TRANSPOSED SCORE
MATTHEW GROUSE
Another Binewski for mezzo-soprano, synthesised voice and small ensemble
(2019)
Commissioned by Hebrides Ensemble for Last Lines, a project at the 2019 Edinburgh International Book Festival
Another Binewski
TRA NSPOSIN G SCORE
(2019) Instrumentation: Mezzo-soprano (range Bb3 to G5) Clarinet in Bb Violin Violoncello Synthesised voice (MIDI keyboard performer)
Accidentals: . Quartertones are notated in the following way:
¼ ¾ sharp sharp
¼ flat
¾ flat
. Smaller microtones are differentiated by the use of ordinary accidentals with arrow . An accidental preceding a note only applies to the octave in which it is written. A further accidental is required for the same pitch class in a different octave.
Synthesised voice and technical setup: . MIDI capable keyboard (minimum 49 keys) . Laptop running Alter/Ego software (standalone or as an instrument VST in any DAW) . Audio interface (minimum 2 outputs) running to stereo pair of speakers or PA. . 1 or 2 onstage monitors for ensemble to hear the synth voice part. The plug-in used for the synth voice is Plogue’s Alter/Ego, which can be downloaded for free here: https://www.plogue.com/products/alter-ego.html. The free ‘Bones’ voice bank also needs to be downloaded. The custom preset for the piece including the text is available as a .ariax file from the composer. You can then load this preset by selecting File > Open > Another Binewski Alterego Preset. If using the standalone version of Alter/Ego, set your sample rate to 44.1kHz and adjust your buffer size to find the best trade off between low latency and high audio fidelity (512 is default). It is important to leave small gaps between each chord in order for the next word to be triggered (these are indicated in the score with commas). When legato passages appear a word will be repeated until all keys are released and re-articulated, at which point the next word will be triggered. Some phonemes take longer to generate than others so experiment with playing slightly before the beat when a word starts with these sounds: ‘f’, ‘h’, ‘m’, ‘s’, ‘w’. A bit of experimentation and imagination is necessary to compensate for these inconsistencies; however, it is completely permissible if some words start slightly after the beat.
Technique Abbreviations: Where necessary to save space / avoid collisions, the following terms may be abbreviated after their initial use: laissez vibrer
> l.v.
flutter tongue
> flz.
senza vib.
> s.v.
position normale
> pos.norm.
sul tasto
> s.t.
sul pont.
> s.p.
bisbigliando
> bis. (paired with a trill line)
flautando
> flaut.
poco scratch.
> p.s.
General clarification of non-standard techniques and notation: Move gradually and smoothly from one technique indication to another, for example, from sul tasto to sul pont. Highest or lowest note possible A short fermata (extend the length of a held note or a rest by a small amount)
Mezzo-soprano: Cover your mouth and scream in your hand(s). Panicked Assume a neutral facial expression abruptly A dashed slur indicates that a single syllable from a word is repeated as if the sound is being sustained and then intermittently muted tra(velling)
When letter(s) at the end of a word are in parentheses they are silent. The word should be stopped abruptly just before this point as if being interrupted
Strings: Stop the bow abruptly on the string, killing all sound The enclosed notes should all be performed in one bow, despite the rests pos.norm.
This indication cancels sul pont. or sul tasto whilst keeping other techniques such as scratch tone active. Techniques such as scratch tone are cancelled with ‘ord.’ Play behind the bridge Play on the felt wrapping of the strings behind the bridge
vib. larghi
An incredibly broad, slow and strange vibrato. Alien-like This notehead denotes full scratch tone. More noise than pitch. A violent sound.
This notehead denotes poco scratch. This can be performed at quieter dynamics and there should be an equal distribution of pitch and noise in the sound. Lightly fingered Natural and artificial harmonics are notated in the same way, where the open string on which to perform a natural harmonic is notated as the normal, lower notehead. Any confusion surrounding whether a harmonic is natural or artificial is clarified through the addition of a string number. The only exception to this notation is the octave natural harmonic, which is notated as shown in the lower violin graphic. This is because the sounding and fingered pitches are the same.
All other techniques or notation will be explained in the body of the score.
Composer’s Note: “Bolt us to the hood of your travelling machine and take us on the road again” - Katherine Dunn, Geek Love One of the main things that drew me into the world that Dunn creates in Geek Love is the coexistence of opposites. The writing is often grotesque and violent but there are occasional smatterings of real tenderness and vulnerability. Members of the Binewski family are often portrayed as hyper-confident, having a superiority complex over people (or “norms” as they term them) who don’t possess similarly “freakish” individualities or abilities. However, this subversion of real-world societal attitudes towards otherness is intermittently disrupted when the reader witnesses the family’s insecurities seeping into their behaviours and thought processes. Perhaps the most pervasive of these opposites is the family’s internal jealousies; sabotage attempts and general animosity, offset by their shared affection; loyalty; and sense of unity. With this as a starting point, I decided to create an additional member of the Binewski family in the guise of a synthetic voice. This voice interacts with the rest of the ensemble who assume roles influenced by the other Binewski’s character traits and erratic behaviours. The quality of the synthetic voice is cold, verging on robotic but simultaneously fallible, unpredictable, out of tune. The existential questioning of the synthetic voice is at odds with some slightly mispronounced, unnatural delivery and a lack of human expressivity, which draws into focus a look at otherness that perhaps dips into the uncanny valley.
Duration: ca. 3’30”
Commissioned by Hebrides Ensemble for Last Lines, a project at the 2019 Edinburgh International Book Festival © 2019 Matthew Grouse. All rights reserved.
Another Binewski Ma hew Grouse (b.1996)
Tense, violent (q = ca. 112) ff manic, agitated
Mezzo-soprano
>œ. 4 & 4 œ^
G.P. *
Œ
Ó
8 4
Ú
>. 4 ^ œ 4œ
Bolt us!
G.P.
Œ
Ó
7 4
∑
2 4
Bolt us!
G.P.
G.P.
4 &4
∑
8 4
Ú
4 4
∑
7 4
∑
2 4
?4 4
∑
8 4
Ú
4 4
∑
7 4
∑
2 4
Synth voice
{ Clarinet in Bb
>œ. 4 & 4 #œ^
G.P. *
Œ
Ó
8 4
Ú
>. 4 ^ œ 4 #œ
G.P.
Œ
Ó
7 4
∑
2 4
ff vicious
scratch slow bow, extreme pressure, sul pont. fingered lightly (in between ord. & harmonic pressure) x-noteheads = sempre sim. G.P.
G.P.
IV
° 4 j Violin & 4 ¿™ -
…* ≈ Œ
Ó
8 4
Ú
… ≈ Œ
Ó
7 4
4 b>œ. œ Œ 4œ œ
Ó
7 4
4 j 4 b¿ ™ -
∑
2 4
ff vicious
II 0
^
^ G.P.
Violoncello
? 4 b>œ. œ *Œ ¢ 4 œœ
Ó
8 4
Ú
G.P.
ff vicious
* - When not playing, stay physically frozen. No sounds or movements should be detectable until the upbeat of each new event.
∑
2 4
2
as one monstrous entity, changing gears senza vib. half pitched (percussive) mp sffz
5
>œ. M-S.
2 & 4 œ^
3 4
Œ
Bolt
us!
the
-œ #œ ˜œ
>œ. Cl.
h '
5 4œ
∑
2 & 4 #œ^
3 4Œ
Œ
Œ
3 8
Ó™
Œ
tr(avelling)
5 4
∑
3 8
…5 4
∑
3 8
5 4
∑
3 8
M
f possibile, very ugly ord. (sul pont.) I II
° 2 Vln. & 4 j b-¿ ™
… ≈
3 4Œ
Œ
11-
Œ
b¿ f possibile on the wrapping, behind bridge
è 3≥ 4 w -¿
^ Vc.
bœœ >.
?2 ¢ 4 œœ
Œ
… Œ
Œ
f possibile, very ugly
=
A scream s.v. f poss. mp
becoming reticent and breathless p
ff
ord.
1> ™ 4J ≈ 4 œ
8
M-S.
ff > œ. ‰ 9 3 & 8 œ^ 16
∑
ah!
the
3
h ‰ hÆ hÆ ≈ hÆ ™ 2 Œ ' J 4
hÆ ™ ≈ J
tr - a - a
a(velling)
-
a
-
3 4
5 4
∑
Bolt us!
>œ. Cl.
3 & 8 #œ^ ff
-œ™ 9 J ‰™ ‰™ 4 ‰ 16 4
∑
2 4
∑
f poss.
œsoftœtonguing3 #œ #œ ‰ ‰ ™ 3 5 #œ r4 4 3 œ ff vicious
pp leggiero
position normale (pos. norm.) flautando I III 3 II I
IV
œ≤ Oœ Oœ O 3 ‰ ‰ ™ œ 45 4 O œO œ R 3 œ 0
… 9 ™ j …™ 4 ° 3 ≈ ‰ 16 ‰ ¿™ ‰ 4 Vln. & 8 j ¿ - b¿ ™ -¿
∑
2 4
∑
pp leggiero
ff vicious
ff
≥¿è ™ … b œ œ 9 ™ ™ w 4 ?3 . ¢ 8 œœ > ‰ 16 ‰ ‰ J 4
flautando III 3 II I
^
0
Vc.
∑
2 4
∑
OO 3 O œO œ œ ‰ ‰™bœœR 5 4Oœ 4 3 œ pp leggiero
ff f poss.
ff vicious
3
ord.
ecstatic unpitched maniacal laughter ff 3
s.v. 3
13
ord. mp sffz
ff
>œ.
>œ. ‰ Ó™ œ^
5 & 4 œ^
M-S.
Bolt us
mp
4 j ‰ ¿ ¿ ¿ Ó 4œ
bolt us!
the
3 4 œ h' ‰ Œ
ha ha ha
Œ
the tr(avelling)
-œ ^ 3 ‰ #œœ œ. ˜ œ > #œ
>œ.
5 & 4 #œ^
Cl.
senza vib.
˙ Œ
4Ó 4
Œ
3 4Œ
Œ
M
o
f poss. pos.norm. senza vib.
ord. (sul pont.) II III
sul pont.
° 5≥ Vln. & 4 j -¿™
… ≈ j -¿
^
^
… ‰
Œ
11-
˙≤ IV
…4 4Ó
Œ
j ¿™ -
… ≈ Œ
3 4Œ
b¿
o
f poss.
3
Vc.
? 5 b>œ. œ ¢ 4 œœ œœ
œ. œ ‰ Œ >
è ≥ w -¿
0
b˙˙≤
4 4
Œ
3 4Œ
∑
o f poss.
= between ecstasy and fear sim.
B scream f poss.
ord.
s.v. mp
ff
ff
1> ™ 12 ‰™ J ‰™ 16
16 3
>œ. ^ & œ≈œ œ '
M-S.
bo(lt) bolt
us
œ œ Œ take us
¿ 3¿ ¿ j 4Ó œ™ 4
ah!
Œ
the
ha ha ha
ord. 3
overblown
^ œ. ≈ & #œ œ œ '
Cl.
5
12 16
œ #œ œ ™
œœ #œ# œ Œ #œ
4Ó 4
∑
¿
ff pp leggiero pp f poss., raucous pos.norm. flaut. III 3 II
sul pont.
≥ IV
3
° Vln. &
≈ ¿ '
-¿ ¿
≈ ¿ ¿ -
… Œ
12 ‰™ ‰™ b-¿¿ ™™ 16 J
¿ ¿
‰ ™ 44 O œO Œ œO œ
Ó
f poss. pp leggiero
ff flaut. III 3
≥ 3
bœ>œ.
? Vc.
¢
œœ ≈ œœ œœ ' -
è ≥ 12 ¿ ™ …‰™ ‰™ 16 wJ
II
0
œœ œœ^ Œ
‰ ™ 44 Œ
O Ó œ O œO œ pp leggiero
f poss. ff
4 outstretched
p gravelly
1> 5 4J ‰ Œ
19
. . ≈ œR -œ ™ œ Œ
ord.
& Ϫ -
M-S.
9 8
hysterical bawling (fear or grief) sim. ff
scream f poss.
gliss.
™
-¿ -¿ -¿ -¿ Œ
Œ
4 4
_™
bolt
us take us
ah
ah!
huh huh huh huh
6
œ. œ. ≈ R -œ™ Œ
& #œ- ™
Cl.
9 Ϊ 8
-œ ™ # Œ™ œ™ ˜œ ™
senza vib.
œ œœ Œ
5 4Œ
˙
4 4
# œ #œ
M
#œ
o
ff vicious pp leggiero
f poss. ord. (sul pont.) sul pont. IV
° ≥ Vln. & -¿™
≥j … ™ ≈Œ -¿
… ‰
11- ™™ 9 8
pos.norm. flaut. 3
I II
Ϊ
5 4Ó
Ϊ
#œO ‰ #œO œ œ œ œ Œ bœ œ œ œ
4 4
f poss. pp leggiero
ff marcato, vicious
ff vicious
flaut.
Vc.
¢
? œ™ œ- ™
… bœœ. ≈ R
œ. œ Œ œœ ™™ -
è ≥
9 Ϊ 8
…™ Œ
Oœ O œ ‰
5 4Ó
Œ
4 4
b œœ œœ œœ œœ
w
-¿ ™
3 pp leggiero
ff vicious f poss.
ff marcato, vicious
=
C scream f poss. s.v. mp
22 ord.
M-S.
ord.
. . ‰ œ œ ‰ œ œ ‰ 43 j ‰ Œ œ
4 & 4 Ϫ bolt
bolt us
take us
Œ
the
4 4 Ϫ bolt
1> ™ . . œ œ 9 ‰ œ ‰ œ ‰ 16 ‰ ™ J ‰ ™ 44 bolt us
take us
ah!
-œ œ. Cl.
4 & 4 #œ- ™
‰ œ
œ. ‰ 43 Œ
‰ œ œ.
ff
Œ
4 4 #œ- ™
‰ œ
9 ‰ 16
‰ œ
4 4
∑
œ.
f poss.
ord. (sul pont.) sul pont. IV
° 4≥ Vln. & 4 -¿™
Vc.
?4 ¢ 4 œœ ™™ -
… ≥j ‰ ¿ -
‰ œ œ
IV
… ≤j ‰ ¿ -
bœœ . ‰
… 3 ‰ 4
œ. œ ‰ 3 Œ 4 œœ
4≥ 4 -¿™
∑
0
… ≥j ‰ ¿ -
w
f poss.
-≤¿ J
11- ™™ 9 J ‰™ ‰™ 4 ‰ 16 4 II III
f poss.
è -≥¿
Œ
III
… ‰
è œ. œ ‰ 9 ‰ ™ ‰ ™ -≥¿ ™ 4 16 4 wJ œœ 0
4 4 œ™ œ- ™ ff
‰ œ œ
bœœ . ‰
f poss.
5
D scream f poss.
26 ord.
M-S.
4 & 4 œ™ ‰ œ bolt
Cl.
œ. ‰ œ
bolt us
>¿. mp sffz Æ .œ ‰ 98 œ h Œ ™
take us
œ. 4 ‰ & 4 #œ- ™ œ ‰ œ
ord. ff
1> . œ. ‰ œ. ‰ œ. ‰ œ. ‰ 12 J ‰ ‰ 5 œ‰ 4œ 16 œ œ œ œ
ha the tra(velling) ah!
-œ ™ #œ ™ ˜œ ™
‰ 98 Œ ™
bolt us
take us
. 5 œ‰ 4 #œ œ
Ϊ
M
bolt us
take us
bolt us
œ. ‰ œ
œ. ‰ œ
œ.
# œ.
‰ œ
‰ 12 16
œ.
ff ff f poss.
I
-≥¿ ™
III
III
IV
IV
-≤¿ ‰ J II
° 4≥ Vln. & 4 -¿™
≥ ‰ ¿j -
-≤ ‰ ¿J
‰ 98 Œ ™
5 4
Ϊ f poss.
≥j -¿
-≤ ‰ ¿J
≥ ‰ j -¿
0
≥ ‰ j -¿
‰ 12 16
ff
ff
Vc.
bœ œ ?4 ‰ œ. ‰ œ. ‰ 98 Œ ™ 4 ™ ¢ œœ ™ œœ œœ -
0
≥è w™ -¿
. . œ. œ‰ œœ. ‰ 12 5 bœ. œ‰ œ œœ ‰ œ œœ ‰ œœ 4œ 16 œ œ œ œ œ
Ϊ
f poss.
ff
ff
=
E ca. 2" Stark, with some freedom (q = ca.55) 29
M-S.
œ. ≈ œ. ≈ œ. ≈ œ. ≈ 12 & 16 œ œ œ œ take us
bolt us
take us
G.P.
4 4
∑
∑
2 4
bolt us
,
12 & 16
4 4 b˙˙
, Ó
,
2 4
˙˙ ˙˙
mp sounding dynamic is always slightly louder
S.Vox. G.P.
? 12 16
4 Ó 4
{
How
œ. Cl.
12 & 16 #œ
œ.
≈ œ
≈ œ
≤ ≈ ¿j -
≥ ≈ ¿j -
bb˙˙ ∑ can
I
2 4
be
œ. ≈ œ
4 4
∑
∑
G.P.
2 4
4 4
∑
∑
G.P.
2 4
4 4
∑
∑
G.P.
2 4
≈
œ. -≥¿ ° 12 J Vln. & 16 I
Vc.
0
IV 0
-≤ ≈ ¿J
≈
. . . ? 12 bœ. œ ≈ œ œœ ≈ œ œœ ≈ œ œœ ≈ ¢ 16 œœ œ œ œ
6
33
M-S.
S.Vox.
2 &4
4 4
∑
∑ , #˙˙
≈ 4 2 ‰ 4 #˙˙ & 4 œœ ™ ™ ≈ 4 ?2 Œ ‰ ‰ 4 4
3 4
∑ ,
4 4
∑
, bœœ ˙˙ J
4 œœ ≈ J ‰ 4
3 ˙ 4˙
b œœ ™™ ∑
∑
3 4 Œ
{
a
Bi
new
-
Œ
≈ 4 ‰ 4
‰
- ski?
2 &4
∑
4 4
∑
∑
3 4
∑
Cl.
4 4
° 2 &4
∑
4 4
∑
∑
3 4
∑
Vln.
4 4
?2 ¢ 4
∑
4 4
∑
∑
3 4
∑
4 4
Vc.
= Processional, stately
F p poss. mp pure and sonorous, answering the synth voice 3
37
M-S.
4 &4 Œ
j‰ œ œ œ What
œ
,
it
mean
,
4 & 4 b˙˙
œœ œ
‰ ‰bœ œ Œ bœ bœ J
œ
does
3
, b˙˙
Ó
to
˙
be
,
,
, ˙˙
, ##˙˙
#˙˙
bb ˙˙
˙
, ˙˙
S.Vox.
?4 4
bb˙˙ ∑
Ó
∑
∑
{
What
does
mean
to
be
one
of
it flz. just air, no pitch
Cl.
>6™ ææJ 4 &4
>6™ æ ≈ Œ æJ ≈ Œ
mp
mp
flz. flz. >6™ non-flz. >6™ Bnon-flz. >6™ ÍÍÍÍÍÍÍÍ > 6™ œ # œ œ ææJ ≈ ææJ ≈ Œ ææJ ≈ ææJ ≈ Œ
flz. >6™ non-flz. ÍÍÍÍÍÍ > 6™ ææJ ≈ ææJ ≈ Œ #œ œ
mp
mp
bis.
pp
mp
mp
pp
mp
bis.
pp
mp
ord. con sord., pos.norm., molto flaut., full bows air / hair sound, no pitch, mute the string with l.h. ord.
partial VII
ord. sul pont. pos.norm.
-31c.
K œo
æ ≤ j ‰ bœOæ -6
0
Vln.
° 4 ≥ &4 j -6
‰
≤ Œ j ‰ bœO -6
"f "
ppp
≥ j‰ Œ -6
≤ ≥ j ‰ j‰ Œ -6 # œO -6
"f "
ppp "f "
ppp
ord. K œo
≥ j‰ Œ -6
≤ j‰ -6 # œO
"f "
ppp
ricochet
∏∏∏∏∏∏∏∏
Vc.
è. . . . . . . . ? 4 YY ¢ 4 YY mp bri le
Ó
∑
∑
∑
7 p poss.
mf
p poss.
mf
41
˙™
Ϫ
Ϫ
œ
& Œ
M-S.
œ
one
of
, ˙ & n˙
,
Ó ##˙˙
S.Vox.
? Ó
‰ œJ
œ J
‰ Œ
us?
,
, b˙˙
b˙˙
,
, b˙˙
b˙˙
∑
∑
{ Please you?
tell
non-flz.
flz.
Bœ æ>6™ J & j ‰ œ pp mp
Cl.
me
what
Bœ ™ œ #œ J #œ #œ
non-flz.
#œ œÍÍÍÍÍÍÍ bis.
3
≈ Œ
Œ b œ bœ
œ œ
I
nœ
pp
soft tonguing 5
nœ Œ
≈ œ nœ œ œ
pp
p p sul tasto
p
p pos. norm. sul tasto K œo
ord.
pos. norm.
sul tasto b Oœ ™™ ≤ j ‰ J ≈ Œ œ -6 œ II
° Vln. & j ‰ Œ œ
sul pont.
œ œ™ n œ nœ J œ nœ
<n> œ bœ bœ
bœ œ bœ # O œ 3
Œ
bœ
≈
5
p
ppp
p
ppp
p
ppp
"f " vib. larghi slow bowing
? ΠVc.
≥≤™ ≥≤ ˙ &
œ
¢
senza vib. poco scratch
vib. larghi pressure ord.
] …‰ Œ J
œ
ppp timid and vulnerable
senza vib. vib. larghi poco scratch pressure ord.
Ϫ
]
œ
J
mp
ppp
… œ ‰ J mp
ppp
= f
44
< q = q. > 3
œ
˙
gliss.
#œ
œ
Œ
∑
6 8
œœ
Œ
∑
6 8 6 8
œ #œ nœ
&
M-S.
li - sten
, ˙˙ ∑
˙ & ˙ ?
S.Vox.
, ##˙˙ ∑
∑
{ need
to
do
do
non-flz.
ÍÍÍÍÍÍ bis.
flz.
Cl.
#œ >6™ & æJ ≈ mp
œ
Bœ œ ‰™ R o
pp
œ≤o ™ ° J ≈ Œ Vln. & o mp
flz. bis.
mp
ÍÍÍÍÍÍÍÍÍÍ
non-flz.
>6™ æ ≈ J
œ œ™ œ ‰ J J o mp
œ œ™ ‰ J J ≈ o mf
≈ Œ
pos.norm.
Œ # œO o
s.t.
≥ j ‰ Œ -6
≈ Œ
6 8
Œ
6 8
s.p. pos.norm.
‰ œj o
≥ j ‰ Œ -6
œ
mp
molto flaut., full bow, air / hair sound, no pitch, mute the string with l.h. I
œ
˙
-≤j ‰ Ó6
mf "f "
senza vib. poco scratch
Vc.
>6™ æJ
œo
"f "
˙™
flz.
… Œ ]
¢&
?
-≤6 J ‰ Œ
mf "f "
-≤6 J ‰
Œ
6 8
G 8
Burning, aching (q. = 55) 47 mp f
6 & 8 Ϊ
M-S.
œ
bœ J
us
to
Ϫ
œ J
œ
Ϊ
bϪ Bolt
your
,
6 & 8 b˙˙ ™™ S.Vox.
, b˙ ™ ˙™
f
? 6 b˙˙ ™™ 8
™ b˙˙ ™
{
Who
, ™ bb˙˙ ™ bb˙˙ ™™
am
I?
senza vib., like a stuck loop
-œ Cl.
-œ
œ J
6 & 8 #œ-j
‰
‰
j #œ-
‰
j œ-
-œ
œ J
‰
‰
j #œ-
‰
j œ-
œ J
‰
‰
œ J
‰
‰
mp sempre
con sord. senza vib., like a stuck loop
° 6 j -œ Vln. & 8 œ mp sempre
-œ
œ J
‰
-œ
œ J
‰
ord. ord.
ϲ
poco scratch
Vc.
?6 ¢ 8‰
≤ ‰ bœj œ ™ o molto espr.
… ‰
?
Ϫ
bœ J
œ
B
‰
] o ff
= mp leggiero
50
&
M-S.
bœ œ œ
œ œ œ
‰
tra - ve - lling
j œ ‰
tra - ve - lling
œ J
œ
œ bœ bœ bœ
to
S.Vox.
Ϫ mp
f
what?
-œ & #œ-j
° j Vln. & œ -
-œ
™ b˙˙ ™
am
œ J
‰
‰
œ J
‰
‰
j œ #œj œ œ-
, b˙ ™ ˙™
™ b˙˙ ™
What?
Cl.
, b˙ ™ ˙™
{
Ϊ
your
, & bb˙œ ™™ ? bb˙˙ ™™
œ
I?
œ J
‰
‰
œ J
‰
‰
j œ #œj œ œ-
œ J
‰
‰
œ J
‰
‰
sul pont. pos.norm. sul pont.
B <b> œ
œ J
œ J
?
‰
Vc.
¢ ff
j bœœ o
˙˙ ™™
œœ ™™
‰ œœ ff
9 ff
53 (e + q. + e) non dim.
3 b œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ &
M-S.
œ™ bœ œ
tra - ve- lling tra - ve- lling tra - ve- lling tra - ve- lling tra - ve - lling
ma
œ -
-
, & bb˙˙ ™™ b ˙™ ? b˙ ™
S.Vox.
Ϫ chine
-
, ™ bb˙˙ ™
, #˙˙ ™™ n#˙˙ ™™
bb˙˙ ™™
{ Am
I
-œ & #œ-j
Cl.
° j Vln. & œ -
-œ
-œ
œ J
‰
‰
j #œ-
œ J
‰
‰
j œ-
-œ
≤ bœ™ Vc.
? Œ™ ¢
you?
œ
œ J ‰
œ ‰ J
bœ œ J
B
‰
j œ #œ-
œ J ‰ ‰
‰
j œ œ-
œ ‰ ‰ J
œ œ J J
œ
œ œ J J ‰ ‰
3
o ff
=
H p f
56
& Ϊ
M-S.
‰
‰
Ϫ
œ J
œ ‰
∑
and
, & #˙˙ ™™ ? bn˙˙ ™™
S.Vox.
, #˙˙ ™™ ##˙˙ ™™
, #˙˙ ™™ ##˙˙ ™™
{ Are
we
-œ & #œ-j
Cl.
° j Vln. & œ -
-œ
us?
-œ
œ J
‰
‰
j #œ-
œ J
‰
‰
j œ-
-œ
-œ
œ J
‰
‰
j #œ-
œ J
‰
‰
j œ-
-œ
œ J
‰
‰
œ J
‰
‰
vib. larghi
œ
Ϫ
˙™
B ∑
‰ &
Vc.
¢ p
ff
10
p
p f
59
M-S.
Ϫ
œ & ‰
™ ‰ ‰ œJ œ
œ ‰ ‰ Œ™ J
take
˙™
us
, & #˙˙ ™™
, #˙˙ ™™ bn˙˙ ™™
S.Vox.
? #˙˙ ™™
, #˙˙ ™™ ##˙˙ ™™
Ϊ
œœ ™™ œœ ™™
Ϊ
{ Can
I
-œ j Cl. & #œ -œ ° j Vln. & œ -
love?
j œ #œj œ œ-
œ J ‰ ‰ œ J ‰ ‰
j œ #œj œ œ-
œ J ‰ ‰ œ J ‰ ‰
-œ œ j J ‰ ‰ #œ -œ œ j ‰ ‰ J œsenza vib. scratch
Vc.
Ϫ
‰ ‰ œJ
™ ¢& Œ
bœ J
œ
œ J ‰ ‰
poco scratch
¿ ¿™ J
œ
œ J ‰ ‰
] ™ ?
Ϊ ppp
p
ff
= f
p
senza vib. ugly belly voice ff raucous
mf
ord. mp
63
Ϫ M-S.
œ j J ‰ ≈ bœ œR
&
œ bœ œbœ J J
take
us
, & ˙™
bœ œj œ ™
œ ‰ Œ œj >
on the
Ϫ
Ϫ
j œ œ
Ϫ
œ ‰
road
, ˙™
Ϫ ,
#˙ ™
,
,
#˙ ™
n ˙˙ ™™
˙˙ ™™
mp
f
˙˙ ™™
˙ ™™ ˙
˙˙ ™™
feel?
What
is
˙˙˙ ™™ ™
S.Vox.
? ˙™ ˙™
˙˙ ™™
{
Do
Cl.
I
-œ œ ‰ & #œ J
-œ œ ° ‰ Vln. & œ J
˙˙ ™™ feel?
bb˙˙ ™™ hurt?
-œ œ -œ œ -œ œ -œ œ -œ œ J ‰ J ‰ J ‰ J ‰ #œ #œ #œ #œ #œ J ‰ -œ œ -œ œ -œ œ ‰ ‰ œ J œ J œ J ‰
-œ œ -œ œ ‰ œ J œ J ‰
-œ œ #œ J ‰ -œ œ œ J ‰
ad lib. trill speed expressively pressure ord. partial VII -31c.
Ke &˝ (
Vc.
)
> ? #O ™ O ‰ ¢ œœ ™ œ ™ œœ œ ™ > fp mf
> œœ™™ œO ™™ œœ œO ‰ ≤ ‰ œ > o f fp mf
>œ≥ ™ œ™ fp
œœ™™
œœ ‰
>œ ™ œ œJ œ ‰ œœ™™ œœ >
b >Oœ ™™ œ œ b R ≈ Œ™ fp
f fp
mf fp
mf
11
I f non dim.
70
mf
>œ j ™ & Œ #œ
M-S.
˙™
p
mp
œ™ ‰‰ j œ
a- gain
œ ™ bœ ™
bolt
,
j œ bœ œ ™
us
,
j œ ‰ ‰ ‰ bœ
˙™
take us
,
,
us
,
,
,
,
Œ™ & œ ™ œœ ™™ mp ? bœ ™ Œ ™ b œ™
S.Vox.
˙™
˙™
Ϫ bϪ
Ϫ
{
hurt?
˙ ™™ ˙
˙˙ ™™
™ ™ bbœœ ™ œœ ™
Do
you
know
™ bbœœ ™
˙™
œœ ™™
n˙ ™ ˙™
™ bb˙˙ ™
a
-œ œ -œ œ -œ œ J ‰ J ‰ ‰ #œ #œ #œ #œ J
& #œ ‰ Œ ™
-œ œ -œ œ ‰ ‰ œ J œ J
° ™ Vln. & œ ‰ Œ
-œ œ ‰ œ J œ
> senza vib. > O ™™ œ œO ™ œ œ ™ œ™ œ ‰ œ ™ œO ™ œ œO ‰ #œ ™ œ™ œ™ œ > > p
sul pont.
Vc.
˙™
me Am
Cl.
Ϫ f
I
Bin
-
-œ œ -œ œ -œ œ J ‰ #œ J ‰ #œ J ‰ -œ œ -œ œ -œ œ ‰ ‰ ‰ J œ J œ J
pos.norm.
?b<b>Oœ Oœ Œ ™ ¢ J
vib. larghi
b˙ ™ Œ™ B
mf fp
‰ Œ™
#œ ™ mf
fp
œ
ff
ppp
f
mf
=
77 p
& <b>˙ ™
M-S.
œ
‰ Œ™
‰ ‰ ‰ bœj
˙™
œ
˙™
˙™
˙˙ ™™
˙˙ ™™
us
, & ˙™
˙™
S.Vox. mp
? n˙ ™ ˙™
™ bb˙˙ ™
ew
-
-
-œ œ J
-
-œ œ J
‰
& #œ
Cl.
ski?
‰
#œ -œ œ J
° Vln. & œ
‰
‰ œ
senza vib.
Ϫ
Ϊ
¢ ppp
‰
-œ œ J
‰
‰
œ
pizz., laissez vibrer
Ϫ
Vc.
-œ œ J #œ
-œ œ J
œ
‰ bœ
‰
#œ -œ œ J
vib. larghi
B
-œ œ J
?
∏∏∏∏∏∏∏
{
˙ ™™ b b ˙˙ ™
mf mp
∑
12
J 81 p delicately, sempre non dim.
Ϊ
& Ϫ
M-S.
bœ ™
take
Ϊ
Ϊ
bœ ™
us
on
∑
∑
∑
∑
∑
∑
& S.Vox.
?
{ -œ J
‰
& #œ
Cl.
-œ J
œ
œ ‰
#œ
-œ J
œ
-œ J
œ
Oϲ J o
Oœ
‰
#œ
p sempre
-œ J
° Vln. & œ
-œ J
œ ‰
œ ‰
œ
‰
œ
p sempre
arco
Vc.
? ¢ ‰
Oœ≤ ‰ ?J o
Oœ ‰
‰
≤ bb Oœ ‰ J o
Oœ ‰
mp
‰
‰
‰
mp
mp
=
84
Ϊ
& bœ ™
M-S.
Ϊ
j œ
Ϫ
the
road
‰
a(gain)
Ϊ
‰ -
-
∑
∑
∑
∑
∑
∑
-
& S.Vox.
?
{ -œ J
‰
& #œ
Cl.
-œ J
œ
Ϫ
œ J
‰
‰
Ϊ
œ J
‰
‰
Ϊ
≥ bb Oœ J
‰
‰
Ϊ
#œ non dim.
° Vln. & œ
-œ J
-œ J
œ ‰
Ϫ
œ non dim.
? ‰ Vc.
¢
≤ bb Oœ ‰ J o
Oœ ‰ mp
‰
‰
Oϲ J o
Oœ ‰ mp
p
Glasgow, July, 2019