GAGAKU (Koto)

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GAGAKU sul  pont.   1                           Eerie, q=60

pp

mf

p

A

 

f

 

p sub.

f

p

  sf

sf

  

  

  pizz.        s.p.

sf

fp

p

3

f

f

 sf

 

 

 

poco

p

    sf

 

 

 

sf

sf

sf

       p

 fp     



sf

sf

          p

f



     

arco slow, hovering...

3

       

   ord.

)

(

sf

   

       

sf

  



f

      f

sfz

sf

( )

sfp

5       

  

 

 

pizz.

  



arco s.p.

sf

   

      

fp

sf 3

  

sf

ord.

6

          

  

sf

sfz

p

poco

ord.

sf

         3  f

_) (_

     

  為

6

 

sfz

sfz

sf

arco s.p.

pizz.

         p 

      ( )   

   

sul C jeté

   

f

organic*, free with steady pulse (q=60)

_

as if emerging from koto...

      

fp

 

gliss. left side of bridges

   

 

 

 

ord.

                                       pp fp sf 6         

 

5

MICHAEL-THOMAS FOUMAI

p

poco

* Performers should strive to maintain a steady but pliable pulse (q=60). References to change in tempo are described in italics on indicated part. Perform as approximately notated. Both performers must coordinate their respective gestures before moving on to the next. Dotted lines are provided to direct precise entrances. Some rests are notated; these indicate an approximate entrance delay in relation to both parts.

p


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GAGAKU (Koto) by Michael-Thomas Foumai - Issuu