--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
gœ
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
bœ
) 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
Bœ
?
° ¢
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
∑
∑
∑
∑
bœ
∑
?
44
∑
∑
scrape string with plectrum slow, individual grains, with spaces in between
bœ
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
bœ
mp
f
é
fast scrape
sfz
∑
scrape string with plectrum moderate speed
∑
∑
bœ
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
Bœ
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
bœ
(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
Bœ
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‰
bœ
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
bœ
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
bœ
[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
Bœ
∑
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
Oœ
‰
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 &
Bœ
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
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
bœ
mp
scrape string with plectrum moderate speed
j œ™ “‘
∑
bœ
mp
sfz
#O #œ
‰
∑
‰ Œ
nœ
?
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 ‰
#œ
mf
#œ
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
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
Lœ
[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
nœ
mp
bb Oœ p
¯¯ Bb œœ
f
scrape with plectrum
M
nœ p
Spring Coil [triangle beater]
& ™™
? ™™ Cb. ¢‹ ¢
Ä
10
nœ
? ™™ ¢ ¢
? ™™
Ä
9
bœ
° °™ 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
™™ †
Bœ
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
°
Oœ
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
bœ
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
Lœ
[A10]
p
bœ
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
nœ
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
Oœ
3
J
? ™™
Œ
◊ÿ Œ
&
∑
° Ó
Bœ
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
nœ
∑
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
bœ
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
bœ
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 / ™ ¢ ¢
Bœ
Bœ
Œ
44
◊œÿœ œœ œœ ∑
Oœ # O #œ mf
‰
‰
3 3
mf
°
Œ
Ó #O #œ
mf
3
Ó
f
Oœ
µœ œ B œ œ
Œ & ‰ ™ b œr
Œ
5
J
&
Bœ
∑ 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
nœ
r
≈b œ
œ
‰™
mf
r ‰ 3 bœ µ-œ p
) ) ‰
pick the chain up
Ó
‰™ Œ
#œ J
#œ
œ ‰
? ™™
Œ
™™ ü
™™ †
‰
nœ µ œ n œ 3
f
B B Oœ ‰ J > O œ J
µœ œ b œ
f
‰
nœ
∑ 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
Bœ
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
Oœ
#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
nœ
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.
bœ
O b O nO
. œ œ µœ œ nœ J Œ ‰™ R
[o] [ʃi] [ko] [sɑ]
f
g 5"
nœ
‰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
?
° ¢
nœ
p
bb Oœ
&
M ? Cb. ¢‹ œ
El.
œ o
∑
° &
¢
+œ p
¢/
¢
Bœ
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
bœ
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
bœ
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.
bœ
mf
?
°
p
pp
mf
° Hn. & Tbn.
Bœ
&
Ob.
44
20"
bœ
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
/
Bœ
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
#œ
‰
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
Oœ
‰
p
‰ ‰™
##Oœ R
≈B µOœJ ≈ OœR
B -œ ST
pp
p
O #œ
Oœ
3
p
œ
≈
Bœ
œ #œ
Ó
Œ
##Oœ ‰ Œ J
µµœO
‰ ™ µµOœ R
Bœ
#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
Bœ
[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
bœ
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
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
Bœ
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
Bœ
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 Oœ J
ORD
(ST)
œ
œ #œ ™
‰
Oœ
J‰Œ
&
? Ó ¢‹
o µœ J
ORD
bœ
&
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
Œ
p
p
Œ&
j
p
Ó
p
‰B
p
change pedal with each chord
∑
O #œ
™ R ‰
#STœ ™
œ
Bœ
‰™
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
nœ
Œ Ó ∑
∑ µO µœ
# œœ
Vibraphone
∑
µµOœ ™™ J
∑
p
Ó
œ #œ ™ R
#œ nœ
Œ
r ‰™ Œ Ó
œ
Œ
p
bœ
mp
r ‰™ ◊ÿ ‰™
Bœ
+
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
bœ
nnOœ STœ
Jœ
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
nœ
pp
nœ
Œ
3
Jœ
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
Bœ
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
Jœ
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
#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
bœ
œ ‰ ‰J
/
43
p
œµœ#œB œ
Ó
p
Bœ
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
#œ
3
‰
[tu]
3
R ‰™ Ó
° Œ ≈ bœ™ Ó œœ ™™ Perc. I & J Perc. II
J Œ
B
µ
108
44
° Fl. & &
Ob.
¢
?
¢
mp
Bœ
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
Bœ
‰
‰
nœ
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
™
Oœ
p
arco ST
‰ Ó
p
ORD
µœ
#œ
o b œB œ nœ Œ
∑ Œ
Ó
3
Œ Ó
p
œ
µ œo œ
µœ
™ œ
r œ
[F7]
∑
Bœ
pizz.
‰
pp
5
Œ Ó
#œ
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
Jœ
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
Bœ
p
bœ
™ #œ ™ Bœ p
œ ‰ j œ
Ó
p
œ
? Ó Bsn. ¢ ° Hn. &
bœ
™ 3œ
Kœ
[A7]
nœ
p
µ +œ
? Ó Tbn. ¢
Bœ
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]
Jœ
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
‰™
#œ
+ 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
bœ
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
#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
Jœ
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. ¢
bœ
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
Jœ
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
bœ
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
Oœ
bœB œ
119
Bœ
™ O œ
ST
ST # ‰ œJ
pp
pp
Ó œ
p
19
?
ORD
Tape: Speech Recording: 'to document'
117
+ Jœ
[F7]
mp
Œ
‰™
#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
‰ 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
Bœ
pp
Jœ
Bœ
p
ó ° ≈ B œó ™ Œ ‰ µœœœ Œ œ™ & J J
?
Kœ
[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
Bœ
nœ
œ
nœ
nœ
+ ™ ‰ 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
Bœ
œ
™ œ
#œ
œ
œ
œ
™
mp
M 3
œ
mp
j Π3
121
Ó
mp
p
mp
-
Bœ
™ 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
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
bœ
‰™
bœ
Œ
óó ‰ bµœœ 3
µœ ‰ ‰ J
3
ST
Oœ
(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
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
nœ
Oœ
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
+ 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
Bœ
œ
125
‰ Œ
° J ‰ Œ Ó Fl. & bœ & ‰ J
Ob.
p
Bsn.
¢
?
° Hn. & Tbn.
¢
?
O
R ‰™ Œ
‰ Ó
nœ ™
Bœ
‰
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 ™
nœ
? j ‰ Œ ≈ œ™ J ST
r Ϫ ΠJ pizz.
? ‰ j œ ¢‹
El.
° ¢
Ó
p
+ Lœ
Lœ
+ pp œ œ ‰ J
™
/
‰™
œÓ R
µœ
&
mp
#œ
3
Oœ µµœO
O
µœ
p
‰
œ µœ
p 3
arco ST
œ
p
Oœ
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
nœ
p
Œ
µµœœ
óó 3 ‰ œ nœ
3
mp
Bœ
mp
‰ ‰ j j œ
j ‰ Œ
M
3
mp
Tape: Speech Recording: 'to approximate'
126
Bœ
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
bœ
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
Bœ
pp
œ
[t]
Bœ
Bœ ‰™ R
j O Œ
[ks]
3
pp
O‰
µ
3
œ
œ
Jœ ™
œ
≈ B œJ
‰
[F7]
3
[prɔ]
p
nœ ™
Bœ
#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
nœ
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
&
nœ
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)
Bœ
22
‰™
nœ
3
p
‰™
Œ
Ó
Tape: Speech Recording: 'to catalogue'
130
&
Ó
p
œ™ œ œ
Ó
mp
≈ bb œœ ™™ nnœœ œœ Œ J
nœ
Bœ
[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
#œ
? J ‰ ‰ ‰ ™ B œR ¢ [F7] 3
Hn.
µœ
p
µœ ™ Œ Ó
B
131
‰ œ R
ST
pp
µSTœ 3
pp
#œ ° J Fl. & ‰
™
nœ
™
pp
&
Ob.
nœ
&
Cl.
™
µœ ™ ? J J Bsn. ¢ ‰ pp
° ‰ +j Hn. & œ
pp
™
œ
nœ
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 ∑
bœ
##b œœœœ bœ
mp
Ó
¢/ Ó
#œ
J J
3 3
óó bµœœ
J J
Lœ
j
Œ
‰
œ bœ bœ
mp
óó bµœœ mp
œ
bœ
#œœ œœ
bb#œœœ bœ
mp
Ó
™
Bœ
µœ
µœ
™
Bœ
µœ
µœ
mp
nœ ™
3 3
J ‰
o B Ϫ
bœ
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
bœ
œ
mp
3
mp
133
BϪ
nµœœ
Ϫ
Jœ
M
nœ ™
R ‰™ Œ
3
œ
3
3
J
Bœ
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
Oœ
™
Ϫ
Bœ
™ 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
Jœ
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
Bœ
‰ Œ
nœ
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
Bœ
∑
#O #œ 3
œ
Tape: Speech Recording: 'to exhaust'
23
135
∑
/
œ
Oœ
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