Aldebaran by Joseph Pereira

Joseph Pereira Aldebaran Amplified Harp and Percussion 2016

Notes The title Alderbaran, is Arabic, which means "the follower". The piece is meant to create the illusion of being improvised, with not only each instrument reacting to the other, but even the players individual hands and techniques reacting to themselves. The type of amplification is to be determined by the performers. Since most of the piece is soft, the amplification is meant to pick up the subtle sounds of the techniques used, and this is all relative to the size of the hall. Aldebaran is the brightest star in the constellation. It is a coincidence that the moon occulted this bright star, on January 19, 2016, when the piece was completed.

Percussion Thunder sheet - The thickness should be slightly more than normal, so that that there is also an almost tonal color to the sound rather than the typical "thunder" sound. Also the overall size should not be too large. This is the only instrument that should be amplified.

"Beaters" used on Thundersheet Plastic Comb Deck Brush with stiďŹ&#x20AC; bristles Soft large timpani mallet or small bass drum mallet

Small Noah Bells - high and low - scrapped on sheet.

LP metal Guiro beater - always scraped on side edge of sheet. Rattan handle mallet - Only butt end is used for scraping a mid/low multiphonic, lower sound than snare stick. Snare stick (thin) - Always pressed similar to rattan mallet with the tip for a high pitched "feedback", higher than rattan sound. Bow with extra rosin. Jing cymbal (small) - holding bell, edge of cymbal is pressed across sheet for a violent "cry".

Techniques Friction sound - pressing an indicated beater into thunder sheet.

Bend sheet up, "folding", holding bottom of the sheet with one hand to change pitch while playing with the other hand/"beater". Holding the bottom and top, bend sheet back and forth "folding", to play indicated rhythm. Irregular tremolo, rhythm or movement on sheet. Move in a circular motion

Knuckle of fist, as if knocking. (Hard/High)

Fist-pinky side of hand - flesh (Soft/Low) Dashed arrow - gradual change from one indication to the next.

Music between double bar lines indicates improvisatory material. Pacing is relative and left to the discrection of the performers. The three diďŹ&#x20AC;erent types indicate approximate short, normal and long fermatas.

Harp The left hand (LH) wears a cotton garden glove (soft) for the entire piece. Most of the piece it is used to sweep the strings. The right hand (RH) is as normal. The right and left hands are often written on diﬀerent staves for clarity. Tuning for the entire piece, except bar 26, which returns to this tuning. Therefore, for the sake of clarity, no accidentals are used, and just the string name is given instead. Two lowest strings tuned to C# and D#.

For the entire piece, notes attached to the same stem indicate the range of strings to be played. Play all strings between indicated pitches in a sweeping back and forth motion. Always play in the middle of the strings, unless indicated otherwise. Continue to sweep, covering all notes when glissing to other intervals.

The number of fingers used on strings of the left hand.

The muffle sign and/or square notehead indicates a muffled friction sound. While sweeping, press into strings with palms or indicated fingers for varying degrees of distant pitches/noise. The sign alone indicates maximum pressure and almost no pitch. Also used are 3/4 muffled, 1/2, and 1/4, for different amounts of muffled tone. Circle above notes indicates an open resonant sound. (not muffled)

Fingernails tremolo, right hand only. Fingers curled together, supported by thumb, strumming fastly back and forth "quasi guitar".

"W" = whisper technique on the wire strings. Arrows up or down indicates the direction hands move on strings. The triangle notehead indicates as low or as high (triangle up) as possible. Circular glissing motion on strings. Usually on wire strings for random whisper rhythms.

Cluster tapping with right hand. At about a 45degree angle, the RH catches the indicated pitch as the center of the cluster which covers approximatley a 5th.

Harmonics Harmonics are never played in the normal way in this piece. The left hand always muﬄes strings of the given range with the outside edge, (pinky side), with the palm facing up. The placement is generally in the "center" of the strings, catching diﬀerent overtones. Depending on the length of the strings played, some overtones can sound two octaves higher, a 12th above or even dead/percussive tones. When glissing the left hand slides (always palm up in center) to catch right hand notes. Artificial harmonic -played on indicated string, thumb of LH touches low, a few inches from S.L.T., and third finger plucks hard, right near S.L.T.

S.L.T. Sur la table Dashed arrow - gradual change from one indication to the next.

Aldebaran

Amplified Harp and Percussion

q=60 Tempo rubato, delicate, lontano With no real sense of pulse, each sound evolving into the next.

j ≈ 6 ™ ( >6) œ™ ° ¢/

{ œ ˙ ææ ææ o

Plastic Comb

∏∏∏∏∏∏∏

Thunder Sheet

Harp

{

ff molto poss.

Th. Sh.

√ w ææ

Fingers tap on strings

˙™ ææ

pppp

œ ææ

ppp

poco

(Catch low resonances and continue distant and still thunder - no pulse)

(From top corner scrape down whole length of sheet with all comb edges touching.)

˙™ ææ

œ ææ

pppp

˙ ææ

œ ææ

œ ˙™ / æ æ

œ U™ æ Ó o

w æ

ppp

√ w æ o

A tempo

w æ

° ¢ / œœœœœœœœœœœœœœœœœœœœœœœœœœœo œ mp (E)

ppp

(Top Edges)

˙ æ

œœœœœœœœœœœœœœœœ o

(Sneak in rhythm under resonance)

ppp

10 Secs

With glove always flat of finger tips

{& Œ

(LH)

„ æ ˙˙æ™™ o

Distant 32nd note pulsing, but not exact.

˙™ æ

pppp

(low resonance still sounds)

Hp.

œ ææ

Fingertips on sheet Use top of fingers/bone

Fingers on strings (C)

Th. Sh.

œ ææ

NNN NNNONMML NMML

rall.

Joseph Pereira

æ ˙˙æ

(No pulse) poco

‰ æ ˙æ ˙

10 Secs

ppp

Long

w æ æ wæ w

To muffled pitches

w æ

Ad lib poco cresc./dim always gradual

P ï æ 6æ Ó ™ 6 o

Long

ææ ˙™

Fingertips on sheet Sim.

œ ° ¢ / ææ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ o o mf (E)

Th. Sh.

(C)

(E)

(Sneak in rhythm under resonance)

Œ {&

(LH)

Hp.

Fingers on strings  21 ææ w ° ™ œœœœœœœœœœœœœœœœœœœœ œœœ ™ ææ˙™ ææ œ Th. Sh. ¢ / pppp f

{

(E)

ææ

ææ & w w ?

to palm

Hp.

{

æ ˙™æ

æ œæ

˙™

Spread fingers

≈

Echo

Grab top of sheet and shake for approximate rhythm.

œ (catch)

P & )ææ™ ?

Â æ ˙™æ

Pitches obscured hand pressure but some barely pop out because of the distance covered.

)™

rall. trem speed and completely muffled sound by the end.

poco

‰ æ œæ œ

æ ˙æ ˙

˙™ ææ

A ª

w ææ

(E)(E)(C)

KKF j >œ œ œœ 3

P ææ æ æ æ æ æ æ æ æ æ ææ ææ 6 mf

Add pressureto muffled trem.

(LH)

A piacere

° Th. Sh. ¢ /

pppp

æ ˙˙æ™™

Fingertips on sheet Use top of fingers/bone

Hp.

Distant soft pulses from flesh of fingers

(low resonance still sounds)

„æ ˙˙æ™™

(C)

æ wæ

Fingertips on sheet

(E)

 ˙™ ≈ ææ Œ pppp o

On strings

poco rall.

≈ Pedals only (B & F)

B B# B

n B# B n

™

(Catch)

F# F p

n F# Fn F# poco

(end on B#)

U (end on Fnat.)

q=72 Ritual

Poco meno mosso

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯^.j 27 3 ™ ° Th. Sh. ¢ / 6 4( Œ ) 6

Screech

Comb

{

sffz

& ?

Artifical Harmonic

3 v sfz “‘

Œ Ó

° Th. Sh. ¢ / ˙ pp 38

Hp.

{

(E)

‰æ æ & ˙ ˙

? ∑

{

∑

° Th. Sh. ¢ / ˙ 51

cresc. poco

Hp.

(RH)

ææ ) & ? )

Œ )™ o

˙-

æ ˙æ ˙

∑

òj ææ # ¿ Œ™ b ¿ p

ó ææ ™ œ ™ œ ææ J mp

f p

æ YYæ

˙-

„ P (LH) æ ò 48 ∑ Œ æ 6 O 6 4 ∑ O 8 ∑ o v

˙-

æ )æ )

*- Edge sound is always lower than center.

RH strums quickly with back of nails above LH

(RH)

(speed = Approx. 32nds)

∑

˙-

ææ

Âæ ˙æ

˙-

æ ˙æ

ó æ ˙æ ˙

ææ

∑

(E)

˙-

P æ )æ

æ 6™æ

æj æ 6æ )æ

æ )æ

)

6™ 6

1/2

ppp

j œœ - œ

æ YYæ

æ æ ¿¿æ™™ b#¿¿ æ ææJ

œ >œ œ ™

∑

(C)

RH nails sneak in and follows top notes of LH down. Playing area on strings follows LH back and forth.

˙-

Normal Gradually spread fingers

∑

j œ œ™ - > ˙

(To muffled)

˙-

(C)

pp sffz

˙-

∑

r œj3 œ > œsub

ææ )

3 4)

æ ˙æ ˙

∑

œ™™ -

3 4

Pitches barely audible

(LH)

˙-

æ ˙æ ˙

P Œ ææ )™

∑

˙-

∏∏∏∏∏∏∏∏∏∏

Hp.

ppp

Press across sheet very slowly in wave-like motion, for high whistles and low frequencies coming in and out.

Distant but very deep and heavy. Play near top corner.

(E)

∏∏∏∏∏

From one side to the other.

∑

A^ * 4˙ 8-

quick drag down

All edges touching surface

j œœ - œ

poco

æ #YYæ

œ™

˙ ææ

œ™ ææ

œ ææJ æ æ

ææ˙

j œœ -

ææj ææ ##¿¿ ™™

)

j œœ - œ

ææ

Gradually open RH to palm while strumming.

)

ææ ?

Gradually open LH to palm while strumming.

œ™

™ ææJ ææœ p

ææ

Deck Brush

° ¢/ 61

Th. Sh.

j œ

{

œ-

j œ

œ-

j œ

œ-

j œ

œ-

ppp

j 67

Rubbing Strings

P æ ? ˙æ ˙

Hp.

Slow irregular movement in area near top pressing slightly for high chriping white noise.

Both palms muffle and mirror each other.

Up and down circular motion with hands always on lowest strings. Palms and fingers spread. Whispy, wirery sound with some overtones and open strings popping out.

ææ

Poco Rall. trem. speed

P ? ˙ ˙ ææ

ææ

RH goes as low as possible

ææ

ææ ææ

To lowest strings

ææj

ææ ™

ææj

ææ ™

P fifififi ææ _ 1/2

P fifififi ææ _ p

1/2

q=76 Con Slancio

A_ 1 Irregular rhythmic rubbing, quasi Ad Lib 3 3 ^^ 3 3 3 3 3 j j j 3 3 j 66 ææ ææj ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Th. Sh. ¢ / . >> > mf> - - > -p >sffz mf fz p f (fast rubbing in small area)

(press)

Beater always touches side and never comes off during rhythms. Constantly rotate between different parts of the beater -tip-near handle, side etc. Dynamics and accents also influences the amount of pressure.

∑

Œ™

≈ r‰ v.

(LH)

≈

Both hands continue low rubbing.

∑ ææ __ ææ

Œ™

ææ __ ææ

≈ Œ ææ __ ææ

∏∏∏∏∏

sffz

ææ __ ææ

∏∏∏

‰

∏∏∏∏

∏∏∏

(RH)

∏∏∏∏

Interuptions with fingers in the same positin.Swipes (gliss) down starts above lowest strings and gliss very quick in direction of arrows back to low strings. Swipes going up start on lowest strings and gliss above to higher strings. Glissing swipes are very fast, agressive, and the hands never come off strings. Half muffled strings and overtones sound.

∏∏∏

{

j œv ff

fij œ v

"Guiro" - Alternating up and down strokes along side edge of sheet, always with some pressure creating a scraping sound with some humming.

Hp.

œ™

≈ r‰ v.

> 3° œ œ œ œ œ œ œ Th. Sh. ¢ / œ J- ‰ Œ Ap ^ mp

Mallet near top edge as before

° ¢/ 76

Th. Sh.

ææ __ ææ

≈ -œR ‰

(Guiro)

æ ˙æ

‰ -œJ Œ

∑

> ‰ -œJ

‰™

-œ R

ææ __ ææ

æ ˙æ

Irregular slower legato rhythms with more pressure/humming

r æ ≈ 7j œ 6 -mp ff

æ œæ

Very fast tremolo, changing colors by using different parts of the beater.

Hp.

cresc. mallet poco a poco to bar 83

ææ __ ææ

ææj -ææJ

‰ -œJ Œ

∏∏∏∏ ∏∏∏∏

{

ææ --™™ ææ

Guiro Ad Lib sim.

∑ ææ -ææ

ææ -ææ

ææ ææ-

∑ ææ -ææ

ææ ææ-

∑ ææ -ææ

æj -ææJ

. ≈ ‰ Œ R

∑

∏∏∏∏

{

Hp.

. 3- 3> j j œ≈ œ œ‰ œ œ œ œ Œ R-

ææ --™™ ææ

ææ __ æ

sfz

ææ __ æ

r3 ≈ ‰ >> R

Very slow speed "Humming"

82 7 ° Th. Sh. ¢ / )

(Beater always touching pressing against side.)

{

Hp.

1/2

Both hands slowly move up (muffled trem.)

ææ __ ææ

U 7 )c

Both hands (muffled trem.)

ææ ææ

ææ ææ æ ææ

U P ææ ˙ ˙ ææ

ppp

Grab bottom of sheet with other hand and slowly bend pitch up while rubbing.

poco

∑ ó ææ ˙

∑ P

∑

A ^

(E)

˙-

ppp

˙-

Very quick strokes back and forth. As much sound as possible even though hands are still sweeping strings.

˙ ææ

fff

1/4 LH only

˙ ææ

˙ æ

ppp

æ ææ ææ ææ

° Th. Sh. ¢ / ˙ 94

r œ

œ™™ -

{

Hp.

° ¢/

{

Th. Sh.

Hp.

° ¢/

107

{

Th. Sh.

Hp.

òæ æ X &X o

˙ ˙ ææ

(E)

j œ-

cresc.

˙ ˙ ææ

j œ

æ XXæ

˙ ˙ ææ

˙ ˙ æ

j œ

Jing Cymbal Hold bell, scraping edge across surface of sheet for a high scream. Ok if sound comes in and out.

ææ

j œ

ææ

j œ

ç ) {

fff possible

XX ææ ff ˙ó

Very fast trem.

sempre

ææ

˙ ææ

ææ

sempre

XX ææ

˙ ˙ ææ

≈ fifififi Œ U ) 7

Jing Cym.

Low Noah on front

( ff )

œ ≈ Œ

fff

œ œ & œ ææ 3

≈ Œ

LV. œ

Start within sound of harp resonance

U ∑ U ∑

High (sim.)

fifififi ‰ 6™7 )7 ) ) 7 7 ‚ò æ æ ‰ ¿æ¿ ™™ XæX

Nails back and forth with only a few fingers.

„æ ‰ œæ™ œ™ pp

æ ˙æ ˙

XX ææ

˙ ææ˙

Moving in slow circular motion, with the edges touching sheet, gradually open and close slightly for a "flange" sound.

Wild! Gliss normal (RH) (sound is as open as poss.)

(RH)

& ˙ ˙ ææ

100

j3 >œ œ(C)

˙ ˙ ææ {

)7 ) 7

) ) 7

æ XæX

æ ˙æ ˙

æj ‰ Œ ¿¿ o

Slide edges at a slower speed up and down side edge of sheet.

æ ˙æ ˙

XX ææ

add pressure

) ) 7

˙ ˙ æ

) ) 7 ∑

fifififi )7 ) -

) ) 7 ∑

‰ P ææ æ æ )æ )

Sim. -slide edges, slower speed up and down side edge of sheet.

∑ ææ

to normal-fingertips

∑ ææ

)7 ° Th. Sh. ¢ / )

)7 )

119

{

& ∑

Hp.

æ ˙æ ˙

∑ æ ˙æ ˙

)7 ) 7

ò Œ ¿¿¿ ææ

YYY ææ

æ æ & æ æ ∑

U PÂ æ )æ )

ppp

æ ˙æ ˙

YYY ææ f

æ ˙æ ˙

LH stays p

6 R ‰™ òr ≈ v¿

j ¿fi

r O ≈

Slide slower speed up and down side of sheet.

-mp ) ) 7

) ) 7

YYY ææ

æ ˙æ ˙

YYY ææ

æ ˙æ ˙

ææ ææ

) ) 7

7 )L

œó ‰œ ææ

7 )

fff

Flat part of fingers sweeping back and forth. Very fast to slow with dim.

molto

œ œ ææ

˙ ˙ ææ

) 6‰ 7J Œ o

ææ æ ææ æ æ æ æ æ æ

ææ æ æ æ æ æ æ æ æ æ æ æ æ æ

Rub irregular fast trem on front and release plate slowly.

7 )

* - Overall sound should be pitches fading out to LH muffled trem., and then harmonics with RH Nails emerge.

ææ æ æ ææ æ æ ææ æ æ æ æ æ æ

Quick swells ad lib within larger dim.

œó ‰œ ææ

(Harms LV.)

Ofij

)7 ) 7

YYY ææ

LH palm facing up and slides, touching in center of strings (approx.) RH gliss above LH for harmonics.

U ∑

)7 ) 7

(Hold plate in curved position)

òj U ææ ‰ Œ ¿¿¿ o (RH)

æ ˙æ ˙

U )c

° ¢/ )

∑

67 67 )7 6 6 ) 7 7 fifififi p

Bend plate from bottom, up slowly with other hand. High bell still rubbing on side but on lower curved part of sheet for higher pitches

ææ æ æ &

Hp.

ó ææ ˙ ˙

133

Th. Sh.

∑

)7 )

gliss.

{

ææ

)7 )

Flat part of fingers sweeping back and forth. Very fast to slow with dim.

molto

œ œ ææ ff

˙ ˙ ææ

To Muffled

P ææ æ æ ææ æ æ æ æ æ æ æ æ æ æ

Quick swells ad lib within larger dim.

To Harm.

8 Snare Stick Rattan mallet

Hp.

(LH)

ææ

ppp

° Th. Sh. ¢ / ™™ U 6 & ™™ ? ™™ & ™™

)

ppp

ò¿ ¿ ¿ ¿ ¿ ¿

pp 3

poco rall.

? ™™ O O

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

O O

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

sim.

Top note/range is approx. Should be a rich sounding overtone chord.

Alternate slowly Ad Lib repeats

147

Hp.

O O

∑

)

¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿

≈ Œ

(react to harp)

O O

(Overtones sound)

œ U œ ‰ J

S.L.T.

sffz

O O

q=72 A tempo

AU ¶ 6

™™ 6

‰

Harp cuts off perc.

™™ Œ

U ∑

™™ Œ

(RH)

Very fast trem speed.

∑

™™ Œ ™™ Œ

(LH)

œ ˙

to very slow and fading

˙ ææ

œ ˙

œ ææ

œ ˙ æ ææ æ

˙ ææ

œ ææ

molto

U O O

∑

Explode!

U ∑

∑

œ ææ

Very fast trem speed.

molto

˙ ˙ ææ

ææ

to slow rubbing

˙ ˙ ææ

ò¿ ¿ ¿ œ ¿ ¿ ¿ æ o pp 3 ∏∏∏

{

∏∏∏ ∏∏∏ ∏∏∏

{

(RH)

U A ¶ ≈ 6 6 pp

∏∏∏∏∏

° 67 Th. Sh. ¢ / 142

Use tip of thin stick with more pressure and faster movement for a high feedback sound

Scrape back end on mallet with some pressure very slowly for mid/low tonal "multiphonic" of constant sound.

ææ

P ææ

ææ

sim.

To Harm.

ææ

O œ O æ

ppp

Molto Rall. Use other hand to slowly bend sheet up while rattan continues to slowly slide down sheet towards other hand at the bottom.

° Th. Sh. ¢ / ) 155

{

ppp

Molto Rall. 3

? ¿ ¿¿¿ ¿¿ ¿ ¿¿¿ ¿ ¿¿¿ ¿¿ ¿ ¿¿¿

Hp.

(RH)

? O O

Hp.

sffz

(LH) only

P3/4

? 4 6™ 4 >

‰ o

≈

U fifififi

6 >

6™

poco

6™

j3 Œ j3 œ œ œ-

œœ‰ œ

poco

sfz

& 6 ?

j 6

4 4

RH Nail presses into center of string to bend and very slowly slides down towards SLT.

Subito Cut off RH

AÂ 4 ª r 4 -

3 3 3 ‰ œ. ‰ ‰ œ œ œj ‰ ‰ œj œ œ œ œ ‰ œ ‰ > > ppp 3

Longer durations Bend slower for approximate length.

sfz

molto

sffz

Echo

3 ‰ œ œ. ‰ œj Œ ppp 3

6™ > 6

Play indicated rhythms but others may sound.

6 6

ò L) “‘

_ { Ó

Throughout this section other rhythms may occur. In general play by holding sheet in hands, shaking, bending, etc. to create rhythms, as if sheet is not suspended on stand.

A ª

4 4

Creaking with echo pitch bending up Long

_ _

∑

Rall circular speed to slide down strings with palm in one slow motion.

Holding sides near top press forcefully with thumbs and snap as if folding sheet in.

LH always glissing on strings with pressure and fingers spread covering approximate major 10th. The rhythms determine the speeds of movement and accents create a fast movemet to and from the indicated approximate note. Always add more pressure or grab strings for accents when necessary for bringing out rhythm.

° ¢/

{

O O

Prepare sheet by pushing even harder in center, for a loud snap.

fifififi

Always with a distant rhythmical rocking back and forth, pressing into strings.

sfz

165

Hp.

q=86 Whispering

4 &4 6

Th. Sh.

≈ ∑

4 ° ¢/ 4 œ

{

Follow by sliding RH down for lower harmonics to slow circular motion on lowest strings for whispers

O O

161 (Release)

Th. Sh.

O O

(LH)

)

U )

œ > mp

6 6™

(Still holding sides, shake to sound approximate rhythm.)

Release and let vibrate

œ œ

œ mf

6 ™ >6

6™ 6

6 6™

Grab bottom and top and quickly snap, folding sheet. Produces a short high pop.

° Th. Sh. ¢ /

168

œ œ

{

Hp.

171

{

œ J

j >6

Hp.

Subito

° Th. Sh. ¢ /

P1/4 > œ ppp

1 œ 3

œ 3

>œ J

Snap to release

Hold in bent position

>œ

_ { Œ

With thumbs on top/sides bending in as before.

j œfi

œv

sfz sub. Gliss into whisper down

Hp.

{

& ?

‰ œ œ œ ‰ œ ‰ > p

Whisper up strings into gliss

6™

>L -

P3/4 >6 6

œ™

3 j ‰ 3 ‰ ‰3 ‰ ‰3 j 3 j j 3‰ ‰ 3 ° ‰ ‰ œ. œ. œ. œ- œ œ. >œ œœœ œTh. Sh. ¢ / œ . >œ œ œppp 3

174

>œ

poco

sfz

3/4

(Hold bent)

˙™ LV )

Fold back and forth

sffz

sfz

1> 1œ œ ‰ J œ ‰ ™ œR

1^ œ. ≈ Ó

6 6

6™

sfz

œ œ. ‰ œ ‰ œ> ppp

Release and LV.

>6‘ “

6 >

W W

L c ---

° Th. Sh. ¢ /

177

Hp.

{

Echo

Grab top of sheet and shake for approximate rhythm.

P3/4

° Th. Sh. ¢ /

L c L c >- - - W W W W

? WW L - -c >> ff

j 3 j 6

6 “‘

6™

L c >- >-

˙ >

( )

>p6

6 6

5 46

5 6> 4 “‘

‰

_™

j œ p

(Thumbs bending as before)

‰ œ œ 44

ppp

P 1

6™

Fingers (bone) tapping on sheet

3 j3 ‰ œ œ œ >œ

W W

ppp

(Flesh of fist) Aª (C) (E) 5 ‰ œ œ œ ‰ œJ ‰ ‰ œJ ‰ œ œ™ œ Œ 4 >

Release

sfz

fij

3/4

6™

j j3 fij 3 œ œ œ œ >œ œ œ œ-

sffz

{

6™

With thumbs

& 6 ?

{

‰ œ. j Œ v 3

183 j3 ° œ œ- œ Th. Sh. ¢ / >

Hp.

& >6 6 > 6™ f pp ? 6 6 > “‘

180

Hp.

P3/4 ™ L c -W W

4 4

6 6

6™

4 4

3 3 3 3 3 j‰ j‰ 3 ‰ j 4 ° ‰ ‰ ‰ ‰ œ. >œ œ œ œ. œ œ. œ> œ œ œ >œ œ. ‰ œ. ‰ œTh. Sh. ¢ / 4

Hp.

ppp

{

4 &4

?4 4

6 “‘

U ° ‰ Th. Sh. ¢ / œ . >œ œ ˙ ? Œ

Hp.

(RH)

sffz

O U O Ó

Hp.

w ° ¢/ 7

{

(Palm Up Side of hand/pinky)

193

Th. Sh.

>ò¿ U ¿ Ó

P3/4 > ‰ œ 3

gliss

j -

∑ ?

6 “‘

w 7

6 “‘

j 6 j 6 - -3

L-

3 4

-L

j 6

>p- >-

w 7 ∑

P c

fij

> mf

œ 7J o

3˙ 47

∑

poco rall.

poco

Grab strings and shake to let irregular rhythm swing back and forth. Should also have some lows rumbling.

™ >˙

- - -™

sfz

6 >

1/2

Release hard

∏∏∏∏∏

{

sfz

P fifififi

6 6 “‘

hold

189

3 j3 j j3 œ œ œ >œ œ œpp

186

≈ ‰

Turn palm up to catch top of cresc. with the side of pinky and release off string for higher overtones.

molto

2 j

-—

≈ ‰

{

° Th. Sh. ¢ /

195

Hp.

{

A ª & (RH)

P j ≈ ‰ >c -

1/4

.c- —

L --™

P j co

(RH)

Œ ‰

jŒ f >

f Œ Ó (LH)

fij

sfz

LV sempre

∑

- o f

Œ f Ó

(poss.)

‰

∑

Clusters

molto

Always bring out different overtones and sempre LV

Palm starts low on strings, slides up to side of pinky for higher pitch.

1/2

3/4

›

Tap strings with whole hand flat, with indicated pitches as the center of the striking area. A cluster of pitches centered around indicated pitch sounds.

p sempre

Flat part of fingers bring out approx. high, low, med.overtones

L c >- - —

? ?

Slow irregular movement in area near top pressing slightly for high chriping white noise.

197

Hp.

˙7

Deck Brush

° Th. Sh. ¢ /

q=60 Sospirando, leggiero

‰ f Œ J W sempre

∑ >f

P P ‰ jŒ L c L L — >- -- - .- -3

f ™ ∑

f Œ

{

With pressure and faster movement slowing down with dim.

202 7 ° Th. Sh. ¢ / ˙ ™ (RH)

+ f

Pull hand off and cluster sounds

>f —

? Ó

œ7

As before

∑

ò ^¿3 ‰ ¿ J

∑

∏∏∏∏∏∏

‰

∑ Ó

sfz

p (LH)

-L -

≈ Œ - —

O O J

‰

∑

(Palm Up Side of hand/pinky)

Bow - holding wood of bow, add extreme pressure for lowest possible sound.

° Th. Sh. ¢ /

205

{

Ó Œ

? Œ

? f

Hp.

˙7™

Sub. mf

Soft dead stroke (no sound)

& Œ

Hp.

j3 7 7 œ œ

(RH)

(LH)

w7 Œ ‰ fj Œ ∑

>f ™ f ≈J p

w7 Œ

Œ ‰

L> W

sfz

˙7™

w7 f Œ ‰ >f J

Œ ≈ f j™ f f

–

7 œ

f f f Œ ‰ f J Œ

fff

poco cresc. Slide hand down

j‰ -

ppp

∑

‰ j A vª

Strike lowest strikes

sffffz

° ≥≤ Th. Sh. ¢ / _ 210

œœ^ ‰ ™ Œ R

Pull hard with fingers

∏∏∏∏

(RH)

U ∑

f ‰ J Œ

∑

(LH)

OO ‰ ™ Œ R

òj ≈ ¿™ >¿ ™

Catching some or all of notes, but should be very resonant overtones.

sffz

(On higher wire strings to allow some of the low resoncance to still sound)

‰

fij

L - - -c >

j ≈ O™ O™

∑

œ œ

˙™

˙7™

°/ w

{

S.L.T.

sfffz

– 215

Hp.

U ∑

Th. Sh.

∏∏∏∏∏∏

{

Brush - as before

(Bow on side corner holding rope to stabalize or on the top of sheet. Adding some resistance causes lower fundamentals.)

Hp.

7 ¢/ w

? O O

Bow -Long slow bows with very light pressure on two different areas producing two different pitches (high/low). Bow slides left to right for air sound when switching bows, never coming off.

™ œ ˙

œ œ

Rhythmic changes do not need to be exact and approximate speed is indicated.

˙ w7

& (RH)

Ó™

‰™

P r

Grab lowest strings and slide down.

j ‰ Œ ‰ ‚— L -- -- -v - - sfz f “‘ 3

∑

(Thumb touches about 4-5" from SLT)

‰ ¿

LH slides down while touching harms. in "center" of strings.

Artificial Harm. S.L.T.

‰ O

Œ O

™ œ ˙

° Th. Sh. ¢ / w

Hp.

∑

^ Œ ≈ œœ ‰ Ó R

?(LH)Œ

L-

∑

O O™ O O O™ O

∑

Œ ≈ OO ‰ Ó R

˙™

œ œ ∑

sffz

(high to low pitch)

¿ ¿™ ¿ ¿ ¿™ ¿

(As before)

S.L.T.

∏∏∏∏

(RH)

œ œ ˙

∏∏∏∏∏ ∏∏∏∏∏ ∏∏∏∏∏

{

220

Echo

˙™

226

/ œ

Th. Sh.

œ molto

ppp

pppp

Hp.

(RH)

? Ó

‰ ‹j ‰ v 3

sffz

‰ j ≈‰ L- - 3

Whistle down almost whole length of strings, cut off by RH knuckles.

poss.

œœœœœœœœ o

Muffle with outside of hand/pinky as before but on lower part of strings closer to soundboard rather than the center.

Souding pitch on A string from LH placement on strings should be two octaves higher. Hand still parallel to the floor to catch other intervals on the other strings.

OO ™™

poco

(Sneak in rhythm under resonance)

‰ œœj œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ p ‰ OOj OO ™™

U w ææ

Softer dynamics produce more percussive noise than pitch.

S.L.T. - pull strings with force

∏∏∏∏∏∏∏∏

{

/ Ó

Fingers tap on strings

Fingertips on sheet Use top of fingers/bone (E)

˙™ ææ

w ææ RH knuckles on soundboard

{ ææ œ˙ ææ

q=60 Tempo rubato, delicate, lontano 234 w ° Th. Sh. ¢ / ææ

poco rall.

quasi Ad Lib

230

Th. Sh.

Grab top of sheet and shake for approximate rhythm.

j OO OO

œœ

° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢/ (C)

237

Th. Sh.

{

? O™ O™

œœ

° ¢ / œœœœœœœœœœœ œ (E)

ppp

{

Hp.

œœ

ppp

238

Th. Sh.

œœ

Fingers tap on strings

˙ ææ

U w ææ

Fermata not too long

(Catch in resonance)

∑

U ∑

∑

U ∑

œ KKF ææ >œ œ œ Ó LV. (E) (E) (C)

Fermata not too long

U ∑

∑

U æ Œ œ œ œœœœ œœœœ ˙ œ œ œœœœ œœœœœœœœ œœœœ˙ o o f S.L.T. (All notes do not speak until forte)

(catch less strings)

Sim.

∏∏∏∏∏

Hp.

? œ œ

Œ O™ O™

~ ~

Continue morendo Ad Lib.

Jan. 19, 2016