Bára Gísladóttir: VÍDDIR

Bára Gísladóttir VÍDDIR (2019–20) for nine flutes, three percussionists, bass guitar & double bass Dur. 60′

Written for nine flutes, NEKO3, Skúli Sverrisson & Bára Gísladóttir

SCORE

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

NEKO3

STEM 4

STEM 2

STEM 3

_ ™ STEM 4 !™ _ ! 2

3 1 STEM 2

3 1 STEM 3

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The chamber organs have four stems. In VÍDDIR the stems are solely used for colour and distortion. To produce this sort of distortion, the stems are pulled halfway

™ Pulling the stems organs have area four creates stems. In VÍDDIR thedistortion stems arereminding solely usedoffor colour andNoteheads distortion.with To produce sort ofdown distortion, the stems are pulled halfway _out. ! ™ back and The forthchamber within this halfway colours in the electronics. an arrowthis pointing

out. Pulling stemspointing back and within this halfway area stems createsare colours distortion Noteheads indicate to pull out, while noteheads with anthe arrow upforth indicate to push back in. The placedininthe a row on the reminding left side ofof theelectronics. organs where STEM with 1 an arrow pointing down indicate pull out, while noteheads is the one furthest to the left, STEM 2 istothe second left, and so on. with an arrow pointing up indicate to push back in. The stems are placed in a row on the left side of the organs where STEM 1 is the one furthest to the left, STEM 2 is the second left, and so on. given here. The first bar indicated to slowly pull back and forth the stems. In the next bar, first stave, this movement should be a bit faster, while the 2 See the 3 example 1 See pull the example given here.STEM The first bar indicated slowly back1and forth In in! the We nextare bar, first stave, thisinmovement should be a bit faster, while the two lower staves do the following: out STEM 2, then 3, then STEM 1,tothen pushpull STEM back (notthe allstems. the way always working the two lower staves do the following: pull out STEM 2, then STEM 3, then STEM 1, then push STEM 1 back (not all the way in! We are always working in the halfway out area). halfway out area). Organ sections occur a few times throughout the piece. Every time you finishing an organ section, make sure to push all stems back in (all the way!) so that we have Organ sections occur a few times throughout the piece. Every time you finishing an organ section, make sure to push all stems back in (all the way!) so that we have 2 a clean 3 start1at every new organ section. a clean start at every new organ section.

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big gong mallet big gong mallet T. - t. T. - t.

Ok, so what I mean by this is something like this hehehe: Ok, so what I mean by this is something like this hehehe: https://www.youtube.com/watch?v=mL2r6E1E7sM&fbclid=IwAR3CRC6zFLCWKfX4btqwNPbOhiNNgp2IfytkYfS-1QCGwhiF0fZyF0IInhw https://www.youtube.com/watch?v=mL2r6E1E7sM&fbclid=IwAR3CRC6zFLCWKfX4btqwNPbOhiNNgp2IfytkYfS-1QCGwhiF0fZyF0IInhw T. - t.

T. - t.

T. - t. T. - t.

Other stuff: stuff: You should probably focus a bitOther on synchronising your rainstick moves :)))) You should probably focus a bit on synchronising your rainstick moves :))))

Composed with support from the Danish Composers’ Society and Bylgjan/STEF Composers’ Fund Composed with support from the Danish Composers’ Society and Bylgjan/STEF Composers’ Fund

Composed with support from the Danish Composers’ Society and Bylgjan/STEF Composers’ Fund

Composed with support from the Danish Arts Foundation. With support from Koda’s Cultural Funds. Projektet er støttet af Kodas kulturelle midler. Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Bára Gísladóttir VÍDDIR (2019–20) for nine flutes, three percussionists, bass guitar & double bass Dur. 60′

VÍDDIR is an hour long piece composed specifically for the unique acoustics in Grundtvigs Kirke in the Gísladóttir occasion of Bára’s graduation from the advanced postgraduate diploma program at theBára Royal Danish Academy of Music in February 2020. Since then, the piece has had several performances in various spaces, becoming something different every time, since the space itself serves as the fifteenth performer of the piece. In the following performers’ notes and score, the names of the players are often stated instead of the names of the instruments they play. This was done to personalise the piece and make the rehearsal period and cueing as smooth as possible. The players are divided into three groups (flutes vs. percussion vs. basses) that all contribute to a common dimensional goal.

VÍDDIR

for nine flutes, NEKO3, Skúli Sverrisson and Bára Gísladóttir 1h

2020

Set-up The idea behind VÍDDIR is that the flutes create a surround audio with their position in the room. They embrace the audience and rest of ensemble in the following way:

SET-UP The idea behind VÍDDIR is that the flutes create a surround sound with their position in the room. They embrace the audience and rest of ensemble in the following way:

B. Fl. 1 should probably be placed on a little podium so as to be easily seen by the rest of ensemble.

B. Fl. 1 should probably be placed on a little podium to be easily seen by the rest of ensemble

Set-up of NEKO3 Set-up of NEKO3 NEKO3 can set up however the fuck they want of course. The following setup is recommended for the organ performance where Fei and Lorenzo play keys with one hand and perform stem-distortion with the other, and Kalle performs stem-distortion on both organs:

NEKO3 can set up however they please. The following setup is recommended for the organ performance where Fei and Lorenzo play keys with one hand and perform stem-distortion with the other, and Kalle performs stem-distortion on both organs:

Set-up of NEKO3 NEKO3 can set up however the fuck they want of course. The following setup is recommended for the organ performance where Fei and Lorenzo play keys with one hand and perform stem-distortion with the other, and Kalle performs stem-distortion on both organs:

EXPLANATIONS General VÍDDIR flutters between a strict measure and a freer, more approximate measure given in seconds. The piece is performed without conductor. Bass Flute 1 is responsible for cueing the flutes, and at (a lot of) times, the rest of the performers.

Explanations

VÍDDIR flutters between being a firmly out written piece and a piece of free improvisation. Preferably, Explanations Explanations Explanations the switching of these two factors should not be dramatically audible to the ear. Explanations

General

Explanations

VÍDDIR flutters between a firm measure and a freer, more approximate measure g General General General performers. Although VÍDDIR is written for fourteen performers, I like to think of the space itself as a performer Explanations General VÍDDIR flutters between firm measure and freer, more approximate measure given in seconds. The piece performed without conductor. Bass Flute responsible for cueing the flutes (and (a lot of) times the rest of the VÍDDIR flutters between being(and a firmly out written andof a the piece VÍDDIR VÍDDIR flutters fluttersimportance between betweenaaafirm firmmeasure measure and freer, more moreplayers. approximate approximateIfmeasure measure given in inseconds. seconds. The Thepiece piece isis isperformed performed without without conductor.Bass Bassin Flute Flute111isis isresponsible responsible for forcueing cueing the theflutes flutes (and atat at(a (alot lotof) of) times timespiece the therest rest of the of free impr of no less thanand theaaafreer, direct ever given to be performed again after the conductor. premiere

General

performers. performers. performers. VÍDDIR flutters between and a freer, more approximate measure givensimilar in seconds. The piece is performed without conductor. Bass Flute 1 is responsible for cueingisthe flutesfor (and at (a lot of) times the resttoof the of the space i Grundtvigs Kirke,a firm themeasure performance space should boast qualities. Although written fourteen like think VÍDDIR VÍDDIR flutters between a firm measure andperformers, a freer, moreI approximate measure given in General performers. VÍDDIR flutters between being firmly out written piece and piece of free improvisation. Preferably, the switching of these two factors should not be dramatically audible to the ear. performance performers. VÍDDIR VÍDDIRflutters fluttersbetween betweenbeing beingaaafirmly firmlyout outwritten writtenpiece pieceand andaaapiece pieceof offree freeimprovisation. improvisation.Preferably, Preferably,the theswitching switchingof ofthese thesetwo twofactors factorsshould shouldnot notbe bedramatically dramatically audible audiblespace to tothe theshould ear. ear. boast similar qualities.

VÍDDIR fluttersbetween between a firm measure andwritten a freer,piece more approximate measure given in The not piece performed conductor. Bass Flute 1 isdramatically responsible for cueing the flutes (and (a lot of) the rest of the the VÍDDIR flutters being firmly out and athink piece free improvisation. Preferably, the switching of without these two factors not be audible to the ear. Although VÍDDIR written for fourteen performers, like to of the space itself as performer of less importance than the direct players. ever to be VÍDDIR performed again after the premiere in Grundtvigs Kirke, VÍDDIR flutters between amultilayers firmly out times written piece and a and piecetremoli. of free improvisati inter alia consists of aat texture of trills Trills and Although Although VÍDDIR VÍDDIR isis iswritten written for forafourteen fourteen performers, performers, IIIlike like to tothink think of ofof the the space space itself itselfas asseconds. aaaperformer performer not not of ofis less less importance importance than the the direct directshould players. players. IIIever performed again again after after the thebeing premiere premiere in inGrundtvigs Grundtvigs Kirke, Kirke, the the VÍDDIR inter alia,qualities. of a multilayered texture of trills and tremoli. Trills andthan tremoli occur inevertotobebeperformed performers.consists, performance space should boast similar speed, indicated in the following way: performance performancespace spaceshould shouldboast boastsimilar similarqualities. qualities. Although VÍDDIR is written for fourteen performers, Kirke, I like tothe think of the space itself as Although VÍDDIR is written for fourteen performers, I like to think of the space itself as a performer not of less importance than the direct players. I ever to be performed again after the premiere in Grundtvigs various speed in the piece, where four lines the fastest speed possible. Trills and tremoli can VÍDDIRinter flutters between being a firmlyqualities. out writtenofpiece and a tremoli. pieceindicate of Trills free improvisation. Preferably, the switching of these two factors should not be dramatically audible to the ear.and performance space should boastcan similar qualities. performance should boast similar VÍDDIR alia consists of multilayers texture trills and and tremoli occur in various speed in the piece, where four lines indicate the fastest possible. Trills tremoli also increase and decrease in VÍDDIR VÍDDIRinter interspace alia aliaconsists consists of ofaaamultilayers multilayers texture textureof oftrills trillsand andtremoli. tremoli.Trills Trillsand andtremoli tremolioccur occurin invarious variousspeed speedin inthe thepiece, piece,where wherefour fourlines linesindicate indicatethe thefastest fastestpossible. possible.Trills Trillsand andtremoli tremolican canalso alsoincrease increaseand anddecrease decreasein in speed, indicated in the following way: speed, speed, indicated indicated in inthe the following following way: way: also increase and decrease in speed, indicated in the following way: VÍDDIR inter alia consists of a multilayers texture of trills and tremoli. Although VÍDDIR is written for fourteen performers, I like to think of the space itself as a performer not of less importance than the direct players. I ever to be performed again after the premiere in Grundtvigs Kirke, the VÍDDIR inter alia consists of a multilayers texture of trills and tremoli. Trills and tremoli occur in various speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in Trills and tremol speed, indicated in the following way: performance should boast way: similar qualities. speed, indicatedspace in the following

A lot ofTrills the time, I have used graphics to describe whatinI want. Feel free to interpr VÍDDIR inter alia consists of a multilayers texture of trills and tremoli. Trills and tremoli occur in various speed in the piece, where four lines indicate the fastest possible. and tremoli can also increase and decrease speed, indicated in the following way: A lot of the time, have used graphics to describe what want. Feel free to interpret them in your own way. A lot of the I have used graphics to Feel describe whatthem I want. free A Alot lot of ofthe thetime, time,IIItime, have haveused used graphics graphics to todescribe describe what whatIIIwant. want. Feelfree freeto tointerpret interpret them in inyour yourFeel own ownway. way.

to interpret them in your own

way. A lot of the time, I have used graphics to describe what I want. Feel free to interpret them in your own way.

A lot of the time, I have used graphics to describe what I want. Feel free to interpret them

A lot of the time, I have used graphics to describe what I want. Feel free to interpret them in your own way.

Flutes Flutes Flutes w.t. – whistle tones Flutes Flutes Flutes Inw.t. the–score and parts, the fundamental position of the whistle tones is given in the whistle tones Whistle tones – w.t. In the score and parts, the fundamental position of the whistle tones is given in the form o Flutes w.t. whistle tones w.t. w.t.the –––whistle whistle tones tonesand parts, the fundamental position of the whistle tones is given in the form of a diamond o In score o wo In the score and parts, the fundamental position of the whistle tones given in the form of diamond head. Travel freely between the possible overtones. Ex: o wo ob w wo w wo In InFlutes the thescore scoreand andparts, parts,the thefundamental fundamentalposition positionof ofthe thewhistle whistletones tonesisis isgiven givenin inthe theform formof ofaaadiamond diamondhead. head.Travel Travelfreely freelybetween betweenthe thepossible possibleovertones. overtones.Ex: Ex: o w o w w.t. – whistle tones b w o head. Travel freely between the possible overtones. E.g. w o w wo wo In w.t. the –score and parts, the fundamental position o whistle o of the ooo tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: whistle tones

o ww w o wthe owoo bbbwow wo ofwow oo the fundamental In the score and whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex: ow oo parts, wow wo ww position ooo wow w w o wo w w o b wo o w ww w o w o o w o wo w o ~~~ wo b w ow wo w o wo w ~ w The w.t. should always be played as loud as the technique allows. The whistle tone should always be played ~w.t. The The w.t. should shouldalways always be beplayed playedas asloud loud as asthe thetechnique technique allows. allows.as loud as the technique allows. The w.t. should always be played as loud as the technique allows. harmonic timbral trills The w.t.timbral shouldtimbral always as loud as the technique allows. harmonic harmonic timbral trills trills be played Harmonic trills harmonic timbral trills bbbww wharmonic timbral trills

bbbb~w~~b w b~ b~

ww w bbb~w~~ w b~ b~

Square notes should be sung (or in fact, screamed, most of the time) preferably in the octave written, but otherwise in the octave that feels best for the performer).

The beplayed playedasasloud loud technique allows. Thew.t. w.t.should should always always be as as thethe technique allows. harmonic harmonictimbral timbral trills trills

b wb w

ww b~b~

b~b~

square notes should be sung (or in fact, screamed, most of the time) prefe

square notes should be sung (or in fact, screamed, most of the time

square notes should be sung (or in fact, screamed, most of the time) preferably in the octave written, but otherwise in the octave that feels best for the performer) square squarenotes notesshould shouldbe besung sung(or (orin infact, fact,screamed, screamed,most mostof ofthe thetime) time)preferably preferablyin inthe theoctave octavewritten, written,but butotherwise otherwisein inthe theoctave octavethat thatfeels feelsbest bestfor forthe theperformer) performer)

This sort of notation i - performer) 1 1 square notes should be sung (or a in movement fact, screamed, most the time) in the octave written, otherwise in manner the octave that feels best for the This sort of notation indicates to of and frompreferably the embouchure in but a nodding whilst square notes should be sung (or in fact, screamed, most of the time) preferably in the octave written, but otherwise in the octave that feels best for the performer) embouchure while th æ æ æ æ This sort of no four motions (down-u -æ æ1 ææ 1 fluttering. The arrow down indicates a movement to the embouchure while the arrow up indicated embouchure w each breath. For insta æ æ æ æ a movement from the embouchure (always while fluttering). The upper example to the right shows four motions ( æ æ æ æ This sort of notation indicates movement to and from the embouchure in nodding manner whilst fluttering.The The arrow downindicates indicates movement to the This Thissort sortof of notation indicates indicatesaaamovement movementthe to toand and from fromthe theembouchure embouchure in inaaamore nodding noddingmanner mannerwhilst whilstfluttering. Thearrow arrowdown indicatesaaamovement movementto the each breath. F --111 a---movement 111of four motions (down-up-down-up) innotation onethe breath. When rhythm becomes - 1fluttering. - upper - example 1 - down -the 1shows -movement 1 - tothe embouchure while arrow up indicated movement from the embouchure (always while fluttering). The to left of embouchure embouchurewhile whilethe thearrow arrowup upindicated indicatedaaamovement movementfrom fromthe theembouchure embouchure(always (alwayswhile whilefluttering). fluttering).The Theupper upperexample exampleto tothe theleft leftshows showsaaamovement movementof of æ æ æ æ æ æ æ æ æ æ æ æ æ æ æcomplex æ æ æ æ æ æ æ This sort of notation indicates a movement to and from the embouchure in a nodding manner whilst fluttering. The arrow down indicates a movement to the four motions (down-up-down-up) in one breath. When the rhythm becomes more complex as in the example on the lower left, dashed slurs are used to indicate æ -ææ-ææ- on the lower 1ææ right, This sort of notation indicates movement to and from thethe embouchure in a nodding manner whilst fluttering. Theon arrow down left, indicates a movement to theto as inæ1æ1the example slurs area used tobreath. indicate each breath. For four fourdashed motions motions (down-up-down-up) (down-up-down-up) in inone one breath. When When the rhythm rhythm becomes becomes more morecomplex complex as asin in the the example example on the the lower lower left, dashed dashed slurs slurs are are used used to indicate indicate æ æ æ æ æ æ æ æ æ æ æ embouchure while thearrow arrow indicated a movement from the embouchure (always while fluttering). The to the left shows a movement each breath. For instance, this means that the lower example (down-up-down-up-down-up-down-up-down) is played one breath. -in theThe 13example - isupper -theexample 1ininintoone -left, -dashed -ofto1 indicate -of ææ æ ææ the lowerææexampleembouchure the upup indicated a the movement from the(down-up-down-up-down-up-down-up-down) embouchure (always while fluttering). upper the left shows a1 movement each eachbreath. breath.while For For instance, instance, this this means means that that the lower lowerexample example (down-up-down-up-down-up-down-up-down) isexample played played one breath. breath. 3lower instance, thisæææmeans that (down-up-down-up-down-up-down-up-down) ismore played four motions(down-up-down-up) (down-up-down-up)inin one breath. When rhythm becomes complex slurs aretoused ææ ææ æ four motions one breath. When thethe rhythm becomes more complex as inasthe example on theonlower left, æ dashed slurs are used indicate æ æ æ æ æ æ æ æ æ æ æ æ æ is played æ æin oneæ breath. æ æ æææ each breath. For instance, this means that the lower example (down-up-down-up-down-up-down-up-down) in - one1 breath. - - 1 - 1 - 1 - each breath. For instance, this means that the lower example (down-up-down-up-down-up-down-up-down) is played in one breath.

-- 11 -- -- 11 -ææ-ææ- ææ1ææ1 ææ-ææ- ææ-ææ- ææ1ææ1 ææ-æææææææ 333æææææ æææææ æææææ 333æææææ æææææ Miscellaneous

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3 Other3stuff: As mentioned above, the cueing is in the hands of B. Fl. 1, but there is of course one exc Bars 180 - 204 are a part of a solo section for the flutes, where B. Fl. 1 is playing in a rat Fl. 2.stuff: The section consists of a few phrases for the flute choir that you may or may not h Other repeat the section shownisinin thethe score. Asshould mentioned above, theascueing hands of B. Fl. 1, but there is of course o

33 33 Bars 180 - 204 are a part of a solo section for the flutes, where B. Fl. 1 is playing Other stuff: Fl. 2. The section consists of a few phrases for the flute choir that you may or ma Other Otherstuff: stuff: As mentioned above, the cueing in the hands of B. Fl. but there of course one exception to this :))) As mentioned above, cueing isFl. in1,1,1,the hands of B.one Fl.exception 1, but tothere is of course one exception to this: should repeat the section as shown in the score. As AsOther mentioned mentioned above, above,the the cueing cueingisis isthe in inthe the hands handsof ofB. B. Fl. but butthere there isis isof ofcourse course one exception tothis this:))) :))) stuff: Other stuff: Bars 180 204 are part of solo section forthe the flutes, where B. Fl. playing in aarather rather free measure indicated in seconds, while the rest of the flutes are playing in unison in rather firm measure, that should be cued by B. Bars Bars 180 180 ---204 204are are aaapart part ofcueing aaaasolo solo section section for theofflutes, flutes, where B. B.for Fl. Fl.is111the isis iscourse playing playing in inaexception ratherfree free measure measure indicated indicated in inseconds, seconds, while while the therest rest of ofthe the flutes flutesare areplaying playingin inunison unisonin inaaarather ratherfirm firmmeasure, measure,that thatshould shouldbe becued cuedby byB. B. Bars 180–204 are part ofhands aforfor solo section flutes, where B. Fl. is playing in choir achoir rather free measure As mentioned above, theof in the hands B. Fl.where 1, but there one totothis :))) As mentioned above, the cueing isisinphrases the of B. Fl. 1, butthat there isof of course onenot exception this :)))1through. Fl. 2. The section consists of few phrases for the flute choir that you may or may not have time to play through. the flute plays through this section before B. Fl. (BJÖGGI MINN) arrives at bar 205, the flute choir Fl. Fl.Bars 2. 2. The The section section consists consists of ofaaaasolo few few phrases forthe the the flute flute choir choir that you you may may or ormay may not have have time time to toplay play through.inIfIf Ifseconds, the theflute flute choir plays plays through through this thisare section section before before B. B.Fl. Fl.in 111(BJÖGGI (BJÖGGI MINN) MINN) arrives arrives at atbar bar205, 205, the theflute flute choir choir 180 204 are a part of section for flutes, where B. Fl. 1 is playing in a rather free measure indicated while the rest of the flutes playing in unison a rather firm measure, that should be cued by B. Bars 180 - 204the aresection a part as of ashown solowhile section for therest flutes,of where Fl. 1 is playing in a rather free measure indicated in seconds, while the rest of thethat flutes are playing in unison in a rather firm measure, that should be cued by B. should repeat the section as in the score. indicated in seconds, the theB.flutes are playing in unison in aIfrather firm measure, should should repeat repeat the section asshown shown in inphrases the thescore. score. Thesection section consists few for the the flute flute choir through. flute choir plays through this this section before B. Fl.B.1Fl. (BJÖGGI MINN) arrivesarrives at bar at 205, flute Fl.Fl. 2. 2.The consists ofofaafew phrases for choir that that you youmay mayorormay maynot nothave havetime timetotoplay play through. Ifthethe flute choir plays through section before 1 (BJÖGGI MINN) barthe 205, thechoir flute choir should repeat section shown theThe score.section consists of a few phrases for the flute choir that you may or may should bethethe cued by B. Fl.inin2. should repeat section asasshown the score.

not have time to play through. If the flute choir plays through this section before B. Fl. 1 arrives at bar 205, the flute choir should repeat the section as shown in the score.

NEKO3 NEKO3 STEM 4

The chamber organs have four stems. In VÍDDIR the stemsThe arechamber solely organs have four stems. In VÍDDIR the stems are solely used for colour and distortion. To p out. Pulling back and forth within this halfway area creates colours in the distortion reminding NEKO3 used for colour and distortion. To produce this sort of distortion, the the stems indicate to pull out, while noteheads with an arrow pointing up indicate to push back in. The stems are p stems are pulled halfway out. Pulling the stems back and forth within is the one furthest to the left, STEM 2 is the second left, and so on. thisSTEM halfway in the distortion reminiscent of 2 area creates colours 2 3 1 electronics. Noteheads with an arrow pointing down indicate Seeto thepull example given here. The first bar indicated to slowly pull back and forth the stems. In the next ba out, while noteheads with an arrow pointing up indicate to two pushlower backstaves do the following: pull out STEM 2, then STEM 3, then STEM 1, then push STEM 1 b STEM 4 in. The stems are placed in a row on the left side of the organs where halfway out area). The chamber organs STEM 1 is the one furthest to the left, STEM 2 is the second left, and out. Pulling the stem Organ sections occur a few times throughout the piece. Every time you finishing an organ section, make so STEM on. 3 2 3 1 indicate to pull out, a clean start at every new organ section. is the one furthest to See the example given here. The first bar indicated to slowly pull back STEM 2 2 3 1 and forth the stems. In the next bar, first stave, this movement should See the example giv be a bit faster, while the two lower staves do the following: pull out two lower staves do STEM 2, then STEM 3, then STEM 1, then push STEM 1 back (not all halfway out area). the way in! We are always working in the halfway out area). Organ sections occu STEM 3 2 3 1 Organ sections occur a few times throughout the piece. Every time a clean start at every you finishing an organ section, make sure to push all stems back in (all the way!) so that we have a clean start at every new organ section.

_™

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big gong mallet

T. - t.

Ok, so what by this is something like this hehehe: bigI mean gong mallet https://www.youtube.com/watch?v=mL2r6E1E7sM&fbclid=IwAR3CRC6zFLCWK T. - t.

T. - t.

The above is intended to be something like this: https://www.youtube.com/watch?v=mL2r6E1E7sM T. - t.

Other stuff: You should probably focus a bit on synchronising your rainstick moves :))))

INSTRUMENTATION 5 Bass flutes 2 Alto flutes Flute Piccolo NEKO3 FEI Organ - 2 × props to hold down keys Triangle - triangle beater Opera gong - small medium soft gong mallet Rainstick Crotales (E7) - crotales mallet Wind chimes Thunder sheet - thimbles Tam-tam (the biggest we can find) - big gong mallet - triangle beater - thimbles - superball mallet - wooden hammer Small handbell KALLE Opera gong - small medium soft gong mallet Crotales (D7, E7, G7, A7) - bow - crotales mallet Temple bowls (E5, B5) - temple bowl mallet Rainstick Tam-tam (the biggest we can find) - 2 × steel chains (should be relatively heavy and approximately 4 cm broad) - big gong mallet - thimbles - superball mallet - wooden hammer Thunder-sheet - thimbles Waterphone - bow - bell mallet Sleigh bells LORENZO Organ Opera gong - small medium soft gong mallet Temple bowls (A4, D5, 2 × E5) - temple bowl mallet Rainstick Tam-tam (the biggest we can find) - 2 × steel chains (should be relatively heavy and approximately 4 cm broad) - big gong mallet - small medium soft gong mallet - thimbles - superball mallet - wooden hammer Thunder sheet - thimbles Wind chimes Crotales (E7) - bow - crotales mallet Bass guitar (Skúli Sverrisson) Double bass (Bára Gísladóttir)

VÍDDIR Bára Gísladóttir 2019-20

Bass Flute 1

12''

4''

5''

3''

2''

3''

7''

° w) & ææ

w) ææ

ffff (as strong as possible) Bass Flute 2

& w)ææ ffff (as strong as possible)

Bass Flute 3

& w)æ æ ffff (as strong as possible)

Bass Flute 4

& w)ææ ffff (as strong as possible)

Bass Flute 5

w) ¢& ææ ffff (as strong as possible)

6''

7''

16''

7''

4''

3''

6''

° # )w &

# )w ææ

# )w

8 (non cresc.) B. Fl. 1

B. Fl. 2

& # )w

# )w ææ w) ææ w) ææ

w) B. Fl. 3

B. Fl. 4

& & w)

# )w

ff (non cresc.)

# )w

bw)

w) B. Fl. 5

bw)

w) æ æ

¢&

15''

12''

27''

15''

15 (play C#, sing (scream) D) B. Fl. 1

° #w) &

#w) ∑

ææ w)

ffff ffff (as strong as possible) B. Fl. 2

& # )w

# )w

∑

ææ w)

ffff ffff (as strong as possible) B. Fl. 3

& w)ææ

w) ææ

∑

ffff (as strong as possible)

ffff (play Eb, sing (scream) D) B. Fl. 4

b w & )æ æ

b )w ææ

∑

b ) & w

bw) ∑ vary between these fingerings to produce the harmonics given (stay on each fingering for 4-9'' at the time)

ffff

∑ A. Fl. 1

wo ~~w ~

∑

pp vary between these fingerings to produce the harmonics given (stay on each fingering for 4-9'' at the time)

∑ A. Fl. 2

∑

∑ Fl.

∑

ææ w) ffff (as strong as possible)

pp w.t.

ffff (as strong as possible)

ææ w)

∑

ffff (as strong as possible)

ææ w)

as strong as the technique allows

ffff (as strong as possible)

∑

ffff (as strong as possible)

ææ w)

¢&

ææ w)

wo ~~w ~

as strong as the technique allows w.t. Picc.

ææ w) ffff (as strong as possible)

ffff

B. Fl. 5

ææ w)

15'' 7'' highest possible voice pitch

19 B. Fl. 1

° &

ææ w)

6''!

8''

34'' w.t.

∑ w ææ

w ææ

as strong as the technique allows make a lil cresc. if u can hehe highest possible voice pitch

! w.t.

B. Fl. 2

ææ & w)

∑ w æ æ

w æ æ

as strong as the technique allows

make a lil cresc. if u can hehe highest possible voice pitch

B. Fl. 3

ææ & w)

! w.t.

∑ w ææ

w ææ

as strong as the technique allows

make a lil cresc. if u can hehe highest possible voice pitch

B. Fl. 4

ææ & w)

! w.t.

∑ w ææ

w ææ

as strong as the technique allows

make a lil cresc. if u can hehe highest possible voice pitch

B. Fl. 5

ææ & w)

! w.t.

∑ w æ æ

w æ æ

as strong as the technique allows

make a lil cresc. if u can hehe highest possible voice pitch

! w.t.

A. Fl. 1

ææ & w)

∑ wæ æ

wæ æ

as strong as the technique allows

make a lil cresc. if u can hehe highest possible voice pitch

! w.t.

A. Fl. 2

ææ & w)

∑ wæ æ

wæ æ

as strong as the technique allows make a lil cresc. if u can hehe highest possible voice pitch

Fl.

ææ & w)

! w.t.

∑ w ææ

w ææ

as strong as the technique allows

make a lil cresc. if u can hehe highest possible voice pitch

æ Picc. ¢& æ w)

! w.t.

∑ w ææ

w ææ

as strong as the technique allows

make a lil cresc. if u can hehe Organ

°/

r.h.

take cue from B. Fl. 1 for the next bar

∑

w l.h. slowly pull STEM 2 in and out, repeatedly

_ /

∑

∑ slowly pull STEM 1 in and out, repeatedly take cue from B. Fl. 1 for the next bar

Organ F

_ /

∑

K slowly pull STEM 1 in and out, repeatedly Organ L

_ /

∑

∑ Organ take cue from B. Fl. 1 for the next bar

∑

w l.h. slowly pull STEM 3 in and out, repeatedly

_ ¢/

∑

7'' 24 B. Fl. 1

° &

q ≈ 40

q = 60

4 4 rit.

6 4

7''

15''

7''

8''

whistling into flute

∑

Œ w6b6 n6 b6 n6 b6 n6 b6

n˙ ™

B˙

∑ nw)

fff

vary between these fingerings (4-9'' on each)

B. Fl. 2

wo & ~~~

o w™

w.t.

vary between these fingerings (4-9'' on each)

B. Fl. 3

wo & ~~~

o w™

wo w.t.

vary between these fingerings (4-9'' on each)

B. Fl. 4

wo ~ & ~~

o w™

wo w.t.

vary between these fingerings (4-9'' on each)

B. Fl. 5

wo & ~~~

o w™

wo w.t.

vary between these fingerings (4-9'' on each)

A. Fl. 1

wo ~~ & ~

wo ™

wo w.t.

b~ ~

vary between these fingerings (4-9'' on each)

A. Fl. 2

wo ~~ & ~

wo ™

wo w.t.

b~ ~

vary between these fingerings (4-9'' on each)

Fl.

wo & ~~~

wo w.t.

∑ ~™

w w

ww w

vary between these fingerings (4-9'' on each)

wo ~ Picc. ¢& ~ ~

wo w.t.

∑ ~™

° & w

w™

F. STEM 3

/ _

STEM 4

_™

!™

! ∑

STEM 2

/ _

_™

!™

! ∑

K STEM 2

_™

STEM 3

!™

! ∑

& w

w™

w w

w ww

L. STEM 4

¢/ _

_™

!™

! ∑

q = 60

6 4

7'' 31 B. Fl. 1

° &

11''wo

11''

∑

wo b~

∑ ~

7''wo

wo b~

27''

7''

6''

∑

)~ ææ

w) p

pfff

wo ∑ B. Fl. 2

∑

wo b~

∑

wo b~

)~ ææ

w.t.

pfff

wo ∑ B. Fl. 3

∑

wo b~

∑

wo b~

)~ æ æ

w.t.

pfff

wo ∑ B. Fl. 4

∑

wo b~

∑

wo b~

)~ æ æ

w.t.

pfff

wo ∑ B. Fl. 5

∑

wo b~

∑

wo b~

)~ ææ

w.t.

pfff

b wo

wo w.t.

∑ A. Fl. 1

∑

b~ ~

b)~ ææ

b wo

pfff

b wo

w.t.

∑ A. Fl. 2

∑

& ~

b)~ ææ

~ ~

pfff

wo ∑ Fl.

∑

wo b~

∑

wo b~

)~ ææ

w.t.

pfff

wo ∑ Picc.

∑

wo b~

∑

¢&

wo b~

w.t.

)~ ææ

pfff

° ww & w

ww ™™

œ ‰ Œ

∑

F. STEM 4

/ _

_™

!™ ∑

∑

STEM 2 2

/ _

!™

K STEM 3 2

/ _

!™

‰ Œ & w ww

ww ™™

L. STEM 4

¢/ _

_™

!™ ∑

∑

4'' 2''

1''

3''

1''

2''

1''

5'' cue NEKO3 into next bar

39 growl B. Fl. 1

° &

ææ w

& ~

B. Fl. 2

ææ w

ææ w)

ppp

& ~

& b~

A. Fl. 1

& ~

A. Fl. 2

& #~

~ #~

¢& ~

~ ~

& ~

B. Fl. 3

B. Fl. 4

B. Fl. 5

Fl.

Picc.

4 4

q = 60

4 48 ° 4 ææ B. Fl. 1

B. Fl. 2

2 4

æ w)

ææ w)

4 4

∑

B. Fl. 3

B. Fl. 4

B. Fl. 5

∑

A. Fl. 1

∑

A. Fl. 2

∑

Fl.

& ~

~ ∑

∑

Picc.

¢&

triangle beater strike

Triangle take cue from Björg

° &

∑ /

¿ ‰ Œ >

F. 3

- 1 - ! /

- 1 !

∑

∑ small medium soft gong mallet strike

Opera Gong 1

_™ /

_™

¿ ‰ Œ >

1 -

∑

f K 1

_ /

∑

∑ small medium soft gong mallet strike

take cue from Björg Opera Gong

∑ /

& w

¿ ‰ Œ >

L. f 3

_ ¢/

_™

j - _

1™

∑

q = 60 =

≈7' (IMPROV.) 4 4

54 B. Fl. 1

° ¢&

3 4

∑

4 4

∑

improv.

°? S

∑ w

ffff improv.

mph.

˙™

? B

˙- ™

ffff

œ- ™

œ-

q = 60

1 8

12'' 58 w.t. B. Fl. 1

7''wo

7''

° & ~

∑

4''wo

5 4

13'' ∑

~ ~

o ~

w.t.

∑ & ~

∑ ~

B. Fl. 2

8''wo

o pf ~

wo w

w.t.

∑ B. Fl. 3

& #~

vary between these fingerings (4-9'' on each) w.t.

∑ B. Fl. 4

& ~

wo b~~~w b~~~

wo w

pp vary between these fingerings (4-9'' on each) w.t.

∑ B. Fl. 5

& #~

wo b~~~w b~~~ pp

w.t. A. Fl. 1

& b~

∑ ~

vary between these fingerings (4-9'' on each) w.t. A. Fl. 2

∑

& ~

wo b ~~~w b~~~

wo w

w.t.

∑ Fl.

& ~

~ ~

o p

vary between these fingerings (4-9'' on each) w.t.

∑ Picc.

¢& #~

wo b~~~w b~~

wo w

° F. /

∑

¢/

∑ q = 60

j ¿ > f j ¿ > f j ¿ >

∑

= 65 B. Fl. 1

5 4

4 4

° &

6 wo ™ 4

∑

wo ™

~™

4''wo

ææ ~

)~ ~™

7'')wo

6''wo

5''

O™

B. Fl. 3

B. Fl. 4

O™ ˙o ™ ˙™ ˙o ™ ˙™

O ˙o ˙ ˙o ˙

~ wo w wo w

B. Fl. 5

A. Fl. 1

& O™ ˙o ™ ˙™

A. Fl. 2

O ˙o ˙

O™

wo ~

wo ™

˙™

∑

wo ™ ~™

wo ™

~™

o w

∑ Picc.

~™

~ bisbigliando

~ o wo Fl.

∑ ~ o

4 4

4''

∑ n~

o B. Fl. 2

¢& o

o pp

q = 60 cue NEKO3

4 wo 73 ° 4 B. Fl. 1

3 ˙o ™ 4

wo ~

5 4

∑

~ ~

o mp

ppp

Organ take cue from Björg

°&

˙™

!™

˙o ™ ˙o ™ ˙o ˙o

4 wo 4

O™ O™ O O o ˙™ ˙ ˙™ ˙

take cue from Lorenzo

∑

O™ O™

¢&

4 wo 4

˙o ™

˙™

3 4

2 4 ∑

~ pp

˙™ ˙™

w w

F. 3

_™

∑

∑ Crotales arco

Organ F 1

w _ /

∑

- 1 - !™

∑

o pp K. Organ L 1

_™

_ /

∑

1 -

∑

Organ take cue from Björg

∑

cue Björg

˙™

_™

˙™

˙™ ˙™

˙ ˙

˙™ ˙™

w w

L 2

- _™

!™

_™

¢/

∑

∑ I m.s.p.

“~” B

°? ¢

∑

O™

∑ pp vary between these fingerings (4-9'' on each)

o ˙™ bO˙ OO ™ bOOO

take cue from L. take cue from Lorenzo

2 82 ° 4

4 wo 4

∑ B. Fl. 1

∑ ~

¢&

~ ~

o w w

˙ ˙

˙o ™ ∑

O™

° &

3 ˙o ™ 4

O™

~ o w w

w w

˙™ ˙™

2 ˙o 4˙

4 4

wo w

˙™ ˙™

˙ ˙

w w

_™

3 F. 3

_™

- _™

- - 1 1 -

/ arco

˙™ ∑

∑

o ppp

˙ ˙

w w

˙™ ˙™

w w

˙™ ˙™

˙ ˙

w w

!™

L cue Björg and Bára

2 3

cue B & B 1

!™ ¢/ 1 “” take cue from L. w °? ∑ ¢ o

_™

˙™

- - 1 -

O™

˙™

O™

˙ O

take cue from L.

∑

∑ o

= (add flutter) cue Bára

3 4

92 B. Fl. 1

° ¢&

8'')wo

3'' )wo

∑

æ æ~

∑ ~ ~

° &

˙™ ˙™

w w

5''

10''

9''

≈13'

take cue from L.

ppp

∑

~ mp

∑

F. 2

/ _™

˙™ ˙™

& w w

cue B&B

L 3

¢/ _

- 1 high harmonic like noise improv.

°? S

∑

∑ “~”

o w

∑ improv. shimmering bright

∑ > w

oo ~

improv. shimmering bright

take cue from L.

? ∑

∑

¢ o ppp

q = 60

≈1' 100

take cue from Bára put sth on key to hold it down

7''

° w &

2'' cue Bára

1 (pull it out rather quickly)

1 4œ

3'' 6''

take cue from B

O. G. small medium soft gong mallet

4 4w

3 4 ˙™

STEMS 4

strike

Œ / - ‰

∑

¿ ‰ >

∑

5 4

1™

-™

ff Temple Bowl

T. B. mallet strike stir

∑

>¿ ‰

∑

˙™

& o mf

K. O. G.

∑

¿ ‰ >

∑

ff Temple Bowl

T. B. mallet strike stir

∑

¿ ‰ >

w o

˙™

L O. G.

¢/

∑

¿ ‰ >

∑

°? ∑

∑

o highest reg cue Fei

cue Fei

take cue from Fei

? B

108

° &

5 4 ˙™

4 4w

6 4 w™

7 4w

˙™

STEMS 1

∑

3 4 ˙™

_ F.

4 4w

∑

_™

!™

∑ Rain Stick

O. G. STEMS 1

Œ ¿ ‰ Ó >

∑

˙™

w >

∑

Rain Stick

>¿ w ‰ & o f

w™ w

˙™

/ mf

w > f

K. Temple Bowl

¿ ‰ Œ Ó >

∑

>¿

˙™

‰

∑ /

∑

o &

˙™

¿ ‰ ˙ > o f

˙™

∑

L. Temple Bowl Rain Stick

Œ ¢&

>¿ ˙™ ‰ o f

w™ w mf

˙™

w > f

∑

4 4#ww

place sth on key to hold it down

115

° ˙™ &

5 4 ˙˙ ™™

8 4 ww

˙˙

5 4

4 4

ww ∑

/ _™

!™

∑

Triangle triangle beater strike 1

¿ ‰ Œ >

∑

¿ ‰ Œ

Rain Stick

STEMS 2

!™ /

∑

˙™ >

∑

w ∑ o

Tam-tam chain strike

Rain Stick

/ ¿ ‰ Œ

Œ w ∑

˙™ >

∑

w ∑ o

fff

Thunder Sheet thimbles drum

O. G.

ææ / ˙™

ææ w

ææ ˙™

ææ ˙

ææ w

ææ ˙™

ææ ˙

¿ ‰ Œ >

Ó ∑

Tam-tam chain strike

Rain Stick

Œ / ¿ ‰

Œ w ∑

˙™ >

∑

w ∑ o

fff

Thunder Sheet thimbles drum

T.-t.

O. G.

ææ ¢ / ˙™

ææ w

ææ ˙™

ææ ˙

ææ w

ææ ˙™

ææ ˙

¿ ‰ Œ >

Ó ∑

place sth on key to hold it down

12'' 4 4

5'' 122

° &

∑

3 ˙™ 4

q = 60 ∑

6 w™ 4

4w 4

!™

5 ˙™ 4

STEMS 2

¿ ‰ Œ F.

∑

_™

Crotales crot. mallet strike

¿ ‰ Œ /

∑

_™

!™

_ H

∑

STEMS 3

_™

∑

& mp

Tam-tam 2 x chains go berserk Crotales arco

ææ Y /

∑

w™ o

∑

fff

∑

K. T. B.

¿ ‰ Œ /

∑

¿ ‰ ˙ o p

∑

˙™

Tam-tam 2 x chains go berserk Crotales arco

ææ Y /

∑

w™ o

∑

fff

∑

L. T. B.

¿ ‰ Œ ¢/

∑

¿ ‰ ˙ o p

Ó ∑

˙™

4 4

129

4w 4

3 ˙™ 4

7w 4

° &

4 4

˙™

5 4

∑

4 4

∑

3 4

∑

2 4

∑

high reg. shake

high reg. shake O. G.

ææ w

Wind Chimes

_™

!™

∑

ææ w

ææ ˙

W. C.

∑

¿ ‰ Œ Ó >

∑ p

∑

1™

-™

∑

Waterphone

∑

low reg. arco (one tone)

two tones

? ?>

∑

˙™ ?

∑

& o w

˙™

Œ Œ ¿ ‰

w o

& mp

˙™ ∑

∑

p low reg. shake O. G.

ææ w

Wind Chimes

w o w

& L.

˙™ o

∑

¿ ‰ Œ Ó >

∑

˙™

ææ w

Œ Œ ¿ ‰

w o

¢& mp

˙™

˙™ Ó

¿ ‰ ˙™ o mf

˙™

= O. G.

ææ ˙ /

139

4 4

5 4¿

O. G.

3 4¿‰Œ

4 4¿

Triangle

‰Ó

Crotales

‰Œ Ó

∑

5 4¿‰Œ

∑

4 4

3 4

Œ Ó

4 4

∑

F. Triangle

¿‰Œ Ó /

∑

(one tone)

∑

bell mallet strike

¿‰ ?>

arco

? ∑

‰

U >

U o

o f

U U o mf

mp T. B.

∑

Œ ¿ ‰ ¿‰¿Ó > > >

∑

¿ ‰Œ Ó >

∑

¿ ‰ ˙™

∑

o mp

¿‰w mp o

˙™ mf

T. B.

œ ‰Ó

∑

¢& ˙

Crotales arco

∑

˙™ mf

4 149 ° 4¿

3 4 ‰ Œ

T. S. thimbles drum

4 4

3 4 ˙ææ™

& >

∑

5 4 ˙ææ™

˙™ >

ææ ˙

4 4 wææ

ææ w

3 4 ˙ææ™

˙™

ææ w

ææ ˙™

™ >œ

F. Rain Stick

¿ ‰ Œ >

¿ ‰ Œ

Œ w

˙™

improv. (not too wild, keep deep calm)

? K.

?™

o T.S. thimbles drum

>¿ ‰ ˙™ & o f

>¿ ‰ ˙ o mf

ææ w

ææ ˙™

ææ ˙

/ mp

L. Rainstick

>¿ ‰ ˙™ ¢& o f

>¿ ‰ ˙ o mf

˙™

∑ mf

™ >œ

œ mp

≈20'' bar lasts until rainsticks have faded out

2 4

157 B. Fl. 1

° ¢&

5 4

∑

ææ ˙™

°/

3 4

4 4

∑

ææ ˙

ææ ˙™

improv. imitate Kalle

∑ ææ ˙

∑

ææ ˙™

∑

ææ w

ææ w ∑

/ ˙™

>˙

˙™

ææ / ˙™

ææ ˙

ææ ˙™

¢& ˙ ™

>˙

˙™

˙™ >

w o

? K.

ææ ˙

ææ ˙™

ææ w

ææ w ∑

˙™

˙™ >

˙ >

w o

f improv. immitate Kalle

°? ¢

∑

10''

13''

3''

≈1'40''

18''

164 B. Fl. 1

° ¢&

∑ big gong mallet create the most extreme and intense cresc. possible (in the rhythm/pattern that makes the most sense to you)

T. - t.

° F. /

∑

w o

∑

w ffff (as loud as possible)

slow bow one note

move to t.-t. but let w.ph. live

big gong mallet create the most extreme and intense cresc. possible (in the rhythm/pattern that makes the most sense to you)

T. - t.

? w

U o

ffff (as loud as possible)

T. - t. L.

¢/

∑

big gong mallet create the most extreme and intense cresc. possible (in the rhythm/pattern that makes the most sense to you)

w o

w ffff (as loud as possible)

after a while., tip-toe into NEKO's noise with a suiting noise (grain delay-ish)

°? ∑

∑

o ffff (as loud as possible)

? ∑ B

∑

4 q = 60 4- 1 -

30'' 15''

move to and from mouthpiece while fluttering) cue flutes

169 air flutter B. Fl. 1

° &

w ææ

∑

ææ

1 ææ

ææ

1 ææ

ææ

1 ææ

w ææ

ææ

w ææ

1 ææ

ææ

1 ææ

mf take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ B. Fl. 2

∑

æ æ

∑

1 æ æ

æ æ

1 æ æ

w æ æ

ææ

w æ æ

1 ææ

ææ

1 ææ

ææ

æ æ

1 ææ

ææ

1 ææ

æ æ

ææ -

ææ 1

1 ææ

ææ

mf 3

take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ B. Fl. 3

∑

ææ

∑

1 ææ

ææ

1 ææ

w ææ

æ æ

w ææ

1 æ æ

æ æ

1 æ æ

mf 5

take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ B. Fl. 4

∑

ææ

∑

1 ææ

ææ

1 ææ

w ææ

_™ ææ

w ææ

1 ææ

mf take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ B. Fl. 5

∑

æ æ

∑

1 æ æ

æ æ

1 æ æ

w æ æ

-™ æ æ

w æ æ

1 ææ

ææ

1 ææ

ææ

æ æ

mf 3

take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ A. Fl. 1

∑

ææ -

∑

ææ 1

ææ -

ææ 1

ææ w

ææ 1

ææ w

ææ -

ææ 1

ææ -

ææ 1

1 ææ

ææ

ææ -

mf air flutter (move to and from mouthpiece while fluttering) take cue from Björg

∑ A. Fl. 2

∑

ææ

∑

1 ææ

ææ

1 ææ

w ææ

ææ

w ææ

1 ææ

ææ

1 ææ

ææ

1 ææ

ææ

1 ææ

ææ

mf 3 6

take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ Fl.

∑

ææ

∑

1 ææ

ææ

1 ææ

w ææ

_ ææ

w ææ

ææ

1 ææ

ææ

1 ææ

ææ

1 ææ

ææ

mf 3 6

take cue from Björg air flutter (move to and from mouthpiece while fluttering)

∑ Picc.

∑

ææ

∑

¢&

1 ææ

ææ

1 ææ

w ææ

mf (natural fade out)

° F. /

∑

o (natural fade out) K.

/ o (natural fade out)

¢/

∑ o

°? ¢ o

7'' 176 B. Fl. 1

B. Fl. 2

B. Fl. 3

° 1 &æ æ æ æ & æ! ™ æ & æ- æ1 æ- æ1 æ- æ1 - ™ æ æ æ æ æ æ ææ

ææ

1 ææ

1 ææ ææ ææ

ææ

ææ _ ææ !™ æ æ

1 ææ

ææ

1 ææ

ææ _ ææ _ æ æ

æ æ

1 ææ

ææ ! ææ ææ

1 ææ

∑ _

ææ

1 æ æ

ææ 1 _

5 6

B. Fl. 4

& æ! æ

1 æ æ

æ æ

-1-1æææææ æææææ

æ æ

1 æ æ

æ æ

1 æ æ

! ææ

1-11 ææææ ææææ

æ æ

1 æ æ

æ æ

ææ

æ æ

1 æ æ

5 5

B. Fl. 5

1 æ æ

& æ- æ1 æ- æ! ™ æ æ æ æ

_ ææ

ææ

1 ææ

ææ

1™ ææ

ææ

1 ææ

-1 -ææ ææ ææ ææ

1™ ææ

3 3 3 6 3

A. Fl. 1

A. Fl. 2

æ & æ1 1 & ææ

ææ 1 æ æ

1 æ æ

æ æ

ææ 1 æ æ

ææ 1

ææ -

1™ æ æ

ææ 1

ææ -

ææ 1

ææ -

-™ æ æ

ææ -

ææ 1

ææ 1 1 æ æ

ææ 1 æ æ

æ æ

ææ -

_ æ æ

ææ 1

ææ -

ææ ææ ææ ææ ææ ææ -1 -1 -1

ææ ææ ææ ææ ææ ææ ææ ææ -1 -1 -1 -1

1 æ æ

! æ æ

ææ -

ææ 1

ææ -™

1-1 -1 --1 -1 1 _ æææææææææææ æææææææææææ

3 5

Fl.

& ææ

ææ

1 ææ

ææ

_ Picc. ¢&

1 ææ

1 q = 60 9'' 4

9'' 4''

4''

180 air

air flutter

° & w o

8''

3''

7''

4''

3''

#w)

zzz....

ææ w

∑ #6œ6 6 6

#w)

#)w

)

#w)

ppp

B. Fl. 1

q ≈ 60 INDEPENDENT FROM B. FL. 1! CUED BY B. FL. 2 On a sounding C

æ 1 æ_ æ æ

the other 8

/ í ™™_

the other 8

_ ææ

! ææ

_™ ææ

_ ææ

!™ ææ

-™ ææ

! ææ

_ ææ

! ææ

!™ ææ

æ æ

7''wo

wo ~

4''wo

1 -1 ææææ ææææ

!™ ææ

imitate Björg's dynamics

= Bjöggi syngja gís líka hehehe takktakk

7'' 5''

3''

4''

4''wo

3''

190 B. Fl. 1

° & #w)

#w)

~ o

the other 8

¢ / æ1 æ- ææ æ æ

2''wo

wo ~

~ o o

6'' wo

wo ~

#)~

~ o

wo ~

- ™î ææ ™

= now growl (Master disapproves :/ )

5'' add flutter :O !!!!

wo ° & #)~

7'' wo

wo ~

200

this is in a bracket bc actually, you should scream as loud as possible while also trying to play this thank u

#)~

14''wo

8'' wo ~

wo ~

Bjöggi hvíla

∑

8''

5''

7''

#w)

cue flutes into the next bar

∑

mf pffff

the other 8

_ ææ

¢&

q = 60 = 1 2 3 4 2 3 5#

3'' 5''

3 4Œ

2''

207

5''

1''

∑ & w)

1 2 3 4 2 3 5§

4'' w

5'' w

#w w

4''w w w

∑ # )˙ ™™

#) ™ #˙

# )w

# )w mp

p f

= 1 2 3 4 2 3 5§

7''w

5'' 217

#w w w

8''# ww

3''n# www

4''w ## w

3''# www

3''

∑ B. Fl. 1

≈9'' wait until reverb has almost faded out

∑

& mp

same (you are not quite done my friend :))) ) gradually ------------> also scream <3

= add voice :)

4''# ww w

226

ww w w

3''# www

ww w w

6''# www

as if it couldn't get worse, I guess you lose control of your voice now :)))))

again with voice and growl :D

+ growl :))))

4''# www

5'' ww w w

7''# www

3'' ww w w

∑ B. Fl. 1

7''# www

4''# ww

ww w w

11''# ww

ww w w

∑

& sfzf

ffff

ffffff

6 4Œ

2''

9''

6''# wo

6''

5''wo

13'' létt og leikandi tíhíhí

mmmm

mmmmm

4''

zzzzz

6 #)

6 666 66 Ó

#6 6 6 6 ™ 6 6 6 )

∑

∑ #~

#~ # ~

#~ o pp

17'' ° &

∑

∑ w™

w™

∑

B. Fl. 1 mp

EACH IN THEIR OWN RHYTHM krrr krrr krrr krrr

krrr krrr krrr as rapidly as possible

œ œ œ œ

ALL TOGETHER IN BJÖRG'S TEMPO krrrrrrr

the other 8

¢/ o mp

ppp

∑

add a lil airy growl cue flutes

4''o 245 # w B. Fl. 1

° & #~

7'' wo

2''# wo

3''

3''wo

1''wo

3''wo

5''# wo

1''wo

∑ #~ #~

#~ #~

o ppp

take cue from Björg vary between these fingerings (4-9'' on each)

∑ B. Fl. 2

wo b~~~w b~~~

wo w

1 2 3 4 5

w w

w w mp

take cue from Björg vary between these fingerings (4-9'' on each)

∑ B. Fl. 3

wo b~~~w b~~~

wo w

1 2 3 4

wo w

w w

take cue from Björg vary between these fingerings (4-9'' on each)

1 2 3 4 5

∑ B. Fl. 4

wo b~~~w b~~~

wo w

w w

take cue from Björg vary between these fingerings (4-9'' on each)

∑ B. Fl. 5

wo b~~~w b~~~

wo w

1 2 3 4 5

wo w

w w

take cue from Björg vary between these fingerings (4-9'' on each)

∑ A. Fl. 1

wo b ~~~w b~~~

wo w

1 2 3 4 2 3 4 5§

w w w

take cue from Björg vary between these fingerings (4-9'' on each)

∑ A. Fl. 2

wo b ~~~w b~~~

wo w

1 2 3 4 2 3 4 5§

bw w

mp as strong as the techn. allows

take cue from Björg vary between these fingerings (4-9'' on each)

∑ Fl.

wo b~~~w b~~~

wo w

wo w ∑ as strong as the techn. allows

take cue from Björg vary between these fingerings (4-9'' on each)

∑ Picc.

¢&

wo b~~~w b~~

wo w

wo w ∑

as strong as the techn. allows

q = 60 255

3'' 1'' <#> wo B. Fl. 1

7''wo

° & #~

w & w

w w mf

w w B. Fl. 3

3 4 ˙™ Œ

w w

w w w

bw w

w w

bw w

w w

˙™ ˙™

w w

˙™ ˙™

w w

˙˙™™

w w

˙˙ ™™

w w w

˙˙ ™™ ˙™

bw w

˙˙ ™™

bw w w

˙˙ ™™ ˙™

#w #w

˙™ ˙™

as weak as possible

w w

& mf

w w

as weak as possible

w w

& mf

w w B. Fl. 5

w bw

∑

w w

w w B. Fl. 4

w w

(same fingernig)

4 4 ˙™

5''

#~ mf

B. Fl. 2

4'' 1 2 3 4 5 2 3 4 5

nw bw

#~ #~

4''

w w

as weak as possible

w w

& p as weak as possible mf

w w w A. Fl. 1

w w w

& p as weak as possible mf

<b> w w A. Fl. 2

w w

& mf

as weak as possible

1 2 3 4 2 3 4 5

Fl.

bw w & w

w w w

bw w w

w w w

p 2 3 4 5 5

as weak as possible 1 2 3 4 4 5

w w w

∑ Picc.

w w w

#w #w

¢& f

w w

#w #w

w w

as weak as possible

= 263

B. Fl. 1

1 2 3 4 5 2 3 4 5§

(same fingernig)

b˙ ° ˙ & mp

2b ˙ 4

3 ˙™ 4

4w 4w

4''b w w

bw bw w

4'' bw w

bw bw w

5''b w bb w w

12''

give Fei a sign when she is free to cue us all

∑

bw p

f w.t.

B. Fl. 2

˙™ & ˙™

˙ ˙

˙™ ˙™

˙ ˙

˙™ ˙™

w w

B. Fl. 3

w w

˙˙

˙˙™™

w w

as strong as the techn. allows w.t.

& mp

˙˙ ™™

˙˙

˙˙ ™™

w w

as strong as the techn. allows w.t.

& mp

˙˙ ™™ ˙™ A. Fl. 1

~ ˙˙™™

B. Fl. 5

w w

& mp

B. Fl. 4

w w

˙˙ ˙

˙˙ ™™ ˙™

w w w

as strong as the techn. allows w.t.

& ~ mp

b ˙˙ ™™ A. Fl. 2

˙˙

˙˙ ™™

bw w

w w

bw w

w w

as strong as the techn. allows w.t.

& ~ mp

mf as strong as the techn. allows w.t.

Fl.

b ˙˙ ™™ & ˙™

˙˙ ˙

˙˙ ™™ ˙™

bw w w

w w w

bw w w

Picc.

#˙ ™ & ¢ #˙ ™

˙ ˙

˙™ ˙™

#w #w

w w w mf

w w

#w #w

w w mf

~ as strong as the techn. allows w.t.

~ as strong as the techn. allows

4 4

q = 60 271 sing/play/whistle/harmonic or a few at ones if you are in the mood

B. Fl. 1

° &

4 4w

3 4 ˙™

2 4˙

3 4 ˙™

5 4

7 4w

growl

ææ ˙™

ææ ˙

in a dynamic you feel that works mf sing/play/whistle/harmonic or a few at ones if you are in the mood

ææ pp

˙™ ææ

w æ æ

˙™ æ æ

growl

˙™

ææ ˙™

˙™

B. Fl. 2

6 4

ææ ˙

in a dynamic you feel that works sing/play/whistle/harmonic or a few at ones if you are in the mood

˙™ ææ

w ææ pp

w æ æ

˙™ æ æ

growl

˙™

ææ ˙™

˙™

B. Fl. 3

ææ ˙

in a dynamic you feel that works sing/play/whistle/harmonic or a few at ones if you are in the mood

growl

˙™

ææ ˙™

˙™

B. Fl. 4

ææ ˙

in a dynamic you feel that works sing/play/whistle/harmonic or a few at ones if you are in the mood

˙™ ææ

w ææ pp ææ w

ææ ˙™

growl

˙™

ææ ˙™

˙™

B. Fl. 5

ææ ˙

in a dynamic you feel that works sing/play/whistle/harmonic or a few at ones if you are in the mood

A. Fl. 1

growl

˙™

ææ ˙™

˙™

ææ ˙

in a dynamic you feel that works mf sing/play/whistle/harmonic or a few at ones if you are in the mood

A. Fl. 2

growl

˙™

ææ ˙™

˙™

ææ ˙

ææ w

ææ ˙™

in a dynamic you feel that works sing/play/whistle/harmonic or a few at ones if you are in the mood

˙™

˙™ ææ

w ææ pp

˙™ ææ

w ææ pp

growl

ææ ˙™

˙™

Fl.

ææ ˙

in a dynamic you feel that works sing/play/whistle/harmonic or a few at ones if you are in the mood

w Picc.

growl

˙™

˙™ ææ

¢&

˙ ææ

in a dynamic you feel that works Triangle Small Handbell shake

cue everyone (when Björg gives you a sign)

° ¿ ‰ Œ

‰ Œ

æ æ ‰ œæ œæ

Tam-tam triangle beater lightly strike

Small Handbell

ææ w

‰ ¿ ¿¿¿¿¿¿‰ ¿

ææ ˙™

∑ mp

Tam-tam thimbles drum O. G.

¿ ‰ Œ

¿ Œ

‰

¿ ‰ Œ

ææ ¿ ‰ ˙

ææ ˙™

ææ ˙

∑ mf

K. shake Sleigh Bells

∑

Ó™

∑

ææ œ

ææ w

ææ ˙™

ææ w

ææ ˙™

p mid reg. shake O. G. Wind Chimes

¿ ‰ Œ

¿ Œ

‰

¿ ‰ Œ

Ó™

ææ œ

/ mf

f small medium soft gong mallet, strike

L. Tam-tam

≈¿ ‰ Œ ¢&

∑

p thimbles drum

ææ ˙

ææ ˙™

ææ ˙

∑

improv.

grain

°? S sp

#imrov. ˙ ™ with c#˙

improv.

? ∑ B

¢ sp

277

6 4 w™

7 4

airy flutter

B. Fl. 1

° &

airy flutter with no pitch

4 4

3 4

4 4

5 4

1 4

6 4

3 4

∑

ææ airy flutter

B. Fl. 2

airy flutter with no pitch

w™ æ æ airy flutter

B. Fl. 3

airy flutter with no pitch

w™ ææ airy flutter

B. Fl. 4

airy flutter with no pitch

w™ æ æ airy flutter

B. Fl. 5

airy flutter with no pitch

w™ ææ airy flutter

A. Fl. 1

airy flutter with no pitch

ææ w™

airy flutter

A. Fl. 2

airy flutter with no pitch

ææ w™

airy flutter

Fl.

airy flutter with no pitch

w™ ææ airy flutter

Picc.

¢&

airy flutter with no pitch

w™ æ æ thimbles drum Tam-tam

Triangle

°/

¿ ‰ Œ Ó mp

ææ w

Triangle

ææ ˙™

≈¿ ‰ Œ Ó >

Tam-tam thimbles drum

Tam-tam s.b.m. drag

O. G.

ææ ˙™

‰

∑

˙™ >

thimbles drum

ææ ˙™

∑ pp

Tam-tam s.b.m. drag

thimbles drum

˙™ >

¿ ‰

∑

¿ Œ Ó >

Triangle

ææ ˙

ææ ˙™

Crotales arco

ææ ˙

w™

∑

∑& o

Tam-tam thimbles drum

ææ w

¢/

Tam-tam s.b.m. drag

O. G.

ææ ˙™

‰ Œ Ó

∑ p

˙™ > f

thimbles drum

ææ ˙™ ∑

T. B.

ææ ˙

¿ ‰ &

w™ &

improv: white noise

free improv.

improv: white noise

free improv.

°? S

? B

285

3 4 B. Fl. 1

2 4 ˙æ)

growl + voice

° &

∑

4 4

3 4

6 4

with buzzing voice zzzzzz

˙) ™

4 4b )

w) ™

2 4

4 4 ˙)

growl + voice with buzzing voice zzzzzz

ææ ˙)

∑

˙) ™

B. Fl. 2

bw)

w) ™

˙)

growl + voice

∑ &

B. Fl. 3

with buzzing voice zzzzzz

ææ ˙)

˙) ™

bw)

w) ™

˙)

growl + voice

∑ &

B. Fl. 4

with buzzing voice zzzzzz

ææ ˙)

˙) ™

)˙

bw)

w) ™ p

mf growl + voice

∑ &

B. Fl. 5

∑ &

A. Fl. 1

∑ &

A. Fl. 2

with buzzing voice zzzzzz

ææ ˙)

˙) ™

growl + voice

with buzzing voice zzzzzz

bw)

w) ™

˙)

ææ ˙)

growl + voice

with buzzing voice zzzzzz

∑

ææ ˙)

˙) ™

w) ™

∑ ˙) ™

w) ™

w) p

growl + voice

∑ &

Fl.

with buzzing voice zzzzzz

ææ ˙)

˙) ™

w) ™

∑ w)

growl + voice

∑ Picc.

with buzzing voice zzzzzz

ææ ˙)

¢&

Tam-tam

°/

¿ mf

w) ™

Tam-tam s.b.m. drag

thimbles

ædrum ‰ ˙æ

˙) ™

R. S.

R. S. Triangle

>˙

™ >˙

¿ ‰ Œ >

fff

F crot. mallet arco strike

Crotales

∑

Tam-tam s.b.m. drag

R. S. O. G.

¿ > f

‰ ˙ mp

¢&

≈ ¿ ‰ ˙ > o mf

∑

¿ ‰ œ o mf

∑

R. S.

™ >˙

¿ ‰ Œ >

fff

mp fff

∑

O. G.

˙ >

R. S.

>˙

Tam-tam s.b.m. drag

T. B.

∑

R. S.

R. S. T. B.

w mp

™ >˙

¿ ‰ œ o mf

/ mf

°? ∑ S

free improv.

? ∑ B

fff

O™

292

4 4 B. Fl. 1

3 4

° &

4 4 w)

∑

2 4

3 ˙o ™ 4

∑

4 4

˙o ™ O™

∑

2 ˙o 4

˙o O O o

∑

O™ o p

∑ &

B. Fl. 2

#)˙ ™™

4 wo 4

wo ~

˙) ™™

b˙)

bw)

b˙)

bw) mp

+ growl

)˙ ™™

& # )w

B. Fl. 3

˙) ™™

˙)

# )w

ææ ˙)

ææ w)

mp + growl

B. Fl. 4

)˙™™

b)˙ ™™

b˙)

)˙

b)w ææ

b)w mp

+ growl

˙) ™™

& bw)

B. Fl. 5

bw)

b˙) ™™

˙)

zzz

ææ b˙)

pp + growl

∑

A. Fl. 1

zzz

)˙ ™™ ææ

)˙

)˙ p

+ growl

∑

)˙ ™™

# )˙

∑

# )w ææ

A. Fl. 2

)˙ ææ

# )w

# )w mp

+ growl

∑

Fl.

∑ Picc.

b)˙

∑

∑ ˙)

¢&

b)˙ ™™ ææ

b)w ææ

b)˙

˙) ™

˙)

b)w

b)w mp

w) mp

R. S. O. G.

°/

˙™

>˙

˙™

¿ ‰ Œ >

Ó ∑

w >

∑

F. Triangle

¿ ‰ Œ /

∑

mf Crotales crot. mallet strike

˙™

>˙

˙™

b¿ ‰ Œ &

R. S.

b˙ o

bw / mp

w > f

T. B.

Œ /

∑

‰ ¿

Œ ˙ o

∑ w mp

L. R. S. T. B.

w ¢/ p

˙™

>˙

˙™

white noise

°? S white noise

? B

¿ ‰ ˙™ o mp

w w > mp

5 4

301 w.t. B. Fl. 1

° & ~

2 4 ˙) ™

˙)

4 4 ˙)

ææ w)

w.t.

b )w

b )˙ ™™

b )w

)˙

b )˙

2 4 ææ ˙) ™

ææ ˙) ff

& ~

˙) ™™

˙)

b )˙ ™™ ææ

b )w ææ

b )˙ ææ

f + growl

w.t. B. Fl. 3

3 4

+ growl

& b~

B. Fl. 2

+ growl

˙)

˙) ™™ æ æ

w) æ æ

˙) æ æ

ff + growl

w.t.

& b~

B. Fl. 4

b )w

b )˙ ™™

b )w

)˙

b )˙

ææ b )w

ææ b )˙ ™™

ææ b )˙ ff

+ growl

& ~

B. Fl. 5

˙) ™™

˙)

ææ w)

ææ ˙) ™™

ææ ˙) ff

+ growl

& ~

A. Fl. 1

˙) ™

˙)

ææ w)

ææ ˙) ™

ææ ˙) ff

+ growl

& #~

A. Fl. 2

# )w

# )˙ ™™

# )w

)˙

ææ # )w

# )˙ mf

ææ # )˙ ™™

ææ # )˙ ff

+ growl

& b~

Fl.

bw)

b˙) ™

bw)

˙)

b˙)

ææ bw)

ææ b˙) ™

ææ b˙) ff

+ growl Picc.

¢& ~

)˙™™

)˙

ææ )w

)˙ mf

ææ )˙™™

T. - t. s.b.m. drag

°/ w

˙™

ææ )˙

wooden hammer strike

¿ ‰ Œ

˙™

o mp

fff

∑

¿ ‰ Œ >

∑

Ó ∑

∑

f T. - t. s.b.m. drag

/ w

˙™

wooden hammer strike

¿ ‰ Œ

˙™

o mp

fff

K. O. G.

∑

¿ ‰ Œ >

∑

Ó ∑

∑

f T. - t. s.b.m. drag

∑

¿ ‰ ˙™ o mp

˙™

˙ mf

wooden hammer strike

¿ ‰ Œ

˙™

w / ff

fff

L. T. B. O. G.

¢& w

w >

¿ ‰ Œ >

o mp

Ó &

¿ ‰ w o mp

°? S

? B

˙ ∑ mp

∑

q = 60

4 4

7'' 310 B. Fl. 1

3 4

4 4

4''

2''

4''

5''

w.t.

° & w)

˙) ™

p w.t.

& bw)

B. Fl. 2

bw)

˙) ™™

∑

∑ ~

p w.t.

B. Fl. 3

˙) ™™

∑

∑ #~

p w.t.

B. Fl. 4

b)w

)˙™™

∑

∑ ~

B. Fl. 5

∑

)˙ ™™

∑

)˙™™

∑

˙) ™

∑

)˙ ™™

A. Fl. 1

w &#)

A. Fl. 2

# )w

& b)w

Fl.

b)w

Picc.

∑

)˙ ™™

¢&

thimbles drum

ææ w

°/

ææ w

ææ ˙™

ææ w

∑ p

F. Triangle

¿ ‰ Œ /

∑

¿ ‰ Œ

∑

thimbles drum

ææ w /

ææ w

ææ ˙™

ææ w

∑ p Crotales arco

∑

˙ o

Ó p

thimbles drum

ææ w /

ææ w

ææ ˙™

∑

∑ p

∑

¢&

¿ ‰ ˙™ o p

improv. based on D

°? S

free improv.

˙™

improv. based on D

free improv.

? w

˙™

2'' 4'' 3''

4''

6''

12'' cue NEKO for next bar

320 B. Fl. 1

+ whistling into flute/ improv.

° & ~

& ~

& #~

& ~

B. Fl. 2

B. Fl. 3

B. Fl. 4

w.t.

& ~

B. Fl. 5

w.t.

∑ &

A. Fl. 1

w.t.

∑

A. Fl. 2

w.t. Fl.

Picc.

¢&

∑

T. S. thimbles drum

ææ w

take cue from Björg

° F /

∑

∑ pp T. S. thimbles drum

ææ w

take cue from Björg

∑

∑ pp T. S. thimbles drum take cue from Björg

∑ L.

∑

ææ w

∑ /

¢&

°? S

? B

23'' rapidly vary between w.t. in all possible reg. whilst HUMMING! híhíhí

326 B. Fl. 1

12''

ok enough of the humming takktakk bjöggi minn

37'' cue off flutes at the end of this bar

7''wo

4''

27''

° &

Björg cues you off at the end of this bar

vary between these w.t. (1 - 4'' on each)

& O

B. Fl. 2

& #O

& O

& bO

∑

Björg cues you off at the end of this bar

bO O

Björg cues you off at the end of this bar

vary between these w.t. (1 - 4'' on each)

∑

vary between these w.t. (1 - 4'' on each) A. Fl. 1

∑

Björg cues you off at the end of this bar

vary between these w.t. (1 - 4'' on each) B. Fl. 5

∑

vary between these w.t. (1 - 4'' on each) B. Fl. 4

∑

Björg cues you off at the end of this bar

vary between these w.t. (1 - 4'' on each) B. Fl. 3

∑ #O

bO O

A. Fl. 2

vary between these w.t. (1 - 4'' on each)

& O

Fl.

Björg cues you off at the end of this bar

vary between these w.t. (1 - 4'' on each) Picc.

¢& #O

Perc.

°/

ææ w

Perc.

ææ w /

ææ w

Perc.

ææ ¢/ w

highest reg. bjart og skært

°? S

highest reg. bjart og skært

? B