Clarinet in B-flat (Boehm system, version for German system available)
Bassoon
Horn
Piano
Violin
Viola
Violoncello
Double basse (four-stringed)
Transposed Score
Duration: 7 minutes
Universal
Tempo markings and changes should be followed as precisely as possible, additional tools might complement and aid rehearsals, performances, and recordings.
e concert pitch (A4) with a tuning in 443 Hz or 444 Hz is preferred.
e score is transposed. All instruments are displayed in the commonly used transpositions, equivalent to how they are depicted in the parts.
Each accidental a ects only the subsequent note and each note always has one accidental attached to it, with the exception of pitchless, tied, or successively repeated notes.
Quarter-tone accidentals, denoting tempered quarter-tone steps implemented into the twelve-tone equal temperament.
Slightly " at" and "sharp" intonation, relative to the tempered twelve-tone grid.
Eighth-tone accidentals, either indicating contextual micro alterations relative to the tempered quarter-tone grid, or applied to approximate representations of partials and multiphonics.
All durations should be realised as precisely as possible, without added processes of timbres or dynamics unless indicated. Grace notes should always be played before the beat, curtailing the previous sound if necessary.
Noteheads which di erentiate speci c playing techniques are only applied as crotchets or smaller note values. Minims or semibreves are not used for these noteheads.
Single diamond-shaped noteheads representing harmonics and airsounds are applied to all note values, except for minims. For harmonics depicted with the fundamental tone or air-sounds with the transposition, the small sized regular notehead di erentiates between crotchets and minims, so that all values can be distinguished without exception.
Triangular noteheads far above the staves and without ledger lines represent very high but undetermined pitches.
Noteheads in reduced size either indicate ngerings or resulting pitches of certain transposing techniques, or signify the volume di erences in multiphonics and chords. Additionally, very subtle and nearly silent tones or passages might be visually aided by small noteheads, such as the ending of diminuendo al niente
Vibrato of any intensity should only be applied if explicitly stated. (vibrato, poco vibrato, molto vibrato, exaggerated vibrato)
For all trills (harmonics, timbres, bisbigliando, tremolo, multiphonics), the auxiliary notes are always indicated, except for certain timbre and multiphonic trills speci ed by ngerings.
All glissandos (tones, harmonics, teeth-on-reed, embouchure, ngering) should begin immediately and connect from start to nish as evenly as possible with constant speed. e distance is either indicated by a targeted notehead, or by a relative distance, as stated by the added accidentals.
Slurred glissandos in a single motion and articulated glissandos with intermediate attacks.
Even and seamless transitions of articulations or playing techniques, also in combination with glissandos.
msfz - mezzo-sforzato, sfz - sforzato, s z - sforzatissimo: subtle, strong, or very strong accents with emphasis, independent of the surrounding dynamics.
Targeted dynamic marks on a rest sign, suggesting the loudness of an imagined sound and implying its virtual physicality.
Accented rests imply an active and metrical interruption of the previous sound, or a metrical "weight" as a physical impulse for the following playing action.
Rests in parentheses hint at possible positions for unobtrusive breathing gaps.
Muting sign, used for metrically damping of the prior produced sound, or for muting of speci ed strings for particular techniques.
Smaller sized dynamic markings in parentheses attached to regular dynamic markings indicate the e ective loudness of certain techniques that require distinctly more physical energy for the production of this sound than the result would imply. e ordinary dynamic marking hints at the player’s e ort.
Crescendo dal niente. Diminuendo al niente.
Dashed hairpins indicate a sounding process in contradiction to the physical e ort required. Hairpins in parentheses hint at a musical connection, although the implied process is not audible.
Dashed slurs denote a best possible legato, di ering from the technical execution.
All phonemes refer to the International Phonetic Alphabet. All graphemes are explicitly speci ed with corresponding language and examples. Both types are displayed in square brackets.
Flz. - utter tongue
Woodwinds
Multiphonics are labelled with their corresponding module number.1 e notation has been partially simplified.
-inhaling,-exhaling: direction of air stream for various techniques
Flute
t.r. - tongue ram: ngering indicated by diamond-shaped notehead, resulting pitch displayed as wedge-shaped notehead
aeolian sound/aoel. - blowing over the embouchure hole without lip tension and without phonetic colouration
jet - jet whistle, emulating the shape pictured by the arrow with the phonemes in brackets attached, or with a single timbre produced by the constituting phoneme
pizz. - pizzicato, lip or tongue production ad libitum
kiss - kissing sound, percussive smacking impulse on the reed without air, with audible smacking of the lips
Z - embouchure with teeth on reed, also for certain multiphonics
1 Levine, Carin, and Christina Mitropoulos-Bott. Die Spieltechnik der Flöte. Kassel: Bärenreiter, 2002. Richards, Edwin Michael. e Clarinet of the Twenty- rst Century. S.l.: S.n., 1992.
Veale, Peter, Claus-Ste en Mahnkopf, Wolfgang Motz, and omas Hummel Die Spieltechnik der Oboe (6th ed.). Kassel: Bärenreiter, 2011. Gallois, Pascal Die Spieltechnik des Fagotts. Kassel: Bärenreiter, 2009.
Oboe
Clarinet
slap - slap tonguing followed by the normal produced tone with indicated pitch and duration
teeth on reed - embouchure with the teeth lightly touching the reed, very high, but undetermined pitches, una ected by the ngering
teeth on reed glissando - indicated by glissando direction and the covered interval distance as stated with the accidentals
ap - hitting the reed with the tongue, almost without air
VM - velvet mode, very soft but not airy
brassy - brassy sound, smacking the tip of the reed very strongly and with high air pressure
Bassoon
Horn
air - air sound with normally placed mouthpiece, phonetic colouration as indicated by phoneme or grapheme ([x] like "ch" in German "Achtung")
P - pedal, mP - middle pedal (sostenuto pedal), u.c. - una corda
silently depressed keys following quickly on a staccato release of the same keys, filtering the fading sound and preserving resonances A ª ¿ pop on mouthpiece - flat hand hitting on mouthpiece
fast and percussive depressing of the sustain pedal without touching beforehand, rich resonances emerge, with the aimed dynamics hinting at the energy level
silently depressed keys, denoted by diamond-shaped noteheads
Piano
String Instruments (1/2)
natural harmonics - speci ed with small numbers in brackets, always referring to the corresponding open string as fundamental:[2]=octave; [3]=octave+ h; [4]=2 octaves; … ; [8]=3 octaves; [9]=3 octaves+second; … ; [x]=very high but undi ned harmonics
M - multiphonic: nger contact similar to natural harmonics, bowing slowly and with slightly more 2 pressure, "deep" in the string with ord. or poco sul tasto contact point, using all hair (not the edge) and bowing strictly parallel to the bridge might enhance stability; present harmonics indicated similarly to natural harmonics
pizzicato behind the bridge on indicated string
pitchless Bartók pizzicato on indicated string, all strings muted while snapping
bridge, edge, scroll, mute - pitchless bowing, notated over the 5th sta line and without accidentals, always as crotchets
bridge (pitchless bowing directly on the bridge) edge (bowing on the edge of the instrument body) scroll (bowing on the scroll) mute (bowing on the at side of a wooden mute)
bridge (slow, overpressure) - pitchless bowing right on the bridge with overpressure, inde nite squeaking noise
split tone - "carving out" high partials by subtle changes in the bowing position
crunch - all strings muted, slow bowing and with severe overpressure, sul tasto
crunch (open) - on indicated open string, bowing slow and with severe overpressure, contact point and changes indicated
2 Fallow eld, Ellen. Cellomp. https://cellomap.com/ [accessed: Jun 29, 2021].
Maurer, Barbara. Saitenweise: Neue Klangphänomene auf Streichinstrumenten und ihre Notation - Eine Anleitung. Wiesbaden, Breitkopf und Härtel, 2014.
Robert, Jean-Piere. Modes of Playing the Double Bass. Editions Musica Guild, 1994.
String Instruments (2/2)
col legno vertical bowing and circling - all strings muted, bowing with the stick of the bow along the fretboard as indicated by the circle-dot noteheads, or in circles
P - ponticello, very close to the bridge, on the bridge
poco - poco sul ponticello, close to the bridge
ord. - ordinario, ordinary bowing contact position
T - tasto, fretboard
GF - in touch with the tip of the stopping nger (greifender Finger)
