Page 1

Nr. 12540 R


Unter der Nr. 12540 R in die Edition Peters aufgenommen


Commissioned by the Sächsischen Staatskapelle Dresden and Casa da Musica Porto.            

                General    Within this very reduced palette of sounds, the extremes of articulation are very important - absolute contrast of timbre, attack and intent. Take every opportunity to explore soft, expressive and warm sounds, in contrast to the loud, distorted and choleric sound material. Silence is the canvas - despite choleric nature of sound material, all sounds surface out of and disappear into silence. Change bellows freely adapting and changing notated suggestions as necessary.

Tempi At “slower” take your time to draw out expressive and melodic moments. Sudden contemplation. Absolute contrast to the driven and passionate music.

In the faster section ( e = 66 is maximum) the double bass solo defines the driving pulse.

Duration 12 minutes.

R.S. Berlin, XII.2010

Satz und Layout


General Within this very reduced palette of sounds, the extremes of articulation are very important - absolute contrast of timbre, attack and intent. Take every opportunity to explore soft, expressive and warm sounds, in contrast to the loud, distorted and choleric sound material. Silence is the canvas - despite choleric nature of sound material, all sounds surface out of and disappear into silence.

Tempi At “slower� take your time to draw out expressive and melodic moments. Sudden contemplation. Absolute contrast to the driven and passionate music. The faster section (@66 is maximum) the double bass solo defines the driving pulse.

Duration 12 minutes.

Satz und Layout:


Bass clarinet in Bb   Written for the Boehm clarinet system. Written in Bb in the score.

Multiphonics:

Either an exact fingering is given for specific multiphonics, e.g dyads, or a description of the characteristics of a multiphonic is given in the score, e.g: high partials, stable. Some very effective complex multiphonics (sustained and tongueslap) can be found using the r3 key.

For all multiphonics (sustained and tongueslap) a) with written tone:

Tongueslap:

a) written tone only:

b) without written tone:

b) multiphonic tonugeslap with or without written tone:

c) high and complex, bass tone irrelevant:

Dyad – a 2-part sound given with the notated fingering. With and without fluttertongue - Ossia: replace fluttertongue with bisigliando on the dyad, if necessary.

There are four dyads:

For alternative dyad-fingerings for the German clarinet system, please contact the composer.

Underblown. Play written tone and „release“, allowing a second tone to be added (about 10th below). Subtle, beautiful and quiet.

Clear two-part sound, written tone and it´s overblown very high partial. The dominating high partials can be controlled. When quiet, shimmering and delicate, when loud, very distorted:

air

No tone. a) air - closed normal embrochure. b) open air – upper lip removed from reed.

To an extreme wide vibrato with crescendo. Assume non vibrato unless otherwise given.

1/4-tones, they have an expressive and melodic function and need not be exact.

Continuous and even transition from one timbre to next.

A very slow and gradual tongue glissando, dark and special timbre – enjoy!

bis.

Bisbigliandi – key trill with same tone.

1/8-tones

Fluttertongue (FLZ).

Tonguestop abruptly onto next beat.

Crescendo and decrescendo from and to nothing.


Accordion

Button accordion with three manuals MI, MII and MIII. Range MII/III:

Range MI:

MII: F+ = major chord; F- = minor chord; +7 = dominant 7th chord; -7 = diminished 7th chord.

MI chin registers for sudden register changes and double register sounds: [out]

[In]

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. A chromatic cluster outer tones included.

A wide chromatic cluster in given range, exact tones not important.

Gradually depress for gentle start, as if from nothing.

Decresendo as if to nothing.

Single tones naturally emerge one by one with crescendo, and disappear one by one with decresendo.

Half-depress button (M1) to lower tone by ca 1/4-tone. Bring out beats between the tones on MI and MII.

Bellows shake (trem.).

Accents always at maximum dynamic sf.

Bellows stop, dead onto next beat.

vib.

air

Air only.

Possible types of vibrato include: ord. LH vib, ord RH vib, knee vib, button vib – use as you feel appropriate. Always without vibrato unless otherwise stated.


Piano Grand piano with sosenuto (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 or a hard stiff plastic credit card to glissando strings. On the keys: Chromatic cluster.

palm

Chromatic cluster with fore-arms, written tones important.

ord.

Chromatic cluster with palm of hand.

Prepare and hold down cluster silently.

There are occasional ordinary tones – these are always marked!

On the keys and inside:

Damp at the bridge.

Damp in front of dampers sounding the given overtones. Other tones also heard. A fast release of fingers from strings helps harmonic to sound longer and clearer.

Slide finger along string during repititions from bridge to dampers, raising pitch and tightening sound.

Left hand fingertips stop strings in front of dampers. Sounding mid-range overtones.

Completely damped, behind the dampers, at top of the piano – percussive and wooden.

Ordinary tones.

Inside the piano: In

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

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

Flat palm hits wide cluster of strings behind the dampers.

Flat palm hits wide cluster of strings behind the dampers.

Abrupt „flick“ action with nail away from body behind dampers. Sounding high overtones and written tones partly heard.

Fast glissando on strings in front of, or behind, the dampers with hard plectrum. Brutal if low and ff.

Fingertips (2,3,4) hit strings staccato in front of dampers. Find position where rhythm is heard clearly.

Fingertips (2,3,4) held tightly together brush stringly lightly back and forward in front of dampers. Find position where rhythm is heard clearly.

On lower cross of metal frame inside piano with hard felt beater.

Low:

Medium:

Pedal: 3rd pedal.

Sustaining pedal.

Pedal-action attack. Stamp foot for big pool of resonance.


Percussion

Instruments: Bass drum Bell plate Tamtam 4 large glass vessels Timpani, with can and chain Metal plate Lions roar Sizzle cymbal Guiro Woodblock Ratchet

BD BP TT Glass Timp. + Can Metal LR SC guiro woodblock ratchet

Large natural skin, double-sided.

BD

Just off-centre for full resonance. dowel + needle

Wooden dowel Ă˜ 12mm, length ca. 25cm (short), very fine rings. Knitting needle size 3,2mm. Dowel is laid flat on skin of drum. Needle moved slowly back and fowards, giving very high changing overtones. At

rim.

combines with deep resonance of drum. At

hear very high partials only.

Play on wooden rim. Two soft large beaters, the first at

BP

1cm from rim, hear very high overtones and no deep bass drum resonance.

on skin of bass drum, the second hits first beater. Vary pressure of first beater on drum head as shown:

Extremely large, aluminium.

1. fundamental in middle of plate contrasting 2. 2. lowest fundamental at bottom of plate. 3. and 4. contrasting partials on top edge.

Fundamental pitch: 4 contact points:

*) Alternative for 3. and 4. - extremely high buzzing partials:

1. or 2.:

TT

1. or 2. and 3. or 4.:

two coils placed on foam for very long resonance, struck at contact point giving highest overtone with metal triangle beater (heavy).

3. or 4. only:

Ă˜ 95-100cm Paste tamtam. A Wuhan tamtam is too heavy for theses sounds. 3 contact points:

1. absolute centre 2. in centre ring 3. in outer ring


+ chain

Glass *)

Hang a very light thin chain or wire over the edge of the tamtam when indicated. When tamtam is struck chain vibrates lightly on surface of tamtam in a regular pulse. Timbre combines with metal shimmering overtones of BP contact points 3. and 4., and the overtone sounds of the inside piano.

Very large glass vessels (oversize glasses or vases) partly filled with water to obtain given pitches, are played with moist fingers around outside top edge. Bowl of water also needed. Pitches:

*) Alternative: Rins Klangschalen from Asian Sounds in KĂśln, Germany, on Timpani or on Bass drum (natural skin) for very long resonance.

Timp.

Pedal alters pitch up to about one octave. Highest pitch:

Ă˜ 26-inch, lowest pitch tuned down a fourth:

Lowest pitch:

Glissando from highest to lowest pitch.

+ Can

A very light empty aluminium can, e.g a 1000g light coffee can, placed on centre of timpani head with tiny very light sizzle chain inside. Superball beater/s dragged back and forward across the skin. Note: a change of direction gives a clear accent. Use two beaters as necessary. When loud this is ferocious. Lowest pitch has much resonance. Highest pitch is very distorted.

Metal

Large metal plate laid flat on bobbly foam, with a complex spectrum and no clear tonal centre.

LR

Very low pitch lions roar (from large drum head).

SC

Large sizzle cymbal, hung.

Guiro

Medium.

Woodblock

Mid-low ptich.

Ratchet

Low and loud, fixed to stand.

Beaters: Large-headed superball beater/s i) see Timp. ii) gently dragged over surface of BP for deep ringing sound.

Bow with bass bow at edge of BP, TT or SC. Start the tone sooner if necessary. Vary the overtone spectrum according to the brief description, e.g: mid, complex or; high single partial. On BP one specific tone is given: BP. Find 2 positions on top edge (contact points 3. and 4.) producing extremely high shimmering overtones, which ring for a long time. Hit with a square-edged (not rounded) iron implement (e.g: kolberg crotale holder!) or similarly shaped not too heavy implement. Large soft tamtam beaters.

Hard plastic beater.

Bass drum beaters.

wirebrush

Rubber beaters.

Wire brush, light.

Snare stick. Chose a thicker snare stick for the sff attacks on BD if necessary. At rim there are 2 contact points on snare stick: a.:

b.:


Violoncello     s.t.

Sul tasto.

½-s.p.

SP-colouring, but at all dynamics written tone remains audible and noise/overtone content is heard but not dominant.

s.p.

Sul pont. :

a. at pp/ppp, hear overtones – no written tone b. p - f distortion and noise content grow c. at ff complete “noise“.

Bring out high overtones.

flaut.

s.p.

s.t.

Gradual and constant change of timbre.

Flautando – very fast and light bow stroke.

Crescendo from silence, or decrescendo to silence.

Raise or lower by ¼-tone - a timbral and expressive function which need not be exact.

”Noise” attack, marcato extreme accent, deep in the string, and then subito ordinary, unless otherwise indicated.

Raise or lower by 1/8-tone

Vibrato pulse at start of note, like an expressive accent.

Bow stop onto next beat.

Double stops: on long notes bring out interference beats between the two tones by controlling speed of bow and allowing open string to ring.

Glissando to highest pitch on given string.

Glissando from highest possible tones on given strings.

Vertical motion back and forwards between fingerboard and bridge – complete distortion.

Battuto violently, sff (crini) on the fingerboard and hear wood of bow hit fingerboard. Sempre secco.

Fast left hand ”release“ pizzicato of all open strings.

Barrée glissando to top of strings bringing out distortion and overtones.

A clear break.

Let the open strings ring.

Play like a harmonic at non-harmonic node around the area of the 4th – 8th harmonic. Heavy staccato. Avoid “proper” overtones and seek double layers of overtones with sul pont bow position. Very loud and complex noise component.

Play around the area of the 4th – 8th harmonic and seek double layers of overtones with the sul pont bow position. With distortion.

Left hand or right hand slap on given strings. Loud and percussive.

Right hand Bartók pizzicato.

Battuto ord. with the hair.


Solo Double bass For large double bass with five strings. For scordatura tuning please see bar 1.

s.p.

Sul pont. :

a. at pp/ppp, hear overtones – no written tone b. p - f distortion and noise content grow c. at ff complete “noise“.

s.t.

Sul tasto.

½-s.p.

SP-colouring, but at all dynamics written tone remains audible and noise/overtone content is heard but not dominant.

Bring out high overtones.

flaut.

s.p.

s.t.

Gradual and constant change of timbre.

Flautando – very fast and light bow stroke.

Crescendo from silence, or decrescendo to silence.

Raise or lower by ¼-tone - a timbral and expressive function which need not be exact.

”Noise” attack, marcato extreme accent, deep in the string, and then subito ordinary, unless otherwise indicated.

Raise or lower by 1/8-tone

Vibrato pulse at start of note, like an expressive accent.

Bow stop onto next beat.

Double stops: on long notes bring out interference beats between the two tones by controlling speed of bow and allowing open string to ring.

Glissando to highest pitch on given string.

Glissando from highest possible tones on given strings.

Vertical motion back and forwards between fingerboard and bridge – complete distortion.

Battuto violently, sff (crini) on the fingerboard and hear wood of bow hit fingerboard. Sempre secco.

Fast left hand ”release“ pizzicato of all open strings.

Barrée glissando to top of strings bringing out distortion and overtones.

A clear break.

Let the open strings ring.

Play like a harmonic at non-harmonic node around the area of the 4th – 8th harmonic. Heavy staccato. Avoid “proper” overtones and seek double layers of overtones with sul pont bow position. Very loud and complex noise component.

Play around the area of the 4th – 8th harmonic and seek double layers of overtones with the sul pont bow position. With distortion.

Left hand or right hand slap on given strings. Loud and percussive.

Right hand Bartók pizzicato.


fury II (2009)

The score is transposed

Rebecca Saunders (* 1967)

concerto for solo double bass and ensemble

Slow = 50

R

[– R4 & L4]

½ -air

tone

air

Boehm - Bass Clarinet in B

sub. vib.

Accordeon

non vib.

B.S.

(

)

(

In

Piano

) 3

3

In

3.

8

3. P

3.

+ chain

TT Percussion BD

2

3

Slow = 50

s.p. flaut

ord.

Violoncello s.p. flaut. Solo Double Bass

8

ord.

8

Scordatura: Litolff / Peters Nr. 12540 R

33034

© 2010 by Henry Litolff’s Verlag


2 ½-air

8

air

[circular breath] very long! ½ -air

air

sub. = 69

sub. vib. pulse

tone

Bcl.

Acc.

B.S.

( mid.

Pno.

)

(

In

)

6

8

P 3.

3

1

chain

BP MP TT BD

pressure

BD

(no chain)

P

3

P

l.v.

sempre

sub. = 69

pizz. vib.

very long!

arco v. warm vib.

s.p. flaut.

s.p. distort (non flaut.)

Vc.

sub. s.p. ord. Solo D.B.

3

3.

1

s.p. flaut.

I s.p. distort II

3

8

33034

batt. viol.


15

sub. = 60

3

sub. = 54

bis.

Bcl.

1 by 1

1 by 1

Acc. 3

B.S. 2. 3. R.H. 4. (

)

(

Pno.

) Th

3

In

sempre

sim.

3

8

L.H.

loco

P

3.

sim.

2. 3. 4.

P

arco

*

Glass BP TT BD

mid + complex

sub. = 60

fl warm vib.

sim.

fingers

arco

* Pace carefully, start

approx. where shown, play until ca. bar and l.v.

sub. = 54

Vc.

3

Solo D.B.

sub. ord.

sub. ord. s.p. flaut.

3

3

8

sub. 33034

(IV:

)


4 21

Bcl.

poco vib.

Acc.

Pno. 8

P

3.

P

P

P

P

l.v.

3.

P

l.v.

Glass

ord. II III

III

ord. II poco vib.

Vc. IV *)

Solo D.B.

sub.

sub. vib. ord.

poco vib. expr.

sub. s.p. flaut.

8

s.t. 8

8

sub.

*) ossia: no IV 33034


ca. 3

27

10

5

sub. = 66

air

tone

Bcl.

ca. 3

non vib.

10

sub. poco vib.

Acc.

ca. 3

(

ord. 4½

)

(

Pno.

air

)

nail

8

let difference tones ring

In (ord.) palm 3

8

P

3

ca. 3

8

glasses BP TT BD

[

continue before glasses die away completely.

1

M

+ chain

] 8

ca. 3

s.p. flaut

(s.p. flaut.)

sub. = 66

Vc.

ca. 3 Solo D.B.

pizz.

8

8

33034

II

arco

(III:

)


6

R

flz.

= 54 33

Bcl.

tone

poco vib.

[ ]

MII: A + F+ B -

Acc.

(silent) (

)

(

ord.

)

let difference tones ring

ord.

Pno. 8

P

P

3

P

sempre

M

pressure

BP TT BD 1

= 54

3

leave chain on

½ s.p. flaut.

vib.

Vc.

(III: Solo D.B.

)

s.p. flaut 3

[ ]

sub. vib. sub. ord.

½ s.p. flaut.

8 8

8

sempre 33034


7 multi: stable + thick

= 66

41

Bcl.

sempre

Acc.

8

ord. palm

Pno.

silently

In

8 loco

P

P

3.

P

P

+ chain slow

2

TT BD

dowel silently [ Place ] on BD

= 66

Rim a. b. b.

BD [dowel + needle]

a. LH viol. LH pizz. batt. pizz. RHs 3 III IV

s.p. sub. ord.

Vc. sub. non vib. Solo D.B.

(

)

s.p. distort

sub. ord.

8

33034

sub.


8 48

Bcl.

vib.

non vib.

Acc.

8

ord. palm In

Pno.

ord.

8

3.

3.

P

+ can

MP Timp. BD

S

P

3

sempre arco

s.p. vib.

(s.p.) vib.

Vc.

s.p.

sub. ord.

½ s.p. 3

Solo D.B.

sub. s.p.ord.

s.p.

s.p. ord.

LH viol. pizz. batt. s.p. 3

3

8

sub. 33034

sub.

sub. ord.


warm slow vib. pulse

56

9

multi: complex, thick

Bcl.

Acc.

B.S.

(

(

)

(

)

)

ord.

Pno. 8

P

3.

P

P S

+ can

Timp. BD

+ can S

(s.p.)

fl

flaut.

s.p.

s.p. distort

LH pizz.

(dist.)

viol. batt.

Vc. sub. sub. s.p. ord. Solo D.B.

sub. s.p. distort s.p. ord.

LH pizz.s.p. 3

8

sempre

sub.

33034

[

All of LH wrapped around V pulling away from fingerboard for extreme distortion and fast glissando.

]

(distort)


10 warm vib. pulse

63

Bcl.

sub.

Acc. 8

ord. palms

In

Pno. 8

P

3.

P

P

3.

rim

b.

BD

arco fl

non vib.

poco vib.

½ s.p.

Vc. sempre

Solo D.B.

I II

s.p. LH viol. LHs s.p. distort pizz. batt. II I II 3 III II II

LH pizz.

ord.

LHs RHs LHs s.p. pizz. III I IV II

LH RHs LHs pizz. III I IV II 3

3

viol. LHs s.p. batt. I II

viol. batt.

s.p. LH I pizz. II

III IV

LH RHs LHs LH viol. pizz. III I pizz. batt. IV II

8

sempre

heel trem. 33034

sempre

3

3 3

3


sub. g = 54

multi: complex dense, stable

69

[Boehm: see Legende]

11

air

tone

air

’ ’

air

Bcl.

Acc.

sub.

RH

tone

B.S. 2. 3. 4.

In 8

palm

Pno.

(piano is the sounding dynamic.) [at bridge]

sempre

In

8

P

3. no chain

BP TT BD

arco

sub. s.p. ord.

P

high partial

sub. = 54

s.p. distort ( )

2. 3. 4. arco

P

3.

3.

mid-partial 3

½ s.p.

batt.

Vc.

Solo D.B.

arco ord.

sub. s.p.

ord.

warm vib.

8

3

poco

33034

sub.


12

76

accel.

air open "Te"

= 66

ord.

tone

Bcl. sub. RH

Acc.

LH

In

Pno.

In palm

(non cluster!)

ring

8

P

P

P

3.

3.

chain on

TT LR BD

accel. ord.

3

= 66 sub. s.p.

III IV

Vc. sub. s.p. Solo D.B.

LH viol. LHs RHs LH pizz. batt. I III pizz. s.p. 3 II IV

8

LHs I s.p. II

viol. batt. s.p. 3

(s.p.)

sub. ord.

I sub. II

sempre

33034

(

l.v.

ord. vib. expr.

s.p. dist.

s.p.

(I:

)

ord. )

sub. vib. expr.

sub.

sub.


81

air "Te"

ord.

Bcl.

13

sub. flz. ½ air

sub.

air

Acc.

tone

3

ord.

(

(

)

LH+RH arms

)

high

In palm

Pno. 8

loco

P

P

P

3

P

3.

3.

M

+ can

BP TT Timp. BD

+ chain

3

S

S

ord. vib.

viol. batt.

s.p.

distort ( )

LHs III IV

s.p.

Vc.

Solo D.B.

RHs LHs sub. LH viol. I III pizz.s.p. I s.p. pizz. batt. II IV II

3

s.p. viol. LH I batt. pizz. II 3

vib.

sub.

sub. 3

s.p.

3

8

sempre

sub. ord.

sub. 33034

3

sub. ord.

s.p. distort molto vib. ( )

LHs I II

sempre

LHs RHs LHs LH viol. LHs pizz. III I pizz. batt. I IV II II

sub. s.p.

3

3


14

multi: low, thick stable

86

Bcl.

Acc.

B.S. 8

In

ord.

Pno.

In palm 8

P 3.

P

sizzle on SC low ratchet LR BD

III

(s.p.) distort

LH RHs pizz. III IV

s.p. I

LH RHs LHs pizz. III I s.p. IV II

III IV

edge

l.v.

LH pizz.

s.p.

arco ½ s.p.

viol. batt.

vib.

Vc.

Solo D.B.

II III IV

heel vert.

LH viol. pizz. batt. pizz. 3

8

6

sub.

sempre 33034

LH viol. sub. pizz. batt. s.p. 3

sub. ( ½ s.p.

sub.

)

vib.

8


much slower ca. = 46-48 91

ossia:

15 (circular breath)

g

Bcl. sempre sub. 1 by 1 vib.

delicate poco vib.

non vib. (MI+MII)

Acc.

behind [direct ] dampers

sempre (

)

Pno.

In

Th

(

8

let difference tones ring

) 8

loco

.

3.

3

P

3.

arco

SC BP TT

ord.

arco

high and complex

high arco

P

P

P

3

P

P

l.v.

glasses fingers: [no sizzle]

[no sizzle]

l.v.

no chain

much slower ca. = 46-48

mid. ½ s.p.

ord. III

Vc.

ord. Solo D.B. 8

flaut.

non vib.

sub. non flaut.

sub. poco vib.

( )

s.p. flaut.

sub. sub. sempre

ord. expr.

sub. 33034

( non vib. )

poco vib. 3

sub. ½ s.p. vib.

sub.

sub. non vib.


a little faster ( ca. 56-60)

16

a tempo = 66

100

ord.

Bcl.

3

3 8

Acc.

1 by 1

pressed! 8

loco

(ord.) ord. RH

Pno.

3

3

arm

In

LH

(

ord. arm

)

ord.

ord. In

8

8

In

P

3. low ratchet BD

(loco)

P

P

(no pedals)

rim

a little faster ( ca. 56-60) ord. poco vib.

non vib. I II

( )

(loco)

sempre

a tempo = 66 s.p. distort

LH viol. pizz. batt.

II III

arco ord.

3

Vc.

sub. ord. vib. expr. Solo D.B. 8

II

s.p. distort III

sim. [

( )

sub. ord.

]

(I

3

V

sub. sub. ) s.p. ord. ½ s.p.

(I:

ord. sub. vib. )

3

(I:

)

8

sempre

3

sub. 33034

3

sub.


17

multi:

high partials 107

Bcl.

8

8

Acc.

3

(

RH silent

)

(high) (

Pno.

high

)

In

5

5 8

sim. P

P

P

+ can

Timp. LR

3.

S

P

P S

+ can

3

sempre ord.

sim.

s.p. dist.

s.p. dist.

viol. batt.

3

III IV

s.p.

ord. vib.

Vc.

LH sub. pizz. s.p.

3

sub. ord.

I II

Solo D.B. sub.

sub.

sub. s.p.

sub. ord.

sub. vib.

s.p.

ord.

sub. s.p. distort

sub. ord. vib.

V

sempre

3

33034

sub.

s.p.


18 ’Tu’ open air

114

tone

Bcl. 3

8

Acc.

15

(

)

(

ord.

)

(

)

Pno.

In

palm silent

8

P 3.

loco

P

P

3 3

5

BP TT Timp. BD

S

S

S

sub. s.p. ord.

l.v.

+ can

s.p. distort LH RHs III pizz. III IV IV

ord. (IV:

s.p. distort [ ]

)

ord.

II

Vc. III 3

sempre

sub. ord. Solo D.B.

RHs LHs LH III I pizz. IV II s.p. 3

LH viol. pizz. batt.

ord.

sub. sub. s.p. ord.

5

I

( )

8

(II:

8

)

3

33034

II sub.

s.p. distort [

ord.

] (I:

)

expr. vib. (I)


19 ord. vib.

120

Bcl.

sub. 15

sempre

Acc.

loco

silent In

Pno.

Th.

P

P

1

SC BP Timp.

edge

M

(sizzle on)

3.

3

+ can

S

3

( ½ s.p. flaut.

P

vib.

III)

3

ord.

s.p. sub. ord. IV/III

Vc.

½ s.p. flaut. (non vib.) Solo D.B.

vib.

ord. ( )

disappear into piano resonance

8

8

3

ord. non flaut.

s.p. flaut. II non vib. (III: 33034

)

(gliss. III)

II

I

3

sub. s.p. ord.


20 126

flz

Bcl.

8

Acc.

Pno.

In

palm

In nail

8

5

loco

P

3.

P

b BP TT BD

a a

b sim.

rim 3

flaut. IV

Vc.

sub. (III

Solo D.B.

III

s.p. vib.

sub. vib. flaut.

8

)

sub. vib.

(I:

)

ord. (expr.)

s.p.

poco non vib. vib.

sub. sub. s.p. ord.

s.p.

vib.

sub.

3

)

expr.

sub.(IV:

ord. non vib.

sub. vib.

sub. sub. s.p. ord.

s.p.

sub. distort non vib. vib.

( ) 8

8

3

33034

sub.

sub.

sub.

3


21

multi: with base tone, high partials

132

Bcl.

8

Acc.

(no cluster)

sub.

8

LH (

)

(

)

(no cluster)

In (

(

)

)

Pno. 8

P

3. sub. BD

3

sub.

sub.

sub.

s.p.

s.p. distort IV

rim s.p. sub. ord.

ord.

sub. s.p. distort III

s.p. sub. distort ord.

sub. ord.

ord.

3

Vc. 3

Solo D.B.

I II 8

II s.p. distort III

ord.

III 3 IV sub.

III IV 33034

ord.


22

R

multi: thick + low

137

G

Bcl.

1 by 1

Acc. 8

loco

1 by 1

3

LH

RH

In

Pno.

[ (

LH stops strings inside, RH hits keys. )

nail

8

loco

LH

] In palm

ord. 8

P

P

3.

P

3.

P arco complex

Guiro Woodblk TT BD

P

III (s.p.) IV

sub. s.p. distort

ord.

LH pizz.

ord. warm vib. expr.

viol. batt.

Vc. sub. s.p. distort 3

Solo D.B.

LH pizz. l.v. ord.

sub. s.p.

ord. 3

8

sub.

sub. s.p.

3

sub. ord.

sub. sempre

sub. 33034

expr.

( )

vib.

8


23 142

Bcl.

Acc.

( Pno.

In

(

)

)

Th.

8

P

arco

[non ped.]

3

high partials

BP BD

l.v.

s.p. flaut. ( ) Vc.

(non vib.) III II

Solo D.B.

( )

sub. vib.

sub. sub. s.p. ord. vib.

3

8

8

sub.

sub. 33034

sempre


24 sub. vib.

148

Bcl.

8

Acc.

M II

B.S.

Pno.

pizz.

In 8

In

palm

P

P

Low Ratchet

III IV

LH viol. batt. pizz. s.p.

s.p.

3

sub. ord. vib.

s.p. dist.

II III

(s.p.)

Vc. LH RHs LHs pizz. III I IV II s.p. 3

Solo D.B.

vert. heel

sub. s.p.

ord. (non vib.)

LH viol. LHs pizz. batt. I II 3

3

vib.

LH s.p. LH viol. s.p. pizz. batt. ord. pizz. I II

8

3

sub. 33034

sub.

3

sempre


25 152

ord.

Bcl.

8

Acc.

8 8

ord.

In

Pno.

sempre

silent 8

P

P

3.

3. 3

l.v.

guiro metal BD

sempre

P

non dim. sub. s.p. distort

ord. II vib.

II

3

III (s.p.) viol. IV batt.

Vc. sub. III IV Solo D.B.

s.p. viol. LH I batt. pizz. II

II III

RHs LHs LH viol. LH III I pizz. batt. pizz. IV II 3

s.p. I II

LH pizz.

RHs LHs LH viol. LHs III I pizz. batt. 3 IV II

s.p. distort

I II sub. III ord.

8

3

sempre

3

33034

sub.

sub.


26 multi: high + unstable

long

156

ord.

Flz.

Bcl. poco [out of high percussion]

long

8

15

sempre

Acc.

3

long

(

(

In pizz.

)

)

Pno.

long 8

P

3.

long

M

BP LR TT + chain 1

ord. vib.

s.p. distort

long

s.p.

ord. poco vib.

Vc. poco s.p. I II III Solo D.B.

long 3

( )

sub. LH RHs LHs s.p. pizz. IV I viol. III II batt. 3

I II

s.p. distort

sub. ord. V

vib.

s.p. I II

LH RHs pizz. III IV

LHs LH s.p. I pizz.III II IV

sub.

3

sempre

3

3

33034

heel vert. ord.

8

sub.

I LH viol. II pizz. batt.

3


27 161

Bcl. sub. 3 15

3

Acc.

loco

sempre 3

ord.

(ord.) 15

15

Pno.

Th

In 8

P

3.

P

P S

+ can S

Guiro BP Metal Timp. BD

S

l.v.

P

rim s.p.

LH viol. pizz. batt.

Vc.

LH RHs LHs pizz.III I IV II

LH s.p. I II Solo D.B.

s.p. LH viol. I pizz. batt. II

s.p. I II

3

sub. ord.

vib.

molto vib.

vib.

I s.p. II

I II

3

8

3

sub.

3

sempre

3

sempre 3

33034

LH pizz.

viol. batt.

RHs LHs III I IV II


28

[max.

165

= 66]

Bcl.

sim.

sim.

15

3

Acc.

6

3

6

3

6

3

6

3

sim. 3

3

3

Pno.

ord. 8

In palm

3.

5

In

loco

3

3

*)

sim.

ord.

15

sempre

5

5

ord.

5

sub.

5

8

loco

P

3

P

P

P P

Woodblk Ratchet BD

3

s.p.distort

[max.

vib.

ord

= 66]

3

(s.p.distort) IV

ord. III

Vc. LH viol. heel pizz. batt. vert. Solo D.B.

sub. ord.

sub. I s.p. II

vib.

8

3

LH viol. ord. pizz. batt.

5

8

sub.

8

sub.

sub.

sub. 33034

sub.

*) ossia: without damping if necessary in bars 168 till 176.


29

multi: high stable partials

170

Bcl.

sim.

sim.

15

6

Acc.

3

6

3

6

3

6

3

6

3

6

3

sim. 3

3

ord.

3

ord.

5

3

ord.

5

sub.

Pno.

3

5

sub.

5

5

5

ord.

5

ord.

ord.

5

5

ord.

5

sub.

5

sub.

5

sub.

5

ord. 8

P 3.

rim

sim.

BD sub.

sub.

sub. sim.

dist. II III

s.p.

I II

Vc. (IV:

) ½ s.p. flaut.

s.p. Solo D.B.

(

)

ord.

8

(I:

(

)

:III) 33034

LH viol. pizz.batt. 3

I s.p. II IV - I

LH viol. pizz.batt. 3


30 174

Bcl.

sim.

15

6

3

6

3

Acc.

6

6

3

6

6

3

sub.

6

3

sub.

6

sim.

3

sub. ord.

ord. 15

5

5

sub.

Pno.

5

sub.

sub.

5

5

5

5

sempre

sub.

5

5

8

P

P

P

3.

BD sub.

½ s.p. molto vib

s.p. distort I IV - I II

s.p.

LH viol. pizz. batt.

distort

LH viol. pizz. batt.

Vc. 3

s.p. LH viol. I II pizz. batt. 3

Solo D.B.

s.p. I II

3

s.p. IV

8

33034

viol. batt.

IV

5


31

multi: high + stable

177

Bcl.

sim.

15

3

3

6

3

6

3

6

3

6

3

Acc. sim. 3

ord. 15

5

Pno.

5

5

5

5

5

5

sempre 5

5

sub.

5

5 5

5

8

P

P

LH viol. s.p. dist. pizz. batt.

sim.

P

3.

BD

s.p. dist.

Vc. 3

I II Solo D.B.

(s.p.) V - II I

s.p. I

LH viol. pizz. batt.

8

3

33034

s.p. V - II I


32

high noise

multi: complex

Much slower ca. = 46

multi: complex

180

Bcl.

sim.

15

loco

6

Acc.

3

sub.

6

3

6

3

sub.

6

3

3

3

sempre

sim. 6

6

3

3

15

5

5

5

5

Pno.

sub.

5

5

5

5

5

5

5

5 loco

8

8

3.

P

P

sempre

3.

BD

[

]

s.p. dist.

Much slower ca. = 46

s.p. dist.

LH viol. pizz. batt.

Vc. gradually surfaces out of piano resonance very warm poco vib. expr. arco

3

Solo D.B.

I II

LH viol. pizz. batt.

s.p. I II

s.p.

IV

III IV

II

LH viol. pizz. batt.

8 8

3

3

33034


33

R

ord. non vib.

184

Bcl. sempre non vib. 1 by 1

vib.

15

Acc.

8

2. In 3. 4. RH

15

8

In

In

Pno. 8

5

sempre

LH pad.

5

5

sim. In

5

palm ring

loco

P

arco mid-partial

wire brush

S

3

BP TT

1

arco very warm

expr. ord. III II

s.p. flaut.

s.t.

expr. s.p. flaut.

vib.

s.t.

poco vib.

Vc. sub. sub. s.p. ord. Solo D.B. 8

3

sub. sub.

3

I

( ) 3

(II:

) 33034

sub. ½ s.p. I flaut.

s.p. (flaut.)

s.t.

poco vib.


34

still 189

10

air

Bcl.

still 10

Acc. 8

still 10

(sim.)

5

5

5

5

5

5

5

8

Pno.

5

8

5

no ring

sim. P

P

still

dowel + needle

10

BD sempre

still 10

Vc.

8

non gliss.

Solo D.B.

s.p. flaut.

III 8

8

sub. ord. non vib.

IV sub.

still (IV

V

)

s.p. flaut.

(IV continues)

3

IV sub. sub. 33034

poco

8

EP 12540R, Rebecca Saunders, Fury II, concerto for double bass and ensemble, Score  

Rental Material