A Crowning Insult - for five players [2018] by Matthew Grouse

MATTHEW GROUSE

A Crowning Insult for five players

(2018)

Full score

A Crowning Insult (2018)

Score in C Instrumentation: Clarinet in Bb Violin Violoncello Harp Electric bass guitar (volume pedal; supplementary pedal(s) for FX presets)

Seating: The cellist plays a quasi soloistic role throughout the piece and should therefore be positioned away from the rest of the ensemble. Below is an example of an appropriate seating plan.

Harp Violin

Bass guitar Clarinet in Bb Violoncello

Conductor

Composerâ&#x20AC;&#x2122;s Note: Sometimes the moments that I would expect to feel wholly precious or blissful seem tainted or coloured by something unpleasant. At times, the source of this contamination feels difficult or even impossible to understand or pinpoint. My recent experiences of this were a starting point for A Crowning Insult.

Duration: ca. 7â&#x20AC;&#x2122;

A Crowning Insult was written for Red Note Ensemble and premiered on the 15th of March, 2018.

General: . Move gradually and smoothly from one technique indication to another, for example, from sul tasto to sul pont. . Crescendo from niente . Continue an aleotoric figure in a similar fashion until the end of the arrow . Stop sound abruptly. For strings, stop with the bow on the string. For harp, this functions as the standard â&#x20AC;&#x2DC;dampâ&#x20AC;&#x2122; symbol . Senza misura. Play independently from the rest of the ensemble, unmetered. . Quartertones are denoted with 12-tone equal temperament accidentals, adjusted with relevant arrows. e.g â&#x20AC;&#x201C; a Bb with a downward pointed arrow attached to the accidental translates to a B threequarter flat. A C natural with an upward pointed arrow attached to the accidental translates to a C quarter sharp. These symbols function slightly differently for bass guitar harmonics. In these instances, the arrows indicate whether the natural intonation of the specific partial is noticeably sharp or flat of the notated pitch. . Dashed barlines during senza misura aleotoric passages are used to show where the simultaneous metred barlines fall for the rest of the ensemble. Their use is purely for ease in following the conductor. Cautionary time signatures are occasionally used for the same reason (only when the thick, continuation arrows are being utilised)

Technique Abbreviations: Where necessary to save space / avoid collisions, the following terms may be abbreviated after their initial use: laissez vibrer sul pont. sul tasto. molto sul pont. molto sul tasto poco sul pont. ricochet overblown bisbigliando pres de la table bas dans les cordes

> l.v. > s.p. > s.t. > m.s.p. > m.s.t. > p.s.p. > ric. > o.b. > bisbig. (for harp) / bis. (for clarinet) > p.d.l.t > b.d.l.c

Harp: Scordatura tuning: de-tune the following strings (1/4 tone down)

. Tuning key gliss.: The metal part of the tuning key is held horizontally and pressed against the string with one hand. The other hand plucks the lower part of the string. As the string is plucked the tuning key is moved up or down. If a metal tuning key is not available, a rubber covered tuning key will suffice. . Tuning key gliss. string allocation. The breve in the lower stave indicates which string to perform the tuning key gliss. . Pedal buzz. Position the pedal between two settings to create a harsh, buzzing sound. . Random bisbigliando. The notated pitches should be repeated rapidly and continuously in a random order.

Bass guitar: There are 4 ‘sound presets’ that need to be organised before performing the piece. It is up to the player how they create these FX and amp sounds. Chorus Preset 1 = A clean sound with a subtle, chorus effect. An understated beating or shimmering is desired. Clean Preset 1 = Completely clean, no FX. Distortion Preset 1 = Relatively harsh 8-bit distortion (bitcrusher) Distortion Preset 2 = Subtle, crunchy distortion. Pitches should not be obscured by distortion

pima

. Like in classical guitar music, right hand fingering is indicated with these italicised letters. p = thumb – i = index finger – m = middle finger – a = third finger . Harmonics are notated with diamond noteheads, which indicate the sounding pitch. The circled number indicates the string, the roman numeral indicates the fret. A supplementary ‘F’ next to a roman numeral indicates that the finger must be place exactly over the metal of the fret. . Feedback swell. One way to achieve this would be to have a supplementary pedal that can could gradual shift between clean and distortion . This symbol between two notated pitches indicates a string bend. This is coupled with the feedback swell. As the volume increases, the slight bend in the lower string, coupled with the stable upper string creates a subtle change to the dissonant ‘beating’ frequencies.

Volume pedal: The black square on the bottom line indicates to abruptly cut all sound, the middle line indicates the ‘normal’ volume level and the highest line indicates for the pedal to be depressed to it’s furthest / loudest point.

Strings:

. Passages enclosed in a dashed slur should be performed in one bow. . These symbols indicate that you should change bowing direction at will. . Try to sustain a trembling sound by subtly shaking the wood of the bow against the string. . Vib. larghi followed by the graphic indicates a strange, slow and broad vibrato. The graphic is only applied to the first instance in a section, which is followed by the direction ‘sim.’ – this should only be cancelled with a further instruction such as ‘ord.’ or a technique arrow to ‘vib. ord.’ col legno tratto max vib.

. Drawn across the strings with the wood of the bow. . Short for maximum vibrato, this instruction indicates an intense vibrato, as fast and wide as possible.

A Crowning Insult Matthew Grouse (b.1996)

Bubbling in free time ca. 10" ad lib. frenetic rhythms and the length of pauses

#œ Clarinet in Bb

&X r œ >.

j œ o

œ™ - >œ.

> j œ

j >j Kr #œ œ œ

, œ >.

j œ.

œ™

, #œ , r œ. œ

, j œ

r œ.

mf pp

5 4

Kr >œ mp

slight uctuations in dynamics / articulation

° Violin &X

5 4

∑ ca. 10" intermmitent stutters, medium pressure, keep the bow on the string. Half pitch, half noise.

≥≤ ≥≤ W W

5 4

? Violoncello

ppp nervous, ad lib. tiny cresc. and dim. throughout

De-tune the following strings by a 1/4-tone

ca. 10" bisbigliando gradually from slow to very fast

Kœ & Kœ

Kœ Kœ

&X K ææ˙ ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ o

5 4 l.v. mf

Harp Eb F# G§ Ab D# C§ B§

∑

5 4

∑

5 4

{

X NMMOLNML

Bass Guitar

°? ¢ X

= astute, moderately ( q = ca.86 )

G.P. kill sound abruptly

Cl.

5 & 4 j œ™ œ >

#œ J

ca. 4"

#˙

œ … œbœ

U ∑

3 4

U ∑

3 4

U ∑

3 4

U ∑

3 4

> mf

ff (all in one bow) scratch

Vc.

˙≤ °? 5 ˙ ¢ 4

gliss.

™ œ™

¿ ¿

stop bow on string abruptly

…

f kill all sound abruptly

5 &4 (l.v.)

Hp.

… ? 45

{

∑

A 3 &4

senza vib.

Cl.

#>˙

œ. #œ.

> … œJ. ‰

Œ fp

‰

#œ #œ . œ Œ ≈

‰ ™ œR

#œ #œ . œ Œ ≈

‰ ™ œR

mp skittish

senza vib.

#>˙ ° 3 Vln. & 4

>œ. … J ‰

Œ fp

œ. #œ. Ó

‰

mp skittish

pressure ord. poco sul pont.

? 43

Vc.

∑

#œ ææ

œ ææJ ‰

∑

¢ ppp timid, vulnerable p.d.l.t

3 &4

K òœ

o Kœ

o Œ

bœ œ > mp ∑

Hp.

? 43

ord. secco

œ o œ.

Œ L#œœœ

œœœ ‰ J

∑

A§ D§

∑

{

˙˙ ™™™ #˙

∏∏∏∏∏

˙˙ ™™ #˙ ™

∏∏∏∏∏

Bass

# ˙˙ ™™ #˙ ™

∏∏∏∏∏

°? 3 ¢ 4

∏∏∏∏∏

chorus preset 1 sempre pim, with esh

#˙˙ ™™ #˙ ™

p warm, sostenuto

= œ.

œ. # œ

#˙

œ œ # œ # œ œ n>œ. #œ

≈

# œ. œ. Œ

œ. œ. ‰

‰

#œ œ œ

Cl.

espr.

skittish

œ.

œ. # œ

#˙ ° Vln. &

œ œ # œ # œ œ n>œ. #œ

≈

# œ. œ. œ. œ. ‰ ‰

‰ #œ œ œ

espr.

skittish

# œ glæis s. æœ ‰ æJ æ æ Œ

B ∑ Vc.

œ æ

g li ss .

#œ æJ

‰ Œ

¢ w/ tuning key

¿ T

& bœ ™

1 Œ J

gliss

j œ ‰

j œœœ ‰ ‰ #œ œ Œ

K bbœœœ

Gq p mp

Hp. Bb

… ‰

› ?

Bass

˙˙ ™™™ ˙

∏∏∏∏∏

°? ˙˙˙™™™ ¢

∏∏∏∏∏

{ ## ˙˙ ™™ # ˙™

E§

∏∏∏∏∏

…

#˙˙ ™™ #˙ ™

e arpeggiation of the chords should be so fast that it's almost imperceptible

Eb Ab

bœ ™ bœ œ œ. œ. nœ œ ‰ ™

r œ.

Cl.

-œ -œ

-œ

œ ‰™ R

. . b œ b œ. œ J ‰ ≈

œ# œ œ ‰ 3

sul tasto. ord.

bœ ™ bœ œ œ. œ. nœ œ ‰ ™

° Vln. &

-œ -œ œ œ

œ. R

-œ œ

œ œ ‰™ R

. . b œ b œ. œ #œ #œ œ ≈ ‰

nœbœ œ

pp mp keep the bow on the string, starting at the frog, gradually increase pressure with the increase in dynamics.

B Œ

tiny nudge

≥ # œÆ J ‰

sempre sim.

#œ ‰ J Œ

#œ J Œ

‰

Vc.

¢ pp poco a poco cresc. (with every nudge, let more sound escape)

o b>˙ ™

o K >˙ ™

o #>˙ ™

& p mf

f mp

l.v.

mf C# B§

Hp.

? Œ

Bass

œ™

∏∏∏∏∏

# ˙˙ ™™ #˙ ™

##˙˙ ™™ #˙ ™

Œ <n>œ

∏∏∏∏∏

bœ

∏∏∏∏∏

°? ¢

j bœ Œ ' sons étouﬀês

{

˙˙ ™™™ #˙

= > . . . œ. # œ. œ. œ. # œ. n œ. b œ. . œ œ œ. -œ -œ -œ œ . . nœ. œ œ b œ b œ n œ # œ œ. n œ œ b œ œ. œ œ œ # œ R ‰ ™ ‰ ™ R 44 ‰

Cl.

3 pp

3 f

Vln.

> œ. # œ. œ. œ. # œ. n œ. b œ. . œ œ œ. -œ -œ -œ œ b œ b œ. n œ. # œ. œ. n œ œ b œ œ. œ . . . œ œ œ #œ nœ œ R ‰ ™ ‰ ™ R 44 ‰

° &

3 f

mp scratch

#œ ™ ≈J Œ

B Œ Vc.

4 ‰ # œJ Œ 4

œ ‰ J ‰

#œ J ‰ Œ

¿ J Œ

¢ 3 3

œÆ 4 ‰ #œJ Œ 4

>˙o ™ J &

œœÆ ‰ J ‰

b#œœÆ J ‰ Œ

K œœÆ J Œ 3

Hp. C§

sempre b.d.l.c sempre sons étouﬀês

Ab A§

mf p cresc. E§

Æ … b œ nœ Œ J

D§ Bb

{ ∏∏∏∏∏

Bass

˙˙ ™™ °? ˙™ ¢

œ œ™ Œ '

4 ‰ bœœÆ Œ 4 J ˙™ ™ 4 ˙ 4 mp

Æ ‰ nbœœ ‰ J

Æ bnœœ ‰ Œ J

Db B§

3 3

#œ œ ‰

œ œ J

œ œ

#œ ™ œ™

œ. œ J

poco meno mosso

B 4

* -œ r ‰ ‰ #œ

œÆ ∑

Cl.

œÆ

b œÆ

Kr -œ ™™ ‰ #œ

Œ 3 mf

* -œ r ‰ ‰ #œ

œÆ ° Vln. &

∑

œÆ

b œÆ

Kr -œ ™™ ‰ #œ

Œ 3 mf

pressure ord. col legno tratto. tratto col legno battuto ≥ K œ- -œ œ œ- œ. <n>trem. œ œ œ œ™ Kœ # œÆ æ J J Œ Œ æ ‰ ‰ ‰ J ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 3 5 pp awkward and nervous ppp jeté sostenuto / trembling w sim.

≤ # -œ -œ Œ J

≤ B #œ Vc.

sim. œ œ. R ‰ ™ ææ

= b -œ œ b œÆ r & ‰ œ J J ≈RŒ

Cl.

b œÆ œ J ‰ Œ Œ

b -œ r ‰ œ J

b œÆ

-œ b œÆ œÆ b œÆ Æ J ‰ ‰ ≈bœ ‰ œ

mf pp getting more agitated

3 pp

mf 3

Æ ° r b œJ œJ b œR ≈ Œ Vln. & ‰ œ

b œÆ ‰

r bœ ‰ œ

b œÆ ™ œÆ Œ

mf pp getting more agitated

-œ ™ b œÆ Œ J ‰ bœ R 3

œÆ ‰

œÆ œÆ ≈R ≈J 5

mf pp 3

pressure ord. start punta d'arco tiny nudge poco sul pont. arco molto sul pont.

o n >œ. Œ J ‰™

K æœ æ

B Œ

>œo. k -œ™ R

scratch ≤ sim. ¿ … # œÆ œ ‰ ‰ J ‰ Œ J Œ

#œ J

œ™ ‰ ≈ J

œ™ ≈ J

Vc.

¢ 3

= poco accel. 9

œÆ J

≈ œJÆ

Cl.

≈

œ œ #œ œ

Æ œ™ J

œ œ œ œ œ

bœ 3

pppp

n n

Ÿ-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ° Vln. &

‰

bœ R

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ

b œÆ ≈

‰

3 3

senza misura. ad lib. sporadic, frantic nudges, varying the length of pauses, constant slight in ections to pitch. Half noise, half pitch.

, #œ R

œ R

, lœ R

, #œ , R

œ R

, Lœ R

, #œ R

, lœ R

Vc.

X (p-sfz) gradually gaining in frustration, erratically vary the dynamic but with a sense of forward momentum

* - For clarinet and violin, each instance of a tenuto marking and a crescendo should be expressive, with vibrato.

, œ , R

Tempo Primo, ritmico ( q = ca.86 ) 5

#>œ.

œ.

œ. # œ.

. . .œ n œ b œ œ.

b œ b œ. n œ. # œ. œ. n œ œ b œ œ. œ . . #œ nœ œ ‰

œ œ.

œ œ

Cl.

3 f

#>œ.

œ.

œ. # œ.

° Vln. &

. . .œ n œ b œ œ.

b œ b œ. n œ. # œ. œ. n œ œ b œ œ. #œ. nœ. œ œ ‰

œ œ.

œ œ

3 f

(continue to ad lib.)

, B Vc.

¢ w œœÆ # & ‰ J

œœÆ J

‰

b#œœÆ J

‰

K œœÆ J

3 3 Ab E# G# A§

pp cresc.

Hp. E§ D§ B§ Bb

? ‰ bœœÆ J

{

bœÆ nœ J

‰

Æ bnœœ J

‰

Æ nbœœ J

3 3

˙™ °? ˙ ™ ¢

Bass

œ œ J

#œ œ ‰

œ œ

œ œ J

#œ ™ œ™

>œ. Œ

Cl.

>œ. ‰ J 43 Œ

>œ. ‰ J Œ

6 Œ 8

>œ. J Œ™

>œ. ‰ J 43 Œ

>œ. ‰ J Œ

6 Œ 8

>œ. J Œ™

>œ. b >œ. J ‰ J ‰ 23

>œ. ° Vln. &

mf senza vib., autando

Vc.

>œ≤ ≥ ≤˙≥™ # B4 J ¢ 4‰

™ 3˙ 4

™ 6 ˙ 8

˙™

6 ‰ 3 ‰ ‰ Œ™ 8 j # œ #œ ' 3 6 ‰ j ‰ ‰ Œ™ 8 œ #œ '

‰? # œ # >œ

3 2

fp ad lib. rhythms for rebowing (very independent)

##œœÆ Œ ‰ J &

3 3 Œ œj Œ 4 #œ '

f cresc.

Hp.

{

nœœÆ # ‰ J Œ œ œ

Bass

°? ¢

3 4 Œ ##œœj Œ '

˙ # œ # œœ œœ # œ. œ ‰ 3˙ œ J 4

#œ œ

#œ ™ 6 œ™ 8

#œ ™ #œ ™

œ™ >œ ™

3 2

fff l.v.

3 2

‰ #>œœ #œ ™ œ™

œ™ >œ ™ #œ ™ œ™

3 2

6 bisbigliando >œ. œ. œ. bis. ÍÍÍÍÍÍÍÍÍ bis. ÍÍÍÍÍÍÍÍÍ bis. ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ -œ œ. œ. b œ ™ 3 J ‰ J j J ‰ ‰ ‰ œ œ ≈ r ‰ ‰ ‰ œJ œ &2 œ ppp ppp pp mf œ mf p mf b œ. >. >

Cl.

>œ. ricochet œ œ ° 3 R ‰™ Vln. & 2

-œ œ. œ. ric. œ œ R ™ ‰ J ‰

œ œ bœ

ric.

œ ‰ J

œ ™ œœ R ‰

ric. œ. œ. œ œ ‰ J ≈ R ‰™

ric.

bœ ‰ J

vib. ord.

™ B 23<#> w

Vc.

w™

¢ mf espr.

? 23

∑

? 23

∑

Hp.

{

°? 3 ‰ # œœ œœ ¢ 2 J

Bass

#w™ w™

w w

= œ. œ. b œ b œ

& ≈ >. bœ

Cl.

bis. ÍÍÍÍÍÍÍ bis. ÍÍÍÍÍÍÍÍÍÍ … bœ œ #œ nœ œ œ ‰ œJ œ Ó bœ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4 3 Œ 4 2 #œ w bis.

3 5

ppp

p pppp (ad lib. speed of bis.) ric. ric.

bœ™ œ. œ. ‰ J ‰

œ ° Vln. &

bœ œ™ bœ

œ œ œ œ bœ… Œ

4 4

∑

3 2

∑

3 2

mf sul pont. scratch

max. vib.

B <#> w

™

œ ™™

Vc.

¿… 4 R 4

¢ ff secco

? ∑ Hp. E§

j ‰ Œ œ. p …

4 4

∑ &

X Eb F# G§ A§ Db C§ B§

? ∑

∑

{

4 4

∑

3 2

4 4

∑

3 2

secco

Bass

™ °? # w w™ ¢

#>œ. œ ‰ Œ J

Poco più mosso

D 7 œÆ # œÆ # œÆ # œÆ n œÆ Æ Æ œ œ œÆ œ 4 ≈™ ‰ ‰ ≈ 4

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 3 &2 #w œ #œ

Cl.

bœ œ œ b œ œœ

3 p razor-sharp, agitated

° 3 ¢& 2

Vln.

œœ RÔ

œÆ # œÆ # œÆ # œÆ n œÆ Æ Æ œ œ œÆ œ 4 ≈™ ‰ ‰ ≈ 4

∑

3 3

p razor-sharp, agitated

“œ” ,# œ , bœ bœ í ™™ R

, , œœ , œ œ , œ œœ R R

, œ ™ R ™î

œœ

(continue to ad lib. in this fashion)

sempre l.v. ppp ad lib. frenetic rhythms + vary length of pauses. Independent from ensemble

Hp.

? 23

>ò 4 Jw &4

∑

{

sfz like broken bells clean preset 1

w/ plectrum, sempre l.v. sul pont. IV

°? ¢

Bass

·> ~ 4 &4

∑

sfz like broken bells

= (3,2,2)

Cl.

-œ œÆ b -œ œÆ œÆ Æ 39 œ b œ b œ bœÆ # œÆ œ œ œ -œ œ 7 ≈ ‰ 8 ≈ ‰ & J ‰ J ‰ J 3

-œ ™ # œÆ ‰ #œ 44

‰

œ b œ b œÆ ™ #œ œœ œ ≈J 3 5

(3,2,2) -œ œÆ Æ œ Æ b -œ œÆ œÆ œÆ b -œ œ™ Æ # œ œ b œ b œÆ bœ œ b œ Æ œ Æ b œ bœ œ 7 œœ œ ° J ‰ J ‰ J 4 J ≈ ‰ 8 ≈ ‰ ‰ J Vln. & 4≈ 3

3 3

sim. pressure ord., sempre vib. larghi, alien like

#˙ ™ Vc.

7 8

B ¢ Œ curious pp

∑

ò K >œ ∑ &

7 8 sfz

Bass

° ¢&

∑

Œ 3 pp

Hp.

{

4Œ 4

ò #>œ J

4 4

∑

4 4

∑

sfz

‚ IV ‰ IIF (9th partial) > 7 #>‚ l ‚J O 8 sfz

sfz

œ R

8 42

b -œ

œÆ œÆ

Cl.

b -œ b œÆ œÆ œÆ Æ œ œ bœÆ bœÆ ™ œ œÆ #œÆ #œÆ œÆ œÆ Æ bœ ≈ #œÆ ™ ‰ ‰ ‰ œ ≈ ‰ œ bœ J J 5 3 3

œÆ # œÆ

° Vln. &

œœ ‰

œÆ ‰

- Æ Æœ ™#œ œ # œ # œÆ # œÆ #œÆ #œÆ ‰ ≈ ‰ œJ

3 poco a poco dim.

-œ

œ™ '

b -œ œÆ œÆ œÆ œ

œ™

œÆ œÆ ™ J ≈J 3

poco a poco dim. 5

˙ #œ J

B Ó

gl iss .

˙™

‰

Vc.

¢ pp

3 pp

gradually reducing activity and increasing the length of the pauses (right hand only)

Hp.

o & Œ K ˙™ >ò

{

Kœ >ò

sfz sfz

° Œ ¢&

Bass

· IV ‚ III O>O ™™

· IIIF >‚ Ó

sfz

E b -œ œÆ #œÆ ™ ≈ J œ œ œ bœÆ ‰ ™ & J

Cl.

r -œ bœ

b -œ #-œ œÆ bœÆ bœÆ 3 r 4 œ' œ ‰ œ ' 3 3

œÆ œÆ

-œ ‰ 44 œÆ œÆ bœÆ ‰ bœj ≈#™ œ ' 3

-œ Æ b -œ œÆ œÆ œÆ ° #œÆ ™ #œ J # œ ≈# œJÆ ™ #œ#œ œ nœÆ ‰ ™ œ œÆ bœÆ ‰ bœÆ ‰ -œ œ œ 3 4 b œ œÆ #œÆ œÆ ‰ œÆ ™ 3 œ4 Vln. & 4 R J J 3 3 3 3 5

œÆ

#˙ b˙™

#œ #˙ ˙

3 4

B Œ

Vc.

4 4

#œ ‰ J

¢ 3 pp

Hp.

∑

{

bw w ò>

3 4

∑

4 Ó 4

>ò˙ # Œ K˙ 3

sfz sfz (7th partial) · VIF K >~

Bass

° ¢&

3 4

∑ sfz

∑

4 Ó 4

‚ V> Œ O 3

sfz

9 49 5

j ‰ r b-œJ œ œ ' 3

#œÆ #œÆ ‰ #œÆ œÆ ‰ œ & J ' 3

Cl.

Æ™ ≈ œJ

≈ bœ bœ œ œ ' '

œÆ œÆ bœÆ

œÆ Œ

Œ 3

3 3

-œ

° Æ Vln. & bœ

#œÆ ≈J ‰

Œ #œ

œÆ

b -œ Æ ≈ bœ ‰ ™ #œRÆ œÆ

œÆ

Æ Œ œ œÆ ‰ ‰ œJÆ

œ™ œ '

w ˙

bœ

B <#> ˙ Vc.

¢ 3

òo > ? #˙

Hp.

∑

{

° ¢&

Bass

∑

„V ‰ IV #>OO

F Æ œÆ ‰ ‰ 3 # œ œ & '

Cl.

‰

Æ Æ j 3 œ™ œ œ ‰ #œ - ‰ #œJ œ ' '

Œ bœÆ

≈ bœj™ '

j bœ '

‰

Œ œ ' pppp

-œ

° Œ Vln. &

bœÆ bœ ™ #œ J '

#œÆ #œÆ

Œ #œÆ œÆ

j 3 œ ‰ œr ‰ ' '

œ '

‰ bœr Œ bœ ' '

3 3

pppp 3

œ Œ

Vc.

‰

¢& 0

j œ >

j œ

j œ mp pp

“œ”

#œ bœ bœ

œ œ œ J ‰

#œ bœ bœ R ™ ™ ≈ ‰ ‰ R ≈ Œ

œ ≈ R ‰™

& 3

3 5

Hp.

? <#>w ∑

∑

{ Bass

° ¢& <#>~~

œ RÔ ‰ ™™ …

with freedom

G 10 m.s.t. ord.

œ™ œbœ œ ˙ j

molto sul tasto

° ˙ ¢&

Vc.

. ‰ œJ

˙™

Bœ

∑

p.s.p.

ord. 3

vib ord.

. œ. ? B œ œJ œ b œ 2 .‰ j ‰ ≈4 œ œ. mf pp

U ∑

4 4

mf dolce

ò K >˙ ™ Œ & òo > ? Œ ˙™

Hp.

∑

2 4

U ∑

4 4

∑

2 4

U ∑

4 4

∑

2 4

U ∑

4 4

D§

{ pm

· IV ‰ VII > ° Œ OO ™™ &

Bass

O™ O™

feedback swell / gradual increase in distortion

6 Ó

2 4

V.P.

4 4

¢ í Gh

cut sound abruptly

= Tempo primo (q = ca. 86) p.s.p. 3 ord.

œ bœ œ œ

™ B 44 œj œ

Vc.

autando 0 0

sul tasto.

œ œ Œ? J

#œ

j bœ œ

bœj œœ Œ

≥ ≤™ ≥ ≤ # ~ ~ ™ 6 4

3 4

ppp

3 p sub.

H -œ œ b -œ

senza vib.

> … œJ. ‰

#>˙

3 &4

Cl.

>œ. Œ J‰

>œ. Œ ‰J

-˙

sonore

-˙ 3

pp p

senza vib.

>œ ° 3 Vln. & 4

…#>œ. ‰J

>. Œ œJ ‰

>. sonore Œ ‰ œJ #-˙

#-œ

-˙

b -œ

pp f

Vc.

™ ? 43 <#> OO ™ ¢

OO™™

bisbig. p.d.l.t

¿ sons xylo

ò Lœ J>œ #œ œ #œ œj ‰

3 &4

E§ G# A#

Hp.

#>˙

#œ Œ L# œœ Œ

Œ L#œœœ Œ

#œ®#œ#œ » Lœ®Lœ#œ » ÍÍÍÍÍÍ Ω œ« Ω œ«ÍÍÍÍÍÍÍÍ

F§

sfz

ppp

pppp mf

…

f D# B§

B# C#

? 43

∑

{

∑ &

Œ & L#OOO Œ

#O Œ L# OO Œ

r ‰™ Œ Œ œœ #œ

r ‰™ Œ Œ # œœ #œ

3 4

V.P.

r ‰™ œœ œ

Œ Œ ∏∏∏∏∏

∏∏∏∏∏

p warm

r ‰™ Œ œœ #œ

∏∏∏∏∏

° 3 r ‰™ Œ Œ & 4 #œœ #œ ∏∏∏∏∏

Bass

∏∏∏∏∏

chorus preset 1 * sempre pim, with esh

)™

¢ *-

e sound of each chord should last for exactly one semi-quaver. All sound should be muted immeditaly after each chord.

r œœ‰ ™ œ

Œ Œ

>œ. . sung multiphonic œ #œ œ # œ. . ≈ #œ ≈ ‰ j b œe œe ˙E

Cl.

I …

∑

˙E #n œe œe ff

ppp

n>œ. #œ. # œ # œ œ. bœ. nOœ ≈ ≈ ‰ J

° Vln. &

O˙

Oœ

#Oœ Oœ … O˙ 3

ppp

ff col legno tratto. trembling (ad lib.) very slow gliss.

? <#> OO

… Œ

∑

Vc.

b>˙ æ

™ æ

¢ sfz (pp - mf) frenetic ad lib. of dynamics f w/ tuning key

T ord.

… Œ

∑

#œ œ œ™ œ

œ #œ #œ Œ #œ

∑

Œ 3

E§ F§ G§ A§

Hp.

D§ C§ B§

∑

›

{

& ›

r #œœ‰ ™ Œ #œ

r ‰™ Œ Œ ## œœ #œ

∏∏∏∏∏

r ‰™ Œ Œ # œœ #œ

∏∏∏∏∏

° r ‰™ ¢& ###œœœ

Bass

r ‰™ Œ œœ #œ

= 75

& Œ

Cl.

>- - - œ œ # œ œ # -œ -œ #>œ. J Œ‰J ‰ 5 sfz mp

5 pp

œ. n œ. œ. J ‰J ‰ J

bœ™ . #œ œ œ J œJ J ≈

œ œ b œ. œ. #-œ ‰ ‰ J ‰J 3

p f

espr.

>- - - œ œ œœ

-œ -œ >O J Œ ‰ œJ ‰

° Vln. & Œ 5 sfz mp

5 pp

III

≥j œO

b O≥ Oœ≤ œ

III

Oœ≤ ≥ ##Oœ

bœ™ . #œ œ œ J ≈ œJ J 3

espr. 3

>œ æ

gli ss.

Vc.

≤. . nOœ ‰ Oœ ‰##Oœ. ‰ #œJ J J

p poco sul pont. 3

œ ? æ ææ … ≈Œ æ ¢

arco pizz.

∑

senza misura.*

>j œ

œ œ Œ æ æJ ‰

>j œ

b œ^ œ^ œ œ‰

>œ >œ , k œ. , # -œ , n œ. , >œ. R RÔ R

>˙ æ

X fp

œ œ

ord. (non-legato) g li ss .

#œ

œ ∑

‰

“” œ œ œ œ #œ J

bisbig.

#œ ∑

& f p

pppp Eb

Hp.

∑

œœ # œœ b œœ œ‰ ‰™ Œ J

œ. bœ ‰ Œ J

{

o b œœ ™™ ææ

f œœ ææ ‰

° r & œœ‰ ™ œ ∏∏∏∏∏

Bass

∏∏∏∏∏

ord.

˙˙ #˙

œ. œ. bœ J ‰ ‰ bœ Œ J

(p) P.M.

6 Œ

)™

V.P.

¢ í

* - ad lib. frenetic rhythms in this fashion, varying the length of pauses, constant slight in ections to pitch

sfz

pushing forward poco accel.

J 12

œ.

. œ. œJ ‰

œ.

Cl.

-œ ™ # œ. œ. œ œ # œ œ œ. . -œ #œ œ œ J # œ 3 2 œ. ≈ 58 J 8 4

œ b œ. . ‰ J ‰ œJ ‰

3 espr.

p sub.

n * senza vib.

œ Ÿ-œ~~~~~~~~ ord. œ œ # œ #œ 3 5 Œ œ #œJ œJ 8J 8 3

poco a poco trem.

trem.

° ‰ OœÆ OœÆ ‰ Vln. &

OœÆ bbOœÆ -O ##Oœ Oœ œ J

Oœ Oœ ææ

Oœ ææJ ‰

# œj

>œ™

2 4

3 3

3 p espr.

fp senza vib. autando

≥ >œ≤ ≥≤ ™

(continue to ad lib. in this fashion)

3 8

? Vc.

5 Œ w 8

¢ sporadic changes to dynamics but with a sense of forward momentum, gradually gaining in frustration

2 4

& j œ 0>

“œ” œ & ‰

sempre l.v.

œ bœ œ #œ J Œ ‰

bisbig.

#˙˙˙ ™™™ ææ

b˙˙˙ ææ o

3 8

5 #œœ 8 œ

œœ ™™ œ™

2 4

∑

2 4

3 j ‰ ‰ 5 #œ 8 œ œ. ¿

œ™ œ™

2 4

3 8

6™

2 4

∑

mp E§ G§ A§

Hp. C#

C§

3 8

? ∑

{

∑

5 8

∑

ord.

°? Œ

œ œ œ. b œ ‰ œ œ ‰™ J ¿

Bass

œ. bœ ‰ Œ J

& 8 #œ

P.M. P.M. V.P.

5 Œ 8

¢ = -œ™ œ œ œ. œ. œ # œ

2 &4

Cl.

>œ. . . . œ œ #œ 3 œ. #œ. œ. -œœ 4

œ™

Æ Æ Æ œÆ bœ œ œ œ œ#œ œÆ œ ≈ nœÆ #œÆ œÆ œ ≈ nœÆ #œÆ œÆ œ nœ#œ œ ''' ' 3

3 3

#>˙ 3 fp

j Æ œ œÆ œÆ # œÆ œ <n> œÆ œ # œ # œ œ J‰ J ≈ ≈

>œ œ 3 4 ‰ J

° 2 Vln. & 4 Œ

œÆ œÆ œÆ # œÆ Æ #œ

#œ J

œ œ J 5

b œj

‰

vib ord. 3

Vc.

3 ™ 4 j˙

2 ˙ ¢& 4

∑

3 4

? 42

∑

3 4 Œ

˙™

j œ >

œ > poco a poco cresc.

2 &4

∑

j œ >

∑

j ‰ #œœ œœ œ œ

Hp.

{ Bass

° 2<#>œ ™ & 4 œ™ -

‰

# ˙˙ ˙

3 j 4 #œ ‰ #˙˙ œ. P.M. ¿

∑

˙ ˙

j œ ‰ œ

)

6 J

2 4

V.P.

6 J

3 4

)™

j #œ ‰ œ. ¿ P.M.

j ‰ #œ œ œ- œ

¢ í

* - for the senza vib., fp accents, attack the note with a fast bow surge, then suddenly reduce the bow speed along with the sudden drop in dynamic

( q = ca. 108 ) 13 89

Æ œÆ ≈#œÆ œÆ bœÆ bœÆ b œ ≈#œÆ œÆ œÆ œÆ n œÆ ≈ œÆ bœÆ bœÆ œÆ #œ#œœnœÆ J &

Cl.

Æ Æ Æ œÆ Æ œÆ bœÆ œÆ œÆ 2 G.P. 4 Æ œ Æ Æ # œ ≈ nœ #œ ≈œ œ ≈#œ 4 ∑ 4 R 5

5 3

œ œ b œ œ. #œÆ œÆ b œÆ b œÆ b œÆ

™ ° <#> œJ Vln. &

≈

b œÆ b œÆ œÆ #œÆ Æ Æ nœÆ #œÆ n œÆ # œÆ n œÆ #œ #œ

fff

Æ œœ Æ œÆ bœÆ œÆ #œÆ #œÆ nœÆ b œ œ 2 œ 4 ≈ ≈ 4 ∑ 4

‰ 3

fff f

p s.p. scratch

max vib.

Vc.

œ ¢&

œ3 œ J j

œ j œ

˙™

œ™

¿ 42 ∑ 44

j œ

œ f

fff bisbig. p.d.l.t

∑

®œ#œ œKœ»ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 42 ∑ 44 « Ω o fff 2 4 ∑ 4 ∑ 4

#˙˙ ˙

& Hp.

? ∑

{ Bass

∑ j œ œ

° <#>˙ & ˙ -

j #œ ‰ #˙˙ œ. ¿ P.M.

‰

2 4 4 ∑ 4

˙™ ˙™

6 J

)

6 )™

2 4

)

V.P.

4 4

¢ í

Tempo primo (q = ca. 86)

= K senza misura

Cl.

4 &4

∑

Æ , Æ Æ œ b œ Æ ™ œ í ™œ

, Æ , œ#œ nœ nœJ

Æ Æ œÆ œÆ œÆ œ#œ

, # œ œ b œ n œ ™™î œ

(continue ad lib.) *

X 5

ppp leggiero senza misura

° 4 Vln. & 4

∑

, Æ , Æ , Æ Æ # œ n œ Æ Æ Æ Æ œ œ b œ œ n œ Æ Æ œ #œ R œœ í ™™ œ œ

, (continue # œ ad lib.) * œ b œ œ nœ ™™î

X 5

ppp leggiero

sempre vib. larghi, alien-like (only on notes longer than a quaver) sim.

>Œ #œ

gli ss.

Vc.

4 ¢& 4 Ó

jœ ˙ œ

œ #œ Ó

fp 0

Hp.

4 &4 Œ ? 44 …Œ

{

∑ E§ F# G§ Ab

sempre l.v. Db C§ B§

Ó & K˙ >˙ò

bK>˙˙ ò

w w

sfz like broken bells w/ plectrum muting D string with left hand distortion preset 1 5 5

Bass

∑

. ° 4 > .#>œ ™ œ Ó ¢& 4 #œœ ™™ œœ œ ™ œ ‰ œJ ‰ œJ

sfz

∑

> 5 . #œ ™ œ œ™ œ œ ‰ J

> 5 . #œ ™ œ Ó œ™ œ œ ‰ J

fff sempre marcato, brutal

* - Only use the pitches in the box and the ascending shapes given.

e rhythms should be poco ad lib. and asynchronous from other players

14 96 remain independent from other players

& vary the order of the fragments, vary the length of the pauses (but try to mostly keep them very short)

Cl.

remain independent from other players

°&

Vln.

vary the order of the fragments, vary the length of the pauses (but try to mostly keep them very short)

-œ ¢&

Vc.

>-œ

^ œ™ œ-

gl is s.

œ œ

™bœ Œ

#œ.

œ œ^#œ^ ^ ^ œ œ -œ™™ scratch ¿… œœ Œ R bœœ œœ p f fff . . II 0

f ppp leggiero

“” œ b œ œ , œ œ œ # œ , , œ œ œ b œ œ #œ ™™î &X í ™™

vary the order of the fragments, vary the length of the pauses (but try to mostly keep them very short)

5 3

(continue ad lib.)*

Hp.

∑

{

∑ bw Kw ò>

& w w

sfz pi

° &

Bass

> 5 .> 5 . 5 Œ #œ ™ œ œ ™ œ #œ ™ œ Œ ? œ ™ œ œ œ ™ œ œ >œ. ™ >œ. ‰ J ‰ J

∑

> ˙ b˙ > )

r œ ‰™ bœ R

∑

6 R

V.P.

¢ í

= senza vib. -œ - 4 ‰ 4 #œ ˙ w

100

3 4

Cl.

ff blinding ffpp senza vib.

-œ # -œ ˙ Vln.

°&

3 4

‰ 44 w ff blinding ffpp

pressure ord. 3

Vc.

¢& Ó

scratch

bœ Œ ? j bœ˙ œ 3

3 ^ Œ œœ^ bœ^œ^œ^ ˙ bœ˙œ ˙˙ ™ #œ ™

j ¿¿‰

ord.

3 4

∑

4Ó 4

>-œ

Œ mp

fff

p f Pedal buzz

4 w 4 Hp.

™ & Œ J#˙˙ ™ > ò

∑

{

Œ b˙ K >˙ ò

sfz

Bass

sfz

>5. >5. . . . . . # # œ ™ œ œ œ œœ ™™ œœ œœ œœ œœ °? œ‰ ™œ œ œ ‰œ ‰ œ Ó J J 5 3

)

ò J >˙ ˙ K œœ œœ ˙ ˙ > 3 ò sfz

> #˙ ˙ > )

œr ‰ ™ Œ Ó bœ R 6 R Œ Ó

V.P.

sfffz

3 4

∑

4Ó 4

?Œ E§/E#

sfz

∑

)

œ >œ ö

≥. ≥. ≥. #œ œ œ # œ. # œœ œœ œœ >pi r œ œ œ 3 œœœ . . . œ œ. œ œ œ ‰ 4 Œ ? #˙ œ ‰ ™ Œ‰ 4 4 ˙ bœR 3 3 3 3 > 3 4

4 Œ 4

)

6 R

¢ í

* - Only use the pitches in the box and the given melodic shapes.

e rhythms should be poco ad lib. and asynchronous from other players

L overblown multiphonic

106

& ˙

Cl.

ord.

XŒ

bœÆ bœÆ œÆ Æ , b œÆ œÆ œÆ œÆ Æ , ™ #œ œ í™

, b œ bœ , nœ bœ œ nœJÆ œ œ #œ ™î ™

sim.

M 3 5

fff ppp leggiero m.s.p.

Ÿw~~~~~~~~~~~~~~~~~~~~~~~~ ord.

° Vln. &

XŒ

Æ bœÆ Æ Æ , b œÆ œÆ œÆ Æ Æ b œ œ#œ œœ í ™™

, b œ bœ œ œ #œ ™™î sim.

nœbœœnœRÆ 3

fff ppp leggiero

III 0

Vc.

#ord. œ

scratch

B #œ -œ-œœ#œ ? bœœ œ˙ gl iss . bœ - -#œ. #œ. nœ. ¢ J œ. 3 > ff p sub.

œj

¿¿

Œ p

sfff

ff ppp leggiero

∑

b œ b œ œ # œ , b œ œ œ œ œ, b œ œ œ œ, ™™î sim. Xí ™™

∑

Eb Fb Gb Ab

Hp.

j… œ ‰ œ

? ˙™ ˙™

{

D§ C# B§

∑ &

> bw Jw ò sfz

. . # œ. -œ ™ œ. # œœ œœ™™ œœœœ œ œ™ œ œ ® œ

°? ∑

>pij #œ œ ‰ ? #œ J >j

Bass

)

‰

œ œ ≈Œ 6

V.P.

¢ í Gq

108

Cl.

& w

Vln.

°& w poco a poco trem. measured sul pont.

Vc.

? ¢ Œ

œ™

& j œ p

gli ss.

‰ æœ J

bœ J sfff

trem. ord.

æ æ æ æ œ æœ #œ œ œ bœ æ

æ ˙™æ

œ æ

gl iss .

w 3

Hp.

∑

{

Bass

ò K˙ ™ b >˙ ™

ò Jb>˙˙

sfz

#œ œ œ œ -œ -œ œ # œœ œœ œœ œœ °? œ œ œ ‰ œ œ œ. œ œ œ œ œ. œ œ ≈ œ œ ≈ œ. œ. œ Œ #œ J 3 3 3 3

)

>pi ? #˙ ˙ > )

b˙ L >˙ ò

K˙ >˙ ò

sfz

#œ œ œ œœœ

r œ ‰™ œ R

Œ ‰ ®

6 R Œ

V.P.

¢ í

M 16 112

Æ Æ Æ 4 bœ bœÆ œÆ ≈ b œ œ œÆ œÆ #œÆ ‰ &4

Cl.

nœ bœ œnœÆ #œÆ

œÆ œÆ œÆ œÆ Æ œÆ œÆ œÆ œÆ œÆ œÆ œ ≈ ≈

b œ bœ bœ œ #œ ≈

3 5

(ppp)

° 4 b œÆ bœÆ bœÆ œÆ #œÆ ‰ Vln. &4

Æ Æ œÆ ≈ œ œ œÆ

nœ bœ œ nœÆ bœÆ œÆ

b œÆ bœÆ bœÆ œÆ Æ œÆ œÆ œÆ œÆ Æ œÆ œÆ œÆ œÆ Æ œ œ œ

œÆ #œÆ ‰

(ppp) 5

meno e meno trem. ord.

œ≥

w ¢& æ

Vc.

œ≤

≤ ≥≤ ≥ ˙

œ≥

œbœ œ œ œ œ œ

bœ bœ œ #œ

œœ

Æ Æ Æ œÆ b œ b œÆ œÆ œÆ # œÆ œ œÆ œÆ œÆ œÆ œ œÆ œÆ œÆ œÆ ≈ R

bœ œ

& ≈ 3

(ppp)

Hp.

∑

{ Bass

œ≥. œ œ

∏∏∏∏∏∏∏

# œ≥. œ œ

∏∏∏∏∏∏∏

œ≥. ™ œ™ œ™

∏∏∏∏∏∏∏

œ≥. ™ œ™ œ™

∏∏∏∏∏∏∏

œ≥. œ œ

∏∏∏∏∏∏∏

œ≥. œ œ

∏∏∏∏∏∏∏

œ≥. œ œ

∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏

* ≥ . œ # œœ œ œ

∏∏∏∏∏∏∏

#œ °? œ™ œ œ ¢

∏∏∏∏∏∏∏

& œ≥. œ œ

= 114

Æ bœ bœ œ b œÆ Æ œÆ œ œÆ ‰ ™ œ # œ R ≈ ≈ ≈ &

Cl.

œÆ œÆ œÆ œÆ Æ bœ bœ œ b œÆ œÆ œÆ œÆ œ œ œ œ œÆ œÆ œÆ 3 œ ≈ #œ œ ≈ ‰ 4

5 5 5

° b œÆ bœÆ bœÆ œÆ #œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ b œÆ bœÆ bœÆ œÆ #œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ ‰ 3 Vln. & 4 5

4 4

∑

4 4

5 f

5 5

∑

5 f

max vib.

Vc.

w ¢&

3 ™ 4˙

4 4

b œÆ b œÆ b œÆ œÆ Æ œÆ œÆ œÆ œÆ Æ œÆ œÆ œÆ œÆ Æ œÆ œÆ œÆ œÆ Æ b œÆ b œÆ b œÆ œÆ Æ œÆ œÆ œÆ œÆ Æ œÆ œÆ œÆ œÆ Æ œÆ œÆ œÆ #œ œ œ œ #œ œ œ & 5

∑

4 4

3 4

∑

4 4

3 4

∑

4 4

5 f

Hp.

∑

‰ 43 ∑

{

#sim. œ. °? œœ Bass

œ. œ. ™ œœ œœ™™

œ. ™ œ™ ≈ œ™ J

# œ. œœ

œ. œœ

œÆ ™ ™ bb œœ ™

‰™

3 4

V.P.

4 4

¢ í * Fast, harsh 'rake' of the strings, using a lot of pressure with the plectrum and releasing the ngering pressure immediately after each chord.

N 17

poco accel. Poco più mosso 117

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 3 4Œ ˙ ˙ w

senza vib.

bis.

4- & 4 œ #œ ˙-

Cl.

‰ ‰ œJ

ff blinding ffpp

fff

mf pressure ord., sul pont. trem.

senza vib. slow bow, heavy pressure

° 4 -œ≥ #-œ≤ ≥ Vln. & 4 ˙-

≤ ˙

ff blinding ffpp

œ gli ss. ææ

œ ææ

3 4Œ

Y fff

ppp ip out!! sempre poco ad lib. rhythms (always independent from ensemble)

vib ord.

4w ¢& 4

Vc.

œ œ œ œ œ

k -œE n >œX. -œE

>œQ -œQ X RÔ

3 sempre marcato

fff a frustrated, soloistic tantrum bisbig.

4 &4

∑

‰ ‰

… ‰ ‰

#b ˙˙ ææ

3 4Œ

E§/E# F# G# Ab

sfffz l.v.

ppp

Hp.

4 &4 Ó

Œ ?œ

{

E§/E#

>œ ö

w w

Bass

∑ dig in! sempre l.v.

always harmonic pressure I

distortion preset 2

°? 4 ¢ 4

Db C# Bb

3 4

#˙ XII

O 43 >œ

∑ glis s.

O * ff marcato, sostenuto

= >j œ 121

Cl.

>j lip bend

œ™b œ œ œ œ œ œ™

-œ œ J

-œ™

2 -œ 4

- - - -œ

bœ

3 4Œ

bœ b œ œ

Œ œ bœ

espr. fff

p s.p.

ord. œj gliss .

° Vln. &

> >j œ œ

œ™ b œ œ

ææ œJ

œ œ™ œ bœ œ œ

j œœ 43 Œ

2 4 œœ ™™

III

sff mf espr.

≥ ≤j Ÿ~~~~~~~~~~~~~~~~~~~~ œ #œ œœ œœ J >œ mf p

continue to ad lib. in this fashion,

l-œ Vc.

¢&

. . . n-œ l -œ l œ™ gl is s. œ œœœœ k œœœœœ n-œ >œ -œ kœœœ ≈ ≈ RÔ J J R J ≈ 3

3 asynchronous from ensemble 4 sustain the visceral and aggressive energ y. sfff Stay on the D with occasional quartertonal in ections

bisbig.

<#> ˙˙ ™™ æ &

˙˙ ™™ æ

#b ˙˙ sempre l.v. æ ‰ 43 Œ

œœ ™™ 2æ 4

ppp

ppp sfffz

Hp. A#

? ∑

∑

{

2 4 Œ

r ‰ ™ œ 43 ˙ ™ ˙™ >œ ö #˙ œ œ œ 43 œ E§/E#

#˙ Bass

°? ¢

œœ

˙ #œ #œ

2 4 #œ

#œ

* - Play with the energy of ff but the volume of the amp should allow the rest of the ensemble to be heard clearly

>œ œ œ bœ™ œ

125

> b œj

œ œ œœ œ

Cl.

overblown ord. 3 5 œ- bœ bœ3 2 Œ . . œ. œ bœ œ 4 œ #œ œ œ œ ¿ .....

3 4 Œ

œ œ œ #œ œ œ œ mp

fff s.p.

> ord.

œ œ œ Ÿœ™™~~~~~~~~~~~~~~~~ œj œ™ ord. ≈ œJ ™ œ œ#œ œœ œœ œ œ œ#œœœœ™ œ œ œ œœ œ 42 ≈ 43

° Vln. &

>j œ

bœ œ

> œ

œ œ™

3 3

sff mp sub.

frenzied interjection IV, III, II (never open strings)

2 4

¢&

Vc.

-œ ™ œÆ R

3 ? 4

&≈ j J œ

(fff)

<#> ˙˙ ™™ ææ

˙˙ ™™ ææ

œœ 2 ææJ ‰ Œ 4

bisbig.

#b ˙˙ ææ

3 4 Œ

ppp f

ppp

sfffz

Hp.

2 4 Œ

? ∑

{

>œ l.v. ˙™ ‰ ™ œ 43 ˙ ™ R

∑

B§/B#

ö #˙ œ

°? ¢

Bass

#˙ ˙ œ œ #œ #œ

#œ 2 4 #œ

œ 43 œ

= ord. o.b.

129 6

Cl.

œ œ œ bœ J

#œ œ œ œ œ œ œ œ œ œ bœ ™

œ œ 2 #œ ™ 4

œœœœœ œ

>¿ J

œ- œœ . œ. œ. p

3 4Œ

3 3

f sfff

>j œ

œ bœ Vln.

° &

>j œ

>œ œ

œ. œ.3 .j œ. œ

œbœ œ œ œ œ œ œ œ œ œ œ 2 #œ ™ 4 œ™ 3

>≥j œ^ œ^ ^ ^ œ œ œ™ œ œ s. 3 4 ‰ bœJ œ ™gl is œ 0 II

>œ œ J

fp sfff heavy pressure

œ≤ ™ Vc.

≤ ≈ Kœ

¢&

--- ≤ > ≈ nœR ≈ œœ ≈ kœ œ œ ≈ nœ

2 sim. 4

3 4

sfff mf

sfff

fff

sfff bisbig.

<#> ˙˙ ™™ æ &

˙˙ ™™ æ

œœ ™™ 2æ 4

#b ˙˙ æ 3 4Œ æ

‰

ppp

ppp sfffz

Hp. Cb

? ∑

{

∑

r 3 2 4 Œ ‰™ œ 4 ˙ ™™ ˙ >œ ö #˙ œ œ # œ 2 œ 43 œ 4 #œ E§/E#

#˙ Bass

°? ¢

œ œ

#œ #œ

O o.b. ord.

>j œ 133

>j œ

-œ -œ -œ

. . . . œ™ b œ œ œ œ œ œ œ œ # œ œ œ œ œ

2 4

Cl.

¿ Œ

sfff

>≤j œ

-œ -œ -œ

œ ™ b œ œ >j >œ œ œ œ œ œ œ. œ. œ. œ. -œ bœ

° &

Vln.

œ 3 J 4‰ *o

3 4

sfff

œ™

2 4

‰ j #œ o

œ œ o

f espr.

sfff

sim.

k œ≥ œ≤ RÔ J

≥ ≈& œ

¢&

Vc.

j œ

... ≤ ≈ nœ œœ ≈ K œJ ™ ≈

≈

(fff)

<#> ˙˙ ™™ ææ &

K œ≤ ™ œ≥ ™ ≈ nœ≥ J J

˙˙ ™™ ææ

œœ ™™ 2 æ 4 æ

sfff

fff

3 4Œ

‰

sfff

bœ bœ ææ

sfffz sfffz ppp f

ppp

Hp.

? ∑

>œ œ ™ ‰ ™ œ 43 œ ™ œ ˙ R >œ ˙ ö ö #˙ œ œ œ 43 œ

2 4 Œ

∑

{

B§/B#

E§/E#

#˙ Bass

œœ

°? ¢

#œ

#œ 2 4 #œ

#œ

= #œ & ‰ J o

œ J o

137

Cl.

° Vln. & <#> ˙

‰ j sfff # œ œ o œ ˙ ‰ J

2 4

3 4‰

sfff sfff

#œ œ J 2 4‰ o

3 4

Œ #œ o

sfff sfff

sfff

sim. 5

Vc.

œ. œ. ≈ >œ -œ & RÔ ¢

≥ ≈ & œRÆ

≤

≤ -≥ ≈ œR œJ

-˙

≥ ≈ Kœ ™

j œ (fff)

˙ ™ ˙ ™ ææ

sfff fff

˙™ ˙™ ææ

sfff

œ™ œ™ æ 2 4æ

œÆ œ œ ≈ œ J œJ œ œ ≈ & R R jJ œ #œ#œ œ

≈

‰

(fff)

˙ ˙ ææ

3 4Œ D§ C#

ppp f

ppp sfffz

Hp.

? ∑

∑

{

2 ‰ ™ œr 43 ˙ ™ 4Œ ˙™ >œ ö œ #œ œ 3 œ 2 4#œ 4 B§/B#

#˙ Bass

°? œ œ ¢

˙ #œ #œ

* For clarinet, the hairpins from niente replace the marking: p possibile

#˙ œ

#œ & ‰ J

œ ˙ J o

141

Cl.

2 ‰ j 4 #œ œ ˙ o sfff œ ˙ #œ œ 2 ‰ J 4‰J o o sfff

o ° Vln. & <#>˙ ™ sfff

3 4‰

#œ ˙ ‰ J o sfff

sfff

œ œ ‰ J o

3 4

sfff

pressure ord.

scratch

#œ œ ‰ J o sfff pressure ord.

pressure scratch ord.

scratch 3

œœ≈ ? ≤ ≥ ≈ & j œ ¢ #œ œ ¿ ˙™ ˙™ ææ &

Vc.

- ≤≥ ≈ œRÆ ≈ œJ œR œ

œ≥

≥ ≈ œJ ™

‰

?≈

mf sfff mf

˙™ ˙™ ææ

œ™ œ™ 2 ææ 4

sfff

¿≈ R

sfffz

˙™ ˙™ æ

#œ #œ æ

Œ sfffz

ppp f

Hp.

ppp

2 4Œ

? ∑

∑

{

‰™ E§/E#

#˙

°? œ œ ¢

Bass

-œ≥ ™ J

fff

3 4Œ

‰

≤ ≥ ¿ ‰ & œR œ ™ J

#œ œ œœ

r 43 œ œ œ> œ ö

œ #œ #œ

2 #œ 4 #œ

∑ œ ˙ >œ ˙ ö #˙ œ

B§/B#

#˙ œ

3 4œ

= 146

Cl.

& ‰

œ J o

œ# œ

œ J o

œ™

2 4 o sfff

Vln.

° &

œ #œ

œ œ #œ œ œ œ œ œ œ#œ J

3 4

3 3

sfff

œœ ‰ J o

<#> œ

œ #œ ‰ J o

2 4

sfff

3 4

‰

sfff

œ œ™ J o

œ œ J

#œ 5

sfff sim.

pressure ord. scratch

Vc.

? ¢& ≈ œ #œ œ œ ≈#œ ™

j ¿

œ≤ œ≥ ≈ k œ≥ œQ≤ &≈ R R

≤≥ ≈nœR œ

® j #œ ™

scratch pressure ord. ≈ j r ‰ &œœœ #œ ™ ¿ meno e meno trem.

<#> ˙ ™ <#> ˙ ™ ææ

œ™ œ™ 2 ææ 4

3 4Œ

‰

#˙ #˙ ææ

˙™ ˙™ ææ

ppp

Hp. sfffz

2 4Œ

∑

{

‰™ E§/E#

Bass

#œ

2 #œ 4#œ

r 3 œ 4 ˙™ ˙™ >œ ö

∑

#˙ ˙ °? ¢ #œ

ppp

œ 3 4œ

#˙ œ œ

<#> ˙ ™

œ™

150

2 4

Cl.

‰

3 4

‰

3 4

sfff

b˙™

œ™

° &

Vln.

2 4 sfff heavy pressure (some pitch, some noise)

sul pont.

œ ≈

Vc.

≈

‰ &4

¢ œ h mf

sfff

sffff

ord.

<#> ˙ ™ <#> ˙ ™ æ &

#œ

>œ

œ #œ

œ J

2 4 3

3 4 3

Hp. ppp ff

2 4

∑

{ ˙ °? ¢ #œ

Bass

3 4

∑ œ

#œ

2 4#œ

3 4

= dense multiphonic with high noise content M

P 152

Cl.

j 3 ‰ ¿¿ YY &4 ¿ Y #>œ ˙

Mj ‰ ¿¿ YY ¿ Y #>œ ˙

∑

2 4

∑

3 4

…2 4

∑

3 4

2 4œ œ œ

œ 43 J

fff heavy pressure but mostly pitch, very ugly molto vib. sim.

≥ ° 3 Vln. & 4 ‰ j #œ ˙ >

… ∑

‰

≥ j #œ ˙ >

fff measured ord.

Vc.

≤ ≥≤ ≥ 3 ˙™ ¢& 4 j

œ œ

œ 5 3 poco a poco dim.

f beginning to wind down

œ #œ L œ # œ œ # œ œ œ #œ 5

3 &4

œ #œ œ

bœ 42 b œ #œ Ab

3 4

Hp. D§ Db B#

#œ œ ? 43

{

D§

œ œ

œ bœ

œ œ

2 #œ #œ #œ 4 #œ

3 4

bœ #œ 5

E§ F# G# A# D# C# B§

#˙ Bass

°? 3 œ œ ¢ 4

#˙ œ œ

˙ #œ #œ

2 #œ 4 #œ

œ 43

22 156

Cl.

3 &4 Œ

Vln.

° 3Œ &4

Mj ¿ ‰ ¿ #>œ¿

‰

¿¿ œ¿

≥ j #œ œ >

… Œ

Mj ¿ ‰ ¿ #>œ¿

‰

¿¿ œ¿

≥ j #œ œ >

2 ¿ 4 ¿¿ œ

3 4

2 4

… Œ

3 4

œ≥

3 4

gradually reduce bow speed

3œ ¢& 4

Vc.

œ≥

œ≥ ˙

œ™

œ≥ ™

œ≤

˙™

2 4œ

gradually becoming exhausted

œ#œ L œ # œ œ œ œ #œ #œ 5

3 &4

œ #œ œ

2 b œ 4 bœ

3 4

#œ Ab

Hp. D§ Db B#

D# B§

#œ œ ? 43

{

D§

œ œ

œ 2 #œ #œ #œ #œ 3 4 4

œ bœ

œ œ

bœ #œ 5

#˙ #˙ °? 3 œ œ ¢ 4

Bass

œ œ

œ #œ #œ

2 #œ 4 #œ

œ 43

= 160

Cl.

3 &4 Œ

° 3Œ &4

Vln.

Vc.

Mj ¿ ‰ ¿ ¿ #>œ

‰

≥ j #œ >

¿¿ ¿ œ

… Œ

˙≥ ™

3 ˙™ 4 & ¢

œ #œ œ

‰

≥ j #œ >

˙≥

#œ Lœ œ # œ œ œ œ #œ #œ 5

3 &4

Mj ¿ ‰ ¿ ¿ #>œ

2 Y 4 YY ˙

3 4

2 4

3 4 ˙

2 4˙

3 4

2 b œ 4 # œ bœ Ab

3 4

Hp. D§ Db B#

D# B§

#œ œ ? 43

{

D§

œ œ

œ bœ

œ œ

œ 2 #œ #œ #œ #œ 3 4 4

bœ #œ 5

#˙ Bass

°? 3 œ œ ¢ 4

#˙ œ œ

˙ #œ #œ

2 #œ 4 #œ

œ 43

poco rit. 164 M

3 &4

Cl.

∑

° 3… &4 Œ

Vln.

‰

¿¿j #>œ¿

YY ˙Y

≥ j #œ ˙ >

∑

4 4

∑

4 4

…

overpressure * very slow bow

3 ˙≥ ™ 4 & ¢

Vc.

ord. surge

≤ Y

Y™

¿ œ™

4 4

p timid but pained

sff

>œ œ # œ # œ œ Kœ #œLœ œ œ œ #œ œ 5 3

3 &4

∑

4 4

∑

4 4

∑

Hp. A§ D# B§

… #œ œ ? 43

{

œ œ #˙ #˙

°? 3 œ œ 4

Bass

… Œ Œ

œ œ

3 4

V.P.

4 4 4 4

¢ í

= hold pause until the resonance has completely died away

Q Tempo primo (q = ca. 86) 170

4 &4

∑

2 4

∑

5 8

∑

4 4

∑

5 8

∑

4 4

∑

U ∑

Cl.

° 4 &4

∑

2 4

∑

5 8

∑

4 4

∑

5 8

∑

4 4

∑

U ∑

Vln.

4 ¢& 4

∑

2 4

∑

5 8

∑

4 4

∑

5 8

∑

4 4

∑

U ∑

2 4

∑

5 8

∑

5 8

∑

4K o 4w ò>

Vc.

>ò Kw

sempre l.v.

>ò 4 Jw &4

∑

sfz like broken bells

sfz

Hp.

4 o 4K w ò>

U ∑

sfz

? 44

∑

{

∑

ò> Œ & b˙ ™

sfz

2 4

∑

5 8

‚ IV ‰ IIF (9th partial) #>‚ l>O ™ 2 4 ∑

5 8

∑

4 4

∑

„ III 4 >~ 4

∑

5 8

∑

4 4

5 8

∑

‰ IV 4 4 #~ > sfz

∑

U ∑

clean preset 1

sempre l.v. sul pont. IV

Bass

·> ° 4 ~ &4

sfz like broken bells

4 ) 4

V.P.

∑

sfz

2 4

5 8

4 4

5 8

U ∑

4 4

¢ * In one full up bow, move the bow slowly enough and with enough pressure so that the tone breaks up into little starts and stops