ORANGE by www.oscarbianchi.com

Oscar Bianchi ORANGE for ensemble and audience

score

Oscar Bianchi ORANGE for ensemble and audience

commissioned by ART MENTOR FOUNDATION LUCERNE for ''CONNECT - the audience as artist'' and performed on 22 April 2018 by Ensemble Modern on 19 June 2018 by Remix Ensemble Casa da Música in Porto on 26 2018 August by Asko Schönberg at the Muziekgebouw in Amsterdam on 16 March 2019 by London Sinfonietta at the Queen Elizabeth Hall in London

score

First performance: 22 April 2018 Frankfurt Lab

ensemble modern Jonathan Stockhammer, conductor

ORANGE

Instrumentation

Flute, also Bass flutel, four wine glasses (E5, F4+, F#6, A6) Oboe, also Cor Anglais, four wine glasses (Cb5, F4, C#5, C#6, D#6) Clarinet in Bb, also Bass Clarinet and Contrabass Clarinet in Bb, four wine glasses (A#4, E4+, E6, D6) Bassoon, also Contrabassoon, four wine glasses, also A#4, B4, B5, A#5

Horn in F, also four Wine glasses (A4, B4+, F#5, C#6) Trumpet in C, also harmon mute, four wine glasses (Gb4, B4, C#5, G5) Trombone, also harmon mute four wine glasses (F4, A#4+, A6+)

Percussion 1: symphonic bass drum on wheels (possibly not oiled, noisy) , Crotales (D7, Eb7, F#7, A7, B7), Wine glass C6+ (quarter tone high), Log drum very big with four pitches, Metaldrum, Plexiglass (78cm x 50cm x 2mm ca), 3 tom toms, 3 large cymbals (very low, low, medium-low, medium-high - don't have to match perc 1 cymbals), Tam-Tam (Paiste 26”) partially damped on Keyboard Stand, Ride Cymbal 22”, China Cymbal 14”, Marimba (four or ideally six octaves), Almglocken F4, Waldteufel (Kolberg if possible), Gongs (F#4 and C#4), different mallets, contrabass bow, 2 medium-hard vibraphone mallets with fiber glass handles (Vibrawell V3). 6 Squeaky Rubber Chickens, Teddy Bear.

Percussion 2: symphonic bass drum, Crotales (C#7, D7, D#7, F#7) , Wine glass G5+ (quarter tone high), Log drum very big with four pitches, hard broom on floor or hard brush over bass drum, Gongs (F#4 and C#4), Tam tam or big china, Large thunder-sheet, 3 large cymbals: very low, low, medium-low, medium-high (doesn't have to match perc 1 cymbals), Waldteufel (Kolberg if possible), Vibraphone, waldteufel, Tam-Tam partially damped on Keyboard Stand (Paiste 26”), Ride Cymbal 22”, China Cymbal 14”, Almglocken B4, Different mallets, super-ball, bow for crotales and cymbals, hard brush or broom

Piano, also water glass

Violin Viola Cello Contrabass (C string scordatura to G0)

other requirements for ensemble: 12 super-balls, 12 Waldteufels, 12 Soprano Recorders recorder heads (mixed: soprano, tenor, alto, anything that is available), 16 Almglocken (C3, 2 x C#3,D3, E3, F#3, G#3, B3, C#4 D4 , E4, F4, F#4, G#4, A4, B4), 12 pair of knitting needles, alternatively hard-pencils (for music-stand tremolos)

requirements for audience: according to the amount of trained audience participants, 10 to 30 mixed recorder heads (soprano, tenor, alto, anything that is in fact easily available and affordable), 10 to 30 Messingblech Tafeln, 0,3 x 100 x 200 mm (thin metal tablets nicknamed in the score as ''piopios''), 10 to 30 super-balls

requirements for stage: a video projector to screen lyrics (via powerpoint / Keynote slide show remote controlled by any team member). Individual risers to seat musicians: used instead of seats they will also allow room for companion instruments and simultaneously some seating space for audience member when on stage.

the score is in C (bass Flute, Contrabass sound one octave lower than notated. Crotales one octave higher)

Composer’s note Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves). Altered pitches might be sometimes respelled within the measure for cautionary purposes. Trills: unless differently specified the auxiliary note is always a step above the main note, see example below.

Trill



 

Realization





  



  



  



  





LEGEND

TUTTI

µ#˜

quarter tone higher, sharp, three quarter tones higher

B b Bb

quarter tone lower, flat, three quarter tones lower crescendo dal niente decrescendo dal niente highest pitch available

glissandos should always start immediately, and they should be played as continuous and as even as possible

WIND INSTRUMENTS

≤ ≥ í

inhale exhale fully close embouchure with mouth

FLUTE « internal frullato » : exhale into the instrument while fingering the indicated pitches, make sure to hold closed mouth embouchure as indicated « air only (no tone) » : produce an airy sound by blowing regularly but without harmonic sounds (no tone), emulate a « white noise » like sound « soffio » : with open lips, concentrate the blowing inside the mouth-whole as to pronounce an « i » (italian « i ») with open mouth (jaw in position as to produce and « a »). Enhance the resonances within the mouth. « + growl »: vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

OBOE « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « + growl » : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

CLARINET « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « Harmonics Tremolo » : tremolos of harmonics with different fundamentals « open slap »: open your mouth very quickly at the same time (or just slightly after) as slapping. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « + growl »: vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

BASSOON « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « lala slap » : with the mouthpiece off, double-tongue the indicated pitches producing a dry but deep and articulated sound

TRUMPET, TROMBONES « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound. Sometimes without mouthpiece when indicated. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument.

Part One D string scordatura down a ¼-tone. Furioso! Enjoy the few moments of respite, bringing out warmth and lyricism of line, looking towards the second part of the work. Up-bow double harmonic trill on III/IV, played with varying degrees of sul pont. Distorted trills always sul pont exploring layers of overtones – ALLdifferentiation STRINGS bring out relative of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very sp = sul ponticello fast and regluar, alternating upper and lower trilling fingers (1/2 with 2/3). Play where possible with fast and fluid up-bow gesture. Harmonic nodes or contact points are given in the part/score. A chart below st = sul tasto shows actual sounding pitches of the harmonics. Exact pitches are not critical, and it should be added that msp = molto sul ponticello sul pont creates additional layers of overtones. Glissandi are very fluid. The short-note interjections of mst = molto sul tasto single tones, open strings, chords, also chordal harmonics, trace an elongated melodic line which is at clb = times reflected in the orchestra. xv = extreme vibrato (very wide vibrato, minimum fifth wide) w.n. « white noise » : tonelos, bow right over the bridge p.r. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique) Part Two Re-tune to D-natural. highest available Restrained but expressive. Fivepitch fragments of an extended melodic line thread through the orchestral textures. The line is always in motion drawn out of and disappearing into silence. The overall effect creates a quasi-static multiphonic. Double, triple or bow: from ordinario to overpressure quadruple chords combine open strings, open-string/harmonic trills and stopped tones. Fast string crossings - explore with varying bow pressure and changing bow strokes, avoiding cliché arpeggios I-IV-I. Varying degrees of sul pont creates additional layers of overtones. Open-string/harmonic trills immediately as fast as possible, and remain very fast, continous regular. Build up playing all three strings. « Harmonic glissando » : gradually moveand from lightly touched to pressed. Bring out the harmonics more than the open strings. Noteheads in brackets add last and play less often.

Natural harmonics: Natural harmonics:

VIOLA « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants.

CELLO « col legno slide » : slide vertically the stick of the bow (col legno) over the string towards the scroll: you should hear two glissando sounds. The stick of the bow should lay lightly on the string (it works best to use the higher half of the bow-stick) « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique) DOUBLE BASS « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello « flanger pizz » : approach the surface of the wooden tip of the bow against the vibrating string (after the pizz). Alternatively, use a ring instead. The flanger effect is created by quickly ‘intercepting’ the vibrating string and creating a ‘wah-wah’ effect by approaching the bow’s tip against the vibrating string. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique)

ORANGE for ensemble and audience

Oscar Bianchi 2017 - 2018

• a puppet already placed in the center-le area of performative space, visible • all performers oﬀ stage, audience and trained audience normally seated, lights oﬀ (only light spotlight over puppet on) • backstage light on

° ¢&

√ ∑

Flute

° &

√ ∑

Oboe

√ ∑

Clarinet in Bb

√ ∑

Bassoon

√ ∑

° &

√ ∑

Trumpet in C

√ ∑

Trombone

√ ∑

°/

√ ∑

¢/

√ ∑

Violin

° &

√ ∑

Viola

√ ∑

Violoncello

√ ∑

Contrabass

√ ∑

Audience

Horn in F

Percussion 1

Percussion 2

Piano

{

D & F xxxxx

A from the outside, hence not visible yet, the percussionist slowly joins the center of the performative space while carrying a symphonic bass-drum on wheels. Rollying it rather slowly, she/he becomes unexpectedly aware of the low/barely-perceptible frequencies produced by the membranes which resonate because of the motion-induced vibrations. On the way towards a designated central position, in an unpredictable path, she/he wanders around a bit, subtly toying with such eﬀects (low vibrations resulting a er simple strolling movements), rotating the drum on itself at times, enjoying the produced sounds and encouraging them with diﬀerent spontaneous-looking motion techniques, unaware of unveiling this to the audience. 2 - 3 min.

performance indications:

/ - be in a possibly hidden position with the Bass Drum at the beginning

Perc 1

√ ∑

- once the backlight is on, start moving over the performative space, your movement seem at times as an imaginary ‘’pas de deux’’ between you and the bass drum - while moving, favour large steps, long movements, like stopping abruptly and sliding forward and backward - while moving, if you happen to run into a cable or a grid over the oor, indulge in it, obsess with it

B on its way around, a little teddy bear is suddenly noticed. e percussionist checks it brie y, then throw it towards the audience.

e audience member who catches it is invited to join the stage. Once one stage, the percussionist will encourage her/him to play and imitate him, rst with screaming rubber chickens, then by moving the bass-drum around and playing it with super-ball. Once done, the percussionist invite the audience member to return to her / his seating place, this being also the cue for all ensemble members to join the performative space from outside by slidind their own super-balls over the oor or playing ''pio pios'' (rehearsal mark C). Hence the applause for the audience member returning to original seating cross fade entrance of ensemble members. 5 - 6 min. performance indications: √ ∑ - suddenly you realise there’s a teddybear, leave the bass-drum close to conductor podium before getting close to it. Position yourself sidewise to the audience, bend down, slowly pick the teddybear up and scrutinise it just a bit before randomly throwing it towards the audience - invite the audience member who fetched it to join you on stage. Get back the teddybear from her/him and place it over a dedicated music-stand (next to conductor) - when the audience member joins you on stage make sure to position her/him always in front of you, face to face while showing your sides to the audience -provide the audience member with two screaming chickens (one per hand), you holding four of them (two per hand) -then start a ‘’screaming chicken quartet’’, based on imitation. Here a sequence of actions which should prompt the audience member to naturally imitate you: T-position (straight torso with open arms), geometric (play with moving your arms and forearms in geometric position), tennis playing, Pisa tower (slowly swing le and right, position your selve diagonal towards the audience), giggles fast with shoulder. -Once done, get the chickens back form the audience member, put them over the dedicated music-stand and provide her/him with a superball which you'll have in your pockets. -Start playing with it, rst sliding the superball over the wooden frame (slide, dead strokes, etc.), then over the skin ( rst gesture should be a long deep sound), use you bare hands as well on the bass drum skin to sometime mute the sounds and / or to interrupt the audience member. Head towards a sort of crescendo rossiniano with a very deep, long nal slide sound. - thank the audience member by bowing towards her/him inviting to regain her/his original seating position (the audience should naturally applause here). is is also the cue for the ensemble members to crawl out their hidden positions and slowly join their performing positions - head towards your own percussion setup location with the bass drum, not rushing. (Advises: If she / he's not very good at a speci c actions either move on to the next quickly or help and encourage her/him with eyes and hands gestures, as a mime would do - never talk, only if seriously stuck. Favor large and slow gesture as in bigger halls fast gestures won't be properly visible)

Perc 1

C conductor and all ensemble members enter from the outside while sliding their own super-ball over the oor with a set of diﬀerent techniques. Percussion 2 and Piano will by the rst to arrive in position in order to start D (3 actions): sliding their super balls over the skin of and the wooden body of the piano (or glass). Once musicians arrive by their instruments they contiguously slide their super-balls now all over their instruments's body, exploring sound textures and diﬀerent sounds results

5 4

2 - 3 min. 4

√ ∑

Perc 1

Superball Symphonic Bass Drum

°/ 5

Perc 1

Y™

3 4

5 4 ∑

Y™

sim.

3 4

4 4

Y™

2 4 ∑

5 4

Y mp

Y™

4 4

3 4

5a.s. 4

4 4 ∑

ppp

Superball Symphonic Bass Drum

Perc 2

¢/

Œ Y

sim.

∑

‰ ¿ Y J

Y™

∑

Œ3Y mp

Y™

∑

ppp

water glass over wired string *

Pno

{

Œ ‰ 6™ ) mp

∑

Œ )™ mp

)™

∑ f

Œ 6 mp

)™ f

)

)™

∑

ppp

✶Drag the water glass over the wired string in a continuous movement

Ensemble starts fading out

o D & F xxxxx

Ensemble I section

° & 15

4 E q = 80 4

3 4

∑

4 4

∑

3 4

∑

mouthpiece off

∑

° &

∑

Bsn

C Tpt

Tbn

Symphonic Bass Drum

Perc 1

°/

key tremolo (✶)

‰™

∑

one stick

æ 6æ™

two sticks (mandolino tremolo) (✶✶)

æ 6æ™

æ 66æ ™™

æ 66æ

æ ))æ

(one stick)

)) ææ

(pp)

æJ

fff

æ 66æ ™™

æ 66æ ™™™™™™

K æær 66 Œ

>r æ æ 6æ )

æ 6æ™

mfpp

key tremolo (✶)

two sticks (mandolino tremolo)

one stick

Perc 2

¢/

æ )æ

æ 6æ™

æ 66æ ™™

(✶✶)

66 ™ æ

pp mf pp (✶) with two knitting sticks produce a mandolino-like tremolo in the space located between the tuning keys and the frame

66 æ

fff

æ ))æ pp

knitting sticks (or other sticks ad lib) over cast iron plate (✶)

Pno. { &

∑

æ )æ o

æj 6æ

æ(✶✶) )æ

6™ ææ

fff

æ 66æ ™™™™™™

ææ

Kr 5 (one stick) > æ æ 66æ ≈ 6ææ )æ™ ff

æ 6æ

æ 6æ™™™

mfpp

K æær ææ 6 6 ff

æ 6æ

>r æ æ 6æ 6æ mfpp

(✶) emulating percussion's keys tremolo, produce a ''mandolino'' tremolo between parts of the cast iron plate

Vln

° &

∑

Vla

∑

D & F xxxxx

> æ 6æ

mfpp

(✶✶) gliss means to move the stick further into the keys and possibly upward in order to produce an almost glissando-like or formants-change eﬀect

Symphonic Bass Drum

æ 6æ

°÷

3 4

4 4æ

multiple keys tremolo (✶) 5

‰

> ææ ææ ¿¿

æ Yæ

>r æ æ ¿æ Yæ

¿æ

mfpp (✶) extremely fast tremolo of multiple keys simultaneously

> ææ ææ ¿™ ¿

æ Yæ

mfpp

3 8

æ Yæ

mfpp

3 4

articulated sound with presence of air 6

‰

&‚

‚ b‚ ‚ #‚ n‚

multiple keys tremolo (✶)

>r5 æ ¿æ

æ ¿æ

> æ ææ ¿æ ¿

ææ ¿

æ ¿æ

mfpp

5 æær >ææ ¿¿

mfpp

æ Yæ™

trumpet sound unstable (with air)

& #O

∑

mfpp ppp

multiple keys tremolo (✶) 5

‰

> ææ ææ ¿¿

æ ¿æ

articulated sound with presence of air

>r æ ¿æ

mfpp

æ ¿æ

æ Yæ

‚#‚n‚ ‚b‚ ‚#‚n‚ #‚n‚

‰

mfpp ff

‚ b‚ ‚

multiple keys tremolo (✶)

Bsn

¢÷

>r5 æ ¿æ

æ ¿æ

æ ¿æ™

æ ¿æ

> æ æ ¿æ Yæ

mfpp

>r æ æ ¿æ Y

æ Yæ

Contrabassoon

æ ¿æ™

mfpp

5> > ææ æ ææ ææ ææ ¿ ¿ ¿¿ ¿

mfpp

∑

mfpp

multiple keys tremolo (✶) 5

°÷

æ Yæ

mfpp

hand slap

>r æ æ ¿æ ¿

æ Yæ™

airy sounds

» ‰ #œ ≈ ‰ 3

Œ o

mfpp

≈

≥ ng gbg ææ ææ ææ

fz pp

> ≈ ¿æ 5

multiple keys tremolo (✶)

æ Yæ

> 5 æ ææ ¿æ ¿ ™

æ ¿æ

mfpp

> æ ¿æ

r> æ ææ ¿¿ 5

æ ¿æ

hand slap

airy sounds

≤ g™

æ Yæ™

mfpp mfpp

®≈

keys tremolo (✶)

>r æ æ ¿æ ¿æ

Tbn

¢÷

5> ææ æ ææ æ ¿ ¿æ ¿ ¿æ

æ ¿æ

mfpp

æ ¿æ

mfpp

>r æ ¿æ

hand slap

æ Yæ™

Œ o

mfpp

≈ ‰

‰

œ fz

two keys (l & r.h)

Perc 1

°/

> ææ æ 6 66 ™™

æ )æ

æ 66æ ™™

66 ™ æ

mfpp

æ ))æ

66 æ

fff

K æær 66

æ 66æ ™™™™™™

66 ™ ææ pp sub

(two sticks)

Perc 2

¢/

>æ 66æ ™™

æ 6æ™

æ 66æ

mfpp

Pno { /

æ )æ

æ 6æ

æ ))æ

)) ææ

æ 6æ

ææJ

fff

ææj ææ 6 )

6™ ææ

æ 66æ ™™ pp

æ 6æ

ææ

fff

Kr æ66

æ 66æ ™™™™™™

K æær 6

æ 6æ™™™

66 ™ æ pp sub

6™ ææ

pp sub

fast tapping ✶

° Vln &

∑

5> ‰ ¿ ¿ Y æ æ ææ ææ æ

> ¿¿ ææ ææ R

¿™ ææ

Y ææ

> ¿ ææ

¿ ææ

‰

¿ ææ

‰

¿ ææ

‰

mfpp mfpp mfpp (✶) extremely fast tapping with any hand / ngers ad libitum, freely moving along the ngergboard

Vla

∑

> ¿ ææ R

¿ ææ

> ¿™ ¿ Y æ æ ææ 5

mfpp

∑

5 > ≈¿ ææ

mfpp

∑

¿ ææ

mfpp

Y ææ

¿ ææ

∑

‡ · ‚ „

> ™ ¿¿ ææ æ æ 5

mfpp ord poco sul ponticello sul ponticello molto sul ponticello

> > ¿¿¿ ææ ææ ææ R 5

mfpp mfpp

‡

‹ ‚‚≤ ™ &

D & F xxxxx

Y ææ

‚‚ ™ pp

‚‚ ™

3 24 4 °

f quasi

œ o

œ ™™™

#œ o

æ o

w æ

mf quasi

+air + keys noise Ob

& #‚ n‚ ‚b‚ ‚ # ‚ n ‚ ‰

4 q = 60 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 #˙

ord (sound) D-D# keys tremolo (strettissimo)

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ pp

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ™‰

ppp

r.h. trill keys tremolo, very fast

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ™ œ œ ‰™ o o f

Contrabass Clarinet in Bb

quasi air inside the tube (mouth closing up embouchure)

lala slap (mouthpiece out)

Cbsn ¢

°?

≥ æ b _æ o

æ -æ

f quasi

g™

3 7 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ ææ ææ ææ æ æ æ æ æ æ æ 3 ≥ æ æ æ æ æ æ æ ææ ææ ≤ g# gn ggb g Ó g# gn g# gn gg b g g #G G

C Tpt

@≤

ææj -

≥ 6 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ ææ æ æ æ æ æ æ 7 ≥ æ æ æ æ æ æ æ æ æ æ æ ææ ææ ≤ g gb gg# gn g Ó # gn g gb g g# gn g# G G

p z

ord

+ æ b˙æ o

Tbn

ææ œ

¯ æ œæ

+ ææ œ

æ ˙æ

Œ o

mf quasi (one key) 5

Perc 1

°/

ææ 6

)) ™ ææ

> æ ææ 6æ 6

æ )æ™

ffp

(one key)

Perc 2

¢/

Pno { /

° Vln &

> 5 æær ææ 6 6

)) ™ ææ

ææ 6

æ 6æ

ffp

æ 6æ

)™ ææ

> æ ææ 6æ 6

æ 6æ

ffp

ææ 6

> æ ææ 6æ 6

æ )æ

ffp

reversed seagull effect (✶)

™™ œO ™™

≈

∑

f (✶) gliss until string's end without shortening the position

reversed seagull effect (✶)

III 3

Vla

≈

Oœ

™™

f (✶) gliss until string's end without shortening the position ord aut, sp

µ OoY ™ o

ord

b OoY ™

µw

„ ? bOææ™ ¢ O™

‹ &

sfz

‡ #‚‚ ™™ pp

D & F xxxxx

‰

o ?

F Fl

° Œ &

g bg

≤ >g

& Œ

@ ≥ 6 g gb g g# gn g# gn g

‰

≤ gb g gb g gb gj > 7

? Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ g

j g

air flattertongue

3 8

air flattertongue

@ 7 ≥ g #gng g bg g # g n g # g n g

? @ Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ g™ g ff

pp air flattertongue

mouthpiece off

@ ≥

@ @ ? ? ≥@ 5 ≥ Ÿ~~~~~~~~~~~~~~~~~~~≤ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ 5 ? b g g™ g g g g b >g g‰ > > >

Cb Cl

6 7

g gb g g# gn g# gn g

‰

ff fz fz

air flattertongue

? Œ Cbsn ¢

@ 6 ≥ # gn g gb g g# g n g# gn g mf

gb g g# g g > mf

gb g gb g gb gj >

@ ?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ≥

≤

g g

g™

ff air flattertongue

°?

∑

@ ≥ g bg g g #g ng #gng gbg gbg

‰

6 7

air flattertongue

∑

C Tpt

@ 6 ≥ # gn g gb g g# g

Tbn

Perc 1

∑

>r 5 ° / 6ææ 6ææ

∑ æ 6æ™

æ )æ

> æ 6æ

6 ææ

ffp

Perc 2

ææ 6

ææ ¢/ )

> æ 6æ

ææ 6

ffp

> æ ææ 6æ 6 ffp

> æ 6æ

ææ ™ Pno { / )

ffp

ææ 6™

6 ææ

> æ 6æ

6 æ

ææ 6

æ 6æ

# œo

reverse sound

B ® œO ™™ J

‰

#l œ o

reversed seagull effect (✶)

reverse sound

O ™™ œ ™™

‰

f (✶) gliss until string's end without shortening the position

reversed seagull effect (✶)

III 3

? ≈ Oœ

? ≈

5:3

≈

p 5:3

ffp

™™

f (✶) gliss until string's end without shortening the position

˜-œ o

reverse sound

Œ D & F xxxxx

® L#œ ™ o

6 ææ

6 æ

ææ 6

5:3

reverse sound

° Vln & ® # O ™™ # œ ™™

Vla

6 ææ

4 4

° & 28

@ <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4 4

G™

air flattertongue

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ @ ? 6 7 ≤ ≥ g# gn ggb gg # gn g # gn ggb gggj G >

≥@ ‰

3 4

5 4

embouchure on

∑

Cb Cl

∑ articulated sound with presence of air poco legato, sempre articolato e diafono

? @ embouchure on Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ó b g™™

r bg

b‚

‚

b‚ ‚ n‚ ‚ #‚ ‚ ‚ # ‚ ‚ ‚ ‚ ‚ ‚ ‚ #‚ n‚ 7

f quasi

air flattertongue

Cbsn ¢

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ g

@ ≥ 6 7 ≤ ‰ ggb gg # gn g# gn ggb g gb g g j b >g

? @ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ‰ g g™™

°? ≤ bg >

? @ lala slap Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ æ G b -æ o ff

poco legato, sempre articolato e diafono

œ #œ nœ œ#œ#œ nœ#œ #œ œ #œ #œ œ

7 6

? @ Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ r g g™™

C Tpt

≤ g# gn ggb gg# g j >g f

? @ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≥ g G™

air flattertongue

@ 7 ≥ ≤ ? # g # g n g # g n g # g Tbn ¢ # gn g# gn g# g n g# g g > 6 mf

two keys (l & r.h)

Perc 1

°/

æ 6æ

>r æ æ 6æ )æ

æ 6æ™

ffp

> æ 66æ

æ 66æ

5:3

ffp

66 ææ f

æ 66æ

(two sticks)

Perc 2

¢/

æær 6

>æ 6æ

æ )æ™

æ 66æ

ffp

66 æ

5:3

Pno { /

æ 6æ

>r æ 6æ

æ 6æ

6 ææ

ffp

Vln

° &

≈ …

‰™

‰

œ- œ™ o

l œ™ o

˜ -œ œ™

Vla

≈ …

‰™

‰

≈

‰™

‰

¢&

≈

…

‰™

æ )æ p

æ 6æ 5:3

æ 66æ p

6 ææ f

∑

≈ …

∑

≈

66 æ

…≈

≈ …

æ 66æ

…≈ ff

‡

‹ ‚‚≤ &

OO ™

D & F xxxxx

8 30

°&

5 4®

2 8

wah wah effect (✶)

bO7 ™™

O™ 7™

fff

ord

® Œ 7O

music stand tremolo (✶) or waldteufel

3 4

∑

metal sticks 5:3

‰

p (✶) with two metal sticks produce a mandolino like tremolo around the metal stand of the music stand from bottom towards high

(✶) hold a steady voice pitch (lower note) while prodcing harmonic gliss.

music stand tremolo (✶) or waldteufel

∑

æj 6æ æ6 æ

metal sticks 5:3

æ ‰ 6æ æ6 æ 3

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ ‚ O

Cb Cl

‚ ‚ #‚ ‚ b‚ # ‚ n‚ ‚ #‚ ‚ ‚ ‚

‚ #‚ #‚

f quasi

metal sticks 5:3

music stand tremolo (✶) or waldteufel

j ≈ 6æ™

∑

6 æ

æ 6æ

f music stand tremolo (✶) or waldteufel

(air)

Cbsn ¢

æ b -æ

æ -æ

metal sticks 5:3

@ ≤

ææj -

g™

f quasi

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # œ œ œ œ #œ œ œ œ # œ n œ œ J #œ œ œ #œ œ nœ œ æ æ æ æ #æœ æ #æœ æ æ æ æ æ æ æ æ æ æ #æœ æ æ æ

°?

f quasi

nœ

f quasi

æ ‰ 6æ æ6 æ

5:3

‰

metal sticks

j ≈ 6æ™ 6 æ

music stand tremolo (✶) or waldteufel

∑

C Tpt

∑

5:3

Tbn

music stand tremolo (✶) or waldteufel

∑

æ 6æ

6 æ

æ 6æ æ6 æ

æ 6æ

æ 6æ æ6 æ

æ 6æ

metal sticks

æ 6æ

metal sticks

æ 6æ

music stand tremolo (✶) or waldteufel

6 ææ

double tonguing

#œ

æ 6æ

5:3

æ 6æ æ6 æ

æ 6æ

two keys (l & r.h) (one key)

Perc 1

°/

6 6 6 6 6 6 6 6 6 6

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

6 6 6 6 6 æ æ ææ æ æ

æ 66æ

5:3

66 ææ

æ æ 66æ 66æ p

5:4

(one stick, hit regularly) 5

Perc 2

¢/

6 6 6 6 6 6 6 6 6 6

5 5 > 5 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ffp

66 66 66 66 6 æ æ æ ææ æ two sticks

æ 66æ

66 ææ

5:3

æ 66æ 6æ6 æ

æ 66æ p

5:4

two sticks 5

Pno { /

ææ æ ææ ææ ææ 6 6 6 6 6 5:4

(one stick, hit regularly) 5

6 6 6 6 6 6 6 6 6 6

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

p f

° Vln /

ast

msp

6 ææ

ast

æ 6æ

msp

6 ææ

ast

j ≈ 6ææ™

Screw mandolino tremolo (✶)

∑

Screw mandolino tremolo (✶)

(✶) with the screw (tip of the frog) produce a mandolino-like tremolo between I and II strings

6 æ

‰

∑

msp

æ 6æ æ6 æ 5:3

æ 6æ

ast

Screw mandolino tremolo (✶)

(✶) with the screw (tip of the frog) produce a mandolino-like tremolo between I and II strings

Vla

æ )æ

6 æ

æ )æ 5:3

æ 6æ æ6 æ

5:3

æ 6æ æ6 æ

5:3

æ 6æ æ6 æ

msp

æ )æ

msp

æ )æ

msp

frog's tip tremolo (✶)

‹ ‚‚ ¢& 3

„æ ? bOæ >O

‡‹ & f

arco over the tail piece

#‚‚ ™™ p

‰ o D & F xxxxx

1 ææ

mfp

1 J ë

‰ Œ 5:3

æ 6æ æ6 æ

ast

msp

4 4

4 4æ

Wine glass 3

)æ™

‰ œJ o

&‰

æ )æ

Bsn

¢/

bœ

≈Œ

æ 6æ™

Tbn

¢/

Wine glass 3

j &‰ ‰ #œ o

&œ

œ œ œ

˙™

&bœ

&˙

ppp

Œ µ˙ ppp

ppp

w f

>5 ææ æ ææ æ 6 6‰ Œ

æ 6æ

œ Œ ˜˙ o ppp

Crotales

play with bow

ffp

>r5 æ æ 6æ 6æ

Œ o

Wine glass

> ææ ææ 66

ffp

Wine glass

‰ Œ

(one key)

Perc 1

‰ )æ™

æ ))æ

ppp

°/

˙™

Wine glass

ææj 6

ææ 6

œ œ œ

ppp pp

‰ Œ

æ 6æ

æ )æ

>5 ææ æ ææ 66 6æ 6

‰ µœ ™

æ )æ

‰ œ™

ppp

æj 6æ

ppp pp

ppp

ææj 6™

Œ o

æ 6æ

˙™

Œ Œ

&#œ o

ppp

°/

œ œ œ

ppp pp

Wine glass

æ 6æ

æ )æ

‰ µœ ™

Cb Cl

Wine glass

æ 6æ

æ )æ

ffp

>œ J ‰

‰ œJ ˙ o

∑

(one stick)

Perc 2

¢/

5> > 5 > æ æ æ æ æ æ æ ææ ææ 6æ 6 ™ 6æ 6 6æ 6 6 ‰ Ó

æ ))æ ™™

ffp

Crotales

ffp ffp

Pno { /

> 5 æær 6

æ 6æ

æ 6æ™

æ )æ

> æ 6æ

>5 ææ æ ææ ææ 6 6æ 6 6

æ 6æ

>œ J ‰

play with bow

‰

#˙ ™ o

#w o

∑

ffp

∑

ffp spazzolato speeds: from slow (1 ) to very fast (4)

Vln

æ 6æ

æ pp

æ 6æ

æ pp

>6 ™ ææ æ6

æ )æ

>6 ææ

ffp 5

ast

Vla

æ )æ

ast

>6 6 æ 6 6™ æ æ ææ ææ 5

ord

œœ‰ ™ bœ ‰ œœ™™ bœ ™

ffp

>6 ææ

ord

· ##œœ

#‰œœ # œœ

ææ

æ 6æ

æ 6æ pp

>6 ææ æR 6 5

æ )æ

œœ ‰ J ‰ #œ™ œ™

p quasi

> 6 6‰ ææ æ

##˙˙

™™ ##œœ Œ

œœ

‰ n œ ™ #œ™ œ™ œ™

· B #œ ™ # œ™

ffp

##œœ ™™

ffp

ord

ast

‚ ‰ œœ b˙ b˙ êf

œœ ™™

‰ # œœ

#œ ™™ J# œ

#œœ ™™

· j #œœ œœ

Œ ##œœ

nœœ

ffp bow gliss (scrape sound)✶

æ 6æ

ast

æ pp

> æ ‰ 5 6 6 6æ æ ææ ffp

>6 æ ææ 6æ R5

ææ 6

(✶) gliss from close to tailpiece towards close to bridge

ord

‰

ffp

D & F xxxxx

œ œ™ > sffz pp

1 ‰ ‰ J 3

msp ord

˙™

IV f ff

1 fff

‰

mf u)

° Ó &

(wine glass)

Œ ˙ 3

5 4œ

4 4

q = 80

∑

(wine glass)

Bsn

#˙

& Ó

(wine glass)

#˙ ™ o

& Œ

pppp

mouthpiece off (on Cb Cl)

¢& w

Cb Cl

∑

pppp

Ó o

Œ double tong.

° µw &

Ó o

triple 5

Tbn

& w

¢& ˜w

° >œJ ‰ Œ Œ nœ Crot & o f

Crot ¢&

#>œ ‰ Œ Œ #œ J o f

œ œ≈

∑

Ó o

∑

œ >œ ≈

>œ J

f quasi

Ó o

double

7 5 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ æ æ æ æœæ æ æ æ æ æ æœæ æ æœæ æ æ æ æ æ æ æ æ æœæ æ æ æ æ æ æ æ 6æ æ Ÿ #œ #œ #œ nœ#œ nœ œ œ œ#œ œ œ #œ #œ œ œ œ œ ˙ œ #œ #œ œ œ #œ œ #œ œ #œ #œ #œ #œ 6

C Tpt

#˙

>œ J

f quasi

∑

G ææ o

✶ (～ k ) (both hands)

ææ ww o

Bass Drum

‰

Bass Drum

‰

p f

✶ (～ k )

ææ ww

both hands

o (✶) shake extremely fast and nervously the tip of the ngers of both hands against the bass drum's skin in order to produce a sandy, tense and urgent sound

Pno { /

° Vln &

∑ ‰ # œ™ œ™

∑

œœ ™™

· œ #œ

Vla

‰ #˙˙

‚ ‰ # œœ b œ nœ

‚ ‰‚ nœ ##œœ ™™™™ œ œœ

Œ ##œœ pp

˙˙‰

nbœœ

f pp

f mf

‰ #˙˙

‚ #œœ

‰‚ œœ #œj œœ ™™ #œ

‰™ #œœ ™

f pp

(ord)

msp 3 ord

µœ ™ mp

#>œ œ ™

pp sffz sub

#œœ ™™

‰ nœœ

##œœ pp

f quasi

#œœ

f msp

? ¢ Œ

j‰ ‰ œ

p sub

· ##œœ ™™ pp

> œ ˙™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ~~~~

sffz sffz

sffz mp sub

D & F xxxxx

j j ‰ #l œ œ … o ff

‰ j j ‰ ˜ œ- œ œ … o ff

reverse sound

≈ œ œ œj …‰ o ff

IV V ord

reverse sound

reverse sound 3

III

>≤ II ≥>- œ 6

· r‰ # œ #œ

œœ ™™™™

˙˙

quasi

‰ · ‚ # ˙˙~~~~~~~~~~~~#˙ ~~~~~~~~~~~~ ˙~~~~~~ ~~~~~~~~~~~~~~ B ~~~~~~~~~~~~ œ™™ & œ~~™™~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~#œœ # œœ ™™ R

∑

‚ ‰‚ ‰ #œ ™ œœ##œœ ™™ œœ ™™ # œ™

œœ

êf

∑

11 rotate wald teufel in the air. Dynamics correspond with rotation speeds

°&

G ∑

-™

‰

air sounds ✶

! ê

-‰ Œ

-≥ - - - æz 6 6 6 )æ 6

tschu tsche tschi tscho frr...

∑

mf sub ✶ ngerings ad libitum, follow displayed countour

™ 1 Œ

air sounds ✶

kiss

>ææ r ™™ gggg g g g g /

≤ @

Cb Cl

∑

hickup talk

talk

g™™

g g gg g ‰

)™

∑

-≥ - - 6 6 6 6

mf ma - ieu - ti - cus spec - ta....

frrr

..cu - lus

de- pre - ca...

frrr

Bsn

¢&

_™ pp

∑

‰ ≈

gggggggggg

? g g g g ææG ¢ f

‰

l.+r.h mf sub

r.h

∑

>- >- >- >- >- >-3 >œœ œœ œœ œœ œœ œœ œœ Ó

∑

Ó ggggg

Ó gggggg

✶

ææ ææ œœ ˙˙

gggg

f sub

r.h l.+r.h f mp sub

r.h l.h r.h f

∑

- -6 -6 -6 6 6 l.h

ææ ˙˙

✶✶

✶ --r.h ✶✶ ææ 6 l.h -6 -6 œœ ˙˙ 6 r.h 6 ææ l.h r.h

✶

- - - 6 6 Prc 2 ¢& 6 l.h r.h 6 r.h f

✶✶

✶

- - - ° 6 6 6 Prc 1 / 6 r.h l.h l.h

∑

@ ✶✶

gggggggggggg

ggg g gg G ææ æ

mf sub

air only, pos. ad libitum

Tbn

(with percussions)

j -

mf sub

air only, pos. ad libitum

!™

reversed mouthpiece

C Tpt

<Ÿ>~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 ° ‰‰ j ‰ & œ #œ œ œ œ™

ææ ˙˙ l.+r.h mf sub

l.h

>- >- >-5 >- >- >œœœœœœœœœœœœ ™™

>œœ ™™ ‰ Œ

f sub

l.+r.h f mp sub

(✶✶) slide palm over diﬀerent portions of bass drum's skin

Pno { /

∑

dynamics correspond with rotation speeds

° Vln &

Waldteufel

∑

‰

1™

hand

Waldteufel

∑

Vla

1™

hand

1™ 1 rotate in air 1™

f mf

rotate in air

1™

- 1

hand

1™

Waldteufel

∑

1 ™™

hand

f pp

∑

D & F xxxxx

∑

Viola

™ J -

1™ 1 Ó

∑

rotate in air

Violin 1

mf mf

tschu tschi tsche tscho frr...

o ∑

æ )æ

hand

Violoncello

∑

5 4 ® q = 60

2 8

wah wah effect ✶

- - z -6 -6 æ æ 6 6 6 )æ / -6

∑

mf sub

(etc.)

Sticks

bO7 ™™

O™ 7™

fff

ord

® Œ 7O ®≈ Œ

Ó Ó

(✶) hold a steady voice pitch (lower note) while prodcing harmonic gliss. If the performer is male use bass ute instead (hence real sounds are 8vb, including voice pitch).

∑

- - -6 z 6 -6 6 6 / 6 6 æ (etc.)

Cb Cl

mf sub

Sticks

∑

mouthpiece on

æ )æ

∑

‚ #‚ #‚

#‚ ‚ ‚ ‚ b‚

# ‚ n‚

‚

‚ ‚

‚

∑

‚ Ÿ‚ ~~~~~~~~ Ó #‚

Sticks

f Sticks

∑

° &

∑

C Tpt

∑

Tbn

∑

¢/

Bsn

∑

Sticks

∑

Sticks

∑

Sticks

° / wææ

æ wæ

æ ˙æ™

æ ˙æ

right hand (or viceversa)

Perc 1

∑

æ œæ

key tremolo

le hand (or viceversa) 5 5

∑

≈ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 mp

f p 5:4

key tremolo 5

5 5 > 5 ≈ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5

Prc 2 ¢&

∑

6 6 6 6 6 æ æ ææ æ æ

ffp

6 ææ

f p

6 ææ

5:4

f p

ææ æ ææ ææ ææ 6 6 6 6 6 5:4

Pno { /

∑

Vln

° &

Screw mandolino tremolo (✶)

∑

ast

∑

‰

∑ Screw mandolino tremolo (✶)

∑

æ 6æ p

(✶) screw tremolo between I and II strings

Vla

f p

∑

ast j ≈ 6æ™

∑

(✶) screw tremolo between I and II strings Screw mandolino tremolo (✶)

æ 6æ

ast

∑

(✶) screw tremolo between I and II strings

∑

‡ ‹ ‚‚≤ Œ &

‚‚ 3

„ ? #Oæ æ # >O

‡‹ & f

D & F xxxxx

arco over the tail piece

‚‚ ™ p

‰ o

1 ææ 3

mfp

3 4

æj æ æ ‰ 6æ æ6 6æ 6æ 5:3

5:3

Bsn

¢/

æ ‰ 6æ æ6 æ

≈

¢/

ææj 6 6™ æ æ

Tbn

5:3

æ 6æ

6 æ

5:3

æ 6æ

ææj 6™

æ æ 6æ æ6 6æ

ææj 6

#œ

Perc 1

5:3

≈ Œ

Prc 2 ¢&

æ 6æ

6 ææ

Pno { /

6 ææ

æ )æ™

æ )æ

æ 6æ æ6 æ

> 5 æær ææ 6 6

5:3

‰

œ pp

∑

µ˙

∑

play with bow

#˙

>œ J ‰ Œ

∑

play with bow

Crotales

#˙ o

>œ J ‰ Œ f

Waldteufel

æ )æ

(sparse clicks, irregular, maximum density 1 per 0.5'')

æ 6æ æ6

5:3

æ 6æ æ6 æ

æ pp

ææ pp

‚

æ 6æ

‰ ‚ # ˙‰ œœ #œ ™ #œœ ™™ # ˙ # œ™ f mf

##œœ ™™™™

‰‚ œœ #œœ

f pp

nœœ

1 æ J ‰ Œ 6æ æ6 æ ast

5:3

msp

˙˙‰

##œœ

‚ #œœ ™™

‰‚ œœ #œj œœ ™™ #œ

pp mf

‰ ## œœ ™™

f pp

‰

f quasi

· r ##œœ ‰

œœ ™™™™

#˙˙

reverse sound 3

#œœ ™™

· #œœ

≈ ≈ … ff

reverse sound

lœ o

≈ ≈ … ff

reverse sound

#œ ™ J # œ™

µœ- œ o

≈ n-œ œ o

…≈ ≈ ff

arco over the tail piece

æ 6æ

ast

‚ ‰ # œœ nœœ ê

ast

‚ ‰ ##œœ ™™ mf

ast

msp

5:3

æ 6æ

ast

msp

æ )æ

6 ææ

ast

‰ pp

screw mandolino tremolo (✶)

ffp

msp

æ )æ

6 æ

ast

msp

Db.

#œ

l.v.

msp

#œ ™ pp

Wine glass

‰

æ 6æ æ6

ast

Vla

5:3

msp

æ æ 6æ æ6 6æ æ

æ )æ

6 ææ f

Vln

5:3

l.v.

æ )æ

æ 6æ

& #w

Wine glass

l.v.

Wine glass

æ 6æ

6 æ

‰ pp

‰ Wine glass 3

#œ ™

l.v.

œ™

æ 6æ

Wine glass 3

æ 6æ

‰

Crotales

°/

æ æ 6æ æ6 6æ æ

æ 6æ

Wine glass

ææ Œ3 6

l.v.

‰

æ æ 6æ æ6 6æ æ

6 æ ææ 6æ f

æ )æ

5:3

æ )æ

æ 6æ

æ )æ

°/

)æ™

j ≈ 6ææ™ 6 6ææ 6ææ ææ p

#œ

5:3

Wine glass

æ æ æ ‰ 6æ æ6 6æ 6æ æ 3

4 4æ

æ 6æ

æ )æ™

pp pp pp f f (✶) with the screw (tip of the frog) produce a mandolino-like tremolo between I and II strings

D & F xxxxx

∑

‰

1 1™ pp

1 1> ææ f

’

° & 56

¢&

° &

ppp

U w

µw

ppp

U w

ppp

U w

¢&

/ f

° Œ &

Prc 2 ¢& Œ

{

/ _

° Ó &

œ o

#œ o

>œ J ‰ Œ

& Ó

Vla

>œ J ‰ Œ

Wine glass

‰

‚ ##œœ

#œœ ™™

‰ # œ™ œ™

µœ

˙˙

#˙˙ f quasi

##œœ

ppp

U w

ppp

∑ ·

œ #œ

##œœ ™™

‰ ‚ ‰ œ #œ bœ œ

‰ ‚ œœ #œ J#œ

##œœ ™™™™

‰‚ œœ R #˙˙

f pp

‰ ‚ # ˙˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~#˙ ≈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~ œ™™ & œ~~™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ B #œœ ™™

‰ ‚ œœ #œ J#œ

‚ ˙ #˙ mf

œœ

f quasi

≈

‚

1> 1 1 æ

Œ pp

‰

1™ pp

D & F xxxxx

#œœ ™™ J

˙˙

‰™ Œ

U ∑

‰™ Œ

U ∑

‰™ Œ

U ∑

‰ ## œœ f

‰ ## œœ

œœ

f pp

1 1 1> ! ™ f

œœ‰

U ∑

∑

‚

Œ ##œœ Œ

∑

‰

U w

œœj J

ppp

∑

‚

œœ

!™ æ

‰

‚ B Ó

µœ pp

Wine glass

Db.

U w

ppp

Vln

U w

/ f

Pno

ppp

Perc 1

U w

/ f

Tnb

ppp

/ f

U w, (no a.s.)

∑ pp

H Impro I (11''∼ 16'') °

hold on a pitch ad libitum, favoring mid lower register, polarizing with your neighbor's pitch if you nd it suitable freely interpolate boxed elements (such short with longer boxes). A er a while and increasingly add ornamentations (such as trills, tremolos, harmonics when available) and extended techniques

start quietly a er the strings

-™ o

-™

‰

>-™ f

r >f

- o fo

≈

.- .- .- .- .- .-

_™

or to mp or f or ff (longest duration, can be shorter than written)

start quietly a er the strings 5

r >f

- o f o

≈

- - - - mf

-™ o

-™

mf or to mp or f or ff

5:3

-------

æææææ -----

>-™

start quietly a er the strings

-™ o

-™

mf or to mp or f or ff

- o fo

r >f

‰™

≈

.- .- .- .- .mf

≈

‰

_™

start quietly a er the strings 5

¢/

r >f-

- o f o

≈

- - - - mf

j -™

mf or to mp or f or ff

Ó™

‰

>-™

start quietly a er the strings

° Hn

Œ -™ o

-™

- o fo

or to mp or f or ff mf

r >-

≈

.- .- .- .- .-

≈

‰ _™

start quietly a er the strings 7

r >

- o f o

≈

------mf

Ó™

5:3

-™ o

-™

æææææ -----

mf or to mp or f or ff

start quietly a er the strings

Tnb

¢/

-™ o

-™

- o fo

mf or to mp or f or ff

r >f

≈

.- .- .- .- .mf

≈

‰

_™

start quietly a er the strings

° Perc 1

≈ 1. 1. 1. 1. 1.

> 1 R

≈1 1 3

mf 5

1™

1 1111

mf 5

1™

start quietly a er the strings

Perc 2 ¢ /

1111111

≈1 1 3

1™

or to mp or f or ff mf

> 1 R

1™ o

mf or to mp or f or ff

‰ 1.

≈

> 1 R

1. 1. 1. 1. 1.

≈11 3

mf 5

1 1

> 1 R

1 1

1. 1. 1. 1. 1. 5

(favor muted pitches for short notes, sliding hands or tremolo hands over bare string for long ones)

Pno { /

™ >-

‰

-™ o

-™

- o o f o

r >f

≈

------mf

5:3

.- .- .- .- .-

æææææ -----

or to mp or f or ff

° Vln

Vla

r >

- o f o

-™ o

- - - - -

≈

-f

-™ o

-™ mf or to mp or f or ff

-™

- o fo

r >

- o fo

r >

.- .- .- .- .-

o ≈

5:3

æææææ Œ -----

>-™

≈

‰

_™

or to mp or f or ff

-™ o

≈™

-™

>-™

.- .- .- .- .- .-

≈

_™

or to mp or f or ff

¢/

- o f o

r > f

------mf

≈

-f

-™ o

-™ mf or to mp or f or ff

D & F xxxxx

≈

- ---o . mf. . . .

≈

æææææ -----

5:3

Impro II: A (9'' ∼ 14''), B (7'' ∼ 12') A: the conductor pick one musician, layering them starting from one until tutti B: increasingly intensify, here the performer can ad a second ''partner'' pitch (favor augmented 4th, min 2nd, maj 3rd)

-™ o

-™

‰

>-™ f

r >f

- o fo

≈

.- .- .- .- .- .-

_™

or to mp or f or ff mf

fffff 5

r >f-

- o

≈

- - - - mf

-™

-™ or to mp or f or ff mf fffff

-™ o

-™

- o fo

mf or to mp or f or ff

r >f-

¢/ - o

r >f o

≈

- - - - mf

-™

-™ o

-™

- o fo

or to mp or f or ff mf

r >-

‰

_™ pp

‰

≈

‰

-™ > f

¢/

-™ o

Ó™

r > f

≈

------mf

-™ o

-™

Ó™

æææææ -----

mf or to mp or f or ff

fffff 5

-™

- o fo

mf or to mp or f or ff

r >f

≈

.- .- .- .- .mf

≈

‰

_™

fffff

≈1 1

> 1 R

1™

1 1111

mf 5

1™ o

or to mp or f or ff mf

> 1 R

1 1

1. 1. 1. 1. 1.

≈11 3

mf 5

fffff

1 111111

≈1 1 3

1™

> 1 R

1™ o

mf or to mp or f or ff

‰ 1.

≈

> 1 R

1 1 o

™ >-

5:3

mf 5

_™

fffff

. . . . . / ≈ 1 1 1 1 1

Pno { /

Perc 2 ¢ /

≈

.- .- .- .- .-

>-™

To Perc.

/ - o f o

Perc 1

≈

Tnb

or to mp or f or ff mf fffff

-™

fffff 5

≈

.- .- .- .- .-

-------

5:3

æææææ -----

1. 1. 1. 1. 1. 5

fffff 7

‰

-™ o

-™

- o o f o

r >f

≈

------mf

5:3

.- .- .- .- .-

æææææ -----

or to mp or f or ff

° Vln

fffff 5

r >

- o f o

- - - - -

≈

-™ o

-™ mf or to mp or f or ff

5:3

æææææ Œ -----

>-™

fffff

Vla

/ -™ o

-™

- o fo

r > f

.- .- .- .- .-

≈

‰

_™

or to mp or f or ff fffff

/ -™ o

≈™

-™

>-™

- o fo

r > f

.- .- .- .- .- .-

≈

_™

or to mp or f or ff fffff

¢/ - o f o

r > f

------mf

≈

-f

-™ o

-™ mf or to mp or f or ff fffff

D & F xxxxx

≈

- ---o . mf. . . .

≈

æææææ -----

5:3

• a er abrupt halting the play a soloist from the ensemble reach the very front stage • once arrived, nonchalantly but visibly, the soloist gets ready, postures itself (by xing clothes, getting ready, etc.) and a - shouts the earthiest, most visceral and loudest of sounds (ca. 5’’～ 7’’) - all other musicians: poker face b - once done, with a generous gesture the conductor invites the audience to do the same, hence the general audience - supported by the trained audience - shouts the earthiest, most visceral and loudest of sounds (ca. 6’’～ 8’’) • a second soloist from the ensemle joins the front stage and repeat sequence a -, as if he wished to “raise” the bet - hence the audience response (a second b- ) will be “raised” as well . e following measure 65 is attacca subito, conductor will cross fade it with the ending of the 2nd audience intervention

5 4

I /

√ ∑

¢/

√ ∑

Tnb

¢/ °

Perc 1

Perc 2 ¢ /

Pno

√ ∑

plexiglass

√ ∑

{

√ ∑

Bass Clarinet in Bb

Vln

√ ∑

Vla

√ ∑

D & F xxxxx

5 q = 60 4 ° &

4 4

Ens

∑

always alternate hand unless speci ed (L, R, etc)

Voice ¢&

∑ bisb. + growl

bisb.

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

‰

multiphonic ad libitum on low register

ppp

multiphonic ad libitum on low register

° &

∑

-™

_ ppp

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

_™

_ ppp

bisb.

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

multiphonic ad libitum on low register + growl

B Cl

_™

_ ppp

multiphonic ad libitum on low register

Bsn

bisb.

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ _

_™

ppp

° &

∑

C Tpt

∑

Tbn

° Perc 1 1

™

∑

spazzolato, intenso from highest possible

/ !!

ord press

G G

ppp

™™

I II

G G

™™

I II p spazzolato, intenso from highest possible

Vla

ppp

∑

{

Vln

Perc 2 ¢ /

Pno

ord press

!! /

ppp

Ö !!

(highest possible) spazzolato, intenso

˙˙ p msp

æ ˙pæ

™™

ord press

& ff

ææ ™

æ wæ

w æ

˙ ææ ppp

D & F xxxxx

w w ppp æ

J orango gliss

7 8

q = 66 max (or slower)

orango gliss

∑

5 8

∑

r æ ææ œ

‰™

œ æJ ˙ææ -

4 4

œ ææJ

œœ

7 16

æ wæ o_a_e_i

(progressive)

mp orango gliss

∑

‰

ææ ææ œ o

œ æJ

œœ

œ ææJ ˙ææ i

æ ˙æ™™™

≈

o_a_e_i

(progressive)

mp orango gliss

∑

≈ œææ™™

∑

œ æJ

œœ

œ ææJ ˙ææ

‰ œ

ææ ™

æ œæ o_a_e_i

(progressive)

sim orango gliss

∑

¢/

∑

æ ˙æ

∑

œ æJ

œœ

œ ææJ ˙ææ -

‰ ˙ææ™™ o_a_e_i

(progressive)

° Hn

∑

(higher)

sim

œ™ æær ææ æ œ

‰™

orango gliss

æ ˙æ -

œ æJ

œœ

œ ææJ ˙ææ -

ææ ™

3 ææj ‰ ‰ œ œ o_a_e_i

(progressive)

∑

æ ˙æ

∑

sim

(higher)

œ™ ‰ œææ ææ æ

orango gliss

œ æJ

œœ

œ ææJ ˙ææ -

æ ˙æ™

o_a_e_i

(progressive)

mp orango gliss

Tbn

sim

(higher)

≈ œææ™™

∑

¢/

œ™ æ

æ ˙æ -

œ æJ

œœ

œ ææJ ˙ææ -

h ææ ( )

≈ œææj™

o_a_e_i

(progressive)

° Perc 1 1

(plexiglass) low

high œ æ æ æ æ ææ / œæ æ æ æ æ æ æ æ æ æ æ æ œ w low

ppp

Log Drum vey big 5

Perc 2

ppp

æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ææ ¢/ - - - - - - - - - - - - - - - - - - - - _ ppp

Ó o

æ ˙æ

œ™ æ

æ ˙æ

sim

œ™ ææ

(higher)

æ ˙æ

∑

sim

æ ˙æ -

‰ YY ™™ æ

l.v.

‰

œ ææJ

œœ

œ æJ ˙ææ -

Ó o

Gongs F#4 and C#4

orango gliss

Pno { /

w ææ

- - - - -œ - - - -j -œ -œ -œ œ œ œ œ œ œ œ œ

∑

ppp

∑

œ æJ

œœ

hard broom on oor or hard brush over bass drum

œ æJ ˙ææ

h ææ ( )

‰ œææ 3

œ -

o_a_e_i

(progressive)

° Vln

∑

æær ææ æ˙ œ æ

‰™

orango gliss

(higher)

æ ˙æ -

sim

œ™ æ

æ ˙æ -

œ æJ

œœ

œ ææJ ˙ææ -

œ -

( ) h j æ æ æ ‰ æ œ o_a_e_i

(progressive)

mp orango gliss

∑

Vla

‰ œææ ææ ææ˙

(higher)

sim

œ™ æ

æ ˙æ

æ ˙æ -

œ æJ

œœ

œ ææJ ˙ææ -

Œ œ -

( ) 3 h ‰ ‰ œææj ææ o_a_e_i

(progressive)

orango gliss

∑

≈ œææ™™

˙ ææ

(higher)

æ ˙æ -

sim

œ™ æ

æ ˙æ -

œ æJ

œœ

œ ææJ ˙ææ -

Œ œ -

‰™

( ) æær ææ h œ o_a_e_i

(progressive)

mp orango gliss

∑

æ ˙æ o

D & F xxxxx

sim

(higher)

æ ˙æ

˙ æ -

œ™ ææ

æ ˙æ -

œ ææJ

œœ

œ æJ ˙ææ -

œ -

æ ˙æ o_a_e_i (progressive)

20 as fast as possible!

measured chest hitting frequence:

7 16 >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. f

≈

4 4

7 4 16 œ ™™ 4

ææ ˙ o_a_e_i mf

æ æ

3 8

∑

7 8

∑

f œ™ ææ

æ ˙æ

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

o_a_e_i

( ) æær æ h œ

‰™

œ ™™ æ æ

∑

f œ™ ææ

æ ˙æ

∑

as fast as possible!

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ 6

œ ™™ æ æ

( ) j æ æ æ ‰ ‰ œæ h 3

≈

o_a_e_i

∑

f œ™ ææ

æ ˙æ

∑

as fast as possible!

¢/

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ 6

≈

œf ™™ ææ æ

mf ( ) j æ ‰ œæ ææ

o_a_e_i

∑

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

‰ ææ œ 3

normal sub as fast speed as possible

œ ™™ æ æ f

ææ ( ) h

o_a_e_i

æ ˙æ

∑

as fast as possible!

f œ™ æ

æ œæ

∑

f œ™ ææ

æ ˙æ

œ æ æJ

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

≈ œææj™

ææ

œf ™™ æ æ

( )

o_a_e_i

æ œ œæ ææJ

∑

f œ™ ææ

æ ˙æ o

as fast as possible!

Tbn

¢/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

æ ˙æ™

o_a_e_i

° Perc.

æ œæ™™ p

æ œ œæ ææJ

∑

as fast as possible! Rhapsotic, vivace

œœœœœœœ ææ 6

fff mp

ææ œ ™™

ææ œ ˙ æ æ f

ord (precise)

(mallets tremolo)

œf ™™ æ æ

‰

œ™ 5 ææ p

ææj œ ææ

œ ææ

æ œæ

‰

æ ˙æ

œ æ æJ -

f œ™ ææ e

æ œæ™

˙ ææ

log drum

side ✶

> > > 6> > > > > > ≈ --------3

Perc. ¢ /

Tam Tam or big China Sus. Cym. and large Thunder Sheet. Hit with mallets

Y™ ææY™

‰

f (✶) play on the side of the log drum in order to produce a dry and very de ned attack. Use hard mallets if necessary

Pno { /

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

l.v.

‰

1111111 1

Rhapsotic, vivace

æ -æ™ p sub

7:6

- - - - - - -1 1 1 1 1 ff

as fast as possible! as fast as possible!

æ wæ

Vln

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

‰ ‰ œææj ææ™ 3

o_a_e_i

1™ æ

∑

p sub

∑

æ œæ o

œ ™™ ææ æ

f œ™ ææ

æ ˙æ

œ æ æJ

normal sub as fast speed as possible

as fast as possible!

1 æR

normal sub as fast speed as possible

œ ™™ æ æ

o_a_e_i

1 ™™ ææ æ

log drum

∑

æ œæ o

f œ™ ææ

æ ˙æ

œ ææ J -

as fast as possible!

Vla

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

‰ ææ œ 3

o_a_e_i

ææ ™

œ ™™ æ æ

∑

æ œæ o

f œ™ ææ

æ ˙æ

œ æ æJ -

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

≈ ˙æ™™™ o_a_e_i

œ ™™ æ æ

∑

æ œ œæ ææJ o

f œ™ ææ

æ ˙æ -

as fast as possible!

¢/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6 i

æ wæ o_a_e_i

œ ™™ æ æ

∑

æ œ œæ ææJ o

D & F xxxxx

f œ™ ææ

æ ˙æ -

5 4

f R R L L

R R L R L

R L

œœ œœ œœ œ

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

4:3

L f R R L

a6 b

R R L R L

R L

œœ œœ œœ œ

L f R R L

a6 b

R R L R L

R L

œœ œœ œœ œ

¢/

a6 b

R R L R L

R L

œœ œœ œœ œ

° Hn

a6 b

R R L R L

œœ œœ œœ

R L

L f R R L

a6 b

R R L R L

R L

œœ œœ œœ œ

L f R R L

Tbn

¢/

a6 b

R R L R L

R L

œœ œœ œœ œ

° Perc.

a6 b

∑

blöd

∑

œ™™ æ æ

∑

blöd

∑

œ™™ æ æ

∑

blöd

∑

œ™™ æ æ

æ œæ™

‰

∑

7:6

‰

≈ œ œ œ œ

d b

æ ‰ œææ æ

œ™™ æ æ

blöd

∑

7:6

‰

∑

œ œ œ œ œ

7:6

b b

≈ œ œ œ œ œ œ

4:3 c

œ™™ æ æ

≈ œææ™™

∑

c b

blöd

4:3 c

∑

4:3 c

œ™™ ææ

∑

4:3 c

4:3

∑

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

4:3

4:3 c

4 4

œ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ œ œ œ

6 a

4:3

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

∑

3 8

4:3 c

4:3

L f R R L

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

4:3

L f R R L

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

7 16

4:3 c

4:3

2 4

∑

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

3 8

blöd

(colla voce)

‰ œææ ææ 3

∑

4:3

‰ œ œ œ œ œ œ œ œ œ 4:3

™ œ ææJ ææ

∑

œ œ œ œ œ œ œ 7:6

ff mf

(colla voce) side

Perc. ¢ /

(colla voce) side

4:3

∑

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

∑

Pno { /

R R L R L

R L

œœ œœ œœ œ

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

4:3

7:6

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

L f R R L

7:6

œ™™ æ æ

æ ˙æ

∑

œ œ œ œ œ œ œ

4:3

7:6

6 a

a b

blöd

normal sub as fast speed as possible

° Vln

L f R R L

R R L R L

R L

œœ œœ œœ œ

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

4:3

mf etc.

ææ æœ œ æJ

œ™™ ææ

æ ˙æ

mf 7:6

‰

≈ œ œ œ œ œ œ œ œ œ œ œ

4:3

7:6

6 a

L f R R L

Vla

R R L R L

œœ œœ œœ

d b

R L

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

4:3

æ œ œæ ææJ

œ™™ ææ

æ ˙æ

L f R R L

R R L R L

R L

œœ œœ œœ œ

4:3 a

L f R R L

¢/

R R L R L

œœ œœ œœ

R L

æ œ œæ ææJ

œ™™ ææ

æ ˙æ

4:3 a

7:6

≈ œ œ œ œ œ œ œ œ œ œ œ œ œ

æ œ œæ ææJ

œ™™ ææ

æ ˙æ

D & F xxxxx

œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7:6

blöd

4:3 c

a b

7:6 b

6 b

blöd

4:3 c

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

œ œ œ œ œ œ œ œ œ œ œ œ

b b

7:6 b

6 b

4:3 c

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

7:6

‰

c b

6 a

blöd

7:6 e

4 4

5 4

L R L R L R L R R L R R ff

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

4 4

≈ ∑

5:4

6:4 a

L R L R L R L R R L R R

≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

6:4 a

L R L R L R L R R L R R

≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

6:4 a

L R L R L R L R R L R R

¢/

œœœœœœœ

≈ ∑

Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œœœœœœ

6:4

7:4

5:4

6:4 a

L R L R L R L R R L R R

° Hn

≈ ∑

œœœœœœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

7:4

5:4

6:4 a

L R L R L R L R R L R R

≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

6:4 a

L R L R L R L R R L R R

≈ ∑

Tbn

¢/

œœœœœœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

7:4

5:4

6:4 a

3 Tom-toms 5:4

° Perc.

œŒ

œœœœœœœ

> > > > > >>>>> >œ > > œ œ œ œ œ œ œ œ œœ œœ

5:4

6:4

≈ (solo, rhapsodic)

>œ œ œ >œ >5œ œœ œœ œœ ™™ œ œ™ ≈ æ æ æ R

fff

fff p sub

7:6

(rhapsodic)

Perc. ¢ /

(colla voce) side

6:4 1 1 1111 Œ

> > 5:4> > > > > > > > > > > - - - - - - - æ- æ- æ- æ- æ- æ- æ- - - - - - 5:4

7:4

fff

‰

1™ æ p

≈ 1 ææj - æ æ æ pp

L R L R L R L R R L R R

Pno { /

œœœœœœœ

Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œœœœœœ

6:4

7:4

5:4

≈ ∑

5:4

6:4 a

L R L R L R L R R L R R

° Vln

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

≈ ∑

5:4

6:4 a

L R L R L R L R R L R R ff

Vla

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

≈ ∑

5:4

6:4 a

L R L R L R L R R L R R ff

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

5:4

≈ ∑

5:4

6:4 a

L R L R L R L R R L R R ff

¢/

œœœœœœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

7:4

5:4

6:4 a

D & F xxxxx

œœœœœœœœœ œ æ

œœ

≈ ∑

so mallets

‰ 5

° & 90

Ens

4 4

ob cl mp

K poco più lento (tutti) p

æ wæ

æ œæ

w ææ

˙ ææ

(low)

æ œæ

œ ‰ ™™ Œ

æ œæ

æ ˙æ

æ œæ

˙ ææ

loe_loe_...

œ 5 ææ œææ™ i

œ ææ

‰

bsn hn tp

tb pno vln

vla vc cb

1 4 8 œææj 4 f

Ó Œ w æ Óoæ

Œ ææ ˙™ ˙ ææ o

æ œæ

∑

ææ Yææ Y™

æj ¿ææj ¿¿ æJ

æ œæ

ææJ

orangutan

Aud

æ wæ

∑

¢÷

∑

(low)

æ ˙æ

∑

w ææ i

˙ ææ

loe

colla voce (your sound should blend with audience voices)

° Perc 1

3 large cymbals, generous rich sounds (very low, low, medium-low, medium high) - don't have to match percussions 2

so mallets

æ Yæ

∑

æ ¿æ

Y ææ mf

' ' p' ' but solid colla voce (your sound should blend with ensemble voices)

Y ææ

¿ ææ

Y ææ

¿ ææ

3 large cymbals, generous rich sounds (very low, low, medium-low, medium high)

Perc 2

æ Yæ

¢/

æ ¿æ

Y æ

' ' p' ' but solid

Y æ

¿ æ

Y æ

Ó Œ Y æ

° & 98

Ens

4 4

1 8

To Voice

æ wæ

L q = 72 ca

4 4

∑

center

ææ -

1 ææ

ææ -

1 ææ

ææ -

1 ææ

∑

ææ _

ææ -

1 ææ

ææ -

1 ææ

ææ u>

1 ææ

ææ u>

1 ææ

ææ -

1 ææ

(✶✶) produce formants by opening and closing opened side with hand while rotating handle

right f

Ó Œ Œ ææ w ˙™ ˙ æ æ Óoæ o æo

ææ -

very le le mp

Aud

wald teufel formants (✶✶), indicating towards the audience

æ œæ

æj œæ ææJ

still voices imitating wald taufels

imitating wald taufels

∑

æ œ œæ æ

∑

Œ Œ

ææ 1 - æ u>

wald teufel formants (✶✶), indicating towards the audience

° Perc 1

Ó Œ Y ææ

ææ Yææ Y™

ææjj ¿¿æ ¿ ææJ

Perc 2

∑

¢/

ææ _

ææ u>

…

∑

¿ æJ

∑

p f

1 ææ a>

ææ -

1 ææ a>

ææ u>

1 ææ a>

ææ u>

1 ææ

5 a>

ææ u>

1 ææ a>

ææ _

ææ 1 - æ

ææ -

1 æ a>

ææ 1 - æ

5 a>

M libero, senza battere tutti ''kiss'' (while wald teufels desappear)

2 4 U+o p

° U & 106

Ens

fff

˙˙˙˙ ?? ˙˙˙ ææ u

15'' ca. very slowly and gradually gliss down all ''kisss''

4 4

U +o poco gliss (third ca.) w w w w ww w ææ

(✶) sparse single sporadic clicks but sharp and intense!

''kiss'' imitating ens

Aud

¢÷

ææ u>

ææ -

æ œæ

o U +o molto gliss (until tessituras' bottom) (short) æ ≈ wæw ∑ w w w ww

œ æ a

æ œæ u

œ æ a

+o ≈ U ææ ‰ œœ œœœœœœ ™™™™ u

D & F xxxxx

U +o poco gliss (third ca.) ææ w w w w w ww

o U +o molto gliss (until tessituras' bottom) ææ ≈ w ∑ w w w ww w

N q = 72 ca voice pitch

°112 &

(8vb for male or lower voices) +

o ˙

œ Bbœ ™

µœ œ œ Bœ œ bœ

œ™

tutti ''kiss'' (✶)

f, deciso

+o +o +o +o +o +o +o +o & œ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈ ™

Ens hand gesture

(from this point uni ed notation)

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœµœ œnœœBœ œœbœ œ œBbœ œ œ

∑

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o µœœœ#œœ˜œœœ œœœµœœœœœ &

∑

(✶) hand should fully seal lips when closing mouth though the +o gesture in itself is quick

Strings

high

low

œ RÔ

÷Œ

œ™™™

gliss with scaled entranced (cb, vcl, vla, vln) (8vb for male or lower voices) + voice pitch:

o ˙

µœ œ œ Bœ œ bœ œ Bbœ ™

œ™

tutti ''kiss'' (✶)

Aud

hand gesture

∑

¢÷

hand gesture

+of, deciso +o +o +o +o +o +o +o œ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈œ™ ≈ ™÷

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœµœ œnœœBœ œœbœ œœBbœœœ

∑

(✶) hand should fully seal lips when closing mouth though the +o gesture in itself is quick

Ens

° &

q = 52

>-+ -o >-+ -o œœœœ

117

∑

>-+ -o >-+ -o >-+ -o >-+ -o œ œ µœ œ #œ œ˜œ œ

∑

Ens

>-+ -o >-+ -o >-+ -o >-+ -o œœœœœœœœ

∑

>-+ -o >-+ -o >-+ -o >-+ -o œ œ µœ œ #œ œ ˜œ œ

∑

colla voce mf

+ >-+ -o >-+ -o >-+ -o >-+ -o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o o œ œ œ µœ œ #œ œ ˜œ œ œ

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o ÷ ¢ Bbœu œ œbœ œ Bœ œ œnœ œ œµœ œ œ œ œ °

q = 52

accel mf

>-+ -o >-+ -o œœœœ

+++ + o + o + o + o + o + o + o + o +o +o +o +o +o +o +o +o +o +o +o +o +o o o o œ œ œ µœ œ #œ œ˜œ œ œ œ µœ œ #œ œ ˜œ œ œ >- - >- - >- - >- - >- - >- - >- - >- -

+ o + o + o + o œœœœœœœœ >- - >- - >- - >- -

∑

(merging into ensemble' s voices)

+ +++++++++++ #œo ˜œo œo œo œo œo œo µœo œo œo œo œo Œ colla voce

Tbn

B Œ

+ + + µ-œ -œo -œ -œo -œ -œo

+++++++++++++ -œ+ -œo µ-œ+ -œo #-œ+ -œo ˜-œ+ -œo -œ+ -œo µ -œ+ -œo # -œ+ -œo ˜ -œ+ -œo œ+o +o +o o o o o o o o o o o o o œo

∑

coulisse legato, mute action

(merging into audience' s voices) mp

O poco più mosso (5:4) orangutan

mf sub

° &

123

Ens

œ æ /æ æ œæ

∑

Ens

œ ææ œææ

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ ¢÷ œ

pp sub

˙ ææ

f 3

orangutan

as tutti:

œ ææ œææ

pp sub

æ œæ

˙ ææ

œ œ æ œæ æ æ æœ æ œ œ

Tbn

mf sub

œ æ œ æ /æ æ œæ ææ œæ

pp sub

˙ ææ

- : rotate around its handle up in the air wald teufels tutti U _ _ (✶) æ æ

æ æ æp mf ææ Œ Œ ææ œ œ œ subœ ‰ Œ œ œ æ æœ æ œ œ æ 6 3

3 i

cymbals

° Perc 1

Y æ

so mallets

Y æ

Y ææ

p sub

cymbals

æ Yæ

∑

Œ Œ 3

æ -æ p

¿ ææ

æ Yæ

ææ ææ ææ6 1 - - - æ1 æ1 æ æ mf log drum

so mallets

Perc. ¢ /

log drum

l.v.

¿ ææ

D & F xxxxx

p sub

Œ 3

pp sub

fff

orangutan

as tutti:

∑

- : rotate around its handle up in the air wald teufels tutti U _ _ (✶) æ æ

æ æ æp mf ææ Œ Œ ææ œ œ œ subœ ‰ Œ œ œ æ æœ æ œ œ æ 6

∑

pp sub

(✶) transition from air to ordinario technique

fff

3 i

œ æ œ /æ æ œæ ææ

+o + + + + + + + +o ° o o o o o o o œ œ+o œ+o µœ+o œ+o œ+o œ+o œ+o #œ C Tpt & œ œ œ#œ œ˜œ œ

6 æ æ æ æ ææ Œ Œ ææ œ œ œ œæ ‰ Œ œ œ œ œ œ æ æ æ

pp sub

∑

- : rotate around its handle up in the air wald teufels tutti U _ _ (✶) ææ ææ

p sub

fff

(✶) transition from air to ordinario technique

1 ææ

æ -æ ææ1

æ -æ

1 ææ

ææ 1 Uææ - ææ -

ææ ææ ææ6 1 - - - æ1 æ1 æ ææ1 æ mf

æ 1 -æ ææ

æ -æ

1 ææ

ææ æ1 Uææ - æ -

ææ -™

‰

Q ENSEMBLE II q = 48 (tongue ram) air

° ≈ ≈ ‰ ≈ ≈ ‰ Œ & œ œ > > ff ff 129

B Fl

accel

q = 52

» Bass Flute 5:4

œ g g™ ff

≈® ≈≈ ≈Œ œ œ

ff fz

air 3

Ob.

œ g g™

ff (✶) dry slap, no sound ✶

æ ® æ æ œ g g™ 3

ff fz

B Cl

®‰ ® ≈ ‰ Œ œ

œ g g™

ff (✶) dry slap, no sound

»✶

≈® ≈≈ ≈Œ œ œ

ff fz

æ ® æ æ& œ g g™

7:6

? ≈ Bsn ¢

≈≈

‰

≈Œ

œ g g™

ff (✶) dry slap, no sound

Ÿ-<˜> ≈ #œ ™

Ÿ-<˜>Ÿ- <˜> ≈ œ≈œ

ord

Ÿ- <˜> ≈ #œ ≈

œ J

Ÿ- <˜> œ™

‰ ff

Ÿ-<n> ˜ ≈ œ™

Ÿ- <n>Ÿ- <n> ≈ œ≈œ

ord

Ÿ- <n> Ÿ- <n> ˜ ≈ œ ≈ œ™

œ J

‰ ff

air

æ ® æ æ& œ g g™

ææ g™

≈® ≈≈ ≈Œ œ œ

ff fz

7:6

‰

» 3

3 4

‰

ææ g™

air 3

Ÿ- <µ> Ÿ-<µ>™ œ œ ≈ ≈

air 3

? ≈

≈

» 3

Ÿ-<µ> Ÿ-<µ> 5 œ œ 8 œ J ≈ ≈

Ÿ-<µ>™ord œ mp

air

≈® ≈≈ ≈Œ œ œ

air 3

2 4

ææ g™ z

≈ ‰™ œ

æ ® æ æ œ g g™ 3

ææ g™

✶

& ≈ œ‰™

air

5:4

Ÿ<#> ≈ µ-œ ™

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

ord

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

‰ ff

(hand pop)

° ≈™ &

7:6

≈ ™ ≈≈ ™

µœ

≈ ™ ≈Œ

7:6

≈™

[+ o & œ

C Tpt

air ™ ≈ ≈ æ œ µ g™

+o +o +o +o +o +o +o +o +o +o +o œµœœ nœ œBœœœbœœœ

+o Bbœ

+ œo

+ + + + + + +o +o +o +o +o œo µœo œo nœo œo Bœo œœ bœœœ

3 +o +o œœ ‰ ≈# g g™

+ Bbœo

ææ nœ- ™

ææ #œ- ™

(no accents)

Marimba

∑

+ œ

ord (sound)

+o +o 3 œœ ‰ ≈ µg g™ æg™ ‰ ™ ‰ æ f

° Perc 1 &

ææ ‰ ™ ‰ g™

air

j œ

µ œ- œ

[+ o B œ

‰ ≈™

air

Tbn

≈Œ

+o œ

ord

ord (sound)

œ+

ææ œ™ -

æ œ-æ™

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

\ + +o +o +o +o +o +o +o œo œœ #œ œ˜œ œ œ

+ + + + + + + ++ + œo œo µ œo œo # œo œo ˜ œo œo œo œo

mf log drum

æ œ-æœ

æ ˙æ˙

∑

p log drum

Vibraphone

Perc 2¢&

arco

l.v.

œ™

j ‰ œ

≈

∑

¿¿¿¿¿

multiphonics ✶ slide over keyboard ✶✶

& ≈ ™ b OO ≈ ™ ≈≈ ™ OO ≈ ™ ≈Œ 7:6

7:6

Pno

{

≈™

… 7:6

7:6

≈ ™ ≈≈ ™

œ “

sffz

≈ ™ ≈Œ

7:6

≈™

5:4

µ>œ ff

sffz

® ‰ ≈™

5:4

>œ

≈™

B ® ®‰ ™ µœ

™

? ® ˜œ ≈

‰ ®œ ™

7:6

? ‰ ff

7:6

≈≈‰

RŒ

≈

+o +o +o +o +o +o œœœœµœœ

+o +o +o œœœ

≈

o µœ

[ spazzolato quasi circolare (+o = from msp to ast) +++ + + + + + + + + +o +o +o +o +o µœœ œo œo œo œo µœo œo #œo œo ˜œo œo œo œœœ

‰

-™

‰ ‰

# -œ œ R

#œ J

#œ 5:3

ord

˜ -œ œ

˜œ

‰ ≈&

arco

≈ »œ f

&µœ

[ spazzolato quasi circolare (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœ œµœ œ #œ œ ˜œœ œœœœµœœ

œ #œ + o #>œ ™ ff

˜œ œ J

arco

[ spazzolato quasi circolare (+o = from msp to mst) +++ + + + + + + + + +o +o +o +o +o µœœ œo œo œo œo µœo œo #œo œo ˜œo œo œo œœœ

D & F xxxxx

‰

o ˜>œ ™

ff f

œ œ œ

œ J

5:3

o ® &µœ

-œ ™

ord

‰

ord

o ™ >œ

ff f

o = ast + = msp

ord

‰ ≈™

(✶✶✶) slide a coin directly over the highest strings available (indicative pitches), in the tuning pins' board section

5:3

pizz

œ arco

® œ

+o +o +o +o +o +o +o œµœ œ #œ œ ˜œœ f

pizz

» œ

_™

[

» œ

mf o = ast + = msp arco spazzolato quasi circolare (+o = from msp to ast)

sffz

pizz 3

≈™ ≈ Œ

bœ

5:4

° ™ Vln & ≈

(ff)

pizz

Vla.

O ≈™ ≈

7:6

(✶) nd the right muting position over the string in order to produce the above resulting harmonics (✶✶) withought pressing the keys, slide two wooden sticks or a used credit card over the keyboard (from low keys to high, for instance) alterating le and right hands and variating speed ad libitum

? ≈™

Vla.

slide coin over strings ✶✶✶

µ-œ œ

œ™

>œo ™ µ ≈ ff

° &

133

B Fl

Ob.

B Cl

Bsn

3 4

q = 62 accel

5 8

˙™

œ™

ff quasi

™ & #˙

œ™

ff quasi

™ & ˜˙

œ™

ff quasi

µ˙ ™

œ™

¢&

° &

® œ- ®≈ ™ -œ ™ ≈ -œ ‰ ™

® œ™ -

3 4#˙ ™

∑

˙™

∑

µ˙ ™

∑

µ˙ ™ f

-œ™ ® ≈ ™ -œ™ ≈ -œ ≈ -œ J

-œ ™ ® #œ- ®≈ ™ œ™ - ≈ ‰

∑

- ® #-œ ™ ® -œ ®≈ ™ #œ ™ ≈ œ ‰ ™

∑

-œ™ ® ≈ ™ #-œ ™ ≈ -œ ≈ ˜-œ J

∑

- ® #-œ ™ ® œ ®≈ ™ œ ™ ≈ œ ‰ ™

∑

ff quasi

µ -œ

µ -œ ™ # -œ ™ ® ®≈ ≈ ‰™

-œ™

˜ -œ ™

-œ ™ µ -œ µ -œ ® ≈™ ≈J ≈

∑

# -œ ™ ˜ -œ B -œ ™ n -œ ® ® ®≈ ™ ≈ ‰ ™

∑

ff quasi

(''tacky'')

Perc 1

æ æ æææ ææææ - - --- ----

‰™

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

Perc 2

¢/

(''tacky'')

1 1111 æ ææææ

1 1 1 1 1111 1 1 æ æ æ æ ææ ææ æ æ

¿¿¿¿¿

¿¿¿¿

Pno

{

° Vln &

≈™ ‰

‰

¢&

11111 1 1 1 11111111 1 1 1 æææææ æ æ æ æ æææææææ æ æ æ 5

∑

+o œ

[ +o œ

∑

…- ™(with brass) -™ ® œ ® œ ®≈ ™ œ ≈#œ ≈

[ +o œ

+o +o +o +o +o +o +o +o +o +o œ #œ œ˜œ œ œ œ œµœ œ

+o œ f

+o +o +o +o +o +o +o +o +o +o #œ œ˜œ œ œ œ µœ œ œ #œ

+o +o +o +o +o +o +o +o +o +o œ #œ œ˜œ œ œ œ œµœ œ

+o +o +o +o +o +o +o +o +o +o #œ œ˜œ œ œ œ µœ œ œ #œ fff

+o œ

fz sub

1 1 1 1 111 æ æ æ æ æææ

1> 1 ‰ ™

fz sub

∑

-œ™ -œ -™ ‰ #œ ®≈ ™ ≈ J

+o +o +o +o +o +o +o +o +o +o œ #œ œ˜œ œ œ œ œµœ œ

>-˙ fff

+o +o +o +o +o +o +o +o +o +o >#œ œ˜œ œ œ œ µœ œ œ #œ #˙ fff

+o œ

> - -‰ ™

∑

≈

-œ

∑

ff quasi

fff

+o œ

[ +o œ

æ- æ- æ- æ- æ- æ- æ-

(✶✶✶✶) allow the hand to mute the string in order to produce a dry but resonant percussive sound. At every repetition of same pitch change the position of the hand in order to allow a diﬀerent harmonic.

∑

ord mute ✶✶✶✶

Vla.

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æf

‰™

5 8

ff quasi

® œ™ -

3 8

∑

Tbn

q = 62 accel

C Tpt

4 4

ff quasi

q = 78

+o +o +o +o +o +o +o +o +o +o #œ œ˜œ œ œ œ µœ œ œ #œ fff

fff

>-˙ fff

D & F xxxxx

>-œ mf

b >-œ ê

#>-œ mf

> n-œ ê

>-œ mf

fff

#>-œ ê

>-œ mf

fff

#>-œ ê

fff

# -œ ™

-œ

®≈ ™

-œ ™ -œ ≈ ‰™

œ J f

bœ J f

nœ J f

+o +o +o +o +o +o +o + + + + œ œ #œ œ˜œ œ œ œo œo µœo œo fff f

+o +o +o +o +o +o +o ++++ œ œ #œ œ˜œ œ œ œo œo µœo œo fff f

q = 78

5# œ ™ 138 8 °

4 >. . 4 >. . b > .

B Fl

. > . n œ œ# œ b œ . # # œ > >#œ #œ nœ ≈ >. æ æ æ æœ æ n> ® R ææ æ 5

fff quasi

5:3

3 n >. 8

4 4

∑

q = 52

≈

air 3

‰™

® ‰™ œ

(tongue ram)

œ g g™ ff

fz fz

Ob.

œ™

‰™

fff quasi

B Cl

µœ ™

‰ ™™

fff quasi

µœ- ˙™ mf

¢& µœ ™

‰

fff quasi

‰

&œ -

‰™

® ‰™ œ

œ g g™ ff

air 3

≈

‰™

» 3

≈

® ‰™ œ

Ÿ~~~~~~~~~~~~ ? œ™

˙™

air 3

slap

Ÿ~~~~~~~~~~~~ ? œ™

ord

Bsn

≈

Ÿœ™~~~~~~~~~~~~

˜ -œ ˙™

ord

œ g g™ ff

air 3

(slap)

‰™

˜œ- ˙™

œ™

» 3 ≈ µœ ‰ ™

® ‰™ œ

œ g g™ ff

(hand pop)

° &

-œ™ ® ≈ ™ œ™ ≈ œJ

≈œ

ord

‰ ™™

ff quasi

C Tpt

Tbn

-œ™ ® ≈ ™ #œ ™ ≈ œJ µ -œ ™

# -œ ™ B -œ ® ≈™ ≈ J

≈

µ-œ

ord

‰

#œ- ™

ff quasi

µ -œ

ord

≈

‰™

&µœ - ˙™

ff quasi

® œ ‰™ 3

3> ® œ ® ‰™

Ÿ~~~~~~~~~~~~ œ™

[ +o œ

œ™

[ +o œ

æ œæœ ™™

ææj œœ

+o +o +o +o +o +o +o + + + + + o o o o o œ œ µœ œ nœ œ˜œ œ œ #œ œ œ

+o µœ

+o +o œœ

+o +o +o +o +o +o +o + + + + + o o o o o œ œ µœ œ nœ œ˜œ œ œ #œ œ œ

+o µœ

+o +o œœ

≈

‰

≈

‰

Marimba

° Mar

ææ œœ- ™™

(no accents)

∑

ææ œ nœ- ™™

æ œœæ™™ -

ææ ##œœ- ™™

æ œ-æœ

arco

∑

¢/

∑

≈

Pno

{

-œ™

® ≈™

# -œ ™

∑ -œ ≈ J

œ™ œ p

∑

~~~~~~~~~~~~~~~~~ œ

“

Ÿ~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~ ~Ÿ œ ~ OO™™

O™

arco ord

# II c. O

O ‰ 5:3

# œ- ˙ Œ &J 3

˜ -œ ‰& J

ord

fff

® O ‰™ 3

®O 3

® nœ

sffz

sfz

‰ # œ™ œ™

œœ

fff

pizz 3 3

≈

µœ

œ™

pizz

‰™

™

≈˜œ ‰ ™

®œ ™

» œ

pizz

-˙™

œ™

≈

o ≈ µœ

arco

®œ

ord

D & F xxxxx

® ‰™ œ

~~~~~~~~~~~~~~~~~~~##œœ ™™ ™ ~~ ~~ ~~~ b ‚ ~~ ~~ b ‚™ ~~~~

ê ff

“ ·

sffz

fff

+o +o +o +o +o +o +o +o +o +o #œ œ µœ œ #œ œ˜œ œ œ œ ¢&

‰™

≈

œ™

ord

fff

+o +o +o +o +o +o +o +o +o +o & #œ œ µœ œ #œ œ˜œ œ œ œ

bœ

fff

Vla.

3 ≈ O ‰™

ff quasi

+o +o +o +o +o +o +o +o +o +o # œ œ µœ œ #œ œ˜œ œ œ œ &

‰

…

b œ≈

+o +o +o +o +o +o +o +o +o +o ° # œ œ µœ œ #œ œ˜œ œ œ œ Vln &

l.v.

j œ

multiphonics

∑

Vibraphone

Vib

‰

arco

≈&

µœ mf

œ ™ ® 3

‰™

» œ

arco

o ≈ &µœ mf

° ææ B Fl & g™ 142

≈® ≈≈ ≈Œ œ œ ff fz

ææ & g™

ff fz

æ ® æ æ œ g g™

» 3

? æ g™

ff fz

? æ Bsn ¢ g™

ff fz

air

Ÿ<#> ≈ µ-œ ™

≈Œ

ord (sound)

ææ g™

‰™ ‰

¢& ‰ ≈ µ g g™ f

° Mar &

+ œ

ord (sound)

air 3

Tbn

Ÿ- <n> ˜ ≈ œ ≈

œ J

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

Ÿ- <n> œ™

œ p

f quasi

˜˙ ™

‰

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

‰ ≈™

µ œ- œ

j œ

ææ g™

‰™ ‰

+ œ

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

‰?

+o œ

œ™

f quasi

™ -™ - ™ ® œ™ - ® œ- ®≈ œ ≈ œ ‰

f quasi

µ˙ ™

+o œ

œ™

air

& ‰ ≈# g g™

œ™

q = 78

f quasi

#˙ ™

‰

ord

C Tpt

Ÿ-<n>Ÿ- <n> ≈ œ≈œ

ord

air

Ÿ-<n> ˜ ≈ œ™ mp

≈® ≈≈ ≈Œ œ œ

°? ™ µg æ

Ÿ- <˜> Ÿ- <˜> ≈ #œ ≈ œ ™

œ J

˙™ p

ord

æ ® ææ æ & œ g g™

Ÿ-<˜>Ÿ- <˜> ≈ œ≈œ

æ ® ææ æ & œ g g™

≈® ≈≈ ≈Œ œ œ

‰

5 8

air

B Cl

Ÿ-<˜> ≈ #œ ™

3 4

ord

Ÿ- <µ> Ÿ- ™ <µ> œ œ ≈ ≈

air

≈® ≈≈ ≈Œ œ œ

≈

Ob.

ææ ææ œ g g™

Ÿ-<µ> Ÿ- <µ> 5 œ œ 8 œ J ≈ ≈

ord

<µ> 2 accel 4 Ÿ-œ ™

air

q = 62 accel

- ® ≈ ™œ™ - ≈ œ- ≈ œœ™ J ff quasi

+o +o +o +o +o +o +o +o µœ œ œ #œ œ ˜œ œ œ

™ ≈ -œ ‰ ™ ® œ™ - ®#œ- ®≈ œ™ -

-œ™ ® ≈#™œ- ™≈ -œ ≈˜-œ J ff quasi

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

+o œ

+o +o +o +o +o +o +o +o µœ œ #œ œ˜œ œœ œ

+o œ

™ ™ ® œ™ - ® µœ- ®≈ µœ- ™ ≈#œ- ‰

˜œ- ™ ® ≈ ™ -œ ™≈µ-œ ≈ µ-œ J

ff quasi

log drum

aiuta spazzolato con tremoli! oppure arco su vibra

∑

‰™

æ æ æ æ æ æ æ ææ - - - - - - - --

æ- æ- æ- æ- æ- æ- æ- æ-æ- æ-

1 1 1 11 æ æ æ ææ

1 1 1 1 1 1 1 11 1 æ æ æ æ æ æ æ ææ æ

log drum

Vib

∑

¢&

∑ ¿¿¿¿¿

slide over keyboard

{

¿¿¿¿¿ ¿ ¿ ¿ ¿

∑

‰™

mp ord mute

≈‰

∑

5 7

… (with brass) - -™ œ™ œ ® œ ® œ ®≈ ™ ≈ ‰ ™

(ff)

? Œ

° Vln &

slide coin over strings

∑

Pno

∑

‰

j -

-™

j œ™ J #œ ™

j -

≈ Œ

-™

∑

· 3

j ##œœ ‰ Œ J

‰ ‰

# -œ œ R

#œ J

#œ

œ #œ + o #>œ ™

5:3

-œ ™ -œ -œ ® ≈™ ≈ J ≈ ff quasi

ord

-œ ™

ff f

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœœ #œ œ˜œ œ œœµœ œœ bœ f

Vla.

[ + + + + + + + + +o +o +o +o +o B µœo µœo œo #œo œo ˜œo œo œo œœœµœœ

+o +o +o œœ œ

ord

˜ -œ œ

˜œ

‰ ≈& 5:3

f mf

[ +o +o +o +o +o +o +o +o +o +o +o +o +o & µœµœ œ #œ œ ˜œœ œ œœœµœœ

+o +o +o œœ œ

¢&

-œ ™

ord

[ spazzolato (+o = from msp to mst) + + + + + + + + +o +o +o +o +o µœœ µœo µœo œo #œo œo ˜œo œo œo œœœ

˜œ œ J

‰

o ˜>œ ™

ff f

œ J

5:3

o ™ >œ

ff f

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœœ #œ œ˜œ œ œœµœ œœ bœ f

III

+o +o +o œœ œ

ord

‰ ≈™

µ-œ œ

œ™

> ≈ µœ ™

#œ- ?

f mf

D & F xxxxx

fff

b6-œ œ œ

œ™ ~~œ~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~~

sffz mp

3 8

rit

147 3 œ ™ 8 °

3 4 >#œ æ

B Fl

#>-˙ ææ 5:3

™ & #œ

Ob.

Bsn

#œ æ

>#œ-æ æœ > 5:3

5:3

#˙> mf

™ & ˜œ

B Cl

æ #œ-æ >

>-œ æ

4 q = 62 4 >- æj

>-œ

µœ ™

5:3

#œ>

æ # œ-æ >

œ œ >- >œ- >ææj #œ-ææ #œ- > >

æ ˙-æ >

>-˙

>-œ

#>-œ

5:3

œ æJ ‰

∑

j œ- œ™ >

j ‰ œ

∑

5:3

# ˙>

æ #˙-æ >f

œ™ æ

5:3

æ æ œ-æ # œæ > >-

æ œæ™

ææj ‰ œ

∑

>-œ œ™ J

#>-œ

3 4

5:3

œ J ‰

∑

staccatissimo

° &

∑

ff quasi

C Tpt

∑

Tbn

¢&

∑

æ- æ- æ- æ- æ- æ- æ-

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

Perc.

Perc. ¢ /

1 1 1 1 1 1 1 æææææææ f

Pno

1 1 11 11111 1 1 1 1 1 æ ææææææææ ææ ææ æ

∑

fz sub

∑

#>˙-

∑

˙> fff

∑

1 1 1 1 1 1> 1 ‰ ™ Ó æ æ æææ

∑

fff

fz sub

∑

° Vln &

∑

{

Vla.

> 3 æ- æ- æ- æ- æ- - - ‰ ™ Ó mp

#˙> fff

#>-˙

#>-œ mf

fff

>œmf

> #œmf

#>-œ

œ™ fff

>-œ

#˙

µw

fff

bœ> fff

œ >-

> #-œ

n˙

˜w

fff

D & F xxxxx

œ œ #œ #œ œ#œ#œnœnœ #œ œ œ#œ œ ' ' ' ' ' ' ' ' ' ' ' ' œ œ œ # œ #œ œ ' ' # œ œ # œ ' n œ ' ' ' n œ' ' ' ' ' ' '

3 151 4 ° &

B Fl

q = 62 accel

U Œ

#˙

q = 78

5 8 œ™

Ob.

U Œ

œ™

B Cl

U Œ

œ™

µ˙

U Œ

µ˙

œ™

° &

œ œ œ # œ ' ' ' œ' #œ ' #œ œ ' ' ' mf

C Tpt

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U #œ œ œ œ ≈™ p

#-œ ™

ppp

® œ ® ≈™

-œ ™

≈ œ ‰™

-œ™

® ≈™

-œ™

≈ œJ

¢&

ff quasi

U Œ

® #-œ ™

≈ œ ‰™

-œ™

® ≈™

#-œ ™

≈ œJ

U Œ

Pno

{

® #-œ ™

® ˜-œ ® ≈ ™ ˜-œ ™

≈ œ ‰™

µ-œ ™

® ≈™

#-œ ™

≈ ˜œJ

ff quasi

∑

(with brass)

U Œ

… # -œ ™

-œ

® ≈™

-œ™

-œ ≈

‰™

-œ ™

µ˙ f

U Œ

+o œ

& #˙

U Œ

+o œ

U Œ

+o œ

¢& ˜˙ f

® ≈™

# -œ ™

-œ ≈ J

-œ ≈ ff quasi

+o œ

≈ µœ

ord mute

U Œ

° Vln &

Vla.

U Œ

≈ µœ ff quasi

≈ œ? ff quasi

Tbn

Bsn

4 4

+o +o œ œ

+o #œ

+o +o +o +o + + + + œ ˜œ œ œ œo œo µœo œo

+ + #œo œo

+ + + + + + + + µœo œo #œo œo ˜œo œo œo œo ff quasi

+o +o œ œ

+o #œ

+o +o +o +o + + + + œ ˜œ œ œ œo œo µœo œo

+ + #œo œo

+ + + + + + + + µœo œo #œo œo ˜œo œo œo œo B ff quasi

+o +o œ œ

+o #œ

+o +o +o +o + + + + œ ˜œ œ œ œo œo µœo œo

+ + #œo œo

+ + + + + + + + µœo œo #œo œo ˜œo œo œo œo ? ff quasi

+o +o œ œ

+o #œ

+o +o +o +o + + + + œ ˜œ œ œ œo œo µœo œo

+ + #œo œo

+ + + + + + + + µœo œo #œo œo ˜œo œo œo œo ? ff quasi

D & F xxxxx

R q = 48

4 154 4 ° &

B Fl

q = 52 air

(tongue ram)

5:4

≈

»3

≈ ‰ ≈ ≈ ‰ Œ œ> œ > ff

œ g g™ ff

≈® ≈≈ ≈Œ œ œ

ff fz

Ob.

≈

® œ g g™ ff

ff (✶) dry slap, no sound ✶

≈

®‰ ® ≈ ‰ Œ œ œ

» 7:6

Bsn

≈

≈® ≈≈ ≈Œ œ œ

ff fz

≈≈

>œff

ff fz

>œ

‰

≈Œ

g™ >œ fg f

‰

Ÿ- <˜> Ÿ- <˜> # ≈ œ ≈ œ™

œ J

ææj & g™

Ÿ Ÿ <n>

<n> <n>

≈˜œ ™

‰ ff

≈® ≈≈ ≈Œ œ œ

Ÿ-<˜>Ÿ- <˜> ≈ œ≈ œ

ord

® ææ œg

≈

air

Ÿ-<˜> # ≈ œ™

ææj g™

ææz g™

≈

4 4

Ÿ- ™ <µ> œ ff

ord

® ææ œg

<µ>

Ÿœ

- ≈ œ≈ œ

Ÿ <n>

- ≈ ˜œ ≈ œ ™

œ J

<n>

‰

air 3

ææ g™

≈® ≈≈ ≈Œ œ œ

ff fz

Ÿ<#> ≈ µ-œ ™

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

ord

7:6

‰

ææ g™

air ✶

≈

œ g g™

ff (✶) dry slap, no sound

ææj g™

air

air 3

B Cl

≈ ‰™ œ

ææ œg

air 3

‰™

Ÿ-<µ> Ÿ- <µ>5 œ œ 8 œ J ≈ ≈

ord

ææ g™

✶ 3

air 3

5:4

<µ> 2 accel 4 Ÿ-œ ™

accel

ææ œg

ææj & g™

fz f

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

‰ ff

(✶) dry slap, no sound

°?

» (hand pop) ≈™

µœ ≈ ™ ≈≈ ™ œ ≈ ™ ≈Œ 7:6

7:6

≈™

air

µ -œ œ

ord

œ ≈ ™ ≈ µg™ ææ

7:6

≈Œ

‰ ≈™

contina questa nota su wwinds battutta dopo magari sposta wwind

œ J

C Tpt

[+ o œ

+o œ

+o +o +o +o +o +o +o +o +o +o +o œµœœ nœ œBœœœbœœœ

air

+o Bbœ

3 +o +o œœ ‰ ≈# g g™j

Tbn

¢&

[+ o œ

+o œ

+o +o +o +o +o +o +o +o +o +o +o œµœœ nœ œBœœœbœœœ

Vib

¢&

3 +o +o œœ ‰ ≈ µ g g™j

ææ œœ f quasi

ææ ˙˙ ™™

ææ œœ

multiphonics 7:6

Pno

{

≈ ™ b OO ≈ ™ ≈≈ ™ OO ≈ ™ ≈Œ 7:6

≈™

7:6

≈ ™ ≈≈ ™

sffz

≈ ™ ≈Œ

log drum

‰

ææ œœ ™™

æ æ æææ - - ---

‰™

log drum

‰

(''tacky'')

‰™

7:6

sffz

“

∑

5:4

5:4 5:4

≈™

µ>œ ff

® ‰ ≈™

>œ

® ®‰ ™ µœ

≈™

™

∑

‰

# œ- œ

arco

≈

o + ++ + + ++ µœ œo µœo œo #œo œo ˜œo œo

+o +o +o œœœ

ord

‰ ‰

‰ ff

7:6

≈≈‰

RŒ

+ +o +o +o +o +o µœœ œo œœœ

+++ œo œo œo

ord

˜ -œ œ

#œ J

#œ

˜œ

‰ ≈&

œ- ™

ord

arco

+o +o +o +o +o +o +o ≈ & µœ œµœœ #œ œ ˜œœ mf

+o +o +o +o +o +o œœœœµœœ

+o +o +o œœœ

œ #œ + o #>œ ™ ffp

˜œ œ J

»œ f

o œ+o µœ+o œ+o #œ+o œ+o ˜œ+o œ+o µ œ ®&

+ +o +o +o +o +o µœœ œo œœœ

D & F xxxxx

+++ œo œo œo

œ J

5:3

ord

‰ ≈™

µ-œ œ

œ™

o ˜>œ ™ ffp

arco spazzolato (+o = from msp to mst)

œ œ œ

‰

5:3

® œ

≈

-™

5:3

arco

7:6

‰

‰ ®œ ™

_™ mf

+o +o +o +o +o +o +o +o +o +o +o +o +o ® œ œ œµœœ #œ œ ˜œœ œœœœµœœ

® ˜œ ≈

≈™ ≈ Œ

sffz

pizz

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ¿¿¿¿

æ -

O ≈™ ≈

7:6

bœ

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

≈™

pizz

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ #œ œ˜œ œœ œ

+o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

+ œ

… 7:6

ord (sound)

ææ ‰ ™ ‰ g™

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

≈™

pizz

Vla.

+o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

(ff)

+ œ

(''tacky'')

ææ œœ ™™

pizz

° Vln &

f quasi

ææ ‰ ™ ‰ g™

air

+o Bbœ

ææ ° Mar & b˙˙ ™™

ord (sound)

o ™ >œ ffp

> ≈ µœ ™ ff

¿¿

32 measured chest hitting frequence:

° & 158

B Fl

4 q = 66 4

7 4 16 >œœ > > > > > > > > . . œœ . . œ. œœ . . œ. œ. 4

∑

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ wæ 5:4 ho

7 16

orango gliss

≈

æ ˙æ

o_a_e_i

5:4 hi

ho o_a_e_i

(progressive)

orango gliss

∑

Ob.

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ˙ææ™™™ 5:4 ho

( ) æær ææ h œ

‰™

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

orango gliss

∑

B Cl

>œf. >. >. >. >. >. >. >. >. œ œœ œ œœ œ œ

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œææ ææ™ 5:4 ho

( ) j æ æ æ ‰ ‰ œæ h 3

≈

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

orango gliss

Bsn

∑

>œf. >. >. >. >. >. >. >. >. œ œœ œ œœ œ œ

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ˙ææ™™ 5:4 ho

≈

mf ( )h j æ ‰ œæ ææ

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

° &

∑

orango gliss

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ 3 œ œ œ œ œ œ œ œœœœœœ ‰ ‰ 5:4 ho

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈

ææj ææ™ œ

‰ ææ œ 3

ææ( )h

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

mp f

orango gliss

∑

C Tpt

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ 5:4 ho

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈

æ ˙æ™

≈

ææj œ™

h ææ( )

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

Tbn

∑

¢&

orango gliss

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ 5:4 ho

h ææ( )

≈ œææj™

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈ 6

æ ˙æ™

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

Perc.

æ-

> æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- - -‰ ™

æ-

(mallets tremolo)

Plexyglass

æ œæ™™

∑

‰

fz sub

Perc. ¢ /

æ-

¿¿¿¿¿ Pno {

(colla voce) side

5 6 3 > æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- - -‰ ™

æ-

‰

fz sub

fff mp f

Y™ ææY™ pp

‰

l.v.

‰ f

measured chest hitting frequence:

¿¿¿¿

orango gliss

≈™ ‰

‰

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ

5 5:4

7 ho

ææ

( ) h

‰ œææ 3

>œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈ 6

æ wæ

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

+ ° Vln & #œ ™

¯ ‰

orango gliss

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ 5:4

p ho

( ) h ‰ œææj ææ

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈ 6

‰ ‰ œææj ææ™ 3

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

Vla.

+ & ˜œ ™

¯ ‰

orango gliss

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ 5:4

p ho

( ) h ‰ ‰ œææj ææ 3

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈ 6

mp 3

‰

æ œæ

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

+ œ™

¯ ‰

orango gliss

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ 5:4 ho

h r æ( ) æ ‰ ≈ œæ æ

f >œœ . >. >œœ . >. >œ. >œœ . >. >œ. >œ. ≈ 6

≈

æ ˙æ™™™

5:4 hi

ho o_a_e_i

o_a_e_i

(progressive)

msp III 6

¢&

œfff

-œ

orango gliss

œ œ

# œ- ™ ˙~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~~~ > sffz

‰ Ó

∑

æ wæ

o_a_e_i

fff

mp sub

D & F xxxxx

æ œ ˙æ ææ

Tam Tam or big China Sus. Cym. and large Thunder Sheet. Hit with mallets

>>> 6 >>>>>> ≈ ---------

∑

ord (precise)

œ œœ œ œœ œ 6 ææ

ææ ™

as fast as possible!

163

7 4 3 16 œ ™™ 4 Signal audience to prepare recorder heads 8 f

ææ æ

∑

7 8

∑

œ™ æ

æ ˙æ

5 4

f L R R L R R L R L R L R

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

as fast as possible!

œ ™™ æ æ

∑

æ ˙æ

∑

f L R R L R R L R L R L R

f œ™ ææ

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

as fast as possible! To Cl

œf ™™ æ æ

∑

f œ™ ææ

æ ˙æ

∑

f L R R L R R L R L R L R

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

as fast as possible!

œ ™™ æ æ

¢/

∑

æ ˙æ

∑

f L R R L R R L R L R L R

f œ™ ææ

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

normal sub as fast o speed as possible

as fast as possible!

° Hn

œf ™™ æ æ

æ œæ

∑

f L R R L R R L R L R L R

f œ™ ææ

æ ˙æ

œ æ æJ

fff

œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œœœœ

œœœœœœœ 6

4:3

6 a

as fast as possible!

œ ™™ ææ æ

æ œæ

∑

æ ˙æ

œ ææ J

f L R R L R R L R L R L R

f œ™ æ

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

as fast as possible!

œ ™™ æ æ

Tbn

¢/

æ œæ

∑

æ ˙æ

œ ææJ

f L R R L R R L R L R L R

f œ™ ææ

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

as fast as possible!

° Perc 1

Rhapsodic, vivace

ææ œ ™™

‰ f

1 ™™ æ æ

log drum

Perc 2 ¢ /

œ™ 5 ææ p

1 1 1 1 1 1 1 ææ 1 -™

(Rhapsodic, vivace)

p sub

ææj œ ææ

œ ææ

pp 7:6

Pno { ÷

∑

Vln

œf ™™ ææ æ

∑ p

p sub

1™ æ

(colla voce) 6

∑

4:3

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

fff

normal sub as fast speed as possible pp

æ œæ

œ™ ææ

æ ˙æ

œ ææJ

f L R R L R R L R L R L R

œœœœœœ

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

4:3

aas fast as possible!

as fast as possible!

œ ™™ æ æ

to Tam Tam

æ œæ™

˙ ææ

- - - - - - - 1 1 1 1 1 1æR

as fast as possible!

œ j ææ œææ

‰

∑

ææ æœ œ æJ

f œ™ æ

æ ˙æ

f L R R L R R L R L R L R

œœœœœœ

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

4:3

6 a

as fast as possible!

œ ™™ æ æ f

Vla

∑

æ œæ

f œ™ ææ

æ ˙æ

œ ææJ

f L R R L R R L R L R L R

fff

œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œœœœ

œœœœœœœ 6

4:3

6 a

as fast as possible!

œf ™™ ææ æ

∑

æ œæ

f œ™ æ

æ ˙æ

œ ææ J

f L R R L R R L R L R L R

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

6 a

as fast as possible!

œ ™™ æ æ f

¢/

∑

æ œæ

f œ™ ææ

æ ˙æ

œ ææJ

f L R R L R R L R L R L R

œœœœœœ

fff To Perc.

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ To Cb.

4:3

6 a

D & F xxxxx

RECORDERS ACTIONS (ensemble and audience):

PERCUSSIONS ACTIONS

condutor's gesture = equivalent sound:

condutor's gesture = equivalent sound

-bang recorder (or simulating a congas hand-tremolo) = rapid hand-tremolo against head-joint's aperture

-bang recorder = (Tam-tam) single-stroke roll over Tam-tam

- at hand (horizon) = plain note (inster nger into variate pitch) - at hand (horizon) = (China) bow on the China with high-speed and high-pressure attack. Begin close to the frog -little sparkles / ickers = staccato

-little sparkles = (Tam-tam) similar to single stroke roll but sparse and much irregular

-index pointing at cheeck = utter tongue

-index pointing at cheeck = (Cymbal) saturate the cymbal with the bow in order to obtain a high and piercing harmonic which ''opens'' when you stop bowing

-suction = inhale from the labium

-suction = (Cymbal) Bow with constant pressure and medium-slow speed in order to achieve cymbal's fundamental

-throw a cue to somebody (or index) = improvisation (solo)

-throw a cue to somebody = (Cymbal) Hin und her" medium speed and medium pressure continuous bowing close to the frog

S RECORDERS libero, aperto

Consider each phrase (slurred notes) as single episodes. Apostrophes indicate short cesuras between those phrases

° Ens /

168

Aud

¢/

ens TACET (except perc.)

∑

Perc 1 ¢ /

little sparkles

index pointing at cheeck

suction

fff

ppp

bang recorder

at hand (horizon)

w fff

bang recorder

∑

at hand (horizon)

little sparkles

index pointing at cheeck

suction

fff

ppp

° Ens /

171

¢/

∑

little sparkles

suction

little sparkles

suction

∑ , throw a cue to somebody 20'' √ w o

Perc 1 ¢ /

(together with audience)

Aud

bang recorder

w fff

, throw a cue to somebody 20'' √ w o

∑

bang recorder

w fff

D & F xxxxx

opposing the two parts interact freely and rapturously, unpredictably

-r ™™ œ mf

bang recorder

°/

175

Ens

≈ ∑

-K r œ

bang recorder

Aud

≈ ∑

¢/

-r œ

™™

-K r œ

-j œ

-r œ

-K r œ

-r œ

-K r œ

-r œ

-K r œ

™™

≈ ∑

™™

≈ ∑

™™

≈ ∑

™™

≈ ∑

bang recorder

(together with audience)

Perc 1

≈ ∑

-r œ

™™

-r œ

bang recorder

-K -(together with ensemble) r r œ œ

≈ ∑

Perc 2 ¢ /

-K r œ

-j œ

™™ mf

-K r œ

178-179: allow audience to performe only when compatible, that is if they prove fast to learn and react, otherwise ensemble only

Repeat this bar as many times, by the last or penultimate repetition wwinds get ready

q = 66 bang recorder

°/ œ ™ 178

Ens

17 16

≈

j œ™

≈

fff

air

> ™™ g

bang recorder

≈

-j œ™

≈

œ™

¢ / œ™

≈

j œ™

‰™

œ™

≈

j œ™

™™ ‰

‰™

œ™

°/ œ ™

≈

j œ™

‰™

œ™

(bang recorder)

™ Perc 2 ¢ / œ fff

≈

‰™

≈

‰

™™

≈

‰

™™

(bang recorder)

Perc 1

™™

bang recorder

Aud

‰™

-j œ™

≈

j œ™

™™ ‰

mute

≈

j œ™

≈

> ™™ g

D & F xxxxx

‰™

bang recorder

≈

-j œ™

≈

œ™

≈

œ™

‰™

-j œ™

¿ ™™

4 4

° & 180

4 4

<#>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ™

9 8>

<µ>

ppp

<#>

ppp

<µ>

z. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ bisb. ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ™ ™ ™ ™ ™ n & #œ œ œ œ œ #œ œ œ ˜œ œ œ œ œ. ≈ -œ™ ≈ -œ ≈ -œ™ ≈ -œ ≈˜-œ ™ ≈ #-œ ≈ -œ ™ ææ ææ ææ ææ æ æ

ppp

<#>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ & ˜-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

ppp

¢&

Bsn

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ µ-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

<µ>

° &

<µ>

ppp

<µ>

<#>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ˜-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ppp

<µ>

<#>

z Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ .œ ≈ -œ ™ ≈ #-œ ≈ #-œ ™ ≈B-œ ≈ œ œ ≈ nœ. ≈ -œ™ ≈ -œ ≈ -œ™ ≈B-œ ≈ -œ™ ≈ #-œ ≈ -œ ™ ≈µ-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ µ-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ææ ææ æ æ æ ææ z

Œ™

∑

<µ>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ<#>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ #-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

z. > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .œ ≈ -œ™ ≈˜-œ ≈˜-œ ™ ≈n-œ ≈ -œ -œ ≈ n-œ. ≈ -œ™ ≈ -œ ≈ -œ™ ≈ -œ ≈ -œ™ ≈ -œ ≈˜-œ ™ ææ æ æ æ æ ææ bisb. ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

ppp

<#>

z. bisb. ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ- œ- ≈ -œ. ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ. ≈ œ™ ææ ææ ææ ææ ææ æ

ppp

✶✶

✶ z.

æ æ æ ‰ æ ≈ ≈ ≈ ææ ≈ ≈ ææ ≈ ≈ ≈ æ ≈ ææ ≈ æ ¿. ¿. ™ -6 -6 ™ -6 -6 ™ ¿. -6 ™ -6 -6 ™ -6 ™

Œ™

ppp

æ ≈æ ≈ ¿. -6 ™

≈ ¿.

ppp

æ ≈æ -6 ™

≈

æ ≈ æ ≈ ≈ ≈‰ ¿. -6 ™ ¿ ¿

≈ -6™ ææ

≈ ¿. ≈ -6™ ≈ ¿ ≈ ¿ ≈ ‰ ææ

ææ ≈ 6™ -

ææ ≈ ¿ ≈ 6™ ≈ ≈ ≈‰ . - ¿ ¿

(✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a at hand, creating a percussive sound.

C Tpt

Œ™

∑

✶

✶✶ . ≈ -6 ≈ -6™ ≈ -6 ≈ -6™ ≈ ¿. ≈ -6™ ≈ -6 ≈ -6™ ‰ -6™ ≈ ¿. ≈ ¿™ ææ ææ ææ ææ ææ æ æ

Œ™

≈ -6™ ≈ ¿. ææ

≈ ¿.

ppp mf ppp (✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a at hand, creating a percussive sound.

Tbn

Œ™

∑

✶✶ ææz. æ æ ææ ææ ææ ‰ 6™ ≈ ¿ ≈ ¿™ ≈ 6æ ≈ 6™ ≈ 6æ ≈ 6™ ≈ ¿ ≈ 6™ ≈ ≈ . . - - - - . - -6 -6™ ✶

Œ™

ppp

ææ ≈ 6™ ≈ ¿ . -

≈¿ .

ppp

(✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a at hand, creating a percussive sound.

(chicken puppet)

Perc 1 ¢ /

∑

##œœ ™™

∑

{

∑ œœ

œœ ™™

œœ ™™ œœ

##œœ

œœ ™™ œœ

œœ ™™

Pno.

° Vln &

‰ #œœœ ™™™

Œ™

≈ œœœ ≈ œœœ ™™™ ≈ #œœœ

≈ œœœ ™™™

≈ œœœ ≈ œœœ ™™™ ≈ œœœ ≈ œœœ ™™™ ≈

ppp

msp

‰ œ≈Œ æ ppp

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

Ÿ<#>

<µ>

msp

ord ✶

sp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ù≈ œù≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ ææ æ æ æ ææ ææ ææ æ æ æ æ p

ppp

(✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

msp

Vla

‰ Bœ ≈ Œ ææ ppp

Ÿ<#>

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

<µ>

msp

ppp

Ÿ~~~~~~~~~~~

‰ #œ ≈ Œ ææ

<µ> ✶ Ÿ<#> sp Ÿ <#> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ #œ ≈ œ ™ ≈ œ ≈ œ ™ ≈Bœ ≈Bœ ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ ≈ œ ≈ œ ™ù≈ œù≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ ææ æ æ æ ææ ææ ææ ææ æ æ æ

ppp

∑

Œ™

cls ✶

‰

ord

œ o

dec

el acc

œ™

˙™

f cls (✶) = col legno slide, slide the bow along the string quasi

msp

ord

msp

mf (✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

ast

Cb.

ppp

(✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

ord <µ>

msp

ord

✶ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bœ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈nœ ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ µœ ≈ œ ™ ≈ µœ ≈ œ ™ù≈ œù≈ œ ™ù ≈ œù ≈ œ ™ù ≈ µœù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ ææ ææ ææ æ ææ æ ææ ææ ææ æ æ sp

œ™

ææ œ™

D & F xxxxx

ææ œ™

™

fff

1 ææJ

ppp

ord

Œ™ p

Œ™

contrabass solo the contrabass is improvising over two performative ''modes'': voice (A) and playing contrabass (B). Each mode could last between 10 to 30 seconds (ad libitum) A - voice: freely improvise using the voice employing the provided material as guideline B - contrabass: freely improvise with the contrabass over the material within the boxes, interpolating their order ad libitum and improvising on their content if needed FORM: -A, B , A', B', - 7'' ～ 10'' into B', Perc 1 abrutply interrupts the contrabass with a single chicken puppet ''squeeze'' together with oboe' single "duck" sound produced with the mouthpiece -A'', B'', -Perc 1 and Oboe abruptly interrupt the contrabass again, more insistingly this time (that is, with two or more times the same sounds, ''squeeze'' and ''duck'') (this moment correspond to the cue for the audience to start crawling out of their seated position), B''' (overlap freely with rehearsal mark T / trained audience stage entrance)

Wine glasses

° ≈ Ens ¢ / Ó 185

(time enough to grab glass)

A Cb

√ ¿¿¿ ¿¿ ¿ o

roughout all A sections (that is, whenever the contrabass player is using her / his voice) six to eight ensemble members play a single wine glass (pitch ad libitum).

Imprevedibile, misterioso e fantastico Using voice:

° √ ¢/ w

Similar to vocal techniques employed at m 1 1 2 (open and close lips) but freer, more intimate and surprising. From rapid +o tremolos towards intermittent sounds. e following pitch (and dynamic) curve is suggestive only.

br/

B ‡ OO≤ ™ & o

Energico, Playing the contrabass

188 Cb

„ ? æ bOOæ™™

‚‚ ™ pp

‡

‡ ~~≤

‹ # ‚‚ ™™ &

sfz

„ ‚‚ ?bOææ >O 3

‡

‹ # ‚‚ ™™ &

‹ &

‡ ‚‚≤

„ ‚‚ ? #Oææ # >O 3

‡

‹ ‚‚ ™ &

>-≤ III II ≥ œ >msp

193 Cb

ast

> ord œ ˙™~~~~~~~~~~~~~~ ˙ ~

frog's tip tremolo (✶)

msp II

III

b6-œ > ≈ µœ ™ #œ- ? œ

œ™ œ ~~~~~~~~~~~~~~ ˙™ ~

sfz sfz

sffz

mp sub

D & F xxxxx

æ 6æ

ast

sffz mp

fff

6 æ f

msp

ææ

æ 6æ pp

ast

6 ææ

Œ pp

° Aud ¢ /

199

T q = 60

✶

accel

™™

∑

(✶) the trained audience crawls out of the general audience position sliding super balls over the oor or playing ‘'pio-pios'' lv sempre (with medium so mallets)

Almglocken

° &

™™ Œ Œ Œ 5

∑

Œ #œ

Œ Œ

#œ

Œ Œ œ

Œ Œ

#œ

mp lv sempre (with medium so mallets)

Almglocken

™™ Ó

∑

Almglocken

lv sempre

(with medium so mallets)

™™

∑

‰

œ™

™™

∑

‰

∑

‰

œ™

‰

œ™

lv sempre

(with medium so mallets)

Almglocken

¢&

œ™

Bsn

‰ Œ

∑

‰ jŒ #œ

j‰ ‰ j Œ œ #œ

j ‰ ‰ j œ œ

j ‰ ‰ j Œ #œ œ

° &

™™

∑

lv sempre

(with medium so mallets)

Almglocken

∑

‰ ‰ ‰ jŒ jŒ j‰ ‰ j‰ ‰ jŒ j‰ ‰ j‰ ‰ jŒ j #œ œ œ œ #œ œ œ œ œ mp lv sempre

(with medium so mallets)

Almglocken

C Tpt

™™

∑

‰ ‰ ‰ jŒ j‰ ‰ jŒ j‰ ‰ jŒ #œ #œ œ œ œ

j‰ ‰ jŒ #œ œ

j ‰ ‰ jŒ œ œ

mp lv sempre

Tbn

™™

∑

œ œ5 ‰‰‰J‰‰ J Œ

(with medium so mallets)

Almglocken

∑

œ J Œ

∑

œ œ œ J ‰‰ J ‰ ‰ J ‰

Perc 1

∑

™™

œ J ‰‰

lv sempre

(with medium so mallets)

∑

œ J Œ

œ 5 ‰ J Œ

∑

‰ œj Œ

j j œ ‰ ‰ œ Œ

‰ œj

j j œ ‰ ‰ œ Œ

Perc 2 ¢ /

∑

™™

lv sempre

(with medium so mallets)

Almglocken

∑

œ ‰ Œ J

≈œ ≈Œ J

‰ œ Œ J

œ ‰ Œ J

≈œ ≈Œ J

‰ œ Œ J

Almglocken lv sempre

(with medium so mallets)

{

∑

™™ Œ Œ Œ #œ Œ Œ œ Œ Œ #œ Œ Œ œ Œ Œ #œ Œ Œ œ Œ Œ #œ Œ Œ œ Œ Œ œ Œ Œ #œ Œ Œ œ Œ 7

Œ #œ Œ

Œ œ Œ Œ

œ Œ Œ

œ Œ Œ œ

Pno.

° Vln &

lv sempre (with medium so mallets)

Almglocken

∑

™™

∑

Œ Œ Œ œŒ Œ œ Œ Œ œ Œ Œ œ Œ

Œ œ Œ Œ œ Œ Œ

∑

™™

lv sempre

(with medium so mallets)

Almglocken

∑

Œ Œ Œ œ Œ Œ

œ Œ Œ œ Œ

œ Œ

Œ œ Œ

Vla

∑

™™

lv sempre

(with medium so mallets)

Almglocken

∑

Œ Œ Œ

∑

™™

∑

lv sempre

(with medium so mallets)

Almglocken

#œ ™

‰ #œ ™

(with medium so mallets)

Almglocken

¢&

∑

™™

∑

lv sempre

‰ #œ ™ mp

D & F xxxxx

‰ Œ

° ¢/

Aud

Alm.

° &

™™

#œ

j‰ ‰ œ

& j‰ ‰ j Œ #œ œ

œ J

‰

j ‰ ‰ j œ œ

j Œ #œ

‰

Alm. ¢&

œ ‰ Œ J

? Œ Œ

∑

™™

‰ Ó

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

œ™

j ‰ ‰ j Œ #œ œ 7

j‰ ‰ j Œ œ œ

œ œ œ J ‰ ‰ J ‰ ‰ J ‰

j‰ ‰ j‰ ‰ j Œ j Œ j‰ ‰ j‰ ‰ jŒ j‰ ‰ œ œ œ œ #œ œ œ œ

j ‰ ‰ jŒ #œ œ œ 5 ‰ J Œ

j‰ ‰ jŒ œ œ œ J Œ

j œ ‰

‰ œj Œ

‰ œj

j‰ ‰ j Œ #œ œ

œ J ‰ ‰

‰ œ Œ J

œ ‰ Œ J

j j œ ‰ ‰ œ Œ

≈œ ≈Œ J

‰ œ Œ J

∑

≈œ ≈Œ J

÷ #œ Œ

{

° j j & œ ‰ ‰ œ Œ

j œ

j‰ ‰ j Œ jŒ j‰ ‰ j ‰ ‰ jŒ #œ œ œ œ œ #œ

j‰ ‰ jŒ #œ œ

œ œ œ 5 ? J ‰ ‰ J ‰ ‰ J Œ Alm. ¢

Alm.

j ‰ Œ œ

j ‰ ‰ jŒ œ œ

™™

Œ #œ

j‰ ‰ j‰ ‰ jŒ #œ œ œ 6

Alm.

j ‰ œ

∑

j ‰ ‰ j Œ #œ œ

° & Œ

Alm.

Œ œ

& Ó

Alm. ¢&

#œ

∑

Alm.

rit

206

Œ #œ Œ

œ Œ

Œ Œ

Alm.

Œ œ Œ Œ œ Œ Œ ™™

Œ Œ

œ Œ Œ œ Œ Œ ™™

Alm.

° & œ

Alm.

& Œ

Alm.

& Ó

#œ ™

Alm. ¢&

Œ œ Œ

Œ Œ

‰

‰ #œ ™

D & F xxxxx

#œ

‰ #œj

∑

™™

più mosso If the audience can be seated in silence, then no repeat is required

accel two clicks

° Alm. &

211 lv

U ∑

Waldteufel

6 Œ Œ Œ -j ‰ Ó

(single click)

/ ™™

∑

6 j -‰Œ Œ

j -‰ Ó

j -‰ Œ

j -‰ Ó

j -‰ Œ

j -‰ Ó

two clicks lv

Alm.

U ∑

Waldteufel

(single click)

/ ™™

∑

Œ Œ Œ

∑

j -‰Œ

5 j -‰ Ó

j -‰ Œ

two clicks lv

Alm.

U ∑

Waldteufel

j -‰

(single click)

™™

∑

j -‰ Œ

j - ‰ Ó

j - ‰ Œ

j - ‰

two clicks lv

Alm. ¢&

U ∑

Waldteufel

‰ -j Œ

(single click)

™™

∑

j - ‰ Ó

‰ -j Ó

two clicks

° &

Alm.

U ∑

Waldteufel

‰ -j Œ

(single click)

™™

∑

j - ‰

‰ -j Œ

j j - ‰ ‰ - Œ

two clicks lv

Alm.

U ∑

Waldteufel

j - ‰Œ

(single click)

™™

∑

≈ -j ≈ Œ

‰ -j Œ

j - ‰ Œ

≈ -j ≈ Œ

‰ -j Œ

two clicks lv

Alm. ¢

U ∑

Waldteufel

‰ ‰ ‰ -j ‰ ‰ -j Œ

(single click)

/ ™™

∑

j - Œ

∑

j j j j5 - ‰ ‰ -‰ ‰ -‰ ‰ - Œ

j -Œ

j -‰‰

two clicks

° Alm. &

U ∑

Waldteufel

‰ ‰ ‰ -j Œ

(single click)

/ ™™

∑

j j -‰ ‰ - Œ

j j -‰ ‰ -Œ

j ‰ 6‰ j Œ -

two clicks lv

Alm. ¢&

U ∑

Waldteufel

‰ ‰ ‰ -j Œ -j Œ

(single click)

/ ™™

∑

j7 j j 7 j j 7j j -‰ ‰ -‰ ‰ -Œ -‰‰ -‰ ‰ - Œ -

∑

Waldteufel

{

U ∑

two clicks (single click)

Œ Œ Œ -j ‰ Ó / ™™

j j j j -‰ Œ Œ -‰Œ Œ -‰ Œ Œ -‰Ó

j -‰Œ Œ

j j -‰Œ Œ -‰ Ó

j -‰ Œ Œ

j -‰Œ Œ 7

j -‰Œ

j -‰ Ó

j -‰Œ Œ

Alm.

two clicks

(same waldteufel) lv

U ∑

Waldteufel

/ ™™

Œ Œ Œ -j ‰ Ó

j j j -‰ Œ Œ -‰Œ Œ -‰ Œ

∑

Œ -j ‰ Ó

j -‰ Œ Œ

j Œ Œ j7 -‰ -‰ Ó

two clicks lv

° Alm. &

U ∑

Waldteufel (single click) 5

j -‰ Œ

Œ Œ Œ / ™™

5 Œ -j ‰ Ó

j j -‰ Œ Œ - ‰ Œ 5

j - ‰Œ

j -‰ Œ

5 j - ‰ Ó

j -‰ Œ

two clicks lv

Alm.

U ∑

Waldteufel

™™ Ó

(single click)

j -‰ Ó

j -‰ Œ

j -‰ Ó

j - ‰Œ

j - ‰

j - ‰ Œ

j - ‰ Ó

two clicks lv

Alm.

j -‰

U ∑

Waldteufel

™™

(single click)

∑

‰ -j Œ

j -‰ Ó

Œ™

j - Ó

j - ‰ Œ

‰ -j Œ

two clicks lv

Alm. ¢&

U ∑

Waldteufel

™™

(single click)

∑

‰ -j Œ f

D & F xxxxx

j - ‰

‰ -j Œ

j j - ‰ ‰ - Œ

rit several clicks

° j‰ Œ Perc. / -

j -‰ Ó

/ Œ

j - ‰ Ó

218

j -‰ Œ

j -‰ Ó

one click

j -‰ Œ

j -‰ Ó

j -‰ Œ

j -‰ Ó

j -‰ Œ

several clicks

Perc.

j - ‰ Œ

j - ‰ Ó

j - ‰ Œ

several clicks

j - ‰ Œ

/ Ó

Perc.

j - ‰ Ó

j - ‰ Œ

‰ -j Œ

j - ‰

j - ‰ Œ

° / -j ‰ ‰ -j Œ

j - ‰

j ‰ - Œ

j - ‰

j / - ‰ Œ

≈ -j ≈ Œ

‰ -j Œ

j - ‰ Œ

j - Œ

∑

Perc. ¢ /

j j j - ‰ ‰ - ‰ ‰ -Œ

j - Œ

≈ -j ≈ Œ

j j j - ‰ ‰ -‰ ‰ - ‰ 5

j - Œ

‰

∑

Perc

° / -j ‰ ‰ -j Œ

j j - ‰ ‰ -Œ

j j -‰ ‰ -Œ

j ‰ - Œ

Perc ¢ /

j j j -‰ ‰ -‰ ‰ -Œ

j j j -‰ ‰ -‰ ‰ -Œ 7

j -Œ

j j j -‰ ‰ - ‰ ‰ -Œ

j - ‰ ‰

∑

j j - ‰ ‰ -Œ

j j -‰ ‰ - Œ

{

j / -‰ Œ

j -‰ Ó

/ Œ

j -‰ Œ

j 7 -‰ Œ Œ

j -‰ Œ

∑

™™

∑

™™

∑

™™

∑

™™

∑

™™

one click

j j j -‰ ‰ -‰ ‰ -Œ

j - Œ

j j j -‰ ‰ -‰ ‰ -Œ 7

j -‰ ‰

several clicks 7

™™

one click

∑

several clicks 7

™™

To Tbn

j - Œ

j j -‰ ‰ -Œ

∑

one click

several clicks 6

™™

one click

several clicks 5

j - ‰ Ó

j -

‰

several clicks

Perc.

™™

one click

j - ‰ ‰

one click

j ‰ -

j -‰ Œ

several clicks

Perc.

™™

one click

several clicks

Perc. ¢ /

one click

j - ‰ Œ

j -‰ Ó

one click

j -‰ Ó

j -‰ Œ Œ

∑

Perc.

several clicks

j -‰ Œ

j -‰ Ó

j -‰ Œ

one click

j -‰ Ó

j -‰ Œ Œ

j -‰ Œ 7

several clicks

° j ‰ Œ Perc. / -

j -‰ Œ

5 j - ‰ Ó

j - ‰

j - ‰ Œ

∑

several clicks

Perc.

j ‰ Œ /

/ Ó

j - ‰

j - ‰ Œ

Œ™

j - ‰ Ó

∑

j j - ‰ ‰ - Œ

j - ‰

‰ -j Œ

j j - ‰ ‰ -

j - ‰ Œ

j - ‰ Œ Œ ™™

j - ‰ Œ

j - ‰ ‰ D & F xxxxx

j -‰ Œ

j -‰ Ó

™™

j -‰ Œ

™™

one click

several clicks

Perc. ¢ /

j -‰ Ó

one click

several clicks (longer)

j -

one click 5

j -‰ Œ

1 ‰ Ó J

™™

one click To Cb

j - Œ

∑

™™

V Stimme 1 section °/

223

Perc.

Aud

¢/

as soon as the trained audience reaches position close to musicians, audience and musicians together starts performing '' Stimme 1 section'' STIMME 1 (2’ - 3') STEADY LOW (45’’) 1 - 15'' pick the lowest pitch available in your tessitura, with closed mouth and pp dynamic start humming long, steady notes ad libitum Please make sure to never imitate neighbour's pitches or to adapt to other pitches around you. Every humming should feel natural and should last as long as each individual breath allows. In between humming inhale deeply and vigorously 2 - 10’ slowly start increasing dynamics from pp to mp 3 - 15'’ Once dynamics reach mp, very slowly and gradually open mouth so to produce vowels such as “ɒ”, “u” or “o” (IPA). Please beware that the pitch hans’t altered, still very low in your register.

GLISSANDO UP (55’’) 4 - 20’' Introduce very slow upwards glissandi. At every repetition start with a bit lower pitch than your arrival one. Because moving towards higher registers, the voice will naturally and gradually become louder: let it happen. 5 - 35’’ - gradually increase the range of each glissandos, that is: produce wider glissandi. Head towards much higher registers, ultimately until very high pitches (males who are comfortable with, could employ falsetto techniques as well). While heading towards high registers include diﬀerent vowels such ‘’e’’ or ‘’y’’. Constantly increase dynamics until very intense loud ﬀf -Perc 1&2: when voices start with upwards glissandos gradually add super-ball glissandos on thunder sheets -Perc 1&2: when voices reach high peak add a large cresc and decresc of gongs tremolo (C#4-F#4) GLISSANDO DOWN (45’’) 7 - 10'’: reach the pick of your tessitura on its loudest dynamic and stay there without glissando. 8- 10’' from such highest pitch gradually start descending with small glissandi (not big ranges), 7 - 8''' descending glissandi becomes wider (bigger ranges). 8 - 15’’ once you reach the lowest pitch of your tessitura, let your voice quietly and progressively disappear (one by one)

General notes: each individual performer must be rmly routed into her/his individual sound behaviour. Each performer must be aware of what the other performers are doing. Nonetheless, she/he must never limits himself/herself with their inner sound process. Each transition between diﬀerent steps of the vocal performance must not be executed rigidly but smoothly and rather freely.

D & F xxxxx

°? Aud ¢

224

Stimme 2 section ∑

∑

w Hal

interpolate blocks ad libitum, develop variations of them, keep modifying durations

bisb. ∏∏∏∏∏∏∏∏∏∏∏∏

incisive z

æ . æ ÆœJ œ -

. . Æœ œ

profound

œ-

3bœ

œ-

incisive

voluble

airy

g . . . . . . . µg .

> sfz

interpolate blocks ad libitum, develop variations of them, keep modifying durations bisb. ∏∏∏∏∏∏∏∏∏∏∏∏

incisive z

. ÆœJ

æ œ-æ

. . Æœ œ

profound

œ-

3bœ

œ-

incisive

voluble

airy

‰ g . . . . . . . µg .

> sfz

also withought mouthpiece (hence air sounds), ad libitum, interpolate blocks ad libitum, develop variations of them, keep modifying durations bisb. ∏∏∏∏∏∏∏∏∏∏∏∏

incisive z

. ÆœJ

æ œ-æ

. . Æœ œ

profound

œ-

3bœ

œ-

incisive

voluble

airy

‰ g . . . . . . . µg .

> sfz

interpolate blocks ad libitum, develop variations of them, keep modifying durations

Bsn.

incisive . -z ÆœJ

œ. œ. Æ

œ ææ

bisb. ∏∏∏∏∏∏∏∏∏∏∏∏

profound

-œ

3bœ

also moutpiece oﬀ incisive

voluble

airy

. . . . . . . µg . b> g

sfz interpolate blocks ad libitum, develop variations of them, keep modifying durations hand mute ad lib

°?

Hn.

profound

incisive

-œ

pungent . ÆœJ

-œ

. . œœ Æ

sinuous lip gliss

unexpected

o œ

-œ+

-œ

o + + o + œ œ #2œ œ

+ z, or growl œ

œ 3bœ œ

fz interpolate blocks ad libitum, develop variations of them, keep modifying durations profound pungent incisive

C Tpt

œ-

. . Æœ œ

. ÆJœ

œ-

sinuous

œ-

3bœ

+unexpected œ-

o œ

mute ad lib

+ z, or growl o + œ œ

+ o + œ #2 œ œ

fz interpolate blocks ad libitum, develop variations of them, keep modifying durations pungent incisive profound

Tbn

-œ

. ÆœJ

-œ

. . œœ Æ

unexpected

o œ

-œ+

-œ

sinuous

o + mute ad lib + o + œ œ #2œ œ

+ z, or growl œ

œ 3bœ œ

fz (also 8va) subito più lento

°?

Mar

+ ord or muted with hand . . . . . . . .- - - - - - - - œœœœœœœœœ œ œ œ œ œ œ œ œ

~™

Hal

- œ œ

. ÆœJ

+ + >o K-œ œr œ

dead stroke

-œ

+ . . . . . . . . . . . . . . . .œ ~™œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

¢&

Hal

muted with hands

{

œ -

sffz

Kr œ -œo

+ . ÆœJ œ

- - œ œ œ

dead stroke tremolo or gliss over tubes

-œ -

-œ

sf-fz

subito più lento

œ -

subito più lento

ord or muted with hand

Vib

tremolo or gliss over tubes

œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-. œ-

œ-

œ- œ- œ-

. ÆœJ

œ-

pull string

o+ Kr œ- œ-

œ-

sffz

tremoloinside the board (pizz )

œ-

Pno.

Vln

∑

~™

Hal

= singing (pick octave ad libitum according to range comfort) = playing interpolate blocks ad libitum, develop variations of them, keep modifying durations ast profound ast Ÿ <µ> msp æ

µœæ

. nÆœ R

-œ

n-œ

ast voluble

3bœ

msp

ast

~™ -

ast æ

µœæ ~™ Hal

O = singing (pick octave ad libitum according to range comfort) œ = playing interpolate blocks ad libitum, develop variations of them, keep modifying durations B

O œ

Hal

Vla

ast

msp

Ÿ <µ> . nÆœ œ R

voluble ast

msp

ast

profound

n-œ

3bœ

-col legno tratto ------ g µg

sfz

. . . . . . . . . bœ œ

f -

Ó™

tremolo msp or on the tail piece

- - nœ -

-col legno tratto ------ g µg

. . . . . . . . . bœ œ

col legno battuto

sfz -

O = singing (pick octave ad libitum according to range comfort) œ = playing ~™ - ------- - - - - - - - œ ˜œ Hal

col legno battuto

œ -

f spazzolato

O = singing (pick octave ad libitum according to range comfort) œ = playing spazzolato ~™ œ œœœœœœœœœ œ œ œ œ œ œ œ œ Hal

+ . ÆœJ

œ œ -

-o +- Kr -+ œ œœ -

pull string bartok

œ -

sffz

D & F xxxxx

tremolo msp or on the tail piece

-œ» -

hand's down

°? Aud ¢

225

hand's up

w™

˙ -

providing reference to the audience play designated fundamentals, solidly ordinario with sometime former playing blocks as well

° &

w™ -

w™ jah

sim.

nœ

#œ

nœ

provide harmonic support by employing swells here

Bsn.

° &

Hn.

C Tpt

Tbn

°? Mar

¢&

#œ

œ -œ

{

. ÆœJ

-œ

œ. œ. Æ

-œ

& -

? -

tremolo 3+2, or 2+2, ad lib

~ œ -

#œ ###œœœœ

. ÆœJ

-œ

œ. œ. Æ

& -

tremolo 3+2, 2+2, ad lib

œ b3 œ œ

-œ

nn œœœœ

? -

œ ~

œ~ -

. ÆœJ

-œ

. . œœ Æ

-œ

œ 3bœ œ

nnbb œœœœ &

jah

nnœœœœ

nnbbœœœœ

jah

##n œœœ œ

sim

-œ

œ~ -

#œ œ

sim

œ b œœœœ -

#œ

œ ~ lu

#œ œ

sim

œ bœœœœ

œ~

-œ

œ 3bœ œ

tremolo 2+2, 3+2, ad lib

- le

#œ

- le

Vib

#œ

##n œœœœ

Pno.

° Vln &

~ - le

## œœ

Vla

& -

~ -

~ W

- le

B -

to -1 and back

~ œ

œ œ

jah

œ~ -

jah

~ W -

D & F xxxxx

#œ #œ & to +1 /2 and back

~ W -

jah

#œ #œ

œ~ -

accel to +1 /4 tone and decel to original pitch

œ œ -

very long and generous bow, diagonal, cresc and decres along with accel and decel to msp or mst and back, accel to almost +1 /2 tone and decel to original pitch

~ œ

##œœ

~ œ - le

to +1 /3 and back

#n œœ œ

long bow, spazzolato: accel to almost +1 /2 tone and decel to original pitch

jah

~ œ - le

accel to -1 /4 tone and

long bow, spazzolato: accel to almost -1 /2 tone and decel to original pitch

decel to original pitch #n œœ

~ - le

very long and generous bow, diagonal, cresc and decres along with accel and decel. to msp or to mst and back spazzolato: accel to +1 /4 tone sim and decel to original pitch

providing reference to the audience play designated fundamentals, solidly ordinario with sometime former playing blocks as well

jah

œ œ

45 (as in stimme 1) (highest possible)

°? ˙ Aud ¢ 228

w™

Tschüss

° & œ

w™

#œ

(lowest possible) (highest possible)

stimme 1

oaei (progressive)

nœ

& œ

nœ

#œ

(lowest possible) (highest possible)

stimme 1

Bsn.

#œ

nœ

(lowest possible) (highest possible)

stimme 1

nœ

(lowest possible) (highest possible)

stimme 1

nœ

(lowest possible) (highest possible)

stimme 1

& œ

C Tpt

nœ

#œ

(lowest possible) (highest possible)

stimme 1

B œ -

. ÆœJ

. . Æœ œ

œ-

-œ

œ 3bœ œ

bbbb œœœœ

°? œ~ Mar

œ~

. ÆœJ

-œ

. . œœ Æ

-œ

(lowest possible) (highest possible)

stimme 1

œ 3bœ œ

bb œœœ

œ?

œ~

. ÆœJ

œ-

. . Æœ œ

œ-

b œœ œœ &bbœ

∑ _

oaei (progressive)

Tbn

∑ _

oaei (progressive)

nœ

∑

oaei (progressive)

° Hn. &

∑

oaei (progressive)

∑

oaei (progressive)

nœ

∑

œ b3 œ œO oaei (progressive)

(lowest possible) (highest possible)

stimme 1

∑ (lowest possible)

O Gi

¢& ~ œ

Vib

bbbœœœ bœ -

~ œ -

Tschüss,

œ bbœœ

œ~

gi Tschüss,

œ nn œœœ

n# œœœ

{

bœœ bb œœœO n # œœ #n œœ œ

O stimme 1

° œ Vln & ~ Gi

#œ #œ

Vla

~ œ -

nœ nœ

~ œ

n# œœ O

to -1 and back

& ~ œ

~ œ -

œ œ

~ œ

œ œ O

~ W

gi Tschüss,

D & F xxxxx

(lowest possible)

∑ ! (highest possible)

stimme 1

O oaei (progressive)

(lowest possible) (highest possible)

∑

O stimme 1

∑ _

stimme 1

oaei (progressive)

Tschüss,

~ ? W

oaei (progressive)

Tschüss,

œ œ

(lowest possible) (highest possible)

oaei (progressive)

to +1 /3 and back

nœ nœ

oaei (progressive)

œ Tschüss,

~ & œ

∑

(highest possible)

stimme 1

~ -

n# œœ

to -1 /4 and back

∑

stimme 1

Tschüss,

n œœ

to +1 /2 and back

∑_

(highest possible)

(lowest possible)

~ -

oaei (progressive)

Pno.

? ~

oaei (progressive)

(lowest possible)

∑

(highest possible)

_ (lowest possible)

°? Aud ¢

232

X #w ™ -

#w™

˙ -

#œ

° & #œ

w™

& #œ

#œ

jah

bœ

#œ

w™

#œ

#œ ¢

Bsn.

B #œ

C Tpt

Tbn

#œ

& #œ

#œ

#w w

bœœœœ œ

#œ #~

freely decide weather move on to the new pitch or stick with the previous one a little longer

w w

° &

Mar

#œ #~ Al

¢&

Vib

œ b#œœœœ -

œ~ -

# ~ #œ

œ bœœœ œ -

## œœœ ##œœœ

# #œœœœ #œ

{

œ ~

œ b#œœœœ

## œ~ Al

#œ

° &

Hn.

#œ

nœ

w w

nbbbœœœœ

œ ~

bbœœœ bœ

~ œ

nbbbœœœœ -

jah

#b œœœœ

bbœœœ bœ

jah

#œ

#œ # ~ #œ

~ œ

# ~ #œ

~ œ

œœ bœœ

Pno.

very long and generous bow, diagonal, cresc and decres along with accel and decel. to msp or to mst and back spazzolato: accel to +1 /4 tone and decel to original pitch

° Vln & #œ #~ Al

## œœ -

#œ &#œ

? ##œ~ Al

? -

# œœ -

jah

to +1 /3 and back

to +1 /2 and back

œœ

b œœ œ ~ -

#œ #œ

#œ~ -

accel to +1 /4 tone and decel to original pitch

~ œ le

jah

very long and generous bow, diagonal, cresc and decres along with accel and decel to msp or mst and back, accel to almost +1 /2 tone and decel to original pitch to -1 and back

~ œ

#œ #~

sim

# œœ

## œœ

sim

long bow, spazzolato: accel to almost +1 /2 tone and decel to original pitch sim

œ ~

B ##œ~ Al

accel to -1 /4 tone and decel to original pitch

long bow, spazzolato: accel to almost -1 /2 tone and decel to original pitch

Vla

œ &œ -

nœ~ -

to -1 and back

œ &œ -

œ~ -

œ œ

jah

to +1 /2 and back

#œ~ -

to +1 /3 and back

& bœ

bœ

jah

(sing as well while and holding fundamentals and eventually emplying the performative boxes)

w w

#w w

w D & F xxxxx

w w

w™

°? ˙ ¢ 236

Aud

4 4

(highest possible)

#w™

˙ -

#w ™

Tschüss

(lowest possible)

° œ &

Bsn.

C Tpt

#œ

œ #œ

#œ

° & œ

Hn.

bœ

#˙

#œ

nœ

#œ

nœ

#œ

bœ

#œ

∑

∑ !

(highest possible) stimme 1

Tbn

B w w

#w w

w #w

∑

n wO

(lowest possible)

(highest possible)

° Mar & nœ~ Gi

stimme 1

#œ #~

bbb œœœœ -

œœœ œ

## œ~

#œ # œœœ

# ˙˙˙ ˙O

∑

(lowest possible)

Tschüss

(highest possible)

~ Vib ¢& œ Gi

#œœœœ

& œ

{

# ~ #œ

bbb œœœœ

stimme 1

# ~ #œ

œœœ œ

#œ

## œœœœ

O ## ˙˙˙˙

Ó O

#œ

(lowest possible)

b œœœœ

b ˙˙˙˙

(highest possible) stimme 1 stimme 1

? ~

# ~ #œ

œ Gi

∑ O

# ~ #œ

∑

(lowest possible)

Tschüss

to -1 /4 and back

° œ Vln & ~ Gi

œœ -

~ & œ Gi

#œ #~ -

(highest possible)

ord bb œœ

ord

#œ #~

# ~ #œ

œ œ

~ ? œ

∑

Pno.

Vla

Tschüss

bb œœ œœ

∑

bœœ

b˙˙ O

stimme 1

O stimme 1 stimme 1

# ~ #œ

_ ∑ ! (highest possible) (lowest possible)

Tschüss

œ œ

∑

œ œ

˙O ˙

Ó O

Tschüss

(lowest possible)

(highest possible)

# œ~ ?

& #œ

#œ

&œ

# ~ #œ Tschüss

stimme 1 stimme 1

&œ

˙ ˙O

Ó O

∑

_ ∑ ! (highest possible) (lowest possible)

stimme 1

? w w

#w w

w #w

O w

_ (lowest possible)

D & F xxxxx

✶ repeat vocal fragments ad libitum with shi ing speeds (that is accel and decel from one until ve times per q) and add cresc and decres ad lib (max dynamic mf )

✶✶ repeat vocal fragments ad libitum rst using the indicated pitch only, then producing downwards glisandos ranging from short to long durations, always starting from the indicated pitch. e last glissandos must become somehow longer and heading towards the lowest pitch available in your voice range. Once at lower registers, instead of naturally decreasing the dynamic please sustain the sound with almost a crescendo

4 241 4 °

q = 40

3 8

Voice

if male voice falsetto (loco) or ord (8vb) mf

& #w

∑

8 4

✶

ord (steady)

iallah_iallah_....

✶

W uau_uau_uau_...

✶✶

U #W

prr..._prr...prr..._prr..._

Voice

& #w

if male voice falsetto (loco) or ord (8vb)

∑

iallah_iallah_....

uau_uau_uau_...

U #W prr..._prr...prr..._prr..._

Voice

mf if tenor or female voice: (8va)

∑

iallah_iallah_....

uau_uau_uau_...

U #W prr..._prr...prr..._prr..._

Voice

mf if tenor or female voice: (8va)

Bsn

∑ #w

° & #w

Voice mf if male voice falsetto (loco) or ord (8vb)

∑

Voice

if male voice falsetto (loco) or ord (8vb) mf

& #w

∑

mf if tenor or female voice: (8va)

Voice

Tbn

iallah_iallah_....

mp shi ing speed

∑

Voice

if male voice: ord (8vb) or falsetto (loco) mf

#w Perc 2¢&

uau_uau_uau_...

iallah_iallah_....

∑

W uau_uau_uau_...

iallah_iallah_....

W uau_uau_uau_...

ord (steady) pp

iallah_iallah_....

W uau_uau_uau_...

ord (steady) pp

iallah_iallah_....

if male voice: ord (8vb) or falsetto (loco)

mf ° # w Mar &

W uau_uau_uau_...

∑

iallah_iallah_....

W uau_uau_uau_...

U #W prr..._prr...prr..._prr..._

U #W

prr..._prr...prr..._prr..._

U #W

prr..._prr...prr..._prr..._

Voice

if male voice: ord (8vb) or falsetto (loco) mf

#w Pno { &

∑

sing (also 8vb) p

∑

ord play

& #w

mf sing p

-˙ ™™™

iallah_iallah_....

W uau_uau_uau_...

ff mf

∑

∑ w

W uau_uau_uau_...

ord

#w-

W mp

iallah_iallah_....

☨

#œ R

Voice

iallah_iallah_....

☨ spazzolato with shi ing speeds (accel and decel, from one until six bowing per q) add cresc and decres (max dynamic mf ) MST>MSP>MST, etc, ad lib mp pp

Voice

ord (steady) pp

-˙ ™™™ mf p

☨

œ W R

prr..._prr...prr..._prr..._

U #W prr..._prr...prr..._prr..._

ord

U #W

mf mf mf

U #W

uau_uau_uau_...

prr..._prr...prr..._prr..._

Vla play

B #w mf

˙™™™ ff mf

☨

r #œ

∑ ff

play + sing

∑

#˙- ™™™

œ W R

mf p

mf mf

☨

ord

#W m

sing, if male voice: ord (8vb) or falsetto (loco) mf

#w-

iallah_iallah_....

ord Voice

∑

☨

W uau_uau_uau_...

# Word (steady)

iallah_iallah_....

☨

ord

W uau_uau_uau_...

ord

U #W

ord

U #W prr..._prr...prr..._prr..._

Cb play

? #w m

☨

∑

ord

iallah_iallah_....

D & F xxxxx

☨

uau_uau_uau_...

ord

U #W prr..._prr...prr..._prr..._

49 wald teufel

ææ _

roate in air

° Perc. /

∑ recorders and pio pio

· ÷ ææ Aud ¢ _

unwrap alluminium paper (percussion 1 & 2 only)

ææ _™

Œ o

ffff

ææ _

æ Yæ

)

U )

(mp)

U ∑ o

ffff

metal drum

° Perc 1¢ /

· æ Yæ

o U ∑

ffff

D & F xxxxx

Basel, 13 April 2018

Finalino 248