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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

, >˙

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

(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

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

3 4 œ 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


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

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 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

115

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

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