Oscar Bianchi ANTILOPE for bass clarinet, cello and piano
score
Oscar Bianchi ANTILOPE for bass clarinet, cello and piano
commissioned by Sonemus Trio with support of Musikpodium der Stadt Zürich, Pro-Helvetia and Fondation SUISA
score
First performance: 2 September 2018 Theatre Rigiblick, Zürich
Sonemus Trio Azra Ramic, Bass Clarinet Esther Saladin, Cello Gilles Grimaître, Piano
© 2018 Oscar Bianchi Tous droits réservés pour tous pays All rights reserved version of 19 April 2019 O & B 52
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
CLARINET
≤ ≥ í
inhale exhale fully close embouchure with mouth
Solo Violin extra (See also general string legende) 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. CELLO sp = sul ponticello Up-bow doublestharmonic trill on III/IV, played with varying degrees of sul pont. Distorted trills always sul pont exploring layers of overtones – = sul tasto bring out relative of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very mspdifferentiation = molto sul ponticello fast and regluar, alternating upper and lower trilling fingers (1/2 with 2/3). Play where possible with fast mst = molto sul tasto and fluid up-bow gesture. Harmonic nodes or contact points are given in the part/score. A chart below clb = col legno battuto shows actual sounding pitches of the harmonics. Exact pitches are not critical, and it should be added that xv = extreme vibratosul (very vibrato, minimum fifth wide) Glissandi are very fluid. The short-note interjections of pontwide creates additional layers of overtones. w.n. « white noise » :single tonelos, bow right over chords, the bridge tones, open strings, also chordal harmonics, trace an elongated melodic line which is at times reflected in the orchestra. 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)
highest pitch available Part Two Re-tune to D-natural. Restrained but expressive. Five fragments of an extended melodic line thread through the orchestral textures. bow ordinario The line is always in motion drawn out of and disappearing into silence. bow over pressure
The overall effect creates a quasi-static multiphonic. Double, triple or quadruple chords combine open strings, open-string/harmonic trills and stopped tones. Fast string crossings - explore with varying bow bow extreme over pressure 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 and regular. Build up playing all three strings. Bring out the harmonics more than the open strings. Noteheads in brackets add last and play less often. « Harmonic glissando » : gradually move from lightly touched to pressed.
Natural harmonics: Natural harmonics:
« 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) PIANO the use of a Steinway D piano is recommended extra requirements: Ebow, guitar plectrum, used credit cards, ''gummi'' (a piece of old bicycle's tire), crine (string bow hairs)
Use your left hand to trigger the node of the corresponding string given on the bottom staff resulting in the harmonic on the top staff. Specific placement of where the harmonics are inside the piano are given in the score. (See board terminology for reference). Example: bar 23.
Put an ebow on the string octave lower than the note given behind the dampers. Examples: 159
Start and end the glissando on the harmonic nodes given, running the finger through all the nodes in between.
continuously bow ad libitum as much as needed to sustain sound according to indicated dynamics. Bow again when notes are restated (untied).
Board terminology
to Azra, Esther and Gilles
ANTILOPE Oscar Bianchi 2018
for bass clarinet, cello and piano
Sospeso vocal fry ✶
15''
Bass Clarinet ° & in Bb ¢
≤ :: inhale ≥ exhale ∑
ï ïï 10'' -ïïï U ï ≤
8''
2''
E
U ≤ ngering: b )
6''
U ≤ ))
∑ multiphonic:
p
b ))
(changing)
(✶) by emitting vocal fry directly into the instrument (with embouchure) produce a grainy, sputtering sound. In order to help articulating the vocal fry, occasionally include ngering changes ad libitum Organically accompany dynamic variations with vowels variations (such as o-->e-->o along with p-->f-->p etc.)
rotazione obliqua crine su corda ✶
8'' U & )
15''
? ∑ Violoncello
10'' U )
6''
∑
2'' U )
p
III c.
IV c.
(✶) produce a grainy sound by putting extra bow pressure over the string with its dedicated speed. Always mute all strings while pressuring with bow. Please always aim towards a sound which merges into the Bass Calrinet's vocal fry, and viceversa. rubber slide ✶
8'' 2'' 15''
U & w
U ˙™™™
pppp
ppp
r œ
6''
10''
U w
U w
pppp
U ˙
p
pppp
Piano
? ∑
{
∑
∑
∑
∑
(✶) rub a piece of old bicycle's tire against the string in order to produce ephemerous sounds, almost like a shadow (resulting notes).
6 8''
° B Cl ¢&
∑
ó 7'' -óóóó U ó≤ ) b)
overlap '' messa di voce'' with Vc 7''
Ó
9''
ï ïï -ïïï ó
10''
ï ïó -óóó ó
≥ b)
)
b ))
))
b ))
mp
f
mp
ff
mp
10''
)
3 16
overlap '' messa di voce'' with bass Cl 7'' 8''
7''
∑ Vc
&
U )
9''
3 16
)
)
)
)
)
IV c. mp
f
mp
ff
p
III c.
II c.
3''
U ˙™
mp
IV c.
8''
7''
allows from here on some harmonics to emerge 7'' 9''
U w
U w
U w
U w
7'' U Πo
& ppp
3 16
mp
Pno
?
{
∑
∑
∑
∑
∑
? 3 ‹ 16
All rights reserved for all countries © 2018 Oscar Bianchi
O & B 52
2
q = 72 ～80
°11÷
3 ≥ 16 OJ ™
Voice
5 16 OJ ™
O J
2 16 OJ
1 16 OR
2 16
1 16
8 16
1 16
O
(accentuare leggermente gli attacchi gutturali)
B Cl vocal fry 5 5:3 Fingerging
9:5
3 ¢& 16
3
5 16 nœ#œ œ #œ œ #œ #œ œ #œ
œ #œ œ #œ œ
nœ #œ œ #œ
5
8 16 nœ#œ œ
5
5
1 œ 16 # œ œ # œ n œ # œ œ # œ # œ œ#œ œ # œ # œ œ # œ œ # œ nœ#œ
'' f ''
bb bbbbbbbbbbbbbb bb 3 5 bbb 2 1 r 8 bbbbb bbbbbbbbbbbbbbbbbbbb 1 16 ® bbbbb 16 ® - bbbbbbbbbbbbbb 16 ® bbbbb16 16 ® 16 b > > >bbbb >>
Vc
f
p
f
p
f
p
mf
IV c. + III c.
ff
II c. + I c.
p
IV c.+ III c.
multiphonics ✶
24th resulting harmonics by damping string with hand
3 O & 16 J >
12th
9th
5 >j ≈ 16 O
2 > 16 Or
≈
‰
1 16
≈
>8 #OOJ 16
∑
‰
Œ
1 16
‰
Œ
1 16
sim.
(fully dampen)
fz
Pno pressed keys
? 3 ‹ 16 j b >œ
5 j ≈ 16 b >œ
{
≈
2 16 r b >œ
‰
1 … 16 r n>œ
≈
8 16 j >œ
(✶) nd the right position over the string in order to produce the above resulting harmonics. Notes between parenthesis (from section A on) are resulting muted harmonics ad libitum (follow the suggested ''melodic'' contour).
°16÷
1 16
3 16 OJ ™
O R
5 16 OJ ™
O J
2 16 OJ
8 16 O
2 16
8 16
3 16 5
3
5:3
9:5
5
5
5
B Cl
1 ¢& 16
3 16 nœ #œ œ
5 16 nœ #œ œ #œ œ #œ #œ œ #œ
nœ #œ œ #œ œ
nœ#œ œ#œ œ#œ#œ
nœ #œ œ #œ
3 œ 16 # œ œ # œ œ # œ œ#œ nœ#œ œ#œ#œ
bb bbbbbbbbbbbbbbbb bb 1 3 5 bbbb 2 8 bbbbbbbbbbbbbbbbbbbbbbbbbbbb 3 16 r bbb 16 ® bbbbbbb 16 ® - bbbbbbbbbbbbbbb 16 ® bbbbb 16 ® 16 > bbb > > > > mf f p f p f p ff p II c.+ I c. IV c.+ III c. 24th 12th >j #O>-O O O 1 3 5 2 8 3 ∑ ≈ ‰ ≈ ‰ Œ R J R & 16 16 16 16 16 O 16 > > Pno 3 …r ≈ ≈ 5 j 2 r ≈ 8 j 3 ? 1 r ≈ ‰ ‰ Œ 16 16 16 16 16 16 ‹ b >œ b >œ b >œ >œ >œ
Vc
{
°21÷
3 j 16 O™
13 16
O™
21 16
O R 4:3
B Cl 5:3
4:3
3 ¢& 16
nœ #œ œ #œ œ #œ #œ
nœ #œ œ #œ œ
3 16 ®
Vc
4:3
13 16
bbbbbb bbbb
>-f
4:3
4:3
4:3
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 21 16 3:2 4:3
4:3
bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb 13 bbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb 21 16 ® 16 > o p
mf
mp
II c.+ I c. 9th
> 3 & 16 Or
≈
≈
≈
≈
>13 #OOJ 16
≈
‰™
‰™
Œ
21 16
≈
‰™
‰™
Œ
21 16
Pno
? 3 r ‹ 16 b œ >
{
13 16 j n>œ
O & B 52
3
°23÷
21 ~ 16
O
1 16 OR
O R
2 16 OJ
1 16
3 16
O R
B Cl 5
5
5
3 5 5 3 3 1 2 1 3 #œnœbœ œ œnœnœbœ œbœ n œ œ œ œ # œ œ 16 16 16 16 n œ œ # œ œ œ # œ œ # œ n œ œ # œ œ œ n œ # œ n œ # œ nœ #œ œ #œ #œ #œ 5 5 nœ #œ œ #œ œ #œ #œ œ #œ nœ nœ œ œ #œ œ# œ œ n œ # œ œ # œ nœ #œ œ 5
21 ¢& 16
Vc
5
5
21 ® bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbbb 1 r 2 ® bbbbbb1 r 3 16 16 16 16 16 b bb > >bbb bbb > > mp mf o mf f p mf IV c.+ III c. II c.+ I c. 32nd >-O 13th >r 21 1 2 1 3 J ™ ™ ™ ™ ™ ™ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ∑ & 16 16 16 #O ≈ 16 ∑ 16
Pno
? 21 ‹ 16 œj >
‰™
≈
‰™
‰™
‰™
‰™
1 …r 16 #>œ
‰™
{
°27÷
3 16
1 …r 16 <n>>œ
2 16 r ≈ b >œ
3 16
≈ ,A
j O™
1 16 OR
5 16 OJ ™
1 16 OR
O J
8 16 O
1 16 OR
3 ≥ 16 OJ ™
5 16
5 5:3
3
9:5
3
5
5
5
3
5:3
B Cl
3 ¢& 16
1 16
5 16
1 16
nœ #œ œ nœ#œ œ#œ œ#œ#œ œ#œ
nœ#œ œ #œ œ
8 16 nœ#œ œ
nœ#œ
1 œ 16 # œ œ # œ œ # œ # œ œ#œ œ #œ œ#œ #œ œ#œnœ #œ
3 16
5 16 nœ#œ œ#œ œ
nœ #œ œ
'' f ''
bbbbbbbbbbbbbb bb bb 3 1 5 bbbb 1 8 3 5 bbbbbbbbbbbbbbbbbbbbbb 1 16 ® bbbb 16 r bbb 16 ® - bbbbbb bbbbb 16 r bbb 16 ® 16 r bbb 16 ® bbbb 16 b b b > > >>>b >b >b
Vc
f
p
mf
f
p
mf
ff
IV c.+ III c. IV c.+ III c.
p
mf
f
p
IV c.+ III c.
II c.+ I c.
II c.+ I c.
II c.+ I c.
IV c.+ III c.
13th 13th
13th 23th 24th
>r 3 1 & 16 O ≈ ≈ 16
∑
5 #>Or ≈ ≈ 16
1 16
‰
∑
> 8 Or 16
≈
≈
‰
≈
‰
1 16
∑
3 O™ O ™ ® ≈ 5 16 16 > > sim. fz in mf
Pno
? 3 r ≈ ≈ 1 …r 16 ‹ 16 <n> œ #>œ >
{
°34÷
5 16 OJ ™
5 16 r ≈ ≈ n>œ
O J
1 … 16 r b >œ
‰
2 16 OJ
1 16 OR
2 16
1 16
8 16 r #>œ
≈
≈
‰
≈
‰
1 … 16 r >œ
3 16
5 ® ≈ 16 b œ- ™ œ™ > >-
8 16 O
1 16 OR
3 16
5 9:5
3
5
B Cl
5 ¢& 16 nœ #œ œ #œ œ #œ #œ œ #œ
nœ #œ œ #œ
8 16 nœ #œ œ
5
5
3 1 3 œ 16 16 # œ œ # œ n œ # œ œ # œ # œ œ #œ œ # œ # œ œ # œ œ # œ nœ #œ nœ #œ œ
bb 5 bbbb 2 1 r 8 ® -bbbbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbbbbbbb 1 r 3 16 ® - bbbbbbbbb bbbbbb 16 ® bbbbbb 16 16 16 16 b > bbb bbbb > >>bbb >b
Vc
f
p
f
p
mf
ff
II c.+ I c.
IV c.+ III c.
p
mf
II c.+ I c.
24th 25th
27th
5 #O & 16 J >
≈
‰
28th >- >Bb 2 O #nOO 16
u
® 161
∑
8 16
∑
1 >- ® 3 16 RÔ 16
5
Pno 5
? 5 ‹ 16 j œ >-
{
≈
‰
2 16 œ nœ >- >-
… 8 ® 161 16 Kr ® ≈ œ œ œ >- >- O & B>-52
‰
Œ
1 3 16 Kr ® 16 œ V.S. >-
4
°39÷
3 16 OJ ™
5 16 OJ ™
O J
2 16 OJ
8 16 O
2 16
8 16
3 16 5
5:3
9:5
5
5
5
B Cl
3 ¢& 16
5 16 nœ #œ œ #œ œ #œ #œ œ #œ
nœ #œ œ #œ œ
>-f
nœ #œ œ #œ œ #œ #œ
bb bbbbbbbbbbbbbbbbbb 5 bbbb 2 8 bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb 3 16 ® - bbbbbbbbbb bbbbbb 16 ® bbbbbb 16 ® 16 > > >-
bbbbb bbbbb
3 16 ®
Vc
nœ #œ œ #œ
3 œ 16 # œ œ # œ œ # œ œ #œ nœ #œ œ #œ #œ
p
f
p
f
p
ff
p
IV c.+ III c. a a e
>-
o
3 & 16 ® Kr ≈ >-
≈
5 ® ™ >- ™ ® ≈ 16
≈
5 16 ® ™
9:8
>-
3
‰
2 16 ≈ > >-
‰
2 16 ≈
8 16 ≈
> -™
‰™
3 16
‰™
3 16
Pno 9:8 3
? 3 ® K≈ ‹ 16 œr >-
{
°43÷
® ≈
8 16 ≈
Ϫ >-
3 16 OJ ™
œ œ >- >-
13 16 O
O™
O
Ϫ >-
œ >-
œ >-
O™ J
O™
21 16
O
B Cl 4:3
5:3
4:3
3 ¢& 16
4:3
nœ #œ œ #œ œ #œ #œ
nœ #œ œ #œ œ
bbbbbb bbbb
3 16 ®
Vc
4:3
13 16
>-f
4:3
4:3
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 21 16 3:2 4:3
4:3
bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb 13 bbbbbbbbbbb bbbbbbbbbbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbb 21 16 ® 16 > o p
mf
mp
u II c.+ I c.
>-
5
>-
i
>-
3 & 16 ®
≈
≈
13 16 ≈
≈
13 16 ≈
>-
>-
>-
>-
‰™
Œ
21 16
‰™
Œ
21 16
Pno 5
? 3 ® ≈ ‹ 16 œ >-
{
°45÷
œ >-
œ >-
œ >-
œ >-
œ >-
œ >-
3
21 ≈ 16
O
O
O O™
O
O
O
O
O
O
1 16 OR
O R
O
2 16 OJ
1 16
2 16
1 16
4:3
B Cl 5 5 3 5 5
21 ¢& 16
5
5
5 5
nœœ#œ#œœnœ # œ œ # œ n œ # œ # œ nœ#œ œ#œ nœ#œ œ #œ œ#œ#œ œ#œ nœnœ œ œ#œ
3
œœ#œnœbœœœnœnœbœœbœœ#œnœœ 161 œ œ œ œ # œ # œ nœ 5 5
œ#œ œ
nœ#œ œ#œ
21 ® bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbbbbb 1 r 2 ® bbbbb 1 16 16 16 16 bb > > bbb mp mf o mf> f o i > >- >- >- >- - >- >- >- >- >- ™ >- >- 2 ™IV c.+ III c. 1 21 1 ™ ™ ™ ‰ ‰ ‰ ® 16 & 16 ™ 16 16 > > ™ 7:6 >>Pno 7:6 1 2 ? 21 ‰™ ‰™ ‰™ ® 161 16 16 16 # œ ‹ œ™ œ œ œ- #œ- - #œ- n œ- n œ n œ œ œ œ™ -> >>- >- > > > O &>B 52 > >- >- n>œ>- >- b >œ- ™ >œ™ Vc
{
5
°48÷
1 16 OR
3 16 OJ ™
1 16 OR
5 16 OJ ™
1 16 OR
O J
8 16 O
O
O
O
1 16 OR
O
4 4
5 5
B Cl
3
5:3
1 ¢& 16
3
3 16 n œ# œ œ # œ œ
nœ #œ œ
9:5
1 16
3
5 16 nœ #œ œ
5
1 16 nœ#œ œ #œ œ#œ #œ œ #œ
8 16 nœ #œ œ
5
5
3 1 4 œ 16 4 # œ œ # œ œ # œ # œ œ # œ n œ # œ nœ #œ œ #œ œ#œ #œ œ #œ nœ#œ œ
b
1 r 3 ® bbbbbbb 1 r 5 ® bbbbbbbbbbb bbbbb 1 r 8 ® bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb 1 r ÷4 16 16 16 16 16 16 16 4 b b b bb bb bbb bb b b b > b b b b > b > >b > > > p mf f p mf f p mf ff p mf
Vc
IV c.+ III c. II c.+ I c. o
IV c.+ III c. i
II c.+ I c. o
IV c.+ III c. II c.+ I c. o
e
>- 3 >>- 5 j 1 1 ® ® ≈ ≈ ® & 16 16 RÔ 16 ÔR RÔ 16 >-
≈
II c.+ I c.
1 >16 R
‰
>-
>-
u
8 16 R
>-
>-
>- >- >- > 1 - 16
≈
4 4
∑
8:6
… Pno 8:6
? 1 ® K 3 ® K≈ ≈ 1 ® K 5 16 r 16 r r 16 j ‹ 16 œœœœ > > > >-
≈
{
1 16 r œ >-
‰
8 16 r œ-
1 ?4 16 ® 4 œ- b œ- b œ œ œ > > > - œ>> >
≈ œ >-
œ >-
œ >-
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ œ™ √ ‰ o
bisb. air only ✶ 3
B poco più lento, libero q = 60 55 ≈ ° 4 ∑ ∑ B Cl ¢& 4
libero
√ œ
œ # œ # œ ™™ Œ
# œ # œ # œ œ œ œ™
œ
‰
U Œ
Œ
Π5
o
o
o
''p''
''p''
(✶) nd an ''airy'' sound which could propely shadow (and not overshadow) Pno's rubber slide arco w.n. ✶✶ string clef ✶
6™ 66 6 6 6 6 √ ææ ææ ææ ææ
3
Vc
≈ ÷ 44 I II III ∑IV
‰ 6 )
Œ
6
66 66 ™™ J
6
''pp''
U U 3 )) 6 6 Πo o
Œ
√ ææ 66 6 6 6 6 ææ ææ æ æ æ6 6 6 6 ‰ ææ
66
3
3 (II) (III)
(II)
3 5
o ''mf''
o
''pp''
''pp''
(✶) string clef: indicates the concerned string (✶✶) arco white noise: tonelos, over the bridge ff
>œj
rubber slide
4≈ &4 w
œ ™ #œ œ
w
U œ #œ ™ œ
nœ √ œ
œ œ™
''p''
˙
≈ ∑
{
∑
œ
∑
∑
∑
ord pp
Æ œ b œÆ œÆ œ œ ™™
60
o O™
O
O™
O
O
O
O™
O™
O™ O™
O
Ϫ
° Œ
√ œ œ
˙
''p'' sempre
5
Pno
?4 4
œ
‰
≈ o
B Cl ¢& 3
#˙ ™
#w <n> w
#˙ ™
#œ œ
≈ œ™ ≈ ŒŒ
#˙ #˙
∑
Ϫ
''p''
(tremoli strettissimi e pungenti) reversed seagull effect ✶
molto ord mst ord ord msp 3 3 3
÷
Π6
Vc
pp
™ 6™ 6 6™ ææ6 ææ ææ æ
6 æ
mf sub
ppp
Œ ? b˙
œ
pp
mp
Ó
#~ nw w
#O ˙ ˙
‰ O ˙
pp
‰ Œ
∑
f pp
mf quasi
pp
(✶)gliss until string's end without shortening the position
ff
>- >- >- >- >ff Nail scrape ✶
>- >œ œ
&
œ grainy, medium thick, misterioso
bœ ˙
˙
w
˙™
Œ
''p''
''f '' quasi
pp
Œ
? BO ™
O
o 3 ''p'' sempre
Pno
p
?
{
∑
∑
∑
(✶) scrape the string with nail towards you which will produce a downwards gliss. Set proper spead in order to produce the indicated pithces
Œ ˙™ (or E1 on grand piano)
O & B 52
w
6 profondo ed intenso ma non forte, mai rubato z (with german ''r'')
r.h. trill keys ✶
65 6 6
° B Cl ¢& Ó
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 3 œ™ œ 8‰ pp
mf
6
6 4 ææ ææ ææ≈ ™ ææ ææ ææ ææ ææ ææ 4 æ æ æ æ æ æ æ æ œ b œ œ b œ œ œ b œæ œæ ææ œææ ææ œææ æ œæ æ œæ æ œæ œ #œ œ #œ œ œ œ œ
pp
f quasi
pp
pp
Œ Ó
ppp
(✶) while using the tounge in order to gliss, trill extremely fast with right hand keys in order to produce a ''broken'' jodel-like effect reminding also kurdish/balkan voice tremolos saltellato stringendo allargando
O #O O #O nO O
ObO ? Ó Vc
O Œ& OO O
#O O
#O
#O O 3 #O O 8 bO nO
#O O
#O O O
O O O nO
bO#O O O #O
#O #O O #O
nO
#O 44 #O#O O
# O # O O O #O #O #O O #O Œ Ó #O
#O O
pp
f quasi
ppp
nail over pressure: nail extreme over pressure:
3 8
? O
4 µO 4
∑
p
Pno
3 8
?
{
4 4
∑
bw w towards the board, upwards gliss set proper spead to produce the indicated pithces
7
68 6 6
° B Cl ¢& Ó
6 6 6 æ æ æ æ 4 æ æ æ ææ ææ ææ≈ ™Œ Ó æ ææ ææ ææ ææ ææ ææœbœææ æ æ æ æ ææ ææ ææ ææ ææ ææ æ 2 æ æ æ æ æ æ æ œ æ æ # œ n œ æ œ b œ n œ b œ n œ b œ œ æ æ æ æ æ ææ æ æ æ æ æ æ œbœ œbœ œ œ œbœ œ#œ œ œ œ #œ œ œ œ œ œ œ œ œ pp
7 Œ Œ æ æ æ æ æ æ æ#œæænœææ ææ ææææ ææ ææ ææ æ æ æ æ æ æ nœbœœ# œ n œ œ #œnœ œbœ œ œnœ
Œ
pp f quasi
pp
f
ppp
mst
O J &
?
Vc
& Ó
molto
4 2
‰ o
O
O™ o
?œ
- - ™ - 2µ-œ J R
-
n-œ
f 5 5
mf deciso
ord pressure (sparser click) ✶ (even sparser)
BO
4 O 2
?
O ∑
f
Pno (✶) produce intermittent clicks by vehemently increase pressure
4 2
?
{
∑
bw
w q = 38 approx ''sputtering'' frequence: please make sure always ''irregular''
70
°÷
4 4
∑
3 8
∑
etc.
4 ~≤ 4
∑
vocal fry
quasi senza tempo, libero i passaggi da una nota all'altra devono essere uidi e spontanei
B Cl 6 5
6 6
6
4 4
æ æ æ ææ æææ ™ ¢& # œæœæœæ# œæœæn œææb œææ ææ ææ ææ ææ ææ ææ æ æ æ æ ææ ææ ææ ææ ææ ææ æ æ æ≈ Œ ∑ œ b œ œ œ b œ œ # œæœæœæœæœ œ œ œ œ œ œ œ œ pp sub
f quasi
pp
∑
3 ∑ 4 ≤ 8 4 œ #œ œ œ- # œ- >œ- #>œ- >œ- >œ- #>œ- >œ- #>œ- >- >> > mp
ppp
13th (III c.) 11th (II c.) (integrate IV c. detuning
ord msp ord tremoli strettissimi msp
Vc
o¯ OO ™™
o¯ ? œ &‰ #OO ™™ mp
f
B2n ‚‚ ™™ Œ ‚‚
? 4 2n‚
3
42n ‚ ææ
&8
o ppp
‚‚ ™™ clicks into B Cl vocal fry) 4 ‰Ó ∑ 4
?
w o
o ff
''fake formant gliss'' (naturally produced by dynamics variations)
p
III c. IV c.
very sparse (and intermittent)
bO bO
? O O mf
4 4
∑
3 ∑ 4… 8 4
∑
∑
∑
4 4
∑
3 4 8 ∑ 4
∑
∑
∑
ff
Pno
?
{ W W
O & B 52
7
vivace e = 118 ～ 124
a bit of key clicks here until 98
76
≤
° B Cl ¢& #w
3
≤ 3 j 3 Œ Œ 2 3 3 16 œ™ 4 œ 4 #œ ™ œj 16 œ#œ 8 œj œ
3
j j‰ j b œ n œ # œ- œ- n>œ- #>œ- n>œ-#>œ- ˙ œ œ # œ œ ™œ # œ ™ œ œ # œ ™ ™ ™ œ > > >> > > œ- # œ- ™n>œ- #>œ- œ >- >>- > > > > >
5 8
mp
(with vertical bow motion) mst ord
msp
ord
ord
3 ∑ 3 ≤ 16 4 ˙ µ˙™ o ppp
? Ó
∑ j œ
Vc
µœ ™
˙™ œ
˙
p
p
µw o
o mf
mf
2 4 #˙
3 16 œJ ™
3 5 8 2n O ™ 8 2n œ ™ œ ™
f
p
Nail scrape marimba sound ✶
3 3 Œ 42 Œ bO 16 j 4 U ?™ U mp ppp p 3 ∑ 3 ∑ 2 Œ 16 4 4 œ
? ∑
Œ Ó U o
Pno
U
∑
?
U o
pp
ppp
? ∑
∑
∑
∑
∑
{ (✶) inside the lowest strings of the I section of the board, a nebulous marimba-like sound is produced with a fast tremolo with both palms
3 16 J ™
3 8 ™
3 16
3 8
mp
Ϫ
≥ # ˙ 4 œ bœ 4 nœ f
œ 3 œ 8
≤ ‰ 48 #œ
ff
Ϫ
#œ ™ œ
Ϫ
Ϫ ff
fff
Ÿ~~~ 3 œ #œ œ 8 œ œ™ #œ 48 œJ
œ
5 8
≥ Ÿ~~~~~~~~~~~ œ #œ
86
° 5 B Cl ¢& 8 #œ ™
4 4
f
~
f.p. w.w.t.
msp mst
5 8
arco msp
ord
ord msp
msp
ord
mst 3
ast
msp
3
arco
Vc
?5 8
4 4 2 2 n O ™ n O œ™ œ™ œ œ
æ 4 ≈ ™& ‚‚ ? jb‚æ 8 bj ‚ œ o sfz
3 ≥≤ 8 ˜œ œ™
∑
&
OO + J ≈? 6 pp
‚‚ ≥≤ 3 r 8 ™ 6 #œ œ
4 8
≈ ™&
æ OO ? ≥ ≤ ? 22b‚æ b ‚& œ œ™
4 4
µœ
f f quasi
f p
p
o
f f p
II c. III c.
f
sfz
pp
II c. III c.
IV c. (sounding 8vb)
f p
f
IV c. ( no al segno)
(✶) « anger pizz » : a er executing a le hand pizzicato, immediately approach the surface of the metal part of the frog against the vibrating string, always leading the bow from moltissimo sul pon towards alto sul tasto. e anger effect is created by quickly “intercepting” the vibrating string and therefore creating a “wah-wah” effect by approaching the bow's metal (or the bow’s wooden tip w requested) against the vibrating string. Use the entire length of each duration to gradually and profoundly venture from msp to ast. motor sound (col cello)
intermittent (pulse-like but unpredictable)
(nail scrape) ord
(much pressure) ord acid 3
?5 8
4 4
™
3 8 O™
f
p
Bbœ
4 O ≈™ 8
j j ˜‚ 48 ‚
3 8
˜‚ ™
‰ 44
g™
pp
u
o
oe
ae
o Pno
sfz
pp ff
?5 8
4 4
{
Ϫ
œ
3 8
4 8
œ ˙™
Ÿ~~ 94 ° 4 œ #œ œ #œ ™ #œ B Cl ¢& 4 p sub
Ϫ
‰ Œ
3 8
∑
4 8
∑
∑
∑
4 4
∑
6 4
œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ™ œ™ # œ œ # œ ™ 3 6 J 5 8 8 ≈‰ ‰ 4 ê f ppp f pp
(vocal fry)
5 ≤ 2 16 ≈ r ≈ ‰ 8 œ-
∑
mf
~
œ
msp
ord vib:
œ msp
molto mst
msp
st
sp
st
ord
3
Vc
?4 ≥ 4 ˙
j 3 ‚ 8 œ #‚ #‚ n‚ n‚ ‚ 2# ‚ ™ 3
5 8 w (u
ppp
-
-
a - u
ê
f
-
a -
u)
mf
ppp
6 2#‚ ™ 42n O ™
sp &&&&&&&&&&&&&
st 6
5 16
n3O ™
#œ ™
Ϫ
pp
f quasi
∑
Ϫ
æ6 2 œæ4 8 #œ- ™™ œ ™™ œ >f #>œ-
p ppp
ppp
ff
3 8 J
6O 4
ppp
ff
(much pressure)
?4‰ ‚ 4 J
5 8
J
pp
mf
O Œ
Œ
5 16
∑
2 8
∑
6 4
Œ
Œ
5 16
∑
2 8
∑
6 4
ff
Pno
?4‰ 4
5 8
{
˙ ™™
3 8 œ
Ϫ
6 4 Ϫ
V.S.
w O & B 52
8
underblown
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ attacca œ œ œ™ œ ˙ ˙ subito 4 ∑ 8 O O O O O™ O O O o pp mf o pp o mf bisb.
Ϫ
100
° 6 œ B Cl ¢& 4 ˜O
œ œ #œ œ ™ œ ™ ˙ 4 Ó O O #O O™ O™ O 4
œ
bO ™
O
pp
f quasi
œ œ
~
(col piano) mv
≤ ? 6 ææ œ 4 ™™ #œ ˙
˙™
ppp
œ
~ Ÿ msp ord msp ord f.p. w.w.t mst msp ord 3 msp ast 3 Ÿ>-~~~~b-œ Ÿ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O O ‚‚ ææ OO æ + 4œ 4 ‰ & ‚‚ ? 2 2b‚æ & ≈ ? 3 ?œ ? ≥ ≤ ‰ ≈ r & & 4 8 b‚ œ #œ œ™ ™™™ 16 -> œ œ # ˙6 6 > o 3 sfz f f f pp p o sfz ppp f p pp II c.
ord
Vc
~
œ
3 16
ff
IV c. (sound. 8vb)
IV c. II c. III c.
%
III c.
motor sound (col cello) col cello
œ
œ b˙™ ‰
ff
p
™™
?6 ‰ 4
4 >œ > #˙ 4 > 3
4‰ 3 8
3 ‰ & 16
œ #œ ™ o
ff
ppp
f
p
sfz
p
ff f sub
Pno
?6 ‰ 4
{
4 4
j
4 8
3 Œ ‹? 16
˙™ ˙ 1_Pno_Scrape down Gb2->D2 forte.wav
˙
˙
œ
8'' 5_Pno_Scrape down F3->C#3 forte.wav
C q = 72 ～80 No voice tone, air only. Mouth position (german):
3 ® °106 ÷ 16 >
5 ® 16 >
tsch
tsch
™
2 ® 16
tsch
r 1 16 >
8 ® ™™™ 16 >
tschu
tsche
1 16
air gliss ✶
B Cl (quarter tones) (chromatic)
(quarter tones)
(chromatic)
3 ® bbbbbbb 5 ® bbbbbbbbbbbbbb bbbbbb 2 ® bbbbbbb 1 r 8 ® -bbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbb 1 & 16 16 16 16 16 16 ¢ > bb >>bbb >>
Fingering:
f
p
f
p
f
p
mf
ff
p
(✶) while blowing intensively (white noise) over the instrument (for every attack the mouth is slighly detouched from the embochure) perform chromatic or quarter-tones scales as fast as possible, downwards or upwards according to glissando's directions
msp
mst
msp
mst 5
5:3
Vc
9:5
? 3 16 œ#œ œ #œ
5 16 œ f
3
nœ µœ #œ ˜œ œ µœ #œ ˜œ
2 16 œ
f
1 16
5
8 16
5
5
nœ #œ œ #œ
nœ #œ œ
1 16 œ µ œ œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ n œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ œµ œ
f
f
f
lv multiphonics 3
hands over strings: (resulting notes)
3 & 16 ≈
>O
7:4 6:5
5 16
≈
mf
>O
5
2 ≈ ≈ 16 sfz
1 16
®
mf
8 16
‰ 7:4 sfz
mf
1 16
mp
Pno 3
5 7:4 7:4
6:5
lv pressed keys:
? 3 ≈ ‹ 16
{
5 ≈ 16 œ bœ
2 ≈ ≈ 16
1 16
®
œ œ bœ bœ nœ œ #œ œ œ >
8 16
lv
‰
bœ œ œ œ œ O & B 52
œ >œ œ œ œ œ œ œ œ œ œ
1 16
9
r
°111 ÷ 161 >
3 ® 16
tschu
™™™
>
5 ® 16 >
2 ® 16 >
tschi
tschi
tschü
8 ® 16
3 16
> tsche (quarter tones)
(chromatic)
(quarter tones)
(chromatic)
B Cl bbbbbbbbbbbbbb bbbbb bbbb 1 r 3 2 bb 8 bbbbbb bbbbbbbbbbbbbbbbbbbbbbb 3 bbb 5 ® 16 - bbbbbbbbbb bbbbbb 16 ® bbbbb 16 ® 16 ¢& 16 bbbbbb 16 ® > > > > > mf f p f p f p ff p 5
msp
msp
mst
mst 9:5
3
Vc
? 1 16
5:3
5
3 16 nœ#œ œ
nœ #œ œ #œ
5 16 œ
2 8 œ 16 µœ #œ µœ œ˜œ œ # œ œ œ ˜ œ 16 # œ œ ˜ œ n œ œ œ #œ #œ œ # œ œ b œ n œ ˜ œ # œ µ œ #œ µœ
œ˜œ#œ µœ 3 16 5
5
f
f
f
f
f 7:4
6
1 & 16
∑
>-5 3 ® #OO ≈ ≈ 16
>-O
5 16 ‰
≈
®‰
ff
>O
6:5
≈
2 16
8 16 ‰
∑
3 16
fff mf 7:4 sfz
Pno 5
6 7:4 6:5
? 1 ‹ 16
{
∑
3 16 ®
5 16 ‰
≈ ≈
≈
≈
7:4
8 16 ‰
∑
b œ>
n œ>
3 ® °116 ÷ 16 >
®‰
2 16
3 16
lv
œ œ œ œ œ œ œ œ œ >œ œ œ œ
13 16
21 16
∑
tscho (chromatic)
B Cl ord 4 4:3
bbbbb bb
3 ¢& 16 ®
4
13 ≈ bbb 16
>-
œ #œ œ bœ nœ œ #œ
f
p
4
4
4
4
4
21 œ 16 # œ ˜ œ œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ œ µ œ œ µœ #œ ˜œ
p ff
msp mst 4:3
msp 4:3
4:3
5:3
Vc
4:3
? 3 16 nœ #œ œ #œ
13 16 œ
4:3
4:3
4:3
œ µœ œ µœ #œ ˜œ œ µœ #œ ˜œ œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ œ µ œ # œ ˜ œ œ µ œ nœ µœ #œ ˜œ œ µœ #œ ˜œ
œ µœ nœ 21 16 3:2
4:3
f
f
p fff
u 3
3 & 16
≈
13 16 ‰
O R -> fff
‰™
‰™
#O>-O R
≈
‰
21 16
≈
‰
21 16
fff
Pno
? 3 3 ‹ 16 œ b œ
{
≈
13 16 ‰
‰™
‰™
r b >œ
r n œ> O & B 52
10
5
118 5
z
5
° 21 3:2 B Cl ¢& 16 µœœœ ≈
5 5 5
≈
5
5
5
3
1 œ bœnœbœœbœnœ bœnœ œbœ # œ 16 æ æ æ æ æ n œ œ # œ b œ n œ æ æ æ œ œ b œ æ æ æ æ æ n œb œb œ œb œn œb œ n œ b œ æ æ æ œb œn œ n œ# œ œ bœ œ œ# œ œ b œ n œ œ # œ n œ # œ mp
ff
5
2 ∑ 16
ff
5 5 5 5
? 21 ≈ 16 Vc
5
œ µœ œ µœ #œ ˜œ nœ µœ #œ ˜œ œ µœ œ µœ #œ ˜œ œ µ œ # œ ˜ œ œ µ œ œ µœ #œ ˜œ œ µœ #œ ˜œ œ µœ #œ ˜œ
msp 3 œ µœ #œ ˜œ œ µœ #œ ˜œ œ µœ œ µ œ # œ ˜ œ œ µ œ # œ 1 2 16 16 œ 5 5 3 œ #œ 5
5
mp
ff
21 & 16 ‰ ™
‰™
>-O R
p
ff
‰™
‰™
‰™
≈
≈
®
1 #-O 16 > fff
2 ∑ 16
r ‰™ b œ>
‰™
‰™
≈
≈
®
1 16
2 ∑ 16
‰ fff
Pno
? 21 ‰ ™ ‹ 16
‰™
{
2 O °120 ÷ 16
‰
œ >-
voice, low pitch ad lib
J
1 16 OR
3 16 OJ ™
a
e
i
1 16 OR
5 16 OJ ™
o
u
1 16 OR
O J
8 16
e
B Cl 9:5
5:3
2 ¢& 16
1 16
3 16
∑
1 16
∑
5 16 #œ #œ #œ #œ œ
1 16
#œ #œ nœ #œ nœ
#œ nœ #œ nœ ff
ff
8 16
∑
œ #œ #œ #œ ff
msp
msp
msp
mst
mst 9:5
3
Vc
? 2 16
5:3
1 16
3
3 16
3
1 16
nœ #œ œ #œ
nœ µœ #œ
nœ #œ œ #œ
ff
ff
ff
œ
5 16
œ
nœ ˜œ #œ
#œ n œ œ œ #œ #œ
ff
ff
1 16
œ œ
8 16 œ µœ #œ ff
lv
2 & 16
∑
1 16
>3 16 ® O ≈
∑
>O
1 16
®
5
5 16
mf
mf
sfz
1 16
∑
8 16
1 16
∑
8 16
mf
fff
Pno 5
lv
? 2 ‹ 16
{
∑
1 16
3 16 ®
∑
≈
1 16
® bœ
5 16 œ
œ >-
œ
œ œ bœ bœ nœ œ #œ œ œ >
œ
D q = 40 8 O °126 ÷ 16
1 16 OR
i
a
4 4
3 4
∑
5 16
∑
4 4
∑
slap
B Cl
œ œ œ #œ bœ 5 #œbœ œœ œ œ 8 #œbœ#œbœ œ œ ¢& 16 5
5
4:3
1 4 16 ∑ 4 ® œ œ #œ
3 4 ‰
‰
# œ-. œ-. œ-. œ-. œ-. œ-. œ-.
5
ff
4:3
‰ œ-. œ-.
œ-.
œ-.
‰Œ œ-. œ-. œ-.
pp
autato bounces ✶ 5
mst
œ˜œ œ ˜ œ µ œ # œ µ œ # œ œ˜œ # œ µ œ #œ µœ œ˜œ
#œ µœ
(non legato) msp
5
Vc
? 8 16 nœ˜œ
5 5
ff
2 gliss sim. sempre
3
1 16
4 ® 4 œ ™™ nœ œ œ pp
5 ≈ 4:3 ‰ 4 16 4 œ-. œ-. œ-. ppp
®
® œ- ™™
® œ- ™™
3:5 3 ® 5 4 ® ® 16 4 4 œ- ™™ # œ- ™™ œ™™ œ™™ # œ œ œ - - ppp
ff
(✶) esponential glissandi until highest positions, as bouncing off the Pno's fundamentals pesante, enfatico in front of dampers 12th 14th 15th 15th
11th 14th 13th 12th 13th
#O
8 & 16 ‰ ™
b O>-O Œ
BO
10th
#3 O
nO O
1 4 16 ∑ 4
µO
n3O
3 4
5 # O #O n3O 4 16 4 3:5
fff fff
Pno 3:5
? 8 ‰™ ‹ 16
Œ
{
œ >-
1 4 16 ∑ ? 4 œ >O & B 52
3 4 œ >-
œ >-
œ >-
5 16 # œ>
œ >-
œ >-
4 4 # œ- œ- œ> > >
11
e = 60 improvviso
e = 50 rit.
ord (tremoli strettissimi e pungenti)
o
o
œœ œœ œœ other! œœ ™™ √ #œ 6 œ o œ #œ ™ Œ Œ # O 8 O O #O O ™ O ™
undeblown
œ™ œ™ œ œ œ
œ œ™
Ϫ Ϫ
œ
131
° 4 #O O™ O B Cl ¢& 4 <n> O #O ™ O #O
® #O O™® ‰‰ ÓÓ O™
œ™ œ™ ‰ ˜O ™ O ™
Ó
ppp
œ™ œ™ œ Œ ‰ ˜O ™ O ™ O
mp
ppp
pp
mf
pp
œ O f quasi
pp
multi-phonics beyond bow ✶ 19th
btw 20th &19th
18th
-3 ≈ 3 n-3 3 ˜2-3 Bb-3 3 & Œ ‰ 15th
3 ˜2-3 -3 O
14th
13th
(it's ok to hear tuning clicks)
Vc
?4 4
libero,
∑
Ó
mp
n3-‚
n‚ ‚™™™ √ #‚ 6 3‚ ‰ ÙŒ Œ 8
10th 9th
n3‚ ™
‚‚
f
(free bowing) f mp
free bowing ppp
p
IV c. (sempre no al segno) rassegnato evocativo 14th
l.v. 15th 11th 12th
#O µO nO 3 4 &4
12th
12th
11th
11th
10th
9th
10th
3µO
nO nO 3
O
O #à O Π6 nO O 8
13th
O #O
∑
∑
9th
10th
#O
mf
Pno
√ ?4 4
{
∑ n œ- œ- œ> > >
œ >-
# œ>
n œ>
Π68
∑ œ bœ œ
œ œ >- >-
#œ nœ
#œ
resulting harmonics: 9th
# O111th
10th
#11th O
9th 10th
O 137 # O
O™
nO
° ‰ &
O O 4 J 8
O J
O
O
O
3 8
come un eco
B Cl multi-phonics
‰ ¢& œ
bœ
Ϫ
œ ppp
#œ
4 j 8 œ
3 8
j œ œ
nœ
#œ
œ
œ
mp ppp sub
p
mf
ordinario harmonics 14th
12th
Vc
& ‚
™
18th
n-‚
Bb ‚o ™
o ‚™
15th
13th
n3-‚
‚ ˜2-‚ Bb-‚
‚ ˜-‚ -‚ 3 8
mf
f
4 8
‚ ‰ ‰ J mp
fff
f
14th
mf
multiphonics
>- >- >- >- >- >nervoso ed imprevedibile lv
>O
rubber slide over II section or beyond tuning pins
-O >
& ‰
œ
7:4
lv
5
6:5
® ≈™ ‰ ‰
≈ ‰ ‰ Œ™
4‰ 8
Ϊ
∑
∑
3 8
∑
∑
∑
3 8
ff pp
f
p
pp
p 7:4 ff quasi
Pno
7:4 5
7:4
6:5
lv
? ‰
{
® ≈™ ‰ ‰ œ œbœbœ nœ œ#œ œ œ > “
≈ ‰ ‰ Œ™
lv
œ œ œ n>œ œ œ œ œ œ œ œ œ œ
O & B 52
4 8
12
#O
°142 3
4 4
∑
3 4
ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ 4 ææ ææ ææ ææ ææ ææ ææ ææ ææ ® ™ 4 œ bœ œ bœ œ œ bœ nœ œ œ #œ œ #œ œ œ œ œ œ œ œ œ o
3 4
‰ & 8 z german ''r'' 6
B Cl
6
6
4 8
∑
6
in simbiosi col cello
3 ¢& 8 #œ
‰
Œ
Ó
4 8 # œ-
n œ-
œ-
mp mf quasi
ppp
ppp
pppp
14th
in simbiosi col clarinetto
‚ Vc
n3-‚ J
3 &8
12th
12th 11th
‚™™
4 4
Ù ‰
Œ
3 #O 4
Ó
n-O
3µO
4 8
mp mf
fff
ord, in front of dampers
>- >- >rassegnato! lv 12th
12th 11th
3 &8
‰
‰
4 #O 4
‰
10th
nO
3µO
n3O
3 4
∑
4 8
3 4
∑
4 8
fff
Pno
?3 8
{
4 4
∑
# œ>
n œ>
œ >-
œ >-
E q = 60 z 6
3
»o
(open slap)
7
145
6 6
° 4 B Cl ¢& 8
6
6
æææææææææ ææ ææ ææ ææ ææ ææbœææœææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ® 44 #œnœ œbœ œ#œnœ#œnœ n œ b œ œæb œæœæœæœæœæœæœæœæœæœæœæœ œ œ œ œ œ œ œ œ œ- œ # œ n œ œ b œ œ o o pp f
∑
Ó
‰™
Œ
>œ sffz
quasi
mst
‚ 10th
Vc
4 n-O &83
4 4
?
® &
™
‚™ o
?
O ®‰ Œ o
Ó
∑
f
%
quasi giubilante, esuberante partials gliss (sounding)
partials:
4 &8
4 4
∑
O OO
3
O™ J
fundamental: crine (in front of dampers) ✶
(resume bowing) (bow)
Pno 3
?4 8
{
∑ (✶) continuosly bow ad libitum as much as needed to sustain sound according to indicated dynamics. Bow again when notes are restated (untied) (✶✶) over long notes change bow direction if needed (✶✶✶) by applying pressure and slighly changing bow's angle harmonic partials become more prominent and audible O & B 52
(le ) 4 ‚≤ 4 . f °
≥j(right) ≤ ✶✶ ‰ O ‚ -‚ -
3
‚ ‚ ‚ -‚ ‚ ≈ ≈‚™ (still)
(still)
ø
13
voice,tuned
ord
148
beats
ord
O™
O
mp
ppp
beats
°
O™ o
Π&
3 O™ 4
6 4 Ó
O o
o (ff)
‰
3 8
4 8
∑
4 4
∑
∑
underblown
underblown
B Cl
»o
3
#˙ ¢& Œ
3 4 ˙™
#˙ ™ o
6 4 ≈ ‰ Œ o œ > sffz
mp
nœ
Ϫ
3 8
Ϫ
4Π8
∑
4 4 O
ppp
mp
nœ ™ œ œ
œ Œ
bO ™ O O
O
ppp
o pp
pp f quasi
msp
f quasi
molto mst
ord
ord
msp
mst arco, ord
3
arco
Vc
? ≥r # œ ˙ ™™™
3 4
ff
6 4 # ˙ ™ # ˙O ™™ # w ™ p
OO æ 4 ≈ ™& ? jb‚æ & 4 ‰ ? ≥ 8 bj ‚ 4 œ ˙ o sfz pp (u o f II c. ‚‚
3 ≥≤ 8 ˜œ œ™
# w~ ™™
f
ppp
f p
œ - u)
-
a
ê
f
III c.
bO O O O O O O O™ 3 J J 4
&
6 4
3
4 8
& 8 Œ
∑
O
5
4 4 O
O
5 crine (behind dampers) ✶
dist (harmonics)
Pno fund partials 5
fundamental
5
-‚. J
5
?
{
‚
5 j j 6 4 ‰ ‚. ‚. ‚. ‚. ™ ‚. ™ ‚. ‚. ™ -‚ -O - - - -- - f °
j j 3 ‚ ‚ ‚ ‚ ‚ ‚ 4 O™
3 8 Œ
O 4O J 8
ø
°
4 O 4
O™
f
ø
più mosso (qq = 72) closed slap with no pitch on the accents air on all the rest
œz
154 œ ° B Cl ¢& bO
O ææ
pp
F 8 ‰ 8
˙ord
» »
»
» ≈ ≈
> g> gg> gggg™ > > > ff
O o
mf
»
»
» » ≈™ Œ > g ggggg g > ggggg g > ggg™> gg > g g > > > > >
2 8
f
~ ~
œ
œ ord
≥ ≤
msp
screw's tremolo ✶
mst 3
ast ast molto
‰ -œ - - ™ -2µ-œ - 88 nœ J J
? Vc
-œ
I
÷‰
II
œ 5 5
msp ‚‚ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ ‰ & o 5 3 3:4
æ œ
OO
? Ͼ sfz
&
2 ™™™ œ 8
≈ ?#œ œ™
pp f f
pp
p mf deciso
ff
p
ppp
(✶): let the screw hit the indicated strings (place rst the bow's screw in between them)
IV c. (sound. 8vb)
II c. III c.
improvvisamente ritmico
b O O O ™ O ™O O ™ O ™ O O
bO O O O O
O OO
O O
O O
O O
O O
bO O
OOO OO
OO O O
O
8 8
&
5
‰
2 8
‰
2 8
3
Pno.
- - -. -‚™‚ . -. -‚™ . -‚™ . -‚. ‚ ? ‚J. ‚. ‚™
{
> 8 ‚ >‚ >‚ >‚ >‚ >‚ >‚ >‚ >‚ >‚ >‚ 8
5 5
>‚
>‚ >‚ >‚
>‚
>‚ >‚
>>> ‚ ‚ ‚ >> ‚‚ RÔ 5
O & B 52
‚‚ ‚ ‚ RÔ 3
14
e = 112 x 9 times open slap
o»
157
»o
°
2 ™
≈™
B Cl ¢& 8 ™
≈™
œ.
œ.
sffz
sffz
™™ 44
∑
™™ 44
∑
autato bounces ✶
2 rallentando ✶✶ . . . Vc
? 2 ™™ Ù 8
2
Ù œ- ™™
œ- ™™
(✶) esponential glissandi until highest positions, as bouncing off clarinet's open slaps. Randomize dynamics ad libitum (between p to fff) (✶✶) constantly slow down independently from the bass clarinet
2 & 8 ™™
∑
™™ 44
∑
? 2 ™™ 8
∑
™™ 44
∑
Pno.
{
a.s.
sospeso 159
7'' U ˜˙
q = 76
15'' U ˙
r.h. trill keys
° ∑
‰
B Cl ¢&
µ˙ o
rit. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ™ œ œ™
˙
2 2 o
mp
f quasi
ppp
o
pp
mst
arco w.n. ✶✶
ord 7''
15'' circular bowing (✶)
-≥6 J
≤) <n>œ
?
œ
œ
œ
œ œ œ œ œ o mp
∑ Vc p II c. ✶circular bowing from ordinario to mst
÷
6 ææ
6 ææ
6 ææ
6 ææ
6 ææ
6 ææ
6 ææ
6™
2 & 2
o
o f
pp 7
ebow (resulting sound)
7'' #U O
15''
U O ∑
∑
2 2
∑
∑
2 2
& o
o pp
Pno.
?
{
∑
∑
O & B 52
15
a.s. wavy gliss!
sospeso uid gliss
G 45'' ca
OOOO
163 ord
spectral multiphonics
3 (h ) 4
° 2 B Cl ¢& 2 w “
w
ppp
p
w
w
w
˙™
w
œ
√ œ
w
---ff
ppp
explore the spectral multiphonics given by the root note. Reaching the highest point (notated) around the top of the swell 45'' ca ord
msp ord
(III c.) B2n ‚√ ‚ 13th 11th (II c.)
ord
Vc
2 & 2 ~~
~~
ppp
p
~~
~~
~~
~~
‚‚
3 4
? 2n‚
n2 ‚ & ææ ff
ppp
% II c. e IIIc. (sempre no al segno)
45'' ca
2 &2
∑
∑
∑
∑
∑
∑
∑
3 4
∑
∑
fundamental
Pno. crine
?2 2 ~
~
mfpp
p
{
~
~
~
O™
~
‚
3 4O
~
ff
√ ‚
ppp
Freely explore different harmonics of string
a.s.
a.s.
vocal fry
172 4''
° B Cl ¢&
U b) mp
7'' U ˜˙
23'' U ˙
µ˙ o
˙
≈ ∑ o
pp
crine su corda mst
ord
secco 4''
7''
23'' circular bowing (✶)
U ?
<n>œ
œ
œ
œ
œ œ œ œ œ
∑ Vc
≈ ∑
& )
p
mp
o mp
II c. ✶circular bowing from ordinario to mst
III c.
7''
23''
#U O
U O
≈ ∑
∑ & o
o pp
Pno.
? …
{
∑
∑
∑
O & B 52
≈ ∑
San Giorgio, 15 Agosto 2018
ebow (resulting sound)