Bradley G. Robin

CREATING MUSICAL MOMENTUM: TEXTURAL AND TIMBRAL SCULPTING WITH

INTUITIVE COMPOSITIONAL SYSTEMS AND FORMAL DESIGN

Bradley G. Robin

Dissertation Prepared for the Degree of

DOCTOR OF PHILOSOPHY

UNIVERSITY OF NORTH TEXAS

August 2016

APPROVED Dr. Joseph Klein, Major Professor, Chair of the Department of Music

Composition Dr. Andrew May, Committee Member Richard DeRosa, Committee Member Dr. Benjamin Brand, Director of Graduate

Studies, College of Music Dr. Warren Henry, Interim Dean, College

of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School

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Copyright 2016

by

Bradley G. Robin

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Table of Contents ACKNOWLEDGEMENTS……………………………………………………………………..iv LIST OF FIGURES ......................................................................................................... vii!LIST OF TABLES .......................................................................................................... xii!PART I .............................................................................................................................. 1!CRITICAL ANALYSIS ..................................................................................................... 1!

CHAPTER 1 ........................................................................................................................ 2!

TOOLS FOR ANALYSIS .................................................................................................. 2!

Introduction – Historical Overview!.......................................................................................................!2!

Sound!..................................................................................................................................................................!4!

States of Sound!..........................................................................................................................................!10!

Periodicity!......................................................................................................................................................!11!

Time and Perception!................................................................................................................................!19!

Form!.................................................................................................................................................................!23!

CHAPTER 2 ...................................................................................................................... 31!

ANALYSIS OF GERARD GRISEY'S PERIODES AND PARTIELS ........................ 31!

Respiration: Macro-periodicity!............................................................................................................!31!

Semiotics of Sound!...................................................................................................................................!32!

Timbral Morphology!..................................................................................................................................!34!

States of Sound (Transformation of the Attack-effluvial continuum)!..............................!36!

Textural Magnification!.............................................................................................................................!39!

State “Shift”!...................................................................................................................................................!41!

Transformation through Reiteration!.................................................................................................!42!

CHAPTER 3 ...................................................................................................................... 55!

BRIAN FERNEYHOUGH'S LEMMA-ICON-EPIGRAM .............................................. 55!

Categorization of Textures!...................................................................................................................!55!

iv

Beginnings and Development of Categories!...............................................................................!60!

Respiration in Lemma-Icon-Epigram!...............................................................................................!62!

CHAPTER 4 ...................................................................................................................... 79!

ANALYSIS OF PHASE: AGONY TRANSMUTED ...................................................... 79!

Form and Conception!..............................................................................................................................!79!

Number Systems: Aria 1 and Interlude 1!......................................................................................!81!

Textural Transformations: Aria 2!.......................................................................................................!92!

Respiration: Aria 3 and Interlude 3!...................................................................................................!98!

Re-contextualization: Aria 4!...............................................................................................................!101!

APPENDICES .............................................................................................................. 107!Respiration of Materials, Lemma-Icon-Epigram, mm. 24-48. ................................. 108!

Momentum with dynamics and tessitura, Lemma-Icon-Epigram, mm. 42-48. ..... 109!

Categorical respiration (continued), Lemma-Icon-Epigram, mm. 48-59. .............. 110!

Categorized final respiratory cycle, Lemma-Icon-Epigram, mm.160-177. ........... 111!

Phase form with “macro-phenomenological” annotation ......................................... 112!

BIBLIOGRAPHY .......................................................................................................... 113! PART 2: COMPOSITION………………………………………………………………………1

Phase: Agony Transmuted……………………………………………………………..1

Performance Notes………………………………………………………….…..2

Stage Setup……………………………………………………………………...3

Prologue………………………………………………………………………….5

Movement I………………………………………………………………...…….6

Aria 1: Impact…………………………………………………………….6

Interlude 1 Breath……………………………………………………....13

Aria 2: Submersion………………………………………………....…...14

Interlude 2: Recovery………………………………………....……….30

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Movement II………………………………………………………………….....34

Aria 3: Discovery………………………………………………………..34

Interlude 3: Core………………………………………………………..50

Movement III...……………………………………………………………….....52

Aria 4: Integration………………………………………………………52

Interlude 4: Wield……………………………………………………....56

Aria 5: Peace……………………………………………………………58

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ACKNOWLEDGEMENTS

I wish to express my sincere thanks to Joe Klein, Chris Moore, Claudia Howard Queen

for keeping the bar high; Andrew May for a commitment to the creative integrity of the

whole artist; Richard DeRosa for helping me not to forget where I came from; Steve

Harlos for helping me get it back, and then some; David Schwarz for combining the

mind, meaning, emotions, and music; David Stout for an aesthetic vision; Jon Nelson for

a continued warmth of heart and brilliance of mind; Timothy Jackson for a forward way

of thinking; and Shelley Korshak for believing in me before I could believe in myself.

And a special thanks to my beloved wife Nicole for her seemingly endless patience,

love, and support.

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LIST OF FIGURES Figure 1.1 Hindemith's categorization of consonance......................................................6

Figure 1.2 ADSR Envelope...............................................................................................6 Figure 1.3 Varèse “Hyperprism,” mm.7-12.......................................................................8 Figure 1.4 Varèse “Hyperprism,” mm.13-18.....................................................................9

Figure 1.5 The Attack-effluvium continuum....................................................................10 Figure 1.6, Continuous and static periodicity, Grisey, Periodes, p.15............................13

Figure 1.7 Statistical acceleration...................................................................................14

Figure 1.8 Acceleration by elision (discontinuous)..........................................................14

Figure 1.9 Textural acceleration, Tempus ex Machina, p. 1...........................................17

Figure 1.10 Decompression, Tempus ex Machina, p. 14...............................................18

Figure 1.11 Sciarrino, Come Vengono, opening.............................................................22

Figure 1.12 “Monkey wrench” Waver, 119-124...............................................................28

Figure 1.13 End of Limud mm.224-226...........................................................................28

Figure 1.14 “Monkey wrench” Periodes, p. 32.................................................................29

Figure 1.15 End of Partiels.............................................................................................30

Figure 2.1 Respiration in Periodes....................................................................................31

Figure 2.2 Establishment of sonic identity, Periodes, p. 1..............................................33

Figure 2.3 Timbral development, Periodes, p. 7.............................................................34

Figure 2.4 Transformation of flute articulation, Periodes, p. 11......................................35

Figure 2.5 Re-contextualization......................................................................................35

Figure 2.6 Dynamic swells as a composite sonic entity, Periodes, p. 6.........................36

Figure 2.7 States and transformation, Periodes, p. 10...................................................37

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Figure 2.8 States and transformation (continued), Periodes, p. 10-11...........................38

Figure 2.9 Magnification, Periodes, p. 12.......................................................................39 Figure 2.10 Magnification (continued), Periodes, p. 12..................................................40

Figure 2.11 Static periodicity, Periodes, p. 15................................................................41

Figure 2.12 Continued stretching of iterative material, Periodes, p. 41..........................43

Figure 2.13 Transformation from iteration into attacks, Periodes, p. 44.........................44

Figure 2.14 Iteration amidst an effluvial composite, Periodes, p. 45..............................44

Figure 2.15 Periodicity, Periodes, p. 46..........................................................................45

Figure 2.16 Effluvial iteration, Partiels, p. 1....................................................................46

Figure 2.17 Introduction of iteration, Partiels, p. 15........................................................48

Figure 2.18 Measured tremolo, contrabass, Partiels. p. 18...........................................48

Figure 2.19 Un-measured tremolo violin and vibraphone, Partiels, p. 24.......................49

Figure 2.20 Repeated pitch effluviality, Partiels, p. 31....................................................50

Figure 2.21 Compression of glissandi, woodwinds, Partiels, p. 39.................................51

Figure 2.22 Decompression of string glissandi, Partiels, p. 39.......................................51

Figure 2.23 Decompression and elongation into granules, woodwinds, Partiels, p. 40..52

Figure 2.24 Noise granulation, Partiels, p. 60.................................................................53

Figure 3.1 Lemma-Icon-Epigram, m. 24.........................................................................56

Figure 3.2 Block chords, Lemma-Icon-Epigram, mm. 38-39..........................................57

Figure 3.3 Sustained sonority, Lemma-Icon-Epigram, m. 89.........................................58

Figure 3.4 “Spattering” in Lemma-Icon-Epigram, m. 35.................................................59

Figure 3.5 Opening gesture, Lemma-Icon-Epigram, m. 1..............................................60

Figure 3.6 Introduction of categories, Lemma-Icon-Epigram, mm. 2-4..........................61

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Figure 3.7 “Spattering,” Lemma-Icon-Epigram, m. 5......................................................61

Figure 3.8 Disjunct Material, Lemma-Icon-Epigram, mm. 6-8........................................62

Figure 3.9 Proportions of opening textures, Lemma-Icon-Epigram, mm. 1-11...............62

Figure 3.10, Layering of Categories, Lemma-Icon-Epigram, mm. 14-15........................63

Figure 3.11, Layering of Categories, Lemma-Icon-Epigram mm. 16-17.........................64

Figure 3.12 Textural contrast, Lemma-Icon-Epigram, mm. 1-24....................................65

Figure 3.13 Respiration of materials, Lemma-Icon-Epigram, mm. 24-48.......................65

Figure 3.14 Momentum with dynamics and tessitura, mm. 42-48...................................66 Figure 3.15 Categorical respiration (continued), mm. 48-59...........................................67

Figure 3.16 Integrating contrast, Lemma-Icon-Epigram, mm. 60-64..............................67

Figure 3.17 Micro-respiration, Lemma-Icon-Epigram, m. 66-67.....................................68

Figure 3.18 Transitional State, Lemma-Icon-Epigram, m. 68.........................................69

Figure 3.19 Blurred categories Lemma-Icon-Epigram, m. 84.........................................69

Figure 3.20 Transition into Icon, mm. 88-89...................................................................70

Figure 3.21 “Lost,” slow secco spattering, Icon, m. 99...................................................71

Figure 3.22 Beginning of textural transformation, Icon mm. 108-109.............................71

Figure 3.23 Glissandi as the primary category, Lemma-Icon-Epigram, m. 116..............72

Figure 3.24 Oscillation between layered materials and space, mm. 120-122................73

Figure 3.25 Expanding Containers, Icon, mm. 123-125.................................................73

Figure 3-26 “Hyperventilation,” Icon, m. 129..................................................................74

Figure 3.27 Return of the secco texture, m. 135............................................................74

Figure 3.28 Respiration of the Icon section, and beginning of Epigram.........................75

Figure 3.29 Distinction between materials, Epigram mm. 157-162................................76

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Figure 3.30 Blending of categories, Epigram mm. 163...................................................76

Figure 3.31 Final measures, Lemma-Icon-Epigram, mm.170-174..................................77

Figure 3.32 Categorized final respiratory cycle, Lemma-Icon-Epigram, mm. 160-177...77

Figure 4.1 Phase form.....................................................................................................79

Figure 4.2 “Heartbeat Grundgestalt” (in three periods)...................................................83

Figure 4.3, Unit durations and respirational phases, “heartbeat Grundgestalt a”...........84

Figure 4.4 Canonized “heartbeat Grundgestalt a” ..........................................................84

Figure 4.5, Unit durations and respirational phases, “heartbeat Grundgestalt b”............85

Figure 4.6 “Heartbeat Grundgestalt b,” A1.2-A1.3...........................................................85

Figure 4.7 “Heartbeat Grundgestalt,” orchestrated, mm. 65-67......................................86

Figure 4.8 Timbral categorization....................................................................................87

Figure 4.9 Raw “broken clock” material...........................................................................88

Figure 4.10 Octave displacement managed through Fibonacci, Phase, I1.....................89

Figure 4.11 Phrasing in piano, Phase, I1........................................................................90

Figure 4.12 Orchestration of the “broken clock” and “heartbeat Grundgestalt,” A2.1.....91

Figure 4.13 String transformations, violin, A2.3..............................................................93

Figure 4.14 Entrances for strings, A2.3 and A2.4...........................................................94

Figure 4.15 Durations, “string wall,” A2.3........................................................................94

Figure 4.16 Entrances and (gaps), A2.3.........................................................................95

Figure 4.17 Phrasing for string “wall(s),” A2.3 – A2.4.....................................................95

Figure 4.18 Strings, A2.3................................................................................................96

Figure 4.19 Strings (continued), A2.3..............................................................................96

Figure 4.20 Interlude 2, mm.111-113..............................................................................97

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Figure 4.21 Respiration in A3.1.......................................................................................98

Figure 4.22 Inhalation, A3.1.1.........................................................................................98

Figure 4.23 Retention, A3.1............................................................................................99

Figure 4.24 Exhalation A3.1............................................................................................99

Figure 4.25 Suspension, A3.1........................................................................................100

Figure 4.26 Re-contextualization through process.........................................................101

Figure 4.27 Source material from Glimpse.....................................................................101

Figure 4.28 Categorization of Glimpse material, A4.......................................................101

Figure 4.29 Raw “scrubbed” piano material A4............................................................102

Figure 4.30 Arrangement of the cells by number (scrubbed Glimpse, m.30)...............103

Figure 4.31 Glimpse scrub fragments with phenomenological commentary................103

Figure 4.32 First three measures of “scrubbed” Glimpse piano, annotated.................104

Figure 4.33 “Scrubbed” Glimpse material woven through “heartbeat Grundgestalt”....104

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LIST OF TABLES Table 1.1 Classification of intervals and of timbres………………………………………..12 Table 1.2 Integration of Smalley's textural categorization and Grisey’s periodic table...16

Table 3.1 Table of Textural Characteristics, Lemma-Icon-Epigram................................59

Table 4.1 Proportions of formal section lengths, Phase..................................................83

Table 4.2 Application of number systems to timbral categories, A1.4............................88

Table 4.3 Piano materials categorization, I1...................................................................89

Table 4.4 Distribution of phrasing and materials, I1........................................................90

Table 4.5 Groupings of foreground materials, A2.3........................................................92 Table 4.6 String activation and bow pressure talea........................................................93

Table 4.7 Phase form as a function diagram................................................................105

1

PART I

CRITICAL ANALYSIS

2

CHAPTER 1

TOOLS FOR ANALYSIS

Introduction – Historical Overview

When pitch is no longer the primary factor, other musical dimensions can be

used to organize and create clear relationships between musical materials. Through

clear differentiation of timbral and textural roles, systematic transformations of material,

and control of musical density, periodicity, and momentum, composers can move

beyond traditional approaches to create a visceral and engaging experience – which

can be satisfying for both composer and audience.

Throughout the evolution of Western music over the centuries, composers have

developed a variety of organizational frameworks for musical materials. In the

fourteenth century, Machaut employed isorhythms in his motets; later composers such

as Ockeghem explored the use of canon extensively during the Renaissance. The use

of imitation and various contrapuntal techniques has been explored throughout history,

including many methods of motivic development such as retrograde, inversion,

augmentation, etc. During the eighteenth and nineteenth centuries, composers

expanded previously used forms, most notably the sonata-allegro plan, which provided

a way to present and ultimately combine two contrasting ideas through a dialectic

framework. Beethoven brought this a step further by adding an extended coda at the

end of many of his pieces, which would sometimes introduce new material as the result

of synthesizing previously introduced and developed materials. The twentieth century

has seen a revisiting of earlier methodologies, such as the employment of canon and,

particularly in serial music, the use of motivic manipulations such as retrograde and

3

inversion. Examples include Anton Webern's Symphony Opus 21, Structures by Pierre

Boulez, Quatuor pour la fin du temps by Olivier Messiaen and the many pieces for

player piano by Conlon Nancarrow.

The twentieth century has also seen radical developments in exploration of

musical dimensions such as rhythm and timbre, and in the organization of these and

other elements. The radical extension of harmonic practice by such composers as

Schoenberg, Webern and Boulez opened new ways to express ideas and to

differentiate materials.

Timbre became a realm of greater importance, especially at the turn of the

century: klangfarbenmelodie was a concept introduced by Schoenberg and later

developed by such composers as Helmut Lachenmann in works such as Pressions for

cello and Mouvement for chamber orchestra, which emphasized timbre over pitch. With

the aid of computers, new processes and sounds became available, including the

analysis of sound spectra and performance of complexities beyond human capabilities.

Spectralists explored a new continuum as they sought to codify ways of thinking about

pitch in its connection to timbre. A focus on musical sounds and behaviors as processes

led toward forms that are more concerned with process of transformation than with clear

definition of musical materials and identities.

Changing approaches to musical material and form yield new results, posing

additional and different (often unanswered) musical and phenomenological questions.1

Two schools emerging in the second half of the twentieth century – Spectralism and

Complexity – apply different approaches to the processing of compositional material

and the development of formal models. Spectralism deals not with the individual events 1 Cone, “Schubert's Promissory Note: An Exercise in Musical Hermeneutics,” 233-241.

4

as much as with the resulting composite sonic experience. Examples of compositions

derived as an expression of naturally occurring sonic phenomena include Grisey's

Partiels and Modulations. “Complexity” may apply algorithmic processes to generate

and develop materials. Recursive operations continually renew and recycle old

materials, sometimes producing innovative results as in the case of Brian

Ferneyhough's Lemma-Icon- Epigram.2

Within this essay, momentum will be used to describe innate characteristics of

musical energy. As an overarching theme, a number of musical textures will first be

categorized followed by ways of transforming them, and a subsequent exploration of

organizing these concepts on a formal level. An analysis of Periodes, Partiels and

Lemma-Icon-Epigram using these concepts will be followed by an investigation into the

construction and completion of my dissertation piece, Phase.

Sound

Throughout the exploration of new forms of musical expression in the twentieth

century, new ways of both listening to and composing music emerged.

Sound vs. Note

Kramer's claim about Debussy may illuminate the beginning of a new way of

thinking about sound for its own sake. In reference to hearing a Javanese gamelan

orchestra, perhaps at the world's fair,

[Debussy] understood that the strange sounds he was hearing were unfolding in a different time world. He heard sonorities that were allowed to be themselves, that did not exist primarily in functional relationships to other sounds, that were not participants in an upbeat-

2 Toop, “Brian Ferneyhough’s Lemma-Icon-Epigram,” 52.

5

downbeat compositional world.3

In a preponderance of music prior to the twentieth century, musical organization derives

from the atomic particles at the “note” level. Though thirty years later than Debussy, and

perhaps as a development of this way of thinking, Spectralism prioritizes the resulting

sonic composite over its construction at the level of individual notes. Grisey describes

the evolution of a sound as follows:

To take account of the relativity of perception: if the music is the becoming of the sound, rather than the sonoric object proper, the metabolism will have to be controlled – what I call its “degree of transformation” – in other words its voyage in time and its adventure.4

In many cases, the individual pitches matter less than the overarching trajectory

of the gesture. In the case of stochastic composition, which informs many of the choices

and methodologies in the creation of Phase,5 the desired effect results from a statistical

approach to the creation of musical elements and their development, examples of which

will be explored later in Phase.

Consonance vs. Dissonance!

In Spectralism, new ways of thinking about old dialectical models emerged.

Grisey did not think of consonance in the same way as common practice composers,

though he did not entirely abandon the equal-tempered pitch world. Figure 1.1 illustrates

Hindemith's categorization of the consonance ←–→ dissonance continuum within the

realm of equal temperament.

3 Kramer, The Time of Music, 44. 4 Grisey, Periodes, performance notes. 5 The music of Iannis Xenakis provides a good representation of stochastic music. Much of his music is

governed by the application of algorithms and statistics.

6

Figure 1.1, Hindemith's categorization of consonance/dissonance.6

Spectralists view this scheme as a subset of a continuum between harmonicity

and inharmonicity: pure spectral consonance followed by an increasing harmonic

dissonance leads to pure white noise. Within this model, two or more instruments

playing the same note create dissonance merely by their differing timbres. Through

analysis, the spectral profile of a flute most resembles a sine wave, while a clarinet

bears a greater semblance to a square wave. The two instruments do not blend as

purely as do flute and bowed vibraphone, the latter of which also bears semblance to a

sine wave. If struck, the attack differentiates the vibraphone from the flute immediately,

while bowing gives more control over the length of the sustain envelope. Thus, certain

instruments may blend better because they share similar attack and sustain

characteristics.

Attack – Decay – Sustain – Release (“ADSR”) Electronic music has given us terminology for describing the different phases of a

sound’s evolution over time: the ADSR envelope model, consisting of attack, decay,

sustain, and release phases.

Figure 1.2, ADSR Envelope.

6 Hindemith, The Craft of Musical Composition, 87.

7

This can be applied to various elements of a sound, such as timbre, spectral extent,

spectral harmonicity, vibrato, and so forth. Depending on the sound and how the sound

is generated, each phase can have varying lengths, often highly controllable by the

player, as in when a key is released or how a player applies bow pressure and speed,

or varies breath. The attack phase of a sound’s envelope can be slow, as in the case of

gently introducing a sustaining clarinet from niente. It can also be immediate, as in the

case of a piano attack. In the case of piano and percussion, notes generally begin to

decay soon after struck though in fact, usually some elements of their spectra will

“blossom” after the initial attack; the envelopes of real-world sounds are neither singular

nor unified between sonic dimensions. Length of the sustain varies per instrument and

in the case of the piano is not controllable by the player, whereas strings, brass and

woodwind players can modulate and control both the attack, sustain, and decay

depending upon the players intent. Pitched instruments produce a periodic waveform,

making a piano distinguishable from an oboe, for example. Sustain exists as the

continuation of the instrument’s waveform. This process results in what is described in

electroacoustic music as ADSR: attack, sustain, decay, release.

Though initially used with regard to synthesized sounds, ADSR modeling can

also be used as a compositional tool by acoustic composers in the application of

musical gestures, phrases, sound masses, and the “fusion” of the attack by one

instrument to the sustain of another. As an application of ADSR modeling to acoustic

analysis, the following example illustrates how Edgard Varèse fuses drum and cymbal

attacks with a number of brass instruments to control the sustain and decay of a chord.

8

Figure 1.3, Varèse “Hyperprism,” mm.13-18.

Notice how the clarinet and trumpet attacks in the first two measures are coupled

with a cymbal. Also, the horn decay in m.16 is followed by a dramatic crescendo, and

the release is marked by a combination of bass drum, cymbal and tam-tam.

Another example of Varèse’s work illustrates the transformation of timbre as the

gesture evolves.

9

Figure 1.4, Varèse, “Hyperprism,” mm.7-12.

By beginning with the tenor trombone and overlapping the attacks of the bass

trombone, French horn, and lion’s roar, before returning to the bass trombone at the

end, Varèse crafts the envelope of the gesture, simultaneously adding textural support

10

in the percussion. This would be an example of “strange sounds unfolding in a different

time world.”7

States of Sound Composers have searched for new ways to identify and categorize various

characteristics of sound in the service of new aesthetics, including computer music.

Dennis Smalley attack-effluvium continuum illustrates a number of states to which

parallels in the physical world can be made. He defines the extremes as particle vs.

solid; the former he calls an attack “impulse” and the latter the “effluvial” state. Figure

1.2 shows Smalley's continuum between the two extremes, including intermediate

states, where perceivable periodicity and individual notes no longer prevail; the sound

exists as an unstable, “granulated” state.

Figure 1.4, The Attack-effluvium continuum.8

Separated attack-impulses Iteration Grain Effluvial state

An attack impulse can be any single point of sound, or a single waveform.

Examples include short bursts of noise, like the striking of a woodblock, or a hammer on

a nail. A “pure” attack impulse does not have an identifiable “sustain,” but exists merely

as a point in time.9

Iteration could best be described as a repetitive cycle below the threshold at

7 Kramer, The Time of Music, 44. 8 Smalley, Language of Electroacoustic Music, 72. 9 Ibid, 72.

11

which humans perceive an identifiable pitch. On the Bösendorfer Imperial grand, the

lowest note C (16.35Hz) is barely identifiable. At higher frequencies, the “effluvial” state

is no longer perceptible as a series of single events, as is the case of the “iterative”

state. Instead, the sound congeals into a fluidly constant, possibly identifiable pitch—or

in the case of a cymbal crash, a sustaining flow of noise.

However, the iterative state may contain variation within it, such as the change in

the frequency of repetitive attack impulses by either accelerating or decelerating. There

also exists a state between these two states: “granulation,” not recognizably iterative

nor fluidly constant, exists as an erratic cross between the two. Within the “granulated”

state it is possible to move to either extreme: just before the congealing of an effluvial

state, or to the point just before the sound becomes noticeably iterative. Though written

initially in reference to computer music, Smalley's concepts may be universally applied.

Periodicity

Though not restricted to the innate nature of a sound as previously described by

Smalley, another word for iteration is periodicity. Within any pitched sonority there exists

a natural periodicity, expressed through the repeating waveform, which makes it unique.

Periodicity can exist on local, rhythmic, and formal levels. On a local level, it may

be an exploration of evolving texture and timbral phenomena, including “beating.”10 On

a rhythmic level it may be perceived as motor rhythm, metric regularity, or metric and

tempo variance. On a formal level, it may be perceived in the rising and falling of energy

from phrase to phrase, section to section, and movement to movement. Depending on

10 Two simultaneously occurring sine waves with frequencies of 440Hz and 441Hz result in phase

cancellation, experienced as the phenomenon of "beating" at the rate of 1Hz. If the two frequencies are 440Hz and 490 Hz, respectively, the result produces a perceivable "difference tone" of 50 Hz.

12

how it is used, periodicity, or the lack thereof, can create engagement on the part of the

listener.

Periodicity as a Compositional Element

We do not consider periodicity as either basic material nor as the unit of rhythmic structure, but the most simple, most probable phenomenon; it is tempting to see it as an ideal point of reference for the perception of time, as is a sinusoidal sound for the perception of pitches, but not at all the a priori foundation of a hierarchical system. We would as well have the same attitude to consonance.11

From this statement, we can conclude that Grisey's subsequent classifications of

materials in the following table are meant to apply not only to rhythms, but to harmonic

(tonal and non-tonal) and timbral materials as well.

Table 1.1, Classification of intervals and of timbre.12

a) Periodic Maximum predictability

ORDER

b) Continuous – dynamic 1) Continuous acceleration 2) Continuous deceleration

Average predictability

c) Discontinuous – dynamic 1) Statistical acceleration or

deceleration 2) Acceleration or

deceleration by stages or elision

Slight predictability

d) Statistical 1) Complete re-division 2) Unpredictability of divisions 3) Maximum discontinuity

Zero predictability DISORDER

e) Smooth – rhythmic silence

11 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 245. 12 Ibid, 244. In the original table the full title was: “Classification of intervals (by their degree of

dissonance) and of timbres (by the extent to which they are non-harmonic).”

13

Static and Dynamic Periodicity13

Repetition, continuous acceleration or deceleration provide predictability and

inherently set up expectations in the listener. The following example demonstrates the

application of this concept to compositional materials.

Figure 1.5, Continuous and static periodicity, Grisey, “Periodes, p.15.”

The first nine beats of the page demonstrate the gradual, yet relatively

continuous deceleration of a texture. If broken up into three-beat cells, the flute, clarinet,

violin, and viola each exhibit a continuous decrease in density by reducing the number

of attacks in each three-beat cell. This dynamic periodicity is followed by an example of

static periodicity, wherein the materials repeat themselves.

Changes in periodicity will be easily recognizable in the case of continuous

acceleration or deceleration. In the case of statistical acceleration, predictability will

decrease as the pattern becomes more irregular, but the overall trajectory remains

13 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 247.

14

perceptible nonetheless.

Figure 1.5, Statistical acceleration.14

Discontinuous change is not as reliably predictable as its degree of change is thwarted

through interruption or modulations in the amount of change.

Figure 1.6, Acceleration by elision, (discontinuous).15

In both cases, the overall phenomenological effect is that of rising tension. In the

latter, momentum is gathered through increasing acceleration and thwarted

expectations as result of a, c, and e being disrupted by the “interruptions” b and d. The

length of each section a, c, and e become progressively shorter, and the rate of

acceleration continues to be heightened in each subsequent segment.

Grisey goes on to conclude that:

All sounds can be given a duration...dynamic curves, changes in timbre, sound quality and vibrato, or, more generally, the actual form of a sequence or sound, constitute as much material as one can rhythmically

14 Grisey, “Tempus ex Machina: A composer's reflections on musical time,”, 253. 15 Ibid, 252.

15

express.16 Dynamic periodicity (i.e., deceleration and acceleration) can refer to frequency,

tempo, additive or subtractive rhythms, gradual compression (or decompression) of time

signatures, and gradual changes in as many parameters as one can imagine and

manipulate, including density and temporal transformations of texture. As intervals,

rhythmic profiles, textures, and timbres change, the descriptions of predictability can be

applied to how they change. As predictability and expectations affect our perception and

emotions, awareness of the effects of predictability, as well as the setting up and

thwarting of expectations in these dimensions, becomes essential in crafting a

composition.

Respiration (Macro-Periodicity) “Respiration” will be used to describe how momentum and materials are

organized compositionally. Grisey describes natural occurrences of periodicity, what he

refers to as “soft periodicity,” as follows:

Our heartbeat, our breathing, the rhythm of our walk and doubtless many other unknown rhythms (our nerve impulse, for example) are never as rigorously periodic as a clock; they vary around a time constant...17

Respiration is a complex example of periodicity comprised of up to four phases:

inhalation, retention, exhalation, and suspension. Due to its cyclical nature, each stage

possesses its own characteristic energy, momentum and implicative set of

expectations. An inhalation requires storing energy, represented by a particular dynamic

curve—like climbing up a hill, which can ultimately go only so high. As the peak of the

inhalation is reached and momentum subsides, it transforms into the next stage of

16 Grisey, “Tempus ex Machina: A composer's reflections on musical time,” 244. 17 Grisey, Periodes, performance notes.

16

respiration. Retention exemplifies stasis with high potential energy, as the breath is

stored. Even as the breath is retained, tension builds as the expectation of (and need

to) release increases. Release of the breath represents a transformation from potential

to kinetic energy, while generating momentum as the breath builds, peaks, and

subsides. Suspension, the last stage of respiration, embodies stasis with low potential

energy. Following an exhalation, a longer suspension may build tension through the

expectation of a subsequent inhalation.

Combining the two aforementioned categorizations begins to approach how

these materials can be used with compositional intent. The following table compares the

various states of momentum, as described by Grisey and Smalley.

Table1.2, Integration of Smalley's textural categorization and Grisey's periodic table.

Grisey Smalley Momentum Periodic Statically iterative Static (holds

potential energy)

Continuous – dynamic Iterative with change in rate Yes Discontinuous – dynamic Quasi-iterative/granular Yes Smooth Effluvial Static

With this in mind, musical materials can be logically applied to generate

momentum as needed within a respirational model. In this paper, the aforementioned

terminology will be used to analyze musical materials in Periodes, Partiels, Lemma-

Icon-Epigram, and Phase.

Textural Transformation: Magnification

Let us imagine ourselves . . . contemplating the water at the edge of the river, then progressively, mentally reduced to the size of the molecules of water until we ourselves become molecules; we would certainly be surrounded by an unheard of landscape, but would we still feel the force

17

which sweeps these molecules of water out to sea?18

As an example of dynamic periodicity, Grisey describes a metaphor of changing

natural states: the phenomena of “magnification” as applied to water. While looking at

water and magnifying it to an atomic level, perception passes through different levels as

the states become clearer: first a homogenous substance, then a differentiation into

particles – molecules, atoms, subatomic particles – and finally, quarks. In Partiels and

Tempus ex Machina, Grisey expresses these states musically, as well as gradual

transformations between them. At times, Grisey combines discernible layers of more

than one state.

Figure 1.7, Textural acceleration, Tempus ex Machina, p. 11.

Above, Grisey creates a statistical acceleration of a blurred state including elements of

iteration and granulation. The clear overall trajectory creates an expectation of


18

continued compression.

By extension, one may “stretch” an attack impulse enough to “see” (hear) the

surface of a point by extreme magnification. There are two perspectives to this

approach, the abstract and the physical. From an abstract perspective, a point exists

with no area, regardless of the amount of magnification. From a physical perspective,

though minute at a certain distance (tempo), the object would increase in size (duration)

as the tempo decreases, as if one were approaching a planet from afar. Sonically, a

point has some perceptible duration, otherwise it wouldn't exist; to stretch an attack

impulse would reveal its innate duration. Grisey magnifies the sound through

deceleration in the following example.

Figure 1.8, Magnification, Tempus ex Machina, p. 14.

The sforzandi mark the attack of each gesture, which continue to increase in

length and decrease in density.

19

Time and Perception

States of Time One may first simply ask, what is time? How many kinds of time are there?

Though certain varieties of time may be regarded as precise, perception of time is

variable and unique to the individual. Thus, further differentiation of perceived and

measured time needs to be made. Ferneyhough addresses this issue regarding the

listening experience:

When we listen intensively to a piece of music there are moments when our consciousness detaches itself from the immediate flow of events and comes to stand apart, measuring, scanning, aware of itself operating in a 'speculative time- space' of dimensions different from those appropriate to the musical discourse in and of itself. We become aware of the passing of time as something closely approaching a physical, objectivized presence.19 Kramer refers to “ordinary time [as] absolute time, especially as agreed on by

social convention.”20 There is also “chronometric time, [the] articulated time set up within

a musical measure and larger units (meter).”21 And finally, “psychological time –

Stravinsky's term for subjective time, in which durations may be distorted from their

absolute-time norm.”22

The first two are mathematically identifiable; the third implies that time may be

perceived as a pliable current, uniquely experienced by each individual. Ultimately,

composers have the opportunity to harness and manipulate two phenomenological

extremes including the area in between “time flies when you're having fun” and “time

stands still.” The first instance requires no explanation, though perhaps mystical in

19 Ferneyhough, Collected Writings, 43. 20 Kramer, The Time of Music, 454. 21 Ibid, 452. 22 Ibid, 454.

20

creation. When first speaking of timelessness (“time stands still”), silence may come to

mind — experienced either as boredom (“when will this ever end?”) or a state of

surrender to the never-ending (vertical time) moment.

In the linear mode, time is directional, a duration carrying us from the past into the future; the present is always fleeting away behind us. In the nonlinear mode, however, the present exists, and is all that exists.23

Kramer speaks of “vertical time” as “the temporal continuum of the unchanging,

in which there are no separate events and in which everything seems part of an eternal

present.”24

Without a reference point, how can time be measured? Periodicity provides

stability and predictability, thus providing the detached listening mind a way to

experience time via changes in tempo. “Time” in music is often measured through

periodicity controlled through tempo. But what about music without overt periodicity?

John Cage’s 4'33” was impactful in this regard, in that it framed the silent container

traditionally filled by music.

Temporal Expansion and Contraction As previously discussed regarding periodicity, the perception of time can be

divided into three categories: “micro” reflects our experience of time moment to

moment; “middle” may be per phrase or period; “macro” can be applied to experiencing

sections and the overall form of a piece. Regarding the micro level:

Let us imagine a sound event, A, followed by another event, B. . . If the sound B is entirely predictable, time seems to move at a certain speed. By contrast, if the sound B is radically different, and virtually unpredictable, time unfolds at a different speed.25

23 Ornstein, The Psychology of Consciousness, 98. 24 Kramer, The Time of Music, 454. 25 Grisey, Tempus ex Machina, 258.

21

The most obvious example of predictability would be a metronome, or the second

hand of a clock. In both cases, we have a good chance of accurately merging perceived

with chronometric time. Grisey speaks to the experience of timelessness regarding

music:

A series of extremely predictable sound events gives us ample allowance for perception. The slightest event acquires an importance. Here, time has expanded . . . The acuity of auditory perception is inversely proportional to that of temporal perception.26

Examples of minimalism exemplify the success of music drawing in a listener by

the conscious use of predictability. Enjoyment is derived from experiencing an

environment created for focused listening. Small changes are made obvious and can be

minutely manipulated by composer and perceived as listener. The opposite effect can

be achieved as well:

There must exist holes in time, analogous to what aeroplane passengers call "air pockets". Chronometric time is never obliterated, but our perception of it can overshadow the linear aspect for a more or less brief instant. Thus, for example, an unexpected acoustic jolt causes us to skate over a portion of time. Sounds perceived during the ensuing moment of readjustment — a moment which is necessary for us to regain a relative equilibrium — no longer have anything like the same emotional or temporal value. This jolt which disturbs the linear unfolding of time and which leaves a violent impression in our memories, makes us less likely to grasp the shape of the musical discourse. Time has contracted.”27

Cohesion, Contrast, and Saturation28 Another example of predictability will demonstrate a number of relevant

phenomenological concepts from a compositional perspective. Imagine a metronome or

clock: One might become desensitized by the experience of listening; expectations may

26 Grisey, Tempus ex Machina, 258-259. 27 Ibid, 258-259. 28 As discussed at length in lessons with Richard DeRosa.

22

become fulfilled enough so that prolonged immersion (saturation) in the experience of

cohesion creates a potential “need” or “want” for another dynamic to be developed –

i.e., contrast. If the imaginary metronome began to make every other “click” slightly

different, a listener might at first be shocked and/or fascinated. Perhaps the alternating

timbre could be developed in such a way that the semiotics of the “metronome piece”

could engage attention for a while, reengaging and avoiding saturation by carefully (and

artfully) crafting the contrasting material with cohesion in mind. An excellent example is

Come Vengono by Salvatore Sciarrino, where “tongue attacks” dominate:

Figure 1.9, Sciarrino, Come Vengono, opening.

Extreme, prolonged cohesion with well-placed accents and dynamic swells

thwart expectations of continuation just long enough for contrast to reengage attention,

playing right at the edge of the saturation point.

Structural Gap Imagine watching the second hand of a clock, when all of a sudden it stops. Most

likely as an observer, either alarm or fascination would ensue; in either case, one's

perception of time will be affected. In the moment, one might experience a “pocket in

time,” requiring a moment to “readjust.” Regardless, the unpredictable event changes

our perception of time and events. The stopping of the clock demonstrates a concept

23

Leonard Meyer introduced as the structural gap, wherein an expectation is not fulfilled

for the listener. Meyer posits that emotion experienced by a listener is induced as a

result of these “structural gaps,” as well as by subsequently “closing the gaps.”29 An

example in tonal music includes the deceptive cadence where the expectation of the

tonic, I is thwarted. An upcoming significant cadence to I may be experienced as

closing the gap. If a pattern goes uninterrupted, we may be unaware of it; when a

pattern is interrupted, we may be more aware of its interruption than of the pattern

itself.30

Within the respirational model, momentum and tension can affect our perception

of time. Tension can make moments seem to last longer or shorter than they actually

do. A static moment of retention so charged with potential energy can make seconds

feel much longer. Insofar as musical situations can evoke visceral reactions, the

perception of time is at the mercy of the composer.

Form

Accepting that individuals’ experiences are unique, can a composer manipulate

the listening experience of an audience member? Grisey states:

One of the most arduous tasks for the composer will be to determine up to what point complex structuring affects perception in a non-negative way. On either side of such a point are two poles of boredom due to a lack or saturation of information, but this threshold is not any less dependent upon the complete subjectivity and responsibility of the composer.31

Trajectory and Momentum Momentum describes “force” associated with trajectory. Traditionally in the 29 Meyer, Emotion and Meaning in Music, 130-135. 30 Ibid, 24. 31 Grisey, Tempus ex Machina, 245.

24

physical world, moving objects continuing on a path are referred to as having

“trajectory.” Smalley refers to various kinds of “trajectories” within the sonic space. First,

trajectory can refer literally to a sonic object moving across the aural landscape. As a

corollary, stasis refers to a stationary sonic object. In physics, the formula for an object’s

momentum equals speed x mass. With regard to music, especially in acoustic music

where sound objects are not spatialized with the use of technology, can the musical

material still have momentum? In addressing this question, one of the purposes of this

paper is to explore the innate energetic qualities imbued in musical material, and how

arrangement on a formal level can create, guide, and thwart such momentum.

Thus, momentum, trajectory, states of sound, energy, and the fulfillment or

subversion of expectation are all considered in the creation of a form, on the micro,

middle and macro dimensions.

Creating Momentum and Temporal Immersion

How does music create momentum? According to the New Oxford Dictionary,

momentum is defined as “the impetus and driving force gained by the development of a

process or course of events.”32

In physics, the “course of events” or “process” may be naturally occurring or

intentionally induced physical or chemical reactions. For this essay, Kramer expands

the definition to include numerous descriptions of the ways an audience experiences

time. In music, the course of events may be related back to the earlier definition of

cohesion. Kramer speaks of this another way, stating that linearity is, “[the] principle of

composition and of listening under which events are understood as outgrowths or

32 The Oxford Dictionary Online

25

consequences of earlier events.”33

Establishing the semiotics of an unfamiliar musical work helps an audience

experience it on anything other than the “sensuous” plane.34 However, I am not

convinced of Kramer's assertion that non-musicians listen to music completely

holistically. In the case of Western music, listeners to contemporary pop music (in which

a final cadence has often been eliminated completely by means of the “fade out”) may

be familiar with the V – I paradigm, whether or not they understand the concept. I would

posit that a certain amount of cultural programming has instilled the necessary

information to take in the “folk music” of our time. Certainly, music education helps a

listener to improve their analytical approach to listening, the part that hears details and

relationships.35 However, in the case of unfamiliar aesthetic approaches, the piece itself

is the education. The music needs to educate its audience as to its own internal

relationships. Some “goals” may not be so difficult to teach, as in the case of a

compressing texture. Perhaps in the event of “magnification,” the understanding that

something is happening may be all that is necessary – resulting in a visceral experience

of the process.

Thus, the composer is responsible through clarity, orchestration, and form to

sonically illustrate important internal musical relationships, significant events, and their

potential consequents. To the extent that these relationships can be perceivable by a

listener as a result of providing adequate sonic markings, subsequent psychological

manipulations of expectations can be reinforced and eventually thwarted – providing

what Meyer states as the cause for emotion.

33 Kramer, The Time of Music, 453. 34 Copland, What to Listen for in Music, 9-19. 35 Kramer, The Time of Music, 453.

26

Affect or emotion-felt is aroused when expectation . . . activated by the musical stimulus situation, is temporarily inhibited or permanently blocked.36 Kramer refers to goal-directed time as a “temporal continuum in which

events progress toward predictable goals.” When exerting oneself climbing a

mountain, time may seem to expand or compress as one both anticipates and

arrives at the top. Achieving the goal, the climber may experience a sense of joy

and timelessness. If however, one reaches instead a plateau at which point

another incline must be ascended before reaching the top, one’s expectations

have been thwarted, resulting in a different emotional state. Perhaps one might

simply enjoy the process (climb) itself, though the expectation of reaching the

peak may provide even more satisfaction.

The experience of musical form obviously demonstrates similar characteristics.

What if, instead of reaching the expected peak, musical climax, or end of a plateau, a

section of cohesive saturation is prolonged for an undetermined amount of time – long

enough that the expectations of reaching the top subsides? Musically, enough time

would have to elapse in order to erase prior memories, in which case one experiences

temporal immersion. The use of temporal proportions to induce such states will be

discussed later in this paper.

“Monkey Wrench” Meyer refers to a number of elements necessary for a pleasant emotional

experience as being (emoticons added):

. . . first arousing apprehension, then dispelling it. . . !37

36 Meyer, Emotion and Meaning in Music, 31. 37 Emoticons are used to semiotically represent emotional states.

27

. . . belief in resolution [of a situation]. . . " . . . control believed to exist over a situation. . .38 "!39 Musically, we must first arouse apprehension through expectation (or thwarted

expectation). In either case, the expectations must first be established. In the case of a

structural gap, apprehension is resolved as the gap is closed. In a different paradigm,

however, the gap is never closed: A || B || A/B synthesis/transformation→ C ?!

With the creation of longer works, form becomes increasingly important. By

opening a new gap in the midst of overall cohesion, there exists opportunity for creating

engaging, unexpected, and “believable” contrast. Ideally, the contrast comes as a

welcome, and very unexpected surprise. Placement is of utmost importance: perhaps at

the peak of a climax, at the point of saturation, or even when the audience may have

been “lulled” into a sense of contentment. Not just a contrasting section – but also the

essence of the piece: the phenomenological twist of opening this special gap serves

multiple purposes. First, it must be extremely memorable, and second it must be

satisfying to the point that the opening of the gap makes closing it inconsequential. This

special formal device needs a name – for the purposes of this essay it will hence be

referred to as a “monkey wrench.”40

Making drastic contrast “believable” requires providing a connected context

wherein it may exist. In Waver, the monkey wrench occurs in the middle: bowed vibes

producing “beating” by pitch bending the same note against itself.

38 Meyer, Emotion and Meaning in Music, 20-21. 39 David Bard-Schwarz uses ! and ? as means of adding emotional emphasis to musical analyses. 40 Coined in lessons with Christopher Moore.

28

Figure 1.10, “Monkey wrench” Waver, mm. 119-124.

Up to this point, all six players had played simultaneously and amounted to great

volume and density. What makes it work in this case is the stark change in texture:

stark, quiet, sustained, pitch monophony. The piece started with sustained noise, and

then introduced particulates of pitch. Formally, the sustained pitch of the vibes comes

as the next logical structural development. Contextually, the entire piece’s structure

demonstrates wavering, including the way the instruments spatialize from one player to

the next making the sound “waver” across the stage. In these ways, the piece

foreshadows the “wrench.” Thereafter, the new texture is not abandoned, but

incorporated – closing the gap.

In the case of Limud, the piece ends with all the players whispering the text,

Figure 1.11, End of Limud. mm. 222-226.

29

which opens a phenomenological, developmental door, providing a glimpse of new

possibilities that are never fully explored, thus leaving the gap open. Both of the

previous examples provide stark dynamic shifts in contrast to what preceded them.

Thus wrenches come in all shapes and sizes, depending upon the tastes and

tendencies of the composer deciding to use them.

An excellent example of this concept from popular culture is the 1984 blockbuster

film, Ghostbusters. The movie climaxes with the absurd introduction of a one hundred-

foot marshmallow man destroying New York City. What makes this scene effective is

the way the movie provides opportunities for the suspension of disbelief throughout,

such that when the ultimate wrench occurs, we buy into the premise.

Meyer explains that “pleasure” results from a belief in some degree of control

over a mildly fear-provoking experience. A monkey wrench fulfills the need for belief in

control over an unresolved, potentially “dangerous” musical situation. Periodes contains

an example of a musically successful monkey wrench, when in the middle the work, the

violist “tunes” the instrument:

Figure 1.12, “Monkey wrench” Periodes, p.32

While this event is theatrically evocative, it makes perfect musical sense as a

soloist providing periodicity through “beating” in the context of the work. A monkey

30

wrench can heighten the sensuous experience in unexpected, yet —in retrospect —

seemingly inevitable ways. In the best monkey wrenches, there is a re-contextualization

of previous material in a new way.

The end of Partiels offers another kind of wrench, one where apprehension is

induced, and the impending expectation is not realized.

Figure 1.13, End of Partiels

The notes read:

Raise the arms, excessively restrained, mysteriously and formally. With muscular and psychological tension hold them ready for an impending fff attack.41 Though not essential, theatrics can be effective in producing visceral dramatics,

and thus creating a successful monkey wrench. The overall importance of the concept

is such that it bears a name and serves a special phenomenological function and, if not

named, may not come into play as viscerally both in analysis and in the phase of pre-

composition, which may make a difference.

41 Grisey, Partiels, 63.

31

CHAPTER 2

ANALYSIS OF GERARD GRISEY'S PERIODES AND PARTIELS

Respiration: Macro-periodicity As a way to organize the form of Periodes, Grisey refers to a “three-part cycle”

in his program notes regarding periodicity and the concept of “respiration.” According to

Grisey, Periodes explores the compression and expansion of periodicity.42 In so doing,

the music expresses the perceptions of various respiratory “states.”

Figure 2.1, Respiration in Periodes.43

Each rest area...exercises an authentic force of attraction and repulsion on the development of the sound. Each cell contains microphonic elements which...become altered...up to maximum tension and complexity. This first stage corresponds to inhalation. A different direction follows...we gradually enter into the sphere of attraction to the next cell; to return gradually to calmness and simplicity. This second stage corresponds to exhalation.44

Grisey has re-contextualized the notion of periodicity to include a non-tonal harmonic

procedure. In this case, periodicity includes a harmonic oscillation of increasing and

42 According to Grisey, Periodes is titled in reference to the respiration cycles. “How does the evolution off textural/timbral modulation develop through the course of the respirating cycles in Periodes?” is a topic for further study. 43 Grisey, Periodes, Program notes. 44 Ibid, program notes.

32

decreasing complexity. Grisey creates pillars of harmonic stasis and the intermediate

state of harmonic complexity as sonorities transform between these two states. Within

Periodes, there are four such cycles.45

Grisey also uses process of respiration to create momentum. Within the periodic

cycles, Grisey respects the innate energetic attributes of each respirative phase while

varying the timbral and textural characteristics. In this case, the respirative periodicity

and the timbral variation of materials within each phase (exhalation, rest, and inhalation)

create a visceral experience of the cycle, one that is not boring or predictable, and with

enough variation so as to continue to engage the audience.

Semiotics of Sound The beginning of Periodes demonstrates how Grisey introduces the musical

language of the piece and how changes of state and timbre occur. Grisey establishes

the aesthetic and idiom of this piece by beginning with blocks of stasis. Though

synchronized and contrapuntally static within each chord, subtle internal activity exists.

For example, following the first attack, the contrabass begins alto sul tasto moving

towards ordinario in the second chord, whereupon the contrabass continues to

modulate between alto sul tasto and ordinario. Additionally, both the violin and the viola

slightly bend (microtonally) their respective highest notes over the course of each chord

before re-attacking the next chord. Thus, each sound block moves with an internal

waver, the result of the beating created through microtonality. This waver serves as the

seed (from which more will grow) or the “first words” of a language, which Grisey will

continue to “teach” to the listener as the work progresses.

45 For more see Feron, “The Emergence of Spectra in the Gerard Grisey's Compositional Process,”

Contemporary Music Review.

33

Figure 2.2, Establishment of sonic identity, Periodes, p.1.

Once the pattern has been established, Grisey builds upon the previous material.

In this case, after numerous iterations, he adds clarinet, then flute. On page five, the

bending pitches are staggered, as a means of extending and pushing the material

farther. He then teaches a “new word,” the color trill in the viola at rehearsal two. On

page six, Grisey introduces the parameter of dynamic swell, which establishes a sort of

temporal amplitude motive. The swells continue, staggering throughout the ensemble

just as the bends were earlier, and these staggered attacks themselves become an

orchestrational motive. The trombone exaggerates the swell, and as the moment of

expected saturation is reached right before rehearsal three, the new element appears,

in the form of chaotic string noise in the viola.

34

Figure 2.3, Timbral development, Periodes, p. 7.

Timbral Morphology

At this point, Grisey has introduced core materials and a basic developmental

strategy. The waver, initially a microtonal bend, has individuated and become a color

trill, then a flutter-tongue and further morphed into the introduction of the chaotic string

noises.

Figure 2.4 Transformation of flute articulation, Periodes, p.11.

35

Each modification represents the morphological trajectory in progress, wherein a state

of being turns into a heightened version of itself, as in the case of a pitch bend turning

first into a color trill, and later into a flutter-tongue. A direct modulation would be to move

the flute flutter-tongue to a viola tremolo. However, the chaotic string noise is a sort of

“timbral modulation” – not exactly a trill or a flutter-tongue, or even a tremolo (the string

equivalent of a flute flutter-tongue). More so, it is both a modulation and an integration

of new elements, chaos and noise.

Grisey continually and logically builds on choice aspects of the sonic composite.

The piece teaches the listener how to understand its musical language. Logic functions

as an important element, allowing a listener to make connections either consciously or

intuitively. The development of the material proceeds coherently, moving from a familiar

element to a similar version of itself in an unfamiliar and unexpected re-

contextualization.

In the same way as a sonata merges multiple ideas in the development, Grisey

continues to resynthesize and integrate previously presented materials. In the present

essay, re-contextualization refers to taking an established process and applying it to a

different source, thus yielding new material.

Figure 2.5, Re-contextualization. New material Application of process Original material

In effect, it may be viewed as another version of the “monkey wrench” model.

The chaotic string noise of the viola marks the temporal saturation point, where the

material phenomenologically emerges out of the previous stasis to achieve a sort of

36

composite identity comprised of the previously introduced elements such as trill, flutter

tongue, bends, and dynamic swell. After establishing itself as a composite entity, the

entity has become aware of its need to develop further, essentially pushing its own

material farther.. The use of the ensemble dynamic swell introduces an idea of a

segregated event, and a sort of composite entity has emerged.

Figure 2.6, Dynamic swells as a composite sonic entity, Periodes, p.6.

All elements are integrated into a single pulsating composite entity, which are in

contrast to the opening static chords. On the static end of the continuum are sustained

tones, and on the active extreme, flutter tongue and tremolo.

States of Sound (Transformation of the Attack-effluvial continuum)

Although Grisey may have never intended for this parallel to be made, textural

categorization can be applied to Periodes, pages 10-11. After a few attack impulses, a

noticeable silence, and four seconds of sustained pitch representing the effluvial state,

37

the music begins an iterative phase.

Figure 2.7, States and transformation, Periodes, p. 10.

Attack impulses Attack ––“effluvial” Attack → “iterative” –––––––→

Notice the fusion of an attack “envelope,” where there exists a brief crescendo

from pp to fp at the beginning of the first sustained pitch. This momentary fusion

connects the unified composite amplitude swells with the individuated attack impulses

before the preceding silence. In this way, Grisey has taken the ensemble from a number

of individual particles and brought them together to form a unified composite. Once

unified, it again begins to iterate at an increasing rate until the individual iterations are

no longer perceptible, as the players switch to tremolo.

The glissandi, at this point moving “outwards” in contrary motion, become rapid

enough to transform into tremolo. Flute and trombone join with their analogous flutter-

38

tongues.

Figure 2.8, States and transformation, Periodes, p. 11. ––→ grain ––→ “effluvial” –––→ “iterative”

By nature of the consistent pitch content inherent in the tremolo, the unified tremolo can

be heard as effluvial, though by another perspective it would yield a blended state:

effluvial with an iterative layer. The granular state exists between the iterative and the

unified tremolo, not clearly one nor the other. The granular state is created through

staggering the attacks between the instruments, thus avoiding simultaneities: increasing

the density and thwarting the perception of individual events aids in creating the

perception of blur. Following the homogenous tremolo composite, the sound begins to

diffuse to its individual components again, thus returning to an iterative state. Alternating

between states in this way the music breathes, representing what Grisey refers to as

39

“respirating.”

Textural Magnification

At the point where the current materials' trajectory reaches its climax and

saturation point, the composite texture transforms and re-contextualizes the glissando

gesture. Previously, the glissandi were generally used in contrary motion “inward,” with

a few notable exceptions where they began to move “outwards.” In those instances, the

predominant hierarchical event was not the direction of the glissandi, but the quickening

periodicity towards the climax. On page 12, all glissandi now ascend in staggered

attacks throughout the ensemble, as the density gradually becomes sparser. Composed

of a tapestry of multiple threads, each moving at independent rates, the composite

gradually relaxes and provides a denouement for the previous climax.

Details become clearer through magnification, as a transformation between

states occurs. While crossing an arbitrary “state threshold,” long, pitch bends transform

into shorter, fingered gestures.

Figure 2.9, Magnification, Periodes, p. 12.

40

Beginning with the flute and followed by cello, contrabass, clarinet, viola, and

violin, Grisey introduces the more articulated texture. By staggering the entrances, he

ensures a gradual transformation between these two states. The differing number of

notes, durations, and subdivisions in each gesture prevent noticeable simultaneities

between the layered ascending waves. The revealing of details can be seen more

clearly as the “surface” of each of the notes, perceivable earlier only as sustained

bends.

Figure 2.10, Magnification (continued), Periodes, p. 13.

Continuing through the attack-effluvial spectrum, the blurring once again

produces a dynamically transforming, granulated state—one that starts dense and

closer to the threshold of the effluvial state, though not crossing over. Figure 2.11 shows

the target texture, that of a somewhat sparser representation of the previous example.

41

Figure 2.11, Static periodicity, Periodes, p. 15.

Not only has the time between attacks been stretched, but also the

intervals between pitches; this, what were previously scalar passages have had notes

removed to become arpeggios. This transformation began at a quasi-iterative/granular

state and progressed through a gradual decrease of rhythmic and harmonic content.

Arriving at a texture wherein the instruments fuse into a repeating homogenous effluvial

composite, Grisey marks the reiteration with “quasi-pizzicati” in the flute. In this case,

periodicity occurs on a middle-ground level—applying to a segment of material—rather

than to micro-level elements of a texture. The resulting effect is that of the materials

repeating like a broken record.

State “Shift”

Modulation, which in tonal music refers to a change from one key to another, will

be used here in reference to a change in texture. Granted, the term modulation poses

problems, as it has a history of notably harmonic and pitch related connotations and

usages; in this essay, however, the terms modulation and transformation apply to states

42

and categories of sound. For the purpose of this discussion, the term transformation is

used to refer to a gradual metamorphosis from one state to another or, within a

granulated state, a progressive and systematic movement from one side of the

continuum to another. An example would be a primarily iterative texture transforming

gradually to predominantly effluvial state. In contrast, the term “state shift” will be

applied to an abrupt change of state.

Transformation through Reiteration

The previously described iterative material (Figure 2.11) reaches an even more

elongated state near the end of the movement. At this point, various states blend and

mix, existing in an “in-between” transitory state. Depending on perspective, a slow

repetition of sustained attacks could be considered as an effluvial composite, or as a

slow iterative state. The material serves as what could be described as a pivot state,

convincingly arguable as one or the other. If the material speeds up, it reveals an

iterative nature. If slowed down further, the material would distinguish itself as

definitively effluvial. The rate of change as well as the curve of the rate of acceleration

contributes to the momentum in the change of state.

More than augmentation, magnification refers to the aesthetic qualities of sound

rather than duration and placement in time. For the purposes of this paper, reiteration

will be applied to a segment of material that is repeated, like a broken record, as in the

case of the opening gesture of Partiels. In terms of transformation, if magnification is a

way of “stretching the surface” of compositional materials, reiterational transformation

changes the nature of the repeated material at an atomic level. Periodes prepares

through reiterational transformation the beginning of Partiels by magnifying the material

43

further.

Figure 2.12, Continued stretching of iterative material, Periodes, p. 41.

In the previous example, the addition of an aggressive amplitude envelope

(beginning with the trombone) differentiates individual effluvial elements from within a

gradually decelerating iterative texture. In this passage, the material transforms slowly

back from iteration into attacks. Additionally, the loud attack of the trombone followed by

loud iterations of string attacks foreshadows the distinctive opening of Partiels.

On the following page of the score (page 42), the effluvial nature of the previously

elongated iterative material asserts itself further with the addition of multiple loud attacks

in the accompanimental, staggered attacks of the strings. This material does not have

an identifiable periodicity, that being a necessary quality of iteration; thus I hear this as

an elongated and stretched state of granulation.

44

Figure 2.13, Transformation from iteration into attacks, Periodes, p. 44.

Transformation from one state to another continues on page 45, where the

trombone declamation remains. Alongside this, multiple iterations of brief overpressure

in the contrabass complement its decay, which, along with the trombone, continues to

develop into the opening of Partiels. The following figure shows the development of the

iterative/effluvial composite.

Figure 2.14, Iteration amidst an effluvial composite, Periodes, p. 45.

Notice how the contrabass continues layering iterative pizzicati over sustained

45

and gradually increasing overpressure, followed by two sfffz bowed attacks, before

returning to the layered iteration amidst an effluvial composite. Formally, iterative attack

impulses of the bass transform from points of attack into sustained sounds. In so doing,

they extend and cross over into re-articulations of the effluvial state as a primary voice,

which functions as a means of perfectly transforming into the beginning gesture of

Partiels.

The first page of Partiels replicates the same material on the final page of

Periodes.

Figure 2.15, Periodicity, Periodes, p. 46.

The previous overpressure iterations of the contrabass transform into three sustained fff

attacks in quick succession, accompanied by the loud trombone statement. Grisey

46

follows the trombone and iterative contrabass composite with an emerging spectrum

orchestrated with strings and winds.46 The combination of both the trombone/contrabass

statement and the emerging string/winds answer result in a larger form of iteration; in

this way Grisey reframes periodicity within a larger context.47

The iterative/effluvial composite at the beginning of the page modulates to a re-

contextualized version at the end. The contrabass pizzicato/overpressure iteration

changes to sustained attacks along with another sustained trombone declamation,

exactly the same as what follows in Partiels. Grisey's transformation seamlessly

connects the two movements.48

Formally, Periodes and Partiels share similar compositional materials, albeit

arriving at them in different ways. Partiels uses the materials presented in Periodes for

further transformation within and between categories. Over the course of the movement,

Partiels moves from the effluvial state through iterative material, granulation of pitch

material, and at the end, granulated noise.

The piece begins with three attacks, followed by the orchestration of the spectral

analysis of a trombone note.49 The sustaining strings, flute, and clarinet emerge from

under the receding trombone/contrabass gesture of the opening.

46 Partiels is based on the spectrum of a computer analyzed trombone note. Fineberg, Joshua.

Sculpting Sound. 47 The repetitive cell mechanism returns again and again in Partiels, yet another re-contextualization of

periodicity. 48 This essay describes textural and categorical modulations and transformation, leaving pitch content

virtually untouched. 49 Fineberg, Sculpting Sound, 56-58.

47

Figure 2.16, Effluvial iteration, Partiels, p. 1.

The entire cell repeats, representing effluvial iteration. The first fourteen pages continue

to explore large statements of this material, each segment adding more “noise” as

partials are registrally displaced from their original position in the pure spectrum and

noise elements are added.50

On page fifteen, Grisey introduces iteration, first in the percussion. He delegates

it to three instruments, starting slowly on the bass drum, then slightly faster as staccato

points are added in the bass clarinet, and then on the tambourine.

50 Rose, “Introduction to the Pitch Organization of French Spectral Music,” 10.

48

Figure 2.17, Introduction of iteration, Partiels, p.15.

Grisey continues to explore iterative material, first by adding tuba and pizzicato in

the bass (referring to the end of Periodes). Initially, all instruments create

distinguishable points, either by their innate nature as in the case of bass drum or

tambourine, or by the playing method, such as staccato or pizzicato. A gradual

transformation from iteration to effluvial ensues, beginning with bass introducing

measured sixteenth note tremolos on page 18.

Figure 2.18, Measured tremolo, contrabass, Partiels, p.18.

The nature of tremolo on string instruments requires a caveat for categorization

based upon playing technique. Iteration by this definition would include any musical

49

materials of a periodic nature, such as tremolo, flutter-tongue and vibrato. Grisey

continues to add measured tremolo, first in the bass then later in the cello and viola,

pushing the state of iteration further by modulating to the unmeasured tremolo in the

violin.51 By introducing unmeasured tremolo impercible in the vibraphone on page 24,

an instrument whose spectrum is closer to a pure sine wave than that of the more

complex violin, the result may be perceived as having more fully crossed over into the

effluvial state.

Figure 2.19, Un-measured tremolo in violin and vibraphone, Partiels, p. 24.

Through orchestration, Grisey develops the iterative materials through changes in

speed and timbre of the repeating element, as well as by the size of the grain via

51 In the case of additive synthesis, one sine wave is added to another. At some point, the two waves

interact such that a difference tone is created. A difference tone is created as the result of the difference of the two original waves. For example, adding a 50 Hz wave to a 55 Hz wave would create a difference of 5 Hz, well below an audible tone threshold; however the listener would experience “beats” at the rate of 5 per second. Beating occurs commonly when two similar instruments play the same note slightly out of tune, or in the case of tuning a guitar, beating goes away when the strings fall “in tune” with one another. In another additive example, adding a 75 Hz wave to a 125 Hz wave would create a “difference” tone of 50 Hz, in which case the listener would hear three pitches: 125 Hz, 75 Hz, and 50 Hz because all three are above the threshold of frequency effluviality. There exists a point where the rate of beating crosses over the threshold of iteration to effluviality.

50

“magnification.” Throughout the previous exploration of iteration, there has also been a

gradual transition from iterative percussive sounds to effluvial pitch, blended with an

iterative layer, thus setting up the next section to be more pitch based.

The following section first proceeds from a relatively static, moderately sparse

texture, through deceleration and crescendo to slow, repeated, pitch effluviality, then

later to a state of accelerating and compressing repetitions building to a saturation point

of iterative material. First, layers of iterative material blend to create a static fabric,

which Grisey develops through the use of dynamic envelopes to create momentum.

Slowing the periodicity and decreasing density in conjunction with the decrescendo

reduces the momentum of the phrase.52

Figure 2.20, Repeated pitch effluviality, Partiels, p.31.

Again, note how synchronicities are avoided, favoring layered, repeated patterns

of similar, though revolving pitch structures. Thus in Partiels, Grisey continues to reuse

materials previously presented in Periodes, furthering developing them. Another

52 Denis Smalley describes multiple categories of trajectory and momentum in his article, The Language

of Electroacoustic Music.

51

example of this approach includes the articulated glissandi material from pages 12-13 of

Periodes, though revisited this time in reverse. The ascending gestures of the previous

statement are now presented inverted in every way: sparse, “slow,” descending, and

increasing in speed, density, and range over time.

Figure 2.21, Compression of glissandi, woodwinds, Partiels, p.39.

In the preceding section, Grisey gradually develops iteration through changes in

timbre and continues to do so here by transforming textural elements into motives

capable of being exploited and manipulated. The use of spectral runs, prevalent in both

Periodes and Partiels, is used motivically in Partiels, not only as a state but as a self-

contained gesture as well.

Figure 2.22, Decompression of string glissandi, Partiels, p. 39.

52

As a result of the staggered canonic nature of the material, the texture

progresses from dense to sparse as the voices finish their statements. The composite

exists in a quasi-granular state comprised of short iterative granules.

The magnification process earlier applied to an attack impulse reveals musical

“surface area” in the form of time-based effluviality. The same process of magnification

applies here, revealing the “water molecules” audibly moving around, to borrow Grisey's

metaphor.53

Figure 2.23, Decompression and elongation into granules, woodwinds, Partiels, p.40.

Pitch iteration continues to develop as a category, changing from dense to

sparse. Considering the short, descending run to be a “grain,” the following example

illustrates the development of that motive, where grain size becomes augmented or

diminished. A macro-granular state is created as the material within the grains ascends

or descends. The texture is erratic with no identifiable periodicity.


53

Figure 2.24, Macro-granulation, Partiels, p.46.

Partiels ends with crinkling cellophane and paper. Here, Grisey explores one of

two possible unexplored categories: noise granulation and a state approaching effluvial

noise (static white noise).

Figure 2.24, Noise granulation, Partiels, p. 60.

54

In order to create a cohesive work, one of the first things I do as a composer is

look at possible combinations of texture and dynamics. Within a given texture, there are

two overarching categories, each with its own subcategories: the first category is one of

predictable periodicity of a recognizably iterative state which has the potential for

various rates of iteration, including a quasi-iterated/granulated state; the second

category, stasis, can be subdivides into chaotic stasis with unpredictability, and effluvial

stasis that is smooth and without interruption. Within the chaos also exists opportunities

to incorporate various densities. Each of these categories can be manipulated within its

own continuum of density or rate as applicable, within four possible combined states:

sparse and soft, dense and soft, sparse and loud, dense and loud. Formal decisions will

create a perceived shape of the resulting piece consistent with desired

phenomenological effects. Further analysis will explore methodologies regarding formal

design as a result of designated categorical possibilities.

55

CHAPTER 3

BRIAN FERNEYHOUGH'S LEMMA-ICON-EPIGRAM

Lemma-Icon-Epigram has been the subject of much analysis regarding pitch

processes.54 The purpose of this essay is to create a categorical analysis that will

explore the various musical materials both from an energetic and a textural perspective.

After identifying the categories, describing their characteristics with respect to

momentum, and exploring their developmental origins, it will be shown how Lemma-

Icon-Epigram “respirates” between each category within the context of cohesion and

contrast. Throughout, concepts of momentum on a macro-formal level will be discussed.

Categorization of Textures Once pitch has been deprioritized as the primary hierarchical element,

composing for the piano can become difficult. Traditional keyboard playing limits timbral

possibilities and tends to restrict one to pitch, rhythm, and resonance. Meanwhile,

crescendi can be achieved only through gesture and repeated attacks. Ferneyhough's

Lemma-Icon-Epigram will serve as an example of a piano piece limited to playing only

on the keys that nevertheless lends itself to an analysis in terms of texture and

momentum. Without the need to examine pitch structures closely, we may see that

Lemma-Icon-Epigram accomplishes many differentiations of material through texture

and register. Even though the work uses mostly traditional playing techniques, it

demonstrates clear examples of a number of categories of sound, and later develops

and combines these to create memorable moments resulting in an effective form.

Four main textural categories in Lemma-Icon-Epigram are: single notes/block

54 Toop, “Brian Ferneyhough’s Lemma-Icon-Epigram,” 52-100.

56

chords, trills/tremolo, runs/glissandi, and “spattering.” A few clear examples of these

categories are given below, followed by descriptions of their origins from the beginning

of the piece. How these elements are used to create memorable moments and

connections within and throughout the form will be explored, as well as how they

contribute to the overarching concept of momentum.

Though there are rare examples of isolated single notes, more often these are

found in the context of a given musical moment. The following illustrates two categories

of single note gestures: secco and sustained.

Figure 3.1, Lemma-Icon-Epigram, m. 24

The left hand marks the end of the first extended period with a loud sustained

sonority, while the right hand echoes the attack of the left hand, creating a brief

experience of temporal stasis in contrast to the high level of activity in the previously

extended material. The notes at the beginning of the example are farther apart both

temporally and intervallically. One may perceive the first attacks as individual elements

rather than members of a larger gesture. Near the end of the measure, the notes are

closer together and “cohere,” resulting in a composite gesture.

57

Single note are extended by either adding elements horizontally or vertically. The

following examples demonstrate both techniques: the first example illustrates staccato

chords followed by brief moments of silence; the second shows multiple instances of

simultaneities within close proximity to one another.

Figure 3.2, Block chords, Lemma-Icon-Epigram, mm. 38-39.

Measure 39 demonstrates multiple sonorities in quick succession. The contrary

motion results in expanding intervals between the hands. There is crossover between

categories: one could argue the third gesture of measure 39 consists of two fragmented

runs in simultaneous contrary motion. More examples of hybrid gestures show up

throughout the piece, especially in the Icon and Epigram sections.

Per the respiration analogy, the seemingly prominent space between the

staccato attacks in measure 38 may be interpreted as an interruption to create silence

and “breath.” Though brief in the previous example, more prolonged instances of

silence occur throughout the piece. Both silence and sustained sound play an important

role in the form of Lemma-Icon-Epigram, and serve as examples of “stasis,” or the

suspension of momentum. The following figure provides an example of stasis

manifested by a held sonority.

58

Figure 3.3, Sustained sonority, Lemma-Icon-Epigram, m.89.

This moment marks the first exaggerated and sustained stasis in the piece—the onset

of the Icon section—and is later explored in context with greater detail.

Accelerating single notes congeal into perceivable gestures of trills/tremolo, or

runs/glissandi. Trills/tremolo are generally static regarding pitch trajectory, as opposed

to runs/glissandi, which have a clear ascending, or descending trajectory. However, the

tessitura of intervals in a tremolo can be modulated in such a way to create

expectations and an experience of either expanding or contracting pitch trajectory in a

dynamically changing way.

Without the pitch repetition of trills/tremolo, “spattering” gestures generally

consist of disjunct intervals having a relatively wide tessitura, although the tessitura may

vary. It has no discernible pitch trajectory, and in its purest state has no rhythmic

trajectory either, creating a sense of temporal “stasis.”

Figure 3.4, “Spattering” in Lemma-Icon-Epigram, m. 35.

59

Though the above example is relatively dense texturally, later examples will show

how it such a gesture can be transformed into simpler textures. In fact, the first example

of “single notes” could be considered a “slow spattering.” As in the previous category,

notes must occur close enough together to create a categorical congruency, otherwise

they fall into the “single note” category. Far more often, “spatterings” appear as above.

However, single notes and spattering gestures may be considered extreme points on a

continuum, and that some events may be interpreted as being between these two

extremes.

Regarding momentum, the following table describes the innate energetic

characteristics of the various categories of material:

Table 3.1, Table of Textural Characteristics, Lemma-Icon-Epigram.

Gesture/Category Momentum Single notes Low (stasis) Runs/Glissandi High (perceivable pitch trajectory) Tremolo/trill Varied. It depends on the kind of change in pitches, pitch trajectory,

and also perceivable rhythmic trajectory. It is possible to create stasis with trill/tremolo, without a clear trajectory, thus without expectation of momentum

Spattering Stasis (Momentum could be generated through perceivable and predictable change in density thus resulting in a clear trajectory. A perceivable change in tessitura over time can also create a clear trajectory.

60

Beginnings and Development of Categories

The above categories will be applied in the following analysis of Ferneyhough’s

work.55 The piece begins with a legato spattering gesture as seen below.56

Figure 3.5, Opening gesture, Lemma-Icon-Epigram, m. 1.

The use of register immediately creates a distinctive counterpoint between the

smoothly flowing upper voice and the conspicuous single notes outlining a lower voice

an octave below. Articulation contrasts (staccato/secco vs. legato) play an important

role in the development of material. Ferneyhough also uses both sustain and sostenuto

pedals extensively to create a background resonance over which a secco foreground

can be placed. Activation, the way sonorities are articulated, plays a large role in the

development and differentiation of categories.

The second system introduces pitch simultaneities and trilling, the latter of which

may be considered another form of note “activation.” Both trilling and pitch repetition

provide a way of creating a dynamic envelope where single attacks do not. When the

tessitura changes, as in measure eight (Figure 32), the texture can be extended and

developed, potentially indefinitely. The secco/staccato category is developed further in

55 Also refer to Richard Toop’s analysis regarding formal concerns and cycles of time signature

development. Toop, 63. 56 This analysis will not concern itself with pitch content and specific rhythmic figures. For more

information in this realm, please refer to the analysis done by Richard Toop in conjunction with Brian Ferneyhough's sketches. Toop, 57-59.

61

measure three:

Figure 3.6, Introduction of categories, Lemma-Icon-Epigram, mm. 2-4.

The use of staccato articulations creates a secco repeated note gesture, what I

will be calling a pivot texture between single notes and the trill/tremolo category. From a

phenomenological point of view, the second system provides a contrast to the first:

whereas the first system consists of three texturally similar, cohesive phrases, with short

breaths in between, the second system contains five contrasting gestures and is far

more disjunct. In order to avoid saturation due to excessive contrast, a shift in texture

thwarts expectations by further developing the opening gesture, the intervallic

expansion creating a “spattering” effect.

Figure 3.7, “Spattering,” Lemma-Icon-Epigram, m.5.

62

This passage parallels the familiar legato wash heard in the beginning. Though

rhythmically similar, the pitches are widely distributed throughout several registers. The

second half of the measure differentiates an upper voice by use of dynamic accents and

a wider gap between the upper and lower voices. The first gesture of the measure

resembles a transitional state between the materials in measure three, and the cohesive

tremolo/trill of measure eight.

Figure 3.8, Disjunct Material, Lemma-Icon-Epigram, mm. 6-8.

In measure seven, the secco texture introduced in measure three is extended,

resulting in a slow “spattering” with some repeated pitches—a hybrid between single

notes, a protracted spattering, and an embryonic tremolo state.

Respiration in Lemma-Icon-Epigram Within this development, the materials follow a “semiotic” logic as the piece

unfolds in an orderly fashion: one textural state leads to another in turn.

Figure 3.9, Proportions of opening textures, Lemma-Icon-Epigram, mm. 1 – 11.

63

In mm. 2-4, the seeds for both the trill and secco gestures are planted. Though

these are contrasting elements, each plays a role in the subsequent development.

Measures 2-4 are lumped together as a cohesive unit because of the overarching

disjunct nature of the materials within, and the way the materials switch from one state

to the next in rapid succession. Labeling measures 2-4 as “disjunct” identifies the

internal relationship of the materials' elemental surface texture. In contrast, the two

surrounding materials of spattering and “proto-trill/tremolo” have been labeled “conjunct”

due to the smoother resulting texture. The groups that follow alternate between conjunct

and disjunct materials, resulting in a categorical periodicity.

After the five marcato attacks in measure ten, the material proceeds without

pause until measure 24. In contrast to the opening passage, where the alternating

textures are relatively transparent and overt, Ferneyhough continues in measures 12-23

with a varied textural counterpoint, at times using multiple layers simultaneously.

Overall, the material becomes denser as a result of the layering and blurring of

categories. Use of space constitutes the main difference between the opening passage

and mm. 12-23.

Figure 3.10, Layering of Categories, Lemma-Icon-Epigram, mm.14-15.

64

Figure 3.11, Layering of Categories, Lemma-Icon-Epigram mm. 16-17.

Notice the absence of spattering in the example above. Of the four categories

previously described, cohesion is achieved through the use of the first three while the

fourth is reserved for contrast.

Whereas the “disjunct” materials consistently convey a disruption (or suspension)

of momentum, the “conjunct” materials demonstrate a perceivable dynamic trajectory.

The alternation of materials may be metaphorically compared to the “respiration”

concept presented by Grisey. Viewed from this perspective, the “breathing” represented

in the opening would appear to be accelerating, building momentum, and increasing

tension by creating an expectation of either further acceleration (eventually reaching a

“critical mass”) or a saturation point. At m. 11, the peak is reached and the material

continues to flow without a break until m. 24. The following figure shows

contrast/cohesiveness on a larger structural level.

65

Figure 3.12, Textural contrast mm. 1-24, Lemma-Icon-Epigram.

A recursive respiratory analysis can be applied to mm. 1-11 as a respiratory

cycling within itself, gradually storing energy – as an inhalation. Measure 11 has been

included in the first group because of the homogenous texture of the material. Measures

11-23 represent one macro exhalation, ending with a “suspension” – a single static

secco measure in 24, marked for memory as a result of its contrast with the previous

material. The music “catches its breath” for a moment before continuing to exert itself in

the next respiratory cycle. 57

Figure 3.13, Respiration of Materials mm. 24-48, Lemma-Icon-Epigram.

57 The number of sixteenth notes between first two sections (62:51) reflects a sort of “tilted symmetry”

between the two sections. Perceptually, tilted symmetry subverts the experience of predictability.

66

Chords may be regarded as a suspension of time, the low energy state of

respiration. However, the loud, low register sustained chords are especially visceral,

marking for memory both the register and the “texture” as a potential contextual

reference point. In hindsight, knowing that they play a predominant role in the Icon

section, one could trace their overall development in the Lemma section as preparatory.

Characterizing the other side of the continuum (retention), spattering holds the

high potential energy state of respiration. As a means of transitioning between the two

contrasting states of stasis, the two active textures (runs and tremolos) provide the

inhalation and exhalation, respectively. Differences in color in Figure 3.14 have been

used to illustrate this change in energy within the “active” category – blue representing

lower energy and red representing higher energy. Upon reaching temporal suspension

in measure 48, the material continues to oscillate between states of activity, with

multiple respites of stasis. The following diagram illustrates these relationships, as well

as tessitura and dynamics with an increase in the latter indicated by the darker color.

Figure 3.14, Momentum with dynamics and tessitura, mm. 42-48.

Even though the dynamic marking in m. 48 is ppppp, the material in context

retains a high state of potential energy due to the contour and activity of all that has

preceded it. The previous diagram illustrates especially well the textural cohesiveness

67

of this particular passage. As the material progresses, secco moments of stasis provide

respite for the exertions of the runs.

Figure 3.15, Categorical respiration (continued), mm. 48-59.

One may consider both secco moments as periods of high potential energy,

reinforced by the use of register and dynamics. Overall, the material continues to build

momentum and energy with longer stretches between moments of stasis. This effect,

coupled with the use of dynamics and tessitura as illustrated in the above figure, creates

a greater contrast when stasis is finally reached in measure 59.

Measures 60-89 continue the process, generally increasing momentum and

tension through respirating materials and integrating a new textural element, glissandi.

By providing just enough contrast within the extended cohesion, the material creates

opportunities to reengage attention – thus, the saturation point is avoided.

Figure 3.16, Integrating contrast, Lemma-Icon-Epigram, mm. 60-64.

68

Figure 3.16, Integrating contrast, Lemma-Icon-Epigram, mm. 60-64 (cont.)

By interspersing brief moments of single notes, the material invokes an internal

respiratory quality, maintaining overall cohesiveness while providing a perceivable

internal contrast.

Figure 3.17, Micro-respiration, mm. 65-67.

At this point, a state of temporal immersion has been achieved through extended

continuous activity – making the subsequent final arrival in measure 89 all the more

striking. Postponing the peak, Ferneyhough first explores the glissandi marked with

single note “breaths.”

Measure 68 provides a transitional texture, a state between single notes and

69

runs, while in m. 69, Ferneyhough weaves in a tremolo layered under an ascending run.

Figure 3.18, Transitional State, Lemma-Icon-Epigram, m.68.

Following m. 70, Ferneyhough continues to explore a final exertion before the arrival

point in m. 88. An analysis of m. 84 shows how these categories are layered and

blurred.

Figure 3.19, Blurred categories Lemma-Icon-Epigram, m.84.

The low register fff chord continues to resonate while runs and tremolo continue

above, followed by an upward quasi-spattering run at the end of the measure. In this

way, the material continues to find moments to “catch its breath” before the final

exhalation into the breakdown in mm. 88-89.

70

Figure 3.20, Transition into Icon, mm. 88-89.

Demonstrating extreme dramatic contrast, the “edge” between measures 88-89 is

unmistakable. Coupled with the loudest moment thus far, it marks the end of the Lemma

section and the beginning of Epigram with an energetic release thus far unparalleled in

the work. This sets up another paradigm: that of space versus activity in a more clearly

defined relationship, allowing for single notes to be more closely examined. If I were to

name a “wrench” in the piece, it would be the transition between Lemma and Icon.

Imagine again the water model as previously introduced by Grisey. The effect of

the following measure's texture relates to that of previous examples of spattering,

though slowed down.

71

Figure 3.21, “Lost,” slow secco spattering, Icon, m.99.

Compositionally, this presents an opportunity to look at the “musical clay” and

explore all of its possibilities: what would this look (sound) like if it were compressed to

its extreme? What if it were slowed down to create detached points? How are these

points articulated? In this instance, Ferneyhough attaches new material to these points,

allowing it to gradually overtake the old material.

Figure 3.22, Beginning of textural transformation: Lemma-Icon-Epigram, mm 108-109.

Glissandi are introduced as echoes of the chords, as the material enters a new

72

phase, and activity begins to build again. Though space and sustained chords still play

a predominant role in the interactions between glissandi/runs, the “streams” become

more prominent. Transforming from stasis, the influx of glissandi provide the necessary

energy to create momentum as the music inhales before “holding its breath.”

By increasing the length of the grace note passages, the quasi-

glissandi/spattering gestures gradually take over the secco material, as in measure 116.

Figure 3.23, Glissandi as the primary category, Lemma-Icon-Epigram, m.116.

With interruptions of the 1stasis punctuated by chords, the “sputtering” glissandi

continue, creating an increasingly disjunct texture. As the differentiation between stasis

and activity becomes more distinct, these categories are blurred as textures are layered

and fragmented within the edges of the cells. The overall surface effect is the result of a

blurring of internal textures.

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Figure 3.24, Oscillation between layered materials and space, mm. 120-122.

Within the activity of m. 121, the right hand plays an arching gesture of chords

while the left hand presents downward runs. The overall effect of m. 123 is an

expanding and contracting spattering gesture. It may be construed that at this point, the

musical material is having trouble holding its breath, or even “hyperventilating.” Short

bursts of activity are interrupted by ever increasing space between them.

Figure 3.25, Expanding Containers, Icon, mm. 123-125.

Measure 132 marks the penultimate cell of this cycle, punctuated by a loud low cluster

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at the end.

Figure 3-26, “Hyperventilation,” Icon, m. 129.

Throughout each “hyperventilating” cell, categories have been blurred and

overlapped. The disjunct nature of this phase ends with a period of prolonged activity

similar to the previously segregated material. After extending the intensified texture for

the next three measures (mm. 133-135), Ferneyhough provides a much-needed release

with the return of a prolonged section of secco texture beginning in m. 137.

Figure 3.27, Return of the secco texture, m. 135.

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Marking the beginning of the next period of suspension, m. 135 begins the

penultimate macro-respiratory cycle of the piece. The material begins secco and

somewhat sparse, cohesive, and with a clear trajectory, then continues to increase in

activity, overall dynamics, and density until it ends with an accented middle register

chord. The following figure shows cycles of respiration from the beginning of the Icon

section through m. 157.

Figure 3.28, Respiration of the Icon section, and beginning of Epigram.

As in the beginning, respiration between disjunct and conjunct materials provides

contrast and cohesiveness, providing time to “reset” our attention in the gaps. Similar to

the first cycle, these oscillations build cohesion through the association of related

materials. Active materials such as glissandi and runs continue, with chords marking the

end of m. 135 and the return of the secco texture, in contrast to the highly differentiated

alternations between dense activity (granulation?) and space (effluvial silence).

Additionally, the return of the secco texture makes a cohesive connection to mm. 90-

105, reengaging memory of prior materials to reinforce the semiotic context of the piece.

The alternations of space and spattering throughout the second cycle build a sense of

expectation through a dynamic intensification, even though the space between each

outburst increases each time, akin to the expectation of reaching the final plateau.

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Figure 3.29, Distinction between materials, Epigram mm. 157-162.

Whereas the material in Icon generally involved a blurred or layered integration of

elements, Epigram tends to be more clearly differentiated, with notable exceptions of

blending.

Figure 3.30, Blending of categories, mm.163.

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Figure 3.31, Final Measures, Lemma-Icon-Epigram, mm.170-174.

The final measures exhibit clear evidence of contrasting methodologies. On one

hand, the blending of categories is followed by clear alternation of categories.

The following figure shows the final respiratory cycle.

Figure 3.32, Categorized final respiratory cycle, mm.160-177, Lemma-Icon-Epigram.

Bringing all of the elements back together before the final measures, Epigram

continues with an increasingly compressed alternation of all categories in the final

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measures. Beginning with the suspension of breath of the previous chords of m.157, the

active spattering and tremolo material (mm.159-166) marked by interruptive, as the

material embarks upon its last tentative inhalation, rising to suspension represented by

the tremolo material in mm. 167-169, itself “sputtering” as if running out of breath. The

final exhalation beginning with the spattering of m.170, continuing with resonant

sustained sonorities holding the space between the last gasps, as the material

“expires.”

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CHAPTER 4

ANALYSIS OF PHASE: AGONY TRANSMUTED

Form and Conception

Laborintus II by Berio was influential to the form of Phase, in particular the way

the composer combines multiple elements within the work. Berio successfully integrates

such disparate elements as a narrator, eight “actors,” electronics, and jazz by first subtly

hinting at these elements, then bringing them to the foreground once the existing

material has been established and adequately explored to the point of saturation. The

resulting composite continues to be explored until the next point of saturation is

reached, at which point a new twist is revealed.

I intended to follow a similar course with Phase, with fixed media serving as the

primary monkey wrench in the work. Conceived as three continuous movements

preceded by a prologue, Phase is divided into five “Arias” separated by four “Interludes.”

Figure 4.1, Phase form.

Throughout the work, Phase integrates and explores the various elements of

pitch, noise, video images, and movement. Abstractly programmatic, the piece exhibits

multiple dramatic arcs including two moments of extreme contrast: the first of these is

the third interlude with the extended electronics; the second is at the end of interlude

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four, with an exaggerated drop in dynamics and activity, coupled with a change of light

highlighting the dancers.

As an extension of the music, intermedia would include Butoh dance and digital

background video art. Like the acoustics and the fixed media, both the dance and the

video are highly abstract. Throughout the work, Butoh dancers move slowly, creating

evocative human sculptures. At times reaching towards the sky, at other times turning

inward, and at other times individuated, shapes and “movement qualities” evoke

energetic metaphors. Slowly transforming pieces of background video art are projected

behind the ensemble. Live quasi-randomly morphing electronics use Max/MSP/Jitter to

process both pre-generated video clips and a live camera feed of the dancers, creating

an algorithmically controlled piece of self-generating video background art. Both the

dancers and the video art are more active during certain segments of the piece, most

notably the interludes.

The purpose of the prologue is to create an “accessible” experience for the

audience by setting up a context for unfamiliar, dissonant, and disjunct materials and

events to happen in a “safe” psychological environment. It introduces the main

characters: the piano and the electronics in an “overture” which gives glimpses of

materials and aesthetic highlights to come. Accompanied by video and dance as a

means of immersing the audience in an engaging, though potentially unfamiliar

aesthetic, the intention is that the experience will create a positive response in the

audience. The semiotic elements in the work may not as of yet be understood by the

audience at this point, nor is it intended for the audience to grasp the numerous

systems and mechanisms that have generated the material. Hopefully, the aesthetic

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tone of the work at the outset proves to be inviting to the audience, creating a taste for

the unknown, and providing a context for the musical “challenges” that are yet to be

revealed in the work.

After the introduction of the piano and the electronics, the ensemble enters at the

end of the first aria. Respirating multiple times, the first movement “catches its breath”

during the first two acoustic interludes (I1 and I2) where the focus returns to the piano.

The second movement breaks the pattern with the electronic centerpiece, I3 after the

third development of A material in A3. As my vision was to extend the piece further with

the final movement, another phenomenological twist was needed in order to maintain

momentum and audience engagement. Having mastered the prior musical challenges

of being overwhelmed by both the electronics and acoustic instruments, the audience

experiences the last movement, which re-contextualizes all the previous materials in a

visceral, energetic climax. As the accompanying ensemble respirates between string

quartet and wind/brass/percussion quartet, the piano transmutes and wields the bulk of

the energy, as the piece comes to a close by finally integrating all the elements through

various expressions of periodicity and respiration between various states of noise, pitch,

phasing and beating.

Number Systems: Aria 1 and Interlude 1

Macro (Form) Used extensively throughout Phase, number systems generate and control the

behavior of musical materials, ranging from choice of dynamics, transformation of

timbres and durations on a micro level, to the lengths of sections on a formal level.

Preliminary conception of the form included assigning proportional lengths of the

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sections to one another. A combination of Lucas and Fibonacci numbers were

combined to create a master list: 1, 2, 3, 4, 5, 7, 8, 11, 13, 18; these numbers were

rearranged, resulting in the following generative sequence: 7, 1, 11, 4 || 7, 3, 2, 8 || 18,

5, 13. In order to translate this number sequence into durations, a multiplier of 20 was

initially determined to yield the optimum durations for the work, resulting in the following

durational units (in beats at MM=60; double-bars represent breaks between

movements): 140, 20, 220, 80 || 140, 60, 40, 160 || 360, 100, 260. In considering

number placement, attention was given to relative differences between adjacent

sections; for example, at the end of the second movement moving into the third (40,

160, 360), the latter section is significantly longer than the first creating an experience of

temporal immersion by resetting the experience of the former. The ratios were applied

to the number of beats rather than duration in seconds – an important approach to

creating the malleable “musical clay” that can be stretched and squeezed in whatever

needs or wants that may arise.

An important aside needs be made at this point. Defaulting to MM = 60 results in

a 1:1 relationship between chronometric time (in seconds) and number of beats. An

awareness of temporal perception thresholds was considered in choosing where to

place the longest sections, which would be the most “immersive.” Because tempo is

completely malleable, time values could be stretched or compressed to whatever

phenomenological needs might develop as the composition progressed. Results are

achieved through pushing systematic composition as far as it can go on its own, then

applying mindful “tweaks” to the system and intuitive sculpting of the material to meet

the needs (wants) of the given situation. Often, a well-designed system creates

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opportunities for the music work as a result of the limitations imposed by the system

itself. Thus, revising and allowing for different multipliers per section resulted in the

following proportions:

Table 4.1, Proportions of formal section lengths, Phase.

A1 I1 A2 I2 A3.1 A3.2 I3.1 I3.2 A4 I4 A5 7 1 11 4 7 3 1 8 18 5 13

X20 X30 X11 140 20 220 80 210 90 30 240 !?! 55 143

A multiplier of 30 was applied to derive the number of beats per section in the

second movement, and a multiplier of 11 was applied to the third movement. These

factors were determined by applying the number sequences through trial and error in

order to arrive at the most satisfying composition results.

Micro (Durations)

Intending to create the experience of increasing momentum as the result of an

accumulation of attacks, the “heartbeat Grundgestalt” was arrived at from a top-down

approach: macro → middle → micro. Initially, the number of beats for each period was

determined by dissecting the length of section A1 into four segments (A1.1, A1.2, A1.3,

A1.4), using an altered Lucas series and multiplying by ten, yielding (in beats): 40, 20,

10, 70.

Figure 4.2, “Heartbeat Grundgestalt” (in three periods).

A1.1: 18, 11, 7, 4, 2, 3, 5, 8, 13 | 11, 7, 4, 2, 3, 5, 8, 5, 3, 2, 2 123 onsets = 3 eighths/beat for 41 beats A1.2: 8, 5, 3, 2, 1, 2, 3, 5, 8, 5, 3, 2, 1, 2, 3, 5, 3, 2, 1, 2, 3, 5, 8, 1, 2, 3, 5, 1, 2, 3, 1

100 onsets = 5 quintuplets/beat for 20 beats A1.3: 1, 2, 3, 1, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 2, 1, 2, 2, 1, 2, 2, 1, 2, 2, 1, 2, 2 50 onsets = 5 quintuplets/beat for 10 beats Guided by a phenomenological desire to express an intensifying state of

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respiration, the first segment (A1.1) moves between decreasing Lucas series and

ascending Fibonacci series numbers, compressing both the length and number of

attacks for each subsequent cycle. Though originally intended to fit into 40 beats, an

extra beat was added in order for the section to end with an intensification of the onsets,

culminating on the first beat of the next section. The slowest thread subdivided each

beat by triplet eighths, yielding 120 onsets @ 40 beats x 3 (subdivisional unit). After

numerous attempts to squeeze a satisfactory stream of respirational cycles into 120

onsets, I decided to break the pattern and add the beat, thus allowing intuition to temper

the systematic approach.

Figure 4.3, Unit durations and respirational phases, “heartbeat Grundgestalt a.”

18, 11, 7, 4, 2, 3, 5, 8, 13, 11, 7, 4, 2, 3, 5, 8, 5, 3, 2, 2 inhale | exhale | inhale | exhale | inhale

Each cycle represents a compression and expansion of the number of units

between each onset. Once crystallized, the “Grundgestalt a” sequence was distributed

across three strands of different subdivided values: triplet eighths, sixteenths, and

quintuplet sixteenths. The entry of each canonic thread was delayed such that the

arrival point of all three would occur on the first beat of section A1.2.

Figure 4.4, Canonized “Heartbeat Grundgestalt a.”

The second segment (A1.2) was designed to reflect a state of respiration and

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subtly introduce a “heartbeat” motif, expressed in durational units “1, 2” (or notationally

as x e). Appearing first in A1.2, this motif repeats in A1.3 with one or more added

beats. This time the original beat schematic was adhered to with A1.2 and A1.3

equaling twenty and thirty beats, respectively, with the master subdivisional unit as five.

Mathematically, the quintuplet thread fits exactly:

Figure 4.5, Unit durations and respirational phases, “heartbeat Grundgestalt b.”

The onset of A1.2 represents the center of canonic activity. As the point of

convergence for the canonic material of “Grundgestalt a,” it also as serves as the point

of divergence for “Grundgestalt b.” Though in canon, there are “sculpted” anomalies. At

the beginning of A1.2, the triplet thread has been erased to create space and allow the

material to build up again with the goal of climaxing at the beginning of A1.3.

Figure 4.6, “Heartbeat Grundgestalt b,” A1.2 – A1.3.

Though followed throughout A1.2, at A1.3 the triplet thread aborts what would be

its prescribed path at beat two of m. 16 (*), resuming the system presented by the

quintuplet thread at the beginning of m. 15. Breaking the system again at m. 17 of the

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sixteenth thread (**), attacks are chosen to express a compressed cyclical periodicity

with emphasis on beats with simultaneities. Later occurrences of the “heartbeat

Grundgestalt” allow the canons to complete as well retrograde, stretching the “clay”

further. In the score, the Grundgestalt reveals itself first in the prologue as the flickering

video heartbeats, returning later in A2.1-A2.2 by providing a structural framework for

acoustic counterpoint: the triplet thread for the cello/bass, sixteenths for trombone/bass

clarinet, and quintuplet sixteenths for the flute.

Figure 4.7, “Heartbeat Grundgestalt,” orchestrated, mm. 65-67.

Within this framework, instruments vary articulations by using sustained,

particulate, or “active” materials (“active” in this context refers to flutter-tongue, tremolo,

or jeté). This same framework later provides onsets through which pitch material would

be woven to create the re-contextualized “musical clay” of Aria 4.

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Middle (Phrasing) and Timbral Categorization With a duration of seventy beats, the entrance of the ensemble at A.1.4

illustrates the use of number systems applied on a “middle ground” level: integrating

numbers from both Lucas and Fibonacci series yields the sequence 5, 8, 13, 4, 7, 11;

multiplying the last three elements by a factor of two provided the beat framework for

A1.4.

Section A1.4 employs rotating blocks of sound as a means of introducing the

basic differentiated qualities of timbre to be explored in detail throughout the piece:

noise and pitch. When first conceiving Phase, the following gradient was considered:

Figure 4.8, Timbral categorization.

The X-axis represents duration whereas the Y-axis represents degree of decay.

This chart illustrates the possibilities, roles, and relationships between instruments that

have emerged in the creation of this work. The snare drum represents the closest thing

to an unpitched particle with string pizzicato, a pitched particle, situated on the other

side of the Y-axis, A1.4 uses primarily sustained materials, bridging both sides of the

pitch-noise continuum. When combined with the previous number series set at a middle

ground level, a loose structural framework emerged:

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Table 4.2, Application of number systems to timbral categories, A1.4.

Representing a slow periodicity, the entry of the ensemble was intended to be

explosive and overwhelming, orchestrated in two respirational cycles. The fortissimo

onset of the distortion was, in each case, followed by an expansion and denouement.

Pitch and Rhythmic Microperiodicity In Phase, there are two basic categories of material:

1. “Heartbeat Grundgestalt” 2. “Broken clock”

The “broken clock” creates a lopsided periodicity on the local level through

repeated pitch and rhythmic material. It appears in the piano first in the prologue in mm.

6-7, then again in Interlude 1 at the end of A1.4. Two taleas of differing lengths, one for

pitch and the other for durations, combine to create the notational “clay” of the raw

“broken clock.”

Figure 4.9, Raw “broken clock” material.

Formally, the interludes provide a respite, allowing both the audience and the

ensemble a moment to rest, regroup, and “reset.” Musically and phenomenologically

throughout Phase, orchestral space and moments of sustained, non-textured effluvial

sound occur within gaps and fermata, providing contrast to prolonged sections of active

material. The main local compositional challenge of I1 was to transform the piano from a

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“scintillating and shimmery” effect into a “broken clock” texture, representing a transition

from “ease and grace” into “struggle and challenge”– the descent from mania into

depression.

Applying more systems further sculpted the musical clay. Using a “fixed”

spectrum assured that the color would be maintained, while octave displacement was

used to vary the material, increasing the amount of registral displacement over time.

The distance between the displaced notes was managed by “scrubbing” through the

Fibonacci sequence: 2, 3, 5, 3, 2, 3, 5, 8, 5, 3, 5, 8, 13, etc.

Figure 4.10, Octave displacement managed through Fibonacci, Phase, I1, mm. 49-51.

Applying systems to govern phrase lengths, tessitura through octave

displacement, and the density from beat to beat were a way to sculpt the characteristics

of each “state,” as defined in Table 4.3.

Table 4.3, Piano materials categorization, I1.

“Shimmery spurts” “Broken clock” (Quasi-spattering) Quicker, denser legato “fluid”

Wider, disjunct intervals Slower marcato “clumpy”

To avoid “clumpiness,” the cluster was split into two dyads when applied in the

“shimmery” phrases, and octave displacements were used in the final measure to

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augment the distance between the upper and lower dyads.

Table 4.4, Distribution of phrasing and materials, I1.

Material Spurt Denouement Gap Spurt Clock Spurt Clock Seconds 14'' 4'' 1.25'' 4'' 2.75'' 2.5'' 4.5'' Beats 11 b 6 b 2 b 6 b 4 b 3 b 5 b Tempo 3b @ q =60

8b@ q =120

ritardando Fermata q = 90 rit. rit. → q = 60

The “clay” was sculpted through the phrases as defined by the material

characteristics, and octave distribution continued as appropriate yielding the following:

Figure 4.11, Phrasing in piano, Phase, I1.

The second phrase of “spurt” material gradually transforms into the “broken

clock.” Revealing the raw material more overtly in measure 56 at a rapid tempo,

magnification occurs as the tempo slows and octave displacement increases further in

mm. 57-58.

Setting up a rhythmic periodicity at the end of the interlude provides an

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opportunity to re-contextualize the clock through orchestrational changes. The

ensemble returns in Aria 2 transferring the texture of the “broken clock” to a

violin/viola/flute composite. Simultaneously, materials from the particle side of the

sustain-particle timbral continuum are emphasized through the Heartbeat Grundgestalt

triplet stream by the cello and bass.

Figure 4.12, Orchestration of the “broken clock” and “heartbeat Grundgestalt,” A2.1.

The preceding example demonstrates how categorization was applied to timbre,

types of material, and orchestrational roles. Once timbres were chosen, relationships

between the different timbres were defined and developed through the following

sections. For example, in the transition from A2.2 to A2.3, the piano plays a leading role

whereas the percussion provides counterpoint (and commentary), filling the gaps

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between the phrases. Three primary groups exist.

Table 4.5, Groupings of foreground materials, A2.3. PRIMARY (sustained pitch)

“Glue” (“noisy” pitch)

SECONDARY (noise particulates)

Piano Flute overblow Percussion (battuto) “Active” flute Clarinet overblow Trombone (breath attacks) Membrane friction attack Trombone bends Bass clarinet (key clicks + slap

tongue) As a side note of phenomenological interest, the timbres used as “glue” (serving

as an “in-between” state while primary and secondary voices exchange positions for the

foreground of A2), were earlier introduced in the distortion category of A1.4. An

important part of creating cohesion relies on referencing previous materials and

developing them further. The use of the overblown wind instruments in this case

subverts its role into the background, while its presence establishes a context for when

it becomes foreground material in the climax of A2.2.

Textural Transformations: Aria 2 After the build-up at the end of A2.2, I wanted to create a state of “energetic

suspension,” while continuing the momentum and shifting texture. What was required

was a drop in dynamics and overall orchestral “mass,” but with continued density and

activity, similar to the “spattering” texture discussed previously. A system of categorizing

and transforming both timbral and activation materials was applied in sections A2.3 and

A2.4, resulting in a gradual progression from high activity to sustained sounds. String

materials of A2.3 were categorized in an order reflecting the effects of activation and

timbre, creating a “string wall” that would initially overwhelm the piano before subsiding.

Categories of activation in the strings include tremolo, jeté, and ordinario.

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Organizing the onsets by the following algorithm, a gradual transformation of sound was

produced. In order to push the extremes perceptibly farther, the middle tremolo would

become “chaotic” in the case of adjacent occurrences, including the opening one.

Table 4.6, String activation and bow pressure talea.

Activation (T = tremolo, J = jeté, O = ordinario) T* 3

T 3

J 2

T 3

J 2

O 1

J 2

O 1

O 1

O 1

J 2

O 1

J 2

T 3

J 2

T 3

T* 3

T 3

J 2

T 3

J 2

O 1

J 2

O 1

O 1

O 1

J 2

O 1

J 2

T 3

J 2

D 4

D 4

N! D 3

D 4

N! D 3

D!N 2

2 4

N! D 3

D!N 2

N 1

N! D 3

D!N 2

N 1

D!N 2

N 1

N 1

N 1

D!N 2

N 1

D!N 2

N! D 3

N 1

D!N 2

N! D 3

2 4

D!N 2

N! D 3

2 4

N! D 3

2 4

2 4

Bow pressure (D = distorted pitch resulting from overpressure, N = normal pressure) By combining two number series of different lengths, a variety of combinations

are possible. The following figure shows how all these number series were integrated in

the violin.

Figure 4.13, String transformations, violin, A2.3

Due to the the fact that jeté bowing is ineffective with increased pressure, a

change in bow position was necessary to create a transformative timbral “filter” to

metaphorically simulate the change in bow pressure.

Aided by the entrance of distorted string sounds in the fixed media at m. 65, the

goal of A2.3 was initially to overwhelm the piano, then allow the piano to emerge from

the string wall by giving it a registral “boost” at the end. Similarly, the initial goal in A2.4

would be to submerge the piano as in A2.3, but in this instance it remains submerged.

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Instruments were given clear roles with corresponding timbral characteristics to define

distinct orchestrational textures. Entrances were shaped to produce a perceivable

change in the registral profile of the sound mass.

Figure 4.14, Entrances for strings, A2.3 and A2.4

For A2.3, the violin was given the longest stream (a), and bass the shortest (d). In

A2.4 the strands were inverted with bass taking the longest and the violin the shortest.

Quicker respective entrances ensured a more aggressive onset of the wall in the latter

section, as well as a slower and more gradual decay. Number systems were again used

in crafting the durations for each of the threads.

Figure 4.15, Duration sequence, “string wall,” A2.3.

Streams a, b, and c were generated by adding to stream d. Dividing the values of

d by 2 (resulting in the sequence 1, 2, 1, 2, 3, 5, 1, 1, 1, 1, 2, 1, 2, 3, 1, 1, 1, 2, 1, 2, 3, 1,

1, 2, 3, 1, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 1, 2, 1, 1, 2, 4), suggests that the result may be

considered a variation of the Grundgestalt sequence. This “Grundgestalt variation”—

discovered upon analysis after the fact—would later be used as one of two rhythmic

frameworks in A4, to be discussed in the section on “re-contextualization.”

For phrasing purposes, a variation of the Lucas series was used to determine the

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length of gaps, which later perforated the string wall texture; these Lucas umbers were

chosen in order to prevent alignment of the gaps in the first of the two walls. Entrances

were also staggered as illustrated in Figure 4.15 above.

Figure 4.16, Entrances and (gaps), A2.3.

VLN: 11 (2) 7 (3) 11 (3) 4 (2) 4 (1) 3 (1) 7 VLA: (7) 11 (4) 7 (2) 11 (3) 7 (1) 4 CL: (7) (4) 11 (3) 7 (2) 4 (1) 3 (2) 4 (1) 7 CB: (7) (4) (3) 11 (3) 7 (1) 4 (2) 7(1) 4 The numbers in parenthesis represent the number of silent beats, including those

of the staggered entrances; thus, the viola entrance was delayed seven beats, the cello

eleven, and the bass fourteen. Color coding is used in the following figure to show the

individual strands for each of the sections, reflecting the numeric figure used.

Figure 4.17, Phrasing for string “wall(s),”A2.3 – A2.4.

Intentional artifacts emerge as a result of the gap system in the case of A2.3 and

A2.4. First, phrasing was designed for sound to remain relatively continuous throughout

A2.3 with only a few instances where the density drops below three instruments.

Because of quicker entrances in A2.4, the gaps in the individual phrases fortuitously

aligned, producing interesting edges and a “stuttering bass” at the end. Though the

same taleas are used in both A2.3 and A2.4, the changing alignment of entrances

creates two completely different effects: A2.3 “shimmers” and tends to transform more

gradually, whereas A2.4 “hiccups” in a manner that was intentionally avoided in the

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previous section. Aligning at the end of A2.3, the canonic nature of the material creates

perceivable waves:

Figure 4.18, Strings, A2.3.

Figure 4.19, Strings (continued), A2.3.

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As in the first interlude, the second interlude provides a contrasting instrumental

texture, consisting of piano, flute, bass clarinet, and percussion.

Figure 4.20, Interlude 2, mm. 111-113.

The piano material refers back to the prologue, with the wind and percussion

instruments echoing the piano gestures. The timbral choices are eclectic, borrowed

from the preceding material, while glimpses of the electronics provide commentary

during the gaps between the piano phrases and foreshadow later development and

foregrounding. Instrumentation here introduces the second of two “quartets” used in the

piece. The significance of the instrumentation becomes more apparent later in Aria 4,

when the composite material oscillates between the wind/trombone/percussion quartet

of I2 and string quartet in a “macro-respiratory” fashion.

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Respiration: Aria 3 and Interlude 3 In contrast to the relatively homogenous “walls” of A2.3 and A2.4, section A3.1

both extends existing categories and clarifies others in the context of a respirational

model. The other purpose of Aria 3 is to provide a build to the main monkey wrench of

the piece, I3.

Figure 4.21, Respiration in A3.1.

Respiration – – – – – – – – – – – – – – – – – – – – – – – – – | Exhale / Inhale | Retain

Like the simple three-celled model of A1.4, the beginning of Aria 3 uses the

phases of respiration as a “container” wherein multiple textural categories are integrated

in a macro-periodic model. Flute, bass clarinet, and bass trombone provide the first

stage of inhalation involving “air” sounds, with some accompanying textures provided by

key clicks.

Figure 4.22, Inhalation, A3.1.1.

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As used in A3.1, the “inhalation” section brings back familiar materials, providing

cohesion with earlier moments of the piece. Foreshadowing materials from A4,

subsequent retentions and exhalations introduce familiar timbres (harmonics and col

legno battuto) processed in new ways, the construction of which shall be discussed in

depth momentarily.

Figure 4.23, Retention, A3.1.

Figure 4.24, Exhalation A3.1.

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With a return to familiar materials, the subsequent suspension in A3.1 re-

contextualizes them with a different state of momentum. Originally presented in A2.2,

the double-trilled glissandi were presented in an alternately expanding and contracting

contrary motion, creating trajectories akin to inhaling or exhaling. Here, they are layered

in a quasi-random arrangement so as to create an experience of temporal immersion

and stasis.

Figure 4.25, Suspension A3.1.

A3.2 respirates as well with expanding periodic cycles, incorporating all prior

acoustic elements much in the same way that Ferneyhough created cohesion through

prolonged exposure to related materials. The phenomenological “other” is the

progressively overwhelming electronics, to which the acoustic forces eventually

succumb in Interlude 3.1. Through expanding periodic cycles, Interlude 3.2 reintroduces

the acoustic elements. As I3.2 transforms, Aria 4 gradually enters as a background

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layer, transforming into Interlude 4 and integrating all the elements—acoustic,

electronic, visual, and dance—in a massive sensory overload.

Re-contextualization: Aria 4

Figure 4.26, Re-contextualization through process.

A || B || (“material A” re-contextualized through “process B” → C

During the course of composing Phase, an opportunity arose to write a piece for

a new music festival: this new work, Glimpse (for 2 electric pianos and found

percussion) became source material in a multitude of ways. Glimpse provided the

source material for numerous quotations in the prologue as well as material for the

electronics in Aria 4.

Figure 4.27, Source material from Glimpse.

Pitch material for A4 was derived by “scrubbing” segments of Glimpse,

highlighted in Figure 4.28 below. Beginning in m. 30 of Glimpse, the following figure

shows how beats 1-3 were categorized and used as source material for Phase:

Figure 4.28, Categorization of Glimpse material, A4.

102

Only “active,” foreground material was used: the chords in the right hand of m.30

and the left hand of m.32 were deliberately left out. The process of “scrubbing” is

derived from recording studio editing techniques, and in the present work refers to:

1. Repeating segments (as in a broken record); 2. Unfolding materials moving forward, then backwards; 3. “Recursive scrubbing” of materials generated by either 1 or 2 above.

The goal was then to create viable raw material that could be used as is, or

redistributed through further processing. The three distinguishable cells were then

“scrubbed” via methods 1 and 2 above, resulting in the following:

Figure 4.29, Raw “scrubbed” piano material A4.

The order of “scrubbing” was designed with the phenomenology of Grisey,

Meyer, and DeRosa in mind. Engaging the attention of the listener was considered a

high priority, achieved by creating and fulfilling structural gaps, as well as generating

103

cohesion (through repetition) and contrast..

Figure 4.30, Arrangement of the cells by number (scrubbed Glimpse, m.30).

1 1 2 | 1 2 | 1 2 2 | 1 2 2 | ½of2 ½of2 | 1 2 3 ½of3 | 2 3 ½of3 | 2 3½of3 | 2 3 ½of3 | 4

Creating expectations and predicting reactions to their subsequent thwarting

generated the following micro-phenomenological analysis. Emoticons are used in

addition to punctuation marks introduced by theorists David Bard-Schwarz and David

Lewin.58

Figure 4.31, Glimpse scrub fragments with phenomenological commentary.

The process was continued throughout the three measures of source material.

Repetition was used to approach the fine line between comfortable familiarity and

potential boredom, avoiding prolonged repetition, which may induce the perception of

vertical time as intended by minimalist composers such as Reich, Feldman, and Glass.

As a fixed pitch spectrum, the material would be used in two ways. First, it would

be woven through the heartbeat Grundgestalt of A1. The “heartbeat” canons of the first

aria, initially presented in the video imagery and later by flute, bass clarinet/trombone,

and strings respectively, become the rhythmic framework. The “scrubbed” pitch material

is woven through the rhythmic framework, differentiated into three streams—strings,

58 David Bard-Schwarz, lectures, 2013.

104

piano, and winds/bass trombone—reflecting the onset of the triplet eighth, sixteenth,

and quintuplet sixteenth threads, respectively. The results of this process provided the

“clay” for composition and orchestration.

Figure 4.32, First three measures of “scrubbed” Glimpse piano part, annotated.

Figure 4.33, “Scrubbed” Glimpse material woven through “heartbeat Grundgestalt,” A4.

Triplet e Sixteenths x Quintuplet x

105

Re-contextualization at the beginning of A4 demonstrates how process A

(“heartbeats”) was applied to material B (“scrubbed” piano). Further sculpting was

required at this point: for example, notes allocated to the string quartet were limited to

sounding pitches available to open strings and harmonics. This material was further

sculpted through “subtraction”: timbral paths were carved out such that the piano

remained as a “tissue” between two alternating subgroups (string quartet and

winds/brass/percussion/electronics).

Later, the electronics would be separated as its own group. These materials

would be alternated with the “broken-clock” material, referenced in the beginning by the

prologue, and by the electronics at the end of I3. At this point, the “clock” material

becomes both secondary material and part of the process., the rhythm provided by the

Grundgestalt variation of the string wall and durations through which the Glimpse tissue

can be overlapped.

Periodicity as a Function of Re-contextualization

Re-contextualization as a “function” can be thought of as f(x) whereas process f

is applied to material (x). In the context of exchanging materials and processes, at least

four possible permutations exist between any two musical materials: a(a), b(b), a(b) or

b(a).

Table 4.7, Phase form as a function diagram.

As a process, b was used as a rhythmic framework in A1, and later A4, wherein

scrubbed Glimpse materials were woven through it. As a material, (c) represents

106

sustained timbral materials, whereas process c represents a slow cycling periodicity, as

a “container” for material as in the beginning of A1.4, A3.1, and later in A5. C' of I3.2

functions as a rapid cycling of materials. Re-contextualization as a formal de-coupling of

material and process was used as a means of merging contrast and cohesion by

creating new musical clay that contained elements from both its sources. In this way an

audience could find familiar elements in an unfamiliar substance. As a compositional

tool, re-contextualization can be applied recursively, as it is in I4, to integrate multiple

previously “unrelated” elements.

Conclusion As a means to close the piece, the phenomenological twist at the end was to be

a “pleasant” surprise. As I4 climaxes, alternating blocks of electronics and acoustics,

immersive fixed media create a “wobbling” effect in the room through a manipulation of

beating, phase-cancellation, and spatialization, bringing attention to the moment when

everything stops except a spotlight on the Butoh dancers, and providing an opportunity

to experience Kramer’s vertical time with a willing and enthusiastic embrace of

“timelessness.”

Both Grisey and Ferneyhough provide excellent examples of how the mindful use

of clear categories and a sense of how energy can be used to provide a visceral and

engaging experience for an audience. Also, an awareness of the innate

phenomenological potentials of materials on both a structural and energetic level can

provide guidance and new directions as the innate nature of compositional elements

guide the process of re-contextualization.

107

APPENDICES

108

Respiration of Materials, Lemma-Icon-Epigram, mm. 24-48.

109

Momentum with dynamics and tessitura, Lemma-Icon-Epigram, mm. 42-48.

110

Categorical respiration (continued), Lemma-Icon-Epigram, mm. 48-59.

111

Categorized final respiratory cycle, Lemma-Icon-Epigram, mm.160-177.

112

Phase form with “macro-phenomenological” annotation

113

BIBLIOGRAPHY David Bard-Schwarz, “Analytical Techniques,” lectures, University of North Texas, 2013. Cone, Edward T., “Schubert's Promissory Note: An Exercise in Musical Hermeneutics,”

19th Century Music 5, no. 3 (Spring 1982): 233-241, Accessed February 28, 2013, http://www.jstor.org/stable/746462.

Copland, Aaron. What to Listen for in Music. New York: New American Library, 2009. Ferneyhough, Brian. Collected Writings. Singapore: Harwood Academic Publishers, 1998. Fineberg, Joshua. “Sculpting Sound: An Introduction to the Spectral Movement-its ideas, techniques and music.” DMA diss., Columbia University, 1999. Fraser, Jonathon. Time, Conflict, and Human Values. University of Illinois Press, 1999. Kramer, Jonathon. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books, 1988. Grisey, Gerard. “Tempus ex Machina: A composer's reflections on musical time.” Contemporary Music Review 2, no. 1 (1987): 239-275, Accessed September 11, 2013, http://www.jstor/stable74646. Hindemith, Paul. The Craft of Musical Composition. New York: Associated Music Publishers, Inc., 1945. Husserl, Edmund. The Phenomenology of Internal Time Consciousness. Bloomington: Indiana University Press, 1964. Krier, Yves. “Parties, de Gerard Grisey, manifestion d’une nouvelle esthetique.” Musurgia 7, no.¾ (2000): 145-172, Lewin, David. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception: An Interdisciplinary Journal 3, no. 4 (Summer 1986): 327-392. Lewin, David. Musical Form and Transformation: 4 Analytic Essays. New Haven: Yale University Press, 1993. Meyer, Leonard. Emotion and Meaning in Music. Chicago: UC Press, 1956. Ornstein, Robert E. The Psychology of Consciousness. New York: Penguin, 1972. the Oxford English Dictionary Online, Accessed December 26, 2015,

http://www.oxforddictionaries.com

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Reiner, Thomas. Semiotics of Musical Time. New York: Peter Lang Publishing, 2000. Rose, Francois. “Introduction to the Pitch Organization of French Spectral Music.” Perspectives of New Music 34, no. 2 (Summer 1996): 6-39, Accessed March 4, 2011, http://www.jstor.org/stable/833469. Smalley, Denis. “Spectro-morphology and Structuring Process,” In Language of Electroacoustic Music, edited by Simon Emmerson, 61-93. New York: Harwood Academic Publishers, 1986. Toop, Richard. “Brian Ferneyhough’s Lemma-Icon-Epigram.” Perspectives of New Music 28, no. 2 (Summer 1990): 52-100, Accessed April 24, 2011, http://www.jstor.org/stable/833008. Xenakis, Iannis. Formalized Music. Stuyvesant, New York: Pendragon Press, 1992.

SCORES Ferneyhough, Brian. Lemma-Icon-Epigram. London: Edition Peters. 1981. Grisey, Gerard. Partiels, pour 18 musiciens. Paris: Ricordi. 1978. Grisey, Gerard. Periodes, per sette strumenti. Paris: Ricordi. 1978. Grisey, Gerard. Tempus ex Machina, per sei percussionisti. Paris: Ricordi. 1978. Sciarrino, Salvatore. Come Vengono prodotti gli incantesimi?. Rome: Rai Trade. 1985.

Phase: Transmuted Agonyfor chamber ensemble and intermedia

Brad Robin (2016)

screen

pianoFl.

Vln.

Vla. Perc.Speaker

Speaker

SpeakerSpeaker

3

dancersSeating Seating

Seating

2

Vc. B.Cl B.Tbn.

Cb.Cond.

: Chaos pressure, erratically vary bow pressure between indicated states.

GENERAL INDICATIONS:

: Change between indicate states.

: Sporadic dynamics within specified range.

: Perform gesture within specified duration.

STRINGS: Scordatura remains throughout piece. Notation reflects fingered pitches.

: Complete distortion, imperceptible pitch

: Increased pressure, produce partially distorted pitch

: Normal pressure

: Frenzied "chaotic" tremolo.

m.s.p. : molto sul ponticellos.p. : sul ponticellos.t. : sul tastoc.l.b. : col legno battuto

FLUTE:: air sound

: pitch/air blend

: full pitch

pizz. : lip pizzicato

ord. : normal

: tongue ram

: Perform specified formant with or without pitch content as indicated.

Overblows are to be performed to relative indicated level.

`

: Use credit card at a perpendicular angle and scrape parallel to coils. Make metallic “scraping” sound.

: Attack with mute open, immediately close.TROMBONE:

BASS CLARINET:

: Slap tongue

PIANO:: Use plastic poker chip to scrape strings at a perpendicular angle to string. Scrape indicated string back and forth rapidly.

PERFORMANCE NOTES

PERCUSSION:TAM-TAM : Prepare triangle beater with fi shing line or string such that beater can be dangled from top of tam-tam.

Objects include: thin, plastic grocery bags, set of keys, pan, small and large pot.

F.A. : Activate friction attack with superball mallet.

lowestmaximum possible

Overtones re to be performed to relative indicated level.

lowestmaximum possible

lowestmaximum possiblelowest

Bend to indicated note.Do not re-articulatedestination pitch.

: “Friction attack” tremolo

: Swirl object upon indicated surface.

: Double trill, alternate between normal and harmonic fi nger pressure.

: Upper staff indicates bowing, string number, pressure, and placement on string. Lower staff indicates left hand fi nger location and pressure combinations.

: Mute with palm of hand while striking surface.

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Phase: Transmuted Agony Brad Robin

© 2016 Brad Robin

Concert Score

Prologue

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⁄ œb œn œœn œœ œb3

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°œœ ‰ œb

3

œ Œ # œ 5

∑# œ œ ‰ œ ‰ . œ

œœœ Œ –– œœœœnµµ

œ #œn . œ. Œ

œ

Œ Œ ‰ Ó––

∑

n

n#P

n

n#

Fpf

sub

F

P n

El.

subsub

œ œn œb œb œn œm œn œb⁄œnœn

3 3

œn œn # œn œb œb œœ œb

°

œœn3 3

‰ . œ ‰ œ œ5 5

Œ Óœ Œ3

Œ ‰ . œœœœœ

œœœœ ‰Óœœœœn

µn

œB . œ. œB .œœœB

œn æ œæ œæ

Œ œ œ œ œ œœ&

π f

loco

sub

n

π

nF

n

‰ Óœ( ) ˙

∑

‰ .œ ‰ .œ Œ5 5Ó ‰ œ3

∑

Óœœœœ œB œ œ œœ œ œ œ œ œn œ œ œœœ

œœœ Œ Œ

œœ œ œ œ œBæ œ œ( )œ

œBæ ˙ œ( )F

F F

p

psub

π

Silently depress.

n

F p

P

np

# œ œ œ œœb œm ⁄ œn œœb∑œ œ. œ.

œ. œ. œb . œ. ‰3

‰ # œ .œ œn . œ.œ. œb . œ. œb .

œb . ‰3

œ Œ ‰ . œ Œ5Œ Œ Óœ Œ œ Óœ

3 3

œ Œ ‰ . ÓÓœ Œ

.œœB œB .œ

Œ Œ

œB œB œ ∑œ.Œ ‰ ‰

œ œ( ) œæ œæœ œ œ œ œ œ œ

œæ œæ œ œ œ œ œ œ œ œæ!p f p

f p F

F

F

p

&?

÷÷÷

&?

&

&?

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

12 3

Pno.

Vid.

◊

23∑

∑

Œ ÓÓœ Œ # œ œ .œ5 5 5

Œ Óœ Œ ‰ œ Œ3 3

‰ Óœ ‰ Óœ .œ œ Œ

œµ œ œ œ œ œ œ Œœœœœn

µµn

∑ &

œn œ œ œ œ œ œ œœ œ œ œ œ

?

œæ Œ ..œœ œœ∑œœ ‰

Ó ..œœµ œœ Óœœ ‰ ÷

f p

fEl.

n

P

n P π

œb œ œ œœbœb œ œ œ œ œ œœœ

‰

Œ ‰ ∑œœn

°œœ œb œ œ œ œ‰ œ œ

&

œ> œ> ‰ . œ ‰ . œ # œ œ5 5 5

Œ œ> Œ Óœ Œ Óœ ‰ œ3 3 3œ> Œ œ # .Óœ œ œ

œœœœnµµn ‰

Óœœœœn

µn œœœœ Ó ÷

œ œ œ œ œ Œ Œ Œ # ––B .œµ

3

œœœœµ œœœœ œæ Ó œœœœœnBB&

‰ Óœœœœµ

Óœœœœ ‰ Ó Œ? ÷

‰ Óœnæ œæ œæ Ó Œ

p

p

n#

n

P ππBalloon shaker with rice.

Pn π

F pnsub

F p

P

π

π πsub

Ó––b

Œ

Œ œœœœœÓ?

œ ‰ . œ ‰ . œ # œ œ œ>5 5 5

œ Œ œ # .Óœ

˙ ÓInhale. ÷

œœœœœnBB œœœœœ ∑œœœœœ ‰ ––B œnæ œæ œæ

∑œœœœœ ‰ ––œœœœµµ œœœœ

œœœœnµn? &

# 6 xæ .xæ 6 Œ ‰ ∑6∑6

6 ‰ 6 xæ 6 6 ‰ . xæf

F Fz

p

pShake can of

p

pFz Pz

bottlecaps.

p

PzShake can of rocks.

π

p

Pn#

f

n#P

Gradually releasepedal.

Pppsub

nn#

n

F

n

F

p

subn

n

F pn

P

nsub

7

&

?

÷÷÷

÷

&

&

?

÷

÷

45

45

45

45

45

45

45

45

45

45

45

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

12 3

Pno.

Vid.

(◊) ◊

26Ó ‰ Ó––b Œ

Œ ‰ ∑œœœœœ ∑––°

‰ Œ

# .œ œ Œ ÓÓœ Œ ‰ .œ5

5

5Ó Óœ œ> œ3

œ œ œ>> # .Óœ œ # .Óœ

Ó Œ ¿Exhale.

œ œœœœœBB∑œœœœœ ‰ ‰ Ó

œœœœnµµ œœœœ

œœœœœœœœn œœœœ Ó

œœœœ ‰ ‰ Ó––B œn æ œæ

Œ ‰ ∑–– ∑–– ‰ Œ

Œ xæ xæ 6 ‰ 6 6 .6

Óœæ ‰ # 6 xæ xæ # 6 ‰ ∑6 ÓxP π fp(rice)

pF

(caps)

pFz

n#

n#

n#F

n

El.

p

loco

n#

Fzp

π n P p

n p Pnsub

π

F

π P

F p

œm œn> ‰ # œn> œ ‰∑œm œ œœm . œ œn œ œ> œ> œœn> ∑œb

3

3 3

œb œb œn # œ œb œ œn . œ œœb. # œ œ ∑

œm œ œ.œ. œm . œ.

# .∑œn3

‰ .œ œ œ> œ .œ œ ‰ . œ # œ œ œ>5 5 5 5 5œ Œ Ó Œ

Œ # .œ ‰ œ # œ œ œ œ

œµ œ œ œ œ œ œ œ œŒ Œ¿

&

Ó Œ œ œ œ œ œ Œ # œn œB

.>œµ œn œœB œµ œn œ œ œn œ œn ‰ œ>5 3

.œµ œµ

#œ œB

œB œB œ œ œœB œ ∑œn œ œœB

∑X Œ ÓExhale, phase against opposite speaker.

f ƒ f

f

Ff

loco

fp

Psub

Œ Œ Ó––b

‰∑œ

Œ œœœœœ°

‰ ‰

# .œ œ Œ ÓÓœ Œ Ó5 5Ó Œ Óœ Ó3

# .œ ‰ œ # œ œ Ó

Œ Œ œInhale.

÷

∑

œœœœœnBB Œœœµµ

Œ ––œœn

# 6 yæ .yæ 6 Œ

6 ‰ 6 yæ 6 6 ‰ .

n

n#

(rice shaker)f

F Fzp

pShake can of

p

pFz Pz

bottlecaps.

p

Pz

n#f

F

subsubP n nF f

&

?

÷÷÷

÷

&

&

?

÷÷

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

12 3

Pno.

Vid.

√

29 œœ ∑œ œœ Œ∑œ œœ>

..œœb ––...œœbn ––.

Œ ..œœb> ––.‰ œ œ> .œ œ ‰ . œ œ> # .œ œ5 5 5

5œ> Óœ Œ Óœ Ó3 3

œ> œ # .Óœ ‰ Óœ Œ

œ Œ ÓœœœœœœœœœBBBBŒ

Óœœ ‰ Œ œœœœ

µn œœœœ

Óœœ

‰ Œ ŒœœœœœBB

Ó ∑6∑6 ‰ ‰ ∑yæ

Œ ‰ Óyæ yæ yæ ‰ . ∑∑0P π

n

p(rice)

n

n

n#n# n#fF

loco

Key sounds.

El.

(caps)

F

F

f

f F

sub

∑

∑œ> œ œ # œ œ> œ .œ œ œ> # .œ œ

5 5

5

5Œ Œ Óœ œ œ3

‰ œ œ # .Óœ œ # œ œ

Œœ œ œ œœ œæ Œ

&

œæ Œ Œ œæ ?

œn œ œœ Œ Óœ ‰œœœµ œB

æ Óœæ ‰ œæ œæ ‰ Óœæ

.yæ 6 ‰ ∑6 6 .6 6 Œyæ yæ # 6 ‰ ∑6 xæ xæ ∑6 6fp

(rice)

p

F ßp ß

Fz ß πPπ(rocks)

F p

pn

n

n

F

p

nsub

pF n pF

n

∑

∑œ> œ œ œ> œ œ œ> œ œ œ> œ œ

5

5 5 5

Œ Œ Óœ œ Óœ Œ3 3

.œ œ Œ œ œ> œ œ

Óœ œ œ œ œ œæ

œB œ œ œœ œæ Ó

∑

œæ –– ––

œB æ Óœæ ‰ œæ

xæ xæ xæ 6 ‰ ‰ ∑6 ∑6 ‰ ∑6

‰ xæ xæ ‰ # 6 xæ xæ xæf

F ßpp

p Fz Pπ(rocks)

F Pz

F

n#

F

pz

∑ ?

∑œ> œ œ œ> œ œ Ó5

5

Óœ œ œ Ó3

œ> œ œ œ> œ œ Ó

œB œœ œ œ œ œ Ó

œæ œB œ œ œ œ Ó &

œ œ œœ œœ œœ œœ œœ œœ Óœ œµ œ œ3

‰ ÓœBæ œæ œœœœµµ

Ó

# 6 xæ .xæ 6 Ó∑6 ‰ xæ Óπ

P

(caps)

(rocks)

8

&

?

÷

?

÷

?

?

&

&

B

B

?

?

?

t

&

&

?

÷

÷

÷

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

B. Cl.

Vox

Bs.Tbn.

sm.cymb.: med. lg.

tam

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)Cb.

Dncrs.

Pno.

66666666666666666666666666 666

666666666666666666666666666666666666 6666

6666666666666666666666666666666666666666666666

◊

33 .˙æ

˙æ

.æ æ

.æ ær

.˙mŸœ( )

˙

œ

Ó Ó

∑

.... ________ ___ __b#

VISA

°

________ ___ __

..OOmm OO OO

..OOmm

≥OO OO

ƒ

..OOmm OO OO

..OOmm

≥OO OO

..OOmm OO OO

..OOmm

≥OO OO

..OOb OO OO

..OOb≥

OO OO

œœœœnµµ

Ó


µn œœœœ Ó

––Bœnæ œæ œæ ∑œæ ‰ Ó

Œ Œ Œ Ó

Œ Œ ‰ ∑6 ‰ Ó ?

Œ xæ Óxæ ‰ Ó

∑Continue Butoh "sculpture - reaching with hands out, backs to one another in torment.

q = 60

Scrape length of strings with credit card parallel to coils.

ƒ

ƒ

ƒ

ƒ

IVIIIm.s.p. s.t.

FSfF

IVIIIm.s.p.

Sf

s.t.

ƒ FF

IVIIIm.s.p.

ƒ

s.t.

Sf

IVIIIm.s.p.

ƒ

s.t.

Sf

Roll italian "r".

Use trigger to perform erratic trill.

flt.

ƒ

F

A1.4

flt.

F

F

El.

n#

Timpani beater.Triangle beater freely dangles against tam.

sempre

loco

wæ

wæ

wæ

˙ Ó

∑

ÓXæ

$500

F

________ ___ __ ________ ___ __

∑

∑

∑

∑

wwb

ww

≥

F

wwB

ww≥

∑

p

Tremolo scrape with poker chip.

Insert harmon mute stem out.

Bow slow, produce undertone.


con sordino

P

P

P

F

F

∑

∑

∑

∑

Xæƒ

∑

∑

∑

Ó ˙˙µn&

Ó ˙Oo

&

ww &

ww

ww?

ww

∑

p

III

n cresc. poco a poco

Take plunger.

.˙m ˙

.æ æ

wm

∑

¿æ _______

$500

∑

..˙B ˙

..˙m ˙

..˙˙µn œœ œœn

.

.˙Oo œ

OœOo

..˙˙Bm ˙˙

..OO OO

wBŸœB( ) œ œB

ŸœB( )

wŸ

pO( ) œ œ

ŸO( )

∑

III

III

F



p

∏

F

Erratic trill between normal and harmonic finger pressure.

flt. (throat growl)

Drag chip along single string coil by coil.

fast slow

9

&

?

?

÷

÷

?

?

&

&

&

&

&

?

?

t

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

Ovtns.

B. Cl.

Bs.Tbn.

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.

(sound)Vln.

(sound)

Vla.

(sound)

Vc.

(sound)Cb.

Pno.

◊

66666666666666666 6666666666666666 666666666 666666

6666666666666666666666 66666666666666 666666666666666666666666666666

6666666666666666 666666666666666666666666666

666666666666666 6666666666666666666666666666

37wmæ

œæ .œ œ

‚

œP

œp

œ

.˙

∑

∑

∑

∑

˙ ˙B

˙ ˙m

..˙˙ œœµn

.

.˙Oo œ

Oo

wwBm

OO

˙ .œ œBŸ

œB( )œ

˙O( ) .œ œ

ŸO( )œ

(∏)

(∏)

(∏)

π

° sempre

(F )

p

π(p)

( )

wmæ

‚

œF

œp

œæ .œæ œ

‚

œF

œ

∑œb

∑

∑

∑

∑

ww

ww

ww

wOo

wwBm

OO

œ ∑œ œBŸ

œB( ) œ œŸ

œB( )3

œ ∑œ œŸ

O( ) œ œŸ

O( )3

p

p

p

(pp)

(pp)

p

(pp)

F p

n

∑

∑

œm ∑œŒ Œ ‰

∑

∑

∑

∑

∑

Ó Œ ‰

˙˙ Œ ‰ ?

˙Oo

Œ ‰ B

˙˙ Œ ‰ ?

O Œ ‰

∑

∑

∏

Remove mute.

∏

∏

∑

∑

∑

∑œ ‰ Œ Ó

∑œ ‰ .˙

∑

wæ

$500

ƒ

wwmm

OOmm

wwBB

OOmm

..˙mm œœ

..˙mmF

ŸOO(

( )) œœ

ŸOO( )

)(

..˙mm œœ

..˙mmF

ŸOO( )( )

œœƒ

ŸOO( )( )

IIIIIm.s.p.

IIIII m.s.p.

IIIIIm.s.p.

IIIII m.s.p.

S

S

ƒ

sub

sub

ƒ

ƒ


p - )f

F

Timpani beater

F

Medium density.

w/ butta

a

F

∑

∑

∑

∑

w

∑

œæ .æ

..˙ œœ

..OOmm OO

..˙BB œœ

..OOmm OO

ww

wwF

ww

wwF

s.t.

s.t.

F

F

ƒ

ƒ

F

F

s.t.

s.t.

(gradually sparser)

ppp - p

10

&

&

?

÷

?

&

÷

÷

?

?

&

&

?

B

?

?

?

t

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

VoxVox

B. Cl.

VoxVox

Bs.Tbn.

Vox

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

∑

&

∑

∑

∑

.˙ ˙

∑

∑

..˙ ..∑œœ

# œœ

..˙≥

..∑œœ

# œœ≥

..˙µB œœ ..Óœœ #

..˙≥

œœ ..∑œœ

#

∑

∑

∑

∑

ffP


fp

ffP

° sempre

ppp - p


Low density.

42

( )

Ó Œ œb

Ó Œœb

pV -

∑

∑

Ó .

w

∑

∑

˙ ..∑œœ

# œœ

˙ ..∑œœ

# œœ≥

..˙µB ..Óœœ #

..˙≥

..∑œœ

#

∑

∑

∑

∑

Fpp

fp

p˙ œ œ ‰ ∑œb œ

œn ∑œb‰ ∑œ œ

V

Ó ‰ Óœb ˙

Ó ‰Óœ ˙

Ó Œ Œ ‰ . œb5

Ó& Œ Œ ‰ .œb

5

tu

∑

.œ ‰ Œ Ó

∑

Ó Œ Œœ

$500

œœ ..∑œœ

# œœ ˙

œœ ..∑œœ

# œœ≥

˙

˙µB ..Óœœ # ˙µB &

˙≥

..∑œœ

# ˙≥

∑ &

∑

∑ &

∑

Fpp

π

π

p

p

Density of activty:medium

f

Diaphragmatic "grunting."

Fpp

Fpp

œn fl œfl œfl‰ œ

‚œm . ∑œ

3

3

œb fl œfl œfl‰

œ œ œ3 3

V V V V V

˙ œb . œB . œb . œB . Œ

œ. œ. œ. œ. Œ

.˙ œ œb . œB . œb . œ.5

.˙ œ œb . œ. œ. œ.

5

tu tu tu tu

∑

∑

∑

wƒ

˙B ∑œœ œœ œœ3

˙m ∑ œœ 3

˙µµ∑œœ œœ œœ3

˙Ó œœ

3

˙˙ ∑œœ œœ œœ3

OObp

∑OO OO OO3

˙˙mm ∑OO OO OO3

OOmp Ó

OO OO OO3

IVIII

III

IIIII

IIIII

ord.

f

f

p

p

F

F

F

F

pizz.

p

p

p

p

highmedium

subp

subp

p

p

F

Erratic tremolo scrape with poker chip.

sub

sub

11

&

&

?

÷

?

&

÷

÷

?

?

&

&

&

B

&

?

&

t

&

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Ovblw.

Fl.

Vox

Ovtns.

B. Cl.

Vox

Bs.Tbn.

Vox

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.

(sound)Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

sost.

√

œn . œ. œ. œm .

‚

œm ∑‚

œ ‰ œn . œ.œ

3 3

3

œ. œ. œ. œ. œ œ‰

œ. œ. œ œ3 3 3

V V V V V V V V

œ œ .œ œ œ .œb

œ œ .. œ œ œ .. œ œ

œb œ œ. œµ . œn 5

Match flute and clarinet dynamics.

œb œ œ œ œ œ œ5

tu tu tu tu

∑

∑

∑

˙

œœ ..œœ ..œœ œœB ˙

œœ ..œœ ..œœ œœm ˙

œœ ..œœ ..œœ œœµµ ˙

œœ ..œœ ..œœ œœ ˙

œœ ..œœ ..œœ œœ ˙

OO ..OObF

..OO OOp

OO OO

OO ..OO ..OO OO OO OO

OO ..OOmF

..OO OOp

OO OO

∑

F p

Í

Í

Í

Í

ƒ

ƒ

f

Í f

Í f

f

F p

Continue erratic tremolo scrape.

° sempre

p

p

p

p

F

El.

ƒ

ƒ

46

( )

Ó

‚

œm

>

Ó œ ‰ ∑œ œ

3 3

3 3

∑œ> œ œ ∑œ œ‰ ∑œ œ

3 3 3 3

V V V V V V

‚

œ

>

.œ œ œn . œ œ. œ. œ‰

œ. œ.

œ> .. œ œ œ. œ œ. œ. œ Œ &

ÓÓœB > œn . œm . . œn

ÓÓœm . œ. œµ . œm . ‰

5 5 5 5

∑∑œb > œ œ œ œ œ œ ∑∑œ œ œ œ‰5 5 5 5

tu tu tu tu tu tu tu tu tu tu tu

Ó æ

∑

∑

˙ ˙

wwB

wwmf

wwµµ

wwf

ww

OObf

wwmm

OOmf

∑ &

IVIII

III

lowhigh

F - ff

F

F

ppp - p

p F

P

˙ .˙b

˙

F

.˙V

˙ .˙m

˙ .˙

œn œb œ œb œ œb œ œb œ œb

˙b .˙u

æ .æ

∑

∑

œŒ

......˙˙˙˙

mnm

nm

˙B ..˙

˙m ..˙

˙µµ ..˙

˙ ..˙

˙˙ ..˙˙

OO ..OO

˙˙ ..˙˙

OO ..OO

œœœB œB

œ œn œB

œ

œ

œBœ œn œ

œ œB

œœB

œœB

œ

œ

œœnµœ

œn

œBœµ

œBœµ

œ

œn

œœ œ œœB

œn

œnœ œ œB œ œ

œn

œ

œn

œ

œ

œn

œœBœn

œ

œBœ

œ

œœ

œ œnœB

œB

œB œ œ œ

œ

œœB

43 43

F

P

Color trill.

Ï

Ï

Ï

Ï

Graduallyreleasepedal.

)(

subπ

p

p

p

p

π

π

P

Depress silently.

12

&

&

?

&

?

&

÷

÷

?

?

&

&

&

B

&

?

&

t

&

44

44

Fl.

Vox

B. Cl.

Vox

Bs.Tbn.

Vox

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

(√)

˙ ˙ .œ œ.

˙ ˙ .œ œ.

˙ ˙ .œ œ.&

˙ ˙ .œ œ.

œ œb œ œb œ œb œ œb .œ œb .

˙ ˙ .œ œ.u

æ œæ Ó

∑

Ó œœ œœbb œœ> œm

œ

>⁄ œ> œœ> œœbb œ> œ œm ⁄œœ> œœ

œœbb >œ> œ

∑œm>œœ

3 33 3 3 3

&

∑

˙B ˙ ..œœ œœ.

˙m ˙ ..œœ œœ

˙µµ ˙ ..œœ œœ

˙ ˙ ..œœ œœ.

˙˙ ˙˙ ..œœ œœ

OOb OO ..OO OO.

˙˙mm ˙˙ ..œœ œœ

OOm OO ..OO OO.

œ

œ

œ œ

œBœBœ œ

œBœœ

œœBœ œœnœB

œ

œ

œB

œ œœœ œ œB

œB œ œœB

œ

œ œBœB

œ

œœ œ

œBœœ

œB

œ

œ

œ œ

œn

œnœn

œœBœ œ

œ

œn

œB

œ œn

œ œn

œn

œœµœB

œµ œn

43 43

p

non dim.

non dim.

non dim.

non dim.

non dim.

p non dim.

∏

∏

∏

p

p

p

∏

π

°

P

π

π

El.

Pf

49I1 "Breath"

œœ œœbb >œœ œm œ

œ œœ œœbb > œ.œ

œm .> œ.œ.> œœ .

∑œœbb .

∑f

œ. œ.>

œmœœ œœ œœbb œ

œ> œm œœ œœ œœbb œ. # œ. œm . œ.

33 3

3

∑ƒ

13

&

?

42

42

44

44

Pno.

52œ. œœœœbb

.>œ œ œ œm œ. Ó

œ. œœœœbb-

œ>⁄ œ

œmœ

œ> œm œœ

3

3 3 3 3 3

∑f

subp FP

sub

°

rit.

(Sostenuto remains depressed.)

(ff)sub

œm œœœU

3

Œ ∑œœb œœU3

(~2 sec.)

p‰

∑œœbb> œœ

œœ

Óœm

œœ⁄ œœbb

3 3

˙˙b

q = 90œœ

œœ œm > ∑œ

œœœbb œœ œ œ ∑œm œ

œœœbb⁄ œœ œ

Œœ

>⁄ œmœ

œ œœbb Óœœ œ⁄

œ

33 3 5

3

∑

&

?Pno.

56 œm œœ> œ œœœœbb

⁄œ œ.

œmœ>

œ⁄ œœœbb

Óœ> Ó

œ.

œmœ⁄ œ

33

3 3

∑

rit.

(p)

œœbb > œœ œ œ œ œm œœ œœbb œœ> œ œ œb

œn Óœn > œœ

œœbb

œ

⁄œ>

3 3

5

3

∑

œb œ> œn œœœ

œœbb

⁄œ

>

œœ œœbœn

∑œn∑œœ

œœbb >

œ œb œœ

œn >U3

3 3

3

œœ

(~1 sec.)

&

&

?

÷

&

?

&

&

&

B

?

?

?

t

Ovblw.

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

√

√ √

√

√

)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) )))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

‚

œ

.

‰œb

Óœ Œ

œ œ ∑œ‰ #

Ó

‚

œ

˘

‰5

3 35

∑

∑

Y

Ó X÷

∑

# .Óœµ

Ó ∑œµ œµ œ œn œm

Óœ œœµ

3

3 3

# ..∑Oœ

∑ ∑OœO O O Oœbb

ÓOœ OO

3 33

Œ Óœ œ

∑œ œ Ó

œµ œ Óœ ∑œ

3

3

3

3

Œ ÓO O ∑œ œ Ó

œoŒ Ó

Oœ∑Oœ

3 3 3 3

∑œœb ‰ œœ œœ ‰ Œ3

∑œo

‰ œo

œo ‰ Œ3

Óœ œ œ

∑œœBm ‰ œœ œœ ‰ Œ3

∑œ ‰ œ œ ‰ Œ3

ÓO O O

q = 60

F

m

pp - )p

Brush with one hand on snare in circular motion.

IIIII

I IIIIIpizz.

p

arco

III

pizz.

pizz.

IIV

f

f

IVIII

arco

arco

IIV

π

π

IV

π P

p ßF

Í

fÍ ç

slow

Crinkle plastic bag continously creating erratic noise.

pp - )p

Snares on.

A2.1

(sost.sempre)

"Submersion"59

œbæ

∑œ‰

œb œ‚

‰ œ- # #œn .

‰3 5 5

∑

∑

Óy yæ yæ Y

3

X

∑

Óœœ œ ‰

œ œœœµ

œœµÓœœ œm

3 3

3

3

ÓOO œo> ‰ O O œœ OO

ÓOO

œm

3 3 3 3

Œ Óœ œ

Óœm œ

Óœ ∑œ # œµ

œ

3 3 3 3

Œ ÓO O

ÓOœmm Oœ

ÓOœ ∑Oœ # œn o O

3 3 33

Ó ∑œœb ‰œB

Ó ∑œo

‰ OÓœ

Ó ∑œœBm ‰œœb

Ó∑œ ‰

OOÓO

pizz.III

arcoI II

I

I I I II I

f F ßp

III

pizz.

pizz.

IIV

f

f

IV

II

III

arco

arco

π

π

F

Fπ

I

slowfast

fsub

pp - )p

F

flt.

locoloco

‚.

œ œ # œb.∑œ ∑œb Ó

œ. Œ Óœnæ æ œm

‚

5

5

3 3

Ó # .∑œ œ?

Ó # .∑œ œb ∑œ* When in unison, match clarinet dynamic.

y yÓyæ yæ

∑y y3 3

Óy y

X

∑

# .Óœ

Ó ∑œ œµ œ œn œm

Óœ œœµ

3

3 3

# ..∑Oœ

∑ ∑OœO O O Oœmm

ÓOœ OOn

3 3 3

Œ Óœ œ

∑œ œ

‰ œ Œ3

3 3

Œ ÓO O ∑œ œ ‰

œoŒ

3 33

œŒ ∑œœb Ó

3

O Œ ∑œo

Ó3 Ó

œ

œœŒ ∑œœBm Ó3

OO Œ∑œ Ó

3ÓO

I IIIIIpizz.

p

III

IIV

IV

Í

Í

f

f

p

p

π

π

pizz.

f

fp psub

f

f

pizz.

F

F

f

F

IIIII

π P

fast

p - )fmedium(Density):

pp - )p (Density): low

f

flt.

sub

14

&

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÷

÷

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&

&

&

B

?

?

?

t

Ovblw.

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

(√)

√

√√

√

√

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‚ ‚

œ ∑œm ‰ # œb . œ. ‰ œ ∑œ‰ # œ

æœ

æ3

5 3 5

Ó ‰ . ÓÓœ.

Œ

Ó ‰ . ÓÓœb .

Œ

.Y yæ

¿ Œ Ó

∑

Óœœ œ ‰

œ œ œœµ œœµÓœœ œm

3

3

3

3

ÓOO œo ‰ O O œœ OO

ÓOO

œm

3 3 3 3

Œ Óœ œ

Óœm œ

Óœ ∑œB # œµ

œ

3 3 33

Œ ÓO O

ÓOœmm Oœ

ÓOœ ∑Oœ # œn o O

3 3 33

∑œœb ‰ ‰ œœœB ∑œœ ‰

3

∑œo

‰ ‰ œo

O ∑œo

‰3Ó

œ œÓœ

∑œœBm ‰ ‰ œœnœœb ∑œœn ‰

3

∑œ ‰ ‰ œ OO ∑œ ‰3Ó

O œÓœ

pÍ

II

III

III

III

IVIII

III

IV

pizz.

f

f

ß

ß

pizz.arco

arco

p

p

pizz.III

arcoI II

I

III

pizz.

pizz.

IIV

ç

ç

IV

ß

ƒ P

III I

pf

f p

I

locoloco

pp - )p ƒ

F

flt.

62

(P)

Ó

‚ .‚

‰ ..œœm( ).

‰ œ. œ. œ. œ. œæ

œæ

∑

œ ‰ ‰ ∑œœb( ).

5

3 33

Œ ‰ Óœ

Ó œb . œ

‰3

Œ ‰ Óœb œ

Óœ œ. œb ˘

‰3

.yæ∑y y ∑y yæ

3

Óy y

Óy

X

∑

Óœ œµ œ œn

‰ ‰œœµ

3 33

Óœ

O O O ‰ ‰OO

3 3 3

œ œ∑œœ œœ Ó

œµ œ Óœ ∑œ3

3

3

O O ∑œœ œœ Óœo

Œ ÓOœ

∑Oœ

3 3 3

Œ ÓœB

Óœ

Óœ

Œ ‰ œœb3

3

ŒÓOæ Oæ O Œ ‰ œœ

o

3 3

œ

Œ Óœœb œœ œœ

Œ ‰ œœBm3

3

Œ ÓOOæ Ó

OOæ ÓOO Œ ‰ œ

33

OIII

III

IIV

IVpizz.

pizz.

f

f

arco

arco

II

III

II

IIIIIpizz. arco

p

p

f

f

p

p

f

f

p

f

p

p

F

F

I

fast

ƒ

fast high

)p - f

ß ßp

pp - )p

F ff

flt.

‚

∑œœm( ).

‰ ‰ œ œ # œmæ

œBæ

œm æ ‰ .œœm

( ).3 5

5

# œ. # œb .‰ ∑œ .œ

œ œÓœ.

3

# œb . # œ.‰ ∑œn .œ

œb œÓœ.

3

yæ Óy y y

Óy y

Óyæ

3 3 3

X Ó

∑

œœ œ ‰œµ œ œœµ œœµ œœ

3

3

OO œo ‰ O Oœœ OO OO3

3

Œ Óœ œ

Óœm œ

Óœ

3 3 3

Œ ÓO O

ÓOœmm Oœ

ÓOœ

3 3 3

Ó Œ Œ ÓœB3

Ó Œ ŒÓO3

Ó Œ Œ Óœœb3

Ó Œ Œ ÓOO

3

fp

II

III

p

fP

pizz.III

arcoII II

I

III

p F

p F

p f

ß

ß

p

F

f

P

P

ß

p

loco

slow

p

medium

ß

flt.

f

15

&

?

?

÷

÷

?

&

&

&

B

?

?

?

t

?

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

√

√

√

√ √

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

‰ œœb( ).œœm

( ).‰ œœ( ).

# ‰ œœ( ).# Œ

5 5 5

‰ . ∑∑œb œ œ ∑œ Œ 3

‰ . ∑∑œ ∑ ∑œb Œ 3

yæ yæ yæ Óyæ y

3

Œ .X

∑

# .Óœ

Ó ∑œ œµ œ œ œB

Óœ œœµ

3 3 3

# ..∑Oœ


ÓOœ OOn

3 3 3

∑œBÓœ œ

∑œ œ Ó

œµ Œ Óœ

3

3

3

3

∑OœBB ÓO O ∑œ œ Ó

œoŒ Ó

Oœ3 3 3 3

Ó Œ ‰ œœb3

Ó Œ ‰ œo 3

œ

Ó Œ ‰ œœBm3

Ó Œ ‰ œ3

O

∑

III

IIV

IV

III

II

IIIII

pizz.arco

π P

Í

Í

F

pizz.

pizz.

ƒ

F

F

I

p

I

f

f

F

ƒ f F f

I

)p - ff

fast

ƒ

highmedium

pp - )p

El.

65

∑œœb( ).‰ # œb . œ. ‰ ‰ ∑œ

œm( ).

# œ. œ. œ. œ.

5 5

œ œ‰ ‰ . ∑∑œ.

Œ3

œ ∑œb‰ ‰ . ∑∑œb . Œ

3

Y Ó

X

∑

Óœœ œ ‰

œ œœœµ

œœµÓœœ œm

3 3

3

3

ÓOO œo ‰ O O œœ OO

ÓOO

œm

3 3 3 3

∑œ‰

œ œÓœm ∑œ

Óœ œ # œµ

œ

3 3 33

∑Oœ‰

O OÓOœmm ∑œœ

ÓOœ Oœ # œn o O

3 3 33

ŒœB

Óœ œ

‰ œœb Óœ3 3 3

Œ Oæ ÓO O O O O O O O O O O O ‰ œ

o ∑O3 3 3

œ

ŒœœB

Óœœ œœ

‰ œœBm Óœœ3 3 3

ŒOOæ Ó

OO OO OO OO OO OO OO OO OO OO OO OO ‰ œÓOO

3 3 3

O

∑

II

III

IIV

pf

pizz.III

arcoI II

I

II I

f

ß

p

p

Í

Í

f

f

arco

arco

π

Pπ

Í P

ß

F

F

pizz.

II

p

III

ƒ

jeté

IVIII

pizz.

π f

crini

P

jeté

π

crini

fsub

subf

I

locoloco

p - )f

low

Œ ∑∑œœm( ).

Œ ‰ œœb( ).‰ œœnm( ).

œœbn( ).#5

3 5

‚ ‚œ œ œ

œbœb ∑œ# œn . Œ

‰ Óœb œ

œœ. # œb . Œ

∑

¿ Œ Ó &

∑

# .Óœ

Ó ∑œ œµ œ œµ œB

3 3

# ..∑Oœ


3 3

Œ Óœ œ ∑œœµB

B œœ Óœµ& Œ

3

33

Œ ÓO O ∑œ

œœœ

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Œ3

3 3

Œ ∑œœb œœ ‰œB

Œ3

3

Œ ∑œoæ œ

oæ œ

o‰ O Œ

33Ó

œæ œæ œ

Œ ∑œœm œœ ‰œœb

Œ33

Œ∑œæ œæ œ ‰

OO Œ3 3

Óœæ œæ œ

Ó Œ œœœœœ

Undertone composite.

I IIIII pizz.

p

arco

arcoIII

p

Í

Í

III

II

f

IIIIV

P

pizz.

pizz.

f

IV

F

P ß

ßf

f

f P f

p ƒP

f ƒ f

II

π P

F

F

ß

ß

π16

&

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&

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&

&

&

B

?

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t

?

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Ovblw.

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Pno.

√

(√) √

√

√

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

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sost.

68‚ ‚ ‚.

œ œb œ œ ∑œ ‰ .œœmfl( )

‰ . œ œB œ œ5

5 5

œb œŒ œ œ

.œœ.

œ.

œ œb ∑œŒ œb

.œbœ.

œ.

.æ æ.æ æ

Ó ¿ X

÷www

wb( )

∑

Ó ∑œµ œœµ

Óœœ œ ‰

œ œœœµ

œœnµÓœœ œm

3 3 33

3

Ó ∑Oœµµ

OOnÓOO œo ‰ O O œœ OO

ÓOO

œm

3 3 3 3 3

‰ # œ œŒ Ó

œ œÓœm ∑œ

Óœ ∑œB # œµ

œ3

3 3 33

Œ ÓOœ

∑Oœ Œ ÓO> O

ÓOœmm ∑Oœ

ÓOœ ∑œœ # œn o O

3 3 3 3

3

&

Œ œœb œœ ÓœB œ ∑œœ ‰

œ3 3 3

Œ œo ∑œ

oœ

oÓO O ∑œo ‰ O

3 33

œÓœ œ

Óœ

3

Œ œœBm œœ Óœœb œœ ∑œœn ‰

œœ3

3 3

Œ œ ∑œb ∑œÓOO OO ∑œ ‰

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33

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III

III

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ç

f

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f PP

P

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F

f

II I

p F

ß

ß

f ç

Pf

P P

PP

locoloco

( )

slow

mf

Crinkle plastic bag continously creating erratic noise.

P

El.

π

Depress silently. pp - )p

Fz

( )

(P)

‰ ‰ . œœb .( )‰ œœ.( )

# Œ5 5

‰ Œ œ œ .œ

‰ Œ œm œ . ∑œm

∑œæ œæ æÓœæ œ ˙

.¿ Œ Œ &

∑

Óœ œ œ ∑œœµ

∑œœµ œœ3

O Óœ ∑O

Óœœ O

O( )( )

œœ3 3 3

Óœ œ œ

Óœœµ

∑œœµ œœ3

ÓO œ O œ ∑œ

Óœœ O

O( )( )œœ

3

‰ Œ Œ ∑œœBm œœ3

&

‰ Œ Œ ÓOOæ

OOæ3

Óœœnn

ÓœœB ‰ Œ Ó

œœb œœ3

ÓOO OO

ÓOO OO

‰ Œ ÓOOæ

OOæ3

‰ œœœœœ œœœœœŒUndertone composite.

III

π

π

f F

Fp

Fp

F

F

III

π

III

π

III

plunger mute

IIIVIII

III

jeté

f P

fast

medium

)p - f

A2.2

arco

Fπ π

arco

(batutto)

# .œ œ

‚

æ

‚

œµ

.

. . . . œn . ‰ œ œ

‚

5 5 5 5

œ( ) œb( )

œ œµ . œb > œ .œµ œm œ # .∑œn

œn œ. œ> œ .œ œm œ # .∑œn

Ó œŒÓœ ‰

œœ> œœbb œ> œ œm œœ> œœ

œœbb > œ> œœm>œ

œ œœ œœbb >œ

œ œm œœ œœ œœbb >

3 3 3 3

∑

∑œœµ )(..˙ œœmm

Óœœ O

O( )( )œœ ˙

œœmm3

..˙∑œœµ( )

œœmm

Óœœ O

O( )( )œœ ˙ œœmm

3

B

∑œœ œœBm œœ œœ œœ∑œœb? ‰3 3

ÓOOæ OO

> OO OO

> OO Ó

OO> O

OÓ OO

> OO ∑œ

o ‰3 3 3 Ó

O

Óœœ œœnB œœ œœ œœb ∑œœm ‰

3 3

ÓOOæ OO

> OO OO> OO Ó

OO> OO

Ó OO

> OOb ∑œo

‰3 3 3 Ó

O

∑ &

p

p

m.s.p.

m.s.p.

F

Í

Í

Í Í

Í

ƒ

F

F

F

sub

jeté

IIIIV

pizz.

p

p

Íp F

P

f

f

F

F

f

ƒ

Í ƒ

ƒ

ƒ

IIIIV

IIIII

III

P

jetéIIV

pizz.IIIIV

IIIII

III

ƒ ç

ƒ P çP

Psub

p f

pp - )p

flt.

°

n

IIIII

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

17

&

÷

?

?

&

÷

&

?

&

&

&

B

?

?

?

t

÷÷÷

Ovblw.

Fl.

Vox

Ovtns.

B. Cl.

Bs.Tbn.

Vox

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Pno.

Vid.

Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~ ~~~~~~ ~~~~~

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

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~~~~~~~

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~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~ ~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~

~~~~Ÿ~~~ ~~~~ ~~~~~~~ Ÿ~~~~~~~~~~~~~~~ ~~~~~~~~~Ÿ~~~~~~~~~

Ÿ~~~~~~

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~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~~~~ ~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~ ~~~~~~Ÿ~~~~~

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

~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~

~~~~Ÿ~~~ Ÿ~~~ Ÿ~~~ Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~ ~~~~~~~~~~

√

Ÿ~~~~~~~~~~~~~~~~~~~

◊◊

Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~

√

~~~~~~~~

√ √Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~

Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~ Ÿ~~~~~

Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~

Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~

Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~

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~~~~~~Ÿ~~~~~

œ œ # œ

‚

œ ‰ œœb .( )# œœ.( )

Œ ∑œœ.( )5 5

3

Œ ‰ œ œ ‰ Œ Œ5

fa f f fa

‚

œ ‰ œ œ œ. œµ . œn - ∑œ œfl œfl œfl œfl œ>3

3 3

œ ∑œ # .œ # # .∑œ œ # œm œn .

5 5

Ó #.∑

œ œ

Œ ‰ œ œ ˙

œ>œn

œm> œ

œb⁄ œn

œœbb > œœnœn

> œb > œœ⁄œ>

œœbb œœn‰

Óœœn œœ

..œœbb

3 3 3 3

3

Ó œn .œb œœb .

œœœœ

œ œœn

3

œœµ

∑œœ

µ œœµ

m ∑œœn œœÂ∑œ

œÂ

Óœm œ œ

œµ ∑œ

œµn œœm ∑œœnÂ œœµ ∑œœµ

3

Oœ ÓœO( )

( ) Oœm ÓœO( )

( ) Oœm ÓœO( )

( )Óœm œ Oœ Óœ

O( )( ) Oœm Óœ

O( )( ) Oœ Óœ

O( )( )

3

œœµ

∑œœ

µ œœµ

m ∑œœµm œœµn∑œ

œnÂ

Óœµ œ œ

œµµ ∑œ

œnµ

œœµ

m ∑œœµµ

œ

œµ

µ ∑œœ

µ

3

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( ) Oœm ÓœO( )

( ) Oœ ÓœO( )

( )Óœ œ Oœ Óœ

O( )( ) Oœ Óœ

O( )( ) Oœ Óœ

O( )( )

3

œœb

∑œœ

b œœ

∑œœ œœ

∑œœ ‰ ‰ ∑œœ

b& ∑œœb

œœ

∑œœb œœm∑œ

œ

3

?

Oœ ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )

( ) ‰ ‰ÓOœ Óœ

O( )( ) Oœ Óœ

O( )( ) Oœ Óœ

O( )( )3

œœb œœÓœœnB ‰ ‰

∑œœ

∑œœ

œœ

m ∑œœ œœnm∑œ

œm

OO> OO OO

> OOb OO

> OO

‰ ‰ÓOœ ÓœO( )( )

Oœ ÓœO( )( )

Oœm ÓœO( )

( )

∑∑∑

IIIII

III

IIIIV

IIIII

III

IIIII

P

P ß P

f

s.p.

humming

ç ßF ff

F

fSprechstimme - in speakingtone - follow pitch contour.

f

F

sub

P

F

p

p

p

sub

sub

p

p

Fz

F

F

F

IIIVIIIIIIjeté

f

IIIII

p

III

P

p

F ppp - psubito

P

I

sm.med.lg.tam

f

(Sost.)

arco

arco

(f )

f

f

71

ord.

ord.

-

-

-

-

-

# œœm( )

. # œ‚>

œ # .œ

‚

œ

b ˘ ‚

œb

˘

œ

˘

œn

˘

œb

˘ ‚

œ

˘œ œ

‚∑œ

55

5

Œ ÓÓœ œ Œ Œ œ œ

5fa f fa v fa

œf f f f fa

Ó

‚ ‚ -

-

-

-

-

-

.œm

‚

œ

.

.∑œ ∑œb # œµ œb # .œ œn

œm œn # œm ‰ œn fl fl ∑œ # œæ œæ5 5

55

‰ y ‰ Œ Œ Œ ∑y3

3

œ Œ Ó

œœbœœn

œœn >œ

œ>œb œ

œœn œm œn œ>œœ œœ œm œ ∑œm

>3 3 3

œœ œb . œb œ

# ..œœbb

°

‰ ∑œœœœ

bb

°

œœœ œ

œœ>3 3

‰œœb

∑œœ

œœb

m∑œœ œœb

∑œœœœ

µ ∑œœµ

œ

œ

B∑œœB œœnµ

∑œœµ

m œœµ

∑œœ

µ œœµ

m ∑œœµm

33

‰ Oœn≤

ÓœO( )

( ) Oœn ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )

( )Oœm Óœ

O( )( )

Oœ ÓœO( )

( )Oœ Óœ

O( )( ) Oœm ÓœO( )

( )

3 3

‰ œœµ

µ ∑œœµ

µœœB

µ ∑œœBB œœBµ∑œ

œµB œ

œµµ ∑œ

œµµ

œœµ

∑œœµµ œœµµ∑œ

œµµ œœnµ

∑œœµ

µœœµ

Â ∑œœµÂ3

3

‰ Oœn ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )( )

Oœ ÓœO( )

( )Oœ Óœ

O( )( )

Oœ ÓœO( )

( ) Oœm ÓœO( )

( )

3 3

‰ œœb

B&

∑œœB

bœœb

µ∑œœbµ œœbB

∑œœB

n œœb∑œ

œbœœ

n ∑œœnbœœn

b ∑œœb œ

œb∑œ

œb

œ

œ

n∑œœ œ

œn

∑œœ œœ #

3 3 3

? &

‰Oœ≤ Óœ

O( )( ) Oœm Óœ

O( )( ) Oœ Óœ

O( )( ) Oœ Óœ

O( )( )

Oœ ÓœO( )

( )Oœ Óœ

O( )( ) Oœn Óœ

O( )( ) Oœ Óœ

O( )( ) Oœ Óœ

O( )( ) Oœ

. #3 3

3

‰œœ

b ∑œœb

œœ

∑œœµ œœm∑œ

œmm

œœm∑œ

œm œ

œm ∑œ

œ∑œ

œ∑œ

œœœB

∑œœ

µ œœ

# œœn

m ∑œœb

n

3

33

‰Oœ≤ ÓœO( )( ) Oœ ÓœO( )( ) Oœ Óœ

O( )( ) Oœm Óœ

O( )( )

Oœ ÓœO( )( ) ÓOœ ÓœO( )( )

Oœm ÓœO( )

( ) Oœ # Oœ≤ ÓœO( )( )

3 3 3

∑∑∑

f

ƒ

fç f F

F

f

f

p

f PP

Fp p F πsub

S

F

IIIIV

IIIII

III

IIIIV

IIIII

III

IIIII

IIIIIIIV

s.p.s.p.

III

IIIII

III

IIIIV

s.p.

ç

ƒ

ßsub

f F

P

f

Ff

s.p. ord.

f

s.p. ord.

F

ord.s.p.

ord.

P

s.p. ord.s.p.

s.p.ord.

ƒ

ord.

ƒ

p - )f

Strike with timpani beater, triangle beater freely dangles against tam.

P

f

flt.

Â

F

F

P f

Fsub

III

-

-

-

-

-

œ œ

‚B ∑œ ‰

‚

œb

˘

œ

˘ œn

˘ œb

˘ ‚

œ

˘

œ

F

œ

∑‚

œ ‰

‚

œ

>

œµ

-

3

35 3 3

Œ ŒÓœ œ

Óœ ‰ œ œ

3 33

vv v v v v v

œ

‚

œB ∑œ Œ ∑œ œæÓ

‚

œæƒ F

‰ œæ

∑‚

œb3

33

∑œb fl‰ ‰ ∑œfl

Œ ‰ œ3

∑

‰ œfi‰ œ œ œ

fi.m œ #

3

œ œnœ# œn œœnm

> œn œ œœœbb ˘‰

∑œ œœ> œœœœ œnœb

œn œœœbb œœœœn >

3

3

3 3 3 3

œœœœœnbb >‰ ∑œ œœb > œœ œœb >

‰ œœœœœbnbn >œœb

3 3

œœ ‰ œ

œb∑œ

œ

œ

œ

m∑œœ œ

œ∑œœ œ

œµ ∑œ

œµ

œœ

Â ∑œœÂ œœnµ∑œ

œµm œ

œµ∑œ

œµ

œœ

m ∑œœµm œœmnÂ∑œ

œÂ

3

3

3

Oœ ‰ Oœn ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )( )

Oœm ÓœO( )

( )Oœ Óœ

O( )( )

Oœ ÓœO( )

( ) Oœm ÓœO( )

( )Oœm Óœ

O( )( )

33

3

‰ œœµ

µ ∑œœµ

µœœB

µ ∑œœµ

BœœBµ

∑œœµ

B œœµ

µ ∑œœµ

µœœµ

Â ∑œœµµ œœµµ∑œ

œµµ œ

œµ∑œ

œnµ

œœµ


œµÂœœµ

m ∑œœµm

3 33

‰ Oœn ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )

( ) Oœ ÓœO( )( )

Oœ ÓœO( )

( )Oœ Óœ

O( )( )

Oœ ÓœO( )

( ) Oœm ÓœO( )( ) Oœ Óœ

O( )( ) Oœm ÓœO( )

)(

33 3

œœbB∑œ

œœœb

µ∑œœbµ

œœb

B ∑œœB

bœœ

∑œœb

n œœ

∑œœnb

œœ

b?

∑œœb

œœb

n ∑œœ

bœ

œ

n ∑œœ

n œœ

n ∑œœn3

&

Oœ≤ Óœ

O( )( ) Oœm Óœ

O( )( ) Oœ Óœ

O( )( ) Oœ Óœ

O( )( )

Oœ ÓœO( )( ) Oœ Óœ

O( )( ) Oœn Óœ

O( )( ) Oœ ÓœO( )( ) Oœ Óœ

O( )( )

3

œœ

m ∑œœµ œœm∑œ

œmm

œœm∑œ

œm œ

œm ∑œœn œ

œ∑œ

œ œœB

∑œœ

BœœB

m ∑œœB œœBn∑œ

œµ

3

3

Oœ ÓœO( )( ) Oœ ÓœO( )

( ) Oœm ÓœO( )

( )Oœ ÓœO( )( )

Oœ ÓœO( )( ) Oœ ÓœO( )( ) Oœm ÓœO( )( ) Oœm ÓœO( )

( )3 3

ŒÓ¿

Ó¿ ¿ ¿ ¿ ¿ ‰3 3 3

‰ ¿Ó¿ ¿ ¿ ¿3 3

‰ ¿Ó¿ ¿ ¿

ff

ff

F F

f sfffz f

ff

ç

F

ffFwith gutteral growl

Ï f

IIIIV

IIIII

IIIIV

IIIII

III

IIIII

IIIIV

III

IIIII

IIIIV

Ï

Ï

Ï

Ï

P

P

Pƒ

ord.

“Chaos” roll : include dampening.

)p - f ß

F

Match dynamics of Clarinet.

ƒ

loco

flt. flt.

f

Take

loco

F

Mutewithhand.

F

18

&

?

÷

?

÷

÷

&

?

&

&

&

B

&

?

t

÷÷÷

÷?

Ovblw.

Fl.

Ovtns.

B. Cl.

Vox

Bs.Tbn.

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.

(sound)(sound)(sound)(sound)

Vln.Vln.Vln.Vln.

(sound)

Vla.

(sound)

Vc.

Cb.

12 3

Pno.

Vid.

√

√

# œm . ∑œb œ

‚

œb ∑œ

œ. œm œ œ.‰ œm

⁄. œ. œ.

œm . œn3

∑

Ó Œ ‰ ∑œ

∑œ

‰ Œ Ó

._ # œ

œ œ5

œb > œb > œ œm > œ. ∑œb œb .> œ. œm .> œ ∑œn œb> œ œb⁄œ œm œ>

œn œm > œ3 3 3 3

Œ°

‰ . ÓÓœœn

& # ..Óœœn

°

∑œn œœm?

œœµ

µœœm

œ

œ

µœœµ

œœµ œœµ œ

œ

œ

œ&

OOm œO Oœ œœ OO œO œœ Oœ

œ� œ œæ œæ œæ # œœ œ œ œ œ œ œæ œæ3 3 3

wµ

Owbb

w

Owb

∑

∑Œ

Ó¿ Œ Œ

Ó¿ ¿3 3

Ó¿ .¿ Œ ¿ ¿

‰ ¿Ó¿ ¿ ¿ ¿3 3

Heartbeats (forward and reverse)

wHarmonics to undertones composite.

(Triangle beater freely dangles against tam from top.)

πjeté

Pz Fz

I+II

s.p. s.t.

c.l.b. crini

Bow

ord.II+III

fastslow Tremolo speed

sub

subπ

subπ

III

Fz

I+II

P

pp - )p

F p

P

Bassdrum mallet.

F.A. (Friction attack with superball mallet.)

ßp Fz F

loco

I

f

p

FzF p

p

Plunger mute.

II+III

p

Continue to cycle through thesepitches in order (bisbigliando effect)

p

A2.3

II

fingering

El.

74

Cb.

œ

‚

b ∑œ ‰ ∑œ

‚

œ

.œm . . . œn . œn . ∑œb œ

‚

œb

.œ

‚

œb

‚

∑∑œ‰ . Œ ÷

Ó ‰ ∑¿ ¿Fffff!

. œm ∑œ‰ X

Fffff!

÷

# œ œ œ ._5

œ ∑œm œœ> œb œ> œb œb œ ∑œn

œm .>œ. œn œ œb ⁄œœb œb œ ∑œb

3 3

Óœn . ‰ # .

Óœ

°

∑œ œœ

∑œ

Óœœ œ. œ. œ. œ. œ.

3 3

∑œn∑œ

œµ&œµ œœµ

&œœµ œ

œ

œ

œ

œ œ œ œ œ œ œ œ œ œ œ # >œ œ œ œ œ3

.˙µ œœnµ œœ œ

œµœœ

..O OO œO œœ Oœ

œ� Óœæ3

w

Ow

∑

∑¿ ¿ Œ

Ó¿ ¿

Ó¿3 3

¿ ¿ ¿ ¿

ŒÓ¿ Œ Œ

Ó¿ ¿3 3

w

jetés.p. ord. s.t.

c.l.b.

I+II

Bow

ord.

II+III

F

F

II

I+II

ßp

F

F

p

f

F

pF

p

p

f

F.A.

P

Take m�

p

π

p

f FF psub

F

pOœ

œ

O

O

IIœ

O

II+III IIIp

œ

O œ

œ


O

jeté

Produce air sound throughout.p

Air sound.

fF p f

f

sub

sub

( )

∑œ

œb œb .‰ œm

‚

œn

. . .

œ

‚.

œ

‚

œ

.

. .

œ

. ‚

œ

.

# # ∑œb œ

‚

œb ∑œ

¿ ¿ ¿ ¿ .¿ ¿ ¿ ¿ # ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ .¿ ¿ ¿ ¿ ∑¿ ‰ ¿Fffff! Shhh! Fffff! Shhh!

X Xæ?

Œ œ œ œ œ> # œ œ # œ> œ # œ> œ # œ #3 3 3 3 3 3

œ œb > œb œb œ œm ⁄

œn

œn >œn . ∑œm œ. œ>. ∑œ

œœ> œ

œœœ œœb

3 3

3 3

3

Óœb - >∑œ. ‰ Ó

œ ∑œ œœb # œm - œœn .œb œb . ∑œb œn

33

œ&∑œ

œ ∑œ œ œ œ œ # Œ3 3 3

œœµµ& ∑

œœµ œ

œµ

œ

œ

µœµ&

œµ

œæ # œ œ œ œ œÓ œæ Óœæ œ œ œ œ œ œ œ ∑œ3

3 3 3

.˙œœBb œ

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œ

œ

..O OO œO œœ Oœ

œ� Óœæ

3

∑

Ó ‰ . ¿ ‰ ¿ ¿5 5

Ó ŒÓ¿ Œ3

Ó Œ ‰ . ¿

¿ ¿ ŒÓ¿ ¿

Ó¿3 3

w

ord.

crini

s.p.

F

jetés.t.

c.l.b. crini

s.p.

crini

s.t.

I+II

ord.

Bow

II+III

III

II

I+II

slow fastTremolo speed

f

Key clicks - fingering follows contour.

flt.

f

f

m

F Fp p

ff fP Fsub

Fzp F

P

π

F

psub

F

pœ

O œ

OII+III OœII

f

F

F

O

O œ

œ


jeté

p - )f

F

ƒf p ppFsub sub sub

p

sub

19

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÷

÷

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÷

&

?

&

&

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?

?

t

÷÷÷÷

&?

Ovblw.

Fl.

Ovtns.Ovtns.

B. Cl.B. Cl.

Vox

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)

Vln.Vln.Vln.Vln.Vln.


Vla.Vla.Vla.Vla.

(sound)(sound)(sound)(sound)(sound)(sound)

Vc.Vc.Vc.Vc.Vc.Vc.

(sound)(sound)(sound)

Cb.Cb.

12 3

Pno.

Vid.

√ √√ √ √ √ √

√

77

‰ œm⁄

.œm .

œn .œ. ∑œ œ

‚

b

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‚

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‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ®œ# #

œ œ?

‰ ∑¿ ¿ ÓFfff!

œ # ® œ œ œ ‰ œ . ∑œ . ∑œb f f f f f f f f f f f f f f

œ œ œ œ # œ œ>

œ œ œ> œ ‰ . œ5 5

5

∑œ

œ>

œ œ œ>

œ3 3

wwn >

‰œn .

∑œb œœ œœ ˙5

∑œœµ

& ∑œœµ ∑œœ ∑

œ

œ

œœ

µ

& œœmœ

œµœœ

œœµ

&œœµ ∑œœ ∑

œ

œ

ŒOOm œO Oœœœ

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&

œ œ œ œ œ œ œæ œæ œæ # œ> œ œ œ œ œ3

3

œµœµ ∑œœµ

& ∑œœµ œ

œµ

œ

œ

µ

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3 3 3 3

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3 3 3 3 3

œœm

m œœ œ

œœœ?

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œ� œæ œæ # Óœ> œ œ œ œæ

3 33

‰ .¿ ‰ .¿ Œ ¿5 5

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Œ Œ Œ ¿Œ

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∑w

ß

s.t. ord.jeté

c.l.b.

(s.p.)

crini

jeté

c.l.b.

jetés.t. s.p.

crinic.l.b.

s.t. s.p.

jetés.t. s.p.

II+III

Bow

ord.

(II)

II+III I+II II+III

II+III

II+III III

ç

p

F

F p

slow

slow fast

π F

P

slap tongue

F

p

pz

p

F

PzBreath attacks. Small notehead indicates partial pitch.

mf sub

Pz Fz

f FF

p Fz

f

f

fast

f

F

psub

f

c.l.b.

I+II

p - )f

œ

O

O

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II+IIIO

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œ

œ

p

II+III

O

œ

œ

O

p

Fœ O

III

p

I+II

(II)

ß

O

O

œ

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Continue to cycle through these pitches in order (bisbigliando effect)

I+II II+IIIO

O

œ

œ

O

O

œ

œ

crini

jeté

jeté

g

+ - of

p - )f

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Bow

Bow

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fingering

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fingering

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‚

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œn . œb ∑ ∑œ ‰f f f

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3 33

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œæ Óœæ œ œ œ

æœ

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3 3 3

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œ

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m? œœ œœ

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Œ ‰ . ¿ Œ ŒÓÓ¿5 5

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Œ ‰ . ¿ Œ ‰ ¿‰ ¿ ‰ ¿ ¿ ‰ ¿ ‰ ¿ ¿3 3 3 3

‰ ∑œ œb œ ∑œ‰

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w

jeté

crini c.l.b.

crini

F

jetés.t.

c.l.b.

s.t. s.p.crini

jeté

crinic.l.b.

jeté

crinic.l.b.s.p.s.t.

jeté

c.l.b. crini

II II+III

III+IV II+III III

Ff f ç

p ß FF p

slow fast

F ßp F p

Fp

f

pF.A.

F fF P

p

F

fF

ƒ

ƒsub

F

Take superball mallet.Take soft mallet.

f

f

psub

ß

F

II+III

s.p.

O

œ

œ

O

F

(s.t.)

IIIF

Oœ

œ

O

O

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O

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II+III

fII+IIIIII+IV

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œ

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pIII

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pO

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II+III

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œ

O

O

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jeté

jeté

fß

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p

flt.

( )

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œµ ‰3 3 3

‰ . ∑∑œ ‰ . ∑œ# ‰ ∑œ ∑œ ‰

œ . œ># ® œ ‰ ∑

œb œf f f f f f f f f f f

∑∑œ‰ .

.� œ

œ 1 � �

œm œœn œœm .

œb . œ. œ. ∑œ œœb œœœn

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∑œb .œn? ∑œbœœ

3

33

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∑œ&∑œ ∑œœµ

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œ

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&

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œµ

œ

œ

µ

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œœ?

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œœm

m?

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Œ # ¿ ¿ .¿ ¿>5 5

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# œb œb œ .œÓœ ‰ Œ ?

.˙ œ ∑œ3

jeté

jeté

s.p.c.l.b.

s.t.

c.l.b. crini c.l.b.

s.p.

jeté

s.p.

c.l.b.

s.t.

crini

jeté

s.t.

III II+III

II+III

III+IV II+III

slow fast

F

çß

F.A.

F

p

Fz

f

F p

F

çFz

F

c.l.b.

I+II

p

œ O

jeté

ç

œO

II+III

O

œ

F

FI+II

ß ç

ß

III+IV

O

O

O œO œ

ƒ

Fœ œ

œ O

f

œ O

jeté

crini

ç

Fpsub sub

20

&

÷

?

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÷

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&

&

B

?

t

÷÷÷÷?

Ovblw.

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Vox

Ovtns.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.


Vln.Vln.Vln.Vln.

(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)

Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.

(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)

Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.Vc.


Cb.Cb.Cb.Cb.Cb.Cb.

12 3

Pno.

Vid.

◊

√ √

◊

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

IŸ80

œm

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w

(jeté cont.)

crini

s.p.s.t. s.t.jeté

c.l.b.

jetés.t. s.p.

crinic.l.b.s.t. s.p.

jeté

crinic.l.b.

s.t.

s.t.

jeté

c.l.b.

s.t.

jeté

s.p.

crini

s.t. s.p.

c.l.b.

s.t. s.p.

crini

crini

criniIV

s.p.III+IV III II+III IV

III+IV III IVIII+IV

ƒ

ƒ f ç

çfƒ

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f

f F fF Pƒsub

pç f

P

ƒ

ƒ

m

ç

π

II+III III+IV

π

F

IV

II+III

FIII+IV

O

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II+III

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III+IV

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II+III

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jeté

jeté

jeté

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flt.

+ - o ad lib.

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3 3 3

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w

s.t. s.p.

s.p.

c.l.b. crini

s.p.

jeté

s.t. s.p.

s.t. s.p.

s.p.

f

s.t. s.t.s.p.

fƒ

p

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ß ßF

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f

ƒ

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F ƒF ƒO œ

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3

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slow jeté

s.p.

c.l.b.

s.t.

F.A.

P

Fz

fp

F Fz

s.p.s.t.

F

P

slow fast

slow

slow

p

πp p

π

II+III

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fast

crini

p

f

s.t.

π

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p

p

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t

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B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.


Vln.Vln.Vln.Vln.

(sound)(sound)(sound)(sound)(sound)

Vla.Vla.Vla.Vla.Vla.


Vc.Vc.Vc.Vc.Vc.

(sound)

Cb.

12 3

Pno.

Vid.

Ÿ~~~~~~~~~~~~~~~

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jeté

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jeté jeté

piu f

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s.p.

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m

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fasts.p. s.t.

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s.p.c.l.b.

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crinic.l.b.

ord.

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F

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F

p

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pizz.pizz.

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p

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3

∑œ œ&

°

∑œb∑œb œ

œn∑œœœœnb

nb œœœœœœœœ œb œ.

œb œb œ œb3

3

33

Œ # œ œœb ..œœœœ œœ

Œ # œ œœ ..œœ OO OO

..œœµµ&

œBœœ

∑∑œœŒ Œ

5

..œœ œœœ

∑∑œœ Œ Œ5

œœ∑∑œœ

œœ

œœ œb ‰ œ œ œœ

5

5

5

œœ∑∑œœ OO ..

∑OO ‰ ‰ . œœœ œœ œœ œœ œœ œœ

5 5

5

∑œœœœ‰ # œœ œœ œœ œ

œœœœmm

(( )( )

)....

œœœœ œm

ÓOO ‰ # œœ œœœ œœ œœ œœ œœ œ

OOm OO OO œ

.¿ ¿ ‰ . ¿ # ¿ ¿ ¿> # .¿ ¿5 5 5 5Ó Ó

‰ ¿ # ¿ ¿ ¿ ¿ # .¿¿ Œ Óœ Œ Ó

s.t. s.p.

crini

s.t.

arco

s.t.

piu f

jeté

jeté

c.l.b.

P

p ff pßsub

f Psub

P

arco

arco

ord.

ß

ß

arco

s.t.

arco

s.t.s.p.

c.l.b.

f

III+IV

II

III+IV

III+IV II

III II I

II

II

ord.II+IIIII+III

II+IIIIV ord.

I

arco

s.t.

III+IV

slowII+IIIIII

arco

slow

F

F

F

III

F

ƒ

F

pizz.

ß

ßpizz.pizz.

pizz.

pizz.IIIpizz.

IIpizz.

IIIpizz.pizz. pizz.

s.t.

s.p.

arco

s.t.

c.l.b.

jetés.p.

ƒ f

II Is.t.II+III

F

II+III

ç F f Fß

pizz. pizz.

Take

pizz.

loco

ord.

IIslowIII

∑œb œ

‚

œb œ

‚

œb œ∑œb

œB . œn . . . œB .>#

‚

œb

>

∑œ

∑

∑

œ ‰ œÓœ # œ # ∑œ œ œ

>∑œ œ œ

>∑œ œ

33 3 3

‰ 1

�

� �

# œm >‰ œn œn

œm>

œ œ Óœœœœn > ∑œ œ œ

œ œ œœb -

œn > ∑œœœœbnb.

3

3

3

3 3

38

œ- ∑œn

œn - œ. œœœœbb ∑œ œ. œœœbb

> œ œb > œ œ>∑œbœ? - œn >

⁄

œn

33

œ ‰ . œœ œœ œ ..œœ œœ ‰ . ‰ œ œœµ∑œ

œµ

5 5 5 5

œ ‰ . œœ œœ œ ..œœœ œœ œœ œœ œœ œœ ‰ . ‰ œ Oœ ÓœO( )

( )5 5 5 5

‰ . œœµµ ..œœ œœœµ ..œœ œ

œœ

µ ∑œœµ

µ œœ

5 5

5

‰ . œœœ œœ œœ œœ œœ œœ. œœœ œœ œœ œ Oœ Óœ

O( )( ) ..Oœ Oœ

5 5 5 5

..œœ œb œœbn ..œœ œb œœ

∑œœb..

œœ

œœ œ

œb œœB& œœ5

5 5

5

4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28

. œ œœ ..œœ œ Oœ ÓœO( )( ) ..Oœ Oœ Oœ œ

œœ œœ

5 5 5 5

4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28

œœm∑œ

œm œœ œm

œœm œœœœm

..œœm œœOO( )

( )œœ œ

œœ œœ ..œœ OO

ŒÓÓ¿ Œ ‰ ¿ ¿> .¿ ¿

5

5 5

Œ ŒÓ¿ ¿>

Ó¿ Œ

Ó¿3 3 3

‰ ¿ # ¿ ¿ ¿> ¿ # .¿

∑

arcoarco

arco

F.A.

F

f

loco

F f

p

P f

ƒ

p f

F

F

ƒ

ßf

p

I+II

jeté

III

s.p.

I+II

III

ord.

s.p.III+IVarco

psub

F p

sub

ßß

F f Fß

II+III

Ff

p

F Ff

pizz.

ƒ

c.l.b.

F F

° °

çç ß

ß

ß ç

F

arco

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

22

&

?

?

÷

&

?

&

&

&

B

&

?

?

t

÷÷÷

÷

Ovblw.

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Pno.

Vid.

~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~

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

√

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

~~~

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

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

~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

IŸ

86

‰ ∑œ

‚

œb ∑œ.œm .⁄œn .

œ. œm . ‰ œ

‚

œb

∑

∑

∑

œœ

b > œb œb œ œb œm .# ∑œ

œm œnœm

œbœn ∑œ

œb œœœbb⁄ œb œm œ.

33 3

‰œœœœbb #

œ# œn .>

œb∑œ

> #œb .>

œn # œ # œ œ3

33

œœµ∑œ

œm ∑∑œµ

œœBÓÓœœ ‰ . ‰ . œ

55

Oœ ÓœO( )

( ) ..Oœ œœœm œœ

ÓÓœœ ‰ . ‰ . œ

5 5 5

œœ œµ..œœµ œœ

..œœB œœ ∑∑œµ Œ5

5

5

œœ œœœ œœ œœ ..

OO OOÓÓœ Œ

5 5 5

∑œœ‰ Œ ∑∑œB

‰ ..œœbB∑œ

œB œœ5 5 ?

Óœœ ‰ Œ ÓÓ

œ ‰..œœ O

O( )

)(œœ

5 5

..Óœœ # Œ Œ ‰ . ∑∑œm

..ÓOO # Œ Œ ‰ . ÓÓ

œ

‰ . ¿ ¿> # .¿ ¿ ¿> ¿ ¿ # ¿ ¿> ¿5 5 5 5Ó Œ Œ

‰ ¿ Œ ‰ ¿ ¿ # .¿

∑

arcoord.

arco

arco

f

P ß

ßP

ßP

P

f F ß f

P fß

f Fpf F

I

I

I

III

I

I

III

II

II

II

II

slow

ß

F

fsubF

ß

p

pizz.

pizz.

pizz.pizz.

pizz.pizz.

sub

°

f P

F

El.

P

∑œ.œm .⁄œ. œn .

œm . ‰ ‰ Óœ ˙

Ó Œ––––œb

∑

∑

∑œnÓœ

œnœœœnnn ⁄

œ œœm ∑œ œ

œm ∑œn œ∑œœœœbnb ‰ ∑œœn

œb > ∑œn œœb ∑œb3 3 3 3

œ- œb⁄ œn

Óœœm œb > ∑œœœœbb œœœœ œn ∑œ

œœb œ œ œœœœnn > œ œ

œn3

3 3 3 3

#..

ÓœœB

∑œœ

B œœ ‰ œ œœµ œœ

# ..Óœœm O

O( )( ) œœ ‰ œ œœœ œœ œœ œœ œœ œœ œœ

Œ ‰ œ œœµµ œœ‰

..œœµ∑œ

œB

5

Œ ‰ œ œœœ œœ œœ œœ œœ œœ œœ ‰..œœ O

O( )( )

5

‰ œB œœb ..Óœœ # ‰ ..œœbB&

∑œO œœ

5

5

‰ œ œœœ œœ œœ œœ œœ œœ. # ‰..œœ O

O( )

)(œœ

5 5

œœmÓÓœœ #

Óœœm

∑œœ

m œœÓœœ ‰ &

œœ œœ œœ œœ œœ œœ œœ # œœ OO( )

( )œœ œœ

Óœœ ‰ B

.¿ ¿ ¿> # .¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿5

5 5

5

Ó¿ ¿ ¿ Œ Œ

Ó¿3 3

¿ # ¿ ¿ .¿ ¿ Œ

∑

jeté

c.l.b.II+III

arco

s.p.

ƒ

s.t. s.p.

jeté

c.l.b.

s.t.

jeté

c.l.b.s.t.

jeté

c.l.b.

s.t. s.p.

ç

Fp

I

I+II

II

II

I

I

I

II

p

π

s.p.

crinis.p.

f

III

slow

crinis.p.

III

slow

s.p.

I

f

crini

IIslow

p

p

P

P

ß Fç

fç

f

F

ç

pizz.

pizz.

pizz.

sub

ord.

°

ß ßf P

III

arco

arco

I

arco

˙ œ Œ

––––œ..

�

Ó Œ ¿÷

∑

œœœœnb œœn

> œm >#

œn⁄ œb œ œ œœœœbnb

œb œb œ œ œ œ œn œb œb33 3 3

œb œœ

n >n œn

⁄ œœœbbb ∑œœœn>œb œ⁄

œ ‰œb .>

∑œn œm>

‰œn

33

3

&

#..

ÓœœB∑œ

œB œœ ˙˙

# ..Óœœm O

O( )( ) œœ O

O

œœ ..˙µµ

œœ ..OO

w

Ob

w

Owbb

¿> ¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿5

5 5 5

FLICKERINGS

¿Ó¿ Œ

Ó¿ ¿ ¿3 3

¿ ¿> ¿ ¿ ¿> ¿ ¿ ¿> ¿ ¿

∑

ç

F

F p

p

III

IIIIV

πF

π

crinis.p.

III

Pπ

I

( h )IIIIV

P

Multiphonic: Play fundamental plus note(s) within range indicated.

Produce air sound.

~~~

23

&

?

÷

÷

&

&

&

&

&

B

&

?

&

B

÷÷÷

÷

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Ovblw.

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Pno.

Vid.

(√)

√

89 (3-5")

∑

∑

Ó¿ .¿ Ó

∑

‰ œn⁄ œb œ

Óœb > œm ⁄ œn

.œœ⁄ œm

œœ

Ó

3 3

œn∑œ

œnb

> Óœ œœœ. œ

⁄ œœœbbb œœm ∑œn

Óœn . ‰ Œ

3

œœ..˙˙µn

OO

OOæ

OOæ

wwµ

OOæOOæ Ó

OOæOOæ Ó

OOæOOæ

3 3

œ.˙B

OOœ Oœ Oœ

ÓOœ

3

cross string trill

w

Owbb

∑∑∑∑

subπ

( q )

fast( q )

III

F

slow

( q ) ( h )

I

III

F

fastslow

( h )

F

fastIIslow

f P

El.

(F )n

(pp)

(pp)

(p)

∑

∑

∑

∑

∑

∑

˙˙µ

OOæ

œœµµ

OOæ

˙

Oœ

˙

Obb

∑∑∑∑

rit.

( h )

p

slow

IIIII

( h )slow

p

(6-8")

¿ ¿ ÓShh

‰ ¿Ó¿ ¿ Œ

Shh!

Œ ¿ ¿Ó¿ ‰

Shh!

∑

Œ ‰ . œ⁄ œm

œÓÓœ

Ó

3

Œ ‰ œœm

Ó3

?

œœµ ..˙˙µn

OOæ Ó

OOæ

OOæ

OOæ

OOæ

3

ww

OOæ

OOæ ÓOOæ Ó

OOæOOæ

3 3

œ .˙b

Oœ Oæ Oæ ÓOæ Ó

Oæ Oæ3 3

w

Ow

∑∑∑∑

P

( q ) IIIII

fast

F

( q )

p

slowslow

( q )

II

fast( h )

F

p

slow

F

fast

p

slow

slowTremolo speed

( q )

p F p

p f p

fP P

a tempo rit.

slow

∑U

∑

Ó Œ #? ∑œb œ. œ ∑œ œ.3

∑

‰œ⁄œ œœœœbb œ œb

œb ⁄ œb œÓœœœœnbb .

œ⁄ œb œ

œnœb⁄ œ œ œœœœbnb

3

3

‰ . ∑∑œn > œœ>

œœ

n œœ

œm .> œœn

œœ

œœ

b.

œœ>

œn .3 3

˙˙ œœµ œœ œœµ

œœ

O œ œ OOOæ

œ� œæ œæ # Óœ>

œœ œ œ œæ3 3

3

œœµ

&œœ œ

œµ

œ

œ

..OOæOO œO œœ Oœ

œ� Óœæ

3

œœBb œœB œ

œb

œ

œ

.˙

..Ob OO œO œœ Oœ

œ�∑œæ3

w

Owbb t

∑∑∑∑

I+II

Bow

ord.I+II

π

I+II

ord.

Bow

I+II

π

jetés.t. s.p.

Bow

ord.

slow

π P

fast

c.l.b.

I+IIπ

I+II

( h )

( h . )

œœO

O

p

a tempo

p

p

+ - o

loco

(s.t.)

24

&

?

?

÷

÷

&

?

&

&

&

B

&

?

?

t

÷÷÷

÷?

Ovblw.

Fl.

Ovtns.

B. Cl.

Bs.Tbn.

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.


Vln.Vln.Vln.Vln.


Vla.Vla.Vla.Vla.Vla.Vla.


Vc.Vc.Vc.Vc.Vc.


Cb.Cb.Cb.Cb.

12 3

Pno.

Vid.

√

93

Œ. ∑œb œ

‚

œb ∑œ

œn œB ∑œn‰ œm

⁄œ

œœm

œ

.œb

‚

œ ∑œ ∑œ‰

œ

‚

œ

# ∑œb œ> œb . # ∑œ œ. œ ∑œ œb . # ∑œ œ œ. œ. # ∑œ œ. ∑œ œ- ∑œ œ.3 3

w

I

_

œœœœ œ> œb œ

œb

œ⁄ œb

œ> œœœœnbb œ ∑œb œnœœ

b ->

Óœ. œœœœbnbn ->

œ⁄ œ

3 3

3

œb œœ

œœ.>

œœ

n>

œœ

# œœ

b œm 3 3 œ œ œ œ œ œ œ œ

œœµn

&

œœµ

nœœ

œ

œ

µ

œ� œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ #3 3 3

œœµ

µ

& ∑œœµ œœµ

œ

œ ∑œµ&œµ

OO œO œœ Oœ

œæ� # œœ œ œ œ œæ œæ Óœ œ œ œ œ œ œ œ ∑œ3 3 3 3 3

œœm&∑

œ

œm

œœm?œ

œ

m

œµ& œµ

œæ� # œ œ œ œ œÓ œæ ∑œæ œ œ œ œ œ œ œ ∑œ3

3 3

3

œœ

µœœ œœ

œ

œ

œœ? œ

œ œœ

œ

œ

OOb œO œœ Oœ OO œO œœ Oœ

œ� œ œæ œæ œæ # œœ œ œ œ œ œ œæ œæ3 3

3

∑∑∑

œ ∑œ œ œ œ3

‰ OœÓOœ Oœ Oœ Oœ

3 3

Undertone/harmonic composite, more distorted.

I

F

s.p.

P

jetés.t.

c.l.b. crini

s.p.

crini

s.t.II+III II

slow fastTremolo speed

Pzπ P πsub

πœO

œ

O

II+IIIOœ

II

πjeté

I+II

s.p. s.t.

c.l.b. crini

Bow

ord. II+III

fastslow Tremolo speed

sub

I+II

PzP πII+III

π

jetés.t. s.p.

crinic.l.b.

s.t. s.p.

II+III

II+III III

PFz PπsubπP

œ O

III

s.t. s.p.crini

jeté

c.l.b. crini

P Pzπ P πPπsub

II+III

πO

œO

œ

II+IIIO

O œ

œ

œO O

œ

F.A.

)p - f

(Triangle beater freely dangles against tam from top.)

f PP

pp

Fpsub

F p ßFz

FzF p Fp F

subp p

jeté

jeté

jeté

+ - o

A2.4

Bow

Bow

Bow

fingering

fingering

fingering

fingering

f

p

El.

(p)

œ

‚

b ∑œ ‰ ∑œ œ .œ ∑œb Œ

œ

‚

œ ∑œÓ

# ∑œb œ.>∑œb œ ∑œb œ. Œ Ó

3

‰ . ∑∑œ ∑œ

‰ œ ‰ œ œ # œ # œ œ # œ œ3 3 3 3 3

œ

# œ ‰ ∑œ œ œ ∑œ œ3

œ. œbœ œ œœœœn ⁄ œn œ œn

œb ∑œn œœœœbbb œn .

∑œn .> œb -œ⁄

œ3 3

33

œœ

n œœ

∑œ œœ

œœ

œb > œœ>

#œ>

⁄ œb > œœ>

œœ

œœ

œœ

n.>

œn . œœ

b3 3 3

œœµ& œœ œœµ

œœ

OO œO œœ Oœ

œ œ œ œ œœ Óœ Œ Ó3

œœµµ& œœµ œ

œµ

œ

œ

œœ

µ

& œœµ œœµ

œ

œ œµ& œµ

œ # œœ œ œ œ œ œ œ œ œ # œœ œ œ œ œ œ3 3 3 3 3

œœm& œ

œm

œœm?œ

œ

m

œ ∑œ œ # œ œ œ œ œÓ œ œ ∑œ3 3 3 3

œ? œ œœ?

œ

œ œœ

œ

œ

œ œ œ œ œ œ œ œ œ œ œ # >œ œ œ œ œ3

∑∑∑∑

Œ ∑œ Œ Œ ∑œ œ3 3

ß

crini

jeté

c.l.b.II+III

π F pPII+III

O

œ œ O

p

jetés.p. ord. s.t.

c.l.b.II+IIIII

çpF ƒπsub

FOœ

œ

œ

IIO

O

II+III IIIF

œ

jeté

crinic.l.b.

jeté

crinic.l.b.s.p.s.t.III+IV

IIII+III III

π Pz fP π ƒII+IIIIII+IV

O œO œ

OO

œO

πIII

œ O

PO

s.p.

c.l.b.

s.t.

crini

jeté

I+II

PI+II

O œ Oœ Oœœ œ

O

œ

œ

O

O

œœO

O œ

f

ƒ

F pFp

p

F

g Fp

p

jeté

F

F p

Con sordino

p

Ó Œ # ∑œb œ

‚

œb ∑œ

Ó ‰ œm⁄ œm

œnœ ∑œ

‚

œ ∑œ

Œ # ∑œ œb œ. œ. ∑œ œb> œ œb ∑œb. œn .

# œb >∑œ œb . œ œb ∑œ œ.

3 3 3 3

# œ œ # ∑œ # œ œ œ œ∑œ

ŒŒ

fi

3 3 3

œ œ œ ‰ ∑œ ‰ œ œ>

œ œ œ3 3 3

œœœœbb œ.>œ œ œm

⁄ œœn œœœœnmmm . œn > œm œ Ó

œn .>œ œœœœbb .>

‰œ⁄œ

33

3 3

œœ

n>

œb . œœ-

œnœ>

œœ>

œœ

œ>⁄œ œ

œœ

b.fl

œœ

n ∑œb œœ

œœ

œ œœ

n>

œœ

3 3 3 3 3

œœµn

& ∑œœµ

nœœ ∑

œ

œ

µœœ

&œœ œ

œ

œ

œ

O œ œ O

‰ œœ œ œ œ

&

œæ Óœæ œœ œ œ œ œ œ œ. œœ œ œ œ œ Óœ

3 3 3 3 3

œœµµ& œœµ œ

œµ

œ

œ

œ œ œ œ œ œæ œæ œæ # Ó3 3

œm& œm

œ # œ œ œ œ œ œÓ œ Ó

3 3

œ? ∑œ

œ ∑œ œ œ œ œ # Œ3 3 3

∑∑∑∑

œ œ Œ ∑œ œ ∑œ3 3

crini

F

jetés.t.c.l.b.

IIs.p.

II

ord.

criniIII

s.p.s.t.III+IV

slow fast

O œœO

III+IVF

jeté

c.l.b.

s.t.jeté

s.p.crini

s.t. s.p.

c.l.b.

s.t. s.p.

crini

ƒç ç ƒ

II+III III+IV

F FII+III

___

III+IV

O O œ œ

_O œ œ O

O O œ œ

O œ œ O

f F

fPb

P

P f Pf

F

p

p

jeté

jeté

f

+ - o + - o

P

ƒ

sub

Con sordino

Con sordino

25

&

?

?

÷

&

?

&

&

&

B

&

?

?

t

÷÷÷÷?

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Fl.

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B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.


Vln.Vln.Vln.Vln.Vln.Vln.

(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)(sound)

Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.Vla.


Vc.Vc.Vc.Vc.

(sound)(sound)(sound)(sound)(sound)(sound)(sound)

Cb.Cb.Cb.Cb.Cb.Cb.Cb.

12 3

Pno.

Vid.

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

IŸ

√

96

‰ . ÓÓœb .

∑œ œ

‚

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.

.Ó

‚

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œ œ>fi

œ œ œ>

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œœb œ

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.

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µ

& œœµ œœµ

œ

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œµ œœµ

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œ

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m

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jetés.t.

crini c.l.b.II+III

ord.jeté

c.l.b.I+II II+III

sfffz

slow fast

Ï fœ OO œ

III+IV I+II

œO O œ

II+III

jetés.t. s.p.

crinic.l.b.

s.t. s.p.jeté

crinic.l.b.

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O O

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c.l.b. crini

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_ _ _ _

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p f

jetéjeté

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II+III

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crini

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f

p

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3 3 3

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3 3

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c.l.b. crini

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II+III

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jeté

crini c.l.b.

fÏ f ç

slow fast

sfffzœ O

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f

(s.t.)

III II+IIIf

s.p. s.t. s.t.s.p.

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O

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f F

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jeté

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P p

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3 3 3

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s.p. s.t. s.p.

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jeté

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F

IV

III+IV

f

OO œ œ O

O œ œ

pizz.arco

arco

p

ß ç

ç ß

ß

crini

Con sordino

II

fsub

sub

26

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Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.


Vla.Vla.Vla.Vla.Vla.

(sound)(sound)

Vc.Vc.


Cb.Cb.Cb.Cb.

12 3

Pno.

Vid.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

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3

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‰ œœœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ œ

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œ ∑œ œ ∑œ ‰ œ œ3 3 3

s.p.s.t.slow

(jeté cont.)s.t.

criniIV

fIV

P

jeté

p

s.t.crinic.l.b.

ord.

Fz

F f F

I+II

II

I+II

(IV) I+II

arcoc.l.b.

jetés.p.

arco

ord. s.t.

c.l.b.

jetéIII III

IVs.t.II+III

F

II+III II+III

ß F pFz

III+IV

p

pizz.

pizz.

pizz.pizz.

O O œ OO œ œ O

Bow

Bow

Bow

fingering

fingering

fingering

F

99

p

psub

El.

(p)

(f )

(III+IV)

arco

∑

∑

∑

∑

∑

∑

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œm œœ

œm œœ œœœœm

..œœ œœOO( )

( ) œœœ

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œœmµÓÓœœ

œœBµÓÓœœ

Œ ‰ . œœµµ55

5

œœmÓÓœœ OO

ÓÓOO Œ ‰ . œœœ œœ œœ œœ œœ œœ

5 5

5

œœm& œœm

œœm? ∑œ

œ

m

œæ œ œæ # œœ œ œ œ œ. œæ # .œœ œ œ œ œ

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œ

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œB > ‰ . œ ‰ . œ # œ œ5 5 5

œ> ŒÓœ Œ

Óœ ‰ œ3 3 3

Œ œ # .œ œ œ

85

3ŒÓœ Œ œ ‰ œ ‰ œ # œ3 3 3 3

∑

jeté jetéfast s.p. s.t.

c.l.b. crini

s.p.

c.l.b.

ßf F

II+III

O O

œ O

II+III

s.t. s.p.s.p.

F

s.t.s.p.jeté

c.l.b.arco arco

s.t.

arcoI+IIIIIIII

ord.II+IIIII+III

III

arco

s.t. slow

arcoarco

pFz F

III+IVIVIIIII

ord.

œ œ

O œ

III+IV

s.t.

Fz

II

pizz. pizz.

pizz.

III+IV

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p

pizz.

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∑

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∑

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∑

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œ

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5 5

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4 6 2 4 6 2 4 4 2 4 4 2 )4 4 2 8) = 164 = 28

. œœœ œœ œœ

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55 5

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∑∑œœœœµm

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5 5

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∑∑∑

Crackling white noise.X

∑

p

arco

F

IV

ß

criniI+IIord.

I+II

F pp

pizz.

Fz Fz Fz

Fz

Ipizz.

sempre

27

&

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&

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t

÷÷÷

÷

Ovblw.

Fl.

B. Cl.

Vox

Bs.Tbn.Bs.Tbn.

sm.cymb.: med. lg.

tam

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.


Cb.Cb.Cb.Cb.

12 3

Pno.

Vid.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~

Ÿ~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

102

Ó Œ ‰ . œm . .5

Ó ˙

Óu

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∑

∑

œœmÓÓœœ #

Óœœm

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m œœÓœœ ‰

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O( )( )

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Œ œœBµ ∑∑œB

‰ ..∑œœBm

∑œœµ œœ

5 5 ?

Œ OO ∑∑œ‰ ..

œœ OO( )

)(œœ

5

5

Œ ‰ . œb œœb ..œœ œœœ

b ∑œœ

œœ

5

5

Œ ‰ . œ œœ œœ œœ œOœ Óœ

O( )( ) Oœ5 5

œœ?œ

œ œœ

œ

œ

Œ œ>

?

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?

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∑∑∑

X

arco

P

IIIII

ßF f F

II+III arco

jeté jeté

crinic.l.b. c.l.b.

s.t.

f p

II+III

O

œO

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II+III

arcoord.

Fzp

IIIIV IVslow

jeté

c.l.b.

s.t.III+IV

s.p. III

crini

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slow

pF

IIord. slow

III

ord.

∏

pizz.pizz.

pizz.

O

O

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II+III

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P

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F

pizz.

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p

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⁄ œœm Ó

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5 5

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X Ó

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5 5

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5 5

55

Oœ œ œœ œœ œœ ..OO OO ∑∑œ ‰ ..Oœ ÓœO( )

( )

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œœ

‰ ‰ Óœœ ..œœ OO OO

∑∑∑

X

arcom.s.p.arco

PzπFz

IIIIIIII IV

III+IVslow

crini

s.t.

s.p.

I+II slowII+III

p

s.p.jeté

c.l.b.

s.t.II+III

IV

crinis.p.

IIIIV

slow

πP

II

III

pizz.

pizz.

pizz.

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P π

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f

ord.

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5 5 5

5

∑∑∑

X

s.p.

crinis.p.

IIIIV

slow

p

c.l.b.

jetés.p.s.p.

p

I+IIs.t.

IIIII

pizz.arco arco

jetés.t.

p

c.l.b.II+III

°

ord.

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28

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Vox

Bs.Tbn.Bs.Tbn.

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sm.cymb.: med. lg.

tam

(sound)

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(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Pno.

Vid.

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

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

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

105

Ó œ

‚

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.

œB . . . œn . œB .> ∑œbÓœ

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3

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m ..œœ œ œœB œœ

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55 5

5

Oœm ÓœO( )( ) ..Oœ œ>

œœ œœ∑∑œœ Œ ‰ . œ>

5 5 5 5

∑∑∑

X

IVIII

π

arco

pF

III

IVIII IVpizz.

pizz.

p

P

π

P

f psub

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P

π

°

s.p.IIIII

π

crini

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(p)

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( h )

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‚

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∑∑∑

X

jeté

c.l.b.

arcos.t. s.p.

s.t. s.p.III

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F p F p

P π

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29

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t

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43

43

43

43

43

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43

43

Fl.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Pno.

Vid.

◊

∑

∑

∑

∑

∑

∑

ww

OO

˙˙ Ó

˙ Ó

ww

OO

Ó ˙˙B

Ó OOæ

∑∑∑

X

slowTremolo speed

rit.

m.s.p.

π

senza sordino

(pp)

(pp)

El.

108

(pp)

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

ww

OOæ OOæ

∑∑∑

X

fast slow

senza sordino

senza sordino

∑

∑

∑

∑

∑

––––

∑

∑

∑

∑

∑

∑

∑

∑

∑∑∑

X

U

U

U

U

U

U

U

U

(10-12")

((sost. sempre)

)U

senza sordino

U

U

Depress silently.

∑

∑

∑

∑

∑ ?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑∑∑

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U

U

U

U

U

U

U

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(6-8")

U

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Œ ‰ . ∑∑œœm.( )

‰ . œb œ

.

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.

œ

.

œ

.

œ

.

œ

.

œ

.

œb ∑œ.‰ Œ ∑œ.

.œ ∑œ œfl3

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‰ ∑œ Œ Œ # ∑∑œ ‰

Œ ‰ ∑œb Óœn . ‰ . ÓÓ

œb .œb ∑œ

3

œœb œn

∑œœn œœb œm

œb .‰ œ

3

œb œ ∑œ œ œ œ3

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∑

∑

∑

∑

∑

∑

∑

∑∑∑

∑

p

pizz.

π F

P

P p

q = 54

I2

p

loco

Rubber mallet.

"Recovery"

sub

30

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÷

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43

43

43

43

43

43

43

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44

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44

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44

44

43

43

43

43

43

43

43

43

43

43

Fl.

B. Cl.

Obj.Sm. pt.Lg. pt.

12 3

Pno.

Vid.

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113

‰ œœm( ).

‰ # ∑∑œœ( ).‰ # ∑∑œœ( ).

‰3

‰ . ∑∑œ.‰ ∑œ ∑œb .œ œ.

#ÓÓœ

‰ ∑œ Œ Œ.X

œ œn . # œœbb . ∑œb .œn œb . œ œ. œn .3

5

∑œœb ∑œœb‰ ‰ ∑œ .œb .œ œb .

5 5

∑∑∑

∑

∑

p F

fP

p - )fCrinkle plastic bag.

p

(p)

El.

‰ ∑œœ( ).Œ Œ ∑œœb .( )

3

Œ Œ ‰. ∑œ.

Óœ‰ Œ Œ.X

Œ Œ œb œ œœbn3

Œ Œ # œn œ∑∑∑

œB Ó ‰œ œ œ œ œ œ œ œ œ

Œ œ œ

F

π P πSwirling rocks and metal on metal

π P

F

p

Œ œ œ. # œb . œœm( ).

‰ ∑œœb( ).

‰. œ œ.# œb . œ.

# ÓÓœ.

‰ # ÓÓœb .‰

3 3

# ∑∑œ ‰ ∑œ Œ Œ ∑œ Œ

œœœn . œœb œb . #

œn œœ.# œn œœ œb . ..œœb œ œœn

3 5 5

∑œœb - ∑œœnb .‰ Óœb ∑œn .

‰ œm ⁄œ œ œm . œb

œœbnœb ∑œn œb

5 5

∑∑∑

∑

∑6 ‰ Ó .

fP

f P

F

large pot

ß

œ æœ.

œ.

œ.

œ.

œ.

œ.

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Œ ‰ ∑œ Œ ‰ ∑œ>∑œ

œœ œ. ..œœbœb . œœn œ. œœn - œ.

# œœbb . œœ œn œœb

5 5 3

∑œ œ œb œœbn œb flœb - œn œ

∑œm œ œb fl # ∑œœnb - œœ#

œb

5 5 5 3

∑∑∑

∑

∑

pizz.

f

flt.

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43

43

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43

43

43

43

43

44

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44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

B. Cl.

Obj.Sm. pt.Lg. pt.

12 3

Pno.

Vid.

117# œb œ⁄œ œ œ Œ3

∑

Œ ‰ ∑œ ¿

œœ œb œ ‰ œb . ‰ ∑œ Œ3 5

œn

œœb . .œn œ ∑∑œ.Œ5

∑∑∑

∑

Œ ‰ Óœæ œæ

œæ œæ œæ œæ

∑

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Œ Œ xGrinding rocks.

π

El.

∏

∏ P

p

Crinkle plastic bag.p - )f

π

p(F )

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.X

∑

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∑

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p

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.œ

.œ

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.œ

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.

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# ÓÓœ ‰X

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∏

pizz.

p

ord.

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p

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f

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3

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œ.

œ.

œ.

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œ.

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∑œb .œn œn .Œ Œ

∑∑∑

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œœœœœnBB Œœœµµ

Œ ––œœn

# 6 yæ .yæ 6 Œ

6 # 6 yæ 6 6 ‰ .(rice shaker)

f

F

p

p

Fz

p

π

p π

pCan of bottlecaps shaking.

p

pFz Pzp

Pz

n#

n#

pizz.

F

F p

Fsub

large pot

P

largepot

∑

∑

¿ Œ Œ

∑

∑

∑∑∑

œæ œæ œæ &

∑œœ œœœµn œœœn

œœ œ œ

Œ ∑6 ∑6 ‰ Œ

xæ xæ xæP π

f

Grinding rocks.

π

p

pP

smallpot

π

f

31

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÷

÷

44

44

44

44

44

44

44

44

44

44

44

44

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83

83

83

83

83

83

83

83

83

83

83

43

43

43

43

43

43

43

43

43

43

43

43

83

83

83

83

83

83

83

83

83

83

83

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43

43

43

43

43

43

43

43

43

43

43

43

83

83

83

83

83

83

83

83

83

83

83

83

Fl.

B. Cl.

Obj.Sm. pt.Lg. pt.

2

Pno.

Vid.

122Œ ‰ œœb( ).

‰ Œ ∑œb ∑œ œ3 3 3

Œ ‰ Óœb .œ œ # œb œ œ.3 3

‰ . ∑∑œ Œ ‰ ∑œ # ÓÓœ ‰

Œ œn œb . Ó

Œ ∑œb œ œn . œbœb . Œ3

∑

œœœœœBB Óœœœœn

µµ

∑œœœµ Œ Œ ––B œnæœ

–– Œ Œ

‰ Óxæ .xæ 6 Œ ‰ ∑6

‰ . ∑∑6 xæ Œ # 6 ‰ ∑6fp

(rice)

P

F

f π

p

ßp(caps)

p ß

Fz

n#

n#

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p

sub

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P

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F

El.

F

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∑

∑

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Óœœœœn

µn

∑∑œæ œæ

∑

6 .6 6 ‰

xæ Óxæ π

πf

Pπ(rocks)

F p

psub

œm.œm œ ∑œm Œ Œ

∑

∑

∑

∑

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œ # œ ‰.˙Sustained swirling embryionic figure background.

Flickering heartbeat.

Óœœœœ

œœœœ ‰ œœœœBnnB .œnæ

∑

œœœœœBB Œœœœœn

µµ

Œ –– Œ

‰ Óxæ .xæ 6 Œ

∑6∑6 ‰ xæ ‰ . ∑∑6

f

π

ßp(caps)

p

p Fz

n#

F

p

F

p

Fp

p

∑

∑

∑

∑

∑

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∑œæ œæ

∑

Óœœœœ ‰

Óœœœœn

µn

∑

6 6 ‰ ∑6

xæ Óxæ

πF

πPπ(rocks)

F

F p

p

∑

∑

∑

∑

∑

∑

Óœœœœ

µ œœœœ ‰ œœœœBnnB .œnæ ÷

∑


µµ

Œ –– Œ

‰ Óxæ .xæ 6 Œ

∑6∑6 ‰ xæ ‰ . ∑∑6

F

f

n#

fp(rice)

F ßp(caps)

p

p FzF

∏

F p

pAttackless piano.

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÷

÷

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&

?

÷

÷

83

83

83

83

83

83

83

83

83

83

83

83

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

B. Cl.

Obj.Sm. pt.Lg. pt.

2

Pno.

Vid.

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127∑

∑

∑

∑

∑

∑

∑œæ œæ

∑

Óœœœœ ‰

Óœœœœn

µn

∑

6 6 ‰ ∑6

œæ Óœæ

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πPπ(rocks)

F Pz pz

El.

∑

∑

‰ Óœ # œ œ œ .œ œ

∑ &

Ó Œ ∑œm

.˙


µµ

∑

œœœœ Œ ––B œnæ

Œ –– Œ

# 6 œæ .œæ 6 Œ

∑6 ‰ œæ Œf

F Fz

P

(caps)

(rice)

f

ß p p

PFz

n#

n#

P

g

p F p

π p

∑

∑

# œ ‰ ∑œ ‰> œ .œ Óœ ‰ ‰ ∑œ Óœ>X

œ œnœœ>œ œœb

∑œœœbb œœœ>œœœœbbb > ∑œn

œb œn∑œn œ>3 3

3

œ œ. œ> œb œœ

œœbœ œœœœnnbb > œ- œb ⁄ œn Ó

œb .3 3

wwwww

Phasing and beating,reflecting the harmonic content of the piano offset by microtones.

∑

w

w

wPhasing white noise, breathing.

w

p

p

p

p

F p F

Swirling keys on a pan.

∑

∑

Œ # ÓÓœ ‰ ‰ Óœ œ ‰ œ3

X

.œ œœœœ.> œ œb œn .œ

∑œ

œœœœbnb ∑

œb

œ œ œb œnœb œb

∑œœœœbb3

3

3 3

.œ- ∑œœœœbb # œ⁄ œŒ°

œb œ Œ œb°

œœ œb .

wAdd flickering.

w

w"Wobble."

w

w

w

w

f P

32

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?

Ovblw.

Fl.

Ovtns.

B. Cl.

Obj.Sm. pt.Lg. pt.

12 3

Pno.

Vid.

131

Œ .œæ œ‚

æ œæ Œ

‰ Óœ œ..‚œ ∑œ ‰ ∑œ ‰ œ œ

3

‰ . ∑∑œ ‰ . ÓÓœ> Œ # œ œ>

œœœœ

œn

⁄

œm

œn Óœœb> ∑œn

œœb> œ œœœœbnb ˙˙˙˙3

œœœœbnbb ∑œœ œn ∑œn œœœœmmm œb°

œn>∑œn

∑œb ∑œ> ‰ ∑œœœœbnn

33

3

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∑

∑

F

f pp

Fp

flt.

ß ß Fz

F

p

(P)

El.

sub

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œæ Óœæ ‰Œ ‰ ∑œæ ∑œæ ‰

œ .œ œ ‰ ∑œ ∑œ> Œ # ÓÓœ> ‰

œ œ œ œb œ>....œœœœn

bbbœœn

b œœ œ œn> œœœœn5

œœœœ°

œ œb> œ œ>⁄œb>œœ>

œœœœnbb œ°>

œb

œ œn Óœb> œœ°>

œœœœbb œn ⁄ œ3 3

3

∑∑∑

∑

∑

π

F p

fp pPπflt.

p F

∑

∑

# ∑∑œ ‰ Œ Ó

œ œœnb .> œn

œœ> œœœœbb œ œœb> œn

œb> œb œœœœnbb œ œm> œœnœœb> œœn œœœœn5

3 3 3 3 3 3

œ. œœnm.> œn . œœœœ œn> œ œn ∑œb

œn> œœœœbbb œn - œn°

œ œœb>œb ⁄œ

3 3

∑∑∑

Ó œn œ œ œ‰ œ

œœœµ Œ Œ œBæ œæ

fsub

p

p

p

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÷

45

45

45

45

45

45

45

45

45

45

45

Obj.Sm. pt.Lg. pt.

12 3

Dncrs.

Pno.

Vid.

∑œœb œœ

> œœm œ> œn œœœœnbb œb œ œ œœœœbb Œ3 3 3

œœb> œn - œn> œ œ œn>œœœœ œ œœn .>

∑œ.‰3 3

∑∑∑

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œæ Œ Œ œæœn œ œ œ Œ Óœ ‰œœœµ

)œBæ Óœæ ‰ œæ œæ ‰ Óœæ

∑

subff

p f

F

Pf

pp

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∑

∑∑∑

Óœ œ œ œ œ œæ

œB œ œ œ œ œæ Ó

∑œæ –– ––

œB æ Óœæ ‰ œæ œæ

∑

f

n#

F p

∑

∑

∑

∑∑∑

Óœœœœn

µµnœœœœ Œ

œæ œB œ œ œ œ Ó œµæ œ œ œ œ Œ ∑œæ ‰ œB œ œ œ œ œœ ‰

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∑

p

FF

P F

P

p p

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.Fl.

Vox

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Dncrs.

Pno.

Vid.

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¿¿¿¿ ¿¿¿¿¿¿¿¿÷

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Ó ¿ XFff...ff..fff...fffff....fff..f...fffff...ff....fff..fffff...fff...fffff...ff....fff....

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Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ Œ Œ X ÷

Œ Œ œ œ œ œ œ œ‰ ∑œæ œæ

œ

œæ œm @ œµ @ ∑œ@ ‰ Ó

∑f

p f

P

P

πCrinkle plastic bags.

F p

Sustain remains depressed.

Sustain remains depressed.

)p - f

q = 90

F"Chaotic flutter tongue"

)p - f

A3.1

Con sordino

Con sordino

Con sordino

Con sordino

"Discovery"Produce random key clicks while making air sound, no pitch; alternate clamping all left hand fingers with right hand fingers.

¿¿¿¿¿¿¿¿ ¿¿¿¿

¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿

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∑¿¿¿¿ ∑¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿

¿ X Ó

¿ Œ ¿ XFff...ff..fff...fffff....fff..f...fffff...ff....fff..fffff...fff...fffff...ff....fff....

____________Erratically vary diaphragmatic breathing

‰ œ # œ#

f f f f f

Ó ‰ ∑∑ #

∑

∑

∑

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.

.œœ

˙˙

œ œ .œ œ..

Oœ

œ( ) Oœ

Oœ

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‰ ∑œ œ .˙&

‰ ∑O O O O O

∑

∑

∑∑∑

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3

Ó ‰Ó¿ X

Air noise.

œ œ œ œ œ œ œ œ Œ

Ó . ‰Ó¿ ¿Air noise.

÷

∑Gradually become still.

IIIcrini

ord.

π P

π

III

P π

P

π

F

III(IV)

Pπ

p

π

n

f

( q ) ( h )

( q ) ( q ) ( q )

∑

∑

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‰ Ó Œf f f f f f

∑

∑

∑

˙˙µn ..˙˙µn

OO

.

.OO

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3

˙..

˙˙

b

O ..OO

Œ œµ œ œ Óœm

∑œm( )

œ3

Œ O O O ÓO ∑œ( ) O O3

∑∑∑

∑

∑

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∑

III

I

IIIII

IIIII

π

arcoIVord.

π

I

F

π PPπ

( q )

( h )

34

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÷

&

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

Vox

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Dncrs.

Pno.

Vid.

√

Ÿ~~~~ Ÿ~~~~~~~~~~ ~~~~ ~~~~~~~Ÿ~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

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

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

Ÿ~~~~~~~~

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s.t. m.s.p.

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12 3

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33

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s.p. ord.

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s.t.

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Swirl keys or coins in pot.

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!

�∑

∑

Œ ‰œ œ œ

3

Œ ‰œ ˙3

Ó Œ ‰ ∑œµ&

Ó Œ ‰ ÓO

œ œ ‰ ∑œ œ

O O‰ ∑O O

œ #œ

‰ Ó3

O # œ ‰ Ó3

∑∑∑

‰∑œm #

œœœœµµ œœœœ œm

œ œœ œn œm3

‰ œm ∑œm‰ ‰ Ó

œm ˙

3

Pointilistic.

Œ # œ. ∑œ> ‰ ˙

3

?

Ó # œ ‰ # œm ‰3 3

Points gradually transform into sustaining texture.

∑

IIIpizz.

arco

III

π

IIIarco

p

p

P

F.A.

P

( q )( q ) ( q )

( q )

∑

∑

∑

∑

� � Ó �

∑

∑

œ

.

.œœ

œœ

œœ

œœµn

œ..Oœ

Oœ

Oœ

OO

˙˙µ

O O

w

O

∑

∑

∑∑∑

# œ # œ .˙3

∑ww

wm

∑

III(IV)

IIIII

III

Take , keep (same hand)

38

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÷

÷

?

&

&

&

B

&

?

?

t

÷÷÷

&

?

?

÷

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

Sn.Cng.B.D.K.D.

(sound)Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Dncrs.

Pno.

Vid.

∑œœm( ).‰ ‰ Ó

œm .Ó

‰ œ ‰ ‰ œm ‰ Ó3

3

‰ Óœm .

‰ ∑œm .Ó

Œ # ∑∑œ

‰ œ># œ œ> œ .œ

Œ Œ ∑œ fi. ‰ Œ

Ó ________ ___ __b#

VISA

°

?

∑

˙˙µn œœ œœ #œ

OO

OO

OO #


Óœ œ .œ œµ œ œ # œµ

3

ÓO O .O O O O # œ

3

œ œ œ œ œ œ

œœœ

b ˙˙

O OO OO

œµ œ œ Óœm

Œ ∑œ

33

O O O ÓO

Œ ∑œ3

3

∑∑∑

Œ œ œ #œb œ

œ

‰ ∑œ œbœ

# œ3

3 33 3

Œ ‰ ∑œbœ œB œ

.œ‰ ∑œ

3

Sustained.

∑

∑

III

I

arcoIVord.

π

I

IIIII

III

arco

s.t.III

f

F

ord.jeté

(p)

pizz.

ß

(pp)

F

ß

f

P

P

jeté

I

pizz.

Scrape length of strings with credit card parallel to coils.

π

π

153

ç

sempre

El.

ord.

(pp)

( h )

( h ) ( q )

# #œb . #

‚

œ>

œB.

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.

.

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Œ ‰ ∑œ ‰ ‰ O O O O O O O O

∑∑∑

# œ ‰ ∑œ # ∑œb # #œb

œb ∑∑œb∑œ

‰ .∑œœnm Œ

33

.œbœ

∑œb‰ ∑œ Ó

œb ‰∑œb# œ ‰ œb œ ∑œn œ

3Pointilistic.

Ó œ # œ># ® œ

f f f f f f f

∑

q = 60

m.s.p.

III

s.t. m.s.p.III

ord.II

p

p

c.l.b.

P

sub

π

pizz.

ord.

f

pizz.

P ß f

IIjeté

F.A.fP

F F p Fp

Take m�

mp

ƒ

F

F

F Fp

f ƒ

s.p.c.l.b.

jeté

sub

sub

s.p.

( h )

( h )

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∑

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y # ® y>

y y ‰ y>

y y y>

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œ Œ

O Œ

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‰

œ Œ

∑∑∑

‰ ∑œµ ‰ œn∑œ

3

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Óœ ∑œb

‰

∑œ œ ® œ œb œ œ ®f f f f f f f f f f

∑

P

P

P

F

39

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÷

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&

&

&

B

&

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t

÷÷÷

&

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÷

÷

÷

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

(sound)Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Dncrs.

Pno.

Vid.

◊

Ó ∑œœm( ).

‰ Œ ∑œœ( ).‰

Œ ‰ . ∑∑œ Œ ‰ . ∑∑œ Œ

∑

∑

∑

Xæ

°

¿æ

Œ ‰œ

Œ ‰œ

Œ3 3

Œ ‰œ

Œ ‰œ

Œ3 3

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O O O

˙µ ˙ œ

O O O

œm #œ

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O # œ ‰O # œ ‰

O3 3

∑∑∑

# œm œ # œ œm ‰ ∑œm ‰ Œ ∑œ ‰3

3

∑œbœ

œ.œ ∑œ

‰ # œ ∑œ Œ . # œ ∑œ ‰ ‰ œm3

3 3 3

∑

∑

∑

π

P

III

p F

arco

IIIpizz.

π

P

p F

P

p

arcoarco

P

criniI

F

π

f p

pizz.

criniI

I I

P

p

p

IIIpizz.

P

q = 75156

sempre( )

sub sub

π πsub sub

El.

( h ) ( q )

( h ) ( q )( h )

( h )ord.

ord.

ord.

( q )( q ) ( q )

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O ‰

˙ ‰

O‰

œ #œ

œm3

O # œO3

∑∑∑

∑

∑

∑

∑

∑

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F

Drag chip along single string coil by coil.

sub

arcoI

π P

IIIpizz.

P

π

sub

( h )

( h )

( q )

( q )

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3 3 3 3

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O O O O

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O O O .O O O

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3 3 3 3

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∑œmœ ∑œ œm ∑∑œ œ Œ Ó Œ

Ó # 6 yæ .yæ 6 Œ

Ó 6 ‰ 6 yæ 6 6 ‰ .

∑

ƒ

p

f

fp F p fp

arcoI

F p

π

p

IIIpizz.

IIIpizz.

P f

pFsub

pFsub

pFsub

f

P psub

F ff

q = 60

fF F

(rice shaker)

f

F Fz

p

p

Shake can of

p

pFz Pz

bottlecaps.

p

Pz

sub

(2-3")

( h ) ( q )

( h ) ( q ) ( q ) ( q )

( q )

¿ X ∑∑¿. ‰ . ŒUFfff!

&

‰ ¿ XÓÓ¿. ‰ . ŒU3

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Ó Ó ŒUÓ Ó ŒUÓ Ó ŒU

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œm Œ Ó ŒU

‰ ∑6∑6 Œ yæ yæ 6 ‰ ŒU ?

œæ Óœæ ‰ # 6 yæ yæ # 6 ŒU

∑

f

Fast tremolo.

arco

p

I

π

F

f

π

Ïfp

fp Ï

Ï

π

p

P π fp

(rice)

p

F

(caps)

p

Fz

sub

Shake can of rocks.

( q )( h )

40

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?

÷

÷

?

?

&

&

&

B

&

?

?

t

÷÷÷

&

?

&

?

÷

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

12 3

Dncrs.

Pno.

Vid.

(◊)

∑œœm( ).

‰ ∑œœ( ).‰ ∑œœ( ).

‰ ∑œœ( ).‰ ∑œœ( ).

‰

‰ . ∑∑œ Œ ∑œ ‰ # ∑∑œ ‰ ‰ ∑œ

∑

∑

‰ . ÓÓœb

œb .# œ

œ.# œ

œ.# œ

œ.# œ

Xæ Œ

‰œ

‰œ

‰œ

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‰œ

3 3 3 33

‰œ

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‰œ

3 3 3 3 3

˙µ œ œ œ

O O O O

˙µ œ œ œ

O O O O

#œ

‰œm

œ

œ

œ

œ

œ

œ3

# œ ‰O

œO

œO

œO3

∑∑∑

#œm œ # œ œm ‰ ∑œm ‰ Œ ∑œ ‰3

3

œb∑œ

œ.œ ∑œ

Œ Óœ ∑œ Œ . # œ ∑œ ‰ ‰ œm

3

3

3 3 3

∑∑

∑

F

q = 90

F

P

p

IIIpizz.

p

pizz.arco arco arco arco

π

F

pizz. pizz.

Psub

πPsub

πPsub

π π

pFsub

pFsub

pFsub

F

160

p

El.

(F )

( h ) ( q ) ( q ) ( q )

( h ) ( q ) ( q ) ( q )

III II III I III I

( q )

p

∑œœm( ).

‰ Œ ∑œœ( ).‰ ∑œœ( ).

‰ ∑œœ( ).‰

∑œ ‰ Œ ∑œ ‰ # ∑∑œ ‰ ‰ ∑œ

∑

X .X

Óœb .

‰ ‰ . ÓÓœ

œ.# œ

œ.# œ

œ.# œ

∑

Ó ‰œ œ

‰œ

‰œ

33

3

Ó ‰œ œ

‰œ

‰œ

3 3 3

˙µ œ œ œ

O O O O

˙ œµ œ œ

O O O O

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‰œm

œ

œ

œ

œ

œ

œ3

# œ ‰O

œO

œO

œO3

∑∑∑

#œm œ # œ œm ‰ ∑œm ‰ Œ ∑œ ‰3

3

∑œbœ

œ #œ ∑œ

‰ # œ ∑œ Œ ‰ # œ ∑œ ‰ ‰ œm3 3

3 3 3

∑Phasing white nose.

Ó Œ X

∑

P

p

P

p

P

pizz. arco

p

P

Crinkle bags.

p - )f

πsub

πsub

Psub

ππ

Fsub

pFsub

pFsub

F

sub

q = 75

f

f

P

sub

( h ) ( q ) ( q ) ( q )

( h ) ( q )

( q )

( q ) ( q )

sub

Ipizz. arco arco arcopizz. pizz.

III I III I III I

∑ ÷

∑ ÷

∑

X�

.X

Ó Ó Œ ∑œ&

Ó Ó ‰ . ∑∑œ&

∑

∑

∑

∑

∑ ?

∑

∑

∑

∑∑∑

∑œm œ œmœ ∑∑œ ‰ . Œ ∑œ ‰

∑œ # ∑∑œ ‰ ÷

∑œmœ ∑œ œm

œ Œ # œ ∑œ ‰ ‰ œ ∑œ‰ Œ3 3

∑ X ÷

∑

f

senza sordino

senza sordino

senza sordino

senza sordino

Take and in same hand.

41

÷

÷

÷

÷

÷

&

&

&

&

&

B

?

?

?

t

÷

?

&

÷

÷

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Ovblw.

Fl.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Dncrs.

Pno.

√

163

Xæ ¿æ Ó¿æ ‰

Fffff!

‰Ó¿æ ¿æ ¿æ ¿æ ¿æ

Fffff!

Œ ‰Ó¿æ ¿æ ¿æ ¿æ

Fffff!

X Ó

∑

œnœb . œ

œœ

. ∑œœm œ.Œ Œ ∑œ œn

œb . œœœ

. ∑œœm œ.

3 3

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‰ . ∑∑œ œ ∑œ Óœµ œ

‰ . œ O O

œ œ œ œ œ

‰ Óœµ ˙ œµ

‰ O O O O O O O O

Œ∑œB ‰ Ó

œ ˙&

Œ∑œ ‰ O O O O O O O

Œ ∑œ

Œ ‰∑œ

‰ ‰ Óœµ3

Œ ∑œ Œ ‰ ∑œ ‰ ‰ O3

O O O O O O O

Œ X ¿Fffff!

With phasing and beating.

‰ œm ∑œm‰ Ó .3

∑œm ‰∑œm # ∑∑œ ‰ ‰ ∑¿ ¿

Fffff!

With phasing and beating.÷

Œ ‰ ∑¿ XFffff!

With phasing and beating.

∑

I

IIIpizz.

pizz.

c.l.b.

s.t. m.s.p.III

F

criniII

Fz

s.t. m.s.p.

F

III

ß

crini

ord.II

P

p

p

arco

arco

c.l.b.

arcoc.l.b.

A3.1.2

III

π

q = 60

Í

p

P

pF

F

Í F

p F

π

c.l.b.

jeté

jeté

jeté

jeté

arco

s.p.

p

Continue to crinkle bags.

p - )f

F

sub

sub

flt.

flt.

flt.

(f )

El.

Takem and in opposite hand.

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.

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fi. ‰

‰œm .

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œm Œ Ó Œ

˙ Œ Óœµ Ó

3

O Œ ÓO Ó

3

˙œn œ œµ

O O O œ Oœ œ œ œ œ œ O O O O O

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O O O O O O

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∑¿ ‰ Œ Œ Ó

∑

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¿ ∑¿ ‰ Œ – ‰ – Œ

∑

III

I

IIpizz.

pizz.

F π

s.t.II

s.t.

F

IIc.l.b.III

m.s.p.

pF

ß

Fz

arco

π

π

p

P

ππ

π

jeté jeté

p

pizz.

p

p

s.t.

p

Pz

Fz

Fzp

Pz

sub

( h )

‰ œb œb

‚

∑œ ‰œ.⁄ œ

.œ

.œ

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.

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∑ ?

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& ÓœB3

∑œ‰ Œ O ∑Ob

3

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‰ ÓOm # œ ‰ O

O5

∑

∑

Œ ‰ ∑–∑– Œ Œ

– – ‰ . Œ Œ # ∑∑– ‰

∑

I

II

I

IV

IIIV

pizz.

pizz.s.t.

I

crini

Fz

Fzß

F

c.l.b.

ß

ç

Fz

arco

arco

III

pizz.

m.s.p.

jeté

jeté

F

arco

Ijeté

P f

pizz.

F fp p

P

f

ß

Fz ß

π

p

p

n#P

ord.

ord.

ord.

42

&

÷

?

÷

÷

÷

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?

&

&

&

B

&

?

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t

÷

?

÷

÷

÷

Fl.

B. Cl.

Bs.Tbn.

sm.cymb.: med. lg.

tam

Obj.Sm. pt.Lg. pt.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Dncrs.

Pno.

√ √

Ÿ~~~~~~~~~~~~~~~~Ÿ~~~ Ÿ~~ Ÿ~~~~~~ ~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~ ~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~

Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~Ÿ~~~~~~ ~~~~Ÿ~~~ Ÿ~~~~~~~ Ÿ~~~ Ÿ~~~~~~~~~~~ ~~~~~~~~~

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~~~~Ÿ~~~ Ÿ~~~~~~ ~~~~ ~~~~~~~~~~Ÿ~~~ Ÿ~~~~~~~~~~

~~~~~~Ÿ~~~~~

√

◊◊

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Ÿ~~~~Ÿ~~~~ Ÿ~~~~~

Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~Ÿ~~~~~~~~~~~~~~~~~

Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~~~

Ÿ~~~~~~~~~Ÿ~~~~~~~~~~~

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Ÿ~~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~~~

~~~~~~ ~~~~~~ ~~~~~~~~~~~~~Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~~

~~~~ ~~~~~~~~~~~~~~~~~~~Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~~~

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Fl.

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∑∑∑

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185

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(p)

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∑∑∑

∑

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IIIII m.s.p.

s.p.

ß

s.p.jeté

c.l.b.

II+III

ß

c.l.b.jeté

s.t. s.t.

p F p

q = 75

ß ß

ord.

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Fl.

B. Cl.B. Cl.

Bs.Tbn.

sm.cymb.: med. lg.

tam

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)Cb.

12 3

Dncrs.

Pno.

Vid.

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q = 75

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s.p.jeté

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loco

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With sizzle chains attached.

fP

sub

ƒ

p

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P

q = 60

subp

p

p

psub

o

P

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Ovblw.

Fl.

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Vox

Bs.Tbn.

sm.cymb.: med. lg.

tam

Obj.Sm. pt.Lg. pt.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)Cb.

12 3

Dncrs.

Pno.

Vid.

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√

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.˙ ˙Hold cymbal in left hand and scrape surface with stick tip - produce "chalkboard sound."

∑

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∑6 ‰ ∑6 # 6 œæ .œæ 6 Ó

œn œæ∑6 ‰ œæ Ó

∑

ƒ

ƒ

Use trigger to perform erratic tremolo.

ƒ

sempre

IVIII m.s.p. s.t.

subSf F

IVIII m.s.p.

Sf

s.t.

ƒFsub

IVIIIm.s.p. s.t.

ƒ

IVIIIm.s.p. s.t.

ƒ

P

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f

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∑

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P

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F

p




p

p

F

p

sub

sub

∑(~10")

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p

F p

50

?

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&?

&?

÷

43

43

43

43

43

43

43

43

43

43

85

85

85

85

85

85

85

85

85

85

87

87

87

87

87

87

87

87

87

87

42

42

42

42

42

42

42

42

42

12 3

Dncrs.

Pno.

Vid.

201∑

(~30")

∑∑∑∑wwwwwU

wwwwU

∑

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∑

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∑

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œœ œm œœn œm œœn œm œœn œm œœn œm œœn œm œœn œm œœn œm œœn œm7 6 5Distorded piano continues.

œœmm

œnœœm

mœn

œœmm

œnœœm

mœn

œœmm

œnœœm

mœn

œœmm

œnœœm

mœn

œœmm

œ7 6 5

Distorded piano

∑String harmonic compositie

.˙mString undertone composite

∑

Sost. sempre

q = 60

Depress silently.

∑

∑∑∑∑

œœ ∑œm œœn ∑œm œœn ∑œm œœn ∑œm œœn ∑œm œœn Óœœ ∑œm

3

5

œœmm

œnœœm

mœn

œœmm

œnœœm

mœn

œœmm

œnœœm

m œœmm

œn3 3

5

˙ ∑œ∑

∑

∑

∑∑∑∑

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œœ

œœ

œœ

œœ

œœ

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3 3 3 3 3 3 3

œœ

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œœ

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œœ

œœ

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Œ Œ œ Óœ

˙ Œ ‰

∑

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&?

&÷

42

42

42

42

42

42

42

42

42

1615

1615

1615

1615

1615

1615

1615

1615

1615

169

169

169

169

169

169

169

169

169

..

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44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

..

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85

85

85

85

85

85

85

85

12 3

Dncrs.

Pno.

Vid.

205∑∑∑∑∑

œ œn œ œn œ œn œ œn3 3 3 3œn œB

œn œBœn œB

œn œB

Distorded piano.

œ œ œ œ œ œ œ œ3 3 3 3

∑

El.

∑∑∑∑∑

œb œ œ œ œ œ œ œ œ œ

œm œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ∑

∑

∑ &

. ..∑–––- . ..∑–––- . ..∑–––-&

∑∑∑

œb œ œ œ œ œ

œm œœœœœ œ œœœœœ œ œœœœœ∑

∑

n# n# n#fsecco

–––- –––- –––- –––-

# œ œb œ ∑œn # œ œb œ ∑œn # œ œb œ ∑œn # œ œb # ––.3 3 3 3

?

∑∑∑

‰ # œ œB ‰ # œ œb ‰ # œ œb ‰ # œ œB3 3 3 3

‰ ∑œœœœœ‰ ∑œœœœœ

‰ ∑œœœœœ‰ ∑œœœœœ

∑

∑

n#

n# n# n# n# –––- –––- –––-

‰ ..–– ‰ ..–– ‰ ..––5 5 5

∑∑∑

∑

Œ ∑∑œœœœœŒ ∑∑œœœœœ

Œ ∑∑œœœœœ5 5 5

∑

∑

n# n# n#

n# n# n#

&

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÷

85

85

85

85

85

85

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83

83

83

83

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82

82

82

82

82

82

82

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12 3

Dncrs.

Pno.

Vid.

210‰ . ÓÓœ œ œb > œ œ>

∑œn3 3

œ œ.

#∑œ œb

œ> œm ‰ ∑œm . ‰3

∑∑∑

Œœ

‰∑

∑

El.

F.œ œn œ> œb . # œn Óœn >

3 3

#∑œ œb > œ œm . ‰ ∑œm°

∑œ3

∑∑∑

Œœ

‰∑

∑

œ # œn œ œb . # œn œn œ.3 3

#∑œ œb

œ œm ‰ ∑œm ‰3

∑∑∑

Œœ

‰∑

∑

‰ . ÓÓœn œ œb # œn œn œ.3 3

#∑œ œb

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∑∑∑

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∑

# œœbn# œœn # œœn # œœn # œœn

3 3 3 3 3

œm œ. œm œ. œm œ. œm œ. œm œ.∑∑∑

∑∑

∑

# œœbn ‰ ∑œ œn œ3

3

Repeat 4 times.

œm œ.. ‰ œbœb3

∑∑∑

‰ Óœœm ‰

‰ ∑œn

‰ œ3

∑

&?

÷÷÷

&

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÷

82

82

82

82

82

82

82

82

83

83

83

83

83

83

83

83

82

82

82

82

82

82

82

82

85

85

85

85

85

85

85

85

44

44

44

44

44

44

12 3

Dncrs.

Pno.

Vid.

◊ ◊ ◊ ◊ ◊

216 œœm∑œ œn

∑œn

‰

∑∑∑

∑

‰ œmœm

œ3

∑

El.

(F )œœm

∑œ œn

∑œn

‰

∑∑∑

∑

‰ œmœm œ3

∑

œœm∑œ œn

∑œn

‰

∑∑∑

∑

‰ œmœm œ3

∑

# œmœm #

œ

3 3

∑œ ∑œ.‰ ∑œ

∑∑∑

∑

∑

∑

loco

# œmœm #

œ

3 3

œ ∑œ.# œ.

∑∑∑

∑

∑

∑

loco

∑

∑

∑∑∑

..œœbæ

∑

∑

# œmœm #

œ

3 3

∑œ ∑œ.‰ ∑œ

∑∑∑

∑

∑

∑

loco

# œmœm #

œ

3 3

œ ∑œ.# œ.

∑∑∑

∑

∑

∑

loco

# œmœm #

œ

3 3

∑œ ∑œ.‰ ∑œ

∑∑∑

∑

∑

∑

loco

∑

∑

∑∑∑

..œœbæœœæ

∑

∑

51

&

?

÷÷÷

÷

44

44

44

44

44

44

45

45

45

45

45

45

12 3

Dncrs.

Pno.

Vid.

226œm # ∑œm

œn œm ‰ # œ œ œ œm œ ∑œn œn . ‰ #œm œ3

3

3

3

‰ œ3

# ∑œ œ # œ œœœn œœ œ. ‰

œœn

>‰ # ∑œb

œn . # œ3 3 3

3 3

∑∑∑

∑

(F )œm # ∑œm

œn œm ‰ # œ œ œ œm œ ∑œn œn . ‰ #œm œ3

3

3

3

‰ œ3

Pause at any time, "aleatoric breaths." Continue holding notes if pause occurs within a phrase.


œœn

>‰ # ∑œb

œn . # œ3 3 3

3 3

∑∑∑

∑

œm # ∑œmœn œm ‰ # œ œ œ œm œ ∑œn œn . ‰ #

œm œ3

3

3

3

‰ œ3


œœn

>‰ # ∑œb

œn . # œ3 3 3

3 3

∑∑∑

∑

&

?

÷

45

45

45

44

44

44Dncrs.

Pno. √ √ √ √

229œ œœb œœ œb œœnn

.œ œm

œœb œœnœœ œn œœm œœ œm

œœn . œnœœb .

3 33 3 3

œ

œ œ.3

‰ ∑––.‰ œb > ‰ –––> –––.

‰ Óœn ‰ œn3

3 3

& ? & ?

∑

p ßn#n# n#

locoloco

n#sub

œ œb œœnn. œ œm

œœb œœnœœ œn œœm œœ œ œœn . # œb . ‰

3 3 3

3

œ

œ œ. œ3

––. ‰ œb Óœ ‰ –––>? –––.

‰ Óœn ‰ ‰ ∑––.?

3

3

& &

∑

ß F ß

n# n# n#loco locosub

&

?

&

B

?

t

&?

&

&?

÷

44

44

44

44

44

44

44

44

44

44

44

44

(sound)

Vla.

(sound)

Cb.

Dncrs.

Pno.

◊

231œ œœb œœ œn œn œ œ ∑œ œ œn œœb . œ. # .Óœ

∑œb .

3 3

33

œm œm ‰ œbœb # œb # ∑œµ œ œb

>œ œb

3

3 3

∑ ?

∑

∑

∑

∑

∑

∑

# ∑œ ‰ . ‰ . ∑∑œ Ó

Óœ ‰ Œ #œB

œB ‰ ‰ ∑œ‰

3

∑

A4

ß

Pz

Fz Fz

Pz

psub

p

p

El.

"Integration"

sempre

‰ Óœb ˚ œ œ. ‰ œb .œ œ .œb

Óœ ‰ ––– ––– Œ ‰ ∑œœœœœ

wµ

w

∑

∑

‰ # ÓÓœ œn œb # œn œ œ # œœb

œœmn ∑œ œn ∑œ œ3

33

3

#∑œ œb

œ œb ‰ ∑œb ‰ œb œœn œ œ

œ3

3

∑

Œ Œ Ó

# ∑œB # ‰ Œ Ó

∑

π

#n #nß

FzFz

Pz ç

p

p

ord.

œm # ∑œmœm œ œ # œ œ> œ œm œ ∑œ œn . ‰ #

œm œ33

3

3

‰ œ>3

# ∑œ œ # œ œœ.‰ œ ‰ œn > ‰ # œb œn . # œ

33 3

3

wµ

w

Ó Œ œm

Ó Œ ·

∑Œ ‰ œ œœ ˙3

wÓ Œ œµ

wµ

∑ ÷

∑

I

π

P

s.p.

loco

ƒß ç ß ç

ç

ord.

52

&

?

?

÷

÷

&

?

&

&

?

B

&

?

?

t

&

?

&

&

÷

Fl.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

Sn.Cng.B.D.K.D.

(sound)Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Dncrs.

Pno.

∑

∑

∑

∑∑

‰ œm ‰ œm œ œn . ‰œm œ # œ. œb >

3

3

3

œ .œm ‰ Óœœm

n .# œ> œn ‰

..

.œœœm- œ

œ.>

3

∑

∑

w

˙ ˙

wµ

·

.˙‰

.∑

œ5

7

· · ·‰ .œ

5

∑

œ œœ œ

œm œmœm ‰

œmœm ∑œ

œn œœœ # œb

3 3

3

3 3

Óœµ ‰ Ó .

Ó . ‰.œ

5?

∑

I

III

π

π

π

P

( q ) ( q ) ( q )

p

El. p

p

p

234

sub

∑

∑

∑

∑∑

œ œn>

œ œb . ‰ # œb > œ œ œb ∑œn>

# œb œn .> œ3

3 3

œ .œ

Œœb>

‰∑œb œ

œÓœ

>œ

Ó ∑œ

‰ Œ

Ó ∑œ

‰ Œ

.˙ Œ ∑∑œµ5

.˙Œ ∑∑œ

5

w

·

˙# œ œ5

œ œ œ # O O O O O O O O

œ œœ œb ‰ # œb #

œ œb ∑œn # œb œn #œ3

3 3

‰œb œb

œœb œb #œb

‰ ∑œ # ∑œbœ # œ # œ

œb3

3 3 3

& ?

∑Ó ÓÓ

œ œ Œ ∑∑œ5 5

∑

II

c.l.b.

pizz.

I

m.s.p. s.t.

P

Fz

p

PP

ord.

π π

p

jeté

∑

Œ Œ # .∑œ œ

∑

Œ œæ œæ œ ‰ ‰

Óœ

∑

.œb - œœœœœnnn .Œ Ó

œ œ∑œœb

>3

˙b>

#œ

‰ Œ

∑

∑

w &

˙ ˙

œ Œ Óœµ # .œ? œ3

&

·Œ Ó

· #.O

3

O O O O O O

‰ . Óœm œ ∑

œ‰ Œ

∑œ5

‰ . O O ∑œ ‰ Œ ∑O5

# œb ∑œn œ œb œ œ œn # œ œ œ œ ∑œbœn œœm œ

œb œ œ3 3

3

œbœ œb

œ ‰ œ ‰ œb ‰œ œb ∑œn # œ

œ ‰3 3

3 3 3

‰ . œµ Œ Óœµ Ó5 3

Œ Œ∑œ

# .œ Œ ÓÓœ5

∑

I

IIII

crini

pizz.

pizz.

π

I

P π ß

π

c.l.b.s.t. m.s.p.

f P

III

ord.

Fz

arco

ord.s.p.

Fzpp

Shake can of rocks.

jetéIV

F

53

&

?

?

÷

÷

&

?

&

&

&

B

&

?

?

t

&

?

&

?

÷

Fl.

Ovtns.

B. Cl.

Bs.Tbn.

Obj.Sm. pt.Lg. pt.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Dncrs.

Pno.

Ó ‰ . ∑∑œm

œ

‚

œ œ ∑œ ∑œm .‰

∑

Óœ ‰ ∑œ # œ œ

æ.œæ

œ Œ

Ó Œ ‰ ∑1

Ó ‰ . ∑∑œm∑∑œ

œm

.‰ .

œÓœ œœ œœœ

ÓÓœœœ

. ‰ .3

∑

∑

Œ ‰ œ .œ œµ œ3

Œ ‰ O .O O .O O3

& B

.˙œœ

b

O O OO

Ó ˙µ?

Ó O

œ.œ œ œb

∑œ œ ‰ œb œ # œœmœ ∑œb # ∑œ œ œ

3 33

‰ œb œ œ ‰ . ÓÓœ # œb ∑œ

œ œœb

‰∑œ

œ3 3

3

3

Œ ‰ œ ‰ . ÓÓœ œµ3

˙œµ

œµ

∑

IIIII

III

crini

I

πP Pz

p

arcoIV

ord.

ord.

P(p)

π

π P π

π

P

Tape

p

p

p

p

Pz f Pzp F.A.

p

237

p

sub

( h )

( q )

( h )

∑

∑‚

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Ó Œ # .Óœm

∑

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!

Œ ∑œ œ œœ œœ

∑œœœ3

3

‰œ.

‰ ‰ œ.Œ

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Ó Œ ‰œ

3

Ó Œ ‰œ

3

œœµ

Ó .

Oœ

Œ Ó

.

.œœ Ó

œµ ˙

OO OOO O

œ Óœm œ œ #

œ‰

33

O ÓOm O O # œ ‰

3 3

œn œœ œb Œ Óœn œb œœb ∑œn œ œœ

3 3

3

‰ ‰ œb ∑œ∑œ ‰ Œ

œœ

b œ # œ3 3

Œ ‰ Óœµ Ó

Œ ∑œ Óœµ

Œ Œ ‰∑œ

œ3

3

∑

I

I

III

F

pizz.

p

p

π

Pz

p

pizz.

Fz

arcoord.

( h )

‰ . ÓÓœm œB ∑œm # Œ ‰ œ

œ

3

œ. # œmÓœ

‰ # ∑œn œ œ œÓœ.3

# œ œ ∑∑œ ‰ . ‰ . ∑∑œm .Œ

∑

∑

œ œœ œœb Œ # œmœœ

m œœ #

∑œn œn .

3

.

.œœm

œm . ‰ ∑œ œ ‰ ∑œ.Ó

œn.

œ

.œ œ Ó

œ.O O Ó

# œµ œ œœµ Œ ‰ . œµ

3 5

? &

# O O O O O Œ ‰ .œ

3

5

˙B# .

Óœm œ ?

O # .O O O O O O O O O O O O O

‰ . ÓÓœµ œ œ Œ Ó

œm3

‰ . O Œ ÓOm

3

O O O O O O

‰ œn ∑œb ‰ ‰œ ∑œb ‰ Œ ‰ # œb

33

3

œœb œ œ Ó

œb‰ Ó

œ œb œœbœb

‰3

3

3

# ∑œ.

Óœ ‰ Ó

œ # ∑œµ ‰ . Œ

œ # œµ Œ ‰ . ∑∑œµ Œ ∑œ Óœµ3

∑

III

III III

I

c.l.b.m.s.p. s.t.

p

m.s.p.II

c.l.b.

s.t. m.s.p.

P

IVpizz.

pizz.

f

P

F

P P

p

π πP

F p

Fzp F p

Pz

Pπ

Fp

P

arco

Fz

jeté

jeté

I

ord.

sub

54

&

?

?

÷

&

?

&

&

&

B

?

?

?

t

&

?

&

?

÷

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)

Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Dncrs.

Pno.

◊

œµ œn œn œb Œ Óœµ

Ó œb ∑œn ‰ œ

33 3

‰ œm . #œm .

œ œµ ∑œn‰ # œ œ

53

3

Œ ‰ œ œ œ œ œ3

∑

œ ∑œ œœœ

œœ

œ œœ œœ œœ # œmœœ

m œœ

3

3

‰ ‰ œm Œ ‰ œm œ œ œœ.3

3

‰ . ∑∑œ œ∑

œÓœ œ

‰ .O

O O O O O O O

‰ Óœµ ˙ œµ

‰ O O O O O O O O

Œ∑œB ‰ Ó

œ ˙&

Œ∑œ ‰ O O O O O O O

Œ ∑œ

Œ ‰∑œ

‰ ‰ Óœµ3

Œ ∑œ Œ ‰ ∑œ ‰ ‰ O3

O O O O O O O

œœœ

∑œb

Óœ .œm

œœn œ ‰

∑

œb

œœb3

3

∑œ‰

œ# œb œb Œ ‰ ∑œ

3

‰ ∑œµ ‰ ‰ ∑œ ‰ ‰∑œ ‰ Œ

‰ .∑∑œ

œ œ Œ Œ ‰ ∑œµ ‰

∑

I

IIIpizz.

pizz.

c.l.b.s.t. m.s.p.

III

F

criniII

Fz

s.t. m.s.p.

F

III

ß

π

p

f

πP

F

P P

p

s.p.

criniord.

II

ßf P

b

P

p

p

arco

arco

ßFz

arco

c.l.b.

arcoc.l.b.

ord.

El.

c.l.b.

jeté

jeté

jeté

jeté

240

(F )

(p)

sub

sub

œ

‚

œ œ œœm œ œ œ # œm . # .∑œn

œm

‚

œ œ œ

‚

œ œœm .

‰ œ œ3

˙mæ Óœæ ‰ œ. ‰ œn

Óœ œ3 3

∑

œœ

œœ

œœ œ œ

Óœœ

.

.œœ

∑œ œb Œ ∑œn3 3

3

˙n œœ # œm ‰∑œn

œm3

˙ ‰ . ÓÓœ Œ Œ

O ‰ . ÓÓO Œ Œ

œ .Óœ # œn œ œµ

O O .ÓO # œ Oœ œ œ œ œ œ O O O O O

˙bÓœ ‰ œ ‰ œB 3

O ‰ ∑O Œ ‰O3

O O O O O O

˙Óœ ‰ ‰ . ÓÓ

œµ œ

‰ ‰ . O O O O O O O

‰ œ # œn∑œn ‰ Ó œ

œmm œ œm3 3

Œ œb ‰ œ ‰ œ #œ

‰ œ ∑œm3 3

33

ÓœB ‰ ∑œ ‰ ∑œ ‰ #

∑œn # Óœ œB Œ

3

∑œµ ‰ Œ ‰ # ÓÓœµ Œ Œ

∑

IIII

II

pizz.pizz. pizz.c.l.b.

c.l.b.

c.l.b.

pizz.

pizz.

F π

f

F

P

P f P ß

fp p

Pzp

Fz

s.t.II

s.t.

F

IIc.l.b.

f

III

m.s.p.

π

p

P

p

pF

F

çç

ß

f

πF

p

jeté

s.p.

flt.

sub

‚

œb œœb .

‰ ∑œn .œn œn œm œn æ œæ œæ3

‰ œm . ‰ ∑œm >Œ+ # œm . # œm

‚

œ œœm

3

33

3

‰ ∑œm æ œæ œæ ∑œæ ‰ ‰ œ œ3

∑

œ œœn œœ œœ œœm œœ # œm Ó

œm ‰∑œ

3 3

‰ # Óœm œ ∑œm -

°

∑œ œ ‰œ

∑œn .

‰3

3

3

‰ . ∑∑œµ Œ #.∑

œŒ

‰ . ∑∑œ Œ #.œ œ œ œ œ œ œ

œœµ? Œ œµ

& ÓœB3

∑œ‰ Œ O ∑Ob

3

O O O O

Œ Œ ÓœB ‰ . ÓÓ

œB œ3 ?

Œ Œ ÓO

‰ . œ 3 œ œ œ œ

œ ‰ Óœm #

œ‰

œœµ5

‰ ÓOm # œ ‰ O

O5

‰ œœm# ‰ #

∑œœ # ∑œ

œ® .œ ‰

∑œÓœ3

Ó Œ Œ

‰ ‰ ∑œ ‰ œµœµ Œ œ

œ # œ33

‰ ∑œµ∑œ ‰ #

∑œ

œ œ ‰ ∑œµ ‰

∑

IIV

IIIV

pizz.

F

pizz.

P π p p

P

P

c.l.b.

s.t.

c.l.b.

I

crini

ff P f

ß

Fzß

f

c.l.b.

F

ß

ç

ß

ç

arco

arco

arco

III

FzPz π πfPz

ß Fz P

F

I

I

jeté

jeté

jeté

ord.

s.t.

flt.

55

&

?

?

÷

&

?

&

&

&

B

?

?

?

t

&

?

&

?

÷

÷

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Ovblw.

Fl.

Ovtns.

B. Cl.

Bs.Tbn.

Sn.Cng.B.D.K.D.

(sound)Vln.

(sound)

Vla.

(sound)

Vc.

(sound)

Cb.

Dncrs.

Pno.

œ

‚

mæ œ. # œ œ œm . # œ- ∑œn

œ‚

œ‚

n∑

œ

‚

b # œ-

‚

œn œ∑œ ∑œ

‚

œ ∑œ

‚

œ œ

‚.

3 3

œ‰ œm . Œ Ó

œ. ‰ # œm œ

‚

œ

‚

œ

. . ‚

œ ∑œ3

3 3 3

∑œm >‰ ‰ ∑œ.

Œ œ.‰ œm

+œ œ

+œ

3

∑

œœ

∑œn œœ ∑œœ œ

œm œ œœœœ œn œb œ3

3

Óœœ>

œmœm Œ

∑œ

Óœm ‰ œm

œn œ œœm

œm3

33 3

# œµ œœœ

n œœ

n Œ œ œ3

# O O ∑∑O ‰ . O O3# œ œ œ œ

œµ ∑œµ Œ # Óœ ‰ # .∑œ # œ œ3 3 3

O ÓO Œ #

ÓO ‰ # .

Óœ # O O3

3 3

œB Œ ‰ œB œ # œ ‰ ® .œ3

&

œ ‰O O # O ‰ ® .O3

œ œ œ œ œ œ

∑œ

‰ Óœm

‰ ‰ Óœµ Œ ∑œ ‰ # Ó

œ3

∑œ ‰ O ‰ ∑O Œ ∑O ‰ # ∑O3

‰ ‰ œ ‰ Óœ # ∑œ # œb

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3.20.2016 ~18 minutes.

BlackoutU(~10-15 sec.)

0/

A5 "Peace"252

58

Bradley G. Robin

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