solstices
ALL INSTRUMENTS EXCEPT BASS CLARINET AND TROMBONE: Begin as soon as it is completely dark (fade in from ppp )
poco presto p
Vibraphone poco presto p
poco presto
pp
poco presto
pp
Contrabass (sounds 1 octave lower)
poco presto
p
poco presto
pizz.
p
poco presto pizz.
p
poco presto pizz.
p
poco presto pizz.
p
repeat ad lib. all 4 pitches, or 3, or 2 (always in the notated progression)
pp
ca. 8 sec. pp
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)
add D5 in irregular, very slow repetitions
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
add D5 in irregular, very slow repetitions
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
dedicated to Mollena
Violin
Viola
ppp
poco presto
ca. 8 sec.
(Vib.)
poco presto p
Pno. (sound, approx.)
Pno. (keys)
poco presto pp
repeat ad lib., all 7 pitches, or 6, or 5, or 4, or 3 (always in the notated progression)
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
poco presto
poco presto
p
poco presto
& pizz.
p
poco presto
pizz.
p
poco presto pizz.
p
poco presto
? pizz.
p
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression) ca. 5 sec.
STRING INSTRUMENTS, GTR., PERC., PNO.: start at approx. the same time (fade in from ppp )
short , poco presto
Fl. B. Cl.
Tbn. Perc. Pno. (sound, approx.)
(Vib.)
avoid unisons with the trombone
, bisb.
short , ? poco presto p . short , & bisb. p bisb. p ?
short , poco presto p
avoid unisons with the flute . ,
Pno. (keys)
poco presto p
allow pauses in both hands, but never at the same time
ca. 10 sec.
allow pauses in both hands, but never at the same time
add C3 in irregular, very slow repetitions
add C3 in irregular, very slow repetitions
œnœnœn
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression) p poco presto
ca. 10 sec.
poco presto p
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
poco presto p
p arco poco presto
p
repeat ad lib., all 5 pitches, or 4, or 3 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
Tbn. Perc. Pno. (sound, approx.)
Pno. (keys)
Gtr.
Vln.
Vc.
Cb. & poco presto p
poco presto p . .
p poco presto avoid unisons with the flute .
repeat ad lib., all 6 pitches or 5 or 4 or 3 (always in the notated progression)
Vla.
STRING INSTRUMENTS, GTR., PERC.: start at approx. the same time (fade in from ppp ) Fl. B. Cl.
Tbn. Perc. Pno. (sound, approx.)
VIBRAPHONE p
poco più presto
ca. 12 sec.
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)
allow pauses in the right hand ca. 12 sec.
ca. 12 sec.
allow pauses in the right hand
poco più presto
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)
Pno. (keys)
poco più presto
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression) & p
repeat ad lib., all 6 pitches, or 5, or 4, or 3 (always in the notated progression)
ca. 12 sec.
poco più presto
ca. 5 sec. ca. 5 sec.
FL., B.CL., TRB., STRING INSTRUMENTS, PNO. (right hand): start at approx. the same time (fade in from ppp ) Fl. B. Cl.
Tbn. Perc.
Pno. (sound, approx.)
Pno. (keys) Gtr.
ca. 5 sec.
left hand: always repeat a,b,c,d ad lib.
o quickly tune string 6 approx. a quarter-tone lower
ca. 5 sec. ca. 5 sec.
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression) & ,
ca. 5 sec.
ca. 5 sec.
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
FL., B.CL., TRB., STRING INSTRUMENTS, PNO. (right hand), PERC.: change pitch material at approx. the same time (+/- 1 sec.) sim.
Pno. (sound, approx.) Pno. (keys)
(Vib.)
take hotel mute (silently, slowly)
Play fast chromatic scales descending and ascending etc. Not higher than D3.
Play fast chromatic scales descending and ascending etc. Not higher than D3.
Play fast quarter-tone scales on 5th and 6th string, descending and ascending etc. No interruptions.
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression) .
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression) .
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
repeat ad lib., all 4 pitches, or 3, or 2 (always in the notated progression)
p
Pno. (sound, approx.)
Fl., B.Cl., Vla., Cb., finish at approx. the same time (after the beginning of Vc.’s double stop)
ca. 5 sec.
ca. 9 sec.
Pno. (keys)
Continue playing fast chromatic scales of various lengths, descending and ascending, never playing higher than D3
Play fast quarter-tone scales of various lengths on strings 5 and 6, descending and ascending etc. No interruptions.
ca. 5 sec.
sempre p
sempre p
ca. 5 sec.
string instruments: begin at approx. the same time
ca. 9 sec.
ca. 9 sec.
Fl. B. Cl. Tbn. Perc.
Gtr.
ca. 14 sec. f p
presto
Pno. (sound, approx.)
Pno. (keys)
(Vib.) no repetitions
cresc. and decresc. ad lib., different durations (2 to 7 sec.), independent from other instruments
scales ad lib., very soft, pitches ad lib., allow microtones
ca. 14 sec.
scales ad lib., very soft presto
ca. 14 sec.
STRING INSTRUMENTS:
cresc. and decresc. ad lib., different durations (1.5 to 5 sec.), each instrument independently
Tbn. Perc.
Pno. (sound, approx.)
(Vib.) remain within the lower register
ca. 9 sec.
pp Hotel Mute presto intonation ad lib., use plenty of micro-intervals
sempre presto
Pno. (keys)
Gtr.
quickly tune string 2 approx. a quarter-tone lower
ca. 9 sec.
Vln.
Vla.
ca. 9 sec.
ppp presto scales ad lib., descending and ascending, intonation ad lib., use plenty of micro-intervals
sempre ppp
Tbn. Perc.
Pno. (sound, approx.)
sempre pp
(Vib.)
sempre ppp
Pno. (keys)
sempre pp
Gtr. Vln. Vla.
ca. 12 sec.
scales ad lib., very soft, pitches ad lib., allow microtones
Vc. Cb. & ppp
gradually use the vibraphone’s whole register, always in fast chromatic scales
ca. 12 sec.
sempre pp
sempre p
ca. 12 sec.
ppp presto scales ad lib., descending and ascending, intonation ad lib., use plenty of micro-intervals
ca. 12 sec.
ALL INSTRUMENTS EXCEPT VLN. AND VLA.: play fast microtonal scales, up and down within the whole pp-range of the instrument (the Vibraphone plays chromatic scales)
Tbn. Perc. Pno. (sound, approx.)
Pno. (keys) Gtr.
sempre presto
sempre pp
& (Vib.) & ? & ? &
quickly tune string 4 approx. a quarter-tone lower
play fast quarter-tone scales in the instrument’s whole range, descending and ascending etc., of different lengths, no interruptions. & & ? ?
Fl.
B. Cl.
Perc. Pno. (sound, approx.)
Pno. (keys)
presto scales ad lib., always ascending intonation ad lib., use plenty of micro-intervals
AFTER THE VIOLIN STARTS PLAYING SCALES: All instruments change to playing ascending scales. Instruments, who by chance, are already playing ascending, continue to the end of the instrument’s pp-range. Those who are playing descending, continue and later change direction (ascend), independently from the others. Always use the instrument’s full pp-range.
both hands play chromatic scales in parallel motion, 3 octaves apart
presto scales ad lib., always ascending intonation ad lib., use plenty of micro-intervals
Fl.
B. Cl.
Tbn.
Pno. (sound, approx.)
ALL INSTRUMENTS: crescendo poco a poco at least 35 sec., much longer if possible
Pno. (keys)
B. Cl.
Gtr.
Vln.
Vla.
Vc.
Cb.
Pno. (sound, approx.)
Pno. (keys)
ca. 4 sec.
microtonal scales as before
microtonal scales as before
microtonal scales as before /
chromatic scales as before
microtonal scales as before
microtonal scales as before
microtonal scales as before
microtonal scales as before
microtonal scales as before
Pno. (sound, approx.)
& ALL INSTRUMENTS: decrescendo poco a poco
ca. 25 sec. mp
Pno. (keys)
B. Cl.
Tbn. Perc.
Gtr.
Vln.
Vla.
Vc.
Cb.
Pno. (sound, approx.)
Pno. (keys)
Gtr.
Vln. Vla. Vc. Cb. &
(Vib.)
sempre mp
sempre mp
ca. 25 sec.
microtones ad lib.
sempre mp
microtones ad lib.
sempre mp
microtones ad lib.
sempre mp
sempre mp
ca. 25 sec.
microtones ad lib.
sempre mp ca. 25 sec.
microtones ad lib.
sempre mp
microtones ad lib.
sempre mp
microtones ad lib.
sempre mp
ca. 25 sec.
Pno. (sound, approx.)
ALL INSTRUMENTS:
Start playing the microtonal scales immediately after the flute. Each player must start independently; do not try to synchronize entries.
microtonal scales
microtonal scales
microtonal scales
Pno. (keys)
quarter-tone scales, starting as high as possible
ALL INSTRUMENTS, after approx. 5 sec.: slow, continuous decresc. al mp mp
Perc. Pno. (sound, approx.)
TUNING PROCESS Dminus-OVERTONES
Vln., Vla., Vc., Cb.: always tune audibly the strings ’ slow gliss. must be clearly recognizable by the audience
Pno. (keys)
tune both strings approx. a major second down III IV
bring the 6 strings to vibrate as continually as possible &/ sempre mp
tune the string approx. a minor third down IV
/ sempre mp
tune the strings precisely to the piano (5th and 7th partial)
tune the string precisely to the piano (3rd partial) ?
II
sempre mp
tune the string approx. a major second down IV
tune the string precisely to the piano (4th partial) ? / sempre mp
tune the string precisely to the piano (fundamental note)
Perc.
Pno. (sound, approx.)
Pno. (keys)
Gtr.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.
if possible, play the pedal-tone low D for at least for 5 seconds once or twice within this segment
general dynamic: p slow cresc. and decresc. ad lib.
very slow repetitions, also with accel. and rit. , some tremolos, plenty of silence
general dynamic: p very rarely: slow cresc. and decresc.
Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch.
general dynamic: p slow cresc. and decresc. ad lib. ?
2 or 3 times within this segment: give accents to the lowest D - a signal to cb. &
?
always keep the pedal down
Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch.
general dynamic: p slow cresc. and decresc. ad lib.
always keep the pedal down
continuous vibrations of the 6 strings
general dynamic: p slow cresc. and decresc. ad lib.
2 or 3 times within this segment, accent the lowest D as a signal to Cb.
interrupt by playing a single string (in repetition) and by natural harmonics ad lib.
continuously play the strings in long, slow changes of dynamics and color (to sul pont., sul tast.) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre III or IV)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tast.) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre IV)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tast.) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre II)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and colors (to sul pont., sul tast.) also: repetitions, rit. , accel. , tremolo
general dynamic: p slow cresc. and decresc. ad lib.
sometimes:
add some of these pitches in perfectly tuned double stops with one of these 2 open strings
sometimes: add some of these pitches in perfectly tuned double stops with IV
sometimes: add some of these pitches in perfectly tuned double stops with II
when the piano or the trombone give an accent to the low D1: play nat. harmonics (sempre IV)
Vln.
Vla.
Vc.
Cb.
Pno. (sound, approx.)
TUNING PROCESS Ab minus-OVERTONES
Vln., Vla., Vc., Cb.: always tune audibly the strings’ slow gliss. must be clearly recognizable by the audience
Pno. (keys)
Gtr. Vln.
Vla.
Vc.
Cb. &
help Vln., Vla., Vc. and Cb. tune their strings
help Vln., Vla., Vc. and Cb. tune their strings p
tune the strings within the harmonic series of low Ab 2 ‰ 3 „ 4 ‚ 5 · 6
bring strings to to vibrate as continuously as possible
II III tune the II. string approx. mp II III tune strings precisely to the piano (5th and 9th partial)
/ I tune the I. string approx. mp I tune the string precisely to the piano (7th partial)
tune the I. string approx. I tune the string precisely to the piano (4th partial)
I II mp
III IV
III tune the string precisely to the piano (fundamental note)
Perc.
Pno. (sound, approx.)
p
Pno. (keys)
&
p
minus (at least 4 minutes)
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.
general dynamic: p slow cresc. and decresc. ad lib.
Timpani
p
general dynamic: p slow cresc. and decresc. ad lib.
always keep the pedal down
general dynamic: p very rarely: slow cresc. and decresc.
Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch.
Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch.
general dynamic: p slow cresc. and decresc. ad lib.
? always keep the pedal down
very slow repetitions, also with accel. and rit. , some tremolo, plenty of silence
Two or three times during this segment, accent the lowest Ab flat as a signal to Cb. &
& continuous vibrations of the 5 strings
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the strings in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre II or III)
general dynamic: p slow cresc. and decresc. ad lib.
BI
when the piano or the trombone give an accent to the low Ab 1: play nat. harmonics (sempre III) w B wB wB wb wb w B wB wb w B wb wn wb wb w wb B
Once or twice during this segment, play the lowest Ab strong and long (repeated) as a signal to Cb.
Two or three times during this segment, accent the lowest Ab as a signal to Cb.
interrupt by playing a single string (in repetition) and natural harmonics ad lib. ‰„‚· & II III
I continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre I)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre I)
general dynamic: p slow cresc. and decresc. ad lib.
III
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo
general dynamic: p slow cresc. and decresc. ad lib.
sometimes: add some of these pitches in perfectly tuned double stops with one of these 2 open strings
sometimes: add some of these pitches in perfectly tuned double stops with I
sometimes: add some of these pitches in perfectly tuned double stops with I
Pno. (sound, approx.)
TUNING PROCESS C-OVERTONES
Vln., Vla., Vc., Cb.: always tune audibly
The strings’ slow gliss. must be clearly recognizable by the audience
Pno. (keys)
Gtr. Vln.
Vla.
Vc.
Cb. &
(Timp.)
Help Vln., Vla., Vc. and Cb. with tuning their strings
Help Vln., Vla., Vc. and Cb. with tuning their strings p
II keep the tuning (7th partial)
III
tune the string precisely to the piano (3rd partial)
tune the string precisely to the piano (fundamental note)
tune the string precisely to the piano (fundamental note)
make sure strings vibrate as continuously as possible
Perc. Pno. (sound, approx.)
Pno. (keys)
Gtr.
& OVERTONE-CHORD C (at least 5 minutes)
p
?
p
B.Cl., Tbn., Pf.: take care that the low C (the fundamental) is always audible
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.
&
?
p
?
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.
general dynamic: p slow cresc. and decresc. ad lib.
p (Timp.)
very slow repetitions, also with acc. and rit. , some tremolos, plenty of silence
general dynamic: p very rarely: slow cresc. and decresc.
& Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch. general dynamic: p slow cresc. and decresc. ad lib. ?
always keep the pedal down
&
Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch. ?
general dynamic: p slow cresc. and decresc. ad lib.
&always keep the pedal down
continuous vibrations of the 4 strings
general dynamic: p slow cresc. and decresc. ad lib.
Vln.
& II
BIII
interrupt by playing a single string (in repetition) and by natural harmonics ad lib.
„‚·
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre II)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre III)
general dynamic: p slow cresc. and decresc. ad lib.
IV
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre I)
general dynamic: p slow cresc. and decresc. ad lib.
II
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo
general dynamic: p slow cresc. and decresc. ad lib.
sometimes: add some of these pitches in perfectly tuned double stops with II
sometimes: add some of these pitches in perfectly tuned double stops with III
sometimes: add some of these pitches in perfectly tuned double stops with IV
sometimes: add some of these pitches in perfectly tuned double stops with II
Vc. and Cb.: sometimes play “monologues” with harmonics on the C-string(s) or “dialogs”, both are playing harmonics on C (a. avoid unisons b. enjoy the vibrations of the “unisons”)
Vla.
Vc.
Cb.
Pno. (keys)
TUNING PROCESS LOW F # -OVERTONES
Vln., Vla., Vc., Cb.: always tune audibly
The strings’ slow gliss . must be clearly recognizable by the audience
Help Vln., Vla., Vc. and Cb. tune their strings
Help Vln., Vla., Vc. and Cb. tune their strings
Pno. (keys)
Gtr.
I (7th partial) II, keep he tuning (5th partial)
tune the strings within the harmonic spectrum of low F # „ 2 · 3
make sure strings vibrate as continuously as possible
tune the string precisely to the piano (3rd partial)
tune the string precisely to the piano (fundamental note)
I tune the string precisely to the piano (fundamental note)
Perc.
OVERTONE-CHORD LOW F # (at least 5 minutes)
&
p
?
p
Pno. (keys)
?
p
Pno. (keys)
Gtr.
B.Cl., Tbn., Pno.: take care that the low F # (the fundamental) is always audible
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with B.Cl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or Tbn.
&
? p (Timp.)
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, making sure to avoid unisons with Fl. or B.Cl.
take straight mute (silently, slowly)
general dynamic: p slow cresc. and decresc. ad lib.
very slow repetitions, also with accel. and rit. , some tremoli, plenty of silence
general dynamic: p very rarely: slow cresc. and decresc.
& Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch.
general dynamic: p slow cresc. and decresc. ad lib. ? always keep the pedal down
&
general dynamic: p slow cresc. and decresc. ad lib.
I II
Play clouds of overtones, tremolos, arpeggios, single pitches. If anybody plays out of tune, help them to find the correct pitch.
always keep the pedal down & continuous vibrations of the 3 strings
general dynamic: p slow cresc. and decresc. ad lib.
interrupt by playing a single string (in repetition) and by natural harmonics ad lib. · &
II
III
general dynamic: p slow cresc. and decresc. ad lib. w#
continuously play the strings in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre II)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre III)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and colors (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo rarely: nat. harmonics (sempre I)
general dynamic: p slow cresc. and decresc. ad lib.
continuously play the string in long, slow changes of dynamics and colors (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo
sometimes: add some of these pitches in perfectly tuned double stops with I or II
sometimes: add some of these pitches in perfectly tuned double stops with III
sometimes: add some of these pitches in perfectly tuned double stops with IV
Vc. and Cb.: sometimes play “monologues” with harmonics on the low F # string(s) or “dialogs”, both are playing harmonics on low F # (a. avoid unisons b. enjoy the vibrations of the “unisons”)
hold pitches long enough to allow slow cresc. and decresc. , take breaks
Pno. (keys)
sempre p
hold pitches long enough to allow slow cresc. and decresc. , take breaks ?
sempre p
straight mute sempre p
hold pitches long enough to allow slow cresc. and decresc. , take breaks ?
sometimes: play long, continuous sounds in middle and lower register
Tam-tam tremolo
Tam-tam arco
Cymbal tremolo
Cymbal arco
Rainstick
Güiro
Low Temple Block tremolo etc.
duration: 3 to 25 sec.
pauses between these sounds: 90 sec to 4 min. very rarely: shorter pauses (3 to 12 sec.)
dynamic: pp to p cresc. to mf: signal for the other instruments to change harmony
add these pitches several times (not too strong, not too much in the foreground)
mp
add these pitches several times (not too strong, not too much in the foreground)
Pno. (keys)
3rd partial
II 3
III 3
6th
add these pitches several times (not too strong, not too much in the foreground) o  9th partial o
o play the harmonics either as double stops or as single pitches try to adjust intonation, either by remaining in harmonics or by finding the correct pitch with “normal” technique
sempre p
I 3
sometimes play the open string ad lib. (ord. or sul pont.) II
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
sempre p
I 3
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
sempre p
III 3
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
sempre p
Pno. (keys)
sempre p
hold pitches long enough to allow slow cresc. and decresc. , take breaks
Pno. (keys) Gtr. Vln. Vla. Vc.
sempre p
hold pitches long enough to allow slow cresc. and decresc. , take breaks ?
sempre p
hold pitches long enough to allow slow cresc. and decresc. , take breaks
add these pitches several times (not too strong, not too much in the foreground) o Ê 9th partial o
III 6 IV 6
o play the harmonics either as double stops or as single pitches try to adjust intonation - either by remaining in harmonics or by finding the correct pitch with “normal” technique
sempre p
IV 2
try to adjust intonation - either by remaining in the harmonic or by finding the correct pitch with “normal” technique
IV 4 o IV 6 o
sempre p o
II 3
sempre p o
try to adjust intonation - either by remaining in the harmonic or by finding the correct pitch with “normal” technique II 6 o & IV 6
sempre p o try to adjust intonation - either by remaining in the harmonic or by finding the correct pitch with “normal” technique wn w#
Pno. (keys)
sempre p
sim., many breaks
sim., many breaks
sempre p
sempre p sim., many breaks
Pno. (keys)
Gtr.
Vln. Vla.
 7th partial
o
II 7
III 7
o “” play the harmonics either as double stops or as single pitches try to adjust intonation, either by remaining in harmonics or by finding the correct pitch with “normal” technique
I 7
o “” try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
I 7
w w n n wn wn
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique wn wn
sometimes play the open string ad lib. (ord. or sul pont.)
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
III 7
Pno. (keys)
sempre p
Pno. (keys)
sempre p
sim., plenty of breaks
sim., plenty of breaks
sim., plenty of breaks
sempre p
7th partials o ‚ o “”
II 7 o
try to adjust intonation, either by remaining in harmonics or by finding the correct pitch with “normal” technique “” sometimes play the open string ad lib. (ord. or sul pont.) II
III 7
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
II 7
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique or enjoy the vibrations with the Vc. wb wn
try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique or enjoy the vibrations with the Cb.
Pno. (keys)
sempre p
Pno. (keys)
sempre p
Gtr.
II 11
III 11
o “”
Vln.
I 11
o “”
Vla.
sim., plenty of breaks
sim., plenty of breaks
I 11
o “”
play the harmonics either as double stops or as single pitches
try to adjust intonation, either by remaining in harmonics or by finding the correct pitch with “normal” technique
III 11
try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique
o try to adjust intonation, either by remaining in the harmonic or by finding the correct pitch with “normal” technique wb œn œn œn w w b n wn wb wb
Element 1 INTERRUPTIONS, STARTING WITH THE VIBRAPHONE
At any part of the piece, after establishing the harmony of C and before the beginning of the finale , the vibraphone may play a tremolo of a constant interval ad lib . (minor second to tritone) the interval sould be chosen freely and spontanousely, just avoid unisons with the harmonies.
This tremolo starts very soft, almost inaudible, and gets louder and louder. One instrument after the other doubles one of the two pitches; S tring instruments and guitar may perform both pitches at the same time (guitar: always adjust intonation).
The piano keeps the harmony of the overtone chord and fades out when all other instruments have left this chord.
If the interval is a minor second, a major second, or a minor third, the instruments double in unison (if it is out of the instrument's range: rest).
If the interval is a major third, a perfect forth, or a tritone, the instruments double in different octaves.
Always take care to achieve a very precise intonation.
slow cresc. and decresc., ad lib.
When this interval has been performed tutti for at least 60 seconds, the piano starts again with the interrupted harmony. All other instruments return to this harmony, one after the other.
The vibraphone sustains the interval until after all other instruments have left it, and then fades out.
o ssia: the vibraphone changes the interval to another, before the piano re-enters. The other instruments follow (as described before).
Within the whole piece: vibraphone plays these “interruptions” 6 to 10 times.
Element 2 PULSATIONS / GAMES OF PULSATIONS
After the overtone chord of high D b has been established ( I ), each of the instruments ( except the violin) may start a pulsation process by playing the fundamental (see below for instrumentation), the other instruments build the overtone-chord exactly in the same pulsation as the fundamental.
Vc., Vla., Vln. and Gtr. may play other overtones than the originally notated harmonics (the guitar will have to do this if the strings’ tuning has changed) — please execute precise intonation.
The i nstrument which plays the fundamental leads the ensemble: accel. , rit. ad lib.; dynamic, cresc. , decresc. ad lib.
endings of these pulsations: ritardando until fermata or accelerando until tremolo and changing to sustained notes (each instrument at a different time) or the instruments gradually lose the common pulsation and gradually change to a static chord or an instrument plays a new fundamental in a different pulsation — a “game” starts (see below) o r an instrument starts with another element of the piece (“interruption, starting with the vibraphone” or “common pitches of chords” or “microclusters” or “chaos” or — towards the end of the piece — “finale”).
“Games”: There are two fundamentals in two different pulsations. Each of them tries to “convince” the other instruments to follow. Maybe one of them “wins”. Maybe a third — or forth — fundamental (with a third or fourth pulsation) comes in and tries to convince the others too. Have fun!
fundamentals:
D : Timpani
œ#œ#œ#œ#œ#œ#
ÍÍÍÍÍÍÍÍÍÍÍÍ
Contrabass B : ? III
œnœnœnœnœnœn
“joker” within the “games”:
play the notated E' at
œbœbœbœbœbœb
F : Trombone
œnœnœnœnœnœn
The piano may play any of the overtone chords (or extracts of these chrods, which may be idientified exactly) from B to I , with or without the fundamental, and tries to “convince” the others to join this overtone chord & Viola G : I ÍÍÍÍÍÍÍÍÍÍÍ & Bass Clarinet
œbœbœbœbœbœbœb
H : ÍÍÍÍÍÍÍÍÍÍÍ & I : Flute ossia: ÍÍÍÍÍÍÍÍ
œbœbœbœbœb
STRING INSTRUMENTS / GUITAR: DURING THE WHOLE PIECE - RETUNE THE STRINGS, IF NECESSARY!
COMMON PITCHES OF OVERTONE CHORDS
After the overtone chord of high D b has been established ( I ), the violin plays the open II string, very intense, All other instruments (except the percussion) double this pitch in a perfect unison.
When the unison is perfect, allow it to sustain.
Now the ensemble moves to the overtone-chord of A, B , or C , starting with the fundamental. When this overtone-chord is established, move back to the unison. When this unison is perfect again, the ensemble moves to another overtone-chord of A, B , or C , again starting with the fundamental.
Accelerate the process of the changes.
The violin may also play the open I. string, very intense, all other instruments (except the percussion) double this pitch in a perfect unison (the trombone only plays this pitch, if the instrumentalist f eels safe to do it).
Now the ensemble moves to the overtone-chord of C , or D , starting with the fundamental. When this overtone-chord is established, move back to the unison. When this unison is perfect again, the ensemble moves to the other overtone-chord of C , or D , again starting with the fundamental.
Accelerate the process of the changes.
These “common pitches” segments may also be performed very s lowly. During the whole piece, no more than four (better) or five of these segments should happen. Perform each segment differently!
Pno. (keys)
Element 4 MICROCLUSTERS
After the overtone chord of high D b has been established ( I ), at any moment of the piece the piano may start with fast clouds of microclusters (see below).
Vary the dynamic between static pp and static ff. Also allow cresc. and decresc.
Those instruments which are able to play pitches within this range join the piano by playing trills, tremolos, fast sequences of flageolets, bisbi., etc. at the same dynamic as the piano.
T hese microclusters may be added to other elementss of the piece (quasi “polyphonic”); also, two or more diferent microclusters may be performed at the same time or, rarely, just one microcluster and nothing else.
range of sounding pitches
?
& ? &
range of sounding pitches
Some of these groups may be performed more than once; it is not necessary to perform all of these groups
Pno.
Element 4a VARIATION: “ find my pitch ”
Vln., Vla., Vc., Cb., Gtr.: one of these instruments plays a natural harmonic very loud and clear. This harmonic must be able to be easily identified as a pitch NOT belonging to the actual sounding chord. The others copy this pitch, if possible, within a range of approx. a semitone higher or lower — preferably a harmonic of an open string. Also Fl., B.Cl., Tbn. and Vib. play, if possible, this pitch within a range of approx. a semitone up and down.
o r:
Fl., B.Cl., Tbn.. and Vib.: one of these instruments plays a pitched sound very loud and clear.
This pitch must be able to be easily identified as NOT belonging to the actual sounding chord. The others play, if possible, this pitch within a range of approx. a semitone up and down.
Also Vln., Vla., Vc., Cb., Gtr. copy this pitch, if possible, within a range of approx. a semitone up and down — preferably a harmonic o f an open string.
Each instrument may do this once during the piece — it is not necessary for all instruments do it within the piece.
Again:
Vary the dynamic between static pppp and static ffff. Also allow cresc. and decresc. and trills, bisb., tremolo etc. and:
These microclusters may be added to other elements of the piece (quasi “polyphonic”) Also, two or more different microclusters may be performed at the same time or (rarely) just one microcluster and nothing else.
œnœ#
œb
Element 5
SCALES OF DOUBLESTEPS IN PERFECT FIFTHS
After the overtone chord of high D b has been established ( I ), at any moment of the piece the Vln., the Vla. or the Vc. may start playing scales in perfectly tuned perfect fifths (please adjust the tuning on the unusually tuned strings) up and down in different ranges as fast as possible. The other string instruments (including Cb.) join, always playing fast scales in perfect fifths.
Vib. and Gtr.also play fast scales in fifths (the Gtr. tries to find fifths in the best approximation possible) Pno. will be the last instrument to join. Play fast scales in perfect fifths up and down within the range of the other instruments.
Vary the dynamic between static p and static mf (Fl., B.Cl., Tbn.: continue playing the previous element and fade out al niente.)
E lement 5a SCALES OF DOUBLE STOPS IN MAJOR SEVENTHS
As above, but play major sevenths instead of perfect fifths.
Element 6 MULTIPHONIC-ORGANISM
The B.Cl. starts with a multiphonic ad lib., mf , rich in beatings, stable.
The Fl. joins, also a multiphonic ad lib., mf , rich in beatings, stable.
The Tbn. joins with “spaltklang” or pitch plus human voice, sung in a dissonance to the trombone’s performed pitch ( resulting in strong vibrations).
Fl., B.Cl. and Tbn. play different multiphonics all the time, only interrupted by breaks for taking a breath. After breathing, start with a new one.
The other instruments continue playing the previous element for 25 sec. maximum and fade out to zero.
Later, the string instruments may join, performing multiphonics themselves.
Also the perc. may join: arco on the Tam-tam or the Cymbal (try to imitate the sound of multiphonics)
Element 6 is only performed once during the piece, after (estimated) 40 minutes or more. Duration: at least 3 minutes.
Element 7 PIANOFORTE-STRING-GLISS.
The pianoforte plays a loud gliss. over all the strings (or: as many strings as accessible) Keep the pedal depressed and allow the strings to vibrate.
All other instruments fade out quickly (max. 2 1/2 sec.), take a long break
Before the piano strings sound disappears, another instrument softly starts with a new element.
Element 7 is o nly performed once during the piece, after approximately 30 minutes or more.
Element 8
NAT. FLAG. GLISS., CHAOTIC & IV
after the overtone chord of high D b has been established ( I ), at any moment of the piece the Vln., the Vla. or the Vc. may start playing scales of natural harmonics, changing the string after each gliss. up and down. Play the harmonics fast, but always slow enough that each pitch may be identified.
The other string instruments (including Cb. and Gtr.) join, always playing fast sequences of harmonics, changing the strings L ater, Vib. and Pno. perform some isolated groups of fast pitches up and down. The Vib. again plays the pitches of the broken chords from the beginning of the piece The Pno. plays broken augmented chords higher than C4
Vary the dynamics between static p and static mf
(Fl., B. Cl., Tbn.: continue playing the previous element and fade out to zero.)
EXAMPLES:
Violin (action is notated, not the resulting pitch)
Vibraphone Piano
Element 9 NAT. FLAG., HARMONICALLY ORGANIZED
After the overtone chord of high D b has been established ( I ), at any moment of the piece the Pno. may start playing fast broken chords of A, B , C , or D . (find different ways of breaking the chords for each of these four).
Vln., Vla., Vc., Cb. and Gtr.: play harmonics on those strings, which are related to these harmonies. Vary the tempo from very slow to q uite fast.
A: Vln. III + IV, Vla. IV, Vc. II, Cb. IV, Gtr.
B : Vln. II + III, Vla. I, Vc. I, Cb. III, Gtr.
C : Vln. I + II, Vla. I, Vc. IV, Cb. II, Gtr. +
D : Vln. II, Vla. II + III, Vc. III, Cb. I, Gtr. +
Vary the dynamics between static mp and static f. Enjoy the vibrations. Include using the highest possible partials.
(Fl., B.Cl., Tbn., Perc.: continue playing the previous element a little bit and quickly fade out to al niente )
Fl., B.Cl., Tbn.: sometimes (rarely) play pitches perfectly in tune with the actual harmonic row. The piano is always focused on the lower partials, especially on the fundamental. Allow enough time for these elements: at least 3 minutes, maybe much longer. It is not necessary to play all four within the piece.
Element 10
SCALES WITHIN A DEFINED SPACE
After the overtone chord of high D b has been established ( I ), at any moment of the piece the Pno. may start playing fast chromatic scales within an ambitus of a major seventh and a minor tenth.
The other instruments join (if they are able to play within the piano’s range) always playing fast scales (if possible, microtonal intervals smaller than a major second) within the s ame range.
Vary the dynamics between static mp and static molto f
Element 11
CHAOS ( pppp )
After the overtone chord of high D b has been established ( I ), at any moment of the piece Vln., Vla., Vc. or Cb. may start with fast pizzicati over all four open strings. The other three players join as quickly as possible, Gtr. follows.
Vln., Vla., Vc. and Cb. change to flag. ad lib. (Vln. and Vla. arco, Vc. and Cb. pizz.) and back to pizz. open strings.
L ater, the Pno. plays fast clusters (maximum range: major third) at the same fast tempo as the pizz. before. Then the guitar changes to chords on four to six strings; no open strings. Move these chords stochastically up and down, maintaining a constant finger position, as fast as possible without getting any resultant sound from the fingers gliding from one position to the next.
s empre pp
Element 10 is played a maximum of four times during the piece.
Duration of each element 10: not too long, between 15 sec. and 45 sec.
E lement 12 FORTISSIMO 1
After approximately 40 minutes or more, when the overtone-chord based on the low D is performed ( A ), the timpani may play a tremolo cresc. to fff and remain in this dynamic for several seconds. All other instruments also increase their dynamic to fff
Vln. Vla. Vc. Cb.: find the strongest double stop (or triple stop), bow-change ad lib. to achieve the loudest dynamic.
Fl., B.Cl., Tbn.: find the strongest sounds of your instrument within this overtone-chord and play them for as long as comfortably possible, breathing as you wish.
Percussion: timpani always plays the low D, tremolo, single beats, random pulsations — always stochastic.
G tr.: join the chord as loud as possible.
Pno.: play fff tremoli and martellati, pedal always remains sustained
Duration of the fff: at least 35 sec. (or longer) The end is initiated by the Pno.: the Pno. stops, but keeps the sound in the pedal. The other instruments, (as soon as they recognize that the piano has stopped, decrescendi to p New elements may start now.
FORTISSIMO 1 is performed only once during the whole piece.
FORTISSIMO 2
Similar to FORTISSIMO 1, but when the overtone-chord based on the low F # is performed ( D ), the trombone (instead of the timpani) may play a cresc. to fff and remain in this dynamic for several seconds.
FORTISSIMO 2 is performed only once during the whole piece.
FORTISSIMO 3
After (estimated) 40 minutes or more: if element 2 is performed and the Vc. leads the pulsation of the overtone-chord in C ( C ) or if the Cb. leads the overtone-chord in low Ab ( B ) they may lead all the instruments into a fff Continue in analogy to FORTISSIMO 1
If the Tbn. leads the pulsation of the overtone-chord in low A ( F ) or if the Vla. leads the overtone-chord in high F ( G ) or if the B.Cl. leads the overtone-chord in low B b ( H ) they may lead all the instruments into a fff . Continue in analogy to FORTISSIMO 1.
Please be aware: there will be two fortissimo versions of element 2 within the whole piece: One either on the low Ab ( B ), organized by the Cb. or on the C ( C ), organized by the Vc. One either on the low A ( F ), organized by the Tbn. or on the high F ( G ), organized by the Vla. or on the low B b ( H ), organized by the B.Cl.
Element 13
SILENCE
after the overtone chord of low A has been established ( F ), at any moment of the piece, Fl. or B.Cl. or Tbn. may play their “initiation melody” (see below). While this melody is played, all other instruments have to fade out. Piano: no pedal.
When this melody is finished, break (maximum 4 sec.)
Then 1—6 instruments play the “materials of silence” (see below) almost inaudibly. This material may be repeated and varied, a llow breaks (up to 4 sec.) with no more than six instrumnets playing at the same time.
There must be exactly 3 elements of “silence” within the whole piece, one starting with the flute’s “initiation”, one with the Bass Clarinet’s “initiation”, one with the trombone’s “initiation”. Duration of each: at least 45 seconds and up to several minutes.
The fi rst of these elements is finished by continuing that element which has been interrupted by the “silence”.
The 2nd and the 3rd are finished by starting a new element, whoever wants to start with any element they want.
The 2nd must be performed before the “finale” starts. The 3rd may be performed before or during the “finale”.
“ initiation melodies”
sempre pppp & mp
accidentals with arrows: raise or lower a sixth of tone
cca. 25 sec.
sfffp ff pp ff pp
cca. 25 sec. ff short pp , & mp
?
Trombone: mp short , cca. 25 sec. short ,
“ materials of silence ” Flute whispertones
pppp
Bass Clarinet pppp quasi subtones, pitch ad lib.
« Trombone slap ppp air-sound
sim. (based on C # , D, or D # )
only air-sound
just a glimpse of a sounding pitch
pppp
repeat ad lib. transpose to any pitch between C # 5 and B5
start elaborating a multiphonic. Do not allow the multiphonic to develop its sounds — as soon as the first pitches appear, stop it.
repeat ad lib. transpose to any pitch between F1 and B b 1
the trombone generally plays very rarely during element 12
Guitar and Piano
gliss. with fingernails or a plectrum along the lowest strings.
Percussion pppp
extreme high pitches, with highest lip-tension
pppp
any non-pitched tremolo on wood or membrane vary the durations between 1 1/2 sec. and 20 sec. pppp tapping-trill with 2 fingers on the instrument’s wood
Vln., Vla., Vc., Cb.
gettati (4 attacks or more) either on open strings or in gliss. (minimum minor third) either one single string or double stops pppp
flag.-gliss. on open strings ad lib. very rarely pppp " ppp" tremolo directly on the bridge no pitch, just noise mute the strings with left hand!
Element 14
CHORDS A TO I
The piece’s main tonal material are the 4 overtone-chords, which might be realized by open strings ( A, B , C , D )
Overtone-chords, which are performed by harmonics on these open strings and which are supported by the piano, are also very significant: E , F , G , H , I )
These chords may be re-established at any moment in the piece before the “finale”.
Each instrument is allowed to start this act of re-establishing — misunderstandings may (should!) happen. P lease solve the problem!
Element 15
CATACLYSMIC INTERRUPTION No. 1
After appoximately 50 minutes, the percussion performs an extremely loud, aggressive, short noise (e.g. whip) the other instruments react immediately, all in fff : Fl., B.Cl. and Tbn: overtone gliss. until the highest possible register Gtr.: arpeggio sul pont. over all open strings P no.: gliss. up, starting from middle range Vln. Vla., Vc., Cb.: double stops gliss. up in 3/4-tones (Cb.: II+III)
Quite short, maximum 1 1/2 sec.—afterwards continue as before—giving the impression that nothing terrible has happened.
Element 15a CATACLYSMIC INTERRUPTIONS Nr. 2
At least 8 minutes (approx.) after the first “cataclysmic interruption”, the Cb. plays an extremely loud Bartó k-pizz. on an open string.
T he other instruments react immediately as above, all in fff : Fl., B.Cl. and Tbn.: overtone gliss. until the highest possible register Vib.: gliss. from the lowest to the highest register Gtr.: arpeggios sul pont. over all open strings Pno.: gliss. up, starting from low range Vln. Vla., Vc.: double stops gliss. up in 3/4-tones (Cb.: II+III)
Repeat for approx. 6 sec.
All instruments stop at approx. the same time.
Afterwards, continue as before, giving the impression that nothing terrible has happened.
Element 16 PIANO/PERCUSSIONADDITIONS
piano:
After the overtone chord of high D b has been established ( I ), at any moment of the piece the Pno. may add playing trills and fast scales and permutations within the keys, notated below, each of them once in f, two or three times in p, durations between 1 1/2 sec. and approx. 8 sec. s trive for variety
percussion:
After the overtone chord of high D b has been established ( I ), at any moment of the piece the perc. may add tremoli with wood or metal sounds. Each of them once in mmf, once or two times in ppp , or pp , durations between 2 1/2 sec. and approx. 12 sec. No repetition of similar sounds in the same dynamic at all.
FINALE
A 3rd cataclysmic interruption begins, again started by the percussion, performing a sound different from the 1st cataclysmic interruption.
The other instruments react immediately, all in fff : Fl., B.Cl. and Tbn.: overtone gliss. until the highest possible register, after 3 to 5 times: multiphonics ad lib., (Tbn.: “Spaltklang” or dissonant intervals sung into the instrument) a lways very loud and strongly vibrating Gtr.: arpeggio sul pont. over all open strings, up and down, also tremoli Pno.: gliss. up, starting from middle range, after some seconds add clusters ad lib. within all the instrument’s range Vln. Vla., Vc.: double stops gliss. up in 3/4-tones, after 2 to 4 sec.: arpeggios over the 4 open strings, later also tremoli (on 1 or 2 strings) Cb.: arpegg ios over the 4 open strings, later also tremoli (on 1 or 2 strings)
E ach instrument continously plays a strong fff always as loud as possible.
Perc. different sounds, wood or membrane
(after the initial sound)
fff
20 sec. or more
after approx. 12 sec. the piano starts playing the pitches of the overtone-chord on high D
Pno. (sound, approx.) Pno. (keys)
play the B' less prominent than the lower partials - but help the Vln. to tune the I string
sustain the pedal until the end of the piece
tune the strings within the harmonic series of high D 2 Â 3 ‰ 4 „ 5 ‚ 7 · 9 try to tune the strings in fff
Gtr. ° & Ê
Vln. &
tune the strings within the harmonic series of high D IV 5 III 8 12 II 13 I try to tune the strings in fff
tune the strings within the harmonic series of high D IV 3 III 5 II 7 11 I try to tune the strings in fff
Vla. B
tune the strings within the harmonic series of high D IV III II I try to tune the strings in fff
Vc. ?
tune the strings within the harmonic series of high D IV III II I try to tune the strings in fff
Cb. ¢ ?
B. Cl.
Tbn.
Perc.
Pno. (sound, approx.)
Pno. (keys)
Gtr.
Vln.
Vla.
Vc.
Cb.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, and avoiding unisons with B.Cl. or Tbn.
general dynamic: p
slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, and avoiding unisons with Fl. or Tbn.
general dynamic: p slow cresc. and decresc. ad lib.
Choose pitches from these overtones and play them in very precise intonation, holding them as long as comfortably possible, and avoiding unisons with Fl. or B.Cl.
?
30 sec. or more
general dynamic: p slow cresc. and decresc. ad lib.
pp Timpani ?
mp & p & “”
30 sec. or more
30 sec. or more
tune the instruments precisely in the overtone-chord’s intonation
add these pitches casualy
perform these partials very clear and in the foreground help the other instruments to find their intonation
add these pitches casualy
perform these partials very clear and in the foreground help the other instruments to find their intonations
tune the strings perfectly during the decresc. and later during the p p
tune the strings perfectly during the decresc. and later during the p p
tune the strings perfectly during the decresc. and later during the p p
tune the strings perfectly during the decresc. and later during the p p
tune the strings perfectly during the decresc. and later during the p p wnw# wnw# wnw# wnw#
Fl., B.Cl., Tbn.:
Change the colors of the tones, allow cresc./decresc. , allow breaks Fl.: also play higher pitches, copying exactly the pitch of a harmonic.
Perc.:
Make the 4 membranes vibrate (tremoli, fast pulsations over all 4 instruments) sometimes play long, continuous sounds in the middle and lower register, between pp and mf. Tam-tam tremolo
Tam-tam arco
Cymbal tremolo
Cymbal arco
Rainstick
Güiro
Low Temple Block tremolo e tc.
Pno.:
Create a solid basis for the ensemble’s sound, the fundamental and the 2nd partial must always be perceivable; hold the pedal throughout
Gtr.:
Create a solid basis for the ensemble’s sound with all 6 strings sometimes play harmonics ad lib. sometimes play chords with all the 6 open strings — sul pont. and f in cases where Vln., Vla., Vc. and Cb. play the same “ special ” (see below): try to join them a lways retune, if necessary
Vln., Vla., Vc. Cb.:
Continuously play the strings (single strings or two strings at the same time) in long, slow changes of dynamics and color (to sul pont. , sul tasto ) also: repetitions, rit. , accel. , tremolo. rarely: nat. harmonics always retune, if necessary
reduction 1:
Cb. plays III. string Vc. plays IV. string and II. string - if possible, also play both at the same time a ll other instrument fade out. Piano keeps the sound in the pedal (and may carefully refresh these sounds) Fl.: play whispertones on C', within 3 to 9 sec., long breaks in between
reduction 2:
Each instrument plays the lowest pitch of the overtone, which can be performed on this instrument. pppp Tbn.: slaps, stochastic, distance between two slaps: 4 to 11 sec. (once or twice: play 3 to 5 slaps irregularly i n intervals of less than 2 sec.)
( reduction 1 and reduction 2: each of them must be performed once)
Vln., Vla., Vc., Cb specials:
a.) play pizz. on the 4 open strings, accel. and rit. , vary the dynamics b.) play harmonics and gradually get higher and higher. fpossibile
c.) play harmonics fast: either in harmonic gliss. or stochastic; change the strings (sometimes quickly) d.) p lay “virtuoso, soli” on the 4 open strings: tremoli, tremoli sul pont (or estremamente sul pont.), transitions from sustained sounds to tremolo and back, transitions from ord. to sul pont. and to estremamente sul pont. crescendi to ff and decrescendi back to p — sometimes allow these crescendi/decescendi plenty of time or do them fast e.)
í ™ ™
IV III II I II III ™î ™ repeat several times, sometimes molto accel. and molto rit.
These V ln., Vla., Vc., Cb. specials may be performed individually, as part of a “polyphonic” network in cases where a second instrument performs the same "special" , the other 2 instruments have to follow and create a “ tutti ” [example: Vln. plays the pizz. of a.), than the Cb. also starts with pizz. — now the Vla. and the Vc. have to play pizz. too] if one of the instruments leaves the “ tutti ”, the o thers leave too. One time during the finale each of these “ tutti ” should be performed for longer — c.) at least for 40 sec., d.) at least for 90 sec. Gtr: joins the other string instruments, Pno. keeps the solid harmonic background ( ppp) Fl., B.Cl., Tbn., Perc: reduce intensity of sounds to pp, some rare sudden outbreaks into mf or f are possible.
ALLOW THIS OVERTONE-CHORD ENOUGH TIME — AT LEAST 12 MIN.!
all instruments
° ¢ ì
always overtone-chord of high D
ca. 25 sec. f U
ca. 20 sec. pp U
ca. 15 sec. f U
ca. 12 sec. U pp
ca. 15 sec.
all instruments
° ¢ ì
fff (all instruments play their parts of the overtone-chord as strong, as loud, and as intense as possible) at least 45 sec.
very gradually, the light comes back the brighter the light, the softer the music decrescendo al niente at least 120 sec.
New York, July 12 2018
