FULL SCORE
THE PERIPHERY ARCHIVES for small amplified ensemble, soundtrack and video
MATTHEW GROUSE
(2018)
Written for PLUG Festival
THE PERIPHERY ARCHIVES MATTHEW GROUSE FULL SCORE IN C (concert pitch)
Instrumentation (amplified ensemble): . Mezzo-soprano . Viola . Violoncello . Piano {lid fully open; remove music rack to enable easier access for on-string harmonics} . 1 Percussionist –
. Triangle, tambourine, suspended crash cymbal . 2 woodblocks (1 high, 1 low), 2 bongos (1 high, 1 low), 2 congas (1 high, 1 low), . Snare drum (+ single hi-hat on skin for mvt. III), low floor tom, kick bass drum (with pedal) . Tubular bells
. Drum sticks, triangle beater, hard felt mallets, hard plastic mallets, brushes - Amplification suggestions are as follows:
unamplified
normal amplification
louder, focused on specific close mic.
. Laptop Performer
Audiovisual / Laptop setup: . Audio interface; onstage mixer with 4 group outputs + 1 more output for headphone amp; laptop running QLab 4.1.6 or newer; headphone amp for conductor; 1x pair headphones . Separate ‘master’ mixer in the middle of hall OR in the middle of audience, controlled by separate engineer. This is for overall balance and providing the amplification. . Microphones for each performer. A radio mic is ideal for the singer. For percussion: in addition to an overhead, a close mic for the snare, crash, bongos and tubular bells is ideal. An additional microphone is required for each instrumentalist and the laptop performer to speak into in the third movement (5 extra microphones). . Large projector behind ensemble for video. . A minimum of 2 PA speakers is required (with power enabling amps) See stage plan for more detail. Additional on stage monitors for performers should be organised if useful. . The composer will provide a copy of the QLab file complete with all relevant audio + video files. . A click track will be provided for the conductor to enable synchronisation of acoustic and fixed media elements. This will be triggered in QLab. . 2 inputs into the mixer: 1 channel for stereo soundtrack material (routed to 2 speakers) + 1 input for conductor’s click track. . The loudspeakers should only play the soundtrack, NOT the click track. . The laptop performer will follow the score to cue both the fixed media elements AND the sections requiring the click for the conductor.
Duration: 20’
i
STAGE PLAN
PROJECTED VIDEO
Laptop running QLab + audio interface w/ mixer (4 group outs + 1 out for headphone amp) Pno.
Perc. Mezzo sitting
Vlc.
Vla.
Conductor w/ headphones
Output sound to ‘master’ mixing desk in the middle of the hall . This enables a sound engineer to balance the live, amplified sound with the prerecorded sounds.
Headphone amp
Amps to power speakers
Mezzo standing * Lighting - The stage should dimly lit to accommodate projected video
* - Instrumental seating plan can be altered if necessary to accommodate performance space. * - Minimum 2 PA speakers, but more can be added for enhancement if desired.
Speaker 1 (front stage) Speaker 2 (front stage)
* - The laptop performer should be positioned away from the focal point, but still with a good view of the conductor. * - Amplification will be sent from the main mixing desk positioned in the middle of the hall and NOT the onstage mixer
AUDIENCE
ii
Performance Notes: (Most non-standard techniques are explained in footnotes or technique text in the body of the score/parts. The following descriptions are only for further clarification.)
General: . A successful performance of the piece relies heavily on a strict synchronisation of the acoustic, live elements and the fixed media elements. The conductor will have a click track for sections where metronomic synchronisation is vital. Therefore, unless directed otherwise, try to follow the conductor as precisely as possible and play completely metronomically. . In movement III, for instrumentalists and laptop performer, there are extended sections of speaking, which are notated in boxed text. Start each chunk of text on the notated beat and strive for a natural, unmeasured delivery. Try to fit each chunk of text into the space of time denoted by the length of the squiggly arrow.
. Move gradually and smoothly from one technique indication to another for example, from sul tasto to sul pont.
. Senza misura time signature. In free time.
Voice: . For the few sections that are not denoted as ‘senza vib’, the singer should strive to use a very subtle vibrato which sounds nothing like an archetypal ‘operatic’ or ‘classical’ voice. . The singer is required to move between two stage positions. One is a seated position (see stage-plan) where you may have the music on a stand. The other is stood at centre stage without music.
. For Sprechstimme passages, a cross notehead is used to depict the half sung, half spoken technique. The position on the stave isn’t terribly important for this technique, as the pitch is always approximate.
Strings: Technique abbreviations Where necessary to save space / avoid collisions, the following terms may be abbreviated after their initial use: Sul tasto. >> s.t. Sul pont. >> s.p. Molto sul pont. >> m.s.p. Molto sul tasto >> m.s.t Overpressure / slow bow >> o.p. (this technique text is coupled with an ‘x’ notehead) . Increase bow pressure gradually until reaching a scratch tone or a heavy, distorted sonority depending on the written technique following the arrow. If the opaque hairpin preceding the arrow is the other way round, start with an overpressure bow and gradually return to ord. . Asynchronous harmonic glissandi tremolo. Continuously glissando on one string, using the whole length of the fingerboard and always use natural harmonic finger pressure. Constantly vary the speed of the tremolo. The slower you bow, the more the partials speak. Strive to play completely independently from the other string player. . Col legno battuto jeté. Let the wood of the bow bounce freely on the strings. Move freely between molto sul tasto and sul pont.
iii . Circular bowing. Always keeping the bow on the string, perform sustained, light circular motions. Vary the speed and move freely between sul pont. and sul tasto.
Piano:
. This box notation requires the player to play independently, constantly vary the order and speed of the contained pitches and keep a constant brittle motion like clinking light bulbs. This should sound incredibly delicate, free and random in contrast to the measured material in the left hand.
. Percussive clusters. Always approximate, cover as many pitches in the notated range as possible.
. On-string harmonics. The diamond notehead in the left hand denotes the key that the player should press (which is also the relevant string to perform the harmonic). The bracketed pitch shown in the upper stave is the sounding pitch of the resultant harmonic. The circled number above the stave indicates which partial th to touch. For reference, the 9 partial on each string is right in front of the dampers so it should be relatively easy to make these speak. For further ease of performance, it may be necessary to prepare the piano with markings on the strings for finger placement and remove the music rack for comfortable access to the inside of the piano.
Percussion: . Due to the large number of instruments that need to be accessed simultaneously, it is advised to have a relatively compact setup. A percussion stage plan is not specified, as the preferred st workable setup will vary from player to player. The tubular bells however can be moved well out of the way of the main setup as they are only used in the 1 interlude. . For the third movement, the player is required to place a single hi-hat cymbal flat on the skin of the snare drum for the entirety of the movement. There is ample time to prepare this, as the nd percussionist is tacet during the 2 interlude. . In movement II, the cymbal scrapes are performed with a drum stick. Try to vary the sound each time the gesture appears. For an effective sound, the tip of the stick can be dragged slowly and firmly over the cymbal. In movement III, the scrapes are performed with a metal triangle beater and should be carried out with a smoother, faster action to produce a resonant sheen. . At bar 126 in movement III, a painful scraping sound is notated on the congas and bongos. This should be performed with the fingernails, all over the skin and doesn’t need to follow a strict rhythmic pulse but should remain continuous until notated rests. At rests, do not release the pressure as the microphone is likely to pick up any sound. Instead, abruptly stop any hand movement but maintain the depression of the skin.
Laptop Performer: . All of the fixed media elements and the click track for the conductor will be triggered in QLab. Where possible, one cue can trigger the video, soundtrack and conductor’s click simultaneously. Timing each cue in conjunction with the conductor’s beating is crucial for effective synchronisation so an unimpaired view of the conductor is essential at all times. . The play symbol directs the laptop performer to trigger the relevant cue on the exact beat that is notated.
iv
Composer’s Note: The Periphery Archives engages with the heterogeneous nature of thinking and dreaming, and the ways that they overlap. One specific avenue that I was interested in was the liminal space in our minds, between fully conscious and unconscious thought. Freud coined this area of the mind the ‘preconscious’, whereby our repressed and unconscious thoughts are still available for later recall. Through the work’s five sections, I wanted to explore the fleeting nature of this cognitive processing, specifically the way that our memories; aspirations; worries and interests regularly wrestle for attention and have the ability to blur into each other. The tension between clarity and the warped imperfections of our recall informs the relationship between the music, images and text throughout the piece.
I. Go With Me Somewhere Around the time I was starting this piece, something that sporadically permeated my thoughts was my favourite scene in David Lynch’s Mulholland Drive and the memory of my first reactions to watching it.
Interlude I. February, 16th A short song. The words are taken from one of Franz Kafka’s diary entries. Can’t see my way clear. As though everything I possessed had escaped me, and as though it would hardly satisfy me if it all returned.
II. In the Shadow of Ms. Lincoln Ensemble featuring recordings of the jazz singer and civil rights activist, Abbey Lincoln, both in her songs and in interviews.
Interlude II. 9 Mementos for Siblings Trio for viola, cello and piano featuring tape snippets that my older sister, Lily and I made on our toy recorder, aged four and eight.
III. Threads
The ensemble attempts to recall some of their preconscious thoughts while sharing some of mine.
v
T H E P E R I P H E RY A R C H I V E S I Go With Me Somewhere Matthew Grouse (b.1996)
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≠
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> ‰ ‚J
Œ
Œ
>‚ >‚ >‚ ‰ ‰ ‰ J J J
mf rings out
swell
glitchy swell glitchy swell
Œ ‰ Lap.
œ J
˙ Œ
‰ œj œ
˙ Œ
/
‰ j @ œ
‰ œ™ œ
'it's okay' 'Rita Wake up'
Ó
(approx rhythms)
sprechstimme p
ord.
F
9 39
p
ord.
mf
3
M-S.
& Ó
‰ bœ. J
Œ
Œ
no
bœ. ‰ ‰ J
œ. Œ J
no
no
Ó
j œ Ó
Œ ¿ ¿ ¿ ¿™ llo -ran-do (djur-an-doe)
sim.
1I
sim.
1
gliss.
gliss.
sim.
>¿ R ‰™ Œ
II IV
°B Œ
¿ ‰™
¿ R
Vla.
≈Œ
mp
≈&
pp
gliss.
Ó pp
Œ
‰™
B
r ¿
mf f
sim. sim. II
Vc.
¢& Ó
1 R
‰™
Œ
gliss. gliss.
¿ Ó
Œ
IV 1 ‰™ ? R
gliss.
r ¿> ‰ ™ Œ
¿¿ mp
pp
mf f
“” œ œ b>œ ‰
loco
>œ œ œ &
-œ b >œ. J ‰ J
>œ. -œ b >œ. J ‰ J ‰
œ -œ >œ >œ >œ œ ‰ ≈ œ
“” œ œ bœ œ œ > Ó
b >œ R ‰™ Œ
Ó
mf p
p f
p f
f
f mf
Pno.
3
? #œœœ ™™™ # nœœ œ #œ
{
œ >œ œ œ
°
Perc.
‰ j œ œ “‘
/
Œ
‰
Œ
ff p
œ
Ó
Ó >œ
°
œ œ œ >‚ œJ
>œ b œ bœ œ
bœ™ °
° >‚ J ‰
> > ‰ ‚J ‰ ‚J Œ
>‚ J ‰
œ œ œ >‚ œJ
‰
> ‰ ‚J Œ
j œ
œ b œ œ >œ >œ
>‚ J ‰ ‰™
œ >œ æR R ‰ ™ Œ f scary singing + possessed voice
glitchy swell
Lap.
Π/ @
‰™
r œ œ 'No hay banda'
Ϫ
Y w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"silencio" cacophony fades in
Œ Ó
‰
10
G
3 8
with panic
43
mp
2 4
2 4
f
‰ j œ
œ œ™
˙
∑
4 4 f
Œ œ œ ™ œj ˙
œ
si - len - cio
°B
7 16
mp
& Œ
M-S.
4 4
˙
≈ j œ
œ
si - len - cio
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Vla.
? Vc.
¢ “>” œ R
>œ ∑
∑
∑
∑
∑
Œ
‰
& p
ff
ff
p
Pno. 3
3
3
? ∑
≈
bœ
{ bœ
œ
œ
œ
>œ >œ
b >œ >œ >œ œ œ œ 3
bœ
/
bœ œ œ œ œ
bœ œ œ œ œ œ œ 3
°
Perc.
œ œ œ
“‘ °
> ‰ ‚J Œ
>‚ J ‰ Œ
3 8> ‚ J
2 4 > ‰
4 4
œ œ æ
∑
2 4 > ‰ ‚J Œ
Œ
>‚ J ‰
7 16 > ‰ ‚J Œ
4 4 ‰
‰
> ≈ æœ œ
mf mf f
Lap.
sim. / ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
Y "silencio"
sprechstimme (approx. high pitch) mp
11 49
H
4 4 ∑
M-S.
as if out of breath
>¿. >¿. >¿. >¿. >¿. ‰ J ‰ J ‰ J
∑
2 4 >¿. >¿. >¿.
>¿. Ó
4 >¿. >O. 4
2 4
f
Œ
mf
>¿. >¿. ‰ J J ‰
Œ
Œ
& no
no
it's not oh
o - kay ay sharp inhale
it's not
it's not
col legno battuto delicately and ad lib. pitches
arco sul pont
pizz.
œ R ‰ ™ ‰ œJ ‰ Œ
senza vib.
°B
f m.s.t f J ‰ J ‰
f
f
0
Œ
‰™
Vla.
w >
I
w
>O O & œ œ Œ R
arco sul pont
pizz.
œ™ œŒ
‰™
>O O &œ œ R
3
fff
p
ff
ppp
p
ff
col legno battuto delicately and ad lib. pitches
arco sul pont
pizz.
œ bœ R ‰™ ‰ J ‰ Œ
senza vib.
Vc.
> ? w ¢
w
arco sul pont
f m.s.t f
I
f
pizz. 0
Œ
‰™
B
>O O œœ Œ R
J &‰
Œ
œŒ
bœ ™
‰™
>O O œœ R
B
&
3
fff p
∑
ff
“œ” œ. R ‰™ ‰ J ‰ Œ
∑
‰™
ppp
p
œ. -œ œ. œ. œ. R ≈Œ ‰ Œ
ff
œ
œœ
œ ∑
‰
Œ
‰
≈Œ
∑
‰
Œ
‰
≈Œ
& 3
p Pno.
3 3 3
> ? w
r ‰ ™ ‰b œj ‰ Œ #œ . “‘
∑
{ 4 > 4>œ œ ‰ Œ Ó Perc.
‚ ∑
‰™
3 ‚ ‰ ‰ œj ‰ ‰ ‚ ‚ ‚ J œ
/
≈Œ ‰ Œ r œ. # œ œ b œ. œ . - . > ‚≈œ Œ Œ œ
bœ
2 4 ‚ ‚
œœ
#œ
4 4 ‰ ‚J ‚J ‰
2 4 ‚ ≈ œ ‚ ‰ ‰™ J œ
pp
mp
distorted glitchy swell
glitchy, manipulated speech
¿ œ Lap.
Œ Ó
œ
Œ
œ œ ˙
j Ϫ
j @ ≈Œ ‰ œ œ
/ "silencio" "go with me somewhere"
>œ œ œ œ R
"Our lungs..." "function..." background breathing sounds throughout section
˙
˙
j Ϫ
@≈ Œ
I
as if out of breath
12
2 4
55
mp
>¿. >¿.
4 4 >O.
sharp inhale
o - kay
it's
it's not
>¿. J
>¿. >O. J‰J
‰ Œ
no hay
Vla.
f
f
>¿. >¿. >O. >O. J‰J‰Œ it's not
>¿. ‰J‰ Œ no
arco sul pont
pizz.
f
>O. J‰
4 4
(eye)
freely between m.s.t and s.p.
f
>¿. >¿. >¿. J ‰ Œ hay ban -da
(eye)
f f ° & ‰ J
5 8
mf
>¿. >¿. >¿. >O. J‰J ‰ ‰J ‰
& Œ
M-S.
f
f
‰ J ‰ J J ‰ J ‰ œR ‰ ™ Œ ‰
>O. >O. >O. >O. œœ≈ œœ≈Œ
>O O ™ & œ œ™ ≈ Ó
Ó
Oœ ‰ >Oœ. >Oœ. ≈ >Oœ. >Oœ. ≈ >Oœ. >Oœ. >Oœ.
> Œ ≈ Oœ™™ J
p ppp 3
ff
f
ff f freely between m.s.t and s.p.
f
f
f
f
f
f
f
arco sul pont
f pizz.
‰ J Vc.
J‰
‰ J J ‰ bœr ‰ ™ Œ ‰
¢&
Oœ B>
>O. >O. >O. >O. œœ≈ œœ≈Œ
Oœ ™™ ≈ Ó
Ó
. >O. >O. >O. >O. >O. Oœ ‰ >Oœ. >Oœ≈ œœ≈ œœœ
> Œ ≈ Oœ ™™ J
p ppp 3
ff f
∑
∑
∑
∑
“œ” œ R ‰™ Œ ≈ R ‰ Œ
ff
œ Œ
‰
Ó
Ó
œ Œ R ‰™
Œ
‰
Ó
Ó
Œ
œ
f
∑
& Pno.
?
{ 2 4 Perc.
/
r ‰™ Œ ≈ r ‰ Œ #œ #œ “‘
#œ #œ
r ‰™ #œ
4 4
5 8
≈œ ™ œ ‰ J J
∑
‚ ‚ œ ‰ Œ ≈ œ ≈Œ
Œ
‚ ≈ ‚ ‰™ œ œR
Œ
Ó
Œ œ‚ ‰
pp p
glitchy
ΠLap.
‰ œj
∑
w
˙
j œ @‰ Œ
˙
@ Œ
‰ ™ œr ˙ ™
/ "respiration process" "exhale carbon dioxide.... ventilation"
"inside our lungs"
r@ œ ‰™
4 4 ∑
13 61
4 4
p
>¿. J
‰
‰
>¿. ‰ J
>¿. >¿. ‰ J ‰ J Ó
Œ
>O. >O. >¿. ‰ J ‰ J ‰ J
4 4
J ‰ Œ
&
M-S.
not
Vla.
>¿. J Œ
2 4 >¿.
° &
oh
not
>O ™ œ™
Ó
‰
oh
Ó
ff
>O ™™ œ
B Ó
kay
no
>O ™ œ™
>O O œ œ
f
‰
Ó
Oœ
it's
Œ
Ó
∑
Œ
Ó
∑
mp
>O ™™ œ
>O O œ œ
Oœ
Vc.
¢ f
mp
ff
<“>œ œ ‰
Œ
Ó
∑
∑
∑
Œ
Ó
∑
∑
∑
& Pno.
? ‰
{ #œ #œ <“>
4 4 Perc.
/
‚ ≈ œ ‚ ‰™ R œ
· >œ œ œ œ œ mf
2 4 Ó
>œ œ œ
œ œ
œ œ œ œ œ
pp
œ
œ
4 4 œ
3
mf
pp distorted swell
‰ Lap.
j œ
œ
@ Œ
j ‰ ¿
Y
@Ó
j ‰ œ ˙™
/ "..carbon dioxide..." *inaudible speech* "process of breathing"
Y
Œ
14 65
4J 4
(copy the tape part in bar 65)
3 8
4 4
∑ M-S.
∑
(pre-bend quick legato portamento)
Ó d
&
5 8
f
4 4
2 4
3
j œ
œ 3œ œ œ™ œ #œ
Ϫ
∑ œ
∑
llor ra han doh expressive / loose rhythms to mimic tape
ord. scratch
scratch ord.
Vla.
° & Ó
˙ >
Ϫ
fp
>. ¿ ‰ Œ J
> ˙
f
fp
Ϫ
œ
scratch
>¿. J ‰ Œ
>˙
f
fp
scratch ord.
>˙ B Ó Vc. ¢
Ϫ
B fp
ord.
>¿. J ‰ Œ
>˙
f
fp
Ϫ
“” >œ œ œ œ œ œ œ œ >Œ
>6. 666 ‰J‰
#>¿. J ‰ Œ
œ
>˙
f
percussive cluster (approx register)
“” œ >œ œ œ œ œ b >œ Ó œ œ &
˙
>6. 666 Œ ≈R Œ
>6. 666 J ‰
œ >œ œ
˙
fp
>6. 666 ‰J
“” > œ œ >œ ‰ œJ Œ
ff
mf mf
>œ b œ bœ œ ?
{
ff
ff
mf Pno.
œ >œ œ œ œ œ ˙ > > °
œ >œ
Ϫ
˙ >
°
4 4 Perc.
/
3 8 œ œ œ >‚ œJ mf
‰
4 4 ‚™ ææ
O ææ pp
# œœœ ™™™ n œœœ œ œ œ b œ > œ™
œ
5 8 œ œ œ >‚ œJ mf
‰
O ææ
3
bœ °
‰ j bœ “‘
4 4 ‚™ ææ
‚ ææ
pp
2 4 œ œ œ >‚ œJ mf
rhythmic beeping
˙
‰
O ææ
O ææ
pp
rhythmic beeping singing figure warped
rhythmic beeping Rebekah Del Rio singing
˙
˙ œ œ œ œ™ œ #œ
C§
œ™ E§
3
llor
˙ @ Ó
3
3
œ œ œ œ™ œ #œ
∑ B§
3
ra
han doh
llor
ra
han
doh
˙
>6. ™ 666 ™™™ ≈J
7 16
15
K 71
2 4
7 8
7 16
sim. f
4 4
3
∑ M-S.
∑
∑
j œ
Ó
&
œ 3œ œ œ #œ >. llor
ra
‰™
Œ
ha!
slide to approx highest pitch
very 'classical'
n ord.
Vla.
° >scratch . & ¿J ‰
Ÿ~~ . œ œ œ œ œ.
ord.
Œ
‰™
≈ r‰ œ >.
>. œ
1*… ≈ R ‰
>œ.
ord.
sul pont.
b>œ ™
>œ. J
‰™
‰
œ.
f f
mp
f
fp
f
slide to approx highest pitch
>scratch b ¿. ‰ B J Vc. ¢
>œ.
ord.
>. ≈bœR ‰
Π&
f
ord.
>œ.
1 *… ≈ R ‰
?
‰™
∑
b>œ ™ fp
f
&
?
‰™
‰
f f
>œn œ n &
sul pont.
> bœ. J
“” œ œ b>œ
œ
œ
œ
œ >œ œ œ
œ
œ ∑
œ œ
“” bœ œ > ‰
œ
>6. 666 J ‰
bœ > bœ œ bœ
œ œ
>œ.
#œ
ff mf mf Pno.
> ? œ bœ
œ
{
œ bœ œ œ >
œ
>œ b œ bœ œ
œ >
°
‰
2 4 œ œ œ >‚ œJ
≈
7 8 ∑
#>œ
b >œ ™ °
°
7 16 >‚ œ œ / œœJ
œ#œ
œ
∑ >œ
°
Perc.
œ #>œ
7 16 œ œ œ >‚ œJ
‰
‚™ ææ
4 4 œ œ œ >‚ œJ
≈
p mf mf
rhythmic beeping
˙
œ™™
˙™™
œ™™ @
@ ∑ / C§
C§ C§
Db
16 76
4 4
2 4
5 8
∑ M-S.
7 16
∑
2 4
∑
∑
& o.p. s.p.
ord. sul tasto.
Vla.
Ÿ~~~~ > . . ° œ. œ ‰ . #œ. ≈ œ. œ ≈ œ œ. #œœ. ‰ & #œ mp
>. ŠϪ J
mf
#>œ ™
Œ
œ
Ϫ J
>. œ œ œ
fp
f
ff
o.p. s.p. sul tasto. ord.
bœ. bœ. ™ . ? œ œ. œ ‰ Vc. ¢ œ. ≈ R ‰ . mp
œ. > ‰ œ. &
≈ bœj™ >.
mf
Œ
Ϫ >
f
j Ϫ
œ
œ œ bœ. >
fp
ff ff
œ >œ œ œ
œ œ
“” bœ œ ® >
œ ®
∑
>6. 666 J
‰
>6. ™ 666™™™ ≈ J
‰
b >œ ∑
& mf
bœ Pno.
>œ bœ œ ?
{
j Ϫ Ϫ
œ
∑ >œ
œ œ
Ϫ
œ œ >œ >œ ff
p
°
4 4
2 4 ∑
Perc.
°
/
5 8 œ œ œ >‚ œ J
7 16 ‚™ ææ
‰
2 4 ‚™ ææ
‚ ææ
‚ ææ
‚ > ææ œ
mf pp f singing figure continues into warped murmurs
˙
3
@ œ œ œ #œ œ ™
∑ /
œ
C§ 3
llor
ra
han
doh
j œ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
17 80
2L 4 j œ
M-S.
4 4 j
sim. f
&
3 8
œ 3œ œ 3œ œ #œ llor
ra
∑
∑
° &
3 8
∑
∑
han do o.p. s.p.
heavy bow pressure sloppy / ugly 3
Vla.
4 4 ord. ord.
scratch
sul tasto.
> bw
œ œ œ œ œj #œ -
0 0
>œ.
gliss.
œ œ™
j œœ OO OO OO™™
∑ fp
>¿ ¿ J
ff
3 3
legato
mp dolce o.p. s.p.
heavy bow pressure sloppy / ugly 3 3
Vc.
ord. ord.
sul tasto. scratch 0
œ œ œ œ œj #œ -
¢&
ff
œ #O O O™ J
?
∑
œ œ™
w >
œ >.
>¿ J
3
ff legato
fp
ff
mp dolce
ff
Ÿ~~ œj œ #œ œ
#>œ œj
>6. 666
>6. 666
>6. 666
>6. 666
>6. >6. >666. ™™™ 666 666 6™ J ‰ ‰™ R ≈ J Œ
∑
>œ ∑
∑
& 3
fff very 'classical' p
mf brutal f
Pno.
. 3 3 œ ™ œ œœ ##œœ œ œ. b œ 3 œ œ 3 œ œ œ > œ œ bœ œ > > œ bœ > œ > °
? ∑
{ 2 4
∑ œ
œ œ œ œ
œ œ œ œ >œ >œ
œ œ œ œœœ >œ >œ >œ œ œ œff
sub p
ø
4 4 ∑
Perc.
3
3 8 ∑
/
~ ææ
4 4 ‚ ææ
‚™ ææ
3 8
>œ
∑
pp f
cacophonous, mob like voices
Tape
/
@
∑
Y~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑
@
∑
18 85
3 8
4 4
sim. f
2 4
molto vib. ugly - becoming a scream
7 16
fff
4M 4
senza vib. (without emotion)
mp
3
j œ
&
M-S.
œ 3œ œ œ #œ llor
ra
han
Y
w >
≈ ¿™
Œ
Ó
≈ j™ r ‰ ™ œ- œ
Ó
# œ-
doh
it's o.p. s.p.
pressure ord. sul tasto.
not
ord.
3
>œ.
3
Vla.
° &
œœœ œ #œ -
œ #œ ˙™
n˙
œ
œ
Ó
p
?
Œ
>œ. >œ. ™ ‰ Œ
b˙
gliss.
œ œ ˙™
œ
œ
o.p. s.p.
ord.
>œ.
>œ. >œ.
>œ. >œ.
Ó
‰™ Œ
Ó
b >-œ ™ œ ≈ J
œ œ R ‰™ Ó
œ ‰™ Œ R
>-œ ™ ˙ # ≈ J
Œ
‰™ Œ
¢ 3 3
p
ff
ff
∑
>6. >6. 666 >6. 666 666 R ™ ‰ J ‰ ‰ J ‰™
>6. >. 666 666 ™™™ 6™ ‰ J ≈J
>6. 666 R
>6. 666 R ‰™
“” >œ
mf Pno. 3 3
>˙
3
? ∑
{
bœ œ bœ “‘
œ œ œ œ œ œ
bœ œ œ œ œ bœ œ œ œ œ
bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ
Œ
secco
p ff
4° 4
3 8 ∑ Perc.
/
~ ææ
2 4
7 16 O ææ
4 4 ‚ ææ
‚ ææ
>œ
∑
∑
∑
∑
pp f
cacophonous, mob like voices
Tape
/
>œ. >œ.
>œ. >œ.
Vc.
&
‰™
ff
sul tasto.
œ œ œ -œ #œ
>œ. >œ. ™ ‰ Œ
Y~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ @
‰™
a loud whisper (unpitched)
2 4
19 91
M-S.
& Ó
Œ
‰ j j # œ- œ
4 4 >¿. >¿.
‰ Œ Ó
∑
oh
Vla.
° Œ ‰ >œ. >œ. ≈ >œ. >œ. >œ. ‰ Œ &
it's not
>> >> ≈ œ. œ. ‰ Œ ‰ œ. œ. ≈ Œ
senza vib. (without emotion)
mp
>œ. >œ. >œ. >œ. >œ. ≈ Œ
Ó
>¿. ‰ J Ó
≈ œj™ œr ‰ ™ -
Ó
oh
not
>œ. >œ. ™ ‰
Œ
Œ
>œ. >œ. ™ ‰ Œ
>œ. >œ.
‰™
3 3
>œ. >œ. >œ. >œ. >œ. ? Œ ‰ ≈ ‰ Œ Vc. ¢
>œ. >œ. ≈
>œ. >œ. ‰ Œ ‰
>œ. >œ. >œ. >œ. >œ. ≈ Œ
≈Œ
>œ. >œ.
>œ. >œ.
Ó
‰™
Œ
Œ
œ
Ó
b >-œ ™ œ ≈ J ∑
Œ
>œ. >œ. ‰™ Œ
‰™
3 3
<“> b >-˙ &
œ J
? Ó
‰
b >-œ œ œ™ J J ‰ Œ
‰
≈Œ
b >-œ ™ ≈ J
>œœ R
œ ‰™ R
Œ
œ R
‰™ Ó
Pno.
‰ Œ ‰™
{ # œ- ™ >
j œ
r ‰™ œ >.
2 4 ∑ Perc.
∑
≈ & bœj™ ˙ >-
4 4 ∑
/
‚ ‚ ‰ ‚ Ó J
‚ ‚ Œ
‚ Œ
p
Tape
/
∑
∑
∑
∑
∑
‚
20 f
96
M-S.
& Ó
o ˙™
Œ
‰ j bœ- ˙™
‰ œ
r r ≈ bœ ‰ ™ Ó >œ >
oh
7 8
mf
4 4 Œ #œ
Œ
gliss.
œ J
no
oh
oh
kay
Vla.
° Œ ‰ >œ. >œ. ≈ >œ. >œ. >œ. ‰ Œ &
>> ≈ œ. œ. ‰ Œ
>> > > > >> ‰ œ. œ. ≈ Œ œ. œ. ≈ œ. œ. œ. Œ
>>> ‰ œ. œ. œ. Œ
Ó
>> >>> Œ œ. œ. ≈ œ. œ. œ.
>>> >> >> > ‰ œ. œ. œ. ‰ œ. œ. ≈ œ. œ. œ. &
3
3
3
3
>œ. >œ. >œ. >œ. >œ. ? Œ ‰ ≈ ‰Œ Vc. ¢ 3
>œ. >œ. ≈
>œ. >œ. ‰ Œ
‰
3
3
>œ. >œ. >œ. >œ. >œ. ≈ Œ ≈ Œ
>œ. >œ. >œ. ‰
Œ
Ó
>œ. >œ. >œ. >œ. >œ. Œ ≈
>œ. >œ. >œ. Œ
‰
>œ. >œ. >œ. >œ. >œ. ‰ ≈ &
3
3
3
<“> b >-˙ &
Œ
3
3
loco
œ J ‰Œ
b >-œ œ™™ ‰ J
≈ Œ
b >-œ ™ ≈ J
>œ
>œ -œ™ œ
b>œ -œ ™ œ
b-œ ™ w
œœ #>œ
Pno.
?
& Ó
{
‰ b œ- ™ >
j œ
‰™
‰ Œ
& œr œ œr ‰ ™ >-
?> œ
R ‰™ Œ
r ‰™ œ>
∑
r ‰™ Œ b >œ
r≈ Œ œ>
7 8 Perc.
/ Ó
Œ
‚‚ Œ
‰ ‚J ‚J ‰
Œ
∑
Œ ‚‚Ó
4 4 Œ
Œ
‰ ‰™
œ æR mf
Tape
/
∑
∑
∑
∑
∑
21
N 4 4
3 16
(no emotion)
101
4 4
5 4
4 4
(mf) M-S.
- & œJ ‰ œJ ‰ ‰ œJ si
len
‰ -œ ‰ -œ Œ J J
ci
si
len
-œ -œ Œ
-œ ≈ -œ ‰ -œ ‰ ‰ J J J
-œ ‰ -œ Ó J J
ci oh
si
ci
si
senza vib. sul tasto.
Vla.
° & Œ
len
‰ -œ -œ -œ J
si
-œ ‰ -œ ‰ -œ ‰ ‰ -œ -œ ‰ J J J J J
ci oh si
len
si
len
ci oh
vib ord.
˙
>> œœ‰ ™
mp
sfz
∑
˙ ∑
>> œœ œ™ œ
>> œœ‰ ™ Œ
sfz
sfz
Ó
∑
Ó
∑
espr. senza vib. sul tasto. vib ord.
Vc.
¢& Œ
> œ œ >œœ œ œ ‰ ™ R
∑
>> œœ œ™ œ ‰ ™ Œ R
˙™ ∑
mp
sfz
sfz espr.
œ œ œ˙™ & œ œ
œœ œ
w
mp Pno.
bœ ˙ œ ? œb œ ˙
{
w Œ
≈ œJ ™ ˙ mf f p ˙ œ œ. ‰ ™ > œ™ - œ
mp
œ fff œ ‰ >œ.
œ œ bœ. œ œbœ ˙™ ∑ °
°
4 4>
3 16
œ >œ ‰ Œ Ó Perc.
œ œ œ˙™ œ œ
Œ ‚ ‚ Œ
˙˙ ™™
˙˙
˙™
˙
°
4 4
5 4
‚ ‚ ∑
∑
4 4 ‰ ‚J Œ
∑
/
‰ ‚J ‚J ‰ Œ
p
high B sine tone
sim. muffled snare
˙™ Tape
œ @™ R ‰ Œ ¿ ¿¿ ¿¿ ¿ ¿ ¿ ¿ ¿¿ ¿ o @
/
Ϫ J
w
Ϫ
w
œ@ R ‰™ Œ
Ó
˙ Œ r Œ ≈ œ™ J ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ¿sim. o
textural sounds and swells
w
w
w
˙™
˙
22 107
M-S.
4O 4
& œJ
3 4 ‰ -œ ‰ ‰ J
si
len
-œ ‰ J
-œ ‰ -œ ‰ J J
ci
si
‰ Œ
Œ
Ó
‰ -œ J
len
oh
5 16
-œ ‰ J
-œ ‰ -œ J J
si
len
‰
4 4
‰ -œ J
ci
∑
ci
* vib ord.
Vla.
vib. ° senza & ˙
>> œœ œ™
œ
œ
>> œœ ‰ ™
Ó
Ó
Œ
œ
œ
senza vib. >> œœ œ™ œ
Ϫ J
œ J
Ϫ J
œ J
(mp) sfz
sfz
sfz espr.
* senza vib.
vib ord.
>> œœ œ™
˙™ Vc. ¢&
œ
>> œœ ‰ ™
Ó
Ó
Œ
œ
senza vib. >> œœ œ œ
Ϫ
(mp) sfz
sfz
sfz espr.
b œ. œ #>œ. ‰ R ‰ ™ b œ œ œ™ secco
Pno.
œ œ œ ˙™ œ & œ mp œ ? œ bœbœ ˙™
œ
œ> œ œ œ œ œ™
>œ. œ˙
˙™ mf
p mf
œ
{
œ™ -œ œ ® j Œ œ™™
œ ™ >œ ™ bœ œ
‰ œJ ® r ‰ Ó œ™
∑
°
4 4
3 4
5 16
4 4
‚ ‚ ∑ Perc.
∑
Ó
Œ
∑
∑
/ intermittent interference and noise in sine tone
Tape
œ w / ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~o w
w
œ @ R ‰™ Ó
Ó w
‰™ œ œ ˙™ œ™ r R ¿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ J sim. o @ ˙™
Ϫ
* - At the discretion of the player, regulary vary which string the figure is played on. Also vary where to bow the figure, between sul tasto. and sul pont.
œ J œ
23 112
4P 4 -œ J
Ó M-S.
&
‰ ‰ -œ Œ J
si
Vla.
° &
>œ >œ vibœ™ord.˙
œ
‰
len
œ
-œ Ó J
-œ J
ci
oh
>œ >œ vibœ™ord.
sfz
sfz
˙ Vc.
>œ >œ vibœ™ord. œ
vib. >œ >œ senza œ™ ˙™
sfz espr.
sfz
œ
Œ
Œ
-œ J
‰
‰ -œ Œ J
Ó
si
vib. >œ >œ senza œ™ ˙
espr. sfz
‰
len
senza vib. > > œ œ œ œ ˙™
˙™
espr.
sfz
>œ >œ vibœ ord. ˙
senza vib. > > œ œ œ œ ˙™
>œ >œ vibœ™ord.
¢& sfz espr.
˙™ œ ˙™
œ œ
sfz espr.
sfz
∑
∑
∑
∑
∑
∑
& ˙™
Pno. f
bœ ? bœœ
{
P Hold pedal until the sound has completely died away
4 4 ∑ Perc.
w Tape
‰
/
w
‚ ‚ J J
‰ Ó
Œ
w Œ
‚ ‚ Ó
Œ
w ¿
/ sim.
w
w
w
w
‰ ‚J ‚J ‰ Œ
24 116
M-S.
& Ó
‰
-œ Œ J
Ó
Œ
ci
Vla.
-œ J
‰
oh
vib ord. ° >œ >œ œ™ ˙™ &
vib. >œ >œ senza œ™ ˙
œ
‰
Œ
>œ >œ vibœ ord.˙
vib. >œ >œ senza œ™ œ
>œ >œ vibœ™ord. ˙
œ
espr. sfz
senza vib. >œ >œ œ™ œ
˙
Ϫ
espr.
sfz
>œ >œ vibœ ord. ˙
Ó
si
espr. sfz
Vc.
-œ J
∑
œ
sfz
sfz
vib. >œ >œ senza œ™ ˙
>œ >œ vibœ ord. ˙™
œ
¢& sfz
sfz
sfz
sfz
espr.
espr.
∑
∑
∑
∑
∑
∑
∑
∑
& Pno.
?
{ Perc.
/ Œ
Tape
w / Ó
‚ ‚ Ó
Œ
‰
‚ ‚ ‰ J J
‚ Ó
Œ
‚ Ó
Œ
w
w
w
w
w
w
¿ sim.
w
‰
‚ ‚ ‰ Œ J J
25 120
M-S.
& Œ ‰
-œ Ó J
Œ ‰ -œJ
Ó
∑
Œ
-œ ‰ Œ J
Œ
∑
∑
∑ to centre stage position
len
Vla.
ci
senza vib. >> œœ œ™ ˙™
° ˙™ &
vib ord. >> œ œœ œ ˙™
senza vib. >> œœ œ™ œ
smfz espr.
sfz
senza vib. >> œ œœ œ™ ˙ Vc. ¢&
oh
vib ord. >> œœ œ ˙
Ϫ
˙
smfz espr.
sfz
. >. Ó œ™ >œœ
sfz
senza vib. >> œœ œ™ œ
∑
∑
∑
∑
∑
∑
f
œ
. >. Ó œ™ >œœ
sfz
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& Pno.
?
{ To tub. bells
‚‚Œ
∑ Perc.
Ó
Ó
/
Œ
‰
‚ ‚‰ Œ J J
‚‚Œ Ó
Ó
‰ ‚J ‚J ‰ Ó
Drums fade into warped 'Crying' by Roy Orbison
Tape
w / Ó
w
w
j ‰ ¿ ¿
w Ó
Œ ‚J ‚J Ó
sine tone gets louder and stops abruptly
w
w
w
w
U w
j ‰ ¿ ¿
sim.
@ w
w
w
w fades out
Interlude I 26
February 16th
4 4
7 16
sempre senza vib. (very pure)
e = 55 leaden mp
œ ∑ Mezzo-soprano
Ó
Œ
œ &
bœ. J
‰
Œ
œ. J
‰
‰ #œj
œ
œ.
œ Œ
centre stage position can't
°B
see
my
way
clear
can't
∑
∑
∑
∑
∑
∑
∑
∑
see
Viola
? Violoncello
¢
˙ œ ∑
œ
∑
bœ ™
j bœ œ b˙
œ & 3
3
p Piano 3 3
bœ ? ∑
{
∑ °
4 4
j bœ œ ø
˙ bœ ø
œ bœ™ ø
ø
˙ ø
7 16
· felt covered hard mallets
Tubular Bells
& ˙ p
˙
˙
˙
Ϫ
j œœ œœ ™™
j œ
Ϫ
œœ œœ
Ϫ
j œœ
27 (3,2,2)
5
&
M-S.
3A 4œ
7 16
pp
j œ.
≈
my
œ. J
‰
way
can't
spiccato
°B
#œ.
œ.
œ.
œ.
see
ee
ee
ee
≈
œ.
œ.
#œ
œ.
my
ai
ai
ai
ai
pp
≈
œ. ≈ way
œ.
œ.
œ.
clear ear
ear
4 4
poco sul pont
æ #œ. œ. œ. œæ
‰™
∑
œ.
2 4.
mp
ææj œ
Œ
‰
≈
ææj œ™
Vla. mp 3
mp
sub pp
spiccato
?
‰™
∑
poco sul pont
. . . #œ œ œ æœ æ
Vc.
¢
œ ææ J
Œ
‰
™ ≈ ææœ J
3
mp
mp sub pp
#œ
Pno.
bœ™ & J ™ ? œJ
œ
œ
œ ∑
œ
œ ∑
{ œ “‘ ø
ø
7 16
3 4
2 4 bœ
Tub. B.
&
œ
œœ
œ
œ
œ
nœ œ
œ œ
4 4 ∑
28
8
M-S.
B 4 4
& ‰
3 4
mf p
j œ
œ. Œ
Ϫ
as
>œ. R ≈ Ó
3 ≈ œœœœ
Œ
though
e - ver -y
œ
thing
had
j #œ. ‰ œ. j ‰ bœj ‰ . e
-
scaped
me
arco., ord. spiccato
pizz., sul tasto.
°B ‰ j œ
Vla.
œ
œ #œ œ
bœ &
œ œ
œ
œ œ œ
#œ #>œ Œ
Œ
‰™
B œ.
œ. œ.
#œ œ 3
pp mf mp
pizz., sul tasto.
? ‰™ Vc. ¢
œ œ œ R
Ϫ
œ œ™
œ
œ
œ™ œ œ œ™
#œ œ œ
arco., ord. spiccato 3
>œ B
Œ
Œ
‰™ œ. œ. œ.
mf
mp
pp
#œ
#œ ™ #œ J
r #œ ˙
œ™™ &
œ
˙ œ
œ™ ‰
3
Pno.
#œ J
? œ™™
œ ˙ R ø
{
°
˙ #œ
œ #œ
œ™ ‰
3
œ™ ø
ø
ø
ø
4 4
3 4 3 3 3
#œ œ Tub. B.
& œ
œ
œ œ
œ Œ
œ
œ œ œ
œœ
#œ #œ
˙ >˙
3
mf
Ó
C 4 4
29
11
3 4
pp
≈ M-S.
& œ . me
≈
≈
œ.
œ.
œ.
œ.
œ.
i
ha
ha
had
e
≈ œ.
œ.
-
scay
ay
≈
ææj œ™
f
mp
œ J
œ
and
as
‰
œ. J
‰
Œ
though
poco sul pont.
Vla.
°B ææj #œ
‰
ææj œ
‰
pizz., sul tasto. 3
3
œ Œ
#œ œ œ #œ #œ #œ œ œ 3
mf pp
poco sul pont. ææj B œ ‰ Vc. ¢
pp
pizz., sul tasto.
ææj œ
‰
≈
ææj œ™
#œ œ #œ œ œ j œ
‰
#œ œ #œ #œ
mf pp
pp
˙
>˙ ˙
œ R
‰™
œ R
‰™
#œœ
˙˙
& Pno. 3
p mf
? #˙
{
#˙˙ ##>˙˙ °
ø
3 4
œ #œ 3
ø
ø
4 4 5
j #œ
∑ Tub. B.
& œ
j #œ
œ œ œ
#œ œ 5
p
gradually reduce vocal quality to a pathetic whimper
30
cracked whimper
13
ppp mf M-S.
& ‰
p
œ J
œ
and
as
mp
œ. ‰ #œ J though
as
p
mp
œ. ‰ J
#œ. œ. œ. œ. ≈ œ. œ. œ. ≈ œ. œ. œ. ≈ . ≈ . . . . ≈ . . ‰ #¿. ¿.
though
i i
i it
i i it
aw aw all
œ æ ‰ æJ ‰
œ ææJ
æj œ
re
re- tur tur tur
re re
-
¿. ≈
U ∑
tur tur tur(ned)
arco poco sul pont. spicc.
#œ œ
°B #œ Vla.
œ #œ #œ # œ œ &
3
œ œ œ œ #>œ # œ. œ. œ. œ ææ J B≈
3
3
Œ
#œ ™ ææJ
œ œ æ æ ≈ æJ ‰ æ
U ∑
Œ
æj™ #œ
j æ ≈ œ ‰ œææ
U ∑
3
3
mf
mp
pp
arco poco sul pont. spicc. 3
<#> œ B œ #œ œ #œ œ Vc. ¢ & #œ œ #œ œ œ œ
æ j ≈ #œ œ œ œæ . . . >œ mf
Pno.
œœ #œœ ™™ J
& ˙˙ ˙ ? #˙
mp
j æ ‰ œ ‰
pp
œœ
##˙˙
#œœ
##˙˙
# œœ
U ∑
#w w
p
j #œ ##œœ ™™ #œ ø ø
{ ø
ø
ø
U ∑
nœœ ø
˙˙ ø
˙ “‘
5
U ∑
5
Tub. B.
& œ
#œ #œ #œ œ œ œ
j bœ bœ mf
œœ œœœ œœœ
> œ w œœ œ œ œ pp
œœœ œœ œ
œ
II 31
In The Shadow Of Ms Lincoln
steady and nostalgic ( 4 CLICK 4 STARTS
q
= 50 ) ca. 28"
CLICK STOPS
U ∑
∑
&
Mezzo-soprano.
X centre stage position
U °B Viola
∑
∑
X U ? ∑
∑
Violoncello
¢
X U ∑
∑
&
X Piano
U ? ∑
∑
{4
X
4¿ Susp. crash cymbal 2 wood bl. Tambourine 2 Bongos
°
Tambourine (with hand)
œœ œœ œ
‡ ∑
To brush in one hand and drum stick in the other
>œ
U
/
X
Perc. f Snare Drum Kick Bass Drum
œ œ
¢/
∑
X CUE 3 with click and video audience applause
≠ ˙ Laptop
/
‰ ¿j ¿
∑ "Ladies and gentleman, Ms Abbey Lincoln."
senza misura Abbey Lincoln, singing 'Tender as a Rose'
& X ‰ bœ œ œ bœ œ œ bœ ‹ @ she was as ten - der as a
U œ rose
U bœ œ œ bœ bœ œ œ œj œ she was
as
soft
as
co - tton down
q
= ca. 74
4 rit. 4
32
U 3
bœ & ‹
Laptop
bœ
œ
‰
œ
œ
œ
j œ toes
œ
bœ J
œ
she
was
bœ œ
bœ
œ
œ
hung
a
œ
and
from
her
head
down
to
her
a
dream
that
-
=
A imitating melisma in the tape part (a call and response figure) freely to match tape p sempre espr.
= ca. 48 - 50 UNCONDUCTED / NO CLICK q
4
∑
∑
Ó
Ó
&
M-S.
= 50 CLICK STARTS q
j #œ
j œ
œ™ œ œ /m/
j‰ Œ œ-
Ó
Ó j œ
/m/
j œ
œ™ œ œ /m/
j‰ Œ œ-
/m/
senza vib. circular bowing (vary speed throughout) sempre II
w
w
gliss. 0
°B
˙™ w
Œ& o
Vla. ppp
p
poco vib. poco sul pont. sempre II 0
?
gliss.
˙™
œ
˙
w
œ ˙
˙
gliss.
˙
˙™
w
Vc.
¢ 3
Πo
p ppp legato, freely
CUE 4 with click and video (stops previous cue) rhythmic vinyl scrapes (continues throughout whole movement) Abbey Lincoln vocal (pitches aren't exactly in tune)
Lap.
& ‹
œ¿ ¿ ¿ ¿
¿
¿
¿ ¿
j #œ
œ™ œ œ Ó hmmm
j œ
j‰ Œ Ó œ-
œ™ œ œ j œ™ œ œ Œ œ
mmm
mmm hmmm
round (a shadow of the vocal is left and slowly fades out)
≠ Ó j j ‰ Œ œœ -
hmmm
6 4
B 33 10
& Ó
M-S.
j œ
œ™ œ œ
j œ
Œ
/m/
-œ ‰ J
Ó
Ó
j œ
/m/
4 4
o Œ œ œ œ œœœ
œ
∑
port.
˙
/m/
* trem. synchronous sempre I
Vla.
o ° æœ & J
œo R
gliss.
∑
B
ppp ad lib. with occasional sfz accents * trem. synchronous sempre II
o œ ? æJ
œo R
gliss.
∑
Vc.
¢ ppp ad lib. with occasional sfz accents
w
œ˙ ≈ R
˙
˙
œ
‰
j œ
mp f
mp
f
j bœ
j œ
& Ϫ f
mp
f
œ
w™
mp
pp
œ
Pno.
w ?
œ˙ ≈ R
j œ
˙
{
bœ ™
˙
œj
j œ
‰ bœ
bœ
œ bw™
1/2
ø
°
ø
ø
ø
ø
ø
ø
Snare drum circular rotations with brushes (one hand)
‚ ° œ Perc. ¢ /
œ œ
œ
œ
6 4 œ
œ œ
œ
œ
œ
œ
œ
4 4
œ œ œ ∑
p
Lap.
& œœ ™™ œœ œœ Ó ‹ hmmm j œœ
j j ‰ Œ œœ -
Ó
œœ ™™ œ œœ ™™ œœ œœ Ó œ œœ
mmm
j œ
j ‰ Œ œ-
Ó
mmm hmmm
hmmm
* - Ad lib. speed of tremolo - asynchronous and agitated - constant harmonic glissandi, using entire length of the string
/
15
senza vib. mp naive 3
4C 4
34
œ œ œ Ó
Œ
œ œ œ œj
Œ
&
M-S.
vib ord. p
3
how can
I?
‰™
‰
œ R
do some thing
some
ord. sul pont. ord.
sul pont.
O˙ ™™
˙™
°B
O˙™™
˙™
Œ
Œ
Vla.
o
o
mf
mf sul pont.
ord. sul pont.
ord.
O˙ ™™
˙™
O˙ ™™
˙™
? Œ
Œ
Vc.
¢ o
o mf
mf
b œj
b œj
œ œ
œ #œ
œ
j œ
&
#œ j œ
˙
˙
3
f
pp
mp
f
j bœ ø
j œ
3 pp
mp
Pno.
Ϫ j ?
œ
{ ø
4 4
bœ J
Ϫ
œ
œ
œ b œœ
b œœ ø
(woodblocks and bongos) upper voice with drum stick (other hand) mp
œ œ
œ
ø
œ œ œ
œ
œ œ œ œ
œ
° ≈
≈ ≈
Œ
œ œ ‰
≈ œ
≈
≈
Œ
≈ œ ≈ œ ≈ ≈
/ 3 3 6
Perc.
œ
6
œ
œ
œ
œ
¢/ (p)
ùù w w Lap.
/ hmmmm
w w
5
œ
œ
œ
5 4˙
mf
17 3
gliss.
bœ
35
œ œ M-S.
& œ
Ϫ
#œ -
Œ
thing
-
4 4
stop very abruptly
Ó
worth - while
>œ
œ œ
œ J
°B ‰
œ
port.
#˙
## O˙
˙
Ó
Œ
Vla. 3
3
3
fp espr.
mf
>œ
? ‰ Vc. ¢
œ
œ œ
œ J
port.
#˙
##O˙
˙
Ó
Œ
3 3 3
fp espr.
mf
3
j œ
& œ bœ
>j nœ
j #œ
œ
3
œ
œ
œ
3
œ
œ
3
œ
œ
3
œ œ œ œ œ œ ˙™ pp
f
mp
Pno. 3
? œ™ œ™ ø
bœœJ
{
œœ ø
bb œœ b œ bœ œ °
3
j œ ˙™
œ& œ J œj
‰ bœ
5 4 >œ
œ ≈ ≈
4 4
pp
œ
° / ≈ ≈
?
Œ
œ œ ‰
≈ œ ≈
œ œ œ œ œ œ Ó 3
Œ
3
3
Perc. 6
¢/ œ
œ
w w Lap.
/ gradually becomes, rhythmic erratic and distorted
œ
œ ∑
˙˙ ™™
˙˙
19
4D 4
f
mp
>œ. b œ œ J bœ bœ
36
Π&
M-S.
f
mp
b >œ. ‰ J
>œ. b œ œ J œ bœ 6
6
3
‰
Œ
‰
bœ œ. œ. . œ œ
œ œ I could ne - ver be like her
could i
be could I
be some one like that
‰
her
sul pont.
°B
Oœ
œ
‰
Œ
œ Oœ ‰
Ó
Œ
Ó
Vla. p
ff
p
ff
sul pont.
n
Ÿ>~~~~~~~~~~~~~~~~~~~~~ œ Œ
? ‰
3
Œ
> ‰ œR
‰
Vc.
¢
Œ
‰
‰
r r bœ œ ‰ ™
Œ
3
p
3
ff
p f f
b œj >j œ
b œj
œ
3
3
œ
œ j bœ
#œ j œ
&
j œ
œ
œ
j œ
œ
œ œ
#œ
œj
œ
œ œ
œ
3
mp 3
>œ
Pno.
œ œ
œ œœ
?
{
œ
œ jœ
b œœ
œ
ø
j œ
œœ
œœ ø
œ œ
œ b œœ
ø
4 4 p mf mf
œ œ
mf
œ
œ
œ ¿p
œ
° œ ≈
≈
≈
Œ
œ œ œ œ ≈ ≈
¿™ J
œ œ œ Œ
‰
/ 3 3 6
Perc.
œ ¢/ (p)
Lap.
/
5
œ
œ
œ
œ
œ
œ
œ
p
b >œ. & J
>œ. J
21
37 M-S.
‰
it
‰
them
>œ. J
>œ. J
‰
her
b -œ J
‰
or
‰
does
-œ J
œ bœ J
‰
it
ma
‰
tter?
-
ord. ord.
sul pont. I
Oœ
°B œ
≈
‰
Œ
∑
r œ
Vla.
p
ff
œo B
&
p
ff
p
ff
n ord.
sul pont.
? œ
Oœ
‰
~~~~~~~~~~~~~ nŸœ J ‰
ff
p
bœ œ ‰ ™ R R
‰
Vc.
¢
∑
3
p
ff
3
œ
j œ
œ
3
bœ œ œ
œ™ b œœ
ff
>j œ
3
& œœ
p
œ
œ
œ bœœ
œ œ œ œj bœ
j œ
œ ˙ J
3 3 3
Pno.
pp 3
? œ œ
bœœ
{
œ nœ
bbœœ bœ
œ œ b>œœ b œ
Œ
œœj
œœ œ œ ‰ bœ
bœ ø
ø
ø
3
j œ œ “‘
ø scrape
° ≈ œ ≈ œ œ œ œ œ ≈ /
‡ œ œ
¿ ‰
Œ
∑
3 6
Perc.
¢/ œ
Lap.
/
œ
œ
œ
œ
œ
˙
brush down pick up other drum stick
< e = q >
2 4
E q
= 100
38 23
4 4
2 4
4 4
mp espr.
∑
Ó
&
M-S.
˙
˙
do
I
˙ where ord. sul pont pizz.
b
°B
bœ ™
œŒ >
p
ff
Vla.
>œ J ‰
Œ
« j œ
f
sffz
Ÿœ~~~~~~~~~~~~~ Œ
3
arco normale
Œ
b œ >œ >œ >œ >œ J ‰ Œ
Π3
f
pp
Œ
œ J
Œ
6
3
f sul pont
ord.
>œ ‰ J Œ
? Œ
n II 0
Ÿ~~~~~~~~~~~~~ œ Œ
Vc.
¢
Ϫ
œ >ff
p
j 3 œj j œ ‰ œ. œ. b>œ. ‰ > >
Pno.
Œ
bœ J
Π3
6
f
pp
3 œj œ œ # œ œ œ œ œj j œ œ œ #œ œ 3 > 3 mf
f
ff
3
&
>œ >œ >œ >œ œœ‰ œœŒ f
3 6
6
3
œ œ #œœ œœ œ œ œ œ
j 3 œ # œj œ œ
jœ œ #œ œ œ œ œ œ
œ
3
œ œ #œœ œœ œ œ œ œ
3 3
mp f 3
3
?
{
bœœ >
Œ
œœ
œœ
p s
œœœœ
j bœ
œœ
œœ
j ‰ œ b œj >.
œœ >.
2 4
4 4œœ
œœ >
œœ >
¿s
œœ
œœ
2 4
mf
¿
œœ
4 4
° œœŒ
Œ
‰ œœœ Œ
‰
Œ
Œ
∑
/ 6 6 3
Perc. Kick bass drum
¢/
> œ
3
3
j œ œ œ Œ
Œ
œ
œ
3
j œ
Œ œ
3
j œ œ
Œ
œj œ
Œ
œ
j œ
œ
mf 3 3 3
ΠLap.
Œ
œj œ œ Œ
/
Œ
Œ
Œ
‰
‰
r œ
∑ My
fa - ther
con -fused
de-
39 27
M-S.
4 4
2 4
< q = e > q = 50
4 4 bw
4F 4
2 4
f
˙
& ˙
Ó
∑
fit
in
∑
Turn to face screen (sit on floor and watch projection)
here?
ord. sul pont
b pizz.
œ œ >œ >œ >œ >œ °B >> ‰ ‰ ‰Œ Vla.
ord. #>œ >œ >> œ œ >œ œ œ ™ #>œ ‰ ‰ ‰ Œ
Ÿœ™~~~~~~~~~~~~~~
»j œ ‰
‰
6
6 3 mf
mp
pp ord.
pp
p
p
3
3
? œœ
˙ b˙˙
{
bbœœ
‰ Œ
f
6
Pno.
f
p
3
3
3
œ ™bœ bœb œ œœ œœ œ œnœ œ bœ œ bœ œ œœ œ œ œ œ œ œ™ f >œ 3 b b œ œœ œ œ œœ nnœœ bœœ
œœœœœœ 3
œ œb œœ œ œ œœ œ œ œ œ œ œ
3
3
3
3
3
mp
˙˙
pp
∑ j œ
bœœœ
‰ j œ pp “‘
sfffz
ø
°
4 4 œ ‰ J ‰ ‰ œ œ‰
°
2 4 œ
œœ œœ
ord.
bœ Oœ
‰
3 3 bœbœj œ J œ
sul pont.
bœ b Oœ Œ
p
p
f
3
& bœ ™ œ œ œ œ œ œœ
ord.
œ Oœ
f
ord.
sul pont.
bœ b Oœ
‰ œ œ ‰ b>> œ œ ‰ >œ œ œ ™ bœ Œ > b >œ >œ 6
3
mf
sul pont.
‰ œ Oœ ‰ Œ
f
ord. ord. 6
6
ord.
6
f sul pont
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ nœ ™ ‰
>œ > œ≈‰ Œ
mp
sul pont.
nœ Oœ Œ p
sffz
n
œœ œœ ‰ >> œœ œœ Œ ? b>> Vc. ¢
ord.
4 4 œ ‰ J ‰ ‰œ œ
3
2 4 >¿
4 4
(ord.)
œ œ ‰
œ œ œ œ œ œ œ
Œ
∑
Œ
∑
/ 3
3
3
3 3
3
3
Perc. mp mf f
¢/
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œŒ
p
œ œ œ œ
œ
Ó
œ
"Do these thoughts..."
Œ œ Lap.
Ó
R œ œ
/ nied
sto - len
aw - ful man
background murmurs of cacophonous voices begin to fade in slowly
occasionally ad lib. very free echoes of the melismatic material from the opening of the movement. Speed, register, pitches, length of pauses etc. at discretion
40
,
32
í ™™
∑ &
M-S.
, j œ
j œ
,
œJ j œ
œ™ œ œ /m/
/m/
j œ
œ™ œ œ /m/
continue to ad lib. intermittently j í ™™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ-
/m/
pp pizz. at the heel sul pont.
^ ^ œ bœ ‰ Œ
°B œ Oœ Œ Vla. ff
Ó
» r œ Ó
‰™
Œ
f
»r »j ‰ œ Œ œ
‰™
Œ
‰ œj Œ
ff
mp
sul pont. arco sul pont.
pizz.
bO ? <b>œ b œ Œ
» œ Œ J
‰
Vc.
¢
Ó
>K r œ
œ J
» ≈ bœr Ó
p
ff
Œ
ff
>K r œ
>K r bœ
pizz.
œ œ œœ œ œbœœ œ œ œ œ œ œ œ œb œœ œ œ œœ œ œ œ œ bœ œ & 3
3
3
3
Kr > K œ b œr
3
>K r bœ
œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œbœœ œ œ
3 3
‰ œj Œ mp
>K r bœ
>K r œ
»r » ‰ j Œ œ œ
‰™
Œ
3
3
3
3
3
3
3
3 3
pp
mf
mf
pp
pp mf
Pno. 3 3
? Ó
‰Œ &bœœb bœ œ œ bœ °
{
Ó
Œ
bœ bœ œ ‰ ? j Œ œœbb œœ œœ bœ “‘ °
bœœ bœ nœœ J b œJ b œ
Œ
‰ j œ œ
‰ bœj ◊Ÿ
Œ
3 3
°
:“; ‚ try and compensate for sfz accents
œ
drum sticks down œœ with fingertips / hands > œ œ ‰ ≈œ œ œ œ ≈ Ó ‰ œ Œ J 3
>œ œ ‰ Œ
° Ó Perc. ¢ /
œœœ
Ó
Œ
>œ œ
≈ Ó
f
p "I don't think of myself..." "We don't disappear..."
"Yes" "What about... acting?"
R Lap.
/
R
R
R
41 36
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ M-S.
Vla.
» œœ≈œ Œ
°B ‰ œœ j ‰ »j ‰ 3 ‰ ‰ »j ‰ œ Œ œ œ œ J œ œœ sfz
sfz
» ‰ bœj œj ‰ Œ
sfz
3 » » ? j ‰ œ ‰ j ‰ œ ‰ ‰ j ‰ bœ Œ Vc. ¢ œœ J œ œ œ bœ sfz sfz
» œœœ
œ œ‰
» œ œ ≈ »r ‰ ‰ œj œ œ
‰
sfz
sfz
» ‰ œj j ‰ Œ œ sfzœ
Œ
sfz
‰ b œ bœ
sfz
b œ bœ » j ‰ ‰ »j œ œ
‰
sfz
œœ œœœœœœœœœœ œœœœ œ œ œœœœ œ œ œœœœœ œœœœœœœ œ œ œ œ
œ
sfz
œ œ œœœœœ
& 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Pno.
? :◊;
{
‰ nœj Œ
∑
Ó
Œ
Ó
‰
œ œ œ œ œœœ‰
Ó
œ ff
Perc.
° ‰ œ œ ‰ œ ‰ œ œ ‰ ‰ >œ ‰ œ œ Œ J J J ¢/ J sfz
> œ œ >œ œ Œ
> ‰ œ œJ ‰ Œ J sfz
œ œ‰
‰
sfz
3
sfz
"I believe that the arts are for..."
R Lap.
> > œ œ œ >œ ‰ ‰ œJ
/ Different streams of speech start to fade in, some warped, some intelligible.
sfz
42 40
∑
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
M-S.
w arco. ord.
arco. at the heel
pizz.
^ ^ œ #œ ‰
»j O œ ‰ œ œ
f
sfz
arco sul pont.
pizz.
°B ‰ Vla.
sul pont.
pizz.
‰
» œ ‰™ J
arco, sul pont. gliss.
œ
arco. ord.
pizz.
sul pont.
œ
>œ
»j œ ‰
» œ
bO˙ ™™
‰ b˙ ™
‰
p ff sfz
p
ff
f
p
arco, sul pont.
n Vc.
? ≈ œ™ J ¢ p
pizz.
arco. ord.
pizz.
arco, sul pont.
fff
arco. ord.
pizz.
sul pont.
sul pont.
‰
» j Œ œ
ff
sfz
œ œ œ œ
œ
Ÿœ™~~~~~~~~~~~~~ J ≈ p
»j œ ‰ œ bœO ‰
ff
sfz
œœœœœ œ œ
p
» j ≈ r‰ œ # œœ >. f
ff
œœœœ
œ œ
b O˙ ™™
» b ™ j ‰ ˙ œ sfz
œœ œ œ
‰
p
fff
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ. ‰
œ
& 3 3
3
3
3
3
3
3
3
3
p ff
Pno. 3
? ‰ bœ œ œ œ œ œ œ ‰ Œ
{
p
ff
œ œ œ œ œœœ Œ
œ œ œ œ œœœ‰ œ œ œ œ œœœ‰
p
p
ff
ff
p
‰ bœj œ œ œ œ œ œ œ œ œ œ œ œ ‰ >. secco
ff
:◊; · ‡ ø pick up triangle beater for scrapes (keep using hand for bongos)
(triangle beater) slow scrape (l.v)
¿ ° Perc. ¢ / Œ
‰
>œ J Œ
ss
ss
>œ ‰ ¿ J
>œ ¿ J
f
f
choke cymbal at the same time
ss
>œ J
¿ Y ‰ J
¿ >œ
sfz p p
p
f
p fff
"I believe the arts are for ... character building...."
R Lap.
/
43
CLICK STOPS
G poco rit. solo very shyly humming with freedom mp
43
5 4
3A tempo 4
4 4
4 4
2 4
4 4
3 3
3 3
M-S.
& Œ ‰ bœJ œ œ Œ
bœ œ ≈ œ ˙™ bœ
œ œ œ œj ˙
Ó bœ œ œ bœ
œ Œ
Œ
bœ œ œ œ œ œ
‰ œœ j œ
∑ ˙™
/m/ (still facing the screen, sitting on the floor) (Melody from 'Tender as a Rose' by Abbey Lincoln)
œo ˙ ‰J
pizz.
arco.
pizz.
oj œ
œ
arco.
pizz.
II
°B
∑
Ó
œ ∑
‰ œJ
Ó &
Vla. p
f
III
Œ Œ
‰
p
Œ
Œ
œ
p
f
œ
oj ‰ œ ˙
Œ
p
p f
arco. pizz. with flesh
? Ó Vc. ¢
pizz. Oœ Oœ with flesh ‰J Œ Œ ? Œ ‰ œj ‰ 0
Œ ‰ œj
Ó
Œ
œ bœ Ó
Ó
p
arco. IV
oj œ
pizz. with flesh
œ
Œ Œ
œ
p
4 4
∑
f
3 4
∑
∑
oj ‰& œ ˙ f
4 4
∑
∑
p
f
5 4
arco. I
∑
2 4
∑
∑
4 4 ∑
& Pno.
? bw w
˙ ˙
{
˙™ b˙ ™
sub mp una corda
CUE 5 just video (previous audio cue keeps going)
Œ ≠ Lap.
/
˙ ˙
Ó
w bw
˙ ˙
œ œ œ bœ
˙™ ˙™
œ œ
˙™ ˙™
˙ ˙
H poco rit. 44
A tempo 51
M-S.
4 4
mf stop abruptly
‰ bœJ œ œ œ bœ œ œ
&
arco.
Vla.
° &
‰
Ϫ
˙
arco.
‰ B bœOj œO
∑
∑
∑
∑
∑
∑
∑
∑
∑
pizz.
œ ‰ &J
‰ bbOœ O˙ J
Ó
slowly make your way back to your chair
p p
p f f
pizz. with flesh 3
senza vib.
œ œ ‰ ?J Vc.
Œ
‰
arco.
œo ˙ ‰ J II
Œ
¢& œp
p
f f
4 4 ˙ ∑
∑
Œ
j œ
&
œ bœœ œœ œ œ
‰ œj œJ œ
œ bœœ œœ œ œ
Œ
‰ œj œJ œ bœœ œ
p
Pno. 3
? w bw
{
j œ ‰ œ
#˙ ™ ˙™
j œ œ ˙™ œ œ ˙™ 1/2 °
3
3
j œ œ ˙™ œ œ ˙™
j œ œ ˙™ œ œ ˙™
CUE 6 just audio (stops previous audio cue + video cue 5 continues)
≠ Lap.
/
∑
∑
∑
45 ca. 3" 56
M-S.
&
Vla.
° &
∑
∑
∑
∑
∑
U ∑
∑
∑
∑
∑
∑
U ∑
∑
∑
∑
∑
∑
U ∑
? Vc.
¢ ppp
“” 3
& <b>œœœ
j œ Œ bœ œ
Ó
b œ œj œ ‰ œJ
3
œœ ™™ œ ˙ œ™
‰ bœœ œ
œœ j œ œœ
œ bœœ ™™ œ™
j œ
œ J
œ
Œ
b œœ ‰ J
˙
U w
˙ ˙
U w w
œj
Œ
Pno. 3 ? œ œj ˙ ™ œ œ ˙™
3
3
j œ œ ˙™ œ œ ˙™
{
œ œ
3
j œ ˙™ œ ˙™
3
j œ œ ˙™ œ œ ˙™
œ œ
j œ œ œ œ
CUE 7 - just audio (stops video)
≠ "And that's the way the story goes"
Lap.
/
∑
∑
∑
∑
∑
R U ∑
46
Interlude II 9 Mementos for Siblings
*
4 molto rubato ( q = ca. 66 ) 4 #œ bœ
A ca. 6" con sord.
U ∑
° Viola B
II
bœ b ˙ Œ #œ œ
œ Œ
˙
molto espr. p
˙
3 Uo ™ 4˙
4 4
Œ #œ œ #œ
˙
mp
con sord.
U ∑
?
∑
∑
∑
∑
∑
∑
Violoncello
¢ bb w w w
U ∑
w w
bb w w w
w w
bb w w w
#˙ ™ #˙ ™
bb w w
#˙ ™ #˙ ™
bb w w
Ó
U Œ
& p b w bw
Piano
U ∑
?
{
œ œ “‘ CUE 8 ca. 2"
≠
R
° R
ø
U* ˙ “‘
ø R U @
U Laptop
U Œ
/
tape clicks off
fade in and coughs
Matthew: "Lily, watch this" ca. 6"
"I can see a Jigaree, it is jumping after me, jumping here, jumping there Jigarees jump everywhere"
"I can see a Jigaree, it is dancing after me, dancing here, dancing there Jigarees dance everywhere" ca. 12" ca. 10"
* - Hold every fermata until you hear the definite 'click off' of the tape finishing. Try to kill your sound as soon as you hear each cue end (each definite 'click off')
4B 4
47 8
stop when the next clip is cued
#œ œ œ bœ ˙
°B ¢
Vla.
œ
œ œ œ œ
gliss.
œ
#˙
œ
3 U™ 4O
#O œ
4 4
˙™
& 3
f pp 3
mp 3
w w
∑ &
bb˙˙˙
bœœ œ
œœœ
bb˙˙
nnœœ
œœ
bœ œ
U œ œ
Œ
Œ
œ œ
U œ œ Œ
Œ
p
#˙ ™ #˙ ™
Pno.
? ∑
{
œ CUE 9
≠ j ¿
3
ø
° R
Œ
/
Lap.
∑ tape clicks on
@
∑
tape clicks off Matthew: "This is very great. Have you heard the story of Robin Hood? I've got the tape of it. If you want to listen to it, come back soon ... Chapter one" ca. 12"
=
gliss.
°? Vc. ¢
˙˙
˙˙
gliss.
œ Œ b œ bœœ
∏∏∏∏∏∏
pizz.
12
b œœ Œ œ
3molto rall. 2 #œ œ œ œ
4 4 gliss.
Œ
#˙˙˙
∏∏∏∏∏∏
C lively, with freedom ( q = ca. 116 ) 4 3 4 ˙ 4 bœ b˙ bœ
Œ b˙˙˙
2 4 œœœœœœœœ
#œ œ
l.v
4 4
#˙ p
3
mf espr., lazy
“œ.” . #œ
loco
” #“œ. # œ.
loco
#œ <n>œ Ó
& pp
brittle, delicate
Ó
{ una corda.
œ. œ. œœ
Œ
Œ
œ. . Œ bœ
œ
#œ Œ
Pno.
?
œ. . bœ
œ
Œ
bœ bœ 3 œ. #œ #œ Œ Œ bœ . b œ.
œŒ 3
Œ
œœ
œ. Œ #œ œ
U w
Œ Œ
U Œ Œ #œ w
Œ Œ
˙
3
° CUE 10
≠ j ¿ Lap.
R
/
∑ tape clicks on
U @ Πtape clicks off
Lily: "It's funny, isn't it? I mean, just think, we can make loads of money, just by recording this tape ... and then, we'll get it published all over the world. Imagine that!?" ca. 12"
18
4 D 4°
48
II gliss .
Œ
4 4
molto rall. ( q = ca. 86 )
U ˙O
III
III II
#œO
&
Vla.
5 4
molto rubato ( q = ca. 96 )
#O œO # œ
Œ œO
Oœ O #œ
Œ
##œO
n˙O
∑
mp lyrical (pizz.) (extend the rall. until the tape 'clicks off') gliss.
Œ
Vc.
œ gliss. œ b Œ b œœ œœ
¢
#œ œ œ œ œ œ œ ∏∏∏∏∏∏∏∏
? Ó
œ œœ
œ bœœ
Œ
œ œ œ
‰
∑ pp etc.
mp on-string harmonics (in front of dampers)
∑
∑
∑
∑
∑
∑
È ≈ #œ o mf ≈ j ‚™ “‘ ° @
& Pno.
?
{ CUE 11
≠ j ¿
R
/
Lap.
tape clicks on
Matthew: *laughs* - "can I say something funny?"
Matthew: "in there"
Lily: "what?"
Lily: "In there? ... what's that?"
Matthew: "in there"
Lily: "In where?"
Ó &
O™ U Ó
tape clicks off
ca. 9"
=
4E lively, with freedom ( q = ca. 86 ) 4 ˙ bœ
3 4
pizz.
22
œ
gliss.
°? Vc. ¢
œœ
˙˙
bœ bbœœ
gliss.
œ J
2 4
gliss.
Œ
4 4
œ bœœ
∑ &
3
mf espr., lazy
“œ.” . #œ
” #“œ. # œ.
œ #œ
nœ
loco
œ . #œ ?œ
œ ?œ
bœ
œ. &
#œ &
&
œœ œ
3 3
3
3
Pno. 5
pp
3
#œ.
{
CUE 12
Lap.
≠ j ¿
? &
œ œ
#œ
#œ œ œ
?
j # œ. > sfz
R
/ tape clicks on
3
œ ?
<n>œ.
&
3
Lily: *unintelligble squeaking* ca. 5"
&
#œ
#œ. #œ.
bœ.
‰ bœ.
bœ œ #œ œ . > mp j œ œ . œ >
qs i=[ep ]x silly, swung, like ragtime 49 25
4 4
I II III
II III IV
pizz.
straight
3 4
arco., molto vib.
° #˙ Vc. ¢&
gliss.
œ™ ?‰
œ œœ
gliss.
3 gliss.
# œ œ œ œ gliss. œ œœ œ œ œ œ œ J œ bœJ bœ œJ œœ
#œj n œœ
gliss.
4 4
arco., vib ord.
U bœœ. œœ. j bœ œ œœ œœ œ œ œ œœ ™™ ˙˙ ™™ . . - -
∑
3 3
niente 3
mp exaggerated mf
œ
mp
p
#œ œ œ
b œ œ œ#œ œ œ œ œœ™œ œœ œœ œœ œ œœ œ œ œ œnœ œ œ # œ œ œ œ™ œ œ ≈ b œ œ & J J R R 3 3 p > > œœ œœ œœ œœ œ œ ‰ œj bœ ≈ œ. ™ œ ™ ? œ œ œ œ œ œ™ œ ™ . œœ ™™ œ œ œ >œœ J J J œ > >. R /
Pno.
{ Lap.
œœ
Ó
Œ
‰
∑
∑
∑
U Œ Œ Œ
3
. ™ œ. œj b-œ œ >œ. ™ œœ™ œ ‰ œ œ œ™ J
‰ j œ. “>‘
U Π@ tape clicks off
Lily: "I was being a bit dramatic then ... let me introduce myself ... I was doing all those squeaky voices stuff ... i'm Lily the Weird... okay? ... Bye Bye now. Have a good day." ca. 11"
=
30
Vla.
4F 4
°B ¢
molto rall.
molto rubato ( q = ca. 66 )
1 œ œœ
#œ œ #œ œ œ œ œ œ J
oo ˙˙
œ œœ
‰™ Œ
œ œ œ™ #œ œ œ ™
b˙˙
#œ ™™ œ
œ ˙ J ˙
U ˙˙
&
œ
3
ppp
p
pp
p molto espr.
œœœ
˙˙˙
## ˙˙
Œ
“” # œ n œ
loco
# œ œ # œœ ˙˙ œ œ ˙
œœ
œœ
Œ
w w w
Œ
∑
& 3 3
3 3
pp Pno.
ppp p mp
3
œ œ ?
œ œ
## ˙˙˙
?
Œ
{
Π&
œ
#œnœœ ? &
Lap.
bœ œœ ˙˙ œ œ œ ˙
œ “‘
3
≠ R° j ¿
3
Π&
œ CUE 13
5
ø
ø
?
#œ œœ œ œ œ œ œ #œ œ ø ø ø ø ø
U ˙ ˙
Ó
@
/ tape clicks on
Matthew: Matthew: "Hello! This is a Matthew here. Um ... there's a place called erm .. um Knaresborough and there's and, and you get the swing, "so bye-bye and see me later for an alligator." you go on the waterslide and i'm very brave at going on" ca. 24"
tape clicks off
50
G ca. 11"
35
1
6 4
4 4
( q = ca. 76 )
molto vib. II
Vla.
° & ‰
slow gliss.
∑
X #W goofy mp
f
1 molto vib. IV
? ‰
slow gliss.
∑
Vc.
¢
X#W goofy mp
f
sempre laissez vibrer
U ∑
& ‰
≈
X
È œo
È œ o
Pno. f
U ∑
? ‰
{
X
≈ j ‚™ “‘
O™ O
° . . . sempre ped. until final tape 'click off' CUE 14
≠j ¿ Lap.
R Ó @
/ tape clicks
tape clicks off on
Lily and Matthew: *singing* "Wooo, that was worthwhile - wooo, that was worthwhile - wooo, that was worthwhile - wooo, that was worthwhile" ca. 11"
51 41
° &
Vla.
H 4 molto rubato ( q = ca. 76 ) 4 bO #Oœ O b œ O Œ
œ œ
B
Oœ
O Œ #œ
O˙
bb Oœ
bO Oœ b œ
Oœ b O ˙
o œ. R ‰™ Œ
Ó
∑
∑
Ó
∑
∑
sul pont. trem.
p lyrical
w æ
? ∑
∑
∑ &
Vc.
¢
œ. ‰ ™ Œ æR È œ o
pp
È & #œ o
È ∑
∑ œo
È œo
≈
È #œo
È œo
Pno. mp mf
? Œ
{
Ó
∑
Œ
Ó
∑
Œ
Ó
‚ ‚
≈ j ‚™ ‚ O
Ó
‚
O
<“> CUE 15
≠j ¿
R Ó @
/
Lap.
∑
tape clicks off tape clicks on
Matthew: "Uhh, I love my sister 'cos she's very nice ... and ... sometimes she's very sad 'cos I go to school and ... because she ... stays at home with her mum." ca. 13"
=
U È
I
48
È œ o
&
È œ o
È #œo
U ∑
∑
U ∑
∑
œo
Pno. pp
? Ó
{
Ó O
‰
Ó j ‚ ‚
Œ
Ó ‚
Œ
‰ j ‚
<“> * CUE 16
≠ j ¿ Lap.
R @
/ tape clicks on
Matthew: Lily: Lily: Matthew: Matthew: tape clicks off *little sung intro* "Right then, next, on the news we have a good song" "Shut up! Shut up!" "Right, I am shutting up" "Are you?" *gargling sound, pretending to die*
ca. 18"
Attacca to mvt. III
52
III Threads
violent, fast ( q = ca. 143 ) NO CLICK 1
5 4
4 4
ff
3 2
4 4
5 4 f
mf
Œ >œ Œ Ó Mezzo-soprano
3 Œ ‰ œj œ j ‰ œ. Œ œ. . . # œ. J
∑
& these! centre stage position
Susp. crash cymbal 2 wood bl. Tambourine 2 bongos 2 congas
¿ ° /
‡
œœ œœ œœ œ
œ. Œ Ó
∑
these threads of my mind
they
œ œœœœœœ 3 3 J≈ ‰ œœ œ œj œ œ œ ‰ ‰ œj œ 3
hard mallets
œ >œ Œ Œ Ó
œ Œ ‰‰J
œ œ œ œ œœœ œ >œ Œ Ó æ
/
3
3
5 3
p pp
Perc.
f
fff
snare w / hi-hat cymbal low floor tom Kick bass drum
œ œ œ
¢/
mp
Ó™
f
fff
∑
∑
∑
∑
œœœœœœŒ
/ 6
=
5 4.
6
M-S.
3 2.
3
& œ Œ
Œ
ŒŒ
4 4 Ó
6 4
mf 3
œ Œ
3
Ó
˙ Œ œ œ œ #œ
# œ. don't
lyrical p
they don't
they don't make much sense
œœ #œ to me
<n>œ ™ œ œ ‰ j ˙ J #œ #œ or
° ∑
∑
∑
œ œ
/
œ œ
may - be
to
˙
a
-
œ œJ œ œ Œ Jœ ‰ œj œ œ œ œ 3 5 3
pp
f
pp
pp
f
pp p
Perc.
mp
f
f p
œ ∑ Œ œœœœœœœœœœœœÓ
Œ œœœœœœœœœœœœœœœœœœœ Œ
¢/ 6
6
6
6
6 3
∑
∑
∑
senza vib.
12
6 4
4 4
p
& #œ ™
M-S.
Ó™
Ϫ
ff p
. >. Œ #œ #œ. œ. #œ. <n>œ œ. Œ
53
b˙ ™
œ
or
not
Œ
˙™
3 3
- ny
-
one
can you hear a kno -cking
>œ 3 œ œ œ œ œŒ 3
° ∑
Œ
/
œ œ œ œ œ œ
œœ œœ ‰ œj œj ‰ œ ™ œ œ œ œ™ œ
6
pp
f
pp mp
Perc.
f p p
Œ
œœœœœœœœœœœœœ œ œ œ œ œ œ œ
f
∑
∑
∑
¢/ 6
6
3
=
A
q = 143 CLICK STARTS gradually becoming uglier and harsher
ff
p
16
ff
& Œ
M-S.
. U #>œ. . <n> œ # œ . Œ œ #œ. œ. ‰ œ
œ
œ
bœ
j bœ œ™
Ϫ
j œ
Ϫ
j bœ ˙
w
3 3 3
so much in - for - ma -tion
let's
try
work
-
-
ing
it
sul pont. trem. meno e meno trem.
°B
∑
Ó
Œ
Vla.
#œ ææ
˙ ææ
˙ ææ
out ord. ord.
scratch
œ #˙
˙
˙ ™™
gliss.
>¿ J
3
pppp espr. ff scratch
˙ ˙ o
? ∑
∑
∑
Ó
Vc.
¢
>¿ ¿ J
˙ ™™™™ ˙
espr. ff
° œ U Œ Perc. ¢ /
>œ œ 3 œ œ œ œ œ 3
œ œ œ œ
œ œ
œ œ œ œ œ ¿œ œ œ
∑
∑
7
mp
mf
p CUE 17 with click and video
Lap.
/
∑
∑
∑
harsh swell ≠ swelling intro wÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ
low rumbles
5 4
54 21
3 4
∑
4 4
∑
7 8
∑
∑
∑
&
M-S.
senza sord.
°B
∑
∑
∑
Ó
Œ bœ
∑
Vla. heavy pp
fff
senza sord.
? ∑
∑
∑
Ó
Œ
∑
Vc.
¢ œ heavy pp
fff
3
Pno.
& œ Œ b œœœ ' ff ?
Ó
Ó™
Œ Æ b œœœœ ™™™™
Æ™ Œ œ b œœœ ™™™
Œ
Œ
Œ
Æ ™ Œ œœœ Œ Œ œ b œœœ ™™™
Œ Ó b œœœœ '
3
∑
{
Ó™
Œ ## œœ '
## œœ '
5 4
## œœ '
3 4
Œ Œ ## ˙˙-
∑
4 4
7 8 œœœœœœœœ
3 5
° ∑
‰
/
≈ œœœ œ œ Œ œ œ œ œ œ Œ
∑
∑
Ó 5
3
p ff f f Perc.
> œœœ œ Œ ‰ ≈ ¢/ œ 3 3
> œ
Œ
Œ Ó
> œ
œ ‰ œ œœœ œœ œœ œœ
> œ
Œ Ó
> œ Œ Ó
3 3
low rumbles, ticking and glitchy machinery
Lap.
/ w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
vib ord.
55 26
7 8
4 4
B f espr. mp 3
∑
∑
∑
Œ
&
M-S.
‰ #œj œ™ j œ
b˙ œ œ
œ
what's
that
kno
-
senza vib.
b˙ °B
∑
∑
Ó
Œ
œ
Œ
heavy pp
fff
Vla.
‰ #œJ œ™ œJ
œ œ
œ
3
mf p
? ∑
∑
Ó
Œ
∑
Œ Ó
Vc.
¢
#œ #œ ' heavy pp
fff
ff
3
Æ™ Œ œ b œœœ ™™™
&
Ϊ
Æ™ Œ œ b œœœ ™™™
Ó
Œ b œœœœ '
Pno.
bb œœœ '
œœœ Œ Œ -
b œœœœ '
b-œ ˙ ‰ bœ ˙ J
Æ™ Œ Œ œ b œœœ ™™™
Æ b œœœœ ™™™™
mf ff
3
? Œ
{
Ϊ
## œœ '
## œœ '
7 8
3
Œ jŒ œ œ' '
## œœ '
‰ jŒ #˙ # œ # ˙'
∑
Œ
∑
Œ Œ ## œœ '
œœ '
4 4 œœœ 3
° œ œœœ
/
Œ
Œ
Œ œj Œ œ
œ Ó
∑
3
pp
Perc.
¢/
> œ
‰ Ó
> œ
Œ
> Œ ‰ œj œ
Œ
Ó
> œœ œ œ
Ó
> œ
f
pp
Œ œœœœœœœœ œœœœ 6
6
swell mid-frequency, measured machinery clicks
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ˙
w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
3 4
56 mp 31
& <b>˙
M-S.
˙ -
Œ Ó
œ
∑
4 4
∑
∑
cking
-
poco sul pont.
b
Ÿ˙™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ °B <b> ˙
˙
œ Œ Ó
∑
∑
Vla.
o fff p (non-legato) arco., sul pont. I pizz.
?
œ œ‰ Ó J
?
∑ Vc.
&
¢
1>. >. >. >. >.g>li.ss>. . >. Π#œ '
pizz.
?
Πfff
mp
f
mp
p
> .œb œ. b œ œ ‰ ™ bœ œ ‰ Æœ ™ b œœœ ™™™ mp ff Œ œœ # œ œ œ #œ . ' ' “‘ .
œ. Œ
Pno.
{
∑
bœ heavy pp
ff
& œÆ b œœœ ?
œ. bœ. Ó
Œ œ Æ™ œ œ b œ œœ ™™™ mp f ff Æ ‰ ™™ nœœ ##œœ œœ Œ # œ # œ #œ #œ ' ' '
‰
‰ Œ Æ ‰ œÆ œ ™ œ b œœœb œœœ b œœœ ™™™ mp ff mp ff Æ ‰œ ‰ œ Œ ‰ œ bœ œ œb œ œ œ œ ' ' œ. ' °
Œ Œ
∑ mp
f
œ bœ œ œœ œœbbœœ œœ œ b œ œ
3 4 œ œJ ‰J ‰ Œ
° ‰ ™ œR ‰ œ Œ J
Ó /
3
∑
Ó
pp
f
> œ ¢/
œœœ Œ
∑
pp f
f
Perc.
4 4
Œ
Ó
> œ
œœœŒ Œ
‰ œj
> œ
Œ
> œœœœœœœœœœœœ œ
Œ
Ó
œœ œœœœ œœ Œ p
6
f
6
3
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
57 36
4 4
3
Π&
M-S.
5 4
mp f espr. mp
‰ œj œ#œ œ
bœ ˙
˙
œ
some - thing fli
-
ckers and
I
#œ
3
˙
Ó œ-
œ- œ- œ- ˙-
˙
3
see
˙ Ó
Œ œ
Œ
bœ œ
Œ
Vla.
(non-legato) arco., sul pont. I
1 œ # œ œ. J ‰& œ ‰
ord.
°B
thi(ngs) (hi hi hi hings)
Œ
∑ &
1>. >. >. >. >.g>.lis>s. . >. Ó ¿
3
heavy pp
f
pp
ff
pp
fff
mp f
p
sul pont. arco. senza vib.
? ΠVc.
¢
trem.
j & ‰ œ œ#œ œ
#œ œ
bœ ˙
æ wæ
˙
˙
æ ˙æ
Ó
3
mf p
mf p
-œ œ Æ ™ ‰ œJ œ ‰ œj œ b œœœ ™™™ b œœœ mf
&
3
Æ™Œ Œ œ b œœœ ™™™
Œ Æ b œœœœ ™™™™
Œ
Æ b œœœœ
mp
Æ™Œ œ b œœœ ™™™
œ bœ ™ bœ
Ó
Œ
Œ
Æ b œœœœ
ff f
Pno.
j œœœ œœœ œ- œ '
ff
Æ ‰ ™ œ #œ œ ## œœ ™ œ # œ œ ' '
? Œ
{
Ó
## œœ '
Œ Œ ## œœ '
œœ '
4 4
Œ ## œœ '
‰ j œ œ™ œ œ '
™™ ‰ j # œ #œ œ ˙ '
5 4
p
œœ ° ∑
∑
‰
œ
/ pp
f
pp f
Perc.
œœ ¢/
> œ
Ó œ
> œ
> Œ œœœœœœœ œ œœœœ œ
Œ
œœ œ œ Œ > Ó œ
œœœ j ‰ Œ œ
‰
œœœœ œ œ Ó
3
Œ
Ó
> œ
Œ
Ó
(f) 6
6 reverse swell
Lap.
j œ / ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
58 41
5 4
4C 4
f mp 3
∑ M-S.
j ‰ œ œ #œ œ
Œ
&
œ
threads of my
Vla.
Ó
Œ
Œ
B
> nœ.
œ b˙
threads of my threads of my mind
they
arco. senza vib.
pizz.
° &
œ #œ œ œ œ œ œ
» #œ
œ œ ‰ J #œ œ
Œ
œ #œ œ œ œ œ œ
œ
n>œ.
œ b˙
& 3
f mf p
senza vib.
?
∑ Vc.
Œ
¢&
‰ œJ œ #œ œ
œ #œ œ œ œ œ#œ
œ
>. œ
œ ˙
3
mf
∏∏∏∏
p
Pno.
nbœœœœ nœœ#œ œ bœ œ œ & Œ œÆ ™ J ‰ œnœ b œ œ œ œ b œœœ ™™™ b œœœ ' mp ff ? Œ Œ Œ # œ œœ #œ ' '
œ b œœœ '
-œ ˙ ‰ œ ˙ J
œœÆ ™™ ## œœ ™
Œ
Œ
Œ
Œ
œœÆ ™™ œœ™™
œœÆ Ó ## œœ
mf ff
Œ
{
Ó
œœ '
5 4
œœ '
4 4
œœ '
Œ #œ œ ™ œ mp f Æ œœ ™™ ‰ œœ##œœ œœ Œ ' ' Œ
(p)
œœ ° ∑
Ó
Œ
> œœ œ œ
Ó
‰
∑
/ Perc.
¢/
> œ
œ™ Œ
œœœœœœœ œ œ
> œ
Œ
Ó
> œ f > œ
Œ
Ó
Œ
Ó
p f swell pitched, ethereal beating
˙™ Lap.
/
˙
w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ gradually the pitch glissandos down
D 59 p mf 45
espr. f 3
3
∑ & œ -
M-S.
œ-
tea(r)
œ-
œ-
˙-
heh heh
heh
hair
∑
∑
Œ
œ gliss.
‰œ œ J fo
-
-
arco., sul pont. II
Vla.
>. ° 1 &
>. >g.li>s.s.> > . . >. >. Πpizz. (pizz.)
Œ
Ó
» #œ
fff
f
bœ œ
Œ
Ó
∑
‰ >œ Ó J
Œ
f pp p pp
fff
arco., sul pont. pizz. I
1>. >. >. >. >.g>li.ss>. .
? Π&
Vc.
¢
arco., molto vib.
#œ ?
#œ
>¿. Œ
Œ
Œ
» œ
Œ
Ó
∑
Π&
‰œ ˙ J
p
p pp
fff
pp
fff f
#œ œ #>œ œ ™ . . œ # œ #œ œ ™ œ #œ #œ œ# œ œ œ ‰™ R Æœ ™ 3 3 ## œœœ ™™
# œ. ‰
œœÆ ™™ ## œœ ™
&
œœÆ ‰ œœÆ œ ™ œœ œœ ## œœœ ™™
‰ mp
mp
Ó
mp
ff
œœœœÆ ™™™
mp
ff
ff
-œ œ ##œœ-œœ ™™™ ‰ œJ œ ff
ff Pno.
? œ œ '
{
œ.
‰ œ œ '
‰ œ Œ œ ' °
Æ ‰ œœbbœœ œ œ '
Œ
Œ œœ '
œœ '
Œ #œ '
œ '
œ. œ.
Œ
œ # œ ™ œ ## œœ ' -
jœ œ 3 j œœœ œœ œœ œ œ œœ œœ J 3 3 p f ∑
œœ '
3
p
° œ / Œ
Ó
‰ œœ œ œ œ Ó
Ó
> œ
∑
Perc.
> ¢/ œ
Œ
Œ
Ó
> œ
œ œŒ
Ó
mp
≈
œœ œœ Œ
> œ
œ
Ó Ó low harsh rumble
high click fade in
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
swell
w
Ó
˙
60 p f 50 whisper (unpitched) 3 3
gliss.
œ
M-S.
œ bœ œ
nœ
& œ-
œ- œ- œ-
œ-
œ-
oh
(ee)
(ee)
¿ ¿ ¿ ¿
Ó
‰ bœJ œ œ bœ bœ
Œ
3
-
cus
-
and
sho(w)
oh
me
it's not ea - sy
these threads of my
pizz.
Vla.
° &
∑
∑
œ
arco., molto vib.
œ
œ bœ
Ó
‰ bœJ ˙
Œ
p p
scratch pizz.
?
˙ ™™™ Vc.
¿ R
¢&
∑
œ
(pizz.)
œ
œ bœ Ó
Œ
&‰
j Ó b>œ
p f f
& ##œœœœÆ Pno.
?
j ‰ œœœœ ‰ nœj Œ ' # œ- œ œ œ #œ Œ Œ
{ ™ ## œœ ™ '
3
Æ™ . œ. ≈ #œ œ œ œ œ <n> œ œ ™ œ- œ- œ œ œœ ™ ' sub p ™ ‰ r≈ Œ #œ œ # œœ # œ. # œ. œ bœ #œ ' ' '
. œ. bœ
##œœ-œœ ™™™
Ó
# -œ œ ‰ #œJ œ
œœœœÆ ™™™
ff
Œ œ.
œ.
‰™
Œ
Œ
r #œ œ #œ
œœ '
° /
≈ œœ œœ Œ
Ó
≈ œœ œœ Œ
Ó
> œ
Ó
> œ
Ó
∑
≈
œœ œœ Œ
Ó
∑
> œ
Œ
Ó
Perc.
¢/
Œ
œ
reverse swell to gradually distorted texture sim.
sim. clicks and swell
Œ
Œ œ
Lap.
/
œ
w
˙ ∑
˙
E 61 p molto legato mp 54 3
bœ œ bœ œ œ œ J œ
‰ M-S.
&
3
∑ port.
œ-
œ- œ- œ-
‰ œJ œ œ
Œ
˙-
3
threads of
threads of my mi(nd)
(eye
-
eye
eye
eye
ind)
how
do
arco., molto vib. scratch pizz.
Vla.
° <b>˙ ™™™ &
¿ R
∑
B
œ
œ
œ bœ
Ó
œ ˙ ‰ J
Œ
(p) p f
arco., molto vib. pizz.
?
∑ Vc.
∑
Ó
¢& œ
œ
Œ
&‰
œ bœ
œ ˙ J (p)
p
& ##œœœœÆ Pno.
?
j ‰ œœœœ ‰ nœj # œ' Œ Œ
œ. Œ œ œ œ#œ
{ ™ ## œœ ™ '
3
œ.
Æ™ ≈ #œ œ œ œ œ œ œ- œ- œ œ œœ ™™ ' sub p ™ ‰ r≈ Œ #œ œ # œ. # œ. # œœ œ bœ #œ ' '
. . œ. œ. œ œ
. œ. b œ
-œ ™™ œ bœœ ™™
-œ œ ‰ œJ œ bœœœœÆ ™™™ ™
ff
Œ œ.
‰™
Œ
Œ
r œ œ œ
œ.
œœ '
° mp
œœ œœ œ œ œ Œ œ ≈
° / Perc.
¢/
≈ œ œŒ œ œ > Œ œ
Ó Ó
≈ œ œŒ œ œ > œ œ
Ó
Ó
Ó
p f
∑ Ó
> œ
Ó œ
choppy, rhythmic texture
w Lap.
/
w ∑
wÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
62 p f f 58
œ bœ œ œ œ M-S.
#-œ
-œ -œ -œ -˙
∑
‰#œJ ˙
Œ
& 3
I
phrase
i(t)
œ
˙™
3
(i
i
i)
it
let
me
arco., molto vib.
scratch
scratch
∑
∏∏∏∏∏∏∏
¿ R Œ
Vla.
#œ œœ
Ó
˙ ™™™
#œ ˙ ‰J
pizz.
°B ˙™™™
Œ
¿ R
gliss.
p f
f mp arco., molto vib.
scratch
scratch
gliss. Vc.
?
˙™™™ ¢&
b¿ R
∑
∏∏∏∏∏∏∏
pizz.
˙ ˙˙
Ó
Œ
&‰
˙ ™™™
#œ ˙ J
gliss.
¿? R
(p) f
f p
œ j ‰bœœœœ‰bœj Œ ' œœ#œœ Œ Œ
& bœœœœÆ Pno.
?
{
≈b<n>œœ bœœ œœ --
Æ ##œœœœ
3
ff
œœ œœ
‰™ r ≈ Œ ‰ j ‰™ r b œ bœ #œ œ n œœ b œ. œ. b œ. œ. œ œ b œ ' ' . œœ œœ
Œ
##œœœœ ™™™™ p
° ≈
nœœœœÆ ™™™ ™
# -œ œ ‰#œJ œ œœœœÆ ™™™ ™
3
œ œ '
œœ ™™ '
œ œ '
œ# œ # œ œ œ J Œ
r œ
Ó
≈
Ó
> œ
Œ
Œ
/
œ ‰ ≈œœ œ œ œ œ œ Œ
≈
Œ
Œ œœ '
œœ œ œŒ
Ó
j ‰bœœœœ‰bnœœj Œ ' #œ œ œbœ Œ Œ
™ bb œœ ™ '
3
œœ ≈ œ œŒ
Ó
3
Perc.
¢/
> œ
Œ
∑ Ó œ
> œ
Ó œ
> œ
Œ
Ó
distorted swell choppy, rhythmic texture
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Y
∑
w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
< q. = q >
Fmolto rit.
63
q = 96 CLICK STOPS niente
63 slowly walk around the stage, stopping and untheatrically watching / examining each performer when they speak
#-œ -œ
-˙
-œ -œ
w ∑
∑
∑
∑
&
M-S.
3
3
try (eye
eye eye
eye
)
œ
pizz.
œ #œ °B
œ arco.
w ∑
&
Vla.
#œ œ
œ œ œJ œ ˙
œ #œ ˙™
Ó
˙
p 3
p espr. pizz.
œ ?
œ #œ
∑
œ bœ Ó
Œ
Ó
∑
∑
∑
Vc.
¢ p sempre laissez vibrer
œ. # œ.
œ.
œ.
. . œ. œ. œ # œ
˙ 3
Æ #œœœœ ™™™™
& ≈ œœ œœ#œœ bbœœ --'
3
3
3
?
Œ b˙ “‘
f sub pp
Œ Œ œÓ
Œ b˙
Œ Œ ˙
Ó œ
sub p
Pno.
?
{
‰™ bœ bœ '
Œ r≈ œ nœ bœ bb œœ '
Ó œ. b œ. b œ b œ . .
Ó
Ó
˙ “‘
Ó
˙
Ó
˙
˙
° f l.v
° ≈ œ œ ≈ œœ œœ œ œ œ œ Œ / œœ
∑
∑
Y æ
Ó
∑
∑
3
pp
f
pp
p f mf
Perc.
> ¢/ œ
∑ Ó
Œ œœœœœœœœœœœœœœœœ œ œ Œ Ó
Ó
Œ ‰ œœ œ œ œ œ œ œ œ
œ 3 6 CUE 18 just video
3
6
laptop performer speaking live in a deadpan, untheatrical manner
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ≠ slight increase in reverb and machinery whirs down
I really hated you in the ten minutes just after I woke up. I saw you directing this boy's choir and the words seemed to be some sort of attack on the clothes I was wearing yesterday. There was also a bit where you brought up the time I mispronounced 'irrevocable' and then instructed the boys to publically shame me about it.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
64 69
∑
∑
œ Vla.
∑
∑
&
M-S.
œ
œ
œ # œ œ #œ #œ #œ #œ ˙ J
˙
° #w &
3
˙
3 3
? ∑
∑
∑
∑
Vc.
¢
? Ó Pno.
˙ <“> ? b˙ <“>
Ó
Ó
˙ 3
{
˙
3
Œ
Ó
˙ 3
Œ Œ
Ó
˙
3
Œ
bœ
˙
¿¿ ¿
Œ ˙
Œ
Ó œ
¿
° / Ó
Œ
‰ ≈
Œ
Ó
Œ
Ó
∑
3
pp p
mf
p
f
Perc.
œœ œœ œœ œœ Œ / ¢
f
f mf
pp
Œ
œœœœœœœœœœœœœ œ œ œ œ œ Œ 6
6
> > œ œ œ œ œ œœœœœœœœœœœœ‰ Œ œœœœœœ 6
5
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
65 73
∑
∑
∑
∑
∑
&
M-S.
scratch speaking live in a deadpan, untheatrical manner
Vla.
° ˙™™™ &
¿ R
If i'm usually the first person to dismiss the idea of a guilty pleasure in art, why don't I confess as readily to having seen the Austin Powers trilogy this many times?
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
fff
œ œ ? Ó
œ œ œJ bœ ˙
œ #œ ˙ ™
w
œ
˙
Œ
Vc.
¢ 3
p espr.
b˙ bœ œ 3
3
Œ b˙
Œ Œ œ
3
œ
b˙
? Pno.
˙ <“> ? ˙ <“>
Œ
Œ
Œ ˙
bœ
˙
œ 3 3
Ó
{
Ó
Ó
Ó
Œ b˙
˙
˙
scrape (sempre l.v)
l.v
Y™ ææ
° ∑ /
˙
˙
¿s Y
Y Œ
Ó
Œ
¿
Œ
Œ
Œ
¿ ææ
3
o
o
pp mf
pp f
f
Perc. p
∑
∑
∑
∑
∑
∑
∑
∑
¢/ œ œ œ œ œ œ œ œ œ œ œ Ó 6
U Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
66 78
∑
Vla.
∑
∑
∑
∑
∑
∑
∑
∑
∑
&
M-S.
U ° & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
bœ Ó
Πespr. p scratch
<n> ˙ # œ œ
bw
œ
œ nœ
?
œ œbœ œ œ b w J
w
˙™™™
¿ R
Vc.
¢ 3
3
3
fff
speaking in a deadpan, untheatrical manner
?
bœ
Ó
Ó
˙˙ ™™
œ <“>
œ
Does a part of me like the slight sting of the cold wind on my ears and lips when i'm cycling in the morning?
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
b˙ w
˙
Pno. ff
? Œ Œ3
{
3
Ó
3
Œ
bœ
˙
Œ Œ ˙
Ó
Ó
∑
∑
˙˙ >
bœ
<“>
l.v secco
¿.
° æ¿ / æ
Œ
U
speaking in a deadpan, untheatrical manner That looks like a warped version of 'Taxi Driver' where Robert De Niro plays every single character, including the extras.
Œ
Œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Ó
∑
w pp mp
p
p mf
mf
f
Perc.
∑
∑
∑
∑ Œ
œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ ‰™ œ œ
¢/
Lap.
/
∑
∑
∑
∑
∑
∑
67 84
∑ M-S.
Vla.
∑
∑
∑
∑
&
˙
° <b>˙ &
bœ
˙
bœ bœ œ
bw
œ
œ
˙
#w
bœ 3
3
mf
speaking in a deadpan, untheatrical manner
? Ó Vc. ¢
Œ
‰
All languages that derive from Latin form the word 'compassion' by combining the prefix 'with' and the root meaning 'suffering' .... is that supposed to be profound?
‰ bœj œ œ œ
& b˙˙ p
Pno.
? Œ bœ Ó <“>
Œ bœ œ
Ó
˙˙
Œ
bœ œ œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
˙ ˙
Ó
œ œœ b œ
œ ˙ #œ ˙ J
Œ œ œ
Ϫ
p poco a poco cresc. 3 3
3
3
3
?
{
Œ
Ó
Œ
Œ
Œ ˙
œ
œ
b˙
Œ
Œ
Œ
Œ
b˙ œ
bœ
œ
œ
œ
<“> œ ø l.v
¿ ææ
° ∑
∑
∑
Œ
/ ff
p
ff mf
p
ff
pp
f
p
œ l.v
¿ ææ Œ
ff
¿ ææ
Œ
¿ ææ
Œ
p pp
p ff pp
mf Perc.
f
> œ Œ Œ / ¢
> > ‰ ™ œœ œ œœœœœœœœœœ œ ‰ ™ œœ œ
> ‰ œœœœœœœœœœœœ‰ ™ œœ œ
Œ
> Œ ‰ ™ œœ œ
Œ
Œ
6
Lap.
/
∑
∑
∑
∑
∑
‰ ™ œœ
hold until the text has finished ca. 10"
68 89
∑
∑
∑
∑
U ∑
∑
&
M-S.
scratch
Vla.
° <#> ˙ &
œ ˙
œ œ #œ
˙
3
. œ# œ gliss œ ˙ J
w
˙™™™
¿ R
U ∑
B
U ∑
?
3
fff scratch
U
œœ
œ
˙ ? ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
B
œ # œ œ # œ #œ J #œ#œ ˙
˙
˙ ™™™
¿ R
Vc.
¢ w 3
3
p
j ‰#œœ œœ
? #˙˙ <“>
3
mf
fff
bœ œ
3
Œ bœ Ó
˙
U ∑
3
Œ bœ
‰bœœ Œ Œ bœœ Œ J œ
Œ
Œ
&
bœ
œ 3
Pno. mp fff 3
U ∑
3
? Œ Œ œ Œ
{
Œ
œ <“> œ
œ Œ #œ
l.v
¿ ææ
° Œ /
¿ ææ
ff pp
‰ bœj b œ <n> ˙
Ó
Ó œ
Œ ‰bœj Ó œ
˙
œ >œ
lift pedal as soon as the last word, "fulfilled" is over.
l.v
Œ
Œ
ff p
ff
¿ ææ
¿ ææ
>œ Œ
∑
∑
∑
U ∑
pp fff
Perc. secco.
> œ
Œ Œ
¢/ Lap.
/
∑
> ‰ ™ œœ œ
Œ Ó
>œ. œ œ
Œ
Ó
>œ. œ Œ Ó œ
>œ. œ Œ œ
U ∑ Ó
I really don't know very much about the world. I need to read more. Just set aside fifteen minutes in a day to learn about something new. Anything. The chanting rituals of Tibetan monks; a firmer grasp of our economic situation; learn some basic German nouns. Less of those clickbait articles. "A man takes a photo of his toes every day for a year and you'll never believe what he found out." Stay away from that. Maybe then I'll feel more fulfilled.
U ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
< q = q. > 69
G
q = 143 CLICK STARTS
95 slowly walk back to centre stage speaking untheatrically You probably won't
Ó
∑
∑
∑
‰ #œJ œ™
œ œ b˙
∑
∑
&
M-S.
scratch
°B
∑
∑
Œ
Vla.
œ J
œ
˙ ™™™
w
¿ R Ó
Œ #œ
3
mf
p espr.
fff pp
? ∑
∑
Œ
#pizz. œ ‰J Œ
fff
arco
∑
Œ
Vc.
&‰
¢
j œ œ #œ œ œ bœ ˙
#œ ˙ ˙
#œ 3
mf pp
fff espr. p
∑
∑
Œ
&
b-œ ˙ ‰ bœ ˙ J
mf
œÆ ∑
∑
Œ ? bbœœœ
∑
∑
∑
œ œ Œ >j œ œ œ œ œ œ œ 3J 3 J ‰ œ
œ œ œ >j œ œ œ œ j œ œ J3 œ‰ œ
Ó
mp fff fff Pno.
Æ bœœœœ
? ∑
{
∑
Œ
Ó
∑
Œ
Ó
œœ '
° ∑
· ∑
∑
/ f mp Perc.
∑ ¢/
∑
>j œ œ œ œ œ œ J‰ œ œJ 3 3 3 3
∑
œ Œ œ Œ >j œ œ œ j œ œ œ >j œ œ œ œ œ œ J J‰ œ œ 3J œ œJ œ 3 3 3 3 3 3 3
œ
3
œ
3 3
3 3
CUE 19 with click and video
Lap.
/
harsh swell swell that rings on ≠ glitchy machinery and high clicks High whistles which gradually gliss. down swelling rumbles and feedback w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ˙ w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
70
5 4
102
molto legato mp
f
œ M-S.
œ
& Œ
œ bœ œ
œ
œ
p #-œ œ- œ- œ- -˙
œ
f
˙™
4H 4
˙
p
-œ
œ. ™ œ. Œ œ. -œ ˙
I
I
Ó
3 3
it's
all
so
flee pizz.
<n>pizz. œ °B Œ
3
ti(ng) i
-
i
i
ing
I
I
I
arco, sul tasto.
arco, sul pont.
Œ
>œ»
Ó
-œ -œ -œ -œ -˙
senza vib.
˙™
gliss.
˙
˙
˙
Œ
#˙
Ó &
Vla.
bœ 3
3
p p mf pp
f
fff sul pont. arco, sul tasto.
trem. ord.
ææ Vc. ¢& w
æ ˙æ
?
Ó
- - - - bœœ œœ œœ œœ ˙˙ p 3
˙˙™™
#˙˙
gliss.
O˙
Ó
##O˙
nbO˙
#˙ #˙
˙ ˙
3
ff
f
p
p sub.
-˙ ™ ? Œ & ˙™
˙™ ˙™
?
Œ
Ó™
∑
“˙” ˙
œœÆ
Œ
Ó & p
mp fff Pno.
? Ó
œœ '
{
Œ
Æ Œ ###œœœœ
Ó
Œ bœœÆ
Ó
Æ ##œœœœ
Ó
#œœœ Œ œ '
Ó
5 4
Ó
∑
∑
∑
4 4
° œ / œ
œ
Œ
œ
œ
œ
Œ
∑
œ œ
œ
œ p 3
Perc.
>j œ œ œ œ œ œ >j œ œ œ œ j œ >j œ œ œ œ œ œ ¢ / œ 3 J 3 J ‰ œ œ J3 œ ‰ œ œ 3J 3J ‰ œ 3
3
3
j œœ œœ œ œ œ œJ œ œ œ œ Jœ œœ œ
œ œ œ œ œ œ 3
3
œ œœœœ œ œœœ
3
3 3
3 3
3
Lap.
3
3
3
3
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
K < q = q > q = 215 71
5I 4 ™
mp 108
M-S.
œ. Œ -œ œ. -œ #˙ ‰ & J
˙
œ nœ œ œ œ
Ϫ
œ˙ J
bw
that
is
4 4
ff
sudden surge
senza vib.
ë p
mf
#˙ ™
œ
˙
Ó
3
I
Vla.
doh doh
don't
° œ œ œ #œ œ &
know what
˙
red
#œ œ bœ
˙™
œ ˙
bœ
œ b˙ ™
˙™
∑
˙ f
<b>Oœ O O##Oœ Oœ ? Vc. ¢ œ œ
O˙
#nOœ Oœ
nO˙ ™™
bbOœ
Oœ O˙
œO bb˙O ™™
bbœO
˙O ™™
˙O
∑ f
bœ œ <“> œ œ œ #œ œ œ œ œ #œ œ &
œ œ bœ bœ b˙
loco
˙ ˙
œ <n> œ œ œ b œ œ
#˙ #˙
œœœ
œ b˙
bœ
œ œ bœ J ∑ 3
3
f
Pno.
fff
? bœœ Œ Ó œœ '
Ó
{
Œ bœœœ œ '
∑
Œ bœœ b œœ '
Ó
Ó
Œ
Ó
Œ # œ œ # œœ '
###œœœœ '
Œ
sfffz sfffz
sfffz
sfffz
Œ # œœœ b œœ œ œ œœ b œœœ ' ' '
sfffz
5 4
4 4>
°
œ œœ œ ∑
∑
∑
∑
∑
Ó
Œ Œ
/ f
p
f
œ æ
p f p sub.
Perc. 3
3
3
3
3
3
r œ
¢/
r œ
r œ
r œ
r œ
r œ
œ œ œ Œ œ œ œ œ œ œœœœœ œ œœœ œ Œ Œ
r œ
r œ
r3 r
r œ
r œ
œœœ œ œ œ œ œœœ œ œ œ œ œ œ œ Œ Œ
r œ
3 r
r œ
œ Œœ œ Œ œ
∑ Œ
distorted swell
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Y
∑
72 vib ord.
ë p
ë p
& Ó
M-S.
ë
mf
115
Œ œ
˙
œ
Œ
mf
Œ œ ˙
black
˙
p
œ Œ
˙™
‰ bœj ˙™
bright
p
mf
˙™
œ
9 8 ˙™
Ϫ
Œ
soft
dark
flautando
Vla.
° & #˙ #˙
#œ ˙
bœ
œ b˙ ™
w
˙™
Ϫ
bœ œ
˙
˙™ Oœ Oœ bO ™ ˙™
bbOœ Oœ
bO˙
bbOœ
Oœ bbO˙ ™™
~w
O˙™™
Oœ™™
>œ œ
b>œ œ
>˙˙
bb>œœ
œœ b >˙ ™™ b˙
>˙ ™ ˙™
œ œ
œ ˙
p
#O ? #O˙ #˙
Oœ nO ˙
## Oœ O˙
Vc.
¢ p
“” > #>˙ # ˙
#>œ ˙ œ >˙
>˙ ™
œ œ œ œ ˙™ œ œ œ œ ˙™ J
œ ‰ œJ
&
3
fff p Pno.
ff
? ∑
{
œ Œ Ó bbœœœ “'‘
Ó
Œ bœœ b œœ '
∑
Œ
œ Ó bbœœœ '
Ó
œ Œ bbœœœ '
Œ bœœ Œ œœ b œœ œœ ' '
∑
° f
°
> / œœ œ œ
>œ œ œ œ 3
p
>œ œ >œ œ œ œr œr œ œ 3
r œ
3 r
œ Œœ œŒ
r œ
f
> œ œ
3
œ œ œr œ œr œ
r œ
3 r
3
3
∑ ¢/
> Œ œ
Ó
∑ Œ
> œ Ó
3
r
œ Œœ œ Œ œ œ
Perc.
> œ Œ Ó
9 8
p
Ó
> œ Œ
œœœœœ œ > > Œ œ Œ œ
œ
œ œœ œœœ œœ ∑
f sim.
sim.
sim.
sim.
high, washy swell with gradual downward gliss
abrupt harsh rumble
Lap.
/ Y™
Œ
Œ œ œ
Œ ˙
Ó
Ó
˙
Ó
Œ œ
Ó
˙
˙™
Ϫ
∑ reverb gradually increases leaving a tail
K < q = q > q = 143 CLICK STOPS
73
J 4 4w
o
f
123
˙™
Ϫ
w
w
slowly walk around the stage, stopping and untheatrically watching / examining each performer when they speak
w ∑
∑
∑
&
M-S.
3
Vla.
° ˙™ &
Ϫ
∑
∑ w~
f
w~
œO ##œO ˙O
bO œO n œ
w~
œO ˙O
p dolce nudge scratch sul pont., start punta d'arco extreme pressure, keep bow on the string
? O˙™™
Oœ™™
≤ ∑
≤
≤
≤
∑
Vc.
¢ )
6 ¿6) '
f *
)
¿66¿ ' '
)
¿66 '
)
sempre n sfz
sfz
sfz
sfz
pppp legato sempre
<◊ÿ> right hand senza misura / freely and independently œ **
œ
∑
∑
œ #œ # œ
∑
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
&
X soft staccato
Pno. 3
? ∑
{
∑
∑
œ ##œœ. œ
Œ
Ó
Ó
. bbœœœœ Œ
Œ Ó b œ.
p
4 4
###œœœ. œ Œ Ó b œ.
Œ Œ œ. “‘
speaking in a deadpan, untheatrical manner
‚ try and compensate for sfz accents
ff ° >œ ™ œ ™ Perc. ¢ / œ™
loco
. b#œœœœ Œ
3
continuous scraping with finger nails all over the skin slow circular motions, varying pressure and speed throughout
Who took the time to make a Wikipedia page about rice cakes? ... Why was I visiting the Wikipedia page about rice cakes?
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
put one mallet down
∑
∑
Y
Y
Y
Y
Y
mp CUE 20 just video
Ó Lap.
/
≠
∑
∑
∑
∑
* Strings: Slightly dampening the open strings with the left hand. Near the bridge and starting at the point of the bow, apply as much pressure to the C string as you can and hold in that position without making a sound. When notated, nudge the bow to create an incredibly short, ugly scratch. Stop the bow abruptly on the string to kill the sound after one of the 'nudges'. Try not to release pressure at any time or take the bow off the string. Use the full length of the bow. ** ad lib. length and order of pitches like lightbulbs clinking (always in motion)
74 131
∑ M-S.
∑
∑
#ord. ˙
scratch
Vla.
∑
∑
∑
∑
∑
&
° & ~ w
Oœ ™™ O¿ Œ
˙O
˙ ˙
#w
˙
˙
˙
#˙
w
w
& 3
ff
p dolce
scratch
? ≤ ≤6 ≤ Vc. ¢ ¿6¿6¿6) ' ' '
)
sfz sfz sfz
≤
≤
™ -¿ )
¿6) '
f
sfz
n
≤ 6 ¿ )™ ' sfz
≤
≤
≤
¿ 6 )™ '
-¿ ¿ )
sfz
f
6¿ ) ' sfz n
sfffz
Pno.
sfffz
4 & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4 ÍÍÍÍÍÍÍÍÍÍÍ w ‰ œœj œœ Œ Ó >. 3 3 b œ œ ? Ó œ Œ #œœ Œ Œ Œ Ó œŒ # œ œ . b œ. b œ. œ. ‘ “
∑
∑
∑ 3
∑
{
. œœœ Œ Ó œ bœ .
Œ
bŒ œœœœ. Œ
∑ 3
Œ Œ
Ó œ. “‘
b œ.
Œ bœœ œœj‰ Œ >Œ Œ b œœœœ b œ. . “‘
U
° Ó
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍ w
stop abruptly with fingers still on skin
Y™
¢/ Y
sim. secco
>¿. ‰J
Perc.
secco
Ó
Y
Y
Y
Y
Y
>¿. ¿‰J‰Ó J sfz
sfz
Lap.
/
∑
∑
(mp)
That person sat near me on the train, playing a game on their phone with the volume up pretty loud. I'm just as jealous of their inhibition and their obvious absence of social anxiety as I am pissed off by their lack of consideration.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
75 139
∑ M-S.
∑
∑
∑
∑
&
scratch
Vla.
° <#> ˙ &
#œ #œ #œ #œ #˙
˙
w
w
œ™™
¿ Ó R
B
3 3
fff slow bow scratch so the tone breaks up into little starts and stops speaking in a deadpan, untheatrical manner
≤ ? Vc. ¢ Y
ord.
U I really want some of those olives with the little wedge of garlic in the middle ... i'm getting worried about my sodium intake
Œ
˙O
Œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
¿™ ¿ p dolce
p
f sim.
pppp legato
<◊ÿ> œ #œ
*
œ
∑
∑
#œ
œ
∑
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
&
X sfffz Pno.
& ? Ó
{
∑ . ###œœœœ
∑
∑
∑
3
bœœœœ.
loco
3
Œ
Ó
Œ Œ
b œ.
Œ œ bb œœ. œ
Ó
Œ b œ. “‘
œ.
‰ #œœj œœ Œ >3 Œ Œ Ó b œ. Œ
Œ
sim. secco
° Perc. ¢ /
Ó
Y
>¿. ‰ J Y
Y
Y
Ó
¿ sfz
(mp)
Lap.
U / ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w Ó
Ó ∑
∑
∑
144
76
∑ M-S.
∑
∑
∑
∑
∑
&
sul pont., start punta d'arco extreme pressure, keep bow on the string
Vla.
) * sempre
nudge scratch
≤ 6 ¿ )™ '
°B
slow bow scratch so the tone breaks up into little starts and stops 3
≤ ¿ 6 )™ '
≤ 6 -¿ )
≤ 6 ¿ )™ '
Πj 6 ¿
¿™ ¿
n sfz
sfz
f
sfz n
p
f
scratch
? w~ Vc. ¢
œO ##œO ˙O
O O œO nœ œ bb˙O
w~
w~
œO ™™ O¿ Œ
˙O
3
&
ff
stop abruptly
4 & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 4ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍw Œ sfffz sfffz (p)
∑ Pno.
Ó
Œ
∑
∑
Ó
& # œœœ. œ
loco
3
3
3
?
{
Œ œ ## œœ. œ
Ó
Ó
Œ
Ó
b œ. “‘
œ.
Œ
Œ b œ.
Œ ### œœœ. œ
Œ Œ
Ó
Œ . bbœœœœ
œœ >Œ
Y
Y
Y
Œ
Œ
Ó
b œ. “‘
œ. secco
sim. ° Y Perc. ¢ /
j œœ ‰ Œ
◊>ÿ 666 ‰ 6J
Y
>¿. ¿ ‰ J ‰ J
painful scraping incredibly slow with lots of pressure
Ó
Œ
‰ ¿ J
(mp) sfz
f
speaking in a deadpan, untheatrical manner
Ó Lap.
/
I've got to force myself to work more. People keep telling me that I should only write when I really want to do it or when I feel inspired, but if I followed that logic i'd only write the first minute of every piece.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
150 slowly back to centre stage
77
∑ M-S.
∑
∑
∑
∑
∑
∑
∑
∑
&
molto vib.
U °B Vla.
I'm still annoyed that he's making me speak in this piece. I play the viola. If I really wanted to speak in front of large groups of people, I would have done an acting course.
bw
w
∑
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
&
w fff
molto vib.
˙ Vc.
˙
#˙ bw
w
˙
#˙
˙
<n>˙
nw
˙ œbœ œ œ bw
w
¢& 3
3 3
p dolce
fff
sfffz
sfffz mf
sfffz
fff
∑
Ó
Œ Ó
&
◊>ÿ 666 Œ 6J ‰ Ó
## œœœ. œ Pno. 3 3
? #œ Œ Ó # œœ. œb œ “‘ .
{
Œ Œ
Œ Œ Ó œ.
Œ b œ.
sfffz
Œ ‰##œœj œœ Œ Ó >b œœœœ. 3 Œ œœœ Œ Œ Œ Ó œ. œ 3 . b œ. “‘
◊>ÿ 666 6‰Œ Ó J ∑
Ó
◊>ÿ 666 ‰ 6J Œ
. œœœ Œ Ó b # œœ .
Ó 3
Œ
◊6ÿ6 6 6 6 666 ‰ 66J 66 66 66 3 . œ ###œœœ Œ Œ
>66 66 ‰ Œ Ó J 3
Œ
# œ.
Œ Ó œ.
° sim. secco
° Perc. ¢ /
Y
Y
>¿. ‰ J
Y™
Y
sfz
Lap.
U Œ Œ Ó Í / w
∑
∑
∑
Y
Y
mp
f sub.
Y
Y
Y
Ó
∑
∑
∑
∑
∑
CLICK STARTS
K
f
159 5
>œ
78
>œ ∑
∑
Œ
Ó
&
M-S.
five!
œ ˙ œ. bœ. œ # œ. . rea-sons to com - plain
Œ
Ó four!
Play incredibly fast and frenetic but randomly timed bursts vib ord.
Vla.
bœ œ bœ œ œ œ œ œ œ œ œ b>œ
° <b>˙ &
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ continue to ad lib. in this fashion (always the same pitch until the gliss. starts) 3
start to fall out of sync with vlc. Play incredibly fast and frenetic but randomly timed bursts vib ord. bœ œ bœ œ œ œ œ œ œ œ œ b>œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
& <b>˙
Vc.
¢ continue to ad lib. in this fashion (always the same pitch until the gliss. starts) 3
start to fall out of sync with vla.
sfffz
& œ-œ ™™ >
‰Ó
∑
Æ bœœœœ
Œ
Ó
∑
Œ
Ó
∑
Æ bœœœœ ™™™
Œ
Ó
Œ
Ó
Pno. fff
? Œ œ bb œœ. œ “‘
{
Ó
∑ ## œœ ™™ '
## œœ '
secco
°
>¿. ‡ J ‰ Œ Ó /
pick up other mallet mallets
∑
∑
∑
∑
ff Perc. sfz
œ ∑
œ
∑
∑ œ‰ Œ
¢/
Ó
œ‰ Œ
Ó
CUE 21 with click and video
Lap.
harsh swell ≠ swelling rumbles and feedback / w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ
low, distorted C# which slowly rises in pitch + glitchy machinery
wÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
> -œ œ. Œ
164
79 M-S.
œ. . œ &
œ. . #-œ œ œ
Œ
œ. œ. œ. #œ. œ
>œ.
>œ.
por t.
b >œ. Œ
˙ œ >.
5
œ >.
5
mu - ddled mem - o - ries
thir teen
wo - rries and con - cerns
and
no
way
to
con -
(non-legato)
Vla.
° & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
gliss.
(non-legato)
gliss. Vc.
¢& ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w
& Ó
Œ
? Ó
Œ
Æ bœœœœ
∑
Œ
∑
Œ
Æ bœœœœ ™™™
Ó
Ó
Ó
Ó
Æ bœœœœ
Œ
Pno.
{
## œœ ™™ '
Œ ## œœ ™™ '
## œœ '
° ∑
∑
∑
∑
/ Perc.
œ
œ
œ
∑ ¢/ Ó
Lap.
Œ
œ‰
Œ
œ‰
Ó
Ó
œ‰ Œ
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
sempre senza vib.
80 M-S.
168
>œ. &
˙
5 4 L™
7 8
œ
Œ
trol
it's
œ œ J
Ϫ
not
o
œ J -
4 4 œ
kay
-
j œ
œ
bœ
it's
o
-
scratch
>˙
gliss. Vla.
° &
ord.
œ
¿ œ Œ
fp
ff
B
œ
Œ
heavy pp
‰
fff
pp
Œ
fff
scratch
>˙
gliss.
œ
ord.
¿ ?
ΠVc.
Ó
¢&
œ
‰
pp
fff
œ fp
ff heavy pp
Æ bœœœœ ™™™
& Œ
Œ
Æ œ œ œœ
Æ bœœœœ ™™™™
Æ bœœœœ ™™™
Pno.
Æ bœœœœ ™™™
Æ œœœœ ™™™™
Æ™ œ œ œœ™™™
Æ b œœœœ ™™™™
fff
b œœœœ ™™™™ '
Æ bœœœœ ™™™
b œœœœ '
f
? Œ
Œ
{ œœ ™™ '
## œœ '
## œœ '
œœ '
œœ '
œœ '
œœ '
## œœ '
5 4
œœ '
œœ '
œœ '
7 8
4 4
° ∑
∑
∑
/ pp
Perc.
pp f
œ ¢/ Œ
Ϫ
œ œ‰
Œ
œ‰
œ œœœœ œœœ œ
f
œ Œ
Œ
œœ œœœœœœ œ
œ 3
Lap.
3
3
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
81
171
4 4 œœ J
Ϫ
&
M-S.
7 8 kay
i'm
3 4 >œ.
œ™ #œ
7 8
œ
>œ.
>œ.
œœ
4 4
fine
i'm
fine
it's
not
clear
pizz. I (non-legato)
°B
œ
œ
#œ
Œ
Œ
Œ
Œ
‰
‰
j œ. >
it's
clear
these
Œ
#œœ ™™
œ >.
œ >. not
> bœ.
gliss.
#œ J
Vla. pp
fff
pp
fff
pp
? Œ
Œ
pp
Ϊ
Œ
œ
Vc.
fff
Œ
bœ
¢ œ pp
fff
Æ bœœœœ ™™™™
Æ bœœœœ ™™™
&
pp
fff
pp
Æ bœœœœ ™™™
Æ™ œ œ Æ ™ œœ™™™ œ b œœœ ™™™
Pno.
‰
bœ œ fff
pp
b œœœœ ™™™™ '
Æ bœœœœ ™™™
fff
#œœ J
œœ
pp
fff
Æ bœœœœ ™™™
Æ bœœœœ ™™™™
Æ bœœœœ ™™™
pp
b œœœœ ™™™™ '
Æ bœœœœ ™™™
Æ b œœœœ ™™™™
b œœœœ '
fff
b œœœœ '
?
{ ## œœ '
œœ '
œœ '
4 4
œœ '
## œœ '
œœ '
œœ '
7 8 Y æ o
° Ó /
l.v
œœ '
## œœ '
œœ '
œœ '
## œœ '
3 4
œœ '
œœ '
œœ '
7 8
4 4
¿™
Y æ
œ J ff
‰ œj
‰œ J
‰
œ J
‰œ J
‰ œj
‰ œj
f
Perc.
∑
∑
∑
∑
¢/
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
5M 4 ˙™
vib ord.
82 175
4 4
fp
>œ.
#>œ.
>. œ
>œ
my
min(d)
w
7 8 ˙
˙
œ
threads
of
7 8 ∑
J
&
M-S.
4 >¿ 4 ff
d! arco. flautando
>œ J‰Œ
gliss.
°B
Œ
≤≥≤≥ œœ ˙ ‰J
Ϫ
˙
w
Vla. fff
p dolce / ad lib. vibrato (pizz.) l.v
? Œ
‰
Vc.
¢
j j #œœ œœ
‰Œ
pp
fff
‰
œœ ˙˙™™ J
Œ
œo ‰J Œ Ó
∑
∑
p
Æ bœœœœ ™™™
&
Æ bœœœœ ™™™
Æ bœœœœ ™™™™
Æ bœœœœ ™™™™
Æ bœœœœ ™™™
Pno.
?
{ ## œœ '
œœ '
œœ '
œœ '
ë fff
pp
## œœ '
. bœœœœ
Æ Œ & bœœœœ ™™™ œ ≈ ? œ. b œœœ mf sub. p ' ≈ #œ #œ #œ œ œ œ œœ œœ œ œ# œ œ œ œ . . . . ' ' .
4 4
5 4 œ ‰œ
‰ œ
‰œ ‰ œ
œ œ œœ
œœœœ Œ
p
fff
. bœœœœ
œœ. j bœœœ. œœ. b œ œ œ œ œ œ œœœ œ bœœœœ œœœ bœœœ nœ J . . . 3 . ##œœ j # œ # œ. # œ œ œ œ # œ œœ # œ. œ. œ. œ. # œ. .
7 8
° /
œœ. œ œœœ œ b œ b œœœœ . .
Œ
· ‰ œj ‰ œJ ‰ œ ‰ œj J
4 4 j œ œ ‰ œJ ‰ œœ ‰
7 8 œ œ ‰ œ ‰ œ ‰ œœ
p
Perc.
∑
∑
∑
∑
∑
¢/ brittle ticking pulse swell
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ˙
Ó
sim. œ œ œ œ œ œ œ œ œœ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
83 180
N 3 4
7 8
senza vib. freely
7 8
4 4
7 8
4 4
7 8
p
Gh ∑ &
M-S.
˙™
˙
these
œ
threads
j œ
j‰ Œ œ
˙
Ó
Œ
j œ œ
of
these
œ threads arco. flautando
pizz. l.v scratch
˙
œ
°B
¿ J Œ
Œ
œo J ‰
∑
∑
∑
Ó
Œ
≤œ≥ ≤ ≥ ‰ J
Vla. (only increase dynamic enough to create the scratch each time) arco. flatuando
pizz. l.v scratch
≤ ≥≤ ≥ œ
? ∑
Œ
Vc.
Ϫ
˙
w
˙
Ϫ
Ϫ
¿ Œ J
Œ&
¢
(only increase dynamic enough to create the scratch each time)
dolce / ad lib. vibrato
“œ.” . . bœœœ bœœœœ œœœœ
“œ.” . . bœœœ bœœœœ œœœœ
loco
&
. . “.” . bœœœœ bœœœœ œœœœ œœœœ J
loco
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j œ bœœœ .
o ‰ j œ
loco
. bœœœœ
œ bœœœœ bœœ bœœJ œœœ . .
. bœœœœ
j œ bœœœ .
bœœœœ ##œœœœ . .
œ nœœ. œ
3
Pno.
. ##œœ # œ # œ. ## œœ.
?
{
j #œ œœ # œ. .
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œœ . #œ # œ.
3 4 œ œ ‰ œJ ‰ œj ‰ ∑
## œœ.
œœ .
œœ .
j œœ .
7 8 œ œœ ‰ œJ ‰ œj ∑
# œœ # . ## œœ.
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œœ .
4 4 œ œ ‰ œœ ‰ œj ‰ J ∑
## œœ.
# œœ # œœ . .
j œœ .
7 8 œ œ ‰ œ ‰ œ ‰ œœ ∑
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œœ .
œœ .
œœ .
4 4 œ œ ‰ œJ ‰ œ œœ ∑
7 8 œœ‰ ‰ œ‰ œ œ ∑
¢/
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
84 186
7 8
4 4
7 8
4 4
7 8
5 4
7 8
Gq ΠM-S.
Ϊ
Ó
&
œ œ™ ˙
œ
of
œ œ™
these
j œ œ ˙
œ
˙
#˙
threads
Ϫ
of
my
pizz. l.v scratch
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w
Ϫ
˙
˙
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°B
Œ
Œ
œo ‰ J Œ™
∑
Vla. dolce / ad lib. vibrato arco. flatuando
∑ Vc.
∑
∑
∑
Œ
¢&
j ‰##œœœœ .
bœœœœ ‰ Œ .
&
. œ b œ œœ. œœ œœœ. b œ œ œœœ œ b <n> œ.
. <n>bœœœœ œ bœœœ œ . b œœ œ. j # œœ œœ ## œœ. # œ œ œ # . . # œ. œ. œ. ## œœ. . œ. bbœœœœ œ œ bœœœnbœœœ bbœœœ J .
Pno.
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{
Œ ## œœ. œœ. # œ œ # œ. œ.
7 8
4 4
7 8
“œ.” œœœ
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˙
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œœ .
4 4
≤ ≥≤ ≥ ‰ œJ œ ™
7 8
5 4
7 8 œ
° /
œ œj Œ
‰ œ J
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Perc.
∑
∑
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œ œœ ‰
œ œ
œ
œ œ œœ ‰ J ‰
p sub.
∑
∑
æ œæ
œ
œ œ j ‰ œ ‰ J ‰ J ‰ œœ J ∑
¢/ Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
85 192
7 8
4 4 ∑
M-S.
7 8
5 4
7 8
‰
‰ bœj œ
Ó
& Ϫ
˙
œ œ œ
threads
Ϫ
4 4
˙™
of
Ϫ
my
these
arco. flautando
°B
∑
Ó
Œ
≤ ≥≤ ≥ œ ˙ J ‰
Ϫ
˙™
˙
Ϫ
˙
Vla. dolce / ad lib. vibrato pizz. l.v
scratch
˙ Vc.
Ϫ
Ϫ
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¿ Œ J
loco
. bœœœœ & Pno.
?
{ ## œœ.
b œœ bœœœœ œj . b œœ œ. œœ . œœ .
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j œœ .
o ‰ j œ “œ.” œœœ
-œ # œ œ j bœœœ œ . b œœ œ. . ##œœ # œ j # œ. œœ œœ . .
. bœœœœ
7 8 œ œ œ ‰ œ œ œ ‰ ∑
∑
loco
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4 4 œ œœ œ ‰ J ‰ œ ææ ∑
∑
∑
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## œœ. # œ # œ.
bœœœœ œ . b œœ œ. #œœ œœ . œœ . .
## œœ.
5 4
b œœ bœœœœ œj . b œœ œ. œœ j . œœ œœ . .
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œ ‰ œææ ‰ œ œ œ J ∑
loco
œ
œ œ j ‰ œ ‰ J ‰ J ‰ œJ ∑
4 4 œ œœ œ ‰ J ‰ œ ææ ∑
¢/ Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
86 197
4 4
7 8
4 4
7 8
Ϊ M-S.
∑
‰ j œ œ
& ˙™
œ
threads
of
5 4
˙
Ϫ
threads
7 8 ˙™
˙
of
my
4 4 œ
œ
Ϫ
of arco. flatuando
pizz. l.v scratch
œ™ °B
œo
¿ J Ó
∑
Œ
Ó
Ó™
∑
Œ
≤ ≥≤ ≥ œ ˙ J ‰
Ϫ
Vla. p arco. flatuando pizz. l.v scratch
≤ ≥≤ ≥ w ∑ Vc.
Ϫ
˙
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˙
∑
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o ‰ j œ
∑
p dolce / ad lib. vibrato p
. bœœœœ bœœœœ œ Œ . b œœ œ. ? œœ Œ # œ # œ. . # œ # œ.
Ó
& Pno.
b œœ j œ b œœœ .
Ó
{
4 4
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4 4
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loco
. bœœœœ bœœœœ . . ##œœ # œ # œ.
# œœ j œ b œœœ . œœ .
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5 4
7 8
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Œ
Perc.
∑
Ó
jœœ œ æ ∑
œ œ ‰ œ ‰ œœ J ∑
ææ œ
b œœ bœœœœ œj . b œœ œ. œœ j # œ . œœ œœ # œ. . . . bœœœœ
bœœœœ œ . b œœ œ. #œœ j œœ # œ œœ # œ # œ. . œœ . . # œ. .
7 8
°
loco
‰ œ œœ ‰ œj ‰ œæj ∑
œ
‰ œœ ‰ œœ œJ ‰ æœ æ ∑
4 4 œ œœ œ ‰ J ‰ œ ææ ∑
¢/
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
lights killed on beat 1 and video keeps rolling for ca. 6"
87 203
4 4
7 8
4 4
9 8
G.P. U ∑
Ϊ
∑ M-S.
6 4
& œ# œ ˙
œ œ
my
˙
Ϫ
threads
˙™
˙™
˙™
of
my
mind
pizz. scratch
w
Ϫ
˙
˙
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°B
?
Œ
Œ
bsecco œ ‰ J Œ
œ J Œ
∑
U ∑
∑
U ∑
∑
U ∑
∑
U ∑
∑
U ∑
∑
U ∑
∑
U ∑
Vla.
(pizz.) secco
∑ Vc.
∑
j œ Œ
∑
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. <n>bœœœœ
b œœ bœœœœ œj . b œœ œ. . # œ # œ #œ j # œ. œ œ œ. œ.
bœœœœ œ . b œœ œ. # œœ œœ # . . œœ # œ # œ. .
& Pno.
?
{ 4 4
œœ. # œ # œ
loco
. bœœœœ
7 8
4 4
Perc.
∑
## œœ.
‰ bœœœœ ‰ ‰ œ . b œœœ . ‰ #œ ‰ œ ‰ œ. # œ.
9 8
6 4
œ ‰ œœ œ
/
jŒ bœ
. bœœœœ
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. nnbœœœœ
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Ϊ
ææ œ ‰ ‰ œ œœ J œ ∑
œ ‰ J æœ æ
œœ ‰
œ ‰ œ
∑
‰ œ ∑
‰
¢/ final tick
Lap.
/ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ.
‰ Œ™
Ϊ