Ylva Lund Bergner Toujours vers toi (2016) for flute, clarinet, trombone, piano, violin I–II, viola, cello Dur. 11′
Written for Klangforum Wien
SCORE
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Instruments:
toujours vers toi
Flute (only Piccolo & Alto) Objects: Rubber band box (size 2), Stylophone, Stylophone Beatbox, Floor lamp, Lion's roar & Spoons
Clarinet in Bb (alt. Bass clarinet)
Objects: Rubber band box (size 1), Stylophone, Lion's roar & Stones
Trombone Objects: Rubber band box (size 1), Stylophone, Lion's roar & Stones
Grand Piano (alt. Electronics) Objects: Rubber band box (size 2), Stylophone (together with mp3-player), Stylophone Beatbox & Lion's roar Equipment: Wedge, 4 E-bows, String attached to string & Tissue (to put underneath strings)
Violin I
Objects: Rubber band box (size 3), Stylophone, Lion's roar & Tealight cups
Violin II Objects: Rubber band box (size 4), Stylophone, Lion's roar & Tealight cups
Viola Objects: Rubber band box (size 4), Stylophone, Lion's roar & Tealight cups
Cello Objects: Rubber band box (size 3), Stylophone, Lion's roar & Tealight cups --------------------------------------------------------------------------------Objects All instruments: Rubber band box: Size 1-4 (1=biggest) 1: Moving box, 2: Banana box, 3: Shoe box & 4: Raisin box Stylophone (24.90 ! on www.thomann.de) Wind- & string instruments: Lion's roar (tin can) with string or wire String instruments: 3 Tealight cups (candle wax left in the bottom let the cup keep its form; cups nailed down to a piece of wood) 1st & 2nd: Different amount of candle wax left in the cup; played with a bow. 3rd: No wax left in the cup and just played with hand to flip and turn it around.
Clarinet & Trombone: 2 Stones/each Flute & Piano: Stylophone Beatbox (24.90 ! on www.thomann.de) Flute: Spoons (silver; dangling on a string; attached to note stand or chair), Floor lamp (close to the musician; creating a shadow through the net of metal wire/paper with cut-outs when it is lit). Turn the shade of the lamp around.
About: In the piece ’Toujours vers toi (Always against you)’ I'm working on the thoughts of group dynamics & pressure. Another influence comes from colonies and their fight for independence. Yet another one comes from when people are fleeing their country with the hope of a better future. The common between these subjects is the hope of a change & better future. Also the feeling of not belonging anywhere. Fight spirit & confusion. The title comes from a poem by the french poet René Char.
VIOLIN II
VIOLA
FLUTE
VIOLIN I
CELLO
PIANO
!
TROMBONE
Bin for the lion's roars
CLARINET
CONDUCTOR
[High podiums in the back] [Speaker] [Screen]
__________________________________________________________________________________
EXPLANATIONS IN GENERAL
General information. Grades of accidentals.
Tuned in a different way. Tuned down a major second down. The upper staff shows the result.
Stylophone with setting 1, the lowest of 3. Do dynamics with the volume button while keeping the pen in position on the tone.
Tuned in a different way.
Stylophone with setting 2, the middle of 3. Do dynamics with the volume button while keeping the pen in position on the tone.
Turn the stylophone pen in circles to create a soft disturbance noise.
Stylophone with setting 3, the highest of 3. Do dynamics with the volume button while keeping the pen in position on the tone.
Make a glissando on the stylophone. Keep the pen on the tone while making the glissando with the tuning peg underneath.
Do an accelerando on the stylophone, using the pen. Turn down the volume whilst doing so.
Play a "g" on the Beatbox with setting 3. Afterwards change to setting 2 and play on 6.5 (percussive noisy sound).
Instruction for conductor. Show numbers with fingers while conducting. The section is in a way free. Numbers indicates boxes.
Let your hand drag across the rubber bands and create a diffuse sound. No specific tone.
Play on rubber band box. There are different sizes and sound in the ensemble. Play approximately what is written.
Blow on the rubber bands. The friction will create a sound.
Play on the rubber band box what is written in the box when the number is indicated by the conductor.
Throw rubber band box towards the clarinet/tro mbone player.
Play on the rubber band box. Stretch out the band on the side and let it hit the side with a sharp sound.
Play on the lion's roar. Prepare before to create the sound.
Play on the rubber band box. Stretch out the band and make pizzicato while you stretch more and more.
Instructions about the musician moving around on stage. Follow it.
Play with a bow on the rubber band box. The best place to get a sound is on the edge of the cardboard where the material is fragile. Keep it stiff. Play in a rough way on the rubber band box. Focus on the action and aggressivity. Play freely but follow the intensity.
More instructions to follow for the ensemble. Instructions. The musicians put the lion's roar in the bin at different points.
WINDS Breath tone. Intense air sound.
Air. Soft sound.
Transmission from air to half air/half tone sound.
Transmission from tone to half air/half tone. Make a bend down.
Keyclicks. Make a tremolo with noisy key sounds. No tone.
Play a ritardando with sounds of keys. Play no tone.
Make a tremolo with the knuckles/fingers on the bell of the trombone. Imitate the sounds of keys.
Play air tone. Bisbigliando between two air tones. Flutter tongue. Air tone.
Air sound. Frullato.
Flutter tongue in the throat. Air tone.
Slap tongue.
Play an air tone and sing while playing.
Play whistle tones. Follow the graphics.
Play with two small stones. Preferably smooth surface. Hit the other stone and the grind them together.
Play whistle tones.
Play on the hanging spoons. They need to be made by silver.
Hit the metal part of the lamp standing next to the flute player.
Air tone on the flute with a breathy character.
Hit the mouthpiece on the trombone with the palm of your hand. Mouthpiece still attached to the instrument. Instructions for visual aspects
Keep the shade of the lamp still.
Slide the lamp dimmer of the lamp up slowly.
1. 3.
Turn the shade of the lamp around. Let the patterns in the shade create figures on the walls around.
2.
1. Turn your body, left to right. Stretch. 2. Roll your shoulders. 3. Turn shoulders from side to side. Open mouth.
Turn your shoulders from side to side. Let the sound of the compressed lungs get out through the open mouth. Face the clar/tromb. player.
PIANO Hit the wedge put in between two strings. Hit it softly.
Let a string (metal or other) be attached to a low string. Touch and twirl to create a sound.
Drag the nails along the keys to make a soft noise.
Blow along the strings inside the piano.
Drag a plectrum/card along the keys. Damp with arm from underneath for safety.
Tap on a string. Keep the finger on string to damp it after the tap.
Place and start 3 e-bows. Number 1 and 2 are set on high setting which means it rings one octave higher. The 3rd has a normal setting. The strings will not ring until the pedal is pressed.
Play with e-bow in high setting. Put a soft tissue paper in between strings to make buzzing noise while the e-bow is active.
The pedal control while the e-bows are played. The indications under the systems shows how much of the pedal is pressed down. Instructions how to play e-bows with control of fingers & not only the pedal. Keep the fingers on strings that you wish to damp. Let go when they are supposed to ring.
Indication when to remove the ebows.
Blow air on the keys on the piano.
Play harmonic on the piano. Put finger on position and play the key. The harmonic can be found close to the hammer.
Play electronics from an mp3-player. Let it be played through the stylophone.
STRINGS Play artificial harmonic, lowered a quarter tone with a bow played half hair/half wood.
Play with bow on the highest string behind the bridge.
Play artificial harmonic and play a trill between the harmonic and a normal tone.
Play an arpeggio with the bow on the strings behind the bridge.
Play double stop, the upper tone is an open string. The lower is playing the trill. When reaching the bridge, play mezzo legno. Play a slap tone. Let the string hit the fingerboard even when the dynamics are low.
Play natural harmonics on two strings. Play flautando with ordinary bow style. Then play with legno (wood) in a circular motion. Play mezzo legno with light pressure on two open strings while damping them.
Play with legno in a circular motion on an artificial harmonic. Like tremolo with an indeterminate speed.
Quick changes of style. Play ricochet, then going from legno battuto to tratto. Finish with ordinary bow.
Play from normal to hard pressure with the bow on double stop.
Play double stop, one open string and one natural harmonic. End with hard pressure.
Play left hand pizzicato. Then mezzo legno in circular motion. From ordinary position to near the bridge and back again. End gesture with harmonic.
Play hard pressure behind the bridge with a slow bow.
Play on the tail piece with bow. Use a lot of rosin to get a grip.
Play legno battuto while doing a glissando. End with natural harmonic.
Play on the tail piece with bow. Shift between tail piece and left hand pizzicato. Keep the bow going even when then pizzicato is played.
Play a glissando on natural harmonics. The upper staff shows the result.
Blow along the strings on the instrument. Try to make a strong airy sound.
Play with the bow on a string at the nutpeg.
Play with the bow along the strings, in the opposite direction than the ordinary. Light and quick.
Play an arpeggio on the strings at the nutpeg.
Turn around the tealight cup. Then play left hand pizzicato and at last play with bow at the nutpeg. Quick changes between ways of playing. First normal playing, then on a string at the nutpeg. Afterwards play legno battuto, then pizzicato arpeggio. At last play a pizzicato through pull out the rubber band around the neck and let go.
Play with the bow on a tealight cup in circular motion. Blow on a tealight cup at the same time to make it turn.
Play on the rubber band wrapped around the tail piece. Play a rhythm.
Turn the tealight cup around. Let it slow down on its own.
Tighten the rubber band wrapped around the tail piece. Making it tighter makes the tone higher.
Play with the bow in circles.
Place rubber band over the neck where it is attached to the body.
Play with the bow on tealight cup in longer lines.
Play a pizzicato. Pull out the rubber band around the neck and let go. Play the normally with bow on 1st string behind the bridge.
Blow on tealight cup to make it turn around.
Play bartok-pizzicato on 3 strings. They are prepared with rubber band. Play then with the bow on the bridge. Damp the strings.
Play with the bow on tealight cup. First accent and then with the bow in circles.
Roll away the rubber band wrapped around the fingerboard. Play legno battuto.
Place a rubber band over the tail piece and instrument body. Place it about 2 centimeters below the fine tuners.
Roll the rubber band back and forward along the neck. Leave it in the position where the neck is attached to the body.
Play on the rubber band wrapped over the tail piece.
OBJECTS & MATERIAL Made out of paper boxes in four different sizes (material: cardboard). The rubber bands used are in different sizes. The biggest is of a size of a moving box and the smallest one in the size of a hand. Wrap the rubber bands around the box. For the biggest box, bands for industrial use are needed. Made out of a tin can. Use either a steel wire to stick out or other material. All tin cans has the same size. Needs to be real silver spoons attached to a string. The silver makes a clearer and brighter sound. Put them either on the chair or note stand in front of you. Two stones that fit the hand. Both hit & grind the stones together. Wedge (wooden). Put in between two strings. Hit the top with fingers while the pedal is pressed down. Makes a low muffled sound. Mp3/media player attached to the stylophone. Press play & then forward to start sound-files. Every soundfile has extra silence afterwards to not make it start too soon. Be sure that the mp3 player has the right settings, like not letting the light on the display go out too fast.
DĂźbreq S-1 Stylophone Play with pen in right hand & the speaker part on the left side. Then you can control volume with your left hand. Put a piece of tape around the tuning peg underneath & write where the tuning points are. 3 settings indicates octaves. 1st is low & 3rd is high. The tones are shown on a keyboard. (thomann.de) DĂźbreq Stylophone Beatbox Play with the pen like on a normal stylophone.3 settings: 1st indicates beatbox, 2nd means percussion & the 3rd is bass sounds. The tones are shown in a circular keyboard with numbers written next to the surface. (thomann.de)
Home made lamp shade made of papier machĂŠ with a steel wire construction to keep the shade in place. Placed on a floor/table lamp (depending on the concert hall). There will be sticks underneath the shade to make it easier to turn around. The shade will reflect figures and patterns from the shade onto the surrounding walls. A slide dimmer attached to the lamp will help to control when the shadows starts to show in the room.
Foot slide dimmer for the floor lamp. 4 E-bows. Two settings: Normal setting which makes the tone ring in normal register. In harmonic (high) setting, the tone will be one octave higher.
Rubber bands wrapped around the string instruments. One is larger & put over the bottom end of the inst-rument & goes over the tailpiece as well. The 2nd rubber band is small & wrapped, double folded around the neck on an harm-onic where the neck is connected with the body.
String/steel wire attached to a low string. Touch and twirl to make it sound while the pedal is pressed down.
Tissue (plain paper usually used in decoration; put underneath strings) or cello-phane. Choose what makes most buzzy sound while the e-bow is on.
3 Tealight cups (candle wax left in the bottom let the cup keep its form; cups nailed down to a piece of wood) 1st & 2nd: Different amount of candle wax left in the cup; played with a bow. 3rd: No wax left in the cup and just played with hand to flip and turn it.
Tuning of the rubber band boxes: Size 1 (millimeters): 370 x 369 x 556 Material: Cardboard Rubber bands: 22 bands (18 big, 2 medium (short: med) & 2 thin) Tip: Use paper tubes or styrofoam blocks to stabilize box
Size 2 (millimeters): 234 x 340 x 206
Material: Cardboard/Plywood Rubber bands: 5 rubber bands (1 big, 1 med, 3 thin) Tip: Use paper tubes or blocks of styrofoam to stabilize the box if it's made of cardboard.
Size 3 (millimeters): 110 x 170 x 335
Material: Cardboard/Plywood Rubber bands: 8 rubber bands (4 thin, 4 very thin) Tip: Use something to stabilize the box if it's made of cardboard. Put a pencil underneath to tighten the rubber bands to make it easier to find the higher pitches.
Size 4 (millimeters): 140 x 100 x 50
Material: Cardboard/Plywood Rubber bands: 8 rubber bands (2 thin, 6 very thin) Tip: Use paper tubes or something else to stabilize the box if it's made of cardboard. Put a pencil underneath to tighten the rubber bands
Electronics [Played through mp3-player/computer/midi keyboard]: 10 SOUNDFILES
Duration
Bar
Soundfile 1
27 seconds (+ silence)
37-46
Soundfile 2
35 seconds (+ silence)
47-59
Soundfile 3
22 seconds (+ silence)
60-67
Soundfile 4
59 seconds (+ silence)
104-125
Soundfile 5
22 seconds (+ silence)
126-133
Soundfile 6
23 seconds (+ silence)
167-175
Soundfile 7
15 seconds (+ silence)
176-180
Soundfile 8
26 seconds (+ silence)
181-190
Soundfile 9
20 seconds (+ silence)
222,5-224
Don't forget that someone has to play the electronics. It can either be played by the pianist or by someone sitting close to the mixer (not on stage). If someone is sitting off-stage it can be played by a musician, composer or technician (who can read score). If the pianist is going to play it, it has to be prepared in a way that is practical to the musician and should be practised many times. Maybe starting the files with a pedal could be an option. The files are made in a way so that it shouldn't sounds strange if you jump to next file sooner if the tempo is different than in the score.
Stylophones All instruments in the ensemble are playing a stylophone. Some are playing it more than others. One thing that differ is the tunings of the instrument.
TUNING Flute
Up: Major 3 & Major 7 (highest point)
Clarinet
Up: Major 7 (highest point)
Trombone
Up: Minor 6 (lowered quarter tone) & Major 7 (highest point)
Flute
Down: Major 7 (lowest point)
Piano
Down: Major 7 (lowest point)
Underneath the stylophone there is a tuning peg. Turned right means higher pitch. Turned left means Up: Major 7 (highest point) lower pitch. 3 settings in the front indicates octaves. 1st Piano Down: Major 2 & Major 7 (lowest point) is low and 3rd is highest. The tuning requires some Violin 1 Up: Major 7 (highest point) practise and the best way to start is to point out where the tuning points are around the tuning peg, so that you Violin 2 Up: Major 7 (highest point) don't have to think too much about it during concert. Mark it in a way that suits you. It might be to put tape Viola Up: Major 7 (highest point) or some other marker at the points where the peg Cello Up: Major 7 (highest point) should stop turning. A piece of tape that you can feel with your fingers without looking. In the list to the right, there are instructions to all the individual Note: Major 7, highest point, is not compleately perfect musicians how to prepare their tuning. Keep an eye on pitch. It is a bit low and every stylophone is different. So don't panic if it is not in tune. which stylophone that is yours and that you have fresh batteries for the concert. One tip for the player: if you are right handed, the easiest position to play is if you take the "pen" in your right hand, turn the stylophone so you have the volume wheel towards the conductor and lean the instrument towards your diaphragm. Play on the volume with your left hand and use the pen in the right hand. If you let the instrument rest on your stomach, you will have the freedom to change octave and tune with your right hand. Two musicians in the ensemble are playing the stylophone beatbox: the flutist and the pianist. There are 3 settings on the instrument: 1st indicates beatbox, 2nd means percussion & the 3rd is bass sounds. The tones are shown in a circular keyboard with numbers written next to the surface.
Construction of objects & other information Lamp The flutist is using a lamp in the piece. This lamp has a pattern around. When the flutist turn the shade around, the pattern appears on the wall or screen behind. I, the composer, has made a lamp in papier maché and cut out a pattern. It is possible to borrow this for a concert if the request does not come too late. Otherwise, there can also be other methods to make this lamp. There is a pattern last in the preface, which can be printed out. You can either make your own papier maché lampshade (takes a few days) or use a rice paper shade. No matter which version you choose: Print the pattern, cut out the symbols, use a sponge with color paint & let the color come through the cut-out patterns, cut out the symbols that are now shown on the ball with a scalpel or a small pair of scissors, paint the whole lamp black. In all cases, always use a very bright lamp. It can become quite hot when it is lit but it will only be so for a very short time. As a precaution you can spray the inside of the papier maché lampshade with inflammable spray. The rice lamp will probably manage the heat better.
Examples of papier maché lampshade:
Off
On Shadowing patterns in the ceiling & on the walls.
To make the lampshade in papier maché, it might be good to work with a balloon as a model. Here are 3 pictures from the process of making the lamp. 3 lamps in different sizes were made to be sure there was a backup lamp if something happened. 1st: paper & glue, 2nd: color on half, 3rd; sketch symbols, 4th: cut out symbols, 5th: paint the rest. & 6th: spray with inflammable spray.
1
2
3
4
5
6
7
Putting on all the stuff for the lamp. 2nd picture shows the construction with handles to turn the lamp around. In this case it is 3 legged stand for a table lamp. 3rd shows the steel construction that keeps the shade stable on both the top and bottom. It is attached to the handles with gaffer tape. 4th shows when to put the light bulb. 5th picture shows the shade in place. Attach it to the steel construction shown in the 3rd picture. Then: light on! Check again if it is stable.
Examples of rice paper lampshade:
To make the rice paper lampshade, you don't need so much preparation as with the papier maché lampshade. You only need to buy a rice paper lampshade and then print the patterns. Cut out the patterns and use a sponge or just a pen to draw around the edges to make clear where the symbols should be placed on the rice lamp. Use a scalpel and a small pair of scissors to cut out the patterns. Then, paint the lamp black. You can also do it in another order. So, paint it black, except for the areas where the symbols are; then cut out the symbols. It'll not be so completely black as the papier maché lamp but the symbols will be clear on the wall anyway. You might think that it would be enough just to leave out to paint the parts where the symbols are, but they will not be clear enough if you don't cut it out. Since the material of the rice lamp is so thin, sometimes the parts around the bigger symbols fall inwards. To avoid this kind of "collapse" you can use some adhesive tape to repair the non-supported parts of the lampshade. It will not show on the walls. Inside of the lamp you have a normal construction that follows when you buy a lamp to stretch out the lamp as much as possible. Last you need to cover the upper part of the lamp so that the hole doesn't make a sun in the ceiling. Ex. fold paper & use duct tape around to make a plate like thing to put on the open hole in the shade. Either you make a rice lampshade or a papier maché shade you also need a stronger construction inside that can be attached to the tripod (see construction to the left). That can be made in thick steel wire. You also need a construction to turn it around. A useful idea is to use a tripod (three-legged stand) from a table lamp (see tripod to the right). It can for example be found at IKEA. To connect it all you need to take of the lightbulb and the security part underneath that is screwed on. Put the tripod first and then the steel construction. Use duct tape to fixate these two parts together. Screw the security part on top of it, but not too hard. It should be possible to turn the tripod around. Put the lightbulb in position and place the shade on top of it all.
Patterns that can be used or as inspiration inspiration. The big version to print is found last in this document: document
Lion's roar This is made very easily with only a tin can, awl, string (different material is possible) & a cloth (moist). Different material on the string and different sizes on the tin cans can be used for creating different sounds. Everyone in the ensemble will have one each. One tip: use a rubber band to keep your cloth in position so you don't have to gather everything when it is time to play.
Tealight cups This is also made easily with only a hammer, nails, piece of wood, three tealight cups (1 empty & 2 with little wax left). You can use a small piece of duct tape for the empty tealight cup to keep it from flying away. The two tealight cups with wax left should have different amount of wax left so that the sound will be different. These two will be played on with a bow. Don't let the nail go to far down since that can make the wax get loose from the cup. And not too high up since the bow will get stuck; in between is best. The last & 3rd one on the brick, is not played on with a bow. It should turn around & be quite loose. It should also work and turn around when you blow on it. All strings will have one set of these tealight cups each.
Silver spoons You only need about 8 silver spoons, duct tape, a round stick & 8 rubber bands. Either make holes in the spoons or find way to wrap the rubber bands around the stick. Then put a piece of duct tape around the stick & hang it up close to the flutist.
Rubber bands on the strings
All strings will be using 2 rubber bands on their instrument. A longer rubber band over the bottom part & across the tail piece. The other is rolled onto the fingerboard.
--->
Rubber band boxes Boxes 4 different box sizes. The boxes can be made out of wood instead of cardboard, except for size 1, since that box is thrown on stage. If the boxes are made out of a harder material, it's easier to tune the elasitc bands. Don't be afraid of playing in an aggressive way. The elastic rubber bands can changed but the sound is important. Follow the dynamic. Play with 2 fingers on each rubber band and play it upwards. Size 1:
Size 2:
Size 3:
Size 4:
Toujours vers toi e = 58 Plaintive [Acrid & Hoarse] Flute
Clarinet in Bb
Trombone
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° (III)
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œ.
P
Place & start e-bows
&
–.
œ
o
p
o
half air half tone
air
œ œ
œ.
m–
m m ·œ ..
m m ·œ ·œ
gliss
" gliss
gliss
gliss
gliss
p
B B ·œ
IV pizz
# œ. o >p
gliss
&
mœ ®
A.Fl.
–
&
qn
(%)
Cl. in Bb
Trb.
&
# Œ
Gr. Pno./ Kbrds/ Elctr.
bend
œ
& œœ 1 P
Vlc.
#
!
œ· ..
"
?
legno tratto
µœ
qn
–
œ $
œ
œ
j µ– " flz ~~~~~~~~~~~ (throat)
B œbend b œ zJ zJ " p
$
o
Knuckle/Fingers hit softly trem the inside of the bell
–.
#
(no tone)
qn
œœ ..
?
¿.
qn
¿. $
Place & start e-bows
3
[normal setting]
2
[high setting]
1
bend
[ m˙]
[ m ˙˙ ]
o
% ·œ
"
œ
legno tratto
f p
p
,
legno batt.
j œ F o
e.
legno batt.
œ
, >· œ® ‰ F
&
œ
ord. III bow
œ
· j · œ µ œ . . . n œ. # ® > > p o f qn F P gliss
&
&
Tail piece
ord. bow
œ > [F ] œ
œ
gliss
‰ œ
·
,
œ >
e.
legno batt.
4
"
%œ
%m œ
&
ord. III bow
gliss
‰
# & ‰ >œ [F ]
F
#·® ‰ œ > . . . m œ. > f qn F
Tail piece
qn
mezzo legno tratto
&
& œ >
& œ >
·œ ..
ord. bow
legno tratto
Fp f p
P$
IV
qn
legno batt.
·œ µ µ ·œ nn ·œ ·œ. ·œ. ·œ. œ̆ œ- , >·œ gliss µ µ ·œ ® ® ® ® ® ricochet
gliss
legno tratto
. . . . . m m ·œ ®·œ ®·œ ®·œ ®·œ ®·œ ®œ̆ ®œ&
(IV)
%
œ
!
µ µ ·œ ..
"
"
o
o
œ
fr~~~~~~
0/4
gliss
Vla.
œ J P
#
·œ ..
ricochet
œ
µ–
‰.
# ‰
œ.
m m ·œ ..
&
–
#
1/4
gliss
Vln. II
–.
o
j œœ J "
2
&
µ¿.
qn
B B– # ‰
œ J
3/4
Vln I
‰
µ¿. p
o
E-bows
3
(no tone)
œ
p
? N–
&
Œ
œ.
trem
Keyclicks
Œ
Œ
. . · ® · ®‰ ord. bow
$
%œ
&
· ®· ® . . œ $ Ø
Tealight cup (bow)
¿
o
$
Tealight cup (bow)
¿
o
IV
legno tratto Circular motion
$
¿ J
qn
¿ J
qn
A.Fl.
Cl. in Bb
Trb.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ " Œ & œ nœ µœ –. bend bend p qn (!~~~~~~~~~~ ) Keyclicks (no tone) trem bend Bœ œ –® µ ¿! .. & zJ ¿! . # P qn " m– –.
B Œ
µ–
Air
o p
follow the graphics
‰
Whistle tones
& m œj
[normal setting]
Gr. Pno./ Kbrds/ Elctr.
E-bow
? m œœ J 1 2
(!)
Vln. II
œ
p
#
[high setting]
°
Vln I
œ
&
o
0/4
œœ
legno tratto ord pos
·œ ..
? ¿ J
&
P œ
legno tratto Circular motion
mezzo legno tratto
$
,
Tealight cup Dynamics means: (turn around) let ring /only 1 action)
¿
p
,ä ¿ qn
$
,ä ¿ p
, ä ¿
P
Tealight cup Dynamics means: (turn around) let ring /only 1 action)
¿
p
œ
, ä¿ qn
$
‰. o
,ä ¿ p
, ä ¿
P
Tealight cup (bow)
ord. bow
>¿ >¿
qn F
,
mezzo legno tratto
legno tratto
œ. .! .! œ. .! .! œ. .! .! µ œ œ p $ qn
f
‰.
Tealight cup (bow)
¿ " >¿ >¿ >¿ o F
Tealight cup (bow)
¿ " >¿ >¿ >¿ 5
o F
‰ äœ
F
o
– – m– J qn P
qn
œœ ‰ .
, . . . . . . . . ., r >· œ! ! œ! ! œ! ! œ œ Œ
œ œ. .! .! œ. .! .! œ. .! .! · p $ qn P
Tealight cup (bow)
Vlc.
qn
mezzo legno near the tratto bridge
œ.
& ¿J
legno tratto Circular motion
mezzo legno tratto
p $
ord pos
P
Remove E-bows:
Tealight cup (bow)
>¿ >¿
f
Œ. Œ
‰
o
¿ ‰. o
F >·
>¿ ¿ " ‰ >¿ >¿ >¿, o
F
$
>¿ ¿ " ‰ >¿ >¿ >¿ , o
¿ ‰.
œ)
(
1 2 3
0/4
·œ µ œ. .! .! œ. .! .! œ. .! .! µ µ ·œ
near the bridge
( #)
&
F
qn
œœ ..
œœ
÷
– "
! µ– –
œ.
m–
1/4
2/4
Tealight cup (bow)
Vla.
œœ
(mallet)
–
qn
œ.
œ
Œ
– µ–.
F
– J
3 E-bow
‰
Hit metal part of the lamp
qn
–
o o
P
ÿ ! !
p
Air " –J
œ
o
m‚ ÿ ÿ ÿ
F
$
>¿ >¿ >¿ ¿ "
f
o
>¿ >¿ >¿ ¿ "
f
o
A.Fl.
Cl. in Bb
Trb.
÷
&
ΠРo
(!) B – p
Hit metal part of the lamp
Œ
(mallet)
follow the graphics
‰ äœ
P
–
p
–
o
µ–
– m–
–
#
& ? Œ
Œ
‰
&
qn
œ)
P >·
F
‰
p P
P
$
The prefered sound is a buzzing and rattling sound.
Œ
1
bisb.
µ–. n– – – – p F qn
– – m–
qn
Place a piece of wrapping tissue (or other kind of thin paper) over the string d#3/d# and other strings around.
–.
qn
– µ–
Slide the switch to the lamp. Do it slowly. Rather slow than fast. Important to not reach the light position too soon.
÷
–
– – –
o
(
Gr. Pno./ Kbrds/ Elctr.
‰.
Whistle tones
‰ µ–
qn
m‚ ÿ ÿ ÿ ÿ ÿ ÿ
–
F
qn
Place e-bow
" mœ œ
[high setting]
°
Dynamics means: let ring /only 1 action)
Tealight cup (bow)
Vln I
& >¿ >¿ P
Tealight cup (bow)
Vln. II
Vla.
Vlc.
& >¿ >¿ P & Œ
? Œ
Tealight cup (turn around)
>¿ ¿ " ‰ >¿ >¿ " o
p
o
>¿ ¿ " ‰ >¿ >¿ " o
p
o
Tealight cup (bow)
>¿ >¿ >¿ ¿ "
P
o
Tealight cup (bow)
>¿ >¿ >¿ ¿ "
P
o
>¿
f
>¿
f
Œ
Œ
, ä ¿ ¿
¿.
qn
P
qn
E-bow
Œ
[m œ ]
[high setting]
– µ– –
Tealight cup (bow)
>¿
o F
o
0/4
¿.
" ‰
o
Dynamics means: let ring /only 1 action)
Tealight cup (turn around)
,ä ¿ ¿
¿.
qn P
" >¿ ¿ F
" >¿ ¿ 6
F
Tealight cup (bow)
>¿
oF Tealight cup (turn around)
, ¿ ä¿ ¿
qn P
Tealight cup (turn around)
, ¿ ä¿ ¿
qn P
¿.
" ‰
o
Tealight cup (bow)
¿ >¿ ¿ qn
p
Tealight cup (bow)
¿ >¿ ¿ qn
p
A.Fl.
Cl. in Bb
U
÷
& µ–
Trb.
–
p
Gr. Pno./ Kbrds/ Elctr.
U –
o
1/4
Tealight cup (bow)
Vln I
> & ¿ p
Tealight cup (bow)
Vln. II
> & ¿ p
Tealight cup (bow)
Vla.
& ¿ ‰. o
Tealight cup (bow)
Vlc.
? ¿ ‰. o
0/4
¿.
¿.
# ‰
o
# ‰
o
0/4
U >¿
U >¿
F
z
(throat)
– p
œ œ œ "
œ
m–
qn
z z z
œ J
œ Ø 1/4
# ‰
o
# ‰
o
Tealight cup (turn around)
, ¿ ä¿ ¿
>¿ p
qn
P
, ¿ ä¿ ¿
>¿ p
qn
P
U¿ ‰ .
# >¿ ¿ P
¿ ‰.
# >¿ ¿
# >¿ ¿ P
U¿ ‰ . o
# >¿ ¿ P
¿ ‰.
# >¿ ¿ P
7
o
Tealight cup (turn around)
# >¿ ¿ P
o
qn
– – – P
2/4
¿.
n–
flz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
– µ– –
¿.
F
– – – P
qn
qn
U mœ
œ.
µ–
?
F
qn
? œ Ø
– – – P
qn
m– –
z
(throat)
–
P
B –
flz ~~~~~~
U
– – –
o
Turn around the shade of the lamp slowly. Let the shadows jump against the screen behind you.
o
o
P
o
, qn
, qn
[q A.Fl.
÷
flz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
z
&
z
– F
µ–
qn
(throat)
z z z
– – – P
z z z
z
?
µ–
œ œ – P
qn
z
n–
qn
z
z
œ
z
j µ–
œ p
–
qn
– m–.
–.
– p
o
– $
gliss
nœ.
œ.
qn
"
voice
œ® ‰
"
? œ ( Ø)
œ œ œ 1/4
–
o
œ.
œ p
j – $
Air
m–
!
& Gr. Pno./ Kbrds/ Elctr.
]
slow down the turn of the shade
flz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Trb.
q
Keep lamp shade still.
(throat)
Cl. in Bb
e
Remove the piece of wrapping tissue (or other kind of thin paper).
œ # Œ
Œ
o
3/4
0/4
Tealight cup (turn around)
Vln I
œ
&
o
Behind the bridge
Vln. II
&
Play on a string at the nutpeg
œ
o
Tealight cup (turn around)
Vla.
ä & ¿ F
Tealight cup (turn around)
Vlc.
? ä¿ F
œ.
œ
" œ.
œ
" Tealight cup (bow)
¿ >¿ ¿ qn
P
Tealight cup (bow)
¿ >¿ ¿
qn P
œ
œ
œ
œ
œ
qn
œ
qn
œ
œ
œ œ .
¿ # ¿ o p
,
Tealight cup (turn around)
ä¿
P
o
o p
œ
œ
qn
œ
œ
œ
œ
Behind the bridge
bow in circles
¿ # ¿
P
Play on a string at the nutpeg
B
¿
¿
‰
#œœ qn
8
P ÷ ä ¿
œ >œ # >œ #
œ
$ ¿ J
P
Tealight cup (turn around)
œ œ .
bow in circles
œ >œ # >œ #
œ
$
÷ ä ¿
œ œ œ
œ
œ.
p
œ.
p
P
A.Fl.
Cl. in Bb
Trb.
Gr. Pno./ Kbrds/ Elctr.
Change to piccolo
µœ œ †#
÷
&
œ.
œ
? –
o
& ÷
¿
,
œ ®œ
,
oF p
µœ J "
$
Œ.
o
–
mœ. "
!
!
!
&
¿
,
œ ®œ
ä¿
,
oF p
ä¿
P
Tealight cup (turn around)
÷ ä¿
P ÷ ä¿
? œ >œ # >œ # ( p)
P
œ ®œ
œ
œ ®œ
œ
Pf F
œ >œ >œ # # B ( p)
%
Pf F
Tealight cup (turn around)
Vlc.
‰.
œ
?
Tealight cup (turn around)
Vla.
qn
Œ.
‰
œ
&
÷
Vln. II
œ
$
( ")
œ
"
o
Tealight cup (turn around)
Vln I
mœ
gliss
µœ mœ
P
¿
,œ œ ®
II III
œ œ ®
of F
near the bridge
I
œ® # œ® µœ µœ œ µœ p p qn $ ML
ord pos
I µœ œ® # œ® µœ œ µœ p qn $ p
,
of F
¿,
ord pos ML
ä ¿
œ œ ®
œ
Pp$ ,
ä ¿
œ œ ®
Pp $
œ œ œœ o
near the bridge
œ µœ
ord pos
œ µ œ·
p œ œ
"
legno tratto Circular motion
III
œ œ ® œœ œ œ p Ø
µ µ ·œ ..
·œ œ. . . œ. . . œ. . . mezzo legno tratto
legno tratto
"
µœ µœ $
p $ œ œ œœ
µ œ µ œ·
o
IV
gliss
legno tratto Circular motion
œ 9
œ œ ®œ
III
œ œ œ p Ø
p
qn
$ o
µ œœ p
œœ œœ œœ . .. . .. . .. $ qn
mezzo near the legno bridge tratto
ord pos
IV
œ .. œ
, ·œ Ÿ~~~~~~~~ œ . ( µ µ ·œ )
mezzo legno near the tratto bridge
ord pos
œ. œ.
qn
gliss
µ œœ p
œœ œœ œœ . .. . .. . .. $ qn
normal speed
Breath Air
P.Fl.
Cl. in Bb
Trb.
Gr. Pno./ Kbrds/ Elctr.
† œ. ( &) & Œ
j b–
œ F
Œ
m– J
œ
F
o
‰.
÷
o
‰.
b–
– P o
qn
P o
qn
z
z
–
œ P
o
– ‰.
m–
flz ~~~~~~~~~~~~~~~
‰.
b–
– p o
qn
flz ~~~~~~~~~~~~~~~~~ (throat)
–
œ
z
z
P
o
&
&
#
&
° , > Ÿ~~~~ , µ œ( µµ ·œ ) œ. .! .! œ. .! .! œ. .! .! œr µ ·œ Œ ord. bow
%
P µ µ ·œ
ML
P
%
œ
,
III IV
&
ord. bow
III IV
qn F
IV
œ
mœ
,
III IV
legno tratto
III II
legno tratto
µœ µœ o
qn F
! , . . . . . . . . ., r µ>· œ! ! œ! ! œ! ! œ œ Œ
legno tratto
œ
II III
!m œ
m·
ord. bow
ord. bow ord pos
b œœ "> f
œ œ
œ œ
f
‰.
‰.
qn
·
· ‰.
œ
œ f
ord pos
near the bridge
o
$‰ ? ‰· m · . µ œœ ! !œ! œ ! ! œœ ! ! œ œ œœ . . . . .. ... p o P % qn
ord. bow
Wedge (hit)
Œ
$‰ B ‰· . · µ œœ ! !œ! œ ! ! œœ ! ! œ œ œœ . . . . .. ... p o P % qn
ord. bow
$
o flz ~~~~~~ (throat)
z
– ‰.
m–
m–
p o
qn
! bœ
o
Touch and twirl a string attached to a thick string.
&
Vlc.
–
o
?
(I)
Vla.
– P
normal speed
&
(I)
Vln. II
Œ
? Œ
(!) Vln I
œ œ µ– –. > F &
slow tempo
œ
‰
Œ
µœ µœ
‰
‰
qn
' ' ord. pos. $ $µ œ $ ‰ œ œ œ o > > qn [ f]
Wedge (hit)
o &
!m œ
m· œ o
b œœ n œ "> " F qn œ œ
F
' ' $ $µ œœ
œ œ
F
· ‰.
œ F
œ
ord pos
F
qn
$ ‰ œœ ..gliss µ œ
ord pos
>œ >œ o [ f] 10
÷
$ ä¿ P
Tealight cup (turn around)
÷
qn
¿ $ â P
' ' ord. pos. $ $µ œ $ ‰ œ o qn >œ >œ [ f] Tail piece
ord pos
œœ .. P
near the bridge
Tail piece
near the bridge
‰.
Tealight cup (turn around)
qn
·
Tail piece
œœ ..
$
' ' $ $ µ œœ
Tail piece near the bridge
ord pos
.. µ œ $ ‰ œœ gliss
P
qn
>œ >œ
[ f]
ord pos
o
normal speed
slow tempo
P.Fl.
Cl. in Bb
÷
&
flz ~~~~~~~~~~~~
(") œ
œ
f
flz ~~~~~~~~~~~
z z
# ‰
b– –. qn P
(throat)
Trb.
?
slow tempo
z
œ f
–. P
m–
qn
o
–
qn
– F
# ‰
Œ
‰
o
‰
‰.
o
o
m–
gliss
qn
m– F
Wedge (hit)
Gr. Pno./ Kbrds/ Elctr.
?
œ.
œ ( !) P µœ µœ
ord pos
Vln I
& ‰
" mœ
Vln. II
&
œ o
ord pos
Vla.
near the bridge
Vlc.
œ f
?
qn
ä¿
Tail piece
P ord pos
$ $ # #µ œœ
Tail piece
>œ >œ [ f]
ord pos
o
ä¿
P
$ $ # #µ œ # ‰ œ o o >œ >œ [ f]
# ‰ œœ ..gliss µ œ f
#
Tealight cup (turn around)
F
near the bridge
ord pos
®‰
· .! .! ®‰ hp
m·
B œœ . . f
Tealight cup (turn around) ÷
hp
f F
o &
œ
œ .! .! œ! !
near the bridge
‰
Tealight cup (bow)
÷
¿
o
¿
P
¿
Tealight cup (bow)
#
÷
¿
o
¿
P
near the bridge
® œœ µ œœ F % near the bridge
® œœ µ œœ F %
¿
Tealight cup (turn around)
b œœ !> F
– –.
‰.
Œ
j –
‰
Tealight cup (bow)
œ !
œœœ
œ ® œ œ œ
œœœ
œ ®# œ œ
¿
$ $ $ # ® ® ®
¿
$ $ $ # ® ® ®
Tail piece
¿
Tealight cup Tealight cup (turn around) (bow)
11
o
qn
$ $ $ # ® ® ® ®œ œ œ œ œ œ œ œ qn œ œ œ p > > > [ f]
# ÷ ä¿ # ¿ P p
Œ
Touch and twirl a string attached to a thick string.
$ $ $ # ® ® ® ®œ œ œ œ œ œ œ œ p qn œ œ œ > > > [ f]
# ÷ ä¿ # ¿ P p
bend
>œ >œ >œ [ f] Tail piece
¿
>œ >œ >œ
[ f]
accel. normal speed
P. Fl.
Cl. in Bb
Trb.
÷
slow tempo
normal speed
e = 67 Languishing [Yearn & Pine]
slow tempo
&
bend
b– P
–
? Œ
#
Œ
‰
#
–.
o
m– – qn
bend
qn
p
!
o
#
–.
– p
gliss
#
b–.
!
o
!
&
Soundfile
?
[score]
Gr. Pno./ Kbrds/ Elctr.
?
‰
œ ( ') p
Wedge (hit)
b œœ '> o P
÷
# ä¿ ‰ P
Vln. II
Vla.
Vlc.
÷
÷
ä¿ # ‰ P
# ¿ ¿ $ Tealight cup (bow)
Tealight cup (turn around)
‰
‰.
ä¿ # # ¿ ¿
P
$
Tealight cup (turn around)
P
,
$
Tealight cup (bow)
ä¿ # ‰ P
# ¿. $ Tealight cup (bow)
Tealight cup (turn around)
‰.
ä¿ # # ¿ .
P
$
Tealight cup (turn around)
Tealight cup (bow)
ä¿ # ¿ .
P
12
$
÷
Tealight cup (turn around)
# ä¿ ‰
$
P
,
%œ . o
œ.
Mp3-player with soundfiles. Played through a stylophone.
!
# ¿.
Tealight cup (turn around)
‰
‰.
Tealight cup (bow)
# ä¿ ‰ P
Tealight cup (bow)
ä¿ # ¿ ¿
b œœ '> p
Tealight cup (turn around)
$
Tealight cup (bow)
Wedge (hit)
Œ
# ¿ ¿
Tealight cup (turn around)
÷
# Œ
Tealight cup (bow)
Tealight cup (turn around)
Vln I
!
†
accel.
&
START: Electronics
||||||||||||||||||||||||||||
Soundfile 1
(let ring)
!
Tealight cup (turn around)
ä¿ ‰ . P
&
Tealight cup (turn around)
ä¿ #
‰
(let ring)
(let ring)
P
Tealight cup (turn around)
‰.
ä¿ P
(let ring)
!
!
B
!
?
P.Fl.
Cl. in Bb
Trb.
†
?
[score]
Elctr
&
?
Œ
Spoons/forks hanging in a string on stand/bars.
!
&
(%)
Soundfile
!
Spoons
!
!
Vln I
Vln. II
Vla.
Vlc.
÷
&
&
B
?
!
!
Change to stylophone
Stylophone with vibrato Setting: 1
!
!
‰
<
V
j œ
œ o
Stylophone with vibrato Setting: 1
!
<
V
‰
j œ
œ o
&
œ $
œ $
w Sound
w
Stylophone no vibrato Play Setting: 1 Tuning: c1=bb <
Gr. Pno./ Kbrds/ Elctr.
let ring # $ " qn
&
w
__ __
&
œ.
œ. $
__ __
o
Electronics
œ
__ __
__ __
‰
o
[soundfile 1] | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
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Stylophone with vibrato Setting: 1 <
V
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Stylophone with vibrato Setting: 1 <
V
Stylophone with vibrato Setting: 1
Stylophone with vibrato Setting: 1 <
V
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j œ
qn
Fl.
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&
Stylophone with vibrato Setting: 3 <
Cl. in Bb
V œj † b œ
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qn
Stylophone with vibrato Setting: 1 <
Trb.
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V œj b œ
j œ
qn
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j œ
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p
j œ
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let ring # Œ ‰ p $
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Stylophone with vibrato Setting: 2 <
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[score]
Elctr
Gr. Pno./ Kbrds/ Elctr.
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Soundfile [score]
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Electronics [soundfile 1]
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START: Electronics
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Stylophone with vibrato Setting: 2
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Soundfile
Stylophone no vibrato Setting: 2
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Soundfile 2
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Vln I
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Stylophone with vibrato Setting: 1
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Stylophone with vibrato Setting: 2
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Vln. II
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Stylophone with vibrato Setting: 1
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qn
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j œ
j œ
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Stylophone with vibrato Setting: 2
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Stylophone with vibrato Setting: 2
Stylophone with vibrato Setting: 1
Vlc.
bœ.
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Vla.
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bœ. qn
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Stylophone with vibrato Setting: 2 Tuning: c=b ( n œ ) <
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Trombone
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Clarinet
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soft tonguing
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# Π< < < << <
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qn
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Soundfile [score]
Elctr
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Sound
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Gr. Pno./ Kbrds/ Elctr.
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Electronics [soundfile 2]
Stylophone with vibrato Setting: 2
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Vln. II
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Vln I
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Stylophone with vibrato Setting: 3 <
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Cl. in Bb
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Stylophone no vibrato Setting: 3 <
Trb.
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Soundfile [score]
Elctr
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Electronics [soundfile 2]
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gliss
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Stylophone no vibrato Setting: 3 <
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Glissando w.tuning peg underneath.
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p ·œ J
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Cello
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Vln. II
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no vibrato .ÿ .ÿ .ÿ .ÿ .ÿ Setting: ÿ ÿ ÿ ÿÿ # Œ 3
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[score]
Elctr
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[score]
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Electronics [soundfile 2]
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START: Electronics
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Until end.
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Soundfile 3
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tuning peg underneath. Until end.
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Soundfile [score]
Elctr
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Stylophone no vibrato Setting: 3 Violin
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Stylophone no vibrato Setting: 3 Tuning: c=b
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m· m· Bm œ m ˙ gliss
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gliss
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p
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2
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m m ·œ
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bœ œœ œ œ œ
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bœœœ œœœ œœœ
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fi
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hp
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m m ·œ
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m m ·œ
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slow bow
slow bow
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hp
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slow bow
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20
Place a thin rubber band double folded a 5th up; on an harmonic at the thumb position where neck is attached with the body.
slow bow
m m ·œ
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2
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p
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fi œ
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Place a thin rubber band double folded a 5th up; on an harmonic at the thumb position where neck is attached with the body.
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V 1
Cl. in Bb
& 15
1 Trb.
Show box number while conducting normally.
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2
3
Rubber band box
2
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V
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bœœœ œœœ œœœ
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Vln I
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Place a thin rubber band double folded a 5th up; on an harmonic at the thumb position where neck is attached with the body.
Vln. II
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3
Place a thin rubber band double folded a 5th up; on an harmonic at the thumb position where neck is attached with the body.
Vla.
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B
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Rubber band box
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Show box number while conducting normally.
4
Rubber band box
4
Fl.
&
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15
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4
>œ >œ >œ >œ & ‰ ‰ ‰ ‰
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P
>œ >œ >œ >œ ‰ & ‰ ‰ ‰
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P
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1
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2
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2
> > > ( P) 1
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Vlc.
1
Rubber
4
Vla.
2
band box >œ >œ >œ >œ & ‰ ‰ ‰ ‰ Œ P
4
Vln. II
1
V ‰ œ œ ‰ œœ ‰ œ œ ‰ œœ ‰ œœ‰ œœ bœ œ œ bœ œ œ ( P) P
4
Vln I
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Rubber band box
4
Gr. Pno./ Kbrds/ Elctr.
‰ ‰ ‰
> > > P
15
Trb.
2
V ‰ œ ‰ œ‰ œ ‰ œ ‰ œ‰ œ bœ œ œ œ œ œ bœ œ œ œ œœ P ( P) 4
Cl. in Bb
1
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roar >œ >œ >œ >œ ‰ ‰ ‰ ‰ ÷ Œ ‰ ¿q Œ
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roar >œ >œ >œ >œ ‰ ‰ ‰ ‰ ÷ ‰ ¿q Ó
‰ ¿q Œ ‰ ¿q
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roar >œ >œ >œ >œ ‰ ‰ ‰ ‰ ÷ ‰ ¿q Ó
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p
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p
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p
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f
22
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f
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f
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f
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f
f
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Lion's
f
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F
3
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F
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Show box number while conducting normally.
Rubber band box
(Stretch band on the side. Let hit the side with sharp sound)
&
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Stones
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Cl. in Bb
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hit grind
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h.
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grind
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grind
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grind
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(Stretch band on the side. Let hit the side with sharp sound)
Rubber band box
Gr. Pno./ Kbrds/ Elctr.
Vln I
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&
ƒ
÷ ‰ œ ‰œ œ F f
Œ&‰ qn
Rubber band box (bow)
Vlc.
÷ ‰ œ ‰œ œ F
f
F
Rubber band box
Rubber band box (bow)
Vla.
œœ œ
œœœ
f
Œ
Œ ‰œ ‰œ qn
f
qn P
f
Rubber band box
Vln. II
F
P
15
Rubber band box
o
œœ
‰# Œ # p
P
œœ
# #‰#
œœ œ œ
F P œ
œœœ œ
Œ
‰œ ‰ œ qn
P
‰œ œ Œ
F
3 & 15
o
&
Ï
‰ ‰ ‰
Ï
>pœ >œ >œ
>œ >œ >œ >œ ‰ ‰ ‰ ‰
>œ >œ >œ >œ ‰ ‰ ‰ ‰
, . . . . . . . . >œ >œ >œ >œ >œ . . >œ >œ ‰‰ ‰ &
F
f
F
3
œ . # >œ ‰ >œ ‰ & qn
f
23
15
‰Ó
Rubber band box
, . . . . . . > > . . . . >œ >œ >œ >œ >œ œ œ ‰‰ ‰ &
f
>¿
‰ ‰ ‰
‰ ‰ ‰
œ œ œ Ï p> > > 15
Rubber band box
‰ ‰ ‰
œ œ œ Ï p> > > 15
Rubber band box
>œ >œ >œ p
Rubber band box
Ï
4 Fl.
& 15
& 4
œ
‰ ‰ ‰ œ
1
(Stretch band on the side. Hit side w. sharp sound)
¿ > Ï
‰Ó
&
& 4
(Stretch band on the side. Hit side w. sharp sound)
>¿
15
& 15
Mp3-player w. soundfiles. Played through a stylophone.
Gr. Pno./ Kbrds/ Elctr.
÷ Electronics START:
œ
> p
‰
‰ ‰ ‰ œ
1
&
5 4
œ
Ï
œ
‰ ‰ ‰ œ
÷
‰ ¿ ¿‰¿ ¿‰¿ ¿ Lion's roar
$
¿ ‰¿‰¿ ‰ Lion's roar
$
1
Rubber band box
œ
qn
1
Rubber band box
> > > p
15
‰Ó
÷
Î
œ
p> > >
3
2 2
Rubber band box
Trb.
1
Rubber band box
Rubber band box
Cl. in Bb
2
1
5
4
÷
¿ ‰¿‰¿ ‰ Lion's roar
Ï $
œ
> > > p
3 Lion's roar
Rubber band box
œ
‰ ‰
Î
œ
> >
‰# ¿¿
÷
qn
$
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Soundfile 4
4 Vln I
& 15
Vln. II
& 15
Vla.
& 15
1
‰ ‰ ‰
Rubber band box
Î
>œ >œ >œ p
‰ ‰ ‰
Rubber band box
2
>œ >œ >œ Ï p
‰ ‰ ‰
Rubber band box
œ
œ
œ
> > > p Ï
2
Rubber band box
‰ ‰ ‰
>œ >œ >œ p 2
Rubber band box
œ
‰ ‰ ‰ œ
œ
> > > p
qn
1
3
Î
qn
1
3
Î
qn
4 Vlc.
& 15
1
Rubber band box
‰ ‰ ‰
>œ >œ >œ p
Î 24
2 qn
2 3
4
1
5
2
÷ ‰ ¿ ¿‰¿ ¿‰¿ ¿ Lion's roar
( $)
5
2
÷ ¿ ‰¿‰¿ ‰
Fl
! !
Vla Vlc
!
!Pno
Trb
Vln II Vln I
Fl
! !
3
Cl
Vla Vlc
!
!Pno
Trb
( $)
Cl
3
Electronics| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | [soundfile 4]
Vln II Vln I
!
Vln II Vln I
!Pno
Trb
ƒ
$
Vln II Vln I
2
2
¿ ‰ ¿ ¿ ‰ ‰¿ Lion's roar
Fl
! !
Pno
Vla Vlc Cl
3
ƒ
2
‰¿ ‰ ¿ ‰
Lion's roar
Trb
Fl
!Pno
ƒ 25
! !
Vla Vlc
!! !
Vln II Vln I
3
!
$
5
!
Trb
!! !
4
3
Cl
!
‰¿ ‰ ¿ ‰¿ ‰
Vla Vlc
!
2
Fl
! !
!! !
4 Lion's roar
$
3
Cl
ƒ 1
¿‰
Vla Vlc
!Pno
Trb
$
÷
Fl
! !
!! !
2
÷ ‰¿ ¿ ‰ ¿ ¿ ‰
÷
3
ƒ
Lion's roar
Vlc.
Cl
!! !
2
÷ ‰# ¿¿ ‰#¿¿ ‰# ¿¿
÷
Vla Vlc
ƒ
1
Vla.
!
Pno
Vln II Vln I
( $)
Lion's roar
Vln. II
Fl
! !
!! !
2
÷ ¿ ‰¿‰¿ ‰
÷
3
Cl
ƒ
( $)
1
Vln I
Vln II Vln I Trb
Lion's roar
Lion's roar
Gr. Pno./ Kbrds/ Elctr.
!Pno
Trb
3
Vla Vlc
! !
ƒ
5 Trb.
Fl
!! !
Cl. in Bb
Vln II Vln I
!
Fl.
2
!! !
1
!
4 5 1
Cl
3
4
1
4
Fl.
3 4
2
5
÷ ‰ ¿ ¿‰¿ ¿‰¿ ¿ Lion's roar
qn
‰ ¿ ‰ ¿ ‰ ÷ ¿ roar $ 4
Trb.
Gr. Pno./ Kbrds/ Elctr.
÷ ‰ # ¿¿ ‰# ¿¿ ‰ # ¿ ¿ Œ Lion's roar
$
Put Lion's roar in bin & walk back
4 & 15
‰
‰
‰
Rubber band box
>œ
qn
œ
>
>œ
5
>œ p
‰
>œ
‰
‰
>œ "
>œ
‰
>œ
‰
>œ
‰
[soundfile 4]
÷ ‰¿ ¿ ‰ ¿ ¿ ‰ $
÷ ‰¿
$
Put Lion's roar in bin & walk back
&
Place a medium thin rubber band over the tail piece & instrument body; about 2 centimeters below the fine tuners.
1
!
Put Lion's roar in bin & walk back
Place a medium thin rubber band over the tail piece & instrument body; about 2 centimeters below the fine tuners.
!
2 Put Lion's roar in bin & walk back
&
B
qn
÷ ‰¿ ¿ ‰ ¿ ¿ ‰ ‰¿ $
!
3
qn
÷ ‰¿ ¿ ‰ ¿ $
Place a medium thin rubber band over the tail piece & instrument body; about 2 centimeters below the fine tuners.
Lion's roar
Vlc.
!
& walk back
qn
Lion's roar
Vla.
‰ #¿ ¿
5
&
Electronics| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
Lion's roar
Vln. II
Lion's ŒPut roar in bin
3 qn
! !
Put Lion's roar in bin & walk back
Lion's
Lion's roar
Vln I
qn
$
÷
q = 72
rit.
2
÷ ¿ ‰roar¿ ‰ ¿ ‰
4
5
4
Put Lion's roar in bin & walk back
Lion's
Cl. in Bb
2 3
1
$
4
1
Place a medium thin rubber band over the tail piece & instrument body; about 2 centimeters below the fine tuners.
!
4 Put Lion's roar in bin & walk back
qn
26
?
Fl.
Cl. in Bb
Change to alto flute
&
Play aggressively while playing pizzicato on the rubber bands randomly. Bend over the rubber band box and focus on the action. The rhythm & "tones" are suggestions.
!
÷
!
!
!
÷
œ œ œ œ œ œ œ # œ œ œ œ œ œ œ ‰. œ . . . . œ. . . . .œ. . . œ. . . . œ. . .
Rubber band box
Œ
œ
> p
Play aggressively while playing pizzicato on the rubber bands randomly. Bend over the rubber band box and focus on the action. The rhythm & "tones" are suggestions.
Trb.
Gr. Pno./ Kbrds/ Elctr.
!
÷
& 15
÷
Rubber band box
‰
œ
> p
œ
>
!
!
÷
œ Stretch from œ œ œ œ œ œ side to side. # œ œ œ œ œ œ œ ‰. Œ œ . . . . œ. . . . .œ. . . œ. . . . œ. . .
Rubber band box
Œ
œ
> p
Rubber band box
‰
œ
> "
‰
!
Electronics | | | | | | | | | | | | | | | | | | | | | | | | | | | | [soundfile 4]
F
# . . . . #Œ . . œ . gliss p> ƒ
START: Electronics
!
Vln I
& Ó
& Ó
Violin
Vln. II
Vla.
B
Viola
‰ ‰ ‰œ œ œ œ œ œ œ œ > > > > F
‰ ‰ œ > P
‰ ‰ ‰Œ œ œ œ œ œ > > > f p
‰ ‰ ‰ #œ ‰. æ œ œ œ œ œ œ œ œ œ œ . . . . . œ. œ > > > > > > gliss f qn p F
the sound) ?Cello to balance ! Π(Might need soft mute
Vlc.
‰ . œæ œ œ œ œ . . . . m œ. > > gliss f qn p
‰ ‰ ‰Œ œ œ œ œ > > > f p
Œ
œ‰ ‰ ‰ œ œ œ > > p> P f
‰ ‰ ‰ œ œ œ œ P> f> p>
œ œ œ
œ
> .. ... p œ
# . . . . # . . œ . gliss > p ƒ
Soundfile 5
‰ ‰ œ œ > P
!
Œ
œ
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Move bow in opposite direction.
Violin
‰.
$
(stretch to change pitch)
!
$
F
#
arco
Œ
œæ. æ æ œ. œ ˙ œ˙
Move bow in opposite direction.
arco
Œ
j œæ æ œœ œ
˙æ œæ ˙ œ
œ‰œ‰ ‰ œ œ œ > > > F œ‰ ‰ ‰ œ œ œ œ œ p> F> >
27
˙æ ˙
œæ œæ j œæ œæ. œ œ œæ ˙æ œ œ. œ ˙
œæ œ Move bow in opposite direction.
Rubber band wrapped over tail piece
œ . œ ‰ œ ‰ ‰ œ . . . . m œ. ‰ ‰ . œ . . . . . œ . . . . . œ. ‰ . œ œ œ > > > > > > gliss qn âÓ p gliss ƒ gliss $ f f ƒ œ‰ ‰ ‰Œ œ œ œ œ p> f> >
‰. œ . . . . . œ . . . . . œ. > gliss > gliss p ƒ $
arco
Œ
œæ œ
p
arco
‰. œ . . . . m œ. > gliss f qn
rit.
A.Fl.
!
&
Air
fr~~~~~~~~~~~~~~~~~~~~
¬.
qn
œ œ œ œ œ œ œ # œ œ œ œœœ œ # œ œ œ
Stretch from side to side.
Ó
÷
. . . . . . . . . . . . .. . . . . $ ƒ p
Rubber band box
Trb.
œ œ œœ œ œ œ œ # œ œ œ œœ œ .. . .. . . . . . . . . .
÷
$
f
Gr. Pno./ Kbrds/ Elctr.
15
÷
?‰
P
Vla.
Electronics
& Ó
œ
$
Ó
& 15
Œ
‰ # . .. . # ‰ ? Œ . œ . . gliss >p ƒ
3
œ
f
‰.
¬.
qn
œ
Stylophone Beatbox
& œæ Œ œ ( p) ˙æ B œœæ ˙ ( p)
? æ æ œ ˙ œ ˙ p
arco
Rubber band
‰ # . . . Ó Ó ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿÿ p ƒâ âp . . . . . . . . .. Ï qn
‰ ‰ ‰ ‰ ‰‰ œ œ œ œ œ œ œ œ . > > > > > ƒ f ƒ Ï Rubber band
‰ # Œ
(tail piece)
âÓ ƒ
j œæ æ œœ œ
Move bow in opposite direction.
Vlc.
Î
Air
2
>¿
#
œ
. p
#
œ
œ
œ
œ
#
. . . . œ. $ ƒ
6.5
Î
#Œ
Œ
®® F 3
œ œ
|[soundfile | | | | | | | | | | |5] |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
pizz.
Vln. II
Œ
(stretch to change pitch)
œ œœœ
pizz.
Vln I
œ #œ # œ # ‰ # . . . œ. œ. $ ƒ
o
Rubber band box
Stylophone Beatbox Setting: Bass (3) 3
& Œ
$ Î
‰ # #œ œœ # # œ œ . . . . . œ. . p ƒ $ p
Î ___
#Œ
fr~~~~~~~~~~~~~~
# œ #œ # œ ‰ . œ . . . . œ. p Ï
œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ . . . . . . . . . . . . . . . . . . . . œ. . . . . . .
p
slap tongue
¬. ƒ
œ œ œœ œ œ #œ œœ œ œ œ œ . . . . . . . . . . œ. . . .
œ
e = 72
‰ # – – o Ï ƒ qn ___
Rubber band box
Cl. in Bb
fr~~~~~~~~~~~~~~~~~~~~~
slap Air tongue
œæ œ
(tail piece)
‰ # ‰ œ œ Ó. .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ > . . . . âÓ Ï p ƒ qn Ï
‰ ‰ ‰ œ œ œ œ > > > f ƒ
œæ. æ æ œ. œ ˙ œ˙ œæ œæ œæ.. œ œ ˙æ œ ˙
‰
Rubber band
‰ ‰ œ ‰ œœ ‰ ‰ œ œ œ o âÓ > > > ƒ f ƒ
(tail piece)
pizz.
œæ æ œ ˙ ˙
‰œ # œ > . . . . Ó. .ÿ .ÿ .ÿ Ï p ƒ qn
Rubber band (tail piece)
Œ
pizz.
o
28
âÓ ƒ
‰. ‰
Ó. .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ Ï qn
‰
âÓ .ÿ .ÿ .ÿ .ÿ .ÿ p Ï
# œ œ > Ó. .ÿ .ÿ .ÿ .ÿ .ÿ Î p Ï Ó. .ÿ .ÿ .ÿ .ÿ .ÿ p Ï
#
#œ œ œ Ó. .ÿ .ÿ .ÿ .ÿ > Ï p ƒ
‰
‰
##
.ÿ
âÓ .ÿ .ÿ .ÿ p
.ÿ .ÿ .ÿ
œ # ‰ œ > ƒ
Ó. .ÿ .ÿ .ÿ .ÿ p
e = 67
~~~~~~~~~~~~~ ‰ & – ƒ qn
slap tongue
Air
A.Fl.
Cl. in Bb
Rubber band box
‰
÷
œ
. f
#
œ.
F ___
#
œ.
p
‰.
Œ
Œ
# ‰
‰
œ.
$
q = 67
fr~~~~~~~~~~~~~~~~~~~~
Air
–
– f
o
#
!
‰ Œ
U
Œ
Œ
qn
Ó
U
Roll your shoulders
Œ
Œ
Rubber band box
Trb.
#
÷
#
œ
. p
œ
. f
#
‰
œ.
œ.
p
# Œ
Œ
œ.
$
# ‰
Ó
Roll your shoulders
U
Œ
Œ
Stylophone Beatbox
>¿
6.5
Gr. Pno./ Kbrds/ Elctr.
?2
ƒ
# Œ
Œ
3
# ® ® ® ® ® ®# Œ <œ <œ <œ <œ <œ <œ f $
3
Glissando w.tuning peg underneath.Until end.
# ®# ® bœ œ œ < << P
. mœ
bend
Rubber band Rubber band (tail piece)
Vln I
&
#
.ÿ .ÿ .ÿ Ó. .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ ƒ qn ƒ qn
Rubber band (tail piece)
Vln. II
&
.ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ ƒ qn
Rubber band
B
(tail piece)
Vla.
Ó. ƒ
.ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ
Vlc.
?
.ÿ
‰
#
.ÿ Ó. .ÿ .ÿ .ÿ .ÿ Ï ƒ qn
‰
âÓ F
(over tail piece, tighten/loosen up to change pitch)
.ÿ
.ÿ
.ÿ f
.ÿ
âÓ F ‰.
# ‰
.ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ
qn
(over tail piece, tighten/loosen up to change pitch)
U
.ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ
qn
Rubber band
U
ÿ .ÿ œœ ‰ . ÿ ÿ . ÿ . ÿ ÿ .ÿ . . œ Ó. .ÿ .ÿ .ÿ . . bend > $ fƒ
(over tail piece, tighten/loosen up to change pitch)
œ # œ œ >
Ó. .ÿ .ÿ .ÿ .ÿ $
.ÿ
Ó. f
.ÿ
29
.ÿ
.ÿ f
# ‰
.ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ
qn
>œ œ ## œ
F
Ó. .ÿ .ÿ .ÿ f qn
U
ÿ .ÿ œœ ‰ . ÿ ÿ . ÿ . ÿ ÿ ÿ... œ Ó. .ÿ .ÿ .ÿ . . bend > $ fƒ
Rubber band
œ # œ œ > Ó. .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ .ÿ F $ f
qn
Rubber band (tail piece)
œ # œ œ > Ó. .ÿ .ÿ .ÿ F $
U
®Œ
ÿ .ÿ .ÿ œœ ‰ . ÿ . ÿ . ÿ . ÿ ÿ . œ Ó. .ÿ .ÿ .ÿ . . bend > $ fƒ U >œ ÿ .ÿ .ÿ œœ ‰ . ÿ . ÿ . ÿ . ÿ ÿ . Ó. .ÿ .ÿ .ÿ . . bend
Rubber band
(over tail piece, tighten/loosen up to change pitch)
$
fƒ
Burly
[Depth & Fervor]
A.Fl.
!
&
Œ
÷
‡
—
‡
[ p]
—
‡
Turn your shoulders from side to side. Let the mouth be open; the compression of the lungs creates a sound of air; relax in the throat. Face the clarinet player.
Trb.
Gr. Pno./ Kbrds/ Elctr.
÷
?
‡
—
‡
[ p]
—
!
‡
Ó.
– – – > > > $ p —
—
‡
‡
—
fi & œœ ‰ . ¿ ¿ ¿ œ -¿ -¿ -¿ > P [ $]
Blow air on the keys
∑ $
(bow)
fi & œœ ‰ . ¿ ¿ ¿ œ -¿ -¿ -¿ P> [ $]
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿
On the bridge
Vln. II
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿
,
,
,
‡
—
‡
—
‡
– >
—
‰Œ
P
fi œ ‰. œ ¿ ¿ ¿ œ ¿ ¿ ¿ > - - P [ $]
‡
$ p
—
‡
—
∑ "
—
‡
fi œ ‰. œ ¿ ¿ ¿ œ ¿ ¿ ¿ > - - P [ $]
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿
On the bridge
fi œ‰. œ ¿ ¿ ¿ œ -¿ -¿ -¿ > P [ $]
fi ? >œœ ‰ . œ ¿ ¿ ¿ -¿ -¿ -¿ P [ $]
, > fi œ . œ‰ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ -¿ -¿ -¿ -¿ -¿ -¿ -¿ P [ $]
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿
On the bridge
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿
On the bridge
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿ 30
$ p
Go back to your chair
—
On the bridge
¿ ¿ ¿ ¿ -¿ -¿ -¿ -¿
On the bridge
Vlc.
‡
—
– – > > $P
fi B œœ ‰ . ¿ ¿ ¿ œ -¿ -¿ -¿ > P [ $]
On the bridge
Vla.
‡
—
On the bridge
Vln I
Ó
[cover the mouthpiece w. mouth]
Turn your shoulders from side to side. Let the mouth be open; the compression of the lungs creates a sound of air; relax in the throat. Face the trombone player.
Cl. in Bb
% b‚ %b ‚ ‚ % ‚ ‚ ‚ ‚‚‚ b ‚ ‚‚ Œ # ‚ ‚ ‚ n ‚ ‰ Œ Œ ‰ Œ Œ ‰ Whistle tones
Air tone
Go back to your chair
p
,
,
,
,
pizz.
!
!
!
&
& &
Tail piece
œ œ > > Nutpeg
˙
(bow)
+
+
& ‰ œ œ œ œ œ œ œ. . . œ. . . ‰ œœ œ œ œ. . . œ. . . p p $ >œ [ p]
Trombone
B
$
$ +
+ + + # # # # œ œ. . . œ œ. . . œ œ. . . œ œ.. . .
Nutpeg
˙
(bow)
$ +
+
# # œ œ. . . œ œ. . .
p
$
& & &+ &+ œ. .. œ. . . >œ >œ œ> œ>
Tail piece
(bow)
o
&+ & + &+ &+ œ. .. œ. . . œ. . . œ. . . œ œ œ œ > > > >
p
œ œ œ ‰ œœ œœ œ œœ œœ œ . . . . . .‰ œ. . . œ. . . $ p p $ pizz.
Œ
!
(bow)
œ œœœ ‰ œœ œ. . . $ p pizz.
&
!
œœœ ‰ œœ œ. . . p >œ [ p]
pizz.
Ó
Clarinet
$ p %b œ
%
%n ‚ ‚ b‚‚‚Œ # ‚n ‚ &‰ ‚ Whistle tones
A.Fl.
Cl. in Bb
Trb.
Gr. Pno./ Kbrds/ Elctr.
(%) ˙
p
$
œ œ. œ
&
p
BŒ ‰
?
œ˙ o
qn
œ
$
e = 92
Billowy
[Farraginous]
‚ ‚ ‚ ‚ ‚ ‚ ‚ #Œ
"
p
œ œ J $
œ
qn
œ œ J
œ
"
qn
!
!
!
œ J "
?
œ
!
#Œ
!
o
j œ
j œ $
œ
qn
˙ "
œ
[ œœœ ]
Sound
!
!
Place & start e-bows
!
Tune down stylophone until the lowest point.
!
Tune up stylophone until the highest point.
!
Tune up stylophone until the highest point.
!
!
!
E-bow
[normal setting]
4 3
E-bow
2 1
!
[high setting]
[ œœ ]
[normal setting]
?
4 3 2 1
[ œœ ]
°
œœ .. œœ ..
o
0/4
œœ .. œœ .. p
2/4
[high setting]
$
Vln I
Vln. II
&+ & + &+ + & œ. .. œ. ‰ œ. . . # œ. . . œ œ œ > > > [ p] $ + + + # # # ‰ œ œ œœ œœ œ & . . . . .. . $ p $ +
Vla.
+ + ‰ # #‰ œ œ. . œ œ. . . œ œ. œ B $ p $
Vlc.
& + & + &+ + ? œ ‰ œ œ #œ . . . . . .. . .. œ œ œ > > > [ p]
Remove the rubber band from the fingerboard (roll it up)
mezzo legno ord tratto pos
!
‰
œ.
Remove the rubber band from the fingerboard (roll it up)
œ.
II
œ.
œ gliss $
œ.
œ.
near the bridge
o
o
legno tratto
qn
ord pos
j œ œœ œ p $
œ
œ. . . f
!
œ
mezzo legno tratto
legno batt.
Remove the rubber band from the fingerboard (roll it up)
... œ œ œ œ. Œ œ œ J o p $ p F legno batt.
œ p
Remove the rubber band from the fingerboard (roll it up)
Œ
(near the bridge)
o
mezzo legno tratto
ord pos
‰ œ p ˙
ord mezzo pos legno tratto
qn
31
near the bridge
gliss
œ J
ord pos
œ. P
œ.
qn
near the bridge
j œ gliss F œ F œ.
near the bridge
P
?
p
ord pos
œ.
œ. p
qn
j
gliss
œ.
ord pos
œ.
œ. p
œ.
œ.
qn
ord pos
qn
p
qn 1/4
Stylophone Beatbox Setting: Bass (3)
Fl.
? mœ. o
(œ )
œ#Œ
˙
P
!
o
Stylophone no vibrato Setting: 1 Tuning: c=b
œ. o
(m œ )
'
˙ p
<
Cl. in Bb
!
&
!
Stylophone no vibrato Setting: 1 Tuning: c=b
†
(n œ )
mœ. o
œ. p
œ.
œ#Œ
!
œ. p
œ.
œ#Œ
!
o
<
Trb.
?
!
E-bows
Gr. Pno./ Kbrds/ Elctr.
4 3
?
2 1
(°)
III IV
Vln I
Vln. II
Vla.
&
B
Vlc.
?
qn
1/4
ord legno pos tratto
&
II I
œœ .. œœ ..
legno tratto
œœ .. o
œ
!
˙˙ ˙˙ P
o
°
0/4
!
o
#Œ
œœ
Tealight cup (turn around)
÷
o
Tealight cup (bow)
÷
¿.
p
Tealight cup (bow)
÷
¿.
¿.
p
qn
˙˙
P
œœ
ä¿ Œ J F ¿.
qn
!
o
!
o
˙˙ P
o
o
mœ.
near the bridge
#Œ
œœ ..
(n œ )
œœ œœ # Œ
3/4
œ# Œ
ord pos
†
Tealight cup (turn around)
near the bridge
#Œ
o
÷
ä¿ Œ J F
32
œœ .. œœ ..
o
0/4
norm.
Œ.
arco norm.
&
¿.
ord pos
œœ .. o
¿ #Œ qn
¿.
¿ #Œ qn norm.
Œ.
arco norm.
?
œœ ..
ord pos
o
˙˙ ˙˙ p
2/4
fast vibrato near the bridge
˙˙ p
Tealight cup (turn around)
ä¿ ‰ Œ
F
Tealight cup (turn around)
ä¿ ‰ Œ
F
fast vibrato near the bridge
˙˙
p
Fl.
Cl. in Bb
?
Stylophone Beatbox
#Œ
œ
o
Stylophone (n œ )
œ.
mœ.
†
o
Stylophone
Trb.
!
(n œ )
† mœ.
œ.
o
œ.
(m œ )
o
œ.
œ#Œ
œ.
œ#Œ
Stylophone no vibrato Setting: 1 Tuning: c=b
Gr. Pno./ Kbrds/ Elctr.
œ ? œœœ # Œ 2 1
P
œœ .. œœ ..
Vln I
Vln. II
Vla.
&
÷
÷
ord pos
Tealight cup (turn around)
œ·œ
#Œ
÷
o
Rubber band box (bow)
¿.
ä¿ Œ J ƒ ¿.
p
o
Rubber band box (bow)
Œ.
&
III IV
¿ >¿ >¿
œœ .. ( œ· ) Ÿ~~~~~~~~ o
qn
qn
(n œ )
mœ.
œ.
œ.
F
o
œœ qn
‰ Œ
>¿ ‰ Œ
¿#Œ
œ.
F
o
!
ord Rubber band pos (tail piece)
Rubber band box
œ > ƒ
œ.
0/4
F
15
œ.
o
˙˙
&
(b œ )
œœ œœ # Œ
near the bridge M.L.Tr.
Rubber band box
p
o
ord pos
¿#Œ
¿ >¿ >¿ ¿ .
¿.
!
3/4
0/4
norm.
!
˙˙ ˙˙ F
o
0/4
(near the bridge)
<
o
!
o
<
o
E-bows
4 3
o
Stylophone no vibrato Setting: 1 Tuning: c=b
P
!
œ #Œ
˙ F
# #‰ âÓ F
÷
Tealight cup (bow)
÷
¿.
Œ.
Tealight cup (bow)
¿.
¿.
¿.
¿.
p
qn
ä¿ Œ J ƒ
¿.
p
qn
Tealight cup (turn around)
&
norm. (near the bridge)
Vlc.
?
ord pos
· œœ
#Œ
o
÷
Œ.
ä¿ Œ J ƒ
Ÿ~~~~~~~~ œœ .. ( ·œ ) ord pos
Tealight cup (turn around)
?
II I
near the bridge
˙˙
M.L.Tr.
o
33
F
ord pos
œœ
qn
Rubber band
# #‰
(tail piece)
âÓ F
÷
Œ.
Tealight cup (turn around)
ä¿ Œ J ƒ
?
Fl.
?
œ. o
Cl. in Bb
Trb.
†
†
Stylophone no vibrato Setting: 1 Tuning: c=b
œ#Œ
Stylophone no vibrato Setting: 1 Tuning: c=b
<
<
o
?
°
&
œ
œ#Œ
Stylophone
mezzo legno tratto
Vln I
'
˙ P
o
4 3 2 1
(m œ )
Stylophone
E-bows
Gr. Pno./ Kbrds/ Elctr.
÷
÷
mezzo legno tratto
Vlc.
?
o
(b œ )
œ.
o
(bœ )
!
œ. o
˙˙ ˙˙ P
0/4
œœ œœ # Œ
4/4
œ. F
œ.
œ#Œ
!
œ. F
œ.
œ#Œ
!
Œ.
?
œœ ..
o
o
¿ #Œ
fingerboard (roll it up)
qn
¿ #Œ
fingerboard (roll it up)
qn
high up on fingerboard
ord pos
œ.
œ
P
Πo
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Soundfile 6
near the bridge
#Œ
œœ Rubber band
ä¿ ‰ ‰ # & f Ó Fâ (tail piece)
ä¿ ‰ B ‰ # f âÓ F band
(tail piece)
o
œ œ œ œ œ œ œ. . . . œ. . . p f
pizz.
pizz.
œ œ. . p
ord pos
near the bridge
P
o
˙˙
( m œ)
START: Electronics
˙˙ P
o
o
o
œ.
Nutpeg high up on fingerboard
‰ œ œ $
†
0/4
÷
œœ ..
!
!
o
Tealight cup Move back Tealight cup the rubber (turn around) Rubber band to the (bow)
Vla.
Change to piccolo
Stylophone Beatbox Tune down stylophone until the lowest point. Setting: Bass (3)
œœ .. œœ ..
o
!
Move back cup Tealight cup the rubber Tealight band to the (turn around) (bow)
Vln. II
#Œ
Stylophone Beatbox
œœ
œ œ œ œ. . . œ. . f
#Œ
Rubber band
œ
œ # #Œ
(on tail piece, hit the instrument body)
F
qn
pizz arpeggio
‰.
œ œ P
âÓ F
Rubber band
œ œ # #Œ
(on tail piece, hit the instrument body)
âÓ F
& & & # # # Tail piece
>œ >œ >œ [ P]
& & & # # # Tail piece
œ œ œ > > > [ P]
&&& & & & œ œ . # # # ‰ œ ®‰ # # # œ P âÓ œ œ œ F [ p>] > > [ P >œ ] >œ >œ
pizz arpeggio
Tail piece
&&& & & & œ. # # # ##. ‰ # # # F âÓ >œ >œ >œ >œ >œ >œ F [ P] [ p] Nutpeg
34
Tail piece
pizz arpeggio
œ p
œ
Tealight cup (turn around)
œ œ ‰ ÷ ‰ ä¿
P
pizz arpeggio
Tealight cup (turn around)
pizz arpeggio
Tealight cup (turn around)
pizz arpeggio
Tealight cup (turn around)
# œ œ # ÷ ‰ ä¿ œ œ p P œ ‰ œ œ ÷ ‰ ä¿ œ p P
œ p
œ
œ œ ‰ ÷ ‰ ä¿
P
P.Fl.
†
œ.
œ.
( $)
œ.
œ.
P
œ
Stylophone no vibrato Setting: 3 Tuning: c=b
œ
œ
‰
µ œ œ. J
Œ
o
o
<
B.Cl. in Bb
!
†
!
‰ œ (œ )
œ
o
œ.
œ P
œ.
Change to bass clarinet
‰V
œ
o
Stylophone no vibrato Setting: 3 Tuning: c=ab <
Trb.
!
†
!
‰ œ (B œ )
(lowered 1/4 tone)
œ
o
Stylophone no vibrato Setting: 3 Tuning: c=b
(bœ)
<
Gr. Pno./ Kbrds/ Elctr.
Vln I
÷
&
Electronics [soundfile 6]
‰
Violin
Roll the rubber band back & forward along the neck of the instrument. Leave it in position closest to the body.
Pizzicato on the rubber band wrapped around the neck
((((((((((((((((‰ #
! norm. ä ÒÓÒ arco œ
F
!
÷
Violin
#‰
&
‰
(((((((( ‰
Roll the rubber band back & forward along the neck of the instrument. Leave it in position closest to the body.
Vla.
!
÷
#
Viola
B
(((((((( .
÷
Œ
?
Cello
pizz arpeggio
œ œ $ P
œ œ ‰
pizz arpeggio
#
œ œ P
Roll the rubber band back & forward along the neck of the instrument. Leave it in position closest to the body.
(((((((((((((((‰
Pizzicato on the rubber band wrapped around the neck
! ÒÓÒ
ä # # ‰ ‰ œ#
œ œ #Œ
F
œ
œ J P
œ
arco norm.
$
‰?
œ
œ.
o
œ.
START: Electronics
||||||||||||
Soundfile 7
! ÒÓÒ
Pizz on band around neck
pizz arpeggio
# # œœ‰ œ œ FP
µ œ.
B œ.
œ.
o
P
arco norm.
œ.
œ
P
o
‰ œœ ‰& µ œ. œ o P
˙
arco norm.
P
! œ # ÒÓÒ# µ œ qn
Pizzicato on the rubber band wrapped around the neck
! pizz arpeggio arco norm. ÒÓÒ œ (((((((((((((((( œ . ‰ . œ # # # œ ‰& B ˙ J œ œ œ œ o FP P 35
œ.
P
F o
! ÒÓÒ ä ® ®œ
Pizz on band around neck
qn
Pizzicato on the rubber band wrapped around the neck
pizz arpeggio
Roll the rubber band back & forward along the neck of the instrument. Leave it in position closest to the body. pizz arpeggio
Vlc.
o
œ.
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Roll the rubber band back & forward along the neck of the instrument. Leave it in position closest to the body.
Vln. II
œ
Œ
†
œ.
œ P
Trombone
œ.
œ.
F
œ # äœ#B œ œ .
$ o
f p
P.Fl.
B. Cl. in Bb
Trb.
†
œ œ J F
V
!
!
!
!
?
!
!
!
!
gliss
n˙
œ J Œ
!
o
Stylophone no vibrato Setting: 3 ( b œ) Tuning: c=b
!
!
!
Bass Clarinet
o
œ.
Trombone
b˙
œ
o
œ ƒ
<
Gr. Pno./ Kbrds/ Elctr.
Vln I
Vln. II
† ÷
&
&
œ
Stylophone
‰ o
Electronics [soundfile 7]
! ÒÓÒ ä ® ®œ ‰
‰
&
% Bœ
œ.
o
F
f p
%µ œ
˙
o
F
pizz arp
Vla.
œ
&
F
œ
œ.
ä #œ
! arco norm. œ ÒÓÒ (((((((((((( ·œ .. œ #& # œ ## Roll away the rubber band from the neck.
f
o
% œ ?# ‰ B œ œ & o >œ . . o f
arco norm.
œ.
‰
o
op Pizz on band around neck
œ B# œ # J œ œ œ oF F œ.
arco norm.
œ
legno batt.
Vlc.
œ.
‰
o
START: Electronics
||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
o
‰
o
Pizz on band around neck
œ
œ. F
œ
Œ
%N œ ‰ o
Soundfile 8
%µ œ
œ.
œ
f
o
œ.
œ.
f
œ.
f
36
B B ·œ J
œ· ‰ B œ œ œ œ qn f
gliss
œ Œ J o
% œœ pizz. œ ‰ œ o œ. o f arco norm.
f ·œ
?
III
œ. o
‰
o
pizz.
·œ ·œ J
œ
Œ
arco norm.
mœ $
II III
œ f
˙˙
qn
gliss
P. Fl.
B. Cl. in Bb
Trb.
– œ † J qn f
V
– qn
œ.
œ m– J F qn
bœ.
ƒ
o
? œj œ
œ. F
o
–
œ J ƒ
qn
bœ
œœ f o
œ J
trem
œ
f
nœ.
œ. f
œ – œ qn F o
o
F
o
gliss – –. œ œ. qn f
œ. F
Bisb.
j œ
œ.
f
œ.
œ.
œ – o F qn
bœ.
j œ b œ gliss œ f qn ƒ
j œ œ f o F
mœ
o
œœ
j œ
j œ œ. f o
o
gliss
Remove E-bows:
Gr. Pno./ Kbrds/ Elctr.
!
1 2 3 4
& ÷
Electronics
[soundfile 8] | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
%œ & œœ # >œ o f
œ.
pizz.
Vln I
(%)
Vln. II
Vla.
&
B
II III
Vlc.
?
œ œ J
ƒ gliss
œ.
ƒ
ƒ
ƒ
œ. qn
%
pizz arco arpeggio norm.
mœ # œ œ# œ oœ o f
œ # œœ # œ œ œ mœ œ o f ƒ qn
j œ œ gliss
œœ
Pizz on band around
gliss
III IV
j œ œ o
j œ œ œ œ F o
j mœ œœ œ gliss J ƒ o IV III
! ÒÓÒ # œ œ# # œ œ ƒ neck pizz arpeggio
III IV
œ.
œ.
œ. ( œ ) > ®# œ #
gliss
ƒ
o
f
qn
> œ . ( œ) ® # œ# œ œ qn p œ. . . œ ƒf gliss
ƒ
% arco œ œ œ norm.# œ
œ œ œ
f
œ
F
o
œ .. œ 37
œ œ œ œ œ œ o ƒ
II I
m œœ œ J
œœ œ
o
œœ
œœ
o
F
! œ # ÒÓÒ
ƒ
œœ œœ œ œ J ƒ
arco norm. pizz arpeggio
#
LB
œgliss œ J
o
III II IV
Pizz on band around
pizz neck arp
œ œ œ œ œ p . .. F ƒ f
pizz arp
LB
œ
œ.
f
% ˙
œ äœ œ # ‰ mœ. œ œ mœ. f p o
œ œ J
o
P. Fl.
œ –.
†
Change to alto flute
‰
o
Keyclicks
!
(no tone)
Œ.
!
&
(random low keys)
¿ [ P]
Keyclicks
B.Cl. in Bb
Trb.
### b– – – >>> f qn
‰
V
?
(no tone)
(random low keys)
!
Breath
¿
[ P]
ƒ
gliss
o
–. p
¬
qn
–.
qn
Gr. Pno./ Kbrds/ Elctr.
÷
Œ
[soundfile 8] | | | | | | | | | | | |
Vln I
&
(%)
Vln. II
Vla.
&
B
# Œ âÓ f
œ
÷
œ
o
œ .. œ
ä¿ ‰
Œ
ƒ
mezzo legno tratto
&
Tealight cup (turn around)
#÷
‰ ä¿ f
Œ
&
Tealight cup (turn around)
œ .. ÷ ä¿ ‰ œ (œ ) gliss ( œ) ƒ qn F
Vlc.
œ. œ.
÷ ‰ ä¿
œ . (œ ) . (n œ ) œgliss P ƒ qn
IV
II III
œ œ o
light pressure
Tealight cup (turn around)
?
fi III
light pressure
Tealight cup (turn around)
(on tail piece, hit the instrument body)
mezzo legno tratto
‰
Œ
– P
o
‰
!
Knuckle/Fingers hit softly the inside of the bell trem (no tone)
÷
‰ ¿ ¿ qn
@ ¿ ‰ Œ
p
o
Wedge (hit)
Blow air on keys
II III
IV
œ œ o
I II
B
fi j œ œ
light pressure
!
?
œ œ
qn
I II
fi œ œ o
38
j œ œ P
I j j II œ œ œ œ œ œ qn P
j IIIII œ œ œ œ p
o
mezzo legno tratto
œ œ p
!
Tealight cup (turn around)
j III œ œ œ œ p
j œ œ
fi III
light pressure mezzo legno tratto
m–
#‰ # b œ.œ . . . . . [ P] [ p] ' p qn °
Electronics
Rubber band
Π!
– P
Drag the nails along the keys.
?
Œ.
Œ
Air
œ.
Air
III IV
œ œ
qn
j j IIIIV œ œ œ œ œ œ p qn
II III
÷
œ. œ.
o
‰ ä¿
Œ
p
Tealight cup (turn around)
‰
œ œ
j œ œ P
÷
o
j œ Œ œ o
‰ ä¿ Œ p
Tealight cup (turn around)
÷
ä¿ ‰ Œ
p
Tealight cup (turn around)
œ .. œ P
÷
o
Œ
ä¿ ‰
p
A.Fl.
&
slap tongue
‰ # ‰ Œ. > P
‰
–
!
___
o
!
Whistle tones
P "
Keyclicks (no tone)
B. Cl. in Bb
Trb.
V
÷
(random low keys)
¿
>¿ # Œ F
Hit mouthpiece w. palm of hand
Vln I
Vln. II
Vla.
Vlc.
?
&
&
B
?
Œ.
#‰
b œœ n œ '> F qn
Pizz on band around neck
! ÒÓÒ
legno batt.
‰ #œ œ P œ. . . . . F o
Pizz on band around neck
>¿ # Œ
! ÒÓÒ
œ
Œ.
legno batt.
#Œ ‰ #œ œ œ. . . . . âÓ PF o F
P
&
j jŒ œ œ
15
15
>œ p
#
‰
&
‰ ä¿
Œ
>œ >œ >œ P
œ
> p
b >·
. . . . . . . . . o F
# # #÷
œ
> p
#‰
#‰
p
qn
((((( ‰ # œœ œœ #‰ œ œ # . # œ. . . œ. . . . . Ó f F o Fâ qn p
Œ
âÓ P
‰
#Œ
15
P
qn
Rubber band box
‰ #œ œ ‰ œœ ‰ ‰ & # # # #‰ œ œ œ. . . œ. . . œ. . . . . >œ >œ >œ >œ p P f Fo F pizz.
15
P
‰ ä¿ Œ
÷
P
&
ä¿ ‰ Œ
P
39
œ
œ)
> f
(
#Œ
B
·
œ. œ.
œ# Œ œ > F
pizz.
Rubber band box
15
#
œ. œ. œ. œ. œ. œ. œ. œ.
P
#Œ
œ. œ.
# ‰ # ‰ # F
F
?
œ. œ. œ. œ. œ.
f
qn
pizz.
arco norm.
pizz.
arco norm.
œ # ‰ # ‰ œ# œ > œœ œœ . .. > f ƒ qn f F
œ# Œ œ > F
pizz.
(stretch band)
&
œ)
> ' ƒ
legno batt.
Tealight cup (turn around)
÷
œ œ œ
> >> F
legno batt.
Tealight cup (turn around)
Roll away rubber band.
‰ Œ Ó Fâ
ä¿ ‰
Œ
œ œ œ
> >> f
‰ # # ‰ # #‰
(stretch band)
#
qn
# #
œ
Rubber band box
&
p P
> F
·
œ. œ. œ. œ. œ. œ. œ. œ.
‚ ‚ ‚‚‚ ‚ ‚ ‚
‰ # #‰ ‰
'> f
F
P ÷
F
(
Tealight cup (turn around)
œ.
‚‚
#
œ)
Tealight cup (turn around)
Rubber band box
&
‰
&
(
qn
Œ
Œ
Rubber band box
!
b œ.œ . . . . . . . .
P
Rubber band box
15
Wedge (hit)
legno batt.
legno batt.
!
!
Touch and twirl a string attached to a thick string.
Wedge (hit)
Gr. Pno./ Kbrds/ Elctr.
[ P]
### ‰ m œ œ œ µ œ n œ B œ b œ. . . . . . $ p " o
Œ
%‚ . ‚ ‚ ‚ ‚
qn
œ œ# ‰ > œœ. . . f ƒ qn œ. œ.
œ # ‰ # œ œ > f F
œ. œ.
# ‰ # ‰ #
F
F
œ. œ. œ. œ. œ.
f
qn
(%) ‚ ‚ ‚ ‚ ‚ ‚‚ & Whistle tones
A.Fl.
F
$
Rubber band box
Cl. in Bb
œ œ œœ
> > >> F p
15
Trb.
& 15
Gr. Pno./ Kbrds/ Elctr.
(
&
?
'F
(°)
# #
œ œœ
> >> F p
œ)
m >·
po Œ
f
‰
#
. . . œ÷ gliss
Loosen 15 tension of the band
ƒ
œ
‰
f
#
&
œ# ‰ œ > Ó P â.. f ! ÒÓÒ
÷
Pizz on band around neck
Vla.
B
pizz.
>œ œ ##
qn
?
Ó P F â.. f
‰ ‰ qn f qn
Vlc.
&
#
Loosen 15 tension of the band
ƒ
gliss
qn
#
ä¿ ‰
F
œ
fi #Œ
Stay on string (damp)
& 15
‰
Rubber band box
# # >œ œ. œ. P $
Rubber band box
ä¿ ‰ Œ
&
F
15
‰ ä¿ Œ
>œ P
15
œ
P>
Tealight cup (turn around)
‰ ä¿
F
#Œ
Rubber band box
&
F
Œ
œ œœ œ
œ
œ
‰ #œ œ . . . p p ƒ
œ œ
œ
... . . . $ f œ
œ œ œ œ
#
œ
œ
.
œ
œ
œ
Œ
œf
œ
#
ƒ
Œ
Loose hand along bands
Ï Blow along the bands.
‰
$
Blow along the bands.
#œ
œ
œ
. . . . . .. . $ f p ƒ Tap on string
œ
. . .
. . . . . œ. p f $ œ œ œ
!
#
fi # Œ.
Stay on string (damp)
œ
#œ
œ
‰ Œ
œ
œ . .. .. ƒ $ Ï
Tap on string
œƒ
fi #‰ ‰
qn Blow along the strings
‰ ‰ f qn
Stay on string (damp)
°
Œ
(stretch band)
. . . œ÷
œ
Tealight cup (turn around)
Rubber band box
œ. . . . .
Tap on string
œ F
Tealight cup (turn around)
÷
#
. .. . .. p F
Tealight cup (turn around)
Vln. II
œ œ œ ...
œ
œ
The pitches are not very important but the notation is an indication of register.
qn
pizz.
15
. . p F
qn
Œ
f
œ. . . . .
Œ
&
Play tones freely
(stretch band)
&
The pitches are not very important but the notation is an indication of register.
Blow air on keys
#Œ
!
Play tones freely
Rubber band box
Vln I
‰ # – > ƒ
Blow along the bands.
Rubber band box
‰
‚ ‰.
The pitches are not very important but the notation is an indication
Rubber of register. band box
Breath
Blow along the bands.
# ## #
&
Play the tones freely
& 15
‰
#Œ
!
# # # # ## # >œ œ. œ. >œ œ. F p f p$
‰
!
# # #‰
œ œ > . F p
Rubber band box
# #
40
Loose hand along bands
ƒ
!
#
Rubber band box
(stretch band)
#÷
#
ƒ $p gliss
‰ ä¿ f
ƒ
!
Loose hand along bands
p
!
Tealight cup (turn around)
Loose hand along bands
œ. . . . .
15
f
œ œ œ œ > . . .. > f p Fp ƒ p
# # # # # # ## #‰ >œ œ. œ. >œ œ. œ. >œ œ. P $ F p f p
ä¿ ‰ &
÷
p
ƒ
# # #‰ # # >œ œ. >œ œ. œ. . . F p f p F p $
!
Tealight cup (turn around)
Loose hand along bands
Loose hand along bands
ƒ
&‰ 15
Loose hand along bands
p
Tealight cup (turn around)
‰ ÷ ä¿ ‰ f
Tealight cup (turn around)
‰ ÷ ‰ ä¿ f
÷
Fl.
!
& 15
&
Blow along the bands.
Cl. in Bb
& 15
. ( $)
Blow along the bands.
Trb.
& 15
!
Alto flute
. $
flz ~~~~~~~~~,
flz ~~~~~~~~~~~~,
qn
qn
Air (throat)
–. P
(throat)
¬ P
j Ï
Throw the rubber band box against the trombone players box. Try to hit it. Go back to the chair.
j Ï
Throw the rubber band box against the clarinet players box. Try to hit it. Go back to the chair.
!
<
Gr. Pno./ Kbrds/ Elctr.
?
œ [ m œœœ ] Sound
! Place & start e-bows
?
!
!
œ [ m œœ]
[normal setting]
4 3 2 1
[œ]
V
Œ
!
?
‰ !
œ
mœ
Loose hand along bands
o
Vln I
& 15
ƒ
÷
‰ ¿
Ï
!
Loose hand along bands
Vln. II
& 15
ƒ
#‰ ‰
(((
Œ
Vla.
B
‰
Blow on the tealight cup to turn around
Vlc.
÷
‰ ¿ Ï
‰
÷
&Œ
(((÷
J
Blow on the tealight cup to turn around
¿
Ï
Ï
‰&
Blow along the strings
‰B Ï
¿
j Ï
#
Blow along the strings
?
Œ
j Ï
. #‰
‰
¬ P
œ >
œ >
[ P]
!
!
E-bow
!
!
j œ p
[high setting]
‰
j
œ œ >
Tail piece
œ > [ P]
Tail piece
œ >
j
j
œ œ > > [ P] Tail piece
œ >
œ œ > >
[ P]
j
œ >
41
œ >
œ >
j
œ œ >
œ >
œ >
j
j
j
œ œ >
œ >
qn
Bass Clarinet
[normal setting]
Tail piece
Œ
(throat)
!
E-bow
Blow along the strings
Roll back rubber band.
Blow on the tealight cup to turn around
Roll back rubber band.
flz ~~~~~~~~~~~~~
4 3 2 1
œ œ >
j
œ >
j
œ >
?
œ ˙ ‰ m œœœ ˙˙˙ o
0/4
œ >
œ > III IV
œ >
mezzo legno tratto ord pos
# m œœ ˙˙
Ó o â F III IV
mezzo legno tratto ord pos
# œœ ˙˙
Ó o â F
œ >
œ >
V
Trombone
˙.
°
Blow on the tealight cup to turn around
‰
qn
œ
[high setting]
!
–. P
!
Stylophone no vibrato Setting: 1 Tuning: c1=c#
,
(throat)
!
!
Tune down til lowest point underneath.
flz ~~~~~~~~
œ >
A.Fl.
B.Cl. in Bb
Trb.
!
&
V
!
!
–
o
? Trombone!
j b– –
j b–
Œ
o
!
!
Breathy & airy sound
–.
Gr. Pno./ Kbrds/ Elctr.
V
œ. ( p) E-bows 3 4 œ. V œœ . 1 2 œ .. F (°) 3/4
(((((( ‰
Roll back rubber band.
Vln I
&
(III) (IV)
Vln. II
&
œ ˙ ˙ m ˙˙ o
0/4
&
III IV
0/4
œ
o
2/4
œ mezzo legno tratto
·
˙
o
¿ ¿¿ ¿Œ – P qn flz ~~~~~~~~ flz ~~ (throat)
–. "
–. â P
Stylophone no vibrato Play with pen in circles on tone to create noise Setting: 3 Tuning: c=b ( )
, (throat) , j – â qn P o
<
1 2 3 4
œ .. œ œœ .. P
¿¿ –
"
F
Remove E-bows:
‰
Air Keyclicks
–
œ œ œ < < F
o
!
qn
œ œ̄ œ̄
Stylophone Play with pen in circles on tone to create noise
!
œ< œ m œ – . < < F
Breathy & airy sound
!
Bass Clarinet
j œ
Breathy & airy sound
†
mœ.
nœ
o
˙
START: Electronics
o
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Soundfile 9
0/4
&
·.
œœ
·. ·.
œ. P
·. ·.
F
qn
, o
fl.
fl.
fl.
arco legno norm. tratto
arco legno norm. tratto
arco legno norm. tratto
S$
S$
S$
>¿ ¿ ¿
>¿ ¿ ¿
>¿ ¿
··· >· · ·
·· · >· · ·
·· >· ·
Tealight cup (bow) near the bridge
ord pos
near the bridge
ord pos
œœ .. F
m ˙˙
œœ .. P
œœ
ord pos
near the bridge
o
# ‰ ÷ ¿ ¿. F
qn
qn
S$
S$
S$
>¿ ¿ ¿ S$
>¿ ¿ ¿ S$
>¿ ¿ S$
Tealight cup (bow) (III) (IV)
Vla.
Vlc.
B
?
near the bridge
œœ .. F
(((((( ‰
Roll back rubber band.
˙˙ o
&
III IV
œ mezzo legno tratto
˙
·
o
ord pos
œœ # ‰ ÷ ¿ ¿ . F qn
œœ .. P œ. ·.
P
&
œœ
·. ·.
qn
42
·. ·.
F
qn
, o
fl.
>· · ·
fl.
>· · ·
fl.
>· ·
arco legno norm. tratto
arco legno norm. tratto
arco legno norm. tratto
S$
S$
S$
···
·· ·
··
Breathy & airy sound
A.Fl.
B.Cl. in Bb
&
flz ~~~~~~~ (throat)
– o
Breathy & airy sound
Œ
V
j œ
œ< œ m œ < < P flz ~~~~~~~~ (throat)
j b– o
œ p
Ó
–. "
bœ –
œ œ̄ œ̄
¬
P
qn
q = 46
?
Stylophone Beatbox Setting: Bass (3)
‰. œ (œ ) P
Ó
Œ
‰. œ Ó (œ ) p
Œ
¬
¬
–
o
p
o
U
‰. œ Œ (œ ) $ Œ
o
U
Œ
Œ
Breathy & airy sound
Trb.
?
flz ~~~~~~~~~~~~~ (throat)
–. â P
Stylophone
– – – "
Play with pen in circles on tone to create noise
† Gr. Pno./ Kbrds/ Elctr.
÷
œ. P Electronics [soundfile 9]
Vln I
&
··· >· · ·
S$
Tealight cup (bow)
Vln. II
÷
>¿ ¿ ¿
S$
Tealight cup (bow)
Vla.
÷
>¿ ¿ ¿
S$ fl.
Vlc.
?
>· · ·
arco legno norm. tratto
···
S$
r œ
˙
o
o
Wedge (hit)
?
h
ord pos
· >·
P
,
near the bridge
bow
‰. Ó
b œœ > 'P
blow
ord pos
·. >· .
blow
,
>·
·
P
near the bridge
,
‰. Œ
>· . ·.
ord pos
$ P
near the bridge
,
qn
>¿ ‰ . Œ
P
qn
Œ. ¿ ‰† F
P
o
Wedge (hit)
‰. Œ b œœ > '$
Ó
˙
Tealight cup (turn around)
>¿ ‰ . Ó
Stylophone no vibrato Setting: 3 Tuning: c=b
œ
p Play w. pen in circles to create noise
# œœ œ œœœ œ œ ( )
U
Œ
Œ
U œ
œ
Stylophone no vibrato Setting: 3 Tuning: c=b
œ
Play w. pen in circles to create noise
‰ œœœ œ œœœ œ $
‰. Œ
mœ > P
pizz.
$ Play w. pen in circles to create noise
œ
# œœ œ œœœ œ œœœ œ œ
(b œ )
‰ œœœ œ œœœ œ œœœ œ
slap
#
mœ p>
‰. Œ
Œ
pizz.
œ
# œœ œ œœœ œ œ
œ
‰ b œ œœ œ œœœ œ $
slap
œ. mœ > gliss $ >
‰. Œ
U œ
o
Play w. pen in circles to create noise
( )
#
Œ
Play w. pen in circles to create noise
$
Play w. pen in circles to create noise
U
Œ
( )
$
œ. > gliss 43
>¿ ‰ . Œ
Ó
$
( )
slap
Tealight cup (turn around)
( )
$ <
¿ ¿
ord pos
Tealight cup (turn around)
near the bridge
Tealight cup
bow
Œ
¬. $
¬
Soundfile 10
Œ. ¿ ‰† F
P
o
b œœ ' >p
START: Electronics
<
¿ ¿
–
U
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
$ P
Tealight cup
Œ
Wedge (hit)
||||||||||||||||||||||||||||
fl. arco legno norm. tratto
¬.
œœ œ < < P
pizz.
U œ
U
#Œ
œ. > gliss
o