Demonic Animal (2021) for fl, cl, pno, vln, vla, vc by Panayiotis Kokoras

Panayiotis KOKORAS Demonic Animal

for flute, clarinet, piano, violin, viola, and cello

2021

Panayiotis Kokoras Demonic Animal for flute, clarinet Bb, piano, violin, viola, and cello

Commissioned by Ensemble Synaesthesis

Duration 8’ 30 minutes

Performance Notes General -

The virtuosity required for the piece may be called ‘La Virtuosité du Son’. The musician has the task to make sounds and not to play sounds. The score works rather as a manual, which instructs the performer, how to produce and manipulate the sounds required for the piece. The notation doesn’t imply necessarily the sound produced. The written note does not always correspond to the one that is sounded. The performer should follow the written note regardless of the sounding result. The change from one sound type to another should not be executed at one instance (unless indicated) but a ‘transition time’ should allow the sound to be shaped. This transition time is important and creative tool for the interpretation of the piece. Emphasis should be given on the precise production of the variable sound possibilities and the right distinction of one to another in order to be able to convey the musical ideas and structure of the piece. The compositional method as an ‘Écriture du Son’ which is based on sound-to-sound structures, on transformation strategies from one to another as well as on functional classification sound models. The significance of the diatonic interval, harmony and melody ceases to exist. The music is the sound. ***

Besides the in-score descriptions of the performance notes a complete catalogue of detailed audio/video examples is provided upon request by the composer. This is in order to give to the performer a better insight on how to produce each particular sound, which is so crucial for the piece. For detailed performance notes, please refer to the online video demonstrations. Below you will find an index of the audio/video performance notes by measure numbers: Moreover, a reference studio mix of the piece can be provided upon request.

FLUTE - Sound Lexicon Audio and Video Performance Notes for Flute

Clarinet in Bb ULTRA THIN SYNTHETIC REED You will need to use a special ultrathin synthetic reed. Please email at <email@panayiotiskokoras.com> STAFF - The top section is the reed space, which displays the position of the lower lip (from tip to shoulder) and the pressure against the reed. The closer to the tip the higher the sound the closer to the shoulder the lower the sound. The thicker the line the looser the lip, the thinner the line the more pressure is applied to the reed. The more the pressure the higher the pitch and less roughness to the sound. The less the pressure the lower the pitch and more roughness to the sound. - The seven lines middle section indicates the clarinet’s fingering. - The lower section of the staff provides a visualization of the sound to be produced. The vertical axis represents frequency and the horizontal axis time. Generally, the coloring represents loudness in terms of the frequency from black for the loud frequencies to white for silence. The patterns displayed in this section provide an arbitrary visualization of the sound to be produced such as high/low, bright/dull, ordered/chaotic, coherent/erratic, smooth/coarse, soft/raspy, tonal/noisy, etc. In addition, a number of onomatopoetic and/or echomimetic words/letters aiming to represent or imitate a sound or its context such as aggressive, peaceful, mournful cry of pain, mental and physical suffering, sorrow or pleasure.

REED ANATOMY The vamp of the reed is notated in five distinct areas: tip, corner, heart, central and shoulder. Each area is capable of producing a wide range of sounds described below.

Teeth reed harmonics

Non-touch whistle

Teeth shake wobble clap

Tip Slap

Bellow sound

Slap

Heart, harmonics

Flop sound

Corner Lip

Central, harmonics

Tip Clack sound

Shoulder, Grunt / Groan Sound

Non-touch Clack sound

Lip sputtering

SHOULDER: GRUNT SOUND Square note-head. The lower lip should touch the ligature. Blow from the diaphragm and let the reed to swing inside the mouth cavity. A low pulsated rough sound should be produced. It also be combined with slap-tongue at the onset of the sound. HEART: CLACK SOUND Square note-head. The distance between the lower lip and the heart of the reed should be wide enough to create the clack like sound as you blow. Blow a narrow air stream, the stronger you blow the louder the clack sound. Also, the lower the fingering/note you play the slower the clack sound. Therefore, by changing fingerings you can control the speed/ pitch of the sound. CENTRAL: GROAN SOUND Square note-head. The sound is grainy with reminisces of a guttural sound made by an animal. It could also be combined with singing (right).

TIP: CLACK SOUND The space between the lower lip and the tip of the reed should be wide enough to create the clack/slap like sound. Form the lips to create a narrow air stream, the stronger you blow the louder the clack sound, the space between lower lip and reed also affects the quality of the clack sound. Also, the lower the fingering/note the slower the clack sound. Therefore, by changing fingerings you can control the speed/ pitch of the sound. CORNER: CLAP SOUND Moon note-head. Touch lightly the lower lip at the tip/corners of the read. By lightly touching the reed, as it is vibrating you smooth out the percussive quality and the pulse sound warmer and less bright/ clunky with no transients. Although the air stream might be continuous the resulting sound might have interruptions. The distance between the lower lip and the reed as well as the air pressure affect the sound. The closer the lower lip to the reed the buzzier the sound. The further the distance between lower lip and the reed the more clap like the sound. Sound Lexicon Video Performance Notes for Clarinet Bb

iii

PIANO INSTRUMENT PREPARATION Spice Shaker/ Grinder 2x5 inches, 5x13 cm

Large Glass Marble 2 inches/ 5cm diameter

One corner should have a little bit of rosin applied with a bow and used from b.125 to end

III

(c)

(b)

(a)

PIANO STAFF The piano clefs with two lines staff, figures bottom, indicate inside piano. The two lines (a) define the two extremes of the piano, front to back or left (lower line) to write. The space from bottom to top line provides a proportional space from front beginning of the string to back end of the string; or left lowest key/string to right highest key/string. An extra indication about the specific string, register or frame is indicated with roman number as Frame I, Frame II, III and IV, see image (b). The vertical piano (b) clef indicates movements longitudinal to the string(s) like slide guitar. The horizontal piano clef (c) indicates movements vertical to the strings, like harp glissando. The two lines define the lowest string at the bottom and the highest string at the top. NOTES: The depth of the movement toward the back of the board should not exceed the length of the performers arm from the front of the piano. In case the piano’s frame constrains the gestures inside on some strings you can chose the closest most convenient position instead. On the strings, (front-back) longitudinal

On the strings (left-right) harp gliss

Left-right/ up-down, circular motion

Soundboard/ stress bars

between bridge and castiron frame

Area between agraffes and cast-iron frame II, I

F.II

On the keyboard

F.I

Dampers

Lowest Frame I, from dampers to bridge

Highest Frame IV, from dampers to bridge

Mid Frames II, III from dampers to bridge

Sound Lexicon Video Performance Notes for Piano

Strings STAFF - The lower section below the three staff lines corresponds to the neck including the Pegbox. Also, it may provide text descriptions and/or visualizations of the sound to be produced. The vertical axis represents frequency and the horizontal axis time. Generally, the coloring represents loudness in terms of the frequency from black for the loud frequencies to white for silence. The patterns displayed in this section provide an arbitrary visualization of the sound to be produced such as high/low, bright/dull, ordered/chaotic, coherent/erratic, smooth/coarse, soft/raspy, tonal/noisy, etc. In addition, several onomatopoetic and/or echo-mimetic words/letters aiming to represent or imitate a sound or its context such as aggressive, peaceful, mournful cry of pain, mental and physical suffering, sorrow or pleasure. - The second section from the bottom corresponds to the instrument’s second half middle of fingerboard to nearly end. - The third (top) section indicates the position of the bow from ST (end of fingerboard) to the bridge. The string number is shown in roman numbers I, II, III and IV. - The fourth section above the three lines corresponds to the area between the bridge and the fine tuners. VIOLIN - Sound Lexicon Video Performance Notes for Violin

VIOLA - Sound Lexicon Video Performance Notes for Viola

CELLO - Sound Lexicon Video Performance Notes for Cello

Technical requirements for the amplification and reverberation AMPLIFICATION (optional) For the right projection of the sound details the use of amplification should be applied. However, this requirement may be waived if the performance space allows the performance of the piece without reinforcement. The equipment required are: • Mixer • Two loudspeakers • 7+ microphones with stands • Limiter / Compressor

vii

In order to amplify the soft sounds without clipping some compression should be applied. This is something that most of the digital mixers have. It is also possible by a variety of software plug-ins. NOTE: It is part of the aesthetic of the piece to create a superficial amplification, which results to the loss of the neutrality of the classical known instrumental sound. It is a microscopic point of view. REVERBERATION (optional) Reverb unit (IR-examble.wav) A simple Hall Grand Chamber Type reverb (preferable algorithmic). The numbers below are indicative and depended on the actual performance space and reverberation unit. Pre-delay: 0 Reverb time: 4” Size: 100 Diffusion: 50 Width: 75 Mix: 25% wet, 75% dry

viii

Flute Sound

44 Coyote's Lamento q = 82

Demonic Animal

∑

lower jaw teeth touch softly the reed, upper lip stays loose micromovement of teeth left-right at the reed's heart area

Reed Clarinet in B b Sound

Sound

Viola Sound

Cello Sound

B b Cl.

∑

press and slide from string II to I and from ferrule corner to hair

˘ ≈ ¿ ‰ I ‰

ferrule click

—

6:10

corner slide

inside piano's fourth, top frame move the slide parallel on the same string

‰ Ó ˘¿ ≈‰ Œ I f ferrule click

‰

r ¿

˘ ≈¿ ‰

‰ ´

col legno

jeté

. .

. .4

. .

fpos

·.

´ ´

corner slide

‰ Œ

arco

harm gliss

Œ harm osc. gliss

≥ ≤ ‰ ˘¿ ≈ ‰ ‚ I p xSP ferrule click

press and slide from ferrule corner to hair

LH mute then gliss, dots indicate bouncing bow intersecting with single strokes and top think line indicates continuous bow

ferrule click jeté

yy y y y

¿ ≈‰ Œ

‰

‰ Ó.

harmonic aliasing

I * *

˘¿ ‰.

˘¿ ¿r ≈

press and slide from string II to I and from ferrule corner to hair

double ferrule click

∑

Sost.

double ferrule click

∑

6 4

‰.

LHand touches at Ord area and moves lower

≥ ‚ p

harm gliss

∑

œ œ ‰ œ œ Ó ppos p

press and slide from ferrule corner to hair

ferrule click

yyy y y clack sound y y teeth reed y y y teeth reed bellow end sound mz mz

¿ ≈Ó

. ‚

∑

press and slide from ferrule corner to hair

play upper harmonics (4th-6th) while fingering changes fast

√ œ ‰ ‰ 5

-> take glass shaker

≈‰

œœ œ

Ó.

¿ ‰.

double ferrule click

bellow end sound y y y l clack sound

press and slide from ferrule corner to hair

r ¿

‰

Vln.

Vc.

∑

frame IV

Vla.

∑

y yy

∑

release teeth from reed while blowing

∑

(√) Pno.

Violin

Fl.

y y

mz teeth reed

y yy

Piano

Panayiotis Kokoras

—

‚

harm gliss

≥ ≤ ≥≤≥ ≤

‰ Œ

LH oscillating gliss up. dots inidacte the string area to bounce & line continuous bow

≥ ≤

≥≤ ≥ ≤ ≥ ≤≥≤

harm gliss

2 Fl.

B b Cl.

Pno.

&Ó

‚

‰

bow lightly and fast LH moves fast up/down

bow LH

6 4

&Ó

‚

. . .

‰

y y y teeth reed

≤

bow lightly and fast

yy y

>≥‚ . ≈

6 4

y y y yy teeth reed

√ œ

jeté harm gliss

harm gliss

‚

≤

s s s s ss f

s s s

ss s s s s

∑

harm gliss

‚

on the string while playing the key

≥ ≈‚

apply more pressure

reversed stop sound and stop at the frog

œ√œ œ

ppos controlled bouncing of marble ball

‰

‚ p harm osc. gliss

reversed stop sound

yy y y r y r bellow end sound

frame III

apply more pressure and stop at the frog

Sirius Bouncy Crystal 44 [qhfff] . . . Œ Œ –- ‰ ‚ – noise whoosh – ‰ . rip down fpos mz harmonic aliasing fpos fo [hhf]

harm osc. gliss

∑

bow lightly and fast LH moves fast up/down

‰

‚

-> take marble ball

∑

· ·

∑

Bow bounces and continuousat SP LH oscillating gliss down and up

jeté

Vc.

46 .

harmonic aliasing

harm osc. gliss

Vla.

∑

∑ ·

. . .

∑

‰

∑

jeté

Vln.

pharm osc. gliss

Pno.

‚ p harm osc. gliss

bow lightly and fast LH moves fast up/down

jeté

. .

Vc.

B b Cl.

yy y y y y y yy y y yy yy

y teeth reed

Ó.

Vla.

harmonic aliasing

& œ ppos .

Vln.

Fl.

. . .

6 4

≤ and stop at the frog ≥ ≤ ‰ · ‰ p ‚ freversed stop sound apply more pressure

‰ Ó

≥≤≥ ≤

≥

≤≥ ≤

harm gliss

Fl.

&‚ .

B b Cl.

6 4

y y

Pno.

. .

yyy y y y yy

. . .

‰

harmonic aliasing

mz teeth reed

√œ

s s s

œ s

. .

yy y y

‰

œ s

s s s

y yy

y y y

. .

œ s

œ s s

∑

Vla.

∑

≥

B b Cl.

Pno.

Vln.

Vla.

Vc.

&‰

‚.

œ s s

s s s

‰

œ s

col legno

≥

LH gliss, dots indicate bouncing bow intersecting with single strokes

≤

≥≤≥ ≤

≥

≤

œ s

≥

≥ ≤

≥

‰

[hhf]

– noise whoosh – ≈ ‰ fpos

œ s

col legno

≤ ≥ ≤

‚

jeté

fpos

15 15

9 9 9 9 9 9 9 9 9 9 9 9 9 9

fpos I

harm gliss

≈

jack sound

LH mutes the string

jack sound

short and sharp up/down strokes at upper bow area allowing one bounce

9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 jack sound

LH mutes the string

9 9 9

LH mutes the string

s s s s s s s s s s s s s s s

jeté II

∑ 3

œ œ œ œ œ œ œ œ ≤

≥

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ

s s s ‰

≤

. .

col legno

jeté

≤ ≥ ≤≥

≥

≤

y y yy y

s s s s

œ f

≥ ≤ ≥ ≤ ≥

≤

. . .

y yy yy y y

œ s

≥ ≤ ≥ ≤

≤

‰

harmonic aliasing

y y

≥

6 4

16 Fl.

≥≤≥ ≤

≤

Vln.

Vc.

short and sharp up/down strokes at upper bow area allowing one bounce 15

9 9 9 9 9 9 9 9 9 9 9 9 9 9 9

short and sharp up/down strokes at upper bow area allowing one bounce

Fl.

Scattered Timber 47 fo 4

& ‚

B b Cl.

harmonic descending

Ó.

‰ Œ

‰

f slap

Pno.

press the ball lightly on both black and white keys to make a percussive sound and allow for a few notes to be played

∑.

Vln.

≈¿ ‰ ¿ ≈≈¿ ‰ ¿ ‰ ¿ ‰ ¿ ≈≈¿ ‰ press and slide from ferrule corner to hair

Vla.

‰

ferrule click

‚

Vc.

jeté

‰

# œ. . b œ. . . ≈ ‰ œ œ. b œ. . ? œ b œ œ. b œ # œ œ . œ#œ . œbœ & . . . . œ b œ. œ. p . √ Y . Y . ‰. √

mz f

key tap clicks

f f

∑

¿¿ perc glis

¿ ¿ ¿ p col legno bout 10:8 ¿ ¿ ¿¿ ¿ p3 fine tuners cling

f f

bounce soflty the wooden part of the bow on the center bout and corners of the violins body

13:10

bow screw

¿ ¿ ¿ ¿¿ p fine tuners cling

10:8

13:10

wth the screw part of the bow play between and around the fine tuners

bow screw

harm gliss

f f

B b Cl.

wth the screw part of the bow play between and around the fine tuners

corner lip

clack sound

!!!!!!!!!!!!!

¬æ.

‰ Ó ∑

regular clacks

∑

‰

rit.

∑ Ó

Vla.

∑

flutt. roar

∑ ¿

13:10

clack sound

∑

Vln.

Vc.

press the ball lightly on both black and white keys and move slowly up and down the keys, no tone

‰ Œ

Pno.

∑

gradualy close the holes as indicated

slap tip

22 Fl.

Ó.

tap the side of the fingerboard with the sdie of teh bow screw

¿¿¿¿¿ bow screw tack p 5

∑

25 Fl.

∑

B b Cl.

Pno.

∑

9:8

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

‰ ≈¿ ≈¿ ≈¿ ‰ ¿ ≈ p frog tack

dark

‚

Vln.

˘¿≥ ‚ ‰.

fpos

Vla.

Vc.

frame III

bright

‰

∑

Ó ¿ ≈¿ ≈¿ ‰ ¿ p bow screw tack

‚ ≈ [fht!]

∑

ferrule click bow chirp

≈¿ ≈ ‰ ¿ ‰ . ¿ ‰

∑ ∑

‰. > pizz

fpos

∑

after ferrule click, downbow fast & light

ferrule click

dampers tap

¿ ¿ ¿ ®¿ . ‰ Œ

∑

B b Cl.

Pno.

‰

jet whistle

∑

embouchure hole covered by lips and rolled outwards

&#‚ ‰. l

Fl.

Ó ¿ ‰

∑

4 28 4

tap the glass bottom on the dampers

-> take glass shaker

tap the frog slide on the fingerboard side

tap the side of the fingerboard with the sdie of teh bow screw

Vc.

∑

Vla.

∑

rit.

Vln.

45 Sapsucker Drum Call

‰

move the glass bottom corner across the strings between frame and bridge hit softly the glass corner on the frame bar

‰

frame IV

f √œ

Ó slap

‰.

frame tack

harp gliss

¿ Ó

≈ *¿ ‰

∑

¿ ‰

ferrule click

¿ ‰ ‰ ¿ Œ *

∑

~~.~~~~~~~~~~~~~~~~ ~

6 Fl.

&Œ

≈# ‚

[fff!]

≈‰

> pizz

fpos

l !

‰

B b Cl.

Pno.

. ~~~~~~~ ‰ ~~~~~~~~~~~~~~~

III IV

∑

fan bow

‰

‰ ‰ 3

f slapJ F

∑ ∑

∑

˘ ¿ ≈ ‰

˘ ®¿ ®‰

move the click point slightly up

ferrule click bow chirp

Ó.

ferrule click

Ó.

ferrule click

‰

~~~~~~~~~~~~~~~~~~~~.~~~~~~ ¿ > ˘ ≈ ‰ Œ Œ Œ ¿‚ ferrule click

‰

√ œ ≈ harp gliss

≈ Œ

¿ ‰.

˘ ¿ ‰.

I *

‰.

¬ wind woosh pddddddddddddddddddd zzz

∑

∑ ˘ ¿ ≈ ‰

fpos

keep the level low with high intensity noise sweep from dark to bright

slap tip

Vla.

˘¿≥ ‚≈‰

≈

∑

sweep vertical on both strings

∑

Vln.

Vc.

∑

B b Cl.

∑

≥

Vc.

∑

place the glass bottom flat

Vla.

Pno.

≈ œ.

Vln.

Fl.

≈Œ

slap 3

√œ . ≈

&Œ

≈

‰

‰ Œ

3 mz

Ó ∑

frame tack

∑

˘ ¿ ‰. ‚ R

jet whistle

‚

37 Fl.

Œ & –æ. – wind woosh roar f flutt. dddddd

flutt. roar

xxxxx

B b Cl.

–æ

Pno.

frame

∑

Œ ´

pizz

& ® ‰. > fpos slap

Vln.

√ œ

‰

harp gliss

≈ ¿ ! ~~~~~~~~~~~ ~~~~~~~~~~~~~~~ ! ~~~~~~ p

frame IV

‚‚‚‚‚‚‚‚‚‚‚‚

frog tack

≈‚‚‚ frog tack

tap the frog slide on the string 7th position

‚‚‚‚

.. . . .. . . .≤≤ ≤≤ ≤≤ ≤ ≤ ≤ æ ‰ Ó ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ . trem. f jeté col legno tick

ferrule click

*Œ

ﬂ Œ

arco

I *

¿ J ﬂ *

∑

tap the frog slide on the string, end of fingerboard

frog tack

‰ ..

‰.

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈Œ tap on the key ring leaving the hole open

key tap clicks

slap tip

~~~~ ‰

‰

frame tack

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿≈ II ppos

Ó ‰

‚‚‚‚‚‚‚‚ ‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‰

B b Cl.

Pno.

∑

col legno

√ œ

dampers tap

∑

tap the ring of the key

> ~~~~~~~~ ‰ . ~~~gliss ¿ !~~~~~~~~~harp p mz I

Vla.

Fl.

close lightly the hole and pronounce voiceless "p" simulating a drop

∑

Vln.

lip plopping

hit the lowest string with the corner of the glass and harp gliiss slowly to higher strings

string tack

Vc.

‰ #L L L L L L L L L L L L L L L L L L L L L L L L – wind woosh

¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿Ó key tap clicks

√ ‰ œ ‰

11:6

Ó Œ

≈ ¿ ‰ Œ

ferrule click

frame tack frame IV

∑

∑ Œ

‰.

harp gliss . ~~~~~~~~~~~~~~~~~~~~~ ¿ !~~~~~~~~~ ~~~~ Ó J3 p

‰

¿ ≈

‰ ‚ ‚ >‚ ≈ ‰

‚

5 press the glass bottom corner on C6 string at half harm node (middle of sting)

frame IV

– press harm ∑

Vla.

∑

Vc.

∑

8 Fl.

∑

B b Cl.

Pno.

frame IV

¿‰

¿ ‰ *

ferrule click

Vc.

B b Cl.

Pno.

harp gliss

Vla.

Fl.

Ó ! ~~~~~~~~~~~~

&Ó

∑

hit at the fingerboard side with the bow frog slide

∑

Œ ¿ ≈

‰

frog tack

Ó ≈ ¿ ¿ ¿ ‰

∑

Ó.

> > Œ ¿ ¿ ≈¿ ¿ ≈

≈

–

frame IV

>‚

œ.

press harm

Ó.

‰ ≈

‚ ‚ >‚

ppos

–

slap tip

≈¿ ¿¿≈Œ ppos 5

dampers tap

ferr.click on the indicated area with open string ferr.pluck on muted string

‚ J p

≈ ±

≈ ‚

slap

f ‚ ‚

> ¿¿¿ ‰

‚

‰. ‚

‚

press the glass bottom corner on string A5 to harmonic node A6

¿ ≈ ‰ ..

®¿ . ¿ . ¿ ‰

‰

¿ . >¿ ‰ Ó ferrule click L *ferrule pluck ‰

‰

‰.

Œ ∑

≈ ‰

bow screw tack

key tap clicks

Ó r 5 ‰. ¿ ¿ ¿ bow screw tack

ppos

≈ Ó ∑

∑

tap the side of the fingerboard with the sdie of teh bow screw

≈

tap the side of the fingerboard with the sdie of teh bow screw

ferrule click

Vc.

‰

Triple Strike Beecker Ó Œ ‰

∑

Vla.

´ ® . ‰ >

gliss frame tack ppos . ~~~harp ¿ !~~~ ~~~. ~~~~~~~~~¿ ~~~~~~~~~~~~~~~~~~¿~~

∑

Vln.

´pizz > ≈‰ fpos

∑

frame tack

∑

press the glass bottom corner on string A5 to harmonic node D

∑

√

3 slap

frame tack

[hhf]

≈ > – .air mostly fpos p Ó.

‰ Œ

&Ó

Vln.

pizz

¿ Ó.

∑

®¿ . ferrule click L ‰

49 Fl.

‚

pizz

& ≈ ¿ ‰ ≈ œ œ (œ) Œ p f key tap

‚.

±.

‚ ‚ >‚ .

‚

≈

>¿ ≈ ‰ Ó.

ferrule click

Vla.

Vc.

press the reed to pos sounding A5-Bb5

Fl.

&Ó

tap on the side of the key, all keys open

∑

‰ ¿ ¿ ¿ ‰. *

Pno.

Vln.

Vla.

Vc.

‰

Œ .

gliss tweet

≈Œ

Ó. ‚

≈—.

≈ ¿ ¿ ¿ ≈ Ó.

‰.

ferrule click

‰ &

‰ Œ

Ó ∑

‚

‚ ‚.

‚.

≈

gliss tweet

‰

ferrule click

‚.

‚

‰.

≈—. *

fast and light bowing at xSP

‚‚

≈

≈—

¿ ¿ ¿ ‰ ‚≤ ‰ Œ * p bow chirp

—.

‚

‚ >‚ ‚

‰

≈

‰

≈ —.

≈¿¿¿¿¿¿≈‰

∑

≈

‚

‰ ¿≈≈¿‰ ≈¿‰

Ó.

‰

frog tack

‰.

‚≤

‰

∑

≈¿¿¿Œ

tap on the bridge

>‚ .

Œ b¿ ¿ ¿ ‰ 3

key tap clicks

∑ ≈

— Œ ≈ —. √Ÿ~~~~~~~~~~~~~~~ ‚‚ ‚ ‰ Ó. trill tweet ppos

‰ # p> > > pizz 5

harm gliss

‚ ‚ >‚ ‚

∑

Eb5

>‚

ferrule click

Œ Œ

Ó.

B b Cl.

≈

key tap clicks

harm

∑

r 5 ¿ ¿ ¿ ‰.

∑

I 52

ferrule pluck

± ¿ ‰.

Vln.

>·

≈ —.

harm gliss

key tap

pizz

harm trill Ÿ~~~~~~~

‚ ‚ >‚ ‚

> ≈ ‰ ≈# > >>≈ ‰ ‰5 œ œ ‰ ≈ Ó (œ) > 5 f

≈ ‡ ‡ ‡‰ Œ p

∑

B b Cl.

Pno.

44[qhfff] ‚

TR 6

bow chirp

>‚ ‚ ‚ ‚ ‚

‰

— Œ

gliss tweet

‚

‚ ‚‚ ≈ ≈

–

‰ Œ

‚ ‰

bow chirp

√Ÿ~~~~~~~~ ‚ ‚ ≈ ‚. Œ trill tweet I p ( )

Œ bow screw tack

tap the side of the fingerboard with the sdie of teh bow screw

‰.

¿ ppos

Fl.

44Witches Drop of Despair45

∑

increase instantly the air pressure to create a grunt like sound

∑

B b Cl.

Pno.

‚

>‚

—

5 F shake the clarinet mouthpiece while the reed touches lightly the teeth

mz ppos

ppos

·.

harm gliss

Vla.

∑

Fl.

bow chirp

after ferrule click, downbow fast & light

5 5 & ‰. b¿ ¿ ¿ ¿ ¿ ‰ Ó

∑

change the teeth touch area to change pitch, (deeper lower) create variety by changing teeth pressure on the reed

B b Cl.

5 F

ppos

teeth shake

mz ppos

grunt teeth shake

Œ Œ

∑

key tap clicks

fade out to no blow only teeth shake

‰ ‚ ‰ ‚

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰.

{{{{{{{{{{{{{{{{{{{{{{{{{{zzzzzzz

Vln.

grunt teeth shake D

√Ÿ~~~~~~~~~~~~~~~~~ ˘¿ ≥ ‚‚ ‚ 5 Œ ≈ ‰ ‚ ≈ ‰ Œ & p ‰ ≈¿ ¿ ¿ ≈ ‰ ¿ trill tweet ferrule click * bow screw tack ferrule click fpos bow chirp mz

Vc.

>‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ >·

‰

— ‰ . ±

gliss tweet

increase air pressure to create a wobbly tone

{{{{{{{{{{{{{{{{{{{zzzzz{{{{{{{{{{{{{{{ D D {{{{{{{{{{{{{{{{{{{{{{{{{{{{{{ zzzzzD zzzzzD {{{{{{{{{{{{{{{{{

Pno.

& p· ±

press the glass bottom corner on string A3 to harmonic node F5

∑

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ · ppos

press harm

!!!!!!!!!!!!!!!!!!

∑

harm gliss

Vln.

∑

Vla.

∑

Vc.

∑

-> pizz only

∑

wobble tone

61 Fl.

B b Cl.

‰.

Œ & ≈‰ œ œ≈‰ p voicless, mostly air, overblow [fht!]

[fht!]

‰ ‰

‚ ‚ ‚

p —

‚

‰

Vla.

‰.

sticky bow

& Œ

≈Œ

œ p

F3 wobble gliss

Bb2

voicless, flutter tongue, almost closed hole

∑

∑ 5

∑

string allowing a fricative pulse sound

key tap clicks

∑

RH slap, gliss & hold the F3 down LF crosses RH & taps the string on the fingerboard behind RH

‰.

≈ ˆ. C3

Ó Œ ‚.æ voicless, flutter tongue, overblow

C#4 string tapping LH

[prt!]

ˆˆˆˆˆˆˆˆˆˆˆˆˆˆˆˆˆˆ 5

wobble gliss tap, press and gliss fast IV ˝ j

≈‰ j 5œ r RH F3 ˆ ˆ . ˆ ˆLHˆ ˆ ˆ C3 ˆ . ‰ ˆ

‰ æ≈ ‡.æ ‡. ¿ [frt!]

‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‰. p press the hair close to frog vertically on the

wobble gliss 5 cross hand tapping

∑

tap, press and gliss fast

pizz

D {{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{ !!!!!!!!!!!!! grunt

teeth shake

∑

Vc.

11 [prt!]

≈‰ æ≈‰ Ó ‚.æ ‚. voicless, flutter tongue, overblow

‰.

press the glass bottom corner on string A5 to harmonic node A6

harm gliss

!!!!

Vln.

B b Cl.

44 [prt!]

‰.

close keyholes LH1, RH2, close keyrings LH 2,3 trill on keyring RH 1, close gradually from A to F

D zzzzzzzz {{{{{{{{{{{{{{{{{{

!!!!

Fl.

¿œ

key tap clicks

F D {{{{{{{{{{{

Pno.

5 j4

press the string against the fingerboard, no hammering

ˆ G2 ˆ A2

≈ æ‰ ≈ ‰ ¿ 5 ‡. ‡.æ key tap clicks [frt!]

≈

ˆ.

F !!!!!!!!!!!!!!!!!!!! {{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{ !!!!!!!!!

!!!!!!!!!!! !! !! !!

Pno.

Vc.

—

ˆˆˆˆˆˆˆˆˆˆ

ˆˆˆˆ ∑

ˆˆˆ

‰. Œ

‚

Œ Œ

press harm gliss

‚

some "ghost" key strokes

∑

!!!!!

‰. ‚ ‚ ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 5 5 5 5 5 5 ppos the ppos implies to allow

& ∑

Vln.

Vla.

!!!!!

‰.

sticky bow

‡‡ ‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ p 5

‰ . C4 ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ≈ C#4 5

j ˆ

pizz

‰

pizz

Bb2 IV

wobble gliss

‰ ‰.

r 5

ˆˆˆˆˆˆˆ

IV string tapping

r œ ˆˆˆˆˆˆ LH ˆ ˆ ˆ ˆ RH

cross hand tapping

ˆˆˆˆˆˆ ˆˆˆˆˆˆˆˆˆˆ

‰

pizz

C#3

12 Fl.

B b Cl.

∑

!!! !!!!!!!!!!!!!!! !!! zzzzzzz {{{{{{{{{{{{{{{{{{{{{{{{{{{{

Pno.

∑

Vln.

Vla.

& Œ

‰ ≈# ‡ ‰ ¿ p key clicks ‰.

‰.

‰

‡.æ

‰. ‰.

‰

5 5

slap

‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚

ppos —

to sustain the string's resonance press the key enough to give a stroke but keep the dampers off the string

harm gliss

‡‡ ≈ ‰ .

‰

col legno tick III gliss II

‡‡

‰ ˆˆˆ ˆˆˆˆˆ ˆˆˆˆˆˆˆˆˆˆ string tapping ˆˆˆˆˆˆ 5

‰

wobble gliss

≈‰ Œ

pizz

[frt!]

‰.

harm gliss

‰

œ. pizz

‡‡‡

‰

wobble gliss

5 5 the ppos implies to allow some "ghost" key strokes

¬ ‡‡ ≈

ˆˆˆˆˆˆˆˆ cross hand tapping

≈

‡‡

˝ ˆ wobble gliss F3

ˆ ˆ ˆ ˆ F2 œ . pizz

œ̂ ˆ

˘ ‰. ‰ b¿ ¿ ¿ ¿ ¿ ¿ ≈ – > key clicks

[fff!] [tu!]

noise whoosh

grunt

!!!!!!!!!!!

!!!!

!!!!!

‰. ‰

D D {{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{ zzzzzzzzz

wobble tone

≈‰ ≈ Œ ‡‡ ‡‡

‰ ≈ ‰ ‰ ‡‡ 5

ˆˆˆˆ

‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚ ‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚ · 5

‰

snap your tongue up & down producing a double slap sound

flop 5sound

ˆˆˆˆˆˆˆˆˆˆˆˆ Vc.

6 slap

≈‰ Ó

≈

Vla.

‰ — bow chirp

‰ ‰

‰.

‚

‰.

>‚ ‚ ‚ ‚ ‚ ‚ ‰

‰

gliss tweet

≈œ [frt!]

Œ &

ˆˆˆˆ

‰ Ó

≈ œ.

B b Cl.

ˆˆˆˆˆˆˆˆˆ

Vc.

Vln.

‚

∑

key clicks

groan

press the string against the fingerboard, no hammering

Pno.

—

pizz

≈

‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ‰. f ferrule click I 5

≈# > > ¿ ¿ ¿ ¿ ¿ p

slap

fp √ >‚

∑ 5

Fl.

≈

overblow

Œ ‰.

≈ ‰ ‰ ‡‡

‡‡

≈ ‰.

‡‡

‰

ΔΔ..

8va natural harm.

o Œ II ‚‚ I

pizz

r 5 5 5 5 5 5 5 Ó r ˆ .̂ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ

‰

wobble gliss

string tapping

‰ ‚ C3 pizz

8va natural harm.

˝ ˆ

Bb2

r r

ˆˆˆˆˆˆˆˆˆˆˆ

‰ ≈ D2

wobble gliss

œpizz

73 Fl.

B b Cl.

air mostly

& Ó

‰ œ≈Œ Œ p overblow

‰ „„≈ 5

‰ ≈—

frog tick

gliss tweet

Vla.

≥

‰ ˆ ˆˆˆˆˆˆˆ Œ 5

‰

III fan bow IV * pos *

string tapping

Vc.

B b Cl.

45 [prt!]

r ˆˆˆˆˆˆˆˆ ‰ > LH 5

‰.

>‚

{{{{{{ l l l l

Pno.

Vln.

Vla.

Vc.

≈ ‰

& Œ

Ó j œ

‚ >‚ ‚

‚.

‰

ˆˆˆˆˆ

‰

‚

Œ Ó

—.

j œ

¿¿¿¿¿¿¿¿¿¿¿¿Ó

harm gliss

‰

≈

¿¿¿¿¿¿¿¿

silent press

‰ . # ––– # ––– ‰ . ‰

‚

∑ ¿ ¿ ≈∑

ferrule click

cat-scratch

F#2 B1

‰ Ó

‚ gliss tweet

‚ ˝ ˆ

&Ó .

scratch the strings between ‰ Ó . neil the agraffes and vertical frame

ferrule click

‰ Œ

‚

‰ Œ

ˆˆˆˆˆˆˆˆˆˆˆˆ > A2 Ó

‰ ≈

wobble tone

{{{{{{zzzzzz

≈ mz

cat-scratch

F#2 B1

frame II

≈

groan

˙.

∑

-> leave glass shaker

≥ . Œ ‡ ‡ ‡ – ‰scratch ‡ sticky bow I p f

‚

l zzz zz l

silent press ord.

string tapping

¿ f

#‚ ‰ Œ

# ––– ... ≈ &

‰.

jet whistle 44 [fht!]

∑

f slap ‚ ‰ Ó

gliss tweet

‰

l l {{{{{{ l

—.

‚

≈ ¿‰

‰

∑

‚ ‚ ‚ ‚ ‚ ‚ ‚.

∑

teeth shake

frame II

. ≈‰ Ó

>‚ .

ppos

harm gliss

bow screw tack

ˆˆˆˆˆ ˆ > f

groanl

pposœ œ ‚ ‚ ‚ . ‚

¿ ≈‰ Œ f* ferrule click

sweep vertical on both strings

frame tack

¿¿¿¿¿¿¿¿Ó ‚

‰

{{{{{{{{{{{{zzzzzz

Ó – air‰mostly

47 [hhf]

≈ —.

‰

-> take bow

Bb1

& ‚æ ≈ ‰ Œ . ‰.

cross hand slapping

76 Fl.

˝˝˝˝˝˝˝˝

≈# æ ≈ Œ ‡

col legno

ferrule click

. harm gliss ‰ ¿ ≈Œ f

tap the pearl side of the frog on the string

[frt!]

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚.

‰ ¿¿¿¿¿¿¿¿¿¿Œ

Vln.

‰ ≈‚ ‚ p

? Ó

groan teeth shake teeth shake {{{{{{{{{{{{ l zzzzzz mz pos

groan

Pno.

[frt!]

zzzzz l l

& œ. ≈ ‰ Œ

[fht!]

‰ ≈ ≈ # ‡æ ≈ # ‡ ¿p¿ ¿ ¿ mz key clicks TR

[fht!]

‰ ‡. ‡. ‡. ‡. ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ I

sticky bow

‰.

ˆˆˆˆˆ

bow screw tack pos

14 Fl.

˘ ≈ ‚ ‰

[qhfff] jet whistle

&Ó

embouchure hole covered by lips and rolled outwards

‰.

teeth shake

B b Cl.

groan fade out to no blow l l wobble tone {{{{{{{{zzzzzzzz only teeth shake

Pno.

?Ó

cat-scratch

‰

F#2 B1 frame II

# –– ‰ . –

≈

≈ ‰

‰.

[fht!]

embouchure hole covered by ! jetl whistle lips and rolled outwards

‰.

∑

Ó.

œ Œ p

[fff!]

overblow

rrr {{{{{{{{{{{ teeth tweet teeth shake

{{{{{{{ ll

∑

Vln.

silent press

–– ‰ . –

‰ # –––

‰.

F#2 B1

Vc.

ˆ ˆ ˆ

≈ Œ

>≤

jeté

‚

5 82 4

III D4

∑

‰.

& ∑

B b Cl.

[fht!]

embouchure hole covered by lips and rolled outwards

Vln.

Vla.

Vc.

≈

‚.

∑

Screamo Drumcorps Cat

‚ Œ

‰.

[fht!]

≈# ‚ ≈ –

[pssths!]

– p play the gliss lines legatissimo!

[pssths!]

≈Œ

≈ –.

––– ‰ .

[pssths!]

diatonic or chromatic intevals

∑

zzzzzzz

Pno.

ppos

‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡

Vla.

Fl.

silent press

‰ #‚ ≈ Ó

# –––

∑ ‰

Œ ∑

––– ...

silent press

Ó.

‰

Eb2

‰.

‰ # ––– 3

≈Ó Ó

Eb2 D2

col legno

≥

fan bow pos III IV *

≤ jeté bow lightly and fast ‰ Œ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡ ‡≈ œ œ . C3 p ≤> jeté ∑ Œ ‰. ‰. I æ ‚

‰.

–––

silent press

‰ Œ

sweep vertical on both strings

Œ Œ

≤

C3 œ

>≤

jeté

‚

≈

∑ Œ

æ ‰

Œ Œ

85 Fl.

‰ Ó

panflute blow

Pno.

? Œ

œœœ

ppos

≈ . Ó

‰.

Vln.

≥

fan bow III IV *

≤ jeté ˙C3 IV p

Vla.

hold the cl horizontally and blow with pressure close over the holes

‰ . # ––– –––

silent press

‰

F#2 B1

‰.

≥ ≤ ≈Œ . fast bow ˙ C3 p

sweep vertical on both strings

Vc.

88 Fl.

B b Cl.

Pno.

Vln.

&Œ

≈ . Œ Eb D C

≈‰ Œ

Ó.

≈ ≈ Œ

≥

‰ Œ

sweep vertical on both strings

fan bow

‰.

≥

‰. Œ

≥

‰ ≈– .

≈ ––– ... ––– ‰ . Œ

≤ ‰. Ó œ D4

‰

≥

. .

# –– –

–– ‰ Œ –

L ‰. ∑

‰. ‰

≤ D4 œ

‰ ‰.

–– –

fan bow

≈ # ‚ ≈Œ

[fff!]

jet whistle

‰ . ‰ .jeté ‰

‰ Ó

˘ L ‰.

‰ Ó

‰

fan bow

–– ‰ Ó – ≥

‰. Ó

Eb D C

≤ ≤ ‰ ‰. ‰. Œ œ œ

∑

46 ‰ . ‰. ‚ Ó

[fht!]

#‚ ‰. Œ f

Ó.

[fht!]

jet whistle

Œ Ë Ë...

fpos

≈ ––– ≈ ∑

∑

‰ Ó

frame I

arco

— Œ

‰ Ó

fpos

f ˘≥ ≈‚¿ ‰ Œ

≈

∑

sweep vertical on both strings

∑

fpos

Ó.

‚.

jeté

‰

lips loosly grip the mouthpiece tip articulate with bursts of voiceless tu-ku

I C4 œ

æ.

≈

>≤ œ

~~~~~~ ≈ .

!~~~~~

f ~~~~~~~ ‚ ‚ ‚ ‰ ‰ Ó

>≤

slide/scratch the glass opening back & forth on the string, and the same time gliss-harp down in the area between the dampers & the agraffes

— & æ ‰

[tu-ku]

∑

slide the bottom glass corner between strings B-1 & C0

ferrule click bow chirp

col legno fan bow

Ë Ë...

lip sputtering

‰ – – – ≈Œ noise whoosh f

∑

-> take glass shaker

. ≈

** ..

fo [hhf]

jet whistle [tu-ku]

III IV

Vc.

[pssths!]

– p

? ‰ # ––– Œ ≥

œ . ≈

[pssths!]

‰ ≈L ≈ ‰ L

** Vla.

arco

III * IV *

‰ # ––– ≈Ó

jeté fan bow

bounce and bow lightly

col legno fan bow

–– ... ≈Œ –

‰. Œ

–. p

L ≈‰ ‰ Ó fpos fpos

‰ L

‰. L

[pssths!]

[fht!]

jet whistle

‰ # ‚ ≈Œ f jet whistle

[fff!]

[pssths!]

‰. L

B b Cl.

≈‰ ‰ . # ‚ ‰ . Œ

‰ ≈ . –

& –.

[pssths!]

xSP

≤ · ≥> ‰. ·

Œ Ó.

16 Fl.

& >X

Pno.

B b Cl.

inhale through the first keyhole

∑

Note

frame

Vln.

∑

Vla.

∑

[hhf]

94 Fl.

B b Cl.

Pno.

Vln.

&Œ

noise whoosh

>≥

Vc.

play the gliss lines legatissimo diatonic or chromatic intevals

,˘

– f

–

˘ , – –

‰

saturated growl

≈ –

‰

≈ I

‰.

>≥ œ

B-C0

frame IV

œ≤

f Œ

. ~~~~¿—A#-B1

! ~~~~

Œ >≥ œ

>≥ ˙ >≥

‰ I

œ f.

>≤ ˙

≤ œ >≥ œ

III

!~~~~~~~~~

>≥

>≥ . ≈ œ

¿— .

∑

~±

B-C0

∑

‰.

‰

≥ fast bow

# ≈ ≈

–

‰

–

DD D D

–

Œ DD

∑ !~~~~~

~~ —

‰ ‰.

>≥ œ

≤

‰

A#-B1

≤

!~~~~

≈

∑ ≈ —.

≤

‰

˙. f

–

increase air

DD D DD D l D

∑ ±

≈

–

saturated growl

≈ Œ

l D D

>≥ ≈ œ.

∑

Ó.

œ Vla.

≈ –

‰.

. ≈ ¿—A#-B1 IV f

Vc.

–

hit and slide the bottom galss corner

on the string, and gliss-harp left & right

‰

lips loosly grip the mouthpiece tip, increase air & reed pressure to change pitch

∑ slide the bottom galss corner back & forth Œ

[hhf]

noise whoosh

inhale through the first keyhole

Black Hole Rising

≤

B-C0

>≥ ≈ ‚ >≥ . ≈ ‚ I

‰

>≥ ≈ œ. II

¿—

A#-B1

‰.

>≥ ≈ ‚ >≥ ‚

97 Fl.

B b Cl.

45 [hhf]

´[tu-ku] ´ ´ ´˘ ≈ ‰ – –

& –. –

–

# ‰

–

44 [tu-ku] ´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´ >

‰.

– f

∑

[hhf]

play and sing groan

Pno.

¿— .

— ¿A#-B1 .

Vln.

‰

Vc.

III

B b Cl.

&‰

>≥ œ

>≥ ≈ œ.

‰

xxx

Ó ∑

‰

... >≥ 5≤≥≤≥

>≥

>≤ ‚

≈ ‚

‚.

III

[tu-ku] ´ ´ ´ ´ ´ ´ , ˘´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

‰

>≥

jeté

‰

5 ´ ´ ´ ´4 ˘

[tu-ku]

–

jack sound

. gggggggggggggggggggg shake

–

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx x

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8–

fpos

[qchf!]

>≥ ≈‚

˘ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

100 Fl.

>≥ ≈‚

III

xxx

. ≈ shakegggg

[hhf]

¿ — ~~~~~~~ ‰ ¿!~.~~~~~ ≈¿! ¿! ¿! ¿!ÿ ¿!ÿ ≈ Œ ~~! ≈ ¿! ≈ ¿! ¿!ÿ ¿!ÿ ¿!ÿ !ÿ ≈ ‰ ¿A#-B1 !B-C0 ~ — ÿ ÿÿ B-C0 ÿ ÿ A#-B1 ≤ ≥ ≤≥ ≤ ≥ ≤ ≥ ≤≥ ≤ ≥ 3 >≥ >≥ 3 ≈‚ ‰ ≈ ‚. .

III

>≥ ≈‚

fpos

!~~~~

>≥ ≈‚

‰

–

‰.

∑

¿—

>≥ ≈ ‚

Vla.

∑

–

˘´ ´ ´ ´ ´ ´ ´ , # – – [tu-ku]

–

œ f

‰.

4 fo [hhf]

‚ ‰.

–

‰

[hhf]

# ‰.

–

∑

‰

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxx xxx

Pno.

Vln.

∑

¿!ÿ ¿!ÿ ¿!ÿ ¿! ‰ ¿! ‰ ¿! ≈ ≈ ¿! ‰ â â â â >≥ Ó · 3

Vla.

Vc.

≥‚ .

‚≤ .

>≥ ˙

≥

≤ ‰

¿ ¿! ‰ ¿! ‰ ¿! ≈ ≈ ¿! ‰ ¿! ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ !ÿ Œ ÿ â â â â ≥ ≤ Œ 3 ‰ ≥ ≤ ≥ ≤ ∑

‰

–

>≥ ‚ f

∑

‚

‰

6 j ¿ ¿ ¿!¿!¿!¿!¿!ÿ ¿!ÿ ‰ . ≈ ¿!¿!≈ ¿ ≈ ≈ ¿ ‰ . ÿ ÿ !ÿ !ÿ ¿!ÿ ¿! !ÿ !ÿ ÿ ÿ ÿ ÿ ÿ >≥ Œ Ó ‰ ‚ ‰ 6

‰

≥> ≤≥≤ ≥ ≈‚ ‚ ‚ 5

˘≥ J

18 103 Fl.

44 [qchf!] ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ [hhf] ˘ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´[tu-ku]

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8– fpos jack sound

[tu-ku] ´ ´ ´ ´ ´ ´ ´ ´ 43 [qchf!] ä ´´´´

≈ Ó

≈

– –

Ë Ë Ë Ë Ë ...

lip sputtering

[tu-ku]

–

B b Cl.

gggggggggggggg

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xx x shake

∑

Pno.

˘≥ ...

Vc.

106

Ë Ë Ë Ë Ë Ë 3

[hhf]

‰ –

6 ¿! ¿! ¿! ¿! ¿! ¿ ¿ ¿ ¿ 6¿ ÿ ÿ ÿ ÿ ÿ !ÿ !ÿ !ÿ !ÿ !ÿ ¿! ¿!¿! ¿! ¿! ‰ . ÿ ÿÿ ÿ ÿ 6

≤

‰

≥ ·. æ

‚

ä≥ ≤≥≤≥ ... ‚

fpos

emphasize the up & down bow changes

≈ ‚

5 5

≥≤≥ ≤ ...

reversed stop sound

. #– ‰. ≈‰ [fht!]

[hhf]

–.

≈Œ

[hhf]

–

# –. ≈ ‰ Œ [qchf!]

≈Œ

[qhfff]

‰ –

∑

˘≥ ˘≥ ... 3

≤ ≥

II III jeté

‚

‰.

≈

‚‚

‰

>≥ œ

>≥

˙.

∑ Ó.

∑

¿!¿!¿!¿ ¿ ÿ ÿ ÿ !ÿ !ÿ¿!¿± ÿ A#-B1

jŒ

¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ f ‰. Œ Œ ‰.

‰

noise whoosh mz

Vc.

∑

≤ ≥ ≈ ≈ Ó ‚

DDD

lip sputtering burst

B-C0

Vla.

‰

fpos jack sound

Vln.

8 8 8 8 8 8 8 8 8 8 8 8–

[tu!]

B b Cl.

‚

44 [qchf!] 6 ˘ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ [hhf] 4

≤

Pno.

Fl.

...

Vla.

fpos

∑

¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿!ÿ ¿—ÿ . B-C0 f ≤ ≥ Œ Œ ‰ Ó ‰. 3

Vln.

‰

#– ‰.

. p ≤ ≥ .

‚‚

∑

‰ Ó

>≥

? !~.~ ~ ~

‰

œp

-̇

œ.

~≈ ±.

œ p

place one side corner of the glass flat on the strings and slowly slide

cluster of 3-4 strings should be covered

109 Fl.

B b Cl.

Pno.

River Tears [qchf!] 45 Racing ‰ ‚

& ‰ #– ≈ Œ p.

trill by pressing on the ring (hole open)

? œ ¤

œ œ.

close keyhole LH 1, close keyring (leave open the holes) for LH 2,3 RH. Trill keyring RH 1 gradually close the key holes including key RH 1

∑

‚~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ hold the lowest E fingering puuuuuuuuuuuuuu pos Bb5 and trem the Bb key harm trill

œ œ.

œ œ œ

-̇

œ œ ˙

Vln.

>≥

‰

III

w f

112 Fl.

Vla.

∑

press the reed at the central area to play Bb5 and C6 trill sound

Vc.

· · ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ó J ppos whistling sound gliss

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

‰

whistling sound gliss

jeté

·~~~~~~~~~~~~~~~~~~~ ‰ ppos Ÿ

‰ ‚ ppos

≤

close keys LH 1,2, hold the edge of the rings down (leave open the holes) for LH 3, RH 1,2,3 gradually close the key holes including key RH 3

string tapping gliss

‰F#3 ˆ p IV

√o b·.

≤

‚~~~ Ÿ

ˆ ˆ ˆ ˆ ‚

press the reed at the central area to play C6 and Bb5 trill sound

B b Cl.

Pno.

Vln.

Vla.

Vc.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ó uuuuuuuuuuuu C6 uuuuu Bb5

?w ¤

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ‰

III

pizz

œ.

‰ IV œ

. ~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ‚~~~~~~~ Ÿ

≤

A2 ˆ

‰ III œ Œ

œ ˆ

Ó.

frame IV

‰ ¿! ‰ ¿! Œ

hit a cluster of 2-3 strings with the bottom corner of the glass

. ~~~~~~~~~~~~~~~~~~ Ó ‚~~~~~~~~ Ÿ

pizz

string tapping gliss

ˆ ˆ

. ·~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ C6 uuu uuu uuuuu Bb5 puuu pos harm trill, reed gliss

hold the low G fingering and trem the Bb key

w ≤

≈ œ. ≈ IV

œ.

hold the note down and hit the bow vertical on the bow slap string to slap on the fingerboard and bounce once

œ LH gliss mz ˝ ˝ C3

‰ B2 œ ˝˝

‰ ≈ œ. ˝˝

20 Queen Descends Harmony 115 Fl.

& Ó

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Œ ‚‚ ‚ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ keyhole LH 1, close keyring (leave open p whistling trill gliss close the holes) for LH 2,3 RH. Trill keyring RH 1 gradually close the key holes including key RH 1

∑

B b Cl.

Pno.

press the reed at the central area trill on E F key, thump key open

> ¿!

‰

· °

frame II

‚~~~~~~~~~~~~. ~~~~ ~~~~~~~~~~~~~~~ Ÿ uuuuu I

~ ‚~~~~~~~~ u A5uu ppos

∑

arco

bow slap

Vc.

˙ ˝

‰ ‚ I

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&Œ

harm osc. gliss

bow slap

string tapping

≈ œ. ˝

118

·.

harm osc. gliss

Vla.

Pno.

uu C6 uuuu harm trill,uu reed glissuuu G5 ppos

( )

harm trill gliss

B b Cl.

· ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · ‚ ppos

& Ó

Vln.

Fl.

[shch]

‰

harm osc. gliss

∑

·‚ ‚ . – p~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fpos whistling trill gliss noise whoosh

‰ ~ ‚~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ C6 uu uu uuuuuu harm trill, reed gliss uuuuuuuuuuuuuuu uu A4 harm trill, reed gliss uuu G5 puu pos

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & ‚

Vln.

Vla.

Vc.

bow slap

˝ œ

‚~~~~~~~~~~~~~~~~ ~~~~~~~~~ Ÿ u

> ‰ ‚

harm trill gliss

‰

‚ ‚

‚

uuuu

harm osc. gliss

Œ ˝

‚

harm osc. gliss

˝ œ

pizz

Ó.

string tapping A2

121 Fl.

B b Cl.

Pno.

∑

Œ ‰ ~ j‚ . ‚~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ D5 ppos mz &

Ó.

ferrule click

Vc.

G#2

‰

pizz wobble gliss

&Ó

Pno.

Vln.

‰ ~ j‚ ‚~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ D5 p ppos ( )

∑

Ó.

≈

‰

Ó ‰

string tapping

ˆ. ‰.

pizz

gliss

ferrule click

‰

string tapping

˘ ¿ ‰. *

Ó. > ‚whistle sound 3

‰.

pizz

˘ ¿ ≈

7 ˘4 >

‰.

o o ‚ . harm. sounds p gliding let the natural harmonics occur as you gliss low

∑

embouchure rolled inwards, lower lip slightly touches the hole; blow a narrow air jet across the edge of the outer embouchure hole; produce a very high glassy ethereal sound

∑

∑ ∑

harm. harp sounds

frame II

¿— p

tap softly flat the corner of the glass side press and slide vertical to the strings

gliss

¿—

. ~~~~~~~~~~ ! ~~~~~~ ~~ harm. harp sounds

o o ‰ ‚ p II

whistling sound

~~~~~~~ Œ

∑ o o

∑

~~~~~~~~~~~~~ Ó harp gliss

∑

gliss

5 Alien Plasma Crystal ˘4 7

∑

Vla.

Vc.

˘ ≈ ¿ ‰

124

B b Cl.

( )

pizz overblow

∑

Vla.

( )

Vln.

Fl.

∑

˘ o o o o o o o ‰ ‚ > ‚ . ~~~~~~~~~~~~~~~~~~~~ harm trill f ppos

‰ #‚ y ppos c c

‰ ‚ frame II

∑ Œ

∑ o o

gliding harm. sounds let the natural harmonics occur as you gliss low

tap on the body with the fingertip and hold the finger on as notated

sticky tap

r Ó.

sticky tap

¿ Ó

Ó harm. gliss

‰ ‚

22 127 Fl.

& ·

·.

B b Cl.

non-touch whistle slap tip

non-touch whistle you may want to apply a bit of rosin on one glass corner side to get more singing hamronics, till the end of the piece

Pno.

& Œ

# –– –

silent press

–– –

≈ ‚.

blow between reed and tip soflty a norrow air jet without touching the reed and mouthpiece

# –– –

circular harm. sounds

∑

ppos

yyyyyyyyyyyyyyy

ccccccccccccccccccccccccccccccccccccccccccc

#‡ ‰.

–– –

# –– –

?Œ

‚.

≈ Œ

# –––

–––

≈ ‚.

Vln.

gliss tweet

≈ ‚.

∑

Vla.

Vc.

130 Fl.

Vln.

Ó.

gliding harm. sounds

ccccccccccccccccccccccccccccccccccccccccccccccc

∑

∑ ? Œ

# –––

–––

‰ ‚

# –––

∑ –––

# –––

–––

. ‰ ‚

‰.

∑

harm. gliss

Vla.

Vc.

o ‚o

whistling sound

B b Cl.

Pno.

· ‚ #‡ ≈ ‚ · Jyyyyyyyyyyyyyyyyy

∑

‚

bow lightly on the area above the top nut peg box

peg box sound

‰

o o ·

44 TR

133 Fl.

& ‚ ≈ #‡ ≈ ∑

·. #‚ ‡ #‡ ≈ ‚ ·. Jyyyyyyyyyyyyyy ≈

ccccccccccccccccccccccccccccccccccccccc

ccc

B b Cl.

Pno.

whistling sound

D4 D2

frame II

Vla.

o o

Vc.

‰ x¿ Œ

‰

sticky tap

‰

silking sound

‰ o o ‚

≤

‰

o o

gliding harm. sounds

‰

≤

yyyyyyyyy whistling sound

≤

# ––– ...

‰.

peg box tweet

‰.

≤

silking sound

≤

‰

≤

‰.

non-touch whistle

# ––– ...

≤

‰

ccccccccccccccccccccccccc

slap tip

‰ o o ‚

#·

Vln.

o o

peg box tweet

bow on the silking area below the bridge

non-touch whistle

# –– ... –

∑

Pno.

Vc.

∑

# –– .. ? –.

Vla.

‚

136

B b Cl.

sticky knock

silent press

circular harm. sounds

∑

Vln.

Fl.

# –– .. –.

∑

sticky tap

r ¿

‰.

slap tip pos

non-touch whistle

tap the fingertip and hold on the wood of the soundboard

oo ·

‰.

silking sound

‰

≤ .

≈

gliding harm. sounds

24 139 Fl.

&·

yyyyyyyyy

ccccccccccccccccccccccccc

B b Cl.

#‡ ‰.

‰

non-touch whistle

#– ? ––

# –––

Vln.

‰

≤

‰

≈ ‰

silking sound

peg box tweet

Vla.

≈

≤ .

Vc.

Fl.

‰

B b Cl.

Pno.

Vln.

Vla.

Vc.

46 TR

‰ #‚ #·

#‡ ‰.

yyyyyy whistling sound

ccccccccccccccccc

‰

slap tip

? Œ

‰

# ––– –––

ppos

≈

‰.

≈ ¿. r Ó

‰

¿ ¿ r

o o

‰

o o ‚

gliding harm. sounds

∑

non-touch whistle

Ó.

peg box tweet

sticky tap

∑

‰. ‰ ¿¿ r p ≤ ‰

Ó.

pedal press

# –––. .

–––

sticky tap

‰

press down middle or left pedal, thumping sound, release quietly

∑

. Ó

≈

. ‰ Ó

∑

July Distance 47

& Ó

slap tip pos

sticky tap

142

‰

≤

# –––

Pno.

∑

‰ Ó

‰. r

¿¿ ‰ Ó

sticky tap

∑

sticky tap

‰

≤

≈ . *

silking sound

≤

Ó. Œ

# –––

‰

peg box tweet

o ·o .

gliding harm. sounds

145 Fl.

B b Cl.

∑

#– ? –– Pno.

‰

Vln.

Vla.

‰.

Vc.

Fl.

B b Cl.

‰

∑

sticky tap

‰.

slap tip pos

‰ Œ

sticky tap

¿ p

Vln.

Vla.

Vc.

tap the fingertip and hold on the wood of the soundboard

∑ Ó ‰. r Ó

‰ r

sticky tap

r ¿ mz °

∑ ¿

‰

r Œ

‰.

sticky tap

¿ ¿ r

¿ ‰

‰

∑

∑ Ó

∑

sticky tap

Ó ‰ r

Ó ∑

Pno.

∑

pposslap tip

sticky tap

148

‰.

∑

oo ‰

∑

release with sound

ppos *

∑ ∑

∑

sticky tap

¿¿

‰