IANNOTTA
MOULT for Chamber Orchestra
Full Score
EP 14398 Contemporary
CLARA IANNOTTA
POD PETERS on demand
Score
Full
MOULT ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED EDITION PETERS LEIP ZI G · L ONDO N · NE W YOR K
for Chamber Orchestra
MOULT was commissioned by Westdeutscher Rundfunk & Wien Modern for frst performance at the Wittener Tage für neue Kammermusik in May 2019, and Wien Modern in October 2019.
Instrumentation
• Flute 1
Objects: kazoo (possibly in wood), waldteufel
• Flute 2 (also Piccolo)
Objects: kazoo (possibly in wood), waldteufel
• Clarinet 1 in Bb
Objects: waldteufel
• Clarinet 2 in Bb (also Bass)
Bass Clarinet’s preparation: A4 laminated paper with a paperclip to fx it on the clarinet (use a bulldog clip to fx the paper on the bell)
Objects: waldteufel
• Bassoon 1
Objects: gelinotte birdcall, waldteufel
• Bassoon 2
Objects: gelinotte birdcall, waldteufel
• Horn 1
Mutes: wah-wah (use a wah-wah mute for bass Trombone), practice mute
• Horn 2
Mutes: wah-wah (use a wah-wah mute for bass Trombone), practice mute
• Trumpet in C 1
Mutes: wah-wah, preparation with silver metal sheet, practice mute
• Trumpet in C 2
Mutes: wah-wah, preparation with silver metal sheet, practice mute
• Trombone 1
Mutes: harmon, preparation with silver metal sheet, practice mute
• Trombone 2
Mutes: harmon, preparation with silver metal sheet, practice mute
• Percussion 1: crotales waterphone
large thunder sheet (Inox-Stahl 2m x 1m, 0,7mm) waldteufel
cymbal (reversed) on a timbale
large, very low gong (pitch is not important, you can take the lowest you have) medium gong put horizontally on a table to damp the resonance small singing bowl (to be used to scrape the surface of the gong) cymbal 18’’
2 metal ratchets fxed on a piece of wood [watch the video in the Explanatory-Files folder] 2 viola or cello bows
• Percussion 2: crotales buzzing bow
tam-tam bass drum
large chinese cymbal (reversed)
large gong put horizontally on a table to damp the resonance
small singing bowl (to be used to scrape the surface of the gong) vibraphone with motor
2 viola or cello bows
• Piano
Objects: large heavy glass (or singing bowl), superball, 8 e–bow machine, pata–fx, rubbers between the last two strings to damp their resonance, 2 medium singing bowls (can be substituted by 2 glasses) [watch the video in the Explanatory-Files folder]
• Harp
Objects: 4 tuning keys to prepare the pedals, kazoo (possibly in wood), superball, metal ratchet fxed on a piece of wood [watch the video in the Explanatory-Files folder]
• E-Guitar
Objects: 12 circular paperclips, viola or cello bow, bottle–neck, e–bow, kazoo (possibly in wood)
Pedals: reverb (Earthquaker Devices, Afterneath), freeze (Electro Harmonix Freeze Sound Retainer), distortion (Chase Bliss, Brothers), tremolo (Chase Bliss, Gravitas), glitch (Infnite Jets), volume pedal
• Accordion
Objects: cassette tape, kazoo (possibly in wood), metal ratchet fxed on a piece of wood [watch the video in the Explanatory-Files folder]
• Violins I:
1 Mutes: wooden, rubber
Preparation: 4 circular, metal paperclips on strings I–II — 2 paperclips on each string (one AST, one MSP)
Objects: piece of polystyrene, cassette tape
2 Mutes: wooden, rubber
Preparation: 4 circular, metal paperclips on strings II–III — 2 paperclips on each string (one AST, one MSP)
Objects: piece of polystyrene attached to the music stand, cassette tape
3 Mutes: metal, rubber
Preparation: 3 circular, metal paperclips on strings II–III — 1 paperclip on string II (AST), 2 paperclips on string III (one AST, one MSP)
Objects: piece of polystyrene attached to the music stand, cassette tape
4 Mutes: metal, rubber
Preparation: 3 circular, metal paperclips on strings III–IV — 2 paperclips on string III (one AST, one MSP), 1 paperclip on string IV (AST)
Objects: piece of polystyrene attached to the music stand, cassette tape
5 Mutes: rubber, practice (very heavy)
Preparation: tin foil around strings III and IV
Objects: piece of polystyrene attached to the music stand, cassette tape
6 Mutes: rubber, wooden, practice (very heavy)
Preparation: tin foil around strings I and II
Objects: piece of polystyrene attached to the music stand, cassette tape
7 Mutes: rubber, wooden, practice (very heavy)
Objects: piece of polystyrene attached to the music stand, cassette tape
8 Mutes: wooden, practice (very heavy)
Objects: piece of polystyrene attached to the music stand, cassette tape
• Violins II:
1 Mutes: metal
Preparation: 4 circular, metal paperclips on strings I–II — 2 paperclips on each string (one AST, one MSP)
Objects: piece of polystyrene attached to the music stand, kazoo (possibly in wood)
2 Mutes: metal
Preparation: 3 circular, metal paperclips on strings II–III — 2 paperclips on string II (one AST, one MSP), 1 paperclip on string III (AST)
Objects: piece of polystyrene attached to the music stand, kazoo (possibly in wood)
3 Mutes: metal
Preparation: 3 circular, metal paperclips on strings III–IV — 1 paperclip on string III (AST), 2 paperclips on string IV (one AST, one MSP)
Objects: piece of polystyrene attached to the music stand, kazoo (possibly in wood)
4
Mutes: wooden
Preparation: tin foil around strings II and III
Objects: piece of polystyrene attached to the music stand, kazoo (possibly in wood)
5 Mutes: practice (very heavy)
Preparation: tin foil around strings III and IV
Objects: piece of polystyrene attached to the music stand, kazoo (possibly in wood)
6 Mutes: wooden
Objects: piece of polystyrene attached to the music stand, kazoo (possibly in wood)
• Violas:
1
Mutes: wooden, rubber, practice (very heavy)
Preparation: 3 circular, metal paperclips on strings I–II — 1 paperclip on string I (AST), 2 paperclips on string II (one AST, one MSP)
2
Mutes: wooden, rubber, practice (very heavy)
Preparation: 3 circular, metal paperclips on strings III–IV — 2 paperclips on string III (one AST, one MSP), 1 paperclip on string IV (AST)
3 Mutes: wooden, rubber
Preparation: tin foil around strings II and III
4 Mutes: wooden, rubber
Objects: piece of polystyrene attached to the music stand
• Cellos:
1
Mutes: wooden, rubber
Preparation: circular, metal paperclip on string III — 1 paperclip on string III (AST)
2 Mutes: wooden, rubber
Preparation: circular, metal paperclip on string II — 1 paperclip on string II (AST)
3 Mutes: wooden, rubber
Preparation: tin foil around strings I and II
4 Mutes: wooden, rubber
Tuning: IV string detuned
• Double Basses:
1 (with 5 strings)
Mutes: rubber
Tuning: V string detuned
2
Tuning: IV string detuned
Preparation: tin foil around strings I and II
3 Preparation: tin foil around strings III and IV
• Conductor
Objects: stopwatch
For questions or tape material, please contact Edition Peters or directly the composer.
Duration ca. 17–18 minutes.
Score is in C.
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List of objects used in the piece:
• kazoos: 11
• waldteufel: 7
• gelinotte birdcalls: 2
• metal ratchets fxed on a piece of wood: 4
• pieces of polystyrene attached to the music stand: 15
• cassette tape: 9
• tin–foil: 1 roll
• stopwatch (for conductor): 1
• laminated A4 paper (for bass clarinet): 1
• bulldog clips (for bass clarinet): 2
• tuning keys (for harp): 4
• circular, metal paperclips: 43 (including the 12 needed for the e-guitar)
• mutes for strings:
— violin wooden mutes: 7
— violin metal mutes: 5
— violin rubber (ordinary) mutes: 7
— violin practice mutes: 5
— viola wooden mutes: 4
— viola rubber (ordinary) mutes: 4
— viola practice mutes: 2
— cello wooden mute: 4
— cello rubber (ordinary) mutes: 4
— double bass rubber (ordinary) mutes: 1
NB: the list does not include the list of percussions, the objects for the e-guitar, the piano preparation, and the mutes for brass.
Where to buy some of the objects:
• paperclips: https://www.amazon.com/gp/product/B00161SRE8/ref=ppx_yo_dt_b_asin_title_o00_s00?ie=UTF8&psc=1
• gelinotte (hazel hen) birdcall: https://www.qbc.fr/product_info.php?products_id=65&osCsid=4cb45019efa6d2cf5c3cf7396045f26&sys=apple
• metal ratchet: any hardware store (and then you have to do some bricolage in order to build it).
• waldteufel: thomann.de
• cassette tape: you can buy pretty much any old cassette tape player. Te one that I suggest is Panasonic RX-M40D Mono radio recorder.
• E-bow machine: get in touch with the composer to rent the machine. In case the machine is not available, you can use 6 normal e-bows and put some marbles or stones on the strings that are vibrating, in order to create a rattling sound.
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Explanatory Notes
Winds:
Waldteufel: this instrument is played in two ways.
• Sound 1: Te thread has to be tight and it has to move in circle. Te sonic result is a granulated, rattling sound [watch the video in the Explanatory-Files folder].
• Sound 2: Te thread has slide on the skin of the instrument. Te sonic result is a smooth sound [watch the video in the Explanatory-Files folder].
Preparation of the bass clarinet: cover the bell of the clarinet with a stif sheet of paper — a laminated A4 sheet is suitable — fxed with a bulldog clip. Te sonic result is low buzzing sound.
You can see a photo and some samples of the preparation on Heather Roche’s blog: https://heatherroche.net/2014/03/24/on-bass-clarinet-preparations/
Multiphonics:
• all the clarinet’s multiphonics are taken from Heather Roche’s blog — www.heatherroche.net
• all bassoon’s multiphonics are taken from Pascal Gallois’s book — Te Techniques of Bassoon Playing, published by Bärenreiter.
Brass:
Metal Sheet Mute (for trumpet and trombone): 22 gauge steel (thin). Cut a square metal sheet that can cover completely the bell of the instrument. Fix it with 2 bulldog clips (you can use pata–fx on the clips to avoid scratches).
Piano:
Harp:
E-Bow machine: the six magnets have to be placed directly on the strings of the piano in the medium/low register in order to create a rattling, metallic sound. Te pitch is not important. Place the magnets on the strings that make the best sound.
Check the Explanatory-Files folder to see how to handle the machine.
Singing bowls: two medium singing bowls have to be placed on the strings, in the low register, at the opposite edge of the hammers (see the image, singing bowls 1 and 2); one upside singing bowl (or a heavy, large glass) should be placed on the strings in the medium/high register (see image, singing bowl 3) [watch the video in the Explanatory-Files folder].
Pata–fx: place a piece of pata–fx on the following string in order to damp the resonance.
Rubber: place a big rubber between the lowest two strings to cut the resonance. It has to sound almost like a bass drum.
Pedals preparation: the pedals can be fxed in half position by inserting erasers or other rubber material, for example the rubber tuning key, into the pedal slot. Te pedal then stays in the half position. Te object is placed above the pedal. Te pedal springs inside the pedal mechanism always press the pedals upwards and thus hold the object in place. Te sonic result is a buzzing sound.
Before the beginning of the piece, prepare the pedals E and A.
Starting from measure 60, prepare also the pedals F and G.
E-Guitar:
In order to play this piece, you need to have a guitar with sustain (or a second steel guitar), as there are some sounds that are sustained for a long time.
Initial preparation: the six strings of the guitar have to be prepared with two circular metal clips each string (one close to the frst pick–up, the other one close to the last pick–up). Using a violin or viola bow, bow the six strings between the two clips. Almost no pressure of the bow, it should be a very delicate sound. [watch the video in the Explanatory-Files folder]
Te clips have to be removed at measure 41.
Pedals: reverb, distortion, glitch, tremolo, freeze.
Strings:
Paperclips Preparation (only for Vln. I 1-2-3-4, Vln. II 1-2-3, Vla. 1-2, Cellos 1-2):
Strings are prepared with up to 4 circular, metal paperclips, that should be positioned close to the fngerboard (AST) or to the bridge (MSP), or both, as shown in the picture below.
Te bow has to pass always between the paperclips (not beyond!). Although the space between AST (very close to the paperclip), and MSP is reduced, please play where asked, since the sounds AST and MSP are very diferent.
Tuning:
Tin–foil Preparation (only for Vln. I 5-6, Vln. II 4-5, Vla. 3, Cello 3, Db. 2-3):
Place a piece of tin–foil around the string. Te foil should not be too attached to the string. [watch the video in the Explanatory-Files folder]
• Cello 3: IV string detuned one octave lower.
• Cello 4: IV string detuned a major seventh lower.
• Double Bass 1: V detuned one octave lower.
• Double Bass 2: IV detuned one octave lower.
Left hand pressure:
= ordinary pressure
= lightly touching, as you would when playing harmonics
Right hand pressure:
= almost no bow pressure
= ordinar y pressure = half overpressure = overpressure
Bow position:
AST = alto sul tasto
T = al tasto
PO = posizione ordinaria
SP = sul ponticello
MSP = molto sul ponticello
Bow techniques:
c.l.t. = col legno tratto
I would like to thank Chris Swithinbank for his constant presence; Matt Barbier for his incredible generosity in sharing with me his brass techniques; Tom Pauwels, for his help with the electric guitar; Jan Bernstein, for building such a powerful e-bow machine; Villa Médicis, for funding the e-bow machine; Dorothy Molloy’s words, for the never-ending inspiration; my family, for the support.
& & ? ? & & ã ã ã ? & ? & ? & ? & & & & & & & & & & & & B B B ? ? ? ? ? 4 2 4 2 4 2 4 3 4 3 4 3 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 44 5 6 7 88 11 22 33 4 5 66 11 22 33 11 33 11 22 33 Vln. Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° ˙ ≤ T T O T T ≤ O + ≥ O ≤ T T + O l r ˙ # O r O + O III IV II-III III AST II III AST III 1-2 3-4 [almost no bow-pressure] [almost no bow-pressure] [almost no bow-pressure] π T T q = 50 Wooden Mute Wooden Mute Metal Mute Metal Mute Metal Mute Metal Mute Wooden Mute Wooden Mute [l.h. — harmonic pressure] always legatissimo always legatissimo always legatissimo [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the most sound possible] Mute Prepared with tin foil on II-III strings. Prepared with tin foil on III-IV strings. Prepared with tin foil on III-IV strings. Prepared with tin foil on I-II strings. 3-4 Prepared with tin foil on II-III strings. (only Viola 3.) Prepared with tin foil on I-II strings. (only Cello 3.) Prepared with tin foil on I-II strings. Prepared with tin foil on III-IV strings. Prepared with clips on I-II strings. Prepared with clips on II-III strings. Prepared with clips on II-III strings. Prepared with clips on III-IV strings. Prepared with clips on I-II strings. Prepared with clips on II-III strings. Prepared with clips on III-IV strings. Prepared with clips on I-II strings. Prepared with clips on III-IV strings. (Cello 1.) Prepared with clip on III string. (Cello 2.) Prepared with clip on II string. On the strings [large, heavy glass upside down (or singing bowl), in the middle register: gently, with not too much pressure, slowly rub the glass along the strings. Te sonic result is a cluster of high harmonics. See video.] T [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure] [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure] Wooden Mute (Viola 3-4) Wooden Mute Wooden Mute Wooden Mute Metal Mute (Cello 3–4) Prepared with clips on all strings (see Performance notes) [Sustain ON, very reverbed] NB: the pedals of the notes E / A are fxed in half position in order to have buzzing sound (see performance notes page). Cello 3–4: IV string is detuned (check performance notes) V string is detuned (check performance notes) IV string is detuned (check performance notes) Wooden Mute ˙ O ≥ O ≤ ± ≥ ± O ˙ O O O q π π h P π π π π p p ˙ ≤ O + ≥ O O ≥ O ≤ O ˙ O O O q )( ( h ˙ ≤ ± ≥ ± O ˙ O O O h ) ( q ) ˙ ≤ O ≥ O ≤ + O ˙ O O O h ˙ O ≥ O ≤ O + + ≥ O ± ≥ ± O ˙ O O O h ˙ ≤ O + ≥ O ≤ ≤ + + O ˙ O O O ( q ) ( q ) = & = & = & = & = & = & = B = B [L.H.: Bottle neck. Starting in the middle of the register, gliss very slowly and irregularly on the six strings (up and down). R.H.: Bow passes between the clips. Gently (with not too much pressure) bow all the six strings at the same time. (watch video provided by composer)] : [with bow] ˙ ˙ # ˙ b œ ˙ O + ≥ ≤ O ± ≥ ± O + + ≤ T T j ± ≥ O J ± O O ˙ O O O ≤ T T O ≥ O Œ O + + ≤ T T O ‰ j ± ≤ T T + ≥ ± O O O ≤ T T O + ≥ O ≤ T T O q ) h ) q ( q π AST π AST II ( q π π π AST CROTALES CROTALES : : [with bows] [with bows] l.v. l.v. [almost no bow-pressure] [almost no bow-pressure] [almost no bow-pressure] AST AST [almost no bow-pressure] AST [almost no bow-pressure] [almost no bow-pressure] III II III III III IV A 2 3 4 5 6 h P P MOULT Clara Iannotta Score in C (2018–19) for chamber orchestra to Celine and Venere-Sophia Edition Peters 14398 © 2019 by Henry Litolff’s Verlag Ltd & Co. KG, Leipzig viii/19 34547
& & ? ? & & ã ã ã ? & ? & ? & ? & & & & & & & & & & & & B B B B ? ? ? 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 66 7 88 1 2 3 4 5 66 1 2 33 44 11 33 11 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) rall. 9 () œ R œ ‰ ≤ T T ± T T O + ≥ O O ≤ T T + T T O + ≤ œ O O j œ ≈ Œ T T ± ≤ ± T T ± ≥ 3 J 3 T T ≤ ± Œ O T T ± ≤ ± T T ± ≥ q ) q pp (pp q pp pp p) q q ) q q q ) q ) pp pp pp π ) ) ) ) () ) ) ) () pp 1-2 3-4 P) [open string] [the open string should not be much louder than the other string, but it has to gently stick out. Always still bow, legatissimo] (IV) [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Mute] [Mute] [Mute] [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] Mute of Wooden mute ON Mute of Wooden mute ON Wooden Mute Wooden Mute [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [like a diminuendo al niente] 1-2-3 1 2 3 4 5 6 ( h ) [Wooden Mute] p ≈ Œ O + + ≥ O ≤ O + ≥ O ≥ ± ± ≥ œœ ± r + ‰ R O + + ≤ ± ≥ O ≤ j ≥ 3 J ± 3 + ≥ ± ≤ ± ++ ≤ j J O J q e. (III) ≤ O ≥ ± œ ≤ O ≤ O ++ ≤ O + ‰Œ ≥ ± ≥ + ≤ O [open string] [the open string should not be much louder than the other string, but it has to gently stick out. Always still bow, legatissimo] (II) [open string] [the open string should not be much louder than the other string, but it has to gently stick out. Always still bow, legatissimo] q q q ( h ) ˙ O ++ ≥ O ≥ ± O + + ≤ ± ≥ 3 O J ± 3 ± ≥ r O + ‰ ± R O ≤ + ≥ ± ± ‰Œ q q q q ( q ) h ˙ ≤ ± ≤ œœ O ≤ + O ≤ O r ≈ ‰ R ± ( q ) (III) [open string] [the open string should not be much louder than the other string, but it has to gently stick out. Always still bow, legatissimo] = & (I) [open string] q œO ≥ O O + ≥ œO ≥ ± ± ≥ œ q ( q ) [open string] (IV) ≤ O + ≥ ± O ≤ O + ≥ O O ≤ + ˙ [until the end of the resonance] = & ≤ ˙ ≥ ± O ≤ ± ≥ 3 O J ± 3 )( (II) [open string] h 34547 2
& & ? ? & & ã ã ã ? & ? & ? & ? & & & & & & & & & & & & & & B B B B ? ? ? ? ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° 17 ≤ T T ± T T + ≥ O ≤ T T + ≤ ( q ) (pp pp pp ) () () ) ( q ) (III) [open string] (IV) [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Mute] [Wooden Mute] 1-2-3 2 3 4 5 6 ( h ) p) O + ≥ œœ ± ≤ + ≥ ± œ ± ≥ ˙ ≥ q (II) [open string] [open string] [open string] (III) ( h ) ≤ O + ≥ ± O ± ≤ œœ ± ≤ + ( q h + ≥ O ± ≥ ± ≤ ≥ 3 3 q ) ( q ) ≤ ± ± ≤ ± ≤ + ≤ q [open string] (II) h ≥ O + ≥ O ± ≥ ± ≥ B ( q ) q = & [open string] (I) = ? = ? = = B = B = & = & = & = & = & = & = & ã & & ≤ O + + ≥ ± O ± ≤ + ≥ ± O ≤ + œœ œ + w+ œ OO OO + + O œO œ œœœ Oœ r r Oœ œœ O j O O l O OO œ l l œ œ jj œ III IV II III IV II III IV q ) = & = & B [Find bow position and speed of the bow that allows a very clear, warm sound] [Find bow position and speed of the bow that allows a very clear, warm sound] [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] [Find bow position and speed of the bow that allows a very clear, warm sound] [Find a bow position and speed of the bow that allows a very clear, warm sound] [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] [Find a bow position and speed of the bow that allows a very clear, warm sound] [Find a bow position and speed of the bow that allows a very clear, warm sound] [Find a bow position and speed of the bow that allows a very clear, warm sound] = & = & = & = B = & = = II [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] h = & = ? p p p p p p p p p p π p ‰ j bœœ ‰ J — ‰œœ ㉜ ‰Œ ㉠‰ j O œŒ Œ ‰ œœœ œ # ± ≤ ± ± ≥ ± ≤ ≥ 3 3 œœ œœ ‰ O J O J O‰Œ Œ Œ ± ≤ T T ± Œ j O ≤ T T O ‰ j ≤ T T O˙ œ Œ ‰ ≤ T T ± Oœ r Oœ ‰ ˙ O O O j O œ J œ j œœ ( q ) ( h ) ( q ) ( q [whistle tones] [Flute 1] [Flute 2] [Clarinets 1-2 in B [with the teeth on the reed] π Læˆ 2 GELINOTTES [blow and cover/uncover the end of the instrument with one fnger (like wa-wa mute)] WATERPHONE : [with bow] On the strings [large, heavy glass upside down (or singing bowl), in the middle register: gently, with not too much pressure, slowly rub the glass along the strings. Te sonic result is a cluster of high harmonics. See video.] ( q ) [almost no bow-pressure] [almost no bow-pressure] AST [almost no bow-pressure] AST II II III III IV AST II [almost no bow-pressure] p[very soft mallet] ∏ P P p P P P 34547 3
& & ã ? & & ã & ã ? & & & ? & ? & & & & & & & & & & & & & & B B B B B ? ? ? ? Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 66 77 88 1 2 3 44 55 66 1 2 33 44 1 2 3 44 11 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) rall. 25 ˙ ± () ˙ ˙ () ˙ () ˙ ˙ ˙ ± ≤ T T ± T T O + ≥ ≤ T T + T T ≤ + O ≈ Œ O + + ≥ T T O j ± ≥ 3 T T J ± 3 O + + ≥ O T T ≥ T T O O + + ≤ T T ≥ O O O OŒ œ r œ ‰Œ pp) [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] π π q ) ) [Metal Mute] [Metal Mute] [Metal Mute] π AST [almost no bow-pressure] III IV q π () ( q ) (pp pp pp ) () () () ( q ) [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] π [Wooden Mute] [Wooden Mute] p p) (pp Læˆ [GELINOTTE] [breath every time needed. Start/end always with a short fade-in/out.] [breath every time needed. Start/end always with a short fade-in/out.] [breath every time needed. Start/end always with a short fade-in/out.] P [WATERPHONE] P (ppp) WAH-WAH MUTE WAH-WAH MUTE (pp () ) [Mute] [Wooden Mute] NB: use a wah–wah mute for bass trombone. 1-2-3 1 2 3 4 5 6 ( h ) p) ˙ ˙ j ≈ Œ ˙ ˙ ˙ ≥ + ≤ O ≥ ± ± ≥ ± ≥ ≤ O + ≤ O ± ≤ O + ≥ ± O ± ≤ ≥ ± O ( q ) q ) q ) l.v. = ? = & = & h ) (IV) = & = & = & = B = & = & = & = & ˙ ˙ Œ j œ + œ + 3 Œ Œ j œœœ + 3 Œœ# + Œ‰ J œ j ˙ ˙ ˙ ± ≤ + ≥ ± ≤ ± ≤ OO œ + w+ œ OO + + O ≥ O ± ≥ ± ± ≤ ± O œO œ œœœ ± ≤ ± O ≤ j ≥ 3 œœ 3 O œO œ O j O q h ( h ∏ [open string] [the open string should not be much louder than the other string, but it has to gently stick out. Always still bow, legatissimo] III IV [Find bow position and speed of the bow that allows a very clear, warm sound] q ( q [Find a bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows a very clear, warm sound] III [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] II [Find bow position and speed of the bow that allows a very clear, warm sound] [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] p [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] [whole-tone artifcial harmonic. Try to fnd the position of the bow that gives you the warmest sound possible] ( h p P P P P p P ˙ ‰Œ ˙ ˙ œœœœ + + l + œ + œœ + œ ˙ ˙ ˙ O + ≥ ± ≥ ≤ ± + + ≤ j ≥ 3 OO œ j œ ‰ J O‰Œ Œ ≤ O + ≥ O O + ≤ j ± ≥ 3 O J ± 3 O˙ j œ ≈ Œ + ≥ O O + + ≤ O O˙ O ? q ∏ ∏ ∏ ∏ ∏ e ( q ) q [l.h. — harmonic pressure] pp [l.h. — harmonic pressure] = h h œ j œ ‰ ˙ ˙ œœœ + œ + + 3 œ + œœ + œ ˙ ˙ ˙ ± ≤ ± ≤ — ≥ — — — œ — + ≤ O ≈ Œ O + ≤ O O + + ≥ j ± 3 O J ± 3 R ‰ ± ≤ + ≥ ± œ ≥ ≈ T J & [open string] (IV) ( q ) )( q q [l.h. — ordinary pressure] F F [l.h. — harmonic pressure] (pp (pp [l.h. — harmonic pressure] [l.h. — harmonic pressure] (pp q ) = = ? III ∏ poco AST [poco slow bow] [1/2 legno] * = put enough (but not too much!) pressure to have a lightly granular sound. (II) [open string] h [like a diminuendo al niente] h œ‰ ˙ œœ j œœ + + œ + œ Œ r ‰ ˙ ˙ ˙ + ≥ — ≤ — ≥ ≤ — ≥ ——— — ≤ — ≥ j ≤ — ≥ 3 ——— ≥ ≤ — ≥ ≤ — ≥ —— — ≥ ≤ — ≥ —— O + ≥ O ± ≤ œ ± ‰ T Œ‰ R q (II) [open string] ( q q q ( h pp) [l.h. — harmonic pressure] ppF ) F F II IV NB: the IV string is detuned one octave lower poco ∏ * = put enough (but not too much!) pressure to have lightly granular sound. put enough (but not too much!) pressure to have a lightly granular sound. AST q ) ˙ R ‰ œ j œ ≈ R ‰Œ J œ œ ‰Œ — ≤ — ≥ — ≤ ≥ — ≤ 3 ——— 3 ≤ — ≥ — ≤ 3 J —— 3 — ≤ j — ≥ — ≤ — ≥ — J ——— — ≤ ≥ — ≤ — ≥ ≤ —— J — 3 — ≤ — ≥ ≤ j — ≥ 3 3 —— J — 3 — ≤ — ≥ j — ≤ —— J — ± ≤ ± + ≥ O œ ≤ œ j ≥ œœ 3 J 3 q F [l.h. — ordinary pressure] q q = ? ∏ [open strings] [until the end of the resonance] J œ ‰Œ ‰Œ — ≥ — ≤ ≥ — — — ≥ ≤ — ≥ ≤ — — — ± — ≤ — ≥ — ≤ — — ≥ ≤ ≥ — ≤ —— — ≥ — ≤ — ≥ ≤ — ≥ 3 ——— ± ≤ + ≥ ± œ œ ≤ O J 3 Œ j j 3 ( q ) π π [almost no bow-pressure] [l.h. — harmonic pressure] q q NB: the IV string is detuned a minor seventh lower * = put enough (but not too much!) pressure to have lightly granular sound. poco IV AST [open string] [open string] (II) (III) 34547 4
& & ã ? & & ã & ã ? & & & & ? & & & & & & & & & & & & & & B B B B ? & ? ? ? 4 3 4 3 4 3 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 55 66 77 88 1 2 3 44 55 66 1 2 33 44 1 2 3 4 11 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° III ° 33 ± ≤ T T O ± T T ++ ≥ ± T T ≤ T T j ≥ 3 ± 3 T T — ≥ ± ≤ — ± T T — ≤ ± ≥ ± r T T ‰Œ R T T ≤ œ T T œ ± ≥ ± T T 3 j 3 [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] ) q q q ( q ) (pp ) ) ) (pp ) pp [Wooden Mute] [Metal Mute] [Metal Mute] [Metal Mute] [Metal Mute] ) ) q pp ) [Wooden Mute] [wah-wah mute] [Mute] π [l.h. — harmonic pressure] [almost no bow-pressure] [l.h. — harmonic pressure] [almost no bow-pressure] π [Metal Mute] ) π [l.h. — harmonic pressure] [almost no bow-pressure] [almost no bow-pressure] [l.h. — harmonic pressure] [Wooden Mute] pp ) q ∏ ppp ppp ppp [Wooden Mute] B [harmon mute] [wah-wah mute] 1-2-3 [without playing, press the keys correspondent to the strings where you placed the magnets 7–8. As explained in the performance notes, it is not important which strings you place the magnets on, but you should write it down (once decided), so that you know which keys to press here to prepare the III Ped.] t t œ ≥ œ ± ≤ ± ˙ ≤ O + ≤ ã ã + ≥ O O + ≤ ± 3 O J ± 3 ã œ ≥ œ ã j 3 = & [open string] (I) [open string] (II) q = = & = & ( q [open strings] = Œ ˙ + ‰ R ˙ ã Œ ˙ Œ ˙ œ ± ≤ ≥ ± + ≥ ± ≤ ± ± ≥ O ≤ O + ≥ ± O Œ O ± ≤ ≥ ± O ã ã Œ‰ R OO ˙ œ ≤ O ≥ ≤ ≤ j ± () Œ J ± () 3 J 3 3 J 3 ‰ J O q q q ( q ) q q q h ) CROTALE :[with bow] π POLYSTYRENE :[with bow] π POLYSTYRENE :[with bow] π POLYSTYRENE :[with bow] π :[with bow] C q ) [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure] [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure] [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure, close to the tin foil] [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure, close to the tin foil] III (only Db 3.) II III IV SHEET u [with superball] ( q ) u [slide the superball along the strings] = & = & = & = & = & ˙ ˙ # d d J œœ + œœ + œœœ + +++ R J œ‰Œ ˙ ˙ ã r œ ‰Œ J œ () ‰Œ O œ )( ‰Œ ––T Œ ± ≤ ± + ≥ ± ≥ () Œ () O O ± ≤ ± ¬ O ˙ œ () ≈ () J ‰ j 3 j j ()‰ 3 O q ( q ) ( q q q ) ( q ) h ) f π π f f f f π π π π π [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure, close to the tin foil] [left hand: close to the tin foil, harmonic pressure. right hand: light bow pressure, close to the tin foil] III III IV f l.v. f ON P E-BOW Machine (7-8) [turn the e-bows 7–8 ON and let them vibrate. Te 2 magnets should be as close as possible to the strings. Te sonic result is a continuous rattle.] l.v. f E /E (already prepared) D /D (use the foot to buzz) [until the end of the resonance] [Flute 1] [Piccolo] π [L.H. damp the strings in the medium–high register. R.H. = bow very close to the left hand, extreley slow. Te sonic result is granulated, crackling sound.] [L.H. damp the strings in the medium–high register. = bow very close to the left hand, extreley slow. Te sonic result is granulated, crackling sound.] III-IV (z) ∏ l.v. 2 3 [with bottle–neck] [same settings as before. Play chord on the strings 1-2-3 and then start to slowly gliss (not too fast).] P P ∏ P ˙ ˙ J ‰ œœœ + œ ‰ ˙ + ≥ ± ≤ ± œ ()‰ œ () O O J ‰Œ + ≥ O O ˙ Œ J œ () ≈ 3 O q q ( h ) ( h ) p ( h ) p [L.H. = damp the strings in the medium–high register. bow very close to the left hand, extreley slow. Te sonic result is granulated, crackling sound.] VIOLA I-II M ˙ ˙ j œ ≈ Œ ˙ ã ˙ ± ≤ ± r ()‰Œ R () O O Œ ± ≤ () ≈ ± œ () O r œ () ‰Œ O q ( q ) ( q ( h ) q [reduce slowly the resonance pedal, so that you hear only the III Ped.] WALDTEUFEL (sound 1) [the thread must be tight and it has to move in circle (see video).] J œ ‰Œ j ‰Œ ()Œ () O O O œ ()‰Œ O h h h h p h p ã O O O O h h h h h 34547 5
& & ã ? & & ã & ã ã & & & ? & t & & & & ã ã & ã ã ã B B ã ? & ? ? 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 5 6 77 88 11 2 3 4 5 66 11 22 3 4 11 22 33 44 1 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ~30" ~30" ~30" (III ° 41 () ã † œ () ? ? O ¬ () ¬ () O O () t t Ot [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] pp pp pp pp pp pp [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] (only Db 3.) [E-BOW Machine (7-8)] p p [Metal Mute] p [Metal Mute] p [Wooden Mute] [Take OFF all the clips without making noise] M 34547 6
& & ã ? & & ã ã † ã & & & ? ? ? & & & & ã ã & ã ã ã B B ã ? & t t t 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 6 77 88 1 2 3 4 5 66 1 2 3 4 11 22 3 4 1 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. III ° 42 () ˙ R –‰ R –‰ () ˙˙ Œ‰ œ œ œ b b b 3 Œ‰ œ # O + + T T + + T T ˙ T ˙ T O T () () ˙ T ˙ T O ¬ () ˙ ˙ O [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] D BUZZING BOW â â â q 60 pp) 3 1-2 T 1/2 legno π [poco slow bow] AST IV 1/2 legno π [poco slow bow] AST 1/2 legno π [poco slow bow] AST π π T c.l.t. [slow bow] I II π [Wooden Mute] c.l.t. [slow bow] III π AST AST c.l.t. [slow bow] II π [Metal Mute] c.l.t. [slow bow] AST IV π AST III π [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] pp) pp) pp) pp) pp) [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] IV IV the IV string of Cello 4, the V string of Db.1, and the IV string of Db. are detuned! [E-BOW Machine (7-8)] [multiphonics on strings 3–2–1 (as 3 or 2 notes chord) in the medium register. Touch the strings always when the volume is zero, and only then start to fade–in (the attack should never be heard). Te sound should be noisy, warm, medium distorted, airy, very reverbed.] whammy bar p p [Metal Mute] p [Metal Mute] p [Wooden Mute] P f P M M V ˙ R –‰ R –‰ ˙˙ Œ‰œ œ œ bb 3 Œ‰ #œ O ˙ ˙ O O ˙ O π h h h h h P ˙ R –‰ R –‰ œœœœ Œ‰œ œ œ bb 3 Œ‰ #œ O ˙ ˙ O O ˙ O P M ˙ R –‰ R –‰ ˙˙ Œ ≈ j œ œ bbœ Œ ≈ #œ O ˙ ˙ O O ˙ O ( h ( h ( h P ˙ R –‰ R –‰ ˙˙ Œ‰ j œ œ œ bbb Œ‰ #œ O ˙ ˙ O O ˙ O π ( h ( h ( h ( h ( h P ˙ R –‰ R –‰ ˙˙ Œ‰œ œ œ bbb 3 Œ‰ #œ O ˙ ˙ O O ˙ O ( h ) ( h ) ( h ) P ˙ R –‰ R –‰ j œœ j œœœœ Œ‰ j œ œ œ bbb Œ‰ #œ O ˙ ˙ O O ˙ O h ) h ) h ) h ) h ) P M ˙ R –‰ R –‰ ˙˙ Œ ≈ j œ œ œ bbb Œ ≈ #œ O ˙ ˙ O O ˙ O h h h π P ˙ R –‰ R –‰ œœœœ Œ ≈ j œ œ œ bb Œ ≈ #œ O ˙ ˙ O O ˙ O h h h h h h h h P M 34547 7
& & ã ? & & ã ã † ã & & & ? ? ? & & & & ã ã & ã ã ã B B ã ? & t t t FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 6 77 88 1 2 3 4 5 66 1 2 3 4 11 22 3 4 1 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (III ° 51 () ˙ R –‰ R –‰ ˙ () ˙ Œ‰œ œœ bb 3 Œ‰œ #œ O T T O T T O T ˙ T ± ± T () () O ˙ T () ˙ T () O ¬ () ˙ () ˙ ( â â â ) [BUZZING BOW] (f) [Metal Mute] [Wooden Mute] (pp [Wooden Mute] pp [Metal Mute] pp) [Wooden Mute] [Wooden Mute] pp) () ) () pp pp) (pp (pp 1-2 [Wooden Mute] [Wooden Mute] pp pp pp pp [Wooden Mute] [Wooden Mute] pp pp [Wooden Mute] [Wooden Mute] ) ) pp [Wooden Mute] pp) [Metal Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] whammy bar [E-BOW Machine (7-8)] p) p) [Metal Mute] p) [Metal Mute] p) [Wooden Mute] P [wah-wah mute] [wah-wah mute] [wah-wah mute] P M ˙ R –‰ R –‰ ˙ Œ‰ j œ œœ bb Œ‰œ #œ O O O ˙ ± ± O O ˙ ˙ h ) h ) h ) π P ˙ R –‰ R –‰ ˙ Œ‰œ œœ bbb Œ‰œ #œ O O O ˙ ± ± O O ˙ ˙ ( h ) ( h ) ( h ) P ˙ R –‰ R –‰ œœ Œ‰œ œœ bbb Œ‰œ #œ O O O ˙ ± ± O O ˙ ˙ POLYSTYRENE (c.l.t.) (slow bow) POLYSTYRENE ( h ( h ( h = & CROTALE p = & = & = & = & = & M P ˙ # @ ˙ ˙ œ#œœœœœœœ + œœ + œœ + R ‰Œ R J œ ‰Œ j ‰Œ R –‰ R –‰ R J œ‰Œ O () ‰Œ œ )( ‰Œ ˙ Œ‰œ œœ bbb 3 Œ‰œ #œ OO OO O ˙ œœœ ± ± R ‰Œ R J ‰Œ O œœ J œ R J ‰Œ r ‰Œ O R J ‰Œ ˙ ˙ r j‰Œ r ‰Œ r j œ ‰Œ E F F F hair [ordinary bow] (AST) : P RADIO SEV. EFFECT : P RADIO SEV. EFFECT I-II III-IV fnger fnger fnger fnger [the bow should pass between the two fngers, continuously vary the bow pressure alternating the two fngers (check the provided video!). Te result should sound like radio static moving between frequencies.] [the bow should pass between the two fngers, continuously vary the bow pressure alternating the two fngers (check the provided video!). Te result should sound like radio static moving between frequencies.] π [turn the e-bows 7–8 OFF] l.v. l.v. P [Piccolo] [only Clarinet 1] π π ∏ ∏ P P ˙ @ ˙ ˙ œœœœ œœ J œ ‰ R –‰ R –‰ j œ j œœ Œ ≈ j œ œœ bbb Œ ≈ œ#œ ± ≤ O + ≥ œ O ˙ œœœ ± ± O œœœ O ˙ ˙ ∏ ∏ ∏ ( q ) (II) [open string] (c.l.t.) (slow bow) M P ˙ ˙ œ ≈ Œ R –‰ R –‰ ˙ Œ ≈ j œ œ b Œ ≈ œ#œ ˙ ≥ OO ˙ œœ ± ± O œœ O ˙ ˙ hair [ordinary bow] π (c.l.t.) (slow bow) P j œ œ ‰Œ R –‰ R –‰ ˙ Œ‰œ œ b 3 Œ‰œ #œ ˙ ≤ ± ≤ + ≥ ± O ‰ O + + œœœ ± ± O œ J œœ O ˙ ˙ F F F = & (I) [open string] q [ordinary bow] (AST) III IV p R –‰ R –‰ ˙ Œ‰ bœ Œ‰œ #œ œO ≥ O ± ≤ ± Œ‰ ± ≥ ˙ ± ± O ˙ O ˙ ˙ ∏ ∏ ∏ (c.l.t.) (slow bow) hair [ordinary bow] q ( q ) p M 34547 8
& & ã ? & & ã ã † ã & & & ? ? ? & & & & ã ã & ã ã ã B B ã t t t FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 6 7 8 1 2 33 4 5 6 11 22 3 44 1 2 33 44 11 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. 60 R –‰ R –‰ ˙ ˙ Œ‰ œ b 3 Œ‰œ œ #œ ≤ T T œ ≥ œ T T O + ≥ O ± ≥ T T O + ≤ O + O ≤ T T j ± ≥ O J ± 3 O O J J ± T T O + ≥ O + ≤ T T j ≥ 3 ± 3 œœ J œ 3 ˙ ˙ ˙ ˙ O pppF [POLYSTYRENE] pppF [POLYSTYRENE] pppF [POLYSTYRENE] : P) [RADIO SEV. EFFECT] : P) [RADIO SEV. EFFECT] fnger 2 fnger 1 fnger 2 fnger 1 pp pp [Mute] [Wooden Mute] pp pp [Wooden Mute] pp [Wooden Mute] pp 3 [Wooden Mute] [Wooden Mute] q ( q ) q [l.h. — harmonic pressure] pp [l.h. — harmonic pressure] pp pp pp) [l.h. — harmonic pressure] [almost no bow pressure] AST II π ( q ) ) ) ) ) ) ) π whammy bar [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] Mute of Mute of Mute of Mute of Mute of Mute of p 1-2 [Fix the pedals / G / in half position in order to have a buzzing sound (see performance notes page)] (P R –‰ R –‰ œœ Œ‰ bœ Œ‰œ œ #œ ≤ ≤ — ≥ — — — O + ≤ œ O O + ≤ œœ ˙ ˙ ˙ ˙ O ∏ ∏ ∏ [keep alternating the fngers (see video)] [keep alternating the fngers (see video)] q ) ( q [open string] (IV) [l.h. — ordinary pressure] F F [l.h. — harmonic pressure] h ) ( q q p M R –‰ R –‰ ˙ ˙ Œ ≈ bœ Œ ≈ œœ #œ O + ≥ œœ — ≤ — ≥ ≤ — ≥ ——— ≤ — ≥ j — ≤ — ≥ 3 — — J —— 3 — ≥ œœ — O O J J — ≤ ≥ — ≤ — ≥ — œ — —— — ≥ œ — ≤ ≥ — — œ J œœ 3 ˙ ˙ ˙ ˙ O F F F (II) [open string] ( q pp [l.h. — harmonic pressure] ppF ) F F p R –‰ R –‰ ˙ ˙ Œ‰ bœ Œ‰œ œ ≤ — ≥ — ≤ — ≥ — ≤ 3 ——— j ≤ — ≥ — ≤ 3 J —— 3 — ≤ — ≥ — ≤ — ≥ 3 J ——— 3 — ≤ — ≥ ≤ — ≥ — ≤ ≥ 3 — —— — 3 O O J J — ≤ ≥ — ≤ j — ≥ 3 ——— J — 3 — ≤ — ≥ — ≤ 3 ——— 3 œœ J œ ˙ ˙ ˙ ˙ O ∏ F ∏ F ∏ F F [l.h. — ordinary pressure] π ∏ R –‰ R –‰ ˙ ˙ Œ‰ bœ Œ‰œ ≥ — ≤ — ≥ — ≥ ≤ — ≥ ≤ —— ≤ — ≥ —— ≤ — ≥ ≤ —— O O — ≤ — ≥ — ≤ —— — ≥ — ≤ — ≥ — ≤ — ≥ ————— 3 œœ ˙ ˙ ˙ ˙ O ∏ ∏ ∏ π & R –‰ R –‰ j œ ‰Œ Œ‰ bœ Œ‰œ — ≤ — ≥ — ≤ — ≥ — ≤ ——— 3 j — ≥ ≤ — ≥ — ≤ 3 J ——— 3 — ≤ — ≥ — ≤ — ≥ 3 J ——— 3 — ≥ ≤ j ≥ — ≤ 3 —— — 3 O O R O ‰ J J ≥ — ≤ — ≥ — ≤ — —— — ≥ — ≤ — ≥ œ — ≤ — ≥ ————— 3 œ J œœ 3 & & † ˙ ˙ ˙ ˙ ? & F F F π = & = = = = = =Œœ œ R –‰ R –‰ Œ ≈ j œ œ b # † Œ ≈ † ≥ — ≤ — ≥ — ≥ ≤ — ≥ ≤ —— ≤ — ≥ — ≤ —— ± ≥ ± O ˙ — ≥ ± ≤ — — ≤ ≥ O — ± ≈ j OO J T ˙ ≈ j Ob T O J œbOO œ ≈ j œ J O T O R ‰ ≈ œ ˙ ˙ œ œ R œ œ ‰ ≈ J j ≈ OO J œœ π [almost no bow-pressure] [l.h. — harmonic pressure] π [almost no bow-pressure] [l.h. — harmonic pressure] q π π [l.h. — harmonic pressure] [almost no bow-pressure] [almost no bow-pressure] [l.h. — harmonic pressure] ∏ ∏ q ∏ ∏ III PO ∏ III PO PO II ∏ ∏ PO PO III ∏ PO II ∏ :[with bows] CROTALES ㉠@ œ œ R œ œ ≈ ‰ R –‰ R –‰ ˙ ˙˙ ≤ O O ≥ O ± O + + ≤ j ± ≥ O J ± 3 ˙ O ≥ O + ≤ j 3 ± 3 O j O ‰ J R ‰ J œ ≈ Œ OO ˙ ˙ O œ ≈ Œ œ œ œ œ ‰ 3 ‰ 3 O ˙ q π [l.h. — harmonic pressure] [almost no bow-pressure] [l.h. — harmonic pressure] [almost no bow-pressure] q q ) π F F F F F ( q )( q ) F l.v. [very soft mallets] CYMBAL on TIMBALE pp P P π @ R –‰ R –‰ j œ œ ≈ Œ ≈ Œ ≥ O ≤ ˙ ≤ O O ≤ O J œ‰Œ ± ≤ O + ≥ O j œ‰Œ J O = & [open string] (I) ( q ) [open string] (II) q 34547 9
& & ã ? & & ã & † ã & & & ? † † & & & & & & ã ã & ã ã & & ã & & B † ? & ? & t FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 55 66 7 88 1 22 33 44 55 66 11 22 33 44 11 22 33 44 11 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. 69 @ R –‰ R –‰ ≤ T T O + ≥ O T T + ≥ O ± ≥ T T ± T T ≥ ± J œ ≈ Œ ± ( q ) ( q ) pp ) ( ) ( ) pp ) ) ) pp pp [CYMBAL on TIMBALE] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Mute] [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [POLYSTYRENE] 1-2-3 ( P @ @ ã R –‰ R –‰ j ± ‰Œ J ± ≤ + + () () q ) q ) Metal mute of Ordinary mute on @ R@ ‰ R –‰ R –‰ ≤ j ± ‰Œ J ± q ) : [with bow] TAM-TAM Œ R –‰ R –‰ œ () Œ œ () l.v. p R –‰ R –‰ R –‰ R –‰ R –‰ R –‰ R –‰ R –‰ R –‰ R –‰ & 34547 10
& & ã ? & & ã ã † ã & & & † † & & & & & & ã ã & & ã & & ã & & B † ? & ? & t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° √ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~ IV ° 78 & R –‰ R –‰ t t t & & & B & = & = & = & = & = & = = [Wooden Mute] [Wooden Mute] Wooden Mute Mute of [wah-wah mute] [harmon mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Metal Mute] [Wooden Mute] Wooden Mute Mute Mute [Mute] [Wooden Mute] [wah-wah mute] = = [Metal Mute] = = = & = B [Mute] [detune about an octave lower the strings 5–6] = = P [soft mallets] ˙ + œ ã @ œ @ j ‰Œ œ ã ã > j ––––> ‰Œ r ¿¿ b > ‰ Œ j œœ > ‰Œ& ˙ ˙˙ b b — ≤ œ T T — ≥ — ≤ — ≥ ≤ 3 — — —— j —— ≥ T T — ≥ — ≤ 3 J ——— 3 — T T — ≥ — ≤ — ≥ 3 J ——— 3 ã ã T T — ≥ ≤ — ≥ — — —— — T T ≥ — ≤ — ≥ ——— — œ T T — ≥ — ≤ — ≥ — ≤ — ≥ 3 — ———— 3 3 ˙ ã W W K œ T j j K W œ + + œ + + F F F F AST AST AST III III IV AST AST II II III ƒ l.v. NB: the pedals of the notes E F G A are fxed in half position in order to have buzzing sound (see performance notes page). (z) [prepared with rubber to damp the resonance.] ƒ [battuto (with the palm of the hand)] On the strings π :[with bow] POLYSTYRENE π :[with bow] POLYSTYRENE π :[with bow] F F ∏ = & = & = & P DRUM p[soft mallet] ƒ l.v. [with triangle beater] [scrape the Tam Tam very fast. Te sound should be distorted and metallic.] TAM-TAM π THUNDER SHEET pp AST III IV F Fp [bow as close to the paperclip as possible] AST always legatissimo P AST π AST P III always legatissimo II III PO F always legatissimo II Sz should be consider in the dynamic PF ˙ œœ ‰ j + ‰ r œ + œœœ ≈ œ @ œ @ œ @ ‰ r œ œœ > Œ ‰Œ œ œœ œ œœ ≈≈ j œ bœ # ≈≈ — ≥ — ≤ — ≥ — — ≥ — ≤ ≥ — ≤ — ≤ — ≥ —— — ≤ — ≥ ≤ j — ≥ 3 3 — — J — 3 3 — ≤ ≥ j ≤ 3 — J — ≤ — ≥ — ≤ — — ˙ O = = 3 ‰œ jl œ T J 3 r W K n <Sz ∏ ∏ ß ∏ ∏ ß (z) f p III f π f π ( q π III f NB: all the Sz should be consider in the dynamic PF NB: all the Sz should be consider in the dynamic PF ˙ ≈ j œ œ + œ œ b + œ œ œ œ ‰œ b + œ @ œ @ œ @ 3 œ œ > ‰ b> Œ ‰Œ œ œ ‰œ œ œœ bœ œ œœ œœ œœ ≈ œœ œœ‰##œ ≈ — ≤ — ≥ — ≤ — ≥ ≤ 3 — — —— j — ≥ — ≤ — ≥ — ≤ J ——— 3 — ≤ — ≥ — ≤ — ≥ 3 J ——— 3 ≤ — ≥ — ≤ — —— — ≥ ≤ ≥ — ≤ — ≥ 3 ——— — 3 — ≥ — ≤ ≥ — ≤ — ≥ 3 ———— 3 3 ˙ O œ œ rw J Oœ + 3 ##œ = t = ? <Sz ∏ <Sz ∏ ß ∏ ∏ ß ∏ (z)(z) π ∏ F q ) π π F f = & = & = & = t ˙ œ œ œ œ œ œ®Œ œœœ®Œ œ @ œ @ œ @ œ @ ㌠Œ‰ œ 7 ‰ r ¿¿ > Œ ‰ r j œ œ#œ > ®Œ ‰®Œ œœ œœœ œœ œœœ œ œ bœ œ r j œ bœœœ ? — ≥ — ≤ — ≥ ≤ 3 J —— ≥ — ≤ — ≥ — — ≤ — ≥ ≤ — ≥ — ≤ — ≥ 3 3 ——— — 3 ‰ r œœ T ‰ r œ œ œ œ ‰ R — ≥ ≤ — ≥ — — — — ≤ ≥ j ≤ 3 — J — — ≤ — ≥ — ≤ — ≥ — — — — ˙ œœ + + Œ ‰ R œœ j + J Bœ Oœ ‰ r œ T O##œ ‰ R T 3 ‰ R O ƒ ( q = ? III AST [poco slow bow] [1/2 legno] * = put enough (but not too much!) pressure to have a lightly granular sound. = & <Sz ∏ ß ß (z) f p :: [with 2 bows, one on each side] CHINESE CYMBAL (reversed) [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] â â â [not too fast] æ III-IV III f π (III) π f π AST [open strings] [open strings] [open strings] T T F r œ ‰Œ ? œ @ œ @ œ @ 3 œœœ r ‰Œ 7 7 ˙ ˙ ˙ ˙˙ — ≥ — ≤ — ≥ ≤ — —— j — ≤ — ≥ — ≤ J —— 3 — ≤ — ≥ — ≤ — ≥ 3 J ——— 3 œ j œ œ œ j œ œ ≤ — ≥ — ≤ — —— — ≥ ≤ ≥ — ≤ — ≥ 3 ——— — 3 — ≤ — j ≤ — ≥ 3 3 — —— 3 3 ˙ #œ # + R œ ‰& d J œ + 3 & = 3 ‰ T 3 Œ‰ R O II IV NB: the IV string is detuned one octave lower AST poco ∏ AST ∏ [poco slow bow] [1/2 legno] = & = = & = & π f P P π q ) F f π f f f F ˙ + + ‰ J + ≈ œ + œœ ‰ ˙ @ ≈ ≈ r œ b > ‰Œ ≈ ‰Œ œ œ œ œ‰Œ œœœœ ‰ — ≥ — ≤ — ≥ — — ≥ — ≤ — ≥ T — ≤ — ≥ — ≤ —— œœ œ œ œ œ ≥ ≤ T — ≤ — ≥ T — — —— — T — ‰ ˙ T )( œ T œ ±— ±— OO)(œ j J 3 π () II NB: the I string is not prepared! π π NB: the III string is not prepared! NB: the IV string is not prepared! III IV q q ) ∏ q )( â â â [not too fast] AST æ MSP II-III F <Sz ∏ ∏ ∏ ß ∏ ß (z) F π NB: the II string is not prepared! ) II III F F F (III) ) (III) [bow as close to the paperclip as possible] (AST) f [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] ˙ ≈ + ‰ ≈ œ + œ r œ ‰& œ @ ≈ Œ ≈ r œ > ‰ r > ‰ ≈ ‰‰?& Œ ≈ j œ œ bœ bb œœ ≈& — ≤ T — — — T — ˙ ˙ ˙ — — — — — ‰ J ˙ () œœ —± —O± O()O œ 3 3 O π π II ) NB: the III string is not prepared! NB: the II string is not prepared! III () h π q â â â [not too fast] AST æ MSP III-IV ∏ F <Sz ∏ ß ∏ ß ∏ ß (z) p π ( q ) = t π h π π π F [slowly pedal of] [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] ˙ Œ ≈ œœ + œ œœ œ ˙˙ # ≈ r œ b b > ‰‰ r #œ > ≈ ‰‰ t œ œ œ œ œ œ ‰Œ ‰Œ —— —— —— —— —— ˙ ˙ ˙ —— —— —— —— —— œœ )( œœ ±— ±œ— OO)(œ j 3 3 t Œ‰ œœ 6 O P q P ∏ F <Sz ∏ ß ∏ (z) Ø P q ) AST [fast bow] V always legatissimo F F F F f 34547 11
& & ã & & & ã ã t t & & t ? & & & & & & & & ã ã & & & ã & & B & ? & ? t t t 4 3 4 3 4 3 4 2 4 2 4 2 4 3 4 3 4 3 FlutesFlutes ClarinetsClarinets BassoonsBassoons Horns TrumpetsTrumpets Trombones 1 2 3 44 55 66 7 8 1 2 3 4 5 6 1 2 3 4 1 2 3 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. √ (°) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ IV Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ° 87 ˙˙ œ œ o ‰Œ Œ‰ J œ @ Œ œ † ≈ 7 7 ˙ ˙˙ ˙ ˙ — T — — — — T — — T — — — œ œ — T — — — — T — T O œ () œ œ œ O () O j T T Œ‰ 3 œ 7 ‰ r œ 5 f π ) f π ) f π ( ) f π ) f π ) F π [POLYSTYRENE] F π [POLYSTYRENE] F π [POLYSTYRENE] π â â â π â â â [Wooden Mute] [Wooden Mute] [Metal Mute] ( q ) F ∏ ∏ F ) [Wooden Mute] [Wooden Mute] [Wooden Mute] ∏ ß = & = & = & [Metal Mute] [Metal Mute] p [Mute] [Wooden Mute] [Wooden Mute] = :: [with 2 bows, one on each side] [CHINESE CYMBAL (reversed)] [THUNDER SHEET] pp ( â â â ) AST [fast bow] IV [fast bow] IV always legatissimo always legatissimo (always legatissimo) π π π [wah-wah mute] [wah-wah mute] [harmon mute] f π ( ) [Metal Mute] π π π [Mute] [Mute] [Wooden Mute] [Wooden Mute] [with bottle–neck] whammy bar 5 6 [Mute] [prepare very distorted, metallic sound. Te articulation should be as legato as possible, almost like a wave of distorted sound.] œœ Œ b b Œ œ @ œ @ œ @ œœ œ Œ R –≈ ‰ Œ r œœ œ > ‰ Œ‰ 6 œ œœ œ œ r œ œœ œ œ ‰ — — — — — — — — — — œ œ — — — — — — œ œ)( œ œ œ O O )( j 3 œ œ œ œ œ œ œ œ œ œ œ œ œ 6 6 f π f π f π f π f π F π F π F π P P q F ∏ F <Sz ß ∏ (z) f f π f f f F f π F F F f F P ˙ @ ˙ R –‰ R –‰ ‰ 5 5 — — — — — — — — — — œ œ — — — — — — œ () œ œ œ œ O () O J œ œ œ œ œ œ œ 5 5 O f π f π f π f π f π F π F π F π π a ( h ) ∏ F ∏ a P ( q ) π f π a π π π œ @ J œ @ ‰ R œ ‰ Œ R –‰ R –‰ ± T T ± O + ≥ T T O ± T T ± ˙ ± T ± T ± O + ≥ ± T T O O O + ≥ T T O O œ œ)( œ œ œ O O )( j j œ œO œO œ œO # # 3 3 œ œ œ œ # # 5 œ œ œ œ œO 5 P π [l.h. — harmonic pressure] [almost no bow-pressure] II [l.h. — harmonic pressure] [almost no bow-pressure] [l.h. — harmonic pressure] [almost no bow-pressure] III IV ( q ) ∏ [l.h. — harmonic pressure] [almost no bow-pressure] q [l.h. — harmonic pressure] [almost no bow-pressure] II III h π π F IV F F F R –‰ R –‰ œ ≥ œ ≤ ≤ + ˙ O + + ≥ ± ≤ ± ± ≤ ± ≤ O ≥ O œ () œ œ œ O () O j œO œ O œ # œ n œO # # œO π = & [open string] (I) [open string] (II) q P F q ∏ F π π π π π π = & = & = & R –‰ R –‰ R –‰ ± ≤ + + ≥ ± O + ≥ ≤ O ± ≥ ≤ ± + Œ‰ ≈ r œ œ T Œ‰ ≈ r œ œ œ œ Œ‰ ≈ R œ œ ˙ O ≥ ± ≤ ± O ≥ O ± ≤ O + ≥ O O œ œ)( œ () œ œ œ œ œ O O )( O () j 3 j 3 O œ œ œ œ O # # O œO n œ # j œ ‰Œ O = t P q q ( q ) ( h = & = & = & = & = & = & = & π q q π q ∏ F F ∏ P F ( q F F F AST [open strings] [open strings] [open strings] T T = & = & ˙ ˙ b > ˙ d ˙˙ œ œœ œœ ‰ œ + ‰ r œ + œ œ œ o ≈ œ ã @ œ @ œ @ j œ ã ‰Œ ˙ ã > œ œ œ ‰ 6 5 ‰ r œœ > Œ ‰ Œ œ œœ œ œœ ≈≈ j œ œ b # ≈≈ — ≤ — ≥ — ≤ ≥ — ≤ 3 — — — — j — — ≤ — ≥ — ≤ 3 J — — — 3 — j — ≤ — ≥ — ≤ 3 — J — — — 3 œ j œ œ œ j œ œ œ œ œ œ — — ≤ — ≥ — ≤ — — — — ≥ ≤ — ≥ — — — ≥ — ≤ — ≥ ≤ — ≥ 3 3 — — — — — — 3 œ œ œ J œ d 3 O 3 œO j œO ‰ ∏ f F F F F F G ∏ ß ∏ ∏ ß <Sz ∏ ∏ (z) P P )( ∏ F ( q ∏ π ( q ) π F ƒ TAM-TAM [with triangle beater] [scrape the Tam Tam very fast. Te sound should be distorted and metallic.] pp f THUNDER SHEET π [with singing bowl] [scrape the gong with the bowl, using lot of pressure in order to have metallic, distorted sound.] π π π f f F F F f f f f NB: all the Sz should be consider in the dynamic P/F NB: all the Sz should be consider in the dynamic /F NB: all the Sz should be consider in the dynamic F π [Clarinet 1] F [Flute 1] [Piccolo] œ œ J œ œ ≈ ˙ ≈ J œ ˙˙ œ œ œ ≈ œ + œ b + ‰ œœ b + ˙ @ ˙ œ œ > ‰ œ b > Œ ‰Œ œ œ ‰ œœ œœ b n œœ œœ œœ œœ ≈ œ œœ œ # # ‰ ≈ — ≥ — ≤ ≥ — — — ≥ — ≤ — ≥ — ≤ — — ≥ — ≤ — — ˙ ˙ ˙ ˙ ˙ ˙ ≥ — ≤ — ≥ — ≤ 3 — — J 3 — ≤ — ≥ j — ≤ 3 — — J — 3 — ≤ ≥ — ≤ — — O œ)( œ () œ œ + œO = œO 3 3 ß ∏ ∏ ß ∏ <Sz ∏ <Sz ∏ (z) (z) p π π )( q ) F ∏ p f f π π F π π π F [Clarinet 2] Œ‰ j œ J œ w ˙˙ & Œ œœ + r œ ≈ ‰ œ b + œ œ œœ œœ œœ ≈≈ j œœ + ? œ @ J œ @ œ @ 3 J œ œ œ 3 ‰ r j œ œ œœ b b # > ®Œ ‰ ®Œ œ œœ œ œ œœ œ ®‰ œ œ ®‰ j œœ ? — ≤ — ≥ — ≤ ≥ — ≤ 3 — — — — j — ≥ — ≤ — ≥ — ≤ J — — — — ≥ j — ≤ — ≥ — ≤ 3 — J — — — 3 ˙ ˙ ˙ ˙ ˙ ˙ — ≥ — ≤ — ≥ — — — ≥ — ≤ — ≥ ≤ — ≥ 3 — — — — ≥ — ≤ — ≥ — ≤ ≥ 3 3 — — — œ œ Œ œ T j B œ # # œO # # O ß ∏ ∏ ß ß <Sz ∏ (z) q ) P P ( q )( q F F F ∏ P q π F f π F AST π f π [Flute 1] [Piccolo] 34547 12
& & & & & ? ã ã † t & & t ? & ? & & & & & & ã ã & & & ã & B B & ? & ? t t t 4 3 4 3 4 3 4 2 4 2 4 2 Flutes Clarinets Bassoons Horns Trumpets Trombones 1 2 3 4 5 6 7 8 1 2 3 4 5 6 1 2 3 4 1 2 3 44 11 22 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) (IV) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 96 œ ˙ œ ˙ ˙ œ J œ ≈ Œ ‰ j œ œ b b ˙ ˙ J œ b ˙ œœ ˙˙ ‰ J œ + œ œ ≈ + œ œ ‰ œœ œœ ‰ ≈ j œ + r œ o ≈ ‰ & œ @ ˙ @ ≈ r œ œ b > ‰Œ ≈ r œ œ > ‰ ≈ ‰Œ ≈ ‰ œœ œœ ‰Ó œœ œœ ‰ œ œ & j — ≥ ≤ T T — ≥ — ≤ — ≥ J — — — — T T — ≥ — ≤ — ≥ j — ≤ 3 — — — 3 — ≥ T T — ≤ — ≥ — ≤ — ≥ — ≤ — ≥ j — ≤ 3 3 — — — — — — J — 3 ˙ Œ ˙ Œ ˙ ˙ Œ œ œ œ œ œ œ — ≤ ≥ — ≤ ≥ — — — — — ≤ — ≥ — ≤ — ≥ — ≤ — ≥ — — — — 3 3 T T — ≤ — ≥ — ≤ — ≥ — ≤ — — — 3 œ œ œ œ)( œ () œ œ j ‰ j jl œO T J 3 T T j 3 ∏ ß ß ∏ ß ∏ ß <Sz ∏ <Sz (z) (z) F ) F ) F ) ) ) ( ) ( ) ) [Wooden Mute] [Wooden Mute] [Metal Mute] F F [Metal Mute] [Metal Mute] p F [POLYSTYRENE] F [POLYSTYRENE] F [POLYSTYRENE] pp ) pp ) pp ) h π â â â π â â â q )( q ∏ F ( ) ∏ π ( q ( â â â ) = t [wah-wah mute] [wah-wah mute] [harmon mute] F ) ) [Metal Mute] f [THUNDER SHEET] [GONG] π π f p III f π F π [Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] F f π pp [Bassoon 1] [Bassoon 2] Mute of ˙ ˙ ‰Œ ˙ ˙ ˙ ˙˙ Œ ≈ œ + œ œ ˙ # + ˙ @ t Œ ≈ r œ b b > ‰ Œ ≈ ‰ ≈ œœ œ b b œœ œ œœ œ ‰ ≈ ‰ ≤ — ≥ — ≤ ≥ 3 — — — 3 — ≥ — ≤ ≥ ≤ — — — ≥≥ — ≤ j — ≥ — — — œ œ œ œ — ≤ — ≥ ≤ — ≥ 3 — — — 3 — ≤ — ≥ — ≤ 3 — — J 3 j ≥ — ≤ — ≥ — ≤ ≥ 3 3 — — — — 3 3 O œ œ œ œ)( J œ + + J 3 Œ‰ œ œ œ 6 ∏ ∏ ß ∏ <Sz (z) Ø = π π F F π F P ( q ) P q ∏ P AST [fast bow] V always legatissimo = t = t p F = t π F (III) F = & F π ˙ ˙ Œ‰ d ˙ ˙ ˙ ˙˙ œ œ ‰Œ œ @ J œ @ œ @ 3 œ ‰Œ r œ 3 5 ≈ r œ # > ‰Œ ≈ ‰Œ ≈ 7 Œ œœ œœ œ b b Œ ≤ — ≥ ≤ — ≥ — — — ≥ — ≤ — ≥ — — — ≤ — ≥ — ≤ ≥ — ≤ 3 — — — 3 ‰ œ b b œ T J † œ œ œ œ — ≤ — ≥ — ≤ — ≥ — ≤ 3 — — — — ≥ — ≤ — ≥ — ≤ 3 — — — ≤ — ≥ — ≤ — — œ œ œ () œ œ Œ & 3 j 3 Œ‰ œ œ œ œ 7 6 ‰ r œ œ ß = & ∏ p ∏ ∏ π π F F π F h ) π F F ∏ F AST [fast bow] IV AST [fast bow] IV always legatissimo always legatissimo π π f π [with bottle–neck] 5 whammy bar π = = & Mute OFF Preparation with silver sheet metal ON (see Performance notes) f œ œ ‰ œ œ 3 j œ œ ‰Œ J œ œœ Œ œ b b œ œ ≈ Œ œ @ œ @ œ @ œ œ œ œ 6 7 œœ œœ œ œœ œœ œ ≤ — ≥ — ≤ ≥ 3 — — — 3 j — ≤ — ≥ ≤ 3 — 3 — ≥ — ≤ — ≥ — ≤ 3 — — — 3 ˙ O Œ j œ œ ˙ ≤ — ≥ — ≤ — — — — ≥ — ≤ — ≥ — ≤ — ≥ 3 — — — — 3 — ≥ — ≤ ≥ — ≤ — ≥ 3 3 — — — — 3 3 O ˙ œ ≈ ‰ O œ œ œ œ œ œ œ œ 5 œ œ œ 6 ß ∏ = & = & π π π π ( q ) P ∏ ∏ π q f f f f F III [Find bow position and speed of the bow that allows a very clear, warm sound] [Find bow position and speed of the bow that allows a very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] III [Find bow position and speed of the bow that allows a very clear, warm sound] π f π Mute OFF Preparation with silver sheet metal ON (see Performance notes) ˙ ˙ @ r ŒŒ 5 r > ‰ Œ ‰ Œ ‰ 5 r œœ œœ œ ‰ Œ ‰ Œ ≤ — ≥ ≤ — ≥ — ≤ 3 — — — 3 — ≥ œ — ≤ — ≥ ± ≤ O — — — ± — ≥ j — ≤ — ≥ — ≤ 3 — J — — — 3 ˙ O œ J œ ≈ œ Œ ≥ ≤ — ≤ ± ≥ — ± ≤ — ≥ — ≤ j ≥ — ≤ 3 3 — — — — 3 3 O œO 3 j œ œ œ œ œ œ 7 5 œ œ 5 5 <Sz (z) ( q ) π π [l.h. — harmonic pressure] [almost no bow-pressure] [almost no bow-pressure] [l.h. — harmonic pressure] π [almost no bow-pressure] [l.h. — harmonic pressure] f [until the end of the resonance] q P π F P ( q π π π q π π f = & = & Œ‰ j œ J œ w ˙ Œ ‰ J Œ‰ j œ œ b b J œ b œ @ J œ @ ‰ ≥ ≤ — ≥ — — + ≥ — ≥ — ≤ — ≥ — — — ˙ O O + ≥ O + ≤ j ± 3 O J ± 3 ± ≥ ± O O œ Œ 3 œ œ œ œ # # 3 3 œ œ œ # # œ 5 5 œ ( q ) q ( q π q P ( q ∏ π π π [almost no bow-pressure] [l.h. — harmonic pressure] = & œ œ œ œ ˙œ œ œ œ œ œ œ œ Œ O O # # ≤ ± ≤ ± ± ≤ ± ˙ O ≤ O + ≥ O O + + ≤ j ± ≥ 3 O J ± 3 O j ‰ œ œ œ # œ œ n œ # # œ π [l.h. — harmonic pressure] [almost no bow-pressure] π ( q P π π ( q ( q ) π π NB: = sing the note. Always extremely soft, completely embeded into the sound — it has to sound almost like split tone. π ˙ ˙ ≈ ˙ ˙ ˙ œ œ œ œ O O + ≥ O + ≥ ≥ ˙ O ≤ O ≤ O O Œ œ Œ œ œ œ # # O # j O ‰ = & [open string] (I) [open string] (II) q ( q ∏ j œ ‰Œ J œ R œ ‰ Œ œ Œ ˙ ˙O ≤ O + + ≥ O j ± ‰Œ ± ± ≤ ± ˙ O O ≥ O ± ≥ ± Œ O œ œ n œ ( q 34547 13
& & & & & & ã ã t t & & t ? & & & & & & † & ã ã & & & & & ã & & B & ? & ? t t t ? FlutesFlutes Clarinets BassoonsBassoons Horns TrumpetsTrumpets TrombonesTrombones 1 22 3 4 5 6 77 88 1 22 3 44 55 66 1 2 33 44 11 22 33 44 1 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. rall. 105 Œ d O ˙ T T O ≤ T T O + O ˙O O T T ≤ T T œ () œ () O j œ ‰Œ q q (pp [Wooden Mute] ) q ) [Wooden Mute] [Metal Mute] ) [Metal Mute] q ) [Metal Mute] pp) pp pp) pp pp [Wooden Mute] [Mute] [Mute] [Mute] [Wooden Mute] ppp [wah-wah mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Sheet] [Metal Sheet] Œ ≈ J O ˙ ± ≤ ± ‰Œ J ± O ˙O O œ () ≈ œŒ() O q π œœ ()Œ œ () O ˙O O O π = & = & ‰ œ w œœ Œ‰ j œ œ b b J bœ O ˙O J O ≈ Œ O [Flute 1] [Piccolo] = & = & H q = 50 ˙ J œ ≈ Œ œ œ œ œ œœ Œ j œœ #œ bœ œ Œœ O ˙O Œ q π π ˙ ‰Œ ˙ ˙˙ ˙ ˙˙ ˙ ˙ j O œ‰Œ J O ∏ ˙ Œ‰ d ˙ ˙˙ ˙ ˙˙ ˙ ˙ ‰ œœ 3 j œ œ ‰Œ J œ ˙˙ ˙ ˙ π & ˙˙ ˙ ˙ 34547 14
& & & & & & ã & t t & & t ? & & Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones Perc. 1 E-guitar Piano Harp Accordion Perc. 2 ° ° 114 Œ‰ j œ J œ w Œ‰ J Œ‰ j œ b J œœ b Œ‰œ Œ‰ O O Œ‰ Œ‰ J — — & ˙˙ ˙˙ ˙ pp = & [wah-wah mute] ppp ) :: [with bows] VIBRAPHONE [Motor ON — vibra. as slow as possible] [Block the Pedal with a pen, so that it stays ON the whole time. Go to the other side of the piano, where the singing bowls are.] [Metal Sheet] [Metal Sheet] [Piccolo] [Flute 1] p l.v. M π [Sustain OFF] [very high multiphonics, no distortion, very reverbed] 3 2 l.v. ˙ ˙ ˙ œœ œ œœ œ ŒO + œO # # ≈ j œ @ œ @ œœ ˙˙ ˙˙ ˙ π π π pp[very soft mallets] P CYMBAL on TIMBALE π ˙ ˙ j ≈ ˙ ˙ œ œœ œ O œ O œœ Oœ O ˙ @ ˙ œœ œ œ ‰Œ ‰Œ ∏ l.v. [until the end of the resonance] π j œ‰Œ J œ R ≈ ‰Œ œœ Œ O ˙ ˙O œ @ œ @ O ˙ ˙O ˙ @ O ˙ ˙O j œ @ ‰Œ = & U U Œ ≈ j d [Clarinet 1] π & & & & & & ã & t t & & & ? & & & & & & 8 7 8 7 FlutesFlutes Clarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 Vln. I Perc. 1 E-guitar Piano Harp Accordion Perc. 2 (°) ° 123 ˙ [wah-wah mute] ( pp = & = & [CYMBAL on TIMBALE] [VIBRAPHONE] [Metal Sheet] [Metal Sheet] Œ‰ j œœ w ˙ Œ‰ Œ‰ j œ b J œ Œ‰ } = & = & L.H. R.H. On the strings Singing Bowls [rub slowly and softly, as legato as possible, with not too much pressure, the singing bowls along the strings — see performance notes and watch video provided by composer] ˙˙ ˙˙ œœ œœ ŒO + œO # # Œ‰ j œœ π π = & :: [with bows] π = & = & ˙˙ œ j œ ≈ ˙ ˙ œœ O œ O œœ Oœ O ‰ r R œ @ œ @ @ j œ œœ œ } Œ‰ j œ # b Œ‰ = & NB: = sing the note. Always extremely soft, completely embeded into the sound — it has to sound almost like split tone. pp P π p ∏ j œ œ‰Œ R œ ≈ ‰Œ œ Œ O ˙ ˙O ˙ @ O˙ b b @ @ ˙˙ } { ˙ ˙ ∏ NB: = sing the note. Always extremely soft, completely embeded into the sound — it has to sound almost like split tone. l.v. [until the end of the resonance] ∏ O ˙ ˙O ˙ @ O˙ @ @ ˙ ˙ R œ ‰Œ ∏ = & ON a [press PLAY to turn the cassette player ON] ∏ Œ‰ j œ œ J œ O ˙ ˙O j œ @ J œ @ O˙ @ @ j œ‰Œ ‰Œ R ‰Œ = & = & = & ON a [press PLAY to turn the cassette player ON] NOTE FOR CONDUCTOR: It is important that the musicians activate the cassette players where it is indicated, but the actual sound will start only around bar 136. At that moment, you will have to start the stopwatch. œœ œ @ œ @ œ œ œ œ œœ ‰ œ + œ r œ‰@ R œ @ O˙ @ @ ˙ R ‰Œ ∏ Ø : [with bow] π CROTALE [Bassoon 1] Ø ON a [press PLAY to turn the cassette player ON] [Piccolo] [Flute 1] œŒ œ @ ˙ ˙ ˙ œŒ ˙ R œ ‰Œ ON a [press PLAY to turn the cassette player ON] ª 34547 15
& & & & & & ã & t t & & & ? & & & & & † & ã ã & & & & & ã & & B & ? & ? t t t 8 7 8 7 8 7 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 132 ˙ œ R œ ‰ŒŒ B B = & = (pp [CROTALE] [wah-wah mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] [Metal Mute] [Mute] [Wooden Mute] = & q = 60 = & = & = & = & = & = & = ON a[press PLAY to turn the cassette player ON] a a a a [Metal Sheet] [Metal Sheet] ˙ d ㉌ R œ ‰Œ ≤ T T ± ± T T ≤ O ≥ ± œ O ≤ T T O + + ≤ T T R ‰Œ R œ ‰Œ Œ j ± ≤ T T J ± Œ + + ≤ T T O ‰ j ± ≤ T T J ± ± ≤ T T ± + + ≤ T T ± ≥ ± I AST AST II ( q ) [almost no bow-pressure] [almost no bow-pressure] [almost no bow-pressure] AST AST [almost no bow-pressure] AST [almost no bow-pressure] III IV II II III IV [almost no bow-pressure] π AST II AST II III AST [almost no bow-pressure] [almost no bow-pressure] [almost no bow-pressure] π [l.h. — harmonic pressure] [open string] [Clarinet 1] ON a [press PLAY to turn the cassette player ON] ON a [press PLAY to turn the cassette player ON] l.v. (large) d ∏ l.v. π π π ˙ t t O + ≥ O ± ≤ œœ ± ≥ j ≥ 3 3 R œ ‰Œ R ‰Œ O ≥ j ± ≥ J ± 3 O + ≥ O œ ≥ œ œœ + ≤ π π π π q ) q = t = t = t = = [open string] [open strings] π ON a [press PLAY to turn the cassette player ON] ON a [press PLAY to turn the cassette player ON] ˙ Œ‰ J@ ≈ 7 œ ≤ O + ≥ ± O O + ≥ O ˙ ≤ ˙ ≤ ± ≤ ± + ≤ O ± ≤ O + + ≤ ± O ± ≤ O + ≥ ± O ± ≥ ± ¬ ¬ Œ‰ œ œœ œœ 6 ‰ r œ q q [open string] q ) ( q [with bottle–neck] 6 5 AST [fast bow] AST [fast bow] always legatissimo always legatissimo π π AST [fast bow] always legatissimo whammy bar ( h ) = & = & L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. II L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). III IV L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). III L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. II [open strings] BASS DRUM pp a AST AST AST AST = & = & Œ‰ j œœ w ˙ Œ‰ Œ‰ j bœ b J bœ Œ @@@ Œ‰ j œ œ Œ‰ 7 6 ± ≤ ± ≥ ≥ r O ‰Œ R ± ≥ ± ± ≥ O + ‰ 3 J ± O 3 ± ≤ ± + ≤ ± ‰ ± œœœœ œ œ œ 7 œ œ 5 œœœœ q ) q f f f f f = & h ) p h ) p h ) p h ) p h ) p f h [scrape the cymbal with a wooden beater (the one used for snare drums). Te sonic result should be very distorted sound consisting of high, screeching partials. Change the pressure to have more or less distortion. Always pianissimo] [Clarinet 2] CASSETTES START TO PLAY HERE STOPWATCH ON p l.v. ˙˙ ˙ œœ œœ ŒO + œ##O @ Œ‰ j œ } ‰ 5 ≤ ± œ ()Œ œ () r œ ()‰Œ R œ () ≤ + ≤ ≥ O O + OŒ œ œœœ 6 6 œœœœœ 7 5 œœ 5 ( q ) q q π π π = & L.H. R.H. On the strings Singing Bowls [rub slowly and softly, as legato as possible, with not too much pressure, the singing bowls along the strings — see performance notes and watch video provided by composer] ( h ) ( h ) ( h ) ( h ) ( h ) p ˙˙ œ j œ ≈ ˙ ˙ œœ O œ O œœ Oœ O ‰ r OO R @@ @ J@ ‰ ˙ œ ()Œ œ () j Œ r + ‰Œ R O œœ œ# # 3 œ ##Oœ 5 5 œ 5 q π π h = & ∏ j œ œ‰Œ R ≈ ‰Œ œ Œ O ˙ ˙O O ˙ @ O˙ b @ ˙ { } j ‰ #œ œœœ j œ‰ ## ∏ p ( h ) ( h ) ( h ) ( h ) ( h ) O ˙ ˙O O ˙ @ O˙ @ œœ } { œ Œ #O j O‰ ∏ MOULT 34547 16
& & & & & & ã & t & & t ? & t & & & & † & ã ã & & & & & ã B B B & ? & ? t t t ? FlutesFlutes ClarinetsClarinets Bassoons Horns Trumpets Trombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° (°) 141 Œ‰ j œ b J œbœ O ˙ ˙O O j O @ J@ O ˙˙ @ ˙ ˙ ˙ ¬ () () () ¬ () ¬ () R.H. L.H. p) p p p p p [Wooden Mute] [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [Mute] [Metal Mute] [Metal Mute] [Metal Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] p [CYMBAL] (ppp) (ppp) = & [Metal Mute] a [Metal Sheet] [Metal Sheet] 10 Tis number indicates the seconds on your stopwatch. œœ œ œœ œ ŒO + œ##O O r O @‰ R@ O ˙˙ @ ˙ ‰œ##œœ œ ˙ ˙ π ::[with bows] π ˙ ˙˙ O œ O œœ Oœ O ‰ r OO R @@ O ˙˙ @ ˙ œœ ‰‰ œ œœ & l.v. = & = ∏ ˙ ˙˙ O ˙ ˙O O˙ @ ‰ Obbœœ @ ˙ œœ ˙ ˙ ˙˙ ˙ ˙ #b ∏ π ˙ ˙˙ O ˙ ˙O O˙ @ O ˙˙ @ ˙ ˙˙ ˙ ˙ ∏ = & ∏ j œ ‰Œ J œœ O ˙ ˙O O j O @ J@ O ˙˙ @ ˙ ˙˙ ˙˙ ˙ ˙ h h h h h 20 O r O @‰ R@ O ˙˙ @ ˙ ˙˙ ˙˙ ˙ ˙ h h h h h π ã ‰ r OO R @@ O ˙˙ @ ˙ ˙˙ ã ã ã ã ã ã ã ã h h h h h = & –ŒO + œ##O O˙ @ ˙ J œ ≈ Œ –––––––––h ) h ) h ) h ) h ) ∏ l.v. [until the end of the resonance] q p KAZOO [Tutti] [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] q p KAZOO [sing inside the kazoo a very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] q p KAZOO [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be a distorted hum.] 34547 17
ã & & & & & ã & t t & ã t ã & ã & & & & † & ã ã ã ã ã ã ã ã B B B & ? & ? t t t ? FlutesFlutes ClarinetsClarinets Bassoons Horns Trumpets Trombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° (°) 150 Œ Œ‰ œœ b œbœ œœ OO ˙ @ ‰ Obœ @ ˙ Œ Œ Œ Œ Œ Œ Œ Œ Œ ¬ () () () ¬ () ¬ () p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] ppp ( q ) a ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) p [CYMBAL] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [Wooden Mute] [Wooden Mute] [Metal Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Wooden Mute] [Metal Sheet] [Metal Sheet] [VIBRAPHONE] ∏ [wah-wah mute] œ œœ œ œ œœ œ ˙ O j œ @ J œ @ O˙ @ ˙ ∏ π 30 ˙ ˙˙ ˙˙ ˙O r œ‰@ R œ @ O˙ @ ˙ = & Preparation OFF Trumpet 1: PRACTICE MUTE Trumpet 2: WAH-WAH MUTE Œ‰ j œ œ + J œ ˙ ˙˙ ˙˙ ˙ O O˙ @ ˙ = & –œ œ œ œ œœ ˙ ˙˙ ˙˙ O˙ @ ˙ œ bœœ œ –––––––––p p p p p p p p p p ∏ π Preparation OFF Trombone 1: WAH-WAH MUTE Trombone 2: PRACTICE MUTE Œ ˙ ˙ ˙ œœ ‰Œ œœ ˙ œ œŒ Œ Œ Œ Œ Œ Œ Œ Œ Œ h h h h h [until the end of the resonance] ˙ h h h h h 40 ? h h h h h h ) h ) h ) h ) h ) 34547 18
ã & ã t ã & ã ã ã ã ã ã ã B & ? & ? FlutesFlutes 11 22 33 44 55 66 33 44 11 22 33 Vln. II E-guitar Harp Accordion Vla. Vlc. 159 ––––––––––() ¬ () ¬ () () () p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] p p p p p p p p p p [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] a Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) 50 ––––––––––h h h h h p p p p p p p p p p Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ h h h h h h h h h h 1’ h ) h ) h ) h ) h ) ã & ã t ã & ã ã ã ã ã ã ã B & ? & ? FlutesFlutes 11 22 33 44 55 66 33 44 11 22 33 Vln. II E-guitar Harp Accordion Vla. Vlc. 168 ¬ () ¬ () () () ¬ () p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] a [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] ––––––––––p p p p p p p p p p Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ ( q ( q ( q ( q ( q ( q ( q ( q ( q ( q 1’10 h h h h h ––––––––––h h h h h p p p p p p p p p p Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ h h h h h h ) h ) h ) h ) h ) 1’20 ª 34547 19
ã & & & & & ã & t t & ã t ã & ã & & & & † & ã ã ã ã ã ã ã ã B B B & ? & ? t t t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 177 ¬ () ¬ () ¬ () () () p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] a Mute [Wooden Mute] [Wooden Mute] [Metal Mute] [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Wooden Mute] [Mute] ––––––––––p p p p p p p p p p Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ q q q q q q q q q q 1’30 h h h h h ã † ? h h h h h = = & = & = & = & = & = t = = t = ? –˙ j d ˙ ã ˙ ––˙ ˙ # –± ≤ T T ± ± T T ≤ + ≥ ± O ≤ T T + T T ≤ ––––––˙ O˙ O˙ bb O˙ J p p p p p p p p p p h h h h h CYMBAL :[with irregular bow changes] TAM-TAM :[with irregular bow changes] AST II AST II AST II III [almost no bow-pressure] [almost no bow-pressure] [almost no bow-pressure] π [l.h. — harmonic pressure] always legatissimo always legatissimo always legatissimo [open string] (IV) [almost no bow-pressure] always legatissimo = & = & AST π [Horn 1 (practice mute)] [Trumpet 1 (practice mute)] [Trombone 2 (practice mute)] IV IV IV PO PO PO PO NB: the IV string is prepared! [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] NB: the IV string is prepared! Œ Œœ + + Œ œ + ˙ Œ œ + r ˙ ˙ Œ Œ œ œ œ œ œ œ ‰† ≥ ± ≤ ± ≥ ± ≥ Œ Œ Œ Œ Œ Œ h ) h ) h ) h ) h ) ∏ π π ( q ) π π π π [Trombone 1 (wah-wah mute)] [Horn 2 (wah-wah mute)] [Trumpet 2 (wah-wah mute)] π h ∏ π ∏ ∏ 1’40 34547 20
ã & & & & & ã ã t t & ã t ã † † & & & & † & ã ã ã ã ã ã ã ã B B B & ? & ? t ? t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons Horns Trumpets Trombones 1 2 3 4 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 186 o œœ˙ œœ ˙ ˙ ˙ œ œ œ œœ œ b œ œœ œ œ œœ œ ± ≤ + ≥ ± + ≥ ≤ + ¬ () ¬ () ¬ () () () Oœ œ [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] a ppp) pp) [CYMBAL] pp) [TAM-TAM] q ( q ) h p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] ∏ ∏ ∏ pp pp pp [wah-wah mute] [wah-wah mute] [wah-wah mute] [practice mute] [practice mute] [practice mute] [Wooden Mute] [Wooden Mute] pp) pp) pp) pp) [Metal Mute] [Metal Mute] h ( q ) pp) ppp ppp ppp [Mute] Mute of Mute of Mute of Mute of [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] ? + œœ˙ œœ ˙ ˙ ˙ œ œœ œ œ œœ ± ≤ ± ± ≥ ± ≤ j ± ≥ 3 O ± 3 bbO h ) ( q = ( h ( h ( h ) ‰ j œ d œ œœ˙ œœ ˙ ˙ ˙ œ œœ œ bœ œ œ œ nœ ± ≤ ± + ≥ ≤ + + + + ≤ O Oœ ˙ q ( h h –˙ + Œ œœ + œ Œ œœ Œ ˙ ˙ ––œ œ œ œ –+ + ≥ ± ≤ ≥ ± ± ≥ ± ± ≥ œ ––––––bœ p p p p p p p p p p [KAZOO] q [open string] (IV) ∏ ( h ) ( q ) Œ ˙ J ≈ Œ œ ≈ Œ j œ ≈ Œ ˙ ˙ Œ Œ œ œ œ œ œ œbœ œ œ œœ œ œ œœ n 3 Œ ± ≤ ≥ ± ± ≤ ± ≤ + ˙ Œ Œ Œ Œ Œ Œ ˙ O bbO q q q q q q q q q q ( q Flute 1: Put down the kazoo Take Flute 1’50 ˙ ˙ ˙ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ ± ≤ + ≥ ± + ≥ ± ≥ ± + + ≤ j ± ≥ 3 O ± 3 ( q ) (II) [open string] (III) q h h h h h ˙ ˙ ˙ & œ œœ œ œ œ œ œ ± ≤ ≥ ± ≤ + ≤ œ Obbœ O˙ [open string] [open string] (IV) h h h h h ˙ ˙ ? œ œ œ œ œ œ œbœ œ œ œœ ˙ ≤ ± ± ≤ ± ± ≥ ± ± ≥ œœ ± O ˙ = & (I) [open string] h h h h h = & = [KAZOO] [KAZOO] –Œ‰ r bœ d ‰ J œœ ˙ ˙ Œ‰ j œ ˙ –˙˙ ˙ –œ œœ # œœ œb –≥ + ≥ ≤ + ––––––œ q p q p q p q p q p q p p q p q p [KAZOO] p [only Flute 2] ( q ) h ) h ) h ) h ) h ) q L.H. R.H. On the strings Singing Bowls [rub slowly and softly, as legato as possible, with not too much pressure, the singing bowls along the strings — see performance notes and watch video provided by composer] [multiphonics on strings 3–2–1 (as 3 or 2 notes chord) in the medium register. Touch the strings always when the volume is zero, and only then start to fade–in (the attack should never be heard). Te sound should be very warm, airy, very reverbed, and with an internal rhythm (like an irregular tremolo)] u [slide the superball along the strings] M 34547 21
ã & ? & & & ã ã t ? ã & ã † † & & & & † & ã ã ã ã ã ã ã ã B B B & ? & ? t ? t ? FlutesFlutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 195 Œ œ œ œ œ ˙ ‰ œ d œ J œœ ˙ ˙ ˙ ˙ Œ ˙˙ ˙ Œ œ œ œ œ œ œ œ Œ ± ≤ + ≥ ± ± ≤ œœ ± ≥ ± O ≤ ± ≥ 3 J Œ Œ Œ Œ Œ Œ ¬ () () () ¬ () ¬ () O ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) a [KAZOO] ppp pp) [CYMBAL] pp) [TAM-TAM] (III) [open string] q p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] pp) (pp pp) pp [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] h [Mute] pp) ppp ( h ) ppp ( h ) ppp R.H. L.H. p) π = & π π [practice mute] [practice mute] [practice mute] [wah-wah mute] [wah-wah mute] [wah-wah mute] P Practice Mute Practice Mute Practice Mute Practice Mute 2’ ‰ ˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ œŒ œœœ œœœ œ œ œ œ œ œ œ + ≥ œO ≤ O + + O + + ≤ & & & ˙ O˙ h ) = & ( q ( h q ) [Flute 1] π ∏ = & = & = & l.v. = B = B = = = & = M ˙ ˙œœ ˙˙ ˙ j ˙ d ˙ ˙ œœ œœ ˙˙ ˙ ˙ ˙ ˙ n ± ≤ T T ± ± ≤ + ≥ ± O ˙ ≥ ± ± ≥ ˙ O # ˙ l ˙ T ˙ T j ) (II) [open string] ( q ( h ( q h h [Horn 1 (practice mute)] [Trumpet 1 (practice mute)] [Trombone 2 (practice mute)] = ? π π π sub. sub. [open string] ∏ [beyond the paperclips: very very ASP] [beyond the paperclips: very very ASP] III II [open string] ∏ II AST AST AST AST ∏ III IV III ∏ [open string] III ∏ ∏ II ˙ ˙œ ≈ Œ ˙˙ Œœ + ˙ Œ + Œ œ r ˙ ˙ ˙ ˙ ˙ Œ œ ˙˙ ˙ ˙ ˙ ˙ + ≥ ± ≤ ± ≤ O + ˙ O ˙ ˙ ˙ œ bbœ (II) [open string] ( q ) (III) h ( q ) π [only Flute 2] [Trombone 1 (wah-wah mute)] [Horn 2 (wah-wah mute)] [Trumpet 2 (wah-wah mute)] u –œ œ r œ œ‰ ˙˙ œœ ˙ o œœ ˙ ˙ ˙ ˙ ˙ } œœ –˙˙ ˙ –˙ ˙ ˙ ± ≤ + ≥ ± + ≥ O ± ≥ ˙ O + + ≤ ± ≥ J ˙ O ˙ ––––––˙ ˙ O ˙ bb p p p p p p p p q ) q [open string] q p [KAZOO] ∏ ∏ ∏ P Œ œœ + ˙ + œœ ˙ ˙ ˙ œœ } œœ œ Œ Œ œœœ œœœ œœœ Œ ± ≤ ≥ ± œ ≤ O + O + ≤ ˙ O ˙ Œ Œ Œ Œ Œ Œ ˙ ˙ Obbœ h [open string] (III) h h h h h q π l.v. Put down the kazoo Put down the kazoo 2’10 M Œ œœ ˙ œœ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ± ≤ ± ± ≤ œœ ± ± ≥ ± ± ≥ ˙ O ˙ ˙ ˙ bbO h h h h h h π = ? œœ œ Œ + Œ œœ + œŒ ˙ ˙ ˙ { ˙ } ˙ œœœ œœœ œ ≥ œ ≥ O ≤ O ˙ O ˙ ˙ ˙ O ˙ Oœ = & [open string] (I) [open string] (II) h h h h h u M J œ ≈ Œ J ≈ Œ j œ ≈ Œ ˙ ˙ œœ } œœ { ˙ ˙˙ ˙ ± ≤ + ≥ ± ± ≤ ± ± ≥ ± O + + ≤ ± ≥ 3 J ˙ O ˙ ˙ ˙ Oœ Oœ q ( q ) q h ) h ) h ) h ) h ) q q P 34547 22
ã & ? & & & ã ã t ? ã & ã † † & & & & & & & & ã ã ã ã ã ã B B B & ? & ? t ? t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 6 7 8 11 22 33 44 55 66 1 2 33 44 11 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 204 ˙ ˙ ˙ ˙ œ Œ –˙˙ + ≥ ≤ + O + ≤ œ ˙ ˙ ˙ ˙ ˙ ––––––˙ ˙ () () ¬ () ¬ () () O p p p p p p [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] [KAZOO] p [KAZOO] a pp) [CYMBAL] pp) [TAM-TAM] h ( q ) [open string] (IV) p p p p p [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] pp (pp pp) pp [Metal Mute] [Metal Mute] h h (pp ppp [Mute] h ppp ppp p) L.H. R.H. π l.v. [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] ppp ppp ppp (ppp) ppp ppp ˙ ˙ ˙ ˙ Œ ˙˙ ± ≤ ± ± ≤ + ≥ ± ± ≥ ± — ‰ œ J œ ˙ ˙ ˙ ˙ ˙ Œ Œ Œ Œ Œ Œ ˙ ˙ O Oœ ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( q ) ( h ( h Put down the kazoo Put down the kazoo 2’20 ˙ ˙ œœ œœœœ + ≥ O + ± ≤ ± ≤ + + ˙ œœ j œ‰Œ J ˙ ˙ ˙ ˙ ˙ Obbœ ( q ) h = ? M ã ˙ ˙ ˙ ˙ Œ ˙˙ ± ≤ + ≥ ± O + ≥ ± ≥ ± ˙ Œ œ ˙ œœ Oœ q ) q π = & = & u Œ‰ J œ ‰ Œœ ˙ ˙ ˙ ˙ } j œœ j œœœœ ± ≤ ≥ ± ≤ + ˙ † j ≈ Œ J œ† O œ ˙ ( h q h [only Clarinet 1] [Flute 1] [Piccolo] 2 GELINOTTES Læˆ [blow and cover/uncover the end of the instrument with one fnger (like wa-wa mute)] P = & = & = & = & M = † ˙ œœ ˙ ˙ œ J œ‰ } œœ Œ ˙˙ Œ‰ œœœ ± ≤ ± ± ≤ ± Œ œ Œ‰ Œ ≈ J œ Œ –––––Œ‰ J œ Œ ≈ J j ‰Œ bbœ p p p p p q h h h q h π π π π π π l.v. SP SP SP SP SP SP == & == & == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] == & VOICE [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] ˙ œ R œ ‰ œŒ J œ‰Œ ˙ ˙ ˙˙ ˙˙ ˙ ˙ ˙ œ J œ ‰ Œ Œ Œ Œ Œ ˙ J ‰ Œ ‰Œ ‰ Oœ ‰Œ Put down the kazoo Put down the kazoo Put down the kazoo Put down the kazoo Put down the kazoo f f f f f f VOICE VOICE VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] == & VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] 2’30 f J œ ‰Œ J ‰Œ r œ bb‰Œ r bbO‰ NOTE FOR CONDUCTOR: Te voices have to quietly appear. Tey have to be as soft as possible and within the indicated range Although I have specifed in the score who is singing, it doesn’t really matter. You can dinstribute the singing among the musicians (women and men in falsetto are reccommended). == & a 34547 23
ã & ã & & & ã ã t t ? ã & ã † † & & & & & & & & ã ã ã ã ã ã † † B & ? & ? t ? t ? 4 5 4 5 4 5 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 213 [wah-wah mute] [practice mute] [practice mute] [wah-wah mute] [wah-wah mute] [practice mute] [Metal Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] NOTE FOR CONDUCTOR: Te voices should all fade out, not together. [Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Wooden Mute] [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] t & & & B B = † = † = & = & = & = & = & = & = & = & = & = & = & = = = = = ? = = 2’40 = t = ? = ? ˙ j d ˙ ã ˙ ã ˙ } ˙ ˙ ˙ œ œ œ b œ œ œ œ œ œ n ≤ T T ± T T ≤ O + + ≥ ± O ≤ T T O + ± T T O + ≤ ± œ ˙ + O ˙ # ˙ l ˙ T O + () ˙ T + () T + () ‰ O O 3 ˙˙ T ˙ T j T + () O ˙ ˙ ˙ b b ‰ R O [Horn 1 (practice mute)] [Trumpet (practice mute)] [Trombone 2 (practice mute)] ∏ [Trumpet 2 (wah-wah mute)] [Trombone 1 (wah-wah mute)] CYMBAL :[with irregular bow changes] TAM-TAM :[with irregular bow changes] AST II II III AST II III [almost no bow-pressure] [almost no bow-pressure] [almost no bow-pressure] π [l.h. — harmonic pressure] always legatissimo always legatissimo always legatissimo [open string] (IV) [almost no bow-pressure] always legatissimo III IV AST π On the strings Singing Bowls L.H. R.H. AST AST AST AST III IV III [open string] III IV I II [open string] ∏ [beyond the paperclips: very very ASP] [beyond the paperclips: very very ASP] [open string] ∏ II III π [with tuning key] )( â â â [not too fast] AST æ MSP II-III [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] â â â [not too fast] AST æ MSP III-IV [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] Ø [almost no bow pressure][trill between open string and harmonic] AST Ø [almost no bow pressure] [trill between open string and harmonic] AST III Ø [almost no bow pressure] [trill between open string and harmonic] AST IV Ø [almost no bow pressure][trill between open string and harmonic] AST III 2’45 IV IV IV PO PO PO π π [multiphonics on strings 3–2–1 (as a or 2 notes chord) in the medium register. Touch the strings always when the volume is zero, and only then start to fade–in (the attack should never be heard). Te sound should be very warm, airy, very reverbed, and with an internal rhythm (like an irregular tremolo)] M Œ + + Œ œ ˙ Œ œ + r ˙ ˙ } { ˙ ˙ œ œ œ œ œ O ≥ O ≤ ± ≥ ± ≥ œ œ ± ˙ O ˙ ˙ ˙ ˙ O ‰ J ˙˙ ˙ O π π [Horn 2 (wah-wah mute)] π π π q p ∏ ∏ ∏ ∏ q â â â [not too fast] AST æ MSP III-IV q [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] ∏ p ( h ) ∏ π ( h ) ∏ π o œ œ ˙ œ œ ˙ ˙ ˙ œ œ œ œ J œ œ œb œ œ œ œ œ n ≤ O + ≥ ± O O + ≥ O ≤ O ˙ O ˙ ˙ ˙ ˙ O ˙˙ ˙ œO ∏ ∏ ∏ = & q ( q ) q h p p h M Œ‰ r œ b d ‰ œ œ œ œ ? + œ œ ˙ œ œ + ˙ ˙ ˙ } œ () ˙ ˙ œ œ œ œ œ œ œ œ œ ≤ ± ≥ O + + ≤ j ± ≥ 3 O J ± 3 ˙ O ˙ ˙ ˙ ˙ O ˙˙ ˙ O b b O = h ( q ) ∏ ∏ ∏ œ œ ˙ ˙ ‰ j œ d œ œ œ œ œ ˙ œ œ ˙ ˙ } { ˙ ˙ J œ œ œ œ ≤ ± O + ≥ O ≤ O + O ≤ O ˙ O ˙ ˙ ˙ ˙ O ˙˙ ˙ œO O π π = & ( q ) ( q p p p h ) ( h ) π ‰ œ œ ˙˙ ˙ ˙˙ + Œ œ œ + œ Œ œ œ + Œ ˙ ˙ ˙ ˙ ˙ œ œ œ œ b œ œ O + + ≥ O ≤ O + ≥ ± ≥ ± ≥ œ ˙ O ˙ ˙ ˙ ˙ O ˙˙ ˙ b [Flute 1] π ∏ [open string] (IV) h h ∏ 2’55 ( h ) 34547 24
ã & ? & & & ã ã t t ã & ã † † & & & & & & & & & & & ã B B B & ? & ? t ? t 8 3 8 3 8 3 Flutes Clarinets Bassoons Horns Trumpets Trombones 1 2 3 4 5 6 7 8 1 2 3 4 5 66 1 2 33 44 1 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) (°) 222 ˙˙ ˙ ˙œ œ J œ ≈ Œ œ ≈ Œ j ≈ Œ ˙ ˙ ˙ j œœ j œœ œœ J œ œ œ œœ # œ œ œœ ≤ O + ≥ ± O ± ≤ ± ≤ + ˙ ˙ ˙ O ˙ ˙ T T T O ˙ ˙ ˙ T ˙ œO O [CYMBAL] [TAM-TAM] ( pp pp q q pp ) pp ) pp ) ( pp [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] R.H. L.H. p [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] ppp ) ppp ) ppp ) ppp [Practice Mute] [Practice Mute] ppp ppp = t q â â â â â â â â â ) pppp ) pppp ) ) pppp ) ) pppp ) ) p ∏ ∏ q ) pp ppp ppp [Mute] [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [practice mute] [wah-wah mute] [practice mute] [wah-wah mute] [practice mute] [wah-wah mute] M ˙˙ ˙ ˙œ ≈ Œ ˙ ˙ œ œ ˙ ˙˙ œ œ œœ œ œ œ œœ œ œ œ œœ œ ≤ O + ≥ ± œ + ≥ ± ≥ ± O + + ≤ ± ≥ 3 O J ± 3 ˙ ˙ O ˙ ˙ O ˙ ˙ ˙ O ( q (II) [open string] (III) π [with tuning key] ∏ p p π ˙˙ œ œ r œ œ ‰ ˙ ˙ ˙ œ œ œœ œœ œ œ œœ œ œ œ œ œ œ œ œ œ ˙ ± ≤ ≥ ± ≤ O ≤ œ ˙ ˙ O ˙ ˙ O ˙ ˙ ˙ O œ b b [open string] q ) [open string] (IV) q p ∏ ( h ) q Go back to the piano M œ œ ˙ œ J œ‰ œ ˙˙ ˙ ˙ ˙ ˙ b ≤ ± ± ≤ ± ± ≥ ± ± ‰ œ J œ ˙ œ œ ‰Œ O ˙ ˙ Œ O ˙ œ œ ˙ r O ‰ Œ O = & (I) [open string] ( q )( q ∏ ∏ q Mute of Practice Mute œ Œ J œ‰Œ œ () ˙˙ ˙ ˙ ˙ ˙ œ O ≥ O r ‰ R r ‰ Œ R ˙ Œ œ Œ ˙ ≈ Œ J œ ‰ ‰ O q q q 3’05 h Mute of Mute of π ˙˙ r ‰ Œ R ± r œ ‰ Œ ˙˙ & t ˙˙ t t t t = t = = = t = ? = t = t = t = = = = & = & = & = & = NOTE FOR CONDUCTOR: Without stopwatch from K on. & œ d œ œ b d œ œ œ œ œ œ & ˙ ã ––––> ‰Œ r ¿¿ b > ‰ Œ ‰Œ œœ œœ œ b > ‰Œ r j œœ ≈ ‰Œ ––– † –––> † — T T — T — — T † † — — T T T & † & ¬ ¬ ˙ > ˙ b > > ˙ > > K V IV IV f f f f f MSP MSP MSP MSP MSP [prepared with rubber to damp the resonance.] ƒ [battuto (with the palm of the hand)] On the strings [dump slowly the strings with your hands. Te cut should not be too harsh.] (z) f l.v. NB: the pedal of B is not prepared. f P [only Horn 1] [only Trumpet 1] [only Trombone 2] f f f [only Clarinet 2] [Bassoon 1] [Bassoon 2] p f u [with superball] DRUM a 3’13 III IV L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). II L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). II II III AST AST AST P P P P P III IV L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). [l.h. — ordinary pressure] F = & AST II [l.h. — ordinary pressure] F = & AST II III [l.h. — ordinary pressure] F = & [l.h. — ordinary pressure] F = & AST IV II III [l.h. — ordinary pressure] F = & AST [l.h. — ordinary pressure] F = & II III [l.h. — ordinary pressure] F = & AST III IV 34547 25
& & & & & & & ã t t t t & ã † † & & & & † † & & & & & & † & B B B & ? & t t t t ? 8 3 8 3 8 3 4 2 4 2 4 2 Flutes Clarinets Bassoons Horns Trumpets Trombones 1 2 3 4 5 6 7 8 1 2 3 4 5 6 1 22 33 44 11 22 3 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 231 œ œ œ œ œ œ j J œœ œ () Œ — † œœ œœ #b — — T T — — T — — T œ O œ — — T T — — T O ##œ O –() –() –() –() –() œ œ :[with bows] [practice mute] [practice mute] [practice mute] [Clarinet 1] [Flute 1] [Piccolo] [BASS DRUM] a P) P) P) P) P) M [Freeze the higher multiphonic you can get. Very metallic sound.] 1 [Practice Mute] [Practice Mute] [Practice Mute] [Practice Mute] [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] III IV IV SP SP SP SP SP () () () () [Wooden Mute] [Wooden Mute] [Metal Mute] [Metal Mute] () () () volume OFF FREEZE (MSP) (MSP) (MSP) (MSP) (MSP) [with superball] ˙ ˙ œ œ‰Œ œ‰Œ Œ œ J œ ‰ r œ ‰Œ œœ œœ ‰ ‰ ˙ O œ R œ ‰ O ˙ ˙ ˙ O ˙ j j œœ f ∏ ∏ f f ( h f f f f f f f f f ( h π ( h π ( h π ( h π ( h π ( h ) AST AST AST AST ∏ ∏ ∏ ∏ r œ‰Œ ˙ Œ R œ ‰Œ O O ˙ œ Œ ˙ O ‰ ˙ ˙ ∏ ∏ ∏ ∏ ∏ ∏ q ) p AST ∏ Œ ˙ ˙ h h q h ˙ ˙ h h ( h ) ˙ ˙ ˙ ˙ h h ˙ ˙ h ( h ã ã ˙ ˙ 34547 26
& & & & & & & ã t t t t † ã † † & & † & ã ã † B B B & ? & t t t t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 33 55 77 1 3 55 11 22 33 44 11 22 3 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) very slow not too fast very slow very slow not too fast 240 ˙ () — () ã œ ≤ œœ ≥ Œ‰ J œ ≤ ˙ ˙ L a 2 3 4 7 8 5 6 1 2 3 4 5 6 :[with bow] POLYSTYRENE :[with bow] POLYSTYRENE h p [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [BASS DRUM] [with superball] ppp) [Mute] [Mute] ppp) ppp) ppp) ppp) ppp) ã ã Œ‰ J œ ≤ œœ ≤ œœ ≥ R œœ ≤ 5 5 ã ˙ ˙ :[with bow] POLYSTYRENE ã Œ ≤ Œ‰œ ≤ 3 œœœ ≥ œœ ≥ œ œ ≥ R œ ≤ œœ ≥ 5 5 ‰ J ≤ ˙ ˙ :[with bow] :[with bow] POLYSTYRENE :[with bow] POLYSTYRENE P P :[with bow] ≤ ≥ ≤ ≥ ≤ œ ≥ œ ≤ J œœ ≥ 3 3 œœ ≤ œ ≤ œœ ≥ œœ ≤ R œœ ≥ 5 5 ≥ ˙ ˙ POLYSTYRENE P P ã ã ã ≥ ≤ ≥ ≥ œ ≤ œ ≥ J œœ ≤ 3 3 œœ ≥ œ œœ ≤ œ ≤ R œ ≥ œœ ≤ 5 5 ≤ ˙ ˙ f f P J ˙ ˙ ≤ ≥ ≤ ≥ œ ≥ œ ≤ J œœ ≥ 3 3 J œœ ≤ œœ ≥ œ œœ ≥ R œœ ≤ 5 ≥ ˙ ˙ [turn the e-bows 7–8 ON and let them vibrate. Te 2 magnets should be as close as possible to the strings. Te sonic result is a continuous rattle.] E-BOW Machine 7 8 RATCHET h RATCHET ≤ ≥ ≤ ≤ ≥ œ ≤ œ ≥ J œœ ≤ 3 œœ ≥ œ œ ≤ œœ ≥ œ ≥ R œ ≤ œœ ≥ 5 5 J ≤ ˙ ˙ f f ( h ) h ã J œ ≥ ≤ ≥ ≤ œ ≥ œ ≤ J œœ ≥ 3 œ ≤ œœ ≥ œœ ≤ œœ ≤ R œœ ≥ 5 5 ≥ ˙ ˙ P P q ) 6 ‰ R J œ ≤ ≥ ≥ ≤ œ ≤ œ ≥ J œœ ≤ 3 3 œœœ ≤ œœ ≥ œ œ ≤ R œ ≥ œœ ≤ 5 ˙ ˙ P P q 5 RATCHET 34547 27
& & & & & & ã ã ã t ã t † ã ã † ã ã ã ã ã ã ã B B B & ? & t t t t ? 4 5 4 5 4 5 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 3 5 7 1 3 5 11 22 33 44 11 22 3 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) not too fast very slow not too fast 249 Œ () ˙ () () ˙ () œ ≤ œ ≥ œœ ≤ œœ ≥ œ œ ≥ J œ ≤ J œœ ≥ 3 3 ≥ œ ≤ œœ ≥ œœ ≥ R œœ ≤ 5 5 ≤ ˙ ˙ a [POLYSTYRENE] [POLYSTYRENE] (P (P [POLYSTYRENE] [POLYSTYRENE] [POLYSTYRENE] [POLYSTYRENE] 1 2 3 4 5 6 7 8 1 2 3 4 5 6 [POLYSTYRENE] (P (P P [E-BOW Machine] [RATCHET 1] RATCHET 2 [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Mute] ppp) ppp) ppp) ppp) ppp) J œœ ≥ œ ≤ œ ≥ œ ≤ œœ ≥ œ ≤ J œ ≥ J œœ ≤ 3 3 ≤ œœ ≤ œ ≥ R œ ≤ œœ ≥ 5 ≥ ˙ ˙ f f 4 ( h ) Œ‰ J œ œœ ≤ œœ ≥ œœ ≤ œœ ≥ œ ≥ J œ ≤ J œœ ≥ 3 3 ≥ œœ ≥ œ œœ ≤ R œœ ≥ 5 5 ≤ ˙ ˙ j f f = B (AST) CHINESE CYMBAL (reversed) ::[with 2 bows, one on each side] ã ã ã ˙ J ã œ ≤ œ ≥ œœ ≤ œœ ≤ œ ≤ J œ ≥ J œœ ≤ 3 3 ≤ œ ≤ œœ ≥ œ ≤ R œ ≥ œœ ≤ 5 5 ≥ ‰ j T O J OO & ˙ œœœ j 3 h III [Find a bow position and speed of the bow that allows very clear, warm sound] ( q ) = B = (AST) (AST) (AST) (AST) [the thread must be tight and it has to move in circle (see video).] [the thread must be tight and it has to move in circle (see video).] [the thread must be tight and it has to move in circle (see video).] ˙ ˙ R œ‰Œ ˙ œœ ≥ œ ≤ œ ≥ œœ ≥ œœ ≤ œ ≥ J œ ≤ J œœ ≥ 3 ≥ œœ ≤ œœ ≥ R œœ ≤ 5 5 ≤ O O Œ‰ j O J O T œœ O œœ œ j œœ b O O bO P P M (sound 1) [Tutti] [Tutti] [Tutti] 4 5 [Sustain ON, reverb OFF] [let the strings 5–4 vibrate. Put one (or two) piece(s) of metal close enough to the strings in order to get rattling, distorted sound (similar to the piano). Move the metal along the strings to change sound and distortion.] p [Find bow position and speed of the bow that allows a very clear, warm sound] II III = ? [Find a bow position and speed of the bow that allows very clear, warm sound] always legatissimo MSP (IV) f f always legatissimo (IV) always legatissimo (V) f MSP always legatissimo (IV) f MSP f MSP always legatissimo (IV) F M M M WALDTEUFEL (sound 1) WALDTEUFEL (sound 1) œœ ≤ œœ ≥ J œ ≈ Œ œ ≤ J œ ≥ J œœ ≤ 3 3 ≤ ≥ œœ ≥ œ ≥ O O O O O B ‰O T O J OO ? œOœœœ O #œ œObœOœœ OO OO#O OOOO œ P P P P III IV [Find a bow position and speed of the bow that allows very clear, warm sound] q p = œ ≤ ≈ Œ ≤ œ ≤ œœ ≥ J ≤ O O O O O O O O O ŒO O œ OO œO #œ œœ j œ ‰ j ≈ Œ r O ‰Œ Oœ O œ ( h ( h h ) h ) h ) ( h F II III [Find a bow position and speed of the bow that allows very clear, warm sound] p III [Find bow position and speed of the bow that allows a very clear, warm sound] p R ≈ ‰ œœ ≤ J ≈ O O O O O O O O O O O œœ#œ O œ OO p J œ‰Œ O O O O O O O O O O O‰Œ ( h ) ( h ) h h h ( h ) p 34547 28
ã ã ã & & & ã ã ã t ã t ã ã ã † ã ã ã ã ã ã ã B B & B ? ? t t t t ? 4 5 4 5 4 5 Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 33 55 77 11 33 55 1 2 3 4 1 2 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 258 () œ () œ () () () œ () œ () œ () œ () () œ () r O‰Œ O R O OO OO O J O‰Ó OO a P P [E-BOW Machine] F p) )( p) p) (p p [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Mute] 1 2 3 4 5 6 7 8 1 2 3 4 5 6 P M M M j O ‰ J O O q 34547 29
ã ã ã & & & ã ã ã t ã t ã ã ã † ã ã ã & ã † ã & ã & ã & ã & B B & B ? ? t t t t ? Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) slow down (like a big decrescendo al niente) slow down (like a big decrescendo al niente) slow down (like a big decrescendo al niente) slow down (like a big decrescendo al niente) 264 œ () () œ () () () œ () () œ () œ () œ œ () () œ () [E-BOW Machine] F a (P P) (P = ? = t = t = ? [Wooden Mute] [Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] Mute of Mute of Mute of M M M ˙ ˙ ã ã ˙ ㌠––r –‰ ––r –‰ ––r –‰ Œ ––r –‰Œ Œ ––r –‰Œ œ œ ≈ œœœ j œ ‰Œ œ p [prepared with laminated paper — check the key page] q AST p AST π c.l.t. AST π )( MSP π AST II L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). π AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). π AST III IV π III L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). II π AST I II L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). P u [with superball] BASS DRUM j ‰ ‰ O @ ‰ O @ ã ã ã [Tutti] [Metal Sheet] [Tutti] [Metal Sheet] [warm, breath (with fatterzung) — white noise] [warm, breath (with fatterzung) — white noise] = & = t = t = ? ˙ + œœ # # + œ O æ O æ O æ O æ ‰Ó & & Œ –Œ –Œ –Œ –Œ –Œ ––––œ œœ œ π π NB: = sing the note. Always extremely soft, completely embeded into the sound — it has to sound almost like split tone. WAH-WAH MUTE q AST V p AST π c.l.t. AST π IV IV II AST AST III IV AST III IV p [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] p p p KAZOO p [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] KAZOO p [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] [sing inside the kazoo very comfortable pitch. Always pianissimo, the sonic result should be distorted hum.] KAZOO KAZOO KAZOO = = w wœ wœ O æ O æ ˙ ã ˙ ˙˙ ˙˙ ˙ #b ˙ ˙˙ ˙˙ ˙ ŒÓŒ Œ ŒÓŒ Œ ¬¬ Œ ¬¬ ¬¬–œw œ ‰Ó ( ∏ MSP π π π II III AST π II III AST π p ( P u [with superball] BASS DRUM h Ø == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & VOICE == & VOICE == & VOICE == & VOICE == & VOICE == & VOICE == & VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] VOICE == & NOTE FOR CONDUCTOR: Te voices have to quietly appear. Tey have to be as soft as possible and within the indicated range Although I have specifed in the score who is singing, it doesn’t really matter. You can dinstribute the singing among the musicians (women and men in falsetto are reccommended). == & a VOICE == & [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] ∏ [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] [sing quiet ö within the indicated range. Te note has to be as quiet and soft as possible (fade-in at start, fade-out at end). Falsetto is reccommended for men.] ˙ Œ ˙ Œ ˙ w ww www œ œœ œœœ ¬ Œ –˙ h ( h ) h NOTE FOR CONDUCTOR: Te voices should all fade out, not together. 34547 30
ã ã ã & ã ã ã ã ã t ã t ã ã & & ã ã ã & ã † ã & ã ã ã ã ã ã B B & B ? 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. (°) IV √ 270 œ () œ œ () () ˙ ˙˙ ˙˙ [E-BOW Machine] F a Wooden Mute Mute [Wooden Mute] [Wooden Mute] [Mute] Metal Mute Wooden Mute Wooden Mute [Practice Mute] [Practice Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] PRACTICE MUTE PRACTICE MUTE MUTE & & & † B & & & ã ã ã & & & & B & = t = t = & = & = = = = = B = = = = = = = = = = = & ‰ J œ œ œ œ ‰ œ œ œ œ ˙ ˙ ˙ ˙ b # #b ˙ ˙ ˙ ˙ ˙ b #œ ˙ # ˙ b œ d œœ ˙ # 㜠@ J œ @ ‰Œ J ã ã J r ¿¿ b > ‰ Œ j œ > ‰Œ & ˙ ˙˙ ˙ b b — ≤ T T — ≥ — ≤ — ≥ ≤ — — — — j — ≥ T T — ≥ — ≤ 3 J — — — 3 T T j ≥ — ≤ ≥ 3 — — 3 ˙ > ˙ ã > > J œ > ã J œ ˙ > — T T — ≥ — ≤ — ≥ — œ — — — œ T T — ≥ — ≤ ≥ — — — — œ T T — ≥ — ≤ — ≥ — ≤ — ≥ 3 3 — — — — 3 3 ã > > ã > ã œ W W œ K œ T j œ j K œ + + + œO + + œO + N F F F AST AST II III III AST AST I II II III ƒ l.v. (z) [prepared with a rubber to damp the resonance.] F F ∏ = & P BASS DRUM p[soft mallet] ƒ l.v. [with triangle beater] [scrape the Tam Tam very fast. Te sound should be distorted and metallic.] TAM-TAM π THUNDER SHEET pp AST III IV F Fp [bow as close to the paperclip as possible] AST always legatissimo P AST π P always legatissimo II F always legatissimo II NB: all the Sz should be consider in the dynamic P/F :[with bow] POLYSTYRENE :[with bow] POLYSTYRENE π :[with bow] POLYSTYRENE PO f f f π :[with bow] POLYSTYRENE f :[with bow] f :[with bow] f π :[with bow] POLYSTYRENE f π :[with bow] POLYSTYRENE f 7 8 OFF [Flute 1] [Piccolo] [Clarinets 1-2 in B P π f π f π f π π π ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ @ œ @ œ @ ‰ r œ > Œ ‰ Œ œœ œ œœ œ ≈≈ j œœ œœ b # ≈≈ — ≥ — ≤ — ≥ — — — ≥ ≤ — ≥ ≤ — — — ≤ — ≥ — — ˙ œ œ ˙ ˙ ≤ — ≥ — ≤ — ≥ — — — J 3 — ≤ — ≥ — ≤ — — ≤ — ≥ — ≤ — j œ = = 3 ‰ j œO jl œ œ T J r K œ œO n <Sz ∏ (z) f III f π f π π III f π π π π h P P π π π f f f J œ œ ‰Œ œ œ ‰Œ ˙ ˙ ˙ ˙ n œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œœ œ œ @ J œ @ œ @ 3 œ œœ > ‰ œœ > Œ ‰Œ œœ œœ ‰ œ œœ b œ œœ œ œœ ≈ œœ # # ‰ ≈ — ≤ — ≥ — ≤ — ≥ ≤ — — — — j — ≥ ≤ — ≥ — ≤ 3 J — — — 3 ≤ j ≥ — ≤ ≥ 3 — — 3 ˙ ˙ ˙ ˙ — ≤ — ≥ — ≤ — — — ≥ — ≤ — ≥ — ≤ — ≥ 3 — — — — 3 — ≥ — ≤ ≥ — ≤ — ≥ 3 — — — 3 3 O O œ rw O + 3 œO # # = ? Sz ∏ <Sz ∏ (z) (z) π F π π F f f f f π π π j œ œ œ ‰ Œ œ œ œ œ ‰ œ œ œ œ œ œ œœ œ œ œ œ œ @ œ @ œ @ œ @ Œ ã J ‰ r œœ œ b b # > Œ ‰ Œ œœ œœ œœ œ ? — ≥ — ≤ — ≥ ≤ J — — — 3 ≥ ≤ — ≥ — — ≤ — ≥ — ≤ — ≥ ≤ — ≥ 3 3 — — — — — — 3 3 ˙ ˙ ˙ ˙ — ≥ — ≤ — ≥ — — — — ≤ — ≥ — ≤ 3 — — 3 — ≤ — ≥ — ≤ — ≥ — — — O œ O œ + + Œ ‰ R j J 3 B O ‰ r œ T # # œ ‰ R T 3 ( q ) III AST [poco slow bow] [1/2 legno] * = put enough (but not too much!) pressure to have lightly granular sound. <Sz ∏ (z) f :: [with 2 bows, one on each side] CYMBAL (reversed) f π (III) IV π f π F q q ) OFF π f π f π f f f f 34547 31
& & & & † B ã ã ã t ã & ã ã & ? & & & ã ã ã ã ã & & & ã ã ã B B B & ? & ? t t t 4 3 4 3 4 3 FlutesFlutes ClarinetsClarinets BassoonsBassoons Horns Trumpets Trombones 1 2 3 4 5 6 7 8 1 2 3 4 5 6 1 2 3 4 1 2 3 44 11 22 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (°) 277 œœ œœ œœœ œ @ J œ @ œ @ 3 œœœ J ˙˙ ˙ ˙ — ≥ ≤ — ≥ ≤ — —— 3 j — ≤ — ≥ — ≤ J ——— 3 — ≤ j ≥ — ≤ ≥ — —— 3 ˙ ˙ ˙ ˙ ≤ ≥ — ≤ —— — ≥ — ≤ — ≥ — ≤ — ≥ 3 ————— 3 — ≤ — ≥ j ≤ — ≥ 3 3 — —— 3 3 ˙ ˙ ## + + R œ ‰& œ d J œ 3 & Oœ = 3 ‰ T 3 Œ‰ R II IV NB: the IV string is detuned one octave lower AST ∏ * = put enough (but not too much!) pressure to have lightly granular sound. = put enough (but not too much!) pressure to have a lightly granular sound. AST poco ∏ [poco slow bow] [1/2 legno] [poco slow bow] [1/2 legno] = & = & π f P π ( q F II f π [THUNDER SHEET] [CHINESE CYMBAL (reversed)] F) F) F) [POLYSTYRENE] [POLYSTYRENE] F) F) F) [POLYSTYRENE] pp pp [POLYSTYRENE] [POLYSTYRENE] pp pp [POLYSTYRENE] pp [POLYSTYRENE] pp [POLYSTYRENE] pp a [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Mute] [Mute] 5 [E-BOW Machine] π π π π π π = & = & [practice mute] [practice mute] [practice mute] Œ‰ r œœ ‰ R œ d œ œœœ œœœ œœœ ˙ @ œœ ≈ J ≈ r œ œ b > ‰Œ ≈ ‰Œ œœ‰Œ œœ ‰œ — ≥ ≤ — ≥ — —— — ≥ — ≤ — ≥ T — — — ≤ — ≥ — ≤ —— ˙ ˙ ˙ ˙ — ≥ ≤ T — ≤ — ≥ T — — —— — T — ˙ ˙ T œ)( œ T œ ±— OO)( j 3 π II NB: the string is not prepared! π π NB: the III string is not prepared! NB: the IV string is not prepared! ) III IV q ∏ F <Sz ∏ (z) F π h NB: the II string is not prepared! II III F F F (III) (III) [bow as close to the paperclip as possible] (AST) f q 4 f f f f f f = & [Clarinets 1-2 in B ] [Flutes 1-2] œ œœ œ ˙ ˙ œ r œ ˙ ‰ œ‰ j ˙ J œ @ ≈ Œ ≈ r œœ ‰ r b > ‰ ≈ ‰‰?& Œ ≈ j œ œbœ bb œ œœ œ ≈& ≤ T — — — T — ˙ ˙ ˙ ˙ — — — — ˙ ˙ œ()œ œœ —± O()O J 3 3 π π II III NB: the III string is not prepared! NB: the II string is not prepared! ( h II III ) ( h ) ( h ( h ∏ F <Sz ∏ (z) = t π ( h ) π π π F π π π π π π P P P [only Bassoon 1] ˙˙ œ J œ œ j œ j œ‰Œ R ‰ ˙ œ‰Œ ≈ r œœ œ > ‰‰ r #œ > ≈ ‰‰ t œ œœ œ œœ ‰Œ ‰Œ —— —— —— —— ˙ ˙ œœ —— —— —— —— ˙ œœ œœ)( œœ ±— OO)( j 3 j 3 Œ‰ œ 6 q ∏ F <Sz (z) AST [fast bow] V always legatissimo F F F F f = = t = t r œ œ‰Œ œ J œ‰ œŒ Œ‰ J œ @ Œœ ≈ 7 7 ˙˙ ˙˙˙ ˙ b b — — — — — — — — ˙ ˙ œ œ — — — — — — — — ˙ œ œ œ () œ œ œ — ± O () O 3 Œ‰ 3 œ 7 ‰ r œ 5 f π f π f π f π f π F π F π F π q F ∏ ∏ F ∏ = & = & :: [with 2 bows, one on each side] pp AST [fast bow] IV AST [fast bow] IV always legatissimo always legatissimo π π π f π π π π [with bottle–neck] whammy bar 5 6 [prepare a very distorted, metallic sound. Te articulation should be as legato as possible, almost like wave of distorted sound.] ( h œ @ œ @ œ @ œœ œ R ‰ Œ r œœ œœ > ‰ Œ‰ œœ œœœ œ r œœ œœœ œ ‰ — — — — — — — — ˙ ˙ œ œ — — — — — — — — ˙ œ œ œ œ)( œ œ ± — O O )( j 3 3 œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ f π f π f π f π f π F π F π F π F ∏ F <Sz (z) f f f f f F f π F F F f F Slowly unblock the pedal. ˙ @ ˙ ‰ 5 5 — — — — — — — — ˙ ˙ œ œ — — — — — — — — ˙ œ œ œ () œ œ œ — ± O () O j J 3 œ œ œ œ œ œ œ 5 5 f π f π f π f π f π F π F π F π ( q ) a a a ∏ F ∏ a π f π a π π π œ @ J œ @ ‰ R œ ‰ Œ T T ± ± O + ≥ ± T T O T T ˙ ˙ ˙ ˙ T T O + ≥ ± T T O ± + ≥ ± T T O ˙ ˙ œ œ)( œ œ ± — O O )( 3 j 3 œ Oœ Oœ œ Oœ # # 3 3 œ œ œ œ # # 5 5 œ œ œ œ Oœ 5 [l.h. — harmonic pressure] [almost no bow-pressure] ( ) II III ) [l.h. — harmonic pressure] [almost no bow-pressure] ( ) [l.h. — harmonic pressure] [almost no bow-pressure] IV ∏ [l.h. — harmonic pressure] [almost no bow-pressure] q ) II [l.h. — harmonic pressure] [almost no bow-pressure] ) π π F ) [l.h. — harmonic pressure] [almost no bow-pressure] III IV F F F ≥ O ± ≤ ± ˙ ≤ O ˙ ˙ ˙ ˙ O + + ≥ ≤ O ≤ ± ± ≤ + + ≥ ± O ˙ ˙ œ () œ œ œ — ± O () O j 3 Oœ œ O œ # œ Oœ # # Oœ = & [open string] (I) [open string] (II) q F ( q ∏ F π π π π π 34547 32
& & & & † B ã ã ã t ã & t ã & & & & & ã ã ã ã ã & & & ã ã ã & & B & ? & ? t t t ? 4 3 4 3 4 3 4 2 4 2 4 2 4 3 4 3 4 3 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 6 7 8 1 2 3 4 5 6 1 2 3 4 1 2 3 4 1 2 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ° Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ IV Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 286 † † & & & ≤ O + ≥ O O + ≥ ≤ O ± ≥ ≤ ± + œ ˙ ˙ ˙ O ≥ ≤ O ± O ≥ O ± ≤ + ≥ ± O ˙ ˙ œ œ)( œ () œ œ œ œ œ — — O O )( O () j 3 j 3 O œ œ œ # # œ œ n O # j O ‰Œ = t q ) q q ) h = = & = & = & ∏ F F ∏ F q F F F [POLYSTYRENE] [POLYSTYRENE] [POLYSTYRENE] pp pp pp [POLYSTYRENE] pp [POLYSTYRENE] ( pp [POLYSTYRENE] pp [POLYSTYRENE] ( pp [POLYSTYRENE] ( pp a [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Mute] [Mute] GONG (large) = & = = = & = = [practice mute] [practice mute] [practice mute] ˙˙ b > ˙ > ˙˙ ˙ b # b # ˙ ˙ ˙ ˙ b # ˙ l ˙˙ # æ ˙ + ˙ j œ ã ‰Œ ˙ ã > j œ ã ‰Œ ˙ ã > œ œ œ ‰ 5 ‰ r œ > Œ ‰ Œ j ‰Œ œ œœ œ œ œœ œ ≈≈ œœ œœ b # ≈≈ — ≤ — ≥ — ≤ — ≥ — ≤ 3 — — — 3 j — ≤ — ≥ — ≤ 3 J — — — 3 — œ j — ≤ — ≥ — ≤ 3 — J — — — 3 R œ‰ Œ œ J œ‰ œ œ — — ≤ — ≥ — ≤ — — — — — — ≥ — ≤ — ≥ — — — œ — ≥ — ≤ — ≥ — ≤ — ≥ 3 3 — — — — — 3 3 ≤ ≥ ≤ œ œ ≥ œ œ ≤ œ œ ≤ œ œ œ œ d O J 3 3 œ œ ‰ ∏ f F F F F F <Sz ∏ ∏ (z) ∏ F ∏ π F ƒ TAM-TAM [with triangle beater] [scrape the Tam Tam very fast. Te sound should be distorted and metallic.] π [with singing bowl] [scrape the gong with the bowl, using a lot of pressure in order to have a metallic, distorted sound.] π π π f f F F f NB: all the Sz should be consider in the dynamic P F O ƒ [with triangle beater] [scrape the large gong very fast. Te sound should be distorted and metallic.] π GONG (medium) f f P F ∏ ∏ [with singing bowl] [scrape the gong with the bowl, using lot of pressure in order to have metallic, distorted sound.] f l.v. [with the nails (or plectrum), scrape violently the two strings. Sound should be low, very distorted and reverbed.] œœ œœ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ œ œ l œœ æ œœ æ + r œ œ ˙ ˙ œ œœ > ‰ œœ b > Œ ‰Œ œœ œœ ‰ œ œœ n œ œœ œ œœ ≈ œœ # # ‰ ≈ ≥ — ≤ — ≥ — ≥ ≤ — ≥ ≤ — — — ≥ — ≤ — J œ‰ ˙ ≥ — ≤ — ≥ — ≤ 3 — — J — 3 3 ≤ — ≥ j — ≤ — — ≤ — ≥ — ≤ — — ≥ ≤ ≥ œ œ ≥ œ œ œ œ ≥ œ œ)( œ () œ œ + œO = œO 3 <Sz ∏ <Sz ∏ (z) (z) F ∏ f f π π F π π F f f f f f œœ œœ ˙ ˙˙ ˙ # œ œ œ œ œ œ ˙ ˙˙ æ ˙ ˙ œ œ œ 3 ‰ r œœ œ b b # > Œ ‰ Œ œœ œœ ‰ J œœ ‰ j œ œ ? — ≤ — ≥ — ≤ — ≥ — ≤ 3 — — — j — ≥ ≤ — ≥ — ≤ J — — — — ≥ j — ≤ — ≥ — ≤ 3 — J — — — 3 ˙ — ≥ — ≤ — ≥ — — — ≥ — ≤ — ≥ — ≤ — ≥ — — — 3 — ≥ — ≤ ≥ — ≤ — ≥ 3 — — — — 3 ≤ ≥ œ ≤ œ œ ≥ J œ œ ≤ œ œ Œ œ T j B # # œO # # <Sz ∏ (z) F F F ∏ π F f π F AST π f π π J œœ ≈ œ ˙ œœ ‰ œ œ œ ‰Œ ˙ ˙ ˙ œ ˙ ≈ r œ œ b > ‰Œ ≈ r œœ œ ‰ ≈ ‰ŒŒ œœ œœ ‰Ó œ œ œ œ ‰ œ œœ œœ j — ≥ — ≤ — ≥ — ≤ — ≥ 3 J — — — — 3 ≥ ≤ — ≥ ≤ 3 — — J 3 — ≥ — ≤ — ≥ — ≤ — ≥ ≤ — ≥ j — ≤ 3 3 3 — — — — — J — 3 3 œ œ œ — ≤ — ≥ — ≤ — ≥ — — — — ≤ — ≥ j — ≤ ≥ — ≤ — ≥ 3 — — — — 3 — ≤ — ≥ — ≤ — ≥ — ≤ 3 — — — — — 3 ≤ ≥ ≤ ≥ œ œ ≤ œ œ ≥ œ œ œ ≥ œ œ ≤ œ)( œ () œ œ œ œ j œ + ‰ j œO jl œ œ T 3 3 j 3 <Sz ∏ (z) ∏ ∏ ( q π π p III f F F F F π (z) f f F π <Sz = t P P f π π # ˙ l ˙œ + œ ˙ œ œ Œ ≈ r œœ œ > ‰ Œ ≈ ‰ ≈ œœ œœ b b b œœ œœ œœ œœ ‰ ≈ ‰ & — ≤ — ≥ — ≤ ≥ 3 — — 3 — ≥ ≤ — ≥ — ≤ — — — ≥≥ — ≤ j — ≥ 3 — — — 3 & œ œ — ≤ — ≥ ≤ — ≥ 3 — — — — 3 — ≤ — ≥ j ≤ 3 — 3 j ≥ — ≤ — ≥ — ≤ — ≥ 3 — — — 3 ≤ ≥ ≤ œ ≤ œ œ ≥ œ œ ≥ œ œ œ)( œ O + 3 œ œ + œ J 3 3 Œ‰ œ œ ∏ π π q π (III) F F F V [fast bow] (z) ∏ F AST F F <Sz always legatissimo = t = t = t = t = = ? Mute of ≈ Œ ˙œ R œ ‰ ˙ œ œ œ ‰Œ r œ ≈ R # > ‰Œ ≈ ‰Œ ≈ 7 Œ œœ œœ œ b b Œ — ≤ — ≥ — ≤ — ≥ — — ≥ ≤ — ≥ — — — ≤ — ≥ ≤ ≥ — ≤ 3 — — — 3 ‰ O b b O T O † & œ œ — ≤ ≥ — ≤ — ≥ ≤ 3 — — — — ≥ ≤ — ≥ — ≤ 3 — — — ≤ — ≥ — ≤ — — ≥ ≤ ≥ œ œ ≤ œ œ ≥ œ œ ≤ œ œ () œ œ O Œ & 3 j 3 Œ‰ œ 3 œ œ œ 7 6 ‰ ≈ r œ œ 5 Œ œ ∏ π F F π F always legatissimo [fast bow] IV AST ∏ F π π π F [fast bow] 6 always legatissimo whammy bar 5 [with bottle–neck] π II III IV AST f ∏ ∏ = ( q ) = P AST [very, very slow, wide (but not more than major third) glissando] f ˙ ˙ œ œ 6 7 6 œœ œœ œ œœ œœ œ — ≤ — ≥ — ≤ ≥ 3 — — ≤ — ≥ — ≤ 3 J — — 3 — ≥ — ≤ — ≥ ≤ 3 — — O O O Œ‰ œ œ — ≤ — ≥ — ≤ — — — ≥ — ≤ — ≥ — ≤ — ≥ 3 — — — — ≥ — ≤ ≥ — ≤ — ≥ 3 3 — — — — ≤ ≥ œ œ ≤ œ œ ≥ œ J œ ≈ ‰ j œ J œ œ œ œ œ 7 5 œ œ œ œ œ œ 5 6 œ œ œ 6 I [Find bow position and speed of the bow that allows a very clear, warm sound] π π [Find a bow position and speed of the bow that allows a very clear, warm sound] ∏ [Find bow position and speed of the bow that allows a very clear, warm sound] II π q ) [Find bow position and speed of the bow that allows a very clear, warm sound] f ∏ f F [Find a bow position and speed of the bow that allows a very clear, warm sound] III f f f f 34547 33
† † & & & & ã ã ã t & & t ã & & & & & & † & ã ã & & & ã ã ã & & B & ? & ? t t t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 5 6 7 8 1 2 3 4 5 6 1 2 33 4 1 2 3 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 294 r ŒŒ 5 r œœ œœ > ≈ ‰Œ ‰ 5 5 r œœ œœ œ ≈ ‰Œ ≈ ‰Œ — ≤ — ≥ — ≤ — ≥ — ≤ 3 ——— — ≥ ≤ — ≥ ≤ — — — ± ≥ — ≤ — ≥ — ≤ 3 J — ˙ OO œ J œ ≈ œŒ — ≥ ± ≤ — ± ≤ ≥ — — ≤ ≥ — ≤ — ≥ ≤ 3 —— J — — 3 ≤ ≥ ≤ œœ ≥ œœ ≤ œ ≤ œœ ≥ œ + 3 j 3 œœœœ œ œœ () Sz (z) π q π f π [almost no bow-pressure] [l.h. — harmonic pressure] π π [l.h. — harmonic pressure] [almost no bow-pressure] π q π π [almost no bow-pressure] [l.h. — harmonic pressure] F f [until the end of the resonance] q ) f [POLYSTYRENE] [POLYSTYRENE] [POLYSTYRENE] [POLYSTYRENE] [POLYSTYRENE] a [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Metal Mute] [Wooden Mute] [Wooden Mute] [Wooden Mute] [Mute] [Mute] [Mute] [Mute] f f [GONG] [GONG (medium)] π ≥ — ≤ — ≥ — O + ≥ — ≥ — ≤ ≥ —— œ ˙ O + ≥ + ≤ j ≥ ≥ ≤ ≥ œœ ≥ œ œœœ ≤ Œ 3 œOœO œ 3 3 œœœœ ## 5 œœ 5 q ) q π [almost no bow-pressure] [l.h. — harmonic pressure] q ) ∏ π ( q π [very, very slow, wide (but not more than major third) glissando] [very, very slow, wide (but not more than major third) glissando] Mute of Mute of Mute of ≤ O ≤ ± ≤ ˙ O ± ≤ ≥ ± ≤ ≥ ≤ ≥ œ ≤ œœ ≥ œœœ ≥ j ‰ π [l.h. — harmonic pressure] [almost no bow-pressure] π ( q ) π P [very, very slow, wide (but not more than a major third) glissando] Mute of t t ≥ O O + + ≥ ˙ ≥ O ˙ O ± ≤ ± + ≤ ≤ ≥ ≤ ˙ œœ ≤ Œ q [open string] (II) (I) [open string] = & q P p = = Mute of ˙˙ ˙˙ ˙ # b ≤ O ≥ O j ‰Œ ± ≤ ˙ O ≥ ≥ ˙ œœ ≥ œ q ) P Mute of ˙˙ ˙˙ ˙ O ≤ O + ˙ O ± ≤ ± () () œ‰Œ œœ ≤ œ q q ( q q q ∏ h h h h Mute of ˙˙ ˙˙ ˙ ≤ ‰Œ J ˙ O () ≈ ()Œ ˙ q q h h h h Mute of Mute of ˙˙ ˙˙ ˙ œ ()Œ œ () ˙ O h h h h Mute of ˙˙ ˙˙ ˙ ˙ J ≈ Œ O h ) h ) h ) h ) 34547 34
† † & & & & ã ã ã t & & t ã t t & & & & † & ã ã & & & ã ã ã & & B & ? & ? t t t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 4 55 6 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° 303 t t ˙˙ ˙˙ ˙ O ˙O OŒ ˙ () ˙ () ˙ # () ˙ () pp pp pp pp a ppp = = Mute of Mute of Mute of Mute of Mute of Mute of Mute of [Mute] J œ‰Œ J œ‰Œ j œ œœ ‰Œ ‰Œ j œ œ ‰Œ ˙˙ ˙˙ ˙ j O œ‰Œ J O p l.v. ∏ d GONG (large) p [soft mallet] BASS DRUM π M π [extremely distorted, as deep and low as possible. Always multiphonics (the actual pitch is not important) on strings 4-5-6] ˙˙ ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙˙ ˙ = t = t = t Œ J œ‰ Œ J œ‰ Œ ¿b¿ ‰ Œ j œ œœ ‰ Œ‰ Œ j œ œ ‰ ˙˙ ˙˙ ˙ h h h h p l.v. ∏ d p π M π l.v. ∏ ˙˙ ˙˙ ˙ h h h h ? ? ã ˙˙ ˙˙ ˙ h h h h = t = t = = ˙ b O æ J œ‰Œ J œ‰Œ j œ œœ ‰Œ ‰Œ j œ œ ‰Œ ˙˙ ˙˙ ˙ h ) h ) h ) h ) p l.v. ∏ d p π M π π π [prepared with laminated paper — check the key page] [rolling note] [only Bassoon 1] BASS CLARINET [warm, breath (with fatterzung) — white noise] [Tutti] [Metal Sheet] Ø 34547 35
† ? ? & & ã ã ã ã t t t t ã t t & & & & † & ã ã & & & ã ã ã & & B & ? & ? t t t ? FlutesFlutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) ° 312 ˙ ˙ O æ ˙˙ ˙ ˙˙ ˙ ˙ () ˙ () ˙ # () () a ppp pp pp pp pp [GONG (large)] [BASS DRUM] pp ) pp ) [Metal Sheet] pppp ) [Mute] ˙ ˙ O æ ˙˙ ˙ ˙˙ ˙ ˙ ˙ O æ ˙˙ ˙ ˙˙ ˙ = t = t œ œ ≈ Œ œ œ ≈ Œ O æ O @ ≈ Œ ‰ J Œ ‰ J œ Œ ‰‰Œ ‰ j œœ œœ Œ ‰Œ ‰ j œœ Œ ˙˙ ˙ ˙˙ ˙ p l.v. ∏ d p π M l.v. π ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ h h h h ã ã ã ˙˙ ˙ ˙˙ ˙ h h h h M M M ˙ Œ‰ J œ Œ ≈ œ ˙˙ ˙ ˙˙ ˙ ¬ Œ –Œ j –¬ ¬ Œ –Œ –‰ –‰ –P h h h h = t = t = t WALDTEUFEL (sound 2) WALDTEUFEL (sound 2) WALDTEUFEL (sound 2) [Tutti] [Tutti] [Tutti] L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST II III III IV II II III II III IV II III II III II III [Te thread has slide on the skin of the instrument (see video).] [Te thread has slide on the skin of the instrument (see video).] [Te thread has slide on the skin of the instrument (see video).] J ‰Œ J œ ‰Œ j ¿¿ b ‰Œ j œœ œœ ‰Œ ‰Œ j œœ ‰Œ ˙˙ ˙ ˙˙ ˙ ¬ Œ –Œ –¬ ¬ Œ –Œ j –h ) h ) h ) h ) p l.v. ∏ d p π M l.v. π l.v. ∏ h ) h ) h ) p h ) π h ) π h ) π h ) π L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. AST AST h ) h ) L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). )( π )( π L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST h ) π h ) π L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. AST L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST III IV L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. I II II III IV III IV II II III IV 34547 36
ã ã ã & & ã ã ã ã t t t t ã t t & & & & † & ã ã & & & ã ã ã & & B & ? & ? t t t ? 4 5 4 5 4 5 Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 4 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 321 ˙ () ˙ () ˙ () ˙˙ ˙˙ ˙ () ¬ () ¬ () () ¬ () ¬ () –() j –() –() j –() j () () ¬ () ¬ () () () ¬ () ¬ () ¬ ˙ () ˙ () ˙ # () () a [until the end of the resonance] p p p pp pp pp pp pp pp pp pp pp pp AST AST pp pp π π π π π π π π II II [Mute] M M M œœ œ œ Œ Œ Œ Œ ‰ ‰ j J Œ h h h h h h h h )( )( h h h h h h h π h π h π h h π π Œ Œ r ‰Œ r ‰Œ ‰ ‰ ‰ h h h h ) h h )( q ) )( q ) )( q ) )( q ) h h h h h Œ R ‰Œ Œ Œ Œ Œ ( q ) ( q ) ( q ) ( q ) Q 34547 37
ã ã ã & & ã ã ã ã t t t t ã t t & & & & † & ã ã & & & ã ã ã & & B & ? & ? t t t ? 4 2 4 2 4 2 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. 328 a [Mute] [gently lift the magnets 7–5 from the string in order to get a very pure sound once they are on again (measure 367)] ã & = = & ˙ d ‰ r œO œO + = O O OO O > > > > R AST q q = & [on the bridge — white noise] [on the bridge — white noise] = & [on the bridge — white noise] [on the bridge — white noise] q = 53 [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] & ˙ ‰ œ & O˙ Œ j O O O O O O O > ‰ j œO = = œO > > > > π AST π ( q ) q q = = = & [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] f f f f ‰ œ w ˙œ œ Œ‰ œœ b b œœ b O˙ O O O O j O O > O˙ > > Œ œO > [Flute 1] [Piccolo] π π q ) ( q ) ( q [whole-tone artifcial harmonic. Sonic result should be a fltered white noise (like high pass)] 34547 38
& & & & & ã ã ã ã t t t t ã t t & & & & † & ã ã & & & ã ã ã & & B ã ? & ? t t t ? Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 44 55 66 77 88 1 2 33 44 55 66 1 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. 334 ˙˙ ˙ J œ ≈ Œ œ œ œ œ ˙ O˙ ‰ Oœ d Oœ O > O > >> O Œ j d d O œO œ O > O > OO > a π π [wah-wah mute] [Metal Sheet] [Metal Sheet] AST π pp ) pp AST π ( q ) [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] ˙˙ ˙ j ‰Œ ˙ ˙ ˙ ˙ O˙ O˙ OO > OO > > O O˙ O > OO > π q q ˙˙ ˙ Œ‰ j ˙ ˙ ˙ ˙ O˙ O˙ OO > O j > O O˙ OO > O π ( q ) ( q œ œœœ‰ 3 j œ‰Œ J œ ˙ O˙ O˙ O > O > >> O O˙ O > O > OO > π q q q ) & & & & ˙ O˙ O˙ OO > OO > > O O˙ O > OO > = & = & q ( q ) = = = = Œ‰œ œ w Œ‰ J Œ‰ j œ b b J bœ Œ‰ Œ‰ Œ‰ j O Œ‰œ & ˙ O˙ O˙ ‰ J OO > O j > O ‰ OO O˙ ‰ O OO > O ‰ = & [Piccolo] [Flute 1] )( q ) â â â [not too fast] AST æ MSP II-III [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] q â â â [not too fast] AST æ MSP II-III [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] )( q ) â â â [not too fast] AST æ MSP I-II [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] q â â â [not too fast] AST æ MSP I-II [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] = l.v. p[very soft mallet] pp[very soft mallets] CROTALES CROTALE P p p ˙˙ ˙ ˙ œœ œœ ŒO + # # Œ j d ˙ O˙ O˙ ‰ OO O > O > > j ‰ O O ‰ O O˙ O O > O > OO > ‰ J O ‰ π π π ( q ) ( q q ) â â â [not too fast] AST æ MSP III-IV [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] ∏ ( q ) p ∏ q ) â â â [not too fast] AST æ MSP I-II [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] )( q â â â [not too fast] AST æ MSP III-IV [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] ( q ) p )( q â â â [not too fast] AST æ MSP III-IV [left hand glissando (always harmonic pressure) to the low register of the instrument. right hand: light bow pressure, alterning AST, MSP.] 1 [Sustain ON] [sound as pure and warm as possible] whammy bar [whammy super slow, simulating micro-tonal glissando] ˙˙ ˙ j ≈ ˙ ˙ ˙ œœ OO ˙ O˙ O˙ O ‰ OO > OO > j O ‰Œ r ‰ O O O ‰ O ∏ ( q p p p ( q p ∏ ∏ œ œ‰Œ R œ ≈ ‰Œ œ Œ O Oœ ‰ Oœ Œ O r O ‰Œ R O ‰Œ O ‰ R ‰Œ O ‰ p p p 34547 39
& & & & & ã & & ã t & & & ã t t & & & & & ã ã & & & ã ã ã & & B ã ? & ? t t t FlutesFlutes ClarinetsClarinets BassoonsBassoons Horns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 5 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° 343 O ˙ ˙ R O ‰Œ R O ‰Œ a [Metal Sheet] [Metal Sheet] [wah-wah mute] p ) whammy bar Metal Mute Metal Mute Metal Mute Mute O ˙ ˙ ã ã t t ˙ & & = & = t = = = = t = Œ ≈ j œ d Œ J œ‰ Œ J œ‰ Œ b¿ ‰ Œ j œ œœ ‰ Œ‰ ˙ Œœ œ b # Œœ œ Œœ Œ œ Œ Œ J œ ≈ p l.v. ∏ d p π l.v. ∏ BASS DRUM (large) ∏ ∏ ∏ Tail piece ∏ Tail piece ∏ Tail piece (z) S œœ ˙ ˙˙ ˙˙ ˙ R œ‰Œ r œ ‰Œ π ˙ ˙ ˙˙ ˙˙ ˙ = & = & = t = t = t = t Œ‰ j œ J œ w ˙ Œ‰ Œ‰ j œ œ b b J b Œ‰ J œ Œ‰ b¿ Œ‰ j œ œœ Œ‰ ˙ ˙˙ ˙˙ ˙ Œ‰ O Œ‰ J O OO > OO > Œ‰ J œ Œ‰ j œ Œ‰ J Œ‰ J œ = & : [with bow] CYMBAL p ∏ [until the end of the resonance] â â â [not too fast] AST æ MSP II-III [on the bridge — white noise] [on the bridge — white noise] ∏ ∏ ∏ ∏ = ? = & (z) ˙ ˙ ˙ œ œ œ œ ŒO + #œ # ˙ Œœ ˙ ˙˙ ˙˙ ˙ ŒO r ‰ OO ‰ J ‰ OOO > OO > ‰ OOO > O O > OO > e J œ ≈ Œ ˙ J Œ R œ‰Œ π π = & π : [with bow] TAM-TAM )( q â â â [not too fast] AST æ MSP III-IV ( q ) â â â [not too fast] AST æ MSP )( q â â â [not too fast] AST æ MSP II-III p ( q ) q [on the bridge — white noise] [on the bridge — white noise] IV = & = & [Find bow position and speed of the bow that allows a very clear, warm sound] [Find bow position and speed of the bow that allows a very clear, warm sound] f f ˙ ˙ œ j œ ≈ ˙ ˙ OOœœ ‰ r R œ @ œ @ & ˙ ˙ j œ ≈ Œ œ œ‰ œœ ‰ O ‰ O e O OO > O OO > ‰ J O OO > O l } B OO > O ˙ ‰ OO 3 ∏ NB: = sing the note. Always extremely soft, completely embeded into the sound — it has to sound almost like a split tone. p ∏ p q â â â [not too fast] AST æ MSP ∏ q ( q ) )( â â â [not too fast] æ π III [Find a bow position and speed of the bow that allows a very clear, warm sound] [Find a bow position and speed of the bow that allows a very clear, warm sound] f f 34547 40
& & & & & & ã ã ã t t t & ã & & & & & & ã ã & & & ã & B ã ? & ? t t Flutes Clarinets Bassoons Horns Trumpets Trombones 1 22 3 4 5 6 77 88 11 22 33 4 5 66 1 2 3 44 1 22 33 44 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. 352 j œ ‰Œ J œ R ≈ ‰Œ Œ O ˙ ˙˙ @ ˙ b O ˙ @ ˙ ˙ O O l p O O ‰ O > O > O > O O > O O O > O > O O ‰ R œ œ O ‰Œ > > > ? ‰ J O O a ∏ NB: = sing the note. Always extremely soft, completely embeded into the sound — it has to sound almost like a split tone. p [CYMBAL] [TAM-TAM] p p ( q ) p p ( q ) q ∏ â â â [not too fast] æ I-II II = [Mute] ppp = & [Metal Mute] [Metal Mute] [Metal Mute] pp π π π [wah-wah mute] [Metal Sheet] [Metal Sheet] O ˙ ˙˙ @ ˙˙ @ ˙ ˙ ‰ O R O ‰Œ OO > OO > OO > R O ‰Œ ‰ OO > O O œœ >> Œ J O O O ∏ = & ( q q q p p ( q IV III = & ∏ π [Find bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] Œ‰ j œ œ + J œ O ˙ j œ @ J œ @ ˙˙ @ œœ ˙ O OO > O j OO > Œ‰ J œ T OO > O O ˙ > O O ‰ R O ‰Œ = & = & ( q ) ( q q = & = & [almost no bow pressure] AST II π d @@ œ œ œ œ œœ ‰ r œ‰@ R œ @ ˙˙ @ ˙ J œ‰Œ O O > O > O > j O ‰ ˙ ˙ ‰ œ T œ ˙ T OO > O O ˙ j ‰Œ O ∏ Ø [Bassoon 1] Ø q q q ) [almost no bow pressure] [almost no bow pressure] AST AST III IV π Œ @ ˙ ˙ ˙ ˙ Œ † & & O OO > r O ‰ ˙ ˙ ˙ ˙ O > O Œ O ˙ O π π π = = = R –‰ R –‰ j O O œ ‰Œ ‰Œ J — ‰Œ O ˙ ˙ ˙ ˙ O ˙ O p l.v. M π [Sustain OFF] [very high multiphonics, no distortion, very reverbed] = & 3 2 p/P R –‰ R –‰ OO ˙ ˙ œœ ˙ O ˙ O R –‰ R –‰ O ˙ ˙ œ ‰ ˙ O ˙ O = & = & = & & & R –‰ R –‰ Œ‰ j O O Œ‰œ Œ‰ J — J œ ≈ Œ O ˙ O p l.v. M π 3 2 ( q )( ( q )( 34547 41
& & & & & & & & † t & & & ã & & & & & & † & ã ã & & & ã ã ã & B B ã ? ? ? t t t ? FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 4 55 66 77 88 11 22 33 44 55 66 1 2 33 44 1 2 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° 361 ˙ # ˙ R –‰ R –‰ ‰ O J œ ≈ Œ O a CROTALES : : [with bows] [with bows] (p/P) [Metal Mute] [Metal Mute] [Metal Mute] [Mute] Mute Mute Mute Practice Mute Practice Mute Mute Mute Mute Mute Mute [wah-wah mute] [Metal Sheet] [Metal Sheet] œŒ œŒ R –‰ R –‰ j O ‰Œ l.v. l.v. p p Mute ã ã R –‰ R –‰ t t = & = t = & = & = = = t Mute ˙ J œ‰Œ J œ‰Œ R –‰Œ ¿b¿ j œœ œœ ‰Œ ‰Œ ˙˙ ˙ #b ˙˙ ˙ # œ R œ ≈ ‰ œ r œ ≈ ‰ Œ J ≈ Œ [Clarinet 1] GONG (large) d ∏ l.v. p l.v. ∏ (z) ∏ ∏ ∏ ∏ p π BASS DRUM π ∏ Mute T ˙ ¿¿ ˙˙ ˙ ˙˙ ˙ B = h ˙ & & ã ¿¿ & & ˙˙ ˙ ˙˙ ˙ ‰ T & = & = & II III [Find a bow position and speed of the bow that allows a very clear, warm sound] = B = h = = & = = = Œ‰ j œ J œ w ˙ Œ‰ Œ‰ j bœ b J bœ Œ‰ j œ Œ‰ j œ Œ‰ J ¿¿ j ¿¿ Œ‰ j O O Œ‰œ Œ‰ J — ˙˙ ˙ ˙˙ ˙ Œ‰ O J T = & [Clarinet 2] p [Find a bow position and speed of the bow that allows very clear, warm sound] II III = ? [Find a bow position and speed of the bow that allows very clear, warm sound] q p l.v. M π π pp[very soft mallets] CROTALES π p[very soft mallet] CROTALE 7 P [turn the e-bows 5–6–7–8 ON.] E-BOW Machine 8 5 ˙ ˙ ˙˙ œœ œœ ŒO + #œ # ˙˙ ˙ ˙˙ ˙ O B ‰ j O T O OO π π π = & III IV [Find a bow position and speed of the bow that allows very clear, warm sound] p = ? = ˙ ˙ œ j œ ≈ ˙ ˙ œœ OOœœ ‰ r R œ @ œ @ œœœ‰Œ œœœ ‰Œ O O O O O Œ ∏ [Find a bow position and speed of the bow that allows a very clear, warm sound] p q III [Find bow position and speed of the bow that allows very clear, warm sound] p 34547 42
& & & & & & & & ã t & & & ã & & & & & & † & ã ã & & & ã ã ã B B & B ? ? ? t t t ? Flutes Clarinets Bassoons Horns Trumpets Trombones 11 22 33 44 55 66 77 88 1 22 33 44 55 66 1 2 3 4 1 2 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 370 j œ‰Œ J œ R ≈ ‰Œ œ Œ O ˙ ˙ @ ˙ b ˙ @ ˙ () & & & ‰ r = O O O O O ∏ a p p p p) p [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] AST = & [Practice Mute] [Practice Mute] [Metal Mute] [Metal Mute] [Metal Mute] = & = & = & = & = = = [Mute] [E-BOW Machine] [wah-wah mute] [Metal Sheet] [Metal Sheet] [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] O ˙ ˙ @ ˙˙ @ ≈ j @ @ ã ? ? Œ œ + Œ‰ R œ Œ œ j Œ‰ R œ + ‰ j œO d œO Œ œ d d ˙ Œ O O O O O O ? ∏ = & p pp[very soft mallets] P on TIMBALE :: [with bows, one on each side] CHINESE CYMBAL (reversed) AST π AST [Find bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] [Find bow position and speed of the bow that allows very clear, warm sound] = & = = & h = U [whole-tone artifcial harmonic. Sonic result should be a fltered white noise (like high pass)] [whole-tone artifcial harmonic. Sonic result should be a fltered white noise (like high pass)] [whole-tone artifcial harmonic. Sonic result should be fltered white noise (like a high pass)] = Œ‰ j œ œ b b J œ b O ˙ j œ @ J œ @ ˙˙ @ @ J ≈ Œ Œ‰ œœ œ # # d d Œ‰ œ œ b b 3 Œ‰ ˙ ˙ Œ J œ 3 ˙ ˙ Œ œ œ 3 O˙ ˙ ˙ O˙ O O O O O ˙ q )( Ø π l.v. π [Find a bow position and speed of the bow that allows very clear, warm sound] [Find a bow position and speed of the bow that allows very clear, warm sound] h ) P [Sustain ON] [very airy sound, with a rhythmical irregular component (use tremolo on infnite jets pedal)] œ œ œ œ œ œ Œ O + œ # # r ‰ œ @ R œ @ ˙˙ @ @ @ ˙˙ ˙ Œ‰ œ œ b b 3 Œ‰ ˙ ˙ ˙ ˙ ˙ ˙ O˙ ˙ ˙ O˙ r ‰ R O O O O J O ‰Œ O O ˙ π ( q ) π π π π π π π π ( h ) P = & = & = & = & ˙ ˙ # œ œ J œ œ ˙ ˙ ˙ O O œ œ ‰ r R œ @ œ @ ˙˙ @ @ O œ œ ‰Œ ‰Œ ˙˙ ˙ Œ‰ œ œ b 3 Œ‰ ˙ ˙ ˙ ˙ ˙ ˙ O˙ ˙ ˙ O˙ O j O ‰ O J O O O Œ ˙ ∏ q p ( h ) P p l.v. [Flute 1] [Piccolo] π ∏ ˙ ˙ œ œ J œ œ ‰ ˙ ˙ ˙ O ˙ ˙ @ ‰ œ b œ @ j @ ‰Œ ˙˙ ˙ Œ‰ œ œ b 3 Œ‰ ˙ ˙ ˙ ˙ ˙ ˙ O˙ ˙ ˙ O˙ O Œ O ˙ ∏ ( q ) ( h P ˙ ˙ ˙ ˙ ˙ O ˙ ˙ @ ˙˙ @ ˙˙ ˙ Œ‰ œ œ b 3 Œ‰ ˙ J œ ‰Œ ˙ ˙ ˙ O˙ ˙ ˙ O˙ ˙ # ∏ h P j œ œ ‰Œ J œ O ˙ j œ @ J œ @ ˙˙ @ ˙˙ ˙ Œ‰ œ œ b b 3 Œ‰ œ ‰ œ ‰ œ ‰Œ O ˙ ˙ O˙ ‰ P r ‰ œ @ R œ @ ˙˙ @ ˙˙ ˙ Œ‰ œ œ b b 3 Œ‰ O ˙ ˙ œO ≈ Œ P 34547 43
& & & & & & & & ã t & & & ã ? ? & & & & & & & & & & & ã ã ã B B & B ? ? ? t ? t ? Flutes Clarinets BassoonsBassoons HornsHorns TrumpetsTrumpets Trombones 11 22 33 44 55 66 77 8 1 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 379 ˙ # ˙ O ˙˙ @ j ‰Œ j ‰Œ () j O œ œ‰Œ ‰Œ ˙˙ ˙ Œ‰ bœ b Œ‰œ œ ‰ j Œ [wah-wah mute] [Metal Sheet] a [E-BOW Machine] P p l.v. π pp[very soft mallets] π p[very soft mallet] CROTALE [Piccolo] [only Clarinet 1] π π p [Practice Mute] [Practice Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Metal Mute] [Metal Mute] [Metal Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] Mute of [Metal Sheet] ˙ ˙ ˙˙ ˙ Œ‰ bœ b Œ‰œ h P ˙ ˙˙ ˙ Œ‰ bœ b 3 Œ‰œ h ) P œ ‰Œ ˙˙ ˙ Œ‰ bœ b 3 Œ‰œ ( h ) P ˙˙ ˙ Œ‰ bœ 3 Œ‰œ ( h ) P ˙˙ ˙ Œ‰ bœ 3 Œ‰œ ( h P ˙˙ ˙ Œ‰ bœ 3 Œ‰œ h P ˙˙ ˙ Œ‰ bœ b 3 Œ‰œ P ˙˙ ˙ Œ‰ bœ b 3 Œ‰œ P 34547 44
& & & & & & & & ã t & & & ã ? ? & & & & & & & & & & & ã ã ã B B & B ? ? ? t ? t ? 4 5 4 5 4 5 FlutesFlutes ClarinetsClarinets BassoonsBassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 388 () j O O ‰Œ ‰Œ ˙ ˙˙ Œ‰ œœ b b 3 Œ‰œ a [E-BOW Machine] P p l.v. p [Practice Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Metal Mute] [Metal Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Metal Mute] [Practice Mute] ˙ ˙˙ Œ‰ œœ b b 3 Œ‰œ h P ˙ ˙˙ Œ‰ œœ b 3 Œ‰œ P ã ã ã ã ã ˙ ˙˙ Œ‰ œœ b b 3 Œ‰œ h ) P NB: there is no need to stop the cassette, as the sound will be already of. Wait until the end of the piece, and then press stop. [the thread must be tight and it has to move in circle (see video).] [the thread must be tight and it has to move in circle (see video).] [the thread must be tight and it has to move in circle (see video).] ˙ ˙ ˙ ˙ ˙ ˙ ˙ R ‰ r j œœ fi ‰ R ‰ R œ ‰ R œ ‰ R œ ‰ R ‰ R œ ‰ R œ ‰ R œ ‰ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ [damp the strings and close the volume] V q = 60 OFF [turn all the e-bows OFF] L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST II III p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST III IV p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). II III p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. AST p AST III IV p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST II p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST II III p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST III p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. AST p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST III IV p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST II III p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST II p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. AST p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). AST p L.H: damp the strings. R.H: slow bow, clt (col legno tratto). Put enough pressure to allow you to have cracling, granulated sound (watch video). Bow very close to the tin–foil. OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] OFF a [press STOP to turn the cassette player OFF] (sound 1) [Tutti] M P (sound 1) [Tutti] M P WALDTEUFEL (sound 1) [Tutti] M P CYMBAL h [scrape the cymbal with wooden beater (the one used for snare drums). Te sonic result should be very distorted sound consisting of high, screeching partials. Change the pressure to have more or less distortion.] P h [scrape the cymbal with wooden beater (the one used for snare drums). Te sonic result should be very distorted sound consisting of high, screeching partials. Change the pressure to have more or less distortion.] P ˙ ˙ ˙ ˙ h ) h h ) h h ) h ˙ ˙ ˙ ˙ 34547 45
ã ã ã & & & ã ã ã t & & & ã ? ? & & & & & & & & & & & ã ã ã B B & B ? ? ? t ? t ? Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 11 22 33 44 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 11 22 33 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. ° 395 ˙ () ˙ () () ã ˙ ˙ ˙ ˙ — † ã ã ã ã () ¬ () () () ¬ () ¬ () () () ¬ () ¬ () ¬ () () () ¬ () t [Practice Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Mute] [Practice Mute] p [Metal Mute] p [Metal Mute] p [Metal Mute] p p p p [Mute] p [Mute] p [Mute] p [Mute] p [Mute] p [Mute] p p M (P M (P M (P P [CYMBAL] = = & = & = & = & M [Freeze the higher multiphonic you can get. Very metallic sound.] volume OFF FREEZE P [CYMBAL] j‡ ‰ ˙ ˙ ˙ ˙ ˙ d d ˙ d d O˙ O˙ = bOO OO OO ˙ ˙ h h h W P [low, airy slap — the attack should be clear, but no sound, just air] [Tutti] V ∏ ∏ ∏ AST AST AST AST Ø Ø Ø Ø ∏ [on the bridge — white noise] ∏ [on the bridge — white noise] ∏ [on the bridge — white noise] ∏ [on the bridge — white noise] M ∏ subito! j‡ ‰ ˙ ˙ ˙ ˙ t ˙ ˙ O˙ O˙ OO OO OO j + ‰ ˙ ˙ ( h ) h ) ( h ) h ) ( h ) h ) P [slap] [L.H. pizz. open string] IV π = = t j‡ ‰ ˙ ˙ ˙ ˙ b¿ ‰ j œœ ‰ ˙ ˙ O˙ O˙ OO OO OO j + ‰ ˙ ˙ ( ( ( P [slap] π (z) l.v. ∏ Ø j‡ ‰ ˙ ˙ ˙ ˙ ˙ ˙ O˙ O˙ OO OO OO j + ‰ ˙ ˙ P [slap] π 34547 46
ã ã ã & & ã ã ã ã t t & † ã ? ? & & & & ã ã ã ã & & & ã ã ã B B & B ? ? ? t t Flutes Clarinets Bassoons HornsHorns TrumpetsTrumpets TrombonesTrombones 1 2 3 4 55 66 77 88 11 22 33 44 55 66 11 22 33 44 11 22 33 44 1 2 3 Vln. I Vln. II Perc. 1 E-guitar Piano Harp Accordion Vla. Perc. 2 Vlc. Db. (°) 400 ˙ () ˙ () () j‡ ‰ ˙ ˙ ˙ ˙ — () ˙ ˙ ˙ ˙ OO OO OO OO () () ¬ () () () ¬ () () () ¬ () ¬ () ¬ () () () () j + ‰ ˙ ˙ p [Metal Mute] p [Metal Mute] p [Metal Mute] p p p p [Mute] p [Mute] p [Mute] p [Mute] p [Mute] p [Mute] p p M (P M (P M (P P [CYMBAL] P [slap] π (ppp) ∏ ∏ [Mute] pppp) pppp) pppp) pppp) [Mute] [Mute] [Mute] [Mute] ppp [Mute] ppp [Mute] ppp [Practice Mute] ppp [Practice Mute] M ppp P [CYMBAL] j‡ ‰ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ OO OO OO OO j + ‰ ˙ ˙ ) ) ) P [slap] π j‡ ‰ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ OO OO OO OO j + ‰ ˙ ˙ ( h h ( h h ( h h P [slap] π j‡ ‰ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ OO OO OO OO j + ‰ ˙ ˙ P [slap] π j‡ ‰ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ OO OO OO OO j + ‰ ˙ ˙ [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] h ) h ) h ) [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] U U U P [slap] π [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo] [no diminuendo Volume OFF right away]] Rome, Berlin October 2018 — April 2019 34547 47
Clara Iannotta
Clara Iannotta (b. 1983 in Rome) is particularly interested in music as an existential, physical experience. She studied at the Milan and Paris Conservatories, IRCAM and Harvard University. Her music has been commissioned and performed by renowned ensembles and orchestras, including Quatuor Diotima, Ensemble Intercontemporain, Klangforum Wien, Neue Vocalsolisten Stuttgart, Münchener Kammerorchester and WDR Symphony Orchestra. She was a fellow of the Berliner Künstlerprogramm (2013) and Villa Medici (2018–19) and the recipient of several awards including the 2018 Ernst von Siemens Composers’ Prize and the 2018 Hindemith Prize. Her portrait albums A Failed Entertainment and Earthing were selected by the German Record Critics’ Awards for their Quarterly Critics’ Choices. In 2014–2021 Iannotta was artistic director of the Bludenzer Tage zeitgemäßer Musik, becoming joint artistic director of Klangspuren Schwaz in 2022.
Clara Iannotta (*1983 in Rom) setzt sich mit Musik als existenzieller, körperlicher Erfahrung auseinander. Sie studierte an den Konservatorien in Mailand und Paris, am IRCAM und an der Harvard University. Ihre Werke wurden von namhaften Ensembles und Orchestern in Auftrag gegeben und gespielt, darunter das Quatuor Diotima, das Ensemble Intercontemporain, Klangforum Wien, die Neuen Vocalsolisten Stuttgart, das Münchener Kammerorchester und das WDR Sinfonieorchester. Sie war Stipendiatin des Berliner Künstlerprogramms (2013) und der Villa Medici (2018/19) und erhielt u.a. den Förderpreis der Ernst von Siemens Musikstiftung 2018 und den Hindemith-Preis 2018. Ihre Porträtalben A Failed Entertainment und Earthing standen auf der Bestenliste der deutschen Schallplattenkritik. 2014–2021 leitete sie die Bludenzer Tage zeitgemäßer Musik, ab 2022 als Teil einer künstlerischen Doppelspitze das Festival Klangspuren Schwaz.
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