unverified by tobiasfandel.de

Tobias Fandel unveri ed (2019)

for Flute, Clarinet, and Viola score

dedicated to William Lane and the Hong Kong New Music Ensemble

Instrumentation Flute with Glissando Headjoint Clarinet in B- at (Boehm system, version for German system available upon request) Viola

Transposed Score

Duration: 7.5 minutes

First Performance: unveri ed was premiered by the Hong Kong New Music Ensemble as part of the 2019

ailand International Composition Festival in Bangkok.

Performance Directions unveri ed does not contain any bars or metres. To facilitate the synchronisation of the underlying continuous stream of pulses and for orientation, the players might organise score and parts with bars, whereas these subdivisions should not a ect in any way the tone and sound production. e counting in crotchets is suggested with optional assistance of a conductor or a click track.

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. 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. 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. 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 are displayed in square brackets and refer to the International Phonetic Alphabet.

Flute (1/2) Glissando Headjoint1 position n - normal, e - fully extended, quarter-tone accidentals: denoting the relative distance to the previous position n or e

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

XXX - inhaling, YYY - exhaling: direction of air stream for various techniques

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

t.r. - tongue ram: ngering indicated by diamond-shaped notehead, resulting pitch displayed as wedge-shaped notehead

Dick, Robert.

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

e Glissando Headjoint. http://robertdick.net/the-glissando-headjoint/ [accessed: Jun 29, 2021].

Flute (2/2) Flz. - flutter tongue, production with tongue or glottis ad libitum

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

pizz. - pizzicato, lip or tongue production ad libitum unless specified

key clicks/k.c. - closing the indicated key with a percussive attack, embouchure hole open or fully enclosed as stated, always without air

Clarinet (1/2)

multiphonics are labelled with their corresponding module number3, notation partially simplified

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

slap - secco slap tonguing of indicated pitch, without opening the embouchure or tieing a further tone

air - air sound: exhaling phonetically coloured air noise with indicated notes

teeth on reed - embouchure with the teeth lightly touching the reed, very high, but undetermined pitches, unaﬀected by the fingering 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

Richards, Edwin Michael. The Clarinet of the Twenty-first Century. S.l.: S.n., 1992.

Clarinet (2/2) Flz. - flutter tongue

key clicks/k.c. - closing the indicated key with a percussive attack, also as timbre-trill

Viola (1/3)

bridge clef - depicting the position of the bowing contact and the transitions in between

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

open, muted, muted (string indicated), muted (all strings)

vertical bowing - bow along the fretboard, with the position of the bow indicated by the circle-dot noteheads; no ordinary motion of the bow between frog and tip unless indicated diﬀerently

cutting air - holding bow upright, bowing stick rapidly cutting through the air - forwards, backwards, left, right, diagonal; tightening the bow hair with the index finger might sharpen the sound

edge - pitchless bowing on the edge of the instrument body, notated over the 5th staﬀ line and without accidentals, always as crotchets

Viola (2/3) split tone - "carving out" high partials by subtle changes in the bowing position (poco, P)

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 (T) dry and pitchless, near and over the bridge (poco, P) strident with spectral components

harmonic pizzicato - releasing the harmonic touch in the instant of plucking

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

pizzicato behind the bridge on indicated string

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

Viola (3/3) 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 - multiphonic4: 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 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.

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]. 4

unveri ed Tobias Fandel (*1986) q=79

e n

∫b

e n

normal

346 §

341 §

∫

Glissando Headjoint extended

ó óï óï § ïï ñ ñ _ï ïó _ïïó # _ïñó K b œœ jµ œœ Kœ kœ kœ

jet Flz. air

[hu] > [çi] > [hu]

[çi]>[hu] [hu]

[çi]

≤

≥ ≥ Flute [with Glissando Headjoint]

‰

t.r.

‰

æ µOæ

¢& nO

n O.

sfz

nO nO

nO n >¥

ïï ïï ïï #

# œo h

Œ #O

sfz sfz

(D-)

p ﬀ

óï ó L § óó § _óó óóó óó ó# # Ÿ~~~~~~~ Ÿ~~~~~~~~ Flz. µ2 œ µ2œ # œ 3µ œ # œ ææ _ G#

ﬀ f

A1-57 I-173 Ab

C-28

˜ 1

slap air [xo]

> Clarinet in Bb

& [Boehm system]

n>O

˜ s. -˜‹ 1 1 glis ‰ Œ n# # 7 7

ï ïï _ïï ï #ï #K œe Kœ

R Ab

slap Flz.

æ µ >æe

ï óï _ïï ï #ó œe µ œ œ

œe œ

slap

n œe µ'œ

slap

k.c. Ÿ~~~~

Œ n>e ¿

o sfz

mfp

fp p

sfz

Ke L>e

sfz

n >e

sfz

o sfz

ï ïï _ïï óó µœ

ï ïï _óï ïï

ï ïïó _ó óó - ï

ﬀ

f fp

poco

T arco

» … Viola

¢B

edge

–3 OF O_ OP

pizz.

6 Œ

– O_ ‰

f (=p)

sfz

ord.

…

Ÿ~~~~~~~~~~

≤ >

crunch

. . nO ¿ O nO Œ , , ne e ne

nnOe

~~~~~~~ Ÿ~~~~~~

≥ n# Oe

Ÿ n# Oe ¿

‰

[11]

n# Oe

nnOe ¿

Œ n#Oe

nB Oe

f (=p) ﬀ (=mp) pp

sfz

p mp f sfz

o ﬀ

sfz

ﬀ

q=251 e

n e

# µ

˜ # n

n e

jet

n œo µ œo # œo n œo µ œo # œo

[hu]>[çi]

Flz.

~~~~~ #Ÿe ˜ e °

(lip)

t.r.

Œ nO Fl.

Œ Œ µæœ Œ Œ æ

¢&

( ≈)

Œ ne µe #e ne µe #e nO n >¥

ﬀ

Ÿ~~~~~ >

#œ˜œ #œµœ nœ

# œ n œ nœ œ#œ# œ nœn œ K œ (B)

(B˖)

(C)

nœ µœ

˜œ

nœ µœ nœ

nœ kœ.

(C˖) (C#)

(C#)

sfz

(A˖)

(G#)

ﬀ

(B-)

p ﬀ

mp f

sfz

257

H1-255

ï óï _ïï # ïï slap µe Œ # >e R

-˜1 Œ Cl.

& . n# 7

ï óï ï ïï _ïï # _ïï # ï# ï óï œ µ&œ œ slap œ lœ œ Œ k >e R

ï ïï _óï ïï ó

ï óób _óó óó

ó óï _ïó óó

ï ïï _óï ïï

ï ïï _ïï óï

ï óï _ïó ïó

ï ïï _óï ïï

ï óï _ïó óó

slap

Ÿ~~~~~~~~~~~

˜œ

‰ kœ ‰ ˜2 œ ‰ ˜ œ ‰ µœ ‰ µ >e ˜œ µœ

˜œ

‰

ï óób _óó óó µœ A

˜2 œ

ó óï _ïó óó ˜2 œ

ï ïï _óï ïï

1 E

µœ

ï ïó ï ïï _ïï _ï ïï óïï # lœ k œ A

ï ïï _ïï óï

ï ïï _óï ïï

ó óï _ïó óó Kœ.

µ œ ˜œ

sfz o ﬀ

ﬀ pp

pp ﬀ

poco

T arco split tone

crunch

ord. M

pizz.

IV [4-11-7-3]

Vla.

¢B nh o

…

nn Oe

. ,

ﬀ

µn Oe Oe Oe Œ Œ

» nn Oe.

arco ord.

– O_ ‰

µ +œ ‰

pizz. [11]

è ¿

nB Oe

ord. IV

split tone III

µœ

ﬀ

nœ

µœ # œ µœ

µœ nO n e.

o pp mp sfz

(=mp)

f ﬀ

ﬀ

q=113

n e

µ œ.

#œ. Fl.

¢&

µœ.

#œ. µœ .

˜œ. µœ µœ ˜œ #œ nœ. ˜ œ. nœ. # œ. nœ. nœ. #œ. . . . . mp

p pp

3 . n œ ™ # œ ™ ‰ nœ. ‰ ‰ . ‰ #œ ‰ ‰ ‰ nœ ‰ ™ . .

nœ. ≈ #œ ‰ Œ .

ﬀ mf

(F#˖) (A#)

ï óï ï _ïïóó # _ïó # ï óó ó k œ. G ≈ L œ. lœ. & R

ï ïï _ïó ï #ï

Cl.

ó óób ï _ïóóó ï óï _óó _ïó # óó óó óó µœ Kœ. µœ . lœ . . A

ï óï _óó óó

ï ïï ï ó ó ób ï ïï ïï _ïï _ï ó# ó _ïóóó _óóóó # ïóó _ïïï # ïó ó ó kœ. Kœ kœ K œ . µœ. . . R

ï ïï _ïï # ïó K œ. F

(D˖)

(A˖)

(G˖)

(G#)

ï ïï ï ïó ï ïï ó _óó # ïó _óóó _ïóïï # k œ. µ œ. L œ . R

. ‰ ™ nœ ‰

pp f mf p

Vla.

°B ¢

. . # œ. . # œ . µ œ µ œ . . µ œ. µ œ . µœ . . . µ œ . . n œ n œ B œ B œ #œ #œ

. # œ . µ œ. . µ œ . . µ œ nœ Bœ #œ.

n œ. p

p f

‰ ‰ nœ ‰ ‰ #œ. Œ . 3

n œ. 3

Fl.

#œ. ‰ #œ. ‰ ≈ nœ ‰ .

bœ œ

° ‰ ‰ ‰ ‰ ‰ ‰ ‰™ ¢& n œ # œ. n œ. .

‰™

nœ.

n œ. ‰ ‰ ™ #œ. ‰

‰

# œ. ≈ ‰

n œ.

. ‰ nœ

‰ ‰ #œ ‰ ‰ ™ .

‰ 3

# œ. . nœ ‰ ‰

o pp pp

pp mf pp

f p

f f

# œ. # œ.

nœ œ Cl.

& ‰ ™ #œ ‰ . # œ.

‰ ™ nœ ‰ nœ . .

‰ #œ.

‰

#œ. ‰

# œ.

nœ.

. ‰ ‰ #œ ‰

‰ ‰

. ‰ nœ ‰ Œ

# œ. #œ.

‰ ‰ #œ. ‰

‰

‰ #œ.

3 3

p pp

n œ.

Vla.

°B ‰ nœ. ¢

bœ œ ≈#œ ‰ .

‰ nœ.

‰ ‰ ‰ ‰ # œ. 3

‰ ‰

# œ. n œ. n œ. n œ. . ≈ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ n#Oe ‰ Œ

# œ. . n# Oe ‰ ‰

n œ. . n œ. n O ‰ ≈ne ‰ ≈ ‰

‰

‰ ‰

. nn Oe ≈ ‰

3 3

pp f

mf f

q=41

b e

6 3

n œ.

pizz.

t.r.

# œ.

‰™

≈ Fl.

‰

‰ nœ.

¢&

#œ.

nœ ™

nœ.

‰

‰™

nœ.

‰™

‰

#O n >¥

nO n >¥

(Bb)

‰™

≈

n œ. p

sfz

(Bb)

slap

# œ. 3

Cl.

& ‰

nœ

‰™

‰

#œ. #œ. # œ #œ. .

nœ.

‰

‰ . #>

n œ.

pp sfz

≈

#> n>

. ‰ #>

p sfz mf f

poco

. # œ. . n O # œ . . n e #œ nœ nœ.

Vla.

bb Oe J

¢B Œ

j nœ.

‰ #œ.

nœ. ‰

‰

. ‰ #œ

‰

. # œ ‰

‰

nn Oe. ‰

pizz.

#œ. ‰

‰™

# œ.

3 3

p mf

sfz

sfz ﬀ mf

pizz.

U >

t.r. 3

‰™ Fl.

bœ

œ™

≈

‰™

¢&

‰™

‰

‰™

‰

nœ

#O n¥ >

(Bb)

sfz

mp mp

B-9 10

ï ïï _ïï ïï #

ï ïï _ïï # ïó k# œe ™™

nµ'œe

U > >

≈ Cl.

& nœ

≈

‰

‰ #>

kœ ™

‰ n>

. #>

‰

‰™

‰

Œ n>

#> bœ

sfz

ﬀ

arco

Vla.

¢B ‰

‰

bœ

œ™

≈

‰™

nœ.

‰ ‰ nœ.

. ≈ #œ ‰

. ‰ ‰ nœ

. # œ ‰ ‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~ U > nO

≈ nœ ™ n e

‰ œ

o 3

sfz

sfz pp

Œ ## Oe.

481 §

óïï óó ïó ó#

_ A

óó ï ï _óó óó #

§ (slow) (fast)

481 (slow)

(fast)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ŸŸ

Fl.

° Œ ¢&

lœ

Ke œ

nœ 2nœ

e œ

œ œ ‰

óïï ïó ó#

Flz.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ŸŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & µ œ #œ nœ œ œ œ œ

pp Flz.

ææ

#œ ææ

œ ææ

Kœ lœ K‚

œ œ ‚

œ œ‰ ‚ ‰

voice

ppp

ppp mp

œ ææ

sfz

118 B1-117

ï ïïï _ó # óï #

ï ïï _ïó # óï #

E-74

Ÿo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~ slap

Ÿ~~~~~ Cl.

& Œ

≈ ‰ ‰ . ˜œ œ n> f

nœ

µe œ

‰ µœ µœ œ ‰ nœ œ ‰ k e >

3#œ 2nœ

e œ

œ e

e e

œ œ

ï óï _ïï óó nµœe #œ

o o pp

˜ -˜ gliss. B 1 ‰ ‰ n# # # 7 7 7 _

˜ 1

sfz

o sﬀz

mp p

o sfz mp p

poco

split tone ord. pizz.

Vla.

¢B Œ

» … ¿

˜ +œ Œ

» ‰ nnOe

o Œ o o pp pp arco Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~ Oe Oe Oe Oe Oe nO ¿ O Œ n# Oe ne Oe > nh h h h h h h h n e e Oe Œ o

sfz

p mp

mf f

sfz

1100

L§

óï ñó ñï #

916 §

ïï ïó ïó Bœ

_ A

air

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Fl.

Kœ ° #œ ¢& k ‚

œ œ ‚

˜#L œœ œœ ‰

œ œ ‚

œœ

[krr]

[ʃ] j ---

œ µe

œ œ

Œ #O ne

O e

#O ne

pp mp

slow acoustic beats

mf mp

pp f

E-106

ï óï _ïó L ï #ó

(‰)

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

## œe œ

slap Cl.

& Œ

Œ n >e

#œ µe nœ

œe œ

o sfz

p mf

poco

T T crunch

arco edge

pizz. split tone II Vla.

¢B Œ

p mf

»+ nœ o sfz

ord. edge

> … ﬀ (=mp)

‰

‰ ,

‰

6 Œ

o f (=p) ﬀ (=mp)

sfz

mf ﬀ (=mp) pizz.

– O¿F ‰ +è

sfz

B∫

b e n

920 §

ïï _ïó ïó #

916 §

ïï ïó ïó

_ A

707

óï ñï ïï # µe _

air

Ÿ~~~~~~~~~~~~~~~~~ aeolian sound

œ œ

Lœ Lœ

œ œ

Bœ µœ

œ œ

[krr]

µO

˜O

j ---

Œ Fl.

¢& mf

O O

Œ nO

#O ne

(D)

O e

(D)

sfz

B1-114/112

ï ïï _ïó ï #ï

B1-89

ï óï _ïï ï #ï

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ kœ 2nœ œ Cl.

& Œ

ï ïï _ïï # ïó #n œe ˜3 e ‰ ˜œ 3 R

ï óï _ïï ïó

ï óï _ïï # ïï

ï óï _ïï # óó

Œ kœ

nœ

‰ ˜œ

˜2 œ

œ ˜2 œ

˜2 œ

œe e œ

pp mf

poco

pizz.

Vla.

¢B Œ

» nnOe

» … ¿

arco split tone II

ord. [11]

nœ

o f

BO nO

o pp

ﬀ [9]

O O

ó óïï óï #œ

ó óïï óï Bœ

ó óïï óï #œ

ó óïï óó #œ

ï óïï óó #œ

_ G#

Fl.

ne œ ¢&

œ œ

( ≈)

nœ µœ

œ œ

_ G#

_ G# C

Œ (C#)

(C#)

sfz

ﬀ

ï óï _óï ó #ó #œ R

_ _

˜_ 1

˜ gliss. ˜µ 1 Œ Cl.

& n#

≈ n# 7

1 ≈

7 7 7

‰

≈

1 ≈ ≈

7 7

˜ 1 1

n# nO n O n. # nO nO nO 7

o pp pp

o p

o ppp

o pp

o mp

. n O n O n7# n# n O n O n O 7

o mf

1 nO nO nO n#

7 f

o f

f f p

o o f

poco

“” vibrato

nnOe Vla.

¢B OO

O O

nO ne

#œ

& o

ﬀ ﬀ f

#œ

~~~~~~~~~~ œ œ

#œ

n e

jet

óñ ó ñó ó ïó #

_ G# air [çi]>[hu] B

j ---

#œ Fl.

Œ ¢&

˜œ

µœ

˜œ

[çi]

nœ

[çi]

[ʃ]

[ ʃ ] sim.

pizz. air

‰

(C#)

≥

≤

≥

≤

nO ne

O e

(C˖)

tone

t.r.

Œ O e

O e

Lœ

#œ

\ vv

\\\

nO n >¥

Ÿ~~~~~~~~~~~~~~~~~~~~~~~

ppp

mf ﬀ p

sfz

mf sfz

31 169

K-191/192

ó ïï ó ïï _ïï ó _ïó ó# ó ï ï #ó Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œe œe œe œe œe #˜2 œe L œ ˜µ œe k œe µ e µœ œ œ œ œ œ kœ '

œ Œ

Cl.

ï ïï ó _ïï ïï Œ

(R)

ï ïó ï _ïï ï #ï

F-40

(R)

ï ïó ï _ïï ï #ï o

sfz sfz

nnœe

œe

œe ™™ # œ nnœe #e

œe ™™ #n œe n œ

Œ nœ

nœ

pp p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pp

poco

crunch

split tone

“”

edge

split tone

6 Œ Vla.

¢&

nn Oe

6 Œ

Oe.

h o mf

ﬀ

pp (=pp)

sfz

1130 740 § _ G#

óñ ñó ó ïó # ne œ œ œ

ïïï ñóó Bœ

_ G#

[hu]>[çi]

œ œ

œ e

œ œ

e œ

µœ Œ

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36 C-32

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ﬀ

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[6-11-5]

[11]

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HR-143 HR-114

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ï ïó _ïó ïó #œ #œ

smorzato F2-302 252

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col legno vertical bowing IV

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HR-194

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tone

air Cl.

A-3 A-4

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