Mirrors

Austin White

Mirrors

For Solo Vocalist, SATB Choir, and Piano

2019 Ca. 6’

Mirrors 2019 Austin White Ca. 6’

Instrumentation: Solo Vocalist, (range C3-G4) SATB Choir (circa 20 members) Piano Three microphones Several chains of differing length

Setup Diagram: Position 1

Position 2

Position 3

Performance Notes: General: The solo vocalist has a choice to perform this work in a musical theatre style rather than an operatic style. If they choose to sing in a more theatrical style, the composer requests that they use microphone B when singing to enhance the color and dynamic range of their voice. If the solo vocalist chooses to sing in an operatic style, the composer requests that they do not sing directly into the microphone and stand several more feet back than indicated in the setup diagram. At measure 100, it is important that the pianist and solo vocalist are well coordinated since their parts are homo-rhythmic. If a conductor is needed for the performance, it will be necessary to move the stage setup back several feet to allow the conductor to be in front.

Staging: There are three different stage positions that occur throughout this work. Each stage position change occurs during a fermata that precedes the indicated position number (see example a). These position changes should occur swiftly and as quietly as possible. There are three different groupings that occur amongst the SATB choir each one tasked and assigned to their own microphone.

Group 1 must consist of a close-to-equal balance of SATB voice types and is assigned to microphone A. Group 2 is assigned to microphone B and will be required to stomp and clap by themselves throughout the score (though sometimes the whole choir will be doing this in tandem). Group 3 is assigned to microphone C and is tasked with picking up and rattling chains that will be placed on the floor surrounding microphone C. Group 3 will need to interpret a graphic notational system that is further explained in the Notations and Extended Techniques section.

Example a:

Notations and Extended Techniques: X note heads indicate speech of unspecified pitch (see example b).

Example b:

The rhombus and dotted curved lines are a form of graphic notation that represent the rattling of chains and their intensity (see example c). The rhombus represents the microphone in space, while the dotted curved lines represent the intensity of which the chains should be shaken. If a circle is indicated above the staff, it means to gyrate the chains around in a circular fashion while rattling them.

Example c:

The boxed large X symbol indicates clapping that occurs purposefully off beat in an intoxicated manner (see example d). The box represents the temporal range where the composer intends the claps to occur, meaning all off-kilter claps should occur within that area of time in the score. It is still necessary that one choir member be assigned to clap on beat when this symbol is used.

Example d:

The diamond note head represents a stomp, while the triangle note head represents a regular clap (see example e).

Example e:

The 12 lined staff with line drawings is a graphic notational system representing tempo change invented by Karlheinz Stockhausen (see example f). The higher ranges on the staff correspond to faster tempi with the highest lines being presto, whilst the lower ends of the staff represent slower tempi with the lowest ends being grave. The absolute bpm changes are not as important to the composer as the relativity of the tempo changes being preserved.

Example f:

Text: by composer Group 1a: Rest you dirty worms, arrest you dirty worms, confess you dirty worms.

Group 1b: Rest you dirty worms, arrest you dirty worms, confess you dirty worms. Rest you dirty worms, arrest you dirty worms, confess.

Solo Vocalist: If I ever find you, hide while I’m around. If I ever find you, you’ll pay. No mercy for my victims.

Choir: Victims!

Solo Vocalist: Go hide your spouse (wife) and children.

Choir: Children!

Solo Vocalist: Rest, you, worm. You grasp at your broken heart riddled by fallacies. Premonitions and thoughts used to garner intentions. Comforting lies, clever disguise at the will of the people the innocent-(beautiful) people. You confess upon witches that burn at the cross. Delirious with protest on thoughts about the hearse. Immortalize, self-demonize at the cost of your conscious on victims who haunt us. Mirrors at play, I’m here to stay, god as my witness you’ll pay.

Choir: Look at yourself in the mirror grotesque with sickly disease.

Solo Vocalist: Rest you worm.

Choir: Pleading for mercy with their dreams breaking apart at the seams.

Solo Vocalist: Rest you worm.

Choir: Hunger for violence that succeeds human desire to breed.

Solo Vocalist: You sanctify actions that fill up the void.

Choir: You Filth!

Solo Vocalist: Detesting in fashion with no ultimatum.

Choir: Rest you dirty worm!

Solo Vocalist: Ghosts in the shell, munitions from hell at the sickly convenience of personal achievement. Conscious dismay, egos at play, god as my witness you’ll pay.

Choir: Look at yourself in the mirror grotesque with sickly disease.

Solo Vocalist: Rest you worm.

Choir: Pleading for mercy with their dreams breaking apart at the seams.

Solo Vocalist: Rest you worm.

Choir: Hunger for violence that succeeds human desire to breed.

Group 1: Rest you dirty worms, arrest you dirty worms, confess you dirty worms etc...

Solo Vocalist: Dressed like a worm who cast aside lament. Underestimate causal relations. Relish your hatred fostered by judgement. Contrary motives lead by their anguish.

Choir and Solo Vocalist: Dressed like a worm who cast aside lament. Underestimate causal relations. Relish your hatred fostered by judgement. Contrary motives lead by their anguish.

Choir a: Dressed like a worm who cast aside lament. Underestimate causal relations. Relish your hatred fostered by judgement.

Contrary motives lead by their anguish.

Choir b and Solo Vocalist: Rest you worm, arrest you worm, confess.

5

Mirrors

Austin White

Position 1

Position 2

q = ca.55 Group 1 : whisper ppp

° 4 ¿ ¿ ¿¿6 ¿ ≈¿ ¿ ¿ ¿¿6 ¿ ≈¿ 4 R R -

rest you dirt y worm

ar

- rest you dirt- y worm

6

-

con

6

6

¿ ¿ ¿¿ ¿ ‰ ¿ ¿ ¿¿ ¿ ≈¿ R -

-

fess you dirt y worm

rest you dirt y worm

-

ar

Group 1 : vocal fry and whisper pp

4 ¿ ¿ ¿ ¿6 Y 4 Choir

rest you dirt - y worms

¿ ¿ ¿ ¿Y -

ar

¿ ¿ ¿¿ ¿ ≈¿ ¿ R -

rest you dirt y worm

con

U ‚ Œ

Œ

Position 2

rest you dirt - y worms

¿ ¿ ¿ ¿ Y 6

‰¿ J

con -

Ó

- fess

mp 6

‰¿ J

a tempo

accel.

p

U ‚ Œ

Œ

fess you dirt - y worms

Ó

Position 2

Group 3:

slam chains on floor

4 4 +

+

+

Group 2: p

4 3 4

U ‚ Œ

Position 2

mf

ìà ì

Œ

3

Œ

ìà ì

Œ

3

Œ

Ó

ìà ì

Œ

U ‚ Œ

Œ

Ó

Position 2

Vocal Solo

4 & ¢ 4 ‹

∑

{

accel.

Ó

? 4 ##˙˙ 4 ˙ ˙

###˙˙˙˙ ˙ ˙

˙ “‘

p

° ¢& ˙ ‹ I

#œ ev

& Ó

Pno.

{

˙ “‘ mf

-

œ

j nœ bœ ‰ Ó

er

find you

p

mp

while 3

3

œbœbœ œnœnœ

bœ

a

œ bœ bœ 3

-

round

ev

accel.

& b˙ ? bw

b˙

-

-

-

if

œ œ œ nb˙˙

U œbœbœ œ Ÿ~~~~~~~~ n œ œ œ bœ̇ nœ œbœbœ œ œ nœ œ bœ œ 3

3

3

3

p

mp

ff

bœ

nœ

> œ J

er

find

you

“” bœ œ b œ b œ œ œ œ b œ b œ œ œ œ œ œ œ bœ nw

mf

U Œ Œ

3

f

œ

Ó

U œ ‰ Œ bœ J

q = 7 0

° ¢ & b˙ ‹ I

{

œœœœ œ “‘

Œ

mp

9

Pno.

œ

I'm

accel.

V. Solo

U

mp

œ

p

p

œœœœ

Ó

sub. pp

œ

hide

bœ œ œœ n œ œ ? j‰ Ó œ œ œ œ b œ n œ œ œ œ œ bœ nœ bœ œ

10

mf

œ

if

U Œ Œ

f

mp

≈bœbœ n œœ bbœœj ‰ Ó n œ œœ b b œœ

Œ

œj œœ

œ™ ###˙˙˙ ˙ ˙

œ

a tempo

Ó

5

V. Solo

∑

q = ca.55

4 &4

Piano

∑

mp

U Œ Ó

‰

U Œ

œ you'll

q = 7 0

j œ œ bœœ b>œœ ‰ > mf bœ>œ #nœ>œœ ‰ nœ J mf

U Œ

Œ

U Œ

Œ

6 11

V. Solo

° bw ¢& ‹ pay

˙

no mer - cy for my

bœ œ bœ bœ œ

&

Pno.

{

f

? nœ nœ

°

bœ bœ œ

bœ

bœbœ œ bœ

b œ bœ œ bœ bœ bœ œ bœ bœœnœœ

œbœ b œ bœ

U sffz ¿

14

° Ó &

Œ

∑

Ó

q=120

Œ

∑

∑

6 4

∑

∑

∑

6 4

∑

children!

To be shouted in the upper register with undefined pitch with immediate glissando. This may also be "quietly" shouted in a whispered tone, releasing excessive amounts of air in a hissing manner.

Choir

U sffz ¿

? Ó

U sffz ¿ Œ

∑

Ó

Œ

victims!

children!

p

pp

sffz sffz

U j‰U b œ j Œ bœ bœ bœ œ bœ œ ‰ Œ Œ Œ Ó ¢& b>œ œ œ > > ‹ vic - tims go hide your spouse and chil - dren rest

œ

œ œ œ œ

pp

6 4

Œ Ó

20

∑

&

∑

? bœ :“;

œ

œ

œ bœ

œ

∑ pedal whole section only slightly inflect strong beats.

U nœ ‰ œ œ bœ j Œ Œ nœ Œ Ó œ œ b œ œœ nœ > >

œ 6 œ œbœ œ œ 4bœ œ œœœœ pp “‘ “‘ °

œ Œ Ó œ œ

ppp

sffz sffz

° ¢& ‹

{

Œ Ó

sffz sffz

j ? #œ œ ‰ U Œ œ œ #>œ œ

Pno.

worm

q=120

U j‰U bœ bœ j Œ b œ ‰ b œ b œ œ & # œ œœ œ bbœœ nœœ Œ Œ œ n œ nœ œ > > > pp

{

6 4 bw ™

Œ Ó

you

(wife)

V. Solo

œœ U b œbœ >˙ œ Œ #œ œ #œ œ #œ #œ œ #œ œ #œ ˙ pp *

U sffz ¿

victims!

Pno.

U Œ œœœ Œ #œœ œœ nœœ œ #œ œ œ pp

To be shouted in the upper register with undefined pitch with immediate glissando. This may also be "quietly" shouted in a whispered tone, releasing excessive amounts of air in a hissing manner.

V. Solo

p

Uœ œ œ Œ œ bœ

p

Ó™

Œ

Œ

œ

œ

œ

œ

œ œ ˙

you

grasp

at

your

bro - ken heart

∑ œœ

∑

œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ “‘

œ

œ

œ bœ

œ

œ œ

œœœœ “‘

23

V. Solo

° ¢& œ œ œœ œ œ œ ˙ ‹ rid - dled by fal - la - cies ∑

&

Pno.

{

?

œ

bœ œ :“;

œbœ

œ

Œ 43 Œ Œ œ œ 46 œ œ œ 3

pre - mo - ni - tions

3 4

∑

6 4

œ œ #œ œ œ œ ˙ and thoughts used to gar - ner in - ten - tions ˙™ œ œbœ Æ ∑ Ó™

3 6 œ œbœ œœ 4 4 œ œ œ œ bœ œ œ œ œ œ bœ œ “‘

œ

œ

œ œ

œ

3 4 3 4

3 œ œbœ œ œ 4 œ œ œ œ bœ œ œœœœ ‘ “ “‘

7 p 27

V. Solo

Pno.

° 3 ¢& 4 ‹

∑

3 &4

∑

com - fort - ing

{

œ œ œ œ œ œ

6 4 œ œ œ ˙™

6 4

lies

clev - er

dis - guise at

∑

the

peo - ple

the

mp

∑

∑

w w ™™

Oo

∑

∑

mf

œ

œ

œ

- no - cent (beau - ti - ful)

bœ :“;

mf

Ó™

˙

3

Œ

œ

œ bœ

œ

œ œ

œ

œ

witch - es

that

∑

œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ “‘

œ

œ

œ bœ

œ

œ œ

half of the sopranos singing f gliss to g flat, while the other half holds as indicated

3 4 ˙˙ ™™

6 4 w w ™™

Choir

? w w ™™

∑

& œ

6 w™ 4 w™

3 6 4 Œ Œ œ 4 œœ œ œ œ œ œ de

3 4

∑

-

6 4

lir - i - ous with pro - test on

∑

œ œ œ œ “‘

n.

mf

b˙˙ ™™™ ˙

half of the sopranos singing f gliss to g flat, while the other half holds as indicated

3 ˙™ 4 ˙™

¢& œ œ œ œ ˙ ™ ‹ burn at the cross

œ œbœ bœ œ :“;

up - on

œ

p

° & w ™™ w

{

œ œ œ

∑

34

?

œ

you con - fess

∑ œ

Œ œ œ

peo - ple

& ?

Oo

p

¢& #œ ‹ in

{

w w ™™

mp

?

Pno.

of

∑

Choir

V. Solo

will

œ œ œ 6 œ œbœ œ œ ?3 œ œbœ œ œ œ œbœ œ œ 4bœ œ œ 4bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œœœœ œ œ œ :“; “‘ “‘ “‘

° &

Pno.

the

∑

31

V. Solo

œ œ œ œ œ œ

3 4

˙˙˙ ™™™ ˙ ™ mf

#ww w ™™™

#œ œ œ œ œ ˙

n.

Œ

3 4 3 4

thoughts a - bout the hearse

∑

3 4

œ œ 3 6 3 œœ œœ œ œbœ œ œ œ œ bœ 4 4 4 œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œœœœ “‘ “‘ “‘

8 38

° 3 &4

p

6 4 Ó™

∑

˙™

˙˙ ™™

˙™

˙˙ ™™

˙˙˙ ™™™

Oo

Choir

p

?3 4

6 w™ 4

∑

w w™™

w™

Oo

f

mf V. Solo

Pno.

3 & 4 ¢ ‹

∑

3 &4

∑

œ œ œ œ œ œ

6 4 œ œ œ ˙™ im - mor - tal - ize

{

6 4

self - de - mon - ize

∑

˙˙˙˙ ™™™™

¢& #œ ‹ vic

œ - tims

œ

œ

who haunt

∑

{

? bœ :“;

œ

œ

œ bœ

œ

> #œœœœ ‰ Ó J

?

œ œ

∑ ∑

∑

{

:“;

mir - rors

at

˙™ play

∑

∑

6 mp 4 8 œ œ œ œ œœ8œ œ look at your - self in the mp

mir - ror

look at your - self in the mf

mir - ror

6 œ œ œ œ œœ4œ œ 8 8 6 ‚™ 8 ff

œ œ œ œ œ œ 6 œ 8 god

as

my

wit - ness you'll

∑

1™

œ bœ ™ J

3 8œ œ

gro - tesque with

3œ œ 8

œ5 8

gro - tesque with

4‚ 1 8

3 8 ‚™

4 8

3 8

∑

5 œ8

5 8 5 8

∑

pay

>œ

6 8 mf

?

œ

œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ “‘

∑

∑

œ

∑

everyone stomp and clap

&

œ

us

∑

˙™ œ œ œ ¢& ‹ I'm here to stay

∑

∑

˙

45

° &

∑

f

˙˙˙˙ ™™™™

∑

&

Pno.

your con - scious on

j œœœ ‰ Ó >

˙˙˙ ™™™

? #˙˙˙ ™™™

V. Solo

of

f

Choir

Choir

cost

œ œ œ 6 œ œbœ œ œ ?3 œ œbœ œ œ œ œbœ œ œ 4bœ œ œ 4bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œœœœ :“; œ œ œ ‘ ‘ “ “ “‘

42

Pno.

the

∑

° & w ww ™™™

V. Solo

at

œ œ œ œ œ œ

>œ b bœ œ œ bœ 4 >œbœ > œ nœ 8

6 œ œ bœ 8 bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ * mf

3 8 >œ bbœœ

4 bœ œ bœ 3 nœ 8 8

bœ

5 8

nœ 5 8

9

50

° 5 &8 œ œ œ œ

6 œ œ œ œ œ œ4œ 8 8

sick- ly dis - ease

Choir

plead - ing for mer- cy with their dreams

?5 œ œ œ œ 8

6 œ œ œ œ œ œ4œ 8 8

sick- ly dis - ease

V. Solo

5 ‚™ 8 5 & ¢ 8 ‹

break- ing a - part at the seams

œ

6 ‚™ 8 6 f˙ ™ 8

1 ∑

1™

rest

>œ

break- ing a - part at the seams

3 8 ⪠3 Ϫ 8

1

4‚ 8 4˙ 8 you

>œ b bœ

5 ⪠8 5 Ϫ 8

{

hun- ger for vio - lence that

6 ‚™ 8 6 ˙™ 8

1 Œ

worm

1™

4 8 4 8

rest

bœ

œ bœ > œ b œ 4> 3 >œ bbœœ nœ 5 œb œ 8 b œ 8 nœ 8 4 3 5 ? 5 œ #œ #œ 6 8 8 b œ œ œ œ bœ 8 bœ œ bœ 8 œ 8 œ “‘ œ

hun- ger for vio - lence that

3 œ œ œ5 œ œ œ œ 6 œ œ œ œ œ œ4 8 8 8 8

plead - ing for mer- cy with their dreams

>œ bœ 6 5 œ n œ b œ &8 > œ œ 8

Pno.

3 5 6 4 8 œ œ œ8 œ œ œ œ 8 œ œ œ œ œ œ8

œ

>œ

>œ b >œ bœ b œ b œ œ 6 4 œ > nnœœœb#œœ œ 8 nœ 8 œ #œ 68 œ œ bœ 48 œ bœ œ “‘

56

° 4 &8 œ œ

3 5 8 œ œ œ8 œœ œ œ

suc - ceeds

6 8

∑

4 8

∑

6 8

∑

2 4

∑

6 8

∑

4 8

∑

6 8

∑

2 4

∑

4‚ 8

1

6 ‚™ 8

1™

2 4‚

4 8

∑

6 8

∑

2 4

hu- man de - si - re to breed dipthong

Choir

?4 œ œ 8

3 œ œ œ5 œœ œ œ 8 8

suc - ceeds

hu- man de - si - re to breed dipthong

4‚ 1 8 V. Solo

Pno.

4˙ & ¢ 8 ‹ you

3 8 ‚™

5 ‚™ 8

1

6 ‚™ 8

3 Ϫ 8

5 Ϫ 8

Œ

6 8

1™ ∑

1 ∑

worm

œ bœ nœbœ > 4 3 5 œ b œ &8 > œ 8 > bœ nœ 8 bœ bœ

{

? 4 bœ œ 8

63

bœ 83 œ

>œ œ nœœb#œœ œ bœ 68 >n œ

5œ 8

>œ

>œ œ n>œ b >œ b œ n œ œb œ 4 >œbœ 6 œ bœ œ nœ 8 nœ 8

#œ 68 œ œbœ 48 bœ œ œ bœ œ “‘

> >œ#œ œ #œ 2 b bœ 4 œ

nœbœ #œ 6 #œ #œ œbœbœ 2 œ nœ 8 4 n œ nœ

° &

∑

U 6 ∑ 4

∑

∑

∑

?

∑

U 6 ∑ 4

∑

∑

∑

∑

U 6 ∑ 4

Choir

V. Solo

¢& ‹

& œ #œ œ œ#œ ˙ œ U ? bœ œbœ œ ˙

{

∑

mp

Œ

Œ

œ you

U Pno.

∑

Ó™

6 4

∑

∑

∑

œ œ 6 œ œbœ œ œ œ œbœ œ œ 4bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ pp “‘ “‘ “‘ °

10

68

° &

sffz sffz

Ó™

∑

Œ

3 4 œ œœœ >.

##œœ. œœ >

∑

6 4

∑

∑

6 4

∑

You filth! sffz sffz

Choir

?

>. Œ####œœœœ

Ó™

∑

œœ>œœ. 3 4

You filth!

V. Solo

¢& œ œ œ œ œ œ œ ‹ sanc - ti - fy ac - tions that

{

up

œ œbœ œ œ œ œbœ bœ œ œ œ œ œ bœ œ :“; “‘

œ

sffz sffz

72

° Ó™ &

Œ

Œ

dirt - y

sffz sffz

? Ó™

Œ œ

œ

Pno.

{

? bœ :“;

œœ>œœ. Œ Œ

dirt - y

œ

œ

œ bœ

∑ mp

6 4 œ

∑

ghosts

3 4

œ œ

6 4

worm!

3 4

∑ œ

∑

3

ul - ti - ma - tum

&

6 4

worm!

œœ>œœ. 3 ####œœ>œœ. œœ>œœ.

4 Œ

œ

œ

∑

sffz sffz sffz

Rest you

œ

fash - ion with

œ 3 6 œ œ œ œbœ œ œ 4 4 œ œ œ œ bœ œ œ œ œ œ bœ œ œœœœ “‘ “‘

3 3 Œ Œ 4 # œ œ # œ œ œ œ œ œ œ œ # œœ œœ # œœ œœ œœ

3 >. # Œ ### œœœœ

in

6 4

∑

3

Choir

¢& #œ ‹ no

3 4

test - ing

-

sffz sffz sffz

Rest you

V. Solo

de

∑

œ

?

6 œ 4 œ œ œ œ œ œ

Œ

the void

∑

&

Pno.

fill

3 4 Œ

Œ

œ œ œœ ˙

œ œ‘ œ “

3 4

œ

œ

in

the

œ œ

shell

6 4

∑

mu-

∑

6 œ œ bœ 4 œ œ œ œ œ bœ œ

bœ

˙

œ

œ œ

œ œ œ œ “‘

75

° &

∑

∑

∑

?

∑

∑

∑

Choir

mf V. Solo

œ œ œ œ ¢& ‹ ni - tions from hell

{

? bœ :“;

œ

œ

at

the

œ

œ

sick - ly

œ

œ

œ

œ

œ bœ

œ

œœ

œ

con - ven - iennce

∑

&

Pno.

pp

œ of

#œ #œ #œ œ œ œ™ œ ˙ per - son - al

a - chieve - ment

∑

œ œ œ œ bœ “‘

œ

œ

œ bœ

œ

œœ

∑

œ œ œ œ bœ “‘

œ

œ

œ bœ

œ

œ œ

œœœœ “‘

11

78

° &

mp

Ó™

∑

˙™ Oo

Choir

mp

?

w™

∑

˙˙ ™™

˙™ w™

Oo

V. Solo

Pno.

¢& ‹

∑

&

∑

{

œ

œ

con - scious

œ

dis - may

e - gos

at

˙™ play

? bœ œ œ œ œ œ bœ œ 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 œ

° & w w ™™

6 mp 4 8 œ œ œ œ œ œ 8œ

? w w ™™

6mpœ œ œ œ œ œ 4 œ 8 8

look at your - self in the

everyone stomp and clap

∑ œ

¢& ‹ god

œ

œ

as

my

6 ‚™ 8

1™

6 œ 8

œ bœ ™ J

ff

œ

œ

œ

wit - ness you'll

{

6 8

∑

&

3 8œ œ

œ

mir - ror

gro - tesque with

œ

3œ œ 8

mir - ror

4 8

œ 5œ œ œ œ 8

3 8 ‚™ 3 8

∑

6 8

sick - ly dis - ease

gro - tesque with

1

4‚ 8

5 œ 8œ œ œ œ

sick - ly dis - ease

5 ‚™ 8

1

5 8

∑

6 8 6 8 6 8

∑

pay

>œ Pno.

œ

∑

look at your - self in the

V. Solo

œ

∑

81

Choir

œ

˙™

mf

b >œ b œ œ œ bœ 4 >œ bœ > œ nœ 8

6 œ œ bœ 8 bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ :“; *

?

3 8 >œ bbœœ

4 bœ œ bœ 3 nœ 8 8

bœ

>œ 5 œ nœœ bœ œ bœ 6 8> 8

nœ 5 œ 8

#œ #œ

œ

6 8

mf

86

° 6 4 &8 œ œ œ œ œ œ 8 œ

œ

plead - ing for mer - cy with their dreams

Choir

?6 œ œ œ œ œ œ 4 œ 8 8

œ

plead - ing for mer - cy with their dreams

6 ‚™ 8 V. Solo

4‚ 8

f 6 ¢& 8 ˙ ™ ‹ rest

>œ

6 &8

Pno.

1™

{

4˙ 8 you

œ

>œ b bœ

?6 8bœ œ œ “‘

bœ

1

3 5 8 œ œ œ8 œ œ œ œ break - ing a - part at the seams

3 œ œ œ5 œ œ œ œ 8 8 break - ing a - part at the seams

6 œ œ œ œ œ œ4 œ œ 8 8 hun - ger for vio - lence that

3 8 ‚™

5 ‚™ 8

1

6 ‚™ 8

3 Ϫ 8

5 Ϫ 8

Œ

6 ˙™ 8

worm

œ bœ 4 >œ bœ > 3 >œ bbœœ nœ 5 œb œ 8 b œ 8 nœ 8 5 œ bœ 48 bœ œ bœ 83 œ 8

suc - ceeds

6 œ œ œ œ œ œ4 œ œ 8 8 hun - ger for vio - lence that

rest

>œ

1™

3 8 3 8

suc - ceeds

4‚ 1 8

3 8

4˙ 8

3 8

you

>œ b >œ bœ œ b œ b œ œ > œ b œ 6 4 3 œ nœœb#œœ œ 8 > 8 8 œb œ > nœ nœ 4 bœ œ bœ 3 œ #œ 68 œ œ bœ 8 8 œ bœ œ “‘

92

° 3 &8 œ

12

œ

5œ 8

œ

hu - man

de

-

œ

œ

œ

si - re

to

breed

œ

œ

œ

si - re

to

breed

6 8

∑

4 8

∑

6 8

6 8

∑

4 8

∑

6 8

4‚ 8

1

6 8

4 8

∑

6 8

dipthong

Choir

?3 œ 8

œ

œ

hu - man

V. Solo

Pno.

de

V. Solo

Pno.

-

dipthong

3 8 ‚™ œ™ 3 ¢& 8 ‹ worm

5 ⪠8 5 Ϫ 8

bœ 3 œ b œ & 8 > bœ nœ bœ

5 œ nœœ b#œœ 8> nœ

? 3 nœ 8

5œ 8

{

96

Choir

5œ 8

° 6 ‚™ 8 6 & ¢ 8 ‹ n>œ œ bœ 6 &8

{

? 6 #œ 8

#œ nœ

100

° 5Position 3 ¿ ™ 8

1

6 ‚™ 8

Œ

6 8

>œ bœ œ #œ

1™

∑ >œ

>œ

œ

¿™

œ nœ 4 >œ bœ 8 œ nœ

6 8

4 bœ 8

6 8

#œ

œ

1

∑

∑

∑

∑

∑

5 8 5 8

U

œ #œ œ >

?

œ #œ œ bœ

Group 1 : whisper manically with various different rhythms and intensities of volumes/register

¿

œ bœ

bœ 2 œ nœ nœ 4

œ bœ bœ

bœ nœ

6 8bœ œ “‘

2 b>œ #œ 4

bœ

>œ b œ bœ

6 8

2 4‚ 2 4

∑

nœ

œ

1™

¿™

¿

œ #œ œ

œ bœ

5 8

˙ U

œ

5 8

˙ ¿™

¿

¿

rest you dirty worms, arrest you dirty worms, confess you dirty worms etc...

Position 3

5 8

Choir

Position 3

5 8

Position 3

V. Solo

5 ¢& 8 ‹

+

Group 3

Group 2

3™

+ 3™

ìà ì

mf

3™

ìà ì ff

œ bœ œ #œ bœ

dressed like

+ ìà ì

3™

pp

mf

œ bœ œ #œ bœ

œ bœ œ œ œ

a worm who

+

cast a - side la - ment

ìà ì

œ bœ œ œ œ

un - der - es - ti - mate

caus - al

re - la - tions

..................................................................... ..................................................................... œ #bœœ œœ #>œœ bnœœ œ-. -. -

?5 8

Pno.

{

mp

?5 8 œ #œ #œ

Ϫ mp

nœ #bœœ œœ #œœ nbœœ n œ-. -. -

nœ #bœœ œœ nœ œ œ-. -. - #œ #œ > œ #œ #œ

Ϫ

œ

mp

ppp

f

œ

n œ #bœœ œœ nœ œ œ-. -. - #œ #œ

œ #œ #œ

Ϫ

œ

œ #œ #œ

Ϫ

œ

position 2

104

°

¿™

¿™

¿

+

Choir

¿™

¿

+

U ¿ ¿

¿™

¿

+

13

&

position 2

+

? position 2

3™ mp V. Solo

Pno.

¢& ‹

3™

ìà ì

3™

ìà ì

sffz sffz

œ bœ œ #œ bœ

œ bœ œ œ œ

rel - ish your ha - tred

fos - tered by judg - ment

3™

‰ ìà ì U ff pp U œ bœ œ œ œ

ìà ì

f

œ bœ œ #œ bœ con - trar - y

mo - tives

lead by their an- guish

..................................................................... .....................................................................

U b œ b œ ? nœ #bœœ œœ #œœ n œ nœ #bœœ œœ nœ œ nœ #bœœ œœ #œœ n œ nœ #bœœ œœ nœ bœœ nœ œ n œ-. -. -. œ-. -. - #œ #œ # œ p > f ppp sffz sffz mf ? ™ ™ ™ ™ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ

{

#œ

#œ

#œ

#œ

108 q = ca.65

° cres. and accel. until climax & œ bœ œ #œ bœ nœ bœ dressed like

Choir

a

worm who

cast

œ nœ

a - side

œ

la - ment

nœ bœ

un - der - es - ti - mate

cres. and accel. until climax

? œ bœ dressed like

œ #œ bœ

nœ bœ

a

cast

worm who

œ nœ

a - side

œ

la - ment

œ #œ bœ

nœ bœ

œ #œ bœ

un - der - es - ti - mate

nœ bœ

œ nœ

caus - al

re - la - tions

nœ bœ

œ nœ

caus - al

re - la - tions

nœ bœ

œ nœ

caus - al

re - la - tions

nœ bœ œ #œ

œœ nœ bœœ #œ

œ

œ

cres. and accel. until climax V. Solo

¢& nœ bœ ‹

dressed like

bœ œ #œ

nœ bœ

a

cast

worm who

œ nœ

a - side

œ

la - ment

nœ bœ

bœ œ #œ

un - der - es - ti - mate

œ

q = ca.65

Pno.

? nœ bœ œ #œ

{

?

112

V. Solo

Pno.

nœ bœ œ #œ

cres. and accel. until climax

œœ nœ bœœ #œ

#œ ™ #œ ™

œ

#œ ™ #œ ™

œ

rest

you

worm

a

° #œ™ & n œ bœ rel - ish rel - ish

Choir

bœ œœ #œœ n œ

œ #œœ bœ your your

ha - tred ha - tred

#œ™ œ bœ

œ nnœœ n œ

fos - tered fos - tered

by by

judg - ment judg - ment

? #nœœ™ bœ

bœ œ #œœ

rest

you

worm

a

#œ ™

œ

#œ ™

œ

Rest

you

worm

a

? nœ bœ œ #œ

œœ #œœ nbœœ

¢& ‹

{

?

#œ ™ #œ ™

œ

-

#nœœ™ bœ

nœ #bœœ œ #œ ™ #œ ™

œ nnœœ nœ -

-

œœ nœ bœœ #œ œ

nœ bœ œ #œ

bœ œœ #œœ n œ

#œ ™ #œ ™

œ

#œ ™ #œ ™

œ

rrest

you

worm

con

#œ™ n œ bœ

œ #œœ bœ

con - trar - y con - trar - y

#nœœ™ bœ

mo - tives mo - tives

bœ œ #œœ

#œ™ n œ bœ lead lead

by by

#nœœ™ bœ

œ nnœœ n œ their their

an - guish an - guish

œ nnœœ nœ

rrest

you

worm

con

#œ ™

œ

#œ ™

œ

rrest

you

worm

con

nœ #bœœ œ #œ ™ #œ ™

œœ #œœ nbœœ

œ

nœ #bœœ œ #œ ™ #œ ™

-

-

-

œœ nœ bœœ #œ œ

116

14

° fess & #œ ™

Ϫ

œ

œ œ

Ϫ Ϫ

œ œ

∑

4 4

∑

∑

4 4

∑

∑

4 4

fess fess

Choir

? #œ ™ #œ ™

fess

V. Solo

œ

∑

¢& # œ ™ ‹

Ϫ

œ

œ

fess

? nœ bœ œ #œ

Pno.

{

œœ #œœ nbœœ

? œ

#œ

q = ca.150

œ bœ bœ

n œ b#œœ œ

œœ

nœ

œ nœ #œ

œ

œœ #œœ bnœœ œ b œ œ nœ #œ nœ #bœœ œ

bœ œ nœ

&#œ

n œ #b œœ œ bœ bœ

œœ # œœ nb œœ œ œ nœ

4 4 4 4

Scream without defined pitch from the upper registers and glissando down to the lower. Some choir members should enter at different times Creating a qausi-sheppard's tone effect if possible.

120

° 4 fff ¿ &4

¿

¿

¿

¿

¿

¿

¿

¿

¿

ah!

Scream without defined pitch from the upper registers and glissando down to the lower. Some choir members should enter at different times Creating a qausi-sheppard's tone effect if possible.

Choir

?4 4

fff

¿

¿

¿

¿

¿

¿

ah!

Scream and gliss.

V. Solo

¿

4 & ¢ 4 ‹

ah!

q = ca.150

#bn œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ 4 & 4 bnœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

Pno.

{

?4 4

124

° &

œœ # œœ œœ œœ œœ œœ œb œ œ œ œ œ œ œ œ œ bœœ œœ œœ œœ bœ bœ

œ œ

Breathe heavily as if running out of air, then gasp violently and hold breathe until after the work is finished. If it is not possible for certain members to hold their breath they may exhale inaudibly (It is important that the sound or sensation of exhaling does not occur, leaving a sense of tension and suffocation at the end of the work.)

∑

?

∑

∑

∑

Breathe heavily as if running out of air, then gasp violently and hold breathe until after the work is finished. If it is not possible for certain members to hold their breath they may exhale inaudibly (It is important that the sound or sensation of exhaling does not occur, leaving a sense of tension and suffocation at the end of the work.)

V. Solo

¢& ‹

∑ œ#œ

&

Pno.

{

œœ # œœ œœ œœ œœ œœ ™™ œ œ b œ œ œ œ œ™ œ œ œ œ œœ œœ œœ œœ

fff

Breathe heavily as if running out of air, then gasp violently and hold breathe until after the work is finished. If it is not possible for certain members to hold their breath they may exhale inaudibly (It is important that the sound or sensation of exhaling does not occur, leaving a sense of tension and suffocation at the end of the work.)

Choir

œœ œœ œœ œœ œœ œœ œœ œœ # bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœœ œœ œœ œœ œœ œœ œœ œœ

?<b> w <b> w

∑

pp

Y

∑ #œ #œ nœ#œ

Y

(breathing)

pp

Y

pp

Y

mf

¿ Œ Ó

œ œ

U ∑

(gasp! )

Y

(breathing)

(breathing)

# œ #œn œ œ #œ#œnœœ

bœ bœ

mf

¿ Œ Ó

U ∑

(gasp! )

Y

mf

¿ Œ Ó

U ∑

(gasp! )

U ∑

œ˙˙™ œj œ œ U b˙ U ˙ b ˙ b 10 b ˙ b b ˙ b ˙ b ˙ œ œ #œ #œ œ œ ˙ ˙ ˙ œ œ œ œ bw b ˙ ˙ b ˙ ˙ b ˙ #w ‘ ‘ “ “‘ #w p “ f sub. pp