10 Seconds - for mixed ensemble [2017]

10 seconds MATTHEW GROUSE for mixed ensemble

Written for PLUG Festival

2017

STAGE PLAN

Balcony

Speaker 3

Speaker 4

Laptop running Max + audio interface w/ mixer (4 group outs + 1 out for headphone amp)

Pno.

Db.

Sax. (standing)

Vlc.

E-Gtr. w/ amp / pedals

Vla. Vln .

Acc. Amps to power speakers

Conductor w/ headphones * Lighting - The stage should be fairly dark with a subtle blue wash.

Headphone amp

* - Instrumental seating plan can be altered if necessary to accommodate performance space. * - Minimum 4 PA speakers, but more can be added for enhancement if desired.

Speaker 1 (front stage) Speaker 2 (front stage)

* - The laptop performer should be positioned away from the focal point, but still with a good view of the conductor.

AUDIENCE i

10 Seconds MATTHEW GROUSE FULL SCOR E IN C (co nc e rt p itch)

Instrumentation: Soprano Saxophone in Bb [doubling tenor saxophone in Bb] Electric guitar [volume pedal; glass slide; distortion pedal; e-bow; tremolo bar; plectrum] {Powered by guitar amplifier, NOT through PA direct input} Accordion Violin Viola Violoncello Double Bass Piano {lid fully open; remove music rack to enable access to the strings near the tuning pins} Laptop Performer

Audio / Laptop setup: . Audio interface; mixer with 4 group outputs + 1 more output for headphone amp; laptop running Max 7 or newer; headphone amp for conductor; 1x pair headphones . A minimum of 4 PA speakers is required (with power enabling amps) See stage plan for more detail. . The composer will provide a copy of the Max patch complete with all relevant audio files. . A click track will be provided for the conductor to enable synchronisation of acoustic and tape elements. . 3 inputs into the mixer: 2 channels for stereo tape material (routed to 4 speakers) + 1 input for conductor’s click track. . The loudspeakers should only play the tape part, NOT the click track. . The laptop performer will follow the score to cue both the tape part AND the sections requiring the click for the conductor.

Duration: ca. 9’

ii

Sax op hon e:

Performance N otes : G eneral: The click for the conductor is solely to synchronise pre-recorded material.

It is programmed to drop out at sections with no pre-recorded audio.

Timbral trill - e.g b3 - find an alternate fingering of the given pitch and trill between them. Always trill to the pitch indicated by the small, stemless notehead in parenthesis.

Fall – e.g b11 – quasi gliss. at the end of note. ‘Falling off’ the note.

Move gradually and smoothly from one technique indication to another, for example, from sul tasto to sul pont.

Air suck swoosh – e.g b30 – a fast inhalation through instrument. Should rise in pitch and stop abruptly.

Continue an aleotoric figure in a similar fashion until the end of the arrow

‘Cry’ – e.g b33 – emulate a seagull cry. Approximate extremely high pitch with an immediate downwards quasi gliss. Raucous and loud.

Senza misura. Play independently from the rest of the ensemble, unmetered.

Quartertones are denoted with 12-tone equal temperament accidentals, adjusted with relevant arrows. e.g – a Bb with a downward pointed arrow attached to the accidental translates to a B three-quarter flat. A C natural with an upward pointed arrow attached to the accidental translates to a C quarter sharp.

T echnique Abbreviations: Where necessary to save space / avoid collisions, the following terms may be abbreviated after their initial use: laissez vibrer sul pont. sul tasto. molto sul pont. molto sul tasto poco sul pont. sung multiphonic bellow shakes natural bellows

> l.v. > s.p. > s.t. > m.s.p. > m.s.t. > p.s.p. > s.m. > B.S > N.B

Sung multiphonic to ord. – e.g b40 – while holding the note, begin to gradually make a sung note (a quarter tone below the played note) audible, then return gradually to ord.

Half pitched high screeches – e.g b41 – Brutal staccato screeches, following the pitch contours approximately Gradually split note – e.g b56 – multiphonic containing both the fundamental and the partial an octave above.

Gradually make the higher partial more audible.

Altissimo gliss. – e.g b57 - start on any, very high altissimo note and gliss. up to an indeterminate pitch whilst simultaneously fluctuating pitch melismatically.

Stop abruptly before starting the cycle again. Each utterance should be higher than the last.

Raucous tenor shouts – e.g b61 – in rhythmic unison with the playback, make incredibly raucous, brutal shouts through the instrument. It is notated on three stave lines to give indications of whether to go up or down in pitch from the shout before. Ad lib. how pitched / unpitched these are.

Sung multiphonic glissandi. – e.g b120 – play the written note and sing an octave below. Keep the played pitch the same whilst sliding the sung note. Ad lib. the speed of sung gliss. but make the intervals angular and erratic.

iii

Elec tric G uitar :

Accordion: Abbreviations: B.S – Bellow shakes N.B – Natural bellows Quartertone gliss. - e.g b5 – in the right hand, pitch bend down a 1/4 tone gradually creating 'beating', then return to original pitch. The left hand maintains a steady unison to the right hand’s original pitch.

Bellows breathing effect– e.g b21 – always holding the air button, slowly but forcefully open and close the bellows to create an easily audible breathing effect. 1 ‘inhale’ and 1 ‘exhale’ in each bar.

Bellow shake cluster – e.g b29 – suddenly release air button and aggressively cover as many pitches between AD#, in the left hand, whilst bellow-shaking as fast as possible.

Pick Scrape gliss. – e.g b15 – covering the lowest two strings with the side of plectrum in your right hand, gradually and forcefully slide up from the lowest to the high point, increasing pressure the further up you go. With your left hand, the trem. bar should have already been fully depressed. As you gliss., start to slowly lift the trem. bar, sharpening the pitch.

Ugly muted percussive thud – e.g b21 – Palm mute an aggressive short strum of the lowest 3 strings whilst diving the trem. bar as fast as possible. Immediately shut off the sound with the volume pedal.

campanella – e.g b21 – As much as possible, use different strings for each new note. Creates a bell like, ringing effect.

e-bow harmonics – e.g b37– Neck pickup. With the ebow set to ‘harmonics mode’, gently hover it over the lowest part of the fretboard, then gently move up and down, holding on different partials. Avoid going near the pickups.

Electric G uitar:

Volume Pedal settings – Left = completely off Middle = half way on Right = fully on / full volume Gradually increase pressure on pedal, following the length of the line. OR vice versa

Glass slide whole fretboard gliss – e.g b5 – muting the strings near the neck with your left hand, rapidly slide the glass (which is horizontally covering all 6 strings) from the lowest to highest point of the strings or vice versa.

Aggressive tremolo bar flick – e.g b11 – after forcefully playing the chord of harmonics, quickly hold tension at the end of the trem. bar and forcefully slide your hand off it whilst pushing down and then releasing (all in a quick motion). Then in a separate motion, gradually depress the bar until as flat as possible, whilst following the notated line.

e-bow harmonic feedback attack– e.g b43 – Guitar set to neck pickup. Quickly move the e-bow over the active pickup to create a loud, short swell then quickly move away. This should last no longer than a quaver. e-bow interference crescendo – e.g b57 – set guitar to middle pickup. Position the e-bow between the two pickup and slowly drift over and between neck and bridge pickups. This will create swells. Gradually increase the speed, reaching maximum speed and volume by the end.

Abruptly kill sound with pedal on beat 1 of next section.

iv

Stri ngs:

Electric G uitar:

(bass) approx. glissandi – e.g b100 – These whimsical glissandi should be played with approximate pitches, extremely high on the G string. They should be very fast and sound almost like a short whistle.

Glass slide ‘arpeggios’ – e.g b61 – always muting strings with left hand, near the neck. Gently drift the ridge near the hole of the glass over the strings, creating a light but clear series of pitches. Couple this with moving diagonally across strings. Only follow direction, ad lib. the pitches.

(violin/viola) asynchronous harmonic glissandi.– e.g b12– They should be played rhythmically independently from each other. Always tremolo, but ad lib. the speed of the tremolo. Sporadically interrupt the extremely quiet tremolo with occasional single sforzando notes, but don’t completely stop the flow. This should be one continuous gesture. Always at harmonic pressure, highlighting different partials by sliding freely on the given string.

Rhythmic glass hits – e.g b68 – Always muted with left hand near the neck. With the glass gripped in your hand so the ridged hole of the glass would rest flat against the strings, aggressively push in the lowest 3 strings between the two pickups, to create a mechanical, gnarled sound.

Must be rhythmically mechanical.

Rhythmic glass scratches – e.g b73 – glass in the same position as previous techniques, but aggressively scrape up and down the three strings without releasing the glass. Stop abruptly when the duration of the note value has ended.

Glass scrapes solo – e.g b76– same as the previous technique but continuous, without breaks, constantly ad lib. Soloistic, become more grotesque as you go on, gradually twanging open strings with the glass.

Rhythmic jack hum – e.g b137– rhythmically precise.

Releasing jack should expose the amp hiss, which is then cancelled when you press the thumb back down on jack tip. These two sounds should alternate before holding a bar of hiss then cutting all sound with the pedal abruptly.

Pia no: Henry Cowell effect in the piano. – e.g b3 – with the right hand, press firmly on the strings of the indicated notes just at the bridge (near tuning pins), and then strike these same tones forcefully on the keys with the left hand. These attacks should be sustained with the damper pedal (it’s advised to prepare the piano to make it obvious which strings to press).

Aggressive cluster – e.g b21 – An aggressive left-hand staccato cluster, used as a percussive effect, incredibly loud but as short as possible. Cover as many pitches with the palm, within the indicated register.

Pointillistic ad lib. – e.g b37– small notes indicate a very quiet and brittle improvisatory pointillist figure. Stick only to the pitches given.

Strings: (bass / cello / viola) gradual pressure increase. – e.g b12– Part of the same gesture as previous technique. The black shape and arrow direct you to very gradually increase dynamics and bow pressure to extreme overpressure until the end point. The resultant sound should be coarse and distorted.

(bass/cello) Scratch tone double stops – e.g b21– unpitched. Mute the strings near with left hand at the top of the fingerboard. The two lowest strings should be bowed slowly with heavy pressure. Duration should be very short!

v

vi

vii

10 SECONDS Matthew Grouse (b.1996)

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3

* - bow very slowly in one direction, then, without re-bowing or changing direction, accent the tenuto note with a sudden surge in bow speed. e note to follow this should restart the cycle but in the opposite bowing direction.

vary breathiness - air and key clicks sounds as prominent as pitches air suck swoosh Ÿ~~~~~~~~~~~~~ >¿ Ÿ~~~~~~~~~~~~~~~ >¿ Ÿ~~~~~~~~~~~~~ >¿# Ÿœ~~~~~~~~~~~ >¿ Ÿ~~~~~~~~~~~~~~~~~~ >¿ Ÿ~~~~~~~~~~~~~~~~~~ >¿ Ÿ~~~~~~~~~# Ÿœ~~~~~~~~~~~~ #œ #œ œ > ¿ Ÿœ~~~~~~~~~~~~~~~~~~~~~~~ # œ œ #œ œ #œ œ œ œ™ œ™ œ œ™ œ™ # œ # œ # œ 7 7 7 7 7 #œ 7#œ œ 7#œ œ

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œ

‰

j ¿¿ >¿

pp

sffffz sffffz sffffz

G

G

G

¢ í

B.S

&

í

N.B

#>666 ææJ

‰

‰

‰

B.S

Accord.

?

{

N.B

#>666 ææJ ææj #666 >

B.S

#>666 ææJ ææj #666 >

‰

‰

fff fff

fff

hold air button continuously until next change

hold air button continuously until next change

3 #˙ ™ 4

(q)

> # œ- œ≥

(q)

Vln.

ϳ J

° &

œ

™

>- ≤ œ œ

œ

ϳ J

>- ≤ ™ œ œ

gliss.

gliss.

‰

œ

>- ≤ œ œ

œ

™ gliss.

#œ

4 4

‰ pp

pp ppp (q)

œ≥ J Ó

œ

œ

>- ≤ œ œ

>- ≥ œ œ

™

gliss.

‰

Ó

‰

&

Vla.

ϳ J

™

gliss.

˙o ™

œ

& pp

pp ppp (q)

(q) gliss.

?

Vc.

≥ ¿¿ >

≥ #œ

(q)

≥ œ

(q) gliss.

>- #œ≤ ™ œ

# œ≥ ™

>œ

gliss.

™

>- ≤ œ œ

gliss.

≥ #œ- œ >

gliss.

&

?

(pp)

sffffz

≥ ¿¿ >

> #œ-

> #-œ œ≤

gliss.

? & (pp)

sffffz

≥j ¿¿ >

‰

Œ

Œ

‰

Œ

Œ

sffffz (q)

(q) (q)

≥ #œ

(q)

?

Cb.

¢

≥ ¿ >¿

≥ # œ &

gliss.

> ≤ #-œ œ™

>œ

gliss.

#œ≥ ™

> # -œ œ≤

gliss.

> #-œ œ≥

gliss.

™

?

(pp)

sffffz

≥ ¿ >¿

? & (pp)

Œ

≥j ¿ >¿ sffffz

œ

Ϫ

œ j œ. >

&

>œ

gliss.

sffffz

œ. >œ™

œ™ ‰

> # -œ œ≤

gliss.

œ œ

j œ

Œ

‰

Œ

ŠϪj

‰ j œ> p

mf

∑

Ϫ mf

fff

p fff Pno.

mf fff

#œ ™ ?

#œ j 666 66 >.

{

#œ

≈

‰ r #œ œ

1/4

#œ œ

Ó j #œ

j 666 66 >.

œ

°

œ œ

‰ #œ 1/4

°

∑

‰

Œ

4 4

∑ 10 ...

Playback

9 ...

8 ...

*starts to glitch / muffle* *normal* *muffled*

s

s

'in my head...'

'in my head, I remember...'

s s

s

'and I feel those...'

'stitches...'

/ 'So I start counting...'

5

Œ

3 s 4

Ó &

j 666 66 >.

œ

7 ...

6....

10

4 4 °

37

< e = q >

11 solo 5

∑

∑

Œ #œ#œ œ# œ #œ nœ

¢&

>6.

R ‰™

sung ord. multiphonic

q=80 (click stops) ∑

Sop. Sax.

half pitched high screech

Tenor Saxophone

nK œe

˙

>œ.

J ‰ Œ Ó

s.m. ord.

Œ œœ

œ

nK œe

œ

œ #œ œ

o p

ff

o sfffz

p

f

sffz move ebow quickly over neck pickup to create a sudden feedback swell then immediately kill sound

start e-bow over the ngerboard, closest to neck pickup slowly moving up and down the ngerboard to highlight different partials of A (ethereal)

w / e-bow on harmonics mode clean

!

° &

∑

Ó

j‰ Œ ˙ ¿> o sfz 0

˙ o 0

E. Gtr.

mp

Ó "

¢ @ vibrato (speed - slow to fast sempre) 3

∑

∑

Ó

Œ

Œ

> vib. #œ. -œ œ ˙

3

˙ œœœ >. -

& # œ. œ- œ > Accord.

˙

>œ.

J ‰ Œ Ó

Œ

˙ 3

o

ff p sub.

o

ff p sub.

ff p sub.

o

sffz

3 3 3

? ∑

{

∑

Ó

Œ #œ. œ- œ >

˙

Œ ˙

Œ œœœ ˙ >. -

˙ œœœ >. -

4 <#> w 4 °

senza vib. ord.

#w

>œ. -œ œ

gliss.

(q)

>œ. -œ œ ˙

˙ Œ

#>œ. œ‰ Œ Œ J

#>œ. -œ œ ˙

3

&

Vln.

œœœ ˙ >. -

#œ. œ- œ ˙ >

Œ ˙

3 3

o

ff p sub.

o

ff p sub.

3

ff p sub.

sffz

ff p sub.

poco vib. ord.

w

w

>œ™ ∑

.. œœœ

>™ . . >. œ ‰ Œ #œ œœœ J

p

sffz

gliss.

˙

Ó

Œ

&

Vla.

œ

w &

gliss.

o mf

mf

poco vib. ord. (h)

.. ™ >œ ™ œœ˙

? ∑

∑

∑

gliss.

œ

∑

Œ #>œ ™ œœœ ..

mf senza vib. ord.

>œ. -œ œ

? ∑

∑

>œ. -œ œ œ

œ

p

mf

p

˙ >œ. -œ œ œ j œœ ‰ Œ 3 >.

3

˙™

œ

Œ œ

gliss.

&

Vc.

Œ

Œ

Cb.

¢ 3 3

o

j œ. œ- œ ˙ >

œ

o

ff p sub.

ff p sub.

ff p sub.

sffz

approx pointillistic rhythms (senza misura)

ff p sub. sim.

œ œ œ.

>œ œ œ >œ œ œ >œ œ œ œ œ ≈ ≈≈ ≈ ≈ ‰

œ.

œ œ.

poco ad lib. pointillistic rhythms

#>-œ œ J Œ

continue to ad lib. in this fashion until the next change is notated

œ œ œ. œ œ. œ. #œ œ ‰ R ≈

œ œ œ.

&

sim.

>-œ œ # Œ J

#œ œ œ. #œ œ.

ff

mp

‰

#œ. œ œ œ œ œ.

R≈

œ.

œœ ≈

>œ. œ‰ Œ J

R ≈≈ 3

3

5

3

3

5

3

5

5

3 3

pp ff

ff

mp

mp Pno. 3 3

? ∑

{

∑

#œ. >

∑

4 4

‰ Œ

Ó sempre 1/2

Ó

#œ #œ. >

°

‰

Œ

∑

j‰ Œ Ó œœ >. °

°

*countdown becomes muffled and fades out of existence* Playback

& /

o s @

∑

∑ ∑

∑ ∑

∑ ∑

∑ ∑

'tightening.'

6

12 s.m.

ord.

s.m.

ord.

>œ. >6.

s.m.

44

Ten. Sax.

° ¢& #œ œ œ #œ œ nœ

n K ˙E

p

nK ˙E

œ

f

œ

n K eœ

œ

p

j œe ‰ o

ord.

>6.

R ‰™

s.m.

n K œe

˙ ≈Œ

ord. s.m.

nK ˙E ™™

œ

œ œ œ œ œ

œ #œ

œœ œ œ œ

œ

o

ff

ff

mp

f

sfffz

sim. !

° &

mp

f

sim.

j‰ Œ >¿

˙ 0

sfz E. Gtr. mp

o mp

"

"

¢ @

>œ. vib.

-œ œ

˙

>œ. vib.

-œ œ ˙

˙

vib.

>œ. -œ œ ˙

>œ.

J ‰

˙

& Œ

Π3

Accord.

o

3

o

ff p

3

˙ œœ œ >. -

˙

˙

>œ. -œ œ

˙ 3

° Vln. &

Œ

Œ œœ œ ˙ >. -

˙

˙

3

o

p

o

ff p

3

Œ œœœ ˙ >. -

˙

ff

3

? Œ

{

sffz

˙

Œ

3

ff p

>œ. -œvib. œ

˙

3

j ‰ #œ œ œ ˙ œ. >. >

˙

Œ

>œ. œ ‰ Œ J

Œ

#œ. œ- œ >

˙

˙

˙ Œ

3

Ó

#>œ. -œ œ ˙

nœ œ œ œœ œ >. -

3 3

o

o

o

ff p sub.

ff p sub.

sffz

ff p sub.

ff p sub.

# (h) (h) gliss.

œ Œ

>œ™ Ó

œ. œ. œ

Œ œ

&

Vla.

#œj ‰ Œ œ >.

gliss.

p ff

mf

p

Vc.

Ϫ >

œ. œ. œ

Œ ˙

Ó

gliss.

gliss.

œ

mf

gliss.

#>œ ™

œ. œ. œ

ff (h)

& Ó

(h)

>Ϫ

mf

Ÿ~~~~~~~~~~~~~~~~~~~~~~ Œ #œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~ Œ œ fff

p

mf

Ÿ~~~~~~~~~~~~~~~~ Œ œ œ

(h)

Ó #>œ ™

œ. œ. œ

œ. œ. œ

>œ™ Ó

gliss.

œ. œ. œ

p mf

p

mf

p fff

fff

#>œ. -œ œ

3

? ˙™ Œ

œ

Œ

Cb.

¢

œ œ œ ˙™ >. -

œ

>. œœ œ

3

Ó

Œ œ œ œ ˙™ >. -

3

œ

œ 3

o

o

o

sffz

ff p sub.

œ œ

>œ. œ ‰ Œ J

ff p sub.

ff p sub.

ff p sub.

œ œ œ.

>œ. œ

>œ. sim. œœ ‰ Œ

sim.

‰

≈

Œ

∑

&

Ó

3

3

3

j œ ‰ Œ œ >.

>Œ #œœœ œœœJ

ff

ff

sim.

œ œ œ.

œ. œ œ œ œ ‰ R ≈

#œ œ.

œ.

œ. œ.

R ≈œ ≈

sim.

>œ. œœ

œ

œ

œ

‰

3 3

5

5

3

3

Pno. ff

mp

ff

mp

mp

ff

mp

‰ 3 3

5

? Ó

‰

{

j œœ œœ >-

œœ œ .

œ œ

3

r≈ œ. œ œ œ œ œ.

°

3

≈ œ

œ

œ.

j œœ œœ œ œ >°

5

‰ œ. œ œ

r ≈ œ. œ œ

j œ ‰ Œ œ >.

‰

Œ

∑

## œœœ >.

œœ œ >-

œœ œ J

œ

œ. œ

3

°

5

°

&

∑

∑

∑

∑

∑

∑

/

∑

∑

∑

∑

∑

∑

Playback

7

œ. ≈

œ

13 14 >6. >6.

>6.

ord.

>6™. ≈ J

50

Ten. Sax.

° œ ¢&

œ œ #œ

>œ.

J‰Œ

ord.

s.m.

ord.

nK˙E

˙

>6.

R ‰™

œe

œ

s.m.

ord.

gradually split note to hear octave above

j œ ‰Œ >

6

#e

3 5

bœ #œ- œ # œ #œ œ #œ #œ >œ. >.

- -

#œ 5

‰ #œ #œ w # œ # œ œ #œ # œ # œ œ # œ œ

#œ#œ

Ó

œ n K eœ ™™ o

o sfffz

ff

mf

p

f

sfffz mp

f

p

f mf

fff

middle

! !

° &

!

!

¿

¿

¿

¿

sfz

sfz

sfz

sfz

j pickup ¿> ‰ Œ ˙ w o sfz

! !

0

0

j‰ Œ ¿>

˙

sfz

o

E. Gtr. mp

‰

Œ

"

¢

@

@

>œ. -œ œ ˙

>œ. -œvib.œ

>. ##œœœ ‰ Œ J

& Œ

˙

>. -vib. ad lib. œœ œ ˙

˙

Œ

Œ

3

w

w

w

3 3

ff p sub.

Accord.

o

ff p sub.

sffz

ff p sub.

p mf

>. œ œ œ ˙

? Œ

{

j # œ ## œ. œ‰ Œ >

3

3

Œ

Œ #œ. œ- œ >

˙

˙

3

# œ. œ- œ ˙ > j > œ ‰ œ. -œ œ ˙ #œ. > 3

° w Vln. & w

˙

>. œœ œ ˙

Œ

w

w #>œ. -œ œ ˙

3

w

˙ œ. œ- œ o ff> p sub.

3

o sffz ff p sub.

w

ff p sub.

˙

œ

œ 3

o ff p sub.

# n #

#

Ÿœ~~~~~~~~~

(q) (h)

Ÿ~~~~~~~~~~~~~~ œ Œ

gliss.

˙ Vla.

& p

fff

j œ‰Œ œ >.

#>œ ™

sffz

mf

(h)

Ÿ~~~~~~~~~~~~ œ Œ

gliss.

Ÿ~~~~~~~~~~~~~~~~~~ #œ #œ Œ

gliss.

Ó

#>œ ™

œœœ ..

.. œœœ

#>œ ™

Ÿ~~~~~~~~~ œ Œ

gliss.

Œ

œœœ .. p

p

p

fff mf

mf

fff

p fff

#

# # (h)

Ÿ~~~~~~~~~~~ #œ Œ

? gliss.

Vc.

& Ó

Ϫ >

œœœ ..

.. œœœ

>Ϫ

˙

Ÿ~~~~~~~~~~~~~~~~ #œ œ Œ

gliss.

?

Ó

?

#>œ ™

mf

fff

p

mf

Ÿ~~~~~~~~~~~~~ Œ œ

(h) gliss.

p

p

mf

Cb.

? ¢ ˙

œ

> -œ ˙™ #œ.

Œ

œ

˙

#œ. œ- œ >

##>œœœ.

J‰

œ

˙

œ

‰ &

œ

œ

œ 3

ff p sub.

# œ.

˙

#œ

3

o

ff p sub.

#œ

>œ. œ

œ

fff

>. œœ œœ

œ o

sffz p

mf

>. œ œ œœ

3

œ

o

œ

fff

3

Œ œœœ >. -

gliss.

˙

œœœ ..

fff

p

.. œœœ

#>œ ™

Ÿ~~~~~~~~~ œ Œ

œ.

œ

o ff p sub.

#œ

œ

#œ

ff p sub.

œ

œ.

œ

#œ

œ

sim.

sim.

#œ

>###œœœ œœœ J

#œ

#œ

œ.

œ

œ.

#œ œ

œ

#œ

≈

œ.

œ

œ.

œ

≈

œ.

#œ

œ

#œ

œ. œ

œ

œ.

≈

3

Pno. ff

mp

mp

ff

mp

ff

œ.

? œ

{

œ ≈ œ.

œ #œœ>

‰ œ.

œ.

j œœ œ

j‰

œ

œ

œ

œ.

# œœ >. ° 3

3

°

3

œ

œ

3

‰ œ.

3

‰ œ.

œ.

‰ œ.

œ.

≈ œ.

‰

≈

œ

3 3

‰ œ.

œ

3

5

œ œ >.

‰

œ .

œ

œ

œ

œ

œ

œ

œ.

5

3

3 5

3 3

3 5

5 3 5

P ...

gradually adding more pedal (until full at b58)

w &

∑

∑

∑

∑

∑

∑

∑

/

∑

∑

∑

∑

∑

∑

∑

Playback

8

altissimo approx. pitched uctuating gliss. getting higher after each pause solo gliss.

57

Ten. Sax.

poco accel.

G1 R

gliss.

!

° ¢& mp

G1 R ≈

!

f

mf

G1

gliss.

!

R ≈

≈

ff

f

fff

start e-bow between the two pickups start to move between the two pickups creating feedback swells continue but increase speed until erratic.

It should begin to sound like electronic interference.

Neck

° & Bridge mp

E. Gtr.

G "

¢

& w

w

w * fff ?

p mf Accord.

?

{ <#> w

w

w

keep trilling interval the same over the duration of the gliss.

Vln.

° <#>˙ &

(w)

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œ gliss.

I Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ w #œ œ œ J

‰

* fff ?

o p sub. f

p

fff

#

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ w w

#

Ÿ~~~~~~~~~~~~~~~~~ œ™

& Œ

Vla.

‰ * fff ?

p fff

p

fff

# #

#

Ÿ~~~~~~~~~~~~~~~~~ ? œ™

Vc.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ˙

* fff

p sub. p

fff

p

fff

? keep trilling interval the same over the duration of the gliss.

I

? ˙ Ó &

Cb.

¢

(w) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w gliss. œ

?

o * fff

p

?

3

#œ

œ.

œ œ.

#œ œ

œ

≈

≈

&

#œ œ

#œ #œ

œ. œ

œ œ

œ œ

œ. œ

œ œ

#œ #œ

œ œ

œ œ

œ

œ. #œ

≈

œ œJ

‰

fff Pno.

‰ œ.

œ.

œ

‰ œ œ

?

{

œ

œ œ

3 3 5

œ œ.

œ. œ

œ. œ

œ œ

œ œ

∑

3

* ∑

≠ CUE 2 2nd click starts

Ó 9

∑

&

3 5

Playback

/

‰

3

Ó &

j œ œ

∑

≠

15 A tempo (click on)

raucous shouts (through instrument, ad lib. sound / pitch of each shout)

rhythmic unison with tape

!

60

!

!

>! ¿ J

high Ten. Sax.

° ¢&

∑

Œ

≈ ¿r Ó >

‰

> ‰ ¿J ‰ Œ

Ó

j ¿>

‰

Œ

Ó

Œ

‰

Ó

3

low ffff

w / glass (each gesture should be uttered immediately after a string chord)

L L

crunch

U c

° &

U

f f f f ad lib. pitches and speed of the sweeps f f

∑

X

U c

f f f f f f

U

f f f f f f

U c

f f f f f f

f f f f f f

but keep to the denoted direction E. Gtr.

mp

"

¢ @

sul tasto

° Vln. &

>œ.

J ∑

‰

Œ

Ó

#>œ.

J

Œ

Ó

>œ.

J

>œ.

J ‰

Œ

Ó

‰

Œ

Ó

> #œ.

J

Ó

>œ.

J

>œ.

J ‰

Œ

Œ

‰

Œ

Œ

>. œ J

Œ

#>œ.

J

‰

Œ

‰™

>œ.

RÓ

‰

Œ

‰™

r œ. Ó >

‰

Œ

‰™

>œ.

RÓ

‰

Œ

‰™

>œ.

RÓ

ff

sul tasto

∑

B

&

Vla.

>œ.

J

‰

ff

sul tasto

>œ.

J

? ∑ Vc.

‰

Œ

>. œ J

Ó

‰

Œ

‰

Œ

ff sul tasto

>œ.

J

? ∑

‰

>œ.

J Œ

b >œ.

J

>œ.

J

Ó

‰

Œ

Ó

‰

Œ

Œ

Cb.

¢ ff

secco

b >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ

œ

œœœœœœœ

œ

>œ >œ ≈R

‰™

œœœœœœ

& 5

5

5

5

mf

Pno.

Ó

{

Œ

5

>œ R≈

‰™

Œ

5

5

>œ R ‰

‰

5

Ó

5

>œ >œ R ≈R ‰ Œ

5

5

5

>œ R ≈ ‰™

‰™

5

5

>œ ≈R Œ

5

>œ >œ R ≈ R ‰ Œ

5

>œ >œ ‰ R ≈R Œ

‰

Œ

& 5 5

5

5

5

5

5

& *whispering starts on beat 1* ppp Playback

Π/

∑

Distorted shouts / gasps / wretches !

rhythmic unison with tenor sax

‰™

>¿ Ó R

!

!

!

Ó

‰ >¿ ‰ Œ J

‰

>¿ J

Œ

Œ Ó

>¿ J

‰ Ó

3

ffff

10

16 !

65

>¿ J ‰ Œ

° Ten.Sax. ¢&

Ó

>! ¿ ‰ Œ J

Ó

measured

L

!

j ¿> Ó

j ¿> ‰ Œ

Ó

Œ

>! ‰ ¿J Œ

Œ

Ó

. >. >. >. >. #>œ. >œœœœœ Œ

Ó

Œ

mute string with left hand using the at ridge of the glass, aggressively tap between pickups

6

U ° &

L L

L

!

Ϊ

f f f f f f

c

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& Playback

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11

∑

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!

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ff gradually depressing tremolo bar with left hand to lowest point

T.B.

G solo scratching strings with ridge as fast as possible

˘ æ 66æ >6

7

E. Gtr.

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∑

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∑

gradually reduce the speed of the scratching w / glass slide.

As you slow down, begin to let the slide 'twang' the open strings. e ringing of the open strings should add to the overall noise.

senza misura

continue to ad lib. without pause in the same noisy and erratic fashion

X keep going!

a distressed solo

∑

∑

&

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3

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3

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3

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œœœ œ œ

1/4 P ...

3 4

4 4

whispering speeds up and intensi es

F @

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∑

∑

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‰ >¿ J

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12

18 overblow ord. alternate between 2 ngerings

ord. sim.

83

ord.

overblow

ord.

overblow

overblow

z. ord.

overblow

overblow

7

Ten. Sax.

° ¢&

3

‰

≈Œ

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‰ Œ #>œ

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r ‰™ b >œ

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> ‰ #æœ wæ æJ æ

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mp

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Ó

bœ œœœœœœœ

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Ó

#œ œœœœœœœœŒ

Œ

6

f

mp

f

mp

f

mp

f

mp

f

fff

f

With trem. bar held at full depression, nally come to a stop letting the open strings ring out. Let the resonance run out naturally. (keep the bar fully depressed for entirety.)

° … ¿ ¿¿ ¿¿ ¿

E.Gtr.

¢ > #œœœ ≈ ‰ Œ

> ‰ œœœ ≈ Œ &

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> ##œœœ ‰ ™ R

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> œœ-œ

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Œ

Ó

Œ

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Œ

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Ó

Œ

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Œ

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mf

p

f

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{ <#><#> w ww

w ww

w ww

w ww

w ww

w ww

w ww

w ww

w ww m.s.t.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.p.

n

° Vln. &

∑

∑

n

n

n

n

n

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o

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o

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o

fff

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fff

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o

fff

o

fff

fff

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m.s.t. m.s.t. m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.p.

n n Ÿ˙~~~~~~~~~~~~

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∑

∑

Ó

n

n

n

n

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o

o

o

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o

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fff

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m.s.t.

m.s.p.

m.s.p.

n

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n

n

n

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n

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m.s.t.

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m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.t.

m.s.p.

m.s.p.

# #

#

#

#

#

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∑

Ó

Ó

Ó

Ó

Ó

Ó

Cb.

¢ o

o

o

fff

∑

∑

o

fff

∑

o

fff

∑

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fff

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fff

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& fff Pno. 3

3

3

3

3

3

3

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œ

3

3

3

3

3

3

3

3

3

3

3

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{ #œ œ œ œ

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œ

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œ œ œ œ #œ

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&

∑

∑

∑

∑

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∑

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∑

≠ CUE 3 3rd click starts

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Ó /

13

∑

∑

∑

∑

∑

∑

∑

∑

≠

20

19 92

. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. breath . ¿. only œ ¿ ¿. ¿. Œ ‰ o mp ppp

To Sop. Sax.

Ten. Sax.

3 8

Soprano Saxophone ord.

° ¢&

∑

∑

∑

∑

∑

4 4

Ó

∑

° & E. Gtr.

G

¢ breathing effect with bellows (1 'inhale' and 1 'exhale' per bar) hold air button continuously until a change is directed N.B sim.

Bellows open

∑ & continue in this fashion, ignoring meter changes until next direction

Accord.

? ∑

{

Bellows closed

pizz., sul tasto

° Vln. &

#œ ‰ ™ R

∑

Œ

Ó

œ R ‰™

Œ

Œ

œ R ‰™

Œ

‰ ™ œR Ó

≈ #œ ‰

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œ

Ó

#œ ‰ ™ R

Œ

Œ

œ ‰™ R

Œ

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Œ

‰

Ó

œ ™ R ‰

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Œ

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œ ‰

≈Œ

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œ ‰

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3 œ8 R ‰

4 4 ‰ #œR ≈

mp

pizz., sul tasto

B

œ ™ R ‰

∑

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≈Œ

œ≈ Œ

≈ #œ ‰

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‰

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‰

œ ≈ ‰™ R

r œ ≈ ‰ #œR ≈

mp

pizz., sul tasto

B

?

∑ Vc.

œ ‰™ R

Œ

#œ ‰ Œ J

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œ R Œ

œ Œ

≈ Œ

Œ

œ R ‰

œ ≈R ‰ &

mp

pizz., sul tasto

œ > ? œR ‰ ™ Œ

Ó

‰

œ ≈Œ

Ó

‰

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Œ

‰

≈ Œ

Œ

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Œ

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œ ™ R ‰

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‰

Cb.

¢ fff

mp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

& Pno.

?

{ '10 ...

9 ...

8 ...

3 8

7 ...'

4 4

s & *murmurs of chaotic numbers and whispering start to fade into the background and continue throughout (Asynchronous)* Playback

s

s

/ 'being a little girl'

'I see the faces of the people...'

14

100

4 21 4 œ. œ. œ. œ. œ. œ. ord.

Sop. Sax.

° ¢&

breath only

. . œ. œ. œ. œ. œœ .. œœ

¿. ¿. ¿. ¿. Œ o

‰ p

ord.

breath only

. . . . .. . ..... ‰ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ.

Ó

ppp

p

ord.

¿. ¿. ¿. ¿. Œ o

breath only

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Ó

ppp

p

¿. ¿. ¿. ¿. Œ o

ord.

Ó

ppp

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Ó

w / glass whimsical, delicate glissandi with ridge

f

f ·f

clean

‚f ‰ J fj ‰

f f f f

f

° &

J

Ó

Œ

‰

Œ

Œ ‰J

J

‰

Œ

Œ

J ‰

∑

∑

Ó

·f ‰ J

f f f f

J ‰

Ó

Œ

‰ œ œ œ œ‰

Ó

Ó

Œ

mp E. Gtr.

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¢ @

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° Vln. &

aut.

ord.

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Ó

j œ- ‰ Œ

pp

j #œ- ‰ ‰ #œ-j

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3 5

3

5

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B

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arco autando

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ord.

ord.

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pp

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arco molto sul pont. m.s.p.

ord.

ord. ss.

? ΠCb.

¢

gli ‰™ & ¿ F Œ R

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Œ

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j ‰ # œœ###œœœ ‰ J

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j œœ ‰ Œ -

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j #œœ ‰ ‰ ##œœj -

j œœ ‰ -

j -œ ###œœœ ‰ ‰##œœJ nb#œœœ ‰ J

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j œœ ‰ -

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j ‰ nœœœ Œ -

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j #œ-œ ‰

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una corda.

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'10'

s

s

'7'

4 & s

Playback 'why didn't I go travelling with Amy? 'Why the fuck don't I know who Sartre is?'

s

s

s

s

s

/ ' the news reel from the beginning of Citzen Kane...'

15

' I could have written a book...'

'Why did I live the last 5 years...'

22 ord.

Sop. Sax.

108 ord. ° ‰ œ. œ. ¢&

p

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breath only

ord. breath only

. . . . . . . #œ. ‰ œ. œ œ œ. #œ#œ. œ#œ. œ œ œ œ œ. . p

¿. ¿. ¿. ¿. Œ o

Ó

ppp

. . . . . . #œ. breath . . . only . ‰ œ. œ #œ œ. œ#œ. œ œ. œ œ. œ œ œ. ¿ ¿ ¿ ¿ Œ . o p ppp

. . . . . . #œ. ‰ œ. œ#œ œ. œ#œ. œ œ. œ œ. œ œ œ. .

Ó

p

¿. ¿. ¿. ¿. Œ o

Ó

ppp

(q)

f

f

f f f

° &

J

f f f

J

J ‰

Œ

Œ

‰ Œ Ó

Ó

Œ

‰

Ó

‚f Œ f

Ó

‰œœ œ œœ‰

·f f

f f f

J

‰

Ó

Ó

J‰

Œ

∑

Ó

Œ

E. Gtr.

¢

& Accord.

?

{ 5

aut.

ord.

3

ord.

3

aut.

° œ #œ œ œ ‰ Ó Vln. & ‰ œ œ

j œ- #œ- Œ Œ œ- ‰ p

‰ œ bœ œR ‰ ™

ord.

aut. œ ‰ œ œ R ‰™

Ó

‰ œ bœ œ œ ‰

‰ œ œ œ œ œœ ‰ ‰

Ó

pp

j œ- Œ p

j‰ j ‰ Œ #œ- œ-

j #œ- ‰

‰ bœ bœ ≈‰ Ó bœ R pp

3 3

# œ # œ #œ œ B ‰ #œ#œ ‰ Ó

j œ- bœ- Œ Œ œ- ‰

Vla. 3

ord.

Ó

œ ‰ œ œ #œ ‰

Ó

# œ #œ#œ ‰ #œ œ ‰

# œ #œ#œœ ‰ #œ œ ‰‰

Ó

3

j bœ- ‰ œj ‰ Œ -

j œ- Œ

-œ J ‰

aut. œ ‰ œ œ R ≈‰ Ó

3 5

p

3

pp

p pp

5 3

Vc.

aut. œ- -œ Œ Œ #-œ ‰ J & ‰ bœ bœ bœR ‰ ™

ord.

3

& ‰ œ œ œ œ œ œ‰ Ó

?

p

ord.

3 ? # œ ‰ œ ‰ ‰ œJ Œ bœ œ œ œ 3

Ó

‰

bœ ‰ bœ bœ œ

Ó

‰œ œ œœ‰ bœ

Ó

pp

œ- ‰ -œJ ‰ Œ J

-œ J ‰

aut.

&‰

r ≈‰ Ó b œ bœ b œ

p pp

m.s.p. ord.

ord.

m.s.p.

m.s.p.

Cb.

Pno.

¢& Ó

& #œœj ‰ ? #œœœ ‰ J

{

Œ

Œ

Ó

Œ

Ó

‰ ¿ I ≈

∑

Œ

j j œ # œ Œ Œ œ ‰ #œœ- ‰ œ- # œn œœœ œœ Œ Œ #-œœ ‰ ##-œœœ ‰ œ- bœœJ J

'5'

s

o ‰ æœ æœ ‰ Œ J J

j ‰ Œ # œ # œ##œœœ ‰ Œ J

Œ

Œ

Œ

j #œœ ‰ j ###œœœ ‰ -

‰™

j œ ‰ œœœj ‰ œ-

¿FŒ Œ R

Œ

‰™

Ó

j‰ #œœ-œ ##œœ ‰ J

Œ

Ó

Œ

¿ Œ RI

Œ

Œ

j‰ ‰ j j‰ n#œœ##œœ- #œœœœj ‰ ‰ ##œ-œœ ##œœœ ‰ #œJ J

‰

œo œ æJ æJ

Œ

‰

Œ

‰

‰ ‰¿I ≈

j œ Œ œ-œ œœ Œ J

∑

j œ ‰ Œ n œ-œ œœ ‰ Œ J

j‰ ## œœj œœ ‰ #œ-

'2'

'8'

'1'

'3'

s

s

s

s

Œ

j j #œ-œ ‰ ##œœ ‰ #-œœœ ‰ ##œ-œœ ‰ J J

ord. o ‰ æœ æœ ‰ Œ J æJ

‰ #œj Œ ‰ œj œœj ‰###œœœ Œ ‰ œœœ J

& '

e rst time I saw...'

Playback 'I bet that guy drooling over the Kirchner exhibition...'

'Did I actually enjoy that symposium on German Expressionist art...'

/ s

s

s

s

s

s s

s

'Fuck Orson Welles..'

'Philip Seymour Hoffman fell in love with a rodent...'

'so afraid of challenging that group...'

'of indoctrinated, post-modern...'

'No... i'd get cruci ed...'

16

23 Sung

sim. ad lib. speed and contour of vocal gliss. continue gliss.

∑

Œ

œ

œgliss.

Œ

ord.

Sop. Sax.

breath only . . . œ . . # œ œ ° ‰ œ. #œ œ œ. œ œ . ¿. ¿. ¿. ¿. Œ . & ¢ œ. œ œ. . œ. œ. o p ppp

ord.

breath only

ord.

. . . . . . ‰ œ œ œ œ œ œ œ œ. œ. ¿. ¿ ¿. ¿ #-œJ ‰ #-œ ‰ Œ ‰ œJ J . œ. . .

Ó

p

ppp

>œ û J ‰ Œ

w M

p

˙™ Ó

#>œ û J ‰

˙™

Œ

mp

p

mf

‚f f

UNPLUG JACK FROM GUITAR (silently)

f f f

° Ó &

f

J Œ

‰

Ó

Œ

J

‰

Œ

Ó

∑

∑

∑

∑

∑

E. Gtr.

Œ

Ó

¢ @ B.S

& Accord.

p

?

{

&

j‰ b œ bb œœ -

N.B

≤ ≥ ≤ ≥≤ ≥≤ ≥≤ œ œ œœœœœœœ œ œ œœœœœœœ o

≥ œ >œ

b -œœ -œœ œ J ‰ J ‰ Œ ‰ œJ accel.

j j œœ ‰ Œ ‰n nnœœœ ##œœ œ>

B.S

N.B

œ œ œ

œ œ

asynchronous ad lib. rhythm but stick to pitches

œ œ œœœœœœœ œ œ œ œ œ œ œ œ œ #œ

œ ≤ ≥ ≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ Œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ o ppp œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ #œ &

œ œ≥ R œœ 5 > accel. mp

#œ ? >œœ

#œ œ

Asynchronous and agitated, constant harmonic pressure, ad lib. speed, freely between sul tasto and sul pont. sempre I 5

ord.

j ‰ j ‰ Œ ‰ oj o gliss. #œ- nœn>œ æJ p ppp ad lib occasional sfz

3 3

° Vln. & ‰ bœ bœ œ ‰ bœ

Ó

‰ œ œ œ œ‰ Ó bœ

‰ œ œ œ œ œ‰ Ó bœ

Asynchronous and agitated, constant harmonic pressure, ad lib. speed, freely between sul tasto and sul pont. sempre I

>o o œ- ‰ œ- ‰ Œ ‰ œJ æJ J J

ord.

œ B ‰ œ œ #œ ‰

Ó

œ ‰ œ œ #œ#œ ‰ Ó

œ ‰ œ œ #œ#œ œ ‰ Ó

Vla.

gliss.

3 5

p

3

ppp ad lib occasional sfz

ord.

5 3 3

?

Vc.

& ‰ bœb œ bœ œ ‰

Ó

‰ bœ bœ œ œ ‰ Ó bœ

‰ bœ bœ œ œ œ ‰ Ó bœ

#-œ ‰ n-œ ‰ Œ ‰ >œJ J J

Ó &

p

m.s.t.

m.s.p.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ æ ˙œ ˙æ o fff

æ œæ o

m.s.t.

m.s.p.

m.s.t.

Ÿ~~~~~~~~~~~~~~~~~~~~~~ æ œœ œ ˙æ™ o fff

æ œæ o

Ÿ~~~~~~~~~~~~~~~~~~~ æ ˙ œ œæ o fff m.s.t.

# m.s.p. ord.

Cb.

‰™

¢& Œ

¿FÓ R

Œ

‰

œo œ ææJ ææJ ‰ Œ

?

∑

b-œ -œ n>œ J ‰ J ‰ Œ ‰ J

Ó

p

Pno.

& #œœj ‰ ? n#œœœ ‰ J

j # œœ‰ #œœœ J ‰

{

Ó

Ó

Œ œœ #œœ-œ #-œœ œœ # œ

Œ

j‰ j‰ œœ nœœj Œ nnœœœ ‰ b#œœœ ‰ J Œ

j ‰ ##œœ##œœœ ‰ J

Œ

Œ

Œ

Œ

j bœ ‰ œbbbœœœ ‰ J

j œœ ‰ Œ ‰ œj œ œœj ‰ Œ ‰ nnnœœœ œJ

j œœ ‰ Œ -œ ##œœ ‰ Œ J

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ & ˙ æ o fff Ó

œ æ o

j #œœ ‰ Œ -

Ó

Ÿ~~~~~~~~~~~~~~~~~~~~~~ œ œ ˙™ æ o fff Œ

œ æ o

-œ œ ‰ Ó J

Ÿ~~~~~~~~~~~~~~~~~~~ ˙ œ æ o fff

Ó

>Œ ##œœ ‰ J

Ó

Œ

mf mp f

Ó

j‰ Œ # œ ## œœ -

Ó

Œ

j œœ ‰ Ó œ-

tre corde

° '9'

'4'

'2'

s

s

'10'

& s

s

Playback

'Did he actually care?..'

'Will Sting ever nd out...'

s

'Do bees ... actually have knees?'

s

s

s

/

∑ 'I start thinking how it's even possible to contemplate...'

17

∑

∑

j ‰ œ ## œœ>

24 sim.

°124

sim. continue

continue

gliss. gliss.

∑

Ó

Œ

œ

&

#>œû J ‰

Sop. Sax.

˙ ∑

w

˙™

Ó

∑

∑

∑

∑

œ

w

w

¢& p

f

p

B.S “” >≥ # œœ

sim.

B.S

N.B

sim.

œ œ œ

œ œ

œ œ #>œ≥ #œ

œ

œœ≤ œœ≥ ##œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ ##œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ Œ

œ

œ œ

œœ≤ œœ≥ œœ≤

œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ # œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤ œœ≥ œœ≤

œœ œœ œœ

œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ œ œ

œ

& œ #œ o

ppp

accel. mf Accord.

#œ #œ

accel. ff

?

##>œœ

#œ #œ

Vln.

#œ

?

& <#>œ

{

œ

œ œ œ #œ

œœ œœ ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ## œœ œœ œœ œœ œœ œœ œœ œœ Œ

#œ #œ #>œœ

#œ

° &

B Vla.

m.s.p.

m.s.p.

m.s.t.

sul pont.

Vc.

Ÿ~~~~~~~~~~~~~~~~~~~ æ & ˙ œ ˙æ o o fff

æ & wæ

æ wæ

æ œæ

m.s.p.

Cb.

∑

Ó

æ wæ

æ ˙æ o

m.s.t.

Ÿ~~~~~~~~~~~~~~~~~~~ ˙ & ˙ æ o o fff

¢& wæ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ æ ˙ œ œæ oo fff

>## œœ J ‰ Œ

w æ

œ æ

∑

Ÿ~~~~~~~~~~~~~~~~~~ meno æ e meno trem. (toææcrotchet speed, beat 3, b132) ˙ œ ˙æ ˙ o fff mf m.s.p.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ æ oo fff “” # œ>-œ J ‰ Œ

Ó

w æ

˙ æ o

ff

∑

∑

∑

∑

fff

Pno.

? ∑

{

Ó

j‰ Œ ## œœ-œ >

∑

Ó

Œ

j‰ œ # œœ >-

sul pont.

Ÿ~~~~~~~~~~~~~~~~~~ meno e meno trem. (to crotchet speed by beat 3, b132) ˙ ˙ ˙ æ æ o fff mf

&

continue slowing down.

j‰ Œ œ #œ> ffff >œ# # œœ ‰ Œ J

continue slowing down.

Ó

∑

Ó

∑

*murmurs start to fade out*

& o Playback

/

∑

∑

∑

∑

∑

∑

∑

∑ 18

25 132

° & o

-

26 circular breathe breathy, ad lib. with occasional timbral trills

Sop. Sax.

Conductor holds silence for a little while

stop any timbral trills sub tone

, w

w

w

w

w

w

w

w ∑

∑

∑

∑

∑

U ∑

+ o + o Œ ¿ Œ ¿

+ o + o Œ ¿ Œ ¿

+ o + o Œ ¿ Œ ¿

+ ∑

∑

U ∑

¢& o

o o ppp

ff

crunch with thumb on tip of jack, producing a hum

1/4 inch Jack

° & Ó

Y o

Y

Y

Y

+ o + o Œ ¿ Œ ¿

Y

+ o + o Œ ¿ Œ ¿

+ o + o Œ ¿ Œ ¿

mp E. Gtr.

G Ó

¢

@

@

cut any sound (absolute silence)

N.B :“; ≥œ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ ˙ #œ œ œ œ œ œ œ œ &

w

w

w

w

w

w

w ∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

U ∑

o ppp Accord.

? Ó

∑

∑

∑

∑

∑

∑

∑

{ # œœ œœ œœ œœ œœ œœ œœ œœ

Vln.

wo

° &

wo

wo o

wo

wo

wo

B Vla.

o Vc.

&

Cb.

¢&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

j j œœ ‰## œœj ‰ ‰ nœœ- Œ - j -œ œj œœ ‰##œœ ‰ ‰ œœœ Œ J -

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

œ œ

œ œ

secco

j j œœ ‰ Œ ‰ #œœ- Œ mp j -œ œœ ‰ Œ ‰###œœœ Œ J

∑ & Pno.

? ∑

{ &

∑

Œ œj ‰ #œœj ‰ œj ‰ Œ ‰ œj œj ‰ Œ œ- - # œœ- #œ- -œ - -œ Œ ##œœœ ‰n#œœ ‰#œœœ ‰ Œ ‰ œœœ##œœ ‰ Œ J J J J J

∑ CUE 4 4th click starts

Playback

/ Ó

s

∑

∑ '9'

'8'

'7'

'6'

'5'

'4'

'3'

'2'

s

s

s

s

s

s

s

s

'10'

s

U U Πs

∑

≠

'1' 'So I start counting...'

19

U ∑