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Oscar Bianchi

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ORANGO s

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pour ensemble et public

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Commande de Art Mentor Foundation Lucerne pour CONNECT – the audience as artist


Création : 22 avril 2018, Francfort, Frankfurt Lab, par l’Ensemble Modern, sous la direction de Jonathan Stockhammer First performance: April 22nd, 2018, Frankfurt, Frankfurt Lab, by the Ensemble Modern, conducted by Jonathan Stockhammer

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Version du 16 juillet 2018 Version of July 16th, 2018

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Durée : 35 minutes environ

Duration: around 35 minutes

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© 2018 Éditions DURAND Tous droits réservés pour tous pays All rights reserved Édition du 23 janvier 2019 DF 16481


ORANGO

Instrumentation

Flute, also Bass flutel, four wine glasses (E5, F4+, F#6, A6) Oboe, also Cor Anglais, four wine glasses (Cb5, F4, C#5, C#6, D#6) Clarinet in Bb, also Bass Clarinet and Contrabass Clarinet in Bb, four wine glasses (A#4, E4+, E6, D6)

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Bassoon, also Contrabassoon, four wine glasses, also A#4, B4, B5, A#5

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Horn in F, also four Wine glasses (A4, B4+, F#5, C#6)

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Trumpet in C, also harmon mute, four wine glasses (Gb4, B4, C#5, G5) Trombone, also harmon mute four wine glasses (F4, A#4+, A6+)

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Percussion 1: symphonic bass drum on wheels (possibly not oiled, noisy) , Crotales (D7, Eb7, F#7, A7,

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B7), Wine glass C7+ (quarter tone high), Log drum very big with four pitches, Metaldrum, Plexiglass

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(78cm x 50cm x 2mm ca), 3 tom toms, 3 large cymbals (very low, low, medium-low, medium-high - don't have to match perc 1 cymbals), Tam-Tam (Paiste 26”) partially damped on Keyboard Stand, Ride

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Cymbal 22”, China Cymbal 14”, Marimba (four or ideally six octaves), Almglocken F4, Waldteufel

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(Kolberg if possible), Gongs (F#4 and C#4), different mallets, contrabass bow, 2 medium-hard vibraphone mallets with fiber glass handles (Vibrawell V3). 6 Squeaky Rubber Chickens, Teddy Bear.

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Percussion 2: symphonic bass drum, Crotales (C#7, D7, D#7, F#7) , Wine glass G5+ (quarter tone

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high), Log drum very big with four pitches, hard broom on floor or hard brush over bass drum, Gongs

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(F#4 and C#4), Tam tam or big china, Large thunder-sheet, 3 large cymbals: very low, low, medium-low,

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medium-high (doesn't have to match perc 1 cymbals), Waldteufel (Kolberg if possible), Vibraphone,

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waldteufel, Tam-Tam partially damped on Keyboard Stand (Paiste 26”), Ride Cymbal 22”, China Cymbal

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14”, Almglocken B4, Different mallets, super-ball, bow for crotales and cymbals, hard brush or broom

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Piano, also water glass

Violin Viola Cello Contrabass (C string scordatura to G0)


other requirements for ensemble: 12 super-balls, 12 Waldteufels, 12 Soprano Recorders recorder heads (mixed: soprano, tenor, alto, anything that is available), 16 Almglocken (C3, 2 x C#3,D3, E3, F#3, G#3, B3, C#4 D4 , E4, F4, F#4, G#4, A4, B4), 12 pair of metal-sticks, alternatively hard-pencils (for musicstand tremolos)

requirements for audience: according to the amount of trained audience participants, 10 to 30 mixed recorder heads (soprano, tenor, alto, anything that is in fact easily available and affordable), 10 to 30 Messingblech Tafeln, 0,3 x 100 x 200 mm (thin metal tablets nicknamed in the score as ''piopios''), 10 to 30 super-balls

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the score is in C (bass Flute, Contrabass sound one octave lower than notated. Crotales on octave higher)

Duration: circa 35 minutes


Composer’s note Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves). Altered pitches might be sometimes respelled within the measure for cautionary purposes. Trills: unless differently specified the auxiliary note is always a step above the main note, see example below.

Trill

 

Realization

  

 

  



  







LEGEND

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quarter tone higher, sharp, three quarter tones higher

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quarter tone lower, flat, three quarter tones lower

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decrescendo dal niente

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crescendo dal niente

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highest pitch available

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glissandos should always start immediately, and they should be played as continuous and as even as possible

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fully close embouchure with mouth

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WIND INSTRUMENTS

FLUTE « internal frullato » : exhale into the instrument while fingering the indicated pitches, make sure to hold closed mouth embouchure as indicated « air only (no tone) » : produce an airy sound by blowing regularly but without harmonic sounds (no tone), emulate a « white noise » like sound « soffio » : with open lips, concentrate the blowing inside the mouth-whole as to pronounce an « i » (italian « i ») with open mouth (jaw in position as to produce and « a »). Enhance the resonances within the mouth. « + growl »: vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.


OBOE « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « + growl » : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

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CLARINET « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument.

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« Harmonics Tremolo » : tremolos of harmonics with different fundamentals

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« open slap »: open your mouth very quickly at the same time (or just slightly after) as slapping.

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« air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound

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« + growl »: vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

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BASSOON « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument.

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« air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound

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« lala slap » : with the mouthpiece off, double-tongue the indicated pitches producing a dry but deep and articulated sound

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TRUMPET, TROMBONES « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound. Sometimes without mouthpiece when indicated. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument.


Part One D string scordatura down a ¼-tone. Furioso! Enjoy the few moments of respite, bringing out warmth and lyricism of line, looking towards the second part of the work. Up-bow double harmonic trill on III/IV, played with varying degrees of sul pont. Distorted trills always sul pont exploring layers of overtones – ALLdifferentiation STRINGS bring out relative of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very sp = sul ponticello fast and regluar, alternating upper and lower trilling fingers (1/2 with 2/3). Play where possible with fast and fluid up-bow gesture. Harmonic nodes or contact points are given in the part/score. A chart below st = sul tasto shows actual sounding pitches of the harmonics. Exact pitches are not critical, and it should be added that msp = molto sul ponticello sul pont creates additional layers of overtones. Glissandi are very fluid. The short-note interjections of mst = molto sul tasto single tones, open strings, chords, also chordal harmonics, trace an elongated melodic line which is at clb = times reflected in the orchestra. xv = extreme vibrato (very wide vibrato, minimum fifth wide) w.n. « white noise » : tonelos, bow right over the bridge p.r. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique) Part Two Re-tune to D-natural.

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highest available Restrained but expressive. Fivepitch fragments of an extended melodic line thread through the orchestral textures. The line is always in motion drawn out of and disappearing into silence.

The overall effect creates a quasi-static multiphonic. Double, triple or bow: from ordinario to overpressure quadruple chords combine open strings, open-string/harmonic trills and stopped tones. Fast string crossings - explore with varying bow pressure and changing bow strokes, avoiding cliché arpeggios I-IV-I. Varying degrees of sul pont creates additional layers of overtones. Open-string/harmonic trills immediately as fast as possible, and remain very fast, continous regular. Build up playing all three strings. « Harmonic glissando » : gradually moveand from lightly touched to pressed. Bring out the harmonics more than the open strings. Noteheads in brackets add last and play less often.

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Natural harmonics:

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Natural harmonics:

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VIOLA « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants.

CELLO « col legno slide » : slide vertically the stick of the bow (col legno) over the string towards the scroll: you should hear two glissando sounds. The stick of the bow should lay lightly on the string (it works best to use the higher half of the bow-stick) « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello

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« Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants.

« press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique)

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DOUBLE BASS « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello

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« flanger pizz » : approach the surface of the wooden tip of the bow against the vibrating string (after the pizz). Alternatively, use a ring instead. The flanger effect is created by quickly ‘intercepting’ the vibrating string and creating a ‘wah-wah’ effect by approaching the bow’s tip against the vibrating string.

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« press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique)

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ORANGO

Oscar Bianchi 2017 - 2018

for ensemble and audience

• a puppet already placed in the center-le� area of performative space, visible • all performers off stage, audience and trained audience normally seated, lights off (only light spotlight over puppet on) • backstage light on √ ∑

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Oboe

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Clarinet in Bb

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Flute

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Horn in F

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Trumpet in C

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Trombone

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Contrabass

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Viola

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© 2018 Editions DURAND Paris, France

DDF & 16481 F xxxxx

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Tous droits réservés pour tous pays


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A from the outside, hence not visible yet, the percussionist slowly joins the center of the performative space while carrying a

symphonic bass-drum on wheels. Rollying it rather slowly, she/he becomes unexpectedly aware of the low/barely-perceptible frequencies produced by the membranes which resonate because of the motion-induced vibrations. On the way towards a designated central position, in an unpredictable path, she/he wanders around a bit, subtly toying with such effects (low vibrations resulting a�er simple strolling movements), rotating the drum on itself at times, enjoying the produced sounds and encouraging them with different spontaneous-looking motion techniques, unaware of unveiling this to the audience. 2 - 3 min.

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indications: / -performance be in a possibly hidden position with the Bass Drum at the beginning 

Perc 1

- once the backlight is on, start moving over the performative space, your movement seem at times as an imaginary ‘’pas de deux’’  between you and the bass drrum - while moving, favour large steps, long movements, like stopping abruptly and sliding forward and backward - while moving, if you happen to run into a cable or a grid over the �oor, indulge in it, obsess with it

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B on its way around, a little teddy bear is suddenly noticed. �e percussionist checks it brie�y, then throw it towards the audience.

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�e audience member who catches it is invited to join the stage. Once one stage, the percussionist will encourage her/him to play and imitate him, �rst with screaming chickens, then by moving the bass-drum together and playing with super-ball. Once done, the percussionist invite the audience member to returnt to her/his seating place, this being also the cue for all ensemble members to join the performative space from outside by sligind their own super-balls over the �oor or playing ''pio pios'' (rehearsal mark C). Hence the applause for the audience member returning to original seating cross fade entrance of ensemble members. 5 - 6 min.

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performance indications: √ ∑ - suddenly you realise there’s a teddybear, leave the bass-drum close to conductor podium before getting close to it. Position yourself sidewise to the audience, bend down, slowly pick the teddybear up and scrutinise it just a bit before randomly throwing it towards the audience - invite the audience member who fetched it to join you on stage. Get back the teddybear from her/him and place it over a dedicated music-stand (next to conductor) - when the audience member joins you on stage make sure to position her/him always in front of you, face to face while showing your sides to the audience -provide the audience member with two screaming chickens (one per hand), you holding four of them (two per hand) -then start a ‘’screaming chicken quartet’’, based on imitation. Here a sequence of actions which should prompt the audience member to naturally imitate you: T-position (straight torso with open arms), geometric (play with moving your arms and forearms in geometric position), tennis playing, Pisa tower (slowly swing le� and right, position your selve diagonal towards the audience), giggles fast with shoulder. -Once done, get the chickens back form the audience member, put them over the dedicated music-stand and provide her/him with a superball which you'll have in your pockets. -Start playing with it, �rst sliding the superball over the wooden frame (slide, dead strokes, etc.), then over the skin (�rst gesture should be a long deep sound), use you bare hands as well on the bass drum skin to sometime mute the sounds and / or to interrupt the audience member. Head towards a sort of crescendo rossiniano with a very deep, long �nal slide sound. - thank the audience member by bowing towards her/him inviting to regain her/his original seating position (the audience should naturally applause here). �is is also the cue for the ensemble members to crawl out their hidden positions and slowly join their performing positions - head towards your own percussion setup location with the bass drum, not rushing. (Advises: If she / he's not very good at a speci�c actions either move on to the next quickly or help and encourage her/him with eyes and hands gestures, as a mime would do - never talk, only if seriously stuck.Favor large and slow gesture as in bigger halls fast gesture won't be properly seen)

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C conductor and all ensemble members enter from the outside while sliding their own super-ball over the �oor with a set of

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different techniques. Percussion 2 and Piano will by the �rst to arrive in position in order to start D (3 actions): sliding their super balls over the skin of and the wooden body of the piano (or glass). Once musicians arrive by their instruments they contiguously slide their super-balls now all over their instruments's body, exploring sound textures and different sounds results

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Ensemble starts fading out DDF & 16481 F xxxxx

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embouchure off

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ord poco sul ponticello sul ponticello molto sul ponticello

DDF & 16481 F xxxxx

Œ

&

¿ ææ

¿ ææ

B

¿ ææ

?

mfpp

> ¿ ¿™ ææ æ æ mfpp

mfpp

5

mfpp

¿ ææ

5

> > ¿¿ ¿ ææ ææ ææ R 5

Y ææ

mfpp mfpp

‹ ‚‚≤ ™ &

o

‚‚ ™ pp

‚‚ ™

?


24

Fl

3 4

7 ° & #‚ n‚ ‚b‚ ‚ # ‚ n ‚ ‰

f quasi

œ o

&

œ ™™™

#œ o

f

mp

+air + keys noise Ob

4 q = 60 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 #˙

5

ord (sound) D-D# keys tremolo (strettissimo)

6

6

6

6

o

3

6

3

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ pp

w æ

�z

æ o

3

6

6

6

&

6

6

+

6

6

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈™‰

f

ppp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ™ œ œ ‰™ o o f r.h. trill keys tremolo, very fast

Cl

o

mf quasi

Œ

Œ

Contrabass Clarinet in Bb

Ó

?

quasi

Cbsn ¢

?

air inside the tube (mouth closing up embouchure)

lala slap (mouthpiece out)

≥ æ b _æ o

@≤

ææj -

æ -æ

g™

G

pp

o

f

rié op

Pr

f quasi

s

°?

de

Hn

3 7 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ ææ ææ ææ æ æ æ æ æ æ æ 3 ≤ ≥ Ó g# gn g gb gæ gæ æ æ æ æ æ ææ ææ # gn g# gn g g b g g # G G

p

f

iti Ed

mf

p

f

on

s

≥ 6 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ ææ æ æ æ æ æ æ 7 ≤ ≥ æ æ æ æ æ g gb g g# g n gæ # gæ n gæ æ æ æ ææ ææ Ó gb g g# g n g# G G

f

an

ur

D

&

C Tpt

p

f

d

+ æ b˙æ o

Œ

ææ œ

3

¯ æ œæ

+ ææ œ

mf quasi

3

æ ˙æ

o

oc

ot Ph

Tbn ¢

?

3

---

�z

ord

ie op

(one key) 5

)) ™ ææ

p

ffp

ææ 6

æ 6æ

> æ ææ 6æ 6

5

> æ ææ 6æ 6

ffp

æ 6æ

e

êm

)) ™ ææ

ffp

m

¢/

æ )æ™

ite

> 5 æær ææ 6 6

(one key)

Perc 2

Ó

rd te

°/

> æ ææ 6æ 6

in

Perc 1

ææ 6

Œ

)™ ææ

p

5

ffp

æ )æ

le

el rti

/

ææ 6

pa

Pno {

æ 6æ

° Vln &

reversed seagull effect (✶)

f (✶) gliss until string's end without shortening the position

reversed seagull effect (✶)

B

Vla

Œ

™™ œO ™™

III 3

™™

Œ

&

Œ

Œ

Ó

B

f

(✶) gliss until string's end without shortening the position

?

Vc

Cb

¢

?

ord �aut, sp

µ OoY ™ o

ord

b OoY ™

bw

µw

mf

„ æ bOOæ™™

‹ &

sfz

DDF & 16481 F xxxxx

‡ #‚‚ ™™ pp

Ó

o ?


6

F

air flattertongue

@ g≥ #g ng g bg

26

Fl

° Œ &

7

g #g ng #g ng

6

mf

f

g bg

3 8

≤ >g

g

mf

f

air flattertongue

& Œ

Ob

@ ≥ 6 g gb g g# gn g# gn g

mf

f

≤ gb g gb g gb gj >

g

f

j g

ff

? @ Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ g™ g

7

mf

? ٳ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ g

ff

pp

air flattertongue

Ÿ~~~~~~~~~~~~~~~~~~~≤

embouchure off

@ ≥ ? bg >

Cb Cl

g™

@ ? ? ≥@ 5 ≥ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ 5 g g g b >g g ‰ > > ff ff fz fz

g

f

@ ≥

≤ g gb g g# gn g # gn g gb g g b g gb gj >

rié op

Œ

Pr

? Œ

f

mf

f

g g

f

ff air flattertongue

@ g≥ g bg g #g ng #gng g bg g bg g

s

°?

f

g™

de ∑

iti Ed

Hn

mf

@ ?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ٳ

@ 6 ≥ 7 ≤ # gn g g b g g # g n g# gn g gb g g# g g > mf

7

mf

air flattertongue

Cbsn ¢

6

on

6

mf

f

7

mf

f

s D

air flattertongue

?

Œ

mf

ot Ph

---

oc

Tbn ¢

&

d

C Tpt

an

ur

@ 6 ≥ # gn g g b g g # g

ffp

ææ 6

ffp

Ó

ææ 6

B ® œO ™™ J

Vla

Œ

Ó

&

f

# œo

? ≈

#l œ o

Œ

3

f (✶) gliss until string's end without shortening the position

reversed seagull effect (✶)

? ≈ Oœ III 3

Cb

¢

™™

˜-œ o

œ

reverse sound

Œ

Œ

f

(✶) gliss until string's end without shortening the position

œ

DDF & 16481 F xxxxx

&

® L#œ ™ -o

6 æ

ææ 6

ææ 6

f

5:3

f

reverse sound

Œ

œO ™™™™

æ 6æ

reverse sound

reversed seagull effect (✶)

Vc

p 5:3

reverse sound

f

3

ææ 6

f

6 æ

œ

p

le

Œ

> æ 6æ

6 æ

6 ææ

el rti

° Vln & ® # O ™™ # œ ™™

5

6 æ

5:3

6 ææ

pa

ffp

6 æ

ffp

ææ 6™

p

êm

> æ 6æ

ææ ™ Pno { / )

> æ ææ 6æ 6

5

f

6 ææ

e

ffp

ææ 6

6 ææ

m

> æ 6æ

ffp

6 ææ

ite

5

> æ 6æ

rd te

ææ 6

ææ Perc 2 ¢ / )

5

in

æ 6æ™

æ )æ

ie op

>r 5 ° ææ 6ææ Perc 1 / 6

f

p

4 4


28

Fl

° &

4 4

≥ 3 @ 6 7 4 ≤ g# gn ggb gg # gn g # gn ggb gg gj >

air flattertongue

@ <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

G™

p

&

Ob

?

Cb Cl

embouchure on

Cbsn ¢

b g™™ ff

Ó

b‚

f

? @ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ≥ ‰ g g™™

j gb g gb g gb g > mf

≤ bg >

de

f

Ó

s

D

ff

Œ

pp

d

an

ur

f

5

7

6

mp

on

mf

Œ

iti Ed

≤ g# gn ggb gg# g j >g

f

Œ

? @ Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ r g g™™

7

f quasi

œ #œ nœ œ#œ#œ nœ#œ #œ œ #œ #œ œ

pp

s

ff

7

6

poco legato, sempre articolato e diafono

&

C Tpt

mf

7

b‚ ‚ n‚ ‚ #‚ ‚ ‚ # ‚ ‚ ‚ ‚ ‚ ‚ ‚ #‚ n‚

? @ lala slap Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ æ G b -æ o ff

rié op

Hn

°?

@ ≥ 6 ‰ ggb gg # gn g# gn g

Œ

mp

Pr

pp

ff

articulated sound with presence of air poco legato, sempre articolato e diafono

embouchure on

pp

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ g

f

7

air flattertongue

?

mf

? @ ٳ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

r bg

f

5 4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ @ ? ≥ G

air flattertongue

mf

g

f

ff

pp

ie op

>r æ æ 6æ )æ

two keys (l & r.h)

ffp

5

> æ 66æ

ffp

æ 66æ

æ 66æ

rd te

æ 6æ™

in

æ 6æ

5

f

? @ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≥ g G™

oc

°/

6

7 ≤ #gng#g # gn g# gn g# g n g #g g >

ot Ph

Perc 1

mf

---

Tbn ¢

@ ? #g≥ #g ng

5:3

f

ite

≈ …

æ 6æ ‰™

&

≈ …

‰™

l Ϫ o

œ

˜ -œ œ™

œ

Vc

?

ff

Cb

¢&

≈ ff

æ 66æ

p

‰™

Œ

f

≈ …

æ 66æ p

æ ))æ

p

5:3

66 ææ f

æ 66æ

æ 66æ p

66 ææ f

Œ

/

Œ

/

Œ

/

ff

≈ … ff

3

‰™

66 ææ f

œ

ff

…≈

æ 66æ

œ- œ™ o

ff

Vla

two keys (l & r.h)

ffp

®

5:3

le

æ 6æ

>r æ æ 6æ 6æ

5

66 ææ

el rti

° &

ffp

æ 66æ

pa

Vln

/

æ )æ™

e

Pno {

>æ 6æ

êm

¢/

æ 66æ

two keys (l & r.h)

m

Perc 2

æær 6

5

66 ææ

o

…≈ ff

Œ

‹ ‚‚≤ &

OO ™

pp

DDF & 16481 F xxxxx


8 30

Fl

°&

5 4®

wah wah effect (✶)

bO7 ™™ mf

O™ 7™

® Œ 7O

fff

ord

Ó

/

mf

(✶) hold a steady voice pitch (lower note) while prodcing harmonic gliss.

?

Cb Cl

#‚ #‚

7

#‚ ‚ ‚ ‚ b‚

#‚

n‚

5

mp

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ ‚ O

6

Œ

metal sticks 5:3

æj 6æ æ6 æ

p (✶) with two metal sticks produce a mandolino like tremolo around the metal stand of the music stand from bottom towards high

æ ‰ 6æ æ6 æ p

music stand tremolo (✶) or waldteufel

f

metal sticks 5:3

j ≈ 6æ™

Œ

/

f

metal sticks 5:3

3

Œ

/

#‚

f quasi

3 4

music stand tremolo (✶) or waldteufel

music stand tremolo (✶) or waldteufel

&

Ob

2 8

6 æ

p

f

æ 6æ

æ 6æ

p

æ 6æ

æ 6æ

p

æ 6æ

æ 6æ

æ 6æ

æ 6æ

p

f

p

music stand tremolo (✶) or waldteufel

(air)

Cbsn ¢

?

æ b -æ

æ -æ

g

pp

/

g

f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # œ n œ œ # œ œ œ œ #œ œ œ œ # œ n œ œ J #œ œ œ #œ œ nœ œ æ æ æ æ #æœ æ #æœ æ æ æ æ æ æ æ æ æ æ #æœ æ æ æ

s

7

5

mp

6

f quasi

p

f

/

s

&

æ 6æ

Œ

music stand tremolo (✶) metal sticks or waldteufel

æ ‰ 6æ æ6 æ 3

/

j ≈ 6æ™ 6 æ

p

d /

music stand tremolo (✶) or waldteufel

oc

ot Ph

---

°/

6 6 6 6 6 6 6 6 6 6

5

5

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

6 6 6 6 6 6 6 6 6 6

> 5 5 5 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

p

f

6 æ

æ 6æ æ6 æ

æ 6æ

p

p

5:3

f

æ 6æ æ6 æ

p

f

6 6 6 6 6 æ æ æ ææ æ 5:4

p

æ 6æ

f

p

æ 6æ æ6 æ

æ 6æ

p

f

p

æ 66æ

5:3

66 ææ f

æ æ 66æ 66æ p

two keys (l & r.h)

æ 66æ

66 ææ

p

5:3

f

æ 66æ 6æ6 æ

p

f

æ 66æ p

f

e

êm

f

æ 66æ

p

m

ffp

f

5:4

ite

¢/

5

rd te

Perc 2

5

æ 6æ

p

6 6 6 6 6 æ æ ææ æ æ

5

in

(one key)

f

p

two keys (l & r.h)

ie op

Perc 1

5

5:3

metal sticks

(one key) 5

5:3

metal sticks

music stand tremolo (✶) or waldteufel

an ∑

f

f

p

ur

D

Tbn ¢

?

6 ææ

p

pp

on

iti Ed

5

metal sticks 5:3

o

de

f quasi

C Tpt

g™

rié op

Pr

Hn

ææj -

f quasi

double tonguing

°?

@ ≤

5:4

/

5

5

5

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ææ æ ææ æ ææ 6 6 6 6 66

p

f

frog's tip tremolo (✶)

(✶) tremolo between I and II strings with the tip of the frog

p

æ 6æ

j ≈ 6ææ™

Vla

/

Vc

/

p

5:3

æ 6æ æ6 æ

5:3

æ 6æ æ6 æ

msp

f

msp

f

æ )æ

msp

6 ææ

ast

f

p

p

5:3

æ 6æ æ6 æ

f

æ )æ

f

æ 6æ

5:3

ast

6 ææ

ast

frog's tip tremolo (✶)

(✶) tremolo between I and II strings with the tip of the frog

p

msp

p

p

æ 66æ 6æ6 æ

æ )æ

f

ast

frog's tip tremolo (✶)

æ ))æ

ast

6 æ

p

(✶) tremolo between I and II strings with the tip of the frog

f

msp

ast

3

66 æ

le

° Vln /

5

el rti

Pno {

5

6 6 6 6 6 6 6 6 6 6

two keys (l & r.h)

pa

(one key)

msp

f

frog's tip tremolo (✶)

Cb

‹ ‚‚ ¢&

3

„æ ?bOæ >O

‡‹

&

f

#‚‚ ™™ p

arco over the tail piece

‰ o

DDF & 16481 F xxxxx

1

pp

1

1 ææ

3

mfp

1

1 mp

ë

1 J f

æ 6æ æ6 æ

‰ Œ

ast

5:3

p

msp

f

4 4


33

Fl

°

/

Ob

¢/

æ )æ

&‰

æ 6æ

Œ

Œ

3

&

bœ o

˙

3

ppp pp

mf

˙

˙

˙

˙

æ )æ

3

Œ

Œ

de

s

‰ Œ

j &‰ ‰ #œ o

œ

Œ

œ

Wine glass 3

Wine glass

Œ

3

&œ o

Œ

&b œ

œ

o

D

Ó

Wine glass

œ

o

an

Ó

ppp

3

ur

æ ‰ )æ™

5

f

5

w

ffp

æ 6æ

ffp

>5 ææ ææ 6‰ Œ

ffp

&

5

w

o

3

˙™

Πo

ff

Œ

f

p

˙

˙

o

ppp

3

Œ µ˙ ppp

o

Œ

˙

˙

˙

5

w

ffp

(one key)

æ 6æ™

5

> æ 6æ

Crotales

&

>5 ææ æ ææ ææ 6 6æ 6 6

>œ J ‰

Ó

3

#˙ ™ o

>œ J ‰

Ó

3

pp

æ 6æ

Ó

f

pp

ast

æ

Vla

pp

æ 6æ

Œ

f

pp

ast

æ

Vc

pp

6 ææ

pp

æ 6æ

pp

5

>6 ææ æ6 æ

6™ æ

ffp

>6 ææ æR 6 5

5

ord

&

Œ

œœ‰ b œ™ ‰ œœ™™ bœ ™

ffp

ffp 5

pp

æ )æ

w

>6 æ

pp

ord

&

Œ

·

f

> 6 6‰ ææ æ

ffp

p

œœ ‰ J ‰ #œ™ œ™

pp

quasi

##˙˙

œœ

™™ #œ Œ #œ pp

· B #œ ™ # œ™

5

ffp

‰ # œœ

œœ ™™

pp

J

##œœ ™™

#œœ ™™

f

##œœ ™™

pp

·

f

pp

·

·

ffp ord

æ )æ

‚ ‰ œœ b˙ b˙ êf

‰ # œ œœ # œ

##œœ

#w o

le

f

>6 ææ

·

˙

o

f

>6 ™ ææ æ6 æ

æ )æ

Œ

˙ ff

el rti

Ó

3

˙

pa

pp

˙

ff

e

æ 6æ

ast

ææ

˙

ff

f

‰ Œ

ffp

ffp

‰ œJ ˙ o

play with bow

ffp

æ 6æ

Crotales

play with bow

Œ ˜˙ o ppp

êm

æ )æ

ffp

œ

m

°

ff

˙ 3

spazzolato speeds: from slow (1) to very fast (4)

Vln

˙

˙ 3

o

ppp

˙

ite

ffp

p

œ œ œ

rd te

/

œ

in

Pno {

ff

ie op

5> > 5 > æ æ æ æ æ æ æ ææ ææ 6æ 6 ™ 6æ 6 6æ 6 6 ‰ Ó

æ ))æ ™™ > 5 æær ææ 66 66

Œ

œ œ œ

œ

oc

ffp

ææ 6

ot Ph

æ ))æ

>r5 æ æ 6æ 6æ

---

¢/

œ

f

(one key)

Perc 2

˙™

˙

˙

w

d

5> >5 ææ æ ææ ææ æ ææ 66 6æ 6 6 6æ 6

(one key)

° Perc 1 /

3

œ œ œ

s

on

Tbn ¢ /

ææj 6

p

Πo

˙

f

Wine glass

iti Ed

ppp

‰ µœ ™

˙

té æj 6æ

æ )æ

‰ œ™

ppp pp

‰ Œ

æ 6æ

ppp

˙

mf

æ 6æ™

æ 6æ

ppp

≈Œ

ff

˙™

3

ppp pp

3

˙

rié op

/

Tp

æj 6æ™

‰ µœ ™

3

o

Œ

˙

mf

&#œ

Œ Œ

Œ

˙

˙

Wine glass

3

˙

Wine glass

3

Pr

Hn

æ 6æ

‰ œJ o

Wine glass 3

æ )æ

/

°/

9

)æ™

æ )æ

Cb Cl

Bsn

/

4 4æ

· ‰ œ ™ #œ™ n œ œ™ ™ pp

·

· j #œœ œœ

Œ ##œ œ

pp

nœœ

&

pp

bow gliss (scrape sound)✶

æ 6æ

Ó

f

pp

ast

Cb

¢

æ

pp

> æ ‰ 5 6 6 6æ æ ææ ffp

>6 ææ ææ 6 R5

ffp

ææ 6

(✶) gliss from close to tailpiece towards close to bridge

ord

‰ DDF & 16481 F xxxxx

Ó

Œ

?

msp ord

œ œ™ > sffz pp

1 ‰ ‰ J 3

5

˙

˙™

IV f ff

1 fff

(i

3

‰? mf u)


10 38

Fl

° Ó &

3

o

¢&

w 5

(wine glass)

#˙ ™ o

œ

w

˙

mf

pp

4 4

œ

q = 80

mf

œ

w 5

(wine glass)

& Œ

Cl

5 4œ

o

& Ó

Ob

Bsn

Œ ˙

(wine glass)

œ

mf

5

pppp

w

œ

mf

Ó o

embouchure off (on Cb Cl)

pppp

Œ

7 ~~~~~~~~~~~~~~~~~~~~~~ 5 æ æ æ æœæ æ æ æ æ æ æœæ æ æ œæ æ æ æ æ æ æ æ æ æœæ æ æ æ æ æ æ æ 6æ æ Ÿ #œ #œ #œ nœ#œ nœ œ œ œ#œ œ œ #œ #œ œ œ œ œ ˙ œ #œ #œ œ œ #œ œ #œ œ #œ #œ #œ #œ

double tong.

Hn

° µw &

Ó o

Pr

˙

mf

pp

rié op

Ó o

Œ

f quasi

mp

p f

?

G ææ o

o

f

Œ

f

Ó

/

Ó

ææ ww o

3

oc

ot Ph

Œ

✶ (~k ) (both hands)

Bass Drum

---

œ >œ ≈

œ

>œ J

˙

d

° >œJ ‰ Œ Œ bœ Crot & o f

an

ur

D

pp

s

mf

double

f quasi

Œ

on

˙

triple 5

7

Ó o

iti Ed

˜w

Œ

s

pp

de

Tbn ¢&

mf

6

mp

˙

& w

C Tpt

/

>œ J

Œ

o

f

Œ

Ó

rd te

œ œ≈

in

#>œ ‰ Œ Œ nœ J o f

ie op

Crot ¢&

Bass Drum

f

✶ (~k )

ææ ww

both hands

o

œ #œ

pp

‰ ˙ & #˙

Vla

‚ ‰ # œœ b œ nœ

f

‰‚ nœœ œœ ##œœ ™™™™

Œ

mf

·

p

pp

f ê quasi

bnœœ

f pp

‚ ‰ #œ ™ # œ™

œœ

˙˙‰

mf

‰ · ‚ ‰‚ # ˙˙~~~~~~~~~~~~ #˙ ~~~~~~~~~~~~ ˙~~~~~~ ~~~~~~~ ~~~ œ™™ j ~ ~~ ~~ ~~ ~~~~~~~~~~~~~ œ ~~~~~~~~~~~~~~#œ B & ™™~~~~~~~~~~~~~~~~ œ # œœ ™™ œœ##œœ œœ ™™ R

Vc

pp

f

mf

‰ #˙˙

‚ #œœ

f

p

mf

‰ #œœ ™™

f pp

· r‰ # œ #œ

œœ ™™™™

f

‰‚ œœ #œ ™ œœ ™™ # œ™ f

˙˙

le

f

Œ ##œœ

el rti

œœ ™™

·

pa

‰ # œ™ œ™

e

° Vln &

êm

/

m

Pno {

ite

(✶) shake extremely fast and nervously the tip of the �ngers of both hands against the bass drum's skin in order to produce a sandy, tense and urgent sound

#œœ ™™

ê

·

‰ nœœ

##œœ

pp

f quasi

#œœ

j

f

·

##œœ ™™ pp

>≤ ≥>- III -œ

pp

Cb

¢

? Œ

5

µœ ™ mp

II msp 3 ord

#>œ œ ™

pp sffz sub

j‰ ‰ œ 3

˙ ff

p sub

ff

œ 6

sffz sffz

>ord œ ˙™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ~~~~

sffz mp sub

DDF & 16481 F xxxxx

ff

‰ l# œ … o ff

reverse sound 3

‰ ‰ ˜ œ- œ … o ff ≈ œ œ …‰ o ff reverse sound

msp (ord)

reverse sound

˙


11

42

Cl

°&

rotate wald teufel in the air. Dynamics correspond with rotation speeds

G

Œ

/

Œ

1

_

ææ r ™™ g gg g g g g g /

1

!

f

mf

5

mf

ma - ieu - ti - cus spec- ta....

frrr

¢&

..cu - lus

g™™

de-pre - ca...

pp

f

tschu tsche tschi tscho frr...

f

mf sub ✶ �ngerings ad libitum, follow displayed countour

Ó

pp

air sounds ✶

≤ @

Œ

1

j -

!™

J

mf

f

-≥ - - 6 6 6 6

)™ o

frrr

pp

Ó

™ 1 Œ

--

_™

/

-‰ Œ

kiss

g g gg g ‰

3

ê

p

-≥ - - - æ�z 6 6 6 )æ 6

air sounds ✶

!

1

f

hickup talk 5

Bsn

-™

pp

talk

Cb Cl

pp

&

Cl

/

1

f

Ó

mf sub

pp

rié op

Pr de

p

pp

f

air only, pos. ad libitum

‰ ≈

Hn

reversed mouthpiece

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ° <Ÿ>~~~~~~~~~~ ‰ ‰6 Ÿ ‰ j & œ #œ œ œ œ™ pp

gggggggggg

mp

Œ

Ó

Ó gggggg

gggg

Ó

>- >- >- >- >- >-3 >œœœœ œœ œœ œœ œœ œœ Ó

5

ggggg

f

f

s iti Ed

air only, pos. ad libitum

on

Ó

&

C Tpt

reversed mouthpiece

gggggggggggg

mf sub

6

6

f sub

r.h l.+r.h f mp sub

r.h l.h r.h f

ie op

l.+r.h mf sub

r.h

ææ ææ œœ ˙˙ ✶

oc

f

- -6 -6 -6 6 6 l.h ✶✶

ææ ˙˙ ✶

ot Ph

- - - ° 6 6 6 Prc 1 / 6 r.h l.h l.h

f

---

@

✶✶

Œ

d

f

ggg g gg G ææ æ

an

? g g g g ææG

ur

Tbn ¢

f

D

(with percussions)

6

f

s

p

Œ

ææ ˙˙ ✶

l.h

f sub

êm

l.+r.h f mp sub

f

>œœ ™™ ‰ Œ

m

l.+r.h mf sub

>- >- >-5 >- >- >œœœœœœ œœ œœœœ ™™

ite

- - - 6 6 Prc 2 ¢& 6 l.h r.h 6 ✶✶

r.h f

rd te

in

6

✶ -✶✶- r.h ææ 6 l.h -6 -6 œœ ˙˙ 6 r.h 6 ææ l.h r.h

@

le

el rti

/

canta jodel oppure monteverdi tremolo su snare drum

pa

Pno {

e

(✶✶) slide palm over different portions of bass drum's skin

dynamics correspond with rotation speeds

° Vln &

Œ

Waldteufel

/

hand

1™

mf

&

Vla

Œ

Waldteufel

/

hand

1™

mf

B

Vc

Œ

Waldteufel

/

hand

1 ™™

mf

Cb

¢

?

w

mp

1

in air 1™ 1 rotate 1™ f mf

f

rotate in air

1™

_

- 1

hand

p

ê

1™

_

f pp

!

f

mf

∑ DDF & 16481 F xxxxx

Viola

&

Ó

B

1™ 1 Ó

?

™ J pp

!

Violin 1

pp

f

rotate in air

Œ

_

f

1

mf

f pp

1

!

1

hand

pp

�z

tschu tschi tsche tscho frr...

Œ

-

æ )æ

Violoncello

f


12

q = 60

- - �z -6 -6 æ æ 6 6 6 )æ / -6

47

Fl

°

6

f

®

ff

mf sub

(etc.)

&

5 4®

O™ 7™

bO7 ™™ mf

2 8

Wald teufels

wah wah effect ✶

®Œ

Ó Ó

ord

7O ®≈ Œ

fff

/

mf

(✶) hold a steady voice pitch (lower note) while prodcing harmonic gliss. If the performer is male use bass �ute instead (hence real sounds are 8vb, including voice pitch).

/

Ob

- - -6 �z 6 -6 6 6 / 6 6 æ (etc.)

Cb Cl

¢/

embouchure on

æ )æ

mf sub

f

Bsn

?

#‚ #‚

7

#‚ ‚ ‚ ‚ b‚

#‚

n‚

5

ff

‚ Ÿ‚ ~~~~~~~ Ó #‚ 6

/

Wald teufels

f

/

/

Hn

&

?

s

s

Wald teufels

Wald teufels

right hand (or viceversa)

æ ˙æ

æ œæ

oc

ot Ph

---

æ ˙æ™

æ wæ

° / wææ

d

an

ur

D

on

iti Ed

Tbn ¢

de

C Tpt

/

Wald teufels

° &

rié op

Pr

Perc 1

key tremolo

ie op

le� hand (or viceversa)

Œ

5

5 5 > 5 ≈ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ffp

p

6 6 6 6 6 æ æ ææ ææ æ f

p

Vln

° &

frog's tip tremolo ✶

ææ æ ææ ææ ææ 6 6 6 6 6 f

p

ast

æ 6æ

3

p

(✶) tremolo between I and II strings with the tip of the frog frog's tip tremolo ✶

B

Vla

æj 6æ™

ast

p

(✶) tremolo between I and II strings with the tip of the frog frog's tip tremolo ✶

?

Vc

æ 6æ

ast

p

(✶) tremolo between I and II strings with the tip of the frog

Cb

¢

?

Ó

‡ ‹ ‚‚≤ Œ & pp

‚‚ 3

„ ? æ æ ##>OO

‡‹

&

f

DDF & 16481 F xxxxx

arco over the tail piece

‚‚ ™ p

‰ o

1

pp

p

f

le

el rti

p

5:4

pa

/

f

5:4

f

e

Pno {

5:4

6 6 6 6 ææ ææ ææ ææ

6 ææ

êm

m

5

ite

5

rd te

mp

key tremolo 5

Prc 2 ¢&

5

in

/

5

≈ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

1

1 ææ

3

mfp

1


Fl

3 4 51

°

/

Ob

/

Cl

Bsn

Œ

p

Œ

p

Œ

æ )æ

æ 6æ

æ )æ

p

æ 6æ

°/

f

5:3

p

3

f

f

f

p

Œ

ææj 6™

æ æ 6æ æ6 6

p

f

æj 6æ

Œ

Ó

&

Ó

≈ Œ

&

Œ

˙

Œ

˙

p

l.v.

Ó

pp

˙

˙

Wine glass 3

Ó

Œ

pp

w

pp

l.v.

Ó

Œ

#w

Wine glass

w

pp

f

l.v.

w

l.v.

Œ

&

Ó

o

µ˙

Ó

pp

Ó

Ó

f

ie op

æ )æ™

Ó

p

œ

oc

æ æ 6æ æ6 6æ

f

pp

ot Ph

---

æ )æ

>œ J ‰ Œ

play with bow

d

6 æ æ æ 6 6

pp

Wine glass

an

5:3

pp

Œ

Ó

ur

æ 6æ

#œ ™

f

Crotales

æ 6æ

Ó

D

° Perc 1 /

3

f

Ó

&

˙

3

l.v.

f

Wine glass

/

#œ ™ pp

w

pp

Œ

pp

f

#w &

Ó

Ó

w

pp

Ϫ

˙

l.v.

f

s

p

5:3

æ 6æ

&

w

pp

on

6 æ

p

Œ

p

æ æ 6æ æ6 6æ æ

iti Ed

æ 6æ

f

f

&

s

p

5:3

3

de

ææj 6 6™ æ æ

p

Œ

Ó

æ æ 6æ æ6 6æ æ

Œ

Wine glass 3

p

rié op

p

5:3

˙

Wine glass

ææ Œ3 6

p

6 6ææ æ f

&

p

j ≈ 6ææ™ 6 6ææ 6ææ ææ

æ ‰ 6æ æ6 æ

Tbn ¢ /

æ )æ

5:3

¢/

/

f

Œ

p

æ æ æ ‰ 6æ æ6 6æ 6æ æ

Wine glass

)æ™

3 5:3

Œ

Tp

f

4 4æ

Pr

Hn

/

æj æ æ ‰ 6æ æ6 6æ 6æ 5:3

13

f

p

msp

ast

æ )æ

f

p

msp

ast

6 ææ f

æ 6æ æ6 æ

5:3

f

æ 6æ æ6 æ

ææ

pp

f

æ 6æ

Ó

f

pp

æ 6æ

ast

æ

pp

msp

5:3

_

pp

&

Œ

‚ ‰ ##œœ ™™ mf

Ó

&

Œ

æ 6æ

Œ

‚ #œœ ™™

f

pp

Œ

B

Œ

mf

‰‚ œœ #œœ

##œœ ™™™™

pp

f

‰ ‚ # ˙‰ œœ #œ ™ #œœ ™™ # ˙ # œ™ f

mf

ast

ææ

_

f

ast

msp

æ )æ

p

f

(sparse clicks, irregular, maximum density 1 per 0.5'')

f pp

p

‰ ˙˙

‰ ## œœ ™™

f pp

Db.

¢

1 mp

1 æ J ‰ Œ 6æ æ6 æ

ë

f

5:3

p

· r ##œœ ‰

œœ ™™™™

pp

#œœ ™™

f

#œœ

·

æ 6æ

Œ

æ 6æ

f

pp

pp

ast

æ

pp

æ )æ™

Œ

DDF & 16481 F xxxxx

o

Œ

reverse sound

µœ- œ o

≈ ≈ … ff

≈ ≈ …

reverse sound

lœ o

≈ nœ- œ o

#œ ™ J # œ™ pp

3

ff

reverse sound

arco over the tail piece

msp

f

pp

f quasi

#˙˙

frog's tip tremolo (✶)

ast

##œœ

f

‰‚ œœ #œj œœ ™™ #œ

pp mf

·

‚ ‰ # œœ nœœ ê

f

nœœ

_

le

f

6 ææ

Vc

5:3

æ 6æ æ6

æ )æ

f

Waldteufel

æ )æ™

ffp

msp

ast

> œ ‰ Œ J

el rti

6 æ

f

#˙ o

Ó

pa

msp

Vla

5:3

> 5 æær ææ 6 6

&

e

p

p

play with bow

Crotales

êm

6 ææ

f

æ 6æ æ6 æ

æ )æ

f

° Vln

p

Œ

m

/

p

5:3

ite

Pno {

6 æ

rd te

in

Prc 2 ¢&

æ 6æ

1 1™

pp

…≈ ≈ ff

1 1> ææ f


14

56

Fl

° &

&

Ob

&

Cl

Fg

¢&

w

w

w

w

U w, (no a.s.)

w

/ f

#w

mp

w

w

w

f

w

U w

w

mp

w

w

U w

w

mp

w

w

U w

w

mp

rié op w

w

w

té f

U w

w

mp

w

s

w

ur

U w

w

/

d

an

f

mp

ppp

---

f

>œ J ‰ Œ

mp

ppp

w

w

w

U w

mp

ppp

mf

mf

#˙˙

˙˙

‚ œœ

J

f quasi

pp

œœj J

·

Œ ##œœ Œ

œ #œ

f

‚ ##œœ ™™

Œ

p

‰ ‚ ‰ œ #œ bœ œ

‚ ˙ #˙ mf

f

mp

œœ

ê

f quasi

·

p

f

Ó

æ

f

1

Πpp

1™ pp

DDF & 16481 F xxxxx

f

##œœ ™™™™

‰ ‚ œœ R #˙˙

mf

f pp

‰ ‚ œœ #œ J#œ

mf

1> 1 1

‰ ‚ œœ #œ J#œ

mf

‰ ‚ # ˙˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~#˙ ≈ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙~~~~~ ~~~~~~~~~~~~~~ ~~~~~~~~~~ œ™™ & œ~~™™~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ B #œœ ™™

##œœ

Œ

#œœ ™™

‰ # œ™ œ™

/

/

J

mf

˙˙

/

œœ‰

#œœ ™™

‰™ Œ

U ∑

/

‰™ Œ

U ∑

/

‰™ Œ

U ∑

/

U ∑

/

f

‰ ## œœ f

‰ ## œœ

œœ

f pp

f

1 1 1> ! ™ f

U ∑

le

‚ ##œœ

el rti

Œ

pa

¢

µœ

mf

e

Db.

pp

pp

Ó

p

!™ æ

U w

êm

B Ó

Œ

f

p

Vc

Wine glass

Ó

w

m

& Ó

Vla

w

ite

° & Ó

Œ

w

rd te

_

Ó

µœ

in

/

#œ o

Wine glass

ie op

Vln

{

o

>œ J ‰ Œ

oc

Prc 2 ¢& Œ

œ

ot Ph

° Prc 1 & Œ

Pno

/

ppp

w

D

w

U w

w

mp

on

f

µw

w

iti Ed

¢&

s

Tnb

w

/

ppp

de

&

Tp

w

/

ppp

Pr

Hn

° #w &

/

ppp

w

f

/

ppp

w

f

#w

ppp

∑ pp


15

H Impro I (11''∼16'') hold on a pitch ad libitum, favoring mid lower register, polarizing with your neighbor's pitch if you �nd it suitable freely interpolate boxed elements (such short with longer boxes). A�er a while and increasingly add ornamentations (such as trills, tremolos, harmonics when available) and extended techniques

62

Fl

°

/

®

start quietly a�er the strings

-™ o

-™

o

mf

or to mp or f or ff

/

r >f

- o fo

6

.- .- .- .- .- .-

Œ

--

mf

/

_™

f

pp

(longest duration, can be shorter than written)

r >f

- o f o

>-™

f

start quietly a�er the strings

Ob

5

- - - - -

Œ

3

--

mf

7

-™ o

f

-™

- ------

o

mf or to mp or f or ff

®

5:3

æææææ -----

mf

f

f

>-™

Œ

start quietly a�er the strings

/

Cl

-™ o

-™

Œ

o

mf or to mp or f or ff

start quietly a�er the strings

Fg

¢/

- - - - -

3

--

mf

Pr

- o f o

r >f-

5

- o fo

r >f

Œ

‰™

.- .- .- .- .mf

3

--

pp

®

o

mf or to mp or f or ff

/

_™

f

j -™

o

f

5

>-™

Ó™

/

f

Hn

°

-™

f

-------

mf

3

--

f

pp

Ó™

æææææ -----

o

mf or to mp or f or ff

f

o

mf or to mp or f or ff

3

f

1™

1 1111

f

o

mf 5

.- .- .- .- .-

--

pp

Œ

o

or to mp or f or ff mf

_™

f

mf

1™

3

1 1 o

ie op

> 1 R

≈1 1

mf 5

- o fo

5

oc

≈ 1. 1. 1. 1. 1.

r >f

ot Ph

/

_™

f

-™

---

°

-™ o

d

-™

Œ

start quietly a�er the strings

Perc 1

--

5:3

an

-™ o

Œ

ur

¢/

mf

3

D

start quietly a�er the strings

Tnb

.- .- .- .- .-

f

s

- o f o

7

on

/

r >

iti Ed

start quietly a�er the strings

Tp

5

s

or to mp or f or ff mf

r >-

- o fo

o

de

-™ o

Œ

/

rié op

start quietly a�er the strings

o

f

> 1 R

1. 1. 1. 1. 1.

> 1 R

1. 1. 1. 1. 1.

≈11 3

mf 5

f

f

1111111

Œ

3

7

1™ o

f

1™ mf or to mp or f or ff

> 1 R

o

‰ 1.

1.

mf

f

1.

3

mf

- o o f o

r >f

Œ

-------

mf

3

5

--

5:3

æææææ -----

.- .- .- .- .-

f

mf

f

_

pp

le

f

-™

7

el rti

-™ o

5

mf

f

pa

™ >-

o

f

e

/

®

o

êm

(favor muted pitches for short notes, sliding hands or tremolo hands over bare string for long ones)

Pno {

1 1

m

mf

≈1 1

ite

Perc 2¢ /

rd te

in

start quietly a�er the strings

or to mp or f or ff

Vln

Vla

Vc

Db

°

/

/

/

¢/

r >

- o f o -™ o

-™ o

f

5

- - - - -

o

mf

or to mp or f or ff

-™

o

mf

or to mp or f or ff

- o f o

r > f

7

-------

mf

--

f

mf

-™

3

Œ

≈™

>-™

f

3

--

f

-™ o

- o fo

r >

- o fo

r >

Œ

-™

mf or to mp or f or ff

5

.- .- .- .- .-

o ≈

mf

f

6

.- .- .- .- .- .-

-™ o

-™

mf or to mp or f or ff

DDF & 16481 F xxxxx

æææææ Œ ----5:3

>-™

f

f

3

--

_™

f

pp

Œ

--

_™

f

mf

f

®

pp

5

- ---o .mf . . . .

3

--

f

5:3

æææææ -----

f

/


16

Impro II: A (9''∼14''), B (7''∼12') A: the conductor pick one musician, layering them starting from one until tutti B: increasingly intensify, here the performer can ad a second ''partner'' pitch (favor augmented 4th, min 2nd, maj 3rd)

63

Fl

°

/

-™ o

-™

®

o

mf

or to mp or f or ff

>-™

r >f

- o fo

f

.- .- .- .- .- .-

/

/

r >f-

- o f o

5

- - - - -

Œ

3

-™ o

--

-™ o

f

mf

-™

Œ

o

mf or to mp or f or ff

-™

r >f-

- o fo

mf

or to mp or f or ff mf

.- .- .- .- .mf

7

-------

mf

3

--

f

- o fo

.- .- .- .- .mf

Œ

-™ o

5

.- .- .- .- .mf

3

--

1™

1 1111

f

o

mf 5

1™

pp

1™

o

or to mp or f or ff mf

1™ mf or to mp or f or ff

Œ

> 1 R

o

1 1 o

fffff

‰ 1.

1.

mf

f

1.

3

-------

3

5

--

--

Œ

f

mf

-™ o

5

mf

f

-™

mf or to mp or f or ff

&

_

pp

le

f

5:3

fffff 3

mf

f

æææææ -----

.- .- .- .- .-

f

mf

1. 1. 1. 1. 1.

3

el rti

f

- - - - -

o

f

> 1 R

≈11

mf 5

f

pa

- o f o

o

1. 1. 1. 1. 1.

e

r >

5

7

or to mp or f or ff

1 1

> 1 R

êm

r >f

o

f

m

o

- o o f o

mf

_™

f

ite

Œ

-™

Ó™

rd te

-™ o

_™

pp

fffff

To Perc.

fffff

f

f

/

fffff

mf

/ ® -™ >

Ó™

in

7

f

ie op

≈1 1

1 111111

3

--

oc

f

3

o

mf or to mp or f or ff

ot Ph

≈1 1

r >f

- o fo

> 1 R

3

®

æ ææææ -----

---

o

mf or to mp or f or ff

. . . . . / ≈ 1 1 1 1 1

mf

°

_™

f

-™

mf

Vln

Œ

pp

5:3

d

-™

mf 5

Pno {

f

>-™

fffff

an

-™ o

Œ

mf

Perc 2¢ /

f

-™ > f

5

ur

°

--

o

or to mp or f or ff mf fffff

f

D

Perc 1

¢/

3

f

-™

r >-

s

f

-™

on

r >

/ - o f o

Œ

mf

Tnb

mf

5

o

iti Ed

o

--

s

-™

Œ

3

f

mf

de

-™ o mf

Tp

- - - - -

/

rié op

o

f

r >f

5

Pr

Hn

°

- ------

o

or to mp or f or ff mf fffff

®

5:3

æææææ -----

fffff

¢/ - o

pp

7

mf

Fg

_™

f

fffff

mf

Cl

Œ

--

mf

mf

Ob

6

®

o

æææææ Œ ----5:3

>-™

f

f

fffff

Vla

/ -™ o

-™

o

mf

or to mp or f or ff

Œ

- o fo

r > f

5

.- .- .- .- .-

mf

3

--

_™

f

pp

fffff

Vc

Db

/ -™ o

-™

o

mf

or to mp or f or ff

¢/ - o f o

r > f

7

-------

mf

≈™

>-™

f

3

--

f

- o fo Œ

r > f

6

.- .- .- .- .- .-

-™

mf or to mp or f or ff fffff

DDF & 16481 F xxxxx

Œ

--

_™

f

mf

fffff

-™ o

pp

5

- ---o . mf . . . .

3

--

f

5:3

æææææ -----

f

?


17

• a�er abrupt halting the play, the conductor invites a soloist from the ensemble to gain the stage's front • once arrived, nonchalantly but visibly, the soloist gets ready, postures itself (by �xing clothes, getting ready, etc.) and a - shouts the earthiest, most visceral and loudest of sounds (ca. 7’’~9’’) - all other musicians: poker face b - once done, with a generous gesture the conductor invites the audience to do the same, hence the general audience -  supported by the trained audience - shouts the earthiest, most visceral and loudest of sounds (ca. 8’’~13’’) c - the conductor interrupts the audience and inviting a second soloist repeat sequence a-b, as if the second soloists wished to “raise” the bet - hence the audience's resonse should be “raised” as well  (13’’~ 18’’). Upcoming measure 65 is attacca subito, conductor will cross fade it with the ending of the 2nd audience response

I 64

°

Fl

&

/

√ ∑

&

Bass Clarinet in Bb

?

s

¢/

de

Fg

√ ∑

/

rié op

Cl

Pr

Ob

/

√ ∑

5 4

iti Ed

?

s

on

√ ∑ √ ∑

&

d

an

ur

/

D

°

Hn

¢/

oc

Tnb

√ ∑

ot Ph

/

---

Tp

ie op

√ ∑

?

¢

le

/

√ ∑

/

√ ∑

/

√ ∑

?

?

√ ∑

?

°

Vc

el rti

√ ∑

pa

?

{

Vla

Cb

√ ∑

e

Vln

&

êm

Pno

√ ∑

m

Perc 2¢ /

plexiglass

ite

/

√ ∑

rd te

in

Perc 1

°

DDF & 16481 F xxxxx


5 q = 60 4 ° &

18

65

Ens

Fl

always alternate hand unless speci�ed (L, R, etc)

ppp

multiphonic ad libitum on low register

Ó

Œ

÷

/

/

/

/

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bisb. + growl

-™

_

p

multiphonic ad libitum on low register

_

ff

ppp

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bisb.

&

Ob

Voice¢&

° &

4 4

_

_™

p

_

_

ff

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bisb. multiphonic ad libitum on low register + growl

B Cl

?

Ó

?

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

_™

_

p bisb.

_

° &

_

ff

s

on

?

iti Ed

s

/

C Tpt

_

de

Hn

_™

p

rié op

¢

ff

multiphonic ad libitum on low register

Pr

Bsn

_

ppp

/

/

/

d

/

G

G

ff

?

/

/

Vla

I II p spazzolato, intenso from highest possible

!!

Ö

™™

ord press

ff

ppp

Ö

ord press

p

!! /

G G

I II

/

/

G G

™™

!!

le

!!

el rti

°

spazzolato, intenso from highest possible

pa

Vln

{

e

Pno

êm

m

ite

&

G

ppp

rd te

in

Perc 2¢ /

ie op

p

G

oc

°

Perc 1 1

ot Ph

---

¢

an

Tbn

ur

D

ff

ppp

Ö !!

(highest possible)

?

Vc

Cb

¢

?

spazzolato, intenso

˙˙ p msp

æ ˙pæ

™™

?

&

ord press

ff

ææ ™

w æ

æ wæ

ff

DDF & 16481 F xxxxx

/

w w ppp ˙ ææ ppp

æ

?


19

J orango gliss

7 8

q = 66 max (or slower)

69

Fl

°

/

orango gliss

5 8

mp

r æ ææ œ

‰™

o

œ æJ -

œ�œ

æ ˙æ

i

-

o

4 4

œ ææJ

f

f

i

-

7 16

æ wæ o_a_e_i

-

(progressive)

/

Ob

orango gliss

mp

‰ ææ ææ œ 3

o

-

œ æJ

f

œ ææJ

œ�œ

æ ˙æ -

i

o

f

œ

i

-

≈ ˙ææ™™™ o_a_e_i

o

(progressive)

/

Cl

orango gliss

mp

œ æJ

f

œ ææJ

≈ œææ™™ o

-

œ�œ

æ ˙æ

i

-

o

f

‰ œ

i

-

3

ææ ™

æ œæ o_a_e_i

o

(progressive)

¢/

Pr

Fg

orango gliss

œ™ æær ææ æ œ

mp

‰™

o

iti Ed

-

d

-

mp

-

‰ ˙ææ™™ o_a_e_i

o

œ æJ

œ�œ

-

i

o

f

3 ææj ‰ ‰ œ œ

i

-

-

ææ ™

o_a_e_i

o

œ ææJ

o

-

æ ˙æ -

i

o

f

œ -

i

-

Œ

æ ˙æ™ o_a_e_i

o

-

e

mp

f

o

-

œ�œ

æ ˙æ -

i

o

f

œ

i

-

j ≈ œææ™

Œ

ææ (h )

o_a_e_i

-

(progressive)

œ™ æ

æ ˙æ

œ ææJ

æ ˙æ -

œ æJ

f

sim

(higher)

œ æJ

æ ˙æ

f

sim

œ æJ

œ�œ

æ ˙æ

rd te

Ó

- - - - œœ œ œ œ

w ææ

f

Ó o

3

-

e

œ æJ

æ ˙æ -

o

-

i

æ ˙æ -

o

3

-

l.v.

pp

œ ææJ

œ�œ

‰ YY ™™ æ

mf

f

œ

Œ

el rti

o

f

ff

pa

æ ˙æ

sim

mf

e

(higher)

f

êm

f

mf

Gongs F#4 and C#4

- - - -j œ- œ- œœ œ œ œ

m

œ™ ææ

mp

ite

o

œ�œ

in

Ó

œ æJ

f

ie op

/

i

-

æ ˙æ

hard broom on �oor or hard brush over bass drum

ppp

œ™ æ

oc

orango gliss

mf

3

5

-

æ ˙æ -

ot Ph

ppp

Ó o

ppp

5

o

sim

f

≈ œææ™™

3

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- ææ_

Perc 2 ¢ /

Pno {

mf

e

---

low

5

o

œ

(progressive)

an high œ æ æ æ æ ææ ææ æ æ Perc 1 1 / œ œ w æ æ æ ææ æ æ æ

-

(higher)

o

Log Drum vey big 5

-

œ ææJ

æ ˙æ

f

o

ur

D ∑

ppp

i

f

sim

œ™ ‰ ææ ææ æ œ mp

(plexiglass) low

e

3

s

orango gliss

°

-

æ ˙æ

f

(progressive)

on

Tbn ¢ /

f

(higher)

s

de

/

Tp

orango gliss

æ ˙æ

œ�œ

(progressive)

/

œ ææJ

o

rié op

Hn

°

orango gliss

œ æJ

f

sim

i

-

ææ (h )

‰ œææ 3

o_a_e_i

o

(progressive)

le

Vln

°

/

orango gliss

mp

f

‰™

o

-

a

œ™ æ

mp

æær ææ æ˙ œ æ

f

æ ˙æ -

o

-

e

œ ææJ

æ ˙æ -

o

œ æJ

f

sim

(higher)

-

i

œ�œ

æ ˙æ -

o

f

i

-

œ -

Œ

j ææ (h ) æ ‰ œæ o_a_e_i

o

(progressive)

/

Vla

orango gliss

mp

/

f

o

-

a

œ™ æ

mp

˙ ‰ œææ ææ ææ

f

-

o

-

e

œ ææJ

æ ˙æ -

o

œ æJ

f

sim

(higher)

æ ˙æ

3

-

i

œ�œ

æ ˙æ -

o

f

i

-

Œ œ -

3 j (h ) ‰ ‰ œææ ææ o_a_e_i

o

(progressive)

/

Vc

orango gliss

mp

/

f

≈ ææ™™ œ o

-

a

œ™ æ

mp

˙ ææ

f

æ ˙æ -

o

-

e

œ ææJ

æ ˙æ -

o

œ æJ

f

sim

(higher)

-

i

œ�œ

æ ˙æ -

o

f

i

-

œ -

Œ

‰™

( ) æær ææ h œ o_a_e_i

o

(progressive)

?

orango gliss

Cb

¢

mp

/

f

˙ æ

æ ˙æ o

-

a

œ™ ææ

mp

f

æ ˙æ -

o

-

e

DDF & 16481 F xxxxx

œ æJ

æ ˙æ -

o

œ ææJ

f

sim

(higher)

-

i

œ�œ

æ ˙æ -

o

-

f

i

œ -

o

Œ

Œ

æ ˙æ o_a_e_i (progressive)


20

7 16 >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ.

measured chest hitting frequence:

75

Fl

°

/

f

6

3

4 4

7 4 16 œ ™™ 4

3 8

as fast as possible!

Œ

mf

Œ

f

ææ ˙ o_a_e_i

æ æ

i

7 8

f œ™ ææ

pp

æ ˙æ

a

o

e

-

as fast as possible!

/

Ob

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

3

( ) æær æ h œ

‰™

Œ

œ ™™ æ æ

mf

f

o_a_e_i

i

f œ™ ææ

pp

æ ˙æ

a

o

e

-

as fast as possible!

/

Cl

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ 6

3

mf

f

( ) j æ æ æ ‰ ‰ œæ h

Œ

3

œ ™™ æ æ

o_a_e_i

i

f œ™ ææ

pp

æ ˙æ

a

o

e

-

as fast as possible!

Fg

6 i

3

mf

‰ œææ

Œ

3

o_a_e_i

ord (precise)

ff

fff mp

o

as fast as possible! Rhapsotic, vivace

ææ œ ™™

ææ œ ˙ æ æ f

mp

f

p

log drum

f

111 1 1 1 1 1

Rhapsotic, vivace

ff

æ -æ™

p sub

ff

as fast as possible! as fast as possible!

mp

f

/

6

3

5

æ wæ

a

mp

j ‰ ‰ œææ ææ™ 3

o_a_e_i

i

e

-

a

f œ™ ææ

pp

æ ˙æ o

-

e

-

-

a

œ æ æJ a

f œ™ ææ

pp

æ ˙æ o

-

f

œ ™™ ææ æ

e

-

˙ ææ

-

æ œæ™

pp

f

p sub normal sub as fast speed as possible mf

æ œæ o

le

Vln

o

-

1™ æ

el rti

œ ™™ æ æ

o_a_e_i

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

7:6

111 1 - - - - - - -1 1 æR

-

œ æ æJ a

f œ™ ææ

pp

æ ˙æ o

-

-

e

normal sub as fast speed as possible

as fast as possible!

°

o

pa

3

i

æ ˙æ

e

6

f

pp

æ œæ

5

êm

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

pp

f

-

mf

m

/

f (✶) play on the side of the log drum in order to produce a dry and very de�ned attack. Use hard mallets if necessary

1 ™™ ææ æ

œ ææ

ite

Pno {

Y™ ææY™

l.v.

ææj œ ææ

rd te

Perc. ¢ /

Tam Tam or big China Sus. Cym. and large Thunder Sheet. Hit with mallets

œ™ 5 ææ

in

> > > 6> > > > > > ≈ --------3

-

æ œ œæ ææJ

a

log drum

side ✶

f œ™ ææ

pp

mf

ie op

p

œf ™™ æ æ

oc

/

æ œæ™™

o

ot Ph

œœœœœœœ ææ 6

(mallets tremolo)

e

-

as fast as possible!

---

Perc.

°

a

æ œ œæ ææJ

a

d

æ ˙æ™

i

-

œ æ æJ

mf

an

3

mf

Œ

æ œæ o

œf ™™ æ æ

ur

6

ææ

h

( )

D

Tbn ¢ /

mf

a

s

o_a_e_i

i

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

o

f

on

3

j ≈ œææ™ mf

Œ

æ ˙æ

as fast as possible!

iti Ed

6

normal sub as fast speed as possible

œ ™™ æ æ

ææ (h )

f œ™ æ

pp

a

o_a_e_i

s

/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

as fast as possible!

de

6

œf ™™ ææ æ

)

o_a_e_i

/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ i

Tp

Œ

rié op

Hn

°

3

h

jmf ææ ( æ ‰ œæ

Pr

¢/

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

a

mf

æ œæ o

-

œ ææ J a

f œ™ ææ

pp

æ ˙æ

-

o

-

e

as fast as possible!

Vla

/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

3

mp

‰ œææ 3

o_a_e_i

i

ææ ™

f

œ ™™ æ æ

a

mf

æ œæ o

-

œ æ æJ a

f œ™ ææ

pp

æ ˙æ

-

o

-

e

as fast as possible!

Vc

/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

3

mp

≈ ˙æ™™™ o_a_e_i

i

f

œ ™™ æ æ

a

æ œ œæ ææJ o

-

a

f œ™ ææ

pp

mf

æ ˙æ

-

o

-

e

as fast as possible!

Cb

¢/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

i

3

mp

æ wæ o_a_e_i

f

œ ™™ æ æ

a

æ œ œæ ææJ o

DDF & 16481 F xxxxx

-

a

f œ™ ææ

pp

mf

æ ˙æ

-

o

-

e

5 4


81

Fl

°

/

5 4

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

f R R L R R L R L R L R L

œœœœœœœ 6

a

/

Ob

b

c

a

b

c

a

b

œœœœœœœ b

c

a

b

c

a

œœœœœœ 6

¢/

a6 b

b

a

b

a

b

c

a

b

c

a

b

c

a

b

a6 b

b

a

b

a

b

c

a

6

b

c

a

b

c

a

b

a6 b

b

a

b

a

b

c

a

c

a

b

c

a

b

a6 b

a

b

c

b

a

b

ff

blöd

a

œ™™ æ æ ff

b

blöd

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ 4:3

a

4:3 c

de

b

œ™™ æ æ

b

6

a

blöd

L f R R L R R L R L R L R

œœœœœœœ

4:3 c

4:3 a

œ™™ ææ ff

b

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ

4 4

4:3 c

4:3 a

3 8

b

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œ

7 16

4:3 c

4:3 a

rié op

/

b

Pr

Hn

b

L f R R L R R L R L R L R

a

°

a

L f R R L R R L R L R L R

a

Fg

b

œ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ œ œ œ

6

/

4:3 a

2 4

L f R R L R R L R L R L R

a

Cl

a6 b

3 8

21

a

b

c

a

ff

æ œæ™

4:3 c

œ™™ æ æ

mf

b

d

-

≈ œ œ œ œ

7:6

d

blöd

e

h

g

s iti Ed

œœœœœœœ 6

b

c

a

b

c

a

b

a6 b

4:3 a

b

a

b

c

a

b

c

mf

ææ ææ œ

3

4:3 a

b

s

a

on

/

Tp

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

L f R R L R R L R L R L R

d

œ™™ æ æ ff

œ œ œ œ œ 7:6

c

blöd

-

d

e

h

g

a

b

c

b

a6 b

4:3 a

b

a

b

4:3 c

a

b

c

‰ œ œ œ œ œ œ œ œ œ

Œ

4:3

4:3

3

6

6

4:3

mf

- - - - - - - - - - - - - - - - - - - - - -

f

a

b

c

a

b

6

a

4:3 b

a

b

a

b

a

b

c

a

ff

æ ˙æ

4:3 c

b

d

(colla voce) side

7:6

- - - - - - - - - - - - - -

-

blöd

œœœœœœœ 6

a

Vla

/

b

c

a

b

c

œœœœœœ a

/

b

a

b

a

b

4:3 c

a

b

c

a

b

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

c

a

b

c

œ a

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

b

œ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ œ œ œ

œœœœœœœ 6

¢/

4:3 b

L f R R L R R L R L R L R

a

Cb

6

a

L f R R L R R L R L R L R

6

Vc

a

b

c

a

b

c

a

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

b

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

L f R R L R R L R L R L R

œœœœœœœ 6

a

b

c

a

b

c

a

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

b

c

-

i

-

i

-

i

mf

-

i

d

DDF & 16481 F xxxxx

d

c

d

e

h

g

mf

≈ œ œ œ œ œ œ œ œ œ œ œ

d

e

f

g

a

b

c

d

e

h

g

mf

œ œ œ œ œ œ œ œ œ œ œ œ

7:6

c

blöd

œ™™ ææ ff

d

e

f

g

a

b

c

d

e

h

g

mf

≈ œ œ œ œ œ œ œ œ œ œ œ œ œ 7:6

7:6 -

b

blöd

œ™™ ææ ff

æ ˙æ

-

b

7:6 -

mf

æ œ œæ ææJ c

œ™™ ææ

æ ˙æ

-

7:6 a

7:6

blöd

ff

mf

æ œ œæ ææJ -

d

œ œ œ œ œ œ œ

7:6 -

æ ˙æ

mf

c

d

mf

æ œ œæ ææJ -

ff

æ ˙æ

mf

c

œ™™ ææ

mf etc.

ææ æœ œ æJ

le

/

mf

f

el rti

Vln

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

L f R R L R R L R L R L R

g

7:6

mp

normal sub as fast speed as possible

°

h

œ œ œ œ œ œ œ

pa

c

e

mf

e

6

b

d

7:6

êm

œœœœœœœ

œ™™ æ æ

mf

c

m

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

L f R R L R R L R L R L R

a

ff

ite

4:3

7:6

b

™ œ ææJ ææ

rd te

(colla voce) side

≈ œ œ œ œ œ œ

blöd

-

™ æ œ ≈ œ ææ

f

in

/

d

ie op

Pno {

b

(colla voce)

mf

Perc. ¢ /

a

oc

Œ

a

ot Ph

/

c

ff

≈ œææ™™

---

Perc.

d

6

b

œ™™ æ æ

mf

an

œœœœœœœ a

°

ur

D

Tbn ¢ /

œ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ œ œ œ

L f R R L R R L R L R L R

c

d

e

f

g

a

b

c

blöd

e

h

g

mf

œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7:6

-

d

a

b

c

d

7:6 e

f

g

a

b

c

d

e

h

g


22

87

Fl

°

/

4 4

L R R L R R

L R L R L R

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

a

b

c

b

c

c

L R R L R R

/

Ob

a

b

b

c

b

c

c

L R R L R R

/

b

c

b

c

c

L R R L R R

a

b

6:4

b

c

b

c

c

c

c

c

c

a

b

a

c

b

1

2

3

hu

hi

he

ha

hi

ho

4

7:4 5

6

7

1

2

3

5:4

4

5

6

7

ho

ha

≈ ∑

5:4

he

hi

hu

hi

he

ha

hi

ho

a

ff

7:4 b

a

b

1

2

3

4

7:4 5

6

7

1

2

3

5:4

4

5

6

7

ho

ha

5:4

he

hi

hu

hi

he

ha

hi

ho

6:4 a

ff

7:4 b

a

b

1

2

3

4

7:4 5

6

7

1

2

3

5:4

4

5

6

7

ho

ha

≈ ∑

5:4

he

hi

hu

hi

he

ha

hi

ho

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ ff

b

6:4 a

7:4

b

a

b

1

2

3

L R L R L R

≈ ∑

4

5

7:4 6

7

1

2

3

5:4

4

5

6

7

ho

ha

5:4

he

hi

hu

hi

he

ha

hi

ho

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

6:4 a

7:4 b

a

b

L R L R L R

a

hi

b

6:4 a

1

2

3

4

7:4

5

6

7

2

3

a

5

5:4 6

7

ho

ha

≈ ∑

5:4

he

hi

hu

hi

he

ha

hi

ho

Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œœœœœœ

b

1

ff

≈ ∑

2

3

4

7:4 5

6

7

1

2

3

4

5:4

5

6

7

ho

ha

he

hi

hu

5:4 hi

he

ha

hi

ho

> > > > > >>>>> >œ > > œ œ œ œ œ œ œ œ œœ œœ

3 Tom-toms 5:4

ie op

Œ

oc

œœœœœœœ

4

œ

œŒ

6:4

1

7:4 b

ff

ot Ph

c

5:4

he

ff

L R L R L R

a

ha

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

a

ho

---

b

7

d

/

c

6

L R L R L R

6:4

b

5

an

Perc.

°

6:4

œœœœœœœ a

5:4

4

ur

L R R L R R

3

D

b

2

s

c

1

on

b

7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

Tbn ¢ /

a

œœœœœœœ a

6

iti Ed

/

Tp

7:4 5

s

L R R L R R

4

de

b

3

c

2

L R L R L R

6:4

b

1

7:4 b

œœœœœœœ a

b

rié op

L R R L R R

/

a

Pr

Hn

6:4

œœœœœœœ a

°

a

5:4

ff

6:4

>œ œ œ >œ >5œ œœ œœ œœ ™™ œ œ™ ≈ æ æ æ R

fff

b

c

c

L R R L R R

/

a

b

b

c

b

c

c

L R R L R R

b

c

b

c

c

L R R L R R

a

b

b

c

b

c

c

L R R L R R

¢/

a

c

b

c

c

3

4

7:4 5

6

7

1

2

3

4

5:4 5

6

7

a

a

b

1

2

3

4

7:4 5

6

7

1

2

3

4

he

5:4 hi

hu

hi

he

ha

5:4 5

6

7

hi

ho

ho

ha

he

b

6:4 a

7:4 b

a

b

1

2

3

4

7:4 5

6

7

1

2

3

4

hu

hi

he

ha

5:4 5

6

7

ho

ha

he

hi

ho

6:4 a

hu

hi

he

ha

hi

ho

ff

7:4 b

a

b

1

2

3

4

7:4 5

6

7

1

2

3

4

5:4 5

6

7

ho

ha

he

6:4 a

hu

hi

he

ha

hi

ho

ff

7:4 b

a

b

1

2

3

4

7:4 5

6

7

1

2

3

4

5:4 5

6

7

ho

ha

he

≈ ∑

5:4 hi

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

≈ ∑

5:4 hi

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

≈ ∑

5:4 hi

ff

L R L R L R

a

ha

ff

L R L R L R

a

ho

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

b

2

7:4 b

œœœœœœœ a

1

L R L R L R

6:4

Cb

6:4

œœœœœœœ a

b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

/

a

œœœœœœœ a

Vc

7:4 b

L R L R L R

6:4

/

a

œœœœœœœ a

Vla

6:4

≈ ∑

le

Vln

c

pp

el rti

6:4

b

ff

ff

f

pa

œœœœœœœ a

°

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

p

e

/

fff

œœœœœœœœœ œ æ 5

� œœ

≈ 1 ææj - æ æ æ

êm

Pno {

L R L R L R

f

1™ æ

5

m

L R R L R R

ff

(rhapsodic)

ite

7:4

fff p sub

7:6

rd te

> > 5:4> > > > > > > > > > > - - - - - - - æ- æ- æ- æ- æ- æ- æ- - - - - - 5:4

(solo, rhapsodic)

in

Perc. ¢ /

(colla voce) side

6:4 1 1 1111 Œ

Œ

4 4

≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6:4

¢/

7:4 b

œœœœœœœ a

Fg

a

L R L R L R

6:4

Cl

6:4

œœœœœœœ a

5 4

ff

5:4 hi

hu

hi

DDF & 16481 F xxxxx

he

ha

hi

ho

≈ ∑

so� mallets

5

Œ


23

90

Ens

° &

4 4

� ob cl mp

K poco più lento (tutti) p

Œ

æ œæ

æ wæ

(low)

Œ

pp

æ œæ

mf

w ææ

˙ ææ

o

i

i

o

3

œ ‰ ™™ Œ

p

p

æ œæ

˙ ææ

mf

æ ˙æ

œ 5 ææ œææ™

pp

æ œæ

loe_loe_...

o

i

œ ææ

o

e

bsn hn tp

tb no vln

vla vc cb

Ó Œ w æ Óoæ

Œ ææ ˙™ ˙ ææ

æ œæ

o

o

1 4 8 œææj 4 f

ææJ

o

i

Orango

Aud

¢

p

÷

æ wæ o

mf

w ææ

(low)

˙ ææ

æ ˙æ

mf

p

æ œæ

Œ

Ó

Y ææ

Y ææ

¿ ææ

Œ

Ó

Ó Œ Y æ

æ ææ Yæ ™ Y

1 ææ

ææ -

p

i

loe

colla voce (your sound should blend with audience voices)

Perc 1

°

3 large cymbals, generous rich sounds (very low, low, medium-low, medium high) - don't have to match percussions 2

so� mallets

/

Œ

æ ¿æ

æ Yæ

Ó

Ó

Y ææ mf

''p'' but solid colla voce (your sound should blend with ensemble voices)

Œ

æ ¿æ

Ó

''p'' but solid

Œ

Y æ

Y æ

rié op

Pr

æ Yæ

¢/

¿ ææ p

3 large cymbals, generous rich sounds (very low, low, medium-low, medium high)

Perc2

Œ

3

mf

Œ

¿ æ

p

Y æ

p

pp

Y æ

p

mf

Œ

Y æ

mf

p

Œ

Œ

5

pp

æjj ¿¿ææ ¿ æJ

mp

f

té s

de on

iti Ed s

=

Ó

wald teufel formants (✶✶), indicating towards the audience

p

u>

o

u>

ææ -

5

a>

u>

æ œæ æœ

æ œæ æœ

u

u

a

æ œæ æœ

æ œæ æœ

a>

u>

1 ææ

a>

ææ u>

1 ææ

ææ -

5

a>

u>

1 ææ

a>

a

u

u

Ó

a

Ó 3

Ó

f

Ó 3

a>

ff

pp

ææ _

ææ 1 - æ u>

ææ -

u>

pp

ææ _

ff

1 ææ

ææ -

5

a>

u>

ææ 1 - æ

1 ææ

a>

ææ 1 - æ

5

u>

u

a>

ææ u>

u>

a>

1 ææ

a>

ææ 1 - æ

le

p

5

el rti

¿ æJ

Œ Œ Œ

a

u

f

still voices imitating wald taufels

pa

æj æ¿æj ¿ ¿ ææJ

pp

u

1 ææ

imitating wald taufels

pp

i

ææ -

e

¢/

a>

ææ _

êm

Perc2

Ó

(✶✶) produce formants by opening and closing opened side with hand while rotating handle

æj œ ææJ

æ ææ Yæ Y™

mp

u>

Ó

m

/

a>

ite

°

u>

1 ææ

rd te

Perc 1

Ó Œ Y ææ

a>

ææ -

1 ææ

f

Œ Ó Œ ææ æ w ˙ ™ ˙ œæ æ æ Óo o æo o

¢÷

u>

ææ -

in

Aud

a>

1 ææ

ie op

very le� center right le� mp

ææ -

1 ææ

ff

pp

3

oc

ææ -

ot Ph

æ wæ

3

4 4

---

° &

1 8

To Voice

pp

d

Ens

4 4

an

ur

D

98

L q = 72 ca

u>

a>

ææ u>

1 ææ

5 a> u>

ææ 1 - æ u>

ææ -

1 ææ

a>

ææ 1 - æ

5 a> u>

a>

=

M libero, senza battere tutti ''indian'' (while wald teufels desappear)

2 4 U+o

o

p

fff

106

Ens

° & U

Œ

˙˙˙˙˙˙ ? ˙ ææ

U

u

p

(✶) sparse single sporadic clicks but sharp and intense!

4 4

15'' ca. very slowly and gradually gliss down all ''indians''

p

mf

U +o poco gliss (third ca.) w w w w ww w ææ

''indian'' imitating ens

+o ≈ U æ ‰ œœœæœœ ™™™ œœ ™ p

Aud

¢÷

ææ u>

æ

a>

ææ -

5

u>

æ

a>

ææ -

æ œæ

u>

u

œ æ a

æ œæ u

œ æ a

u

DDF & 16481 F xxxxx

U + poco gliss (third ca.) ææo w w w w w ww

o U +o molto gliss (until tessituras' bottom) (short) ææ ≈ w ∑ w w w w ww o U +o molto gliss (until tessituras' bottom) ææ ≈ w ∑ w w w ww w

mf

&


24

gliss con entrate scalate (vcl, vla, vln)

N q = 72 ca

Ó

tutti ''indian'' (✶)

Ens

+ mf,+ deciso + + + + + + ° o o o o o o o o÷ & œ œ œ œ œ œ œ œ

Œ

œ RÔ

3

œ™™™

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œµœ œnœ œBœ œ œbœ œ œBbœ œ œ u

u

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ µœ œ œ#œ œ˜œ œ œ œ œ œµœ œ œ œ &

(✶) hand should fully seal lips when closing mouth, though the + gesture in itsel should be quick ( y max.)

u

''indian''

Aud

¢÷

+o +o +o +o +o +o +o +o œ œ œ œ œ œœ œ

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œµœ œnœ œBœ œ œbœ œ œBbœ œ œ

mf

&

u

u

=

rié op

Pr

117

q = 52

>-+ -o >-+ -o œœœœ

Ens

° &

mf

de

>-+ -o >-+ -o œœœœ

u

iti Ed ∑

+++ + o + o + o + o + o + o + o + o +o +o +o +o +o +o +o +o +o +o +o +o +o o o o œ œ œ µœ œ #œ œ˜œ œ œ œ µœ œ #œ œ ˜œ œ œ >- - >- - >- - >- - >- - >- - >- - >- -

mf

an

ur

u

u

(merging into ensemble's voices)

f

mf

ot Ph mf

coulisse legato, mute action

oc

mp (merging into audience's voices)

u

+++++++++++++ -œ+ œ-o µœ-+ œ-o #-œ+ œ-o˜-œ+ -œo -œ+ œ-o µ œ-+ œ-o # -œ+ œ-o ˜ œ-+ œ-o œ+o +o +o o o o o o o o o o o o o œo

---

B Œ

+ + + µ-œ œ-o œ- œ-o œ- œ-o

d

Tbn ¢

+ +++++++++++ #œo ˜œo œo œo œo œo œo µœo œo œo œo œo Œ colla voce

ie op rd te

in

=

O poco più mosso (5:4) ∑

/

œ ææ œææ o

o

i

+o +o +o +o +o +o +o +o + + + + + + + +o ° o o o o œo œo œo #œ C Tpt & œ œ œ#œ œ˜œ œ œ œ œ µœ œ

orango

as tutti:

/

Ó

œ ææ œææ

mf

i

o

o

f

pp sub

˙ ææ

3

Tbn ¢

B

/

mf sub

œ œ æ œææ æ œææ i

o

i

o

æ œæ

i

o

˙ æ

3

Perc 1

°

Y æ

/

mp

p sub

Ó

Perc. ¢ /

/

Œ

æ Yæ

i

o

i

mp

o

i

o

¿ ææ

i

o

i

o

o

l.v.

Œ Œ

3

o

i

o

æ -æ

p

ææ ææ ææ6 - - - æ1 æ mf

1 ææ

1 ææ

¿ ææ

¿ ææ

log drum

i

æ Yæ

DDF & 16481 F xxxxx

p sub

(✶) transition from air to ordinario technique

o

i

Œ

l.v.

3

Œ

- : rotate around its handle up in the air U _ ææ

U _ ææ

fff

o

(✶)

&

- : rotate around its handle up in the air

e

o

wald teufels tutti

U _ ææ

fff

æ æ æ ææ Œ Œ3 æ œ œ œ œ ‰ Œ œ œ æ æœ æ œ œ æ æ 6 mf

o

(✶)

wald teufels tutti

p sub

log drum

¿ ææ

o

p sub

cymbals

so� mallets

e

6 œ œ æ œæ æ æ æœ æ œ œ

p

pp sub

i

Y æ

Y ææ

o

U _ ææ

fff

æ æ æ ææ Œ Œ3 æ œ œ œ œ ‰ Œ œ œ œ œ œæ æ æ æ6 æ

cymbals

so� mallets

i

mf

o

f

o

i

i

pp sub

i

p

pp sub

orango

as tutti:

œ ææ

o

U _ ææ

le

i

i

6

el rti

œ æ /æ æ œæ

u

o

ææ Œ Œ3 ææ œ œ

3

mf

mf

pa

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ Aud ¢& œ

i

˙ ææ

œ œ æ œæ æ œææ ‰ Œ œ œ œ æ æ æ

p

: rotate around its handle up in the air

e

i

œ ææ œææ

pp sub

f

êm

° &

mf sub

-

wald teufels tutti

p sub

m

123

pp sub

P

ite

orango

Ens

u

D

&

+ o + o + o + o œœœœœœœœ >- - >- - >- - >- -

s

/

>-+ -o >-+ -o >-+ -o >-+ -o œ œ µœ œ #œ œ ˜œ œ

mp

u

on

colla voce mf

u

>-+ -o >-+ -o >-+ -o >-+ -o œœœœœœœœ

s

Tp

°

++++ + + + + + -o >- -o >- -o >- -o >- -o >- -o +o +o +o +o +o +o +o +o +o +o +o +o o o o o œ œ˜œ œ œ œ µœ œ #œ œ ˜œ œ œ

>-+ -o >-+ -o >-+ œ œ µœ œ #œ

u

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o Aud ¢& Bbœ œ œbœ œ Bœ œ œnœ œ œµœ œ œ œ œ u

q = 52

accel

mf

U _ ææ

(✶)

B

(✶) transition from air to ordinario technique

e

1 ææ

æ -æ æ1

æ -æ

1 ææ

æ -æ æ1

æ -æ

&

ææ ææ ææ6 1 - - - æ1 æ1 æ ææ1 æ mf

æ 1 -æ ææ

æ -æ

1 ææ

æ 1 -æ ææ

æ -æ

&

ææ -™

p

p

f

f


25

Q ENSEMBLE II q = 48

» Bass Flute 129

q = 52

° ≈ ≈ ‰ ≈ ≈ ‰ Œ & œ œ > > ff ff

B Fl

»

(tongue ram)

5:4

5:4

»

®

air

3

3

ææ g™

�z

œ g g™ ff

ff

fz

air 3

& ≈ œ‰ ™

Ob.

≈ ‰™ œ

3

ff

»

? ≈

B Cl

œ

®‰ ® ≈ ‰ Œ œ

7:6

≈≈

Pr

®

œ

≈Œ

(hand pop)

œ g g™

7:6

œ g g™ ff

ff

≈ ™ ≈Œ

7:6

≈™

ææ

air

≈™ ≈

œ

p

+o Bbœ

+o +o œœ

+ Bbœo

+o +o œœ

3

air

O

®

œ

Œ

3

®

»

Œ

® œ

? ¢ ‰

ff

≈≈‰

7:6

Œ

_™

mf

mf

f

o

&µ œ

mf

»œ f

arco

o ® &µ œ

mf

æ ˙æ˙

p

/

/

log drum

slide coin over strings ✶✶✶

-

[ spazzolato circolare (+o = from msp to ast) +++ + + + + + + + + +o +o +o +o +o µœœ œo œo œo œo µœo œo #œo œo ˜œo œo œo œœœ

arco

log drum

(✶✶) withought pressing the keys, slide two wooden sticks all over the keyboard (from low keys to high, for instance) alterating le� and right hands and variating speed ad libitum

o µœ

arco

+ + + + + + + ++ + œo œo µ œo œo # œo œo ˜ œo œo œo œo

mf

f

œ

æ œ-æœ

f

®

o

\ + +o +o +o +o +o +o +o œo œœ #œ œ˜œ œ œ

mf

œ

»

f

? ® ˜œ ≈ ‰ ® œ ™ œ

œ

mp

[ spazzolato circolare (+o = from msp to ast) +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœ œµœ œ #œ œ ˜œœ œœœœµœœ

œ »

o = ast + = msp arco

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

Œ

¿¿¿¿¿

÷ (ff)

-

f 3

‰ ‰

f

# -œ œ R ord

mf

ord

‰ ≈&

˜ -œ œ mf

[ spazzolato circolare (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœ œµœ œ #œ œ ˜œœ œœœœµœœ f

[ spazzolato circolare (+o = from msp to mst) +++ + + + + + + + + +o +o +o +o +o µœœ œo œo œo œo µœo œo #œo œo ˜œo œo œo œœœ f

(✶✶✶) slide a coin directly over highest strings available (indicative pitches)

DDF & 16481 F xxxxx

-œ ™

-™

#œ J

#œ 5:3

f

˜œ f

f

Ϫ

mf

f

ff

+

o ˜>œ ™

ff f

mf

µ-œ œ

œ #œ + o #>œ ™

5:3

œ œ œ

‰ ≈™

p

˜œ œ J

ord

ord

le

3

≈™

Ó

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

el rti

Œ

5:4

Œ

f

pa

sffz

5:4

ææ œ™ -

æ œ-æ™

œ+

ord (sound)

ff

˙

mf

e

® ‰ ≈™

≈™ ≈

sffz

ææ #-œ ™

slide over keyboard ✶✶

≈™ ≈

7:6

≈™

ff

Cb

7:6

j œ

µ œ- œ

êm

≈ ™ ≈Œ

pizz

7:6

‰ ff

m

≈™

pizz

pizz

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

mp

ite

œ

sffz

B ® ®‰ ™ µœ

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

rd te

7:6

≈ ™ ≈≈ ™

pizz

Ÿ<#> ≈ µ-œ ™ ord

in

ff

Vla.

p

f

(✶) �nd the right muting position over the string in order to produce the above resulting harmonics

3

<n>

mf

ie op

7:6

7:6

mp

oc

& ≈ ™ b OO ≈ ™ ≈≈ ™ OO ≈ ™ ≈Œ

Vla.

j ‰ œ

p

ff

‰ ≈ µg g ™ æg ™ ‰ ™ ‰ æ 3

l.v.

Ϫ

p

f

+ œ

ord (sound)

ot Ph

arco

ææ ‰ ™ ‰ g™

‰ ≈ # g g™

ææ nœ- ™

multiphonics ✶

µ>œ ff

œ J

ff

‰ ≈™

---

Œ

Ó

d

Ó

° ™ Vln & ≈

Ÿ- <n> Ÿ˜ ≈ œ ≈ œ™

ord

air

(no accents)

Vibraphone

5:4

Ÿ-<n>Ÿ- <n> ≈ œ≈ œ

‰ ff

mp

f

an

Marimba

œ “

Ÿ- <˜> Ÿ- <˜> ≈ #œ ≈ œ ™

p

f

? ≈™

æ ® æ æ& œ g g™

fz

ur

f

{

fz

D

+ + + + + + + +o +o +o +o +o œo œo µœo œo nœo œoBœo œœ bœœœ

7:6

Ÿ-<˜>Ÿ- <˜> œ ≈ œ≈ œ J

air 3

ff

f

Pno

Ÿ-<n> ˜ ≈ œ™ ord

f

3

s

[+ o B œ

Perc 2¢&

mp

æ ® æ æ& œ g g™

fz

≈Œ

µ g™

fz

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœœ nœ œBœœœbœœœ

° Perc 1 &

Ÿ-<˜> ≈ #œ ™

3

≈® ≈≈ ≈Œ œ œ

p

on

Tbn ¢

®

[+ o & œ f

ææ g™

iti Ed

œ

ff

C Tpt

fz

3

�z

air 3

»

3

s

≈ ™ ≈≈ ™

µœ

ff

3 4

ff

ord

f

≈® ≈≈ ≈Œ œ œ

p

de

Hn

7:6

fz

Ÿ-<µ>™ œ

»

ææ g™

air

ff (✶) dry slap, no sound

° & ≈™

fz

3

�z

ff

rié op

œ

ff

»

3

»

? ≈ Bsn ¢

p

air

3

Ÿ-<µ> œ

mp

æ ® æ æ œ g g™

3

Ÿ-<µ> Ÿ-<µ> 5 œ œ 8 œ J ≈ ≈

Ÿ-<µ>™ord œ

f

≈® ≈≈ ≈Œ œ œ

air

ff (✶) dry slap, no sound ✶ 7:6

ææ g™

œ g g™

ff (✶) dry slap, no sound

3

�z

®

Œ

fz

»

✶ 3

3

≈® ≈≈ ≈Œ œ œ

p

2 4

air

æ ® æ æ œ g g™

3

accel

+

œ J

5:3

o ™ >œ

ff f

o = ast + = msp

>œo ™ µ ≈ ff

f

6

¿


26

133

° &

B Fl

&

Ob.

3 4

q = 62 accel

5 8

˙™ mf

#˙ ™

¢&

mf

rié op

s

-œ ™ ® #œ- ®≈ ™ œ™ - ≈ ‰

® -œ™

-œ™ ® ≈ ™ #-œ ™ ≈ -œ ≈ ˜œJ

˜ -œ ™

‰™

mp

1 1111 æ ææ ææ

mp

≈™ ‰

‰ Œ

&

5

6

+o œ

+o +o +o +o œ #œ œ˜œ

&

[ +o œ

+o œ

¢&

+o œ

+o œ

f

1> 1 ‰ ™

Œ

Œ

fz sub

fz sub

(✶✶✶✶) allow the hand to mute the string in order to produce a dry but resonant percussive sound. At every repetition of same pitch change the position of the hand in order to allow a different harmonic.

-œ™ -œ -™ ‰ #œ ®≈ ™ ≈ J

œ-

Œ

ff quasi

+o +o +o +o +o +o +o +o +o +o #œ œ˜œ œ œ œ µœ œ œ bœ

>-˙

fff

>œ-

fff

mf

+o +o +o +o +o +o œ œ œ œµœ œ

+o +o +o +o +o +o +o +o +o +o >#œ œ˜œ œ œ œ µœ œ œ bœ #˙

#>œ-

fff

fff

+o +o +o +o œ #œ œ˜œ

+o +o +o +o +o +o œ œ œ œµœ œ

+o +o +o +o +o +o +o +o +o +o #œ œ˜œ œ œ œ µœ œ œ bœ

>-˙

+o +o +o +o œ #œ œ˜œ

+o +o +o +o +o +o œ œ œ œµœ œ

+o +o +o +o +o +o +o +o +o +o #œ œ˜œ œ œ œ µœ œ œ bœ

fff

fff

>-˙

fff

fff

DDF & 16481 F xxxxx

mf

b >ϐ

ê

>œmf

ê

>œmf

ê

fff

n>œfff

#>œfff

#>œfff

®

# œ- ™

®

®≈ ™

-œ ™

≈ ‰™

le

&

[ +o œ

f

Œ

el rti

+o +o +o +o +o +o +o +o +o +o œ #œ œ˜œ œ œ œ œµœ œ

f

3

mp

pa

+o œ

Cb

f

mf

f

1 1 1 1 111 æ æ æ æ æææ

Œ

e

∑ [ +o œ

Vc

11111 1 1 1 1 1111111 1 1 1 æææææ æ æ æ æ æææææææ æ æ æ

…- (with-brass) - ™ ™ ® œ ® œ ®≈ ™ œ ≈#œ ≈

° Vln &

Vla.

1 1 1 1 11 11 1 1 æ æ æ æ ææ ææ æ æ ord mute ✶✶✶✶

7

?

mp

> - -‰ ™

êm

5

f

m

¿ ¿ ¿¿

3

æ- æ- æ- æ- æ- æ- æ-

ite

¿¿¿¿ ¿

(''tacky'')

6

rd te

‰™

5

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

in

Œ

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

ie op

{

æ æ æ ææ ææ ææ - - - -- -- --

oc

Pno

p

ot Ph

÷

---

Perc 2 ¢ /

B -œ ™ n -œ # -œ ™ ˜ -œ ® ® ®≈ ™ ≈ ‰™

d

/

p

ff quasi

(''tacky'')

Perc 1

- ® #-œ ™ ® œ ®≈ ™ œ ™ ≈ œ ‰ ™

ff quasi

-œ ™ µ -œ µ œ® ≈™ ≈ J ≈

mf

°

p

an

®

- ® #-œ ™ ® -œ ®≈ ™ #œ ™ ≈ œ ‰ ™

ff quasi

ur

®

D

B

µ -œ ™ # -œ ™ ®≈ ≈ ‰™

µ˙ ™ f

-œ™ ® ≈ ™ -œ™ ≈ -œ ≈ œJ

s

Tbn ¢

µ -œ

p

on

mf

-Ϫ

f

iti Ed

&

µ˙ ™

de

mf

C Tpt

∑ p

ff quasi

® œ- ®≈ ™ -œ ™ ≈ -œ ‰ ™

˙™

f

œ

œ

5 8

f

p

Ϫ

® -œ™

3 4#˙ ™

ff quasi

Pr

° &

3 8

œ

Ϫ

µ˙™

q = 62 accel

p

ff quasi

mf

Hn

œ

Ϫ

mf

Bsn

Ϫ ff quasi

™ & ˜˙

B Cl

4 4

q = 78

p

œ J

f

œ J

f

bœ J f

nœ J f

+o +o +o +o +o +o +o + + + + œ œ #œ œ˜œ œ œ œo œo µœo œo

fff f

+o +o +o +o +o +o +o + + + + œ œ #œ œ˜œ œ œ œo œo µœo œo fff f

+o +o +o +o +o +o +o + + + + œ œ #œ œ˜œ œ œ œo œo µœo œo fff f

+o +o +o +o +o +o +o ++++ œ œ #œ œ˜œ œ œ œo œo µœo œo

fff f


27

5# œ ™ 138 8 ° &

B Fl

&

Ob.

&

B Cl

4 >. . 4 >. . b >

q = 78

œ

fff quasi

>

mf

Ϫ

fz

5:3

f

‰™

fff quasi

&

mf

œ

fff quasi

µœ ™

œ

fff quasi

-œ™ ® ≈ ™ œ™ ≈ œJ

≈œ

ff quasi

b œ≈

fff

‰™

Œ

f

f

æ œæœ ™™

ææj œœ

arco

œ™ œ

Œ

ff

O

Ÿ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~Ÿ œ ~ OO™™

mf

o

# œ- ˙ Œ &J ord

3

mf

˜ -œ ‰& J

Œ

Œ

-˙™

Ϫ

mf

ff

DDF & 16481 F xxxxx

3> ® œ ® ‰™

+o +o œœ

+o +o +o +o +o +o +o + + + + + o o o o o œ œ µœ œ nœ œ˜œ œ œ #œ œ œ

+o µœ

+o +o œœ

Œ

Ó

Œ

Ó

3 O ® ‰™

Œ

p

l.v.

f

3 ≈ O ‰™

≈ œ

3

‰™

bœ “

sffz

3

® ‰™ œ

B

·

‰ œ™ # œ™

3

µœ

‰™

pizz 3

≈˜œ ‰ ™ ff

pizz

?

3

3

3

®

sfz

œœ

fff

3

®

ff

?

Œ

®O

sffz

pizz

ff

ord

œ g g™

+o µœ

mf

Ϫ

mf

®

air

+o +o +o +o +o +o +o + + + + + o o o o o œ œ µœ œ nœ œ˜œ œ œ #œ œ œ

j œ

ff

˙

3

fz

~~~~~~~~~~~~~~~~~~~~##œœ ™™ ™ ~~ ~~ ~~ ‚ b ~~ ~~ b ‚™ ~~~~

Ϫ

3

ord

ê ff

œ g g™

ff

le

Cb

® œ ‰™

Ϫ

5:3

mf

fff

+o +o +o +o +o +o +o +o +o +o µœ œ #œ œ˜œ œ œ œ ¢& #œ œ

3

(slap)

3

ff

» 3 ≈ µœ ‰ ™

[ +o œ

multiphonics

O™

“ ord ~~~~~~~~~~~~~~~~~~ arco # IIO c.

œ g g™

®

el rti

œ

Œ

pa

Vc

® ‰™ œ

‰™

ff

f

®

air

air

Œ

œ

f

fff

+o +o +o +o +o +o +o +o +o +o œ & #œ œ µœ œ #œ œ˜œ œ œ

»

3

3

ff

e

+o +o +o +o +o +o +o +o +o +o # œ œ µœ œ #œ œ˜œ œ œ œ &

œ

Œ

3

fff

Vla.

&

ff quasi

+o +o +o +o +o +o +o +o +o +o ° # œ œ µœ œ #œ œ˜œ œ œ œ Vln &

® ‰™ œ

êm

® ≈™

3

[ +o œ

∑ -œ ≈ J

‰™

m

?

# -œ ™

œ g g™

f

p

-Ϫ

3

ite

{

æ œ-æœ

®

air

ff

® ‰™ œ

rd te

Pno

Œ

3

slap

ff

in

&

œ

Ÿ~~~~~~~~~~~~ œ™

ie op

¢/

ææ œ nœ- ™™

æ œœæ™™ -

ææ ##-œœ ™™

oc

ææ œœ- ™™

ot Ph

Vib

---

mf

f

Vibraphone

d

&

an

/

˙

&µ œ - ˙™

(no accents)

»

3

f

ord

Marimba

ur

°

mf

mf

ff quasi

® ‰™ œ

»

?

Ϫ

ord

‰™

3

(hand pop)

˜œ- ˙™

#œ- ™

(tongue ram)

‰™

œ

f

D

µ œ-

˙™

s

Ÿ~~~~~~~~~~~~ ? œ™

on

® ≈™

B -œ ≈ J

# -œ ™

≈ µœ

3

f

iti Ed

Mar

µ -œ ™

‰ ™™

»

ff

ord

s

Tbn ¢

B

-œ™ ® ≈ ™ #œ ™ ≈ œJ

3

Ÿ~~~~~~~~~~~~ ? œ™

mf

de

&

f

&œ -

mf

ff quasi

C Tpt

° &

mf

mf

rié op

Hn

¢&

Ÿœ™~~~~~~~~~~~~

mf

Pr

Bsn

˜ -œ ˙™

µœ- ˙™

ord

q = 52

ff

ord

‰ ™™

4 4

fz

fz ord

œ

µœ ™

. bœ > . .>#œ #œ #> . n œ œ # œ œ n>. ® R #æœ næœ æ ≈ > æ æ æ æ æ 5

3 n >. 8

œ

ff

‰™

œ

3

®œ ™ œ ™ ® 3

Œ

Œ

3

®

3

» œ »

®œ

o ≈ µœ

arco

mf

o

arco

≈&

µœ

mf

Œ

3

®

» œ

arco

o ≈ &µ œ

mf


28

142

»

3

ææ ° B Fl & g™ �z

≈® ≈≈ ≈Œ œ œ

p

ff

fz

»

3

æ & g™æ �z

Ob.

3

®

fz

ff

fz

fz

3

? æ g™

B Cl

ff

? æ Bsn ¢ g™

æ ® ææ æ & œ g g™

»

fz

3

ff

&

p

ff

mf

Ÿ<#> Ÿ <#> ≈ œ- ≈ œ-

mp

‰ ≈™

µ œ- œ p

ff

mf

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ f

+o +o +o +o +o +o +o +o µœ œ œ #œ œ ˜œ œ œ

™ ≈ -œ ‰ ™ ® œ™ - ®#œ- ®≈ œ™ -

+o œ

+o +o +o +o +o +o +o +o µœ œ #œ œ˜œ œœ œ

+o œ

‰™

/

ord

3

mf

mf

Vla.

[ + + + + + + + + +o +o +o +o +o B µœo µœo œo #œo œo ˜œo œo œo œœœµœœ

+o +o +o œœ œ

f

Vc

+o +o +o œœ œ

[ spazzolato (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o µ œ µœ œ #œ œ ˜œœ œ œœœµœœ ¢&

+o +o +o œœ œ

f

Cb

ord

‰ ≈&

˜ -œ œ mf

[ +o +o +o +o +o +o +o +o +o +o +o +o +o & µœµœ œ #œ œ ˜œœ œ œœœµœœ

p

-œ ™

#œ J

˜œ f

œ

mf

f

‰ ≈™

µ-œ œ

œ #œ + o #>œ ™

5:3

f

ord

ord

ff

+

˜œ œ J 5:3

f

o ˜>œ ™

ff f

œ

œ

œ J

5:3

+

o ™ >œ

ff f

> ≈ µœ ™

Ϫ

f

mf

f

DDF & 16481 F xxxxx

… (with brass) -œ™ -œ -™ ® œ ® œ ®≈ ™ ≈ ‰ ™

p

# -œ œ ‰ ‰ &R

j ##œœ ‰ Œ J

≈‰

mp

ord mute

ff

f

-œ ™

-œ ™ -œ -œ ® ≈™ ≈ J ≈ ff quasi

le

·

-™

‰™

el rti

f

1 1 1 1 1 1 1 11 1 æ æ æ æ æ æ æ ææ æ

Œ

pa

j -

1 1 1 11 æ æ æ ææ

mp

e

-™

/

5

≈ Œ

æ- æ- æ- æ- æ- æ- æ- æ-æ- æ-

êm

j -

mf

j ° J #œ™ œ™ Vln &

5 7

æ æ æ æ æ æ æ ææ - - - - - - - --

log drum

¿¿¿¿¿ ¿¿ ¿ ¿ ¿

(ff)

¿¿¿¿

˜œ- ™ ® ≈ ™ -œ ™ ≈µ-œ ≈ µ-œ J

log drum

m

{

? Œ

-œ™ ® ≈#™ -œ ™ ≈ -œ ≈˜-œ J

ff quasi

ite

Pno

slide coin over strings

&

- ® ≈ ™ œ™ - ≈ œ- ≈ -œ œ™ J

ff quasi

™ ™ ® œ™ - ® µœ- ®≈ µœ- ™ ≈#œ- ‰

rd te

slide over keyboard

p

ff quasi

p

in

¢&

œ

p

ie op

Vib

p

f quasi

˙

oc

œ

Ϫ

™ -™ - ™ ® œ™ - ® œ- ®≈ œ ≈ œ ‰

ot Ph

aiuta spazzolato con tremoli! oppure arco su vibra

p

p

f quasi

mf

---

° Mar &

f

œ

p

d

‰ ≈

f

+o œ

p

Ϫ

µ˙™

mf

+o œ

an

‰™ ‰

Tbn ¢&

µ g g™

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

ur

ææ g™

j œ

œ

f quasi

p

ff

Ϫ

Ϫ

˜˙ ™

‰?

q = 78

f quasi

p

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

˙™

#˙ ™

Ÿ- <n> œ™

5 8

p

ff

œ J

D

+ œ

ord (sound)

air

3

Ÿ- <n> ˜ ≈ œ ≈

s

f

‰™ ‰

ff

œ J

on

& ‰ ≈# g g™

ææ g™

Ÿ-<n>Ÿ- <n> ≈ œ≈ œ

iti Ed

+ œ

ord (sound)

air

3

C Tpt

Ÿ<#> ≈ µ-œ ™ ord

s

p

Ó

Ÿ- <˜> Ÿ- <˜> ≈ #œ ≈ œ ™

ord

de

≈Œ

Ÿ-<˜>Ÿ- <˜> œ ≈ œ≈ œ J

mp

f

air

fz

rié op

°? µg ™ æ

fz

air

æ ® ææ æ & œ g g™

3

Pr

ff

Ÿ-<n> ˜ ≈ œ™ ord

f

≈® ≈≈ ≈Œ œ œ

p

Hn

fz

3

�z

mp

3

≈® ≈≈ ≈Œ œ œ

p

Ÿ-<˜> ≈ #œ ™

air

3 4

ff

ord

f

3

Ÿ- <µ> Ÿ- ™ <µ> œ œ ≈ ≈

mp

air

3

» �z

æ ® æ æ œ g g™

3

Ÿ-<µ> Ÿ- <µ> 5 œ œ 8 œ J ≈ ≈

ord

ææ ææ œ g g™ 3

f

≈® ≈≈ ≈Œ œ œ

p

<µ> 2 accel 4 Ÿ-œ ™

air

q = 62 accel

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœœ #œ œ˜œ œ œœµœ œœ bœ f

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœœ #œ œ˜œ œ œœµœ œœ bœ f

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœœ #œ œ˜œ œ œœµœ œœ bœ f

b6-œ III

#œ- ? fff

œ

œ

œ™ ~~œ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~

sffz mp

ff

3 8


29

3 147 8 œ ™ °

3 4 >#œ æ

&

B Fl

#>˙ææ

™ & #œ

Hn

>#œ-æ æœ > 5:3

5:3

œ œ >- >-œ >ææj #-œææ #œ- > >

æ ˙-æ >

>˙-

>œ-

#>-œ

>œ-

5:3

œ™ æ

œ æJ ‰

j œ- œ™ >

j ‰ œ

æ œæ™

ææj ‰ œ

>œ- œ™ J

œ J ‰

æ æ œ-æ # œæ > >-

#>œ-

5:3

f

5:3

p

p

p

œ œ #œ #œ œ#œ#œnœnœ #œ œ œ#œ œn œ ' ' ' ' ' ' ' ' ' ' ' ' œ œ œ # œ #œ œ ' ' # œ œ #œ ' nœ ' ' ' ' ' ' ' ' ' '

de

5

mf

s iti Ed

Tbn ¢&

æ- æ- æ- æ- æ- æ- æ-

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

1 1 1 1 1 1 1 æææææææ

1 1 1111111 1 1 1 1 1 æ æ æææææææ æ æ æ æ æ

ff quasi

s

on

7

6

&

C Tpt

3 4

p

staccatissimo

° &

æ # œ-æ >

rié op

Pr

¢

Bsn

?

>œ-

5:3

#œ æ

#œ>

# ˙>

æ #˙-æ >f

µœ ™

æ #œ-æ >

5:3

#˙> mf

™ & ˜œ

B Cl

>Ͼ

5:3

f

Ob.

4 q = 62 4 >- æj

rit

d

an

ur

D ∑

e

êm

m

ite

rd te

?

Ϫ

fff

-˙ > fff

#-˙ > fff

&

#>-˙ fff

mf

>-œ ê

>-œ mf

ê

> #-œ mf

ê

#>œmf

le

fff

#>-œ

ê

el rti

&

#>-˙

pa

&

?

Ó

fz sub

¢

mp

3

Cb

1 1 1 1 1 1> 1 ‰ ™ æ æ æææ

° Vln &

Vc

fz sub

&

{

Vla.

6

mp

Ó

in

Pno

f

5

> 3 æ- æ- æ- æ- æ- - - ‰ ™

ie op

Perc. ¢ /

f

6

oc

/

5

ot Ph

---

Perc.

°

fff

µw

˙

w

f

b-œ > fff

p

f

p

œ >-

#w

fff

˙

f

p

> #œ-

˜w

f

p

fff

DDF & 16481 F xxxxx

7


30

3 151 4 °

B Fl

Ob.

B Cl

Bsn

&

Ó

&

Ó

&

Ó

?

Ó

Œ

U Œ

Œ

U Œ

Œ

Ϫ

œ

µ˙

Ϫ

œ

Œ

µ˙

Ϫ

œ

5

6

œ œ œ # œ ' ' ' œ' #œ ' #œ œ ' ' '

s

p

f

p

?

f

f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U #œ œ œ œ ≈ ™ #œ ™

de

ppp

mp

® ≈™

-œ ™

-Ϫ

≈ œ ‰™

® ≈™

-Ϫ

≈ œJ

≈ œ? ff quasi

® #-œ ™

ur

D

U Œ

s

on

iti Ed

Ó

ff quasi

f

p

&

œ

˙

p

U Œ

4 4

q = 78

f

p

rié op

° &

5 8 Ϫ

p

mf

C Tpt

U Œ

Pr

Hn

¢

q = 62 accel

® œ

≈ œ ‰™

-Ϫ

® ≈ ™ #œ ™

≈ œJ

≈ µœ ff quasi

d

an

p

U Œ

® #-œ ™

® ˜-œ

® ≈ ™ ˜-œ ™

ot Ph

Ó

---

Tbn ¢&

µ-œ ™

® ≈ ™ #œ ™

≈ ˜œJ

≈ µœ ff quasi

oc

p

≈ œ ‰™

ie op

®

® ≈™

-Ϫ

‰™

p

® ≈™

# -œ ™

-œ ≈ J

ff quasi

+o œ

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o +o +o +o +o œ œ œ µœ œ œ

+ + + + + + + + + +o #œo œo µœo œo #œo œo ˜œo œo œo œ

le

µ˙

U Œ

-œ ™

el rti

Cb

&

®

pa

Vc

&

Ó

U Œ

e

Vla.

(with brass)

… # -œ ™

êm

° Vln &

m

?

ite

{

ord mute

rd te

Pno

U Œ

in

&

Ó

f

pp

mp

ff quasi

˙

U Œ

+o œ

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o + + + + œ œ œo œo µœo œo

+o +o +o +o +o +o +o +o +o +o #œ œ µœ œ #œ œ ˜œ œ œ œ B

f

pp

mp

U Œ

mp

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o +o +o +o +o œ œ œ µœ œ œ

+ + + + + + + + + +o #œo œo µœo œo #œo œo ˜œo œo œo œ ?

pp

+o œ

U Œ

+o œ

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o + + + + œ œ œo œo µœo œo

+o +o +o +o +o +o +o +o +o +o #œ œ µœ œ #œ œ ˜œ œ œ œ ?

f

¢& ˜˙ f

pp

mp

DDF & 16481 F xxxxx

ff quasi

ff quasi

ff quasi


31

4 154 4 °

R q = 48

&

B Fl

» (tongue ram)

5:4

5:4

≈ ‰ ≈ ≈ ‰ Œ œ> œ > ff

®

»

3

ææ g™

�z

œ g g™

ff

fz

&

Ob.

3

œ

air 3

‰™

≈ ‰™ œ

3

»

?

B Cl

®

Bsn

≈≈

ff

ææ g™

>œ ffg g™

3

»

ff

ææ œg

<µ> 2 accel 4 Ÿ-œ ™

f

æj g™æ

3

® ææ œg

fz

»

f

fz

®

fz

3

ææ œg

fz f

<µ>

Ÿ- ™ <µ> œ

Ÿ-<˜> # ≈ œ™

ææj g™

Ÿ-<˜>Ÿ- <˜> œ ≈ œ≈ œ J

mp

Ÿ

<n>

<n> <n>

≈˜œ ™

- ≈ œ≈ œ

‰ ff

Ÿ

<n>

Ÿ

- ≈ ˜œ ≈ œ ™

œ J

<n>

mp

‰ ff

Ÿ<#> ≈ µ-œ ™

Ÿ<#> Ÿ <#> ≈ œ- ≈ -œ

ord

æj & g™æ

Ÿ- <˜> Ÿ- <˜> # ≈ œ ≈ œ™

Ÿ Ÿ

ord

ææj & g™

4 4

ff

ord

air 3

Ÿœ

mp

air 3

Ÿ-<µ> Ÿ- <µ>5 œ œ 8 œ J ≈ ≈

ord

air

® ææ œg

≈® ≈≈ ≈Œ œ œ

p

air

3

fz

fz

3

�z

®

≈Œ

rié op

>œff

7:6

»

3

f

≈® ≈≈ ≈Œ œ œ

p

3

Pr

¢

3

ææ g™

œ g g™

fz

fz

air ✶

7:6

ff

�z

ff

ff (✶) dry slap, no sound

?

p

3

®

≈® ≈≈ ≈Œ œ œ

air

®‰ ® ≈ ‰ Œ œ œ

»

ææ g™

ff

ff (✶) dry slap, no sound ✶

3

�z

® œ g g™

Œ

3

≈® ≈≈ ≈Œ œ œ

p

ff

ff

»

q = 52 accel

air

3

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

mp

?

ff

(✶) dry slap, no sound

µœ ≈ ™ ≈≈ ™ œ ≈ ™ ≈Œ 7:6

7:6

air

7:6

7:6

œ

œ

≈™

µ>œ ff 3

® ‰ ≈™

pizz

5:4

Œ

3

® ®‰ ™ µœ

®

ff

œ

Œ

≈™

3

®

Vc

® ˜œ ≈ ‰ ® œ ™

Cb

¢

?

7:6

ff

œ

≈≈‰

œ »

Œ

® œ

ff

pizz

»

7:6

Œ

(''tacky'')

Œ

æ -

‰™

-

o

f

œ

mf

+o +o +o œœœ

o µœ

+ ++ + + ++ œoµœo œo #œo œo ˜œo œo

+ +o +o +o +o +o µœœ œo œœœ

+++ œo œo œo

mf

f

arco

®

arco

o

arco

f

œ

_™

+o +o +o +o +o +o +o +o +o +o +o +o +o œµœœ #œ œ ˜œœ œœœœµœœ

œ »

log drum

mp

mf

f

pizz

?

5:4

mp

sffz

pizz 5:4

≈™ ≈

sffz

O ≈™ ≈

7:6

≈™

p

/

æ- æ- æ- æ- æ- æ- æ- æ- æ- ææ- æ- æ- æ- æ- æ- æ- æ- æ- æŒ

¿¿¿¿¿

÷ (ff)

&

µœ

mf

»œ f

arco

o ® &µ œ

mf

f

ord

‰ ‰

3

&

# œ- œ mf

ord

‰ ≈&

˜ -œ œ mf

+o +o +o +o +o +o +o œµœœ #œ œ ˜œœ f

+o +o +o +o +o +o œœœœµœœ

+o +o +o œœœ

œ- ™

+ ++ + + ++ œoµœo œo #œo œo ˜œo œo

+ +o +o +o +o +o µœœ œo œœœ

DDF & 16481 F xxxxx

+++ œo œo œo

-™

#œ #œ J

5:3

f

˜œ f

œ #œ + o #>œ ™ ffp

+

5:3

‰ ≈™

œ J

f

µ-œ œ

Ϫ

mf

f

o ˜>œ ™ ffp

5:3

ord

p

˜œ œ J

œ œ œ

ord

mf

spazzolato (+o = from msp to mst)

f

-

f

le

sffz

≈ ™ ≈Œ

‰ Ó

æ æ æææ - - ---

‰™

el rti

≈ ™ ≈≈ ™

p

/

pa

≈™

7:6

(''tacky'') log drum

e

7:6

≈™

‰ Ó

f

êm

Vla.

≈ ™ b OO ≈ ™ ≈≈ ™ OO ≈ ™ ≈Œ

mf

m

B

multiphonics 7:6

ff

ite

° Vln &

f quasi

mf

p

rd te

{

?

ææ œœ ™™

f

in

Pno

ææ œœ

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ #œ œ˜œ œœ œ

ie op

&

ææ œœ ™™

+o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

oc

¢&

j µ g g™ f

+ œ

mf

ææ ‰ ™ ‰ g™

mf

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

ord (sound)

3

&

+o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

ot Ph

Vib

ææ ˙˙ ™™

ff

air

ææ œœ

f quasi

p

p

f

an

ææ ° Mar & b˙˙ ™™

ææ ‰ ™ ‰ g™

j ‰ ≈ # g g™

‰ ≈

˙

+ œ

ord (sound)

ur

f

+o +o œœ

œ J

p

3

D

Tbn ¢&

+o Bbœ

‰ ≈™

ff

---

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœœ nœ œBœœœbœœœ

+o +o œœ

contina questa nota su wwinds battutta dopo magari sposta wwind

µ -œ œ

ord

Ó

d

[+ o œ

f

fz

+o Bbœ

≈Œ

p

s

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœœ nœ œBœœœbœœœ

air

µg ™ ææ

on

[+ o œ

œ ≈™ ≈

iti Ed

&

C Tpt

7:6

s

f

≈™

de

≈™

Hn

°?

» (hand pop)

+

o ™ >œ

ffp

> ≈ µœ ™ ff

f

6

¿


32

158

B Fl

° &

4 q = 66 4

7 4 16 >œœœœœœœœœ > > > > > > > > ......... 4

7 16

measured chest hitting frequence:

mp

f

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ wæ f

orango gliss

/

5:4

ho

ha

6

5:4

he

hi

hu

hi

he

ha

hi

ho

o_a_e_i

3

Œ

mf

Œ

æ ˙æ

o_a_e_i

i

(progressive)

orango gliss

&

Ob.

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

mp

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ææ™™™ ˙ f

/

5:4

ho

ha

6

5:4

he

hi

hu

hi

he

ha

hi

ho

o_a_e_i

&

B Cl

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mp

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œææ ææ™ f

/

5:4

ho

ha

6

5:4

he

hi

hu

hi

he

ha

hi

ho

o_a_e_i

Bsn

¢

?

/

5:4

Pr

ho

hi

hu

hi

he

ha

hi

ho

o_a_e_i

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ 3 œ œ œ œ œ œ œ œœœœœœ ‰ ‰ f

orango gliss

/

5:4

de

ho

ha

5:4

he

hi

hu

hi

he

ha

hi

ho

s Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ

iti Ed

on

/

ho

ha

5:4

5:4

he

hi

hu

hi

he

ha

hi

ho

D

ha

3

mp

hi

fz sub

÷

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ he

5:4 hi

hu

hi

he

ha

hi

(h )

ææ

‰ ææ œ 3

¯ ‰ Ó

/

p

+ & ˜œ ™

ho

5:4 ha

he

5:4 hi

hu

hi

he

ha

hi

mf

(h ) ‰ ææj æ œ

ho

o_a_e_i

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ f

/

p

5:4 ho

ha

he

5:4 hi

hu

hi

he

ha

hi

mf

j (h ) ‰ ‰ œææ ææ 3

ho

o_a_e_i

(progressive)

+ Ϫ

orango gliss ¯ ‰ Ó

f

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ f

/

p

5:4 ho

¢&

fff

ha

he

5:4 hi

hu

hi

he

ha

hi

mf

r æ(h ) æ ‰ ≈ œæ æ

ho

o_a_e_i

(progressive)

œ

Y™ ææY™ pp

f

i

3

f

mp

æ wæ o_a_e_i

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈ 6

3

o_a_e_i

6

3

mp 3

æ œæ o_a_e_i

i

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈ 6

3

mp

æ ˙æ™™™ o_a_e_i

i

III

œ

# œ- ™ ˙~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~~~ > sffz mp sub

orango gliss

‰ Ó

/

mp

æ wæ o_a_e_i

fff

DDF & 16481 F xxxxx

mp

‰ ‰ œææj ææ™ 3

i

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

f

l.v.

f

6

o_a_e_i

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ ho

¯ orango gliss ‰ Ó

f

Cb

3

>œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

æ œ ˙æ ææ

Tam Tam or big China Sus. Cym. and large Thunder Sheet. Hit with mallets

le

+ #œ ™

œ-

fff mp

el rti

ha

f

orango gliss

?

>>> 6 >>>>>> ≈ ---------

pa

Œ

5:4

6

ff

e

‰ Œ

ho

msp

ord (precise)

êm

≈™ ‰

f

(progressive)

&

œœœœœœ œ 6 ææ

m

mf

orango gliss

f

Vc

o_a_e_i

(colla voce) side

(progressive)

Vla.

æ ˙æ™

measured chest hitting frequence:

7

° Vln &

3

p

ite

fz sub

ææ(h )

mf

Œ

æ œæ™™

)h

ææ(

o_a_e_i

(mallets tremolo)

rd te

5

j ≈ œææ™

i

æ œæ

mf

Œ

3

6

o_a_e_i

Plexyglass

mf 3

o_a_e_i

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

ææ(h )

in

¿¿¿¿

mp

j ≈ œææ™ (progressive)

5 6 3 > æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- - -‰ ™

f

mp

ho

i

ie op

Pno {

÷

¿¿¿¿¿

5:4

he

3

6

oc

Perc. ¢ /

hi

6

f

æ-

æ-

hu

> æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- - -‰ ™ 5

æ-

æ-

hi

Œ

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

æ ˙æ™

ot Ph

/

he

---

Perc.

ha

d

an

5:4 ho

°

ur

/

Œ

i

mp

)h

mf ( j æ ‰ œæ ææ o_a_e_i

6

o_a_e_i

s

Tbn ¢&

ææj ææ™ œ

(progressive)

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ f

orango gliss

3

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

mp

o_a_e_i

f

Œ

i

(progressive)

orango gliss

&

C Tpt

6

5:4

he

(progressive)

rié op

Hn

° &

ha

o_a_e_i

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mp

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ˙ææ™™ f

3

mf

j ææ(h ) æ ‰ ‰ œæ 3

i

(progressive)

orango gliss

o_a_e_i

i

(progressive)

orango gliss

‰™

Œ

3

( ) æær ææ h œ

mf

ææ ™


7 4 3 16 œ ™™ 4 Signal audience to prepare recorder heads 8

7 8

as fast as possible!

163

Fl

°

/

f

ææ æ

a

f

æ ˙æ o

5 4

œ™ æ

pp

33 f L R R L R R L R L R L R

œœœœœœ 6

e

-

a

b

c

a

b

c

œ a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

4:3

6

a

b

a

b

a

b

4:3 c

a

b

c

a

b

as fast as possible!

œ ™™ æ æ

/

Ob

f

f œ™ ææ

pp

æ ˙æ

a

o

f L R R L R R L R L R L R

œœœœœœœ 6

e

-

a

b

c

a

b

c

a

fff

œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œœœœ

b

4:3

6

a

b

a

b

a

b

4:3 c

a

b

c

a

b

as fast as possible!

œf ™™ æ æ

/

Cl

f œ™ ææ

pp

æ ˙æ

a

o

To Cl

f L R R L R R L R L R L R

œœœœœœœ 6

e

-

a

b

c

a

b

c

a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

4:3

6

a

b

a

b

a

b

4:3 c

a

b

c

a

b

as fast as possible!

Fg

œ ™™ æ æ

f

as fast as possible!

a

o

ur

o

œ ™™ æ æ

d

an

as fast as possible!

/

f

f

f

1 1 1 1 1 1 1 ææ 1 -™

(Rhapsodic, vivace)

ff

œ ææ 7:6

ff

5

p sub

/

a

4:3 c

a

b

c

a

b

a

b

c

œ a

fff

b

4:3

6

a

b

a

b

a

b

4:3 c

a

b

c

a

b

b

c

a

b

c

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œ a

fff

b

4:3

6

a

b

a

b

a

b

4:3 c

a

b

c

a

b

f L R R L R R L R L R L R

œœœœœœ a

b

c

a

c

œ a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

4:3

6

a

b

a

b

to Tam Tam

a

b

4:3 c

a

b

c

a

b

p

(colla voce)

pp

œ ææJ

æ œæ -

a

mf

-

a

œ™ ææ

o

e

f œ™ æ

æ ˙æ

-

4:3

4:3

fff

f L R R L R R L R L R L R

œœœœœœœ 6

-

pp

ææ æœ œ æJ o

o

6

------- ------ - - - - - ----

f

æ ˙æ -

6

f

normal sub as fast speed as possible

o

b

a

b

c

a

b

c

a

b

e

6

a

b

a

b

a

4:3 b

4:3 c

a

b

c

a

b

f L R R L R R L R L R L R

œœœœœœœ a

b

c

a

b

c

a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6

-

fff

œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œœœœ

le

/

œf ™™ ææ æ

a

el rti

Vln

°

f

b

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

pa

aas fast as possible!

pp

1™ æ

mf

æ œæ™

a

e

œ ™™ æ æ

a

e

˙ ææ

b

êm

Pno { ÷

f

mf

5

- - - - - - - 1 1 1 1 1 1æ R

as fast as possible! as fast as possible!

œ j ææ œææ

c

6 -

4:3

6

a

m

p sub

pp

o

b

œœœœœœ

f œ™ ææ

æ ˙æ

b

f L R R L R R L R L R L R

e

-

a

ite

Perc 2 ¢ /

p

ææj œ ææ

-

a

rd te

1 ™™ æ æ

log drum

œ™ 5 ææ

a

c

œ

in

mp

-

b

6

pp

œ ææJ

æ œæ

a

œœœœœœ

f œ™ æ

æ ˙æ o

c

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

f L R R L R R L R L R L R

e

-

pp

-

b

6

ie op

ææ œ ™™

a

o

a

f œ™ ææ

oc

as fast as possible!

Perc 1

mf

o

Rhapsodic, vivace

-

ot Ph

a

°

-

---

f

a

œœœœœœ

e

-

æ ˙æ

œ ææ J

æ œæ

D

a

Tbn ¢ /

mf

s

-

f L R R L R R L R L R L R

6

pp

œ æ æJ

æ œæ

on

œ ™™ ææ æ f

/

iti Ed

as fast as possible!

Tp

mf

s

de

/

Hn

œf ™™ æ æ

æ ˙æ

normal sub as fast o speed as possible

rié op

a

°

Pr

¢/

f œ™ ææ

pp

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

b

as fast as possible!

Vla

/

œ ™™ æ æ f

a

mf

œ ææJ

æ œæ o

-

a

f œ™ ææ

pp

æ ˙æ

-

o

f L R R L R R L R L R L R

œœœœœœ 6

-

e

a

b

c

a

b

c

œ a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

b

as fast as possible!

Vc

/

œf ™™ ææ æ

a

mf

æ œæ o

-

a

f œ™ æ

pp

œ ææ J

æ ˙æ

-

o

f L R R L R R L R L R L R

œœœœœœ 6

-

e

a

b

c

a

b

c

œ a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

as fast as possible!

Cb

¢/

œ ™™ æ æ f

a

mf

œ ææJ

æ œæ o

-

a

DDF & 16481 F xxxxx

œ™ ææ

pp

f

æ ˙æ

-

o

To Cb.

f L R R L R R L R L R L R

e

œœœœœœœ a

b

c

a

b

c

a

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6

-

b

b

6

a

4:3 b

a

b

a

b

4:3 c

a

b

c

a

b

To Perc.


34

RECORDERS ACTIONS (ensemble and audience):

PERCUSSIONS ACTIONS

condutor's gesture = equivalent sound:

condutor's gesture = equivalent sound

-bang recorder (or simulating a congas hand-tremolo) = rapid hand-tremolo against head-joint's aperture

-bang recorder = (Tam-tam) single-stroke roll over Tam-tam

-�at hand (horizon) = plain note (inster �nger into variate pitch) -�at hand (horizon) = (China) bow on the China with high-speed and high-pressure attack. Begin close to the frog -little sparkles = (Tam-tam) similar to single stroke roll but sparse and much irregular

-index pointing at cheeck = �utter tongue

-index pointing at cheeck = (Cymbal) saturate the cymbal with the bow in order to obtain a high and piercing harmonic which ''opens'' when you stop bowing

rié op

Pr

-little sparkles / �ickers = staccato

-suction = (Cymbal) Bow with constant pressure and medium-slow speed in order to achieve cymbal's fundamental

-suction = inhale from the labium

té de

-throw a cue to somebody (or index) = improvisation (solo)

s

-throw a cue to somebody = (Cymbal) Hin und her" medium speed and medium pressure continuous bowing close to the frog

on

iti Ed s

S RECORDERS

D

libero, aperto

ur

Consider each phrase (slurred notes) as single episodes. Apostrophes indicate short cesuras between those phrases

168

ens TACET (except perc.)

/

d

an

° Ens

---

w

w

fff

fff

bang recorder

�at hand (horizon)

w

w

fff

fff

index pointing at cheeck

little sparkles

˙

ppp

index pointing at cheeck

ite

rd te

little sparkles

˙

œ

mf

in

,

˙

œ

f

e le

el rti

pa

=

171

° Ens / Aud ¢ /

little sparkles

suction

w

˙

pp

°

Perc 1 ¢ /

little sparkles

suction

w

˙

pp

∑ , throw a cue to somebody 20'' √ w

o

mf

, throw a cue to somebody 20'' √ w

o

mf

DDF & 16481 F xxxxx

∑ bang recorder

w

fff

bang recorder

w

fff

o ,

suction

êm

m

ppp

,

suction

˙

ie op

(together with audience)

,

oc

°

Perc 1 ¢ /

�at hand (horizon)

ot Ph

Aud ¢ /

bang recorder

o


35

opposing the two parts interact freely and rapturously, unpredictably

-r ™™ œ mf

bang recorder

175

Ens

°

≈ ∑

/

-K r œ

-r œ

bang recorder

≈ ∑

Aud ¢ /

™™

-K r œ

-j œ

-K r œ

-r œ

-r œ

-K r œ

-r œ

-r œ

-K r œ

mf

bang recorder

-r œ

(together with audience)

™™

≈ ∑

/

rié op

°

Pr

Perc 1

bang recorder

with ensemble) -K -(together r r œ ™™ œ mf

de s

Perc 2 ¢ /

mf

-K r œ

-j œ

-K r œ

≈ ∑

™™

≈ ∑

™™

≈ ∑

™™

≈ ∑

s

on

iti Ed

™™

d

an

ur

D ot Ph

--oc

=

ie op rd te

in Repeat this bar as many times, by the last or penultimate repetition wwinds get ready

ite

178-179: allow audience to performe only when compatible, that is if they prove fast to learn and react, otherwise ensemble only

°

œ

j Ϫ

œ

Œ

bang recorder

-j Ϫ

œ

Ϫ

le

Ϫ

œ

j Ϫ

‰™

Ϫ

j Ϫ

™™ ‰

‰™

Ϫ

°/ œ ™

œ

j Ϫ

‰™

Ϫ

(bang recorder)

™ Perc 2 ¢ / œ fff

j Ϫ

™™ ‰

> ™™ g

mute

œ

j Ϫ

œ

Œ

DDF & 16481 F xxxxx

‰™

bang recorder

-j Ϫ

‰™

™™

™™

¿

(bang recorder)

Perc 1

™™

¿

bang recorder

Aud ¢ /

‰™

-j Ϫ

¿

el rti

Ϫ / fff

air

pa

Ens

> ™™ g

e

178

17 16

�z

êm

bang recorder

m

q = 66

Ϫ

œ

Ϫ

‰™

‰™

-j Ϫ

¿ ™™

4 4


36 180

° &

Fl

4 4

<#>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ - ≈ œ- ≈ œ™ - ≈ œ- ≈ -œ™ ≈ œ™

9 8>

<µ>

p

ppp

<#>

&

Ob

p

<#>

<#>

¢&

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ µ-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ Horn in F

Harmon mute

pp

<µ>

<µ>

<#>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ -œ ≈ -œ ™ ≈ -œ ≈ œ- ™ ≈ ˜-œ ≈ -œ ™ ≈ -œ ≈ œ- ™ ≈ -œ ≈ -œ ™ ≈ ppp

mf

<µ>

�z

p

pp

Ϊ

mf

ppp

✶✶

✶ �z.

æ æ æ ‰ æ ≈ ≈ ≈ ææ ≈ ≈ ææ ≈ ≈ ≈ æ ≈ ææ ≈ æ ¿. ¿. ™ -6 -6 ™ -6 -6 ™ ¿. -6 ™ -6 -6 ™ -6 ™

Ϊ

ppp

de

mf

æ ≈æ ≈ ¿. -6 ™

¿.

æ ≈æ -6 ™

≈ -6™ ≈ ¿. ææ

≈ -6™ ææ

≈ ¿. ≈ -6™ ≈ ¿ ≈ ¿ ≈ ‰ ææ

æ ≈ 6™æ ≈ ¿ . -

æ ≈ 6™æ -

æ ≈ ¿ ≈ 6™æ ≈ ¿ ≈ ¿ ≈ ‰ . -

ppp

æ ≈ æ ≈ ≈ ≈‰ ¿. -6 ™ ¿ ¿

(✶) Produce an air sound while maintaining the embouchure

s

(✶✶) Slap the front of the mouthpiece with a �at hand, creating a percussive sound.

iti Ed

✶✶ ‰ -6™ ≈ ¿. ≈ ¿™. ≈ -6 ≈ -6™ ≈ -6 ≈ -6™ ≈ ¿. ≈ -6™ ≈ -6 ≈ -6™ ææ ææ ææ ææ æ ææ æ

Ϊ

≈ ¿.

✶ �z.

s

on

Ϊ

ppp

<#> �z Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ - ≈B-œ ≈ œ™ - ≈ #-œ ≈ -œ ™ ≈µ-œ ≈ -œ ™ ≈ -œ ≈ œ- ™ ≈ µ-œ ≈ -œ ™ ≈ -œ ≈ œ- ™ ≈ -œ ≈ -œ ™ ≈ - ≈ -œ ≈ œ™ œ. ≈ -œ ™ ≈ #-œ ≈ #œ- ™ ≈B-œ ≈ œ œ ≈ nœ. ≈ œ™ ææ ææ æ æ æ ææ

&

C Tpt

Harmon mute

<µ>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ<#>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ -œ ≈ -œ ™ ≈ -œ ≈ œ- ™ ≈ #-œ ≈ -œ ™ ≈ -œ ≈ œ- ™ ≈ -œ ≈ -œ ™ ≈

mf

<µ>

rié op

° &

Hn

ppp

�z. > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .œ ≈ -œ™ ≈˜-œ ≈˜œ- ™ ≈n-œ ≈ -œ -œ ≈ nœ-. ≈ œ™ - ≈ -œ ≈ œ™ - ≈ -œ ≈˜-œ ™ - ≈ -œ ≈ œ™ ææ æ æ æ ææ æ bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Pr

ppp

pp

p

ppp

<#>

mf

<µ>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ & ˜-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

Bsn

pp

�z. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - - ≈ -œ ≈ œ™ . - ≈ -œ ≈˜œ- ™ ≈ #-œ ≈ -œ ™ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ™ ™ ™ ™ ™ n #œ œ œ œ œ #œ œ œ ˜œ œ œ œ œ. ≈ œ™ ææ ææ ææ ææ æ æ

ppp

Cl

<µ>

�z. bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - ≈ -œ ≈ -œ -œ ≈ œ-. ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ -œ ≈ -œ™ ≈ -œ ≈ -œ™ ≈ œ- ≈ -œ™ ≈ œ- ≈ œ™ - ≈ -œ ≈ -œ™ ≈ - ≈ œ- ≈ œ™ œ. ≈ -œ™ ≈ œ- ≈ œ™ ææ ææ ææ ææ æ ææ

an

ur

D

ppp mf ppp (✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a �at hand, creating a percussive sound.

Harmon mute

Ϊ

ot Ph

Ϊ

�z.

≈¿ .

---

✶✶ æ æ æ æ æ ææ ‰ 6™ ≈ ¿ ≈ ¿™ ≈ 6æ ≈ 6™ ≈ 6æ ≈ 6™ ≈ ¿ ≈ 6™æ ≈ 6æ ≈ 6™æ . . - - - - . - - ✶

d

Tbn ¢

?

ppp

mf

ppp

(✶) Produce an air sound while maintaining the embouchure

?

Pno.

##œœ ™™

œœ

œœ ™™

##œœ

œœ ™™

≈ œœœ ≈ œœœ ™™™ ≈ œœœ ≈ œœœ ™™™ ≈ mp

msp

ord

sp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ù≈ œù≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ ææ æ æ æ ææ ææ ææ æ æ æ æ ✶

le

ppp

msp

<µ>

≈ œœœ ™™™

œœ ™™ œœ

el rti

msp

‰ œ≈Œ æ

Ÿ<#>

pa

Ó

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

œœ ™™ œœ

e

ppp

≈ œœœ ≈ œœœ ™™™ ≈ #œœœ

êm

‰ #œœœ ™™™

Ϊ

m

° Vln &

ite

÷

rd te

in

ie op

{

oc

°

Perc 1 ¢ /

(✶✶) Slap the front of the mouthpiece with a �at hand, creating a percussive sound.

(chicken puppet)

ppp

p

mf

ppp

(✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

&

Vla

Ó

msp

‰ Bœ ≈ Œ ææ ppp

&

Vc

Ó

msp

‰ #œ ≈ Œ ææ ppp

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

msp

<µ>

sp

p

ppp

¢

?

msp

mf

ppp

Ÿ~~~~~~~~~~~

(✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

ord <µ>

msp

ord

<µ> ✶ Ÿ<#> sp Ÿ <#> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ #œ ≈ œ ™ ≈ œ ≈ œ ™ ≈Bœ ≈Bœ ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ ≈ œ ≈ œ ™ù≈ œù≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ ææ æ æ æ ææ ææ ææ ææ æ æ æ msp

ppp

p

mf (✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

ast

Cb.

ord

✶ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bœ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈nœ ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ µœ ≈ œ ™ ≈ µœ ≈ œ ™ù≈ œù≈ œ ™ù ≈ œù ≈ œ ™ù ≈ µœù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ ææ ææ æ ææ æ ææ ææ ææ ææ æ æ

Ÿ<#>

Ϊ

cls ✶

ord

œ o

Ϫ

el acc

ë

˙™

f cls (✶) = col legno slide, slide the bow along the string quasi

dec

el

Ϫ

p

DDF & 16481 F xxxxx

æ œ™æ f

æ œ™æ

æ

fff

æ

1 ææJ Œ™ p

ppp

ord

Ϊ

/


37

contrabass solo the contrabass is improvising over two performative ''modes'': voice (A) and playing contrabass (B). Each mode could last between 10 to 30 seconds (ad libitum) A - voice: freely improvise using the voice employing the provided material as guideline B - contrabass: freely improvise with the contrabass over the material within the boxes, interpolating their order ad libitum and improvising on their content if needed FORM: -A, B , A', B', - 7''~10'' into B', Perc 1 abrutply interrupts the contrabass with a single chicken puppet ''squeeze'' together with oboe' single "duck" sound produced with the mouthpiece -A'', B'', -Perc 1 and Oboe abruptly interrupt the contrabass again, more insistingly this time (that is, with two or more times the same sounds, ''squeeze'' and ''duck'') (this moment correspond to the cue for the audience to start crawling out of their seated position), B'''.

Pr

Wine glasses

�roughout all A sections (that is, whenever the contrabass player is using her / his voice) six to eight ensemble members play a single wine glass (pitch ad libitum).

rié op

√ 185 ¿¿¿ ° ≈ Ens ¢ / Ó ¿¿¿ o (time enough to grab glass)

o

s

de

mf

Imprevedibile, misterioso e fantastico Using voice:

Similar to vocal techniques employed at m 112 (open and close lips) but freer, more intimate and surprising. From rapid +o tremolos towards intermittent sounds. �e following pitch (and dynamic) curve is suggestive only.

s

D

&

an

ur

° √ ¢/ w

on

Cb

iti Ed

A

br/

d ot Ph

--oc

= Energico, Playing the contrabass

‚‚ ™ pp

‡ ~~≤

sfz

pp

pp

„ ‚‚ ?bOææ >O 3

f

‹ # ‚‚ ™™ & p

‹ &

o

„ ‚‚ ? ææ ##>OO 3

‡ ‚‚≤ pp

‹ ‚‚ ™ &

f

?

o

p

e

êm

m

‹ # ‚‚ ™™ &

ite

Cb

„ ? æ bOOæ™™

rd te

188

in

‡ OO≤ ™ & o

ie op

B

pa le

el rti

=

msp

193 Cb

?

>-≥

II

>-ϲ

ast

III

œ sfz

6

sfz

> ord œ ˙™~~~~~~~~~~~~~ sffz

mp sub

~~ ˙ ff

&

msp II

b6-œ > ≈ µœ ™ #œ- ? œ

f

f

frog's tip tremolo (✶)

III

f

DDF & 16481 F xxxxx

æ 6æ

ast

œ

œ™ œ ~~~~~~~~~~~~~~~ ˙™

sffz mp

ff

/

p fff

6 æ f

msp

ææ

æ 6æ pp

ast

6 ææ f

Πpp

&


38

199

° Aud ¢ /

q = 60 G.P. ✶ T

accel

™™

(✶ ✶ ) the trained audience crawls out of the general audience position sliding super balls over the �oor or playing ‘'pio-pios''

° &

Fl

Almglocken

lv sempre

™™ Œ Œ Œ 5

Œ

Œ

mp

&

Ob

Almglocken

™™ Ó

Œ

lv sempre

œ

Œ Œ

Ó

œ

mp

&

Cl

Almglocken

™™

Œ Œ

5

lv sempre

Ϫ

œ Œ

Œ

Ó

™™

Œ

Œ

Ó

Ϫ

Œ

s

™™

Œ

Ϫ

&

œ œ5 ‰‰‰J‰‰ J Œ

œ J Œ

‰ œj Œ

Œ

lv sempre

mp

lv sempre

&

j j œ ‰ ‰ œ Œ

7

œ ‰ Œ J

≈œ ≈Œ J

mp

‰ œ Œ J

7

Œ #œ Œ Œ œ Œ Œ #œ Œ Œ œ Œ Œ œ Œ Œ #œ Œ Œ œ Œ 7

Vc

Cb

&

&

¢&

™™

Almglocken

Almglocken

™™

Almglocken

™™

Almglocken

™™

j j œ ‰ ‰ œ Œ

Œ

‰ œ Œ J

Œ Œ Œ œŒ Œ œ Œ Œ œ Œ Œ œ Œ 7

7

Œ #œ Œ Œ œ Œ Œ 7

Œ œ Œ Œ œ Œ Œ 7

œ Œ Œ œ Œ Œ œ

mp

™™

7

lv sempre

Œ Œ Œ œ Œ Œ 6

mp

lv sempre

ΠΠΠ5

œ

Œ

œ Œ Œ œ Œ

Ó

Œ

lv sempre

œ

Œ

œ

Œ

Ó

Œ

5

œ

mp

Œ

6

mp

œ J ‰‰

5

le

Vla

œ J Œ

el rti

° Vln &

7

7

lv sempre Almglocken

6

≈œ ≈Œ J

pa

Œ Œ #œ Œ Œ œ Œ

Pno.

?

œ ‰ Œ J

e

mp

‰ œj

Œ

j ‰ ‰ jŒ œ œ

6

5

êm

™™ Œ Œ Œ #œ Œ Œ œ

j‰ ‰ jŒ #œ œ

m

{

7

œ œ œ œ 5 J ‰‰ J ‰ ‰ J ‰ ‰ J Œ

ite

÷

7

5

mp

lv sempre Almglocken

7

6

rd te

j ‰ ‰ j Œ #œ œ

Ϫ

in

™™

Œ

6

ie op

j ‰ ‰ j œ œ

7

lv sempre

™™

Almglocken

œ

‰ ‰ ‰ jŒ jŒ j‰ ‰ j‰ ‰ jŒ j‰ ‰ j‰ ‰ jŒ j #œ œ œ œ #œ œ œ œ œ

oc

Perc 2 ¢ /

Ó

‰ ‰ ‰ jŒ j‰ ‰ jŒ j‰ ‰ jŒ #œ #œ œ œ œ

ot Ph

/

Œ

Ó

lv sempre

5

---

Œ

5

mp

d

™™

Œ

Œ

lv sempre

Ó

an

° Perc 1

Œ

Ϫ

j‰ ‰ j Œ œ #œ

Œ

œ

œ

6

ur

Tbn ¢

?

Almglocken

Ó

D

s

™™

Œ

5

mp

on

Œ

Ó

Œ

iti Ed

&

C Tpt

Almglocken

Œ

œ

mp

de

Hn

Almglocken

œ

‰ jŒ #œ

° &

Œ

5

lv sempre

Œ

Œ

Œ

œ ‰ Œ

rié op

Pr

¢&

Bsn

œ

mp Almglocken

Œ Œ

5

lv sempre

‰ #œ ™ mp

DDF & 16481 F xxxxx

Ó

œ Œ

œ Œ

Œ

Œ

Œ

Œ œ Œ 6

Œ

Œ

5

œ

œ

#œ ™

Ó

Œ

Œ

œ

œ

œ ‰ Œ

Œ

Œ

Œ

Œ

6

Π5

Œ

‰ #œ ™

Œ

œ

Œ

Œ

œ Œ

œ Œ


39

rit

206

°

™™

Aud ¢ /

Alm.

° &

Alm.

&

Alm.

& Ó

œ

Œ

œ

Œ

Œ

Œ

œ

7

j ‰ œ

j‰ ‰

Œ

œ Œ

œ

Œ

j ‰ Œ œ

Œ

j ‰ ‰ j œ œ

j Œ #œ

Œ

j œ

Œ

7

iti Ed

j‰ ‰ jŒ #œ œ

6

j‰ ‰ j Œ œ œ

6

7

s

Ó

™™

Ó

‰ Ó

™™

™™

™™

™™

™™

™™

™™

™™

Ϫ

7

7

j‰ ‰ jŒ œ œ

6

on

™™

j‰ ‰ j‰ ‰ j Œ j Œ j‰ ‰ j‰ ‰ jŒ j‰ ‰ œ œ œ œ #œ œ œ œ

j ‰ ‰ jŒ #œ œ

6

j ‰ ‰ j Œ #œ œ

j‰ ‰ j Œ jŒ j‰ ‰ j ‰ ‰ jŒ #œ œ œ œ œ #œ 7

Œ

Œ

œ

Œ

5

œ

s

œ

j ‰ ‰ jŒ œ œ

6

Œ

de

& j‰ ‰ j Œ #œ œ

7

j‰ ‰ j‰ ‰ jŒ #œ œ œ

Œ

5

Ó

œ

j ‰ ‰ j Œ #œ œ

° & Œ

Alm.

Œ

5

rié op

Alm.

Œ

Pr

Alm. ¢&

Œ

7

j‰ ‰ j Œ #œ œ

6

Ó

6

5

œ 5 ‰ J Œ

œ J Œ

d

5

œ œ œ J ‰ ‰ J ‰ ‰ J ‰

Œ

an

œ J

ur

D

Alm. ¢

5 ? œJ ‰ ‰ œJ ‰ ‰ œJ Œ

5

œ J ‰ ‰

5

j œ ‰

Œ

‰ œj

‰ œ Œ J

œ ‰ Œ J

j j œ ‰ ‰ œ Œ

Œ

ie op

‰ œj Œ

oc

° j j & œ ‰ ‰ œ Œ

ot Ph

---

Alm.

≈œ ≈Œ J

≈œ ≈Œ J

‰ œ Œ J

ite

rd te

œ ‰ Œ J

in

Alm. ¢&

œ

Œ

Œ

? Œ Œ

œ

Œ

Œ

Œ #œ Œ

Œ

œ Œ

Œ

œ

7

œ

Œ

Œ #œ Œ

Π7

œ

Œ

Œ

œ Œ

Œ

œ

œ

Œ

Œ

œ

Œ Œ

Œ

œ

Alm.

7

Œ

Œ

œ

Œ

7

Œ œ Œ

Œ œ Œ Œ œ Œ Œ ™™

Œ Œ

œ Œ Œ œ Œ Œ ™™

7

7

° & œ

Œ

Œ

6

Œ

Œ

Œ

Alm.

Alm.

& Ó

œ

Ó

#œ ™

œ

Œ

œ

& Œ

Alm. ¢&

Œ Œ

le

Alm.

7

el rti

pa

{

œ

Œ

e

7

êm

Œ

m

÷ #œ Œ

5

œ

Œ

œ Œ

Œ

Ó

Œ

Œ

Œ

6

Œ

5

œ

œ

Œ

œ

Ó

‰ #œ ™

Œ

Œ

œ

œ

œ

Œ

Œ

Œ

6

Œ

5

Œ

Ó DDF & 16481 F xxxxx

Œ

œ

Œ

œ Œ

Œ

œ

Œ

Œ

Œ

œ

Œ

Œ

5

œ

Ó

Œ

6

œ

Œ

Œ

œ Œ

‰ #œj

6

Œ

Œ

Œ

Œ

5

œ

œ

Ó

Œ

™™

™™

™™


40

più mosso

U 211 lv

° Alm. &

&

Alm.

&

Alm.

Alm. ¢&

lv

lv

lv

U ∑

U ∑ U ∑ U ∑

If the audience can be seated in silence, then no repeat is required

Waldteufel

/ ™™

Waldteufel

/ ™™

/

/

™™

™™

6 Œ Œ Œ -j ‰ Ó

(single click)

j -‰ Œ

‰ -j Œ

/

™™

(single click)

U ∑

rié op

° &

Waldteufel

/

™™

(single click)

j -‰ Œ

Œ

5

j -‰ Œ

Π5

two clicks

j - ‰ Ó

j - ‰ Œ

j - ‰

Œ

two clicks

j - ‰ Ó

Œ

‰ -j Ó

j - ‰

two clicks

‰ -j Œ

‰ -j Œ

Œ

j j - ‰ ‰ - Œ

f

j - ‰Œ

≈ -j ≈ Œ

‰ -j Œ

two clicks

j - ‰ Œ

≈ -j ≈ Œ

‰ -j Œ

mp

s

on

j -‰ Ó

Œ

6

two clicks

j -‰ Œ

Œ

Œ

‰ -j Œ

Œ

iti Ed

U ∑

j -‰ Œ

f

s

&

Waldteufel

6

Œ

Ó

de

Alm.

lv

j -‰ Œ

Ó

Pr

Alm.

lv

j -‰ Ó

Œ

f

(single click)

5 j -‰ Ó

Œ

j -‰

Œ

Ó

Waldteufel

j -‰ Œ

f

(single click)

j -‰Œ

Œ Œ Œ5

Waldteufel

j -‰ Ó

f

(single click)

6 j -‰Œ Œ

accel two clicks

‰ ‰ ‰ -j ‰ ‰ -j Œ

(single click)

7

j -‰Œ Œ

7

j j -‰Œ Œ -‰ Ó

j -‰ Œ Œ

7

j -‰Œ Œ 7

&

Alm. ¢&

lv

lv

U ∑ U ∑ U ∑

Œ Œ Œ -j ‰ Ó

j -‰ Œ

Œ Œ Œ / ™™

™™ Ó

/

™™

™™

j -‰ Ó

j -‰Œ Œ

7

7

Œ -j ‰ Ó

7

j -‰ Œ Œ

f

5 Œ -j ‰ Ó

j j -‰ Œ Œ - ‰ Œ 5

Œ

j - ‰Œ

j -‰ Œ

Œ

5

Œ

two clicks

j ‰ Œ Œ j7 ‰ - Ó

two clicks

5 j - ‰ Ó

j -‰ Œ

Œ

j -‰ Œ

5

f

Œ

j -‰ Ó

j -‰ Œ

(single click)

Œ

j -‰ Ó

j - ‰Œ

Œ

j - ‰

Ó

j - ‰ Œ

two clicks

Œ

j - ‰ Ó

f

Waldteufel

/

j j j -‰ Œ Œ -‰Œ Œ -‰ Œ

7

Waldteufel (single click) 5

/

Œ

Waldteufel

‰ -j Œ

(single click)

f

(single click)

Ó

Œ

j -‰ Ó

Ϊ

Œ

j - Ó ‰ -j Œ f

DDF & 16481 F xxxxx

Ó j - ‰

‰ -j Œ

j -‰

le

Alm.

&

Waldteufel

two clicks

el rti

Alm.

lv

U ∑

(same waldteufel)

Waldteufel

/ ™™

j -‰Œ

pa

° Alm. &

lv

U ∑

j ‰ 6‰ j Œ -

f

Alm.

?

j ‰ 6‰ j Œ -

e

f

lv

two clicks

j7 j j 7 j j 7j j -‰ ‰ -‰ ‰ -Œ -‰‰ -‰ ‰ - Œ -

êm

j j j j -‰ Œ Œ -‰Œ Œ -‰ Œ Œ -‰Ó

7

m

Œ Œ Œ -j ‰ Ó / ™™

(single click)

j - ‰‰

5

two clicks

‰ ‰ ‰ -j Œ -j Œ

ite

Waldteufel

j j -‰ ‰ -Œ 6

7

rd te

j -Œ

f

in

/ ™™

Ó

j j -‰ ‰ - Œ

ie op

Waldteufel

‰ ‰ ‰ -j Œ

6

6

oc

{

U ∑

/ ™™

(single click)

ot Ph

÷

lv

U ∑

---

Alm. ¢&

lv

U ∑

Waldteufel

j j j j5 - ‰ ‰ -‰ ‰ -‰ ‰ - Œ 5

5

f

d

° Alm. &

lv

two clicks

j - Œ

5

5

an

/ ™™

(single click)

ur

U ∑

Waldteufel

D

Alm. ¢

?

lv

j - ‰ Œ

two clicks

Ó two clicks

j j - ‰ ‰ - Œ

‰ -j Œ

j j - ‰ ‰ - Œ

Œ


41

rit

° j‰ Œ Perc. / -

/

Perc.

j -‰ Ó

Œ

218

6

j - ‰ Ó

Œ

j - ‰ Œ j - ‰ Œ

Ó

j - ‰

j - ‰ Œ

Œ

j -‰ Œ

j - ‰ Œ

Π5

several clicks

j - ‰ Ó

j - ‰ Œ

‰ -j

Œ

several clicks

j - ‰ ‰

Œ

j -‰ Œ

j - ‰ Œ

Œ

Œ

Œ

j -

5

™™

Œ

j - ‰ Ó

Œ

j -‰ Œ

Œ

one click

j - ‰ Œ

j -‰ Ó

Œ

6

one click

5

Ó

j - ‰

Œ

Ó

one click

j -‰ Ó

Œ

6

j - ‰ Ó

Œ

j - ‰

Œ

several clicks

‰ -j Œ

‰ -j Œ

j -‰ Ó

Œ

6

several clicks

j - ‰ Œ

Œ

° / -j ‰ ‰ -j Œ

j -‰ Œ

5

Ó

rié op

Perc.

j -‰ Ó

Œ

6

Œ

Pr

Perc. ¢ /

j - ‰ Œ

5

/ Ó

Perc.

j -‰ Œ

several clicks

™™

™™

one click

™™

™™

™™

™™

™™

™™

™™

one click

j - Œ

s

de

iti Ed

≈ -j ≈ Œ

‰ -j Œ

j - ‰ Œ

≈ -j ≈ Œ

one click

j - Œ

s

on

j / - ‰ Œ

Perc.

several clicks

j - Œ

5

j j j - ‰ ‰ -‰ ‰ - ‰

ur 5

5

several clicks

‰ -j Œ

j - Œ

5

d

an

j j j - ‰ ‰ - ‰ ‰ -Œ

D

Perc. ¢ /

5

one click

j - ‰ ‰

5

To Tbn

j j - ‰ ‰ -Œ

/ Œ

j -‰ Œ

j -‰ Œ

j j j -‰ ‰ - ‰ ‰ -Œ 7

j 7 -‰ Œ Œ

Œ

several clicks

j -‰ Œ

Œ

j j j -‰ ‰ -‰ ‰ -Œ

7

j -‰ ‰

j -‰ Ó

j -‰ Œ Œ

7

one click

one click

Perc. ¢ /

j -‰ Œ

Π5

Œ

Œ

j j - ‰ ‰ - Œ

j - ‰ j - ‰ j - ‰

Œ

Œ

j -‰ Ó

j -‰ Œ

5 j - ‰ Ó

Ó j - ‰ Œ ‰ -j Œ

several clicks

j -‰ Œ

Œ

j - ‰ j - ‰ Œ

Ϊ

several clicks

Œ

j -‰ Ó

Œ

Œ

j j - ‰ ‰ -

j -‰ Œ

Œ

7

j -‰ Œ

one click

Œ

j -‰ Ó

j - ‰ Œ

Œ

j -‰ Œ

several clicks

one click

Œ

Œ

j - ‰ Ó

j - ‰ Œ

several clicks

Œ

j - ‰ Œ

Ó

j - ‰ ‰

DDF & 16481 F xxxxx

j - Œ

To Cb

j -‰ Ó

Œ

6

Œ

j - ‰ Œ Œ ™™

7

one click

5

several clicks (longer)

j -

j -‰ Œ Œ

7

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/ Ó

j -‰ Œ

7

el rti

j ‰ Œ /

Œ

7

pa

Œ

° j ‰ Œ Perc. / -

Perc.

j - Œ

7

e

Perc.

Perc.

j j j -‰ ‰ -‰ ‰ -Œ 7

7

Ó

êm

j -‰ Ó

j j -‰ ‰ - Œ

m

Œ

7

several clicks

j -Œ

j j - ‰ ‰ -Œ

one click

6

ite

j / -‰ Œ

j j j -‰ ‰ -‰ ‰ -Œ 7

j j -‰ ‰ -Œ

6

rd te

j j j -‰ ‰ -‰ ‰ -Œ

7

j j -‰ ‰ -Œ

6

in

{

Œ

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several clicks

6

ie op

Perc ¢ /

j j -‰ ‰ -Œ 6

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Perc

6

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° / -j ‰ ‰ -j Œ 6

j -‰ Œ

5

™™

Œ

™™

one click

Ó

Œ

1 ‰ Ó J

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one click

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42

223

Perc.

V Stimme 1 section

°/

Aud ¢ /

as soon as the trained audience reaches position close to musicians, audience and musicians together starts performing '' Stimme 1 section'' STIMME 1 (2’ - 3')

rié op

Pr

STEADY LOW (45’’) 1 - 15'' pick the lowest pitch available in your tessitura, with closed mouth and pp dynamic start humming long, steady notes ad libitum Please make sure to never imitate neighbour's pitches or to adapt to other pitches around you. Every humming should feel natural and should last as long as each individual breath allows. In between humming inhale deeply and vigorously 2 - 10’ slowly start increasing dynamics from pp to mp 3  - 15'’ Once dynamics reach mp, very slowly and gradually open mouth so to produce vowels such as “ɒ”, “u” or “o” (IPA). Please beware that the pitch hans’t altered, still very low in your register.

GLISSANDO UP (55’’) 4 - 20’' Introduce very slow upwards glissandi. At every repetition start with a bit lower pitch than your arrival one. Because moving towards higher registers, the voice will naturally and gradually become louder: let it happen. 5 -  35’’  - gradually increase the range of each glissandos, that is: produce wider glissandi.  Head towards much higher registers, ultimately until very high pitches (males who are comfortable with, could employ falsetto techniques as well). While heading towards high registers include different vowels such ‘’e’’ or ‘’y’’.  Constantly increase dynamics until very intense loud fff -Perc 1&2: when voices start with upwards glissandos gradually add super-ball glissandos on thunder sheets -Perc 1&2: when voices reach high peak add a large cresc and decresc of gongs tremolo (C#4-F#4)

s

de

s

on

iti Ed

an

ur

D

d

GLISSANDO DOWN (45’’) 7 - 10'’: reach the pick of your tessitura on its loudest dynamic and stay there without glissando. 8-  10’' from such highest pitch gradually start descending with small glissandi (not big ranges),  7 - 8''' descending glissandi becomes wider (bigger ranges). 8 - 15’’ once you reach the lowest pitch of your tessitura, let your voice quietly and progressively disappear (one by one)

oc

ot Ph

---

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ite

rd te

in

General notes: each individual performer must be �rmly routed into her/his individual sound behaviour. Each performer must be aware of what the other performers are doing. Nonetheless, she/he must never limits himself/herself with their inner sound process. Each transition between different steps of the vocal performance must not be executed rigidly but smoothly and rather freely.

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m le

el rti

pa

DDF & 16481 F xxxxx


224

° Aud ¢ /

W

43

Stimme 2 section ∑

= orango

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interpolate blocks ad libitum, develop variations of them, keep modifying durations

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&

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incisive �z . ÆœJ

ææ -œ

. . Æœ œ

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profound

bisb.∏∏∏∏∏∏∏∏∏∏∏∏

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interpolate blocks ad libitum, develop variations of them, keep modifying durations incisive profound �z bisb. . ÆœJ

ææ -œ

. . Æœ œ

œ-

∏∏∏∏∏∏∏∏∏∏∏∏

also withought mouthpiece (hence air sounds), ad libitum, interpolate blocks ad libitum, develop variations of them, keep modifying durations profound �z bisb.∏∏∏∏∏∏∏∏∏∏∏∏ incisive . ÆœJ

ææ -œ

. . Æœ œ

œ-

ÆœJ

œ ææ

œ. œ. Æ

bisb.∏∏∏∏∏∏∏∏∏∏∏∏

3bœ

profound

O

œ

also moutpiece off incisive

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‰ g . . . . . . . µg .

b>

sfz

voluble

>

b> g. . . . . . . µg. airy

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rié op

interpolate blocks ad libitum, develop variations of them, keep modifying durations

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incisive

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profound

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. . œœ Æ

unexpected

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on . ÆœJ

. . œœ Æ

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3bœ

-œ+

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unexpected

ur

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interpolate blocks ad libitum, develop variations of them, keep modifying durations profound incisive pungent

œ-

œ 3bœ œ +unexpected -œ

sinuous

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Tbn ¢

?

œ-

œ

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pull string

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sffz

&

-

-

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-

-

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-

-

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tremoloinside the board (pizz )

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ast voluble

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ast

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&

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profound

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voluble ast

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+ . ÆœJ

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DDF & 16481 F xxxxx

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Π-

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-col- legno - - -tratto -- g µg

col legno battuto

tremolo msp or on the tail piece

O = singing (pick octave ad libitum according to range comfort) œ = playing spazzolato ~™ œœœœœœœœœ œ œ œ œ œ œ œ œ œ -

OO

f

sfz -

O = singing (pick octave ad libitum according to range comfort) œ = playing ~™ - ------- - - - - - - - œ ˜œ

Hal

. . . . . . . . . bœ œ

col legno battuto

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spazzolato

¢

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= singing (pick octave ad libitum according to range comfort) = playing interpolate blocks ad libitum, develop variations of them, keep modifying durations ast profound ast Ÿ <µ> msp æ

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Vc

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O = singing (pick octave ad libitum according to range comfort) œ = playing interpolate blocks ad libitum, develop variations of them, keep modifying durations B

+

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dead stroke tremolo or gliss over tubes

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Hal

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subito più lento

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pa

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+ .ÆœJ œ

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tremolo or gliss over tubes

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œ-. œ-. œ-. œ-. -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. œ-

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f

-

dead stroke

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muted with hands

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+ + >o K-œ œr œ

in

-

œ

B

ie op

Hal

-

+ o + mute + oad lib œ œ #2œ œ

+�z, or growl œ

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subito più lento

+ . . . . . . . . . . . . . . . .œ ~™œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ord or muted with hand

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+ o + œ #2 œ œ

mute ad lib

sinuous

subito più lento

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o œ

œ 3bœ œ

an

(also 8va)

hand mute ad lib

o + + o + œ œ #2œ œ

+�z, or growl œ

sinuous lip gliss

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&

o œ

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pungent

interpolate blocks ad libitum, develop variations of them, keep modifying durations profound pungent incisive

C Tpt

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airy

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incisive . �z -

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interpolate blocks ad libitum, develop variations of them, keep modifying durations

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g . . . . . . . µg .

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voluble

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airy

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voluble

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incisive

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pull string bartok

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sffz

-

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tremolo msp or on the tail piece

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&

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-

-

-

-

-


44

hand's down

hand's up

225

° Aud ¢ /

w™

˙ -

° &

Fl

-

˙

le

-

-

-

-

-

w™

-

-

˙

lu

-

-

-

-

-

-

w™

-

jah

providing reference to the audience play fundamental pitches either ordinario or by employing former playing blocks ad libitum sim.

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provide harmonic support employing ''messa di voce'' or former playing blocks ad libitum

Ob

&

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& B

œ

œ

œ

œ

œ

œ

rié op #œ

œ

° &

Hn.

œ

s #œ

œ. œ. Æ

œ 3bœ œ

-

-

? -

-

-

-

œ ~ lu

-

œ b œœœœ

~ œ -

-

-

-

-

-

-

lu

-

-

-

tremolo 3+2, 2+2, ad lib

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-

-

-

-

-

-

-

-

-

lu

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-

## œœ

Cb

¢

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-

-

-

-

& -

-

-

-

-

##œœ

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##n œœœœ

œ

-

-

-

jah

accel to -1/4 tone and

lu

-

-

-

-

to +1/3 and back

œ

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

#œ #œ -

-

-

jah

B -

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-

-

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lu

to +1/2 and back

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-

-

-

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-

-

-

jah

~ W -

-

-

DDF & 16481 F xxxxx

-

-

to -1 and back

#œ #œ &

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accel to +1/4 tone and decel to original pitch

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very long and generous bow, diagonal, cresc and decres along with accelle and decel. to msp or mst and back, accel to almost +1/2 tone and decel to original pitch

lu

#n œœ

~

~ œ

œ œ

~ œ

- le

-

~

~ œ

~ W

jah

decel to original pitch #n œœ

œ

~

- le

bnbnœœœœ

le

&

&

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very long and generous bow, diagonal, cresc and decres along with accel and decel. to msp or to mst and back spazzolato: accel to +1/4 tone sim and decel to original pitch

long bow, spazzolato: accel to almost +1/2 tone and decel to original pitch

Vc

bnbn œœœœ

pa

-

œ

- le

œ 3bœ œ

e

Vla

-

~

long bow, spazzolato: accel to almost -1/2 tone and decel to original pitch

B

jah

~

providing reference and harmonic support to the audience, apply former playing blocks to each of the following pitches

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êm

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-

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in

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œ b3 œ œ

ie op

¢&

&

oc

tremolo 3+2, 2+2, ad lib

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œ

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---

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. ÆœJ

d

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&

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an

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ur

D

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s

tremolo 2+2, 3+2, ad lib

°? Mar

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on

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Tbn ¢

B

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de

&

C Tpt

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Pr

Bsn. ¢

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jah

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45 (as in stimme 1) (highest possible)

228

°

Aud ¢ /

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˙

˙

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-

œ

° & œ

Fl

w™

-

-

-

˙

˙

gi

˙

œ

˙

Tschüss

œ

! _ ∑ ! (highest possible)

(lowest possible)

stimme 1

_

_

oaei (progressive)

& œ

Ob

œ

œ

(lowest possible) (highest possible)

!

stimme 1

_

_

oaei (progressive)

&

Cl

œ

B œ

s

de

iti Ed s

. ÆœJ

_

-

-

-

-

gi

~ œ

œ 3bœ œ

&

œ-

bb œœœ

?

œ

œ-

bbœœœ

. . Æœ œ

gi

Tschüss,

œ

-

-

-

n œœ

° œ Vln & ~ Gi

gi

-

-

œ

-

-

-

Vla

Gi

nœ nœ -

-

-

~ œ -

-

-

& ~ œ Gi

Cb

¢

œ œ

-

-

-

~ œ -

-

-

~ Tschüss,

nœ nœ

~ œ

#n œœ #n œœœ

-

-

-

-

-

-

O #n œœ O #n œœ O

œ œ

~ œ

gi

gi

Tschüss,

DDF & 16481 F xxxxx

O

O

!

∑_

(highest possible)

_

(lowest possible)

∑ !

(highest possible)

_

oaei (progressive)

(lowest possible)

!

(highest possible)

O

oaei (progressive)

∑ _

(lowest possible)

! (highest∑possible)

stimme 1

O

stimme 1

_

O

stimme 1

oaei (progressive)

B

(lowest possible) (highest possible)

!

O oaei (progressive)

Tschüss,

~ W

stimme 1

(lowest possible)

&

oaei (progressive)

œ œ O

&

!

oaei (progressive)

stimme 1

Tschüss,

~ W

~ ? W Gi

œ

gi

to -1 and back

Vc

#œ #œ

gi

to +1/3 and back

~ & œ

Tschüss,

to -1/4 and back

~ -

~

(lowest possible) (highest possible)

le

-

to +1/2 and back

O

_

el rti

-

stimme 1

pa

~ -

!

&

O

bœœ bb œœœO

Pno.

Gi

_

stimme 1

oaei (progressive)

(lowest possible) (highest possible)

oaei (progressive)

e

œ

? ~

!

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O

Tschüss,

œ~

œ-

b œœ œœ &bbœ

œ~

#n œœœ

œ

. ÆœJ

êm

œ nn œœœ

-

-

. . œœ Æ

_

stimme 1

m

{

-

-

œ~

ite

&

-

bbbbœœœœ -

?

. ÆœJ

rd te

Gi

-

bbbb œœœœ

œ

(lowest possible) (highest possible)

_

in

¢& ~ œ

Vib

-

œ 3bœ œ

!

oaei (progressive)

ie op

Gi

&

œ-

oc

°? œ~ Mar

. . Æœ œ

ot Ph

œ-

---

œ

(lowest possible) (highest possible)

stimme 1

d

_

oaei (progressive)

an

B

!

stimme 1

ur

Tbn ¢

_

_

(lowest possible) (highest possible)

stimme 1

œ

D

œ

_

oaei (progressive)

œ

on

!

stimme 1

œ

œ

(lowest possible) (highest possible)

oaei (progressive)

té nœ

œ

& œ

C Tpt

œ

œ

rié op

° Hn. &

œ

Pr

Bsn. ¢

_

!

(lowest possible) (highest possible)

_ (lowest possible)

?


46 232

° Aud ¢ /

X #w™

-

Al

-

-

-

-

w™

˙

-

le

-

Fl

° & #œ

Ob

& #œ

œ

œ

Cl

&

œ

œ

Bsn. ¢

B

-

-

-

bœœœœ œ

## œœœ ##œœœ

-

-

-

lu

-

-

# ~ #œ

-

œ

œ

œ

w

w w

w

bnbbœœœœ

œ ~

bbœœœ bœ

lu

-

# ~ #œ -

-

-

-

lu

-

-

-

-

&

-

-

-

-

-

-

-

le

-

-

-

-

? -

-

-

w w

-

-

b œœ

-

-

lu

-

-

-

-

-

-

#œ #œ

~ œ

jah

œ ~

to +1/2 and back

œœ

jah

to -1 and back

#œ~ -

-

lu

-

-

accel to +1/4 tone and decel to original pitch

~ œ le

-

-

long bow, spazzolato: accel to almost +1/2 tone and decel to original pitch sim

#œ &#œ

œ

to +1/3 and back

#œ #~

# œœ

sim

~ œ

œœ bœœ

very long and generous bow, diagonal, cresc and decres along with accelle and decel. to msp or mst and back, accel to almost +1/2 tone and decel to original pitch

long bow, spazzolato: accel to almost -1/2 tone and decel to original pitch

# œœ

jah

le

-

-

bbœœœ bœ

el rti

œ ~ le

-

~ œ

pa

## œœ

sim

-

jah

#b œœœœ

accel to -1/4 tone and decel to original pitch

-

-

e

-

-

êm

-

-

bnbbœœœœ

& -

-

œ œ

-

-

-

lu

#w w

w DDF & 16481 F xxxxx

-

nœ~ -

-

œ &œ

jah

to +1/2 and back

#œ~

(sing as well while and holding fundamentals and eventually emplying the performative boxes)

#W

œ

m

-

œ

ite

-

œ

rd te

le

œ

in

¢

#œ #~

ie op

Cb

?

-

## œœ

? ##œ~ Al

-

œ

-

œ

very long and generous bow, diagonal, cresc and decres along with accel and decel. to msp or to mst and back spazzolato: accel to +1/4 tone and decel to original pitch

(playing boxes)

Vc

-

œ

œ

w

oc

-

B ##œ~ Al

le

jah

œ

#w w

ot Ph

-

(playing boxes)

Vla

-

-

œ

---

Al

-

œ~ -

-

~ œ

(playing boxes)

° Vln & #œ #~

le

-

d

Al

an

# ~ #œ

-

ur

?

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-

w™

D

{

Pno.

-

œ b#œœœœ

-

-

bœœœœ œ

œ ~ -

lu

s

&

-

-

-

˙

on

Al

-

-

iti Ed

## œ~

œ b#œœœœ -

œ

w w

#W #œ #~

-

s

¢&

de

° &

freely decide weather move on to the new pitch or stick with the previous one a little longer

Al

Vib

rié op

Tbn ¢

B

œ

œ

-

œ

& #œ

C Tpt

Mar

œ

Pr

° &

Hn.

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˙

-

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-

w

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to +1/3 and back

œ œ

to -1 and back

-

œ~

jah

w w

& bœ

bœ w

?


4 4

47 (highest possible)

236

°

Aud ¢ /

w™

˙

˙

Gi

-

Ob

&

Cl

& B

œ

œ

œ

œ œ

œ

˙

œ

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œ

˙

œ

˙

˙ #˙

œ

s

de #œ

s

œ

on

iti Ed

œ

_

!

˙

(lowest possible)

rié op

&

C Tpt

˙

Tschüss

œ

#w™

gi

œ

œ

˙

œ

° & œ

Hn.

-

Pr

Bsn. ¢

-

œ

° œ &

Fl

-

#w™

Ó

Ó

Ó

Ó

Ó

Ó

D

gi

Tschüss

## œœœœ b œœœœ

-

-

Cb

-

O ## ˙˙˙˙

¢

&

-

? w w

-

-

Ó

-

-

& -

-

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#œ #œ

w

-

gi

# œ~ ? -

-

gi

#w w

&

ord bb œœ

#œ #~

!

O

# ~ #œ

_

(lowest possible)

bœœ

ord

Tschüss

œ œ

(highest possible)

stimme 1 stimme 1

Tschüss

gi

# ~ #œ

_

(lowest possible)

b ˙˙˙˙ ∑ O

# ~ #œ

gi

#œ #~

œ œ

~ ? œ Gi

-

œœ

~ & œ Gi

-

to -1/4 and back

!

le

Gi

Vc

Ó O

stimme 1

el rti

œ

Gi

# ~ #œ

_

(lowest possible)

pa

~

° œ Vln & ~

Vla

&

(highest possible)

Pno.

?

!

e

Ó O

# ˙˙˙˙O

êm

bb œœ œœ

## œœœœ

m

# ~ #œ

_

?

(highest possible)

ite

-

œœœ œ

O stimme 1

rd te

-

Tschüss

!

(lowest possible)

in

# ~ #œ

#œœœœ

& œ

{

-

gi

## œ~

n wO

ie op

-

-

œœœ œ

oc

Gi

bbb œœœœ

-

w

ot Ph

~ Vib ¢& œ

-

#œ #~

w #w

stimme 1

---

-

bbb œœœœ

w

d

° Mar & nœ~ Gi

#w w

w

an

B w w

(highest possible)

ur

Tbn ¢

?

œ œ

b˙˙ O ˙O ˙

Ó

stimme 1

O stimme 1 stimme 1

Ó O

!

(highest possible)

_ ∑ ! (highest possible) (lowest possible)

_

Tschüss

B

(lowest possible)

!

(highest possible)

œ w

?

# ~ #œ Tschüss

w #w DDF & 16481 F xxxxx

œ

w

˙ ˙O O w

Ó O

stimme 1 stimme 1

_ ∑ ! (highest possible) (lowest possible)

stimme 1

O

_ (lowest possible)

?


48

Y

4 241 4 °

✶ repeat vocal fragments ad libitum with shi�ing speeds (that is accel and decel from one until �ve times per q) and add cresc and decres ad lib (max dynamic mf)

Fl

&

3 8

q = 40

Voice

if male voice falsetto (loco) or ord (8vb) mf

#w

w

✶✶ repeat vocal fragments ad libitum �rst using the indicated pitch only, then producing downwards glisandos ranging from short to long durations, always starting from the indicated pitch. �e last glissandos must become somehow longer and heading towards the lowest pitch available in your voice range. Once at lower registers, instead of naturally decreasing the dynamic please sustain the sound with almost a crescendo

8 4

m

,

ord (steady)

W

#W

iallah_iallah_....

m

mp

pp

,

mf

W

uau_uau_uau_...

#w

&

Ob

if male voice falsetto (loco) or ord (8vb)

mp

w

m

Voice

?

Cl

mf

if tenor or female voice: (8va)

#w m

Voice

Bsn

¢

B

mf if tenor or female voice: (8va)

#w

Pr

#w

m

Voice

w

m

#W

iallah_iallah_....

m

#W

iallah_iallah_....

m

#w

w

W

#W

iallah_iallah_....

m

W

Voice

w

Voice

w

#w m

B

play

#wmf

?

Vc

ff

w

Vla

˙™™™ -

ff mf

r #œ

ff

w

m

ord

w

Voice

Cb

¢

#w

play

m

f

p

mp

pp

W

#W

#w-

W

mp

p

ord

W

#W

mp

W

w

iallah_iallah_....

DDF & 16481 F xxxxx

˙- ™™™ mf p

œ W R mf mf mf

W uau_uau_uau_...

#˙- ™™™

mf p

œ W R

m

pp

prr..._prr...prr..._prr..._

U #W ord

U #W

prr..._prr...prr..._prr..._

U #W ord

mf mf ☨

W

uau_uau_uau_...

mf

ord

U #W

W

pp

#W

prr..._prr...prr..._prr..._

mf

mf

m

W

mp

m

uau_uau_uau_...

pp

# Word (steady)

W

uau_uau_uau_...

m

ord

iallah_iallah_....

m

?

mp

mp

sing, if male voice: ord (8vb) or falsetto (loco)

#w

ord

iallah_iallah_....

pp mf

#w-

W

iallah_iallah_....

play + sing

#w

U #W

mf

le

Voice

ff mf

#œ R

W

uau_uau_uau_...

W

uau_uau_uau_...

mf

/

prr..._prr...prr..._prr..._

el rti

mf sing p

˙- ™™™

uau_uau_uau_...

pa

#w-

U #W

W

m

/

prr..._prr...prr..._prr..._

mf

#W

W

iallah_iallah_....

ord play

uau_uau_uau_...

e

&

m

U #W

W

☨ spazzolato with shi�ing speeds (accel and decel, from one until six bowing per q) add cresc and decres (max dynamic mf) MST>MSP>MST, etc, ad lib mp pp

m

Vl

iallah_iallah_....

prr..._prr...prr..._prr..._

mf

êm

#w

uau_uau_uau_...

m

°

sing (also 8vb) p

#W

U #W

W

m

W

prr..._prr...prr..._prr..._

mf

ite

m

uau_uau_uau_...

rd te

#w

U #W

W

ord (steady) pp

mp

prr..._prr...prr..._prr..._

mf

in

Pno { &

if male voice: ord (8vb) or falsetto (loco) mf

uau_uau_uau_...

#W

iallah_iallah_....

m

U #W

W

ord (steady) pp

mp

#W

prr..._prr...prr..._prr..._

mf

ie op

W

ord (steady) pp

mp

U

uau_uau_uau_...

pp

W

prr..._prr...prr..._prr..._

mf

oc

if male voice: ord (8vb) or falsetto (loco) mf

uau_uau_uau_...

pp

W

ot Ph

Perc 2¢&

iallah_iallah_....

---

w

m

Voice

W

U #W

W

pp

#W

prr..._prr...prr..._prr..._

mf

m

d

#w

uau_uau_uau_...

#W

an

if male voice: ord (8vb) or falsetto (loco) mf

° Mar &

W

pp

ur

m

m

mp

D

#w

s

Tbn ¢

on

mf if tenor or female voice: (8va)

?

iallah_iallah_....

mp

iti Ed

w

s

#w

&

Tp

if male voice falsetto (loco) or ord (8vb) mf

de

Voice

#W

mp shi�ing speed

m

W

/

U #W

mf

pp

W

w

rié op

Hn

m

iallah_iallah_....

Voice mf if male voice falsetto (loco) or ord (8vb)

° &

iallah_iallah_....

mp

w

m

#W

mp

w

pp

W

✶✶

prr..._prr...prr..._prr..._

Voice

mf

U #W

U #W ord

prr..._prr...prr..._prr..._

U #W prr..._prr...prr..._prr..._

U #W ord

prr..._prr...prr..._prr..._

/


49 wald teufel

Finalino

° Perc. /

÷

· ææ _

ffff

ææ _

ææ _

æ Yæ

æ Yæ

U )

unwrap alluminium paper (percussion 1 & 2 only)

Œ

)

o

ffff

recorders and pio pio

Aud ¢÷

ææ _™

ææ _

roate in air

U ∑ o

metal drum

° Perc 1¢ /

· æ Yæ

o

(mp)

o

U ∑

ffff

rié op

Pr s

de s

on

iti Ed d

an

ur

D oc

ot Ph

--ie op ite

rd te

in e

êm

m le

el rti

pa

DDF & 16481 F xxxxx

Basel, 13 April 2018

248

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