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flute · alto saxophone · violin

nirmali fenn the 5 steps

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hh287.fsp © Copyright 11 Edition HH Ltd ismn 979 0 92 37 7 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher: Edition HH Ltd  West End Launton Bicester Oxon  


the 5 steps

for flute, alto saxophone, violin and five dancers 9

Duration c.25ʹ


Composer’s sketch.


descriptive notes The 5 Steps is a music theatre piece steeped in ritual, where music and dance converge to express a correlation between generative and degenerative processes that operate within nature and human life cycles.   The piece theatricalises the 5 elements of Taoism – Wood (木), Fire (火), Earth (土), Metal (金), and Water (水). Each of the Chinese characters determines the choreography for the five dancers and the musicians. However, no element exists by itself, but is determined by how each operates within a part of a holistic system.   Essential to The 5 Steps is the thought that transformations in nature and the cycles of birth and death rely on the alternation and balance of extremes, the Yin and Yang forces. Nirmali Fenn Hong Kong, December 2010

notiz des komponisten The 5 Steps ist ein Musiktheaterstück durchdrungen von Ritual. Musik und Tanz überschneiden

sich, um eine Korrelation zwischen Zeugungs- und Vernichtungsprozessen auszudrücken, die im Zyklus der Natur und des menschlichen Lebens walten. Das Stück theatralisiert die 5 Elemente des Taoismus – Holz (木), Feuer (火), Erde (土), Metall (金) und Wasser (水). Jedes der chinesischen Charakterzeichen bestimmt die Choreographie von 5 Tänzern und den Musikern. Allerdings existiert kein Element allein sondern wird davon bestimmt, wie jedes innerhalb eines Teiles eines (von einem) holistischen Systems fungiert. Das Wesentliche in den 5 Stufen ist der Gedanke, dass Transformationen in der Natur und der Zyklus von Leben und Tod auf dem Wechsel und der Balance von Extremen beruhen, den Kräften von Yin und Yang. Nirmali Fenn Hong Kong, Dezember 2010 Übersetzung: Burgi Hartmann v


description THE 5 STEPS – DESCRIPTION GENERATING "begets", "engenders" and "mothers"

OVERCOMING

Wood feeds Fire

Wood divides Earth, absorbs water, controlled by Metal

FIRE

Fire creates/produces Earth (ash)

Fire melts Metal, burns Wood, controlled by Water

EARTH

Earth bears Metal

Earth absorbs Water, smothers Fire, controlled by Wood

Violin Saxophone Flute

METAL

Metal carries Water

Metal chops Wood, breaks up Earth, controlled by Fire

Violin Saxophone Flute

WATER

Water nourishes Wood

Water quenches Fire, rusts Metal, controlled by Earth

Violin solo

WOOD

Violin Saxophone Violin Saxophone

‘Wu Xin’ – ‘The 5 Steps’ according to Chang Po-tuan ‘Understanding Reality – A Taoist Alchemical Classic’ System can be assessed in terms of what it does rather than what it looks like WOOD

Birth – mother gives birth to child

FIRE

Male inside, female outside

EARTH

Ying wood=8, Yang metal=9 Birth - Child gives birth to the mother

METAL

Skeleton of the earth, represents structure, hard edges, boundaries

WATER

Dark outside, light inside

THE 5 STEPS – dancers •

WOOD – female

FIRE – male

Earth – female

Metal – male

Water – female

vi

dancers wood · female fire · male earth · female metal · male water · female


staging* BEGINNING METAL Dancer 4

Flute

Saxophone

Violin MUSICIAN’S TRIANGLE

FIRE

WOOD

Dancer 2

Dancer 1

WATER

EARTH

Dancer 5

Dancer 3

END

DANCER’S ‘GRAVE’

Bodies lie on top of each other to contradict the ‘Overcoming Cycle’ Saxophone

Violin

Bottom: Fire Metal Wood Earth Top: Water

Lighting: Wood (Green) Fire (Red) Earth (Yellow) Metal (White) Water (Blue-Black)

Flute

* These are only ideas to aid further choreography. The score also has choeographic suggestions; the music acts as the force behind these suggested gestures. The aid for the choreography is in the design of the Chinese characters.

vii


PERFORMANCE NOTES

performance notes

GENERAL RHYTHMIC BOXES

FEATHERED BEAMS

NOTE HEADS

any high pitch, preferably the most high and pinched

any low pitch

approximate pitch in the case of fl. or sax. With vln., refers to any pitch

signals which beat to place down your instrument

MULTIPHONICS + QUARTER TONES

 

theatrical cue

note requires less weight or emphasis than previous notes. Sign comes from speech to emphasise a softness in articulation

deaccelerando

  

repeat box

repeat box nine more times, in total, the passage in the box is stated 10 times in total

max. vibrato possible

QUARTER TONES

accelerando

THEATRE

  

EXPRESSIVE EFFECTS vib.

x9

a quarter tone sharper than normal # pitch





Quarter tone sharper than normal pitch



Quarter tone flatter than normal pitch

lower natural note very slightly

REFERENCE FOR FINGERINGS Saxophone: Londeix: 'Hello! Mr Sax', Edition Musicales Alphonse Leduc ¦ Daniel Kientzy L'Art Du Saxophone, Nova Musica CD NMCD5101 Flute: Robert Dick, 'The Other Flute', Oxford University Press

all fingerings for multiphonics and quarter tones have been provided. The darkness and lightness of a particular fingering have determined the choice. However, owing to differences in players and instruments, alternatives sim. to the one notated may be sought

VIOLIN o.p.

s.p.

s.t.

 

sul pont.

overpressure bowing son filé

requires over-pressure bowing, bow on the G-string exactly at the midpoint, where the 8va division of the string occurs, 1st harmonic and press heavily, the G an octave below will sound.

FLUTE

 tone    fingering  

k.s.

  fingering  fingering tone   tone

multiphonic based on a natural harmonic

key slap

SAXOPHONE

 

flatt.

fluttertonguing

any note that is marked thus is fluttertongued. Every other note is normal playing.

viii

t.r.



key trill

 

percussive effect

k.s. closed

j.w.



 

tongue ram key slap + closed mouthpiece

bis.



bisbigliando

do not change make as much pitch, but timbre noise with the keys, moving as many keys, affect a trill with the keys only

 

sul tasto

place bow on the string at the frog and apply as much weight as poss. with the entire arm, requires the use of the heaviest part of the bow, weight of arm is constant

harmonic

sub harmonic

jet whistle loud 'whoosh'

microtonal notes

speak and play

microtonal segments

  

§

  

  

multiphonics on microtonal seg.

          tone                  fingering C#

D#

C#

short scales created from leaving 1 hole open and fingering downwards as in a chromatic scale

2 vowels are spoken in 2 different bars, ch(eese), ch(ew) one is quite closed and muted, while the other will involve less palette resitance and will be more open



§ G#

C# C# CB C

        

multiple tonguing

s.t.

k.c.

slap tongue

key click

 

make as dry as possible

 

tongue as fast as possible, reiterating pitch

T

  tone, fingering

duration=q

trumpet sounds

T



duration=h

play with only the body of the instrument, the lips act as reeds and the opening of the sax. neck acts as a brass mouth-piece. The mouthpiece must be removed.

son-éol

 

aeolian sounds

catch the harmonics of the overtone series of specified note


the 5 steps nirmali fenn (*1979)

1 in darkness

(wood)

lighting on

(violin stands behind 'wood' dancer)

(moves away from 'wood' dancer)



(seated)

violinist walks to seat

q=60

e=60

molto agressione jeté.... .. . con sord.

Violin

   

restrained

sostenuto

dry spicc.

       pp

 

sffp

ff

f

  



II

 

p

sffz

(Bb)





III

s.p. o.p.

s.t.

ord.

s.p.

f

     ff

ff

f

mf

s.t.

(tearing sound)

legato poss. louré

 s.t.II                I

vib.

ord. s.p. o.p.

 

    pp

legato poss. louré



f

ord.

IV

   

ff

(molto)

3

     

 

leggiero

 

sul G s.t.

    p

e=60

          f

  

o.p. s.p.

III II III 3

p

q=60

mp

(molto)

dark, introspective 3  3            sempre f ord.

q=60 molto agitato

   

mf

     3

 

(C#)

 

punta d'arco s.t.



sffz

                                 pp  sffz



pp

punta d'arco s.p.

II           

punta d'arco s.t. spicc.

spicc.

pp

sffz

    

jeté.... .. .

sffp



   

sub. pp





sffz

pp

ord.

III

II

ord.                                 sfz pp ff pp sffz pp spicc.

           s.p.               sffpp pp

punta d'arco s.t.

III

IV

ord.

ord.

ord.

 pp

  

jeté.... .. .

sffz

Score in C Unauthorized copying of music is forbidden by law Das widerrechtliche Kopieren von Noten ist gesetzlich verboten

© Copyright 2011 Edition HH Ltd HH 30 287

Printed in England


2 con aggressione IV

  s.p.

jeté

 

 

jeté

 

sffz

 s.p.            

punta d'arco

fff

III

p

                     

  p

fff

(molto)

fff

punta d'arco s.p.



 

ord.

                         

II

 

quasi gliss.

fff

fff

   

ord.

f

ff

 

ff

quasi gliss.

 

  

 

fff

 



p

     

II

ord.

ss. st gli

a ery f

v



 

 

ver

f

sfz

3

    

       

 f

s.p.

 

   

p

sffz

3

ord. s.t.

6



ord.

 

 

sffz

punta d'arco s.p.

(C#)

 

 

                   fff

 

     

ff

liss. y fast g

sfz (ff)

sffz

   

ord.

ord.

     

ve

ry

fas

tg

lis



fff

(molto)

s.

(C#)

   

  

 

 fast gliss. ry  ve  

 

 ry fast gliss. ve   

III



  

sffz

 

 





. t gliss

ry fas

ve



molto ten. s.p.

I



s.p.

 ss. gli  very fast  



 fff

IV



sfffz

sffz

accel (q=60) > q=120 + s.p. legato poss.

  

 

(C#)    

C

F#  

 



  

   

ff

 

 

x9

sempre ffff (poss.) HH 30 287


3 q=120 +

accel.

right on the bridge

furioso con moto

  



 

width o

f gliss.

ca. x 6



q=60

decreas

ing

 

senza sord.

sing

iss. decrea

width of gl

 (q=60)

sostenuto (timbre scratchy, but pitch present)

ord. (tearing sound) o.p.

   

9

 

30'' ca.

  

p



ord.

   f



II

 

p

p

 

p

   f

  (p)

   mf

p

p

   

(Bb)

  

f

 

 

III II IV

sfz



 

p

II

mf



(non ten.)

 

(p)

f

ppp



(C)

  

               

 

 

sempre ffff

espressivo

leggiero sul G battuto upbows

f



p

 

f

e=60

 

 

 



ff

p

f

 

starting speed q=60 agitato col legno battuto sim. to a light fluttering, tremblings dynamics very exaggerated, molto secco

12

                                             pppp ffff (poss.) (poss.)

pppp (poss.)

ffff (poss.)

HH 30 287

pppp (poss.)

ffff (poss.)

pppp (poss.)


4

                            

   pppp (poss.)

ffff (poss.)

pppp (poss.)

q=60

 

ord.



f

p

p

f

 

pppp (poss.)

   

(natural)

sostenuto 13

ffff (poss.)

con sord.



p

f

(segue)

ff

pppp (poss.)

2

(fire)

14

Alto Saxophone



(sax. steps over 'fire' dancer 'fire' dancer lying on the ground)

(q=60)



agitato

  

Violin



Vln.

25 A. Sax.

Vln.

pp

 

 

  

7

         

f



pp

pp

f

p

 

senza sord

fff

('wood' dancer drags limp 'fire' dancer)

          

 

(sits near violin) misterioso

22 A. Sax.

pppp poss.

 

    

   

very fast trem. (no accents, uguale)

 

   





walks to seat 

pp

ppp



 

 

  

      

f



6

    

p

6

     

pp

HH 30 287

 pp

ppp

('fire' dancer begins to stand)



f

espressivo      

f (f)

3



(pp)

 

 



ff

     

   



pp

     

vib.

p


5 (the 'wood' and 'fire' dancers face each other, hands held in front, as though pushing on an imaginary wall)

 

con agressione

 

flatt.

30 A. Sax.

 

C

  



bis.

f

Vln.

    

       

   

A. Sax.

ff

f

   

    ff

   









sfp

f sub. p

agitato

 

s.p. 





9





 

pp

ff

9

         

sffz

9

pp

 

 

C

 

9

 

 

   

9

pp

        

 

C#



pp

  

C



martelé

x8



      

sfpp

 

fff

p

pp

mp

f

   

f

          9 

pp

   42    

f

sffz



  

p

Bb

Ta

q=60

ord.

9

sffz

Vln.

martelé

p

9

         

C

f



 

A. Sax.

   

p

p

fff



C

ff

40

Vln.

pp

  

      

C#

C

martelé

ff

A. Sax.

pp



      

con forza sostenuto

  

martelé

Vln.

         

C#

35

e=60

   p

 

  

  f

jeté

 

sfp fff HH 30 287


6

   bis.   



45 A. Sax.

fff

Vln.

A. Sax.



sub. p

 

sfp



   

(trem.)

    sfp

f

    

ppp

 

 

flatt.

 

    55 bis.    C

fff

mf

 



  

 



p

(natural)

sub. p mp



 p

3

 

 

 



  

ff

pp

(pp)

  jeté

sfp

(trem.)

sempre ppp

X

misterioso libero solo

senza misura   

7



      bis.     

f

p

(poco)

3

ff

6



espressivo

(the 'fire' dance)

espressivo tenuto

p

 

pp



                           ff

A. Sax.

p

Tf

A. Sax.

mp

    



 

f

('fire' dancer covers 'wood' dancer with a light cloth, 'wood' dancer lying on the ground)

Vln.



sfp

jeté

A. Sax.

            



jeté

pp

Vln.



misterioso

  

multiple tonguing

50



G#





 

 sub. p

6

    

f

    pp

   

f



G#

sub. p

 

ff

HH 30 287





   vib.     f

p

f

p

   

C

 

mp f

norm.   

p

(molto)


7

   



2 A. Sax.

7         

D#

 

(molto)

ff

(molto)

 

norm.

no trill.

sub. p

A. Sax.

         

 

ff

 





molto agitato

A. Sax.

 









     



poco agitato double tongue

f

(poco)

mp

       

 

 



  p

 

ppp

f

pp

      p

mp

p

(molto)

     

 

ppp

p

   

f





  ff

p

 

f

(molto)

 

f



mp

3

f

ff

  

multiple tonguing

sub. p

('from underneath the cloth, 'wood' dancer grabs, with 1 hand, the ankle of 'fire' dancer ) ('fire' dancer prepares to fall to the ground, with 'wood' dancer's grip still on ankle)

con aggressione bite reed



key trill 59 A. Sax.

sub. ff

   

p

bite reed

 

sempre pp

pizz.

Vln.

ff

(pizz. normale)

   

 (no accent)

ppp

(pizz.)

 

ff

HH 30 287

vib.

        

sub. p

sub. f

           

 

norm. 

espressivo

espressivo

sempre p

Vln.

f

leggiero          

secco

A. Sax.



espressivo s.t.

(molto)

leggiero

sub. p

                          p

p

        

ppp

ff

(p)

A. Sax.

C

     

P

Tc

             



Tc

f

    

con aggressione

 

(molto) legato poss.

       norm. no trill.    

     

     6



(tune D string a semitone down to C#)


8 (q=60)

X

64 A. Sax.

largo, molto rubato haunting sempre sub tones

senza misura

     

 3

sempre ppp

k.c.

A. Sax.

      

     

k.c.

     

    

 

p

k.c.

 k.c.           

x3

3

sempre pppp poss.

k.c. + still lightly breathing into instrument

k.c. only

x3

repeat ad lib. until dynamic inaudible

('fire' dancer lies still on the ground, face down)

A. Sax.

non vib.

C#



 

son-éol

      

wide vib.

any overtones poss. ad lib.

D#

pp

(segue)

sempre pp

3

(earth) proceed to stand behind 'fire' dancer, arms spread out to form a cross  

('earth' dancer emerges from the dark) (q=60)



largo, brooding

  65

Alto Saxophone

Violin E A C# G

  71

A. Sax.

Vln.

 

  q=60



p

       ppp

hum Db

  p

    

hum Db

ppp





  

C#

D#

        non vib.



p

   vib.  

  





(poco)



Ta

p



non vib.



pp

HH 30 287

lip bend

sub. ppp

    

Bb

mp





e=60

     vib.

non vib.

 

mp

arco con sord. non vib.

C# G

  

ppp

<e=q>

bow changes as inaudible as poss. slow bowing

 

sempre pp sempre sostenuto

Ta





<e=e>


9 ('earth' dancer rolls 'fire' dancer, 'fire' dancer remains still)

      78  bis.          pp molto agitato

A. Sax.

Vln.

 

Tc

Vln.

Vln.

 

Vln.



D#

D#

C4 C3

C

('fire' dancer stands) largo

 

non vib.



p

C1 C2 C3

Bb

C#

  



  vib.

lip bend



mp

pp



(Bb)

 p



   

2 dancers proceed to stand behind 'wood' dancer, arms spread out                        vib. accel. trill    bis.            B

D#

mf

 

95

A. Sax.

Tc

lip bend



pp

pp

p

  

vib.

mf



  

B

Tf

 

non vib.

pp

pp p

mp

    

p

pp

p

mp

  

  



B

C

C

  

   

pp

 

87

A. Sax.

                           bis.  bis.  bis.  bis.    bis.                   pp  pp   pp  pp pp 

B

      82 bis.  bis.            pp  pp   

A. Sax.

         bis.  bis.       pp  pp 

(roll 'wood' dancer)



 G  G

 Tc





vib.



  

Bb

D#

  

non vib.

mp

               no accel.   bis.      D#



p

Bb

D#

Tf

D#

 

(poco)

p

HH 30 287



(poco)

   p

 

mp p



  

pp p

pp


10

  103



      

    

A. Sax.

B

Vln.

 

p

109

A. Sax.

Vln.

 

p

  

  

 

                  

p

         pp

    

mf mp

          

      

mp

C

 

p



D#

C

p

      B

Bb

B

mf

Tf

B

piu mosso

q=60

C

   

accel. bowing

    

ord.

p

s.p. ord.

 

mp p

s.p.

ord.  

mf p

s.p. ord.

 

mf p

s.p.

f

ord



p

sempre very slow circular bowing

116

Vln.

D#

Bb

B

mf

A. Sax.

  

sempre p

113

Vln.

   p

p

              

q=48

bow changes gradually become more audible, bowing gradually getting faster

C

A. Sax.

mp

meno mosso

(poco)

Bb

  

(the 'earth' dance)

C#

 

mp

              

leggiero

Tf



hum

B

C

(pp)

        p

        

B

Tf



('wood' dancer stands)



ord.

   p

HH 30 287

s.p.

ff

ord.  

p

s.p.

s.p.

 ord.  

fff p

s.p.

fff



 x2 ord.

s.p. ord.

  p

s.p.

fff

(poss)


11

  

meno mosso

  119

A. Sax.

 q=60

e=80



D#

    p

Vln.

 

  122

A. Sax.

Vln.

senza sord.

 

   flatt.    

p

 

       flatt.

        

B

C

f





   

p

 

mf

 

f+

     

       

Bb

D#



 p

C

f

 

mf

piu mosso



     

 q=60

  

pp

Vln.

            B

f+

126

A. Sax.



C



mf



C#

 

 

(molto)

 

meno mosso

 senza misura   

growl

sim.

Vln.

  

ffff (poss.)

   

sfz

  

ffff (poss.)

HH 30 287

  

sfz

 

  

ffff (poss.)

 (cue sax.)



o.p.

s.

o.p. sub harmonic

sul pont.

tg lis

 

o.p. sub harmonic hold as long as poss.

norm. punta d'arco

norm. punta d'arco

(get cue from vln.)

as

raucous

yf

wild, sim to electric guitar pick-up

ffff (poss.)

o.p. sub harmonic



any pitch dissonant with fundamental

ve r

128

A. Sax.

X

(ca) e 60

sffz


12 piu mosso

  129

 q=60

tranquillo

  



growl

p

A. Sax.

Vln.

 

pizz. gliss to any note ord.

      III  IV



mf

   

  

 

mp

A. Sax.

 Vln.

  



 



gliss.

      

mp

mf



 

gliss.

           

      



 

 

mp

sempre p

 

132

gliss.



 

             



A. Sax.

 

Vln.

 

139

           

sul A

sempre p

A. Sax.

 

Vln.

 

143

 

espressivo molto rubato

 

 

  



 

   





 



<e=q.>

     pp

HH 30 287

 

<q.=e>

  (poco)

 

q=60

  

 

   

piu mosso

 

pp

 

        

      

  

 

      

arco con sord.

ppp

 



molto meno mosso

e=40 x=80

p





    



  

ppp

(molto)


13

4

(metal)

(flautist's back is to the 'metal' dancer, who sits cross-legged, arms out-stretched, both hands flung behind him, violently holding the legs of the flautist who is standing, flautist pretends to wrench him/her-self from the dancer's grip.) (q=60/e. =80)

  

<e=e>

explosive and volatile, marcato

  148

Flute

flz.

 



 

sffz sffz

Alto Saxophone

 

Violin

  151

Fl.

A. Sax.

Vln.



                          molto secco

sub. p

wood-block slap tongue (s.t.) (sim. to a pizz.) secco 7



pp

§

D#

   



 



accordatura

  



<e=e>

 (poco)

norm. fingering

 

  

p

sfz



p

sub. ff

7

gliss.



 

   

sfz

pp





sfz

secco        

 

flz.

 

 sub. fff

p

 

 

      C#

ff

  

  

sub. ppp

      

 

C# CB

ff

s.t.  

misterioso

ff

sffz

HH 30 287




14

    

espressivo



  157

Fl.

A. Sax.

  163

A. Sax.

Vln.



Vln.

Fl.

 

 

secco k.s.

         p

       p



 



    s.t.

pp

 

   C§     C# sfz

p

Fl.

 ff

 



 pp

Vln.







p

t.r.

    

  

G# D#

D#

 

flz.

 

molto agitato



  

ff

 

 

 

ppp



mf

  

ff

D#

 

 

mf

HH 30 287

t.r.

     sfz

  s.t.

mf

   §

G# D#

D#

 

 

pp

k.s. closed

      

   

p

s.t.

p

§

sfz

A. Sax.

f

  

§

168

D#

s.t.

con agressione

 



t.r.



§

 

   

molto espressivo

D#

ff

      §

D#



  

secco k.s.



D

sempre secco s.t.

pp

 

§ G#

k.s.

    f

s.t.

     pp

s.t.



mp

    

mf


15

(flautist breaks free of 'metal' dancer and slowly walks towards musicians, let the violin lead you in; sit down in the front, a little away from saxophone and violin, forming the top-tip of the 'musician's triangle')

 

     flz.

   

172

Fl.

ff

A. Sax.

meno mosso



(e=60)

 

(trem. same speed as the flute fluttertongue)

Vln.

<q=e>

sul A senza sord.



 

sffp

 

  

sfz

ff

  

ff

 flz.          p

furioso

 sffp

ff

piu mosso

e=q (q.=40) (q=60)

4:3y

sfz sffz

p

 

f

 

    

 

p

(lower dynamics apply to pizz.)



('metal' dancer approaches 'wood' dancer)

 

agitato

179

Fl.

A. Sax.

Vln.

    

Fl.

 

      

sfp

182

p



sfp

 p

  



sfp

 

 

 

p

misterioso

 

 

molto agitato

 

 





   

        secco

   mp

  mf

s.t.

 

p



vib.

  p

 

 

 

(poco)





 sfpp

II

Vln.

 

 

5

ff A. Sax.

 



  ord.

(molto)

slo

. w gliss

sfp (p)

  II

   p

(dynamics apply to pizz.)

HH 30 287


16

 



189

Fl.

A. Sax.

Vln.

  196

Fl.

A. Sax.

 





secco

               ff

 

  

  

 

pp

pp

 







sfz

   

sffp

mp

f

  

 bis.

 mp



 

ch(eese)

 

j.w.

   sfz

 

sfp

arco

   

  

p

  204

Fl.

 

p

II

Vln.

 

p

(speak) and play

D#

p



 

    

  

      

D

    



(speak) and play ch(ew)

 

p

A. Sax.



Vln.

 





4:3y

sfz p sfz p

   sffz

marcato

    

sffz

p

 gliss.      flz.

ff

p

f

       

p

p

                 (C)

sub. f

HH 30 287

p

sfp

molto secco



s.

glis





ff


17

Fl.

A. Sax.





  207



       §

    212

Fl.

A. Sax.

Vln.

 

C# C

sfpp

 

ff

    (molto)

 

fff sub. ppp

 j.w.    216     fff sffz

  

(Bb)

 



s.t.

    

ord.

     p

ord.

p

ppp ppp

              flz.          ss.   gliss.  gli               sub. p      sffp (molto)  ff sffz sffz 





sempre ppp

  L.H.     maintain        C# CB

C# C

C#

D#

D#

D#

  D#

          sfppp      

     

     

§

§ G#

 

C#

C#

f

sfz

B

C

A. Sax.



Vln.



 

sfppp

 

secco

§ G#

(poss.)

tenuto very fragile, sostenuto molto espressivo, senza vib.

misterioso



('metal' dancer's foot is on the chest of 'wood' dancer, 'fire' dancer pulls 'metal' dancer away.)

Fl.

    flz.



s.p.                sfpp pp

 

 con aggressione punta d'arco secco con sord.

Vln.



  

  

f

HH 30 287

 

sfppp


18

('metal' dancer approaches 'earth' dancer.)

  maintain   L.H.    

       

§ G#

 

 

221

Fl.

mp

A. Sax.

C# C# CB C

C#

D#

p

  224

Fl.



Vln.



espressivo

molto secco

  



mf

  

  

  







mp (sempre mp)

      C1 C2



sfz

very slow bowing, legato as poss



A. Sax.



mp (sempre mp)





D#

                     7  f ff

molto agitato      k.s.

  

senza sord s.p.

Vln.

D#

      

      

  



D#



 

 

ff

pp

breathe ad lib or continous breathe



   

 

dark

p

  

non vib.

vib.



sfz p

  



vib.



non vib.

  

sfz p

(molto)

























  

§ G#

    231

Fl.

sub. pp

Bb

     

   vib.   D#

sfz

pp

   

f

pp















C1 C3

A. Sax.



Vln.

 

HH 30 287

  


19

starting speed q=60 libero stacc. dry as poss. (sim. to a hollow pecking sound)

  235

Fl.

    b

X

D#

senza misura

p

A. Sax.

Vln.

 

        b

D

D#

Fl.

       b

D

D#

      §

D

D#

D

      D#

               

  maintain   L.H.         D#

D#

D#

D#

f

D#

f



Vln.

A. Sax.



Vln.

p

C# CB

C# C

C#

§

D#

C#

D#

f

sustain throughout, stagger breathing with violin bowing or continous breathe

 

sustain throughout, stagger bowing with saxophone breathing

       §

D

D#

     

     

b

§

   

§

D D#

D#

      §

G# D D D D# D#  D# D# D#

D#

     D#

pp

    b

G#

D#

   

b

D#

b

D#

p

C# C

D#

f

D#

p

  

p

  

  

  

  

  

  

  

       

§

D#

D#

3

  

    D#

   

    D#

§

D#

§

b

D#

b

D#

§

D#

f

  

   

D#

   

D#

  

  

  

  

  

                    

§

§

D#

D#

b

D#

b

b

C#

b

C# C

b

HH 30 287

C# CB

§

C#

§

b

G#

D#

b

D#

b

D#

§

D#

§

D#

D#

D#

D#

f

D#

D#

    D#

    D#

    D#

        §

G#

G#

D#

D#

  

  

  

  

                    

§

§

D#

§

D#

§

D#

§

§

D#

D#

D#

f

(p)

§

D#

§

D#

                       (p)  (f) pp f

b

§

G#

D#

D#

p

  

    §

sub. p

§

D#

   

G#

D#

                   §

D#

      

b

  

        

f

         f

C#

§

 

b

Fl.

D#

           

§

p

p

A. Sax.

  

            

b

G#

G#

D#

    D#

        §

G#

D#

D#

p


20 piu mosso

      §

D#

Fl.

    §

D#

    §

D#

    D#

          

q=69

D#

C#

§

D D#

D#

3

                     

molto agressione

§

G# D D#

D#

§

§

b

D D#

D D#

D#

D#

D#

sfz

(molto)







sfz

sfz

sfz

    





brutal, unrelenting

   239

Fl.

edgy

            5

pp

   mp



  maintainL.H.       

G#

G#

C#

   





ff

ffff

    

   

G#

G#

G

ffff

C#

sub. fff

f

IV

  maintain L.H.       

   

§

G# D

G# D

D#

D#

G# D D#

fff



Vln.

Fl.

A. Sax.

Vln.

 

 

 

f

mp

fff



f

mf

  GG   



Tc

sfp

D#

D#

fff (poss.)

 

   

 

fff



<e=e> (q.=40)

  

jeté

sffp

HH 30 287

 

('fire' dancer suddenly pushes 'metal' dancer into the dark.)

meno mosso

G# D

   (marcato)      §

('earth' dancer pressed to the ground by 'metal' dancer.) q=60

    

f

A. Sax.

243      

ff

C1 C3

III

(molto)

§

    ff

(molto)

                 norm molto secco





II

Vln.

C1 C3

C3

A. Sax.





 

<q.=q>


21

5

(water) (from the dark, 'metal' dancer drags a limp 'water' dancer, as dancer is dragged, she gradually becomes more stiff and resistant to the 'metal' dancer's pull, when body is taut, she lifts 'metal' dancer and drops him to the ground. Then one by one, she drags each of the 4 dancers, lying them on top of each other to form the dancer's 'grave', in order, 'fire'-'metal'-'wood'-'earth')

  248

Flute

M1

      

p

§ G#

C#

 

mp

  

D#

Alto Saxophone



p

Violin

§ G#

M2

3

C#

  

  

use either fingerings randomly throughout

§

molto leggiero



  

  

q=40

       p

3        

p

M1 M2

 repeat box, senza rubato

mp

C

mp

either

3

3

repeat box, senza rubato

flautando legato poss. no accents con sord.

  gliss. gliss.  

mp

sempre p

  251

Fl.

A. Sax.

Vln.



     gliss. gliss. gliss. gliss.      

  255

Fl.

gradually more and more breathy

   . gliss   gliss. gliss. iss. gl    gradually more and more breathy

A. Sax.

Vln.

HH 30 287


22 ('fire' dancer dragged into the centre of the ''musicians' triangle'') q=60 any overtones poss. ad lib.

  258

Fl.



son-éol (get cue from vln)

very breathy

 

(poco)

any overtones poss. ad lib.

  

son-éol

A. Sax.

(get cue from vln)

very breathy



    gliss. gliss.   

  II

(cue sax/fl.)

Vln.

(poco)

ord.

 

mf

e=60 tranquillo, molto rubato

       261

Fl.

pp

mp

A. Sax.



Vln.

 

sffz

Fl.

 

mp

pp

mp

pp

    bis.      

D#

A. Sax.

Vln.

 

pp

ord. 

mf

mp

    p

pp

  

mp

   3

mp

(+D§/D#)

3         3

3

bis.

 

mp

   

pp

mp



  3

  

mp

  mf

p

pp

 

   p

HH 30 287

mp



mf 3

  

pp

    3 bis.  

 

mp

mp

 

3

p

3    

bis.

pp

mp

     bis.   

C1 C2 C3

bis.

mp

  



C1 C2

  

bis.

pp

G#

mf

II

p

         3

mp

p

        

pp

    3 bis.  

 

bis.

pp

263

3

 

  



Bb

flautando, very mellow

mp

D#

flautando

3

    

bis.

pp

   



         

3

  

G#

pp

mp

                  mf

p

mp

p


23 ('metal' dancer placed on top of 'fire' dancer) piu mosso, delicate, non vib.

  

Fl.

pp

A. Sax.



 

  

mp

mp

  

  270

A. Sax.

Vln.

mp

mp

IV

sempre pp



    



mf

 

pp

 





      



mf





mp

Vln.

Fl.

mf

mp



pp





very slowly loosen string until floppy, keep bow on open G, no accents, slow bowing (sim. to a slow, whirring/purring descending gliss., slightly menacing)

   



pp

267

A. Sax.



 

mf

Fl.

mp

 

Vln.

q=60

3

265



 p





 mf



pp



 

sub. pp

HH 30 287

 

3



  

 3    

  p

 

 

  


24 ('wood' dancer placed on top of 'metal' dancer)

  273

Fl.

 





(twist tube slowly until head joint removed)

ghostly, haunting



gliss.

f

pp

A. Sax.

 



p

mp

       mp

 p

saxophone takes off mouthpiece

 p

slow bowing on floppy string, stop loosening, senza sord while bowing

Vln.

p

('earth' dancer placed on top of 'wood' dancer)

  277

Fl.

A. Sax.



gliss.



headjoint and attachment totally removed (prepare to play only with headjoint)

    ž

headjoint gliss.

fluctuating gliss.

f



   fluctuating gliss.  f



very slowly loosen string until floppy, keep bow on open D, no accents, slow bowing

Vln.

III

p (poco decres.)

  284

Fl.

A. Sax.



   fluctuating gliss.  f



('water' dancer goes to mount the 'grave' of bodies, lying on the top of the pile)

  fluctuating gliss.  f





sax. walks towards and stands at the head of the dancer's 'grave' sax. stands with back to violin

pp ž as hand approaches the end of the tube, shake very vigorously, as though playing a vib. in the air=microtonal gliss.

HH 30 287

T

 p

trumpet sounds play with the body of the instrument (mouthpiece off)

T

      p

bow on floppy string, stop loosening Vln.

trumpet sounds play with the body of the instrument (mouthpiece off)

very slowly loosen string until floppy, keep bow on open A, no accents, slow bowing

p (poco decres.)


25

  290

Fl.

mf

A. Sax.



 

T

 

    

p

p

mf

T

   

p

T

      

mf

mp

T

fl./sax. face each other

T

mp

flautist walks towards saxophonist

p





mf

T

     p

mf

bow on floppy string, stop loosening Vln.

  296

Fl.



play into the bell of sax.



T

 T

 

f

mf

Fl.

  

very slowly loosen string until floppy, keep bow on open E, no accents, slow bowing

like an offering, place flute on the dancer's 'grave'

300

T

f

violin stands and walks towards dancer's 'grave', stand with back to audience, but face dancers, ie. at the foot of the dancer's 'grave'

p

Vln.

place palm slowly over the bell of the sax., muting it, as though putting a hand over someone's mouth.

play out from the bell of sax.

p

A. Sax.

pp

I

p



all lighting off, stage in blackness



like an offering, place sax. on the dancer's 'grave'

A. Sax.



 

like an offering, place violin on dancer's 'grave'

bow on floppy string, stop loosening Vln.

ppp

HH 30 287

Oxford:15.06-23.08

The 5 Steps  

The 5 Steps theatricalizes the 5 elements of Taoism – Wood, Fire, Earth, Metal and Water. Each element is part of a holistic system that is...

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