Universal Thoughts (of an Unoriginal Author)

Page 1

for Mezzo and Pierrot Ensemble

Isaac Raymond Smith Score

Based on Texts by Walt Whitman and Carl Sandburg

Universal Thoughts (2021)

Concert

Instrumentation: Flute (doubling Piccolo)

Bb Clarinet (doubling Bb Bass Clarinet)

Percussion (Tam tam, Suspended Cymbal, Crash Cymbal, Triangle, Snare Drum, Bass Drum, Temple Blocks, Vibraphone)

Mezzo Soprano

Program Notes:

I have recently become fascinated by the idea of non linearity. The concept of interrupting a direct storyline and then returning to it later offers countless artistic opportunities that can deeply convey feelings or beliefs without bluntly stating them to the audience With this in mind, I began thinking about how this could be applied in music in my listening and my composition.

Universal Thoughts is an attempt to utilize the ideas of multiple storylines and non linear development in a short chamber work The project began by drawing out the similar themes and features in five poems by Carl Sandburg and Walt Whitman and arranging them into a nested structure. Within and around this structure, I could develop my concepts and allow the texts to interact with each other in ways that were not always direct or linear Further reflecting this idea are the interaction of different sound worlds developed within the piece, and the relationships between the ensemble and performers themselves. The piece draws its inspiration from the texts, but I hope that in turn, the music can bring new appreciation for these texts for all who hear it

Piano

Duration: 8 to 9 minutes

Isaac Raymond Smith

August 12, 2021

Viola Violoncello

Universal Thoughts of an Unoriginal Author

Written for the NouLou Chamber Players

A tenor large and fresh as the creation fills me, The orbic flex of his mouth is pouring and filling me full

Texts: Song of Myself, No 17

This is the grass that grows wherever the land is and the water is, This the common air that bathes the globe.

Universal Thoughts Front Matter iii

Smith

These are really the thoughts of all men in all ages and lands, they are not original with me, If they are not yours as much as mine they are nothing, or next to nothing, If they are not the riddle and the untying of the riddle they are nothing, If they are not just as close as they are distant they are nothing

By Walt Whitman

By Walt Whitman

I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor lifters, The ring of alarm bells, the cry of fire, the whirr of swift streaking engines and hose carts with premonitory tinkles and color'd lights, The steam whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, (They go to guard some corpse, the flag tops are draped with black muslin.)

I hear the violoncello, ('tis the young man ' s heart's complaint,) I hear the key'd cornet, it glides quickly in through my ears, It shakes mad sweet pangs through my belly and breast. I hear the chorus, it is a grand opera, Ah this indeed is music this suits me

I hear the train'd soprano (what work with hers is this?) The orchestra whirls me wider than Uranus flies, It wrenches such ardors from me I did not know I possess'd them, It sails me, I dab with bare feet, they are lick'd by the indolent waves,

Song of Myself, No 26

Now I will do nothing but listen, To accrue what I hear into this song, to let sounds contribute toward it

The single clenched fist lifted and ready, Or the open asking hand held out and waiting. Choose: For we meet by one or the other

My name is Truth and I am the most elusive captive in the universe Fog

Smith Universal Thoughts Front Matter

My head knocks against the stars My feet are on the hilltops My finger tips are in the valleys and shores of universal life. Down in the sounding foam of primal things I reach my hands and play with pebbles of destiny I have been to hell and back many times I know all about heaven, for I have talked with God. I dabble in the blood and guts of the terrible I know the passionate seizure of beauty And the marvelous rebellion of man at all signs reading "Keep Off."

By Carl Sandburg

I am cut by bitter and angry hail, I lose my breath, Steep'd amid honey'd morphine, my windpipe throttled in fakes of death, At length let up again to feel the puzzle of puzzles, And that we call Being

By Carl Sandburg

By Carl Sandburg

iv

Who Am I?

The fog comes on little cat feet. It sits looking over harbor and city on silent haunches and then moves on

Choose

Smith Universal Thoughts Front Matter

Notes to All Players and Conductor

Repeat freely: Repeat material inside box until marked An arrowhead at the end of the line indicates that the pattern continues, while a vertical bar at the end of the line indicates the termination of the pattern Do not follow the overarching pulse

On a couple of occasions, the ensemble must play in meters using 6 in the denominator This is simply a shorthand way of notating a metric modulation In such cases, the quarter note is equivalent to a quarter note triplet in a 2/4 or 4/4 time signature.

Spoken in time: Speak the text with the given rhythm. Note the extra line above the main staff, which helps distinguish the spoken rhythms and dynamics from the played material

Speaking freely: Speak the text as if reading it normally, with no regard for the overarching meter or what is going on elsewhere in the ensemble Dotted arrows and rests may be used to distinguish where the speaking should begin and end (see first measure), but many bars will be absent of anything (see second measure) Italic text found above the staff will provide hints as to how this text should be spoken

               These two bars are equivalent rhythms                    Quarter flats (descending) Quarter sharps (ascending) = =                 For we meet by one or the other    They are       

This piece frequently uses quarter tones Fingerings are provded for woodwinds for convenience, though they need note be followed if a better fingering can be found The symbols used for these quarter tones are seen to the left

v

Fingered Gliss: Use the fingers to create rapid chromatic scale between notated pitches.

Timbral Trill

   timb tr    flutt       overblow Smith Universal Thoughts Front vMatter i

Overblowing: Use more air than usual to play these pitches, resulting in more unstable pitches. Occasional cracking is acceptable and expected.

Pitch Bend: use a combination of embouchure and fingers to produce a smooth chromatic bending between the notated pitches

Flutter Tongue

            

Multiphonics: Fingering charts provided above each instance. Feel free to find alternate fingerings if they fit your instrument better Grey shading represents holes that should be only half covered

Notation Guide for Winds All Winds

gliss.

Jet Whistle

Flute Only

  jet      T R   T P    (blow air) jet     My head       sub      slap Smith Universal Thoughts Front Matter

Clarinet

Tongue Pizzicato Speak Through Flute

Subtone Slap Tongue vii

Tongue Ram: Diamond= fingered pitch; Triangle= sounding pitch

Blow Air: An x notehead followed by an arrow leading into another technique (e.g., jet whistle) indicates the performer should blow air through the flute without producing pitch before stopping the air with the technique

Harmonics: Overblow notes an 8ve lower to produce these pitches with a more glassy tone. Only

             

Other Extended Techniques

Light gliss along strings using fingertips

Scrape along piano string towards back of piano

Smith Universal Thoughts Front Matter

Scrape along piano string towards keyboard

Tone cluster (on keys)

Slam piano lid down over keys

viii

Gliss on strings with edge of spoon

Use back of spoon as "mallet" on strings

Slam strings inside piano

Slam piano lid up over keys

Inside the Piano Techniques

fingertips

Tap strings with fingertips

      slam                       gliss fingertips       gliss                     

Notation Guide for Piano

Strike crossbeams with spoon; low to high=left to right

Notes to Pianist

Measures 64 92: Take off the foil; place one to two composition notebook(s) with (a) plastic cover(s) on the strings from around C3 to C6.

                   Mark the following strings/dampers so they are easy to find inside the piano Smith Universal Thoughts Front Matter ix

1) Due to the active parts both inside the piano and on the keys in this piece, it is recommended that the performer lay the rack down flat so the inside strings are easily accessible Alternatively, the performer may pull the rack as far forward as possible and perform the techniques inside the instrument by reaching over the top of the rack

Before the piece begins: place aluminum foil on the strings in the bottom two octaves Leave about two to three feet close to the dampers for slamming and scratching the strings with your hands.

3) In the case of repeated aleatoric material, the thick black box as described in "Notes to All Players and Conductor," takes the place of the thinner box that typically distinguishes techniques inside of the piano. This is simply to reduce clutter on the page.

2) Please pay careful attention to the difference between tone clusters on the keys and slamming the strings inside the piano with the palm While both are written as rectangular clusters/noteheads, slamming inside of the instrument is distinguished by the box placed around it (like the rest of the extended techniques that occur inside the piano).

Measures 113 122: Remove the notebooks

6) When placing/removing the preparations, try to be as quiet as possible, though some noise is okay!

Instructions for Piano Preparation

4) The notebooks to be placed on the strings in sections like mm 69 113 should be light and have plastic covers in order to produce a buzzing sound on the hammer strike without muting the tone too much.

Measures 144-168: Quietly place the aluminum foil on the low strings again as at the beginning.

Measures 181 188: Place two plastic hangers lengthwise on the strings from around F2 to G4 and G4 A6

5) Make sure that the plastic hangers placed inside the piano are not too bowed and lay mostly flat on the strings. There will be some randomness involved with certain notes not vibrating the hanger, but the performer should try to limit this as much as possible.

Measures 209-218: Remove the foil and hangers as quietly as possible.

Make 1 stroke around rim of drum with superball (shorter duration=faster stroke)

Dead Stroke

     Metals Tam tam Suspended Cymbal Crash Cymbal Triangle     Skins Bass Drum Rim of Bass Drum Snare Drum Rim of Snare Drum       Woods Temple Blocks                         Vibraphone     Smith Universal Thoughts Front xMatter Notation Guide for Percussion Drum Legend Misc. Playing Techniques

Ricochet

Scrape cymbal from dome to

rim

Rapid roll with no exact rhythmic value Stroke Rim Shot

Fall off in pitch

Spoken through an inhale

Sprechstimme

Spoken through an exhale

  clenched      My head  trained   pra     death     gliss pra no Smith Universal Thoughts Front Matter xi

Notation Guide for Voice

Vocal Glissando: Smoothly move from one note to the other

Spoken in Time: Speak the text using the given rhythm (note this is different than the notation mentioned in "Notes to All Players and Conductor").

Overpressure

       pizz         Knock     

               

Bow behind bridge on copper wrapping Snap Pizzicato

Knock on body of instrument Maximum Overpressure Up bow/ Down bow; should be entirely scratch tone, with little recognizable pitch

Notation Guide for Strings

Bow on the Tailpiece

Varying Overpressure: Thicker wedge=more pressure

Gradually transition from one bow position to another

ord sul tasto

Bow Behind Bridge

Smith Universal Thoughts Front xMatter ii

Universal Thoughts

by Walt Whitman and Carl Sandburg Isaac Raymond Smith of an Unoriginal Author Written for the NouLou Chamber Players

                                                                                                                                                                                    Loud and Cacophonous! = 126 144 These are really the thoughts of all men in all ages and lands              Flute Bb Clarinet Piano Percussion Mezzo soprano Viola Violoncello         jet jet jet slam Place aluminum foil on approx the bottom 2 8ves of piano; leave room for slamming and scratching strings with hand Scratch string inside piano with fingernail, do not produce pitch Tam. (w/ beater) B Dr (w/ superball) make one revolution with superball per symbol Announce the central thought of the piece III II IV bow on copper wrapping behind bridge                                                                         

Copyright © 2021 Isaac R Smith Music (BMI)

Texts

                                                                                                                                            gliss. gliss gliss gliss    gliss gliss sub.   =   = sub.                 They are not original with me             Fl. Bb Cl Pno Perc M S Vla Vc   II                                             5 2 Smith Universal Thoughts

                                                                                                                                                                                                                                                                     = 126 144           If they are not                      Fl. Bb Cl Pno Perc M S Vla Vc Cr Cym (w/ butt of B Dr mallet) B Dr (w/ mallet)                           8 S3 mith Universal Thoughts

                                                                                                                                                                                                                                                                gliss gliss            =   = = 126         sub                             yours     as much   as                                  Fl. Bb Cl Pno Perc. M S Vla Vc sub                                                      10 4 Smith Universal Thoughts

                                                                                                                                                                                                                                                                                           sub = 84   =       sub.   mine they are noth ing     sub                  Fl. Bb Cl Pno Perc M S Vla Vc timb tr <=q> (q=84 96) roll II III II 14 S5 mith Universal Thoughts

                                                                                                                                                       col legno battuto             =                              Fl. Bb Cl Pno Perc M S. Vla Vc    T R Bow on tailpiece          17 6 Smith Universal Thoughts

                                                                                                                                                                                                                                             ord                 sub The sin gle clenched sub Fl. Bb Cl. Pno Perc M S Vla Vc.    T R Tam (w/ beater)   19 S7 mith Universal Thoughts

                                                                                                                                                                                                                                                            gliss L H R H sul pont sul pont           = 126 144                   fist lift ed and read   y           Fl. Bb Cl Pno Perc. M S Vla Vc        Sn. Dr. (w/ sticks; sn. off)       21 8 Smith Universal Thoughts

                                                                                                                                                              gliss . gliss. pizz ord      = 84 96     =             or the o     pen ask ing                      Fl. Bb Cl Pno Perc M S Vla Vc T P (lowest 8ve on piano) fingertips Repeat at a fast tempo until marked; do not pause between repeats Cr Cym      23 S9 mith Universal Thoughts

                                                                                                                                                                                arco           =   =             hand held out and wait   ing           Fl. Bb Cl Pno Perc M S Vla Vc timb. tr. Sn. Dr. (w/ superball; sn. off) repeat rapidly, out of time, until marked                  25 10 Smith Universal Thoughts

                                                                                                                                                                                                      pizz       =   =   =   =                         Choose: for we meet   by one or the oth   er                                  Fl. Bb Cl Pno Perc M S. Vla Vc  timb tr timb tr (blow air) jet slam ricochet stroke with superball switch to sticks (rim shot) Sus Cym Speak emphatically            27 S11 mith Universal Thoughts

                                                                                                                                                           arco pizz       =   =                                                            Fl. Bb Cl Pno Perc M S Vla Vc slam piano lid down T Bl (w/ sticks) Knock on instrument near sound hole   31 12 Smith Universal Thoughts

                                                                                                                                 Precise, Unfolding a Riddle     =   =                                     Fl Bb Cl Pno Perc M S Vla timb. tr. <=s> (105 120) (abrupt cutoff) (air) (abrupt cutoff) Knock on instrument near sound hole     35 S13 mith Universal Thoughts

                                                                                                                                                                             molto sul tasto  If they are not the rid dle or the un              Fl. Bb Cl Pno Perc M S Vla    timb tr T R T R Tri (w/ sticks) Speak freely, with quiet intensity (sprechstimme) Speak as before Knock near sound hole   39 14 Smith Universal Thoughts

                                                                                                                                                                                 ord. molto sul pont gliss      As at the Beginning ty ing of the rid dle Choose Choose For we meet Fl. Bb Cl Pno Perc M S Vla           timb tr timb tr timb. tr. timb tr timb tr timb. tr. T R slap tongue T Bl (w/ rubber) (sprechstimme) Speak with authority Speak with authority (Abrupt cutoff) Sul C Speak freely in time; lightly        43 S15 mith Universal Thoughts

                                                                                                                                                                                                                                                             Precise and Jumpy                   they are no   thing by one or the other     Fl. Bb Cl Pno Perc. M S Vla     timb tr       46 16 Smith Universal Thoughts

                                                                                                                             My head   knocks   = a gainst the stars   =   =                                 My head   knocks   a gainst the stars   I have   Fl. Bb Cl Pno Perc M S       T R Speak through flute; with quiet intensity flutt with bottom of bowl of spoon Spoon on crossbeams with spoon on strings Tri (w/ beater) Speak in a puzzled manner    50 S17 mith Universal Thoughts

                                                                                                                                                                   = dab   bled in the                           talked with God   (d) I have dab   bled in the              Fl. Bb Cl Pno Perc M S      timb tr timb tr timb tr Speak through flute overblow slap T. Bl. (w/ rubber)                55 18 Smith Universal Thoughts

                                                                                          ter ri ble   =   =         Now   I will do no thing but lis   ten         Now I will do no thing but lis ten       ter ri ble Now   I will do no thing but lis   ten              Fl Bb Cl Pno Perc M S Speak sternly Speak sternly Speak sternly   58                                                                                                    gliss.    Improvisatory                              Fl Bb Cl Pno Perc M S flutt T P flutt Tri (w/ beater) h 61 S19 mith Universal Thoughts

                                                                                                                                                              sul tasto ord. pizz pizz.    Return to Precision   =   =   =       I know beau ty and the mar   ve lous re bell i on of man                          Bb Cl. Pno M S Vla Vc    timb tr sub slap flutt Speak angrily                                64                                                                                                                                                   gliss arco ord arco gliss    =   =     My Name is Truth   And I am   the most elusive captive in the                  Bb Cl Pno M S Vla Vc       overblow Remove foil; place light, "plastic y " notebooks on strings from C3 C6 Speak freely; with a sense of wonder Overpressure (sul G)             69 20 Smith Universal Thoughts

                                                                                                                                        molto sul pont gliss    = 70 80   Heavy, but not Dragging           universe   If they are not just as       Fl Bb Cl Vib M S Vc.   <q=> (q=70 80) jet jet overblow overblow Vib (w/ hard yarn) Cr Cym Overpressure    77 74                                                                                                                                   = 105   = 70     =                   close   as they are dis tant                         Vib Fl. Bb Cl. Perc M S Vc           jet overblow slap Tam Dead stroke      78 S21 mith Universal Thoughts

                                                                                               [birds, Bustling bustle, gossip, flames cooking my meals, The sound of the human voice,   = Sounds of the city, Sounds   = [Alarm bells, cry, engines, whistle I hear the violoncello, I hear the chorus   Ah this indeed is music                  Fl. Bb Cl. Perc. M S. Speak quietly but quickly, as background noise Speak quietly but quickly, as background noise Cr Cym Vib.  83                                                                                                   molto sul pont of the day, Young ones, laugh Faint tones of   the sick]   this suits me]                          Fl Bb Cl Vib M S Vc  Repeat text if time (end) Repeat text if time (end) slap Tam (deaden) Tam (w/ bow) I         85 22 Smith Universal Thoughts

Speak

in time; firm and deliberate

in time; firm and deliberate Speak in time, in a panic (inhale) (exhale) Speak in time; firm and deliberate                  88 S23 mith Universal Thoughts

                                                                                                                                                                                pizz They are no thing   " "   They are no thing     They are no thing     The trained so pran o   wren ches   They are no thing sub               Con. Fl. Bb Cl Perc M S Vc           Speak in time; firm and deliberate T R T R

Speak

                                                                                                                                                                                                                                 molto sul pont arco  Heavy Once Again   =   =   birds, bus tle gos sip                   birds, bus tle gos sip       The trained so pran o wren ches     I lose my               To Picc. Picc. Bb Cl Pno Perc. M S Vla Vc         Speak in time, in a low tone overblow flutt. Speak in time, in a low tone (bow) (strike w/ yarn) (inhale) (exhale) I Play on wrapping behind bridge overpressure behind bridge             92 24 Smith Universal Thoughts

                                                                                                                                                                                                                                                                            molto sul pont                    My name is Truth         Sounds of the ci ty           Sounds of the ci ty         breath   Sounds of the ci ty   Choose   My name is Truth Sounds of the ci ty         Sounds of the ci ty                       Picc Picc. Bb Cl. Pno Perc M S Vla Vc         timb tr flutt Speak in time, with quiet intensity Stage Whisper Stage Whisper T Bl (w/ yarn) Tri (w/ butt of yarn) (out of breath) Stage Whisper Recall earlier authority Speak in time, with quiet intensity Stage Whisper (squeak) Stage Whisper                 96 S25 mith Universal Thoughts

                                                                                                                                                                                                                                                                                                                          As at the Beginning   =               Alarm bells, cry, engines,   whistle                         Picc. Bb Cl Pno M S Vla Vc Speak freely but in a hurry Overpressure   100 26 Smith Universal Thoughts

                                                                                                                                                                                                                                                                 molto sul pont sul tasto ord Snapping Back to Heaviness     =   = 47 53   sub             sub             My wind   pipe thro   ttled in death                                   Picc. Bb Cl Pno M S. Vla Vc          flutt <q=q> (q=47 53) Overblow (inhale) (exhale) Fall off with a hopeless sound III Overpressure (Overpressure behind bridge) (on wrapping)                     102 S27 mith Universal Thoughts

                                                                                                                                                                                                                             sul tasto sul tasto   Wispy     =                                                           Picc. Bb Cl Pno Perc M S Vla Vc (Lowest notes on piano) B Dr (w/ soft yarn)  106 28 Smith Universal Thoughts

                                                                                                                       gliss  gliss   poco accel.   =   =   =                                                  Picc. Bb Cl Pno Perc. M S Vla Vc        timb tr Harmonics Rapid glisses with fingertips on strings inside piano; repeat until marked Scratch Remove notebooks Sus. Cym. (scrape w/ butt of yarn) Sus. Cym. (strike w/ yarn) Bow on tailpiece Bow on tailpiece                110 S29 mith Universal Thoughts

                                                                                                                                        ord molto sul tasto col legno battuto sul tasto        =   = 53 60 if they are not just as close   as they are dis   tant   They are                    Perc M S. Vla Vc   rim on the dome Hauntingly Whisper with quiet intensity    113                                                                                    ord gliss gliss gliss gliss ord   =   = noth ing     The fog comes on little cat feet It sits looking over harbor and         Perc M S Vla Vc B Dr (w/ soft yarn) Whisper, no tone to voice, completely airy Emerge from nothing Emerge from nothing       117 30 Smith Universal Thoughts

                                                                       gliss gliss ord gliss gliss sul tasto gliss. gliss gliss. ord sul tasto city on silent haunches and then moves on The fog comes on little cat feet It Bs Cl Bs. Cl. Perc M S Vla Vc (w/ superball) Repeat text again, still whispering, with a little more tone in the voice 121                                                                                            gliss  gliss gliss gliss sul tasto col legno tratto sits looking over harbor and city on silent haunches and then moves on The fog comes on Bs Cl Pno Perc. M S Vla Vc Scratch up string Speak text a 3rd time, at conversation level or a little louder, with more tone in the voice       123 S31 mith Universal Thoughts

                                                                                                                                          gliss       little cat feet It sits looking over harbor and city on silent haunches and then moves on Bs. Cl. Pno Perc M S Vla Vc Slam  125                                                                                                                 With More Motion Who am I? Pno M S In a conversational tone 127                                                                                             Birds, = 105 120 bustle, gossip, flames cooking my meals   =   =     My head knocks a gainst the stars (s)     Pno M S <q=h> (q=105 120) Speak hurriedly, as background commotion Choppy, awkward, short   130 32 Smith Universal Thoughts

                                                            L H R H       = Truth sub     If they are not the Truth           Pno M S Speak boldly: Speak in time, with building intensity    134                                                                                    =           ri ddle   Or the untying   of the         Pno M S    Explanatory; begin in time then move to speaking freely                   137                                                                                           Sounds of the city, sounds of the day Ah, this indeed is music   fog comes on little cat feet it sits looking over harbor and city, and then moves   on          Bs Cl Pno M S Vc Speak hurriedly, as background commotion Place foil as at beginning Speak freely; recall the wispiness of earlier in the piece 141 S33 mith Universal Thoughts

                                                                                                          sul pont     =   If it is not the riddle, or the   untying of the riddle it is no   thing         Bs. Cl. M S Vc       timb tr (choke cutoff) slap Explanatory once again Depressed II (overpressure behind bridge) Overpressure  145                                                                                                                                                                  ord pizz   =   =   =   =   =   =   =                 I have talked   with   God                               Fl Fl Bs. Cl. M S Vc      timb tr (air) jet flutt slap slap          150 34 Smith Universal Thoughts

                                                                                                                                              arco sul tasto ord   =   =   =           I have da   bbled in the fog       My Name is                Fl. Bs Cl M S Vc.  timb tr slap Growing Speak in time; suddenly serious                             157                                                                                                                                                     =   =         Truth Now   I will do no thing but lis   ten         Fl Bs Cl M S Vc  slap Speak sternly   162                       = 70 80 Vc <q=> (70 80)167 S35 mith Universal Thoughts

                                                                                                                                                      gliss                  Engines, whistle       This suits me       The trained so pra no         Fl. Bs Cl Pno Perc M S. Vc flutt lowest strings inside piano slam scratch Speak forcefully, Out of time Tam (w/ beater) (w/ bow) Speak forcefully, Out of time Rapidly switching between moods/emotions overpressure             169 36 Smith Universal Thoughts

                                                                                                                                                                                                                                                    As at the Beginning   Yanking Back                             Choose   I lose my " " breath   My              Fl. Bs Cl Pno Perc M S  flutt flutt Cr Cym (w/ hard yarn) Sus Cym Tri. (w/ butt of yarn) (exhale)  173 S37 mith Universal Thoughts

                                                                                                                                                                                                           sub Faint tones of the sick                   wind pipe thro ttled in death                  Fl. Bs Cl Pno Perc. M S.     overblow Speak quietly: Place plastic hangers lengthwise from F2 G4 and G4 A6 B. Dr. (w/ yarn) Tam. (w/ yarn) (inhale) (exhale)    177 38 Smith Universal Thoughts

                                                                                                                                           gliss gliss con sord sul pont con sord sul pont sul pont Birds, Quietly Building poco accel. bustle, gossip, flames cooking my meals The sound of the human voice I hear the violoncello, I hear the key’d cornet, I hear the chorus Fl. Bs Cl Perc M S Vla Vc Speak quietly, as background bustle Speak quietly, as background bustle sul C 181                                                                                                                                                                                                                      ord gliss        = 75 86   sub         I hear the violoncello, I hear the   chorus Thro ttled in   sub     sub     Fl. Bs Cl Perc M S. Vla Vc Tam Sn Dr (w/ sticks; sn on) Speak freely; building in intensity Almost shouting mute off  183 S39 mith Universal Thoughts

                                                                                                                                                                            senza sord gliss = 126 144                     death Ah, this indeed is music                            Fl. Bs Cl Pno Perc. M S Vla Vc     <=e> (q=126 144) Cr Cym (rims of snare) Speak freely, with sighs of relief overpressure bow on wrapping behind bridge                                           185 40 Smith Universal Thoughts

                                                                                                                                                                                                                                                                                                                                =                 Choose The sin   gle                          Fl. Bs Cl Pno Perc. M S Vla Vc              Tri (w/ sticks) B. Dr. (w/ mallet) Speak in time; drive home the point                                          188 S41 mith Universal Thoughts

                                                                                                                                                                                                                                   gliss gliss senza sord        =     sub               clenched fist   lift ed and read                          Fl. Bs Cl Pno Perc M S. Vla Vc      sub mute off                                                191 42 Smith Universal Thoughts

                                                                                                                                                                                                            y   Or the o   pen                              Fl. Bs Cl Pno Perc M S Vla Vc.                                           194 S43 mith Universal Thoughts

                                                                                                                                                                            It   Reflective and Disoriented sits looking over harbor and city   =             and then moves on     ask ing hand The fog   comes on little cat feet   sub.       sub                  Fl. Bs Cl Pno Perc M S Vla Vc  jet Speak quietly, with a low tone; out of time (L H ) (R H ) Speak quietly, with a low tone; out of time Dreamy I III                                                  198 197 44 Smith Universal Thoughts

                                                                                                                                                                                                               = sub   = sub             and then moves on     sub   Choose The fog   comes on little cat feet   sub     sub It   sits looking over harbor                  Fl. Bs Cl Pno Perc M S Vla Vc (L.H.) (R.H.) Speak quietly, with a low tone; out of time rim Assertive Dreamy I Speak quietly, with a low tone; out of time                                                 199 S45 mith Universal Thoughts

                                                                                                                                                                                                        gliss pizz arco             =                         Choose Truth   Choose   The   sub I   hear the chorus sub     sub                      Fl. Bs Cl Pno Perc. M S Vla Vc Assertive Dreamy Speak boldly                                 201 46 Smith Universal Thoughts

                                                                                                                                                                                                  It sits looking over harbor   =     =         sub           and then moves on sub       fog comes on little cat Choose   Death     sub       sub sub                      Fl. Bs Cl Pno Perc M S Vla Vc Speak with a low tone; cut out before next downbeat (early if needed) Speak with a low tone; cut out before next downbeat (early if needed) Sn Dr (sn off) Speak with a low tone; cut out before next downbeat (early if needed) Assertive I overpressure III overpressure                                                   204 S47 mith Universal Thoughts

this is the grass that grows wherever the land is and the water is, This is the common

 

a conference Speak with intensity Speak with intensity I                                                                                                          207 48 Smith Universal Thoughts

                 Fl. Bs. Cl. Pno Perc. M S Vla Vc (hard

Now I will do no thing but lis ten

I

as if

Speak with intensity Remove foil and hangers (rim

Speak with intensity Speak freely; make

                                                                                                                                                                      = Conclusive and Profound   Now I will do no thing but lis   ten     Now I will do no thing but lis   ten

Now will do no thing but lis ten cutoff) (hard cutoff) shot) a strong concluding remark, speaking at

air that bathes the globe

                                                                                                                                                                                                                                     ah Fl. Bs. Cl. Pno Perc M S Vla Vc         (on cutoff) Tam (w/ beater) B Dr (w/ mallet) (on cutoff) overpressure                                                                                                                           210 S49 mith Universal Thoughts

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