Bára Gísladóttir Music to accompany your sweet splatter dreams (2019) for sinfonietta Dur. 5′30″
Written for Athelas Sinfonietta Copenhagen on the occasion of KLANG Festival’s 10th anniversary
SCORE
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Bára Gísladóttir Music to accompany your sweet splatter dreams (2019) for sinfonietta Dur. 5′30″
i. rushing down a steep steadily shrinking footpath on a 1995 green Nissan King Cab ii. extreme long shot: blood spatters on Snowy Mountain iii. the plastic wrapped corpse of your mother in burgundy crocodile leather wooden heeled cowboy boots
Explanations
ExplanationsNOTES Explanations PERFORMANCE Explanations
Flute and Piccolo Flute and and Piccolo Piccolo Flute and Piccolo Flute Piccolo w.t. – – whistle tones tones: In the score and parts, the fundamental position of the whistle tones is given in the form of a w.t. whistle w.t.the – whistle whistle tones In score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: w.t. – tones w.t. – whistle tones In the the score and and parts, the the fundamental position of the the whistle whistle tones is given given in in the form form of of aa diamond diamond head. Travel Travel freely freely between between the the possible possible overtones. overtones. Ex: Ex: In score parts, fundamental position of tones is the head. diamond head. Travel freely between thetones possible overtones. E.g: head. In the score and parts, the fundamental position of the whistle is given in the form of a diamond Travel freely between the possible overtones. Ex: o woo w ow w
~ ~ ~~
woo wwoo w
woo wwoo w
woo wwoo w
woo wo w wo
b woo b wwoo bb w
woo wwoo w
woo wwoo w
harmonic timbral trills
harmonic timbral timbral trills trills harmonic Harmonic timbral trills harmonic timbral trills
bw b ww bbbw ~ b~ bb~~
w w bw ~w b~ bb~~
harmonic surge harmonic surge surge harmonic harmonic surge
Harmonic surge
‚ ‚ ‚˙‚˙ ˙˙
Ó Ó ÓÓ
jet whistle
jet whistle whistle jet Jet whistle jet whistle
ff ff
≈≈ ‰‰ ≈≈ ‰‰
piccolo multiphonic
piccolo multiphonic multiphonic Piccolo multiphonic piccolo piccolo multiphonic
## w ww w ##µµw w w µµw growl
growl Growl: The growling consist throat + voice. The voice shouldspoken not voice be “sung”, sound more like a The growling should consist of should a throat flutter + voice. of Theavoice shouldflutter not be “sung”, but sound more like a growling in a registerbut natural to the performer. growl growl The growling growling should should consist consist of of aa throat throat flutter flutter ++ voice. voice. The The voice voice should should not not be be “sung”, “sung”, but but sound sound more more like like aa growling growling spoken spoken voice voice in in aa register register natural natural to to the the performer. performer. The The growling spoken should consist of a throat + voice.natural The voice should notperformer. be “sung”, but sound more like a growling spoken voice in a register natural to the performer. growling voice in aflutter register to the Oboe Oboe Oboe multiphonics Oboe multiphonics multiphonics multiphonics
w ‹ BBµµµ w w µw nµnw w ‹‹ BBµ w w w ‹ µµnnw & w & w &
µw growl The growling should consist of a throat flutter + voice. The voice should not be “sung”, but sound more like a growling spoken voice in a register natural to the performer.
Oboe Oboe multiphonics Multiphonics
w ‹ Bµ w µnw w & w ¢&
w w w
Clarinet in Bb tremolo of harmonics with different fundamentals
˙o
˙o
growl
˙o
˙o
The growling should consist of a throat flutter + voice. The voice should not be “sung”, but sound more like a growling spoken voice in a register natural to the performer. OBb Clarinet O Thein#growling Growl: should consistOof a throat flutter + voice. The voice should not be “sung”, but sound more
O
tremolo harmonics with different fundamentals like a of growling voice in a register Clarinet in Bbspoken
natural to the performer.
Clarinet ino Bbwith different tremolo Clarinet in ˙o fundamentals˙o ˙o of harmonics ˙ Bb Clarinet in Bb tremolo of harmonics with different fundamentals o Bbwith different Clarinet in tremolo fundamentals ˙o ˙o ˙o of harmonics Tremolo of fundamentals #˙o˙O harmonics o˙ with different o˙ O o˙O tremolo with different fundamentals o o o˙ of harmonics o O ˙ #O˙ O˙ O O o oO˙ o #O˙ O˙o ˙ # O O O O O #O O O multiphonics O
∏∏∏∏
## ˙˙ ™™ ˜˙ ™ multiphonics multiphonics
### ˙˙˙ ™™™ #˙ ## ˙˙ ™™ multiphonics #˜˜#˙˙ ™™
multiphonics multiphonics Multiphonics
∏∏∏∏ ∏∏∏∏∏∏∏∏ ∏∏∏∏ ∏∏∏∏
#˜˜#˙˙˙™™™™ ˜˙ ™
harmonic overblow
‚
‰ ™ overblow harmonic Harmonic overblow harmonic overblow harmonic overblow
‰™
‚
œ‚ ‰™ harmonic overblow ‚ ™ ‚ ‚‚ ‰‰‰™ ‰‰™ ™ ‚œ‚ ‰™ growl œ‚œ ‚ ‰ ™ growling œ should consist of a throat flutter + voice. The voice should not be “sung”, but sound more like a growling spoken voice in a register natural to the performer. The growl ‰™ ‚ Growl: growling consist throat + voice. The voice shouldspoken not voice be “sung”, sound more The growling should consist of should a throat flutter + voice. of Theavoice shouldflutter not be “sung”, but sound more like a growling in a registerbut natural to the performer. œThe growl growl growl Bassoon The growling should consist of a throat flutterin+ a voice. The voicenatural should notto be the “sung”, but sound more like a growling spoken voice in a register natural to the performer. like a growling spoken register The shouldconsist consist avoice throat flutter + voice. The voice beperformer. “sung”, butmore sound like a spoken growling spoken voice natural in a register to the performer. The growling growling should ofof a throat flutter + voice. The voice shouldshould not be not “sung”, but sound likemore a growling voice in a register to the natural performer. Bassoon multiphonics growl multiphonics Bassoon The growling should consist of a throat flutter + voice. The voice should not be “sung”, but sound more like a growling spoken voice in a register natural to the performer. Bassoon Bassoon multiphonics Bassoon ˙ ™™ #˙ ™ #˙˙ ™™ multiphonics w multiphonics b˙˙˙ ™™ b˙ ww Bassoon ˙ ™ # ˙˙ ™™ # ˙ ™™ Bsn. & b##bwww##ww Bsn. 11 Multiphonics ™ & ˙˙ ™™ ˙ multiphonics b #˙˙™ ™ w # w # w bww Bsn. 1 & b b#ww Bb˙˙b™˙˙™ B™™ ˙ ™ #˜#˙˙˙˙˙™™™ ™™#˙ ™™ ˜ ˙ ™ w # w w ˙ ˙ ˙™ Bsn. 1 & bbb##www Bsn. 1 & ww ˜# ˙˙˙™#™™™ ˙ ™™ Bb˙˙˙™˙™™ ™ # ˙ ˙ b w ˜ # w B˙˙B ˙™™ ™ ww Bsn. 1 & b#bw # ˙˙˜™™ ˙ ™ ˙™ bw ˜˙ ™ B˙ ™ harmonic overblow
multiphonic trills multiphonic trills multiphonic trills multiphonic trills
Multiphonic #˙˙˙ ™™™ trills trills multiphonic & b# ˙ ™ trills multiphonic ™ b##b#˙˙˙˙˙˙˙™™™ ™™™ # ˙ b #˙˙™ ˙™™ ™™™ ˙ ™ & bb#˙ ˙ ##b˙˙˙˙˙™™™™ & & b# ˙ b ˙™ ™ b ˙ ™ tonguing helicopter & &
bn˙˙˙ ™™ ™ bnB˙˙˙˙™™ ™ bn˙™ ™ bn˙ ˙ ™™ B ˙˙™ n™ ˙ ™ ˙ ™ n ˙ ™ b ˙ ™ bB˙˙ ™ ˙ ™ ™ B˙ ™ B ˙B™ ˙ ™
N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE helicopter tonguing helicopter tonguing Helicopter tonguing N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE helicopter tonguing N.B.: The technique is always performed with air-flow, to make it more audible. helicopter tonguing helicopter tonguingis always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE N.B.: N.B.:The Thetechnique technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE
ææ w æ N.B.: æ The technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3'14'': https://www.youtube.com/watch?v=DCmn93c5MBE An wææ example can be found in the following video at 3′14″ : https://youtu.be/DCmn93c5MBE w ææ æ Brass w æææ
ww Brass Brass ∑ Brass
ææææææææææææææææææææææææ ææææææææ Œ ææææææææ ææææææææææææææææ ææææææææ ææææææææ ææææææææææææææææææææææææ æ æ æ æ æ æ æ æ æ æææææææ Œ o æ æ æ æ æ æ æ æ ∑ ææææææææææææææææææææææææ ææææææææææææææææææææææææææææææææ pææææææææææææææææ Œ ææææææææææææææææææææææææ ææææææææ ∑ o p ææææææææ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed with inverted æææææææææææææææ ææoææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ pææææææææææææææææææææææææ Œ ∑Œ mouthpiece. The different position of note-tails is to indicate the minor pitch-changes of the breath, creating a soar of fundamentals. The flutter should ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ Œ This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed with inverted ææææææææææææææææ ææoææææææææææææææ not atnotation all be rhythmical. æææææææææææææpæææ ææææææææ Œ This represents flutteringofair sound; the is performed mouth pressure a fluttering performed with ∑Œ The differentaposition note-tails is toeffect indicate the minorwith pitch-changes of the only, breath, creating atechnique soar of fundamentals. Theinverted flutter should oææææææææ æææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææpææææææææææææææææææææææææææææææŒææææææææææææææmouthpiece. Œ æ ææææææææ æ at all be rhythmical. ∑Œ æææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææ Œ ææææææænot mouthpiece. The different position of note-tails is to indicate the minor pitch-changes of the breath, creating a soar of fundamentals. The flutter should o p o This represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed with inverted not atnotation all be rhythmical. ææo ææææææææææææææ ææææææææoææææææææææææææææææææææææææææææææppææææææææ p Œ mouthpiece. The different position of note-tails is to indicate the minor pitch-changes of the breath, creating a soar of fundamentals. The flutter should ææææææææææææææææææææææææ ææææææææææææææææ Œ be rhythmical. This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed with inverted ææææææææææoæææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ pææææææææ ææææææææ not at all ææææææææ æææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææŒææ mouthpiece. different position of note-tails is indicatethe theeffect minorispitch-changes of themouth breath,pressure creating only, a soaraoffluttering fundamentals. The flutter s ThisThe notation represents a fluttering airtosound; performed with technique perfo ææææææææææææææææ ææŒææo ææææææææææææææææææææææææ ææææææææææææææææææææææææmp ææææææææææææææææo ææææææææææææ p not at allmouthpiece. be rhythmical. ææŒæææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ Œ The different position of note-tails is to indicate the minor pitch-changes of the breath, creating a soar of fundam æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ o o o mp ææææææææ ææææpææææææææææææp not at all be rhythmical. o o mp p æææææææææææææææææææoæææææ ææææææææææææææææææææææææææææææææææææææææ æææpæææææ
Brass Brass
ææ w Brass æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ ææææææææææææææææææææææææ ææææææææææææææææ ææææææææææææææææ Œ ææææææææ o p
∑ Brass
Brass
ææææææææææææææææææææææææææææææææ ææææææææ Œ ææææææææææææææææ æææææææææææææææææææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ Œ o p o p
∑ Œ
ææææææææææææææææ æææææææææææææææææææææææææææææææææææææææ ææææææææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ Œ ææææææææææææææææ æ æ ææææææææææoææææææææææææææ ææææææææææææææææææææææææææææææææææææææ p ææææææææææææææææ æ ææ æ æ æ æ æ o o mp p Œ
This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique perform mouthpiece. The different position of note-tails is to indicate the minor pitch-changes of the breath, creating a soar of fundame notThis at allnotation be rhythmical. represents a fluttering air sound; the effect is performed
with mouth pressure only, aairfluttering technique performed with inverted This notation represents a fluttering sound; the effect is performed with mouth pressure only, a fluttering technique perfor mouthpiece. The different position of note-tails is to indicate the minor pitch-changes of the mouthpiece. The different position of note-tails is to indicate the minorbreath, creating a soar of fundam not at all be rhythmical. pitch-changes of the breath, creating a soar of fundamentals. The flutter should not at all be rhythmical.
ææææææææææææææææ ææææææææææææææææææææææææ ææææææææææææææææææææææææ æææææææ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ ææææææææ o o mp p
Piano
harmonics Piano
Harmonics Piano 7/2 let vib.
? œ harmonics ‰
?
? ‹
7/2 let vib.
œ
‚
‰ ‰
The diamond head indicates which note to be pressed on the keyboard. The note above shows the
The diamond head indicates which note to be pressed on the keyboard. The note above shows the resulting pitch. The numbering given indicated where the harmonic can pitch. be foundThe on the string. For instance, 7/2 means the 2nd node the 7th harmonic. resulting numbering given indicated where theofharmonic can be found on the string. For
instance, 7/2 means the 2nd node of the 7th harmonic. The diamond head indicates which note to be pressed on the keyboard. The note above shows the resulting pitch. The numbering given indicated where the harmonic can be found on the string. For instance, 7/2 means the 2nd node of the 7th harmonic.
Strings ? Strings ‰ ‹ Strings ‚ Strings s.p. sul ponticello ponticello Strings s.p. –– sul gradually move from one technique to the other Strings s.p. sul ponticello s.p. –– sul ponticello m.s.p. – molto sul ponticello ponticello s.p. – sul ponticello s.p. ponticello m.s.p. – molto sul s.p. –– sul sul ponticello s.p. – sul ponticello m.s.p. – molto sul ponticello m.s.p. – molto sul ponticello m.s.p. m.s.p. molto sul ponticello m.s.p.–––molto moltosul sulponticello ponticello m.s.p. – molto sul ponticello
gradually move move from from one one technique technique to to the the other other gradually
gradually move fromtoone one technique to to the other other gradually move from technique gradually move from one technique the other gradually move from one technique to the the other
~~ ~
harmonic harmonic harmonic harmonic harmonic harmonic harmonic
~~w~ w ww ˙
gradually movemove from onefrom technique to the other gradually one technique
to the other
harmonic
artificial harmonic artificial harmonic artificial harmonic artificial harmonic ed tremolo is to be played on one bow throughout its whole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, through artificial harmonic artificial artificial harmonic wo beats. That is, not a new bow on every harmonic trill between the first and second note. artificial harmonic
˙˙ ˙˙˙ O™
˙O
˙˙OO ˙˙˙OO
Slurred tremolo is to be played on one bow throughout its whole time value. Take for instance the
Slurred tremolo is to be played on one bow throughout its whole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, through the two beats. That is, not a new bow on every trill between the first and second note.
Slurred tremolo tremolo is is to to be be played played on on one one bow bow throughout throughout its its whole whole time time value. value. Take Take for for instance instance the the visual visual example example given given here here in in the the explanations; explanations; the the tremolo tremolo should should be be played played on on one one bow bow only, only, through through Slurred example here in the explanations; the tremolo should be played on one bow only, through the two two tremolo beats. That That is,benot not avisual newonbow bow on every trill given between the first first and second note. the beats. is, a new on every trill between the and second note. Slurred is to played one bow throughout its whole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, through Gliss back and forth between the notes indicated. Thattremolo is, the glissando is not on to be played only from the first note ofvalue. the tremolo to the second, but as aexample pendulum between thethe two notes. Slurred is be played one bow throughout its time Take for given Slurred tremolo isisto to be played on one bow throughout its whole time value. Take for instance the visual given here in explanations; the tremolo should be played on one bow only, through Slurred tremolo to be on oneon bow throughout itswhole whole time value. Take forinstance instancethe thevisual visualexample givenhere herein in the theexplanations; explanations;the thetremolo tremoloshould shouldbe beplayed playedon onone onebow bowonly, only,through through the two back beats. That is, notplayed athe new bow every trill between the first and second note. the two bow on every trill between the first and second note. two That is, not new every trillexample between first and the second andThat forth is, between notes indicated. That is, the glissando is not to bea played onlybow from theon first note of the tremolo to the second, but the as a pendulum between two notes. note. the two beats. That is, not new bow on every trill between the first and second note. theGliss twobeats. beats. That is,not notaathe anew new bow onbeats. every trill between the first and second note.
‚
bO ™
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes. OO#™™very Gliss back and forthThat between theisisnotes That is, note theof glissando tobut beas played from ˙ ™ start of the O™ tremolo Gliss back and forth between the notes notes indicated. is, the the glissando glissando not to to be beindicated. played only only from from the first first the tremolo tremolo to to is the not second, a pendulumonly between the two two notes. notes. bbOO™™ ‚ Gliss gliss from the forth the glissback from and the startbetween of the tremolo back and forth between the indicated. That is, not played the note of the the second, but as pendulum between the Gliss back andvery forth between the notes notesindicated. indicated.That Thatis, is, the the glissando glissandois isnot not to to be beplayed played only only from fromthe the first firstnote noteof ofthe the tremolo tremolo to tothe thesecond, second,but butas asaaapendulum pendulumbetween betweenthe the two two notes. notes. OOO™™ bbbOOO™™ Gliss the first note of the tremolo to the second, but as a pendulum between the two notes. ‚‚ gliss from the very start of the tremolo O™ ##˙˙™™ O™ gliss from the very start of the tremolo Ȯ ™ From the very the tremolo, gliss from one artificial harmonic to the other. Fingerings of the glissing notes can be alternated on the way if necessary. O™ ˙gliss from ™ artificial ‚harmonic ##˙˙˙tremolo, O™O™ one ‚ start ofgliss glisstofrom from the very start of of the the tremolo ™ From the very start of the the other. Fingerings of the glissingstart notes can alternated on the way if necessary. Gliss from the very ofbethe tremolo gliss the very start tremolo gliss from fromthe thevery verystart start of of the thetremolo tremolo Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
Overpressure
The overpressure is indicated graphics abovestart staves: From the very very of the the tremolo, gliss fromstart one artificial artificial harmonic to the the other. other. Fingerings of the the glissing glissing notesharmonic can be be alternated alternated onthe the way way necessary. From thegliss very of the tremolo, gliss from of one artificial toon other. Fingerings of the ȮȮ™™™by black From the start of tremolo, from one harmonic to Fingerings notes can the ifif necessary. ˙˙OO ˙˙ Ȯ ™ From the very start of the tremolo, gliss from one artificial harmonic to the other. Fingerings of the glissing notes can be alternated on the way if necessary. y black graphics above O staves: one harmonic the ȮȮ™™™ From From the very start of the tremolo, gliss from one artificial harmonic to the other. Fingerings of the glissing notes can be alternated on the way ififnecessary. necessary. glissing notes be alternated onother. theFingerings way ifof necessary. ˙˙OO ˙˙ Fromthe thevery verystart startof ofthe thetremolo, tremolo,gliss glissfrom fromcan oneartificial artificial harmonicto tothe the other. Fingerings of theglissing glissingnotes notescan canbe bealternated alternatedon onthe theway wayif necessary.
Overpressure Overpressure
The overpressure is isbw indicated by by black black graphics graphics above above staves: staves: The indicated Overpressure bwoverpressure Overpressure Overpressure Overpressure Overpressure The overpressure is indicated by black graphics above staves: The is black above staves: The overpressure isisindicated indicated by black graphics above staves: Theoverpressure overpressure indicated by blackgraphics graphics above staves: The overpressure isby indicated by black graphics above staves: The overpressure is on different levels. At its fullest, there should be as little pitch-audibility as possible. The overpressure can increase and decrease. This is for instance indicated in the following way:
bbww bbbw ww
bbww bbbw ww
t levels. At its fullest, there should be as little pitch-audibility as possible. The overpressure can increase and decrease. This is for instance indicated in the following way:
The overpressure overpressure is is on on different different levels. levels. At At its its fullest, fullest, there there should should be be as as little little pitch-audibility pitch-audibility as as possible. possible. The The overpressure overpressure can can increase increase and and decrease. decrease. This This is is for for instance instance indicated indicated in in the the following following way: way: The
The overpressure is on different levels. At its fullest, there should be The as overpressure little pitch-audibility as possible. The overpressure overpressure is on on different different levels. At its its fullest, fullest, there should should be as as little pitch-audibility pitch-audibility as possible. possible. can increase increase and and decrease. decrease. This is is for instance instance indicated indicated in in the the following following way: way: The The isis on levels. At there be little as The overpressure can This for The overpressure overpressureis on different differentlevels. levels.At At its its fullest, fullest,there there should shouldbe be as aslittle little pitch-audibility pitch-audibilityas as possible. possible.The Theoverpressure overpressurecan can increase increase and and decrease. decrease.This This isisfor for instance instance indicated indicated in in the the following following way: way: The overpressure can increase and decrease. This is for instance indicated in the following way: It should be kept in mind that as the overpressure varies, the dynamics do not necessarily do so - varied overpressure is a lot of the time performed within a single dynamic. Mostly, the passages with overpressure are quite weak. To be able to perform these correctly, slow and stuttering bowing is recommended.
It should be kept in mind that as the overpressure varies, the dynamics do not necessarily do so – varied overpressure is often performed within a single dynamic. Mostly, the passages with Other things to keep in mind: overpressure are quite To be able to perform these correctly, Trills and tremolo occur in various speed in the piece, where four lines indicate the fastest possible. Trills and tremolo can also increase and decrease in speed, indicated in the weak. following way: s the overpressure varies, the dynamics do not necessarily do so - varied overpressure is a lot of the time performed within a single dynamic. Mostly, the passages with overpressure are quite weak. rectly, slow and stuttering bowing recommended. slow, stuttering bowing is recommended. Some of the is harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. The techniques indicated at each time should be maintained until otherwise stated (ex. which strings to play, which bow position etc.)
should be be kept kept in in mind mind that that as as the the overpressure overpressure varies, varies, the the dynamics dynamics do do not not necessarily necessarily do do so so -- varied varied overpressure overpressure is is aa lot lot of of the the time time performed performed within within aa single single dynamic. dynamic. Mostly, Mostly, the the passages passages with with overpressure overpressure are are quite quite weak. weak. ItIt should be able ablebe tokept perform these correctly, slow and and stuttering stuttering bowing is recommended. recommended. Other things tothese keep in mind: To be to perform correctly, slow bowing is ItToshould should in mind mind that as the the overpressure varies, the the dynamics do not not necessarily necessarily do do so so -- varied varied overpressure overpressure is is aa lot lot of of the the time time performed performed within within aa single single dynamic. dynamic. Mostly, Mostly, the the passages passages with with overpressure overpressure are are quite quite weak. weak. It be kept in that as overpressure varies, dynamics do ItIt should be kept in that as varies, dynamics do should in mind mind as the the overpressure overpressure varies, the the dynamics do not not necessarily necessarily do do so so -- varied varied overpressure overpressure isis aa lot lot of of the the time time performed performed within within aa single single dynamic. dynamic. Mostly, Mostly, the the passages passages with with overpressure overpressure are are quite quite weak. weak. To be able ablebe tokept perform thesethat correctly, slow and and stuttering stuttering bowing recommended. To to these correctly, slow bowing recommended. To be to perform these correctly, slow and bowing recommended. Trills and tremolo various speed inisisisisthe piece, where four lines indicate the fastest possible. Tobe be able able toperform perform theseoccur correctly,in slow and stuttering stuttering bowing recommended.
ous speed in the piece,Trills where four indicate the fastest possible. Trills andand tremolo can also increase and decrease in speed, indicated the following way: andlines tremolo can also increase decrease in speed, indicated in theinfollowing way:
Other things things to to keep in in mind: mind: y pure, others are very Other grungy, almost akeep white noise. Take them as they come. Other things to keep in mind: Other things to keep in mind: Other things to keep in mind: Trills and tremolo occur in various various speed speed invery the piece, piece, where four lines linesare indicate the fastest fastest possible. possible. Trills and and tremolo can can also increase increase and decrease speed, indicated indicated in in the the following following way: way: Otherand things to keep in mind: Some of the harmonics are pure, others very grungy, almost a white noise. Takeand them asinin speed, Trills tremolo occur in in the where four indicate the Trills tremolo also decrease h time should be maintained until otherwise stated (ex. which strings to play, which bow position etc.) Trills and and tremolo tremolo occur occur in in various various speed speed in in the the piece, piece, where where four four lines lines indicate indicate the the fastest fastest possible. possible. Trills Trills and and tremolo tremolo can can also also increase increase and and decrease decrease in in speed, speed, indicated indicated in in the the following following way: way: Trills Trills tremolo occur in various speed in the where lines indicate the fastest possible. Trills and also and in they The techniques indicated atfour each point should be maintained otherwise stated Some ofcome. the harmonics are very pure, others arepiece, very grungy, grungy, almost white noise. Take them as they they come. Trills and and tremolo occurare in very various speed in the piece, where four lines indicate theTake fastest possible. Trills and tremolo tremolo can canuntil also increase increase and decrease decrease in speed, speed, indicated indicated in in the the following following way: way: Some of the harmonics pure, others are very almost aatime white noise. them as come. Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come. Some of the are are very grungy, almost aaawhite noise. Take them as (e.g. which strings to pure, play, which bow position etc.) Some of the harmonics are very pure, others are very grungy, almost white noise. Take them as they come. The techniques indicated atvery each time others should be maintained maintained until otherwise stated (ex. which strings tocome. play, which which bow bow position position etc.) etc.) Some of theharmonics harmonics are very pure, others are very grungy, almost white noise.(ex. Take themstrings asthey they come. The techniques indicated at each time should be until otherwise stated which to play, The techniques techniques indicated indicated at at each each time time should should be be maintained maintained until until otherwise otherwise stated stated (ex. (ex. which which strings strings to to play, play, which which bow bow position position etc.) etc.) The The The techniques techniques indicated indicated at at each each time time should should be be maintained maintained until until otherwise otherwise stated stated (ex. (ex. which which strings strings to to play, play, which which bow bow position position etc.) etc.)
INSTRUMENTATION Piccolo/flute Oboe Clarinet in Bb Bassoon Horn in F Trumpet in Bb Trombone 2 percussionists: Percussion 1 Thunder sheet - Hard wooden mallets - Leather whip Triangle - Triangle beater Party horn Temple bowl in F3 - Round wooden mallet Percussion 2 Thunder sheet - Hard wooden mallets b. leather whip Party horn - Thai gong in F3 - Big hard gong mallet Opera gong 9″ - Small medium soft gong mallet Small hand bell Triangle - Triangle beater Piano - 2 × thunder drums - bow hair - cake server Violin I Violin II Viola Violoncello Double bass
for Athelas in the occasion of KLANG'S 10 year anniversary
TRANSPOSED SCORE
Music to accompany your sweet splatter dreams i. rushing down a steep steadily shrinking footpath on a 1995 green Nissan King Cab ii. extreme long shot: blood spatters on Snowy Mountain iii. the plastic wrapped corpse of your mother in burgundy crocodile leather wooden heeled cowboy boots
Bára Gísladóttir 2019
i. rushing down a steep steadily shrinking footpath on a 1995 green Nissan King Cab q = 76 flutter Piccolo
° &
w ææ
w ææ
w ææ
3 4
˙™ ææ
4 4
w ææ
w ææ
œ ææ Œ Ó
3 4
∑
6 4
∑
w ‹ Bµ w µnw w w &
ww w w w
Bµ ww µnw w w
3 4
˙˙ ™™™ ˙˙ ™ ˙™
Bµ ww w 4 µnw 4 w
ww w w w
œœ œœ œ Œ Ó
3 4
∑
6 4
∑
w w w
w w w
w w w
3 4
˙™ ˙˙ ™™
w w w
w w w
œ Œ Ó œœ
3 4
∑
6 4
∑
w w w
œœ Œ Ó œ
3 4
∑
6 4
∑
ff
Oboe
&
4 4
ff
## w w ˜w
w b##w ww bw
™ bn˙˙ ™™ 4 ww bnw w 3 w w 4 b##˙˙˙˙ ™™™ ˙ ™ 4 b##w b˙ ™ B˙ ™ bw Bw
∏∏∏∏
w w ww w
4 4
∏∏∏∏
3 4
∏∏∏∏
## w w ˜w
∏∏∏∏
w w w
∏∏∏∏
Clarinet in Bb
˙˙ ™™ ˙™
∏∏∏∏
∏∏∏∏
## w w & ˜w
ff
ff
Bassoon
#w ww ¢& b# w bw
bnw w w b##w ww w bw Bw
bnw w w b##w ww w bw Bw
™ bn˙˙ ™™ 6 bw w ™™ 3 4 b##˙˙˙˙ ™™™ ˙ ™ 4 w ™ b˙ ™ B˙ ™ B w ™ p
ff
flutter Horn in F
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4 4
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3 4
∑
6 4
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3 4
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4 4
bw ææ
w ææ
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3 4
∑
6 4
∑
6 4
∑
ff
harmon mute (stem out) flutter
bw ææ
&
Trumpet in Bb
ff
rip back and forth flutter
w ? w ææ
Trombone
¢
w ææ
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ææ w
ææ w
3 4
4 4
˙™ ææ
w
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w
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3 4
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ff
Thunder Sheet hard wooden mallets drum Percussion 1 T.S. Tr. P.H. T.B.
Percussion 2 T.S. P.H. T.G. O.G. S.H.B. Tr.
ææ w
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let vib. let vib.
3 4
ææ ˙™
4 4
ff
∑
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fff
Thunder Sheet hard wooden mallets drum
ææ w
ææ w o
3 4
∑
6 4
∑
3 4
∑
6 4
∑
ff
let vib. let vib.
ææ w
ææ w
¢/
3 4
ææ ˙™
4 4
ff
ææ w o
∑
ææ w
fff
ff
thunder drum tail hit strings mid-reg. let vib.
2 x th.dr.t. go berserk mid-reg. let vib.
th.dr.t. hit strings mid-reg. let vib.
œ ≈‰ Œ Ó
ææ w
œ ≈‰ Œ Ó
Œ œ ≈‰ Ó
œ ≈‰ Œ Ó
Pno. - strings {
3 4
4 4
∑
lightly shake tail on strings upper reg.
∑
3 4
æ 6 wæ ™ 4
∑
fff
p
° III m.s.p.
q = 76 Violin I
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bw
bw
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w
w
bw
bw
4 4
b˙ ™
3 4 bw
~
bw
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bw
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bw
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bw
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bw
~
6 4 bw ™
b˙ ™
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b˙™
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bw™
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b˙ ™ 46 n~ ™
b~ ™
n˙ ™
fff m.s.p.
3 4
&
Violin II
bw
4 4 b˙™
O™
3 4
6 4
fff m.s.p.
3 4
B Viola
w
b˙ ™ 44 ˙™
bw nw
bw nw
bw
3 4
nw
fff m.s.p.
3 4
? Violoncello
bw
4 4 b˙™
bw bw
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bw
3 4
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6 b˙ ™ 4 b˙™
b~™
˙™
6 4 w™
fff m.s.p.
3 4
? Double Bass
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w
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4 4 ˙™
3 4 w
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10
2
° 4 Picc. & 4
6 4
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4 #wæ 4 æ
4 4
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ff
∑
6 4
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4 4
4 &4
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6 4
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4 4
ww w w w
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3 4
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∑
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∑
w w w
w w w
w w w
3 4
˙™ ˙˙ ™™
4 4
∑
w w w
## w w ˜w
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∏∏∏∏
‹ 4 &4
˙˙ ™™ ˙™
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3 4
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Ob.
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Cl.
6 4
∏∏∏∏
4 &4
ff
Bsn.
4 ¢& 4
6 4
∑
4 4
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∑
Bw ff
Hn.
° 4 &4
6 4
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w ææ
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4 &4
Tpt.
6 4
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4 4
∑
w æ æ
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w Tbn.
?4 ¢ 4
6 4
∑
4 4
∑
∑ w
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w
w
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ææ w
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˙™
3 4
˙™
4 4
∑
4 4
∑
4 4
∑
ff
Triangle hold up high and strike Perc. 1
° 4 /4
6 4
∑
4Ó 4
∑
T.S. hard wooden mallets drum let vib. let vib.
Œ œ ‰ mp
ææ w
3 4
ææ ˙™
ff
fff
T.S. hard wooden mallets drum let vib.
œ
ææ w
mp
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Party Horn
4 Perc. 2 ¢ / 4
6 4
∑
4Ó 4
∑
Œ
ææ w
ææ w
3 4
fff
2 x th.dr.t. go berserk all registers Pno. - str. {
æ 4 wæ 4
æ 6 ˙æ™ 4
Ó™ o
let vib.
ææ w
4 4
ææ ˙™
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ææ w
3 4
∑
ææ ˙™
4 4
ff I m.s.p.
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6 4 b~ ™
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m.s.p.
s.p.
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6 4 n~ ™
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° Picc. &
#w w µw
# ˙˙ ™™ 3 µ˙ ™ 4
2 #˙ 4 ææ
#w w µw
q = 40 To Flute
3 #˙ ™ 4 ææ
4 4
2˙ 4 ææ
4 #wæ 4 æ
2 4 o
∑
33 4
mp
w ‹ Bµ w µnw w w &
2 4
∑
Bµµ˙˙˙ ™™™ 3 n˙ ™ 4 ˙™
w w w
2 4
∑
3 4
˙™ ˙˙ ™™
## w w & ˜w
2 4
∑
# ˙ ™™ 3 #˙ 4 ˜˙ ™
2 4
∑
™ 3 4 b##˙˙˙˙ ™™™ b˙ ™
w Bµ w µ n w 4 w 4 w
3 4
∑
2 4
∑
4 4
∑
2 4
∑
3 4
4 4
w w w
3 4
∑
2 4
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4 4
∑
2 4
∑
3 4
4 4
## w w ˜w
3 4
∑
2 4
∑
4 4
∑
2 4
∑
3 4
2 œœ 4œ ‰ Œ œ
3 4
Ob.
&
#w ww ¢& b# w bw
bnw w w Bw
bn˙˙˙ ™™™ B˙ ™
∏∏∏∏
Bsn.
∏∏∏∏
∏∏∏∏
Cl.
3 b˙˙ ™™ 4 ˙™ B˙ ™
bnw w w Bw
4 b##w ww 4 w bw
2 ˙˙ 4˙ ˙
w 4 bw 4 w Bw mp
p
invert
Hn.
° &
w ææ
2 ˙ 4 ææ
3 4
˙™ ææ
4 4
3 ˙™ 4 ææ
w ææ
2˙ 4 ææ
mouthpiece 2 æœ ‰ Œ 3 4æ 4
4 wæ 4 æ
pp
&
Tpt.
remove mute invert mouthpiece
w æ æ
2 4 æ˙ æ
3 4
4 4
˙™ ææ
3 4 æ˙™ æ
w ææ
2 4 æ˙ æ
4 w 4 æ æ
2 4 æœ ‰ Œ æ
3 4
pp
˙™ #œ
invert mouthpiece
˙ b˙ ™
œ
2 4
? Tbn.
3 4
∑
‰ 44
œ
3 4
∑
2 ™ 4œ
j4 œ 4 bw
2 4œ ‰ Œ
¢
3 4
ff mp
pp
let vib. let vib.
ææ w
°
2 4
/
Perc. 1
3 4
∑
ææ ˙™ o
Party Horn
4 4
f
3 4
∑
∑
2 4
tone down if possible 2 4 bend 4 w 4
∑
ff
f
∑
3 4
∑
3 4
∑
3 4
p
let vib. let vib.
ææ w Perc. 2
2 4
¢/
3 4
∑
ææ ˙™ o
Party Horn
4 4
f
3 4
∑
∑
2 4
tone down if possible 2 4 bend 4 w 4
∑
ff
f
p
let vib. let vib.
ææ w
2 4
Pno. - str. {
3 4
∑
ææ ˙™ o
4 4
f
3 4
∑
∑
2 4
4 4
∑
2 4
∑
ff
*
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# O˙ ™™
œ # ‚œ
° Vln. I &
˙ # O˙
2 4
˙ # O˙ b œ ‚œ
3 4
b˙™
O˙™™
4 4
q = 40
œ n ‚œ 3 ˙™ 4
O™
II bO 2˙ ˙ 4
4 #w 4
~w
2 4
∑
3 4
b~w
2 4
∑
3 4
~w
2 4
∑
3 4
2 4
∑
3 4
2 4
∑
3 4
mp
˙™
O˙ ™™ b œ b ‚œ
&
Vln. II
b ˙ b O˙
2 4
b ˙ b O˙
œ b ‚œ 4 4
3 4
˙™
b O˙ ™™
œ b ‚œ 3 ˙ ™ 4
O™
II bO 2˙ ˙ 4
4 bw 4 mp
˙™
˙O ™™
œ œ‚
˙
˙O
2 4
B Vla.
˙
˙O b œ œ‚ 4 4
3 4
bII˙ ™
b O˙ ™™ #œ ‚œ 3 #˙ ™ 4
O™
2 b˙ b O˙ 4
4 bw 4 mp
b˙™
O˙™™ œ ‚œ
O˙
˙
2 4
? Vc.
˙
O˙
œ # ‚œ
3 4
˙™
n O˙ ™™
4 4
II
bœ b ‚œ 3 b˙ ™ 4
O™
2 b˙ 4
b O˙
4 w 4
b~w
mp
m.s.p.
? ΠDb.
¢
>˙™
2 4
∑
3 4
4 4 ˙™
O™
Œ µ˙™
O™
3 4
∑
2 4˙
O
4 4 w > mp
ii. extreme long shot: blood spatters on Snowy Mountain
B 4 26
Flute Fl.
° 3 &4
Ob.
3 &4
∑
4 4
∑
∑
∑
3 4
4 4
∑
∑
∑
3 4
remove reed and staple
∑
˙o
3 &4
Cl.
∑
4 4
∑
∑
˙o
Ó #O
3 4
O o
Bsn.
3 ¢& 4
∑
4 4
∑
∑
∑
3 4
fluttering air-sound fundamental positions
Hn.
° 3Œ &4
æ æ æ ææ æ æ æ æ æ æ ææ æ æ æ ææææææææææææææææ æææææææææææææææææææææææææææææææ ææææææææææææææææŒ ææææææææææææææææææææææææ4 ææææææææ 4 æ æ æ æ æ æ æ æ ææææææææææææææææææææææææææææææææææææææææ æ æ æ ææ æ æ æ o o o mp mp ff
Ó
3 4
Ó
3 4
Ó
3 4
Ó
3 4
Ó
3 4
Ó
3 4
fluttering air-sound fundamental positions
3 &4 Œ
Tpt.
ææææææææææææææææ ææææææææææææææææ 4 4 æææææææææææææææææææææææææ ææææææææææææææææ æ æ ææ o mp
Œ
ææææææææææææææææææææææææ ææææææææ ææææææææææææææææ ææææææææ ææææææææŒ ææææææææææææææææ o ff
fluttering air-sound fundamental positions
Tbn.
4 ?3 Œ ¢ 4 ææææææææææææææææææææææææææææææææææææææææ 4 ææææææææææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææ o o o mp mp ff Thunder sheet leather whip whip sheet let vib.
Perc. 1
°/ 3 4
∑
4œ 4>
‰
3
Œ ‰ Ó
œ >
ff
Œ Ó
œ œ‰ >
ff Thunder sheet leather whip whip sheet let vib.
3 Perc. 2 ¢ / 4
∑
4Ó 4
Œ
Œ
3
≈œ≈‰
‰ œ >
Œ
∑
ff
th.dr.t. hit strings mid-reg. let vib. Pno. - str. {
3 4
∑
4 4
∑
∑
≈ œ ‰ >
°
Œ
ff
I m.s.p.
B ° 3 Vln. I & 4
b ~≤ ∑
4 4
∑
3 4
∑ ppp
II m.s.p.
Vln. II
3 &4
∑
4 4
b~≤ ∑
∑
3 4
ppp
III m.s.p.
Vla.
B 43
∑
4 4
∑
∑
≤ b~
3 4
ppp
II m.s.p.
Vc.
?3 4
∑
4 4
∑
∑
~≤
3 4
ppp
III m.s.p.
Db.
?3 ¢ 4
∑
4 4
∑
∑
≤ b~ ppp
3 4
5
b˙™ 30
Fl.
° 3 & 4 bO ™
˙™ bO ™
growl
4 4
∑
ææ bw
∑
pp ppp
growl
3 &4
Ob.
∑
4 4
∑
ææ w
∑
pp
Cl.
˙o ™
˙o ™
˙o
˙o
3 &4 O™
#O ™
4 4 O
#O
œo Ó
∑
Ó
œo
Œ œ #œ o
o ppp
helicopter tonguing Bsn.
3 ¢& 4
∑
4 4
?
∑
∑
ææ w pp
Hn.
°& 3 4
Tpt.
3 &4
∑
4 4
∑
4 Ó 4
∑
æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ ææææææææææææææææææææææææ ææææææææææææææææ ææææææææææææææææ Œ ææææææææ o p
Œ
ææææææææææææææææ æææææææææææææææææææææææææææææææææææææææ æææææææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ Œ
æææææææææææææææææææææææææææææææ æ
o
o
Ó
p
ææææææææææææææææ ææææææææææææææææŒ ææææææææææææææææææææææææ ææææææææææææææææææææææææ ææææææææææææææææ ææææææææææææææææ ææææææææ æ o o mp p
Tbn.
?3 ¢ 4
∑
4 Ó 4
°/ 3 4
∑
4 Π4
œ
Perc. 1
≈ œ ‰
∑
4 Π4
∑
4 4
≈ œ Ó >
∑
≈ œ ‰ >
∑
≈œ≈‰ >
Œ
‰™
≈ ‰ >œ >œ
‰
≈œ ≈ ‰ >
3
3 Perc. 2 ¢ / 4
Ó
3
Œ œ >
3
Pno. - str. {
3 4
Œ ∑
∑
m.s.p. s.p.
b˙™ Vln. I
b~
O™
° 3 &4
b~
b~
w
4 4 p
s.p. Vln. II
3 b˙ ™ &4
O™
4 b~ 4
bO
m.s.p
˙
b˙O
b~ p
Vla.
B 43 b˙ ™
O™
4 b~ 4
s.p.
m.s.p.
b~
b~ p
Vc.
? 3 ˙™ 4
O™
4 ~ 4
~
~ p
s.p. m.s.p. Db.
?3 ¢ 4 b˙ ™
O™
4 b~ 4
b~
b~ p
‰
≈œ≈Ó >
6
b˙ Fl.
˙™
˙ bO
34
° æ & <b>˙æ
˙™ bO ™
Œ
∑
bO ™
bO oo
C 3 4
∑
3 4
∑
o ppp
æ & wæ
Ob.
ææ w
wo
wo
& ~
#~
˙o ™
ææ w
˙o ™
œo Œ
Cl.
3 4 Œ
∑
#O ™
Œ ‚ #‚ o
O™
ppp
o
Bsn.
¢
Hn.
? æ æ w
ææ w
°& Ó
ææ w
ææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææ ææææææææææææææææ ææææææææææææææææŒ ææææææææææææææææ ææææææææ o mp
Œ
ææææææææææææææææææææææææ ææææææææææææææææ ææææææææ æææææææææææææææææææææææææææææææææææææææææææææææŒ & ææææææææææææææææ o p p
Tpt.
Œ
∑
ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ æææææææææææææææææææææææææææææææææææææææææææææææŒ o mp
3 4
∑
3 4
∑
3 4
∑
3 4
∑
¢?
∑
Perc. 1
°/
∑
∑
∑
3 4
∑
Perc. 2
¢/
∑
∑
∑
3 4
∑
∑
∑
3 4
∑
b~
C m.s.p. b˙™ 3 4
˙O ™™
b~
3 ™ 4 b˙
bbw~
3 4 bO ™
Tbn.
Pno. - str. {
∑ *
s.p.
° b~ Vln. I &
b~
ppp
m.s.p. s.p. Vln. II
& b~
b~
b˙O ™™
ppp
Vla.
B b~
bO
ppp
˙
b˙O
mp
s.p.
? ‚
˙™
O™
~
O
Vc.
O
3 bO ™ 4
ppp
m.s.p. s.p. Db.
? ¢ b~ ppp
w
b~
b~
3 4 b˙ ™
œo
O™
&
7
˙™
˙™ O™
38
Fl.
° & O™
4 4
∑
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
3 4
4 4
∑
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
3 4
pp
∑ &
Ob.
Cl.
˙o ™
˙o ™
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
#O ™
4 4
∑
& O™
3 4
∑
4 4
∑
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
3 4
pp
? Bsn.
¢
Hn.
°&
∑
4 4
∑
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
3 4
Tpt.
&
∑
4 4
∑
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
3 4
Tbn.
¢?
∑
4 4
∑
3 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
∑
∑
3 4
∑
3 4
∑
4 œ‰Œ 4 >
Œ
∑
4 4
∑
3 4 ‰ >œ ‰ Œ
4 4
∑
∑
3 4
∑
4 4
∑
3 4Œ
4 4
∑
∑
3 4
4 4
∑
∑
3 4
3 3
° Perc. 1 /
≈œ≈≈œ ∑
Œ
3 3
Perc. 2
¢/
‰ ™ œ 44 Ó
Œ
Œ
‰ ≈œ≈ ≈≈œ‰ Œ >
Œ Ó
Ó
œ ‰ 43
∑
let vib. arco
˙™ ææ Pno. - str. & { o °
˙™ æ æ 3 4
w 4 ææ 4
w 4 ææ 4
w
˙™
w
3 4
p
f
* s.p.
° b˙™ Vln. I &
b O˙ ™™
bO ™ 3 ææ 4
bb ~w 4 ææ 4
b~ 4 ææ 4
bw
~w
pp
b ~w
b ‚œ 3 4
mf
O˙
b O˙ 4 4
~
O
3 4
pp
m.s.p. s.p.
™ b O™ & b˙ ˙ ™
Vln. II
4 bw 4
bw~
3 ™ 4 b˙
O˙ ™™
4 bw 4
~w
bw
~w
b~w
3‚ 4 bœ
mf
O˙
4 b˙ ™ 4
O˙ ™™
‚
O
˙ O
3 4
pp
pp
n~
s.p.
æ B bOæ™
æ 4 b~æ 4
Vla.
3 4 b˙ ™
b˙O ™™
pp
4bb~w 4 æ æ
bb~wæ æ
3 4 bœ
~
bw mf
O
4 b~ 4
3 4
pp
I s.p.
m.s.p.
? b˙ ™
O˙™™
Vc.
4 bw 4
~w
3 b˙ ™ 4
O˙™™
~ 4 b wæ 4 æ
w
~
? b˙ ™
O™
4 bw 4
~
3 4 b˙ ™
œ ‚œ
mf
O™
4 bw 4
bnw~
bw
bnw~
b˙ O mf
~
4 4
3 4
pp
˙ O
3 4 bœ
O
¢ pp
~
œ ‚œ O˙
3 4
pp
Db.
˙™
O˙™™
pp
4 bO 4
O O
O
3 4
iii. the plastic wrapped corpse of your mother in burgundy crocodile leather wooden heeled cowboy boots
D 8 Piccolo
q = 60
47
To Picc.
w.t. Fl.
° 3 &4
4 4 b~
∑
3 4 O™
4 4 ~
3 4 Ó
4 w.t. 4~
Œ
ppp
Ob.
3 &4
4 4
∑
Cl.
3 &4
3 4
wo
4 4
∑
6 4 ~™
O
4 4
as strong as the technique allows
∑
wo
5 4 O™
∑
˙o ™
4 4
∑
3 4 Ó
Œ
4 4
∑
5 4
∑
6 4
∑
4 4
4 4
∑
3 4 Ó
Œ
4 4
∑
5 4
∑
6 4
∑
4 4
˙o ™
3 4
O™
~ O™
~ o
ppp
?3 ¢ 4
∑
4 4
∑
3 4
∑
4 4
∑
3 4 Ó
Œ
4 4
∑
5 4
∑
6 4
∑
Bsn.
4 4
°& 3 4
∑
4 4
∑
3 4
∑
4 4
∑
3 4 Ó
Œ
Hn.
4 4
∑
5 4
∑
6 4
∑
4 4
3 &4
∑
4 4
∑
3 4
∑
4 4
∑
3 4 Ó
Œ
Tpt.
4 4
∑
5 4
∑
6 4
∑
4 4
3 ¢? 4
∑
4 4
∑
3 4
∑
4 4
∑
3 4 Ó
Œ
Tbn.
4 4
∑
5 4
∑
6 4
∑
4 4
Temple Bowl round wooden mallet strike stir outside of bowl let vib. to withold sound
-
Perc. 1
°/ 3 4
4 4
∑
∑
3 4
4 4
∑
∑
3 4 Ó
Œ
?4
4 œ‰ Œ mf
5 ™ 4 ˙
˙
3 ¢/ 4
4 4
∑
∑
3 4
4 4
∑
∑
3 4 Ó
Œ
Opera Gong small medum soft gong mallet strike let vib.
?4
4 œ‰ Œ
4 4
mp
Thai Gong big hard gong mallet strike let vib. Perc. 2
6 ™ 4w
˙
5 œ‰ Œ
Ó
?6
Œ Ó
/4
mf
∑
4 4
4 mf
9/2 let vib. Pno. - str.
Pno. - keyboard
?3 4
∑
4 4
∑
3 4
∑
4 4
∑
3 4 Ó
Œ
4 4
∑
?3 4
∑
4 4
∑
3 4
∑
4 4
∑
3 4 Ó
Œ
4 4
∑
{
? ‹
5 œ 4 ‰Œ
Œ
Ó
6 4
∑
4 4
5 4
Œ
Ó
6 4
∑
4 4
‰Œ b‚ mf
°
D m.s.p.
˙™
O™
O™
~
~
˙ O III m.s.p.
q = 60
° 3 Vln. I & 4
4 4
3 4
4 4
3 4
Πo
4 4
∑
5 4
6 4 ~™
∑
ppp
Vln. II
3 œ‚O &4
p
I m.sp.
s.p.
4~ 4
3 ˙™ 4
˙ b O˙ O™
4 w 4
III s.p.
b ~w
3 4
Πo
ppp
4 4~
m.s.p.
5 4 O™
mp
Vla.
O™
~
4 4
3 4
~
4 4
˙ O
3 4
˙ O
6 4 ~™
mf
p
O
6 4 ~™
4 4
IV s.p.
m.s.p.
O™ B 43
4 4
Πo
ppp
4 4~
5 4 O™
mp
4 4
p
m.s.p.
O™
w
~
~
O™
˙ O III m.s.p.
Vc.
?3 4
4 4
3 4
4 4
3 4
Πo
ppp
Db.
4 b~ 4
3 4
b~
4 4 ppp
5 4 O™
O
mp
bO ™ ? 3 bO ™ ¢ 4
4 4~
3 4
Πo
4~ 4 mp
˙™
O™
4 4
p
II s.p.
bO
6 4 O™
m.s.p.
5 ™ 4 O
O
6 ™ 4~ p
4 4
harmonic surge 9 55
Fl.
° 4 &4 ~
5 ≈‚ 4 ≈ œ™
~
f ≈‰
Œ
4 ‚ 4 ˙
Ó
Ó
6 4
mf f
growl Ob.
4 &4
∑
∑
ææ ˙
5 4 Ó™
4 4
ææ w
6 4
4 4
ææ w
6 4
4 æ 4 æ w
6 4
mp
growl Cl.
4 &4
∑
∑
5 4 Ó™
ææ #˙ mp
helicopter tonguing Bsn.
?4 ¢ 4
∑
∑
5 4 Ó™
ææ ˙ mp
Hn.
°& 4 4
∑
Tpt.
4 &4
∑
∑
5 4 Ó™
ææææææææææææææææææææææææææææææææ4 æ ææææææææææææææææææææææææææææææææææææææ6 ææææææææææææææææææææææææ4 4 oo mf
∑
5 4 Ó™
4 6 ææææææææææææææææææææææææææææææææ 4 ææ ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ 4 mf
Tbn.
4 ¢? 4
∑
∑
5 4 Ó™
∑
5 4 œ
strike let vib.
let vib. Perc. 1
ææææææææææææææææææææææææææææææææ æ ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ 4 ææææ 46 4 oo mf
°? 4 w 4
˙ ‰
Œ
mf
?4 ¢ 4
∑
∑
5 4 œ
O.G. small medum soft gong mallet strike let vib.
‰ ‰
Œ
Œ
4
gliss up the string from its bottom
?4 4
∑
5 œ 4
‰
Œ
Œ
4 4
Œ
∑
?4 ‹ 4
∑
∑
5 4
‰
Œ
Œ
4 4
Œ
{
6 4
∑
mf
7/2 let vib.
Pno. - keyboard
Œ œ
/4
mp
Pno. - str.
6 4
mp
T.G. big hard gong mallet strike let vib. Perc. 2
4 w 4
Œ
!
‚
˙
Ó
6 4
Ó
6 4
œ
f
* I m.s.p.
s.p.
Vln. I
° 4O &4
O˙
O˙
~
5 ˙™ 4
b O˙ ™™
mf
4 &4 ~
b~ 4 w 4
6 4
4 ~ 4
6 4
mp
II m.s.p.
s.p. Vln. II
O˙
5 4 ˙O ™™
~
mf
˙™
O˙ mp
m.s.p. Vla.
B 44 w
~
5 œ œ‚ 4 ˙O ™™
˙O ™™
mf
O
4 4 w
Vc.
w
w~
5 4 ˙O ™™ mf
O
Db.
~w
6 4
m.s.p.
4 w 4
mp
~I
s.p.
O™ ? 4 b~ ¢ 4
6 4
mp
s.p.
?4 ~ 4
w~
O
b~
5 4
4 4 mf
mp
6 4
10 59
w.t. Fl.
° 6 &4
‚ 4 4 b˙ ™
∑
fff ‰
3 4
∑ ~ as strong as the technique allows
f
replace reed and staple Ob.
6 &4
ææ w™
4 4
ææ w
ææ w
∑
3 4
∑
3 4
∑
3 4
∑
3 4
Ó
3 4
∑
3 4
o pp
Cl.
6 & 4<#> wææ ™
4 ææ 4# w
ææ w o
pp
Bsn.
?6 ¢ 4 wææ ™
4 æ 4 æ w
ææ w o
pp
Hn.
°& 6 ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ4 æ ææææææææææææææææææææææææææææææææææææææææææææææææææææææ ææææææææ ææææææææææææææææææææææææææææææææÓ 4 4 o mp
Tpt.
Tbn.
Perc. 1
6 4 Œ æææææææææ & 4 ææææææææææææææææææææææææ 4 æ æææææææ 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 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 æ æ æ æ æ æ æ æ ææææææææææææææææææææææææææææææææææææææææææææææææ æ æææææææ ææææææææææææ ææææ ææææææææ oo o mp ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ ææ ææææææææææææææææææææææææææææææææææ ææææ ææææææææææææææææææææ ææææ 6 4 ? ¢ 4 4 o mp o mp
°? 6 w ™ 4
4 w 4
6 /4
4 4
∑
Ó
∑
w
∑
3 4
w
∑
∑
3 4
∑
∑
3 4
∑
∑
3 4
Perc. 2 let vib. 3
6 ¢/ 4
4 Ó 4
∑
Œ
œ≈ œ ‰ > f th.dr.t. hit strings high reg. let vib.
6 Pno. str. { 4
∑
° 6 b~™ Vln. I & 4
4 Ó 4 °
Œ
bw
~
> ≈™ œ ‰ ff
*
b~
b~
4 4
3 4
pp
bO Vln. II
6 ~ &4
˙
O
˙
O
4 ~ 4
~
w
3 4
pp
III Vla.
B 46 w~ ™™
4 ~ 4
s.p.
3 4
~
O O
pp
Vc.
? 6 ~w™™ 4
4 ~ 4
s.p.
m.s.p.
O™
œ ‚
b˙ ™
O™
‚
3 4
pp
s.p. m.s.p.
~ ˙™ Db.
?6 ¢ 4
˙O ™™
˙O ™™
~
4 4 pp
~
3 &4
11
w
w ~
63
Fl.
° 3 & 4 O™
4 4~
2 4 O
4 4 ~
~ o
˙
˙ O
˙
O
O
˙ O
3 4 o
∑
4 4
pp
3 &4
∑
4 4
∑
2 4
∑
4 4
∑
∑
∑
3 4
∑
Ob.
4 4
3 &4
∑
4 4
∑
2 4
∑
4 4
∑
∑
∑
3 4
∑
Cl.
4 4
?3 ¢ 4
∑
4 4
∑
2 4
∑
4 4
∑
∑
∑
3 4
∑
Bsn.
4 4
Hn.
°& 3 4
∑
4 4
∑
2 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
Tpt.
3 &4
∑
4 4
∑
2 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
Tbn.
3 ¢? 4
∑
4 4
∑
2 4
∑
4 4
∑
∑
∑
3 4
∑
4 4
strike let vib.
let vib. Perc. 1
°? 3 ˙ ™ 4
4w 4
2 4 ˙
4 4
∑
∑
3 4 œ ‰ ‰œ‰ Œ
∑
4 4
3
ff
Small Hand Bell shake
3 /4
4 4
∑
∑
2 4
∑
4 4
∑
∑
ææ œ
3 4 Ó
∑
4 4
f
Perc. 2 let vib. 3
3 ¢/ 4
4 4
∑
∑
2 4
∑
4 4
∑
∑
3 ≈ ≈™ ≈ 4 œœ œ œ ‰
∑
Œ
4 4
> œ ‰ œœœ Œ
4 4
ff
2 x th.dr.t. hit strings low reg. R LR 3 L Pno. str. {
3 4
4 4
∑
∑
2 4
∑
4 4
∑
∑
3 4 ‰™ °
∑
ff
s.p. m.s.p.
O™ Vln. I
w
° 3 &4
4 4
b~
b O˙
~
2 4
bw
~
b O≥ ™
b~
4 4
3 4
4 4 ff
s.p. Vln. II
3 O™ &4
m.s.p.
4~ 4
2 4 O
4 w 4
~
w
~
3 ≥ 4 O™
~
4 4
ff
II m.s.p.
m.s.p. s.p. Vla.
B 43 ˙™
˙O ™™
4 ~w 4
2 4 ˙
˙O
w
4 ~w 4
b~w
~
≥ 3 bO˙ ™™ 4
4 4
ff
s.p. Vc.
? 3<b>O ™ 4
m.s.p.
4 b~ 4
2 bO 4 ˙
4 w 4
b~w
~
w
~
3 ≥™ 4 O
4 4
ff
≥ O™
m.s.p.
3 O™ Db. ¢& 4
4w 4
~
2 4 O
4 w 4
w~
˙O
O
~
3 4
4 4 ff
12
Fl.
70 ° 4 ‚ & 4 ˙™ o
≈ ™ f f ≈ 43
∑
4 4
∑
∑
4 4
∑
∑
4 4
∑
∑
4 4
∑
∑
f
‹ 4 &4
∑
µ ˙˙ ™™™ µ˙ µ µ 3 ˙µ˙˙ ™™™ 4
4 &4
∑
3 ™ 4 B˙˙ ™
Ob.
ff harmonic overblow
‚
4 ™ & 4 ‰‰ ™
Cl.
‚
‚ Œ œ
‰™ ‰™
Œ
mf
Bsn.
3 ‚ 4 œ
∑
f
?4 ¢ 4
# ˙˙ ™™ #˙ ™ 3 ˜˙˙ ™™ 4
∑
helicopter
4 tonguing 4 ææ nw
ff
ææ w
pp
Hn.
°& 4 4
∑
3 4
∑
ææææææææææææææææææææææææ ææææææææææææææææææææææææææææææææ 4 ææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææææææææææææææææææ 4 o p o
Tpt.
4 &4
∑
3 4
∑
æ ææææææ ææææææææ æææææææ 4 ææææææææææææææææææææææææææææææææææææææææææææææææ ææææææææææææææææææææææææææææææææææææææææææææææææææææææææ 4 o p
Tbn.
?4 ¢ 4
∑
3 4
∑
ææææææææææææææææææææææææ 4 ææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææææ æææææææææææææææææææææææææææææææææææææææ 4 o p o
Perc. 1
°? 4 w 4
let vib.
3 ™ 4 ˙
4 w 4
w
mp Triangle strike let vib
ææ 4 ˙ /4
‰ ™™
Œ
œ3 >4
4 4
∑
∑
∑
Perc. 2. Small Hand Bell shake
æ 4 wæ 4
let vib.
4 ¢/ 4 ‰
3 4
Œ œ
Ó
∑
ææ w
p
L R
Pno. str. {
4 Π4
‰ ™™
L
lightly shake tail on strings low reg.
R
> 3 > œœ ≈ ≈ œ ‰ ‰ œ
3 4
4 4
∑
mf
ææ w
ææ w
p
b~
bO ™ O w
° 4 Vln. I & 4
3 4
~
O
4 4
o ff
pp
bs.p. ~ Vln. II
4 &4 ~
3 4 O™
4 ~ 4
o ff
Vla.
b~ B 44 w
pp
3 bO˙ ™™ 4
bs.p. ~
4 b~w 4
o ff
Vc.
pp
3 ™ 4 O
?4 ~ 4
4 ˙O 4
˙O
˙
b~w
w
w
~w
o ff
~
˙™
4 Db. ¢& 4
3 4
pp
O™
w
4 4
o ff
pp
~w
bw 74
Fl.
° & b~ o
w™
w b~
w™ b~ ™
6 4 b~ ™
w
w b~
4 b~ 4
13 w.t.
5 4 O™
b~
O
as strong as the technique allows pp
‹ &
∑
6 4
∑
4 4
∑
∑
5 4
∑
∑
6 4
∑
4 4
∑
∑
5 4
∑
∑
6 4
∑
4 4
∑
∑
5 4
∑
&
? æ æ w
6 4 ææ w™
4 4 o
∑
∑
5 4
∑
4 4
∑
∑
5 4
∑
4 4
∑
∑
5 4
∑
4 4
∑
∑
5 4
∑
∑
5 4
∑
∑
5 4
∑
∑
5 4
∑
∑
5 4
∑
Ob.
&
Cl.
Bsn.
¢
Hn.
6 °& Œ ææææææææææææææææææææææææææææææææææææææææææææææææææææææææ4 ææææææææææææææææææææææææææææææææ
Ó™
p
ææææææææææææææææææææææææææææææææææææææææææææææææ6 æææææææææææææææææææææææææææææææŒ & ææææææææææææææææ 4
Tpt.
Ó™
o p
ææææææææææææææææææææææææ ? ææææææææææææææææææææææææŒ Tbn.
¢
6 4
∑
p
Triangle let vib.
°? ∑ Perc. 1
6 4
ææ w™
4 4
ææ w
pp
/
∑
6 4
4 4
∑
∑
Perc. 2.
ææ w ¢/
let æ vib. 4 wæ 4
æ 6 wæ ™ 4 pp
ææ w
6 4 o
Pno. str. {
4 4
∑
∑
*
w Vln. I
˙O
~
° &
w~
O˙™™
~
6 4
œ ‚œ
œ ‚œ O˙™™
O™
4 4
˙
O
O
5 4
b˙™
O™
˙
˙™
O™
O
m.s.p. I
bw Vln. II
~
&
b ~w ™™ 6 4
m.s.p.
~ b~
˙
O˙
˙
B
4 4
? b~w
6 b~ ™ 4
4 bO 4
Vc.
~
5 4
O˙
~
O˙
w
6 4
Vla.
~w
bw 4 4
5 4
˙
O
bw
bnw~
5bn˙O ™ 4
<n>O
O™
˙
m.s.p. s.p.
~w Db.
¢&
~™
6 4
w
4 4
w~
w~
5 4
O