Watersheds

Nicholas Cline

watersheds

for choir, tenor saxophone, and electronics

Nicholas Cline

Watersheds [2018/rev. 2021] for choir, tenor saxophone, and electronics

This work was commissioned by Northwestern University’s Bienen School of Music on behalf of its Bienen Contemporary/Early Vocal Ensemble and its conductor Donald Nally.

Premiered on November 5, 2018, Galvin Hall, Northwestern University, Evanston, IL

The dowser offers a system of decision-making in which there is no demonstrable connection between the process of seeking and the anticipated outcome. A twitching rod, a swinging pendulum indicates, “dig here.” Often those who turn to this ancient practice of magical divination do so not out of a belief that it will work, but that it must. A dry well is a crisis.

“Water witching,” as it is known in rural America, is a way of coping with one’s “environment under conditions of uncertainty and anxiety.” The water witch – like the hydrogeologist – is concerned with imagining underground flows of water.

The basic materials of water-witching are saxophone multiphonics: fleeting acoustic phenomena that require subtle control of embouchure, fingering, and air-pressure. They are unstable and unpredictable sonorities that float between harmony and timbre. water-witching wanders through this acoustic terrain. Frictions emerge from this “in-between-ness.” Stillness is filled with tension through the hint of something just below the surface. water-witching was written for and in close collaboration with Jeff Siegfried and is dedicated to my mother and the memory of her father.

As the spaces which separate the flow of water, watersheds define the borders of this shared resource. The texts of Watersheds juxtapose varied and distinctly American attitudes toward water. The meditations of Muir and Thoreau convey a sense of permanence and power in water’s ability to shape and nourish the land. These observations are contrasted with the urgency that comes with too little water. Mary Austin describes the “destiny” of streams to become irrigation for crops. The Supreme Court decision known as the Winter’s Doctrine set the legal precedent for Native American water rights, citing the necessity of water for self-sufficiency. C.D. Wilber promotes the false propaganda that westward expansion would lead to increased precipitation: “rain follows the plow.” Against this myth, John Wesley Powell asserts, prophetically, that there will never be enough water to irrigate the west. Rachel Carson warns that the health of the land, water, and all living things are inextricably bound.

ngcline@gmail.com www.nicholas-cline.com

Performance Notes: Notation Accidentals apply only to the adjacent note, except when part of a pattern.

The timing of events is notated with traditional rhythmic values and durational fermatas.

This rhythmic framework is fluid. Expressive phrasing and the fragile nature of these multiphonics should guide the performer.

Electronics A Max/MSP patch controls the electronics. Circled numbers indicate cues for the Max patch. The saxophonist or an engineer must press a MIDI pedal to advance the cue.

The Max patch is available from ngcline@gmail.com.

Fingering Fingerings for multiphonics, microtones, and timbral trills are from Marcus Weiss’ Techniques of Saxophone Playing. Brackets indicate variations of a multiphonic fingering. Guide to key abbreviations:

LEFT HAND

RIGHT HAND

8 c1 c2 c4 x 1 p 2 3 G# C# B Bb

c2 = high E Tc = C trill Ta = A# trill 4 =F 5 =E c5 = high F# Tf = F# trill 6 =D Eb = Eb C or 7 = C

= octave = high D = high Eb = high F = high F alternate =B = Bb =A =G = G# = C# = low B = low Bb

I. WATER BORDERS

V. THREADS OF THE COMMUNITY FABRIC

It is the proper destiny of every considerable stream in the west to become an irrigation ditch.

It would seem the streams are willing. They go as far as they can toward the tillable land.

So delicately interwoven are the relationships that when we disturb one thread of the community fabric we alter it all.

Mary Hunter Austin from The Land of Little Rain (1903) II. THE LACE-LIKE FABRIC OF STREAMS Contemplating the lace-like fabric of streams outspread over the mountains, we are reminded that everything is flowing John Muir from My First Summer in the Sierra (1911) III. A METHOD FOR FINDING Witching (or switching) for water is a method for finding sand or gravel beneath the surface of the earth. A live stick or wire held in the hands of some people will have a downward pull.

Paul Bergschneider from his notes (ca. 1950) IV. TO ENCOURAGE THE HABITS OF INDUSTRY this diversion of water to which there is no adequate remedy as water on portions of the public domain dependent on its waters for irrigation to encourage the habits of industry it is essential and necessary that all the waters of the river flow down the channel uninterruptedly and undiminished in quantity and quality they had command of the lands and the waters-command of all their beneficial use, whether kept for hunting or turned to agriculture and the arts of civilization. Did they give up all this?

Winters Doctrine 207 U.S. 564 (1908)

Rachel Carson from “Essay on the Biological Sciences” (1958) VI. RAIN FOLLOWS THE PLOW No one can question or doubt the inevitable effect of this cool condensing surface upon the moisture in the atmosphere […] A reduction of temperature must at once occur, accompanied by the usual phenomena of showers. The chief agency in this transformation is agriculture. To be more concise: Rain follows the plow.

Charles Dana Wilber, The Great Valleys and Prairies of Nebraska and the Northwest (1881) when all the rivers are used, when all the creeks in the ravines, when all the brooks, when all the springs are used, when all the reservoirs along the streams are used, when all the canyon waters are taken up, when all the artesian waters are taken up, when all the wells are dug that can be dug, there is still not sufficient water to irrigate this arid region John Wesley Powell to the Los Angeles International Irrigation Conference (1893) VII. THE GENTLE RAIN WHICH WATERS earth after rain was bare (1861) almost forgotten sound of rain on the roof (1856) on the horizon the slate color of falling rain (1860) The gentle rain which waters keeps me in the house today. Though it prevents my hoeing, it is of far more worth. If it should cause the seeds to rot in the ground it would still be good for the grass being good for the grass it would be good for me.

Henry David Thoreau from Walden, Solitude (1854) and The Journals

Duration - c. 15:00 Transposed Score

to my mother

water-witching

Nicholas Cline

for Jeff Siegfried

Rc1

c5

& K ˙™

q = ca. 60

tenor saxophone

√ b œœ ˙™ p

ppp

computer

ppp

Ó

c3

Œ

pp

mp

resonance/reverb

c2

-c2 c3

R

C#

√ œ ˙ L # œ œ &

√ œ Lœœ œ ™

pp

mp

W

R

> œœ

w

C#

C 4"

7"

pp

6"

pp

1 c2

W

˜√ œœ ˙

l˙ ™

5"

˙

R

p

‰ lw

pp

ppp

p

ppp

Ó

Rc2 c3

C#

& ˜˙

pp

R

√ k œœ

5"

W

K˙™

˙

p

pp

© 2021

b œ√ œ

10"

mp

,

2 | water-witching

c2

c3 c5

4" √ #s , s s s , s s s , s s s #œ &˜s s s , s s s , s s s , s ‰‰˜œ 5

10"

√ µK œœ ‰ µKs -s , -s s -s s -, s -s , -s s -s s -, s -s , -s s -s s -, ‰ ‰ nœ ÆJ

5

3

5

3

3

3

pp

pp

mp

mf

3

pp

pp

mp

detuned shadow tones low grace notes, always airy change voicing of multiphonic to emphasize upper, lower, or both tones

2 c2

8" √ B -s, -ss -,s -ss -,s -ss -s, -ss Œ LB œœ Œ LB -s, s, # L & #œ 3

ÆJ

3 3

p

3

p

mp

-ss ss

-,s ,s

3

-ss ss 3

pp

x

W c3

c5

C#

c2 6" 7" 7"

& l˙

√ œœ

#œ nœ

˙

Œ

œ

√ K L œœ

œµœ

p

pp

œ

µ˙˙ Œ #œ ÆJ

pp pp

p

pp

√ # L ˜ œœ

p mp

water-witching | 3 -c2

8 c2

c2

R R c3

Bb

5"

√ #œ &

4" œ 6 √ L œœ L s s , s s s s , s s KK s , s s , s s s s , s s , s s s KK œœ œb œ œ œ œ œ Œ 5

pp

pp

mf

pp p

p

mf

mf

Articulate multiphonic, then bring out overtones

c2 c12 Bb

Bb c3 B c3

10" 7" 8" √ B œœ

√ b œœ ˙

& K˙

4" √ B œœ

8" √ Ó kb œœ ∑

√ Kbœœ

Œ

∑ bœ ÆJ

∑ bœ ÆJ

œ ÆJ

mp pp-p

p-mp pp-mp

µœ µ µµœœœ µœ

b œœ b œœ

? synth chords

pp-p

spectral delay with feedback

mf

mf

3

4

c12

c2

c2

c2

c3 Bb

& Ó

Bb

B

6" √ kk œœ ∑

6" √ L#œœ Ó

bœ ÆJ pp-p

Ó

nœ ÆJ ppp-pp

C#

5" √ ˜µœœ Œ

6" √ Œ lœœ Œ #œ ÆJ pp-p

Kb ˙˙

œ ÆJ

bœ ÆJ

p-mp

mp

kk ww bœ ÆJ p

4 | water-witching c12 8 8 slow trill G#

c3 trill Bb B

c3 6" 5"

√ ˜µœœ

~~~~ Ÿ w

7"

√ n & l œœ

œ J

µ ˙™ B ˙™

˜µ-,s

-ss

-s, -ss -,s -ss -s, ss b œ K œ√ œ

#œ œ œ ÆJ

p

mp

p

p

mp

p 2" start granulation playback

5

8 8 8 p

c2 c2 c3

8 c12

c1

R B trill Bb

G# -G#

Ÿ~~~~~~~~ # w™

6"

& Ó

B œ µ œ µœ b œ nœ ˜œ nœ #œ

~~~~~~ √ œ Ÿ ˙ Ó lœœ

n˙

p pp

#œ œ p

5"

Play bracketed scales freely within the specified duration

c12 c3 8

C#

8

c1 p c2 c2 c3 6"

µœ b œ µœ & #œ œ ˜œ nœ

√ # œ ˜ ˙˙ k ˜˙˙ Ó #œnœ p f

pp

8"

√ --- ---- ------b K œœ s , s s , s s s s , s s , s s s s , s s , s s s s , s s bœ ÆJ mp

p 9"

4"

water-witching | 5

8 c12 8

8 p

c2 c2 c1 c3

R c3 C#

Bb G# -G# 7" √ µB œœ

Ó &

œ ÆJ

Ÿ~~~~~ 5" √ # ˙™ k œ ˜œœ j #œ

#œ B œ µœ µœ b œ nœ ˜œ nœ #œ #˙ ™ ppp

mp

p

pp

mf

6" pp c12

c3 C#

c3 C#

W 5" 4" √ b œœ K b , -s K & bœ

s -s

s -, s -s ˜kss s, ss ,s ss s,

ss

,s

√ 2" ˜ œ # œ √ k œ ˜œ œ œœ ∑ ss

#œ p ÆJ

ÆJ mp

p

f

5" mp 6"

x

x

8 c3 c3

18"

12" 16"

√ µœœ

8" √ K Lœœ

√ µœœ

√ µ ˜ œœ

µœ b œ b œ n œ bœ bœ

& #œ ÆJ p

nœ ÆJ mp

µ# œœ œ œ œ

K K œœ KK œœ Kœ

bœ

#œ ÆJ p

nœ ÆJ

p 7" mp

? synth chords

6

7

µ# œœ œ œ œ 8

##œœ ## œœ #œ 9

pp

6 | water-witching

8 8 c1 c3 Bb tc c3 15" 14" bO n O n O √ bO x2-3 n O bO Œ ™™î ‰ B œœ

& í ™™

Kœ nœ n œ K œ K œ # œ µœ

Ó

b˙ p mf

ppp (overtones) 7" pp mp

J œœ œœ œ

jb œœ ? bb œœ bœ

11 10 only advance cue on first repeat; synth chord continues

x

9"

√ œ & #Æœ µœ J

12"

11"

11"

11"

√ µœœ

√ µœœ

√ µœœ

√ µœœ

#œ ÆJ

p with vibrato

µ# œœ ? œ œ œ 12

#œ ÆJ

#œ ÆJ

#œ ÆJ

Evanston, IL 11 June 2015

7

Ending to water-witching stagger breathing

S

° &

ppp

pp

#œ

#œ

out of time

[ah] stagger breathing

ppp

pp

µœ

µœ

&

A

[ah]

ppp stagger breathing

pp

µ#œœ & ‹

T

œ

œ

[ah]

[ah]

ppp stagger breathing

pp

?

œ œœ

B

¢

œœ

[ah]

?

9"

12"

√ µ#œœ

√ µ#œœ

œ ÆJ

[ah] 11"

√ µ#œœ

œ ÆJ

œ ÆJ

11"

11"

√ µ#œœ

√ µ#œœ

œ ÆJ

ATTACCA

œ ÆJ

p

sax & elec.

?

µ# œœ œ œ œ

=

I. water borders Mary Hunter Austin

with steady movement q = 100 f S

mp

° 4 &4

ŒŒ #œ œ œ œ it is

Œ ‰ j #œ œ Œ Œ #œ œ #œ

it is

the pro -per

f A

4 &4

∑

it is

‰

Œ j #œ œ œ # œ #œ œ the pro -per

‰

des -ti -ny

j œ Œ # œ #œ of

ev -ery

Œ

#œ œ

œœ

it is

it is

T

ww

con- sid -er -a -ble

mp

Œ

Œ ‰ j #œ œ Œ #œ the pro -per

Œ #œ œ it is

‰ j #œ œ Œ #œ œ œ #œ the pro -per

des -ti -ny

‰

j #œ of

o

ppp

4 & 4<µ><#>ww ‹

‰#œj œ œ œ œ

ww

ww

ww

T+B: begin dropping out individually

o

ppp B

?4 ¢ 4

w

w

w

w

w

8 6

S

° Œ &

‰ #œj ˙ stream

& œ #œ Œ

A

‰ œj œ #œ # œ #œ œ #œ # œ ˙

∑

in the west

to be -come

‰ #œj œ œ œ œ Œ

‰ #œj ˙

con- sid -er-a -ble

stream

ev -ery

T

j œ ‰

#œ œ ˙

j œ ‰

#œ œ ˙

Œ

an ir - ri - ga -tion ditch

‰ œj œ #œ # œ #œ œ

∑

in the west

to be -come

& ‹

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

an ir - ri -

B

¢

=

A 11

p S

° œ & #œ

œ ‰ #œj œ

‰#œj œ ™

œ

it would seem the streams

are

j œ #œ Œ

Ó

Œ

‰ #œ œ ˙

will - ing

˙

it is

j # œ #œ œ the pro -per

p

Œ

& #œ # œ

A

œ #œ

‰ #œj œ

œ

œ ‰#œj œ ™ œj #œ

˙

ga - tion

ditch

it would seem

the streams

are

Œ

Ó

#œ œ œ

will - ing

it

f

∑

& ‹

T

∑

Ó is

mp

∑

Œ

Œ

#œ œ

œœ

Œ

‰ j #œ œ Œ #œ

it is

it is

the pro -per

f

?

∑

∑

∑

∑

mp

#œ œ Œ

Œ

œ œ

B

¢ it is

it is

= 16

S

A

° & <#>w

‰

Ϫ

‰

& <#>˙ ™

#œ œ œ

‰ j œ #œ ˙ #œ

des - ti - ny

of ev - ery

j ™ # œ #œ œ ˙

stream

Œ

˙

& #œ œ Œ ‹ it is

B

? Œ ¢

‰

Œ j # œ #œ œ

#œ œ œ

the pro -per

des - ti - ny

‰ #œj #œ œ Œ the pro -per

‰

#œ œ Œ it is

œ

œ

des - ti

- ny

#œ

the pro - per

T

j œ Œ # œ #œ of

the pro -per

‰ j œ #œ œ #œ of ev - ery

‰ #œj œ œ œ œ Œ

‰ #œj ˙

con -sid -er - a -ble

stream

ev-ery

‰ #œj #œ œ Œ

‰ #œj œ

˙

#œ œ œ

‰ #œj

des - ti - ny

of

œ #œ Œ ev-ery

‰ #œJ œ œ œ œ con- sid -er - a -ble

9 20

S

° & <#>œ

Œ #œ œ ˙

Ó

Œ

in the west

to be -come

‰ #œj ˙

& <#>˙ ™

A

in the

Ó

& #œ œ ˙ ™ ‹

#œ # œ #œ to be - come

‰ œj œ #œ œ # œ œ

Œ

œ #œ

it would seem

#œ #œ #œ

Ó

in the west

œ

œ

an ir - ri - ga-tion ditch

#œ œ ˙™

stream

Ó

west

to be -come

‰ #œJ ˙

? Œ ¢

ir - ri - ga-tion ditch

˙

#œ # œ #œ

in the west

B

an

Ó #œ œ œ

stream

T

‰ œj œ #œ œ # œ ˙

#œ # œ #œ

œ

‰ œJ œ #œ œ #œ

to be -come

œ

an ir - ri - ga - tion

ditch

= 24

S

° Œ &

œ #œ

‰ #œj #˙

œ

it would seem

& ‰ œj œ #œ

A

‰ #œj

the streams

œ

an ir - ri - ga - tion

will-ing

œ #œ

‰ #œj #˙

œ

‰ #œj œ ™

j œ #œ

are

will-ing

œ

ditch

â ä

∑

œ œ #œ

are

Œ œ #œ

Ó œ

it would seem

the streams

Œ

ppp

& ‰ #œj #˙ ‹ the streams

T

œ #œ

? <#>œ

B

‰ #œj œ ™

j œ #œ

are

will-ing

œ

Œ

¢ it would seem

Œ

mf

¿

¿

¿

¿

¿ ‰ J

[s]

‰ #œJ #˙

Œ

Ó

Ϫ

‰ #œJ

the streams

œ #œ J

are

Œ

∑

will-ing

=

B 28

mf

° &

#œ œ J

∑ #œ ™ they

go

œ

œ #œ ˙

as

far

‰ œj œ #œ as they

‰ #œj ˙ ™

Ó

can

toward

S mf

& #œ œ Œ

Ó

Œ

‰ j #œ œ œ #œ

it is

j œ ‰ Œ

Ó

the pro -per

Œ

‰ œ Œ #œ œ œ # œj #œ des-ti - ny

of

Ó

ev -ery

mf

∑

&

A

Œ

Ó

Œ

#œ œ

‰ j #œ œ œ #œ

it is

∑

& ‹

T

j œ ‰ Œ

Ó

the pro -per

∑

Œ

‰ #œ œ œ # œj des-ti - ny

∑

∑

∑

mf

? #œ ™

B

#œ œ œ J

œ #œ ˙

‰ œJ œ #œ

¢ they

go

as

far

as they

can

Ó

‰ #œJ ˙™ toward

œ #œ œ œ œ Œ the till - a - ble

of

10

C 33

° & <#>œ #œ œ œ œ Œ

‰ j # œ ˙™

the till - a - ble

Ó

land

#œ œ #œ ™ J

œ

œ #œ œ

they

as

far

go

‰ œj œ #œ

œ

as they

can

S

‰ #œj ˙

& Œ

∑

stream

& œ #œ Œ

A

in the west

Ó

Œ

∑

B

? ‰ #œj ˙™ ¢

Œ

œ

œ #œ ˙

#œ ™

#œ œ J

they

go

as

far

an ir - ri -

‰ œj as

mf

‰ ¿ ¿ ¿ J

land

to be -come

∑

ppp

‰ œj œ â œ ä

#œ # œ #œ

in the west

∑

Œ

an ir - ri - ga -tion ditch

#œ œ ˙ ™

stream

∑

& ‹

T

to be -come

‰ #œj ˙

ev -ery

‰ œj œ œ #œ # œ ˙

#œ # œ #œ

#œ œ ˙ ™

¿

¿ ‰ Ó J

∑

∑

[s]

=

D 38

mf

° Ó &

‰ #œj œ

˙

Œ

œ #œ œ œ œ

toward

Ó

∑ #œ ™

the till - a - ble

they

#œ œ œ J go

as

S pp

& œ #œ

œ ‰ #œj œ

it would seem

‰ #œj œ

œ

the streams

Œ

Ó

œ œ #œ

are

mf

‰ ¿ ¿ ¿ ¿ ‰ J J

will - ing

∑

[s]

mf

& #œ # œ ga - tion

Œ

œ #œ

‰ #œj œ

œ

j œ ‰ Œ # œ ™ #œJ œ

˙™

w

˙ ditch

it would seem

the streams

they

go

A mf

∑

&

∑

∑

∑

Œ Ó #œ œ it is

mf

& œ ‹

T

they

#œ Ó can

‰ #œj

œ #œ œ œ œ Œ

˙™

toward

∑

#œ ™

the till - a -ble

they

pp

?

B

¢

∑

Ó

∑

∑

mf

‰ ¿ ¿ ¿ ¿ ‰ J J [s]

∑

#œ J go

11 43

° œ & #œ ˙

‰ œj œ

far

‰ #œj ˙ ™

Ó #œ

as they

can

Œ

œ #œ œ œ œ

toward

∑

the till - a - ble

S pp

& ¿

mf

¿

pp

¿ ‰ Œ J

Ó

mf

‰ ¿ ¿ J

[s]

¿

¿

¿

¿

pp

¿ ‰ Œ J

Œ

¿

[s]

mf

¿

¿ ‰ Ó J

Œ

‰ ¿ ¿ ¿ J

[s]

pp

‰ œj œ

j #œ ˙

& Ϫ as

far

Œ

‰ #œj ˙

Œ

#œ

as they

can

œ

œ #œ œ œ œ

toward

the till - a - ble

[s]

A

& Œ

‰ j #œ œ Œ #œ

∑

Œ

the pro -per

& <#>œ ‹

T

œ

œ #œ œ

as

‰ œj œ

œ

far

#œ œ œ

‰ j œ #œ Œ #œ

des -ti - ny

of ev -ery

‰ #œj œ

Ó #œ

as they

can

Ó

‰ #œj ˙

Œ

stream

Œ

Ó

#œ œ œ

œ ‰ #œj #œ Œ

Ó

des -ti - ny

of ev -ery

˙

œ #œ œ œ œ

toward

â ä

the till - a - ble

mf B

? ¢ #œ œ Œ

Ó

‰ #œj #œ œ Œ

Œ

it is

∑

Œ

the pro -per

=

E 48

mf

° &

#œ œ œ #œ ™ J

∑

they

go

‰ œj œ

œ #œ ˙

as

far

as they

‰ #œj

Ó #œ can

˙™

toward

S pp

mf

& ‰ ¿J ¿

pp

¿ ¿‰ J

∑

¿

[s]

mf

¿

pp

¿ ‰Œ J

∑

‰ ¿ J

[s]

¿

¿

¿

[s]

mf

& ¿

¿

¿ ¿‰ Ó J

#œ œ #œ ™ J

œ

they

as

go

œ #œ œ

‰ œj œ #œ

œ

far

‰#œj œ

Ó

as they can

toward

A mf

& <#>˙

∑

˙

‰ œj œ œ #œ # œ ˙

#œ # œ #œ to be -come

pp

& Œ ‹

Œ

an ir - ri - ga -tion ditch

œ #œ

‰#œj œ

œ

it would seem

the streams

mf

‰¿¿ ¿‰ J J

∑ #œ ™

[s]

they

#œ œ J go

œ

œ #œ ˙

as

‰ œJ œ

far

as they

œ

Ó

can

T mf

& ‹

∑

Œ Ó

Œ

#œ œ it is

‰ j #œ œ Œ #œ

∑

Œ

the pro -per

nœ œ œ

‰ j #œ

des -ti - ny

of

mf

? ΠB

¢

‰#œJ ˙

∑

Ó #œ ™

stream

they

#œ œ J go

œ as

œ#œ œ far

œ

‰ œ œ J as they

œ can

F 12 53

mf

° & <#>œ #œ œ œ œ

Œ

∑

#œ œ œ J

∑ #œ ™

the till - a - ble

they

go

‰ œj

œ #œ ˙

as

far

as

S mf

pp

& ¿J ‰ Œ

Ó

∑

mf

‰ ¿ ¿ J

#œ œ ¿ ‰ Œ J #œ ™ J

¿

[s]

they

pp

& <#>˙ A

the till - a - ble

œ #œ ˙

as

far

mf

‰ ¿ ¿ J

œ #œ œ œ œ

go

œ

¿

¿

¿

¿

¿ ‰ Œ J

#œ œ J

Œ #œ ™

[s]

they

œ

go

œ #œ œ

as

far

mf

& <#>œ

‰ #œj œ

Œ

Ó

∑

Œ Ó

œœ œ

are

will - ing

T

B

‰ j #œ œ Œ #œ

it is

pp

& ‰ #œJ ˙™ ‹ toward & œ #œ Œ Ó ‹ ev -ery ? Ó ‰ #œj œ ¢

Œ

#œ œ

œœ œœ œ

Œ

Œ

‰ ¿ ¿ J

the till - a - ble

the pro -per

mf

¿ ‰ J

#œ œ J

∑ #œ ™

[s]

they

œ

go

as

mf

‰ #œj ˙

Œ

˙

∑

˙

#œ# œ #œ

stream

˙

to be -come

‰ j #œ œ

œœ œœ ˙

toward

‰ œj œ œ

the till - a - ble

an ir - ri -

∑ w

land

= 58

pp

° & œ they

‰ #œj

Ó #œ can

˙™

Œ

œ #œ œ œ ˙

toward

mf

‰¿ ¿ ¿ J

the till - a - ble

¿

¿

¿ ¿‰ J

‰¿ ¿ J

¿ ¿‰ J

[s]

S pp

j & ‰ œ œ

#œ Œ

as they

‰ #œj ˙

Œ

can

œ

Œ

œ #œ œ œ œ

toward

Ó

œ

the till - a - ble

mf

[s]

pp

& <#>œ

‰ œj œ #œ

Œ

Œ

‰ #œj œ

as they can

˙

Ó

œ#œ œ œ ˙

toward

mf

‰¿ ¿ J

the till - a - ble

¿ ¿‰ J

[s]

A mf

∑

&

Œ

‰ j œ #œ Œ #œ

nœ œ œ des -ti - ny

of

Ó

‰ #œj ˙

Œ

ev -ery

˙

˙

Œ

‰¿¿ ¿‰ J J

stream

pp

œ #œ ˙ & ‹ far

‰ œJ œ

œ

as they

‰ #œJ ˙™

Ó

can

œœ œœ ˙

toward

the till - a - ble

mf

[s]

T pp

& #œ # œ ˙ ‹ ga-tion ditch ?

B

¢

#œ ™ they

Œ

œ

it would seem

#œ œ œ J go

œ #œ

as

œ #œ far

˙

‰ #œj œ

œ

‰ #œj œ

the streams

‰ œ œ J as they

are

œ can

Ó œ œ #˙ will - ing

Ó

‰¿ ¿ J

mf

¿ ¿‰ J

[s]

‰ #œj ˙™ toward

œœ œœ˙ the till - a ble

â ä

13

G 63

° &

#œ œ œ #œ ™ J they

S

go

as

far

& Œ # œ ™ #œJ œ they

& Ó A

go

œ

œ#œ ˙

as

far

œ

they

as

go

œ #œ œ

they

œ #œ

œ#œ œ œ

‰ œJ œ

‰#œj œ

œ

the streams

œ

as they

the till-a -

‰#œj œ

œ

it would seem

far

˙

toward

Œ

œ #œ ˙

as

œ#œ œ œ œ the till - a - ble

‰#œj œ

Ó

as they can

œ

œ

toward

an ir - ri - ga-tion ditch

go

the till - a - ble

‰ #œj ˙

Œ

Œ

œ #œ œ œ œ

can

‰ œj œ œ #œ # œ ˙

#œ œ J

#œ ™

œ

˙™

toward

‰ œj œ #œ

far

#œ # œ #œ

∑

can

‰ œj œ #œ Œ as they

to be-come

& ‹

‰ #œj

Ó #œ

as they

#œ œ ™ #œ J ∑

&

‰ œj œ

œ #œ ˙

œœ

are

will

‰ #œJ ˙™

Ó

can

toward

T

∑

& ‹

Œ #œ ™ they

f

as

œ#œ ˙

‰ œJ

far

#œ œ J

#œ ™ they

f

¢

go

Ó

land

?

œ

as

œ

œ

they

can

Œ

‰#œJ ˙

Œ

toward

mf

? ‰ jŒ Ó #œ B

#œ œ J

œ

go

œ#œ œ

as

‰ œ œ J

œ

far

as they

‰#œj œ

Ó

œ can

toward

mf

#œ œ

Œ Ó

Œ

‰ j #œ œ Œ #œ

it is

the pro-per

∑

‰ j œ #œ Œ #œ

Œ #œ œ œ des-ti - ny

of

Ó

ev-ery

= 68

° f & #œ ™

#œ œ J

they

œ

go

œ#œ ˙

as

‰ œJ œ

far

œ

as they

‰ #œJ ˙™

Ó

can

œœ œœ ˙

toward

the till - a - ble

S f

#œ œ J

& Œ #œ ™ they

& œ

f go

as

ΠϪ

ble

œ ™ #œ ˙ J

they

‰ œJ œ

far

œ

as they

œ œ J

œ œ#œ œ

go

as

œ

Œ

can

œ œœ œ J

toward

‰ œj œ

far

Ϫ

‰ #œJ ˙

Œ

œ

as they

the till - a - ble

‰ #œj œ

Ó can

˙

œœ œœ

toward

the till - a -

A f

& #œ

Œ

Œ

œœ œ œ

- ing

Œ

go pp

œœ œœ œ

as

‰¿¿ ¿ J [s] pp

T

& <#>œ ‹ ? <#>˙

far mf f

#œ œ J

¿ ‰ #œ ™ J

œ

go

mf

f

¿‰ Œ J

#œ ™

[s]

œœ œœ œ

#œ œ J

they

Œ ‰ j #œ œ

Œ

stream

˙

œœ

œ

they

can

far

œ œ J

Ϫ

œ

œ

Ó

‰ œJ œ

#œ ˙ J

as

the

œ

as they

œ#œ œ

œ

Œ

can

‰ œJ œ

œ

œ

land

˙

as

Ϫ

go

‰ œJ

far

they

go

as

f

‰ #œj ˙

˙™

toward

œ#œ ˙

as

f

the till - a - ble

? Œ ¢

‰ #œj

Œ

as they can

they

‰¿¿ ¿ J

the till - a - ble

B

Œ œ

œ

they

& <#>œ œ œ œ œ ‹ the till-a - ble

‰ œj œ

œ#œ ˙

œ

œœ Œ

Œ

œ they

far

œ

as they

œ#œ

œ go

as

far

˙

can

‰ œJ œ as they

14

H 73

ppp

mp

° ‰ ¿ ¿ & J

¿

p

¿ ‰ J

‰ #œJ ˙

Œ

[s]

œ #œ ˙

go

‰ œJ

far

as

w they

S p

œ

w

Ó

& ˙

˙™

Œ #˙ ™ they

as mp

ppp

can

p

Ó

& ˙

‰ ¿ ¿ J

ble

A

¿

¿ ‰ J

Œ

‰ œ ˙ J

œ #œ ˙

go

far

[s]

‰ œj as

p

∑

& œ œ ˙™

œ

till - a - ble

they

as mp

ppp

& ‰ #œJ ˙™ ‹ toward ‰ #œJ ˙ & Œ ‹ toward ? Ó ‰ #œJ œ

T

w

˙™ œ œ œ œ ˙

‰ ¿ ¿ J

the till - a - ble

¿

p

¿ ‰ J

‰ #œJ ˙

Œ

[s]

go

p

Ϫ

œ œ œ œ œ J

Ó

˙

#˙ ™

the till - a - ble

they

as mp

ppp

˙

œ œ œ œ

toward

w

‰ ¿ ¿ J

the till - a - ble

¿

¿ ‰ J

[s]

B

? œ

˙™

‰ #œJ

Ó

¢ can

œ œ

toward

the

œ œ ˙™

∑

till - a - ble

approximate contour with colored breath noise (exhale/inhale) pp

= 77

° ‰ #œ ˙™ & J

œ œ œ œ ˙

toward

the till - a - ble

¿ ¿ J

∑ ¿™

¿

S pp

& Œ

Ϫ

‰ #œJ ˙

œ œ œ œ J

toward

œ

Œ

Ó

Œ

¿ ¿ J

¿™

the till - a - ble

pp

‰ #œj ˙™

& w A

they

Ó œ œ œ œ ˙

toward

¿ J

¿™

the till - a - ble

pp

& Œ

‰ #œj œ

Ó ˙™ can

T

Œ ˙

œ œ œ œ

toward

<#>œ #œ ˙ ‰ œJ w & ‹ far as they w Œ ˙™ & ‹ can p œ ˙ œ ? Œ #œ ˙ ‰ J go

far

¿

˙

the till - a - ble

‰ #œJ ˙™

œ œ œ œ ˙

toward

the till - a - ble

Œ

‰ #œJ ˙

Ϫ

œ œ œ œ J

toward

‰ œJ as

the till - a - ble

‰ #œJ ˙ ™

w they

toward

B p

? ˙™ ¢

œ

they

as

w Œ

˙™ can

Ó

‰ #œJ œ toward

15

81

°

¿ ¿ ¿

Œ

‰ ¿J ¿

‰ ¿J ¿

¿

Ó

‰ ¿J ¿

¿

Œ

Œ

‰ ¿J ¿

¿

Ó

‰ ¿J ¿

¿

¿

Œ

∑

U ∑

¿ ¿ ¿ ¿ ¿

∑

U ∑

¿

¿

¿ ¿ ¿ ¿ ¿

Œ Ó

U ∑

‰ ¿J ¿

¿

¿

¿ ¿ ¿ ¿ ¿ Ó

U ∑

‰ ¿J ¿

¿

Ó

‰ ¿J ¿

¿

Œ

‰ ¿J ¿

¿

¿

¿ ¿ ¿ ¿ ¿

S

¿

¿ ¿ ¿

& ¿

¿

Œ

¿ ¿ ¿

¿

&

‰ ¿J ¿

¿

‰ ¿J ¿

¿

A

¿ ¿

¿

¿ ¿ ¿

¿

& ¿

Ó

pp

∑

& ‹

¿ ¿ J

¿™

¿

¿ ¿ ¿

¿

∑

U ∑

∑

U ∑

∑

U ∑

Œ Ó

U ∑

T pp

¿ ¿ & œ ‹ ? <#>œ ™

Œ

Ó

¿

Π
¿ ¿ ¿

¿

¿ pp

œ œœ œ J

œ

Œ

¿ ¿ J

¿™

¿

¿ ¿ ¿

¿

the till - a - ble

B pp

? <#>˙

œœ œœ ˙

¿ ¿ Œ ¿

¢

¿

¿ ¿ ¿

¿

the till - a - ble Start cue: playback filtered water sounds (fades in gradually) Sets up pitch 'D' for next movement, ends abruptly.

¿

‰ ¿J ¿

¿

ATTACCA

16

II. the lace-like fabric of streams John Muir

with stillness q = ca. 52 pp S

° 4 mp 3 & 4 œ œ œ œj ‰ Œ #œœ con -tem -plat -ing

mp 3

w w

˙ ˙ p

mp

‰ j ˙ œ

˙™

con

mp

Œ œœ œœ

∑

Ó

4 &4 ‹

œ

∑

the

pp

pp

œ 3œ œ œ ‰ w J

Ó

con -tem -plat -ing

˙™ Œ

lace

∑

∑

Πcon

= 6 ° pp S & w

-

tem

-

plat -ing

p

#˙

Œ

œ

lace

& Ϫ

mp œœ œœ œœ œœ ˙˙

˙ ∑

j Œ ‰ œœ ˙˙

con

p

?4 ¢ 4

A

Œ

con - tem - plat -ing

mp

B

∑

con -tem -plat - ing

pp

T

j‰ Œ Ó œ œ œ œ

con

4 &4 w

A

Œ

˙™

Œ

lace

j j œ œ œ œ œ ‰ Œ

lace - like

Œ

Ϫ

j œ œ œ œ

œ Œ Ó

∑

j œ œ œ #œœ œœ Œ Ó

∑

lace - like

‰ j œ Œ œ œ œ œ

fab - ric

con - tem -plat -ing

mp

the

Ϫ

fab ric

lace - like

fab ric

pp mp

& ww ‹

T

œ 3œ œ œ ‰ Œ J

Œ

ww

con -tem -plat -ing

˙˙

Ó

#˙˙

lace

of

p

?

∑

ww

streams

mp

#w w

˙˙

Ó

∑

B

¢ = 12 ° Ó S &

#˙˙

fab

-

-

ric

-

˙˙

˙˙

w w

of

streams

pp

#œ

˙

#˙

#˙

Ó

Œ

œœ

˙

œ con - tem

-

p

plat

-

ing

-

pp

con

p

-

pp

3

& œ œ œ ˙™

A

Œ

‰

˙

con -tem -plat - ing

j œ

Ó ˙

con - tem

œœ œœ œœ -

plat - ing

p

& ‹

T

∑

Ó

˙˙

pp

œ 3œ œ œœ

˙˙ ™™

Œ

∑

con -tem -plat -ing

p 3

?

∑

∑

Ó

Œ

œ œ œ ww

B

¢ con -tem -plat - ing

tem -

17 16

p

pp p

S

° & œœ œœ œœ ˙˙ -

˙˙

Ó

Ó

Œ

plat - ing

the

p

& Ó

A

œ

pp

Œ

j œ œ

Ϫ

œ œ

-

like

fab - ric

the

ww

Œ

lace

of

streams

mf

con -tem -plat -ing

¢

œ the

pp

œ™ Œ

U Œ

j j œ #œœ œœ #˙˙ ™™

œ

lace - like

fab - ric

of

streams

mf

œ 3œ œ œ

p

? ˙˙

fab - ric

p

j ‰ œœ ˙˙

B

U Œ

j œ ˙™

œ lace

pp

& Œ ‹

j œ œ

œ

lace - like

œ

œ the

T

œ

p

Œ

˙

mf

œ the

œ #œœ

œ œ J

lace

-

like

˙˙

œ

j œ œ

œ

lace - like

fab - ric

of

streams

p

mf

œ Œ

fab - ric

œ

lace - like

U Œ œ

j œœ ˙™ ˙™

œ œœ J

œ the

U Œ

j œ ˙™

fab - ric

of

streams

= freely p

mp

mf

#œ œ

21

S

° & œ

#œ J

spread

ov

œ out

-

-

œ

#œ J

#˙

er

the

moun

Ϫ -

‰

tains,

˙™

œ out

œ J

we

are

re - mind

ed:

w

U w



w

ppp

? w



U ∑

‰ œ™

B

=

-



spread

-

& w ‹ out

¢

Uœ œ



pp T

œ

U w

pp

&

A

#œ J

˙

out of time

ca. 30" p

f

#w

#√ w

ppp

24

S

° &

∑

∑

∑

∑

flow

-

-

ing

ppp p

f

cresc E.13 (+41¢)

∑

&

A

∑

∑ #w

#w

is

flow

w

w

w

thing

is

flow

-

-

µ√ w ing

pp cresc poco a poco ppp

f

√ w

E.7 (-31¢)

∑

& ‹

T

Kw ery

-

-

-

-

ing

ppp f

√ w w wp

p pp cresc poco a poco

? w

w

w w

w w

w w

thing

is

flow

B

¢ ev

-

-

ery

-

-

-

-

mf

ppp

ing

ATTACCA

18

III. a method for finding after Paul Bergschneider

Alternating between stillness and q = ca. 80 always with intensity stagger breathing

pp S

√ Œ K œ œ ˙™

° 4 &4 Ó

√ ˙

E.7 (-31¢)

K˙

[o]

p

mp-pp

K˙

[ng]

œ œ œ

for

subito

w

wa -ter

stagger breathing

√

pp

√

p

˙

˙

mp-pp

subito

4 &4

A

w

œ ˙™

˙ [ng] mf

[o]

p

√ Œ Œ ‰ K œJ œ

mf

E.7 (-31¢)

4 &4 œ œ Œ Ó ‹ witch-ing

T

œ

√ œ Œ Ó

switch -ing

or

œ œ œ

w

for p

wa -ter mf pp

˙

œ œ #œ ‰ w J

for

subito

wa -ter

stagger breathing

√ œ ˙™

pp B

?4 ¢ 4Ó

˙

√ ˙

˙

[o]

p

mp-pp

˙

[ng]

œ œ œ

for

subito

w

wa -ter

= p pp 6

#Uœ

√ ° Œ & Kœ ˙ A.7 (-31¢)

S

Ó

w

Œ

a

mp

√ Œ Œ

sand

A.7 (-31¢)

œ Kœ œ or grav -el

p mf

√ Kœ Œ Œ

mp

mf

œ œ ‰ œj œ

œ œ ˙

pp

A.7 (-31¢)

&

A

Œ

U #œ

√ Œ Œ

Ó

√ Œ Œ

Ó

œ is

a

meth -od

pp

for

find -ing [ng]

sand p

Kœ

KUœ

p pp

& Ó ‹

T

p

? ˙

√ Œ œ

K˙

is

a

√ ˙

A.7 (-31¢)

w

˙

˙

find - ing

œ

˙

sand p

Uœ

B

¢ is

a

find - ing

sand

pp

√ œ ˙™

19

mf p subito

p 10

S

U ° √ Œ Œ ‰ & œ œ œ ˙

Œ

U ∑

√ U j Œ Œ ‰ Œ & œ œ œ œ œ œ œ

U ∑

be p

A

-

be

∑

neath mf p subito

p

∑

Œ ‰ j #œ ˙

neath the sur -face

-

[ah]

p

mf p U p subito √ j & Œ Œ ‰ œ œ œ ˙ ‹ be neath ?√ Œ Œ Ó ∑

T

∑

B.7 (-31¢)

U ∑

Œ

j Œ ‰ Kœ ˙

w

[ah] B.7 (-31¢)

mp

U ∑

K œ œ #œ ™ œ J

Solo B

a

live

#œ œ œ Œ Œ ‰ J

stick

or wire

mf p subito

pp

√ ? œ ˙™

Uœ œ œ œ #œ Œ

p

U ∑

Ów

B

¢ [nd] be

neath the sur -face

-

Œ #œ

w w

[ah]

= 15 F#.7 (-31¢)

mp Solo S

° & Ó

Kœ

œ #œ Œ

#œ will

have

a

Œ #œ

œ #œ œ

down - ward

p F#.7 (-31¢)

& Ó

S

Œ Kœ

w #œ ˙™ ‰ J

#w w

Ó

p

mf

#˙ ™

Œ

pull

p

mf

˙™ ˙™

Œ

p

mf

[ah]

p

& Ó <#> w

A

& Kw ‹

T

B

¢

? <#>w w

Œ #˙

w w

w

w w

w w

w

w w

˙™ ˙™ p

mf

˙™

Œ

p

mf

˙™ ˙™

ΠATTACCA

20 from the Winters Doctrine 207 U.S. 564 (1 908)

S

A

° 4 &4

4 &4

IV. to encourage the habits of industry

Always moving forward, but with resistance q = 1 1 0

∑

mp

#œ

Œ

Ó

this mp

T

4 & 4 #œ œ œ œ Ó ‹ this di - ver - sion mp

B

? 4 #œ ¢ 4

Œ

° &

∑

=

this

7

S

A

B

Œ & Œ ‰ j œ #œ œ j & Œ ‰ #œ œ œ Œ ‹ as wa - ter

? Œ ‰ #œ œ #œ Œ J ¢

=

14

S

A

T

∑

& Œ #œ œ œ œ Œ ‹ on its wa - ters

? #˙ ™ ¢ Œ p

B

Œ

œœ œ ‰ J J ‰ Œ

Œ ‰ #œJ #œ

on

wa - ter (mf)

Ó

œ œ

Ó

∑

œ œ œ œ œ œÓ

∑

3

3

œœ œ œ œ œ

ad - e - quate re - me - dy

œ œœ Ó

to which there is no mp

Ó

∑

Œ

3

3

ad - e - quate re - me - dy

Ó

∑

∑

to which

∑ (mf)

∑

œ œÓ por - tions (mf)

˙™

Ó

(mf)

∑

#œ œ #œ œ Œ Œ ‰ œJ œ #œ Ó

∑

Œ #œ

p

Œ ‰ j œ ˙ for

Œ ‰ œj œ#œ œ #œ

∑ (mf)

∑ ∑

for ir - ri - ga - tion

∑

#œ œ œ œ Ó to en - cour - age

∑

∑ Ó

to

∑

(mf)

‰ œj œ #œ Ó de - pen - dent

∑

∑

main

(mf)

#w

mp

‰ j Ó œ œ œ de - pen - dent

Œ #˙ ™

∑ p

∑

-

do - main

œ ‰ Œ Ó J

of

∑

do

of the pub - lic mp

on

∑

Œ Ó Œ Œ ‰ j œ œ œ œ

pub - lic

on

∑

mp

∑

˙™

Œ ˙™

(mf)

#œ

∑

which there is

on

Œ

∑

Œ ‰ #œj #œ

∑

&

∑

∑

as wa - ter

° &

∑

of

as wa - ter

T

∑

j ‰ œœ œœ œ‰ Ó J of

Ó

∑

mp

#œ œ

p

Ó Œ

ha - bits

#˙ p

of

Œ ‰ j #œ ˙ of

Œ ‰ #œj #œ œ Œ

Œ ‰ #œJ œ œ œ

Œ ‰ #œJ œ œ Œ

Ó

the ha - bits

mp

the ha - bits

of in - dus - try

œ œ œ

in - dus - try

U w (mf)

U ∑ U ∑ U ∑

° & 21

S

&

A

21

A

∑

B

¢

# ˙™

œ

di

? #˙ ™

mf

Œ

this

w -

-

° &

of p

wa - ter (mf)

œ œ œ J ‰ Œ ‰ J

∑

& # ˙™ wa

T

B

-

T

#œ

° &

sion

-

Œ ‰ #œj #œ

ter

Œ ‰ #œJ #˙ ™

&<#>w

por - tions

˙™

(mf)

Ó

on

for ir - ri - ga - tion (mf) p (mf)

for

#œ

w

there

do - main

Ó

de - pen - dent

(mf)

∑

∑

∑

mp

Œ #œ w

#œ œ œ œ Ó to en - cour - age p

#˙ ™

(mf) mp

wa

Œ ‰ #œj #œ œœ Œ (mf)

U ∑

∑

as

to

‰ œj œ #œœ œœ Œ

do - main

∑

#w

mp

Œ #œ is

∑

p

(mf)

∑

∑ Ó

‰ œ œ #œ Ó J

mp

re - me - dy

™ Œ ˙

∑

Œ #œ œ #œ #œ Œ Œ ‰ œJ œ #˙ ™

∑

∑

(mf)

which

of the pub - lic

Œ ‰ œj œ#œ œ #œ

∑

œ œ3 œ œ 3œ œ ˙

˙™

of the pub - lic

œ œ w

w

ad - e - quate re - me - dy

∑

w

∑

(mf)

ad - e - quate re - me - dy

#œ œ #œœ œ Ó

∑

no

on

œ œÓ

on

˙™

& Œ #œ œ œ œ Œ ‹ on its wa - ters

mp

of

3

3

∑ Œ #œ

mp

Œ œ

œ œ œ œ œ œÓ Œ

to

Œ ˙™

Œ

œ œ œÓ

to which there is no

Ó

Ó

∑

? #˙ ™ ¢ Œ

∑

Ó

w

∑

w

as wa - ter

p

B

œ

? Œ ‰ #œJ œ #œ Œ ¢

34

A

∑

to which

∑

j & Œ ‰ #œ œ œœŒ ‹ as wa - ter

= S

ver

j ‰ œ œ œ œ œ ‰ Ó J

mp

A

-

˙™

of

27

S

∑ (mf)

& #œ œ œ œ Ó ‹ this di - ver - sion

=

∑

mp

this mf

T

∑

the ha - bits

Œ ‰ #œJ œ œœ Œ the ha - bits

-

U œ w

ter

Œ ‰ #œJ œ œ œ

U ∑

œ œœ œœ

U ∑

of in - dus - try

Ó

in - dus - try

22 S

41 B ° Ó &

&

A

it is es - sen - tial

B

¢

# ˙™

œ

mf

B

¢

& ‹

?

of p

wa - ter (mf)

œœ œ ‰ J J‰ Œ

‰ œ œ #œ Ó J

Œ

the ri - ver

(mf)

# ˙™ wa

∑

#œ

˙

flow

∑

ter

B

¢

ad - e - quate re - me - dy

œ œ3 œ œ 3œ œ ˙

Œ ‰ #œJ œ #œ Œ

˙™

j ‰ œ œ #œ Œ

Œ

∑

the chan - nel

mp

Œ #œ

œ œ Ó por - tions

˙™

w

of the pub - lic

do - main

Œ

of the pub - lic

‰ #œJ œ œ #œ

œ Œ

‰ œJ œ #˙ ™

Œ

mp

#œ

w

Œ

Œ

is

‰ œj œ #œœ œœ

do - main

Ó

∑

Ó

de - pen - dent

∑

Œ

œ œ w

no

on its wa - ters

#˙ ™ p

on

˙ in

˙™

#œ œ œ œ Œ

(mf)

p

and un - di - min - ished

Ó

there

‰ œ œ #œ Ó J

#œ œ #œœ œ Ó mp

Ó

#œ

which

Œ #œ œ #œ #œ Œ

(mf)

on

Ó

ad - e - quate re - me - dy

to

on

Œ

#˙ ™

Ó

Œ ˙™

(mf)

∑

3

Œ

down

-

w

as wa - ter

∑

œ

3

œ œ œ œ œ œÓ

‰ #œJ #˙ ™

Œ

-

œ

-

œ œœÓ

to which there is no

˙

as wa - ter

& <#> w

?

‰ #œj #œ

Œ

mp

Œ œ

of

to which

un - in - ter - rupt - ed - ly

& ‹

Ó

Ó

w

sion

Ó

Œ ‰ #œj œ œœ Œ

52

T

Œ

all the wa - ters

that

#œ

-

mp

° j & ‰ œ œ œ œ œ œ

A

˙™

ver

-

j ‰ œœ œœ œ‰ Ó J

= S

-

of

& w

T

-

Œ

this

° & Ó

A

w

di

? #˙ ™

46

S

and nec - es - sar -y

œ œ #œ #œ œ (mf)

& #œ œ œ œ Ó ‹ this di - ver - sion

=

œ

Œ

mp

this mf

T

‰ #œj œ œ œ#œ Œ

mf

‰ #œ œ œ œ #œ Œ Ó J

re - me - dy

Œ ‰ œj œ #œ œ #œ

p ™ Œ ˙

(mf)

for

∑

for ir - ri - ga - tion

(mf)

∑

° & œ #œ œ 57

S

Ó

Ó

quan - ti - ty

and

(mf)

T

B

¢

Œ #œ

?

#w

(mf)

Œ

œ #œ œ œ #œ ‰ Œ

(mf) mp

#œ

wa

‰ #œj #œ œœ Œ

Œ

‰ #œJ œ œœ Œ

Ó

C

œ

ter

-

of

it

is

in - dus - try

œ œœ œœ

œ

di

this f

B

¢

& #œ œ œ œ ˙ ‹ this di ver - sion f

? #œ 3œ œ ˙

=

° <#>˙˙ & &

A

T

B

¢

& ‹

?

w -

Œ

and nec - es - sar - y

-

-

œ œ ˙

Œ

wa - ter

˙™

of

(mf)

#˙˙

œœ œœ œœ œ

that

all the wa - ters

Œ #œœ

œ

of

#œ

w

sion

‰ #œj #œ

Œ ##œœ

˙˙

œœ

œ flow

˙

#˙

Œ ‰ #œj œ œ œ

Œ ˙™

Œ ‰ œj œ œ œ

Œ ˙™

as wa - ter

as wa - ter

on

on

œ

#˙˙ ™™

Œ œ

œ œ œ œ œ œ˙ ad - e - quate re - me - dy

œ œ

there

˙

is no

#˙˙ ™™

˙

down

the

chan

#˙ ™

#˙

˙

down

the

œ œ œ Œ #œ œ #œ œœ ˙˙

por - tions

of the pub - lic

œ #œ œ Œ œ œ œ #œ ˙ por - tions

of

3

3

#˙

to which

flow

œ #˙˙

œ œ œ œ Œ

‰ j #œ #w

#˙˙

mp

Ó

to which there is no

wa - ter

wa - ter

œ œ ˙™

-

œ

of

the ri - ver

∑

ver

˙

‰ œœ œœ #œœ œœ Œ J

w

re - me - dy

-

˙™

‰ œ œ œ œ œ J

this di ver - sion

66

S

U ∑

(mf)

& # ˙™

T

U ∑

œ œ œ

mp

A

qual - i - ty

in - dus - try

‰ #œj œ #œœ œœ œœ œœ

es - sen - tial

U œ #œ ˙

œ

in

‰ #œ J

the ha - bits

-œœ -œœ #œœ œ ˙ ™™ > #œ ˙

in

˙

23

U w

œ

- te - ri - o - rat - ed

the ha - bits

to

° #f-˙ & ˙ 61

Œ

p

un - de

w

as

& #œ œ œ œ Ó ‹ to en - cour - age

= S

mp

& Ó

A

œ œ

#œ

3

3

of the pub - lic

-

œœ -

˙™

chan

-

-

‰ œ œ ˙™ J do

-

main

do

-

main

‰ œJ œ #˙ ™

nel

#œ

nel

24 S

° & ‰ #œœJ œœ œœ œœ œœ œœ

Ó

j & ‰ #œ œ œ œ œ œ

Ó

f

72

mf

#œ

Œ

and

un - in - ter - rupt - ed - ly

f

A

un - in - ter - rupt - ed - ly

T

B

¢

& w ‹

A

T

? <#>w

‰ œj œ #œ œ

? Œ ¢

un - di - min - ished

in

Œ

Œ Œ

#˙ ™

Œ #œ œ #˙ ™ mf

Ó

œ

Ó ˙™

to

#œ œ œ œ ˙

Œ

to en - cour - age

œ #œ œ œ ˙ en - cour - age

˙™

f

œœ œœ #œœ

and

qual - i - ty

f

œ œ #œœ

˙

‰ #œj #œ œœ œœ

œœ

‰ #œJ œ œœ œœ

œœ

the ha - bits

mf

#˙˙

the ha - bits

Œ

ir - ri - ga - tion

for

and

quan - ti - ty

j ‰ œ œ #œ œ #œ for

Œ

on

quan - ti - ty

(f)

œ (f)

mf

mf

Ó

in

on its wa - ters

Œ

œ œ

#w w

#œ œ œ œ œ

#œ œ #w Œ œ œ w

(f)

& <#>w w & <#>˙ ‹

#˙˙ ™™

and un - di - min - ished

‰ œj œ œ œ

76 ° <#>w & w

#œ œ œ œ œ œœ ˙˙ ™™

de - pen - dent

(f)

B

mf

‰ #œœ œœ œœ #œœ J

de - pen - dent

= S

œ

qual - i - ty

‰ #œJ œ œ œ of

Œ

in - dus - try

œ œ #œœ

in - dus - try

U˙˙™™ U ˙˙ ™™ U™ ˙

˙U˙ ™™

Œ Œ Œ Œ

" " " "

° & œ œ œ 81

S

D

mp

25

œÓ

they had com - mand

mp

& œ

A

Œ

B

¢

Ó

Œ ˙ w

Œ

& Œ

B

¢

=

use

mp

‰ jÓ œ

#œ ‰ J Ó mp

use

whe - ther kept

Œ

for hunt - ing

(mp)

p

œ œ ˙

whe - ther

˙™

kept

∑ Œ

ci - vil - i - za - tion

¢

& ‹

?

mp

Œ œ #œ

∑

∑

œ œ ˙

∑ ∑

∑ ∑

Œ

#œ œ #œ œ

Œ Ó

œ ‰ #œ Œ #œ #œ J

and the arts

of

j #œ #œ œ ‰ œ Œ and the arts

∑

of

∑

or turned to

˙

(mp)

Œ ‰ #œJ w

w

(mp)

∑

or

up

up

mp

Ó

Œ œ œ œ Œ Ó

all this?

mp

did they give

ag - ri - cul - ture

Œ ‰ #œj #œ œ Œ Ó

kept

did they give

Œ

œ #œ Œ Ó

ag - ri - cul - ture

Ó

p

whe - ther

Œ

Œ #œ œ œ ‰ j Œ #œ #œ Ó #œ

T

Ó

Ó

∑

(mp)

or turned to

& œœœœ œ Œ

ci - vil - i - za - tion

B

w

p

Œ #œ œ œ ‰ œj Œ œ œ Ó

A

(mp)

˙

ben - e -

° œ & œ œ œ #œ Œ 93

S

(mp)

w

Œ œ œ #œ ‰ œ œ œ Œ Œ ‰ #œj #œ œ Œ œ œ J

œ & #œ #œ ‰ J Ó ‹ fi - cial use ? Œ

˙

ben - e -

com - mand

#w

∑

Ó

use

T

Œ ‰ œ J

all their

lands

° & #œ #œ ‰ #œJ Ó

A

p

∑

w

they

fi - cial

com - mand of

lands

87

S

j œ ™ œ œ #œ Œ Œ œ œ

Œ ‰ œ J

and of the wa - ters

∑

œ‰ J

of

& w ‹ they

=

(mp)

p

p

mp ? œ

the lands

of

they

T

œ œ #œ Œ Œ ‰ œj #œ œ œ #œ Ó

Œ ˙

all this?

∑ ∑

did they give

did

˙

œ ˙™

œÓ

Œ ˙

did

mp

œ œ œ

they had com - mand mp

#œ

œ3

they

had

œ

˙

com - mand

they

(mp)

p

Ó

Œ #œ ˙

they

of

Œ

˙

of

Œ #œ ˙

œ œ ˙™

did

the lands

œ œ #˙ ™

the lands

they

‰œ J

and

Œ

26 S

° & ˙™ 99

T

¢

B

give up

of the

& Ó

Œ

¢

=

° &

112

S

A

T

B

¢

com - mand of p

˙

œ Œ ‰J

#œ œ œ ™ #œJ ˙ mf

j #œ œ #œ ™ œ #˙ mf

œ #œ #œ

all their

˙

(mp)

Œ

Œ œ œ Œ did they

Œ #œ #œ Œ

˙

did they

œ œ #œ #œ ‰ œj Ó

(f)

w

(f)

w

#˙

[n]

œ ‰ #œ Œ #œ #œ J

did they give

the

∑

p

Ó

mf #œ ™ œ ˙ #œ #œ J

∑

˙ [n]

and the arts

up

p

Ó

of

œ

‰ œJ Œ

arts

of

#œ

∑

mp

Œ #œ

œ ˙™

& Ó ‹

Œ #œ œ œ ‰#œJ Œ œ œ

Did theygive

up

∑

Ó

U w U ˙™

up

∑

Ó

all this?

Did they give

U ∑

Ó

Œ

up

∑

all this?

∑

∑

∑

∑

ci - vil - i - za - tion

∑

∑

Œ œ #œ #œ ‰ œj Œ #œ œ

∑

Œ #œ #œ œ ‰ œJ Œ #œ œ

∑

Did they give

∑

(mf)

∑

œ #œ #œ ‰ #œj Œ œ œ

œœœœ œ Œ

ci - vil - i - za - tion

or

Œ œ œ #˙ ™

w

U ∑

Did they give

∑

Œ

did they give

œ œ œ œ #œ Œ

∑

all this?

p

did they give

∑

(mf)

for hunt - ing

Ó

mp Œ œ œ #œ ‰#œj Œ œ œ Did they give up

Œ œ #œ #œ ‰ œj Œ #œ œ

Œ

did they give

whe - ther kept

Œ #œ œ Œ

Ó

(mf)

Œ œ œ #œ ‰ œ œ œ Œ Œ #œ J

ben - e - fi - cial use

Œ

Œ #œ œ ˙ ™

did they give

did they

mf

∑

& Ó

?

˙

com - mand

did they give up

Œ

mp

Ó

j œ ™ œ œ #œ Œ Œ

Œ ‰œ J

& œ œ œ #œ Œ ‹ ag - ri - cul - ture ? Ó

œ œ œ

did they give

wa - ters

Œ

T

∑

œ #œ

° & Ó

A

mp

Ó

did they give

mf

3 ? #œ œ œ #˙

1 05

∑

give up

& œ œ œ œÓ ‹ of the wa - ters

= S

œ œ

& ˙™

A

B

mf

up

up

all this?

all this?

mp

Œ œ #œ #œ ‰ œj Œ #œ œ Did they give up

Ó

all this?

p œ # œJ œ #œ Œ #œ œ ‰ Œ Did they give up

Ó

∑

Ó

all this?

all this?

Œ #œ #œ œ ‰ œJ Œ #œ œ mp

Did they give up

all this?

Did they give up

all this?

mp œ # œJ œ #œ Œ #œ œ ‰ Œ

Page left intentionally blank.

28

V. threads of the community fabric fluid and flexible q = ca. 40 8 8 after Rachel Carson

trill Bb B c3 c3 slow trill G#

Tenor Sax (sounding)

Solo Soprano

4U &4 l ˙˙o

° 4 UÓ &4

Ÿ~~~~~~~~~~~ Ó w  #œ œ p

˙˙

U µœ œ j µ œ œ œ mp

pp

very expressive pp

Ó

Ó

˙

Soprano

w

˙

#w

U Œ Œ

Ó

p #>˙ ™

Alto

Ó

pp

Œ

∑ [e]

mp

>j ¿‰Œ Ó

∑

del -i -cate - ly

[o]

4 UÓ &4

pp

p

pp

Ó

Ó µµ ˙˙

p

3 U Œ œœ œ

So

4 UÓ &4

Ÿ~~~~~ Ó B œ µ˙

pp

pp

U Œ œ œ œ

[t]

[o]

#w

w

[e]

mp Tenor

4 UÓ &4 ‹

ppp

˙

w

˙

U œ œ

> Œ ¿j ‰ Ó

[o]

∑

[t]

ppp Bass

? 44 UÓ #˙ ¢ [o]

w

˙

Uœ œ

w

w

29

c12 8 8 p

c1

8

trill Bb B c2 c2 c3 G# -G# 6

U & bœ K œ œ ™ œ œ™

Sax

p

‰

4U 4˙ l ˙˙

3 4 n˙ ™

B œ µœ µœ b œ œ µ œ n œ #œ

Ÿ~~~ 2 ˙ 4

p

mp pp (freely)

p Solo S

° Œ UŒ &

p

Œ µœ œ œ œ

3Œ 4 UŒ Ó 4 nœ œ œ œ œ 4 œ

∑

in -ter -wo -ven

pp

Uœ µ Œ &

S

mp 5

2 4

are the re-la -tion - ships

pp

Ϫ

[i]

‰

b œ µœœ œœ œœ Œ

3 4

∑

4 UŒ Œ Ó 4

2 4

in - ter

p mp

>j Œ & ¿ ‰ Ó

A

pp

Œ

[t]

‰ j b œJ œœ œœ

3 4

wo - ven

T

Ó

Ó

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p

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32

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Page left intentionally blank.

34

VI. rain follows the plow after John Wesley Powell and Charles Dana Wilbur

S

° & Sopranos and Altos (independently) sustain vowels for the duration of a comfortable breath, choosing a pitch from the set below.The gradual accumulation of sustaining voices should produce and increasingly dense layer of sound, but never above the recorded audio or Tenors and Basses. Stop abruptly in m. 10.

& œœ # œœ

A

30" before tenors and basses enter

& ‹

T

Playback text: No one can question or doubt the inevitable effect of this cool, condensing surface upon the moisture in the atmosphere as it moves over by the Western winds.

A reduction of temperature must at once occur, accompanied by the usual phenomena of showers.

The chief agency in this transformation is agriculture. To be more concise: Rain follows the plow.

?

B

¢ Start cue: playback spoken words

= with assertion q = 64 always speech like

2

° 4 &4

∑

U ∑

∑

U ∑

∑

U ∑

S

4 &4

∑

U ∑

∑

U ∑

∑

U ∑

A

T

5 4 & 4 œ #œ ‰ ™ œr œ œ œ œ œ ‹ when all the ri-vers are used

mp

U ∑

5 ‰ ™ œr œ œ œ œ œ # œ œ

when all

U ∑

the creeks in the ra - vine,

U ∑

Ó œœ œœ when all

mp B

U ∑

?4 œ œ ¢ 4œ œ Ó when all

=

U ∑

œœ œœ Ó when all

œ

œ ‰ ™ œR

when all

œ ‰ J

U ∑

the brooks

speech continues with echoes > stop abruptly

8

S

° &

∑

U ∑

Ó

U Œ Œ

∑

U ∑

∑

U ∑

stop abruptly

A

T

B

∑

&

œ & œ œ ‰ ™ œR œ œ œ ‹ when all the springs are used ? œœ œœ Ó ¢ when all

U ∑

U ∑

Ó

5 5 U œ œ œ œ œ œ œ œœŒ Œ ≈ œœ œœ

when all

U ∑

U Œ Œ

U ∑

the re - ser -voirs a -long the streams mf

œ Uœ œ J œ when all

Ó

‰

∑

U ∑

35 13

S

U Ó

° & Ó

U ∑

∑

U œ œ Ó

∑

when all 5

U Ó

&

A

U ∑

5

‰ ™ œr œ œ œ œ œ œ œ #œ ≈ Œ

œ œ#œ

the can -yon wa -ters are tak -en up

U Ó # œ œ

‰ œ œ œ œ œ œ œ œ œ œ ≈Œ

when all

the ar -te -sian wa -ters are tak -en up

molto

when all

f mf

œ œ U˙

œ‰ J

& œ ‹ when all

T

? œ œ

Œ

U ∑

Ó

U œ #œ ˙

œ‰ J

Œ

Ó

when all

U Ó

U ∑

∑

œ œ U Ó

∑

B

¢ when all

when all speech ends (approx.)

= 18

S

U ∑

° &

when

all

U ∑

&

A

œ

œ

U Ó

the wells are dug that can be dug

U Ó œ

œ

when

all

U ∑

3 r œ œ œ œ œ œ œ œ Œ

‰™

U ∑

∑ molto f

U ∑

& ‹

T

œ

U ∑

?

œ

when

all

œ

œ

U˙

œ J

‰

Œ

U ∑

Ó

U Ó

U ∑

∑

B

¢ when

all

= slower q = 60 p

mf

mp

f

mp

mf

poco f

22

S

° & œ ˙ there is

œ ˙˙ still

p

& œ ˙

A

there is

T

¢

not

there is

mf

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˙˙

œœ ˙˙

œœ ˙˙ still

mp

Ó œ ˙

still not

there is

œœ

˙˙

still

not

& œœ ˙˙ ‹ there is

œœ

˙˙

still

not

there is

p

mf

mp

f

#œ œ ˙

˙

#œ œ ˙

˙

there is

still

mp

Ó not

œœ ˙˙

there is

≈œ œ œ œ œ ‰ ‰ œ œ suf -fic -cient wa -ter

to

œœ œ ≈Œ ‰ ≈œ œ œ œ œ this ar -id re -gion

ir - ri -gate

f

mf

Ó

Ó

not

p

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B

Ó

Ó

∑

∑

Ó

∑

∑

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f

œœ

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still

not

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not

Page left intentionally blank.

37 in memory of my father

the gentle rain which waters after Henry David Thoreau

from a distance q = 80 pp

pp S1

w

w

∑

˙™

Kœ

w

w

rain

pp

4 &4 Ó

pp

w

D.7 (-31¢)

Kw

earth

S2

p

D.7 (-31¢)

° 4w &4

˙

[n]

pp

w

w

w

˙

Ó

Ó

earth

˙

w

p

pp

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rain

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[n]

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S3

4 &4

∑

w

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w

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A1

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4 &4

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w -

w

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∑

∑

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p

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Start Cue #1 (filtered rain fades in very gradually).

38

A pp 11

S1

° pp & w

mp

pp

w

w

D.7 (-31¢)

Kw

∑

∑

bare

the gen - tle

pp

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S2

˙ K ˙3 ˙ 5 4 ˙™

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mp

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w

w

3 4 ˙™

4w 4

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rain

which

wa

ters

-

ppp

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∑

bare

5 ™ 4˙

˙

3 ™ 4˙

4w 4

3 Ó K ˙ ˙ 45 ˙™

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3 4 ˙™

4w 4

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3 4 ˙™

4w 4

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3 4 ˙™

4 4w

3 4 ˙™

4 4w

w rain

ppp pp

mp

pp

D.7 (-31¢)

& Ó

S3

˙

˙

K˙

w

w

˙

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∑

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rain

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mp

pp 3

& œ Œ Œ œ w

A1

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w

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& ˙

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w

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rain filtered rain is clearly audible, builds to m. 95

˙

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39

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A3

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w

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w

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47 97

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Chicago, IL 31 January 2018