Nicolai Worsaae: Canticum In Vitro (2016)

Nicolai Worsaae Canticum In Vitro

(2016)

for clarinet in Bb, piano, electric guitar/objects, violin & violoncello Dur. 10′

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Nicolai Worsaae Canticum In Vitro

(2016)

for clarinet in Bb, piano, electric guitar/objects, violin & violoncello Dur. 10′

PERFORMANCE NOTES ¼ -tone notation. ¼ - tone flat.

¼- tone notation. ¼ -tone b.

Blow air through the instrument and make as much clicking sounds from the keys as possible.

Luft og klap lyd. Blæs luft igennem instrumentet samtidig med man trykker ventilklapperne ned hurtigt og kontinuerligt for at skabe så meget støjlyd som muligt.

¼ -tone notation. ¼ - tone sharp.

¼- tone notation. ¼ -tone #.

Air & flutter-tongue.

Luft & fl.z. Blæs luft gennem instrumentet samtidig med du ruller med tungen. Hvis denne lyd kommer umiddelbart efter en ”whistle tone” er der en tendens til at denne fløjtetone fortsat aktiveres og dermed bliver en del af lydbilledet. Derfor er den noteret som en overtone med en parentes omkring.

Blow air through the instrument and at the same time make a flutter sound with your tongue. If this sound is produced right after a whistle tone it’s possible this pitch is still remaining. That’s why I notated it with a parenthesis around a high harmonic. When there’s quotation marks added to any specific dynamics it means the indicated level does not match the actual resulting level. Often used when a specific playing technic needs a more carefull treatment in order to produce a certain type of sound.

Når der er brug af anførelsestegn omkring de dynamiske betegnelser betyder det, at der et ulige forhold mellem lydniveauet af den faktisk klingende lyd og den angivne dynamik. Ofte fordi der skal anvendes meget kraft på at frembringe den specifikke lyd.

Whistle into the mouth piece. It results in a clear pitch sound similar to the flute. The actual pitch is not important.

”Whistle tone” (fløjtelyd). Fløjt en tilfældig tone ind i mundstykket. Dette medfører at der opstår en klar fløjtelignende tone ud af trompeten. Den præcise tonehøjde er ikke så vigtig, men det kan anbefales at anvende den samme gennem hele stykket.

Clarinet in Bb

Melodica Blow air through the instrument and make as much clicking sounds from the keys as possible.

Luftlyd. Blæs gennem instrumentet uden embouchure samtidig med at man laver klikkende klaplyde på instrumentets klappper.

Lifting the fingers exactly at the same time gives an effect of a “clean cut” interupting the sound.

Løft fingrene fra de angivne tangenter præcis samtidig. Effekten er at lyden bliver “cuttet” og der opstår en lille kort kliklyd.

Flutter tongue on the indicated note. Should result in a rather murmuring or even growling sound in the deepest register.

Fl.z. Giver en knurrende lyd i det dybe register når det spilles ganske svagt.

Play very softly but rythmically precise gives a mix between key clicking sound and little bit of pitch.

Spil meget svagt (så svagt som muligt) men rytmisk præcist. Dette medfører en lyd der er en blanding af kliklyde fra tangenten og den noterede tonehøjde.

Modent. Short ½- tone quasi trill performed as shown in the additional picture.

Modent. Udføres som angivet i billedet til højre for notationseksemplet.

Only key clicks!

Bare kliklyde fra tangenten!

Multi-phone tremmolo. Very soft and delicate trembling sound. Use the indicated keying. Alternatively find a different m-ph combination with same type of sound.

Multifon-tremmolo. To multifoner med fælles overtone og samme greb kan anvendes til at skabe en meget blød og delikat tremmolerende lyd.

Make a very soft and delicate crescendo and diminuendo resulting in a pulsating effect. Also in this case it balances between nothing and an actual pitch due to the very soft dynamic. This is how ever part of the intension, to create a very fragile type of sound or gesture.

Skab en pulserende lyd gående fra næsten ingenting til meget svagt. Da dette er svært at kontrollere er det under alle omstændigheder målet at få en effekt af en yderst skrøbelig og knap hørbar tone.

Is a multiphonic glissando. The lowest note indicates the fundamental and the upper note from where the glissando is made. How ever the indicated pitches are not meant as a specific notation and can be made in several ways as long as the result is a quite distorted sound with a glissando from the top note.

Multifonglissando. I dette tilfælde ud fra det dybe e. Resulterer i en meget grov og lidt hornagtig klang.

Glissando. Make it exponencial ranging from very soft to very loud.

Glissando. Forsøg at lave crescendoet så eksponentielt som muligt!

Bend the tone a ¼ - tone upwards.

Tone glissando.

Glissando. Keyglissando either on the black or the white keys or on both. Don’t blow through the instrument at the same time! The speed and force of this motion defines the resulting dynamic level.

Glissando. Tangentglissando uden luft! Kan laves på bare de hvide eller sorte eller begge typer af tangenter med forskellig effekt. Generelt kan det siges om denne type lyd at det er hastigheden og med hvilken kraft der lægges i glissandoet der afgør hvor kraftigt det lyder.

Lay your tongue against a lot of the reed. Gently push upward so that the tip and rail of the reed is closed. Get rid of as much air in the oral cavity as you can and seal off the lip so that you have an airtight fit. The tongue is quickly released in a downward motion. When you release the tongue downward, you also drop your jaw and open your mouth in a “popping” motion.

Dæk så meget af mundstykket med tungespidsen og skab et undertryk i munden ved at frigive luft fra mundhulen. Slip tungen hurtigt i en nedadgående bevægelse samtidig med at du åbner munden lidt (taber kæben). Dette skulle resultere i en perkussiv poppende lyd.

Use the whole hand to cover as many keys as possible. This sound is very soft in the low register and very loud and sharp in the high area (from around c5 (c″). When several keys are pushed down at the same time the sound is delayed a bit. This requires an adjustment in the amount of air and pressure. Often this gesture is used in a serie of clusters moving upwards resulting in a natural crescendo (which is also notated).

Cluster. Dæk så mange tangenter med én hånd som muligt. Giver en meget svag og blød lyd i det dybe register og en ganske skarp i det høje (fra c’’ og op). Vær forberedt på at tilpasse luftstrøm og tryk til den ønskede dynamik. Et bredt kromatisk cluster kræver mere lufttryk for at aktivere alle toner.

Make a slap tongue with a multi phone sound. Should help to enrich the sound of the slap.

Samme teknik bare med en multifon, der er med til gøre klangen lysere. Hvis den anførte mf ikke er mulig at frembringe kan den erstattes med en anden lettere multifon i samme register eller med samme greb.

Use three to four fingers (not the thumb) to hit the keys in a random succession upwards. It’s easier just to use the white keys! Again it’s more the percussive effect than the actual pitch that’s focused on.

Anvend 3–4 fingre (ikke tommelfingeren) til at slå på tangenterne. Disse clustre er udefinerede 3–4 toners clustre på de hvide tangenter. Den rytmiske præcision og dynamikken er i dette tilfælde det vigtigste.

(Trumpet part). Hit the mouth piece with the hand. Creates a popping sound.

(Trompet) Slå på mundstykket med håndfladen. Dette resulterer i en poppende lyd.

Use three to four fingers (not the thumb) to hit the keys around the notated pitch (in this case somewhere between g and b). Play as soft as possible!

Anvend 3-4 fingre (ikke tommelfingeren) til at slå på tangenterne. I dette eksempel i området mellem g″– h″. Spil så svagt som muligt så det i højere grad bliver en perkussiv lyd.

Guitar

Placed on a table (horisontal position).

Placeret på et bord (vandret).

Same type of tecnique as described before but with even more bow pressure. This should result in a scratchy or creaking sound when played near the tail piece behind the bridge. (Use the hair near the frog of the bow).

Spil bag stolen så tæt på strengeholderen som muligt med maksimalt buepres. Dette giver en insisterende og pågående skrabelyd. Anvend buens nederste del ved frochen (nedstrøg) hvor det er lettere at kontrollere buens tryk på strengen.

Use a slider on the index finger. Either attack the first note with the slide or use another finger to plunk the string (as soft as possible). Alternatively use an e-bow! This ”plunk” is not notated, but should be added when ever it’s needed or on one of the primary beats of the bar! The player must choose a suitable string that fits to the musical ”timbre” of the other players. It’s important that the player only use this specific string throughout the entire piece! The rythmical patterns are more important than the actual pitch produced. Therefor the exact pitch or fretboard is not notated. The glissandoes should be as long as possible except in bar 70–84!

Anvend et slide-rør på pegefingeren til at spille med. Aktiver strengen enten ved at anslå strengen med røret eller knipse den. Alternativt kan man anvende en e-bow. Hvis man ikke anvender e-bow skal strengen aktiveres nu og da hvor det er passende i musikken. Vælg den streng der klangligt er mest passende til de andre instrumenter og anvend kun denne gennem hele stykket! Tag mere hensyn til de rytmiske strukturer end til den ca tonehøjde bestemthed ud fra den grafiske notationsform. Lav generelt set så store glissandi med undtagelse af takt 70–84 hvor de netop er små.

“Normal” (horisontal) bowing. Play as close to the tail piece as possible. At very loud dynamics this results in a very intense scratchy sound, at soft dynamics it sounds more like “an old rusty pound”.

Normal bueteknik. Spil så tæt på strengeholderen som muligt på anden streng. Giver en intens skrabende lyd hvis det spilles kraftigt og en mere sløv rusten metallyd hvis det spilles svagt.

Use the slider on the index finger to hit the string in an upward or downward motion. In this case make the ”steps” as small as possible.

Anvend slide-røret til at lave et staccato opad strengen med så små intervaller som muligt.

Change the bow pressure gradually from light to heavy pressure. This results in a transistion of sound from grey like noise to scratching sound.

Gående fra almindelig buetryk til kraftigt buepres. Fra hvid/grå støj til en intens skrabende knirkende lyd.

Use an empty pill plate to scrabe on the pearl decoration board (plate). Results in a guiro like sound. Due to the relatively soft material of the pill plate, it’s possible to make gentle and fragile sounds in soft dynamics.

Anvend to tomme pilleplader til at skrabe på en perleplade. Lyder lidt som en lille guiro. Pillepladens materiale gør det muligt at spille ganske svagt.

Make a circular movement with the bow on both the 2nd & 3rd string, starting from near the bridge to approx. half way on the finger board while left hand dampens the string in a parallel movement following the bow.

Lad buen cirkulere over 2. & 3. streng fra tæt på stolen til midt på gribebrættet. Dæpningen af begge strenge sker ved en parallel bevægelse af venstre hånd i en passende afstand til buen.

String Instrument

(Violin, viola or cello)

Is a graphical clef representing a string instrument. On top is the tail piece (the small rectangle), below that is the bridge (the small horisontal line), under that again is the fingerboard (large rectangle) starting from the top line of the system.

Er en grafisk nøgle der viser et strygeinstrument. Øverst er strengeholderen (lille firkant), under er stolen (den lille vandrette linje) og under den er gribebrættet (stor firkant) som begynder på øverste linje af systemet. Nodernes placering fortæller dermed hvor på instrumentet der skal spilles.

Play a light staccato (a series of ricochets) on an open string from the highest to the lowest point or the other way around.

Spil et let staccato (en række af ricochet’er) nedad en åben streng. I dette tilfælde på 2. streng fra højeste til laveste position.

Total dampening. Dampen the strings with the left hand near the playing point to avoid any clear pitch.

Fuld dæmpning. Dæmp de angivne strenge så der ikke klinger nogen specifik tone ved at dæmpe tæt på spillepunktet. Dette er gjort for at undgå at tydelige toner klinger med.

Ricochet. Drop the bow on the indicated string.

Ricochet. ”Tab” buen på strengen.

No dampening of the strings!

Ingen dæmpning af strengene!

Use the nail in order to create a rather sharp pizzicato! In this case the string is fully dampened and the effect is more percussive.

Pizzicato med neglen. Resulterer i en mere skarp og perkussiv pizz-lyd. I dette eksempel er strengen dæmpet helt.

Move the bow “vertically” between the two positions on the indicated string. Gives a scrabing white or grey noise like sound.

Bevæg buen “vertikalt” mellem de to angivne positioner og dæmp strengene. Dette resulterer i en skrabe lyd som har lidt karakter af hvid støj.

Use the nail in order to create a rather sharp sounding pizzicato! In this case the string is slightly dampened and the effect is a mix between a percussive sound and a little bit of pitch.

Pizzicato med neglen med en lettere dæmpning af strengen. Lyden er en blanding af tonehøjde og en mere perkussiv lyd.

Move the bow “vertically” between the two positions on the indicated string. Like the examble above it results in a noise sound but on this case with a more wood like sound.

Som i eksemplet ovenfor bevæges buen “vertikalt” mellem de to angivne positioner. Men i dette tilfælde anvendes både “træet” og håret af buen så det resulterer i en lyd, der også rummer lyden af træ.

Play behind the bridge with a minimum of bow pressure. The sound is a un notated and extremely fragile pitch sound balancing between noise and pitch.

Spil med meget lavt buetryk bagved stolen. Dette giver en meget skrøbelig metallisk tone der balancerer mellem støj og tone.

The notes are therefor also marking the point of playing

Move the bow “vertically” between the two positions on the indicated string. Use more bow pressure. Gives a scratch/scrabing sound. The best result is when you apply the down bow area close to the frog where it’s easier to controle the pressure of the bow.

Samme slags teknik bare med mere buepres. Dette giver en grov skrabende eller knirkende lyd. Det anbefales at anvende buen ved frochen (nedstrøg) hvor det er lettere at kontrollere buens tryk på strengen.

Move the bow “vertically” between the two positions on the indicated string as fast as possible. “Noise tremmolo”.

Bevæg buen “vertikalt” mellem de to angivne positioner så hurtigt som muligt. Dette resulterer i et støj-tremmolo af hvid/grå støj.

Use the tip of the bow to play a fast tremmolo!

Anvend spidsen af buen til at spille det noterede flageolet-tremmolo.

3 8 Clarinet in B b

A

e = 80 slap tongue air fl.z

j j 4œ :3œ

3:2

&

" æ ! -– > ß p

slap tongue

M—

air fl.z

3:2

" æ ! -– > p ß

"

M—

" "

$

" "

p

3

3

M—

slap tongue air fl.z

"

P

j j 4œ :3œ

3:2

" æ ! -– > ß p

3

slap tongue

M—

air fl.z

3:2

" æ ! -– > p ß

"

M—

" "

p

" "

P

3

3

M— F

3 16

..

"

3

3

3

–

3

–

3

–

– "ƒ"

?

key-gliss on black & white keys

gliss on white keys

key-gliss on black & white keys

– "ƒ"

Pf Melodica/ Object

– "ƒ"

œ

$

f

3

3

œ

> œ

œ

#

$

#

f

3

œ

> œ

$

3

–

>

– "ƒ"

f

gliss on white keys 3

–

3

–

– "ƒ"

– "ƒ"

œ

œ

> œ

œ

$

#

3

f

œ

> œ

$

>

f $

#

..

f

..

5

÷

#

‚

–

slide

#

‚

$ fi

pizz.

3 8 Violin

3

"

–

legno batutto

"

> f pizz.

Cello

"

–

> f

legno batutto

"

5

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

I.

3

5

"

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

5

–

Electric Guitar

II.

œ

ƒ

!

> ß

!

!

> ß

> ß

"

pizz.

fi

legno batutto

3

‚

‚

‚

‚

5

‚

‚

‚

‚

5

o

arco ric. 7

6

‚

pizz.

‚

‚

‚

5

‚

legno batutto

3

fi

legno batutto 6

o

arco ric. 7

pizz. 3

o

5

" ® –– – " " ––ÿ ÿ – – – ÿÿÿ – – – – > >. . . . . . > ÿ ÿ ÿ ÿ – "ƒ" ÿ f f " ƒ " p f pizz.

$

F

fi

3

‚

fi

legno batutto

"

o

–

legno batutto

"

> f

–

> f

5

legno batutto

"

5

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

pizz. 3

"

fi

pizz. 3

5

" ® –– – " " – – –ÿ ÿ ÿ – – ÿÿ – – – – > >. . . . . . > ÿ ÿ ÿ ÿ –ÿ " ƒ " f f "ƒ" p f

‚

"

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

"

pizz. 3

–

> f

" ®

–

> f

Nicolai Worsaae 1

– – – – –ÿ ÿ

ÿÿÿ

fi

legno batutto

" ®

ÿ

"ƒ"

‚

‚

‚

‚

‚

5

o

–

>. . . . . . p f

"

o

arco ric. 7

–

‚

5

7

6

– – – –ÿ –ÿ ÿ ÿ

‚

arco ric.

6

"ƒ"

pizz. 3

fi

legno batutto

‚

‚

>. . . . . . p f

"

–

> f

–

> f

‚

F

5

– – – – ÿ ÿ ÿ ÿ – ÿ "ƒ"

$

#

..

–

–

–. –. –. "ƒ" "ƒ" "ƒ"

3 16

#

–

..

#

‚

..

#

f fi

arco

.. "

-‚

-‚

II.

f

arco

.. "

-‚

II.

f

-‚

-‚

r r 5œ :3œ

fi

5

–

4 8

4 8

F

legno batutto

– – – – ÿ ÿ ÿ ÿ –ÿ "ƒ"

f

‚

fi "

..

>

œ

A

legno batutto

"

..

‚

fi

pizz. 3

‚ 5

pizz. 3

‚

œ

.. –

–

–

key-gliss on black & white keys

A

3 16

Volume ped.

e = 80

..

gliss on white keys

3 16

e = 80

Electric Guitar/ Object

œ

slap tongue

A

Melodica

&

O

O

F

3

e = 80

3 8

4 8

m.phone gliss.

-‚ r r 5œ :3œ

-‚

-‚

..

..

-‚ - -‚ ‚ ‚ " r r 5œ :3œ

P

-‚ - -‚ ‚ ‚ " r r 5œ :3œ

P

4 8

B 4 8 7

B b Cl.

slap tongue

slap tongue air fl.z

slap tongue

" æ ! -– > p ß

" æ ! -– > p ß B

4 8 7

&

3

3

–

?

– "ƒ"

– – "ƒ"

M—

" "

$

3 8

‰

" "

p

3

3

–

M—

"

key-gliss on black & white keys

– "ƒ"

Pno.

air fl.z 3:2

3:2

&

3 8

3

j j 4œ :3œ

7

M—

"

P

"

3

!

œ bœ bœ ÿ

"m œÿ ÿ ÿ

> ß P

cluster chromatic

$

7

!

bœ œ œ " œÿ ÿ ÿ ÿ

> f ß P

j j 4œ :3œ

"

÷

"

÷

P

"

÷

p

#

"

M—

" "

$

M—

" "

p

3

f

3

M— P

3 16

..

"

÷

#

#

3 16

.. ..

÷

–

‚

slide

Gt/Obj.

‚

$ B 4 8 7

Vln.

P

5

– ‚

‚

$

‚

‚

‚

5

II. pizz.

‚

‚

‚

‚

‚

‚

5

fi

‚

‚

‚

o

legno batutto

j j 4œ :3œ

pizz.

3 o 3 5 3 8 II. O. . . . . . . . " " " . . . . ..... " – – – – –ÿ –ÿ ÿ > O. – ÿ > ÿ f f "ƒ" 3 5 6 % I. fi o pizz. legno batutto pizz. 4 :3 o 3 5 3 II. .O . . . . " " " . . . . . . . ..... . " – – – – –ÿ –ÿ ÿ > O – > ÿÿ f f "ƒ" 3 5 6 % j

j

œ

fi

legno batutto

‚

‚

$

F

5

–

–

‚

7

6

– ‚

œ

pizz.

fi

legno batutto

3

o

legno batutto 6

o

arco ric. 7

pizz. 3

‚

fi

legno batutto

"

o

Nicolai Worsaae 2

‚

‚

–

‚

‚

‚

5

fi

play 3x

>

œ

#

f

3 8

4 8

..

#

..

#

‚

‚

‚

‚

.. – .

‚

‚

–

..

..

‚

"

5

j j 4œ :3œ

3

6

" ® –– – – –ÿ ÿ ÿ – – – ÿÿ – – – ÿÿÿ > ÿ ÿ f "ƒ" "

fi

3 16

..

"

j j 4œ :3œ

3

> f "ƒ"

"

‰

"

‰

arco II. & III.

 -‚

( )

–

‚ –

( )

-‚

( )

–

$

arco II. & III.

play 3x



6

" ® –– – – –ÿ ÿ ÿ – – ÿÿ – – –ÿ –ÿ ÿ > " ƒ " ÿÿ f "

‚

3 8

..

#

legno batutto pizz. legno batutto 5

–. ‚

..

play 3x

fi

o

4 8

÷

C

fi

> f "ƒ"

3

j

–

3 8

F

5

o

play 3x

legno batutto pizz. legno batutto

pizz.

"

‚

5

3

5

" " ® ––– – –– ÿ ÿ ÿ – ÿÿ – – – – – >. . . . . . > ÿ "ƒ" f " ƒ "ÿ ÿ ÿ ÿ p f

‚

pizz.

5

" " ® ––– – –– ÿ ÿ ÿ – ÿÿ – – – – – >. . . . . . > ÿ "ƒ" f " ƒ "ÿ ÿ ÿ ÿ p f fi

‚

$

F

4:3

o

arco ric.

3 16

5

4:3

–

œ

Vc.

#

C 3 8

–

4 8

ƒ

œ

$

3 8

..

œ

gliss on white keys

B 4 8 7

œ

C

÷ ÷ " ÷ " - " - " - " ÷ - p P F f $

#

O

O

F

" ÷ " - " - " ÷ F P p $

play 3x

m.phone gliss.

3

j j 5œ :3œ

÷

÷

"

C

slap tongue

..

#

..

-‚

( )

–

$

‚ –

( )

-‚

( )

–

4 8

D 4 8 13

slap tongue

&

" æ ! -– > p ß

3

3

– – "ƒ"

?

3

– – "ƒ"

–

j j 4œ :3œ

air fl.z

slap tongue

3

3

" æ ! -– > ß p

– – "ƒ"

3

– – "ƒ"

– – "ƒ"

air

.. ‰

÷

..

#

left hand Object 1 plate for pearl decoration

#

slap tongue/multi phonic

j j 5œ :3œ

" m !‚ " !‚ " !‚ > > > $ ß ß ß

–

p

air fl.z

‰

3:2

j j 4œ :3œ

slap tongue

3 16

air fl.z

..

3:2

" æ ! – > ß p

æ –p

tone

O

œ

3

air

O

tone

air

œ

O

3

%

%

tone

œ

%

air

tone air

O

3

œ

O

tone

œ

air tone

O

œ

3

%

%

#

%

air tone air

O

3

œ

O

3 16

tone

œ

" ‰

..

‰

3

%

%

#

..

#

D

3 8

Gt/Obj.

"

..

#

#

æ

.. " m !‚ " !‚ " – > > $ ß ß

3:2

3

#

÷

x 3:2

D

3 8

– "ƒ"

4 8 13

slap tongue air fl.z

" æ ! -– > ß p

3

–

air & key clicks slap tongue/multi phonic

3:2

key-gliss on black & white keys

– "ƒ"

Pno.

air fl.z 3:2

" æ ! -– > p ß 4 8

13

air fl.z

3:2

&

B b Cl.

slap tongue

3 8

2.x

3 16

right hand

"

.. ‚ ‚

‚

$

#

left hand

#

right hand left hand

‰

‰

‚ ‚

$

$

"

right hand

‰

‚ ‚

‰

..

#

left hand

"

‰

‰

..

$

D 4 8 13

(

Vln.

-) ‚ –

-‚

( )

(

–

-‚

-)

( )

‚ –

–



3 8

‰

p

(

Vc.

-) ‚ –

J

-‚

( )

–

p

-‚

( )

–

p

(

-) ‚ –

3:2

(

-‚ ) –

 ‰

-‚

( )

–

p

-

‚ –

( )

-‚

( )

–

(- ) .. ‚

(

-‚ ) –

–

‚ –

( )

-‚

( )

–

-

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

-

‚ –

-‚

( )

–

(- ) .. ‚

–

(

-‚ ) –

‚ –

( )

3:2

Nicolai Worsaae 3

-‚

( )

–

-

‚ –

( )

-‚

( )

–

‚ –

( )

‚ –

-‚

( )

–

j j 5œ :3œ

3:2

( )

-

( )

-‚

( )

–

‚ –

( )

j j 5œ :3œ

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

j j 4œ :3œ

-‚

( )

–

j j 4œ :3œ

‚ –

( )

‚ –

( )

3 16

.

"

&.

"

?.

.

E

T

3 16 18

B b Cl.

.. "

&

E

&

..

?

..

Pno.

3 16 18

r r 4œ :3œ

..

! b! > > >! ß ß ß

–

–.

–

–.

–.

"ƒ" "ƒ" "ƒ"

T

œo

‰

–

3 8

..

(15 )

œ

E

æ

œ

œo

œo

œ

æ

$

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

..

÷

.. ‚

œo

œ

æ

% 4 8

"

œo

œ

æ

$

œo

œ

œo

œ

æ

%

œ

œo œ

$

3 8

œo

æ

œ

æ

% 3 8

œo œ

œo œ

$

œo

æ

4 8

œ

click sounds/ air sound / short pitch sounds

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

œo œ

% 4 8

œo

æ

n œo

œ

œ

$

œo

œo

œ

æ

œ

%

œo œ

æ

œo œ

$

3 16

œo œ

æ

%

key clicks

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‹. ‹. ‹. ‹.

3 16

% #

#

4 8

"

‚ ‚

‚

4 8

#

right hand

$

#

3 8

#

left hand

..

œo

(15 )

%

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚. ‹. ‹. ‹. ‹.

T

rapid

‰

œ

key clicks

Gt/Obj.

"

œ

n œo

#

..

#

œo

%

3 8

÷

4 8

œ

click sounds/ air sound / short pitch sounds

..

#

œo

rapid

%

key-gliss on black & white keys

3 16 18

3 8

slap tongue

T

‰

#

left hand

‰

‰

‚ ‚

$

"

$

3 16

‰

#

right hand

"

‚ ‚

‰

‰

Œ

$

E 3 16 18

Vln.

&

%

Vc.

?

..

O

"

..

‰

‰

3

o I. & 3

like grey noise arco medio

" ‚&&&&&&&&& 3

O

O

%

fi

3 8

o II. & .. O

$ fi

"

..

‰

‰

like grey noise arco medio

" ‚&&&&&&&&& 3

$

4 8

" ‚&&&&&&&&&" ‚&&&&&&&& " ‚&&&&&&&& " ‚&&&&&&&&& 3

$

3

$

3

$

3

$

" ‚&&&&&&&& " ‚&&&&&&&& " ‚&&&&&&&& " ‚&&&&&&&&& 3

$

3

$

3

$

Nicolai Worsaae 4

3

$

3 8

o

" ‚&&&&&&&& " ‚&&&&&&&&& " & O " æ

arco punta

3

$

3

$

Ø 3

o arco punta -O " ‚&&&&&&&& " ‚&&&&&&&&& " ? " æ 3

$

3

$

Ø 3

4 8

-O " O " " " " O " " O " æ æ æ æ

"

3

3

3

-O

-O

-O

æ 3

" "

æ 3

" "

æ 3

3

" "

-O

æ 3

"

3 16

F

slap tongue

3 16 23

B b Cl.

.. "

&

F

&

..

?

..

3 16

..

!

!

!

> ß

> ß

> ß

–

–.

–

–.

"ƒ"

"ƒ"

Pno.

23

r r 4œ :3œ

key-gliss on black & white keys

3 16 23

3 8

slap tongue

–.

"ƒ"

–

7

b! > ß 3 8

..

j j 4œ :3œ

"

œ

ÿ P

f

F

!

> ß

bœ œ œ " œÿ ÿ ÿ ÿ

..

÷

.. ‚

"

÷

$

..

# "

o II. & .. m O %

Vc.

"

f

!

> ß

bœ œ œ " œÿ ÿ ÿ ÿ

÷

P

"

÷

p

"

÷

$

"

÷

P

"

÷

p

"

$

M—

"

"

p

3

f

P

"

3

M—

F

"

P

" ÷ " - " - " - " ÷ f F P p $

#

M—

"

F

"

3

÷

÷

÷

"

"

3

j j 5œ :3œ

÷

"

"

M—

-

÷

f

M—

"

P

"

3

"

-

÷

#

"

p 3

3 16

-

÷

"

P

3 16

M—

"

p

# 3 16

Object 1 plate for pearl decoration

"

..

#

# ¯‚

gliss.

‚

fi

o & II. mO ..

%

mO

pizz.

3 8

"

..

3

"

3

–

legno batutto

"

> f pizz.

3

3

"

..

"

–

> f

5

legno batutto

"

o j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

I.

mO

"

5

"

o j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

"

pizz. 3

–

> f pizz. 3

–

> f

# ¯‚

gliss.

‚

$

P

II.

?

P

#

F

&

!

> ß

" m œÿ ÿ ÿ

7

j j 4œ :3œ

$

Vln.

f

P

Gt/Obj.

23

"

œ bœ bœ ÿ

slap tongue

3 8

÷

3 16

j j 4œ :3œ

7

cluster chromatic

..

#

7

œ œ œ

œ ÿ ÿ ÿ " ÿ

slap tongue

slap tongue

fi

legno batutto

" ®

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

legno batutto

" ®

7

–

>. . . . . . p f

7

–

"

o

arco ric.

6

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

o

$

>. . . . . . p f

"

fi

pizz. 3

–

> f

legno batutto

"

3

–

> f

Nicolai Worsaae 5

o

–

legno batutto

"

> f

3

"

–

> f

5

legno batutto

"

5

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

pizz.

5

– – – – ÿ ÿ ÿ ÿ –ÿ "ƒ"

fi

pizz.

"

"

"

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

"

pizz. 3

–

> f

3

–

> f

fi

legno batutto

– – – –ÿ –ÿ ÿ ÿ

ÿ

"ƒ"

fi

legno batutto

" ®

7

–

>. . . . . . p f

7

ÿ

"ƒ"

–

"

o

arco ric.

6

– – – –ÿ –ÿ ÿ ÿ

o

arco ric.

6

"

÷

P

$

" ®

pizz.

¯‚

gliss.

‚

P

3

– – – – ÿ ÿ ÿ ÿ – ÿ "ƒ"

legno batutto

"

o

5

fi

pizz.

¯‚

gliss.

‚

P

arco ric.

6

"

#

>. . . . . . p f

"

fi

pizz. 3

–

> f

legno batutto

"

–

> f

– – – – & ÿ ÿ ÿ ÿ – ÿ "ƒ"

fi

pizz. 3

3 16

5

legno batutto

"

5

?

– – – – ÿ ÿ ÿ ÿ –ÿ "ƒ"

H

G 3 16

28

B b Cl.

..

&

>‚

>‚

!

!

..

"

..

ß ß

G

>‚

œo

"

!

œ

%

ß

œo

œo

Bœ

æ

œ

$

œo œ

æ

œo œ

%

œo

æ

3 8

œ

œo

œo

1.

œ

$

Bœ

æ

œo œ

%

œo

æ

œo

œ

œ

$

œo

æ

œo

œo

2.

..

œ

œ

$

%

Bœ

æ

œo œ

%

œo

œo

œ

æ

œ

$

4 8

œo

æ

&

..

?

..

Pno.

–

–

–. –. –. " ƒ " " ƒ "" ƒ "

–

4 8

..

..

..

#

–. "ƒ"

–

air tone air tone air tone air tone

"

"

O œ O œ O œ O œ

3

..

3

%

% %

3

3 8

1.

2.

air tone air tone air tone

air tone air tone air tone

O œ O œ O œ 3

3

‰

% % %

%

#

#

..

O œ O œ O œ 3

œ

..

#

Volume ped.

..

3 8

1.

‰

.. ‚

28

Vln.

Vc.

&

?

œ

$

œo

œ

æ

œ

%

œo

œo

œ

æ

œ

$

3 8

œo

æ

3

–

–

–

# %

3

–

–

4 8

œ

key-gliss on black & white keys

#

–

3 8

– "ƒ"

4 8

3

– – "ƒ"

–

–. "ƒ"

#

#

#

˘‚

"

..

..

#

#

4 8

..

#

..

"f "

o arco & II. .. m O $

..

3 8

–

–

4 8

–

‚

‚ ‚

P

$

$

H

G 3 16

Bœ

œo

–. –. –. –. – " ƒ " " ƒ " " ƒ " " ƒ "" ƒ "

3

2.

Electric Guitar

Gt/Obj.

÷

œo

H 4 8

..

÷

æ

4 8

G 3 16 28

œo

H

% % %

..

œo

œ

key-gliss on black & white keys

3 16 28

4 8

mO

4 8

..

P

o arco & I.m O

mO

$

P

..

O

%

O

BO

mO

3 8

"

1.

4 8

2.

O. . . . . . . . . . . . .....

I. legno batutto

‰

#

..

3:2

%

3

j j 4œ :3œ

5

O.

II. pizz. 3

"

6

–

"

I.

2.

O. . . . . . . . ....

3

I. legno batutto

. &.

.. O %

O 3:2

BO

mO

"

‰

#

..

%

3

Nicolai Worsaae 6

j j 4œ :3œ

5

..... . O 6

"

o

legno batutto pizz. 5

j j 4œ :3œ

fi

legno batutto

3

6

" ® –– – – –ÿ ÿ ÿ ‰ – – – ÿÿ – – – ÿÿÿ > ÿ ÿ f "ƒ" "

> f "ƒ" pizz.

1.

fi

–

"

fi

o

legno batutto pizz. 5

j j 4œ :3œ

– – – –ÿ –ÿ ÿ

ÿÿ

> f "ƒ"

"

3

–

fi

3 8

II.

pizz. 3

"

–

"

pizz.

6

" ® –– – – –ÿ ÿ ÿ ‰ ÿÿ

> f "ƒ"

3

"

o

legno batutto pizz. 5

j j 4œ :3œ

fi

legno batutto

3

6

" ® –– – – –ÿ ÿ ÿ – – – ÿÿ – – – ÿÿÿ > ÿ ÿ f "ƒ" "

4 8

> f "ƒ"

I.

legno batutto

fi

"

fi

o

legno batutto pizz. 5

j j 4œ :3œ

"

3

–

– – – –ÿ –ÿ ÿ > ÿ ÿ > f f "ƒ" –

fi

legno batutto 6

" ® –– – – –ÿ ÿ ÿ ÿÿ "ƒ"

4 8 34

B b Cl.

slap tongue

air fl.z quasi tone

&

Œ

Pno.

?

#

ƒ ƒ

‰

œœ œ

‰

J p

3:2

Melodica

key-gliss on black & white keys

‰

"

&

–. "ƒ"

–

4 8

‚

34

Vln.

legno batutto I.

O. . . . . . . . . . . . ..... ‰ O.

%

3

j j 4œ :3œ

5

fi

pizz.

3 8

3

"

6

o

%

"

> f

3

j j 4œ :3œ

5

6

3

"

–

> f

5

legno batutto

"

5

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

pizz.

legno batutto I.

Vc.

–

legno batutto

I.

O. . . . . . . . . . . . ... . . .‰ O

–. "ƒ"

P

II.

4 8

–

œœ œ

% "

‰

J p

3:2

‰

"

o

j j 4œ :3œ

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

"

pizz.

fi

legno batutto

3

6

" ® –– – – –ÿ ÿ ÿ – ÿÿ > "ƒ" f pizz. 3

fi

legno batutto 6

" ® –– – – –ÿ ÿ ÿ – ÿÿ > "ƒ" f

4 8

6

‰

"

5

–. "ƒ"

–

3 8

´

O. . . . . . . . . . . . ..... ‰ O.

%

5

p

" "

3

M— P

´

‚

3 16

3

œœ œ

–. "ƒ"

–

"

‰

3 16

arco II.

‰

6

‚

p

6

O. . . . . . . . . . . . ... . . .‰ O 3

Nicolai Worsaae 7

j j 4œ :3œ

5

6

‚

p

–

–

–. –. –. "ƒ" "ƒ" "ƒ"

j

–

.. 3 8

..

P fi

3 16

..

-‚

f fi

II.

‰

..

#

.. – .

arco

legno batutto I.

ß

´ ´ ´ ´ ‚ ´ ´ .. ..

´ ´ ´ ´ ´ ´ ‚ ´ ´ ´ ´ ´ ´ ´ ´ ´ ‚

3 8

!

4:3

..

"

3 8

..

–

5

!

..

‰

6

$

3 8

3 16

J p %

3:2

>‚

"

ß

œœ œ

%

>‚

slap tongue/multi phonic

..

"

Harmonica

o

%

M—

–

3

legno batutto I.

j j 4œ :3œ

$

‰

%

o

3

" "

3 8

‚

$

o

œœ œ

M— 3

´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´´ ´ ´

‚

P

"

æ –p

–

–

Gt/Obj.

"

Harmonica

‰

%

!

> ß

3 8

air fl.z quasi tone 3:2

" æ ! -– > p ß 4 8

œœ œ

slap tongue

slap tongue air fl.z quasi tone 3:2

Harmonica

3 8

–

÷

"

5:4

‰

4 8 34

ƒ

%

"ƒ"

4 8

M— M— M— M— ƒ

3 8

–

–.

3 8

" æ ! -– > p ß

" æ ! -– > p ß

&

air fl.z quasi tone 3:2

3:2

4 8 34

slap tongue

..

-‚

f

-‚ ‚ -‚ ‚ -‚

3 8

..

-‚ ‚ -‚ ‚ -‚ ..

I

J

3 8 39

B b Cl.

4 8

#

&

air fl.z quasi tone

ß

3 8

3:2

#

œœ œ

‰ 3

#

& I 3 8 39

4 8

÷

–

– "ƒ"

%

J p

3:2 3

3

–

– "ƒ"

– "ƒ"

‰

–

% j

– "ƒ"

fi

o

3 8

4 8

#

II.pizz. 3

"

–

"

> f II.pizz.

"

3

–

> f

5

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

o

#

´

‚

pizz.

"

5

– – – –ÿ –ÿ ÿ

ÿ ÿ

"ƒ"

–

> f pizz.

"

3

–

> f

œ

ƒ

>‚

slap tongue/multi phonic air fl.z quasi tone

" æ ! -–

´

– – – –ÿ –ÿ ÿ ÿ "ƒ"

fi

J p % –

..

6

5

6

#

>

>

œ

œ.

œ

œ.

œ

œ.

–

3 8

..

#

..

#

‚

.. ..

‚

3:2

"

p

4 8

Harmonica

œœ œ

‰

œœ œ

%

3:2

J p %

#

?

3 8

‰

–

‰

´´ ´ ´´´´ ‚ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

$

j j 4œ :3œ

3

4 8

–.

–

´´ ´ ´´´´ ‚ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

‚

f

P

%

p

4 8

.. – ..

>

gliss on white keys

J f

–

arco II.

3 8

‰

´

6

– – – –ÿ –ÿ ÿ ÿ "ƒ"

fi

3 16

..

‚

p II.

‰

-‚

-‚ ‚ -‚ ‚ -‚

f

5

‚

6

3

..

‚

p Nicolai Worsaae 8

-‚

f

4 8

..

-‚

- - -‚ ‚ -‚ ‚ -‚ ‚ -‚ ‚

3 8

j j 4œ :3œ

5

6

®®®‰

o

O. . . . . . . . . . . . ..... I.

3

-‚

-‚

-‚

-‚

-‚

..

-‚

-‚

-‚

-‚

-‚

-‚

-‚

4 8

legno batutto

% o

fi

arco

legno batutto

" ®

..

3 16

ß

3:2

Bœ

mœ

‰

4 8

J 6

" ®

3:2

" æ ! -–

p

3:2

3 8

>‚

slap tongue/multi phonic

4 8

´ ´ ´ ´ ´ ´ ‚ ´ ´ ´ ´ ´ ´ ´ ´ ´ ‚

legno batutto

o

legno batutto

"

3

%

$

fi

o

œœ œ

–

3

legno batutto

œ

.. ß

3 16

– "ƒ"

3 8

‚

5

œœ œ

–

#

6

O

O

F

Harmonica

‰

´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´´ ´ ´

I

Vc.

3 8

œœ œ

ƒ

4 8

J

–

P

Vln.

p

..

œ

F

#

Gt/Obj.

39

ß

3:2

œ.

m.phone gliss.

3 16

O

O.

‰

Harmonica

Melodica

Pno.

" æ ! -–

p

4 8

&

>‚

" æ ! -–

I

39

>‚

m.phone gliss.

3 8

slap tongue/multi phonic

slap tongue/multi phonic

j j 4œ :3œ

5

6

O.

P

legno batutto

-‚ ‚

O. . . . . . . . . . . . ... .. I.

®®®‰

% 3

j j 4œ :3œ

5

6

O.

P

K 4 8

45

B b Cl.

>‚

air fl.z quasi tone

" æ ! -–

&

ß

3:2

ß

3:2

Inhale

-œ

$

p

?

%

3:2

3 8

"

p

#

Bœ

mœ

‰

%

..

"

P

3:2

m.phone gliss.

4 16

3 8

Exhale

œœ œ

‰

œœ œ

%

#

4 8

J p %

3:2

Inhale

‰

-œ

-œ

$

p

œœ

‰

#

3 8

œœ

Inhale

-œ

-œ

p

P

œœ

‰

#

œ

45

÷

3 8

4 16

œœ

–

–

6

fi

4 8 45

Vln.

II. pizz.

"

3

–

"

> f

Vc.

"

pizz. 3

–

> f

legno batutto

pizz.

5

3

fi

o II.

o

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

"

"

–

> f

o

legno batutto

pizz.

5

3

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

$

3

"

–

> f

fi

6

– – – –ÿ –ÿ ÿ ÿ

ÿ

"ƒ"

fi

pizz.

3 8

3

"

"

– –––– ÿ

ÿÿÿÿ

3

"

5

legno batutto

3

6

" ® –– – – –ÿ ÿ ÿ – – – ÿÿ – – – ÿ ÿ ÿ > ÿ ÿ f "ƒ" "

fi

–

o

legno batutto pizz.

"

5

j j 4œ :3œ

3

fi

4 8

" ® –– – – –ÿ ÿ ÿ – – ÿÿ – – –ÿ –ÿ ÿ > " ƒ " ÿÿ f

> f "ƒ"

"

-‚

- - - - - - - - ‚ - ‚ - ‚ -‚-‚-‚-‚-‚

arco

® ‚

‚

p

‚

‚ ‚ ‚ ‚ ‚

P

5

´´ ´´´´´ ‚ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

‚

3 8

3

j j 4œ :3œ

5

6

..

o O. . . . . . . . . . . . .....

p

3

j

j

4œ :3œ

5

6

K

O.

-‚

® ‚ p

-‚

‚

-‚

- - - - - - ‚ -‚-‚-‚-‚-‚ ‚

‚ ‚ ‚ ‚ ‚

P

5

Nicolai Worsaae 9

4 16

Inhale

-œ œœ

..

$

& .. 4 16

– ‚

‚

"

"

..

"

"

..

F

e = 120

-‚ - -‚ - -‚ ‚ ‚

" ƒf "

"

3 16

4 16

#

..

#

..

5

play close to the tail piece

legno batutto

O. . . . . . . . .. . .... ..

5

p

..

3 16

–

.. "

P

$

#

e = 120

II.

o arco

f

play close to the tail piece

4 16

legno batutto

-– P

"

P

P

5

legno batutto 6

.. –

$

> f "ƒ" pizz.

6

"ƒ"

–

o

j j 4œ :3œ

fi

–

"

æ

3 16

>œ . œœ ..

4 16

air fl.z quasi tone

#

4 16

6

‚

P

6

legno batutto pizz.

I.

legno batutto

" ®

fi

II.

legno batutto

" ®

5

j j 4œ :3œ

"

e = 120

..

–

¯ ´ ´ ´ ´ ´ ‚ ´ ´ ´ ´ ´ ´ ´ ´ ´ ‚

´ ´ ‚

5

o

–

–

´ ‚´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

Gt/Obj.

3 8

3 16

ƒ

.. "

#

4 8

6

œ

F

K 4 8

O

O

K

œœ

3œ :2œ

Pno.

‰

4 8

Bœ

mœ

p

-œ œœ

Œ

&

3 8

" æ ! -–

p

4 8 45

>‚

slap tongue/multi phonic

slap tongue/multi phonic

e = 120

3

j j 4œ :3œ

5

6

I.

O.

P

.. "

-‚ - -‚ - -‚ ‚ ‚

" ƒf "

5

"

4 16 51

B b Cl.

&

Bœ

mœ %

P

3:2

3 16

"

fl.z

æ

3 16

#

&

"

"

& 4 16 51

j

–

÷

– – "ƒ"

P

Vln.

‚ ‚

‚

$

"

3 16

#

&

o & II. mO

#

o & II. &

mO

$

P

3:2

"

j

– – "ƒ"

‚

-‚ - -‚ - -‚ ‚ ‚

3 16

"

&

mO P

"

-‚ - -‚ - -‚ ‚ ‚

" ƒf "

5

o & II. mO $

5

play close to the tail piece II.

Ï screaming screaming into the harmonica

æ

æ

ƒ screaming screaming into the harmonica

>œ œœ

>œ œœ

"

" ƒf "

œœ œ

"

æ

æ

œ

f

U

screaming screaming into the harmonica

3"

>œ . œœ ..

"

"ƒ"

œœ œ

"f "

#

#

÷

"

U 3"

"

#

‰

"

‰

"

U

"

"

#

‰

‰

"

"

F

3:2

" ƒf "

U

n -œ .

3"

‚

"

"

æ

œ

3 8

‚

II.

P

$

–

play close to the tail piece

4 16

"

"

3 16

–

P

mO

– "ƒ"

‚

"

œœ

B -œ

fl.z

#

3

–

"

–

-œ

b -œ

fl.z

3 8

Inhale

Melodica

"

"

m œœ $

#

F

3:2

$

Vc.

œœ

"

"

æ

fl.z

3"

3 8

fl.z

3 16

4 16

–

–

4 16 51

-œ

3 16

3

nœ

%

#

– "ƒ"

‚

Gt/Obj.

–

Bœ

3 16

4 16

Inhale

Melodica

Pno.

"

m œœ $

4 16 51

4 16

"

o & II. &

mO

$

Nicolai Worsaae 10

mO

play close to the tail piece

3 8

II.

"

P

-‚ - -‚ - -‚ ‚ ‚

"ƒ"

play close to the tail piece II.

"

"f "

5

play close to the tail piece I.

mO P

"

-‚ - -‚ - -‚ ‚ ‚

"ƒ"

5

-‚ - -‚ - -‚ ‚ ‚

play close to the tail piece II.

‰

"F "

5

play close to the tail piece I.

"

-‚ - -‚ - -‚ ‚ ‚ "f "

5

-‚ - -‚ - -‚ ‚ ‚

"

‰

-‚ - -‚ - -‚ ‚ ‚

"F "

"

5

play close to the tail piece I.

U 3"

5

U 3"

"

"

÷

L

e = 80

slap tongue

j j 4œ :3œ

7

& "

57

B b Cl.

L

57

!

> ß

bœ œ œ " œÿ ÿ ÿ ÿ " P

f

slap tongue

slap tongue

7

œ œ œ

m! > ß

j j 4œ :3œ

7

œ " ÿ ÿ ÿ ÿ

P

"

f

!

bœ œ œ " œÿ ÿ ÿ ÿ "

> ß P

f

slap tongue

slap tongue

7

"

"

! ! m! > > > ß ß ß

"

e = 80

#

&

#

÷

#

÷

#

#

L

II.

e = 80

pizz.

fi

legno batutto

Vln.

–

> f

"

5

®

fi

I. pizz.

legno batutto

3

Vc.

–

> f

"

5

–

>

®

o

j j 4œ :3œ

– – –ÿ –ÿ ÿ ÿ > "ƒ" –

"

"

o

j j 4œ :3œ

– – –ÿ –ÿ ÿ ÿ "ƒ"

>‹

>

œ

$

"

Ï

f

f

® >‹

œ

"

pizz. 3

–

> f pizz. 3

–

> f

¯‚

$ fi

legno batutto

" ®

6

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

legno batutto

" ®

arco ric.

$

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

o 7

>. . . . . . p f

6

–

"

Ï

f

>‹

œ

nœ œ œ mœ " ÿ ÿ ÿ ÿ

!

"

$

"

f

> ß P

f

"

o 7

>. . . . . . p f

"

3

–

> f

"

3

–

> f

– – – – & ÿ ÿ ÿ ÿ – ÿ "ƒ"

"

˘. . . . ˘. . . . ˘. . . . ®m O O O O O ® O O O O O ®m O O O O O ß

6

ß

6

o

legno batutto

¯‚

?

– – – – ÿ ÿ ÿ ÿ –ÿ "ƒ"

m˘O O. O. O. O. ˘O O. O. O. O. m˘O O. O. O. O. ® ® ® ß

legno batutto

–

> f

"

5

6

ß

6

Nicolai Worsaae 11

ß

6

®

fi

legno batutto

3

–

> f

"

5

–

>

®

o

j j 4œ :3œ

– – –ÿ –ÿ > ÿ ÿ "ƒ" –

pizz.

arco I. ric.

5

fi 3

6

f

slap tongue

4 8

7

"

"

! ! m! > > > ß ß ß

"

œ

>‹

>

œ

$

"

œ

®

f

>‹

"

o

j j 4œ :3œ

– – –ÿ –ÿ ÿ ÿ "ƒ"

>

œ

$

"

f

Ï

® >‹

œ

4 8

>

œ

$

"

f

Ï

4 8

#

"

"

pizz. 3

–

> f

$

3

–

> f

fi

legno batutto

" ®

– – – –ÿ –ÿ ÿ ÿ

ÿ

fi

legno batutto

" ®

arco ric.

6

"ƒ"

pizz.

¯‚

gliss.

‚

P

pizz.

ß

> ß P

Ï

gliss.

‚

arco II. ric.

5

!

bœ œ œ " œÿ ÿ ÿ ÿ "

#

o

fi

pizz.

Metal block size 2 (medium)

$

legno batutto

"

®

#

Ï

#

fi

pizz.

j j 4œ :3œ

7

#

>

œ

P

–

arco ric.

>

œ

®

#

gliss.

‚

P

3 57

¯‚

gliss.

‚

$

!

> ß P

slap tongue

7

gliss on white keys

#

Gt/Obj.

÷

Metal block size 2 (medium)

e = 80

Object 1 plate for pearl decoration

œ

®

Pno.

57

"

bœ œ œ œ " ÿ ÿ ÿ ÿ "

slap tongue

gliss on white keys

#

L

j j 4œ :3œ

7

ÿ

"ƒ"

o 7

>. . . . . . p f

6

– – – –ÿ –ÿ ÿ ÿ

P

–

arco ric.

–

"

"

o 7

>. . . . . . p f

"

fi

pizz. 3

–

> f

legno batutto

"

–

> f

– – – – ÿ ÿ ÿ ÿ – ÿ "ƒ"

fi

pizz. 3

5

legno batutto

"

5

– – – – ÿ ÿ ÿ ÿ –ÿ "ƒ"

4 8

air & key clicks

4 8 62

B b Cl.

3

Œ

&

3 8

slap tongue/multi phonic

‰

" m !‚ " > ß

x 3

3:2

æ

air & key clicks

4 8

" m !‚ " !‚ " – > > $ ß ß

j j 5œ :4œ

3 8

slap tongue/multi phonic

" m !‚ " !‚ " !‚ > > > $ ß ß ß

–

P

x

‰

æ

4 8

–

j j 5œ :4œ

" m !‚ " !‚ " !‚ > > > $ ß ß ß

–

P

$

3 8

slap tongue/multi phonic

 4 8 62

&

cluster

key-gliss on black & white keys 3

–

–

–

–

–. –. –. –. – "ƒ" "ƒ" "ƒ" "ƒ" "ƒ"

Pno.

÷

3

–

–

3 8

– "ƒ"

3

– – "ƒ"

–

–. "ƒ"

#

4 8

3 8

>

> > > > > ‹ " ‹ " ‹ " ‹ " ‹ " ‹ " 3

3

4 8 62

3 8

÷

Gt/Obj.

‚

¯‚

gliss.

$

"

‚

J

$

P

¯‚

62

Vln.

II.

Œ

' -‚

" ƒf "

3:2

-‚ J

3 8

J

-‚

rK

‚

3:2

4 8

‰

Vc.

Œ

' -‚

" ƒf "

3:2

-‚ J

II. pizz.

"

J

3:2

rK

3

–

"

> f

‰

"

"

‚

¯‚

gliss.

3

–

> f

5

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

fi

pizz.

"

"

fi

3

–

> f

legno batutto

" ®

5

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

Nicolai Worsaae 12

pizz.

"

3

–

> f

6

– – – –ÿ –ÿ ÿ ÿ ÿ

"ƒ"

fi

o

legno batutto

"

‚

gliss.

& 3 8

legno batutto

" ®

3 8

arco ric. 7

–

>. . . . . . p f arco ric. 7

6

– – – –ÿ –ÿ ÿ ÿ ÿ "ƒ"

–

# ¯‚

"

‚

"f "

"f "

o

legno batutto

II. pizz.

‚

¯‚

gliss.

fi

o -‚

#

#

"f "

o

very slow bow pressure behind the bridge close to the tail piece II.

‚

P

very slow bow pressure behind the bridge close to the tail piece

4 8

"

– – –– – – " –– –– –– –– –ÿ –ÿ ÿ ÿ ÿ ® – –– –– – – – –– –– – – ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ p $ F

4 8

#

gliss.

––

3

# 3 8

#

3 8

6 5

3

4 8

#

÷

3

3

" – –– –– –– –– –ÿ –– –– –– ÿ ÿ ÿ ÿ ÿ ÿ ÿ $ $

Metal block size 1&2 (small & medium)

#

3

3

#

4 8

>. . . . . . p f

o "

o "

pizz.

legno batutto 5

– – – > > ÿ –ÿ –ÿ –ÿ – ÿ f "ƒ"

pizz. 3

–

¯‚

"

Œ

"f "

fi

3

gliss.

very slow bow pressure behind the bridge close to the tail piece arco II. & III.

4 8

Œ

" ƒf "

3:2

-‚ J

very slow bow pressure behind the bridge close to the tail piece

fi

legno batutto

arco II. & III.

5

– – > > ÿ –ÿ –ÿ –ÿ –ÿ f "ƒ"

' -‚

Œ

' -‚

" ƒf "

3:2

-‚ J

3 8

M 3 8 67

4 8

3 8 67

4 8

cluster chromatic all keys air

OO OO O

‰

&

M



‰

&

67

..



3 8

÷

(15 )

œ

%

4 8

p

" ƒf "

œœ œ

p

" ƒf "

..

#

œo

M

œo

œ

æ

œ

$

OO OO O

3:2

3:2

œo

æ

œ

œo œ

%

œo

æ

3 8

œ

œo œ

$

OO OO O

J O j

OO O

OO O

O

‰

æ

œ

œo œ

%

œo

œo

œ

æ

œ

$

4 8

œo

‰

– "ƒ"

œo

(15 )

œ

%

% 3

–

T

rapid

œ

æ

3

‰

‰

œo

key-gliss on black & white keys

3 8

air

.. œœœœ œ

OO O

T

œo

tone



Pno.

T

rapid

.. ‰

#

&

B b Cl.

T

–

æ

4 8

œo

œ

œ

$

æ

œo

œ

œ

%

œo

æ

3 8

œ

œo œ

$

Œ

œo

æ

œo

œ

œ

%

4 8

æ

œ

$

4 8

œo

æ

..

œ

% 4 8

OO OO O

..

 ‰

¬

..

OO O



3 8

Volume ped.

#

œo

œ



‰

#

3 8

œo

cluster chromatic all keys air

"ƒ"

#

#

œo

3 8

–

–.

– "ƒ"

œo

–

4 8

"

‰

‰

..

"

‰

‰

..

Electric Guitar

Gt/Obj.

5:4

..

#

#

#

‚

$

‚

‚

‚

‚

‚

M 3 8 67

Vln.

Vc.

J

J

-‚

rK

‚

3:2

-‚ 3:2

rK

‚

4 8

‰

3 8

..

#

4 8

#

B

o & I. O

%

I.

‰

..

#

#

Nicolai Worsaae 13

?

o & O

%

O

mO

'

mO

3:2

O 3:2

O

BO

3 8

& mO

3:2

mO

' mO

O 3:2

BO

O

4 8

‰

..

‰

..

3:2

BO

& mO

BO 3:2

O

N

O

4 8 72

B b Cl.

" m œœ P

&

M >œ

3 8

‰

œ œ

"

$

f

"

‰

M b>œ

M >œ

4 8

Œ

f

f

3:2

air & key clicks

x

æ

3 8

" –

slap tongue/multi phonic j j 5œ :3œ

" m !‚ " !‚ " !‚ > > > $ ß ß ß

–

P

$

N 4 8 72

tone

air

œœ œœ œ

&

OO OO O

p

Pno.

N

j

3:2

œœ œ

OO O

p

÷

–

3 8

‚

$

‚

‚

‚

‚

P

"

‰

–– –– " ‰

‰

ÿ ÿ

‰

3:2

3 8

‰

j

‚

$

OO OO O

"

‰

‚

3

‚

‚

p

OO O

‚

‚

‚

P

‚

‚

‚

4 8

Œ

II.

3:2

-–' J

p

J

-&– 3:2

3 8

R

play close to the tail piece

Vc.

j

3:2

OO O

‰

OO O

O

j

‰

3 8

–. 5

‚

‚

J

3

$

‚

‚

‚

6

‚ ‚ ‚ ‚ ‚ ‚‚‚‚‚‚

O play close to the tail piece

Vln.

OO OO O

J O

3:2

4 " ƒf " 8 O

N

72

air

p

–

3 8

OO OO O

œœ œ



‚

$

tone

" ƒf "

–

–

‰

œ œ

œœ œœ œ



3

‚

" m œœ P

4 8

cluster chromatic all keys air

3 8

–

‰

.

3 8

O



Lift fingers from keys

ƒ

#

3

"

œ>œ

3

4 8

–

5:4

‚

3

3

#

–

Gt/Obj.

4 8

" – –– –– –– –– –– –– –– –ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ $ $

‰

r

5:4

3

‰

OO O

O

4 " ƒf " 8

72

OO OO O

J O

3:2

" ƒf "

&

3 8

4 8

Œ

fi -' I. – 3:2

J

p

J

-&– 3:2

R

' >–

& >–

Í

Í

R

' >–

& >–

Í

Í

R

' >–

4 8

3:2

J

Í ' >–

3:2

J

Í

Nicolai Worsaae 14

play close to the tail piece

- - - ‚ ‚ ‚ ‚ 3:2

3 8

- - ‚ ‚ ‚ ‚ 3:2

4 8

‰

‰

Œ

II.

3:2

-–' J

p

J

-–& 3:2

play close to the tail piece

- - - ‚ ‚ ‚ ‚ 3:2

- - ‚ ‚ ‚ ‚ 3:2

‰

‰

Œ

fi -' I. – 3:2

J

p

J

-–& 3:2

3 8

P

M >œ

3 8 77

B b Cl.

"

&

"

‰

f

3 8 77

3

Œ

f

&

air fl.z (throat sound)

" æ

3 8

–

÷

Gt/Obj.

‰

–

> m œœœ

‰ 3:2

3 8

‰

–.

‚‚‚‚‚‚‚‰

f

‰

‚

$

‚

‚

‚

‚

‚

P

air

p

j

3:2

OO O

p

P

f

M b>œ

"

‰

4 8

f

‰

–

"

‰

‰

‚

$

‚

‚

‚

‚

‚

3

3

–

‰

– "ƒ"

–

4 8

– "ƒ"

# 3 8

4 8

–

–

‚

key-gliss on black & white keys

‰

r

5:4

‰

‰

OO O

O

4 " ƒf "

"

OO OO O

J O

3:2

œœ œ

8

‚

"

3 8

OO OO O

" ƒf "



–

tone

œœ œœ œ

OO O

3 8

–

‚

4 8

OO OO O

‰

r r 7œ :4œ

7

#

M >œ

P

cluster chromatic all keys air

"

3 8

" m !‚ " !‚ " !‚ > > > ß ß ß

 .

4 8



r

r r 7œ :4œ

$

Lift fingers from keys

ƒ

# 4 8

7

j j 5œ :3œ

P

3

–– –– " ‰ ÿ ÿ

slap tongue/multi phonic

æ

$

#

&

3 8

–

f

3:2

4 8

3

3

M >œ

4 8

" – –– –– –– –– –– –– –– –ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ $ $

Pno.

77

M b>œ

‚

‚

–

‚

P

‚

‚

‚

‚

‚

‚

‚

3

P 3 8 77

Vln.

Vc.

R

R

' >–

& >–

Í

Í

R

' >–

& >–

Í

Í

R

' >–

4 8

3:2

J

Í ' >–

3:2

J

Í

play close to the tail piece

- - - ‚ ‚ ‚ ‚ 3:2

3 8

- - ‚ ‚ ‚ ‚ 3:2

4 8

‰

‰

Œ

II.

3:2

'–

J

p

J

&– 3:2

3 8

R

play close to the tail piece

- - - ‚ ‚ ‚ ‚ 3:2

- - ‚ ‚ ‚ ‚ 3:2

‰

Nicolai Worsaae 15

‰

Œ

fi 'I. – 3:2

J

p

J

&– 3:2

R

' >–

& >–

Í

Í

' >–

& >–

Í

Í

R

R

4 8

Q

M >œ

4 8 82

Œ

&

B b Cl.

4 8 82

" æ

Pno.

" Œ

4 8

÷

82

3 8

j

– – –– –– –– –ÿ –ÿ ÿ ® ‰ – – –– – ÿ –– –– –ÿ ÿ ÿ ÿ ÿ

5

‚

J

$

‚

‚

‚

6

‚ ‚ ‚ ‚ ‚ ‚‚‚‚‚‚

"

‚ !

> ß

#

key-gliss on black & white keys

3 8

3

– – "ƒ"

– – "ƒ"

–

"

– "ƒ"

7

Q

3 8

>œ 3:2

‚‚‚‚‚‚‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

J

f

– – –– –– –– –ÿ –ÿ ÿ ®‰ – – –– – ÿ –– –– –ÿ ÿ ÿ ÿ ÿ

Œ

ƒ

3

3:2

ƒ

3

–

‚

´ ‚´ ´ ´ ´ ´ ´ ´ ´´´ ´ ´ ´ ´ ´ ´ ´ ‚ 5

‰

4 8

–

6

"

3 8

#

j j 4œ :3œ

$

.

> m œœœ

‰

–

$

Lift fingers from keys

#

3

5

4 8

6

3 8

j

– 6

‰

5

ÿ %

# 4 8

7

‚ ! " ‰

> ß

4 8

Q

–

Gt/Obj.

‰

#

–.

3 8

3:2

" m !‚ > ß

4 8

6 5

ÿ %

#

4 8

" m !‚ " !‚ " !‚ > > > ß ß ß $

P 3 8

&

j j 5œ :3œ

–

$

– "ƒ"

slap tongue/multi phonic

æ

–

–

3:2

&

air fl.z (throat sound)

f

3:2

3 8

j j 4œ :3œ

3

3

–

–

´ ‚´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

P

3 8

$

6

5

´ 3

´

‚

P

Q

' >–

4 8 82

Vln. 3:2

J

Í ' >–

Vc. 3:2

J

Í

- - - ‚ ‚ ‚ ‚ 3:2

3 8

- - ‚ ‚ ‚ ‚ 3:2

4 8

‰

‰

 -‚

II. & III. ( )

–

% - - - ‚ ‚ ‚ ‚ 3:2

- - ‚ ‚ ‚ ‚ 3:2

 ‰

‰

-‚

%

‚ –

-‚

( )

–

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

4 8

‚ –

( )

$

II. & III. ( )

–

-

( )

3 8

‚ –

( )

-‚

( )

–

Nicolai Worsaae 16

‚ –

( )

-‚

( )

–

$

-‚

( )

–

‚ –

( )

-‚

( )

–

p ‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

p

‚ –

( )

-‚

( )

–

3 8

R slap tongue

3 8 87

B b Cl.

&

3

bœ ÿ f

"

3

®

!

> ß

slap tongue

slap tongue

œ

œ

ÿ ÿ f œÿ

"

4 8

"

!

> ß

slap tongue

3

bœ ÿ f

"

3

!

> ß

®

œ

®

ÿ ! > f œÿ ß

"

œ

ÿ f

3 8

‰

"

3

4 8

air fl.z quasi tone

"

æ –P

.. "

#

$

"

!

> ß

mœ ÿ f

3

" ®

œ

ÿ f œÿ

®"

œ

ÿ f

3

"

3 8

air fl.z quasi tone

œ

nœ " æ æ ÿ ÿ b œÿ – –. f F

" ..

$

R 3 8 87

&

3

––

––

––

ÿ –– –– ÿ –– –– ÿ –– –– –– –– ––ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ %

Pno.

3 8

j j 4œ :3œ

÷

–

$ 3 8

5



87

(

Vln.

-) ‚ –

(

-‚ ) –

j j 4œ :3œ

3

‚ –

( )

(

Vc.

-) ‚ –

(

-‚ ) –

P

œœ ––

––

6 5

– – –– –– –– –ÿ –ÿ ÿ ® – – –– – ÿ –– –– –ÿ ÿ ÿ ÿ ÿ

‰

ÿ %

–

´ ‚´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´

P

$ 4 8

3 8

3

-‚

( )

–

6

5

‚ –

( )

3

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

F

4 8

3

#

j j 4œ :3œ

–

P

$ 3 8

-‚

( )

–

6

5

j j 4œ :3œ

‚ –

( )

3

-‚

( )

–

#

..

‚ –

-‚

( )

–

‚ –

( )

-‚

( )

–

f

œœ ––

––

ÿ –– –– ÿ œœ œœ ÿ ÿ –– –– ÿ ÿ ÿ ÿ ÿ ÿ ÿ %

––

3 8

3

––

––

––

œœ

.. ÿ –– ÿ –– ÿ –– ÿ –– ÿ –– –– ÿ œœ œœ ÿ ÿ ÿ ÿ ÿ ÿ ÿ

#

?.

#

.

.

´ ´ –´ –´ ´ –´ –´ ´ ´ –´ –´ ´ ´ ´ –

.. –

#

–

– –

– –

3

$ P

P 4 8

––

.. ¬

#

3 8

–

–.

.

´ ´´´ ´ ´´´ ´ ´ ´ – ´ ––– ´ ´ ´ ´ – ´ –––´ – –

–

–

–

3

––

–

– ..

–

5

5

P f

R

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

‚ –

( )

Nicolai Worsaae 17

-‚

( )

–

‚ –

( )

( -) .. ‚

–

-‚

( )

–

ƒ

f

( )

––

3

5

´

´

.. ‰

3

R

‚´ ´ ´ ´ ´ ´ ´ ´´´´ ´´´´ ´ ´ ‚

‚

#

4 8

3

–

F

P



––

–

´

6

––

3 8

#

‚´ ´ ´ ´ ´ ´ ´ ´´´´ ´ ´ ´ ´ ´ ´ ‚

Gt/Obj.

––

3

4 8

3

–

3

ÿ –– –– ÿ –– –– ÿ œœ œœ ÿ ÿ –– –– ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ %

#

&

87

4 8

5

-‚

( )

–

( -) .. ‚

–

ƒ

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

-‚

( )

–

3 8

..

..

S 3 8 93

B b Cl.

air fl.z slap tongue quasi tone 3:2

&

" æ ! – > ß p

j j 4œ :3œ

air fl.z quasi tone

slap tongue

air fl.z slap tongue quasi tone

3:2

" æ ! –> p ß

3:2

" æ ! – > ß p

S

&

–

–.

–

–.

?

93

–

–.

–

–

–.

–.

"ƒ" "ƒ" "ƒ" "ƒ" "ƒ" "ƒ"

" æ ! – > pß

–

3

– – "ƒ"

– "ƒ"

3

Gt/Obj.

–

"f "

f

–

– –

–

–

´

–

´

" æ ! -– > ß P

–

–.

–

– –

3

5

‰

– – "f "

3:2

– –

$

3

4 16

air fl.z quasi tone

" æ – m! > ß P

æ

÷

–

4 16

"

‰

Œ

# 4 16

j

–

‰

–

"f "

´ –´ –´ ´ –´ –´ ´ ´ –´ –´ ´ ´

–

slap tongue

#

.

–

5

–.

4 8

´ ´ ´ ´ ´ – – – ´ ´ ´ ´ – ´ –

– –

–

3

#

´ ´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ ´ ´ ´ – – – –

"

"f "

#

.

–

–

–.

– "ƒ"

–.

–

" æ ! –> p ß

4 8

air fl.z quasi tone

slap tongue

3:2

" æ ! – > pß

S

÷

air fl.z air fl.z slap tongue quasi tone slap tongue quasi tone 3:2

–

# 3 8

4 8

air fl.z quasi tone

3:2

3

–.

Pno.

slap tongue

key-gliss on black & white keys

3 8 93

j j 4œ :3œ

–

´ –´

–

´ ´ ´ – ´

–

3

–

–

3

´ –´

–

Œ

#

Œ

#

÷

3

S 3 8



93

(

Vln.

-) ‚ –

(

-‚ ) –

(

Ï

Vc.

-) ‚ –

Ï

‚ –

-‚

( )

–

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

p

 (

-)

4 8

(

-‚ ) –

(

-) ‚ –

-‚

( )

–

‚ –

( )

-‚

( )

–

‚ –

( )

p

‚ –

( )

-‚

( )

–

‚ –

( )

-‚

( )

–

-‚ –

‚ –

( )

Nicolai Worsaae 18

-‚

( )

–

‚ –

( )

$

-‚

( )

–

‚ –

( )

‚ –

-‚

( )

–

%

$ ( )

-

( )

-‚

( )

–

‚ –

( )

%

-‚

( )

–

‚ –

( )

‚ –

( )

-‚

( )

–

-‚

( )

–

4 16

2nd movement

T 4 16 98

B b Cl.

e = 60

U

Trompet or Horn



˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

hand ram

÷

"ƒ"

T

" "

‹ ‹ ‹ ‹ ‹ ‹ & –.

%

#

?

#

#

Gt/Obj.

÷

j @. O% ‚

"

gliss.

‚ ‚ "

®

" "

‹ ‹ ‹ ‹ & –

%



‹– ‹ ‹ ‹ "

" ÷ ˘‹ ˘‹ ˘‹ ˘‹ .. hand ram

"

p

4 16

%

"ƒ"

r r 5œ :3œ

click sounds/ air sound / short pitch sounds

3 16

#

#

..

#

#

#

..

#

#

‚. ‚. ‚. ‚. ‚. ‚.

‚. ‚.

%

4 16

"

#

"

.. ..

#

# "

F p

¯

gliss. ‚ ‚ " ‚ ‚ ® ®

P

F p

# "

¯

gliss. ‚ ‚ ‰ ‚ ‚ ® ®

P

F p

3 16

O-@.

‚. ‚ ® ® gliss.

¯ ‚

‚.

gliss.

O-@

.. "

"

%

Object 2 whistle (referee)

¯ ‚

.. ‚ ‚

p

O@.

% ®

4 16

‚

®

‚

p

® "

‚ ‚ ‚ ®

‚

# ®

p

‚ ‚ ‚ ®

..

#

‚

®

Kr ‚ ‚ ® ‚ . ‚ ® ‚ ‚ ®‚ .

p

P

e = 60

T

U

very unstable high pitch (quasi noise) due to a too soft bow pressure.

4 16

-O .

II.

"

O

-O .

II.

"

-O .

O

-O .

O

-O .

Ø

3 16

.. ®

quasi legno é arco (tratto) II.

-‚ -‚ -‚

$

-‚

legno batutto

-‚

-‚

rK rK 7œ :6œ

R

-‚

- -‚ ‚ -‚ ‚ 5:4

O

-O .

O

-O .

O

-O .

Ø Nicolai Worsaae 19

.. ®

-‚ -‚ -‚

R

$

"ƒ"

Kr Kr 7œ :6œ

p$

-‚

-‚

R

-‚

- -‚ ‚ -‚ ‚ 5:4

R

"ƒ"

legno batutto

-‚

legno batutto 7:4

‚ – ––– – ‚ fl ÿ ÿ ÿ ÿ ÿ " ƒf "

quasi legno é arco (tratto) II.

legno tratto

7:4

"ƒ"

very unstable high pitch (quasi noise) due to a too soft bow pressure.

Vc.

.. ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

´ ´ ´ ´

U

Object 1 plate for pearl decoration

¯

´ ´ ´ ´

air & key clicks

"ƒ"

e = 60

P

Vln.

÷

%

Object 2 whistle (referee) very fragile

÷

98

%

hand ram

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

Pno.

98

"

˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

3 16

U

#

4 16

‹– ‹ ‹ ‹ ‹ ‹ " .



click sounds/ air sound / short pitch sounds

&

T

´ ´ ´ ´ ´ ´

p

e = 60

4 16 98

´ ´ ´ ´ ´ ´

air & key clicks

– – – .. –– – ‚ fl ÿ ÿ ÿ ÿ ÿ ÿ

p$

" ƒf "

legno tratto

legno batutto

7:4

R

7:4

–‚ –– – ‚ – fl ÿ ÿ ÿ ÿ ÿ

p$

" ƒf "

"ƒ"

R

––. –– . – ‚ –ÿ ÿ ÿ ÿ ÿ ÿ fl

p$

" ƒf "

4 16

W

V 4 16 106

B b Cl.

÷

.. ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ "

˘‹

"

"ƒ"

˘‹

"

" ˘‹

˘‹

˘‹

"

" ˘‹ ˘‹ ˘‹ ˘‹ "

r r 4œ :3œ

"ƒ"

3 16

..

r r 5œ :3œ

"ƒ"

V

106

&

..

?

..

Pno.

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

‚. ‚. ‚. ‚.

‰

#

#

#

#

..

#

..

"

@

@

O.

O

%

p

..

#

Vln.

‚

gliss.

‰

‰ % P ¯

# "

‚

$

fi

V

106

´ ´ ´ ´

®®

-‚ $

-‚

‚

-

fi

legno batutto on the bridge

Vc.

..

%

‹

´

‹

‹

p

4 16



"

˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

hand ram

÷

"

%

"ƒ"

"

click sounds/ air sound / short pitch sounds

. . ‚. ‚ ‚ ‚. ‚. ‚.

"

% #

‚.

"

‚.

4 16

. ‚. ‚. ‚. ‚. ‚. ‚

% #

#

5:4

r r 4œ :3œ

-‚ $

"

‚

$

" R

‚ ‚ " " " gliss.

r r 5œ :3œ

..

P ¯ r

‚ "

$

R

#

..

‚

"

"

F

r r 5œ :3œ

– " ¬ "ƒ"

>

P ¯ ‚

‚

< P

" " "

@

@

O-

O

p

% ‚

-

"f "

rK

‚

‚

-

rK

‚

‚

– ¬

>

"

– ¬

>

" –

¬ " . &.

>

o

3 16

œ. œ. µ œ. œ.

legno batutto

"

-‚

‚

-

‚

F

r r 4œ :3œ

" % P ¯

" " "

‚

< P

@

O-

%

"f "

-

"

"

– " ¬ > "ƒ"

– ¬

>

"

– ¬

>

" –

¬ " . &.

œ. œ. µ œ. œ. m œ. œ.

%

>

Nicolai Worsaae 20

œ. œ. µ œ. œ.

%

‚

-

‚

-

"f "

fi

grey noise

B œ. œ. n œ. œ. µ œ. œ. P

arco IV.

"

®

-‚ $ fi

grey noise arco

legno batutto

"

rK

‚

o

r r 5œ :3œ

4 16

Object 2 whistle (referee)

W

r r 4œ :3œ

scratch

arco I.

®®

gliss.

r r 5œ :3œ

Object 2 whistle (referee)

pizz.

grey noise

´ ´ ´ ´

"

scratch

IV.

5:4

– – – –

‚. ‚

arco

legno batutto on the bridge

– – – –

r r 4œ :3œ

P ¯

#

pizz.

grey noise

..

‹–

´

W

Gt/Obj.

4 16

‚. ‚.

3 16

Object 2 whistle (referee)

.. "

÷

"

‹ ‹ ‹ ‹ & –

#

V

÷

"

´

click sounds/ air sound / short pitch sounds

3 16

%

4 16 106

´

W

click sounds/ air sound / short pitch sounds

4 16

˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ "ƒ"

"ƒ"

´ ´ ´ ´

air & key clicks

œ. œ. µ œ. œ. m œ. œ.

B œ. œ. n œ. œ. µ œ. œ. P

IV.

"

®

-‚ $

‚

RÔ

4 16

X

whistle-tone

whistle-tone

4 16 114

B b Cl.

"whistle" through the instrument results in a high pithed whistle- tone



˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

hand ram

÷

"

(

&

o ±.

O.

o ±

3 16

o ±.

O

)

"whistle" through the instrument results in a high pithed whistle- tone

O.

..

"

"ƒ"

(

o ±.

O.

o ±.

o ±.

J

J

O.

)

J

O.

O

X 4 16 114

&

key-gliss on black & white keys

‚. ‚. ‚. ‚. ‚. ‚. ‚. ‚.

. . . ‚. ‚ ‚ ‚

‰

#

"

Pno.

?

# 4 16

114

÷

‚

‚

‚. ‚. ‚. "ƒ" "ƒ" "ƒ"

#

O@

"ƒ"

Gt/Obj.

gliss.

"

¯

‰ %

‚ ‚ ‰

®

P

@ O% P

#

F ¯

gliss. ‚ ‚ ‰ ‚ ‚ ® ®

F ¯

@ O-

@

3

@

p

‚. ‚ ® ® gliss.

p

"

P p ¯ ‚

‚.

gliss.

P ¯

Vln.

-‚

-‚

‚

r r 5œ :4œ

"

"

F

– ¬

>

"ƒ"

"

– ¬

>

"

– ¬

>

"

– ¬

>

3 16

"

‰

pizz. scratch

Vc.

-‚

‚

-

‚

F

"

– ¬

>

"ƒ"

. Ø

#

$

#

O-@

O@

% ®

‚

‚

®

p

" %

$ p ‚ ‚ ‚ ®

p

‚

" ®

p

O-@

‚ ‚ ‚ ®

p

5 16

O@

% ‚

®

5 16

..

" % P

$ P

..

Kr ‚ ‚ ® ‚ . ‚ ® ‚ ‚ ®‚ .

P

"

– ¬

>

"

very unstable high pitch (quasi noise) due to a too soft bow pressure.

-O

arco II.

.. "

O

-O

O

-O

O

-O

O

-O

O

-O

O

-O

Ø

5 16

..

very unstable high pitch (quasi noise) due to a too soft bow pressure.

r r 5œ :4œ

"

–– ––. . – – . . – –– –– –– –. . . .

#

#

rK rK 7œ :6œ

X

.. ‚ ‚

p

#

#

p

‚

‚

..

"

X

scratch

114

‚

‚. ‚. ‚. "ƒ" "ƒ" "ƒ"

.. "

pizz.

4 16

‚

.. 3 16

O-@.

O O-

gliss. ‚ ‚ ‰ ‚ ‚ ® ®

p

p

3

..

#

very fragile

P

÷

#

‚



3 16

5 16

o ±

– ¬

>

"

-O

arco II.

– ¬

>

"

‰

Nicolai Worsaae 21

.. "

Ø

..

Y 5 16 122

B b Cl.

4 16

&

#

#

122

&

.

"

Lift fingers from keys

> m œœœ ...

.

ƒ

# 5 16

122

Lift fingers from keys

> m œœœ ...

?

-o (±. )

"

æ F

"

Lift fingers from keys

%

> m œœœ ...

.

ƒ

#

click sounds/ air sound / short pitch sounds

4 16

"

®

air fl.z (throat sound)

-o (±. )

possibly with whistle-tone

" ƒf "

ƒ

Pno.

air fl.z (throat sound)

possibly with whistle-tone

–.

#

Y 5 16

air fl.z (throat sound)

. . ‚. ‚. ‚ ‚ ‚.

. ‚. ‚

Ø

–.

"

æ F

%

" ƒf "

‚.

‚.

‚.

‚.

‚.

Ø

#

Y

‚.

$

#

air fl.z (throat sound)

-o (±. )

"

possibly with whistle-tone

–.

æ F

click sounds/ air sound / short pitch sounds

‚.

‚.

‚.

‚.

‚.

"

æ F

%

" ƒf "

®

–.

"

‚.

3 16

-o (±. )

possibly with whistle-tone

%

" ƒf "

‚.

Ø

3 16

. ‚. ‚ ‚. ‚. ‚. ‚. $

#

÷

Ø

#

"

#

4 16

÷

#

#

#

÷

#

#

#

3 16

#

Object 1 plate for pearl decoration

P

Gt/Obj.

‚

gliss.

"

F ¯

P

‚ ‚ ‰

®

‚ ‚

p

gliss.

F ¯ ‚

® ®

# ‰

‚

p

P ‚ ‚

gliss.

F ¯ ‚

® ®

# ‚

#

P

‰

‚. ‚ ® ®

F P ¯

gliss.

p

‚

‚.

gliss.

F ¯ ‚

p

Y legno batutto

5 16 122

Vln.

>– ƒ

"

>– ƒ

"

>– ƒ

4 16

"

®

quasi legno é arco (tratto) II.

-‚ -‚ ‚

$

-‚

-‚

-‚

rK rK 7œ :6œ

R

-‚

-‚ ‚ -‚ ‚ 5:4

R

>– Vc.

ƒ

"

>– ƒ

"

>– ƒ

"

®

-‚ – – – – – ‚ ÿ ÿ ÿ ÿ ÿ

– – – – – ® – ‚ –ÿ ÿ ÿ ÿ ÿ ÿ ÿ

fl

p $

legno batutto

quasi legno é arco (tratto) II.

-‚ -‚ ‚

$

rK rK 9œ :6œ

" ƒf "

"ƒ"

-‚

-‚

-‚

Kr Kr 7œ :6œ

" ƒ "Nicolai Worsaae 22

R

-‚

-‚ ‚ -‚ ‚ 5:4

R

legno batutto

legno tratto

7:4

R

"ƒ"

fl

p$

" ƒf "

legno tratto

legno batutto

7:4

Kr Kr 9œ :6œ

– -‚ – – – ‚ –ÿ ÿ ÿ ÿ ÿ

– – – – – ® – ‚ –ÿ ÿ ÿ ÿ ÿ ÿ ÿ fl

fl

p $

" ƒf "

"ƒ"

R

p$

" ƒf "

3 16

Z 3 16 129

B b Cl.

air fl.z & key clicks



"

.. ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ hand ram

÷

"

"ƒ"

´ ´ ´ ´

‹ ‹ ‹ ‹ & –

æ %

1.

´ ´ ´ ´

2.

‹– ‹ ‹ ‹ "

"

æ p

..

%

´ ´ ´ ´

‹– ‹ ‹ ‹ "

"

æ p



˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ hand ram

÷

%

air fl.z (throat sound)

4 16

˘‹ ˘‹ ˘‹ ˘‹ "

.. – . æ F

&

"ƒ"

click sounds/ air sound / short pitch sounds

129

.. "

&

‚. ‚.

"

?

..

‚. ‚. ‚. ‚. ‚. ‚.

Ø

Pno.

1.

‚. ‚.

Ø

%

#



2.

"

#

"

#

..

‚. ‚.

Ø

..

"

"

#

129

Object 2 whistle (referee)

÷

..

÷

.. ‚ . ‚ ® ® ® "

Gt/Obj.

1.

#

P

F ¯

gliss.

O@

2.

" %

$

‚ "

#

p

# ‚.

.. ..

J

#

#

#

® ‚. ‚ J

‚ ‚

®

.. ®

P

p

.. 4 16

®

‚ ‚

‚ ‚

®

®

‚ ‚

rK rK 10œ :8œ

#

..

possibly with whistle-tone

@

®

%

" ƒf "

®

––. ––. ––. ––. ––. ––. ––. ––. ––.

p

5 16

..



5 16

@

O

%

‚ ‚

"

æ F

O-

"

3 16

-o ( ± )

Ø

Object 2 whistle (referee)

.. ‰

#

––. ––. ––. ––. ––. ––. ––. ––. ––.

air fl.z (throat sound)

–

%



4 16

rK rK 7œ :6œ

Ø

Z 3 16

. . ––. ––. –– – . . – – ––. –– –

. . . . –. – ––. –– –– –– – –

#

"

" ƒf "

Z 3 16

5 16

-o ( ±.)

possibly with whistle-tone

®

‚ ‚

Ø

#

@

O

$

3 16

.. .. 3 16

..

‰ % ‚ ‚

®

®

‚ ‚ . .

Z 3 16 129

Vln.

very unstable high pitch (quasi noise) due to a too soft bow pressure. arco II.

.. "

-O

.. "

-O

O

-O

Ø

very unstable high pitch (quasi noise) due to a too soft bow pressure. arco II.

Vc.

O

1.

-O

Ø

O

-O

1.

O

-O

2.

..

O -‚ -‚ -‚ -‚ -‚

-‚ - -‚ - -‚ ‚ ‚ ‚

play close to the tail piece

O -‚ -‚ -‚ -‚ -‚

-‚ - -‚ - -‚ ‚ ‚ ‚ F

$ 2.

..

play close to the tail piece

-‚ - -‚ - -‚ ‚ ‚ ‚

$

-‚ - -‚ - -‚ ‚ ‚ ‚ F

Nicolai Worsaae 23

4 16

..

..

-‚ - -‚ - -‚ - -‚ ‚ ‚ ‚ ‚ $

-‚ - -‚ - -‚ - -‚ ‚ ‚ ‚ ‚ $

5 16

-‚ - -‚ - -‚ - -‚ - -‚ ‚ ‚ ‚ ‚ ‚ F

%

-‚ - -‚ - -‚ - -‚ - -‚ ‚ ‚ ‚ ‚ ‚ F

%

3 16

..

..

AA 3 16 137

B b Cl.

(

&

whistle-tone

whistle-tone

"whistle" through the instrument results in a high pithed whistle- tone

"whistle" through the instrument results in a high pithed whistle- tone

o ±.

O.

o ±.

o ±.

J

J

O.

)

J

o ±

O.

O

(

"

o ±.

O.

o ±.

o ±.

J

J

O.

)

J

4 16

o ±

O.

O

"

AA



3 16 137

®

&

Pno.

?

––.

––.

––.

––.

––.

––.

––.

––.

––.

––.

click sounds/ air sound / short pitch sounds

––.

#

Ø

#

"

#

#

#

#

&

‚

˘‚

‚.

Ø

‚.

"

®

®

‚.

‚.

Ø

‚.

4 16

click sounds/ air sound / short pitch sounds

"

#

®

‚.

‚.

Ø

‚.

"

#

"

#

"ƒ"

3 16

÷

®

gliss on white keys

AA

137

"

‚.

click sounds/ air sound / short pitch sounds

#

#

#

#

#

#

#

#

#

"

@

O-

$

%

"

@

O-

$

%

"

4 16

@

O-

$

%

Gt/Obj.

÷

‚

‚

®

#

#

#

÷

AA

o

3 16 137

Vln.

œ.

œ. µ œ.

legno batutto

#

&

"

œ.

œ.

œ. µ œ.

œ. m œ.

œ.

B œ. œ. n œ. œ. µ œ. œ.

m œ. œ. B œ. œ. P

%

œ.

œ. µ œ.

legno batutto

"

"

œ.

œ.

œ. µ œ.

œ. m œ.

œ.

$

B œ. œ. n œ. œ. µ œ. œ. P

o legno batutto

Vc.

#

&

"

œ.

œ. µ œ.

œ.

.

œ

.

.

œ µœ

.

.

œ mœ

.

œ

B œ. œ. n œ. œ. µ œ. œ.

m œ. œ. B œ. œ. " P

% Nicolai Worsaae 24

legno batutto

"

œ.

$

œ. µ œ.

œ.

œ.

œ. µ œ.

œ. m œ.

œ.

B œ. œ. n œ. œ. µ œ. œ. P

4 16

BB 4 16 145

B b Cl.

e = 80

air fl.z (throat sound)

5 16

-o (± . )

possibly with whistle-tone

–.

&

"

æ F

BB

e = 80

&

®

key-gliss on black & white keys

Pno.

–

&

–

–

–. –. –. –. " ƒ " " ƒ " " ƒ " " ƒ" BB 4 16

145

÷

e = 80

Object 1 plate for pearl decoration

P

Gt/Obj.

÷

‚

" BB

Vln.

–

5 16

#

4 16

P

‚ ‚ ‰

®

#

#

F ¯

gliss. ‚ ‚ ‰ ‚ ‚ ® ®

p

‚ ®

p

fi

grey noise

5 16

arco IV.

®

-‚ $

scratch

"

-‚

‚

-

fi

grey noise

-‚ F

4 16

‚

scratch

$

p

p

IV.

-‚ $

-‚

#

‚

-

fi

grey noise

-‚ . F

˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ "

–

"

" ‚ ® "

"

4 16

‚

–

Vc.

®

-‚ $

-‚

‚

-

-‚ F

‚

$

®

-‚ $

-‚

‚

-

Nicolai Worsaae 25

-‚ .

p

‚

-

F

rK

"

-‚

3 16

Kr

‚

$

scratch

IV.

$

‚ ® ‰

F

fi

-‚ $

Ø

#

grey noise

‚

‰

scratch

7 16

-‚

3 16

3 16

p

IV.

®

$

7 16

gliss. ‚ ‚ Œ ‚ ‚ ® ®

fi

-‚ $

#

P F ¯

grey noise

$

–

‚ ‚ ‰

®

®

$

#

F ¯

gliss.

‚

÷

–

–. –. –. –. "ƒ" "ƒ" "ƒ" "ƒ"

P

scratch

IV.

æ F

––. ––. ––. ––. ––. ––. ––. ––. ––.

arco IV.

& –.

 ®

key-gliss on black & white keys

scratch

6 16

possibly with whistle-tone

7 16

"

#

3 16

-o (±.)

" ƒf "

4 16

4 16

"

˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

air fl.z (throat sound)

"ƒ"

6 16

gliss. ‚ ‚ " ‚ ‚ ® ®

fi

÷

Ø

#

P F ¯

grey noise

$

–

‚ ‚ ‰

®

®

æ F

7 16



hand ram

"

& –

––. ––. ––. ––. ––. ––. ––. ––. ––.

$

#

F ¯

gliss.

‚

÷

–

–. –. –. –. "ƒ" "ƒ" "ƒ" "ƒ"

P

"

–

4 16

 ®

key-gliss on black & white keys

e = 80

4 16 145

gliss.

F ¯

–

˘‹ ˘‹ ˘‹ ˘‹ "

6 16

#

Ø

-o ( ±)

possibly with whistle-tone

" ƒf "

4 16

––. ––. ––. ––. ––. ––. ––. ––. ––.

$

˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹ ˘‹

air fl.z (throat sound)

"ƒ"



5 16

#

÷

%

" ƒf "

6 16



hand ram

"

æ F

4 16 145

4 16

-o ( ± )

possibly with whistle-tone

–

%

" ƒf "

air fl.z (throat sound)

-‚

‚

-

Kr

-‚ F

Kr

‚

$

CC

DD

3 16 151

B b Cl.

4 16

..

&

#

..

#

muta in Clarinet in si b

CC

#

#

#

&

#

..

#

..

& 3 16 151

#

Volume ped.

# Electric Guitar

..

#

j –.

"

‚

..

slide

‚

‚

‚

‚

$

‚

..

– "ƒ"

–

– ® " ‚

slide

‚

‚

‚

‚

‚

.. ®

quasi legno é arco (tratto) II.

-‚ -‚ ‚

4 16

$

-‚

-‚

rK rK 7œ :6œ

R

-‚

- -‚ ‚ -‚ ‚ . . 5:4

R

-‚ -‚ -‚ ‚ .. ® -‚ -‚ $

"ƒ"

Kr Kr 7œ :6œ

R

-‚

- -‚ ‚ -‚ ‚ . . 5:4

R

–. –. –. "ƒ" "ƒ" "ƒ"

p

3:2

ß

––

––

3

––

ÿ

––

ÿ

––

ÿ

#

#

®

"

–

–

´

´

–

–

´ –´ –´ ´ ´

–

´

´

–

– –

3

–

ÿ

–

––

––

ÿ –– –– ÿ ÿ ÿ

––

ÿ

#

– – – –– –– – –– –– –ÿ –ÿ ÿ ÿ ÿ ÿ ÿ

j

´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ –

–

––

%



¬

´ –´ –´ ´ –´

p

3:2

3

%

Electric Guitar

® "

"

" æ ! -–

Volume ped.

"

legno tratto

legno batutto

7:4

7:4

‚ – – – –ÿ ÿ ÿ – ‚ ÿ ÿ

– – – – –ÿ ÿ ÿ – ‚ ÿ ÿ

fl

p$

R

"ƒ"

legno batutto

quasi legno é arco (tratto) II.

–

#

æ –-

–

3

–

5

–

´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ –

–

–

–

–

5

5

F

legno tratto

" ƒf "

"ƒ"

–

$

legno batutto

-‚

–

fl

– "ƒ"

DD

3 16

Vc.

fl

®

"

ÿ –– ÿ ÿ –– ÿ ÿ %

3

–

– ‚

air fl.z quasi tone

––

#

P

CC

Vln.

#

gliss on white keys

DD

..

÷

..

#

CC

Gt/Obj.

151

# key-gliss on black & white keys

Pno.

air fl.z quasi tone



4 16

>‚

slap tongue/multi phonic

!

DD

..

>‚

slap tongue/multi phonic

ß

3 16 151

Clarinet

4 16

fl

p$

legno batutto

J

" ƒf "

legno tratto

7:4

arco

– –– – –ÿ ÿ ÿ ÿ – ‚ ÿ ÿ

–

fl

"

ß 3

p$

" ƒf "

legno batutto

legno tratto

˘. . . .

legno batutto

7:4

7:4

arco

– ‚ – –ÿ ÿ – ‚ –ÿ ÿ ÿ

– – – –ÿ ÿ – ‚ –ÿ ÿ ÿ

–– – –ÿ ÿ ÿ – ‚ –ÿ ÿ ÿ

–

fl

p$

" ƒf "

"ƒ"

R

fl

p$

" ƒf "

Nicolai Worsaae 26

J

fl

p$

" ƒf "

˘. . . .

ß 3

"

5

˘. . . . –

ß

5

7:4

"

legno batutto

˘. . . . –

"

5

3

ß

‰

5

7:4

arco

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

–

ÿ $

P

"

ß 3

legno batutto

"

˘. . . . –

ß

5

˘. . . . –

" 3

ß

5

‰

˘. . . .

arco

–– – –ÿ ÿ ÿ – – –ÿ ÿ ÿ

–

ÿ $

P

˘. . . .

ß 3

5

–

ß

5

7:4

"

"

˘. . . .

"

–

ß

5

–

"

5

˘. . . .

˘. . . . 3

ß

5

˘. . . . –

" 3

ß

5

>‚

slap tongue/multi phonic slap tongue 159

B b Cl.

159

3

3

& " "

&

"

! b! > > > !

!

ß

´ ´ ´ ´ ´ ´ ´ ´

–– –– –– –– –– –– –– ––

air fl.z quasi tone

"

p

3:2

––

ÿ

––

ÿ

––

ÿ

#

159

Gt/Obj.

÷

–

F

–

–

–

–

´ ´ ´ ´ ´ – – – ´ – ´ ´ ´ –

–

5

–

–

5

Vln.

"

˘. . . . –

ß 3

"

˘. . . . –

ß

5

˘. . . . –

"

5

3

ß

"

–

$

˘. . . . –

ß

5

Vc.

"

–

ß 3

5

"

˘. . . . –

ß

5

˘. . . . –

"

3

3

ß

5

"

3

" "

æ –-

! b! > > >

" "

3

––

ÿ

–

"

5

˘. . . . –

––

ÿ

‰

––

ÿ

––

#

 ®

7:4

arco

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

–

ÿ $

P

"

ß 3

5

ÿ $

˘. . . .

ß 3

P

"

–

– –

"

–

ß 3

5

˘. . . . –

ß

5

˘. . . .

´

´

5

® –– –– –– – – – – –– – –ÿ ÿ ÿ ÿ ÿ ÿ ÿ

–

–

–

"

5

3

ß

"

˘. . . . –

"

–

ß

5

–

ß

5

3

5

˘. . . . –

" 3

ß

5

"

˘. . . . –

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

ÿ $

P

"

ß 3

5

–

ß

"

5

–

–

–

–

–

–

P

"

Nicolai Worsaae 27

˘. . . . –

ß 3

5

5

arco

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

–

P

"

ß 3

–– – –ÿ ÿ ÿ – – –ÿ ÿ ÿ

ÿ $

"

P

"

–

ß 3

5

˘. . . . –

ß

5

˘. . . .

"

æ

-–

p

3:2

3 16

3

––

ÿ

––

ÿ

ÿ

# 3 16

j

–

´ ´ ´ ´ ´ – – – ´ – ´ ´ ´ –

–

F

‰

––

–

–

–

–

´ ´ ´ ´ ´ – – – ´ – ´ ´ ´ –

–

5

–

–

5

–

$ legno batutto

˘. . . . –

"

5

3

ß

"

˘. . . . –

ß

5

3

"

˘. . . . –

ß

5

˘. . . . –

"

5

3

ß

"

˘. . . . –

ß

5

3

7:4

"

5

– –– – –ÿ ÿ ÿ ÿ – – ÿ

ÿÿ $

P

legno batutto

arco

7:4

"

˘. . . .

F

3 16

air fl.z quasi tone

#

5

7:4

ÿ $

ÿ

!

ß

–– –– –– –– –– –– –– ––

´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ –

legno batutto

arco

–– – –ÿ ÿ ÿ – – –ÿ ÿ ÿ

ÿ $

˘. . . . 3

7:4

"

$

#

legno batutto

arco

7:4

"

®

´ ´ ´ ´ ´ ´ ´ ´

––

ÿ –– ÿ ÿ –– –– ÿ ÿ ÿ %

5

legno batutto

˘. . . .

–

3

˘. . . .

––

––

j

´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ –

–

legno batutto

arco

–– – –ÿ ÿ ÿ – – –ÿ ÿ ÿ

´ –´ –´ ´ ´

–

®

3

3

$

7:4

"

–

"

! ! b! > > >

>‚

slap tongue/multi phonic



#

´

3

3

"

!

p

3:2

#

´ –´ –´ ´ –´ –´

legno batutto

˘. . . .

ß

"

3

¬

legno batutto

159

!

air fl.z quasi tone

b ϫ ϫ ϫ ϫ ϫ ϫ

slap tongue

slap tongue

%

j

´ ´ ´ ´ ´ – – – ´ – ´ ´ ´ –

$

%

#

–

®

–– –– –– –– –– –– –– ––

‰

>‚

slap tongue/multi phonic

´ ´ ´ ´ ´ ´ ´ ´

3

Pno.

&

®

æ –-

b ϫ ϫ ϫ ϫ ϫ ϫ

"

˘. . . . –

ß

5

˘. . . . –

" 3

ß

5

"

˘. . . . –

ß 3

5

"

˘. . . . –

ß

5

˘. . . . –

" 3

ß

5

"

˘. . . . –

ß 3

5

7:4

"

–– – –ÿ ÿ ÿ – – –ÿ ÿ ÿ

ÿ $

P

3 16

EE

T

3 16 167

œo

œo

rapid

..

&

B b Cl.

T

(15 )

..

#

œ

æ

%

EE

œ

œo œo

œo

œ

œ

$

æ

œ

%

œo

æ

œ

œo œo

œo

œ

œ

æ

œ

$

%

œo

æ

4 16

œo œo

œ

œ

œ

æ

œ

$

%

3 16 167

..

–. "ƒ"

EE

.. ‚

$ $

3 16 Vln.

–

–. "ƒ"

–

–. "ƒ"

j

Gt/Obj.

167

–

.. – .

÷

167

..

#

Pno.

3 16

#

..

–. "ƒ" –

.. -‚

-‚

-‚

-‚

-‚

..

–

-‚

-‚

#

"

"

"

"

œ

œ

æ

>‚

"

œ

%

"

"

"

"

"

-‚

-‚

$

-‚

-‚

..

#

..

-‚ -‚ -‚ ‚ ® -‚ -‚

-‚

-‚

-‚

-‚

legno batutto

rK rK 7œ :6œ

R

-‚

-‚ ‚ -‚ ‚ 5:4

7:4

R

..

#

..

-‚ -‚ -‚ ‚ ® -‚ -‚ $

"ƒ"

Kr Kr 7œ :6œ

R

-‚

-‚ ‚ -‚ ‚ 5:4

–

P

–

–

legno 4 tratto

3

"

! ! b! > > >

––

ß

––

 3

––

––

ÿ ÿ %

–

–– –– –– ÿ

ÿ ÿ

®

– –– ––ÿ ÿ ÿ

‚– ÿ ÿ

fl ÿ

"

"ƒ"

Nicolai Worsaae 28

– –– ÿ

– –– ÿ ÿ ÿ

p$

" ƒf "

"

"

˘. . . . –

ß 3

5

˘. . . . –

ß

5

–

–

–

–

˘. . . . –

"

5

"

˘. . . . –

ß

5

––

ÿ –– –– ÿ ÿ ÿ

#

5

–

–

–

–

5

5

3

ß

arco

7:4

‰

5

– –– ––ÿ ÿ ÿ

––ÿ ÿ

ÿÿ $

P

"

˘. . . . –

" 3

ß

5

ÿ $

"

– ––ÿ

P

"

˘. . . . –

ß 3

5

˘. . . . –

ß

5

arco

– –– ÿ ÿ ÿ

–ÿ ÿ

– 3

7:4

‰

˘. . . .

ß

legno batutto

arco

7:4

‚ ÿ

–

ß

p$

fl ÿ

˘. . . . 3

legno batutto

J

–

––

´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ –

legno batutto

arco

" ƒf "

legno tratto

´ ´ ´ ´ ´ ´ ´ – ´ – – – ´ –

–

– –

ÿ –– ÿ –– ÿ %

j

3

7:4

J

´ –´

3

––

#

"

p

3:2



––

´ –´ –´ ´ ´

air fl.z quasi tone

" æ ! -–

3

#

legno batutto

16

fl

p $

" "

p

3:2

3

$

– ‚ – –ÿ ÿ – ‚ –ÿ ÿ ÿ

" ƒf "

ß

ÿ

ÿ

7:4

R

" æ ! -–

––

––

– – –– –– –ÿ –ÿ ÿ ÿ

´ –´ –´ ´ –´ –´ ´

-‚

"ƒ"

legno batutto

quasi legno é arco (tratto) II.

3

¬

fl

p $

air fl.z quasi tone

ÿ –– ÿ ÿ –– –– ÿ ÿ ÿ ÿ %

3

%

4 16

‚ – – – –ÿ ÿ ÿ – ‚ ÿ ÿ

" ƒf "

"ƒ"

®

–

EE quasi legno é arco (tratto) II.



–

–. "ƒ"

j

–

-‚

–. "ƒ"

slap tongue/multi phonic slap tongue

––

# –

>‚

slap tongue/multi phonic

$

#

#

P

$

Vc.

æ

œo œo



key-gliss on black & white keys

&

œo

4 16

..

&

œo

"

–

ß

5

˘. . . . –

"

5

˘. . . .

F

3

ß

5

˘. . . . –

" 3

ß

5

175

B b Cl.

& ®

b ϫ ϫ ϫ ϫ ϫ ϫ

®

$

& ® ® ®

Gt/Obj.

"

p

3:2

––

ÿ

ÿ

‰

––

ÿ

–

–

–

–

–

–

5

–

Vln.

"

˘. . . . –

ß 3

"

˘. . . . –

ß

5

˘. . . . –

$

"

5

3

ß

"

˘. . . . –

ß

5

3

"

5

Vc.

"

–

ß 3

5

"

˘. . . . –

ß

5

˘. . . . –

" 3

ß

5

"

˘. . . . –

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

–

ß 3

5

3

––

ÿ

3

ÿ $

P

3

"

"

˘. . . .

ß 3

"

3

" "

––

ÿ

‰

––

ÿ

3

– – "ƒ"

"

˘. . . . –

ß 3

5

˘. . . . –

ß

5

–

–

– –

´

´

! b! > > >

®

–

–

–

‰

– "ƒ"

˘. . . . –

ß

5

–

˘. . . . –

3

ß

"

˘. . . . –

® ® ®

ß

5

3

5

˘. . . . –

" 3

ß

5

"

˘. . . . –

ß 3

5

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

ÿ $

P

"

˘. . . . –

ß 3

"

5

P

"

Nicolai Worsaae 29

˘. . . . –

ß 3

5

7:4

arco

– –– – –ÿ ÿ ÿ ÿ – –ÿ ÿ

–

ÿ $

P

"

ß

–– – –ÿ ÿ ÿ – – –ÿ ÿ ÿ

ÿ $

"

–

P

"

–

ß 3

5

˘. . . . –

ß

5

˘. . . .

æ

-–

p

3:2

3 16

––

ÿ

––

ÿ

F