SENZA by www.oscarbianchi.com

Oscar Bianchi SENZA for recorder and violin

score

Oscar Bianchi SENZA for recorder and violin

commissioned by Karin Hellqvist and Anna Petrini with support by the Swedish Arts Council

score

First performance: February 6th, 2018 Helsingborg, Sweden

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

Solo Violin extra (See also general string legende) 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. VIOLIN sp = sul ponticello Up-bow doublestharmonic trill on III/IV, played with varying degrees of sul pont. Distorted trills always sul pont exploring layers of overtones – = sul tasto bring out relative of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very mspdifferentiation = molto sul ponticello fast and regluar, alternating upper and lower trilling fingers (1/2 with 2/3). Play where possible with fast mst = molto sul tasto and fluid up-bow gesture. Harmonic nodes or contact points are given in the part/score. A chart below clb = col legno battuto shows actual sounding pitches of the harmonics. Exact pitches are not critical, and it should be added that xv = extreme vibratosul (very vibrato, minimum fifth wide) Glissandi are very fluid. The short-note interjections of pontwide creates additional layers of overtones. w.n. « white noise » :single tonelos, bow right over chords, the bridge tones, open strings, also chordal harmonics, trace an elongated melodic line which is at times reflected in the orchestra. 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)

highest pitch available Part Two Re-tune to D-natural. Restrained but expressive. Five fragments of an extended melodic line thread through the orchestral textures. bow ordinario The line is always in motion drawn out of and disappearing into silence. bow over pressure

The overall effect creates a quasi-static multiphonic. Double, triple or quadruple chords combine open strings, open-string/harmonic trills and stopped tones. Fast string crossings - explore with varying bow bow extreme over pressure 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 and regular. Build up playing all three strings. Bring out the harmonics more than the open strings. Noteheads in brackets add last and play less often. « Harmonic glissando » : gradually move from lightly touched to pressed.

Natural harmonics: Natural harmonics:

« 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)

to Anna Petrini and Karin Hellqvist

SENZA Oscar Bianchi 2016–2017

for recorder and violin

ca 40'' ca 40'' ca 30'' mini plexy tremolo tight

mini plexy air sounds

mini plexy sparse sounds

✶

✶✶✶ ✶✶

° Small metal plexiglass /

√ ∑

mini plexy tremolo tight

mini plexy air sounds

mini plexy sparse sounds

✶✶✶

Small metal plexiglass

¢/

✶

✶✶

√ ∑

(✶) slowly enter from the back stage while shaking the mini plexiglass (a small brass plate, dimensions 0.3x100x200 mm) . Sporadic gestures, (✶✶) intensify frequency (✶✶✶) blow into the mini plexy, violin holds a little longer in order to cross fade the beginning or recorder's written part

ngering tremolo ✶✶

A q = 60

œ ° 2≈ Ganassi Alto Recorder in G & 4 ˙

✶

3 œ™ 8

≈ 2 ≈‰ ‰ 4˙

3 œ™ 16 J

2 U 4 ˙

3 œ™ 8

· · ord ≈ ˙ Â 3 œ™ ≈ ‰ ‰ 42 C 8

3 16

≈ ≈ 42

sound 1 sound 2 (✶✶) change ngering between sound 2 and 3 with modulating speed (1 very slow, 5 very fast)

sound 3 (✶) coronas indicate to ‘’hesitate’’, to hold a bit before performing the glissandos ✶✶ III c. msp

reversed seagull eﬀect ✶

ord 3 III c.

Violin

2 ¢& 4

∑

3 8

∑

O™ œ™

2 4

≈ ∑

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

U 3 ≈ && O 2 ≈2nœ œ™ 16 bO 4

3 8

∑

Oœ ™™

f fp f quasi (✶✶) abruptly perform as many oscillations as possible within the given time

2 4

≈ ∑

3 8 ≈ œO

3 16

≈ ≈ 42

B andante, tempo libero ✶ descending gliss ✶✶

≈z

ord

œ ° 2≈ &4 ˙

3 œ™ 8

≈ ‰

‰

2 4œ

3 œ™ 8

3 16

≈ ≈ bœ

~ ≈ mv ✶✶✶✶ ™™™™ 2 4

strings tremolo ✶✶✶

≈ 2 2 ¢& 4 nœ

· œC

Â 3 C nœ 8 œ™

· III c. O ™™ nœ ##œ

œ Ö xv ¯¯¯

ord arco ord msp

#>œ œ

>œ œ

, mst ✶✶✶

✶✶✶✶

>œ œ R 3 ≈ nO 8 nœ

3 16

≈ ≈

® o

mp f (✶✶✶) tremolo between strings with modulating speed (1 very slow, 5 very fast)

pppp

f ff ff

(✶✶✶✶) mv: molto vibrato xv: extreme vibrato while arco towards overpressure

ppp

(✶) set a tempo suitable to comfortably perform the descending glissando (✶✶) Each individual glissando should never have the same exact duration. erefore recorder must signal each beat to the violin with the exception of upbeats (violin woud lead them) (✶✶✶) : autato (✶✶✶✶) harmonic glissando starting from the highest pitch available dt ✶

extremely fast bisb

r ord shorter

JJ J œ

ord

bœ

#n œ œ

œ nœ

longer

° &

œ bœ ~

f sub

œ ord

msp

ord xv sv msp ord

<n> œ œ

#>œ œ

sv sv msp ord , mst

>œ œ RÔ

Ÿ~~~~~~~~~~~~

œ œ RÔ ®

‡

>œ œ

msp

#œ œ œ œ

¢&

II c. msp

œ bO ™™

&&&&&&&

bjO bj O sfz

ppp

ff ppp

p sub

o ff

(✶) dt: extremely fast double tonguing

O & B xxxx

a tempo, q = 60 dt dt ngering tremolo

ord + z longer

œ œ

œœ

ord

œ bœ bœ

Âœ

· 5 bC œ 4

° &

‚œ Â œ ™ ≈ C

Â œ C

· œ C

3 fz sub

II c. ✶ III c.

~ œ OO™™™™ Ö

~ ord OO ™™™™

arco ord III c. msp

® bO ™™ o f

&&&&&&

œ œ

¢&

® o o f quasi

quasi

œ~ col legno

~~~~~~~~~~~ arco ord msp ✶✶Â ✶ ✶✶ liss g . rr ® bO i b O ™™ O o o pp f

&&&&&&&&&& ✶✶✶✶

· #œ

5 4 ‰

Â œ

Â ‰

„ œ o

&&&&&&

œ pp

œ ≈ o

#œ

(✶✶✶✶) as before but with modulating speeds (✶) harmonic glissando: starting from the highest pitches available, glissando the from lightly touched to press, while bow pressure changes from ordinario to overpressured. (✶✶) rapidly alternate between T and P (ast and msp) (✶✶✶) irregular gliss: while glissando constantly variate the interval between the two strings ad libitum (favoring 6th, diminished 5th and 3rd)

a tempo

tempo libero

tempo libero dt dt

1 ord shorter longer

ord

œ ° &

4 bœj 8

œ œ

bœ fp

4:3 fz sub

arco ord

shorter and faster msp, all punta tremolo longer

◊ 5:3 O™

˜ -œ ≈ œ

#œ

œœ

b -œ œ nœ œ

- ≈ µ˜ œœ œœ

II c.

œœ

µ-œ ≈ œ

4 8J

‰ ¢&

O ‰ ‰

® œœ

pp fz

O & B xxxx

p f

molto rit. r mostly ✶✶

C q = 120

>-œ

° &

‰ œ

>-œ J

‰ œ

>-œ J

>-œ

(h)

+ ¯ sound +¯ + + ¯ + ¯ + ™™û #g œ™™û # g œ ‰ ® Ù

˙™

4 4

‰ œ

noise

4 4

f (f)

f p

>œ-

ord xv

uneven gliss ✶

˙ #œ

≈™

¢& ® œ

#>-œ ¯¯¯ ‰ ˙™

>œ-

J ˙™

#œ R

4 4

#œ

4 4

#œ œ

#œ

f (✶) imitating recorder gliss qualities

(✶✶) with labium closed open it fast once pitch is produced then slowly close it again in order to obtain the downwards glissando

D q = 104 Labium tremolo, ''white noise''

dt t. z

t. z

labium tremolo throat z

throat z

tremolo frequency

32 œœœœœœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœ ° 4ææ ææ ææ ææ ææ æææ 3 3 5 æææææ &4 4 8 æææ 16 œ

œœœœœœœœœœœœœœœœ 4 æ ≈ 4 æææææææ œ

fff

36 air pressure

max 4 /min 4 6

6 ™™

6 3 r R 4 6 ™™

6û

6 ™™

≈ 44 6

3 5 02&&&&&&&&&& 8 ™ 16 6

r 6

O >œ-

scrape sound 1

II c.

4J ¢& 4

‰ b) ™

) 3 4 )™

~ 3 8 O™

5 16

œ >œmsp,> alla punta œ b >œ b >œ b>œ æ æ æ æ æ 44 ‰

scrape sound 2 ''tango'' scrape ✶

II c. ?

III c. 3

‰ - - - - - - b- _

5 f

✶ beyond the bridge

O & B xxxx

5 extremely fast bisb or wide vibr dt

labium tremolo extremely fast bisb t. z or wide vibr

1™

1 t. z

t. z

° æœ æœ æœ æœ æœ œ œ œ œ œ æœ æœ æœ œ œ œ 3 æ æ æ & æ æ æ æ æ 8 œ™

3 œ ≈ 3 œ™ ≈ 16 8

t. z

œœœœœœœœœœœœœœœœ æ æ æ æ æ ææ ææ ææ 3 4 2 16 nœ ≈ 4 æ æ æ æ æ 4 f

f p

fff

6™™ )

3 8 6™

----/

3 ≈ 16

3 8 6™

3 16

≈

4 4 6

6 2 R 4

6 ™™

œ >msp, alla punta O bœ > #œ >œ > > 3 3 ≈O 3 4 ≈ œ 16 8 æ æ æ æ æœ 16 œO 4 arco ord I c. msp

~~~~~~~~~~~~~~ œ Â ss ✶ O3 . gli r r i 8 œ™ œ™

&&&&&&&&&&&&&&&&&&& ¢ & bO ~

scrape sound 3

&&&&&

II c.

2 4

‰ ‰ b1 ! J

3 5 ff

✶ irregular gliss: while glissando constantly variate the interval between the two strings ad libitum (favoring 6th, diminished 5th and 3rd) = as fast as possible

labium tremolo t. z

t. z

t. z dt t. z

t. z

° 2 æœæœæœæœæœæœæœæœ 4 & 4 æ æ æ æ æ æ æ æ 16 œ

œœœœœ œ œ œ œ œœœœ œ œ œ œœ œ œ ææ ææ ææ ææ ææ ææ ææ ææ 3 ææ ææ 4 4 œ4

œ œ

œœœœœœ 3 ææ ææ ææ ææ ææ ææ 5 8 16

≈ /

f mf

mf fff

2 r / 4 6 ™™

4 6 16

4 4 6

6 ™™

6 3 r R 4 6 ™™

6û

stringendo

2 ™ ¢& 4 b1J 1

4 16 1

3 5 02&&&&&&&&&& 8 ™ 16 6

~ O

allargando

“

4 O&&&&&&&&&&&&&&&& ~ 4

III c. # O O O # O# O O O #O O OO O O # O O O # O #O ® 3 msp O O 3≈ O O #O O # O O 8 bO ™ O#O 4 O O#O #OO

5 16

≈ 6

œ >œ > œb >œ b >œb>œ ææ æ æ æ / msp, alla punta

5 3 p

6 6 ff

6 6 3 6 ff quasi

O & B xxxx

e = 82 ca

E free ✶ ord + rear palate z min 12''

G≤

G≥

G≤

G≥

G≤

≤ 9 ≥ ≤ ≥ 16

G≥

hold breath

°/

∑

5 ff

≥ ≤

, ≥≤ ≈ 8 æ> æ æ æ æ æ æ æ Œ 5œû˙™™û 4 ææJ ææ o

3 16

= exhale white noise 2 = inhale white noise 1 min 12'' rich bow

G≤

hold bow still

¢/

G≥

hold bow still

∑

G≤

G≥

∑

dry

≥≥≥≥≥≥≥≥≥ 9 --------- 8 ≈≤ ™ 16 4

G≤ G≥ G≤

™ ≥≤ ≥ ≥ ≥ ≥ ≥≤ ≥ ≥ ≥ ≥ ≤ ≥ 3 16 æ J J æ 3 9 9 o fz mf

3 pp

≤ = up-bow white noise: sandy, grainy but soothingly dense, as if a raucous inhale ≥ = down-bow white noise: complementary to noise 1, as if a releasing exhale (✶) free lenghts: each gesture allways variates in lenghts according to breathing possibilities and choices, ad libitum

q = 60

≥ pitches

... . U 58 . . . ® 4 ≤4 °/ 3 16 æ æ æ æ æ æ æ 4 mp

≥

45 8

4 5 2 3

4 3 2 1

U ≤ 4 5 ™ 4 mp

≥ 10

4 8

5 16 6 5 4 5 4 3 2

a.s.

25 16

4 4

4 &4

5 5 4 32

1 f

™ 2 8

U ≤

8 ppp

U ≤ 6 2™ 4

≤ 4

4 mf

≥≤

U ≤ 6 4™ 4

ppp mp

ppp

'' f ''

9 '' f '' 5 diﬀerent white noise sounds pitches msp

U ® 4 ≤4 4 mp

3 ¢ / 16

6 diﬀerent white noise sounds

≥≤

4 8

5 4 3 4 3 2 1

U ≤ 52™ 4 mp

≥≤ ≤

45 8

4 5 2 3

4 3 2

52 16

™ 24 8

3 3 2

a.s.

≥≤

U ≤

221 16

3 ppp

& ppp

pp f

4 4

8 ppp

7 5 diﬀerent white noise sounds

9 mf

'' f '' '' f ''

O & B xxxx

4 4

F q = 96 = double tonguing . . (no z) . . . . . œ œ .. . .. . . œ . œ. . . . ord œ œ b œ œ b œ . . 68 b œ b œ n œ . . œ œ. . œ. ° 4 bœ. œ b œ œ. ≈bœ. n œ . nœ. œ. . #œ. bœ. œ. ≈ . b œ œ. œ. nœ. œ . œ nœ. bœ. œ #œ. ≈nœ. œ. b œ œ. b œ . #œ. ≈#œ. . b œ œ. nœ. œ. bœ. n œ bœ. ≈ bœ œ bœ #œ. nœ . &4 œ œ. œ nœ. æœæ p

5 p f

pizz secco

. . . # œ. œ. . œ. b œ. œ. œ. œ. n œ. . . n œ # œ œ. b œ. . œ. . . . œ b œ . . . . . œ œ . # œ # œ n œ . . . . . bœ n œ œ b œ n œ .œ œ. . . . . œ #œ . œ. bœ. #œ. #œ nœ. . #œ nœ. œ. œ. #œ. œ. œ œ . bœ. . #œ œ. nœ. #œbœ. œ. #œ nœ nœ . œ. ≈ . 4 # œ œ . ≈ ≈ œ ≈ œ œ #œ œ ¢& 4 p

p f

marcato percussivo

72 œ. ° bœ. bœ. #œ. & æ æ æ

œ. nœ. bœ.

. .œ œ œ.

ord . ribattuto . b . > . # >. . n >. . b œ. >. . . . b >. œ .> >. b > . > . . œ . . b œ n b > bœ. b>. >. > #> ≈ >. n>. . œ bœ. b>. n> nœ. n>. œ æ œ. #æœ œ. > œ. ≈ ≈ b>. æ æ æ #œ æ æ æ æ æ æ æ fz etc. fz in f

œ.

œ. . ≈ #œ

. #œ. bœ. # œ

œ. . œ

¢& 3

œ œ msp œ œ œ bœ #œ ord b œ n œ n œ # œ n œ b œ #œ #œ3 œ œ œ œ œ œ œ n œ œ æ nœ. ≈ ≈ #œ œ bœ #œ œ œ ≈ nœ æ æœ bæœ œ œ ≈ # œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ arco

5 oating gliss

msp

‰

bœ#œ œnœ œ œ

4 4

oating gliss, ✶

ord

#œ ‰™ …

a.s.

-000

bœ œ 3 œ œ œ 5 #œ ≈ #œ æœ æ æ æœ œ 16 ≈ #œ œ #œ æ æ æ æ æ æ æ

#œ

0 2

msp

œ #œ#œ bœ bœnœ reverse sound #œ œ œ æ œ ¢& æ æ æ æ æœ œ œ™

4'' ca.

0 2

. b œ. . . . . . b œ. b œ. . . # œ . b œ b . . œ > œ > b œ . . > ° nœ. #œ. >. . n > . b œ nœ. nœ. b>. > . >. nœ. œ. œ. 5 œ. œ æ b œ . . . œ b> n> ≈ b> . ≈ & æ æ æ æ ≈ > æ æ ≈ æ æ 16 æ æœ æ æ æ æ æ #æœ æ æ 5 75

-0 00 œ

≈ ˙

4 4

V.S.

6 (✶)imitate recorder's gliss as if into a chase f

O & B xxxx

(inhale)

q = 82

≤ ≥ .> g™ æ æ æ æ æ æ . b ° 4 bœ œ œ bœ nœ bœ nœ œ b . #> . œnœ œ œnœ œ bœ nœ œ #œ œ œ#œ œæ œæ#œæ œæ bœnœ > >. > & 4 æ æ æ æ #æœ œ œ#œ bœ ≈ ≈ nœ œ œ nœ nœ bœ nœ ææ ææ æææææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 5 3 5:3 3 5 f 6

≤ œ bœ ≈ g™ ‰ æ æ (ff)

(ff)

7:6

non legato, articulate each note arco

#œ

bœ

bœ 1~ RŒ

nœ œ œ bœ

#œ

œ #œ # œ

œ œ bœ œ bœ

4 ¢& 4

™™ œ #œ

> >œ ™ #>œ ™ œ b œ ™™ œ

#œ #œ bœ œ œ #œ 5

5:3

ord ord K Ö Ö Ö ord Ö r r ~~~~~~~~~~~~~~~~~~ ≥. . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ . Ÿ . Ÿ . Ÿ b n > Ÿ~~~~~~~~~~~~~~~~~~~~~ > . 82 b œ . æ æ æ > > n O O > O æ æ æ b œ n œ > b O ‚ O (4) b > > b>. . ° b>. . b > >. œ œ nœ ≈#>. . n œ . n œ > . ® ≈> ≈ bœ œ œ ® œ™ nœ œ & > #œ nœ > ˙ œ ˙ œ ‰ ˙ ™ bœ ˙ œ. œ. œ æ ææææ 5:3 ✶ (4)

5:3

mf ff p ff (✶) overblow to obtain the multiphonics

f fz

“ ord ~~~~~~~~~~~~~~ arco # IIO c. Â

ŸŸ~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~ ~ œ ~ OO™™

O™

œ ·

œ ¢&

‰ œ #œ

‰

· arco ord msp

j œœ ™™ J

~~ ~#~ #œœ ™™ ™ ~ ~ b ‚ ~ b ‚™ ~

‰ # œœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“ O™

œ™ j #œ ™ ##œœ #O J

O bœœ

5:3 mf mf

ê ff

mf ff

fff

O & B xxxx

9 (no z) <Ÿ>~.ord Ÿ~~~~~~~~~~~~~~~~~~~~~~~ . . œ. . . n œ. ord > Ö . . n b5:3>. >. œ. œ. . . 86 b > > b œ b . . . > œ œ n œ b œ . . . . n > œ > b œ n œ ° #œ ≈ . bœ. bœ. nœ. ≈ >. n>. œ. bœ. œ. œ. nœ. n . > . #> b>. n> b>. ‰ œ . œ œ ≈ (4) j nœ j . œ œ œ & >b>. b> œ > ææ #œ nœ œ™ ææææ æ æ æ æœ. 5:3 5:3 æ æ æ æ æ æ æ æ mf ff p 5:3 5:3 fz

5 fz in ff

arco ord

· ·

~~~~# œœ~~~~~ ~~ œ™™ ~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~ œ~~™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~#œœ ‰ ¢& ‰

œœ ™ ™

‰ #˙˙

‚ # œœ

fff

‰ bœ nœ

· œœ

##œ™ œ™

#>œ œ # œ #œ > nœ œ ™

‰ ‰

œ æ

5 fff mf

œ.

° bœ. ≈ œ. & æ æ

œ.

bœ . œ. . . . œ œ. œ b œ œ . b œ n œ . œ œ b œ œ n œ b œ . œ . œ æ æ œ #œ bœ . r . œ . œ #œ. bœ. . œ. #œ nœ œ≈ ≈ œ œ nœ bœ bœ #œ œ œ œ bœæ bœ æ æœ bæœ bœ ≈ œ # œ æ æ æ æ æ æ æ æ æ æææ æ æ æ æ 3 5

3 5

arco ord

nœ æœ #æœ œ œ b œ n œ #œ æ ¢& 5:3

‰œ œ

‚ œœ J

‰ bœœ

· # œœ ##œœ ≈

‰ ## œœ ™™ # œœ J

n œœ

‚ œœ ™™

‰

arco ord msp

nnœœ ™™

##œœ ≈

##œœ ™™

&& bO

ê f

f quasi

ê pp f

O & B xxxx

f quasi

ê pp

f quasi

q = 60 M

Ö ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 92 Ÿ (4) O ° & n˙ œ ˙

ord ord Ö Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b OO OO ‰ ˙ ™ bœ œ œ

✶

ff = overblow M = multiphonic (✶) overblow to produce the multiphonics

4 4

II c. III c.

&&&&&&&&&&&& ord

6 III c.

4 O

b˙O ™™

¢& ˙

˙O

O™ o ff

≈

G M

~~~ ° 4 œ œ(7 œ6, 0,œ1)œ œ œ œ &4

≈

fff

~ œ3 œ œ œ œ œ œœœ f

O™ O

4 ¢& 4

‰ o

≈ Œ

Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. ˜ œ # œµ œ ˜ œ # œµ œ ˜ œ # œµ œ ˜ œ # œµ œ 6

f mp

O & B xxxx

ord

b >.

° &

≈ æ

>. æ

b >. b>. æ

5:3 fz in ff

Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. µµ Oœ. nn Oœ. ˜ O. # O. µ O. n O. µ O. ˜ O. # O. µ O. n O. ˜ O. ˜ œ# œµ œ ˜ œ# œµ œ ˜ œ# œµ œ ˜ œ# œµ œ ˜ œ# œµ œ ˜ œ# œµ œ ˜ œ# œµ œ ˜ œ # œ µ œ n œ µ œ˜ œ # œ µ œ n œ˜ œ

¢& 6

6 3

° &

~ œ3 œœœœœœœœ

≈

~~~ #œ nœ(7 6,œ 0,œ1)œ œ œ œ fff

3 4

O™ O™ . . 7 n Oœ µµ Oœ bb Oœ. µµ Oœ. Oœ. œO. ##œOnnœO #œO##œOnnœO##œO ‰ ¢& . . . . . . 5

n OO

3 4

‰ irr. gliss

nO ™ O™ p

✶ irregular gliss: while glissando constantly variate the interval between the two strings ad libitum (favoring 6th, diminished 5th and 3rd)

™ œ ° 3 #Óœ œ œ œœ œ œ & 4

3 8 ≈ æ

. . . . . µ Oœ. ## Oœ. ˜˜ Oœ. Oœ. µµ Oœ. Oœµµ Oœ. ## Oœ. ˜˜ Oœ. nn Oœ. µµ Oœ. Oœ µµ Oœ. ## Oœ. ˜˜ Oœ. nn Oœ. µµ Oœ. Oœ µµ Oœ. ## Oœ. ˜˜ Oœ. nn Oœ. µµ Oœ. Oœ nn Oœ. ## Oœ. nn Oœ. n O. # O. n O. #O. O. n Oœ. Oœ. Oœ. nn Oœ µ #œ #œ nœ# œnœ 3 3 8 ¢& 4 6

5 7

#5:3 >.

O & B xxxx

b>.

n >.

b >. . b> 5 8

Oœ. µµ Oœ. nn Oœ. ˜ O. # O. µ O. µµ Oœ. nn Oœ. ˜ O. # O. µ O. n O. ˜ O. n O. µ O. # O. ˜ O. Oœ. n Oœ. ## Oœ. nn Oœ. n O. # O. n O. # O. ˜ œ# œµ œ ˜ œ # œ µ œ n œ˜ œ n œ µ œ # œ˜ œ # œ# œ n œ #œ

5 8 6

6 3

Ö ord Kr Ö ord M~~ 3 n > Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ (7 6, 0, 1) ‚ O (4) O ° 5 œœœœœœœœ 4 bœ œ œ ® & 8 œ œ™ nœ œ œ 4

~ œ3 œœœœœœœœ

≈

100

6 mf

p fff

# OO ™™

ord Ö Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #O O™

b O. . . . II c. 5 nœ µµOœ bbOœµµOœbOœ. œ™ ✶ ¢& 8

. . #n OO Oœ BB Oœ ## Oœ. µµ Oœ. nn Oœ. BB Oœ. irr. gliss

#O #O

œ 44 œ™ J

œœ ™™ 6

5 fp f (✶) alternate between third and sixth harmonics

or sim.

œ 5 4

102

° &

œ #œ œ œ œ#œ œ nœ p

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ nn Oœ BB Oœ ## Oœ µµ Oœ nn Oœ BB Oœ

¢& 6

6 ppp

or similar

103

° & œ#œœœœ#œœnœ

œœœœœ#œœnœ

>. b >. b >. 1 5 4 3 b. >. 44 bœbœœµœœœœœ 16 >. >

fff

œœœœœœœœ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µO white nosie (on the corpus - tonelos / opp on the bridge)

¢& ‰

3 16 -™ p

∑

4 4

˜O

O & B xxxx

µ˙

Ö ord Ö ord ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ö Ÿ r Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b b O > 106 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 O b O ° (4) bœ Œ & ˙ œ ˙ #˙ #œ ˙ œ ˙ œ ‰ ˙™ ✶

split recorder, keep head only

2 4

ord ord Ö Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 #O O

<Ÿ>~~~~~~~

&&&&&&&&&& II c.

≈ ≈

III c.

‰

Œ Œ

¢& ˙ ™ #O

µœ

✶

b˙™ O™

˙O

œ™™ O ™™

2 4

˙ III c. 6

(✶) alternate between third and sixth harmonics

H e = 62 head tremolo ✶

(start slightly later if necessary) 9:10

Paetzold Contrabass Recorder in F

110

° 2 œ™ &4

≈ œ 6 ˙™ 8

j œ

9:10

?‰

œ. fff sempre

œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ.

(✶) extremely fast and loud tremolo: frantically opening and closing the head's opening

“ allargando stringendo

O #O ✶

# ˙˙˙ 2 ¢& 4 #˙ fff sempre (✶)

, ˙™ 6# ˙#˙˙ ™™™ 8

#O O

O O O O

#O O #O O #O O

#O O

#O O #O

#O O O

#O O O nO#O

O #O O #O O#O ff

O & B xxxx

O OO OO O

O #O #O O O

O O OO O

O O O

O≈ ‰

‰ /

(9:10 = 8:8) e = 56 ipnotico, pressoché immobile ord multiph 1

multiph 2

113 embouchure

+ ¯ ¯ °? 4 + 8 œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >. . . . . >. . . >. . >. >. . >. . . >. . . . . >. . . . . . . mf

+ ¯ œœœœœœœœœœœœœœœœ . >. . . . . >. . . >. . >. >. . >. . œœœœœœœœœœœœœœœœ . >. . . . . >. . . . . . . . >. . pp ff

medium size plexiglass (0.2 x 50 x 150 cm or 0.2 x 50 x 100cm)

shake

4 ¢/ 8 pp

multiph 3

ord

ord multiph 4

119

+ ¯ ¯ °? + 7 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. 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. 16 > > > >> f > > > > > > > > > ff > > > pp pp

7 16

¢/ pp

poco più lento, e = 60 voice (humming pitch inside while playing) rythmical, measured

rit. e = 68

x 2 or 3 harmonics glissando (tremolo perfettamente misurato)

123 °? 7 ¯ j æ 4 16 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ œ œæ œææ œæ . >. . . . . >. . . . . . . . pp p

ææ œ

‚ ‚ ‚ ‚ ‚ ™™ œ œ œ œ œ æ

‚ œ ææ

‚ ™™ ® œ™™ ææ

‚™ œ™ ææ

‚ ‚ œ œ æ ææ

# ‚ ™™ œ ™™ ® ™™ ææ

small plastic plexyglass

shake to let it whobble prefectly measured tremolo

2 j æ 4 - - 3 - - æ- ææ- æ8

7 ¢ / 16

last repeat only

ææj -

ææ -

ææj -

æ ™™ æ-

Œ ∑ p

O & B xxxx

∑

™™

ca 30''

ca 30'' standing up ca 40'' standing up

Small metal plexiglass

mini plexy air sounds

129 mini plexy sparse sounds

∑

Small metal plexiglass

mini plexy tremolo tight

¢/

∑

O & B xxxx

mini plexy sparse sounds

∑

Rome, 9 December 2017

mini plexy tremolo tight

°?