Saunders - Skin

Contemporary

SAUNDERS Skin for soprano and 13 instruments (2016)

Score

EP 14188

REBECCA SAUNDERS

Skin for soprano and 13 instruments (2015/16)

for Juliet Fraser and Klangforum Wien with my thanks to Juliet Fraser for the wonderful exploratory sound sessions

Commissioned by South German Radio, Casa da Música Porto and the Huddersfield Contemporary Music Festival For first performance at the Donaueschingen New Music Days on October 15th 2016

EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED

HENRY LITOLFF’S VERLAG / C.F. PETERS Ein Unternehmen der Edition Peters Group LEIPZIG · LONDON · NEW YORK

skin /Skin/ n. a taut flexible continuous outer covering or layering of the body or thing; a film like a skin on the surface of a liquid or solid; the skin of a flayed animal with or without the hair. n. the delicate membrane separating the body and its environment – implies the phenomenom of touch, one of the five external senses, and through which the subsidary sensory modalities of temperature, pain and vibration are partly perceived. Touch, somatosensory, tactition or mechanoreception: a neural perception generally in the skin, but also in the tongue, throat, and mucosa. Receptors respond to variations in speed and pressure (firm, brushing, sustained, etc.). adj. somatic, tactile. skin /Skin/ v. to skin, to peel back the surface of; to shed an animal of its skin. Under one’s skin: so deeply penetrative as to irritate, stimulate, provoke thought, or otherwise excite. Under the skin: beneath apparent or surface differences: at heart.

Skin as a metaphor for transience – the continuous process of shedding dead skin and the growing of new. Struck by a recording of an early production of Samuel Beckett’s television play The Ghost Trio (written 1975 and first broadcast in 1977), this text, spoken by the narrator in Act 1, was the absolute catalyst for this piece: ...this is the rooms essence not being now look closer mere dust dust is the skin of a room history is a skin the older it gets the more impressions are left on its surface look again....

The main text in Skin is my own which gradually materialised during the long compositional process, and was partly inspired by the collaborative sessions with Juliet Fraser. A section from James Joyce’s Ulysses, from the final passage of Molly Bloom’s Monolgue, is quoted towards the end of Skin. Rebecca Saunders, Berlin 1st June 2016

Instrumentation Soprano Bass flute Bass clarinet in Bb (Boehm system) Trumpet in C Tenorbass trombone 2 Percussionists Grand piano (with 3rd pedal) Button accordion Electric guitar Violin (with scordatura) Viola (with scordatura) Violoncello (with scordatura) Double bass (5-string, with scordatura) The soprano requires minimal decent amplification, with a small dpa headset microphone, primarily for the text images sections: bars 52–63, bars 83–85, bars 112–119, bars 144 and 145, bars 254–269 and bar 380 until the end. In addition, add some minimal reverb if the space is large or the acoustic is dry.

Duration: ca. 25 minutes

Explanatory notes for Soprano The soprano, although clearly soloistic, is embedded in the ensemble sharing a common timbral palette. She has two principle duos: 1. With the bass flute, a shared timbral expressive palette exploring the text; 2. With the trumpet, in the first part of the piece only, exploring in particular the hard front roll with +/o effect. The final part, from bar 272 to the end: Song. Dreamlike. Fuse with accordion and trumpet. Gentle and spacious. Add poco vibrato now and again. Freely. Text images A–F There are six text images for the soprano, and each is written in full in the score. Minimal instructions for each text are shown in the score. Here are the extended precise explanations for these texts: Text A i)–iv) (bars 56–60)

Head still, eyes alert. Additional text in brackets should time allow.

spoken

low in jaw (Ai, iii, iv)

o

Mouth slightly open, jaw still.

+

Mouth closed, see jaw moving, as if comprehensible!

Hold breath

Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible.

whisper

Low, projected, extreme articulation. Front of mouth consonants.

Ai) No more...  Aii) Shielded...  Aiii) One...  Aiv) Quite... Fabulous.

Text B (bar 84)

Fast and focused.

Hold breath

Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible.

whisper

Low in jaw, very fast, extreme articulation. Front of mouth consonants.

B) So, so...

Text C i), ii) Intense. (bars 112–116) Sprechgesang

Low spoken, quasi-amplified dark timbre. Speak at forte, sounding piano. Like weird morse-code.

++

Hand tightly over mouth.

o/++ sff

Explosive moments! Remove hand fully from mouth.

Ci) More said...  Cii) Charging...

Text D (bar 144)

Mouth slightly open and still. Low spoken at back of throat. Exaggerate consonants.

Hold breath

Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible.

D) Fabulous... Conclude unnamed...

Text E i–iv) (bars 254–264)

Silent. Head and body still. Front of mouth extreme articulation and expressive: hear teeth, lips, spit and tongue, bring out: v, f, s, sh, qu, ch, b, k, t, etc. End of Molly Bloom’s monologue from James Joyce’s Ulysses. Monologue interrupted suddenly, then continues at next entry. Additional text in brackets should time allow. Maximum 41 sec.

Hold breath

Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible. Following Out-breath – nearly empty, finish Out while “speaking”. Following In-breath – nearly full, finish In while “speaking”.

In and Out

Controlled and focused “white noise” with given vowel/consonants.

E i–iv) (turbans like kings asking you to sit down in their little bit of a shop and Ronda with the old windows of the posadas) two glancing eyes... Yes.

Text F (bar 380)

Head and body still. Fast! Very focused. Half-whisper, fragile. Duration ca. 45–55 sec.

½ whisper

Low, consonants expressive and extreme articulation.

Hold breath

Use last of air-stream following an almost full In- or Out-breath. Tiny stream of rest-air keeping consonants alive, active and audible. After Out – nearly empty, finish Out while ½-whispering. After In – nearly full, finish In while ½-whispering.

Fi) More dust...  Fii) And...  Fiii) More said... Fabulous, it is... Fiv) Thought’s... *(Out quickly while talking, towards the end clearly out of breath, but go on!)

General explanations for Soprano

&

& &

-

Low whisper with chest voice

spoken

-

Spoken text

whisper

-

Whisper Air without pitched centre

In

-

In-Breath, air, pitched or spoken

In

œ

Spoken In; take care of the voice, keep this low.

>

¿

Very low projected whisper attack

CH

Pure air, shadow of tone. German „ch“-sound, created at back of throat. A smooth „air“-sound with shadow of pitched centre. Open mouth, flat tongue towards back of throat. Smooth, not stuttering:

{¿ -

CH 

CH glissando from o to i, dark to light, back towards front of mouth. On an In and an Out-breath.

 œ

Lament-like tenuto with small descending glissando. Dark and expressive.

o

Hard roll at front of mouth, directly behind teeth. Relax jaw every now and again. Soprano shares this sound with the trumpet in their virtuosic duo. +  Closed lips (like a shadow) o  Open lips +→o  Transition between closed and open lips Where no text is given, use rolled “R”. After given text, go immediately from text to rolled “R”.

œ™ œ+ æ ˙+ æ lll æ œ

ddd

œ

The very high front rolls with almost closed mouth in the final part from bar 272 enable a very quiet and stable high tone. Please note bars 379+380 ossia: Use ordinary tone approaching ppp from lower octave if this is more stable.

æ œæ

Repetitive articulation. Similar to bass flute baroque “lll” articulation. From slow to fast and vice versa.

Soft guttural roll almost under the tongue, ½-trillo, like Cage’s Cooing Pigeon! Not back of throat – gentle, rounded, beautiful. Ossia: Very smooth “gda” roll at back of throat, depending on timbral context. Keep rounded and rich.

bŸ˙ nœ æ

½-tone trill. Although soft it is very focused and intense.

œ

Subito ½-air in passaggio range. Collapse pressure and voice automatically falls ½-tone. ½-air is sempre non vib and the pitch is not exact and has primarily a timbral function. Effect creates an automatic timbral contrast: “ah-eee”. Choose a different vowel if necessary to facilitate better effect. Take more time to prepare if necessary. Further ½-air effects in this timbral palette can also rise and fall a ¼-tone.

è5

Raise or lower by ¼ of tone. A timbral and expressive function, not exact.

vib

Generally pure with nearly no or minimal vibrato, but do interpret freely. Last section is particularly pure. Where vibrato is marked allow voice to expand where loud and high.

p vib

Poco vibrato

n v

Non vibrato

o

o

nasal

o i

t, k, ch, qu, cau

Crescendo and decrescendo as if from and to nothing. Adapt vowel/consonant sounds to facilitate this as necessary. Accentuate timbral transition through all vowels exploring overtones and using nasal resonances. Consonant attacks particularly for high overtones and complex spectrum. “t” is most precise, followed by “k. “ch”, “qu”, and “-stand” are very noise-based. sf and sff : Always very hard accents.

Explanatory notes for ensemble instruments Bass flute Bass flute shares a duo with the soprano in the first part of the piece expanding on the text. All words and vowels are with English pronunciation. Fluttertongue, front or back, depending on context! œ bis œ æ Bisbigliando

è5

o

o

Raise or lower by a ¼-tone; an expressive function. Crescendo from, and diminuendo to, nothing.

- Air

½ air

-

½ air

œ

From air to tone

G H G H G H

Normal, open embouchure Closed embouchure Transition from closed to open embouchure and vice versa.

t, k, ch, qu

Consonant attacks particularly for high overtones and multiphonic spectral sound. “t” is most precise, followed by “k”. “ch” is very noisebased. sf and sff : Always very hard accents.

≤ ≥ œ6

In- and Out-breath

n

C

Played-tone and voice combined. Please note voice also sounds an octave lower.

/ / 4 – 2 3 4

Numerous dyads, and two multiphonics; on fingerings on chart, see Appendix. Use fluttertongue and bisbigliando if it helps to stabilise the chord. General characteristics of Dyads: Dyads 3,4,5,6, 18 and 19 always need fluttertongue to balance the dyad pp to ff. Dyad 6 beautiful but unstable with high air content. Dyad 7 + 10 have open-sounding air column. Dyad 13 sempre non flz. Dyads 16, 18 and 19 are an octave higher sounding, airy with shadows of lower octave.

6

The following effects use similar technique and have very hard loud noise-based accents:

O6 œœ

Very high overblown overtones on dyad

O6 œœ œœ

Attack at highest partial possible followed by immediate glissando down to notated dyad/tone; with and without fluttertongue – noise!

O3 6 O œœ œœ œœ œœ

Shoot up and down the overtone spectrum, changing fingering midway – air and noise!

æ œæ

æ œ lll

ddd

Baroque “lll” articulation from slow to fast; also possible with fluttertongue (back of throat).

whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

Bass clarinet in Bb (Boehm system)

œ bis œ æ

Fluttertongue, front or back, depending on context! Bisbigliando: Same-note trill; choose fingerings for clear timbral contrast.

è5

Raise or lower by a ¼-tone; an expressive function.

vib

Vibrato only if marked

m vib

Molto vibrato, wide and expressive

air→tone

Transition from air to tone

- Air

o

o

Crescendo from, and diminuendo to “silence”. Use „air“ timbre to facilitate coming out of, and going into, silence.

Bassclarinet Boehm system fingerings for two underblown series, dyads fingerings and some multiphonics are given in the fingerings chart, in Appendix. All of these trills, single and double, start fast, also when coming out of silence. Hear keys and air as sound surfaces. Slow down with decrescendo. a

b

¿¿ ¿¿ œ œ

Some multiphonics are given as graphic notation: a) written low tone heard  b) written low tone not heard

+

Multiphonic tongue-slap

whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

Trumpet in C Trumpet shares a duo with the Soprano in the first part of the piece exploring a special wawa +/o and flz effect (see below). For these sections, for example bars 1–43, use a Slide trumpet. Return to ordinary trumpet for all other sounds. Mutes: Wawa, Harmon and Plunger. For smooth transition between harmon and wawa timbres, use wawa mute with stem in (wawa) or ¾-out (harmon). plunger

Use plunger when ‘senza’ to focus air sounds and balance voice and played-tone chords and multiphonic effects.

wawa → senza

Remove wawa mute while playing. Use a mute that can be inserted and removed noiselessly.

Ÿ o2 +

+

Trill 1 or 2 fingers fast in front of wawa mute

3

o+

œ ≤ ≥ --

Trill o/+ in clear rhythm as shown Fluttertongue, front or back, depending on context! Air, in- and out-breath

[023]

Prepare fingering for coming ¼-tone or ½-tone.

œ

Valve glissando, lengthen tube at given fingering to alter pitch. During the virtuoso duo with the soprano, a valve glissando may sometimes be left out directly before or after the special +/o wawa and flz effect, particularly when very fast!

[103]

œ

A “relative” dynamic sometimes for split or air-sound: aim for written dynamic.

“f ”

tk Doubletongue HV Trem

Tremelando with valves

3.

>

Tongue-stop, preceded by air. Use plunger to focus air and emphasise tonguestop. Please note, tonguestop transposes a half-tone.

split

˙˙

A split-tone is the resultant fast oscillation between two neighbouring overtones of one series, caused by difference in tension between upper- and under-lip. Block upper lip, then lower-lip aims for higher note of interval, and upper-lip aims for lower tone. Other notes may resonate with the interval, giving the impression of a chord: A „dirty“ sound, tuning is unstable, e.g. the fifth may de-tune becoming a tritone. Some intervals can only be located with the valve lengthened, giving an overtone series a semi-tone lower.

vib

Assume non vibrato unless otherwise stated.

whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

Trombone Mutes: harmon, wawa, plunger. plunger

Ÿ o2 + Ÿ o2 + irreg

+

Use plunger when ‘senza’ to focus air sounds and also to balance voice and played-tone chords and multiphonic effects. Trill 1 or 2 fingers fast in front of wawa mute. Irregular fast wawa trill

3

o+

Trill o/+ in clear rhythm as shown

≤≥ --

Air in and out. It is important to have sufficient wind resistance so the air isn’t instantly gone. This can be done with the tongue or the lips.

a → i

Vowel sounds from dark/low to bright/high. Bring out difference with the wawa o→+.

Ring Modulator

“Ring Modulator” effect: tone and high voice combine to produce a loud and stable multiphonic. At ff sung tone become like a controlled pitched-”scream”! Use plunger to focus as necessary. Voice limitations vary widely from player to player, therefore given pitches are ideals.

n ) #˙ œ6

Multiphonic displaced octaves. Ossia: Change the octave of the voice to facilitate multiphonic effect according to vocal range of player. Use plunger to mix voice and played-tone. Add voice gradually and carefully! Use hand over wawa or use plunger to balance and fuse together.

œ Fluttertongue

tk Doubletongue

Percussion Instrument list Percussion 1 Nico Nicophone BP 2 bell plates Guiro Guiro ChCM Large Chinese cymbal CTD Child’s talking drum BD Bass drum FB Styrofoam block Ratchet High Ratchet Rin 3 rins Coil 2 coils WB Medium woodblock Mar Bass marimba TT Tamtam (from Percussion 2)

Percussion 2 Coil 2 coils BD Bass drum TT Tamtam CTD Child’s talking drum Guiro Guiro Ratchet 2 Ratchets, high and low ChCM Mid-large Chinese cymbal Cab Cabaza WB Low woodblock SC Large sizzle cymbal Crot 2 crotales FB Styrofoam block Slicer Slicer Rin 1 rin (from Percussion 1)

Nicophone is available from the composer or purchase/hire from the maker Domenico Melchiorre <www.melchiorre.ch>. 2 Child’s talking drums and slicer are available from the composer. Specific Instruments Percussion 1 BP

Large and low C1 and C#1 at lowest octave, or if not available D1; Hung. If possible, heavy and thick bell plates, not aluminium.

Contact points:

x

x

top-¼ for high spectrum splash

low centre for bass tone.

+foil

Small piece of tin foil folded over top side edge of each bell plates for long resonant trilling buzz.

Bell plate beaters, large and soft. Ossia: At times, use both fists for pp.

Hard square wooden hammers (Kolberg 843H) or hard metal bell plate beaters. Ossia: Wooden hammers with leather cover.

Coil

2 car springs of different sizes and complex resonant timbres. Not plastic coated. Lay flat on small pieces of black expanded sponge rubber (Moosgummi) on hollow wooden box/table for maximum resonance and differentiation of timbre. Ossia: Hung (only if more resonant). M

Triangle stick (with metal centre)

Plastic small-headed beater

P

TP

Tubular bells plastic beater

L

The same tubular bells beater, prepared with leather (put leather over one side of the plastic beater head).

Nico

œ

Bass Nicophone large/low. Lay on thin strips of Moosgummi (black expanded sponge rubber) for maximum resonance. Top surface has rills for the glissando.

œ_ œ œ_

On top perforated surface, glissando along top surface rills. Top edge high shimmering overtones with plastic or hard rubber beaters.

…œ

Cut resonance of glissando dead.

Í æ œ

slats

œœ

BD

On slats side with medium gong beaters. The two large slats on the side has two central tones. Explore and vary which central tones you use. Tr

or

Thick Kolberg triangle stick at f. Thin and light triangle sticks at pp.

Bass drum. Natural skin, double-sided.

¡¿

Wooden plank across edge of the bass drum. Dark timbre, contrast to BD rim. Cut wooden plank to fit BD: One end rests on skin right by the rim, the other end goes over the BD edge.

Just off-centre for full resonance.

2 large fluffy beaters: one on skin surface, the other hits the beater.

Wirebrush beater dragged gently over BD. Play on wooden rim. Thick snare sticks to avoid damage to skin of bass drum sf /sff. Ossia 1 ff : Large round-headed wooden beaters; Ossia 2 pp : Thin snare sticks.

a b

Snare stick

wood

¿

Glissando over rills with a 30cm thick plastic ruler. Hear the partials rise or descend.

M

W



Contact points on sticks:   a tip   b mid-point

b → a

Move from middle of stick to tip during trill.

+chain

With chain and superball. Choose superball head that works on the bass drum for a deep dark resonance. Place very light sizzle-chain on skin of drum – hear high trilling surface of sound with low resonance of drum.

Ordinary bass drum beaters

ChCM

Large Chinese cymbal, hung.

arco

Bowed with bass bow: mid-high complex overtones. Wirebrushes

CTD

Child’s talking drum. Drum head 4½ cm, height 5cm, thin wire-like plastic string ca. 16/17cm, with handle.

 œ œ œœœ FB

œ

œ

Û

Carefully controlled rhythm and dynamic. N.B.: At pp and for some more control, hold and pull string perpendicular to drum head.

Pitch rises. Small block of polystyrene foam. Bass bow with over-pressure very slowly. At ppp tiny dry clicks.

FI œ  œ œ œœœ

Aim for regular clicks.

Û

Follow rhythm in graphics.

Mar

Rin

Bass marimba. Only lowest minor third is played with very large soft fluffy BD beaters:

Û  œ œ œ œ

Repetitive figure is repeated fast enough to create a blurred image.

arco

Bow at edge with bass bow.

3 rins/Klangschalen, preferably black Japanese for the longest resonance, played on bass drum skin. Notated at sounding pitch: C#5, D5 and Eb5.

Ratchet

Wooden, mounted.

WB

Woodblock medium, mounted. Plastic or hard rubber beaters.

Guiro

Medium wooden guiro, mounted.

TT

Tamtam – play from Percussion 2 Tamtam!

arco

Contact points: 1. centre 2. centre circle 3. Large smooth zone 4. Outer-ridged zone 5. Side/edge Bass bow arco at 5. Choose mid-high complex and very resonant overtones.

Iœ

Â

Wirebrush single stroke across TT. Ossia: Birch wood. Fast action around edge of TT. Big gesture over half of the outer edge.

Percussion 2 2 coils

See Percussion 1.

BD

Bass drum. Very large natural skin, double-sided. See Percussion 1.

TT

Large tamtam 115-130cm diameter, preferably from Paste. A Wuhan tamtam may be too heavy for arco and birch/wirebrush sounds.

Contact points: 1. centre 2. centre circle 3. Large smooth zone 4. Outer-ridged zone 5. Side/edge

arco

Bass bow arco at 5. Choose mid-high complex and very resonant overtones.

+chain

With chain. Place a very light thin chain or wire over the edge of the tamtam when indicated. Chain vibrates on surface of TT when TT is struck in a clear regular pulse. Vibrations combine with metallic and non-metallic shimmering overtones.

Â

M

Iœ

Iœ

S ÍÍÍÍÍÍÍ Kn

Â

Fast action around edge of TT. Big gesture over half of the outer edge. Metal triangle stick single stroke across full diameter of TT. Wirebrush single stroke across TT. Ossia: Birch wood. Superball beater dragged over surface of tamtam – choose superball that works on the size of tamtam for deep dark fluctuating resonance. Almost melodic! Knitting needle around edge very gently hear high partials. Large soft beaters

Guiro

Medium wooden guiro, mounted.

Slicer

Westmark cheese and potato slicer ca 13x8cm. Placed on BD skin for resonance. Have a soft cloth nearby to put on, to remove quickly and replace again onto BD skin.

H œ

Add pressure with hand on Slicer for change of timbre and pitch. Played with finger tip strumming all strings back and forwards lightly.

CTD

Child’s talking drum, mounted. See Percussion 1.

Rin

Rin/Klangschale D5 from Percussion 1 Rins.

2 Ratchets

Low and high, both wooden, mounted.

ChCM

Medium-large Chinese cymbal, hung.

arco

Bowed with bass bow: mid-high complex resonant overtones.

Cabaza

Wooden and very large.

WB

Woodblock low, mounted. Plastic or hard rubber beaters.

Crot

Single crotales – the top octave A and G#, hung or mounted for very long resonance.

arco

Bowed with bass bow.

Piano Grand piano with sostenuto (third) pedal. Open piano lid fully, but do not remove. Remove music stand and place further back on the frame, or use the top section of a heavy music stand. Use stickers to mark the strings inside the piano. Requires a hard plectrum, a small glass and a ceramic lid/tile to glissando strings (see below), available from the composer. On the keys ord

Occasional ordinary tones are always marked!

silent

Prepare and hold down cluster silently.

œ-. O

Play staccato and silently re-depress keys, catching shadow and higher partials of resonance.

On the keys and inside All damped strings are damped between nut and damper:

‹ œ¿

Damp near nut, still on string. Heavy pressure for big round resonance. Fast release of fingertips helps harmonic to sound longer and clearer.

?

& #O ¿ ? ‹ œ o & O ¿ ? ‹ œ O & ¿ ? ‹ œ › œœ

{ {

Damp with fingertips near to dampers for exact mid-range overtones.

Damp nearer to bridge aiming for very high written overtones. Hear also other high tones.

Damp even nearer to bridge for extremely high complex shimmering non-specific overtones.

{

¿

&

Damp behind the dampers at top of the piano – half tone half wooden percussive sound.

O

¿œ ¿œ ¿œ ¿œ

Slide finger along string during repetitions between bridge to dampers from high to low as shown exactly in the score.

Inside the piano In

Following an action on keys or “keys-and-inside”, In shows return to sounds inside the piano. Should the frame of the piano be in the way, choose a different cluster very near by.

palm

Flat palm hits wide cluster of strings behind the dampers.

H3 œ œ œ& œ Q ò

Light glissando with finger pad of 3rd finger. In front of dampers.

Fast glissando on strings in front of the dampers with hard plectrum. Brutal if low and ff. Abrupt „flick“ action with nail away from body behind dampers. Sounding high overtones, and written tones partly heard.

3.

>

2 resonant sounds, one very low and one medium low on lower cross of metal frame or on sound board inside piano.

Beaters

large beater, eg. large Tamtam leather, heavy.

medium large felt beater.

glass

Small water glass, with rounded lip and not heavy. Upside-down, embraces interval of major 3rd on strings.

glass

œœ œœ œœ œœ

Play vertically on string (matching sound of the e-guitar) in regular rhythmic pulse. Glissando where shown to nearby position. If frame is in the way play as nearby as possible.

œœ™™

glass gently

œ

A single motion vertically into body of piano, high complex “cry”.

A single motion horizontally along the strings, very lightly in the 2nd segment the of piano.

ceramic lid

Ceramic lid ca 9cm diameter and ca 12mm high with rounded lip. In lowest segment of frame. A quasi-diagonal ½-vertical, ½-horizontal movement. Terrific noise quasi-electronic, allow complex noise and screeches! Release lid from strings with pedal. Ossia: Use the glass.

d ïc

fishwire

Fishwire inserted between the strings. Pull back and forwards gently. Remove immediately after playing, or leave in the piano if resonances are not disturbed.

° ¶¶° 2 3.

Sustain pedal Pedal-action attack, (foot only on pedal, not floor) for a big pool of resonance. 3rd pedal

whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

Accordion Button accordion. Range MI

?

› #œ

&

Range MII/III

› #œ

?

&

œ

œ

Use MI chin registers for sudden register changes and double register sounds. Written at sounding pitch. Where there are octave pitch combinations from registers/stops, the lowest octave is notated. Re-distribute chromatic chords between MI and MII as you feel necessary.

œã ãã ãœã ã

œœ

palm

-

o

A chromatic cluster, outer tones included. Chromatic cluster, extra wide, using palm or heel of hand. Air only

o

Gradually depress for gentle start, as if from nothing. Decrescendo as if to nothing.

1 by 1

œœ

œœ

o

p

˙ æ

button

Ÿ

Single tones emerge one-by-one with crescendo, and disappear one-by-one with decrescendo.

o

˙ æ BS

Button trill Bellows shake (trem.)

b

Bellows stop, dead onto next beat.

sf and sff

Accents always at maximum dynamic

vib

Possible types of vibrato include: ord. LH vib, ord RH vib, knee vib, button vib – use as you feel appropriate. Sempre non vibrato unless otherwise stated.

RH heel 6

- - - - - - ˙

Right hand heel or underside of fist hits against side of MI register in given rhythm. Combine carefully with LH glissando.

LH To Perc.

1–4

/Û  í ™™œœ ™™î

Fast repetitive figures within given intervals. LH/RH different rhythms. Aim for a blurred image. Hear the buttons continuously. In low register with full finger pressure, in high register with ½-pressure.

whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

Electric guitar Three instructions are given for each gesture to determine Klangfarbe, and changes are underlined before each new entry: Single or double coil (pick-ups) Treble, bass or normal settings Clean (bright) or lead-overdrive Set up the palette to contrast as strongly as possible. Keep background noise of amplifier to a minimum. The performer can preset pedals to the given setting-combinations. In addition, the performer needs a hard plectrum, two metal bottle-necks, an E-bow, volume pedal, foot pedal with palette presets, a wawa pedal and a POG 2 octaver (or similar). Both staves whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

XII Fret

Ê· ‚ „ String ‰Â 3. Finger If, for example, MBN and then finger be required in quick succession, use different fingers, e.g. MBN stays on 3rd finger and 1st finger plucks string. MBN

Metal bottle neck; hits all strings together (barré) unless otherwise stated.

diag

MBN not perpendicular to strings producing more distorted and whiter sound.

coil

Coil 1 (pick-up 1) furthest left near sound-hole, coil 2 (pick-up 2) furthest right, nearest to bridge.

œ

œ

A constant glissando from one fret to another (MBN). Also to coil 1 or coil 2.

“. œ . .

MBN barré at given overtone (between pickups/coils).

ÍÍÍÍÍÍÍ œ

whammy

RH vibrato with whammy bar. Regular vibrato with MBN within the fret at given rhythm.

3.

> & ˙

Straight finger strikes strings barré at mid-point between pickups.

Attack: as fast as possible all strings with nail, plectrum or end of MBN.

Dampen strings (secco).

…˙

Lightly dampen strings before LH attack.

[POG]

˙

POG 2 from Electro-Harmonix, a polyphonic octave generator, with a Pass function. Use presets for the given combinations, e.g. POG: +1, +2 max.

e-bow

Ê· ‚ „ ‰ Â

Whammy bar held down with LH ca. one octave lower. Alter pitch according to graphic. Deep warm half-air sound. E-bow on 6th string at indeterminate low pitch, ca. one octave down – string must be very lax but tight enough to generate sound with E-bow. E-bow starts near SP, starting note little earlier and a little higher if necessary.

Vp

Volume pedal Where necessary dynamic level of RH and LH are written separately from the volume pedal’s dynamic, which is located between the two staves. Vp always shows actual sounding dynamics, but balance carefully with rest of ensemble. Turn off the volume pedal between gestures or at secco as shown.

(silent)

Actual initial attack not heard (Vp off).

Top staff e-bow

Electric bow sounds without an amplifier, but add a little Vp as necessary to get written dynamic. Top staff shows the string and single tone picked out by the E-bow. Bottom staff shows the LH frets.

RH Th

RH flesh of thumb on 6th string rubs quickly back and forth. Only with very low and very high POG settings. Very special timbre.

Th Sctratch Nail

Scratch with thumb nail very slowly along the rills of the string, hear each rill. Very special timbre.

Bottom staff (silent)

Place MBN on strings silently.

flaut

˙

MBN flautando; held very lightly on the strings for light distortion/vibration.

Strings All instrumentalists have scordatura: Violin

œ œ ? œœ ? œœ & œ œ    Viola B œ œ    Violoncello     Double bass  œ œœ ‹ bœ œ bœ “ bœ

Final climax section bars 238–254 Intense: At f/ff quasi-sub-tone effect with long accented strokes near heel. sul pont at ppp/pp delicate complex overtones. Dialogue in two pairs: Violin + violoncello, and viola + double bass. Start, stop and the attacks are indicated in graphics, and coordinated between players with eyecontact. Attacks: 1. heavy accent; 2. short glissando; 3. long glissando – a tiny gap before the accent or glissando for a clear sff and exact coordination between players. Two sounds dominate the strings in this composition: 1. Scordatura IV (and double bass V). Low timbral palette explores expressive and rich sonority of low scordatura, sul IV or sul V. Timbral potential and playing possibilities of IV or V are altered radically: an attack at f/ff is naturally delayed due to low tension of string and f/ff also changes pitch of string significantly; an increase of bow speed at louder dynamics is necessary. At p/pp the timbre is entirely different with much air, fragile and dark. 2. A double-harmonic trill mostly played sul pont, often with a fast and smooth glissando. Immediate and present, but also unstable and unpredictable. After opening pages, trills are so fast and have occurred so often that no exact trilling harmonics are given. Play these trills with 2nd or 3rd finger sounding highest possible partials. Bring out relative differentiation of pitch, tracing this line up and down the strings. At all times the playing pitch of the lower harmonic is given in the score and part.

‚ OO ‚ æ

All trills always very fast and regular – ff or pp and with or without crescendo or decrescendo, harmonic or ord.



‚‚ OO æ oŸæ ooæ ˙ O O O Ÿæ+trem œ™æœ <Ÿ> æ œ™ œ button Ÿ ⅛ ˙ æ st+

Glissando to top or bottom of string. Harmonic trill glissandi are very fluid.

Trill gradually from lower finger ord. to harmonic. Tremolando and fast trill; a fused sound. pp/p played at st/st+. An ordinary trill is also notated this way. Non-harmonic trill with only an ⅛-note above. Sul tasto extreme flautando, bow stroke well over fingerboard; hollow, floating, beautiful.

sp

Sul ponticello: pp/ppp bring out overtones. f/ff sound towards distortion.

½-sp

Sul ponticello colouring, but actual written tone heard clearly.

sp+

Sul ponticello extreme: complete distortion.

è5

Raised or lowered by ¼-tone.

p vib

Poco vibrato

n v

Senza vibrato.

m vib

b

˙ èœ

Stop bow abruptly

Behind the bridge at given string. Very fragile and beautiful.

@@ @@

I

Extreme vibrato, increases amplitude to higher tone shown.

tailpiece

Bow tailpiece. Find best contact point for sufficient friction. Bring out resonant tone of tailpiece. Alter bow-hold as necessary.

¿

Accents are always biting, hard-edged sf/sff.

>

Highest pitch on fingerboard (violoncello).

sp ord

œ œ

sp marcato attack, deep in the string and release immediately subito ord. Deep, loud and distorted effect.

sffpp

whisper

A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.

Multiphonic chart for bass flute 2

3

ossia

n/ n /

C#

3 4 – 2 3 4

3 4 – 2 3 /

5

ossia

2 3/ (3) 4 – 2 3 4

n

2 / 4 – 2 3 4

6

7

n/

2 3 4 – 2 3 4

n2

3 4 – A2 3 / D#

/ 4 – 2 3 4

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C

10

3 œœ

12

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13

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3 4 – B2 3 / D#

œ œ œ œ

# œœ

14

3 4 – / / /

3 4 – A2 B 3 / D#

œ œ

D#

16

n/

n/

n/

/ 3/ (3) 4 – B2 3 4 C#

3 4 – / B3 / C

13b

2 3 4 – 2 / 4

18 / 3 G## 4 – A/ B/ / C

œœ 2 # œœ Gœ

C

# œœ

19

ossia / 3 4 – 2 B3 / C

20

n2

20b

3 œœ #œ

n œ# 5œ #œ

n/

3 4 – A2 B3 / D##

2 2 œœ

D#

21

n2

b

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/ 4 – 2 3 /

22

n n

n 2-+

ossia

2 / 2 / / / 4 4 4 – – – 2 / B / / B / B / 4 4 / D# D# D#

3– / – A2 / / D#

œ œ #œ #œ èœ

D

3œ 5œ

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Multiphonic chart for bass clarinet

Ia – Underblown 3a

3aii for

ï ñï -ïó ïó #œ wœ R

&

4a

Ÿ

ï ñï -ïïï ó #œ wœ R

Ib 5a

ï ñï -ïóó ó œ oœ

6a

7a R

ï ñï -óó óó œ fœ

ï ñï ï ñï -ïóó # -óóó ó ó œ #œ wœ o œ

R

R

R

C

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4b

8a

Ÿ

6b

R

R

C

ï ïïï §ïïó nœ w 5w

II7

II8

ï ïïï §ïïï #œ w w

ï ïïï -ïï ï # 5œ è#w w

4

(add R)

‹

II9

R

4§

G

flz ossia: n + -

4

ï ïïï §ïïï

II10

II11

II12

+- RAï ï ï

ï ïïï §ïïï # œ

4

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E

G

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E

II13

ï óïï/ ï +-

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E

D

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Pno

& ow ‹ œ

Perc 2

Tpt

Acc Vln

Tbn Vla

B cl

Db

Sop Conductor

wolff & okrzeja

E gtr Vc

B fl

notengrafik berlin

R

IV1

ïó +-n-ïï ïï b ï mœ

Perc 1

U

11b

12b

13b

14b

R

R

for flz R

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R

A

b-óó

R

RA

óó óó ï nœ nœ

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Stage plan

Satz und Layout:

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4

for

R

R

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ó ïïï -ïï ï #œ & èww

10b

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II6

9b

C

3a – 8a: R instead of R to maintain lower tone.

II1

7b

ïL ïï ï ïï ï ïï ï ïï ï óó ï óó ó ïó ó óó ñ +- ó óó b bó óó óï-ó ï-ó # ó-ó ó óó -óó -óó # -óó -óóó -óóó bóó óï óï óï ó ó ó ï ï ï ï ï ï ï mœ oœ #œ 5 œ oœ œ # œ oœ èœ dœ nœ 5œ èœ œ oœ 5œ & èœ œ bœ œ mœ œ nœ œ #œ wœ ‹ 4b – 7b: ñ +- is slow vibrato-like for overblown displaced octaves.

ï ñó -óóó # œó oœ R

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5b

IV2

ï óïï / ï +-

-ïï ï b #œ

IV3

ï óïï / ï +-

-ïï ï § œ

E

E

èw bœ

ow nœ

IV4

IV5

ï óïï / ï +-

ï óïï ï +-ïï ï ó + # ïïï èœor # œ # œ /

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for Juliet Fraser and Klangforum Wien

4 q = 50 4

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G

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frame In low sf

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q = 86–90 *

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ppp sempre

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°

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o

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wawa

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nasal

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[

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p sempre

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ppp

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o

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wait! Ÿ >

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* q = 86–90 = sempre: each section with q = 86 can be faster, up to q = 90, depending on the solo line. ** if no text for "roll use "r-i"!

33910

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bw

mf

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°

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U ∑

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#˙ ™ ˙™ æ

– #˙ ™ —# ˙ ™ æ

pp

lll

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>O. >O. #蜜 œœ ‰ ≈ 6

mp

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3

pp

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+

wawa

˙˙

16

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Tbn

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Tpt

G _™™

6

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o+

sff

f

p f non

o p+

f

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[Caught]

Perc 1

Perc 2

Pno

Acc

°

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Vla

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harmon

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pp

p f

Ÿ/ b-œ Œ 18

p

∑

f

o

p

∑

U

œ

o

∑

mp

∑ Œ

™

ppp sempre

∑

Ϊ

∑

U ∑

œ™ “

∑

∑

wait for electric guitar to emerge from piano and percussion resonance

∑

∑

mp

U ∑

whammy

GP

‰Iœ

ppp

e-bow

T

M TT

U ∑

U ˙˙ ™™™™

∑

∑

mp

Œ

Ó

12 q

H ‰ ‰ œ b œœ œ ° sf

æ ˙

3

∑

mf

p

o

mf

W Nico

Ó

U ∑

O

Ϊ

∑

U ∑

-œ Ó

f

p f

_

o

Mar - mor.

∑

pp

f

pp

œ œ æ o

∑

senza

?

+ + fo f-o pp œ œ œ æœ æœ bœ ‰ bæœ æœ ™ æ æ

p

o

f

∑

U ∑

_

˙™ ˙™ æ pp œ ‰

pp

U ∑

∑

½-sp pp

11b/12b air

[123]

p f

U ∑

-œ ‰ nœ

½-sp

˙

o

n-œ ‰

mp

pp

S

∑

‰ ˙

II st

f

∑

∑

vib.

p f

∑

∑

Œ

+ o ‰ œ œ bœ

mf

∑

&

¢‹

mf

∑

o

U ∑

p

Ó

a

G

[Mar - mor]

∑

˙™

o nœ

+ œ æ

∑

b

‰ œœ ‰ Ó

#˙

?

pp

∑

&

¢&

sf

æ œ ‰ ™ œæ ˙

∑

&

‹

Guiro

∑

‹

&

…

∑

‹

+ o + œ œ #œ

∑

- [ght]

mf

?

Ó

p

TP Coils

∑

&

°

E Gtr

∑

U ∑

Œ

∑ #˙ œ ˙ oœ oæ

∑

∑

f

Nico

W

q = 60

mf

mp

> ‰ Œ ‰ ™ #œ

∑

Ÿ+ o œ œ œ ‰

U ∑

∑

∑

+ o + o nœ œ ‰ œ èœ Œ

∑

&

¢&

∑

o

pp

GP

very long 12 q

4 4

∑ ∑ ∑ ∑

o

Œ

5

q = 50

Tbn

mp

¢& °

ff

wawa

& Ó

∑

&

> ‰ œ

Œ

Perc 1

Perc 2

Pno

Acc

¢/

{

E Gtr

‹

ppp

la -

ttt

5

œ˙ ‰ æ

pp sempre

∑ ∑

∑ ∑ ∑ ∑

Vla

°

∑

& & Ó

‰##‚‚ ™™#OO æ o

> ‰ ™ ##‚‚ #OO ‚‚ Œ æ æ I sp II

Œ

f

Vc

∑

&

? Ó Db ¢‹

√ ∑

U ∑

√ ∑

∑ ∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

single

∑

Œ

Ó ‰™

IV V sp

b œœ > sf

ord

˙˙

o



‚‚ ™™ æ p Œ st

˙

o

o

III st

˙

‰

o

III st

œ

o

 bœ p

sp flaut

b ˙-˙ pp

o

 œ Ó

loco

&

ord

#˙

o

 U

Ó

˙

coil 2

GP

very long 12 q

U ∑

√ ∑

√ ∑

U ∑

Ó

p

∑

U ∑

∑

U ∑ 33910

-™

-™

o

-_

3

ord III10 II7

m ~U ~

pp sempre ord I5 II7

‹

&

m ~U ~

pp sempre

Ó



Œ

p

Iœ ‰ Œ

‰ Œ

˙Ó

™

pp

∑ Ó

∑

˙Ó

∑

vib

∑ ∑ POG -2 -1 max

Ó

~~ ~~

‰

Ó

Œ ‰ ∑

ppp whammy

p

w

Ó Ó

ppp I flaut

ppp

>1

mf

e-bow

I flaut

Œ

o

Ê

˙ “ ‰

--

∑

∑

f

mf

∑

Ó

p

Œ

Œ ‰

And

æ ™

TT

°

∑

- s.

æ œ™

>

Œ

Ó

--

ye -

In

∑

o

mp

10 q œ„. – U ‰ Œ Ó

p

∑

s

-

whisper

i,

q ™ ™ 11 U ¸ Œ ˙™ ∑ oƒ √ ∑

p

 bœ Œ

?

√ ∑

MBN (silent) barré

Ó

3

ye

√ ∑

-¿

-¿ Ó

12 q

XVI

II sp flaut III

nasal

s

-

-¿

-Y

œ ‰

U ∑

U ∑

S clean T normal

q = 50 Vln

…

æ æ œ œ fastÓ

no POG

‹

U ˙

3

∑

ye - s

p

[Me]

∑ œ™

o

+ œ

-¿ Œ

whisper p

whisper p

√ ∑

U ∑

-Y

Ó

o

√ ∑

M -

pp non dim

œ œ™

∑

ppp

≈œ w

Œ

CTD

∑

 bœ

p

whisper p

ye

p

U ∑

- ly.

[lately]Nico light

∑

&

¢&

#œ -. -. -.

∑

&

‹

nœ-

∑

&

°

pp

∑

?

{

mf

W

o

U ∑

o

Ó

∑

&

‹

+ œ Œ Ó

Tr

#˙

p

pp

œ™ æ

bœ Œ

pp

Ÿ o2 + irreg w æ

Ó

∑

/

˙

wawa

G Œ

U ˙

½ air

U ∑

∑

˙

Stir

°

∑

[103]

Ó

sfpp

Sop

pp

‰

∑

∑

&

¢

pp

œœ æ

∑

‹

?

_

√ ∑

U ∑

@@

Tpt

-

very long 12 q

GP

@@

B Cl

& _ ‹

3

12

22 @@

B Fl

flz

>≥ H Oœ œ lllœ #œ œ œ æ

≤

22 @@

°

28

sff Quo

OO ™™ OO ™™

Œ

Œ

B

6

q = 86 °

q = 52

35 B Fl

B Cl

Tpt

Ó

‹

&

Œ

6

G

-™

-

ppp

-

f

p

∑

f

f

o

p

w æ

bis

¢&

½ air

∑

‹

-™ >

sff

°

&

∑

o

+ o œ œ œ

+ o + o + o œ ‰ ‰ bœ œ œ œ ‰ bœ œ

p f pp

f

p

_

senza

f

p

+ œ ‰ œ™ æ æ

œ saw.

…

f p f

p

of

f

[123]

‰ èœ œ p

o #œ œ

[103]

#œ Œ

f pp

f

pp

f

Ó

+ o + o + œ 5œ æ æœ èæœ bæœ næœ æ f

p

o

+ o + o + èœ ‰ bœ èœ næœ œ œ æ æ æ æ æ f

p

o

U™ œ æ

œ™ æ

Ó

U + Œ nœ

o + o œ ‰ œ œ ‰ Œ

U ∑

Ó

U ‰ ˙™

f

ppp

æ

∑

˙ æ

wawa

o œ

f p f p

U ∑

p

b_ >

∑

q = 90

p

f

p f p

Ó

o

+ œ #œ™

∑

o

f

p

&

‰ Ó

ord [023]

? b_ Tbn ¢

Sop

H #蜜 #蜜 ‰

> 18 O 2# œœ œœ ™

7 8

mp

œ

f

èU ˙

Perc 1

Perc 2

Pno

Acc

°

{

Vla

TP Coils

‰ œ œ ‰ Ó mf

∑

‹

∑

∑

&

∑

{

?

…

‹

&

°

o

!

&

¢&

Ó

‰

Œ

<“>

œ

Ó

∑

‰ Œ

∑ ∑

Ó

∑

q = 86

&

∑

&

> Œ ##‚‚ #OO Ó æ

∑

sfp

o

sp

sfp

> #O B ## ‚‚ # O Œ æ

o

Ó

o

∑

‰ Iœ

∑

Ó

Ó

Œ

sf

‰ ‰

∑ Ó

o

sim whammy

Œ

¶¶°

>1

‰

Ó Ó

¿

‰ Œ

o

∑

U ∑

‰ Ó

U ∑

∑

pp sempre

œ

mp

˙™

q = 52 #‚ O ‰# ‚ O æ

o

Œ ##‚‚ #OO æ

o

Œ

#sim ‚ # ‰ ‚æ

‚‚ ‰ Œ æ

Ó

œ ≈Ó

IV V

b5ww

o

o

æ èœ

p

f

mf

Ratchets (high)

˙ æ

f

7 8

U ∑

U ™™

O

¿ ¿

b œœ n œœ

‰

Ó

‰

Ó

∑ Œ™

o

mf

1™ ‰æ

no e-bow finger trem

Pass ON: max

∑

 œ

q = 90 U ∑

Ϊ

U ∑

Ϊ

œ

ord

o

f

?

max

ppp sempre BS

∑

œ

ord

o

f

p

?

33910

Ó

∑

‹

∑

‚‚ ‚‚ Œ æ æ p

p

æ œ

Nico

nn OO

U ∑

Ó

∑

Œ

+ bœ œ ™ æ æ f

pp

U ∑

1™

sff

o

+ œ æ

pp sempre

b œœ

w “ Ó

œ

mf

Ϊ

U™ Œ

9:8

O

f

∑

CTD

sf

sp

‹

TT

M

M

U ∑

pp sempre

∑

∑

#>‚ O ‰# ‚ O ‰ Ó æ

¢&

œ

∑

sf

sfp

Db

∑

∑

I sp II

Vc

∑

&

‹

Vln

Ó

sf

¢/

°

E Gtr

œ ‰ Œ

/

7

èœ ‰

p

Low.

CTD

f

pp

(Nico) W

p

Ϫ

&

o

o

Ó

U ˙™™ “o

IV ord

U

˙˙™™™™

mp

&

Ϊ

Œ

mp

o

∑

 œ Œ f

 bœ Œ f

œ

ord

o

 èœ f

°

41 B Fl

4q 9q wait

U™ U & Œ Ó

‹

∑

U U ™ Ó B Cl ¢ & Œ

Tpt

Tbn

°

‹

Œ

U™ U Œ Ó & ¢

Ϊ

pppp

Perc 1

Perc 2

Pno

Acc

°

/

¢/

{

Vln

Vla

Vc

U Ó

U™ U Œ Ó

nasal

a

r

o

Œ

‰ nœ

i

∑

pp

Ϊ

Ϊ

œ

f

f

p f

p

˙

o

f

‹

∑

œ ‰

nœ æ

5œ bœ œ Œ æ æ æ

…

æ œ ‰ ˙

#œ œ ™

∑

∑

∑

æ œ

sf

Ϊ

CTD

so,

so.

∑

max

pp

f

M TT

Iœ Ó

Œ

Kn

sf

?

In LH

2 ƶ¶°

‰ Œ

>

>

‰

very gentle and gradual

Ó

Œ

∑

pp sempre glass In RH

°

U U & Œ ™ b˙

mf

o

U™ U & Œ b˙

o

U U & Œ ™ b˙

o

U ? U Œ™ Ó Db ¢‹ * hear all low strings!



‰ Œ

œèœ II

p

bœ p

f

f

∑ no POG

4 4

‰ æ b‚ O B

œ

p

f

?

‚

æ

b>‚ æ™O

IV sp

Ÿæ æ bœ ™ œ ppp

ææ ˙

∑

7 q = 50 8,

˙ 5˙ æ

bis slow

pp

˙˙

pp

b ˙ ™™

IV sp

o

o

ppp

mp

R-

- oll

æ bœ ™

p

œ- ™

[Roll]

 œ

∑ w

∑

¸™

MI+III

?

‹

™

double

S clean T treble

∑

ppp sempre*

æ # œœæ™™ BS

™

b ˙ ™™

o

n ˙ ™™

o

o

ord st+

∑

b ˙˙ ™™™™

mf

33910

o

∑

„˙

˙™

o

pp sempre

* so quiet that it disappears every now and then

Œ™ MBN barré

Ϊ

e-bow

˙

XVII pp

˙ ™™

4 4

œ

*

w

pp sempre

˙™™

w

pp sempre

IV st+

Ó

#œ

∑ ææ w w

IV st+

‰ Ó

‹

&

æ ˙˙æ

IV st+

Ó

o

‰ æ ‚ ™#O > “ sfp

V sp +trem

∑

Œ

sfp

‰ Ó

∑

wait!

IV sp

sfp

‰ Ó

13b

split

Œ

‰ ‰ œœ

Ó

…

‰

˙ ™™

ppp sempre

∑

4q 9q wait III

p

o

∑

œ ˙

∑

æ ˙™™

o

# œœ

Ó

edge very light, gentle and slow

1 æ ‰ ‰ Ó

U U ¢& æ æ ‹ œ™ ˙ <“>

Œ

12

∑

-œ #œ 5œ ™

U 1™ U ! æ æ &

ppp sempre

18

Ó

mp pp non dim

∑

‹

‰

-œ ˙ ™

mp pp

∑

∑

o

pp

∑

∑

U U & Œ™ Ó

œ œ™

o

U U & Œ™ Ó

4q 9q

∑

2# ˙˙

…

W

M

Œ

,

f

+ ‰ nœ æ

sf

4q 9q

o

o p+ fo

p

∑

U ? U Œ™ Ó

4 4

7

mf

p

{

+ o + bœ œ œ nœ

f

U U & Œ ™ b¿˙

‰

ff

slats

Ÿ U æ œ™ œ

∑

Œ

œ

p

p

‰

o

f

_o

f

+ œ èœæ™ æ

f

4q 9q

°

E Gtr

G G

+ œ æ

mp

U U & Œ ™ b˙ M

Ó

pp

4q 9q

[Me]

p

>O è# œœ ‰ 6

+ o [123] œ œ ‰ œ

4q 9q

7 q = 50 8,

½ air

∑

U U & Œ™ Ó

Sop

4 4

wait!

˙™™

#w

pp sempre

˙˙ ™™™™

pp sempre

bn ww

œ–

3 4

8

°

™ & # œæœ ™

47 B Fl

‹

w B Cl ¢ & 5w ‹ æ Tpt

Tbn

+

°

&

Perc 2

Pno

Acc

&

°

Vln

Vla

Vc

Db

pp

˙Ÿ 5æ˙

II6

∑

o

œ æœ

pp

o

> ¿-

o

i Qui -

sff

mp

--

‰

bœ

Qu - ie

[Quiet]

Œ

∑

oteeth mp

Œ

bœ- ™

--

si -

9

æ -- ™

pp

‰

9

‰ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ ¿ ¿

pp

b

∑

+

Œ Œ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

- m - plll

[simple]

a BD b

o

+ nœ

mf

GP

Ó

∑

- ttt, b

o

Œ

‰

œœ

pp

æ bœ -.

˙

œœ æ

o

˙˙ ™™

∑

CH mp

œ æœ

o

+ + ‰ #˙ #˙

∑

-™

œœ æ

lll

pp

œœ ™™

3

¢/

{

mp

o+

‰

˙˙™™

3œœ 7

‰ Œ

o

/

¿

¿

¿

ppp

a

¿

¿ ¿ ‰ Œ

a BD b

¿

7

¿

pp

¿

¿

¿

ppp

Œ

9

7

¿ ¿

‰

∑

¿ ¿ ¿

∑

œ œ œ

∑

a

¿

Circular motion over strings within given interval – horizontal and vertical. Faster nearest body, slower away from body. slow fast sim

& #œ

{

?

v

&

‹

œ #œ

(pp sempre)

‹

∑ Œ™ œ™

°

Ÿo æ ˙O

& B

Ÿo ˙#O æ

Ÿo ? #˙#O æ <“> ¢‹

?

Ÿo

V

æ ˙O

œ

œ

6

#œ œ œ œ œ

3.

.

#œ

œ

œ

œ

6

oo æ OO

…Ó

3

æ ‚> O

sf

3

3

>‚ æ

sf

æ p

3

>

sf

XVII

sp

-O

æ

æ Oæ -

3

-‚

p

æ Oæ -

3

b-‚

sp

3

æ æ

‚ ‚

æ æ

æ æ -‚ ‚

p sp

æ

æ Oæ p

3

Vp:

Ó

æ æ ‚- ‚

.

o

#œ XXII

XXII

XIV

sp

#>‚ æ sf

#œ ™

#œ

#œ

#œ

o

3.

o o

‰

Œ

.% _

3

∑

∑

∑

∑

∑

ppp

#œ

XVI

#œ XVIII

#œ

XIV

Ϫ

o

 œ‰ XXII

Ó

(silent)

˙

XII

GP

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

o

o

33910

ãããOããã ããã ããã ãã ãã ãããOããã

silent

∑ b

∑

∑

XVI

oo O #O æ

œ

ww

∑

XXI

oo O #O æ

œ

ppp sempre

Ϫ

oo æ OO

#œ

6

∑

ww

Ó

#œ

œ

∑

ww

o

œ

œ

∑

b ˙˙

Ó

¢&

‹

œ

v

∑

? &

v

6

‹ ¸™

°

E Gtr

w w

vib

G -™

-

¢&

Sop

Perc 1

œœ ™™ æ

lll

3 4

°

52 B Fl

B Cl

Tpt

Tbn

‹

3 q = 60 4 stir

&

#>-

o

sfp

¢&

Œ

Œ

2 4

Pno

Acc

∑

∑

∑

∑

¢&

∑

∑

∑

∑

°

CH sf 'f ' very focused

>_™

ÍÍÍÍÍÍÍÍÍ ˙™

/

¢/

{

∑

{

?

‹

&

‹

?

<3.> % _

‹

&

Œ

-™

∑

o

p

“ . ·I b œ . . . . . . . . . . . . . . . . . . . . . . . „

°

II III

3 q = 60 4

2 4

™ #O & ##OOæ™ O

o

>™ O B ##‚‚ ™ O æ

Db

?

¢‹

?

o

pp

o ∑

∑

∑

‰

Œ

∑

O O O

Œ

¿¿¿

p

?

‹

#œ œ œ

∑ ‰

Œ

Œ

∑

3

∑

∑

∑

∑

∑

∑

. . . . . . . . . . . . . . . . . . . . . . . . bœ

. . . . . . . . . . . . . . . .

…

ppp non dim

˙™

∑

∑

°

-™

¢&

‹

˙™

∑

∑

hold breath!

…

∑

∑

&

∑

o

æ -™

- r

˙

ppp sempre

Œ

o

æ -™

slow exploratory gesture

sfpp

Vc

-™

mf

_

II III

Vla

-

‰

∑

&

°

°

Vln

∑

½ air

o

coil 11 2 diag MBN

E Gtr

GP

‹

&

Œ

Sti -

Perc 2

∑

2 3 4 4

∑

Sop

Perc 1

3 4

9

˙

∑

3 4

˙™

∑

∑ 33910

∑

∑

∑

2 3 4 4 GP

∑

∑ æ œ™b œ “o Ÿ

ord

Ÿ

V ord

æ b œ ™b œ

o

∑

POG -2 -1 No pass max

æ œ™

p

æ œ™

p

∑

o

∑

∑

o

10

°

56

∑

¢&

‹

∑

∑

∑

∑

&

∑

∑

∑

∑

¢&

∑

∑

∑

∑

‹

°

ó

- mouth slightly open, jaw still + - mouth nearly closed (to take care of voice), see jaw moving, as if comprehensible! Head still, eyes alert, Very focused. Spoken low in jaw.

o

Hold breath! spoken

*Ai)

Perc 1

Perc 2

Pno

Acc

°

{

Vln

Vla

Vc

Db

No more. Quite quietly. Trick steady One below and burning. Biting of the skin shit. Quantities oh. Skin that awful and. Melt, melt. Fabulous, it is wonderful. deep down. (Charging thoughts remnants.)

Ÿæ ˙™

{

‹

L L

∑



pp

¿ ¿ ¿

#œ œ œ <3.> % _ °

‰

Œ

_™

*Aiii)

One below and burning. Biting. Melt, melt. Fabulous. So still, so, so. Stay so, stay, more dust. More skin.

Ó

∑ S ™ wÍÍÍÍÍÍÍÍÍ

∑

o

bb OOO

¿

mp

∑

bb œœœ

p

‰

Œ

Ó

∑ ww ™™

™ ww ¸

∑

∑

‹

∑

∑

∑

∑

&

∑

∑

∑

∑

¢&

∑

∑

∑

∑

‹ ‹

°

3q = 60 4

& B ?

¢‹

?

st+

bœ ™

bœ

o

pp

Ϫ

st+

œ

o

pp

st+

#˙ ™ “ppp sempre

bœ œ

ppp sempre

4 4

∑

o o

ppp sempre

I

∑

6 4

™ ™

ppp I

ppp

∑

#œ poco p

st+

n˙ ™

…

o

∑

& ?

?

slow exploratory gesture

∑

∑

Shielded well sometimes like a secret. Disclosure still. And saw me. So, so, so. Quite simple. Quite stirring.

œœ

∑

+

-_

Coils

3 4

spoken

p

æ ˙™

ppp sempre

‹

*Aii)

∑

BD

?

°

E Gtr

_™

∑

&

o

+

/

¢/

Out whisper fp

In

_™

&

Sop

∑

@@

Tbn

∑

@@

Tpt

6 4

&

@@

B Cl

4 4

@@

B Fl

3q = 60 4

∑

œ 33910

poco p

≥

≤

≥

≤

tailpiece

w- ™

tailpiece

w- ™

3 4

B Cl

Tpt

Tbn

‹

∑

&

∑

‹

≤

senza

&

∑

U ∑

≤ b-

Œ

wawa

∑

U ∑

Œ

"f "

&

,

(+) -_ ™

o

oh!

. . . . . F I  ˙™

Acc

Vla

Vc

Db

sf

&

∑

{

‹

mf

∑

‹

∑

‹

& B ?

¢‹

?

™

Ê RH Th edge

Œ

Œ Œ

U ∑

U ∑ U ∑

relieved f

-

&

U ∑

pp

_™ >

bœ ™

o

p

Ϫ o

p

Œ

œ

o

st

bœ ™

III st

o

Ϫ

bœ

o

æ Y™æ >

U æ Y™æ

trem

p

* with 'lll' flz is optional

p

sp

æ bO >‚

‰

Œ

Œ

bœ

æ ‰ ‚ bO >

sp

o

Œ

pp sempre

œœ ™™

U ∑

Œ

poco mp

U ∑ ∑

Ó

Œ

I flaut fragile

Ó

Œ

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

II III

æ ‚‚ bbOO

o

æ ‚‚ ™™

III ½-sp

Ÿ b‚ O ‚ æ æ

o

sfp

pp

o

Ó

æ Œ ‰ Ó œ™ O

o

U Œ

7 8



U ‰ Ó

pp

™

U Œ

ppp sempre

æ œ O > 33910

U ∑

mp

no POG

4 4

sp

˙˙™™

∑ ‰ Ó

°

U ∑ U

U ∑

very high

…

U ∑

∑ nb ˙˙ ™

In glass

U ∑

sffpp

o

‰

Œ

mp

5q

sffpp

œ nœ ‰

II st

o

,

pp

∑

b

U ∑

∑

∑

st

5 ¿ ¿ ¿ ¿ ¿

U ∑

Œ

U ˙˙ ™™

wait

‰

˙

p

_

a

U ∑

b˙˙ ™™

∑

‰

pp

ss - still.

U Ó™

sfppp

¢&

°

ppp sempre

∑

&

In

Œ

& ?

& ≈ œ ‰ œ. sff

≈ ¿ Œ ™ bb œœ ™ <3.> % œ ™ <3.> %¶ _

3 4

3

wawa

b >

U ˙™

ppp sempre

∑

‹

Vln

Œ

∑

°

E Gtr

Œ ∑

‹

-

p

∑

_™

¢/

{

-

o

FB

œ. ‰ ™

/

?

tone

non dim

_™ >

Quite never understood. Biting of the skin. Melt, melt. Fabulous.

…

W

U Ó

*

pp Out CH-o intense sf

Nico

Pno

U ∑

lll

6

‰ 3# œœ œœ œœ œœ 3# œœ œœ œœ œœ Œ æ æ æ æ æ æ æ

Ó

5q

Œ

7 8

"f "

senza

*Aiv)

Perc 2

o

U ‰ Œ

wawa

In panicked

Perc 1

-™

poco p

∑

Œ

-

?

°

_

3q

o

°

Sop

>-

sfpp

¢&

¢

‰

G

@@

B Fl

,

wait

4 4

@@

°

60

3 4

11

U ∑ U ∑

12

°

65 B Fl

B Cl

Tpt

‹

7 q = 86 8

∑

&

‹

-™

_

o

°

+ ‰ œ

wawa

&

¢&

Œ

&

Perc 1

Perc 2

Pno

Acc

°

œ

œ More

p f

p f

p

œ 5œ Œ

sf

skin

p

œ

èœ ‰ Ó

pp f

∑

f

{

&

‹

In frame

Œ

mf

>

{

?

‹

&

‹

?

‹

&

¢& °

sf

¶¶°

o

! ™™

‰ Œ

>

f

æ œ

∑

∑ ∑

7 q = 86 8

&

∑

! ™™

f

∑

[103]

bœ œ œ

5œ Œ

p f

pp

f

Ó

èœ ‰

[023]

> ‰ ‰ ≈œ

œ

sf

pp

+ 5œ nœ ™ æ æ f

p

∑

f

o

æ œ

pp

‰ Ó f

b OOO ‰ Œ bnœœœ ‰ Œ

o

>.

mf

Ϊ

Ó

∑

∑

∑

∑

‰ Œ

…

Ó

∑



w

XIII

7 8

∑

coil 1

III st

#˙

‰™

Œ

˙

pp

¸™ ™

f

œ

∑

æ 666 ™™

æ ‰ Œ 666

pp palm

In

½-sp 1/8

Ÿ #œ ‰ Ó -

∑

>œ& œ ≈‰ ‰ Ó

f

∑ ∑

single

Ϊ

mf

∑

˙ ™™

S clean T treble

Œ

diag coil 2

>6 66

barré f diag coil 1

‰ ≈

∑

>6. >6. 66 66 66 6

…≈ ‰

Vla

B

∑

∑

&

Œ

#˙

18

œ

pp

∑

f

½-sp

Vc

?

∑

∑

&

Œ

18

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pp

Db

¢‹

?

∑

∑

∑

f

∑

≈‰ ‰ Ó

#>‚ ™ ‰ # ‚æ™

o

f

‰

> ‰##‚‚ ™™ æ I II

Ϊ

æ ™ b ‚ b >‚ ™ I II

f

∑ 33910

‰ Ó

f

Ÿ-/ 5œ Ó

st

ord

èb ˙˙ ™™™™

o

&

I II

½-sp

Ÿ/ nœ ‰ Œ -

‰ Ó

sf RH

∑

æ œ

f

∑

mf

œ

pp

o

p + -œ æ æ nœ

f

ChCM arco

f

f

II st

sfpp

M

∑

æ

In

œ ‰ bœ œ™ >

Nor.

‰ ‰ Ó

pp LH palm

p f

æ bœ ™

∑

Ϊ

∑

sfpp sempre MBN

4 4

œ

Ó

¿

3.

 œ

f

p

mf TP Coils

o

p

f

œœ ‰ ‰ Ó

+ o œ ‰ nœ œ ‰

+ bœ

f

G Nico G slats

Ó

‰ œ æ

∑ ∑

∑

Ski -

Ratchets (high)

f

∑

∑

n>œ

Ó

Œ

pp

∑ ∑

‰ ‰ Ó

[Skin]

sf

‰ Ó

∑

sfp

#œ ‰ Œ æ

‰ ‰ ≈œ

Ó

∑

pp

o

pp

∑

∑

‰ Ó

n˙

f

Guiro

¢/

Ó

pp f

+ o +æ œ 5œ ‰ æ nœ #œ ™ æ f vib

œ

pp sempre

œ ‰ œ™ f

˙™

#œ

o

p f

Ϫ

+ o œ œ œ œ æ æ æ

/

‹

Vln

p f

œœ

pp sempre

[023] + o + o + o > œ œ œ ‰ bœ œ ‰ nœ œ ‰ ≈ œ

f

f

#è w6w

Ϊ

Œ

7 8

CTD

°

E Gtr

o

pp p

Sop

-

f

p

Tbn

∑

½ air

¢&

4 4

≥≤

èb ˙˙ ™™™™ > sffp

‰ Œ

o

Œ

B

o

‰

?

3 4

13

°

>O. 16 œœ ‰ ‰

71 B Fl

‹

&

B Cl ¢ &

‹

Tpt

°

&

Ó

o>œ ‰ #œ

Ó + ‰ bœ

Perc 1

Perc 2

Pno

Acc

°

œ ‰

f

f

p

f

nœ ‰ bœ ™ f

o

∑

‹

?

E Gtr

‹

Ó

°

Ϊ

Vla

& B

Vc

Db

¢‹

f

∑

>œ œ

æ œ ‰ Œ

Ϊ

sf

>œ

f

o

>6 sim 6 6 ‰ ‰

Q ò

mp high partials In

œœ™™

>6 66

pp sempre

Ϊ

o

sf

œ

p

o

œ

+ œ

œ

f

p

f

p

f

œ

œ

f

œ æ

Œ

U ∑

Ϊ

æ œ

CTD

f

o bœ f

+ œ æ

æ

æ œ

p

‰

f

‰

U ∑ U ∑

æ œ

Ͼ

p

Ϊ

æ O >‚

IV

sffpp IV

æ b>‚ n O

Œ

Ϊ

‰ æbO ‚ “>

O

-

æ ‚™

IV

Œ

æ

‚

æ

-

æ æ ‚> b O ‚ ™

IV ½-sp

èb ˙˙ f

o

‰ ‰

sffpp

æ

æ

>‚ æ

U ∑

f

U ∑

>‚ æ ‰

f

æ

>‚ Œ æ

U ∑

>‚ æ ‰ Œ

U ∑

max

æ œ

&

f

Œ

f max

Œ

p

f

18

∑

Ϊ

‰

f

œ& ‰ ™ œ

In

∑

Ÿ-/ œ

. . . . . b œ œ . . .

‰

f

bœ

Ÿ-/ œ

pp

f

18

‰

Ó

œ

Ÿ/ b-œ

Ó

pp

f

18

&

Ϫ pp

Ÿ/ œ -

18

f

Œ

…‰ Œ Œ™

f

Ϊ

≥

sp

b œœ

sffpp

33910

3 4 B

‰ Œ

f

∑

œ æ

Ϊ

∑

œ

o

+ nœ æ

Œ

∑

˙

pp

f

∑

˙ ™™

18

p

Ϊ

5œ æ

Ϊ

p

Ÿ-/ œ

p

sff

pp

œ

f

∑

“ . . . . . . . . . ·I b œ œ œ œ œ œ œ œ œ . . . . . „

U ∑

∑

p

o

æ œ

∑

œœ™™

[023]

f

+ œ™ æ

∑

U ∑

o

‰

p

æ œ™

CTD

œ ‰ œ

mf

p

‰

+ œ

‰ bœ

XII

Œ

o

+ œ

‰

coil 11 2 MBN

Ϊ

Œ

>œ

U ∑

U ˙˙

fast vib

Œ

o

+ œ

U ∑

b œœ > ° sf Æ ¶¶

œ

p

Re -

max

‰ ‰

™ ¸ Œ

Ϊ

‰

[Rest]

æ œ™

œœ

‰

U ∑

œ æ

æ ˙

sffpp

?

o

p

Ó

sffpp

?

f

sim

∑

¢&

+ o) + ‰ bœ œ bæœ nœ æ æ æ p (

∑

‰ ‰

&

‹

Vln

Ó ™™

∑

pp

sf

‰ ‰

U ∑

U ∑

f

p Cab

∑

‹ ¸™™™ & Ó

∑

U ∑

bœ œ Œ

High Ratchet

∑

&

°

sf

Nor

∑

{

™

p

mp

> œ nœ œ æ f

¢/

&

f

pp

+ fo p+ æ æ œ bœ bæœ

∑

pp

+ + bœ œo ‰ nœ

/

{

‰ Ó

œo

p

U ∑

pp

o + œ bœ

p

&

œœ ‰ ‰ Ó œ œ

sf

¢&

Sop

3

10b

p

Tbn

f

>O. œœ

ord

œœ ™™

?

14

°

76 B Fl

B Cl

Tpt

Tbn

‹

3 4

∑

&

¢&

∑

‹

¢&

Perc 1

Perc 2

Pno

Acc

p

f

nœ

#œ ‰

Œ

pp

f

+ æ & #œ ™

Vla

Vc

f

p

+ œ

f

p

¢/

{

ããOãã ããOãã

silently

f

Rest

&

‹

{

?

∑

Œ

∑

Ó

f

>

.% _

3

‹

&

∑

&

∑

‹

∑

&

¢& °

∑

3 4

Ÿ

æ nO ™ O

& B

o

Ÿ

æ bO ™ nO

o

Ÿ æ O ™ #O “o

?

? ≤Ÿ Db ¢‹ æ bO ™bO V

™ ¸ Œ

S

Œ ™™

double lead treble

T

7 8

(silent)

sf

#œ ™

∑

I œ ‰™ Œ

Nico

o

M TT

‚

p

‚

p

‚

æ æ

p

‚

p

‰

f

…≈ ‰

Ϊ

∑

‰ Œ™

Ó Ó Ó

‰ f

Ó

f

¿

‰ Œ

∑

∑

4 4

Ó

&

&

o

™

Œ

#‚ O ‰ # ‚æ O I sp II

Œ

o

I sp II

#O ##‚‚æ O o

Ó

Œ

Ó

‰ #‚ æOO ‰ #‚

sp

b ww >

7 8

∑

‚‚ æ

f

∑

f

33910

vib

œ ‰

æ ˙

M

Ó

max

pp

I œ ‰™

M TT

Œ

f

‰ œæ

Ratchets

Œ

p

Ϊ

∑ w ™™™ # w ¸ pp

∑ & 3 ≈ ≈‰ Œ .

…

S

4 4

‰ Œ

Ó

single clean normal

Ó

T

coil 1



> ##‚‚æ

‚‚ æ

‰

> ##‚‚ ‚‚ æ æ

‰ Ó

o

Œ

f

o



Ó

7 8 B

f

æ æ ‰ Œ ##>‚‚ ‚‚ o sf

˙˙ ™™™™

f

more

sf

?

f

V sp ord IV

≤

ord

sffp sempre

more.

sf

I sp II

o

‰ ‰ Ó ∑

f

p

#œ œ æ

f

coil 1

Ó

Ϊ

o

f

+ æ #œ ™

Ϊ

œ pp

p

∑



mf

#œ ™

Nor.

bœ æ

Œ

f

∑

Œ

o

f

o> bœ œ æ

∑

‰™ Œ

sfp

o

œ #œ

sfpp

sf

bb œœœ

f

æ

f

∑

f

‰

pp

Œ

.

f

f

‰ Œ

œ

pp

O

f

‰

 œ

f

œ Œ

f P Coils P

sf

MBN sf (silent)

‰ èœ

o o2 + œ #œ ‰ >œ ™

œ

œ

‰ Œ

œœ

f

‰ Œ™

Œ

œ Œ

+ œ æ

G G slats

Œ

Ó

lv

‰

∑

p

3

o

+ o + œ œ œ

p

or

mf

Ó

p

f

æ œ™

>œ

4b

Ϊ

o bœ bœ æ

p

∑

f

f

sf

XI

æ

p

∑

Ϫ

>6. >6. 66 66

œ

o + o + #œ ‰ nœ œ œ æ æ æ æ f

æ œ™

f

diag MBN

nœ

p

#>œœ ™™

Œ

½-sp

o

sf ¶° ¶

p

pp

‰ Œ™

>

f

f

no more.

Œ

p

‰ Ó

7 8 sf

pp

- + ‰ èœ næœ

p

4 4

∑

f

f

In

sff

+ o + o #œ œ œ ‰ nœ œ

f

#蜜 ≈

o

f

o

O.

Œ

_™

œ œ ‰

∑

o

f

œ

œ œ

œ

Ϫ

>O #蜜 6 ‰™

[103]

pp

o + o #œ œ æœ æ æ f

p

7 8

œo Œ

+ ‰ œ

∑

/

‹

Vln

p

-™

o

W

°

E Gtr

-

f

p

°

Œ

Ϫ

o

½ air

o œ

&

4 4

∑

+ o + œ ‰ œ œ #œ

°

Sop

7 8

≥≤

gliss V

b5>˙˙

sffp

˙˙

f

°

81 B Fl

B Cl

Tpt

Tbn

‹

7 8

&

>O. >O. 2# œœ œœ f

œ

¢&

‹

3

≈‰ ‰ ‰

èœ

°

Ó Ó

+ o œ œ p

f

œ ‰

¢&

f

b >œ

Ó

&

Ó

Perc

Pno

Acc

°

™

pp

bœ œ

Vln

Vla

Vc

Db

Coil 1

æ œ

{

&

‹

{

?

‹

&

sf ord

œ <3.> % _ # œœ ™™

¢&

‹

‰™

°

& B ?

¢‹

?

mp

n˙

Sha -

‰ œ œ œ Ó >

˙˙

Ó

Ÿæ ˙

æ ˙

f

ppp

mp

∑

Ϊ

f

‰

+foil

POG -2 -1 max

æ ‚o ™ O

æ b ‚o ™ O

æ ‚ ™ #O “o æ ‚™ o O

IV sp

5œ

ppp

‰ Œ

p

∑

Ó

Ó

Ÿ o2 + bw æ

‰

BD

_

H

In 3

Ó

o

U ∑

œ

œ °

loco

&

mp

Ó

Œ

U ∑

o o #O. #O. Œ

Ó

‰

>

‰ Ó

U ∑

#œ œ Œ

Ó

™ ¸™ bw

>

U w

pp

∑

∑

U ∑

4 q = 50 4

10 q

∑

ff

∑

ff

∑

ff

∑

U

st+

10 q

o

¿¿

bw

mp

¿¿

bœ bœ ‰ Œ

Ó

™™ ¸ Ó

˙

3

Œ

Ó

∑

w “

ord

œœ ™™

mp

33910

nO bO

Ó ™

wawa 1

pp button

˙ æ

Ÿ

… 6

∑

mp

whammy

mp

nb ww

/

∑

pp sempre

Ϫ

U

Œ

∑

mp

e-bow

mp

U w “o

¿ >- -

- ™™

œ

Ê

Ϫ

o

(attacca) Out! (with 'fry') sf

Rin on BD arco

∑

mp

U

o

mf

Ϫ

bw

‰ ™ b>

mp

œ

∑

Œ

o

senza T

du - st. So, so, so. Stay so. Not unsaid. no say. Some thing. Some moment. More dust. Untold untruth. More skin. More said. Yes. No more Conclude remnants and...

Ó

∑

ff

*B)

™™ >_

Ó

U ∑

Ó

&

‰

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Hold breath!

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frame

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b

ppp

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p

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pp

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&

4 q = 50 4

18

15

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espr III st+

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lv

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TP Coils

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Ring Modulator [plunger]

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coil diag

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66.

66.

66.

66.

66.

66.

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66.

66.

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œ

≈

œ

ne - ver

sf

>- - - 6

-

¿

>

ppp

mp

pp

,

sf

( )

œ

# œ n>-

œ-

no ne -ver un - der - stand. No

¿ ¿

more.

mp 3

- - -. >

¿ >

f sub

>œ

¿

-

∑

¢/

∑

∑

{

-˙

&

3

‹

?

{

-˙

œ

-˙

œ 3

∑ ™™™ ¸ ˙˙™™

∑

˙

œ XIX

æ ™

&

<“>

3

XX

œ

œ

#œ

XXII

XVI

æ ‚O >

3 4

f

œ

œ

XIX

‚ >

æ

3

O >

æ

#œ

3 XIV

œ #œ XX

XXIII

æ ‚

pp

sfpp

sf

sf

pp

>‚ O æ

>‚ æ

>O æ

‚ æ ‚ æ

sf

>O æ

sf

>‚ æ

>O æ

‚æ

æ ™

B

…

æ Y™æ

pp

°

¢‹

b f

æ Yæ

¢&

æ™

sfpp

sf

b>‚ O æ

b>‚ æ

pp

sfpp

pp

>‚ #O æ

æ™

quantity.

f

∑

‹

3

b

œ

sub

&

?

t- t- t

pp

&

ff

>œ > œ œ. œ. œ. >œ

3

mp

#w › w

?

shi -

œ

∑

&

¿

#>œ

Quite qui - et - ly. Trick, stea - dy,

∑

‹

Vln

Œ

/

°

E Gtr

Œ

slow [

Œ

sf pp

& #œ œ No

Acc

5 8

f

Sop

Pno

#˙ #˙ æ

6œ

5

Perc 2

‰

œ

pp

˙™

?

mp

Perc 1

mp

∑

&

¢

3 4

21

sfpp

sf

33910

3

3

3

sf

sf

æ ‚™ >

f

>‚™ æ

f

>‚™ æ

f

>‚™ æ

f

5 8

b b b b

22

°

108 B Fl

B Cl

Tpt

Tbn

5 hold tension!4 8 4

&

∑

∑

¢&

∑

∑

‹ ‹

°

&

˙

¢

?

w ∑

pp

∑

œ

Oh

--

5œ

--

-.

-3

and that aw -, aw -,

*

U ∑

∑

U ∑

∑

U ∑

œ-

aw -

5

bœ-

- ful

*

3

œ

œ

œ

deep

,

U ∑

∑

Sprechgesang

distant and simple

˙™

4 4

∑

+

∑

&

Sop

œ

7 8

,

U ˙

,

Œ

down.

[awful]

Perc 1

Perc 2

Pno

Acc

°

¢/

{

∑

&

‹

{

∑ S

TT explore melody!

w

›

˙ ™™

pp

∑

∑

∑

∑

∑

U ∑

Ó

™ ¸™ Œ

U ˙™

˙ ™™

œ

pp sempre

∑

„ œ™

‹

∑

¢&

‹

°

no POG

∑

5 hold tension!4 8 4

∑ ∑

Ó

7 8

flaut MBN

Ó

o

#œ ™ IX

œ

U ∑

Vla

B

∑

∑

∑

U ∑

Vc

?

∑

∑

∑

U ∑

∑

∑

∑

U ∑

¢‹

* gasp.

33910

‹

?

‹

,… o

˙™

∑

?

Œ

,

?

X

∑

Db

o U Ϫ

U

pp

4 4

Ϫ

&

Vln

∑

œ

,

U ∑

∑ e-bow

&

Œ

∑

∑

&

U ˙™ U ∑

∑

&

∑

ÍÍÍÍÍÍÍÍÍÍ

prepare fishwire

?

°

E Gtr

∑

/

,

U ∑

,

3 4

q = 60 °

112 B Fl B Cl

Tpt

Tbn

‹

Acc

¢

Vla

Vc

Db

ppp

U ∑

∑

Œ

_

o

o

&

°

/

{

"Sprechgesang" like weird Morse-code. Exagerate consonants! Out intense 'p' sempre (hand tight over open mouth)

*Ci)

++ w

bœ

∑

BD q = 52

œ-

pp sempre

œ- œ- œ- œ-

pp sempre

œ- œ- œ-

d ïc w

fishwire

&

‹

pp sempre

{

°

¸™ 1–4 ?  œ œ ‹ í ™o ™

‹

 bœœœ

B

? ¢‹

?

œ

“o

V st

bœ

o

Œ

¿™

Ϫ

#w IX

4q

st

IV st

o

sf

∑

Œ

‰

Œ

∑

Œ

?

≈

bœ p

bœ p

œ p

œ p

bœ

bœ

œ bœ

Ó

o

o

>œ&. œ ‰ Œ

sf In

o o

* Keep shout low C (don't scream)

∑ ∑

double

IV

˙

pp sempre

U #˙

vib

3 4

reg vib

∑

œ II sfp III sp

Œ

> b ‚‚ æ™™ b ≈ ¿™ whisper > skin

II sfp III sp

6q

U ∑

Œ

> æ™ ≈##‚‚ ™ ¿™ whisper >

o Œ

o Œ

f

U ∑

Œ

whisper f

≈ ¿™

U ∑

Œ

whisper f

≈ ¿™

skin 33910

IV ord

œ

o

IV ord

œ

˙ ppp

˙

o

ppp

œ

˙

Œ

IV ord

Œ

V ord

skin

Ó

Û

S clean T bass

skin

Ó

∑

…

Ϫ

f

Ó

Û

pp sempre

flaut MBN

q = 60

o

≈ ¿™

whisper f

„ U w

∑

œ

whisper f

e-bow

¢&

IV st

#- ™ >

∑

skin

∑

o

senza

∑

˙™ Œ

∑

TRICK, steady shit. Biting of the skin and Quantities of. Quantities of. Awful deep down. Awful deep down.

Û

o ™™î

pp

1–3 3

bœ

o  n>œ

#œ

U

Fast repetitive figures within given intervals. LH/RH different rhythms. Aim for a blurred image.

‹

&

™

≈ ‰ Œ

>- >-

skin

&

°

(attacca) In sub 6 f

Û

U ∑

∑

p

++

-

ff

wawa

Œ

U

U w

?

?

>œ

5œ

o

Œ

sff 'p' non dim sub

More said. Nor unsaid. So, so, so. Quite. Quite simple. So still, so. Stay, more dust. More skin. Untold. Untruth. Even if you quite. Ah! Shit no never. Quite quietly. One below and burning. Biting. Melt, melt. Fabulous oh skin! BD q = 72

‰

p senza

o2 *¿

H

f

œ

≈ b- ™ >

Bi - ting

G

-

f

‹

Vln

+ 5œ ™

U ∑

∑

?

∑ Œ

pp sempre

&

°

E Gtr

U w

#w

‹

Perc 2 ¢ /

Pno

pp sempre

¢&

Sop

Perc 1

U w

5w

&

°

6q

4 4

23

o

œ

o

ppp

˙

ppp

4 4

 bœ ff

 bœ ff

24

°

116 B Fl

B Cl

Tpt

Tbn

‹

4 q = 56 4

>O. >O. >O. >O. œœ œœ œœ œœ ‰ Œ

&

‹

?

¢

U ∑

∑

U ∑

∑

U ∑

vib irreg pulse

w

o

œ

œ

*Cii) Charging.

w

pp *[wawa ]

+

w

o2 ++ ¿ ‰™

sff p non dim

U

œ

Thought´s remnants. Some thing. Some moment. Yes unnamed, remnants and dust. Crimson crimson. No more no say untold untruth. Conclude unnamed. Clouds, breathe and dust. Nearly, quite quietly. Quite almost remnants, our shadows. Untold of dust. More dust my skin. Yes quite simple. Stir still so quietly. ** [More quietly. Yes] deep down. Some light. Some burning. This dust. Biting more dust. More ...

Perc 1

Perc 2

Pno

Acc

°

Vln

Vla

Vc

Db

œ

/

¢/

{

BD

Œ

lv

œ-

pp sempre

œ- œ-

‹

?

& MBN

‹

°

 bœœœ

barré 3. freely

w

B ? ¢‹

?

˙

…w o

sp flaut

o

Ÿ #>œæO ½-sp

ff ½-sp

Ÿ æ #>œ O

>

sf

U . . pp



>™ ™ æ

o

pp

o

pp

‰ Œ

10 q

U ∑

‰ Œ



>™ ™ æ

sff LH

bœ

>.

Œ

U ∑ U ∑

Ó

¿™

‰

skin

‰™

whisper f

¿™

‰

skin

Ó Û

>

í ™™o

o ™™î

mp

Û

œ XIII

æ ≈ ‚‚ ™™ >

Œ

sffp

‰ Œ

>™ ≈##‚‚ ™ æ

sffp

Ó

‰™

whisper f

‰™

whisper f

¿™

‰

skin

Œ

‰™

¿™

‰

skin

¿™

f

whisper

‰

skin

‰ Œ

U ∑

Ó

Ó

‰™

whisper f

¿™

skin

ff

* [+] = resistance gives 'up' ossia: senza ** optional "In" breath if necessary.

33910

Û

skin

œ

sfpp

bœ

˙

I

æ ‚‚

>

In

‰

f

>

7q

. . .

sfpp

>

sim

Ó

¿™

Û

f

whisper

U sim

> .

sp flaut

U

>

Quite melting. Yes crimson no more ...

‰™

‹

?

-œ

whisper

& ≈ œ ‰ Œ œ.

U ∑

o ™™î

1–3 3

#‚‚ æ

d ïc

o2 ++ ¿≈Œ

‰

‰™

Ó

mp

sff p

... lies. So told. So so. Quite simple, still so. Quite quietly.

RH remove wire

sf

pp

5-œ

Œ

Ó

U w

sim

4 q = 56 4

&

œ-

∑

¶¶°

?  ‹ í ™œœo ™

œ-

U U

ppp sempre

1–4

¢&

pp

d ïc ˙™

Œ

sf

‹

œ-

œ-

?

{

q = 104

Ó

p

q = 60

&

°

E Gtr

ChCM arco

mp

wawa

10 q

++ w

&

pp

ppp

sim Out 'p' sempre

Sop

5w

U ∑

∑

wawa

&

10 q

Ó

sff

¢& °

3 4

3

‰

3 4

°

119 B Fl

B Cl

Tpt

‹

3 4

Wild!

>O œœ 3

‰

&

œœ

>O O O O >O >O >O #蜜 œœ œœ œœ# œœ œœ œœ ® 14

6

#蜜

sffpp

∑

‹

‰

&

senza tk

æ -™ pp

O

b>œ

‰ Œ œ.

wawa

>œ

o

sfp

"f "

#[wawa] 6™

multiphonic "scream"

Tbn

¢

?

Œ

o

In Wild! sub sub f

 >œ

&

Sop

‰

‰

Ϫ

Biting of the skin.

M-

Perc 1

Perc 2

Pno

Acc

°

/

{

Œ

&

‹

{

?

In

sf

‹

?

Œ

 œ

‰

-¿

‹

¢&

3 4

&

double POG -2 -1 max pass on

S clean T treble

Œ

Œ

‰

Vla

∑

‰

whisper

sim ff

-¿

Œ

Vc

Db

? ¢‹

Œ

Œ

Ϫ

o

Œ

‰

Œ

Œ

‰

‰

o

+ Œ&

œ

∑

∑

10

œœœœœœ œ œ œ œ

-

L L

Œ

≈ œœ

Coils

CTD q = 46

Ó

-

7 8

-

œœœœœœ

ppp

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

-

-

sim whisper ff

-¿

-

o

> ¿ ≈‰ Ó

Ϊ

bi

-

-

ff whisper bi sim

-

-

¿ V sp ˙ >

sffp

33910

Œ

b œœ

7:2

∑

∑

∑

∑

RH trem 1./2. ppp sempre

te

∑

ææ w “

∑

whammy

‰

te

‰

te

> ¿ ≈‰ Ó

¿

¿ ¿ ¿ ¿

te

> ¿ ≈‰ Œ

¿

O. O. O. O.

7:4

°

> ¿ ≈‰ Œ -

œœœœœ Œ

b œœ

∑

¿

11:4

¿ ¿ ¿ ¿ ¿ ¿ ¿

palm

>˙

∑

ppp

> ¿ ≈‰ Ó

¿

-¿

-¿

œ

CTD q = 46

∑

sffp

sim whisper ff

bi

?

™™™ ¸

-¿

bi

B

f

∑

-

whisper ff

bi

b˙™ ∑

˙™