TheInvisibleDreamingMachines
forVioce,HarpandVioloncello
HaodongWang (2022)
Performancenotes
Inthispiece,thenotationisinbetweenimprovisationalandaccurate.Allperformersreadfromthefullscoreandshouldbeawareofthe otherparts.Thispiececouldbeperformedwithanytypeofvoice,althoughthefemalevioceispreferable.
Whentheverticaldashlinesapply,thenotesineachpartcrossedbythedashlineshouldbeplayedsimultaneously.Ithasbeenusedasacueforthe entrancesofindividualpart.
Thispieceisconsistedofdifferentfragmentsbasedonimprovisation.Inmanysections,thedurationisflexible,itisimportantfor performerstolistentoeachother,howevertheentrancesshouldbeprecisewhenthedashlinesapply.Somesectionshavenumberabove thestaffwhichindicatedtheduration,thosedurationshouldbeplayedapproximatelyaswritten.
Aconductormaybehelpfulbutoptional,asthesingercouldalsocuetheothermusicianswhenneeded.Astopwatchmaybeusedduring therehearsalbutnotduringtheperformanceastheimprovisationalnaturalandthedurationisnotstrict.
Stagesetting:
Thesingerisinthemiddle,thecellistisonsinger’sright,theharpistisonsinger’sleft.
Vioce: Asinglelinesystemisusedtodividetheregister.Notesabovethelineindicatepitchesatthehighregister,notesonthelineindicate pitchesatthemiddleregister,notesbelowindicatepitchesatthelowregister.Noprecisenotesareindicated,thegestureofsoundshould beperformed,theretheprecisepitchesarenotimportantinthispiece.
Halfsunghalfspoken,shortnotes
Sung,longernotes
Sung,longnotewithsmoothpitchbendintheend.
Whisperthenotesintensely.
Inhalingthroughmouthandnoiseshortly.
Laughingdeliberately.
2
Raisetherightarmhighandknockintheair,asifknockingonadoor.
Repeatthenotesintheboxfreelyinanimprovisionstyle.
Rhythmbecomingfaster.
Laughingwithcleardefinitionsofpitches,sarcastically.
halfwhisperd,halfspoken
FromletterB,DandO,payattentiontotheinstructionsofactingonthescore.
Harp:
13smallpiecesofBlutackneedtobeattachedonthefirstharmonicpositionsoftheindicatedstrings.Whenperpperthebluetack,setthe pedalsCmajorkey,sothebluetackisinthemiddleofeachstring.Smallpiecesofbluetackareneeded,withthebluetackon,clearly definedpitchesshouldbeheardfromthosestringsregardlessthepedalsetting.Thosestringssoundsmuchlowerthantheoriginal pitchesandprovideanbell-likedsound
repeatsthenotesintheboxfreelyandinanimprovisatorystyle.
Randomfasttremolosinanimprovisationalway,thepedalsalwaysremainunlessanewaccidentalbeenadded.Thenotesonlyindicated thegeneralgestureandregisterofthechords.Therhythmofthosetremolosisfree,unpredictablebutfast.Youarealsoencouragedto extendtheregisterofthechords;therethenotesindicatethechangeofregisterandshapeofthephares.
Gongeffect,striketheverylowstringswithpalmandletitring.
Rhythmbecomingfaster.
Whistleeffect,scratchthelowstringswithpalmconstantlytoproduceapitchlesssound.
Pedalbuzz,playthenote(s)thenchangethepedaltoahalfpositionimmediatelytoproducingabuzzsound.
Pedalgliss,changethepedalafterplayingthenotes,letthesounddieoutnaturally.
3
FromletterE,theglissshouldbeplayedfreelyinthemarkedarea,thenotesonlyindicatedthegeneralshape.Thunderglisstothelowest stringbyplayingfastglissandputtingheavypressureonthelowstrings.
Cello:
Asystemcombinesbridgeclefandbassclefisusedinthispiece. Thetopstaffindicatesthebowingpositions,thelowstaffindicatesthetechniquesandstring(s)ofbowing.
Thehorizonallinesinthetopstaffindicateremaintheperviousbowingposition.Inthebottomstaffindicatesconstantbowingthe string(s),holdthenote(s)untilarest.Thechangeofthebowingpositionsshouldbeassmoothaspossible.
Theblacksquarenoteheadsindicatebowingontheopenstrings.
Theboxesfollowingbywaveinthetopstaffindicaterepeatthepreviousbowingmotionfromtheboxfreely.
Theboxesfollowingbywaveinthebottomstaffindicateplayfromtheindicatedstringsfromtheboxalternatelyandfreely,switch betweendifferentstringsassmoothaspossible.Donotplayanyofthestringsimultaneouslywhentheboxapplies,insteadswitch betweendifferentstringsfreely.
Whitenoise,bowingonthebridgewithlightpressuretoproduceaconstantpitchlesssound.
Taponthefingerboardwithlefthandfreelywhilekeepbowing.
4
Keepbowingwhilelefthandknockingontheinstrumentatthecentreofthebackbody,withsinger’sknockinggesture simultaneously.
Playfromahighnoteintheindicatedstringthenglisstohighernotesmoothly.
Scratchtonewithheavybowingpressure.
Heavybowingpressure.
Graduallydecreasebowingpressure.
Graduallyincreasebowingpressure.
Dampthestringwithlefthand,lightpressureonthefingerboard.
Collegnoplayunderneaththestrings,ineachgroupadryhighpitchfollowedbyalowerone,playatthedifferent positionsofthesamestringtoproducethesound.Imitating'tidatida'likeaclock.
randomfasttremoles inanimprovisationalway withtheindicatedpitches, thepedalalwaysremainsunlessanewaccidentalbeenadded 1
likealanguageIneverheard.Itnowwokemeup. Soshutyoureyesandlisten. Asif, Iwascrying,whilenotearsfallapart. œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? ¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ
openstrngs,bowsupontsothatbowsncontactwithbothbrdgeandstrng Gradualychangethebowngpressurefreelybutnottoomuch,bowsmoothy Theresultshoudbeunpredctableovertonesandnoseatthesametime. Œ œ bœ œ bœ œ œ b # œ œ œ bœ # œ nnœ ≈ æ æ æ œœ œœ n n æ æ æ œœ œœ b n n b 6 6 6 6 6 œœ nbbbœœ
thefirstharmonic positionsofthe indicatedstrings ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œœ œœbb# œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ adlib. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? 6 6 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ) ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ whitenoise onthebridge
& œ œ
° ¢ ° ¢ Harp Violoncello p mp mp ad.lib Voice Hp. Vc. mp Voice
15'' 35'' Inmydreamland,Iheardasongwithoutwords,
& U unevenrhythm notrushed ? bluetackon
¯¯¯¯¯¯¯¯¯¯¯¯¯ œ bœ œ bœ œ œ # b œ œ œ œ # b œ nnœ œ œ œ bbœ fingerboard tailpiece bridge repeatthepreviousbowing motioninthebox adlib ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? 1'00''
playfromindicatedstringsaltermately 6 6 6 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Y 1'30'' inhaling
(wait 40''thenspeakthetextintheboxfreelyandintensely,youmayasosing somepartofthetextnanimprovisationalway butnotrushed,asfperformngapoem.) adlib.
atthecentreofthebackbody, simultaneouslywith
improvisional,remainthesame texturefromthebox,thenotesgradually gettinghigher
makeadryhighpitchfollowedbyalowerone,
° ¢ ° ¢ Voice Hp. Vc. mf p mp f mf mf ff dusice mf lost pp mf pp sf f mf f Voice Hp. Vc. time f f p f mp mf pp sfp mp f f whisper ps ¿ raisetherghthand
knockknock
gettnghigher actdramaticaly 1'40''
ps ¿ knockknockknock 1'45'' acting likeknocking > whisper psps ¿ ¿ sungwithaction knockknockknock > p(s) ¯¯¯¯¯ exhangdeepywhewhsperngoudy,
asf ryng ostop hemusc sa inhaling 1'59'' halfsung halfspoken 2'06'' sung shortgliss . . &
adlib. œ wilderrange … ‰ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ha ? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ gongeffect verylowregister l.v. adlib ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? keepbowingwhileknocktheinstrument
6 knocksameasbefore 6 taponthefingerboardfreely quantitymaynotbemessured … ‰ 2'55'' bartókpizz » œ mp l.v. 1 sulC,highnotes smoothshortgliss imitate'lost' 2'13'' whisper 2'18'' ¿ ‰ evenrhythmandslowspeed, likeaclockwhispering tidatida . 2'30'' dus ¯¯¯¯¯¯ sung Iassc lost inhalingdramatically withpitchbending U Ufroze 2'40''2'45'' tidatida halfsung,halfspoken evenrhythm,likeaclock sung likeacuckooclock tidatida ¯¯¯¯¯¯¯¯¯ ad.lib. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & pedalbuzz l.v. pedabuzz l.v. … 5'' adlib. 25''
? froze U ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 25 ? scratchtone,heavepressure graduallybecomenormal sulG,highnote 1 gliss, imitatelost tap … froze . > ÆÆÆÆ U collegno,SulA,playunderneaththestrings
imitatetidatida ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ › › › › › › › ‰ Y › › › ¿r ¿ ‰1 ≈ 6 œ œ Æ › Æ › › › › æ æ æ ¿ ¿ ¿ ¿ R6 6 ≈ ‰ Œ Y æ æ æ #bœœ æ æ æ #bœœ œ œ bœ b b œ œ œ n n n æ æ æ #bœœ æ æ æ nnœœ æ æ æ bbœœ ≈ 4 4 4 4 4 4 ¿ ¿ ¿ ¿ ≈ Œ Œ 2
ontheair actinglikeknocking onadoor
halfspoken halfsung,each wordpitch
whisper
astrongsho accentntheend ookngaround
improviseasieresofnotes inmarkedrange,fasttremolosmaybeused
singersgesture
° ¢ ° ¢ Voice Hp. Vc. sf mp ff love mf mf lost mp f mp time f sf mp ff sfp ff sf f f f ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ Voice Hp. Vc. dus mf lavinna fansina f si mf fannavin f la vinnafansi f na sinavin mf da ff mf mp come mp mp soul p f pp sfp p ~ laughingloudly deliberatey. 3'05'' tidatida half whispered halfspoken . . . . ¯¯¯¯¯¯¯¯¯ nhaing deliberatey withptchbend Y 3'17'' singrandomshortnotes, wthrandomvowels U 3'22'' p U ¯¯¯¯¯¯¯¯¯¯ 3'30'' likea cuckooclock bugu sung U 113'38'' singshortnotes, withrandomvowels adlib. 3'42'' . ¯¯¯¯¯¯¯¯whisper & stomponefootonce whilelaughing improvisenotes inmarkedrange,thetexture fromthepreviousboxmaybeused œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ pedalbuzz œ œ ¯¯¯¯¯¯¯¯ œ “” œ œ œ ? pedalbuzz l.v. œ œ pedal gliss œ œ œ œ œ collegno,SulA,imitatetida,bowunderneath
arco ? … ‰ arco scratchtone Œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 1 SulG ‰ 1 SulD ‰ bartókpizz lv » . > ) whitenoise arco 3'52''halfwhispered,
U unevenrhythm dus U U U freeze ~ 4'37'' stomponefoot whilelaughing laughing deliberately. Uah froze bugu 4'47'' sung Y inhaling bugu longnotewthsowpitchbend assmoothaspossible U & notrushed,slow unevenrhythm sim. adlib. U freeze pedalbuzz froze “” ¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œœbœnbn ? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ¯¯¯¯¯¯¯¯ #nœœ œœ nnb#œœ œ œ œ bœœ n#œœ adlib. remainadlib whenrepeating ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ freeze ? 6 6 6 adlib. remainadlib. whenrepeating ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ‰ froze U 6 imitatesoul' 11- ≈ ‰ 6 6 ‰ 6 6 1¿ ≈ æ æ æ œ œ œ œ bœ nœ #œ nœ œ 4 4 4 4 R ¿¿¿¿ ¿ ¿¿≈¿¿¿¿¿ ≈¿ ¿ ¿ ¿¿¿≈¿¿ ¿ ¿ ≈ ≈ 1 66 6 Y ≈ ≈ 1æ æ æ #nœœ æ æ æ nbœœ æ æ æ #bœœ #bœœ #bœœ œ œœbœnbn ≈ ‰ 4 4 4 44 4 ≈ 3
sameasbefore
halfspoken deliberatelyanddramatically
Acting:whilewhispering,raiseyourrightarm
° ¢ ° ¢ Voice Hp. Vc. f p tod mp mf pp p Voice Hp. Vc. mp f f ff p mf pp fp mp sim. fp f fp fp sim. 4'57'' inhaling, sadly . U 5'10'' halfspoken,halfwhispered,evenrhythmandslowspeed,
highinfrontofyourhead,thengraduallymovefrom12o'clock
tidatidatida inhalingdeliberately,
coveringthemouth ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ lookingarounddeliberately asiflookingfor something 5'25'' & adlib. adlib. :“; ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ … froze,until play ¯¯¯¯¯¯¯¯¯¯ & “” ? œœ b#œœ ? ‰ 6 imitate'tod' ) whitenoise froze,until play œ boom 5'35'' Œ spoken whilepointingtothemusician byonefinger,asifswitchthemon 5'43'' boom œ ‰ inhaling 5'46'' froze Y ‰ 4'' 5'51'' boom œ inhaling 5'57'' Y boom startslowthengraduallybecomefaster andmoreactive œ boom œ boom œ œ boom boom œ boom œ boom œ boom œ 6'15'' ps ¿ Y U ‰knockknockknock halfsung, halfspoken 6'21'' knockontheair œ 6'26'' boom & imporviseafterbeing clued('boom') … œ playafter'boom' ‰ ¯¯¯¯¯¯¯¯¯ œ œ ¯¯¯¯ œ œ ¯¯¯ œ œ ¯¯¯ œ œ ‰¯¯¯¯¯¯¯ ? adlib. 8'' ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ froze œ gongeffect lowregister l.v. “‘ adlib ? q=c80 … playafterbeingcuedcollegno, SulA,imitate'tida', bowunderneathsameasbefore ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ‰ 6 playafterboom' > 6 > 6 > > 6 ) whitenoise 6 knockthebackbody oftheinstrument imitatethegestureofthesinger › › › Y 6 Œ 6 Y ) œ œœbnbœ œœ œœ b # Œ œœ œœbbb œœ œœbb œ œ œœ b # Œ › › › œœnbnœ œœ bn#bœœ 4
to3oclock,clockwise.Likethehandofaclock
handsmovesuddenly
° ¢ ° ¢ Voice Hp. Vc. mf f f ff f fp f fp fp f f f Voice Hp. Vc. p pp f p p pp f fff ppp pocoapococresce. mf p pp pp pp 6'30'' knockknockknockknock knockontheair whispered 6'34'' ps ps knockknockknockknock halfsung,halfspoken, whileactinglikeknockingontheair adlib. 6'42'' ps ¿ ¯¯¯¯¯¯¯¯¯ sa > ¿ 6'47'' inhaling deliberately actasifsurprised > Y ha U ‰ 6'55'' 1halfsunghalfspoken, randomvowels, actinglikelaughing1 adlib. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ &œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ “” gongeffect, l.v. stomponefeetonthefloor ? knockonthebody whileplaying adlib. adlib. cricleglissmaybeused pedalbuzz adlib. imitateknock knockatthebackbody adlib ? 6 6 6 6 6 adlib. fastglisstothehighestnotes 6 1 1 1 U Œ 6 5' Œ froze 7'00'' boom œ‰ boom œ 7'10'' 7'27'' adlib. 11 radomvowels 7'32'' ¯¯¯¯¯¯¯¯¯¯¯¯ ‰ 7'45'' boom œ‰ œ œ boomboom psps 7'53'' U Œ œ boom! ppp 7'56'' U ‰ &… Œ 2'' staponefeet bœ improvisewithindicatedpitches after'boom' adlib. 20'' l.v. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? froze gongeffect thundergliss totheloweststring l.v. Œ 2 … recochetafterboom soundsdieoutnaturally collegno 8 graduallytruninghead totheharpist,likeblaming,thenfroze ? froze ‰ arco 6 mp ÆÆ Æ adlib taponthefingerboard ff ‰ pizzbehindthebridge œ . imitate'boom' œ . œ . same œ . œ . › › › › › › › › œ œ œ › › › › œ œ œ œ › › › › œœ bbbbœœ œœ bbbnœœ 6 6 6 6 æ æ æ ¿ ¿ ¿ R 5
° ¢ ° ¢ Voice Hp. Vc. p accel. pp pocoapococresce. mf pp p mp p Voice Hp. Vc. mf ff p mf mf mf pp mf mp 8'18'' 8'23'' 8'28'' apartfallingtears,cryingwasme halfspoken,halfwhispered asifperformingapoem ‰ 8'35'' apartfallingtears,cryingwasme 8'42'' ‰inmydreanland,songwithoutwords‰ &1'' adlib. 20'' ‰ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ gongeffect l.v. ? ‰ l.v. gongeffect l.v. gongeffect l.v. adlib ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? 6 adlib. 6 & itnowwokemeup Œ whisper aggressively listen! ¿ 8'55'' U Œ 9'05'' 9'10'' halfspoken, halfwhispered tidatidatida 9'18'' ¯¯¯¯¯¯¯¯¯ Œ sung,likeacuckooclock bendthelowernotes each'buguslightlylower 1û 1 Rall.û 1û adlib. bendingthelower notesevenlonger, asifcrying ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? playduring thesentence adlib. gongeffect l.v. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? U 3 ‰ q=c52 collegno,SulA,maketida'sound, bowunderneaththestringsameasbefore ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ unevenrhythm adlib.asifabrokenclock ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ‰ œœ bbbnœœ ‰ œœ nbnbœœ œœ œ œ bb œ œœbbœ œœ œœb# œ œœbœ 6
° ¢ ° ¢ Voice Hp. Vc. f mp mp sfp Voice Hp. Vc. mp p mf mf mp pocoapocodim. ppp mf mf pocoapocodim. pp whisper:
lost! ¿ ‰ Œ
counterclockwise 9'38'' tidatidatida froze ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ 9'50'' tidatidatida leftarmremains,rightarmmoves from12o'clockto3oclock,after4' leftarmmoveswithrightarm,clockwise halfwhisperedhalfspoken inhaling deliberately whileboth handscover yourmouth ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Y U 10'05'' Œ froze & adlib. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ improviseatindicatedrange ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ U Œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ froze untilbecued ? œ & ? ? Œ … q=c52collegno,SulA,maketidasound, bowunderneaththestringsameasbefore adlib. unevenrhythm ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ U Œ froze untilbecued q=c60 10'08'' e laughing sarcastically.makedifferenceaboutthepitches adlib. e e e e e e e e e e ee 1 . sung,likeacuckooclock pointtocellist. ‰ 10'20'' 1 .. 1 .. adlib. 111-û 1û 10'33'' Œ 3 & e bugu bugubugubugu bugubugubugu ? … 6 6 whistleeffect:scratchthelowstrings withpalm,damped adlib. rall. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ adlib ? arco œ sulC,veryhighnotes, imitatebugu œ‰ œœ œ œ -œ œimitate'bugu, theneachbugupitchesgraduallygettinglower, untilthelowestnoteofthestring Rall adlib Œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ œ O O ≈ OO≈OOOO‰OO≈OO≈O O 7
9'30''
raisebotharmshighat12oclock rightarmremainswhileleftmovesform12o'clockto9o'clock
° ¢ ° ¢ Voice Hp. Vc. mp mp p pocoapococresce. ff p pocoapococresce. fff p pocoapococresce. ff pocoapococresce fff Voice Hp. Vc. mp ff ff f ff f fff mf pocoapococresce. f pocoapococresce. ff ff mp 10'38'' e laughing sarcastically.sameasbefore adlib. e ee e e e e ) graduallylooking attheharpist boom 10'48'' œ suddenlypointto cellisthalfspoken halfwhispered 11'05'' sung,highpitch œ 3 & Issac ?¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ adlib. œ thundergliss tothelowest stringl.v. œ œ ‰ ? 6 adlib. 6 6 6 15' smoothglisstothehighestnotes 1 1 1 20 ‰ ) 11'15'' screamingsilently,verydramatically 11'20'' 11'26'' sung,highpitch œ dus œ 11'32'' froze ‰ 11'34'' & (do) (dus) dou l.v. ‰ froze œ “” Œ 3' ? pedalbuzz gliss adlib. œ adlib. thunder gliss l.v. œ nœ froze ‰ ? 6 adlib 6 6 fastglisstothehighestnotes 6 7 1 1 1 15 ‰ 6 6 6 O O ‰OO OOO O #œ œ œ œ œ œ œ œ 8
° ¢ ° ¢ Voice Hp. Vc. soul mp dus f mp f past do mp dus f ff p Voice Hp. Vc. do mp ces mf f mp f mf f 11'42'' sung,pitchapproximately k slightlyhigher lessasemitone whisper s 11'50'' 11'55'' sung,pitchesapproxmatey wdentervalleapsshoudbeused butavoidoctaves Wthrandomvowe . . . . . . . . > .mf 12'00'' l & ? pedalslide mf l.v. ? ‰ & 12'10'' 12'15'' dus la vi na fan si halfwhisperedhalfspoken, evenryhthm dus 12'23'' whispered s ¿ 12'35'' U & letring na U Œ ? pedal buzz ? whtenoise U œ œ J ¿ Œ 6 6 6 6 6 6 6 6 6 6 6 ≈ œ #œ œ R œ œ #œn# r œ œ bœ b b œ œ nœ n n œ œ #œ # # œ œ nœ n n œ œ œ R ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ œ œ R ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ œ œ œ #nœ œ œ œ nœ ##n ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ œ œ œ ) Œ 9
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suddenlyturningyourheadslightly, pointtoandlookattheaudience whilewhisperingdramaticatly
boom!
° ¢ ° ¢ Voice Hp. Vc. mp f mp f p ppp mp Voice Hp. Vc. p mp pp p 14'45'' Œ 14'55'' 15'00'' halfwhispered,halfspoken tidatida 15'13'' inhaling froze Y¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ 15'16'' halfwhispered,halfspoken
tidatida 15'30'' ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ inhalingdeliberately handscover yourmouth Y Œ & Œ whistleeffect:scratchthelowstrings withpalm,damped Œ 2'' ? … 6 6 adlib. 20' Rall. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? Œ q=c72 collegno,SulA,make'tida'sound, bowunderneaththestringsameasbefore 20 Rall Œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ q=c60 10' ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ 15'34'' Œ 15'40''
8' ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
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tidatida
whisperedsadly, whilehandsgraduallycovering youreyes,asifcrying
