Liam Taylor-West: …To Glass

Liam Taylor-West (2013)

...To Glass for Flute, Percussion Quartet and Tape

for Lily Caunt George Jones Eva Redman Rupert Cole and Mandy Leung ďŹ rst performed on 04/06/13

...To Glass for Flute, Percussion Quartet and Tape

Note: At points in the piece players need to be on both sides (black-key and whitekey) of the Marimba. This means that the stand at the bass end must be able to be easily rotated.

It is advised that the choreograpohy of moving around the setup and passing mallets and bows be well rehearsed before any performance.

Instrumentation and player requirements Flute 4 Percussionists Percussion 1: Marimba Percussion 2: Marimba, Floor Tom, Wine Glasses Percussion 3: Vibraphone (mallets and bow), Cymbal (mallets and bow), Chimes, Marimba, Wine Glasses Percussion 4: Vibraphone Conductor Controller of Tape Part (+ If an octophonic system is to be used, this person will be required to diffuse the tape part)

Technical requirements ...To Glass can be performed with just a stereo pair of loudspeakers. If a performance using an octophonic rig is desired, the controller of the tape part should be in charge of diffusing the tape part.

The conductor will need a pair of headphones for the majority of the piece that will provide the click track.

It must be made sure that the click of the track is not audible to the audience in quiet sections.

A laptop is needed. The tape part could be started by the conductor, the utist or, ideally, a seventh member of the ensemble.

The central section of ...To Glass requires the Percussion Quartet to respond to the tape part without guidance from the conductor.

It is therefore necessary for the players to clearly hear the tape part.

The volume of the tape part must not drown out the instrumentalists.

First performance given on 04/06/13 by: Flute: Lily Caunt Percussion Quartet: George Jones, Eva Redman, Rupert Cole, Mandy Leung Conductor: Liam Taylor-West Tape part diffusion: Aaron May

Score in C Duration: ca. 10 minutes

Notation and Techniques Conductor and general notation Music that follows a dotted barline is not in metred time. A bracket above the staff will indicate the length of time each of these 'free-time' passages occupy.

Every hit-point that follows a free-time passage will have several beats warning in the click track before it. Markings above the staff of (4)+4 (for example) show that the click track will provide eight beats: four to determine the tempo and four to be conducted. The bracketed beats should not be conducted.

In the score and parts, these conducted bars are indicated using vertical arrows. If the music following these arrows has solid barlines and if the click-track continues, the conductor should continue beating throughout the passage until another section of free-time arrives.

A white arrow indicates a downbeat (or a stand-alone cue) from the conductor.

A black arrow shows the following 3 beats of the bar (or a cue between playes) A dotted line shows a cue between players where the two events are not intended to be instantaneous.

Timings are shown occasionally at the top of the staff. Most of these are hit-points (the boxed ones) but a few indicate more loosely controlled entries that the conductor must cue for the players.

At the end of the piece, the conductor can choose to bring off the ensemble with a gesture or let them ďŹ nish independently at their own pace.

Music in boxes and followed by arrows should be repeated or held (depending on the nature of the boxed exerpt) for the duration of the arrow where another musical instruction will be given.

Dynamics and expressive notation placed within the box should be followed on each repeat whilst those appearing outside the box apply to the larger-scale progression of the piece.

Collections of notes (quavers or semiquavers) that do not have noteheads indicate a repetition of the pitch given at the beginning of the group at a rhythm chosen by the performed. This rhythm does not need to be evenly measured and occasionaly follows instructions e.g. 'speed up', 'slow down'.

A hairpin leading or emerging from a small circle shows a crescendo/diminuendo from or to nothing.

The score of the tape part is a rough, graphic representation to help the reader follow the score. Rhythms and relative pitches are not intended to be accurate.

Notation and Techniques (continued) Flute The ute player must be able to perform a violent utter-tongue along with harmonics. m.v. - molto vibrato s.v. - senza vibrato Dotted arrows will occasionally indicate a progression between the two techniques (or back to normal playing - nat.)

A dotted arrow between a black and a white circle indicates an increase in 'breath noise'.

When marked ff it should be performed as a sharp blast of air, not to be mistaken for a harmonic symbol.

Percussion A lot of instruction towards the execution of quite standard techniques (e.g. one-hand trills above and below the bar) is given in the score.

This includes direction towards the use of a string instrument's bow on the Vibraphone and Cymbal.

Vibraphone harmonics can be achieved by touching the bar towards the centre to dampen the lower partials of the note's spectrum.

Directions will be given if the note is to remain dampened through a passage.

Pedal markings are given in the score beneath the staff of Percussion 4 (due to this player remaining on the Vibraphone throughout).

C - Centre of the bar (Marimba and Vibraphone) N - Node of the bar (Marimba and Vibraphone) In preparation for the performance the wine glasses should be tuned to the notes G#, A#, B and C#.

...To Glass Liam Taylor-West for Flute, Percussion Quartet and Tape (2013)

( ≈ 30" )

q = 120 4" 24.5"

11.5"

(4)+4

(4)+4

(4)+4

(4)+4

11" 2" ≈4"

5.5"

Flute

4 4

∑

&

∑

4 4

∑

/

∑ &

∑

∑

C

U ‰

œœ œ >œ ff

∑

N

Medium Mallets

° Percussion 1

4 4

∑ C

(treble end)

≈5.5"

4 4

o

mf

∑

∑

N

C

U ‰

œœ œ >œ

∑

4 4

∑

∑

4 4

∑

o

ff mf

4 4

∑

∑

4 4

∑

N

U ‰

œœ œ >œ

∑

∑

o

ff mf

Marimba Medium Mallet (bass end) (Marimba)

Percussion 2

∑

/

4 4

∑

4 4

4 4

4 4

∑

4 4

4 4

?

4 4

∑

(vibraphone) Medium Mallets (treble end)

Percussion 3

∑

/

w

w

4w 4

∑ &

w

ppp

Vibraphone Medium Mallets (bass end)

Percussion 4

4 4

∑

¢/

∑ &

< U>

> œœœ œ

j eee e

< U>

4 4

j eee e

œœœ œ

f

j eee e

j eee e

< U>

> œœœ œ

4 4

f

j eee e

j eee e

4 4

f

Hold P unless directed otherwise

bass rumble and resonant drumming clicking noises

Tape

/

4 wææ 4

∑

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ

4 wææ 4

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ cutoff æ wæ o

œ ˙

4 wææ 4

4 4

Œ

∑ o

=

= 36"

44.5"

( ≈ 39" )

53" ( ≈ 46" ) ( ≈ 49" )

(4)+4

In Tempo (q = 120)

4 4

> œœ Œ Ó œœ

≈2" ≈3.5"

(4)+4 C

(treble end)

N

C

U ‰

° & œœœœ >

∑

4 4

∑

∑

N

œœ œ >œ

C

‰

N

bœ œ >œ

‰

∑

∑

∑

2 4

∑

>¿ (dead stroke) 4 J‰Œ Ó 4

∑

2 4 >¿ 4 ∑ 4 ##¿¿¿J ‰ Œ Ó

ff ff

o

mf

ff

o

mf

o

mp

ff

ff

Marimba

(bass end)

U ‰ o

? ˙æ æ p

∑

4 4

∑

∑

mf

U ‰ o

˙ ææ p

∑

4 4

∑

∑

mf

w æ p

w æ f

2 4 4 œJ ‰ Œ 4 o

∑

∑

2 4 nw 4 ∑ 4 ææ p

N N C

bœœœ (treble end)

&

j ‰damp F, G ¿ ¿ be J

w w

4w 4

w

bœœœ

j‰ ¿ ¿

w w

be J

ppp

4w w 4

>f ¿ bw ¿ J

<b> w

2 <b> ˙ 4

> w 4 æ 4

w æ

˙ 2æ 4

> nw 4 æ 4

‰

ppp

ffpp

Vibraphone

(bass end)

> f > œ ¢& œœœ

< U> j eee e

j eee e

j eee e

> f > œœœ œ

4 4

ffpp

(keep bar dampened)

< U> j eee e

œo j eee e

j eee e

4 4

> w w ww f

w w ww <°

2 4 ˙˙˙˙

4 4

Ó o

∑

> 2 4 w w 4 ∑ 4 ##ww

f

ø

f

> ¿

clicks high pitched 'scraping' resonant drumming

Tape

/

4 œœ ‰ Œ œœ ‰ œœ ‰ 4

œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

bass rumble

4 Œ 4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

2 4

4w 4 æ æ

2 4

4 4

1'18" Without Tempo

1'24"

2

(2)+2 wait until p.4 hits D C N

° &

(treble end)

>¿¿ # ¿ # ¿J ‰ Œ Ó

∑

æ ææ 2 Œ #nœœæœ 4 w 4 #œ 4 w ww

∑

æ ˙˙æ˙ ™™ ˙ ™™

- #œ #œ

Œ Ó o

# ˙˙ Œ ææ

##œœœ >

œœ U J ‰Œ

C wait until p.4 hits E

œœ ‰ U J Œ

Œ #˙˙æ

#œœœ >

mp

mf

ff

C N

C

mp

ff mp

mp

ff

ppp

ppp ff ff mp

take 3 mallets Move to black-keys side of Marimba

Marimba

? (bass end)

<n> ˙ ™ æ

n˙ ™ æ

Πo

f

p

˙ æ

2 4

Πo

C N

C

C

4 4

∑

∑

∑

∑

U Œ

Œ Ó &

#œ # >œ ff mp

take bow to Cymbal

U Œ

Œ Ó ##>œœ

ff

ff ff mp

C

w æ

œ > 2 æ œœ 4 4 4

&

(treble end)

C N (black-keys side)

ff

>N nw æ

C

<n> ˙ æ

œ ˙™ æ æ

ffpp

bowed

˙wait until p.4 hits D

(Cymbal)

∑

∑

/

∑

∑

mf

U Πo

˙ f

pp

U Œ

˙wait until p.4 hits E ˙

∑

o

f

pp

Vibraphone

> w w ##w w

> <#>ww w & <#> w ¢

(bass end)

e # e ###eeee J

œ

w w w w

2 Œ #>œ 4 w 4 # œ 4w #œ w

#œ #œ #œ œ #œ

w w w

mf

U Œ

eej ###eeee

œ œ #œ nœ # œ #œ

f

U Œ

mf f mf

<°

ø ¿

(high pitched 'scraping')

4 œj ‰ Œ œj ‰ œ œ 4 . . . .

/

ø

pops

2 4

Tape

f

ø

ø quiet 'scurrying' bowed cymbal swells

∑

(cymbal)

(scurrying)

w æ

∑

o

w æ

=

= (2)+4 (2)+2

1'34" q = 94 molto vib (m.v.) nat.

1'29"

Flute

&

45 ˙™ 4A o

œ

#>œ œ #œ#œ œ J ‰

mp

˙™ Œ

mf

p

> œ œ# œ œ™ #œ

# œ# œ œ 3 #œ #œ mp

mf

‰

sfz

>œ # œ ™ œ™ J

>œ # ˙ J

sfz

sfz

> œ #œ #œ 3 #œ œ# œ # œ ™ #œ#œ œ í ™™ mp

mf

# wo #>œ repeat as necessary4 æ J ™™î ÍÍÍÍÍÍÍÍÍÍ 4

>œ œ™ J

sfz

sfz

flutter

sfz

N C

C follow flute melody for cues

(white-key side)

° &

U Œ

œœ >œ

∑

∑

∑

∑

Π&

> . .. ‰ œj #œ œœ ‰ f

ff mp

>j #œ. œœ . . >j œœœ . .. ‰ œ œ Œ mf

mp

C

N

#w æ

œ‰ Œ Ó J o

p

# œ. œ. œ. > . . . œ J í ™™#>œ #œœœJ ‰ sfz

repeat as necessary

4 ‰ ™™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4

sfz

ff

C follow flute melody for cues

N

Marimba C

C

U Œ

(black-key side)

& # #œœ # >œ

?

∑

∑

∑

∑

#œ #œ >

ff ff mp

f mf

N

C

‰

∑

∑

Ó &

o

N

Ó

#œ #>œ f mf

∑

4 4

∑

4 4

∑

?

o

(begin with flute) on bell

æ wæ

take soft mallets

Cymbal

& U ∑

æ wæ

æ wæ

æ wæ

æ wæ

æ wæ

to Chimes

o ppp

o (keep damped) #œ

follow flute melody for cues rall.

Vibraphone

#œ œ # œ œ œ ¢& # œ #œ œ #œ mp

<°ø

mf

j ##eee ### eeeeee

j ##eee ### eeeeee

p

j ##eee ### eeeeee

j ##eee ### eeeeee

> #œ#œœœ f

o (keep damped) œ ##eeee J mf o

ee # # eJ

##eeee J

#>˙ ###˙˙˙

#e ###eee J

#e ###eee 44 J

o f

mf

> 'scurrying' and clicking texture

'scurrying' to high-pitched, resonant texture

Tape

/

¿

4 wææ 4

Slightly slower 2'16" 2' 3

(6)+2

> >œó m.v. ˙ # J‰˙

3 œ n œ œ n œï

#˙

4 &4

Flute

fff

fp

ffpp

f

Marimba 3

3 3

? 4 #œ œ œ œ œ œ œj œ Œ 4 # œ- œ- œ- œ- œ- œ- œ- œ> >

(black-key side)

ffpp

#œ #œ

sfz

>j œ

nU wo

3

n-œ #-œ -œ #œ ™

f

3 #-œ n œ œ

wo 4 æ 4

œ J

mf

f

f

œ

œ b œ b -œ 3œ Œ

ff

'bouncing' fade out create 'bouncing' effect with p.2 >> > > > j U > U œ ‰ Œ nœ ™ œ ™ œ ™ œ ™ œJ Œ #œœ œ-œ œ-œ œ-œ œœ Œ Ó nœ ™ œ œ œ œ # œ> sfz mf o ff sfz mf o > - - - U ∑ ∑ ∑ & #œ ™ œ œ ™ œ œ ™ œ œ ™ œ ™ ™ ™ ™ # œ œœ œœ œœ œ o sfz mf

3 3 3 ° 4 œ œ œ œ œ œ œj œ Œ & 4 #œ œ œ œ œ œ œ œ - - - - - - >- -

(white-key side)

ff

(2)+4 nat.

Ó

fff

4 4

?

∑

ff

> œ ææ

3 > bœ œ & bœ œ œ

>˙˙

fp

ff

ff

U œ- b˙ mp

U >˙˙ ææ p

mp

#œ ˙ ™ #>œ

œ œ mf

U Πo

4 4

U Πo

&4

f

fade with flute

œœ Œ

?

æ wæ

mf fp

fade with flute

U ææ b w bw

3

4 4

∑

Ó &

bbœœ- œœ- œœ- œœ> ff> fp

4

ææ w w

U Œ

ææ # w #w

return to white-keys side of Marimba (bass end)

?4

4

o p

mf

fp

let vibrate standard mallets > 4 &4 w

Chimes

∑

∑

U ∑

∑

4 4

> bw

∑

f

> w

∑ ˙

f

4 4

∑

˙

p

f rall.

n >˙ ##˙˙

> 4 # ¢& 4 # ˙˙˙ #˙

Vibraphone

> n˙ n˙

U > nw # w #w ææ fp

U #>˙ Œ # ˙˙ #˙

œ b ˙˙ ™™ 4 œœ ˙ææ ™ 4æ æ mf

> bbœœ

w bwU w ææ

>˙ ™ ˙™

w ww ææ

#œ# œ œ # œ # œ ‰ #œ#œ œ #œ mf p > ø w w

ff

p mf ff

ff ( hold P )

<° Tape

4 /4 w

w

w

U w

w

ø

4 wææ 4

chord

æ wæ

chord

w

w

< U > ## ee ###eeeee # e # eJ

4 4

4 4

=

= 2'42"

q = 120 (2)+2

2'28"

In tempo senza vib. (s.v.)

Flute

#>œ œ œ 3 œ #œ 4 &4

m.v. rall.

s.v.

#œ ˙ #œ œ #œ

œ œ#œ ˙ # œ #œ

2 œ#œ #œ 4 #œ

#U ˙ #-˙ 4 4

bw

w

bw bw

w

w o mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

5 C

N

C

N

C

N

follow flute for cues (treble end)

° 4 &4

∑

∑

#œ œ ‰ Œ #œ œ

Ó

2 4

∑

4 4

nnnnœœœœ >

∑

Œ

œœœ >œ

∑ o

ff mf

Œ

œœœ >œ

∑ o

ff mf

Œ

∑ o

mp

mp

Marimba (... and speed back up again) (slow down...) (bass end)

?4 4

∑

∑

2 4

∑

∑

4 4

n˙ ææ

∑

œ

œ

f

Chimes

4 &4

∑

∑ #w

2 4

∑

4 4

∑

2 4

#e ####eeeeee # e # eJ

4 4

∑

∑

4 4

p

mf

n˙ ææ

œ

f

œ p

˙ ææ

n˙ ææ

mp

œ

œ pp

˙ ææ p

to Vibraphone take bow

w w pp

p

˙ ææ

∑

follow flute for cues

Vibraphone

#e ####eeeeee # e # eJ

4 ¢& 4

> ##˙˙˙

#˙#>˙˙

mf

4 /4

¿ ∑

∑

∑

2 4

w w ww

> w w ww

w w ww

w w w w mp

w w ww

f

rustling texture

Tape

> w w ww resonant drumming of opening

œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

¿

3'

4

≈7"

bw Flute

œ

œ

œ

nœ-

&

ï w

≈9"

ó U ∑

∑

∑

o p

C

4 mallets - trill each note with one hand. Mallets above and below the bar (use L.H)

N C

(treble end)

° œ & œœ >œ

Œ

œœœ ™™™ œ bœ ™ œ œ™ œ œ™ œ œ ™ o mp

∑

begin as soon as possible after note appears in the tape part

æ ˙æ

Ó

pp

æ wæ mp

o

mp

Marimba

? næ˙ æ

œ

œ

mp

˙ ææ

pp

begin as soon as possible after note appears in the tape part

4 mallets - trill each note with one hand. Mallets above and below the bar

move to black-keys side of Marimba (bass end)

æ ˙æ ˙

˙˙ æ (use R.H)

U ∑

œ Œ

Ó

∑

æ #˙æ

&

p

æ #˙æ #˙

mp mp

(treble end) (bowed)

U ∑

&

begin as soon as possible after note appears in the tape part

Vibraphone

(bass end)

ww ¢& w w

ææ w w ww

w w ww

æ ˙˙æ˙ ˙

U ∑

Ó

œ Œ

#œ

Œ

Œ

#œ

Œ œ

#œ #œ o

o ( con P )

o

mp

sim.

'reverb droplets'

¿

'rattling' texture on A

Resonant drumming

Tape

/

&

o

æ ˙æ o

>œ

U ∑

#œ >

#œ œ #œ >

=

= 3'24"

3'36"

3'44"

≈10" ≈8"

(white-key side)

° ˙æ & ˙

æ ˙æ ˙

≈3"

æ wæ

w w æ

pp

æ wæ

mp

w æ

æ ˙˙æ

pp

U Œ

mp

o Marimba ≈3"

(black-key side)

U Œ

æ & #˙æ #˙

æ #˙æ

æ #˙æ #˙

o

U Œ

æ #˙æ #˙

æ #˙æ

æ #˙æ #˙

o

U Œ

ææ # w #w

mp

o

mp

(treble end) (bowed)

&

U bowed ∑

∑

w

U Œ

ppp

ff

:

;

mp

move away quickly!

w

slowly dampen

æ #˙æ

U ∑

ppp

∑

ff

Vibraphone

(bass end)

Œ

¢& #œ

U ∑

œ #œ

o

mp

‰ #œ o sim.

‰ o

‰

#œ

‰

‰

‰

U ∑

#œ

œ #œ

& #œ >

U ∑

#œ

>œ #œ >

#œ >

#œ >

U ∑ œ >

œœ œœ

‰

œ mp

Tape

‰

#œ >

œ o #sim.

o

#œ

o

mp mp

mf

U ∑

#œ > #œ >

#œ >

œ >

#œ >

o

3'53" 4' 5 ≈5" ≈9"

° & Ó

(white-key side)

≈7"

æ ˙æ

U Œ

æ ˙˙æ

æ ˙æ

mp

æ ˙˙æ

æ ˙æ ˙

ææ ˙

mp pp

Marimba mp

æ & #˙æ #˙

(black-key side)

æ #˙æ #˙

ææ # ˙ #˙

æ #˙æ #˙

æ #˙æ #˙

ææ # ˙ #˙

æ #wæ

ææ # ˙ #˙

pp

mp

æ #˙æ #˙

ppp mp

mp

To Cymbal (Mallets)

#w (trebel end) (bowed)

U Π;

∑

&

ppp

:

ff

#w / ppp

:

ff

;

Vibraphone

¢&

(bass end)

#œ mp

‰ œ o sim.

‰

‰

#œ

‰

#œ

‰ œ o sim.

œ #œ

o

mp

‰

‰

#œ

‰

‰ œ

#œ

œ

o

o

mp

#>œ œ >

#œ >

#œ >

o

sim.

#>œ

œ >

œ >

#œ >

#œ >

#>œ

œ >

œ >

‰

#œ

Tape

&

‰ #œ

‰

œ

#œ >

œ >

=

= 4'28" 4'08"

q = 120 (4)+4

&

(white-key side)

° ˙ & ææ

4 wæ 4 æ

?

w ææ æ wæ

æ ˙æ

˙ ææ æ wæ

æ wæ

&

æ wæ

&

æ wæ œ‰ J

æ ˙æ æœ æ˙˙ Œ æ æ

w ææ

w ææ

w ææ

w ææ

w ææ

w ææ

mp mf

#œ Ó

3

3

˙ ˙

Œ

&

?

#>˙ #>˙ >˙

˙ #˙ ˙

#˙

fmp

>œ Œ Ó

#>œ Œ Ó &

3

take hard mallet in L.H. mf

f

ff

ffmp ffp

f

f

mf

Marimba pass hard mallet to p.1 (black-key side)

U & Œ

4 4

∑

æ æ #œæ #˙˙æ™™

ææ # ˙™ w ææ

ææ #w

Cymbal

œœ ‰ Œ Ó J

?

∑

∑

∑

f

ff

∑

∑

∑

∑

∑

∑

∑

∑

∑

æ wæ ppp

>œ Vibraphone

¢&

U Œ

4 4

∑

> #œœ#œ ˙

> n˙ n˙

>œ Tape

&

U Œ

4 4

/

> #˙

ff

mf

∑

æ wæ

pp

(Cymbal)

4 4

/

∑

ff

ffp

U Œ

Œ ? ##w w æ

move to white-key side of Marimba (bass end)

> ˙

>> ###œœœ œœœ œœœ œœœ œœœ œœœ ###œœœ Œ

slowly dampen

∑

∑

æ wæ mf

ff

##nw w w

œœ ## œœ œ œ

pp

mp

>œ œœ

>3œ œœ

>œ œœ

> ##œœœ

3

f

p

ff

:

;

ff

low B 'droplet'

low C# 'droplet'

low B 'droplet'

œ

œ

œ

filter begins to lift from 'rattling' texture and tension builds

¿

4'52" 6

° wæ & æ

w ææ

w ææ

w ææ

w ææ

w ææ

mf

˙™ ææ

w ææ

œ nœ ææ ææ

w ææ

w ææ

fmp

imrovise tremolo around these notes (stay low)

>œ J ‰

w ææ f

œ #œ nœ œ A 5 œ nœ #œ

?

ff

(treble end)

#œ & Ó

3

˙

?

#˙

Œ

˙

#>˙ #>˙ > #˙

#>œ

>œ Œ Ó

Œ Ó

Ó

œ œ #œ nœ

Œ

&

#˙

#œ ?

œ

#œ

#˙

œ

#œ œ œ

#œ

Marimba

˙

œ n>˙

#>˙

æ wæ

æ wæ

3 3 mf

f

ff

f

ff

fff

mf

move to floor tom (bass end)

? ææ w

∑

∑

∑

æ wæ

∑

æ wæ

(floor tom)

∑

o

∑

∑

∑

∑

/

∑

o ff

move to Vibraphone (treble end) take 2 hard mallets

Cymbal

/

∑

∑

æ wæ

∑

æ wæ

ppp

mf

∑

¢&

∑

∑

∑

ff

∑ mp

∑

∑

mf

ff

move to bass end of Vibraphone take 2 hard mallets

3 œœœ #œœœ œ>œœ œ>œœ œ>œœ #œœœ

#nww w

∑ pp

æ wæ

ppp

3 œœ # # œœ >œœ >œœ >œœ # #>œœ œ #œ œ œ œ nœ

#w ##w w Vibraphone

∑

æ wæ

∑

∑

ff

pp

mp

ff

low B 'droplet' bass enters and crescendo begins

œ

Tape

/

w

w

¿

rising filter

=

= 5'04"

Marimba

°? æ w

æ wæ

æ wæ

>j take 3/4 hard mallets œ‰ Œ Ó

æ wæ ff

> ##˙˙

∑

>˙ ˙ ˙

sfz ff

6 6 6 6 6 6 6 6 6 >j 6 6 æ æ æ æ æ æ æ æ æ æ j œ ‰ Œ Ó œœœœœœœœœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œœœœœœ œœœœœœ œ / > > > > > > sim. > > > > 6

6

Floor Tom

6

6

(treble end)

&

6

6

pp cresc. little by little

ff

∑

∑

∑

>j #œœœ‰ Œ Ó

ææ & #w ww

∑

6

6

6

æ æ æ œœœœœœ œ œ œ > > >

fff

mp

> w w ææ

w w ææ

ff

>j œ‰ Œ Ó

j œ

ffp

ff

ff

>j œœœœ œœœœ œ‰ Œ Ó j œ

ff

mf

>œ œ‰ Œ Ó J

>˙ ˙

sfz

ff

> #˙˙˙

> ## ˙˙

6

¢&

∑

∑

∑

∑

>æ #wæ

>j #œ ‰ Œ Ó

æ wæ

ff

sfz

° Tape

/ w

w

w

æ wæ

tearing paper

>œ6 œ6 œ6 œ6 >œ6 æ æ æ æ æ filtered drumming

œ6 œ6 œ6 æ æ æ

æ wæ distorted rustle

æ #wæ

∑

mp

>œ œ‰ Œ Ó J sfz

pp

° æ wæ

w æ ff ø >œ6 œ6 œ6 œ6 æ æ æ æ

6

æ æ æ œœœœœœ œ œ œ > > > > w w æ ffp

Vibraphone

(bass end)

6

6

j œ

> w w æ

(=)

ffp

ff

>˙ ˙

ææ # w w #w >

> œ‰ Œ Ó J sfz

>œ6 œ6 œ6 œ6 æ æ æ æ

w æ pp ° æ wæ

5'28" 7 Violently

Flute

Ó

&

>œ ‰ J

Œ

>œ

œ b -œ . . b-œ bœ œ b>œ æ 3

b >œ œ

b >œ > b œ > b œ > œ œ œ bœ æ æ ææ æ

nat. fltr.

3

œ >œ #œ ææ ææ 3

˙ ææ

mf

ff

n-˙

œ > #>œ œ #œ œ œ

>œ

˙™

ó ï > > n œ >œ œ œ >œ œ œ J ‰

Marimba

ææ ° n bw w & bw

> bbw w w æ sfz

ff

6

6

æ œ

Floor Tom

/

mf

6

j œ

sfz

ff

b >œ b œœ

> bbœœ œJ

˙˙ ˙ æ p

>j œ ‰ Œ

6

æ æ æ œ œ œ

f

b >˙ b ˙˙ ææ

‰

æ wæ

Ó

mf

(treble end)

>œ œ J

>œ ™ œ™

j œ ‰ Œ

∑

mf

∑

>j œ ‰ Œ

˙ ™™ ˙

> ww

>œ œ

sfz

f

∑

> # ww w

˙ #˙˙

? #˙ ˙

ff

to Marimba (bass end) take 3/4 hard mallets

Ó

∑

∑

∑

&

ff

ww

œœ

> w w

& ff

Ó

j œ

mf

> w w

sfz

ff

> > > > æ œ œ œ œ œ œ œ œ œæ œ

ff

>˙ ˙

sfz

˙ æ ˙æ

ff

> >œ Œ #œ

mf

f f

3

5 f

ff

ï >˙

sfz

˙

˙

> w

˙

˙˙

sfz

f

ff

Vibraphone

(bass end)

> ‰ œJ

˙™ ææ

¢&

> w

> œ

˙™

> w

> w

#˙˙ #w ø

sfz f

ff

sfz

æ wæ

Tape

/

ø >œ6 æ

œ6 œ6 æ æ

>œ6 æ

œ6 æ

œ6 æ

œ6 æ

œ6 æ

æ wæ

∑

> #ww

#˙˙

˙

sfz

ø

˙˙

f

ff

>

distant filtered drumming

=

= 5'44" 3

>œ Flute

&

> œ

>œ

œ. >œ œ. œ. . . œ #œ sfz

(treble end)

> ‰ #œJ

>œ #>œ >œ

3

3

°?

>˙ ™

>œ

3

> >œ #æœ æ

#>œ ææ

n>œ ææ

>˙o ææ

>œ J ‰

Œ

Ó

f

ff

∑

∑

∑

sfz

> w w w ∑

∑

3

∑

# ˙˙ ˙

˙ ™™ # # ˙˙ ™

œœœ

˙ ##˙˙

# ˙˙ ˙

˙ n ˙˙

˙˙ ™™ #˙ ™

##œœœ

˙˙ ˙

# ˙˙ ˙

˙ ™™ # # ˙˙ ™

œœœ

˙˙ #˙ ˙ ##˙˙

# ˙˙ ˙

˙ n ˙˙

˙˙ ™™ #˙ ™

##œœœ

˙˙ #˙

˙˙ ˙

sim.

˙˙ ˙

∑ & always as fff as pos.

Marimba (Marimba) sim. (bass end)

&

∑

Œ

> æ # ˙æ™

æ wæ

æ ˙æ

ffp

> w w (treble end)

&

∑

ff

> j ‰ #œ

> ###w w w

Œ

sfz

> w w w

take 3/4 hard mallets

∑

###˙˙˙ sim.

˙˙ ˙

∑

Vibraphone always as fff as pos.

sim. (bass end)

¢&

∑

> ##w w

> ###w w w

take 3/4 hard mallets

∑

∑

###˙˙˙

P each chord change

coming to foreground

¿ Tape

/

low bass and quiet rustling

¿

8 6'36" 6'52" ≈8" 31"

Flute

(treble end)

∑

&

∑

∑

˙ ° ˙#˙˙ ™™™ #œœœ #n˙˙ # ˙˙˙ &

∑

˙˙ ˙ #˙ #˙˙

6 4

∑

˙˙ ™™ #œœ # ˙˙ ™™ ˙™ # œ 46 #˙ ™

w #w w

∑

∑

# ˙˙ ™™ #˙ ™

4 4

∑

##œœœ (treble end)

&

∑

∑

4 bw wæ 4 w æ

w w wæ æ

∑

∑

˙˙ ™™ ˙™ æ

œœ nnw œ w w æ ææ

take 3/4 medium mallets mf

mp

∑

∑

w w w æ o

∑

∑

∑

w w ææ

mf

∑

#œœ Œ Ó

w w ææ

p

?

mf

Marimba take 3/4 medium mallets (bass end)

(treble end)

& # ˙˙ ™™ œœ ˙˙ ˙˙ ˙ ™ œ #˙ ˙ ˙˙ ™™ #œœ #n˙˙˙ # ˙˙˙ & #˙ ™ œ

˙ # # ˙˙

˙˙ ˙

˙˙ ™™ œœ 46 ˙˙ ™™ ˙ ™ #œ ˙™

#w w w

˙˙ ˙ #˙ #˙˙

˙˙ ™™ #œœ # ˙˙ ™™ ˙™ # œ 46 #˙ ™

w #w w

?

˙˙ ™™ ˙™

œœ œ

(bass end)

Marimba

w 4 bw 4 wæ mf

w w w ææ

4 bwææ 4b w

ææ w w

b ˙˙˙ ™™™ æ

nbœœ #nw w æ ææ

w w æ

∑

w w ææ

œœ

to Glasses (Stage left)

Œ Ó

/

o mp

mf

p

to Marimba (black-key side) take 2 medium mallets

# ˙˙ ™™ #˙ ™

w w ææ

mf

to Glasses (Stage right)

##œœœ (black-key side)

&

ææ b ˙ b ˙ ™™

#w ? ∑ #w ææ

(=)

æ bœæ #wæ

æ wæ

#w #w ææ

#œ Œ Ó

/

o mf

mp

mf

p

mf

Vibraphone

(bass end)

¢& # ˙˙˙ ™™™ œœœ ˙˙ #˙

˙˙ ˙

˙ ## ˙˙

˙˙ ˙

˙˙ ™™ œœ 46 ˙˙ ™™ ˙ ™ #œ ˙™

#w w w

˙˙ ™™ ˙™

¿ æ œæ œ o >

(bass and rustle)

Tape

6 4

/

4 4

∑

œœ œ

∑

∑

∑

reverb chord shifts with Marimba

reverb chord, crackles

4 4

= Very Slowly and freely

∑

∑

∑

∑

crackle

crackle

æ j œæ œ

æ j œæ œ

∑

∑

'tearing' texture emerges

w o =

≈ 1'10"

U -˙o ™ #U # œ wo #œ #œ ‰J

(4)+4 ( ≈ 7' )

Flute

U -˙™ œU Œ ˙ Œ œ & # œ #œ # œ #œ mp mfo mp mf

nœ -œ #œ #-œ U œ nœ -œ #œ #-œ -˙ œ Œ œ #œ #œ œ #œ #˙ # œ #œ 3 3 o mp f mp mf p mp

> n -œ œ #œ ™ # œnœ ™ œ # œ œ # œ # œ - #œ U œ U#œ J #œ œ #œ œ #˙ œ #œ ‰ #œ œ #œ#œ R≈ J J J 3 3

√ Œ

gently

#œ ‰ #œJ œ

œ #œ œ #˙ J

œ #˙

3

3

o pp

mp

f

mp

sfz

mp

f

mf

mp

p

mp

mf

mf

f

mp

mp

mf

p

remain a part of the texture, follow flute melody

œ °?

#œ

#œ

œ

#œ

œ

∑

#œ

#œ

#œ

#œ

œ

#œ

œ

Marimba p

(Stage Right)

/

∑

/

∑

mp

p

mp

p

sim.

Glasses (Stage Left)

softly echo flute (do not obscure)

Vibraphone

œU ˙™ Œ ˙ Œ œ æ & ¢ æ æ # œ #œ æ # œ #œ

3 nœ >œ #œ #>œ Uæ œ nœ >œ #œ #>œ æ ˙ œ Œ œ #œ #œæ ‰ #œ #˙æ ææ # œ #œ

>œ >œ # œ œ # œ # œ > #œ U n # œ œ œ U # œ ™ n œ ™ # œ # œ #œ œ #œ œ #˙ œ J #œ ‰ #œ œ #œ ææ J ≈ æ J R æ J æ 3 3 3

3

√ Œ

repeat/omit as necessary

í ™™ #˙

œ

- j ™ ™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j ™ œ # œœ #˙

3

o p

mp

Hold P throughout

(tearing texture)

Tape

/

w

p

mp

p

mp

p

mp

p

mp

pp

p

mf

p

mf

p

mf

p

mp

pp

pp

p

pp

(4)+4 9 8'18"

Conductor to Glasses (Stage Left) Begin as soon as ready repeat/omit as necessary

Flute

& í ™™ #˙

œ

To Glasses (Stage right)

-œ™ œ#˙ ™ 4 J ™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4

j #œ

î

∑ #w

p

mp

p

o

p

≈ 9'40" ≈ 9'25"

Slow and Calm

improvise phrasing and note repetitions

≈ 1'

wait around 3"

U ∑

repeat/omit as necessary

°? #œ

Marimba

í ™™ wæ æ

4 #wææ ™™î 4

œ œ p

#œ

#œ mp

op

mp

U sim. # œ repeat and fade with tape part # œ # œ # œ U œ U #œ #œ æ æœ # œJ ? ™ æ jŒ ææ æ æ Œ æ æ ææ ‰ í ™ #˙ œ #œ朙 œ æp J pp o p mp o p mp pp

æ #˙æ™™îÍÍÍÍÍÍÍÍÍÍÍ

∑

î

pp

o

pp

o

repeat and fade for ≈15" U ™ Œ ™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

move wet fingers around the edge of the glass

4 (Stage Right)

/

í ™™ #w w

∑

&4

w w o

pp

U ∑ o

mf

Glasses

repeat and fade for ≈15"

U ∑

move wet fingers around the edge of the glass

4 &4

(Stage Left)

/

í ™™ ##w w

∑

™™îÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

w w o

pp

o

mf

Maintain a quiet presence with any of these notes (in any octave) fade with tape part

Vibraphone

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4 & 4 ¢

œ #œ #œ #œ

œ #œ

#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

∑

î

o mf

* ppp Hold P throughout

(tearing texture)

Tape

/

w

Field Recording Enters

w

4w 4

w

Tape part finishes

w

w

w

w

w

w

∑ o

î