Eating Variations - Robert Paterson (Perusal Score)

Robert Paterson

EATING VARIATIONS for Baritone and Chamber Ensemble

billholabmusic.com

Program Notes Eating Variations is based on a series of poems with the same name by Ron Singer. The work as a whole is essentially a satire on food faddism and depicts different aspects of eating. The way I chose to set these poems is light-hearted, perhaps lighter in spirit than Singer originally intended, but with a serious, dark side.

The first movement, My Body, a Temple, incorporates the sounds of Tibetan Singing Bowls (also called Temple Bowls or Cup Gongs) and is loosely inspired by Khöömei, or Tuvan Throat Singing and David Hykes’s Harmonic Choir recordings; both of whom use a style in which the singer produces overtones on top of the fundamental notes. Perhaps mercifully, I do not require the baritone to use this technique, but instead, use the flute to produce false overtones in a couple of spots in the beginning of the movement.

In the second movement, The Hog, the instruments mimic pig sounds with scratchy, grunting noises from the violin and cello and clarinet multiphonics. A round-sounding whole-tone scale is used and there is a Polkalike accompaniment in the percussion.

The third movement, Even the Dyspeptic Must Eat, uses upward and downward runs in the bass clarinet to impart a roller coaster-like sense of someone who has Gastroesophageal Reflux Disease, a condition in which there is recurrent return of stomach contents back up the esophagus. This is reinforced with a slow, background dirge played by the drums.

The cello part in the fourth movement, The Dietary Moralist, is inspired by Dave Eggar, a cellist who can play his instrument like a guitar and sing at the same time. In this movement, I ask the cellist to play in a somewhat folksy style and sing out of tune back-up vocals, reminiscent of a 1960s musical Hippie Sit-in. The main vocalist is backed by the well meaning but out of tune “band.” To paraphrase an interessting conversation with Singer, we agreed that in this context the vocalist might represent a contemporary version of a certain species of 60’s hippie—say, a particularly zealous fair trade coffee purveyor, and that this Malvolio type is singing along with a group of kindred spirits. This movement is not a literal portrayal of the text, which is quite serious in tone, and stretches the meaning more than the other movements. Perhaps my interpretation may be viewed more as commentary on the text.

In each passing decade, people are sure of their eating habits, and the carefree, assured, commercial America of the 1950s was no different. In the last movement, The Happy Medium, I envision a father-like doctor figure squarely explaining to a patient how to eat. The perky background music is meant to evoke a 1950s TV commercial, or perhaps a short, black and white educational grade school film.

– RP

World Premiere American Modern Ensemble Tenri Cultural Institute New York, NY, USA May 17 and 18, 2008

Duration of Eating Variations: ca. 9’00”

Instrumentation/Specifications of Instruments

Baritone (Range: G2 – F4) – may be gently, tastefully amplified if necessary or desired Flute – doubling Small Cup Gong pitched Eb Bb Clarinet – doubling Bb Bass Clarinet and Medium Cup Gong pitched Gb Violin – doubling Small Cup Gong pitched F Violoncello – Doubling Medium Cup Gong pitched D Percussion Instruments Needed: 2 Large Cup Gongs pitched G and Bb Bb Tingshas (Tibetan finger cymbals). Alternatively, a Bb crotale pitched one octave lower (sounding two octaves higher) may be used, struck with a brass mallet. Or, as a last resort, Tingshas pitched ‘D’ above the written B b may be used.

2 Bongos Snare Drum Tenor Drum or Deep Snare Drum (with snares) Field Drum (no snares needed) Small Concert Bass Drum placed on its side Cuica (may be played by another player—see note in mvt. III) Hi-Hat Medium Suspended Cymbal Sizzle Cymbal Finger Cymbals Temple Blocks High Wood Block Medium Tambourine (head not needed) Medium Triangle Medium Cowbell Castanets (mounted) The ensemble will need a total of 7 Cup Gongs (Temple Bowls) and one set of Tingshas with the following pitches:

&

Percussion

œ

bœ

Violoncello

nœ

bœ

Baritone

bœ

Flute

Violin

œ

Tingshas

bœ

bœ

B b Clarinet

Explanation of Notation General

( – long fermata & – short fermata , – brief pause , – very brief pause n

/´ – subito (when placed before a dynamic, i.e. / f ) – short staccato (staccatissimo) ^ – hard accent æ – tremolo Ÿ~ – indicates regular trills (a whole step or smaller) and wide trills (i.e. “trill tremolos”)

– niente

ú ì ≥ ≤

– bend note downward (if the direction of the bend is reversed, bend note upward)

– one quarter sharp – one quarter flat – downbow overpressure, i.e., heavy bowing so audible noise is added to the pitches – upbow overpressure

( ) – All markings in parenthesis are courtesy/cautionary markings.

Perusal Copy

• All grace notes (including beamed grace notes with slashes) are to be played immediately before the beat they proceed. They are to be played very close to the beat and as fast as possible.

• All accidentals last for the entire measure, unless they are canceled out by another accidental (such as a natural sign). Accidentals only apply to the line or space they are on.

Percussion – Mallet Pictogram Key Note: mallet pictograms may be preceded by numerals indicating the number of mallets being held and followed by modifier letters, i.e. P (plastic), R (rubber), etc. The number after each mallet indicates how many are neededfor this work.

= medium yarn mallets (2)

R = medium rubber mallets (2)

R = hard rubber mallets (2)

= drumsticks (2)

= triangle (beater pictogram not used in part or score)

Brushes also needed.

The Eating Variations

By Ron Singer 1. My Body, a Temple Each day I dose myself with necessary nutrients: half a banana, for electrolytes and iron; several whole-grain items, providing essential roughage; and, hedging my bets, a measure of fats, same of carbohydrates; keeping the calories low, keeping the heartbeat slow, except on days of heavy exercise.

Thus it is to eat and be wise.

2. The Hog Down, down, down to McDonald’s I go, there to wallow in tallow. Pleased with grease, I gorge on portions that creater distortions between me and lesser humanity. To eat, to eat, until I cannot see my feet. I greet you, and, if I could, I ‘d eat you, too.

Better to skip food and drink completely, but fasting, too, is a sin against reason, and might cause death, a sin against me.

5. The Happy Medium No cause for excess or alarm!

A balanced diet, moderate, of delicious treats, well-prepared, neither avoiding nor overdoing any single food group, a little fish, a little meat, a modicum of soy and wheat, a glass of juice, a bowl of soup, abundant produce from the farm, apple, lettuce, cucumber, pear, a balance of oils with tasty fats, is the happy, modern way to eat.

Perusal Copy

3. Even the Dyspeptic Must Eat A necessary evil, to eat when it makes you ill, when even salad, stinted, dressed with lemon juice, requires a pill, which is, for you, an after-dinner mint.

A little dish of pasta with a drop of olive oil, eaten slowly, comes back faster.

Regardless of how I censor what I send down to my stomach and my guts, they groan and roil and send it right back up.

4. The Dietary Moralist Each bite I eat is taken from another mouth, each piece of meat costs the world a tree, diminishing biodiversity.

Fruits and vegetables out of season, each cup of coffee, cocoa, tea, stretch the gap between north and south, exploiting third-world poverty.

Text © 2007 Ron Singer. Reprinted with Permission.

TRANSPOSED SCORE

Written for the American Modern Ensemble

EATING VARIATIONS Song Cycle for Baritone and Instrumental Quintet Text by Ron Singer

1. My Body, a Temple

U ∑

q. = Ç 66, relaxed and meditative

Baritone

? 46

Flute

6 &4

U ∑

B b Clarinet

6 &4

U ∑

Violin

Violoncello

@

Percussion

7

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

? 44 4 &4

∑

44

j bœ

p

44

w ≤

44

˙

Ó

B b Clarinet

Cup Gong

π

5

∑

w

F

p

Cup Gong **)

w

∑

Ó

free bowing

bœ ˙ . p n ∑

Ó w

w

∑ ˙I F F ˙ iCup Gong

Ó Ó ˙ Ó

Cup Gong

w

Ó

U (, ) > ˙i

Baritone

6 4

f ( , )U b ˙I > f (,) fU b ˙I > ( , )U Ó

Each day I dose my - self

Cup Gong

6 4 46 46

,U Ó

46

( )

˙

f gl.

3 j bœ œ œ ˙ œ œ 4 4 bœ smooth, but slightly punctuated

w

w

˙

j œ‰ Ó

Flute

p

∑ ∑

˙

F

44

Ó

b˙ F f F Œ ‰ N œj œ b œ œ œ œ œ œ

44

(B b Cl.)

w.

F

˙

œ J ‰ Œ p w

w

w

Cup Gong

F b w>I

Ó

∑

,U Ó

46

( )

44

∑

44

bw .

F

44

∑

Baritone f Cup Gong F i wœ ‰Œ Ó œ œ bœ œ œ œ J F nu - tri - ents: half a ba - nan - a, bœ œ > ‰ J bœ œ bœ nœ œ œ œ w Ó

with nec - es - sar - y

w

wI > F

Cup Gong

4 4

∑

Perusal Copy I

4 &4 Ó

4 &4

∑

∑

4 4

Scordatura ? 46 œœ U∑ œ bœ *) bU wi. Tingshas 6 &4 f

? 44 ˙ .

4 &4

4 4

U ∑

6 &4

Music by Robert Paterson (2006)

Cup Gong

∑ ∑

10

F

f b ˙wi .

w

f

3

∑ ∑

œ J

‰

F w

bw

∑ ∑

*) B b tingshas (Tibetan finger cymbals) are preferred. Alternatively, a B b crotale pitched one octave lower (sounding two octaves higher) may be used, struck with a brass mallet. Or, as a last resort, tingshas pitched 'D' above the written B b may be used. **) Cup gong in B b clarinet part non-transposed.

Copyright © 2012 Copyright Robert Paterson Music (ASCAP) International Copyright Secured. All Rights Reserved.

2

? œ ‰ J

12

Bar.

Fl.

B b Cl.

Vcl.

Perc.

Fl. B b Cl.

Vln.

Vcl.

Perc.

for e - lec - tro - lytes

and i - ron;

œ Œ Ó

& b ˙ (b œ ) > F ? bw

œ

∑

&

@

? Œ & w F & œ

fast

œ

slow

Œ

w >f

˙.

Nw f

˙. ∑

Ó

Œ

Voice *)

œ F

F

w w bw

b œœ F bœ bœ F

bw bw

Perusal Copy

F œ œ bœ œ bœ

Baritone

sev-er -al whole grain

˙. > & œ ˙. œ b˙ . > ? œ b˙ . œ b˙ . f > Tingshas b ˙ .i Œ & œ Œ

Ó b wi f

∑

b>œ œ œ œ b œ ‰ bœ nœ œ bœ J 3 F f

Cup Gong

bw f

Ÿ~~~~~~~~~~~~~~~~~~~~

15

∑

f

slow

16

Bar.

f wi ƒ heavy f wCupi Gong Œ Nœ œ œ œ

bw

Violin

Vln.

f bœ nœ œ bœ œ

& Nw &

EATING VARIATIONS

Cup Gong Baritone

Om (m)

bw

f F f 34 œ b œ œ œ ‰ Œ ‰ œ œ œ 44 ‰ œj œ Œ J J - - œ- b >œ n œ i- tems, pro -vid - ing es - sen - tial rough -age; > .

3 ˙.

4 w ˙ 4 4 43

˙.

˙.

43 ˙ . ˙.

43 ˙ . ˙. Ó

j bœ bœ >

43

b ˙˙ .. b˙ . b˙ . ∑

Cup Gong

b ˙I. F

44 44 44 44

#w > # ww > Nw Nw >

∑

*) “Om” voice part also appears in the violin and cello parts. This may be sung an octave lower, but not an octave higher.

If it is outside the performer's vocal range it should be left out. “Om” is pronounced “Oh-um” slurred together.

f ƒ F -œ ‰ Œ Œ œ. œ. b œ 2 >œ ‰ ‰ Jœ 4 4 J 4 J

3

EATING VARIATIONS

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

? & &

20

∑

˙

˙ #˙

˙

& ˙ ˙ ?

˙ ˙

& Ó

@

# ˙˙ F

Voice

Fl.

B b Cl.

Vln.

Vcl.

Perc.

˙ ˙

j b œ n˙ > gl.

Om (m)

hedg -ing my

w

≥ 3 3 œ bœ nœ œ œ bœ œ > œ bœ nœ œ œ œ f w w

2 4

œ

bw bw

b wI F

Perusal Copy

∑

25

F Œ œ bœ œ bœ œ œ

same of car - bo - hy -drates,

bw

˙

44 44 44

∑

œ ‰ J j‰ œ

n˙.

P

∑

4 4

keep - ing the cal - o - ries low,

P

#w F

4 4

P 3 3 Œ bœ œ œ œ œ œ œ

N˙.

F

#w F w w F

42

a

˙

≤ 24 ˙o F 42 ˙ ˙

o w j

Cup Gong

w

bets

2 4

j ≈ œ.

Nw

˙.

ƒ

? 44 Nw Nw > ƒ 4 &4

and

œ.

J ≈

˙.

> ? 44 œ œ œ b œj gl.n œ œj ‰ Œ > > meas - ure of fats, >w 4 &4 ƒ 4 &4 #w > ƒ > 44 wo &

24

Bar.

∑

b N ww P bw bw P Ó

Suspended Cymbal

˙ ãæ n

4

? Œ

27

Bar.

Fl.

&

B b Cl.

&

Vln.

Vcl.

Perc.

Bar.

@

?

30

w

F w

w

#w œœ b œ n œ b œ n œ b œ œ b œ œ œ œ b œ > f

ww w Œ

Ó

Ó

Cup Gong

3

3

bw

p gl. b œ bœ œ

Voice *)

?

Aw

Perusal Copy Om (m)

f F b œ œ b œ ‰ J œ ‰ b œj b œ b œ œ œ ˙ > ex - cept on days of heav - y ex - er -cise.

Baritone

r œ ‰. Œ Ó

f j bœ N œ ‰ ‰ b œJ œJ ‰ ‰ J Thus,

w

w

#w

#w F & œj wO

Nw

w

Cup Gong

#w

Cup Gong

Nw Nw

B b Cl.

&

Perc.

#w p

Ó

˙

wi

bw

&

Vcl.

keep-ing the heart - beat slow,

p

& bw bw p ? bw p œi ã p

Fl.

Vln.

w

p 3 b œ œ œ œ- œ- œ

EATING VARIATIONS

? ?

F

( 0)

F

w w F

∑

*) This octave or one octave above.

w

Ó w

bw bw

w w

∑

Ó

˙i

&

b ˙I

it is

#w

∑

to

5

EATING VARIATIONS

F. ? œ J

35

poco rit.

34

Bar.

Fl. B b Cl.

Vln.

Vcl.

Perc.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

& &

eat

œ œ

& œ ? œ œ &

@

‰

Œ

p bœ bœ

Œ

˙.

and

U ∑

bw

U ∑

Nw p

wise.

U ∑

Nw p

˙.

U w > /F U > Cup Gong w

Cup Gong

Nw p

˙. ˙. ˙.

bw p

∑

∑

/F Cup Gong U

bw > /F . # œ. œ. b œ. . . œ œ #œ ‰ J f

Perusal Copy 2. The Hog

q = Ç 96, raunchy

4 &4

4 &4 Ó

be

q = Ç 60

∑

∑

gently *)

gently *)

gently *)

œ.

j ‰ j ‰ j ‰ j ‰ j ‰ j‰ j ‰ # œ œ bœ œ bœ œ b œ œ b œ œ fl n flœ fl fl fl fl fl vƒ f like a pig oinking ≥ ≥ >≥ >≥ >≥ ≥^ >≥ ≥ ***) **) > > ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ¯ ¯ ¯ ¯ ¯ ¯ ¯ œ œ b œ n œ b œ 4 ∑ ‰ œ # œ n œ # œœ n b œœ # œ n œ # œœ œœ n b œœ œœ œ b œ œœ œ b œ &4 J > > >< >< # œ< n œ< >< # œ< n œ< normal > > v > ƒ tuning: ≤ ? 44 œœ Ó Œ ‰ ≥ 3 œœ w œ #œ œ w v ƒ f p snares off for all + + + + + + + 2 Hi-Hat + >Bongos j ‰ j ‰ j‰ j œ œ œT.D.œ >œ œ œ œ (with foot)œj œj œj œj œ œ œ œ 44 ‰ ‰ ‰ ‰ œ œ ‰ œ œœ œœ œ œ œœœœ œ œ œ wI ã > >3 3 >3 f S.D. F.D. with brushes Bass Drum (snares on) T.D. 3 *)P - = muffle (in unison) **) ≥ = downbow overpressure, i.e., heavy bowing so audible noise is added to the pitches. ***) ≤ = upbow overpressure Œ

B b Bass Clarinet

‰

3

tongue slaps

PPP45 5 4 45 45 45

6 4

Bar.

? 45

Vln.

5 &4

Vcl.

? 45

Perc.

5 ã 4

@ 6

Vln.

Vcl.

Down, down,

5 &4

B b Cl.

B b Cl.

? œ

‰ # œj œj ‰ >

˙ p œ. & # Jœ ‰ Œ arco

˙ p

F˙ ã Ó

there

Œ

4 Ó 4

Œ

44 Ó

œ # n œœ œ. .

j ‰ œI > + ‰ œj Œ

with grease,

j ‰ œ > f ≥> >≤ ≥>œ¯ bœ œ œ œœ ƒ

(tip)

j œ ‰ > f

P-Ó ‰

Œ Œ

≥> ≥> œ¯ # œœ¯ œ Œ

œœœ ‰ œJ I 3

(f)

O = hi-hat partially open so it sizzles.

œ I

˙ ≥> œ¯ #œ ‰ Œ J f ˙

b˙ Œ

≥> b œ¯ œ

3

6

3

+ + 44 ‰ Jœ ‰ Jœ ‰

≥> œ¯ œ

˙

œ+ ‰ œ+ ‰ œ+ ‰ 3 ‰ J J J œœœ F

≈

F f œ œ œ b œ œ œ œ œ œ œ ≈ 6

44 # œj ‰ j ‰ j I >œI >œI >

gorge on por - tions that

in tal - low

œ œœœœœœœœœ

F 44 œ b œ œ b œ b œ. # œ. n œ. # œ. flœ œ

œ œ œ œ ‰ bœ J

> bœ œ Aœ ‰

to wal - low

Perusal Copy

&

*)

Œ

Œ Œ j ‰ Œ œ ƒ Ë sim. naturale ≥ ≤ œ b œ œ œ # œœ n b œœ n œ b œ œbœ œ nœbœ fl f. . # œ. fl . . . ƒ pizz. r‰. j ‰ j ‰ j ‰ b œI œ œ bœ > >I >I + f + + + ‰ F œj ‰ œj ‰ œj ‰ œj œ œœ ‰ J Œ Œ Œ >

Pleased

?

Œ

> ‰ b Jœ œ œ

4 œ 4

5

down to McDonalds - I go,

(B. Cl.)

Med. Sizzle Cym.

Perc.

f > > > bœ œbœ œ œ bœ j ‰ œ

>œ

œ. # œ œ #œ 5 J ‰ Œ &4 ƒ

Fl.

Bar.

ƒ >œ

EATING VARIATIONS

fat and heavy, with large jowls

>œ œ J

cre - ate

˙ ≥> œ¯ #œ ‰ Œ J ˙

œ. œ

œ. nœ

‰

j œI >

œ+ J

>œ œ œ J

‰

Œ ˙ Í

‰ œ+ J

œ œ bœ

dis - tor - tions

b˙ Í

f œ. #œ

be- tween

≥> b œ¯ œ

+ + + j j ‰ œ ‰ œ ‰ œj ‰ ‰ œœœœ œJ ‰ Œ J 3 f

≥> œ¯ œ

O *) œj ‰

9

Bar.

? >œJ ‰ Œ me

Fl.

& Ó

Œ

‰ œJ

Œ

‰ œJ f

and

(with cello) like a pig oinking

B b Cl.

Vln.

Perc.

? œ œ.

12

Bar.

can - not

Fl.

œ œ

&Ó

Ó

œ

‰ b œJ eat, to > fl. b œ Œ æ ƒ # äœ (œ) Œ - #œ f bœ aggressivo œ ‰ #œ œ œ æ

to

œ

≈ œ œ œ

>œ æ

eat,

Œ

Ó ∑

> ‰ b œJ gl. œ . ƒ III

f

ƒ

äœ

Œ

>œ œ œ ˙I f 3 p

Œ

(œ)

Œ

œ

œ œ ‰ œœœ æ

b >œ gl.œ J .

senza vibrato

un - til I

ƒ

f

>œ J

gl.

Ó

Perusal Copy

œ

œ

see

my

œ

Œ

>œ æ

feet.

ΠG#

Œ

+ #ä œ

( œ)

Vln.

&Ó

#œ œ Nœ # œ æ ‰ #œ œ

?˙

^ ‰ œJ

ã Ó

œ #œ œ œ ‰ J Œ

j‰ Œ œ< vf

&Ó

Perc.

hu - man-i - ty.

‰ b Jœ

7

C

B b Cl.

Vcl.

‰ Jœ

≥ ≥ j‰ Œ œ< b œ< > > f

? # œj ‰ ≥ ≥ ≥ ≥ ≥ œ< b œ< œ b œ œ f > > >< >< >< ƒ (tip) > + œœ Ó ã J ‰ Œ

@

œ œ

less - er

& b œj ‰ b œ <v œ<v œ< b œ< œ< b œ< f v v v v ≥¯ ƒ bœ œ Ó & J ‰ Œ (with bass clarinet) like a pig oinking *)

Vcl.

10

ƒ b œ œb œ

EATING VARIATIONS "sooee"

f

Œ

ƒ

gl.

bœ

œ I

b äœ

b œ- Ó

greet you,

and,

∑ Ó

>-. > >¯ b >¯œ œ b œ¯ œ J ‰

ƒ

∑ Ó

j ‰ œœœ œ ‰ Œ > 3 F f

P F. # œ. # œ œ œ ‰ ‰ J ‰ Œ J œ.

J ‰ ‰ F

if I could,

œ bœ . œ J ‰ Œ P ∑

3

Ó

Œ

43 43 43

j ‰ 43 b œI > F

pizz.

≤ ≥3 ≤ ≥ pizz. >i œ ‰ Œ Ó J ‰ œ œ œ b œj >< >< >< >< F (ƒ) Temple Blocks 2 œ. . œ. j ‰ œ. ‰ Œ Œ œj ‰ œ œ J .

F 3 P

43 3 4

R

8

EATING VARIATIONS

?3 Π4 15

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

Fl.

@

W ‰ ‰ 42 Œ

Œ

. n œ. ‰ # Jœ W ‰ 42 Œ J π p .

B b Clarinet j ‰ # œ. ‰ Jœ W ‰ 42 # œ.

J P π p W 2 j ‰ Œ ‰ ‰ 4 œI P œi W J ‰ Œ ‰ ‰ 42 Œ P

& 43 Π& 43 & 43 ?3 4

œ ‰ Jœ W 3 œ ‰ ‰ 42 ã 4 J J π

pœ ‰ J

I'd

œ. ‰ J p

∑

Vln.

Œ

44 Ó 44 Ó

‰ b Jœ p

44 œ Œ œ

∑

œ.

J ‰ UŒ π U Œ Œ too.

44 Ó

Œ

P-

P-

U Œ

U j ‰ Œ œ

œ.

U J ‰ Œ ( π)

Med. Sizzle Cym.

Perusal Copy 3. Even the Dyspeptic Must Eat

q = Ç 56, dirge

4 &4

∑

Ó

N >œ æ P fl.

Œ

B b Bass Clarinet

4 &4

∑

Ó

‰

4 &4

∑

Ó

Œ

œœ π

Vcl.

? 44

Perc.

4 œ ‰ ® œ œ œ œj ‰ j ‰ œ ‰®œœ œ œj‰ ã 4 œI Bass p Drum

∑ delicate

Tenor Drum (snares off) 2

Field Drum

*)

4 4

b œ. œ.

eat you,

π œ J ‰ UŒ

Œ

∑

roiled, purgatorial

B b Cl.

4 4

b œ œ *)

(snares off) = slight fall-off (like a gliss.)

6 #œ #œ nœ œ œ œ œ œ #œ #œ nœ bœ œœ 6

F > sul tasto # œ æ P ∑

j œI

6

œ ®‰ . Œ Ó RÔ π

K ®‰ . Œ Ó œ œ œr π œ RÔ ®‰ . Œ Ó π Ó Œ ‰ Jœ F

œSnare Drum (snaresœ off) ‰ ® œ œ œ œj ‰ j ‰ J œI

4

Bar.

? & Ó

Fl.

& Ó

B b Cl.

‰

Vcl.

Perc.

ã

@ 6

Bar.

B b Cl.

Vln.

π

j œ ‰ ®œ œ œ œ ‰

? b >œ.

J

b ˘œ & J

eat

Fl.

bœ œ œ

œOæ & Ó π like shuffling feet > . > ? b œ- gl.œ- œ- b œ- >œ b œ gl. gl. naturale

Vln.

5

∑ ˙fl. æ ( π )

‰

Vcl.

>i b & œJ

Perc.

ã

j œI

6

f Oœ@

nœ

œ Nœ bœ œ Aœ œ nœ bœ 6

6

œO

b >œ

gl.

œ @ π

œ

rK œ œ ®‰ . Œ π

‰

>œ b >œ F poco > > Œ &œ œ F poco œ ‰ ®œ œ œ p

pizz.

≈ ≈ ≈

j ‰ Œ b œv I ƒ pizz. j ‰ Œ b œI > fj œI ‰ Œ > F

‰

p Nœ œ œ

œ

when it makes

you

œf J

pained

ill,

‰

bœ œ @ @ Œ p 6 œ œ œ #œ œ # œ RÔ ® ‰ . œ œ œ#œ # œ œ œ 6 f arco, sul pont. bœ œ Œ @ @ p fl.

‰

Ó Œ

Perusal Copy

Œ

& Ó

b >œ i & J

bœ œ bœ bœ bœ œ

F ‰ bœ œ œ œ œ œ œ ‰ bœ J J A nec -es - sar - y e - vil, to ˘œ b ˘œ œ^ ®‰ . Œ Œ RÔ F poco ƒ 9

EATING VARIATIONS

Œ

‰

Œ

‰

Œ

Œ

œ

œ@ p

œ@

arco, sul pont.

‰

® œ œ

œ @

F bœ œ œ 42 ‰ J

44

42

44

42

>ϫ

when e - ven

œ bœ bœ f F ∑

> 24 n œJ´ ‰ Œ f > 24 # œ´ ‰ Œ J f 42 Jœ ‰ Œ f

44 44 44 44

10 8

Bar.

œ. œ. ‰ œ œ ‰ œJ

? 4 # œ. œ. ‰ 4 sal - ad,

Fl.

B b Cl.

stint -ed, dress - ed

Vln.

& 44 Ó

Vcl.

r & 44 # œ ‰ .

F

r . œ ‰

œ œj ‰ Œ

ã 44 œ ‰ ® œ œ p

@

Vcl.

Perc.

? 44 b œJ ‰ ‰ Jœ Jœ ‰ ‰ Jœ & 44 b œ ? 44 œ ã 44

Ó

f

re - quires a

Œ

∑

2 4

4 4

˙˙ π

.

42 # # œœJ ‰ Œ P .

24 œJ ‰ ? b œ F P

44

arco, naturale

f

for you,

œ

#œ

œ

#œ ∑

an

π

42

Ó

#œ œ

p > >œ œ # œ œ . # œR . ‰

af - ter

din - ner

œ

#œ

bœ

œ

Ó

which

œ F

Finger Cymbals

Œ

pill,

2 4

B #˙

>œi

F œ ‰ J 44

10

Œ ∑

Perusal Copy

is,

Fl.

Œ

lem-on juice,

# >œ # œ œ ‰ J œ b œR ‰ . f 3 F r Ó œ ‰. Œ

11

Bar.

> #œ #œ œ

Œ

P p ‰ # Jœ œ . œ 42 œJ ‰

naturale

secco pizz.

Perc.

with

œb œ ‰ . b Rœ ‰ . ‰ J R œ œ R ‰. R ‰. Œ

& 44 œR ‰ . œ 4 & 4 R ‰.

F

f # >œ # œ œ

EATING VARIATIONS

mint.

>œ R ‰. p

r ‰. # œI p>

∑

Œ

∑

Œ

∑

Œ

∑

œ ‰ ®œ œ œ p

j œ ‰ œjI ‰ Ó

4 4

44 44

11

EATING VARIATIONS

?

∑

14

Bar.

Fl.

&Ó

Œ

B b Cl.

&Ó

‰

Vln.

Perc.

&Ó

@

B b Cl.

Vcl.

Perc.

œœ

π

6

#œ #œ nœ œ

F > sul tasto a œ æ œ

6

œ œ #œ #œ nœ

œ & R ≈ ‰ Œ P & Œ

j‰ Œ # œ.

F

ã

Œ

with a

Ó

& b Rœ ≈ ‰ œjI ‰ Œ F P pizz. # >œ i ‰ Œ ? Œ J F œ ‰.

R p

œ ®≈ ‰ RÔ π

Ó

j‰ œ fl

j‰ œI >

>œ i J ‰

Œ

˘œ J ‰ Œ

Ó

Ó

Œ

>œ i œI ‰ Œ J

Ó

Ó

A

Ó

œ^ œ Œ ‰ J #œ œ 3 f p P >œ œ œ œr j œ ‰ ® œ œ œ œ ‰ æœ F 3 ( p)

drop of ol - ive oil,

# >œi J ‰ Œ

b œ^ œ b œ œ ‰ J 3 f

Œ

Perusal Copy

of pas - ta

F ‰ œ J

dainty

Œ

K ®≈ ‰ b œ œ œ œr π œ RÔ ®≈ ‰

. ? œ œ œ ‰ # œ # >œ œ ‰ œ œ œ 3 ‰ œ œ # œ . # œ ‰ œ œ J (dainty)

pizz.

Vln.

œ œœœ 6

q = Ç 76, adagietto

lit - tle dish

Fl.

N >œ æ P fl.

j ã œ ≈ ≈ ® œ œ œ œ ‰

16

Bar.

Œ

Ó

15

eat - en

œ gl.# œ

slow - ly,

accel.

Œ

œ

œ

comes back

∑ #œ œ #œ #˙ p F Œ

Ó

Œ

œ œ œ œ #œ œ π arco œ œ œ b œ b œ ‰ œ @ @ @ @ @ @J 3 π 6

Œ & ‰ j @ œ@ # œ@ œ@ œ@ œ@ œ π 3

arco

i Œ — F poco

Med. Triangle delicate

∑

12

?

19

Bar.

bœ

œ fast

B b Cl.

-

er.

EATING VARIATIONS

a Tempo

Œ

. œ # œ Œ & #œ œ f b œ œ œ œ # œ.

3

Vln.

Vcl.

Perc.

&

f b œ. Œ œ œ œ œ & f ã Ó

@

Fl.

Vln.

Vcl.

Perc.

ã œJ

Ó

∑

Ó

Ó

‰

Ó

>œ # œ # œ œ œ œ œ œ n √ œ #œ aœ œ œ

F

5

∑ ®œ œ

(S.D.) . ‰ ® œRÔ œ œ œ ‰ œj ‰ œ ≈ J I p

Ó

œ #œ #œ œ b œ œ œ œ > bœ œ #œ #œ œ RÔ ®≈ ‰ Œ ‰ œœ

œ & RÔ ®≈ ‰ Œ p &

∑

∑

& Ó

(√)

Ó

œ

Perusal Copy

?

21

Bar.

Œ

20

Ó

F

π

10:8

œ

3

œ

œ J

œ

Œ

^

F

∑ j œ >œ

‰

‰ œœ

Ó

‰ œj ‰ œ ≈ ® œ œ I

Œ

Re

π

œœœ œ # œ œ # œ b œ œœ

-

bœ œ

10:8

∑

‰ œj ‰ œ ≈ ® œ œ

I

œf J

bemoaned

?

œ

13

EATING VARIATIONS

œ . œ œ #œ œ #œ #œ . œ œ œ œ J

? #œ J

23

Bar.

gard - less

Fl.

B b Cl.

Vln.

Vcl.

Perc.

&

f

B b Cl.

Vcl.

Perc.

˙

# >˙

what I send

@

& ? ã

down

˙ ˙

to my stom - ach and my

> b˙ ˙

˘œ 2 J ‰Œ 4 f guts,

they

4 4

> b œ. ‰ Œ J f f p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ i # >˙ ˙ 24 # RÔœ ‰ . Œ f f p j 42 œ i‰ Œ ˙˙ ˙˙ œI > fl f p f ∑ ∑ 42 2 4

4 4

(B. Cl.)

44 44 44

Perusal Copy

heavy

b œ (scoop) œ J . and roil

Ÿ~~~~~~~~~~~~~~ (œ) # ˙ 44 ˙ p P Ÿ~~~~~~~~~~~~~ (# œ ) ˙ ˙ 44 p P Ÿ~~~~~~~~~~~~~~ 44 N ˙ (b œ ) ˙ p P 44 æ w π (sotto)

œ J

and

œ send

N œ.

J π # œ.

J π

bœ bœ it

right

‰

Œ

‰

j œ. ‰ π j œ ‰

pœ J

strained

gradually becoming strained

? 44 œ . &

>˙ # œ # œ œ œ œ # œ 2 œƒ bF œ 4 ‰ ‰ ‰ J 4 J 4 f p

& bw ˙ b˙ > f F Ÿ~~~~~~~~~~~~~~~~~~~~~ #œ >˙ ( œ ) # ˙ ( œ) ˙ R & Ô ® ≈‰ Œ p ∏ F ? #w ˙ #˙ > F f j ∑ ã ˙æ œI ‰ Œ f π

groan

Fl.

cen - sor

F

(B. Cl.)

27

Bar.

#w

of how I

25

nœ back

up.

Œ

Œ

Œ

Ó œ œ # œ RÔ ® ‰ . œ œ œ #œ

10:8

œ bœ œ #œ F

‰

π Ó

‰.

Œ

œ œ R ®Ô p

œ

14

EATING VARIATIONS

Fl.

Vln.

Perc.

& &Ó

‰

6

bœ œœ

œ π

Ó

bœ œ œ œ œ

F ® œœ

j ã œJ ‰ œI ‰ œ ≈

@

30

∑

29

Fl.

B b Cl.

Vln.

Voice

Vcl.

Perc.

œœ

œœ ( π )

Kr ≈ . œœ π œ œ ‰ j ‰ œ ≈ J œI

∑

bœ œ P

œ œ bœ 6

œ œœ 3

U ‰ ≈ ‰ ‰

∑

45 Ó .

W.

&

∑

45 Ó .

W.

45 Ó .

W.

& &Ó &

U ‰ ≈ ‰ ‰ U ‰ ≈ ‰ ‰

Perusal Copy ∑

bœ œ œ bœ nœ

rubato molto sul pont.

‰ œ

π

? j ã œJ ‰ œI ‰ œ ≈

6

∑

bœ œ œ œ N œ b œ Kr ≈ . 5 Ó .

4 œ

P

6

π

5 4 Ó.

∑ ® œ œ

45

œœ œ

K œ œr ≈ . π

> ®œ œœœ

?

31

Bar.

6

‰

œ bœ nœ œ 6

U ‰ ≈ ‰ ‰

W. ∑

U U ‰ ≈ ‰ ‰

W.

œ 5 Œ ,‰ œj œj ‰ W œ œ œ j U‰ . ‰ 4 I œI P (molto) 3 F low, guttural (but smooth) sound **) (Drums) Cuica*)

*) The cuica part is cued in all of the parts and may be played by anyone (but only one cuica should be played). **) If the quica part is played by the percussionist, this rest may be held as long as necessary to quickly pick up the drumsticks.

15

EATING VARIATIONS

4. The Dietary Moralist

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

Bar.

?3 4

∑

& 43

∑

Vcl.

Perc.

#U˙ .

Bb

Ÿ

B b Bass Clarinet

12 8

f (possible) #(U wœ )

Each

bite I eat

is

tak - en from a - noth - er mouth,

∑

∑

sway back and forth a little

with a stand-up bass feel sway back and forth a little

12 ‰ ‰ Œ. ‰ ‰ Œ. j‰ ‰ Œ.

8 j‰ ‰ Œ. #w j j # œ# œ# œ# œp F with plectrum *) hold violin like a mandolin U sway back and forth a little æ. hl ˙ 12 3 ∑ ∑ ∑ 8 &4 ### ˙˙˙ ... ƒ molto drammatico U with a casual demeanor, but accurate >˙ . hold cello like a guitar >œ œi # >œi œi # >œ n œ # œ n œ # œi pizz. # > i œ 12 ? 43 # œ Œ . J# œœIi J œœIiŒ . J œœ J œœIi Œ ‰ J# œœ M œœ J œœ M œœ J œœIi‰ ‰ 8 I # œI > J J J J J > f F (slightly sotto—not “diva”-like) Tambourine (shake) **) U look like you are striking the tambourine lazily, like a non-percussionist, but still sounding good ˙. œ œ œ œ 12 34 . . . . Œ J ∑ ‰ ‰ Œ J ‰ ‰ ‰ ‰ Œ J‰‰ Œ J æ 8 ã F F (sotto) & 43

@

∑

Perusal Copy

? œ ‰ ‰ œ ‰ #œ œ ‰ ‰ œ ‰ œ J J J J J J 5

each

B b Cl.

" F 12 # œ ‰ ‰ œ ‰ n œ # œ ‰ ‰ œ ‰ # œ n œ # œ n œ # œ n œ # œ ‰ ‰ 8 J J J J J J J J q. = Ç 112, “Hippie” folk-style, but a little countryish

U ∑

q = Ç 88, tune-up

piece of meat

j‰ ‰ Œ. # œ>œ ? Œ . J #œœ &

ã *)

(B. Cl.)

Œ.

costs the

j‰ ‰ Œ. # œ>œ œii J œœIŒ . J œœ J

œ J ‰ ‰ Œ.

world

bœ œ œ .

J a

tree,

‰ ‰ bœ bœ œ œ œ .

J di - min - ish - ing

Œ. j ‰ ‰ Œ . # œj ‰ ‰ Œ . # œ>œ œi œ >œ œi œii J œœI Œ . J #œœ J œœIi‰ ‰M œœ J œœ J œœIi Œ .

J J J J

œ J‰‰

hl = rapid strumming, up and down.

œ.

**) Do not use thumb rolls in the movement.

Œ.

œ œ J ‰ J Œ.

œ. æ

(shake)

j j œ œ œ œ

bi - o

-

di -

j‰ ‰ Œ. j‰ ‰ œb œ>œ œi b >œ œi i J œœ J œœI Œ . J œœ J œœIi J J

œ J ‰ ‰ Œ.

Ó.

16 8

Bar.

?

bœ . œ

j œ ‰‰

j œ œ.

ver - sit - ty.

& Œ.

B b Cl.

Vln.

&

Vcl.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

Œ.

‰ Œ.

j‰ b œhj h œ iŒ ‰ œ œi œ œI œ bi - o

Œ.

œ J ‰ ‰ Œ.

‰ Œ.

b œ-

hj h i œ Œ . # # œœ œi # œ œI

Ó.

>œ . i J œœ .. Ii -

‰ ‰ ‰ œj œ j œ>f l j h hl @j œœ œœ n œœ œœæ.. œ œ b œ œ. vf Œ. j B œ œ.

j i . # œ œ Œ . I # œ . I ‰ ‰I b œ i Œ . #œ .I b œ II > v >œ œ . Ó. ‰ ‰ @J æ

di - ver - si - ty

Perusal Copy

>œ œ œ œ # >œ # œ ‰ & J ‰‰ ‰‰ J f Fruits

j‰ ‰ Œ . b œF h & Œ ‰ ### œœœ > F (pizz.) ? j‰ ‰ Œ. # œI F >œ œ ã J ‰‰ J‰ f &

b >œ .i J œœ .. iI

j i œ I œI Œ . œI

di - min - ish - ing

f ? # >œ ‰ ‰ ‰ ‰ # œj >œ œ œ œ ‰ J

11

Bar.

j‰ œh b ‰ œœ (F ) œ

∑

F Back-up Vocals*) , slightly “out of tune” ‰ ‰ j j j . œ œ œ œ œ µ µ œ œ œ œ B µ B œ . µœ **)

j j i # œ œ œ ? Œ .I # œ I œ ‰ ‰L œ I œœ # œ œII œ œ > > œ. . . Ó Œ æ ã

@

Perc.

10

∑

j‰ ‰ ‰ ‰ j j Œ. b œbœ nœ bœ > f F ∑ Œ

& Ó.

Voice

EATING VARIATIONS

and veg -e -ta - bles

Ó.

(B. Cl.)

hj œœ i Œ œI

h ‰ œœ œ >

Œ.

Œ.

# œ # Jœ # œ œ œ ‰ ‰ J J

œ ‰ ‰ œ œj œ # œJ œJ ‰ ‰ J

# œ Jœ # œ œ œ œ œ J J ‰ ‰ # œJ ‰ ‰ œ Jœ œ J J ‰ out of sea - son,

each

cup of cof - fee,

∑

h hj hj œœ i Œ ‰ # # œœ œœ i Œ œI # œ œI >

∑ lj h œœ œœ œ œ >

j‰ ‰ . . ‰ ‰ Œ ‰ ‰ Œ j # œ j I # œI # œI œ œ J ‰ ‰ Œ. ‰ Œ.

J ‰ ‰ Œ.

Œ.

hj œœ i Œ . œI

>œh # œœ

j‰ ‰ Œ . œI

>œ œ J ‰ J Œ. p

h œœ ii Œ .

JœI

>œh œœ

j . # œI‰‰ Œ

œ J ‰ ‰ Œ. f

h œœ ii JœI

œ J ‰‰

*) This part should be sung by the cellist. If this is out of the cellist’s vocal range, it may be sung by the percussionist, violinist or flutist, who all have this vocal line in their parts.

**) µ = 1/4 sharp; B = 1/4 flat

17

EATING VARIATIONS

? #œ #œ œ ‰ œ œ .

J J J

Œ.

&

Œ

14

Bar.

co - coa,

Fl.

œ

tea,

œ œ #œ œ .

J J‰ J >hœ ‰ # œœ

Vln.

& Œ

Vcl.

? j‰ ‰ Œ. œI

Perc.

ã

@

Bar.

? œ

œ œ.

J

ploit - ing

jŒ. œ #œ vI

third

œœ œ œ J J

Vln.

& Œ.

h hj bœ œiŒ . œ œ b œ œ II >

Vcl.

? b œ i‰ ‰ Œ .

J

Perc.

&

ã

Œ.

œ ‰ ‰ ‰ ‰ œj œ ‰ œj œ .

J J

stretch

the gap be - tween

#œ œ œ.

J ‰ ‰ ‰ ‰ œJ J ‰ œJ

œœh ii Œ . œI J

>œ œ J ‰J p

hj # hœ œ ii . œ œ Œ œ œ > I

j‰ ‰ Œ. œI Œ.

œ

hœ œ œ >

j‰ ‰ Œ. # œI

œ J ‰ ‰ Œ. f

œ œ #œ Œ .

J J

north and

#œ hj œ ii Œ œ œI

œ J‰‰

hœ hœji # ‰ œ œ iŒ œ œI

j‰ ‰ Œ . œI

Œ.

‰ œ ‰ world

‰

œ

h œ œ œ >

j b œI‰ ‰ Œ .

œ J ‰ ‰ Œ. f

ƒ œ b Jœ œ b œJ œ .

pov - er

-

ty.

œ J‰‰

‰ ‰ n œJ

south,

œœ œ J Œ.

J

ex -

bœ ‰‰J

l jh œœ œœ œœ

j œI‰ ‰ Œ .

œ J ‰ ‰ Œ.

Perusal Copy œ

bœ

Fl.

>hœ œœ

œœl œ J

œ J ‰ ‰ Œ.

Œ.

17

œœh iiŒ œ JI

15

>œ œ J‰J p

Falling apart, distracted by bad singing cellist

∑

œ b œ b Jœ œ b œJ œ .

J ‰ ‰‰ ∑ ƒ slowing down as if distracted lj h hj hj h hj h hj œi Œ . b œ œi ‰ ‰ œ œ œ i Œ . b œ œi Œ . ‰ œI œ œ œ œ œ œ œ œI b œ œ II œ œ œ II b œ œII > > >

œ J ‰‰

b œ i‰ ‰ Œ .

J Œ.

b œI ‰ Œ .

v

œ œ^ œ .

J ‰ ‰ ‰ ‰ @J æ

hj œ ii œ œI

b œi ‰ ‰ Œ .

J Œ.

j b œI ‰ ‰ Œ .

œ J ‰ ‰ Œ.

slowing down as if distracted

hj œi ‰ œI œI

œi. ≈ J ‰ F

flip tambourine exactly vertically so jingles ring more

18

EATING VARIATIONS

Conductor: cut off cellist

20

Bar.

B b Cl.

look at cellist, perplexed (not in sync with others)

Bet - ter

? Œ ‰ Œ ‰ UÓ .

U ∑

U & Œ ‰ Œ ‰ Ó.

U ∑

U & Œ ‰ Œ ‰ Ó.

Voice

jU j & µœ µœ œ µœ ˙ . pov - er - ty.

Vcl.

Perc.

@

U ∑

U Ó.

U ∑

Œ.

U Œ ‰ Œ ‰ Ó.

U ∑

Œ.

? b >œ i‰ ‰ Œ .

J ã

look at cellist, perplexed (not in sync with others)

Vln.

Vcl.

Perc.

food and drink

Ó.

hj œœ i Œ œI

l jh œœ œœ œœ >

∑

b >œ œ i Ib œ I œi Œ . b œ œI J f œ J ‰ ‰ Œ. f

hj œœ i œI

com - plete - ly,

j‰ ‰ Œ. b œljh Œ b b œœ œœ bœ œ > Ó.

but

W

j‰ ‰ ‰ ‰ ‰ b œ-

hj œœ i Œ . œI Œ.

h œœ œ >

W

œœ ‰ œ

W

‰ ‰‰

>œ W œi b >œ œ i œ I œ i Œ . Ib œ I œ i Œ . I œ œ ‰ œI b œ œI œ œ J J œ œ œW œ J ‰ ‰ Œ.

J ‰ ‰ Œ. @ @ ‰

>œ Iœ œ

poco rit.

F

ƒ

? Nœ bœ Œ . œ ‰ ‰ œ Aœ œ‰ ‰ bœ œ W œ . Œ . ‰ ‰ œ b œ b Jœ œ . 68 >œ ‰ ‰UŒ . 12 b œ 8 J J J J J J œ J J 25

fast - ing,

B b Cl.

to skip

Perusal Copy

24

Bar.

j‰ ‰ Œ . b œf l jh b Œ b œœ œœ bœ œ f >

U ∑

strained, but determined

contemplative

l p f b œ b œ W bœ œ œ bœ J ‰ ‰ Aœ bœ ‰ ‰ ‰ ‰ bœ œ œ ‰ bœ J J J b œ J J J J J

shake head, assuredly look at audience

look at cellist, perplexed (not in sync with others)

Vln.

Briefly back on track

look at cellist, perplexed (not in sync with others)

too,

is

& j‰ ‰ Œ . j‰ ‰ Œ . b œb œlj h hj lj h bœ œ œ œ œ & Œ œ œœ Œ œ œ bœ œ œ œ œ > > > ? Œ . I bb œœ I œœ ii Œ ‰ Œ b œ œI J ã

Œ.

œ J ‰ ‰ Œ.

a

sin

a - gainst rea - son,

and might cause

W

hj œ œ œ

‰

j‰ ‰ Œ . bœ . œ. b œl j h h j hj W Œ b œœ œœ œœ ‰ ‰ œœ œœ .. bœ œ œ œ œ. > > b >œ œ i œ W œ .i .

I i I I Œ bb œœ œœ Œ œœ œœ .. i JI J I

œ J ‰ ‰ Œ.

œ J ‰ ‰ Œ.

W. Œ

death,

∑

6 Œ.

8

∑

68 Π.

∑

68 Π.

∑

U 12 Œ. 8 U 12 Œ. 8 U 12 Œ. 8

68 j ‰ ‰UŒ . 12 8 œ > (f) Bass Drum

a Tempo

? 12 Π.

8

28

Bar.

B b Cl.

12 & 8

Vln.

12 & 8

? 12 8

Vcl.

@

ã 12 8 Ó.

Perc.

Bar.

Fl. B b Cl.

Vln.

Voice

& Œ.

Vcl.

Perc.

- œ œ ‰ ‰ J Œ.

h œœ œ > & B œj ‰ ‰ Œ . me.

? Œ. ã

Œ.

œ ‰ ‰ Ó.

J

∑

Œ.

˙. æ p

Œ.

b >œ Ib œ bœ (f) œ J ‰ f

œi I œi œI J a

sin

Œ.

‰ Œ.

Perusal Copy a

& j ‰ ‰ b œlj & ‰ ‰ b bb œœœ

me.

Tambourine

‰ ‰ Jœ œ

? Œ.

30

a - gainst

19

bœ . œ œ- >œ b œ b Jœ ‰ ‰ J J ‰ ‰ J ‰ ‰ Ó. f j ‰ ‰ Œ. ∑ j ‰ ‰ Œ. b œb œ( f ) l j h hj lj h ‰ ‰ b b œœ œœ ∑ œœ i ‰ ‰ œœ œœ bœ œ œI œ œ > > (f) f j ∑ Œ. ‰ ‰ œj œ œ µ œj ‰ B

& 12 8

Voice

EATING VARIATIONS

a sin

12 & 8 Œ.

Fl.

f > bœ ‰ ‰ Jœ œ b œJ J ‰ ‰ b œ .

b>œ Ib œ bœ œ J ‰

sin

b œ b Jœ ‰ b >œ J J >œ b œ b Jœ ‰ J J a - gainst

j ‰ ‰ b œhj hj i œœ ‰ ‰ n œœ œI Aœ Ó.

Œ.

l œœ œ >

me.

œ.

œ.

Œ. Œ.

‰

œi I œi œI J

œ J ‰ ‰

œ ‰ ‰ Ó.

J

j‰ ‰ b œhj lj i œœ ‰ ‰ b b œœ œI bœ Œ.

œi n œ^ i I œi ‰ ‰ I œi Œ . œI œI J J œ ‰ Œ.

J ‰ ‰

>œ Iœ œ

a - gainst

hj œœ i œI

œ J ‰ ‰ Ó.

j . b œ- ‰ ‰ Œ

Œ.

hj hj h lj h i œœ œœ ‰ ‰ œœ œœ œœ i œ œI œ œ œI > > j ‰ ‰ B œj œ œ µœj ‰ B œj

b >œ œi I b œ I œi bœ œI J œ J ‰ ‰ a

sin

Œ.

Œ.

>œ œi I œ I œi œ œI J œ J ‰ ‰

a - gainst

me.

20

> ‰ ‰ Jœ œ

? Œ.

32

Bar.

Fl.

B b Cl.

Vln.

Voice

Vcl.

Perc.

a sin

b œ- >œ ‰ ‰ J

& Œ.

& j ‰ ‰ Œ. b œ(B. Cl.)

lj & ‰ ‰ b bb œœœ & ? Œ. ã

ƒ b >œ ˙ . ‰‰ J

EATING VARIATIONS

Œ.

h œœ œ >

bœ bœ ‰ ‰ Œ .

J J a - gainst

me.

bœ bœ ƒ j J J ‰ ‰ Œ . & ‰ ‰ ÚÚ ;: ... ( ) Ú> … me.

j ‰ ‰ Œ. b œ-

G bM*)

ƒ GjbM*). Œ . ( & )‰ ‰ ÚÚÚ ;:… .. > me.

hj l j hj œœ i ‰ ‰ œœ œœ i ‰ ‰ Œ . œI œ œI Œ.

∑

b>œ œ i n œœ^ ii I b œ I œ i ‰ ‰ I œI Œ . b œ œI J J

ƒ GjbM*) ‰ ‰ ÚÚÚ ;:… ... > me. ƒ ‰‰ j Bœ ˙. > me.

U ˙.

9 8

U

98 ;:… ...

U

9 ;: ...

8 …

œ J ‰ ‰ Œ.

G bM*) ƒ j ;. œ Ú .

J ‰ ‰ Œ ( & ) ‰ ‰ ÚÚ :… .. > me.

b ˘œ J ‰ ‰ f Flute

j‰ ‰ bœ fl f B. Cl.

U wildly h l 98 b b ˙˙æ.. Œ. b ˙v . ƒ 98 U ˙.

^ 98 HK b b ˙˙ .. b˙ . ƒ U

Perusal Copy ∑

Œ.

wildly

9 8

(Tamb.)

U

ƒ ˙æ. ;: .. ….

*) Choose a note in your vocal range to harmonize with baritone and the cellist's voice, within a G b Major chord.

Œ. Œ.

j œ ‰ ‰ fl f

B.D.

21

EATING VARIATIONS

ƒ b œ ˙ ? 44

5. The Happy Medium

q = Ç 160: TV commercial / vaudeville style, mechanical

Bar.

B b Cl.

4 &4 Ó 4 &4

Vln.

4 &4 Ó

Vcl.

? 44

Perc.

> 44 ± & æ ƒ

for ex - cess

Med. Triangle (heavy beater)

± æ

clangorous

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

@

? œR ‰ .

5

Œ

or

a - larm!

œi ˙^ i.

Med. Sus. Cym.

(shaft)

∑ w p

∑

bœ œ œ œ œ bœ œ œ F

& bœ

±> æ / π

œ œœœ

œ bœ bœ

Perusal Copy /f

Ó

∑

& &

w

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~> b >˙ ( œ ) w œ R ‰. Œ Ó ƒ B b Bass Clarinet ∑ ∑ Œ ˙. v molto aggressivo ƒ √ b˙ w œ b˙ w œ ‰. Œ Ó R æ æ ƒ molto aggressivo Ÿ~~~~~ ˙ ( b œ ) b >œ ‰ . ∑ Ó R bœ œ œ bœ œ œ œ œ œ œ œ œ > ƒ ƒ

No cause

Fl.

œ >œ b œ . >œJ b w œ J‰Œ

∑

Ó

r ‰. œ ˙. ƒ v

(B. Cl.)

w

∑ b œ b œ œ Ÿ~~~~ œ > œ b œ œ œ b œ^ ( œ ) œ J‰ Œ R ‰. ≈ ƒ F

w

loco √ œ œ b œ pizz. b >œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ .

R ‰ Œ ‰ J œœ bœ bœ & œ œ bœ bœ F ƒ (ƒ) f

& œR ‰ . ± & æ *)

P-

= dampen

Œ

Ó

∑

± æ

Ó

P —-

> ‰ Jœ b œ œ ƒ f pizz.

>œ œ P J ‰ Œ . ‰ R ƒ *)

22 8

Fl.

B b Cl.

Vln.

Vcl.

Perc.

b ˘œ œ. . œ. . œ. . b œ¨ œ. . & ‰J œ œ œ ‰J œ f F

Fl.

B b Cl.

Vln.

Vcl.

Perc.

œ.

J‰ Œ Ó π

œ. œ.

10

take B b Clarinet

∑ & j‰ Œ Ó œ F >œ œ œ^ œ b œ œ n œ ‰ b œ œ n œ ‰ b œ œI J bœ œ & J F (B. Cl.)

@

?Ó &

F ‰ b œj œ b œ

∑

*)

∑

Ó

&

∑

Œ

&

∑

Œ

∑

>œ œ œ.

Œ

∑

œ œ œ Œ

Œ

A bal - anced diet,

F

?

Mod - er - ate,

Œ

bœ œ > F ( P) j ‰ œ ‰ œJ ‰ Œ P (sotto voce)

. b œ. b œ light

œ. œ.

F

B b Clarinet light

Œ

arco b >œ œ œ. i Ó œ œ œI F arco

∑

b œ^P J œ bœ bœ œ œ œ œ ‰ ‰Œ Œ œ N œ œ œ b œ b œ œ œ œ b >œ ƒ p f *) > P P œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ J ‰- Œ Œ & b œ^ -‰ J p f ƒ Medium Tambourine (mounted) > œ ∑ ∑ Ó Œ J‰ f

P j-

Perusal Copy œ

&

&

Ó

∑

∑

^ > ? ‰ œ ‰ œ b œ b œ & J œ œœ œ œ œ œ œœ b œI J F High Wood Block Low Temple Block R >œ 2 j & J‰Œ Ó œ‰ Œ Ó > f F

13

Bar.

œ. œ.

b œ^ Œ J‰ ƒ

EATING VARIATIONS

Ó œ.I œj ‰ Ó

15

Œ

‰ bœ

j œ œ bœ

. œ. b œ œ. b œ. . œ. œ. œ. bœ of

de - li - cious

. œ. œ œ. œ. . œ. œ. œ. œ ∑ ∑

œj ‰ œj

œ

œ œ œ ‰ J ‰ J ‰ J

S.D. (snares off)

œœœ

? bœ ‰ J

16

Bar.

treats,

Fl.

B b Cl.

Vln.

Vcl.

Perc.

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

‰ Jœ ‰ Jœ well

b >œ œ œ.

J ‰ Ó & ‰ F & Ó

@

? ‰ &

œ. i ‰ Œ œJ I

f

Ÿ~~~~ b >˙ . ( œ )

nei - ther

∑

Œ

a - void - ing

F Ÿ~~~~ >˙ . ( œ )

j‰ œ. œ œ b œ b œ œ > . . fl . .

P F >œ œ > œ œ œ œJ ‰ Œ P ∑ Ó

Ó

‰ b œj b œ œ >

High Bongo Med. Cowbell ‰ œj ‰ œj ‰ œj > œ œ œ œ œ œ œl œ œ ‰ œj ‰ œj ‰ œj ‰ œj œ œ œ ‰ Œ Ó Ó Œ J T.D. F.D. Med. F

Perusal Copy Temple Block

bœ œ œ œ œ Œ J

Ÿ~~~~ b >œ œ œ ˙ . ( œ ) or ov - er

do - ing

∑

f œ

20

an

> ‰ œ Jœ b œJ ‰ b œj ‰

>œ J ‰ Œ f >œ J ‰ Œ f

>œ b bœ bœ bœ œ œ . œ œ œ J ‰ Œ f ‰ œ œ œ œ ‰ œJ ‰ Jœ ‰ œ œ œ œJ ‰ Œ & 3 Med-high T.B. f ?

23

œ œ ‰ bœ œ œ Œ J

∑

j ˘ ‰ b œ. b œ b œ. b œ . f pizz. b œ bœ bœ bœ ‰ J

j‰ Ó œ.I

>œ œ œ ˙Ÿ~~~~ . ( œ) & &

œ J ‰

pre - pared,

Œ

b >œ œ ‰ & bœœ F ? ‰ bœ œ > F ‰ œj & œ ‰ J

EATING VARIATIONS

sin - gle food

group,

Œ

F ‰ œ.j œ. b œ. >a lit - tle > > ‰ b œ. œ J F ‰ œj b œ. fl F

Ó

Ó

Ó

Ó

∑

j ‰ Œ b œ I œ bœ f F pizz. Ó ‰ j Œ b œv I

Ó Ó

Œ

>œ

b œ.

œ ‰ œœœ œœœ œ œ >

B

22 p ? b œJ ‰

24 Bar.

b œ. & J ‰ p b œ. ‰ & J p fish,

Fl.

B b Cl.

Vln.

Vcl.

Perc.

Bar.

&

B b Cl.

&

Vln.

&

Perc.

‰ b œj œ b œ. . .

Œ

Ó

Ó

Œ

Ó

Ó

a

lit - tle

?

œ ‰ Œ J

meat,

Œ

. ‰ b Jœ œ b œ œ Œ

b ˘œ œ. . ‰ J bœ F ˘œ . ‰ J œ œ. a

F

‰ j b œ œ b œi ‰ Œ J bœ > P F œi j b œ J ‰ Œ ‰ œ bœ F> P Med. Cowbell ‰ œ œ œ œ œJ ‰ Œ F P

25

b >œ œ œ œ œ.

J ‰ ‰ F

œ J p œ.

J p

‰

P-

j œ ‰ Œ p Œ

?

*) Temple Bowl tuned to 'G' if possible.

œ

œœœœ œ œ ‰ Œ J p 3 F Med. Temple Block

b˙ . > F

Ó

arco

∑

œ. ‰ Œ J

Œ

Ó

Œ

Ó

Œ

soup,

?

of

j‰ œ œ œ œ b œ. > F

Perusal Copy

œ œ œ >œ œ œ œ œ œ ‰ & F

F b œ.

J ‰

Œ

mo -di - cum

p . .œ b œ. ‰ œ.j œ. A œ. b œJ ‰ Œ ‰ b œj œ b œ. . . > soy and wheat, a glass of juice, a bowl of .œ . ˘ . bœ J Ó ‰ b œJ œ ‰ Œ Ó p F ˘ . œ. œ. Ó ‰ bœ œ Ó J ‰ Œ J ppizz.

F arco j œi ‰ Œ bœ œ œ ‰ œ. b œ Ó .

J œ bœ . fl p > F p F b œi pizz. > > b œ . .

B ‰ bœ œ J ‰ Œ bœ ‰ bœ Ó J J . b œ. p (F )

? >œJ ‰

Fl.

Vcl.

Œ

i & œ œ b œ b œ œJ ‰ Œ p > Pi F b œ B ‰ b >œ œ b œ J ‰ Œ J F P œ Castanets (mounted) œœœœ œ œ ‰ Œ & J p 3 F P

@

EATING VARIATIONS

ƒœ ‰ J

a-

œ ‰ J ƒ œ ‰ J ƒ

‰ j . œ b œ i‰ Œ J bœ bœ P F œi b œ j ‰ œ bœ . J ‰ Œ F P (shaft on edge) Temple Bowl*) ƒ > (struck on the edge) œ ã i ‰ œ œ œ œ œ æœ > F F

25

EATING VARIATIONS

. b œ. œ. b >˙ . > œ œ œ œ ? ‰ J

28

Bar.

B b Cl.

Vln.

Vcl.

Perc.

Bar.

Fl.

B b Cl.

Vln.

Vcl.

Perc.

Œ

Ÿ~~~~~~~~~~~~~ . . . œ œ œ >œ œ b œ œ b >˙ . ( œ ) J J ‰ ‰ ∑ & F Ÿ~~~~~~~~~~~~~~ œ œ >œ œ. œ. œ. >˙ . ( # œ ) œ ‰ J ∑ J‰ & F arco j j ‰ j ‰ Œ ‰ b œœ œœ œœ œœ ‰ œœ œœ œœ œœ & Œ ‰œ ˙ .. . ... . bœ bœ œ vƒ fl > fl fl F (poco) f arco ˘œ b >œ. j ‰ Œ B Œ ?‰ j j j ‰ ‰ ‰ ‰ Œ b œ b œ b œ J J . > fl flœ vƒœ ˙ F Sus. Cym. Pœ>i High œTemple Block Tambourine œ œ œ œ œ ‰ œJ ‰ Jœ ‰ œJ ? ‰ . Œ Ó (shaft on edge) ˙ ‰ ã R > f (f) F ƒ f 32 > > b œ ? n œ œ ‰ Jœ œ œ œ. Œ œ œ b œJ œ . ‰ œJ bun - dant pro - duce from the farm,

Fl.

F. . œ œ Œ b œ. œ. Œ

30

@

ap - ple,

let - tuce,

b >œ œ œ œ œ J ‰ J‰ ‰J cu - cum - ber, pear,

> œ. œ. Ó ‰ bœ œ f œ. Ó ‰ œ œ œ. > f ‰ b œ œ œ œ ‰ b œœ œœ œœ œœ œœœ œ . .. . fl . . . j ‰ œj ‰ b œ. ‰ Œ . J bœ fl œ œ œœjœ ‰œ œœj ‰ J ‰ J‰ >

Perusal Copy

œ. & J ‰ Œ F œ. & J ‰ Œ F bal - ance

Ó

b ˘œ J ‰ Œ

Ó

Œ

Ó

˘œ J ‰ Œ

Ó

Œ

of oils

with

& ‰ œœ œœ. œœ. œœ. ‰ œœ. œœ. œœ. œœ. fl ? œj ‰ Œ j‰ Œ . œ. œ œ ‰ Jœ ‰ œJ ‰ œJ ã

tast - y fats,

is the

hap - py,

a

œ

Med-high T.B.

Œ

œ #œ #œ œ œ œ nœ œ œ œ # œ œ

F

f œ bœ œ œ œ œ # œ œ # œ bœ œ #œ F f ∑

‰ bœ œ œ œ Ó œ. œ. œ. œ Ë œ. ‰ ‰ b œj Ó bw J Ë > ƒ Solo >j look crazy, like this is your Bongos “big moment” to show off > > œ S.D. œœi C.B. œ œ œ œ Œ J‰ Œ Ó f

œ œ

œ

26

EATING VARIATIONS

F ? œ 35

Bar.

Gradually losing control

œ

B b Cl.

&

Vcl.

? bw F ã

@

Bar.

œ F

? 44 Œ

37

œ

B.D.

œ^ œ œ

Vln.

Perc.

‰

3 4 Œ

Œ

P ‰ œJ to

4 4

Œ

43 Œ

Œ

43 œ

r œ ‰.

‰ œj Ó

shrug shoulders *)

eat.

4 4

j i ≈J# œœœ ...i I œ .I > ƒ Œ

molto aggressivo: mad, like you are trying to get everyone back on

œ œ

>œ

Tamb.

43 œ œ œ

>œ

Perusal Copy œ œ 43

∑

œ

78

*)

= slight bend upward.

4 4 44 44

œ^ œ œ œ œ 44 ∑

(sound like a gradual ritard - “out of time”) b œ 5:4 b œ œ # œ # œ œ œ 3 œ # œ œ ≈ ≈ œ ‰ 3j ‰ 7 4 œ Ó ≈ ∑ &4 4 8 #œ bœ œ. ƒ p j œ .i 4 78 ∑ Ó Œ ≈ ∑ Jb œœ ..iI &4 43 œ .I f Tamb. ^ > i œ œ œ > œ œ œ œ œ 7 œ œ œ >œ œl œ >œ œ œ œ œ 4 3 œ œ œ 4 J ‰ œœ ã 4 œ 8œ œ 3 3 f like cackling

B b Cl.

way

∑

Vln.

Perc.

œ œ R J

look quizically at other musicians

# >œ nœ œ œ œ œ œ ≈ # œ # œ #œ r ‰.

3 # œ ≈ ≈ ≈ ≈ Œ # œ & 4 œ œ œ #œ F f P >œ œ œ œ œ œ ‰.

3 œ bœ Œ Œ ‰ & #œ 4 R œ #œ F f p mod - ern

Fl.

‰.

weaker

44 44 44 44

27

EATING VARIATIONS

>œ œ >œ œ^ œl œ œ >œ œ œ œ œ œ > j œ œ œ œ œ œ œ j‰ œ 4 J‰ œ œœ 2 ‰ œ 3 œ œ œ œ œ ‰ J ‰ œ œ œ œ ã4 4 J 4 œ œ 3 π p 40

Perc.

Perc.

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45

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Everyone (including the conductor) should gradually look at the percussionist like he or she is crazy

Bongo

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rit.

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4W 4 Ó

Throw both sticks on the floor so they bounce around; look like you've gone mad!

j ‰ UŒ œ œ œ- I ƒ

Finished: March 19, 2006, 5:05 p.m., New York, NY, U.S.A. Minor Corrections: July, 2008, New York, NY, U.S.A.

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