- slow dissolve for open score winds
Stephen Ryan Jackson
- slow dissolve Open Score: slow dissolve is a piece designed to be played by any combination of wind instruments in groups of three. Ranges are given and performers should do their best to play in the octave written but if a particular pitch is out of an instruments range then the performer may play the pitch up or down an octave. The score is originally in concert pitch with part I & II in treble clef and part III in bass clef. Parts for instruments in transposing keys or different clefs are available upon request. Extended techniques are designed to be performable by any wind instrument.
Technical Considerations: slow dissolve can be performed as either a solo (where the other parts are pre-recorded by the soloist, preferably on a different instrument or with some type of timbral manipulation i.e mutes, stopped,etc.), a trio (as written), or any larger multiple of 3. (3, 6, 9, 12, etc.)
Due to the flexible way time is treated throughout the piece, the performer(s) do not need to necessarily perform in a typical chamber ensemble formation. Staging can be treated freely as the performers see sit; all on stage, antiphonally, in the dark, etc.
Ranges: The Theperformer(s) performer(s)can canalso alsobe beamplified amplifiesifif they theysee seefit. fit.If amplification is used, add a considerable amount of reverb to the sound to create a more "liquid" texture but not sogiven muchthroughout that the articulations betext. The Optional electronics are the score cannot in boxed discerned. electronics should help the transition from a solid to a more liquid texture.
Part I C4 - A6 Part II B3 - C#6 Part III C2 - A4
Time & Spatial based notation: The time brackets at 1 repesent the passage of time. Showing an approximate duration for each rest. Starting at 2 the duration of each rest is to be determined by the performer with a guideline of time given ex. (between 1 - 4 sec.). At 5 the players should play erractically with very little time spent on rests. Performers should play from the score in order to better keep track of where the other members of the ensemble are at a given time. Verticle notes should not line up rhythmically and instead the piece should give off a floating and almost "aleatoric" effect. This will lead to parts naturally getting ahead and behind each other which is what is intended. Players should not make too much of a concious effort to stay with each other but ideally should not be more than 30 seconds or so apart from each other. Thick black duration lines with a time range are used to show a pitch is held for the duration. If above the duration line is the note "until out of air" the performer should hold the note as long as possible (within reason / do not circular-breath). The pitches with duration lines are always non. vibrato. The transitions between rehearsal marks should be imperceptable.
Extended Techniques:
- fluttertongue:
- color trill / timbral trill: trill using alternate or color fingerings in order to create a slight microtonal warble in the pitch. Trombone players should do a slight warble with the slide.
- air sound + slap tongue / tongue pizz.: use a sudden rush of air combined with the sudden stopping with the tongue. Should sound percussive with little to no pitch.
- wild sporadic key clicks: wildly alternate keys while not playing to create a drone of key clicks. Should be as loud or louder than the pitches around the key clicks. Trombone players should tap their fingers against the bell of the instrument or some other "clicking" type noise.
Articulation: Unless the pitch has a black duration line, all notes are to be articulated with a short and harsh accent but not so short that pitch becomes difficult to discern.
audible breathing: starting at 9 audibly inhale before every drone pitch. Dynamics: The entire piece should be one giant dimminuendo. The loudest note should be the first and the softest note should be the last. Performers should take care not to cresc. just because a section is rhythmically denser than another. Occasional sfzorzandos are marked and these should stick out of the overall texture.
- air tone: blow air through the instrument instead of playing with tone. There should still be a little bit of pitch. Take care that air sound is as loud as other pitches.
Program Notes: The initial impulse for slow dissolve was the image of decaying and dissolving materials. Over time large chunks break down into smaller and smaller pieces until the original object is entirely “everything eventually decays and dissolves” { this piece is meant to recreate that distinct sensation } unrecognizable and ends up becoming part of the solution. The piece creates a soundscape that resembles the sensation of watching a solid object dissolve over time. Large solid materials become specks that eventually become liquid. Everything eventually decays and dissolves.
PERFORMANCE SCORE IN C
to Morton Feldman
Stephen Ryan Jackson (2017)
- slow dissolve written for the inspiring musicians and teachers of Key City Winds
12 "
8"
3"
9"
√ Œ
√ Œ
6"
2"
√ Œ
√ Œ
5"
7"
4"
6"
√ Œ
√ Œ
1 *
√ Œ bœ
nœ
√ Œ œ
I &
bœ œ
fff +
√ Œ nœ
œ
(drifting apart)
3"
8"
bœ
œ
(flam)
12 "
√ Œ œ
9"
(drifting further)
6"
2"
5"
7"
4"
6"
*
√ Œ œ II &
√ Œ
√ Œ bœ
√ Œ nœ
√ Œ
œ fff +
(flam)
√ Œ bœ
√ Œ bœ
√ Œ
œ
œ
(drifting apart)
(drifting further)
√ Œ
√ Œ œ
œ
12 " 8"
3"
9"
6"
6"
2"
5"
7"
4"
*
bœ œ √ Œ
?
bœ œ √ Œ
nœ
√ Œ
œ
√ Œ
œ œ
√ Œ
√ Œ
√ Œ
bœ
bœ
√ Œ
√ Œ
√ Œ
III fff + (flam)
(drifting apart)
(drifting further)
* After the initial cue, do not cue, move or give any indication to where the next note will land. Try your best to stick to the time lengths of rest but attacks will naturally not land precisely together but instead will create a "flam" effect within the ensemble. As section 1 develops, create more space within the flam, drifting further and further apart until 2
2 **
œ Œ I & bœ
bœ
Œ
Œ
bœ
Œ
Œ
œ Œ
œ
Œ
Œ
#œ Œ
Œ œ
Œ
œ œ
bœ
Œ bœ
Œ
bœ ff
**
œ Œ II & œ
Œ
bœ
Œ
œ
Œ
œ
Œ
Œ
œ Œ
bœ
œ
Œ
#œ Œ
Œ
œ
Œ bœ
ff
** œ
œ bœ
œ bœ œ
bœ
bœ
bœ œ
#œ
œ ? Œ
Œ
Œ
Œ
Œ
Œ
Œ
III ff
** The duration of each rest is to be determined by the performer between (1 - 4 sec.) each ad lib. Verticle notes should NOT line up rhythmically. "Like a slow dripping faucet"
Copyright © 2017 Stephen R. Jackson www.stephenryanjackson.com
Œ
Œ
Œ
Œ
Œ
- slow dissolve -
3 œ œ œ Œ I &
Œ
Œ
œ
Œ
Œ
bœ
œ Œ
œ
Œ
œ Œ
bœ
Œ
Œ
Œ œ
Œ œ
œ f rests as before (0.5 - 2 sec.) each flutter
nœ Œ
Œ
Œ
II & bœ
Œ
œ
œ
Œ
œ Œ
bœ ææ
œ œ Œ
bœ
Œ
Œ
Œ
Œ
Œ
bœ œ
œ
f rests as before (0.5 - 2 sec.) each
œ œ bœ
nœ œ œ
œ œ
? œ Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
#flutter œ ææ Œ
#œ
œ ææ
Œ œ
#œ Œ
Œ
œ
III f
rests as before (0.5 - 2 sec.) each
flutter
ææ b œ & I
bœ œ Œ
Œ
Œ
Œ
bœ
Œ
œ
Œ
Œ
œ ææ
#œ Œ
Œ
bœ
Œ
œ œ Œ II & #œ
Œ œ
œ
bœ
Œ œ
œ ææ
œ œ Œ
Œ
Œ
Œ
#œ Œ
bœ
bœ œ
œ ææ œ
Œ
Πsfz
œ
œ
œ bœ ? Œ
Œ
Œ
Œ
Œ œ
Œ
Œ
Œ
Œ
Œ
III
œ
œ Œ
œ Œ
Œ
I & sfz
œ ææ
Œ bœ
Œ nœ
Œ
Œ œ
Œ
sfz
bœ
Œ
bœ Œ
bœ
Œ bœ
Œ
œ œ Œ
Œ
sfz
bœ ææ & œ II
bœ æ
œ
œ ææ
Œ
Œ
Œ
Œ
œ
œ
Œ
bœ æ
Œ
#œ Œ bœ
Œ
Œ
sfz sfz
œ bœ ? œ
œ Œ
III
Œ
Œ
œ ææ
bœ Œ
Œ
Œ
bœ ææ
#œ Œ
Œ
Œ #œ
sfz
sfz
2
nœ ææ
Œ
œ
Œ
- slow dissolve color trill
4 #œ Œ bœ Œ I &
œ nœ ææ Œ Œ bœ Œ
<Ÿ> œ Œ
Œ
<Ÿ> bœ “œ” œ #œ b b œ ææ æ Œ Œ Œ Œ Œ
œ ææ Œ
bœ Œ
bœ mf
sfz
sfz
sfz color trill
rests as before (0.25 - 1 sec.) each
œ œ Œ II &
<Ÿ> Œ bœ Œ
bœ Œ ææ Œ bœ Œ
Œ bœ Œ œ
#œ œ œ Œ bœ Œ bœ Œ
œ Œ ææ
Œ
œ
Œ
sfz
mf sfz
sfz
rests as before (0.25 - 1 sec.) each
œj
color trill
? bœ Œ
bœ nœ æ œ Œ æ Œ Œ
œ Œ <Ÿ> Œ œ
œ ææ Œ
III
œ Œ
<Ÿ> œ Œ #œ Œ
œ Œ ææ
œ Œ
œ Œ
œ Œ
œ ææ Œ
œ
mf sfz
sfz
rests as before (0.25 - 1 sec.) each
“” œ
œ œ Œ
Œ
I &
bœ ææ Œ
“œ”
œ <œŸ> Œ
Œ
bœ Œ
œ
Œ
œ æ Œ
Œ
œ œj
Œ
Œ
sfz
œ j
bœ II & ææ Œ
Œ
œ <> ? œ Œ Ÿ Œ III bœ
<Ÿœ>
bœ œ Œ æ æ œæ Œ
Œ
œ
œ Œ
Œ
Œ œj œ Œ bœ Œ
œ Œ
œ Œ ææ
sfz
œ Œ
<Ÿ> œ Œ bœ Œ
sfz
œ œ
nœ Œ
sfz
œ j œ
æ Œ œæ
Œ bœ Œ
bœj
bœ Œ
Œ
œ Œ
Œ œ nœ
œ <Ÿ> œ Œ
Œ
j œ
Œ
bœ Œ
Œ
œ
sfz
sfz
Begin to very slowly filter in Delays until 6 <Ÿ> 5 ” œ œ air sound + slap tongue œ œ <Ÿ> œ #œ “œ” b“œ Œ #œ Œ Œ æ ‰ ‰ #! ‰ ‰ ‰ ‰ I & jœ Œ œ #œ sfz
œ j œ
“” œ bœ ‰ æ ‰ bœ ‰ œj ‰ sfz
mp erratic, with very little time spent on rests. "like a soft but intense hail"
œ bœ II & ææ Œ #œ Œ
æ Œ œæ
Œ #œ
<Ÿ> ‰ bœ
bœ œ ææ
‰
#œ ‰
‰
‰
j #œ
sfz
air sound + slap tongue < > Ÿ b œ œ ‰ bœj œ ‰ ‰ ‰ n ææ !
bœ ‰
sfz
mp erratic, with very little time spent on rests. "like a soft but intense hail"
<> ? Ÿ Œ bœ Œ III ææ œ
bœ air sound + slap tongue
æ ‰ #œæ
j œ
Œ #œ Œ
‰
j œ
‰
‰ b!
œ
<Ÿ> œ ‰ bœ ‰
œj
‰ b!
œ ‰ bœæ ‰ j æ œ
œ sfz
sfz
sfz
mp erratic, with very little time spent on rests. "like a soft but intense hail"
3
œ ‰
- slow dissolve -
“” œ ææ ‰ ‰ b I & !
“” œ
<Ÿœ> ‰
b œj
bœ æ ‰ œæ ‰
œ ‰
bœ ‰
‰
‰
bœ
œ
‰
œ œ ‰ ææ ‰
œ ‰ œj œ ‰ ‰
œ ‰ ! ‰ ææ
œ
‰
‰
!
sfz
<Ÿœ>
“œ”
bœ
‰
sfz
sfz
b œj
bœ
nœ ‰
‰
II &
<Ÿ> ‰ b! ‰ œ
sfz
<> ? Ÿ ‰ bœ ‰ III œ
! ‰ bœ ‰
<œŸ>
œ
œ æ ‰ œæ ‰ ‰ bœ ææ <Ÿ> bœ b ‰ œ ‰ œ æ ‰ œ
‰ bœ ‰
œj
œ ‰
sfz sfz
œ œ
‰ ! ‰
sfz
‰ œ ‰ œ ‰ ææ œ
<Ÿœ> ‰
j œ
‰ œ
‰ œ
sfz sfz
b“œ” œ ‰ I &
“œ” #œ <Ÿ> ‰ bœ ‰ ‰ ææ ‰
bœ ‰ ! ‰
#œ <Ÿ> ‰ b ! ‰ nœææ ‰ œ ‰ ‰
œ œ <Ÿ> œ ‰
j œ
‰ #œæ ‰ æ
j œ sfz
sfz
sfz
<Ÿ> œ ‰ b œ ‰ b ‰ œæ ‰ œ ‰ ææ ! II &
<Ÿ> ‰ #œ ‰
j œ
j #œ
‰
œ #œ
bœ ‰ b ‰ œ ‰ æ ‰ bœ ‰ œ !
œ j œ
œ ‰
‰
sfz
<Ÿ> ? bœ ‰ nœ ‰ III ææ bœ
œj
bœ #œ ‰ œ ‰ ! ‰ ææ ‰
œ ‰ j
ææ ‰ #œ
œ
‰
<Ÿ> œ ‰
‰ n ! ‰ bœææ ‰ ‰ bœ bœ
œ ‰ j œ
sfz sfz
#œ ææ œ b œ j ‰ ‰ ‰ I & œ <Ÿ> œ ‰ ‰ œ ‰ II & #œ
b“œ”
bœ ‰ ! ‰
<Ÿ> b œ <Ÿ> bœ æ ‰ œ ‰ æ ‰ bœ ‰ sfz
œ ‰
‰ b œj
œ
‰ œæ ‰ æ œ
œ
œ ! ‰ ææ ‰
bœ ‰ bœ
<Ÿ> b ‰ œ ‰ bœ ‰
œ œj
bœ ‰ ææ
‰ bœ ‰ ! ‰ sfz
j bœ
<Ÿ> œ b œ æ ‰ ‰ œæ ‰ ‰ bœ
sfz
#œ œj
? ‰ III
‰ b! ‰
ææ ‰ œ ‰ <Ÿ> ‰ bœ ‰ œ œ
b œj
bœ œ jæ œæ ‰
œ sfz
‰ æ ‰ ! b œæ
‰
bœ œ ‰ ææ ‰ œ ‰
bœ ‰ sfz
4
- slow dissolve -
œ œ
<Ÿ> b“œ” ‰ ‰ ‰ œ
‰ œ ‰ ææ <Ÿ> b œ œ ‰ ‰ œææ ‰ II & ! ‰ I &
“œ”
œ j ‰
œ
<Ÿ> bœ
bœ ‰
bœ ‰ ææ
‰
6
Dense and sporadic Delay. Begin to fade out Delay to 7 Begin slow Reverb fade in until 8
b œj
bœ
j bœ
‰ b! ‰
nœ bœ Œ bœ Œ
Œ
sfz
Œ
sfz
p rests as before (0.25 - 1 sec.) each
b œj
œ
œ bœ ‰ b ! ‰ ææ ‰
‰
j bœ
‰
<Ÿ> bœ ‰ bœ ‰
bœ Œ
Œ
bœ
æ Œ Œ nœæ bœ
bœ
sfz
p rests as before (0.25 - 1 sec.) each
<Ÿ> ? œ ‰ III ! ‰
‰ bœæ ‰
<Ÿ> œ ‰ ææ bœ ‰ bœ ‰
œj
œ ‰
bœ
bœ ‰
b! ‰
‰
bœ Œ
j bœ
Œ
bœ œ
bœ
Œ nœ Œ ææ
sfz
p rests as before (0.25 - 1 sec.) each
œ ææ
I &
<Ÿ> œ
Œ
j bœ
! Œ
Œ
<Ÿœ>
“œ”
bœ Œ
“”œ
œ *
Œ
¿ÍÍÍÍ
ÍÍÍÍÍÍÍÍÍ
bœ ÍÍÍÍÍÍÍÍÍ œæ ÍÍÍÍÍÍÍÍÍ æ
ÍÍÍÍÍÍÍÍÍ
sfz
bœ bœ II &
j bœ
Œ
Œ
b!
æ œæ
Œ
Œ
Œ
<Ÿ> œ
*
œ ÍÍÍÍÍÍÍÍÍ æ ÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ œæ sfz <Ÿ> œ * ¿ÍÍÍÍ œææ ÍÍÍÍÍÍÍÍÍ œj ÍÍÍÍÍÍÍÍÍ ! ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ b œ * replace rests from before with
bœ sfz
<Ÿ>
œ
bœj
bœ ?
j œ
! Œ
Œ
Œ
Œ
bœ
Œ
bœ
III
œ
¿ÍÍÍÍ
œ sfz
j œ
wild and sporadic key clicking (0.5 - 1 sec.) each "like a dense, prickly fog"
<Ÿ> œ
#œ
“œ”
œ œ œ I &
ÍÍÍÍÍÍÍÍÍ
œ ÍÍÍÍÍÍÍÍÍ ææ ÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍÍ ! ÍÍÍÍÍÍÍÍÍ
j œ
bœ ÍÍÍÍÍÍÍÍÍ
sfz
ÍÍÍÍÍÍÍÍÍ
<Ÿ> æ ÍÍÍÍÍÍÍÍÍ œæ ÍÍÍÍÍÍÍÍÍ
sfz
œ <Ÿ> œ œj bœ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍ b œ œ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ j æ œ II & œ œ æ ææ ! sfz <# œŸ> bœ <Ÿ> œ bœ æ ? ÍÍÍÍÍÍÍÍÍ ! ÍÍÍÍÍÍÍÍÍ #œ ÍÍÍÍÍÍÍÍÍ œæ ÍÍÍÍÍÍÍÍÍ œj ÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ bœæ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ III æ œ sfz
5
- slow dissolve -
<Ÿœ>
œ œj
I & b ! ÍÍÍÍÍÍÍÍ
bœ ææ ÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍ
7 œDelay Off b œ bœ #œ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ œææ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ pp sfz key click as before (1 - 2 sec.) each
<Ÿ> ææ b œ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ b œ II &
œ j œ
<Ÿœ>
œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ
j œ
ÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍ #œ ÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍ
bœ ÍÍÍÍÍÍÍ pp
sfz key click as before (1 - 2 sec.) each
bœ ? III
œ ÍÍÍÍÍÍÍÍ j
ÍÍÍÍÍÍÍÍ
bœ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ ææ ÍÍÍÍÍÍÍÍÍ
bœ
œ
œ bœ ÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍ ææ pp
<Ÿ> ÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍ #œ ÍÍÍÍÍÍÍ
sfz key click as before (1 - 2 sec.) each
bœ #<œŸ> bœ ÍÍÍÍÍÍÍÍ æ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ I & bœæ <Ÿ> œ #œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ #œææ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ II & bœ ÍÍÍÍÍÍÍÍ bœ œ œ bœ œ ? ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ bœæ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ III æ
æ œæ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ #œ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ <Ÿ> bœ
œ
œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍ
Œ
<Ÿ> bœ ÍÍÍÍÍÍÍÍ œ
Thick ambient Reverb until end
8 <Ÿœ>
œ
bœ œ ÍÍÍÍÍÍÍÍ œæ ÍÍÍÍÍÍÍÍ æ
I &
ÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍ
Œ
#œ ÍÍÍÍÍÍÍÍ œææ
hold 5 - 10 sec.
Œ
œ
ppp key click and rest as before (1 - 4 sec.) each
<Ÿ> œ Œ ÍÍÍÍÍÍÍÍ II & œ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍ bœ ÍÍÍÍÍÍÍÍ ææ ÍÍÍÍÍÍÍÍ œ #œ œ ppp key click and rest as before (1 - 4 sec.) each bœ œ #œ # œ œ œ ? ææ ÍÍÍÍÍÍÍÍ #œ ÍÍÍÍÍÍÍÍ œ Œ Œ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ æ III æ ppp key click and rest as before (1 - 4 sec.) each
6
bœ ÍÍÍÍÍÍÍÍ œ
Œ
Œ
œ bœ Œ
ÍÍÍÍÍÍÍÍ
Œ
- slow dissolve -
5 - 10 sec.
<Ÿ> nœ
5 - 10 sec.
bœ œ ÍÍÍÍÍÍÍÍ œ æ
I &
œ
Œ
Œ
<Ÿ> bœ ÍÍÍÍÍÍÍÍ œ
5 - 10 sec.
æ II & bœæ
œ ÍÍÍÍÍÍÍÍ bœ
Œ
5 - 10 sec.
bœ
Œ
<Ÿ> œ ÍÍÍÍÍÍÍÍ œ
5 - 10 sec.
Œ
Œ œ
bœ
Œ
#œ Œ
Œ œ
œ Œ
Œ
œ bœ
5 - 10 sec.
bœ ? œ
œ Œ
Œ
œ
<Ÿ> œ
œ
Œ
ÍÍÍÍÍÍÍÍ
bœ Œ
#œ æ
#œ Œ
Œ
œ
Œ
#-
Œ
ÍÍÍÍÍÍÍÍÍ
III
9 I &
ææ* œ
5 - 10 sec.
œ œ ÍÍÍÍÍÍÍÍ
Œ
Œ bœ
<Ÿ> nœ
5 - 10 sec.
5 - 10 sec.
œ Œ
b-
æ bœæ
5 - 10 sec. 8 - 15 sec.
bœ air tone as quiet as possible with an airy quality "like murky liquid"
*
Œ II & bœ
<Ÿ> 5 - 10 sec. bœ bœ
5 - 10 sec.
5 - 10 sec.
8 - 15 sec.
œ Œ
Œ nœ
æ bœæ
œ
œ ææ
Œ
5 - 10 sec.
œ
Œ
#air tone
as quiet as possible with an airy quality "like murky liquid"
<*Ÿ> œ
b<œŸ>
5 - 10 sec. 5 - 10 sec.
œ
5 - 10 sec.
5 - 10 sec.
œ
œ
? Œ
Œ
bœ ææ
bœ #Œ
III air tone as quiet as possible with an airy quality "like murky liquid"
* from 9 until the end of
the piece. Before each pitch the performers shoud take a long, audible, slightly strained inhale.
5 - 10 sec.
7
8 - 15 sec. 5 - 10 sec.
nœ ææ
- slow dissolve -
5 - 10 sec.
5 - 10 sec. 8 - 15 sec.
œ œ ææ
I &
<Ÿ> œ
5 - 10 sec.
8 - 15 sec.
œ
5 - 10 sec.
Œ
bœ -
-
5 - 10 sec. 8 - 15 sec.
Œ
II &
œ
Œ
<Ÿ> œ
8 - 15 sec.
bœ œ
8 - 15 sec.
b<-Ÿ>
8 - 15 sec.
bœ
5 - 10 sec.
bœ
bœ œ
? Œ
Œ
Œ
III
* 5 - 10 sec. 8 - 15 sec.
I & bœ
8 - 15 sec.
bœ
until out of air
b-
œ
-
until out of air
until out of air
nœ
√ ∑ (breathe)
* 5 - 10 sec.
5 - 10 sec.
5 - 10 sec. until out of air
II &
-
œ
œ
Œ œ
until out of air
bœ œ
√ ∑ (breathe)
until out of air 5 - 10 sec. 5 - 10 sec. 8 - 15 sec. until out of air
œ
œ
bœ
b-
nœ
œ *
√ ∑
? ΠIII
(breathe)
* once a performer finishes thier
8
part they are to wait and contiue to breathe audibly until the other performers have completed the piece