Audiendum Extimate

Audiendum Audiendum Extimate Extimate for Yarn/Wire

Perc. 1

Perc. 2

Perc. 1

Perc. 1

for 2 pianos, 2 percussion and transduced electronic sound

Perc. 2

as notated i Perc. 1 1. small Me 2. paper “ch 3. kolaPerc. nut1 4. small wa

Louis Goldford (2018)

Perc. 2

Perc. 1

[small temple block] Perc. 1

[opening]

[small wood block]

[small temple block]

[medium wood block]

[small temple block]

[rehearsal C]

[small wood block]

for Yarn/Wire | dedicated to Peter Szendy

[small wood block]

Perc. 2

[triangles]

[small temple block]

AUDIENDUM EXTIMATE Perc. 2

[medium wood block]

[small]

[large]

[triangles]

[small wood block]

We'll Be Listening To You | Louis Goldford | Draft #1A | 2/27/18 | Percussion I + II for 2 pianos, 2 percussion, and transduced electronic sound 17 17 12:12 | Draft #1A We'll Be Listening To You | Louis Goldford |12:04 Draft #1A I + II 12:05 | 2/27/18 12:06 | Percussion 12:07 12:09 To You 12:10 | Louis 12:11 Goldford 12:13 | 2/27/18 12:14 12:15 We'll Be 12:08 Listening | Percussi [opening]

Percussion Staff Notation [rehearsal C]

[opening]

[medium wood block]

mall temple block] Perc. 1

[medium wood block]

[small wood block]

[small temple block]

4

12:05

12:06

[small wood block]

[triangles]

12:05

[small]

[large]

Perc. 1

[small temple block]

[triangles]

Perc. 1

12:05

12:06

12:07

12:08

block] [small wood

[pitched gongs: C, E, Ab (3rd octave)]

1 Perc.

[small temple block]

[pitched gongs: C, E, Ab (3rd octave)]

[bass drum]

[large thundersheet12:18 levels relative height)] thundersheet (3(3levels of of relatibve pitchpitchheight)] 12:09 To You 12:10 | Louis 12:11 Goldford 12:12 12:13 | 2/27/18 12:14 12:15 12:16I + 12:19 [large We'll Be 12:08 Listening | Draft #1A | Percussion II12:17 (possibile) [small wood block]

Percussion Instruments 12:04

[medium wood block]

[small temple block]

12:07

[small]

[large]

[small wood block]

Perc. 2

[rehearsal C]

[medium wood block]

[small temple block]

12:04

[rehearsal H and beyond where unmarked; [rehearsalY[rehearsal H and beyond unmarked; particularly rehearsal through end] H andwhere beyond where unmarked; particularly rehearsal Y through end] [rehearsal H and beyond

particularly rehearsal Y through end] where unmarked;

[rehearsal C] [opening]

particularly rehearsal end] Y through [medium wood block] [medium wood block]

12:06

12:07

12:08

Perc. 2

12:09

12:10

12:11

12:12

12:13 12:05

12:04

[bass drum] 12:14 12:15 12:06 12:07

12:20

[rehearsal H and beyond where unmarked; particularly rehearsal Y[rehearsal through end] H and beyond where unmarked; C] [opening] PERCUSSION I:[rehearsal particularly rehearsal Y through end] [medium wood block] [medium wood block]

12:16

[small woodtam-tam] block] [large

12:09

12:21

12:11

12:12

[crash]

[ride] [3 cymbals]

[triangles]

12:13

[rehearsal H and beyond w particularly rehearsal Y thro [Chinese]

[large] [ride] [small]

[crash]

[3 cymbals]

17

[large tam-tam]

[large12:17 thundersheet 12:18 (3 levels of relatibve pitch height)] 12:1912:10 12:08 12:09

[rehearsal H and beyond where 12:20unmarked; 12:21 [rehearsal H and beyond particularly rehearsal Y through end] where unmarked; [Chinese] II: particularly rehearsal end] PERCUSSION Y through

12:10

12:22

12:11

[pitched bell plates: C, D, A (3rd octave)]

12:23

[pitched bell plates: C, D, A (3rd octave)] 12:13 12:14 12:15

12:12 12:24

12:22

as notated 1. small M 2. paper " 3. waldteu

12:25

12:23

12:24

[crash] [large] [ride]

[Chinese] [crash] suspended:

[Chinese]

[crash] [ride]

[ride] suspended:

mallets, some specialized

as notated independently of these setups — in addition to standard mallets are called upon

[small wood block] mall temple block]

as notated independently of these setups — [small temple block] small + medium triangles (appx.

10 + 20 cm equilateral sides) small + large triangles (appx.

10 + 30 cm equilateral sides) Perc. 1 [pitched gongs: C, E, Ab (3rd octave)] [3 cymbals]1. small [triangles] Meinl Spark shaker (Perc.

I) shaker (Perc. I) 1. a bunch of yucca leaves to press on bass drum head (Perc. II) 1. small Meinl Spark as I)notated independently of these 60 setupsx—100 cm) 2. paper "chimes" for crumbling (Perc.

Perc.

1large as notated thundersheet (appx.

Thai (3rd octave)* [pitched gongs: gongs: C, E, Ab (3rdC, octave)]E, A [3 cymbals] for crumbling [pitched(Perc. gongs: C, I) E, Ab (3rd1. octave)] 2. paper “chimes” 2. aluminum foil wad for wiping on tam-tam (Perc. II) [3 cymbals] small Meinl Spark shaker (Perc.

I) 3. waldteufel (Perc. II) 1. small M Perc. 1 2. paper "chimes" for crumbling (Perc. I) Perc.

1 [small wood block] 2. paper " [large tam-tam] large (e.g. cm Paiste) 3 stacked cymbals: tam-tam 3. kola nut rattle (Perc. I) 3. wire jazz brush (Perc. I+II) 90 3. waldteufel (Perc.

II)

3. waldteu waldteufel (Perc.

[large tam-tam] 4. small II)

pitched bell plates: C, D, A (3rd octave)** (e.g.

50 cm) ride [large tam-tam]

[bass drum] Studio) Perc. 2

crash 41 cm Sabian

[pitched bell plates: C, D, A (3rd octave)] levels of relatibve pitch height)] (e.g.

[large thundersheet (3(possibile)

[bass drum] Perc. 2large bass drum (head facing up) drum] [pitched bell plates: C,[bass D, A (3rd octave)] [large thundersheet (3 levels relatibve pitch height)] Chinese cmofSuzhou) [pitched bell plates: C, D, A (3rd octave)] [large12:17 thundersheet 12:18 (3 levels of relatibve 4 12:05 12:06 12:07 12:08 (e.g. 5512:09 12:10 12:11 12:12 12:13 12:14 12:15 12:16 12:19pitch height)] a trap table consisting of: 0 12:21 12:22 12:23 12:24 12:25 12:26 12:27 12:28 12:29 12:30 12:31 12:32 12:33 12:34 12:35 12:36 12:37 12:38 12:39 12:40 12:41 12:42 12:43 12:44 12:45 12:46 12:47 12:48 12:49 12:50 12:51 12:52 12:53 12:20 12:21 12:23 12:24 12:25 12:21 a trap table of:12:2612:31 12:3212:2212:33 12:34 12:35 12:36 12:3712:2312:38 12:39 12:40 12:4112:2412:42 12:43 12:44 12:45 12:25 length 10 cm) small temple block (appx. 12:22 12:20 12:27 consisting 12:28 12:29 12:30 12:46 12:47 12:48 12:49 [rehearsal H and beyond where unmarked; small wood block (appx. length 10 cm) small + medium wood blocks (appx. length 10 + 15 cm) particularly rehearsal Y through end] [Chinese] [crash] small Waldteufel (diameter of skin head appx. 4 cm) Meinl SH16 Spark shaker [ride]

pendently of these setups — in addition to standard mallets, some specialized mallets are called upon —

tied bunch of dried yucca leaves paper “chimes” (e.g. crumbled sheets of newsprint) park shaker (Perc. I) 1. a bunch of yucca leaves to press on bass drum head (Perc. II) small bunch aluminum foil small, handheld kola nut Perc. 1 as notated independently of these setupsof — Perc. s” for crumbling [pitched(Perc. gongs: C, I) E, Ab (3rd octave)] 2. aluminum foilrattle wad for wiping on tam-tam (Perc.

II)1 [3 cymbals] 1. small Meinl Spark shaker (Perc. I) 2. paper "chimes" for crumbling (Perc. I)

(Perc. I) 3. wire jazz brush (Perc. I+II)

3. waldteufel (Perc. II) fel (Perc. II) [large tam-tam] b

*An original score draft called for 3 Thai gongs pitched at E2 (appx.

82 Hz), A 2 (103.826 Hz), and C3 (130.813 Hz). Please use these instead, if they are available.

**Similarly, bell plates were originally pitched at C2 (appx.

65 Hz), E2 (appx.

82 Hz), and A2 (110 Hz), and would be preferred to those specified in this updated score.

Perc. 2

b

Perc. 2 musicians, the current notation has been adapted for more common, higher-pitched metals. bell plates:professional C, D, A (3rd octave)] [largethese thundersheetlower (3 levels of relatibve pitch height)] Realizing metals are increasingly rare to find[pitched among

[bass drum]

7

0

[small]

12:28

12:29

12:30

12:31

12:32

12:27 12:21 12:28

12:33 12:29

12:34 12:30

12:35 12:31

12:36

12:37

12:3212:2212:33

12:38 12:34

12:39 12:35

12:40 12:36

12:41

12:42

12:3712:2312:38

12:43 12:39

12:44

12:45

12:40

12:4112:24 12:42

12:46

12:47 12:43

12:48 12:44

12:49

12:50

12:45 12:25 12:46 12:27

12:51

12:52

12:53

12:54

12:55

12:56

12:57

12:58

12:59

13:00

13:01

13:02

12:26 12:47 12:2812:48 12:2912:49 12:3012:5012:3112:5112:3212:5212:3312:5312:3412:5412:3512:5512:3612:5612:3712:5712:3812:5812:3912:59 12:4013:00 12:4113:01 12:4213:02 12:43

12:44

12:45

12:46

12:47

12:48

12:49

12:50

12:51

12:52

12:53

Descriptive Mallet Notation The score calls for a variety of different mallet types, often in quick succession. The players are often asked to hold multiple mallet types in each hand and to rapidly switch between them. The high density of action between switching mallet types may, at times, be difficult to execute. In cases where this is so, or where specific mallets may not be available, the player may freely redesign the sequence of mallet attacks apart from the notation.

In such cases, the given notation is conceived as “descriptive;” that is, a notation in which the rapid succession of mallet types describes the desired attack qualities that may be achieved using an altnerative selection of mallets. The player must choose mallets that yield the same sonic results.

Instrumental Mockup to Reference Desired Percussion Sounds In order to assess the correct instrument / mallet combination, an instrumental mockup of large sequences of the piece is available upon request.

The mockup uses samples that identify the type and size of the instrument, mallet, as well as relative dynamic levels and modes of playing.

Email louis.goldford@columbia.edu for more information. These dense passages occur at the beginning of the piece and at rehearsal Y.

List of Desired Mallets and Exciters Ideally the percussionists have aceess to as many of the following as possible:

for the Pianists:

soft timpani mallets (for use on lower inside strings, e.g. Balter T4 Legato mallets) yarn marimba and vibraphone mallets (various degrees of soft—hard) rubber mallets (various degrees of soft—hard) small + large guitar picks (to be used for wedge multiphonics, e.g. Fender 351 + 355 celluloid) triangle beater piece of rubber bike tire (to rub laterally along higher strings) gaffer tape (to mute the uppermost 2 octaves of PIANO II) tam-tam beaters bass drum beaters bell plate mallets NOTE for concerned pianists, house managers, etc. — Aside from the use of gaffer tape on superball mallet the strings, there are no “preparations” in this piece, i.e. items placed on or left inside the strings. bow for cymbals The items described above are only placed on strings when the fingers operate them and are wire jazz brush immediately removed. All techniques used, especially in consultation with professional wooden rods brush piano technicians, are considered safe. The only real “preparations” used are the two transhandheld aluminum foil bunch ducers placed inside the piano (described below). tied bunch of dried yucca leaves

Placement of Transducers in PIANO II The padded “foot” of each transducer must be placed flat on the surface of the piano soundboard. Lopsided or uneven placement of the transducers will result in a disproportionate frequency response.

On a baby grand (L) or a grand (R), the space exposing the soundboard between the lowest lengthwise metal crossbar and the outer frame typically provide enough space for the larger bass transducer, whose diameter is around 8 inches (i.e. 20.32 cm).

See TECHNICAL REQUIREMENTS for more information on transducer setup.

The padded “feet” on these transducers ensures vibration against the soundboard WILL NOT scrape or otherwise harm the instrument.

Piano Multiphonics B

F C

A

E D

Nodal clefs showing the relative distance between either (A) the agraffes and dampers, or (B) the entire string length from agraffe to bridge. Diamond noteheads (C) indicate where along the length of string the player must lightly touch between nodal points, so as to produce a multiphonic. Where available, a percent (%) of total string length is provided.

The lower clef always indicates the string on which the multiphonic is to be played (D).

The node is either touched with a finger (E) or created by placement of a large or small guitar pick (F). The pick may be placed directly on the nodal point in the case of a monochord, or its triangular “wedge” may be inserted between two dichords tuned to the same pitch (see photo at right).

Vesikkala, Multiphonics of the Grand Piano, p. 34.

At rehearsal T, PIANOS I + II begin node-glissandi along a series of fundamental strings. The strings are rapidly reattacked while the lightly-pressing nodal finger slides laterally between points along the string. These points always move towards the player and alternate between a farthest point away (i.e. towards the middle of the string) to the upper side of the hammers facing away from the player, and is then followed by another series of points between the lower side of the hammers up until the agraffes, i.e. the closest point to the player. This cycle keeps repeating at variously faster and slower rates so as to produce the abstract illusion of a Shepard tone of node glissandi. Attention to the harmonic glissandi of upper partials is necessary to ensure the nodal positions and overall sonic state of this section are executed correctly.

Technical Requirements Two versions of the technical setup may be used: (1) in which individual transducer cues are triggered flexibly by the players, or by a computer assistant, with the aid of an available iOS device and interface, or with a computer space bar; or (2) in which a general click track is diffused over earbuds to all players while a continuous fixed media sequence feeds the transducers instead of individual cues. The individually numbered cues given in the score may then be ignored.

In the premiere performance, Yarn/Wire opted for scenario #2 using a click track. The specifications and technical rider below are therefore designed for playback with earbuds and a fixed media track. Materials needed only for scenario 2 are highlighted in RED, while those needed only for scenario 1 are highlighted in BLUE. Those materials necessary for both versions are not highlighted. Max patches for both versions are available from the composer: small “bone conducting” surface transducer (for frequencies above 300 Hz, e.g. Dayton Audio BCT-2 45 mm. diameter) small 2 x 20-Watt amplifier to run the smaller transducer (e.g. Lepai LP-2020A+ 2 x 20 watts RMS, 4-8 Ohms) large “bass shaking” transducer (for frequencies below 300 Hz, e.g. Clark Synthesis TST209 Tactile Transducer, 8 in. diameter) large 2 x 160-Watt amplifier to run the bass transducer (e.g. SMSL SA-98E TDA7498E 2 x 160 watts 4-8 Ohms) 16 AWG speaker wire connecting transducers to amplifiers (at mix position) Wago Lever-Nuts may be used to connect speaker wires rather than soldering. laptop or desktop computer MaxMSP v. 7+ (or free Runtime version) audio interface (min. 4 analog outputs; two for stereo click track, 2 for transducer outputs) mixing console (min. 15 channels) stereo loudspeakers and amplifiers for the house 11 condenser microphones for live diffusion 4-way headphone amplifier / splitter 4 earbuds and extension cables long stereo headphone extensions connecting interface to headphone amplifier (on stage) 4 iPhones or other mobile devices capable of launching individual cues from within the ensemble; or 1 device at mix position Computer assistant at mix position Live diffusion specialist at mix position See the TECHNICAL RIDER on the following pages for stage setup, mic positions, connections between equipment, etc. This rider is an earlier draft of that used in the premiere performance featuring Yarn/Wire.

Technical Rider This is an earlier draft of that used in the premiere on 10 March 2018.

[plan view]

small RACK III tamtam

*RACK I — 3 gongs

*RACK II — 3 bell plates, thundersheet, large tamtam

bass drum

[perc II]

[perc I]

Russell

Future performers may freely adapt the general layout of this rider.

This rider also permits multichannel recording as well as live diffusion.

.]

cks, etc

ood blo

t of w ortmen

[ass

Ian

[asso

rtme

nt of

wood

3 stacked cymbals

block s, etc

.]

vibes [trap table] vibes [trap table]

bone conducting & bass shaking transducers

Gear provided by Yarn/Wire —

16 AWG speaker wire

Gear needed from CMC, Shapeshifter, and/or Recording Engineer — 1. 11 x condenser mics** for amplification/recording 2. house mixing console supporting 13 inputs; Alternatively, will a CMC mixer support this?

3. 12 x tripod boom mic stands + mic clips** 4. potentially: on stage power strips & extension cords for headphone amplifier(s) + transducer amplifiers 5. power at mix position for laptop, interface, and potentially headphone amps 6. potential audio interface: MOTU Traveler or UltraLite 7. multitrack recording session via laptop, field recorder, etc.

8. potential snake between onstage mics and house PA

ur a

ian

oI

2 extra mic stands for Louis’ portable field recorders (in pianos) (not amplified)

[p

XY/AB/ORTF room mics

La

1. laptop producing click/transducer playback 2. bone conducting + bass shaking transducers 3. all speaker wire Distance between stage and mix?

4. 2 amplifiers for transducers 5. **potential audio interface: MOTU 828 mk III 6. **potential mics: 2 x AKG C414s, 2 x Neumann TLM102s, 2 x Audio-Technica Pro 37s + clips 7. **potentially 4 mic stands and cables 8. RCA patch cables or 1/4” patch cables for transducer aux sends 9. 2 portable Zoom field recorders for stereo piano recording

I] no I [piaNing

Gear provided by Louis —

]

1. headphone amplifiers/splitters 2. 4 headphone extension cables 3. 4 earbuds

stage line

Mic Inputs to MIXER —

[*elevation view]

RACK II (needs high + low mic)

RACK I

stereo click track + stereo transducer sound cued by Louis from Max & mixed live

headphone amplifier/splitter

MOTU 828 mk III or interafce w/min. 4 analog ins/outs

Stereo AUX SENDS

PERC. I — mics 1/2/3 (trap overhead, cymbals, rear rack) PERC. II — mics 4/5/6/7 (trap overhead, bass drum, rack high, rack low) PIANO I — mic 8 (low monochords near hammers) PIANO II — mic 9 (centered b/thigh/low strings near hammers; NOT near transducers) mics 10 + 11 are NOT amplified (any XY/AB/ORTF pair used for recording)

all 11 prefader mic inputs recorded to a multitrack session via aux sends, digital outs, etc.

2 amplifiers Premiere performance given on 10 March 2018 by Yarn/Wire — Laura Barger + Ning Yu, pianos Russell Greenberg + Ian Antonio, percussion at Shapeshifter Lab, Brooklyn, NY

Stereo MAIN OUTPUTS

all live/amplified elements out to house

rev. 2/18/18

for Yarn/Wire | dedicated to Peter Szendy

Score

Audiendum Extimate

for two pianos, two percussion, and electronically transduced sound Draft #2A

3 Percussion 1

[ 1 mm. = 60 bpm ]

[Ï

!

Ï

[sm. temple block]

Percussion 2

!

Transducers

& ˇ

[morphologic]

Ï

[med. wood block]

]

4

[sm. wood block]

fine-grain descriptive mallet notation* actual mallets used for performance may differ;

   Ï Ï Ï Ï Ï Ï Ï ¹ P¹

 |  hard rubber

med. soft [mba.] hard rubber hard [vib.]

[h.v.]

med. soft [mba.]

Louis GOLDFORD (2018)

see Score Preface for explanation

Ï Ï ¸

 Ï Ï P ¹

  Ï ÏÏ Ï

[h.r.]

[h.r.]

Ï

ÏÏ

[eruption of piano multiphonics]

] & 1

Piano 1

b Ï Ï Ï Ï # Ï Ï Ï b Ï b Ï Ï˝

ˇ

f

¡ & Piano 2

Ï #Ï Ï Ï ˇ bÏ #Ï nÏ Ï #Ï Ï bÏ Ï bÏ nÏ bÏ #Ï ˛ Ï 0:01

0:02

0:03

0:04

0:05

0:06

0:07

¡ f * Perc. 1

  ! Ï ÏÏ Ï 0:08

P¹

3

Ï Ï Ï Ï  Ï Ï 0:09

P

Ï

0:10

¹ 0:11

 Ï Ï Ï Ï P ¹ 0:13

[h.r.]

Ï Ï Ï Ï Ï ÏÏ

j Ï 0:12

ÏÏ

4 Ï ¹ 0:14

* Ï

©2018 Louis Goldford (BMI). All rights reserved.

Ï

Ï 0:15

Ï

j Ï

Ï

0:16

Ï

Ï ÏÏ ÏÏ Ï 0:17

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

2

Perc. 1

Trans.

  [h.r.] [h.r.] j  Kr Ï Ï Ï ÏÏ Ï Ï Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï Ï P P ¹ [h.r.]

  ! Ï Ïj Ï P ¹

Ï Ï

Pno. 2

Ï

Ï Ï

& ˇ

]

ˇ ˇ 0:18

0:19

0:20

0:21

¡

!

0:28

Ï Ï # Ï n Ï Ï b Ï Ï˝ Ï Ï

¡ f bÏ Ï Ï b Ï # Ï Ï # Ï b Ï˝

0:24

0:23

f

0:25

0:26

0:27

0:22

*

Perc. 1

 Ï P

[h.r.]

p

[eruption of piano multiphonics]

2

Pno. 1

3

A

Ï

j Ï

¹

3

Ï Ï  Ï Ï P ¹ 0:29 [h.r.]

 Ï Ï Ï

[h.v.]

0:30

3

  Ï Ï Ï P¹

Ï Ï Ï   Ï ÏÏ Ï Ï Ï P¹ 0:32

 Ï

[h.v.]

0:31

* [h.r.]

[h.v.] [h.r.]

0:33

0:34

3

Ï Ï Ï Ï Ï Ï Ï Ï [h.v.]

P

[h.v.]

0:35

Ï

 Ï ¹P

[h.r.]

 Ï ¹

[h.v.]

0:36

Ï Ï  Ï  Ïj Kr Ï ÏÏ Ï [h.v.]

[h.v.]

0:37

*

*

2 Perc. 1

Pno. 1

Pno. 2

!

 ÏÏ P

Ï Rïï Ï ¹

[h.v.]

ÏÏ Ï ÏÏ Ï

Ï Ï

˝ ˇ # Ï Ïb Ï b Ïn Ï minimal attack; maximal resonance

j Ï

Ï

Ï

0:40

0:41

0:42

2

K rK Ï P

[h.r.]

rK Ï

n Ïn Ï Ïb Ï˝

minimal attack; maximal resonance

0:39

0:38

 Ï ÏÏ Ï Ï P¹ [h.r.]

Ï

Ï bÏ bÏ Rï ¡ ¸

ˇ

¡ ¸

3

0:43

0:44

b Ï Ï# Ï #Ï ¡ ¸ 0:45

come sopra

j Ï

b Ï Ï Ï Ï # Ï n Ï˛ 0:46

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

Perc. 1

Pno. 1

3

!Ï

Ï

Ï

Ï

Ï

ÏÏ

Ï

Ï

4

ÏÏ

 Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï

[h.r.]

Ï ÏÏ

Ï

Ï

Ï

Ï

Ï

P¹

˝ # Ï Ï b Ï n Ï n Ï # Ï # ÏRï ¡ ¸

ˇ

3

F

j bÏ

come sopra

Pno. 2

ˇ 0:47

¡

0:49

0:48

bÏ Ï Ï nÏ bÏ Ï ¸ 0:50

* B

3

! ÏKr S

Trans.

3 

[h.v.]

bÏ nÏ #Ï

Ï

bÏ

Ïn Ï Ï F

0:53

* 

[h.r.]



Ï ÏÏ Ï Ï Ï P F

Ï Rï p

Ï

ÏÏ

ÏÏ

Rïï

& ˇ ˇ]

Ï

0:52

eruption of higher piano multiphonics

[eruption of piano multiphonics]

j Ï

Ï bÏ nÏ bÏ

0:51

5

[h.r.]

Perc. 1

bÏ Ï Ï

nÏ

3

Pno. 1

Pno. 2

ˇ # Ïb Ïn Ï# Ï >Ï 0:54 f *

5

 !Ï Ï 1:05 F p

?

r b Ï Ï # Ï n Ï ˛ Ï > f Ï˝

>Ï Ï b Ï Ï Ï Ï Ï˝ R

0:55

0:56

j

j Ï b Ï nÏ ˛ Ï # Ï b >Ï

0:57

Perc. 1

 ÏÏ Fp [h.r.]

[h.r.]

Ï

Ï 1:06

Ï

Ï

Ï 1:07

Ï

Ï 1:08

 Ï

[h.v.]

0:58

j Ï

1:09

Ï

0:59

1:00

4

Ï

Ï Ï Ï Ï Ï 1:10

[h.v.]

1:01

 Ï

[h.v.]

1:02

 Ï F

[h.r.]

1:11

1:03

   ÏÏ Ï ÏÏ p F

[h.r.] [h.v.]

1:12

1:04



Ï p

*  Ï Ï Ï [h.r.]

Ï

Ï 1:13

Ï P

 |  [triangle beater] [triangles] [med. Ï wood bl.] Ï Ï Ï

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

4

3 Perc. 1

Perc. 2

C

[

!

[small temple bl.]

!

]

[] Ï

& ˇ

] 4

Pno. 1

?

Ï

Ï >Ï

>Ï Ï Ï j Ï

Ï

>Ï Rï

Ï Rï

>Ï Ï Ï Ï Ïj Ï Ïj Ï

Ï >Ï

P

p

j Ï

p

Ï

Ï Ï >Ï

Ï

r # Ï Ï # Ï Ï Ï >Ï # Ï Ï Ï˛

&

Ï

˚

ˇ b>Ï n Ï # Ï Ï Ï n Ï b Ï # Ï˝ 1:14

Ï >Ï

 Ï

[h.v.]

ˇ

f

Pno. 2

[h.r.]

 [hard rubber]

[sm. wood block]

 Ï p>

Ï

[large] [sm.]

[eruption of piano multiphonics]

Trans.

5

[Ï ]

Ï ¹

[gaffer tape]

1:15

1:16

KKr Ï p

bÏ ....clear pedal

*

when previous chord fully decays....

1:17

1:18

Ï

Ï

b >Ï

bÏ

#>Ï # Ï p¹

1:19

1:20

bÏ

1:21

f *

*

3 Perc. 1

3

 Ï

[h.v.]

!

Ï

P Perc. 2

Pno. 2

! bÏ Ï Ï ˚ #Ï #Ï Ï >Ï 1:22 1:23 p

Ï Rï p

j Ï

>Ï Rï

Ï Rï b >Ï b Ï

j

ÏÏ Ï Ï Ï Ï p P

1:24

rK Ï ¹

 >  ÏÏ Ï P p >Ï

1:25

#Ï p

Ï

rK Ï

ÏÏÏ

j Ï Ï Ï> Rï P

#Ï >

1:26

3

Ï Rï p #Ï ¹

j Ï Ï Ï >Ï

Ï Ï > #Ï p 1:27

Ï Ï

¹

P 1:28

 Ï p

Ï Rï P

[h.r.]

Ï ÏÏÏ

Ï

Ï Ï

Ï Ï >Ï b Ï

bÏ Rï 1:29

Ï p

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

Perc. 1

!

j Ï

4 Ï

Ï

ÏÏ

p Perc. 2

Pno. 2

!

3

D

ÏÏ

Ï

Ï Ï

˚

#Ï

1:30

P

>Ï >Ï

Ï Ï Ï

Ï #Ï

bÏ Ï #Ï 1:32

1:31

Ï Ï

j Ï

>Ï Ï Ï

Ï Ï

P

p

Ï Ï

nÏ

#Ï

ÏÏ

Kr Ï

bÏ 1:33

Ï P>

ÏÏÏ Ï p >Ï Ï

Ï Ï

[h.r.]

Ï

Ï

1:34

Ï

Ï Ï

>Ï Ï

Ï >Ï Ï

Ï

p

1:35

Ï Rï

Ï Ï

P

bÏ

¹

p

 ÏÏ ÏÏ P p

5

#>Ï

>Ï Ï

Ï ÏÏ p

>Ï

Ï

#Ï

¹

1:36

1:37

*

*

3 Perc. 1

Perc. 2

!Ï !

K r Ï F

Ï

Ï

P

p

˚

Pno. 2

Ï b >Ï Ï 1:39 p ¹

3

 Ï p >Ï

[h.r.]

Ï p

Ï ¹

Ï >Ï Ï

Ï Rï >Ï Ï Ï

Ï >Ï

Ï >Ï

P [above hammers]

Pno. 1

P >Ï

Ï [remaining length of pno. wire]

Ö

bÏ ˚ Rï ¹ 1:38

[h.r.]

p

>Ï >Ï Ï Ï Ï Ï

Ï˝

 Ï

 Ï

[h.r.]

nÏ

Ï #>Ï

bike tire scrape

[b ÏÏ]

[appx. bike tire range]

#Ï

1:40

¹

2 Ï Rï Ï

ÏÏÏ

>Ï

Ï >Ï Ï P

p

>Ï Ï

Ï Ï

Ï

p

ıı ı J ˝ ˘ ˘˝

P bÏ

nÏ 1:41

p

 Ï ¹ Ï p

rK #Ï ¸

>Ï Rï p 1:42

1:43

Ï Rï ¹

Ï 1:44

j #Ï

#>Ï p

#>Ï 1:45

#Ï ¹

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

6

2 Ï˝ !

Perc. 1

P

Perc. 2

j Ï

ÏÏ

!

 ˝ Ï   Ï ÏÏ Ï Ï >Ï Ï ¹ p P Ï Ï Ï Ï

2

 Ï p Ï

Ï

 Ï Ï Ï ïR P Ï ÏÏÏ ÏÏ >Ï Rï P [h.r.]

p bike tire scrape

ı ı ı ıJ ˚ ˘˝ ˘˝ ˘˝

ıı

Ö Pno. 1

¡ Pno. 2

P Kr ˚ #>Ï p 1:46

1:47

ı J

¹

P #>Ï p

Ï˝ > ˝ Rï Ï Ï p

2

2

E

ÏÏ Ï b Ï Ïb Ï Ï n Ï Ï Ï˝ ¹

bike tire scrape

ˇ

bÏ ¹

1:48

˚

come sopra

Ï

ˇ 1:49

  Ï Ï

[h.r.]

>Ï Ï Ï Ï >Ï ÏÏ P

normale

˘˝ ˘˝

bÏ

3̋

 Ï p

[h.r.]

1:50

1:52

1:51

¡

come sopra

ÏÏ Ï Ï Ï Ï˝ ÏÏÏ ¹ 1:53

ı ı ı ıı J ˘˝ ˘˝ ˘˝ ˘˝

P

˚

#Ï 1:55 ¹

1:54

bÏ

*

*

2

 ÏÏ

Perc. 1

!

Perc. 2

! ÏRï

Ï

Ï >Ï Ï Ï

P Ï Ï Ï >Ï Ï Ï

P

p

Pno. 2

˚

Ï

˚ 1:56

¡ nÏ

bÏ #>Ï P

1:57

Ï >Ï

ÏÏ

˝ Ï

Ï Ï b Ï˝ ˇ

normale

Pno. 1

K r Ï p

4

>Ï Rï p

j Ï

¹

 Ï P

 Ï

[h.r.]

Ï

Ï

Ï

Ï >Ï Ï

#Ï ¹

Ï

>Ï Ï

>Ï

Ï >Ï

P ˝ # Ï Ï Ï Ï b Ï b Ï b Ï n Ï ÏRï

bÏ 1:58

Ï p

bÏ > #Ï Ï Ï Ï 1:59

 Ï ÏÏ P [h.r.]

2:00

2:01

P

¸

Ï >Ï

Ï

P

p

Ï

rK #>Ï p

2:02

Ï

Ï Ï Ï >Ï

Kr Ï ¹

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

˝ [h.r.]  Ï  ! Ï ÏÏ

4 Perc. 1

Perc. 2

Pno. 1

Pno. 2

Ï p

> ! Ï Ï p ¹ ˇ bÏnÏ Ï ¹ ¡ ˚ 2:03

 Ï p >Ï Ï Ï >Ï

 Ï Rï P

[h.r.]

Ï Rï Ï

>Ï >Ï

Ï

Ï Ï

p b Ï˛

j Ï

Ï#Ï ¸

Ï Rï ¹

2:04

ÏÏÏ P>

Ï bÏ >Ï ¹

#>Ï 2:05 p

[h.r.]

>Ï Ï Ï

¸ p

j bÏ

Ï Rï

Ï

  Ï ÏÏ Ï Ï Ï

4

>Ï>Ï

Ï

Ï

2:07

Perc. 1

Perc. 2

Pno. 1

Pno. 2

! !

 Ï

p Ï Ï p

ÏÏÏ>

Ï

  Ï Ï P p

ÏÏ

>Ï Ï Ï

>Ï

  Ï Ï ÏÏ P

3

[h.r.]

Ï˝  Ï ÏÏ P p

>Ï Ï

Ï

[h.v.]

¹p

ÏÏ>

Ï Ï Ï >Ï Ï Ï

p

P

2

[h.r.]

Ï >Ï Rï P

rK Ï ¸

Ï> ¹

bÏ

bÏ # >Ï p

j #Ï

p ¹

ˇ 2:11

2:12

2:13

2:14

>Ï Ï #Ï

2:15

#>Ï

2:16

¡

P

2:17

Ï

¹ P b Ï b Ï˝ Ï n Ï˝

p

2:10

*

Ï Rï P

>K r #Ï P b Ï Ï# Ï

Kr Ï >

j

Ï Ï Ï >Ï

5

F

ˇ > Ï> # Ï n Ïb Ï ˚ p

bÏ Rï ¹

2:09

Ï Ï Ï >Ï P

Ï >Ï ¹ b Ï b ˝Ï

#Ï 2:08

p  Ï Ï

[h.r.]

ÏÏ

b >Ï

*

3

Ï

 Ï ÏÏ

[h.r.]

Ï

Ï Rï

>Ï Ï 2:06



 Ï

[h.r.]

¹ p Ï Ï Ï #Ï ˝ #Ï p

7

b Ï n Ï b Ï Ïj Ï Ï Ï b Ï Ï Ï n Ï ¡ p

# Ï Ï b Ï ÏÏ Ï# Ï Ï˛ p

bÏ Ï Ï nÏ Ï

j

2:18

2:19

2:20

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

8

3 ˝Ï

2 Perc. 1

Perc. 2

Pno. 1

!

! ˇ ¡

Pno. 2

Ï F >Ï ÏÏÏ

Ï ½ p

bÏ

˚ 2:21

2:22

2:23

2:24



Ï˝ Ï˝Ï˝

ÏÏÏÏ P

Ï Ï Ï ÏÏ

P

Ï Ï Ï b ÏÏ ÏÏ

n Ï Ïj

ÏÏ

Ï Ï #Ï jÏ Ï # Ïn Ï Ï # Ï n Ï

2:25

2:26

*

Perc. 1

!

Perc. 2

!

Pno. 2

Ï˝  Ï Ï Ï

rK Ï p

˚ ÏrK p 2:29

ÏÏ Ï p

2:30

4

Ï˝˝ Ï

rK Ï

>Ï Rï

Ï Rï

4

Ï Ï Ï

Ï Rï

ÏÏ ¹

2:33

2:34

2:35

2:36

2:37

3

 Ï Ï Ï

[h.r.]

Ï Rï KrK #Ï

rK nÏ 2:38

*

 Ï Ï

 ÏÏ p

Ï Rï Ï Rïï

#Ï 2:32

2:28

[h.r.]

rK Ï ¹

Ï Rï

P

2:27

rK Ï p

rK 2:31

ÏÏÏ

Ï Ï Ï

F

3

Ï

j

Ï ÏÏ Ï

F j ˝ nÏ bÏÏ nÏ bÏ Ï Ï Ï bÏ nÏ bÏ ÏÏ Ï bÏ nÏbÏ Ï Ï Rï F bÏ

nÏ bÏ Ï Ï bÏ

nÏ bÏ Ï

Ï˝ Ï˝

Ï˝

2:39

2:40

2:41

Kr Ï p

2:42

Ï Rï ¹

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

˝ >Ï

4 Perc. 1

! Ï

Perc. 2

!

Trans.

&

P

K r Ï ¹

Ï˝ Ï Rï P

p

rK Ï ¸

2

rK Ï

G

2

 Ï P Rïï

[h.r.]

j Ï

4

 ÏÏÏÏ

[h.r.]

Ï ÏÏ Ï Ï >

j Ï

Ï Rï ¹

Ï Rï P

Ï j Ï

·

p Ï L

9

Ï Rï

Ï Rïï

˝ Ï

pP

filter C.F. = 388 Hz

] 5

Pno. 1

Pno. 2

ˇ bÏ

n>Ï

˚ 2:43

p

2:44

¹2:45

2:46

Ï Rï ¸

nÏ

2:47

?

¡ nÏ

bÏ Ï bÏ 2:48 P ¡

bÏ #Ï

ÏÏ 2:49

> bÏ 2:50

Ï

Ï

2:51

Ï Ï Ï Ï #Ï nÏ # Ï n Ï # Ï b Ï Ï˛ ¡ p nÏ Ï Ï

Ï

p

2:53

2:52

2:54

*

*

4 Perc. 1

Perc. 2

Trans.

 ÏÏ Ï Ï

! ÏÏ

!

[h.r.]

j Ï

Ï

Ï

Pno. 2





3

Ï P

Ï

ÏÏ Ï p

Ï

>Ï Rïï S

Ï

Ï ÏÏ Ï

Ï˝

 Ï Pp >Ï j Ï

j Ï˝ ˝ Ï

Ï Ï

P

>Ï

 ÏÏ Ï p Ï

P

& ?

Pno. 1

Ï Ï Ï Ï #Ï nÏ #Ï nÏ #Ï bÏ nÏ p

¡ ˇ ˚ 2:55

ˇ

Ï Ï

Ï

Ï 2:56

#Ï Ï

Ï P

2:57

Ï Ï Ï b Ï Ï # Ï Ï Ï # Ï n Ï rK Ï b Ï Ï˛ P 2:58

Ï

2:59

P

#Ï

#>Ï

nÏ

j Ï

Ï 3:00

p

Kr Ï

Kr #Ï 3:01

Perc. 1

Perc. 2

10

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

4

Ï˝ Ï˝

!

Ï

Ï Ï

!

Ï ÏÏ Ï

ÏÏ Ï Ï >Ï Ï

Ï

ÏÏ

>Ï Ï

Ï

Ï

Ï ÏÏ Ï Ï

Ï

Ï

Pno. 2

H

&

3

Ï [soft yarn (vib.)]

DDDDDDDDDDDDDDDDDD ¾ L ¹  ride cymbal edge (suspended)

P

L Ï

Ï

˚

nÏ

3:02

Ï

3:03

Ï

#Ï

nÏ

#Ï

3:04

>Ï

>Ï

3:05

¹

3:06

3:07

¡

3:08

Perc. 1

!

3

ride cymbal decay...

5

5

DDDDDDDDDDDDDDDDDD

I

 3 gongs

?

L  r ¾Ï ¾Ï ¾Ï

 tam-tam

Perc. 2

 soft yarn (mba.) ? ¾Ï ¸

    

] 6

Ö Pno. 1

 ≈46%

# Ï˝ J F

¡ Pno. 2

[agraffes]

ˇ 3:14

3:15

3:16

3:17

3:18

3:19

3:20

3:21

¡

3:22

 [tam-tam beaters] b Ï˝ Ï˝ ¾ ¾ ¸

3:12

3:13

4

E

¾Ï ¾Ï ¾Ï ¾Ï˛

] 7

ı

ˇ [dampers]

3:11

*

¾Ï ¾Ï ¾Ï ¾Ï ¾Ï Ͼ ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¸

[entire length of monochord]

Ö

3:10

  5    5   3   3     

¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï˛

low fundamental murmer

3:09

continues...

*

3

resonant howl emerges; no attack from mallets

lascia vibrare

Ï Rï ¹

p Trans.

2

E

[wedge between monochords] [dampers]

ı

[agraffes]

b ÏÏ˛˝ J P

veiled; distant; more lower partials

metallic; higher partials

E

[wedge between monochords]

ı

ı

# ÏÏ˛˝ J F

3:24

veiled; more lower partials

3:23

3:25

3:26

3:27

3:28

3:29

# ÏÏ˛˝ J F

come sopra

3:30

3:31

3:32

3:33

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

5 Perc. 1

Perc. 2

? b ¾Ï˝ J ¸

 3   j ? Ͼ ¾Ï ¾Ï ¾Ï ¸

3  j ¾Ï ¾Ï

Pno. 1

 ¾Ï

3

¾Ï

4

]

¡

j Ͼ˛

 [soft bell plate mallet]  bell plate

Ï Ï

?

 3    5   3  j ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï

b Ï+˝ ˝ ¾ Ï ¾

tam-tam beater + med. hard [vib.]

    j j  ¾Ï ¾Ï ¾Ï Ï Ï ¾Ï ¾Ï Ï 3

Ï Ï Ï

 3 

Ͼ Ͼ Ͼ Ï Ï Ï 3

 large thunder sheet

]

ı

Ï

j b Ï˝ Ͼ Ï˝

3

9



ˇ

J

 

 r j ¾Ï ¾Ï ˛

[entire length of monochord]

8

Ö

1

j Ͼ˛

j Ͼ˛

11

≈46%

# Ï˝ J F

come sopra



[≈30% or any F# multiphonic in which the 10th partial is audible]

Ö Pno. 2

&

ˇ 3:34

3:35

3:36

3:37

¡

3:38

3:39

#• # Ï˝ J F

3:40

3:41

3:42

3:43

3:44

3:45

3:46

3:47

3:48

3:49

3:50

3:51

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

12

2 Perc. 1

Perc. 2

j ? Ͼ Ï b Ï b Ï

4˝

bÏ Ï ¾ J p

3 ? Ͼ ¾Ï Ï Ï ¾Ï ˛ p

ˇ  ≈42%

ˇ 3:52

¡

3:53

Ï Ï bÏ Ï Ï Ï Ï ¾J p

• # F •• Ï˝ J F

   ¾Ï ¾Ï P

 ¾Ï ¾Ï ¾Ï ¾Ï ¾Ï > > > F

   j 3 Ï ¾Ï ¾Ï ¾Ï ¾Ï Ï > > Ï P

Ï

10

?

# ÏÏ˝˛ J F

veiled; more lower partials

metallic & tonal; bell-like ringing

3:54

3

]

ı

¡

Pno. 2

 bell plate

2 

3   Ï Ï j Ï Ï ¾ ¾Ï ¾Ï ¾Ï ¾ ¾ ¾ Ï Ï Ï Ï Ï Ï Ï Ï ¹ P p 3

 ≈46%

&

F



r Ͼ

 Ͼ P

med. hard [vib.]  Ï Ï Ï¾

P

Ö Pno. 1

K

3:55

3:56

3:57

3:58

3:59

4:00

4:01

4:02

4:03

4:04

4:05

4:06

4:07

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

3 Perc. 1

5

L

? Ï bÏ F

Perc. 2

?

med. hard [vib.] Ï Ï ¾Ï

Ï F

4

j ¾Ï

3

Ï

F j

3

3

¾Ï

M

Ï Ï Ï

p

P

 ¾Ï p

Ï

13

j Ï Ï ¾ ÏÏÏ ÏÏÏ Ï¾ Ï Ï ÏÏ Ï P F filter C.F. = 388 Hz

Trans.

&  [≈25% or any E multiphonic in which the 4th partial is audible]  [≈15% or any E multiphonic in which the 11th partial is audible] #ı

?]

11

Pno. 1

&

Ï˝ R P

ˇ ¡  ≈42%

& F •• #• Pno. 2 ˇ Ï˝ J 4:08 P ¡

*

come sopra

3  Ï

4:09

Perc. 2

Trans.

!

ı Ï˝ R

4:10

4:11

4:12

4:13

*

[agraffes]

4:14

4:15

7

lascia vibrare

¾ L

6

¹

4:24

4:17

 ≈23%

5

beating

ı

Ï˝ R F

H bunch of yucca leaves; [R.H.]

 bass drum

 Ͼ P

slow, circular press/release on B.D. head

4:25

4:26

4:27

4:28

4:29

4:30

4:31

4:32

4:33

4:34

3

Ï ¾ ¹

4:35

¾Ï ¾  +jazz brush; [L.H.] rapidly

L

4:37

4:36

Pno. II may temporarily lift pedal here...

4:38

4:39

p ¾Ï

4:40

4:41

4:42

4:43

4:44

4:46

4:47

Ï ¾ 4:48

metallic & tonal; bell-like ringing

ı # Ï˝ J P

beating

ı

Ï˝

Ï˝

ı

P 4:21

come sopra

beating

5

rapidly

¾Ï ¾ 4:45

 ≈15%

Ö

 ≈23%

P

slow, delicate rattle

Ï ¾

 ≈23%

4:20

paper chimes

kola nut rattle

• # F •• Ï˝ J P

&

n # ÏÏ˝ R F

4:18

L

P 4:23

4:16

DDDDDDDDDDDDDDDDDDDDDD

!

4:22

ı

Ö

[entire length of monochord]

 ≈42%

E

[wedge between monochords]

4:19

 ride cymbal edge (suspended)

&

] 12

[dampers]

Ö

[soft yarn (vib.)]

Perc. 1

Ï L

4:49

p  tam-tam  aluminum foil bunch wipe rapidly Ͼ 4:50

4:51

4:52

4:53

*

molto

molto

4:54

*

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

14

2 Perc. 1

Perc. 2

6

N

?

Ï

Ï

Ï

[3 cymbals]

Ï Ï[hardÏ rubber] Ï Ï Ï Ï Ï˝

6

]

¹3

Ï Ï Ï Ï Ï Ï˝

5

?

3

 tam-tam

]

ˇ p

L

f

come sopra

continues...

etc.

?

3

filter C.F. = 164 Hz

5

H bunch of yucca leaves come sopra   bass drum Ͼ P

r Ï˛ F

¾Ï p semi-quantized rain/hail field recordings

4

˝ Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï ÏÏÏ Ï

6

aluminum foil bunch wipe rapidly

> Trans.

[

[Chinese]

[crash]

[ride]

119 Hz

Ï ¹

IÏ P

ˇ] 13

Pno. 1

Pno. 2

¡ ˇ 4:55

continues...

4:56

4 Perc. 1

Ï ˝ ? Ï ÏÏ

4:57

4:58

4:59

Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ

5:00

5:01

6Ï Ï ÏÏ Ï ÏÏ

5:03

5:04

5:05

6

5:06

]

Ï Ï Ï Ï Ï Ï Ï Ï˝

p

5

Perc. 2

5:02

14

5:07

5

5:08

5:09

5:10

5:11

5:12

O

P

?

L

Trans.

*

J

ˇF Ï

60 Hz

?

5:13

bass shaking murmurs...

5:14

5:15

5:16

5:17

5:18

F

5:19

p 5:20

5:21

5:22

J

J

J

JJ

assistant pushes amplitude gradually until shaking emerges

5:23

5:24

5:25

5:26

5:27

*

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

5 Perc. 1

Perc. 2

7

?

 3 gongs

+

indv. spaced attacks occasional scrapes

˝ Ï˛ b Ï Ï˛ p

H bunch of yucca leaves come sopra   bass drum Ͼ P

?

J

Trans.

5 F

¾Ï ¾ +jazz brush; [L.H.] rapidly

kola nut rattle

Ï ¾ F

+ ad lib. swells of varying frequency/saturation ¾Ï F

JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ? JJJJJJJJJJ

48 Hz

ˇ Ï

6

15

M ÏÏ permutate dyads or trichords on these strings K 9 9 6543 789 092834 120439581209124090910 20 123647811 0 09 98 8766554231 12 23 6427892357802 135890235023093258775789594594 98450 09452342342534156237165236751267547162546712674 bÏ bÏ nÏ Ï p F sparse attacks on lower strings  [soft timpani mallets] N 15 N N Ï r > ˇ > Ï R R > 5:36 5:37 5:38 5:39 5:40 5:41 5:42 5:43 5:44 5:45 5:46 5:47 5:48 5:49 5:50 5:51 5:52 5:53 5:54 5:55 P 68-88 Hz band

fingernail perforations on slots of monochord string between agraffes and hammers both individual and rapid perforations as the dots suggest

Pno. 1

Pno. 2

ˇ

?

5:28

¡

]

continues...

5:29

5:30

5:31

5:32

5:33

5:34

5:35

dampen higher portion of strings with 1 mallet while striking with the other

[

in this range:

]

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

16

ad lib. 34 seconds

P

Perc. 1

Perc. 2

?

intensify...

Frapid gong & cymbal attacks & rolls, kola nut rattle gestures, paper crumbling, sparse woodblock piercings any combination of mallets — leave space for and blend with piano fingernail and bike tire perforations

 add superball drag on bass drum; thick, dark, moaning perforations intensify...

?

Frapid rolls on bass drum, tamtam, thundersheets, and bell plates any combination of mallets — leave space for and blend with other low timbres

Trans.

Pno. 1

Pno. 2

?

J

JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

9 9 6543 789 092834 120439581209124090910 20 123647811 0 09 98 8766554231 12 23 6427892357802 135890235023093258775789594594 98450 094523423425341562371652367512675471625467126749intensify...

9 6543 789 092834 120439581209124090910 20 123 8766554231 12 23 10 20 123 ˇ Fcombine fingernail perforations with bike tire perforations in upper strings come sopra leave space for, blend with Perc. I sparse, higher gong, woodblock, cymbal attacks & paper crumbling

ˇ

¡

intensify...

Fcontinue sparse attacks, add low, rumbly rolls & blend into bass shaking transducer leave space for and blend with Percussion I lower roll timbres

5:56

5:57

5:58

5:59

6:00

6:01

6:02

6:03

6:04

6:05

6:06

6:07

6:08

6:09

6:10

6:11

6:12

6:13

6:14

6:15

6:16

6:17

6:18

6:19

6:20

6:21

6:22

6:23

6:24

6:25

6:26

6:27

6:28

6:29

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

Perc. 1

Perc. 2

4

continue ad lib. 15 seconds

Q

? F- ¸ continue activites

4

come sopra, diminuendo & gradually "thin" texture

decreasing density of events; similar to 2:26—2:56

? F- ¸ continue activites

17

¸

come sopra, diminuendo & gradually "thin" texture

decreasing density of events; similar to 2:26—2:56

¸ high microtonal piano cluster "cricket"-like

& Trans.

?

J

JJJJJJJJJJJJJJJJJJJJJJJJ

˚

L

6

P L

Pno. 1

ˇ F- ¸ continue activites

come sopra, diminuendo & gradually "thin" texture

decreasing density of events; similar to 2:26—2:56

¸

] 16

Pno. 2

ˇ F- ¸ continue activites

come sopra, diminuendo & gradually "thin" texture

decreasing density of events; similar to 2:26—2:56

6:30

¡

6:31

6:32

6:33

¸ 6:34

6:35

6:36

6:37

6:38

6:39

6:40

6:41

6:42

6:43

6:44

6:45

6:46

6:47

6:48

6:49

6:50

6:51

6:52

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

18

 crash cymbal (sus.)  3 gongs p sP r jazz brush wipe once (starts on metal)jazz brush ordinario r Ï r b Ï˛ ? ˝ Ï ˛ R RR

R

3 Perc. 1

 Meinl Spark shaker

3

¯ sempre smorz.  waldteufel

Perc. 2

Trans.

Pno. 1

Pno. 2

 med. & small triangles

 triangle˝beater Ï˝ Ï

+ oj 1 1 10 20 1231346777889 Ï Ï ? ¾ p

¹

2

3

+ o 1Ï0120 12313467778899Ïj ¾ p

Ï˝ Ï˝

bÏ Ï˛ ˛

¹

2

4

r Ï˛

3

r Ï˛ ˝ Ï˝ R ¹

+1 0120 3477432123134677788999 o 8 9+Ïj Ï ¾J ¹

j Ï

j

˚ ?

Ï

Ï

250 Hz

¡ ˚

j Ï

bÏ nÏ. nÏ J

# ÏÏ J ¯

ÏÏ b Ï ÏÏ n Ï

ÏÏ

b ÏÏ n Ï # n ÏÏ

#Ï J

L Ï b Ï Ï b Ï # Ï n ÏÏ # ÏÏ

b ÏÏ # ÏÏ R

5

ÏÏ ÏÏ

]

]

17

¡ & 6:53

r b Ï˛

6:54

6:55

6:56

6:57

6:58

6:59

7:00

7:01

7:02

7:03

7:04

7:05

7:06

18

7:07

7:08

7:09

*

3 Perc. 1

Perc. 2

Trans.

* S

? ?

med. hard [vib.]

5 + ¾Ï ¸

 3 gongs

 large thunder sheet

2 3 ¾Ï ¸



r Ï˛ p

?

 bass drum

7:11 7:12 7:13 7:14 7:15

7:16

2

p

L

¾Ï p

L 7:17

7:18 7:19

7:20

7:21

7:22

7:23 7:24

7:25

7:26

7:27

7

¯

poco

P 7:10

7

7:28

7:29

7:30

7:31

7:32

7:33

7:34

molto

7:35

7:36

7:37

7:38

7:39

7:40

7:41

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

3 Perc. 1 Perc. 2

?

•

[near ≈50% of string length]

ˇ

Ö

[near ≈50% of remaining distance]

•

•

Ï

Ï

Ï

[near ≈50% of string length]

Ï

Ï Ï

Ï

ˇ

Ï

[near ≈50% of remaining distance]

Ï

Ï

Ï

[below hammers]

•

•

[above hammers]

•

•

[above hammers]

Ï ¡ f

Pno. 2

5

?r >Ïf ˛ Ö

Pno. 1

4

T

19

Ï

Ï

Ï

•

[agraffes]

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

Ï

[near ≈50% of string length]

[near ≈50% of remaining distance]

•

[near ≈50% of remaining distance]

[below hammers]

•

•

[agraffes]

•

•

•

Ï

Ï

•

[below hammers]

[agraffes]

[above hammers]

5

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï

Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

¡p 7:42

7:43

7:44

7:45

7:46

7:47

7:48

7:49

7:50

7:51

7:52

7:53

*

*

2

3

Ö Pno. 1

ˇ

•

• Ï

Ï

Ï

Ï

[near ≈50% of string length]

• [above hammers]

Ï p

Ï Rï P

Ï

Kr Ï

Ï

Kr Ï

[near ≈50% of string length]

Ö Pno. 2

•

•

ˇÏ Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï

7:54

7:55

4

7:56

•

Ï

Ï

Kr Ï

Ï Rï

•

•

•

•

•

[agraffes]

Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï 7:57

7:58

7:59

Kr Ï

Ï

Ï

[near ≈50% of string length]

[below hammers]

[above hammers]

Ï

8:00

8:01

8:02

•

Ï

[below hammers]

•

•

[above hammers]

•

[agraffes]

Ï Ï ÏÏ ÏÏÏ Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï ÏÏ ÏÏ

8:03

8:04

8:05

20

2 Perc. 1

Perc. 2

4

? ?

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score  Jing (Korean gong) laid flat

 med. hard [mba.] bÏ Ï Ï Ï bÏ p U

Kr Ï> ˛ f

Ͼ P

[near ≈50% of string length]

Ö Pno. 1

•

•

•

• bÏ bÏ Ï Ï Ï [above hammers]

Kr Ï

ˇ

Ï

> > >

>

f

Pno. 1

bÏ ÏÏ

bÏ Ï Ï Ï Ï

•

• [agraffes]

ÏbÏ

• Ï Ï ÏÏ bÏ Ï ÏÏ ?

Ï Ï Ï Ï bÏ

•

bÏ Ï

Ï bÏ

8:09

8:15

8:16

bÏ Ï

Ï

bÏ Ï

bÏ 8:17

[agraffes]

bÏ Ï

bÏ Ï Ï Ï Ï bÏ

ÏÏ Ï ÏÏ •

Ï

Ï bÏ

8:10

Ï

Ï

Ï

8:11

bÏ Ï

Ï

bÏ

8:12

• Ï Ï bÏ

[agraffes]

8:13

Ï Ï

8:14

*

Ï ÏÏ •

bÏ Ï Ï

bÏ

Ï Ï Ï

bÏ Ï Ï Ï

bÏ

Ï

Ï

bÏ

Ï Ï Ï

[near ≈50% of string length]

•

[above hammers]

ˇ

bÏ

Ï

bÏ

Ï

Ï

Ï

• bÏ

Ï 8:18

bÏ Ï Ï Ï [below hammers]

•

• Ï

• bÏ Ï Ï Ï Ï

4

• ? b Ï Ï Ï Ï Ï Ï b Ï Ï Ï ÏÏ Ï b Ï Ï

ˇ bÏ Ï Ï

[below hammers]

•

[above hammers]

Ï

bÏ Ï

Ï

bÏ

Ï

Ï

bÏ

[near ≈50% of string length]

Pno. 2

ÏÏ Ï Ï

[near ≈50% of string length]

•

[above hammers]

•

Ö

Ï Ï Ï Ï bÏ

[below hammers]

3

? bÏ Ï Ï Ï Ï

Ï bÏ Ï Ï Ï Ï bÏ

[near ≈50% of string length]

•

Ö

bÏ Ï Ï Ï

•

[agraffes]

Perc. 1

Ï ÏÏ Ï

p

[below hammers]

2

mimicking piano node glissandi; using appx. onsets provided

[below hammers]

•• • Pno. 2 bÏ ˇ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ bÏ Ï 8:06 8:07 f > 8:08 > Ä> f * Ö

3

or any metal instrument with the capacity to strike nodes

8:19

bÏ

Ï

Ï

bÏ Ï

•

•

[above hammers]

Ï

[agraffes]

Ï

[below hammers]

•

Ï ÏÏ

Ï

•

• Ï Ï ÏÏ

•

[agraffes]

bÏ Ï Ï Ï Ï

bÏ Ï Ï Ï Ï bÏ 8:20

8:21

b Ï Ï Ï Ï Ï Ï b Ï ÏÏ Ï ÏÏ 8:22

8:23

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

5 Perc. 1

3

? bÏ

Ï Ï Ï

bÏ Ï Ï Ï

bÏ Ï Ï

Ï

bÏÏ Ï Ï

bÏÏ Ï Ï Ï

b Ï Ï ÏÏ

bÏ Ï Ï Ï Ï

21

2

b Ï ÏÏ Ï

bÏ Ï Ï Ï Ï

[near ≈50% of string length]

•

Ö Pno. 1

ˇ

bÏ Ï

Ï

bÏ

•

•

Ï Ï

bÏ Ï Ï

Ï

[agraffes]

[above hammers]

bÏ

bÏ Ï

bÏ

Ï Ï

bÏ

Ï Ï

bÏ Ï

Ï Ï

bÏ

Ï Ï

bÏ Ï

f

p

f ••

•

Pno. 2

bÏ Ï Ï Ï Ï

ˇ 8:24

bÏÏ Ï Ï Ï Ï 8:25

p

• bÏÏ Ï Ï Ï 8:26

3

?bÏ Ï Ï Ï Ï bÏ

bÏ

bÏ Ï

8:27

Ï

bÏ Ï 8:28

Ï

bÏ Ï

Ï

Ï

bÏ Ï

Ï

Ï

[below hammers]

•

•

[above hammers]

f

*

Perc. 1

•

bÏ

p

[near ≈50% of string length]

Ö

[below hammers]

•

•

•

b Ï Ï ÏÏ Ï

bÏ Ï Ï

8:29

bÏ

Ï

8:30

bÏ

Ï Ï

8:31

bÏ 8:32

•

[agraffes]

Ï Ï

8:33

p

*

4

3

V dense eruption of indv. gong + cymbal attacks

Ï Ï Ï Ï bÏ Ï Ï Ï Ï

decelerando mimicking piano nodes decel. to 8:46

F Perc. 2

?

r Ï> ˛ f

Ͼ P

Pno. 1

decelerando mimicking piano nodes decel. to 8:46

F

[near ≈50% of string length]

•

Ö

dense eruption of indv. bell plate attacks

•

•

•

•

[below hammers]

[agraffes]

[above hammers]

ˇ bÏ

Ï Ï bÏ

Ï Ï Ï bÏ Ï Ï Ï

•

•

Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï

Ï Ï Ï Ï Ï

Ï Ï Ï Ï

Ï Ï Ï

Ï Ï Ï

f Pno. 2

[near ≈50% of string length]

•

Ö

•

• • [above hammers]

ˇ 8:34

bÏ Ï

Ï

bÏ Ï

Ï b Ï Ï Ï Ï ?Ï

8:35

f 8:36

8:37

rK Ï

Ï 8:38

Ï 8:39

rK Ï

Ï 8:40

rK Ï 8:41

Ï 8:42

rK Ï

Ï 8:43

22

2

Perc. 1

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

4

?

3

3

W

# Ï Ï ÏÏ # Ï Ï Ï Ï Ï ¹

Perc. 2

? [near ≈50% of string length]

•

Ö Pno. 1

r Ï> ˛ f •

Ͼ ¹P

ˇ Ï Ï

Ï Ï Ï

• Ï

Ï

Ï

[above hammers]

Ï

Ï Ï Ï

•

• Ï

Ï Ï

Ï Ï Ï

Ï

Ï

Ï

Ï

• Ï

Ï

[below hammers]

• Ï

?

# Ï Ï Ï Ï Ï # Ï ÏÏ Ï Ï

P •

Ö Pno. 2

?

8:44

Kr Ï

Kr Ï

Ï

8:45

Kr Ï

Ï

8:46

8:47

[below hammers]

Kr Ï

[agraffes]

Ï Rï

8:48

Ï Rï

8:49

Kr Ï

8:50

Pno. 1

8:51

•

•

8:55

ÏÏ Ï

#Ï Ï Ï Ï Ï #Ï •

#Ï Ï

• Ï Ï

#Ï 8:56

ÏÏ Ï Ï •

Ï Ï Ï #Ï Ï Ï Ï Ï Ï #Ï • #Ï

•

ÏÏÏ Ï

Ï Ï

#Ï Ï

Ï #Ï

[below hammers]

Ï Ï Ï

[agraffes]

Ï #Ï 8:57

Ï

8:58

*

Ï Ï Ï

#Ï

Ï

#Ï Ï Ï Ï

•

[agraffes]

ˇ

#Ï

• • #Ï Ï Ï #Ï Ï

Ï Ï

8:54

F

#Ï

Ï Ï

#Ï

Ï Ï

#Ï

Ï Ï

[near ≈50% of string length]

[below hammers]

Ï Ï #Ï Ï Ï

3

#Ï Ï

[near ≈50% of string length]

[above hammers]

? #Ï Ï Ï Ï Ï Ï

ˇ #Ï Ï

Ï

•

#Ï Ï

8:53

3

? #Ï Ï Ï Ï #Ï

Ö Pno. 2

ˇ

Ï Rï P

8:52

3

Ö

[near ≈50% of string length]

[above hammers]

*

Perc. 1

F •

•

•

•

[agraffes]

8:59

•

•

•

[above hammers]

? #Ï Ï

Ï #Ï Ï Ï Ï Ï Ï 9:00

•

Ï #Ï

Ï

Ï

[below hammers]

• [agraffes]

#Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï 9:01

9:02

9:03

Perc. 1

? #Ï Ï Ï Ï Ö

Pno. 1

•

•

ˇ# Ï

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

4

3

#Ï Ï Ï #Ï Ï Ï Ï Ï #Ï Ï Ï Ï #Ï Ï Ï Ï Ï

[near ≈50% of string length]

•

Ï Ï

#Ï

Ï Ï Ï

#Ï

•

•

[above hammers]

#Ï Ï Ï Ï Ï #Ï

#Ï

Ï Ï #Ï Ï Ï Ï #Ï Ï Ï Ï

Ï

Ï Ï #Ï

Pno. 2

• #Ï

9:04

9:06

9:05

• • Ï Ï Ï

Ï Ï #Ï

[above hammers]

#Ï Ï Ï #Ï

Ï

Ï

#Ï Ï

Ï Ï

9:07

•

•

[above hammers]

?# Ï Ï Ï Ï Ï Ï # Ï ˇ # Ï Ï

•

Ï

Ï Ï

[below hammers]

•

•

#Ï Ï Ï Ï Ï

[near ≈50% of string length]

[near ≈50% of string length]

Ö

2

Ï Ï Ï Ï # Ï Ï Ï Ï Ï # Ï Ï ÏÏ ÏÏ

[below hammers]

[agraffes]

23

#Ï

Ï

#Ï

9:08

Ï Ï

#Ï

9:09

• [agraffes]

Ï Ï

#Ï Ï

9:10

Ï Ï

9:11

#Ï Ï Ï #Ï 9:12

Ï Ï Ï

9:13

*

*

3 Perc. 1

5

? #Ï Ï

Ï Ï Ï

#Ï Ï

]

Ï Ï

Ï Ï

#Ï Ï Ï

Ï Ï

Perc. 2

Trans.

250 Hz

ˇ #Ï

• Ï

Ï

#Ï

ˇ #Ï 9:14

• Ï

Ï

#Ï 9:15

Ï • #Ï

Ï

#Ï

•

H bunch of yucca leaves come sopra ¾Ï p

Ï

Ï

Ï

#Ï 9:16

L

Ͼ ¾  superball mallet drag

Ï ¾

&

b ÏÏ L

P

•

[agraffes]

Ï

Ï

[near ≈50% of string length]

[above hammers]

˛

387-417 Hz

[below hammers]

Ï

lascia vibrare

j Ï

decresc. yucca leaves (cont. superball) to med. hard vib. mallets [R.H.]

P

•

4

¹

L

Ö Pno. 2

Ï

? Ö

Pno. 1

Ͼ P

r Ï> ˛ f

3

b Ïbowed draw out mid-range partials that are not as glassy or metallic

#Ï Ï Ï Ï

19

?

3

X

Ï

Ï

#Ï Ï Ï f • #Ï Ï Ï 9:17

f

9:18

9:19

9:20

9:21

9:22

9:23

9:24

9:25

9:26

9:27

9:28

9:29

9:30

9:31

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

24

softDDDDDDDDDDD yarn (mba.) see Score Preface for expalanation Ï j Ï j Ï Ï jÏ Ï ! ¾ Ï Ï Ï Ï Ï ¹ L  ¹ sempre l.v. jazz rods jazz jazz jazz j  ride cymbal edge (suspended)     Ï  Ï Ï  Ï Ï Ï Ïj Ï Ïj Ï Ï j Ï Ï Ï Ï ? Ï Ï R Ï Ï P p sempre l.v. [a wire jazz brush; on cymbals to produce a specific "hissing" or "sibilant" sound] med. hard [vib.]    large thunder sheet   j ? j Ï Ï Ï¾ Ï Ï¾ Ï Ï Ï Ï¾ p P L ¹

3 Perc. 1

Perc. 2

5

3 

3

fine-grain descriptive mallet notation*

Y

actual mallets used for perofrmance may differ;

¯

9:32

9:33

9:34

9:35

L 9:36

9:37

9:38

9:39

9:40

9:41

9:43

9:44

Ï Ï

jazz

 ÏÏ

3

]

Ï  Ï

j Ï

Ï J

Ï b Ï j Ï

Ï

! j

jazz

Perc. 1

Ï

? j

?Ï Ï

]

Ï Ï

Ï

jazz

Ï

2

9:48

2

Ï j Ï

Ï

j

Ï Ï

Ï

j Ï

j Ï

Ï Ï

] 24

23

&

j

ÏÏ Ï

9:45

9:46

9:47

*

2

Trans.

Ï

9:42

*

Perc. 2

ÏÏ

22

21

]

&

j

ÏÏÏÏ J 3

]

20

Trans.

2

ˇ

Ï Ï

 Ï

jazz

Ͼ

j Ï

 Ï Ï

]

9:51

Ï

Ï

3

Ï ¾

 Ï Ïj Ï Ï ¾ Ï J

3

jazz

j  Ï Ï

]j 26

Ï 9:50

 Ïj Ï Ï Ï jazz

j ¾Ï

25

[percussion rolls mimicking instruments]

Ï 9:49

¾Ï

Ï

Ï Ï Ï Ï

2

3

 Ï

j Ͼ

]r 27

come sopra

Ï

9:52

9:53

[eruption of piano multiphonics]

Ï

9:54

9:55

9:56

9:57

9:58

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

3

Z

!

Perc. 1

Perc. 2

Trans.



 Ï

Ï Ï Ï

 Ï ? Ïj Ï Ï Ï j Ï

j j Ï Ï

?

ˇ 9:59

jazz

Ï

1

Ï Ï Rï j Ï

  Ï bÏ

jazz

Ï ¾J

Ï

j Ï

Ï ¾ 

Ï ¾

Ï ¾Rï

j bÏ

j Ï

Ï

Ï

Ï

Ï   Ï ÏÏÏ ¾

¾Ï

j Ï

Ï

Ï

j Ï

Ï

Ï Ï Ï Ï

jazz

Ï ¾

Ï ¾

Ï ¾R 3

j

r Ͼ

Ï

]

Ï

 Ï

10:00

10:01

10:02

10:03

30

10:04

b Ï

Ï

j

 Ï

Ï

Ï

Ï

]

]

29

Ï

Ï ¾

j Ï Ï ¾Ï

]

28

1 2

Ï  Ï

jazz

3

j

2

25

Ï j

Ï j  Ï Ï Ï Ï

jazz

jazz

Ï

6

Ï Ï

31

come sopra

10:05

10:06

j Ï

Ï

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

26

 !ÏÏ

1

Ï

2

Ï J

Perc. 1

?Ï

Ï 3

Perc. 2

Trans.

  ? Ïj Ï ÏÏ

Ï Ï

j Ï

j Ï

Ï Ï  Ï

Ï

Ï

3

j Ͼ

Ï

]

ˇ



j Ï

Ï Ï    Ï Ï ¾Ï

Ï

 6  jÏ Ï Ï Ï Ï Ï

Ï

Ï ¾

Ï Ï ¾

2

Ï ¾R

Ï

Ï j Ï Ï  j Ï Ï Ï Ï bÏ

jazz

Ï

Ï Ï Ï ÏÏÏÏ Ï

Ï ¾J

33

3

Pno. 1

ˇ

˚

¡

Ï ¾J

Ï ¾J

  Ïj Ï  Ï Ï

Ï

 Ï ¾J

]j 34

3

Ï R 3

Ï ¾R j Ï

Ï

ı ı ı ıJ ˘˝˘˝ ˘˝ P

Ï ¾R

jazz

Ï

bike tire scrape

Ö

2

jazz

jazz

j Ï

j

]

32

Ï

¡

ı ı ı ıJ ˘˝˘˝ ˘˝ P

?

Pno. 2

ˇ b Ï Ï # Ï Ï Ï # Ï Ï n Ï b Ï rK Ï ¹ P

10:07

10:08

?

10:09

10:10

10:11

rK b Ï Ï# Ï Ï Ï #Ï ÏnÏ bÏ Ï ¹ P

10:12

10:13

10:14

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

4

3

 ! Ï J

Perc. 1

j Ï

3Ï

 Ï Ï Ïj Ï Ï ?Ï   ?ÏÏ Ï

Perc. 2

j

Trans.

ˇ 10:15

[eruption of piano multiphonics]

] 35

Ï Ï

j

j

10:16

10:17

10:18

Ï

 bÏ Ï

jazz

  Ï Ï Ïj Ï

] 10:19

10:20

10:21

10:22

Ï j Ï

j

Ï Ï J

jazz

Ï

Ï

3

3

37

 Ï

10:24

10:25

Ï ¾   Ï Ï Ï ¾Ï

6

rK Ï Ï

[cymbals, "underwater" vocal-like sounds, winds]

j Ï

Ï

10:23

Ï Ï ¾ ¾

Ï Ï Ï Ï ¾ ¾ ¾

]

36

j j

R

Ï

ÏÏ

    j j Ï Ï ÏÏ ÏÏ ÏÏ Ï

6

3

AA

 Ï Ï Ï

jazz

27

10:26

10:27

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

28

3 !

Perc. 1

Perc. 2

Ï

j  ?Ï Ï Ï b Ï jazz

Trans.

ˇ

]

Ö Pno. 1

˚

Pno. 2

Ï

Ï

Ï

come sopra

Ï

  Ï Ï  Ï Ï

? Ͼ 38

Ï

Ï J  Ï

 Ï

Ï Ï

j Ï

j Ï Ï Ï Ï Ï

Ï Ï ¾

Ï

Ï Rï

Ï Ï Ïj Ï Ï Ï Ï

3Ï

jazz

Ï j

j Ï

j Ï

Ï Ï Ï Ï Ï ¾

ÏÏ Ï

6

Ï Ï Ï Ï Ï ¾

3

Ï Ï Ï Ï Ï Ï¾

¾Ï

j Ï

ı ı

j Ï

Ï Ï

3

Ï

 Ï

  Ï bÏ

 ÏÏÏ

ı

ÏÏ Ï Ï Ï Ï 6

 j j Ï Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

]

6

Ï Ï Ï Ï

jazz

3

j Ï Ï Ï Ïj

39

Ï

˘ ˝˘˝ ˘˝ ¡ P

10:29

Ï R

R

r Ï

ˇ b Ï Ï # Ï Ï Ï # Ï Ï n Ï b Ï Kr Ï ¡ ¹ P 10:28

Ï

jazz

j Ï

2

ı ı

ı J

Ï

ı J

˘ ˝ ˘˝ P ?

10:30

Kr bÏ Ï #Ï Ï Ï #Ï Ï nÏ bÏ Ï ¹ P 10:31

10:32

ˇ 10:33

10:34

10:35

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

5

2

BB

! Ï ¾J

j

? ¾Ï

Ï



 ? Ͼ

j Ï

] ˇ> 40

j Ï

Ï R

Ï

j

R

j

j Ï

Ï Ï

]

j Ï ÏÏ

Ï Ï¾

¾Ï

Ï

j ¾Ï r Ï

Ï

3

41 [cymbals, "underwater" vocal-like sounds, winds]

j

[eruption of piano multiphonics]

Trans.

Ï ÏÏ Ï R ¾

3

jazz

Perc. 1

Perc. 2

j Ï

29

 3  Ï Ï j j ¾Ï Ï Ï Ï Ï Ï 3

]

3

j Ï

j Ï

Ï b Ï Ï Ï Ï ¾ Rï 3

  j ¾Ï Ï Ï ¾Ï ¾Ï

42

ı ı ı ıı J ˘˝ ˘˝ ˘˝ ˘˝

Ö Pno. 1

˚

P Pno. 2

ˇ 10:36

bÏ Ï Ï nÏ bÏ Ï nÏ bÏ Ï Ï ÏbÏ nÏ bÏ ¸ 10:37

10:38

10:39

j Ï

Ï Ï b Ï n Ï # Ï b Ï Ïn Ï Ï P 10:40

10:41

10:42

10:43

10:44

10:45

3

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

30

2 !

j Ï

Ï Ï

Perc. 1

Ï ¾

 Ï Ïj Ï Ï Ï ¾ jazz

?

Perc. 2

Ï

 ? Ï

  j j ¾ Ï Ï Ï Ï Ï

3

Trans.

ˇ 10:46

3

Ï

Ï

j Ï

Ï ¾

]

come sopra

j Ï

Ï Ï Ï Ï Ï ÏÏ ¾ ¾J

]

44 [eruption of piano multiphonics]

10:47

>

10:48

10:49

10:50

CC

Ï

Ï Ï

Ï j

Ï ¾

Ï ¾

jazz

Ï Ï

Ï

 Ï

Ï

Ï ¾

Ï ¾R 6

Ï ¾Ï

¾Ï

] 45

j j

Ï

j Ï

3

6

43

3

R 10:51

10:52

10:53

10:54

10:55

10:56

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

3

Ï Ï R

! j

jazz

Perc. 1

Ï

?

Perc. 2

Ï Ï Ï jazz

 

? Ï Ï Ï j Ï

Ï

Ï Ï Ï Ï 3

j Ï

3

Ï Ï

j

Ï  j Ï ÏϾ

jazz

 Ï ¾Ï

ˇ

]

Ï

j Ï

jazz

Ï ¾

Ï ¾ 3

3

Ï ¾J

¾Ï

ÏÏ

]j

come sopra

r Ï

Ï

2

ÏÏ

Ï Ï j Ï

j Ï

Ï Ï Ï Ï 

Kr ¾Ï

j Ï

3

Ï Ï Ïj Ï ¾Ï

j Ï

Ï

jazz

j Ï

ı ı ı ı ı J ˚ ˘ ˝ ˘˝ ˘˝ ˘˝

ı ı ıı J ˘˝˘˝ ˘˝

P

ˇ 10:57

Ï Ï Ï ¾ ¾ ¾

48

P

Pno. 2

j Ï

Ï ¾Rï

r ¾Ï

Ö Pno. 1

Ï ¾

6

]

47

46 [cymbals, "underwater" vocal-like sounds, winds]

Ï

j     Ï Ï bÏ Ï Ï Ï ¾ ¾R

jazz

3

Trans.

j Ï

31

bÏ ¸ 10:58

10:59

nÏ bÏ Ï Ï Ï bÏ nÏ bÏ

Ï Ï nÏ bÏ Ï 11:00

11:01

j Ï

Ï Ï bÏ nÏ #Ï bÏ ÏnÏÏ P 11:02

11:03

11:04

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

32

2

¾ Ï Ï Ï

!

 Ï ¾

Perc. 1

?

Perc. 2

j Ï

 ?Ïj Ï ¾

Ï Ï

Ï

4

Ï Ï ¾

3 j Ï

DD

Ï Ï

Ï Ï  Ï Ï Ï Ï Ï Ï  Ï Ï Ï ¾ ¾ jazz

jazz

3

4

¾Ï

j Ï

 Ï Ï ¾J ¾J

Ï



j Ï

Ï ¾R

Ï ¾

Ï

Ï Ï Ï ¾R

 Ï

j

j Ï

Ï jazz

rjj Ï ÏÏ

 Ï ¾

Ï ¾

3

]> 50

ˇ] 49

Trans.

51 [cymbals, "underwater" vocal-like sounds, winds]

R

> > 11:05

11:06

11:07

]

[eruption of piano multiphonics]

11:08

11:09

11:10

11:11

11:12

11:13

r Ï

Ï

11:14

11:15

11:16

11:17

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

4

j Ï

! Ï jazz

?

Perc. 2

 3  Ï Ï Ï

? ˇ] Ï 52

Trans.

j

Ï Ï Ï b Ï Ï Ï

Perc. 1

jazz

Ï Ï Ï Ï Ï ¾ j

Ï

Ï Ïj Ï Ïj Ï ¾ jazz

Ï

3

3

 Ï Ï ¾

Ï Ï Ï ¾ Ï

Ï ¾R

j Ï

Ï Ï 3

Ï ¾

Kr Ï

Ï

˚ ¡ 11:19

Ï

j Ï

3

Ï

]Ï

¾Ï

11:20

11:21

Ï Ï Ï Ï ¾ ¾

 Ï

j ¾Ï

] 54

j Ï

ı ıı J ˘˝ ˘˝

P

j

j Ï

Ï ¾R

53

Pno. 1

Ï jazz

Ï  ¾ Ï Ï ¾ Ï Ï ¾ ¾

j Ï

Ï ¾R 3

come sopra

Ö

11:18

3

33

11:22

11:23

ı ı ı ıJ ˘˝ ˘˝ ˘˝ 11:24 P

 

Ï Ï

Audiendum Extimate | Louis Goldford | Draft #2A | 8/20/18 | Score

34

2

3

EE

!

Perc. 1

3 j Ͼ

? Ͼ R

3

L b Ï ¾J

L

Perc. 2

3 ¹

?  ¾Ï L

¹

¹

L

]

] 56

ˇ

L

L L Ï

Ï ¾ L

¾ L

high microtonal piano cluster "cricket"-like

˚

L

Trans.

2 L b Ï ¾J

L

¹

55

?

L

 Ï ¾ L

¹

3

 Meinl Spark shaker

¾ ¸ L

 Ï ¾

¹ L Ï ¾ J

4Ï

FF

6

P prerecorded rain accelerando sounds

¹ 11:25

11:26

11:27

11:28

11:29

11:30

11:31

11:32

11:33

11:34

11:35

11:36

11:37

11:38

11:39

11:40

11:41

11:42

11:43

11:44

11:45

11:46

11:47

*

*

5

3

! ?

Perc. 2

L

¹

Perc. 1

Ï ¾ L

?

¹

¹

5

L

L

L L

ˇ 11:48

5

L

¹

˚ Trans.

5

11:49

11:50

11:51

11:52

11:53

11:54

11:55

11:56

11:57

11:58

11:59

12:00

12:01

12:02

12:03

12:04

12:05

12:06

12:07

12:08

12:09

12:10

L

25 February 2018 New York, NY