a life at the radio's threshold
DESCRIPTION
ÂTRANSCRIPT
a life at the radio's threshold
Abel Paúl 2014
1) INSTRUMENTS AND APPLIANCES
Percussion:
-Steel sheet (approximate size: 100cm*50cm*1mm). The sheet must be completely smooth, without any cracks and/or bumps. A small fragment of sandpaper should bestuck to the upper part of the sheet's surface.-Pedal timpani (range: D3 to A3).-Glockenspiel with pedal. A couple of moderately heavy metal bars are required to play clusters on the glockenspiel's diatonic and chromatic rows. Four or five light metal chains(ideally sink plug chains) are required to be rubbed and slid on the metal bars.-Güiro. Its acoustic box should be as large as possible. Preferably, the notches should be relatively shallow. Avoid extremely deep ones-A kalimba (thumb piano) with at least 12 metal tines.-Tubular bells (ideally with damping pedal). The above mentioned metal bars are also used to perform clusters on the tubular bells.-A glass sheet (approximate size: A3 paper format). A small, rigid plastic box lid (such as the lid of a sewing needles box or similar) is required. The plastic lid should be rubbed against the glass sheet, producing very high harmonics at the friction with the glass surface. Select the plastic lid that creates the highest possible overtones.-Litophone. This instrument consists of a stone sheet (a small slate board or similar) and a smaller piece of stone which is rubbed against the sheet.-Small cardboard box (i.e. a shoe box).-Small bucket filled with pebbles. These pebbles are stirred and moved with the hand.-Superball-A small vibration speaker (see notes on speakers and media).
Piano:
-A small piece of sandpaper should be stuck to or placed on the keyboard lid.
A LIFE AT THE RADIO'S THRESHOLD Abel Paúl 2014
PERFORMANCE NOTES
-A small fragment of bike tyre is needed. It should be extracted from the tyre's inner tube (air chamber).-A small, rigid plastic box lid (such as the lid of a sewing needles box or similar) is required. The plastic lid should be rubbed against the keyboard lid, producing very high overtones at the friction with the instrument's surface. Select the plastic lid that generates the highest possible overtones.-Small vibration speaker (see notes on speakers and media).-The piano lid should remain open throughout the entire performance. Alternatively, it may be removed.
Violin, viola, cello:
-Small vibration speakers (one for each instrument). See notes on speakers and media.
2) GENERAL
Duration: aprox. 16' 30"
Fermatas: = short (around 3") = moderate (around 5") = long (around 7")
= very long (around 10")
3) SPEAKERS AND MEDIA
5 mini vibration speakers are needed for the performance of this piece (one for each of the performers). The recommended brand and model is "Auvisio VI-88". These speakers are used as resonators, occassionally substituting bows, beaters and hammers. The speakers are slid and rubbed on different surfaces (strings, acoustic boxes, etc.)The audio samples projected by the speakers are amplified by the specific physiognomy of every surface, creating a hybrid between the nature of the projected materials and the sonic identity of the instruments.A considerable number of audio samples needs to be played through the speakers for the performance of this piece. In order to realize this, a playback sampler software capable of multiple audio output routing such as Kontakt or Reaper-Rea Samplomatic (or similar) is recommended. It is strongly advised that the software patch is controlled with a midi keyboard (with at least 37 keys). Additionally, an external audio interface with a minimum of 5 mono outputs is necessary for the practical materialization of the patch. 5 RCA audio extension cables are necessary to connect the interface's outputs to the vibration speakers. Their length may vary depending on the size of the room and the specific position of the performers. Alternatively, conventional samplers may be used for the performance of this piece.
A midi keyboard controller score was produced for the first performance of the piece (see parts).All the individual mp3 samples may be downloaded here as a zip folder: www.abelpaul.net/materials1.htm
The correspondence between each midi key (according to the already existing score) and each concrete audio sample works as indicated below. Each sample is labelledwith a capital letter (from A to L) and a number indicating the specific output channel (1= percussion, 2=piano, 3=violin, 4=viola, 5=cello).
A1
A2
A3
A4
A5
B1
B2
B3
B4
B5
C1
C2
C3
C4
C5
D1
D2
E1
E2
E5
F3
F4
F5
G1
H1
I2
I3
I4
I5
J2
J4
K1
L1
L2
L3
L4
L5
For the first performance of this piece a Reaper Samplomatic patch was designed. It may be downloaded here: www.abelpaul.net/materials1.htm
The output routing must be modified according to your own external interface.
Speaker preparation
-All the speakers must be switched on individually before the performance starts.-A small, light piece of very fine sandpaper must be stuck to each vibration speaker so that friction is created when it is rubbed against a particular surface. All these speakers include an adhesive area in order to fix them to a particular surface/object. This area can be used to stick the fragment of sandpaper.
Samples
The audio samples have been designed by the compilation and mixture of conversations, speeches and readings of several artists, writers and filmakers. The piece is conceived as a crossbreed between the human voice and the acoustic and timbral identity of the instruments. The intelligibility of the semantic content of these samples is never intended.
Most of the actions performed by the percussionist involve the use of a vibration speaker. It should be rubbed and slid on the indicated instruments/surfaces in a delicate way.If excessive pressure is applied to the speaker it will not work properly and may result in irreparable damage.
4) TECHNIQUES AND NOTATION
PERCUSSION
1) METAL SHEET
The speaker should be exclusively rubbed against the sandpaper attached to the upper part of the sheet. The metal sheet should always be placed on the ground. It should be bent to the indicated degrees in order to obtain diverse tones and/or glissandi as indicated.Bending degrees:
=small curvature (around 160º) = large (around 100º) =extreme (less than 90º)=straight (180º) = moderate (around 130º)
(ACTIONS WITH THE VIBRATION SPEAKER)
�
These arrows indicate the direction (right/left)in which the speaker is to be rubbed on the sandpaper.
Transititions between two different bending positions.
moderate speed����
...
circles as fast as poss.
...
Rub speakers with a circular motion changing the speed as indicated. The arrows indicate the direction of the circular motion (right/left)
(ACTIONS WITHOUT THE SPEAKER)
Accent produced by a fast and transitionless change of positions (swiftly press down the sheet)
(ACTIONS WITH THE VIBRATION SPEAKER)
2) TIMPANI
Rub speaker on the timpani's head as fast as possible (brush). Meanwhile control the pedal in order to perform the indicated glissandi and pitch variations.
Pedal
����
����
����
Rub speaker with a circular motion in the indicated rhythm. The arrows symbolize the direction of the circular motion (left or right).Each circle's duration is indicated by the underlying rhythmic figuration and is followed by a new circle in the oppossite direction.Meanwhile control the pedal in order to perform the indicated glissandi and pitch variations.
3 3
3 3
Rub speaker
Rub speaker with the right hand on the timpani's head. Rub superball with the left hand on the timpani's head.Meanwhile control the pedal in order to perform the indicated glissandi and pitch variations.
Rub superball
3) GLOCKENSPIEL
Cluster with metal bars. Hit each of the two rows (diatonic and chromatic) with the metal bars so that all the notated pitches are played simultaneously.
Lightly rub the metal chains(sink plug chains)on the diatonic and chromatic bars with a constant circular motion. Follow a gradual
ascending outline. Take two or more metal chains with each hand.
4) GÜIRO
(ACTIONS WITH THE VIBRATION SPEAKER)
Top
Rub the speaker along the güiro's surface following the indicated direction (from top to bottom or vice versa). A granutlated effect shouldbe obtained as the projection of sound materials through the speaker is challented by the small irregularities (notches) of the güiro's surface. Bottom
5) GLASS SHEET + PLASTIC LID
����
����
7
Slide plastic lid with almost no pressure on the glass sheet, obtaining the highest possible harmonics. The arrows indicate a change of direction (right/left).
6) CARDBOARD BOX
(ACTIONS WITH THE VIBRATION SPEAKER)
����
����
7
Rub speaker with a circular motion in the indicated rhythm. The arrows indicate the direction of the circular motion (left or right).Each circle's duration is indicated by the underlying rhythmic figures and is followed by a new circle in the oppossite direction.
7) TUBULAR BELLS
8) KALIMBA
Cluster with metal bars on the chromatic and diatonic rows. Use the same metal bars as with the glockenspiel.
(ACTIONS WITH THE VIBRATION SPEAKER)
����
����
Rub speaker with a circular motion on the kalimba's tines with very little pressure. Change direction according to the arrows.3
9) BUCKET WITH PEBBLES
Stir pebbles with the hand producing a constant, granular effect.10) LITOPHONE
����
����
Rub a small stone/pebble on the litophone (slate board) with a circular motion.
(ACTIONS WITH THE VIBRATION SPEAKER)
PIANO
Rub vibration speaker along the indicated string in the given rhythm. The upper lines indicate the overall direction (upwards or downdwards)The speaker will be amplified by the actual contact with the string, generating a hybrid between the projected sound file and the actual acoustic nature of the string.
( )
"Tremolo": rub speaker as fast as possible (discreet up-down movement, like brushing) The upper lines indicate the general direction of the brushing motion (upwards or downdwards).
Slide vibration speaker delicately on the keys, without depresing them. Cover the indicated ranges.
( )
����
����
Rub the speaker on the upper strings of the piano within the indicated range with a circular motion. The circular motion should be crosswise, coveringall the strings within the indicated range.
Rub the speaker on the sandpaper (the sandpaper must be stuck or placed on the keyboard lid)
(ACTIONS WITHOUT THE SPEAKER)
Rub piece of tyre rapidly and robustly along the indicated string. The friction will trigger a resulting tone (it sounds approximately 2 octaves and a minor seventh higher than the notated pitch).
Slide plastic box lid with almost no pressure on the keyboard lid, obtaining the highest possible harmonics. The arrows indicate the sliding direction (left/right)
STRINGS
ppp
����
Violin,Viola Cello
Fingerboard clef: it cancels the traditional clefs and symbolizes the surface of the instrument: fingerboard, strings, bridge.The roman numerals (I,II, III, IV) indicate the actual string on which actions should be performed. (I=highest string, IV= lowest string)
Violin,Viola Cello
Loosely cover the string(s) at its base with the left hand to avoid vibration. This is always required for actions performed with the vibration speakers.
Bridge clef: it cancels the traditional clefs and it is used to notate actions performed exclusively on the bridge (only for actions with the speaker).
IV
Rub the speaker along the indicated string in the given rhythm. Follow the indicated overall direction symbolized by the lines. The speaker should be rubbed very delicately. Do not apply excessive pressure.
II
( )
( )
"Tremolo": rub speaker as fast as possible (discreet up-down movement, like brushing). Follow the indicated overall direction symbolized by the lines.
IV
circles as fast as poss.
Rub the speaker along the indicated string in small circles with a regular speed. Change speed when indicated.
"Tremolo" effect on the bridge (discreet up-down, brushing-like movement). The movement should be perpendicular to the bridge(up-down, not left-right).
� � � � Speaker spiccato on the bridge. Hold the speaker with the right hand and perform a delicate, controlled ricochet on the bridge. The ricochet shouldbe performed from left to right or right to left (as indicated by the arrows above). Increase/decrease the number of attacks progressively according tothe number of stacatto dots displayed.
(ACTIONS WITHOUT THE SPEAKER)
tasto
ord
ponte
Lengthwise displacements of the bow between different positions (tasto, ordinario, ponte).
(vibr)
Slight vibrato on artificial harmonic
(brush)
Arco brushing on the indicated tone. The extent and intensity of the brushing is indicated by the graphic over the notes.
7 7
Highest possible artificial harmonic.
flautando
Flautato execution, symbolized by harmonic-headed noteheads. It signifies an uncompromisingly veiled effect with a relatively intense bowing sound. The notes are played very loosely, practically as harmonics. The bow should be drawn very lightly, with almost no pressure. This technique is combined with lengthwisedisplacements of the bow between different positions (tasto-ord-ponte).
legno
ord
ponte
Col legno execution, symbolized by harmonic-headed noteheads and the word "legno". It should always be performed "legno battuto" (using the bow's wood exclusively, no hair). The bow displacements lenghtwise to the string shouldalways be performed "appoggiato", not striking or bouncing.
arcoon the bridge's wood
Exclusively for cello (bar 60-86)
Toneless bowing on the wood of the bridge. The strings might be loosely covered by the left hand in order to avoid any unintentional response of the strings. If necessary, bow transversally on the wood of the bridge in order to avoid any residual pitch. The result must be completely toneless.
(h)
on the wood of the bridge
(h.)
Vl, Vla:Toneless bowing on the wood of the bridge. The strings might be loosely covered by the left hand in order to avoid any unintentional response of the strings. If necessary, bow transversally on the wood of the bridge in order to avoid any residual pitch. The result must be completely toneless.
5) SPEAKERS & DYNAMICS
6)SETUP
The manipulation of the speakers allow little variation in dynamics. The notation of detailed dynamics in the score suggests a specific musical intentionality (even if the actual result cannot be as accurate as notated). Try to exaggerate the indicated directionality as much as possible within the limited scope permitted by the vibration speakers.
Irregular tremolo
The person in charge of controlling the sampler/computer must remain at an invisible location but should be able to keep visual communication with the conductor.
x Piano
Vl.
Vla.
x
Cello
x
x
x Percussion
x Conductor
a life at the radio's threshold
q=50
34
38
54
Percussion
Piano
Violin
Viola
Violoncello
Switch on
vibration
speaker ppp
�
Metal sheet:
rub vibration speaker on the sandpaper
p
ppp
�
p
�
pp
ppp
�pp
Abel Paúl 2014
Switch on
vibration
speaker rub vibration speaker
on the indicated string
(octave lower
until indicated)
ppp
p
simile ppp
p
pp
ppp
pp
Switch on
vibration
speaker
IV
ppp
rub vibration speaker
on the indicated string
p
ppp( )
p
pp
ppp
( )
pp
Switch on
vibration
speaker
III
ppprub vibration speaker
on the indicated string
rub vibration speaker
on the indicated string
p
ppp( )
p
pp
( )ppp pp
Switch on
vibration
speaker
I
ppp
p
ppp( )
p
pp
( )ppp pp
Sampler
4
2
5
3
1
( )
A1
A2
A3
A5
A4
( )
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24
7
44
58
44
28
34
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
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p
ppp
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pp
ppp
pp
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pp
ppp
( )
p
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p
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ppp pp
ppp
p pp
3 3
ppp
( )
p
ppp p
(h.)ppp
pp
ppp
III
pp
ppp
p pp
3 3
ppp
( )
p
ppp p
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ppp
II
pp
ppp
p pp3
ppp
( )
p
ppp p
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pp
ppp pp
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(h.)
p pp
3
Sampler
2
1
3
5
4
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(h.)
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1
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(h.)
B1
B2
B3
B4
B5
3 3
13
44
54
38
Perc.
Pno.
Vln.
Vla.
Vc.
pppp
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p
ppp
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8
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p
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8
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pp
6 6
pppp
(h.)
p
loco
ppp
7
p
7
(h.)
ppp
( )pppp
II
( )
p
ppp
9
p
9
(h)ppp
3 7 7
3
( )pppp
I
( )
p
ppp
8
p
8
(h)ppp
( )pppp
( )
p
ppp
7
p
7
(h)ppp
5
5
Sampler
5
3
4
2
1
(h.)
(h.)
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(h) (w)
34
18
78
24
58
24
Perc.
Pno.
Vln.
Vla.
Vc.
p
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ppp
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p
ppp
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15:q.
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p
3
(loco) pppp
ppp
p
ppp
ppp
15:q.
p
3
I
ppp( )
p
II
ppp
p
ppp
ppp
15:q.
p
3 3
p
ppp( )
p
ppp
ppp
14:q.
p
3
p
ppp
p
ppp
( )p
ppp
13:q.
p
3 3
Sampler
2
1
5
4
3 �
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(h)
2
(h)
(h)
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(q.)
54
24
38
516
24
34
58
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
�
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p
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ppp
(h)
loco
pp
ppp
p
ppp
III
ppp
pp
ppp
( )p
( )
ppp
II
ppp
pp
( )ppp
p
( )
ppp
II
ppp
pp
( )ppp
p
( )
ppp
Sampler
1
4
5
3
(h.)
�
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(h)
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(h)
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24
31
34
24
58
Perc.
Pno.
Vln.
Vla.
Vc.
pp
ppp
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pppp
ppppp ppp
edge
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8
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p
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8
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3 5 5
( )
pp
ppp
(h)
pppp
ppp
7
p
7
ppp3
II
pp
ppp
(h)
pppp
I
( )
ppp
10
p
10
ppp
3 36 6
I
pp
ppp
(h)
pppp
( )ppp
9
( )
p
9
ppp
3 7 7
I
pp ppp
(h)
pppp
ppp( )
8
p
8
ppp
3
3 5 5 3
Sampler
1
2
3
4
5
�
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3
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3
44
38
34
316
34
38
316
Perc.
Pno.
Vln.
Vla.
Vc.
pppp
ppp
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p
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3 3
( ) ( ) keyboard
pppp
p
8
ppp
8
p
6
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II
(h.)
ppp
9
p
9
ppp
mp
5 5
( )pppp
(h.)
( )
p
8
( )
ppp
8
( )
p ppp
mp
5 5
pppp( )
(h.)
7
p
7
ppp
mp
Sampler2
3
4
1
5
44
45
34
Perc.
Pno.
Vln.
Vla.
Vc.
discard
metal sheet( )
vibration speaker
on timpani
(rub on the head's centre)
p
Timpani
ppp
3
3 3 3 3
(pedal gliss.)
p
( speaker on string)
( )( )
ppp
3
( )
3 3 3 3
( )ppp
( )
(h.)
3 ( )
3 33 3
ppp( )
( )
(h.)
3
( )
3 33 3
( )
( )
ppp
C2
3
( )
3 3 3 3
Sampler4
3
1
2
5
C4
C5
C3
(h.)
C1
4
53
44
24
44
Perc.
Pno.
Vln.
Vla.
Vc.
Glockenspiel
Cluster with metal
bars on both rows.
Discard metal bar,
take speaker and
güiro
Güiro.
Rub speaker along
the surface
Top
3
Discard speaker.
Take metal bars.
mf
Bottom
pp(w)3
mf
Keyboard
( )
3
(h.)
on the bridge
pp ( )
slide vibration speaker
on the keys without
depresing them. Cover
the indicated ranges.
( )
( )
3
discard speaker
( )
3
(h.)
(h)
pppp
3
on the bridge
( )
3
(h.)
(h)
discard speaker 3
on the bridge
discard speaker
( )
3
(h.)
(h)
3
Sampler
1
4
2
5
3
D2
D1
60
716
28
34
316
58
316
44
38
24
Perc.
Pno.
Vln.
Vla.
Vc.
(w)
(h.)
(h)33
mf
rub piece of tyre
on the string
simile
( )
( ) ( )
( )( )
( )( )
( )( ) ( ) ( )
( )
( )
loco
( )
(w)
( )
( )
( )
( )( )
( )( )
( )( )
( )( )( )
3
pppp
arco
pp
sul pont.
9
ppppp
ord.
pp
ppppp(h)
(h)
sul pont.
p
13:q.
pp
pppp
arco
sul pont.
pp
8
ppppp pp
ppppp
ord.
p
12:q.
pp
pppp
(w)
arco
on the bridge's wood
pp
(h)
ppppp pp
ppppp(h)
(h)
p
(h)pp
ppppp
Sampler
1
2
3
4
5
5
34
70
58
44
316
34
24
34
516
Perc.
Pno.
Vln.
Vla.
Vc.
(h.)
(h) (h) (h.)
(h) (h) (h.)
3
( )
( )
( )
( )
( )( )
( )( )
( ) ( )
( )
( )
( )
( )
( )
( )
( )( )
( )( )
( )
( )( )
ppppp
ord.
p
sul pont. ord.
ppp
7:e.
ppppp
sul pont. (h.)
pp
10:5x
ppppp
sul pont.
p
ord. sul pont.
ppp
6:e.
ppppp
ord. (h.)
pp
9:5x
(h.)ppppp
(h)p
(h)ppp
(h.)
(h)ppppp
(h)
(h.)
pp
Sampler
5
2
1
3
4
79
34
24
58
316
44
38
34
44
Perc.
Pno.
Vln.
Vla.
Vc.
(h.)
(h)
(w)
(h.)
(w)3
( )
( )( )( )
( )( )( ) ( )
( )
( )
( )
( )
( )
( )( )( )
( )( )
( )
( )
( )
p
10:5x
ppp
ppppp
pp
8:e.
ppppp pp
(h)
on the wood of the bridge
ppppp
(h)pp
p
9:5x
ppp
ppppp
pp
7:e.
ppppp pp
on the wood of the bridge
(h)ppppp
(h)pp
p
(h.)ppp
(h)ppppp
pp(h)
(h)
ppppp
pp
(h.)
(h)ppppp
(h)
pp
Sampler
5
2
1
3
4
6
34
88
44
34
58
44
Perc.
Pno.
Vln.
Vla.
Vc.
discard güiro,
take kalimba
kalimba:
rub speaker on the tines
with a circular motion.
ppp
����
����
3
����
pp
����
33 3(h.) (h.)
keyboard
strings:
rub speaker on the strings
with a circular motion
within the indicated range.
���� simile
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3
����
pp
����
33 3
( ) (h.)
ppp
3 33 3
(h.)ppppp
(h.)
IIflautando
sul tasto
ppp
ord.
sul pont.
ord.
3
tasto ord.
pp
33 3
(h.)ppppp
(h.)
flautando
sul tasto
ppp
ord.
tasto ord.
3
sul pont.
ord.
pp
33 3
take speaker
(w)
I
(h) p
8
IV
ppp
(h)
3
33 3
Sampler
2
1
3
4
5E5
E1
E2
34
95
24
58
38
44
34
Perc.
Pno.
Vln.
Vla.
Vc.
����
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p
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ppp
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p
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ppp
5:q
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p
5:q
pp
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3 3 3 3 3
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mp
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p
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ppp
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p
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(h)pp
3 3 3 3 3
3
3 3 3 3 3 3
sul pont.
ord.
ord.
tasto ord.
tasto ord.
pont.
tasto ord.
3 3 3 3 3 3 3
tastoord.
p
p
ord.
pp
pp
pont.
ord.
p
p
pont.
ord.
tasto
pont.
ppp(h)
(h)ppp
p
p
(h)
(h)
pp
ord.
pp
3 3 3 3 3 3 3
pp
p
(h)ppp p pp
3 3 3 3 3 3 3
Sampler
2
3
1
4
5
p
7
(h)
44
103
38
58
24
34 4
4
Perc.
Pno.
Vln.
Vla.
Vc.
����
3
����
3p
����
pp
����
ppp
����
����
3
����
5:q
p
5:q
����
����
3
ppp
����
3
���� ����
3 3 3 3
����
3
����
3
p
���� ����
ppp
���� ����
3
����
p
���� ����
3
����
ppp
����
3
���� ����
3 3 3 3
3
3
pp
3
3
3
3 3 3 3 3
pont
tasto 3
ord.
3
pont.
ord.
pont.
ord.
3
tasto ord.
tasto 3
ord.
3
pont.
ord.
3 3 3 3 3
tasto
pont
3
ord.
3
p
tasto
p
pp
pp
ord.
ppp
ppp
tasto ord.
3
p
p
ord.
pont.
3
ppp
ppp
ord.
3
tasto ord.
3
3 3 3 3
3
3
p
pp
ppp
3
p
3
ppp
3
3
3 3 3 3
Sampler 3
1
4
5
2
110
58
38
24
316
34
44
Perc.
Pno.
Vln.
Vla.
Vc.
����
3
����
����
6:q.
p
6:q.
ppp
����
����
6:q
p
circles as fast as poss.
...
discard kalimba3
����
3
����
6:q.
mp
6:q.
pp(h)
����
discard speaker
mf
3
tasto 3
ord.
pont.
mp
pp
ord.
tasto
mf
tasto
pont.
pppp
take speaker
pont.pont. pont.
3
ord.
tasto ord.
mp
pp
ord.
mf
tasto (h.)
pppp
take speaker
3
mp
pp
(h.)mf
(h.)
pppp
Sampler
1
2
5
4
3
8
119
34
14
24
Perc.
Pno.
Vln.
Vla.
Vc.
Timpani
ppp
Rub in circular motion along the membrane's edge.
(Only 1 circumference!)
����
take hard mallets
p
tubular bells
pppp
(simile: let vibrate always)
5 5 5 5 5
Pedal
p
(loco)
Keyboard
pppp
5 5 5 5 5
III rub speaker on string
� �
Speaker spiccato on the bridge.
Right and left overall
motion as indicated.� � � � � �
5
II
II
(w)
ppp(w)
rub speaker on string
ppp(w)
(w)
(h)
(h)
8
7
p
p
� �
pp
Speaker spiccato on the bridge.
Right and left overall
motion as indicated.
pp
� �
pp
pp
pp
pp
�
�
pp
pp
pp
pp
�
pp
pp
�
5
ppp
9
p
� �
Speaker spiccato on the bridge.
Right and left overall
motion as indicated.
pp
� �
pp
pp
� pp
� pp
�
�
pp
5
Sampler
2
1
3
4
5
(w)
B1
B5
B3
B4
(w) (h)
F3
F4
F5
126
34
24
34
Perc.
Pno.
Vln.
Vla.
Vc.
pp
pppp
pp
pppp
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
pp
pppp
pp
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
pppp
� �
pp
�
pp
�
pp
�
�
pp
pp
�
�
pp
5
pp
�
�
pp
5
pp
�
pp
�
pp
� �
5 5 5 5 5 5 5 5
�� �
pp
�
pp
�
pp
�
�
pp
pp
�
�
pp
5
pp
�
�
pp
5
pp
�
pp
�
pp
��
5 5 5 5 5 5 5 5
� �
pp
�
pp
�
pp
�
�
pp
pp
�
�
pp
5
pp
�
pp
�
5
pp
�
pp
�
pp
� �
5 5 5 5 5 5 5
5
Sampler
2
1
4
3
5
9
24
133
34
Perc.
Pno.
Vln.
Vla.
Vc.
pp
5
pppp
5
pp
pppp
5 5 5 5 5 5:4x 5 5 5
pp
5
pppp
5
(damping pedal)
simile 5 5 5 5 5 5:4x 5 5 5
pp
pppp
� �
pp
�
�
�
pp
pp
�
�
pp
pp
�
5
pp
�
5
pp
� �
pp
�
5
5 5 5 5
� �
pp
� �
�
pp
pp
�
�
pp
pp
�
5
pp
�
5
pp
� �
pp
�
5
5 5 5 5
� �
pp
� �
�
pp
pp
�
�
pp
pp
� 5
pp
� 5
pp
� �
pp
� 5
5 5 5 5
Sampler
5
1
4
3
2
142
24
34
24
Perc.
Pno.
Vln.
Vla.
Vc.
pp
pppp
5
5
ppppp
5 5 5 5 5 5 5 5 5 5
pppp
5
5
ppppp
5 5 5 5 5 5 5 5 5 5
pp
�
�
�
�
pp
�
�
5
pp
�
5
�
pp
�
pp
� �
�
pp
�
ppp
5
5
5
5
5
55 5 5 5
pp
�
�
5
pp
�
5
�
pp
�
�
pp
�
pp
� �
ppp
5
5
5
5
5
55 5 5 5
� �
pp
�
�
5
pp
� 5
pp
�
�
pp
� �
pp
� �
ppp
5
5
5
5
5
55 5 5 5
Sampler
1
4
2
3
5
10
14
152
44
78
34
24
58
24
Perc.
Pno.
Vln.
Vla.
Vc.
Discard mallets.
Take speaker and
plastic box lid.
R.H.
-R.H: Cardboard box. Rub speaker with a circular motion
����
ppp
5:q
p
����
7
pp
����
p
����
����
pp7
����
pppp
����
7
����
7
7 7 7 7 7 7
L.H.
-L.H: Glass sheet. Slide plastic box lid with almost no pressure
ppp
���� ���� ����
7
����
���� ���� ���� ����
7
7
7 7 7 7 7 7
Take plastic box lid.
keyboard
p
pp
Slide plastic box lid on the keyboard lid
with almost no pressure
ppp
���� 7
���� ���� ����
���� ����
7
7
7 7 7 7 7 7
discard speaker,
take bow
arco
sul pont.
I
pp
7
(vibr)
ppp
(arco brush)
p
ord
pp
(vibr)
pppp
7
7
7 7 7 7 7 7 7
(arco brush)
discard speaker,
take bow
arco
sul pont.
I
pp
7
(vibr)
ppp
p
ord
pp
(vibr)
pppp
7
7
7 7 7 7 7 7 7
discard speaker,
take bow
arco
sul pont.
I
pp
7
(vibr)
ppp
(arco brush)
p
ord
pp
(vibr)
pppp
7
7
7 7 7 7 7 7 7
Sampler
1
2
3
4
5
G1
161
38
24
Perc.
Pno.
Vln.
Vla.
Vc.
����
7
pp
����
p
����
pp
����
����
����
7
p
pp
7
����
pppp77 7 7 7
����
7
���� p
����
pp
���� ���� 7
7
7 7
ppp
p����
pp
����
���� 7
����
���� 7
7
7 7
7
(brush)
7
7
ord.
77 7 7 7
7
pp
pp
(brush)
p
p
pp
pp
p
p
pp
pp
ppp
ppp
7
p
p
pp
pp
7
pppp
pppp
ord.
77 7 7 7
7
pp
(brush)
p
pp
ppp
7
p
pp
7
ord.
pppp
77 7 7 7
Sampler
1
2
5
3
4
p pp
11
171
58
24
34
78
Perc.
Pno.
Vln.
Vla.
Vc.
����
����
pp
p
����
pp
7
����
7
7 ppp
����
pp
����
7
pppp
����
����
(circles as fast as poss.)����
������������ ...
7 7 7 7 7 7 7 7
���� ���� ����
7
���� 7
7
���� ���� 7
���� ���� 7 7 7 7 7 7 7
ppp
pp
ppp
���� ���� ���� 7
���� 7
7
���� ���� 7
����
����
7 7 7 7 7 7 7
(vibr)
(brush)
pp
p
pp
(vibr)
7
7
7
ppp
(brush)
pp
ord. (vibr)
7
pppp
7 7 7 7 7 7 7 7
(vibr)
(brush)
pp
p
pp
(vibr)
7
7
7
ppp
(brush)
pp
ord.
(vibr)
7
pppp
7 7 7 7 7 7 7 7
(vibr)
(brush)
pp
p
(vibr)
pp
7
7
7
ppp
(brush)
pp
ord.
(vibr)
7
pppp
7 7 7 7 7 7 7 7
Sampler
1
2
5
3
4
180
34
58
14
Perc.
Pno.
Vln.
Vla.
Vc.
pp
... Discard speaker.
Take metal chains
ppp
Glockenspiel.
Lightly rub chains on the diatonic and chromatic bars
with a constant circular motion. Follow a gradual ascending direction.
Two or more chains per hand.
pppp
Discard metal bars.
Take speaker & superball.
����
pppp
rub piece of tyre
on string
discard pieceof tyre
pp
Take piece of tyre
p
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
����
(highest possible artificial harmonic)
pp
pppp
(highest possible artificial harmonic)
pp
pppp
(highest possible artificial harmonic)
pp
pppp
take speaker
Sampler4
2
5
3
1
12
44
187
24
Perc.
Pno.
Vln.
Vla.
Vc.
R.H.
ppp
Rub speaker
Timpani
p
ppp
p
ppp
p
ppp
p
Pedal
L.H.
ppp
Rub superball
p
ppp
p
ppp
p
ppp
p
keyboard
p
pppp
pp
pp
pppp
pppp
pp
III
legno
pppp
ord
ponte
ord
tasto
gliss. ord
ponte
ord
tasto
ord
tasto
ponte
legno
pppp
ord
IV
pp
ponte
pp
ord
pppp
tasto
pppp
gliss. ord
ponte
pp
pp
ord
pppp
pppp
tasto
pp
pp
ord
ppp
ppp
tasto
ponte
pp
pp
legno
pppp
ordIV
ponte
ord
tasto
gliss. ord
ponte
ord
tasto
ord
tasto
ponte
Sampler4
2
5
3
1
H1
pp pppp pp pppp pp ppp pp
197
38
24 3
8
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
p
ppp pp
p
pp
p
pp
p
pp
p ppp
p
ppp
ppp
p
ppp pp
p
pp
p
pp
p
pp
p ppp
p
ppp
ppp
pp
take speakerpp
ppp
pp
ppp
ord
pppp
tasto
ord
ponte
pppp
tasto
ord
tasto
ord
ponte
ord
tasto
ppp
ord
pp
ord
ppp
tasto
ord
ponte
ppp
ord
tasto
ord
tasto
pppp
ponte
pp
ord
ord
pppp
tasto
ord
pp
ponte
pp
pppp
tasto
ppp
ord
ppp
tasto
ord
pp
ponte
pp
ord
ppp
tasto
ord
pp
ord
ppp
tasto
ord
ponte
pp
pp
ppp
ord
tasto
pp
ord
pp
tasto
pppp
pp
ponte
ord
ppp
ppp
ord
pppp
tasto
ord
pp
ponte
pppp
tasto
ppp
ord
tasto
ord
pp
ponte
ord
tasto
ppp
ord
pp
ord
ppp
tasto
ord
pp
ponte
ppp
ord
tasto
pp
ord
tasto
pppp
pp
ponte
ord
ppp
Sampler
1
4
2
5
3
13
34210
44
58
44
Perc.
Pno.
Vln.
Vla.
Vc.
take metal bars
mp
Tubular bells:
cluster with metal bars
on the diatonic and chromatic
rows.
ppp
rub vibration speaker
on string
3
8p
pp
rub speaker
ppp
3 3 3 3
(keyboard)
p
keyboard
ppp
take speaker
IV
Rub speaker with a
very slight circular
motion following the
general outline
ppp
ord
pp
ppp
circles
crine,
on the bridge's wood
ppppp
(w)
(w)
(w)
( q.)
7
pp
take speaker
crine,
flautando alla punta
ppppp
��������������������������������������������������������������������������������������������
sul tasto
molto sul tasto
6
pp
take speaker
Sampler
2
1
4
5
3
A2I3
I2
24
216
38
44
24
34
38
78
34
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
Litophone (rub pebble in circles)
����
pp
ppp
����
pp
ppp
����
pp
����
ppp
(h)(h) (h.) (h)
pp
ppp
pp ppp
pp ppp
pp
ppp
pp
ppppp
ppp
III
ord
(h)pp
ppp
ord
ppp
ord
pp
(h)ppp
ord
pp
ppp
ord
(q.)pp
ppp
ord
(h.)
pp
ord
ppp
(h)
Rub speaker with a
very slight circular
motion following the
indicated general
direction
I
ord
(h)pp
ppp
ord
pp
pp
ppp
ord
pp
(h)
ppp
ord
pp
ord
ppp
(q.)
pp
ppp
ord
(h.)
pp
ord
ppp
(h)
Rub speaker with a
very slight circular
motion following the
indicated general
direction
(h)pp
ppp
ord
pp
ppp
ord
pp
(h)ppp
ord
pp
ord
ppp
(q.)pp
ppp(h.)
pp
ord
ppp
(h)
Sampler
1
4
2
3
5
I4
I5
14
78
226
38
34
44
24
44
Perc.
Pno.
Vln.
Vla.
Vc.
����
pp
����
ppp
pp
����
ppp
����
p pp
8
mp
8
pp
5 5 5 5
L.H: take speaker rub speaker on the stone sheet in circles
8
8
5 5 5 5
pp
(h)
ppp
pp
(h.)
(h.)
ppp
p
ppp
p
ppp
ord
pp
(h)
ppp(q.)
(h.)
pp
(h.)ppp
ord
p
discard speaker, take bow
ord
pp
(h)
(q.)ppp
(h.)pp
(h.)ppp
ord
p
ord
pp
(h)
(q.)ppp
(h.)pp
ppp
(h.)
ord
p
discard speaker, take bow
Sampler
1
4
2
5
3
A1
34
233
38
58
Perc.
Pno.
Vln.
Vla.
Vc.
rub speaker on sandpaper
with a regular circular motion
p
ppp
p ppp
5
pp
ppp
p
pp
ppp
p
5 5 5 5 5 5 5 5 5 5 5
ppp
����...
sul pont
p
7
ppp
p
7
ppp
5
5
pp
5
5
ppp
p
7
ppp
p
7
ppp
5 5 5 5 5 5 5 5
I
pp
7
7
5
5
5
5
7
7
5 5 5 5 5 5 5 5
sul pont
p
J2
6
ppp
p
6
pp
ppp5
pp
5
ppp
p
6
ppp
p
6
ppp
5 5 5 5 5 5 5 5
Sampler
4
1
2
5
3
J4
15
38
240
34
24
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
pppp
5 5 5 5
(irregular vibr.)
ord.
pppp
7
7
7
ppppp
( ) 5
5 5 5
II
(irregular vibr.)
pppp
ord.
ppppp
Sampler
1
2
3
4
5
249
44 1
4516
24
316
Perc.
Pno.
Vln.
Vla.
Vc.
pppp
Tubular bells
with very soft mallets
take plastic
box lid
glass sheet:
rub plastic box lid
pebbles (stir)
ppp
ppp
Slide contact speaker
on the keys without
depresing them.
( )
ppp
Keyboard
(keyboard)
rub speaker on
sandpaper
ppp
take speaker
IV
pp
rub speaker
(w)
IV(w)
(w)
(IV)
pp
rub speaker
take speaker
pp
IIVrub speaker
Sampler4
5
3
1
2
F4
C2
16
A3
A5
A4
28
257
38
716
516
28
38
78
316
716
38
Perc.
Pno.
Vln.
Vla.
Vc.
Sampler4
2
5
3
1
28
267
54
58
24
38
Perc.
Pno.
Vln.
Vla.
Vc.
pppp
p ppppp
take metal sheet
and speaker
take pebble
pppp
Litophone (rub pebble)
p
rub piece of tyre
on string
f
discard speaker,
take piece of tyre
discard speaker, take bow
arco
ppppp
molto sul pont.
mp
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
(behind the bridge)
I on the bridge
(behind the bridge)I
on the bridge
Sampler
1
2
3
4
5
C4
C5
17
44
276
38
34
38
316
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
�
Metal sheet:
rub speaker on the sandpaper.
pp
�
ppp
�
�
pp
�
�
�
ppp
�
pp
�
�
ppp
�
pp
3 3 3 3 3 3 3 3 3 3 3 3
ppp pp
pp
3 3 3 3 3 3 3 3 3 3 3 3
ppp
pp ppp
pp ppp
K1
Sampler3
1
4
2
5
316
283
38
34
316
34
44
14
Perc.
Pno.
Vln.
Vla.
Vc.
rub speaker in
regular circles ...
p
circles as fast as poss.
...
moderate speed
...
ppp p
as fast as poss.
...
moderate speed
...
pppp
pp
take speaker
ppp
p
Rub speaker in circles
IV
ppp
(h)
p
circles as fast as poss.
(h)
regular speed
ppp
(h.)p
(w)
regular speed
pppp
Rub speaker in circles
III
Rub speaker in circles
ppp
(h)
p
circles as fast as poss.
circles as fast as poss.
(h)
regular speed
regular speed
ppp
(h.)
p
(w)
regular speed
regular speed
pppp
ppp
I
(h)
p
(h)
ppp
(h.)
p
(w)
pppp
Sampler3
4
2
5
1 B1
B3
B4
B5
18
24
291
14
54
44
24
14
44
38
Perc.
Pno.
Vln.
Vla.
Vc.
ord.
����
� � ��
�
�8
�
�
p
�
�
�
8
�
��� �
�
ppp
pp
�
ppp
pp
6 6
ppp
rub speaker on string
ppp
7
p
7
(h)ppp
pp
ppp
pp
ppp
IVord.
9
p
9
(h)
circles
(w)
ord.
3 7 7 3
ppp
III
circles
ord.
8
p
8
(h)
ppp
ppp
(w)
pp
pp ppp
ppp
pp
pp
circles
ppp
ord.(I)
(h)
7
p
7
(h) (h)
ppp
pp
(w)
ppp pp
5 5
Sampler
1
2
5
4
3
L2
L1
L3
L4
L5
�
�
�
�
�
�
�
�
24
299
34
14
24
14
24
34
14
Perc.
Pno.
Vln.
Vla.
Vc.
ppp
p
� ppp
p
ppp
�
pp
rub in circles
...
�
ord.
�
�
�
15:q.
��
�
�
ppp
�
pp
ppp
3
ppp
(h)p ppp
p ppp pp
14:q.
ppp
pp
(h)
ppp
3
3 3
ppp
p
ppp
p ppp pp
13:q.
ppp
circles
3 3
(h) (h)
p ppp pp
12:q.
ppp
pp
(h)
ppp
circles
33
Sampler
2
3
4
5
1 �
�
�
�
�
�
19
�
�
�
24
309
78
34
14
24
58
34
14
24
Perc.
Pno.
Vln.
Vla.
Vc.
�
pp
�
�
p
�
ppp
pp
circles
...
ord.
ppp
pp
ppp
p
ppp
p
ppp
pp
pp
(h.)
ppp
circles
Sampler4
3
5
2
1
�
�
�
� �
�
38
318
34
44
14
54
14
Perc.
Pno.
Vln.
Vla.
Vc.
�
�
p ppp pp pppp
Sampler
2
5
1
3
4
20