rational choices by tobiasfandel.de

Tobias Fandel rational choices (2019)

for Chamber Ensemble score

dedicated to Oscar Bianchi and Ensemble Modern

Instrumentation Flute Clarinet in B- at (Boehm system, version for German system available upon request) Violin Violoncello Piano

Transposed Score

Duration: 7 minutes

First Performance: rational choices was premiered by Ensemble Modern as part of the 2019 festival Ticino Musica in Lugano, Switzerland.

Performance Directions rational choices does not contain any bars or metres. To facilitate the synchronisation of the underlying continuos stream of pulses and for orientation, the players might organise the score and parts with bars, whereas these subdivisions should not a ect in any way the tone and sound production. Furthermore, the piece can either be performed with conductor, click track, or entirely without aid. To enhance the approximation of the indicated micro alterations, the use of dedicated rehearsal tools is recommended. Speci c numbered pitch samples and a pitched click track can be requested for assistance. e pitched click track might also be used for the performance. All silent passages should be counted through, with the stringent pulsation ongoing. If the piece is conducted, the last silent pause can alternatively be measured with an adjusted hourglass, whereas this should not be visualised or illustrated. Performances with a spatial adaptation are possible and the use of a click track is recommended.

Technical Requirements and Setup For performances or rehearsals assisted by the click track, the technical setup must provide all players with headphones, earphones or in-ear monitors. Both wired and wireless synchronisation methods are feasible and equally suitable. For the unpitched version, the single-channel click track is used, with all players following the same channel. e pitched click track however, complementing the tempo layer with speci c pitched pulses, is di erent for each instrument and is distributed via ve channels. ese pitched pulses are placed prior to the respective tones, allowing for su cient preparation to better approximate the indicated micro deviations. e best possible setup ensures that: all performers are able to follow the (pitched) click track e ortlessly without the clicks being perceived by any other player or the audience, while still being able to hear all the instrumental sounds. e concrete click samples have a major in uence on the aforementioned considerations. Dry and gentle resonating samples carry the clicks e ectively without interfering. In case a player follows the click track with one ear only, the audio playback shall be allocated to this particular output channel, with the other side being muted. e numbered pitch samples can be used as ancillary tool and are intended for individual preparations. Except for the pianist, each player receives multiple samples, corresponding to the referring tones, to better locate the micro deviations on their instruments.

Universal Tempo markings, changes and processes (accel. - accelerando, rit. - ritardando) should be followed as precisely as possible, additional tools might complement and aid rehearsals, performances, and recordings. For prolonged sections subjected to a single tempo process, the targeted tempo is given alongside the starting tempo. process should be as continuous and steady as possible, until the tempo marking for the aimed tempo is indicated.

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. 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. 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.

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.

Quarter-tone accidentals, denoting tempered quarter-tone steps implemented into the twelve-tone equal temperament. Eighth-tone accidentals, either indicating contextual micro alterations relative to the tempered quarter-tone grid, or applied to approximate representations of partials and multiphonics. Micro alterations speci ed in cents (¢), implemented into the twelve-tone equal temperament with the maximum deviations of a quarter tone above (+50¢) and below (-50¢) the notated pitch (0¢). For enhanced approximation, the use of dedicated tools (such as pitched click tracks or reference samples) is suggested, if not required. 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 are displayed in square brackets and refer to the International Phonetic Alphabet.

{

[11] Jœ Kœ [7] Kœ µœ nœ B œ n œ n œ J œ n œ Kœ nœ [5]

[1]

nœ

nœ nœ

(+2¢)

(-31¢)

(-14¢)

(+1¢)

(-9¢)

(-12¢)

Numbers in square brackets refer to particular partials of the harmonic series in a spectral context with the fundamental denoted as [1]. e lowest sounding partial is marked in bold type and serves as the reference pitch. All the other instruments have the reference instrument’s abbreviation attached to their respective number and should adjust their partials to merge with the induced spectrum.

µw

[11]-Vlc

Violin

Viola

Violoncello

& B ?

Jw (+1¢)

[7]-Vlc.

=Vla. [7]-Vlc. (-31¢)

(-31¢)

[2]

[5]-Vla.

(-14¢)

=Vlc. [2]

∑

Flute (1/2)

multiphonics are labelled with their corresponding module number1, notation partially simplified

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

Flz. - flutter tongue, production with tongue or glottis ad libitum, unless specified: Flz. (t.) - with tongue, Flz. (gl.) - with glottis

w.t. - whistle tone, emulating the shape pictured by the lines above the staves

Levine, Carin, and Christina Mitropoulos-Bott. Die Spieltechnik der Flöte. Kassel: Bärenreiter, 2002.

Flute (2/2) t.r. - tongue ram: fingering indicated by diamond-shaped notehead, resulting pitch displayed as wedge-shaped notehead

air - air sound, embouchure open or fully enclosed as indicated, blowing of phonetically coloured air noise over the embouchure hole or inside the embouchure hole (phoneme denoted in brackets), seamless transitions with normal tones regulated by the lip tension

aeolian sound/aoel. - blowing over the embouchure hole without lip tension and without phonetic colouration

t.wh. - tongue whistle: embouchure plate fully enclosed, half embouchure hole filled with tongue, blowing over the tongue into the open section of the embouchure hole

Clarinet

multiphonics are labelled with their corresponding module number2, notation partially simpli ed

slap - slap tonguing followed by the normal produced tone, indicated by the added small-sized notehead, also combined with multiphonics

teeth on reed - embouchure with the teeth lightly touching the reed, very high, but undetermined pitches, una ected by the ngering stated with diamond-shaped noteheads, embouchure diagram hinting at contact point and pressure

teeth on reed glissando - indicated by glissando direction and covered interval distance as stated with the accidentals

Flz. - utter tongue

Richards, Edwin Michael.

e Clarinet of the Twenty- rst Century. S.l.: S.n., 1992.

Violin and Violoncello (1/3) harmonic pizzicato - releasing the harmonic touch in the instant of plucking

pitchless Bartók pizzicato on indicated string, all strings muted while snapping

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

timbre harmonic trill - fast alternating of harmonic touch and slightly releasing touch (open string), so that both the harmonic and the open string gets hardly enough time to resonate, with the velocity depending on the speci c resonances

M - multiphonic3: nger contact similar to natural harmonics, bowing slowly and with slightly more 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

Maurer, Barbara. Saitenweise: Neue Klangphänomene auf Streichinstrumenten und ihre Notation - Eine Anleitung. Wiesbaden, Breitkopf und Härtel, 2014. Fallow eld, Ellen. Cellomp. https://cellomap.com/ [accessed: Jun 29, 2021]. 3

Violin and Violoncello (2/3) e following chart depicts the touching positions and resulting pitches of natural harmonics and multiphonics on the Violoncello C-string for the lower octave. For all the other strings and on all other string instruments, the positions and resulting pitches can be derived by transposition.

result

Violoncello

result

Violoncello

{

Bœ

nœ

[9]

[8]

Bœ

Jœ

Bœ Jn œœ

nœ

µœ

{

IV [x]

k~ µœ

Jµœœ nœ

n~ Jœ

Kœ

µ~

[11]

µ~

[4-11-7-3]

[13]

k~ Bœ

nœ

[7]

KBJœœœ nœ

L~ [7]

[10]

[13]

[7-10-13-3]

[7-13-6]

µœ

nµœœ

nœ

n~ [3]

[6]

[11]

µœ nKœœ

[6-11-5]

Bœ

Kœ

Bœ

µ~

[5]

Bœ

nœ

[11]

[3-11-8]

B nœœ Kn œœ

nœ

[9]

Kœ

[5-9-13-4]

µ~

[13]

nœ

nœ Jœ Kœ

nœ

n~ [4]

Jœ nœ

#~ [8]

[13]

[3-8-13-5]

n~ [5]

nk~

[12]

kn~

[5-12-7]

L~ [7]

n~ [2]

Violin and Violoncello (3/3)

split tone - "carving out" high partials by subtle changes in the bowing position

crunch - crunching, cracking or squeaking sounds, slow bowing with severe overpressure, on indicated open or muted strings,

and on stopped tones, indicated by square noteheads, over the fretboard dry and pitchless, near and over the bridge strident with spectral components

Piano P - pedal, mP - middle pedal (sostenuto pedal), u.c. - una corda

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

silently depressed keys following quickly on a staccato release of the same keys, ltering the fading sound and preserving resonances

rational choices Tobias Fandel

óï _ñó # óó # ˜œ œ œ œ œ œ œ œ

(*1986) 231

ïó _óó óó # nœ œ œ œ œ Œ nœ œ œ œ œ

jet

q=72

[hu]-[çi]-[hu]

Flute

œ œ œ œ œ

nO nO Œ Œ Œ nO

nœ

œ œ œ

Œ Œ

œ œ œ œ Œ Œ Œ f

f f

mp mp

ï ïï _ïï # ï #ï œ [13] n œ R

ï ïï _ïï ï #ó ˜œ R

œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ

œ µœ œ Œ Œ Œ Œ

Clarinet in Bb

Œ Œ Œ Œ Œ Œ

[Boehm system]

f f

arco sempre senza vibrato III (IV)

III IV pizz.

Violin

» nœ nœ «

nœ œ œ œ

œ œ œ

µœ œ œ … e e Œ e e

Œ Œ Œ Œ

œ œ œ œ œ

œ œ œ œ

Œ Œ Œ f

Œ Œ

Œ Œ nnOe

f f

sfz

ord. split tone pizz.

? Violoncello

» nnOe

arco I

nœ œ œ

sempre senza vibrato

µœ œ œ œ œ Œ Œ

Œ Œ

Œ&

Œ Œ Œ Œ Œ

˜œ œ œ

sul pont.

poco sul pont.

Œ Œ ? nh

h ?

Œ Œ Œ Œ Œ&

ppp

ppp f

f sfz

ﬀ f (C)

mp (C)

nœ e e e e e

“”

nœ Piano

œ … Œ Œ

#œ e e #œ e e e e e nœ e e #œ Œ Œ Œ Œ Œ nœ e e nœ e e e e e e e e nœ nœ e e e e e e e nœ e e e

nœ e e nœ e e e

e … e Œ Œ e

Œ nœ e e e e e

f p ppp

ppp pp

pp ppp

nœ e e e e e e nœ nœ pp (A)

p P P

q=138 (-14¢)

nœ Fl.

Lœ Œ

nœ

Œ #œ

pp p

p p

B-5

ï ïï _ïï # ïï nLœe œe œ Kœ œ C

Cl.

Œ nœ

œe œ

µœ

œe œ

ppp ppp p p

[5]

Vln.

& n#Oe

Œ nnOe

O e

Œ nœ

p sim.

nœ

œ I [5]

[11]

? nœ

œ Œ

Œ nœ

œ Œ

Vlc.

nB Oe

Œ nnOe

p p

ppp

ppp sim.

ppp

“”

#œ

Pno.

… Œ Œ œ œ œ œ

Œ œ œ

… Œ Œ Œ œ œ

#œ Œ #œ

e e e nœ e e e n eœ

e e ee

e … e Œ Œ ee

œ nœ Œ nœ œ

ppp ppp P

922

ïï ïó ïï #œ Lœ §

œ µœ Fl.

œ œ

µœ kœ

œœ

sim.

ppp

p p

ï ïï _óï ï #ó ˜œ R

œ slap

Lœ Cl.

& œ

Œ #>e

p p sim.

Vln.

& Œ

nµœœ

œœ

µœ Œ

p p ppp

poco sul pont.

ord. [9]

Vlc.

? O e

? nn Oe

n#Oe

ppp

Pno.

{& n œ

nœ

nœ #œ e

e e e

e e nœ

e e e

#œ … Œ

Œ p

ppp

p ppp P 3

5 §

ïï ïï ñï

_ C

˜œ Fl.

& Œ

µœ

µœ #œ

œ œ

µœ

p p pp

B1-120

ï ïï _ïó # óó #œ µ3œ R

Cl.

& Œ

œ œ

p pp

pizz. arco Vln.

œ & œ

œœ

n#œœ µœ

… Œ

Œ ˜œ

? Œ

Vlc.

nnOe

nn Oe

p p

Pno.

Œ {&

#œ #œ p

œ œ

#œ nœ

œ œ

#œ

p p

ïï ïï ïï

+Vlc. (slow acoustic beats) D# C

Fl.

& Œ

Œ µ2œ

L Œ œ

œ Œ

Œ Kœ

œ pp p

ppp

K-160

+Vl. (slow acoustic beats)

Cl.

& œ

Œ œ

+Vl. (slow acoustic beats)

Œ lœ

ó ïï _ïï óï n˜3 œe Œ kœ

œe œ

Œ Kœ

pp p

+Cl. (slow acoustic beats)

Vln.

& Œ

Œ ##Oe

Œ #œ

pp p pp

pizz. arco

#œ ?

+Fl. (slow acoustic beats)

Œ n#Oe

Vlc.

Œ & nœ

ee e

Œ nœ

p p ppp

œ Pno.

{& œ

œ Œ

Œ #œ

#œ e

e e

e nœe e e

pp ppp

ppp

923 230

ï § ïï _ï ïó # K Œ n œœ œœ

=Vl. +Vlc. (slow acoustic beats)

Fl.

ïï ïó ïñ µLl œœœ §

œœ

œœ œœ œœ œœ Œ

Œ µ2œ œ œ œ œ

œ œ Œ

q=128 silence

œœ œ

œœ œœ œ œ

œœ œ

œœ œœ œœ œœ œ œ œ œ Œ

p mf ppp

K-169

ó ïï _ïï ó #ï 2 #˜ œe œe œe & kœ œ œ

=Vl.=Fl. +Vlc. (slow acoustic beats)

Cl.

œe œ

œe œe œe œe œe œe œe œ œ œ œ œ œ œ Œ

µœ

œ œ œ œ

µ2œ œ œ Œ

pp pp f ppp

[5]

+Vlc. (slow acoustic beats)

I Vln.

Œ nœ

œ Œ

Œ µ2œ œ

œ œ œ Œ

#ŸOe n Œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nœ

Oe Oe

Oe ˜˜ Oe

Oe Oe Oe Oe

ppp p

ﬀ

split tone sul pont. +Vl. (slow acoustic beats)

[8] [11]

Vlc.

Œ ##Oe Oe Oe Oe Oe Œ

Œ nB Oe Oe Oe Oe Oe Oe

Oe Oe Oe Oe

Œ #lOe Oe Oe Oe

f ﬀ

#œ Pno.

e Œ

# œ. Œ n#œœ Œ #œ

#œ Œ

œ … Œ nœ œ

Œ mf

pp f f P

927

ïï ïñ ïñ # Lœ œ Œ ˜œ œ §

_ G#

ïï ïï ïó

C ˜œ

Fl.

Œ µœ

œ Œ 2 Bœ

[k]

pizz.

œ œ

Œ #> Œ

mp mp f ﬀ mf

K-160

µœ Cl.

œ Œ

µœ

ó ïï _ïï óï n˜ œe Œ kœ

˜œ œe œ

œe œ

µœ Œ #œ

mp f mf f

f mf

## Oe Vln.

Oe Œ

Œ ##Oe

Œ ˜œ

µœ

œ œ

œ œ …Œ

mf mf mp f

ord. M [5-9-4]

[11]

[8]

[11]

Vlc.

#lOe

Oe Oe Oe

nB Oe

nµ Oe

nB Oe

f mp f

f mf

(G#)

#œ Pno.

nœ {&

#œ œ œ

œ œ

œ … œ Œ nœ

œ œ

… #œ Œ mp

f f P P

P 7

#œ

#œ œ œ

œ œ œ #œ

œ œ

óï ïï óó

579

_ G#

ïï ïñ ïñ

_ G# A

[15-19-5]-Pn.

[19]-Vl. C#

D µœ Fl.

œ Œ

& mp

Kœ #œ Kœ

œ œ œ

f mf f

ï ïï _óï # ïï # [15]-Pn. K œ R

ï ïï _óï ïó # ˜œ R

ï ïï _ïó # ïï # ˜3 œ C

ï ïï _óï ïó # ˜œ G

ï ïï _óï ïó #l œ

ï ïï _óï ïó # ˜œ

=Vlc. [2]

ï ïï _ïó óï #

ï ïï _ïó óï

ï ïï _ïó óï #

Cl.

Œ µœ

[12]-Vl. p

µ3 œ

µœ mf

mp f mp mf

[12]-Vl. [23]-Vlc.

[2] pizz.

[7]-Vlc. molto vibrato ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

[2] arco

» Vln.

& µœ

≤

≥

kœ

≥

≤

kkOe

kœ

Œ µœ

µœ

≤

œ mp mf f

ﬀ

=Fl. [19]-Vl.

[7]-Vl.

=Vl. [2]

=Pn. [1]

[5]-Pn.

≥

≤

≥

nœ

≥

? kjOe

kjOe

Vlc.

Œ & µµOe

? µœ

bœ

ppp mf mf

mp mf

ﬀ

“”

nœ

#œ Pno.

nœ

e [1]

nœ

… Œ

bœ

mp p pp ppp

P P

bœ

… Œ

ïï ñï óï

_ G# A

E [23]-Vlc.

w.t.

Kœ b

[5]-Pn. aeolian sounds

e t.r.

Fl.

& bO

nO b >¥

pppp

o f

B-8

ï ïï _ïï # [15-x-2]-Vlc. ïï nµ œe œe œe nœ œ œ

=Vlc. [3]-Pn.

Cl.

& Œ

slap

thin timbre

n >e

œ Œ

Œ ppp o

[15]-Pn.

≥

≤

KKOe K KOe

Œ KKOe

≤

kkOe Vln.

≥

Œ o

Oe pppp

[15]-Vlc. poco sul pont.

[3]-Pn. [8]

≥

≤ Vlc.

? œ

jb Oe

≤

nœ

≥

Oe jb Oe jb Oe jb Oe

Œ o

pppp

ﬀ

“”

nœ [1]

nœ Pno.

? Œ {

nœ … Œ

Œ& pp mf

Œ?

≈

b œ. b O O

P ﬀ P

Œ& pppp

F w.t. b

e t.r.

Fl.

nO b >¥

U Œ

o pp

D-9

D-10

D-11

ï ïïï _ï # ïï # nµ3 œe

ï ïïï _ï # ïó U œe k# œe

ï ïïï _ï # ïó U nœ œe nn ee

nœ

Cl.

& œ

U œ

Œ kœ

kœ

œ o

pppp

ﬀ

arco split tone [3]-Pn. pizz. [13]-Pn. IV Vln.

& Kœ

lkOe

» nn Oe

sul tasto

sul pont.

III

U h

ﬀ pppp

p f

arco split tone

col legno vertical bowing I

pizz. sul pont.

nf Œ &

Vlc.

n.f …

(pizz.) (+14¢)

nf ? Œ

poco sul pont.

sul pont.

» ?…

» bœ

gliss.

jb œ

(+14¢)

U h

¿ p p

ﬀ

ﬀ pppp sﬀz

“”

[1] pppp

? Pno.

Œ “

… Œ

. nn œœ Œ & nœ ‰ nœ

bœ ‘

bœ p

U œ

G ó §ï _óó [14]-Vlc. ïï # B2 œ œ

ïóó ï óï # Kœ §

ïóó ó ïï # B2 œ §

Fl.

ïóó ïï ï Bœ §

ïóó ó ïï # B2 œ §

œ Œ

& p p p

ï ïïï _ó óó Kœ R

Cl.

ïóó ï óï # Kœ §

ï ïïï _ó óó Kœ

[6]-Vlc.

ï ïïï _ó # óó Kœ

p mf

ï ïïï _ó óó Kœ R

=Vl. [2] slap

(-28¢)

Œ n >e

ppp

p p

o pp

(+23¢)

> Vln.

& jjOe

[6]=Cl. p

=Vlc. [2]

[11]-Vlc.

jjOe

> jjOe

o (-28¢)

Jœ

[20]=Vlc.

(-26¢)

Œ œ

KJOe œ

Oe œ

Oe e

Œ Jœ

KJOe œ

Oe œ

≤

≥

≤

B B Oe

(-28¢)

ﬀ ﬀ

mp [4]=Cl.

=Vl. [11]-Vl. [1] (-28¢)

Vlc.

? Jœ

≥ >

≥>

Jœ

o (+23¢) jjOe

Jœ

o f

split tone =Cl. ord. [1]

sul pont.

(+14¢)

Oe e

Oe Œ

ﬀ

p ﬀ

“”

nœ Pno.

nœ

nœ bœ

{& ppp

nœ bœ nœ

nnb œœœ nœ

nnn œœœ bœ nœ

ppp mf

pp f

f P P 11

ó §ï ï_ï # ïï

Fl.

ïï _ïï # ïó # µœ

ï § ï _ïï ñï #

2µœ

ï ï_ïó §_ïóó óóó # ïó µœ lœ

ó bï ï_ï ïó

q=144

U lœ œ

lœ

Kœ

ïï ïï ïó

-34¢

Œ nœ

o nœ œ

+26¢

Œ œ

#œ

nn Oe

pp pp pp

K-192 K-192 K-191

ó ïï _ïï ó # ó kL œe µ3œ

ó ïï _ïó ï # ó lµ2 œe

Cl.

ó ïï _ïï ó # ó kL œe µ3œ

œe œ

ó ïï _ïó ï # ó œe lµ2Uœe œ µ3œ

K-191

œe œ

µ3œ

+6¢

#œ

+46¢

#œ

nœ

pp pp

split tone ord. [5] tr[7]

sul pont. poco sul pont.

Vln.

n#Oe

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

n#Oe

#3O

+26¢

+6¢

U h

#œ pp

[5] tr[7] [5] tr[9]

Ÿ~~~~~~~~~~~~~~~~~~~~~~

#nOe

˜O

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ #nOe #3 O Oe UOe

[5] [5]

Vlc.

nnOe

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-40¢ +26¢ -10¢ -10¢ Fl.

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+10¢ Cl.

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& Œ

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split tone sul tasto

sul pont.

M [7]

[4-7-3]

+6¢ Vln.

& Œ

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-20¢ [5]

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[11]

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Vlc.

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145

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M [5-12-7]

+10¢ [11]

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(+34¢)

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K -10¢ +40¢ -20¢

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C-17

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Cl.

+20¢

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+20¢

#œ

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& ˜µOe

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split tone poco sul pont.

sul tasto.

sul pont.

-20¢ +10¢

nœ

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Vlc.

pp p

pp mp mf

mp (C)

nœ

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nœ

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1128 605

ó óïï óó # Kµ œœ nœ _

nœ Fl.

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+9¢

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622 (629)

óñ _ïó óó # kœ §

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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(+22¢)

ﬀf

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F-40

-21¢ +22¢ -6¢ -6¢ -6¢ -6¢

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+14¢

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E-48

E-35

ï óï _ïï ïï

ï óï _ïï ï #ï

Ÿ~~~~~~~~~~~~~~~~~~~~~~ slap

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2˜b œe 2nœ

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(+28¢)

+8¢

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[9]

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[11] [11]

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[11]

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1139

óó _óó óï L Jœœ

1105

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ïï _ïï ïñ # L # Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ æ æ æ æ æ æ Œ ˜œæ ˜œ œæ œæ œæ œæ œæ §

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H-107 A-4

~~~~~~~~~~~~~~~~~

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ï ïï _ïó óï nœ n e ## ee nœ

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ï ïï _ïï ïï

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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split tone

sul pont.

(+36¢)

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[7]

[11] [5]

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(+37¢) (+37¢)

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302

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jet w.t. [hu] - [çi] §e

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≥ ≤

≤

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[11]

nµOe ‰

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P 24

q=156

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Q µœ

µ œ.

nœ pizz. t.r.

µ> Fl.

µ>

nœ ˜œ

µœ

nœ

µœ Œ

nœ

#O n >¥ I

mf f

p mf

R Ab

ï ïï _óï ï #ó µ œ.

A-3

˜œ Cl.

µœ

ï ïï _ïó ï #ï #œ nnKeee G

˜œ

µœ

˜œ

˜œ Œ

nœ

œ eee œ

mf mp f f mf

ﬀ

arco pizz. (pizz.) +Vlc. (slow acoustic beats)

arco

˜œ Vln.

µœ

. µµOe

n+œ

˜œ

#œ

œ nœ

µœ œ

. µœ œ .

nnOe

sfz

nnOe

nœ nœ

nn Oe

p mf

f f f

(pizz.)

M +Vl. (slow acoustic beats)

µœ ? Œ

arco

˜œ

Vlc.

µ œ.

nO ne

[6-11-5]

[5]

˜œ o f

nO ne

n# Oe

nn Oe

nµ Oe

nœ

p mf

mf ﬀ f

◊ÿ

#œ

nœ nœ

nœ &

nœ

#œ

nœ Œ

o mp p

nœ

mf f

Pno.

{

? Œ

nœ Œ

Œ nœ nœ

nœ (A)

rit.

pizz.

ïó _óó óó # ˜œ A

µœ Fl.

µœ

˜œ

nœ

ó § óó _ó óó # ˜2 œ A

ó § ïï _ó óó k œ#

˜œ

óïï óó ï#

óïï ïó ó#

óïï óóï #

µ>

˜>

_ A

óïï óó ï#

óïï óóï #

˜>

óïï óó ï#

U Œ

mp pp

#œ

p f

óï ñóï ó#

nœ

ï ïó _ïó ó #ó nœ RA

ï óó _óó óó

ï ïï _óó # óó µ3 œ R

Cl.

ï ïï _ïó # óó Kœ R

( Œ)

nœ

ï ïó _ïï óó ˜œ RA

ï ïó _ïó óó µœ RA

nœ

& Œ

˜œ

µœ

ï ïï _ïó # ïó µœ R

ï ïï _ïó # ï #ï µ3œ R

ï ïï _ïó # ó #ó #lœ R

ï ïï _óó ïï ˜œ R

ï ïï _ïó # ïó µœ R

ï ïï _ïó # óó nK œ R

ï ïï _ïó # ó #ó #lœ R

ï ïï _ïó # ïó µœ R

ï ïï _óó ïï ˜œ R

U Œ

p mp

f mf

≥

≤

µœ Vln.

µœ

nœ

˜œ

µœ

˜œ

nœ

staccato

µœ.

˜œ.

nœ.

˜œ.

#œ.

˜œ.

U Œ

ne p f

ﬀ

mf f f

˜œ µœ Vlc.

#œ

nœ

˜œ

˜œ p f

≥ ≤

sim.

µœ

nœ

≥≤

pp f

nO ne

˜œ

gliss.

U Œ

mp f f

f f

nœ nœ Pno.

#œ

nœ

Œ {&

… Œ

#œ

… Œ

#œ

nœ

#œ

nœ

#œ

U Œ nO

mp mf p

mp f P P mP 28

q=96

R 1121 §

ï § ïï _ó ïó #œ #œ Fl.

óó óï óó #

926

ïï ïó ïï # # œ µk#œœœ

925 B

D C

œ œ

k# œœ

œ œ

œœ

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‰

& mp

f ﬀ

F-45

ï ïó _ïï ï #ó #l œe & kœ G

Cl.

œe œ

pp pp ﬀ

pizz.

» … Vln.

» …

arco I

» …

nœ ‰

& ¿

ﬀ

ord. crunch sul tasto

poco sul pont. crunch poco sul pont.

≥ nœ

≥ n6

sul pont.

‰

Vlc. pp

ﬀ

mf ﬀ f

nn##n œœœœœ œœœœ œ œœœœ œ œœœœ & #nœœ œœ œœ

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ

œœœœ œœœœ œœœœ œœœœ œ œ œ œœ œœ œœ

œœœœ œœœœ œœœœ ≈ nn# œœœ œ œ ‰ ‰ œœ œœ

œœœ

œœœ œœœ # œœœ œœœ #œ #œ #œ nœ

œœ œœ n œœ œœ # œ œ nœ œ #œœ œ

œ n œ œ # œœ œ # œ ≈ œœ œœ œœ œœ ‰ 3

3 3 3 3

ﬀ

Pno. ﬀf pp

{

nœ Œ

Œ ﬀ

P mP

≈

#e #e ne # e # e # e # e # e ne ne ne #‚ #‚ n‚ ‰ # ‚ # ‚ # ‚ #‚ n‚ n ‚ #‚ n‚ _jt.wh.

( Œ)

nœ Fl.

e Œ

& o

pizz.

Œ nO

( Œ)

aeolian sound

O o

. n> pp

mf pp F2-252,302 R

B-7

ï ïï _ïï ï #ï

( Œ)

#œ Cl.

ne œ

& nœ o

ï ïó _ïó ïó ó Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # e nœ e e e #œ ˜œ œ œ œ e 1

L œe œ

œe œ

e œ

o ppp pp

pizz.

+ nœ Vln.

arco

nnOe

nn Oe

ﬀ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O O O O O O e e e e e e

nO ¿ ne

& o

mp f

ﬀ

ord. poco sul pont.

sul pont.

sul tasto poco vibrato

split tone sul pont.

sul tasto

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? nnOe

nœ

Vlc.

f ﬀ

ﬀ

n œ m.s. n#n œœœ

(B)

…

mf Pno.

{

? P alla ne mP

23'' silence, measured with hourglass

Ending 1. or 2. ad libitum 1.

[7]-Pn. [5]-Pn.

Kœ

Lœ œ Fl.

& Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

‰

‰ o

[3]-Pn.

Cl.

[3]-Pn.

#œ

KK Oe

[15]-Pn.

[7]-Pn.

Vln.

#œ

& Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

LL Oe

& Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ o

ﬀ

nO nO K n O n O nO #O

#O µO

ord.

nO nO K n O n O nO #O

#O µO

ord.

nœ

ne e e e e e

e e

nœ

ne e e e e e

e e

? Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ &

Vlc.

“”

‰ n# œœ œœ

‰ n# œœ

œœ

& Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ f

Pno.

‰ nœ œ

{

? Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

nœ mp

“‘ P 31

‰ nœ nœ mp

“‘ P

œ œ