Mike Svoboda
Homo Ludens (2019)
for two teams of musicians
Mike Svoboda (*1960) Homo Ludens (2019) for two teams of musicians Version for Violin, Viola, Trombone and Clarinet, Violoncello, Percussion Duration 12-20 minutes
Written for and commissioned by the Camerata Variable. The premiere performance took place on March 22nd, 2019 in the Centre Le PhÊnix, Fribourg, Switzerland with Karin Dornbusch (Clarinet), Mike Svoboda (Trombone), Lukas Niggli (Percussion), Helena Winkelman (Violine), Alessandro D’Amico (Viola), and Christoph Dangel (Violoncello).
Homo Ludens was commissioned with the generous support from
Homo Ludens is a composition for two teams of three players with an open instrumentation consisting of five different categories of game or process pieces, which can be combined in different ways, and a duration of 12 to 20 minutes. The version here has been determined regarding the instrumentation and form, and in addition, the more complicated process pieces, MATCH and SHUFFLE, have been written out.
Instrumentation for this version Violin with Referee’s Whistle Viola with Ratchet Trombone with Cup, Harmon, Plunger, and Straight mutes, and Referee’s Whistle Clarinet in Bb with Referee’s Whistle Violoncello with Ratchet Percussion Drum set Slide Whistle
General comments on the material There are two teams of musicians; their instrumentation could be: Team S • •
•
Sasha – a high-range wind, brass, or string instrument o Flute, Oboe, Clarinet, Soprano Saxophone, Trumpet, or Violin Shirley – a mid-range wind, brass, or string instrument o Cor Anglais, Clarinet, Alto or Tenor Saxophone, Horn, Trombone, Viola, Violoncello as well as Electric Guitar, or Accordion Sydney – a low-range wind, brass, or string instrument o Bass Clarinet, Bassoon, Baritone Saxophone, Trombone, Tuba, Violoncello, Double Bass, as well as Electric Bass, Percussion (with a Side Whistle), or Piano (with a Melodica)
Team M • •
•
Marian – a high-range wind, brass, or string instrument o Flute, Oboe, Clarinet, Soprano Saxophone, Trumpet, or Violin Meredith – a mid-range wind, brass, or string instrument o Cor Anglais, Clarinet, Alto or Tenor Saxophone, Horn, Trombone, Viola, Violoncello, as well as Electric Guitar, or Accordion Morgan– a low-range wind, brass, or string instrument o Bass Clarinet, Bassoon, Baritone Saxophone, Trombone, Tuba, Violoncello, Double Bass) as well as Percussion (with a Slide Whistle), or Piano (with a Melodica)
There are five types of events; they can be combined as follows: A SOLITAIRE is a short solo which can only be played during a SHUFFLE or a MATCH, during another SOLITAIRE, or both. The players from Team M choose material from either the temperament phlegmatic or sanguine, and combine the elements freely. The players from Team S work in the same fashion, choosing melancholic or choleric temperaments. A MATCH is a duo comprised of one member of each team; it is a process piece in which the players alternate reacting to material from the opposing player in permutation according to plus and minus signs. A MATCH can be played simultaneously with other MATCHES, or interrupted by a SHUFFLE or HUDDLE. • A MATCH starts with a member of one team playing a continuous series fast notes on the pitch A at ca. 432 bpm, 16th notes at tempo 108 (Serve). The player from other teams reacts with a series of notated pitches at the same
speed, the pitch of which determines the starting point in the process (Return). A member of either team can initiate the process. • The starting point determines the pitch set which apples for the whole piece. • There are three possible starting points (see Diagram 1). • The players react to each other and permutate what they hear in regards to range, dynamic, speed/tempo, and segmentation according to plus or minus signs, increasing or decreasing respectively pitch, intensity, tempo, or the number of segments. To which parameter the sign applies is up to the player. If more the one sign appears, each sign is applied then to a different parameter. • PER means play the passage in a certain rhythmic periodicity. • A repeat sign for a serve and return may be repeated ad libitum while increasing or decreasing the same parameter repeatedly. • A passage with MEM is memorized and recalled later. • ACC means continue to play while accompanying the other player freely. • An arrow from one box to the next indicates a reference to one’s own material, regardless of the actions of the other player. A SHUFFLE is a trio within one team; it is a process piece in which material from within the team is permutated according to plus and minus signs. • Player 1 can start a SHUFFLE at three points as seen in Diagram 2, informing the other players where this is, and ends when Player 1 either stops or one of the players moves on to another game, the other players playing out their reaction (see Diagram 2). • Any player of the same team can be player 1, 2, or 3. • The permutation is limited to the parameters of range (R), dynamic (D), and segmentation (S). Each parameter is accompanied by a plus sign indicating an increase and or decrease respectively in pitch, intensity, or the number of segments. • PER means play the passage in a certain rhythmic periodicity. • The arrows show to whom the player reacts. • A SHUFFLE is played in a constant tempo, the lengths of the measures changing as indicated in the number of beats per measures • Each four-measure phrase has a different number of pitches chosen from the indicated pitch set. A HUDDLE is an ensemble moment with simple material which is played from memory and always transitions to a REBOUND. A HUDDLE can interrupt any of the three afore mentioned games, and is always followed by a REBOUND.
A REBOUND is a solo accompanied by the rest of the ensemble, which the Soloist controls by standing in different places on the playing field (see Diagram 3). The ensemble players react individually to the position of the Soloist on the board in the following ways: Inner circle Without playing, the ensemble listens to the Soloist, committing a phrase or motive to memory. This material is recalled once the Soloist touches one of the four fields in the middle circle. Each time the Soloist enters the middle circle with both feet, a new phrase or motive is memorized. Middle circle Play reacting to or provide support for the Soloist. •
Hearts: recall the phrase or motive and elongate
•
Diamonds: recall the phrase or motive and perforate into segments
• •
Clubs: recall the phrase or motive, playing only single short notes Spades: recall the phrase or motive, playing only single short notes
Separate all elongated, perforated phrases and motives, as well as short and long notes with pauses of various lengths. A combination of two fields at once is possible; in that case, the material is played alternately while the Soloist is standing on the two fields. Outer circle The playing from the middle circle (Hearts, Diamonds, Clubs, and Spades) is interrupted by the Soloist’s standing on the •
Green fields: Stop playing the material from the middle circle abruptly, and play a mid-range pianissimo note while the Soloist is touching this field.
•
Pink fields: Stop playing the material from the middle circle abruptly with a very short mid-range forte note, and wait while the Soloist is touching this field.
Diagram 1
MATCH * & nœ
==
Serve
© M i k e Sv o b o d a 2 0 1 9
for two musicians
PER
+ –
– – + –
Return
+ + +
: – + –
+
– :
PER if
nœ
& #œ ==
then
+ –
nœ nœ #œ œ
#œ nœ ===== ACC
*== & nœ
– –
– –
MEM
– :
ACC
#œ
& nœ ==
then
– –
+ –
#œ nœ
*== & nœ
PER
+ –
ACC
+ +
+ –
– – –
+ + + +
PER
* possible start
ACC
PER
nœ #œ nœ nœ =====
+ – if
MEM
+ + –
+ –
RECAL
if
: +
+ – –
+ –
nœ
& nœ ==
then
nœ
bœ nœ ===== nœ #œ nœ
: –
RECALL
da capo
+ –
+ +
+ :
Diagram 2
SHUFFLE © Mike Svoboda 2019
for three musicians
*5
3 S-
1
D+
RS+
2
5
D-
S+
R+ S-
D-
R-
S+
R-
PER
D+
S+
3 8
PER
5
8
PER
3
*2 R-
R-
S-
S-
5 D-
D+
R+
S+
PER
S+
PER
S+
R-
S-
D-
R-
D-
PER
R+ 5
3 D+
3
8
5
*3 R-
SR+
D-
R+
R-
S+
S+
R+
DR-
SPER
S+
PER
D-
D+
S-
PER
R+
R+
D+
5
PER
8
5 R-
(5 )
D-
PER
R+
3
* possible start
RS+
PER
S+
S-
D-
5
2 D+
R-
S-
da capo
D+
PITCH SET Team M
PER PER
R+
S5
D+
( R-) 8
nœ #œ nœ nœ nœ
#œ nœ bœ =======
&
PITCH SET Team S
nœ #œ #œ
nœ ======= nœ nœ #œ nœ
&
Diagram 3 – Playing field for a REBOUND
M 1 zu 10
HOMO LUDENS for two teams of musicians
Mike Svoboda (2019)
Version for Violin, Viola, Trombone, and Clarinet, Cello, Percussion
MATCH I Duo for Viola & Cello e. = 144
Team M
° 15 & 16
∑
3 8
∑
∑
¢ ° 15 & 16
3 8
5 16
∑
3 8
∑
5 16
Violoncello "Sascha"
15 B 16
∑
3 8
∑
5 16
Percussion "Sidney"
15 ¢ / 16
∑
3 8
∑
5 16
Violin "Meredith"
Viola "Morgan"
5 ∑ 16 > > > > > > > > 15 Bb œœœœ œœœœœœœœ œœœœœœ œœœœœœœœ œœœœ 3Bb œœ œœœœœœœœ œœ 5 B 16 8 > > > 16 > > > > > f
{ {
Trombone "Marian"
Clarinet in Bb "Shirley"
Team S
> œ œ °B 5 Bb œœ œ gliss. ¢ 16 > °B 5 ∑ ¢ 16 >r 6 °B ∫ œœR ≈ ≈ ‰ ™ ¢ > °B >œ œ œ >œ œ œ ¢ 3
Vla.
Vc.
Vla.
Vc.
15 ? 16
> > > œ j∫ œœ œ œ œ œ 9 ∫ œœ œœ œœ œœ œœ œœ œœ œœ œœ 16 > > > > œ œ œ œ œ œ 9 ‰™ ∑ 16 gliss.
p
[x = x⁵] q = 86.4
‰™
5 4
>œ œ œ >œ≥ ≤gliss. 5 #œ œ 4
∑ œ œ œ
>œ b œ œ œ
3
f
5
fp
Copyright © 2019 Boosey & Hawkes · Bote & Bock, Berlin. Copyright for all countries. All rights reserved. 2019 0516
2
[e³ = e] q = 129.6
>œ >œ <n> # œ °B #œ œ œ œ œ œ œ œ ‰ 3 ‰ œJ œ œ#œ œ ‰ œ œ ¢ #œ œ 5 8
Vla.
f
3
arco > # œ pizz. »j trem. ™ ? œ> J ‰ ‰ œ ‰<n>朜 ™ > æ #>œ pp sffz
f f
Vc.
°B œR ‰ ™ ¢
&
p
p p
∑
Ó
Ó
f
rit. pizz.
œ œ œ arco ° œ # œ ‰ œ œJ ‰ œJ œ ‰ 3 œr ‰ ™ Œ œ #œ 4 œ ¢& 3 3 3 3 10
Vla.
Œ
B
˙ æ
œ ææ
∑
pp
f
p
Vc.
trem.
°? ¢
3 ≥ ≤gliss. #œj ‰ 4œ œ œ f
∑
∑
≥≤ œ œ
5
#œ Œ œ f
p
p
14
Vla.
°B ¢
Vc.
°? ¢
˙ ææ
gliss.
œ ææ
˙ ææ
∑ ≥ ≤3 œ œ
∑
gliss.
œ ææ
∑ ≥ ≤ œ œ
3
#œ ‰ Œ œ
∑
f
f
p
p
subito q = 144
q ca. 48
#œr ‰ ™ Œ œ
[e = e³] q = 96 pizz.
18
Vla.
°B ¢
Vc.
°? ¢
˙ ææ
gliss.
œ ææ 45
‰ œj œ Œ œ p
∑
‰#œJ œ œ 43
∑
>˙ # #œ œ œ B 3 > œ > œ > œ ˙ œ 5 ‰ j œ œ>œ Œ Œ Œ 4 œ ‰œ ‰œ ‰ 4 #>œ >œ #>œ nœ > pp sub. 3 3 3 pp mf 3
3
∑
(f)
[e³ = e] q = 144 22 arco
pizz.
°B ¢ b˙
molto vib.
Vla.
» ‰ œj sfz
f
Vc.
°B ¢
>œ ™ œ œ œ œ >œ ™ 2 #arco œ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ œ ‰ 4 R R
∑ > #œ œ
∑
>œ >œ n>œ b>œ 2 > ‰ œ ‰ 4
3
p
sffz
∑
sffz
∑
3
f 3 sub. 2019 0516
3
26
Vla.
pizz. … ‰ #œœ Œ J
°B #œœ œœ œœ œœ œ>œ ‰ ™ ¢ R °B ¢
… ‰ #œœ Œ J
f
sffz
Vc.
… ‰ #œœ Œ J
œ
#œ
∑
œ
œ
œ
#œ
œ
#œ
œ
3 3
3
p
arco 30
Vla.
3 °B ‰ 3 œœ œœ œœ œœ ‰ ¢
p
‰
°B ¢
4 4
∑
f p
Vc.
3 4
∑
j œ œ œ
∑
f
>œ > > œ œ >œ > #œ J > 3 bœ ‰ J ‰ 4 œ
∑
mf
4 4
f
[h³ = q] q = 108 34
pizz.
Vla.
° 4>œ œ>œ œ>œ œ 3 ¢B 4 œ œ œ œ œ œ 4 3
cue Clarinet
‰ #œ œ#œ ™ œ nœ œ ™
∑
3
p mf
Vc.
°B 4 ¢ 4
œ 3 œ œ ™ #œ ™ nœ œ™ 4
∑
?
∑
mf
START: Clarinet SHUFFLE I
œ œ#œ œ œ œ #œ ≈ nœ ‰ arco
37
Vla.
°B ¢
Vc.
°? œ #œ œ œ œ ¢
∑
∑
∑
∑
˙ p
#œ
mf mf pp
2019 0516
˙™
4
SHUFFLE I for Clarinet, Cello & Percussion
32
Fl.
(MATCH I) cue Vc.
Vla.
2 j j & 4 ‰ #œ œ ‰
3
3 4 œ
œ
4 4
œ bœj ‰ œ
3
3 4 œ œ œ œ œ œ œ œ œ œ œ œ > > >
[h³ = q] q = 108 35 Vc. Vla.
Fl.
3 & 4 œ œ™
œ #œ ™
5 4
‰ # œ œ #œ ™
nœ œ™
œ nœ œ™
5 4
∑
q = 108 cue from Vc.
œ œ bœ œbœb >œ j œ. Ÿœ~~~~~~~~~ œ #œ ° 5‰ 3 # œ œ # ™ œ j <n>œ ‰ ‰‰ œ #œ <n>œ#œ ‰ #œ ‰ &4 j 5 5 #œ # œ- <n> œ 3 3 dim 1
Cl.
mf
Vc.
? 45 œ #œ œ œ œ
Ó
Œ
˙
g lis s .
#˙ mf p mf 3
Drum Set snares off
Perc.
5 ¢/ 4
œ ‰ œj œ j3 œ œ J œ œ
∑
œ œ œ ¿ ‰ÆœJ œ 5
3
mf
ca. START: Trombone SOLITAIRE I
3
trem.
Cl.
° & œj ‰ # œ
cue Trombone 5
Ó™
‰
‰™
Œ
œ™ nœ ™
œ #œ #œ
3 4 œ bœ
p mf
Vc.
nœ pizz. <n> œ 3 œ œ # œ ? œ ‰##œœ ‰ #œ n œ œ œ 3 œ> #>œ > n œ. œ. 5 3 >
arco 3 ‰ œ#œœ # œ ææ
3
‰ œ
œŒ
3 ‰bœ œ 43
dim
mf 3
Perc.
¢/ Œ
ÆœJ
j‰ ÆœJ œ œ
‰œ ææ
œ ææJ œj œ
‰™ œ œ œ
æ œæ
‰ æœ æ
œ ææ
‰
æ œ™æ
3 4
3 3
3 3
3
dim p 2019 0516
5
œ
5 3
Cl.
5
° 3 &4
3
#œ j
# œ œ
bœ #œ œ ‰ ™ ‰bœb œj nœ ‰ <n>œj œ ‰ ‰ œ - 3
bœ œ p
. œ ? 43 ™ œJ œ ™ œ œ ‰ #œ
>œ# œ ™ ‰ Œ
5
Vc.
‰
B
Œ
> #œ ™ œ
> ‰ œ œ œJ
‰
5 5
mf p 5
5
3 3
Perc.
3 4 / ¢
∑
3
ÆœJ
j œ
œ
œ ‰ œj ÆœJ œ œj j ‰ J œ œ
œ Œ œ œ
œ œ œ™
mf
8
œ Cl.
° &
5 4œ
∑
œ œ ‰ ≈
œ
# œ œ #-œ ≈ ‰™ œ
œ
Œ
5 5 5
mf trem.
B >œ #œ ™
#˙
˙
5 gliss. 4 ˙™
Vc.
ææ ˙˙
#˙ ™
p
Perc.
j ‰ j ‰ j 45 œ œ œ
¢/ ‰
∑
p
Cl.
~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ # Ÿ˙ œ #˙ l#œ
. 10 . . ° ≈ œ # œ ≈ r œ . ≈#œ# œ ≈≈‰ ™ œ ‰ ™ œ œ Œ & #œ #œ ™ œ
p
5 5 5 5 5
dim pizz. 3
B
?
∑
>œ
3
‰ >œ
Vc.
œ #œ
>œ. >œ. >œ. # œ œ ‰œ ‰ B ‰ j J œ œ œ 3 J J3 3
mf 3
3 3
Perc.
¢/ ¿ œ œ ‰ ¿ œœ
3
3
¿ jœ ¿ J œ J œ
‰ œj ¿ œj ¿ J
mf dim
2019 0516
‰ÆœJ ¿ J
‰ ÆœJ ¿ œj ¿ J
6
<Ÿ>~~~~~~~~~~~~~~ ° œ Œ &
œ œ œ œ œ n œ 4 ‰ bœ œ ‰ ‰ œ 4
12
Cl.
Œ
Ó
mf 3
œ œ #œ J 44 J ‰
arco
œ #œ œ J
3
Vc.
B #œ œ œ ‰ œ
œ
3
3
3
3
œ œ œ œ J ‰
3
dim
Perc.
3
p
ææ ¢ / ˙™ pŒ
ææ ˙ œJ ‰ œJ ‰ ‰ œJ Œ
4 4
∑
œJ œ
3 3
Cl.
3
14 5 # œ œ œ <n> œ œ > . ° œ œ # œ J # œ # œ œ Œ ‰ Œ j ‰ ≈ & J #œ #œ J ‰ # œ n œ 3 3 3 > 3 dim œ # Ÿ˙~~~~~~~~~~~~~~~~~~~~~~~~ ™œ B J‰ ∑
3 5 3
j #œ
œ ‰ ‰ œj bœj œ nœ bœœj ‰‰ # œ. . œœ . ?
∑
Vc.
3
Perc.
∑
¢/
3 œ æ ‰¿ œæ œ ‰ œ œ ‰ ¿ œ ‰ ¿œ J
3 3 ¿ œ œ ‰ œj œ j œ œ œ
3
3 3
mf 3
17
Cl.
° & œ -
Œ
∑ b˙ ™
œœœ
œ
p 5
vib. pizz. 3
? Vc.
œ œb œ
arco 3
‰ œj
> œ# œ ™
œ œ ™ ‰ ™ œ #œ >
œ bœ œ œ >
mf 3
Perc.
¢ / ‰ œj œj ‰
j œ
œ Œ J
arco pizz. 5 5
5 r r ™ ‰ œ#œ ‰ œ œ œ œ jœ œ . œ #œ > dim 3
3
œ ‰ ÆœJ œ ‰ œ œ J
j j œ œ
3
3
œ Œ ¿j j ‰ ¿ Œ J œ J
Œ
¿
Œ
3
dim
2019 0516
7 20
Cl.
° &
2 4
∑
œ
‰
#œ œ
j œ
œ
œ
mf pizz.
arco
3
5
j3 2 ? ‰ œ nœbœ r œ ‰ ™ b œ œ œ œ b œ ‰ 4 ‰b œ œ ‰ ™ œ œ b œ bœœ œ . œ œ œ œ . . bœ œ œ œ 5
5
5
Vc.
3
Œ
p 5
5
rub stick on rim
Perc.
œ
2 4
¢ / wææ
œ
Ϫ
œœ
mf
p
. #Æœ œ . ‰ œ‰ JJ ‰ J 3
23
Cl.
Ϫ
∑
frull.
#Ɯ J
° & #œ. j
œ 5 4 ææœ ææJ Œ
∑
œœ œ œœ ææJ ææ ææ ‰ Œ #æœ ææ ææ æ
3
3
3 3 3
p mf
#œ œ. œ. œ. œ. œ. œ œ œ œ #œ œ œ ≈ ≈ ‰ 5 #œ œ œ ‰ ™ œ ‰ Œ œ ‰ 4‰J‰ J J
3 j bœ ‰ œœ œ œ œ >
3
? bœ bœ >
Vc.
5
3
3
mf 3
Perc.
‰ ¢/
5
p 3
j ¿
j ¿
œ
j ¿
œ
j œ
œ ææ
œ ææ
5 4
∑
p
<n> œ œ # œ b œ n œ œ ° œ æ æ ‰#œj J ‰#ÆœJ J J ‰ & ææ æ æ
œ # œ œ. œ # œ. . <#> œ . ÆJ œ ÆJ J ‰ J ‰ J ‰#ÆœJ #œJ ‰#Æœ J ‰ n-œ J
26
Cl.
3
3
p
dim
?
-œ Æœ -œ ‰ J ‰J J ‰ ÆœJ
∑
Vc.
ÆœJ
# -œ -œ J ÆœJ J
3
‰ -œJ ‰ œj œj j #œ
mf
5
Perc.
œ œ5 œ ‰ œ ‰ æ æ ææ / J Rœ J ¢
(press hand on drum skin) g lis s .
œ œ™ œ œ œ œ œ œ J
.
œglœiss œ œ J
œ
Π3
3
p mf
p
mf p
3
mf dim
2019 0516
3
8
>œ. >œ. . >. #>œ. >œ™ # œ n œ 3 ‰#ÆœJ œ 4 ÆJ ÆJ
28
Cl.
° &
∑
3
œ œ 5
mf 3
trem.
Vc.
æ #œæ
? œææ
ææ œ
æj ææ œ œ
‰
3 4 œO
dim
Oœ
‰ ##Oœ J
œO
p 5 5
Perc.
œ™ Œ / ¢ œ œ
œ ææ
œ
‰™
3 4
œ œ
∑
p
œ # œ œ œ ° #œ œ ‰ J ÆJ ‰ & J 30
Cl.
3
œ ˙ J
‰
3
cue Trombone
5 4
∑
p
>œ >œ >œ ?
∑ &
Vc.
#œ œ œ ™ œ œ # œJ #œ œ nœ gliss. 5 ‰ ‰ ‰ ‰ ‰ 4
5
5
5
3
mf gliss. g lis
ss. 5
Perc.
5
œ œ œ ‰™ R
‰ ‰™ ¢ / œ œ œ™ œ œ œ 5
œ œ œgli œ œ œ 3
3
s. œ œ œ ‰ R 3
j ‰ œ œJ 45
5
mf p
rit. ca. STOP: Trombone SOLITAIRE I
Cl.
33 ° 5 ‰ ™ #œ œ œb œ nœ ≈ ≈ Œ &4 5
Ÿ~~~~~~~~~~~~~~ 5 U #œ#œ œ ‰#œ œnœ œ œ ‰ ˙ bœ œbœ bœ ‰ nœ J J
5
3 3
mf
p
dim
Vc.
o 5œ &4
oj œ œ œ™ ‰ œ œ ‰ œ >>> >> 5
Œ
3
o ˙™
Uo ˙
p START MATCH II
Perc.
5 4 / ¢
∑
Ó™
U Ó
2019 0516
9
SOLITAIRE I for Trombone SOLITAIRE I is played simultaneously with SHUFFLE I. The player choses to play one of the two temperaments—melancholic or sanguine—and plays the motives of that temperament in an order ad libitum, separating the motives with short pauses. Motives from the two temperaments are not mixed. The Clarinetist gives the cues to start and finish SOLITAIRE I. If the cue to finish comes while playing a motive, play the motive to the end.
Either Harmon mute slide vib.
nœ œ
b œ bœ M standing B n œ n œ œ™ slowly nœ œ E 3 L A B 3 N #œ œ œ œ #œ œ œ n˙ G> G> C G> G> G> H B #œ œ #œ œ nœ nœ œ ≈#œ nœ O G> L # -œ n œ # œ n œ ™ I B J C
nœ B nœnœnœ#œ œ#œ nœ ™ n œJ œ 3
™ œ #œ nœ nœ n œ
B #˙
B #œ ™ j #œ nœ
b˙
G >œ #œ ™ nœ
n œ #œ n˙
3
Or Straight mute standing
quickly
n œ bœ n œ b œ n œ œ nœ #œ n œ B nœ nœ nœ ‰
S 3
3
-œ n > bœ bœ n>œ G œ B ‰ n œ n œ nœ œ#œ#œ
A N
>œ G > > . n nœ nœ b œ n œ B ≈nœ nœ #œ ‰ ‰ J ‰ 3
G
n>œ b >œ n œ œ œ œ B
slide
bœ ‰
nœ n œ nœ bœ bœ
‰
U 3
I
> > B >#œnœ#œ≈n>œ#œnœ # œR ≈#œnœnœnœ ‰ nœ N E 2019 0516
3
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B #œ nœ œ œ œ G> G> G> 3
3 B nœ nœ bœ 3nœ ‰ n>œ nœ nœ #œ #œ n œ nœ > > >œ n>œ #>œ n > > > > > n œ B #>œ n>œ nœ nœ ‰ #œ #œ ≈ ≈ R ‰ R
10
MATCH II for Percussion & Violin The Percussionist starts MATCH II at the end of SHUFFLE I during the fermata in measure 34.
1
e. = 144 Vln.
° 15 ¢& 16
5 8
∑
∑
œœœœœœ5 9 16 ‰ ™ œ œ œ œ œ œ 16 p
Perc.
o o o o o ° 15 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 5 ¿ ¿ ¿ ¿ ¿ 9 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 5 8 ≈ ¿ ≈ ¿ ≈ ¿ ≈ ¿ ≈ ¿ 16 16 ¢ / 16 R R R R R p sub. p
cresc f
> > > > > > > > ° 5 œœœœœœœœœœ œœœœœœœœœœ 9 œœœ œ œ œ œ œ œ œ Jbœœœœœœœœœœœœœœœœœœ 5 16 4 ¢& 16 4
Vln.
gliss f
Perc.
° 5 ≈ ¿ ¿ ¿ ¿o ≈ ¿ ¿ ¿ ¿o 9 ≈ ¿ ¿ ≈ ¿ ¿ ≈ ¿ ¿ æ¿™ 16 ¿™ æJ ¢ / 16 ¿™ J J
o ¿™ æJ
¿™ æJ
5 4
[x = x³] q = 86.4
>r ° 5 Jbœœ ‰ ™ ¢& 4 >R
pizz. bœ œ œ œ œbœ nœ nœ #œ » ‰ bœ œ œ œ œ ‰ ≈ œ œ œ‰ j œ œ œ. # œ 3 3 > > f p
8
Vln.
Œ
Œ
Ó
ff
sfz Instruments ad lib. (snares off)
Perc.
° 5 œ œœœœ ‰ œ œ œææ œ ‰ œœœœ œ œjœ œj œ ¢/ 4 > 5 >. 3 3
∑
f ff mf sub.
[e³ = e] q = 129.6 arco sul pont. 3
10
Vln.
° ¢&
4 4
∑ 3
3 3 ææ j °¢ / œ œ œ ‰ œ œ ‰ œ œ œ ‰ . . > > > p p 3
Perc.
3
bœ œ œ ‰ ‰<n>œ bœ œ œ bœ bœ nœ 3 3
3
ææj œ
pp ææ œ œ œ. 44 >
∑
p
2019 0516
11 ord.
œ œ œ œ >œ. >œ. ° ‰ J J‰‰ ¢& 3 Œ 3 3
5
<n>œ# œ ™ 5 bœ Œ bœ œ œ #>œ
12
Vln.
∑
∑
f
f 3
Perc.
° ¢/
3 j ¿ ¿ œœœ Œ ‰ œœœ ˙ ™ œJ œ ææ p
∑
3
¿j œ œ œ œJ
∑
f
pizz. secco
5 5
>œ. œ#œ ° œ œ œ ‰ ‰ ‰ b œ œ Œ ‰ Ó œ œ J ¢& j œ œ >>>> #>œ ææ pY ° ∑ ¢/ ‰ œ Œ Œ ‰ œ J J f > > 16
Vln.
Perc.
Vln.
œ>œ ææ
œ>œ ææ
œ>œ ææ
œ>œ Œ ææ
p
æ Yæ Œ
œJ ‰ ‰ œJ Œ > >
3
Œ
<n>œ
<n>œ bœ
#œ 3
œœ ææ
sul G 3
19
° œ>œ ¢& ææ
arco trem.
> > œœ. ‰ ‰ œœ. Œ J J
∑ œ
3
fp fp fp fp fp f 3
Perc.
° ¢/
∑
3
¿j œ œ œ Œ œJ p
∑
¿ ‰ œœœ œ
[q³ = q] q = 97.2
#œ œ œ <n> œ œ <n>œ œ 3 bœœ J ‰ <b> œ 4 ss.
g li
22
Vln.
° ¢&
∑
∑
p 3
Perc.
° ¢/
2019 0516
˙™ ææ
¿j 3 œ œ œ œJ 4 f
∑
œ ææ
œ ææ
œ ææ
p
f
p
12
#œ <n> ° bœœ æœ <b><n>œœ ¢& ææ ææ 25
Vln.
æ œ™ nœæ™ bœ ™ œ ™ ææ
∑
∑
f mp
Perc.
° ¢/
∑
œœœœœœœœœ 3
p
3
œ œ
∑
j ‰ ™ r ‰ œ ≈ œj™ œ™ œœ ‰ œJ ≈ œ™ J
3
mf
p mp
[h = q] q = 48.6
o œœo 2 4
29
Vln.
° œ ˙ & ¢ œ œ ææ˙ # œ-
∑
o œœo
o œœo
o œœo
o œœo ∑
5
pp pp
mf
pp
mf
¿ Perc.
° ¢/
∑
Œ
2 4
Œ
˙ ˙ œ ‰ J ‰ œJ
∑
pp
mp
ord.
33
Vln.
° sulbœpont. œ œ œ ¢& œ nœ œbœnœ ≈ œbœnœ ≈
5
5
∑
œ#œ ≈ ≈ œr œr ≈ ≈ œ b œ
œœœœœ≈œœœ
∑
mp
Perc.
° ¢/
∑
5
5
mp START SHUFFLE II Viola
sul pont. 36
Vln.
° ¢&
‰
ææ #œ
ææ œ
ææ œ
pp
Perc.
° ‰ ¢/
U ∑
3
∑ 3
j œ
œ
3
œ
‰
œœ
œ
∑
æ b œæ U ¿ æ
U ¿ æ
pp p
2019 0516
13
SHUFFLE II for Viola, Trombone & Violin (MATCH II) cue 33 Vln. & œ bœ nœ œ œ bœ nœ œ ≈ œ bœ nœ œ ≈
Fl.
Perc. 5
œœœœœ≈œœœ
/
& 5
5
œ #œ ≈ ≈ œr œr ≈ ≈ œ b œ
5
mp mp
START SHUFFLE II
36
/
Fl.
Vln. sul pont. 3
Perc.
‰
j3 œ
œ
3
œ
‰
œœ
œ
‰
æ # œæ
&
Perc.
æ œæ
æ b œæ
æ œæ
/
U œ æ
U œ æ
p pp
q = 108 1 5 œ œ ‰ bœ. œ ‰ œ. œ œ. œ 45 œ bœ ‰ bœ 3 3
Vln.
° 2 &4
∑
∑
mf (arco) 3
bœ œ œ B 42 œ œ bœ ‰ œ œ ≈ œ bœ ‰
Vla.
o o o ‰ œ œ ‰ œJ
∑
5 4
œ bœ
5 4
5
mf
3
p
œ. œ œ œ bœ ‰ œ œ bœ
bœ
3
Cup mute Tbn.
¢
B 42
∑
3
œ ≈
œ
3
mf p
5
Vln.
° 5 Œ &4
œ
#œ œ
Œ
Œ
∑
p 5 5 5 œ œœ # œ j <#> 5 œ œ œ B 4 bœ ‰ œ œ ‰<n>œ ‰ œ J ‰& ‰ bœ œ ‰ #œ œ Œ œ œ J œ
Vla.
#œ œ<n>œ 5
mf dim
Tbn.
B 45 Ó ¢
Œ
Œ
‰ œJ œ
œ ‰ bœ J
œ œ 3
mf 2019 0516
œ ‰ J
14 pizz. 3
3
7
Vln.
j œ œ ‰œ Œ œŒ œœ œœ
° œ & œœ bœ
œ 5 3 # œ n œ ‰ ≈ ‰ ≈ ‰ 4 ‰ œ‰ J ‰ œ œ œ œ œ œ # œ œ bœ œ œ œ 3 œ arco
œœ œœ
mf p
-œ 3 #œ ‰ B4 J
trem.
-œ #-œ œ ‰ æ & J ‰ æJ ‰ æJ
Vla.
œ b œ æœ æ æ
∑
-œ -œ œ‰œ‰ J J
mf p
œ
3
#œbœ œ ‰ œ ‰ ‰ bœ 5œ œ J œ œ œ #œ 3 3
B Tbn.
¢
3 4
‰ j œ œ
∑
bœ
dim p
#œ>œ # œ œ>œ œ œ>œ œ œ>œ œ œ œ ‰ J œ œ #œ œ J
10
Vln.
° &
∑
‰ #œJ œ nœ 45
3
mf 3
3
trem. sul D
# -œ B œ
‰
Vla.
-œ œ œ œ ‰ J J
˙ ææ
gliss.
œ ææ
5 4
∑
p
Tbn.
œ B ‰ #œ œ œ œ ‰ œ#œ œ ¢
>. G >. G >. G Œ bÆœJ œJ ‰bÆœJ œJ ‰bÆœJ œJ ‰ 45
œ. . œ #œ œ. nœ. # œ ≈ ‰ J
3 3
mf p
trem. 13
Vln.
° 5 #œ œ ™ &4 J æ
ca. START SOLITAIRE II Clarinet
˙o ™ ææ
∑
p
>œ >œ b >œ >œ #œ # œ n œ 5 œ B4 Œ
Vla.
bœ ‰ J
5
œ
<n>>œ
3
bœ ‰ J œ
#œ œ œ
œ
#œ
‰ <n>œj
mf dim 3
Tbn.
¢
B 45 cue Clarinet
? bœ
œ #œ
∑
œ œ
œ bœ
3 3
mf 2019 0516
15
Vln.
15 5 . ° -œœ œœ ‰ #-œ œ. ‰ bœ œ ‰ bœj œj ‰3 j j ‰ ‰ 3 j ‰ j j ‰ Œ 3 j ‰ j 3 j ‰ 3 œ œ <n>œ œ œ œ œ œ œ & j œ #œ œ j œ œ. 4 - . - . bœ . . . . œ 5
mf dim 3
B œ #œ
Vla.
‰
bœ œ
3 4
∑
j œ œ
p
Tbn.
3 ‰ œJ œ œ œ bœ
? ¢ œ
3 4
Œ bœ
œ
˙
œ
dim p
œ œ #œ #œ nœ œ œ #œ # œ n œ
17
Vln.
° 3 &4
3
3
3
‰ ‰ b œ œ.
Œ
j j ‰ Œ œ œ.
œ œ.
Π3
mf
p
B 43
Vla.
œ.
#œ œ . œ #œ.
œ#œ œ
≈œ
≈
œn œ œ ‰
œ.
œ #œ ‰
‰
<n> œ œ
. œ. n œ. # œ ‰ J ≈
p mf 3
Tbn.
¢
? 43
∑
‰ ‰ #œ œ œ œ
œ
œ‰
j ‰ œ œ # œ #œ œ
mf
œ #œ ° œ #œ ‰ & 20
Vln.
œ œ œ œ ‰ J J
5 4‰
-œ nœ Œ J
-œ œ
‰
b -œ ‰ bœ ‰ J
p
B
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ b œ gliss. ˙ œ 5 œ bœ 4
∑
Vla.
mf
? œ #œ ˙ Tbn.
¢ p 2019 0516
˙
5 4
∑
16 22
Vln.
° &
j j j j ‰ bœœ œœ ‰ œœ œœ ‰ œœ œœ ‰ > > > > > >
∑
mf
˙
˙
p
mf
sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 3 3 ‰ ‰ ˙ bœ œ œ œ œ œ œ œ œ œ œ œ
B ΠVla.
- . ? bœ œ
mp
-œ œ.
-œ œ. Œ
p slide
Ÿ~~~~~~~~~~~~~~~~~~~
˙
bœ
slide
˙
Œ
Ÿbœ~~~~~~~~~~~~~~~~~~~~
Œ
Tbn.
¢ mf
Vln.
mf
mp
24 - 3 œ #œ œ œ ° bœ œ œœ œœœ 2 œ ‰ Œ 4‰ & œJ ‰ œJ ‰ ‰ œbœ 3 3 3 3
œ #œ J J ‰
-œ #œ
3
mf
pp pizz. arco
B
2 4
∑
Vla.
#œ œ œ #œ ™ ≈ œ œ œ <n> œ œ œ
œ™ ‰ #æœ ™ æ pp
slide
Tbn.
Ÿ~~~~~~~~~~~~
mf
˙ bœ
œ œœ ? ‰œ ‰ Œ ¢ 3 3
3
3
2 4
∑
œ j ≈ œ œ#œ œ #œ
œ œ‰ œ
pp mf
p
Vln.
28 œ ° & #œ ™
5 4œ
g lis s .
Œ b ˙˙
∑
œœ
p
B
∑
Vla.
œœœœœ œœœ ™ 5 #œœ œœ œœ œœ œœ ‰ ™ ≈ œ œ œ œ œ ‰ ≈nœ œ œ ‰ ™ b œœ œœ œœ ™ Œ 4 R R
œœœœœœ œœ
mf p
œ
3
? <n> œ Tbn.
¢
œ 5 4
œ
∑
œ ‰ Œ #œj œJ ‰bœj Œ 3
œ#œ 3
3
p mf 2019 0516
17 31
Vln.
° & # œœ
3
3
Œ œœ
3 j Œ ‰ ææj ææ œœ n œœ œœ ˜ œœ ˙˙
‰
œœ
œœ œœ
3 4
mf dim
j œ ‰ ‰ bœ œ œ œ bœ œ œ
#œ œ ™ œ œ™
B ΠVla.
3 4
∑
p
Tbn.
3
? œ œ ‰ Œ ¢
jœ ‰ œ #œ œj
Œ
Œ bœ
œ
3
3 4
‰ bœ ™
p
œo
œo
œo
33
Vln.
3 3 3 3 ° 3 & 4 œ œ œ œ œ œ œ œ œ œ œ‰ Œ ˜œ œ œ œ œ œ œ œ œ ˜œ œ
Πmf
p 3
œ ˙™ # œ 3 B4
Vla.
œ
œ
œ
œœ œœ
#œœ
œ
œœ
#œœ
œ œ œ #œ
p mf
nœ œ#œ 3 œ œ ‰ œ œ#œ ‰ ‰ #œ œ#œ œ #œ œ #œ 3 3 3 3 3
Tbn.
¢
? 43
Œ
Œ
œ mf
36
Vln.
° O O ‰ & #œ œ
j Oœ Oœ ‰ J
5 4 Oœ
bbOœ
Oœ
Oœ
Oœ
Œ
3
p
B
Œ
pizz. 5 œ bœ. 4 œ
Œ
Vla.
≈ œ œ œ œ œ ‰ ≈ œ nœ œ œ œ ‰
œ mf 3
Tbn.
? œ ‰ ‰<n>œ3 œ ‰ 45 œ ¢ J #œ p
2019 0516
∑
18 38
Vln.
° &
. œ œ ™ bœœœ. œ ™ ≈ œ œ ‰
∑
mf arco
B ≈ œbœ. ‰ œ œ ‰ ™
Vla.
pizz. œb œJ. R ‰ ‰ œj Œ
. œ j ™ œœœœ‰ œ ≈ œœ ™™ R . œ bœ
œ
Œ
Œ
bœ œ ‰
p
œ. ? J
bœ. ‰ J ‰
œ œ ‰ ‰ œ. Œ J
Tbn.
¢
bœ.
bœ ‰ œJ œ
mf
ca. START HUDDLE I Percussion/Tutti and end of Solitaire II Clarinet
40
œ ™ bœ
pizz.
Vln.
° & ‰
œ 4 ‰ bœ ™ j ‰ j œ ‰ j ‰ bœJ 4 œ bœ œ œ
‰
œ ‰ J
p cue Percussion/Clarinet to stop
B
∑
Vla.
? Œ
Œ
Tbn.
¢
œ. p
b œ.
4 4
∑
∑
4 4
∑
∑
œ.
2019 0516
19
SOLITAIRE II for Clarinet in Bb SOLITAIRE II is played simultaneously with SHUFFLE II. The player chooses to play one of the two temperaments—phlegmatic or choleric—and plays the motives of that temperament in an order ad libitum, separating the motives with short pauses. Motives from the two temperaments are not mixed. The Violist gives cues for the beginning and end of SOLITAIRE II, after which follows HUDDLE I. If the cue to finish comes while playing a motive, play that motive to the end.
Either standing
& nœ
slowly
P
j nœ
#œ j n œ œ #œ
nœ œ
H nœ
&
L
#œ ™
j nœ-
#œ ™
#œ
& nœ
#œ
nœnœ
j #œ #œ ™
E nœbœ & Æ nœJ nœ ™
G
nœ #œ
M 3
3
nœ nœ #œ
A j nœ
&
& nœ
#œ ™ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & n˙ ™ bœ
nœ #œ #œ œ
T
#œ
I C Or
nœ nœ nœ œ #œ ™ œ
nw standing
& #w
quickly
C H
n>œ n>œ n>œ b˙ & J nœ œ nœ
>œ ‰ ‰ nœ nœ bœ nœb œ n & #œ #œ #>œ J n>œ > > 3 3 > . # œ n œ #œ nœ #œ Ÿ~~~~~~~~~~~~~~~~~~~ > nœ#œ nœ bœ ‰ J nœ nœ & & n˙ ™ nœ
3 3
O
n>œ n œ L & #œ nœ nœ #œ >>> 3
3 3
E
n˙
n˙ ™ nœ#œ
3
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n Ÿw b œ
Æ
R
& I C 2019 0516
& >œ n>œ n > n œ #>œ ‰ J > ‰ J #>œ & nœ #>œ n>œ
20
SOLITAIRE III for Percussion
SOLITAIRE III is played simultaneously with SHUFFLE II and SOLITAIRE II (clarinet). Depending upon which temperament the Clarinetist chooses (phlegmatic or choleric), imitate the Clarinetist freely either with the Slide Whistle (phlegmatic) or a Splash Cymbal (choleric), damped strongly. The Violist gives the cues to start and finish SOLITAIRE III. If the cue to finish comes while playing a phase, play the motive to the end.
Either
P
standing
Slide Whistle (Lotus Flute)
H Imitate the clarinetist as best you can
L E G on cue START HUDDLE I
M A T I C Or standing
C Splash Cymbal
H Imitate the clarinetist as best you can
O on cue Change to Slide Whistle (Lotus Flute) and START HUDDLE I
L E R I C
&
â&#x2C6;&#x2018; 2019 0516
21
HUDDLE I Tutti
Play the pitches slowly, pianissimo, using the patterns below(*), entering one after the other. The order of the pitches should be permutated. The Percussionist initiates this HUDDLE, entering with the pitch material first.
Continue playing until the soloist, the Violinist, for the following Once everyone is playing, REBOUND has stepped into the each musician, while contin- middle of the board. At this point uing to play, approaches the the players step quickly back and board downstage center, and from a semi-circle behind the soloist gathers in a tight circle standing on the board. The "referee" around but not standing on it. (Trombonist) starts the following REBOUND with a short blast from the referee’s whistle.
1
Vln.
enter inner circle ° (arco) & µœ #œ ˜œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ STOP
U ∑
pp
(arco)
B µœ #œ ˜œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
STOP
U ∑
Vla. pp
Referee Whistle con sord.
B µ œ # œ ˜ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
STOP
>¿. J
U ∑
Tbn.
¢ pp f
Cl.
° nœ µœ #œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ &
STOP
U ∑
pp (arco)
b œ B œ n œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
STOP
B
U ∑
Vc. pp
Start first
U ∑
Slide Whistle (Lotus Flute) Perc.
¢ / bœ Bœ nœÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
STOP
pp
attacca
12 * 4 2019 0516
U œ œ œ
, œ
U œ œ œ œ
,
, œ œ œ
U œ œ œ
,
22
REBOUND I Violin & Ensemble
Once the other ensemble players have reached their position in a half circle behind the board, a REBOUND starts with a short solo played by the Soloist standing in the inner circle of the board and proceeds by the Soloist moving to the various fields on the board, thereby triggering the ensemble to react in various ways. Soloist: Inner Circle: Play freely using the pitch material below* and/or material from the SOLITAIRE VI. The ensemble members listen and „store“ a motive or phrase. Middle circle: By stepping into one of the four fields, the ensemble plays in different ways. Standing on two fields simultaneously is possible. In this case, the ensemble players alternate between the two modes of playing. Outer circle: The two fields can be reached from any of the middle fields. Standing on two of the outer fields at once is possible. Ensemble: Play reacting to, or provide support for, the Soloist as described in the following diagram. Separate all elongated, perforated phrase and motives, as well as short and long notes with pauses of various lengths. A combination of two fields at once is possible, in that case, the material is played alternately as long as the Soloist is standing on the fields. The REBOUND finishes, or rather, disolves, when the musicians for the next MATCH or SHUFFLE go back to their playing positions, at which time the remaining players gradually go back to their team-playing positions. The next MATCH or SHUFFLE starts attacca, even before the others have finished the REBOUND.
Example: *pitch material Soloist: Vln. & nœ nœ
(avoid these notes)
#œ
nœ
nœ
nœ #œ #œ S nœ bœ
**You hear: Ensemble
n˙ and elongate to:
Vln.
& #œ #œ nœ œn œj œ
? #œ ™
#œ ™
nœ
nœ T
n˙ ™ j ‰ nœ
,
***You hear:
, n-œ , -œ r #œ #œ n œ. n œj J
and transform into: Vln.
& #œ #œ nœ œn œj œ
2019 0516
23 The ensemble players react individually to the position of the Soloist on the board in the following ways:
Spades: recall the phrase or motive playing only single long notes
Diamonds: recall the phrase or motive and perforate into to segments (see example***)
Clubs: recall the phrase or motive playing only single short notes
Hearts: recall the phrase or motive and elongate (see example**)
4
Vln.
&
Ă&#x161;
Pink fields: Stop Inner circle: Without playing, listen to the Soloist, playing abruptly committing a phrase or motive to memory. This with a very short material is recalled once the Soloist steps onto forte mid-range note. one of the four fields in the middle circle. Each time the Soloist enters the middle circle with both feet, a new phrase or motive is memorized. 2019 0516
Green fields: Stop playing abruptly and play a midrange pianissimo with held notes.
24
MATCH III Violoncello & Trombone The Cellist starts MATCH III directly after REBOUND I, possibly playing while walking back to the team position.
e. = 144 1
Straight mute Tbn.
°B 6 ™ ¢ 16 ™
5 ™™ 16
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ 42
∑
p
Vc.
°? 6 ¢ 16
>œ œ repeat >œ œadœ lib.5 >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 2 œ ™™ ™™ 16 4 p
cresc
[x = x] q = 108
>œ R ‰™
7
Tbn.
°B 2 >œ ‰ ™ ¢ 4 R
#>œ R ‰™
Œ
Œ
6 16
Œ
f standing at team position
Vc.
> °? 2 ˜œœ œœ œœ œœ œœ œœ œœ œœ ˜œœ œœ œœ œœ œœ œœ œœ œœ ˜œœ œ œ œ œ œ œ œ 6 gliss. 16 ¢ 4 > f
e. = 144
[e. = e] q = 72
10
Tbn.
#œ ™ J
°B 6 ™ ¢ 16 ‰
p
(f)
Vc.
3 ‰ #>œ. 4 J
Ϫ J
Ϫ J
Œ
Œ
f
°? 6 ‹œœ œœ œœ œœ œœ œœ ‹œœ œœ œœ œœ œœ œœ 3 4 ¢ 16
B
∑
p
13
Tbn.
°B ¢
∑
‰
j œ œ >
Œ
∑
fp pizz.
Vc.
°B ‰ ¢
œo J Œ p
≥ #œ>œ Œ J ‰
arco
Œ
∑
≥ œ>œ ‰ J
3
≥ œ>œ ‰ J
≥ œ>œ J
3 3
f 2019 0516
25 ca. START MATCH IV Viola & Clarinet
[e³ = e] q = 108 16
Tbn.
°B ¢ ˙
bœ œ œ #œ œ #œ
cue Viola
˙
∑
œ
∑
∑
#œ mp mp
f
p
Vc.
°B ¢
#œœ≥ œ≥ œ J ‰ ‰ J Œ
∑
trem.
#œœ ™™ œœ ™™ ∑
#˙˙ ™™ ææ
∑ p
(f)
f mf
[q³ = e] q = 81
œ °B ‰ 3 œ œ œ œ #œ œ 5 4 œ ¢ 3
œ œ <n> œ œ # œ œ #œ ‰ ‰ nœ Œ ‰ ‰
22
Tbn.
∑
3
3
3
3 3
mf
Vc.
°B ¢
œ œ # œ œ # œ 4 œ œ œ œ œ
?5
∑
∑
p 25
Tbn.
Vc.
°B œ. œ. œ. Œ ? ‰ Œ ‰ j j‰ ‰ j ∑ J ¢ #œ. œ. œ. œ. œ. œ. œ. pp mf sul pont. œ œ œ# œ œ œn œ œ # œ œn œ œ# œ °? ∑ ‰ ‰ ‰ ¢ >˙˙ >˙˙ >œœ p
2 4 œ2 4
pp
[e. = q] q = 108
Tbn.
28 . . °? 2 œ. œ. œ ‰ œ. # œ ¢ 4 3 3
∑
. . œ. œ. œ ‰ œ. # œ
∑ œ #œ œ # œ
3
mp
-œ œ. ∑
3
‰
Π3
mp p arco
ord. pizz.
Vc.
°? 2 ¢ 4
∑
œ œ ‰œJ œJ ‰
œœ œœ
œœœœ Œ #>œ >œ >œ >œ
∑
f
3
f
‰ œœjœœj‰ ->
∑
p
Wait for HUDDLE II (Violoncello starts) 35
Tbn.
°? ¢
∑
‰ œJ. Œ
∑
‰ #œ. j Œ
∑
∑
œo ‰ ææJ Œ
‰ œj Œ .
∑
U ∑
œœ æ æ ‰ Jæ
U ∑
p
Vc.
. °? ‰ -œœ œœ Œ ¢
trem.
B
∑
#-œ ‰ ææJ Œ
∑
pp 3
mp 2019 0516
26
MATCH IV Viola & Clarinet
MATCH IV is started during MATCH III and cued by the Trombonist.
q = 144 molto vib.
œœœœœœœœ œœœœœ œ œœ œœœœœ °B 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 œ œ œ œ œ 4 8 4 ¢ 4 1
Vla.
p
Cl.
∑
f
° 4 ¢& 4
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. . #œ # œ œ ˙ œ œ™ . . 5 4 #œ œ ‰ œ Œ bœ. nœ œ ‰J 8 4
Œ
3 3
p
3
f
5
Vla.
°B #œ œ ‰ b œJ œ ‰#œœ ¢ J p
3
∑
3
3
3
‰ j ‰ ‰ ‰ œ œ œ œj œ œj œœ
mp f
Cl.
° ¢&
™ ‰ #œ ™ #œ
3
∑ # œ. # œ. œ.
∑
p
(f) 8
Vla.
bœ
° ¢B
∑
‰ œ
bœ œ
Cl.
° w ¢&
w
∑
j œ
œ œ
˙ ˙
p
mf
w
∑
œ ∑
#w
p
mf
p
mf
ca. START MATCH V Violin & Percussion
12
pizz.
Vla.
°B cue Violin ¢
‰ j Œ ‰ #œj Œ œ
∑
∑
mf
» ‰ jŒ Ó œ >.
3 4
f 3
Cl.
3
° ¢& # œ œ œ œ œ œ œ œ œ œ mf
∑
‰ j‰ jÓ œ. œ. mf
∑
3 4
p 2019 0516
27
[h = q] q = 72 arco trem.
œ-œ œ-œ œ-œ ‰ ææJ ‰ ææJ ‰ ææJ
16
Vla.
°B 3 ¢ 4
∑
∑
p
Cl.
. œ . ° 3 ‰ ™ #œ œ œR ‰ œ# œR ‰ # œ œ ¢& 4 5 5 5
<n> œ >œ #œ œ œ ‰ œ ‰ ™ œ<#>œ œ œ
∑
5 5
5
mf p sub.
(mf) 19
Vla.
Cl.
°B ‰ ¢
3
3
Œ ∑ bœ ‰ œ œ œ > > mf Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 5 5 ° ˙ nœ ™ œ ‰ ‰ ≈≈ ¢& J œ œ # œ œ œ #œ œ œ œ œ
œ-œ œ-œ œ-œ ‰ æJ ‰ æJ ‰ æJ p
∑
mf
molto rit.
[e.⁵ = q] q = 120 22
» » ‰ j‰ j œ> >œ
pizz.
Vla.
°B ¢
∑
>œ > ° œ ‰ ≈ œ#œ œ ≈ ‰ œ œ & ¢ œ #œ 5 5
»j ‰ bœ Œ >
»j ‰ bœ >
f
5
Cl.
»j ‰ bœ 42 Œ >
2 4 œ#œ œ Œ
∑
œ#œ œ Œ
p 3
3
cresc (mf)
(q ca. 72)
»j ‰ bœ Œ >
26
Vla.
°B Œ ¢
»j ‰ bœ Œ >
»j ‰ bœ Œ >
» ‰ j Œ ‰ œ> œ œ #œ œ œ #œ Œ Œ
bœ Cl.
° œ #œ œ Œ ¢&
œ œ #œ Œ
#œ œ
Œ
3
3 3
» j œ>
3
3
mf dim
Wait for HUDDLE II (Violoncello starts)
q = 54 31
Vla.
Cl.
°B Œ ¢
‰
° # œ œ <n> œ Œ ¢& 3
» j Œ œ>
‰
» j Œ œ>
» j Œ œ>
‰
» j œ>
U ∑
(f)
#œ œ œ
#œ œ œ Œ
Œ
3
3
pp 2019 0516
‰
∑
U ∑
28
MATCH V Violin & Percussion MATCH V is started during MATCH IV and cued by the Violist.
e. = 144 [x = x] q = 108 Repeat ad lib. col legno batt.
œ
ord. arco
1
Vln.
° 3 ™ ≈ œ œ ™ 6 ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ 3 ‰ >œ œ ¢& 16 ™˜œJ ™ œ œ ™ 16 ˜œJ ™ œ œ œJ ™ œ œ ˜œJ ™ œ œ œJ ™ œ œ ˜œJ ™ œ œ œJ ™ œ œ 4 J f p l.h pizz. p
Perc.
° 3 ™ ¢ / 16 ™
f
cresc f sub.
∑
¿™ ææJ
6 ™™ 16
¿™ ææJ
¿™ ææJ
¿™ ææJ
¿™ ææJ
¿™ ææJ
only Cymbals
… 3 4
ad lib.
∑
cresc pp
Ÿ>~~~~~~~~~~ > œ > œ œ #œ #œ œ
6
Vln.
f (poco)
° ¢&
∑
∑ fp
Perc.
°¢ / œ ™ p
9
Vln.
° ¢&
fp
j j œ. ‰ œ. > >
fp
œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. > > > … … …
∑
f (poco)
Ÿ>~~~~~~~~~ #Ÿ>œ~~~~~~~ ™ #œ #œ ™ œ
> > Ÿ>~~~~~~~~ œ œ œ#œ œ œ ∑ fp
fp
2 4
∑
fp
fp
fp
3 3 3
Perc.
°¢ /
j …‰ 3 …‰ œœœœ œœœœ. œœœœ.
∑
3
œœ
∑
j… œ> ™ œœ >œ Œ 42
[q. = q] q = 72 5
13
r 5 r bO ≈ ≈ O ≈ ≈ O œO œ œO œ œO œ 5
Vln.
° 2 O O O ≈ O <n>Oœ ≈ ≈ Oœ Oœ ¢& 4 #œ œ œ œR R
∑
∑
5
p
f
(Hi-hat) Perc.
°¢ / 42
∑
‰ ¿.j ≈ ¿.j™
∑
æ ˙æ p
f 2019 0516
29
[q³ = q] q = 108 17
Vln.
3 ° 5 ¢& #œO O œO 4 œ
b˙O ™™
∑
˙O
p
(f) f 3
Perc.
°¢ /
3
3
3
… … … … 5 œj œ œj œ ‰ œ ‰ œ œ l.v Œ 4 . . . .
∑
p
f
cresc
‰ œj ‰ œj
˙ pp
20
Vln.
Perc.
° ¢&
∑
3 3 3 3 °¢ / œ œ œ ‰ œ œ œ ‰ œ œ œj œ
2 4
∑
#œO œO O O ˙O œ œ p f ææ ˙
with soft mallets
∑
ææ l.v 2 œ œ œ 4
mf
pp
f
mp
ca. START HUDDLE II Violoncello
rit.
-œo J ‰
[q. = q] q = 72 23
Vln.
° 2 bO ¢& 4 b œ
bœO
Oœ™™
∑
j O #œ
∑
mp
œ
œ J ‰ Œ
pp
f 3
Perc.
°¢ / 42
ææ œ œ
∑
ææ œ œ œ
l.v
∑
p
3
œœœ‰ œœ
∑
mf
mf
dim
attacca HUDDLE II
sul pont.
Vln.
29 ° œ™ ¢&
œo J
3
cue Violoncello
3
∑
œ #œ nœ
∑ ˙
˙ pp
Perc.
°¢ /
∑
pp > . ææj ææ … ‰ œ œ œ
5
∑
œ œ œ™ ‰ œ œ pp
2019 0516
5
∑
30
HUDDLE II Tutti Continue playing until the Soloist, the Trombonist, for the following Play the pitches slowly, REBOUND II has stepped into the Once everyone is playing, pianissimo, using the patterns middle of the board. At this point, each musician, while conbelow(*), entering one after each the players step quickly back and tinuing to play, approaches other. The order of the pitches from a semi-circle behind the should be permutated. The Cellist the board downstage center, soloist standing on the board. The and gathers in a tight circle initiates this HUDDLE, entering "referee" (Cellist) starts the around but not standing on it. with the pitch material first. following REBOUND II with a short blast on the referee's whistle. 1 (arco)
Vln.
° & µœ #œ ˜œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
U ∑
STOP
pp
(arco)
B µœ #œ ˜œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
STOP
U ∑
STOP
U ∑
Vla. pp
con sord. enter inner circle µ œ # œ ˜ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ B
Tbn.
¢ pp
Cl.
° nœ µœ #œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ &
U ∑
STOP
pp Start first (arco)
Referee Whistle
b œ B œ n œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
cue to start REBOUND
>¿. J
U ∑
STOP
B Vc. pp
f
U ∑
Slide Whistle (Lotus Flute) Perc.
¢& bœ Bœ nœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
STOP
pp
attacca
U * œ œ œ
,
U œ œ œ œ œ
,
, œ œ œ
U œ œ œ
, 2019 0516
31
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2019 0516
32
REBOUND II Trombone, Clarinet & Ensemble Once the other ensemble players have reached their position in a half circle behind the board, a REBOUND starts with a short solo played by the Soloist standing in the inner circle of the board and proceeds by the Soloist moving to the various fields on the board, thereby triggering the ensemble to react in various ways. Soloist: Inner Circle: Play freely using the pitch material below* and/or material from the SOLITAIRE. The ensemble members listen and „store“ a motive or phrase. Middle circle: By stepping into one of the four fields, the ensemble plays in different ways. Standing on two fields simultaneously is possible. In this case, the ensemble players alternate between the two modes of playing. Outer circle: The two fields can be reached from any of the middle fields. Standing on two of the outer fields at once is possible. Ensemble: Play reacting to, or provide support for, the Soloist as described in the following diagram. Separate all elongated, perforated phrase and motives, as well as short and long notes with pauses of various lengths. A combination of two fields at once is possible, in that case, the material is played alternately as long as the Soloist is standing on the fields. The REBOUND finishes, or rather, disolves, when the musicians for the next MATCH or SHUFFLE go back to their playing positions, at which time the remaining players gradually go back to their team-playing positions. The next MATCH or SHUFFLE starts attacca, even before the others have finished the REBOUND.
(avoid these notes) # œ nœ nœ n œ # œ n œ b œ °? nœ nœ #œ nœ n œ S T ¢
*pitch material
Tbn.
Cl.
(avoid these notes) ° *pitch materialbœin Bbnœ #œ nœ bœ nœ nœ #œ n œ n œ & n œ S T ¢ #œ
**You hear: Ensemble and elongate to: Vln.
& #œ #œ nœ œn œj œ
? #œ ™
#œ ™ n ˙
n˙ ™ j ‰ nœ
,
***You hear:
, n-œ , -œ r #œ #œ n œ. n œj J
and transform into: Vln.
& #œ #œ nœ œ n œj œ
2019 0516
33 The ensemble players react individually to the position of the Soloist on the board in the following ways:
Spades: recall the phrase or motive playing only single long notes
Diamonds: recall the phrase or motive and perforate into to segments (see example***)
Clubs: recall the phrase or motive playing only single short notes
Hearts: recall the phrase or motive and elongate (see example**)
4
Cl.
12 &4
Ă&#x161;
Pink fields: Stop Inner circle: Without playing, listen to the Soloist, playing abruptly committing a phrase or motive to memory. This with a very short material is recalled once the Soloist steps onto forte mid-range note. one of the four fields in the middle circle. Each time the Soloist enters the middle circle with both feet, a new phrase or motive is memorized. 2019 0516
Green fields: Stop playing abruptly and play a midrange pianissimo with held notes.
34
MATCH VI Trombone & Percussion with accompaniment MATCH VI begins while REBOUND II is still in the process of dissolving. The first two measures are repeated ad libitum, until the other players have reached their team positions and taken their Ratchets and Referee Whistles respectively. Team M (Violine, Viola, Trombone) give the signal to proceed, giving the entrance for bar 3.
Referee Whistle 1
Vln.
q = 72
° 3 ™ &4 ™
j œ. ‰ Œ
repeat ad lib.
∑
™™
∑
/
Œ ∑
mf
Ratchet last time only
B 43 ™™
Vla.
Œ
∑
Œ
/
r œ ‰™ Œ
™™
œ
Œ
Œ
Œ
‰ œj
mf
Tbn.
lib. ? 43 ™™ad¯¯¯¯¯¯¯¯¯¯ ¢
™™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
p
∑
pp↔f ad lib.
Referee Whistle Cl.
° 3 ™ &4 ™
∑
™™
∑
∑
/ Ratchet
? 43 ™™
Vc.
∑
™™
∑
Œ
Œ
œ
/
œ. œ. Œ mf r œ ‰™ Œ
Œ Œ
mf
Drum Set ad lib.
Perc.
3 ™ ¢/ 4 ™
∑
™™
¯¯¯¯¯¯¯¯¯¯¯¯
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
p pp↔f ad lib.
[e = e³] q = 48
5
j ‰ ‰ Vln. ° œ / . (Whstl.) j ‰ Vla. œ œ / (Rtcht.)
j œ. Œ
5 4
œ Œ
5 4 Ó™
∑ Œ
j œ- ‰ Œ f ‰ œj œ. r ‰ ™ Œ
mp
Tbn.
¢ Cl.
Ó
5 8
Œ
Ó
5 8
f
? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 45
°/
Œ
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 58
∑
5 œj ‰ Œ 4 .
Œ
5 4œ
Œ
Ó
5 8
∑
(Whstl.)
Vc.
/ Œ
‰ œ™
Œ
Ó
Œ
Ó™
‰ œj 58
(Rtcht.)
mf
Perc.
¢/
∑
5 4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
5 8 2019 0516
35
[x. = q] q = 128 8
° / 58 (Whstl.)
4˙ 4
Vln.
∑
Ó
∑
5 4
Ó
∑
5 4 Ó™
∑
mp
≈ œj™ 4 ˙ 4
5 ™ /8Œ
Vla.
Œ œ
(Rtcht.)
mp
Tbn.
?5 ¢ 8
4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 5 4 4
∑
° / 58 œj ‰ ‰ œj ‰ 44 . . (Whstl.) f 5 œr ‰ ™ œj œr ‰ ™ 4 Vc. 4 /8 (Rtcht.)
5 4 œ- œ. Œ Œ Ó Œ œ 45 œr ‰ ™ Œ Œ Ó
Cl.
f
Perc.
p
∑
∑
∑ Ó
∑
f
f
5 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 4 / ¢ 8
∑
5 4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
stop w/tongue
[q. = q] q = 85.3 12
° Vln.
I Œ Œ œ ¿ œ ¿ Œ 83 /
∑
3 4 œ-
ΠΠ45
2 4
∑
(Whstl.)
mp
/ œ
Vla.
mp
Œ œ œ
p
Œ 83 ‰
‰ œj 43 œr ‰ ™ Œ Œ 45 Ó™
Œ œ 42
(Rtcht.)
mp
Tbn.
¢
p
? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 83
∑
3 5 4 ¯¯¯¯¯¯¯¯¯¯¯ 4
∑
2 4
stop w/tongue
Cl. ° /
3 œj ‰ ‰ 3 Œ 8 . 4
∑
I Œ œ 45 ¿r ‰ ™ Œ Œ Ó
2 4
(Whstl.)
pp
Œ
/ Ó™
Vc.
r œ 83 œ ≈ ‰ ‰ 43
∑
f
5 4œ
Œ Œ Ó
2 4
(Rtcht.)
f
Perc.
¢/
2019 0516
∑
3 3 8 ¯¯¯¯¯¯¯¯¯ 4
f
∑
5 2 4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4
36
accel. 16
Vln.
° / 42 Œ
4 4
œ.
Œ ∑
œ.
œ.
p
cresc
œ.
œ.
œ.
œ.
Œ
(Whstl.)
mf
2 œr ‰ ™ Œ /4
f
4 4
∑
∑
? 42 ¯¯¯¯¯¯¯¯¯¯¯ 44 ¢
∑
∑
∑
Ó
∑
∑
Ó
∑
∑
Vla.
Œ
Ó
œ
(Rtcht.)
mf
Tbn.
° / 42 (Whstl.)
4 œj ‰ Œ 4 .
Cl.
∑
(f)
j r ‰ œ 44 œ ‰ ™ Œ
2Π/4
Vc. (Rtcht.)
f
Perc.
2 4 / ¢
4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4
∑
q = 144 20
Vln.
°/
change to Violin (ca. 11")
∑
∑
∑
(Whstl.)
/ œ
Vla.
Œ
Ó
Œ
Ó
œ
œ
Œ
Ó
(Rtcht.)
f
Tbn.
¢
Cl.
mf
? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
°/
∑
œ ¿
∑
Œ
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
change to Clarinet
Ó
∑
(Whstl.)
mp
Vc.
/ Ó
Œ
œ
œ
Œ
Ó
Ó
Œ
œ
(Rtcht.)
f
Perc.
¢/
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑ 2019 0516
37 23
Vln.
°/
∑
/
∑
∑
∑
∑
∑
∑
(Whstl.)
change to Viola
˙
Vla.
Ó
(Rtcht.)
mp cue SHUFFLE III (Violin)
?
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
∑
∑
∑
Tbn.
¢ ° Cl.
/ (Whstl.)
/ œ
Vc.
Œ
Ó
Ó
Œ
r œ ‰™ Œ
œ
change to Violoncello
Ó
∑
(Rtcht.)
mp
mf
Perc.
¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
ca. START SHUFFLE III Violin, Viola & Trombone
27
° / ™™ (Whstl.)
∑
∑
™™
U ∑
/ ™™
∑
∑
™™
U ∑
∑
∑
™™
U ∑
Tbn.
?™ ¢ ™
Cl.
° / ™™
∑
∑
™™
U ∑
/ ™™
∑
∑
™™
U ∑
™™
U ∑
Vln.
Vla. (Rtcht.)
cue Violin
(Whstl.)
Vc. (Rtcht.)
repeat ad lib.
Perc.
™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢ / ™ dim
∑ al fine
2019 0516
38
SHUFFLE III Violin, Viola & Trombone The Violinist receives the cue to start SHUFFLE III from the Trombonist at the end of MATCH VI, while the Percussionist is still playing.
q = 108 1
Vln.
con sord. trem.
° 5 &4
æ ˙æ™
‰
æ #œæ™
Œ
æ ˙æ
æ ˙æ
æ ˙æ
Œ
æ ˙æ
dim mp
pp
bœ œ ‰ ææJ ææ æœ Œ æ
con sord. trem.
B 45
Vla.
∑
˙™ ææ
‰ #æœ ™ æ
mp
dim
-œ ææ ‰ bœ ææJ
frull.
Harmon mute Tbn.
¢
? 45
B
∑
∑
˙™ ææ
#œ ™ ‰ ææ dim
mp (mf) ca. START SHUFFLE III Violin, Viola & Trombone
4
cue SOLITAIRE IV Cello
Vln.
° &
3 4 #œ œ œ œ næ˙ ™ æ
∑
œ æ
˙ ææ
3
mp
pp dim
Vla.
-œ
3
3
B bœ œ œ œ œ œ œ œ œ 43
-œ ææJ
œ œ ‰ J J ‰ #æœ ™ æ
∑
œ ææ
pp mp dim
Tbn.
B ¢ Œ
-œ ææ
Œ
œ œ 3 ææ ææ 4 æ˙ ™ æ
bœ ææ
∑
G >œ ææ
G >œ ææ
mp
pp
dim
8
Vln.
° &
∑
5 4
ææ ˙ b ˙ ™™ mp
Vla.
æ ˙˙æ
ææ œ™
æ œæ
‰ #æœ ™ æ pp
dim
5 4
B æ˙™ æ
‰ æ ˙˙æ™™
∑
æ ˙˙æ
mp dim pp
Tbn.
B œ ¢ ææ
‰ æœ æœ æJ æ
5 æ 4 #œæ
‰ œææ™
æ ˙æ G>
∑
pp 2019 0516
39 11
Vln.
° Œ &
ææ ˙
ææ ˙
4 œæ æ˙ 4 æ
∑
#œ ææ
mp
æ B ‰ bœæ™
Vla.
Tbn.
ææj ææ ææ ææ ææ œ œ œ ‰ œ œ ˙ææ pp G >˙ G >œ b˙ ææ ææ æ
B <n>æ˙ ¢ æ mp
ææ ˙ bœ ˙ ææ ææ
4 4
∑
4˙ 4 ææ
G >˙ ææ
dim pp ca. START SHUFFLE IV
14
Vln.
° &
œ ææ æ˙™ æ
‰ bœ ™ ææ
ææ ææ ææ œ œ ˙
‰ ææ œ™
pp
dim
B
œ #œ ææ ææ
˙ ææ
∑
Vla.
mp
Tbn.
æ wæ œ ææ Œ
gliss.
> B G˙ ¢ ææ
bœ ™ ‰ ææ
˙ ææ
ææ ˙
dim cue Clarinet
G >˙ ææ
∑
œ ææ
œ ˙ ææ ææ
∑
dim mp 18
Vln.
Vla.
° & ææ w B ˙ææ™
∑
∑ #œ ææ
g lis s . g lis s .
˙ ææ
œ æ
œ æ
Œ
j æ b œ æ ‰ ‰ œ Œ æJ -
w ææ
2 4 æ˙
g lis s
mp
dim
2 4
.
∑
pp
Tbn.
B æœ #˙ ¢ æ ææ
‰ æœ æ˙ æJ æ
2 4
b˙ ææ
æ ˙æ
pp 22
Vln.
° æ & #œæ
j ‰ nœææ
senza sord.
ææj ‰ œ
‰
ææj ææj ‰ œ #œ
Œ
pp
˙ B ææ
Vla.
attacca SOLITAIRE V
ææj ‰ bœ
gliss.
œ ææ
mp dim
B Tbn.
¢
ææj ‰ œ
j ‰ bœææ
senza sord. ææj ‰ U Œ œ
œ ææ
œ ææ
pp
∑
æ œæ mp
2019 0516
U ∑
ææ #œ dim
ææ œ
pp
U œ ææ
40
SOLITAIRE IV Violoncello SOLITAIRE IV is played simultaneously with a SHUFFLE III. The player chooses to play one of the two temperaments—phlegmatic or choleric—and plays the motives of that temperament in an order ad libitum, separating the motives with short pauses. Motives from the two temperaments are not mixed. The Trombonist gives cues for the beginning and end of SOLITAIRE IV. Finish playing when the Clarinetist starts SHUFFLE IV, fading out the motive being played if necessary. SOLITAIRE IV is quite short.
Either
P
standing, if possible
? slowly
H
#˙ n˙
œ
L E G
? bœ - nœ œ
M
? n˙ ™ bœ
œ
#˙
A T 3
? #œ
I
? nœ nœ
bœ
nœ nœ
œ
œ œ
nœ œ
œ œ
C
Or
n œ œ n œ >˙™ C
-œ
nœ#œ œ ˙
>œ œ ˙
standing, if possible
B
B
quickly
H O
n -œ n œ ™ B J
L
-œ œ ™ J
-œ
˙™
E R
n œ # œ œ œ n -œ ˙
n -œ n -œ # -˙
# œ -˙
˙
I
B
B
C 2019 0516
41
SHUFFLE IV Clarinet, Violoncello & Percussion
The Clarinetist receives a cue to start SHUFFLE IV from the Trombonist in bar 16 of SHUFFLE III. The entrance of the Clarinet signals the cellist to finish SOLITAIRE IV.
Cl.
(cue Cellist) 1 q = 108 . œ. . . œ. . ° 3 œ . œ œ ‰ ≈ ‰ ‰ b œ Œ ‰ n œ ‰ ‰ ‰ œ j J J & 4 #œ. . # œ ™ J J J . dim mp pp
5 4
∑
pizz. secco
? 43
Vc.
Perc.
∑
3 ¢/ 4
b œ. œ.
. # œ. œ ‰ ‰™ R R ‰™
mp
dim
∑
∑ œ mp
≈ œ™ J œ
æ œæ
Œ
. œ. r œ ‰ œj ≈ ≈ ≈#œ. ‰ 45 œ™
Œ
œ ‰ œj ‰
j 45 œ
pp
dim
ca. STOP SHUFFLE III
5
Cl.
° 5 ‰ bœ. Œ ‰ & 4 j œ. #œ ™ œ.
œ. Œ ‰ bœJ. ‰ œj ‰ bœj ‰ œ . . œ™
‰ jŒ b œ.
œ-
mp dim pp
. œ. bœ. œ. œ ? 45 ‰ ‰™ R Œ R ‰™ Œ
Vc.
(pizz.)
∑
œ œ™ œ œ ™ Œ # ˙˙ mp
pp
Perc.
5 4 / ¢
∑
œ ææ
ææ Œ œ œ dim
mp
2019 0516
œ™ œ
æ ˙™æ
‰ jŒ œ
42 ca. START SOLITAIRE IV Violin 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ ‰ œJ ‰ 2 ‰ ‰ j 4 œ # œ. 3 œ bœ œ œ > > mp pp dim
8
cue Violin
Cl.
° &
∑
sul G
™ ‰ œbœ ‰ œœ™
3
?
<n>œ Œ
Vc.
œœœœ ‰ œœ J
2 4‰
#œ œ
b>œ gliss. œ gliss. > mp
∑
3 3
dim pp
œ Perc.
Œ ¢/
Œ œ
œ œ
œ œ
Ϫ
j 42 œ
3
‰œ œ j œ œ œ œ
∑
j œ œ
œ
pp mp
dim
12
Cl.
° &
r . 5 #œ 4 ≈ . #œ. ‰ ™ #œR #œj ‰ ‰ œ. œ. ‰ #œ. j ‰ ™ œ. Œ #œ. ‰ ‰ nœ. j Œ # œ. œ. . mp
∑
dim 3
? >œ
5 4œ j # œ œ™ # œ pp
g lis s .
Vc. 3
Œ
∑ nœ
trem.
˙ Perc.
œ
5 4
¢/ ˙
∑
jœ œ
‰ œ
pp
œ
≈ œ œ
mp
15
Cl.
° ‰ j ≈ jŒ & bœ œ™ . .
3
∑ œ
3 4‰
3
Œ
œ
3
j j œ. œ. œ.
œ. œ.
pp mp trem. (pizz.) 3
? Vc. gliss.
b >˙ mp
r ‰™ œ # œ. >
‰
n œJ œœ
3 3 œ Œ Œ j j œ Œ 4 #˙ ™ œ œ
#˙ ™
pp dim
Perc.
™ ¢ / ‰ œr œ
‰ œœŒ
‰ œ œ j œææ œ
ææ Œ ææ œ œ
ææ 3 œ 4
∑
dim pp
2019 0516
43 18 3
Cl.
° Œ &
bœ
œ
p
poco
. œ. œ ‰
j bœ. Œ
Œ
5 4
∑
3
pp
œ ?
œ
Ϫ
œ
∑
#œ ™
5 4
æ œ™æ
5 4
Vc. mp
Perc.
˙™ œ™
¢ / ˙™ œ
Œ
‰
œ™ ææ
Œ
‰
‰
pp p
mp
21
Cl.
3
° 5 ‰ œ. ≈ #œ. ™ ‰ j ‰ #œ. &4 J J #œ ™ #œ ™ #˙
3
Œ
‰ ‰ j‰ nœ. œ. œ pp .
#˙
mp pp
mp
pizz. trem.
? 45
Vc.
Ó
ææ #˙
gliss.
∑
nœ
pp
Perc.
5 ¢/ 4
∑
‰
j ≈ œ™j ‰ œJ ‰ œ
Ϫ Ϫ
mp pp
After the Violinist and Violist have played during this fermata for ca. 10-15 seconds, the Clarinetist starts HUDDLE III. 23
Cl.
° Œ & #œ
œ
‰ j #œ œ
U ∑
∑
pp
? ‰ j ≈#œj™ ‰ œJ Œ œ
Vc.
œ
œ œ #œ œ ˙
U Ó n˙ ™
mp dim pp
˙™ Perc.
¢ / ˙™
‰ j ‰ j Œ œ œ œ pp
mp 2019 0516
Œ ‰ jŒ œ
U ∑
44
SOLITAIRE V Viola SOLITAIRE V is played simultaneously with a SHUFFLE IV and starts directly after finishing SHUFFLE III. The player chooses to play one of the two temperaments—melancholic or sanguine—and plays the motives of that temperament in an order ad libitum, separating the motives with short pauses. Motives from the two temperaments are not mixed. SOLITAIRE V ends when HUDDLE III is started by the Clarinetist, joining then directly the HUDDLE III process.
Either
#œ standing
nœ
n˙ ™
B slowly
M E L A N C H O L I C
nœ ™
nœ ™
#˙ ™
nœ ™
nœ ™
B
n˙
B nœ ™
nœ nœ œ n˙
nœ
B #œ
n˙
nœ
nœ
nœ bœ
B
‰
b˙
B
Or
n œ # œ œ œJ œ œ œ B ‰ ‰ J
standing
S quickly
3
A
nœ œœœ
nœnœ œ œ œ
nœ bœ
nœnœ
N
B
‰ ‰ 3
3
B
‰
3
œ œ œ ‰ J
3
G
nœ
U
B bœ
nœ nœ ‰
œ œ nœ. #œ
. -œ b -œ # œ n n œ œ œ B nœ ‰ œ
I 3
nœ N
3
-œ b œ n œ nœ œ nœ œ œ
B
nœ œ œ bœ n œ nœ œ œ œ B ‰ ‰ bœ œ
E 3
3
3
3 2019 0516
45
SOLITAIRE VI Violin SOLITAIRE VI is played simultaneously with a SHUFFLE IV and SOLITAIRE V. It starts quasi attacca after finishing SHUFFLE III, but ca. 5-8 seconds after the Violist has started SOLITAIRE V. The player chooses to play one of the two temperaments—melancholic or sanguine—and plays the motives of that temperament in an order ad libitum, separating the motives with short pauses. Motives from the two temperaments are not mixed. SOLITAIRE VI ends when HUDDLE III is started by the Clarinetist, joining then directly the HUDDLE III process.
Either
M standing #˙ n œ E slowly & L A n˙ ™ #˙ ™ N & C H n˙ O & L I C
n˙ ™
˙
#˙ ™
& #˙
˙
& ˙
“#”˙ n˙ &
˙ ˙
l.h pizz. arco
Or standing
quickly
S
n>œ ‰ ≈ ≈ n œ & J #œ œ œ œ œ œ > > > > > >
l.h pizz.
A N G U I N
nn>œœ arco ‰ ‰ ‰ & J #œ œ > > >œ >œ l.h pizz. n>œœ arco ‰ ≈ ‰ ‰™ r n & J #œ œ #>œ #>œ >œ > > nn>œœ ≈ ≈ ‰ & J #œ #œ
E
2019 0516
nn>œœ ≈ ‰ Œ & J #œ œ œ > > > n>œœ ‰ ™ ‰ n & r≈ J #>œ #>œ nn>œœ ‰ j ‰ ‰ & J #œ j #œ
n>œœ ‰ ≈ n & J #œ #œ œ œ œ > > > >
‰ >œ >œ
>œ >œ ≈ >œ >œ
46
HUDDLE III Tutti
The Clarinetist initiates this HUDDLE, entering with the pitch material first.
Once everyone is playing, each musician, while continuing to play, approaches the board downstage center, and gathers in a tight circle around but not standing on the board.
Continue playing until the Soloist, the Percussionist, for the following REBOUND III has stepped into the middle of the board. At this point, the players step quickly back and from a semi-circle behind the soloist standing on the board. The "referee" (Cellist) starts the following REBOUND II with a short blast on the referee's whistle.
ADD
arco U , ° & j ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ b˙˙ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ. pp pizz.
Vln.
U ∑ STOP
f ADD U arco , . B œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙˙ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ J
pizz.
Vla.
U ∑ STOP
f pp
Straight mute.
Tbn.
œ. U ? J , ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢
Referee Whistle
U ∑
ADD
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
>¿. J
STOP
b˙
f pp
Start first
Cl.
ADD U ˙ , ° & j ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ pp # œ.
U ∑ STOP
f ADD
arco pizz.
Vc.
. U b˙ ? œJ , ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ b˙ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
U ∑ STOP
f pp Instrument ad lib.
Perc.
enter inner ADD U, circle æ . œ ˙ ¢ / J ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
U ∑ STOP
attacca pp f 2019 0516
47
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2019 0516
48
REBOUND III Percussion & Ensemble
The Percussionist starts REBOUND III with a short solo in the center of the board and proceeds as in the previous REBOUNDs, controlling the ensemble by stepping on the various fields of the playing board. However differently than before, the Ensemble responds with following fixed pitch material. This version of Homo Ludens ends with REBOUND III.
pitch material:
A Vln.
° &
B b˙˙
n˙
B n˙ Vla.
n˙ n˙
n˙ ? Tbn.
¢
b˙
A
B n˙
Cl.
° & #˙ ? n˙
b˙ b˙
Vc.
ad lib.
Perc.
¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
2019 0516
49 The ensemble players react individually to the position of the Soloist on the board in the following ways:
Spades: play long notes pitch material B
Diamonds: play patterns with pitch material A
Clubs: play loops with pitch material B
Hearts: play short notes with pitch material B
28
Vln.
12 &4
Ă&#x161;
Mike: I just copy/pasted this from before... is that what you wanted?
Pink outer field: loud short note with pitch material B
2019 0516
Inner circle: Without playing, listen to the Soloist, committing a phrase or motive to memory. This material is recalled once the Soloist steps onto one of the four fields in the middle circle. Each time the Soloist enters the middle circle with both feet, a new phrase or motive is memorized.
Green outer field: long soft, held note with pitch material A