‰

· ·

>r [ˀ] ‰ ´ & 4

(gasp)

. . . . . ·

' (F)

ch–

[ch]

‰

.....

' (F)

‰

3 4

[h a]

· ·

......

(F)

*must be executed in one bow, begin at frog

2 ↑ ↓ as evenly as possible P

gasping/breathy

[ha] [uh] [ha] [uh]

[e]

l.v.

3022

amplify: piano

xST

‰

↓

flank . . .

>r & ´ ‰

[a]

air tone/breath, low/dark, without pitch tongue ram

↓

3 c.5-6"

xSP

> J

·) (P

>—— —— —— —— —— ——

↓

[h]

(gasp)

sides ( ƒ )smack of piano

[f ]

breath

↓ Œ

& FLOWER POT

( Œ)

( P)

[h]

EQ ON WHAMMY: 19, !2 OCTAVES

DIST. OFF

BRAKE DRUM

( Œ)

> J &

j y

which

fla–

↓

" damp & ‚ 3 & Ú VI "honey spoon subharmonic" extremely slow bow speed ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡( )

˘¿ R Œ

3021 amplify: soprano, percussion

↑ (closed) >(gasp) J · ·

3 c.5-6"

↓

‰.

↓

j bœ .

‰

wha–

r y ‰

[e]

>j ´

& ‰

[d]

dœ

port.

f a

breath

"honey spoon multiphonic" c.5-6" normal bow speed

slow bow speed, lateral motion with increased bow pressure

||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

possibile

↑ inh. . (gasp)&

port.

r Œ yœ

f a

>j & ´

↓ Œ



c.5-6"

xST

sim. ad libitum

________________________ V ________________________ O ________________________ X

r +œ œ. '



® Œ · ® ‚æ ‚ ‚æ ‚ ‚ÿ O b O O b ‡ÿ > fl > fl 3 5

cover mouth with spring drum

↓

III IV

‰

w/bow, elliptical motion

↓

sealed embouchure

m. 97

3020

¿¿ ¿¿ xSP I

↓

& nœ.

nœ.

‰

3 c.5-6"

depress pedal violently

amplify: cello, percussion

↓ ‰

↑

y ( P)

SPRING DRUM

> nb œœ

↓

and flanks

c.5-6"

[l]

tion que

c.4" 2

˘! ↓ spoken: ↑ ‰ y y

possibile

sub

( Œ)

↓

tongue c.5-6" click

 r y . y y y y & >y y & Œ that is a mi-nor que-stion!

ƒ ↓

Vc.

‰

↓

( ƒ)

(looking back)

( Œ) tongue ram

 pppp ! #œ. Ú . [l]> Ú Ú [ma] Ú a sa tha

to self (or soprano): (aggressively, sardonically) stage whisper, coarse

↓ ( Œ)

begin preparing inside of piano with cloth or paper to dampen a book or similar object may be placed to increase weight and inharmonicity no definite pitch, only attack and some resonance. precise sound quality up to performer

Vln.

p–

[ә]

6 & ^

V O X

Pno.

↓ Perc.

‰

r &

$ ‰

E.Gtr.

sau–

hang - ing on pegs

>inhalation R ‰

↑

which to–

B. Sx.

the sau-sage

↓ F ‰

A.Fl.

y y y y &

y y y

(gasping, shadowing baritone)

Œ Œ

( F ) pedal as evenly as possible

↓

↓ [u]

[o]



amplify: flute, cello

3023

3024

3025

3 4

↑ o ↓ ↓ ↓ >Oo Ÿ(~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O) J

F ppp

sub

o >Oo Ÿ(~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O) J sub

*Performance note: Make no attempt to synchronize ensemble rhythms, each individual member should maintain their own separate pulse

ƒ5

a tempo

q = c54-60

22 unvoiced

ffa

& ? &

3 4

A.Fl. (in G)

B.Cl.

(in B b)

B. Sx.

‰

exhale

[ffff]

> ®p

F air tone,

O (F)

( )

" ¡¡al ¡¡¡¡ & Ú ¡¡¡¡¡¡¡ whammy ped

(EQ on)

V O X

Vln.

Vc.

ã Œ

& ?

‰

FLOWER POT (or ceramic cup)

exh.

(F)

3026

‰

amplify: baritone

$ $

>) O (F

( Œ)

œ 3027

amplify: bass drum

↓ ( Œ) ( Œ)

F pp >

œ œ œ. '

lontano

( P)

& .

œ ®# œ

(aspirated)

OØ

1xwey46s35r

p (F)

( F> )

œœ ‰ . R

nearly air tone

b˙

pppppossibile

[k]

[]

ˀˀ

[

]

( f)

smack side of piano with palm

pedal only

l.v.

↓

# Oo

o.b.

molto vib, oscillating

n Oo

o.b.

molto vib, oscillating

6 4

3029

nxSP O bO nn OO

xSP

(F)

breath

nO #œ n· œ œ n· ‰ [s] [t] pppp fl [re] fl fl ß ß ß 5

poss.

# ‚

laterally, to bridge at

frog

o.b.

& [t] & [ ] & [ ] & ˀ ˀˀ

(gradually approaching, Ylajali enters while singing)

‰ ny by ny &Œ ÿ n y b y ÿ ÿ b y sfffz ÿ ÿ ÿ

[a]

n n xxœœ n n xxœœ

‚damp 3 Œ

[]

EQ OFF

[]

drag spring drum across edge of Tam-Tam slowly, like a bow

‰.

sub

[s]

slap tongue 3

ORD

(F)

‰

ALL STRINGS

staccatissimo 5

& ˀ

[]

‰

œ ‰.

‰

& i.

+œ

sub

œ R

r [] ˀ) (P

[k]

glottal, ad libitum choking, unable to speak

œ nO #œ. [t] pppp ßfl

+˙ +˙

5 ‰.

*200 & 400Hz cut, all others MAX

P P yœ œ & +œ

*noise supressor should cause a sort of 'reverse' effect

↓

poss.

œ œ œ.

nO #œ. [d] pppp ßfl

‰

œ ¿˘ ‰

sub

m.14 16

[n]

nœ œ. J

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ m. 14 Ÿ~~~~~~~~~~~~~~~~~ j ® +œ · &% · ·. p · · ·.

F pp >

open

sub

muttering, whispered

6 4 Ÿ~~~~~~~~~~~~~~~~~~

>) O (F

3028 amplify: percussion 1

Ÿ~~~~~~~~~~~~~~~~~~~~~ ®· · · ↓

o.b., flautando, high harmonics/glassy, angle/location ad libitum

( f)

drag spring drum across B.D. violently

inside of piano should be prepared with cloth, paper, or bags of rice/beans to dampen a book or similar object may be placed to increase weight and inharmonicity no definite pitch, only attack and some resonance. precise sound quality up to performer

Fla

tha

↓

>Ú & hooooo ¿ 5

( F> )

gradually seal embouchure

LOCO

3 4

w°

O ( F> )>

singing offstage:

®n Ú

closed

& t `23456Cc E r l œœ ˙˙

54 B/C # -1

gradual accel

Elec.

bÚ. ®J

Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~ ® j ®j . · & >· · . p >·

( f)

rebow (double down bow) VI "honey spoon subharmonic" extremely slow bow speed

port.

cover mouth with hand

& n'œ .

word?

air only

no pitch

↓

Pno.

in - ven - ted that

, Fvoiceless O ' ® j Ú ¿j [ ]. va aˀ ˀa

> O (F)

accel. rearticulation

Had I

embouchure Ÿj~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ® ®· · · ···.

air only

WHAMMY: gradually bend up

Perc.

y & ( Œ) ↓

y y y y

y y

j Ú.

nÚ

accel. rearticulation

E.Gtr.

↓ ‰

a tempo

q = c54

spoken:

[h a]

(Dist. off)

fl ‰

Ooo

na k! la la la na na na

$ , inhale

HUNGER

senza tempo

# n xxœœnnxxœœ #xœ & Œ secco # xœnnxxœœ una corda # # xxœœ n xœ > # xœ n nxxœœ 5 > Œ > nxœ F # xœnnxxœœ # xœ & # nxœœx > Ï ‰

3030

amplify: soprano, piano

˘¿ +o.b. Oo . ¿

ƒ p

˘¿ ¿ ‰.

[ol]

‰.

HUNGER

26 slowly, unhurriedly 1 open muttering, whispered

senza tempo 1

↓P & & y

(slowly, sensually) spoken:

y y ‰

6 J

[ah!]

qui-vered

(in B b)

B. Sx.

? ‰ .whispered j .

im - port

p - o - p

[ 6.

[d]

port.

˘r # # œœ

r® ® r #O O nOO · J b ß ƒ( F‡ÿ ) ‡ÿ ‡ÿ ‡ÿ

bisb. key 10

tongue ram

sub

vox + abrasive multiphonic

( Œ) ( Œ)

silently remove HONEY SPOON

‰

Perc.

Pno.

[ng]

ã œ &

? ( Œ) 3031

Elec.

Vc.

nœ ˙ ( )+ œ & + O ˙O

[n]

(R.H.)

Hammer-on L.H.

T A B

11 12

( f)

10 11 14 13 5

12 20

r ¿

↓

r ¿

↓

( Œ)

remove piano preparations

(F)

( Œ)

↓ ˆ ˆ ˆ nˆ ˆ ˆˆˆ ˆ ˆ ®ˆ ® ˆ & ˆ ˆŒ

L.H. forcefully tapping, ad libitum "hammer on"

ˆˆ

® ˆ® ® &

( F ) (result = p)

F '

Œl.v.

EQ ON

‰

>¿ Œ R

® ˆ®

ˆ®

ˆ ˆ ˆ ˆ®

( Œ)

↓

[th]

[s]

r Œ

[6 b >œ

‰

port.

nœ

5[> 4 ..

r ‰.

‰

y# .

TAM-TAM (bowed)

port.

d˘œ n œ# ® f p

r &.

[n]

port.

d˘œ f

↓ xSP oO O R J F

r Ú Ú

port.

n^. n^.

lateral motion

( n œo )

port.

j nœ

silently insert HONEY SPOON between strings V & VI

‰

l.v.

$ $ $

5 4

amplify: cello delays: soprano, flute

sub

port.

7 4

O O O O O Œ O

O bO O O b O O O

xSP n >œ œ . d œ. >œ œ. d œ. œ œ. dœ & œ œ. dœ & &n O P pp F P pp F

n œo ( b œ)

EQ OFF

o.b.

nO Œ O

damp

3034

↓

[s]

amplify: soprano, baritone, bari sax delays: guitar, violin, bass clarinet

$ œ 3033

port.

$ l.v.

ObO O O bO O O

n>œ

b œœ

port.

œ.

(blank-faced)

d ˘œ n œ# ® f p

port.

(F)

+œ. $

® b O O® # œ O b O O . · b œ O O O O nO œ # œ œË Ë p Ë b ‡ ‡ FJ P ÿ ÿ o o ç nœ œ ( n œo ) & bœ bœ nœ Œ ( b œ) 3

stage whisper

( ƒ)

nœ

drag drumstick/wooden dowel across table or wooden surface

[l] Ooo

port.

)# arco w/ fingernail nœ O

smack sides of piano with palm depress pedal violently

L.H. forcefully tapping, ad libitum "hammer on" & col legno battuto

® ˆ ˆ®

strike table

slap tongue

light, pulsating rearticulations

↓ Œ

3032

↓

>· b

O bO O O O OO n O ·

& r ‰ n ¿ÿ ¿. ¿. ¿.

r ¿r ¿¿ ¿r ¿r Œ ¿ snap snares with finger against drum head like a rubber band

amplify: violin, cello

j æ ···‚ . >>

possibile

A b↑ *(leave Ab key up)

port.

sfffz poss.

drag spring drum over snares, irregularly catching

↓ O) Oo Ÿ(~~~~~~~~~~~~~~~~~~

? ( Œ)

1`436Bc8 c

r &

sealed embouchure flatt.

the coun - ter case

port.

sir?

r ‰

j % F± ˙ . w/ cello >

& Ú

even, unexaggerated

[6 ↓ b >œ

q = c60

(concerned)

B/B b -25

Vln.

z with baritone

DIST. ON

↓ r

‰

muh

↓ 3 ˘œ ä # œ ↓ 5 ´ ´ œ 3 ‰ air only œÿ nœ nœ ´ ® · · # œÿ œÿ #œÿ ÿ # œ ·. 3 > ‡ÿ ‡ÿ ƒ (F) 5 sfffz [ air only j > Œ ‰ · ( ) œ >) (F

V O X

muttering, breathy

chops

( Œ)

overblow

F pp

( Œ) ( Œ)

. &

than the

( Œ)

p PORK

real

↓

ß m. 11 y >˙ . r ˙. +˙.

& Œ

r - k

[o]

mmm

p Ï ˘ ˘ ˘ ˘ ˘ ˘ ˘Ú r & ˀRÔ & ˀ ® ˀ & . ˀ & ˀ & ˀ R Œ ( )

↓ # # œœ Ÿ~~~~~~~~~~~~~~

E.Gtr.

y . y . ( Œ)

bursting explosively

Ÿ~~~~~~~~~~~~~~~[ˀ] & bœ R ®œ

full

˘6 ˘6 ä6 R n œ‰

↓

very crisp, avoid 2 holding sibilances

% (almost inaudible)

sub

glottal

↓

B.Cl.

was

pp↓ Fj

closed

timidly stuttering: staccatissimo

(in G)

[oh!]

(YLAJALI enters behind a counter or table, looking directly at him)

wor

A.Fl.

j r ↓& 6 y y y & & y 2

a tempo

27 tongue click

III/8. IV/11.

3035

+ n OoO

OO O

‰.

7 4

HUNGER

& nœ.

(in G)

B.Cl.

(in B b)

Elec.

Vln.

port.

= œ + œ- œ. ‰

& Œ `1346cb8 c

yœ . + œ.

œ œ

& n·.

œ. œ.

& ‚# .

·.

"honey spoon multiphonic" normal bow speed

> & xx .. ã P

CHINA GONGS

11.

? &

7& 4

+ >Oo .

nœ.

‚.

‚ P

light, rapid pulsations

( e)

V O X

n œo ( b œ)

& Œ

3 Œ

damp

bO 3

O J

l.v.

OOo ..

‚#

‰

‰ ‰ Ó

OOo p

‚

12.

l.v.

↓œ

y the

‰

↓

y y y

coun - ter - girl

& y y

y y y y

of - fer-ing me

her mouth

pp m.27

rqxty246s35

port.

m. 27

n˙ n˙

‚ 3 ‰

œ. œ.

œ. P

n˙

( Œ)

P b>Oo F

bœ

l.v.

‰

n >Oo

l.v.

œ 3037

3038 J

‰.

!¿ ( P)

scrape rattan tips on wooden surface or table

l.v.

OOo O

‰.

( f)

l.v.

j >Oo Oo Oo Oo Oo Oo

P & #œ œ œ œ œ œ

Oo %

amplify: soprano, b.clarinet, piano, violin, cello, percussion

j ·

‰

pizz.

? jO

possibile

no air tone,

("#"#) o & +O

IV/11.

pitch

˘· &

( f)

poss.

r y P

'flick' honey spoon "bomb" effect

↓

( f)

↑

( Œ)

l.v.

œ ( Œ)

( Œ)

l.v.

3039

3040 amplify: Ylajali, cello

↓

‰

rhythmically, ad libitum

poss.

III/7.

œ J

↓ ^bow body of instrument

sub

↓

nœ

œ œ

5 4

‚æ > F ppp

‰.

xx xx xx xx xx

poss.

sealed embouchure flatt.

( Œ)

↓

strike on edges w/yarn mallets l.v.

jœ lœ

port.

( Œ)

↓

rœ yœ

↑

↓

( Œ)

damp

æ F

Fˀ

[]

b [œ trill Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bO O nO &

↑ ‰

exh.

decel. reart.

port.

↓

( Œ)

flatt. 4.

sub

‰

CHINA GONGS

xxx x x xxx x x

delays: guitar, percussion

+ n OOo .. B &

strike on edges w/yarn mallets l.v.

œ 3036 . amplify: piano, cello

& $

( n œo )

port.

n >œ œ

port.

sub

heavy, constricted breathing

# œæ ˙ F> ppp

(sensually, relatively

↓ spoken: low in the voice) 3 y y ‰ y & and there was

( Œ)

´ b œ´ n œÿ œÿ & œ b œ ´ ´ # œ n œ . œ ® n œ# œ n œ ÿ œ . œ >œ nœ bœ ÿ # œÿ ç ÿ F

flatt.

III/8. IV/11.

Vc.

bœ

& ‰

E.Gtr.

Pno.

+œ

sub

Ooo

& ‰

pr ppp

(Dist. on)

Perc.

nœ œ.

44 B/B -25

B. Sx.

port.

Ooo

7 4

A.Fl.

œ.

senza tempo

# + Oo

arco

o o o harm. gliss.

5 4

# Oo O J P F from fingerboard towards bridge ooo Ú late ral o.b.

↓

III/half-press IV/half-press

↑ ¿. & mot

ion

10 30

& &

(in G)

B.Cl.

(in B b)

B. Sx.

P Ú

Ú ‰.

you

? Œ

5 4

A.Fl.

(recognizing him)

scarcely audible breathy

rO yO p pp

[ 5.

port.

sub

Elec.

Vln.

Vc.

tal - king,

Œ jO lO

‰ Œ

on - ly tal - king . . .

-p

ã $ &

? Œ

&Œ

‰.



œ 3041

amplify: piano, cello

 

‰

B.D.

r Œ. y. [t]

( Œ)

[t]

^ ... ^ ... P pp sub

j y.

poss.

p Ú. Fr Ú Pr >± R & Ú & R ®Ú ® Ú . [l] -

oh [la]

P F % -

sfffz poss.

& # >œ R

nearly yelling

↓ Fr ‰ ‰ [t]

r ‰.

[a]

œ P pulsating

a tempo

[t]

r . n y. & b y. ‰ [k] [t] 5

‰.

o o o harm. gliss.

ooo

Oo xSPo O O R J

( b Oo )

F pp sub

sempre

[k]

r flatt. n œ œæ â pp F

sub

100 B/B b -- 5+C5

1`4623Bct E

gradually introduce restrained/fragile multiphonics + vocalizations & teeth on reed ad libitum

p /F

( )

‰. .

b r œäœ

Fposs.

ALL STRINGS

yyxyy y

ORD

scratch bowing

& >2 .

‰ 2

amplify: piano

WOOD BLOCKS

‚

FLOWER POT (or ceramic cup)

& Ú & >Ú ‰ p P

3 4

$ 3045

amplify: flute

pizz., snap pizz., col legno battuto, left hand tap.pizz. ad libitum

Kr y ® K y >y y & y & yr & y y &ß > P >y

violent, irregular accented rearticulations/bow changes xSP / o.b. ad libitum

>— ‰

AD LIBITUM

scrape w/tip of drum stick TAM-TAM

BRAKE DRUM

continue ad libitum

w/ceramic cup or metal plate drag laterally along high strings

sim ad libitum

↓

xST

& ‰

F irregular, sim. ad libitum

n>ODO O = O O O O O )

xSP

(

# y. &

3 4

BONGOS

xSP

xST xST

( Œ)

3044

↓xST

↓

tap strings with fingertips inside of piano, secco but do not let ring! i.e. dead stroke

n >œ & R

She recognizes him. He does not recognize her. Or rather, he recognizes a figure from his fantasies and is confused to find her... real. They engage in unintelligle small talk (Hello, yes, can I, what, sir, OK, etc.) He fights his inner urges, but wants Ylajali.

slow lateral motion, sponge damping / harmonics ad libitum

strike w/yarn mallet

3043

bœ

>œ R P

[k]

xST

poss.

sfffz poss.

nearly yelling

( f)

/a/

[l]

r Œ b y. ‰ n y. # y. & ‰ n y. y. & ‰ b y. & y. [k] abrasive multiphonics [k] [t] [k] [k] [k k] & vocalizations ad libitum slap tongue slap tongue & .> ˘. ‰ y´ & 3 ´ ad libitum ´ y ´ y ‰ & y´ & . y & . R ‰ y yÿ yÿ R yÿ ÿ F Í F P F

r b y.

sung: >: sfffz ± tongue r r r 6 #>5 click r ®r & . ® ¿&y y & ®6 & 6 & ! . & k . k ng a [l] o t ® a 6 [ә] k a a 6g ® g a

q = c60 poco accel.

↓

w/ superball

œ 3042

‰. n

3 4

l.v.

& $ l motio

ad libitum

Ú. . Ú. Ú . Pr Úr Ú Ú Ú R . R ‰ Ú & Ú. . & & R & R j & R & Ú Ú ÿ ® J Ú . a a o k i Ú. e oÿ oÿ o Ooo . ah! o eh

slow bow speed, creaking, increased bow pressure

latera

' .

F P ' ˘Ú

brush w/fingertips

 Ø

ad libitum

5‰ 4

[haa]

a a

´ r Œ ®yR & y & yÿ & yÿ & y ÿ yÿ ÿ P F o.b., flautando, high harmonics/glassy, angle/location ad libitum ( " # " # ) . & frantic, irregular rebowing *noise supressor should cause a sort of 'reverse' effect

EQ ON

> ± r & R& R& [l] a . [ә]

(gasp)

tongue click

frantically alternate key percussion, slap tongue (secco), and tongue ram ad libitum

exhale forcefully onto Tam or into spring drum

[a]

nearly yelling

(gasping) tongue click

increasingly voiced/pitched, song-like

F. Ú ÚR Pr Ú- Fr r . R & . Ú. & Ú R & . ®Ú & R & . Ú ‰ R . ir ha. e si– ye er eh & oh

( Œ)

p /F

↓ Œ

‰

( Œ)

No . . .

DIST. OFF

Pno.

‰.

E.Gtr.

Perc.

Ó (under his breath)

↓ &

ad libitum

& ‚æ

V O X

muttering:

HUNGER

↓ small talk, awkwardly

q = c54-60

to baritone:

senza tempo

a tempo

$ 3046

. P

$ 3047

. P

3 4 >

amplify: violin, cello distortion: voices

3048œ

II/5. # # Oœo & ß III/6. > IV/8. n n OOo B&

HUNGER

c.3" 35

q = c38 "Frozen Time"

sub

(a)

& œ sub

(a)

A.Fl. (in G)

B.Cl.

(in B b)

sub

ƒ pp >œ # œ .

ß ƒß pp >j ppp > œ œ œ n œ #œ œ

sub

ƒ pp œ >œ œ œ .

ƒ ß pp œ # >œ

ƒb >œj ppp ˙

sub

>œƒ œpp R sub

3 4

(a)

ˀ suddenly cut off Ï" œ. ‰ . []

ß>j ppp nœ œ sub

sub

‰

B. Sx.

sub

 nœ 

E.Gtr.

5 Fposs. Fposs.

("#"#)

ALL STRINGS

ORD

Fposs.pp

dge at frog

exh.

TAM-TAM V O X scrape w/tip of drum stick

Pno.

Elec.

Vln.

Vc.

$ & magnetic tape must be threaded ? Ó

under-over-under these three strings

3 4o

& B

O˙ .. p

3049

b n b œœœ ! amplify: piano

O˙o

OOo

sub

OOo .. p

sub



into bridge, at frog

Oœo

Ï OOo

‰.

E `245136cB c

œœ

bœ nœ

( )

ah!

‰

F pr ®. >Ú . pp

&. Ú . sh–

nÚ

you

Ú ‰

you

(F)

[k] Ú [ˀKr] ® ®. ® R &. r & k uh t [5 [5

sub

she

# ˘œ ˘œ p .

n >Ú . pp J

sub

port.

ah!

↓sealed ˘

port.

por

port.

nÚ

r & j

↓

ß > ®# Ú

1`345cA

`23461cq

œ nœ. œ & l œJ . R P

jœ ‰ lœ p P j œ œ

↑ [ b >œ >œ 7.

port.

[t]

j Dœ dœ

- C5 108 B/ bb +

1`G23te (

( ) ‰ d j œœ

)

+œ rœ P

œ œ R ‰ O

y œ. ( ) yœ. œ. J P 1`pct

port.

port. port.

j dœ d d œœ

‰

4 4 ®

port.

112 B/C1 + - C35

1`4523Ae E

port.

(w/mezzo sop.) timb.

78 B/E +Ac3

port.

ort.

timb.

66 B/D -5 +C1

j #Ú

port.

sir

‰

P b ˘Ú J ‰

nœ

" & & Ú VI "honey spoon subharmonic" extremely slow bow speed ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡( )

EQ OFF

EQ ON

↑

( Œ)

CHINA GONG (damped)

↓

>2 ↓ & 2 6 w/palm ¡¡¡¡¡ 2 ( Œ) ß ( f) Fß 3

possibile

muted with book & felt, cloth, or bags of rice/beans inside piano no definite pitch, only attack and resonance

↓ Œ ( Œ)

WOOD BLOCK

l.v.

↑ n b OOo P

w/mezzo

2 6 ¡¡¡ 2 R ß ß ( f)

poss.

& 3.

FLOWER POT (or ceramic cup)

1↓

( Œ)

WOOD BLOCK

↑

x˘ J

rallentando

sim ad libitum

secco

w/yarn mallet

BONGOS w/fingertips

3052 amplify: soprano

amplify: flute, cello



P & . Ú ÿ

with Ylajali

3051

sub

36 B/A -26

œœœ



& >Ú . pp

dÚ J

(w/ b.clar)

sub

œœœ

↓ Œ

‰.

# Úo

r & n JÚ .

port.

P bÚ

↓ b >œ n >œ flatt. flatt. J Kr rK r ® æj ® Kr & r J Kr O ®O ® Kr & r j j O & O bœ œ ‚ #O O œ RÔ J # O O n ‚æ O. [sh] n ‡ ‡ [me] n‡ ‡ ‡ ‡ [if ]fl & vocaliz. ad lib. abrasive multiph. Ÿ ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ slap tongue slap tongue & vocaliz. ad lib. œo . slap tongue 3 œ 3 . ®J ® & ®j ® O. % F % yÿ yÿ yÿ yÿ F n y y y ÿ ÿ yÿ yÿ yÿ yÿ yÿ yÿ yÿ %J p >ÿ F > F b b >

↓

↓ 

F pp P ˘ > sub

embouchure >œ > > > n œj flatt. Kr ®J ®æj F pp 3 F ‚ >># O [th] n‡ abrasive multiph.

↑ > # ®œ

3050 into bridge, at frog



WHAMMY: !2 OCTAVES

˙˙˙ ...

J‰

melodic contour)

3 ‰.

Ú.

ah!

extremely fragile (coloring of Ylajali's



‚damp 3‰ . Ï ƒ˘ ‰.

4 B/B + E

pppppossibile, scarcely audible

damp sub

nÚ. J

= j œœ

EQ OFF

B/B b -6 +C2

o.b.

laterally, to bri

scratch bowing

Perc.

Fposs.

sub

‰.

↓

↑ 3 ↓ [bl!] [u!] [re!] [if !] [if !] [if she!] [me!] [as!] ↓ ˘y [she!] ˘ ß˘y y y ˘y y y y y y y [rec!] . . & y y y R y y y R yj ® & & & ® & & . . RÔ y y R RÔ y . y RÔ RÔ tur - ning Ô as if she rec - og - nized me to blush . . .

port.

( )

and there she was

↓ w œ

œ˘œ ‰ .

↑

↓

1`4523Bcw E

‰.

whispered &

(irregular, ad libitum) muttering:

bœ

œœ b r œäœ œœ J

sub

‰

port.

schizophrenic, as if two separate voices

(restrained - behaving naively, perhaps putting on her apron, dusting off the counter, straightening things that don't need to be straightened, etc.)



œœ œœ br&œäœœœ

xxxxx ... x.

you

↓ ‰.

œœ

ˀ Ï. " œ ‰.

port.



to baritone:

[]

+œ

whispered/unvoiced

suddenly cut off

ˀ ˘ nœ

↓ 37  Œ

[]

sub

Ï. " œ ‰.

suddenly cut off

senza tempo (c. 7")

3053

3054

o r & OO Oœ F

↓

& # n Oo œ

frantic, left hand tapping (all 4 strings) poco accel.

y y & 'y y y y y y y y

3055

↓

‰

˘y & R

pizz.

#O n Oo P

n b œo O ˘ ˘® y y

˘y ˘y ˘ y ˘® y

r n b OOo œO ‰

˘y RAD LIBITUM

↓

↑

& # Oj. nO . P

4 4

"Frozen time"

q = c40

&#' œ.

sung: senza vib.

blush

nœ .

P pp 40 n>œ . œ J J ®

sub

& nœ œ œ > to turn O P 3 b œ œ œ& &bœ yes

she

A.Fl. (in G)

B.Cl.

(in B b)

B. Sx.

& Œ

j nœ œ I

? Œ

[h–]

Pno.

Elec.

&nœ œ $

V O X

& ?

4 4

& 3057 œ .

OOo

& OOo OO 6

& OOo ..

# OOo ? &

OOo

& O-Oo OO

& OO-o ..

œ n Ú ..

sub

ah!

#>œ .

& # ‡ ‡ &n O . ‡ ‡ F ß

port.

49 B b /B -23

1`456Bc

& b äœ .

with pick

Œ.

DIST. ON

WOOD BLOCK

5Œ 8

- > # nOOo OOo J ß - > # nOOo OOo J ß

œ 3058

sub

port.

& >¿ . P

w/soprano

& 3059 œ . &O˘O ‰ col legno battuto

˘ &OO ‰

↓5

O J P

m.20 18

ex1r5yw ex1r5yw 9 6

‰. 1

↓ ‰.

ad libitum port.

port.

( P)

l.v.

[ә]

® R®

[h]

>œœ ..

[6 .

® . j O O O J

she

[h] [h] [h]

[ > ´ œœ .. œ j® O O O. RÔ J

port.

( Œ)

sub

ppp

> + Ú- Ú J

œ J

there

↓

54 B/C # -1

& r l ˙˙ .. l˙ .

`23456Cc E

( )

↓

↓ METAL PLATE / PIPE

y J

& Ú

Ú&

her

++++++

[turn-there-she - her - ear - de]

port.

>œœ .. j ® O. O J

↓

[ 5.

port. port.

> . J '

sealed embouchure flatt.

j O

‚æ > F

‚æ > 5

® ‚ #O fl p j œœ œ

7 4 O

port.

RÔ &

( Œ)

DIST. OFF

↓

$ $

œ 3060

muttering, breathy

rt.

port.

>œœ .. ® j O. j O O J O O‡ O‡ J fl fl ç > > . & R >œœ

port.

( Œ)

˙ P

w/ superball

P ® >Ú . ppp sub

®Ú [

only her ear and her

sim ad libitum

herear and her /de/ and there de - licious

(*sexuality of the lines should not be overplayed, as doing so diminishes the possibility of real sexual tension in the scene.)

port.

[ә] och!

↑

[]

/de/ was on-ly turned

œœ

ˀr r r r r r + + + + + ®+ + + R + + + + + +

[h] [h]

sim.

↓

ˀr

[]

port.

[]

freely alternate between m.17 & m.20 ad libitum

9 6

Ú. Ú- .

( P) irregular breathing

turned

in imitation of mezzo-soprano

B.D.

>œœ

[

‰.

[ә] ah!

oh!

↑

m.17

her

port.

rt.

+ b ˙˙ .. b˙ .

port.

gently pulsating, dark

3061

3062

3063 4

7 4

3 ↓ ↑ ↓ increase pressure to scratch tone ↓ Ÿj~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ II œ ˙ (O) III % P Ï extremely slow vibrato/portamenti, slow bow speed, creaking

irregular, sim. ad libitum

col legno battuto

↓

> + Ú- Ú - . Ú J & J &

' P- adpolib.

Ú- . J

and there

sighing, gasping, sexual yet somewhat cold in character

she

her ear turned

4 c.2"

staccatissimo, (with spaces/rests)

ad libitum, rhythm suggests only type of behavior

whispered

↓ j ( Œ)

tense muttering, in a quasi-monotone

she

breathy exhalation

[th] [t] [sh]

↓

& +r ® + + & +r & . + + ® +r & +r .

( Œ) .

j œ ()

Oooh. . .

3 c.3"

2 c.4"

port.

HUNGER

↑ ↓ F breathy sigh > ¿ œ J ®

n OO-o # & &

III/3. IV/half-press

sub

Œ.

3056 amplify: violin, cello

5 8

Vc.

III/half-press IV/half-press

Vln.

ppp

P pp & n >œ .

[d]

E.Gtr.

Perc.

bo J

whistle tone

& Ó

hu hu ha

exhale

4 4&bo .

[l]

j œ œ ‰.

click ß ´Ú ˘Ú ±J> bœ . & ®Ú´ &

(flustered, deliberately not looking at him)

(F) tongue

1 senza tempo &

‰.

increase pressure to scratch tone slow vibrato/portamenti, slow bow speed, creaking Ÿextremely ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j II œ ˙ (O) III % irregular, sim. ad libitum P Ï

"Frozen time"

q = c38

(licous)

molto rubato

sung:

bœ

‰

delicious...

A.Fl. (in G)

B.Cl.

(in B b)

senza vib.

? ‰

Vln.

Vc.

b>œ

& O Ï 6 ( ƒ) >

‰

( ƒ ) ppp

ã ‰

& ?

SNARE DRUM

>¿ ¿ ¿j

rim shot

THUNDER SHEET (w/Kick+Metal Chain)

nœ >mute at coil

œ 3064 3

nœ

B/B b -25

œ® O

(

1`436Bc8 c

#œ .

œ.

®+ O .

key percussion & tongue rams

y y y

( e)

( ,)inhalation

port.

`135ct

y y y

A= œ

F arco

continue tapping w/L.H.

ORD

laterally, to bridge at frog



ä. F

flatt.

& AD LIBITUM

& >¿¿

CHINA GONGS (damped)

= >Oo

l.v.

Œ ‰

sfffz 3poss.

& AD LIBITUM

11.

l.v.

ß & #œ Œ

l.v.

‰.

œ 3065

amplify: baritone, piano

>¿ ¿Œ RÔ + >Oo

ß nœ Ó RÔ œ 3066

l.v.

j y or

pig?

flatt.

‚ · xSP



breath only, dark



breath only, dark, exhalation

( fff)

laterally, no pitch

ç & ˘(gasp)‰ .

5  [hea!]

ORD

III IV

EQ OFF

 Ó



3 4

l.v.

3067

amplify: violin, cello

arco, xSP, scratch tone/lateral motion ad libitum continue left hand pizzicati independent of bowing

^^ .. '



^^ .. '

3 4



vox + abrasive multiphonic ad libitum

‰

(turning back, composing herself)

arco, xSP, scratch tone/lateral motion ad libitum continue left hand pizzicati independent of bowing

frantic, irregular pizzicati, all four strings, random pitches

CHINA GONGS (damped)

11.

breath only, dark

‚ ·æ Ï j

& y

closed embouchure

(in response to baritone, spoken plainly, casually)

c.4"

(*an earnest question; as she is saying it, she is becoming noticeably self-conscious and aware that it could be meaningful in other ways)

Ú Ï

ALL STRINGS

 Ó

cow

‚ ·æ Ï

Oœ &

˘¿ R

= Oœ

‰.

(gasp)

‰

closed embouchure

107 B/A -246 +C5

( )

O®

œ R

[nk] [ә!]

increasingly breathy

frantic, irregular pizzicati, all four strings, random pitches

sfffz 3poss.

nœ

ç>

œ.

( ƒ)

‰

7‰ 4

/a/

*must be no more than 4 seconds

staccatissimo

METAL PLATE / PIPE

sub

y tapping / slapping with both hands ad libitum y yy y & y y y &y & &yy ‰ as if on a keyboard instrument, frantically y $

®# œpp.

Dœ

increasingly breathy

light, rapid rearticulations

nœ

sub

irregular slap tongue ad libitum

& bœ

ç pp

port.

sub

12x`456c

sub

(, ) exhalation

F pp

y yyy y y & yy &y ‰ ‰ yy & P pp P ( ƒ) y

91 B/C -3 +x

key clicks, tongue rams, percussive sounds ad libitum

metallic sounding

sub

& ‰

P n >œ œpp

inhalation

‰

/a/

m. 17

3 FLANK

& O

V O X

Elec.

nœ nœ bœ nœ

œ #P œ ® nœnœ #œ nœ #œ

port.

7 4

EQ ON

Pno.

sub

(Ylajali is somewhat startled by this outburst)

E.Gtr.

Perc.

pp P +œ œ

P /a/

‰. Ó ßämatter-of-factly y Œ

œ,

fla–

vox + abrasive multiphonic z ad libitum

B. Sx.

poco vib.

HUNGER

poco vib.

senza vib.

slow bow speed, lateral motion, like an exhalation, without pitch

O slow bow speed, lateral motion, like an exhalation, without pitch

Œ Œ

14 44

q = c54

& Œ

? Œ

3 4

A.Fl. (in G)

B.Cl.

(in B b)

& &

(F)

[3 j œjO

‰ Ú

& Ú .. Œ

CHINA GONG (damped) (or Thai Gong/Metal Plate)

Pno.

Elec.

3 4

sub



Top Nut EQ ON

Vc.

sub

j j

+ +

her lips

j > > + +. +

the

↓

+ + + + + + . + +.

co - lor

r Ú. .

voiceless

lips her lips

of her lips

co-lor

±teeth on reed, as soft, high, and fragile/unstable/whispy as possible

b ˘œ >œ

port.

r r r

+. + + + + + +. + +

lips

the co-lor lips of her

j n ‚æ F

port.

3 j dœ ↓

co-lor

ç pp F · · .. >‚ · · ‡ ‡ [wh - -t] ‡ >‡ fl fl > ç p ç sub

ˀ R

[]

j · . ‡ . fl

pppppossibile

ˀ. R

[]

® Ú y nÚ. y fl fl [wh - -t] [wh - - - t] air tone

tongue ram

p (F) p (F)

Bridge

EQ OFF

high pressure scrape

> & y F P

↓

w/ stick, (alternatively china glissando gongs)

>y P

ad libitum, tongue ram

2 TAM-TAM

[]

ffa

sealed embouchure flatt.

[] [ ]. ˀ ˀ ˀ & R AD LIBITUMR J

stuttering:

[]

‰.

pppppossibile

scrape

↓

>y P

‰

scrape

$ $

amplify: soprano, percussion

3070

# Oo Oo #O O

Oo Oo . O O.

xSP / semi scratch tone ad libitum

↓ Œ B

˘j dœ

ˀ R ‰

j Ú.

3069 delays: violin, cello

III/7. IV/10.

muttering, breathy

sub

l.v.

port.

˘ ‰

glottal

[n]

n >œ œ ↓ ad libitum & j r j r r bœ bœ # œ œ œn œ œ œ # œ œ >‡ . >‡ >‡ >‡ >‡ >‡ ‡ ‡ ‡ p‡ P OF ß pp p

[

fff–

j fla 2

l.v.

amplify: flute, clarinet, violin, cello

port.

>> > j r j

gradually increase intensity

F / p irregularly

the lips [ka]-lor

r .

ad libitum

fff–

Œ.

. P

#5  Œ r O & lO r r Oœ & r œ = = Oœ lœ ' O fl ' P F xST xSP, Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5  ? r Œ + Ú ( + Oo ) Ú (¿) â pp flf P sub

↓ &

& .

↓

xSP

Vln.

w/ceramic cup or metal plate drag laterally along high strings

3068

lips

↓

Ú AS SLOWLY AS POSSIBLE

˘¿  R Œ

the

tense muttering

‰.

 ‰

slowly drag with high pressure

ister scrape w/metal can

& Œ ?

lips lips her lips

 slow lateral motion w/both hands, center of bow, contact with low strings

6 y y. y. y. y. y. y. y. y. O ( Ffl )

ã ¿

 œ O

tongue ram, secco

DIST. ON

Perc.

r Œ ¿ fl ß

air tone, low

V O X

R F pp

airtone, do not seal embouchure until X, slight hint of pitch and as short and percussive as possible

3 c.2"

(tacet)



# Ú .. F> pp

E.Gtr.

sub

B. Sx.

her lips



2 c.3"

↓ >r j >j P & + + ‰ +r & + + & . +r & AD + LIBITUM + + +. + + + .



air only

HUNGER

c.4" senza tempo 1 tense muttering ad libitum, rhythm suggests only type of behavior 45 p

# n j OOo .. & p

‰

OOo

AD LIBITUM

port.

˘j +O +O

‰

irregular rearticulations/bow changes imitate voices

↓ ˘j

port.

yO yO

3071

Oo Oo O O

port.

˘j +O +O

Oo Oo . O O.

F '

port.

y O˘ yO R ‰.

Oo Oo O O

↓

port.

o Oo . O.

˘j +O O +O O

F pp sub

port.

y ˘O yO R F

AD LIBITUM

sim.

4 c.2.5"

. R

↓ lips /co/ her /lor/ the of sim ad libitum



c.2"

(in G)

whispering



>y y >y  &Œ R

? staccatissimo, ad libitum,ˀ separatedˀ []

[]

BEEF STEAK

from the sperm bank. . .

‰ # >Ú n Ú >

Beef then,

bÚ

HUNGER

‰

Fj p

nœ

nœ sub

senza vib.

n Ú Ú n >Ú

with a mi - ca of crushed glass

yes

4 4

‰

her breath, f (under as an aside) F > # Ú ‰ ‰. #y y #y

speech-like 3

it was the girl

˘Ú

‰

speech-like

[ j>—o . n>œo œ

ß nÚ &n y

[7 possibile

f bÚ

Ú ‰.

(interrupting)

yes?

6 ‰

un-less

percussive and speech-like, with key clicks 4.

with Ylajali

fF b >6 6 n 6 n 6 n 6ƒ 6 & by nFy n y b y #6 ‰ R ny 3

Un - less you've some-thing bet - ter to of - fer

nœ

‰.

sub

(in B b)

wse456qry

nO ß

timb.

sub

51 B/

79 B/A -57 +C3

46 B/D - 25

(D/B)

B. Sx.

sub

(Dist. on)

E.Gtr.

WHAMMY: HARMONIZER 22 (!4th) SOLI, with singers *be very sensitive to balance so as to color VOL: approx. 50% tone of singers, but not match volume!

V O X

Perc.

Pno.

Elec.

↓

THUNDER SHEET (w/Kick+Metal Chain)

j ‰ F >y

THUNDER SHEET w/CHAIN+KICK

w/sticks LOW TOM

BASS DRUM

(or ceramic cup)

LOW TOM

& >y .

TAM-TAM

n>œœ b œ n bœ nœ nœ n œ & n œ

w/tip of stick, slowly drag with high pressure

œ œœ œœ

‰.

sub

‰

y & ‰

‰ $

b xœ. xœ nxœ. x. nxäœ r œ x b œ bxœ. . nxœ. # xœ. nxœ. n xœ. 3 P F

w/fingertips

œ. &

‰

TAM-TAM

>2 2 2 2 2 2 & 2 2 >2 >2 œ Rœ 3 3 p f

> across surface ‰ ‰ y J

drag tip of drumstick

LOW TOM

4 4

half-press trill

half-press trill port.

port.

sub

high bow speed "scream" type sound

port.

sub

3 8

sub

Vc.

O & ‰

BONGOS

sub

b >œ œ # >œ Œ Ó ‰ œ œ nœ & $ $ #œ nœ J pp una corda n œ secco, voice-like (with baritone) ƒ3 F 3 b œ p F sfffz f 3 smack side of piano with palm P5 5 P > p 5 5 3  œ # b œ n œ # œ r œ n ? Œ Œ Œ nœ Œ ‰ #œ ‰ nœ ‰. bœ#œ nœnœ #œ bœ nœ Œ Œ Œ r Œ nœ n œ œ œ# œ b œ # ‰ œ y œ n œ nœ bœ b œ secco b œ n œ #œ nœ nœ #œ nœ > 8vb nœ n œ 8vbœ œ œ b œ . . ç vb 8 5 . . œ œ amplify: soprano, b.clarinet, piano amplify: bass clarinet & 3076 & 3077 Œ œ 3072 3073 3074 delays: violin 3075 3078 3079 R 4 Multiphonic (#) 5 >O .xSP O [4+11+7+3] "> Ÿ~~~~~~~~~~~~ n ˘ ˘ Ÿ ~~~~~~ & ↓ xST 5 # d O . &lO (O ) d O ‰ 3  l O . (O ) r ‰ b >O O n O O & bO. O ‰ O Œ Œ ‰ O ¿ +O O O & slow lateral motion, increas j J Ú . & b O F pp ing pressure Ú > 5 5 3ß F P fl F Ú Ú. ' pp ß F Ï O ç o— scra tch. g Multiphonic >O O liss. >O xSP .. xST [7+10+13+3] n O bO O # O O 3 5  ‰ r J ? Œ ‰ j $ ¿ slow lateral motion, incre Ú .. & = O O O asing pressure Ú P 3ç F Ú Ú ß fl > p O Ï ç ß >œ œ. . ‰



port.

Vln.

strike table

METAL PLATE / PIPE

BONGOS

> 5 & Ú ¿ 2 >¿ œ Œ ‰ ¿¿‚ ‰ ‚ P y F > 6 ç f p 3 nœ ? bœ nœ & bœ FLOWER POT

# y y # yÿ n y b y r n y ÿ n y ß> b yÿ b y n yÿ ÿ > ny ÿ ƒfl f ÿ

with pick, abrasive and dissonant

‰

3 o 8o

poss.

B.Cl.

sub

— äœ b äœ œ . b œo œo closed n ´ embouchure ´ ä ↓ ny flatt. ‰ bœ ‰  ´ n y´ n y´ bb œO n y ‰ Œ ‰ bO O ‰. j & nO O#O. O Ó ‚j ‚æ ‚ F pp O 3 5P ( f) ß3 P P m.48 ƒ 5 slap + metallic sound, speech-like Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ m. 48 ˙ very small amount of pitch œœ œœ , œœ œœ œœ .. œœ w/ baritone 5 ˙  + œ œœ œ œ . œ j˙ œ Œ Œ b œ & $ œ œœ œ œ. œ œ =˙ 5 & #y y ‰ F ppp œ R # œ p O5 bb O n y. p vox + abrasive z w/baritone P vox + abrasive vox + abrasive ä light, rapid. pulsations . F ä ä multiphonic . 1`p multiphonic r œ œ jœ œ œ multiphonic j œ y n œO œO l œ œ .. n œ œ with Ylajali tongue ram, secco jO O  `14623Ae ‰ y + œO œO Œ & b œ œ . &Œ 1`346 Œ Œ & n y n yÿ & + œ œ Ó & J b y ÿ ( ) ÿ P ç ß pp ß 3 > 5 j ˘  œ. j . . œ b œ #x . ‰ Œ shift to 'normal' playing position x x # œ b œ nx # œ. bxœ nxœ. xœ n xœ x x nœ . œ œ n œ œ . Œ ‰ ‰ ‰ Œ & $ $ & J nx œ nxœ. . nxœ â F P . 5 fl P 4 4

A.Fl.

q = c54-60

‰.

ß tongue click !

a tempo

senza tempo

2 c.4"

HUNGER

c.11"

breathy moaning, as if to express sexual ecstasy

3 c.3"

gradually increase intensity poco cresc.

port.

her lips

lips

lips her

& ( Œ)

( Œ)

(in G)

B.Cl.

(in B b)

rj nÚ Ú

Vc.

hadn't - I

ter

you

day

lips

were

co-lor

ß > ˘ . [] & b Ú n Úÿ ÿ ˀ n Úÿ n Ú were the [k] [ә] ÿ cheeks F

[ә]

port.

of (yes!)

that her

F pp >

[a]

j˘Ú

vib.

#Ú Ú J sub

port.

nÚ nÚ

her lips

hadn't of (yes!) thought hadn't I

& b >œf

& ( Œ)

( Œ)

Œ J( ) P

J P

+ b ww bw

& ( Œ)

↓

( Œ)

®2222> ↓Œ .

œœ .. œ .

3y´ & nx>œ œ. yy & ‰ & œ J y #xœ. # xœ. ÿ x b œ . 3

y. J

BONGOS

CHINA GONG (damped)

drag tip of drumstick scrap across surface e

'5 F

&(b >œ .

œ nœ &Œ & œ nœ #œ 5 ƒ nœ ? # œ #œ ‰ . ( Œ ) n œ# œ œ n œ n œ vbb œ 3080

( 5 r j nxœ œ w/ Ylajali â F

ã Œ

↓ & Œ

gently pulsating, dark

‰

>y R Œ

METAL PLATE / PIPE

w/ceramic cup or metal plate drag laterally along high strings l.v.

slap tongue w/ Ylajali

ex1r5yw

air only

3ä 3 ´ & bxœ. yy yy n œ x j nx b œ œ. n x œ. . 5

THUNDER SHEET

(w/Kick+Metal Chain)

B.D. BONGOS

9 6

↓

y scrape Œ ( ) J P

CHINA GONG (damped)

j x˘œ

port.

TAM or THAI GONG

scra p

bä œ. + œ.

( Œ)

P ( Œ)

3083

3084

3082

nO. jœ .

↓

# >O . >O O ( " # " # ) & nO. O O ↓

xSP

xST

irregular, sim. ad libitum

Ÿ~~~~~~~~~~~~j #OoŸ~~~~~~~~~~~ III/7. n O o

half-press trill

IV/10.

xST port.

Úo o

Ú P

r ha

. liss xSP

g m.

# >O Ÿ~~~~~~~~~~~~~~ O xSP

Ú Ú J ƒ

Ú Ú P

xST

p irregular, sim. ad libitum

xST

O O

irregular, sim. ad libitum

↓

ŸO ~~~~~~~~~~~~ O

↓

[ ^.

‰.

œ ( Œ)

œ œ ( Œ) R

WHAMMY: OFF

↓

( Œ)

set on table

↓

œ. œ.

air tone, low

↑

CHINA or THAI GONG (damped)

‰

y scrape P

$ $

l.v.

3086

3085

↓

↑

p Ú. . R ‰

œ œ

œ. œ.

yes!

ry litt

air, ve

œ. œ.

w/baritone

(ä nœ. & bœ. ß

( Œ)

3y´ y ´ nxœ´ nxœ

( Œ)

port.

the lips

sub

( )

↓

sub

F pp

(F) 1`24Eb

h le pitc

& >.

33 B b/F -3

( Œ)

↓

>¿ .

co-lor

m. 17 + vocalization ad libitum

vox + abrasive multiphonic

ä & #xœ œJ

(m)

3081

P Ú R ( Œ)

O O

œ ‰ R

Ú.

m.17

( Œ)

WOOD BLOCKS

y y & yÿ yÿ yÿ ÿ ÿ y ‰ ƒ ÿ

> yyy y y 2 Œ j y œ P y F 3 (> . nœ bœ. l.v. J ‰. ß ( Œ) ↓

œ.

closed

& nÚ.

lips were

closed mouth, humming sub

↓

air only

‰

l.v.

#œ nœ bœ 5 ? & n œn œrb œ ç 3 Ï>

↓

her

tentatively (with some hesitation)

↓ >œœ ↑ & nO (F)

that

(m)

lor of [hәa]

↓

Multiphonic + vocalization ad libitum

port.

hadn't - thought (yes!) - ter

senza vib.

( Œ)

& ( Œ)

Vln.

I thought

[ә]

port.

[k]

f & >. ®n Ú Ú & #Ú J bÚ said

> J

↓

Elec.

were,

↓ ( & Œ)

V O X

lips

↓

cum

Pno.

that her

(tacet)

(Dist. on) (Whammy Harm. on)

Perc.

(yes!),

1`456Bc

E.Gtr.

(gasp, wincing)

# Ú-

49 B b /B -23

B. Sx.

hadn't

yes

A.Fl.

[a] lips her

lips were hadn't that were

↓

↑ > ↓ > > >6 . r 6 6 . Kr j r r r r r r r + + + + . + + + + R + + + + + R + > R + + + + + R + + + + + + . + +. + + + +

↓ sim ad libitum ↓ tense muttering, in F> > 6 j ↓ a quasi-monotone r r r r r r r & & + + ®+ & + + & . + + + + + + [k]> R + + . + + + R + + . + . + . + + . 1 1.5"

1 senza tempo

5 c.1" &

4 1.5"

xSP

Multiphonic [5+9+13+4]

& = >O . F F

sub

Multiphonic [4+11+7+3]

& + >O .

F p sub

↓

O. O.

O O

5 port.

r ¿ fl Ï r ¿ fl Ï

HUNGER

' ↓ 2

↓

? Œ

(to himself, in disbelief)

(in G)

B.Cl.

(in B b)

B. Sx.

& æ. ‚

(F)

( Œ)

O ↓

[ha]

magnetic tape must be threaded # ? under-over-under these three strings b n b www !>

("#"#)

Vc.

↓

nœ

(m)

œ nœ RÔ &

wasnot

P nœ

(m)

œ& ' RÔ # œ .

her

œ. J œ R &.

yes?

that

‰

nœ

yes

meet was

Shhh. . .

her

œ. J

+ +

that not

y O

3088

III/10.

↓

% xSP

3089 1

harmonic glissandi ad libitum

sponge only, extremely slow lateral motion along neck

DIST. OFF

↓

www

3087

↓ & ( Œ)

noise, no pitch

^ ƒ>

( Œ)

w/palm

ORD

that was

+ &.

(F)

she. . .

rK rK

+ & + ® + &.

+ + & +.

crackling

Vln.

+ + ‰

↓

Elec.

↓

exh.

Pno.

% met

( Œ)

( f)

B.D.

Œ.

ã œ ( >f )

‰

nœ

↓

Perc.

never–

>j bœ

rK ‰

we. . .

c.9-13" 2

set on table

V O X

we've

y y&

+ had

↓

(Dist. on)

E.Gtr.

y y y y & & y

rK ‰ .

Kr ‰

ad libitum (increase activity/fragmentation/repetition)

Had we met?

Shhhh. . .

whistle tone

sealed embouchure flatt.

j y y

Shhh. . .

But we have - n't–

↓ A.Fl.

y y ..

‰.

(delicately)

& ( Œ) softly, stage whisper

↓ + +r & + &. 1

( Œ)

& AD LIBITUM

tense muttering, softly

xSP / o.b. ad libitum

↓

O 3090 2

↓

HUNGER

c.6-8" 1

↓ & & y

c.5-7" 2

‰

stage whisper, melancholic

How much I'd rather sit still

& ‰

#Ú

yes

? 1

A.Fl. (in G)

B.Cl.

(in B b)

B. Sx.

E.Gtr.

↓

port.

n ˘œ J

& y

Shhh. . .

$ $

looking at her

(Dist. off)

↓

reassuringly

‰

Pno.

Elec.

↓

& AD LIBITUM sim. ad libitum

Vln.

? AD LIBITUM sim. ad libitum

Vc.

her

mouth

®œJ .

œ J

her

œ-

mouth

œ & œJ R

she

œJ

œ RÔ

her

œ- . J

was

œ- # œ- b œ n œ . J J

nœ

she (yes?) her mouth

n Ú-

œ % ® b œ- n œ-

off–

was she

pppppossibile, scarcely audible m.27

rqxty246s35

m. 27

pppppossibile, scarcely audible

nœ nœ

nœ

pppppossibile, scarcely audible

↓

nœ nœ

nœ

‰

↓

#·

n·

yes?

↓air tone, almost no pitch, pulsating

↓

nœ nœ

nœ

pppppossibile, scarcely audible

$ ‰.

o.b., flautando, high harmonics/glassy, angle/location ad libitum subtle changes in bow speed, angle slow lateral motion w'sponge, damping / harmonics ad libitum

↓

¿ l.v.¿

‰.

% magnetic tape must be threaded under-over-under these three strings

bnbW WW ! P 3093

3092 2

↓

amplify: piano light distortion/overdrive: guitar

↓

¿ .. ¿

BOWED CYMBALS (mounted in opposition)

("#"#)

3094 2

↓

b Oo % o II/9. n O

*noise supressor should cause a sort of 'reverse' effect

l.v.

Œ O

1 IV/6.

("#"#)

( F ) (result = 'pp)

BOWED CYMBALS (mounted in opposition)

$ 3091

‰

nœ

this flickering at night

Perc.

↓ ‰.

% - senza vib.-

↓

r y y

↓

sung:

↓

gently

EQ ON

V O X

senza tempo (very slowly, molto rubato)

↓ ( Oo ) ( Oo )

3095 3

↓

1 58

↓ p nœ. J

off–

HUNGER

& j bœ me

nœ.

her

mouth

& bœ

pppppossibile

& n œJ . was

œJ

¿. J

almost no pitch, nearly inaudible

she

port.

yes

B.Cl.

(in B b)

barely voiced, almost a whisper

nÚ

B. Sx.

m. 27

nœ nœ

nœ

pppppossibile, scarcely audible

Pno.

Elec.

y y y

some times

(trailing off)

(listening)

hear. . .

+Ú

nœ

nœ pppppossibile, scarcely audible

Ú R

& nœ nœ

pppppossibile, scarcely audible

↓

Ó. no.

whistle tone

$ $

("#"#) *noise supressor should cause a sort of 'reverse' effect

¿ .. ¿

pppppossibile

& ?

$ l.v.

pppppossibile, scarcely audible

BASS DRUM

œœ %>

B SIM. AD LIBITUM

w/ superball

œœ >

& SIM. AD LIBITUM

↓

$ 3096

The whisperings of the blood, the prayers of the bone. . .?

yes?

( F ) (result = 'pp)

↓

Vc.

mouth

nœ nœ

subtle changes in bow speed, angle slow lateral motion w'sponge, damping / harmonics ad libitum

Vln.

her

leaning in very close, whispering into Ylajali's ear:

Perc.

↓

o.b., flautando, high harmonics/glassy, angle/location ad libitum

V O X

nœ.

& bœ J

Ø scarcely audible

E.Gtr.

yes

& SIM. AD LIBITUM &

‰

spoken delicately:

↓

(in G)

& n œJ

offering

A.Fl.

↓ pppppossibile

$ 3097

3098

3099

↓

$ ?

HUNGER

Transposed Full Score

Part III, Scene 2 v.01.07.15.15:51

Soprano

Ylajali

& &

q = c54

 "

(in G)

& to Clarinet

Clarinet

(in B b)

Baritone Sax

(in E b)

& &

c.3"



Ó.

(freeze)



c.3"

Whammy, Big Muff, Noise Supressor, EQ, Volume



Piano

 "



" G.P.

Electronics/Video

Violin

Cello

& ?



c.3"



# ny . > ( [yhe] &) œ

7 4

y œ

Ú nÚÚ

(only inner-self hears her, not Oumenos)

wash

n y n >y >I must

(rst)

# œ- . œ- œ#

œ- œR

Ó.

DIST. ON

w/ superball

3100 delays: guitar

o jy OO ..

II/5. ORD III/7.

OOo

ORD

= Oo . O

95 B/

1`px

bb + x

#œ dœ

DIST. OFF

˙. ˙. P

(P)

(in the

ca - sing

‰

" Ó.

7 4

+ Oo

Ó.

nœ

xSP

↓

49 B b /B -23

1`456Bc8 E

( )

↑

METAL PLATE / PIPE

xxxxxx

cont'd

(O)

3 4

jœ. # J O

↓

( Œ)

↓

( Œ)

- - ->

↑

bœ œ

( Œ)

‚$ . J

TAM-TAM (bowed)

(F)

j nœ œ

n . J

3103

2 xSP

xST

! w/Ylajali n œ #

( Œ)

P xSP

sub

↑

R ( Œ)

# d ˙˙ .. #

b . J

(very light rearticulations with tongue)

- - ->

. Oo .

↓

j b>œ j œ ¿

(noise, no pitch)

o.b.

. ®

thou)

↓

l.h. pulsing (half-press/damp)

F p

palatal click

w/ sponge

( Œ)

amplify: soprano

OOo ..

EQ ON WHAMMY: OFF VOL.: 100%

( Œ)

3102

3101

↑ whistle · tone

[l]

crackling

l.v.

Ooo

( Œ)

13.

bœ

P p œ nœ

Multiphonic ad libitum, high, soft, dissonant

breath

↓

4 c.1.5"

OØ

# &

↓

senza vib.

j y Œ

of my thoughts) 2

(breathy, whispered through clarinet)

Multiphonic IV [7+10+13+3]

œ- œR

c.1"

it en - ca-ses ness it en - ca sciousness it en - con-scious-ness it en - ca - ses [hua]

(in the casing

#n ‚ . · b ‡ y. y. y. y. y. y. y. [wh p Fflt] O œ- œœR R #

œ ‰

en -ca-ses

P 3 # y y y y ‰ y y

VOL: 50%

TAM-TAM

5 4

(sh)

pulsing w/fingertips

ses ca-ses

‰

3 ↑ ↑ (gasp) ↓ ↓ >r > > > + > > > > ® ® ® ® ® + ++ +++ ++++ ++++ + + ++ + + + +++ + R

↓

poco cresc.

sealed fragile, dissonant multiphonic embouchure ad libitum 5 tongue ram

# #y y œ- œR

↓ ( Œ)

2 c.2"

spoken, breathy, nearly whispering:

‰ Œ

(s) [fi]

must

xÚ

# xÚ xÚ 6

nxÚ

First

Ó.

$ add other strings add libitum ·

n xÚ

r5j y >y y

WHAMMY: ⭪2 OCTAVES

 "

Yes.

SP V & VI "honey spoon multiphonic", normal bow speed

c.3"

Percussion

# nÚ .

1 c.2"

poco rit.

Libretto by Darcie Dennigan

senza tempo

(begins to take off her apron, slowly climbs atop the counter and begins to sponge herself)

VOL: 0

V O X

c.3"

G.P. 

#˙.

listening to Ylajali

5 4.

q = 69

(freeze)

Electric Guitar

poco accel.

G.P. Alto Flute

PART III, SCENE 2

Jason Thorpe Buchanan November 2014 - January 2015

↓

↑ ST

↓

Multiphonic III. [4+11+7+3]

↓

r OO r Oo IV/9. pp P pp III. [4+13+9+5] Multiphonic IV. [3+13+10+7] n >Oo > o o xSP hd O OO R P p P p xSP

+ Oo P

sub

↑

3 4

HUNGER

& Œ

n˙

O &

œ & # nœ

(m)

(in G)

Cl.

(in B b)

B. Sx.

(in E b)

port. j nœ

Pno.

Elec.

œœ ....

V O X

ã &

3 4

l.v.

#œ

3104

& O. O. O. ? O.

‰

#œ.

‰

rt.

Yes!

> ↓ # bO (F) ses

œ#

#œ.

senza vib.

pppppossibile

nœ œ

( Œ)

" bœ.

œ J

pnœ .

palatal click (leave tongue on roof of mouth)

r >¿

O p↓

. # ¿j Kr RÔ n œJ œ

uh Ooo

bœ.

3105

ca - ses

O. O.

xSP

b œ. ®

port.

‰

(ng)

[l]

en - ca - ses

ness

↓

( f)

en - ca scious -ness it

œ R ‰.

O 72

œœ .. J

= j ˙˙

B/B b -6 +C2

1`4523Bcw E

( )

‚$ .

DIST. ON

œœ Œ R O

( Œ)

‚$

↓ œ œ

( Œ)

↓

half-press trill

xST

irregular, sim. ad libitum

o.b. g

at fro , to bridge

laterally

j + Oo

Multiphonic

IV [4+11+7+3]

↓

Oo .

#œ

ß nœ

nœ bœ #œ nœ

tongue ram, secco

Ú ¿ÿ fl F # œ$

‰.

‚ damp . 3‰

F pp sub

- - ->

r Oo SP

3 4

F pp sub

III/7. IV/[3+7+11+4]

scratch pressure, swells ad libitum

O O

(,)

b >O

xSP xSP >Oo Ÿ(~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O) j >Oo O (O) +O R III IV

Ú ® Ú Ú ..

œ fl

l.v.

3107

amplify: baritone

possibile

bœ 3106

port.

nœ

[7 '> j bœ

( Œ)

↓

Ø j (m)

palatal click

sealed embouchure

tongue ram

xSP / o.b. ad libitum

n>Oo

nœ R

( f)

port.

scrape rattan tips on wooden surface or table

‰.

port.

pppppossibile

r ‰ ˀ uh ˀ uh

® # ® K# O O O O Or ‚æ ·æ it en - ca - ses p b‡ ‡ ‡ ‡ & [wh fl fl fl ß p ßt] fl 'Ÿtimb. nœ # œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . J r % nœ ˙ % timb. Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~ nœ #œ. J breath only r Ú Ú % >) (P

↓

con - scious - ness

# Œ

V & VI "honey spoon multiphonic", normal bow speed add other strings add libitum xST xSP

↓

inhalation multiphonic

3 4 r

(öuh)

port.

the

q = c66

n —- falsetto 3 3 guttural 3 3 y ® y y y y y y ® R ® y y y y y y y y n6r ® y y y y ® yr y y y ® y y y y ® ‰ . - for res-strai-ning the consciousness skin is an ad - mi - rab - ly it en - ca - ses (m) cal - cu - la -ted ma-chi-ne-ry

soft, dissonant, high multiphonic ad libitum

xSP

œ J

[k]

3 8

c.2" jpalatal click ¿ Dœ œ

(interrupting, turning from inner self towards Ylajali)

(!) œ #

(aspirated whisper, percussive)

( &pp)

Vc.

œœ R Œ

(m)

n œ . (D œ œ )

possibile

( Œ)

Vln.

3 8

↓ F ↓# r >R & forceful exhalation # pppp nœ. . +++++ J J [a] [ch] [i] [n] [e] [sk]

F >6

spoken, breathy:

( )

œ J

[l]

˙.

2 c.3"

c.3" 66 1 P

œ.

nœ.

E.Gtr.

Perc.

P bœ œ

nœ.

3 4

A.Fl.

senza tempo

sub

‰.

3108

bœ ß - - ->

3109

delays: guitar

xSP

harmonic trill Ÿhalf-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oo ( Oo ) Oo .

nœ

Oo O

"glassy"

F pp

l.v.

Oo . O.

xSP

Ú Ú Ï

HUNGER

senza tempo 1 c.2"

↓ & œJ .

2 c.3"

( F )↓

whispered:

# y y Œ

bœ

ca b ra se pa a le seh

Pj n œ# ˙

œ J

↓

A.Fl. (in G)

Cl.

(in B b)

B. Sx.

(in E b)

(') [ ↓ œ 3 > J # r & b· . O O O &

the con-scious-ness %

↓

Pno.

V O X

ã &

œ.

bend

nœ

‰

glottal

[th]

œ.

[sk]

( Œ)

‰ 2

↓

[u]

[k] muh

(again, reaches towards her)

`23456Cc E

( )

æ O >‚ P

F pp

bend

[b]

r Œ . [k]

œ.

‰

port.

œœ

# œ$

F pp sub

[la]

↓ [ta]

xST

↓

œ.

pah

bend

œ.

DIST. OFF

bu - ried

‰

‰ n xO ‡ ( F. )

y y y yj

a - long with his straw

# r

my mar-ma - la - ta

[g]

®[t] ‰

[a]

1`4623Bct E

r r

[ng]

5 8

‰

[w] [h]

[st]

sub

b r ˙˙ ..

œœ ‰ .

( )

‰.

chub-by

b xO # n xO n xO # xO n xO n xOj x n O # n O x # xO n ¿. b ‡. b ‡ ‡ ‡. b ‡ # xO n xO . . . ‡. b ‡. ‡. b ‡. n ‡. ‡. 7

. P

100 B/B b -- 5+C5

full, dissonant, multiphonic ad libitum

[th]

[d]

ar - tist

[h]

6 8

pun-ta - rel - la

y # y

the hun - ger

P# Ú´ . & glottal [b] ® nxÚ

key clicks, tongue rams, percussive

y #y y

r #

‰

7:6

[w]

3 4

Œ.

air tone, low

Ú p

"honey spoon subharmonic" ( VIextremely rebow (double down bow) ad libitum slow bow speed " Ú ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ¡¡¡¡¡¡¡¡

(F)

tongue ram, secco 3

¿¿# fl fl ß ¡¡¡¡ #

WHAMMY: 19, "2 OCTAVES CANISTER on WOODEN SURFACE

[ch]

˙.

3 4

3111

3112

n >œ # nœ ß b œ >œ bœ O ß II I

( Œ) xSP / o.b. ad libitum

[g]

ß #œ œ R ß

↓

( Œ)

# #ˀ #

tense muttering, breathy

nœ nœ #œ #œ

granulation, grating sounds

Sir...

r y # fla

n >œ

Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

œœ..

(examining her)

O [t] [k] [d] [p] O [b] p

sub

r‰ ‚

sweetly, lightly spoken:

They

sah m pah en

3 4

y y y y

P r # j ‰. œ But...

(aspirated, irregular overblowing/accents ad libitum)

n˙.

œ.

↓

r l œœ..

# œ( ®j

sealed embouchure flatt.

j # >œ .r .r (gasp) &j ˀ J R ˀ [g] sh . [a] [se] ˀ

P ‰ y

frustratedly, speak-singing, scornfully

nFœ n œ . J

P fry/groan r j .

q = c48

uh a

very slow bow speed, lateral motion

^ ^

54 B/C # -1

[ma]

3110

? ( Œ)

↓

yy yy # ‰ uh ha da da 5

drag metal canister across tuning pegs

Vc.

it en - ca - ses

( Œ)

Elec.

Vln.

port.

Perc.

j O

ÿÿÿ ÿ ÿ ÿ ÿ

port.

&y y y y y y y &

and sim - ple

˙.

(EQ on) (Dist. on)

E.Gtr.

be coarse

en-casement

If the ma - ter -3i - al

[mah]

y y y.

nœ R

3 ? # y y y y y y # y y y # . yr . y .

port.

(calling on himself to return to scene in outer world)

(begins to reach toward her, his thoughts interrupt)

bœ

↓

n+ + + + + + + + ‰

ca-sings...

3 c.3"

murmuring, monotone

‰

THAI GONG

w/CHAIN+KICK

O p

Œ.

canister on wooden surface

(F)

amplify: soprano

˙. ˙.

‰

n O O ¿j O O ¿j O O ¿j O O AD j LIBITUM ¿

THUNDER SHEET

VIDEO: Ylajali, perhaps behind screen doubling

˙. ˙.

xœ xœ ®xœ xœ ®xœ xœ ®xœ xœ

xSP/o.b. ad lib.

6 8

œ œ ‰. O

lateral motion

5Œ 8

3113

Ú .. Ú

3114

# œœ O

‰ œœ œ>œ P xSP

3 4

sprech-stimme quasi-whisper

& ‰ &

nÚ

and

lit - tle

(in G)

Cl.

(in B b)

B. Sx.

(in E b)

had

of - fal

& Œ

Perc.

Pno.

Elec.

Vln.

Vc.

EQ OFF

ãp¿ F BONGOS

THUNDER SHEET w/CHAIN+KICK

secco, voice-like (with soprano)

œ n bn œœ p # nn œœœ

? ‰ n # œœ nœ una corda

3 4

Œ n b œœ nœ

n n œœ n#œœ

3 8 n>œ œ O

? ‰

œœ Œ

#œ #œ F3

nœ

nœ 3

œ J

nœ

bœ

> n b Oœ R

nœ

nœ 5

nœ

3 8

#œ ƒ

young pan

œ œœ œ œ # Œ 3116

Oœ # œ #

b äœ

nœ b œb œ n œn œ

r j +œ

‚æ.

1`4523Bcw E

( )

= r œœ ..

3 4

DIST. ON

‰

b >œ . ß

œ œ

# >œ . nœ.

n n œœ . b œ ..

sfffz poss.

ah!

tre corde

n x>œ ‰ n >œ

‰

n œ # œ n œ n äœ . P 3

ha!

n >œ bœ # n œœ nœ

b x>œ œ

sub

n x>œ ha!

n x>œ

b >œ

b x>œ

‰

#œ.

arco

>œ .

sfffz poss.

n >œ œ

´ n œ´ ä # n œ´ bœ´ bœ nœ

n x>œ œ

n x>œ

"covered"

n >œ

nœ > LOW TOM

n >œ ´ ´ bœ # >œ # >œ ä # n œ´ n œ´ n œ nœ 3

sfffz poss.

nœ œ # nœ nœ b œ > n >œ nœ b œ # œÿ ÿ ÿ ÿ > â 3 7

>‚ 5 > >5 # œ¿ J P > F ß # >œœ n >œ œ n œ n œ œ # >œ b # œ œœ œœ œœ j n œ n œ œ # œœ œœ â ) - - -> 3 3 ‰ 3118 œ 3

TAM-TAM

n>œ

n ˘œ R

port.

b ˘œ R

port.

sub

#œ >n >œ

n äœ . nœ.

nœ â r n œœ â

sfffz poss.

l.v.

B.D.

b >œ

ß n äœ

nœ >b>œ n œ fl

sub

n >œ .

THUNDER SHEET (w/Kick+Metal Chain)

l.v.

3119

fragmentation

Œ nœ >

# >œ .

j 2

n >œ

n äœ falsetto 7

" œ-

b >œ

*NOT falsetto

sfffz poss.

sim ad libitum

sub

3117

ORD

ha!

n >œ

q = c54

œ œ n n >œœ n >œ #œ œ bœ bœ œœ b œ nœ bœ nœ

xSP

"covered"

2 ‰

" pizz.

b x>œ

dirty, gritty sound, with baritone voice (balance)

with pedal

n x>œ

falsetto

j w/sticks 22

œnœœ

‰

BONGOS

‰ O l.v. O nœ #œ nœ ä ? # œ n œ bn œœ n œ# n nbœœœœ .. .. sub

ha!

with pick, abrasive and dissonant

WHAMMY: HARMONIZER 22 ("4th)

n n œœ bn œœ n b œ n b œœ n œ . J n œœ b œ. pp 3 P

#x>œ

œœ #

‚ fl ß

nx>œ*NOT falsetto ‰ b x>œ ‰

sealed embouchure 5 flatt.

ah!

Œ Œ

port.

rough, cracking, with force

bO O O O O ‰ O

poco rit.

sfffz poss.

yuah

< ther

y R

accel.

q = c66

72 B/B b -6 +C2

r O O. > F

TAM-TAM

# # n œœœ #œ nœ

3 4

scrape w/tip of drum stick 5

rK p

air only

pizz.

œ O O

# äœ

3115

œœ ..

put

sub

whistle tone

R O ß # >œ nœ# œ R nœ O ß

#œ n œn œ

n n œœ .. nœ.

P pp nÚ nÚ bÚ bÚ. 3

they

silently remove HONEY SPOON

‰.

shift to 'normal' playing position

E.Gtr.

nÚ J

rK Œ

Ú #

‰ rK

y r R y

cage

his

Sir...

been

‰.

p /F

3 4

A.Fl.

what

nÚ

#Ú.

#Ú

nÚ

bÚ

nÚ

(F)

HUNGER

Œ 7

# bœ bœ nœ nœ œ nœ ÿ ÿ > b œ #œ nœ ÿ ÿ > > â 3

n Oœ ..

#>œ

nœ # >œ œ â

sub

7 7

˘O œ R

nœbœ > nœ >â Ï

HUNGER

senza tempo 1 c.2"

A.Fl. (in G)

Cl.

(in B b)

B. Sx.

(in E b)

E.Gtr.

Perc.

 ‰

c.3"



& ‰

?

These

( Œ)



& ‰

 & ‰

& &

V O X



[p]

( Œ)

[th]

[k]

VOL: fade

Vc.

? j œ

im - me-di - ate

nœ. J [ng]

[ng]

¿´ RÔ

# ¿ ¿ Ffl fl

#œ

çämolto vib.[l]

..........

& (EQ on)

crackling

in - fal - li - ble

( Œ)

j n˙ nœ

j nœ

j · p

[wh

tongue ram

¿ flt]

Pr [p]

> ä r r r Kr r

palatal click

[th]

[e]

[et]

[p] [m]

stru!

5 8

95 B/

1`px

bb + x

b ˘Ú J

P ® Ú. # ‰

œ J

j n œ. P

‰ ® œ. # p

[nt]

#œ dœ J

‚.

œ  pull with fingernail granulation, as slowly as possible

b Oo

( Œ)

P increase of activity, texture

- - ->

nœ )

( Œ) l.v.

↓ o.b. / xSP / semi scratch tone ad libitum

↓

F irregular, rapid bow changes, microtonal portamenti, and sudden dynamic swells ad libitum

sub

METAL PLATE / PIPE CHINA GONG (damped) THUNDER SHEET

>¿ # ¿ ¿¿

- - ->

3121 4

↓

œ # 3122

↑ ä nœ R &

o gbjOO R

III/5. IV/7.

r œ ^  O

xSP/o.b. ad lib.

extremely slow lateral motion to produce granulation, with sudden changes of speed and direction

Ø F / p cont'd ad libitum sub

œ ® œ. #

. &

œ œ #

damp

3Œ

DIST. OFF

‰

( Œ)

bœ

( Œ)

+O > ß

l.v.

[ffa]

↑ BRAKE DRUM

w/CHAIN+KICK

3 [an]

↓

[ci]

p Ú. ® Ú. #

TTTTTTTTTT

DIST. ON

SPRING DRUM

( P) ˙ ˙

‚$ R

œ J

air only 5

‰

n äœ

↑ b >œ œ

↓

( Œ)

ç falsetto

( Œ)

‰.

œ J

¿´ ¿´

On Bridge

↓

œ ..

great - ness...

(as if intercepting rapid radio static or morse code) ([m][l][b][l][d][b][i][m][n][b][l][d][m][n][b][d][l][m][n])

senza vib.

( Œ)

air tone

delicate, scarcely detectable muttering senza vib.

kee!

↓

WHAMMY: OFF

‰

in - di - ces

q = c38 "Frozen Time"

↑

DIST. OFF

↓

& r œ . ä ä r r r RÔ r r r >r r ® r r j . [p] [re] R [i] [sh] [wa] [g] [h] [ffa] [o] [sss] [tur] [ni]

palatal click

tongue ram

light, rapid pulsations

3120

& ‰

r > [to]

are but pro - ducts ka palatal click [bah] & >¿j (leave tongue on roofj of mouth) nœ

ka - bobs

( Œ)

Vln.

)

↓

r ‚æ O # b‡ . . . . . [t] flt] %

flatt.

‚

Elec.



bobs

4 c.3"

↓

P [ˀ] r R These Ô

3 c.3"

tongue ram, secco 3

(

( Œ)

ä œ r ¿´ ¿´ ¿´ r r RÔ r [ch] R [f] [th] [mir] dental click

[b]

‰

muttering, whispered

Fämolto .vib.p

[wh

? ‰

of chat-ter

↓ ( Œ)

& ‰



 ‰

ka-bobs

↓

staccatissississimo, ad libitum, separated, percussive

‰



Pno.

quasi-stage whisper ↓ spoken, P6 > ‰ ‰

2 c.3"

FLOWER POT

‚ J

(or ceramic cup)

®‚ # ‰

‚ ®‚ # 3

5 8

œ J

sub

Oo O

n œ. J

® œ. # ‰

˘ ®. œ œ# . O Oo # OO

HUNGER

senza tempo

1 c.3" (Speaking to Oumenos, stepping between him and Ylajali, who is lying on the counter)

breathy: ↓ spoken, Fj & ‰

not

sausage, -

‰.

not

ten - der - loin,

r ‰

? ®nÚ . ‰

pppppossibile, scarcely audible

#œ.

œ R ®r

but:

Cl.

[d]

brea

[b]

↓ senza vib. j ˙. & # bœ . %

j œ

breath

[st]

# œœ

# #œ.

# n œœ$ .. & # (EQ on)

E.Gtr.

˙.

œ J

˙˙ ..

œœ J

pulsations with left hand pressure

Perc.

Pno.

Elec.

Vc.

The

j j

piss

‰

↓

of hog-wash...

( Œ)

j ‚ .

[wh

slow lateral motion

3123

↓ & Œ ? Œ

( Œ)

‰

"a goat falls off a mountain"

72 B/B b -6 +C2

1`4523Bcw E

( )

˙˙ ..

IV xST

#˙

pppppossibile, scarcely audible pppppossibile, scarcely audible xST

III

n˙

#œ œ J œ b œ IV J O

↓ I keep re-tur-ning to the miry path

‰.

(F) 2

↓

‰ . = r œœ

œœ ..

xSP

On Bridge

œœ F

˙˙

œœ J

˙˙

œœ J

↓

slow lateral mo

tion, as consist

ent pressure as

possible

↓

˙. ˙.

"a donkey is consumed by bees"

ORD

( Œ)

3125 3

˙. ˙.

( Œ)

↓

frantically "writing" words of soprano on table w/stick or rattan

œ œ J œ œ J

"buzz."

high bow speed "scream" type sound

↓

Oo O

xSP

Oo O

xSP buzzy sound

V O X

(F)

frantically "writing" words of soprano on hard surface / music rack with hard pencil-like object

(F)

- - ->

2 blend with baritone falsetto

3124

video: soprano speaking

( Œ)

3 c.4"

(removes a notepad from jacket pocket and begins frantically scribbling down words said by soprano, while muttering them almost inaudibly)

w/ceramic cup, metal plate, or plastic CD jewel case drag laterally along high strings

& # .

Œ r O b ‡ y. y. y. y. y. y. flt]

↓

Vln.

↓

↓ #

2 c.2.5"

[p]

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. œ

( #) n œ . #œ œb œ

senza vib.

(in E b)

exhalation

O %

B. Sx.

the mart-yred breast of an ancient strumpet...

timb.

(in B b)

↓

sub

(in G)

r . ‰

↓

1 c.2"

3 c.2"

(Ylajali lies half-dressed on counter, sponging herself)

sta

A.Fl.

2 c.3"

"do you have goat heart..."

"stung donkey flank...?

3126

3127

↓ indefinite pitch / half-press tremolo ↓ ↓ whispy, activate harmonics & multiphonics ad libitum Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # O ( O) n Oo ( O) O pppppossibile, scarcely audible P

# Oæ n Oo > ß

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O (O) Oo ( O ) O

whispy, indefinite pitch / half-press tremolo activate harmonics & multiphonics ad libitum

pppppossibile, scarcely audible

ä # j

↓

of thoughts thoughtsof thoughts the ar-rest of thoughts as the ar-rest of thoughts move

continues frantically scribbling, writing and muttering these words:

think -

ing

long

the

move - ment

well

Cl.

(in B b)

B. Sx.

(in E b)

to think

the ar-rest of

the

arrest

thoughts

r . # Œ

& ( Œ)

sub

( Œ)

DIST. ON EQ ON

WHAMMY: HARMONIZER 22 (!4th)

ß ( # äœ œ .. # . n œ œ .. ß VOL: fade

Perc.

Pno.

Elec.

V O X

↓

( Œ)

METAL PLATE / PIPE BRAKE DRUM

CHINA GONG (damped)

? 3128

"a bone to gnaw..."

3129

#r ®

. ®

P +Ú.

somewhat nasal/buzzy, but still dark tone

(e) nd

®r ® .

. J

f + ˘Ú

with - ou

_ t brea

˙ ..

o ? n OO n J O

Vc.

>O Ÿ( O ) O ( O)

xSP

xST xSP ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ xST ad libitum xSP

F pp sub

↓

(($($)

)

>¿ . ä¿

3 4

Ar - rest!

↓

( Œ)

z n œ´ œ´ äœ

n äœ . äœ

˘œ RÔ

with voice, as abrasive/distorted as possible

œ # bœ R

â poss. sfffz

˘— R®

‡

œ. œ œ. œ R

xSP / o.b. ad libitum

↓

( Œ)

œ ‚ä‚ ‚ä‚ œ R R

sfffz

sfffz poss.

HONEY .. ‚‚ ‚ä‚ .. ‚ä‚SPOON R r

sfffz poss.

CYMBALS

LOW TOM THUNDER SHEET (w/Kick+Metal Chain)

¿ œ ¿

¿ œ >¿ pP

B.D.

œœ ... œ ).

¿. œ. ¿. > ß r

iste an

c tal

/ ew

a scr

↓

‰.

drag metal canister laterally along length of lowest strings

3132

REMOVE

œœ â sfffz

↓

sfffz poss.

V & VI "honey spoon multiphonic"

( Œ)

z with voice, as abrasive/distorted as possible äœ . äœ ˘œ #( äœ äœ R RÔ #

VOL: fade

3131

ar-rest ar-rest!

poss.

O l.v. crash ¿ > F TAM-TAM

brush w/fingertips

¿¿¿¿ ¿¿¿¿

l.v.

3 4

"her apron now hung upon its peg"

3133

xSP / o.b. ad libitum ↓o äOo äOo . äOo . äOo ↓o and increased pressure ä O + n œ œ O .. ↓ dO O O. O. O b œ œ .. O ®> ® œx F Ï Ï pp xœ pp ß frantic, irregular bow changes xSP / o.b. ad libitum xST ST xSP xSP o ä Oo Ÿ(~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O) n œ O .. b œ O .. O (O ) r . nœ n Ú & F F pp pp f ß ƒâ

2 frantic, irregular bow changes

↓

erratic, wild vibrato

sub

slow bow speed, articulated bow changes and increasingly frantic alternation between half-press trill and vibrato

®r ®

↓

sub

III IV

‰.

Ar - rest!

˙$ .. ˙ ..

(

>¿ ä¿

poco

> .

poss.

(to soprano, desperately:)

œ ↓ R ( Œ)

↓

( P)

( f)

whispered:

sfffz poss.

R Œ

port.

↓

↓ ( f)

be-long the move-ment as well as the ar-rest of thoughts ar-rest of

( Œ)

↓

ß ( Œ)

3130

↓

> >y ®y >y

( Œ)

Vln.

↓

P> #

sub

( Œ)

silently insert HONEY SPOON between strings V & VI -- relatively short string length

˙ .. ® n œ œ .. # œ â pp Ø >ß ß vox + abrasive, high multiphonic ä ad libitum teeth on reed, improvisatory, wild, soloistic, building to a frenzy ± .. # . ..

( Œ)

& ( Œ)

↓ n äœ œ .. # >œ ® ß pp ß

( Œ)

↓( f )

move - ment be-long the arrest of thoughts to think-ing

↓

& ( Œ)

E.Gtr.

(gasp) > > 82 ↓Fr > r ® RÔ ®

↓

(in G)

(dot with pen)

A.Fl.

( f)

prestissimo possibile

↓ stage whisper, increasingly becoming more intense and frantic F j # & ‰

HUNGER

senza tempo

half-press trill

sub

erratic, wild vibrato

HUNGER

q = c48 "Frozen Time"

c.4-6"

& Œ

 (F)

& ‰

Shhhh...

(in G)

Cl.

? Œ

(in B b)

B. Sx.

(in E b)

E.Gtr.

No:

y ‰.

Œ ‰.

to self:

bœ.

nœ

bœ O

54 B/C # -1



`23456Cc E

& ‰ r l œœ 

( )

j œ

port.

O O O O O O # bœ

Œ ˙˙

˙˙

‰.

4 4

Pno.

Elec.

>œ . O.

Vln.

& Œ

possibile



? Œ

? ^

nœ J

‰.

nœ œ

‰.

# j>œœ

O m

‰.

# nÚ Ú yÿ > y ÿ go ter tion

‰ bœ ‰. fl [t]

port.

(F)

‰.

[a]

( f)

poss.

bœ > [tsho]

port.

#>œœ

flatt.

˘ ®n O œ æ

# n Ú-

[tion]

= œœ œ˘œ

‰ r l œœ œ. 3 ( )

‰

. [si]

˘œ œ

‰

j .

[no]

>¿

>Ú

(($($)

bow body of instrument

(F)

nœ O

3136

Ú 7

O( F )

(($($)

>Ú

O3 ( F )

(($($

( bO )



‰. 3

#Ú

ell

‰.

#˙

#œ

% [o]

œ.

Œ Œ

3 4

‰.

. [g]



unvoiced

[t]

‰

sub



‰



Œ Ú Ú

sub

‰

slow bow speed, lateral motion, like an exhalation, without pitch

Ú Ú Ú Ú â P pp

nœ # # œ pp Ffl



3137

port.

5 8



[fft]

sub

‰

nœ #œ œ Ffl pp

port.

cont'd ad libitum

[neh]

‰

O

[fft]

glottal

j ‡

port.

our names

œ flf

P nÚ

‰



poco vib.

trill Ÿhalf-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

xSP

>Ú Ú

3 8)

3135

ther

FLOWER POT

y #

b œ-

% (or ceramic cup)

3 4

‰.

4 4

y y

`23456Cc E

j Ú

to self:

each

b œ.

˘œ

tell

will

n œ- œ .

to baritone:

tions

3 8

54 B/C # -1

f ([go] F)

‰

# y

# >œ œ

port.

6 ˘ # ‰ nœ # fl # O O b œ # n O [lo] b >‡

‰

6 to public:

‰.

r #œ œ >o

b œ-

sub

port.

‰ yÿ # ne

F pp

poco vib.

> # 2 2 ‰

BONGOS

slow bow speed, lateral motion, like an exhalation, without pitch

Vc.

sub

œ œ. > % & % P " silently insert HONEY SPOON between strings V & VI

3134

 Œ

O F pp

ne - go - ti - a - tions

long

3 4

af - ter

 Œ

exh.

( f)

y (y )

port.

DIST. OFF

Perc.

y y y yj 5

No:



V O X

‰

& ‰

Œ Œ



& Œ

speaking:

3 4

A.Fl.

‰.

q = c60

Ú Ú fl F



5 8

28 87

q = c54

& ‰ & ?

5 8

A.Fl. (in G)

Cl.

(in B b)

B. Sx.

(in E b)

E.Gtr.

Pno.

Elec.

Vln.

Vc.

senza vib.

our

P # #œ œ > ng

[fft] port.

n œ # # œæ. fl pp F 5

falsetto

ß n >œ

che

j ‡

ã Œ.

[er]

(F)

will

‰

. # b œ. ‰ p œ n œ. ‰ .

senza vib.

sub

‰

nœ # n œ ‰ . . fl F &

port.

‰. œ

Ú ‰

fla

# ç #Ú ‰ 5 â ne

‰

œ. ‰ œ.

‰

œ. ‰

Œ Œ Œ

[ter]

‰

# # œ. œ ‰ . & 5

3 4

3138

n œ.

# œ- .

œ œ-

#œ ‰. flr

r Œ œ.

n œ. ‰ .

‰.

œ. R

Ú.

‰

[ne]

ˀ ‰

r Œ Úou

r Œ œ.

œ.

n œ.

b œ. ‰ . &

œ. b

œ. 5

# # Ú. ‰ . [a] p

‰

# nœ.

‰

‰.

‰

3 8

‰

‰ œ.

‰.

port.

n œ-

‰

˘ nœ

‰

œ-

2 4

‰

# œ. ‰

# b œ. ‰ . 5

#Ú â [ong]

# ˘œ

# œ.

n œ.

sub

‰

Y(ü)

n œ.

‰

F ppp

‰

(muttering phonemes)

[o]

‰

sim ad libitum

n œ-

port.

Ú.

# b œJ P

sub

‰

œ. œ ‰

‰ # n œ # œ. & O xSP . œ n bœœ ‰ . & 5

‰ ‰

œ œ. # sim.

œœ. ‰ 5

r œ. œ Œ

# œ. œ ‰ . %

5 8

3139

xSP 5

‰.

. # œ. ‰ Œ

œ.

‰.

4 4

# Œ

slap tongue

¿ flp

b œ-

œ.

‰. ‰.

secco

w/ soprano SP 5 senza vib.

F [˘]

glottal

l.v. ¿  X  ¿ ‰ . æ *hold spring taut & drag slowly across P F O

r ‰ fl [ng]

#Ú ‰. fl [go]

xST ? # n œ- œ J

r Œ Ú flti

TAM with SPRING DRUM

5 8

edge of Tam-Tam, as if bowing

& ‰

crackling

‡.

#Ú fl tion

‰.

(Dist. off) (EQ off)

‰

[fft]

nœ ´ # nœ #œ nœ #œ nœ O 5 P5 ß Œ

quasi-pizzicato

# äœ .

& ‰

HUNGER

3 4

mes

œæ..

O F5

whispered:

sub

to public:

sub

& ‰

5 8

œ.

flatt.

o - the

q = c48

sub

P # n œ- œ .

& œj

V O X

Perc.

P nppœ- . # . nœ

poco rit.

Œ Œ

r ‰ n œ # œ. # œ œœ. n b œœ. R Œ port.

" 5

œ. œ ‰

3 8 ‰ 5

œ.

‰.

‰. 5

œ œ. #

œœ.

‰

# œ. œ

" # œœ .

‰ # œ # œ. # bœœ. ‰ . 5

# œ-œ

2 4

3140

‰

‰ ‰

œ # œ.

b œœ. #

œ. œ ‰ .

4 4 Œ Œ

HUNGER

q = c48

tense muttering, presto possibile, ad libitum 5

+ + + >+ + + >+ + + + + r o g e o i t o s e

(a t

tense muttering, presto possibile, ad libitum & 5 5 ˘

>+l +e +a +c +o

# [ˀ] # & + + + + + + + + + >+ > > (f e l n g t a i me n w l ä glottal, ad libitum bœ j [] F [ˀ] [] [] r [] ˀ ˀ ˀ ˀ ? R nœ R R R R R J u u uh u ma â 5

(a)

4 4

A.Fl. (in G)

Cl.

(in B b)

B. Sx.

(in E b)

E.Gtr.

+ +

uh u

mo!

Elec.

Vc.

2 4 ( ,)

R R

R J

n äœ R

so!

[]

dee!

3 16

(P)

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. 5

œ # fl F

T T T T T T T T

T T T # nœ ‰. fl sfffz

 

" with

"guiro

iro"

with

fing

erna

o o o harm. gliss. o oo 

& O  III. O  IV. o & III/7. IV/10. > j Oo j ? O P pp 5 p5

Oo     O oo o 

card

3 16

harm. gl

iss.

3142

œ fl ) 4

w/stick

 O

˘¿ . ‰

3 4

 #

͢ 5

EQ ON

p pppp Ú b>œ Ú sub

pppppossibile -

‰.

nœ

p ppp

(m)

Ú >œ Ú

Ú[ˀ] #

sub

ah (m)

œ´ äœ RÔ P pp

®œ´ äœ

3 4

n œ-

œ ...

sub

P5 pp sub

r · flt] ß

ge into brid

˘‚ R

EQ OFF

HANDCLAP

#¿ >

# >¿

sfffz poss. &

3144

b Oœ Œ

tongue ram

w/CHAIN+KICK

was

I said,

cover mouth with hand

˘œ R Ï

THUNDER SHEET

hers,

ah! 5 (m)

O ‰. R Ï

Ú.

-ppp

sub

p 3 j y y ‰ y yy ‰

3143

#˘ œ

‚$

[wh

nÚ b˘Ú #

air tone

˘œ R Œ

poss.

œ sfffz

#œ

drive bow into bridge at frog extreme pressure, all 6 strings



5 4

spoken, quasi-stage whisper

nœ O



r cr edit

o o o 

THAI GONG (damped)

ils o

2 4

3141

sub

"gu

il gerna

fin

œ 96

oh!

poss.

! ˙

card

ha!

oh!

slap tongue (secco)

 ‚. ‚. ‚. #

drag sticks across surface of wooden table

redit s or c

b >œ



& (P) ? œ )

4 4

œ # fl F

ha!

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

V & VI "honey spoon multiphonic"

!Ú ã Ú

3 4 

T T T T T T T T T T T T T T T T

pp ç ˘

sub

äœ œ pp  ç nœ 4 # ´ # # # œ ÿ # œÿ n œ n >œ œn œ 5 ÿ ha! ha! ÿ ha! 3 ha! ah! oh! o! ä ç ´ # œ´ > >œ b >œ n œ n # œ n œ ä  r n œ # # n œ´ n œ´ b >œ J R [] 3 flˀ nu ah! 5 ha! ah! 3 ah! ah! ha!

breath only

lateral brushing

Vln.

[]

( ,)

cont'd ad libitum

ˀ # äœ

ˀ [ˀ] [ˀ]

[]

# äœ . ´ nœ sub

[]

(F)

Pno.

ah! ha! o! ah! u! ah!

a h t e o r

& jw

cont'd ad libitum

u a e)

+ + >+ +u n+ m)

+ +++

h(a) r

 95 çn œ´ ´ ´ n >œ # # œ n œ# œ´ # n œ´

& nw

V O X

Perc.

may!

ho ah!

5 4

'> #œ. ‰ #œ. Œ 5 > ‰ nn œœ .. Œ 5ß - - -> ‰ 3145 . J

SF: whispering, muttering, metallic scraping

ST ˘O b Oœ œ b R ‰ Ø Ï

O˙ ..

slow bow speed, creaking, granulation increased bow pressure

# ¿ ^. ç

3 4

(do not release pedal)

Oœ ..

xSP

Oœ

HUNGER

‰

& (y y y y y y ) 6

Y - la - ja - li...

Œ O

j #œ

port.

( P) 5

q = c54

‰. ‰

it had

pppppossibile

n œ-

A.Fl. (in G)

? #

3 4œ

Y - la - ja - li...

& R ‰ ‚ O

tongue ram

‚

[wh

Cl.

(in B b)

nœ

(in E b)

E.Gtr.

& # ·.

Perc.

Pno.

Elec.

Vln.

Vc.

‰.

(Dist. off) (EQ off)

V O X

b Oo

· # fl ß

4 4

‰.

? ‰

j O$ jO

III/7. IV/10.

(O )

4 4

- - ->

>O( O

[4 n äœ

‰

3 8#Ÿœ ~~~~. ®

port.

OOOOO O p P 6 O

#b œb œ n œ

air tone, low

[6 [4 >œ äœ

j +œ

nœ œ p

# O O &

( b œ)

j œ

gliss .

‰.

. Œ

[f]

port.

j œ

port.

O O

œ p

4 4

. rm ha

Ú( ^ . R

bow body of instrument

o o o harm

. gliss.

ooo

port.

œ ‰ œ.

V & VI

˙.

port.

œ ‰. œ

+œ J

port.

4 4

lateral motion & granulation with bow, sponge damping / harmonics ad libitum Ú slow 

B.D.

w/ superball

5 4

(($($)

j Oœ

nœ

3150 SF: creaking, static/whispy harmonics

(F)

3149

O Œ

port.

j œ

port.

nO bO O nO bO O

port.

#b œ œ # # œ . 5

5 # Ÿœ ~~~~ 4

port.

(bœ )

port.

‰

timb.

3148

[b]

[4 äœ œ

timb. trill

port.

. . #‰

bo-dy...

port.

har

#y y

(Ylajali hears this and stands on counter)

[d]

nœ

IV/9.

port.

101

‰

# Ÿœ .~~~~~~~~~+ œr # # O OO O J OOOOO O OO O

· #

3 8

. harm

from a - ny

j #œ

port.

4 4œ

3147

port.

y y

# # œœ # #œœ # œ ( b œ) #œ nO bO O O bO O O bO O O bO O O O 3 3 port.

xSP ST half-press Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # O- # O # # O- . O # O- # O # On Oo ( O ) Oo 3 r Oo . > & 5 3 5 > O > & P I/5. I/8. o o III/3. o O ooo O ooo O n >O . II/4.l >O OII/11.r >O O oo œ o IV œ o O b œ . nO O + O O ooo jO o o J oo O J œ P O& O ß 5 Oß Oß 5

di-vorced

‰.

timb. trill

l.v.

port.

O O

‰.

j y y y

(Supressing / denying B's outbursts)

(m)

#œ J

possibile

(F)

‰ nO ‰ ‰. b ‡. 5

o.b. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~

tongue ram

xSPhalf-press trill

b Oo

‰

3146

& ‰

port.

pppp # n œ- œ

‰.

j #œ

port.

œ J

100

heavy, constricted breathing

(m)

bœ # ‰ 3 P

? Œ

3 4

j nœ

air tone, low

B. Sx.

O b ‡ y. y. y. y. y. y. flt]

port.

#Œ

a gli - ding sound

whispered: 5

# nœ.

q = c48

poco rit.

pppppossibile

4 4

drag fingernails (or plectrum) slowly and evenly along length of string to produce granulation

(F)

|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

HUNGER

102

5‰ Œ

port.

ppp port.

& #œ

close mouth sub

(m)

P y

Mine,

œ ‰.

(in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

Perc.

Pno.

Elec.

Vln.

Vc.

Œ Œ

4 4

P 5 y y y y y.

# # œœ

# #O

BOWED CYMBAL

# O$ O & 3

b O. #nO

Œ Œ

5 # œ4

to - no

port.

[lo]

‰

· ‰. Ffl

P ¿¿¿¿ ¿¿¿¿ ) Oo

# O$o Oo

II/5.

l.v.

‰

j #œ

port.

nœ

nœ œ -

O - llu

b˙.

3 8

- - ->

3153

b Oo

ORD

J P &

port.

#nœ #>œ . œ #O > [me-nos] 3 P p% 5

4 b œ4 ˙

‰

‰.

- - ->

( )

Œ = j œœ œœ J 3

half-press harmonic trill

Oo pp

sub

port.

#œ ##

port.

nœ

œ. O

Oj +œ

dœ Ú Ú y y y y y

‰

l.v.

3 Œ P yj

her

cont'd ad libitum

Ó.

5 4

sealed embouchure flatt.

‚æ.

·æ

" Œ

WHAMMY: !2 OCTAVES

w/ superball

œ J

$ · ¡¡¡¡¡

VI "honey spoon subharmonic" extremely slow bow speed

Ú Ú ¡¡¡¡¡¡¡¡ Œ %

B.D.

nœ J

q = c60

œœ ‰ .

˙˙

o - i - to - o - lo - i - o - ou - lo - me-nos

bœ

nœ J

" l.v.

5 4 4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 Oo (Oo )

107

" ‰.

3154

bœ

nœ J

œ.

" 1`4523Bcw E

nœ

pppppossibile

72 B/B b -6 +C2

ä >Oo > >o # Oo n Oo > b >Oo >o n OoB n OR n Oo > n>Oo n O b Oo 5 3 Ï 5

œ p

#nœ œ.

port.

" Œ

ORD

[t]u - o

!% 3 n œ bœ œ # œ b œ n œ n œ ‰ ‰ ‰ nœ œ nœ nœ bœ 3 5

l.v.

w/Ylajali

n œ œ . œr J nœ œ

œ Rn œ

molto rubato

‰

j dœ œ

accel.

senza vib.

#œ

# O$o Oo

IV/4.

o.b.

‰.

6 [ >

p &

[u]

brush w/fingertips

3152

She did not ex - plain...

" Ó

#y y y y y y

port.

" Œ

port.

106

port.

j œ

[t] o

(s)

3 8

[o]

o.b.

nos

#OO

3151

port.

air tone, low 3

j d¿ œ

palatal click

spoken:

n œ bœj n œ b œ n œ # # ‰ #œ œ

whispered:

molto rubato

Ou - lo - me - nos...

105

y # fl

spoken:

104

was Ou - lo - me - nos

V O X

she said,

OŒ

j y y

[

to Bass Clarinet

E.Gtr.

( P) ‰ y y y y y y. whispered: 5

& &

4 4

A.Fl.

103

q = c40

3155

n Oo Oo

II III

Oo O

5 4

3156

xSP

O ?

"scream"/scr

atch. gliss.

# Oo O O O œo œ œ œ &

xST

HUNGER

& y

(in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

Pno.

Elec.

Vln.

Vc.

inhalation ) & (P 3

‰ (F)

moaning, imitation of Ylajali's contour, indefinite pitch

and moaned...

molto rubato

#Œ

P #y 110

109

moaning, breathy

j Ú (b œ )

j =œ

port.

#bœ ¿nœ .

palatal click (unvoiced)

j (d œ )

palatal click + grace note

port.

j j nÚ jxœ

#œ

j (d œ )

n œ # œ-

port.

5 o o

d äœ

j ¿ j bœ

y y

Her

(click should be synchronized with onset of specified pitch)

j rœ

port.

#œ

j ¿ ÿ

[θ]

# y y

flick-ing

u - vu-la

ä n œ´ ´ # œ´ #¿ œ œ # ‰ nœ bœ n œ n œ´ J Oo

‰

j ¿

port.

j y

111

with

# n œ . (Dœj)

j jœ

o's...

j nœ

palatal click (unvoiced) 5

‰ b œ nœ ¿ # b œ b œ

port.

-llu -mai

œ nœ nœ

#n œ # œ n œ

œ nœ.

" [6

# # œœ .

p /F

" 54 B/C # -1

& Ó.

( )

r = œœ

. ¡¡¡¡¡¡

#Œ

? Œ

(Dist. off)

EQ ON

(or Thai Gong/Metal Plate)

5 4

& Œ

' ‰ nœ.

L.H. hammer on

bœ #

j n œ.

bend

O j n œ.

J Œ

dœ

port.

Œ # n O # O nœ.j b‡ J F fl5 p

j n œ.

‰

#n œ n œ b œ

œ bœ.

" bend

" ## œ

bend

# nœ.

j n œ.

j nœ

bend

EQ OFF

w/tip of stick, slowly drag with high pressure

molto rubato w/Ylajali

œœ

port.

˙˙ ..

# ‰ # n O # n œ. œ #O # O b‡ & n ‡ÿ n ‡ÿ fl F F 5

CHINA GONG (damped)

& Ó.

port.

`23456Cc E

ã Œ

V O X

tongue ram

#b œ

low, breathy microtonal portamenti and tongue rams, ad libitum

& AD LIBITUM

E.Gtr.

Perc.

o-pened

‰

5 4

A.Fl.

‰ y Œ y 5

mouth

q = c48 molto rubato

rit.

108

bœ

nœ. #n œ

j nœ

j bœ b œ J

nœ

‰ b œ n œ nœj

delays: guitar, piano

3157

j bœ

- - ->

nœ

bœ J

nœ

nœ nœ n œ œ # ‰ #œ nœ bœ bœ 3

# bœ.

nœ J

3158

SF: rev. fluttering, high frequencies

bœ J

¿¿ ¿¿ xSP I

‰ n œ #œ #n œ n œ 5

œ bœ bœ

3159

broken, fragmented, gasping

moaning incomprehensibly

at frog

w/bow, elliptical motion

Œ b O>O

P pp6 sub

¿¿ IV ¿¿ xST p P sim. ad libitum III

‰

extremely slow lateral motion to produce granulation, with sudden changes of speed and direction 3

Ú Ú

‰.

xSP n Oo O

IV/5.

xST

o.b. / xSP / semi scratch tone ad libitum

112

A.Fl. (in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

q = c38 "Frozen Time"

Pno.

Vc.

bœ

n >œ œ n œ nœ æ n œ. n O œ œ æ # œ Fp b 6 Fp Fp PFfl‡ F pp pp

& æ #‚ p

flatt.

port.

sub

`23456Cc E

& Œ Œ

( )

b œ$

arco

EQ ON

j y 5 y y.

4 4 port.

bœ R

port.

(P)

# 6 6 y y y y

p œ ppp

nœ

R nœ

cut out

and

[t]

[k]

#œ

y´ # ‰

y´ ‰

5 [e]

[a]

œ n œæ.

nO bO ‡ fl F

‰

#O # #œ n‡ & fl

‰

slap tongue

# nxœ fl

‰

œ R œ ...... 5 fl

senza vib.

—

bite reed, as high as possible

3160

& ?

nœ R nœ

bend

tongue ram, secco

$ ‚

n¿ # fl P laterally,

—.

nœ

#œ.

œ nœ J 3

4 4

nœ

nœ R

bœ

u - lu - la-ting

nœ œ J

no(s)

# y´ # y´ # ‰ . 5

[ka]

y y y y 5

œ o-lo-i-to-mai

˘‚

frog to bridge at

[g]

115

œ.

(F)

y´ # y´ # y´ # [p]

[k]

4 8

> ®.

‰.

nœ

#œ œ J

gasping

3162

Oœ

‰

Oœ #œ R . . . . . . . . bn Oœ xSP

ORD

P œ œ

lateral motion

jeté

port.

" "

( ƒ) Ø quasi-legato

stop air

¿˘ Ú (restrained) J J

3 8

THUNDER SHEET (w/Kick+Metal Chain)

r nœ fl

j ¿ œ¿ > sfffz

B.D.

(nearly yelling)

j œ

F pp .

sub

— . teeth on reed

‰

poss.

drive bow into bridge at frog extreme pressure, all 6 strings

at frog laterally, to bridge

˘‚ J

ist an

3 8

3163 xSP

r #>O . xxOO ® J Ffl F pp

— J

bend

port.

ah!

4 8

O Oo

(with some pitch)

®‚.

j lO O j j Oo Oo O œ. . . . . . . % xSP

port.

slow lateral motion, sponge damping / harmonics ad libitum

SF: increasingly chant-like, indefinite pitch

ORD

. R

(or Thai Gong/Metal Plate)

II/5. III/7.

sub

CHINA GONG (damped)

F pp

Œ Œ

soft, dissonant multiphonic pitch bend as libitum

‰.

Œ j Œ xœ fl abrasive, high multiphonic # ad libitum

116

abrupt interruption Pglottal ˘ of breath ˘ ˘ ˘ y [ˀ] ‰ y # y # # y ‰

(s)ah [t]

[uh]

accel.

parts

slap tongue

<- - -

3161

. nœ ‰ b‡ Ffl

œ Rbœ œ œ œ œ œ

‰.

damp w/L.H. drive bow into bridge at frog extreme pressure, all 6 strings

EQ OFF DIST. ON

nœ œ #

her

tongue ram

(! ) œ

(all)

(inhalation)

V O X

o - llu-mai-o

y´ ‰ .

glottal

6 J

sub

P y´ ‰ .

# 1‰

to take the knife

œœ œ b(œ œ

whisper

y y yy

bœ

I were

r l ww

sub

54 B/C # -1

HUNGER (increasingly irrational in character -- the role of Soprano and Baritone are in flux. Inner self having been silenced resulting in less urgency, more restrained character) click 114 and casually: unvoiced stage 5

nœ.

port.

sealed embouchure flatt.

œ bœ J

113

" bœ œ #

bœ Rœ

Elec.

Vln.

spoken, lightly

E.Gtr.

Perc.

q = c44

port.

œœ œ

c tal

p ra

œœ œ

3164

sub

l.v. - - ->

3165

xSP

# O>. J r ® ¿ ¿ fl F F pp sub

port.

34 117

S Y

(in G)

Îf

# >œ œ ? ‰ J

(in B b)

n >œ 3

ah!

ha!

(in E b)

j & ‰ n >œ œ z

Îf

bœ >

119

" # >œ œ # J

>œ J

ah!

ha!

>‚ ‚ ‰ ‚

j #œ œ j > bœ > 3

o.b. / xSP ad libitum

sfffz poss.

Perc.

>¿ ‰ 2‰ ã BONGOS

‚‚low strings ‚> ‚‚ ‚

j ‚‚ ‚

#¿ >2 j

THAI GONG

‰

THUNDER SHEET w/CHAIN+KICK

& ‰ #œ œ nœ œ > ? Œ ƒ

‰

Pno.

sempre

Elec. port.

Vln.

>‚ ‚ # ‚‚ ‚‚ J

j ‚‚ ‚ >

Œ.

# >2 3

j ¿

‰

j ## œ œ nœ œ > 3

l.v.

5 8

3166

‚‚ .. ‚‚ ‚‚ .. ‚ >

#œ‰ >

LOW TOM

l.v.

j œœ > )

# nœ >

scratch tones/half-press harmonics indefinite pitch

sfffz poss.

abrasive multiphonic + vocalization fall (w/vox)

ç pp sub

# >˙

z dirty, gritty sound, with vocalization fall (w/vox)

5 4

#nœ. nœ. >

laterally, to bridge at

ç pp

j 2 2

# >˙ n˙

w/ superball B.D.

1`4523Bcw E

xSP

Oo f U

+ Oo .

"/scra

tch. g

+ Oo sfffz â

liss.

" ‰

ooo

har

3‰ 8

s. glis

har

glis s.

ooo

oooh

ss. . gli

arm

4 4

3169

ooo

xST

J ooo j

glis s.

w/ superball

l.v.

( F)

" magnetic tape must be threaded under-over-under these three strings

(($($) Ø

- - ->

SF: muttering

Oo P

% har

3170

xSP / o.b. ad libitum

Oo .

œœ VOL: fade

b n b www )

xST

Oo . . . . . . > P

(P)

jeté

ooo

n ˙ . dark, subdued P

˙˙ .. P

3168

xST

TAM-TAM

- - -> l.v.

n ˙ . dark, subdued P

$remove HONEY SPOON

xST

'flick' honey spoon "bomb" effect

3 4

wide vib.

poss.

yyyy yyyy

xSP

œœ Œ R

( )

ORD

4 4

3 8

72 B/B b -6 +C2

brush w/fingertips

l.v.

# Œ

= j œœ ....

"scre am

l.v.

Y - la - ja - li...!

Multiphonic [5+9+13+4]

3167

˙ ˙

œ âƒ

˘‚ ‚‚ ‚‚ ‰ . ‚

frog

# y

nœ â ƒ

sfffz poss.

sub

3 4

n >˙

>· ·· ·· ·

( f) 5

stage whisper

122

exhalation

ha!

sub

121

sub

# ‚‚ ‚ > B.D.

sub

q = c48

120

ç pp

>2 3 Jj #œ ¿ >

n œ falsetto

Ó #œ. œ>

nœ >

ç p >

# >O O > SP ST ±o > n O 5 >O O >O >O >n O n SP b n > # O > > ? # O > b O n O O > n O #O n O # O >n O >b>O n >O n O n >O n >O pp # >O n O > > > 3 > 5 7 port.

Vc.

±o J

l.v.

# œœ )->- ->

ah!

j œ

WHAMMY: HARMONIZER 22 (!4th)

V METAL PLATE / PIPE O X

5 4

n >œ .

improvised run, vocalizations ad libitum

bœ ˙

‚‚ ‚ J

# bœ > uh!

sub

high strings

c.7-10"

â pp sfffz poss.

(leave in HONEY SPOON)

EQ ON

j œ

(Dist. on)

E.Gtr.

œ J

with voice, as abrasive/distorted as possible

wild fall, w/vocalizations gritty, ad libitum

B. Sx.

5 8

B. Cl.

118

A.Fl.

HUNGER

q = c60-66

xSP / o.b. ad libitum

ooo

slow bow speed, lateral motion, creaking, granulation increased bow pressure har m.

ooo

^ â F

1 c.3"

↓ & Œ

123

gently

#j. Œ

she lay down

( Œ)

? Œ

A.Fl. (in G)

B.Cl.

(in B b)

B. Sx.

(in E b)

& &

Pno.

)

2 c.6"

↓

nœ. O

Dry

as softly as Dryope,

œ J

port.

O simj ad libitum

j # œ. n œ œ

‰

port.

- Dry

Ø j 

bœ # œ. œ. œ. œ. b œ œ

‰

port.

-o

j # œ. œ. œ.

b œj

‰ =œ.

œ J

- o - pe

 +˙ j #œ ‰

n .

j dœ ˙

n˙

+ œ ..

-pe

microtonal fluctuations & small pulsations ad libitum

port.

Dry

œ +˙ . ®

Dry

turning into a lotus

tone nwhistle ·o

↓

‰

↓

bœ

prestissimo possibile

pppppossibile

lu lululululululu

cont'd ad libitum

w/ sponge, very very slowly

EQ ON crackling

↓

TAM-TAM (bowed)

↓ ·$

(($($)

↓

( Œ)

sim. ad libitum

www

www P

3171

3172

www SF: pulsing

↓ ↓ molto rubato ↓ III IV/6. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b O . b œ. 2

w/ Ylajali

b Oo

( Oo )

III/[3+8+13+5] o trill rO. Ÿharmonic ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? =O. ^ ( + Oo )

3173

Vc.

(

125

( Œ)

Elec.

Vln.

↓

AD LIBITUM

molto rubato senza vib.

Perc.

ppppp

sub

ad libitum

( Œ)

DIST. OFF

V O X

35 1 c.8"

2 c.8"

lu lu lu lu lu lu lu lu prestissimo possibile

( Œ)

E.Gtr.

ppppp

sub

gradually open / suddenly close

bœ

↓

‰

ppppppossibile

seal mouth entirely with length of finger

‰.

↓

124

2 c.6-7"

↓

(Ylajali lies on counter again)

↓ & ( Œ)

HUNGER

1 c.8"

senza tempo

II/9.

Oœ J

port.

 j j O nb Oœ œ.

O ‰ œ

Oœ

↓

port.

Oo . molto legato O.

j  Oj O œ. œ. œ. œ. œ

O ‰ œ

Oo . O.

3175

sim ad libitum

3174

Oœ

port.

j O œ. œ. œ.

Oœj+O . ‰ + œ.

Oo . molto legato O.

Oœ J

port.

↓  d j #O + O˙ # œ. ‰ O

r Oo =O

nbO˙ ..

j dO Dœ

& O

sim. ad libitum

bb O˙

↓

d d O˙

+d O˙ ..

Oo O

Oo . O.

sim.

Oo . O. 5

Oport. O J

senza tempo 1 c.3"

breathy, nearly a stage whisper ↓ p & ‰ Flesh crept up to co - ver

126

2 c.5"

P↓ her

clothes,

b˙. o

(in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

Elec.

pppppossibile

↓ Œ

c.2" 3

‰

and I...

( ‰)

a rich man be - fore his rich

closed mouth

(m) (n n n n n n)

She was...

↓

b˙

ã ‡ (F)

↓ ( Œ)

↓

push fingernails or drumstick along wooden surface

‰

‡) œœœ # ( F l.v.

3177

3176

$o ? jj OO port.

O˙

Oo O

port.

# # O˙ .. ↓

Oo O

↓

Oo O

Oo O P

sempre

ppp

‰ n œ # œ # # b œ ‰ n œ # œ # # bœ 3

port.

7 4 Œ

# 'n äœ

‰

# + äœ ‰

ç ç

‚$

# >¿

METAL PLATE / PIPE

‰

! # n œ # œ b œ # œ œj‰ œ œ # œ œ ‰ œ œ # n œ œ œ ‰ œ œ # # œ œ # b œ œ J R 3 3 pp 3 3 3 3 3 3 3 3 3 3 3 '3 n äœ Œ Œ Œ Œ ‰ & # bœ ‰ ‰. Œ #n œ œœœ & ß secco sempre

b b www P

( Œ)

magnetic tape must be threaded

ORD

↓

$ under-over-under these three strings

w/palm

↓

port.

(m)

EQ ON

push fingernails or canister along wooden surface

↓ nn O˙ &

B.D.

port.

V & VI "honey spoon multiphonic"

↓ exh.

r Œ œ.

" 1

port.

‚æ.

(F)

senza vib.

Ooo3

n˙

↓

V O X

sauce...

2 sealed embouchure flatt.

ppp b œ œ #n œ # b œ œj‰ n œ œ #b œ œ ‰ n œ œ # b œ œ œ ‰ n œ œ # # b œ œ # n œ œ J R

sempre

port.

( Œ)

↓ Œ

port.

q = c28 "Quite slow"

128

↓

( Œ)

silently insert HONEY SPOON between strings V & VI EQ OFF

˙.

b˙.

whispered:

c.4" 2

p ↓

III/5. IV/7.

Vc.

cont'd ad libitum

Vln.

↓

prestissimo possibile

Pno.

127

her groin...

lu lu lu lu lu lu lu lu

E.Gtr.

Perc.

en - fold - ed

↓ & bœ &

O n œ- œ- œ- œ- œ- œ- œ- ‰

A.Fl.

‰

HUNGER

c.2-3" 1

↓

7 4

3178

# n œSPœ .. #

˙˙

b œSPœ ..

˙˙

flautando

xSP

3179

II III

flautando

HUNGER

senza tempo 1 c.3"

↓P & ‰

129

↓ ‰ #n œ œ œ ‰

↓

I dis - till the e - ter - nal from the tran - si - to - ry

& œ œ ?

(F) j

(in G)

B.Cl.

(in B b)

B. Sx.

(in E b)

r# O

still Ø

1`456Bc

# y y y ‰

↓

would she wrap her - self

131

#y y y 5

in but-cher

y y ‰ O

the still

# r# e

di-still

( Œ)

+ b ˙˙ ..

the e

®r # &

still

( Œ)

↓

↓ # r ®r #

the e

·.

di - still

j œœ ( Œ)

e - ter pppp possibile

the

[ha]

nal the

[b]

3 8

↓

[p]

sealed

Perc.

Pno.

V O X

( Œ)

↓

ã & ( Œ) (')

↓

36 B/A -26

1`345cA

& œ #œ 3

‰

# # nœ œ # œ ‰ n œ œ nœ œ œ 3

bœ œ nœ # ‰

‰

# bœ œJ 3

( Œ)

$o ? #ljOO .. O

O O

↓ Œ

( Œ)

3 8

SP n n œ>œ œœ # J

‰ nœ œ œ ‰ senza vib.

↓ po

rt.

#n œ œ↓ œ ## œ ‰ 3

port.

œ J

œ œ port.

3 F p sub

molto legato

soft rearticulations

cont'd ad libitum

œ œ

˙˙

œœ VOL: fade

j y

Œ 3182

rj #œ œ nœ œ

#œ œ n œ> œ

↓

flautando

3181

↓

cont'd ad libitum

# + Oo

iss. o. o o harm. gl

s. o o o harm. glis

with pick

(F)

Y - la - ja - li...

˙ ˙

r j n b œœ œœ > P

‰ y.

jœ œ lœ œ RJ P

crumple newspaper

cont'd ad libitum

III/5. IV/7.

↓

œ œ # # nœ

3180

↓ & ( Œ)

↓

flatt.

( Œ)

Vc.

Elec.

Vln.

↓

# r # r # r r r # r ‰ # . . . . # O n ‚æ ‚æ ‚æ ‚æ from I still di - still still O n ‡ >f p >f fl ç

↓

5 4

(F)

stage whisper

tongue ram embouchure

DIST. ON

‰

( Œ)

EQ OFF

[Sh–]

↓

( Œ)

#Œ

˘ # ˀ ‰.

˘ ‰ ˀ

# r # r ®r # . j ·

↓

·.

air tone, low

( Œ)

glottal

132

‰

pa-per...?

poco cresc.

q = c48

4 c.1"

# y y y y y

af - ter-ward...

cont'd ad libitum

↓

49 B b /B -23

& Œ

E.Gtr.

& ( Œ)

3 c.2"

↓

↓P

œ#

port.

2 c.2"

port.

A.Fl.

stage whisper

↓ & Œ

port.

nœ œ # J

130

(m)

# # bœ œ œ ‰ n œ œ bœ œ œ

‰

3 c.1.5"

2 c.2"

spoken, breathy:

1 c.2-3"

ooo

‰

#Œ

3 4

Ó Ó

DIST. OFF

l.v.

5 4

3 4

- - ->

3183

Oo . o o o o o Oo

o o o ha

ss.

ooo

Oo . o o o o

o o o ha

liss.

ooo

P P

rm. gli

rm. g

o o o harm.

gliss.

ooo

gliss.

ooo

38 133

A.Fl. (in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

& ‰.

b œ œ # œ œ ®œ œ œ # œ ® œ œ

(

& ?

3 4

# >œ

senza vib.

& # & #

U ˙

5 ç

DIST. ON

y y

U ˙

her mouth

exhalation

# y

tongue

‰.

bœ œ bœ R

œ ..

œ.

( f)

[in]

pvoiced

# nœ

mouth

n >œ

œ ##œ

nœ

>¿ ¿ # ã F

l.v.

Pno.

'> nœ b & # œ

U ˙ ˙

5 ç

U ˙ ˙˙

> n #n œœœ # &

my tongue

her

‰.

Vln.

3 4

P 'n œ

3184

näO & #n œ ? #

5 ç

# äœ

ç 5

U O˙

Oœ ..

c.6-8"

U œ

œ.

I/3.

n>Oo

&ß

port.

Oo .

n n Oœ J

Oœ

port.

tongue

‰

bœbœ nœ nœ

nœ nœ #œ

l.v.

> # # Oœ

O˙

n >O

O ..

F pp sub

O R O

[mouth]

jœ # œ . O

sim ad libitum

‰

jœ # œ

port.

nos...

j œ. R

(s)

(Oumenos is living one scene, transaction in a butcher shop while inner self is living a more intimate transaction)

5 4

#‚ ‚ ‚ ‚

port.

#[ou] [me]

‰

w/palm

jœ # œ . O

#Œ

4 4

port.

jœ # œ

port.

[nos]

www

3188

# + >O . P

j œ. R

DIST. OFF

5 4

delays: guitar

Multiphonic [4+11+7+3]

5 sim ad libitum

(($($)

under-over-under these three strings

œœ Ó R

port.

& (F)

DIST. ON

slow bow speed, lateral motion, creaking, granulation increased bow pressure

. >^ ƒ

‰

##œ.

( ƒ )magnetic tape must be threaded

œœ ..

[mouth]

w/ Ylajali (pizz or hammer on) bend

b n b ˙˙˙ ... > )

- - ->

[mouth]

œœ ....

l.v.

port.

Œ = r œœœœ R ( )

1`4523Bcw E

[ha]

nœ nœ bœ bœ

port.

[ou] [me][nos]

72 B/B b -6 +C2

˙ >f

port.

(F) B.D.

4 4

3187

. Oo .

exh.

3186

3185

delays: guitar

r . bœ œ nœ

port.

‚æ

#œ ‰ nœ R bœ

·æ

œ.

bœ œ # œ œ # œ œ ‰. 5

# #& œ.

port.

sealed embouchure flatt.

- - ->

Vc.

port.

[her]

# n œp

sub

!# œ

‰.

nœ œ J

r5 Œ œ

137

port.

nœ œ.

DIST. OFF

‰.

[her]

l.v.

œ ‰. bœ œ # œ œ # œ 5

c.6-8"

Elec.

port.

‰

V METAL PLATE / PIPE O X BRAKE DRUM

Perc.

136

[in]

Œ Œ

port.

sub

F pp

œ # œ 5

[in]

F pp

n >œ

‰.

. ˀ ‰.

œ R Œ

œ # œ

port.

(m)

#bœ

‰.

ppp 5

nœ œ

voiceless

# O >‚ ‚æ æ

her

(F)

sempre

‰

y y y y be-came gro - tesque

135

n˙

port.

y #

sealed embouchure flatt.

'$ #œ & # 5

U ˙

5 Ø

œ.

c.6-8"

#œ

‰

U ˙

n >œ

HUNGER

sensually

c.6-8"

5 ç

& #

)

mou in esque /b/ te her th /ngue/ ca my to /meh/ gro

q = c48

134

arco

E.Gtr.

c.6-8" U

muttering, ad libitum, extremely delicate

O # O. & F>

O O # O O > & ß

r O. &

HUNGER

q = c60

1 c.4-6"

138

(in G)

B.Cl.

(in B b)

? Ó

(in E b)

& Ó.

Pno.

Elec.

& ‰

m.41b

¿# fl ç

91 B/C -3 +x

12x`456c

w/CHAIN+KICK

& Ó.

snap pizz.

her pre - slaughter eyes

She lay be-fore me

The breast meat

bœ O

( Œ)

whispered:

(on lamb chops mint jelly goes best)

˙ ..

↓

œ↓ R ( Œ)

( Œ)

↓

œ ‰.

METAL PLATE / PIPE

↓

¿ >

CHINA or THAI GONG

j œ > ç

(damped)

> b # œœœœ .... #

‰

# œœ .. )

4 4

- - ->

'ä # n œœ .. #

>Ÿ~~~~~~~~~~ OOo ( OO ) OOo

l.v.

Oo Oo Oo Oo O Oo o r Oo Oo Oo Oo œ œ œœ œ â prestissimo possibile

sfffz poss.

↓

3191

indefinite pitch half-press harmonics e.x. IV. open, III/6., II/7., I/8. 6 6 xSP

↓

Ó.

l.v.

half-press harmonic trill

B.D.

3192 ST

VIDEO: Soprano with Meat Cleaver in hand

↓ œœ ‰ . O

3193

SF: fragmentation of text

o o o harm. gliss. o o o

. liss .g

‰ b¿ > ç

+ n OOo

III/8. IV/11.

↓ Œ

xSP

(can I see your breasts)

spoken:

vocalizations

tch

j œ

SF: external sound, such as a cash register ding

ad libitum n äœ . ˙. #b œ . ˙.

# >¿¿ ..

3190

Œ & ‰ b¿ >

3 Œ P yj y y y y

EQ ON

3189

? Ó.

↓

crackling

LOW TOM THUNDER SHEET

breasts

3 c.4"

↓

whispered:

vocalizations

ã Ó.

Her

2 c.3"

↓&

4 c.2"

(Ylajali is lying on counter, & simultaneously conducting a normal transaction with Oumenos -- one in video)

4 4˙.

 œ

whispered:

Merchant!

n+ äœœ. ad libitum n œ.. n œ.

nœ. J

↓ Œ

'> . ## œ

V O X

5 4

‰ #

140

>y >y

a scr

Vc.

m.41

snap pizz.

Vln.

1xqewr5y 1sqwer5y

& Ó

E.Gtr.

Perc.

ç> > y y

Goat heart!

tongue ram, secco

B. Sx.

139

shouting:

5 4

A.Fl.

senza tempo

repeat ad libium, speed follows dynamic (softer/slower)

↓

#œ.

˙ ..

very little explicit pitch, always scratch tones 6

Oœ

O Oo o Oo Oo Oo

↓

œ Œ R

poco vib.

senza vib.

O o o o harm. gliss. o o o

O Oo o Oo Oo Oo

'#flautando œ nœ O

o o o harm. gliss.

ooo

HUNGER

40 1 c.2"

↓ & Œ

141

# y y y y‰ 5

(on the coun-ter...

2 c.3"

↓

#y y y y y 6

for

in - spec - tion...)

‰

1 c.3"

3 c.1.5"

( Œ)

↓

142

2 c.2.5"

↓ ( Œ)

? #&

(a slab)

A.Fl. (in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

↓

( Œ)

↓

#œ nœ J #œ

( Œ)

‰

good

I've such a dis-cern-ing eye...

↓

senza vib. r n œ œ œR œ . nœ œ. 5

the lamp - light

And

P ‰ y y yy #y y y y y y y ‰

spoken, breathy

↓

V O X

↓

œ œ >p &

3194

? "

↓

↓ w & w

↓

EQ OFF

↓

B.D.

Elec.

Vc.

↓

Vln.

↓

Pno.

whispered, muttering

2 c.2"

↓

E.Gtr.

Perc.

143

Youare lucky -

↓

(The intelligent poor individual was a much finer observer than the intelligent rich one...)

1 c.4"

↓

xSP

o o o harm. gliss. o o o

xST

O 6

O Oo o Oo Oo Oo

sfffz poss.

bœ

nœ nœ J

r bœ œ nœ œ.

œ- œ . R

↓ ‰ #œ

senza vib.

w o o o harm. gliss. o o o

↓

- - ->

# ↓w nw

O O

( Œ)

2 senza vib.

‰

3196

3195

w/Ylajali

↓

flautando

j Oo

III/7.

HUNGER

1 c.3"

144

2 c.3"

↓ (P)

to herself: spoken, nearly whispered, gently 5 6

& #

(This is

? ( Œ)

no light

‰

(in G)

B.Cl.

(in B b)

B. Sx.

(in E b)

E.Gtr.

fed

Pno.

Elec.

Vc.

‰

(P)

spoken, breathy, nearly whispered:

↓

(a rich man

pause

be-fore his rich

↓

( Œ)

# r j sauce

$ ST n >˙ .

ç # >Ú

# Œ

5 8

DIST. ON

↓

V O X

ã ( Œ)

TAM-TAM (bowed)

>œ$

↓

(($($) ·.

( &)

( p)

? ˙.

>˙ . ˙.

EQ ON

>˙ ˙ >˙

>˙ .

↓ SP

↓

>œ œ P

>œ P

˘ n >Ú Ú >Ú Ú ‰ 5

b >œ

5 pp F

n >œ

‰

œ J

F pp sub

4 4˙

sub

‰

your - self!

œ J

 œ

œ-

> (> n œ nœ œ R ç 5

(P) j



whispered:

did

œ  ‰.

‰

œ  ‰.

#œ > ç > b bn œœœ #

l.v.

œ > n >œ bœ

ç6

# n nœœ œœ bœ œ > >y y y3200

5 8'

> rb œ nœ > 5

n >œ R

# >œ

ç5

œœ > >œ b >œ œ >œ bœ œ œ R

6 at

xSP

‰

Œ.

y y y ‰. - - ->

œ.

‰

(criticizing himself)

œ.

self!

4 4

3201

œ ˙

 OO

BOWED CYMBALS (mounted in opposition)

‰ ‰

l.v.

your

‰ l.v.

(baritone in electronics)

Look

‰.

B.D. 5

œ œ  ‰.

bœ

œ ‰ .

˙ ˙ ˙

w/stick

‰

sub

LOW TOM 6



œ. œ.

did

œ.

xSP

3199

↓

your - self...

sub

& 3198

Look

F pp

↓ ˙. & ˙.

3197

'> bœ #

↓

‚ ( P)

↓

(> ˙

look

# œœ Ú

& ( Œ)

n œJ

senza vib.

146

(F )5

‰

(Ylajali briefly becomes aware of soprano)

Vln.

(soprano steps between them)

( Œ)

by cle - ric

Perc.

↓

145

c.3"

(whispered under her breath)

A.Fl.

4 c.1"

3 c.2"

↓

q = c48

‰ œ

# >œ nœ P

 œ œ

l.v.

DIST. OFF

Œ Œ

l.v.

œ 3202

# >œ nœ OP

 ˙ ˙

ORD

 ˙

HUNGER

senza tempo 1 c.2-3"

↓F spoken, breathy: & ‰ to baritone:

147

2 c.4"

‰

↓

Dead hair on your shoulders!

148

& ?

(in G)

B.Cl.

(in B b)

B. Sx.

(in E b)

(taking a flake of skin from his own arm)

↓.

j ˙. &= ˙ . &

œœ

( Œ)

Perc.

Pno.

Elec.

ã &

nœ #œ

nœ

? bœ nœ

nœ #œ

bœ nœ

3203

' ↓> nw nw &

2 senza vib.

? bw nw > %

>Ú J Œ

1 c.3-4" 150

↓

w w w w

j Œ (F)

3 4

DIST. ON EQ ON

> z

vox + abrasive multiphonic z ad libitum

‰.

# 5

>z >

‰.

> J Œ

‰.

>z J Œ

‰.

> J Œ

# œ# œ ¿ ¿ 5 sfffz poss.

3204

œ. œ.

poco vib.

œ. œ.

poco vib.

LOW TOM THUNDER SHEET

3 4

3205

œ äœ . œ œ.

ç5

molto vib.

œ bœ . œ œ. â ç

m.17

ex1r5yw

9 6

‰

lightest of thoughts

3 8

↓

‰

(biting his finger)

( ‚ > ¡¡¡¡¡¡¡¡¡¡¡¡¡

VI "honey spoon subharmonic" extremely slow bow speed

(F)

>‚$

(> ‚

V & VI "honey spoon multiphonic"

drive bow into bridge at frog extreme pressure, all 6 strings

$‚

dge at frog

laterally, to bri

↓

˘¿

w/beater 3

B.D.

œ >

w/ superball

œ Œ >œ >- - -> (dol.v. not release pedal)

4 4

" ‰

pppppossibile, scarcely audible

#b œ # œ ‰ . >n œ > œ > >

molto vib.

‚æ ·æ

↓ œ¿ Œ

The

151

(w/Kick+Metal Chain)

sfffz poss. 5

‰

>¿ ¿

j y y

gently

of thought

whistle tone, ad libitum

↓

>¿ ¿

sealed embouchure flatt.

q = c48

(*Video will simultaneously show sequence: "My desk" -- "Mange! Mange!")

œ ‰.

r y y

The lice

‰

(had I been wiping my eyes?)

vox + abrasive z multiphonic ad libitum

3 8

of the pro-nouns

(Oumenos retreats to corner of shop like a shamed dog)

METAL PLATE / PIPE

the fil-thiest -

‰

↓

spoken, breathy 3

CHINA or THAI GONG (damped)

j œ

2 c.5"

Pr #y y y y # y y y y ‰

↓ ‰

disgusted

( Œ)

scratch tone, at bridge 6 strings, damped

senza vib.

Vc.

( )

↓

Vln.

1`4523Bcw E

1 V O X

B/B b -6 +C2

E.Gtr.

‰

O 72

˘y R‰ I...

I...

œ # breathy nœ œ.

n >w

ç # >y

3 8

humiliated, to Ylajali (desperate, pleading)

A.Fl.

> > #Ú #ÚÚ

senza tempo

(S is taunting B, while Y is trying to coax him back to a lighter scene)

" ↓ w>

149

Dead skin crusted on your sleeves

q = c60

Video: "My desk..."

3206

äœ œ œœ

äœ œ

œœ œœ â

œ œ â

3207

electronics overtake ensemble

3 8

Video: "Mange! Mange!"

↓ O O

o o o harm. gli

ss.

œ œ

Ú Ú

ooo

↓

+ + OO ..

scrape

3208

˘y

4 Ï4

SF: sound like a 3 paper cutter

O O

oo o o o harm. gliss. o 3

O O

extremely slow lateral motion to produce granulation, with sudden changes of speed and direction

152

(in G)

B.Cl.

(in B b)

3 ‰ y y y (y ) y y y yj y

bœ.

# nœ

? ‰

‰. >œ

R nœ œ

& æ œ > &

tongue ram

O # œæ œæ. œæ œæ # # O O b œ . > b ‡ F> b‡ ‡ & fl F ßfl fl 5

port.

‰ yÿ # ne

& ‰r l œœ ˙˙ .. ( )

DIST. OFF

Perc.

Pno.

Elec.

Vln.

Vc.

ã œ & ?

( f)

possibile

w/ superball

4 4 O ..

O .. O

a dog

n œa

‰

3 8

4 4

[]

[g]

y y#y yy 5

ea-ting

˘ Ú Ú [ˀ] # [ˀ] # ‰ ® ‰ 5

do!

its own

skin

[g!]

[fft]

port.

ä n b œœ

#‡ ‰

5 low, grotesque

F5 F

F pp sub

œ œ. > P

poco vib.

b œ-

Œ p

# .

[a]

`23456Cc E

˘ œœ œœ ‰

‰r =œœ œ. F 3 ( )

‡.

[do]

[o]

# . ‰ [tion]

# ‰ [si]

$j # n œœ

j .

3 8

half-press trill

r P y.

[d]

grrrrr

[neh]

n œ$ nœ J

xSP

b œœ$ J

xSP

4 4

# # . [g]

unvoiced [t]

‰

3212

˙. ˙.

˙˙ ..

grrr

# ææ b œx n œ # xœæ æ. x‡. ‡ ‡ ( ƒ) 5

port.

xœ‡.

________________________ ________________________________________________ V ________________________ V V O ________________________ ________________________ O ________________________ O X ________________________ ________________________ X X

# y œz #r œ . # œz ®n œ . b x jœ . fl >p ßfl fl p ß p ß 5

z irregular, ad libitum z ________________________ imitation of baritone ________________________ z O________________________ V V ________________________ ________________________ O V ________________________ ________________________ ________________________ X X slap tongue growling, barking O 5 ________________________ X

#. r # b œz #jœ . y œz r pœ . fl ®n >œ . b flx # ·. ·. ¿ y # y y # y y fl ß p ß ÿ ÿ ( fÿ ) ÿ ÿ p ß p

tongue ram

( œ ¡¡¡¡¡¡¡

VI "honey spoon subharmonic" extremely slow bow speed

glottal

RA [wuaa]

irregular, ad libitum

‰

flatt. + voice

imitation of baritone

œœ

growling, reduced to a dog

quasi-pizz.

poss.

˙˙ ..

j ‡

3211

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ n O O ( O) O

xSP

half-press trill

5 4

[g]

#Œ

#. # r # # # ·. ·. ¿ y y y y y ÿ ÿ ( fÿ ) ÿ ÿ p

cont'd ad libitum

slap tongue growling, barking tongue ram

% &

[no]

#˙

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ n O O ( O)

xSP

glottal

poco vib.

#b œ

port.

or HONEY SPOON multiphonic

Œ .

‰

poss.

3210

#n œ

‰.

port.

˘ ˘ # œ . n œ # œ œ n œ b O nO. [fft]

156

‰

œ # flf

glottal 5

3209

tions

poss.

‰

exh.

B.D.

y#y y Œ

port.

. ‰ ‚   ‚ Œ & O P V O X

b œ.

6 ˘ ‰ bœ ‰. nœ # #bœ # ‰ r # #œ nO#O n O b >œ O fl fl[t] [lo] b ‡ [tsho] b ‡ . . . . . . . . . % (F) Sp 5f [go] ( f>) F fl O (F) ç 7

slow lateral motion w/both hands, center of bow, contact with low strings

E.Gtr.

j>œœ port.

[

‰ n œ- œ .

be - come

to baritone:

F to public: S & 6 > # œ œ ˘œ ç

. # nÚ Ú ‰ yÿ > y ÿ go tion ter

155

54 B/C # -1

`23456Cc E

(in E b)

r #œ œ >o

sub

54 B/C # -1

B. Sx.

F pp

sealed embouchure tongue ram flatt. flatt.

My thumb instead of an onion!

sub

‰ y y y y 5

ne - go - ti - a - tions,

O F pp

154

af - ter long

4 4

A.Fl.

153

HUNGER

speaking:

œ œ

œœ

‰

˙˙

(F)

5Œ 4

B.D.

#œ 5

w/ superball

Ó 3213

˙. ˙.

˙ ˙

˙˙ ..

˙˙

HUNGER

157

& œ

‰

158

‰

P5 F y y y y

whispered:

am the mites

whispered:

& ‰

Shhh...

# y y y y y y y on the skin bi - ting mon-grel

senza tempo 1 c.3"

159

(I meant light as a bird, not as a feather...)

↓ Œ &

‰

2 c.2.5"

mites mites

the mites

b Úp n Ú nÚ. R

off the voice slightly

Shhh...

A col - lar

gradually calming down, ad libitum, low growling

[4 n äœ .

A.Fl. (in G)

B.Cl.

(in B b)

& ‰.

OOOOO

O p

port.

[6 [4 >œ äœ .

j #œ

O O. O

port.

j œ

4 4

sealed embouchure flatt.

O O O O O O O # œæ. > F

sim.

% muttering, ad libitum, extremely delicate

r +. # + +

skin...

ad libitum

grrrrr

RA [wuaa]

grrr

the skin

the

am mites

the m–

ites in

n Ú Ú ‰ b Ú ÚJ n Ú 3

then,

skin

mites

↓

j Ú

col - lar

# + . + . ® + . + # +r # +r # + + ®+ +

œæ

(restrained)

muttering, breathy

↑

r r + . + # + + #. + + # + + # + + # +. + #

muttering, ad libitum, extremely delicate

↓

th–

mites

–ng bi–

↑

55 B/A -14

B. Sx.

(in E b)

`2356cA

‰ # d œœ ww

(EQ on)

œœ

¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡

E.Gtr.

‰

w/ sponge crackling 5

‰

Perc.

Pno.

Elec.

ã & ? 3214

electronics overtake ensemble, static, vacuum

' #œ & ‰ nœ

senza vib.

Vln.

Vc.

↓

V O X

sempre

ppp

w w

4 4

3215

3216 1

w w

↑

extremely gradual portamento

↓ . .

nw nw

↓

↑

am I

HUNGER

2 c.5-7"

1 c.2.5"

scoldingly ↓ Ø ç>¿ exclaimed, >¿ r & ®+ +. ®+ . # + +. # +.

↓

↑

160

on the

& Œ

mites

‰

the mites

# n œ œJ œ

and

161

on Mongrel! -

sung:

bœ

q = c48

(in G)

B. Cl.

(in B b)

B. Sx.

(in E b)

E.Gtr.

& & ( Œ) &

EQ OFF

1`4523Bcw E

( )

Pno.

Vc.

bœ

 œœ

wrapped

# y y y y # y y

ti - di - ly

by her ti - ny

fin - gers

Ó.

port.

œ n O O # b œp œ. n O O # P fl‡ fl‡ ß ß

bend

# ˘œ # # œ-

DIST. ON

bend

˘œ #

sfffz poss.

'> senza vib. nœ ˙

‰

sfffz poss.

'> senza vib. ˙ ‰ bœ sfffz poss.

VI "honey spoon multiphonic", strings add libitum $> Vadd& other ‚ ·

AD LIBITUM

5 sim ad libitum

EQ ON

¿ œ¿

CHINA or THAI GONG (damped)

B.D.

4 4

'> senza vib. nœ ˙

‰

port.

œœ

# n œ-

5 4

œœ ..

↑

meat

‰

w/ superball

sfffz poss. B.D.

'n œ ‰ nœ

sfffz poss.

THUNDER SHEET w/CHAIN+KICK

œ. œ.

#œ œ nœ œ

3217 1

↓ (') ˙. & ˙. ?

" ‰ (F)

arco xSP

of meat

stage whisper 5

p P. b ‡ ‡ fl fl

↓

#. y y

162

Elec.

Vln.

4 4

1 V O X

↓

↑

= j œäœ P

B/B b -6 +C2

↓ Perc.

pa - cket

...mor - sels

 œ

Y - la - ja - li!

A.Fl.

c.4"

P) ? ‰ (whispered

↓

molto rubato, like regular speech

She was of - fer-ing me

(moved by Ylajali's tenderness)

( P) 7 # y y y y y y #

q = c54

poco accel.

Electronics: static, emergency broadcast type rhythm/sounds

2 xSP ↓

œ œ

 œ œ

↑

4 4

3218

w w

VIDEO/SF: Increasingly irrational, sung, ornamented, unintelligibly

SF: lilting figures, molto vib.

5 4

3219

˙ ˙

‰

œ 3220

œ œ

n >œ nœ

‰

F sfffz poss.

I/5. II/4.

>o n l OO

sfffz poss.

l.v.

- - ->

4 4 œ. œ. OO

l>Oo Oo gb O O III/5. IV/7.

HUNGER

senza tempo 1 c.3"

163

A.Fl. (in G)

B.Cl.

(in B b)

B. Sx.

(in E b)

4 4('˙ )

& &

(') ˙ ('˙ )

®y y.

her own

1 c.2"

j y

165

toes...)

Perc.

Pno.

Elec.

Ó Ó

exqw4y5

11 10

r # ˙˙ .. = + ˙˙ ..

m.67 14

B/B b -6 +C2

1`4523Bcw E

( )

=˙.

= j ˙˙ ..

$ o.b. / xSP / semi scratch tone ad libitum ·.

p p

Vln.

Vc.

3221

Oo & O

Oo ? O

( Œ)

œ œ œ.

her

P y

n˙.

b˙.

↓

j œ

œœ

j œ

Ø ( Œ)

‚

( Œ)

DIST. OFF

EQ OFF

↓

↓ ( Œ)

l.v.

(P)

! nœ

molto rubato

( Œ)

·.

w/Ylajali

˙˙ ..

i - tance

(But I...)

pppppossibile

‰

dœ

↓

↓ O.

TAM-TAM (bowed)

nœ

( Œ)

↓ O$ .

to stand

3 c.3-4" 3

↓

bœ

It's

4 4

leisurely

molto rubato

↓ Œ

to take goat hooves from the waste pile

But how will you...

↓

y # y y y y #. y y

Pr y

1 V O X

2 c.4-5"

↓

spoken, softly

r y y.

( Œ)

↓ ‰

She'd have

E.Gtr.

(The meat was her toes...

quickly, increasingly frantic 164 ↓ F # y y y y yj .

bœ

œ.

- - -> (do not release pedal until the end)

3222

3223

electronics fade

3224 2

↓ xSP ↓ ↓ xSP↓ ST Ÿ.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O . ( Oo ) Oo .. Oo Oo O (O ) O O O J P pppp Ø % Ø continue half-press tremolo, glassy & still

half-press tremolo, gradually increase intensity to wild, erratic vibrato

possibile

ST ŸOhalf-press ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ o tremolo, gradually increase intensity to wild, erratic vibrato #˙. O .. ((OO )) n˙. pppp P Ø

xSP

possibile

œ œ J

˙ ˙

xSP

HUNGER

1 c.4"

↓ & Œ

166

spoken, breathy:

Took them...

& ‰ #œ nœ ? #

167

↓

#œ œ œ. ˙

‰

(accepting a small packet of scrapmeat from her)

To suck on as I work

I will take them

↓

& œ ‰ ·

(F)

B.Cl.

(in B b)

B. Sx.

(in E b)

E.Gtr.

& &

‰ Ó

j #œ œ

‚

↓

‰ Œ

( Œ)

silently remove HONEY SPOON

does not have toes

œ nœ .

4 4

smear

bœ. #

whistle tone

171

gently

and with what tenderness was she now chopping off

œ #œ.

with

nœ œ J mar

her own thumb

œ#œ. -

row

But...

œ ## œ sub

your-self

li!

‰

for a bo - dy

œ #œ ˙.

spoken, breathy, nearly whispered:

170

Y - la - ja - li is too pure...

% you

Y - la - ja

169

#œ œ œ J

(P)

O b‡ . . . . . . fl O &

(P)

spoken, breathy

3 8

2 breath only, dark

(in G)

‰

stage whisper 7

A.Fl.

168

Y - la - ja - li

‰.

œ ‰ Œ

spoken, breathy:

whisper (stage P) 9

‰

I took them... to suck on as I worked

no good-luck charm

q = c48

2 c.3"

She was too pure...

ad libitum, scarcely audible

6 4

3 4

# >Ú

œ sub

to Clarinet

‰

pppppossibile

Ú Ú J

4 4

↓ Perc.

Pno.

Elec.

V O X

ã Œ

# O . O w/ superball TAM-TAM

Vln.

↓ Oo .. & O III/4. IV/11.

Vc.

œ ‰ Œ

? nO + Oo

n Oo Oo . J O.

III/8. IV/7. port.

↓

O. Oo . p

‰.

3 8

3225 1

# ‚$ .

‚

(($($) O

œ nœ .

œ nœ n˙.

œ #n œ

TAM-TAM (bowed)

(!) nœ nœ œ œ. ˙ & ‰ nœ ?

↓

j nœ œ

4 4

nœ œ J

" 3226

soft harmonic glissandi ad libitum

Ø III/7. IV/6.

bO. wb Oo .

(F) (F)

soft harmonic glissandi ad libitum

" 3227

‚ ..

6 4

œ . nœ

nœ "

3228

bœ œ J

‚ R

œ nœ.

œ 3

3 4

" 3229

‰

4 4

HUNGER

1 c.6-7"

↓ pppp n˙.

173 172

possibile

& & Œ ?

pppppossibile

(in G)

Cl.

(in B b)

B. Sx.

(in E b)

#˙

Ú# Ú . Ú ‰ .

(r)-rrow

For

me...

n˙.

#œ

pppppossibile

this phial

‰

˙ œ

œ #œ J

#˙.

#œ

˙.

·$ .

Pno.

Elec.

4 4

Vc.

3230

& AD LIBITUM

n˙

3231 1

↓

Multiphonic continue whispy, indefinite pitch / half-press tremolo [4+11+7+3] activate harmonics & multiphonics ad libitum

+ Oo

pppppossibile

4 4

she

175

now

and

n˙.

the

moon

bœ œ

% ‰ nœ #œ

Her

‰

me...?

own

5 4

nœ

Ø O

‰ 54 B/C # -1

`23456Cc E

( )

r l ˙˙ ..

œœ ....

œœ Ó R

( Œ)

l.v.

‰ nœ bœ bœ #˙. nœ "

pppppossibile

For

n˙.

was

↓

O$ .

continue whispy, indefinite pitch / half-press tremolo activate harmonics & multiphonics ad libitum

Vln.

slow lateral motion w'sponge, damping / harmonics ad libitum

pppppossibile, scarcely audible

b˙.

with what

p P %

bœ

BOWED CYMBALS (mounted in opposition)

(!) & Œ

œ J Œ

dew

V O X

for me

↓ Perc.

+ + ++

n˙.

r j +. +

↓

whistle tone

pppppossibile

(Mange !)

(Dist. off)

‰.

& bw

E.Gtr.

#˙.

muttering, breathy 174

" ↓

& Œ

(EQ off)

‰.

‰ nœ nœ nœ #œ

‰

↓

(offering him things)

show'r

4 4

A.Fl.

(F)

whispered:

(Mange !)

n˙.

q = c44

2 c.5-6"

AD LIBITUM

3232 2

↓

œ l.v. J Œ 3

nœ

4 4

3233

n˙.

nœ

l.v.

bœ. "

3234

j nœ #œ

5 4

HUNGER

176

œ#œ & R 5

thumb

œ nœ. œ # 5

will

(in G)

Cl.

(in B b)

B. Sx.

(in E b)

whispered:

œ JŒ

œ # œp œ . J 3

(instead of an onion

suck

you

3 4

‰ ·

nœ

j œ ‰

#˙.

the

moon

180

" %

nœ

the

j œ ‰

moon

stage whisper

How beauti - -ful

#˙.

181

Œ nœ #w

the moon

j œ ‰ ( Œ)

nœ nw

j‰ œ

you

‰

are

now

ppppppppossibile,

#U˙

scarcely audible

(will)

6 4



How beautiful

pppppossibile, scarcely audible



pppppossibile, scarcely audible

j‰ œ

n˙.

nœ

pppppossibile, scarcely audible

 · . · · · · ‰ # · . · · · #‰ . · ··· · · Œ R

nœ Œ Œ

j‰ œ

˙.

7 4

Œ Œ

touch with thumb

pull cable

VOL: approx. 50%

179

spoken, nearly whispered, gently



q = c22 "Very, very slow"



 #

œ.

bœ b˙ J

E.Gtr.

178

177

5 4

A.Fl.

(P)

AD LIBITUM

pppppossibile, scarcely audible

VOL: gradual fade

DIST. ON

Pno.

Elec.

Vln.

Vc.

ã &

CHINA or THAI GONG (damped)

(!n )œ . œ œ

5 4

& ?

œ nœ œ. J 3

" 3235

nœ J



pppppossibile, scarcely audible

3 4



" 3236

 œ  œ

6 4 O

bœ

nœ œ œ œ œ œ Œ nœ œ œ œ œ œ

3237

Ó Ó

bœ

nœ œ œ œ œ œ Œ nœ œ œ œ œ œ

7 4

3238

‰ œ œ

blend

pppppossibile, scarcely audible

extremely delicate, still, glassy

nw nw

xSP

pppppossibile, scarcely audible

˙ w. w.

‰ œ œ

pppppossibile, scarcely audible

b œ n œ œ œœ œœ Ó n œ œ œœ œœ

l.v.

3239

˙ w w

3240

‰œ˙

œ R

˙. ˙.

w w

pppppossibile, scarcely audible

U n ˙o

3241 End Part III

n n O˙

w/ Ylajali

pppppossibile, scarcely audible

January 5, 2015

Perc.

V O X

HUNGER A MULTIMEDIA OPERA IN FOUR PARTS

PART III BY JASON THORPE BUCHANAN LIBRETTO BY DARCIE DENNIGAN

CREATION & SYNOPSIS: Knut Hamsun’s novel Sult is a point of departure for a libretto by award-winning poet Darcie Dennigan, exploring themes of psychological decay, irrationality, and self-destruction. Oumenos is a starving and delusional young writer who is unwilling to compromise his work even as his intellect and body gradually deteriorate. He is split in two; the baritone and soprano form a composite, each depicting aspects of his inner/outer selves and suppressed madness. His hunger and self-disgust lead him to consider stealing bread, and to thoughts of self-mutilation. He despises his baseness. He is a dog. He is drawn to Ylajali, a young girl who appears to him in various manifestations. At the bloodbank, Ylajali draws his blood. At the spermbank, she coaxes his orgasm. In a butchershop, Ylajali as countergirl displays the meat before him. He fights his coarseness and hungers to appear presentable, normal. He finds himself examining her on the counter as if she were meat. Humiliated by his inner self, and by Ylajali, he in turn humiliates her. He has again become, in his mind, a dog. The complete opera in four parts is being composed over the course of 2014-2016 through residencies in the U.S., Italy, Germany, and Norway. The first completed scene of the opera (Part III, Sc. 1) was selected for the Internationales Musikinstut Darmstadt Contemporary Opera Workshop and premiered August, 2014 in an acoustic version for three singers, alto flute, bass clarinet, percussion, piano, violin, and cello. This ensemble has been augmented by the inclusion of electric guitar, baritone saxophone, live electronics, video projection of both live capture and pre-recorded film. Part III has been performed at 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]. The score, electronics, and video for Parts 1, 2, and 4 will be composed over a six month period including a three-month residency appointed by the City Council of Bergen, Norway at USF Verftet in Fall of 2015 with support from the American-Scandinavian Foundation, to be finalized in March of 2016. Our vision is a multimedia opera whose musical and dramaturgical narrative is driven not by dialogue or action, but rather psychological and musical states and situations that integrate video projection and electronics seamlessly, contextualizing the extremely fragmented music and text. While obfuscating much of the semantic content, this fragmentation and oscillation between intelligibility and unintelligibility demands a focus on phenomenological qualities and filmic subtlety, with physical, aural, and visual cues indicating context for the behavior of the singers and the interaction with their digital surroundings. Hunger breaks with operatic conventions by eschewing grandeur and dramaturgical coherence in order to explore the volatile city of one man’s psyche. Because its true subject is, as Hamsun described, “the delicate fluctuations of a sensitive soul, the strange, peculiar life of the mind,” its narrative threads are unclassifiable and non-contiguous within the confines of conventional logic, and its protagonist is splintered and psychologically erratic, with theatrical time that is compressed through multimedia into situations that are claustrophobically intimate, constantly in flux, and contradictory. It thus invites participants to construct and engage with a multiplicity of scenarios and readings. The edge of comprehensibility itself becomes a means of producing structural integrity and coherence while reflecting the central theme of psychological deterioration and fragility. 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, BlueWater Chamber Orchestra, 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, with a grant from the American-Scandinavian Foundation. 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 & 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 R.Zohn-Muldoon, C.Sánchez-Gutiérrez, R.Morris, A.Schindler, D.Liptak, V.Baley, P.Michael Hamel, J.V.Grossmann, P.Furman, M.Stahnke, B.Lubman, G.Aperghis, B.Ferneyhough, R.Cendo, C.Czernowin, A.Read Thomas, H.Abrahamsen, P.Leroux, C.Gadenstätter, J.María Sánchez-Verdú, and P.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. 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, Eklekto Geneva Percussion Center (Switzerland, 2015), 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 www.hungeropera.com