Oscar Bianchi ALTERITAS for bass clarinet
Oscar Bianchi
ALTERITAS for Bb bass clarinet
commissioned by Sampler Sèries L’Auditori de Barcelona
First performance: 03 June 2016 L’Auditori de Barcelona
Victor de la Rosa
Duration: circa 15 minutes
© 2016 Oscar Bianchi, Paris FRANCE Tous droits réservés pour tous pays All rights reserved version of 02 Mai 2016 O & B 44
Composer’s note
• Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves). • Altered pitches might be respelled within the measure for cautionary purposes. • Trills: unless differently specified the auxiliary note is always a step above the main note, see example below.
Trill
Realization
LEGEND (please consult enclosed audio legend) • • • • • • • • • • • • • • • • • • • •
vocal fry into the instrument (m 2, 4, etc.) singing into the instrument (m 11) vocal fry into the instrument with change of fingering (m 7, etc.) speaking text inside the instrument (m. 28, etc.) + but add intense inhaling and exhaling as requested in the score non distorted mongolian (m48) toneless vowels into the instrument (m. 35, etc.) mongolian vowels into the instrument (m. 45, etc.) non distorted mongolian (m 48) throat flz non distorted mongolian (m 55-59) throat flz non distorted mongolian 2 (m 60-61) throat flz non distorted mongolian 3 (m 62-63) throat flz & bisb open close (m 69, etc.) gradual undertones (m 65, etc) loud syllable whispering (m 67, etc) harmonics (m 70) harmonics (m 72) loud syllable whispering (m 75/77) harmonics (m 79&80) multi-phonic trills (88, etc) exhale sounds, inhale sounds m163 until 190
to Victor de la Rosa
Bb Bass Clarinet
ALTERITAS Oscar Bianchi (2016)
-Iq = 40 no mouthpiece
voice: sounding, ca: ngering:
vocal fry ngering change 6
vocal fry
2 #~ & ∑ 4 b %) >o
5 ∑ 4% 8 4 )
O®‰ Ù O™ ÙÓ 5 5 ∑ 4‰O 8 4 ®‰ Ù 6 # 6 6 6 # 6 6Ù 8 b6 n6 6#6 6
b% +)
''pp''
«vocal fry»: produce a rattling croaking sound with the voice (pitch ad libitum) and nger the indicated pitches
6
vocal fry: change ngering only, voice keep rattling on a "constant" pitch
8
O ~ 5 4 Œ‰ n 6 # 6 & 8 #66#6 4 6 #6n66b66# 6 n 6 6b6n6 6b6 5
n6#6n6n6b 6 6 6n6 6#6 6
n6n6 83∑43 n 6 # 6 n 6 # 6 n 6 6 6n6 6n6 6#6 6 5
5 6
5 6
sing into instrument
internal z
vocal fry ngering change
sing into the instrument (real note F4 to F3, also 8vb or 5vb)
11
O™™ r ≈ ææ 4 3 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ O œ® ™ 4 æ æ æ æ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ™ f f ™ 5 3 5 mf
ff
O™ Ù Ù‰ 15 Œ Ù# 6 6# 6 6 6# 6Ù‰ 32 p
6 pp pp
mf
all closed, blowing, all the mouth into the tube
poco più mosso q = 54 Tempo I q = 40
whispering
13
marcato ✶✶
✶✶ Follow the rhythmical pattern whispering the syllables very fast through the mouthpiece
vocal fry
3:2 3:2 ≤ ≥ ≤ 5 15 & 32 ¿ ¿ n¿ ¿ ¿ 8‰ > b¿ ¿ > > b¿ ¿ ¿ ff ¿ > ti ta ka tu hi he ta ka ta hi
O e6
O e6
''pp''
3 ∑ 8 ≥ = inhale ≤ = ord, exhale
3 4
vocal fry ngering change
ææ (almost like a monteverdi tremolo) ææ O O O O O 3 4 & 4 6 #6 n6 6 b6 6 # 6 n 6 6 4 6 b 6 6 6 b 6 6 # 6 n 6 n 6 b 6 6 n 6 6 # 6 6 6 n 6 6 n 6 6 # 6 6 6 n6 6 5
16
6
5
" mp " 6
© 2016 Editions DURAND Paris, France
Tous droits réservés pour tous pays
O & B xxx
A più mosso
2
q = 66 articulate vocal fry
air vocal fry ngering change
air
articulate vocal fry according to written durations
-. -. -. -. -. -. -. -. -. -. -. -. O O O O OOOOOOOO 2 4 6 6 6 6 66666666
z
17
O ≤ 4 n 6 n 6 ‰ ≈ n 6 # 6 & 4 #6 j f 5
≥ ææ ‰ f ™
j O ~~~~ Ÿ 6 #6n6 6b6 4 ‰ j ææ ‰ 4 f f " mp " 5
-. -. -. -. -. O O ™ OO O ≥ r 6 6™ 66 6 f
3 3 p
mf
ff
" mp " ppp
all closed, blowing, all the mouth in the tube
all closed, blowing, all the mouth in the tube
O O O 4 & 4 6 #6n6 6b6 6 6 b6 6#6n6n6b6 6n 6 n6#6n6
Oj
21
6
#6n6n6b6 6
#6n6#6
-. -. -. ‰ 3 ‰ nO O ≈ O 4 8 4 ‰ n6 6 6 6 6n6 6#6 6#6 6 3
O
5 6 5
internal z 6
23
Ÿ~~~~~~~~~~~~~~~~~~~~~~ æ 3 3 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ‰ Œ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ 6æ# 6æ 6æn 6æn6æ 6 n6 #6 n6 #6 n6 n œ 6# 6 n˙ œ ˙ f 6# 6 6# 6 6 6# 6 f p ±p p p mf 5
5
4 & 4 ææ f
ææ f
p
f
(blow half of the hole) all closed, blowing, all the mouth in the tube
internal z
T.R. 6
separate
26 5
ææ ææ ææ ææ ææ ææ æ æ æ æ æ 5 æ ‰™ ‰ ≈ ‰ # 6 n 6 ≈ & #6 n6 #6 n6 #6æ# 6æn 6æ æ æ ææ ææ ææ ææ æ æ æ æ æ 6# 6n 6# 6n 6# 6n 6æ 6æ æ æ æ bf ™ # 6n 6# 6 n 6 p mf -. ™
3
5
æ æ æ æ f f f f f -. -. -. -. -.
æ æ æ f f f -. -. -.
æ æ f -.
sffz mf
ff
all closed, blowing, all the mouth in the tube
tempo libero
B speak inside while ngering the
in
-
te - res
-
ting
thing,
is
that
5
28
& ŒŒ
Oj O O O O O O O O O 6 #6 n6 n6 b6 6# 6 n 6 6 6 b 6 6 6 b 6 6# 6 n 6 n 6 b 6 6 n 6 6# 6 6 6 n 6 6 n 6 6 # 6 6 6 n6 6 5 6
5
mf 6
speak the text into the instrument while changing the ngering, with much air, inhaling (upward sign) and exhaling (downward sign)
O & B xxx
3
a tempo
tempo libero z inside
speak inside
air I can
do
(move the mouth le and right)w
so..
I
cre
O
O
29
O O O O ‰ æ & #6n6 #6 n6 n6 ‰‰ ≈ j æ g g™ 5 f 3 o mf
‰ ææ f
6#6 6 #6 6 6#6 f
-
ate
-
Oj n6#6n6#6n6 6 n 6 n 6 6 6#6 6#6 6 5
5 p
f
p mf
(all closed) all closed, blowing, all the mouth into the tube
a tempo a tempo
tempo libero T.R. speak inside you can
z inside
3
see
me ≤ ≤ ≤ ≤j ≥ r j O™ O O O O O™ nO 7 8 ‰ O Œ Œ ‰ ≈ n 6 n 6 # 6 16 8 n 6 # 6 ‰ 6 n 6 n 6 6 6 # 6 n-6. ™ -6. -6. n 6 6 #6 6 #6 6 6#6 6#6 6 p
32 3
& Œ ææ ææ nf f
in - te- res.,
ææ f
5 p
f
p mf
5 zffz
poco meno mosso
C e = 120 >
toneless cliks o > > > > > > > oa > > > > > > o
o >>>>>>
> > > > oa > > > > > > o
a o a o a o 1 . . 1 . . . . . . 1 1 . . . . . . . . .6 . . . 1 1 1 . . 35 1 111 11 1 11 11 1 1 1 1 1 1 1 1 1 1 10 1 1 1 1 12 111111 3 11 8 1 &8 8 8 32 6 6 6 66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 666666 . . . . . . . . . . . . (all closed) . . . . . . . .
ppp
Toneless clik: unlike vocal fry, one individual tongue click per note, always inside the instrument.
accel accel (q = 68) a
q = 74
o > > > > > > > a > > > > > > ae
o > a o >>>>a o >>>>>>
38
3 & 32
∑
. . . .1 1 1 1 . . . . . > . 1 . . .. 1 1 1 11 1 1 1 11 1 1 1 1 1 1 1 8 1 1 11 1 ≈1 1 1 1 8 6 6 66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 . . . . >. . . . . . >. . . ....
a o >>>>
i
11 1 >. 1 1 ≈ ‰ 1≈‰ ≈1 1 1 66 6 6 6 66 6 6 . . . . >. . . >. a tempo T.R.
accel in - te- res.,
q = 96 a o >>>>>> a
a o >>>>>>> a >>>>>> o i . . . . . 1111111 . . 1 1 42 1 . 1 1 1111 1 11 1 1 1 1 11 1 1 3 ≈ ≈‰ ≈ & 8 6 666 6666 66666 6666 6 66 6666 66 6 ............ . ..... .
≤ ≤ ≤ O ™O O ∑
7 16 ‰
≈ 88 -p6. ™ -6. -6. 6
O & B xxx zffz
4
e = 90, pesante accel
(e = 118) accel
sbuffando o > > > > > > > oa > > > > > > o
o > a o >>>>a o >>>>>> a > > > > > > > oa > > > > > > o
marcato
-. -. -. -. ` ` ` ` ` ` ` -. -. -. -. -. -. -. -. ` ` ` ` ` ` ` -. -. -. -. 46 ` ` ` ` ` ` ` ` ` ` ` ` ` 9 ` ` ` ` 8 ` &8 8 66 6 66 6 6 6 6 6 6 6 6 6 6 6 66 6 66 6 6 6 6 6 6 6 6 6 6 6 pp -. -. -. -. -. -. -. -. -. -. -. -. -. -. -. -.
-. -. >-. -. -. -. ` ` ` ` ` ` ` #O ` ` ` ` 8 ≈` ` ` ` ` 6 6 6 6 6 6 6 6 6 6 6 -6. -6. -6. -6. -6. 3R 8 -. -. >-. -. -. ff
(all closed) mongolian vowels, as in throat singing: one single individual throat-distorted-sound per note, always inside the instrument.
e = 90 non-distorted mongolian
voice: i 49 (8vb)
a
ɛ
e
3 <#> O O O O™ ~ 8 &8 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3™ 3 3 J resulting 3 3
3
3 3
sounds: constantly sing a long F# while ngering.
D sbuffando o > > > > > > > oa > > > > > > o
> > > > > > > oa > > > > > > o
-. -. -. -. ` ` ` ` ` ` ` -. -. -. -. -. -. -. -. ` ` ` ` ` ` ` -. -. -. -. ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` & 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 ff -. -. -. -. -. -. -. -. -. -. -. -. -. -. -. -.
51
e = 90 a tempo accel sbuffando o > a o > > > >a o > > > > >a
throat non-distorted mongolian
voice: a 8vb
` ` ` ` ` ` ` ` ` ` ` ` ` ` ` 4 8 ` & #~ 8O 8 6666666666666666 6 6 6 6 6 6 6 6 6 6 6 6 6 6 -. -. >-. -. -. -. -. >-. -. -. -. -. -. -. -. -. ngering: 6 6 6 6 6 6 J 6 6 6 6 6 6 6 6 6 fff 53
3 3 3 ff 3
3
constantly sing a long F# while ngering (C D or E) in order to obtain approximatly the resluting pitches below
e = 120 56
throat z non-distorted mongolian a 3 3
toneless vowels o > a
3
3
& 7 7 7 7 7 7 7 7 O7 7j 7 7 7 ‰ 7 7 7 7 7 7 7 7 7 7 7 7j 7 7 ‰ 1 1 O b O O O # O O O # O # O n O ™# O O # O n O O # O O # O ™n O # O O O b O O n O ™ O n 6 6 resulting mf mp sounds: .. sing the eaxct indicated pitched, while freely ngering (C D or E) ad libitum. rit. sbuffando throat z non-distorted mongolian
voice mouthpiece in throat z non-distorted mongolian 2
> > >> oa 3
o oa a . . . -. 3-. a .. 1 61 3 3 3 U U 1 11 ‰ 3 1 ` ` ‰ & j 7 7 7 7 7 O7 7 7 7 7 6 6 7 7 7 7 7 7 777 7 7 7 7 7 Ó 7 7 6 6 6 6 6 O b O O # O O ™ O n O # O O ™# O O ™ #O nO #O O nO #O O O O nO #O ™ O O O
mp
f
as in «throat z non-distorted mongolian 2» but with O & B xxx
p
5
- II Circular breathing. Durations are not to be taken stricly. All bars are to be considered as individual object and all extremeley tied oneanother, as if to "zap" between them.
ca. 10'' arioso
meno arioso
66
poco più lento
throat z + bisb
loud whispering
>@ ÍÍÍÍ
✶✶
¯ ï
arioso
o #O
a tempo q = 60
o x2
3:2 ≥ ≤ 3:2 ≥ ≤ 3 2 15 ™ ™ ™4 & ™ œ ¿ ¿ ¿ 32 ¿ ¿ 8 b ¿ b ¿ ff mf ¿ ¿¿¿ ï¯ïï pp p. eq: _ï ✶ undertones: gradually from one sound to two and backwards ti ta ka tu hi he ta ka ta hi ¯ï ≥ = inhale ✶✶ Follow the rhythmical pattern whispering the syllables through ≤ = ord, exhale loudly the mouthpiece (3+3+3+5)
✶
q. = 84
a tempo q = 60
fp
>-. µO
throat z + bisb
ord z
69
≤ 3 2 & 8 æJ 4 œ p ë f
¯ ï @ ÍÍÍÍÍÍÍÍÍ
harmonic, like a small accent ord
x 3 times
≤ ™™14 8
≥
≤
j ✶✶✶ œ œ
#œ ™
≥ ™™ 28
j œ™ ✶✶✶ œ ˙
œ p
mf
ëf
fp
✶✶✶ during circular breathing inhale at these points producing an almost percivable accent
ca. 20''
a tempo q = 60
little presence many beats mostly high pitch many beats of fundamental
ca. 10''
little presence of fundamental
ff
arioso
p
p
ord
µœ
73
meno arioso
o arioso
o #O ✶
2 8
&
2 8 œ p ë
nO
nœ
nœ
nO o
o a tempo poco più lento loud whispering q = 60
ca. 10''
o #O
z random ngering (always change)
f
œ ï¯ppïï _ï ¯ï o
arioso
76 ord
2 &8 >œf
≥ >™ ≤ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 5 5 ææ J 16 16 ✶✶✶ hi e o e fff
i
3 ti ki ti r f
>¿
arioso meno arioso
✶
12 8
ï¯ïï ppœ sch f _ï ï fff ¯
a tempo, q = 60 “ -j -j O™ 80 µO µO µO # O ™ ≤ ≥ ≤ ≥ 12 15 &8 j 8 j # œ œ œ™ œ œ œ œ œ œ œ œ œ œ™ œ œ œ™ œ E # œ ™ ✶✶ » z 83 Ÿ~~~~~~~~~~~~~~~~~~~~~~ ✶✶✶ 4 3 3 O æ & 4 Bœ ™ 4 8 # O ™ æ œ #œ ™ nœ ™ ™ # œ ppp œ mf ppp œff ppp ppp ff ppp sfz ✶✶✶ + voice ✶✶ overtone
O & B xxx
throat z + bisb
¯ ï n>@ ÍÍÍÍ
O
2 4
4 4 mf
œ œ™
≈
‰
‰
4 4
6
Ϫ Ϫ 4 &4
œ œ J
✶ppp
mf
86
#œ J ppp
f
o »
Ÿœ™~~~~~~~~~~~~~~~~ ✶✶✶ #œ z (steady) 3 ææ 4 #O ™ nœ ™ ppp ff # œ ™
5≈ 8
‰
‰
5 4
Œ
œ ppp
ppp sffz
✶ myltiphonic with two clear pitches (alternatively use voice for upper one)
✶✶✶ + voice
q = 48 multiphonics trills
slighly distorted o 89 # ˙ (regolare) ˙™ 5 5 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 16 ï ïï- ¯ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ _ïï mp ppp ïï pp Eb
q = 60
ca. 10'' arioso
arioso
o #O
» 90
5 & 16 ≈
meno arioso
o ord ✶✶✶ Ÿ~~~~~~~~~~ 9 8 # œ ™ œ #O ™ #œ ™
≈ ‰ ï¯ïï œ _ï pp ¯ï
# œ.
ppp
mf ppp
z
O
5 8
ææ nœ ™
ff ppp
mf
✶✶✶ + voice
#œ ™ 93 5 & 8 Bœ ™
✶✶✶ H
#O #˙
j O œ
ppp
fff
O œ
5 4
O™ œ™
#O
ppp
nœ ppp
ff
ppp
q = 48 slighly distorted
o #˙
˙™ 5 2 &4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 ï ïïï-¯ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ _ï ïï 5 5 3:4 3:4
96
Eb pp
mp
ppp
» 97 profondo ed intenso ma non forte, mai rubato
2 &8
3 32 œ bœ œ #œ nœ nœ bœ œ #œ œ œ œ œ œ œ œ
® ®
5 4
nœ sffz
pp
mf
pp
oslighly distorted 99 ˙™ 5 4 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ o #˙
3:4 3:4 ppp
3:4
5 mp
5
3:4 ppp
O & B xxx
o 7 # œ ™ œ œ ™ 100 #œ ™ œ 4 5 9 & 8 nœ Bœ ™ œ œ ™ 8 #‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 32 œ#œnœ#œnœ#œnœnœ n‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ #œnœ#œnœ come prima
3:2
3:2 5:4
ppp
mf
ppp
ï ïïï -¯ _ï ppp ïï G
mp
mp
open slap + “pa”
» 102
9 & 32
® œ #œ nœ #œ nœ #œ nœ œ #œ nœ #œ nœ pp
mf
5 8
® œo
pp
sffz
#œ ™ 5 & 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ nœ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ b œ œ # œ n œ œ #5:4œ œ n œ # œ n œ # œ n œ n œ # œ n œ
103
5
5
5
p
mf
pp
f
z
104
≈™ ® &
n œ ææ ææ ææ ææ œæ# œææn œææ# œææ œ # œ œ # œ n œ œ # œ n œ nœ œ bœ# œ n œ # œ œ n œ œ b œ œnœnœ #œ œ#œnœ
#œnœ pp
o #œ ™ & #‚
mf
pp
f
ppp
105
œ ‚ n‚
‚ ‚
‚ ‚
‚
‚
‚
‚
growl
‚ ‚
‚ ‚
2 8 7 œ
‚ ‚
‚
5 4 7 œ mf
3:2 5:4
ppp
3:2
5:4
ppp
mf
ppp
+ pa
o #˙
»o ord ˙™ 5 1 3 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 ≈ 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ nœ #œ
107
3:4
3:4 ppp
3:4
3:4
5
5
3:4
sffz
sffz
3:4
mp
ppp
+ pa z
109 6
3 &8
æ æ æ æ œæ# œæ# œæn œ œ #œ nœ #œ nœ #œ nœ œ #œ nœ #œ nœ #œ œ œ
5 æ æ 16 œ™ œ™
»o ~~~~~ Ÿ 3 ® ® 83 æ œ 32 œ #œ f
mp
f
p
O & B xxx
ppp
sffz
8
almost dist strettisimo, esuberante
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 j nœ 5 4 nœ 16 #œ ™ nœ
112
3 & 8 ≈ ™™ œ # œ bœ # œ n œ # œ #œ nœ nœ bœ pp
œ nœ nœ f
pp
ff
pp
oord 114 B ˙ ˙™ 5 3 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 ï ïïï_ ¯ # ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ _ï ïï 3:4 3:4 3:4 3:4 5 5 3:4 C# ppp
mp
ppp
almost dist
z strettisimo
115 subtone
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 j œ3 16 8 # œ # œ ™ æ æ æ æ æ æ # œ n œ ™™ œ # œ n œ #œ nœ #œ nœ nœ #œ nœ #œ nœ #œ œ œ œ #œ mp 6
3 &8
f sub
p
ff
pp
ord z #œ ™ 6 3 5 3 3 j æ & 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 16 æ™ 16 8 nœ œ œ œ œ œ œ œ#œnœ #œnœ#œ nœ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ#œnœ #œnœ ppp f
117
p mp sub
6
mf
pp
6
» #œ ™ 6 3 3 3 ™ ® ® & 8 b‚ ‚ ‚ ‚ 16 8 ‚ ‚ ‚ ‚ ‚ ‚ nœ #œ # œ œ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ n œ œ #œ
120
6
3
mp sub
sffz
pp
mf
pp
(ord) half air #œ ™ 5 5 3 g4 3 5 3 # g g ® g g & 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 16 n œ œ œ œ œ œ œ œ œ œ œ œ œ 16 4 ® #™ g f ppp b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ6
122
f 5
p
6
pp
mf
ppp
(open slap)
F q = 60
» o
H
#œ ™ 4 & 4 Bœ ™
✶✶✶
125
H
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 3 4 #O ™ œ #œ ™ #œ ™
z
O
ææ nœ ™
3 16 ®
≈
ppp
œ ppp
œ. mf ppp
ff ppp
ff ppp
✶✶✶ + voice O & B xxx
ff
sffz
≈
3 8
9
e = 96
ord
128 subtone
z 6
3 &8
5
® r æ æ ™™ æ æ æ # œ æ œ #œ nœ #œ nœ #œ nœ œ # œ # œ œ #œ nœ #œ nœ #œ œ œ mp
Ϫ
nœ œ œ œ œ ppp
n œ-.
p
f
p mp
f sub
z
» air
sound
130 5
5
5
5
5
ææ ææ 5 5 3 3 ®‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ù # œ ™™ 16 œ œ ™ 16 8 Ù 16 ˜ œ ™™ œ f ppp p f p nœ . p sffz
ord
135
5 & 16 æ <˜> œæ
3 5 3 ææ 16 ® Ù œ ™™ 16 œ œ ™ 8 œ œ™ ppp f ppp œ-. p mp
f
5 3 16 8 œ œ ™™ œ œ ™ œ ppp
f
5 16 œ œ ™™ œ œ œ œ ™™
ppp
ppp
f
ppp
ppp
o »
ord
x 17 times
142
& œ ™ œ ™™ œj™
3 ææj 16 œ œ-. mp
f ppp
® ≈ ≈ ™™ ® ‰ ™™ 83 œ. œ.
®≈ ≈
∑ œ™ œ™ œ™ œ™ ppp
mp
ppp
mp sffz
+voice
150 beats
& Ϫ
ord
5 8 Ϫ
Ϫ
mp
Ϫ
j œ
Oœ ™™ Oœ ™™ œ™
ppp ppp
mp
ppp
Ϫ
Ϫ
mp
Ϫ
˙
4 4
ppp
156
4 & 4 b œO ppp
beats
ord
beats
œO
Oœ ™™
j œ O
mp
ppp
ord
O˙
œO
O˙
mp
pppp
ppp
beats
ord
œO ™™
Ϫ
mp
ppp
e = 112 x 9 times 160
& <#> œO ™ ™ mf
j œ ˙
‰ Ó
™™28
≈ ™ ™™ 83
≈™
Ϫ
pppp
O & B xxx
interpolate ad libitum between: ordinario slap open slap, open slap with "pa'' open slap with voice open slap with multiphonic
»
»
ord beats
# w~
œ.
œ.
sffz
sffz
∑
4 4
10
- III poco meno mosso q = 60
fermatas: according to inhale's lenghts, durations are to be considered slightly exible exhale, no sound, z, much tongue over the reed (more distorted sound)
no mouthpiece
… … ≈ ≈ 2 4Ó 4 ææ Œ 4 g g g
164
≈ 4 &4 Ó
exhale, no sound, z
hold breath
4 4 ææ G
ææ G ppp
p
2≈ ≈ 4 4 4 g g
3 4 ææ …Œ G
ææ G
ppp p
mf
p
sonorous inhale
exhale no sound, z, much tongue over the reed (more distorted sound) bisb.
170
sonorous inhale, G then take the reed off exhale into the tube, + double z (both with tongue and throat) (attacca subito)
≈ ≈
… ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ … ≈ ≈ 4Œ ‰ æ 58 æ ‰ 42 4 æ æ g g g™ G
… 4 &4 Ó
…‰ 2 4
5 8 ææ _
ææ _™
g g
mf mf
f
ppp
mf
H sonorous inhale as long as possible exhale into the tube, + double z (both with tongue and throat) tongue ram exhale into the tube, + double z (both with tongue and throat)
176
… 4 & 4 Œ ææ f _™
… ∑
2 8
4 …Œ ‰ Œ 4 6
≈
4 4
p
G
G
…Œ 2 ≈ ≈ 5 3 4 4 ææ 4 ææ g g _ f
f
exhale into the tube, + voice, + double z (both with tongue and throat), slap decresendo until all oxygen is out
tongue exhale into the tube, + double z (both with tongue and throat) ram
182
… ≈ 5 & 4 Œ ææ ~_
2 ≈ ≈ 4 …Œ 4 4 g g
‰ >f
‰ æ 6 æ f -
3 4 ææ _
…Œ
2≈ ≈ 7 4 8 g g
mf f
tongue ram
exhale into the tube, + double z (both with tongue and throat)
slap
187
… 7 &8 Œ
‰ 6
‰ >
≈ >
2≈ 4 g
3 4 ææ _™
≈
5 8 g
50'' f
exhale into the tube, + double z (both with tongue and throat)
mouthpiece in
Kiss
190
… …Œ 4 ≈ 5 4 Œ ≈ ‰ ‰ K &8 4 -# - n - r ææ 4 -b-™™™ G
≈ G
U `
2≈ ≈ 4 4 4 g g
∑
3 8
f
Jeu de « trompette » inside the tube, similar to whistletones's ute (long ca 50’, as long as much air as available. Keep variating sound, include multiphonics at the end when available) O & B xxx
11
- IV I e = 120
#‚ ‚ ‚ ‚ ‚ ‚
#-‚ -‚ ‚ ‚ ‚
#‚ ‚ ‚ ‚ ‚ ‚ ‚
196
3 &8
∑
8 ≈ 16
‰
8 8
≈Œ
Œ
Ó
3 5 pppp sempre
poco legato, sempre articolato e diafono (articulated sound with presence of air)
n‚ #‚ ‚ n‚ #‚ #‚
200
‚ & ‚ #‚ #‚ #‚
‚ ‚ n‚ ‚ #‚ ‚ ™ z n ‚ ‚ ‚‚ ‚ ææ #‚ ™
ord
®‰ Œ
Ó
n‚ ™ 7 3
6
z
n‚ ‚ #‚ ‚
202
#‚ ‚ #‚ & ‰
‚ #‚ #‚
ord
# ‚ ‚ #‚
n‚
‚ ‚ #‚
n‚
#‚ #‚ #‚
≈™ ‰ næ‚
#‚
5 5
ord vibr n ‚ # ‚ n‚ 203 #‚ ‚ n‚ # ‚ ‚ n‚ #‚#‚ #‚ 3 n ‚ n‚ ‚ #‚. ‚. 42 ‰ ™ n‚ ‚ ‰ ™ ‰ & ‚#‚#‚ ‚ 8 #‚ ææ -. -. # ‚ 7 z
∑
6 6
J Ÿ-~~~~~~~~~ # œ ˙ #‚ ‚ ‚ #‚ ‚ ‚ ‚ #‚ ‚ ‚ ‚ ‚ ‚ #‚ ‚ µ‚ ‚ ‚ ‚ ‚ ord 206 6 ®‰ 13 ‰ 4 8 R5 ® 48 ® ≈‰ ≈‰ ™Œ 16 ≈Œ 43 &4 8 16 5 # œ. œ. œ œ. n œ. # œ. p ppp sffz .
n-‚ -‚ ‚ ‚ ‚ 211
3 &4 3
n œ. #™ œ. #œ. ® #œ. ≈ #œ ™ Œ Œ 10 ≈ 8 # œ. 6
ord
8 j 16 #œ œ #œ ™
3 ‰ 16
œ ppp
mf ppp
ff ppp
ff
ppp
ff
sffz
K
o » 214 6
7:4
ord
#‚ ‚ ™ 4 nœ. #œ œ œ #œ. nœ nœ 4œ . . œ. n œ. œ # œ. . # œ. . . . # œ. n œ. œ. # œ. ppp . œ. sffz 6
3 & 16
® ‰ œ. sffz
O & B xxx
Œ
12
7:4
n ‚ ‚ ord œ™ 6 6 J # œ & nœ. #œ#œ. œ nœ. # œ n œ n œ . . . œ. # œ œ. # œ. . # œ. œ. nœ. . . ppp mf . n œ. œ. sffz
articulated air
‚ ‚ ‚ ‚ ‚ ‚
216 ord
‰
8 ≈ 16
‰
ppp
special z
‚ ‚ ‚ ‚ ‚ ‚ ‚
ord
#‚ ‚ ‚ ‚ æ 4® ‰ æ #æ‚ ™ æ 4 æ œ. #œ. ppp5
218
# ‚ #‚
7
8 & 16
ŠΠ5
‚™ æR ‚æ
‚ ®
æ #æ‚ æ æ
sffz
z
n‚ n‚ ‚ n ‚ # ‚ # ‚ n ‚ Ÿ~~~~~~~~ ‚ 220 # ‚ # ‚ # ‚ ‚ æR #‚ n‚ #‚ n‚#‚ . ‚. ‚#‚n‚#‚ n ‚ # ‚ # ‚ n ‚ # ‚ ≈Œ 44 # ‚ ‚ n ‚ j n ‚ & ‚ #‚ # ‚ # ‚ æ ‚ æ ‚æ æ æ n ‚ n‚ ‚ ææ æ æ æ æ æ æ æ æ æ æ æ æ #‚ #‚ 6 7 6 6 7
L (q = 60) H ✶✶
œ™ #œ ™
H ✶✶✶
#œ ™
222
Ÿ~~~~~~~~~~~~~~ #O ™ #œœ ™ #œ ™
✶ 4 & 4 Bœ ™
z
æ n œæ™
nœ
œ
j #œ
œ
ppp
nœ ppp
mf ppp
ff ppp
ff ppp
ppp
mf ppp
ff ppp
ff mf ppp
✶✶✶ + voice ✶✶ gradually augment the presence of harmonic overtones while increasing the dynamics pimp z
œ 3
3
225
‰ o
&
ord
#œ œ ™ ææJ ææ
z
n‚
‚
‚
Œ
Œ
Œ
≈ ææ #œ
≈
J n˙
4 8
#‚ #œ
œ
nœ
o ppp
ppp
f
M (e = 120)
pp
f pp
f
ord
228 var 1
4 &8 ≈
‰ nœ pp
≈
≈
‰
œ ff
pp
≈
œ ff
pp
≈
œ ff
pp
‰ œ
ff
ppp
ff
Ÿ~~~ var 1
z
230
#‚ ‚ ≈ #‚ ‚ #‚
&
air
#‚
≈™
#‚ #‚
æ ® ‰ n‚ ™
≈ g
≈
#œ œ pp
œ ff
pp
pp
nœ ff
pp
pp
ff pp
O & B xxx
pp
ff
ff
13
N e = 150
outside jet air ✶
o» »o3
232 ord
b7 ™ >
&
var 1
3 8
j ™ >7
7
œ
b7
4≈ 8
‰
‰
œ #œ
œ
œ
pp pp
ff
≈ ≈
ff
œ
pp
ff
pp
ff
ff
✶ blow from the outside of mouthpiece while moving chromatically from given note to arrival note
ord var 1
235
& ‰
b-7 >
≈ ≈ œ
Œ
≈
‰
œ
pp
ff
≈ ≈
7
œ
ppp
ff ff
œ
pp
ff
œ
pp
ff
pp
ff
ord
238
& b-7 >
‰
≈
b-7 >
≈
7
7 >-
Kyu ff
7 >-
-7 > tsch
koy ff
œ tsch ff
ff
-7 > tsch
œ
pp
ff
Kyu ff
ppp
ff
7 >-
->7
tsch ff
tsch ff
4 8
O e = 108 241
4 ≈ &8 7
slap variations pa
pe
pi
o O
o O
o O
‰
≈
≈
œ
oord ‰
œ
o ≈
œ
≈
‰
œ
œ
ff
Sospeso q = 60
Ÿ~~ var 1
˙
˙
#‚ 44 #‚ n~
#~
243
#‚ ‚ ≈ #‚ ‚ &
#‚
≈™
#‚
3 4
#œ œ pp
ff
Ϫ
Ϫ
3 & 4 #O
#O ™
Ϫ
pp
ff pp
Ϫ
Ϫ
pp
Ϫ
245
™
#O ™ #O ™
3 16 # O #O ™ ™
∑ o
dynamics variation ad liib
O & B xxx
Berlin, 30 April 2016
œ
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