REBECKA SOFIA AHVENNIEMI: Soundtrack of an Imaginary Opera by Musikkforlagene

rebecka sofia ahvenniemi

Soundtrack of an Imaginary Opera 2022

Four individual works:

1.Beauty Hurts

2.Who Is Your Daddy? Who Is Your Mommy?

3.Leave Life

4.Nymph Cry

SCORE

NMO15164A

* DEMO

Materialet er vernet etter åndsverkloven. Uten uttrykkelig samtykke er eksemplarfremstilling, som utskrift og annen kopiering, bare tillatt når det er hjemlet i lov (kopiering til privat bruk, sitat o.l.) eller avtale med Kopinor (www.kopinor.no).

Utnyttelse i strid med lov eller avtale kan medføre erstatningsog straffeansvar.

This material is protected by copyright law. Without explicit authorisation, reproduction is only allowed in so far as it is permitted by law or by agreement with a collecting society.

NMO15164A

ISMN 979-0-065-17268-2

Grafisk produksjon/trykk: Norsk Musikforlag A/S. www.musikkforlagene.no

This work is published in the following editions:

Score (B4) (NMO15164A / ISMN 979-0-065-17268-2) for sale Set of parts (NMO15164B / ISMN 979-0-065-17269-9) on hire

Supported by Norsk kulturråd, Komponistenes vederlagsfond and Morten Eide Pedersens minnefond

DEMO

Total instrumentation

Female voice 1

Female voice 2

Baritone

Percussion

Crash Cymbal

China Cymbal

Concert Bass Drum

Thunder Sheet

Drum set

Chimes (F and F#) with pedal

Acoustic and electric guitar

Synthesizer

Violin

Cello

Instrumentation for individual works

Beauty Hurts

Female voice 1, female voice 2, baritone, percussion (crash cymbal, china cymbal, bass drum), acoustic guitar, synthesizer, violin, and cello

Who Is Your Daddy? Who Is Your Mommy?

Female voice 1, Female voice 2, baritone, percussion (china cymbal, thunder sheet, bass drum, drum set), acoustic guitar and electric guitar, synthesizer, violin, and cello

Leave Life

Female voice 2, baritone, electric guitar, synthesizer, violin, and cello

Nymph Cry

Female voice 1, female voice 2, acoustic guitar and electric guitar, synthesizer, violin, and cello

Background

Soundtrack of an Imaginary Opera (2022) has been released as an album, consisting of five individual “soundtracks”. Four of these are notated as scores and are available for concert performances. They are defined as individual works and do not form a coherent narrative. They can be performed either individually or under the concept of a soundtrack. However, they are not meant to be performed as an opera.

The album also includes Bonus Track: Es dringen Blüten, which is not part of this score.

DEMO

Soundtrack of an Imaginary Opera

This work is the soundtrack to an opera that does not exist in reality. The listener is invited to imagine a drama behind the individual “soundtrack songs”. The aim of the music is to open up an imaginary world, where traditions of opera and social identity are reflected.

Opera as a musical genre is often considered as presenting characters, feelings and dramas that relate to something universal within our human being-ness. However, most historical operas – in their librettos and musical narratives – have been formed by white, Western males, belonging to certain social backgrounds, and may exclude other perspectives. What kind of ideas and attitudes does the Western history of operas reflect? How is, for example, an ideal woman depicted?

Instead of answering these questions directly – or attempting to find a neutral position outside of these traditions – this “opera soundtrack” brings in different musical expressions and clichés that already circulate within culture in general, including in popular music. These are brought to a musical laboratory for examination. The compositional approach in some of the songs could be described as “cultural interpretation”. Further, some of the approach could be depicted as “musical dumpster diving”, meaning, finding fruitful materials in areas that are not ordinarily considered as belonging to the domains of high culture. This work takes a critical stance with regards to the idea that self-definition can be gained without considering the historical background of the tradition in which one works. Without reflection on cultural context one may end up unknowingly reproducing certain norms or power mechanisms.

The content of the songs themselves is not political nor argumentative. Rather, the album tracks aim at playfulness. The instrumentation itself – three voices, percussion, synthesizer, (electric) guitar, violin and cello – is distanced from a traditional, idiomatic understanding of opera by enabling musical landscapes that move between different genres and expressions. Further, the fragmented form of a “soundtrack” allows for a certain lightness and interpretational space between the individual songs. The libretto employs a constructed “opera language”: references, quotes and phrases from opera and other contexts that was formed throughout the process of composition.

DEMO

Beauty Hurts, which refers to Monteverdi’s L’Orfeo, opens the soundtrack. Thus, it begins its story from the very start of the tradition of Western opera. This song suggests that it was partly because of youthful desires that Orpheus needed to turn around and look at Euridice right before they had reached the threshold between the Underworld and the real world, and that this is why she had to return to the “shades of dark”. The song also refers to modern ideals of beauty, describing how she is waxing her skin and spraying it with a spray that reflects light to look beautiful. She also asks whether we like her ass [‘assimo’] large or tiny. Thus, her role is to maintain her own beauty, yet for the same reason she is denied return to the light from the Underworld.

The following song, Who Is Your Daddy? Who Is Your Mommy? brings in the aspect of negotiation of power. It functions as a metaphor for some heteronormative power dynamics. One could ask who really carries the power in any situation where one party, in one way or another, attempts to control the other; the more you claim control, paradoxically, the more powerless you may end up feeling. However, the song presents a sexual scene, both parties aiming at power, with the music thus functioning as a playful domain of negotiation.

Leave Life presents the aspect of death, and perhaps the flavour of co-dependency between lovers, present in some of the Western history of opera. However, here this “love” is isolated from any narrative context and explored as a naked, emotional and romantic musical expression.

The final song, Nymph Cry, emphasise bewilderment and lack of simple solutions when it comes to questions of the choices of future direction and self-definition. Nymph Cry combines a threatening musical landscape with the phrase “beauty hurts” in ‘opera language’, and further, clichés from popular music, yet with a slight twist: “I can live without you”.

DEMO

Lyrics

1. Beauty Hurts

Text by R. S. Ahvenniemi; constructed opera language [RSA], combined with quotes from L’Orfeo by Alessandro Striggio [AS], partly translated into English.

Female voice 1: Malum, bella danum, grazioso vulnus, grazioso in juria [RSA]

Female voice 2: Omni angolo vaxare del mio corpo, exepta la testa, dei capillo lucido briljante. Spruzzare radiante in mio cute pur reflettare la luce. Mio sintola ah sottile [RSA]

Baritone: Che non hò meco il core in compagnia d’amore [AS]

F.v.1: Her eternal loss will be caused by a single glance [AS]

F.v.2: Nos preferici il assimo grande o nos preferici es piccolo? [RSA]

F.v.1: He is not overcome by youthful desires [AS]

Bar.: E nel candido seno, della mia donna oggi sarò raccolto. O dolcissimi lumi oi pur vi veggio. O sweetest eyes I see you now [AS]

F.v.2: I return to the shades of death, unfortunate Euridice [AS]

3. Who Is Your Daddy? Who Is Your Mommy?

Text by R. S. Ahvenniemi; partly constructed ‘opera language’.

Bar.: Come on babe, noi autem tutta la notte, tu est alright amore, tu est donna carino

Tu continua bevuto

Bar. and f.v.1: di venti filthy quando ti entra il liquore, ubriaco il amore

Bar.: pa pa pampa pa pa pa pampa pa, pompare tutto sullo stomaco

Donna caziano per tutta la casa beib. In casinando un fancy divano beib. Qui é tuo padre?

Who is your daddy?

F.v.1 and 2: Who’s your mommy?

4. Leave Life

DEMO

Text quotes and inspirations from Some Things Black by Jacques Roubaud and Trial&Eros by Cia Rinne, a pre-published version.

Leave life, mm, leave, vv

When your death will be finished, I will be dead

You and your death seemed to have nothing in common I love you until here

Leave

5. Nymph Cry

Text by R. S. Ahvenniemi; partly constructed ‘opera language’.

F.v.1 Malum bella danum, grazioso vulnus, grazioso in juria

I can live without you

F.v.2 Do you know where you’re going to?

Instructions

Vocals

Microphones on stands are needed for both female voices to catch slight nuances in specific sections. All instructions are found in the score.

Synth, list of sounds

Beauty Hurts – ‘OLD CEMBALO’

Sounding like a cembalo out of tune. Natural tuning with C# as the reference point.

Who Is Your Daddy? Who Is Your Mommy? – ‘WHITE NOISE (1-3)’ and ‘HEAVY DOWN’

Three types of white noise sounds with some texture; like searching for a channel on the radio. WHITE NOISE 1 is the highest and WHITE NOISE 3 the lowest in frequency.

‘HEAVY DOWN’ sounds like a gangster rap bass gesture about a half tone down from a reference point. Similar as in “Bad Guy” by Billie Eilish, 2 min 30 seconds from the beginning.

Leave Life – ‘HARMONIUM’

A warm sound of a harmonium.

Nymph Cry – ‘HEARTBEATS’ AND ‘80s POP BALLAD’

Bass sounds representing heartbeats.

80’s pop ballad electric piano sound. Examples: “Did We Almost Hav It All?” and “Where Do Broken Hearts Go?” by Whitney Houston.

Guitar and electric guitar

Acoustic guitar is used in1st, 2nd, and 3rd movement. Electric guitar, either normally or with effects, is used in the 3rd, 4th and 5th movement. Instructions are found in the score.

Percussion

Instructions are found in the score.

Strings

Parenthesis around notehead: passing through. No emphasis. Glissandos begin immediately from the beginning of the tone. Microtones are quartertones.

Placement of bow (“ord.”, “sul tasto”, “sul ponticello” and “extreme sul ponticello”) until the notation tells otherwise. When “sul ponticello” or “extreme sul ponticello”, squeaky sounds are to be avoided.

DEMO

NMO15164A

Beauty Hurts

Tremolo, extremely lightly with �ngers

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B. Dr. A. Gtr. Vln. Vc. sizzle

Cr. Cym.

SP. SP.         4                                                                         gliss. SP. gliss. gliss. gliss. XPT. gliss. SP. gliss. SP. ORD. vib. N. SP.                               Bar. Cr. Cym. B. Dr. Vln. Vc.    7

Soundtrack of an Imaginary Opera DEMO

NMO15164A 10                                                                                                                                   gliss. gliss. ORD. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.   Ma   lum Bella                         F.v1 Cr. Cym.

B. Dr. A. Gtr. Vln. Vc. medium mallets SP. XPT. SP. XPT. S.P.    10                                                                                                                                                                                                                        gliss. XPT. gliss. gliss. gliss. XPT. gliss. SP.   da   num Gra   zio so                                             F.v1

Ch. Cym.

Cr. Cym.

Vln. Vc. long arpeggio

OLD CEMBALO long arp. SP. SP. XPT.          13 2 Beauty Hurts DEMO

Ch. Cym.

A. Gtr. Synth.

long arp. long arp.

NMO15164A 11                                                                                                                                                                                                     l.v.   gliss. ORD. gliss. gliss. SP. ORD. gliss. gliss. gliss.    vulnusgrazioso   inju   ria   Ma       Omni   angolovaxaredelmiocorpo                                                                   To Ch. Cym. Ch. Cym. F.v1 F.v2

Synth. Vln. Vc. whispering on pitch dmplong arp. long arp. dmp dmp SP. SP. SP     16                                                                                                                                                         legato l.v. l.v.   ORD. SP. gliss. gliss. ORD. gliss. gliss. gliss. gliss. gliss. XPT. gliss.    lum         exeptalatesta Dei   capillolu   cidobriljante                                                     F.v1 F.v2 Ch. Cym. A. Gtr. Synth. Vln. Vc. whispering on pitch singing long arp. long arp.          20 3 Beauty Hurts DEMO

Ch. Cym. A. Gtr.

NMO15164A 12                                                                                                                                                                                      gliss. gliss. gliss. ORD. gliss. gliss. SP. gliss. gliss. gliss.   Bellada   num spruzza   reradianteinmiocu tepurreflettarelaluce miosintola               F.v1 F.v2 Cr. Cym. Ch. Cym. A. Gtr. Synth. Vln. Vc. whispering on pitch singing long arp. long arp. long arp. dmp XPT. SP. SP. XPT.      24                                                                                                      gliss. -gliss. SP. gliss. XPT. gliss. gliss. ORD. SP. ORD. gliss. SP.  = 72 Her = 56 e Tempo Rubato ternalloss   aahhsottile   Chenonhòmecoilcoreincompagniad’amore       To B. Dr. F.v1 F.v2 Bar. B. Dr. Vc. joyfully 27 4 Beauty Hurts DEMO

NMO15164A 13                                                                                                                                   --ORD. gliss. gliss. ORD. gliss. gliss. SP. willbecausedbyasingleglance byasin   a tempo gleglance   Chenonhòmecoilcore                     F.v1 Bar. B. Dr. A. Gtr. Vln. Vc. long arp. G  32                                                                                                                                                            SP. ORD. gliss. ORD. gliss.   Tempo Rubato Nospre   fericiilassinograndeonospreferi   ciespiccolo?                                 F.v2 A. Gtr. Synth. Vln. Vc. Ardente dmp long arp. long arp. non ped. XPT.    37 5 Beauty Hurts DEMO

by youthfuldesires

NMO15164A 14                                                                                                                                                                                                                                                                  gliss. gliss. gliss. ORD. SP. gliss. gliss. gliss. SP. gliss. ORD. gliss. gliss. gliss. ORD. gliss. XPT. gliss.   Gra   zio so vul nus   Heisnotovercome            

F.v1 F.v2 Ch. Cym. A. Gtr. Synth. Vln. Vc. dmp dmp dmp long arp. SP. SP.             41                                                                                                              gliss. XPT. gliss. gliss. gliss. ORD. gliss. gliss. XPT.   gra zi

Ch. Cym.

            F.v1 F.v2 Cr. Cym. Ch. Cym. A. Gtr. Vln. Vc. singing tremolo 44 6 Beauty Hurts DEMO

NMO15164A 15                                                                                                                                                                                     gliss. SP. XPT. gliss. SP.gliss. gliss. XPT. SP. gliss. XPT. gliss. gliss. gliss. gliss. XPT. SP. SP. ORD. gliss. gliss.   oso   inju ria   Ma lum      

                                F.v1 F.v2

B. Dr. A. Gtr. Vln. Vc. singing long arp. ST. ST.    47 48 49 50                                               gliss. gliss. gliss. gliss. youth fulde si   = 72 res   E   nelcandidose no   Delamia                       F.v2 Bar. B. Dr. Vln. Vc. joyfully 51                                                                                                                  gliss.ORD. gliss. SP. SP. noto = 56 vercomeby       Donnaoggisaròraccolto   O   dolcissimilumioi   purviveggio                   F.v2 Bar. B. Dr. A. Gtr. Vc. singing whispering on pitch  54 57 7 Beauty Hurts DEMO

Heisnotovercomeby

Ch. Cym.

NMO15164A 16                                                                                                                                                                     SP. gliss. ORD. gliss. gliss. gliss. SP. gliss. gliss. gliss. ORD. gliss. gliss. gliss. SP. a a   Odolcissimilumi           F.v1 Bar. B. Dr. A. Gtr. Vln. Vc.

long arp. using nails 59                                                                                                                       -ORD.  SP. ORD. gliss. SP. gliss. gliss. ORD. gliss.   a       oipurviveggio   oi   purviveggio                                       F.v1 Bar. B. Dr. A. Gtr. Vln. Vc.  62 8 Beauty Hurts DEMO

long arp.

To Ch. Cym.

NMO15164A 17                                                                                                                                                         ORD. XPT. SP. gliss. gliss. gliss. ST. gliss. SP.    a   OsweetiesteyesIsee younow                      

F.v1 Bar. B. Dr. A. Gtr. Vln. Vc.   65                                                                                                                                           legatoORD.  SP. gliss. gliss. XPT. gliss. gliss. ORD. SP. gliss.    a a   I   return totheshadesofdeath unfortunateEuridice             F.v1 F.v2 Bar. Ch. Cym. B. Dr. A. Gtr. Vln. Vc. whispering on pitch long arp. 69 70 9 Beauty Hurts DEMO

NMO15164A 18                                                                                                                                                                                                                                                   gliss. ORD. gliss. SP. gliss. ORD. gliss. gliss. SP. gliss. ORD. SP. gliss. ORD. gliss. gliss. SP. gliss.  Bellada num                 F.v1 Ch. Cym. B. Dr.

Synth. Vln. Vc. long arp. h -5l.v. dmp long arp.        73 10 Beauty Hurts DEMO

A. Gtr.

Who Is Your Daddy? Who Is Your Mommy?

Improvising with tremolo glissandos to the noise of the synth, varying dynamics

continuing even when the synth disappears

NMO15164A 19                                                                                                           -gliss. gliss. gliss. ORD. = 54 Comeon babe Noiautemtuttalanotte Noiautemtuttalanotte              

Baritone China Cymbal Guitar El. Guitar Synthesizer Violin Violoncello mallets WHITE NOISE WHITE NOISE 1 WHITE NOISE 2

To B. Dr.

A                                                                                                                                     SP. ORD. SP. SP. ORD. tuestalrightamore   tuestdon nacarino                                         To Ch. Cym. Bar. Ch. Cym. Gtr Synth. Vln Vc. 5

Soundtrack of an Imaginary Opera Rebecka So�a Ahvenniemi DEMO

diventi�lthyquando

simultaneously with radio noise

improv. with tremolo gliss.

Tucontinuabevutodiventi�lthyquando

improvising with tremolo glissandos to the noise of the synth

NMO15164A 20                                                                                                                                                                                                                                           gliss. ORD. SP.XPT. XPT. SP. ORD. SP.  

 

                                Fem.v1 Bar.

Gtr Synth. Vln Vc. arioso Engl. word arioso Engl. word

Ch. Cym. B. Dr.

WN1 WN2

      8                                                                                                                                                                                                          -mute SP. XPT. gliss. gliss. XPT. SP.   tientrailliquoreubriacoila   more   tientrailliquore   tientrailliquoreubriacoinamo   re                                      

To Ch. Cym. To Th. s.

Bar. Ch. Cym. Gtr Synth. Vln Vc. F 4sus, 7 WN1 WN2

Fem.v1

    12 2 Who Is Your Daddy? Who Is Your Mommy? DEMO

paretut tosullostomaco. Donnacazia

NMO15164A 21                                                                                                                                                                 - -gliss. gliss. gliss. XPT. SP. ORD. XPT. XPT. SP. ORD. XPT.   papapampapapapapampapapom                                         Bar. Th. s. Gtr Synth. Vln Vc. rubber mallets like a shadow WHITE NOISE 3  15                                                                                                    - - -l.v. ORD. SP. ORD. SP.

  nopertuttalacasabeib.                                       Bar. Th. s. Gtr Vln Vc. like a shadow        18 3 Who Is Your Daddy? Who Is Your Mommy? DEMO

To Dr. s.

Still operatic singing. English pronunciation as if you were singing Purcell

Who

isyourdaddy?Whoisyourdaddy?Whoisyourdaddy?

Glissandos down, unde�ned pitch, imitating the synth.

NMO15164A 22                                                                           - - - tuttalacasabeib. Incasinandounfancydiva   nobeib.                             To B. Dr. Bar. B. Dr. Gtr Vln Vc.   21                                                                - - - - Qui étuopad   re Qui étuopadre                             Bar. B. Dr. Gtr Synth. WN2      24                                                       - -  tuopadre  

  = 60

                                         

Th. s.

Bar. Th. s. Gtr Synth. Vc.  

Dr. s.

Impro WN WN1 WN3 HEAVY DOWN

B 26 4 Who Is Your Daddy? Who Is Your Mommy? DEMO

Who Is Your Daddy? Who Is Your Mommy?

free pitch, "rapgesang" operatic singing

Who’syourmommy?Who’syourmommy?Who’syourmommy?

MICROPHONE almost whispering, free pitch

mommy?Who’syourmommy?Who’syourmommy?

Whoisyourmommy? Whoisyourmommy? Whoisyour

Whoisyourmommy?

MICROPHONE almost whispering, yet singing

Whoisyourmommy?

NMO15164A 23                                                                                - - -- - - -

   

                    Fem.v1 Fem.v2 Dr. s. Gtr Synth. Vc.   

WN WN2 WN3 32                                                                                                                      --SP. gliss. gliss. SP. ORD. SP. ORD.

= 54    

                           

Fem.v2 Dr. s. Gtr Synth. Vln Vc.   WN WN1 WN2 WN3 WN1   C 36 5

To Th. s.

Fem.v1

DEMO

isyourdaddy?Whoisyourdaddy?

To Dr. s.

NMO15164A 24                                                                                                                                              --XPT. SP. ORD. XPT. XPT. SP. ORD. XPT. entraila   entraila                               Fem.v1 Bar. Th. s. Gtr Synth. Vln Vc. 40                                                                                                                                                                                                             - -mute SP. ORD. gliss. gliss. gliss. gliss. gliss. SP.ORD. SP. gliss. ORD. gliss. gliss. SP. more tientraila   = 60   more tientraila   Who  

                                       

Fem.v1 Bar. Th. s. Gtr Synth. Vln Vc.   still operatic singing Impro WN1 WN2 WN3 HEAVY DOWN imitating the synth ...      D 43 6 Who Is Your Daddy? Who Is Your Mommy? DEMO

Whoisyourdaddy? Whoisyourdaddy? Whoisyourdaddy?

free pitch, "rapgesang"

MICROPHONE almost whispering, free pitch

Who’syourmommy?Who’syourmommy?

improvising with tremolo glissandos "crazy", on two strings

Who’syourmommy? Whoisyourmommy?Whoisyourmommy?Whoisyourmommy?

MICROPHONE almost whispering, yet singing gradually toning down

Who’syourmommy?Who’syourmommy? yourmommy? yourmommy?

NMO15164A 25                                                                                             --- -gliss. gliss. gliss. ORD. ORD.   Who’syourmommy?Who’syourmommy?  

            Fem.v1 Fem.v2 Bar. Dr. s. Synth. Vln Vc.  

  47                                                                                                                                                                                          - - -- - -SP. ORD. SP. ORD. SP. ORD. SP. ORD.

Fem.v1 Fem.v2 Ch. Cym. Th. s. Dr. s. Gtr Synth. Vln Vc.  operatic singing

    51 7 Who Is Your Daddy? Who Is Your Mommy? DEMO

Who Is Your Daddy? Who Is Your Mommy?

yourmommy?Whoisyourmommy?Whoisyourmommy?

Whoisyourmommy?

NMO15164A 26                                                                                                                                                                    - -- - -SP. XPT. SP. XPT.

   

 

                      Fem.v1 Fem.v2 Ch. Cym. Th. s. Gtr Vln Vc. "eh" (a slight squeek)        56 8

DEMO

pre-recording synth, for echo

echoing the synth, with very quiet �nger movement

echoing the synth

NMO15164A 27                                                                                                                                                   vib. ord. sul pont. sul pont. = 54 Leavelife leaveleavelaaaaaaiflaaaaif leavelife                         Fem. voice2 Electric Guitar Synth. Violin Violoncello

HARMONIUM              A                                                                                                                         ord. ord. ord. ord. vib. = 60 m       m m                                                       F. v. 2 E. Gtr Snth. Vln Vc. molto vib. molto vib.        4

Soundtrack of an Imaginary Opera Rebecka So�a Ahvenniemi DEMO

Leave Life

NMO15164A 28                                                                                                                                     vib. sul tasto leaveleavev v = 72             F. v. 2 E. Gtr Snth. Vln Vc. dramatic inhale echoing the synth           B 8                                                                                                                          sul pont. ord. sul pont. ord. Whenyourdeathwillbe�nished   I = 48   willbedea d                     F. v. 2 E. Gtr Snth. Vln Vc. sottovoce cantabile       11                                                                                          - - -ord. You = 60 andyourdeath seemedtohaveno   thingnothing   nothing                                 F. v. 2 E. Gtr Snth. Vln Vc. harsh cantabile      14 2 Leave Life DEMO

NMO15164A 29                                                                                               - - - - incommon incommon Iloveyou untillhereleavelivv             F. v. 2 E. Gtr Snth. Vln Vc.       17                                                                                                                                              ord. vib. ord. v v laaaaaif m m F. v. 2 E. Gtr Snth. Vln Vc. echoing the synth         C 19                                                                                                                                       ord. ord. ord. vib. vib. vib. = 72 m m m m leave leave m m m leave leave F. v. 2 Bar. E. Gtr Snth. Vln Vc.             22 3 Leave Life DEMO

NMO15164A 30                                                                                                             sul pont. sul pont. leave m m Whenyourdeathwillbe�nished     m leave m Whenyourdeathwillbe�nished                         F. v. 2 Bar. E. Gtr Snth. Vln Vc. sottovoce sottovoce       D 25                                                                                                                                                               - -- - -ord. ord. ord. = 54 = 60 seemedtohavenothingnothing nothing IwillbeDea d Youandyourdeathseemedtohavenothingnothing nothing               F. v. 2 Bar. E. Gtr Snth. Vln Vc. cantabile cantabile harsh cantabile        29                                                                                            - - - -- - -incommonincommoncommonIloveyouuntillhereleaveliv v incommonincommoncommonIloveyouuntilhere F. v. 2 Bar. E. Gtr Snth. echoing the synth        32 4 Leave Life DEMO

Nymph Cry

Ma lum Bellada num

following the voice

Electric guitar, prepared with a plastic tool under the strings. A hollow, industrial sound.

Approximate timing, together with chimes until bar 4.

Approximate timing, together with guitar until bar 4.

following the voice medium mallets

HEARTBEATS

Approximate timing

following the voice

NMO15164A 31                                                                                                l.v. l.v. l.v. l.v. l.v.   Tempo Rubato

      Female voice 1 Violin Violoncello Guitar Chimes Synthesizer 

Monteverdi style

                                                                              l.v. l.v. l.v. l.v. l.v.   Gra ziosovulnus gra zi F.v1 Vln Vc. Gtr Chim. Synth.    2

Soundtrack of an Imaginary Opera Rebecka So�a Ahvenniemi DEMO

NMO15164A 32                                                                       l.v. l.v. l.v. l.v.    o so inju ri a F.v1 Vln Vc. Gtr Chim. Synth.   3                                                                           l.v.  a a F.v1 Vln Vc. Gtr Chim. Synth.       4                                                                             a Bellada num F.v1 Gtr slow arpeggio Bb Acoustic guitar Am slow arpeggio Dm C G    5 2 Nymph Cry DEMO

B. Dr.

slight overpressure, slow tremolo, a granular sound, unde�ned pitch freely varying the dynamics. Play ad. lib. or as written, until bar 10.

Slight overpressure, slow tremolo, a granular sound, unde�ned pitch freely varying the dynamics. Play ad. lib. or as written, until bar 10.

Threatening, industrial sounds:

CC: uneven tremolos

B. Dr. Rubbing a mallet (rubber) on the surface ad. lib.

NMO15164A 33                                                                                        gliss. gliss. gliss. gliss. gliss.  a a Gra zioso F.v1 Vln Vc.

Ch. Cym. B. Dr.

  6                                                                            gliss. gliss. gliss. gliss. gliss. gliss. gliss. vulnus a F.v1 Vln Vc. Ch. Cym. B. Dr. 7                                                                                               gliss. gliss. gliss. gliss. gliss. gliss. a a F.v1 Vln Vc. Gtr

Ch. Cym.

Bb   8 3 Nymph Cry DEMO

NMO15164A 34                                                                                                       gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. a a I Icanlive withoutyou F.v1 Vln Vc.

B. Dr. a i (still Monteverdi style) 9                        Icanlivewithoutyou Icanlive F.v1 pop music style 10                                                                                                              I Icanlive withoutyou F.v1 Gtr Synth. a... Monteverdi style al �ne i Bb long arpeggio D long arp. Bb Bb Arpeggio, play chords ad. lib. or as written 80s POP BALLAD D Bb      11 4 Nymph Cry DEMO

Ch. Cym.

Play ad. lib. or as written until end.

Doyouknowwhereyou’re go

ingto?Doyouknowwhereyou’rego ing

Threatening, industrial sounds ad. lib.

Play ad. lib. or as written until end.

NMO15164A 35                                                                                                                                                                         Ican live

F.v1 F.v2 Gtr Synth. F F D long arp.

Bbm7 long arp. F Bbm7 long arp. D song: "live" Bbm7 F Bbm7    12                                                                                                                                                                  gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.   Bellada to? Doyouknowwhereyou’rego ing to? F.v1 F.v2 Vln Vc. Gtr Ch. Cym. B. Dr. Synth.

long arp.

F Am Dm

F song: "to"       13 5 Nymph Cry DEMO

NMO15164A 36                                                                                                                                                gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. a a a a F.v1 Vln Vc.

B. Dr. 14                                                                                               gliss. gliss. gliss. gliss. I a a F.v1 Vln Vc. Gtr Ch. Cym. B. Dr. long arp. Bb   15                                                                                   gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. Vln Vc. Ch. Cym. B. Dr.  16 6 Nymph Cry DEMO

Ch. Cym.