Tsao UN(COVER)

Contemporary

ISSUU Version For perusal only

TSAO Un(cover) for Ensemble

Score

EP 14014

ISSUU Version For perusal only

ISSUU Version TSAOonly For MING perusal

Un(cover) for Ensemble

Score

POD PETERS on demand ALLE RECHTE VORBEHALTEN

· ALL RIGHTS RESERVED

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

ISSUU Version For perusal only

(Un)cover Performance Notes

ISSUU Version For perusal only

Fingerings are notated in the score for each of the pitches. The notated pitches indicate sounding pitches.

Trombone (with F attachment) Instrumentation

A straight mute, wispa mute and plunger mute are required.

Trumpet in C, Trombone, two Percussionists, Guitar, Pianoforte and Violoncello.

Guitar (Steel-string acoustic guitar with built in pickup) Seating arrangement

Piano

Perc. 1

Perc. 2

Tromb.

Cello

Tpt.

Guitar

General Notes Duration of the piece is approximately 9 minutes.

The score is in C, except for the guitar and violoncello which are transposed to standard tuning.

All of the instruments should be amplified slightly (including each of the percussion Instruments: timpani, snare drums and vibraphones as well as the guitar and guitar amplifier).

, +-

Trumpet in C A straight mute, wispa mute and plunger mute are required.

Valve 3 is detuned a quarter-tone lower resulting in the following scale of fundamentals: Trumpet:

#©

Valve 3 detuned a quarter-tone.

L©

V

#©

IV

III

© II

@© I

When using the ebow, only the fundamental of the pitch should sound. Avoid harmonics of the fundamental from sounding. (Make sure that the ebow is not placed in the ‘overdrive’ setting.)

The following notation is used to indicate barring across all six strings, where the top and bottom pitches indicate the frets on strings I and VI respectively where the barring should occur.

L 1

L 1

Guitar:

h -c

©

L©

K©

Both the guitar and the amplifier should be amplified. The amplifier should be only slightly higher in amplitude than the sound of the acoustic guitar. The point of the amplifier is less about volume and more about suggesting a different kind of presence.

It is important that all pitches (including the quarter-tones) are played as natural harmonics of the fundamental for which the fingering is provided in the score (intonation should not be adjusted by lipping the pitch up, for example). This is particularly true of the partials that are naturally flat (such as the natural seventh partial), which are notated with the following § § accidentals:

#©

Guitar:

VI

Brass

©

The guitar is scordatura throughout the entire piece. The guitar part is transposed to standard guitar tuning as well as sounding an octave lower than written. The scordatura for the guitar is as follows:

©

Quarter-tone notation C = one quarter-tone sharp B = one quarter-tone flat U = let the sound die on its own accord

"

1 amplifier with tremolo effect (of varying speeds) that can be activated with a footswitch 1 volume pedal 1 heavy glass slide 1 thinly threaded metal rod (American size 6-32, 30 cm in length) 1 guitar pick (medium thickness, approx. .5 mm.)

1 ebow 1 bass bow

@©

L©

L©

= strum downward (6 to 1) with the right-hand thumb.

Barring across the 7th fret

ISSUU Version For perusal only

Violoncello

A finely threaded thin metal rod (American size 6-32, 30 cm in length) is required. The violoncello is scordatura throughout the entire piece. The cello part is transposed to standard cello tuning. The scordatura for the cello is as follows :

"

Cello:

L©

IV

#©

III

K© II

#© I

Occasionally, the upper stave notates pitches in the treble clef (for example, mm. 6-11). These pitches are transposed to the standard tuning of the open string and generally refer to a specific harmonic node on the string (for example, two octaves above the open string (4th harmonic), an octave and a fifth above the open string (3rd harmonic), two octaves and a 5th above the open string (6th harmonic), etc.). The position of the bow on the string is then determined by the location of the notated pitch in standard tuning.

Bowing at the position of an octave and a fifth above the open string while fingering the harmonic a fifth above the open string, will produce a slight ‘buzzing’ sound, akin to a gentle overpressure sound, since the harmonic is prevented from speaking. Occasionally, the cellist is asked to move the bow continuously from one harmonic node to another while fingering a fixed harmonic with the left hand. The general effect should be a harmonic whose sound transitions continuously from pitch to noise.

§

kkkkkkkkkkkkk = gentle overpressure bowing

The overpressure bowing technique requires moving the bow both vertically along the trajectory of the notated line as well as horizontally so that the bow hairs can set the muted string into vibration. The sonic result of this action should not be that of a ‘crunch’ sound. Rather, the pitches that the bow hairs produce when gently scraping along the strings should be the audible result. This action is to be played extremely delicately with quasi pitch glissandi (produced by the bow hairs along the string) being the most audible result. When specific pitches are notated in the upper stave with overpressure, then these pitches should be the audible result as the bow scrapes along the string.

Pianoforte (grand piano, sostenuto pedal (3 ped.), una corda pedal and damper pedal (ped.))

One ebow and two long strands of heavily rosined fishing line are required.

A strand of fishing line should be slipped around each of the strings indicated in the score near the hammer. The performer then `bows‘ the respective string by releasing the damper pedal and, whilst standing, moving the fishing line gently and slowly back and forth.

When using the ebow, only the fundamental of the pitch should sound. Avoid harmonics of the fundamental from sounding. (Make sure that the ebow is not placed in the ‘overdrive’ setting.)

The following notation is often used to indicate: (a) keys that are silently depressed, (b) all white keys between and including the bottom and top pitches notated, (c) all black keys between and including the bottom and top pitches notated, and (d) all chromatic keys between and including the bottom and top pitches notated.

Pianoforte: (a)

" 11 L

L 11

(b) W

@ K 11

(c) B

(d)

11

Percussion Percussionist 1 2 large timpani drums (D-A, F-C) 1 vibraphone (with fully functioning motor, 1 pair of soft, medium and hard mallets respectively) Crotale (E above middle C) - sounding I5ma higher than notated 3 bass bows 1 heavy gauge brush 2 thinly threaded metal rods (American size 6-32, 30 cm in length) 3 metal wire hangers (coat hangers) of medium thickness 3 loose metal snares (from snare drums, width 5 cm), one of which is broken in half to create 2 snares of width 2.5 cm.)

Percussionist 2 2 large timpani drums (D-A, F-C) 1 snare drum (with drum sticks) 1 vibraphone (with fully functioning motor, 1 pair of soft, medium and hard mallets respectively) Crotales (C#, G - each within the octave above middle C) - sounding 15ma higher than notated 3 bass bows 1 heavy gauge brush 2 thinly threaded metal rods (American size 6-32, 30 cm in length) 3 metal wire hangers (coat hangers) of medium thickness 3 loose metal snares (from snare drums, width 5 cm), one of which is broken in half to create 2 snares of width 2.5 cm.

ISSUU Version (Un)cover For perusal only

D 42

Timpani head tuned to F. Begin by resting part of the trumpet bell on Timpani head of Timpani F-C (29").

Gradually place the entire bell on Timpani head while playing.

Trumpet player is standing near percussionist 1.

Trumpet in C Tpt. - Detune valve 3 a quarter-tone lower throughout. Trumpet is notated at sounding pitch.

Trombone

"

Trombone player is standing near pianoforte.

Timpani

Percussion 1

Percussion 2

°

°

Å ©

©

L©

#© K© ©

@©

"

@1 L L K 111 L 1 K 1

ÅÅ L©

Trombonist plays into piano.

LÐ 2

Å © ¨

ÅÅ §

kkk

ÅÅ

L 1 L L 11 L1 )

h-e

3. Ped.

Hold fingers against snare head until snare drum has stopped resonating.

Cello

"

Scordatura:

L©

#© K©

#©

(Cello is transposed to standard tuning.)

L

II

§

§

§

kkkkkkkkkkkkkkkkkk

§ 2

§

ÅÅ ¨ L !© ) Å ÅÅ L ©

L !© © 2

§ ÅÅ

§

kkkkkkkkkkkkkkkkkk

ÅÅ £ ¨ © L !© §

kkkkkkkkkkkkkkkkkk

bow *)

L©

Ped. **) Å h-c L §1 a

L 1 b )

11ab 11bb

Pitch of right-hand bow. Left hand is muting string II in first position.

Gentle overpressure.

Bring out as much of the notated pitch as possible.

Note: Position of bow is at the 6th partial of string II past the octave.

©

§

Å §Å ½ R

¨

*)

L L

Vibraphone

ÅÅ Å ! ¨ )

h-e

L L 11 L L 11 2

closed, gradual transition to open

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Snare Drum

L©

½

¢ Trombonist quietly moves Q to his/her respective seat. ÅÅ ½ Å © ¢

plunger mute

§

§

¨

X § Timpani pedal.

©

Slowly affix bell of trumpet firmly to Timpani head.

D 48

accel.

©

©

(Guitar is transposed to standard tuning.)

Piano

X R

bow

L ©Å ½ !

H

gradually to

Bowing "white noise" to gradual slight overpressure so that a low tone is present.

Snare Drum: loosen snares so that they rattle against the bottom of the snare drum.

Tap snare drum with fingers.

l

With BASS BOW and METAL WIRE HANGER. Bow metal wire hanger in the center of the Timpani head (of Timpani D-A, 32"). Bow in the middle of one side of the wire hanger.

Scordatura:

Guitar

Ð

Bell of trumpet slightly off the head of Timpani.

Bell of trumpet firmly affixed to Timpani F-C.

Ming Tsao

arco with bass bow

@ L

£

Ped. Right hand bowing position.

Bow at 3rd partial on string III.

§

kkkkkkkkkkkkkkkkkk

ÅÅ § L £

kkkkkkkkkkk

L

(gentle overpressure)

§

kkkkkkkkk kkkkkkkkkkkk

" L1

III

Fingered pitch should produce a lightly distorted sound.

*) Prepare vibraphone by laying a 1/2-width metal snare along the bars with the end-points at the indicated pitches. **) Slow and delicate rasqueado over soundhole across all six strings. The sound of the fingernails "tinkling"across the strings should be audible.

%DITION 0ETERS

33103

¥ BY (ENRY ,ITOLFF S 6ERLAG ,TD #O +' ,EIPZIG

ISSUU Version For perusal only

2

o ally t gradu

7

#X ( R )

Tpt. (C)

" Tbn.

Perc. 1

Vibraphone

bow

arco motor off

gradually to

L©

L ©§

Perc. 2

Bell of Trumpet slightly off the Timapni head.

LX § Timpani pedal ( R )

motor on slow *)

*)

£ § ( R )

Å L©

§ § ÅÅ

Gtr.

°

Pno.

"

(Ped.)

ÅÅ © ½ § ÅÅ R

L© a

L L

L L

(Ped.)

D 64

accel.

Note: Trumpet bell still firmly affixed to Timpani head.

£ K L K K L ©©©©© © ! ) L L L L 1111

Ð

©Å Å

Vc.

III IV

" 1 L1

**)

Å L

L 1

L 1 RÅ

Volume pedal (off)

Å §

11

11

11 L 1

Left hand fingered harmonics should be clearly audible. *) vibraphone preparations **) Guitar amplifier is only slightly higher in amplitude than the sound of the acoustic guitar. The use of the amplifier is less about volume and more about suggesting a different kind of presence.

33103

Å L Å

arco

con sord. (straight mute)

KX

§ ½

§ L § ÅÅ

kkkkkkkkkkkkkkkkkkkkkkkkkkk

L ¨

threaded rod

(on full)

1

Å

¨

§ §

§ §

arco with threaded metal rod

§ L

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkkkkkkkkkkkkk

(off)

½

ÅÅ ½ L© K© )

L

1 L©

1Å a © b H

Å §Å

¨

½

kkkkkkkkkkkk kkkkkkkkkkkk

Å §

kkkkkkkkkkkkkkkkkkk

Trumpet player quietly moves to his/her respective seat.

¨

¨

Arco with treaded metal rod.

Notated pitches specify those pitches produced by the right hand. Mute strings II and III with the left hand in first position.

**) Bow at 3th partial on strings III. **) Left hand fingered harmonic should be clearly audible.

Fingered pitch should produce a lightly distorted sound.

III

Å §

@ L ©©ÅÅ K @ L ©©© ! !

L K @ ©©©

ÅÅ H

1a ½ 1b ÅÅ §

h-c

½ H

threaded rod

a½

Å §

Right hand bowing position.

Bow at 4th partial on string III.

L L

kk

½

ÅÅ § H

½

3. Ped.

Bow at 4th partial on strings III, IV.

D 52

½

¨

threaded rod

½

LL §§ ÅÅ

II III

kkkkkkkk kkkkkk kkkkkkkk kkkkkk

arco at 4th partial (Pitches are transposed to standard tuning of the cello)

13 Tpt. (C)

Tbn.

Perc. 1

"

X ( R ) (remove preparations)

bow

LÐ

con sord. (straight mute)

con sord. (straight mute)

½

(arco)

L©

§

§ L © L © ab 2

¨

Ped.

Perc. 2

£ K Å §

§ §

§

§

§ ½ ¨ ÅÅ

§ ¨

§ ¨

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkk

(Ped.)

Gtr.

Pno.

"

KX

Ped.

Vc.

(remove preparations)

¨

e

§

e f

f

3

f -d h

K § L K K 2

R

j § § ( )

°

°

bow arco

»

ÅÅ Å

!» » 5R

gliss. heavy gauge brush along pipes underneath vibraphone

Å £ Å

§ § §

§§ “H ”(from lowest to highest)

½

§

Å »Å ¨

"

)

Vibraphone

§ £

Å

L © L ©

)

medium mallets

along pipes underneath vibraphone £ §§Å Å

° § § § § b H “H ” (from highest to lowest)

§

L©

3

h

R

h

R

K K K

Fishing line Slowly arco indicated string with a heavily rosined fishing line wrapped around the base of the string before the hammer.

(The fundamental tone of the string should be audible.)

Note: the two ends of the fishing line can be taped to the lid of the piano so that they are easily accessible.

½

gliss. heavy gauge brush

R

kkkkkkkkkkkkkkkkk kkkkkkkkkkkkkkkkkkkk kkkkkkk kkkkkkkkkkkkkkkkkk kkkkkkkkkkkk kkkkkkkkkkkkkkkkkkk kkkkkkkkkkkkkkkkkkk kkk

R

§ d § §§

§ §

ÅÅ ½ §b H

ÅÅ ¨

© )

x a : audible attack of left hand fingers against fingerboard R: audible release of left hand fingers from fingerboard

threaded rod

§ §

#© X H !© (senza sord.) ÅÅ ½ H

§

§

½

with medium mallets

Arco with threaded metal rod Notated pitches specify the pitches produced by the right hand.

Pitches are transposed to standard tuning of guitar.

S c -f L L

D 74

accel.

D 64

ISSUU Version For perusal only

3

Ð

kkkkkkkkkkk §§ kkk§§ kkkkkk§§ kkkkk§ L Å ½ § kkkkkkkkkkkk kkkkkkkkkkkkk L Å

Å

¨

bow

"

¨

©

1

L1 L1 IV j

½ L @ 11 UÅ

3. Ped.

gradually to 3

©

Å 1 » » » © 3

(1/2 harmonic pressure)

h

R

h

3

ÅÅ ½ L©

K© L © ½ L !© H

(ord. pressure)

III

@© ©

IV

R

h3

R

h

R 3

h

R

h3

R

h

ordinary rasqueado

R

3

h

£

1 LL 1 g h H

H ) !

Å L L L ©11 @© L 1 ½ Ped.

X X

H 33103

Å

© ©

Å 1 K a

K ! 1 b H

Å

L © H ©ÅÅ ½

L ©

)

h -c

£

£

L© H

3. Ped.

III

L L ©©

)

IV

©Å

L© ( 2 )

ÅÅ © © L© §

ISSUU Version For perusal only

4

19 Tpt. (C)

Tbn.

Perc. 1

"

L © a

bow arco

H

Vibraphone medium mallets

Perc. 2

L© H

K©

L © a

bow arco

l

©

(Ped.)

Ped.

§

K

Å §Å H

Gtr.

°

Pno.

1a L LL 11 bb H

R ) § L § (

L © L L L ©©©

Å H " L © Å ( H )

£

a L 1 1 b KL 1 b H

¨

£ ¨

b½

¨

¨

¨

§

§

§

§

kkkkkkkkkkkkkkkkkkkkkkkkkkk

arco with threaded metal rod

¨

§ Å

"

con sord. (straight mute)

Ð

©

Ð

©

L©

Å

(arco)

L©

2

Ped.

Bow crotale on the centre of the timpani head (Timpani D-A, tuned to A)

L© § Timpani pedal

bow

§ ( )

V than notated)

Arco strings h-e with the bass bow across sound hole of the guitar. Mute strings e-c with left hand.

L © L L ©© L © R

h-e

§

¢

§

Volume pedal

Fishing line

a a b b

(3. Ped.)

Vc.

Crotale

h -c

¨

(sounding

h-f

Å §

Slowly arco indicated string with heavily rosined fishing line (the tone of the string should be audible and "clean", i.e. not "raspy".

To achieve this, a strand of bow hair can also be used.)

LX

Ped.

II II II Å Å ÅÅ 1 1 1 1 1 1 1 1 1 1 1 1 1 L 11 L 1 L 1 1 1 1 L 11 © ½ @ 1 1

Å @© III Å ( R )

( )

(

j)

L1

1

33103

1

1

L ©0 ! ¢

L © L© ©

L© 0 0 0

6

ord.

(II)

gradually to

sul pont.

L1K1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 L1 @ © X

(III)

R III

23 Tpt. (C)

Tbn.

"

Perc. 1

D 80

! h© ©

ÅÅ 5

Ð (2)

ÅÅ ¨ ©

L

L

L

L

(Ped.)

Perc. 2

§ 2

L 1 a

K L 11 ba

h-c

Gtr.

°

2

HÅ Å ½ § a § b½ ÅÅ H L

Ð

H

ÅÅ ¨ ©

"

1 © L1

(III)

¨

Å

Å

Í

½

¨

Å

Å

Í

ÅÅ §

L

½

§ ¨ ( R )

1

2

L L 11 11

ÅÅ III

¨

L L L L 1111 ¨ K 1 B L 1 A

L Ð LÐ 0

H

Í

Å

§ ¨

§ ¨

§ ¨

Í

§ ¨

L 1 a

L 1 a (let strings h-f continue to die out on their own accord) L X b H

§ @© L© L© L©

L© L© @©

@©

¨

£

A 3. Ped. B 3. Ped.

II

½

h-c

(Ped.)

Vc.

½

§ H § § ÅÅ

ÅÅ ½ §

Å §Å

Pno.

"

£ Å L©

L

©ÅÅ ¢

L Ð

ÅÅ § § ÅÅ Timpani pedal

Volume pedal

©#Å Å ¢

(senza sord.)

Å §Å § ÅÅ

Ð

(senza sord.)

ISSUU Version For perusal only

5

(III)

© ©

L©

Í

Í

L©

K© K©

L© L© L©

K©

L© @© L©

S L© K©

L© K©

L©

L©

L© K©

L©

@©

Í

H

S K© L© K© L© L© @© L© L© L© L© L© L© K© 5

Å

18:17©Å

Ped.

Í

H

j) ©

(II

2 33103

Í

ISSUU Version For perusal only

6

27

D 74

Tpt. (C)

Í

Tbn.

" Í

»

L» L» #» #»

£

» L» » L» @» #» #» » L» L» #» #» » L» L» @» #» » L» » L» @» #» #» » L» » L» @» #» L» L» #»

Crotale

Perc. 1

Perc. 2

Í

Í

Å § § Å

Bow crotale on the edge of the timpani head of Timapni D-A. Timpani is tuned to A.

Timpani pedal

L ©§ Timpani pedal

Å § § Å

HRR

ÅÅ ½

» ¢

#Ð

l

LX !

5

§

a

@© R

R

Gtr.

L § Í @ L §§ 3

R

R

h h §§ §§ § § 3

R

h §§ § 3

R

h §§ §

R

3

h §§ §

R

R

h §§ § 3

3

° Í

Pno.

(Ped.) (3. Ped.) (3. Ped.)

(II

Vc.

R

h §§ § 3

R

h §§ §

R

3

R

h h §§ §§ § §

b¨

¢

3

L 1

£ L 1 ab b

Å §

L1

S! L © L @ L L © © Å Ä

¨

j)

3

K1

L© 0

1

1 3

3

1

©

1

1

1

3

©

*) strum across strings with plectrum behind the nut where the tuning pegs are located

1

1

3

1

©

1

1 3

3

1

©

1

1

1

3

©

1

33103

1

Å "L© © 1 L© (II)

3

h-c

h §§ § Å

R

(on 1/2 way)

S! L 9a LL @ 99 9b

Í Ä Í

Í

R

h h §§ §§ § §

III

¢

e-c Rh

R

R

R

R

R

½ “H ” § *)

e -c h

Ð

R

h

c½

R

R

R

R

R

h h h h h h h h h h h @ L L §§§ §§§ §§§ §§§ §§§ §§§ §§§ §§§ §§§ §§§ §§§ §§§

H

(let strings h-f continue to sound throughout the measure)

R

INSIDE THE PIANO gliss. across notated strings inside the piano between the bridge and the tuning pins. Use a thick plectrum.

¨

IV III II I 6

© ½ L 1 L 1 © L1 H

L1

1

1 1 1 6

1 1 1

1 1 1 6

1 1 1

1 1 1 6

1 1 1

1 1 1 6

@ § R

1 1 1

1 1 1 6

1 1 1

1

L1

IV III II

@1 6

R

@1

ISSUU Version For perusal only

29

Ð

Tpt. (C)

Tbn.

D 78

© #© 2

Ð

" LX

Vibraphone motor on slow arco

¨ @©

Perc. 1

ÅÅ §a § ÅÅ b ½ )

K© §

Ped.

¨

Perc. 2

¨

¨

(Bow crotale on edge of timpani head.)

K© §

a

¨

°

ÅÅ © ½ H

© ( R )

7

¨ 3

©

Å L !© 5R

Å Å L !© © Â

Å @© @© H

medium mallets

Å

motor off

Snare Drum with loosened snares

¨

¨

Å *)

H

H

© Å ©Å ½

Å

£

¨

L ÐÐ aa L ÐÐ ba )

motor on fast

Vibraphone medium mallets

L @ ÐÐ ab 2

l£

¨

c d e

R

Ped.

(let strings h-f continue to sound throughout the measure)

c d e

h-c

Gtr.

°

L 1 L 1 a K L 1© bb )

R

R

h h L L L §§§ §§§ 5

R R R R R R R R R R h§ h h h h h h§ h h h h K

§

§

§ L

§

§

§§ K L §§ §§ §§ L @ §§ §§ §§ K K §§ §§ §§ §§ L § § § § ÅÅ 5 5 5 5

ÅÅ ½

(Ped.)

Vc.

"

L1

L §

I

L 1 K K 11 H

½

¨

Pno.

II

L1

III

@1 5

IV

@1

1

1

1

1 5

1

1

1

1

1 5

1

1

1

5

K ¨1 L 1

¨

3

3. Ped.

1

1

1

1

1 5

1

1

1

5

1

1

1

1

*) Tap snare with fingers; hold fingers against snare head until snares have stopped resonating.

33103

!

L© )

L© 5

III

L © L© 0

L ©©

IV

h-c

L 1 a L L 11 bb )

L L 11 L© H

III II

(IV)

III

Â

3

(IV)

(off)

Å ©Å © !

R

Å

Ped.

Å # © L 1 L 1 L ©© © 1 3

Å §

W

Å Å K© © !

H

R

h h K §

K §

£ L § §§§

Å §

L ©§© L L ©© © ÅÅ (2) @ @ ©©© ½ ÅÅ 2

Å L© !

H

Å

"

Å

1

1

f g hÅ

f g h

R

III

L1

2

IV IV III

L1 L1

L1

7:6

II

K1

L1 I

1

7:6

1 1 1 1 1

II

1 L1

ISSUU Version For perusal only

8

32 Tpt. (C)

Tbn.

" ¨

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motor off

motor on fast

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motor off

£

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l½

½

K K XXa b H

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½

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Å ©Å ¢

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Å

motor on fast

l½

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Å @ ©Å

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h h §§ K L K §§§

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L 1 a

K L 11 b

III

" L 1 K 1 L » L » K » Vc. (II)

6

III

Å L » L » @ » @ » L » L L ©1 11 !

IV 5R 6

Å

sub. tremolo on medium speed

H

ÅÅl §

§

!

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tremolo off

l

!

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½

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9

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9

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9

Ped.

ÅÅ 11 L 1© 0 H R

*) attackless harmonics: lightly touch the strings at the indicated position with the left hand

L© a

L© ÅÅ Ä

¨

L 1 a *) §

§§ L 1 b

Ped.

(3. Ped.)

L !© Ä

strum across all six open strings

W

Å ©Å ½

¨

K© b

l @ !©

¨

h-c

L© a

motor off

(Ped.)

R

9

III

ÅÅ K1 1 # © © !

III H II

molto sul pont.

III

IV

@1+1L1L1L1

L1 @1 +1 L1 ¢

33103

arco ord. III

L1

L1 I

II

L1

6

1

1

IV

L1

1

1

1 6

1

1

1

1

1

1 6

1

1

1

1

1

1 6

1

1

1

35

Tpt. (C)

Tbn.

ISSUU Version For perusal only

"

Å

bow arco

¨

Gtr.

(on full)

K© Pno.

"

(

(off)

L© L©

@© © © ©

R )

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©

©

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©

9

© © ©

"L1 L1 Vc.

©

©

©

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9

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9

© ©

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1 6

1

L1

1

1

1

1 6

1

1

) Å @ ©§

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(

9

1

1

1

1 6

1

1

1

1

1

1

6

33103

1

§ Å

1

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(Ped.)

L©

(Ped.)

°

L ©

(Ped.)

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bow arco

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9

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@© ©

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L 1 L 1

©

©

©

© ©

© ©

©

©

©

©

© ©

© ©

©

7:4

L1 1 6

1

L1

1

1

1 5

1

1

1

1

1

1

©

©

1

©

© ©

© ©

ÅÅ

7:6©Å

1

©

1

ISSUU Version For perusal only

10

37 Tpt. (C)

Tbn.

"

Perc. 1

(Ped.)

) @ © § (

Perc. 2

@

(Ped.)

ebow + slide *)

Gtr.

dj

LX

glissando with glass slide and ebow.

L © L © K© Pno.

KX

2 " K ©a Å Å 2

@© © © ©

©

9

©

L©

(

© ©

© ©

©

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9

½

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9

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9

Å

)

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9

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9

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9

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9

(Ped.)

" L 1 L 1 Vc.

L1

1 1 6

L1

1

1

1

1 6

1

1

1

1

1

1 6

1

1

1

1

1

1 6

1

1

L1

L1

*) Note: With ebow, only the fundamental pitch must sound. Avoid harmonics of the fundamental from sounding. Use volume pedal slightly to balance sound with the ensemble.

33103

L1

1 1 6

L1

1

1

1

1 6

1

1

1

1

1

1 6

1

1

1

1

1

1 6

1

1

(

R )

39 Tpt. (C)

Tbn.

"

Perc. 1

Perc. 2

Gtr.

ISSUU Version For perusal only

(Ped.)

Å §§Å

Å

(Ped.)

Å § § Å

£

@© L©L© © ©

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L©

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©

©

ÅÅ

7:6©Å

6

1

L1

1

1

1 5

1

1

1

1

1

1

1

1

1

K©

©

©

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10

K ©ÅÅ b 2

(Ped.)

L1 1 L1

LX

© @© © © © © L © L © © © K©

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Å @ ©Å

11

½

L 1 L 1

1 7

III

1 L1 L1 IV

L1

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10

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10

Å

L1

33103

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L1 I

1

1 7

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10

1

1

1

1

1

1 7

1

1

1

1

1

1

1

1 7

1

1

1

ISSUU Version For perusal only

12

41

Tpt. (C)

Tbn.

"

ÅÅ § § ÅÅ

Perc. 1 (Ped.)

½

ÅÅ

§ §

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£

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10

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10

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10

"

L1 (

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L1

L1

1 7

L1

1

1

1

1

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1 7

1

1

1

1

1

1

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1

1

1

1

1

1

©

1 1 1

1

7

33103

LÐ

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L © L © ©

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(Ped.)

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L1

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(Ped.)

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©

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© © ©

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K©

½ R

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ÅÅ

7:6©Å

9

L1

L1

L1

7

1

1

1

1

1

1

1 6

1

1

1

1 5

1

1

1

1

1

1

43 Tpt. (C)

Tbn.

"

Perc. 1

L©

(Ped.)

Perc. 2

§

§ 2

(Ped.)

ebow *)

Gtr.

f LÐ 0

°

Å

@©@©

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§ 2

§

Å

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1 L 1 IV ( R )

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©

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K §© R

@

R

L© L© ©

3

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3

3

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Å

Ped.

11

§

K©L©

X

§

L©@© ©

Ð

8:7

Ped.

" Vc.

Volume pedal

7:6©Å

§

©

7:6©Å

Pno.

ISSUU Version For perusal only

13

©

© ©

3

L©

K©

L © a ÅÅ 2 Ped.

III

L L 11 R

IV

*) Note: Only the fundamental pitch must sound. Avoid harmonics of the fundamental sounding. Use the volume pedal to balance sound with the ensemble.

33103

1 1

L©L©

@© K© © ©

© ©© ©

© ©©© 9

½

9

Å

©

©

©

©

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9

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14

47

Tpt. (C)

Tbn.

"

R

Perc. 1

ISSUU Version For perusal only £

Å §§

¨

ÅÅ §

2 @

2

½

(Ped.)

X

Gtr.

°

Pno.

L©

K©

" K ©a ÅÅ 2

L© L©

@© K© © ©

©

©

© ©

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9

½

©

©

©

R

( )

(Ped.)

Perc. 2

©

© ©

© © © ©

©

©

© ©

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©

©

Å

Å

Ð

9 9

§ ½ ÅÅÅ

L©

K©

L© L©

@© K© © © ©

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©

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(Ped.)

11

" L1 Vc. L 1

III

2

IV

33103

1 1

III

harmonic left hand finger pressure gradually toward normal left hand finger pressure

1

ISSUU Version For perusal only

49 (: +: +: +: +D+D) Tpt. (C)

Tbn.

"

Perc. 1

§

15

§

(Ped.)

Perc. 2

(arco)

§ 2

L© Ped.

Gtr.

© ( R )

° §

L©

Pno.

K©

R ) " Å (

K©

@©

ÅÅ 7:6©Å

© )

©

§

§

ÅÅ

L© ©

7:6©Å

©

©

©

L©

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© © ©

© ©

§

Ð

© ©

© ÅÅ

8:6©Å

(Ped.) Ped.

©

©

© © ©

© ©

ÅÅ

Å

(arco)

L©

Ped.

9

ÅÅ

9:6©Å

© ©

§ ÅÅ )

½

7:8©Å

©

@© K© L © " L ©© L K © L © L© K©

© K© K© ½ (

2 )

©

K© 9

L©

L© L© L© 5

K©

K©

@© L©

L L 11

K© © © L© © © K K L© L© K !© L !© !© !© ! ) ( ) )

*)

6

L©

(with slight vibrato) # Ð LÐ IV )

normal left hand finger pressure

III

" X Vc. ( R ) (III)

*) No attack, silently depress indicated keys. Depress all white keys between and including C, G.

33103

© ©

Ð Ð Â

© ©

¢

ISSUU Version For perusal only

16

D 74

con sord. (wispa mute)

51 Tpt. (C)

# # L© L© #© © L© © #© K© © © #© L© © L© L© K© #© ©

#© © © @© #© #© K© © L© #© @© #© © L© K© L© #© ©

L ©#

R

L © # © © L © # © © L © L © K © # © @ © L © # © L © © L © ©

Tbn.

£ L ©ÅÅ

Å L©

Å L ©# R

Perc. 1

Å § 2

Å §Å £

Å L©

Å §

Å §

Å § R

con sord. (wispa mute)

(Ped.)

Perc. 2

(Ped.)

§

§

§

§

(arco)

Ped.

Note: Create slight crescendo by placing the ebow closer to the string. ebow + slide *)

fj

(with glass slide and ebow)

Gtr.

Pno.

Å © ( )

X

X

½

LX

(as little noise as possible when placing the glass slide on string)

§ Å

"

"

Å " © Vc.

© ¢R

X X

(III)

© Å

#X X

X

*) Use volume pedal slightly to balance sound with the ensemble. Only the fundamental pitch must sound. Avoid harmonics of the fundamental sounding.

33103

Å © © Å

54 Tpt. (C)

ISSUU Version For perusal only

Å

8:7©

L © © L © # © k © L ©

© L © © # © L © K © L © © # © # © L © © L © @ © L© L© #© #© © © #© L© L© #© #©

R @ © £ Å ÅÅ

(senza sord.)

Tbn.

Perc. 1

L §©

(Ped.)

Perc. 2

ÅÅ £ Å §

j) @ Ð

(f

Pno.

¨

"

¨

con sord. (straight mute) !

L© ©

5

2

§ Å

gradually increase speed

motor on slow (arco)

L©

Å §

§ Å

K Ð

Å © ©

Å ©Å £ ©

§

Ped.

(Ped.)

Gtr.

Å § Å

Å

8:7©

Å

7:6©Å

© L © # © © L © © K© © #© L !© L © L© L© © #© #© © 52

"

17

L Ð

( ) L ©a £ @ L ©© b ¨ b ÅÅ 8:7 R Ped.

¨ ¨

K 1 L 1

L Ð

@Ð 2

Å

3. Ped.

j) " LÐ Vc.

(III

§ Å

LÐ

33103

L Ð

ISSUU Version For perusal only

18

57 Tpt. (C)

" Tbn.

Perc. 1

D 94

5 6 6

Å ½

#©@© L© © © #© L© L© #© #© L© L© © L© L© © @© © @ © © © © © © © © © © © © © © © © © © © © © © © © © © @ ©Å © Å 8:9©

LX (

§ Å

)

ÅÅ £ ¨ §§ § Å ( )

¨

¨

¨

LX

(senza sord.)

2

L X gradually increase speed

motor on slow

(

(Ped.)

Perc. 2

(Ped.)

L X Gtr.

Pno.

gradually increase speed

motor on medium

§ R

§ Å

§

# X

"

§ ½ ÅÅ

" L X Vc.

§ Å

¨

)

§ )

X

tremolo on slow

©

Volume pedal

@© L© © © © © © © © © © © © © © © © © © ©

B K 1 K 1 Ped.

(u.c.) depress silently

III

L1 L X

(

°

(3. Ped.)

II 0 ( )

33103

1 X

2

1 ©

60

Tpt. (C)

Tbn.

@X

"

ISSUU Version For perusal only

19

LX

@X

motor on fast

Perc. 1

R

( ) (Ped.)

motor on fast

Perc. 2 (Ped.)

©

X Gtr.

(create diminuendo by slowly pulling the ebow away the string)

Ð

©

X ( )

Å

°

(tremolo off)

@© L© © © © © © © © © © © © © © © © © © ©

Pno.

"

3

@© L© © © © © © © © © © © © © © © © © © ©

RR )

Ped.

(Ped.)

3

@© L© © © © © © © © © © © © © (

Å

(u.c.)

Vc.

"

1 X

1 ©

1 ©

1 X 33103

III

L1 L1

IV

III

L1 L1 IV R

ISSUU Version For perusal only

20

D 88

63 Tpt. (C)

Tbn.

con sord. (plunger mute)

©

X

©

LX

"

X

©

KX

X

©

LX

X

LX

motor off

§ b Å )

Perc. 1

l

½

(Ped.)

Timpani

motor off

l

Å ½ § b )

Perc. 2

bow

°

(Ped.)

slide

glissando with slide (glissando should sound upward as the left hand glisses downward)

L

L

(with bass bow and metal wire hanger) Bow a metal wire hanger on centre of timpani head (D-A). Bow in the middle of one side of the hanger. (white noise, gradual transition to slight overpressure producing a low tone)

L

L

K

K

°

"

Å ½ @©

"

R

L1 K 1

3. Ped.

(u.c.)

Vc.

K

K

(tremolo off)

(tremolo on fast)

(Ped.) (Ped.)

L

L

Use right hand thumb to strum across all six strings behind slide (i.e. between nut and slide strum across strings slowly and gently)

Gtr.

Pno.

L

L

1 1

1 1

1 1

1 1

1 1 2 33103

1 1

1 1

1 1

D 92 67 Tpt. (C)

½

D 96 accel.

(plunger mute)

Å #© ( )

ISSUU Version For perusal only

(gradual transition to open)

(closed)

X

Í

Å ©

X 2

Q

(open)

©

X

con sord. (plunger mute) (open)

Tbn.

"

@© ½ ÅÅ

(senza sord.)

Í

(arco) motor on slow

Perc. 1

Í

@©

Ped.

Perc. 2

Gtr.

Pno.

°

°

§ ( )

§

§

§

§

(motor on slow)

Å §

ÅÅ § ½ )

K

K

!

L L L ©©© ½ L L ©©

§

§

L a ½ L b ÅÅ

Í

Í

L © " @ L @ ©©© ½ ÅÅ )

Í

Í

Use right hand thumb to strum across all six strings in front of slide (over sound hole) (Note: strum across strings slowly and gently)

1 1 R

©

(closed)

(gradually to closed)

to fast

X X

motor off

l

glissando with glass slide

h -c

2 Tremolo on slow

@ @ ©© L K ©© ½ ÅÅ H

(3. Ped.)

© R

@

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

!

L L L L ©©©© ½

" Vc.

ÅÅ ½ § )

@

§

X

§ )

Í

§

Q @©

Å §

(produce a low tone) kkk

21

@

@

Tremolo off

Ped.

1 1

1 Í 1

Å 1 1 33103

1 1 2

1 1

1 1

1 1

ISSUU Version For perusal only

22

(accel.)

Tpt. (C)

71 Q

" Tbn.

Perc. 1

#X )

X

Q X

2

½

(senza sord.)

# X

(open)

(arco) motor on fast

!Q © Å

5

X

(closed)

(open)

Q

(open)

(closed)

L©

X

¢

Å §

Ped. Snare Drum (with sticks) (tighten snares against bottom head)

Perc. 2 °

Gtr.

Pno.

@

@

@

@ Å

§ Å

Å §

(snare roll)

R

°

L

L

L

L ( 2 )

Å

)

Å §

L

L Å 2 Å §

"

" Vc.

(3. Ped.)

1 1 )

1 1

33103

Å 1 1 H

1 1

74 Tpt. (C)

D 100

ISSUU Version For perusal only

@ © # © # © L#© © L© h© ©

© K © # © @ © L © L © # © # L© # # # # K#© L © # # # # # # # # ©# L ©# # © ©# L#© #© # # # # # © 5 5 l 5 5 ¢ (natural 7th) 5

# © © L © L © # © © @#© @#© #© "

£ # # # # # # Tbn.

( ¢) (senza sord.)

Perc. 1

ÅÅ § H

# # ©# ©# L ©# # © L L ©

© L© # #

K ©# @ ©#

£

5 @© #© L© L© K© #© L© #© © K© © L© © © L© © #© ©

½

£

2 5

5

½

b

to slow

5

soft mallets

K £ L L L ©©©©

l

¨

RR

(Ped.)

@ a

Gtr.

soft mallets

½

@ b Å

½

Å

½

° §Å

½

Å

½

L 1

K £ 1

1

1

1 aa L L 11

bb L L L 111

1

B ! @ ! © L ©

" L © @ ©

§ÅÅ

L© K @ ©© L © RR

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

Ped.

h -c

*)

¢ Å §Å

L 1 a

L 1 b

W

Pno.

¢

11

11

111 K© )

Ped.

111 X

©

(sul pont.)

sul pont.

L1 1 L 1

" Vc. 1

III

II

Ped.

Vibraphone

ÅÅ #

½ Perc. 2 ° H

@© L© © © L© 5

Å ©

motor off (motor on fast)

23

I

@© @© L© © @©

1 1

¢

*) see measure 34

33103

6

II© L © L © # ©

»

sul tasto

© K© K© L© L© L© #© © L© @» L» 5 III

II

III

IV

1/2 col legno tratto

III 3

L»

j

L»

ISSUU Version For perusal only

24

76 Tpt. (C)

Tbn.

Perc. 1

©© K ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©©

©© K ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©©

©© K ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© K ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©©

© @ K ©© ©

© @ K ©© ©

© @ K ©© ©

ÅÅ £ L© R

ÅÅ £ @© R

©© K ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©© ©©

©© ©© ©© ©© ©© ©©

(Ped.)

Perc. 2

@ K ©©© ©

©© ©© ©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©© ©© ©© ©© ©© ©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©© ©© ©© ©© ©© ©© ©©

©© ©©

©© © ©© @ K ©© ©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©

©© ©©© ©©

©© ©©© ©©

©© ©©© ©©

(Ped.)

Gtr.

Pno.

(chord still sustaining from previous measure)

Å §

°

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L© #© L© #© © L © # © L © L© © K© L© )

# © # © L © # © L © L © © © © © © © © © © ©

K © - © K © © © K © K © , © © © ©

, © L © L © K© © -© K© © © L© +© © © © ©

11:12

10

2

Note: maintain the notated contour through the harmonic series as the slide moves continuously from IV position down to VII position.

© K KK ©©© Å R

Perc. 1

¨

11 12 11 10 gliss.

9

8

7

8

9

10

15:16

11 10

VI (F P)

9

8

7

8 9 10 11 gliss.

prepare Vibraphone: Place the end of a metal snare (for a snare drum) under each of the vibraphone keys notated in parentheses and tape the other end on top of the neighbouring keys.*)

K K

¨

13 12

VII (E P)

11

10 11 12

(Ped.)

©©© ½ © ÅÅ R

Perc. 2

¨

prepare Vibraphone: Place the end of a metal snare (for a snare drum) under each of the vibraphone keys notated in parentheses and tape the other end on top of the neighbouring keys.*)

¨

K K

(Ped.)

Gtr.

(W)

Pno.

"

© L ©

© L©

W+B

R

©

©

ord. bow pressure sul pont.

Vc.

L1 "

©

©

©

©

j

III

LÐ 2

©

©

©

©

©

©

©

©

©

©

(Ped.)

II

©

©

©

©

©

©

©

©

©

©

©

©

© ©

© ©

©

©

©

©

©

©

©

©

©

©

© ©

© ©

©

©

©

©

©

©

©

©

very slowly and gradually transition to overpressure bowing

L1

1

1

Ð

X

*) When the motor is eventually turned on, the end of the snare should vibrate or "clack" against the bottom of the indicated keys.

33103

1

1

X

1

©

©

©

©

©

©

121

#© L© L© #© L©

Tpt. (C)

© K © L © ©ÅÅ ½

H

K© L© © ©

Tbn.

)

L©

"

K© #© L© ©

D 116

(

L© #© L© ©

H

(

Í

strum across strings with plastic pick (medium thickness)

¨ Gtr.

°

¨ (W+B)

"

©

© H (Ped.)

©

L ©

©

©

Å

L 1

h-c

h

L 1 Å R Å §

©

©

5:3

©

©

Å © a

Í ½ ¨

© ¢ Í

©

©

Å £ § 1

1 Å Å

§

¨

L 1§ L 1 3. Ped.

1

X )

5

5

5

5

5

R

motor on fast (prepared Vibraphone)

K K

Ped.

13:14

1

1

full overpressure

L1

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

1

L1 Í

III

Vc.

"

5

X

Å L @ L ©©©Å ½ L L L ©©© ! ¢ L ©ÅÅ ½ L L L K ©©©© !

½

5

K

K

§ 1 Í

1

©

©

Í

7:8

¢

H)

5:3

§ 1

1

1L1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Å ©

Í

c§

L 1 1 1

¢

H)

Í

KX

© L© £

Perc. 2

(add air to pitch by using an ununfocused embouchure)

Í

X

Perc. 1

Pno.

¨

(senza sord.)

ISSUU Version For perusal only

33

Í

L1

1

1

1

IV

LX H

33103

ordinary bow pressure

" L1

Å @© R

ord. bow pressure ord. position for bowing

(with vibrato)

@ X ³³³³³³³³³³³³³³³³³³³³³³³³³ L X ³³³³³³³³³³³³³³³³³³³³³³³³³ H ¢

ISSUU Version For perusal only

34

D 132 124 (air only) Tpt. (C)

" Tbn.

Perc. 1

½

(Blow air through the specified fingerings)

ca 9" «__________________________________________________________________ 7

L» » » » “HH ”

£

Å © ( ¢)

¨

motor on fast (prepared Vibraphone)

7

ca 9"

°

«_____________________________________________________________________________________________

Å Å

½

» “HH ”

L»

»

(air only)

»

R

»

»

»

Å

Å

»

HH ”

“

»

7

7

ca 9"

Ped.

Perc. 2

Gtr.

Pno.

°

(Ped.)

!

§ *) Å ¢

h-c

L 1 a

L 1 b

attackless harmonics

½

"

Å L L !©©

!

L © K © Å

¨

Å

(3. Ped.)

" Vc.

Detune string IV down a tritone very slowly while playing (mm. 124-144). Continue to detune throughout the fermata.

L© )

§

!

L © K © ½ Å Å Å K L !©©

¨ 5

7

½

7

Å L L !©©

ca 9"

ca 9" 5

!§

¢ ½

7

ca 9"

§

L 1 a 1 L L K 1 bb 1b

½

!

L © K © Å

Å L L !©©

h-c

L 1 a 1 L L K 1 bb 1b ! Å §

7

ca 9"

½

ca 9"

Å §

!

L © K © Å

!

L © K © ½ Å

½

*) see measure 34

33103

Å Å K L !©©

§

¨ 5

5

h-c

¨

½

½

¨

Å

§

Tpt. (C)

ISSUU Version For perusal only

131 _______________________________________________________________________________

Å

»

Tbn.

°

Perc. 1

»

»

Å

»

½

7

ca 4"

7

7

7

7

! § Å ¢

ca 4"

! §

Å §

35

ca 4"

(Ped.)

Perc. 2

ca 4"

(Ped.)

Gtr.

Pno.

Å

§ °

"

Å §Å

¢ ½

½

Ped.

(3. Ped.)

" Å Vc. §

Å L L !©©

L 1 a

L 1 b

Å §

h-c

!

L © K © Å ½

§ 2 33103

ca 4"

7

ca 4"

ca 4"

ca 4"

7

7

½

Å L @ !©©

! § Å

h-c

L 1 a

L 1 b

!

L © L © Å

4:3

¨

¨

½ Å L @ !©©

!

L © L © Å

4:3

¨

! § Å Å §

Å §

½

h -c

L 1 a

L 1 b

¨

½ Å L @ !©©

h-c

L 1 a

L 1 b

!

L © L © Å

4:3

¨

¨

36

138 Tpt. (C)

Tbn. °

Perc. 1

«____________________ ÅÅ ¨ L»

» R

(air only)

»

»

Å

ȁ

HH ”

R

“

# Ð

Å ©

@ ©

©

# ©

©

HH ”

“

¨

ISSUU Version For perusal only R

Å ©

Ð

@ Ð

Ð

#Ð R

©

R

R

R

(Ped.)

Perc. 2

(Ped.)

Gtr.

Pno.

ÅÅ §

°

"

½ Å L L !©©

L ! © K © Å

¨

£

(3. Ped.)

Vc.

"

ÅÅ §

¢ ½

L !© K ©

¨

§ !

Ped.

Å L © K !©

h-c

L 1 a 1 L L 1b K 1b Å §

!

L © K © ½

Å §

½

Å L L !©©

33103

L ! © K © Å

¨

Å

§

Å §

§

L 1 a

L 1

L ! © K © Å

! ¢ ½

½

Å K L !©©

Å

h-c

b

Å

Å Å §

¨

5:6

5:6

144 Tpt. (C)

Tbn.

Perc. 1

Perc. 2

Å L ©

2 Å © 2

Ð

Å ©

¢ Å # © ¢

Ð

ISSUU Version For perusal only

½

Å

½

Å

(Ped.)

ca 10"

Quickly walk over to Timpani drum (Timpani F-C) (perc. 1). ca 20"

ca 10"

7 Å

Å

Over the 20" interval, gradually slow the motor speed of the vibraphone to motor off. ca 20"

Å

7Å

Ål

Timpani

ca 20"

h

°

LÐ L L L ÐÐÐ L L ÐÐ “HH ”

Gtr.

Pno.

" Å (3. Ped.)

Vc.

"

Å K L !©© ( ¢) Å §

(on full)

c h

©©© ©© ©

Å h§

Å §

(off)

7 Å

motor off

l 7Å

°

ca 10"

7 °

(bow as continuously as possible, change direction of bowing when necessary or unless indicated otherwise)

c

kkkkkkkkkkkkkkkkkkkkkkkk

(Ped.)

c

7 Å

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the Timpani head (Timpani D-A).

Bow on one side of the wire hanger.

Produce a low tone. ca 10"

7Å

motor off

Quickly walk over to Timpani drum (Timpani F-C) (perc. 2). ca 20"

7 Å

Å

37

Å §

Å ©© ©© ©©

¨

Set guitar on a flat surface with the neck of the guitar raised slightly to allow an ebow to rest on its strings

h-c

L 1 a

L 1 b

¨

(attackless harmonics)

(on full)

7 Å

ca 20"

(off)

Place an ebow on string g near the 11th or 13th fret. Make sure only the string fundamental sounds and not a harmonic.

Also, place the ebow so that no buzzing string noise is present.

7 Å

ca 10"

¨

¨

ebow

L© ¨

!

L © Place ebow on the notated string ca 20" ca 10" K © (G ) at a position where only the L Ð 7 7

L Ð

sounds and not a " Å

Å Å fundamental

harmonic. Also place the ebow L Ð so that no buzzing string noise ( ¢ ) is present.

R «___________________________________________________________________________________________________________________________________________ ebow

K© L Ð L Ð © Ð Ð Ð Ã

Ped.

§ 33103

(sounding pitch)

LÐ

7

7

ca 20"

ca 10"

Ð

Ð

ISSUU Version For perusal only

38

D 46 148 Tpt. (C)

°

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the timpani head (Timpani F-C, 29") Bow in the middle of one side of the wire hanger. Produce a low tone.

Å §

accel.

§

°

Å §

§

§ R

Å §

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

Tbn.

D 52 accel.

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the timpani head (Timpani F-C, 29") Bow in the middle of one side of the wire hanger. Produce a low tone.

Å £

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise) (with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the timpani head (Timpani D-A, 32") Bow in the middle of one side of the wire hanger. Produce a low tone.

°

Perc. 2

°

§

Å §

§

Gtr.

Å ©

Å ©

Perc. 1

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

"

Pno.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Quietly walk over to Snare Drum (Perc. 2)

Ð Arco string with heavily rosined fishing line wrapped araound the base of the string.

Arco continuously and very slowly.

Change direction of bowing when necessary and as smoothly as possible.

" Ð

(Ped.)

X The tone of the string should be audible and 'clean', i.e. not 'raspy'. To achieve this a strand of bow hair can also be used instead of a fishing line.

KX

X

©Å

Ð

Ð

Ð

Ð

Ð

Ð

Ð

X

Å ©

Ð ) 33103

Ð

X

©

X

©

ord.

" Vc.

©

X sul pont. (s.p.)

sul tasto (s.t.)

©

X

s.t.

154 (accel.)

Tpt. (C)

Tbn.

Perc. 1

Perc. 2

° § ( R )

§ ( 2 )

° § ( RR )

§ R

ISSUU Version For perusal only Å § )

D 56

Å §

Å §

§ “H ”

Å §

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

° § R

§

§

§

§

§

§

§

§

§

“ ”

§

§

§

§ “HH ”

§

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

° § ( )

§ 2

H

“ ”

©

Gtr.

" "

X

X

Å ©

©

X

©

X

©

X

©

X

(Ped.)

s.p.

"

©

Å ©

©

X

*) string III is transposed to standard tuning.

s.t.

s.p.

©

©Å

s.t.

s.p.

Å §

Å ©

X 33103

§ “HH ”

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Snare off. (can be performed on an optional bass drum, if available)

Vc.

H

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(with Bass bow and wire hanger) Bow a metal wire hanger in the centre of the snare drum.

Bow on one side of the wire hanger. Produce a low tone.

Snare Drum

Pno.

39

°

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise.)

R

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

X

X

X

ord. position slow bow speed *)

§

K 1 X R III

Ð

Ð

Ð

gradually transition to very slow bow speed

1 Ð

ISSUU Version For perusal only

40

Tpt. (C) °

§

§ § “HHHH ”

§

§ § § “HHHH ”

§

§ § § “HHHH ”

§ §

§

§ §

H

§

§

§

§ §

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

“ ”

§ §

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

Tbn. °

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

159

§

§

§

§

§ §

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

§ §

§

§ §

§ §

§

§

§ §

§ §

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

Perc. 1 ° §

§

§

§

§

§

§

§

§

§

§

§

§

§ §

§ §

§

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

Perc. 2 ° § “HH ”

§

§ § “HHHH ”

§

§

§

§

§

§ §

§

§

§

§ §

§

§ §

§

§

§ §

§

§

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

° Gtr.

"

Pno.

(continuous bowing, change direction of bowing only when necessary)

§ “HHHH ”

X

X

" X

(Ped.)

©

©

X

X

©

X

1

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

X

X

X

©

©

©

X

© X ( “HHHH ”)

X

©

X

X

©

X

1

1

Bow at 6th partial on strings III, IV. Produce a multiphonic on string III.

L L Vc.

very slow bow speed

" 1 X ( R )

1 © “H ”

X

1 X

1 X

Maintain slow bow speed throughout crescendo.

(Crescendo is more a result of bow pressure than bow speed.)

33103

1 ©

©

X

164 Tpt. (C)

° §

§

§ §

§

§

§ § ( “HHHH ”)

D 52

(continuous bowing, change direction of bow only when necessary)

§ R

§

kkk

§

§

§ ( “HHHH ”)

§

(continuous bowing, change direction of bow only when necessary) § R

§

kkk

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

§ §

§ §

§

§

§ §

§

§

§

§

§

§ §

§ §

§

§

§ §

(continuous bowing, change direction of bow only when necessary)

§ § § § § § § R

§

kkk

§

§

§

§

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

°

" Pno.

° §

Perc. 2 °

Gtr.

rall.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Tbn. °

Perc. 1

§ §

ISSUU Version For perusal only

41

"

§

§

§

§ §

§

§ §

§

(continuous bowing, change direction of bow only when necessary)

§ R

§

kkk

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

ÅÅ £ ¨ §

X

©

©

X

©

(Ped.)

" 1 Vc.

X

Guitarist quietly moves back to guitar.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

X

1 X

X

©

X

X

©

X

X

©

X

1

1

1 ©

©

X 33103

©

©

©

¨

¨

Ð

Ð Ð

normal bow speed (detune string IV while playing)

© “H ” R

©

©

©

X

X X

(sounding pitch)

L© ( R )

X

use full length of bow for each bow stroke

§ Tpt. (C) °

§

(top)

169

§

§

§

ISSUU Version For perusal only

§

(bottom)

§

§

(top)

§

§

§

§

§

§

§

§

§

§

§

§

§

§ R

§

§

§

§

§

§ R

§

§

§

§

§

§

§

§

§

§

§

§

R

§

§

§

§

§

§ “H ”

§

§

§

§

§

§

§

§

§

§

§

keep bow affixed to hanger

use full length of bow for each bow stroke

° Tbn. §

§

(bottom)

§

§

§

use full length of bow for each bow stroke

§ Perc. 1 °

§

(top)

§

§

(bottom)

§

§

use full length of bow for each bow stroke

° Perc. 2 §

(bottom)

Gtr.

Pno.

§

§

X

"

§

(top)

" X

©

X

R

X

©

(Ped.)

§

§

H

“ ”

§ “H ”

§

§

ÅÅ 7½ §

keep bow affixed to hanger

“ ”

ÅÅ 7½ §

keep bow affixed to hanger

ÅÅ § 7½

keep bow affixed to hanger

7 ÅÅ ½ ©

X

mute strings to prevent ebow from sounding

7

X

X

H

ÅÅ § 7½

X

ÅÅ 7½ © prevent ebow from sounding

Loosest string tension possible without the string rattling against the fretboard while playing.

(Note: a 'flutter' sound should emerge from bowing the string)

" Vc.

(detune string IV while playing)

©

¹

33103

7 ÅÅ ½

keep bow affixed to string

ISSUU Version For perusal only

ISSUU Version For perusal only Edition Peters For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing.

Established in 1800 with the keyboard works of J. S. Bach, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage.

Today, with its offices in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music.

At the same time, the company’s historic and educational catalogues continue to be developed with award-winning critical and pedagogical editions.

Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu.

In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20.

Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage.

Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik.

Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.

Photo © Irène Zandel The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße

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