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Oscar Bianchi ORANGO for ensemble and audience

score


Oscar Bianchi ORANGO for ensemble and audience

commissioned by ART MENTOR FOUNDATION LUCERNE for 'CONNECT - the audience as artist' and performed on 22 April 2018 by Ensemble Modern, on 19 June 2018 by Remix Ensemble Casa da Música in Porto, on 16 March 2019 by London Sinfonietta in London , and on [date tbc] by Asko Schönberg in Amsterdam

score


First performance: 22 April 2018 Frankfurt Lab

ensemble modern Jonathan Stockhammer, conductor

© 2018 Editions Durand, Paris FRANCE Tous droits réservés pour tous pays All rights reserved version of 29 May 2018 O & B xxxxx


ORANGO

Instrumentation

Flute, also Bass flutel, four wine glasses (E5, F4+, F#6, A6) Oboe, also Cor Anglais, four wine glasses (Cb5, F4, C#5, C#6, D#6) Clarinet in Bb, also Bass Clarinet and Contrabass Clarinet in Bb, four wine glasses (A#4, E4+, E6, D6) Bassoon, also Contrabassoon, four wine glasses, also A#4, B4, B5, A#5

Horn in F, also four Wine glasses (A4, B4+, F#5, C#6) Trumpet in C, also harmon mute, four wine glasses (Gb4, B4, C#5, G5) Trombone, also harmon mute four wine glasses (F4, A#4+, A6+)

Percussion 1: symphonic bass drum on wheels (possibly not oiled, noisy) , Crotales (D7, Eb7, F#7, A7, B7), Wine glass C7+ (quarter tone high), Log drum four pitches (lowest very big), Plexiglass (78cm x 50cm x 2mm ca), 3 tom toms, 3 large cymbals (very low, low, medium-low, medium-high - don't have to match perc 1 cymbals), Marimba (four or ideally six octaves), Almglocken F4, Antenna or metal barrel (B2-C4 drone interval: to be played with instrument ad libitum, arco), Waldteufel (Kolberg if possible), Gongs (F#4 and C#4), different mallets, 6 Squeaky Rubber Chickens, teddy bear.

Percussion 2: symphonic bass drum, Crotales (C#7, D7, D#7, F#7) , Wine glass G5+ (quarter tone high), Log drum four pitches (lowest very big), hard broom on floor or hard brush over bass drum, Gongs (F#4 and C#4), Tam tam or big china, Large thunder-sheet, 3 large cymbals: very low, low, medium-low, medium-high (doesn't have to match perc 1 cymbals), Waldteufel (Kolberg if possible), Vibraphone, waldteufel, Tam-Tam partially damped on Keyboard Stand (Paiste 26”), Ride Cymbal 22”, China Cymbal 14”, Almglocken B4, Different mallets, super-ball, bow for crotales and cymbals, hard brush or broom

Piano, also water glass

Violin Viola Cello Contrabass (C string scordatura to G0)


other requirements for ensemble: 12 super-balls, 12 Waldteufels, 12 Soprano Recorders recorder heads (mixed: soprano, tenor, alto, anything that is available), 16 Almglocken (C3, 2 x C#3,D3, E3, F#3, G#3, B3, C#4 D4 , E4, F4, F#4, G#4, A4, B4), 5 thunders sheets (in different sizes) N.B: the five Almglocken C3, E3, G#3, C#4, F#4 with 5 soft beaters and the five thunder sheets in different sizes with 5 sets of super-balls will be sporadically played by musicians during '' Stimme section 1'' to emphasise and follow the formal contour of the section

Requirements for audience: according to amount of trained audience participants, 10 to 30 mixed recorder heads (soprano, tenor, alto, anything that is in fact easily available and affordable), 10 to 30 Messingblech Tafeln, 0,3 x 100 x 200 mm (thin metal tablets nicknamed pio-pio's), 10 to 30 super-balls

the score is in C (bass Flute, Contrabass sound one octave lower than notated. Crotales on octave higher)

Duration: circa 35 minutes


Composer’s note Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves). Altered pitches might be sometimes respelled within the measure for cautionary purposes. Trills: unless differently specified the auxiliary note is always a step above the main note, see example below.

Trill

 

Realization

  

  



  



  





LEGEND

TUTTI

µ#˜

quarter tone higher, sharp, three quarter tones higher

B b Bb

quarter tone lower, flat, three quarter tones lower crescendo dal niente decrescendo dal niente highest pitch available

glissandos should always start immediately, and they should be played as continuous and as even as possible

WIND INSTRUMENTS

≤ ≥ í

inhale exhale fully close embouchure with mouth

FLUTE « internal frullato » : exhale into the instrument while fingering the indicated pitches, make sure to hold closed mouth embouchure as indicated « air only (no tone) » : produce an airy sound by blowing regularly but without harmonic sounds (no tone), emulate a « white noise » like sound « soffio » : with open lips, concentrate the blowing inside the mouth-whole as to pronounce an « i » (italian « i ») with open mouth (jaw in position as to produce and « a »). Enhance the resonances within the mouth. « + growl »: vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.


OBOE « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « + growl » : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

CLARINET « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « Harmonics Tremolo » : tremolos of harmonics with different fundamentals « open slap »: open your mouth very quickly at the same time (or just slightly after) as slapping. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « + growl »: vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

BASSOON « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « lala slap » : with the mouthpiece off, double-tongue the indicated pitches producing a dry but deep and articulated sound

TRUMPET, TROMBONES « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound. Sometimes without mouthpiece when indicated. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument.


Part One D string scordatura down a ¼-tone. Furioso! Enjoy the few moments of respite, bringing out warmth and lyricism of line, looking towards the second part of the work. Up-bow double harmonic trill on III/IV, played with varying degrees of sul pont. Distorted trills always sul pont exploring layers of overtones – ALLdifferentiation STRINGS of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very bring out relative sp = sul ponticello fast and regluar, alternating upper and lower trilling fingers (1/2 with 2/3). Play where possible with fast and fluid up-bow gesture. Harmonic nodes or contact points are given in the part/score. A chart below st = sul tasto shows actual sounding pitches of the harmonics. Exact pitches are not critical, and it should be added that msp = molto sul ponticello sul pont creates additional layers of overtones. Glissandi are very fluid. The short-note interjections of mst = molto sul tasto single tones, open strings, chords, also chordal harmonics, trace an elongated melodic line which is at clb = times reflected in the orchestra. xv = extreme vibrato (very wide vibrato, minimum fifth wide) w.n. « white noise » : tonelos, bow right over the bridge p.r. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique) Part Two Re-tune to D-natural.

highest available Restrained but expressive. Fivepitch fragments of an extended melodic line thread through the orchestral textures. The line is always in motion drawn out of and disappearing into silence. The overall effect creates a quasi-static multiphonic. Double, triple or bow: from ordinario to overpressure quadruple chords combine open strings, open-string/harmonic trills and stopped tones. Fast string crossings - explore with varying bow pressure and changing bow strokes, avoiding cliché arpeggios I-IV-I. Varying degrees of sul pont creates additional layers of overtones. Open-string/harmonic trills immediately as fast as possible, and remain very fast, continous regular. up playing all three strings. « Harmonic glissando » : gradually moveand from lightlyBuild touched to pressed. Bring out the harmonics more than the open strings. Noteheads in brackets add last and play less often.

Natural harmonics:

Natural harmonics:


VIOLA « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants.

CELLO « col legno slide » : slide vertically the stick of the bow (col legno) over the string towards the scroll: you should hear two glissando sounds. The stick of the bow should lay lightly on the string (it works best to use the higher half of the bow-stick) « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique) DOUBLE BASS « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello « flanger pizz » : approach the surface of the wooden tip of the bow against the vibrating string (after the pizz). Alternatively, use a ring instead. The flanger effect is created by quickly ‘intercepting’ the vibrating string and creating a ‘wah-wah’ effect by approaching the bow’s tip against the vibrating string. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique)


ORANGO for ensemble and audience

Oscar Bianchi 2017 - 2018

• a puppet already placed in the center-le area of performative space, visible • a symphonic bass-drum placed somewhere on the center-right area of the performative space • all performers off stage, audience and trained audience normally seated, lights off (only light spotlight over puppet on) • stage light on

° ¢&

√ ∑

Audience

° &

√ ∑

Flute

Oboe

&

Clarinet in Bb

&

√ ∑

√ ∑

?

√ ∑

° &

√ ∑

Bassoon

¢

Horn in F

√ ∑ &

Trumpet in C

?

√ ∑

Percussion 1

°/

√ ∑

Percussion 2

¢/

√ ∑

Trombone

¢

√ ∑ & Piano

√ ∑

?

{ Violin

° &

√ ∑

B

√ ∑

?

√ ∑

?

√ ∑

Viola

Violoncello

Double Bass

¢ © 2018 Editions DURAND Paris, France

Tous droits réservés pour tous pays D & F xxxxx


2

from the outside, hence not visible yet, the percussionist slowly joins the center of the performative space while carrying a symphonic bass-drum on wheels. Rollying it rather slowly, she/he becomes unexpectedly aware of the low/barely-perceptible frequencies produced by the membranes which resonate because of the motion-induced vibrations. On the way towards a designated central position, in an unpredictable path, she/he wanders around a bit, subtly toying with such effects (low vibrations resulting a er simple strolling movements), rotating the drum on itself at times, enjoying the produced sounds and encouraging them with different spontaneous-looking motion techniques, unaware of unveiling this to the audience.

A 2 - 3 min. 2

√ ∑

/

Perc 1

= on its way around, a little teddy bear is suddenly noticed. e percussionist checks it brie y, then throw it towards the audience. e audience member who catches it is invited to join the stage. Once one stage, the percussionist will encourage her/him to play and imitate him, rst with screaming chickens, then by moving the bass-drum together and playing with super-ball. Once done, the percussionist invite the audience mameber to returnt to her/his seating place, this being also the cue for all ensemble members to join the performative space from outside by sligind their own super-balls over the oor or playing ''pio pios'' (rehearsal mark C)

B

3 - 4 min.

3

√ ∑

/

Perc 1

0 - be in a possibly hidden position with the Bass Drum. 1 - Once the light’s on start moving over the performative space, dance like movement ‘’pas de deux’’ 2 - suddenly you realise there’s a teddybear, there’s a surprise, you leave the bass drum close to conductor podium. You scrutinise the teddy bear a bit, then you randomly throw it towards the audience 3 - invite the audience member who pick it to join you on stage, 4 - then start a ‘’screaming chicken quartet’’, you holding four chickens (two per hand), the audience member two. Randomly produce sounds with the chicken within the following actions which should prompte the audience member to naturally imitate you: T-position, geometric, tennis playing, Pisa tower, giggles. Once done get the chickens back form the audience member and start the: 5 - ‘’pas de deux’’ with bass drum: pull the bass drum with her/him, ‘’dancing’’ again, reaching an ideal position, 6 - then providing her/him with a superball and start playing with it, rst on the wooden frame (slide, dead strokes, etc.), then over the skin, ending up with very deep sounds 7 - thank / bowing towards her/him inviting to regain her/his original seating position (the audience should naturally applause here). is is also the cue for the ensemble members to crawl out their hidden positions and slowly join their performing positions 8 - head towards your own percussion setup location with the bass drum, not rushing.

= conductor and all ensemble members enter from the outside while sliding their own super-ball over the oor with a set of different techniques. Percussion 2 and Piano will by the rst to arrive in position in order to start D (3 actions): sliding their super balls over the skin of and the wooden body of the piano (or glass). Once musicians arrive by their instruments they contiguously slide their super-balls now all over their instruments's body, exploring sound textures and different sounds results

5 4

2 - 3 min.

C 4

√ ∑

/

Perc 1

=

D

D only as ‘’background’’ action for the ensemble. at is, the ensemble sounds should be more prominent while Perc 1, Perc 2 and Pno should be background, accompanying, subtly punctuating the ensemble actions/sounds, only held sounds, no rhythmical.

Superball Symphonic Bass Drum

5-

3 4

4

5 4

3 4

4 4

2 4

5 4

4 4

3 4

5 4

4 4

5 sim.

Perc 1

°/

Y™

Y™

Y

Y

Y™

mp

Y™

Y

ΠY

Y

Y

mp

ppp mp f f

Superball Symphonic Bass Drum

ΠY Perc 2

sim.

Y

¢/

‰ ¿ Y J

mp

Y

Œ3Y

Y™

Y™

ΠY

Y

Y

mp

∑ mp

f

f ppp water glass over wired string *

Œ ‰ 6™ ) Pno

{

/

Œ

Œ )™

Π6

)™

∑ mp

)™

)

)

)™

∑ mp

∑ mp

&

f ppp

f ✶Drag the water glass over the wired string in a continuous movement

Ensemble starts fading out

o D & F xxxxx


3

Ensemble I section

15 Fl

4 E q = 80 4

° &

3 4

4 4

3 4

÷

embouchure off

Ob

&

Cl

&

÷

÷

÷

÷

÷

÷

? Bsn

¢

Hn

° &

&

C Tpt

? Tbn

¢

two keys (l & r.h) Symphonic Bass Drum

key tremolo (✶) 5

(✶✶) 3

° Perc 1 /

‰™

æ 6æ™

æ 6æ™

æ 66æ ™™

æ 66æ

æ ))æ

∑ pp

æ 66æ ™™

)) ææ

>r(one key) æ æ 6æ )æ

5

æ 6æ™

fff

pp

ff

mfpp

mfpp

(✶✶) gliss means to move the stick further into the keys and possibly up so to produce an almost glissando or formants-change effect

Symphonic Bass Drum

two keys (l & r.h) key tremolo (✶)

(✶✶)

æ )æ Perc 2

æ )æ

æ 6æ™

æ 66æ ™™

¢/ pp mf (✶) tremolo a metal stick in between the tuning keys and the frame

æ 66æ ™™

66 ™ æ

pp

66 æ

fff

æ ))æ

æ 66æ ™™™™™™

pp

Œ ∑ /

Pno. { &

æj 6æ

æ(✶✶) )æ

6™ ææ

pp

fff

6 ææ

key) Kr 5 (one > æ æ 66æ ≈ 6ææ )æ™ ff

water glass over wired string tremolo (✶)

æ )æ o

æ 6æ

æ 6æ™™™

pp

mfpp

K æær ææ 6 6 ff

pp

5

æ 6æ

>r æ æ 6æ 6æ mfpp

(✶) emulating percussion's keys tremolo, though not too similar

Vln

> æ 6æ

æJ

(pp) pp

æ 66æ ™™™™™™

K æær 66 Œ

° &

B

Vla

? Vc

? Db

¢ D & F xxxxx

æ 6æ


4 multiple keys tremolo (✶) 5

3 20 4 °÷

> ææ ææ ¿¿

4 4æ

æ Yæ

>r æ æ ¿æ Yæ

5

¿æ

3 8

> ææ ææ ¿™ ¿ 5

æ Yæ

æ Yæ

3 4

articulated sound with presence of air 6

&‚

Fl mfpp (✶) extremely fast tremolo of multiple keys simultaneously

mfpp

‚ b‚ ‚ #‚ n‚

mfpp mp ff

multiple keys tremolo (✶) 5

÷

>r5 æ æ ¿æ ¿æ

5 æær >ææ ¿ ¿

> æ ææ ¿æ ¿

ææ ¿

æ ¿æ

trumpet sound unstable (with air)

æ Yæ™

O O O

& #O

Ob mfpp

mfpp

mfpp ppp

p

ff

multiple keys tremolo (✶) articulated sound with presence of air 5

> ææ ææ ¿ ¿

Œ ‰ ÷

>r æ æ ¿æ ¿æ

5

æ ¿æ

æ ¿æ

æ ¿æ

7

æ ¿æ

æ Yæ

‚#‚n‚ ‚b‚ ‚#‚n‚ #‚n‚

Cl

&

‚ b‚ ‚ mfpp

mfpp 6

pp

mf

p

f

multiple keys tremolo (✶)

>r5 æ æ ¿æ ¿æ

ΠBsn

¢÷

> æ æ ¿æ Yæ

5

æ ¿æ

æ ¿æ™

æ ¿æ

Contrabassoon

æ Yæ

æ Yæ

?

∑ mfpp

mfpp

ff

multiple keys tremolo (✶) 5

°÷

>r æ ¿æ

Œ

hand slap 5> > ææ æ ææ ææ ¿ ¿ ¿¿

5

æ ¿æ™

æ Yæ

>r æ ¿æ

5

æ ¿æ

æ ¿æ

æ Yæ™

Πo

Hn mfpp

mfpp

mfpp

airy sounds

3

mfpp

?

» ‰ #œ ≈ ‰

≥ ng gbg ææ ææ ææ

fz 3

pp

hand slap

airy sounds

multiple keys tremolo (✶)

> 5 æ æ ¿æ ¿ ™

5

÷

> ≈ ¿ææ

æ Yæ

æ ¿æ

> æ ¿æ

»

r5 > æ ææ ¿¿

æ ¿æ

æ Yæ™

Œ ®

Tp

®≈

≤ g™

&

œ mfpp

mfpp

mfpp mfpp

o mf fz

keys tremolo (✶) hand slap 5 5

Œ

>r æ æ ¿æ ¿æ

Œ

Tbn ¢÷

5

> ææ æ ææ æ ¿ ¿æ ¿ ¿æ

æ ¿æ

mfpp

æ ¿æ

mfpp

>r æ ¿æ

» æ Yæ™

Πo

mfpp

?

≈ ‰

œ fz

two keys (l & r.h)

Perc 1

°/

> ææ ææ 6 66 ™™

æ )æ

æ 66æ ™™

66 ™ ææ

mfpp

æ ))æ

66 ææ

fff

K æær 66

æ 66æ ™™™™™™

pp

ff

66 ™ æ pp sub

two keys (l & r.h)

>æ 66æ ™™

æ 6æ™ Perc 2

¢/

Kr æ66

3

æ 66æ

æ ))æ

mfpp

æ 66æ ™™

)) ææ

pp

æ 66æ ™™™™™™

ææJ

fff

pp

ff

K æær 6

3

æ )æ Pno {

æ 6æ

ææj ææ 6 )

æ 6æ

6™ ææ

/

æ 6æ

6 ææ

æ 6æ™™™

66 ™ æ pp sub

6™ ææ

mf pp

fff

pp

ff

pp sub

fast tapping ✶

5

° Vln &

÷

‰ ææ

> ¿ ¿ Y ææ æ ææ æ

> ¿ ¿ ææ ææ R

> ¿™ ¿ ¿ æ æ ææ

Y ææ

¿ ææ

¿ ææ

¿ ææ

&

5 5

mfpp (✶) extremely fast tapping freely moving alongmfpp the ngergboard

B

÷

Œ

Vla

> ¿ ææ R

¿ ææ

¿ ææ

¿ ææ

mfpp

> ¿™ ¿ Y æ æ ææ

¿ ææ

B

5 5

mfpp

? ∑ Vc

÷

5 > ≈¿ ææ

mfpp

Y ææ

¿ ææ

> ™ ¿ ¿ ææ æ æ

> > ¿¿ ¿ ææ ææ ææ R

?

Y ææ

mfpp 5 5

mfpp

mfpp mfpp

‡ ? ∑ Db

¢

Ó ‡ord · poco sul ponticello ‚sul ponticello „molto sul ponticello

Ó

Œ

‹ ‚‚≤ ™ &

‚‚ ™

? pp

o D & F xxxxx

‚‚ ™


4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 #˙

bisb

7

& #‚ n‚ ‚b‚ ‚ # ‚ n ‚ ‰

Fl

5

ord D-D# tremolo, strettissimo

3 24 4 °

q = 60

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ w

œ ™™™

œ

#œ 3

mf quasi

o

f quasi

o

mp

o

o

f

+air + keys noise

+ o 6

6

6

6

6

3

6

6

6

6

6

6

6

3

&

Ob

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ pp

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈™‰

f

ppp

r.h. trill keys tremolo, very fast

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰™ j œ™ œ œ o o f

Π&

Cl

Contrabass Clarinet in Bb

?

Œ

Ó

quasi air inside the tube (mouth closing up embouchure) lala slap (mouthpiece out)

? Cbsn.¢

°? Hn

@ ≥

≤ æ b _æ o

&

g™

f quasi

G o

pp

f

3 7 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ ææ ææ ææ æ æ æ æ æ æ æ 3 ≤ ≥ g# gn g gb gæ gæ# gæn gæ æ æ æ ææ ææ Ó # gn g g b g g # G G

mf

C Tpt

æj -

æ -æ

p

f

p

f

≥ 6 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ ææ æ æ æ æ æ æ 7 ≥ æ æ æ æ æ g gb g g# g n gæ æ æ æ æ æ ææ ææ ≤ Ó # g n g gb g g# g n g# G G f p

f

z ord

+ æ b˙æ o

3

? Œ Tbn ¢

3

ææ œ

¯ æ œæ

+ ææ œ

3

æ ˙æ

Œ

Ó

o mf quasi

(one key) 5

Perc 1

°/

ææ 6

)) ™ ææ

p

> æ ææ 6æ 6

æ )æ™

ffp

(one key)

Perc 2

¢/

> 5 æær ææ 6 6

)) ™ ææ

5

ææ 6

æ 6æ

ffp

Pno {

/

)™ ææ

æ 6æ

ffp

5

æ 6æ

> æ ææ 6æ 6

ææ 6

p

> æ ææ 6æ 6

æ )æ

ffp

reversed seagull effect (✶)

° Vln &

Œ

™™ œO ™™

f (✶) gliss until string's end without shortening the position

reversed seagull effect (✶)

III 3

B

™™ Œ

Œ

Vla

Œ

Ó

B

& f (✶) gliss until string's end without shortening the position ord aut, sp

ord

? Vc

µ OoY ™ o

b OoY ™

bw µw o

mf

Db

„ ? bOææ™ ¢ O™

‹ &

sfz

‡ #‚‚ ™™ ?

‰ pp

D & F xxxxx

Ó


6

F

air flattertongue

@ g≥ #g ng g bg

26 Fl

° ∏Œ &

3 8

? ٳ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ g

7

g #g ng #g ng

g bg

≤ >g

g

j g

6

mf

f

mf

f

ff

air flattertongue

& Œ

Ob

@ ≥ 6 g gb g g# gn g# gn g mf

f

7

≤ gb g gb g gb gj > mf

g

f

? @ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≥ ‰ g™ g ff

pp

air flattertongue embouchure off

Cb Cl

@ ≥ ? bg >

@≥

@ ? Ÿ~~~~~~~~~~~~~~~~~~~≤ ? ≥@ 5 ≥ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ 5 g™ g g g g b >g g ‰ > > ff ff fz fz

f

6 7

≤ ‰

g gb g g# gn g# gn g mf

gb g g b g gb gj >

f

mf

f

air flattertongue

? Œ

Œ

Cbsn.¢

@ ?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ٳ

@ 6 ≥ 7 ≤ # g n g g b g g # g n g# gn g gb g g# g g > mf

f

mf

g g

f

g™

ff

air flattertongue

@ g≥ g bg g #g ng #gng g bg g bg g

°? ∑

Hn 6 7

mf

f

mf

f

air flattertongue

@ 6 ≥ # gn g g b g g # g

Œ

&

C Tpt

mf

? ∑

Tbn ¢

>r 5 ° ææ 6ææ Perc 1 / 6

> æ 6æ

5

æ 6æ™

æ )æ

ffp ffp 5

ææ 6

ææ Perc 2 ¢ / )

> æ 6æ

> æ ææ 6æ 6

5

ææ 6

ææ 6

ffp

6 ææ

6 ææ

f

p

6 æ

6 æ

6 ææ

6 ææ

f

5:3

6 æ

6 ææ

6 æ

6 æ

f

p

ææ 6

ææ 6

ffp f

p 5:3

ææ 6

æ 6æ

5:3

> æ 6æ

ææ ™ Pno { / )

5

ææ 6™

> æ 6æ

ææ 6

p f ffp

ffp

reverse sound

° Vln & ® # O ™™ # œ ™™

Œ

Ó

≈ # œo

f

œ

3 reverse sound

B ® œO ™™ J

Vla

Œ

Ó

‰ &

#l œ o

f

reversed seagull effect (✶) reverse sound 3

? ≈

Œ

O ™™ œ ™™

Vc

Œ

˜-œ o

œ

f (✶) gliss until string's end without shortening the position

reversed seagull effect (✶) reverse sound

III 3

? ≈ Oœ

™™ Œ

Œ

Db

&

¢ f (✶) gliss until string's end without shortening the position

D & F xxxxx

® L#œ ™ o

œ

4 4


air flattertongue

7

@ <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4 28 4 °

‰ &

Fl

G™

≥ 3 @ 6 7 4 ≤ g# gn ggb gg # gn g # gn ggb gg gj >

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ @ ? ≥ G

p

ff

f

mf

f

5 4

embouchure on

&

Ob

? r bg

Cb Cl

articulated sound with presence of air poco legato, sempre articolato e diafono

? @ embouchure on Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ó b g™™

‚ b‚

b‚ ‚ n‚ ‚ #‚ ‚ ‚ # ‚ ‚ ‚ ‚ ‚ ‚ ‚ #‚ n‚ 7

ff

pp

f quasi

6

mp

5

air flattertongue

@ ≥ 6 ‰ ggb gg# gn g # gn g

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Œ Cbsn.¢

g pp

Hn

mf

f

? @ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ≥ ‰ g g™™

°? ≤ bg >

ff

? @ lala slap Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤ æ G b -æ o ff

7

≤ gb g gb g gb gj > mf

f

poco legato, sempre articolato e diafono

Œ

œ #œ nœ œ#œ#œ nœ#œ #œ œ #œ #œ œ

Œ

pp

7 6

mp

? @ Ÿ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ r g g™™

7

&

C Tpt

≤ g# gn ggb gg# g j >g f

mf

f

ff

Ó

Œ

pp

air flattertongue

@ ? #g≥ #g ng Tbn ¢

7 ≤ #gng#g # gn g# gn g# g n g #g g >

? @ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≥ g G™

g

6

mf

f

mf

f

ff

pp

two keys (l & r.h) 5

Perc 1

°/

æ 6æ

>r æ æ 6æ )æ

5

æ 6æ™

ffp

> æ 66æ

5:3

æ 66æ

æ 66æ

66 ææ

æ 66æ

æ 66æ

ffp f

p

two keys (l & r.h) 5

æær 6 Perc 2

>æ 6æ

5:3

æ )æ™

æ 66æ

¢/

æ 66æ

66 ææ

66 ææ

æ 66æ

ffp f

p

f

p

two keys (l & r.h)

>r æ æ 6æ 6æ

5

æ 6æ Pno {

æ 6æ

æ 66æ

66 ææ

/

æ ))æ

æ 66æ

66 ææ

ffp 5:3

f

Vln

° &

≈ …

‰™

® œ- œ™ o

ff

œ

≈ …

Œ

p

f

∑ /

ff

Vla

&

≈ …

‰™

Šl Ϫ o

œ

ff

≈ …

Œ

∑ /

ff

3

˜ -œ œ™ ?

…≈

‰™

œ …≈

Œ

∑ /

Vc ff

o ff

‡ ‰™

≈ Db

¢&

Œ

Œ

‹ ‚‚≤ &

OO ™

… pp ff

D & F xxxxx


8 wah wah effect (✶)

5 30 4 ® Fl

°&

2 8

3 4

music stand tremolo (✶) or waldteufel

bO7 ™™ mf

® Œ 7O

5:3

æj 6æ æ6 æ

fff

Œ ‰ Ó /

p (✶) with two metal sticks produce a mandolino like tremolo around the metal stand of the music stand from bottom towards high

mf

(✶) hold a steady voice pitch (lower note) while prodcing harmonic gliss.

4 4

metal sticks

ord

O™ 7™

æ 6æ

f

p

æ ‰ 6æ æ6 æ

æ 6æ

æ 6æ

metal sticks 5:3

music stand tremolo (✶) or waldteufel

3

Œ ∑ /

&

Ob

p

f

p

j5:3 ≈ 6ææ™ 6 ææ

æ 6æ

æ 6æ

metal sticks

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ ‚ O

7

‚ ‚ #‚ ‚ b‚ # ‚ n‚ ‚ #‚ ‚ ‚ ‚

‚ ? Cb Cl

#‚ #‚

music stand tremolo (✶) or waldteufel

Π/

p

æ 6æ

p f

5

f quasi

mp

6

f p music stand tremolo (✶) or waldteufel

(air) metal sticks 5:3

@ ≥ ? Cbsn.¢

æ b -æ

æj -æ

æ -æ

g™

g

g

p

f

æ 6æ

æ 6æ

p

o pp

f

music stand tremolo (✶) or waldteufel metal sticks

double tonguing

Hn

6 æ

/

f quasi

°?

æ 6æ

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # œ n œ œ # œ œ œ œ #œ œ œ œ # œ n œ œ J #œ œ œ #œ œ nœ œ æ æ æ æ #æœ æ #æœ æ æ æ æ æ æ æ æ æ æ #æœ æ æ æ

5:3 3

‰ /

æ ‰ 6æ æ6 æ

æ 6æ æ6 æ

f

æ 6æ

f

6

f quasi

5

5 7

f quasi

mp

p p

p

p

æ 6æ æ6 æ

æ 6æ

p

f

p

6 ææ

æ 6æ æ6 æ

æ 6æ

f

p

p

pp f

metal sticks music stand tremolo (✶) or waldteufel

5:3

j ≈ 6æ™ 6 æ

∑ /

&

C Tpt

p

f

metal sticks 5:3 music stand tremolo (✶) or waldteufel

? ∑ /

Tbn ¢

æ 6æ

∑ p

f

two keys (l & r.h) (one key) 5:3 5

Perc 1

°/

5

5

6 6 6 6 6 6 6 6 6 6

5

5

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

6 ææ

6 ææ

6 ææ

6 ææ

6 ææ

æ 66æ

æ 66æ

66 ææ f

æ æ 66æ 66æ p

5:4

two keys (l & r.h) f

p

6 ææ

6 ææ

f

p

6 ææ

6 ææ

(one key) 5:3 5

5

6 6 6 6 6 6 6 6 6 6 Perc 2

5 5 > 5 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

¢/ ffp

6 ææ

æ 66æ

66 æ

p

f

æ 66æ 6æ6

æ 66æ

p

p

f

5:4

f

p

f

two keys (l & r.h) 5:4

(one key) 5

5

5

6 6 6 6 6 6 6 6 6 6 Pno {

5

5

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ææ ææ ææ ææ ææ 6 6 6 6 66

/

æ ))æ

66 ææ

p

æ 66æ 6æ6 5:3

f

p

f

p

f

msp ast msp ast

3 frog's tip tremolo (✶)

æ 6æ

(✶) tremolo between I and II strings with the tip of the frog

Vln

°/

æ )æ

6 ææ

æ 6æ æ6 æ 5:3

p

f

f

p

ast msp

frog's tip tremolo (✶)

j ≈ 6æ™

(✶) tremolo between I and II strings with the tip of the frog

Vla

/

ast

msp

æ )æ

6 æ

æ 6æ æ6 æ 5:3

p

ast

frog's tip tremolo (✶)

/

ast

msp

æ )æ

6 ææ

f

p

msp

æ 6æ

(✶) tremolo between I and II strings with the tip of the frog

Vc

f

æ 6æ æ6 æ 5:3

f p

f

p

frog's tip tremolo (✶) arco over the tail piece

Db

ast

„æ ?bOæ >O

‹ ‚‚ ¢&

‡‹

1

#‚‚ ™™ ‰

&

1

1 ææ

1

1

1 J

‰ Œ

msp

æ 6æ æ6 æ

3

5:3 3

ë

o

mfp

mp

p f

f

p

pp

D & F xxxxx

f


9

4 33 4 æ °

Wine glass 3

3

)æ™

‰ œJ o

&‰

/

Fl

˙

˙

˙

˙ ‰ µœ ™

˙

œ œ œ

Πo

˙™

3

ff ppp pp

p

mf

Wine glass

3

æ )æ

æ 6æ

3

Œ bœ

/

Ob

˙

˙

˙

˙ ‰ œ™

&

˙

œ œ œ

Πo

˙™

ff 3

o ppp pp

p

mf

Wine glass

3

æ )æ

3

Œ &#œ

/

Cl

˙

˙

˙

‰ µœ ™

˙

˙

Πo

˙™

œ œ œ

mf

o ff ppp pp

p

Wine glass

3 5

æ )æ Bsn

æ 6æ

Œ Œ

æ 6æ™

3 j ‰ ‰ #œ & o

‰ Œ

¢/ ppp

Œ œ

w

˙

˙

˙

˙

œ

f

ppp 3

o ff

Wine glass

3

3 5 3

Cl

°/

æ 6æ

Œ

æ )æ

Œ

æ 6æ

Œ

Œ Œ

Œ µ˙

Œ &œ o

ppp

œ

w

˙

˙

˙

œ 3

f

o

ppp

ff

æj 6æ™

≈Œ

æj 6æ

æ )æ

Wine glass

5

‰ Œ Œ

Œ

/

Tp

&b œ

œ

w

˙

˙

˙

˙

œ

ppp

o f

ppp 3

o ff

ææj 6

Wine glass

3

æ ‰ )æ™

5 3

Ó

Ó

Tbn ¢ /

œ

w

œ

ppp

o f

Œ ˜˙ o ppp

˙

˙

˙

ff

(one key)

° Perc 1 /

5> >5 ææ æ ææ ææ æ ææ 66 6æ 6 6 6æ 6

æ ))æ

>r5 æ æ 6æ 6æ

>5 ææ ææ 6‰ Œ

ææ 6

æ 6æ

play with bow 3 Crotales

w &

ffp

ffp

>œ J ‰

‰ œJ ˙ o

ffp

Ó o

ffp

f

(one key)

Perc 2

¢/

5> > 5 > æ æ æ æ æ æ æ ææ ææ 6æ 6 ™ 6æ 6 6æ 6 6 ‰ Ó

æ ))æ ™™

Crotales

play with bow

& ffp

ffp

>œ J ‰

#˙ ™ o

ffp

> 5 æær ææ 66 66 Pno {

3

#w o

Ó

f

(one key) 5

æ 6æ™

æ )æ

> æ 6æ

>5 ææ æ ææ ææ 6 6æ 6 6

æ 6æ

‰ Œ

/

ffp

ffp ffp

spazzolato speeds: from slow (1) to very fast (4)

· ·

ast

æ 6æ

°

ord

æ )æ

Œ Ó

ææ

Vln

pp

f

>6 ™ ææ æ6 æ

>6 ææ

ffp 5

ffp

Œ

‰ œ œ b œ™ ‰ œœ™™ bœ ™

‚ ‰ œœ b˙ b˙ êf

&

· œœ ‰ J ‰ #œ™ œ™

##œœ ™™

pp pp pp

f

p

quasi

pp

pp

· · ast

æ 6æ

æ )æ

Ó

>6 ææ æ6 æ

6 ææ

æ

Vla

‰œ # œœ # œ

ord

>6 æ

6™ æ

Œ

f

pp

##˙˙

™™ #œ Œ #œ

œœ

##œœ

&

pp pp

· ‰ n œ ™ #œ™ œ™ œ™

f

5 5

pp ffp pp

pp

ffp

ord

· ast

æ 6æ

Œ

æ 6æ

æ

Vc

pp pp

f

>6 ææ æR 6 5

æ )æ

> 6 6‰ ææ æ

· B #œ ™ # œ™

‰ # œœ œœ ™™

#œ ™™ J# œ

#œœ ™™

· j #œœ œœ

nœœ Œ ##œœ

&

pp pp

f

pp

pp

ord

u i tailpiece towards the bridge (scrape sound)

5

ffp ffp

ast

æ 6æ Cb

¢

Ó

æ pp

f

> æ ‰ 5 6 6 6æ æ ææ

>6 æ ææ 6æ R5

ææ 6

msp ord 5

3

3

?

‰ Ó

Œ

‰ ‰ j - œ œ™ > sffz pp

pp ffp ffp

˙

‰ -

-

˙™ f ff

D & F xxxxx IV

ff

mf


10 38 3

Fl

° Ó &

Œ ˙

5 4œ

4 4 w

q = 80

œ ∑

5

o mf

œ

w

œ

& Ó

Ob.

5

o mf

pppp

embouchure off 5

& Œ

Cl

#˙ ™ o

œ

w mf

w

˙

mf

pp

œ pppp

Ó o

Bsn. ¢&

Œ

double tong. triple 5

double 7

6

° Hn. & µw

˙

mf

pp

Ó o

7

5 æ æ æ æ æ æ æ æ æ æ æœæ æ æ œæ æ æ æ æ æ æ æ æ æœæ æ æ æ æ æ æ æ 6æ æ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ #œ #œ œ # œ œ#œ œ œ #œ œ #œ œ #œ œ œ œœ ˙ œ # œ #œ œ nœ#œ# œ nœ œ œ œ# œ # œ #œ #œ

Œ

mp

& w

˙

mf

pp

Tbn ¢& ˜w

˙

mf

pp

C Tpt

f quasi

Ó o

Œ

Ó o

Œ

f quasi

mp

p f

?

G æ o

fingertips or nail shake over skin ✶ Bass Drum

° >œJ ‰ Œ Ó Crot. &

>œ J

œ >œ ≈ œ o f

b˙ Œ o

f

(~k ) both hands

ææ ww o

3

Œ

Ó

Ó /

f

fingertips or nail shake over skin ✶

(~k ) Bass Drum

#>œ Crot. ¢& J ‰ Œ Ó

>œ J

œ ≈#œ o f

œ

Πo

f

Œ

ææ ww

Ó

both hands

(✶) shake extremely fast and nervously the tip of the ngers of both hands against the bass drum's skin in order to produce a sandy, tense and f

o

Pno {

/

∑ ‰ # œ™ œ™

· œœ ™™

‰‚ nœ ##œœ ™™™™ œ œœ

Œ ##œœ

œ #œ

° Vln &

˙˙‰

˙˙

nbœœ

· r‰ ##œœ

œœ ™™™™

reverse sound

‰ #l œ … o ff

Πf

pp

‰ #˙˙ Vla

‚ ‰ # œœ b œ nœ

mf

f

pp

· ‚ ‰ #œ ™ # œ™

œœ

& f

f pp

p

‰ ‚ œœ #œ ™ # œ™

œœ ™™

‰ #˙˙

‚ #œœ

mf

Vc

‰ ##œœ

pp f

mf

f

p

ê

pp f quasi

f ê quasi

‰ · ‚ # ˙˙~~~~~~~~~~~~#˙ ~~~~~~~~~~~~ ˙~~~~~~ ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ œ™™ & œ~~™™~~~~~~~~~~~~~~~~~~~~~~~~#œœ B œ ™ R #œ ™ f

pp

mf

‰‚ œœ #œj œœ ™™ #œ

‰ #œœ ™™

f pp

reverse sound 3

·

‰ nœœ

‰ ˜ œ- œ … o ff

·

reverse sound

##œœ ™™

≈ œ œ …‰ o ff

j #œœ ™™

#œœ

f

pp

msp IV III

(ord)

ord msp 3

5

Db

µœ ™

#>œ œ ™

˙

j‰ ‰ œ

sffz

œ œ

pp sub mp

(msp)ord

3

? ¢ Œ

> œ ˙™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ~~~~

6

ff

p sub

ff

f

f

sffz

D & F xxxxx

mp sub

ff

˙


11 rotate wald teufel in the air. Dynamics correspond with rotation speeds

air sounds

G

1

42 Fl

Œ

1 -‰ Œ

-™

‰ ∑

---666 6

! 1

°&

Ó

/

æ ˙æ

-æ æ -6 -6 -6 6 6 œæ ˙æ 6

pp

f

ê

p

mf sub

pp f f

f

mf sub

rotate wald teufel in the air. Dynamics correspond with rotation speeds

1 ! ∑

™1 Œ

Ó

/

&

Ob.

_

Œ

mf pp

f

pp

air sounds

@ hickup (talk)

(talk)

& g ggg g g g æg ™™ -R æ3 5

Cl

---- æ æ 6666˙

kiss

œ ™™

g g ggg ‰

--

∑ /

5

mf sub

f ma ieu-ti - cus spec- ta....

- - -6 6 -6 -6 ææ 6 æœ ˙ 6 æ f

frrr

..cu - lus de-pre-ca...

frrr

mf sub

1 _™ _™

∑ Bsn. ¢&

j -

J

Π-

Ó

/

mf pp

f

pp

reversed mouthpiece

<Ÿ>~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 ° ‰‰ j ‰ Hn. & œ #œ œ œ œ™

air only, pos. ad libitum 5

‰ ≈

Πgggggggggg

Ó g gggg

pp pp

p

f

mp

f

f

air only, pos. ad libitum

reversed mouthpiece

6

Ó

Πgggggggggggg

Ó gggggg

p

f

&

C Tpt

f

(with percussions)

Tbn ¢

? g g g g ææG f

gggggg G ææ æ

mf sub

gggg Œ

Ó

6

f

slide palm on different part of the bass drum's skin

- - - 6 6 6 r.h etc. 6

° Prc 1 /

- -6 -6 æ ææ -6 6 6 œœ ˙˙

ææ ˙˙

œœœœœœœœŒ

æ wæ

Ó

f 6

l.h f

mf sub

mf sub

f

6

@

: slide palm on different part of the bass drum's skin

- - - 6 6 Prc 2 ¢& 6 l.h etc. 6

--ææ 6 -6 -6 œœ ˙˙ 6 6 ææ f

ææ ˙˙

r.h f

mf sub

œœœœœœœœŒ

Ó

f

mf sub

canta jodel oppure monteverdi tremolo su snare drum

Pno {

/

dynamics correspond with rotation speeds

! Violin 1

hand Waldteufel

hand

° Vln &

Œ ∑

‰ 1™

in air 1 ™ 1 rotate 1™

-1

/

Π_ &

mf

f mf

f

p

êf

pp

1™ Viola

rotate in air

1™

Waldteufel

hand

1 Œ ∑

_

mf

f pp

™ J -

/

&

Vla

1

1™

Ó

B

1™ 1 Ó

?

mf f

pp

! rotate in air

Violoncello

!

Waldteufel

hand

1 ΠB

1 ™™

/

Vc

mf

hand

1 _

f pp

f

pp

f

mf

? ∑

Db

¢ w mp

D & F xxxxx


12

q = 60 Wald teufels

wah wah effect (✶) Flute

48

° /

Fl

5 4®

&

2 8

3 4

5:3

j ‰ 6æ æ6 6æ 6æ

ord

O™ 7™

bO7 ™™

®Œ

Ó Ó

7O ®≈ Œ

®

Π/

p

)æ™

Œ Œ

&

f p

3 5:3

æ ææ ‰ 6æ æ6 6æ 6æ æ

Π/

#œ ˙ Wine glass

pp

mf fff mf (✶) hold a steady voice pitch (lower note) while prodcing harmonic gliss. If the performer is male use bass ute instead (hence real sounds are 8vb, including voice pitch).

Ob

4 ææ4 æ

ææ Œ3 Œ Wine glass # œ ˙ 6 & Œ ‰

æ )æ

pp p

f p

embouchure on 3

?

/

Cl

7 Ÿ~~~ ‚ #‚ # ‚ n‚ ‚ ‚ ‚ ‚ Ó #‚ #‚ ‚ ‚ ‚b‚ ‚ ‚ #‚

j5:3 ≈ 6æ™ 6 6ææ 6ææ ææ

Wald teufels

Π/

œ™ Ó

Œ ‰ &

p f p inserisci didgeridoo as per from 1+1?

5 6

˙

Wine glass

æ )æ

pp

f

ææ 5:3 6 ææ ææ 6 æ 6 6 æ

ΠBsn

¢/

p

3

3 Wine glass

˙ æ )æ

Œ Ó

˙

Π&

f p pp

5:3 3 Wine glass

æ ‰ 6æ æ6 æ

Wald teufels

° Hn. &

∑ /

p

æ æ 6æ æ6 6æ æ

f

æ 6æ

w Œ Ó &

p f p pp

5:3

j ≈ 6ææ™ 6 æ

Wald teufels

∑ /

&

C Tpt

p

æ æ 6æ æ6 6æ

f

æj 6æ™

Wine glass

≈Œ Ó

& #w

p f p pp

5:3 Wald teufels

? ∑

∑ /

Tbn ¢

æ 6æ æ6 æ

æ æ 6æ æ6 6æ æ

p

f

p f p

æ 6æ

ææ 5:3 6 ææ ææ 6 æ 6 6 æ

æj 6æ ‰ Œ Ó ∑

key tremolo

le hand (or viceversa) play with bow 5

° / wææ

5

5

5

5

6 6 6 6 6 6 6 66 6 6 6 6 6 66666666666

66666 æææææ

Crotales

æ )æ

#˙ Ó

Ó &

o

f p 5:4

f p

f p

Perc 1

right hand (or viceversa)

æ ˙æ™ /

æ ˙æ

œ ææ

key tremolo 5

play with bow 5:3 Crotales

5 5 > 5 6 6 6 6 6 6 6 66 6 6 6 6 6 66666666666

Prc 2 ¢&

5

∑ ffp

66666 æææææ

æ 6æ æ6 æ

æ æ 6æ æ6 6æ æ

p

p f p

f

æ )æ™

Œ #˙ o

Ó &

5:4

f p

f

5:4

ææ ææ ææ ææ ææ 66666 Pno {

/

æ )æ

6 ææ

æ 6æ æ6

> 5 æær ææ 6 6

Waldteufel

æ )æ™

(sparse clicks, irregular, maximum density 1 per 0.

_

5:3

f p

f

p

f

ffp

f

ast

‚ ‰‚ œ ™™ œ ‰##œœ ™™ œ ##œœ ™™#œ

msp ast frog's tip tremolo (✶)

msp

ast

3

Vln

° &

æ ‰ 6æ

(✶) tremolo between I and II strings with the tip of the frog

∑ ∑

æ )æ

6 ææ

æ 6æ æ6 æ

æ 6æ Ó ææ

Π&

5:3

p

f

p

msp

ast

f

pp

f

pp

mf

f

frog's tip tremolo (✶)

ast

j ≈ 6ææ™

(✶) tremolo between I and II strings with the tip of the frog

B

∑ ∑

Vla

msp

æ )æ

6 ææ

æ 6æ æ6 æ

ast

æ 6æ Ó æ

&

‰‚ œ Œ ##œœ ™™™™ œ #œœ

mf

nœœ

5:3

p

f

mf

p f

pp

f

f pp

pp

frog's tip tremolo (✶)

ast

msp

æ 6æ

(✶) tremolo between I and II strings with the tip of the frog

? ∑

msp

æ )æ

6 æ

Vc

ast

æ 6æ æ6

ast

æ 6æ Œ Œ ææ

‚ Œ B œ™ #œ ™

‰ ‚ œœ #œj œœ ™™ #œ

5:3

p

f

p pp mf f

pp

f

f pp

pp

frog's tip tremolo (✶) arco over the tail piece

? Ó Db

‡ ‹ ‚‚≤ Œ&

¢

ast msp

‚‚

„ ? #Oæ æ # >O 3

1 ‰ o

1 1 1 ææ

1

1 æ J ‰ Œ 6æ æ6 æ

f

p

æ æ 6æ Œ 6æ

æ )æ™

Œ

æ

3

5:3

ë

o

mp

p f f

pp

ast

‡ ‹ ‚‚ ™ &

pp

mfp

D & F xxxxx

pp

f

pp pp


13

˙

w

w

w

w

U w

w

#w 54 l.v.

Fl

° &

Ó / f

pp

f

#œ ™ #w

w

mp

w

w

ppp

w

U w

w

l.v.

Ó

‰ /

&

Ob

f

pp

f

mp

ppp

3

U w

w ˙

w

w

w

w

w

l.v.

Ó

Π/

&

Cl

f

pp

f

mp

ppp

3

l.v.

#œ ™ ‰

w Ó Fg

Œ

w

w

w

w

U w

w

/

¢& pp f

f

l.v.

Hn

° #w &

Ó

Œ

w

mp

w

w

ppp

w

U w

w

‰ / pp

f

f

mp

ppp

l.v.

œ & #w

Tp

Ó

Œ

w

w

w

w

U w

w

‰ /

f

pp

f

µ˙

w

mp

w

w

ppp

w

U w

w

Wine glass

Ó Tbn ¢ /

/

& pp

° #>œ Prc 1 & J ‰ Œ Ó

f

f

œ >œ J ‰ Œ Œ o f

Ó

> Œ #œ œJ ‰ Œ o f

Ó

mp

µœ

Wine glass

Œ

w

ppp

w

U w

w

‰ / pp mf

mp

ppp

w

w

U w

Wine glass

#>œ Prc 2 ¢& J ‰ Œ Ó

f

_ Pno

{

_

_

w

‰ / pp

mf

·

‚ ‰ # œœ nœœ ê

f

reverse sound 3

##œœ

p

‰ µœ- œ o

pp f quasi

˙˙‰

#˙˙

& f

‰ ## œœ ™™

≈≈ Ó …

‰ # œ™ œ™ œ ™ ™ #œ

‚ Œ ##œœ

B

U ∑

/

· ‚

œœj J

Œ ##œœ Œ

œ #œ

Œ

##œœ ™™

J

‰ ‚ ‰ œ œœ #œ #œœ ™™ œ ‰ ™ Œ # œ J J

U ∑ /

f mf

f

· reverse sound œœ ™™™™ #œr ≈≈ # œ ‰ lœ … Ó o ff pp

˙˙

#˙˙

p

f quasi

p

mf

≈n-œ œ o

#œ ™ J# œ ™

f

pp

…≈ ≈ Ó

œœ ##œœ

ff

p

‚ ˙ #˙

f

mf

mf

·

‰‚ ‰ œ #œ bœ œ f

‚ œœ

êf

mp

p

##œœ ™™™™

‰‚ œœ R #˙˙

mf

f pp

˙˙

‰ ## œœ ‰™ Œ

U ∑ /

f

quasi

‰ ‚ # ˙˙ ~~~~~~~~~~~~~~~~~~~ #˙ ≈ ~~~~~~~~~~~~~~~~~~~~ ˙~~~ ~~~~~~~~ ~~~~~~ œ™™ & œ~~™™~~~~~~~~~~~~~~~~~~ ≈ B #œœ ™™

‚ reverse sound

Vc

ppp

ff

· #œœ ™™ #œœ

mp

Ó

/

‰ # ˙ ° #˙ Vln &

Vla

µœ Œ

f

‰‚ œœ #œ J# œ

mf

‰ ## œœ ‰™ Œ

œœ

U ∑ /

f pp

f

arco over the tail piece

1 1™ Œ

Db

1 1> ! ™ ææ æ

> 1 1 1 Œ

Ó

1

1™

1 1 1> ! ™

Œ ‰

/

¢ æ pp pp

f

U ∑

f

D & F xxxxx

pp

pp

f

pp


14

H Impro I (11''∼16'') 62

°

hold on a pitch ad libitum, favoring mid lower register, polarizing with your neighbor's pitch if you nd it suitable freely interpolate boxed elements (such short with longer boxes). A er a while and increasingly add ornamentations (such as trills, tremolos, harmonics when available) and extended techniques (longest duration, can be shorter than written) 6 start quietly a er the strings

®

/

Fl

-™ o

-™

>-™ o

mf

Π/

r >f

- o fo

.- .- .- .- .- .-

--

mf

_™

f

pp

f or to mp or f or ff (longest duration, can be shorter than written) start quietly a er the strings 5

3

≈ /

Ob

r >f

- o f o

- - - - -

5:3

-------

æææææ -----

mf

f

®

--

mf

7

Œ -™ o

-™

Œ >-™

o

f

mf or to mp or f or ff

f

start quietly a er the strings (longest duration, can be shorter than written) 5

3

Œ

/

Cl

-™ o

-™

- o fo

o mf or to mp or f or ff

‰ /

r >f

.- .- .- .- .-

_™

--

mf

f

pp

start quietly a er the strings (longest duration, can be shorter than written) 5

3

≈ Fg

¢/ - o f o

Œ

®

Ó™

/

r >f-

- - - - -

--

mf

-™ o

-™

>-™ o

f

mf or to mp or f or ff

f

start quietly a er the strings (longest duration, can be shorter than written) 5

°

3

Œ

/

Hn

-™ o

-™

r >-

- o fo

o

.- .- .- .- .-

‰ _™

--

mf

f

pp

f or to mp or f or ff mf (longest duration, can be shorter than written) start quietly a er the strings 7

3

5:3

≈ r >

/

Tp

- o f o

-------

Ó™

Œ -™ o

--

mf

æææææ -----

-™ o

f

mf or to mp or f or ff

f

f

start quietly a er the strings (longest duration, can be shorter than written) 5

3

ΠTnb

¢/ -™ o

-™

r >f

- o fo

o mf or to mp or f or ff

.- .- .- .- .-

--

mf

_™

f

pp

(longest duration, can be shorter than written) start quietly a er the strings

> 1 R

3

° ≈ 1. 1. 1. 1. 1.

≈1 1

/

Perc 1

mf 5

f

1™

1 1111

1™

> 1 R

1 1

Œ

3

1. 1. 1. 1. 1.

/

mf 5

f

o

o

o

o

f

≈11

mf 5

f

f

or to mp or f or ff mf

(longest duration, can be shorter than written) start quietly a er the strings

> 1 R

3

1111111

≈1 1

1™

Œ

1™

Perc 2¢ /

‰ 1.

1.

7

1.

> 1 R

1 1

1. 1. 1. 1. 1.

3

o mf

f

5

o

o

mf or to mp or f or ff

mf

o f

mf

f

f

(favor muted pitches for short notes, sliding hands or tremolo hands over bare string for long ones) (longest duration, can be shorter than written) 7

® Pno. {

3

5

5:3

/ ™ >-

-™ o

-™ - o o f o

mf

r >f

-------

--

mf

.- .- .- .- .-

f

mf

æææææ -----

_

f

pp

f or to mp or f or ff (longest duration, can be shorter than written) 5

°

3

5:3

≈ Vln

r >

/ - o f o

- - - - -

Œ -™ o

--

mf

®

f

-™

>-™

f

o mf or to mp or f or ff

f

æææææ Œ -----

f

(longest duration, can be shorter than written) 5

ΠVla

/ -™ o

3

-™

- o fo

o mf

r >

.- .- .- .- .-

‰ _™

--

mf

f

pp

f or to mp or f or ff

(longest duration, can be shorter than written) 6

≈™ Vc

/ -™ o

-™

>-™ o

mf

- o fo

r >

≈ .- .- .- .- .- .-

Π--

mf

_™

f

pp

f f or to mp or f or ff (longest duration, can be shorter than written) 7

Db

¢/

- o f o

r >

≈ ------mf

f

3

5

Π-f

≈ -™ o

3

-™ mf or to mp or f or ff

D & F xxxxx

- ---o .mf . . . .

5:3

æææææ -----f

f


15

Impro II: A (9''∼14''), B (7''∼12') A: the conductor pick one musician, layering them starting from one until tutti B: increasingly intensify, here the performer can ad a second ''partner'' pitch (favor augmented 4th, min 2nd, maj 3rd)

63 6

° ®

/

Fl

-™ o

-™

>-™

r >f

- o fo

o mf

Œ

.- .- .- .- .- .-

--

mf

_™

f

pp

f or to mp or f or ff mf fffff 5

3

≈ /

Ob

r >f-

- o f o

- - - - -

5:3

-------

æææææ -----

mf

f

®

--

mf

7

Œ -™ o

-™

Œ >-™

o

f

f or to mp or f or ff mf fffff

mf

5

3

Œ

/

Cl

-™ o

-™

r >f-

- o fo

o mf or to mp or f or ff

.- .- .- .- .-

--

mf

_™

f

pp

mf fffff 5

3

≈ Fg

¢/ - -

r >f

o

- - - - -

Œ

® -™

--

o

-™

mf

-™ > f

or to mp or f or ff mf fffff

o

f

f

mf

Ó™

o To Perc.

5

°

3

Œ

/

Hn

-™ o

-™

r >-

- o fo

o

.- .- .- .- .-

‰ _™

--

mf

f

pp

f or to mp or f or ff mf mf fffff 7

3

5:3

≈ r >

/ - o f o

Tp

-------

Ó™

Œ -™ o

--

mf

æææææ -----

-™ o

f

mf or to mp or f or ff

f

f

mf fffff 5

3

ΠTnb

¢/ -™ o

-™

r >f

- o fo

o mf or to mp or f or ff

.- .- .- .- .-

--

mf

_™

f

pp

mf fffff

≈1 1

> 1 R

f

f

3

° . . . . . / ≈ 1 1 1 1 1

Perc 1

mf 5

1™

1 1111

1™

> 1 R

1 1

Œ

3

1. 1. 1. 1. 1.

mf 5

o

o

o

o

f

≈11

mf 5

f

f

or to mp or f or ff mf mf fffff

> 1 R

3

1 111111

≈1 1

1™

Œ

1™

Perc 2¢ /

‰ 1.

1.

7

1.

> 1 R

1 1

1. 1. 1. 1. 1.

3

o mf

f

5

o

o

mf or to mp or f or ff

mf

o f

mf

f

f

mf fffff 7

Pno. {

/ ® -™ >

3

5

5:3

≈ -™ o

-™ - o o f o

mf

r >f

-------

--

mf

.- .- .- .- .-

f

mf

&

æææææ -----

_

f

pp

f or to mp or f or ff fffff 5

°

3

5:3

≈ Vln

r >

/ - o f o

- - - - -

Œ -™ o

--

mf

®

f

-™

f

o mf or to mp or f or ff

f

æææææ Œ -----

>-™ f

fffff 5

ΠVla

/ -™ o

3

-™

- o fo

o mf

r >

.- .- .- .- .-

‰ _™

--

mf

f

pp

f or to mp or f or ff fffff 6

≈™ Vc

/ -™ o

-™

>-™ o

mf

- o fo

r >

≈ .- .- .- .- .- .-

Π--

mf

_™

f

pp

f f or to mp or f or ff fffff 7

3

5

3

5:3

? Db

¢/ - o f o

r >

≈ ------mf

f

Π-f

≈ -™ o

æææææ -----

-™ mf or to mp or f or ff fffff

D & F xxxxx

- ---o . mf . . . .

-f

f


16

• a er abrupt halting the play, the conductor invites a soloist from the ensemble to gain the stage's front • once arrived, nonchalantly but visibly, the soloist gets ready, postures itself (by xing clothes, getting ready, etc.) and a - shouts the earthiest, most visceral and loudest of sounds (ca. 7’’~9’’) - all other musicians: poker face b - once done, with a generous gesture the conductor invites the audience to do the same, hence the general audience -  supported by the trained audience - shouts the earthiest, most visceral and loudest of sounds (ca. 8’’~13’’) c - the conductor interrupts the audience and inviting a second soloist repeat sequence a-b, as if the second soloists wished to “raise” the bet - hence the audience's resonse should be “raised” as well  (13’’~ 18’’). Upcoming measure 65 is attacca subitto, conductor will cross fade it with the ending of 2nd audience response

I

5 4

64

√ ∑

° Fl

/

Ob

/

&

√ ∑ &

Bass Clarinet in Bb

Cl

/

Fg

¢/

√ ∑

?

√ ∑

?

√ ∑

° Hn

/

Tp

/

Tnb

¢/

&

√ ∑

√ ∑

?

plexiglass

√ ∑

° /

Perc 1

√ ∑ Perc 2¢ /

√ ∑ & Pno.

?

{

√ ∑

√ ∑

° Vln

/

Vla

/

√ ∑

√ ∑

?

√ ∑

?

/

Vc

? Cb

¢ D & F xxxxx


17

5 q = 60 65 4 ° &

Ens

4 4 ∑

always alternate hand unless speci ed (L, R, etc)

÷

Voice¢& ppp multiphonic ad libitum on low register

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bisb. + growl

° &

Fl

Ó

Œ

∑ /

-™

_

p

ff

_

multiphonic ad libitum on low register

ppp

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ _ _™ _ _ bisb.

&

Ob

p

∑ /

ff

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bisb. + growl

? Ó

∑ /

B Cl

b _™

_

p

ff

_

? ∑ /

Bsn

¢ _

_™

_

p

Hn

° &

C Tpt

/

_

ff

ppp

∑ /

∑ /

? ∑

∑ /

Tbn

¢

°

G G

™ /

Perc 1 1

G

G

p

ff

ppp

Perc 2¢ /

& Pno.

?

{

/ spazzolato, intenso from highest possible

!!

!! Ö

™™

ord press

° /

/

Vln

G G

I II p spazzolato, intenso from highest possible

ff

ppp

!!

!!

ord press

Ö ™™

/

/

Vla

I II

G G

p

ff

ppp

Ö !!

(highest possible) ord press

spazzolato, intenso

™™ ?

?

Vc

/

&

˙˙ p

w w ppp

ff

msp

? Cb

¢

æ ˙pæ

ææ ™

æ wæ

w æ ff

˙ ææ ppp

D & F xxxxx

æ

?


18

J orango gliss

7 8

q = 66 69

5 8æ

orango gliss

° ∑

mp

ææ ææ œ

侪

4 4

f

7 16

œ ææJ

œœ

/

Fl

f

o

œ æJ ˙ææ -

i

-

o

æ wæ

i

-

o_a_e_i

-

(progressive)

mp

f

f

orango gliss

œ æJ

œœ 3

ææ ææ œ

∑ ‰

/

Ob

o

œ ææJ ˙ææ i

-

-

o

æ ˙æ™™™

≈ œ

i

-

o_a_e_i

o

(progressive)

mp

f

f

orango gliss

œ æJ

œœ

≈ œææ™™

/

Cl

œ ææJ ˙ææ

o

-

i

-

o

3

‰ œ

i

-

ææ ™

æ œæ o_a_e_i

o

(progressive)

f

sim

f

orango gliss

œ æJ

œœ

∑ Fg

œ ææJ ˙ææ

æ ˙æ

¢/

o

-

i

-

o

œ i

-

‰ ˙ææ™™ o_a_e_i

o

-

(progressive)

mp

f

f

sim

f

(higher)

orango gliss

œ™ æær ææ æ œ

° ∑

‰™

/

Hn

o

-

e

œ æJ

œœ

œ ææJ ˙ææ

æ ˙æ -

o

-

i

-

o

3 ææj ‰ ‰ œ œ

i

-

-

ææ ™

o_a_e_i

o

(progressive)

mp

f

f

sim

f

(higher)

orango gliss

œ™ ‰ œææ ææ æ

œ æJ

œœ

3

/

Tp

o

e

-

œ ææJ ˙ææ

æ ˙æ -

o

-

i

-

o

æ ˙æ™

Œ œ

i

-

o_a_e_i

o

(progressive)

mp

f

f

sim

f

(higher)

orango gliss

œ™ æ

≈ œææ™™

∑ Tbn ¢ /

o

-

e

œ æJ

ææ (h )

œœ

œ ææJ ˙ææ

æ ˙æ -

o

-

i

-

o

≈ œææj™

Œ œ

i

-

o_a_e_i

-

(progressive)

(plexiglass) low

low

high œ æ æ æ æ ææ æ æ æ æ Perc 1 1 / œ œ w æ æ æ æ æ æ æ æ ppp

mf

æ ˙æ

œ™ æ

æ ˙æ

mp

f

sim

3

°

Ó o

œ æJ ˙ææ

œ æJ

œœ

w ææ

Ó o

3

ppp

f

f

Gongs F#4 and C#4 Log Drum vey big 5

hard broom on oor or hard brush over bass drum

3 5

5

5

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- ææ_

Ó

- - - - -œ - - - -j -œ -œ -œ œ œ œ œ œ œ œ œ

Ó

Perc 2 ¢ /

l.v.

‰ YY ™™ æ

3

o ppp

mf

mf

f

mf

ppp

ff

mp

f

f

sim

pp

mf

f

(higher)

orango gliss

æ ˙æ

/

Pno. {

œ™ ææ

o

-

e

œ ææJ

ææ (h )

œœ

œ æJ ˙ææ

æ ˙æ -

o

-

i

-

o

3

Œ œ

i

-

-

‰ œææ o_a_e_i

o

(progressive)

mp

f

mp

f

f

sim

f

(higher)

orango gliss

æær ææ æ˙ œ æ

° ‰™

∑ /

Vln

o

-

a

œ™ æ

æ ˙æ -

o

-

e

œ æJ

œœ

œ ææJ ˙ææ

æ ˙æ -

o

-

i

-

o

Œ œ

i

-

-

( ) h j æ æ æ ‰ æ œ o_a_e_i

o

(progressive)

mp

f

mp

f

f

sim

f

(higher)

orango gliss

œ™ æ

3

∑ /

/

Vla

‰ œææ ææ ææ˙ o

a

-

æ ˙æ -

o

-

e

œ æJ

œœ

œ ææJ ˙ææ

æ ˙æ -

o

-

i

-

o

i

-

Œ œ -

( ) 3 h ‰ ‰ œææj ææ o_a_e_i

o

(progressive)

mp

f

mp

f

f

sim

f

(higher)

orango gliss

∑ /

/

Vc

˙ ææ

≈ œææ™™ o

-

a

œ™ æ

æ ˙æ -

o

-

e

œ æJ

œœ

œ ææJ ˙ææ

æ ˙æ -

o

-

i

-

o

i

-

Œ œ -

‰™

( ) æær ææ h œ o_a_e_i

o

(progressive)

mp

f

mp

f

f

sim

f

(higher)

orango gliss

?

∑ /

Cb

¢

˙ æ

æ ˙æ o

-

a

œ™ ææ

æ ˙æ -

o

-

e

œ ææJ

œœ

œ æJ ˙ææ

æ ˙æ -

o

-

i

-

o

Œ œ

-

i

-

o

Œ

æ ˙æ o_a_e_i (progressive)

D & F xxxxx


19 as fast as possible! measured chest hitting frequence:

7 16 >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ.

4 4

f

75

°

Œ

6

3 8

7 8

pp

f œ™ ææ

f

ææ ˙ o_a_e_i

Œ

/

Fl

7 4 16 œ ™™ 4

mf

æ ˙æ

æ æ

3

i

a

o

e

-

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

pp mf

‰™

Œ

/

Ob

6

f œ™ æ

f

( ) æær ææ h œ

œ ™™ ææ æ

æ ˙æ

3 o_a_e_i

i

a

o

e

-

as fast as possible!

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mf

pp

Œ

/

Cl

6

f

( ) ‰ ‰ ææj æ h œ

f œ™ ææ

3

œ ™™ æ æ

æ ˙æ

3 o_a_e_i

i

a

o

e

-

as fast as possible!

h

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

pp mf

≈ Fg

‰ œææj ææ

Œ

¢/ 6

œf ™™ ææ æ

( )

f œ™ æ

æ ˙æ

3 o_a_e_i

i

a

o

e

-

normal sub as fast speed as possible as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

°

mf 3

‰ œæ

Œ

/

Hn

6

f

ææ (h )

mf

œ ™™ æ æ

pp

æ œ œæ ææJ

f œ™ ææ

æ ˙æ

3 o_a_e_i

i

a

o

-

a

o

-

e

-

as fast as possible!

h

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ.

pp

j ≈ œææ™

Œ

/

Tp

6

f œ™ æ

mf mf

ææ (

œf ™™ ææ æ

)

œ ææ J

æ œæ

æ ˙æ

3 o_a_e_i

i

a

o

-

a

o

-

e

-

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

pp

œf ™™ æ æ

æ ˙æ™

Œ

Tbn ¢ / 6

f œ™ ææ

mf mf

æ œ œæ ææJ

æ ˙æ

3 o_a_e_i

i

a

o

-

a

o

-

e

-

as fast as possible! Rhapsotic, vivace ord (precise) (mallets tremolo) mf

° /

Perc.

œœœœœœœ 6 ææ

æ œæ™™

ææ œ ™™

æ œ ˙æ ææ

œ™ 5 æ

æj œ ææ

œ æ

œ ææJ

æ œæ

o

-

a

˙ æ

æ œæ™

pp

f

-

5

p

ff

fff mp

f

mp

f

p

f

pp

log drum

Tam Tam or big China Sus. Cym. and large Thunder Sheet. Hit with mallets

side ✶ 3 >>>>>>>>>

7:6

Rhapsotic, vivace log drum

l.v.

6

Y™ ææY™ pp

Perc. ¢ /

--------f (✶) play on the side of the log drum in order to produce a dry and very de ned attack. Use hard mallets if necessary

1 ™™ æ æ

1 1 1 1 1 1 1 ææ 1 -™

f f ff

p sub

- - - - - - - 1 1 1 1 1 1æR

1™ æ

ff 5

p sub

as fast as possible! normal sub as fast speed as possible

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ Pno {

/ 6

mp

f pp

æ wæ

o_a_e_i

a

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ / 6

æ ˙æ

o

mp

-

a

o

-

-

e

normal sub as fast speed as possible

as fast as possible!

Vln

ææ æœ œ æJ

3

i

°

f œ™ æ

mf

œ ™™ ææ æ

f pp

f œ™ ææ

mf 3

‰ ‰ œææj ææ™

œ ™™ æ æ

œ æ æJ

æ œæ

æ ˙æ

3 o_a_e_i

i

a

o

-

a

-

o

-

e

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ Vla

/ 6

mp

f pp

f œ™ ææ

mf 3

‰ œææ

ææ ™

œ ™™ æ æ

æ œ œæ ææJ

æ ˙æ

3 o_a_e_i

i

a

o

-

a

-

o

-

e

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ Vc

/ 6

mp

f pp

f œ™ ææ

mf

≈ ˙ææ™™™

œ ™™ æ æ

œ æ æJ

æ œæ

æ ˙æ

3 o_a_e_i

i

a

o

-

a

-

o

-

e

as fast as possible!

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ Cb

¢/ 6 i

mp

f pp

f œ™ ææ

mf

æ wæ

œ ™™ æ æ

æ œ œæ ææJ

æ ˙æ

3 o_a_e_i

a

o

D & F xxxxx

-

a

-

o

-

e

5 4


20

81

° /

Fl

5 4

3 8

f R R L R R L R L R L R L

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6 a

b

4:3

c

a

b

c

a

2 4

b

a6 b

a

b

a

b

7 16

/

Ob

4:3 c

a

b

c

a

b

ff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

6 a

b

4:3

c

a

b

c

a

b

a6 b

a

b

a

b

œ™™ ææ

/

a

b

c

a

b

b

4:3

c

a

b

c

a

b

a6 b

a

b

a

b

œ™™ æ æ

¢/

a

b

c

a

b

b

4:3

c

a

b

c

a

b

a6 b

a

b

a

b

4:3 c

a

b

c

a

b

blöd

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ

œ 6

4:3

ff

œ™™ æ æ

æ œæ™

/

Hn

œ™™ æ æ

L f R R L R R L R L R L R

°

ff

6 a

blöd

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ

4:3 c

L f R R L R R L R L R L R

Fg

ff

6 a

blöd

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ

4:3 c

L f R R L R R L R L R L R

Cl

4 4

L f R R L R R L R L R L R

œœœœœœœ

3 8

7:6

∑ ‰

≈ œ œ œ œ

4:3 d

a

b

c

a

b

c

a

b

a6 b

a

b

a

b

c

a

b

c

a

b

d

L f R R L R R L R L R L R

/

Tp

mf

6

4:3

∑ ‰

œ™™ æ æ

b

c

a

b

c

a

b

a6 b

a

b

a

b

a

b

c

a

b

d

7:6

œ œ œ œ œ

6 b

4:3

c

a

b

c

a

b

a6 b

a

b

a

b

h

g

7:6

∑ ≈ œ œ œ œ œ œ

4:3 b

a

e

ff

œ™™ æ æ

≈ œææ™™

d

blöd

-

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ

g

4:3 c

L f R R L R R L R L R L R

Tbn ¢ /

h

∑ c

a

e

blöd

ff

ææ ææ œ

3

œ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ œ œ œ

œœœœœœœ

-

c

a

b

c

a

b

d

-

c

d

e

h

g

blöd

(colla voce) 3 4:3

°

™ æ œ ≈ œ ææ

∑ Œ

Œ

‰ œ œ œ œ œ œ œ œ œ

/

Perc.

™ œ ææJ ææ

∑ œ œ œ œ œ œ œ

4:3

mf

7:6

f

mf

ff mf

(colla voce) side

(colla voce) side

6

6

4:3

4:3

7:6

7:6

Perc. ¢ /

- - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - - - -

mp f f

L f R R L R R L R L R L R

Pno {

/

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

ff

œ™™ æ æ

æ ˙æ

∑ œ œ œ œ œ œ œ

4:3

7:6

6 a a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

d

-

b

c

d

e

h

g

blöd

normal sub as fast speed as possible

L f R R L R R L R L R L R

Vln

/

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

° œœœœœœœ 6

4:3

mf etc.

ææ æœ œ æJ

ff

œ™™ ææ

æ ˙æ

mf 7:6

≈ œ œ œ œ œ œ œ œ œ œ œ

4:3

7:6

6 d a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

L f R R L R R L R L R L R

-

i

-

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ Vla

c

/ œ 6

4:3

d

-

mf

æ œ œæ ææJ

ff

œ™™ ææ

æ ˙æ

e

f

g

a

b

c

d

e

h

g

blöd

mf 7:6

œ œ œ œ œ œ œ œ œ œ œ œ

4:3

7:6

6 c a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

L f R R L R R L R L R L R

Vc

/

-

i

-

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ

c

6

4:3

d

-

mf

æ œ œæ ææJ

ff

œ™™ ææ

æ ˙æ

d

e

f

g

a

b

c

d

e

h

g

blöd

mf 7:6

≈ œ œ œ œ œ œ œ œ œ œ œ œ œ

4:3

7:6

6 b a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

L f R R L R R L R L R L R

¢/

-

i

-

mf

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ Cb

c

œ 6

4:3

d

-

mf

æ œ œæ ææJ

ff

œ™™ ææ

æ ˙æ

c

d

e

f

g

a

b

c

d

e

h

g

blöd

mf

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4:3

7:6

7:6

6 a a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

c

-

i

-

D & F xxxxx

d

-

blöd

b

c

d

e

f

g

a

b

c

d

e

h

g


21

87

4 4

L R L R L R To Ob.

L R R L R R ff

/

4 4 ≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

° Ob

5 4

œœœœœœœ 6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff To B Cl

/

Cl

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff To Bsn.

œ Fg

¢/

œœœœœœœ

≈ ∑

Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œœœœœœ

6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R To Hn.

L R R L R R ff

°

œ /

Hn

œœœœœœœ

≈ ∑

Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œœœœœœ

6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff

≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ /

Tp

œ 6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff To Tbn

Tbn ¢ /

≈ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

≈ 3 Tom-toms 5:4

° /

Perc.

œŒ

œœœœœœœ

(solo, rhapsodic)

> > > > > >>>>> >œ > > œ œ œ œ œ œ œ œ œœ œœ

Œ

5

>œ œ œ >œ >5œ œœ œœ œœ ™™ œ œ™ ≈ æ æ æ R

œœœœœœœœœ œ ææ

œœ

5:4 6:4

fff p sub

7:6

ff

6:4

fff

(rhapsodic) (colla voce) side

> > 5:4> > > > > > 5:4 >>>>> æ æ æ æ æ æ æ ------- - - - - - - - ------

6:4 1 1 1111 Œ

Œ Perc. ¢ /

5

1™ æ

ff

≈ 1 ææj - æ æ æ

so mallets

7:4 5

p

pp f

ff

f

fff

L R L R L R L R R L R R ff

Pno {

/

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

7:4

5:4

≈ ∑

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

° Vln

/

œœœœœœœ 6:4

7:4

7:4

5:4

≈ ∑

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff

Vla

/

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

7:4

5:4

≈ ∑

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff

Vc

/

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6:4

7:4

7:4

5:4

≈ ∑

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

he

ha

hi

ho

b

L R L R L R L R R L R R ff

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ Cb

¢/

œ 6:4

7:4

7:4

5:4

5:4

6:4 a

b

c

b

c

c

a

1 b

a

b

a

2

3

4

5

6

7

1

2

3

4

5

6

7

ho

ha

he

hi

hu

hi

b

D & F xxxxx

he

ha

hi

ho

≈ ∑

Œ


22

ob cl mp

K poco più lento 90

4 4

(tutti) p

p

pp

˙ ææ

æ œæ

mf 3

° &

tb no vln

vla vc cb f

1 4 8 œææj 4

p pp

Ens

mf

bsn hn tp

æ wæ

æ œæ

Œ

æ œæ

Œ

w ææ

˙ ææ

i

i

œ ‰ ™™ Œ

æ œæ

æ ˙æ

œ 5 ææ œææ™

œ ææ

(low)

o

o

loe_loe_...

o

i

o

e

Ó Œ w æ Óoæ

Œ ææ ˙™ ˙ ææ

æ œæ

ææJ

o

o

o

i

Orango

p p

mf

p

æ ˙æ

˙ ææ

æ œæ

Œ

Ó

Œ

Ó

mf

æ wæ

∑ Aud

¢÷

∑ w ææ i

(low)

o

loe

colla voce (your sound should blend with audience voices) 3 large cymbals, generous rich sounds (very low, low, medium-low, medium high) - don't have to match percussions 2

so mallets

° æ Yæ

∑ /

Perc 1

æ ¿æ

∑ Œ

Y ææ mf

Ó

Ó

Œ

''p'' but solid colla voce (your sound should blend with ensemble voices)

¿ ææ

Y ææ

Y ææ

¿ ææ

p

p

mf

p

3 large cymbals, generous rich sounds (very low, low, medium-low, medium high)

Ó Œ Y ææ

pp

Perc2

æ Yæ

¢/

æ ¿æ

Œ

Y ææ

Ó

Y ææ

Œ

Œ

Y ææ

¿ ææ

Y ææ

Y ææ

mf

pp

Œ

Œ

Œ

''p'' but solid 3

æj ¿ææj ¿¿ ææJ

ææ Yææ Y™

5

mf

p

p

mp

f

=

L q = 72 ca

Ens

4 98 4 °

pp

&

æ wæ

1 8

To Voice

4 4 ∑

Ó

very le le mp

¢÷

/

ææ 1 - ææ

ææ 1 - ææ

ææ 1 - ææ

ææ 1 - ææ

5

u>

u>

u>

u>

a>

a>

a>

∑ Ó

Ó

a>

ææ _

ææ - ææ

ææ - ææ

ææ -

u

u>

u>

u>

a>

a>

ææ a>

ææ -5 - ææ u>

ææ - ææ a>

u>

a>

center right (✶✶) produce formants by opening and closing opened side with hand while rotating handle f

ææj œ æJ

Ó Œ Œ ææ æ w ˙ ™ ˙ œæ æ æ Óoæ o æo o Ó æ Yææ Œ Yæ™ Y æ

° Perc.

ff pp 3

o

Aud

wald teufel formants (✶✶), indicating towards the audience

p 3

imitating wald taufels still voices imitating wald taufels 5

pp

i ææjj ¿¿æ ¿ æJ

æ œæ æœ

æ œæ æœ

æ œæ æœ

æ œæ æœ

u

u

u

u

a

a

a

∑ Œ Œ

ææ - æ u>

a

a>

ff pp 3

∑ Ó

Ó

5

ææ _ u

mp

Œ

ææ - æ

ææ - æ

ææ -

u>

u>

u>

a>

a>

æ a>

ææ - æ u>

5 a>

ææ - æ u>

a>

f ff pp

… 3

∑ Perc2

¿ ææJ

¢/ pp

Ó

Ó

5

ææ _

ææ -

u

u>

ææ

ææ -

ææ

ææ -

ææ

ææ -

p f a>

u>

a>

u>

a>

u>

ææ 5 a>

ææ u>

ææ a>

=

M libero, senza battere

15'' ca. very slowly and gradually gliss down all ''indians''

tutti ''indian'' (while wald teufels desappear)

o p

106 fff

Ens

p

2 4 U+o

° U &

U

4 4 Œ

˙˙˙˙˙ ? ˙˙ æ

mf

U +o poco gliss (third ca.) w w ww w w w æ

o U +o molto gliss (until tessituras' bottom) (short) ææ ≈ w ∑ w w w w ww

u

p (✶) sparse single sporadic clicks but sharp and intense! ''indian'' imitating ens

o U +o molto gliss (until tessituras' bottom) ææ ≈ w ∑ w w w ww w

mf p

5

Aud

¢÷

ææ u>

æ a>

ææ u>

æ a>

ææ -

æ œæ

u>

u

œ æ a

æ œæ u

œ æ a

+o ≈ U æ ‰ œœœæœœ ™™™ œœ ™ u

D & F xxxxx

U +o poco gliss (third ca.) ææ w w w w w ww

&


23

gliss con entrate scalate (cb, vcl, vla, vln)

N q = 72 ca

3

Ó

œ RÔ

Œ œ™™™

tutti ''indian'' (✶)

Ens

+ mf,+ deciso + + + + + + ° o o o o o o o o÷ & œ œ œ œ œ œ œ œ

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œµœ œnœ œBœ œ œbœ œ œBbœ œ œ

u

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o Bbœ œ œbœ œBœ œ œnœ œ œµœ œ œ œ œ &

u u

(✶) hand should fully seal lips when closing mouth, though the + gesture in itsel should be quick ( y max.) ''indian''

mf

∑ Aud

¢÷

&

+o +o +o +o +o +o +o +o œ œ œ œ œ œ œ œ

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œµœ œnœ œBœ œ œbœ œ œBbœ œ œ

u u

=

q = 52

accel q = 52 117 Ens

° &

mf

mf

>-+ -o >-+ -o >-+ -o >-+ -o œœœœœœœœ

++++ >-+ -o >-+ -o >-+ -o >-+ -o >-+ -o >-+ -o >-+ -o >-+ -o +o +o +o +o +o +o +o +o +o +o +o +o o o o o œ œ œ µœ œ #œ œ˜œ œ œ œ µœ œ #œ œ ˜œ œ œ

u

u

u

mp

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o Aud ¢& Bbœ œ œbœ œ Bœ œ œnœ œ œµœ œ œ œ œ u

>-+ -o >-+ -o œœœœ

>-+ -o >-+ -o œœœœ

>-+ -o >-+ -o >-+ -o >-+ -o œ œ µœ œ #œ œ ˜œ œ

u

u

colla voce mf

° /

Tp

&

+++ + o + o + o + o + o + o + o + o +o +o +o +o +o +o +o +o +o +o +o +o +o o o o œ œ œ µœ œ #œ œ˜œ œ œ œ µœ œ #œ œ ˜œ œ œ >- - >- - >- - >- - >- - >- - >- - >- -

mf

+ o + o + o + o œœœœœœœœ >- - >- - >- - >- -

u

u

u

(merging into ensemble's voices)

+++++++++++++ -œ+ -œo µ-œ+ -œo #-œ+ -œo ˜-œ+ -œo -œ+ -œo µ -œ+ -œo # -œ+ -œo ˜ -œ+ -œo œ+o +o +o o o o o o o o o o o o o œo

colla voce

B Œ

+ +++++++++++ #œo ˜œo œo œo œo œo œo µœo œo œo œo œo Œ

+ + + µ-œ -œo -œ -œo -œ -œo ∑

Tbn ¢ mp (merging into audience's voices)

f

mf

mf

coulisse legato, mute action

= -

P

: rotate around its handle up in the air

O poco più mosso (5:4) wald teufels tutti orango

mf sub

123 Ens

pp sub

° &

∑ /

p sub

pp sub

f

p

œ œ ææ œææ ææ œææ i

o

i

o

ææ Œ Œ3 ææ œ œ

˙ ææ i

o

o

fff

mf

U _ æ

6

3

œ œ æ œæ æ œææ ‰ Œ æ æœ æ œ œ i

o

i

o

i

o

U _ æ

(✶)

e

(✶) transition from air to ordinario technique

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ Aud ¢& œ

6

œ œ æ œæ æ æ æœ æ œ œ

mf

œ æ œ /æ æ œæ ææ

u

i

o

i

æ œæ

Ó

o

i

o

i

o

i

o

- : rotate around its handle up in the air wald teufels tutti

p sub

orango

p

+o + + + + + + + +o ° o o o o o o o œ œ+o œ+o µœ+o œ+o œ+o œ+o œ+o #œ C Tpt & œ œ œ#œ œ˜œ œ

as tutti:

œ ææ œææ

Ó /

pp sub

f pp sub

mf

ææ Œ Œ3 ææ œ œ

˙ ææ 3

o

fff

U _ ææ

œ œ æ œæ æ œ ‰ Œ œ œ œæ æ æ æ6 æ

mf

U _ ææ

(✶)

& : rotate around its handle up in the air

i

o

i

o

i

o

i

o

i

o

e

wald teufels tutti orango

p sub

p pp sub

f as tutti:

B /

Tbn ¢

mf sub

pp sub

œ œ æ œææ æ œææ

˙ æ 3

i

o

i

o

i

o

i

o

i

o

i

o

1 ææ

1 ææ

o

fff

U _ ææ

æ æ æ ææ Œ Œ3 æ œ œ œ œ ‰ Œ œ œ æ æœ æ œ œ æ æ 6 mf

U _ ææ

(✶)

B

(✶) transition from air to ordinario technique

e

cymbals log drum

l.v. so mallets

° Perc.

/

Y ææ

Y ææ

Y ææ

Œ Œ

æ -æ

3

mp p sub

p

ææ ææ ææ6 - - - æ1 æ mf

cymbals

Œ ¢/

1 ææ

æ -æ æ1

æ -æ

1 ææ

æ -æ æ1

æ -æ

&

æ 1 -æ ææ

æ -æ

1 ææ

æ 1 -æ ææ

æ -æ

&

p

log drum

l.v.

Perc2

f

so mallets

æ Yæ

ææ -™

¿ ææ

¿ ææ

æ Yæ

¿ ææ

¿ ææ

Œ Œ

mp

ææ ææ ææ6 1 - - - æ1 æ1 æ ææ1 æ mf

3

p sub

D & F xxxxx

p

f


24

Q ENSEMBLE II accel q = 48

q = 52 (tongue ram)

»

»

Bass Flute

air 3

3

3

129

Ÿ-<µ> Ÿ-<µ> 5 œ œ 8 œ J ≈ ≈

Ÿ-<µ>™ord œ

2 4

air

3

z 5:4

5:4

° ≈ &

B Fl

≈ ‰ ≈

≈ ‰ Œ

œ > ff

® œ g g™

œ > ff

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

æ ® æ æ œ g g™

fz

f

Ÿ- <µ> œ

Ÿ-<µ>™ œ

3 4

mp

ff

»

»

air

air ord 3

3

3

3

z 3

3

‰™

& ≈

Ob.

‰™

œ

Œ

œ

® g g™

œ

ff (✶) dry slap, no sound

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

æ ® ææ æ œ g g™

fz

Ÿ-<˜> # ≈ œ™

f

Ÿ-<˜>Ÿ- <˜> ≈ œ≈œ

Ÿ- <˜> Ÿ- <˜> # ≈ œ ≈ œ™

œ J

mp

‰ ff

»

»

air

air ord 3

3

3

3

z

? ≈

®‰ ®

≈ ‰ Œ

®

B Cl

œ

œ g g™

œ

ff (✶) dry slap, no sound

ff

»✶

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

æ ® æ æ& œ g g™

fz

Ÿ- <n> ≈˜œ ™

f

Ÿ- <n> Ÿ- <n> ≈ œ≈œ

Ÿ- <n> ≈ ˜œ ≈

œ J

<n>

Ÿœ™ ‰

mp

ff

» air air ord 3

3

3

3

z 7:6

7:6

? ≈ Bsn ¢

≈≈

œ

≈Œ

œ

® g g™

œ

ff (✶) dry slap, no sound

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

æ ® æ æ& œ g g™

fz

Ÿ<#> ≈ µ-œ ™

f

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

mp

‰ ff

» (hand pop) air

7:6

7:6

° ™ Hn. & ≈

≈ ™ ≈≈ ™

≈ ™ ≈Œ

æ ≈™ ≈ æ œ µ g™

≈™

f

µœ

ord

7:6

œ

≈Œ

‰ ≈™

Ó

j œ

µ œ- œ

˙

p

p

mf

f

ff

fz

air

[+ o & œ

C Tpt

ord (sound)

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœ œ nœ œBœ œ œbœ œœ

3 +o +o œœ ‰ ≈# g g™

+o Bbœ

ææ g™

‰™

p

ff

+ œ

\ +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

f f

[+ o B œ

+ + + + + + + + + + +o +o œo œo µœo œo nœo œo Bœo œo œo bœo œœ

air +o +o 3 œœ ‰ ≈ µg g™

+ Bbœo

Tbn ¢

mp

ord (sound)

œ+ g™ æ

‰™

p

ff

æ œ-æ™

ææ ææ œ™ - œ-œ

mf

\ + +o +o +o +o +o +o +o œo œœ #œ œ˜œ œ œ

+ + + + + + + +++ œo œo µ œo œo # œo œo ˜ œo œo œo œo

f f

mp

mf log drum

(no accents)

Marimba

° Perc 1 &

ææ nœ- ™

ææ #œ- ™

æ ˙æ˙

/

/

p f

log drum Vibraphone

Ó

Œ

arco

l.v.

Ϫ

j ‰ œ

p

f

Perc. ¢&

Œ

Ó

& Pno.

{

& o = ast + = msp arco spazzolato (+o = from msp to ast)

[

pizz

»

# -œ œ R

5:4 5:4 5:4

° ™ Vln & ≈

®‰ ≈ ™

Œ

µ>œ ff

≈™

®

œ

œ

f

mf

+o +o +o œœœ

5:3

» 3

arco

o µœ

3

3

®‰ ™

®

Œ

®

œ

œ #œ + o #>œ ™

f

[ spazzolato (+o = from msp to ast) + + + + + + + + +o +o +o +o +o µœ œ œo µœo œo #œo œo ˜œo œo œo œœœ

f

ff

+ ord

˜ -œ œ

˜œ

+++ œo œo œo

˜œ œ J

œ 5:3

f

mf

o = ast + = msp

o ˜>œ ™

‰ ≈&

Vla

µœ

#œ #œ J

‰ ‰ mf

pizz

B ®

+o +o +o +o +o +o +o +o +o +o +o +o +o œµœ œ #œ œ ˜œ œ œ œœœµœ œ

o = ast + = msp

ord 3

o

f mf

f

ff f

ff

pizz

»

arco

o ? ® ˜œ ≈ ‰ ® œ ™

Vc

Œ

® œ ≈ &µ œ

[ spazzolato (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o œµœ œ #œ œ ˜œ œ œ œœœµœ œ

ord

+ -œ ™ +o +o +o œœœ

œ œ œ

œ J

o = ast + = msp

o ™ >œ

‰ 5:3

ff f

mf

pizz arco

»œ

7:6 7:6

œ ? ‰

œ ≈≈‰

Cb

¢

o ® &µ œ

mf

f

[ spazzolato (+o = from msp to mst) + + + + + + + + +o +o +o +o +o µœ œ œo µœo œo #œo œo ˜œo œo œo œœœ

ff f

mf

f

D & F xxxxx

f

ff f

o = ast + = msp

+++ œo œo œo

>œo ™ µ ≈

ord

‰ ≈™

µ-œ œ

Ϫ

mf

f

ff

f


25

q = 62 accel 133

3 4

q = 62 accel

q = 78

5 8

˙™

Ϫ

4 4

œ

3 8

° &

B Fl

3 4#˙ ™

∑ mf

ff quasi

q = 78

5 Ϫ 8

p

f

fff quasi

˙™ ™ & #˙

Ob.

Ϫ ff quasi

Ϫ

p

Ϫ

f

fff quasi

ff quasi

p

f

° &

Hn.

&

-œ™ ® ≈ ™ -œ™ ≈ -œ ≈ -œ J

ff quasi

p

-œ™ ® ≈#™ -œ ™ ≈ -œ ≈ ˜-œ J

˜ -œ ™

mf

-œ™ -œ™ -œ ®≈ ™ ≈ J ≈ œ

- ® #-œ ™ ® -œ ®≈ ™ #œ ™ ≈ œ ‰ ™

-œ™ #-œ ™ -œ µ-œ ®≈ ™ ≈ J ≈

- ® #-œ ™ ® œ ®≈ ™ œ ™ ≈ œ ‰ ™

ff quasi

-œ™ µ -œ µ -œ ™ # -œ ® ® ®≈ ™ ≈ ‰ ™

œ

fff quasi

ff quasi

™ ≈ -œ ‰ ™ ® œ™ - ® #œ- ®≈ œ™ -

Ϫ

p

mf

B

∑ f

mf

C Tpt

mf

œ

ff quasi

™ -™ - ™ ® œ™ - ® œ- ®≈ œ ≈ œ‰

œ

fff quasi

µ˙ ™

Ϫ

mf

Ϫ

∑ ¢& µ ˙ ™

Bsn

mf

œ ∑

mf

œ

µ˙ ™ ™ & ˜˙

B Cl

mf

œ ∑

mf

4 4

œ

ff quasi

p

-œ ™ µ -œ µ -œ ® ≈™ ≈ J ≈

µ -œ ™ # -œ ™ B -œ µ -œ ®≈ ™ ≈ J ≈

# -œ ™ ˜ -œ B -œ ™ n -œ ® ® ®≈ ™ ≈ ‰ ™

Tbn ¢ ff quasi

mf

ff quasi

p

(''tacky'') Marimba

5

° ‰™

æ æ æææ ææ ææ - - --- -- --

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

6

3

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

æ- æ- æ- æ- æ- æ- æ-

> - -‰ ™

∑ Œ

Œ

/

Perc 1

& mp

f

mp

fz sub

Vibraphone

(''tacky'')

Œ

‰™

Perc 2 ¢ /

1 11 11 æ ææ ææ

11 1111 1 1 1 1 ææ ææææ æ æ æ æ

111111 1 1 1 1111111 1 1 1 æ æ æ æ æ æ æ æ æ æææææææ æ æ æ 5

1 1 1 1 111 æ æ æ æ æææ

6

1> 1 ‰ ™

∑ Œ

Π&

3

mp f

fz sub

mp

& Pno.

{

&

° Vln &

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ œœµœ œ #œ œ˜œ œ œœ µœ œ œ bœ f

Vla.

&

fff

>œ-

b >-œ

>-˙

œ J fff

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o > œ œœ #œ œ˜œ œ œ œœµœ œ #œ œ˜œ œ œœ µœ œ œ bœ #˙

mf

ê

fff

f

#>œn>-œ œ J

+o +o +o +o +o +o +o + + + + o o µœo œo œœ #œ œ˜œ œ œ œœ fff f

+o +o +o +o +o +o +o + + + + o o µœo œo œœ #œ œ˜œ œ œ œœ

+ + + + + + + + + +o #œo œo µœo œo #œo œo ˜œo œo œo œ fff

+ + + + + + + + + +o #œo œo µœo œo #œo œo ˜œo œo œo œ

ê f

Vc

&

fff

fff

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ œœµœ œ #œ œ˜œ œ œœ µœ œ œ bœ

>-˙

f

Cb

¢&

fff

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ œœµœ œ #œ œ˜œ œ œœ µœ œ œ bœ

mf

fff

>-œ

#>-œ bœ J

fff

mf

ê

fff

fff

f

>-œ >-˙

#>-œ ê

f

f

fff

nœ J

fff f

+o +o +o +o +o +o +o + + + + o o µœo œo œœ #œ œ˜œ œ œ œœ fff f

+o +o +o +o +o +o +o +o +o +o +o µœ œ œœ #œ œ˜œ œ œ œœ

fff

+ + + + + + + + + +o #œo œo µœo œo #œo œo ˜œo œo œo œ fff

+o +o +o +o +o +o +o +o +o +o #œ œµœ œ#œ œ˜œ œ œ œ

fff

mf

D & F xxxxx

f

fff f

fff


26

q = 52

4 . 139 4 > b . ° >. . > .

. > . nœ œ#œ bœ . # # œ > > #œ #œ nœ ≈ >. æ æ æ æœ æ n> ® R ææ æ

> &

B Fl

3 n >. 8

» (tongue ram)

4 4

» air

3

2 4

air

3

3

3

3

3

z

≈ ‰™ œ

® ‰™ œ

Œ

® œ g g™

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

®

ææ ææ œ g g™

5 5:3

ff

ff

fz

fz

f

f fz fz fz slap

»

» air air

Ÿœ™~~~~~~~~

ord

˜ -œ ˙™

3

3

3

3

3

3

z

‰ &

Ob.

≈ ‰™ œ

≈& mf

f

® ‰™ œ

Œ

® œ g g™

ff

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

ææ ææ œ g g™

fz

f

»

air

» air 3

Ÿ~~~~~~~~ ? œ™

ord

≈™

&

B Cl

µœ- ˙™ mf

3

3

3

3

3

z

≈ ‰™ œ

f

® ‰™ œ

Œ

® œ g g™

ff

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

ææ œg

fz

ææ & g™

f

slap

»

»

air

air

ord 3

Ÿ~~~~~~~~ œ™ ?

3

‰ &œ -

¢&

Bsn

˙™

mf

3

3

3

3

3

z

≈ ‰™ œ

f

® ‰™ œ

Œ

® œ g g™

ff

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

fz

ææ ææ & œ g g™ f

(hand pop) ord

° Hn. &

?

‰ ™™ ˜œ- ˙™

Ϫ

mf

f

» 3 ≈ µœ ‰ ™

air 3

® œ‰ ™

Œ

>3 ® œ ® ‰™

µg ™ ææ

≈Œ

Ó &

f fz p

Ÿ~~~~~~~~ œ™

[ +o +o +o +o +o +o +o +o + + + + + oo ooo œ œ œµœ œ nœ œ˜œ œ œ#œ œ œ

f

f

ord

‰ &

C Tpt

#œ- ™

˙

mf

ff

ord (sound) air

+o µœ

3 +o +o ‰ ≈ œœ # g g™

f

[ +o +o +o +o +o +o +o +o + + + + + oo ooo œ œ œµœ œ nœ œ˜œ œ œ#œ œ œ

ord

B

‰™

&µ œ -

Tbn ¢

˙™

Ϫ

mf

f

ææ g™

‰™

p

ff

+ œ

mf

ord (sound) air

+o µœ

3 +o +o ‰ ≈ œœ µ g g™

ææ g™

‰™

p

ff

+ œ

f f

mf

(no accents) aiuta spazzolato con tremoli! oppure arco su vibra

° Mar &

ææ œœ- ™™

ææ œ nœ- ™™

æ œœæ™™ -

ææ ##œœ- ™™

æ œ-æœ

ææj œœ

æ œæœ ™™

‰ Œ

Ó

Ó

p f

arco l.v.

≈ œ™ œ

j œ

p

f

¢&

Vib

‰ Œ

& Pno.

{

&

O™

“ ord ~~~~~~~~~~~~~~~~~~~ arco # IIO c. ° Vln &

Ÿ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ ~Ÿ œ ~ OO™™

œ ·

‰ # œ™ œ™

· œœ

O

œ

j œ™ J #œ ™

~~~~~~~~~~~~~#~ #œœ ™™ ™ ~~ ~~ ~~ b ‚ ~ ~ ~ ~ b ‚™ ~~~

j ##œœ ‰ Œ J

5:3

mf

ff

mf

o

ê ff

mf

fff

mf

pizz

»

3

# œ- ˙ Œ &J

3

ΠVla.

&

Ϫ 3

B

≈ ‰™ µœ

®

Œ

®

œ

arco

o ≈ µœ

3

ord

ff

pizz

ΠVc

&

mf

»

[ spazzolato (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o ≈& µœ œµœ œ #œ œ ˜œ œ œ œ œ œµœ œ arco

o

3

3

3

Ϫ ?

≈˜œ‰ ™

ff

®œ ™

Œ

®œ

pizz ord 3

3

œ œ™ ?

ΠCb

≈ ‰™

œ ™ ®

¢& mf

+o +o +o œœœ

ff mf

-˙™

f

ff

ord

˜ -œ ˙ ‰& J

+++ œo œo œo

œ mf

mf

[ spazzolato (+o = from msp to ast) +++ ++ ++ ++++++ œoµœo œo #œo œo ˜œo œo œo œo œo œoµœo œo

3

Œ

®

» œ

f

[ spazzolato (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o o µ œ œ µœ œ #œ œ ˜œ œ œ œ œ œµœ œ ≈& arco

ff ff mf

D & F xxxxx

f

+++ œo œo œo


27

q = 62 accel

accel 2 Ÿ- <µ>™ œ 143 4 °

Ÿ- <µ> Ÿ- <µ> 5 œ œ 8 œ J ≈ ≈

ord

Ÿ- <µ> Ÿ- ™ <µ> œ œ ≈ ≈

3 4

q = 78

5 8

˙™

Ϫ

3 rit > 4 >- # -˙

3 8 Ϫ

œ

mp

>-œ æ æ æ #>œ-

#œ ææ æ

&

B Fl

4 4

ff

f quasi

p

5:3

p

f

ord

Ÿ- <˜> # ≈ œ™

Ÿ- <˜>Ÿ- <˜> ≈ œ≈œ

&

Ob.

Ÿ- <˜> Ÿ- <˜> # ≈ œ ≈ œ™

œ J

mp

5:3

#˙ ™

Ϫ

Ϫ

œ

‰ ff

f quasi

p

#˙> mf

p

#œ>

# ˙>

ord

Ÿ- <n> ˜ ≈ œ™ B Cl

Ÿ- <n> Ÿ- <n> ≈ œ≈œ

&

Ÿ- <n> Ÿ- <n> ˜ ≈ œ ≈ œ™

œ J

mp

5:3

˜˙ ™

Ϫ

Ϫ

œ

æ #˙-æ >f

‰ ff

f quasi

p

p

æ ææ # œ-æ >˙>

ord

Ÿ- <#> ≈ µœ ™

Ÿ- <#> Ÿ- <#> ≈ œ≈œ

¢&

Bsn

Ÿ- <#> Ÿ- <#> ≈ µœ ≈ œ™

œ J

µ˙™

Ϫ

>œ- >œ

Ϫ

œ

>˙-

>-œ

‰? 5:3

mp

ff

f quasi

mf

p

f

ord

° Hn. &

™ -™ - ™ ® œ™ - ® œ- ®≈ œ ≈ œ ‰

≈™ µ œ- œ

j œ

&

C Tpt

æ- æ- æ- æ- æ- æ- æ-

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

˙

p

\ +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ

- ® ≈ ™ œ™ - ≈ œ- ≈ œœ™ J

mf

ff quasi

p

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

™ ≈ œ- ‰ ™ ® œ™ - ® #œ- ®≈ œ™ -

- ® ≈ ™#œ- ™ ≈ œ- ≈˜œœ™ J

f ff quasi

p

Tbn ¢&

\ +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ #œ œ˜œ œ œ œ

™ ™ ® œ™ - ® µœ- ®≈ µœ- ™ ≈#œ- ‰

˜œ- ™ ® ≈ ™ -œ ™ ≈µ-œJ ≈ µœ-

f p ff quasi

log drum

5

° Mar &

∑ /

æ æ æ ææ æ æææ - - - -- - ---

‰™

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

6

mp f

log drum

/

1 1 111 æ æ æææ

‰™

¢&

Vib

Œ

11 1111111 1 ææ æææææææ æ

1111111 ææææææ æ

1 1 1111111 1 1 1 1 1 æ æ æææææææ æ æ æ æ æ

5

6

mp f

& Pno.

{

& o = ast + = msp

3

ord

° Vln &

# -œ œ ‰ &R

#œ #œ J 5:3

œ #œ + o #>œ ™

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœ œ #œ œ˜œ œ œ œµœ œ œ bœ

#>˙∑ fff

mf

f

ff

+ ord

˜ -œ œ B

Vla.

˜œ

˜œ œ J 5:3

f

ff f

ord

+ -œ ™

œ œ œ

œ J

‰ Vc

& 5:3

mf

o = ast + = msp

o ˜>œ ™

≈& mf

f

f

o = ast + = msp

o ™ >œ ff f

#>-œ mf

ê

f

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœ œ #œ œ˜œ œ œ œµœ œ œ bœ

>-œ ∑ ˙> fff

mf

ê

f

[ +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ œ œ #œ œ˜œ œ œ œ œµœ œ #œ œ˜œ œ œ œµœ œ œ bœ

#>-œ ∑ #˙> fff

f

mf

ê msp IV o = ast + = msp

>œo ™ µ ≈

ord

‰ Cb

≈™

µ-œ œ

Ϫ

b6-œ III

#>-œ #>-˙

#œ- ?

œ

¢&

& œ

œ™ œ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~~~ mf

f

ff

f

f

f F xxxxx sffz mp D&

ff

Ϫ fff

ê fff

mf


28

q = 62 accel

4 q = 62 149 4 >- æj >° &

B Fl

q = 78

3 4 œ™ œ æ æJ ‰

#œ #œæ œ æ >- ææ 5:3

U Œ Œ

Ó

5 8 Ϫ

4 4 œ

p

f

p

U Œ Œ

5:3

j j‰ œ- œ™ œ > p

&

Ob.

œ œ >- >œ- >-

˙

Ϫ

œ

p

j #œææ5:3 æ æ æ & #œ - œæ æ ææ ææj ‰ >- > >- #>œ- œ ™ œ

B Cl

Ó

U Œ Œ

Ó

f

?

µ˙

Ϫ

œ

p

f

p

#>-œ #>-œ ?

>-œ œ™ œ J J‰

U Œ Œ

Ó

µ˙

Ϫ

œ

Bsn

¢ 5:3

p

p

f

staccatissimo 7 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ 5 5 6 7 U # œ n œ # œ ™ #-œ ™≈-œ‰ ™ # œ n œ # œ œ œ œ # œ œ œ œ ≈ œ œ œ #œ œ œ œ # œ ' œ ' œ' ' ' ' ' ' ' œ' ' ' œ' ' #œ' # œ # œ n œ ' œ # œ' ' n œ' # œ ' #œ' # œ ' œ ' œ' ' ' ' ff ' ' ' ' ' ' 6

° Hn. &

p f

p

-œ™ ™ -œ™ -œ -œ ? ®≈ ≈ J ≈ ff quasi

ppp mp

quasi mf

mf

Ó

ff quasi

U #œ- ™ -œ ™ -œ ™ -œ ™ Œ ® ® ®≈ ≈ ‰

&

C Tpt

-œ™ ™#-œ ™ -œ µ-œ ®≈ ≈ J ≈ ff quasi

p

Ó

U #-œ ™ ˜-œ ™ ˜-œ ™ -œ ™ Œ ® ® ®≈ ≈ ‰

Tbn ¢&

µ-œ ™ ®≈ ™#-œ ™ ≈˜-œ ≈µ-œ J ff quasi

p

Marimba

> æ- æ- æ-æ- æ--- ‰ ™ Ó 3

° /

Perc.

mp

Ó

U Œ

∑ &

fz sub

Vibraphone

Perc. ¢ /

1 1 1 1 1 1>1 ‰ ™ Ó æ æ æææ

Ó

U Œ

∑ &

3

mp

fz sub

Ó

U Œ

Ó

U Œ

& Pno.

{

&

° Vln &

fff

Vla.

µw

˙

+ ++ + + + ++ +o +o +o U o o o o o o o o +o +o +o +o +o +o µœ+o œ+o #œ+o œ+o ˜œ+o œœ œ Œ œ œœ #œ œ˜œ œœœœµœœ #œ œ

f

p

f

pp mp

w

˙

+ ++ + + + ++ +o +o +o U o o o o o o o o +o +o +o +o +o +o µœ+o œ+o #œ+o œ+o ˜œ+o œœ œB Œ œ œœ #œ œ˜œ œœœœµœœ #œ œ

p

f

pp mp

>-œ

& bœ> fff

ff quasi

˙ f

ff quasi

+ ++ + + + ++ +o +o +o U o o o o o o o o +o +o +o +o +o +o µœ+o œ+o #œ+o œ+o ˜œ+o œœ œ? Œ œ œœ #œ œ˜œ œœœœµœœ #œ œ Vc

Cb

&

œ> fff

> #-œ & ¢

#w

˙

p

f

˙ f

n˙ ˜w f

ff quasi

+ ++ + + + ++ +o +o +o U o o o o o o o o +o +o +o +o +o +o µœ+o œ+o #œ+o œ+o ˜œ+o œœ œ? Œ œ œœ #œ œ˜œ œœœœµœœ #œ œ ˙ f

fff

pp mp

p

D & F xxxxx

pp mp

ff quasi


R q = 48 29

q = 52 Bass Flute

(tongue ram)

accel 154

4 4

»

5 8

air 3

»3

2 4

air 3

3

accel <µ>

Ÿ- <µ> Ÿ- <µ>5 œ œ 8 œ J ≈ ≈

Ÿ- ™ord œ

z 5:4

° &

B Fl

5:4

≈ ‰ ≈

≈ ‰ Œ

>œ ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

® œ g g™

>œ ff

ff

fz

®

ææ œg

fz

æj g™æ

f

<µ>

Ÿœ ≈

Ÿ- ™ <µ> œ

4 4

mp

ff

»

»

air air ord 3

3

3

3

3

Ÿ-<˜> ≈ #œ ™

3

z

‰™

≈ ‰™ œ

&

Ob.

œ

Œ

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

® œ g g™

ff (✶) dry slap, no sound

ff

fz

®

ææ œg

fz

ææj g™

f

Ÿ-<˜>Ÿ- <˜> ≈ œ≈œ

‰ ff

Ÿ »

air

Ÿ- <˜> œ™

mp

»

Ÿ- <˜> ≈ #œ ≈

œ J

Ÿ Ÿ

Ÿ

Ÿ

air ord

3

3

3

3

<n>

<n> <n>

<n>

<n>

z

? ≈

®‰ ® ≈ ‰ Œ œ œ

B Cl

® œ g g™

ff (✶) dry slap, no sound ✶

ff

»

air

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

® ææ œg

fz

ææj & g™

≈˜œ ™

f

- ≈ œ≈œ

- ≈ ˜œ ≈ œ ™

œ J

mp

ff

air

» ord 3

3

3

3

z 7:6

7:6

? ≈

≈≈

≈Œ

®

Bsn

¢ œ

œ g g™

œ

ff (✶) dry slap, no sound

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

fz

ææ œg

ææj & g™

Ÿ<#> ≈ µ-œ ™

f

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

mp

‰? ff

» contina questa nota su wwinds battutta dopo magari sposta wwind

(hand pop) air 7:6

7:6

°?

≈™

µ -œ œ

ord

7:6

µœ ≈ ™ ≈≈ ™ œ≈ ™ ≈Œ

≈™

œ ≈ ™ ≈ µg ™ ææ

Hn.

≈Œ

Ó

œ J

≈™

˙ &

p

mf

f p

ff

fz

air

&

C Tpt

[+ o œ

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœ œ nœ œBœ œœbœ œœ

ord (sound)

3

+o Bbœ

+o +o œœ

‰ ≈ j # g g™

ææ g™

‰™

p

ff

+o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

+ œ

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ œ #œ œ ˜œ œ œ

f f

mf

f

ord (sound) air

Tbn ¢&

[+ o œ

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœ œ nœ œBœ œœbœ œœ

3

+o Bbœ

+o +o œœ

‰ ≈

j µ g g™

ææ g™

‰™

p

ff

+o +o +o +o +o +o +o +o œ œœ #œ œ˜œ œ œ

+ œ

+o +o +o +o +o +o +o +o +o +o œ œ µœ œ #œ œ˜œ œœ œ

f f

mf

f

(''tacky'')

ææj bœœ

Marimba

° &

Mar

log drum

ææ œœ

Ó

‰ /

æ æ æææ - - ---

‰™

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

mp p

log drum

(''tacky'') arco

Vibraphone

Ó

Œ

ææj œœ

¢&

Vib

ææ œœ

Ó

‰™

‰ /

Œ

æ -

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

Ϫ mp p

p

& Pno.

{

/

& o = ast + = msp spazzolato (+o = from msp to ast) arco

pizz

»

3

o

ord

# -œ œ

5:4 5:4 5:4

° Vln &

≈™

®‰ ≈ ™ µ>œ >œ ff

Œ

≈™

® œ

œ

f

mf

pizz

» 3

B

® ®‰ ™ µœ

#œ #œ J

‰ &

Œ

mf

f

ffp

+

spazzolato (+o = from msp to ast)

o µœ

®

œ

f

œ #œ + o #>œ ™

arco

3

®

+o +o +o œœ œ

5:3

3

Vla.

+o +o +o +o +o +o +o +o +o +o +o +o +o œµœ œ #œ œ ˜œ œ œ œœœµœ œ

˜ -œ œ

˜œ

ord

+ + + + + + + + +o +o +o +o +o µœ œ œo µœo œo #œo œo ˜œo œo œo œœœ

+o +o +o œœ œ

˜œ œ J

o ˜>œ ™

≈&

œ 5:3

f

mf

o = ast + = msp

f mf

f

ffp

ff

ord pizz

»

+

spazzolato (+o = from msp to mst) arco

-œ ™

o ? ® ˜œ ≈ ‰ ® œ ™

Vc

Œ

® œ

≈ &µ œ

+o +o +o +o +o +o +o +o +o +o +o +o +o œµœ œ #œ œ ˜œ œ œ œœœµœ œ

+o +o +o œœ œ

œ œ œ

œ J

‰ 5:3

ff

f

mf

f

ffp

o = ast + = msp

pizz spazzolato (+o = from msp to mst) arco

»œ

7:6

œ

œ

o ® &µ œ

? ‰

≈≈‰

Cb

¢

+ + + + + + + + +o +o +o +o +o µœ œ œo µœo œo #œo œo ˜œo œo œo œœœ

mf

+o +o +o œœ œ

f

D & F xxxxx

>œo ™ µ ≈

ord

ff f

o ™ >œ

f mf

7:6

o = ast + = msp

≈™

µ-œ œ

Ϫ

mf

f

ff

f


30

measured chest hitting frequence:

158

4 q = 66 4

7 4 16 >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. 4

mp

7 16

f

f orango gliss

° B Fl &

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

∑ /

ÆÆÆÆÆÆ œ œ œ œ œ œ wææ

≈ 6

mf

Œ

æ ˙æ

Œ

3 o_a_e_i

5:4 ho

ha

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

i

(progressive)

mp

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

orango gliss

f

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

∑ /

&

Ob.

ÆÆÆÆÆÆ œ œ œ œ œ œ ≈ ˙ææ™™™

6 5:4 ho

ha

mf ( ) æær ææ h œ

‰™

Œ

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mp orango gliss f

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

∑ /

&

B Cl

ÆÆÆÆÆÆ 3 œ œ œ œ œ œ ‰ œææ ææ™

≈ 6

5:4 ho

ha

mf ( ) j æ æ æ ‰ ‰ œæ h 3

Œ

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

orango gliss

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mp f

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

? ∑ /

Bsn

¢

ÆÆÆÆÆÆ œ œ œ œ œ œ ‰ ææ™™ ˙

6 5:4 ho

ha

mf

)h

( ‰ ææj ææ œ

Œ

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mp

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

f orango gliss

° Hn. &

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

∑ /

Æ Æ Æ Æ Æ Æ 3 æj æ œ œ œ œ œ œ ‰ ‰ æ æ™ œ

6 5:4 ho

ha

mf 3

‰ ææ œ

Œ

)h

ææ(

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mp

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈

f orango gliss

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

∑ /

&

C Tpt

ÆÆÆÆÆÆ œœœœœœ Œ

æ ˙æ™

6 5:4 ho

ha

mf

≈ œææj™

Œ

ææ(h )

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mp f orango gliss

( )

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

ÆÆÆÆÆÆ œœœœœœ Œ

/

Tbn ¢&

ææ h

≈ œææj™

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

5:4 ho

ha

mf

æ ˙æ™

Œ

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

ord (precise) (mallets tremolo)

/

Perc.

Plexyglass

> æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- - -‰ ™ 5

°

6

3

f

mp

∑ ‰

p

ff

fz sub

(colla voce) side

> æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- æ- - -‰ ™ 5

æ œæ™™

œœœœœœœ ææ 6

6

l.v.

6

Y™ ææY™ pp

Perc. ¢ /

--------f

mp

fz sub

f

‰ f

mf orango gliss

f

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

∑ Pno. {

ÆÆÆÆÆÆ œœœœœœ Œ

/

ææ(h )

3

‰ œæ

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

5:4 ho

ha

mp

æ wæ

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mf f orango gliss

+ ° Vln & #œ ™

¯ ‰

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

Ó

ÆÆÆÆÆÆ œœœœœœ Œ

/

(h ) j æ æ æ ‰ œæ

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

5:4

f

mp 3

‰ ‰ œææj ææ™

3

5:4

p ho

ha

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mf f orango gliss

(h ) j æ æ æ ‰ ‰ œæ 3

Vla.

+ & ˜œ ™

¯ ‰

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

Ó

ÆÆÆÆÆÆ œœœœœœ Œ

/

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

5:4

f

mp 3

‰ œæ

3

5:4

p ho

ha

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mf f orango gliss

Vc

&

+ Ϫ

¯ ‰

f

p

Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œ

Ó

ÆÆÆÆÆÆ œœœœœœ Œ

/

r (h ) ‰ ≈ œææ ææ

>œf. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. ≈ 6

5:4 ho

ha

mp

≈ ˙æ™™™

3

5:4

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

msp IV

-œ6 III

orango gliss

mp

œ? Cb

¢&

‰ Ó

œ

/

œ f

f

# œ ™ ˙~~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~~~~ sffz mp sub

f

Tam Tam or big China Sus. Cym. and large Thunder Sheet. Hit with mallets

3 >>>>>> >>>

3

fff mp

ææ œ ˙ ææ

æ wæ o_a_e_i

fff

D & F xxxxx

ææ ™


as fast as possible!

31

163

7 4 3 16 œ ™™ 4 Signal audience to prepare recorder heads 8

7 8

pp

f

œ™ æ

f

°

∑ /

Fl

æ ˙æ

ææ æ

5 4

fff f R R L R R L R L R L R L

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ To Fl

œœœœœœœ 6

4:3

4:3

6 a

o

e

-

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

fff pp

/

Ob

œf ™™ æ æ

f œ™ ææ

æ ˙æ

L f R R L R R L R L R L R

To Ob.

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

e

-

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible! To Cl

fff pp

f

œ™ ææ

f

/

Cl

œ ™™ æ æ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

e

-

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

fff pp

Fg

¢/

œf ™™ ææ æ

f œ™ æ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

normal sub as fast o speed as possible

as fast as possible!

e

-

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

fff mf

° /

Hn

œf ™™ æ æ

pp

œ æ æJ

æ œæ

f œ™ ææ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

-

a

-

o

e

-

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

fff mf

pp

f œ™ ææ

f

/

Tp

œ ™™ æ æ

œ ææJ

æ œæ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

-

a

-

o

e

-

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible! To Perc. b

mf

Tbn ¢ /

œf ™™ ææ æ

pp

œ ææ J

æ œæ

f

œ™ æ

æ ˙æ

L f R R L R R L R L R L R

fff To Tbn

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ œ 6

4:3

4:3

6 a

o

-

a

-

o

e

-

a

b

c

a

c

a

b

a

b

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b

as fast as possible! Rhapsotic, vivace

° Perc 1

/

ææ œ ™™

a

b

c

a

b

c

a

b

(colla voce) fff

œ™ 5 ææ

æj œæ ææ

œ ææ

f

pp

œ j ææ œææ

˙ ææ

æ œæ™

mf

pp

f

4:3

Œ

Œ

‰ œ œ œ œ œ œœœœ 4:3

5

mf mp

f

p

7:6

Rhapsotic, vivace log drum

Perc 2¢ /

1 ™™ æ æ

1 1 1 1 1 1 1 ææ 1 -™

f ff

p sub

f

(colla voce) side

- - - - - - - 1 1 1 1 1 1æR

/

1™ æ

6

6

4:3

4:3

∑ ------- ------ - - - - - ---f

ff

fff

5

p sub

as fast as possible!

normal sub as fast speed as possible

as fast as possible! fff mf

Pno {

/

œf ™™ æ æ

pp

œ æ æJ

æ œæ

f œ™ ææ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

-

a

-

o

-

e

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

fff mf

pp

f œ™ ææ

f

° Vln

/

œ ™™ æ æ

œ ææJ

æ œæ

æ ˙æ

L f R R L R R L R L R L R

œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ œ œ œ œ œ œ œœœœ

œœœœœœœ 6

4:3

4:3

6 a

o

-

a

-

o

-

e

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible! To Vla

fff mf

Vla

/

œf ™™ ææ æ

pp

ææ æœ œ æJ

f

œ™ æ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

-

a

-

o

-

e

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

fff mf

Vc

/

œf ™™ æ æ

pp

œ æ æJ

æ œæ

f œ™ ææ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœœ 6

4:3

4:3

6 a

o

-

a

-

o

-

e

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

fff mf

pp

f œ™ ææ

f

Cb

¢/

œ ™™ æ æ

œ ææJ

æ œæ

æ ˙æ

L f R R L R R L R L R L R

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ œ 6

4:3

4:3

6 a

o

-

a

D & F xxxxx

-

o

-

e

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b


32

S

RECORDERS libero, aperto

168 ens TACET

° Ens /

at this bar ensemble plays same as impro at letter H, extremely fast and virtuosic but all in ppp! Percussion plays with audience (percussion actions)

, at hand (horizon)

little sparkles

w

˙

tongue out with two ngers trills

st

˙

œ

little sparkles

st

w

˙

, throw a cue to somebody 20'' √ w

,

bang recorder

w

bang recorder

w

Aud ¢ / fff fff fff ppp

o

o

pp

mf

mf

Play with your instrument same impro as at Letter H, extremely fast and virtuosic but all in ppp!

∑ Pno { &

&

percussion : Setup: - Tam-Tam partially damped on Keyboard Stand - Ride Cymbal - China Cymbal Medium hard vibraphone mallets and a bow condcutor gesture = equivalent sound

recorders (ensemble and audience): condutor gesture = equivalent sound

st = inhale (0) at hand (horizon) = plain note (1) bang recorder = tremolo/ vibrato tutti (2) throw a cue to somebody (or index) = improvisation (solo) st = (Cymbal)Bow with constant pressure and medium-slow speed (4) tongue out with two ngers trills = utter tongue in order to achieve cymbal's fundamental (5) little sparkles / ickers = staccato (1) at hand (horizon) = (China)High-speed and high pressure attack bow = on the China. Begin close to the frog (2) bang recorder = (Tam-tam)Single-stroke roll in the Tam-tam (4)throw a cue to somebody (or index) = (Cymbal) Hin und her" medium speed and medium pressure continuous bowing close to the frog. By saturating the cymbal you should get a high piercing harmonic which opens when you stop bowing.  (5) tongue out with two ngers trills = (Cymbal) Similar as number 1.  But more irregular (like an epileptic attack)

opposing the two parts interact freely and rapturously, unpredictably

-K ¿ r œ ™™

bang recorder

175

° Ens /

-K r œ

-r ™™ œ mf

≈ ∑

-K r œ

-j œ

¿

bang recorder

-r œ ≈ ∑

Aud ¢ /

≈ ∑

-r œ

-K r œ

-r œ

™™

™™

≈ ∑

mf

=

(repeat this bar as many times, by the last or penultimate repetition wwinds get ready)

q = 66 bang recorder

17 16

z

¿

4 4

To Perc.

z (sound)

air

To Perc.

178 Ens

°/ œ ™

≈ œ

j Ϫ

j Ϫ

‰™

j Ϫ

g

j Ϫ

‰™

≈ Œ

œ

≈ œ

Ϫ

‰™

Ϫ

‰™

j œ ™ To Voice

To

fff

bang recorder

ŠϪ

≈ œ

ŠϪ

≈ ‰

Aud ¢ /

¿

D & F xxxxx


33

180

° &

Fl

4 4

<#>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ™

9 8>

<µ>

<µ>

<#>

z. bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - ≈ 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™ ææ ææ ææ ææ ææ æ p

ppp

pp

<#>

mf

ppp

<µ>

<µ>

z. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ<#>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & #-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ #œ. ≈ -œ ™ ≈ -œ ≈˜-œ ™ ≈ -œ ≈ -œ -œ ≈ nœ. ≈ -œ™ ≈ -œ ≈ -œ™ ≈ -œ ≈˜-œ ™ ≈ #-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ #-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ææ ææ ææ æ æ ææ

Ob.

ppp

p

<#>

mf

ppp

<µ>

<µ>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ & ˜-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

Cl

pp

<#>

z. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .œ ≈ œ™ - ≈˜-œ ≈˜-œ ™ ≈nœ- ≈ œ- œ- ≈ n-œ. ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈ œ™ - ≈ œ- ≈˜-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ˜Ÿ-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ææ æ æ æ æ ææ bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

ppp

p

pp

ppp mf

<µ>

<µ>

<#> Bsn. ¢&

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ µ-œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

<#>

z. bisb.∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .œ ≈ -œ ™ ≈ #-œ ≈ #-œ ™ ≈B-œ ≈ -œ -œ ≈ n-œ. ≈ -œ™ ≈ -œ ≈ -œ™ ≈B-œ ≈ -œ™ ≈ #-œ ≈ -œ ™ ≈µ-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ µ-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ ææ ææ ææ æ ææ æ æ

ppp

p

pp

mf

ppp

Horn in F

✶✶ ✶ z.

Harmon mute

° Hn. &

Ϊ

æ æ æ ‰ æ ≈ ≈ ≈ ææ ≈ ≈ ææ ≈ ≈ ≈ æ ≈ ææ ≈ æ ¿. ¿. ™ -6 -6 ™ -6 -6 ™ ¿. -6 ™ -6 -6 ™ -6 ™

Ϊ

ppp

æ ≈æ ≈ ¿. -6 ™

≈ ¿.

mf

æ ≈æ -6 ™

æ ≈ æ ≈ ≈ ≈‰ ¿. -6 ™ ¿ ¿

≈ -6™ æ

≈ ¿. ≈ -6™ ≈ ¿ ≈ ¿ ≈ ‰ æ

æ ≈ 6™æ -

æ ≈ ¿ ≈ 6™æ ≈ ¿ ≈ ¿ ≈ ‰ . -

ppp

(✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a at hand, creating a percussive sound.

✶ Harmon mute z.

Ϊ

✶✶ ‰ -6™ ≈ ¿. ≈ ¿™. ≈ -6 ≈ -6™ ≈ -6 ≈ -6™ ≈ ¿. ≈ -6™ ææ æ æ æ

Ϊ

&

C Tpt

≈ -6 æ

≈ ¿.

≈ -6™ ææ

≈ -6™ ≈ ¿. æ

ppp mf ppp (✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a at hand, creating a percussive sound.

✶✶ ææz. æ æ æ æ æ ‰ 6™ ≈ ¿ ≈ ¿™ ≈ 6æ ≈ 6™ ≈ 6æ ≈ 6™ ≈ ¿ ≈ 6™æ ≈ 6æ ≈ 6™ . . - - - - . - - -

Harmon mute

?

Ϊ

Ϊ

Tbn ¢

ppp

æ ≈ 6™æ ≈ ¿ . -

≈¿ .

mf

ppp

(✶) Produce an air sound while maintaining the embouchure (✶✶) Slap the front of the mouthpiece with a at hand, creating a percussive sound.

&

##œœ ™™

œœ

œœ ™™

œœ ™™ œœ

##œœ

œœ ™™ œœ

œœ ™™

Pno.

?

{

‰ #œœœ ™™™

Ϊ

≈ œœœ ≈ œœœ ™™™ ≈ #œœœ

≈ œœœ ™™™

≈ œœœ ≈ œœœ ™™™ ≈ œœœ ≈ œœœ ™™™ ≈

ppp

mp

msp msp

° Vln &

Ó

‰ œ≈Œ ææ

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

Ÿ<#>

msp

ord

<µ> ✶

sp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ œ ≈ œ™ ≈ œ ≈ œ™ù≈ œù≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ œù ≈ œ™ù ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ œ œ™ œ œ™ œ œ™ œ œ™ œ ææ ææ ææ æ ææ æ ææ ææ ææ æ

ppp

p

ppp

mf

ppp

(✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

msp

msp ord

msp

Ó &

Vla

‰ Bœ ≈ Œ ææ

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

<µ>

✶ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bœ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈nœ ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ µœ ≈ œ ™ ≈ µœ ≈ œ ™ù≈ œù≈ œ ™ù ≈ œù ≈ œ ™ù ≈ µœù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ ææ ææ ææ æ ææ æ æ æ æ æ æ

Ÿ<#>

sp

ppp

p

ppp

mf

ppp

(✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

Ÿ~~~~~~~~~~~

msp ord

ord <µ>

msp

Ó &

Vc.

‰ #œ ≈ Œ ææ

msp

<µ> ✶ Ÿ<#> sp Ÿ <#> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ ≈ œ ™ ≈ œ ≈ œ ™ ≈Bœ ≈Bœ ™ ≈ œ ≈ œ™ ≈ œ ≈ œ™ ≈ œ ≈ œ ™ ≈ œ ≈ œ ™ù≈ œù≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ œù ≈ œ ™ù ≈ ææ æ ææ æ ææ ææ ææ ææ æ æ

ppp

p

ppp

mf (✶) only gliss on the trilled note while keeping the root stable. Slowly increase the range of the glissando to as far as possible in the given time

ppp

ast cls ✶

dec el

el acc

ord

? ∑

Ϊ

Ϫ

æ œ™æ

p

f

Cb

¢

œ o

Ϫ

˙™

æ œ™æ

æ

æ

1 ææJ Œ™

cls (✶) = col legno slide, slide the bow along the string

D & F xxxxx

fff

Ϊ /

ë f quasi

ord

p


34

contrabass solo contrabass improvising over two performative ''modes'': voice (A) and playing contrabass (B). Each mode could last between 10 to 30 seconds (ad libitum) A, voice: freely improvise using the voice employing roughly the material given as a guideline B, contrabass: freely improvise with the contrabass using the material provided within the boxes. Interpolate their order ad libitum and freely improvise on their content. FORM A B A' B' -- Perc 1 interrupts the double bass with a chicken puppet ''squeeze'', while the oboe makes "duck" sounds with the mouthpiece -A'' B'' --contrabass player is interrupted again by the puppet (perc1) with the oboe as well this time ("duck" sounds with the mouthpiece) -(this moment is cue as well for the audience to start crawling out of their seated position) B'''

Wine glasses

All along each A section (when contrabass player is using voice) a single wine glass ad libitum is played by three / four ensemble members

¿ / ¿¿¿ o

o mf

Ens Contrabass Solo:

Cl

° ¢&

A contrabass, using voice

Similar to the vocal technique at 112 (open and close lips) but freer, more intimate and surprising. Start from +o towards intermittent sounds. e following pitch (and dynamic) curve is suggestive only.

Cb.

° √ ¢/ w

&

br/

=

B Energico!! contrabass, playing the contrabass

‡ OO≤ ™ & o

188 Cb

‚‚ ™

„ ? æ bOOæ™™

‹ # ‚‚ ™™ &

sfz

pp

‡ ~~≤

„ ‚‚ ?bOææ >O 3

/

pp

‡ ‚‚≤

‡ ‹ # ‚‚ ™™ &

‹ &

„ ‚‚ ? #Oææ # >O 3

‡ ‹ ‚‚ ™ &

?

pp

o f

o

p

pp

f

p

=

frog's tip tremolo (✶)

o = ast msp IV + = msp

IV

msp III

193

bIII-œ o > ≈ µœ ™ #œ- ?

(msp) ord

? œ Cb

œ

> ≈ œ ˙™~~~~~~~~~~~~~~ ˙

6

ast msp ast

æ 6æ

œ /

& œ

œ™ œ

~~~~~~~~~~~˙™

f

ff f

sffz

ff

f

f

f

mp sub

D & F xxxxx

sffz mp

ææ

6 ææ

Œ

f

pp

&

pp p

6

f

6 æ

æ 6æ

fff


35

T q = 60 accel

G.P. 199

° Aud ¢ /

™™ the trained audience crawls out of the general audience position sliding super balls over the oor or playing ‘'pio-pios'' lv sempre

Almglocken

5

° &

Fl

5

5

5

™™ Œ Œ Œ

Œ

Œ

5

Œ Œ #œ

Œ Œ œ

Œ Œ

Œ

5

Œ

Œ

Œ

œ

Œ

Œ

Œ

Œ

Œ

œ

Œ

mp

lv sempre Almglocken

™™ Ó

Œ

Ó

Œ

Œ

Ó

Œ

Œ

Ó

Œ

Œ

Ó

&

Ob.

œ

œ

œ

œ

œ

œ

œ

mp

lv sempre Almglocken

™™

Ó

Œ

‰ Œ

Œ

Œ

Ó

Ó

&

Cl

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

mp

lv sempre Almglocken

™™

Œ

‰ jŒ #œ

Bsn. ¢&

j‰ ‰ j Œ œ #œ

j ‰ ‰ j œ œ

Œ

j ‰ ‰ j Œ #œ œ

mp lv sempre Almglocken

7

° Hn. &

7

7

™™

7

‰ ‰ ‰ j Œ jŒ j‰ ‰ j‰ ‰ jŒ j‰ ‰ j‰ ‰ j Œ j #œ œ œ œ #œ œ œ œ œ mp lv sempre

Almglocken

6 6

™™

Ó

6

6

‰ ‰ ‰ jŒ j‰ ‰ jŒ j‰ ‰ jŒ #œ #œ œ œ œ

&

C Tpt

6

j‰ ‰ jŒ #œ œ

j ‰ ‰ jŒ œ œ

mp

lv sempre Almglocken

œ œ5 ‰‰‰J‰‰ J Œ

? ∑

™™

œ œ œ œ 5 J ‰‰ J ‰ ‰ J ‰ ‰ J Œ

5

5

œ J Œ

5

œ J Œ

œ J ‰‰

Tbn ¢ 5

mp

lv sempre

° ∑

™™

‰ œj Œ

Œ

/

Perc 1

&

j j œ ‰ ‰ œ Œ

‰ œj

Œ

j j œ ‰ ‰ œ Œ

Œ

mp

lv sempre Almglocken

™™

Perc 2¢ /

&

œ ‰ Œ J

≈œ ≈Œ J

‰ œ Œ J

œ ‰ Œ J

≈œ ≈Œ J

‰ œ Œ J

mp

lv sempre Almglocken

7

7

7

7

∑ &

™™ Œ Œ Œ #œ Œ Œ œ

7

7

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

Œ œ Œ Œ

œ Œ Œ

œ Œ Œ œ

mp

Pno. lv sempre Almglocken

7

7

7

?

{

™™

Œ Œ Œ œŒ Œ œ Œ Œ œ Œ Œ œ Œ

Œ œ Œ Œ œ Œ Œ

mp 7

lv sempre Almglocken

6

6

6

6

° Vln &

™™

Œ Œ Œ œ Œ Œ

œ Œ Œ œ Œ

Œ

œ Œ

Œ œ Œ

Œ

Œ

Œ

Œ

œ

Œ

œ

mp

lv sempre Almglocken

5

5 5

∑ Vla

™™

Œ Œ Œ

Œ

Œ

5

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

& œ

œ

œ

œ

œ

œ

mp

lv sempre Almglocken

∑ Vc.

™™

Ó

Œ

Ó

Œ

Œ

Ó

Œ

Œ

& œ

œ

œ

œ

œ

mp

lv sempre Almglocken

Perc. ¢&

™™ ∑

‰ #œ ™ mp

D & F xxxxx

Ó

Œ

#œ ™

‰ Œ

Œ

‰ #œ ™

Œ


36

rit 206

° Aud ¢ /

™™

5

Alm.

5

° &

Œ

5

Œ

Œ

œ

ΠAlm.

Œ

Œ

Ó

™™

Ó

™™

Ó

‰ Ó

™™

™™

Œ

Œ

Œ

Œ

œ

Œ

j ‰ ‰ j Œ #œ œ

j ‰ œ

7

° & Œ

œ

j ‰ Œ œ

Œ

j ‰ ‰ j œ œ

j Œ #œ

œ

Ϫ

Œ

j ‰ ‰ j Œ #œ œ

7

7

7

7

j‰ ‰ œ

6

j ‰ ‰ jŒ œ œ

6

j‰ ‰ jŒ #œ œ

œ œ œ 5 ? J ‰ ‰ J ‰ ‰ J Œ Alm. ¢

œ œ œ J ‰ ‰ J ‰ ‰ J ‰

Œ

5

j‰ ‰ j‰ ‰ j Œ j Œ j‰ ‰ j‰ ‰ jŒ j‰ ‰ Ó œ œ œ œ #œ œ œ œ

6

j‰ ‰ j Œ œ œ

5

œ J

7

7

j‰ ‰ j Œ jŒ j‰ ‰ j ‰ ‰ jŒ #œ œ œ œ œ #œ

6

& j‰ ‰ j Œ #œ œ

6

j ‰ ‰ jŒ #œ œ

œ 5 ‰ J Œ

™™

Ó

6

j‰ ‰ jŒ œ œ

™™

™™

™™

™™

™™

j‰ ‰ j Œ #œ œ

Ó

5

œ J Œ

œ J ‰ ‰

5

° j j & œ ‰ ‰ œ Œ

Alm. ¢&

Œ j œ

7

j‰ ‰ j‰ ‰ jŒ #œ œ œ

6

Alm.

Œ

œ

œ

& Ó

Alm. ¢&

Alm.

Œ

&

œ

Alm.

Œ #œ

œ

Alm.

Œ

œ ‰ Œ J

j œ ‰

≈œ ≈Œ J

‰ œj Œ

Œ

‰ œj

‰ œ Œ J

œ ‰ Œ J

j j œ ‰ ‰ œ Œ

Œ

≈œ ≈Œ J

‰ œ Œ J

7

7

7

& #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

Alm. 7

{

7

Œ

Œ

œ

Œ

Œ

œ

7

Œ Œ

œ Œ

Œ

Œ

Œ

Œ

Œ Œ

œ

7

Œ

Œ œ Œ

Œ œ Œ Œ œ Œ Œ ™™

Œ Œ

œ Œ Œ œ Œ Œ ™™

7

6

Alm.

° & œ

Alm.

& Œ

Œ

6

Œ

Œ

Œ

Œ

œ

6

Œ

Œ

œ

Œ

œ

Œ

6

Œ

Œ

œ

Œ

œ

Œ

6

Œ

œ

œ

5

5

5

5

Œ

Œ

Œ

œ

Alm.

œ

Œ

Œ

œ

Ó

Œ

œ

& Ó

Alm. ¢&

Œ

#œ ™

Ó

Œ

5

Œ

Œ

œ

Ó œ

Œ

œ

Œ

Ó

Œ

Œ

Ó

Œ

Œ œ

Œ

Œ

Œ

œ

œ

#œ D & F xxxxx

Œ œ

Œ

œ

‰ #œ ™

Œ

Œ

Œ

Œ

™™

œ

Œ

Ó

™™

œ

‰ #œj

™™


37

più mosso If the audience can be seated in silence, then no repeat is required accel

U

two clicks Waldteufel

211 lv

° Alm. &

6 j -‰Œ Œ

(single click)

6 Œ Œ Œ -j ‰ Ó

/ ™™

6

j -‰ Ó

j -‰ Œ

6

j -‰ Ó

Œ

j -‰ Œ

j -‰ Ó

Œ

∑ f

two clicks Waldteufel

lv

5

(single click) 5 5

∑ &

Alm.

j -‰Œ

Œ Œ Œ

/ ™™

5 j -‰ Ó

Œ

j -‰ Œ

j -‰ Œ

Œ

Œ

j -‰ Œ

j -‰ Œ

Œ

∑ f

two clicks Waldteufel

lv

(single click)

∑ /

&

Alm.

j -‰

Œ

™™

Ó ∑

j -‰ Œ

Ó

j - ‰ Ó

Œ

j - ‰ Œ

j - ‰

Œ

∑ f

two clicks Waldteufel

lv

(single click)

∑ /

Alm. ¢&

‰ -j Œ

™™ ∑

j - ‰ Ó

Œ Ó

‰ -j Ó

Œ

∑ f

two clicks Waldteufel

lv

Alm.

° &

(single click)

∑ /

‰ -j Œ

Œ

™™ ∑

j - ‰

‰ -j Œ

‰ -j Œ

Œ

j j - ‰ ‰ - Œ

∑ f

two clicks Waldteufel

lv

(single click)

∑ Alm.

/

&

j - ‰Œ

™™ ∑

≈ -j ≈ Œ

‰ -j Œ

j - ‰ Œ

≈ -j ≈ Œ

‰ -j Œ

∑ mp

two clicks Waldteufel

lv

5

(single click)

5

j j j j5 - ‰ ‰ -‰ ‰ -‰ ‰ - Œ

5 5

? ∑ Alm. ¢

‰ ‰ ‰ -j ‰ ‰ -j Œ

/ ™™

j - Œ

5

j -Œ

j -‰‰

∑ f

two clicks Waldteufel

lv

6

6

j j -‰ ‰ - Œ

j j -‰ ‰ -Œ

(single click) 6

° Alm. &

/ ™™

‰ ‰ ‰ -j Œ

Ó ∑

j ‰ 6‰ j Œ -

j ‰ 6‰ j Œ -

∑ f

two clicks Waldteufel

lv

7

(single click)

∑ Alm. ¢&

j7 j j 7 j j 7j j -‰ ‰ -‰ ‰ -Œ -‰‰ -‰ ‰ - Œ -

‰ ‰ ‰ -j Œ -j Œ

/ ™™

∑ f

Waldteufel

two clicks (single click) 7

lv 7

∑ &

7

Œ Œ Œ -j ‰ Ó / ™™

7

7

j j j j -‰ Œ Œ -‰Œ Œ -‰ Œ Œ -‰Ó

j -‰Œ Œ

j j -‰Œ Œ -‰ Ó

j -‰ Œ Œ

7

j -‰Œ Œ

j -‰Œ

Œ

j -‰ Ó

j -‰Œ Œ

f

Alm. two clicks (same waldteufel) Waldteufel

lv 7

?

{

7

Œ Œ Œ -j ‰ Ó

/ ™™

7

j j j -‰ Œ Œ -‰Œ Œ -‰ Œ

Œ -j ‰ Ó

j -‰ Œ Œ

j Œ Œ j7 -‰ -‰ Ó

j -‰

∑ f

two clicks Waldteufel (single click) 5

lv

° Alm. &

j -‰ Œ

Œ Œ Œ / ™™

5 5 5 Œ -j ‰ Ó

5

j j -‰ Œ Œ - ‰ Œ

Œ

j - ‰Œ

j -‰ Œ

Œ

Œ

5 j - ‰ Ó

j -‰ Œ

Œ

j -‰ Œ

f

two clicks Waldteufel

(single click) lv

∑ Alm.

/

&

™™ Ó

Œ

j -‰ Ó

j -‰ Œ

Œ

j -‰ Ó

j - ‰Œ

Œ

j - ‰

Ó

j - ‰ Œ

Œ

j - ‰ Ó

f

two clicks Waldteufel

(single click) lv

∑ Alm.

/

&

‰ -j Œ

™™

Œ Ó

j -‰ Ó

Ϊ

j - Ó

Ó

j - ‰ Œ

Ó

‰ -j Œ

∑ f

two clicks Waldteufel

lv

(single click)

∑ Alm. ¢&

/

Œ

™™ ∑

‰ -j Œ

∑ f

D & F xxxxx

j - ‰

‰ -j Œ

j j - ‰ ‰ - Œ

j j - ‰ ‰ - Œ

Œ


38

rit several clicks 6

one click

6

6

6

6

218

° j‰ Œ Perc. / -

j -‰ Ó

Œ

j -‰ Œ

j -‰ Ó

Œ

j -‰ Œ

j -‰ Ó

Œ

j -‰ Œ

j -‰ Ó

Œ

j -‰ Œ

several clicks

j -‰ Ó

Œ

™™

one click 5

5

j - ‰ Ó

/ Œ

Perc.

5

j - ‰ Œ

5

j - ‰ Œ

Œ

j - ‰ Œ

Œ

j - ‰ Œ

Œ

5

j - ‰ Ó

Œ

j - ‰ Œ

several clicks

j - ‰ Œ

/ Ó

Perc.

j - ‰ Ó

Œ

j - ‰ Œ

j - ‰ Œ

‰ -j Œ

Ó

j - ‰

Œ

j - ‰ Œ

Ó

j - ‰ Ó

Œ

j - ‰

Œ Ó

Œ

Œ

™™

j -

Œ ‰

™™ ∑

several clicks

° / -j ‰ ‰ -j Œ

j - ‰

j ‰ - Œ

j ‰ -

Œ

one click

j - ‰ ‰

Œ

j - Œ

™™ ∑

several clicks

j / - ‰ Œ

Perc.

™™

one click

Perc. ¢ /

Perc.

Œ

one click

several clicks

Ó

j -‰ Œ

Œ

≈ -j ≈ Œ

‰ -j Œ

j - ‰ Œ

one click

≈ -j ≈ Œ

j - Œ

™™ ∑

several clicks

one click To Tbn

5

5

5

5

5 5

j j j - ‰ ‰ - ‰ ‰ -Œ

j - Œ

j j j - ‰ ‰ -‰ ‰ - ‰

j ‰ - Œ

j - Œ

j - ‰ ‰

™™

Perc. ¢ /

several clicks 6

Perc

° / -j ‰ ‰ -j Œ

one click

6

6

6

6

6

6

j j - ‰ ‰ -Œ

j j -‰ ‰ -Œ

j j -‰ ‰ -Œ

j j -‰ ‰ -Œ

j j - ‰ ‰ -Œ

j j -‰ ‰ - Œ

™™

Ó ∑

several clicks

one click

7 7

Œ

7

7

j j j -‰ ‰ -‰ ‰ -Œ

7

j j j -‰ ‰ -‰ ‰ -Œ

j -Œ

7

7

j j j -‰ ‰ - ‰ ‰ -Œ

j j j -‰ ‰ -‰ ‰ -Œ

j - Œ

7

j j j -‰ ‰ -‰ ‰ -Œ

j -‰ ‰

™™

Perc ¢ /

several clicks

one click

7

j / -‰ Œ

j -‰ Ó

Œ

j -‰ Œ

j 7 -‰ Œ Œ

Œ

7

j -‰ Œ

Œ

j -‰ Ó

j -‰ Œ Œ

™™ ∑

Perc. several clicks

one click 7

7

{

/ Œ

Œ

7

j -‰ Œ

Œ

j -‰ Œ

Œ

7

j -‰ Ó

j -‰ Œ

j -‰ Œ

Œ

j -‰ Ó

Œ

j -‰ Œ Œ

7

j -‰ Œ

Œ

several clicks

j -‰ Œ

Œ

j -‰ Ó

one click

5

° j ‰ Œ Perc. / -

j - ‰ Œ Œ ™™

6

j -‰ Œ

Œ

Œ

5 j - ‰ Ó

5

j - ‰

Œ

j - ‰ Œ

Œ

j -‰ Œ

Œ

j -‰ Ó

Œ

™™

several clicks

one click 5

Perc.

j ‰ Œ /

Œ

j - ‰

Ó

j - ‰ Œ

Œ

j - ‰ Ó

Œ

j -‰ Œ

Œ

™™

several clicks (longer)

ΠPerc.

Œ

/ Ó

j - ‰

j - ‰ Œ

Ϊ

j -

j - ‰ Œ

one click

j - ‰ Œ

Ó

Œ Ó

several clicks

1 ‰ Ó J

™™

one click To Cb

j j - ‰ ‰ - Œ

j - ‰

‰ -j Œ

j j - ‰ ‰ -

Œ

j - ‰ ‰

Perc. ¢ /

j - Œ

™™ ∑

D & F xxxxx


39

V Stimme 1 section 223 Perc.

°/

Aud ¢ /

once the trained audience reaches position close to musicians, audience and musicians together starts performing '' Stimme 1 section'' 5 almglocken (c3, e3, g#3, c#4, f#4) with 5 so beaters + 5 thunder sheets in different sizes with 5 sets of super-balls will be sporadically played by musicians during '' Stimme section 1'' to empasize and follow the formal countour of the section

STIMME 1 (2’ - 3') STEADY LOW (45’’) 1 - 15'' pick the lowest pitch available in your tessitura, with closed mouth and pp dynamic start humming long, steady notes ad libitum Please make sure to never imitate neighbour's pitches or to adapt to other pitches around you. Every humming should feel natural and should last as long as each individual breath allows. In between humming inhale deeply and vigorously 2 - 10’ slowly start increasing dynamics from pp to mp 3  - 15'’ Once dynamics reach mp, very slowly and gradually open mouth so to produce vowels such as “ɒ”, “u” or “o” (IPA). Please beware that the pitch hans’t altered, still very low in your register.

GLISSANDO UP (55’’) 4 - 20’' Introduce very slow upwards glissandi. At every repetition start with a bit lower pitch than your arrival one. Because moving towards higher registers, the voice will naturally and gradually become louder: let it happen. 5 -  35’’  - gradually increase the range of each glissandos, that is: produce wider glissandi.  Head towards much higher registers, ultimately until very high pitches (males who are comfortable with, could employ falsetto techniques as well). While heading towards high registers include different vowels such ‘’e’’ or ‘’y’’.  Constantly increase dynamics until very intense loud fff -add random super-ball gliss on thunder sheets from as many ensemble performer as possible. Gradually and from when voices start with upwards glissandos   -When voices reach high peak add cresc and decresc on tremolo gongs C#4-F#4 (perc 1 & 2)

GLISSANDO DOWN (45’’) 7 - 10'’: reach the pick of your tessitura on its loudest dynamic and stay there without glissando. 8-  10’' from such highest pitch gradually start descending with small glissandi (not big ranges),  7 - 10''' descending glissandi becomes wider (bigger ranges). 8 - 10’’ once you reach the lowest pitch of your tessitura, let your voice quietly and progressively disappear (one by one)

General notes: each individual performer must be rmly routed into her/his individual sound behaviour. Each performer must be aware of what the other performers are doing. Nonetheless, she/he must never limits himself/herself with their inner sound process. Each transition between different steps of the vocal performance must not be executed rigidly but smoothly and rather freely.

D & F xxxxx


40

W Stimme 2 section

= orango

224

° Aud ¢ /

∑ w

interpolate blocks ad libitum, develop variations of them, keep modifying durations Hal

-

-

-

-

-

incisive airy profound

°

incisive z

&

Fl

. ÆœJ

voluble

bisb.∏∏∏∏∏∏∏∏∏∏∏∏

æ œ-æ

O . . Æœ œ

œ-

3bœ

œ-

b>

O

œ

g . . . . . . . µg .

> sfz

interpolate blocks ad libitum, develop variations of them, keep modifying durations incisive profound z bisb.

incisive

airy

voluble

∏∏∏∏∏∏∏∏∏∏∏∏

&

Ob.

. ÆœJ

æ œ-æ

‰ g . . . . . . . µg .

O . . Æœ œ

œ-

3bœ

œ-

b>

O

œ

> sfz

also withought mouthpiece (hence air sounds), ad libitum, interpolate blocks ad libitum, develop variations of them, keep modifying durations profound z bisb.∏∏∏∏∏∏∏∏∏∏∏∏ incisive

&

Cl

. ÆœJ

æ œ-æ

incisive

airy

voluble

‰ g . . . . . . . µg .

O . . Æœ œ

œ-

3bœ

œ-

b>

O

œ

> sfz

interpolate blocks ad libitum, develop variations of them, keep modifying durations also moutpiece off incisive

incisive . -z

B

ÆœJ

Bsn. ¢

profound œ. œ. Æ

œ ææ

airy

voluble

bisb.∏∏∏∏∏∏∏∏∏∏∏∏

O

3bœ

b> g. . . . . . . µg.

O

œ

> sfz

interpolate blocks ad libitum, develop variations of them, keep modifying durations hand mute ad lib profound

°?

incisive

pungent . ÆœJ

œ

Hn.

. . œœ Æ

unexpected

o œ

-œ+

sinuous lip gliss

+ z, or growl œ

œ 3bœ œ

o + + o + œ œ #2œ œ &

fz interpolate blocks ad libitum, develop variations of them, keep modifying durations profound pungent incisive

sinuous

+unexpected œ-

&

C Tpt

œ-

. . Æœ œ

œ

. ÆJœ

œ-

œ-

3bœ

œ

œ

mute ad lib

o œ

+ z, oro growl + œ œ

+ o + œ #2 œ œ

fz interpolate blocks ad libitum, develop variations of them, keep modifying durations profound incisive pungent

?

. ÆœJ

œ

Tbn ¢

. . œœ Æ

unexpected

o œ

-œ+

sinuous

+ o + mute + oad lib œ œ #2œ œ

+ z, or growl œ

œ 3bœ œ

B

fz (also 8va) subito più lento

+ ord . or . muted . . . with . .hand .- - - - - - - - œœœœœœœœœ œ œ œ œ œ œ œ œ

°? ~™ Mar

œ Hal

-

-

-

-

-

-

-

-

-

+

- œ œ

-

-

. ÆœJ -

+ + >o K-œ œr œ

dead stroke tremolo or gliss over tubes

-

-

-

-

f

œ -

-

-

-

-

sffz

subito più lento ord or muted with hand

+ . . . . . . . . . . . . . . . .œ ~™œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vib. ¢&

Hal

-

-

-

-

Kr œ -œo

+ .ÆœJ œ +

œ

-

œ -

œ -

- - œ œ œ -

-

-

dead stroke tremolo or gliss over tubes

&

-œ -

sffz

-

-

-

-

-

-

-

-

-

muted with hands subito più lento pull string tremoloinside the board (pizz )

+ +

+

. ÆœJ

œ-

o+ Kr 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-

sffz

Pno.

∑ ?

{

~™ Hal

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

O œ

= singing (pick octave ad libitum according to range comfort) = playing interpolate blocks ad libitum, develop variations of them, keep modifying durations ast profound ast Ÿ <µ> msp æ

°

µœæ

. nƜ R

n-œ

ast voluble

msp ast

. . . . . . . . . bœ œ

OO

3bœ

O

œ

-col- legno - - -tratto --g µg

col legno battuto

&

Vln

sfz

f

~™ Hal

-

-

-

-

-

-

-

-

-

-

O = singing (pick octave ad libitum according to range comfort) œ = playing interpolate blocks ad libitum, develop variations of them, keep modifying durations

-

-

voluble ast

msp

-

-

-

-

ast

B Vla

ast msp

µœæ ~™

. . . . . . . . . bœ œ

profound

OO

n-œ

3bœ

O

œ

sfz Hal

? Vc

-

-

-

-

-

-

-

O = singing (pick octave ad libitum according to range comfort) œ = playing ~™ - ------- - - - - - - - œ ˜œ Hal

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-col- legno - - -tratto --g µg

col legno battuto ast æ

Ÿ <µ> . nÆœ œ R

-

f -

-

-

-

-

Œ

Ó™

tremolo msp or on the tail piece

- - nœ -

&

œ -

-

-

-

-

-

-

-

-

-

-

-

-

f spazzolato

?

O = singing (pick octave ad libitum according to range comfort) œ = playing spazzolato ~™ œ œœœœœœœœœ œ œ œ œ œ œ œ œ

+ . ÆœJ

œ œ

Cb

¢ Hal

-

-

-

-

-

-

-

-

-

-

-

f

-

-o +- Kr -+ œ œœ -

pull string bartok

-

-

-

œ -

sffz

D & F xxxxx

tremolo msp or on the tail piece

-œ» -

-

-

-


41

hand's up

hand's down ordinario or orango (intermittent) ad libitum

225

° ææ w™

Aud ¢ /

ææ w™

˙ w™

˙

˙ -

-

le

-

-

-

-

-

-

-

lu

-

-

-

-

-

-

jah

-

providing reference to the audience play fundamental pitches either ordinario or by employing former playing blocks ad libitum sim.

° &

Fl

#œ œ œ œ provide harmonic support employing ''messa di voce'' or former playing blocks ad libitum

#œ &

Cl

œ œ œ

#œ &

Cl

œ œ œ

œ #œ #œ

B

œ œ

Bsn. ¢

° &

Hn.

œ #œ #œ

#œ œ

œ

#œ &

C Tpt

œ œ œ -œ

B

. ÆœJ

œ

Tbn ¢

œ. œ. Æ

œ

œ 3bœ œ

. ÆœJ

œ. œ. Æ

œ b3 œ œ

œ

. ÆœJ

. . œœ Æ

œ 3bœ œ

tremolo 2+2, 3+2, ad lib

°? Mar

nn œœœœ

œ ~

œ bœœœœ

œ~

?

?

& - le

& -

-

-

-

-

-

-

lu

-

-

nnbb œœœœ

œ ~

? &

-

-

-

-

jah

-

tremolo 3+2, 2+2, ad lib

¢&

Vib.

œ b œœœœ

~ œ - le

-

-

-

nnœœœœ

œ~

nnbbœœœœ œ~

-

-

-

-

lu

-

-

-

-

-

-

jah

-

tremolo 3+2, 2+2, ad lib

##n œœœœ

#œ ###œœœœ &

##n œœœœ

œ œ œ

Pno.

~ ~ ?

{

~ - le

-

-

-

-

-

-

-

lu

-

-

-

-

-

-

jah

-

very long and generous bow, diagonal, cresc and decres along with accel and decel. to msp or to mst and back spazzolato: accel to +1/4 tone sim and decel to original pitch

providing reference and harmonic support to the audience, apply former playing blocks to each of the following pitches

accel to -1/4 tone and decel to original pitch

to +1/3 and back

#n œœ

## œœ

#n œœ

œ Vln

œ

° &

œ ~ ~ ~ - le

-

-

-

-

-

-

-

lu

-

-

-

long bow, spazzolato: accel to almost -1/2 tone and decel to original pitch

B

~ œ

##œœ

Vla - le

&

Vc

-

-

-

~ œ - le

-

-

-

-

-

-

jah

-

to -1 and back

#œ #œ

~ œ

&

-

very long and generous bow, diagonal, cresc and decres along with accelle and decel. to msp or mst and back, accel to almost +1/2 tone and decel to original pitch

lu

B -

-

-

-

-

long bow, spazzolato: accel to almost +1/2 tone and decel to original pitch

accel to +1/4 tone and decel to original pitch

œ œ

œ œ

-

-

~ œ jah

to +1/2 and back

œ œ

œ~ œ~

-

-

-

-

-

-

-

~ W

lu

-

-

-

-

-

-

-

~ W

jah

~ W

? Cb

¢ - le

-

-

-

-

-

-

-

#œ #œ &

lu

-

-

-

D & F xxxxx

-

-

-

-

jah


42 as in stimme 1 (highest possible)

228

° !

æ wæ ™

Aud ¢ /

w™

˙

˙

˙ ˙ Gi

-

-

-

gi

-

Tschüss

˙ #œ

˙ (lowest possible)

! œ

stimme 1

° & œ

Fl

_ ∑ (highest possible)

œ

œ _

_

oaei (progressive)

(lowest possible)

!

stimme 1 (highest possible)

#œ nœ

nœ œ

œ

& œ

Cl

_

_

oaei (progressive)

(lowest possible)

!

stimme 1 (highest possible)

#œ nœ

&

Cl

œ

_

œ

_

œ oaei (progressive)

(lowest possible)

∑ ! (highest possible) stimme 1

B œ œ

Bsn. ¢

_

œ

_

oaei (progressive)

(lowest possible) (highest possible)

stimme 1

! ∑

° Hn. &

nœ nœ

nœ œ

œ

œ

_

_

oaei (progressive)

(lowest possible) (highest possible)

stimme 1

nœ ∑ nœ & œ

C Tpt

!

#œ œ

œ _

_

oaei (progressive)

(lowest possible)

∑ ! (highest possible) stimme 1

Tbn ¢

B œ -

œ

. ÆœJ

. . Æœ œ

œ-

œ-

œ 3bœ œ

œ

. ÆœJ

. . œœ Æ

œ 3bœ œ œ-

œ

. ÆœJ

œ-

. . Æœ œ

œ-

œ b3 œ œO

_

oaei (progressive)

bbbb œœœœ

°? œ~

bb œœœ

b œœ œœ &bbœ

œ~ ?

?

&

&

(lowest possible) (highest possible)

stimme 1

∑ ! &

œ~ Mar

O Gi

-

-

-

-

-

-

gi Tschüss,

/

O

_

oaei (progressive)

(lowest possible)

∑ oaei (progressive)

(highest possible)

!

stimme 1

bbbbœœœœ

¢& ~ œ

Vib.

Gi

-

-

-

~ œ -

-

-

bbœœœ œ~

bœœ bb œœœO

gi

_

oaei (progressive)

Tschüss,

œ nn œœœ

&

O

(lowest possible)

n # œœ #n œœœ

n# œœœ

∑ &

&

œ

œ

œ ∑ !

Pno.

(highest possible) stimme 1

~ ? ~

{

~ Gi

-

-

-

-

-

-

O

gi

O

_

oaei (progressive)

Tschüss,

(lowest possible)

n# œœ

to +1/2 and back to -1/4 and back

n œœ

(highest possible)

œ ° œ Vln & ~

#œ #œ

! stimme 1

œ ∑ _

~ ~

O

O (lowest possible)

Gi

-

-

-

-

-

-

gi

oaei (progressive)

Tschüss,

to +1/3 and back

nœ nœ

~ & œ

Vla

Gi

-

-

-

~ œ -

-

-

nœ nœ ~ œ

n# œœ O

! (highest∑possible)

stimme 1

B

O _

gi

oaei (progressive)

Tschüss,

to -1 and back

(lowest possible)

! œ œ

œ œ ~ œ

& ~ œ

Vc

Gi

-

-

-

-

-

-

~ œ

œ œ O

gi

~ W

~ ? W ¢ -

-

-

-

-

-

?

O !

_ ∑

(lowest possible) (highest possible)

stimme 1

~ W

Cb Gi

(highest possible)

oaei (progressive)

Tschüss,

stimme 1

gi Tschüss,

D & F xxxxx

O

O oaei (progressive)

_ (lowest possible)


43

X 232

° Aud ¢ /

#w ™ w™ #w™

˙

˙ w™

˙

Al

-

-

-

-

le

-

-

-

-

-

lu

-

-

-

-

-

-

jah

#œ #œ

-

œ bœ Fl

° & #œ

Cl

& #œ

#œ œ œ

#œ œ

œ œ #œ

œ

œ

#œ œ

œ œ #œ

&

Cl

#œ œ #œ #œ B

œ

Bsn. ¢

#œ œ œ #œ

° &

Hn.

#œ #œ #œ nœ œ œ œ #œ #œ #œ

#œ œ œ

œ

& #œ

C Tpt

œ

freely decide weather move on to the new pitch or stick with the previous one a little longer

w

#w w

bœœœœ œ

#œ #~

B Tbn ¢

w w

#W

Mar

° &

œ b#œœœœ -

-

-

-

le

-

-

-

-

-

-

bœœœœ œ

œ b#œœœœ

¢&

Vib.

nbbbœœœœ

œ ~

#œ #~ Al

w

lu

-

-

# ~ #œ

-

-

-

w w

w

œ ~

bbœœœ bœ

jah

~ œ

nbbbœœœœ

œ~

bbœœœ bœ

## œ~ Al

-

-

-

-

le

-

-

-

-

-

-

lu

-

-

## œœœ ##œœœ

###œœœœœ

-

-

-

jah

œœ bœœ

#b œœœœ

&

œ #œ œ #œ

Pno.

?

{

Al

# ~ #œ

~ œ

# ~ #œ -

-

-

-

le

-

-

-

-

-

-

lu

~ œ -

-

-

-

-

jah

very long and generous bow, diagonal, cresc and decres along with accel and decel. to msp or to mst and back spazzolato: accel to +1/4 tone and decel to original pitch (playing boxes)

accel to -1/4 tone and decel to original pitch

## œœ

to +1/3 and back

to +1/2 and back

## œœ

sim

œœ

b œœ ° Vln & #œ #~ Al

#œ #~

œ ~ -

-

-

-

le

-

-

-

-

-

-

lu

œ ~ -

-

-

-

-

jah

very long and generous bow, diagonal, cresc and decres along with accelle and decel. to msp or mst and back, accel to almost +1/2 tone and decel to original pitch long bow, spazzolato: accel to almost -1/2 tone and decel to original pitch

(playing boxes)

sim to -1 and back

# œœ

# œœ B ##œ~

Vla

Al

to +1/3 and back

#œ #œ

#œ~ ~ œ

& -

-

-

-

le

-

-

-

long bow, spazzolato: accel to almost +1/2 tone and decel to original pitch sim

(playing boxes)

#œ &#œ

? ##œ~ Vc

?

-

-

-

lu

-

-

accel to +1/4 tone and decel to original pitch

~ œ

-

nœ~ -

-

jah

to +1/2 and back

to -1 and back

œ &œ

œ &œ

œ œ

? & bœ

#œ~ bœ œ~

Al

-

-

-

-

-

le

-

-

-

-

-

lu

-

-

-

-

-

jah

(sing as well while and holding fundamentals and eventually emplying the performative boxes)

#w w

? Cb

¢ #W

w w

w D & F xxxxx

w

w w

w


44

4 4

(highest possible)

236

° ! Aud ¢ /

w™

˙

#w™

˙

#w™

˙

˙

˙ Gi

-

-

-

-

-

gi

Tschüss

(lowest possible)

_ bœ œ

° œ &

Fl

œ

˙

#œ Ó

Ó

Ó

Ó

Ó

Ó

œ #œ #œ &

Cl

œ

œ

˙

œ

˙

œ

˙

œ

œ ?

#œ #œ &

Cl

œ œ

œ B œ Bsn. ¢

œ #œ #œ

° & œ

Hn.

nœ #œ

˙

œ #œ

œ #œ bœ

&

C Tpt

œ (highest possible)

∑ ! stimme 1

Tbn ¢

B w w

#w w

w

w

w #w

?

w

n wO

O

_ (lowest possible) (highest possible)

!

stimme 1

° Mar & nœ~

Ó #œ #~

bbb œœœœ

œœœ œ

&

## œ~

#œ # œœœ

# ˙˙˙ ˙O

_ O (lowest possible)

Gi

-

-

-

-

-

gi

Tschüss

(highest possible)

!

stimme 1

~ Vib. ¢& œ

# ~ #œ

bbb œœœœ Gi

-

-

-

-

-

œœœ œ

# ~ #œ

gi

## œœœœ

O ## ˙˙˙˙

Ó O

&

_

Tschüss

(lowest possible)

#œœœœ

& œ

bb œœ œœ

b œœœœ

b ˙˙˙˙

Ó

∑ &

#œ (highest possible)

Pno.

∑ ! stimme 1 stimme 1

? ~

{

# ~ #œ

∑ O

# ~ #œ

_ O

œ (lowest possible) Gi

-

-

-

-

-

gi

Tschüss

to -1/4 and back (highest possible) ord bb œœ

ord

œœ

° œ Vln & ~

!

stimme 1

bœœ #œ #~

#œ #~

b˙˙

Ó

O

O

_ ∑ ! (highest possible) (lowest possible)

Gi

-

-

-

-

-

gi

Tschüss

stimme 1 stimme 1

~ & œ

Vla

Gi

œ œ -

-

-

# ~ #œ -

-

œ œ

# ~ #œ

gi

œ œ

˙O ˙

Ó O

B

_

Tschüss

(lowest possible) (highest possible)

!

~ ? œ

& #œ

Vc

? &œ

# ~ #œ

#œ œ Gi

-

-

-

-

-

stimme 1 stimme 1

# œ~ ? gi

œ

˙ ˙O

Ó O

Tschüss

?

_ ∑ ! (highest possible) (lowest possible)

stimme 1

? w w Cb

¢

w

#w w

w

w #w

w

O w

O

_ (lowest possible)

D & F xxxxx


45 ✶ repeat vocal fragments ad libitum with shi ing speeds (that is accel and decel from one until ve times per q) and add cresc and decres ad lib (max dynamic mf)

✶✶ repeat vocal fragments ad libitum rst using the indicated pitch only, then producing downwards glisandos ranging from short to long durations, always starting from the indicated pitch. e last glissandos must become somehow longer and heading towards the lowest pitch available in your voice range. Once at lower registers, instead of naturally decreasing the dynamic please sustain the sound with almost a crescendo

Y q = 40 Voice

4 241 4 °

3 8

if male voice falsetto (loco) or ord (8vb) mf

8 4

,

,

ord (steady)

mp

pp

W & #w

Fl

w

#W ∑

W iallah_iallah_....

m

✶✶

mf

uau_uau_uau_...

m

U #W

/

prr..._prr...prr..._prr..._

Voice

mf

mp

if male voice falsetto (loco) or ord (8vb)

pp

mf

W #W ∑ & #w

Ob

U #W

W

w iallah_iallah_....

m

uau_uau_uau_...

m

prr..._prr...prr..._prr..._

Voice

mf

mp

if tenor or female voice: (8va)

pp

mf

? ∑ W

Cl

W #W

#w

w iallah_iallah_....

m

uau_uau_uau_...

m

U #W prr..._prr...prr..._prr..._

Voice

mf if tenor or female voice: (8va)

mp

pp

mf

U B ∑ Bsn

¢ W

W #W

#w

w

#W iallah_iallah_....

m

Voice mf if male voice falsetto (loco) or ord (8vb)

Hn

° & #w

mp shi ing speed

pp

W ∑

iallah_iallah_....

if male voice falsetto (loco) or ord (8vb) mf

uau_uau_uau_...

m

mp

pp

w

#W ∑

W iallah_iallah_....

m

mf if tenor or female voice: (8va)

uau_uau_uau_...

m

mp

pp

∑ W

W #W

#w

w iallah_iallah_....

m

U #W prr..._prr...prr..._prr..._

mf

? Tbn ¢

prr..._prr...prr..._prr..._

mf

W

Voice

U #W

W

w

& #w

Tp

prr..._prr...prr..._prr..._

mf

#W

m

Voice

uau_uau_uau_...

m

uau_uau_uau_...

m

U #W prr..._prr...prr..._prr..._

if male voice: ord (8vb) or falsetto (loco) mf ° # w Mar &

mf

W w

#W ∑

W iallah_iallah_....

m

Voice

ord (steady) pp

mp

if male voice: ord (8vb) or falsetto (loco) mf

uau_uau_uau_...

m

ord (steady) pp

mp

w

#W ∑

W iallah_iallah_....

m

/

prr..._prr...prr..._prr..._

mf

W #w Perc 2¢&

U #W

uau_uau_uau_...

m

U #W

/

prr..._prr...prr..._prr..._

Voice

if male voice: ord (8vb) or falsetto (loco) mf

ord (steady) pp

mp

mf

W #w Pno { &

w

#W ∑

W iallah_iallah_....

m

uau_uau_uau_...

m

☨ spazzolato with shi ing speeds (accel and decel, from one until six bowing per q) add cresc and decres (max dynamic mf) MST>MSP>MST, etc, ad lib mp pp

Voice

sing (also 8vb) p

#w

#W

w ∑

W iallah_iallah_....

m

/

prr..._prr...prr..._prr..._

mf

° W

U #W

uau_uau_uau_...

m

U #W prr..._prr...prr..._prr..._

Vl ord play

ord ☨

-˙ ™™™

& #w mf sing p

ff mf

ord

#w-

W #œ R

-˙ ™™™ œ W R

ff

mp

p

mp

pp

mf p

U #W

mf mf mf

W

U #W

uau_uau_uau_...

prr..._prr...prr..._prr..._

Voice

∑ #W W #w

w iallah_iallah_....

m

m

Vla ord ☨

play

r #œ

B #w -

#w-

∑ W

˙™™™ -

mf

ff mf

ff

ord

mp

p

ord

#˙- ™™™

œ W R

mf p

mf mf

U #W

ord ☨

play + sing

? ∑ W

Vc

W #W

#w

w iallah_iallah_....

m

m

uau_uau_uau_...

U #W prr..._prr...prr..._prr..._

pp mp

pp

mf

pp

mf

sing, if male voice: ord (8vb) or falsetto (loco) mf

mp

# Word (steady)

W #w

w

W

U #W

ord

/ Voice iallah_iallah_....

m

m

uau_uau_uau_...

prr..._prr...prr..._prr..._

Cb ord ☨

ord

play

W

W #W

? #w

w

U #W

∑ ¢ m

iallah_iallah_....

m

uau_uau_uau_...

f mp

pp

D & F xxxxx

mf

prr..._prr...prr..._prr..._


46 wald teufel

Finalino unwrap alluminium paper (percussion 1 & 2 only)

roate in air

248

° Perc. /

÷

ææ _

ææ _™

U )

) Œ

∑ o (mp)

o recorders and pio pio

ffff

· ÷ ææ Aud ¢ _

U ∑ ææ _

ææ _ o

ffff

metal drum

° Perc 1¢ /

· æ Yæ

o æ Yæ

æ Yæ

U ∑

ffff

D & F xxxxx

ORANGO  

for ensemble and audience

ORANGO  

for ensemble and audience

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