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--saha araştırması fieldwork for large ensemble and electronics alican çamcı 2017-2018 ---


Instrumentation

Flute (doubling Megaphone) Oboe Clarinet in Bb (doubling Bass Clarinet in Bb) Bassoon Horn in F (harmon mute, doubling Megaphone) Trombone (harmon mute) Percussion I: Instruments: Large Timpani (32”, shared with Percussion II), Vibraphone (motor always on, full speed, shared with Percussion II, only in measure 59), Tam-tam (to be prepared with a rubber band, shared with Percussion II), Cymbal (to be placed on Timpani, shared with Percussion II), large spring coil, large woodblock. Beaters/sticks/objects: Felt Timpani mallets, medium Vibraphone mallets, wooden sticks, triangle beater, Reibestock (dented friction stick), bow, sandpaper, metal chain, coins. Percussion II: Instruments: Large Timpani (32”, to be shared with Percussion I), Vibraphone (shared with Percussion I, only in measure 59), Tam-tam (shared with Percussion I), suspended cymbal (to be prepared with a rubber band), three woodblocks, wooden edge (see notes), medium spring coil, Cymbal (to be placed on Timpani, shared with Percussion I). Beaters/sticks/objects: medium mallets, triangle beater, superball mallet, metal guitar slide, metal chain, grains, coins.

Harp (prepared with a rubber band, see notes for scordatura. Harpist also uses a plectrum, tin can, metal chain, cymbal, grains, and plays flute’s megaphone at the end.) Piano (prepared with piano mutes, cigarette filters, and a rubber band. Pianist also uses a metal guitar slide, plectrum, tin can, metal chain, cymbal, grains) Violin I (to be prepared with cigarette filters. Violinist also uses a tin can) Viola (to be prepared with cigarette filters. Violist also uses a tin can) Violoncello (Violoncellist also uses a tin can) Contrabass Electronics Conductor (also joins the ensemble at the end of the piece, playing the horn’s megaphone at the end)

Score is written in C.

duration: the overall duration of the piece is relatively open and dependent on the pace of actions performed, with an average performance lasting ca. 20-25 minutes.


Performance Notes General Remarks Electronics: There is a tape part to be triggered by a person running the electronics based on cues. The playback should be projected through a stereo pair within the ensemble (preferably from the back and on the ground). Cueing system: The opening of the piece is based on cues given by the conductor. The placement of the gestures within measures is left to the performers, following the layout of the parts proportionally, unless otherwise noted. The opening (to some extent) and the ending (almost fully) makes use of listening cues. Here the players are asked to perform in response to the input of another player to guide their actions such as entry, cut-off, etc. A certain intensity of listening, rather than exactitude in synchronization, is desired in these cases. Section between mm. 67-84: This section is an elongated process of ‘accelerating repetition’. With each repetition starting in measure 67, the duration of the fermatas (in which the conductor cues individual entries) gradually get shorter, while the ‘metered’ portion (m. 69 through the first two beats of 70) stay in the same tempo. As the compression continues in the next cell (mm.71-75), the individual entries occur more and more quicker, eventually becoming the staggered triplet entries in measure 76. The changing duration of the fermatas are indicated with two values with an arrow in between them. The overall feeling of this passage is one of ‘getting out of control’ caused both by repetitions occurring faster and the problem of placing sounds ‘correctly’ in the constantly shifting tempo. Here, the sense of urgency is more important than the accuracy of the placement of sounds: while the performers should try to come in time and place sounds as written, it is expected that some detail and accuracy will be lost in the process. The players should embrace this aspect! Ending: In the last part of the piece, the conductor leaves their post to join the ensemble in performance with a megaphone. Here, the notation is gradually ‘opened up’ to create a different sense of ensemble dynamic where the performers place sounds completely in relation to one another. The performers should treat this ending with an increasing sense of liberty. Especially in the last measures where only few words remain for guidance, the performers may choose to approach their parts however they like to. Megaphones: At the beginning and the end of the piece, some members of the ensemble are asked to perform on the megaphone. Apart from their more ‘traditional’ use of amplifying speech, the megaphones are used to create various noises and feedback.

- turn the megaphone on (downward) and off (upward) respectively.

- speak through the megaphone. The arrow indicates the megaphone is turned on, and left on after speech has ended.

- vocalize through the megaphone. The upward arrow indicates that the megaphone is turned off cutting off the vocalization. - create feedback by holding the auxiliary microphone to the bell. the distance effects the volume, place accordingly.

Microtones: Quarter Tones (from lower to higher):


Other accidentals (for smaller inflections like eighth tones [where no partial number or cent deviation is specified], as well as 5th and 7th partials, ca. 14 and 31 cents lower):

Default playing mode is without vibrato.

– dynamics in quotation marks indicate the force of action in the instances where the sonic outcome does not match the action required.

– highest and lowest possible notes.

– note held for the duration of the line, with the ticks marking the beats, no accentuation unless indicated.

Woodwinds and Brass

– (Flute) mixture of tone and breath sound.

– breath sound, (Flute) covering the embouchure completely.

– vocal fry: a fragile and unreliable creaky sound produced while inhaling.

- (Flute) altering intonation by adjusting the embouchure, ca. quarter-tone higher or lower.

– (Flute and clarinet) tongue ram. – (Bassoon) flap: produced by hitting the reed (or the crook if the mouthpiece is off) with the tongue, very little pitch content.

– slap tongue.

– strike the mouthpiece with the palm.

– bisbigliando.

– open – closed

Oboe and bassoon make use of multiphonics. These are indicated with specific fingerings, borrowed from ‘Techniques of Oboe Playing’ by Peter Veale and Claus-Steffen Mahnkopf, and ‘Techniques of Bassoon Playing’ by Pascal Gallois respectively. Bass clarinet makes use of spectral multiphonics, achieved by adjusting the lip pressure on regular fingerings for low fundamentals to bring out higher partials.


Horn makes frequent use of non-tempered partials of the harmonic series, do not correct the intonation of these pitches.

IPA Pronunciation Guide Vowels IPA

English approximation

as in father e as in bed ə as in the i as in creek ı as in myth o as in Leo ɔ as in caught u as in move ɯ somewhat like roses (close back unrounded vowel: make an /u/ sound and unround the lips) ɑ

Consonants IPA

English approximation

b d f g h k l m n p r s ʃ tʃ v j z

as in about as in ado as in food as in ago as in home as in coal as in late as in much as in not as in pan as in the Scottish r (rolled) as in send as in shoe as in chalk as in vase as in yet as in zone

Percussion (2 players) Preparation: Preparation (and removal) takes place in the piece. Percussion I attaches a rubber band to the Tam-tam with tape, which is to be snapped later on. Similarly, Percussion II attaches a rubber band to the suspended cymbal with tape, which is to be snapped later on. Wooden Edge: A wooden surface, like the edge of a table. Played by scraping a wooden stick along the edge. The frequency content of the sound depends on the contact point of the stick to the edge (higher towards the tip, lower towards the hand). C – center E – edge

- scrape

Harp Preparation and Tuning: Preparation, tuning (as well as retuning and removal) takes place in the piece. Harpist ties a large rubber band to the lowest string, which is to be snapped later on. The scordatura is as follows:


– pedal glissando. Do not attack the notes in parentheses.

– create a buzzing sound by pedaling half way.

– scrape the string vertically.

– Bartók pizz.

Harmonics sound an octave higher than written.

Piano Preparation: Preparation (and removal) takes place in the piece. Pianist attaches a rubber band to the lowest string, which is to be snapped later on. The highest three strings are to be completely muted, inserting piano mutes between both sets of strings. Several strings in the middle register are to be prepared to sound slightly out of tune, almost creating a ‘chorus effect’, using cigarette filters. Insert one filter in between only one set of strings. The indicated strings are prepared in the following manner:

Strings Preparation: Preparation (and removal) takes place in the piece. The violin and viola is occasionally prepared with two cigarette filters inserted between 1st and 2nd, and 3rd and 4th strings, approximately 1 inch (~2.5 centimeters) away from the bridge. Always play in the area between the filter and the bridge. Aim for relatively stable multiphonic sounds, adjusting bow position and pressure accordingly. Bow positions: SP – sul ponticello ASP – alto sul ponticello (almost on the bridge) ST – sul tasto AST – alto sul tasto ORD – ordinario M - (Violoncello and Contrabass) multiphonic created by fingering a pitch high up (well beyond the fingerboard) on the indicated string, and bowing on the ‘wrong’ side. Aim for relatively stable multiphonic sounds, adjusting the pressure and placement of both the fingering hand and the bow.


– granular sound: increased bow pressure and slow bow speed, creating a scratching sound. In the passage starting in measure 47 in Violoncello where the bow pressure alternates between light and over-pressure bowing, loosely follow the graphic indications in the score.

All other explanations are indicated in the score.


written for Ensemble Dal Niente

saha araştırması fieldwork

g

10"

1

° Flute

) 3 [f]

MEGAPHONE

g

alican çamcı (2017-2018)

SENZA MISURA E TEMPO

5"

2 ) 3

2

[to prepare]

&

Bass Clarinet in Bb

?

Bassoon

?

Oboe

¢

° Horn in F Trombone

Percussion I

Percussion II

Harp

Piano

¢

MEGAPHONE

3

?

°

œ

o

2 f

/

¢/

start preparing the instruments. do not worry about unintentionally making incidental sounds in the process.

start tuning and preparing the instrument. do not worry about unintentionally making incidental sounds in the process.

° & ¢

?

° & ¢

?

start preparing the instrument. do not worry about unintentionally making incidental sounds in the process.

1

2

start preparing the instrument. do not worry about unintentionally making incidental sounds in the process.

B

?

? ¢‹ ° Electronics ¢

Violoncello

Contrabass

[f]

start preparing the instruments. do not worry about unintentionally making incidental sounds in the process.

° Violin & Viola

) 3

start preparing the instrument. do not worry about unintentionally making incidental sounds in the process.

2


g

10"

2

Fl.

°

feedback

)

2

3

[ʃ]

B. Cl.

?

Bsn.

?

¢

° Hn. Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

Vla.

Vc.

Cb.

El.

¢

2

?

°

o

o

&

Ob.

10"

323

232

) 3

2

32

[ʃ]

remove mouthpiece

remove mouthpiece

)

2

[ʃ]

323

23

œ

o

/

¢/

° &

?

° &

?

B

?

? ¢‹

3

4

¢

¢

° &

° ¢

23

3

o


° Fl.

g 8"

3

œ o

23

B. Cl.

?

Bsn.

?

Hn.

¢

°

4 o

32

∑ imitating the megaphone sounds tongue ram

r r mp

) 3

Tbn.

Perc. I

Perc. II

¢

°

Vla.

Vc.

Cb.

El.

[ʃ]

"f "

[w/ palm]

)

r r f f

Tam-tam [Sandpaper]

[s]

gently brush the surface of the Tam-tam in long, uninterrupted movements imitating the hiss of the megaphone.

¢/

) o ∑

if finished with tuning and preparation, discretely start testing some sounds. adjust as needed. if not finished, continue with preparation, and test when you complete it.

¢

?

¢

?

3

Vln.

)

» r -

° & Pno.

2

/

° & Hp.

-mp

--

[s]

imitating the megaphone sounds slap tongue

?

)

[to emerge]

»»

3

continue in the previous fashion UNTIL CUE 10. pay attention to leaving space, listening to the others, responding, and not overwhelming the overall texture.

&

Ob.

g 8"

p

if finished with preparation, discretely start testing some sounds. adjust as needed. if not finished, continue with preparation, and test when you complete it.

4

° &

if finished with preparation, discretely start testing some sounds. adjust as needed. if not finished, continue with preparation, and test when you complete it.

B

if finished with preparation, discretely start testing some sounds. adjust as needed. if not finished, continue with preparation, and test when you complete it.

?

? ¢‹

° ¢

Tape: Quiet, filtered construction sounds

1

5

6


4 Fl.

°

?

B. Cl.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

&

Ob.

Bsn.

g

20"

5

¢

?

)

f

[ʃ]

"f "

flap

r -

/

¢/

° &

?

° &

?

¢

¢

° Vln. &

Vc.

Cb.

El.

B ? ? ¢‹ ° ¢

- -

continue in a similar manner UNTIL MEASURE 15. pay attention to leaving space, responding, and not overwhelming the overall texture.

5

Vla.

f f

tongue ram

continue in a similar manner UNTIL CUE 9. pay attention to leaving space, listening to the others, responding, and not overwhelming the overall texture.

?

°

r

mf

° ¢

[w/ palm]

∑ AST, very slow bow, with grains audible

œ

ppp

p

∑ ∑

7

- - [s])


Fl.

°

6

&

Ob.

B. Cl.

?

Bsn.

?

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

° ¢

°

Vla.

imitating the megaphone feedback

œ

o

o

œ

o

r )

[to harmonize]

place sounds in response to Percussion II

)

mf

3 Woodblocks [medium mallets]

œœ

place sounds in response to Percussion I

œ R

mp

° &

?

° &

?

¢

¢

° &

B

? Cb. ¢‹

° ¢

7

∑ œ

El.

f

continue in a similar manner UNTIL MEASURE 15. pay attention to leaving space, responding, and not overwhelming the overall texture.

/

¢/

5

continue in a similar manner UNTIL MEASURE 13. pay attention to leaving space, listening to the others, responding, and not overwhelming the overall texture.

?

Vc.

g

10"

7

?

6

Vln.

g 8"

8

∑ M

œ

sfzmp

9

œ R

)


g

g

15"

4"

6

° Fl.

8

B. Cl.

?

Bsn.

?

Tbn.

Perc. I

Perc. II

&

¢

° ¢

o

/ œœœ

¢/

¢

œ

)

œ R

?

° & Pno.

f

?

°

¢

set flute aside

[to double]

° & Hp.

r - )

&

Ob.

Hn.

take flute

into the megaphone emb. closed t.r.

)

œœ

)

r œ

spin cymbal upside down on the ground

?

8

° Vln. & Vla.

Vc.

Cb.

El.

B

AST, very slow bow, with grains audible

œ

p

ppp

? ? ¢‹ ° ¢

œ

∑ ∑

o 10

11

o


Fl.

°

g 5"

9

)

œó ï ó ï ó ï ó ï ó ï ó ï

&

B. Cl.

?

Bsn.

?

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

° ¢

f

(no more megaphone sounds, only announce tasks when indicated.)

place Cymbal upside down on Timpani

/

place sounds in response to Piano scrape along the edge

Wooden Edge [shaft of stick]

¢/

° &

œ æ

"f "

?

° & ¢

o

?

°

¢

7

bisb.

[to alternate]

Ob.

g

12"

œ æ

œ æ

spin cymbal upside down on the ground

◊ÿ

?

place sounds in response to Percussion II

œfij

œ R

mp

œœ

secco

œ R

œœœ

9

° Vln. &

granular

mf

arpeggiando: rapidly alternate between two pitches, gradually slowing down until cue 10. ST

Vla.

Vc.

Cb.

El.

œ œ

B

? ? ¢‹ ° ¢

M

œ

sfzmp

œ

p

o

granular

œ

œ

mf

Tape: Quiet, filtered room sound

2

12

13


8

° Fl.

Hn.

Tbn.

Perc. I

Perc. II

¢

?

°

[to roll]

Pno.

¢

<◊>

?

10

° Vln. & Vla.

Vc.

B

° ¢

æ )æ

[ro]

mf

pp

roll tin can on the floor

∑ œ œ roll tin can on the floor

° roll tin can on the floor listening cue: until you hear the tin can roll

roll tin can on the floor listening cue: until you hear the tin can roll

roll tin can on the floor

?

? Cb. ¢‹ El.

æ b æœ

?

° &

?

listening cue: until you hear the tin can roll

¢/

¢

p

Timpani [Felt Timpani mallets]

/

son roulé fast

) 3

?

put mouthpiece back on

∑ put mouthpiece back on

° & Hp.

continue in a similar manner UNTIL CUE 11. pay attention to leaving space, responding, and not overwhelming the overall texture.

° ¢

g 7"

(no more megaphone sounds, only announce tasks when indicated.)

?

B. Cl.

Bsn.

10

&

Ob.

g 6"

14

M

œ o

mf

15

o


Fl.

°

g

20"

11

9

) 3 [to let

nœ 3B œœ 2œ

son roulé

&

Ob.

B. Cl.

?

Bsn.

?

Hn.

Tbn.

¢

Bb œ o

ppp

slow

listening cue: fade out after hearing the oboe emerge

° ¢

mp

listening cue: harp

?

)

[to spill] empty the water out of the instrument, if possible

°? Perc. I

Perc. II

Hp.

Pno.

¢/

œ (start downward gliss. with pedal)

¢

° & ¢

?

11

fast

spill grains on Cymbal on Timpani, as the roll continues

µœo ™

° & ?

slow

Bb œ

l.v.

∑ ∑

° Vln. &

B

?

? ¢‹

Vla.

Vc.

Cb.

El.

° ¢

16

/ slow


g

g

7"

10

° Fl.

12

g

8"

3"

cut off together with other megaphone

œ o

f

&

B. Cl.

?

Bsn.

?

∑ ∑

Ob.

¢

° Hn. Tbn.

Perc. I

¢

?

°

/

)

vibrate]

Spring Coil [triangle beater] drag along the coils

œ

Æ

cut off together with other megaphone

œ o

Perc. II

¢/

° & Hp.

Pno.

¢

?

hit soundboard with knuckle

∑ Tam-tam [Sandpaper]

l.v.

l.v.

l.v.

œ

ff

◊^ÿ ° # œœœ & Æ ¢

?

l.v.

) o

hit metal frame with slide

sffz

°

12

Vln.

Vla.

Vc.

Cb.

El.

° &

B ? ? ¢‹

Bœ œ

nB œœ

ppp

ppp

œ

o Lœ III

p.v.

listening cue: cut off with megaphones

p.v.

listening cue: cut off with megaphones

mp

p

mf p.v.

& ‹ ppp

17

listening cue: cut off with megaphones

mp

M

p.v.

œ

° Tape: Convolved construction sounds ¢ 3

listening cue: cut off with megaphones

f

2 f

sffz Tam-tam [Slide]

2

listening cue: cut off with megaphones

mf

18

19


° Fl.

13

) 3 [to echo]

¢

?

Perc. I

Perc. II

Hp.

Pno.

) 3 ∑

/ ∑

»»

mp -

2

œ

323

o

"f "

13

turn the Cymbal over, let the grains slowly spill on the surface of the Timpani

?

B

?

¢& ‹

Vc.

Cb.

El.

° ¢

Tape: Quiet, filtered construction sounds

4

20

r

listening cue: from the Tam-tam's resonance

° Vln. & Vla.

2

"f "

spill grains on the cymbal

?

23 f

[ʃ]

° &

o

w/ palm

)

spill grains on the cymbal

?

ïó ï œ

p

° &

¢

2

o

œ

--

¢/

¢

) 3

[s]

pp

flap

?

°

f

spectral multiphonic

[ʃ]

¢

2

mp

° Hn. Tbn.

œ

11

?

B. Cl.

g

10"

o

&

Ob.

Bsn.

g

10"

21

œ


12

44

g

12"

° Fl. &

Ob.

?

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

?

° ¢

mf

/

?

32 3

o

23

o

2

pp

) 2 3 [to drop]

∑ ∑

listening cue: cut off with metal chain

) 3 [s]

32 f f f

∑ 2

Ó

turn the Cymbal over completely, let the grains drop

place cymbal upside down on Timpani

œ

?

° &

?

¢

listening cue: grains dropping on Timpani

c.l.b. jeté

B

listening cue: grains dropping on Timpani

œœ. . . . . . . . . . ¿¿.

c.l.b. jeté

œœ. . . . .™ . . . . . ¿¿.

?

¢& ‹ ° El. ¢

c.l.b. jeté

q = 66

¿¿. ¿¿. ¿¿. ¿¿. ¿¿. ¿¿. ¿¿. ¿¿.

mute w/ left hand

f listening cue: grains dropping on Timpani

44

mute w/ left hand

f

Vc.

drop the chain

¢

Ó

° &

° Vln. &

Vla.

spectral multiphonic

?

° ¢

ó ïóï

œ

q = 66

œ. . . . .™ . . . . . ¿.

¿. ¿. ¿. ¿.

mute w/ left hand

listening cue: cut off with metal chain

Ó

listening cue: cut off with metal chain

Ó

listening cue: cut off with metal chain

Ó

f listening cue: grains dropping on Timpani

Cb.

c.l.b. jeté

mute w/ left hand o Lœ. . . . . . . . . . ¿. ¿. ¿. ¿. ¿.

listening cue: cut off with metal chain

Ó

f

22

23


Fl.

°

Ob.

B. Cl.

Bsn.

13

¢

&

?

?

Perc. I

Perc. II

° ¢

mf

3

--mp

Hp.

¢

Pno.

¢

mf

?

° Vln. & Ó Vla.

Vc.

Cb.

El.

B Ó ? ¢& ‹ ° ¢

l.v.

Œ

Ó J ‰ f

Ó

Œ

pick the chain up

Ó ∑

1 æJ æ æ p

24

Ó ∑

ææj ‰ Œ -

Ó

◊œÿ # œœ ‰ J

Œ

fp

» r - Œ

j™

œœ

Ó

Œ

œ

fp

o œ L ‰ J

Œ ∑

M

Ó

sfz

° j

Ó

‰™

Ó 32

j ‰ ‰ nB œœ

Ó

fp

f

j

ææ

ææ

3

Œ

w/ palm

Ó

Ó

∑ 2

o

µœo ™

? Bb œ

° &

Œ

° &

‰ Œ

œ

≈ r ‰ -

j ‰ Ó 2 ï ó ï ó œ ‰ o3

j ™ ≈ Œ

p

Cymbal on Timpani [Medium yarn mallets]

?

Œ

≈ B œj™

/

j ) 3

[ʃ]

° Hn.

) 3 [to synchronize] » ? j Tbn. ¢ ‰ - Œ

Ó

∑ J ‰ Œ

Ó Ó

fp

25

26

‰ ‰


14

34

3X

° °™™ Ó Fl. Ob.

Ó 23

ï ó & ™™ J

‰ Œ

f

B. Cl.

? ™™ Ó

? ™™ Ó Bsn. ¢ ¢ Hn.

° °™™ ‰

Ó

œ

o

Œ

Œ

‰™

Œ

44 Œ Bœ

r œ

mp 3

»r ? ™ Tbn. ¢ ¢™ ≈ - ‰ Œ

œ ‰™ R o

j ‰

- - -

j ‰ 2

j ) 3

J ‰ ™™ ü o ó ï ó ï ó ï ó ™™

° °™ ‰ Perc. I / ™

Ó

Tam-tam [bow] arco

Perc. II

Hp.

Pno.

? ™ ¢ ¢™

Vc.

? ™™ ¢ ¢ Bb œ

? ™™ Ó ¢ ¢

Ó

Œ

Ó

» ‰ j j ‰ f -

? ™™ ‰

1 ææ

p

ææ

∑ ææ

ææ

ææ

Π32

ææ

ææj ‰ -p

Ó

Œ

‰ ‰

Œ nB œœ fp

B ™™ Ó

° °™™ ¢ ¢

œ7

mf

™ Cb. & ™ ‰ ¢ ¢ ‹ El.

l.v.

pedal buzz

° °™ Vln. & ™ Ó Vla.

f

µœo ™

° °™ & ™

° °™ & ™

j ‰

j œ o

Œ œ J

M

fp

o Lœ J

34

27

Ó

44

Œ

œœ

∑ j

° ‰ Œ ‰ Œ

fp

J ‰ Œ

‰ Œ

28

◊ÿ # œœœ ‰ J

sfz

j

J

fp

™™ †

[ʃ]

29

™™

™™ ü

™™ † ™™ ü

™™ † ™™ ü

™™ † ™™ ü

™™ † ™™ ü ™™ ™™

™™ † ™™ ü†


° Fl. Ob.

B. Cl.

Bsn.

Hn.

¢

) 3 [to desynchronize] ï ó Ó & J ‰ Œ

Ó

?

œ

2

o

f

j ‰ Œ

3

∑ Œ

j ‰ 2

) 3

--sim.

‰ Œ

Ó

Perc. I

Perc. II

¢

»j - ‰ Ó

? Œ

° ¢

Hp.

¢

sim.

j

? Bb œ

pedal buzz

Vc.

? Ó ¢

Œ

? Œ

° ¢

‰ ‰

B Ó

Cb. & Œ ¢ ‹ El.

Ó

œ7

° Vln. & Vla.

µœo ™

° & Pno.

sim.

° &

Œ œ

M

j œ ‰ œ

‰ Œ

Ó

sim.

ææ

1 ææJ æ æ

Ó

»3 j ‰ ‰ -j ‰ f

o Lœ

ææ

ææ ∑

∑ j ‰

nB œœ

r ‰™

mp

Ó

mp

R

mp

30

ææ

ææ

J ‰ Ó

mp

‰ ‰ 32

j ) 3

Ó

[ʃ]

/ œ

?

Ó

[ʃ]

Tbn.

Bœ ‰ ‰ J 3 o

f

Ó

j œ

Ó

sim.

?

°

Œ

15

31

∑ ‰™ Œ

32

Œ


16

° Fl.

Ó

&

Ob.

ï ó

‰ ‰ Œ 32 ï ó ï ™ó ï J ≈ Œ mp

Œ Œ

œ

2 J ‰

o

ïó ï óïóï J ‰

Bœ ‰™ R

f

sim.

B. Cl.

?

Ó

Bsn.

?

) 3

¢

° Hn.

Π2

? Œ Tbn. ¢ Perc. I

Perc. II

° ¢

/

?

° # œœœ & Pno.

¢

?

° Vln. & Vla.

Vc.

? Œ

° ¢

- - -

Œ

Ó Œ

[ʃ]

Œ

Ó

Ó

Œ ∑

7 œ Ó

Ó

Ó

nB œœ

œ

M

p

Œ

33

œœ

p

J

o Lœ

J

p

34

1 æ

p

o

p

) 3

B

3

Œ

°

Ó Cb. & ¢ ‹ El.

mp

Ó œ

j ‰

µœo

? Œ Bb œ ¢

Œ

3

Ó

[to disappear]

‰ œj

Ó

° & Hp.

» r Ó -

‰™

Œ

™ ‰

≈ Œ

Ó

Œ

Ó

35


Fl.

17

° &

Ob.

B. Cl.

?

Bsn.

?

Hn.

¢

Π2

Pno.

Vln.

Vla.

Vc.

Ó

j ‰ Œ o

Œ

3

‰ j ‰ f

ææ

ææ

»j - ‰ Œ

Ó œ

ææ

p

ææ

?

Ó

◊ÿ

∑ j ‰ Œ

ææ

ææ -

∑ Bbj œ ™

Œ

œfi

mp

Ó

µœo 7 œ

Œ

Ó

# œ^œœ ‰ J Œ

∑ ∑

?

° &

¢

B

j™ ≈ Œ o M œ

j ‰

? Ó

° ¢

o ‰ Lœ 3

Ó

f

°

J ‰ o

pp

J

pp

36

37

‰ Œ o

l.v.

° &

Cb. & Œ ¢ ‹ El.

Ó

ææ

° & ¢

/

? ææ Perc. II ¢

Hp.

? Ó Tbn. ¢ Perc. I

BϪ

°

°

l.v.

∑ ∑

38

? ‹


18

g 5"

° Fl.

) 3

2

[to pause]

&

B. Cl.

?

Bsn.

?

Ob.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

Vla.

Vc.

Cb.

El.

¢

° ¢

?

°

g

g

12"

) 3

2

[to dampen]

5"

) 3

2

[to stop]

…(dampen resonance of tam-tam) ∑

/

?

° &

?

° &

?

° &

remove preparation

B

remove preparation

?

? ¢‹

39

40

41

¢

¢

¢

° ¢


g

g

3"

° Fl.

) 3

10"

[to stay]

&

Ob.

B. Cl.

?

Bsn.

?

Hn.

Tbn.

¢

° ¢

?

°

) 3

∑ ∑

remove mouthpiece

∑ ∑

harmon mute (stem-in)

harmon mute (stem-in)

/

?

° &

?

° &

?

° Vln. &

B

?

? ¢‹

Perc. I

Perc. II

Hp.

Pno.

Vla.

Vc.

Cb.

El.

¢

¢

¢

° ¢

&

44

mute strings with the left hand

mute strings with the left hand

mute strings with the left hand

mute strings with the left hand

Tape: Quiet room sound

42

43

19

∑ remove mouthpiece

2

[to mute]

g

[to remain]

) 3

2

44

8"

5

44


20 Fl.

44

°

) 3

[to granulate]

&

Ob.

?

B. Cl.

Bsn.

Hn.

Tbn.

¢

?

¢

Vibraphone [Reibestock]

Ó

?

¢

¢

?

Vc.

Cb.

El.

7

7

7

7

vocal fry while inhaling

)7

7

7

7

7

7

7

7

Œ

Ó

mp

mf

?

44

scrape string with plectrum slow, individual grains, with spaces in between

mp

bow with metal wrapping, slow, individual grains, with spaces in between gradually move from SP to AST (string muted with left hand)

¿

moderate speed

mp bow with metal wrapping, slow, individual grains, with spaces in between gradually move from SP to AST (string muted with left hand)

¿

B ? ? ¢‹ ° ¢

œ

mp

° Vln. &

Vla.

7

moderate, a constant stream of clicks

scrape string with plectrum slow, individual grains, with spaces in between

° & Pno.

slow

° & Hp.

Œ

mf

° Perc. I & Perc. II

)7

?

vocal fry while inhaling

mf

° ¢

Œ

moderate speed

mp

ST, slow bow, light pressure

Ó

46

47

Tape: Granulated room sound

6

45

µœ J

granular

p


Fl.

°

58

44

2+3

Œ

) 3

‰ Œ 2

j

21

‰ j ) 3

Ó

[to strike]

? 7 7 7

B. Cl.

Bsn.

Hn.

Tbn.

¢

?

°

¢

?

Œ

Ó

¢

?

¢

?

Vc.

Cb.

El.

[to scrape]

Œ

Ϊ 2

sfz

Œ™ é bœ

moderate

58

Œ

Œ™ é bœ

fast scrape

sfz

J

‰ Œ™

J ‰ Œ™

mf

5

‰ ‰ ‰

f f f f

mp

w/ palm 5

fmp f f f

5

5

≈ ≈ œ œ œœœ œ œ≈Œ ææ

ææ

ææ

r ‰™ -

mp 5

‰‰‰

∑ ‰Ó

Œ

Ó

◊ÿ œ œ œ œ œ œœ œœ ≈≈ Œ 5

5

mf

44

f f f

mf

fast scrape

‰‰

Woodblock [wooden sticks]

?

° ¢

œ œ™ ææ

sfz "ff "

sfz

w/ palm

Ó

[wooden sticks] E

Wooden Edge [wooden sticks] scrape

1™ æ œé æ

/

Ó

™ œé Œ

/

w/ palm 5

Tam-tam [triangle beater] fast scrape

moderate

B

? ¢‹

Ó

[to inhale]

° Vln. & Vla.

) 3

Suspended Cymbal [triangle beater]

∑ ∑

J ‰ Œ

° & Pno.

Œ

fast

° & Hp.

? 7 7 7 ¢

° Perc. I &

Perc. II

&

Ob.

2

°

œB œnœ B œ

ord.

3

p

mp

48

49

50

51

ST, slow bow, light pressure


22

° Fl. &

Ob.

?

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

¢

?

° ¢

?

°

¢/

Vln.

Vla.

)

7

inhale through the instrument

7

¢

?

¢

B ?

? Cb. ¢‹ El.

° ¢

7

7

take Clarinet in Bb

Œ

Ó

7

7

7

7

7

7

∑ 7 Vibraphone [Reibestock]

&

)

audible inhale

7

7

&

∑ 7

7

7

œ

moderate, a constant stream of clicks

p

f

slow

J

audible inhale

Ó

J

/

Œ

audible inhale

scrape string with plectrum slow, individual grains

moderate speed

mp

f

é

fast scrape

sfz

scrape string with plectrum moderate speed

mf

)

é

fast scrape

sfz

bow with metal wrapping, slow, individual grains

audible inhale

moderate speed

¿

mp

)

audible inhale

J

)

bow with metal wrapping, slow, individual grains

¿

mp

moderate speed

(slightly increase the pressure to create the granular sound as indicated)

)

mp

audible inhale

53

54

Tape: Megaphone inhale

7

7

vocal fry (while inhaling)

)

?

° &

7j ‰

7 7

)

)

7

vocal fry (while inhaling)

audible inhale

Vc.

7

inhale through the instrument

inhale through the instrument

7

vocal fry (while inhaling)

) )

vocal fry (while inhaling)

° ) &

° & Pno.

inhale through the instrument

audible inhale

/

&

take flute

52


2X

° °™ Fl. & ™ Ó

closed emb.

#)

3

O O O #O œ µœ

[o] [ʃi] [ko] [sɑ]

mf

(first time only)

& ™™ 7j ‰

Ob.

¢

? ™™ 7j ‰ ¢

œ

p

& ™™ Ó

Cl.

Bsn.

Œ

œ

7

pp

3

œ

mf

œ

p

7

° °™ Perc. I / ™ Ó ™Ó ¢ / ¢™

Hp.

Pno.

° °™ Œ & ™ ? ™™ Œ ¢ ¢

° °™ Ó & ™ ? ™™ ¢ ¢

° °™ Vln. & ™ J ‰

7 7

[sɑ] 5

mf

Vibraphone [Reibestock]

5

≈ ≈ œ œœœœ œ œ≈ Ó p

≈ œjé

3

#œo µœo Œ ≈≈ sfz

o Œ Bb œ

3

mp

Œ ∑ ) Oœ # O Œ#œ mp

◊œÿœ œœ œœ

) ord. Œ&‰

5

Œ

Vla.

Vc.

? ™™

? ™™ Cb. ¢‹ ¢ El.

° °™™ ¢ ¢

Oœ 3 mp

µœ œ B œ nœ B œ ORD

f

3

3 mp

Œ

Ó

mp

™ é ™† ™™ ü

™ é ™†

j‰

mp

sfz

™™ ü

mp

B ST slow bow with little pressure

¿

bow with metal wrapping

mp

(as before)

Bœ ∑

Tape: Voice sound freeze

55

™™ ü

fast scrape

j ‰

8 9

™™ †

scrape string with plectrum moderate speed

¿

p

f

sfz

bow with metal wrapping

#O #œ

™™ †

7

fast scrape

Ó

Ó

scrape string with plectrum moderate speed

° ‰

3

Ó

™™ ü

J ‰ ™™ ü

Œ

™™ ™™ †

7

7 7 7

œ ‰ ‰ J ∑

Œ

audible exhale

ord.

f

Œ

f

&

7 fast

audible exhale

B ™™ J ‰

7 7 7 ∑

vocal fry

j )

Suspended Cymbal [triangle beater]

Perc. II

7

Hn.

Woodblock [medium mallets]

vocal fry

)

° °™™ ‰ j 2Ó ) 3 1. [to exhale] 2. [to speak] ? ™ Tbn. ¢ ¢™ 7j ‰ Œ ‰

™™

2nd time: take Bass Clarinet (mouthpiece removed)

?

exhale through the instrument

™™ ü

23

7 7 7j ‰ Œ

œ J ‰ Œ Ó

3

µœ œ B œ

Œ

vocal fry

56

57

™™ ™™

™™ † ™™ ü†


24

° Fl. &

Ob.

?

B. Cl.

Bsn.

Hn.

take megaphone

? 7j ‰ Œ ¢ °

Ó

? 7j ‰ Œ Tbn. ¢

Ó

Ó 2

œœœ œ

p

° & Hp.

¢

?

° & Pno.

¢

f

Œ

œ

f

Œ

°

B J ‰Œ c.l.b.

Vc.

? Œ Œ

° ¢

Œ

3

bbbb œœœœ p

Œ

/

Ó

/

Tam-tam snap the rubber string

Ó

Œ

. ‰ ¿J

mf

c.l.b.

¿¿ ¿ ‰ ..

‰‰¿ Œ . ... mf

mf

¿. ¿ ‰ .

&

b œ. Œ Œ J µ œ. b œ. . . . ‰‰ ‰J Ó ‰

3

Ó

59

œ

3

?

b œ. . . .

sfz

Œ

snap the rubber string

Œ

sfz

œ “‘

snap the rubber string

Ó

Œ

sfz

# œ» b œ» B œ» J ‰ ‰™ R ‰ J

œ “‘

»œ µ ‰ ‰J

µœ» ™ B œ» ‰‰J ‰ R Œ 3 » µ œ B œ» » µ œ J ‰ J ‰ ‰ J

f

Œ ‰ Œ

»œ ™ f ≈J Œ f

Ó 58

Œ

œo. . ... B œ .¿ Œ ‰ ≈R ‰ ‰ ‰ Œ ¿. 3 . . œ. B œ b œ» ™ ¿. . . . œ J ‰ Œ ‰ B≈ J & ≈

3

Suspended Cymbal snap the rubber string

Ó

f

mf

sfz

3

c.l.b.

œ

»» » » µœ ‰ ‰ œJ j ‰ ‰µœJ ‰ R bœ

‰™

sfz

&

Œ

» # œ ‰ J

Ó

Ó

Ó

Ó

¿. . . . ‰ Œ ? Œ Cb. ¢‹ c.l.b.

El.

&

Ó

as before

° Vln. & J ‰Œ Vla.

Ó

f

?

f f f f

Vibraphone [medium mallets]

hit soundboard with knuckles

Œ

j ‰‰

put mouthpiece back on the instrument

°

Tam-tam [slide]

¢/

[w/ palm] 3

3

f

f f

mf

j ‰ Œ

mf Vibraphone [medium mallets]

° Perc. I &

Perc. II

∑ Œ

f

Ó ) 2 3 [to snap]

take Clarinet in Bb

f

f f

mf

[w/ palm] 3

Œ

Ó

[w/ palm] 3

Œ

Ó

) 3 [to hit]

Œ

ΠΠ60

3

» j ‰ œ

Tape: Voice sound freeze

Œ

10


° Fl.

Ó

j ) 3

j ‰

take flute

Ó

[to blow]

&

Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

&

Ob.

¢

œ # œœ œ # ‰ œJ

? Œ

Vc.

œ Bœ 3

œ

/

¢/

j )

œ R

Œ

‰™

Œ

‰ ™ B œr

mp

Ó

Œ

&

Ó

Woodblock mf [medium mallets] 5

Suspended Cymbal [triangle beater]

≈ œ p

j3é œ

mf

f

Œ

Ó

Œ

Ó

Œ

Œ

?

° &

o Bb œ

Œ

?

∑ #œ» J

» B ≈ µœj™

Œ

? Œ

mp

arco

##Oœ

Ó Ó

‰™

µ œ» R Ó

Œ

Ó

61

3

mp

&

µœ

arco

mf

◊œÿ œ œœ œœ f

3

arco

5

œ œ œ œ œ œ ≈ Ó

#œo µœo ≈

° ¢

Œ

sfz

° &

¢

pp

mf

¢

œ J

&

‰™

25

[sɑ]

» ? œ Cb. ¢‹ J El.

3

J

° Vln. & Œ Vla.

mf

œ

œ

?

°

µœ

p

° ¢

p

œ µœ

Œ

âr )

closed emb. j.w.

3

œ Bœ 3

°

Œ

Ó

nOœ

mp

Ó

5

#O #œ

œ

r ™ ‰ b œ &

J ∑

62

Œ Œ

#O ‰ ™ # œR ‰ ™ B œR


26

° Fl. &

. œ µœ œ nœ J &

Ob.

&

Perc. I

Perc. II

3

Pno.

Vc.

Cb.

El.

? Ó ¢‹ ° ¢

j ) 3 [to fragment]

r ‰™ œ b œ µœ

‰™ µœo

3

Π2

j Ϫ

Œ

≈ œj™

Œ

3

œ ?

‰™

snap the rubber string

j nœ ™ “‘

µO ≈µœ

nœ µ œ n œ 3

mp

µœ

B B Oœ J J

‰ > Oœ J

œ bœ mf

Œ

63

Ó

mp

scrape string with plectrum moderate speed

j œ™ “‘

mp

sfz

#O #œ

‰ Œ

?

scrape string with plectrum moderate speed

sfz

Œ

3

?

sfz

snap the rubber string

œ

Ó

nnOœ J

Œ

#œ J

Œ

œ

◊ÿ #œ ‰ R

? Ó

?

Œ

Suspended Cymbal sfz snap the rubber string

¢& nœ ‰

Oœ & J

# œ nœ mf

Tam-tam snap the rubber string

¢/ Ó

¢

Œ

Ó

[so]

° ‰ µµOœ Vln. & Vla.

µ-œ 3

Œ

r ‰™ œ

≈ bœ J R nœ

pp

/ Ó

° &

‰ Œ

r bœ ‰

j )

° Œ & Hp.

œ bœ

Ó

? Œ ¢ °

µœ

# -œ J

‰™

Œ ¢&

° Hn.

Tbn.

œ µœ nœ 3

Cl.

Bsn.

take megaphone

b œ µœ ≈ J

» ≈ j œ™ sfz

ΠM

#œ œ mf

œ b œ µœ ™ ≈ ‰ R

œ

mf

64

œ

œ


° Fl. &

&

Ob.

&

Cl.

Bsn. Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

?

° ¢

° ¢

Vc.

mf

Œ

œ bœ œ œ ‰

mf

mf

Π) 3

+ b œ µœ

[to pull]

Œ

mf

œ œ

œ ‰

Œ 2 + o #œ œ

&

™ ¢™

° ¢

≤ #œ

mf

# ϲ

œ

Œ

Œ

b œ µœ

œ bœ œ

Œ

f

65

mf

b œ µœ

≥ ‰ œ #œ

œ≥ œ œ

°™ ™ ™™

œ ™ ™ ™ ¢™ °™™ ¢

™™

œ b œ µœ œ b œ µœ

#œ #œ f

™™ † ™™ ü

o + œ b œ µœ

™™ †

f

∑ œ

&

Ϫ

œ

Œ

#œ f

#œ f

Œ

œ b œ µœ œ b œ µœ œ b œ µœ

> mf

™™ ü

™™ †

(ad lib.)

Œ

/ ™™ †

™™ ü

24

™™ ü

™™ †

(ad lib.)

°™ ™

(pull the plectrum towards you)

™™

Œ ) 2 3 2. [to bend] + 4. [to draw] #œ Œ

™ ¢™

"f "

Œ

™™ ¢ œ °™ ™

(pull the plectrum towards you)

(push the plectrum away from you)

? µœR ‰ ™

™™ ü

f

™ ¢™

"f "

Œ

Œ

°™™

œ

(push the plectrum away from you)

™™

°™ ™

mf

Œ

27

Π2

) 3

p

b œ µœ ™ ¢™

∑ Timpani [Superball]

œ

?

? Cb. ¢‹ El.

Œ

™™

?

° Vln. & Vla.

Œ

p

?

° & ¢

3lB œœœ 2 œ ‰ ™ nœ R

r ‰™ µœ

°™™

Ó

7X 1. [to drag] 3. [to slide] 5. [to repeat]

/

° & ¢

) 3 [to push]

Ó

?

Π2

24

™™ ü ™™ ™™

™™ †

p

66

™™ ü†


g

10">6"

5X

28

1

Ä

Fl.

Ob.

Cl.

Bsn.

2

Ä

3

Ä

° °™™(megaphone only 2nd time) & ) 2 3 [to repeat]

Pno.

° °™ & ™

Vc.

El.

° °™™ ¢ ¢

Ä Bœ

24

œ # œœ œ #œ p

take horn

[A10]

p

mf

f

scrape with plectrum

sfz

é œ

» œ

Tam-tam [triangle beater]

ώ

œ

mf

sfz

◊ÿœ # œœ é œ

sfz

œ

f

sfz

#œ f

µµOœ

24

mp

bb Oœ p

¯¯ Bb œœ

f

scrape with plectrum

M

nœ p

Spring Coil [triangle beater]

& ™™

? ™™ Cb. ¢‹ ¢

Ä

10

? ™™ ¢ ¢

? ™™

Ä

9

° °™ Vln. & ™ Vla.

Ä

8

Vibraphone [medium mallets]

™ ¢ / ¢™ ? ™™ ¢ ¢

Ä

7

mf

p

° °™ Perc. I & ™

Hp.

&

Ä

œ

? ™™ ¢ ¢

° °™ & ™

Ä

6

p

° °™™ (megaphone only 1st time) Hn. & 2 ) 3 [to imitate] ? ™™ Tbn. ¢ ¢

Perc. II

take flute

5

over five repetitions

3lB œœœ 2 œ nœ

& ™™ & ™™

4

g

5">3"

over five repetitions (see notes)

nœO

nMœ mp

fp

67

68


° Fl. &

24

&

Ob.

¢

Perc. II

¢/

° & Hp.

¢

Pno.

¢

?

° Vln. & Vla.

Vc.

Cb.

El.

& ? ? ¢‹ ° ¢

O O

Œ

R ‰™

Œ

R

f

‰™

œ

µœ œ B œ

œ

œ J

œ

3 3

3

≈ ≈

Œ

Woodblock [medium mallets]

drop metal chain

≈ ≈ o Bb œ

f

∑ drop metal chain

Ó

™™

Ó

j )

Œ

Ó

q = 66

‰™

Œ

‰™

Œ

f

5

mf

#œo 3

44

R ‰™

Œ

r ‰™

Œ

5

œ œ œ œ œ œ ≈ Ó f

‰ µœo Bœ

Œ

Ó

Œ

Ó

Œ ◊œÿ œ œœ œœ

Ó

5

f

∑ Oœ # O #œ mf

3

3

µœ œ B œ mf

3

Œ

™™ † ™™ ü

™™ †

J

ü ™ ™ &

pick the chain up

pick the chain up

pick the chain up

™™ † ™™ ü

™™ † pick the chain up

™™ ü

™™ † Ó

#O #œ

œ

Ó

°

mf

69

[sɑ]

Œ

f

™™

Œ

p

≈ œjé mf

f

Ó

œ

Cymbal [triangle beater] 3

drop metal chain

r

r )

mf

‰ /

f

™™ ü

take megaphone (only first time through)

drop metal chain

r

Ó

29

[ko]

f

24

g

[sɑ]

mp

Œ

R ‰™

Œ

µœ

p

r ‰™

B

over five repetitions

œ

Œ

#O

O

[ko]

f

‰™

?

° &

3

[o] [ʃi]

f

?

° Perc. I &

Œ

f

f

¢ ° Hn. &

Tbn.

R ‰™

f

?

Bsn.

q = 66

R

&

Cl.

44

4">no fermata (in tempo)

™™ ü

Ó

™™

Ó

™™

™™ †

70

™™ ü†


6X

30

a subsequent triplet 8th over six repetitions

1

Ä

° °™ Fl. & ™

Ob.

Cl.

Bsn.

g

6">4 beats in tempo, with each cue falling on

2

Ä

3

4

Ä

Ä

5

6

Ä

Ä

& ™™

œ

p

[A10]

p

mf

scrape with plectrum

sfz

é œ

? ™™ ¢ ¢

ώ

mf

sfz

f

◊ÿ # œœœ é œ

sfz

& ™™

p

f

¯¯ Bb œœ sfz

#œ f

µµOœ

24

mp

bb Oœ

? ™™

? ™ Cb. ¢‹ ¢™ ° °™™ El. ¢ ¢

» œ

œ

Tam-tam [triangle beater]

scrape with plectrum

° °™ Vln. & ™

nœ f

Spring Coil [triangle beater]

™ Perc. II / ™ ¢ ¢ ° °™ & ™

Vc.

œ p

Vibraphone [medium mallets]

° °™ Perc. I & ™

Vla.

B Ĝ

24

œ # œœ œ #œ

p

? ™ Tbn. ¢ ¢™

Pno.

Ä

10

p

? ™™ ¢ ¢

° °™ & ™

Ä

9

3lB œœœ 2 œ nœ

& ™™

? ™™ ¢ ¢

Ä

8

over six repetitions

mf

° °™ Hn. & ™

Hp.

7

g

3">1 beat in tempo

nœO

nMœ mp

M

œ

p

71

72


° Fl. &

24

&

Ob.

R ‰™ Œ

f

&

Cl.

Bsn.

¢

Tbn.

¢

° Perc. I &

Perc. II

Hp.

Pno.

¢/

° & ¢

¢

?

° Vln. & Vla.

Vc.

& ?

? Cb. ¢‹ ° El. ¢

µœ œ B œ œ œ J

œ

‰™ Œ

drop metal chain

Ó

Ó

/

f

R ‰™ Œ r‰ ™ Œ

73

‰™

mf

Œ

o Bb œ

44

O ##Oœ œ mf

3

3

3

J

? ™™

Œ

◊ÿ Œ

&

° Ó

Œ

™™ †

‰ Œ

74

&

™™ †

pick the chain up

™™ ü

pick the chain up

‰™

3

#œ ‰ œ #œ Œ R #œ J ‰ Œ

o r µ œ ‰ ™b œ nœ ‰ Œ 3

? ™™

™™ †

∑ B B Oœ µOœ nnOœ µ ‰ ‰ ‰ J J J 3 > Oœ O #‰ ™#Oœ œJ ‰ ≈µµOœ J ‰ Œ R nœ µ œ n œ 3

µœ

œ bœ

f

75

b œ µœ ≈ J

™™ ü

pick the chain up

Bœ ‰™ R

™™ ü

pick the chain up

Ó

f

Ó

5

#O #œ

mf

™™

j œé ‰ Œ

Ó

‰ Œ

µœ œ B œ œ mf

Œ

f

‰™

) )

Ó

Œ Bœ Œ ÿ ◊œœ œœ œœ Ó

Œ

œ

™™ ü

f

mf

3

r‰ 3 bœ µ-œ

r

™™ ü

Ó

5

≈ œjé ‰ Œ

f

54

™™

[tʃ] [kɑ]

j )

mf

Cymbal [triangle beater] 3

≈≈

≈b œ R J nœ

p

3

O

‰™

[so]

p

drop metal chain

r ‰™ Œ f r ‰™ Œ

3

[sɑ]

#œo µœo

g

‰ Œ

mp

œ bœ

≈ ≈ œ œœœœ œ œ≈Ó

µœ

[kɑ]

jΠ)

# -œ J

œ µœ nœ Œ

r

>ɑ] [tʃɯ][kɑ>ɯ] [ɯ]

‰ ‰ j‰ )

[ko]

&

≈≈ r ‰ Œ ) mf

O b O nO nO

3

‰ ™B œr

‰ Œ

3

drop metal chain

f

Œ

. œ œ µœ œ nœ J ‰™ R

Woodblock drop metal chain [medium mallets] 5

f

r ‰ ™ O O O3 O O

mp

f

24

Œ

[ʃ][dɑ][kɑ][so

3 3

p

R ‰™ Œ

?

° &

r‰ ™ Œ

R

?

œ µœ œ

‰™ Œ

f

f

O O O #O Œ

R ‰™ Œ

° Hn. &

3

f

f

?

B

[o] [ʃi][ko][sɑ]

R

f

44

2 beats in tempo>actual value in tempo (no fermata) in six repetitions 31

#O #œ

‰ ™™ ü ™™

‰ ™™

™™ † ™™ ü†

54


54 6X

24

44

ad lib. accelerando over six repetitions, with the 4/4 bars always in original tempo.

32

° °™ Fl. & ™

Ob.

Cl.

Bsn.

Ó

& ™™ & ™™

‰ ‰ j œ

p

Œ

Vc.

& ™™ ? ™™

Œ

é œ

f

scrape with plectrum

Œ

nœ f

Tam-tam

f

óó

ord.

‰ j ‰ & ‰ #œ ‰ Ó J é 3 œ f

Ó

µµœO nœ ‰‰ J 3

p

‰bb Oœ 3

‰ nœ

M

p

3

p

œ J

Œ

3

3

O

3

R

™ R‰ Œ f r ‰™ Œ f

77

Œ

Ó

j )

mf

5

Cymbal

3 j Šώ

5

f

Œ

Ó

#œo µœo ≈≈

Œ

Ó

mf

o Bb œ

3

f

‰™ Œ

mf

p

drop metal chain

f

Ó

≈ ≈ œ œœœœ œ œ≈Ó

/

R

Œ

Woodblock

‰™ Œ

≈≈ r ‰ ) [sɑ]

drop metal chain

24

&

[ko]

Œ ‰ ™ B œr

‰ ∑

drop metal chain

?

œ Œ ‰™ R

3

mp

‰™ Œ

f

76

µœ œ B œ œ

œ

p

drop metal chain

‰ ‰Bb œœj Ó f ◊ÿœ # œœ Ó 3

3

‰™ Œ

f

Ó

sfz

p

p

Œ

Œ

œ

R ‰™ Œ

sfz

Ó

œ

f

Ó

sfz

M

R

œ‰ œ Œ é

»mf 3 ‰ ‰ œj Œ

Œ

‰ Lœ

Π3

œ µœ

mf

r ‰™ Œ

f

[A10]

3

Spring Coil

O O O #O

r Œ ‰™ O

Œ

R ‰™ Œ

œ ‰‰ J

mf

54

f

p3

bœ ‰ J‰Œ

? ™™ ¢ ¢

? ™ ¢‹ ¢™ ° °™™ El. ¢ ¢

Cb.

p

scrape with plectrum

° °™ Vln. & ™ Vla.

3

Vibraphone 3

° °™ & ™

? ™™ ¢

# œœœ œ # ‰ ‰ œJ

3

B

[o] [ʃi] [ko] [sɑ]

R

Ó

° °™ Perc. I & ™

¢

f

f

Ó

? ™ Tbn. ¢ ¢™

Pno.

R ‰™ Œ

3

? ™™ ¢ ¢

° °™ & ™

mf

p

° °™ Hn. & ™

Hp.

Œ

3lB œœœ 2 œ Œ nœ

™ Perc. II / ™ ¢ ¢

Œ

44

◊œÿœ œœ œœ ∑

Oœ # O #œ mf

3 3

mf

°

Œ

Ó #O #œ

mf

3

Ó

f

µœ œ B œ œ

Œ & ‰ ™ b œr

Œ

5

J

&

∑ 78

#O Œ ‰ ™# œR Œ ‰ ™ B œR


3 ° O O O O Fl. &

O b O nO

. œ µ œ nœ œ J

& &

Cl.

Bsn.

Hn.

Tbn.

Perc. I

° ‰ ‰ & ¢

‰™ 3

j ‰ )

[kɑ]

? Œ

° &

µœo

Hp.

¢& nœ ‰

¢

3

?

? ¢‹ ° El. ¢

Cb.

O

r

≈b œ

œ

‰™

mf

r ‰ 3 bœ µ-œ p

) ) ‰

pick the chain up

Ó

‰™ Œ

#œ J

œ ‰

? ™™

Œ

™™ ü

™™ †

nœ µ œ n œ 3

f

B B Oœ ‰ J > O œ J

µœ œ b œ

f

∑ 79

J

#O #œ

™™

Œ

bœ ≈ µœJ

™™ ü

™™

™™ † ™™ ü†

œ

Spring Coil

» mf 3 ‰ ‰ œj Œ scrape with plectrum

é sfz œ

scrape with plectrum

Œ

Œ

Ó

Œ

óó

Œ

3

ord.

µµœO nœ ‰ ‰ J 3

3

O

drop metal chain

∑ ∑

drop metal chain

?

24 44 ∑

R

f

R

‰ ™Œ ‰ ™Œ

™ R ‰Œ

f

‰ nœ M

3

f

œ

p

r ‰ ™Œ

f 80

/

f

‰ jé ‰ & ‰ #œJ ‰ Ó 3 œ f

p

drop metal chain

drop metal chain

‰ ‰Bb œœj Ó f ÿ ◊œ # œœ Ó 3

‰bb Oœ

M

f

f

sfz

p

3

nœ Ó

3

‰ ™Œ

™ R ‰Œ

‰ œ Œ é

Ó

p

p

Tam-tam

sfz

Œ

f

R

3

Œ

Ó

54

p

3

f

pick the chain up

µO ≈µ œ

Œ

‰ Lœ

f

‰ ‰ œJ

mf

r ‰ ™Œ

™ R ‰Œ

[A10]

bœ ‰ J‰ Œ

™™ ü

Œ

p

Vibraphone 3

pick the chain up

3

3

‰ ™Œ

f

Ó

™™ †

f

R

Ó

™™ ü

◊ÿ #œ ‰ R

nnOœ J

Œ

pick the chain up

mf

f

œ # œœ œ # ‰ ‰ œJ

33

R ‰ ™Œ

p

p

™™ †

24 44

Œ

3lB œœœ 2 œ Œ nœ 3

™™ ü

Ó

Ó

‰ ‰ œj

™†

Ó

[tʃ] [kɑ]

Œ

™™ ?™

Œ

3

Vc.

™™

° ‰ µµOœ Vln. & Vla.

j )

mp

œ bœ

?

Oœ & J

Œ

° & Œ

Pno.

[so]

j Perc. II / œé ‰ ¢

° &

µœ

3

Œ ¢&

# -œ J

3

œ µœ nœ

™™ ü

>ɑ] [tʃɯ] [kɑ >ɯ] [ɯ]

[ʃ] [dɑ] [kɑ] [so

Ob.

nO

r ‰™

54

81


34

° Fl. &

44

B

3

3 r Œ ‰™ O O O O O

O O O #O Œ

œ µœ œ

&

Ob.

¢

Perc. I

Perc. II

¢

mp

?

¢

Vc.

Cb.

El.

Ó

?

& ? ? ¢‹

mp

‰ ‰ j ‰ ) Œ

‰ Œ

#œo µœo ≈≈ Œ o Bœ Œ

◊œÿœ œœ œœ

Œ

44

5

∑ 3 O ##Oœ œ

mf

3

Œ

#O #œ Bœ

J ∑

82

B œ µœ p

Ó

Œ ≈ r ‰ )

Ó

[tɑ]

p

Œ

≈ œr≈Ó 3

Œ ‰

mf

Ó

Ó

‰™

3

∑ Ó

3

#O O Œ ‰#™ œR œJ ‰ Bœ Œ ‰™ R

nnOœ J

µO ≈µ œ

nœ µ œ n œ 3

f

µœ

> O œ J

œ bœ

83

◊œÿ ≈ R ≈Ó

mp

3

∑ B B Oœ ‰ JJ

Ó

Œ ‰

f

Ó

o™ µ œ Œ ≈ J

∑ µO ‰µ œ

?

) )

o r µ œ Œ &‰ ™ b œ nœ ‰ Œ

Ó

mf

3

Ó

Ó

Ó

◊ÿ 3 #œ ‰ œ#œ Œ R #œ J ‰Œ

°

‰ Œ

µœ œ B œ œ mf

f

j œé ‰

pp

Ó

Ó

Ó

f

Cymbal

of Bb œ

r ™ œ ‰ Œ ≈

[so]

p

3

mp

Ó

5

mf

µ -œ ™ Œ ≈ J

[tɑ] [mɑ]

‰Œ ≈b œ

Ó

[tʃ] [kɑ]

j )

mf

3 j Šώ

r ‰™ Œ ≈ O O O

r 3 b œ ‰ µœ Œ p

3

[kɑ]

j Π)

mp

œ bœ

≈ ≈ œ œœœ œ œ œ ≈ Ó

?

° ¢

mf

5

/

° Vln. & Vla.

Ó

Woodblock

° & Pno.

≈≈ r ‰ Œ )

µœ

‰™

Œ

[sɑ]

¢/

¢

&

[ko]

° & Hp.

œ µœ nœ 3

# -œ J

3

r Œ ‰ ™B œ

3

?

°

3 3

nO

>ɑ] [tʃɯ][kɑ >ɯ] [ɯ]

[ʃ] [dɑ] [kɑ][so

µœ œ B œ œ œJ

° Hn. &

Tbn.

œ

p

&

Cl.

Bsn.

O b O nO

. œ œ µœ œ nœ J Œ ‰™ R

[o] [ʃi] [ko] [sɑ]

f

g 5"

‰Œ

b œ µœ ≈ J

#O #œ

mf

B B Oœ ™™ ‰Œ ≈ J

Ó

p

™ Œ ≈ OœJ ™ p

‰Œ ≈

B œ µœ mp

84

bb Oœ‰ ™ Œ R Ó

?


g

40"

° Fl. &

Ob.

&

Cl.

&

?

° &

?

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

¢

¢

°

/

¢/

° &

?

° &

?

° Vln. &

&

?

? ¢‹

Hp.

Pno.

Vla.

Vc.

Cb.

El.

¢

¢

° ¢

Tape: Construction from Arnavutköy, August 2017

11

85

35


36

g

35"

° Fl. &

¢

p

pp

&

Cl.

Bsn.

3lB œœœ 2 œ nœ

&

Ob.

œ

ppp

# œœœ #œœ

?

pp

° Hn. & Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

+ Lœ

[A10]

p

?

°

Tam-tam arco [bow]

/

?

° &

?

° Vln. & Vla.

Vc.

µµOœ ppp

?

° ¢

p

bb Oœ

&

M ? Cb. ¢‹ œ

El.

œ o

° &

¢

+œ p

¢/

¢

œO

p

œ

M

pp

ppp

86


g

25"

° Fl. &

&

Ob.

&

Cl.

Bsn.

¢

?

° Hn. & Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

?

°

Vc.

Cb.

El.

p

Bœ mf

p

pp

mp

mf

p

bœ mf

o

pp

+

mf

o

p

µ +œ

+

mf

/

p

f

° &

?

? ? ¢‹ ° ¢

o

p

mp

o mp

l.v.

?

&

+ Lœ

[A10]

¢

p

pp

° &

° Vln. & Vla.

œ

mf

¢/

¢

37

œo mf

mf

p

B B Oœ

p

pp

mf

mf

ST

mp

pp

87


38

° Fl. &

&

Cl.

Bsn.

g mf

¢

p

?

Perc. I

Perc. II

Hp.

¢

p

p

+ 3œ

+

p

p

p

¢/

° &

?

Vla.

Vc.

Cb.

El.

?

° Vln. & &

mf

° ¢

B B Oœ

p

pp

ORD

mf

b œO

p

? ? ¢‹

B +œ pp

¢

pp [Eb10]

/

¢

##b œœœœ bœ

+

° & Pno.

mf

?

°

p

pp

mf

° Hn. & Tbn.

&

Ob.

44

20"

ST

pp

mf

ppp

pp

88

44


° Fl. &

44

q = 63

B

O

≈B O O™

[tu]

b -œ ≈ J ‰

p

&

Ob.

Bsn.

mp

&

Cl.

¢

Perc. I

Perc. II

Hp.

Pno.

¢

Vc.

J

pp

mp

?

°

+

o mp

El.

R

‰™

pp

¢/

3

Ó

1 ææ

p

/

Spring Coil [triangle beater]

Œ Œ ‰ œJ

Œ

pp

µ +œ pp

œ

drag along the coils

Ó

Œ

mp

r ‰™ ◊ÿ Œ

ææ

Ó

pp

Cymbal on Timpani [Medium yarn mallets]

Œ

Œ

Ó

bœ ™

#œ œ Ó

Ó

° &

?

° &

¢

¢

?

44

q = 63 p

& ?

p

? ¢‹ ° ¢

bœ mp

&

Πj

o™ µ œ ≈ J

œ bœ ™

p

µµOœ J

p

‰ ‰™

##Oœ R

≈B µOœJ ≈ OœR

B -œ ST

pp

p

O #œ

3

p

œ

œ #œ

Ó

Œ

##Oœ ‰ Œ J

µµœO

‰ ™ µµOœ R

#œ pp

pp

pp

Ó

Tape: Speech Recording: 'to relate'

89

90

12

91

3

pp

Ó

ppp 5

œ

‰ œ J

Œ

#œ µœ nœ B œ œ

o B -œ J

pp

pp

Œ

pp

Ó

[t]

Œ

r ‰™

mp

/

[r] [le>ɪ]

Œ

+

o

ASP

Cb.

B -œ J

‰ Ó

?

° Vln. & Vla.

pp

mp

° Hn. & Tbn.

J ‰ Œ

µ O Ó

92

39


40

° Fl. &

¢

?

° Hn. & Ó Tbn.

Perc. I

Perc. II

¢

Pno.

∑ ∑

Cymbal on Timpani

Ó

1 ææ

p

Vc.

El.

p

µœ

p

+ œ

Œ œ

3

3

p

Œ

Ó

‰™

?

Œ

Ó

‰ Ó

Ó

mp

œ

J

oj Bœ Œ

p

œÓ R

as before

Œ

µ +œ

° &

?

¢

& ? ? Ó ¢‹ ° ¢

p

Œ

B B Oœ J 3

Cb.

p

pp

r ‰™ ◊ÿ 3 ‰ bœ œ o ? Bb œ

Œ nœ

#œ ‰™ R

œ R

Œ

ææ

Ó

≈ Bœ Œ

Spring Coil

° Vln. & Vla.

ppp

¢&

B

œo

‰ Ó

Œ

or ‰™

Ó

° & Hp.

pp

¢/

œ

‰™

+ 3œ

/

3

5

"f "

pp

pp

[Eb10]

?

°

Œ

sfz

B -œ

p

™œ

&

Cl.

O

J ‰ Œ

66666

‰ 3

[tu]

&

Ob.

Bsn.

Ó

closed emb. t.r.

µµOœ J p

‰ OœJ 3

Oœ p3

3 Bœ œ œ

ST

œ µœ œ

p

pp 3

pp

œ ‰™ R

Oœ ™™ J

≈Œ O œ

J

J Œ

Bœ ‰

ST

3

p

‰ Ó ‰ Ó Ó

Œ ‰ ™ µœR

ST

o Jœ

ST

IV-7

&

p

p

Tape: Speech Recording: 'to order'

93

94

13

95

96


° Fl. & Ó

‰œ J

pp

¢

Perc. I

Perc. II

Hp.

Pno.

¢

+ ™ Kœ

Vc.

Cb.

El.

B -œ J

pp

¢/

Cymbal on Timpani

Ó

-œ œ RR

œ

Ó

‰™

[sfə]

pp

‰ ‰µœJ

Ó

3

‰B œ J

Œ

pp

pp

J‰Œ

œ

∑ ‰

pp

/

j O >

pp

o j K -œ

J ≈

B

‰™

Œ

B œo œ ™ R

µœ

pp

Spring Coil

Ó

1 ææ ææ

Ó

œ Œ

Ó

Ó

Ó

mp

r ‰™ ◊ÿ #œ

p

Ó

Œ

° &

?

° &

?

¢

¢

° Vln. & Vla.

J

[A7]

?

[tʃ]

p

?

°

‰ ‰™

[tu]

B Ϫ

° Hn. &

fij

#O

J ‰ Œ Ó

&

Cl.

Tbn.

Œ

™ µœ

&

Ob.

Bsn.

open emb.

41

J

&

° ¢

p

3

p

œo

J

≈Œ Ó

ST

Œ

?

Bœ J

3

j # O #œ

pp

#œ J

(ST)

p

J

p

bb Oœ 3

o µœ Œ ‰ ™ œo & œ R

nœ ™

j ≈µB œO ™™

Oœ J‰Œ

B B Oœ

p

œ

Oœ Oœ J

ORD

(ST)

œ

œ #œ ™

J‰Œ

&

? Ó ¢‹

o µœ J

ORD

&

3

Ϫ J

œ≈ J

p

p

M

‰ œj

Œ

p

Tape: Speech Recording: 'to transfer'

97

98

14

99

100

&


42

B Ϫ

° Fl. &

¢

?

° Hn. & Tbn.

¢

B

° Perc. I & Perc. II

Hp.

¢/

∑ ∑ ∑

∑ ∑ ∑

° Vln. & Vla.

Vc.

Cb.

El.

#œœ ™™ ≈ nœœ ™™ Œ Ó J °

Cymbal on Timpani

Ó

1 ææ

p

R # œo ™ J

R ‰™

µœ œ ‰™ R

[s]

‰B œ

‰™

Œ œ

Œ

p

p

Œ&

j

p

Ó

p

‰B

p

change pedal with each chord

O #œ

™ R ‰

#STœ ™

œ

‰™

nµœœ

ST

Ó

3

p

œœ Œ Ó b œœ

O O µO # O J &µ œ ≈nO ™ 6

p

change pedal with each chord

µœœœ bb œœ Œ Ó

Ó

O ≈ œ

Œ Ó ∑

∑ µO µœ

# œœ

Vibraphone

µµOœ ™™ J

p

Ó

œ #œ ™ R

#œ nœ

Œ

r ‰™ Œ Ó

œ

Œ

p

mp

r ‰™ ◊ÿ ‰™

+

3

/

p

œ

+œ µœ ‰‰J

œ

™ ?œ

3

Ó

Ó

ææ

œ

5

Spring Coil

b œœ ™™ ≈ #œ ™ Œ Ó œJ ™ °

pp

pp

p

‰™

Œ

B œ nœ µœ b œ nœ

Œ

M

? ¢‹ ° ¢

pp

bb OOœ ™™™

&

5

pp

O ™™ nµµœœ

&

Œ

j nO O

5 ≈ -œj ≈ ≈ Œ

+ L ≈ œJ ™ pp +œ ™ ≈ J

p

¢&

¢

?

Bœ œ R R

[pe]

p

[A10]

Vibraphone [medium mallets]

?

J ‰

° &

° & Pno.

O ‰

[tu]

Ϫ

&

Cl.

Bsn.

Ϫ

&

Ob.

#O ™

Œ

nnOœ STœ

M

r œ

œ

p

µœ

p

Ó

Tape: Speech Recording: 'to pace'

101

102

15

103

104

?


° Fl. & &

Ob.

¢

?

° Hn. & Tbn.

R ‰™ Ó

j & ΠŠBϪ

Cl.

Bsn.

bϪ

¢

?

B œ™ nœ ™

¢/

bµœœ ™™ ° & Œ ≈ J Ó Hp. o ? Œ ≈ j™ Ó Bb œ ¢

Pno.

° Œ ≈ #œ ™ Ó & œ™ J ™™ œ œ ? ¢ Œ ≈ J Ó

° Vln. &

µµœœ ™™

&

nœ ™

?

r ‰™ Ó

Vla.

Vc.

? Œ ≈ j œ™ ¢‹ M

Cb.

El.

° ¢

3

‰ j

Œ Ó

j O

J j

j B -œ

pp

Œ

3

pp

∑ ‰ b#œœ Œ Ó bœ ° 1 Cymbal on Timpani ææ Ó ææ

3

Œ Ó &

r ‰™ Œ ◊ÿ 3 nœ nœ œ o µœ Bœ ‰

Œ Ó

J

™ ‰ OœJ ™ J

ORD

3

p

‰ œ

ST

j

µœ

µ -œ ™

3

pp

3 ST

≈ ‰™

œ

p

B +œ

µœ p

p

Vibraphone

&

Ó Ó

µœ J

mp

106

16

107

nœ p

Œ

Ó ∑

µœœ Œ bb œœœ p

?

Œ œœ b œœ p

ST

Ó ™

µœ

Œ nµœœ

‰™ Ó

Oœ Œ M

ST

‰ nœ 3

pp

r œ

œ

p

Tape: Speech Recording: 'to transcribe'

105

# œœ

##Oœ R Bœ

Œ

pour grains on Cymbal on Timpani vary the speed

Ó

p

Œ

Œ

œ

Ó

B B Oœ

œ J

+ œ

ORD

BO Bœ

p

Œ

mp

p

Œ

œ

Ó

œœ ‰

J

pp

œ

œ

B 3œ

Œ

Ó

Œ Ó

°

p

Spring Coil

‰ nœœ bœ

3

œ ‰ ‰J

/

43

p

œµœ#œB œ

Ó

p

pp

bœ ‰ J

#œ.

o3 ‰ j ‰ Œ œ pp µœ b œ b œ R ‰™ ≈

pp

3

µœ ‰™ R

Œ

3

Œ œo

µO

Ó

[F7] 3

3

≈ Bœ

J ‰ Œ

3

µœ ‰Bb œ bœ

#O

fij

[tʃ] [s][krɑ]

p

3

[tu]

3

R ‰™ Ó

° Œ ≈ bœ™ Ó œœ ™™ Perc. I & J Perc. II

J Œ

B

µ

108


44

° Fl. & &

Ob.

¢

?

¢

mp

j œ

œ

3

3

mp

mp

?

3

[A7]

j Kœ

µœ

mp

¢/

° Œ Œ bµœœ Ó J & 3

Pno.

o ? Œ Œ Bb œj Ó ¢ 3 ° #œ Ó Œ Œ & œJ

° Vln. & Vla.

Vc.

p

3

? ¢ Œ Œ

& ?

œœ J Ó

p

3

µµœœ J

3 mp 3

3

‰ Ó

1

#œœ bœ

mp

Œ Ó

Bbµœœ bœ

p

Œ Ó

œœ

&

J ≈ Ó + ‰ œj J

pp

+ nœ

œ µœ

Œ

3

/

‰™

Spring Coil

œÓ R

mp

Œ

◊ÿ œ J

pp

J

pp

œ

p

Œ Ó

µµOœ ™™

6

ORD

‰ ≈ BO™

p œ

3

µ œ œ3 p

17

‰ µœ

™ J ≈ Ó

3

&

p

pour grains on Cymbal on Timpani vary the speed

Ó

p

p

∑ #Oœ

3

Œ

111

Œ

Œ ‰ ™ µœœœ Ó R

nO O #O J µµOœ & œ µœ

œœ

Œ ‰ ™ #œ Ó R

Vibraphone

r œ ™ Œ ‰ œœ Ó

Tape: Speech Recording: 'to simulate'

110

™ Lœ

[E10]

Ó

p

arco ST

‰ Ó

p

ORD

µœ

o b œB œ nœ Œ

∑ Œ

Ó

3

Œ Ó

p

œ

µ œo œ

µœ

™ œ

r œ

[F7]

pizz.

pp

5

Œ Ó

M

‰™

pp

Œ

mp

B œ œ µœ nœ ™ R

r ‰™ -

mp

nœ b œœ

pp

Œ

1 ææ ææ

‰™ B œ

Cymbal on Timpani

Ó

‰ Ó

109

pp

ST

? Œ ‰ ‰ j Cb. œ ¢‹ mp ° El. ¢ 3

pp

Œ ‰ ™ œR

[t]

-œ œ R R

j nO Ó

≈ ‰

[s]

‰™ Ó

B

O

j œ-

pp

Bœ J

p

Hp.

pp

[F7]

mp

° Œ Œ bnœœ Ó Perc. I & œJ

‰™

p

pp

3

Perc. II

[tu]

mp

3

3

#O

œ

œ J ‰J

° Hn. & Tbn.

J ‰œ J

& Œ Œ

Cl.

Bsn.

3

bœ J

J

Ó

µœ nœ

™ ≈ Ó

Œ ‰™

M

r œ

p

112

-


° Fl. & &

Ob.

&

Cl.

µœ

p

™ #œ ™ Bœ p

œ ‰ j œ

Ó

p

œ

? Ó Bsn. ¢ ° Hn. &

™ 3œ

[A7]

p

µ +œ

? Ó Tbn. ¢

p

œœ # œ b ° ‰™ Œ œ Œ Perc. I & nœR n œ mp

Perc. II

Hp.

Pno.

ó ° ‰b™µœœó Œ µœœœœ Œ & R bœ

° ‰ ™ #œœœ Œ œ Œ & œ b œœœ R ¢

?

° Vln. & Vla.

Vc.

&

mp

™ µœ ™ œ

? ‰™ œ R

mp M

œ

mp

° ¢

Œ

[F7]

pp

Ó

Ó

Œ

‰ #œœ Œ nœœ J bœ p œ œ ‰ œJ Œ œ µµœœ J

j‰ Œ œ

ST

‰ œj M

p

/

Œ

◊ÿ ≈ nœ nœ

œ ‰ Œ J

‰™

+ µœ

µµOœ

ORD

µœ ™ p

p

œ ‰™

p arco

Œ

3

ST

œŒ R

mp

&

œœ b œœ ™™ Œ ≈ œ ™ Œ ‰ bœ J J p

pour grains as before

Ó

Œ

Ó

p

Œ ≈

j™ Œ ‰ j œ bœ

™ Œ ≈ #œœœ ™™™ Œ ‰ bb œœœ œJ b œJ p

O #œ

µœ

ST

Ó

B œ n œ. B œ µ œ

Œ

pp

µœ ™

Œ ≈ œJ ™ ST

M

‰ j œ

114

18

115

œ

Ϫ

pp

Ϫ

Tape: Speech Recording: 'to articulate'

113

-

óó óó Œ ≈bµœœ ™™ Œ ‰ œœ J J

nSTœ nOœ ##œO ‰ ™ R J pp #œ µ-œ Œ R

p

Vibraphone

∑ B O O nO ‰ ™ B œR œJ n œ

Ϫ

R ‰™ Ó

ORD

µœ

##b œœœœ bœ

pp

Ó

p

œ

pp

Ó

µœ µœo B œ ™ œ

Œ

‰ Œ Bœ

Œ

#œ ™

nœ ™ Œ ≈ J + œ

Spring Coil

Œ

pizz.

pp

œ

pp

Ó

pp

Π&

œB œ

µœ ™

Œ ≈ B œJ ™

Ó

B œo n œ. B œ µ œ

Œ

3

pp

≈ µœ

3

j œ- ‰ Œ

‰œ

[t] [ku]

pp

pp

oj ‰Bb œ Œ Ó

mp

? j ≈ Œ Ó Cb. ™ ¢‹ El.

?

µœœ

J

œ

bµœœ ‰ J Œ Bb œœ bœ p

mp

‰™ r Œ Ó & ¢ œ

n œ #œ ‰ ‰ p

b œ #œ ‰ nœ Œ œ Œ Ó œJ b œ p Cymbal on Timpani 1 ææ Ó r ‰™ æ p

1

¢/

p

>ɑ]

[tu

J ‰ Œ Ó

p [Eb10]

#O ™

Ó Bœ

B O ≈ O O ≈Œ

45

116

œ

J j

‰ ‰


46

° Fl. & & R

Ob.

&

Cl.

Bsn.

¢

B œ™ ‰™ Œ Ó

µœ ™

##b œœœœ ™™™™ ? bœ ™

° Hn. &

bœ ™

? Ó Tbn. ¢

œ

J

Hp.

Pno.

p

∑ ‰ œj

‰ Œ

p

nœ p

µœ ‰ J

Vc.

Cb.

El.

1

j j ≈ Œ ‰ b œ ¢& bœ ™ œ Œ ° ≈ bbnœœœ ™™™ Œ ‰ nœj Œ & œœœ b œJ ™ ¢

& ? Ó ? ¢‹ ° ¢

n œo ™ œ™

Ó

?

B Ϫ

mp

p

bµœœ ‰ J Œ Bb œœ bœ p oj ‰ Bb œ Œ Ó ‰ #œœ Œ nœœ bœ J p œ œ ‰ œJ Œ œ

µœœ

mp

µµœœ J

‰ œj M

Œ

mp

µœ

œ

µœ

r ‰™ -

Œ

Π&

n œfij

Bœ œ 3

œ ‰ Œ J

Œ + nœ J

‰ ‰™

µ+œ R

œ

Œ

&

Ó

◊ÿ ≈ nœ nœ œ#œ Ó #µœœ

3

BϪ

Ó

118

r µµœO Oœ bb Oœ B B Oœ p

#œ ‰ ™ R

Oœ Œ

œ

µœ

bœB œ

119

™ O œ

ST

ST # ‰ œJ

pp

pp

Ó œ

p

19

?

ORD

Tape: Speech Recording: 'to document'

117

+ Jœ

[F7]

mp

Œ

‰™

3

bœB œ

arco ST

nœ ‰ ‰ J

Œ

p

≈B œJ ™

µœ ‰ Œ J 3

œ

p

/

p

##Oœ J

Œ

[t]

Spring Coil

œ

ORD

open emb.

[ku]

Œ

pp

r O ‰™

6 ‰

pp

Ó

ææ

ST

pizz.

pp

p

j ‰ Œ

mp

# œo

‰ Œ Bœ

‰ j œ M

1 ææ

3

pp

Ó

Cymbal on Timpani

mp

° Vln. & Vla.

p

Œ

Ó

bœ #œ ‰ nœœ Œ œ J bœ

pp

p

ó ° ≈ B œó ™ Œ ‰ µœœœ Œ œ™ & J J

?

[F7]

[A7]

mf

j œ- ‰

œ Ó

œ

¢/

J ‰ Œ

-

#O

[tu]

p

mp

Ó

p

œ™ # œœ ° œ™ ‰ Œ Perc. I & ≈ b œ ™ Œ J n œJ mp Perc. II

closed emb. t.r.


° Fl. & &

Ob.

3 3

&

Cl.

Bsn.

¢

?

3

° Hn. & Tbn.

¢

?

° Perc. I & Ó Perc. II

¢/ Ó ° & Ó

Hp.

? Ó ¢ ° & Ó

Pno.

? ¢ Ó

° Vln. & Vla.

Vc.

Cb.

El.

3

3

? ¢‹ ° ¢

Bœ J

#œ ™ œ™

nœ J

o

[E7]

j Kœ

Kœ ™

Bœ J

o BϪ

mp

Œ

p

J

3

p

Œ

3

J

ó ‰ ‰ #œj Œ 3

Œ

p

nnnœœœ ‰ ‰ J Œ 3

‰ ‰ œœ Œ J 3

p

‰ ‰ œœJ Œ 3

3

3

Œ Œ Œ

J Π3

n# œœ nœ ™ ≈# œ ™ ‰ J nœ 3

œœ µ ≈ µœJ ™ ‰ bb œœœ 3

œœ ™™ ≈ œJ ™ Œ

3

≈ œœJ ™™ Œ µœ ™

nœ ™

#œ J ST

3

3

120

œ J

R

pp

‰ Œ

Œ

mp

nœ ™ ≈##œœ ™™ ‰ b œœœ œ J

Bœ J

Šj Ϫ mp

mp

óó j 3œ œ

mp

J

‰™ ‰ M

mp

™ Bœ

µœ 3

œ

+ ™ ‰ r œ

[F7]

[E7]

Jœ µœ

+œ ‰™ R p

bœ ‰ ™ nœœ Œ R

1

#œœ bœ p

Kœ J ‰

1 ææ

‰ Œ œœj Œ œ

Cymbal on Timpani

Ó

b œœ µœ ‰ ™ R Œ Bb œ bœ p or ‰ ™ Bb œ ‰ ™ #œœ Œ bnœœœ R p œœ œœ ™ ‰ R Œ

p

ææ

œœj Œ œ

∑ ‰ ‰

&

œ nœœ œ œ

µœ

œ

™ œ

œ

œ

œ

mp

M 3

œ

mp

j Π3

121

Ó

mp

p

mp

-

™ Bœ

3

j Œ

Œ

mp

µœ 3

47

‰ ™ nœ R

j J3œ

pour grains as before

Œ

Œ

mp

#œ ‰ ‰ œ Œ J 3

µœ ™

j œ

Vibraphone

& ? Ó

Ó

™ bœ

j™ ≈ Œ ‰ ™ œr M

ST

p

Bœ œ J ‰ ‰ J

arco ST

pizz.

122

‰ ‰


48

° j Fl. & O ™ p [t]

b -œ & ‰ J ‰

Ob.

B ≈ ‰™

3

& b œJ

Cl.

pp

pp

Bsn.

¢

Tbn.

¢

pp

° Ó Perc. I &

Perc. II

Hp.

¢/

° & Œ

¢

Cb.

El.

3

mp

Œ

œ

Œ

&

Œ

Ó

Ó

Ó

Œ Œ Œ

∑ ORD

& Œ

O™ ≈ ≈ œJ ™ BB -Oœ

ORD

B Ϫ p

O #œ

3

j

3

œ

j

3

œ

œ b œœ œ ‰ œ

p

3

pour grains as before

p

‰™

Œ

óó ‰ bµœœ 3

µœ ‰ ‰ J

3

ST

(ST)

pp

Šj Ϫ

Œ

M

p

pp

##b œœœœ ‰ bœ J

œ nœ

B B Oœ

j

123

124

µœ J Œ 1

3

óó óó œœ µ ‰ œœ ‰ ™ B œœ Œ ‰bb œœœ J R

œ µœ bœ J

‰ Œ

™ ™

mp

Œ

3

r bœ Œ Ó

? 3

bbbnœœœœ Œ ‰ nœœœ œ R mp

œo nœ mp

3

mp

3

bœ j ‰ ‰™ R

Œ

3

µœœ J

µœ J M

Œ ‰ ‰ j œ 3

mp

Tape: Speech Recording: 'to narrate'

20

œ J

-

mp

œ

3

mp

µœ œ

3

3

œœ œ # œœ œ ‰ bœ ‰™ bœ Œ ‰ J R nœ

3

3

3

mp

3

J

‰ Œ

µœ J

j ‰ ‰™ bœ R mp b +œ ‰™ R

3

mp

3

J

bœ J

≈ Œ Ó

µœ R mp ##b œœœœ ™ bœ

3

J

3

mp

j ‰ ‰™

œœ ‰ œ ‰ b œj ‰ ™ #œ œœ œœ ‰ #œœœœ ‰ ‰ bbb œœœœ ‰ ™ J J #œ

pp

Œ

J

p

pp

n œœ

œ

µSTœ R

bb Oœ J

bb Oœ

nœ µœ J p

? Œ

° ¢

J #œ

Vibraphone

Ó

?

? ¢‹

+ œ

™ Bœ

œ

3

p

p

Vc.

J

Œ Ó

° B B -Oœ ™™ Vln. & J Vla.

Œ

+ nœ

/

p

pp

µœ

Œ Œ

Œ ◊ÿ j œ3 #œ

Bœ Bœ

Spring Coil

o B œ ¢& ° &

Pno.

r ‰™ -

Œ

pp 3

œ µœ J

Ó

œB œ œ

° Hn. &

pp

[t]

≈ µœj™

? Œ

B -œo ? J

r bO Œ

œ J

œ

125

‰ Œ


° J ‰ Œ Ó Fl. & bœ & ‰ J

Ob.

p

Bsn.

¢

?

° Hn. & Tbn.

¢

?

O

R ‰™ Œ

‰ Ó

nœ ™

pp 3

o ? ‰ jŒ Ó Bb œ ¢

° ‰ #œ Œ ≈ nœj™ Œ & œ b œœ ™™ J p Pno. ™ ? ‰ œœJ Œ ≈ œœ ™ Œ J ¢ ° Vln. & Vla.

Vc.

&

#œ ™

µµœœ

µœ ™

? j ‰ Œ ≈ œ™ J ST

r Ϫ ΠJ pizz.

? ‰ j œ ¢‹

El.

° ¢

Ó

p

+ Lœ

+ pp œ œ ‰ J

/

‰™

œÓ R

µœ

&

mp

3

Oœ µµœO

O

µœ

p

œ µœ

p 3

arco ST

œ

p

3

Bœ J J

‰ Ó

mp

Ó

3

‰ ‰ 3

‰ Œ

21

3

nO œ

™ ≈ ‰™

127

mp

3

bœ nœœ Œ J

pour grains as before

Œ

jŒ bœ

‰?

-

b œœ J Œ oj Bb œ Œ

3 j œ ‰ bb œœ ‰ ‰ nœœ ‰ #œœ Œ b œJ œœ J p œœ Ó ‰ J Œ

œo nœ

ST

‰ Œ µµOœ J

#-Oœ J

j œ

Ó

Œ

œÓ M

r œ

‰ nµœœ

p

bb Oœ

ST

p

Œ

µµœœ

óó 3 ‰ œ nœ

3

mp

mp

‰ ‰ j j œ

j ‰ Œ

M

3

mp

Tape: Speech Recording: 'to approximate'

126

œ # œœ œ ‰ bœ ‰ ‰ ‰ J n œJ p

‰ Œ nœ

3

Œ

49

mp

óó œœ µ B œ ‰ œ ‰ ‰b œœ ‰ b œJ J p

∑ ##Oœ

o

Ó

ORD

Vibraphone

Ó

◊ÿ #œ nœ J

6

J

Spring Coil

Œ

p

ORD

j nœfi

œ µœ

pp 3

µœ œ

p

M

Cb.

&

Œ

[A10]

° ‰ bnœœ Œ ≈ #œœj™™ Œ Œ Perc. I & œJ bœ™ p Cymbal on Timpani 1 ææ ææ Perc. II / Ó r ‰™ ¢ p ° ‰ bµœœ Œ ≈Bb œœj™™ Œ J & bœ™ p Hp.

µœ

bœ J

j ‰ ‰ ‰ œ J 3 mp ##b œœœœ µœ J b œ ‰ J

j ‰ ‰ œj -œ 3

‰ ‰

B œo

3

3

pp

œ

pp

œ

[t]

Bœ ‰™ R

j O Œ

[ks]

3

pp

O‰

µ

3

œ

œ

Jœ ™

œ

≈ B œJ

[F7]

3

[prɔ]

p

nœ ™

#O

[tu>ə]

BϪ

& ‰ œJ

Cl.

B

128

‰ Œ M

j œ

mp


50

° Fl. & J

‰ ‰™ B œ R ™ œ

3

& ‰ œ

Ob.

& J

Cl.

Bsn.

Bœ 3

J

Tbn.

Perc. I

Hp.

° j & Jœ ¢

° #œœ ‰ & bœ 3

¢/

° Bbµœœ & ‰ bœ ¢

3

? Ó

mp

° ‰ nœ & b œœ

mp

œ ? ‰ œ ¢

° #3œ Vln. & J &

œ

r œ ‰™ œ Œ œ

? ‰ œ 3

#µœœ

r œ ™ ‰ œ Œ nœ

#œ # œœ

œ ‰ ™ œR Œ ™ œ ™ œ ™ ≈ Ó

j œ ‰ ‰™ M ? r Cb. J ¢‹ œ 3 ° El. ¢ pizz.

nœ bœ œ 1

J

arco

129

‰ Œ O #O

Ó

Œ

Œ

≈#œ œ B œ

‰™ Œ Ó

Bœ œ ##b œœœœ ™™™™ œœœœ bœ ™ œ Ó

r n-œ

+

3

pp

‰™

pp

Bœ ∑

[D7]

Lœ ™ œ K œ p # +œ ™ n œ œ ≈ J

œœ

o œ

Ó

œœ Œ nœœ Œ

œ

3 Spring Coil

œ Œ nœœœ Œ Cymbal on Timpani 1 ææ ææ r p

j µ œ ≈ # œ ™™nB œœ p óó óó j ≈ Bbb œœ ™™ œœ

#œ B œ nœ

pp

œ™ b œ ™ nœœ Jbœ p

/

œ J

‰™ Œ “”3 œ #œ J

p

&

µœ

µœ

p

µœ ™ œ œ J p

r

∑ Oœ

##Oœ ‰ J

ORD

‰™ Œ

œ

ST

p

œ

ORD

J

Ó

p

µœ ™ B œ œ

≈ bb œœJ ™™ œœ œœ Œ

p

p

‰ -œ R

µœ 3

B œ µ œJ

µµOœ Œ

™ ‰

#œ B œ nœ (ST)

22

‰™

3

p

‰™

Œ

Ó

Tape: Speech Recording: 'to catalogue'

130

&

Ó

p

œ™ œ œ

Ó

mp

≈ bb œœ ™™ nnœœ œœ Œ J

[ke] [tɑ]

p

p

Œ

j Bœ

O

[tu]

[A5]

r œ ‰™ œ Œ nœ

3

3

mp

™ Kœ

ST

Vc.

œ

3

Vla.

p

Œ

[E7]

?

3

Pno.

™ ≈ Ó

r

3

mp

Perc. II

? J ‰ ‰ ‰ ™ B œR ¢ [F7] 3

Hn.

µœ

p

µœ ™ Œ Ó

B

131

‰ œ R

ST

pp

µSTœ 3

pp


#œ ° J Fl. & ‰

pp

&

Ob.

&

Cl.

µœ ™ ? J J Bsn. ¢ ‰ pp

° ‰ +j Hn. & œ

pp

œ

œ

œ

œ

≈ Ó Lœ

[D10]

œ

œ œ ° Perc. I & ‰ b œ ‰ ≈ œ Œ J R Vibraphone

p

Hp.

Pno.

° ‰ Bb œo ‰ ™ & J p

j ‰™ ‰ b œ œ ¢& #œ œœœ ™ ° b & ‰ nœ ‰ J ¢

?

° Vln. & Vla.

&

Bœ Bœ

œ bœ œ

pour grains as before

Œ œ nœ R Œ r œœ Œ œ œœ nœœ Œ R ∑

##b œœœœ bœ

mp

Ó

¢/ Ó

J J

3 3

óó bµœœ

J J

j

Œ

œ bœ bœ

mp

óó bµœœ mp

œ

#œœ œœ

bb#œœœ bœ

mp

Ó

µœ

µœ

µœ

µœ

mp

nœ ™

3 3

J ‰

o B Ϫ

j œ

œ

œ J

œ

[A7]

[F7]

3 3

µœ

mp

3

mp

3

o œ ≈ œj™ Œ

?

j™ j nœœ n œ œ # œ ™ ‰ œœ ≈ œ ™ ‰ œœ nœ ™ œ 3

Ó

J bœ B œœ

3

mp

3

mp

µµOœ

œ ? ‰ J Cb. ¢‹ ° El. ¢

œ

œ

œ

mp

3

mp

133

BϪ

nµœœ

Ϫ

M

nœ ™

R ‰™ Œ

3

œ

3

3

J

Œ

óó óó œœœ µ ™ œ B œ B œ ™ ‰ œ ≈ ‰ œ J b œJ

J

J ‰ œ J

3

3

j™ œ # œ n œœ œ ‰ œ ≈ œ™ ‰ n œJ n œ ™ 3 1

Ó

o r ‰™ ‰ j œ

œ

j 3O œ

132

œ

51

bœ J

mp

mp

œœœœ œ

Ϫ

™ B B Oœ

Vc.

bϪ ŠJ

Œ

µµOœ

?

Bœ R ‰™ ‰ J

œ

3

? J ‰ Œ Tbn. ¢

Perc. II

œ

Œ

3

Ó Œ Œ Œ Œ

3

Bœ J

bœ nœœ Œ J p

Ó #œœ bœ 1 ææ p

bµœœ J Œ

Bb œœ bœ

p

oj Bb œ Œ

3

3

3 3

Œ

Cymbal on Timpani

3

3

œ

j Kœ

ææ

Œ

Ó

#œœ Œ J p œœ J Œ

nœœ bœ œ œ

µµœœ J

‰ Œ

‰ Œ

p

p

µSTœ

M

3 ‰ ‰ œj

p

134

&

Œ Œ


52

B ≈ ≈

° j Fl. & #O ™ [tʊ]

Ob.

j œ & -

Cl.

pp

pp

3

‰ ‰

° Œ Hn. & µ -œo ? J Tbn. ¢

or n-œ

¢

° Perc. I & Perc. II

¢/

pp

pp

r ‰™ -

¢& œ ° &

Pno.

¢

p

?

° ##-Oœ ™™ Vln. & J

ORD

p

Vla.

Vc.

Cb.

El.

& ‰™ ? Œ

? ¢‹ ° ¢

Ó

Ó

Ó

Ó

Ó

Ó

Ó

Ó

Ó

Ó

Ó

≈ j œ

B -œ J pp

3

‰™ Bœ

œ

Œ

◊ÿ 3 ≈ #œ

µœ ™

œ µœ

bœ œ ‰

#œ ™ ≈ ≈ J

B B Oœ R J ORD

œ

œ

p

#O #œ 3

œ

Tape: Speech Recording: 'to exhaust'

23

135

/

œ

Œ

Œ

8"

[st]

° & Œ Hp.

Ó

r ‰™ O

j O™

≈ B œJ

? Œ

Bsn.

g

[ksɔ]

p

n -œ & ‰ J

g 5"

Tape: Speech Recording of my Mother

136

24

137


Fl.

° &

Cl.

¢

&

?

Perc. I

Perc. II

¢

°

/

¢/

¢&

Vln.

Vla.

Vc. Cb.

Cond.

El.

¢

take off mute

take off mute

undo preparation. do not worry about unintentionally making incidental sounds in the process

undo preparation. do not worry about unintentionally making incidental sounds in the process

undo preparation and tuning, do not worry about making incidental sounds in the process

∑ undo preparation. do not worry about unintentionally making incidental sounds in the process

∑ œo ™ ™™

™ ™™™ ™

™™

™ ™

™ ™™™

bow the metal wrapping. over the course of the fermata, move slowly from near the bridge towards the fingerboard.

mp

&

œo ™ ™ ™ ™™

? ¢‹ ° ¢

™™™

™™™ o ™ œ

bow the metal wrapping. over the course of the fermata, move slowly from near the bridge towards the fingerboard.

mp

?

° ¢

?

?

° &

° & Pno.

change to Bass Clarinet

° & Hp.

?

53

° Hn. & Tbn.

g

&

Ob.

Bsn.

g

until the conductor walks over to brass and holds megaphone to trombone

10"

œo

™™

prepare with cigarette filters

∑ walk over to brass, take megaphone

Tape: Vocal fry through megaphone

25

138

™ ™™

139

™ ™

B


54

g

until harp is finished with undoing preparation, at least 20"

° Fl. & &

?

?

° &

Ob.

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

Vla.

Vc.

Cb.

Cond.

El.

¢

¢

(when conductor comes and turns megaphone on, into the megaphone) (exhale) (inhale) vocal fry

? í ™™

°

)

)

mp

7

/

¢/

turn the cymbal on Timpani over, spilling grains on the floor

° &

¢&

° &

?

¢

° & B ?

™™

™™

° ¢

prepare with cigarette filters

slow bow, with light pressure

œ pp

? ¢‹ ° ¢

™™î

(continue in a similar manner UNTIL MEASURE 144. you can leave spaces in between repetitions.)

œ ∑ ∑

hold the megaphone to trombone

140


8"

g

15"

&

B. Cl.

?

Bsn.

?

° &

° Fl. & Ob.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

¢

¢

°

/

Vc.

Cb.

Cond.

El.

listening cue: start after harpist starts spilling grains

spin coins on Timpani UNTIL MEASURE 143.

listening cue: start after pianist starts spilling grains

¢/

¢&

spin coins on Timpani, while changing the pitch ad lib. UNTIL MEASURE 147.

° turn the cymbal over, spilling grains on the floor & ° & ¢

55

?

B

listening cue: start after harpist starts spilling grains

ord.

slow bow, with light pressure

œ

œ

pp

mp

ord.

mp

?

? ¢‹

° ¢ ° ¢

turn the cymbal over, spilling grains on the floor

?

° Vln. & Vla.

g

&

∑ occasionally turn the megaphone on and off, create feedback, leaving the trombone breathing by themselves.

141

K œo

II-7

142

pp


56

g

25"

° Fl. &

&

B. Cl.

?

Bsn.

?

° Hn. &

Ob.

Tbn.

Perc. I

Perc. II

¢

¢

?

°/

spin cymbal on the ground. alternate spins with Piano at first immediately following each other, gradually moving apart.

¢/

° Hp. ¢ ° Pno. ¢

walk over to Flute, pick up the megaphone.

spin cymbal on the ground. alternate spins with Perc. II, at first immediately following each other, gradually moving apart.

° Vln. &

Vla.

Vc.

B

El.

nµœœ nB œœ

° ¢ ° ¢

(cresc. with other strings)

listening cue: change after hearing contrabass multiphonic

œ

(cresc. with other strings)

&

? Cb. ¢‹ Cond.

listening cue: change after hearing contrabass multiphonic

(cresc. with other strings)

listening cue: enter quietly after hearing piano spin cymbal on ground

œ

M

pp

(cresc. with other strings)

listening cue: trigger after hearing piano spin cymbal on ground

Tape: Convolved Construction Sounds

26

143


g

g

15"

° Fl. & &

Ob.

?

B. Cl.

¢

(when harpist comes and turns megaphone on, into the megaphone) (exhale) (inhale) vocal fry

í ™™

)

)

mp

until cymbals stop

™™î

7

continue in a similar manner UNTIL MEASURE 147.

listening cue: enter quietly after hearing flute through megaphone

spectral multiphonic: slowly change overtones, merging with the strings

(breathe freely)

œ

mp

pp

?

° Hn. &

?

Bsn.

Tbn.

Perc. I

Perc. II

Hp.

¢

°

stop when the space between spins become more than 5"

/

¢/ ° ¢

(Timpani: start changing the pedal regularly ) etc.

hold the megaphone to flute

° Pno. ¢ Vln.

Vla.

Vc.

Cb.

Cond.

El.

° & B & ? ¢‹ ° ¢ ° ¢

57

stop when the space between spins become more than 5"

mf

mf

mf

mf

œ

p

(decresc. with other strings after hearing flute through megaphone)

listening cue: change 5" after hearing the violin change

œ

p

(decresc. with other strings after hearing flute through megaphone)

(decresc. with other strings after hearing flute through megaphone)

(decresc. with other strings after hearing flute through megaphone)

144

ppp

ppp

145


g

58

° Fl. &

?

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

¢

o

?

∑ ∑

° &

?

°/

¢/ walk back to your position with the megaphone, do not sit down.

° ¢

° Vln. &

nµœœ

B

nB œœ

Vla.

Cond.

El.

listening cue: change after hearing cello come in

fp

listening cue: change after hearing cello come in

fp make 4 sounds

Vc.

Cb.

TO COVER

¢

make 4 sounds

make 4 sounds

listening cue: fade out after hearing cello come in

° Hp. ¢ Pno.

until coins stop

TO HIDE

&

Ob.

g

8"

TO EXERT

? ¢‹

° ¢ ° ¢

∑ into the megaphone (exhale)

í ™™) 146

(inhale)

)

147

vocal fry

7

™™î


Fl.

g

g

6"

°

5"

g

until the end of bassoon multiphonic 59

Ob.

?

B. Cl.

make 2 sounds

TO DISASSEMBLE listening cue: enter quietly after hearing bass clarinet

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

Vla.

¢

?

°

##b œœœœ bœ

pp

until the end of breath

f

make 3 sounds

TO ASSEMBLE

¢

make 2 sounds

TO BRUSH

°/

¢/

° ¢

° ¢ ° &

granular

(cresc. with bassoon) granular

B

(cresc. with bassoon)

Vc.

Cb.

? ¢‹

° Cond. ¢ El.

° ¢

continue in a similar manner UNTIL MEASURE 152.

148

make 3 sounds

TO MELT (turn megaphone on and off as you continue breathing)

149

150


60

g

g

8"

° Fl.

7"

Ob.

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

¢

?

° ¢ °

/

¢

make 3 sounds

TO TOUCH

° ¢ ° ¢

standing up, point the megaphone to the ground, with the auxiliary microphone dangling. improvise UNTIL THE END with crackling sounds caused by removing the input jack and feedback caused by the microphone swinging to the bell of the megaphone. start with short phrases with pauses in between, gradually building a continuous texture.

° & B

Vla.

make 3 sounds

TO LIMIT ord. (after you hear the piano come in)

pp ord. (after you hear the piano come in)

make 2 sounds

TO SPLIT

pp

Vc.

Cb.

Cond.

El.

¢

° ¢ ° ¢

make 4 sounds

TO AMPLIFY

151

152


g

until tape enters

Fl.

°

61 listening cue: Perc. I signals the last three measures

listening cue: Perc. I signals the last three measures

Ob.

listening cue: Perc. I signals the last three measures

B. Cl.

Bsn.

¢

listening cue: Perc. I signals the last three measures

make two sounds

TO ADJUST

° Hn. Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

listening cue: Perc. I signals the last three measures

¢

listening cue: Perc. I signals the last three measures

°/

make a sound

TO BEGIN

¢

listening cue: Perc. I signals the last three measures

° ¢

listening cue: Perc. I signals the last three measures

° ¢ °

listening cue: Perc. I signals the last three measures

listening cue: Perc. I signals the last three measures

make 2 sounds

TO WHISPER listening cue: Perc. I signals the last three measures

Vla.

listening cue: Perc. I signals the last three measures

Vc.

Cb.

¢

listening cue: Perc. I signals the last three measures

° Cond. ¢ El.

° ¢

listening cue: Perc. I signals the last three measures

Tape: Convolved and filtered breathing through Megaphone

153

27

154


g

ad lib., at least 60"

62

Fl.

°

TO SOUND

TO END

TO SPACE

Ob.

TO REMOVE

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

¢

TO SOUND

° ¢

TO EMPTY

TO EMPTY

°

TO FORCE

TO BOUNCE

° ¢ ° ¢ °

El.

TO CANCEL

TO SOUND

TO REMOVE

TO SOUND

TO REMOVE

TO BEGIN

Vc.

Cond.

TO END

¢

Vla.

Cb.

TO END

¢ ° ¢ ° ¢

TO SOUND

TO END

TO SOUND

155

(tape ends)


g

ad lib., at least 60"

Fl.

°

TO END

63

Ob.

TO SOUND

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

TO END

¢ °

TO END

¢ °

TO END

¢

TO SOUND

TO END

° ¢ ° ¢ °

TO END

TO BOUNCE

TO END

TO END

Vla.

TO END

Vc.

Cb.

Cond.

El.

¢ ° ¢ ° ¢

TO END

156


64 Fl.

°

g

10"

Ob.

B. Cl.

Bsn.

Hn.

Tbn.

Perc. I

Perc. II

Hp.

Pno.

Vln.

¢

°

¢

°

¢

° ¢

2

° ¢

°

Vla.

Vc.

Cb.

Cond.

El.

¢

° ¢ ° ¢

157

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