Asha Srinivasan Tantrums for saxophone, percussion, and interactive electronics
Transposed Score
Commissioned by the DRAX duo (Leo Saguiguit and Megan Arns).
Duration: ca. 12 min.
2017
Notes to Performers
= grace notes on the beat = grace notes before the beat
Most of the exact entrances and durations have been left indeterminate in the piece. This is notated in various ways, such as senza misura (without tempo or meter), with tempo but no meter, and boxed items. Boxed items are meant to be independent units that are not synchronized between the performers. In the non-metered sections, barlines show large-scale phrasing.
Saxophone: Alto and Bari saxophones are needed (alternatively, the piece could be performed only on alto sax.) bisb. or bisbigliando - alternate fingering trills; this can use as few or as many fingering options as the performer deems is best for the given context, unless otherwise indicated.
Percussion: Cabasa Caxixi (on foam) Cowbell (with foam and sitting on foam) Clave (sitting on foam) * The above small instruments should be placed on the top half of the snare drum, on top of a towel, and on foam if specified.
Snare drum (towel on half with small instruments on top, snares off) Bongos Brake drum (on a snare stand, with foam inside the hole) Low tom (tuned as low as possible, towel covering entire head) Large Suspended Cymbal Large Sizzle Cymbal Bass Drum Medium Cymbal (unsuspended, free) Vibraphone
There are sections in the piece that call for playing on one or more instruments from Group 1 or Group 2. Here are those specifications:
Group 1: Cabasa Caxixi on foam Cowbell Clave Snare rim only Bongos rim only
Group 2: Bongos Snare Drum Brake Drum Low Tom
Page turns in parts: Saxophone: page turns at pp. 1, 3, 5, 7, 10, where p. 10 needs to be a fold-out to form a 3-page spread (8,9,10) and the turn at p. 10 will have to take place while holding the high Eb.
Percussion: pp. 1-9 placed at multi-percussion setup and pp. 10- placed at the vibraphphone; page turns are possible at pp. 1, 2, 4, 6 and p. 9 needs to be a fold-out to form a 3-page spread (7,8,9); pp. 10, 12, 15, where p. 15 needs to be a fold-out to form a 3-page spread (13,14,15).
Program Notes: In the aftermath of the 2016 national election, I noticed an uncanny parallel between the morphology of my emotional response and my toddlerʼs tantrums. Periodic outbursts of wailing subside into simmering whimpers followed by an uneasy silence as we try to regain composure. Just as we catch our breath, allowing ourselves to be consoled, new thoughts retrigger the raging beast within, until finally, we have lost all energy for shouting and we reluctantly settle down. Perhaps rationality returns and beauty is rediscovered. Here is when a toddlerʼs Buddha mind, ever in the present moment, can be diverted back to play and laughter. But, our adult monkey mind drags us back into the past; frenzy and panic build again. Ultimately, though, we cannot bear this state of anxiety and we drift into a numb acceptance of reality.
Technical requirements
I.
II.
III.
IV. V.
Microphones (and related accessories) a. 1 - saxophone b. 2 - vibraphone c. 1 - between Bass drum and Cymbals d. 1 to 2 above Small percussion setup Audio interface a. Computer plugged into audio interface b. All microphones connected to interface (XLR cables) i. Instruments do not need to be amplified directly; an audio engineer should set the levels of the acoustic and electronic sounds such that they are evenly balanced. c. Stereo output coming from the interface to the mixer (¼” cables) Triggering device a. USB Pedal, or b. MIDI Pedal (with interface), or c. Another person at the computer using computer spacebar Mixer and PA Computer running Max software a. Download the newest version of Max from www.cycling74.com. You will be able to run the software for free but saving will be disabled. b. Open “TANTRUMS_Master_Patch_v3.” i. This is the main patch for running the piece. It was created in Max 7. ii. The main patch must be in the same folder as the other supporting Max files and audio files. c. Follow the steps on the master patch to set up the piece.
The states can be triggered by saxophonist or another person who sits at the computer and uses the spacebar on the computer keyboard. For convenience, it would be best if the states are not triggered by the percussionist. When the saxophonist is triggering the states, the computer and interface should be on stage. If another person is triggering, the computer and interface should be near mix position (i.e., not on stage). The score indicates the states using boxed numbers. Most states are triggered on the beat except when a dashed arrow indicates that a state should be triggered after the beat. The delayed triggering is necessary when the state uses the sample and hold processing, for which sound must already be going.
Sax Mic
Speaker L
Perc Mics
Interface
Speaker R
Computer Mixer
Tantrums Asha Srinivasan
1 Wail!
2
senza misura medium
>˙
bw
short
molto vib.
> , ˙
as long as possible to exhaustion of one breath
long
U bW
, >˙
b˙
molto vib. ca. 10 sec.
U ∑ &x
Alto Saxophone
fff possibile (non dim.) Bass Drum standard soft mallets
> ° Percussion ¢ /x œ œ w ææ
w ææ
sfz
pp
U w ææ
w ææ p
œœœ
pp
>œ–
U ∑
sfz
4 Loosely in time q=80
3 each in your own world, wrapped up in your anguish
no meter 5
Alto Sax.
U bW
>˙
as long as possible near exhaustion of one breath
œj
& Œ
Œ
>˙
bw
Œ
Ó
fff possibile (non dim.)
ff
fff
like scattered thoughts get cue from sax
B.D. sticks non linear accel.
Perc.
° ¢/ Œ
œ
>œ
(sticks) 3
>. ææ ≈ 5 œ™ œ œ œ œ œ
Œ œœœœœœ ∑ mp on any one instrument in Group 1 (see Notes)
pp mp
5 œœ
7
Alto Sax.
˙™
bw œ
˙
& Œ
∑ p
f 3 7
° Œ Perc. ¢ /
Œ Ó ∑
œ
œœ
œ
œ
œ œ œ œ œ œ œ
∑ across two instruments
/
/
œ œbœ
9
œ Alto Sax.
œ. -œ œ œ. ≈ ® ‰™ R ∑
œ œbœ œ œ
0 . . œ œœ œ. œj œ J ‰ ≈ ≈ ‰ J ∑
Œ
& non linear rit.
ff
p
mf
pp
3
° Perc. ¢ /
Œ œ ™™ œr œ œ ‰ œ œ œ
Ó
œ ∑ mf
p
across multiple instruments
/ 11
Alto Sax.
œ œbœ
œ. R ≈‰
/ œbœ . œ Ó
/. œj œ R ≈ ‰ Ó™
œ. ≈≈ ∑
bœ Œ ‰ J
ca. 7 sec.
U ∑
& p
° Perc. ¢ /
> ‰ œ œ™œ œ œœ ‰ Œ
pp
p
(loose placement between sax gestures)
3
Ó
œœ œÓ
Ó
œœœ œ œ Ó
U ∑
6 long, but not as long as before
Wail! (press pedal 15 discreetly)
2
Alto Sax.
≈ & ∑
U bW
>˙ ææ
open ord.
bisb.
(non dim.) fff (overlap with Elec.)
, slap j ‰ >¿ ff
In time q=80 Sus. Cym. not coordinated with sax per se hard mallets 5
U >¿
° Perc. ¢ / ∑
*
œ œ œ œ ™™
Œ œœœ œ œ œ œ œ
∑ fff sharp
ff erratic, but full of energy across multiple instruments in Group 2 (see Notes) *optional: roll longer rhythms
7 fiery, hot anger
U bw
0 b œ & Œœœ œ w
Alto Sax.
open slap
˙
16
œ J
‰
f
‰ j >¿
fff
mf
3 6
5
3
3 j j j™ U ≈ ® ≈ ≈ ° Œ ™ œœœœ œœœœœœœ œ œ œ œ œ œ œœœ œ œ œ œ œ Œ Perc. ¢ / œ œ œ œ œ œ œ œ œ œ œ 3
get cue from sax
across two instruments
inconsolable, out of breath
Alto Sax.
> . œ ù>œ œ ùœ œ
œ bœ
8 17
& Œ
œ œ œ
œ
œ œ œ
≈
bœ ≈
3
mp
fff molto
high to low
3
med to low
≈ œ œ œ ° ™ Perc. ¢ / œ œ œ œ œ
‰
>œ
>œ
Sus. Cym.
Œ Y ææ
on one instrument
3
f
ff
p
sudden turn from anger to pleading
Alto Sax.
. 18 œ. . œ œ bœ œ œ œ œ œ œ bœ ≈ œ œ. . œ & ≈ œ œ œ œ. 3 f
9 molto vib.
œ
œ™ ‰
mf
5
f
mp 6
Bongos slow to fast
° Perc. ¢ / ¿
∑
˙™ ææ
mp ppp
Œ
h
¿
bisb.
3 multiple fingerings
œ
Alto Sax.
œ œ œ bœ œ
œ ùœ œ™ œ œ ù & œœœœœ œœœœ œœœœœ
19
œ
‰
®
Œ
3
fff p
mf f sub.
3
° œ™™ Perc. ¢ / æ
œ Œ R
Œ ‰ œ œ™ œ œ œ œ ‰
mf
Ÿ~~~~~¿ b œ œ œ œœ œœ œ œ œ R
20
Alto Sax.
f
& ‰™
‰ œœœœœœ œ
mf
f across multiple instruments (in Group 2)
10
œ œ ‰ J
Ó
œ ∑
3
mf
f
mf
mf
p
S.D. (snares off) Sizzle
j ‰ Œ ° œ Perc. ¢ /
3 j ‰ œ œœœ œ œ ¿
Ó
mf
mf
p
ææ non linear rit. œ œ
Œ
p
mf
11
slow to fast Ÿ~~~~~~~~~~~~~~~~¿ ≈ œ œ œj œ œ ˙ œ Ó
subsiding 21
Alto Sax.
Ÿ~~~œ ¿ & œ œ œ™
œ œbœ œ œ. ‰ Œ J
œ ˙ J
œ œJ ‰™ R ‰ Ó
3 3
pp
mp
uncover low tom's towel halfway (half dampen)
p
fully cover low tom Low Tom
Perc.
° ¢/ Ó
Œ
mp
‰ œ ææJ
œ ææ
p
quietly place Med. Cym. upside down on B.D.
Sizzle
œ ‰ ææJ
p
¿ Œ ∑
mp
∑ p
12 13 slow to fast
~~~~~~~~~~~¿ Ÿ bœ j œ ‰ Ó & ‰ œœ ˙ œ J 3
23
Alto Sax.
Ÿ~~~~~~~¿ U ‰ œ œbœ œ œ ™ œ œ ∑ J
‰ œJ œ pp
mf
p
Listening, Breathing ca. 5-10s in silence (depending on Perc.'s motivation to rage!)
26
Alto Sax.
& œ ppp
œ œ ˙
U ∑
˙
U ∑
14 15 (press pedal just before entrance)
Rage!
4
ca. 30s 28
Alto Sax.
U ) ™ í ™ ))))
U & ∑ unspecified pause, react to Perc.
as long as possible to exhaustion of one breath
, ™™î
M* ffff sudden rage ("NO!")
3x or more ca. 15s
Med. Cym. on B.D. Sus. hard mallets
> ¿
° U > Perc. ¢ / w ææ
ca. 9s Sizzle ca. 6s Brake drum
>¿ U ∑
œ
(no break)
(ffff)
ffff sudden rage ("NO!")
mf
fff
(unspecified # of hits, molto accel. effect)
16 play pitches in random order, as fast as possible, molto legato short breaths as needed
b œœœœœ bœ & bœœœœœœœ œ
ca. 20s smooth transition into the following pattern
29
Alto Sax.
extremely disjunct
more conjunct
ad lib. within f-fff range cue: fast, random pitches on sax
ca. 10s Cymbal - crown
ca. 3s
° Perc. ¢ /
œ
ca. 4s
Brake drum random jagged, erratic rhythm vary dynamics and articulation
U ∑
(like Brake drum gesture)
3s
U ∑
ææ
œ
ææ (unspecified # of hits, molto accel. effect)
angry
17 rit. In time q=60 emphasize irregular groupings ca. 5s
œ œ œ œ œ b œ (slow pattern down gradually) œ œ œ œ œ b œ œ œ œ œ œ œ œ œ ™™î & í ™™ ÆÆ
30
Alto Sax.
ff
Perc.
mf
œ : ,;
ff (loose sync Sizzle soft mallets with sax)
° ¢ / æœ æ
w ææ ppp
molto espr. 32
Alto Sax.
œ œ œ œ œbœ œ œ œ œ œ œ œ
œ œ : ,; œ œ œ œ œbœ œ œ œ œ œ œ œ œœ œnœ œ œ J œ œbœ
œ œbœ œ œ œ & œ œbœ
: ,; œ ™™ œ
3 3
ad lib. within f-fff range pick up two hard mallets and one vibe mallet
l.v. Perc.
° ¢/
∑ mf
18 34
œ œbœ
œ œbœ œ œ œ œ œ œ
œ œ œbœ
œ œ œ œbœ
3
3
œ œbœ œ œ Alto Sax.
œ œbœ
œ œ œbœ
& œ œ
œœ j œ œ
Bongos (loose sync very slow to very fast with sax)
° Perc. ¢ /
ææ w w
∑ p
19 38
Alto Sax.
œ œbœ
œ œ™ œ œ œbœ œ œbœ œ œ œ œ
& œ œbœ
œ œ J
œ œ b œ œœœ J œ œ œ
œ œ œ œ ™™ RÔ 46
œ œ œ œbœ
œ œ™
3 3
f play randomly on Group 2 as fast as possible [ca 5 sec., then rit.]
rit.
° Perc. ¢ / ÆÆ
6 4 mp
f
Calming down 5
20 loosely, with metric flexibility (slow to fast to bisb.)
¿ 42
Alto Sax.
¿
œ œ Ÿ~~~~~~~~~~~~~~~~~~¿ bisb. œ œœ œ œ œ
6 & 4 Ϫ
3
bisb.
5 œ ˙ 4 ‰ bœ œ œ
Ó
fff
ppp
Œ
f
ppp
playing on Group 2 In time q=60 (continue with random interjections of pitch)
°/ 6 4
5 4 7
7
7
7
7
p sempre, quiet texture Vibraphone
Perc.
6 & 4 ¢
5 4 bœ œ
œ
bœ œ
œ
21 44
Alto Sax.
bœœ œ‰ bœ. ‰ œ. ‰ œ œ ‰ & J J
‰ œ 44 ˙ J
3 4Œ
Ó
œ
œ ™ bœ ˙
Œ
3
mf
p
ppp
°/
4 4 6
3 4 5
5
6
6
5
5
6 6
Perc.
¢&
4 4
bœ ≈œ
bœ
3 4 œ bœ
bœ
bœ
œ bœ
22 48
tongue on reed
ΠAlto Sax.
Œ
4Π4
∑
& ˙™
3 4
œ
mp
˙™
˙™
n
pp
p
°/
≈
4≈ 4
‰
3 4
Œ
Perc.
¢&
53
bœ ™ œ
3 4 bœ œ™
To Bari. Sax. (pause for ca. 4 seconds before switching saxes)
∑ Alto Sax.
4 bœ 4
∑
5 4
∑
& gradually move to Group 1 only
°
Œ
4 4
∑
Group 1 & Vibe
≈
5 4≈
≈
/
4 4
Œ
Perc.
¢&
57
Bari. Sax.
5 4 œ
bœ ™ œ Baritone Saxophone sweetly
slow to fast ¿ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4˙ œ œ 43 ˙™ œ 4
4 & 4 ˙™ pp
p
°/ 4 4
Œ ‰
bœ ™
4 4
U ™ . 5 œ œ œœ ≈J 4 w
0 . ≈œ 4 œœ œ 4
mp
3 4≈
‰
4 4
pp sub.
Œ
p
5∑ 4U
Œ
4 4
5U 4∑
Œ
4 4
Perc.
4 & ¢ 4
3 4 œ
œ
bœ ™
4 4 Ϫ
bœ
23
/
61
6 Bari. Sax.
4 &4 ˙
‰ œJ œ œ œJ. ‰
Ó
‰ 43 ≈ œ œ œJ bœ ™™
Ϫ
œœ
3
mp
‰™ r
°/ 4 4
mp
pp
3≈ 4
‰
‰ Œ
(p sempre, quiet texture) Perc.
4 ¢& 4
3 4 bœ œ
bœ
œ
24 64
Bari. Sax.
& œ
Œ
bœ œ J
4‰ 4
Œ
œ œ œ œ œ -
œ œ œ. Œ
˙
5 4
3
mp
n
p
put away sticks and mallet
°/
Œ
r 4 4
‰™
5 4
Œ Ó ∑
Perc.
4 4
¢&
œ
5 4
bœ ™
25
œ œ œ
67
Bari. Sax.
5 &4 ˙
4‰ 4
œ Œ
Œ
bœ œ j œ
œ
œ œ 5 4
3
pp
mf
play single pitches randomly at constant 16ths in groups of 6, 7, 8, 9, or 10 with a sixteenth rest in between groups with fingernails only
<
° 5 Perc. & 4 Œ ¢
bbœœ∑œœœ { b œœ
>
4 4
5 4
(start with F4)
p delicately pedal held down throughout
26 69
Bari. Sax.
/j 5 œ &4 œ ≈ œ Œ
‰ œJ ˙
slow to fast ~~~~~~~~~~~~~~~~~~~~~¿ Ÿ œ œ ˙ bœ
3 4‰
pleading
œ -œ œ ùœ œ b ˙
4≈ 4
3 4
3
p
mp
p sub.
mp
pp
(as before, with added pitches)
œ <
° 5 @ h ™? Perc. & 4 ¢
3 4 ˙ upward gliss using only CDEbFGb
bœ bbœœœœœœœ b œœ
>
4 4
3 4
7 very slow to fast
Ÿ~~~~~~~~~~~~~~~~~~~¿ œ œ œ -˙ ™ œ œ
72
Bari. Sax.
3 &4
bœ 5 4‰ J
∑
œ
j œ
œ ˙
‰
3
mf
Perc.
° 3 ¢& 4
p
5 4
Dissipating in energy
/ œ œœœ œ œ œ
75
Bari. Sax.
˙™
& Œ œ
˙
3 4≈
∑
4 4
œ Œ
3 4
3
pp
mp
ppp
each pitch in all possible 8ves within the full range
˙ (groups of 6,7,8,9, or 10)
° Perc. & ¢
<
>
3 4
bbœœœœœ
4 4
3 4
˙ pp-mp range
79
/ 4> 4 œœ œ œ
3
Bari. Sax.
3 &4 Œ
j bœ
‰
j œ
œ
p
˙™
mf
° 3 Perc. & 4 ¢
4 4
81
œ Bari. Sax.
& ‰
j œ
˙
œ
p
4 4
œ ˙™
pp sub.
ppp
poco
pick up 4 vibe mallets, close resonators
° @ h? Perc. & ¢
Ó
∑
4 4
8
27 Peaceful reflection ca. 8-10s 83
as if all the time in the world Bari. Sax.
U ∑
4 &4 w
4 4œ
œ
˙
œ
p morendo (as before) with mallets - play on the nodes
˙ groups of 6,7,8,9, or 10
° 4 Perc. & 4 bœœ ¢ b œœœ ˙
<
>
U
4 4
pp-mp range (pedal)
slow to fast
86
Bari. Sax.
& œ
‰
Ó
≈
j Ϫ
mf
j bœ
3
Ÿ~~~~~~~~~~~~~~~~~¿ 3 œ ˙œ 4œ J
3
j œ
œ
p
j œ
œ
œ œ #œ œ
mf
° Perc. & ¢
3 4
28 (after the downbeat)
89
molto cantabile Bari. Sax.
4œ 4J
& ˙™
œ
-œ
≈ œ bœ œ bœ
œ ‰
Œ
Ó
ppp
œ œ œ #œ œ
mf
(as before, add B)
˙
groups of 6,7,8,9, or 10
< ° œ Perc. & bœœ ¢ b œœœ
>
4 4
˙
92 3
Bari. Sax.
& <#>œ œ #œ œ
3 4 œJ
˙
‰
Œ
Œ
4 4
œ
pp p
Perc.
° ¢&
mf
3 4
4 4
29 dolce slow to fast
/
95
Bari. Sax.
Ÿ~~~~~~~~~~~~~~~~~~¿ 4 nœ & 4 ˙ nœ
5
j œ
‰
5 4 ≈ ≈ #œ
p
œ œœœœ œ
œ
œ œ #œ
pp
œ œ
4 4
p poco
Perc.
° 4 ¢& 4
5 4
4 4
9
30 97 3
Bari. Sax.
4 &4 ˙
œ J
‰
Œ
‰
j j3 œ #œ #œ
‰
œœœœ œ
œ ™™
p
mf
(as before, add A)
˙
° 4 Perc. & 4 ¢
groups of 6,7,8,9, or 10
<
( h™
>
x)
+
œ œ œ bbœœœœœœœ mp
˙ keep continuous 16th texture going at p between the interjections
Ÿ~~~~~~~~~¿ 99 3
Bari. Sax.
& Ϫ
j œ
#œ œ œ
œ
j œ
œ
‰
Ó
#œ p
œ œ œ @ h?
° Perc. & ¢
œ œ œ p mp
31 101 like waking up 3
Bari. Sax.
& œ
j œ
˙
3 4 œ #œ œ ˙
‰
#œ mf
mf
5 4
f
œ œ œ œ œ œ 3 3
(h
x)
+
(q
° Perc. & ¢
e)
+
3 4
5 4
œ œ œ p
mp
p
/ 103 3
3
Bari. Sax.
j 5 & 4 ‰ ‰ œ #œ #œ œ œ œ
œ œ™
œ J
3 4 -œ œ
‰
> œœœ
œ œ œ J
œ ‰ J
5 4
3
p
mf mf
bœ œ œ ° 5(h Perc. & 4 ¢
x)
+
(q
+
x)
3 4 bœ œ œ mp
/
5 4
mp
/
105
3 3
Bari. Sax.
-œ -œ œ œ œ œ œj 5 œ &4 #œ œ
œ œ œ œJ
3 . œ œ œ . #œ œ œ œ œ œj œ œ #œ œ œ œJ œ 44
‰
3
p 3
mf
pp
p
œ
3
° 5 œ œ œ @ h ™? Perc. & 4 ¢ œ œ œ p
œ œ œ œ 5
mf
∑
4 4
32 10 107
fluidly 7
3
senza vib. Bari. Sax.
U Œ
4 b˙ ™ &4 f
j 3 4 ≈ #œ œ- #œ ùœ- œ ù
p
p
mf
pp
(as before)
open resonators
œ n œ and let ring œ U ° 4 nœ #œœ #œ œ œ œ Œ Œ Perc. & 4 œ œ #œ ¢ mf
œ œ œ œ œ œ œ 42
˙
groups of 6,7,8,9, or 10
<
3 4
>
2 4
bbœœœœœœœ n˙
f pp-mp range (pedal)
3 ,3 0 œ œœ j œ œ œ œ œ
109 3 5 3
Bari. Sax.
2 & 4 #œ œ- #œ œù
œ œ œ œ œ 45 #œ œ œ œ œ œ œ œ
4 4 œ
p
mf
pp
mf
° 2 Perc. & 4 ¢
5 4
4 4 As if in pain
33 molto vib.
b >˙ ™ 111
ord.
bisb.
œ œ œ#œ œ
3
Bari. Sax.
4 &4
œ œnœbœ
˙
5 4
#œ œ œ œ#œ f
ff
œ Œ fff
mf 3
° 4 (q Perc. & 4 ¢
e)
+
bœ œ œ
œœœ
3
5 ‰ 4 œ œ œ bœ œ œj œ œ œj œ
≈ bœ œ
3 ææ ææ j œ œ™ œ œ œ œ œ
f (gliss.)
ff
mf pedal phrases
34 113
Bari. Sax.
#œ œ
# -œ
#œ œ œ #œ œ œ n œ nœ ≈
> # -œ
3
-œ j œ n œ #œ#œ œ n œ # œ #-œ œ œ œ 3
3
‰
& nœ 5
3 4
3
fff
mf
ff 3
fff f
fff
/ 3
° Perc. & <b>œ ¢
3
œbœ œ œ œœœ œ
7
œœœ
‰ j ææ œ#œ œ œ œ œ nœ œ#œ
ææ #œ œ
5 3 jæ 4 n œ œ œæ œ œ œ
‰
p mp
f
fff mf
fff
0 œ œœ
relentless, urgent
3
Bari. Sax.
-œ
# -œ œ
<#> œ
115
#œ
œ #œ
mf fff sub.
mf
œ œ œ -œ™
œ œ œ #œ # œ 4 #œ nœ 4
3 &4
nœ œ œ J
3 3
fff
fff sub.
fff
f
fff
0
> œ œ
3
0 3 ° 3 Perc. & 4 œ ¢ bœ œ bœ ™ œ œ
3
4œ 4
œ b˙
j œ
3
œ œ bœ œ
j œ
‰
œ œ œ
bœ mf
0 nœ œœ
117
Bari. Sax.
fff
#œ n œ #œ & J
bœ J
mf (gliss.)
> œ
œ
fff
œ 3œ
œbœ™
Æ œ Æœ œ #œ nœ
œj
œ œœ
j œ
f
-œ œ ^ # œ nœ^
3
f
fff f
fff (non dim.)
relentless
° j bœ ™ Perc. & bœ ¢
œ œ œ œ œbœ œ œ œ œ
œœ œ n œ bœ œ œ œ œ œ bœ œ œ™ œ œœœ œ œbœ œ 3
3 3
3 3
fff
mf fff
mf
fff
mf
fff
mf
fff
3
mf
fff ff
fff
11
œ^ Bari. Sax.
> b -œ œ J
>-œ
nœ bœ
119
jagged, harsh
& 3
œœœ
œ >-
œœœ
3 3
q = q (qq=90)
4 4 Ϫ
œ>
3
> b -œ œ J J
>œ J œ >-
>œ > œ œ œ K x = x œ œ bœ œ œ™ 3 bœ œ œœ œ œœœ œœ œœ 4 bœ œ œœ œ œœ œœ œœ œ œ ≈ œ 4 4 bœ œ œ œ œ 3 3 3 bœ 3 3 œ 3
bœ œ œ bœ
° Perc. & ¢
3 4
j œ- œ >
K
3
3
f
fff f
fff mf
fff (non dim.)
>-œ ˙ J
b >-œ J
<b> œ ™ 122
w
‰ j œ- ˙ œ> > 3 ° bœ œ œ œ >œ™ >œ œ œ œ >œ œ bœ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ œ bœ œ œ æœ >œ 朙 >œ 朙 æœ Perc. & æ æ æ æ ¢ 3 3
Bari. Sax.
6 4
&
6 /4
3
f fff senza ped.
mf
fff
mf
f mf
ff
fff
œ. œ œ. b œ b œ n œ œ #œ œ bœ œ U #œ œ bœ œ 6 œ œ ≈ ‰ Œ Œ ≈ Ó œ #œ œ#œ Bari. Sax. & 4 œ # œ n œ # œ œ (fff) > >œ Sus. Cym. > Vibraphone b >œ ™ U b >œ œ œ œ œ b œ b œ ° 6¿ n œ n œ ææ ‰& œ œ Œ Œ ‰ œ œ Perc. / 4 n œ # œ n œ # œ ¢ œ œ œ œ mf ff mf nœ œ #œ nœ œ #œ 35 Aggressively
125
sfffz
4 4
(fff)
127
Bari. Sax.
4 4
4 & 4 ≈ nœ #œ œ #œ >œ
> œ œ bœ œ œ b œ # œ œ
36 œ b œ œ œ. 3 Œ j 3 œ œ ff >
œ
5 4‰ 3
mf
4 4
sfp
> nœ œ 5 bœb œ œ œ bœ œ œ bœ æœ œ œ œ œ œ œ œ œ œ œ 4 ‰ œ ææ 4 4 æ ææ n œ # œ œ œ œ nœ #œ mf ff f
° 4bœ œ ‰ Perc. & 4 ¢ fff
> n œ œ b œ œ 129 œ œ œ œ œ œ œ #œ #œ # œ 4 n œ # œ n œ J ‰ J œ #œ #œ œ Bari. Sax. & 4 œ #œ 3 œ 3 ff f mf 3 3 ° 4 bœ b œ ‰ œ œ bœ œ nœ œ ‰ b œ Perc. & 4 j b œ œ œ bœ œ œ ¢ œ œ œ b œ n œ fff œ bœ œ mf Easing off
ff
f
With a suddenly unsettling feeling
˙
œ bœ J
131
Bari. Sax.
œ
,˙ ˙
w ca. 10s
4 4
&
U ∑
4 4
U ∑
4 4
3
pp poco
œ bæœ æœ æ æ
bœ 3
p
œ ∏∏∏∏∏∏∏∏
° œ Perc. & ¢
mf
œ nœ b œœ
Ó
4 4
∑
37 Defeatedly q=60
12 135
Bari. Sax.
cooler timbre,
, senza vib. w 6 4
U œ bœ œ œ ‰ J
4 &4 Œ
p
mf
‰
pp sub.
œ J
œ
5 4
p
(overlap with soundfile)
° 4 Perc. & 4 Ó ¢
U Œ
Œ
6 4Œ
##œœœ œ
Œ
5 4
Ó™
p like bell tolls pedal each chord and let ring
like bell tolls (match Vibe articulation and dynamic envelope)
> œ œ ˙
137
Bari. Sax.
>˙ # 5 &4 mf
>˙
Œ
nœ #œ ‰ # œnœ Ó J
mf
nbœœ b œœ
mf
œ #>œ ˙
#>˙
p
(mp)
œ ° 5 bœœ Perc. & 4 b œ ¢
œ J ‰ Ó
Œ
Œ
bœ bœ œ œ
Ó
p
Œ
b œœ ‰ bnœœ Ó J
mf
140
Bari. Sax.
>˙ # &
œ n>œ ˙
più f
° Perc. & ¢
œ bœœ œ
> 5 ˙™ 4
> 4 w 4 mf
j # œ ‰ n#œœ Ó nœ
Œ
più f
b˙ ™ >
p
4 bœ 4 n œœ bœ
Œ
mf
5 4 bnœœœ Œ
Ó
mf
U œ Œ
˙
Œ
Ó
bbœœœ Œ œ
p
Œ
Œ
mf
38 match Vibe, then grow
hold steady at first, then melt into Vibe sound
144
>˙ ™ Bari. Sax.
˙
4 4
& mp
° Perc. & ¢ n œœ
U ∑
Œ
Ó
4 4
U ∑
U Œ bb œœ p
mp
U ∑
p
poco
Œ
U bw
Ó
U ∑
U Œ