The Angle of Darkness

‫زاویه ی ظلی‬ “The Angle of Darkness”

a scene by Daniel Reza Sabzghabaei + Mina Salehpour

(2020)

N: i close my eyes i open my mouth i remember: They gave us dolls - puppets without faces Dolls without eyes, dolls without mouths D: It's forbidden for us to paint faces only God can do that only He paints faces he Paints all faces He...

N: And we?

We Looked at the dolls without a face And we?

We Did not find any names for them.

So we did not find any names for them.

Because we did not recognize them.

We did not recognize ourselves in them so they were puppets and they had to stay dolls.

Dolls without faces.

D: It's forbidden for us to paint faces only God can do that only He paints faces he Paint all faces He...

N: And we?

We Looked at The faceless and did not recognize us in them.

So they became meaningless.

Their meaning, lost.

And we, our reflection.

Because we are not allowed to paint our faces.

To show our faces.

To have faces…

D+N: Our names only placeholders.

Labels on boxes of the faceless.

Chosen randomly.

From a series of meaningless names.

The Angle of Darkness

by Mina Salehpour and Daniel Reza Sabzghabaei [after a story by an anonymous Persian woman]

Dolls without faces.

People without names.

Lost – their meaning.

Lost – their being.

Lost – their faces.

Loosing themselves.

ALL DOLLS: It's forbidden for us to paint faces only God can do that only He paints faces he Paint all faces He...

N: She paints faces.

[Narrator breaks free of masks and removes masks and coverings from wind players and dolls. She then

‫آزادی‬

paints across their faces. A word in Farsi which is special as all of the letters do not connect, they stand apart freely: this word is pronounced “Ā-zā-dī” and is the word for “freedom” in English.]

[The five form the word freedom, separate but together as one entity, each with their own identity.]

[The five drift back into the narrator’s consciousness as the memory fades]

commissioned by Guerilla Opera

‫زاویه ی ظلی‬

Transposed Score

‫مینا صالح‌پور‬ Mina Salehpour

s ñ = full tone

ó

*after a story by an anonymous Persian woman

Clarinet in B b (Veil I)

"The Angle of Darkness" = lips near closed = half open = wide open

= half air/half tone = full air

Drowning | Intense and focused œ = 51 U

U̇

U

˙ & n n ˙˙ p intense and focused

n n ˙˙ ° p

quiet dynamic which makes the dyads speak comfortably and as consistently as possile

Doll 1 (Left)

∑

& extremely breathy aspirate onset

Narrator (Center)

Doll II (Right)

Tenor Sax (Veil II)

Percussion (Back-Center)

B b Cl.

U

& n n ˙˙ ( p)

5

U

& Œ

Nar. (C)

Perc.

I

[ɑ:]

U

G

Ó

U

n ˙˙

U

b ˙˙

U

Ó

U

° n¿

G

p ˙

[ɑ:]

I

∑

∑ U

p

ñ

G

˙

[ɑ:]

I

n n ˙˙ ˙˙

U̇

˙

√ p ° U̇ (-31¢) j ¿ Œ G ñ

&

n˙ close

n˙

s

p

Ó ˙˙

˙˙

U

n ˙˙

P U n‚ n‚ n ˙ñ

˙˙

ϖ

ϖ

ϖ

‚

‚

‚

‚

overtone singing

ñ

p

breathy whistle coloring narrator

Œ

U

n n ˙˙ ( p)

U

n n ˙˙

ñ

U¿

œ

˙˙

U

U

# n ˙˙

˙˙

∑ Ó

Ó

Ó Ó

U ° Œ n¿

U

U

n ˙˙

U

b ˙˙

[ɑ:]

I

U

n ˙˙

ñ

G

˙

∑ n n ˙˙

p

maybe quiet roll?

Ó ˙ close

˙˙ Œ

U

√ ° #¿

G

∑ U

Ó

Ó

Œ

˙˙

˙˙

˙˙

œœ

˙˙

˙˙

pU̇

X

°

√ °9 F #U· rich

U

°

ñ

°

G

WHISTLED

˙

my

°

G

œœ ˙˙

°

G

(sss)

U

n n ˙˙

°

G

ñ

WHISTLED

(breathe if needed)

U¿

(zzz)

U œ

G

°

vibr. ~~~~~~~ U ‚ œ ¿

ñ œñ œñ œñ œñ œñ

° n¿

œœ

ϖ

close

˙˙

WHISTLED

U

ϖ

WHISTLED

my

√ p ° U̇ (-31¢) j ¿ Œ G ñ

° nU¿G œñ

U

œœ

∑

WHISTLED

√ P jU· °7 (-31¢)

˙

breathy whistle coloring narrator

Ó

Œ

U̇

˙˙

∑

∑

˙˙

U ° Œ n¿

°

U

n n ˙˙

∑

Ó

∑ U

¿

U̇

n n ˙˙

U

& & n n ˙˙

œ

G

∑

& Ó

5

[ɑ:]

n¿

U

n n ˙˙

5

D 2 (R)

U

U

U

&

5

U

˙ & n n ˙˙ π within the clarinet sound

5

D 1 (L)

ñ

U

? &

p

°

‫دانیال رضا سبزقبایی‬ Daniel Reza Sabzghabaei

√ ° n¿

G

˙

s

eyes

p

ñ

U̇

WHISTLED

U

˙˙

X

G

44 44 4 4

(sss)

U X

°

G

U

˙˙

°

44 44

2 B b Cl.

(q = 51) 4 &4 ° b¿

& 44 Œ

10

D 1 (L)

∑

10

Oh

p b‚ ˙

b‚

Œ

° =¿

4 &4 Ó

10

Nar. (C)

4 &4 Œ

D 2 (R)

10

T. Sx.

b¿

4 U

&4 bœ π 4 &4 Œ

& 32

13

n· ˙

œ ≤

arco

nœ

& 32

Œ

3 &2

‚ œ

13

Nar. (C)

& 32

Œ

13

>j bœ

& 32

Perc.

,

( )

œ ‚

,

( )

s

3

∏

,

( )

Œ

¿ ¿ J-

>j bœ

b œ-

-

s

s

Œ

P

≠

intense and audible

(inhale)

œ

n· ˙

,

-

œ œ œœœ œœ-

˙ ˙

œ œ œœœ œœ-

3œ :2œ

œ œ œ œ œœœ œ- œœœ œœ- œ-

œ œ œœœ œœ-

n‚

p 3 n ϖ 2

ϖ

42 Œ ( f) >' f ‰.

42

U

Œ

U

Œ

32

sim.

n˙

#‚

°3

# œ- n œ¯ œ- n œ .

5

P n œ- n œ< œ- n œ

ϖ

ϖ

‚ ˙

‚

‚ ˙

‚

ϖ

ϖ

ϖ

ϖ

· ˙

32 3 2 3 2

· ˙

n nn www Œ

Suddenly faster q = 75

3 2

5

ϖ

‰.

,

( )

Œ

œ-

œ- ˙

n œ-

32 3 2

œ nœ 44 - n œ- n œ n œn œ- n œ- n œ- - n œn œ # œ - # œ # œ- # œ - # œ #œ #œ #œ #œ #œ nœ nœ f nœ 3 f 44 b ˙b ˙[ɑ:] 3

3

ƒ sp breathy, low speaking > with hushed intensity 2 ≠ J ‰U 4 4 4 (gasp) xñ I remember.

3

∑

like lightning

>'

( )

°3

F 3 n‚ 2 n˙

WHISTLED

3 n Ów .

2 n w. n w- . p

5

Face forward Eyes WIDE

WHISTLED

b˙ gently

s

,

( )

nœ bœ bœ ‰ nœ

œ

ϖ

WHISTLED

· ˙

œ æ

Πϖ

32

° n ¿G

mouth

‚ ˙

# œ- n œ¯ œ- n œ- œ # œ

Ó

s

my

b‚

WHISTLED

bœ 3 & 2 # # n œœœ n n œœn œ-

13

o - pen

Ó

b œ-

13

T. Sx.

œ- n œ

· ˙

°3

≈

(th)

D 2 (R)

I

b‚ ˙

˙ p

n œ- ..

13

D 1 (L)

b‚

P n œ œ b œ< ñ

bring out F but trying to keep a rich spectral multiphonic sound

bring out harmonic spectra

Ped.

B b Cl.

G

‚

‚ ˙

Oh

10

Perc.

b‚

b‚ ˙

(aah)

p b‚ ˙

°

10

3 2

∑

b ˙-

f f 24 ‰ . UŒ ? 44 n ˙-

[ɑ:]

42 Œ

( f)

U

Œ

œ œæ (choke) U œœ 2 œœœ œ- ¿ 4 Œ Œ œ- æ sus. cymb ( f)

44 4 4

b˙. frich and colorful n œF

bœ

3

b‚ œ bœ

bœ 3

nœ nœ nœ - nœ # œ- # œ- n œ n œ # œ- # œ- n œ n œ # œ- n œ # œ- n œ # œ- n œ 3 3

# œ-

nœ

3

,

( )

B b Cl.

& n œ- # œ # œ- # œ n œ- # œ n œn œ.

16

3

n œ-

3

16

D 1 (L)

& n˙ -

n ˙-

b ˙-

n ˙-

?

16

D 2 (R)

,

3 3 3 n œœn œn œ- n œ- n œn œ- n œ n œ n œ n œ n œ nœ # œ # œ # œ # œ # œ n œ - # œ # œ- # œ n œ- # œ - n œ # œ - # œ n œ- # œ - # œ # œ - n œ n œ- # œ # œ- # œ n œ- # œ - n œ .

3 3

3

( )

b ˙- .

b œ-

‰

ad lib. n ˙- . falsetto (could maybe be 8vb w/ a slide down to it from the E)

[ɑ:]

n œ-

‰

[ɑ:]

b n ·· ˙

‚‚ œ

splitting different partials

& A· A˙

16

T. Sx.

bœ

Perc.

(scoop)

B b Cl.

18

&

Y

œ

7

nœ nœ

#œ #œ #œ

n œ.

18

D 1 (L)

& bœ ? n œ-

18

D 2 (R)

3

& # œ- n œ n œ- n œ # œ- # œ n œ n œ # œ n œ # œ n œ # œ n œ - nœ - n œ3

16

3

nœ

7

nœ nœ

# œ # œ- # œ

n œ.

nœ

bœ

nœ nœ # œ- # œ- n œ n œ- # œ3

7

nœ nœ #œ #œ

#œ nœ .

nœ

b œ-

n œ-

n œ-

b œ-

b œ-

n œ-

bœ

7

nœ nœ #œ - #œ #œ

n œ.

n b ·· ˙

3

nœ

nœ

3

# œ- n œ n œ # œ- n œ # œ- n œ # œ- n œ -

œ

7

nœ nœ #œ #œ

#œ nœ .

œ

bœ

j ‚‚ œ

‰

bœ n œ nœ # œ- # œ- n œ n œ # œ- # œ3

nœ

3

7

œœ œœœ

œ.

œ

7

œœ œœœ

b ˙- .

œ

œ

‰

‰ bœ [ɑ:]

n ˙- .

‰

nœ [ɑ:]

18

T. Sx.

&

b˙ 7

18

Perc.

&

n œ- # œ

nœ #œ nœ nœ

bœ

7

bœ

b· ˙

7

bœ

7

nœ nœ nœ nœ #œ nœ nœ n œ # œ- n œ # œ n œ # œ- n œ # œ n œn œn œ-

bœ

b ·· ˙ 7

n œ- # œ

nœ #œ nœ nœ

bœ

n b ·· ˙

7

œ- œ

œ œœœ

œ

œ Aœ œ n n œœ œ œœ #œ œ- œ æ 7

4

rit. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ timbre crescendo n˙. +œ dœ #œ ˙ ˙ Y 5 2 4 4 double

B b Cl.

20

&

( f)

nœ -

n œ-

nœ

#œ

n œ-

20

D 1 (L)

&

D 2 (R)

3

b œ-

n œ-

?

N A ‚‚ & Aœ bœ

20

Perc.

&

f

n œ-

# œ-

nœ

# œ-

nœ

n œ-

n œ- b ˙

b œ-

n œ- n ˙

B. Cl.

n ‚‚ ‚‚ ˙.

-

nœ nœ nœ - # œ-

nœ

∑

&‰ ?

24

D 2 (R)

‰

Perc.

–- –p

44

-¬

44

place foil on vibe bars

&

-¬

¬-

44

∑

&

24

-– –p

warm

Œ

–- Bass Drum sP

¬-

bœ

∑

bœ >

q

·.

42

Ó

Œ ˙. ˙˙ .. ˙. æ

œ œœ œ æ

growl

·

timbre crescendo

j bœ

2 n˙ œ- b œ- œ œ n œ 4 ˙ > ƒ 42

( fff)

∑

= 39 ∑

-¬ .

43

¬- .

44

44 44

æ 43 n ¬ b ¬ b ¬ n ¬ 44 b¬ n∏breathy, anemic, more air than pitch subtone meandering

43

5 4

close vent whole w/ toe or tack -will raise pitch by about a quarter-tone

43

42 ˙

˙.

‚

- sus. cymb > n >œ . j – ¿æ. 5 bn œœ b b œœ ..

4 n # œœ n œ . n # n œœœ > LV LV ƒ æ fÍ

(h + e)

flz.

∑

œ

low tom

low lip+tongue rumbling (pool saliva in front of mouth+suck in air)

24

T. Sx.

44

Œ

ƒ > b‚. n‚ 54

growl

[ɑ:]

fat and dense

˙.

43

∑

Œ

ƒ senza vibr.

54 b >œ n œ .

[ɑ:]

explore overtone dyad multiphonics from Bb

# œ-

ff

senza vibr.

˙.

low lip+tongue rumbling (pool saliva in front of mouth+suck in air)

24

D 1 (L)

44

to Bass Clarinet (prepared w/ foil)

&

˙.

3

Slow, deep, encompassing 24

double

3

n bb b

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~ Œ n˙. #œ #œ yœ -

,

( )

3

20

T. Sx.

#œ

b œ-

b œ-

20

# œ # œ- # œ

n œ-

n œ-

∑

˙ °

-¬

¬-

˙ P ‰ -– –- ‰

˙

œ.

‰

˙ °

˙ P

∑

œ.

≈

b œP

lips in "whistle" position -aim for intermittent whistles w/ low grumbles

Œ

Œ

Œ

Œ

-– ¬P –- ¬P

-¬

-¬

∑

-¬

-–

-–

lips in "whistle" position -aim for intermittent whistles w/ low grumbles

¬-

¬-

¬-

–-

–-

freely incorporating pitches into subtone meandering -but only where indicated and for as long as indicated -coloring the vibe timbre

n–

fast subtone meandering with fluttertongue on these pitches -in any order, and breathing freely when needed

44

˙

Ó

#–

n–

#–

≤ ≤ ≤ nœ n œ nœ Œ ‰ nœ. nœ. n œ . . nœ p ∏ sim.

P ≤

coloring bowed pitches w/ gentle attacks

45

45 45

45 45

5

& 45

44

31

B. Cl.

œ.

˙

& 45 Ó

≈

-̇ P

D 1 (L)

–-

?5 Ó 4

–-

–-

D 2 (R)

-– n¬

5 n&4

31

T. Sx.

-–

n¬ #¬

–-

4 4

31

-– ¬

4 4

œ . b œP

˙

44

31

≈

-– b¬

–-

–-

-– n¬

45

–-

-–

5 4

-–

n¬

45

# ¬ 45

flz.

˙.

æ≈ œ.

œ

-–

-–

‰

Ó

≈ œ. f -

F

Ó

–-

–-

-–

n >‚ J

2 4

¬

2 4 (F )

B. Cl.

3 &8

b œ- .

P

P darker, warmer j 45 n œ˙.

& 38 Œ

35

D 1 (L)

Nar. (C)

∑

? 38 Œ

P darker, warmer . n œ45 ˙ J

They gave us

35

D 2 (R)

& 38 Œ

35

Perc.

Hmm

& 38 ‰ P b œ-

35

T. Sx.

p matter-of-factly 54 Œ ‰ n œ # œ n œ b œ

& 38

35

45

˙.

≤ ≈ n n œœ 45 œœ Ó p P

jŒ b œ- œ œ œ œ œ œ 3

œ- b œ . œ [ɑ:]

Hmm

∑

3

3

(zzz)

f

œ

dolls

n œ- b œ .

P P

¿

Y.

¿ ¿

2 4 Œ

Œ

f P b ˙ b œ b œ ‰ nœ

[ɑ:]

(zzz)

3

3

3

∑

n˙ Œ b n œœ b b œ-œ p

!–

gently

LV

( p)

!–

!–

!–

rub snare w/ nails -circular motion, in rhythm

!–

P n œ- # œ . [ɑ:]

n œ- n œ .

P Ó

( f)

[eɪ]

[ʌ]

us

[ɑ:]

44

dolls

œ #˙ J

œ œ J

[eɪ]

[ʌ]

Œ

44

[ɑ:]

# ˙-

˙

4 4 44

j œ n˙

They gave

b œ- œ œ œ œ œ œ JŒ

œ- b œ . œ

b ˙-

˙

(sss)

3 8

n >œ Uœ n œ. œ. n œ n œ 3 8 5 f P

j œ œ

emphasizing whistles w/ mouth closing gradually

3 8

forward, intense

soaring

b œ- n œ . [ɑ:]

U‚

38

forward, intense

∑

3

Faster | Focused and intense q = 54 3 5 j 4 æ ˙. œ œ œ ( f)

bright

release with sucking motion

≤ nœ bœ 5 ≤ . n œ n œ≤ . n œ ≤ n œ ≤ n œ ≈ ≈ 4 b œ≤ . b œ ≤ n œ b œ Œ 5 b œ≤ b œ ≤ n œ ≤ n œ b œ≤ ≤ . b œ Œ & 4 nœ ‰ 4 4 n œ œ bœ nœ. nœ œ nœ. bœ. nœ

35

38

bright

≈ -– Hmm ƒ closefl mouth for hard

-–

. #¬. n¬ b¬

b¬. n¬.

U

≈ nœ nœ. œ > –- Hmm fl ƒ

bringing out whistles as mouth closes

F

remove plug from vent

œ

42

31

Perc.

U

close mouth for hard release with sucking motion

bringing out whistles as mouth closes

‰

42

44

( f) 5 ≤ F #œ 4 nœ œ #œ nœ 4 nœ œ ‰n.œ R ..

6

4 &4

B. Cl.

3

& 44

D 1 (L)

3

n œ-

(zzz)

œ

3

œ

œ

œ molto

¿

4 X &4

39

Nar. (C)

¿

œ ‰ fl

nœ

pup

? 44 # œ-

D 2 (R)

œ 3

œ

œ

œ

(zzz)

& 44 & 44

& Œ

42

D 1 (L)

&

p

& Œ

42

D 2 (R)

–

!

– æ

[ʌ]

P b œ- b œ n œ b ˙

œ.

Dolls with - out eyes

œ

œ.

pets

œ

Hmm

U b œ. b œ. b œ- b œ b œ œ

n œ¯

5 4

∑

‰

45

∑

#œ

[ɛ]

[ɪ]

3

[aʊ]

[eɪ]

fa

-

ces.

f

œ n œ b œ n œ Uœ 3

[aʊ]

[eɪ]

œ-

n œ-

3

U w/o instrument

j nœ œ f f

bœ bœ

Dolls with - out mouths

bœ nœ

Hmm

≈ ¿

# œœnœ

(sss)

with intensity

45 ¿

X.

45

sp

∑

a tempo

rit.

(# œ )

n œF F # œ-

mouths

F 44 ‰ b œ- b œ- N œ n œ - #œ œ #œ.

P ≈ b ˙44

f

#Uœ

∑

44 P ≈ b ˙-

∑

with - out

3

U

45

bœ œ bœ nœ

3

3

f f

∑

œ

‰

[ɪ]

+ >¿ close high-hat ‰ Ó. f precisely and abruptly 44

π coloring the narrator

œ

3

-

#œ

n ˙p

!

bœ nœ nœ b˙

p 42 ? bœ bœ. ˙ Hmm

–

!

3

b œ- n œ . ˙

Hmm

Nar. (C)

–

!

( p)

42

B. Cl.

–

!

39

Perc.

œ̆ ‰

∑

39

T. Sx.

3

n œ.

p

molto 39

[ɛ]

p ˘¿ ‰ b œ.

#œ

œ

nœ

œ

[ʌ]

(sss)

n œ-

U or maybe just rit.? 5 j ‰ 4

3

3

delicately

3

3

# œ-

# ˙p p

molto 39

a tempo

accel.

∑

39

Fnœ

mouths

rit.

#œ <

œ-

œ.

˙

nœ <

œ- n œ .

˙

mouths

mouths

œ- # œ .

5 4 45

≈ # ˙- . # œ¯

45

˙

mouths

b œ- n œ œ- n œ # œ- œ # œ . ≈ > 44 ¿ ≈ n œ- # œ .

X œ & X. # œ- œ F (sss) sp ( f) maybe not pedal? ! ! ! ! ! ! ! ! ! >– 42 – – – – – – – – – b œ n œ b œ >œ >œ n >œ œ œ b œ b œ A œ b >œ . ‰ b œ n œ b œ 4 b œ n œ nœ bœ æ Œ Ó bœ bœ & 4 n # œœ b œ b œ b œ n œ n œ 3 3 3 3 3 p fP ( f) F

45

coloring the narrator

42

T. Sx.

Perc.

45 45

7

& 45

45

B. Cl.

N˙.

œ f œ

bright and forward

b œ-

œ

[oʊ]

[u:]

[ð]

f n œ-

5 & 4 aœ

45

D 2 (R)

chewing each syllable of "mouths"

[ɑ:]

œ

œ

[oʊ]

[u:]

f n œ-

bright and forward

& 45 a ˙ .

45

T. Sx.

‰ b 5 œ &4 f >

45

Perc.

B. Cl.

œ

nœ

œ

#œ

5 8

[z]

œ

œ

chewing each syllable of "mouths"

[ɑ:]

? 45 a œ

45

œ

f

chewing each syllable of "mouths"

[ɑ:]

Nar. (C)

85

rit.

5 & 4 Nœ

45

D 1 (L)

Slower q = 45

œ

3

[oʊ]

[u:]

#œ

[ð]

[z]

œ f

n œ-

85 85

bœ

œœæ .. œœ ..

n œ b œ b œ n œ b œ œ œ œ n œ œ œ œ b œ œ œ œ n œ œ œ œ b œ œ œ œ # n œœæ œ œ œ bœ œ œ œ œ œJ # # œœ 3 3 3 > > > > > >

5 8

≈

( ff)

5 8

Suddenly very precise and brash q = 65 to Clarinet 3 3 ≈ d œ¯ œ̄ œ̄ >œ >œ >œ >œ >œ >œ œ- œ D >œ . >œ . D >œ . d ˘œ .

D >œ . >œ . D >œ . d ˘œ . d œ- .

D >œ . D >œ . >œ . d >œ .

46 d œ¯ œ œ . d œ¯ œ œ .

5 12 5 12 38 12 9 & 85 16 32 16 32 32 16 3 3 molto molto sƒ sƒ ƒp sƒ ƒ sƒ ƒ Head UP sƒ ƒp sƒ 3 3 3 3 5 5 12 5 12 3 12 9 . . . . b œ œ b œ œ b œ . n œ . 16 n œ œ œ . 32 b œ . n œ . 8 n œ . 32 b œ . b œ . œ . n œ . 16 & 8 ¿ n œ œ œ œ œ œ œ œ œ œ- œ 16 n œ œ œ . 32 < < > > > fl > > > fl > >> > fl < < < > > > > > > (sss) It is for - bid - den for us to paint fa - ces on - ly God can do that on - ly He paints fac - es He paints all fac - es molto

molto

46

D 1 (L)

ƒ n œ¯ œ̄ œ̄ >œ >œ >œ >œ >œ >œ œ- œ n œ¯ œ œ .

46 ? 85 ˘¿ 5 12 16 32 Head UP

D 2 (R)

molto

3

3

sƒ >falsetto>ad lib. b œ . œ . b >œ . n ˘œ .

3

(sss) It is for - bid - den for us to paint fa - ces

on - ly

God can

do that

molto

5 16

n œ¯ œ œ .

3

on - ly

12 32

sƒ b >œ . >œ . b >œ . n ˘œ .

He paints fac - es

38

ƒp n œ- .

He

12 32

sƒ b >œ . n >œ . >œ . n >œ .

paints all fa - ces

9 16

3 3 ¯ œ̄ œ̄ >œ >œ >œ >œ >œ >œ œ- œ ≈ d œ d œ¯ œ œ . 12 D >œ . >œ . D >œ . d ˘œ . 5 d œ¯ œ œ . 12 d >œ . >œ . D >œ . d ˘œ . 3 d œ- . 12 d >œ . d >œ . >œ . d >œ . 9 5 5 &8 16 32 16 32 8 32 16 3 3 ƒ sƒ molto molto ƒp sƒ sƒ

46

T. Sx.

5 - -- - > > > >> > 5 ¯ 12 ˘ ˘ ˘ ˘ 5 ¯ 12 ˘ ˘ ˘ ˘ 3 - 12 ˘ ˘ ˘ > 9 & 8 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 16 ¿ æ¿ æ¿ . 32 ¿ . ¿ . ¿ . ¿ . 16 ¿ æ¿ æ¿ . 32 ¿ . ¿ . ¿ . ¿ . 8 æ¿ . 32 ¿ . ¿ . ¿ . ¿ . 16 3 3 S 3 3 Í f S S Í Í

46

Perc.

snare drum w/ sticks (snares on)

8

25" B b Cl.

9 & 16 9 ˘¿ & 16 .

> J.

53

D 1 (L)

(sss)

D 2 (R)

Í n œ- .

(gasp)

,

≈.

Slower, stickier 2 &4 p 2 &4

56

D 1 (L)

7 8

from air

U ∑

slow snare circles w/ nails at about

begin after voice gliss

n n œ-œ .. sF

q

= 50

(tongue far back) very dark and swallowed

n ˙-

& 42 Œ

56

78

œ

And

We?

!–

rubato

4 4

œ.

¬-

œ

≈ nœ

mmm

freely, in no hurry

(h)

We

44

œ.

wa

œ-

looked

p very dark and swallowed ? 42 n ˙78 œ œ œ

[u:]

38

nœ

≈ ≈

[u:]

38 n œ

mmm

3 8

– = 40bpm per circle

38

œ

78 ˙ & 42 n ¿ œ ° ∏ breathy, coloring hums

œ.

a tempo ˙

j œ

wa

œ œ at

the

44 # œ

flowing

#˙

j #œ

œ.

mmm

wa

œ 3œ œ # œ

Dolls with - out

a

Hmm

56

T. Sx.

& 42

56

Perc.

wo

mmm

wo

from air

∑

78 Œ

œ œ

≈ n n n œœœ ...

P

œœœ ...

mmm

44 œ

(tongue far forward) very bright and forward

œ.

mmm

44 ˙ ˙˙ 44 ˙

∑

42

Œ

42

Œ

42

∑

2 4 42

n n œ-œ .. p

45

˙.

¿

(sss)

˙

¿ ¿ ¿ ¿

45 ¿ ‰ . Œ Œ Ó

˙

face

(sss)

(tongue far forward) very bright and forward

œ Nœ œ wo

mmm

5 4

(tongue far back)

56

D 2 (R)

38

( p) gentle pink-noise underpinning

œ

P focused ‰ n œ 78 n œ

U

n n œœ

slow gliss downward w/ gradually modifying to a hmmm

[oʊ]

n¿ œ ˙ ∏ breathy, coloring hums °

Hmm

Nar. (C)

[oʊ]

œ

could come later if necessary

B b Cl.

U

n n œœ

slow gliss downward w/ gradually modifying to a hmmm

in no hurry

9 ˘¿ . & 16

56

U

n n œœ

∑

53

Perc.

œ

U

# œœ ( p)

He...

53

T. Sx.

Clarinet

begin when situated

Í n œ- .

,

in no hurry

(sss)

Œ

He...

> J.

? 16 9 ˘¿ .

9 & 16

,

in no hurry

(gasp)

53

U

∑

53

quiet volume which makes each dyad speak best

#œ

mmm

wo

#˙

# œ- . ≈ n # n œœœ ...

P

œœœ œ

œ

hmm

45 ¿

(sss)

45 ˙ . ˙˙ ..

54 ˙˙ ..

2 4

2 ‰ 4 42

¿ ¿ ¿ ¿ ‰ 42 ˙

˙˙˙ ˙

42 42

9 B b Cl.

& 42 ‰ n ¿ . °

44 ˙ ∏

60

œ

œ

n œ- n œ œ b œ

P

n ˙-

n˙

43

molto

dark

& 42

60

D 1 (L)

bright

p

44

n ˙-

Hmm

p b œ-

& 42 Œ

60

Nar. (C)

And

wa

œ

mmm

œ

œ

wa

44 b œ-

‰

44 œ

bœ

œ

wo

mmm

we

bœ œ bœ we did not

œ

mmm

bœ find

œ

b˙

n˙

n ˙-

molto

wo

F n œ- œ œ b œ an - y names for

b˙

dark

D 2 (R)

bright

p60 b ? 42 ˙

Hmm

& 42 ‰ n ¿ . °

60

T. Sx.

& 42

∑

60

Perc.

B b Cl.

5 &4

64

44 ˙ . ∏ 44 Œ

œ

f

œ

b˙

wo

mmm

wo

n˙

molto

p

# n # ˙˙˙- ...

molto

43

a tempo œ nœ œdœ œbœ œnœ œ dœ

5

[e]

sp n ˙-

sp b ˙nœ

sp

5

nœ nœ nœ b b b œœœ P

œ.

[e]

Nar. (C)

& 45

œ nœ œ nœ œ dœ œ bœ œ

[i:]

5 f ‰ n œ b œ n œ b œA œn œ œ

gradually exploring various vowels to emphasize different overtones

˙

œ œ

[oʊ]

[u:]

f ? 5 bœ.

4 [e]

T. Sx.

Perc.

œ.

≈ 5 4

LV

n˙ ˙ p p

45

Π44

p

dark

≈ bœnœ œ œ œ -

œ.

& 45 b ˙ .

F b n œœ- 3 any order 64 b ˙æ & 45 J b n n ˙˙˙ b b œœ sP f

Π44

(mmm)

bright 3

for them

64

64

≈ 5 4

sus. cymbal

b˙ ˙

nœ œ

colorful

bœ œ

them

n˙ ˙

(mmm)

bright

D 2 (R)

œ.

dark

f 5 & 4 nœ.

64

≈ 45

bn œœ ¿ æ

# œbœ n œ

accel.

bright

64

D 1 (L)

œ.

Ÿ~~~~~~~~~~~~~~~~ œ .. ( n œ ) ≈ 45

[e]

43

www

p

sp n ˙-

dark

43

b w-

bœ

rit. œ- n œ b œ œ n œ- ˙

n˙

œ

sp

43

them

≈ 45

dark

43

molto

œ

n œ- b œ œ n œ n œ ..

p

Π44

dark

œ.

˙

[i:]

[oʊ]

œ œ [u:]

colorful

n œ- b œ œ œ n œ- œ n œ ˙ f 5

˙æ ˙

pick up bass drum beater

bœ œ

gradually exploring various vowels to emphasize different overtones

(mmm)

œ dœ ˙ Œ

bass drum w/ beater

b˙ ˙

Ó

–P round and warm

#˙ Œ

(maybe remove foil here?)

œ +œ ˙ ∑

n˙ ˙ p

Π44 Π44

3 - bœ œ 4 nœ nœ bœ bœ nœ 4 n ˙ nb b ˙˙˙ π P

linger

10 B b Cl.

Faster | fluid and meandering q = 85

& 44

68

Ó

& 44

Œ b˙.

D 1 (L)

4 &4

Ó

Hmm

68

Nar. (C)

? 44

T. Sx.

& 44

Perc.

n œ- .

b œ-

we

n œ mazy and windingn œ 3

D 1 (L)

- > œ n œ n œ- b œ 42 n œ J

3

an - y names for

œ

them.

2 4

bœ

bœ

nœ

4 4 bœ

3

n >œ

nœ

f intense and rich b >œ œ.

43

3 œ.

4

f

bœ

42 b œ

nœ

& 43 n œ .

? 43

œ

b‚

42

Hmm

3 3œ nœ.+œ.nœ œ ≈ bœ &4 & 43

73

Perc.

bœ

b 3œ

nœ

bœ

b‚

n‚

3

3

in

j 2 jb œ bœ 4 œ 3

3

‚

[e]

2 œ dœ.

4

bœ.

dœ

3 4

bœ

bœ

we

did not

re - cog - nize

F œ‰ 43

Hmm

(muh)

œ nœ

nœ

≈ bœ. dœ. bœ œ

b œ3

bœ

nœ

bœ

nœ 3

p n˙

dark

Ó

them,

nœ

+œ

4 4

44 nœ

Œ

(mmm)

p n œ-

so

p b˙

dark

42

Hmm

nœ

3 maybe re-pedal here?

bœ

bœ

bœ

3

42

dark

Ó

nœ

42

Hmm

Ó

œ nœ œ nœ. ≈ bœ œ dœ nœ

3 4

2 4

dark

˙

dœ 3 4

to Bass Clarinet

Hmm

œ nœ œ +œ. nœ.

3 3 b n œ>œœ 3 œœœ n œ b œ b bœ b œ 4 œ bœ J Jp 3 S

(muh)

p b ˙- .

Hmm

P ‚ ≈ b· 44

p b·

œ-

Hmm

F œ̄ ‰

3

fintense and rich b >‚ ‚.

43

re - cog-nize our - selves

3 ‰ 4

F precisely b œ œ n œ- ‰ b œ œ œ 3 4 nœ

P œ ≈ 4 4 nw

[e]

3

soaring

We did not

73

T. Sx.

bœ

n ˙- .

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ w 4 n w (n œ ) 4 P

œ.

bright

D 2 (R)

nœ

P ≈ d œ b œ D œ 44 n ˙

norm.

73

3

F

œ Dœ

(muh)

ƒintense and rich œ .. j - > n œ b >œ œ b œ œ- b œ 42 b œ b œ b œ 43 3

them.

3

nœ

b œ D œ n œ- ‰ + œ-precisely œ- œ- 43

nœ P p

Be - cause

-.

44 n ˙

bright

73

bœ

Hmm

b œ-

norm.

Hmm

Nar. (C)

bœ

3

3

& 43 b ˙

73

Hmm

42

bœ

bœ

( p)

3 & 4 nœ.

œ ‰ < (muh)

bœ œ dœ. nœ. +œ 2 œ nœ œ ≈ 4 bœ. dœ œ bœ œ dœ. nœ. +œ bœ. dœ œ 4 nœ 4 πcolorful, light, breathy

delicately

73

find

œ Dœ F

2 4 4 bœ nœ nœ bœ 4 d˙

intermittent hums slowing down

∑

p

did not

bœ

4 œ 4 b ˙- .

(w + h )

im thinking sempre pedal for most of this section to create a wash/bed under the rest of the scene?

B b Cl.

j n œ b œ- ‰ n œ

œ

4 & 4 n b n www p

68

p

Hmm

68

42

intermittent hums slowing down

p b˙.

Œ

(w + h )

œ

So

68

D 2 (R)

Œ

- .

42 n œ n œ n œ n œ 44 d ˙

nœ bœ Dœ nœ J

coloring the narrator

p

68

Œ nœ nœ. π

. . œ b œ d œ b œ œ d œ œ n œ- . 2 4 bœ

bœ 3

nœ bœ nœ 2 bœ 4 3

11

& 42

bright

2 & 4 Nœ.

‰

78

D 1 (L)

& 42 b œ ? 42

D 2 (R)

bright

were

gliss between chords on e note and bring them out a bit

(

(

)

n œ- .

pup - pets

bright

Aœ.

∑ )

b œ-

with lots of consonants sP buoyant 3 3 44 b œ. n œ. Œ b œ. n œ. Œ

nœ bœ

they

78

spsticky 4 4 bœ.

-

∑

Hmm

78

Nar. (C)

44

∑

78

B. Cl.

‰

pup - pets

spsticky gliss( between) chords on b œ- . b œ- .

44 bright

n œ-

e note and bring them out a bit

(

)

Hmm

. . . 3 n œ + œ n œ n œ + œ d œ n œ. d œ d œ b œ D œ 2 4 nœ nœ dœ bœ Dœ &4 4 nœ 3 sp 78 nœ bœ bœ 4 bœ nœ bœ 2 bœ & 4 nœ 4 bœ 3 3 78

T. Sx.

Perc.

3

∑

82

B. Cl.

& ‰

82

D 1 (L)

&

bœ.

Nar. (C)

3

pup - pets

? bœ.

‰

82

D 2 (R)

˙

Hmm

& b œ. b œ n œ. Œ .

82

b œ- n œ . œ 3

b œ. b œ. n œ . pup - pets P œ- b œ . œ Hmm

[u:]

Œ

[oʊ]

so they were pup - pets and they

˙

˙

Perc.

[oʊ]

3 3 . d œ. n œ. . . . n œ + œ d œ n œ d œ. n œ. n œ. & n œ. d œ. n œ ˙ #˙ ( p) F bœ bœ nœ bœ 82 bœ nœ bœ n œ b œ bœ & bœ nœ 3

3

3

bœ

3

3

3

=œ #œ +œ nœ

sim.

b œ3

bœ

bœ

4 4

œ.

had

38 nœ.

nœ

nœ

rit.

bw ∏

delicate resonant din

( f) 4 Ó 4

b œ. d œ.

° bX WHISTLED

[ɑ:]

‰œ .

- bœ œ

dolls.

√

( f) 44 Ó 44

dolls...

° bX

WHISTLED

bœ. nœ 3 bœ. nœ. œ. 4 bœ bœ 8 4 3

nœ

pup - pets

b œ- .

. . +œ nœ dœ nœ bœ dœ nœ

nœ bœ 3

Slower q = 70 5 4 ˙. ˙ 5 4 5 4

45

π

p

˙.

˙

b3œ

3 4 3 4

3

+œ nœ dœ bœ

nœ

˙. ˙

Œ

vibr. ~~~~~~~ Œ b‚ b‚ ‚ ‚ ‚ 3 b· 4 ˙. ˙ œ œ œ

(ll) (zzz)

p

˙.

45

n wp

3

3

[ɑ:]

to stay

b œ. b œ. Œ

b œ- .

œ

bœ

3

Bass Clarinet

∑

38 œ .

82

T. Sx.

sp

. . =œ #œ +œ nœ +œ bœ 3

b œ- .

pup - pets

b œJ

f sF 3 3 n œ- b œ b œ n œ. n œ n œ œ 8 b œ¯ œ. b œ- 44 n œ . .

[u:]

3

b œ- .

œ b œ- .

J

3 8

˙

pup - pets

sim.

n œ- .

3

3

pup - pets

œ

b œ. n œ. Œ

n œ. b œ. Œ

3

+ œ. b œ.

j b œ-

n œ- .

n œ. b œ. Œ

3 8

∑

P

j œ bœ.

-

sim.

∑

n œ b œ 5 b ˙æ.

4 b n n ˙˙˙ ...

3 ( p)

˙

43

˙

43

∑ ˙˙æ ˙˙

3 4

Œ

∑ ˙˙æ. ˙˙ ...

12

4 4

∑

88

B. Cl.

& p

88

D 1 (L)

&

(sss)

&

?

88

D 2 (R)

p ¿

X

sim.

(sss)

D 1 (L)

& 45

93

Nar. (C)

D 2 (R)

& 45

93

T. Sx.

3

bœ bœ nœ nœ bœ bœ nœ nœ

4 4

b œ- D œ-

p

b˙

4 4

bœ b˙ bœ nœ bœ bœ nœ

44

Œ

Hmm

p

F

Dolls

f

Œ

p b˙

44

Hmm

nœ dœ nœ nœ dœ nœ

3

œ

n œ- d œ

3

b œ n œ b œ b œ n œ n œ b b œœ & 45 -

93

Perc.

f

? 45 X

93

d œF

(q )

3

3 nœ nœ œ nœ nœ dœ nœ

*may need to use lip 3

œ. p

œ

‰

Dolls

p

f

¿ ‰ ‰ -¿

X

44

œ

¿ ‰ ‰ -¿ 45

X

(sss)

3

Dolls

p

f

¿ ‰ ‰ -¿ 5 4

X

(sss) 3 dœ nœ dœ nœ œ œ dœ 3

bœ bœ nœ nœ bœ bœ nœ bœ

b˙

˙

F

[ɑ:]

‰

n œdolls

F b˙

b˙.

P f

‰ 45

nœ bœ nœ ‰ n œ b œ ‰ 45 b œ n œ b œ bœ bœ nœ bœ b œ nœ 3

˙

dolls

p

3

(sss)

n ˙f

f b œ- .

‰

¿ ‰ ‰ -¿

(sss)

3

nœ.

P

n˙.

P f

(sss)

¿ ‰ ‰ -¿

X

3

X

p

f

¿ ‰ ‰ -¿

44 X

∑

5 &4 X

93

¿ ‰ ‰ -¿

Dolls

p

f

‰

p

X

4 nœ dœ nœ & 4 nœ dœ nœ nœ 3 π LV nœ bœ bœ nœ bœ bœ nœ sus. cymbal 88 Ó bœ A˙.

4 & N ˙ . ¿æ 4 æ (P) sp lightly ∏ 5 &4

œ

(sss)

93

B. Cl.

n˙.

P f

¿ ‰ ‰ -¿

4 X 4 sim.

3

p

f

Dolls

88

Perc.

œ

‰

p sim. b œ 4legato b œ n œ nœ bœ b œ ‰ 4 nœ bœ nœ nœ bœ nœ bœ b œ 3

(sss)

T. Sx.

b˙.

P

F

∑

88

Nar. (C)

¿

X

3

(sss)

dœ nœ nœ nœ dœ œ nœ 3

3

bœ bœ nœ bœ bœ nœ œ œ 5 4

bœ fl

with

-

nœ fl

out

˙

[ɑ:]

n ˙-

˙

F

3 3 bœ œœ 44 n b bn œœœœ bœ bœ nœ bœ bœ nœ bœ bœ b œ b œ n œ b œ b œ b œ b œ > nœ bœ bœ nœ bœ nœ 3 F 3

5 4

13 95

B. Cl.

D 1 (L)

&

b w>

ƒraw and unfettered ƒraw and unfettered 95 > & n˙ fa

95

Nar. (C)

& ?

95

D 2 (R)

T. Sx.

&

-

-

-

fa

-

> 46 X .

45

X.

(sss)

# ˙-

-

-

molto rubato pU

slowly turn face toward audience...

–-

-–

-

-

-

46

ces.

bœ nœ bœ bœ bn œœ b œ n œ b œ b œ n œ b œ &

X.

Ÿ~~~~ b œ n œ- ( b œ ) b œ-

(sss)

n œ- b œ- - bœ bœ n œ n œ- 46

ƒ

3

3

pU

45

–-

-–

Nar. (C)

& 85

Œ.

¿

38

∑

12 32

∑

-–

–-

12 32

85 5 ‰ 8 85

b Uœ resonating chord (no attack) b b œœ Ó 45 n n œœ Œ

(w.)

38

–-

∑ Œ

LV

gradually mute all ringing pitches except indicated chord

∑

-–

45

With hushed intensity, unstable q = 65 - -3 - - -3 - 5 ≈ ¯ 3 ˘ 12 + œ- . œ- . d œ- . + ˘œ . 3 + ˘œ œ œ 12 + œ- . œ- . d œ- . + œ¯ . & 8 + œ œ̄ œ̄ œ œ œ œ œ œ œ œ 8 + œ œ œ 32 8 32 3 3 sp sp p festering sƒ intense, fat sƒ sƒ intense, fat p festering sƒ 3 98 sp sp 3 3 3 5 3 12 3 12 &8 8 32 . .

8 32 . . # œ- œ- n œ- . # œ . # œ œ œ # œ- œ- n œ- . # œ . ≈ # œ< œ< œ< œ- œ- œ- œ- œ- œ- œ- œ #œ œ œ < fl fl fl It is for - bid-den for us topaintfa - ces on - ly God can do that on - ly He paints fac - es 98

-–

slowly turn face toward audience...

low lip+tongue rumbling

>¿ hard air release 64 ‰ . Œ Œ Ó .

n w>

ƒraw and unfettered

>X .

98

D 1 (L)

-–

5 ‰ 8

π in no hurry, fragile U 3 U Œ bœ bœ nœ bœ bœ - < bœ bœ ¿ < with - out fa ces. (sss)

45

(sss)

-̇

3

B. Cl.

5 8

∑

gradually closing eyes and moving head down...

>¿ .

46 ‰ Œ Œ Ó .

ces.

ƒraw and unfettered b >˙ -

5 4

low lip+tongue rumbling

95

Perc.

ces.

ƒraw and unfettered # >˙

fa

95

-

-̇

> hard air release 6 ¿ ‰. Œ Œ Ó.

4

3 + >œ . 12 + œ- . d œ- . œ- . + œ¯ . 5 8 32 8 sp sƒ 38

sƒ

# >œ .

12 32

He

38 ∑

∑

85

sp

85 . # œ- n œ- . œ- . # œ . < paints all fac - es

12 32

85

∑

sp sƒ intense, fat sp sp p festering sƒ sƒ 3 3 - . œ- . n œ- . ˘ - . n œ- . n œ- . ¯ ˘ ˘ ¯ n œ n œ > ≈ # œ . 3 # œ œ œ 12 # œ . 3 # œ . 12 n œ . # œ- . œ- . # œ¯ . 5 ? 85 # œ œ̄ œ̄ œ œ œ œ œ œ œ œ 38 # œ œ œ 32 12 8 32 8 32 8

98

D 2 (R)

3

It

Perc.

for - bid-den for us topaintfa - ces

3

on - ly

God can do that

12 d œ- . œ- . d œ- . + ˘œ . & 85 ≈ + œ< œ< œ< œ- œ- œ- œ- œ- œ- œ- œ 38 + œ œ œ 32 fl 3 3 pfestering sƒ intense, fat sp 98 ( p) consistently gentle pink-noise bed ‰ p ! snare w/ nails (freely but slowly) 38 12 – & 85 32 – – –.

–. –. –. p –- Bass Drum J> sp S 98

T. Sx.

is

3

on - ly

He paints fac - es

He

paints all fa - ces

38 + œ œ œ 32 12 d œ- . œ- . d œ- . + œ¯ . 38 + œ . 32 12 d œ- . + œ- . œ- . + œ¯ . 85 > fl sp sƒ sp sƒ 3

38

–. > S

12 32

–. sp

–. –.

-

38

–. > S

12 32

–. sp

–. –.

-

85

14 B b Cl. B. Cl.

& 85

> & 85 + œ . œ sƒ 5 &8

105

D 1 (L)

∑

105

sƒ

#œ. œ >He

5 &8

Nar. (C)

D 2 (R)

sƒ 105 ? 85 # >œ . œ & 85 + œ . œ > sƒ

105

œ ≈ 38 # œ- = œ J 38

Œ

His dolls.

(sss)

≈ # œ- = œ J

44 œ .

44

∑

πchewing every word, colorful 3 Œ # œj œ ¿ ≈ 38 # œ- œ œ 4 -

U

His dolls. (ll)

# œ # œJ

∑

j ¿ ≈ # œ- œ .

4 œ 4

(sss)

His dolls.

42 œ # œ = œ .

=œ

42

44

∑

(P) œ ¿ ≈ 44

œ

2 4 œ

> œ œ œ̄

2 - > - > 4 #œ ¿ œ ¿

(ll)

( p) ≈ 44

(zzz) (sss)

head up sharply with cymbal choke, eyes WIDE and forward peering out, in no hurry to continue, letting tension build

P

U

4

He

T. Sx.

2U 4 Œ 2 UŒ

∑

105

Slower, reflective q = 60 U U 3 Œ 4 Œ # œ- = œ 42 Œ J Clarinet π to Clarinet 24 ∑ ∑ 43

# œ-

And

U 42 Œ

U

U 42 Œ

U

we?

¬ ≈ ‰ nœ

(h)

We

3 8 #œ œ #œ looked at

the

πchewing every word, colorful # -‚ ‚ . # ‚- ‚ ‚ 38 43 Œ J

Œ

His dolls.

His dolls. (ll)

34 Œ # œJ = œ π

Œ

+ G + >¿ ¿ 105 > æ 42 J & 85 – . molto ƒ sƒ p

3 4 #œ.

-

œ ≈ 3 # œ- = œ 8 J

very sibilant 3

3 3 4 4 # œ # œ ‰ ‰ # œ n œ # œj Œ > -

face - less

44

and did not

(sss)

.

44 œ

His

\

re - cog - nize

‚ ≈ # ‚- ‚ .

J

‚

intensely focused attacks and releases

us (sss) in (nuh)

‚

dolls.

42

(ll)

≈ # œ- = œ J

# œ # œJ

(P) ‚ ‚≈ 44

‚

(zzz) (sss)

œ #œ =œ.

42

=œ

4 4

≈ 4 4 ( p)

hi-hat swell close high-hat abruptly (no attack)

Perc.

B b Cl.

P 4 # œj œ . &4 & 44

111

f

# œ-

them

D 2 (R)

œ

P# ‚- ‚ .

111 ? 44 J

His dolls.

Perc.

˙

(ll)

œ

(mmm)

· (ll)

3 4 œ

œ ¿ ≈ # œ- œ

43 Œ

‰# œ # œ n œ -

‚

‚ ¿ ≈ # ‚- ‚

(zzz)

œ

43

(zzz)

(sss)

38

œ

P

(sss)

they be

#œ

-

Bass Drum

(ll)

came

‚

·

His dolls.

(ll)

œ

42

-j j # œ- = œ # œ 44 # œ = œ # œ # œ ¬ # œ = œ J J sp p 4 ˙ ˙ œ ¿ ≈ # œ- œ 4

f 3 nœ bœ bœ nœ bœ bœ œ

very sibilant, with weight

so

44

œ

His dolls.

air-tone gliss downward j j #œ =œ #œ #œ =œ #œ #œ =œ ¬ #œ =œ 4 3 J J J 4 &4 J p sp 111 & 44 43 p –- Œ Ó 111

T. Sx.

43

rub snare freely and slowly w/ nails

air-tone gliss j downward j 4 3 # œ = œ # œ # œ = œ # œ # œ = œ #œ =œ &4 J J J J 4 p sp

His dolls.

Nar. (C)

– p

!

111

111

D 1 (L)

U

#œ

(zzz)

œ

44 b œ 44

· (zzz)

(sss)

His

dolls.

œ

44

– ∏

– π

¬

¿- X

45

¿- X

5 4

f f

œ #œ œ (ll)

(sss)

(sss)

semi-pitched P ( f ) intense quasi-whisper !!!!!!!!

5 3 ≈ b œ œ œ œ ¿ bœ bœ b œ ‰ b ¿- b ¿ n ¿ ¿ X 45 nervous stuttering "s" attacks freely

(mmm)

(muh) so they be - came

p ‚ ¿ ≈ # ‚-

(sss) His

‚

f

‚ #‚ ‚

dolls.

-j j # œ- = œ # œ #œ =œ #œ #œ ¬ #œ =œ J J 44 sp 44

mean - ing - less (sss)

(ll)

œ

¿ X -

45

¿ X -

45

(sss)

Ó.

f (sss)

to Tam-Tam (behind narrator)

45

15

B b Cl.

Œ # œ- = œ

& 45 X .

∏delicate and airy, but always slowly growing ∏delicate and airy, but always slowly growing Œ # œ- # œ 44 ˙ . ñ ñ

5 & 4 X.

116

D 1 (L)

44 œ # œ # œ- = œ # œ # œ- = œ J J

!!!!!!!!!!!!!!!!

5 Ó & 4 X. ?5 4

116

D 2 (R)

& 45

116

T. Sx.

B b Cl.

X.

p 44 ‰ j3 b œ bœ - œ bœ ‰ ‰ bœ -

5 &4 Ó

Œ ‰

!–

accel.

4 7 œ # œ # œ- = œ &4 J & 44 # œ- œ ˙ His dolls.

& 44

Nar. (C)

?4 4

121

& 44

121

Perc.

s

œ # œ # œ- = œ # œ # œ- = œ 42 œ # œ # œ- = œ J J

until m. 127

and

we

our re - flec - tion.

sim. œ ¿ ≈ # œ- œ ˙ .

gradually moving from

(sss)

ñ

s

to

œ

(n)

P ‰ n œ 42 b œ

4 ¿- ≈ b œ b œ 4

Be

-

œ ¿ ≈ # œ- # œ ˙

until m. 127

His dolls.

œ # œ # œ- = œ # œ # œ- = œ J J

œ ¿ ≈ 44

(sss) His dolls.

˙

# œ # œ- = œ J

4 4

2 4

driving q = 91 5 # œ # œ # œ- = œ # œ # œ- = œ #œ 4 J J J J p p 5 œ ¿ ≈ 4 # œ- œ ˙ œ ¿ ≈ # œ- œ Çe = e Faster,

(sss)

al - lowed

# œ- œ ˙

œ ¿≈

His dolls.

(sss)

# œ # œ- = œ J

His dolls.

(sss)

frich and full

45 b ˙5 4

# œ- œ ˙ His dolls.

n œ-

His dolls.

f n œ- # œ

Œ

not

al

œ ¿ ≈ # œ- œ (sss)

5 # œ # œ # œJ = œ # œJ # œJ = œ 4 p 45

3 4 # œJ = œ # œJ # œ = œ 43 ˙

His dolls.

#œ J

-

43 # œ-

lowed

3 4

˙

(sss)

Œ #œ nœ -

His dolls.

# œ-

not al - lowed

we are

(sss)

His dolls.

44 4 4

π

# œ # œ- = œ 44 J

P j œ ¿ ≈ # œ- # œ . (sss)

Œ #œ - # œ n œ-

œ ¿ ≈ # œ- œ ˙ (sss)

p

(sss)

œ ¿ ≈ 4 4

œ # œ- # œ- = œ # œ # œ- = œ J J J

œ ¿ ≈ # œ- œ ˙

3 # œJ = œ # œJ # œ = œ 4 43

cause

œ # œ # œ- = œ # œ # œ- = œ œ # œ # œ- = œ 24 J J

Tam-Tam w/ nails, slowly delicately

# œ # œ- = œ J

(sss)

2 œ 4

(sss) His dolls.

œ # œ # œ- = œ J

44

2 4 œ

œ ¿ ≈ # œ- # œ ˙

F j3 b œ- b œ œ bœ bœ

bœ

∏delicate and airy, but always slowly growing

b œ- n œ # œ n œ b œ b œ b œ b œ

4 7 œ # œ # œJ = œ &4

121

T. Sx.

44

with motion and energy

not

D 2 (R)

# œ- = œ

∏

121

121

their mean - ing lost,

to

# œ # œ- = œ J

His dolls.

always getting louder, more raucous

121

D 1 (L)

(sss)

His dolls.

116

Perc.

œ ¿ ≈ # œ- œ ˙ .

∏delicate and airy, but always slowly growing # Œ œñ œñ 44 ˙ .

X.

ñ

gradually moving from

sim.

His dolls.

116

Nar. (C)

œ # œ # œ- = œ J

always getting louder, more raucous

116

not al - lowed

His

dolls.

‰ # œ n œ # œ 44 we're not

œ ¿ ≈ # œ- # œ .

J (sss)

œ # œ- # œ- = œ # œ # œ- = œ J J J

44

His

dolls.

al -

4 4

# œ # œ- = œ 4 J 4 44

16

B b Cl.

D 1 (L)

œ # œ- # œ- = œ # œ # œ- = œ 42 œ # œ # œ- = œ J J F 126 j j & 44 7 œ ¿ ≈ # œ- œ . œ ¿ ≈ 42 # œ- œ . (sss)

His dolls.

& 44 # œ -

126

Nar. (C)

œ n˙

lowed

(sss)

ƒfull, girthy

œ ¿ ≈ # œ- # œ .

J

? 44

126

D 2 (R)

44 œ # œ # œ- = œ # œ # œ- = œ J J

& 44

126

(sss)

œ ¿≈

His dolls.

(sss)

44 œ ¿ ≈ # œj # œ .

-

His dolls.

42 Œ

(sss)

His

dolls.

œ # œ # œ- = œ # œ # œ- = œ œ # œ # œ- = œ # œ # œ- = œ J J J J F j j j j œ ¿ ≈ # œ- œ ¿ ≈ # œ- œ ¿ ≈ # œ- œ ¿ ≈ # œ- œ ¿≈

f grounded and focused, text at the forefront 44 n ˙ ¿- ‰ # œ# œ-

# œ- œ .

42 J

To

paint

(t)

œ ¿ ≈ # œ- # œ .

44 J

His dolls.

(sss) His

(sss)

His dolls.

3 j # œ- œ- œ

F œ ¿ ≈ # œ- œ J

our

dolls.

fa - ces.

(sss)

His dolls.

7 œ # œ- # œ- = œ # œ # œ- = œ 2 œ # œ # œ- = œ 4 œ # œ # œ- = œ # œ # œ- = œ 4 J J J J &4 4 4 F –

4 &4

126

Perc.

(h )

P

– >– ‰ Œ f

2 4 ¬æ 4 æ 4 π gentle but always growing

B b Cl.

& 7 œ # œ # œJ = œ j & # œ- œ

131

D 1 (L)

His dolls.

j ¿ ≈ # œ- œ

(sss) His dolls.

j & # œ- œ- œ

131

Nar. (C)

¿- ‰ # œ-

3

(s)

fa - ces.

# œ- œ ? J

131

D 2 (R)

His dolls.

131

T. Sx.

&

(sss)

His dolls.

accel. œ # œ # œ- = œ J

j ¿ ≈ # œ- œ

(sss)

His dolls.

rit. # œ # œ- = œ J

j ¿ ≈ # œ- œ

(sss) His dolls.

f with force, heavy ¿ ≈ # œ- œ- œ-

(sss)

His

œ-

dolls, His

dolls,

ƒbereft linger n >œ œ # œ œ- œ œ . # œ- # œ # œ # œ n œ # œ # œ n œ J 3

paint,

¿ ≈ # œ- œ J (sss)

# œ # œ- = œ J f

His dolls.

to

¿ ≈ # œ- œ J (sss) His dolls.

œ # œ # œ- = œ J æ

show

to

have

fa - ces

f with force, heavy ¿ ≈ # œ- œ- œ-

(sss)

# œ # œ- = œ J

¿ ≈ # œ- œ J (sss)

To

His dolls.

His

dolls, His

œdolls,

œ # œ # œ- = œ # œ # œ- = œ J J æ F

(sss) His dolls.

show

¿ ≈ # œ- œ J (sss)

His dolls.

(sss)

¿- ‰ # œ-

n ˙-

# œ # œ- = œ J

(wuh)

¿ ≈ # œ- œ J

our

(sss) His dolls.

œ # œ # œ- = œ J

¿≈ (sss)

# œ # œ- = œ J

æ p

Slower, with gravity q = 75 œ # œ # œ- = œ # œ # œ- = œ œ # œ # œ- = œ # œ # œ- = œ J J J J

with motion

To

¿ ≈ # œ- œ J

7 œ # œ # œ- = œ J

& æ

131

Perc.

# œ # œ- = œ J f

131

(s)

His dolls.

æ

tam-tam roll w/ beaters

scratches getting faster+more erratic

(sss)

¿ ‰ # œ-

œ # œ # œ- = œ J

126

T. Sx.

(sss) His dolls.

# œ-

His

œ- œ- œ-

dolls, His dolls,

œ # œ # œ- = œ J

# œ- œ- œ- œ- œ- œ- œ- œ- 43 His dolls, His dolls, His dolls, His dolls,

-¿ # œ- n >œ œ # œ # œ- œ ‰ J

œ

3

(sss)

to

# œ-

œ- œ- œ-

His

have

dolls, His dolls,

> > # œ # œ = œ 43 J

fa - ces

-¿ ‰ #œ (sss)

43

to

# œ- œ- œ- œ- œ- œ- œ- œHis dolls, His dolls, His dolls, His dolls,

œ # œ # œ- = œ # œ # œ- = œ J J

œ # œ # œ- = œ J

æ

¬. æ

43

# œ # >œ = >œ J 43 – æ

3 4 ( f)

LV

DOLLS could also just repeat the previous figure and have a large leap *not sure exactly what gesture I want yet.

B b Cl.

rit.

3 & 4 7˙.

44

136

3 * & 4 #œ >

136

D 1 (L)

His

( ff) >.

3 nœ &4

>

dolls,

>

>

>

>

His

dolls,

His

dolls,

Nar. (C)

have

? 43

136

D 2 (R)

3 &4

136

T. Sx.

& 43

136

Perc.

*

a

# >œ

>

His

dolls,

7˙.

> His

# w-

Œ

ƒ

ƒ 4 #w 4

Ï

face...

dolls,

>

His

>

dolls,

44 4 4

U

Psurgical, antiseptic 3 Œ 4 Œ 4 # œ- œ- 4

# œ- œ- œ-

œ- œ-

Psurgical, antiseptic 3 Œ 4 Œ 4 # œ- œ- 4

# œ- œ- œ-

œ- œ-

# œ- œ œ-

œ- œ-

Our names

Our names

P- surgical,- antiseptic #œ œ 44 Œ 43 Œ

Ï U ¿ ‰ > ¬- . (s) P ∑

lip+tongue rumbling

n w-

face...

n wƒ

¬

Œ

3 4

¿° 34 – F

U

Ó.

Slowly mask NARRATOR

∑

142

&

∑

142

D 1 (L)

& nœ #œ #œ - - - nœ box - es of the

142

Nar. (C)

& nœ #œ - - # œ- n œ box - es

of

the

n œ- # œ- # œ- nœ ?

142

D 2 (R)

box - es

of

& Ó

Πn
142

T. Sx.

the from air

F sp suddenly delicate 3 j # œ # œ- ˙ . > face - less.

F sp suddenly delicate 3 j # œ n œ- ˙ . > face - less.

F sp suddenly delicate # >œ # œ- ˙ .

J 3

¿

° 142

Perc.

&

∑

∑

+ Œ

(choke)

Œ

hi-hat + low tom

˙. ˙. ˙.

œ œ œ

œ ˙.

J p

˙.

Œ

3

n # # n ˙˙-˙˙ ....

P

wwww

œ

πbreathy, fragile U

= wñ

πbreathy, fragile U

+ wñ

πbreathy, fragile U =w

ñ

# œ- n œ- n œ La - bels on

U

wwww

+

∑

Œ

S P ‰ ¿ > n >œ (sss) face

(sss)

(sss)

¿° – F

œ-

#œ > names

œ-

#œ >

names

œ-

# >œ

face - less

P S n >œ >¿ ‰

face - less

+ Œ

(choke)

# œ- n œ- n œLa - bels

Œ Œ

42

names

# œ- œ- œ œ- œ>

¿° – F

+ Œ

(choke)

2 4 42

ran - dom - ly

# œ- œ- >œ œ- œcho - sen

∑ Ó

# œ- œ- œ œ- œ> cho - sen ran - dom - ly

cho - sen

Œ

on

¿° – Œ Ó F ∑

- less

S P ‰ ¿ > n >œ

Œ

on

∑

Ó

(choke)

# œ- n œ- n œ La - bels

on - ly place - hold - ers.

∑

U

+w π even breathier

¿° 44 – F

Œ

on - ly place - hold - ers.

4 4

∑

∑

face - less.

breathy, gentle, match vocal timbre

on - ly place - hold - ers.

Our names

low tom could be kick drum?

B b Cl.

Œ

lip+tongue rumbling

ƒ

Approach NARRATOR from behind...

∑

lip+tongue rumbling

Ï U ¿ ‰ > ¬- . (s) P

44 ¬

¬.

Ó.

¿ ‰ >(s) ¬- .

P

face...

>

Fast, precise, and cold q = 160 44 ∑ ∑ 43

U

LIGHTS OUT

4 #w 4

# œ- .

136

17 LIGHTS UP

ran - dom - ly

2 4 42

∑ Ó

2 4

18 B b Cl.

& 42

∑

& 42 Œ

f 58 6 4 n œ # œ- # œ # œ # œ 8 # œ œ n œ œ # œ 4 # œ- œ> - > > - n œ- > - cho - sen ran - dom - ly from a ser - ies of mean - ing - less

148

148

D 1 (L)

85

68 Œ

∑

44

j n¿ ¿. °

from air

becoming breathy, matching vocal timbre

w p ( f) names

( f)

f 2 Œ 5 6 4 & 4 #œ œ 8 nœ #œ #œ #œ 8 #œ œ nœ œ #œ 4 > - - > # œ- > - n œ- > - cho - sen ran - dom - ly from a ser - ies of mean - ing - less ? 42 Œ

148

D 2 (R)

# œ- œcho - sen

2 &4

∑ + ¿° (choke) 148 2 &4 – Œ F 148

T. Sx.

Perc.

B b Cl.

ran - dom - ly from a

5 8

∑

5 8

∑

rit.

∑

156

&

( f) & ¿ ‰ # œ- œ- # œ- # œ < >

156

D 1 (L)

(sss)

Peo - ple with - out

( f) & ¿ ‰ # œ- œ- # œ- # œ < >

156

Nar. (C)

(sss)

?

156

D 2 (R)

Peo - ple with - out

names.

Peo - ple with - out

T. Sx.

&

¿° & – f

156

Perc.

+ Œ

(choke)

6 8

∑

(sss)

>¿

˙.

Œ

∑

œ ¿-

(st)

fœ # œ œ- œ .

J

œ -¿ (st)

– P

could come later if time needed

– F

= wñ

π breathy U

= wñ

π breathy U = wñ

∑

∑ U

wwww

wwww

∑

– P

œ ¿-

Lost

(st)

S ( f) ¿ ‰ > # œ- n œ- # œ-

j # œ- œ- ˙ .

3

(sss) Dolls with - out

fa - ces

S >¿ ( -f ) - ‰ #œ nœ #œ

# œ- œ- ˙ .

J 3

(sss) Dolls with - out

¿° – f

fa - ces

∑

∑

Œ Ó

∑

+

(choke)

3 4

>

nœ nœ ˙

œ ¿-

Lost

Lost their

(st)

fa - ces

œ -¿

n >œ n œ ˙ Lost

(st)

– P

– F

Œ

43 3 4

∑ Œ

43

3

Lost

43

(st)

œ ‰ n œ- n œ œ œ œ œ œ -¿

n >œ # œ ˙

– F

fa - ces

∑

> nœ #œ ˙

Œ

j # œ- œ- ˙ .

3

(sss) Dolls with - out

∑ Œ

∑

S ( f) ¿ ‰ > # œ- n œ- # œ-

∑

∑ Œ

œ

U

Lost their be - ing

Lost

with weight and warmth

œ

+w π π breathy

œ ‰ # œ- n œ œ- œ .

J

Lost their mean - ing

f ‰ # >œ n œ ˙

œ

names.

4 4 # # ww n # w-w P

Lost

(sss)

Bass Drum roll

¬. æ π

( f) # w-

4 4

f

∑ Ó

names.

˙.

Half-Time | Full and rich q = 80 ∑

n¿ ‰ >

# ·- .

∑

∑

(sss)

# ˙- .

(sss)

6 8

> ¿ ‰ #œ nœ ˙ >

names.

( f) - - - ¯ >¿ # ‚ ‚ # ‚ # ‚ ‰

ser - ies of mean - ing - less

∑

# ˙- .

names.

156

# w-

f> n œ # œ- # œ- # >œ # œ# >œ œ- n œ- n >œ œ- # œ58 68 44

œ

˙.

# w-

148

Nar. (C)

˙.

U

Œ

– P

43

19 B b Cl.

& 43 & 43

161

D 1 (L)

∑

161

Ó

( f)

n¿ °

3 &4 œ ‰ Œ

Œ

to Bass Clarinet (plug vent hole)

˙. p p

from air

˙.

˙.

F n œ-

œ- # œ 3

( f) ? 43 # >œ n œ- ˙

los - ing

& 43

Ó

œ

them

¿

T. Sx.

& 43

– F

Œ

U

∑

&

Bass Clarinet

,

& œ

exhalation on lift ( )

[woʊ]

(mmm)

[e]

[i:]

(h)

bright

,

& œ

exhalation on lift ( )

(mmm)

[woʊ]

[e]

[i:]

(h)

bright

? œ

,

168

168

exhalation on lift ( )

T. Sx.

&

168

Perc.

&

œ

[woʊ]

[e]

[i:]

d D b microtona

l meandering dow nward # = +

(h)

Bass Drum

LV

n ˙- . p breathy and dark

freely and gradually changing mouth position

X.

¿

etc.

nœ

X.

Hmm

psenza vibr. #œ

Ó

Hmm

˙. ∑

œ\

ñ

π breathy and dark

fall off to air

˙. ∑

nœ

Ó ∑

p

∑

G

‰

G

‰ œ \ (h)

# ˙.

Ah

π breathy and dark

ñ

fall off to air

G

œ\ ‰

n ˙.

(h)

Ah

π breathy and dark

ñ # ˙.

w/ exhalation lift

perhaps w/ vibe mallet so you don't have to juggle

fall off to air

(h)

Ah

,

fall off to air

# ˙. π breathy and dark

Ó –- b n b www p p

G

œ\ ‰

( )

very sticky, lots of gliss, molto legato

– p-

(P)

psenza vibr.

(sss)

∑

dark

(mmm)

p

˙.

dark

168

D 2 (R)

˙.

LV

Hmm

(sss)

¿ ‰ Œ

dark

bright

Nar. (C)

π

¿æ

X.

(zzz)

fall off to air

168

D 1 (L)

sus. cymb

psenza vibr. #œ

Ó

etc.

p ˙.

p

X.

œ

Slow, deep, round, encompassing q = 52

25"

168

B. Cl.

°

Œ

161

Perc.

n¿

¿

(sss)

(st)

∑

etc.

˙

intermittent stuttery attacks (letting voiced z turn to s freely)

selves

from air

˙.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Ó ˙. ˙. ˙ ¿

Lost

161

˙.

freely and gradually changing mouth position

#˙.

-

p

‰ Œ

(st)

p

˙.

161

D 2 (R)

a tempo

˙.

# œ n œ- ˙ > Lost

161

Nar. (C)

rit.

G

œ\ ‰

Œ

n –p

nw ( p)

w

ñ

( π)

G

#w

Ah

ñ

( π)

n œ- # œ .

Ah

˙.

G

œ \‰

˙.

# wñ

( π)

(h)

G

œ\ ‰

˙.

Ah

#w ( π)

j æ b b œ b n œœœ œœœœ .... p ∏

‰ œ \ (h)

˙.

(h)

w ˙˙æ˙ ˙

Ó

Œ

–p

20 unplug vent hole

Ó

172

B. Cl.

&

N˙

œ.

-̇ . p

whistle position

≈

5 4

172

D 1 (L)

&

-P

-¬

lip+tongue rumbling

45

#˙.

85

˙

-¬ .

5 8

¬-

whistle position

5 4

172

Nar. (C)

&

?

¬P

¬-

lip+tongue rumbling

whistle position

45

172

D 2 (R)

172

T. Sx.

&

5 &8

175

B. Cl.

Ó

b ˙- . p

gentle bass drum roll

¬æ π Bursting, raucous q = 65 3 3 ≈ + œ¯ œ̄ œ̄ >œ >œ >œ >œ >œ >œ œ- œ sƒwild and raw

sƒwild and raw

3

& 85

∑

175

? 85

175

D 2 (R)

4 8

3

It is for - bid - den for us to paint fa - ces

Nar. (C)

3

It is for - bid - den for us to paint fa - ces

∑

sƒ 12 # >œ . >œ . n >œ . # ˘œ . 48 32

spfragile 48 # œ- œ- œ . 32 12 48

≈ + œ¯ œ̄ œ̄ >œ >œ >œ >œ >œ >œ œ- œ 48 sƒ 3

T. Sx.

Perc.

- -- 5 &8 ¿ ¿ ¿ ¿ – f - Bass Drum

snare drum w/ stick

175

∑

3

∑ ∑

12 32 12 32

3 > > > >> > maybe snare on downbeat?

12 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 48 ∑ 32 – – J3

sƒ

God can do that

∑

3

sƒwild and raw ¯ ≈ # œ œ̄ œ̄ >œ >œ >œ >œ >œ >œ œ œ 3

+ >œ . >œ . d >œ . + ˘œ .

12 32

sƒ n >œ . >œ . n >œ . # ˘œ .

God can do that

d >œ . >œ . d >œ . + ˘œ .

sƒ

4 8

¬- .

¾.

∑

sƒ 12 # >œ . >œ . n >œ . # ˘œ . 48 32

48

˘ ˘ ˘ ˘ ¿ . ¿ . ¿ . ¿ . 48 –. –. –.

S

∑ ∑ ∑

12 32 12 32

sƒ

He paints fa - ces

∑ sƒ n >œ . >œ . n >œ . # ˘œ .

He paints fa - ces

d >œ . >œ . d >œ . + ˘œ .

sƒ

85

¾

+ >œ . >œ . d >œ . + ˘œ .

3

5 8

˙

∑

on - ly

85

¬-

12 32

sp 48 # œ- œ- œ . 32 12 48

-¬

5 4 ˙.

45

on - ly

& 85

175

≈

œ.

¾

& 85 ≈ # œ< œ< œ< œ œ œ œ œ œ œ- œ 48 > > > >> >

175

D 1 (L)

-¬

lip+tongue rumbling

& a˙

172

Perc.

¬P

¬- .

5 8

4 8

∑ ∑

sƒ 12 # >œ . n >œ . >œ . # ˘œ . 28 32

sp 48 # ˙-

He

48 48

˘ ˘ ˘ ˘ 12 32 ¿ . ¿ . ¿ . ¿ . 48 –.

–. –.

S

+ œ- . d œ- . œ- . + œ¯ .

12 32

∑ ∑ ∑

sƒ

2 8

paints all fa - ces

12 32 12 32 12 32

∑ sƒ n >œ . # >œ . >œ . # ˘œ . paints all fa - ces

d >œ . + >œ . >œ . + ˘œ .

sƒ

28 28 28

˘ ˘ ˘ ˘ 12 32 ¿ . ¿ . ¿ . ¿ . 28 –. –. –.

S

B. Cl.

D 1 (L)

stringendo e cresc. + œ- . d œ- .

182 12 & 28 .. ∑ 32 sƒ sƒ 182 > > 2 12 & 8 .. ∑ 32 # œ . n œ . paints

sp & 28 .. # œ

12 œ .

32 R

182

Nar. (C)

He

? 2 ..

8

D 2 (R)

& 28 .. & 28 .. æ¿ sπ

12 32

snare roll

182

Perc.

12 32

∑

182

T. Sx.

12 32

∑

182

all

= 150 -œ . + œ¯ . 13x + >œ d >œ ‰ .. 85 ..

all

>œ . + >œ .

sƒ

fa

- ces

≈.

paints

5 &2

B. Cl.

& 25

187

D 1 (L)

# >œ

( ff) ( ff)

= >˙

# >œ

He

( ff) ? 25

> 5 #œ &2 ( ff)

T. Sx.

Perc.

# >œ

-̇

paints

fa

fa - ces

‰

= >˙

# >œ

paints

= >˙

4 2

n ˙-

˙

-

-

-

æ & 25 Xlow tom > f

-

Ó

# >œ Xæ . ∑.

= >˙

# >œ

= >˙

He

=˙

>œ

paints

fa

d >œ

>œ

>

slap tongue

Ï œ +

œ\

>¿

ces.

7x .. 25 >œ 7x .. 25

- ces

>œ 7x .. 25

Œ

Ó

to Clarinet

lip+tongue rumbling

Œ

Ó

approach clarinet player (Veil I)

(sss)

Ï sP

(w)

¬=˙

> œ+

slap tongue

Ï rim shot

7x .. 25

7x .. 25

P -¬

Ïpowerful -.

42 # ˙

Bass Drum

n >œ

freely, fast and wild

(w)

42 Xæ ƒ -

- ces

9x .. ..

# ˙-

4 #˙ 2

fa

He

freely, fast and wild

fa - ces

11x .. 42 ..

42

187

He

>œ 9x + >œ .. ..

all

paints

œ >

fast and wild 9x freely, œ.. .. # œ-

Œ

>œ + >œ 11x + >œ d >œ .. 42 .. ‰

>œ . + ˘œ . 13x .. 85 .. ‰

n ˙-

# >œ

He

>œ 7x .. 25

NARRATOR head slowly facing straight ahead

>œ + >œ

paints

42

= >˙

fa - ces

>œ

9x freely, fast and wild .. .. # œ n œ œ > > >

>œ > 9x # œ .. ..

||: He paints faces :||

187

œ >

>œ # >œ # >œ n >œ 11x ‰ .. 42 ..

fac - es

d >œ

freely, fast and wild

>œ . # ˘œ . n>œ #>œ 13x .. 85 .. ‰

(w + w + h )

187

>œ 9x + >œ .. ..

He

||: He paints faces :||

She

D 2 (R)

Œ

f 11x .. 42 .. # œ-

paints

(w + w + h )

ƒablaze 187 # >˙ 5 &2

= 186 > d >œ ‰ +œ

11x .. 42 .. ‰ # œ n œ > >

fa - ces

‰

21

q

œ #œ > >

13x .. 85 ..

NARRATOR rips/breaks mask off

Nar. (C)

all

F 13x .. 85 .. # œ-

Locked-in, unflinching h = 90

187

>œ + >œ 11x .. 42 ..

> . ˘ 13x. 5 . > > œ #œ. . 8 . ‰ #œ nœ

‰.

sƒ n >œ . # >œ . paints

q

> ¿

Ï

lip+tongue rumbling

Œ

Ó

Œ

Ó

to tam-tam

22 B b Cl.

189

D 1 (L)

&

U

‫آ‬

When your covering is removed peer out at audience

-¬

U

U

U

U

¬J >

U

U

U

Ó

43

U

U

U

U

3 4

U

U

Ó

3 4

Ó

3 4

Ó

U When mask is removed GASP and peer out at audience

U

& ¬

189

Nar. (C)

U

& ¬

189

Ó

‫ز‬

Ó

¬

D 2 (R)

?U ¬-

U

¬-

& ∑ > U & ¬ ! p sπ

> U ¬ ! sP sp

189

B b Cl.

& 43

190

D 1 (L)

& 43

190

Nar. (C)

? 43

190

D 2 (R)

U ‰ # œ- = œ- œ

Œ

‰

‰

Clarinet

p 3

3

p

# œ-

œ = œ- .

Hmm

p ≈ # œ- œ

= œ-

Hmm

p # œ- .

Œ

Hmm

j & 43 # œ- = œ- . p 3 & 4 #œ # œ p

190

Perc.

#œ #œ

3

U

œ

U

œ

= œ- Uœ

190

T. Sx.

¬

> U ¬ ! sF sP

# # œœ

U

44 ˙ 44 ˙ 44 ˙ 44 ˙

œ

44 ˙

U

4 æ4 p

œœ

,

( )

f

U

> U ¬ !

S sF

˙.

˙ f

‫ی‬

When your covering is removed peer out at audience

Overcome q = 58 - 65 (fast enough so the narrator can make these 4 bars with no breath)

& 43

190

U

Ó

scrape tam tam w/ triangle beater with each garment removal -after each scraping continue with nail circle fills

Perc.

‫د‬

¬

Ó

When mask is removed GASP and peer out at audience

189

T. Sx.

¬

¬J >

U

43

Ó

Ó

¬

Walk across stage removing veils from players and masks from vocalists -after each removal, paint the indicated Farsi letter on and across their faces -after finishing everyone else, return to center and paint your own face 189

Ó

> sƒ

rit. œ.

≈

‫ا‬

3 4

to vibraphone

a tempo 3 # œ- # œ œ ˙

œ\Ï Ï

belt

# ˙-

Ah

f ( ,) - # œ . œ #œ

> œ \¿ ≈

˙.

w

˙.

w

(h)

reduce vocal cover

Ï œ \>¿ ≈

Ah

(h)

f ( ,) n ˙

Ï œ \>¿ ≈ belt

w

˙.

Ah

(h)

# ˙-

˙.

f

Tam-Tam roll

Ó ( f)

LV

œ.

- œ . # # œœ- œœ # œ n œ œ. #œ.

J n # œœ- # œ- . f 3

≈

#˙.

3 - # -˙ # # œœ # ˙

– ƒ-

Œ

˙˙ X æ

œ Ï\

sus. cymb swell

( fff)

23

Dissipating | with the clarinet leading B b Cl.

U

,

U

&Ó

194

D 1 (L)

U

&Ó

194

n n ˙˙ ( π) √ bU˙ ∏

quiet, comfortable volume to make dyads speak

ñ

audible breath

(breathe as needed)

U

U

# n ˙˙

n n ˙˙

, audible breath

WHISTLED

ñ

nU˙

, audible breath

ñ

U

b˙

to air

to air

changing mouth positions freely and gradually 194

Nar. (C)

U

& p ¬-

? UÓ

194

D 2 (R)

U

U

¬-

lip+tongue rumbling

,

√ nU˙ ∏ &

audible breath

ñ

¬-

, audible breath

WHISTLED

&

Perc.

U

(choke)

&Ó

194

ñ

nU˙

°

¬-

, audible breath

ñ

nU˙

to air

U ∑

194

T. Sx.

U

top notes bowed and w/ foil

U

b ˙≤ n˙ ∏ pedaling so there is no break in sound

U

n ˙≤ n˙

U

b ˙≤ n˙

LV