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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 26 August by Asko Schönberg at the Muziekgebouw in Amsterdam, on 16 March 2019 by London Sinfonietta at the Queen Elizabeth Hall in London

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 16 July 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 very big with four pitches, Metaldrum, 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), Tam-Tam (Paiste 26”) partially damped on Keyboard Stand, Ride Cymbal 22”, China Cymbal 14”, Marimba (four or ideally six octaves), Almglocken F4, Waldteufel (Kolberg if possible), Gongs (F#4 and C#4), different mallets, contrabass bow, 2 medium-hard vibraphone mallets with fiber glass handles (Vibrawell V3). 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 very big with four pitches, 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), 12 pair of metal-sticks, alternatively hard-pencils (for musicstand tremolos)

requirements for audience: according to the 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 in the score as ''piopios''), 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 bring out relative of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very 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. Build up playing all three strings. « Harmonic glissando » : gradually moveand from lightly 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 • all performers off stage, audience and trained audience normally seated, lights off (only light spotlight over puppet on) • backstage 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

Contrabass

¢ © 2018 Editions DURAND Paris, France

Tous droits réservés pour tous pays D & F xxxxx


2

A 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. 2 - 3 min. 2

performance indications:

/ - be in a possibly hidden position with the Bass Drum at the beginning 

Perc 1

√ ∑

- once the backlight is on, start moving over the performative space, your movement seem at times as an imaginary ‘’pas de deux’’  between you and the bass drrum - while moving, favour large steps, long movements, like stopping abruptly and sliding forward and backward - while moving, if you happen to run into a cable or a grid over the oor, indulge in it, obsess with it

=

B 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 member 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). Hence the applause for the audience member returning to original seating cross fade entrance of ensemble members. 5 - 6 min.

3

performance indications: √ ∑ - suddenly you realise there’s a teddybear, leave the bass-drum close to conductor podium before getting close to it. Position yourself sidewise to the audience, bend down, slowly pick the teddybear up and scrutinise it just a bit before randomly throwing it towards the audience - invite the audience member who fetched it to join you on stage. Get back the teddybear from her/him and place it over a dedicated music-stand (next to conductor) - when the audience member joins you on stage make sure to position her/him always in front of you, face to face while showing your sides to the audience -provide the audience member with two screaming chickens (one per hand), you holding four of them (two per hand) -then start a ‘’screaming chicken quartet’’, based on imitation. Here a sequence of actions which should prompt the audience member to naturally imitate you: T-position (straight torso with open arms), geometric (play with moving your arms and forearms in geometric position), tennis playing, Pisa tower (slowly swing le and right, position your selve diagonal towards the audience), giggles fast with shoulder. -Once done, get the chickens back form the audience member, put them over the dedicated music-stand and provide her/him with a superball which you'll have in your pockets. -Start playing with it, rst sliding the superball over the wooden frame (slide, dead strokes, etc.), then over the skin ( rst gesture should be a long deep sound), use you bare hands as well on the bass drum skin to sometime mute the sounds and / or to interrupt the audience member. Head towards a sort of crescendo rossiniano with a very deep, long nal slide sound. - thank the audience member by 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 - head towards your own percussion setup location with the bass drum, not rushing. (Advises: If she / he's not very good at a speci c actions either move on to the next quickly or help and encourage her/him with eyes and hands gestures, as a mime would do - never talk, only if seriously stuck.Favor large and slow gesture as in bigger halls fast gesture won't be properly seen)

/

Perc 1

=

C 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. 4

√ ∑

/

Perc 1

D = Superball Symphonic Bass Drum

54

3 4

5 4

3 4

4 4

2 4

5 4

4 4

5a.s. 4

3 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 water glass over wired string *

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

Ensemble starts fading out

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3

Ensemble I section

15 Fl

4 E q = 80 4

° &

3 4

4 4

3 4

÷

embouchure off

Ob

&

Cl

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÷

÷

÷

÷

÷

÷

? Bsn

¢

Hn

° &

&

C Tpt

? Tbn

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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

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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

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æ 6æ


4 multiple keys tremolo (✶) 5

3 4

> ææ ææ ¿¿

20

°÷

4 4æ

æ Yæ

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5

¿æ

3 8

> ææ ææ ¿™ ¿ 5

æ Yæ

æ Yæ

3 4

articulated sound with presence of air 6

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

mfpp

mfpp

‚ b‚ ‚ #‚ n‚

ff mp

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 ¿¿

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>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

ff

p pp

mf

p

f

multiple keys tremolo (✶)

>r5 æ æ ¿æ ¿æ

ΠBsn

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> 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

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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

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æ ¿æ

> æ ¿æ

»

r5 > æ ææ ¿¿

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Tp

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≤ 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

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/

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

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5 5

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

B

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Œ

Vla

> ¿ ææ R

¿ ææ

¿ ææ

¿ ææ

mfpp

> ¿™ ¿ Y æ æ ææ

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B

5 5

mfpp

? ∑ Vc

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5 > ≈¿ ææ

mfpp

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¿ ææ

> ™ ¿¿ ææ æ æ

> > ¿¿ ¿ ææ ææ ææ R

?

Y ææ

mfpp 5 5

mfpp

‡ · ‚ „

ord poco sul ponticello sul ponticello molto sul ponticello

? ∑

Œ

Cb

mfpp mfpp

‹ ‚‚≤ ™ &

‚‚ ™ pp

o D & F xxxxx

‚‚ ™ ?

¢


24

5

ord (sound) D-D# keys tremolo (strettissimo)

3 4

4 q = 60 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 #˙ z

Fl

7 ° & #‚ n‚ ‚b‚ ‚ # ‚ n ‚ ‰

œ ™™™

œ o

#œ o f

f quasi

w æ

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3

o mf quasi

mp

+air + keys noise

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6

6

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6

6

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3

&

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

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

ææj -

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

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3

ææ œ

¯ æ œæ

+ ææ œ

3

æ ˙æ

Œ

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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

? Cb

¢

„ æ bOOæ™™

‹ &

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

@ ≥ ? bg >

Cb Cl

@ ≥

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

f

ff

6 7

≤ ‰

g gb g g# gn g# gn g

gb g g b g gb gj >

ff fz fz mf

f

mf

f

air flattertongue

? Œ

Œ

Cbsn ¢

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

@ 6 ≥ 7 ≤ # gn 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

Cb

&

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

D & F xxxxx

® L#œ ™ o

œ

4 4


air flattertongue

7 28 Fl

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

4 4

° &

‰ 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

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

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

embouchure on

‚ ? Ó r bg

Cb Cl

b‚

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

b g™™ 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

‡ ‰™

≈ Cb

¢&

Œ

Œ

‹ ‚‚≤ &

OO ™

… pp ff

D & F xxxxx


8 wah wah effect (✶)

30 Fl

5 4®

°&

2 8

3 4

music stand tremolo (✶) or waldteufel

bO7 ™™ mf

® Œ 7O

fff

Œ ‰ ∑

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.

æ ‰ 6æ æ6 æ

Π&

p

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

7

‚ ‚ #‚ ‚ b‚ # ‚ n‚ ‚ #‚ ‚ ‚ ‚

‚ ? Cb Cl

#‚ #‚

p

f

æ 6æ

æ 6æ

p

metal sticks 5:3

music stand tremolo (✶) or waldteufel

j ≈ 6æ™

Π/

æ 6æ

3

∑ /

f

æ 6æ

metal sticks 5:3

music stand tremolo (✶) or waldteufel

Ob

æj 6æ æ6 æ

Ó /

4 4

metal sticks 5:3

ord

O™ 7™

6 æ

∑ p

æ 6æ

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

æ -æ

g

g

p

f

æ 6æ

æ 6æ

p

o pp

f

double tonguing

Hn

6 ææ

/

g™

f quasi

°?

æ 6æ

Œ ææj -

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

music stand tremolo (✶) metal sticks or waldteufel

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 æ

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 6 6 6 6 æ æ ææ æ æ

æ 66æ

æ 66æ

66 ææ f

æ æ 66æ 66æ p

5:4

f

p

f

two keys (l & r.h)

p

(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 6 6 6 6 æ æ æ ææ æ

æ 66æ

66 ææ

p

f

æ 66æ 6æ6 æ

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 æ ææ ææ ææ 6 6 6 6 66

/

æ ))æ

66 æ

p

æ 66æ 6æ6 æ 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 æ

æ 6æ æ6 æ 5:3

p

f

f

p

ast msp

frog's tip tremolo (✶)

j ≈ 6ææ™

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

Vla

/

ast

6 ææ

msp

æ )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

Cb

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 33

°

4 4æ

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 œ

˙™

3

o

o mf

ppp pp

ff

p

Wine glass

3

æ )æ

3

Œ &#œ

/

Cb Cl

˙

˙

˙

‰ µœ ™

˙

˙

Πo

˙™

œ œ œ

mf

o ff ppp pp

Wine glass 3

3

æ )æ Bsn

æ 6æ

Œ Œ

æ 6æ™

5

j &‰ ‰ #œ o

‰ Œ

¢/ ppp

p

Œ œ

w

˙

˙

˙

˙

œ

f

ppp 3

o ff

Wine glass

3

3 5 3

Hn

°/

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

Crotales

play with bow 3

w &

ffp

ffp ffp

>œ J ‰

‰ œJ ˙ o

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

5

ffp ffp

bow gliss (scrape sound)✶

(✶) gliss from close to tailpiece towards close to bridge ord

ast

Cb

¢

æ 6æ

Ó

f

pp

æ pp

> æ ‰ 5 6 6 6æ æ ææ

>6 æ ææ 6æ R5

ææ 6

3

1 ‰ ‰ J

msp ord 5

?

‰ Ó

Œ

1

‰?

3

œ œ™ > sffz pp

ffp ffp

D & F xxxxx

˙

IV f

˙™

fff (i

ff

mf u)


10 (wine glass)

38 3

Fl

° Ó &

Œ ˙

5 4œ

4 4 w

q = 80

œ ∑

5

o mf

(wine glass)

œ

w

œ

& Ó

Ob

5

o mf

pppp

embouchure off (on Cb Cl)

(wine glass) 5

& Œ

Cl

#˙ ™ o

œ

w mf

Bsn

¢& w

˙

mf

pp

œ

/ pppp

Ó o

Œ

double tong. triple 5

Hn

° µw &

˙

mf

pp

Ó o

Œ

7

mp

C Tpt

& w

˙

mf

pp

˜w

˙

mf

pp

double

7 5 ~~~~~~~~~~~~~~~~~~~~~~ æ æ æ æœæ 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 nœ#œ nœ 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 6

f quasi

Ó o

Œ

Ó o

Œ

G ææ o

✶ (~k ) (both hands)

Bass Drum

° >œJ ‰ Œ Œ bœ Crot & o f

>œ J

˙ œ >œ ≈

œ

ææ ww o

3

Œ

Œ

p f

? Tbn ¢&

f quasi

mp

Ó

Ó /

o f f

✶ (~k ) Bass Drum

Crot ¢&

#>œ ‰ Œ Œ nœ J o f

>œ J

#˙ nœ

œ œ≈

Œ

Œ

ææ ww

Ó

both hands

o f f

o (✶) 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 urgent sound

Pno {

/

∑ ‰ # œ™ œ™

· œœ ™™

œ #œ

° Vln &

‰‚ nœ ##œœ ™™™™ œ œœ

Œ ##œœ

˙˙‰

˙˙

bnœœ

· r‰ # œ #œ

œœ ™™™™

Πf

pp

‰ #˙˙ Vla

‚ ‰ # œœ b œ nœ

mf

f

pp

‚ ‰ #œ ™ # œ™

œœ

p

‰‚ œœ #œ ™ œœ ™™ # œ™

‰ #˙˙

‚ #œœ

‰ nœœ

·

reverse sound 3

##œœ

‰ ‰ ˜ œ- œ … o ff

pp mf

f

mf

f

p

ê

pp f quasi

f ê quasi

Vc

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

pp

mf

‰™ #œœ ™

f pp

·

reverse sound

##œœ ™™

≈ œ œ …‰ o ff

j #œœ ™™

#œœ

f

pp

msp

>≤ ≥>- III -œ

II (ord) msp 3 ord

5

Cb

‰ #l œ … o ff

·

& f

f pp

reverse sound

3

? ¢ Œ µœ ™

#>œ œ ™

mp

pp sffz sub

˙

j‰ ‰ œ

œ

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

6

ff

p sub

ff

sffz sffz

sffz mp sub

D & F xxxxx

ff

˙


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

G

1

42

1 Cl

°&

Œ

1 -‰ Œ

-™

‰ ∑

-≥ - - - æz 6 6 6 )æ 6

! Ó

/ pp

f

ê

p

pp f tschu tsche tschi tscho frr...

f

mf sub ✶ ngerings ad libitum, follow displayed countour

1 ! ∑

™ 1 Œ

Ó

/

&

Cl

_

Œ

∑ mf pp

f

pp

air sounds ✶

talk

hickup talk kiss

≤ @

-≥ - - 6 6 6 6

3 5

5

ææ r ™™ g gg g g g g g /

Cb Cl

Œ

g™™

g g gg g ‰

)™

-∑

z

æ )æ

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

frrr

..cu - lus

de-pre - ca...

frrr

tschu tschi tsche tscho frr...

f

mf sub

o 1 !™ _™

∑ Bsn

¢&

j -

J

Π-

Ó

/

∑ mf pp

f

pp

reversed mouthpiece

air only, pos. ad libitum

Hn

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

5

‰ ≈

Œ

Ó

Ó gggggg

gggggggggggg p

f

gggggggggg

ggggg

pp p

f

mp

f

f

pp

air only, pos. ad libitum

reversed mouthpiece

6

Ó

Œ

&

C Tpt

f

(with percussions)

Tbn ¢

? g g g g ææG f

ggg g gg G ææ æ

mf sub

gggg Œ

Ó

6

f

@ ✶✶

- -6 -6 -6 6 6 l.h

✶✶ ✶

- - - ° 6 6 6 Prc 1 / 6 r.h l.h l.h

ææ ˙˙ l.+r.h mf sub

r.h f

>- >- >- >- >- >-3 >œœœœ œœ œœ œœ œœ œœ Ó

ææ ææ œœ ˙˙

f sub

6

r.h l.+r.h f mp sub

r.h l.h r.h f

6

@

✶ -✶✶- r.h ææ 6 l.h -6 -6 œœ ˙˙ 6 r.h 6 ææ l.h r.h

✶✶ ✶

- - - 6 6 Prc 2 ¢& 6 l.h r.h 6 r.h f

ææ ˙˙ l.+r.h mf sub

l.h

>- >- >-5 >- >- >œœœœœœ œœ œœœœ ™™

>œœ ™™ ‰ Œ

f sub

l.+r.h f mp sub

f

(✶✶) slide palm over different portions of bass drum's skin 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

ê

f

pp

1™ Waldteufel

Viola

rotate in air

1™

hand

1 Œ ∑

_

mf

f pp

™ J -

/

&

Vla

1

1™

Ó

B

1™ 1 Ó

?

mf f

pp

! rotate in air

Waldteufel

Violoncello

!

hand

1 ΠB

1 ™™

/

Vc

mf

hand

1 _

f pp

f

pp

f

mf

? ∑

Cb

¢ w mp

D & F xxxxx


12

q = 60 Wald teufels

wah wah effect ✶

5 4®

- - z -6 -6 æ æ 6 6 6 )æ / -6

47

° Fl

&

2 8 ord

O™ 7™

bO7 ™™

®Œ 7O ®≈ Œ

6

®

Ó Ó

/

(etc.)

mf sub

f

ff 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

embouchure on

- - -6 z 6 -6 6 6 / 6 6 æ (etc.)

Cb Cl

7

æ )æ

‚ #‚ ‚ ‚ ‚ b‚

?

∑ #‚ #‚

# ‚ n‚

‚ ‚

‚ Ÿ‚ ~~~~~~~ Ó #‚

Wald teufels

/

‚ ‚ 5 6

mf sub

ff f

f

Bsn

¢/

Hn

° &

Wald teufels

/

Wald teufels

∑ /

&

C Tpt

Wald teufels

? ∑

∑ /

Tbn ¢

right hand (or viceversa)

° / wææ

æ wæ

æ ˙æ™

æ ˙æ

æ œæ

Perc 1 key tremolo

le hand (or viceversa) 5 5

Π/

5

5

≈ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

∑ mp

6 6 6 6 6 æ æ ææ ææ æ 5:4

f

p

f

p

key tremolo 5 5 5 > 5 ≈ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5

Prc 2 ¢&

∑ ffp p

6 ææ

6 6 6 6 ææ ææ ææ ææ 5:4

f

p

f

5:4

ææ æ ææ ææ ææ 6 6 6 6 6 Pno {

/

∑ f

p

ast frog's tip tremolo ✶ 3

Vln

° &

æ 6æ

‰ ∑

∑ ∑

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

frog's tip tremolo ✶

ast

≈ B

æj 6æ™

Vla

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

frog's tip tremolo ✶

ast

æ 6æ

? ∑

∑ ∑

Vc

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

p

arco over the tail piece

? ∑ Cb

Ó

‡ ‹ ‚‚≤ Œ &

„ ? #Oæ æ # >O

‚‚

¢

‡‹

1 ‚‚ ™ ‰ o

&

3

pp

f

D & F xxxxx

p

1

1 ææ 3

mfp pp

1


13 Wine glass

3 4 51 °

5:3

æj æ æ ‰ 6æ æ6 6æ 6æ

Π/

Fl

p

f

4 4æ

˙ #œ

˙

w l.v.

)æ™

Œ Œ

Ó

&

p pp

f

pp

Wine glass

3 5:3

æ æ æ ‰ 6æ æ6 6æ 6æ æ

Π/

Ob

#œ ™

ææ Œ3 6

æ )æ

˙

w

l.v.

Œ Œ

Ó

& pp

p

f

p f

pp

Wine glass 3

Ϫ

5:3

3

˙

w ˙

j ≈ 6ææ™ 6 6ææ 6ææ ææ

Π/

Cl

l.v.

æ )æ

Ó

Œ

Ó

Œ

& pp

p

f

p f

5:3

pp

Wine glass 3

3

3

l.v.

˙ Œ Bsn

æ 6æ

6 6ææ æ

p

f

¢/

æ 6æ

æ )æ

˙

#œ ™

w

Œ Ó

Œ

Ó

Œ

& pp

p pp

f

5:3 3

Wine glass

l.v.

Hn

°/

æ ‰ 6æ æ6 æ

æ æ 6æ æ6 6æ æ

æ 6æ

#w

w

Œ Ó

Ó

Œ

& pp

p

f

p

f

p pp

f

5:3

≈ /

Tp

ææj 6 6™ æ æ

æ æ 6æ æ6 6æ æ

p

p

f

f

ææj 6™

l.v.

Wine glass

œ ≈ Œ & #w

Ó

w Ó

Œ

p pp

f

pp

µ˙ 5:3

æ 6æ Tbn ¢ /

6 æ

æ æ 6æ æ6 6

f

p

p

f

æj 6æ

Wine glass

Œ ‰ Ó

Ó ∑

&

p pp

play with bow Crotales

>œ J ‰ Œ

#˙ Ó /

Ó

Ó

&

o f

5:3

° Perc 1 /

æ 6æ

æ 6æ

6 æ ææ æ 6 6 f

æ )æ

Ó

p

play with bow 5:3 Crotales

æ 6æ Prc 2 ¢&

6 æ

æ æ 6æ æ6 6æ

f

p

p

f

æ )æ™

> œ ‰ Œ J

Œ #˙ o

Ó &

p

f

Pno {

/

æ )æ

6 ææ

æ 6æ æ6 æ

> 5 æær ææ 6 6

Waldteufel

æ )æ™

(sparse clicks, irregular, maximum density 1 per 0.5'')

_

_

_

5:3

f

p

f

ffp

f

msp msp

ast

ast

° Vln

æ )æ

6 æ

æ 6æ æ6

æ 6æ

Ó

Œ

ææ

‚ ‰ ##œœ ™™

‰ ‚ # ˙‰ œœ #œ ™ #œœ ™™ # ˙ # œ™

·

‚ ‰ # œœ nœœ ê

&

reverse sound 3

##œœ

‰ µœ- œ o

5:3

f

p

f

pp

f

pp

mf

f

‚ msp

ast

æ )æ

6 ææ

Vla

msp

æ 6æ æ6 æ

##œœ ™™™™

‰‚ œœ #œœ

mf

f pp

ast

æ 6æ

Ó

Œ

æ

&

mf

f

p

˙˙‰

#˙˙

nœœ

pp

f quasi

ff

· r ##œœ ‰

œœ ™™™™

p f

pp

f

pp f

msp

ast

6 ææ

Vc

msp

æ )æ

æ 6æ æ6 æ

ast

æ 6æ

Œ

ΠB

Œ

ææ

‚ #œœ ™™

‰‚ œœ #œj œœ ™™ #œ

‰™ ## œœ ™

pp

≈ ≈ … ff

· reverse sound

#œœ ™™

#œœ

≈ nœ- œ o

#œ ™ J # œ™

5:3

f

reverse sound

lœ o

5:3

f

≈ ≈ …

…≈ ≈

p pp mf f

pp

f

f pp

f

pp

ff

pp

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

ast

1 Db.

msp

1 æ J ‰ Œ 6æ æ6 æ

¢

ast

æ 6æ

Œ

æ 6æ

1 1™

æ )æ™

Œ Œ

æ

1 1> ææ

5:3

ë mp

p f

pp f

pp

pp

o

f pp

D & F xxxxx

f


14

w

w

w

w

U w, (no a.s.)

w

56 Fl

° &

/ f

#w

mp

w

w

w

/ f

w

mp

w

w

w

U w

w

/ f

#w

mp

w

w

ppp

w

U w

w

/

¢& f

#w

mp

w

w

ppp

w

U w

w

° &

/ f

w

mp

w

w

ppp

w

U w

w

/

&

Tp

f

µw Tnb

ppp

&

Cl

Hn

U w

w

&

Ob

Fg

ppp

mp

w

w

ppp

w

U w

w

/

¢& f

œ ° Prc 1 & Œ

>œ J ‰ Œ

mp

µœ

Wine glass

Ó

Œ

w

ppp

w

U w

w

‰ /

o

pp f

mf

mp

ppp

w

w

U w

Wine glass

Prc 2 ¢& Œ

#œ o

>œ J ‰ Œ

µœ Ó

Œ

/

f

_ Pno

Vln

{

w

‰ pp

mf

ppp

U ∑

Ó

/

° Ó &

mp

Œ

‰ # œ™ œ™

‚ ##œœ

/

· ‚

œœj J

#œœ ™™

Œ ##œœ Œ

œ #œ

‰ ‚ œœ #œ J#œ

##œœ ™™

Œ

#œœ ™™

œœ‰ ‰™ Œ

U ∑ /

J

J f

mf

˙˙

#˙˙

& Ó

Vla

f

p

f quasi

B Ó œœ

##œœ

p

!™ æ

Db.

mf

f

mp

‚ œœ

ê

f quasi

p

f

Œ

##œœ ™™™™

‰ ‚ œœ R #˙˙

mf

f pp

Ó

‰ ‚ œœ #œ J#œ

mf

1> 1 1 ≈

1

1™ Œ

f

mf

·

‰ ‚ ‰ œ #œ bœ œ

‚ ˙ #˙

mf

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

‚ Vc

p

‰ ## œœ ˙˙

‰™ Œ

U ∑ /

f

‰ ## œœ œœ

‰™ Œ

U ∑ /

f pp

f

1 1 1> ! ™

U ∑ /

¢ æ pp f

pp

pp

D & F xxxxx

f

pp


15

H Impro I (11''∼16'') 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

62 6

°

start quietly a er the strings

®

/

Fl

-™ o

-™

>-™

- o fo

o mf

Π/

r >f

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

--

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

5

3

Œ

/

Cl

-™ o

-™ o

- o fo

r >f

Œ

‰™

mf or to mp or f or ff

‰ /

.- .- .- .- .-

_™

--

mf

f

pp

start quietly a er the strings 5

3

≈ Fg

¢/

r >f-

- o f o

- - - - -

®

--

>-™

o mf

Ó™

/

j -™ o

f

mf or to mp or f or ff

f

start quietly a er the strings 5

°

3

Œ

/

Hn

-™ o

-™

r >-

- o fo

o

.- .- .- .- .-

‰ _™

--

mf

f

pp

f or to mp or f or ff mf 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

5

3

ΠTnb

¢/ -™ o

-™

r >f

- o fo

o mf or to mp or f or ff

.- .- .- .- .-

--

mf

_™

f

pp

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

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)

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

5

°

3

5:3

≈ Vln

r >

/ - o f o

- - - - -

Œ -™ o

--

mf

®

f

-™

>-™ f

5

ΠVla

3

/ -™ o

f

o mf or to mp or f or ff

f

-™

- o fo

o mf

r >

æææææ Œ -----

.- .- .- .- .-

‰ _™

--

mf

f

pp

f or to mp or f or ff

6

≈™ Vc

/ -™ o

-™

>-™ o

mf

- o fo

r >

≈ .- .- .- .- .- .-

Π--

mf

_™

f

pp

f f or to mp or f or ff

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


16

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


17

• 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 subito, conductor will cross fade it with the ending of the 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


18

5 q = 60 4 ° &

4 4

65

Ens

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. multiphonic ad libitum on low register + growl

? Ó

∑ /

B Cl

_™

_

p

ff

_

multiphonic ad libitum on low register

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

bisb.

? ∑ /

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

?


19

J orango gliss q = 66 max (or slower)

7 8

69

5 8

mp

f

4 4

f

7 16

orango gliss

œ ææJ

œœ

r æ ææ œ

° ∑

‰™

/

Fl

o

œ æJ -

i

æ ˙æ -

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 i

-

æ ˙æ -

o

œ i

-

≈ ˙ææ™™™ o_a_e_i

o

(progressive)

mp

f

≈ œææ™™

œ ææJ

f

orango gliss

œ æJ

œœ

/

Cl

o

-

i

æ ˙æ -

o

3

‰ œ

i

-

ææ ™

æ œæ o_a_e_i

o

(progressive)

sim

f

æ ˙æ

œ ææJ

f

orango gliss

œ æJ

œœ

∑ Fg

¢/

o

-

i

æ ˙æ -

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

æ ˙æ -

o

-

i

æ ˙æ -

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

æ ˙æ -

o

-

i

æ ˙æ -

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

æ ˙æ -

o

-

i

æ ˙æ -

o

≈ œææj™

Œ œ

i

-

o_a_e_i

-

(progressive)

(plexiglass) low

low

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

Log Drum vey big 5

mf

æ ˙æ

œ™ æ

æ ˙æ

œ æJ

mp

f

sim

f

3

°

Ó o

œ æJ

œœ

æ ˙æ

w ææ 3

ppp

f

hard broom on oor or hard brush over bass drum

Gongs F#4 and C#4

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

- - - -j -œ -œ -œ œ œ œ œ

- - - - -œ œ œ œ œ

Ó

Perc 2 ¢ /

l.v.

‰ YY ™™ æ

3

o ppp

Ó o

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

æ ˙æ -

o

-

i

æ ˙æ -

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

æ ˙æ -

o

-

i

æ ˙æ -

o

Œ œ

i

-

-

( ) h j æ æ æ ‰ æ œ o_a_e_i

o

(progressive)

mp

f

mp

f

sim

f

æ ˙æ

œ ææJ

f

(higher)

orango gliss

œ™ æ

3

∑ /

/

Vla

‰ œææ ææ ææ˙ o

a

-

æ ˙æ -

o

-

e

œ æJ

œœ

-

o

-

i

æ ˙æ -

o

i

-

Œ œ -

( ) 3 h ‰ ‰ œææj ææ o_a_e_i

o

(progressive)

mp

f

mp

f

sim

f

æ ˙æ

œ ææJ

f

(higher)

orango gliss

∑ /

/

Vc

˙ ææ

≈ œææ™™ o

-

a

œ™ æ

æ ˙æ -

o

-

e

œ æJ

œœ

-

o

-

i

æ ˙æ -

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

æ ˙æ -

o

-

i

æ ˙æ -

o

Œ œ

-

i

-

o

Œ

æ ˙æ o_a_e_i (progressive)

D & F xxxxx


20 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™ ææ

f

( ) æær æ h œ

œ ™™ æ æ

æ ˙æ

3 o_a_e_i

i

a

o

e

-

as fast as possible!

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mf

pp

Œ

/

Cl

6

f

( ) j æ æ æ ‰ ‰ œæ h

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

≈ Fg

mf ( j æ æ æ ‰ œæ

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

‰ ææ œ

Œ

/

Hn

6

f

ææ (h )

mf

œ ™™ æ æ

pp

œ æ æJ

æ œæ

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

6

œf ™™ æ æ

( )

≈ œææj™

Œ

/

Tp

f œ™ ææ

mf mf

ææ

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. ≈

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 ææ 6

æ œæ™™

ææ œ ™™

ææ œ ˙ æ æ

œ™ 5 ææ

ææj œ ææ

œ ææ

œ æ æJ

æ œæ

o

-

a

˙ ææ

æ œæ™

pp

f

-

5

p

ff

fff mp

f

mp

f

p

f

pp

log drum

side ✶ 3

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

7:6

Rhapsotic, vivace

Perc. ¢ /

> > > 6> > > > > > ≈ ---------

log drum

l.v.

Y™ ææY™

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

pp

1 ™™ ææ æ

1111111 1

f f ff

æ -æ™ p sub

- - - - - - - 1 1 1 1 1 1æR

Pno {

/ 6

mp

5

p sub

normal sub as fast speed as possible

f pp

æ wæ

o_a_e_i

a

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

œ æ æJ

æ œæ

æ ˙æ

o

mp

-

a

o

-

-

e

normal sub as fast speed as possible

as fast as possible!

Vln

f œ™ ææ

mf

œ ™™ æ æ

3

i

°

ff

as fast as possible! as fast as possible!

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

1™ æ

f pp

f œ™ ææ

mf 3

‰ ‰ œææj ææ™

œ ™™ 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. ≈ Vla

/ 6

mp

f pp

f œ™ ææ

mf 3

‰ ææ œ

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. ≈ Vc

/ 6

mp

f pp

f œ™ ææ

mf

≈ ˙æ™™™

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. ≈ 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


21

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


22

87

4 4

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

° Fl

5 4

L R L R L R L R R L R R

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

/

Ob

≈ ∑

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

/

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

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 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 /

Hn

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

/

Tp

≈ ∑

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

œœœœœœ 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 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

≈ 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 æ

œœ

5:4 6:4

fff p sub

7:6

ff

6:4

fff

(rhapsodic) (colla voce) side

5 5:4

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

6:4 1 1 1111 Œ

Œ Perc. ¢ /

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

œ Pno {

/

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

° 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


23

ob cl mp

K poco più lento 90

4 4

(tutti) p

p

pp

˙ ææ

æ œæ

æ wæ

æ œæ

Œ

æ œæ

Œ

Ó Œ w æ Óoæ

mf

œ 5 ææ œææ™

3

° &

tb no vln

vla vc cb f

1 4 8 œææj 4

p pp

Ens

mf

bsn hn tp

w ææ

˙ ææ

i

i

œ ‰ ™™ Œ

æ œæ

æ ˙æ

œ ææ

(low)

o

o

loe_loe_...

o

i

o

e

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

(low)

o

i

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 æ

pp

Perc2

æ Yæ

¢/

æ ¿æ

Œ

Y æ

Ó

Y æ

Œ

Œ

Y æ

¿ æ

Y æ

Y æ

mf

pp

Œ

Œ

Œ

''p'' but solid 3

mf

æj ¿ææj ¿¿ æJ

ææ Yææ Y™

5

p

p

mp

f

=

L q = 72 ca 98

4 4

1 8

To Voice

pp

4 4

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

ff pp p 3

Ens

5

3

° &

5

æ wæ

ææ -

∑ Ó

u>

o

very le le mp

ææ -

1 ææ a>

1 ææ

u>

a>

ææ u>

ææ -

1 ææ a>

∑ 1 ææ

u>

Ó

Ó

a>

ææ _

ææ -

u

u>

1 ææ a>

ææ u>

1 ææ a>

ææ -

1 ææ

u>

a>

ææ -

ææ -

1 ææ

u>

a>

u>

1 ææ a>

center (✶✶) produce formants by opening and closing opened side with hand while rotating handle right f still voices imitating wald taufels

÷ Aud

¢

æj œæ ææJ

ææ Yææ Y™

ææjj ¿¿æ ¿ ææJ

Ó Œ Y ææ

° Perc 1

Ó Œ Œ ææ æ w ˙ ™ ˙ œæ æ æ Óoæ o æo o

/

imitating wald taufels

pp 5

i

æ œ œæ æ

æ œ œæ æ

æ œ œæ æ

æ œ œæ æ

u

u

u

u

a

a

a

Œ Œ Œ

ææ 1 - æ u>

a

a>

ff pp 3

∑ Ó

Ó

5

ææ _

ææ u>

u

mp

1 ææ a>

ææ u>

1 ææ a>

ææ u>

1 ææ a>

ææ u>

1 ææ

ææ -

5 a> u>

1 ææ a>

f ff pp

… 3

∑ Perc2

¿ æJ

¢/ pp

Ó

p

Ó

5

ææ _

ææ 1 - æ

ææ 1 - æ

ææ 1 - æ

ææ 1 - æ

u

u>

u>

u>

u>

f a>

a>

a>

ææ 1 - æ

5 a> u>

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

˙˙˙˙˙˙ ? ˙ ææ

mf

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

o U +o molto gliss (until tessituras' bottom) (short) æ ≈ wæw ∑ 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

&


24

gliss con entrate scalate (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

u

+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œ µœ œ œ#œ œ˜œ œ œ œ œ œµœ œ œ œ &

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 œœ 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 mf

>-+ -o >-+ -o œœœœ

117 Ens

° &

mf

>-+ -o >-+ -o œœœœ

++++ + + + + + -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 µœ œ #œ œ ˜œ œ œ

>-+ -o >-+ -o >-+ œ œ µœ 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 >-+ -o >-+ -o œœœœœœœœ

>-+ -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

i

œ ææ œææ

o

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

i

o

ææ Œ Œ3 ææ œ œ

˙ ææ i

o

œ œ æ œæ æ œææ ‰ Œ œ œ œ æ æ æ i

o

i

o

i

o

u

i

o

œ ææ

æ œæ

i

o

Ó

U _ ææ

(✶)

(✶) transition from air to ordinario technique

e

6 œ œ æ œæ æ æ æœ æ œ œ

mf

œ æ /æ æ œæ

U _ ææ

6

3

œ ææ œææ

o

fff

mf

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

as tutti:

œ ææ œææ

Ó /

pp sub

f pp sub

mf

˙ ææ 3

o

fff

U _ ææ

æ æ æ ææ Œ Œ3 æ œ œ œ œ ‰ Œ 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 1

Y æ

/

Y æ

Y ææ

Œ Œ

æ -æ

3

mp p sub

p

ææ ææ ææ6 - - - æ1 æ mf

cymbals

Π/

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

&

f

log drum

l.v.

Perc. ¢ /

p

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


25

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

° ≈ ≈ ‰ ≈ ≈ ‰ Œ & œ œ > > ff ff

B Fl

® œ g g™ 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

& ≈ œ‰ ™

Ob.

≈ ‰™ œ

Œ

® œ g g™

ff (✶) dry slap, no sound

ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

æ ® æ æ œ g g™

fz

Ÿ-<˜> ≈ #œ ™

f

Ÿ-<˜>Ÿ- <˜> œ ≈ œ≈ œ J

Ÿ- <˜> Ÿ- <˜> ≈ #œ ≈ œ ™

mp

‰ ff

»

»

air

air ord 3

3

3

3

z

? ≈ B Cl

œ

®‰ ® ≈ ‰ Œ œ

® œ g g™

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> Ÿ˜ ≈ œ ≈ œ™

œ J

<n>

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)

Hn

air

7:6

7:6

ord

7:6

° ≈™ &

≈ ™ ≈≈ ™

≈ ™ ≈Œ

≈™

ææ

≈™ ≈

≈Œ

‰ ≈™

Ó

j œ

µ œ- œ µœ

œ

µ g™

œ

p ff

C Tpt

mf

f

ff

fz air

[+ o & œ

˙

p

ord (sound)

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœœ nœ œBœœœbœœœ

3

+o Bbœ

+o +o œœ

‰ ≈ # g g™

ææ ‰ ™ ‰ g™

+ 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

p

ff

mp

air ord (sound)

+ + + + + + + +o +o +o +o +o œo œo µœo œo nœo œoBœo œœ bœœœ

+ Bbœo

+o +o œœ

Tbn ¢

œ+

3

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

‰ ≈ µg g™ æg™ ‰ ™ ‰ æ

f f

p

ff

mp

mf log drum

(no accents)

Marimba

° Perc 1 &

ææ nœ- ™

ææ #œ- ™

ææ œ™ -

æ œ-æ™

æ œ-æœ

æ ˙æ˙

/

/

p f log drum Vibraphone

Ó

Œ

arco

l.v.

Ϫ

j ‰ œ

p

f

Perc 2¢&

Œ

Ó

∑ ¿ ¿¿¿¿¿

multiphonics ✶ slide over keyboard ✶✶

7:6

7:6

slide coin over strings ✶✶✶

7:6

& ≈ ™ b OO ≈ ™ ≈≈ ™ OO ≈ ™ ≈Œ

O ≈™ ≈

≈™

Œ

÷ 6

(ff) (✶) nd the right muting position over the string in order to produce the above resulting harmonics

Pno (✶✶) withought pressing the keys, slide two wooden sticks all over the keyboard (from low keys to high, for instance) alterating le and right hands and variating speed ad libitum

… 7:6

? ≈™

≈ ™ ≈≈ ™

{

≈ ™ ≈Œ

œ “

≈™

≈™ ≈

Œ

‰ _™

-

-

mf sffz

o = ast + = msp arco

»

o 5:4 5:4 5:4

® ‰ ≈™ µ>œ ff

Œ

≈™

®

œ

œ

f

mf

pizz

» 3

arco

o µœ

3

®

f

[ spazzolato circolare (+o = from msp to ast) +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœ œµœ œ #œ œ ˜œœ œœœœµœœ

p

ord 3

#œ # -œ œ R

#œ J

‰ ‰ 5:3

3

B ® ®‰ ™ µœ

-™

sffz

pizz

Vla.

œ

sffz

° ™ Vln & ≈

(✶✶✶) slide a coin directly over highest strings available (indicative pitches)

7:6

7:6

Œ

®

œ

f

mf

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

œ #œ + o #>œ ™

f

ff

+ ord

˜ -œ œ

˜œ

˜œ œ J

o ˜>œ ™

‰ ≈&

œ 5:3

f

mf

f mf

f

ff f

ff

pizz

»

arco

o ? ® ˜œ ≈ ‰ ® œ ™

Vla.

Œ

® œ

≈ &µ œ

[ spazzolato circolare (+o = from msp to mst) +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o œœœ œµœ œ #œ œ ˜œœ œœœœµœœ

ord

+ -œ ™

œ œ œ

œ J

o ™ >œ

‰ 5:3

ff

f

mf

pizz arco

»œ

7:6 7:6

œ ? ‰

œ ≈≈‰

Cb

¢

o ® &µ œ

mf

f

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

ff f

mf

f

D & F xxxxx

f

ff f

o = ast + = msp

>œo ™ µ ≈

ord

‰ ≈™

µ-œ œ

Ϫ

mf

f

ff

f


26

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

5 8

p

f

˙™ #˙ ™

Ϫ

œ ∑

&

Ob.

mf

ff quasi

p

f

µ˙ ™ ™ & ˜˙

B Cl

Ϫ

œ ∑

mf

ff quasi

p

f

∑ Bsn

¢&

µ˙™

Hn

° &

œ

ff quasi

mf

® œ- ®≈ ™ -œ ™ ≈ -œ ‰ ™

® œ™ -

f p

-œ™ ® ≈ ™ -œ™ ≈ -œ ≈ -œ J

&

- ® #-œ ™ ® -œ ®≈ ™ #œ ™ ≈ œ ‰ ™

ff quasi

mf

C Tpt

∑ µ˙ ™

Ϫ

-œ ™ ® #œ- ®≈ ™ œ™ - ≈ ‰

® œ™ -

p

-œ™ ® ≈ ™ #-œ ™ ≈ -œ ≈ ˜-œ J

- ® #-œ ™ ® œ ®≈ ™ œ ™ ≈ œ ‰ ™

ff quasi

mf

-Ϫ

µ -œ

B ®

®

µ -œ ™ # -œ ™ ®≈ ≈ ‰™

˜ -œ ™

p

-œ ™ µ -œ µ -œ ® ≈™ ≈ J ≈

B -œ ™ n -œ # -œ ™ ˜ -œ ® ® ®≈ ™ ≈ ‰™

Tbn ¢ ff quasi

mf

p

(''tacky'') 5

æ æ æ ææ 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

Œ

Œ

/

Perc 1

mp

f

mp

fz sub

(''tacky'')

‰™

Œ Perc 2 ¢ /

1 1111 æ ææ ææ

1 1 1 1 11 11 1 1 æ æ æ æ ææ ææ æ æ

11111 1 1 1 1 1111111 1 1 1 æææææ æ æ æ æ æææææææ æ æ æ 5

1 1 1 1 111 æ æ æ æ æææ

6

1> 1 ‰ ™

3

mp f

fz sub

mp

¿¿¿¿ ¿ ¿ ¿ ¿¿ ord mute ✶✶✶✶

≈™ ‰

÷

‰ Œ

& 5

(✶✶✶✶) allow the hand to mute the string in order to produce a dry but resonant percussive sound. At every repetition of same pitch change the position of the hand in order to allow a different harmonic.

7

Pno

…- ™ (with-brass) - ™ ® œ ® œ ®≈ ™ œ ≈#œ ≈

?

{

-œ™ -œ -™ ‰ #œ ®≈ ™ ≈ J

-œ ≈

[ +o œ

+o œ

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

f

Vla.

&

[ +o œ

>-œ

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

+o +o +o +o œ #œ œ˜œ

+o +o +o +o +o +o œ œ œ œµœ œ

®

œ J fff

mf

+o +o +o +o +o +o +o +o +o +o >#œ œ˜œ œ œ œ µœ œ œ bœ #˙

#>-œ

ê

fff

-œ ®

-œ ™ ®≈ ™

-œ ≈ ‰™

p

b >-œ

>-˙

fff

+o œ

Œ

ff quasi

mf

° Vln &

# -œ ™

f

> n-œ œ J

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

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

ê f

Vc

&

[ +o œ

+o œ

+o +o +o +o œ #œ œ˜œ

+o +o +o +o +o +o œ œ œ œµœ œ

f

Cb

¢&

+o œ

+o œ

+o +o +o +o œ #œ œ˜œ

+o +o +o +o +o +o œ œ œ œµœ œ

fff

fff

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

>-˙

fff

fff

mf

fff

>-œ

#>-œ bœ J

mf

ê

fff

f

>-œ

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

>-˙

#>-œ ê

f

f

fff

fff

D & F xxxxx

mf

nœ J

fff f

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

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

fff f

fff f


27

q = 52

q = 78

(tongue ram)

5# œ ™ 138 8 °

4 >. . 4 >. . b >

œ

. bœ > . .>#œ #œ ≈#> . n œ œ # œ œ n>. ® > ææ æææ R #æœ næœ æ 5

> &

B Fl

fff quasi

mf

3 n >. 8

»

4 4 ∑

air 3

3

3

‰™

® ‰™ œ

œ

Œ

® œ g g™

ff

5:3

ff f fz fz fz slap

» air

Ÿœ™~~~~~~~~~~~~

ord

˜ -œ ˙™ œ™

3

œ ‰™

‰™

&

Ob.

3 3

® ‰™ œ

&

œ fff quasi

mf

mf

f

Œ

® œ g g™

ff ff

» air 3

Ÿ~~~~~~~~~~~~ ? œ™

ord

µœ ™

œ ‰ ™™

&

B Cl

µœ- ˙™

3

‰™

® ‰™ œ

œ fff quasi

mf

mf

3

f

Œ

® œ g g™

ff ff

» air ord 3

3

(slap)

Ÿ~~~~~~~~~~~~ ? œ™

3

‰ Bsn

¢&

‰ &œ -

µœ ™

˙™

3

‰™

® ‰™ œ

œ œ

fff quasi

mf

mf

f

Œ

® œ g g™

ff ff

(hand pop) ord

Hn

° &

-œ™ ® ≈ ™ œ™ ≈ œJ

≈œ

?

‰ ™™

ff quasi

˜œ- ˙™

Ϫ

mf

f

&

C Tpt

µ -œ ™ B

B -œ ≈ J

# -œ ™ ® ≈™

#œ- ™

ff quasi

mf

µ -œ

ord

‰™

Œ

3> ® œ ® ‰™

fz

µ-œ ≈

3

® œ ‰™

f

Ÿ~~~~~~~~~~~~ œ™

[ +o œ

f

f

Ϫ

[ +o œ

f

f

æ œæœ ™™

ææj œœ

ord

-œ™ ® ≈ ™ #œ ™ ≈ œJ

» 3 ≈ µœ ‰ ™

˙

&µ œ - ˙™

Tbn ¢ ff quasi

mf

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

+o µœ

+o +o œœ

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

+o µœ

+o +o œœ

Marimba

(no accents)

° ∑ /

Mar

&

ææ œœ- ™™

ææ œ nœ- ™™

æ œœæ™™ -

ææ ##œœ- ™™

æ œ-æœ

Œ

Ó

Œ

Ó

p f

arco

Vibraphone

l.v.

∑ Vib

¢/

œ™ œ

j œ

p

f

&

multiphonics

3 ≈ O ‰™

3 3

® O ‰™

Œ

®O

& Pno

… 3

-Ϫ ?

{

# -œ ™ ® ≈™

-œ ≈ J

b œ≈

‰™

≈ bœ “

ff quasi

+o +o +o +o +o +o +o +o +o +o ° # œ œ µœ œ #œ œ˜œ œ œ œ Vln &

3

3

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

O™

“ ord ~~~~~~~~~~~~~~~~~~ arco # IIO c.

sffz

® ‰™ œ

Œ

sffz

sfz

œ ·

‰ # œ™ œ™

œœ

O

œ

®

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

‰ 5:3

fff mf

ff

mf

o

ê ff

mf

fff

pizz

»

3

# œ- ˙ Œ &J

3

Vla.

Œ

Ϫ 3

B

‰™

®

µœ

Œ

®

œ

arco

o ≈ µœ

3

ord

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

œ mf

fff

mf

ff

ff

pizz

»

arco

ord

Vc

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

Œ

˜ -œ ‰& J

o 3

˙

3

3

Ϫ ?

≈˜œ ‰ ™

®œ ™

Œ

®œ

≈& µœ

fff

mf

ff

ff mf

pizz ord 3

Cb

+o +o +o +o +o +o +o +o +o +o #œ œ µœ œ #œ œ˜œ œ œ œ ¢& fff

3

œ -˙™

Ϫ ?

Œ

‰™

≈ mf

œ ™ ®

3

Œ

®

» œ

arco

o ≈ &µ œ

ff ff mf

D & F xxxxx


28

q = 62 accel

<µ> 2 accel 4 Ÿ-œ ™

» air

Ÿ-<µ> Ÿ- <µ> 5 œ œ 8 œ J ≈ ≈

ord

3

3

3

142 z

ææ ° B Fl & g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

ææ ææ œ g g™

fz

f

Ÿ- <µ> Ÿ- ™ <µ> œ œ ≈ ≈

mp

3 4

q = 78

5 8

˙™

Ϫ

3 8

œ

‰ ff

f quasi

p

p

» air ord 3

3

3

Ÿ-<˜> ≈ #œ ™

z

æ & g™æ

Ob.

æ ® æ æ œ g g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

fz

f

»

Ÿ-<˜>Ÿ- <˜> œ ≈ œ≈ œ J

Ÿ- <˜> Ÿ- <˜> ≈ #œ ≈ œ ™

mp

#˙ ™

Ϫ

œ

‰ ff

f quasi

p

p

air ord

3

3

3

z

B Cl

? æ g™

æ ® ææ æ & œ g g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

fz

Ÿ-<n> ˜ ≈ œ™

f

»

Ÿ-<n>Ÿ- <n> ≈ œ≈ œ

Ÿ- <n> ˜ ≈ œ ≈

œ J

Ÿ- <n> œ™

˜˙ ™

Ϫ

œ

mp

ff

f quasi

p

p

air ord

3

3

3

z

? æ Bsn ¢ g™

æ ® ææ æ & œ g g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

fz

Ÿ<#> ≈ µ-œ ™

f

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

mp

ff

°? ™ µg æ

≈Œ

Ϫ

œ

f quasi

mf

™ -™ - ™ ® œ™ - ® œ- ®≈ œ ≈ œ ‰

‰ ≈™

Ó &

µ œ- œ

j œ

p

p

- ® ≈ ™ œ™ - ≈ œ- ≈ œœ™ J

˙

p

mf

ff quasi

p

ff

ord (sound) air

+ œ

3

C Tpt

µ˙™ ‰?

ord

air

Hn

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

& ‰ ≈# g g™ f

ææ g™

‰™ ‰

p

ff

mf

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

+o œ

+o œ

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

™ ≈ -œ ‰ ™ ® œ™ - ®#œ- ®≈ œ™ -

-œ™ ® ≈#™ -œ ™ ≈ -œ ≈˜-œ J

f ff quasi

p

ord (sound) air

+ œ

3

‰ ≈ Tbn ¢&

µ g g™ f

ææ g™

‰™ ‰

p

ff

mf

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

+o œ

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

+o œ

™ ™ ® œ™ - ® µœ- ®≈ µœ- ™ ≈#œ- ‰

˜œ- ™ ® ≈ ™ -œ ™ ≈µ-œ ≈ µ-œ J

f p ff quasi log drum

aiuta spazzolato con tremoli! oppure arco su vibra

° Mar &

∑ /

æ æ æ æ æ æ æ ææ - - - - - - - --

‰™

æ- æ- æ- æ- æ- æ- æ- æ-æ- æ-

mp

log drum

∑ Vib

/

¿¿¿¿¿ slide over keyboard

1 1 1 11 æ æ æ ææ

‰™

¢&

Œ

1 1 1 1 1 1 1 11 1 æ æ æ æ æ æ æ ææ æ

mp

¿¿¿¿ ¿¿ ¿ ¿ ¿

ord mute

slide coin over strings

≈‰

& 5 7 5

Pno

… (with brass) - -™ œ™ œ ® œ ® œ ®≈ ™ ≈ ‰ ™

(ff)

? Œ

{

ŠΠj -

-™

j -

-œ ™

-œ ™ -œ -œ ® ≈™ ≈ J ≈

-™ ff quasi

p mf

f

p

· ° Vln &

j œ™ J #œ ™

3

#œ # -œ œ R

ord

j ##œœ ‰ Œ J

#œ J

œ #œ + o #>œ ™

‰ ‰ & 5:3

mf

f

ff

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 œµœœ #œ œ˜œ œ œœµœ œœ bœ f

mf

[ + + + + + + + + +o +o +o +o +o B µœo µœo œo #œo œo ˜œo œo œo œœœµœœ

+ ord

˜ -œ œ

˜œ

˜œ œ J

+o +o +o œœ œ

o ˜>œ ™

‰ ≈&

Vla.

5:3

[ +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 œµœœ #œ œ˜œ œ œœµœ œœ bœ

f mf

Vc

[ +o +o +o +o +o +o +o +o +o +o +o +o +o & µœµœ œ #œ œ ˜œœ œ œœœµœœ

f

ff f

ord

+ -œ ™ +o +o +o œœ œ

œ

œ œ

œ J

‰ 5:3

mf

f

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

f

o ™ >œ ff f

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 œµœœ #œ œ˜œ œ œœµœ œœ bœ f

III

+o +o +o œœ œ

b6-œ

ord

‰ ≈™

µ-œ œ

> ≈ µœ ™

Ϫ

#œ- ?

œ

¢& œ

œ™ ~~œ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~

f mf

f

D & F xxxxx

ff

f

fff

sffz mp

ff


29

rit

3 147 8 œ ™ °

3 4 >#œ æ

&

B Fl

#>-˙ ææ

>-œ æ

æ #œ-æ >

4 q = 62 4 >- æj #œ æ

3 4

>#œ-æ æœ > 5:3

œ™ æ

œ æJ ‰

p

5:3

f

5:3

5:3

™ & #œ

Ob.

#˙> mf

#œ>

# ˙>

j œ- œ™ >

œ œ >- >œ- >-

j ‰ œ

p

5:3

ææj #œ-ææ #œ- > >

5:3

™ & ˜œ

B Cl

æ #˙-æ >f

æ # œ-æ >

æ ˙-æ >

æ æ œ-æ # œæ > >-

æ œæ™

ææj ‰ œ

p

>-œ

µœ ™

>-˙

>-œ

>-œ

#>-œ

>-œ œ™ J

#>-œ

?

œ J ‰

Bsn

¢ 5:3

5:3

p f

staccatissimo 7 6

5 7

° &

Hn

œ œ #œ #œ œ#œ#œnœnœ #œ œ œ#œ œ ' ' ' ' ' ' ' ' ' ' ' ' œ œ œ # œ #œ œ ' ' # œ œ # œ ' n œ ' ' ' n œ' ' ' ' ' ' '

mf ff quasi

æ- æ- æ- æ- æ- æ- æ-

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

&

C Tpt

Tbn ¢&

5

6

° /

Perc.

f

Perc. ¢ /

> 3 æ- æ- æ- æ- æ- - - ‰ ™ mp

1 1 1 1 1 1 1 æææææææ

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

5

Ó

fz sub

1 1 1 1 1 1> 1 ‰ ™ æ æ æææ

6

Ó

3

f

mp

fz sub

& Pno

?

{

#>˙-

° Vln &

#>-œ

>-œ

∑ fff

mf

µw

fff

f

p

bœ> fff

˙

ê

>Ϸ w &

Vla.

˙> fff

mf

f

p

ê

> #Ϸ &

Vc

#˙> fff

mf

œ >-

˙

#w

fff

f

> #-œ

p

ê

#>-œ #>-˙

? Cb

˜w

&

¢ œ™ fff

ê fff

fff

mf

f

D & F xxxxx

p


30

q = 62 accel

3 151 4 °

U Œ

Ó

q = 78

5 8 Ϫ

4 4 œ

Œ

&

B Fl

p

U Œ

Ó

Œ

&

Ob.

f

Ϫ

˙

œ

p

U Œ

Ó

?

Œ

Ϫ

µ˙

&

B Cl

f

œ

p

U Œ

? Ó

f

µ˙

Ϫ

œ

Œ

Bsn

¢ p

5

Hn

° &

6

œ œ œ # œ ' ' ' œ' #œ ' #œ œ ' ' '

f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U #œ œ œ œ ≈ ™ #œ ™ p

f

p

ppp

mp

® ≈™

-œ ™

≈ œ ‰™

-Ϫ

-Ϫ

≈ œJ

® ≈™

≈ œ? ff quasi

mf ff quasi

Ó C Tpt

U Œ

® #-œ ™

® œ

≈ œ ‰™

-Ϫ

® ≈ ™ #œ ™

≈ œJ

&

ff quasi

p

Ó

U Œ

® #-œ ™

≈ µœ

® ˜-œ

® ≈ ™ ˜-œ ™

≈ œ ‰™

µ-œ ™

® ≈ ™ #œ ™

≈ ˜œJ

Tbn ¢&

≈ µœ ff quasi

p

ord mute

Ó

U Œ

&

Pno (with brass)

… # -œ ™ ?

{

Ó

U Œ

®

-œ™ ® ≈™

®

-œ ™ ‰™

µ˙

U Œ

+o œ

f

pp

mp

U Œ

+o œ

pp

mp

U Œ

+o œ

pp

mp

U Œ

+o œ

pp

mp

˙ Vla.

&

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o +o +o +o +o œ œ œ µœ œ œ

+ + + + + + + + + +o #œo œo µœo œo #œo œo ˜œo œo œo œ ff quasi

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o + + + + œ œ œo œo µœo œo

+o +o +o +o +o +o +o +o +o +o #œ œ µœ œ #œ œ ˜œ œ œ œ B ff quasi

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o +o +o +o +o œ œ œ µœ œ œ

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

#˙ f

Cb

& f

Vc

® ≈™

-œ ≈ J

ff quasi

p

° Vln &

# -œ ™

¢& ˜˙ f

ff quasi

+o +o œ œ

+o #œ

+o +o œ ˜œ

+o +o + + + + œ œ œo œo µœo œo

+o +o +o +o +o +o +o +o +o +o #œ œ µœ œ #œ œ ˜œ œ œ œ ? ff quasi

D & F xxxxx


31

R q = 48 <µ> 2 accel 4 Ÿ-œ ™

q = 52 accel

» (tongue ram)

4 154 4 °

air

Ÿ-<µ> Ÿ- <µ>5 œ œ 8 œ J ≈ ≈

ord

3

3

3

z 5:4

5:4

≈ ‰ ≈ ≈ ‰ Œ œ> œ > ff

&

B Fl

»

air 3

® œ g g™ ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

ææ œg

fz

æj g™æ

f

<µ>

Ÿœ ≈

Ÿ- ™ <µ> œ

4 4

mp

ff

ff ✶

»

»

air air ord 3

3

3

3

3

Ÿ-<˜> # ≈ œ™

3

z

‰™

≈ ‰™ œ

&

Ob.

œ

Œ

® œ g g™ ff

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

® ææ œg

fz

ææj g™

f

Ÿ-<˜>Ÿ- <˜> œ ≈ œ≈ œ J

mp

ff (✶) dry slap, no sound ✶

»

air

‰ ff

Ÿ

»

Ÿ- <˜> Ÿ- <˜> # ≈ œ ≈ œ™

Ÿ Ÿ

Ÿ

Ÿ

air ord

3

3

3

3

<n>

? ≈

®‰ ® ≈ ‰ Œ œ œ

B Cl

® œ g g™ ff

ææz g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

® ææ œg

fz

ææj & g™

<n> <n>

≈˜œ ™

f

- ≈ œ≈ œ

<n>

<n>

- ≈ ˜œ ≈ œ ™

œ J

mp

ff

ff (✶) dry slap, no sound air

»

air

» ord 3

3

3

3

✶ z 7:6

7:6

? ≈

≈≈

≈Œ

®

Bsn

¢ >œff

>œ ffg g™

ææ g™

≈® ≈≈ ≈Œ œ œ

p

ff

fz

®

fz

ææ œg

æj & g™æ

Ÿ<#> ≈ µ-œ ™

fz f

Ÿ<#> Ÿ <#> ≈ -œ ≈ -œ

Ÿ <#> Ÿ <#> ≈ µ-œ ≈ -œ™

œ J

mp

?

‰ ff

(✶) dry slap, no sound

» (hand pop)

contina questa nota su wwinds battutta dopo magari sposta wwind air 7:6

7:6

°?

≈™

µ -œ œ

ord

7:6

µœ ≈ ™ ≈≈ ™ œ ≈ ™ ≈Œ

≈™

œ ≈™ ≈

Hn

µg ™ ææ

≈Œ

œ J

‰ ≈™

Ó

˙ &

p

mf

f p

ff

fz air

&

C Tpt

[+ o œ

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœœ nœ œBœœœbœœœ

ord (sound)

3

+o Bbœ

+o +o œœ

ææ ‰ ™ ‰ g™

‰ ≈ j # g g™

+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

p

ff

mf

f

ord (sound) air

Tbn ¢&

[+ o œ

+o +o +o +o +o +o +o +o +o +o +o +o œ œµœœ nœ œBœœœbœœœ

3

+o Bbœ

+o +o œœ

‰ ≈

ææ ‰ ™ ‰ g™

j µ g g™

+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

p

ff

mf

f

(''tacky'') log drum

ææ ° Mar & b˙˙ ™™

ææ œœ

ææ œœ ™™

‰ Ó /

æ æ æææ - - ---

‰™

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

mp f quasi

p

p

log drum

(''tacky'')

Vib

¢&

ææ ˙˙ ™™

ææ œœ

ææ œœ ™™

‰™

‰ Ó /

Œ

æ -

æ- æ- æ- æ- æ- æ- æ- æ- æ- æ-

mp f quasi

mf

p

¿¿ ¿¿¿¿

multiphonics 7:6

7:6

7:6

≈ ™ b OO ≈ ™ ≈≈ ™ OO ≈ ™ ≈Œ

O ≈™ ≈

≈™

Œ

÷

& 6

(ff)

Pno

… 7:6

7:6

?

{

7:6

≈™

≈ ™ ≈≈ ™

≈ ™ ≈Œ

œ

≈™

≈™ ≈

Œ

œ _™

-

-

mf sffz

sffz

-™

f

p

sffz

“ pizz 3

»

arco

o

ord

# œ- œ

5:4 5:4 5:4

° Vln &

≈™

® ‰ ≈™ µ>œ ff

Œ

≈™

®

œ

œ

f

mf

pizz

» 3

Vla.

® ®‰ ™ µœ

#œ J

‰ ‰ &

Œ

o µœ

®

œ

f

mf

œ #œ + o #>œ ™

f

ffp

+

arco

3

®

+o +o +o œœœ

5:3

3

B

+o +o +o +o +o +o +o +o +o +o +o +o +o œµœœ #œ œ ˜œœ œœœœµœœ

˜ -œ œ

˜œ

ord

+ ++ + + ++ œoµœo œo #œo œo ˜œo œo

+ +o +o +o +o +o µœœ œo œœœ

+++ œo œo œo

˜œ œ J

o ˜>œ ™

‰ ≈&

œ 5:3

f

mf

f mf

f

ffp

ff

ord pizz

»

+

arco

œ- ™

o ? ® ˜œ ≈ ‰ ® œ ™

Vc

Œ

® œ

≈ &µ œ

+o +o +o +o +o +o +o œµœœ #œ œ ˜œœ

+o +o +o +o +o +o œœœœµœœ

+o +o +o œœœ

œ œ œ

œ J

‰ 5:3

ff

f

mf

o ™ >œ

f mf

f

ffp

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

»œ

7:6 7:6

œ

œ

o ® &µ œ

? ‰

≈≈‰

Cb

¢

+ ++ + + ++ œoµœo œo #œo œo ˜œo œo

+ +o +o +o +o +o µœœ œo œœœ

ff f

mf

f

D & F xxxxx

+++ œo œo œo

ord

‰ ≈™

µ-œ œ

Ϫ

mf

f

> ≈ µœ ™ ff

f


32 measured chest hitting frequence:

158

4 q = 66 4

7 4 16 >œœœœœœœœœ > > > > > > > > ......... 4

mp

B Fl

7 16

f

f orango gliss

° &

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ wæ

∑ /

≈ 6

mf

Œ

æ ˙æ

Œ

3 o_a_e_i

5:4 ho

ha

he

5:4 hi

hu

hi

he

ha

hi

ho o_a_e_i

i

(progressive)

orango gliss

mp f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

f

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ˙ææ™™™

∑ /

&

Ob.

6 5:4 ho

ha

he

mf ( ) æær ææ h œ

‰™

Œ

3

5:4 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 ÆÆÆÆÆÆ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œææ ææ™

∑ /

&

B Cl

≈ 6

5:4 ho

ha

he

mf ( ) j æ æ æ ‰ ‰ œæ h 3

Œ

3

5:4 hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

orango gliss

>œf. >. >. >. >. >. >. >. >. œœœœœœœœ

mp f

? ∑ /

Bsn

¢

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ˙ææ™™

≈ 6

5:4 ho

ha

he

mf ( j æ ‰ œæ ææ

Œ

)h

3

5:4 hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mp f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

f orango gliss

Hn

° &

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ 3 œ œ œ œ œ œ œ œœœœœœ ‰ ‰

∑ /

ææj ææ™ œ

6 5:4 ho

ha

he

mf 3

‰ ææ œ

Œ

)h

ææ(

3

5:4 hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mp f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

f orango gliss

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ

∑ /

&

C Tpt

æ ˙æ™

6 5:4 ho

ha

he

mf

Œ

ææj œ™

ææ(h )

3

5:4 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 ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ

∑ /

Tbn ¢&

ææ(h )

≈ œææj™

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈ 6

5:4 ho

ha

he

mf

æ ˙æ™

Œ

3

5:4 hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

ord (precise) (mallets tremolo)

/

Perc.

æ-

æ-

6

3

f

æ-

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- - -‰ ™ 5

°

mp

∑ ‰

ff

mp

fff mp

fz sub

l.v.

Y™ ææY™ pp

f

‰ f

orango gliss

¿¿¿¿

mf

f

f (h )

≈™ ‰

÷

‰ Œ

Œ

÷

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ

Pno {

3

ææ

‰ œææ

>œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈

5

6 5:4

mp

æ wæ

3

5:4

7 ho

ha

he

hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

mf f orango gliss

° Vln &

+ #œ ™

¯ ‰ Ó

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ /

(h ) ‰ œææj ææ

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈ 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

Vla.

¯ orango gliss ‰ Ó

+ & ˜œ ™

(h ) ‰ ‰ œææj ææ 3

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ /

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈ 6

5:4

f

mp 3

æ 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

Vc

&

+ Ϫ

orango gliss ¯ ‰ Ó

f

p

Æ Æ Æ Æ Æ Æ Æ ÆÆÆÆÆÆ œ œ œ œ œ œ œ œœœœœœ Œ /

r æ(h ) æ ‰ ≈ œæ æ

f >œœœœœœœœœ . >. >. >. >. >. >. >. >. ≈ 6

5:4 ho

ha

he

mp

æ ˙æ™™™

3

5:4 hi

hu

hi

he

ha

hi

ho o_a_e_i

o_a_e_i

i

(progressive)

msp III 6

-œ orango gliss

mp

? Cb

¢&

œ-

/ œ

fff

‰ Ó

œ

# œ- ™ ˙~~~~~~~~~~~~~~~~~~~~~~~~~ œ™ ~~~ > sffz

f

3

>>> 6 >>>>>> ≈ --------measured chest hitting frequence:

¿¿¿¿¿

æ œ ˙æ ææ

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

(colla voce) side

Perc. ¢ / f

p

fz sub

5 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- æ- æ- - -‰ ™

æ-

æ œæ™™

œœœœœœ œ 6 ææ

æ wæ o_a_e_i

fff

mp sub

D & F xxxxx

ææ ™


as fast as possible!

33

163

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

7 8

pp

œ™ æ

f

°

æ ˙æ

ææ æ

/

Fl

5 4

f

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

fff

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!

pp

œ ™™ æ æ

/

Ob

æ ˙æ

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

f œ™ ææ

f

fff

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

pp

œf ™™ æ æ

/

Cl

f œ™ ææ

æ ˙æ

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

fff

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!

pp

Fg

œ ™™ æ æ

¢/

æ ˙æ

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

f œ™ ææ

f

fff

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!

mf

œf ™™ æ æ

° /

Hn

pp

œ æ æJ

æ œæ

e

-

a

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

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

f œ™ ææ

æ ˙æ

b

fff

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!

mf

pp

œ ™™ ææ æ

/

Tp

œ ææ J

æ œæ

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

f œ™ æ

f

æ ˙æ

fff

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!

mf

pp

œ ™™ æ æ

Tbn ¢ /

œ ææJ

æ œæ

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

f œ™ ææ

f

æ ˙æ

fff

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

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible! Rhapsodic, vivace to Tam Tam

° Perc 1

ææ œ ™™

/

œ™ 5 ææ

ææj œ ææ

œ ææ

f

pp

œ j ææ œææ

˙ ææ

æ œæ™

mf

pp

f

∑ p

5

mp

f

p

7:6

(colla voce)

log drum

(Rhapsodic, vivace)

1 ™™ æ æ

Perc 2 ¢ /

1 1 1 1 1 1 1 ææ 1 -™

f ff

p sub

- - - - - - - 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 pp f mf

as fast as possible!

œ™ ææ

f

Pno { ÷

œ ™™ æ æ

œ ææJ

æ œæ

æ ˙æ

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

fff

œ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ œÆ

œœœœœœ œ 6

4:3

4:3

6 aas fast as possible!

o

-

a

-

mf

° Vln

/

œf ™™ ææ æ

o

-

pp

ææ æœ œ æJ

e

f œ™ æ

æ ˙æ

a

b

c

a

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

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

fff

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

b

c

a

b

a

b

a

b

a

b

c

a

b

c

a

b

as fast as possible!

mf

pp

f œ™ ææ

f

Vla

/

œ ™™ æ æ

œ ææJ

æ œæ

æ ˙æ

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

fff

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! mf

Vc

/

œf ™™ ææ æ

pp

œ ææ J

æ œæ

f œ™ æ

æ ˙æ

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

fff

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 Cb.

mf

pp

f

œ™ ææ

f

Cb

¢/

œ ™™ æ æ

œ ææJ

æ œæ

æ ˙æ

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

fff To Perc.

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


34

RECORDERS ACTIONS (ensemble and audience):

PERCUSSIONS ACTIONS

condutor's gesture = equivalent sound:

condutor's gesture = equivalent sound

-bang recorder (or simulating a congas hand-tremolo) = rapid hand-tremolo against head-joint's aperture

-bang recorder = (Tam-tam) single-stroke roll over Tam-tam

- at hand (horizon) = plain note (inster nger into variate pitch) - at hand (horizon) = (China) bow on the China with high-speed and high-pressure attack. Begin close to the frog -little sparkles / ickers = staccato

-little sparkles = (Tam-tam) similar to single stroke roll but sparse and much irregular

-index pointing at cheeck = utter tongue

-index pointing at cheeck = (Cymbal) saturate the cymbal with the bow in order to obtain a high and piercing harmonic which ''opens'' when you stop bowing

-suction = inhale from the labium

-suction = (Cymbal) Bow with constant pressure and medium-slow speed in order to achieve cymbal's fundamental

-throw a cue to somebody (or index) = improvisation (solo)

-throw a cue to somebody = (Cymbal) Hin und her" medium speed and medium pressure continuous bowing close to the frog

S RECORDERS libero, aperto Consider each phrase (slurred notes) as single episodes. Apostrophes indicate short cesuras between those phrases

168 ens TACET (except perc.)

° Ens /

, bang recorder

at hand (horizon)

w

little sparkles

w

˙

index pointing at cheeck

suction

˙

œ

,

Aud ¢ / fff fff ppp

o mf

, bang recorder

at hand (horizon)

little sparkles

index pointing at cheeck

suction

˙

œ

,

(together with audience)

° w

w

˙

Perc 1 ¢ / fff fff ppp

o f

=

171

° Ens /

little sparkles

suction

w

˙

∑ , throw a cue to somebody 20'' √ w

∑ bang recorder

w

Aud ¢ / fff

o

pp

little sparkles

suction

w

˙

°

mf

, throw a cue to somebody 20'' √ w

bang recorder

w

Perc 1 ¢ / fff pp

o

mf

D & F xxxxx


35

opposing the two parts interact freely and rapturously, unpredictably bang recorder

Ens

°/

-K r œ

-r ™™ œ mf

175

≈ ∑

-K r œ

-j œ

-K r œ ™™

≈ ∑

™™

≈ ∑

™™

≈ ∑

™™

≈ ∑

bang recorder

-r œ ≈ ∑

Aud ¢ /

-r œ

-K r œ

-r œ

™™ mf

bang recorder

(together with audience)

-r œ ° Perc 1

≈ ∑

/

-r œ

-K r œ

-r œ

™™ mf

bang recorder

with ensemble) -K -(together r r œ œ

-K r œ

-j œ

-K r œ

™™ mf

Perc 2 ¢ /

=

178-179: allow audience to performe only when compatible, that is if they prove fast to learn and react, otherwise ensemble only

Repeat this bar as many times, by the last or penultimate repetition wwinds get ready

q = 66 bang recorder

z

17 16

178 Ens

°/ œ ™

≈ œ

j Ϫ

≈ Œ œ

air

> ™™ g

¿

bang recorder

-j Ϫ

œ

Ϫ

‰™

4 4

-j Ϫ

™™

fff

¿ bang recorder

ŠϪ

≈ œ

j Ϫ

j Ϫ

‰™

Ϫ

™™ ‰

Aud ¢ /

‰™

Ϫ

‰™

≈ ‰

™™

™™

¿ (bang recorder)

Perc 1

°/ œ ™

≈ œ

j Ϫ

Ϫ

™™ ‰

Œ

> ™™ g

(bang recorder)

mute

≈ ™ Perc 2 ¢ / œ fff

j Ϫ

‰™

≈ œ

j Ϫ

≈ œ

D & F xxxxx

‰™

Ϫ

‰™

¿

bang recorder

-j Ϫ

œ

Ϫ

‰™

-j Ϫ

™™


36

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

<#>

&

Ob

ppp

<µ>

<µ>

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

p

<#>

pp

ppp

<µ>

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

ppp

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ<#>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ #-œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈ -œ ≈ -œ ™ ≈

mf

<µ>

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

Cl

mf

p

<#>

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

pp

ppp mf

<µ> <#>

¢&

Bsn

<µ>

z

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

<#>

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

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™ ææ

≈ ¿. ≈ -6™ ≈ ¿ ≈ ¿ ≈ ‰ ææ

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™ ≈ -6 ≈ -6™ ææ ææ ææ ææ ææ æ æ

Ϊ

&

C Tpt

≈ ¿.

≈ -6™ ≈ ¿. ææ

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™æ . . - - - - . - - -

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. (chicken puppet)

° Perc 1 ¢ /

÷

##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 æ

ord <µ> Ÿ <#> Ÿ~~~~~~~~~~~

Ÿ<#>

msp

ord

<µ> ✶

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

D & F xxxxx

fff

Ϊ /

ë

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

ord

p


37

contrabass solo the contrabass is 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 the provided material as guideline B - contrabass: freely improvise with the contrabass over the material within the boxes, interpolating their order ad libitum and improvising on their content if needed FORM: -A, B , A', B', - 7''~10'' into B', Perc 1 abrutply interrupts the contrabass with a single chicken puppet ''squeeze'' together with oboe' single "duck" sound produced with the mouthpiece -A'', B'', -Perc 1 and Oboe abruptly interrupt the contrabass again, more insistingly this time (that is, with two or more times the same sounds, ''squeeze'' and ''duck'') (this moment correspond to the cue for the audience to start crawling out of their seated position), B'''.

Wine glasses

roughout all A sections (that is, whenever the contrabass player is using her / his voice) six to eight ensemble members play a single wine glass (pitch ad libitum).

√ 185 ¿¿¿ ° ≈ Ens ¢ / Ó ¿¿ ¿ o (time enough to grab glass)

A

o mf

Imprevedibile, misterioso e fantastico Using voice: Similar to vocal techniques employed at m 112 (open and close lips) but freer, more intimate and surprising. From rapid +o tremolos towards intermittent sounds. e following pitch (and dynamic) curve is suggestive only.

Cb

° √ ¢/ w

&

br/

=

B ‡ OO≤ ™ & o

Energico, Playing the contrabass

188 Cb

‚‚ ™

„ ? æ bOOæ™™

‹ # ‚‚ ™™ &

sfz

pp

‡ ~~≤

„ ‚‚ ?bOææ >O 3

pp

‡ ‹ # ‚‚ ™™ &

‹ &

‡ ‚‚≤

„ ‚‚ ? #Oææ # >O 3

‡ ‹ ‚‚ ™ &

?

pp

o f

o

p

pp

f

p

=

msp frog's tip tremolo (✶)

ast

>-ϲ

III

>-≥

msp II

III

II

193

ast

? Cb

œ

> ord œ ˙™~~~~~~~~~~~~~ ˙ ~~

b6-œ > ≈ µœ ™ #œ- ?

msp ast

æ 6æ

œ /

& œ

œ™ œ ~~~~~~~~~~~~~~~ ˙™

f

ff fff sfz

sffz

ff

f

f

f

mp sub

D & F xxxxx

sffz mp

ææ

6 ææ

Œ

f

pp

&

pp p

6

sfz

6 æ

æ 6æ


38

q = 60 G.P. ✶ T

accel

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

° Perc 1 /

™™

‰ œj Œ

Œ

&

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

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

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

™™ Cb

¢&

‰ #œ ™ mp

D & F xxxxx

Ó

Œ

#œ ™

‰ Œ

Œ

‰ #œ ™

Œ


39

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‰ ‰ 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

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

™™


40

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

U

two clicks Waldteufel

211 lv

6 j -‰Œ Œ

(single click)

U ∑

° Alm. &

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

U ∑ &

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)

U ∑ /

&

Alm.

j -‰

Œ

™™

Ó ∑

j -‰ Œ

Ó

j - ‰ Ó

Œ

j - ‰ Œ

j - ‰

Œ

∑ f

two clicks Waldteufel

lv

(single click)

U ∑ /

Alm. ¢&

‰ -j Œ

™™ ∑

j - ‰ Ó

Œ Ó

‰ -j Ó

Œ

∑ f

two clicks Waldteufel

lv

Alm.

(single click)

U ∑

° &

/

‰ -j Œ

Œ

™™ ∑

j - ‰

‰ -j Œ

‰ -j Œ

Œ

j j - ‰ ‰ - Œ

∑ f

two clicks Waldteufel

lv

(single click)

U ∑ 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

U ∑

? 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

U ∑

° Alm. &

/ ™™

‰ ‰ ‰ -j Œ

Ó ∑

j ‰ 6‰ j Œ -

j ‰ 6‰ j Œ -

∑ f

two clicks Waldteufel

lv

7

(single click)

U ∑ Alm. ¢&

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

‰ ‰ ‰ -j Œ -j Œ

/ ™™

∑ f

Waldteufel

two clicks (single click) 7

lv 7

U ∑

÷

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

U ∑

?

{

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

U ∑

° 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

U ∑ 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

U ∑ Alm.

/

&

‰ -j Œ

™™

Œ Ó

j -‰ Ó

Ϊ

j - Ó

Ó

j - ‰ Œ

Ó

‰ -j Œ

∑ f

two clicks Waldteufel

lv

(single click)

U ∑ Alm. ¢&

/

Œ

™™ ∑

‰ -j Œ

∑ f

D & F xxxxx

j - ‰

‰ -j Œ

j j - ‰ ‰ - Œ

j j - ‰ ‰ - Œ

Œ


41

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


42

V Stimme 1 section 223 Perc.

°/

Aud ¢ /

as soon as the trained audience reaches position close to musicians, audience and musicians together starts performing '' Stimme 1 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 -Perc 1&2: when voices start with upwards glissandos gradually add super-ball glissandos on thunder sheets -Perc 1&2: when voices reach high peak add a large cresc and decresc of gongs tremolo (C#4-F#4) 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 - 8''' descending glissandi becomes wider (bigger ranges). 8 - 15’’ 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


43

Stimme 2 section

W

= 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

-

-

-

sffz

D & F xxxxx

tremolo msp or on the tail piece

-œ»

œ -

-

-

-

-


44

hand's down

hand's up

225

° Aud ¢ / w™

˙ 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 &

Ob

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

-

-

bnbn œœœœ

œ ~

? &

-

-

-

-

jah

-

tremolo 3+2, 2+2, ad lib

¢&

Vib

œ b œœœœ

~ œ - le

-

-

-

nnœœœœ

œ~

bnbnœœœœ œ~

-

-

-

-

lu

-

-

-

-

-

-

jah

-

tremolo 3+2, 2+2, ad lib

##n œœœ œ

#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 to +1/3 and back decel to original pitch #n œœ

## œœ

#n œœ

œ œ

° Vln &

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

-

#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

-

-

-

-

-

-

-

to -1 and back

#œ #œ &

lu

-

-

-

D & F xxxxx

-

-

-

-

jah


45 (as in stimme 1) (highest possible)

228

° ! Aud ¢ /

w™

w™

˙

˙

˙ ˙

˙

˙ (lowest possible)

Gi

-

-

-

gi

-

_ ∑ ! (highest possible)

Tschüss

#œ œ

stimme 1

° & œ

Fl

œ

œ _

_

oaei (progressive)

(lowest possible) (highest possible)

!

stimme 1

#œ nœ

nœ œ

œ

& œ

Ob

_

_

oaei (progressive)

(lowest possible) (highest possible)

!

stimme 1

#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~ Mar

bb œœœ

b œœ œœ &bbœ

œ~ ?

?

&

&

(lowest possible) (highest possible)

stimme 1

∑ ! &

œ~ (lowest possible)

O Gi

-

-

-

-

-

-

gi

bbbœœœ bœ

¢& ~ œ

Vib

Gi

-

-

-

~ œ -

-

-

œ bbœœ œ~

bœœ bb œœœO

gi

!

∑_ (highest possible)

stimme 1

&

O

_

oaei (progressive)

Tschüss,

œ nn œœœ

O oaei (progressive)

Tschüss,

(lowest possible)

#n œœ #n œœ œ

#n œœ œ

∑ &

&

œ

œ

œ ∑ Pno.

! (highest possible) stimme 1

~ ? ~

{

~ Gi

-

-

-

-

-

-

O

gi

_

oaei (progressive)

Tschüss,

(lowest possible)

#n œœ

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

n œœ

O

(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) (highest possible)

! œ œ

œ œ ~ œ

& ~ œ

Vc

~ œ

œ œ O

stimme 1

?

O

_ (lowest possible)

Gi

-

-

-

-

-

-

gi

oaei (progressive)

Tschüss,

!

∑ (highest possible)

~ W

~ ? W

stimme 1

~ W

Cb

¢ Gi

-

-

-

-

-

-

gi Tschüss,

D & F xxxxx

O

O oaei (progressive)

_ (lowest possible)


46

X 232

° Aud ¢ /

#w ™ w™ #w™

˙

˙ w™

˙

Al

-

-

-

-

le

-

-

-

-

-

lu

-

-

-

-

-

-

jah

#œ #œ

-

œ bœ Fl

° & #œ

Ob

& #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

bnbbœœœœ

œ ~

#œ #~ Al

w

lu

-

-

# ~ #œ

-

-

-

w w

w

œ ~

bbœœœ bœ

jah

~ œ

bnbbœœœœ

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


47

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 &

Ob

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

?

∑ O

~

{

# ~ #œ

# ~ #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


48 ✶ 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

w

✶✶

mf

#W ∑

W

U #W

&

Fl

iallah_iallah_....

m

uau_uau_uau_...

m

/

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

Voice

mf

mp

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

pp

mf

W #W ∑ #w

U #W

W

w

&

Ob

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

° &

mp shi ing speed

uau_uau_uau_...

m

pp

mf

W #W ∑ #w

U #W

W

w iallah_iallah_....

m

Voice

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

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

mp

uau_uau_uau_...

m

pp

mf

W #w

w

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

#W ∑

W

U #W

&

Tp

iallah_iallah_....

m

mf if tenor or female voice: (8va)

Voice

mp

uau_uau_uau_...

m

pp

mf

? ∑ W

Tbn ¢

W #W

#w

w iallah_iallah_....

m

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

° Mar &

uau_uau_uau_...

m

ord (steady) pp

mp

w

#W ∑

Voice

W iallah_iallah_....

m

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

uau_uau_uau_...

m

ord (steady) pp

mp

w

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

U #W

#W ∑

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

W

U #W

Perc 2¢& iallah_iallah_....

m

/

mf

W #w

U #W

mf

W #w

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

uau_uau_uau_...

m

/

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

Voice

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

ord (steady) pp

mp

mf

W #w

w

#W ∑

W

U #W

Pno { & 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

mf

° #W

W #w

w ∑

W iallah_iallah_....

m

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

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..._

/


49 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 _

U ∑ ææ _

ææ _ o

ffff

metal drum

° Perc 1¢ /

· æ Yæ

o æ Yæ

æ Yæ

U ∑

ffff

D & F xxxxx

Basel, 13 April 2018

Aud ¢÷

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