Daily Rituals - for soprano, clarinet, harp, double bass and electronics [2019] by Matthew Grouse

TRANSPOSED FULL SCORE

MATTHEW GROUSE

Daily Rituals for amplified quartet and fixed media

(2019)

Daily Rituals

TRANSPOSING SCORE

for sopra no, clari net , harp , do ub le bass and f ixed media

(2019)

Composer’s Note: I started writing Daily Rituals at a time when I was regularly thinking about the proportion of my everyday life made up of relatively mundane, recurrent physical or social behaviours that often feel entirely automatic. As well as my own routine, the piece draws upon the routines and rituals of friends and colleagues; the impact that certain behavioural reflexes can have on conversational sincerity; and comparisons between the repetition involved in instrumental / vocal praxis and the ordinary happenings that occur at work, on transport or when we procrastinate.

Stage setup: . It is pivotal that music stands are positioned as to avoid obscuring the audience’s view / experience of any physical actions or facial expressions employed in the performance.

. The harp should be positioned centrally and in such a way that each performer’s contribution to movement III is easily observable by the audience.

Notation: Accidentals:

¼ sharp

¾ sharp

¼ flat

¾ flat

. Quartertones are notated in the following way: . An accidental preceding a note only applies to the octave in which it is written. A further accidental is required for a note of the same pitch class in a different octave. . Microtones smaller than a quartertone are differentiated by the use of accidentals with arrows: . During loops section (rehearsal marks A, B, C) an accidental holds good across a whole system.

Physical Actions / Movements: Physical actions are notated as icons / graphics OR boxed text attached to / above rhythmic stems

Repetitions of any given action should be as homogeneous as possible, other than in their speed. After completing each action, immediately return to a neutral facial and bodily position.

Emojis: Emojis are used to direct dramatic changes to facial expression and demeanour. These should be conveyed as hyperbolic realisations of everyday emotions like surprise and awkwardness. This emoji is used to direct an abrupt change to a completely neutral / deadpan facial expression and demeanour. The soprano’s facial expressions from bars 146 range from a slight insincere smile to a maniacal grimace. When the directive ‘maintain’ is used, you should try to maintain the facial expression and shape while uttering your lines (it will become more and more difficult to clearly express the words).

Dynamics: Dynamics in quotation marks are to be interpreted as a directive for the intensity of a gesture. The sounding result may be unstable or considerably quieter / louder than the given dynamic traditionally suggests. In other words, aim for this dynamic.

Clarification of techniques and non-standard notation (general): Move gradually and smoothly from one technique indication to another, for example, from ord. to sul pont. OR from one facial position to another. Abruptly stop all sound. Make efforts to reduce the decay time of the previous note as much as possible (this may be stopping the bow on the string OR in the case of the half bass clarinet, abruptly closing off all keys)

The arrow noteheads denote the highest or lowest possible note OR alternatively, an approximate, incredibly high or low note. A flared hairpin from niente to an unspecified dynamic means that there should be an incredibly short and sudden dynamic push right at the end of a note (almost like a sforzando) the amount of which is at the performer’s discretion. At certain points, the peak of the short swells will be specified with a resultant dynamic. retur(n)

Singing: 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.

All other techniques and non-standard notation will be elaborated upon within the body of the score.

Soprano: Accessories: smart-phone; earphones. A square notehead refers to free speech (speak the lyrics freely over the course of the notated duration. Slight spill over is fine). This should be uttered as if part of ‘everyday’ speech. The mood and inflection should be adjusted accordingly depending on the text and extra instructions. Bar 10. The graphic attached to the note stem directs you to glissando freely as if exclaiming that the food you are eating is delicious. retur(n)

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.

Clarinet in Bb (doubling half bass clarinet in Bb and voice): Accessories: smart-phone; mug half filled with water; superball stick (shared with harpist). For the duration of the first movement, a ‘half’ bass clarinet is used. Only the upper half of the clarinet is used (mouthpiece, barrel and first joint). The clarinet is plugged/cut off at the end of first joint by the right hand or a bottle cork. All tone holes are covered with fingers. When directed, you will then open certain keys to produce high pressure bursts of air (with 3 varying degrees of pitch / air noise). When all holes of the clarinet are closed it is not possible to blow through the instrument, when one hole/key opens, the air stream exits through that hole/key alone. Start and end each airstream very abruptly, by opening and closing the notated keys. When 'ord.' is used, it means as much of the notated pitch(es) as possible should sound. Video and sound examples of this technique can be seen at the below link: https://heatherroche.net/2016/05/29/upper-joint-stopped-air-technique/ Thanks to composer Johan Svensson for developing this technique and to clarinettist Heather Roche for breaking it down in her blog post.

Harp (doubling voice): Accessories: highball style glass tumbler; superball stick (choose a size that is most effective for you. This is also shared with the clarinettist); bow hair detached from a bow; blu-tac; smart-phone Affix blu-tac to the following 5 strings in advance of the piece. The blu-tac should be positioned where one would play the octave harmonic.

. Dynamics under the upper stave only apply to that stave while dynamics between the bottom and middle stave apply to both the soundboard and the lower stave.

Harp (continued): . The glass tumbler should be a ‘highball’ style glass with no ridges. When pressed horizontally should cover between a minor 6th and perfect 11th.

Glass tumbler notation. The lower circle of the ‘cluster’ notation specifies where the tumbler should be placed (in this example the lowest string touched by the tumbler is an A). . Tumbler glissandi. Hit the glass against the strings and immediately slide along the strings without changing the interval covered by the tumbler (this should be pitched). If the arrow attached to the cluster points downward, start the tumbler on the strings closer to the soundboard and slide up towards the neck (lowering the pitch). If the arrow points upwards, do the reverse of this. Video examples of sounds using the super ball stick can be found at the below link: Superball rub on soundboard and on the string: http://sites.siba.fi/web/harpnotation/manual/accessories/super-ball-stick Près des Chevilles (use the superball stick rather than the finger): http://sites.siba.fi/web/harpnotation/manual/plucked-sounds/pres-des-chevilles

Double Bass (doubling voice): Accessories: smart-phone . Natural harmonics (as well as all other material) are notated at transposing pitch (sounding an octave higher than written) . A natural symbol with a downwards pointed arrow attached denotes the 7th partial of the harmonic series (31 cents flat) . Position norm. (pos.norm.) is used separately from ord. and only refers to where on the string you should bow. Ord. is used to cancel another technique such as col legno or scratch tone

Pre-loaded audio for smart phones: In the sections labelled ‘Procrastination 1, 2 and 3’. Members of the ensemble are required to trigger pre-loaded audio files on their smart-phones. This should convey the illusion of scrolling on social media, playing a video and then stopping it after a short time. The only pre-loaded audio to be played on a phone that should NOT be heard by the audience is the soprano’s ‘pre-loaded audio 1’, which should instead be listened to through earphones to give the starting pitch of movement II. Individual audio files will be provided by the composer.

Pre-recorded audio / laptop performer: Pre-recorded audio should be triggered by a separate performer using QLab. The patch and all relevant audio files will be provided by the composer. Alternative software can be used to cue audio such as Max (Cycling ’74). circled, bold numbers refer to exact, rhythmic cue points (these include new audio cues and points where an audio cue is manually stopped).

Amplification: The ensemble should be amplified until movement III. and what do you do after that?, at which point, only the harp should be mildly amplified. A balance should be sought so that the ensemble is never overwhelmed by the pre-recorded audio and vice versa.

Duration: ca. 15’ D ail y R itual s wa s c omm issio ne d b y ‘ The N igh t W ith …’ a nd pre m ie red by Th e He rme s E x pe rimen t in Gla sgo w, in No vemb e r 2019 . © 2019 Matt he w Grous e. A ll rights rese rved .

Transposing score

Daily Rituals - I. autopilot Matthew Grouse (b.1996)

Fast, rigid (q = ca. 140) ff

>. œ J

Soprano

° 3 ¢& 4

Half Bass Clarinet in Bb

3 &4

∑

5 4

∑

Harp

3 &4 ? 43

3 4 3 4 3 2

‰

Get

{

‰

round

∑

°? 3 ¢ 4

Double Bass

4 4

‰

∑

= Asynchronous, gelatinous, morphing and evolving

A ca.60"

q = ca. 65, independent tempo (avoid alignment) - 1 loop = ca. 16" animated in a natural way for each utterance, always returning to a netural / deadpan demeanour between gestures awkward cough / clearing throat (unpitched) hail bus (side on)

train door open button

train hand hoop

as if bumping into someone

2 relax to neutral

mf chirpy

3x full loops, then on 4th loop stop at the double barline and move on

>. (h) laugh

4 & ™™4

Sop.

‰ 45

Œ Œ 6

(q) Mor Hi Mor He

ning! ya! ning! llo!

eh eh eh eh

J ‰ Ó 42

™™

)

¿J ¿

(q) 1.) 2.) 3.) 4.)

Œ J ‰ 44 Œ

6 6 O. (q)

(q) could I get an all day ticket please? could I could I get an all day please? just a retur(n), sorry, an all day how much is a bus pass for the month?

hm hm hm hm

sor - ry watch out 'scuse me

(huh) (huh) (huh)

-------------

q = ca. 50, independent tempo (avoid alignment) - 1 loop = ca. 22" non-ﬂz., ord. ﬂz., air (A.) A.

O™ BO ™ 5 & ™™4 M˙™ o

B. Cl.

, æ … 3 B¿ Œ 4

… ord. A.j ord. A. ord. 2 j ≈ B¿ ¿ œ œ B¿ œ 4 #¿ ™ # œ ™

4 B˙ ™ 4 o

o p

p "mf "

p "mp"

keep looping until cued by sop.

™™

∑

q = ca. 60, independent tempo (avoid alignment) - 1 loop = ca. 18" circular motions with glass rim (q) (h) gliss.

gliss.

(h)

keep looping until cued by sop.

- rotations accel. from q - x I

3 & ™™4

… J ‰ Œ Ó

3 2‡

∑

…

3 4Œ ‰ ‡

gliss.

Hp.

rub (r.) 3 2 Œ ‰ œJ ˙ 3 Ó 2œ Œ

3 / ™™4 ppp∑ A3 F ? ™™¡ 4 ˙™

{

7 8‡

œ Œ

‡

3 4

∑

™™

7 8

∑ ord. A?p.d.l.t œ™ œ 7 3 p.d.ch.¿ Œ ª &4 #œ 8 ¿

∑

prés de la table

prés de chevilles

‰ 58

∑

5 8 ∑ A p.d.ch. ¿™ 5¡ Œ &8 ¿

l.v.

™™ ™™

drag from slow to fast

(as pitched as possible)

q = ca. 80, independent tempo (avoid alignment) - 1 loop = ca. 13" ﬂautando pos.norm. poco scratch ord., ≤o sul pont. K œ™ ≤œ™ (half pitch) pos.norm. 1 o ≤o sul pont. O ÆJ 3 ≥ K ≈ œ™ ≤ ≤ b œ œ 5 4 J j J ? R 3 ™ œ # ¿ ™ Œ ≈ J ≈ ≈ ≈Œ ‰ ‰ Œ ‰ ™ ?˙™ 8 ææ æ 4 & ™2 œœœ & Oœ ™™ --o o o o o mp p o ppp ppp I

keep looping until cued by sop.

III

Db.

2 4 ∑ ™™

never louder than mp

1 quiet, evolving synthetic texture (arrhythmic)

Audio A.P. playback

œ /

X ppp

Fast, rigid (q = ca. 140) vib. ord.

ff 6

attacca Sop.

>. ! 43 œ

° ¢&

some

>. œ

>œ

thing

heal

>œ -

ìX

… ! Œ

ìX

thy

when you reach the rest in the following bar, stop abruptly wherever you are in the loop

B. Cl.

3 4

when you reach the rest in the following bar, stop abruptly wherever you are in the loop

3 4

3 4 3 4

Hp.

{

… ! Œ … ! Œ … ! Œ

ìX ìX ìX

when you reach the rest in the following bar, stop abruptly wherever you are in the loop

Db.

°? ¢

3 4

… ! Œ

ìX

3 4

A.P.

í ! Œ

ìì X

= procrastination 1 ca. 15"

(this means starting your procrastination slightly later than the others) relax to neutral ca. 2"

Sop.

° ¢

nonchalantly retrieve mobile phone from pocket. Check something (e.g. e-mails, texts, social media, weather) then put the phone away again.

make sure everyone is ready to move on, then proceed with as little gap as possible (cued by clarinet)

! U

7 8

silent

TAKE STANDING POSITION

B. Cl.

nonchalantly retrieve mobile phone from pocket. Check something (e.g. e-mails, texts, social media, weather) then put the phone away again.

TAKE SEATED POSITION BEFORE CUEING NEXT SECTION

! U

5 4

silent

3 4

& Hp.

put down glass tumbler and super ball mallet. Nonchalantly retrieve mobile phone from pocket. Check something (e.g. e-mails, texts, social media, weather) then put the phone away again and retrieve glass and mallet.

! U ? 43

{

& silent

Db.

° ¢& X

nonchalantly retrieve mobile phone from pocket. Check something (e.g. e-mails, texts, social media, weather) then put the phone away again.

silent

! U

3 2

Asynchronous, gelatinous, morphing and evolving

B ca.42" q = ca. 65, independent tempo (avoid alignment) - 1 loop = ca. 14" wipe sweat from brow

double bicep curl

as if asked a question with a mouth full of food

blowing on spoon

holding cutlery sip

mp Sop.

& ™™ 87 Œ

delicious ™ 3x full loops, then move on 5 J ™ ‰ 3 ‰ ‰ OJ ≈ OJ ™ 7 ∑ 2 ‰ Œ ™™ ≈ j ‰ 16 4 16 4 6™ O 3 6J (air sound)

Œ™ ‰ J ‰ O 3 (q)

mmm

(tired exhale)

q = ca. 60, independent tempo (avoid alignment) - 1 loop = ca. 18" non-ﬂz., ord. ﬂz., A. A. keep looping until cued by sop.

O™ B. Cl.

BO ™ 5 & ™™4 M˙™ o

, æ … 3 B¿æ Œ 4

… ord. A.j ord. A. ord. 2 j ≈ B¿ ¿ œ œ B¿ œ 4 #¿ ™ # œ ™

4 B˙ ™ 4 o

o p

p "mf "

p "mp"

™™

∑

q = ca. 70, independent tempo (avoid alignment) - 1 loop = ca. 15" circular motions with glass rim (q) (h) gliss.

gliss.

(h)

keep looping until cued by sop.

- rotations accel. from q - x I

3 & ™™4

… ‰ Œ Ó J

3 2‡

∑

… 3 4Œ ‰ ‡ Œ

pp r. 3 2 Œ ‰ œJ ˙ 3 2œ Œ Ó

gliss.

3 / ™™4 ppp∑ A3 F ? ™™¡ 4 ˙™

{

7 8‡

œ Œ 43

‡

∑

Aª ? œ™ œ 7 #œ 8

∑

p.d.l.t ord.

p.d.ch.

Œ &4

∑

™™

7 8

∑

‰ 58

5 8 ∑ A p.d.ch. ¿™ 5¡ Œ &8 ¿

l.v.

™™ ™™

drag from slow to fast

q = ca. 90, independent tempo (avoid alignment) - 1 loop = ca. 12" ﬂaut. pos.norm. poco scratch ord., ≤o sul pont. K œ™ ≤œ™ (half pitch) pos.norm. 1 o ≤o sul pont. O Æ 3 ≥ K œ™ ≤ ≤ 5 bæœ œ œ ‰ 4 #¿ ™ ‰ ? Œ R J‰™ ? J j J 3 ™ Œ ≈ J ≈ ≈ ≈Œ ™ 8æ æ 4 & 2 œœœ ˙™ --- & œO ™™ o o o o o mp p o ppp ppp I

III

keep looping until cued by sop.

Db.

2 4 ∑ ™™

never louder than mp

3 quiet, evolving synthetic texture (arrhythmic)

A.P.

X ppp

Fast, rigid (q = ca. 140) vib. ord.

attacca ff 15

Sop.

° ¢&

3 . !4 œ

3 œ.

prac - tis

œ. -

ing

œ.

3 œ.

prac - tis

œ. -

ing

œ œ

prac - tis - ing

for

ìX

sim.

B. Cl.

3 4

… ! Œ

{

3 4 3 4 3 4

… ! Œ …Œ ! … ! Œ

°? sim. ¢

3 4

… ! Œ

ìX

sim.

& /

Db.

ìX ìX ìX

ìX

í ! Œ

3 4

A.P.

ìì X

procrastination 2 ca. 30" make sure everyone is ready to move on, then proceed with as little gap as possible (cued by clarinet)

relax arms to neutral ca. 2" Turn so you're facing offstage left.

Sop.

° ¢

! U 58

U X

Begin slow neck stretches. 1.) slowly look over right shoulder, then back to centre 2.) same again but to the left 3.) slowly look down and then back to centre 4.) same again but looking up 5.) after ca.25" turn to face audience again

pre-loaded audio 1 (ca.5")

B. Cl.

& Hp.

{

nonchalantly retrieve mobile phone from pocket. Open pre-loaded audio 1 ready to play. After 15-20" of pretend 'scrolling', press play on ﬁle then put your phone away when it stops.

today we are going to be making our fantastic sticky, ginger tofu ...

! U 45

3 4

stand up, facing offstage right, move until the audience have an uninterrupted side-on view of you. Stretch as if you've been sat at a desk for a long time. 1.) slowly reach for your toes and back to neutral 2.) interlock hands behind you to stretch back, pulling shoulders back, and then back to neutral (repeat sequence if needed) 3.) assume original position at the harp by ca. 25"

3 4 pre-loaded audio 1 (ca.4")

° Db. ¢& X

nonchalantly retrieve mobile phone from pocket. Open pre-loaded audio 1 ready to play. After 5-10" of pretend 'scrolling', press play on ﬁle. When it stops, keep 'scrolling'. Put your phone away at ca 25".

using electrical muscle stimulation or 'EMS' technology ...

3 ! U2

A.P.

∑

Asynchronous, gelatinous, morphing and evolving

C ca.22" q = ca. 65, independent tempo (avoid alignment) - 1 loop = ca.11 straighten / adjust posture hands on diaphragm, breath control

mp p

lip trill

(q.)

p Sop.

f 1æ æJ (

™ & ™™ 58 #œ- œ- œ-j (q.)

hum mum hum

)

(q) 5 ™ 5 3 # œ ‰ œ œ Œ Œ ™™ # œ œ œ 4 # œ # œ œ œ œ ææj 16 8 #œ #œ # œ œ œ #œ (q) ee do mi re fa mi sol fa ti sol

2x full loops, then move on

(humming warmup)

q = ca. 70, independent tempo (avoid alignment) - 1 loop = ca. 15" non-ﬂz., ord. ﬂz., A. A. keep looping until cued by sop.

O™ B. Cl.

BO ™ 5 & ™™4 M˙™ o

, … æ 3 B¿ Œ 4

… ord. A.j ord. A. ord. 2 j ≈ B¿ ¿ œ œ B¿ œ 4 #¿ ™ # œ ™

4 B˙ ™ 4 o

o p

p "mf "

p "mp"

™™

∑

q = ca. 80, independent tempo (avoid alignment) - 1 loop = ca. 13.5" circular motions with glass rim (q) (h) gliss.

gliss.

(h)

keep looping until cued by sop.

- rotations accel. from q - x I

3 & ™™4

… J ‰ Œ Ó

3 2‡

∑

…

3 4Œ ‰ ‡

gliss.

Hp.

r. 3 2 Œ ‰ œJ ˙ 3 2œ Œ Ó

3 / ™™4 ppp∑ A3 F ? ™™¡ 4 ˙™

{

7 8‡

œ Œ 43

‰ 58 ‡

∑

Aª ? œ™ œ 7 #œ 8

∑

5 8 ∑ A p.d.ch. ¿™ 5¡ Œ &8 ¿

p.d.l.t ord.

p.d.ch.

Œ &4

™™

7 8

∑

l.v.

™™ ™™

drag from slow to fast

q = ca. 100, independent tempo (avoid alignment) - 1 loop = ca. 10.5" ﬂaut. pos.norm. poco scratch ord., ≤o sul pont. K œ™ ≤œ™ (half pitch) pos.norm. 1 o ≤o sul pont. O 2 ÆJ 3 ≥ K œ™ ≤ ≤ 5 bœ œ 4 R ‰™ ? Œ & ™™ 23 Œ J ≈ J ≈ œOj™™ ≈ J ≈Œ 8 ææ æ œ ‰ 4 #¿ ™ ‰ ?œœœ ˙™ --- & o o o o o mp p o ppp ppp I

keep looping until cued by sop.

III

Db.

2 4 ∑ ™™

never louder than mp

5 quiet, evolving synthetic texture (arrhythmic)

A.P.

X ppp

Fast, rigid (q = ca. 140) vib. ord.

attacca ff Sop.

° ¢&

3 !4 œ

cur

tail

thoughts you're

œ œ not

œ do - ing

ìX

e - nough

PUT DOWN CLARINET TAKE STANDING POSITION

B. Cl.

… !Œ

3 4

ìX

sim. PUT DOWN TUMBLER AND SUPER BALL STICK TAKE STANDING POSITION

& Hp. Hp.

{

3 4 3 4 3 4

… !Œ …Œ ! … !Œ

3 4

… !Œ

ìX ìX ìX

sim.

Db.

°? ¢ sim.

ìX

í Œ

3 4

A.P.

ìì X

= procrastination 3 ca. 45" stop abruptly when the bassist's phone stops sounding and freeze for a short time relax to neutral ca. 2"

≈ f4 TO ORIGINAL ! í î RETURN 4 POSITION, REMOVE stop!

Sop.

° ¢

U X

1.) Pick up and insert ear phones, then connect to mobile phone 2.) Slowly lie down on your back, head pointing toward offstage left. 3.) Find a comfortable position, press play on pre-loaded audio 1 and stay there for 20", looking at the ceiling. Mood is neutral.

EARPHONES

( pre-loaded audio 1 gives you your starting pitch for mvt. II )

* If lying down is not feasible in the performance space, step forward into a new spot, turned ever so slightly away from facing audience

B. Cl.

Put down clarinet, pick up mug (ﬁlled with water). Turn in chair so you're facing the audience. Transﬁxed, as if watching the audience like they're a television, take intermittent sips from the mug (not audible). DON'T react to the 'television'.

Turn so you're facing offstage left. Begin slow neck stretches. 1.) slowly look over right shoulder, then back to centre 2.) same again but to the left 3.) slowly move chin to chest and then back to centre 4.) slowly look up / rest back of the head on neck, then back to centre 5.) slowly stretch right ear to right shoulder, then back to centre 6.) same again but to the left

Hp.

stop!

TO SEAT AND TAKE 4 4 ! í î BACK Bb CLARINET

4 4 stop!

TO SEAT BUT ! í î BACK WITHOUT ACCESSORIES

4 4

{

& Repeat cycle if needed

pre-loaded audio 2 (ca.3")

Db.

° ¢& X

A.P.

nonchalantly retrieve mobile phone from pocket. Open pre-loaded audio 2 ready to play. Pretend 'scrolling' for ca.40".

Uh now, Gwyneth Paltrow, you found fame very early on ...

!íî

î ggggggg

4 4

gggggggggggggggggggggg

D II. Verisimilitude All singing is notated at concert pitch

Monotonous, uniﬁed and at a speed akin to moderate speech, (q = ca. 90) senza vib., unenthused

1 fffff

° 4 mf Soprano Sop. ¢& 4 œ œ ˙

Œ 43 œ œ œ œ œ œ œ Œ 44 Ó

Oh hey

fan-cy bum-ping in to you

3 5 j ‰ 7 r ™ ™ Œ ‰ œj 16 8 ™ œ œ œ œ¿ ‰ Œ '

Yea,

ﬁne

2 4

how are you ge(tting)

Sung senza vib., unenthused

Clarinet in Cl. Bb

4 &4

∑

4 4 œ œ œ œ œœ œ Œ 4 Ó

5 œ™ ‰ 7 œ œ œ ¿Æ ‰™ Œ ™ Œ ‰ œJ 16 8 J R

2 4

fan-cy bum-ping in to you p

Yea,

ﬁne

how are you ge(tting)

Sung

4 Harp Hp. { & 4

∑

3 senza vib., unenthused 4 4 œ œ œ œ œœ œ Œ 4 Ó fan-cy bum-ping in to you p

3 5 j ‰ 7 r ™ ™ Œ ‰ œj 16 8 œ™ œ œ œ¿ ‰ Œ '

Yea,

ﬁne

2 4

how are you ge(tting)

Sung

° 4 Double bass Db. ¢& 4

∑

3 senza vib., unenthused 4 4 œ œ œ œ œœ œ Œ 4 Ó fan-cy bum-ping in to you p

3 5 j ‰ 7 r ‰™ Œ ™ Œ ‰ j 16 8 œ œ™ œ œ œ¿ ' Yea, ﬁne how are you ge(tting)

2 4

= fff cough / clearing throat

Sop.

° 2 j 3 ∑ 3 3 ‰ 4 16 4 Bœ œ œ œ ≈ ≈ ¿ ¿™j ≈ ‰™ Bœr œ œ ‰ Œ & B œ ¢ œ. œ œœ ' No,

Cl.

don't be sil - ly

I was just gon(na) hmm gun(na)

ex-cuse me

2 3 4 4 Bœ œ œ œ nœ 4 I was just ask-ing

cough / clearing throat 3 ∑ 3 œ œ œ œÆ ≈ ≈ ¿ ¿™ ≈ ‰™ œ œ œ ‰ Œ ? 42 œ. ‰ œ œ œ œ 16 4 J J R

2 4 4œ œ œ œ œ 4

No,

don't be sil - ly

I was just gon(na) hmm gun(na)

ex-cuse me

I was just ask-ing

cough / clearing throat

2 j 3 3 3 j ™ r Hp. { & 4 œ ‰ œ œ œ œ 16 ∑ 4 œ œ œ œ ≈ ≈ ¿ ¿ ™ ≈ ‰ œ œ œ ‰ Œ . ' No,

don't be sil - ly

I was just gon(na) hmm gun(na)

ex-cuse me

2 3 4 4œ œ œ œ œ 4 I was just ask-ing

cough / clearing throat

Db.

° 2 j ‰ 3 ∑ 3 3 4 16 4 œ œ œ œ ≈ ≈ ¿ ¿j™ ≈ ‰™ œr œ œ ‰ Œ & ¢ œ. œ œœœ ' No,

don't be sil - ly

I was just gon(na) hmm gun(na)

ex-cuse me

2 3 4 4œ œ œ œ œ 4 I was just ask-ing

= non-legato 3

Sop.

° 4 ¢& 4 œ

r œ œ œ œ ‰™ Ó

3 4

‰ œj 44 œ ‰ œj œ œ œ ≈ Œ

œ œ œ

gliss.

j #œ ‰ Œ

(h)

how you're get-ting on

Cl.

? 44 œ

œ œ œ œ ‰™ Ó R

3 4

wow!

that's bri-lli-ant

‰ œJ 44 œ ‰ œJ œ œ œ ≈ Œ

how's it go-ing so far?

œ œ œ œ œ œ ‰ Œ J

(h) 3

how you're get-ting on

wow!

that's bri-lli-ant

how's it go-ing so far? 3

Hp.

4 {& 4 œ

r ™ œ œ œ œ‰ Ó

3 4

‰ œj 44 œ ‰ œj œ œ œ ≈ Œ

j œ œ œ œ œ œ ‰ Œ

(h)

how you're get-ting on

wow!

that's bri-lli-ant

how's it go-ing so far? 3

Db.

° 4 ¢& 4 œ

r ™ œ œ œ œ‰ Ó

3 4

‰ œj 44 œ ‰ œj œ œ œ ≈ Œ

j œ œ œ œ œ œ ‰ Œ

(h)

how you're get-ting on

wow!

that's bri-lli-ant

how's it go-ing so far?

° ‰ j Œ ‰ 3j ‰ Œ Sop. ¢& #œ œ ' right ye(p) ? ‰ œ Œ ‰ œÆ ‰ Œ Cl. J J

non-legato 5

nod

nod 3 J ‰ Œ J ‰ ‰ ‰#œj #œj ‰ Œ œ

3 ™ 4

œ ‰ œ œœœ œ œÓ

gliss.

(h.)

mm hmm nod

well that still sounds like

real- ly

ex-cit-ing

3 ™ 4

nod

J ‰ Œ J ‰ ‰ ‰ œJ œJ ‰ Œ œ œ œ

œ ‰ œ œœœ œ œÓ

(h.)

3 5

right

ye(p)

mm hmm

well that still sounds like

real- ly

ex-cit-ing

right

Db.

œ ‰ œ œœœ œ œÓ

(h.)

ye(p)

° ‰ j Œ ‰ 3j ‰ Œ ¢& œ œ ' right

nod 3 5 ‰ Œ J J ‰ ‰ ‰ œj œj ‰ Œ œ œ œ œ

3 ™ 4

nod

j j Hp. { & ‰ œ Œ ‰ œ ‰ Œ '

mm hmm nod

well that still sounds like

real- ly

ex-cit-ing

3 ™ 4

nod 3

J ‰ Œ J ‰ ‰ ‰ œj œj ‰ Œ œ œ œ

œ ‰ œ œœœ œ œÓ

(h.)

ye(p)

mm hmm

well that still sounds like

real- ly

ex-cit-ing

= 20

p * ff 3 3 3 ° 2 3 2 ‰ ‰ ‰ ™ 4 4 & œ œ œ œ œ œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ œ # h h œ œ œ‰ 4 ¢ ' > gliss.

Sop.

I hate to do this

but I'm

ac-tual-ly in quite

big rush

but it's hon-est-ly been so

nice to s(ee)

p * ff

# >h h Cl.

œ œ œÆ ‰ 42

? œ œ œ œ œ ‰ œ œ 42 œ œ œ œ œ™ œ 43 œ œ ‰ ‰ œ œ œ œ œ œ 3

I hate to do this

but I'm

ac-tual-ly in quite

big rush

but it's hon-est-ly been so

nice to s(ee)

ff Hp.

I hate to do this

Db.

* 3 2 3 3 ‰ ‰ 3 2 ‰ 4 4 & œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ >h h œ œ œ ‰ 4 { œœ œœ œ '

but I'm

ac-tual-ly in quite

big rush

but it's hon-est-ly been so

nice to s(ee)

p * ff 3 ° 2 3 3 ‰ ‰ 3 ‰ ‰ 2 ¢& œ œ œ œ œ œ œ 4 œ œ œ œ œ™ œ 4 œ œ œ œ œ œ œ œ #h h œ œ œ 4 ' > I hate to do this but I'm ac-tual-ly in quite a big rush but it's hon-est-ly been so nice to s(ee)

= until cued to stop

E ff ° 2 ∑ 4 j 3‰ j Œ ≈ ‰ j 3 ‰ Œ ‰ j j ‰ 5 >h H #œ œ 4 Sop. ¢& 4 4 œ œ. œ. œ œ µœ œ '

right oh

yep y(ea) we'll have to

you too

4 j #h Œ ‰ ‰ j 4 œ ‰ Œ œ

bye

5 4

Hel - lo? Clarinet in Bb (written at transposing pitch)

ff To Cl. Cl.

> ? 42 ∑ 44 œ ‰ œ. Œ œ. ≈ œÆ ‰ œ œ œ ‰ Œ ‰ œ œ ‰ 45 h H J J J J J

-œ œ. 3 Bœ r r 5 # 4 Œ Œ & 4 Œ µœ. ‰Bœ œ R ≈bœ œ ≈ 4 3

mp speech like right oh

yep y(ea) we'llhave to

you too

bye until cued to stop

! p ff 3 3 2 4 j3 j j j j 5 j4 j Hp. { & 4 ∑ 4 œ ‰ œ Œ œ ≈ œ ‰ œ œ œ ‰ Œ ‰ œ œ ‰ 4 h H # h Œ ‰ ‰ œ 4 œ ‰ Œ . . ' >

right oh

yep y(ea) we'llhave to

you too

bye

5 4

Hel - lo? until cued to stop

! p Db.

3 ° 2 ∑ 4 j 3‰ j Œ ≈ ‰ j 3 ‰ Œ ‰ j j ‰ 5 ff j 44 œj ‰ Œ Œ ‰ ‰ 4 4 4 & ¢ œ œ. œ. œ œ œ œ œ œ œ h H #h ' >

right oh

yep

will do

you too

bye

Hel - lo?

* - interjections denoted by slashed noteheads should be raucous blasts. The tone should be momentarily rough, almost ugly but consistent, without obscuring the pitch. Still without vibrato.

5 4

9 3

Sop.

° 5 j ‰ ‰ ¢& 4 œ œ œ œ œ Yes,

Cl.

4 4

œ œ #œ Œ

∑

can I ask who's speak-ing please?

5 & 4 Ó™

>œ. . µ œ 4 ‰ J 4 bœBœ #œ µœ nœ ≈ ≈ Bœ œ Bœ ™ bœ ≈ ≈ µœ bœ œ.

5 3 3

5 j Hp. { & 4 œ ‰ ‰ œ œ œ œ Yes,

œ Œ

œ œ

4 4

∑

4 4

∑

can I ask who's speak-ing please? 3

Db.

° 5 j ‰ ‰ œ œ œ œ ¢& 4 œ Yes,

œ Œ

œ œ

can I ask who's speak-ing please?

scratch head

31 3 3

Sop.

° Œ ¢&

‰ œj ‰

‰ œj œ bœ œ ‰ bœ œ Œ

Œ œ œ œ œ œ œ œ #œ.

(h)

Right,

I don't mean to be rude or

o -kay sor - ry,

go on

5 6

Cl.

>. œ ‰ bœ Bœ ≈#œµœ. nœ. ≈Bœ ‰ Œ .

j œ µœ & #œµœ ≈ ≈Bœ œ™ ≈ Bœbœ ≈ Œ œ 5 >. Œ {&

‰ œj ‰

b œ µœj . ‰ BœJ œ ‰ bœBœ. ‰ 3 scratch head

Hp.

3 ‰ œj œ œ œ ‰ œ œ Œ

œ œ œ œ œ œ œ œ. Œ

(h)

Right,

I don't mean to be rude or

o -kay sor - ry,

go on scratch head

Db.

° Œ ¢&

‰ œj ‰

3 ‰ œj œ #œ œ ‰ #œ œ Œ

œ œ œ œ œ œ œ œ. Œ

(h)

Right,

I don't mean to be rude or

o -kay sor - ry,

go on

= cough / clearing throat

sff

p 3

Sop.

° Ó ¢&

‰ œ œ >h ‰ J

‰ œ œœ œ œ‰ '

No, I know,

j ¿

it's just I don't ac(tually) hmm

5 3 ‰ ™ œr œ œ œ œ œ ™ œ œ#œj ≈ œr

I don't ac-tual-ly have a car

# Cl.

œ µ-œ ™ & µœ ‰ œBœ. . bœ. ≈ J bœr ‰ ™ . >. # œ. ™

Ÿœ~~~~ # . ‰ Bœ œR ‰ ™

sff

∑ cough / clearing throat

p 3

Hp.

Ó {&

‰ œ œ hj ‰ > No, I know,

sff

‰ œ œœ œ œ‰ '

j ¿

it's just I don't ac(tually) hmm

° Ó ¢&

‰ œ œ hj ‰ > No, I know,

I don't ac-tual-ly have a car

cough / clearing throat

p 3

Db.

3 5 ‰ ™ œr œ œ œ œ œ ™ œ œ œj ≈ œr

‰ œ œœ œ œ‰ '

j ¿

it's just I don't ac(tually) hmm

3 5 ‰ ™ œr œ œ œ œ œ ™ œ œ œj ≈ œr

I don't ac-tual-ly have a car

10 3 3

Sop.

° ¢& #œ

j œ ‰ '

that's why

Cl.

≈ œ

Yes,

œ œ œ

I'm just say - ing

3 œ Bœ Bœ b œ µœ bœ Bœ #œ ≈ µœ. . œ. .

& ≈ µœ

3 ‰ ™ œr #œ œ œ œ œ œ œ ≈ ≈ œ œ œ œ œ 45

it's prob-ab-ly quite un-like-ly

≈

y' know that that was

5 4

∑

œ >. 3 3

Hp.

{& œ

that's why

j œ ‰ '

≈ œ

Yes,

œ œ œ

3 ‰ ™ œr œ œ œ œ œ œ œ ≈ ≈ œ œ œ œ œ 45

I'm just say - ing

it's prob-ab-ly quite un-like-ly

y' know that that was 3

Db.

° ¢& œ

that's why

j œ ‰ '

≈ œ

Yes,

œ œ œ

3 ‰ ™ œr #œ œ œ œ œ œ œ ≈ ≈ œ œ œ œ œ 45

I'm just say - ing

it's prob-ab-ly quite un-like-ly

y' know that that was

= point ﬁnger gun at temple put ﬁnger gun down

sff

Sop.

° 5 >h ™ ¢& 4 J ≈ Œ

‰

Cl.

j œ. ‰

4‰ 4

‰ œj ‰ œj Œ .

Right,

yes

>œ. 3 -œ Bœj µœj bœ r 5 ≈ Bœ #œ ≈ µœ. ≈ ≈ R ‰ bœ & 4 ‰ ™ Bœ. ‰

‰ œ œ

sor - ry

Bœ bœ µœ ‰bœj j™ Bœ œ

4 Bœ 4

≈

3 3

point ﬁnger gun at temple put ﬁnger gun down

sff 3

Hp.

5 {& 4

j h> ™ ≈ Œ

‰

j œ. ‰

4‰ 4

‰ œj ‰ œj Œ .

Right,

yes

‰ œ œ

sor - ry

point ﬁnger gun at temple put ﬁnger gun down

sff 3

Db.

° 5 j ≈ Œ ¢& 4 # h ™ > me

‰

j œ. ‰

4‰ 4

Right,

‰ œj ‰ œj Œ . yes

‰ œ œ

sor - ry

= ff 41

Sop.

° ≈ œ œ œ œ™ œ œ ¢& I'm gon - na have to go (gunna)

Cl.

µœ. ‰

‰™

# œ. >

‰

j œ ' y(ea)

œ œ ‰

5 4‰

so - rry

put 'phone' down

œ b h h ™ b h ≈ R ‰™ >

≈ Ó

good-bye

Ÿœ~~~~~~~~ ﬂz. œ . . . b œ . µ œ bœ 5 ææj™ R ≈ Bœ. œ. Bœ 4 Bœ

≈ Œ

≈ Ó

p f

f ff Hp.

≈ œ œ œ œ™ œ œ {&

‰

I'm gon - na have to go (gunna)

j œ ' y(ea)

œ œ ‰

5 4‰

so - rry

œ h h ™ b h ≈ R ‰™ >

Db.

I'm gon - na have to go (gunna)

‰

j œ ' y(ea)

œ œ ‰ so - rry

≈ Ó

good-bye

° ≈ œ œ œ œ™ œ œ ¢&

put 'phone' down

5 4‰

put 'phone' down

œ h h™ b h ≈ R ‰ ™ > good-bye

≈ Ó

poco meno mosso, slightly more relaxed speech

F 43

p Sop.

3 ° n œ ‰ œ ‰ œ œ œ œ ≈ œ ‰ 43 #œ œ œ œ Œ ¢& J J J R

Hey!

yea,

I'm real-ly good yea

r #œ œ œ œ œ ‰ ™

5 4 Ó™

what a-bout you?

ha ha ha ha ha 3

‰ #œJ µœj™ ≈ 45 œ Bœ œ ≈BœJ ™ œ ≈bœ. Ó

3 4Œ

∑ Cl.

Hp.

‰ œ ‰ œ œ œ œ ≈ œ ‰ 43 œ œ œ œ Œ {& œ J J J R

5 4 Ó™

œ œ œ œ œ ‰™ R

Hey! p

yea,

I'm real-ly good yea

what a-bout you?

ha ha ha ha ha

o o. o o -o K œ œo K œ™ œ o K œ œ™ œ J J ≈ 45 #œ ≈J ≈ Ó &‰ I

III

Db.

° To Db. ¢&

Double bass

3 4Œ

∑

p fp

= fumbling ff

46 3

3 3

Sop.

° j 5 ¢& µœ ≈ œ œ. ‰ œ œ œ ‰ nœ œ. ≈ ≈ œ 8 œ Yea,

I know

bits real-ly

bleh bleh

can't speak

5Œ 8

∑ Cl.

r r œ ≈ œ œ ≈ ‰

so-rry

4 hh #œ œ œ > œ œ œ ‰ 4 it's real-ly weird to be like

a chuckle >œ. µ ≈ bœ Bœ

‰

4 4

∑

mf p sub. ff

. ‰ œ œ œ ‰ fumbling œ ≈ œ œ œ œ ≈ ≈ œ 58 œ Hp. { & J

> œ œ œ h h œ œ œ ‰ 44

œ ≈ œ œ ≈ ‰ R R

3 3 3

Yea,

I know

bits real-ly

bleh bleh

can't speak

so-rry

it's real-ly weird to be like

a chuckle o K >œ K œo o ≈ #œ I

Db.

° ¢&

5Œ 8

∑

‰

4 4

∑

mf p sub.

= tuck hair behind ear

49 3

Sop.

3 ° 4 ¢ & 4 µœ œ œ œ œ Ó

3 4

‰ nœj 44 œ ≈ ≈ œ œj ‰ œ #œ Œ

5 4

(q)

meet-ing in per - son

yea

I know

me too

b Cl.

4 &4 Œ

µœ- œ œ 43 Bœ # œ- ™

œ Bœ Œ

‰

4Ó 4

™ bŸœ~~~~ 5 J ≈ 4

pp p mf

(p) tuck hair behind ear

Hp.

4œ œ œ œ œ Ó {& 4

3 4

‰ œ 44 œ ≈ ≈ œ œ ‰ œ œ Œ J J

5 4

(q) 3 3

meet-ing in per - son I

o o K-œo œ œo K œ -œ™ 3 4 III

Db.

° 4Œ ¢& 4

o K œ o ‰ #œ Œ

yea

I know

me too sul pont.

o œ™ ≈ æJ 45 I

4Ó 4

(p) pp mf

Sop.

3 ° 5 h h 4 & ¢ #œ œ œ œ œ œ > œ™ Œ

this is ac-tual-ly the ﬁrst

3 3 2 µœ ≈ œ œ œ œ ‰ œ œ ≈ œ. j ‰ Ó '

j #œ

‰

time

yea,

n(ot)

not

real - ly

ha ha

5 4

ha A., ﬂz.

µœ ™ Cl.

5 & 4 Ó™

3 j b>œ ≈ Bœ. ≈ #œ 2 œ™

≈ Œ

j Œ #¿ææ ‰

5 4

pp f

5 ™ Hp. { & 4 œ œ œ œ œ œ h h œ Œ >

‰

3 . 3 2 œÆ ≈ œ œ œ œ ‰ œ œ ≈ œJ ‰ Ó

œ J

5 4

this is ac-tual-ly the ﬁrst

time

yea,

n(ot)

pos.norm. o K œo. > o œ o K œ™ ™ ≈ ≈ #œ 23 œJ

not

real - ly

ha ha

on bridge, air sound -o ™ # Œ 6J ≈ 45

III

Db.

° 5 Ó™ ¢& 4

≈ Œ

= 54

Sop.

3 ° 5 3 j ≈ 3 ‰ ≈ 4 & œ œ œ ¢ nœ œ œ œ œ œ œ µœ œ œ œ 4 Œ

why did you ac-tual-ly like

start

ya know

3 ≈ ≈ nœr 44

‰

us - ing it then?

uh ord.

Cl.

5 &4

j j 3 4 ‰ µœ- œ ‰

∑

œ ≈ B œ œ

5 œ œ œ œ œ œ ≈ œ ≈ œ œ ‰ Hp. { & 4 œ J 3

4 4

œ œ œ œ 43 Œ

≈ ≈ œ 44 R

‰

3 3

why did you ac-tual-ly like

start

ya know

us - ing it then?

uh ord., pos. norm.

K -œo œ 3 4‰ J J ‰ II

Db.

° 5 ¢& 4

∑

III I

œo K œo

œo

4 4

≈

= 56

Sop.

° 4 j ¢& 4 œ

‰

j œ.

huh

‰

3 4Œ

‰

≈ ‰

5 4

Bœ

>. Bœ b œJ œ

≈ ‰

5 4

‰

≈ ‰

5 4

>œo. J

≈ ‰

5 4

right 3

Cl.

4& 4 Bœ

j bœ ‰

µœ. J

≈ bœ ≈ Bœ œ .

3 4 µœ #œ œ

4œ {& 4 J huh K -œo ° 4 Db. & 4 ¢

‰

œ. J

Hp.

‰

3 4Œ

œo

K œo 3 4

right

o K œ. J

#œo J 3

‰

≈

o œ.

III

K œo œ ≈

#œo

K œo

III I

œo Kœo

13 cough / clearing throat

Sop.

° 5 ¢& 4 œ œ

3 3 3 3 . Œ ‰ ™ œR 44 œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ™#œ ≈ ¿J ≈ ‰ ™ ¿R Œ

œ‰Œ J œ

yea, that makes sense

think I was ac-tual-ly quite sim-i-lar

I mean I bare-ly hmm

4 4

hmm 3

Cl.

µœ b œ ‰ j 4 Bœ œ ‰ 4

5 &4 Ó

p 3

∑

Œ #œ- µœ- œ 44 p

cough / clearing throat

Hp.

5œ œ {& 4

Œ ‰ ™ œ 44 œ œ œ œ œ œ œ œ œ œ‰ œ œ œ œ ™ œ≈ ¿ ≈ ‰ ™ ¿. Œ R J R

œ‰Œ J

yea, that makes sense

think I was ac-tual-ly quite sim-i-lar

4 4

I mean I bare-ly hmm

hmm

K -œo

o K -œ œ o #œ ‰ J ‰ 4 4

Db.

p 3

o œo Kœo œ 4 4

I III I

° 5Ó ¢& 4

∑

= remove hand

Sop.

° 4 #>-¿ ™ ¢& 4 J

≈ ‰

œ J

œ œ µœ 3œ œ œ œ ‰

œ nœ J

‰

œ œ 45

#œ œ

hmm

Cl.

‰ so - rry

j Bœ. ‰ >

4 &4 Œ

don't real - ly

use

ther

just some-times when I'm

5 4

∑

mf remove hand

Hp.

4 {& 4

>- ™ ¿ J

≈ ‰

hmm

Db.

œ œ ‰

œ J

so - rry

œ œ

œ œ œ œ œ ‰

don't real - ly

use

‰

œ J

ther

œ œ 45

just some-times when I'm

o K >œ. J

° 4Œ ¢& 4

‰

5 4

∑

= sff

p sff

2 #>œ. 4J

Sop.

° 5 ¢& 4 nœ

™ >h œ

real - ly

‰ œ œ

bored

‰

‰ #œ

or some-thing

‰

4 4

œ œ œ

not

that I

was

# Cl.

b œ 2 œ µœ 4

Bœ ™

5 & 4 Ó™

Ÿ~~~~~ bœ r ≈ #œJ 4 4 Bœ

≈ j œ™

ppp sff sff

5 Hp. { & 4 œ

œ #h ™ >

œ œ

œ ‰

‰

2 4

œ œ œ ‰

>. œ J

‰

4 4

real - ly bored

or some-thing

not

that I

K œo ™

Db.

° 5 Ó™ ¢& 4

#œo ™ J ppp

≈

was

ha III I

œo 2 œ K œo 4

o sul pont. œo K œ o R ≈ #æœ 44 æJ II

14 p

Sop.

° 4 #œ ≈ # h h œ œ œ 42 j ‰ ¢& 4 #œ œ œ œ œ œ œ > #œ ' Yea,

no ob -viou- sly I was-n't bored when we were cha(tting)

4 &4 Ó

Cl.

5 . 3. . 4 nœ œ œ Œ

‰ œJ

ha ha ha

œ. b œ œ 2 Bœ Bœ œ µœ 5 ‰ ‰ bœ ™ 5 ‰ µœj ‰ J Œ 4 œ 4 J Bœ #œ .

≈ µœ

4 2 Æ Hp. { & 4 œ ≈ œ œ œ œ œ œ œ h h œ œ œ 4 ¿ ‰ J >

5 . . . 4œœœŒ

o œ o ha ha ha œ K o K o œo œo 2 Kœo œ #œo œ 5 ‰ ‰ œJo Kœ™ ‰ 4 4

o K œ. J ‰

‰ œ J

Yea,

no ob -viou- sly I was-n't bored when we were cha(tting) II

K œo Db.

° 4Ó ¢& 4

III

≈

#œo. Œ J II

G ff p 68

Sop.

3 ° Bœ œ ‰ œ h h Œ ¢& J >h thank you you too

4 4

5 œ 3œ ‰ œ œ œ œ ≈ Œ 42 œ œ 5 œ œŒ 4

∑

Hi- ya! yea, ﬁne thanks

-™ bœ Œ Bœ. j ‰ 44 œ Bœ œJ ‰ µœ bœ ‰ Bœj

& Ó™

Cl.

what a-bout you?

∑

2 4

∑

5 4

‰ ¿j

∑

2 4

∑

5 4

4Ó ? Œ 4 œ oK œo o K œo o o K œo. -œ™ œ Kœ œ #œ ‰ J Œ J ‰ 44 J ‰

∑

2 4

∑

5 4

∑

2 4

∑

5 4

mf p

To Hp.

Harp

> 3 & œ œ ‰ œJ h h h Œ thank-you

œ > 4 œ™ * Œ 4 ¿

you too

Hp. mf p 3

∑

{

III

Db.

° Ó™ ¢&

mf p

= 72

Sop.

° 5 ¢& 4

4 j ‰ ‰ œ œ ‰ Œ 4œ J J

∑

nice!

j µœ 5 #œ œ nœ ™ & 4 µœ Bœ Bœ bœ œ ‰

Cl.

that's cool

3 r ‰™ ‰™ r ‰™ r œ œ œ œ œ œ œ œ

so what did you think of that?

4 4

∑

4 4

∑

4 4

∑

4 4

∑

œœ J ‰ ¿

5 &4

¿™ ¿ ¿

Hp. 3

? 45 #œ

Ó œ Œ o K œo K œo ™ o o o œ nœ œ Kœo ° 5 œ Kœ #œo J ‰ ¢& 4

{

III

Db.

* - x-noteheads for harp = strings where blu-tac is placed at the octave harmonic point (prepared before the piece) Always play these notes at the lower part of the string, below the blu-tac

15 75

Sop.

° Ó ¢&

‰™

r r ‰™ œ œ

∑

3 4

∑

œ™ œ

uh huh

Ah, that's inte-rest- ing!

> >œ Bœ 7 µ>œ bœ #œ œ 3 bœ 8 B>œ µœ 4

j ≈ µœ œ™ œ ‰Bœj B-œ ™ ≈bœj ‰ µ-œR ‰ r & bœ Bœ j J œ- J bœ B>œ #œ µœ nœ Bœ > 3 #œ ™ mf pp smfz œ 3 3 œ™ … … j≈ J r‰ R > ¿ œ j ‰ ‰ ‰ ‰ ¿ ≈ Œ ¿ ¿ & ¿ ¿ ¿ J œ ¿™ 3

Cl.

7 8

œ œ œ≈Œ

smfz

smfz smfz

smfz

œ œ ¿ 87 >¿

>¿

3 ¿ Œ 4

smfz mf

smfz smfz

Hp. smfz smfz

? #œ ‰ Œ

œ™ Œ

{

… #>œ 43

#œ …‰ Œ J

7 8

#>œ

-o o K œ™ oœ K œo o K œo -o o K -œo o œ K ™ œ™ œ œ ° J ≈ #œJ J ≈#œJ ‰ R ‰ J ‰J ¢& I

Db.

III

o o> o -o K >œ- o K >-œo o >-o n-œ K>œ œ 7 #-œ -œ K œo œ 3 8 4

o o- >o -œo K œ- -o K -œo œ Kœ #œ R III

smfz

smfz smfz

smfz

Sop.

° 3œ ¢& 4

œ œ3 œ œ œ ≈

‰ 5 œœœ 4

5 4œ≈ œ œ œ≈ 4 œ œ œ œ≈ œœ œ

∑

That's what I was think-ing ha ha ha

Yea,

I feel quite sim-i-lar-ly ac-tual-ly

>œ

>œ > b œ > ‰ ‰Bœj 45 BœJ µœJ bœJ Bœ #œ µœj 44 > 3 3 3 3 3

Cl.

3 &4 Œ

(p)

sfz

sfz sfz

∑

sfz

œ 3 >œ >œ j 5 j ‰ ‰ ¿ 4 ¿ ‰ ‰ ¿ J ¿ ‰ ‰ ¿j 44 J > 3 3 3

3 &4 Œ

∑

Hp.

(p)

sfz

sfz sfz

sfz

>œ ? 43

{

Œ #>˙

5 4Œ

4 4

∑

o o K >œ o K œo o o oK >œ o K œo o > >œ Kœ œJ >œ J nœ 4 ‰ ‰ J 45 #œ J J 4

∑

∑ I

III

Db.

° 3Œ ¢& 4

(p)

sfz

sfz sfz

sfz

16 82

Sop.

° ‰™ r œ œ œ œ 3œ œ œ œ œÆ Œ & œ œœ ¢ œ œ œ œ œ

3 œ œ ‰™ r r7 œ œ ≈œ 8 bœ œ œœ œ œ

I think I need to hear it a-gain to prop-er-ly make my m(ind)

Yea, ex-act- ly!

I may-be just found it

∑ Cl.

bœ ™ ‰ Bœj œBœ µœ ‰ Œ

‰

7 8

‰bœj Ó .

ppp bisbigliando expressive ad lib. of speed

∑

7 8

¿ Œ #bwææw

‰ ¿j ¿

‰

p possibile p

Hp.

œ œ ∑

7 8

o œ. ‰J Ó

7 8

? ∑

{

Ó oK œo -oK œo o œ Kœ #œ ‰ J Œ

III

Db.

° ¢&

∑

‰ 3

ppp p

= rit. 85 3

Sop.

° 7 ¢& 8

œ œ

‰

4œ œ œ œ ≈ 4 œ œ

œ ‰

œ œ œ lit - tle bit

I don't know

self im-port-ant

or some-thing

œ œ œ œ œ

and

that mid-dle bit went

Cl.

Hp.

7 &8

‰ Bœj Œ .

‰

7 & 8<#><b>œææœ ™™ ? 87

4 4

∑

4 4

∑

4Ó 4

o K œ. J

Kœo. ‰ J Œ

‰

ææ ˙˙

ppp

III

° 7 ¢& 8

‰

r …™ ¿ ‰

ææ ˙˙

{ Db.

j Bœ.

4 #œ. µœ. œ. 4 Ó

o. K œo. o œ #œ. II

‰

= meno mosso p ff raucous

ord. (senza vib.)

Sop.

° ¢& œ

h > œ

for

gliss.

too

long

≈ Œ

5 4

(h)

Cl.

way

∑

≈ Œ

5 4

∑

≈ Œ

5 4

∑

≈ Œ

5 4

∑

≈ Œ

5 4

& &

Hp.

{ Db.

° ¢&

incisive (q = ca. 60)

H speaking naturally as if responding to "how are you?"

closed-mouth smile, slightly insincere

slightly expose teeth, same sort of smile

mp Sop.

° 5 ™ ¢& 4

9 ™ 8

2 4

™

5 ™ 8 6™

) (h.)

(h)

(h.)

Not so bad thanks, yea, ﬁne

Cl.

> 9 -œ B-œ b œ µ-œ b-œ >- #-œ µ-œ n-œ 5 8 8 Bœ

Bœ 42 ˙

(h.)

Oh yea, I'm ﬁne thanks

µœ bœ #>œ 5 µœ & 4 >œ Bœ bœ Bœ

4 4

∑

ppp p

œ p gingerly

>œ

œ œ

5 &4

¿ ¿ ¿ ¿

Hp.

p gingerly

? 45

#œ

{

2 …Œ ¿ 4 2… 4Œ

9 8

sempre ﬂaut.

o o œo K œo K œo >o o œo K œo > nœ Kœ ° 5 œ Kœ #œo 2 4 ¢& 4 I

III

4 4

III

Db.

9 #œ 8œ > o o> K -œo -o -o -œo K >-œ o K -œo -o -œ nœ 5 œ™ œ Kœ 9 #-œ 8 8

œ I

5 …Œ ™ 8 ¿ 5 …Œ ™ œ 8

>¿

∑

p gingerly

4 4

ppp

poco più mosso (q = ca.70) slightly more animated smile (with teeth showing)

slightly more animated smile (starting to look unnatural)

Sop.

3 ™ 4 )™

° 4 ¢& 4

7 ™ 8

™ 6™

)

(w)

(q.)

3 4

(h)

I'm alright. Things are good, yea umm .. yea, I'm ﬁne ord. ﬂz.

Cl.

4 Bœ œ Bœ b œ µœ bœ &4 æ æ æ æ æ æ æ æ ææ æ p.d.l.t >¿ œ 4 >¿ &4 œ ¿

#œ 3 4 Bœ ææ æ 3 4 ¿

>œ 7 µœ Bœ bœ µœ 8 œ Bœ > œ œ ord. œ œ 7> ¿ 8¿ ¿ ¿

∑

3 4

∑

3 4

∑

3 4

ppp a shadow Hp.

#œ #>œ

œ 3 œ œ œ œ œ œ 7 Œ™ J J J 8 4

? 44

{

#œ 3

3 ord.

o K >œ

sul pont.

o œo K œo o K >œo o o œo > ° 4Kœ #œ nœ Kœ 3 4 4 & ¢ III

III

Db.

o K œo >œo K œo œo K œ o #œ ææ I

III

∑

7 8

˙ ææ ppp

œ™ ææ

3 4

18 outstretch arm in front of you, hand open

poco più mosso (q = ca.80) slightly more animated smile (pained)

until cued to stop

maniacal grimace

Sop.

° 3 ™ ¢& 4

™

(w)

4 4

≈ Ó

3 4

≈ Ó

3 4

4Ó 4

≈ Ó

3 4

4Ó 4

≈ Ó

3 4

≈ Ó

3 4

(w.)

5 8

3 2

)

4 R ‰™ 4 )™

(h.)

(q)

(q.) (q) yea, can't complain .. I'm fine, yea .. good thanks .. I'm alright, yea .. fine, fine, just fine

haha, yea, no I'm all good... yep, honestly

b >œ. ﬂz., overblown

Cl.

#>œ. . . µœ Bœ

3 &4

>œ. Bœ 44 w

5 Bœ bœ µœ 3 8 2 b œ ˙ > œ> ppp

ppp

æ œæ

æ 4 ¿æ 4 Ó fff

p grace notes before the beat

>j œ

>œ

3 &4

¿ ¿

∑

4 4

∑

Hp.

fff

#œ j

{

o K œo. > ° 3 #œ. ¢& 4 II

ww æ

ppp

? 43 œ >œ

Db.

¿ 44

bisb. >œ >œj fast, constant œ # œ ˙˙ 5œ 3 8 ¿ ¿ ææ 2 æ

#œ >

>œo. K œo. III

>œo. K œo

5Œ 8

3 2

∑

œ >œ sul pont. o K œo >o o œo ˙ > œ Kœ # œ 5 3 8 2

pressure

scratch

III

4 4 ppp

ppp

œ ¿ … 4Ó 4 fff

19 very gradually bring your outstretched hand closer and closer to your mouth as if being steadily censored / silenced.

poco piu mosso (q=ca.90)

I very gradually getting faster, more panicked and uncontrollable poco a poco cresc. (ﬁght against the mufﬂing effects of your hand)

102 * p reticent

° 3 umm actually, I haven't been feeling great recently ... I'm ﬁnding it really difﬁcult to pinpoint exactly what it is but I've just been generally ¢& 4 feeling sort of anxious about things 3 3 . 3 . . µœ. # œ œ 3 5 B œ . . . ∑ µ œ B œ b œ µ œ Bœ. Cl. & 4 4 Bœ . bœ. <B>œ. #œ. . œ. 3 œ. 3 p poss. 3 3 5 ∑ Œ ‰ ‰ ¿j 4 Ó™ &4

Sop.

ppp Hp.

{

? 43

5 4

∑

∑ ord.

o K œ™ I

o Kœ™

œ o #œ ™ II

Db.

° 3 ¢& 4

5 4

∑

œ oŒ

œ ppp

= 104

Sop.

¢°&

I just feel like I don’t really do anything sort of .. important or meaningful, like I look around and see people doing things that actually make a difference to people’s lives

. b œ. <µ>œ. b œ

3 3

œ. . & Bœ bœ.

Cl.

µœ. bœ. . Bœ

3 3

µœ. nœ. Bœ. œ<B>œ. . # œ. œ œ

Bœ. œ .

¿ ¿

b œ. œ

œ. œ

“œ” ¿

¿ #œ ¿

Bœ.

œ &

µœ. bœ. . #œ. j ‰3 ‰ 4 4 <B>œ µœ.

#œ. Bœ. µœ.

¿ ¿

… j ‰3 ‰ 44 ¿

Hp. 3 3

3 3

œ ? #œ

{

#œ

o œ

#œo

œ Œ

4 4

œ #œ o K œ™ I

1 I

Db.

° Œ ¢&

o œ™

III I

K œo

œo

o œ™

scratch II

œ J

¿ …‰ ‰ 4 J 4

gradually apply more and more pressure, mufﬂing the sound more and more

106

Sop.

Cl.

¢°&

and it’s like yea, if I take a step back or whatever, and try and really be objective about it, I can see that I’m a nice person ... or at least I think I am, and maybe I take small opportunities to be nice to people, and hopefully that makes their day like a little bit more positive, but everything around us seems to just be going to shit …

4 &4

Bœ

œ Bœ b œ µœ bœ #œ nœ Bœ b œ µœ µ œ B œ Bœ œ

#œ œ

>œ p

œ œ

4 &4

¿ ¿ œ ¿

9 8

¿ ¿ ¿

œ µœ nœ Bœ J ‰ ‰ 12 16

9 bœ 8 Bœ

œ … 12 ¿ #œ ¿ J ‰ ‰ 16

Hp. p

#œ

{

Œ™

12 16

œ œ 1 o Kœ™ œ J

o K œ™ œ

ord.

Db.

9œ 8

? 44

° 4 ¢& 4

o œ™ œ o

III I

K œo Œ

1 o œ™ œ J

scratch II

o nœ

o 9 #˙ ™ 8

¿ …‰ ‰ 12 J 16

p * - The soprano's text is to be interpeted as one long rant. Ellipses indicate short pauses, but each new text box is attacca. Try to deliver all text between bars 158-173. If you ﬁnish prematurely, start the ad lib. shouting early and stop when indicated. If there is text remaining by the end of bar 172, abandon and move immediately to the ad lib. shouting for the remainder.

fully mufﬂed (words completely unintelligble)

109

Sop.

¢°&

… and I wonder if I’m doing enough or like ‘my bit’ to sort of combat that. Like what’s really stopping me from packing in what I’m doing and actually just focusing on something that makes a real difference.

-œ ™ ™ b œ > j ≈J ≈‰ 12 - ™ µœ ™ b-œ ™ ™ µœ ™ nœ- ™ Bœ ™ B-œ ™ ‰™ 4 J ≈ µœJ ™ ≈ j ≈ j™ ≈ 7 ≈ µ œ ™ 4 8 & 16 Bœ bœ- ™ Bœ- #œ- ™ B œ j J ™ - œ™ bœ- mf o f o f o f o f # œ- ™ œ™ percussive ™ òœ ™ œ òœ™ > ™ œ ™ … 4 ò > #òœ ™ > ™ 12 > œ ¿ ™ 7 # œ ™ ™ J ≈‰ > ¿ ‰ ≈ ≈ J ≈ ¿™ 4 j™ ¿ J ¿ 8 & 16 ¿™ ¿™ ¿™ ¿ J œ mf œ™ œ™ 4 Œ 7 ? 12 #œ ™ Œ f Œ™ 16 œ™ 4 &f 8 Œ œ™ Œ ™ f

Cl.

Hp.

{

6 8

6 8 6 8

mute string with L.H. (near tunings pegs) I

o o o K œ™ o K >œ ™ œ™ K o ™ o K œ™ o o œ™ K œ™ ° 12 #œo ™ œ œ™ ¢& 16 I

o o™ o K œ™ œ™ ¿™ …™ 4 J J #œo ™ K œJ ˙o 7 J ‰ 4 ≈ ≈J ≈ ≈8 o f o f o fo f o ord.

scratch

III

Db.

scratch

III

¿™ … 6 J ≈‰ 8 f

"ff " erratic

stop shouting and slowly remove hand from mouth

ad lib. a manic, distressed episode

(w)

J attacca 114

3 2

move on

Sop.

¢°&

4 !í 4

Like a tangible impact. Does that make sense?

Ó X

(mufﬂed, unintelligble shouts)

Cl.

^ ^ #-˙ 6 Bœj ‰ ‰ œJ^ ‰ ‰ Bœ^ ‰ ‰ bœj ‰ ‰ µœJ^ ‰ ‰ bœ^ ‰ ‰ 4 4 B˙&8 J J > ff

-˙

-˙ µ˙-

B˙-

3 w™ 2

non-dim.

f poss. immediately after striking chord, start to prepare blu-tac for next movement

To Hp. sons xylo.

j j 6 4 & 8 ¿J ‰ ‰ œj ‰ ‰ ¿ ‰ ‰ #œj ‰ ‰ ¿ ‰ ‰ j ‰ ‰ 4 Y ˙ > œ ff Hp. f poss. 6 4Ó ? ∑ ∑ ∑ 4 &8 ˙ ˙ -o ord. o œ™ o -˙o K o o o ™ K -œo ™ -œ™ > œ™ K K œ™ ˙ ° 6 #œ 4 Db. & 8 4 ¢

Ó ˙ ˙

ffpp

o K ˙-

III

ffpp

w™ 3 w™ 2

3 2

{

III

#˙ Y #˙

o #-˙ II

#˙ #˙ o K -˙ -˙o

w™ w™ scratch

3 Y™ 2

ffpp

A.P.

6 / 8

∑

4 4

∑

non-dim.

f poss.

∑

3 2

∑

III. and what do you do after that? Clarinettist

Harpist

A group ritual (following the audio playback) All pitched material is written at concert pitch

As soon as you hear the audio, calmly and quietly put down your instruments and move into the positions shown in the photo, surrounding the harp. Further instructions on when to start and stop your actions are given on subsequent pages, however each player's starting positions for the ritual are detailed below.

Timings are deciphered by following the pre-recorded speech, written on the bottom stave. The pre-recorded speech ﬂows continuously, with ellipses indicating short but signiﬁcant pauses. A stemless notehead is used every time a new person's voice is introduced.

1.) Harpist threads bow hair between the 5 blu-tacked strings. Both ends of the bow hair should be pulled through the side of the harp closest to the player

2.) Clarinettist takes superball stick. The superball should be positioned ready to play on the lowest gut string (on the side of the harp furthest from the harpist)

3.) Soprano kneels next to the middle sound hole at the back of the harp, ready to sing into it

4.) Double bassist kneels in front of the harp (other side to the harpist) ready to rest ﬁngers and thumb of one hand on the 5 blu-tacked strings with harmonic pressure (below the blu-tac)

Double bassist

Soprano

fffff

U ∑

° ¢& X

Soprano Sop.

U ∑ &X

Cl. Clarinet in Bb

U ∑ &X Harp Hp.

U ∑

{ Db. Double bass

U ∑

° ¢& X 12 26"

fff A.P. Audio playback

œ /

X "Okay, I usually sort of ... peel my eyes open and ... roll over and usually ... depending on the pollen count I've gotta pick up my inhaler, take a ... take a draw and ... open up my lungs and then I ... have to get up and walk my dog, she's always up for a walk but I, before anything I usually have to put something sweet maybe a piece of chocolate into my mouth, drink some tea ... coffee or porridge or toast or something like that"

= create a chordal drone by pulling the threaded bow hair back and forth through the notated strings this is performed in the upper part of the strings (between the tuning pins and the blu-tac)

Hp.

? ™ { í ™ YYYYY

™™î continue until cued to stop

p molto sostenuto

22" gradually the speech is rhythmically doubled by a processed, harmonic object, which fades in very slowly œ

A.P.

/ "So ... when my kids ﬁrst get up in the morning, generally they come charging into our room and wake you up at an ungodly time ... like six in the morning, so we get up and then ... when we go downstairs they're allowed cartoons and stuff and my wee boy gets to pick what he wants before breakfast ... and then usually they'll start demanding porridge no matter what the weather is ... umm."

22 Use superball mallet for all 4 gestures. Taking a short pause between each one, ad lib. the order of the gestures as you repeat 3-5'' Prés de chevilles with stick end approx.

use full string lengths

approx.

, ¿

F gl iss .

Cl.

gliss.

sim.

A¡ ? í ™™ I œœ “‘

5-10'' p.d.ch.

œœ “‘

™™î continue until cued to stop

gli ss.

"ppp" refer to preface for detail on harp techniques (for reference, the notated A is the lowest gut string) explore harmonics and ad lib. glissandi, altering the sound of the bowed harp chord with your ﬁngers and thumb on each of the 5 blu-tacked strings of the harp. This should be performed on the lower part of the strings, below the blu-tac.

Db.

°÷ í™œ ¢ ™

s. . glis harm

™™î continue until cued to stop !

always making gradual and nuanced changes to the sound, never too abrupt. Occasionally pause for a while in interesting sounding spots.

34"

A.P.

/ Like I walk through Queen Street Station ... and there you're confronted with ... loads and loads of busyness and loads of people and that ... can be quite weird as well, you don't see a lot of people before that ... and yea, it takes me a long time to kind of ﬁgure out ... my day and ... and who I am ... each day ... and then yea, I get on to Buchanan Street, I see the Big Issue guy ... um, who always says ... "Big Issue, don't be shy, give it a try, I don't bite, I'm doing the best I can" ... and I've never bought one.

= only in the pauses (denoted by an ellipsis), sing into the middle sound hole of the harp to make the strings and body resonate

p quiet but pronounced, with bite Sop.

° ¢&

r q.

A.P.

/ I'll go for my tea ... into the staff room, have a cup of tea and chat with ... ladies in the work and then go and collect the kids again.

= Sop.

° ¢&

r q. to

r q.

day

A.P.

/ There's a phrase that I always say ... which is ... Oh, I can't remember what it was! ... Just sort of like can we try that again but slower basically

= Sop.

° r ¢& q.

r q.

6" A.P.

/ ... Or, everything works better when you slow it down, that kinda thing ... I think I've just learnt different ways to paraphrase it now

= Sop.

° r r ¢& q. q. day to 4"

r q. do 7"

A.P.

/ ... but ... that's one thing, telling people to slow down. sure they're getting fed right and they're happy

I'm always in the restaurant ... saying hello to people and then making

Sop.

very quiet until the dynamic push at the last moment ° o ¢& œ

osempre sim. œ

to day

2" 8"

A.P.

/ ... sooo. I'm always ﬂicking between an e-mail account ... personal or work account or ... I have to see what's happening on Twitter

= Sop.

o œ

° ¢&

A.P.

/ ... for no reason, I have to see it. I think most typically ... mindless scrolling ... on social media

Sop.

° o ¢& doœ

o œ

10" A.P.

/ ... to the point where ... you're not even engaging with anything at all, it's actually just the ... the stuff on the feed just ﬂying past you

= Sop.

o œ

° ¢&

o œ

to day

10" A.P.

/ ... umm ... you know you're not looking for anything ... it's just a ... an entirely learned ... behaviour.

Sop.

o œ

° ¢&

A.P.

/ Uh the ﬁrst thing will be to make food because my kids are waiting for me to ... go in the kitchen and feed them

Sop.

° ¢&

o œ to

o œ day

10" gradually a low-pass ﬁlter is applied to the speech making it more difﬁcult to discern A.P.

/ ... so that's what I do ... and after that, I have a cup of tea and then I watch TV if I can ... and after this ... just sit around.

mf Sop.

° ¢&

onormal crescrendo œ to

9" harmonic pulsing is more prominent than speech at this point

A.P.

/ and basically just thinking about what's next, what's what's lying head erm ... and ... being excited about what, what will happen in the coming week and months.

= ca. 6"

ca. 10" ca.3"

mf Sop.

° ¢&

ca.3"

≈ o œ

≈

ca. 22" A.P.

/ œ

(The following speech is mufﬂed and indiscernible)

All stop abruptly, wherever you are. Hold your positions and remain perfectly still and silent for the remainder of the piece until the audio has completely stopped

ca. 15" ca. 20" Sop.

o ° ¢& œ

U ∑

r q.

to day!

ca. 20"

U ∑

? ! ≈

Cl.

ca. 20"

≈

U ∑

≈

U ∑

& Hp.

{

ca. 20"

U ∑

! ≈

¢÷ ° Db.

the harmonic pulsing is the most prominent sound but it starts to gradually degrade. The notated pitch remains constant / detectable throughout the audio's deterioration

ca. 20" an extreme low-pass ﬁlter is gradually added until the sound decays entirely into a rumble

A.P.

& œ

œ niente

Revised: May 2020, Aarhus