Clift how do you express x (fl, vla, harp) by Neue Kammermusik Basel

Paul Clift

how do you express X? for flute, harp & viola

2011 duration ca. 8 minutes

Programme note: The title of this work is a simple definition of the notion which, in the field of semantics, is referred to as onomasiology, the description of a concept by words other than that concept’s name, or the opposite of semasiology. Diachronic linguists would consider this question to be answerable only with information about the time and context contemporaneous to the concept one wishes to express. In writing for this ensemble, so perfectly suited to Debussy’s musical language and seemingly so inappropriate for my own, the question of how to evoke and sustain my musical language demanded considerable reflection. The work is in three sections, each with an emphasis on one particular sustained sound. I would like to thank Natacha Diels, Alec Hall, Aaron Einbond & Nuiko Wadden for their invaluable help in the realization of this piece. This work was premiered on March 4th 2011 at The Tank (New York) by the Janus Trio.

Performance notes: Although it is not essential, the work should be amplified and a slight reverb added, depending on the space. For the premiere, the harp was amplified with a contact microphone at the bottom of the sound-‐board, and the flute & viola with capsule microphones; also, a small amount of reverb was used. The piece requires three violin (or viola) bows for section C, in which the harp is bowed. There is a scordatura for the viola and for the harp:

HARP

• • •

D5: tune down ¼ tone (50 cents) F4: tune up ¼ tone (50 cents) F3: tune down ~31 cents (match the octave harmonic with the 7th partial of G1)

VIOLA

•

tune the C-‐string down one octave (the result will be more of a noisy texture than a precise pitch)

Playing techniques: HARP

(N.B.) This piece requires a scordatura, as indicated before the first bar at the beginning of this score; for this reason, it may be desirable to perform this work last in a concert programme;

with a guitar plectrum

with a bow (N.B. this effect is, of course, only possible on the lowest C string; other extended techniques may be used in conjunction with the bow, such as harmonics, or instructions to play near the sound-‐board, etc.)

pluck with fingernails

mute strings with one hand and pluck with the other

pedal buzz (i.e. with the pedal pressed down half-‐way, in order to produce a sustained buzzing sound, but without raising the pitch)

p.d.l.t

pizzicato ‘Bartok’ (as in the Berio sequenza N° 2) – pluck string close to the table, and, when pulling off, tap the table forcefully

the abrupt muting of particular pitches is indicated with this note-‐ head; if it appears beamed or slurred to another note, then only that string should be muted; all other strings should be left to resonate;

indicates that all resonating strings should be muted abruptly

près de la table -‐ near the sound-‐board; with a bright, ‘twangy‘ sound

hit the sound-‐board; indications such as ‘with the palm’, ‘with the fingernails’ etc. will be given; this technique is presented on a three-line stave, to indicate approximate ‘pitch’. (N.B this may be more effective on some harps than others);

scrape string vertically (as indicated, with a plectrum); the steepness of the wavy line indicates the rapidity of the gesture;

a resonating string should be touched gently in order to ‘convert’ the note into the indicated harmonic (pitch and position in the series), without striking the string again;

rub the sound-‐board with the palm -‐in a circular motion-‐ close to the upper-‐register strings; this technique is presented on a three- line stave, to indicate approximate ‘pitch’. (N.B this may be more effective on some harps than others);

harmonics n°s 2 – 7 are used; the 2nd harmonic (+1 8ve) is indicated in the traditional way, but partials 3 – 7 are indicated as with other string instruments (fundamental with an open diamond note-‐head & sounding pitch with a small note-‐head);

Playing techniques (cont.): FLUTE & PICCOLO

(N.B.) This piece requires a that the flautist play the harp with two separate violin bows in the final section of this work;

Fingering for multiphonics, and occasionally for ¼ tones, are indicated as they occur throughout the score

(specialised notation in bars 1, 7, 17 etc.): using the fingering provided, oscillate freely between the two pitches present in the multiphonic, creating a 'rippling' effect; indications, such as 'slow', 'fast', 'irregular' etc. will be given; (specialised notation in bars 12, 25 etc.): breathing in through the flute with the embouchure completely covered, alternate fingering rapidly and randomly in order to create a 'fluttering' effect, without excessive key click;

VIOLA

play the indicated pitch with exclusively air-‐sound, and completely covering the embouchure play the indicated pitch with a mixture of ordinario and air-‐sound ordinario (used after one of the two preceeding techniques)

occasionally with air-‐sound, a phonetic is given to nuance the timbre breath in through the flute, completely covering the embouchure

(N.B.) This piece requires a scordatura, as indicated before the first bar at the beginning of this score. For this reason, it may be desirable to perform this work last in a concert programme, or to use a second instrument

with exaggerated bow-‐pressure (‘scratchy’ sounding, but still with a clear pitch);

with extremely exaggerated bow-‐pressure (only ‘scratch’ sound, no trace of a clear pitch);

pizzicato ‘Bartok’

s.p m.s.p s.t a.s.t

alternate as quickly as possible between harmonic and ordinario, without rebowing

mute strings with left hand (while continuing to bow, as indicated)

(specialised notation in bars 16, 19, 35 etc.): bow the open detuned C string pressing and releasing, in a repetitive motion but with irregular timing, the string in between the bridge and the tail-‐piece in order to increase the tautness, and therefore the pitch; the desired effect should be more of a texture than one containing specific pitches;

indicates that all resonating strings should be muted abruptly sul ponticello molto sul ponticello sul tasto alto.sul tasto

how do you express X? A1 q = 60

slow, irregular

for flute, harp & viola

* Œ nnKee ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ J J

§ /3 4 | 2 3 4 (C#)

faster

v. slow

maximum stable multiphonic dynamic without excessive breath or whistle

Paul Clift

∑

*flute: the fingering indicated is for a multiphonic (dyad), however the multiphonic texture should not be held; rather, oscillate freely between the two pitches, creating a 'rippling' effect. Indications, such as 'slow', 'fast', 'irregular' etc. will be given.

scordatura

nœ nœ nœ

s.p sul sol

∑

~ ~~~~~~~~ ~ ~ ~ ~ ~ ~ ~ ~ J Œ Ó µ µOœ œ ~~~~~~~

∑

nœ

{

& ?

Bœ Bœ µœ

scordatura

nKœ

7° of G0, -31 cents

∑

V f

∑

~ ‰ ~~~~~~ n¿

scrape** fast

j ¿

nœ œ Bœ ™ & nœ 3

ord.

p ***

6™

o nœ )

A ª 3

s.p Ñ

'scratchy' noise only

j n ¿ ¿™ “‘ o o

6 ) Œ J -

j ¿

Y™

)™

)

p **harp: rapidly scrape the string in an upward motion over the indicated duration; try to create as much resonance as possible; ***harp: rub the sound-board with the palm -in a circular motion- close to the upper-register strings;

¿ 6 J Œ 3 o

) ∑

slow, irregular

& Œ nneeJ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ‰ Ó

2 /3 4 | 2 3 4 (C)

faster

Œ™

v. slow

try to reproduce the same dynamic

! j nœ ˙ o

¿ jŒ œ 3o

˙™

ppp

) ‰ œ™ **

¿ œ ≈ Ó

œ™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ o mp

* with 'jet-whistle' embouchure, so with some pitch; ** breath in through the flute, completely covering the embouchure; at the same time, alternate fingering rapidly and randomly in order to create a 'fluttering' effect;

~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~ J Œ Œ µµOœ œ ~~~~~~~~~~~~~~~~~~ J 3 o mf

simile

<“>

{

¿™ p

)™ Db

? Ó

6 simile

Œ™

≈ j V

~~~ ~j ~~~~ n¿

simile

‰ nœ œnœ ™ b>œ mf mp

v. fast

œBbœ Œ J 3

6 J o

)

A simile ª 3 Œ Œ j ¿ Y “‘ o

6 o

¿ Y™

)

p senza dim.

! & Œ j nœ œ 3 o

simile bars 10-11

o o o o ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ #e e ™ ne e e e ≈ #O nO ™ O O O #O mp pp o

poco vibrato

jŒ Œ œ 3 o

simile

<“>

~~~~~~~ µœ j Œ ‰ µµOœ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ J µ œ Œ Œ J ¿ 3 ë mp o 3

“‘ >

Œ #LneeJ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ § 3 4 | 2 (A) /3 4

Œ™

slow, irregular

J Œ

s.p**

‰

44 e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

simile

∑

**viola: bow the open detuned C string in a 'sul ponticello' position while pressing and releasing, in a repetitive motion but with irregular timing, the string in between the bridge and the tail-piece

{

in order to increase the tightness, and therefore the pitch. Be very careful not to bow the open G-string; NB. The desired effect should be more of a texture than one containing specific pitches, but should nonetheless be reminiscent of the ondulating flute multiphonics;

/ /

¿ ◊ÿ n>œ & R ≈

˙™

)

)™

6 Œ J 3

*harp: scrape the string very slowly in a downwards motion so that each individual 'click' (of which there should only be around 5 or 6) is clearly audible; the final triplet on the third beat should be plucked 'pres de la table' with the plectrum;

ff p.d.l.t ff z

3 ‰ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >j b œ¿ n¿ Y v. slow*

V Ó

∑

nœ

…J ord.

simile -

6 J o

)™ p senza dim.

‰Bbœ

Ó )™

(Db) C# Eb

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ & J

faster

{

simile bar 16

& #œ /

)

∑

“‘

o œ J bœ 3

l.v

Aª Œ

j ‰ Œ &

“” > nœ J Ó

6 ‰ J

3 3

j j ‰ Ó™ b œ ‰ # ¿œ ¿ #¿ ¿ p.d.l.t 3 3 ff ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

‰

…‰

simile bar 15

…

#e e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ # e #O e O J J Œ #O O 3

j ¿ Y “‘ o

Y™

Œ nnee J 3

simile 3

∑ 3

moderate, irregular

2 /3 4 | 2 3 4 (C)

∑

& ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍJ Œ

slow

) j œ

simile bar 12

Œ™

¿ œ ≈ Ó

œ œ™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ o p

simile

∑

2+3 8 >1 > > > > >

B e#e µe ne µe nœ œ ™ fff

*œ

p subito

*choose a fingering here which gives the same pitch to the held B as the lower tone in the multiphonic diad that follows, so that the transition between the two sounds is as smooth as possible;

s.p sul sol

<“>

{

Y™

& Ó ?

(Db) C§ G# Ab

Œ nœ œBbœ ™ J 3

∑

œ nœ nœ Bbœ J 3

bœ J ‰ Œ/6 p o

l.v

Œ ‰ )™

#œb œ p

#œ

bœ Œ J 3

6 )™ Œ J 3o -

) p

n œo œo 3 jŒ Œ Œ J ¿ 3 o o

)™

6 *

¿ 6Œ Œ Ó J 3 o

D§ Cb (G# Ab)

R.H L.H

*harp: continue this gesture until the last possible moment before bar 29;

ff pp 3 subito

z o s.t s.p > r ™ n œ ~~¯~~ ¯ 7 J ~~~~¯~~~¯~ Bnœœ œœ >

nœ œ œ œ 7J 7J

b6e b e Be B e ne µe ‰ ≈be e l.v

(v. irregular tremolo)

fff

j n>œ “‘ fff

pp sub.

ne ne ≈ ≈ ≈ ‰ ≈ 6

6 30

2+3 8

#œ nKnee ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ ‰ J fast

§ /3 4 | 2 3 4 (C#)

slow down tremolo

{

& ?

slow

œ 7 œ nœ ™™ 7J B œ

œ#œ bœ J 3

m.s.p

7 ˙ ˙ ™™

j œœ Œ 3 o

j œ œ

b œ Bœ #œ ‰ 3

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 34 (etc.) œ œ ˙™ œ œ J J Œ nœ 3 3 o p fp

Aª3 simile Œ j >¿ ¿ ‘ “

‰

bœ 3

‰ Œ

ppp Db C§ B§

∑

2+3 8

» #>œ n œ Œ J ‰ 3

∑

˙™

simile bar 16

jŒ ¿ 3

‰

Bœ 3

“‘

(G#) A§

∑

42 œ

poco vibrato:

“” > nœ o Œ BbœJ Œ J ff

v. slow*

… J

p.d.l.t ff

‰ ~~~~~~~~~~~~~ n ¿ ¿ b œ¿ 3

‰ Ó

& j Db+ ˘ … (as noisy as possible)

œ

Œ nœ Œ J p

∑

D§ Cb (G#) Ab

{

& ?

2+3 8

ne œ

e œ

'overblow'

fff

#œ Œ

nœ Œ

f fff

j nœ “‘

fff

(v. irregular tremolo) s.t s.p

>œ ~o~~~o o n œo œo r J J ~~~~~~~~J~o~~~~~o~~~~~o o Bnœœ Œ ~~~~ > 3 ë ff o ff

“”> nœ Bœ

#e ne 3

fff

‰

fast

slow

nKnee ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ J Œ Œ

§ /3 4 | 2 3 4 (C#)

Ñ o

s.p sul sol

1* ** > >e #>e µ>e n>e > > ˙ ™ n e B ≈ µœ nœ œ

j œœ7™™

pp subito

nœ œ nœ 7 Bœ 7

be be ne µe ≈Be ≈be ≈ Be ≈ be 6

l.v

pp sub.

≈ ‰

µe ne µe ≈ ≈ ≈ ≈ 5

7j n œ <n> œ œ œ 7

slow down tremolo

œ 7 œ œ ™™ 7J Bœ

≈

b e Be ≈ ≈

≈ bœ ‰

µe

‰

nœ 3

bœ

7 <n> ˙ ˙

‰ BœJ

‰ Œ

7 <n>œœ

‰ ‰ ‰

µœ 3

bœ

‰

‰ Œ

j nœ

bœ

j œ Bœ Œ ord.

bœ œ J ppp

∑

¿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 3 #e 42 4 4˙ œ µœ ™ # œ ˙ w J J Œ & 3 o f p 6

poco vibrato: overblow

rall. vibrato

(etc.)

Be b e µ e *

> ne ne #e

Ó™

43 ˙

2 § 4 | 2 3 4 (C#)

µ#œe #e

2 § 3 4 | 2 3 /4 (C#)

maximum stable multiphonic dynamic without excessive breath or whistle

*flute: or other quarter-tone fingering with which the A¼# is the same pitch as the highest note in the multiphonic on beat 3;

Œ™

bO jŒbœ ¿ o o 3

j ¿> Y “‘ f

{

Œ™ Db (Cb B§) E§ (G# Ab)

» #>œ n œ J ff

∑

Bœ œ o J Bbœ Œ J 3

)

‰

bœ 3

O˙™™

Oœ O˙ J

O˙

o Œ nœJ Œ 3

∑ )™ mp

)™

Oœ #œ Œ J > o f 3

D§ C# B§ (Eb) F# G§ (Ab)

Bnœœ &

> ™ ™ n>e B # ee œœ ™ œœ ™B e 7 7 simile

fffpp

∑ 6 J

arco s.p

¿ 3

ne Œ

#e ne n e ‰ Œ beBe

fff

j V>

fff

‰

fff

~~~~ ~

A ª

simile

‰

j n¿ ¿ > 3 fast

~~~~

“‘

fff

‰

œ™ & #e ™

2 § /3 4 | 2 /3 4 (C#)

fingering simile

#œe #eJ

œ #e

#˙E #E

allow multiphonic

œe Œ eJ 3

ne Be b e µ e

fff

43 e

˜œ

œ J

œ #œ J 3

to 'break'

> nœœ B>e œ ™ œ Bnee œœ ™™ Bnœœ B & 7J # e œ ™ œ 7 7 7 7

> ™ B # ee œœ ™ 7

{

5 nœ j ≈ nœ bœ œBœ nœ ‰ nœ Bœ nœ

º z

#B˙˙ 7

#Bœœ Œ J

Bœnœ nœ ® ‰ nœbœ œ

nœ ff

nœB œ

bœ

≈

#L œ

bœ

‰ ≈ ≈ 5

bœ #L œ

‰

≈ nœ Bœ nœ 5

≈ ™ ‰ ‰ Œ bœ #L œ 5

nœ

pp (D§) Cb (B§)

#L œ

‰

fffpp

& &

fffpp

(senza rall.)

E§ F§ (G§) (Ab)

nœ œ

nœ

µe ne

be ne

nœœ œœ

be be be Be be ® ® ®

l.v

pp sub.

‰

nœ

≈ ™

nœ

b e Be ‰ ®

≈ ™ ≈ ne

10 52

{

& ?

42<#>œ

58 œ

œ µœ J

J Œ

nœ

Bœ

nœ nœ B nœ

nœ

œ ‰ bœ 3

‰

j µœ

b e6™ Be be

nœ

‰

nœ

‰

µœ

j œ

µœ µœ ™ # œ µœ œ

nœ œ J

‰

nœœ J

µe ne

f sub.

≈ ‰

be ™

l.v

˙˙

nœ

nœ œ

p sub.

nœ

≈ ™

® ne

be ≈ ™

‰

≈ ™ ≈ Œ ne

b e6™

µœ

œ™

j #œ

p (softer than viola)

b œ Bœ ‰ J Œ

be ‰

∑

nœ œ J

j #œ

jŒ œ 3

œ Jnœœ œœ 3

∑

‰

j nœ

‰ Ó

∑

B1 q = 96

Œ™

∑

#nee ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ JŒ Œ J

slow, irregular § 3 4 | 2 (A) /3 4

simile bar 2

m.s.p

B ˙˙ ™

{

& ?

‰™

scrape

n¿ “‘

~~~ ~~~~~ fast

~~~

j Œ™

Œ™

)™ j ‰/ ¿ o f

Bœ œ bœ œ o o Œ bœJ & J J Bœ œ p

)

∑ )

nœ» f

6 RÔ

‰ ™™ Œ Œ

fff

Bœ œ ‰ bœ Bœbœ nœnœ 3 p

B œ ord. > Œ J Œ nœ œJ œ pizz.

Œ Bœ #œ Bœ

#œ

ord.

simile

s.p

… œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ e œ™ ˙™ w ˙ ˙ œ ‰ ™™ Œ nœ > > f f ë ff p p

(D§) C# B§ Eb Fb (G§) (Ab)

Bœ

nœ O

∑

Ó™

#>œ œ R

Œ&

pp fp

Bœ J Œ Bœ Œ Ó J

‰ bœ 3

arco

o Ó nœ

44 Bœ œ

j bœ œ & nœ ‰ ææJ ææ

B nœ

{

& &

Bœ J nœ J

fltz.

j #œ

Œ™ (D§) C§ (Bb) (Eb) F# (G§) A§

Œ™

nœ

bœ #œ J

bB#œœœ l.vŒ J

J nœ Bbæœ æ 3

l.v

j Œ nœ

œ ææJ Œ ˜œ 3

>˙ ™

» bœ

œ Œ J 3 o

fltz.

» » Œ ˜œj Œ nœj ‰ 3

∑

jet whistle

j~~ #e

j3 Œ œ o

ord. nœ>œ ™

s.p

µœ bœ #œ nœ nœ#œ 3

‰

»j » nœ ‰Bbœ 3

∑

pizz. I II

> nœ µœ#œ ˜œ n œ nœ

¿ ¿

‰

arco s.p

nœ. . . . >

bœ

b>˙

#O ‰ #œ

s.p

» bœ

Db C§ (Bb) (Eb) F§ G# (A§) mp

j nœ Ó mf

ord. Oœ Oœ j J Œ & ‰ n>œ 3

3 » ‰ #œ ‰ nœ

» Œ bœj ‰ µœ ™ Œ

nœ ‰ bœnœBbœ Œ

‰

¿ jŒ œ

f p

44 j~ ~~~ ~~ ~~~~~~ ~~~~

Knœo Œ J f

bœ ‰ nœbœ µœ 3

bœ µœ J µœ

‰ Bœ nœ

j3 #>œ nœBœ nœ Bœ œ Œ o mf 3

‰

nœ œ

œ J nœ 3

j œ

µœ J

#˙

nœ. . . J > mf

{

» & bœ &

#>œ nœBb œ J nœ 3

f E§

∑

‰

nœ 3

Bb œ b œ J ‰ ‰ 3

pp Cb

∑

bœ p

nœ ‰ µœ

nœBb œ 3

nœ 3

‰

b œ Bb œ

µœo ‰ J

‰

. . ‰

‰

mp 3

nœbœ

µœ

œ #œ J

jÓ nœ mf

#>œ œ ≈

~ ‰ nœ æœ æ æJ e p

Oœ 3 j J ‰ n>œ œ o p

44 j ~~~~ ~~~~~~ ~~~~

‰ j~~~ #e

bœ D# Eb

> nnO˙

“” #œ

jet whistle

nœ n œ b œ f

j µœ œ

nœ

#>œ B œ Œ nœ#œ D§ C# mf E§ F§

bœ f

Bœ Œ J 3

f B§

œ J Œ &

nœ B #œj

nœ

{

? Œ

& Œ

nœ œ 3 µœ J J µœ

Bœ Œ J

n œo

nœ

2+3 8

œ J

‰ nœ bœ µœ

¿ > III nnœœ µœ #œ ˜œ nœ ‰

pizz. II 3

j #œ œ

j3 Œ œ o

µœ

o Œ KnœJ Œ 3

f p

Ó Eb F#

arco s.p

bœ

44 œ J

µœ

j µœ p

nœ. . . . . Œ ™ >

l.v

nœ

l.v

Œ Œ™

nœ

˜>œ ˙ R

‰™

ord.

f p

bB#œœœ

2+3 8

»j bœ f

j œ ‰

» ‰ ˜œj

»j » Œ nœj ‰ nœ 3

#Lœo Ó J mp

2+3 8 #œ 3

j µœ Bœ œ J

44 œ

bœ #œnœ µœ µœnœ

J Œ 3

{

& ?

s.p

œ Œ J 3 o

¿ > nnœœ µœ #œ ˜œ n œ

pizz. I II

Œ™

» ‰Bbœ

‰ bœ

o bœ ‰ Œ ™ J

‰ bœ

o oj j be e œ œ O O ææ œ

b>˙

‰

s.p

#O ‰ #œ

nœ. . . . . Œ >

nœ ‰ bœnœBbœ f

µœ œ nææœ ææœ µœ œ #æœ J J J æ 3 3 3

œ æ

jet whistle

œ æJ Œ

‰ j #e

s.p arco s.p

nœ

mf (Db C§) B§ (Eb) F§ G# (A§)

∑

Œ bœj Œ 3

nKœo Œ ‰ J p

#œo Œ J mp

s.p

E# F# G§

nœ f

»j j‰ ˜œ nœ nœ ‰ 3

o ‰ #Lœ 3

˙˙

œœ JŒ 3 o

»j 3 » » j ‰ Œ Œ n œ # œ µœ #œ Œ

nœ>œ J

‰ nœ. . . . . ‰ Œ ™ >

Oœ Oœ J Œ Œ

nœ

fltz.

o ‰ nœJ

bœ Bb»œ ‰ #œ #œJ nœJ J 3

o o ‰ j Œ ˜œj Œ bœ 3

~~~~

fff

44 j ~ ~~~~ ~~~~~ ~

~~ Œ ™

bœ

b>˙

m.s.p sul sol

~~~~~~~~~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ J B µµOœœ ~~~~~~~~~~~~~ Œ 3 o

s.p

#O ‰ #œ

Oœ

œ™

Oœ™™

j œ Œ 3 o

∑

Oœ J Œ

bœ

‰ nœ

∑

{

‰

bœ

Œ™ f

nœBbœ 3

nœ

D§ B§ F§ Gb Ab

Œ µœj 3

‰ bœ ™ nKœo p

‰ bœ

‰

» nœ

∑

Ó™

E# F#

j #œ

bœo

j ˜œ ‰

∑

Œ Œ™

‰ Bbœ 3

‰

b œo E§ F§ G# J ‰ p

B6 & Œ™

j µœ

j œ µœ

µœ µœ ™ # œ µœ œ

j #œ

p (softer than viola)

nœ

B Œ

{

nœœ J

b e ™ 3#e Be 5#e be & ‰ ≈ µe ne ≈be ≈ 3

? ‰ ne ‰ ™

D§

p sub.

‰

‰ ‰ 5

˙˙

nœ

nœ nœ nœ 3

#e6™ Be e ‰ ‰ be œ

‰ ™ ≈ ≈ 6

nœ

µœ

œ™

nœ œ nœ œ J 3

∑

j #œ

jŒ œ 3

œ J nœœ œœ 3

∑

3+2 8

Œ™

œœ

‰

∑

nœ

be ™ e Be b e b e be n e ® ≈ µe 5

≈ Œ

nœ

‰

j µœ

‰ ne ≈ ‰ 3

≈ ™

‰ ‰ 5

18 93

µœ

j œ

B nœ

nœ

µœ µœ œ µœ ™

#œ

nœ œ

nœ J

j Œ œ 3

#˙

œ J nœœ

œœ

∑

s.p

AÑ ª

œœ Œ J

§ 3 4 | 2 (A) /3 4

simile

Y™ “‘

#nee ÍÍÍÍÍÍ

slow, irregular

Y™

nœ ≈ R Œ

bœ Œ ™

∑

‰

(D§) C§ Bb Eb Fb (G§) (Ab)

nœ

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~j n¿ ¿™ ¿ scrape v. slow

Œ™

fast

j ¿

‰

∑

~~~~

‰

b œ6 ™

~~~~

{

Bœ

)

)™

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ J 3

simile bar 2

{

& /

<“>

‰ Bœ ) mf

bœ œ bœ J J 3

o Œ Bœj Œ 3

)

Ó (D§) C# Bb (Eb) (Fb) (G§) (Ab)

‰™

K œr

… ‰ ™™

Bœ Œ J Œ pizz.

nœ >

‰ ™™

bœ fff

Bœ

simile

s.p

"f "

6 RÔ

nœ» ¿

#>œ R

42 B œ

rall.

#œ 3

Bœ

#œ

D§ C§ B§ E# F# G# A§

‰ bœ 3

Bœ J f

o Œ BœJ nœ 3

‰

nœ

B8 q = 72

102

poco vibr:

œ nœ J

3 Æ p mp fi

{

& ?

˙™

(etc.)

&‰

µœ

flautando s.t

‰ µµœO 3 o

‰ #œ

œ™

3+4 8

» œ nœ J

#œ

∑

˙™

j3 Oœ Œ Œ ™ o

nœ ∑

2 4 ‹

∑

Bœ

Œ™ ∑

slow, irregular

Œ nnœœJ

ÍÍÍÍÍÍÍÍÍÍÍ

1 3 4 | 2 (A) 3 (B)

n˙

Œ™

∑

ppp

œ J Œ

™ ˙O ™

œ J Œ

to piccolo

imitate dynamic envelope of unison Eb played by harp

viola (sounding)

2+3 8 œ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

nbJœO o

s.p

n œ» mp

œO

j œO

˙O ™™™™

˙O ™™

∑ ∑

∑

j œO Œ 3 o

‰ #œ

nœ

œ B œJ

∑

n œ» Œ J 3

∑

3 ‹4

109

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

J Œ

∑

forcefully

* ≥˘ j n ¿ ¿™ “‘

∑

simile bar 2

2+3 8

{

moderate, irregular

Œ #nœœ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ J

Ó™

1 3 4 | 2 (A) 3

r ¿

≈

sfffz p

≥˘ j n ¿ ¿™ sfffz

*viola: play the detuned C-string very forcefully so that the string vibrates against the fingerboard, creating a sound which is imitative of the harp 'pedal-buzz'; it may be necessary to muffle the G-string or even to stretch it slightly away from the C-string to avoid touching it with the bow

∑

& ?

(Db+)

˘ ‰ j bœ

forcefully

sffz

“”

Œ™ r

… ™ ‰

(D§)

nœ Œ J p

‰

» #œ 3

∑

˘ Œ j bœ simile

∑

sffz

Œ r

… ™ ‰

#œ œ J p

Ó™

œ µœ œ J 3

n œ»

Bœ Œ J Œ 3

∑

ppp

‹ ÍÍÍÍÍ & J Œ Œ

) ‰ œ™

simile bar 12

115

<“>

{

≥ ˘˘ ≤ ≈ j n¿ ™ ¿ ¿™

& Ó™ ? Œ™

sfffz

˘ j bœ œ sffz

… ™ ‰

nœ f

≥ j ¿ Y

2+3 8

¿ j Œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ o p

2 4 ‹

∑

moderate, irregular

Œ##eeJ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

2 3 4 | 2 (A) 3 4

¿™

Y™

≥˘ ≈ j ¿ ¿ Y

sfffz p

∑

‰

˘… j ‰™ bœ g sffz

∑ Ó

‹ ÍÍÍÍ & J Œ

122

Ó™

flute: take two violin bows and move to harp;

∑

––

Ó™

harp

o nœ Œ J 3

*flute: standing on the right-hand side of the harp, insert two violin bows between the strings and bow the indicated pitches; change bowing freely, and vary pressure, allowing small variations in volume to occur, while trying to maintain a consistent overall dynamic; avoid letting any one pitch remain stable -with the exception of the fundamental- for more than two or three beats; move gradually back and forth between the middle of the string and around two inches from the top; also, try to sustain the fundamental as much as possible;

<“>

{

molto vibrato sul la Ö s.p

j Œ ¿ 3

∑

1™

ÍÍÍÍÍÍÍÍÍÍ 1

≈

≥˘ j n ¿ ¿™ “‘

j Œ ¿ 3

sfffz

∑ Ó

¿ …

molto vibrato Ö simile

‰

˘ j bœ sffz

∑ … ™ ‰

∑ Ó

∑

ÍÍÍÍÍÍÍÍÍÍÍÍÍ 1 J

∑ Ó™

‰

˘ … ≥˘ ≈ j n ¿ ¿™ “‘

˘ j bœ sffz

sfffz

∑ … ™ ‰

? nKw w o

w w

128

w w p

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ¿ !™ 1 1 … J ≈

molto vibrato Ö simile

j Œ ¿ 3

Y™ <“>

{

œœ œ J

≥˘ j n ¿ ¿™ “‘

œj œœ

j œœ œœ J

w w

U w w

¿™

≈ nnw~ o o

U w~

(etc. freely)

flautando s.t

Y™

sfffz

BREVE PAUSA

∑

∑ Ó™

‰

˘ j bœ sffz

∑ … ™ ‰

Ó™

∑

U ∑

∑

U ∑

28 œ

2 ë4

*(vary bow pressure)

134

œœ Knnœœ ™™ J f

œO

{

& ?

–

*(vary bow pressure) Ñ z

j œ> b œ ™

fff

˙˙ ™™

LUNGA PAUSA

U ∑

U w

œœ R ‰™ o

harmonic gliss.

∑

◊ÿ

∑

¿ w

gliss. ordinario

œO

LUNGA PAUSA

∑

bœ o

U w~

˙O

∑

*(vary bow pressure)

44 U w

LUNGA PAUSA

sfz

‰

… ‰™

U Ó™

‰™

U Ó™

◊ÿ » b>œ

∑ ‰™

U ∑

l.v

U ∑