(asymmetries of matter) by JonathanBooker

J O NAT H AN B OOKE R

(asymmetries of matter) 2 0 1 9 /2 0

for voice, trumpet, trombone, and bass clarinet

(asymmetries of matter) [ 2019/20 ] for voice, trumpet, trombone, and bass clarinet COMPOSED WITH MUCH GRATITUDE AND ADMIRATION FOR LOADBANG

G E N E R A L P E RFORM A NC E I NSTRU CT IO N S I.

Notation & Sound World This work employs a prescriptive system of notation that focuses on the physical actions of the performers. Sounds are not specifically indicated in the notation and are only implied by means of the sound-producing actions that are notated graphically using combinations of lines, shapes, colors, and gradients.The sonic results of these actions are therefore somewhat indeterminate and will vary depending on the distinctive characteristics of the performers and their instruments.

II.

Duration Approx. 10 minutes

III.

Rhythm Rhythms are notated without noteheads above each instrument’s top staff. They may correspond to events notated in either/any of an instrument’s staves. For visual clarity, gray vertical lines extend downward from the stems and attach to the rhythmesized action(s). On the voice’s staff, some rhythms only correspond to changes to phonetic symbols. In these cases, dashed gray lines are used in place of the solid ones. 5:4

Breaks in lines/shapes indicate rests outside of the notated rhythms. These breaks are generally used in instances of detached attacks, as the example on the left shows, whereas unbroken lines/shapes indicate connected/legato attacks.

Fermatas are roughly proportionate to one another (e.g. a two-beat fermata should have approximately twice the duration of a one-beat fermata), however, the exact durations of fermatas are to be determined by the performers. IV.

Pitches & Accidentals In this work, pitches are unquantified and relative only to the ranges of the performers’ instruments. They have no relationship to temperament or ordered frequency-related scales.

Dynamics Dynamics are indicated by the width of lines/shapes. In this notational system, dynamics refers to a physical state (i.e. the amount of air flow from the lungs), while the audible loudness of the resulting sound may be different.

MINIMUM VOLUME

TRANSITION

EXPONENTIAL TRANS.

MAXIMUM VOLUME

I NST RU M ENT - S P EC I FI C I NSTRU C T IO N S VI.

Voice (any type) This part may be performed by a singer with any vocal range. The vocalist’s actions are notated on a single staff. Pitch material is shown by the vertical positioning of lines/shapes on the staff with the top and bottom lines of the staff representing the upper and lower limits, respectively, of the singer’s range. It is unnecessary for these upper and lower limits of the range to be fixed throughout the piece. Instead, they may be redefined by other techniques and materials (such as dynamics, types of phonations, phonemes, vibrato, etc.) but should always remain at the edge of the threshold of the possible. UPPER LIMIT OF RANGE

VOICE LOWER LIMIT OF RANGE

Color is used to differentiate between three types of phonations that the vocalist produces through changes in glottis position and tension. GREEN: WHISPER BREATHY; DIFFUSE; UNSTABLE BLACK: ORDINARY VOCAL PRODUCTION SUNG, FOCUSED TONE BLUE: CREAK/GROWL PINCHED; CONSTRICTED; ABRASIVE TRANSITIONS SHOWN WITH GRADIENTS

There is no text in this work. Instead, the singer produces sounds taken from the International Phonetic Alphabet. These phonetic symbols appear below the vocal staff. Other vocal techniques: VIBRATO (VARIATIONS IN AMPLITUDE NOTATED GRAPHICALLY) WILD, UNPREDICTABLE VIBRATO TREMOLO TRILLO

click

VII.

(“GOAT” TRILL)

TONGUE CLICK: SHARP, PERCUSSIVE SOUND MADE BY ARCHING THE TONGUE INTO THE ROOF OF THE MOUTH AND FORCING IT DOWNWARD/FORWARD TOWARD TEETH.

Trumpet in Bb or C (+ Harmon mute) This part may be performed on either a Bb or C trumpet. The trumpeter’s actions are notated on two staves. The top staff contains information regarding embouchure, pitch, and dynamics, while the bottom staff contains information regarding the valves and slides. Pitch material (irrespective of valves) is shown by the vertical positioning of lines/shapes on the top staff with the top and bottom lines of the staff representing the highest and lowest partials, respectively, within the player’s range. It is unnecessary for these highest and lowest partials to be fixed throughout the piece. Instead, they may be redefined by other techniques and materials (such as dynamics, types of embouchure, etc.), but should always remain at the edge of the threshold of the possible.

iii The actions of the valves and slides are notated on the bottom staff. The staff is oriented so that the first valve is notated in the top space and the third valve in the bottom space. HIGHEST PARTIAL

Embouchure TRUMPET

LOWEST PARTIAL 1 2 3

Valves

Valves may be either fully or partially depressed and may be depressed and released either suddenly or gradually over time. For example... 1ST VALVE SUDDENLY DEPRESSED (HALFWAY) AND SUDDENLY RELEASED; 2ND VALVE GRADUALLY DEPRESSED (FULLY) AND SUDDENLY RELEASED; 3RD VALVE SUDDENLY DEPRESSED (FULLY) AND GRADUALLY RELEASED.

Valve trills (rapid depressing and releasing of valves over a specified duration) are notated in gray with a trill symbol (examples below). When a valve trill involves multple valves, the valves should be depressed and released at the same time. 1ST VALVE TRILLED (FULLY); 2ND VALVE TRILLED (HALFWAY); 1ST AND 3RD VALVES TRILLED (FULLY)

Valve tremoli (rapid alternation between multiple valves) are notated in gray with a tremolo symbol (examples below). When a valve tremolo involves all three valves, the valves should be alternated between randomly and irregularly. TREMOLO (FULLY DEPRESSED) BETWEEN 1ST AND 2ND VALVES; TREMOLO (HALF DEPRESSED) BETWEEN 2ND AND 3RD VALVES; TREMOLO (FULLY DEPRESSED) BETWEEN 1ST AND 3RD VALVES

Black lines above and/or below the valve staff indicate movement of the first and third valve slides. The default position for valve slides is fully inserted. The first valve slide is notated above the valve staff, while the third valve slide is notated below it. For the first valve slide, the limit of extension is represented by the bottom line of the embouchure staff. For the third valve slide, a dashed line is used to represent the limit of extension. 1ST VALVE SLIDE FULLY EXTENDED 1ST VALVE SLIDE FULLY INSERTED

3RD VALVE SLIDE FULLY INSERTED 3RD VALVE SLIDE FULLY EXTENDED

As the lines move away from the valve staff (upward for the first valve slide and downward for the third valve slide) valve slides are extended (example below). When the black lines are absent, valve slides should always be in the fully inserted position. 1ST VALVE SLIDE MOVES FROM FULLY INSERTED TO FULLY EXTENDED WHILE 1ST VALVE IS SUDDENLY DEPRESSED AND GRADUALLY RELEASED

3RD VALVE SLIDE MOVES FROM FULLY INSERTED TO FULLY EXTENDED WHILE 3RD VALVE IS TRILLED

iv VIII.

Tenor Trombone with F-attachment This part must be performed on a tenor trombone with an F-attachment.The trombonist’s actions are notated on three staves. The top staff contains information regarding embouchure, pitch, and dynamics; the middle staff contains information regarding the slide; and the bottom staff contains information regarding the F-trigger. Pitch material (irrespective of slide position) is shown by the vertical positioning of lines/shapes on the top staff with the top and bottom lines of the staff representing the highest and lowest partials, respectively, within the player’s range. It is unnecessary for these highest and lowest partials to be fixed throughout the piece. Instead, they may be redefined by other techniques and materials (such as dynamics, types of embouchure, etc.), but should always remain at the edge of the threshold of the possible. The movement of the slide is notated on the middle staff. Slide position is shown by the vertical positioning of lines on the staff with the top line of the staff representing seventh position (VII) and the bottom line of the staff representing first position (I). Although not notated, the player may need to adjust the position of the slide during silences in order to prepare the subsequent attack. The actions of the F-trigger are notated on the bottom staff. The top line of this staff represents the F-trigger in its fully engaged position, while the bottom line represents the F-trigger in its fully disengaged position. HIGHEST PARTIAL

Embouchure TROMBONE

LOWEST PARTIAL VII

Slide I

F-trigger

The movement of the slide physically independent of the embouchure and F-trigger. Slide positions should remain constant even when the F-trigger is engaged and disengaged. WILD, ERRATIC MOVEMENT OF THE SLIDE

The F-trigger may be either fully or partially engaged and may be engaged and disengaged either suddenly or gradually. For example... F-TRIGGER SUDDENLY ENGAGED (FULLY), SUDDENLY DISENGAGED; F-TRIGGER SUDDENLY ENGAGED (FULLY), GRADUALLY DISENGAGED; F-TRIGGER GRADUALLY ENGAGED (HALFWAY), SUDDENLY DISENGAGED

F-trigger trills (rapid engaging and disengaging the F-trigger over a specified duration) are notated in gray with a trill symbol (examples below). F-trigger trills should be executed as fast as possible. F-TRIGGER TRILLED (FULLY); F-TRIGGER TRILLED (HALFWAY)

IX.

Brass Embouchure Types & Techniques (Trumpet & Trombone) There are four types of embouchure used in the brass parts of this work. GREEN: FLABBY; BREATHY; DIFFUSE LOOSE AND EXTRUDING (“ROLLED OUT”) EMBOUCHURE EMPHASIZING LOW PARTIALS/PEDAL TONES WITH AIR LEAKING OUT BLACK: NORMAL BUZZ; PURE, CLEAN TONE

v RED: COARSE; GUTTERAL; VULGAR OFTEN UTILIZING SPLIT TONES (THE EXACT PARTIALS TO BE SPLIT ARE CHOSEN BY THE PLAYERS) AND/OR GROWLING BLUE: PINCHED; SQUEALING; COMPRESSED VERY TIGHTLY PURSED (“ROLLED IN”) EMBOUCHURE AND TAUT CHIN EMPHASIZING HIGH PARTIALS TRANSITIONS SHOWN WITH GRADIENTS

Other embouchure techniques: LIP TRILL (TO ADJACENT HIGHER OR LOWER PARTIAL) FLUTTER TONGUE DOUBLE/TRIPLE/DOODLE TONGUE WILD, UNPREDICTABLE EMBOUCHURE

Tongue Ram is a percussive air sound (a rounded “pop” with distinct pitch content) made by forcing air into the instrument without vibrating the lips, then abruptly stopping the air flow by thrusting the tongue into the mouthpiece. Resulting pitches are controlled solely by the valves/slide (pedal tones only). Notated in the center of the emouchure staff. ram

TONGUE RAM

Singing while playing is notated with orange shapes on the embouchure staff. The top and bottom lines of the embouchure staff represent the upper and lower limits, respectively, of the player’s vocal range. It is unnecessary for these upper and lower limits to be fixed throughout the piece. Instead, they may be redefined by other techniques and materials (such as register of the instrumental sound, type of tonguing, etc.) but should always remain at the edge of the threshold of the possible. The voice is independent of the instrument. No attempt should be made to match the pitch produced by the voice with the pitch produced by the instrument. The voice always sounds through the instrument. UPPER LIMIT OF VOCAL RANGE (AS WELL AS HIGHEST PARTIAL)

Singing while playing LOWER LIMIT OF VOCAL RANGE (AS WELL AS LOWEST PARTIAL)

Bass Clarinet in Bb This part must be performed on a bass clarinet in Bb. The clarinetist’s actions are notated on two staves. The top staff contains information regarding embouchure and dynamics, while the bottom staff contains information regarding pitch and fingerings. Pitch material is shown with accidentals on a five line staff. Semi-opaque red lines are also used for visual clarity—thin red lines for accidentals notated on staff lines and thick red lines for accidentals notated in spaces. Pitches sound a major ninth lower than written (French notation), however, pitch is frequently altered by changes in embouchure such as in the cases of overblown spectral multiphonics.

Embouchure BASS CLARINET Fingerings

vi There are four types of embouchure used in the bass clarinet part of this work. GREEN: AIRY; BREATHY; PALE; HOLLOW OPEN/LOOSE EMBOUCHURE PRODUCING AIR SOUND WITH NO PITCH. TO TRANSITION TO NORMAL TONE (SHOWN WITH GRADIENT), GRADUALLY CLOSE EMBOUCHURE AND ALLOW PITCHES TO CREEP IN. BLACK: NORMAL TONE; PURE; CLEAN RED: GROWLING; GUTTERAL; GRINDING GROWL/THROAT FLUTTER (DISTINGUISHABLE FROM FRONT FLUTTER) BLUE: OVERBLOWN; SQUEALING; SQUAWKING SPECTRAL MULTIPHONICS AND UNPREDICTABLE SPECTRAL SWEEPS IN LOWER REGISTERS; PINCHED SQUEALS/SHRIEKS IN UPPER REGISTERS TRANSITIONS SHOWN WITH GRADIENTS

Other embouchure techniques: FLUTTER TONGUE DOUBLE/TRIPLE/DOODLE TONGUE DOWNWARD PITCH BENDS ARE INDICATED BY SHAPES THAT CURVE BELOW THE BOTTOM LINE OF THE EMBOUCHURE STAFF. DEPENDING ON THE REGISTER IN WHICH THEY OCCUR, THESE PITCH BENDS MAY BE ACCOMPLISHED BY CHANGING THE SHAPE OF THE ORAL CAVITY, AND/OR PLACING THE TONGUE ON THE REED.

slap

SLAP TONGUE

No notational distinction is made between trills and tremoli. Both actions are notated using the trill symbol with the “trill-to” note in parentheses. Double trills also appear frequently and, in most cases, involve alternating between the left and right hand keys of the same pitch. On fingering diagrams, trilled keys appear within boxes. The composer has consulted the following resources to select bass clarinet fingerings: JASON ALDER, “BASS CLARINET QUARTER-TONE FINGERING CHART, 2ND ED.” (JASONALDER.COM) HEATHER ROCHE, “THREE OCTAVE TREMOLO/MOVING PASSAGES CHART W/ QUARTER TONES FOR BASS CLARINET” (HEATHERROCHE.NET) HARRY SPARNAAY, THE BASS CLARINET, “A PERSONAL HISTORY,”

3RD ED.

Fingering diagrams are arranged according to the following scheme: R A L1

(R2) (R1) (R4) (R5)

L2 L3

4 3 2 1

{

F# G# E F Eb D

C/C /D B

L4 R2 R3 R4

G# (L4) D# C# (L5) D/E/F/F#/G#

}

vii On fingering diagrams: A.) Keys that appear within parentheses are to be gradually depressed over the indicated duration; B.) Trilled holes/keys appear within boxes; C.) Holes/keys with slashes through them are covered/depressed halfway. A.)

B.)

R (F#)

C.)

R G#

F# G#

P RO GR A M N OTE A coalescence.The convergence of flows of material processes (unfoldings, fusions, vaporizations, sublimations, erosions). Energy arises from the collision of body and instrument. Forms (asymmetries of matter) are forged/assembled/woven, which is to say that they are chiseled out of the void of limitless uniformity. They are warped, fractured, stretched, compressed, and smeared. The instrument is fixed with the body (consubstantial). The noise (unbound by time; existing forever in the now) is corporeal—churning, crystalizing, grinding, spiraling, gurgling, filamenting, erupting, dissolving. (asymmetries of matter) contains within it four shorter solo works—one for each of the four instruments—that have been dissected and reassembled within the larger chamber work.These asymmetries may be performed independently or in sequence collectively.

3 8

(asymmetries of matter)

energetic, pushing forward; dramatic swells = 104 and wooshes emphasizing dynamic contrasts

2 8

3 Ï Ï Ï Ï Ï ! ‰ Ï ‰ !Ï Ï 3

5:4

5 8 increasingly unstable

Ï.

JONATHAN BOOKER

Ï.

decisive

Ï Ï

VOICE dɑ

ta kə pɛ di

‰ to Harmon mute (no stem)

TRUMPET

wild

Ï.

Ï Ï

! ‰

TROMBONE

abrupt

Ï Ï Ï

ŒÏ

Ï !Ï Ï ‰Ï

Ï.

BASS CLARINET

Ï.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ G# 3

Ï Ï

3 16

VOC vʊ na ø

BCL

͡ ɑ dz

fɑ

ʃɔ ɑ sə

~~~~~

~~~~~~~~~~~~~~~~

unsteady

VOC ta kä tɞ tɞ ʃʌ

sʊ fʌ

U BCL

~~~

shaky, disuniform

VOC da pɵ nɵ a

a hi

͡ dʒo

sɔ

vʊ

rä

U BCL

~~~~~~~~

still pushing forward, but against

= 84 slightly more resistance

VOC u

BCL

ɲi

pa zʊ ʃo zʊ mɜ

~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~

F# F#

F (E)

3 8 j

7 16 jj Ï

Ï.

VOC

2 8

click

t͡ sɪ

bri

däry

bʌ bʌ ɪ na

TPT

TBN

®Ï Ï Ï BCL

7:4

Ï Ï Ï Ï Ï Ï Ï Ï

‰

5:4

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

j ! Ï

3 8

Ï Ï Ï Ï Ï.

Ï Ï Ï

pli e nə k wɛ

͡ dʒʊ

4 8 j

5:4

Ï ®Ï Ï Ï Ï Ï Ï Ï Ï

Ï.

Ï Ï

®Ï Ï Ï

VOC zu

kɪ bi bi n tu fa lʊ

ta ha MUTE ON

Ï !Ï ®Ï Ï

gʊ

spluttering

Ï Ï ÏÏ

Ï Ï

® !

Harmon mute (no stem)

TPT

struggling to emerge

j Ï Ï Ï Ï !

Ï !Ï

Ï Ï

Ï Ï !Ï

TBN

gradually becoming more erratic

BCL

~~~~~~~~~~~~~

Ï Ï

Ï Ï Ï Ï Ï. 8va

~~~

Ï® Ï Ï Ï Ï Ï Ï Ï Ï ®Ï Ï Ï Ï Ï Ï !Ï jÏ jÏ 3

Ï !Ï

3 8

Ï Ï.

5 16

fighting to maintain linearity as the material begins to fracture/crumble

Ï Ï Ï Ï Ï Ï

Ï. Ï

sʊ

dʊ

ɛ hɛ ga na tʊ z

vot

hot

Ï Ï !Ï Ï

‰

5:4

VOC (o)

Ï Ï Ï Ï ŒÏ

Ï.

Ï Ï

TPT

®Ï Ï .

Ï.

TBN

Ï Ï Ï Ï !Ï . 7:4

BCL

Ï.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ï Ï.

5:4

Ï !Ï

Ï.

Ï Ï Ï Ï !Ï 3

3 8

m ɜ nä v i

®Ï Ï Ï Ï Ï Ï j

4 8

®Ï Ï . Ï . Ï Ï Ï.

3:2

Ï Ï Ï

5 8

ɪʊ

VOC cli

Ï Ï !Ï ‰Ï

‰

rɜ

tɪ i

Ï.

reɪ ʃu tu

Ï Ï Ï

Ï Ï ®Ï Ï .

® !

TPT

‰

Ï Ï Ï

Ï !Ï ‰Ï

Ï Ï Ï Ï ®Ï Ï !

Ï Ï Ï Ï ‰Ï

Ï. Ï

Ï Ï Ï ®Ï

TBN

Ï.

Ï Ï ®Ï Ï . Ï Ï Ï .

j Ï Ï Ï Ï !

~~~~

BCL

R (F#)

~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~ R

G# G#

Ï Ï Ï

10 8

increasingly frenetic and heterogenous; trumpet and trombone begin to gradually assert more influence over the texture

5 8

Ï. Ï Ï

Ï Ï

Ï.

Ï Ï Ï Ï

Ï Ï Ï

ia u a ʒa

Ï ‰

4:3

2 8 j

VOC ɲa

rə

ŒÏ .

®Ï Ï ®Ï Ï

Ï.

Ï Ï Ï Ï Ï Ï Ï Ï.

MUTE OFF

Ï Ï

Ï Ï.Ï

5:4

ÏÏÏ

Ï !Ï

Ï Ï Ï

TPT

Ï ®Ï Ï Ï ®Ï ! Ï .

j Ï Ï Ï Ï

TBN

Ï ‰ BCL

thick, tangled

Ï Ï Ï

5:4

Ï Ï Ï Ï Ï Ï ÏÏÏÏÏÏ Ï ~~~

!Ï Ï

Ï.

5:4

7:4

ÏÏ Ï Ï Ï ÏÏÏÏÏÏÏ

4 8

Ï Ï Ï Ï Ï Ï ®Ï !Ï

Ï.

e ʃu fa ia tei lʊ

v ha

Ï Ï Ï Ï

Ï.

119

2 8 j

Ï. Ï

Ï Ï

Ï Ï ®Ï

VOC bru ya zu 3

MUTE ON

!Ï Ï

tɪ tɪ si

fʊpazo

Ï Ï Ï Ï Ï Ï Ï Ï ®Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï Ï . 6:4

‰

Ï.

5:3

TPT

Ï Ï Ï !Ï .

Ï Ï !Ï ®Ï Ï .

Ï. Ï

TBN

ÏÏÏÏÏÏÏ Ï BCL

!Ï Ï

~~~~~~~~~~~

Ï.

Ï Ï Ï

Ï.

!Ï Ï Ï Ï Ï ®Ï !Ï . 5:4

~~~~~~~~~~~~~~

7 16

10 12

7 16

Ï Ï

ta sa

4 8

‰

3 16 j

2 8

Ï.

5:4

Ï Ï Ï Ï Ï

VOC o

ɲa

Ï.

ŒÏ

3 3 Ï! Ï Ï Ï Ï Ï Ï jÏ .

ta ka ka ɜ sɯ

Ï jÏ . Ï

TPT

Ï. Ï

‰

increasingly agitated; manic

Ï.

ŒÏ

Ï Ï Ï Ï Ï

TBN

Ï !Ï !Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 5:3

BCL

Ï Ï Ï Ï !Ï Ï Ï Ï Ï Ï Ï Ï Ï 3

~~~~~~~~~

Ï. Ï

4 8

Ï . Ï Ï . ®Ï Ï

Ï Ï

9 16

Ï.

‰

wild, unstable, leaping;

11 13

= 120 unpredictable and impulsive

Ï Ï Ï Ï Ï

‰

‰Ï Ï Ï

5 8 legato possibile

Ï Ï

3:2

3 8

kʊ kʊ u

Ï Ï

VOC (ɯ)

ba ia fo zu

r . Ï ‰Ï

betɪ ka

tɪ tɪ tɪ ka

MUTE OFF

Ï TPT

liu

ŒÏ

Ï.

Ï Ï Ï Ï.

put mute down

Ï Ï Ï Ï !Ï Ï Ï Ï Ï

ÏÏ

5:4

‰

TBN

Ï BCL

ŒÏ ~~~~~~~~~~~~~~

Ï.

Ï Ï Ï !Ï Ï

Ï.

~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~ ~~~~~~~ R

F F

14 12

3 8

Ï Ï

Ï.

‰

Ï Ï

4 8

7 16

j ‰ Ï

VOC su

Ï Ï Ï Ï

‰

v tʊ

Ï !Ï Ï

Ï Ï

‰

TPT

Ï.

Ï ®Ï Ï Ï ‰Ï

Ï Ï Ï !Ï

‰

3:2

TBN

‰ BCL

Ï Ï

Ï !Ï ‰Ï ~~~

!Ï

5:4

Ï Ï Ï Ï Ï Ï

~~~~~~~~~~ ~~~~~~~~~~ G# D D

Ï Ï Ï Ï 3

! jÏ

Ï.

~~~~~~~~~~~~~~

7 16

3 8

Ï Ï ‰Ï

Ï Ï Ï Ï

Ï ‰Ï

15 13

4 8

2 8

VOC e

iɛ

pli u

Ï Ï Ï Ï Ï Ï Ï.

Ï Ï Ï !Ï !Ï 3

Ï !Ï

‰

TPT

Ï Ï Ï

Ï Ï.

Ï.

TBN

Ï BCL

Ï.

Ï Ï

Ï Ï Ï Ï ‰Ï

Ï !Ï ‰Ï

‰

16 14

2 8

= 72 fragmentary, unsteady, spasmatic

5 8

3 16

2 8

Ï Ï

ŒÏ

Ï.

Ï !Ï Ï ‰Ï

Ï.

j Ï Ï Ï Ï Ï ® Ï Ï

VOC

Ï Ï

Ï ‰Ï .

TPT

TBN

‰ BCL

Ï Ï Ï

‰

~~~~~~~~~~~~~~~

r .Ï Ï !Ï Ï !Ï !Ï Ï

‰

~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ï Ï

3 8

7 16

15 17

4 8

Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï Ï

5 16

Ï ú

VOC

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. 5:4

‰

Ï Ï Ï Ï Ï Ï Ï Ï ‰Ï .

ŒÏ

TPT

Ï.

TBN

BCL

j Ï Ï ! . Ï ÏÏÏÏ Ï Ï Ï Ï Ï.

! !

Ï Ï.

Ï ŒÏ

16 18

5 16

= 84

4 8

3 16

11 16

1 8

VOC

Ï !Ï Ï ‰Ï

Ï Ï Ï !Ï Ï 3

‰

TPT

Ï Ï ®Ï Ï ! ! Ï Ï Ï TBN

BCL

Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï. 3

‰

Ï !Ï

4 8

19 17

3 8

VOC

!Ï Ï ŒÏ

Ï Ï !Ï Ï Ï Ï .

Ï ÏÏÏÏ Ï

Ï Ï Ï

Ï Ï Ï. 3

TPT

Ï ®Ï Ï Ï TBN

BCL

j Ï Ï ÏÏÏÏÏ Ï Ï

‰

3:2

‰

Ï.

j j Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï® Ï Ï Ï

TPT

Pick up Harmon mute (no stem), but do not insert into bell yet.

U TBN

= 72

U TBN

exaggerated contrasts between loose/breathy and very tight/constricted embouchures—both with high amounts of noise content

actions are a bit more direct and deliberate, even if the sounds are somewhat precarious

TBN

MUTE ON loud, boisterous, inelegant (MUTE OFF)

TPT

TBN

MUTE OFF

24 20

3 8

= 104

4 8

VOC

independent, soloistic; quieter, but still exuberant MUTE ON

Ï ®Ï Ï Ï Ï Ï Ï !Ï Ï 5:4

Ï Ï Ï Ï

Ï Ï Ï

5:3

r j

Ï Ï Ï Ï Ï Ï Ï

TPT

Ï Ï ‰Ï !

embouchure: dense, intricate, linear slide: wildly active; restless

Ï.

Ï Ï

TBN

pale, hazy; coming in and out of focus

ŒÏ BCL

!Ï Ï

5:4

Ï Ï

5 16

25 21

3 8

VOC

Ï.

Ï Ï

‰

MUTE OFF

Ï Ï ®Ï Ï ®Ï Ï Ï ®Ï Ï ‰Ï

Ï Ï Ï

TPT

Ï Ï Ï Ï

j Ï Ï Ï. !

r Ï Ï ! Ï

Ï Ï ®Ï ‰Ï

Ï Ï Ï

TBN

Ï Ï Ï BCL

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ï . !Ï Ï Ï Ï Ï !Ï Ï Ï Ï 3

5:4

Ï ÏÏÏÏ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~

26 22

2 8

101

3 8

4 8

6 8

VOC

Ï Ï Ï Ï

MUTE ON

Ï . ®Ï Ï .

sudden shifts between bright, focused sounds and awkward, “flabby” sounds MUTE OFF

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï

Ï.

TPT

Ï Ï Ï !Ï Ï . ®Ï Ï !Ï !Ï Ï Ï !Ï

TBN

Ï Ï ‰Ï BCL

~~~ ~~~

Ï Ï Ï

~~~~~~~~~~~~ ~~~~~~~~~~~~

~~~~~~~~~~~~~~~

suddenly more stable, methodical

Ï Ï ‰Ï ~~~

Ï Ï Ï !Ï 3

Ï Ï ~~~~~~~~~~~~~~~~

105

6 8

13 16

27 23

4 8

5 8

VOC

Ï Ï. Ï

Ï Ï Ï.

Ï . ˙ú

‰

j Ï Ï !Ï . !Ï Ï Ï

Ï Ï

TPT

TBN

Ï BCL

Ï ‰.

Ï Ï Ï Ï Ï Ï !Ï jÏ Ï !Ï Ï Ï Ï !Ï Ï Ï Ï Ï Ï Ï Ï Ï 3

7:6

Ï ~~~~~~~~

‰

Ï.

3:2

24 28

108

5 8

5 16

11 8

3 8

Ï Ï Ï

VOC

explosive!

Ï Ï Ï !Ï ‰Ï .

MUTE OFF

put mute down

TPT

TBN

Ï Ï Ï Ï ‰Ï Ï . 3

BCL

7:6

Ï Ï Ï Ï Ï Ï Ï Ï ®Ï Ï Ï Ï

wholly continuous glissando (at least in action, if not in resulting sound); fingers slink across mechanism

Ï Ï Ï Ï

~~ ( (1/2)

)

( )

( ) ( )

( ) 1

( )

Ï ÏUÏ

6 8

112

6 8

collapsed, enclosed, brittle;

= 63 pitch is quite tenuous

5 8

1 2 8 8

4 8

Ï.

‰

Ï Ï

29 25

2 8

VOC

Ï !Ï Ï Ï !Ï Ï ®® Ï Ï

Ï Ï.

‰

Ï Ï

Ï Ï Ï

TPT

TBN

Ï. BCL

Ï Ï Ï ~~

‰

Ï Ï Ï Ï Ï Ï Ï Ï

~~~~~~~~

~~~~~

30 26

117

2 8

5 16

3 8

VOC

‰

Ï Ï !Ï

Ï Ï

ÏÏÏ

Ï Ï Ï Ï ®Ï Ï Ï Ï Ï Ï .

Ï Ï

TPT

TBN

embouchure: murky, vague fingers: lively, flickering

Ï.

Ï ®Ï Ï BCL

~~~~~

Ï Ï Ï Ï Ï ÏÏÏÏÏÏÏÏ ~~ ~~ ~~~~

Ï Ï Ï Ï Ï Ï Ï ~~

~~~~~ ~~~~

121

3 8

= 72

2 8

Ï Ï

‰

5 8

Ï Ï. Ï

‰

31 27

3 8

Ï !Ï Ï

2 8

Ï Ï Ï

VOC u ha

!Ï Ï

j Ï Ï Ï . ®Ï !Ï Ï Ï Ï Ï Ï

z ia

Ï Ï . !Ï Ï Ï .

a ʎatʊ vka

Ï . Ï jÏ Ï

TPT

ÏÏÏÏÏÏÏ TBN

Ï . Ï Ï Ï ®Ï ‰Ï

Extremely fragile and delicate. Embouchure should be very loose, producing only air sound. Carefully close embouchure to allow ghostly, veiled pitches to creep in.

BCL

Ï.

~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~

R G# G#

Ï. ~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~

R F#

F# E

32 28

125

2 8

Ï Ï.

7 8

Ï Ï Ï Ï !

Ï ŒÏ

Ï. Ï

3 16

2 8

Ï Ï Ï Ï Ï Ï

3 8

VOC i

Ï !Ï Ï !Ï Ï

Ï.

bi bru u flo tsɪ ʃu

!Ï Ï.

Ï.

Ï Ï Ï Ï Ï Ï Ï ‰Ï

TPT

TBN

BCL

~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~ ~~~~~ ~~~~~

F# F#

Ï ~~~~~~ ~~~~

Ï Ï Ï Ï Ï Ï

Ï !Ï !Ï Ï ~~~~~~~~~~~~~~~~~

129

3 8

Ï !Ï Ï Ï Ï Ï Ï Ï

5 8 Ï® rÏ jÏ

33 29

7:6

7 3 8 increasingly agitated, wild, and tumultuous 8 j j

Ï.

Ï Ï

Ï.

‰

Ï !Ï Ï .

Ï Ï

Ï.

Ï Ï

VOC r

ia a ä ɑ ɒ ɔ

Ï Ï Ï Ï !Ï !Ï

Ï !Ï ®Ï Ï . Ï

Ï Ï ‰.

Ï Ï Ï Ï Ï !

Ï Ï

Ï Ï.

Ï Ï

TPT

TBN

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ®Ï ŒÏ . 5:4

BCL

7:6

~~~~~

‰

~~ ~~~~ ~~~~

R 1

R D#

34 30

132

3 8 j

5 8

Ï Ï Ï Ï.

®Ï Ï

3 8

Ï Ï Ï. Ï Ï Ï Ï 5:4

2 8

VOC ͡ ia kʊ tsʊ

Ï.

‰

ŒÏ

͡ ɛ ra tʃɪ

͡ a o tʃɪ

5 8

TPT

7 8

TBN

Ï Ï Ï Ï Ï. BCL

~~~~~~~~~~~~~

Ï Ï Ï Ï Ï Ï Ï Ï ŒÏ

3 8

Massively cacophonous, frenzied, overwhelming. Each part is completely independent until . No attempt should be made to align parts rhythmically.

2 8

= 72

Ï Ï Ï

! ‰

11 16 j

ne te su

cru

Ï.

Ï Ï Ï Ï Ï Ï.

Ï.

Ï Ï Ï

4 8

2 8

1 8

35 31

Ï Ï Ï Ï

Ï Ï

2 8

VOC

5 8

= 120

7 8

= 72

(o)

Ï Ï Ï Ï ®Ï ‰Ï

4 8 j

z tu

pe i tu

m ka e

Ï.

Ï Ï Ï Ï Ï

Ï ‰

Ï Ï

3 8

a kə

Ï Ï

3:2

TPT

Ï.

3 8 j

Ï Ï

5 16 j r

= 84

Ï Ï Ï

4 8

Ï Ï

Ï Ï Ï

TBN

3 8 = 84 3

ÏÏÏÏ Ï

BCL

j j

Ï.

Ï Ï Ï

5 8

Ï.

ŒÏ

~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~

F F

2 8

ÏÏÏÏ

~~~~~

3 8

5:4

Ï Ï ÏÏÏÏÏÏ

~~~~~

36 32

2 8 j

Ï Ï

3:2

3 8 j

r j

Ï.

Ï Ï

5 8

Ï.

®Ï Ï Ï Ï .

cu de o

Ï Ï Ï Ï

3:2

2 8

Ï Ï

VOC hi

Ï Ï Ï

1 8

ʃa

Ï Ï Ï U

1 8

2 8

7 16

su fu a

Ï ‰

ri 3:2

5 8

Ï Ï.

͡ na tso

Ï !Ï Ï

Ï.

7 8

Ï Ï !Ï

TPT

Ï ®Ï Ï !Ï .

Ï Ï

1 83

2 8

4 8

Ï Ï Ï . Ï Ï Ï Ï Ï ®Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï Ï Ï 3:2

5:4

TBN

1 4 8 8 3 3 7:4 j Ï Ï ! Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï BCL

ŒÏ ~~~~~~~~~~~~~~~

3 8

Ï Ï ÏÏÏ

4 8

138

2 8

4 8 j

5 8

= 104

Ï !Ï Ï

Ï ®Ï Ï Ï

4:3

3 8

Ï Ï ®Ï ‰Ï

37 33

= 72

Ï Ï

4 8

VOC

7 8 j

dɛ

go e

Ï Ï Ï

2 8

7 8

hɔ 3

Ï Ï Ï Ï Ï

Ï Ï

TPT

1 8 13 16 j !Ï .

Ï ÏÏÏ Ï

Ï.

5 8

= 72

Ï Ï

= 84

ÏÏÏÏ Ï Ï Ï Ï

Ï Ï Ï

TBN

4 8

Ï Ï Ï

BCL

frenetic, wild

5:4

Ï ®Ï Ï Ï Ï Ï Ï Ï Ï ®Ï Ï Ï Ï

~~~~~

5:4

3 8

ÏÏÏÏÏ Ï

Ï Ï

3:2

2 8

7:4

7 8 j

Ï Ï Ï Ï Ï Ï Ï Ï Ï ®Ï Ï Ï Ï Ï Ï Ï Ï ~~

2 8

34 38

4 8

r j

5:4

Ï Ï Ï Ï

Ï Ï

3 16 j j

‰

4 8 j

Ï.

5 16

= 104

Ï Ï Ï Ï Ï !Ï . !Ï

‰

7 16

VOC m ɵ r

‰

5 8 j

e ke

dʒa

Ï Ï Ï !Ï Ï Ï Ï Ï Ï

3 8

4 8

Ï Ï Ï Ï Ï Ï Ï Ï!

Ï.

pʊ aɪ nɪa r ko

Ï.

Ï Ï

8 8

TPT

2 8

7 8 j

Ï Ï

3:2

3 8

Ï. Ï

3 16 r

ÏU Ï

= 72 16

Ï Ï

‰

TBN

unpredictable, flamboyant squawking

BCL

Ï.

1 9 8 16

j Ï Ï ! ! ÏÏÏ ÏUÏ Ï Ï Ï Ï 3

6:4

Ï Ï Ï Ï Ï ‰Ï

~~~~~~~~

5 8

Ï Ï ®Ï Ï ®Ï Ï Ï . ®Ï

~~~~~

~~~~~~~~~

7 16

Ï Ï

Ï.

2 8

Ï Ï Ï Ï

4 8 j

Ï Ï Ï Ï

‰

39 35

5 16 j

Ï Ï Ï Ï

Ï Ï Ï

4 8

tʊ

2 8

Ï.

VOC

8 8

ka i 3

ÏÏÏÏ

ɾe

ʒa tu fɔ

bɾi v z

Ï Ï Ï

2 8

dɛ

z pa

Ï U Ï

Ï Ï Ï

= 84 grinding

7 16 j

r . Ï ‰Ï

Ï.

TPT

5 8 r j

Ï Ï.

4 8

Ï Ï !Ï Ï

5 8

Ï.

TBN

6:4

ÏÏÏÏÏÏ Ï BCL

‰

3 8 j

Ï.

7:6

Ï.

Ï Ï.

~~~~~ ~~~~~~~~~~~~~

5 8

5:4

ÏÏ ÏÏÏ Ï

Ï. Ï

3 8

40 36

2 8

= 72

Ï Ï.

5:4

5 8 j

fragmenting

Ï Ï.

3 8

r Ï 5:4 Ï Ï ® Ï Ï Ï Ï! Ï

4 8

Ï j Ï Ï Ï Ï Ï Ï ‰Ï

7:6

‰

VOC

4 8

ɜa

Ï Ï Ï.

Ï.

‰

2 8

fa m

6 8

ʃə

tɪ tɪ pəpə

Ï Ï.

Ï U Ï

r ʃə pə

ŒÏ

15 16

͡ z tʃɪ

fra

˙ú

TPT

3 8

5 16 sharp, crackling

3 8

j !Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï !Ï !Ï Ï

9:6

7:4

‰

4 8

Ï Ï Ï

3:2

ŒÏ

TBN

2 8

Ï Ï Ï !Ï Ï 3

6 8

Ï Ï ®Ï !Ï Ï !Ï Ï ‰Ï Ï 3

3:2

Ï Ï Ï Ï Ï Ï Ï Ï

3 8

4:3

Ï Ï Ï

BCL

~~~~~~~~~~~~~ ~~~~~~~~~~~~~ A

E E

‰

2 8

4 8 r

r j

3 8

Ï Ï

1 8

Ï Ï !Ï

UÏ

41 37

U Rest until trumpet

VOC

reaches iniw.

5 8

Ï.

ʃə

dɛ zɜ

Ï. Ï

3 8

= 120

Ï Ï

‰

TPT

j3:2

‰

Ï. Ï. Ï .

Ï Ï

‰

2 8

3 8

Ï.

4 8

= 84

˙ú

quite erratic

5:4

TBN

2 8

7:4

Ï Ï Ï Ï Ï Ï Ï ‰Ï

®®

7 16 jerky, sudden j !Ï ‰

Ï.

~~~~~~ ~~~~~~

BCL

F F

4 8 j

~~~~~

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ®Ï Ï Ï Ï !Ï ŒÏ ~~~~~~~

~~~~

ÏÏÏÏ

6 8

42 38

VOC

Ï Ï

Ï ‰Ï

5 8

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï.

7:4

2 8

Ï Ï.

Ï U

7 8

TPT

6 8

Ï Ï

5 8

Ï Ï Ï Ï Ï Ï !Ï ‰Ï Ï

! !

5:4

Ï® Ï Ï Ï Ï jÏ 5:4

U Rest until trumpet

TBN

reaches iniw.

Ï . ®Ï ‰Ï

ŒÏ

5 8

3:2

Ï Ï Ï

BCL

ŒÏ .

~~~~~~~~~~~~ ~~~~~~~~~~~~ R

E E

3 8 j

Ï. ~~~~~~~~~~

Ï Ï Ï Ï Ï Ï Ï Ï Ï. 7:6

9 16

~~~~~ ~~~~~

43 39

VOC

7 8

Ï Ï.

Ï.

6 8

5:4

Ï Ï Ï Ï Ï ‰Ï

‰

3:2

Ï !Ï ŒÏ .

4 8

Ï !Ï !Ï Ï ‰Ï

Ï Ï Ï

TPT

TBN

9 16

Ï.

BCL

5 8

Ï.

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ŒÏ

~~~~~~~~~~~~~ ~~~~~~ ~~~~~~ R

B D

13:12

6 8

3 3:2 Ï! Ï . Ï Ï !Ï ‰Ï Ï Ï ŒÏ

1 8

44 40

VOC

Ï Ï Ï

Ï !Ï ŒÏ

Ï Ï Ï Ï Ï

3 8

= 104

ÏUÏ

TPT

TBN

1 8

ÏÏÏÏ

BCL

U Rest until trumpet reaches iniw.

7:6

Ï Ï Ï Ï Ï Ï Ï Ï ‰Ï

4 8

Ï Ï Ï

TPT

U TPT

2 8

48 42

135

2 8

somewhat hesitant, subtle; compressed, enclosed;

= 63 mostly quiet with a few dramatic swells

7 16

j Ï Ï Ï

Ï® Ï ®Ï Ï jÏ

Ï.

4 8

‰

˙ú

5 16

click

VOC ia

almost entirely noise (very little pitch content)

Ï Ï Ï !Ï !Ï ˙ú

Ï Ï.

‰

to Harmon mute

TPT

Ï Ï Ï Ï !Ï ‰Ï .

Ï !Ï ‰Ï

Ï Ï Ï !Ï ‰Ï

ŒÏ

Ï Ï Ï ®Ï ®Ï Ï .

3:2

5:4

TBN

r j

Ï Ï

BCL

®Ï Ï Ï

~~~~~~~~~ ~~~~~~~~~

R G# G#

Ï.

‰

Ï.

5:4

‰

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~ ~~~~~~~~~~

139

5 16

‰

Ï.

7 8

Ï Ï Ï Ï Ï

Ï.

ʃʊ

VOC v

z MUTE ON

click

Ï.

ŒÏ

ŒÏ .

3 8

ÏUÏ

2 8

3 16

Ï Ï Ï

Ï.

TPT

flamboyant, soloistic

Ï.

3:2

Ï Ï

Ï.

TBN

Ï Ï . Ï Ï . ®Ï

® BCL

~~~~~~~~~~~~~~~~~~~~

Ï Ï Ï ~~

49 43

4 8

50 44

144

4 8 intricately connected 5:4 j j

͡ tʃi

3 8

5 8

ʒɪo

Ï.

7 16

ŒÏ .

Ï Ï

j j

1 8

VOC

Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï Ï Ï Ï Ï Ï Ï Ï Ï !Ï . ‰Ï

flickering, shimmering

MUTE OFF

7:4

MUTE ON

!Ï Ï Ï ®Ï ‰Ï 3

Ï. Ï

TPT

Ï Ï

TBN

Ï.

BCL

7:4

Ï ÏÏÏÏÏÏÏÏ

‰

embouchure: delicate, wispy, sweeping fingers: continuously sliding, creeping

Ï.

~~~~~~~ ~~~~ ~~~~

~~ R

R (C#) (G#)

( ) ( )

( )

( ) ( ) ( ) ( )

1/2

148

1 8

5 8

ÏUÏ Ï

4 8 j

ɪʊ

Ï.

Ï Ï

2 8

51 45

3 8

VOC

TPT

5:4

ŒÏ

TBN

5:4

Ï Ï Ï Ï Ï

ghostly

Ï.

‰

BCL

˙ú

~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ R G#

C G#

46 52

153

3 8

2 3 8 legato possibile 8 j j r

Ï.

kə z

VOC ɔ

‰

TPT

TBN

Ï. BCL

~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ R

Ï.