portfolio of music compositions vol. i of iii...
TRANSCRIPT
PORTFOLIO OF MUSIC COMPOSITIONS
Vol. I of III
DEMETRIS EFSTATHIOU
Ph.D Thesis 2014
PORTFOLIO OF MUSIC COMPOSITIONS
DEMETRIS EFSTATHIOU
Vol I of III
Commentary
School of Media, Music and Performance
University of Salford, Salford, UK
Submitted in Partial Fulfillment of the Requirements
the degree of Doctor of Philosophy, January 2014
ii
Table Of Contents
Table of Contents…………………………………………………………………...………..ii
Acknowledgements……………………………………………………………………..........iv
Abstract………...………………………………………………………………………….....v
Scores in chronological order……………………………………………………………....vii
Chapter one - Introduction……………………………………………………………….....1
Nostalgia (violin, guitar and piano)
Chapter two - Exposition…………………………………………………………………....11
Overview
Regeneration (piano trio)
- A comparison of two performances
Ordination (four clarinets in Bb)
Nos dec (string quartet)
Chapter three - Development……………………………………………………………….27
Exelixis (chamber orchestra and voice)
- Relationship between Pitch and Noise
Chapter four - Recapitulation……………………………………………………………....32
Quantum (orchestra)
iii
Conclusion - Coda…………………………………………………………………….…..…37
Bibliography - References…………………………………………………………..…........39
iv
Acknowledgements
I would like to express my gratitude to the following people:
(in no particular order)
The Trio dell‟ Arte: Tommys Neofytou , Frederic Dupuis and Emilie , Members of Ricochet
string quartet: Pavlov Andrii, Patsovskyy Igor, The pianist Tavanets Dmytro, The director of
KLK New Music: Andrea Di Paolo, The KLK New Music, The Royal Academy of Music,
The Salford music Dep. Research Committee, for every kind of support the offered.
Alan Williams for his patience and perseverance in supervising my work – an unenviable
task, no doubt, but one which has offered me countless opportunities to improve and clarify
my musical and creative thinking.
Special recognition goes out to my parents, Antolios and Marina Efstathiou for their support,
encouragement, and patience and for every sacrifice they made in their vital help towards me.
Finally I would like to thank my fiancée Evangelia Siambouri, who inspired me and provided
constant support during the entire process.
v
Abstract
The following pages form a commentary on my own thoughts, notes, sketches and
final printed texts of six pieces written between 2009 and 2013. The purpose of the text is
twofold: to inform the reader of the intentions and poetic impulses of the composer and to
make an accompanying statement for a researcher or musicologist who might attempt an
actual analysis of the pieces. It is not, in my view, the work of a composer to self-analyze the
extensively or to deconstruct the entities that are represented by finished compositions.
However, the commentary itself is a reflection of the music – a personal account of what was
important during the creative stages of „inventing‟ a music the very essence of my thoughts
during the period when I composed the music. In that it is, unquestionably, the most
complete, appropriate and succinct account the composer might offer, regarding the thoughts
behind the sounds.
From a technical point of view, the methods I used for the compositions in this
portfolio range from using scalar formations and basic techniques such as inversions,
permutations, augmentations or diminutions of materials1 all the way to more abstract
methods of organising sound, whereby the choice of register, for example, is the outcome of a
correspondence with an extra-musical narrative.
The structure of my commentary is that of a sonata, with this abstract being the motif.
After an introduction (Nostalgia – „what is silence?‟), I start out with a triple exposition
(Regeneration – Ordinatio – Nos dec), continue with a development (Exelixis, meaning
literally „development‟) and finish off with a recapitulation (Quantum, where the themes of
1 during the writing of the works, not necessarily evident in the final texts.
vi
the exposition and the recapitulation meet). The coda is a resounding „confession‟ that if little
has been achieved, much has been questioned in the process. Why the sonata form? A
commentary on certain structures ought to be structured in an opposite way.
vii
Score in chronological order
No. Year(s) of
composition
Title and instrumentation of the work Duration ca.
1 2009 Nostalgia, for Violin, Guitar, Piano 9‟. 40‟‟
2 2009 Regeneration, for Piano Trio 10‟. 12‟‟
3 2010-11 Ordinatio, for 4 Clarinets in Bb 9‟. 54‟‟
4 2011-12 Nos Dec, for String Quartet 10‟. 15‟‟
5 2012 Εξέλιξις (Exelixis), for Chamber Orchestra
and Solo Voice
10‟. 26‟‟
6 2013 Quantum for Orchestra 25‟. 10‟‟
1
Chapter One
introduction
Nostalgia
for violin, guitar and piano
This commentary will commence with a discussion of Nostalgia, a piece which is very
different from all my other works in this portfolio in a very basic respect: the pitch material
used in the work is not organised in a methodologically meaningful way; i.e. the choice of
notes, dynamics, chordal formations and melodic shapes does not adhere to a systematic
process. In actual fact, even the choice of instrumentation was rather impulsive and involved
little forethought; my intention in setting out to write the work was to shift emphasis from
conventional means of organising a composition to less obvious but equally crucial points of
consequence. In doing so, I was immediately faced with the task of controlling my own
intuition to avoid authoring what might result in meaninglessness – another, non-specific
layer of organisation stems from intuitive writing. However, far from being a problem, these
unconventional or seemingly crude beginnings proved to be a viable and fruitful creative
platform.
Once a traditional discourse in pitch organisation has been abandoned, sound events
can become almost non-hierarchal, empty gestures that invite a counterpoint from another
field of dramatic, musical activity – perhaps from the intervention of the performing hand. It
was whilst writing those fairly spasmodic, automatic and arbitrarily varied series of musical
gestures for Nostalgia that it occurred to me that the substance of cohesion and poetic
2
variation missing from the work was the organisation and inspection of silence as something
which contains systematic possibility not merely by its duration, but by its position and
influence on other sound events. There is little one may notate with regards to silence, without
using words; I chose to notate very simply with little allusion to extra-musical meaning. In a
way, Nostalgia is about silence engulfing, interjecting or interrupting sound materials and
transforming the succession of events into music. This is not to suggest that silence is a form
of remedy for unorganised sound. It does not suggest a „lack‟ of organization, but a musical
space where „lacking‟ and „sufficing‟ are irrelevant notions. On the contrary, if the study of
Nostalgia was to draw conclusions, the basic conclusion would be that silence must be2 an
absolute equal to sound in music making. By absence, presence or design.
Nostalgia is characterised by long pauses which are generally points of interchange
between stillness/silence and the sound of musical instruments. The basic theme is the
presentation of different „timbres of silence‟. Throughout the work, everything emanates from
silence3; a number of silent tones are present at the beginning and towards the end of the
music. Scholarly debate and creative precedent concerning this structural approach is
considerable and some discussion of known thoughts and influence is appropriate. According
to Metzer (2006, p.338) for instance, “music is inherently dependent on silence, particularly
when an artist wants to distinguish between silence and other periods of sound as well as
allow the dynamics, rhythms and melodies to have greater impact on the piece”. Reading
Metzer confirmed a comforting suspicion for me, namely that my own thoughts were not new
and that I shared them with others, possibly countless others in music history and pre-history.
2 this imperative is used with some degree of conviction
3 in spite of the order of writing, as described previously
3
On the one hand my discovery no longer held its former naive excitement, on the other hand
my readings on the subject helped me reconsider and scrutinize my own thoughts.
In a similar way, but also to a much larger extent, composing Nostalgia was
influenced by the use of silence in the works of Wolfgang Rihm and John Cage. John Cage
negotiated silence as a central musical event in both his writings and music. His well-known
experimental4 work, 4’33”, consists of 4 minutes and 33 seconds of silence, “with the
intention to highlight the ambient sounds around the listeners”(Campbell, 1992, p.88). In spite
of the work having been both „spiritualized‟ and mocked by thousands of music students and
others, it is nonetheless an extremely interesting proposition which I felt I had to think afresh
and consider extensively. Cage continued his singular employment of silence in his piece
Waiting from 1960, where the piano is the instrument of choice. In Waiting, a deep sense of
anticipation pervades through the piece. A couple of delicate ostinato phrases are repeated and
followed by an ever-shorter silence. This can be viewed and heard as a methodical exercise in
sound/silence counterpoint5. In Nostalgia, I attempted the same counterpoint for a different
reason, i.e. to allow the intention of silence to become integral in the flow of the music. The
notation is mensural and the fermatas are not mere punctuation points but parts of the music.
Ascertaining their duration in both the composition of the piece and its performance being the
operative criterion that distinguishes between a pause and a silence.6
4 in my view the term „experimental‟ is a musicological enigma; its use here is colloquial.
5 I use the word counterpoint to emphasize the organic and contrasting relationship between sounds and silence
and without allusion to the technique of tonal counterpoint.
6 However, this distinction will not be observed in the wording and course of my analysis for reasons of
philological continuity. It is, at any rate, a distinction which I deem true and central to my music and its
performance, but am not yet confident to discuss. Sometimes a commentary has to include a „no comment‟
clause.
4
Wolfgang Rihm is another composer of influence who has also used silence
structurally in his work. Chiffre IV, for example, may be divided into four distinct sections
with a short codetta at the end. Rihm has written long pauses to „dispel‟ pitch collections, as it
were. Here, a rest becomes a cadential tension-release device and silence has been used both
for articulation and active textural/semantic functions. Rihm argued that, as composers, “we
must always be shaken by the energy of the music or we must fall silent before it becomes
void” (Rebhahn, 2012) I have found this statement, pertaining to the striving towards severe
economy and compact meaning, both interesting and enigmatic; inevitably it has become a
statement of some influence for me. Silence, it seems, holds a very different meaning for
Rihm, that of moments of musical catharsis.
Both Wolfgang Rihm and John Cage have emphasised the idea of language in their
pieces as opposed to the idea of structure: consequently my commentary presents an analysis
of the use of silence as a stylistic feature in Nostalgia and how this style relates to my
research aims both as a philosophical point of reference and as a general mien.
Silence within music is often overlooked “given its subtle articulation of the
relationships between pitched and un-pitched sounds” (Clifton, 1976, p.163). Clifton (1976)
cites Cage‟s argument that silence serves a purpose of open possibilities: discerning
heterogeneous noise, assimilating what is thought of as extramusical into music. Silence must
be considered within the context in which it occurs as a meta-sound (environment), creating a
relationship between itself and immediately sounding elements. Clifton goes on to illustrate
how silence may surprise and disrupt the anticipation of subsequent events or, more
intricately, redirect or heighten the listener‟s anticipation. Overall, he maintains that silence
functions as a medium of articulation in the linear or non-linear narrative of the music: pauses
5
aim to shift the listener‟s attention. The particular use of silence is, therefore, a musical
element which acquires and administers a counterpoint of overtones and undertones through a
reciprocal relationship to sounds. This simple poetic position is, in a way, a pre-requisite for
my own music.
At this juncture it is worth noting that this is not a new musical concept. In a way, the
poetic use of silence can be traced back to the common practice period, however, in its
Romantic and Classical guise moments and periods of silence are not always employed in a
deliberate and gestural poetic manner but are often a by-product of metrical and phrasal
conventions. If one may comment from a relative distance, one may deduce that accurate and
astute performances of older music ought to contain a deep understanding of the nuances of
silence. This is mentioned here in order to clarify that the importance of silence is almost
inevitable and „ecumenical‟, outside of the stylistic and historiographical conditions and
trends it may exist in. My own work and commentary is contemporary and contained in what
is known to be „new music‟; there is no scope for historical musicology in here, but the point
is made as some degree of reference to musical „archaeologies‟ has transpired necessary and
illuminating.
My creative impetus and my choice of certain types of silences have also drawn from
extra-musical paradigms. Outside of music, silence is often used as a means of
communication in a number of areas, including during spiritual/religious practice or in non-
verbal contexts. Indeed, silence merely acts as a catalyst towards obtaining the freedom to
identify and experience surrounding environments, whilst it may still be observed itself. In
some cultures, silence is widely used during rituals or meditation. Stylistically, its
occurrencemay be an effective means of encouraging the creation and experience of balance,
6
harmony and concordance in any situation. Similarly, the appearance of silence in a
composition should not be misconstrued as the absence of „element‟, but the invitation of
unifying constituents that are, in some ways, less tangible and obvious. A musical sound may
become monotonous upon unnecessary repetition. It is true that there is much fine music that
requires very little silence; J.S. Bach‟s music offers the obvious example where the music
offers very little in the direction of structural silence but where musical flow is undisputed.
My discussion of silence is not and may not be mistaken for a polemic against music that is
continuously „busy‟ or even monotonous. However, balances and forms created in Nostalgia
by interchanging between stillness/silence and the sounds of musical instruments, have
provided both the punctuation and cohesion which I was looking for in order to maintain an
interesting flow of events.
I would hesitate to be too specific about something which is, in a way, seeking to
portray unspecific qualities, but a few particularities may be discussed. To begin with,
Nostalgia employs different timbres of silence, or more simply put, the space a silence
occupies is defined by the precedent and following sounds; equally, the precedent and
following sounds are defined by the intervening silence. In fact, silences precede and follow
intervening sounds: an „equal counterpoint‟ is at the heart of the composition.
The piece is designed to be perceived as a series of events involving long pauses,
which are necessary for an interchange between stillness/silence and the sounds of the
musical instruments. Each component carries with it a distinctive purpose to provide a
variation of musical flow in order to engage and capture the listener‟s attention, even during
pauses (anticipation). A central aim of mine, given all the above, was to provide a musical
environment in which silence becomes an equally important part of the performance for the
7
performer and for the listener, not just the composer. To be more specific, my aim was to
write a text which would require that the listener treats sounds and silences in the same way,
before being able to appreciate the content of the composition.
Moreover, in Nostalgia I aimed to indicate and notate the release of tension as a
product of silence following sounds or, conversely, the accumulation of tension when
anticipating new sounds within a silent duration – this one might call the psycho-acoustic
„timbre‟ of silence. In general, the length of pauses and silences, the „magnitude‟7 of silences
and the duration between periods of silence in any piece has a significant impact on the
listener which I felt had to be a central point of my poetic judgments. A typical example of
the use of interchange between sound and silence to release or create tension is bar 3 which is
preceded by a long period of silence that helps to raise tension, followed by a guitar
crescendo. In bar 79, the piano‟s absence separates the music and this is intended to serve as a
release of tension, altering the nature of the high-pitched violin sound. Overall, it would be
accurate to describe most of the ensemble changes from duet to solo to trio and the tutti
silences as variations of tension and release which punctuate the music but more importantly,
provide a cohesive gestural environment for the sound events.
The orchestral use of silences, i.e. the principle of punctuating masses of symphonic
sounds with silences, is a classical device and it seems almost redundant to analyze the point.
Almost but not quite; as verbose writing can never be over-criticized. Fragmented by
7 a period of silence has, I believe, more than a duration; it holds the echo of the precedent events and the
promise of the following events. I use the word „magnitude‟ to hint at this secret theatre which defines the
quality of a pause and the pacing of a music.
8
definition8, Nostalgia hovers between instrumental sounds and silence. While sound is
mediated by silence, silence is equally mediated by the sounds of the instruments. This results
in a disengagement from a linear flow and a cohesion that owes much to counterpoint
between sound and silence. The instrumental sounds do not grow together as a whole but
remain the components of something more important and central, outside themselves, their
capabilities for expression and communication. The above is more specifically manifested by
my use of orchestration in conjunction with the pitch material used, Nostalgia makes use of a
single scale transposed three times and presented in its retrograde form once. For the purposes
of clear reading I name the mode I am using „A‟, its retrograde form „AR‟ and its three
transpositions „A1‟, „A2‟ and „A3‟(figure 1).
8 a literary allusion is allowed here. The discussion of nostos by Homer is one of the most striking events in
Greek literature; this is not least achieved by the fragmentation of memory and the dislocation of the narrative
from a linear disclosure of events.
figure 1 – Nostalgia -A, A1, A2, A3, AR
9
The following table shows the structural „canon‟ that forms the basis for the
organisation of pitch:
Instruments/bars 1-43 44-59 60-79 80-95
Guitar A A A A
Violin A3 A2 AR A3
Piano (right hand) A1 A1 A2 AR
Piano (left hand) A2 A3 A1 A1
The harmonic constant in the work is the material played by the guitar (A). A1, A2
and A3 share three commont tones with A and are both present in the first half of the work.
AR shares three tones with A and is present in the second half of the work. This creates a
sense of absence of one extra tone and is a form of harmonic „silence‟ as it were – a lessening
of the harmonic tensions available. Moreover, as time passes A and its transpositions are
established from an intervallic point of view and when AR is introduced there appears to be a
loss of stability. This may not be mistaken as an introduction of new material – on the
contrary this new sound formation is a silence: it is a similar sound, born and resembiling of
A but its sole purpose is to obscure the quality of the music as it stood so far.
There is a musical movement which best illuminates and highlights my own interest
in the potential that silence has to “unmoor the roles of performer, composer and listener and
to connect presence and representation while drifting freely in the tides of conceptualization”
(Kim-Cohen, 2009, p.167): the „Wandelweiser Collective‟. Melia and Saunders (2011, p.450)
describe the collective‟s focal point as follows: “silence [occupies] a large share of the often
extended performances, with harmony, rhythm and melody playing (at best) a subordinate
role or, perhaps, no significant role at all. It was in fact Melia (2011) who furthered the
10
investigation of silence in the music of the collective. Highlighting this attitude became my
own incentive when composing Nostalgia; silence, it transpired, is as much about its very
nature as it is about increments of duration, time and place. Mine became a deliberate
attempt9 to allow duration, time and place to play a unique role in the listening experience:
“cutting a hole in the musical fabric and jerking the „carpet of sounds‟ from underneath the
listener who is left to hover over an „abyss‟ of temporary silence.” (Melia and Saunders, 2011,
p.447). Another member of the collective Jürg Frey maintains that there are many different
types or categories of silence (Warburton, 2001). This could generate a thesis in itself, but in
its simplest form, the position poses the question whether a silence serves to interrupt a music
with its intangible, ambient responses or whether a music interrupts a silence with its
inherently organized, self-contained meanings. From a performance point of view, the degree
to which the performer will choose to listen to the audience and involve its sounds in the
performance is a matter of interpreting the dynamic exchanges inherent in any score. Notating
then, becomes a case of making a psychographical map for the performer, rather than
dictating a number of prescriptions or events.
To conclude this first chapter about Nostalgia, what best encapsulates my employment
of silence, guided by Cage‟s attitude towards authoring silent events and inspired by the
Wandelweiser collective, is the concept of indeterminacy, where a shift occurs in focus from
the composer to the listener via the performer. The concept of indeterminacy as an agent of
freedom became a modulation point for my next pieces; this willbe discussed in the second
chapter of this commentary. Ultimately, silence is the „barometer‟ of music; Nostalgia was
conceived and composed with that in mind, that silence and musical freedom share more than
is commonly assumed.
9 admittedly, not a seminal contribution to world-knowledge, still a creative attempt
11
Chapter 2
exposition
Overview
It has been argued10
that aleatoric music has taken three forms which involve,
correspondingly, 1) the use of random aspects to determine a given fixed score, 2) a mobile
form11
(Latham, 2001), or 3) an indeterminate notation, which takes into consideration
graphical notation and texts. In this chapter I will discuss three of my compositions
corresponding with these three broad categorisations. The first composition, Regeneration,
uses the first of these forms, i.e., changing parameters which determine the function of a fixed
score. Strict and free elements are combined in order to achieve a balance between concrete
musical ideas and chance events. Regeneration was written in homage to Marcel Duchamp, a
painter and pioneer in music experimentation utilising chance operations12
. The second piece,
Ordinatio, gives an example of a „mobile form‟. The third piece is entitled Nos Dec13
, and
makes use of indeterminate notation; it is also characterized by a high degree of complexity:
the performers must be able to switch from reading conventional notation (requiring
accuracy) to „translating‟ indeterminate notation (requiring invention and conviction). In Nos
Dec in particular, I have found that offering performers varied degrees of „responsibility‟
10
I have taken Griffiths‟s discussion of aleatoric music (2001) as my starting point for this part of my research.
11 A form that depends on mobile sections, phrases or events; the internal structure of these events is set over
specific or non-specific periods of time but their placement is determined by the performers or conductor.
12 Erratum Musical for three voices being the prime example of this.
13 An anagram of the word second, the title means „our ten‟in Latin, referring to the quartet performing in the
plural rather than individually, as it were, and with „decimal purpose‟ when counting seconds of boxed and other
indeterminate materials.
12
creates a high and special sense of dynamism which I find extremely appealing. I shall, at this
point, delve into a more detailed description and analysis of the three „aleatoric‟ pieces
discussed above in three separate sections.
Regeneration
for piano trio
Regeneration, was inspired by the story of Spinalonga, a small island off the coast of
Crete, which was used as a leper colony from 1903 to 1957. Composed for violin, cello
and piano, it seeks to be a psychological portrayal of the situation and to be an echoing
response, one where despair and isolation gradually give in to hope and rebirth. To
complete the metaphor: chance events lead people to certain situations but „fate‟ (music) is
only given a direction and cannot be absolutely prescribed by chance.
As mentioned in the opening of the chapter, Duchamp‟s Musical Erratum (translated
as „musical misprint‟) from 1913 was a model idea for me. Duchamp used chance procedures
(a draw) to develop a score for three voices. Together with his two sisters, he drew 25 notes
from a hat and wrote them down. This series of notes then proposed the basis for a chance or
random composition.14
One of Duchamp‟s more famous motto was that „you can view the
viewing but cannot hear the hearing‟15
and it is precisely this sort of secret theatre that
Regeneration is aiming for.
14
this is a summary of a description of the work by Bloch (1974).
15 Green box, 1934
13
To determine the parameters of the notations in Regeneration, I have used a number of
complex rules in the same way Cage does in Music of Changes to help in choosing from
charts of durations, pitches, intensities and other aspects of composition. Chance leads to
prescription in Regeneration – every parameter is the result of chance operation and then
fixed in its place in the score – allowing for some „internal‟ flexibility. This is particularly
evident in my notation regarding amplitudes, pitches, and synchronisation. Concerning the
manner of chance operation, I chose to draw cards and throw dice, rather than use modern
software tools with randomization features. It seemed right that if the end result was to be
physically performed, then the initial act had to correspond at some level.
Αleatoric notation may shift the balance of responsibilities between the performers
and the composer during a performance; one may think of it as a dual discipline in effect. In
Regeneration, both spatial and conventional notation have been used to maintain a balance
between strict metrical structuring and the more non-specific time scales of pacing; a
mensural environment that may be deemed as temporal quantization16
. This aspect of my
composition is modelled on the social situation in Spinalonga, where although the inhabitants
had total freedom to move around on the island, they were strictly confined within its narrow
geographical limits.
Concerning formal elements
SECTIONS BARS DESCRIPTION
A 1-29 Basic thematic material
16
Clarke, p.220
14
B 30-31 More rhythmically free, using the same harmonic
field
C 32-54 More intense and ascending ostinato
D 55-78 Freer than B, extending timbre and texture
As the composition progresses from section to section, the increasing lack of
prescribed placement of events allows more „freedom‟ of choice for the performer and a
gradual extension of the interpretation of the score into a loosely described or „advised‟
free group performance. This can only be achieved if the transition is seamless, which was
one of the main objectives pursued by the position of musical schemata and the inter-
relationships of materials from section to section:
Diagram 1: The inter-relationships and influences on form between sections in
Regeneration. The arrows signify „influencing‟.
Throughout the piece, the basic intervals of Regeneration are generally characterised
by a minor 2nd
, which is sometimes combined with a compound interval as a 9th
as well as
an augmented 4th
/diminished 5th
. This becomes evident from the very outset of the work
(fig. 2) There is no strict adherence to this intervallic regime – notes are dislocated to
serve the movement of the music and the expressivity of registration (e.g. b. 5 where the
C# is premature) but the overall tonal environment emanates from these basic intervals.
15
Boxed material allows but does not require repetition. There are two types of boxes,
one consisting of verticalities: (bars 12 [fig.3], 13, 31b 31f) the other involving horizontal
material as well as chords (bars 30, 31c-31e [fig.4]). When these boxes in one part are
combined with metric notations in others (fig.5), the issue of performance synchronization
transpires. The situation poses a question not unlike the most common 3-against-2 reading: an
impossibility. Just as a triplet in double time is essentially a temporal illusion and notational
„error‟17
the same sort of compromise in counting is expected of the group on a much larger
and demanding scale: the performer who plays the boxed material has to remain faithful to his
notation but synchronize with the metrics of the other performers and vice versa. How much
of this is fiction, compromise, habit or musical interpretation really depends on the amount of
commitment and consideration gone into rehearsal – it is perfectly possible to give a
performance on second reading, but a fine performance is a matter of deep familiarization
with all the details and nuances available to choose from.
17 obviously, there can never be an exact division of 2/3 – a triplet in double time is, in theory, an impossibility
fig. 2 – Regeneration, bars 1-6
16
A comparison of two performances
Regeneration has been recorded by two groups with very different results, as would be
expected. One may deduce little from a limited number of performances; perhaps safe
conclusions with regards to notation may be reached with a more substantial „demographic‟,
still, it is quite appropriate to comment on the two renditions and their differences and
similarities.
fig. 3 – Regeneration, bar 12
fig. 4 – Regeneration, bar 31c
fig. 5 – Regeneration, bar 45
17
The two recordings discussed here were given by Trio dell‟ Arte18
and members of
Ricochet string quartet19
. For the purposes of the next few paragraphs they will be referred to
as recording I and recording II respectively. The first point of comparison is the length of
performance; recording I is 9‟48‟‟ long and recording II is a little shorter at 9‟17‟‟. Given that
the metronome markings are very specific and unusual and that all sections that are not
mensural have specific durations, this 30‟‟ differential is substantial – especially as both
groups opted for the same ending. More importantly however, I would consider both
performances to be a little too quick – if all the fermatas and broad, empty sections are
accurately performed the piece ought to be longer than 10‟. Nonetheless, both recordings
achieve an interpretation of the score that can certainly stand scrutiny.
One of the differences, which deserves mention as it changes the soundscape
altogether is the rhythmical reading of boxed materials. Recording I shows the pianist to be
reading bars 12-13 as a 6/8 rhythm joining the tempo from bar 12 to 14, as it were. On the
contrary recording II displays a much freer interpretation. There is no better or worse – if that
were the case, a description of what was required would have been included in the score; it is
precisely this sort of fluctuation from performance to performance, a fluid scoring that non-
mensural notation pursues. Questions do arise however: should the score include “what is
allowed”? Should it be made explicit that by “repeat the box” a single repetition or 200
repetitions in the space of a few seconds is in fact a possibility? Do performers need this sort
of mental note to observe the multitude of possibilities that this score offers? One gets the
sense that no matter how many performances this particular piece may receive, the
18
Tommys Neofytou (violin), Frederic Dupuis (violoncello) and Emilie Moutin (piano), recorded at the Royal
Academy of Music, May 25th
2012.
19 Pavlov Andrii (violin), Patsovskyy Igor (violoncello) and Tavanets Dmytro (piano), selected by the Orient /
Occident competition in Kiev and recorded, September 26th
, 2013
18
overwhelming majority of the pianists would choose to play a slow ostinato. On the other
hand, by indicating the extreme renditions, one would be making a point of them and would
perhaps be imposing on the performers. If an answer were necessary, I consider my notation
to be complete: the majority of performers would not consider the full range of possibilities at
bars 12-13. But the correct spelling is to allow possibilities without indicating their extremes.
To put it simply: much music is difficult to read and requires attention not only to the detail
that is present, but also to what is absent and must be discovered by the players. The same
stands for Regeneration.
There are many misreadings in these recordings, none of which make them less than
musical interpretations of the score: the pianist in recording I releases the sustain pedal when
he has been asked to keep it depressed (bar 10) whereas the pianist in recording II chooses to
play inside the piano when he has been asked to play at the keyboard (bar 55a). There are
numerous such events. This means very little with regards to the interpretation of the notation
- these are mere errors which can be corrected. What is more quintessentially important is
whether the score offers its ambiguitities intentionally or unintentionally. Notating is an act of
affecting the readers‟ psychologies. Take for instance the piano part in section C: the pianist is
not asked to pedal. The „bass notes‟ in the left hand are crochets and the middle register is
occupied by laissez vibre chords. Both pianists did in fact play this part with the same arm
movement which creates a physical sense of strong vs weak. It may be argued that the
notation is ambiguous or unclear: should the pianist pedal or not and where? But this
incomplete instruction is a „bait‟ for the performer‟s sensibilities. Not quite an aleatoric
moment, but close, as the section is open to interpretation – the difference here being that not
all choices are correct. Here an issue of „stylistic‟ interpretation is present in the form of
conventional notational „baggage‟.
19
The reader of this analysis may listen to the two performances and notice a number of
other differences and similarities. What does not concur between the two is a „common error‟
which would put the notation to question. Regeneration is, in that sense, a score without
points of contention, although it seeks to highlight ambivalences and to project clusters of
possibilities and intentions. What I learned from the two recorded performances was that
performers need to approach the score with the same mindset that the classical repertoire is
approached: the technical demands of the work are only a first level of negotiation. The true
dialectic and interpretation of the music ensues once the secret spaces and timings of the work
become important for the performers.
Ordinatio
for four clarinets in Bb
Ordinatio is an example of a composition involving mobile form or polyvalents20
(Latham, 2011). The order of sections and movements is unspecified at times and left to be
decided by the performers. I have studied, to a certain extent, the scores of Roman
Haubenstock-Ramati21
. On the opposite side of the spectrum of mobile form music lay pieces
such as Terry Riley‟s In C; the matter of formal organisation is very much dependent on
content. Considering the above my own initial concern in Ordinatio was to position my own
attitude within the field and to pose creative questions both to myself during the composition
of the work and to the performers. One of the most important challenges was to ensure the
preservation of the identity of musical elements in such a way that the composed structures
would adapt to the variations in the choices of the performers. In other words, to predict all
20
a notation that contains a number of forms, purposes and meanings
21 Interpolation from 1968, for instance
20
possible outcomes and control the gamut of resulting forms without constricting it. The
„solution‟ to this problem was to make smaller components „transparent‟, open and
compatible with all others at both ends of their structure – elements and parts that may easily
function as connections in a musical progression. I owe the philosophy of this solution to
Kazimierz Serocki‟s 1962 piano piece a piacere. In a piacere, Serocki achieved a coherent
musical progression even though the order of musical events is entirely the choice of the
performers (fig. 6).
The historical precedent of this takes us back to an interesting German musical dice
game known as Musikalisches Würfelspiel, attributed to Mozart and popular in eighteenth
century Europe. The game involved the use of dice to generate music from 272 musical
measures according to a table of rules. The game resulted in a randomly generated 16 bar
minuet with a 16 bar trio. This is mentioned as a reminder that recycling is one of the most
powerful creative tools; it would not be surprising to discover open form in even earlier and
even non-documented music making.
fig. 6 Kazimierz Serocki‟s
a piacere (1963)
21
Ordinatio is a composition which demands interpretational reflection. The final
section is a deconstruction of the quartet from a homophonic texture (from bar 48 onwards) to
a solo ending of the piece. This section should be a „codebreaker‟: how this last, long gesture
is perceived by the performers ought to define the performers‟ reading of the mobiles. This
information is not included in the score, nor is there a stipulation about whether the ensemble
may or may not pre-determine its choice of events in mobile sections. The absence of
information is deliberate: the ensemble which has rehearsed the first and final section
sufficiently should grow an understanding of what to do and how to do it, with regards to the
middle sections. In fact, every ensemble should find different „solutions‟ to that problem.
Freedom of choice is slightly different to freedom of will, if a hasty political analogy may be
excused here: mobile form is, for me, not a presentation of dilemmas or possible choices, but
a series of operations that may define a collective will more emphatically. The score,
therefore, ought to enable the procedure that clarifies the performers‟ intentions, not to limit
them to a bunch of options with no creative purpose. In short, the ensemble is not to perform
functions, but to create intentions.
The combination of indeterminate materials and open form is displayed in bar 23
(fig.7) – this creates a notational issue: the designation of mobile sections as „bars‟ was more
a case of practical consideration than musical semantics. The much stricter and conventional
writing (e.g. bar 12 – fig. 8) required a continuity in nomenclature and so mobiles were
written as open „bars‟ rather than distinct sections.
22
fig. 7 Ordinatio, bar 23 – clarinet 1
fig. 8 Ordinatio, bar 12 – clarinet 1
23
Conventional notation in Ordinatio reflects the use of conventional creative devices:
the piece opens with a compact field of pitches and their rotation. I chose 6 notes, and used
them as the basis for subsequent material, by rotating them in sequence, so that notes B, A#,
E, A natural, C# and D, in the second version become A#, E, A natural, C# and D (fig. 9).
The bars of pause (bars 24 and 27) may, for this reason, be viewed as transitional
mechanisms: when crossing notations the latitude of possibilities expands and pauses are a
tool of transition for both individual players and the ensemble. Ordinatio is a piece that
pursues a contrast of contours by offering open orders of events. The fluctuation of intentions
is also open and the score is only a mirror of the ensemble. But this metaphor goes further: the
ensemble may distort the mirrors themselves at will.
fig. 9 Ordinatio, bar 1 – opening rotations
24
Nos Dec
for string quartet
Nos Dec is the third composition discussed in this chapter, a string quartet which
attempts to draw from both the historicity of the string quartet as an ensemble and the
independent virtuosity of four players. The piece makes use of basic graphics, i.e. printed
shapes and designs that lack in determination of pitch or precise rhythmic organisation. There
is, in the history of the twentieth and early twenty-first centuries much music that is notated
entirely in non-conventional graphics; my composition is by no means expressed in what
might be called graphic notation. Nonetheless, graphics are employed in order to punctuate,
develop or present material that is indeterminate and dependent on the performers‟
interpretation of the printed page.
Some pieces that inspired my composition of Nos Dec include Xenakis‟ Charisma,
Earle Brown‟s December 1952 and Morton Feldman‟s Intersection No. 2. In Charisma for
instance, the formal distinction between indeterminate and aleatoric music is clearly shown,
namely that in the latter “the performer normally only has a predetermined range of choices of
what to play” (Cope, 1997, p65). My compositional aim in Nos Dec shares the dramatic
impact that Xenakis engages in by using laws of probability to define the intention of random
events. Striving for the same intensity of expressive potential, especially in transitions, I
introduced instructions in Nos Dec such as, „play the specific pitches as fast as possible in any
order‟, „play the specific pitches in any order, combining the specific rhythm in any order‟ or
„the first number shows the number of the notes that the performer must play and the second
shows the time in seconds‟ (fig. 10-12). Here, I chose to internalize the procedure of freedom
25
of choice with basic verbal instructions, i.e. the score is non-specific with regards to notated
particulars but very much defined in its basic purpose.
There is a level of cross-relation in this sense: structural direction, which is usually the
realm of hermeneutics, becomes obvious and textural events which are usually notated in
detail become obfuscated and dependent on the performer‟s interpretation. I deem this
reversal of hierarchies to be the originality of chance or to romanticize shamelessly,
Nietzsche‟s‟ dancing star‟. Without doubt, in order for an ensemble to perform the work,
„improvising‟ ought to be replaced by an esoteric ability to coincide, invent together and
interpret: the difference between the two is that improvising is a willful exercise in expression
whereas interpreting is a an expressive manner of will.
In writing Nos Dec, I chose to offer a level of direction regarding relative pitch,
rhythm and general contour. Timbre and amplitude are altogether left to the performers
fig. 10 Nos Dec, bar 4 fig. 11 Nos Dec, bar 8
fig. 12 Nos Dec, bar 32
26
however. „Skeletal‟ notation, i.e. conventional notation that is only partly present provides
another form of indeterminacy, one where the performers‟ muscular and analytical memory
also plays a role. Further to this, there is opportunity for the quartet to coincide, provided they
happen to make the same choices. Interval groups and potential „isorhythms‟ (fig. 10) may
bring out repeated patterns as an ensemble feature if the ensemble so chooses. As new
notational gambits and trends in score design continue to develop and emerge, graphic
notations present a number of challenges for a composer. Intention, authorship and level of
prescription are the main three problem areas. The main pursuit of such notation, musical
freedom, may for these very reasons become very present or very absent, depending on
performers, time, place and topical cultures. Nos Dec is, like Ordinatio, a „mirror‟ in a score,
only here the performers are „blind-folded‟ at times.
What resonates as a common thread in Nos Dec, Ordinatio and Regeneration is the
continual negotiation that transpires from the relationship between composer and performer.
My expectations and aims are identical: I have come to view my own creative work as
something which requires the creative input of performers before it can be validated. The
gestures, musical meanings, structural contents of my own writing are only a preamble to the
open sonic materialization of a performance. In this respect, indeterminacy, for me, is the
quest for a „determined‟ auditory process and all the considerations above relating to writing
and performing are caused by the most ancient instinct of the musician: to imagine and invent
what the listener will hear.
27
Chapter 3
development
Εξέλιξις (Exelixis)
for chamber orchestra and voice
Exelixis is a piece that centres around scalar formations. I have chosen to explore the
trichordal formation 023, a group of distinct, tripartite pitch classes; the symbolism of the
number 3 is constantly present in human history and appears to go back into our prehistory
and the internal intervallic content of 023 contains a Fibonacci-esque essence of 11100022
.
Numerologies aside, the title of my piece contains a triple meaning too: „exelixis‟ (from the
Greek „εξέλιξις‟) may be translated as „evolution‟ or „unwinding‟ or „development‟. These
three meanings and their respective scientific, poetic and structural connotations did play a
role in composing the work; indeed the work seeks to convey, albeit in an abstract manner, all
these three separate meanings.
Relationship between Pitch and Noise
I tend to distinguish very plainly and individually when it comes to sound, music,
silence or noise. Noise is, in my mind, the aggregate of all sounds which alarm humans. One
may not categorize with academic accuracy on such subjective premises, since being alarmed
by a sound is a fairly relative affair, still, I consider a broad range of sound events to fall
22
I do not negotiate this in a meaningful way, it is there, nonetheless in that there are intervals of one, two and
three semitones in the standard form of the trichord.
28
under this loose category. The term „noise‟ is, therefore, not used here in a negative sense, nor
with the intention to restore or uphold noise in the manner of the Futurists. Rather, noises
constitute all sounds which cause a relative sense of alarm and tension in the listener. There is
the obvious absence of science, music cognition, acoustics, physics and musicology in this
proposition, but I choose to adhere to it as an axiom on grounds of intuition and empirical
purpose: a piece needs to be written and sounds must be organised somehow. If the
algorithms of dodecaphony could neglect, to an extent, the mathematics of acoustics and the
harmonic series23
, then Exelixis may composed with an incomplete definition of noise in
hand. Bearing the above in mind, the opening statement in the piece is noise, organised, not
unlike the opening of Haydn‟s Creation, where within the boundaries of a musical syntax a
symbolic statement is made: the 023 cell present in the opening chord lingers on until noise
has become music in bar 4. The entire work may be viewed in the same respect.
In Exelixis I have essentially used an octatonic scale (fig. 13) on a set number of
pitches, never using its two possible transpositions. These eight pitches represent the tonal
limits of the work, regardless of any added tones and inflections that appear at times (see for
instance bar 20 in the viola solo, or the downward runs in bar 34)24.
23
there is little in the arithmetics of total serialism that relates with the mathematics of the harmonic series – on
the contrary the music of the common practice period makes a concerted effort to reflect basic acoustics.
24 this is on a par with other works in the repertoire, for example …voiles… by Debussy: a whole- tone piece by
all accounts, with the odd inflection that breaks the total adherence to using a single „scale‟.
fig. 13 Exelixis, octatonic scale and the four “transposed trichords” that constitute it
29
In using this particular scalar formation I have made a secret reference to the structural
and poetic capacity of the ancient Greek tetrachord: a mobile tonal formation whereby a
stable perfect fourth contains the tonal variations of two „middle‟ tones which change
according to an enharmonic, chromatic or diatonic spelling. In Exelixis I make no use of
microtonal inflections or mobile tones as such, but I „modulate‟ the idea with regards to
timbre, position and melodic or harmonic contour within a trichord. The three tones, that is,
contain a number of possible tensions that differ greatly from each other and I explore this in
the flow of the music.
This fragmented use of the octatonic pallette and its four equal intervallic divisions-
trichords resulted in two distinct functional tools being at my disposal:
a) the sense of different tones with similar intervallic structures not being tonal
„modulations‟, but separate entities and areas of music. To give an example, the
opening is written in such a way that the trichord (023) is a point of release of tension.
In bar 35 on the other hand a tritone, which is absent in the trichord, a „Deus ex
machina‟ of sorts, is the more stable tonal event, the „tonic‟ as it were. In order to
make these almost rhetorical uses of my tonal contour, I needed to „hear‟ the different
subtle possibilities that the octatonic scale offered. Dividing the 8-tone formation into
4 duplicate trichords greatly assisted me.
b) the 023 trichord is by its very nature an intimate cell; it holds 6 intervals including
inversions within an octave (111000), i.e. a major and minor 2nd
and 7th
, a minor 3rd
and a major 6th
. This lack of perfect intervals allows for a lot of acoustic space. By
presenting trichords in succession and as part of a „slow‟ whole, an often insinuated
rather than obvious octatonic formation, the composition declares an esoteric
30
movement (see bar 44 onwards). It is by way of distancing from the harmonic series
than an evocation of its acoustic force is achieved. Exelixis is a distant echo of the
octave and the perfect fifth – an extensive evolution of basic harmonies which are
present in absentia.
It would be an omission to except the influence that Messiaen‟s thinking and – more
importantly – his application of theoretical beginnings on the creative field have had on me
during the composition of Exelixis. But it would also be an error to make specific references;
as a whole, the way Messiaen understands acoustics and chooses to employ intervallic
algorithms to enable poetic sound-making is a model, much more so than the music of the
Second Viennese or the spectral school of composition, where method appears to dominate
intuition. This is not a value judgement, but a necessary statement to indicate and comment on
my own beginnings and influences.
My concern with both pitch and rhythm also mirrors the concern shown by Messiaen
for these attributes. To return to the opening paragraph in this short chapter, the relationship
between pitch and noise in Exelixis is a matter of rhythm, speed, pace, metre and musical
pulse. In writing the work, I was perhaps unaware of what seems obvious to me now: the
Nietzschean „dancing star‟ that evolves out of chaos was at the heart of the drama in an
otherwise plain theatre. Looking at the pages of Exelixis, I sense that the scope and purpose of
the text was to „order‟ a music out of noise, without ever „measuring‟ it, but by way of
evolving, unwinding and developing it indeed.
31
Chapter 4
recapitulation
Quantum
for orchestra
Quantum, as the name implies, derives from the need to research the interiority of
sound, the fundamental building blocks of sound and how it relates to our psychophysical
reception and is a natural technical continuation from all the questions that formed when
composing Exelixis. The composition uses techniques related to the French spectral school of
composition but also tries to enhance these fundamental spectral techniques by incorporating
extended techniques, microtonal inflections and quasi-aleatoric parameters which create a
balance and counterbalance; an ebb and flow between a stable and an unstable system,
reflecting the `uncertain‟ principle of the quantum world.
The fundamental pitch material of the work derives from a partial tracking analysis of
an E2 piano sample in SPEAR software and a realization into notation in OPENMUSIC
software by exporting an SDIF version of the analysis. Partial tracking is a technique that
analyses successive Fourier „moments‟ and finds the best continuity between its sinusoid
tracks. This results in a continuous stream of block chords, each corresponding to the
instantaneous sinusoidal aggregates of the original E2 piano sample. A real world analogy of
this technique would be the pressing of a pause button on a repeated predetermined timeframe
revealing a successive stream of partials. This technique also captures the overall energy of
the wave sample. As seen in figure 14, the onset of the piano sound corresponds to the 1st five
32
or so block chords. Because of the extremity of its energy levels, more partials/sinusoids will
be present. As the sound progresses to its steady and decay state, this reflects to the analysis
as less and less partials will be present.
These sound blocks are then orchestrated and this is the point of contention with
spectral composition – how does the orchestration, with its myriads of sounds that have wild
morphologies themselves, correspond with the physiology of the primary model sound? No
answers are offered in Quantum, just promises of intensive contemplation on the question.
With regards to the software used, it is worth noting that frequencies are notated
conventionally, meaning that microtonal (quarter-tone in fact) writing is present. This is in par
with what the spectral composers were theorizing, and especially Murail, about examining the
microscopical events in music to evoke the larger structures. The more precise the microtonal
approximation of a harmonic aggregate, the less beating occurs; the ear perceives the sound as
fused into a single object with the same fundamental rather than as a chord with different
elements. Murail (2005, p.190) explains this phenomenon with the term „harmony-timbre‟.
Going back to the question of cohesion, we are - of natural creative course – interested in
more than re-orchestrating a mimesis of the initial sound material. On the contrary, other
fig. 14 Quantum, partial tracking of a sounding E2 piano string – onset of the piano sound analysis
33
factors such as the use of extended techniques and aleatoric rhythms create a subjective
impression of the initial sonority; a poetic instance of the sound rather than a mere copy of it.
The composition starts with an OPENMUSIC linear interpolation function between
the 1st two block chords of the analysis of figure 13. Pages one to eight of the composition are
based on eight interpolations between these two chords (fig. 15). Notice that octave
transpositions are used as some of the upper partials of these chords are outside of the register
of the orchestra.
Pages 9 to 16 in the score are, again, based on eight linear interpolations between the
third and fourth block chords of the initial analysis. The third chord is transposed down an
octave and the fourth chord two octaves down (figure 16).
fig. 15 Quantum, interpolations used for the first eight pages of the composition
34
Pages 17 to 20 are based on eight non-linear interpolations between chord five and six
on the initial analysis (figure 17).
Pages 21 to 24 are modelled on a ring modulation of chords from figure 16. The
lowest pitch of the chord is treated as the modulator and the rest of the pitches as the carriers
fig. 16 Quantum, eight linear interpolations between chord 3 and 4
fig. 17 Quantum, eight non-linear interpolations between chord 5 and 6
35
creating even more inharmonic textures (figure 18). For the calculations, the RING-SINE
function was utilized in OPENMUSIC utilizing the Tristan OPENMUSIC library.
To resume the description of events and functions: from page 25 of the score up to the
2nd
movement the text is based on the non-ring modulated interpolations of figure 16. The 2nd
movement starts with an amalgam of the 1st interpolation of figure 16 and a harmonic series
on B3. From page 29 up to the 3rd
movement, a G2, G1, A2, D2 and E2 harmonic series are
presented successively that are gradually compressed or expanded using the DISTORTION
function in OPENMUSIC with various distortion percentages. This way, the initial partials of
the harmonic series are being stretched into an inharmonic sonority.
The 3rd
movement is a departure from the harmonic aggregates of the previous two
movements. It is based on primitive, extra-musical images and effects with close resemblance
to the musique concrète instrumentale techniques of Lachenmann. Here, the interiority and
fig. 18 Quantum, ring-modulated material on page 21 of the score
36
the microtonality of the harmonic series are being replaced by the interiority of the sound
itself. Noises become as important as sound. This noise vs. sound dichotomy can be found
scattered throughout the composition disguised behind the harmonic aggregates and is in
direct relationship with my concerns in Exelixis. Notable techniques are the bow overpressure
on the strings, and various muted sounds in the percussion section (muted timpani, hitting the
shell of the timpani, scratch tones on the gong, etc.) and muted piano strings. Various scratch
tones are also produced by using the fingernail on the strings and pizzicato/glissando effects
on the piano strings as well as non-pitch techniques, for example, blowing air through the
body of woodwind and brass instruments.
Furthermore, a departure from standard spectral techniques is augmented by the use of
constrained aleatoricism. There are instances where certain pitches are written in squares in
proportional notation or simply with no attached rhythm to them. Specific narratives or simple
instructions are followed which guide the players to instigate their personal preferences and
performance experience which blur the distinctions between performer and composer.
In conclusion, Quantum is a sonic depiction of an ebb and flow between stable sounds
with their physical form and the unstable form of choice and interpretation, reflecting on the
uncertainty of the Universe. Spectral techniques evoke a reality of „fate‟ and extended
techniques as well as aleatoric elements refer to the unstable state of „will‟. There are
philosophical pretensions in any of this, but a sense of wonderment about the equilibrium of
human existence: Quantum is a plain drawing of this psychography and, perhaps, a first
attempt at what may be a continual creative concern.
37
Conclusion
coda
Making a final comment on a series of preceding comments poses a philological
complication. At any rate, reading my own commentary makes three very simple facts clear to
me:
a) my intention to submit a portfolio with a wide range of techniques and
display of interests has been met without force or exaggerating panoplies of
technical information saturating the work content.
b) my intention to retain some form of cohesion in the works has been
followed; this did not require much effort either. Even if one attempts to
disengage the creative process from oneself, there is always a lingering
common thread in one‟s creative output. More than this minimum cohesion
has, however, been present.
c) my aim to write pieces that I can always include in my list of publishable
works has been met in part; I cannot be certain at this early stage that all 6
pieces in the appendix will remain in my list of works permanently, but this
is not unlikely. Certainly, there is no work in the portfolio that I feel, at this
stage, is unpublishable or lacking the merit to be performed.
A PhD thesis is a contribution to world knowledge, or so goes the common saying.
„Contributing to world knowledge‟ is quite an intense pre-requisite for a composer.
38
Composers do contribute to world peace, Democracy, justice and a number of other
wholesome, virtuous matter just by doing what they do – but world knowledge is something
that composers reserve the right to marvel at rather than thrust upon; this composer offers an
apology if the 6 works and accompanying commentary offer little new knowledge. The origin
and end of their being was, after all, poetry.
39
Bibliography - References
Achino-Loeb. (ed.) (2005) Silence: The Currency of Power, Oxford: Berghahn Books.
Albertson, D. (2007) “Earle Brown: From Motets to Mathematics” in Contemporary
Music Review 26. (3), pp. 27-38.
Barrett, G. D. (2011) “The silent network: The music of Wandelweiser” in Contemporary
Music Review, 30 (6), pp. 449-470.
Bloch, S. (1974) “Marcel Duchamp‟s green box” in Art Journal, 34 (1), pp. 25-29.
Cage, J. (1961) Silence: Lectures and Writings To Describe the Process of Composition
used in „Music of Changes‟ and „Imaginary Landscape‟, London: Wesleyan University
Press.
Campbell, Robin M. (1992) “John Cage's 4'33: Using Aesthetic Theory to Understand a
Musical Notion” in Journal of Aesthetic Education 26. 1 (1992), pp. 83-91.
Clarke, E. (1987) “Levels of structure in the organization of musical time” in
Contemporary Music Review, 2, 1987, pp. 212-238.
Clifton, T.H. (1976).“The Poetics of Musical Silence” in The Musical Quarterly, LXII
(62), No.2, New York pp. 163-181.
Cope, D. (1997) Techniques of the Contemporary Composer, New York: Schirmer Books.
40
Dingle, C. & Simeone N. (2007) Oliver Messiaen: Music, art and literature USA:
Burlington Ashgate.
Eco, U. (1989) The Open Work, USA: Harvard University Press.
Gilbert, S. (1990) The Trichord: An Analytic Outlook, USA: Yale University Press.
Griffiths, P. (2001) “Aleatory” in The New Grove Dictionary of Music and Musicians
(2nd
edition), ed. by Sadie, S. and Tyrrell, J. London: Macmillan.
Hagel, S. (2009) Ancient Greek Music: A New Technical History, UK: Cambridge
University Press.
Harbinson, W. G. (1989) “Performer Indeterminacy and Boulez's Third Sonata”
in Tempo (new series), n. 169, pp. 16–20, 1989.
Harris, E. T. (2005) “Silence as Sound: Handel‟s Sublime Pauses” in The Journal of
Musicology, 22, n. 4, pp. 521-558.
Iddon, M. (2013) New music at Darmstadt: Nono, Stockhausen, Cage and Boulez UK:
Cambridge University Press.
Jeongwon, J. & Song, S. H. (2003) “Roland Barthes' ‟Text‟ and Aleatoric Music:
Is the Birth of The Reader the Birth of the Listener?” in Muzikologija 2, pp. 263–81.
Jones, D. (2006). Dada culture: Critical texts on the avant-garde, NY: Rodopi.
41
Kahn, D. (1997) “John Cage: Silence and Silencing” in The Musical Quarterly, 81.4,
pp. 556-598.
Katz, R. & Dahlhaus, C. (eds.) (1992) Contemplating music: Source readings in the
aesthetics of Music Volume III: Essence, Stuyvesant, NY:, Pendragon Press.
Kim-Cohen, S. (2009) In the blink of an ear: Towards a non-cochlear sonic art,
USA: Continuum International Publishing Group.
Latham A. (2011) The Oxford Companion to Music Oxford: Oxford University Press.
Melia, N. (2011) “Stille Musik - Wandelweiser and the voices of ontological silence” in
Contemporary Music Review, 30 (6), pp. 471-495.
Melia, N. & Saunders, J. (2011) “Introduction: What is Wandelweiser?” in
Contemporary Music Review, 30 (6), pp. 445-448.
Messiaen, O. (1944) The technique of my musical language, Paris: Alphonse Leduc.
Metzer, D. (2006) “Modern Silence” in The Journal of Musicology, 23. 3, pp. 331-374.
Mishkin, V. R. (2009) Redefining the boundaries: Three 20th Canadian works for cello,
Texas, Proquest publishing.
Murail, T. (2005) „Villeneuve-lès-Avignon Conferences, Centre Acanthes, 9-11 and 13
July 1992‟. Contemporary Music Review, 24, no. 2-3, pp. 187-267.
42
Nattiez, J.J. (1993) The Boulez–Cage Correspondence, (trans. R. Samuels), UK:
Cambridge University Press.
Neidhöfer, C. (2005) “A Theory of Harmony and Voice Leading for the Music of Olivier
Messiaen” in Music Theory Spectrum, 27. 1, pp. 1–34.
Pritchett, J. (1993) The Music of John Cage, UK: Cambridge University Press.
Rebhahn, M. (2012) “I don‟t write pure music” – Wolfgang Rihm at 60. Goethe-Institute.
V., Internet-Redaktion, March 2012.
Salzman, E. (2002) Twentieth-Century Music: An Introduction, Englewood Cliffs, NJ:,
Prentice Hall.
Street, D. (1993) “The Modes of Limited Transposition” in The Musical Times, 117.1604
pp. 819–823.
Toop, R. (1983) “Stockhausen's Other Piano Pieces” in The Musical Time
124.1684 pp. 348-52.
Warburton, D. (2001). The sound of silence: The music and aesthetics of the
Wandelweiser group. Available on http://www.Wandelweiser.de. Accessed (12/09/13).
PORTFOLIO OF MUSIC COMPOSITIONS
Vol. II of III
DEMETRIS EFSTATHIOU
Ph.D Thesis 2014
PORTFOLIO OF MUSIC COMPOSITIONS
DEMETRIS EFSTATHIOU
Vol II of III
School of Media, Music and Performance
University of Salford, Salford, UK
Submitted in Partial Fulfillment of the Requirements
the degree of Doctor of Philosophy, January 2014
for violin, guitar and piano
Nostalgia
2009
1
Hit near, the bridge, on the body of the instrument
with thumb and the fourth finger (a).
Tremolo as fast as possible.
All other symbols are explained in the score.
(1) Hit very close to the bridge with the palm (R.H), and let the strings resonate.
Hit the fingerboard with the palm (L.H).
(2) Hit with the palm above the soundhole (rosette) to mute previous vibration
of the strings.
Total Duration: c. 9' 40''
(2) Hit on the fingerboard with palm muting
also the strings (very deep sound).
2
{
°
¢
°
¢
°
¢
q=45
Nostalgia
Guitar
Violin
Piano
7
Gtr.
Vln.
12
Gtr.
Vln.
4
4
4
4
4
4
4
4
&
‰
3
p
p
2
p
0
i
1
m
mp
4
a
#
‚
p
∑
(circa)
U
5''
p
mp pp
mp
∑
U
3''
&
∑ ∑
(circa)
U
5''
ppp
o
”“
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
U
3''
&
∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑
&
‰
‚
0 1
mp
3 0 2
mf
∑
U
8''
∑
mp
∏∏∏∏∏∏
&
∑ ∑
U
8''
ppp o
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
mpmf
p
Hit, near the bridge, on the body of the instrument
with the thumb and the fourth finger (a).
Tremolo as fast as possible.
mp
p
a
mf
∑
U
5''
&
ppp o
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”“
∑
U
5''
œ#
œ#
œ
œ#
˙™
˙
˙˙˙ ™™™
™
œ
Œ
˙˙˙
™™™
œ#
œ#
œ
Œ Œ Ó™
˙ œ
Ó
˙˙˙
˙
œ#
œ#
œ
œ#
Œ Ó
œ
j
œb ˙ ™ œ ˙ ™Œ
œ
œ#
œ#
œ
œ#
w
w
ww
w
Ó
˙
˙
˙˙
#
#
œ
œ
œœ ™
™
™
™
Œ Ó
‰
œ
j
œ ™ ˙ ˙ ™ œ ˙ ™
Œ
œ
œ#
œ#
œ
œ#
œ ˙™
˙
˙˙
˙
˙ ™
™™™
™
œ
Œ
˙
∑ Œ
Y YŒ
Œ
œ#
j
œn ˙ ˙™
œ ˙™
Œ
=
=
3
{
°
¢
{
°
¢
{
Gtr.
Pno.
19
Gtr.
Pno.
22
Vln.
Pno.
3
4
3
4
3
4
(1) Hit very close to the bridge with the palm (R.H), and let the strings resonate
Hit on the fingerboard with the palm (L.H).
(2) Hit with the palm above the soundhole (rosette) to mute previous vibration
of the strings.
R.H
(1)
ê
ê
ê
ê
ê
ê
ê
ê
í
í
í
í
3
&
16
mp
#
mf
ff
L.H
ff
(2)
í
í
í
í
ê
ê
ê
ê
ê
ê
ê
ê
&
∑
U
ff ff p
œ
.
œ
.
#
œ
.
#
œ
.
p p ff
œ
.
œ
.
#
œ
.œ
.
#
œ
.
‰
?
∑
p ff ff ff
&
∑ ∑
U
3''
‰
‚
mp
0 1 3 0 2 4
mf
0
f
4
#
#
#
#
∏∏∏∏∏∏∏∏∏ 3
2
1
&
ff p ff
œ
.
#
œ
.>
œ
.
>
œ
.
œ
.
∑
U
3''
∑
?
p p
∑ ∑
&
imperceptible attack
f sfzp
g
liss.
mf
&
pp
∑ ∑ ∑ ∑ ∑
?
∑ ∑
inside the piano
sfz
‘“sfz
‘“
sfz
‘“sfz
‘“
sfz
‘“
°
> >
>
>
> >
œ#
œ#
œ
œ#
˙™
˙
˙˙˙ ™™™
™
œ
Œ
˙
∑
Œ
œ
>
#
Œ
œ
.
j
œ
œ#
œ#
œ
œ#
œ
˙
˙˙
˙
˙ ™
™™™
™
œ œ
.
œ
.
œ
.
œ
>
œ
œœœ
œ
j
w
U
# w ˙™
˙
Œ 3œ
b
3œ
.
b
≈ 3œ
b
3œ
.
b
≈ 3œ
b
3œ
.
b
≈
œ
>
j
‰ ‰
œ
>
j
Œ ‰
œ
>
j
Œ Œ ‰
œ
j
Œ ‰
œœ
j
=
=
4
°
¢
°
¢
{
°
¢
27
Gtr.
Vln.
28
Gtr.
Vln.
29
Gtr.
Vln.
Pno.
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
5
4
5
4
5
4
&
mp
b b b b b b b b
&
f
3
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
b b b b b b b b b
f
b b b
&
§
mf
Ÿ< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
poco accel.
mf
#
b
#
off the board
∑
U
5''
∑
3
&
∑
U
5''
∑
?
∑ ∑ ∑
U
5''
ff
Œ
œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ
œ
œ
œ
˙#
œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œ œ œ œ œ œ œ œ
˙#™
‰
œbœ
œœ#
œœ#
≈
˙ ™
˙
˙
˙ ™
™™
˙ ˙Œ
˙# ™ œ ™
‰
=
=
5
{
°
¢
{
°
¢
Gtr.
Pno.
36
Gtr.
Pno.
ê
ê
ê
ê
ê
ê
ê
ê
> >
>
¿ ¿ ¿ ¿&
33
∑ ∑
sfz
í
í
í
with knuckle
&
∑ ∑
U
ff p ff
œ
. œ
.
#
œ
.
?
øp p p
&
ê
ê
ê
ê
í
í
í
í
ff
¿ ¿ ¿ ¿
&
mp
ê
ê
ê
ê
mf
‚
4
∑
&
ff p ff ff
œ
.
#
œ
.>
œ
.
>
#
œ
.
œ
.
œ
.>
p ff
œ
.
œ
.>
œ
.
>
œ
.
#
œ
.
œ
.>
?
p ff p p
ff
p
Œ
œ
.>
‰
œ
.
œ
.
>
˙# ™ ˙ ˙# ™ ˙
Œ
œ
œ#
œ
œ#
œ#
œ
.
#
œ
.
œ
.
#
œ
.
œ
.
b
œ
.
#
œ
.
=
6
{
{
°
¢
{
°
¢
38
Vln.
Pno.
41
Gtr.
Pno.
44
Gtr.
Vln.
Pno.
3
4
3
4
3
4
3
4
3
4
3
4
3
4
&
mf
s.t.
s.p.
mp
&
í ™™
Repeat the bar until the end
of the horizontal line
mp
3
î™™
3
?
í ™™ î™™
&
∑
mp
poco accel.
cresc.
‚
1 3
2
„
1
3
2
1
2
Ê
1
2
1
2
∑
U
3''
3
&
∑
U
3''
?
∑
&
∑
pizz.
f
„
&
pp
s.p.
mp
3
&
∑ ∑
mp mf
?
∑ ∑
3
‰œ ™ ˙ ™ ˙ ™ ˙
æææ˙ ™
æææ˙
œœœ#
Œ
œœœ#
Œ
œœœ#
œœœ
>
#
# œœœ
>
#
#
Œ
˙# ˙™
‰
œ#
œ
œ#
œ#œœ#
≈œ
œb
œ#
œœ# ™™
œ
>
n
œ# ™™
œ
>
œ
>
# ™
œ
œ
œ
œ#
œ
œ
œ
œ#
˙ ™
œ
œ
œ#
æææ
œb
J
˙b
æææ
˙b
æææ
œb
æææ
˙b œb
œ
.
œ
.
#œ
.
bœ
.
#œ
.
œ
.
#
‰œœ
œœ#b
Œ Œ
=
=
7
{
°
¢
{
°
¢
°
¢
47
Gtr.
Vln.
Pno.
52
Gtr.
Pno.
Gtr.
Vln.
&
#
‚
p
mf
1 3
p
0
„
3
o4
„
3
‰
2
Â
p
4
Ê
1
5''
∑ ∑
&
∑ ∑ ∑
U
5''
f ff
∑
&
mf f
∑
U
5''
ff
?
3
∑ ∑ ∑
3
&
∑
p
mf
1
2
p
1
o
„
3
‰
2
„
1
p
p
0
&
?
œ
œ
.
œ
œ
.
#
œœ
.
#
œ
œœ
>
#
œœ
.
#
œ
œ
.
œ
œ
.
#
œœ
œ
.
#
œ
.
œœ
>
&
œ
œ#
œ
œ
œ
œ
œ#
œ
6
?
pp
&
?
ff p
Hit, near the bridge, on the body of the instrument
with the thumb and the fourth finger (a).
Tremolo as fast as possible.
&
54
3
1
2
2
3
f
4
mf
p
a
&
p mp
O ™
œ
≈
œ
œ#
œ
Ϫ
j
œ#œ#
œb œ
œ# œ
œb œ œn œ
˙
˙
Œ
œ
.
bœ
.
#œ
.
œ
.
#œ
.
œ
.
n
œœ#
œœ#
#œœ
# œœ
#œœ#
# œn
˙˙˙
.
# ™™™ ˙
˙˙
.
™™™
‰œœ
œœ#b
Œ Œ Œ Œ
œœ
œ
#œœ
œ
#
Œ
œ
≈
œ
>
œ#
œ
Ϫ
j
œ#œ#
œb œœ#
œ#
œ
Œ ‰
œ ™
‰
œ#
œ#
‰
œœ#
œ#
≈
œ
o
Œ
Y Y
œ œ
æææ
#˙
b
æææ
3œ
b
œœ
.
# œœ
. . . . . . . . . . .
=
=
8
{
°
¢
{
{
°
¢
Gtr.
Pno.
58
poco accel.
Vln.
Pno.
60
A tempo
Gtr.
Vln.
Pno.
2
4
2
4
2
4
2
4
56
0
&
p
a
&
ritmicof
3 2
1
b
0 4
3
#
2
Stroke on the bridge
2
#
3
33
& œœ#
œ#
œb
œ
œ
œ#
œ
6
∑
?
?
f pp
∑
&
mf ff
3
p mp
3
?
∑
&œ
œb
œ
œ#
œbœ#
œ
œb
œ
œ#
œ#
œ#
œ
œ#
œ
œ#
œ
œn
œ#
œb
œ
œ
œ#
œb
?
ff p
∑
&
∑
U
8''
∑ ∑
f
#
#
#
#
3
&
∑
U
8''
ff
pizz.
∏∏∏∏∏∏∏∏
mf
∏∏∏∏∏∏∏∏∏
sf sf
arco III IV
sfz
&
∑
U
8''
ff p
œ#
œ
œ#œ
ff p
œb
œ#
œ#œ ∑
?
∑
ff
p
ff
p
∑
Y ™Y ™
œ
œœ#
œ
œn œb
œ
œ
œ
œ#œ
œ
œ
≈
œ
j ¿
j
‰
œœb
œœb
Œ ‰
Œæææœ ææ
æ
œ æææœ
‰
œ
.
#œ
.
œ
.
#
œ
.
œ
.
bœ
.
œ
. œ
.
œ
.
#
œ
.œ
.
#
œ
.
bœ
. œ
.
œ
‰œ
œ
œ
#
#
#
œ
œ
œ
#
n
#
œ
œ
œ
œ
œ
œ
Œ
‰
œ
œ
œ
#
‰
œ
œ
œ
#
Œ
œ
>
#
J ‰
œ
>
n
J ‰
œ
œ#˙
Œ
=
=
9
{
°
¢
{
°
¢
64
Gtr.
Vln.
Pno.
68
Gtr.
Vln.
Pno.
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
&
í ™™
Repeat the bar until the end
of the horizontal line
sfz
mp
‰
f
∏∏∏∏∏
4
‚
3
2
1
‰
‚
3
4
∏∏∏∏∏∏
„ î™™
3
&
í ™™
mf
Repeat the bar until the end
of the horizontal line
sfz
î™™
&
∑ ∑
mpmf f
?
∑ ∑
sfz
∏∏∏∏∏∏∏∏
sfz sfz
∏∏∏∏∏∏∏∏
sfz
3 3
&
∑
p
3 2 4 3 1
3 2 4 3
f
6
6
&
∑
f pp f
Ÿ~~~~~~~~~~~~~~~~~~~~~~
&
ff
œ
.
#œ
.
œ
œ
œ
œ
>
b
#
ff
∏∏∏∏∏∏
œ
.œ
>
#
œ
œ
œ
œ
>
b
#
#
™™
™™
ff
mp f mp f
6
?
pp pp f
&
ff
‘“
?
pp
‘“
‰
¿
>
J
œ#
œ#
œ#
œ#
‰
œ
œ
œ
>
#œ
œ
œ
>
#
œ
œ
œ
œ#
œ#
œ#
œ#œ
j
œ
œ#œ
œ#œ
œ#
œœb
œ#œ
œ#œ
œ#
œœb
Œ
œœ
œ
.>
#
J
‰
œœ
œ
.>
n
J
Œ
œœ
œ
.>
#
J
‰
œœ
œ
.>
n
J
œ#
œ# œn
œœ#
œ#
œ#
œ# œn
œœ#
œ#
œ
jœ ™ œ œ
≈
œ
œ
œ
œ
R
œ
œ
œ
œ™™™™™™™™
œ
œ
œ
.>
#
R
œ
.
#
œ#œ#
œ
œ#œb
œ
.
#
œ#œ#
œ
œ#
œ
œœœ
>
#
b#
j
œœœ#
j
œœœ
™™™
œœœ
j
œœœ
™™™
=
10
{
°
¢
{
°
¢
72
Gtr.
Pno.
74
Gtr.
Vln.
Pno.
4
4
4
4
4
4
&
p
3 24 3 1
3 2 4 3
f
Improvisation:
Improvise with specific notes and
rhythm within the box
p
3 2 4 3
1
3 2
4 3 2 3
f
6
6
6
6
&
œb
œ#
œ#œ
œn
œ
Improvisation:
Improvise with specific notes and
rhythm within the box
p
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
f
5
?
p
‘“ ‘“f
‘“
&
3
&
&
ff
3
3 3 3
3
3 3 3
&
&
?
Ó
œ#
œ# œn
œœ#
œ#
œ#
œ# œn
œnœ#
œ#Ó
œ#
œ# œn
œœ#
œ#
œ#
j
œ#
œ# œn
œœ#
œ
‰
˙
˙
˙b
#
œ
œ
œ
œ
œ
œ
b
#
œ
œ
œ#
# ˙
˙
˙
œœœ
>
#
j
˙˙˙
>
#œœœ#
œ
œœ#
n
œ
œ
œ
b
˙
˙
˙
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
œ
.
# œ
.
#
J
=
11
{
°
¢
{
°
¢
77
Gtr.
Vln.
Pno.
80
A tempo
Gtr.
Vln.
Pno.
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
&
∑
U
5''
&
pp f
5''
Ÿ~~~~~~~~~~~~~~~~
&
œb
œ#
œb œb
œn
œb œb
œ#
œb œb
œn
œb œb
œ#
œb œb
œ
œb œb
œ#
œb
∑
U
5''
œb
œ
œb
3 3 3 3 3 3
3
3
?
pp f
∑
&
mp
‰
3
Â
1
„
2
„
2
0
f
4
∑
U
3''
∑
ff
#
#
#
∏∏∏∏∏∏
∑
U
3''
mp
mf
∑ ∑
&
o
U
∑
3''
poco accel.
mp f
∑ ∑
U
3''
∑
mf
”“
&
∑
U
3''
∑ ∑ ∑ ∑
U
3''
∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w# w
w#
œœ
>
œ#
œ#
≈ ¿
r
‰
œ#
œœ#
œ
>
‰œ
œ
U
œ
œ
œ
‰
œ
œ#
œ#
œ
œ#
œ ˙
˙
˙˙
˙
˙
œ
J‰ Œ ≈œ
.œ
.
#
œ
. œ
. œ
.
bœ
.
#
Œ Œæææ
œb ˙
æææ
=
12
{
°
¢
88
3
4
3
4
3
4
3
4
3
4
3
4
Gtr.
Vln.
pan.
/
R.H
6
4
p
p
(1)
a
Bridge to
í
í
í í
í
í í
í
í í
í
í
í
í
í
Soundhole
í
í
í
í
í
í í
í
í
∑
&
222
6
4
cresc.
2
22
222 2
22
222
22222
2
222 2
22 2
22
2
222
22
222
2
22
2
22
222
2
22
2
22 2
2
222
222
222
222
2
2
22
2
222
22
22222
2
∑
/
(2)
L.H
6
4
(2) Hit on the fingerboard with palm muting also the stings (very deep sound)
(1) Hit, near the bridge, on the body of the instrument
with the thumb and the fourth finger (a).
∑
&
6
4
mp
Produce with the bow
scratching sound
Fingertips on the body
of the instrument
ff
/
3
/
3
&
6
4
Improvize with the specific pitches and rhythm and pedaling
mp
? 6
4
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿ ¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
O
˙ ™
™
¿
¿
¿
¿
¿
¿
¿
¿
¿
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
Œ
œ#
œ
œœ#
œ
œ#
œ#
œ
Œ
˙˙˙#
œœœ
˙
˙
˙
#
œ
œ
œ
˙
˙˙
˙
##
13
{
°
¢
Gtr.
Vln.
Pno.
4
4
4
4
4
4
4
4
4
4
sfz
/
90
ê
ê
ê
ê
ê
ê
ê
ê
¿
∑ ∑ ∑ ∑ ∑
¿ ¿ ¿&
ff
í
í
í
∑
U
5''
∑
mpp pp
5''
#
ppp
8''
/
∑ ∑ ∑ ∑ ∑ ∑
&
ff
∑
U
5''
∑ ∑
5''
∑
?
∑
pp
‘“
∑
Œ
˙˙˙
™™™
œ#
œ#
œ
œ
Œ
Œ
˙˙˙
˙
œ#
œ#
œ
œ#
Œ
U
œ#
œ#
œ
œ#
˙™
˙
˙˙˙ ™™™
™
œ
U
˙˙
˙
#
# ™™™
Ó™
Œ
U
w
w
# w
w
˙
˙
™
™
14
2009
Regeneration
for piano trio
15
The vertical broken arrows indicated the time of entry.
Total Duration: c. 10' 12''
All other symbols are explained in the score.
ABBREVIATIONS
s.p = sul ponticello
clb = col legno battuto
s.t = sul tasto
ord. = ordinatio
norm. = normal
Note duration are indicated with note-head extensions:
The longer the extension, the longer the note.
Interruption (gaps between extensions) indicate silences (rests).
*Selected by Orient / Occcident competion in Kiev and Perfomed by members
of Richochet string quartet in September 2013.
Violin: Pavlov Andrii
Cello: Patsovskyy Igor
Piano: Tavanets Dmytro
Accelerated note group: the accelerando takes place
with the duration note above the bracket.
* Performed by Trio Dell' Arte in 2011 at Royal Academy of Music in London.
Violin : Chrysostomos Neophytou
Cello: Frederic Dupuis
Piano: Emilie Moutin
Accidentals apply to one note only
(Ties are considered to be one note).
16
{
{
{
°
¢
A
q = 63
Regeneration
Piano
7
Pno.
12
Vln.
Pno.
3
4
3
4
&
∑ ∑ ∑ ∑
mf
3
”“
f
”“
mp
œn
œ
œ#
mf
3
5
?
p
Sustain pedal on continuously from measure 1 to measure 18
ff p
R.H
longa
mp f
3
‘“mp
3
°
&
f ff
œ
œ#
œ
œn
œ#
œ#
mp mf
3
mp f
”“
ff.
3
”“”“
œ
œ
œ#
5
6
5
?
f
&
?
mp f p
‘“ ‘“
&
molto tranquillo e quasi lontano
10''
p mf p
35''
&
Repeat the group of notes inside the box until the end of the horizontal line
p
35''
?
Œ Œ
œ#
œn
Ϫ
‰ Œ
œ
œ
n
b
˙
˙
n
b
œ
œ
n
b
˙
˙
n
b
œ
œ
n
b
˙
˙
n
b
Œ
œ
œn
b
˙˙
b
˙
˙
U
n
b
≈
œ#
R
Ϫ
Œ
Œ Œ
œ#
J
œ
œn
j
œ
œ#
R
Œ Œ
œ
œ
œ
>
b
n
b
J
‰
œ
j
œ
J
‰
œ
œ#
œ
≈
Ϫ
R
œ
œ
œ
œ
œ
>
#
™
™
® Œ Œ
œ#
Œ
˙
œ
œ
œb
n
j
‰ ‰
œ
j
˙
œ
œ#
Œ
˙#
Œ
œb
œn
œ#
œn œ#
œn
œnœb
œ œb
œœ
œœ
#
bœ
œ
œœ
#
bœ
œ
œœ
#
bœ
œ
œœ
#
b
œ
œ#
n
17
{
°
¢
{
°
¢
{
°
¢
13
Vln.
Pno.
q = 63
Vln.
Pno.
16
Vln.
Vc.
Pno.
3
4
3
4
3
4
4
4
4
4
4
4
4
4
&
5''
mp mf
35''
&
mp
35''
?
&
(13)
f
&
3 3
?
&
pp
∑ ∑
pizz. with nail, gliss follow graphic pattern, freely
alternating glissandos of various speeds
sffz
pizz.
sffz
g
l
i
s
s
.
sffz sffz
group notes
ad libitum
?
∑ ∑
pp
s.p
f
∑ ∑
5
&
pp
f
”“
mp
Tremolo
inside the piano
˜
ªA
?
*
∑
Pluck string
inside the piano
ªA
˜
°
œ#
œ
œ#
œ
œbœn
œn
œ œb
œ
œ
œœn
b
#
œ
œœ
œb
#œ
œœœ#
nn
œ
œ
œœn
b
#
œ
œœ
œb
#œ
œœœ#
nn
œ
œ
# œ
œ
# œ
œ
#
œb
œœb
œn
œb
œœb
œb
œœb
œb
œœb
œb
œœ#
œœ#
œ#œ
œ#œ#
œœ#
œ
œ#
˙˙
˙˙
#
‰
œœ
œœ
#
œœ
œœ
#
˙˙
˙˙
#
‰
œœ
œœ
#
œœ
œœ
#
Œ Œ
œ
œ
n
Œ Œ
œ
œ
n
œ
.
# œ
.
œ
.
œ
.
œ
.
œ
.
Œœ
>
œ
>
# œ
>
n
œ#
œ
œb
œnœb
œn
‰
Ó Œ ‰
U œb
œœ#
œ
œb
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
Œ
U
w
U
b
˙
˙Œ Œ Œ
œ
œb
Ó
œ
œb
Œ
18
{
°
¢
{
°
¢
21
Vln.
Vc.
Pno.
25
Vln.
Vc.
Pno.
&
∑
h.
∑
sffz
ad libitum with accel.
?
mp f
∑
p f mp
ad libitum
&
˜
ªA
∑
p mp mp
∑
6
?
ªA
˜
f
Pluck string
inside the piano
‘“ mf
∑
&
∑
clb
f
arco norm.
p mp
3
?
f
clb h. x
p
3
&
mp
q
œ
>
œ
>
b
œ
>
œ
>
#
f
œb
œ#œ
œb
œ
œ#
œ
œœ
>
n
#
∑
p
n#
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
6
?
∑
Œ ‰
œ#
œ
œb
œn
œb
œn
œb
œn
œ#œ
œb
œn
œb
œb
œœb
œnœ
.
#
œ
æææ
œ
œ
>
#
æææ
w
w
>
#
Ó
œ#
œ
œb
œn
≈
œb
œœb
œ
œb œ
Ϫ
‰ ‰ ‰
œb
œb
w
U
n
Ó ‰
œb
œ
≈
œ#
œ≈ ‰
œ
.
b
. . . . .
≈ Œ Ó Ó
œb œb œb œ
œ
œb
œ
œb
œ
æææ
O
œ#
J
J
‰™
œ
œb
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
r‰™
Œ Ó
‰
œœb œ
œ˙
˙
ww
19
{
°
¢
{
°
¢
28
B
Vln.
Vc.
Pno.
31a
Vln.
Vc.
Pno.
&
sfz
g
l
i
s
s
.
sfz
h.
sfz
∑
?
∑
mp
s.p.
mf
2''
5
&
mf
3
p mf
sfz
3
5
?
∑
∏∏∏∏∏∏∏
œœ
>
bb
&
p f mp
8''
?
pp f mp
8''
&
8''
?
(
)
œ
>
œ#
œ
œ#
œ
œ
>
b
‰™
œ
>
R
Œ
œ
œ
>
#
œ
œ
> > > >
œœ
œœ
b ™™™™
œœ
œœ
n
b
J
‰ œn
œb
‰
œn
œ#
‰
œb
œnœ#
œn
œ
˙
˙˙
˙n
b
#
Œ
œ
œ
b œ
œ
b œ
œ
b
œœ
˙
˙˙
b ™™™
œœ
œ
>
n
#
J
‰
œ
œ
œ
b
œ#
œ
>
œb œ
œn
œb
œ
œ#
œ
œ
>
œn
œ
œbœ
œ#
œ
>
œœb
œ
œ
æææ
œœ
b œœ
bœ
20
{
°
¢
{
°
¢
31b
Vln.
Vc.
Pno.
31c
Vln.
Vc.
Pno.
&
5''
Repeat the groups of notes (inside
the box) unitil the end of the horizontal line.
Note durations are indicated with the note-head.
Interruptions (gaps between extensions) indicate silences (rests).
s.p.
sfz
Slap the strings with
the palm of the hand
20''
?
sfz
10''
s.p.
Slap the strings with
the palm of the hand
sfz
20''
&
12''
mp
œb
œn
20''
?
&
Repeat the groups of notes (inside
the box) unitil the end of the horizontal line.
Note durations are indicated with the note-head.
Interruptions (gaps between extensions) indicate silences (rests).
13''
snap pizz.
p
pizz.
20''
?
10''
snap piz.
mp
œ
œ#
œb
œ
œb
œn
œn
20''
&
œ
œ
œ
œ
œb
œ
œn
mf mp
œb
œ
œn
mf
20''
?
‘“
œ
œ
b œ
œ
b œ
œ
b
œ
œn
b
¿
¿
¿
¿
œ
œ#
œ
œ#
œ
œ#
œ
œ
n
b
¿
¿
¿
¿
œ
œ
>
n
œ#
œ#œ
œ
>
#
‰
œn
œb
œn
œ#
œn
œ
œ#
œn
‰
œ
œ
œ#
#
œ# œn
œ
>
b
œ
œb
Ϫ
œ
>
#
‰
œ
21
{
°
¢
{
°
¢
31d
Vln.
Vc.
Pno.
31e
Vln.
Vc.
Pno.
&
20''
?
arco
sfz f
20''
&
œ
œ
œ
œ#
20''
?
&
?
&
20''
?
f mf
20''
&
œ
œ#
œ
œ
œb
n
#
f
œ
œ
œb
n
b
œ#
mp
œ#
œ
”“
œn
”“
œ
œ
œb
#
mf
20''
?
‘“
œ œ#
œ
œ#
œ
œ#
œ
œ
n
b
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
œ
œb
œn
œ
œ œ#
‰
œ œ
œ
œb
œ
œb
¿
¿
¿
¿
¿
¿
¿
¿
œb
œ
œ
œb
œn
œb
œ
>
œn
œb
œn œ‰
œœn
œ
œ
œ#
œœ
œ
œ
œb
n
b
‰
œ
>
‰
œn
22
{
°
¢
{
°
¢
31f
Vln.
Vc.
Pno.
32
C
Vln.
Vc.
Pno.
&
5''
s.p.
sfz
U
20''
?
8''
sfz
s.p.
sfz
20''
&
œ
œ
œb
œn
œ
œn
œ#
f
œ
œ#
ff
20''
?
‘“
&
?
&
q= 49
arco
f sffz
ad libitum with accel.
3
?
arco
p
s.p.
f
∑
5
&
∑
p mp mf
6
?
∑
œ
œ
b œ
œ
b œ
œ
b
œ
œn
b
¿
¿
¿
¿
œ
œ#
œ
œ#
œ
œ#
œ
œ
n
b
¿
¿
¿
¿
œbœ
œ
>
œ
œb
b
œn
œ
œ#
œ
œ
œ
>
#
œ#
œ
œn œ#
œ
œ
œ
>
U
b
n
b
œ
œœb
œ
œ
œ
œ
U
b
n
n
Œœb
œn
œ# œnœ#
œ
>
nœ
>
œ
>
n
œ
œb
œ
œb
œ
œ#
œ
œn
œb
œœ#
œ
œb
‰ Œ Ó
≈
œb
œœb
œn
œn œ
œb™
Œ ‰
œb
œb
œ
œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
J
‰
23
{
°
¢
{
°
¢
34
Vln.
Vc.
Pno.
35
Vln.
Vc.
Pno.
&
?
pp
&
3
p
b
mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
&
sfzp mf
?
mf mp
s.p.5
&
Ÿ< >~~~~~~~~~~~~~~~~~~
3
mp
6
?
œ#
œ
œb
œn
œb
œ#
œb
œ#
Ó
æææ
˙˙
b
Œ
œ
œ#
œ
œ≈
œœb œ
œ
œ
œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
#
J
‰
˙
‰œb ™
æææ
œœ
b
Œœ
œ ™
ææ
œ
ææææ
ææææ
˙˙
œ
œ
œ
œ#
œ
≈ ‰
œb
œ#œn
œb
œ#
œ
œ
œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
#
J
‰
24
{
°
¢
{
°
¢
{
°
¢
36
Vln.
Vc.
Pno.
37
Vln.
Pno.
40
Vln.
Vc.
Pno.
&
6
?
mf f
5
6
&
mf
3
f
?
&
sfzp p mf
6
&
mff
3
3
3
3
?
&
sfzp ff p mf
3
?
mf
55
&
p
6 6
?
ææœ
j
ææœ
ææ ææææ ææ ææ ‰
O
˙#
®
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
Œ Œ
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
Ó
œ#
œ
œn
œ
œ#
‰Œ
œ
œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
#
J
‰
˙n˙n
ææœ
j
ææ
œ
ææææææææææ
‰
O
˙# œn
‰
œ#
œn™
‰
œ
œ
œ
œ
œ
œ
#
n
œ
œ ™
™
œ
œ
b œ
œ
b œ
œ
b
œœb
j
œ
œ
œ
œ
#
n
œ
œ
#
n
œ
œ ™
™
œ
œ
b œ
œ
b œ
œ
b
œ
œ
b
j
‰ ≈
œ
œ
>
œ
œ
#
Ϊ
≈
œ
œ
œœ
œ
>
#
J
‰
œ
œ
œ
œ
œ
>
b
J
‰
œ
œ
œœ
œ
>
#
J
‰
œ
œ
œ
œ
œ
>
b
J
‰ Œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
J
‰
˙
‰
œ
≈
œ#
œ
r
œ™ œ
œœ
b œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
Œ Ó
œ
œ
>
œ
œ
#
™
™
≈ ‰œ
œbœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ Œ
Œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
J
‰
25
{
°
¢
{
°
¢
{
°
¢
41
Vln.
Vc.
Pno.
42
Vln.
Vc.
Pno.
43
Vln.
Vc.
Pno.
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
&
sfzp
?
s.t.
f
s.p.
5
&
mf
?
&
p p
5 5
?
p p
5
5
&
p
sfz
3
”“
?
∏∏∏∏∏∏∏
œ#
œ
>
œœ
>
bb
3
&
p
s.p.
cresc
5 6
?
p
s.p.
cresc
5
6
&
“< >
?
œ#™
œ
#
˙# œn
Ó
œ
œ#™
œ
œ
œ
œ
>
b
n
b
œ
œ
#
™
™
≈ ‰ Ó
Œ
œœ
œ
>
#
J
‰
œ
œ
œœ
œ
>
#
J
‰
®
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
œ
.
Œ
®
œœ
.>
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
Œ
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
Œ
Œ
œ
œ
b œ
œ
b œ
œ
b
œœ
j‰ ≈
Ϫ
J
Œ
œ
œ
œ
b
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
œ
.
œ
œ
.
œ
œ
.
®
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ
J
®
œ
œ
œ
œ
œ
œ
œ
œ
#
™
™
œ#
Œ
26
{
°
¢
{
°
¢
{
°
¢
44
Vln.
Vc.
Pno.
45
Vln.
Vc.
Pno.
46
Vln.
Vc.
Pno.
&
,
5
?
,
5
&
mp
e
e#
e
3
?
mf
‘“
&
s.p.
mp cresc.
5 6
?
s.p.
mp cresc.
5 6
&
mp
sensa tempo, inside the measure
cresc.
œbœb
œb
œ
œb
œn
œb
œ#
?
&
5 6
?
5 6
&
œbœb
œb
œ
œb
œn
œb
œ#
?
œ
œ
.
#
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
Œ
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
Œ
en
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
.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ#
œœ
œ
œb
œn
œn
œb
œn
œ#œn
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
œ
.
œ
œ
.
œ
œ
.
œ
œ
.
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ#
œbœ
œ
œb
œn
œn
œb
œn
œ#œn
œ
27
{
°
¢
{
°
¢
{
°
¢
47
Vln.
Vc.
Pno.
48
Vln.
Vc.
Pno.
49
Vln.
Vc.
Pno.
&
mf cresc
5 6
?
mf cresc
5 6
&
mf cresc.
œb
œ
œb
œ
œn
œn
œb
œ
?
&
5 6
?
5 6
&
œ#
œb
œ
œb
œn
œœb
œ#
œb
?
&
f
5 6
?
f
5 6
&
f
œ
œb
œ
œ#
œ
œ#
œn
œb
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
œ
.
œ
œ
.
œ
œ
.
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ#
œ
œn
œb œ#
œn
œ
œb
œb
œ#
œn
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
œ
œ
œ
œ
œ
œ
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œnœ#
œb
œ#
œn
œb
œ
œb
œ#
œ#
œn
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
.
œ
œ
.
œ
œ
.
œ
œ
.
œœ
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œb
œ#
œn
œb
œ#œn
œn
28
{
°
¢
{
°
¢
{
°
¢
50
Vln.
Vc.
Pno.
51
Vln.
Vc.
Pno.
52
Vln.
Vc.
Pno.
&
5 6
?
5 6
&
œn
œn
œnœ#
œ#
œ#
œ#
œn
œ
œ#
?
&
f cresc.
5 6
?
f cresc.
5 6
&
f cresc.
œb
œœ#
œn
œ
œ#
œ
œ#
œ#
œ
?
&
∑
pause for 5
seconds
∑
U
5 6
?
∑ ∑
U
5 6
&
œn
œ
œ#œn
œb
œ
œb
œn
œb
œ#
∑ ∑
U
?
fff
°
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
œ
œ
œ
œ
œ
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œn
œb
œbœ
œ#
œ#
œb
œ#œ#
œ
>
n
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
œ
œ
œ
œ
œ
œ
œœ
b œœ
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ#
œb
œ#œ
œn
œ# œ#
œn
œn
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
œ
œ
œ
œ
œ
œ
œœ
.
b œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œb
œb
œn
œ#
œ
œ#
œb
œn™
˙˙
>
b
˙
˙#
˙˙
>
˙
˙
U
29
{
°
¢
{
°
¢
55a
D
Vln.
Pno.
Vln.
Vc.
Pno.
&
pp mf mp mf
60''
&
∑
?
gliss. on the keys with a wooden stick
mp
≠
≠
≠
60''
&
55b
mp
Drag the wooden part of the bow
from the fingerboard to the bridge, as fast
as possible
pp
Produce with the bow
scratching sound
mp
Hit sounding board
with palm
f
40''
3
/
Drag the wooden part of the bow
from the fingerboard to the bridge, as fast
as possible
20''
pp
Produce with the bow
scratching sound
mp
40''
3
&
Glissando inside the piano,
arrows designate direction
20''
f
Inside the piano
scrape with the fingernail
mf mp
Inside the piano
scrape with the fingernail
40''
?
mp
pizz.
mf
‘“
mp
pizz.
‘“
mf
æææ
œ
>
æææ
œ œ
œb
œn
œ#
œn œ#
œ
666666
>
œnœb
œb œn
œb
œb
666666
>
œb
666666
>
œb
œn
œ#
666666
>
e
+
œ
+666666
>
30
{
°
¢
{
°
¢
56
q = 63
4
4
4
4
4
4
4
4
Vln
Vc.
Pno.
57
Vln.
Vc
Pno.
/
f
?
p mf f
&
Scrape strings aggressively(tremolo)
start with the note(follow the graphics)
p mf p
?
pizz.
mf
‘“
&
&
f sffz
group notes
ad libitum
mf
3 3
?
f
Hit sounding board
with palm
3 3
&
b
f
cluster
mf
œ
œ#
œ
œn
œn
œ#
group notes
ad libitum6
&
b
&
n
f *
n
mf
Ó‰
≈
œb
œn
œ#
œnœb
œn
œn
œb
J
œ
œœb
œb
æææ%
Œ
e
+
E#
œb
œn
œ# œ
J
‰
œ#
œ
œnœ
œ
œb
œœb
œb
œ#
œ
œb
œn
œb ‰
œbœ#
œœ#
‰Œ
≈ ≈
‰™ Œ
‰Œ
w
wÓ
œ
œ
œ
.>
b
n
b
J
œ
.
n
œ
.
b
œ
.
n
œ
.
#œ
.
œ
.
b
œ
.
n
w
w
w
w∑
w
w
31
{
°
¢
{
°
¢
60
Vln.
Vc.
Pno.
64
Vln.
Vc.
Pno.
&
sfz
clb
Ÿ~~~~~~~~~~~~~~~~~
p
g
l
i
s
s
.
&
∑
?
∑ ∑
f p f
Ÿ~~~~~~~~~~~~~~~~
&
f p
Scrape strings aggressively(tremolo)
start with the note (follow the graphics)
mp p p mf
&
p
Scrape strings aggressively(tremolo)
start with the note(follow the graphics)
mp p f mf
&
s.p.
mp mf
∑ ∑
?
∑
mp
snap pizz.
f
œ
œ#
œb
œ
œb
œn
œœn
mp
œ
œ
œb
œ#
œœn
œb
œ
&
&
œ
j
˙™
œ
œ#
œ#
œ
œ
œb
œ
œ
œ#‰ ¿
U
Œ
Ó
Ó
œ
j
œ
>
œ
œ#œ
œb
œb
œnœ
˙
Ó
6666666
>
J
Œ
æææ˙b
æææw
Œ
66666666
œ
æææ˙n
æææw
66666
Œ ‰ ‰ œb
ææ
œ
ææ
œ#
ææ
œ
ææœ#
œ
j
ææ
œ
ææ
œn
ææ
œ#
ææ
œn
ææœb
ææ
œ
ææ
œ
ææ
œnœ#
32
{
°
¢
{
°
¢
67
Vln.
Vc.
Pno.
71
Vln.
Vc.
Pno.
&
mp
s.p.
f
∑
Ÿ~~~~~~~~~~~
∑ ∑
?
∑
s.p.
mp
arco
b
#
ord
s.p.
b
ord
b
3
3
& &
mf
mp
Scrape string with nail
while glissanding
mf
&
?
mf
Scrape string with nail
while glissanding
&
∑
arco
p
glissando
mp
mf
glissando
f
?
follow graphic( s.p.-ord)
mf
&
p
Ÿ~~~~
f
b
mp
3
”“
”“
œ
œ
œ#
There are two ends in this piece;
The pianist must choose the end without
letting the other performers to know about it;
In bar 73, the pianist will raise up his hand and
point his finger the number 1 or 2.
∑
5
?
mp
p
3
‘“
∑
ææ
œ
ææ
œb
ææ
œ
ææœ#
œn
j
ææœb
ææ
œ#
ææ
œ
ææ
œb
ææ
œ
ææ
œ#
ææ
œb
ææ
œœ#
˙
˙ œ
J
œ
j ˙˙
˙˙
˙˙
66666 Œ
˙# w
˙
˙b
66666
Œ˙ w
˙
˙
œb≈ ≈
œn
≈ ≈
œ#
≈ ≈
œn™
6666666 ‰
œœb
œ
j
Ϫ
œ ™Œ Œ
œ#
Œ
‰
666666
‰
˙˙
≈
œ#
R
Ϫ
Œ
Œ Œ
33
{
°
¢
{
°
¢
74
Vln.
Vc.
Pno.
rit.
76
rit.
Vln.
Vc.
Pno.
&
1
mp
3
fpp
sf
3
?
pp
s.p.
f
∑
5
&
mp pp
3
?
&
sf
pp
more hair
ppp
At least 5 seconds
silence before putting
the bow down
3
?
ppp
ppp
clb
5
5 5
&
∑ ∑
?
ff
‘“
∑ ∑
œb
œœb
œ
U
n
Œ Œœb
œœb
œn
œb
œœb
Ó Œ ‰
œb
œœ#
œ
œb
œ#
Œ
˙
U
œ
j
œ
J
‰
œ
œ#
Œ Œ
‰
œ
j
˙
Œ ‰
œ
j
˙
Œ
œ
œœb
˙
U
b
æææ
œ
œb
b w
w
w
w
Ó Œ ‰
œb
œœ#
œ
œb œ
J ‰ Ó ‰
œb
œœ#
œ
œb œ
J ‰ Ó ‰
œb
œœ#
œ
œb
w
ww
w
b
b
#
w
wb
34
{
°
¢
{
°
¢
74
Vln.
Vc.
Pno.
77
Vln.
Vc.
Pno.
3
4
3
4
3
4
3
4
&
2
mp
3
f
?
∑ ∑ ∑
&
mp
3 3
?
&
ppp
∑ ∑ ∑
?
∑ ∑ ∑ ∑
&
ppp
?
∑
œb
œœb
œ
U
n
Œ
œœ#
œœ#
œ#œ
œ#œ#
œœ#
œ
œ#
œ#
Œ
˙
U
˙˙
˙˙
#
‰
œœ
œœ
#
œœ
œœ
#
˙˙
˙˙
#
‰
œœ
œœ
#
œœ
œœ
#
‰
œ
j
˙
Œ Œ Œ
œ
œ
n
Œ Œ
œ
œ
n
œ
.
# œ
.
œ
.
œ
.
œ
.
œ
.
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
œ
œœ
œn
b
#
˙
˙˙
˙n
b
#
˙
˙Œ Œ Œ
œ
œb
Œ Œ
œ
œb
35
2010-2011
for 4 clarinets in Bb
Ordinatio
36
Tolal Duration : c. 9' 54''
Note duration are indicated with note-head extensions:
The longer the extension, the longer the note.
Interruption (gaps between extensions) indicate silences (rests).
All other symbols are explained in the score.
Multiphonics are taken from the book: 'New Direction for Clarinet' by
Philip Rehfeldt University of California press.
Accidentals apply to one note only
(Ties are consider to be one note).
The veritical broken arrows indicates the time of entry.
Trills always on the written note to the semitone above it.
Key clicks and air on the specific pitches.
Half air/ half pitch.
Key clicks freely.
37
°
¢
°
¢
3
4
3
4
3
4
3
4
e = 60
Clarinet in Bb
Ordinatio
Clarinet in Bb
Clarinet in Bb
Clarinet in Bb
0
0
0
0
0
0
0
0
2
Cl.1
Cl.2
Cl.3
Cl.4
&
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~6
7
&
ff
7
6
&
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9
7
&
ff
9
6
10
&
p
Air sound
Air flz
f mp
(5'')
f
Key clicks freelyRepeat pattern until the end
of the horizontal line
10''
&
(2'')
p
Air soundAir flz
f mp
(6'')
Key clicks
freely
Repeat pattern
until the end of the
horizontal line
10''
&
(3'')
p
Air sound Air flz
mf p
10''
&
p
(4'')
Air sound
mf
Air flz
10''
œ
.
œ
.
#
œ
.
œ
.
n
œ
.
#
œ
. œ
.
#
œ
.œ
.
n
œ
.
#
œ
.
œ
.œ
.
œ
>
#
œ
.
#
œ
.œ
.
n
œ
.
#
œ
.œ
. œ
.
œ
.
n
j
œ
.>
œ
.
#
œ
.œ
.
œ
.
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
>
æææ
œ
>œ
.>
œ
.
#
œ
.œ
.
œ
.
#
œ
.
n
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
#
œ
.
œ
.
œ
jœ
.
>
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
œ
.
>œ
.
#
œ
.œ
.
œ
.
#
œ
.
œ
.
#
)#
æææ¿
)
æææ¿
)#
æææ
)#
æææ
38
°
¢
°
¢
3
Cl.1
Cl.2
Cl.3
Cl.4
4
3
4
3
4
3
4
3
4
Cl.1
Cl.2
Cl.3
Cl.4
&
10''
&
10''
&
(7'')
Key clicks
freely
Repeat pattern
until the end of the
horizontal line
10''
&
pp
(8'')
f
Key clicks
freely
Repeat pattern
until the end of the
horizontal line
10''
&
q = 60
Key clicks - air-tones.
‹
pp
q
&
&
&
¿
¿
Œ
w
¿w
¿
w
¿w
¿
w
¿#
w
¿#
w
¿ w
¿
™
j
≈ Ó
™
j
≈
39
°
¢
°
¢
5
Cl.1
Cl.2
Cl.3
Cl.4
6
Cl.1
Cl.2
Cl.3
Cl.4
&
Repeat ad libitum
mp
&
Key clicks - air-tones.
‹
pp
q
Repeat ad libitum
&
Key clicks - air-tones.
‹
pp
q
&
ppp
9 9 9
&
pp
ff
2''-3''
U
p p
c#
&
mppp
ff p
∑
&
Repeat ad libitum
mp
pp
ff p
∑
&
ff
∑
9 9
Œ
w
¿w
¿
w
¿w
¿
w
¿#
w
¿#
w
¿ w
¿#
Ó
w
¿w
¿
w
¿w
¿
w
¿#
w
¿#
w
¿ w
¿
œœ#
œ
œn
œ#œ
œ#
œ#
œ#
œ#œœ
œn
œ#œ
œ
œ#œ
œœ#
œ
œn
œ#œ
œ#
œ
œ#
æææ
œ#
˙
˙
#
™
™
æææ
œ#
æææ
œ#
œ#œ
œ
œ
œ#œ
œ
œ#œ
œœ#
œ
œn
œ#œ
œ#
œ
œ#
æææ
œ#
40
°
¢
°
¢
8
Cl.1
Cl.2
Cl.3
Cl.4
12
Cl.1
Cl.2
Cl.3
Cl.4
&
mf
∑ ∑ ∑
&
p f
∑
f
&
∑
p f
∑
&
∑ ∑
p f
&
q = 65
p mp mf
5
3
&
Air sound
&
∑
f
Air sound
&
∑ ∑
Air sound
f
˙
˙
Œ
˙
˙#
#
™
™ ˙
˙
Œ Ó ‰
w
¿>
#
j
˙
˙
#
™
™ ˙
˙
Œ
˙
O#
#
™
™ ˙
˙
U
™
™
‰ ≈œ
j
œ#œ#
œn œ™ œ# œ# œ
U
.
>
#
r
≈ Œ ‰œ#
j
œ#œ™ œ# ™ œ œ
.
n‰
œ
.
Kr
® ≈ Œ
Œ
w
¿>
#
w
¿>
#™
41
°
¢
°
¢
15
Cl.1
Cl.2
Cl.3
Cl.4
e = 60
20
Cl.1
Cl.2
Cl.3
Cl.4
4
4
4
4
4
4
4
4
&
mp
3
f p f
slap
sffz
,
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑
&
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~6
7
&
ff
7
6
&
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9
7
&
ff
9
6
10
Œ
æææœ
≈
œ
.
‰œ
.
r
≈ Œ
œ
œbœ
Œ
æææ
˙#™
æææ
˙
œ#
œ#
œ ¿
.
j‰ Ó ‰
™
œ
.
>
œ
.
>
œ
.
œ
.
#
œ
.
œ
.
n
œ
.
#
œ
. œ
.
#
œ
.œ
.
n
œ
.
#
œ
.
œ
.œ
.
œ
>
#
œ
.
#
œ
.œ
.
n
œ
.
#
œ
.œ
. œ
.
œ
.
n
j
œ
.>
œ
.
#
œ
.œ
.
œ
.
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
>
æææ
œ
>œ
.>
œ
.
#
œ
.œ
.
œ
.
#
œ
.
n
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
#
œ
.
œ
.
œ
jœ
.
>
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
œ
.
>œ
.
#
œ
.œ
.
œ
.
#
œ
.
œ
.
#
42
°
¢
21
Cl.1
Cl.2
Cl.3
Cl.4
4
4
4
4
4
4
4
4
&
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
&
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
&
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
&
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
œ
œ
œ#
œ
w# w
U
œb
œ œ#
œn
w# w
U
œ
œ
œ
œ
œ w w
U
œ
œ#
œ#
œ#
œn w# w
U
43
Clarinet 1 in Bb
(Bar 23)
Clarinet 2 in Bb
(Bar 23)
The two following pages represent one "bar" (b.23) of music lasting c. 40".
Every perfomer has 6 patterns (one in each box) to choose from;
The duration of each box is c.10" the performer must choose 4 of them to play in any order.
All text in treble clef.
44
Clarinet 4 in Bb
(Bar 23)
Clarinet 3 in Bb
(Bar 23)
45
°
¢
24
3
4
3
4
3
4
3
4
e = 60
Cl.1
Cl.2
Cl.3
Cl.4
&
∑
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~
6
7
&
∑
ff
7
6
&
∑
ff
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
9
7
&
∑
ff
9
6
10
œ
.
œ
.
#
œ
.
œ
.
n
œ
.
#
œ
. œ
.
#
œ
.œ
.
n
œ
.
#
œ
.
œ
.œ
.
œ
>
#
œ
.
#
œ
.œ
.
n
œ
.
#
œ
.œ
. œ
.
œ
.
n
j
œ
.>
œ
.
#
œ
.œ
.
œ
.
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
>
æææ
œ
>œ
.>
œ
.
#
œ
.œ
.
œ
.
#
œ
.
n
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
#
œ
.
œ
.
œ
jœ
.
>
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
#
œ
.
œ
.
œ
.
#
œ
.
œ
.
œ
.
>œ
.
#
œ
.œ
.
œ
.
#
œ
.
œ
.
#
46
Clarinet 2 in Bb
( Bar 26)
The two following pages represent one "bar" (b.26) of music lasting c. 30".
Every performer has 5 patterns (one in each box) to choose from;
The duration of each box is c. 10"; the performer must choose 3 of them to play in any order.
All the text in treble clef.
Clarinet 1 in Bb
(Bar 26)
47
Clarinet 4 in Bb
(Bar 26)
Clarinet 3 in Bb
(Bar 26)
48
°
¢
°
¢
27
3
4
3
4
3
4
3
4
Cl.1
Cl.2
Cl.3
Cl.4
31
Cl.1
Cl.2
Cl.3
Cl.4
&
q = 65
∑ ∑
mf
3 3
&
∑
mpf
3 3
&
∑
p f
&
∑ ∑ ∑
mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
f
Ad libitum with accel
flz
p
Intense (molto)
vibrato
f
&
sffz
Intense (molto)
vibrato
p
flz
Intense (molto)
vibrato
f
&
p f
3
&
Ÿ< >~~~~~~~~~~~
sffz
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p f
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ó
œ œ
œ#
œœ œ#
œ#œ# œ#
œ
œ#
Ó ‰
œ
j
œ
œ#
œnœ œ œ
œ#
≈
œ#œ#œn œ
œ
j
œ
j
Ϫ
œ#
j
œœ ˙# ™ ˙ œ
˙#™
‰
œ
œœ œ
œ# œn
æææœ ˙#
Œ
˙
>
œ œ œ#
œ#
j
œ>n œ#
≈
˙
æææœ
Œ Œ
˙b œb œn
Ó ‰
œ#
j
œ#
œ
.
™
‰
œ#
j
œ œn
œ
>
œ
.
b
Œ
œ
j
œ œbœ
œ#™
j≈
˙µ œ
˙ œ ™
j ≈
˙#™
49
°
¢
°
¢
34
Cl.1
Cl.2
Cl.3
Cl.4
37
Cl.1
Cl.2
Cl.3
Cl.4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
&
ff mp
∑
&
ffp
f
3
&
ff
mp mf
3
3
&
ff p mf
Key clicks freely
ff
9
&
f
∑
pp
3
&
f pp f
slap
3
&
f pp f
slap
&
f
mf
‹
Key clicks and air
in the specific pitches
ff
w
¿# w
¿
w
¿
w
¿w
¿#
w
¿ w
¿#w
¿#
3
æææ
˙
>œ#
J‰ ‰
œ
-
bœ
- ™
‰
æææ˙
>
œ
j
‰
œb
œ‰ Œ Œ ≈
œ
.
# œ
.
#
‰
æææ˙
>
œ
j‰ Œ
œ
.œ
≈
œ
.
œœœb œb
Œ
æææ˙
>
œ#
J
‰
œ# œ
.
>
œ#
œbœ
œbœ
¿
œ
.
# œ
.
#
œbœœn
Œ
œ
.
# œ
.
# œ
.
#
≈
œ
.
n œ
.
œ
‰™
œ
≈
œœ
≈ Œ
œ
.
b œ
.
b œb œ
Jæææ¿ ™
Œœ
>
œ ™ œ œ œ œ œ ™
j
≈ æææ¿
œ
.
# œ
.
#
œbœœbœ
œn
œ
œ
œb
œb
œ
œ
j
œw
¿w
¿#
w
¿# w
¿n
50
°
¢
°
¢
40
Cl.1
Cl.2
Cl.3
Cl.4
q = 100
42
Cl.1
Cl.2
Cl.3
Cl.4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
&
rit.
p
flz.
f
q = 40
ppp
trill accel
U
Ÿ~~~~~~~~~~~~~
5''
&
p
rit.
flz.
f
ppp
trill accel
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
p
rit.
flz.
f
ppp
trill accel
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
p
rit.
flz.
f
∑
&
∑
mppoco a poco cresc.
3
&
ff
mppoco a poco cresc.
&
ffmp poco a poco cresc.
flz
3
&
ff
mp poco a poco cresc.
3
œ#
æææ
œ
U
#
Œ Ó ‰
œ
>
#œ
‰
≈œ
.
œ
.
œœ
æææ
œ#
æææ
œ
U
Œ ‰
œ
œ
j
˙
Œ
œ
.
œ
.
œ
.
bœ
>
b
æææœ
U
#‰
œb
œ
j
˙ ™
Œ ‰
œ
.
œ
.
bœ
.
b œ
.
nœ
U
#
œ
>
bœœb œb œ
>
b
œ
.
œ
.
œ
.
#œ
.
œ
.
œ
.
bœ œ
œ
Ó ≈œ
œ
œ œ
>
œ
œ≈œ
.
J
‰ ‰œ
>
J
œ
œ
.
#
œ
.
nœ
.œ
.
œ
.
#
œ
.
œ#
j
‰
Œ
≈
œ
œ#
œ œ
>
œ#
œ
≈
œ™ œ
.
>
j
‰
œ
>
j
œ ™
æææœ
.
b
œ
. œ
.
#œ
.
#œ
.
n
œn
≈ œb
œ
œb œ
>
b
œ
œb ≈ œb œb™
œ
>
b
J
‰ œb
J
œ
œ
.
b
œ
.œ
.
nœ
.
b œ
.
n‰™œ
.
œ
.
œ
.
51
°
¢
°
¢
45
Cl.1
Cl.2
Cl.3
Cl.4
47
Cl.1
Cl.2
Cl.3
Cl.4
&
3
&
3
3 3 3
&
6
6 6 6
&
5
&
Ÿ~~~~~~~~~~~~~~~~
&
5 6
&
Ÿ~~~~~~~~~~~~~~~~~~
&
norm.
œ œbœ œ
œ#≈
œ
.
œ
-
n
œ
.
œ
.
œ
-
œ
.
œ
.
œ
-
œ
.
œ
.
œ
-
œ
.
œ
œœ œb
œœ# œ# œ
.
œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
#
œœ#
œ
-
J
‰
œ#
œ# œnœ œb
œ# œœb œn
œ œ#
œ#œœb œn
œ# œ#
œ# œ#
œ# œnœ
≈ ≈
œ
.œ
.
œ
.
œ
.
œ
.
œ
-
j
‰ææœ
>
ææ
œ
>
ææ
œ
ææ
œ
ææ
œ
>
#
ææ
œ
>
#
ææ
œ
>
#
ææ
œ
>
#
œ
.
œ#
≈œ
œ
œ#œ
œ#
œ#œ œ
œ
.
b œ
-
n œ
.
#
œ≈
œ
-
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
# œ
.
#
œ#
œ#
œ œ#
œ#
œnœ
œ#
œ
.œ
-
#
≈
œ
.œ#
œ
.
n
æææœ
ææœ
ææœ
ææ
œbœ#
œ#
œbœ
œ
œn
œœ
52
°
¢
°
¢
48
Cl.1
Cl.2
Cl.3
Cl.4
50
Cl.1
Cl.2
Cl.3
Cl.4
&
mf
7
&
mf
5
&
mf
&
mf
&
f mp ff
∑
p
ff
Ÿ~~~~~~~~~~~
3
&
f mp ff
∑
p
ff
Ÿ
3
&
f mp ff
∑
p
ff
Ÿ~~~~~~~~~~
3
&
f mp ff
∑
p
ff
Ÿ
3
œ
.œ œ
.
#œ
.œn œ
.
#œ
. ™ œn œ
.
# œ ™œ#œ œ œ
™œ œ
œ# œnœ œb
œœ#
œ#
œ#
œ œ#
œ#
œnœœ#
œ™ œn œn
œ#™ œ œ œ
™ œ œn œ#œ œ#
œ œ#
œ
.œ#
œ
.
Ϫ
œœ#
œ# ™ œnœn
œ ™œbœ
œn ™ œ#œ# œ#
œ œ#œ#
œ
.
#œ#
œ
.
n
œ
.
#œ#
œ
. œ#™ œ# œ
œ™ œ# œ
œ ™œ œ#
œ#œ
œ#œ
œ#œ
œ#œ
œ
œb
œ#
≈
œ
.
R
‰ ‰™
œ
.>
b
R
œ
.
R ‰™
‰
œ#™
œ
j
˙™
œ
œ#
œn≈
œ
.
R‰ ‰
™
œ
.>
b
R
œ
.
R‰™
Œ
œ#
œ#
œ#
œb
œb
≈
œ
.
#
R
‰ ‰™
œ
.>
n
R
œ
.
#
j
‰ Œ
œ
œ
j
˙#™
œ#
œ œ#
≈
œ
.
#
R
‰ ‰™
œ
.>
n
R
œ
.
#
j
‰ Œ
œ# œœ#
53
°
¢
°
¢
54
Cl.1
Cl.2
Cl.3
Cl.4
57
Cl.1
Cl.2
Cl.3
Cl.4
&
q = 120 - 130
pp mf
3
3 3
3
&
pp mf
3 3 3
&
pp
mf
3 3 3
&
pp mf
3 3
3
&
p ff p
4'' - 5''
4'' - 5''
fff
3 3
3
&
p ff
3
f fff
3
3
&
p ff
3
f
4'' - 5''
fff
4'' - 5''
3
3
&
p fff pp fff
3
3
3
≈
œb œb
œb œœ
.
R
≈ ‰ Œ Œ
U
œœ#
œ œ#œ#
œn œ#œ
œn
‰
œ
J
œ
œ œœ
.
R
≈ ‰ Œ Œ
U
œ#œ œ#
œ#œn œ#
œ#œn
œ#
≈œ ™
j
œ œnœ
.
R
≈ ‰ Œ Œ
U
œœ œ#
œœn œ#
œœn
œ
‰™
œ#
r
œ œ#
œ
.
#
r
≈ ‰ Œ Œ
U
œœ#
œœ
œ#œ
œ œ#
‰
œ œ#
œœ# œn
œ# œ œ
U
#
j
œ#œ œ#
œ œ#
‰
œ
>
#œn œ
U
.
#
œœ
œb œn œ#
‰
œ
>
b œ#œ
U
.
#
œ œ#
œ# œn œ#
œ œ œ
U
j
54
°
¢
°
¢
58
Cl.1
Cl.2
Cl.3
60
Cl.1
Cl.2
Cl.3
&
q = 60
ppmp
3
&
pp
mp
3
&
pp mp
&
3
poco a poco cresc.
mfsub
3 3
&
poco a poco cresc.
mf sub
3
3
&
mf
3
3
œ
œ
˙# œn≈
œ œ
j
œ
œb
œ#œ
≈œb
≈œn
≈œb
Œ
œ# œ
j
œ
œ# œœn œ# œ# ™ œn
j
œœ#
œœ œ# œ#
™œ#™
œ œ œ# œ#œn œ
≈œ≈
œ#
Œ
œn
J
œn‰œ# œ#
‰œ# œ#
œ
≈ ≈
œ#œ
J‰
œ#
j
‰ œ
J
‰
œ# ™œœ# œ# ™
‰
œ# œ#
˙# œ≈
œ œ
j
œ#œ
.
#‰œ
.
J
‰
œ
.
#
j
œbœ™ œn
œ# œn
œ#œ œ
œ#œ
≈
œ œ#
œb œn
œ
.
# œ
.
# œ
.
#
œ#
œ
.
#
œ
.
#
œ
.
#
œ
.
J
‰
55
°
¢
°
¢
°
¢
63
Cl.1
Cl.2
Cl.3
65
Cl.1
Cl.2
Cl.3
67
Cl.1
Cl.2
&
3
3
&
3
3
&
&
ff
3
5
&
ff
5
3
&
ff
&
play the group of notes
ad libitum
pp mp sub
3
mf
3 3
&
pp
mp
flz
mf
3
œ
.
œ
≈
œ
Œ
œ
. ™œ
.
#
‰
œ
.
b
J
‰ ‰ œ
.
b
Jœ
.
#
≈
œ
.
≈
Œ
œ
.
œ
.
≈
œ
.
Œ
œ
.
‰
œ
.
œ
.
‰ ≈œ
.≈
œ#
˙
˙#
#
™
™ ˙
˙
œ
œ
J
‰
œ
.
#
≈
œ
.
≈
œ
.
#
≈ œ
.
≈ œ
.
b ≈
œ
.
n
≈
œ
.
œ
.
bœ
.
bœ
.œ
.
œ
œ
œ#
œ œ
œ
‰
≈
œ
.
≈
œ
.
#
≈
œ
.
#
≈
œ
.
#
≈
œ
.
≈
œ
.
# œ
.
œ
.
œ
.
œ
.
œ
.
#
œ
œbœ
œ#œn
œ#
œb
˙
˙#
#
™
™ ˙
˙™
™
Œ
œ# œnœ#
œœ
œbœ
≈≈
œ#
œ#
≈
œnœ#
≈
œ
.
# œ
.
#
≈
œ
.
# œ œ# œ#œ# œn
≈
œ#
œ
>
œ
>
#
‰
œ œb ™œœn œ œb œb
j
œb ™ œ
æææ˙
œ#≈œ# œ#
56
°
¢
°
¢
°
¢
70
Cl.1
Cl.2
74
Cl.1
Cl.2
78
Cl.1
Cl.2
81
Cl.1
84
Cl.1
87
Cl.1
&
flz
mf
3
f3
&
f
3
3
3
&
mf
3
ad libitum with accel
f
flz
3
&
mf f
flz
3
&
mp
∑ ∑
3
&
mp p
35
&
q = 60
p
mpmf
5 3
&
mp pp ff mf
molto
vibrato
ppp
U
2''
&
p
molto
vibrato
U
pppp
2''
sffz
œœ#
æææ˙# œ
œ
≈œ# œn ™
œ œ
j
œn ˙
Œ
œ#
œ
œ œ
œ
.
œ#
œ#
œ ™ œ
œbœ
.
œ
j
˙bœ≈ œ ‰
œ#
j
œ ™œ
œ
>
# ™
æææ˙
œb
j œn
˙ œn
œ‰ œ
œ#œ
œ#
œ#
œ#
œb
œ# œn
œœ#
œ#
J
œ#
‰
œ#
æææ
œ#™
œ
J
œ
œ#
œ œ™
œ œ ˙ ™ œ
œ#
œnœ#
œ
>
™
æææ˙ ™
Ó
œ#œ œ
.
#
œ#œ œ
.
#
Œ Œ ‰œ#
œœ œ
œ œœn œ#
œ
.
œ
.
#
œœ
.
n œ
.
#
Œ
‰ ≈œ œb
œbœb œ œb
œb œb œ
.
>
U
b
R
≈ Œ ‰œ#
jœb
œ™ œb
™™œ
.
‰œ
.
Kr
® ≈ Œ
Œ
æææœ
≈
œ
.
‰œ
.
r
≈ Œ™
œ
.
œ
.
bœ
.
œ
.
Œ œb ˙
U
b
˙
U
b™
Ó ‰™
œ
.
>
œ
.
>
57
for string quartet
2011-2012
Nos dec
58
Where bowings articulation is absent play ad libitum.
ABBREVIATIONS
s.p = sul ponticello
clb = col legno battuto
s.t. = sul tasto
ord. = ordinatio
v.n.= vibrato normale
m.v = molto vibrato
norm. = normal
gliss./harm. = harmonics glissando
All other symbols are expained on the score.
Note duration are indicated with note- head extensions:
The longer the extensions, the longer the note.
Interruption (gaps between extensions) indicate silences (rests).
Add bow pressure to produce a scratch tone,
in which the audible pitch is totally replaced by noise.
Total Duration : c. 10' 15''
Episodes are to be perfomed without metre.
The duration of each episode is shown in seconds.
Play the specific pitches in any order, combining the specific
rhythm (within the boxes) in any order. Notes may be repeated
ad lib.
The vertical broken arrows indicate the time of entry.
Where one duration is shown over 2 types of material, the performer
can freely choose the length of each type within the total duration
(see bars 6, 7 for example).
59
°
¢
°
¢
4
4
4
4
4
4
4
4
q = 65
Nos dec
Violin I
Violin II
Viola
Violoncello
Vln. I
Vln. II
Vla.
Vc.
&
∑
Behind the bridge
(10'')
sfz pp
30''
&
∑
Behind the bridge
sfz
(20'')
pp
30''
B ∑
sfz
From scratch tone to norm.
ÍÍÍÍÍÍÍÍÍÍÍÍ
pp
30''
?
non vib. to grotesque,
wide vib.
s.p.
mf
ÍÍÍÍÍ
sul Isfz
(15'')
From scratch tone to norm.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
pp
30''
Play the specific pitches as fast, as possible, in any order
(gliss./trem.)
&
10''
&
3
Behind the bridge
f pp
15''
fff
Play the specific pitches as fast, as possible, in any order
(gliss./trem.)
&
10''
&
Behind the bridge
f pp
15''
fff
Play the specific pitches as fast, as possible, in any order
(gliss./trem.)
&
10''
B
sfz
From scratch tone to norm.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
pp
15''
fff
?
Play the specific pitches as fast, as possible, in any order
(gliss./trem.)
10''
?
sul I
From scratch tone to norm.
sfz
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
pp
15''
fff
_
_
æææ
YY
>
≈œ#
r
≈œ
R
œ ˙
Y
œb œnœ
œb
_
ææææææææææææ
œœb œn
œ
_
æææææææææ
æææ
œ#œ
œbœb
æææ
YY
> æææ
æææ ææ
ææææ
œ œ#œ
œb
Y
æææææææææ
æææ
=
60
°
¢
°
¢
5
Vln. I
Vln. II
Vla.
Vc.
7
Vln. I
Vln. II
Vla.
Vc.
&
1
Play from the highest note as possible
final note is approximate.
g
l
i
s
s
.
ff
5''
(5'')
(scratch tone)
(5'')
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
10''
&
Behind the bridge
ff
5''
10''
B
1
Play form the highest note as possible
final note is approximate.
ff
5''
10''
?
ffff
5''10''
&
mp
,
mf
15''
(scratch tone)
mp
s.p.
5''
ord.
norm.
15''
ff
s.p.
f
20''
(7'')
&
Play the specific pitches in any order, using the boxed rhythms
(beats are approximately q = 65)
20''
&
mp
(8'')
mf
(scratch tone)
ÍÍÍÍÍÍÍÍÍÍÍ
15''
mp
3
f mf p
s.p.
ff
2
3 5
B
Play the specific pitches in any order, using the boxed rhythms
(beats are approximately q = 65)
20''
B
mp
(8'')
mf
(scratch tone)
(7'')
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
15''
f
3
mp ff mf
s.p.
p
2
3 5
?
mp mf
15''
mp
s.t.
v.n
20''
œb
œb
æææææææææ
æææ
_
æææ
æææ ææ
æ
æææææææææ
æææ
æææææææææ
æææ
œbœb
œœb œn
œ
œbœ œ#
œœ
œ
æææ
œ
œ
œbœb
œœn
œœ#
œœ
œ
œ
- - ->
. .
‰
. . . . .
Œ
U ææææææ
œb œnœ
œ
œ#
œœ
œ
˙˙
- - ->
. .
‰
. . . . .
Œ
U ææææææ
œb œnœ
œ
œ#
œ
œn
=
61
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
10
4
4
4
4
4
4
4
4
q = 65
Vln. I
Vln. II
Vla.
Vc.
Violins and Viola: Play the specific pitches in any order, using the boxed rhythm
&
20''
&
9
s.p.
mf
ord.
(5'')
(beats are approximately q = 65)
3
mp
(scratch tone)
mf
ÍÍÍÍÍÍÍ5
&
f
s.p.
2
mp
(15'')
(scratch tone)
p mf
ord.
20''
5
B
mf
s.t.
v.n.
ord.
p
s.p.
mp
3
20''
?
Violocello : Play the specific pitches in any order, using the boxed rhythms
20''
?
mf
(beats are approximately q = 65)
s.p.2
mp
(18'')
s.t.
with vib.
mf
3
&
non vib. to grotesque, wide vib.
s.p.
mf
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍs.p.
repeat pattern
ad. lib (vary the speed)
j
'
j
ff pp
15''
&
∑
repeat pattern
ad. lib (vary the speed)
gliss./harm.
~~~~~~~
~~~~~~~
f pp
15''
B
scratch tone
harm.
f
norm. harm.
?
p
clb
repeat pattern
ad. lib (vary the speed)
f pp
15''
œbœb
œœn
œœ#
œœ
œ
æææ
œ#
Œ
œ
œ
Œ
. . . . .
Œ
ææææææ
Œ
U
œ
œ
æææ
œ
œb œnœ
œ
œ#
ææææææ
>. .
‰
œn
≈œ#
R
≈
œ
R
œ ˙
Ob O O
œ
Ob
b œ
OO
O
J
Œ
O
˙™
™
æææææææææ
æææ
œb
œ#
œœn
œb
œbœ
œnœ
=
62
°
¢
°
¢
12
Vln. I
Vln. II
Vla.
Vc.
13
Vln. I
Vln. II
Vla.
Vc.
&
17''
&
17''
&
mp
B
mp
(9'')
17''
?
clb
mp
17''
&
j
s.p.
repeat pattern
ad. lib (vary the speed)
'
j
pp
12''
&
(2'')
3
pp
12''
B
12''
?
pp
12''
œb
œ#
œœn
œbœ
œ
O
O
œ
œœ
œœb
œb
œnœ
œ#
œb
O Ob O
Œ
U
œb
œ#
œœn
œb
œbœ
œnœ
=
63
°
¢
°
¢
14
Vln. I
Vln. II
Vla.
Vc.
15
Vln. I
Vln. II
Vla.
Vc.
&
p f ff
10''
3
&
10''
B
p
(5'')
scratch tone
gliss./harm.
(ad.lib)
ord.
mf
10''
?
Behind the bridge
p mf
10''
&
mf
10''
3
&
10''
&
mf
(5'')
f
B
f
10''
?
10''
?
gliss./harm.
mf
scratch tone
harm.
f
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
norm.
(7'')
mf f
3
œb
œb
œ
j
œ
æææ
˙
O
_
œb œnœ
œ
œ#
œnœ
œb œn
œb œnœ
œ
œ#
æææ
œ
O
œ
Ob
b
æææ
æææææææææ
œb
œb
œ
œ
œœb
œb
œn
œ
Ob
O
¿
b
œ
Ob ‰ æææ
=
64
°
¢
°
¢
16
Vln. I
Vln. II
Vla.
Vc.
18
Vln. I
Vln. II
Vla.
Vc.
&
5''
5''
sfz
f
Left hand fingernail pizz.
(scratch tone) norm.
p
√
5''
&
5''
B
5''
5''
sfz
f
Left hand fingernail pizz.
(scratch tone) norm.
p
√
5''
?
sfz
(scratch tone) norm.
pp
5''
&
arco
mp
Fast grouplet of repeated notes
ff pp
5''
(3'')
ord.
p
15''
&
mp
Behind the bridge as fast as possible
ff pp
5''
(3'')
p
15''
B
arco
mp
Behind the bridge as fast as possible
ff pp
5''
p
Left hand fingernail
pizz.
15''
?
mp
Behind the bridge as fast as possible
pp
5''
(3'')
p
15''
Y
œ
+
œ
+
œ
+
Y
œ
+
œ
+
œ
+
Y>
. . .
œ
œb
œ
œ
œ
œ
œ
œb
œ
œn
œ#
œ
w#
1 1 1
œ#
œ
œn
œb
œ
œn œb
œn œ# œn w#
1 1 1œ œn
œ
œ
œ
œb
œ
œ
œb
œn
œn
œ
œb
œ
œ
œ#
œ
+
œ
+
œ
+
œ
+
œ
+
œ
+
1 1 1œb
œn œb
œ
œn
œn
œ#
œ
œn
œ
œ w#
=
65
°
¢
°
¢
accel. poco rit.
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
&
(19)
(13'')
(scratch tone)
f
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
20''
20''
&
(13'')
(scratch tone)
f
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
p f ff
3
20''
B
(10'')
kk
arco
ff ff
3
?
f
s.p.
p f ff
s.t.
20''
&
(20)
mp
ten.,senza vib.
Attack very gently
with vib.
(10'')
f
(10'')
mp
20''
&
20''
B
s.p.
2
mp
(scratch tone) norm.
f
(scratch tone)
mp
20''
?
ord.
ad lib,vary speed of accel/rit.
20''
œœ#
œ#œ
œnœb
œb œn
. . . . .æææ
œœ#
œ#œ
œnœb
œb œn
O
˙
. . . .
œœ#
œ#œ
œnœb
œœb œn
œ#œ#
œ#
O
˙
≤
b
b
ææææææ
œbœbœ
œbœ
œbœ
œbœ
œbœ
œbœœ
œbœ
œbœ
œbœ
œbœ
œbœ
œ#œn œ#
œœ
œb
œnœn
=
66
°
¢
°
¢
4
4
4
4
4
4
4
4
q = 65
22
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
&
f
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sfz
(scratch tone)
sfz
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
sfz
7''
&
mp f
(2'')
m.v.
From norm. to scratch
tone
7''
~~~~~~~~
B
mp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
(2'')
m.v.
From norm. to scratch
tone
7''
~~~~~~~~
?
mp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
7''
&
(23)
sfz
norm.
8''
&
Stamp foot
8''
&
~~~~~~~~~~~
pp ff
B
Stamp foot
8''
B
~~~~~~~~~~~
pp ff
?
Stamp foot
8''
?
pp ff
œœ
œœ
œœ
œœ
˙™
Y
œ
+
œ
+
œbœ
œbœ
œbœ
œbœ
˙b™ ˙
w#
˙
œb
j
w
œ
+
œ#œ#
œ
œb
¿
U
œœ#
œ#
œ
¿
U
w
w
#
¿
U
=
67
°
¢
Vln. I
Vln. II
Vla.
Vc.
8''
&
8''
&
25
Attack very gently
ten.,senza vib.
mf pp
&
8''
&
ten.,senza vib.
mf
8''
pp
&
8''
B
ten.,senza vib.
mf
8''
pp
?
8''
?
ten.,senza vib.
mf
8''
pp
œb œnœ
œb
~w
≤
b
b
~w
b
b
~w
b
ææææææææææææ
œœb œn
œ
w
~bb
w
~bb
w
~bb
æææææææææ
æææ
œ#œ
œbœb
w
~bb
w
~bb
w
~bb
æææ
æææ ææ
ææææ
œ œ#œ
œb
~w
≤
~w
~w ææ
æææææææ
æææ
68
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
/
(26)
Stamp foot
ff
20''
&
ten.,senza vib.
Attack very gently
f ff
/
Stamp foot
ff
&
Attack very gently
ten.,senza vib.
g
l
i
s
s
.
m.v.
(scratch tone)
f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
20''
/
Stamp foot
ffB
Attack very gently
m.v.
(scratch tone)
f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
20''
/
Stamp foot
ff
?
Attack very gently
f ff
20''
15''
&
(27)
m.v.
(scratch tone)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
pp
Do not synchronize
mp mf
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
≈
ff mp
15''
B
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
≈
ff mp
15''
?
m.v (scratch tone)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sul I
pp
(scratch tone)
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
15''
¿
~w
≤
b
b
~w
b
b
~w
b
œ
.
bœ
.
nœ
.
nœ
.
œ
.
nœ
.
bœ
. œ
.
¿
w
~bb
w
~bb
˙
¿
w
~bb
w
~bb
˙
¿
~w
≤
~w
~w
œ
.
nœ
.œ
.
bœ
. œ
.
b
œ
. œ
.
nœ
.
n
˙ æææ
œ
>
æææ
œb
æææ
œ
>
æææ
œb
œ
.
œ
.
bœ
.
œ
.
#œ
.
œ
.
nœ
.
#
œ
.
œ
œ#
œœb
œ
.
œ
.
#œ
.
nœ
.œ
.
n
œ
.œ
.
bœ
.
œ
œ#
œœb
˙
Y
=
69
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
&
(28)
f mp mf pp
Ÿ~~~~~~~~~~~~~~
&
f mf pp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
B
mf f pp
Ÿ~~~~~~~~~~~~~~
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ?
norm.
sfz
grotesque,wide vib.
pp
&
29
pp mf f ff
10''
&
p mf ff
10''
B
mp
pp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
10''
?
pp
(scratch tone)
sul I
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍnorm.
mf f
10''
æææ
œ
>
æææ
œn
æææ
œ
>
æææ
œb
œœ#œœœ
œ#œ
œbœ
œ
œb
œ#
œ
œ
.
b œ
.
œ
.œ
œ#
œ
œ
œb
œbœ
œ
.
b œ
.
n œ
.
b
œ
.
bœ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ œ œ æææœ
æææ
œ
>
æææ
œb
æææ
œ
>
æææ
œ
œbœ
œnœ
œ
œ#
œœb ææ
æ
œ
>
æææ
œb
æææ
œ
>
æææ
œ
œ#
œ#œn
œ#
œ
Y
œbœ
œnœ
=
70
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
4
4
4
4
4
4
4
4
q = 65
Vln. I
Vln. II
Vla.
Vc.
30
s.p.
(6'')
Left hand fingernail pizz.
10''
&
mp f
&
Play as fast as possible punta d' arco
mp f
10''
10''
BL
(5'')
mp
sul I
K
f
L
?
(6'')
mf f
10''
Slap the open strings with the
palm of the hand
&
31
mp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ff
&
mp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Slap the open strings with the
palm of the hand
ff
punta d'arco
B
mf f
3
?
mf f
œ
œ#
œ
+
œ
+
œ
+
œ
>
b œnœ
œb
œ
œ
œ
>
n
œ#
œn
œn
œ
œ
œ
œ#
œb
œ
œb
œ
œbœ
œ
>
œ#
œ#
œ
œ
œ
O
œ
#
œ
O
œbœ
œb
œ
œ
j
œœ
œœ# ˙
¿
œb
j
œ#œ
œ#
œ ˙b
¿
Œ Œ
œ#
œn
œn œ#œ
œ
œn
œn œ#
œœ
Œ
˙bœ
œb
œ‰ Œ
=
71
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
punta d 'arco
2''
12''
&
32
mf mp mf
&
mf
j
s.p.
J j
mp
Random short burts of tremolo
f
12''
12''
B
B
mf mp
∏∏∏∏∏∏
pizz.(quasi guitar)
sffz
3
?
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf
12''
&
(32)
f
√
&
mf f
√
B
sffz
∏∏∏∏∏∏
arco
&
f
√
?
mf f
√
œ
j
œ
œœ#
œb œnœn
œb
œbœ#œ
œœb
œbœ
œb
œ
æææ
œ
>
æææ
œ
>
b
œ
œœb
OO
O
œ#
œ#
œ#
œ
œnœ
œœ#
œ
æææ
. . . . .
æææ
œ
œ
œ
>
#
œ
j
œ
œ#
œ
œn œ
œœ
œ
æææ
œ
>
æææ
œ
O O
O
œ
œ
œ
>
#
#
œ
.
œ
.
œ
.
œ
.
# œ
.
n œ
.
# œ
.
n œ
.
# œ
.
n
œbœ
œb
œ
=
72
°
¢
°
¢
accel. accel.
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
&
33
Notes chosen from boxes. The first number shows the number of the notes that the perfomer must play, and
the second number shows the time in seconds
1 notes in 2 sec
p
2 : 3
mp
4 : 2
mf
(scratch tone)
∑ÍÍÍÍÍÍÍÍÍÍÍ
4 : 7
&
LL
p
1 : 2 2 : 3
mp
4 : 2
mf
(scratch tone)
ÍÍÍÍÍÍÍÍÍÍÍ
4 : 7
B
mp
6 : 2
2''
3''5 : 2
mf
a tempo
staccato
15 : 7
?
pp
2 : 2 3 : 3
s.p.
7 : 2
ord.
mf f
7''
&
(33)
norm.
f
3 : 9
√
pppoco a poco cresc.
30''
&
norm.
f
3 : 9
√
(5'')
j
pp
J
poco a poco cresc.
j
staccato
..........
30''
B
legato
f
a tempo
Random trem.
12 : 9
√
poco a poco cresc.
30''
?
staccato
20 : 9
ƒ
(4'')
pp
pp
s.p.
Random trem.
poco a poco cresc.
30''
œ
O
O
œ
b
b
O
œ
O
œ
œ
O
#
O
œ
O
œ
O
œ
œ
œœ
œb œn
œ
œœb
œ
œ
œ#
œ#
œbœ
œb
œ
œb œnœ
œœ
œ#œ
œ#
œ œ œ
œœb
œ#
œ#œ#
œ œ#
œ
œ#
œ#
=
73
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
(34)
&
f
o
√
&
4 : 10
(scratch tone)
f
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
(5'')
o
√
B
f
o
√
?
mf
f
o ƒ
35
ord. s.p.
30''
&
(5'')
p
ll
f
&
p f
(scratch tone)
ÍÍÍÍÍÍÍÍÍÍ
30''
B
(10'')
pmf
30''
?
p
s.p.
30''
æææ
œ
œ
b
æææ
œ
œ#
#
æææ
œ
œ
æææ
œ
œ
#
#œ
œ
œ
œ
b
b
œbœ
œb
œ
œ#
œ
œnœ
œœ
œ#œ
œ#œb
œ#
œb
œb
œb
œ
œ
O
O
œ#œ#
œœb
œ œ
œ
œ
=
74
°
¢
°
¢
Vln. I
Vln. II
Vla.
Vc.
Vln. I
Vln. II
Vla.
Vc.
&
(35)s.p.
mp
m.v(scratch tone)
(5'')
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
√
√
f
&
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
mp
m.v(scratch tone)
(5'')
f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
√
B
mp
L kœ . . ..
staccato
...........
f
?
Ord. staccato
............
mp
l
l
f ƒ
36
(8'')
sul A
s.p.
Bowing on the bridge
ph--------------------------
(whispering)
ppp
√
15''
&
p
!
ppp
&
sul A
p
s.p.
!
Bowing on the bridge
ph---------------------------
(whispering)
ppp
√
ppp
15''
sul E
(5'')
s.p.
ph------------------------
(whispering)
ppp
B
&
p
!
Bowing on the bridge
ppp
√
15''
sul A
(3'')
ph------------------------
(whispering)
ppp
?
&
p
s.p.
!
Bowing on the bridge
√
ppp
15''
œ
œ
œ
O
O
œ
œ
œ
O
œ
O
œ
O
œ
O
œ
=
75
Εξέλιξις
for chamber orchestra
and solo voice
(Exelixis)
2012
76
Flute (fl.)
Cor Anglais (c.a.)
Clarinet in Bb (Cl. Bb)
Horn in F (hn.)
Trumpet in C (tpt.)
Trombone (tbn.)
3 Percussions (perc.)
Piano (pno)
Soprano (sop.)
4 Violins I (vln. I)
4 Violins II (vln. II)
3 Violas (vla.)
Violocello (vc.)
Contrabass (cb.)
Instrumentation
77
Phonetic alphabet
'e' as in pen
'i' as in hit
'u' as in blue
Total Duration : c. 10' 26''
Accidentals apply to one note only
(Ties are considered to be one note).
Episodes are to be performed without metre.
The duration of each episode is shown in seconds.
The highest note possible.
Note durations are indicated with note-head extension:
The longer the extension, the longer the note.
Interruptions (gaps between extensions) indicate silences (rests).
All other symbols are explained in the score.
The vertical broken arrows indicates the time of entry.
78
°
¢
°
¢
{
Εξέλιξις
For chamber orchestra and solo voice
Percussion I
Percussion II
Percussion III
Piano
Viola
Violoncello
Contrabass
/
í ™™
∫ *A
Repeat as fast as possible until
the end of the horizontal line
ffff
î™™
25''
/
í ™™
ˇ*A
ffff
î™™
25''
/
í ™™
ffff
£A
î™™
25''
?í ™™
ªA
@
@
@
Repeat the cluster to the
end of the horizontal line
both hands
ffff
l.v
°
Bí ™™
ffff
î™™
25''
?í ™™
ffff
î™™
25''
?í ™™
ffff
î™™
25''
æææY
æææY
æææ)
æææw#
æææ
w
w
#
æææ
w
w#
79
°
¢
°
¢
°
¢
2
fl.
cl.
tpt.
hn.
tbn.
vla.
vc.
cb.
&
*Breath tones: ( marked pitch breath tones -
breathe freely but keep the line as much as possible)
*
ff
15''
p
&
ff
*
3''
p
&
ff
*
5''
p
&
*
ff
7''
p
?
*
ff
9''
p
Bí ™™
p
Repeat freely
ppp
î™™
15''
?
í ™™
p
3''
Repeat freely
ppp
î™™
?
í ™™
p
5''
Repeat freely
ppp
î™™
w
¿#
w
¿
w
¿#
w
¿#
w
¿#
æææw#
æææ
w
w
#
æææ
w
w#
80
°
¢
°
¢
°
¢
{
3
fl.
cl.
hn
tpt.
tbn.
4
Vln. I
5
perc. I
Vln. I
6
8
6
8
&
í ™™
Key clicks on the lower register
fad lib.
î™™
15''
&
í ™™
Key clicks on the lower register
f ad lib.
î™™
&
f
Blow through the instrument, producing a rising and falling stream of air ;
Press valves ad libitum (inhale and exhale freely).
ad lib.
15''
&
Blow through the instrument, producing a rising and falling stream of air ;
Press valves ad libitum (inhale and exhale freely).
f ad lib.
?
Blow through the instrument, producing a rising and falling stream of air ;
Press valves ad libitum (inhale and exhale freely).
f ad lib.
&
Play the specific pattern as an ascending sequence until
the highest note possible within the specific duration.
solo
mp
The highest note possible
f
10''
&
√
bow
mf
10''
15''
&
1st violins: gliss. from the given note
to the highest note possible
tutti
1
2 3
f
ff
10''
¿
¿
¿
¿
¿¿¿¿
¿
¿
¿
¿
¿¿¿
¿
w
¿
w
¿
w
¿
œ#œ#
œ œœ#
œ
1
œ#
œb œnœ#
1
=
=
81
°
¢
°
¢
°
¢
°
¢
6
Vln. I
vla.
7
Vln. I
vla.
8
sop.
perc. I
perc. II
6
8
6
8
4
4
4
4
4
4
4
4
4
4
4
4
&
q. = 40q. = 40
pp
ff
&
pp
&
p f p
&
ffp
?
/
stamp foot
f
&
&
Τιε
Tie
sfz
p
sub.
τι
ti
f
&
™A ™A
f
°
/
mute onß
f
œ
œ
# œ
œ
# œ# œ# œ# œ# œ# œ# œ# œ#
Œ ‰
æææ
œ
O
#
æææ
œ
O#
#
æææ
œ
O#
#
æææ
œ
O#
æææ
œ
O#
#
æææ
œ
O
#
‰
œ
œ
j
œ œ
œ
œ#
œ
-
#
œ
O#
#™™ œ
O
# ™
™
¿
j
œ
j
˙#
≈
œ
>
J
≈ Œ
Ó ≈
œœ
™™
Ó
≈
¿
j
≈Œ
=
=
82
°
¢
{
°
¢
°
¢
°
¢
9
sop.
perc. I
vc.
11
sop.
Vln. I
vla.
5
8
5
8
5
8
5
8
5
8
5
8
&
∑
sfz
τια
tia
p f
τι
ti
&
¡A
sfz
p
∑
ø
?
I
&
?
p
vibrato (follow the
direction and contour)
f
~~~~~~~~~~~~~
&
tiu
τιου
sfz
p sub.
sfz
τιου
tiu
p sub. pp
&
pp mf f
&
p f
B
œ
j
œ# ˙
œ
U
J
‰
Ó
œ
j
˙#
Ó ‰
œ#
O#
J
œ#
O#
J
‰ œ#˙# œ
U
#
J
‰
œ
j
œ
j
œœ# ™ œ ™
j
≈ ‰
Œ æææ
œ
œ
>
#
1
≈
œ
>
œ
>
1
Œ
=
83
°
¢
{
°
¢
12
q = 60
sop.
perc. I
Vln. I
vla.
vc.
4
4
4
4
4
4
4
4
4
4
4
4
&
sfz
tii
τιοι
p
sub.
∑ ∑
ε
e
p
whisper
ξε
xe
οι
i
αι
e
3
&
∑
¡A
pp
¡A¡A
°
∑ ∑ ∑/
&
mf
f
∑ ∑ ∑
Drag the wooden part of the bow
from the fingerboard to the bridge,
(fast ascending sound).
(sounding)
&
pp
3
B
III
II
I
f
∏∏∏∏∏∏
∏∏∏∏∏∏
mp
∑ ∑ ∑ ∑
harm gliss.
&
?
∑ ∑
p
mp
∑
Ó ≈ œ
j
œ
R
œœ
.
#œ
.
œ
.
#œ
.
‰ Œ œ
>
b
j
‰œ
>
#
J
‰ œ
>
b
j
‰ œn
Ϊ
œœœb
≈
œ
œb
œ
J
œ
œb
œ œœ
>
b
Œ wb
≈
œœ
œ
>
b
≈
œœ
œ
>
b
œ#
œ
j
‰
Œ ‰
œ#
œ
O
œ
#
#
O
œ
#
84
°
¢
{
°
¢
°
¢
°
¢
17
sop.
perc. I
Vln. I
vla.
vc.
20
sop.
Vln. I
vla.
vc.
cb.
&
ου
ff
u
sfz
τια
tia
p
r
ρ-
-
f
speak
e
ε
/
∫*A
ff
&
√¡A
sfz
p sfz
p sub.
&
ff
mf f
∑
3
&
f
∏∏∏∏∏∏
∏∏∏∏∏∏
mp
mf f
?
mf
f
&
ti
τι
sfz p
sub.
ξου
xu-
- (ου)
(u)
-
-
f mf f
∑
&
solo
p
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf
tutti
pp
&
∑
solo
p f
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
∑ ∑
mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
∑ ∑
mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙# ™Œ Œ Ó
œ
j
œ#
æææ
˙™™
¿
j
¿
Œ
Ó Œ
œ
j
œ
œ
j
œ
œ#
≈ Œ Œ Ó
1
Ó ≈
œ
œ
œ
œ
œ œ œœ
>
Œ ‰ Ó
Ó Œ ≈
œ
œ
œ
>
b
≈
œœ
œ
>
b œbœ
j
‰ œœ ™ œ
æææ˙ ™™ ‰
∑ Ó
œb
œ#œœ#œ œb
æææ
˙ ™™
‰
‰
œ#
j
œ# ™
J
œ ™ œ
R
œ#œ#
œœ#
œ#
œ
œ#
œ
œ
U
#
Ó
Œ Œ ‰
œ
œ#
JŒ Œ
œ
>
œ
>
œ ™
‰ Ó
‰
œ
œ#
J œbœ ™
œ#œ œ
˙# ™ œ
œb
œ#œœ#
œb œ ™ œ
œ#œ
w#œ
=
85
°
¢
°
¢
°
¢
{
°
¢
23
rit.
rit.
hn.
tpt.
tbn.
sop.
perc. I
perc. II
pno.
Vln. I
vla.
vc.
cb.
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
&
∑
*Breath tones: as before
*
mf ff
ff
∑
&
∑
*
mf
ffff
∑
?
∑
*
mfff
ff
∑
&
ε
e
speak
ε
e
half whisper
p
ε
e
mp
∑
sfz
εξέ
exe
sub.
ff
&
∑ ∑ ∑
£A £A
f
/ ∑ ∑
™A
f
∑
&
∑ ∑ ∑
f
?
∑ ∑ ∑
f
&
∑
solo
p
1-2
div.
mp
3.
4.
3
( )
f
∑ ∑
&
mp
p
tutti
B
div.
f ( f )
tutti
∑
6
?
mp
Ÿ< >~~~~~~~~~~~~~~~~~~~~~~
∑
f
∑
6
?
mp
Ÿ< >~~~~~~~~~~~~~~~~~~~~~
∑
f
∑
6
w
¿#Œ
œ#
Œ
w
¿ ™Œ
œ
w
¿Œ
œ
Ó Œ
¿
j
‰
œ#œ# ™
‰ Œ
œ
j
˙#
˙
˙b
Œ
œ
j
‰
˙
˙˙
#
#
˙
˙b
Œ
œ
>
œ
>
#
‰
œ
œ
œ
‰™
œ
œ
œ
>
#
R
œ
œ#
œœ
Œ Ó
œ
j
œ
>
#
œ
>
Œ ‰ ≈
œ
œ
œ
>
#
R
≈
œ#
j
œ
œ
œ
>
#œ#
œ#
œœ
œ#œ# œ
Œ
˙ ™Œ œ#
œœ
œ#œ# œ
Œ
˙ ™
Œ
œ#
œœ
œ#œ# œ Œ
86
°
¢
°
¢
°
¢
°
¢
{
°
¢
a tempo
27 rit.
rit.
fl.
c. a.
cl.
tpt.
hn.
tbn.
sop.
perc. I
perc. II
perc. III
pno.
Vln. I
vln. II
vla.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑ ∑
mf
U
f
∑
6
&
∑ ∑ ∑
f
∑
6
&
∑ ∑
mf f
∑
6
&
* Blow as before.
f
*
ff
∑ ∑
&
f
*
ff
∑ ∑
?
f
*
ff
∑
&
_
li
λι
f
∑ ∑ ∑
e
ε
mf
xe
ξέ
-
- λι
li-
-
xis
ξις-
-
3
&
mp
∑ ∑ ∑
ß
™A™A
mf
/ ∑
ˇ™A
mf
∑
£A
ff
∑
/ ∑ ∑
∑
£A
f
∑ ∑
&
mp
∑ ∑ ∑
?
mp
∑ ∑ ∑
mf
&
div.
1-2
mp
4.
3.
3
f
solo
mp
pizz.
tutti
f ff
arco
∑
&
∑ ∑
pizz.
f
arco
ff
∑
B
div.
f
tutti
&
solo
mp
( )
f
tutti
B
ff
∑
Œ ‰
œ#
j œ
.
Jœ#
œœ
œ#œ#œ
Œ
œ#
œœ
œ#œ#œ
Œ
Œ ‰
œ#
j œ
.
Jœ#
œœ
œ#œ#œ
Œ
Œ
w
¿
w
¿
w
¿ ™‰
Œ Œ
w
¿#
w
¿ ™‰
Œ
w
¿
w
¿
w
¿ ™‰ Ó
œ
œ
≈ Œ
œœ#
œ#
œ
œ
œ
j
‰ Œ
˙
˙b
Ϫ
œ
j
Œ
œ
j
‰
Ϫ
œ
j
œ
œœ
J
‰ Œ
˙
˙˙b
œ
œ
j
‰ Œ
˙
˙
#
‰
œ
œ
œ
>
œ
œ
œ
>
#
J
‰ Œ
œ
>
œ
>
#
Œ ‰
œ
œ
.
#
j
Œ
œ
œ
#
Œ ‰
œ
œ
.
j
Œ
œ
œ
≈
œ
œ
œ
>
# ≈
œ
œ
œ
>
#œ#
œ
>
#
œ
>
Œ
œ
Ó Œ
œ
œ#
87
°
¢
°
¢
°
¢
{
{
°
¢
a tempo
(q = 60)
32
stringendo
fl.
c. a.
cl.
tpt.
hn.
sop.
perc. I
pno.
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑ ∑
ff
U
&
∑ ∑
ff
&
∑ ∑
ff
&
∑ ∑
p
ff
U
&
∑ ∑
p
ff
&
mf
∑
U
&
mp
∑
∫ A
p f
U
&
∑ ∑
U
?
∑ ∑
&
∑
mf
f
U
3
5 6
&
∑
mf
f
3
5 6
B ∑
mf
f
3
5
6
?
∑ ∑
mf f
?
∑ ∑
mf
f
Ó Œ
œ
J
‰
Ó Œœ#
J
‰
Ó Œ
œb
J
‰
Œ
˙#
œ
˙ ™œ
˙ ™ œœ#
œ#
œ
œb
œœ#
œ#
œn ‰ Ó
œ
œ
j
‰ Œ Ó ˙™
œ
œ
œœ
J
‰ Œ Ó
œ
œ
‰ Œ Ó
Œ
œ
≤
œ#œb
˙# œ œœœ#œ
œb
œœ#œœ#œœ#œ#
œ#
œ#œ#
Œ
œ
≤
œ#œb
˙# œ œœœ#œ
œb
œœ#œœ#œœ#œ#
œ#
œ#œ#
Œ
œ
≤
œ#œb
˙# œ œœœ#œ
œb
œœ#œœ#œœ#œ#
œ#
œ#œ#
˙#™
œ
J
‰
˙™
œ#
J
‰
88
°
¢
°
¢
trattenuto
35
a tempo
sop.
Vln. I
vln. II
vla.
vc.
cb.
&
ε
e
mp
ξέ
xe
-
-
λι
li
-
-
ξις
xis-
ε
e
mf
ξέ
xe
-
-
λι
li
-
-
ξις
xis-
f
mp
3 3
&
p
III
mp p
III
mp p
III
mp
&
pizz.
mp
B
pizz.
mp
?
pizz.
mp
?
p
œœ#
œ#
œ#œœ#
œ#
œ ˙ ™ œœ#
œ#
œ
œb
œœ#
œ#
œ ‰ Ó
œ
J‰
œ
œ
œ
œ
J‰
œ
œ
œ
œ
J‰
œ
œ
œ
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
Œœ#
J
œ# ™œ#
J
‰
œ#
œ#
J
œ# ™œ#
J
‰
œ#
œ#
J
œ# ™œ#
J
‰
œ
J
‰ ‰œ
J
‰ ‰œ
J
‰œ
J
‰ ‰œ
J
‰ ‰œ
J
‰œ
J
‰ ‰œ
J
‰ ‰œ
J
‰
œ#Œ
œ#Œ
œ#Œ
œ#Œ
œ#Œ
œ#Œ
89
°
¢
°
¢
°
¢
38
fl.
c. a.
cl.
sop.
Vln. I
vln. II
vla.
vc.
cb.
&
∑ ∑
mf
3
&
∑ ∑
mf
3
&
∑ ∑
mf
3
&
ε
e
mp
ξέ
xe
-
-
λι
li
-
-
ξις
xis-
ε
e
mf
ξέ
xe
-
-
λι
li
-
-
ξις
xis-
ε
e
f
ξέ
xe
-
-
λι
li
-
-
ξις
xis-
ε
e xe
ξέ-
-
λι
li-
- ξις
xis-
mf
3
3
3 3
&
p
III
mp p
III
mp mf
III
&
mf
B
mf
?
mf
?
mf
Œ
œ
œœ
˙#
Œ
œ
œœ
˙#
Œ
œ
œœ
˙#
œœ#
œ#
œ#œœ#
œ#
œ#œœ#
œ#
œ#œœ#
œ#
œ œœ#
œ#
œ
œb
œœ#
œ#
Ó
œ
J‰
œ
œ
œ
œ
J‰
œ
œ
œ
œ
J‰
œ
œ
œ
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ
j
œ#™
œ#
œ#
J
œ# ™œ#
J
‰
œ#
œ#
J
œ# ™œ#
J
‰
œ#
œ#
J
œ# ™œ#
J
‰
œ
J
‰ ‰œ
J
‰ ‰œ
J
‰œ
J
‰ ‰œ
J
‰ ‰œ
J
‰œ
J
‰ ‰œ
J
‰ ‰œ
J
‰
œ#Œ
œ#Œ
œ#Œ
œ#Œ
œ#Œ
œ#Œ
90
°
¢
°
¢
°
¢
stringendo
41
fl.
c. a.
cl.
sop.
Vln. I
vln. II
vla.
vc.
cb.
&
f
mpmf
6 6
3 3 3 3 3
&
f
mp mf
6 6
3 3 3 3 3
&
f
mp mf
6 6
3 3 3 3 3
&
ε
e
f
ξέ
xe
λι
li
ξις
xis
3 3
&
mf
III
f
mp
3
&
arco
mp
3
B
arco
mp
3
?
arco
mp
3
?
arco
mp
3
œ
œœ
œ#œ#
œŒ
œ#
œœ
œ#œ#
œŒ
œ#œœ#œœ#œœ#œœ#œœœœ#œœ#
‰ Œ
œ
œœ
œ#œ
œŒ
œ#
œœ
œ#œ#
œŒ
œ#œœ#œœ#œœ#œœ#œœœœ#œœ#
‰ Œ
œ
œœ
œ#œ
œŒ
œ#
œœ#
œ#œ#
œŒ
œ#œœ#œœ#œœ#œœ#œœœœ#œœ#
‰ Œ
œœ#
œ#
œ#œ
œ#
œ#
œ ˙ ™ œœ#
œ#
œ
œ
J‰
œ
œ
œ
Œ
œ
œœ
˙#
œ
j
œ#™
œ
j
œ#™
Œ
œ
œœ
˙#
œ#
œ#
J
œ# ™œ#
J
‰ Œ
œ
œœ
˙#
œ
J
‰ ‰œ
J
‰ ‰œ
J
‰ Œœ
œœ
˙#
œ#Œ
œ#Œ Œ
œ
œœ
˙#
91
°
¢
°
¢
°
¢
°
¢
°
¢
{
43
q = 120
fl.
sop.
perc. II
Vln. I
vln. II
vla.
vc.
cb.
46
perc. II
50
perc.I
perc. II
perc.III
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
4
4
3
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
4
4
4
4
4
4
3
4
3
4
3
4
4
4
4
4
4
4
&
∑
√
∑ ∑
&
mf
√
∑ ∑
/ ∑
with mute
Í
√
¡A
p
&
mff
√
∑ ∑
5 6
&
mf
f
∑ ∑
5 6
B
mff
∑ ∑
5
6
?
mf
f
∑ ∑
5
6
?
mf
f
∑ ∑
5
6
/
3 3
&
&A
mf
/
mf
™A
/
ø™A
mf
œb
œœ
œ
Œ Ó
œ
j
‰ ‰œ
j
Œ‰
œ œ œ
j
‰ ‰œ
j
œ œ
œ œ
œœ#
œ#
œ#œœ#œ
œœ#œœœœ
œb
œ œ
œœ#
œ#
œ#œœ#œ
œœ#œœœœ
œb
œ œ
œœ#
œ#
œ#œœ#œ
œœ#œœœœ
œb
œ œ
œœ#
œ#
œ#œœ#œ
œœ#œœœœ
œb
œ œ
œœ#
œ#
œ#œœ#œ
œœ#œœœœ
œb
‰œ
j
œ
j
‰ ‰œ
j
‰œ œ œ
j
‰ ‰œ
j
œ œ œ
j
‰ ‰œ
j
Œ‰œ œ œ œ
j
‰ ‰œ œ œ œ œ
œ‰
œ‰Œ
œ‰
œ‰ ‰
œ‰ ‰
œ‰
œ‰œ
‰
œ
j
‰ ‰œ
j
Œ‰
œ œ œ
j
‰ ‰œ
j
œ œ‰
œ
j
œ
j
‰ ‰œ
j
‰œ œ œ
j
‰ ‰œ
j
œ œ
œ
J‰ ‰ œ
J
Œ ‰ œ
œ
œ
J‰ ‰ œ
J
œ
œ
‰
œ
Jœ
J
‰ ‰
œ
J‰ œ
œ
œ
J‰ ‰ œ
J
œ
œ
=
=
92
°
¢
°
¢
54
perc. I
perc. II
perc. III
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
&
∑ ∑
≈£A
f
∑
/
£A
f
/
™A
£A
f
3 3 3
/
£A
f
3 3 3
&
∑
Slap the three open strings (D,A,E)
with the palm of the hand
f
3 3
&
∑ ∑
pizz.
f
∑
B ∑ ∑
pizz.
f
∑
?
∑ ∑ ∑
f
pizz.
?
∑ ∑ ∑
f
pizz.
œ
J
‰ ‰
œ#
JŒ ‰
œœ#
œ‰œ
‰Œ
œ
Œ
œ‰œ
‰ ‰œ
‰œ
‰œ
‰Œ
œ
j
‰ ‰œ
j
Œ‰œœœ œ
j
‰ ‰œœœœ œ
‰ ‰Œ
‰œœœœ œ œ
j
‰ ‰œ
j
œ œ
Œ
œ
J‰ ‰ œ
J
Œ ‰ œœ
œ
œ
J‰ ‰ œœ
œ
œ
œ
‰ ‰ Œ ‰ œœ
œ
œ
œ
œ
J‰ ‰ œ
J
œ
œ
Œ
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
¿
¿
¿
¿
¿
¿
Œ
œ
J
‰ ‰
œ#
JŒ ‰
œœ#
œ
J
‰ ‰
œ#
J
Œ ‰
œœ#
œ‰œ#
‰ Œ
œ‰œ#
‰ Œ
93
°
¢
°
¢
58
perc.I
perc. II
Vln. I
vln. II
vla.
vc.
cb.
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑
™A
mf
/ ∑
&A
mf
/
ß
™A
mf
3 3
&
∑
mf
3 3 3
&
∑
mf
B ∑
mf
?
mf
?
mf
œ
J
‰ ‰
œ#
Jœœ#
‰
œ
J
œ#
J‰ ‰
œ
j
‰
œ#œ
œ
j
‰ ‰œ
j
œbœ
œ‰œ
‰Œ
œ‰œ
‰Œ
œ‰œ
‰
œ
j
‰ ‰œ
j
œ œ œ
j
‰ ‰œ
j
Œ‰œ œ œ
j
‰Œ Œ
‰œœœ œ
j
‰Œ
‰œœœ
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
œ
J
‰ ‰
œ#
Jœœ#
‰
œ
J
œ#
J‰ ‰
œ
j
‰
œ#œ
œ
j
‰ ‰œ
j
œbœ
œ
J
‰ ‰
œ#
Jœœ#
‰
œ
J
œ#
J
‰ ‰
œ
j
‰
œ#œ
œ
j
‰ ‰
œ
j
œbœ
œ‰œ#
‰œ
‰œ#
‰ Œœ
‰œ#
‰ Œœ
‰œ#
‰
œ‰œ#
‰œ
‰œ#
‰ Œœ
‰œ#
‰ Œœ
‰œ#
‰
94
°
¢
°
¢
62
perc.I
perc. II
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑
mp
3
3
/
mp
/
mp
3 3
&
∑
mp
3 3
&
∑
mp
B ∑
mp
?
mp
?
mp
œ
j
‰ ‰œ
j
Œ ‰
œ
œbœ
œ
j
‰ ‰œ
œ#œ
œbœ
œ‰
œ‰
Œ‰
œ‰ ‰
œ‰
œ
Œ
œ
œ
j
‰ ‰œ
j
Œ‰
œ œ œ‰
œ
j
œ
j
‰ ‰œ
j
‰œ œ œ
j
‰ ‰œ œ œ œ œ
¿
¿
¿
j
‰ Œ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
‰
œ
J
œ#
J‰ ‰
œ
j
‰
œ#œ
œ
j
‰ ‰œ
j
œbœ
‰
œ
J
œ#
J
‰ ‰
œ
j
‰
œ#œ
œ
j
‰ ‰
œ
j
œbœ
œ‰
œ#‰ Œ ‰
œ‰ ‰
œ#‰
œ‰
œ#‰
œ‰
œ#‰ Œ ‰
œ‰ ‰
œ#‰
œ‰
œ#‰
95
°
¢
°
¢
65
perc.I
perc. II
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
mf
3
3
3
3
/
mf
/
mf
3 3
&
mf
3 3 3 3
&
mf
arco
3
B
mf
arco
3
?
mf
arco
?
mf
arco
œ
j
‰ ‰œ
j
Œ ‰
œ
œbœ#
œ
j
‰‰œ
œ#œ
œbœ
œ
j
‰ ‰œ
j
Œ ‰
œ
œbœ
œ
j
‰‰œ
œ#œ
œbœ
‰œ
‰ ‰œ
‰œ
Œ
œ‰œ
‰ ‰œ
‰œ
Œ
œ
‰œ
j
œ
j
‰ ‰œ
j
‰œ œ œ
j
‰‰œ œœ œ œ
‰œ
j
œ
j
‰ ‰œ
j
‰œ œ œ
j
‰‰œ œœ œ œ
¿
¿
¿
j
‰ Œ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
œ
j‰ ‰
œ#
jŒ ‰
œœ#
œ
j‰‰
œ#
j
œœ#
‰
œ
j
œ#
j‰ ‰
œ
j‰
œ#œ
œ
j
‰‰œœ#œ
œbœ
œ
J
‰ ‰ œ#
J
Œ ‰
œœ#
œ
J
‰‰ œ#
J
œœ#
‰
œ
J
œ#
J
‰ ‰
œ
J
‰œ#
œ
œ
j
‰‰
œœ#œ
œbœ
‰
œ#
‰ ‰œ#
‰
œ#
‰œ#
‰ ‰
œ#
‰ ‰œ#
‰
œ#
‰œ#
‰
‰
œ#
‰ ‰œ#
‰
œ#
‰œ#
‰ ‰
œ#
‰ ‰œ#
‰
œ#
‰œ#
‰
96
°
¢
°
¢
69
perc. I
perc. II
perc. III
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
/
*A
f
/
£A
f
3 3
/
∑
£A
f
&
f
3 3
&
f
B
f
div. sfsf
sfsf
sfsf
sf
?
IV
III
sf
f
sfsf sf
sfsf
sf sf
?
f
sf sf sfsf
sf sf sf sf sf sf sf sf
‰œ
‰ ‰œ
‰œ
Œ
œ‰
œ‰ ‰
œ‰
œ
Œ
œ
‰œ
j
œ
j
‰ ‰œ
j
‰œœ œ
j
‰ ‰œœœœ œ
‰œ
j
œ
j
‰ ‰œ
j
‰œœ œ
j
‰ ‰œœœœ œ
œ
j
‰ ‰œ
>
j
Ó œ
j
‰ ‰œ
>
j
Œ
œ
j
‰ ‰œ
j
Ó œ
j
‰ ‰œ
>
j
Œ
¿
¿
¿
j
‰ Œ Œ
¿
¿
¿
j
‰
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
Œ
¿
¿
¿
j
‰ Œ Œ
¿
¿
¿
j
‰
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
Œ
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ
¿
¿
¿
¿
¿
¿
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ
¿
¿
¿
¿
¿
¿
œ
œ
# œ
œ
# œ
œ
>
# œ
œ
#
Ó
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Œ
œ
œ
>
# œ
œ
# œ
œ
# œ
œ
>
#
Ó
œ
œ
>
# œ
œ
# œ
œ
# œ
œ
>
#
Œ
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Ó
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Œ
œ
œ
>
#
œ
œ#
œ
œ#
œ
œ
>
# Ó
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
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#
97
°
¢
°
¢
73
perc. I
perc. II
perc. III
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
/
/
3 3
/
&
3 3
&
B
sfsf
sfsf
sfsf
sfsf
?
sf sf sf sf sf sf sf sf
?
sf sf sf sf sf sf sf sf sf sf sf sf sf sf
‰œ
‰ ‰œ
‰œ
Œ
œ‰
œ‰ ‰
œ‰
œ
Œ
œ
‰œ
j
œ
j
‰ ‰œ
j
‰œœ œ
j
‰ ‰œœœœ œ
‰œ
j
œ
j
‰ ‰œ
j
‰œœ œ
j
‰ ‰œœœœ œ
œ
j
‰ ‰œ
>
j
Ó œ
j
‰ ‰œ
>
j
Œ
œ
j
‰ ‰œ
>
j
Ó œ
j
‰ ‰œ
>
j
Œ
¿
¿
¿
j
‰ Œ Œ
¿
¿
¿
j
‰
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
Œ
¿
¿
¿
j
‰ Œ Œ
¿
¿
¿
j
‰
¿
¿
¿
j
‰ ‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
Œ
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ
¿
¿
¿
¿
¿
¿
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
j
‰ Œ
¿
¿
¿
¿
¿
¿
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Ó
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Œ
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Ó
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Œ
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Ó
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Œ
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Ó
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
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#
98
°
¢
°
¢
°
¢
77
sop.
perc. I
perc. II
perc. III
Vln. I
vln. II
vla.
vc.
cb.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑
gliss.. Follow the outline of the graphic
ε
e
f
close mouth
ff
/
3
ff
3 3
/ ∑
£A
ff
/ ∑ ∑
&
div.
(1-2)
(3-4)
ff
&
ff
B
sfsf
sfsf
sfsf sf sf
ff
?
sf sf sf sf sf sf sf sf
ff
?
sf sf sf sf sf sf sf sf sf sf sf sf
ff
Œ
˙
Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
æææ˙
æææw
æææ˙™
œ
U
œ
j
‰ ‰œ
>
j
Ó
¿
¿
¿
j
‰ Œ Œ
¿
¿
¿
j
‰
æææ
œ
æææœ#
æææ
˙
æææœ
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
‰
¿
¿
¿
j
¿
¿
¿
j
‰ ‰
¿
¿
¿
j
‰
¿
¿
¿
¿
¿
¿
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Ó
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
Ó
œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
# œ
œ
>
# œ
œ
#
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Ó
œ
œ
>
#
œ
œ#
œ
œ
>
#
œ
œ# Ó
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
>
#
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#
99
°
¢
°
¢
{
°
¢
All black keys of the bottom
two octaves of the keyboard
80
q = 60
sop.
perc. III
pno.
Vln. I
vln. II
vla.
vc.
cb.
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
&
Sing close to the
piano strings
pp
∑ ∑ ∑
/ ∑ ∑ ∑ ∑
¡A
mf
?
ªA
@
@
@
ªA
@
@
@
∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑
&
∑ ∑
arco
Drag the wooden part of the bow
from the fingerboard to the bridge,
(fast ascending sound).
pp ff
fast bow
f
Hit the resonat
part of violin body
B ∑ ∑ ∑ ∑
div.
sffz
3
tutti
&
f p
3
?
∑ ∑ ∑ ∑
Slap the strings with
palm of the hand
?
∑ ∑
arco
pp ff
œœbœ#
˙
Ó œ
˙™
1
J
‰ Œ
˙
˙#
œ
œ#
œ#
œ
¿
‰
œ
œ
œ
>
#
J
‰ ‰
œ
...
œ
.
œ
.
#
œ
.œ
.
b
¿
¿
¿
¿
Ó
œ œœ
>
#
œ
>
#
œ
>
œ
>
#œ
>
#
Œ Œ
œ#
æææ
œ
100
°
¢
°
¢
85
perc. I
perc. III
Vln. I
vln. II
vla.
vc.
cb.
&
∑
êA
mp mf mp
ø
∑
U
10''
/ ∑ ∑
™A
∑
U
10''
Play the pattern as an ascending sequence until
the highest note possible within the specific duration
10''
&
1-2
mp
3
4
3
f
∑ ∑
solo violin
pp
&
∑
mp
Slap the strings with
palm of the hand
f
∑
U
10''
&
div.
pizz.
mp
tutti
∑ ∑ B
arco
pp
10''
?
∑
mf pp
∑
U
10''
?
pp
mf pp
∑
U
10''
œ
œ
œ#
œ#
œœb
œ#
j
œ#œ#
œ
œ#
Œ
œ
Œ
‰
œ
œ
œ
>
#
œ
œ
œ
>
#
Œ
œ#œ#œ œ
œ#œ
1
œ#
j
œœ#œœ
˙#
Œ
¿
¿
¿
¿
Œ
≈
œ
œ
œ
>
#
#
r
≈
œ
œ
œ
>
#
r
˙#
œ
œœ#
œ#œ#œœœb
œ
Œ˙ œ œ
J
‰ Œ
æææœ#
Ó Œ
˙ œ œ
j‰ Œ
101
°
¢
{
{
89
perc. I
pno.
vln. I
vla.
&
£A£A£A
7''
ff
10''
∑
U
5''
&
∑
U
10''
pizz.
inside the piano
ff
5''
”“
&
1st violins: gliss. from the given note to the
highest note possible
1 23
4
f
10''
∑
U
5''
B
f
10''
∑
U
5''
œœœb
™™™
œ
œœb œ
œ#
1
œ
œ
œ
œ#
œbœ
œœ#
œ#
œœ
œ
102
°
¢
{
91
perc. I
vln. I
vla.
vc.
cb.
&
mp
With bow
Violin I has 6 pizz. in this bar.
Colla aparte after the last violin
pizz.
¡A¡A
15''
&
pizz.
with the thumb
mp
15''
B
pizz.
with the thumb
mp
?
p
slow, full bow on the tailpiece
mp
?
p
slow, full bow on the tailpiece
mp
œ
U
#
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
≥
103
°
¢
{
{
°
¢
92
sop.
perc. I
pno.
vln. I
vla.
vc.
cb.
&
ε
e
mp
ξέ-λι
xe-li
ξις
xis
mf
15''
&
™A
mf
7''
15''
”“
ø
&
ªA
@
@
@
sfz
2''
sempre
simile
@
@
@
@
@
@
@
@
@ @
@
@
@
@
@
15''
&
mf
B
mf
?
mf
?
mf
˙
œ
U
#
œ
œ#
œ
œ#
œ
œ#
œ
œ#
œ
œ#
œ
œ#
œ
œ
# œ
œ
# œ
œ
# œ
œ
# œ
œ
# œ
œ
#
104
°
¢
{
{
93
perc. I
pno.
vln. I
vla.
vc.
cb.
&
™A™A ∫
mf
&A
15''
&
&
(simile)
@
@
@ @
@
@
@
@
@
@
@
@@
@
@
&
sfz
Slap the three open strings
(D,A,E) with palm
mf
8''13''
15''
B
4''
mf
12''
?
?
œ
œ
œ œ œ œ œ
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
105
°
¢
°
¢
°
¢
{
°
¢
94
fl.
c. a.
cl.
sop.
perc. I
perc. III
pno.
vln. I
vc.
cb.
&
3''
í ™™
mf
î™™
Repeat ad lib.
Repeat ad lib.
15''
&
3''
í ™™
mf
î™™
&
3''
í ™™
mf
î™™
Repeat ad lib.
&
mf
7''
e
ε
15''
&
√
mf
™A ™A ™A
15''
/
∑
™A
mf
10''
&
(simile)
@
@
@
mf
@
@
@
mf
&
mp
12''
15''
?
mp
?
mp
œb
œœœ
œbœ
œb
œœœ
œbœ
œb
œœœ
œbœ
˙
œœœb
œ œ
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
106
°
¢
°
¢
{
{
°
¢
95
fl.
c.a.
cl.
sop.
perc. I
pno.
vc.
cb.
/
í ™™
Key clicks on the lower register
ad lib. mp
î™™
Repeat ad lib.
15''
/
í ™™
ad lib.
Key clicks on the lower register
î™™
Repeat ad lib.
/
í ™™
Key clicks on the lower register
ad lib. mp
mp
î™™
Repeat ad lib.
&
f
ξε-λι
xe-li
15''
&
∫¡A
8''
15''
&@
@
@
mp
@
@
@
8''
?
p
15''
?
p
¿¿
¿¿
¿¿
¿¿
¿¿
¿¿
¿ ¿
107
°
¢
°
¢
{
{
°
¢
96
fl.
c. a.
cl.
sop.
perc. I
pno.
vc.
cb.
97
pno.
&
*Breath tones: as before
*
pp
15''
&
*
pp
&
*
pp
&
pp
ξις
xis
15''
&
ad lib - synchronize
12''
15''
& @
@
@
mp
@
@
@
@
@
@
p
@
@
@
?
pp
15''
?
pp
&
pp
@
@
@
@
@
@
@
@
@
@
@
@
o
10''
w
¿#
w
¿#
w
¿
¿ ¿ ¿ ¿
=
108
PORTFOLIO OF MUSIC COMPOSITIONS
Vol. III of III
DEMETRIS EFSTATHIOU
Ph.D Thesis 2014
PORTFOLIO OF MUSIC COMPOSITIONS
DEMETRIS EFSTATHIOU
Vol III of III
School of Media, Music and Performance
University of Salford, Salford, UK
Submitted in Partial Fulfillment of the Requirements
the degree of Doctor of Philosophy, January 2014
For full Orchestra
2013
Quantum
1
2
Instrumentation
2 Flutes (1st flute doubling piccolo)
2 Oboes
2 Clarinets in Bb (2nd doubling bass clarinet)
2 Horns in F
1 Tenor Trombone
Percussion (see below)
Piano
12 Violin 1
10 Violin 2
8 Violas
6 Cellos
4 Double Basses
2
3
Total duration: c. 25' 30''
The composition is performed with no vibrato throughout. Vibrato is required occasionally
( Extremely slow, quarter-tone wide vibrato).
Colour trill: choose two alternative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm.
On strings: vary the bow pressure gradually until a clear scratch tone is heard
On strings: scrape across the string with your fingernail. Alternatively, you can use a guitar
plectrum.
On strings: gradually move the bow to the middle of the string while sustaining the given
rhythmic motive in the square (In this example a quintuplet harmonic col legno battuto
motive is repeated).
On timpani: place a cymbal on the timpani membrane. Tremolo should be performed on
the cymbal.
On timpani: scrape the membrane of the timpani with your thumb producing a resonant
frequency.
On piano: apply gradual pressure with your index finger on the muted string inside the
piano so that it raises the pitch slightly.
On percussion (vibraphone and crotales): an occasional up and down bow is required
(using a violin bow) with some instances on the vibraphone asking for a harmonic up
and down bow (touching the middle of vibraphone bar with your finger while bowing it).
Furthermore, on the vibraphone, a downward glissando is asked for, produced by hitting
the bar first with a medium mallet followed by a lengthwise 'touch and drag' technique
with a hard mallet.
On piano: change the position of the index finger on the muted string so that it produces
an amalgam of muted sounds and harmonics.
On piano: palm slap or palm tremolo inside the piano strings.
3
4
On flute: close the embouchure hole completely and blow fast air through the tube producing
a 'jet whisle'.
On brass: an x type note indicates blowing air through the instrument
or smacking the mouthpiece with your hand creating a pop sound.
On woodwinds: take of the reed of and slap tongue inside the instrument.
On woodwinds: various multiphonic fingerings are given. For example, on the bassoon,
a hollow round pitch (E3) means that this finger will be omitted (from the regular C2
fingering) in order to produce the given multiphonic.
On woodwinds: there is an indication of playing on the reed only
without the body of the instrument creating a high pitched note.
On flute: with the same low fingering (B3) try to produce faint whistle tone (the partials of the
B3 harmonic series are given). Try to be as stable and accurate as possible.
Flute tongue ram: with a closed embouchure, make a rapid movement of the tongue striking the
teeth producing a HT! sound. The resultant sound is a Maj 7th below the written pitch.
On brass: 'smack sound'.
On woodwinds: a square note indicates that only air must be inhaled and exhaled into the
instrument with no sounding pitch (a choice between reed or no reed or closed embouchure
is given).
All other symbols are explained in the scoce
4
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Copyright © 2013
Piccolo
Flute 2
Oboe 1
Oboe 2
Clarinet in Bb 11
Clarinet in Bb 2
Bassoon 1
Bassoon 2
Horn in F 1
Horn in F 2
Trumpet in Bb 1
Trumpet in Bb 2
Trombone
Percussion 1
Timpani
Percussion 2
Percussion 3
Piano
Violin I
Violin II
Viola
Violoncello
Contrabass
sfpp
o
q = 60
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpppp
o
q = 60
sf
mf
° ø
sf
sf
mf
° ø
fpp
o
fpp
o
fpp
o
sfpp
mfo
sfpp mf o
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
(no vib. )(Breath ad libitum)
Quantum 1
&
(no vib. ) Ÿ
(Breath ad libitum)
(Color trill: choose two altenative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm )
&
(no vib. )
(Breath ad libitum)
Ÿ
(Color trill: choose two altenative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm )
&
(no vib. )
(Breath ad libitum)
Ÿ
(Color trill: choose two altenative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm )
&
(no vib. )(Breath ad libitum)
Ÿ
(Color trill: choose two altenative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm )
&
(no vib. )(Breath ad libitum)
Ÿ
(Color trill: choose two altenative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm )
?
(no vib. )
(Breath ad libitum)
?
(no vib. )
(Breath ad libitum)Ÿ
(Color trill: choose two altenative fingerings to produce a timbral change (bisbigliando)
or slight microtonal deviations. Follow the given rhythm )
&
(no vib. )(Breath ad libitum) (Extremely slow vibrato that actually produces a quartet-tone pitch)(non vib. )
&
(no vib. )(Breath ad libitum)
(Extremely slow vibrato that actually produces a quartet-tone pitch)
(non vib. )
&
(no vib. )(Breath ad libitum)
(Extremely slow vibrato that actually produces a quartet-tone pitch)
(Extremely slow vibrato that actually produces a quartet-tone pitch)
(non vib. )
&
(no vib. )(Breath ad libitum) (non vib. )
?
(no vib. )
(Breath ad libitum)
(Extremely slow vibrato that actually produces a quartet-tone pitch)
(non vib. )
?
†
32''= C
gliss.
µ&A&A
(Medium timpani mallets)
&
√
£A£A
(Vibraphone / hard mallets)
> – ≥
(l.v.)3
&
ç
£A
>
£A
(Crotales / hard mallets)
&
>
Inside the piano
(pluck string with the fingernail)5
?
#q
+
q q q q q q
&
&
B
?
(no vib. )
>
(gradual)
(overpressure/scratch tone)
Ord.
?
(no vib. )
>
(gradual)
(overpressure/scratch tone)
Ord.
w#
w#
wB
wn
wµ
wn
wµ
wB
w#
w
wn
w#
w
æææwµ
æææw#
æææwµ
æææwB
æææ˙#
Ó
œb
œœb ˙
™
w
w
w
#
œ# œn
œb
œœ
œ# ˙™
w
~µµ
w
~
~w#
w
wµ
5
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
sfpp
o
6
sfpp
o
sfpp
o
mp p
o
sfpp
o
mp
p
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
sfpp
o
pp f
pp
mf
pp
mf
pp
mfo
sf
pp mf
pp
mf
sf
pp mf pp mf
sf
mf
fpp
o
fpp
o
fpp
o
sfpp
f
o
sfppf
o
&
&
Ÿ(color trill )
&
Ÿ (color trill )
&
Ÿ(color trill )
3
&
Ÿ (color trill )
&
Ÿ(color trill )
4
?
?
.>
.
Ÿ (color trill )
3
&
(no vib. )
&
(no vib. )
&
(no vib. )
&
(no vib. )
?
(no vib. )
?
ë
†ªA
(scrape gradually with the thumb across the skin producing a resonant frequency )
†
ë
— l.v
(simile )
— l.v
(simile )
—l.v
(simile )
&
£A £A£A
–
≥ ≥
— l.v
&
– ≥≥
—l.v
ø
&
5
>
œ#
œ
œ
œ
œn
?
#
…
(mute the string with the palm of the hand ,inside the piano)
q q q q q q q q q
ø
œ# ˙#™
&
&
B
?
(gradual)
(overpressure)
Ord.
?
(gradual)(overpressure)
Ord.
w#
wB
w#
‰
œ
œ#
œ# ˙ ™
wB
≈
œ#
œœ
œ# ˙ ™
wµ
œ
œ#
œµ œ ˙™
w#
w
w
w
w
w#
Œ
˙#™
Ó
˙#
Œ
˙#™
w
w
ww
b
w#
w
w
w#
w
w#
œ
w
~Bµ
w
~BB
~w
µB
wµ
wB
6
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
sfpp
sfo
11
sfpp
sf
o
sfpp
o
mp p
o
sfpp
sfo
mp
p
mf
p o
mpp
f
p
o
sfpp
o
f
p sfz
p
sfo
sfpp
o
sfpp
sfz
p
sfo
sfpp
o
sfpp sf
o
pp f
pp
mfp
f
mp
mf
mfpp mf
p
mfp
mf
p
mf
p
fmpp
o
fmpp
o
fmpp
o
sfmpp
f
o
sfmppf
o
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
&
{ }
(random flutter tonguing )(no vib. )
&
{ }
(random flutter tonguing )
Ÿ(color trill ) (no vib. )
&
Ÿ (color trill )(no vib. )
&
Ÿ (color trill )(no vib. )
3
&
{
(random flutter tonguing )
}
Ÿ (color trill ) (no vib. )
&
#
µ œ
œ
œ
.
4
?.
-
.
.
.
B
B
Bœ
œ
œ.,
(ommit B3 from the standard D2 fingering in order to produce the multiphonic )
5
?
.>
.
Ÿ (color trill )
3
&
+ + + ¯
. .
gliss.
(no vib. )(no vib. )
3
&
(no vib. )
&
(no vib. )
&
(no vib. )
?
(no vib. )
?
ë
¥
†
29''= C# (place an upside down cymbal on the timpani. Tremolo should be performed on the cymbal )
— l.v
(simile )
— l.v
&
™A™A™A
(Medium mallets)
>
—l.v
4
5
&
™A™A
(Medium mallets)
—l.v
– ≥
—l.v
&
5
4
œb
œ#œb
œnœ#
œœ# ˙# ™
?
ø
5
œœ
œbœ#
&
{
(random tremolo )
}
&
{
(random tremolo )
}
B
?
(gradual)
(overpressure)
Ord.
?
(gradual)
(overpressure)
Ord.
w#
w
wµ
œB
j
œB œ#
œ ˙™
w#
≈ œœµ œ#
œB ˙™
wB
‰™ œ
œb ™
œ
œ
œ
œ ˙ w
œ
œ
œB œ ˙ ™
œ œ œ œ˙b™
æææœ œ ™ ˙ ™
w
w
æææ
œ œ ™ ˙ ™
w
w
æææw#
æææ˙#
æææ˙
˙#
œœœ
#
#
œ
œ#œ
œ ˙
Œæææ˙# ™
‰œ#
œœ#
œ# œ
æææ˙
œ
œ# ˙ ™
w#
œ#
œœb
œœ#
~w
w
~BB
~wn
n
w
wµ
7
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
sfpp
16
sf
p f
sfpp
f
p
sfpp
f p
f p
f
p
mf
f
p
sfpp
f
f
p
sfpp
sfpp
ppmf
mf
mpf
pp
mf
f
mp
f
ø
fmpp f
fmpp p
f
fmpp
opp
f
f p
pp
f
fp
f
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
{
(random flutter tonguing )
}
&
.
e
(no vib.)
Ÿ (color trill )
‰
&
(no vib.)
&
>
7
&
(no vib.)
&
. (as fast as possible)
e
>
?
(as fast as possible)
e
.
. . .
3
?
@ ?
@ ?
(release embouchure pressure and change lip
position to produce a multiphonic sonority)
5
&
+ ++ ¯
. .
gliss.
3
&
-
+
(tenuto)
™ (staccato)
‰
&
.(as fast as possible)
e(no vib.)
&
{
(random flutter tonguing )
}
?
(random flutter tonguing )
∑ ∑ ∑
?
ë
¥
†
(irregular pedal gliss.)
# œ
@ ?
—l.v
&
œ
™ (staccato)
‰
5
&
– ≥
—l.v
&
‰
6
?
&
µµœ
O
(alternate timbre between the artificial harmonic and regular pitch)
µ œ µµ
œ
O
(gradual)
‰
&
>
(Rapid irregular tremolo glissando in the highest range of the instrument)
‰
B
>
(Rapid irregular tremolo glissando in the highest range of the instrument)
‰
?
(overpressure)
>
+ SP (sul pont.)
(gradual)
Ord.
(rapid irregular tremolo glissando
in the highest range of the instrument)
‰
?
(overpressure)
>
+ SP (sul pont.)
(gradual)
Ord.
# œ
-(tenuto) ™ (staccato)
‰
w#
œ œ
J
˙™
w
œœb
œ
œœ#
œœb ˙ ™
w#
œ œ
J
˙™
œ
≈
œ œ œ œ ™ ˙
œœ#
œ
œ
œ# ˙™
œ œ œ œ˙b™
w
œ œ
J
˙™
w
w
æææw#
œ
œœ
œb
œ
æææ˙ ™
Œ
˙ ™
œ
œ
œœ
b
œœ
œ#
œ
œ
#
œb œ ˙
w
w
w
~µµ
æææ
1
æææ
1
æææ
1
w
æææ
1
w#
8
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
sfpp
mf
q=120
20
pp
ff
sfpp
mf
sfpp
mf
sfpp
fp
fff
sfpp
fp
ff
ff
sfpp
fp
ff
sfpp
fpppp
q=120
mf
pp
f
mf
f
ff
mp
pp
ff
° ø
fpp
pp
ff
fpp
pp
ff
fpp
pp
ff
fpp
pp
ff
fpp pp
ff
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
{
(random flutter tonguing )
}
(as loud as possible)
∑
&
(Play the pitches inside the box in any order and rhythmic variation at a medium tempo)
∑
(jet whistle)
∑
&
(no vib.)
(as loud as possible)
∑
&
(Play the boxed pitches in any order and rhythmic variation at a medium tempo. Use staccato sparingly)
∑ ∑ ∑
&
{
(random flutter tonguing )
}
(no vib.)
(as loud as possible)
∑
&
(Play the pitches inside the box in any order and rhythmic variation at a medium tempo)
∑ ∑ ∑
?
(no vib.)
∑
?
(Play the boxed pitches in any order and rhythmic variation at a slow tempo. Use staccato sparingly)
∑ ∑ ∑
&
(no vib.)
™ (staccato)
∑
&
(Play the boxed pitches in any order and rhythmic variation at a slow tempo)
∑ ∑
&
™ (staccato)
(no vib.)
∑
&
(Play the boxed pitches in any order and rhythmic variation at a slow tempo.Use staccato sparingly)
∑ ∑ ∑
?
(no vib.)
∑ ∑ ∑
?
>
∑ ∑ ∑
&
– (l.v) hold pedal
∑
(Bass Drum / medium B.D mallets)
/
∫&A&A
–
&
(l.v)
7
7
7
7
œ#
&
™A™A(Medium mallets)
(Temple Blocks / medium mallets)
/
„™A ™A
>
/
∑
(Triangle / triangle beater)
&
>
>
3 4
&
(Repeat the group of notes inside the box in any order and duration until the end of the horizontal line, free accel and rit.)
∑
?
∑
inside the piano
ªA
(hand tremolo on the lowest strings)
– (l.v)
&
∑
(gradual)
(scratch tone)
∑
&
∑
(gradual)
(scratch tone)
∑
B ∑
(gradual)
(scratch tone)
∑
?
∑
(gradual)
(scratch tone)
∑
?
∑
(gradual)
(scratch tone)
∑
w œ
œn
B
œ
œœ
#n
Ó™
¿
w
œ
œ
œ
b
B
œ
œ
œ
w#
œ
œ
œ˜
µ
œ
œ
œb
w
œ#
œ
œ
œ#
#
#
œ#
w# ˙
æææ˙
œ
œœ
#
Ó™
œ#
œw# ˙
æææ˙
œ
œœ
œ
nb
w
æææ˙#
æææœB
æææœ#
œ
œb
œœ
œ
œ# œn
œ#
œ
œ
œ
œ#
œ
œ
œn
œ
œ
œ
œ
œ
œn
œ
œ
œ
œ
œ#œ
æææ
w
w
w
#
œ
j
œ œ
œ
‰
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œœ
œ
nb
œ
œ#
#
æææ
¿
wµ
wµ
wB
w#
w
w
w
wµ
wB wB
9
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
q=6024
mpf
ppp
mpmf ppp
mp
mp
f
mp
mp
fmp
mf
o
q=60
mf
oppp
mp
o
mf
mpf
p
mfp
mfp
mf
o
mp
ffmp
mf
o
mpff
mp
mf
o
mp ffmp
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑ ∑ ∑
&
∑
>
slap tongue /pizz on low register
> >
( h )
&
∑
Rolling tone
≥
(extreme lip pressure to make a beating or rolling quality)
&
∑ ∑ ∑
&
∑
(Blow air through the reed while changing pronunciation from 'a' to 'i'.Whispering sound.)
(a)
(air through reed)
( q )
(i)
(repeat the 8th note pattern)
,
( q )
(accel. )
( q )
,
&
∑
(irregular molto vib.)
?
∑ ∑ ∑
?
∑
(irregular molto vib.)
&
∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑
?
∑ ∑ ∑
?
∑
&
(Vibraphone / medium mallets)
&
å)A
∑ ∑
(Temple Blocks / medium mallets)
&
∑ ∑ ∑
?
∑
ªA
(mute the string with hand)( q ) ( h )
Œ&
3
&
(Play the boxed pitches in any order and rhythmic variation at a slow tempo.Use staccato and accents sparingly)
&
(Play the boxed pitches in any order and rhythmic variation at a slow tempo.Use staccato and accents sparingly)
B
clb
(repeat the quaver notes pattern and gradually make a glizz.
towards to the middle of the C string)
. .
?
clb
(repeat the quaver notes pattern and gradually make a glizz.
towards to the middle of the C string)
. .
. .
?
∑
( q ) ( h. ) ( q ) ( h. )
Ó Ó
Ó
˙# w
w# w
w# w
æææ˙
Ó Ó Ó
æææ
˙ Ó Ó ˙ ˙ Ó
w
Ó
¿ ¿ ¿ ¿ ¿
˙µ œœ
œ
ϵ
#µ
˙# œ
œ
œ
œ
B
#
B
˙B
Ó
¿ ¿
¿ ¿
˙#
Ó
¿ ¿
¿ ¿
˙
Ó
10
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p
27
mf
o
p
mfo
p
mfo
p
mf
o
mp
mp
mp
mp
mp
without mute
mp
mp
without mute
mp
mf
o
mf
o
mf
mf
ppp
fpp
fpp
fpp
sfpp
o
sfpp
o
&
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
&
(irregular molto vib.)
∑
&
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
&
(irregular molto vib.)
∑
&
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
&
(irregular molto vib.)
∑
?
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
?
(irregular molto vib.)
∑
&
stopped
+
.
+
.
+
open
.
..
..
stopped
+
.
+
.
++
5
&
stopped
+
.
+
.
+
open
.
.. .
.
stopped
+
.
+
.
+
+5
&
cup mute
. .
.
. . .
.
. .
5
&
cup mute
. .
. .
. .
. .
.
5
?
(irregular molto vib.)
∑
?
∑ ∑
&
√ ™A™A
&
„™A™A
5
6
7
3
3
3
&
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
&
>
>
> >
&
&
B
?
(no vib. )
?
(no vib. )
œ
œ
œ
œ
#
#
#
Ó
˙# œ
Œ Ó
œ
œœ
œ
#
#
#
Ó
˙# œ
Œ Ó
Ó Ó
œ
œ
œ
œ
#
#
Ó
˙n œ
Œ Ó
œ
œ
œ
#
Ó
˙ œ
Œ Ó
Œ
œ#œ#
œ#™
Ó Œ
œb
œnœb
œœ#
Ó Œ
œ#
œbœ# ™
˙
Œ
œ
œ#
œ# ™Ó Œ œb
œ#œ œb
œn
Ó Œ
œ#œ#
œb™
˙#
Œœ œ#
œ#™
Ó Œœ
œb œœn
œ#
Ó Œ
œ œ#
œ# ™ ˙#
Œ
œœ#
œ ™Ó Œ
œ#œ#
œ# œn
œn
Ó Œ
œ
œ œ#™
˙#
Ó
˙ œ
Œ Ó
æææw#
˙
˙
#
™
™ œœ#
œœ
˙
˙
#
œ
œ
# w
w
œ
j
œ
œ
œ
œ
œ
œ
≈
œ
j
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
j
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 œb
œ
œ œnœ
œ œb
œ
œ œnœ
œ œb
œ
œb œnœ#
œ œb
œ
œ œnœ
œ œb
œ
œ œnœ
œ œb
œ
œ œnœ#
œ œb
œ
œ œnœ
œ œb
œ
œ
œ#
œ#œ
œb
œ#
œ#œ
œb
œ#
œ#œ
œb
~w
µµ
w
~µB
~w#
wB
w#
11
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p
f
30
mf
o
p
f
mfo
mp
p
f
mfo
mp
pf
mf
o
mp ff
mp
mp ff
mp
mf
o
mf
oppp
ff
mf
ff
mf
fff
ppp
fff
fpp
fff
fpp
fff
fpp
fff
sfpp
o
fff
sfpp
o
mf
fff
&
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
≈
&
(irregular molto vib.)
(as loud as possible)
&
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
≈
&
(irregular molto vib.)
(as loud as possible)
&
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
≈
&
(irregular molto vib.)
2
(as loud as possible)
?
∑
(Play the boxed pitches in any order and rhythmic variation at a fast tempo and legato)
≈
?
(irregular molto vib.)
#
µ
µ œ
œ
œ
,
(ommit C3 from the regular B1 fingering to produce the given multiphonic)
(as loud as possible)
&
stopped
+
.
+
.
+
open
.
.
..
.
stopped
+
.
+
.
+
.
+
.
+
.
(rip. ad lib.)
g
l
i
s
s
.
+5
6
&
stopped
+
.
+
.
+
open
. . .
.
.
∑
?
5
&
cup mute
. .
.
. .
. .
.
..
.
. .
. .
..
.
.
5
6
6
&
cup mute
.
.
. .
.
..
∑
5
?
(irregular molto vib.)
∑
?
ë
¥
†
œ
@ ?
&
5
6
&
>
>
5
6
7
3
3
3 3
&
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
&
>
>
> >
?
&
&
B
?
(no vib. )
∑
ord.
-
-
s.p
--
?
(no vib. )
-
--
-
ord.
-
-
s.p
--
œ
œ
œœ
#
#
Ó
˙ œ
Œ Ó
w
w
w
µ
#
#
œœ
œ
œ
#
#
Ó
˙ œ
Œ Ó
w
w
w
b
B
œ
œœ
œ#
Ó
Ó
˙# œ
Œ Ó
w
w
w
œ
œ
œ#
#Ó
Ó
˙ œ
Œ Ó
w
Œ
œ
œœn™
Ó Œœ
œ
œœ
œ#
Ó Ó
œœ
œnœ
œb ≈ ‰
œ
Œ
œ#
œœ ™
Ó Œ œœ# œn
œn
œ
Ó
Œœ œ#
œ# ™Ó Œ
œ
œ#œ
œ# œnÓ Ó
œ#
œnœ
œnœ
œb œnœ#
œœ#
œn
œb
Œ
œ
œ#œ™
Ó Œœ# œn
œ
œœn
Ó
Ó
˙ œ
Œ Ó
æææw#
Ó Œ
æææœ#
æææw
˙
˙
#
# ™
™œ
œ
b œ
œ
b
˙
˙#
œ
œ
#
#
œ#
œnœ#
œnœ
œœ
œœ
œb
œœ
œ
œn
œ
œnœ
œœ
œ
j
œ
œ
œ
œ
œ
œ
≈
œ
j
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
j
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
æææ
œ
œ
œ#œn
œ#œ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ#
œœ#
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ#œ
œ
œœ#
œ
œœ
œ
œœ
œ
œœ
œ
œn
œnœ
œb
œ
œœ
œb
œ
œœ
œb
~w
#
#
w
~#
~w
wµæææœ
æææ
œ
æææ
œ
æææ
œb
w#
æææœn
æææ
œ
æææ
œ
æææ
œb æææœ
æææ
œ
æææ
œ
æææ
œb
12
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mp
33
p
o
po
pp
mf
pppmf
mp
f mp
f
mp
°
fmp
fmp
fmp
fmp
fmp
fmp
fmp
&
(pitch bend)
( q )
&
∑ ∑ ∑
&
take reed out
∑ ∑ ∑
&
take reed out
∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑
?
take reed out
∑ ∑ ∑
?
&
∑ ∑ ∑ ÷
?
÷
&
without mute
∑ ∑ ∑ ÷
&
without mute
∑ ∑ ∑ ÷
?
∑ ∑ ∑
?
ë
¥
†
&
77
&
ç
™A
(Crotales / medium mallets)
&
inside the piano
∑ ∑ ∑
?
ªA
>
(slap the strings with
the palm of the hand)
(slap the strings as fast as possible, both hands tremolo)
ªA
(slap the strings with
the palm of the hand)
>
(slap the strings as fast as possible, both hands tremolo)
&
&
&
.
œ
@ ?
&
( q ) ( h )
B
?
ord.
?
Sul G
ord.
˙ ˙µ wn
w# w w
w w ˙
Ó
æææw
æææw
æææw
Œ
œ#œ
œ
œœ# œn
œn ˙
æææ˙ ™ œ
œ#
œ
œ#
œ
œ
œ# wn
w ˙ ˙ w
ææææææ
w
~#
w
~µµ
~b
w
~BB
w
~#
# ˙
Oµµ ˙
OBB
w
~µµ
~w
b
~b
13
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mp
36
f
of
of
of
o mp
f
o
f
of
o
f
of
o
f
of
o
f
of
o
f
of
o
f
of
o
mp
f
o
ff f
f
o f
of
of
f f
f
o
p
f
o
f
o
f
f
f
pp
p
&
(pitch bend)
h
&
3 (in) (breathing in and out through the instrument) 3
(staccato)
(in)
( q )
2 (out) 3
Ÿ(color trill )
3
&
3 (in)
(breathing in and out through the instrument / no reed)
2 (out) 3 3
&
3 (in)
(breathing in and out through the instrument / no reed)
(out) 2 3 33
&
3(in)
(breathing in and out through the embuchure)
2
(out)
3
(in) 3Ÿ (color trill )
33
&
3
(in)
3
(breathing in and out through the embuchure)
3 3 3 3 3 3
?
3
(breathing in and out through the instrument / no reed)
(staccato)
(in)
( q )
2 (out) 3 3 3 3 3 3 3 3 3
?
∑ ∑ ∑
÷
2
(blow air through the mouthpiece into the instrument)
(out) 3
(staccato)
(in)
( h )
2 (out)
∑
&
÷
O
(mouthpiece pop)
O
(follow the given rhythm)
O
(hit the mouthpiece with your palm of your hand, so it produces a 'poping' sound; free rhythm inside the mesure)
O O OO O OO OO O O OO O O OO O O O O OO
÷
O
(mouthpiece pop)
(follow the given rhythm)
O
(hit the mouthpiece with your palm of your hand, so it produces a 'poping' sound)
O O OO O O O O O O O O O O O OO OO O OO O O O O
÷
O
(mouthpiece pop)
O
(follow the given rhythm)
(hit the mouthpiece with your palm of your hand, so it produces a 'poping' sound)
O O O O OOO OO O O O O OO O O OO O O O O OO O
&
?
∑ ∑ ∑
?
&
∑ ∑ ∑
&
∑ ∑ ∑
&
(finger gliss.)
–l.v
?
/ 0
&
/ 0
(very slow gliss.)
&
/0
(very slow gliss.)
&
.
œ
@ ?
&
/ 0
(very slow gliss.)
B
/ 0
(very slow gliss.)
?/ 0
(very slow gliss.)
?
Sul D (very slow gliss.)
˙#˙
w#
) 6 6
Œ
˙
Œ
6
Ó
) ) 6
Œ Ó Œ
6
Ó
6 6 6 6 ) 6
Œ Ó Œ
6
Ó
6 6 6 6 6 ) 6
Œ
˙
Œ
6
Ó
‰
6 6
≈ Œ Œ
6 6
‰™
6 6
‰™
Œ Ó Œ
6 6
‰™
Ó
6b 6 6 6 6
≈
6 6
‰ ≈
6b 6
‰ Œ Ó Œ ≈
6b 6
‰ Ó
) 6
Œ Ó
æææw
æææœ
Œ Ó
¿
æææ
w
~#
œ
OBB
w
~µµ
œ
OBB
~n
w
~BB œ
Oµµ
w
~µµ
œ
O
~w
bO
œ
BB
~#O
14
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mp
ff
39
f
of
o mf
f
o off
f
o
f
o
f
o off
f
of
o
f
o
f
of
o mf
f
oo
ff
ff
omf
o f
off
f
f
omf
of
off
p
ff
mp
ff
o
o
mp
ff
o
ff
ff
ff
p
ff
ff
ff
ff
ff
ff
ff
ff
&
(pitch bend)
( h )
&
3 3Ÿ
(color trill ) 3
(f.t)
&
3 3 3
&
3 3 3
&
3
3Ÿ
(color trill )
3
(f.t)
&
3 3 3 3 3 3 3
3 3
(f.t)
?
3 3
3 3 3 3 3
3 3
?
&
∑ ∑
stopped
+(f.t)
÷
O O O O O OO O OOO O OO O O OOO O
∑
?
÷
O O O O OO O OO O O OO O O O O O O
∑
&
&
∑ ∑
hand stopped +
(flz)
¯
?
∑ ∑ ∑
?
ë
¥
†
∑
take sus cymbal off the 29'' timpani
&
∑ ∑
&
∑ ∑
—l.v
&
∑
– l.v
( h )
?
/ 0
(palm slap inside the piano strings and let vibrate)
ªA
>
&
/ 0
&
/ 0
&
#
.
œ
@ ?Sul E
”“#
.
œ
@ ?
”“
&
B
/ 0
?
/ 0
?/ 0
˙µ˙µ wµ
) 6
Œ ˙b Œ
6
ϵ
æææ
œ
) 6
Œ Ó Œ
6
˙#
) 6 6 6 6 6 6
Œ Œ
6
Ó
) 6
Œ
˙
Œ
6
œ˜
æææ
œ
‰
6 6
≈ Œ
6 6 6
‰
6
j
6
Œ
)
Œ
6 6
‰™
œ#
æææœ
‰
6b 6
≈ Œ
6 6 6
‰
6
j
6
Œ
)b
Œ ≈
6b 6
‰
˙
w w w
Ó
œ
æææœ
Ó
œ
æææœ
æææ˙#
æææ˙
æææ˙ ™ œ ™ œ
Ó Œ ‰ ≈
œ
œ#
R
Ó Œ ‰ ≈
œ
r
¿
æææ
w
~BB
æææ
œ
Oµµ
w
~BB
æææ
œ
Oµµ
~#‚#
w
~#
#
æææ
œ
O#
#
w
~
æææ
O
œ
#
#
~w
BB
æææ
O
œ
µµ
~‚
15
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mf
pp
mf
ff
42
mf pp mf
ff
mpff
mf
ff
mpff mp
mf
ff
mfpp mf
ff
mf pp
mf
ff
mf
ff
mf
ppmf
ff
f
mf
ff
f
mf ff
f
mf ff
f
mf
ppmf
ff
f
ppp
p ff
f
mf
pp
f
f
mp
pp
f
ø
mf pp fff
fff
mf pp
f
ff
fff
mf pp
f
ff
mf
pp
f
ff
mf pp
f
ff
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
3
8
7
16
4
4
9
8
&
.>
.
>
.>
.>
.
>
∑
.
>
.>
&
.
.
. .
. .
. . .
∑
Ÿ
(fingering)
(tone color trill)
( w )
&
put reed in
∑ ∑
Ÿ
(fingering)
(tone color trill)
( w )
&
put reed in
∑ ∑ ∑
&
->
->
->
.
>
.
>
.
>
.
>
.>
∑
.>
.>
4
&
->
-
>
-
>
∑ ∑
4
?
put reed in
∑
.>
.>
.>
.>
.>
∑.
>
.
>
?
-
>
-
>-
>
∑ ∑
4
&
∑ ∑
.
>.
>.
>
.
>.
>
∑
.
>.
>
?
∑
stopped
++
∑
&
∑
.
>
.
>
.
>
.
>
.>
∑
.>
.
>
&
∑ ∑
?
-
>
-
>-
>
∑
4
?
∑
&
∑ ∑
ø
/
&
∑ ∑
&
ord.
∑ ∑
Inside the piano
(finger gliss. )
– l.v
?
∑ ∑
ø
&
{ }
(random tremolo )
∑
(gradually) (scratch tone)
s.p
∑
&
∑ ∑
s.p ord.
gliss.
∑
&
{ }
(random tremolo )
∑
(gradually)(scratch tone)
s.p
∑
&
∑ ∑
s.p ord.
gliss.
∑
B
{ }
(random tremolo )
∑
(gradually)
(scratch tone)
s.p
∑
?
∑
(gradually) (scratch tone)
s.p
∑
?
∑
(gradually) (scratch tone)
s.p
∑
≈™
œ œœn
œ
œ
œ#œ
œn
œ
œœ
Ϫ
œ
œ ™
œœ
œ
œ
œ# œn
œ#
≈
œ œ#
œ œ# œn
œn œ#
œ
œ œ#
œn œ#
œn™
œ
œ
œn œ#
Ϫ
œœµ ™
œ
O
œ
O
œ
O
œ
O
œ# ™
œ
O
œ
O
œ
O
œ
O
œ ™
œn
œœ
œ# œ
Ϫ
œ#œ
œ# œn
œnœ
œn
œ
œ œ#
œ œ œ ™
œ# ™
œœn
œ# œn
œ# œn
œ
œ
œ
œ
œ œ
œ ™
œœ
œ# œn
œ# œnœ
œ
J
œ œ™
J
œ
œ ™ œœ#
œ# œn
œnœ
œ#
œ#™
œ ™
j
œ
œ
œ
œ
œ œ
œ ™œ ™
j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
æææœ ™
œ
œ œ
œ
œ œ
œ
œb
œœn
œ# œn
œ
œ
œn
œ# œn
œœ
œ
œ
œ
œ
œ
œ#
œ
w#
w
w
‰
œ œ#
œ œ#
œœ œ ™
≈
œ
œ
œn
œ
œn œ#
œn
¿
wœµ ™
J
œ
Ϫ
J
ϵ
w œ ™
J
œ
œµ ™
J
œ#
w Ϫ
J
æææ
œ
wœµ ™
J æææ
œ
w œB ™
j
œ
16
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc 3.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
ff
subito p
f p
q = 120q = 60
46
fff
o
fff
o
ff
mf
ff
fff
offf
o
mp
ff
mp
mf
ff subito p
mf
ff subito p
mf
ff
subito p
mf
ff subito p
mp
pp
f
p
pp
f
mf
ff
p
fff
mf
mf
ff mp
mf
ff mp
mp
ff
mp
p ff mp
pp
ff
mp
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
9
8
4
4
6
4
4
4
&
>
>
(very slow vib. )
(no vib. )
- (tenuto)
( h. )
&
∑
jet
(embouchure hole closed.
Blow fast air through the tube)
>
( q )
>
∑
&
>
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑ ∑
&
∑ ∑ ∑
&
>
∑ ∑
>
&
∑
3 (in)
(breathing in and through the instrument)
>
( q )
>
∑
?
>
∑ ∑
>
?
∑ ∑
&
œ
@ ?
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
?
open
œ
@ ?
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
&
&
. . -
harmon mute (stem in)
∑
&
. . -
harmon mute (stem in)
∑
?
∑ ∑
?
> >
∑
>
/
¥
(Sus. Cymbal)
…
&
∑
(Vibraphone / medium mallets)
√ ™A™A
&
∑
(Temple Blocks / medium mallets)
/
„
™A™A
>
>
>
>
3
3
3
&
∑
pizz.
– l.v
?
∑
(finger gliss.)
–l.v
ø
&
vib.
(Unstable gliss. with medium vibrato. No more than a half-step deviation in both directions)
>
~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~~ ~~
~~~~~~
~~~~~~~~~~ ~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~
~~~~~~~~
(ord./ no vib. no gliss.)
&
>
vib.
(Unstable gliss. with medium vibrato. No more than a half-step deviation in both directions)
~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~~ ~~
~~~~~~ ~~~~~~~~~~
~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~
(ord./ no vib. no gliss.)
B
>
vib.
(Unstable gliss. with medium vibrato. No more than a half-step deviation in both directions)
~~~~~~~~~~~~~~~~~~~~
~ ~~~~~~~~~~
~~~~~~
~~~~~~~~~~~~
~~~~ ~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~
~~~~~~~~~~~~~~~
(ord./ no vib. no gliss.)
?
&
>
s.p (ord.)
?
> s.p
œ
+
(random left hand pizz.)
œ œœ œ œ œ œ œ œ œ
+
(ord.)
Ϊ
Œœ œ#
œœ
œ
œ# ™
w ˙ ™
f
Œ™ œ œ#
œœ
œ œ ™
Ϊ
‰
œœ
œ
œœ
œœ
æææ
œ# ™
)
Œ
œ# œn
œ#œ
œ
œœ
œ œ# œn
œœ™
w
Ϊ
Œ™ œ# ™ w#
Ϊ
Ϊ
Ϫ
w
Ϊ
Ϊ
œ œ œ œ œ w
Ϊ
Ϊ
œ# œ œ œ œ w#
w
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ
æææ˙™
æææœ
‰
w™
œ
œ
œ
j
œ
œ
œ œ
œ
œ
œ
œ
j
œ
œ
®
œ
œ
®
œ
œ
œ œ œ œ
œ
j
œ œ
¿¿
Ϊ
‰œ# œn
œ#œ
œœn
œœn™ w
Ϊ
œœ
œœ
œ# œn
œ#™
wµ
Œ
œ#
œ œ#
œnœ
œnœ œ
™ wµ
‰
œ
œœ#
œ
œ#
œnœ
œn œ ™ w#
œ
œ
œœ
œ
œœ
œ#œ
œœ œ
™
wµœ œ œ œ œ œ
17
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p
49
p
p
p
mf
mf
op
p
p
p
mf
mf
o
mf
mf
o
mf
op
p
p
mf
p
ord.mf
p
p
p
p
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
(lip gliss.)
(irregular molto vib.)
(irregular molto vib.)
&
(lip gliss.)
&
∑ ∑
&
∑ ∑
&
-
..
. .
.
.
..
..
.
.
∑
3
&
∑ ∑ ∑
?
. .
(irregular molto vib.)
?
∑ ∑
-
>
-
>
-
>
-
>
-
>
-
>
-
>
4
&
o +
&
o +
&
harmon mute (stem in)
. .
. . .
.
.
.
.
.
. . .
55
3
&
harmon mute (stem in)
. .
.
.
.
.
.
..
.
. . .
5
5
3
?
. .
(irregular molto vib.)
?
&
ø ø ø
5
4
/
>
>
>3 4
4
&
∑
7
6
?
3
&
(no vib.)
(left hand pizz.) +
&
(no vib.)
B
(no vib.)
&
(no vib.)
?
+
(no vib.)
µ
(keep playing the left hand pizz. while glissing on the E string)
µ
w wB w
wµ wn wn
w#
w
Ó
œ
œœ
œ œ#
œ
œ
Œ Ó
œœn
œœ
œ#
œ
Œ
Œ Ó
œœ#
œ œ
Œ Ó
w
œ œ œ œ œ œ
‰
œ
j
w#w# w
ww# w
Ó
œ œ#
œ œ# œnŒ Ó
œ#
œ#
œœn
œ#
Œ ‰ ≈
œ# œ œ ˙
Œ
Ó
œœ
œœ
œ#Œ Ó œ
œn
œ#œb
œ Œ ‰ ≈
œ# œ œ ˙
Œ
Œ Ó
œœ#
œ œ
Œ Ó
w
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ#
œœ
œn œ ˙™
œ
œn
œ#œ# œ
æææ
˙
w
w#
œ
j
œ œ
œ
j
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
j
œ œ œ œ œ œ œ œ œ
œ œ
œ
œ
œ
‰
œ
j
Ó
œ
œ œ#
œn
œœ
œ œÓ
œ#œ#
œn
œ#
œ
œ# œ
Ó Œ
œœ
#
œ œ
Ó
œœ
œb œŒ Ó
w wB
œ
w
œ œ œ
wµ wn wn
wµw# w
w# wn wn
œ
w
œ œ œ
w
œ œ œ œ
w
œ œ œ œ
18
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
52
p
mf
o
mf
mf
p
pmf
p
pmf
mp
mp
ø
&
&
&
&
(change reed position / also light lip pressure)
∑
&
7
3
5
9
&
gliss.
?
(release E3 to produce the given multiphonic)
, ,
?
∑ ∑ ∑
B
&
+
&
+
&
∑ ∑ ∑
&
∑ ∑ ∑
?
∑ ∑ ∑
?
> >
&
ø ø ø
/
5
7
5
7 5 7
&
5
7
5
94
5
9
œb
œ#
œ
œ
œb
œ
œ
œ
œ#œ
œ
œ œn œb
œœb
œb
œ#
œ
œ#
œ
œ
œ
œn œb
œ
œœ#
œb
œ#
œ
œ
œ
œ
œ
œœ
œ œn
œ
?
œ
œ#
œ
œ#
œ
œ#
œ
œ#
œ
œ#œ
œ#
œ
œ#
&
+
&
B
+ (left hand pizz.)
&
?
µ
w# w w#
wB w wB
w w w
œ# ˙
˙˙
#B
œ ˙# ˙
˙˙
#B
œ#
œ
œb œn
œœ#
œb˙#
œ
œ
œb œn
œœ#
œbœ#
œn
œ
œb œn
œœ
œœ
œ
œ
œb œn
œœ#
œbœ# ˙
w w w
œ
˙
˙
˙
˙
µ
#
#
œ w ˙
˙
˙
˙
˙
µ
#
#
wn w w
w# w# w
œ œ#œ œµ œ œ œ œ œ
œµœ# œ
w#
w
wn
w#
w#
w#
œ
j
œ œ
œ
œ œ
j
œ œ œ
œ
œ œ
j
œ œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œ œ œ œ œ œ
œ
œ
œ
œ œ œ
œ
œ
œ
œ
œ
œ ≈
œ
j
œ œ œ œ
œ
œ
œ
œ
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
w#
œ œ œ œ
w
œ œ œ œ
w
œ œ œ
wB w w
wB
œ
w
œ œ œ œ
wB
œ œ œ
wn wn wn
w
œ œ œ œ
w
œ œ œ œ
w
œ œ œ œ
19
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
55
ff
p ff
mf
o
mf
mf
ff
p
ff
pmf
p
pmf
mf
o
mf ff
ff
ff
ff
ff
ff
mp ff
mf
ff
mp
ff
ff
ff
ff
ff
ff
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
&
&
&
&
(change reed position / also light lip pressure)
∑
(as loud as possible)
&
(slow vib. )
7
3
5
9
&
?,
(release E3 to produce the given multiphonic)
,
(as loud as possible)
B ?
5 5
&
+
&
+
?
&
plunger mute
∑ ∑
+o
&
plunger mute
∑ ∑
+o
?
∑ ∑ ∑
?
> > > >
&
ø ø
(fingering)
( w )
/
To Tri.5
7
5
7 5 7
&
5
7
5
94
5
9
œœb
œb
œn
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
?
ø
œ
œ
œ
œ
œb
œ
œ œ
œ
&
+
(gradually) (scratch tone)
s.p
&
(gradually) (scratch tone)
s.p
B
+ (left hand pizz.)
(gradually)(scratch tone)
s.p
&
(gradually)(scratch tone)
s.p
?
?
+
sul A
sul E
(gradually)(scratch tone)
s.p
wn w w
w w w
w# w w
œ# ˙
˙˙
#B
œ ˙# ˙
˙˙
#B
œ#
œ
œb œn
œœ#
œb˙#
œ
œ
œb œn
œœ#
œbœ#
œn
œ
œb œn
œœ
œœ
œ
œ
œb œn
œœ#
œbœ# ˙
w w w
œ
˙
˙
˙
˙
µ
#
#
œ w ˙
˙
˙
˙
˙
µ
#
#
Ó
œ
œœb
œ
œ
œb œ
œ
œœb
œ
œ
˙b w
w w ˙™
æææœ
wn w ˙™
æææœ
Ӝ#
æææœ
Ӝ
æææœ
œn œ œ œ œ œ œ œ œœµ
æææœ#
æææœ
w
w#
wn
w
œ
œ#
œ
œ#
œ
j
œ œ
œ
œ œ
j
œ œ œ
œ
œ œ
j
œ œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œ œ œ œ œ œ
œ
œ
œ
œ œ œ
œ
œ
œ
œ
œ
œ ≈
œ
j
œ œ œ œ
œ
œ
œ
œ
œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œœ
œn
œ
œ
œœb
œ
œ
œ
wµ
œ œ œ œ
wn
œ œ œ
w
w#wB w
w
œ
w
œ œ œ
w
wµ w w
wœ œ œ œ
wœ œ œ œ
w
20
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
ff
58
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
mp
ff mp
ff
mpff mp
ff
mp
ff mp
ff
mp
ff mp ff
mpff mp
ff
ff
ff
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
1
8
4
4
&
∑ ∑
.>
.> .
>
.> .
>.>
3
&
∑ ∑
.>
.>
.> .
>
.>
.>
3
&
∑ ∑
.>
.> .
>
.> .
>.>
3
&
∑ ∑
.
>
.
>
.
>
.>
.>
.>
3
&
∑ ∑
.>
.>
.>
.>
.>
.>
3
&
∑ ∑
.
>
.
>.
>
.
>.
>
.
>
3
?
∑ ∑
.>
.>
.>
.>
.>
.>
3
?
∑ ∑
.>
.>
.>
.>
.>
.>
3
&
∑ ∑
.
>
.
>.
>
.
>.
>.
>
3
?
∑ ∑
.>
.>
.>
.>
.> .
>
3
&
∑
open
∑
.
>
.>
.>
.>
.>
.
>
3
&
∑
open
∑
.
>
.
>
.
> .
>
.
>
.
>
3
?
∑ ∑
.
>
.
>
.
>.
>
.
>
.
>
3
?
∑ ∑
.
>
.
> .
>
.
> .
>
.
>
3
&
∑ ∑
.
>
.>
.
>
.
>
.>
.>
.>
.>
.>
3
/
∑
∑
(Triangle / triangle beater) å)A
.> .
>.>
.>
.>
.>
3
&
∑ ∑
.
>
.>
#
n
.>
.>
.
>.
>.
>
.>
.>
.>
3
3
?
∑ ∑ ∑ ∑
&
∑
¯
clb
(repeat the quaver note pattern and gradually
move the bow to the middle of the G string)
¯
(touch A on the G string). .
¯ ¯
&
∑
¯
clb
(repeat the quaver note pattern and gradually
move the bow to the middle of the G string)
¯
(touch A on the G string). .
(gradually accelerate the quaver note pattern)
¯ ¯
¯
. .
¯
. .
&
∑
¯
clb
¯
(repeat the pattern as fast as possible on the G string,
and gradually make a gliss. towards to the bridge)
(touch A on the G string)
. .
¯ ¯ ¯ ¯ ¯ ¯
. .
&
∑
¯
clb
¯
(touch A on the G string)
(repeat the quaver note pattern)
. .
(gradually accelerate and deaccelerate the rhythm pattern)
B ∑
(play behind the bridge)
clb
(repeat the quaver note pattern)
/
‹
‹
‹
‹
(Play random clb patterns behind the bridge.Follow any accel. deccel. changes )
?
∑ ∑
.
>
.
>
.
>.
>
.
>
.
>
3
?
∑ ∑
.
>
.
>
.
>.
>
.
>
.
>
3
œ
J
‰ ≈
œœ
‰ Ó Œ ‰
œœ œ#
Ó
œ
J‰ ≈
œœ#
‰ Ó Œ ‰
œœ#
œ#
Ó
œ#
J‰ ≈
œœ
‰ Ó Œ ‰
œnœ
œ
Ó
œ#
j
‰ ≈œ œn
‰ Ó Œ ‰œ# œn
œ
Ó
œ
J
‰ ≈
œœ#
‰ Ó Œ ‰
œœ#
œ#
Ó
œ
j
‰ ≈œ
œ
‰ Ó Œ ‰œ
œ
œ#
Ó
œ
J
‰ ≈
œ
œ
‰ Ó Œ ‰
œ
œ
œ#
Ó
œ
J
‰ ≈
œ
œ
‰ Ó Œ ‰
œ
œ œ#
Ó
œ
j
‰ ≈œ
œ#
‰ Ó Œ ‰œ
œ#
œ#
Ó
œ
J ‰ ≈
œ
œ
‰ Ó Œ ‰
œ
œ
œ
Ó
œ
j
‰ ≈œ
œ#
‰ Ó Œ ‰œ
œ#œ
Ó
œ
j ‰ ≈
œ
œ#
‰ Ó Œ ‰
œ
œ#œ
Ó
œ#
j ‰ ≈
œœ
‰ Ó Œ ‰
œnœ
œ#
Ó
œ#
j ‰ ≈
œ
œ
‰ Ó Œ ‰
œ#
œ
œ
Ó
œ
œ
J
‰
œœ#
j
‰
≈
≈
œœ<n>
œ
œb
‰ Ó Œ ‰
œn
œb
œ
Ó
œ
r
≈
‰
≈
œ œ‰
Ó
Œ‰
œ œ œ Ó
œœ
œ
n#
J
‰
œ
œ
n
j
‰
≈
≈
œœ œ
œ#
œ
œ
‰ Ó Œ ‰œ
œ
œ#
œ
œ#
# œœ
œœ
#
Ó
¿ ¿
¿ ¿ ¿ ¿ ¿ ¿
¿ ¿
œ œ œ œ ¿ ¿
¿ ¿
‹ ‹
œ#
j ‰ ≈
œœ
‰ Ó Œ ‰
œnœ
œ#
Ó
œ#
j ‰ ≈
œœ#
‰ Ó Œ ‰
œnœ#
œ
Ó
21
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
fp f
of
62
fp f
o
f
o fmp
fp f
of
fp f
of
fp f
o
f
o
f
fp f
o
f
o
f
fp f
o
f
fp f
o
f
fp f
o
f
o f
fp f
o
f
o
f
fp f
o
f
o
f
fp f
o
f
o
f
fp f
o
f
fp
f
o
fp
o
fp f
f p
fp f
mf f
ff
f
mf
mpff
mp
mp ff mp
mp
ffmp
ff
mpff mp
ff
ff
mpff
mp
ff
fp f
o sfz o
f
fp f o
sfzo
f
&
- - -
3
∑
&
- - -
3
3 (in) (air tone: blow through the instrument)
5
6
&
-- -
3
∑
&
-
- -
3
∑
&
-
- -
3
3 (in) (air tone: blow through the instrument)
&
-
- -
3
3 (in) (air tone: blow through the instrument)
?
- - -
3
∑
?
-
--
3
∑
&
-
- -
33 (in) (air tone: blow through the instrument)
?
--
-
3
3 (in) (air tone: blow through the instrument)
&
-
-
-
3
3
(in) (air tone: blow through the instrument)
&
-
-
-
3
3
(in) (air tone: blow through the instrument)
?
-
--
3
∑
?
- - -
3
∑
&
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
-
-
-
3
∑
7 3
/
3
&
n
b
b
nn
bn
-
-
#
n
-
-
n
n
b
b
-
-
3
3
∑
ord.
#
#
#
#
5
?
∑
Inside the piano
(finger gliss.)
–l.v
ø
&
¯ ¯ ¯
. . .
¯ ¯
. .
¯ ¯ ¯
. . .
3 3
&
¯ ¯
¯
. .
¯
. .
¯ ¯
. .
&
¯ ¯ ¯ ¯ ¯ ¯
. .
¯ ¯ ¯ ¯
&
¯
clb
¯(repeat the quavers note pattern)
(touch A on the G string). .
¯ ¯
(repeat the quaver notes pattern and gradually play a glizz.
towards to the middle of the G string)
. .
B
(play behind the bridge)
clb
(repeat the quavers note pattern)
/
‹
‹
‹
‹
?
- -
-
3
snap pizz.
« (regular pizz.)
( h )
arco
?
-
-
-3 snap pizz.
« (regular pizz.)
( h )
arco
‰
œ#
J
œ
R
≈ ‰
œ œ œn
‰
œ#
J
Œ Ó
‰
œn
J
œ
R
≈ ‰
œ# œn œ
)n
Ó ‰
œ
J
œ#œ# œn
œ#œ
œn
œœ
œœ
œ#
œ
œ
œœn œ#
œ
‰
œ#
J
œ
R≈ ‰
œœ# œn
‰
œ#
J Œ Ó
‰
œ#
J
œ
R ≈ ‰
œ
œ# œn
‰
œ
J Œ Ó
‰
œn
J
œ
R
≈ ‰
œ#
œœ
)
Ó ‰
œ#
JŒ Ó
‰œ
J
œ
R
≈ ‰
œ#œ œ#
)n
Ó ‰œ
J
Œ Ó
‰
œ#
J
œ
R≈ ‰
œ œ œ
‰
œ
J
Œ Ó
‰
œ
J
œ
R ≈ ‰
œ#
œœ#
‰
œ
jŒ Ó
‰
œ
j
œ
r
≈ ‰
œ#
œ œ#
)
Ó ‰
œ#
j Œ Ó
‰
œ#
J
œ
R
≈ ‰
œœ#
œ# )nÓ ‰
œ#
J
Œ Ó
‰
œn
J
œ
R
≈ ‰œ
œ
œ
)
Ó ‰œ
j
Œ Ó
‰œ
j
œ
r
≈ ‰
œœ
œn
)
Ó ‰
œ#
j
Œ Ó
‰
œ
J
œ
R ≈ ‰
œ#
œœ#
‰
œ
jŒ Ó
‰ æææœ
j
œ
r
≈ ‰
œ# œ
æææœ
‰
œ
jæææ˙ ™
‰œ
J
œ
R
≈ ‰
œ#
œ#
œn
‰
œœ
œœ
#
jœ
œ
œ#œ
œ#œb
œ
œ
œœ
‰
æææœ
j
œ
r
≈
‰œ œ œ Ó ˙
‰œ
j
˙™
‰
œ#
œœn
œn
œb
œ
œ
r
≈
œ
œ
J
‰
œ
œœ
œœ
œ
œ
œœ
œ
œ
œ
œœ
œ
œ
‰œ
œ
œ
J
œ
œœ
j
Œ Ó
Ó
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿
œ œ œ œ ¿ ¿ œ œ œ œ
¿ ¿ ¿ ¿
‹ ‹
‰
œ#
J
œ
R
≈ ‰
œ œ
œ
Ó
œ
‰œ
J
Œ Ó
‰ œ
J
œ
R
≈ ‰
œ
œ
œ#
Ó
œ
‰
œ
jŒ Ó
22
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
fpfff
65
f
fpfff
fpfff
fpfff
fpfff
fpfff
fpfff
fpfff
fp
fff
fpfff
fpfff
fpfff
fpfff
f
fpfff
f
p
fff
f
p fff
f
mp
fff
mpff
mp
mp fff
mp ff mp mp
fff
mp
ff
ff
mpff mp
fff
ff
mpff
mp
fff
fpfff
fpfff
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
1
8
&
- - - - -
3
&
--
-- -
3
&
--
--
-
3
&
-
-
-
-
-
->
->
->
->
3
&
-
-
-
- -
3
&
-
-
-
- -
3
?
- - - - -
-
>
-
> ->
->
3
?
-
-
-
- -
3
&
-
-
-
--
3
?
- - - - -
3
&
-
-
-
- -
3
&
-
-
-
-
-
3
?
-
-
-
- -
3
?
- -
- - -
3
&
- -
-
-
-
( h. )
/
3
/
- - - - -3
&
-
-
-
-
-
->
->
( h )
3
?
-
--
-
-
∑
3
&
¯ ¯
. .
¯ ¯ ¯
. . .
¯ ¯
. .
3
&
¯ ¯
. .
¯ ¯
¯
. .
¯
. .
&
¯ ¯ ¯ ¯ ¯ ¯
. .
¯ ¯ ¯ ¯
&
¯ ¯
. .
¯ ¯
. .
B
(play behind the bridge)
Col legno battuto(repeat the quavers note pattern)
/
‹
‹
‹
‹
( q )
?- - - - -
(gradually)
(scratch tone)
3
?
- - - -
-
(gradually)(scratch tone)
3
‰
œ# œ
Œ Ó
œn œ œn
‰ ‰
ϵ
J
˙ w
‰
œœ#
Œ Ó
œœ# œ
‰ ‰
œ
J
˙ ˙™
æææ
œ
‰
œ#œ
Œ Ó
œ#œ
œn
‰ ‰
ϵ
J
˙ w
‰
œ
œ Œ Ó
œ
œ
œ
‰ ‰
œ#
J
˙ ˙œ
œ#œ
œ
‰
œ#
œ Œ Ó
œ#
œœ#
‰ ‰
œB
J
˙ ˙ ™
æææ
œ
‰œ
œ#Œ Ó
œ
œ# œn‰ ‰
œ
J
˙ ˙ ™
æææ
œ
‰
œœ
Œ Ó
œœ œ#
‰ ‰œ
j
˙ ˙œ
œœn
œ
‰
œ
œ Œ Ó
œ
œœ#
‰ ‰
œ#
j
˙ w
‰
œ#
œ
Œ Ó
œ#
œœ
‰ ‰
ϵ
j
˙ ˙ ™
æææœ
‰
œ# œn
Œ Ó
œ# œnœ#
‰ ‰
œ
J
˙ w
‰
œ
œŒ Ó
œ
œ œ‰ ‰
œ#
J
˙ ˙™
æææ
œ
‰
œ#
œ
Œ Ó
œ#
œ
œn
‰ ‰œ
j
˙ w
‰
œ
œ Œ Ó
œ
œœ#
‰ ‰
œ#
j
˙ w
‰
œ œ
Œ Ó
œ# œ œ
‰ ‰
œ#
jæææ˙
æææw
‰
œœ
œœ
#œ
œœ
œn
n
Œ Ó
œœ
bn
œ
œ
b
œ
œ
n
n
‰ ‰
œ
œ
jœœb
œ
œ
n
œœb
œ
œ
œœb
œ
œ
n
‰œ œ
Œ
Ó œ œ œ‰ ‰
œ
j
˙
æææw
‰
œ
œ
n
œb Œ Ó
œ
œ
œœb
œ
œ
#‰ ‰
œœ
#
J
œœ
œœ#
œ
œn
œœ
nn
œœ
b
œœ
#
œ
œ
œœ
‰
œ
œ
œ#Œ Ó
œ#
œ#
œn
‰ Œ Ó
¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿
œ œ œ œ ¿ ¿ œ œ œ œ
¿ ¿ ¿ ¿
‹ ‹
‰œ
œ Œ Óœ
œ œ# ‰ ‰œ
j
˙ w
‰
œ œ
Œ Ó
œ œ
œ#‰ ‰
œ#
j
˙ w
23
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mpf
mp
68
mp
mp
mp
mp
mp
mp
mp
mp
mp
mp
mp
mp
p
f p
p fff p
p mp
p mp
p mp
p mp
pmp
pmp
p
mf
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
1
8
3
4
1
8
4
4
3
4
1
8
5
4
4
4
&
∑ ∑ ∑
(no vib. )
7
&
∑ ∑ ∑
(no vib. )
&
∑ ∑ ∑
(no vib. )
&
∑ ∑ ∑
(no vib. )
&
∑ ∑ ∑
(no vib. )
&
∑ ∑ ∑
(no vib. )
?
∑ ∑ ∑
(no vib. )
?
∑ ∑ ∑
(no vib. )
&
∑ ∑ ∑
(no vib. )
+ +
?
∑ ∑ ∑
(no vib. )
+
+
&
∑ ∑ ∑
harmon mute (stem in)
(no vib. )
&
∑ ∑ ∑
harmon mute (stem in)
(no vib. )
?
∑ ∑ ∑
(no vib. )
?
∑ ∑ ∑ ∑ ∑ ∑
/ ∑ ∑
(Bass Drum / medium B.D mallet)
∑
∫ &A
>
>
/ ∑ ∑ ∑ ∑
&
∑ ∑ ∑
-> -
>-> -
>-> -
> -> -
>
- - - -
?
-
5
5
3
7
œn
?
∑ ∑ ∑ ∑ ∑
- - - - -
œ# œ
œ
œ
œ
&
∑
&
∑
&
∑
&
∑
B ∑
?
∑
?
∑
w#œ
œ œ#œ œ#
œœb œn œ
J
˙# ™ ˙
wB ˙™
œ
J
˙µ ™˙
w# ˙ ™ œ
J
˙™
˙
w ˙ ™ œ
J
˙ ™ ˙
w# ˙™
œ
J
˙µ ™˙
wµ ˙™
œ
J
˙B ™˙
w ˙™
œ
J
˙ ™ ˙
wB ˙™
œ
j
˙µ ™ ˙
w ˙ ™ œ
j
˙ ™ ˙
w ˙ ™ œ
J
˙µ ™ ˙
w ˙™
œ
j
˙™
˙
w ˙ ™ œ
j
˙ ™ ˙
w ˙™
œ
J
˙ ™ ˙
Œ Ó
æææw
æææ˙™
æææœ
j
æææ˙™
æææ˙
˙™
w ˙™
˙
œœ
œœ
œœ
œ# œn
œ
œ#
œb œnœ#
œœb œ
œn œ#œn œ#
œœb œn œ
J
‰
œ
œ
b œ
œ
œ
œ
Œ
œ
œ
JŒ
œ
œ
J
‰
œ
œ#
œ
œ
œ
œ
Œ
œ
œ
J
Œ
œ
œ
J
˙
Oµµ ™
™
œ
O
j
w
~#
# ˙
O
™
™
œ
O
j
˙™
˙
˙
O
™™
œ
O
j
w
~˙
O
™
™
œ
O
j
˙B ™˙
˙
Oµµ ™
™œ
O
j
w
~µµ ˙
O
™™
œ
O
j
˙µ ™˙
˙
OBB ™
™œ
O
j
w
~˙
O
™
™
œ
O
j
˙™
˙
O
˙#
#
™™ O
œ
J
~w
#
#
O
˙ ™
™O
œ
J
˙B ™˙
O
˙ ™
™O
œ
J
~w
O
˙ ™
™O
œ
J
˙B ™ ˙
O
˙
#
#™™ O
œ
Jwµ ˙
™œ
j ˙µ ™ ˙
24
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
ff
omp
75
f
omp
mf
f
omp
f
omp
f
omp
f
omp
mf
f
omp
f
omp
mf
f
omp
f
omp
mf
f
omp
f
omp
f
omp
fffp
o
f
omp
o
ff
p
mp
ff
mf
ff
mp f
o
mp
mp
f
o mp
mpf
omp
mp f
omp
mp f
omp
mp fo
mp
mf ff
omf
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
&
7
&
5 7
&
&
&
&
7
3
?
?
7
œn
&
+ +
?
+ +
++
+
3
&
&
?
?
∑
>
∑
3
/
>
(Bass Drum / medium B.D mallets)
(Medium Gong / hard mallet)˝£A
– l.v ∫&A &A
>
/
?
&
?
& &
5
6
7
6
5
7
œœb œn
œnœ#
œ#œ
?
&
7
ø
?
&
3
5
6
6
5
7
&
&
&
&
B
?
?
˙™ œ#
œœ
œnœb œn ˙
™
wµ
wµ ˙ ™œ#
œ#œ œ#
œœ
œœn œ ™ œ œ
w# ˙ ™ w#
wB ˙™ w#
wµ ˙ ™ wn
wµ ˙™ ˙B
œ œ#œ
œbœ#
œnœn
œœn
œ œ ™
w ˙ ™ wµ
wµ ˙ ™˙µ
œbœ œ#
œ#œn œ#
œ
wµ ˙ ™ w
wµ ˙ ™ ˙#™ œ œ#
œ#
w ˙™
w
w# ˙ ™w#
w ˙ ™ wµ
œ# œ
æææœ
æææ
œ ™
æææ˙
æææw
Œ
˙™
æææ˙
æææw
w ˙™
w
œ
œn
œ
œb
œ#
œnœ#
œnœn
œn œ#œ
œn
œœb œn ˙ ™
œ
œ#
œbœ œ#
œ#œn œ#
œn œ#œ
œbœ#
œn œ#œ
œnœn
œ
œ
œb
œ#
œœb
œn
œnœ#
œ#œ
œb œnœ#
œnœn
œn œ#œ
œn
œb œn ˙™
œ#
œ
œ
œ#
œbœn œ#
œ#œn œ#
œn
œ#œ
œbœ#
œn œ#œ
œn
J
œn
w
~BB ˙
O
™™
w
~
w
~BB ˙
O
™
™
w
~
w
~µµ ˙
O
™™
w
~
w
~BB ˙
O
™™
w
~n
n
~w
b O
˙ ™
™ ~w
~w
µµ
O
˙ ™
™~w#
#
w ˙™ w#
25
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
o
mfpp
78
o
o
o
o
mfpp
o
o
mf
pp
o
o
o
mf
pp
o
o
o
po
ff
p
o
mf
o
fp
o
pmf
mf
ppmp
mf
pp
pp
mpmf
pp
pp
mpmf
pp
pp
mp
mf
pp
pp
mpmf
pp
pp
mp
mf
pp
p
mf f
pp
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
&
(lip.)
5
&
∑ ∑
&
∑ ∑
&
∑ ∑
&
(lip.)
5
&
∑ ∑
?
(lip.)
7
5
?
∑ ∑
&
∑ ∑
?
+ o
&
o+
7
5
&
∑ ∑
&
∑ ∑
?
∑ ∑
?
32''=D2, 29''= A2, 23'' = G3#
∑ ∑
/
ªA
extreme hand overpressure on the membrane
( h )
>
ªA
( h )
/ ∑
&
?
&
?
9
7
5
&
ø
?
ø
9
7 5
&
&
&
&
B
?
?
w<µ> ™
Ó Œ
œn œ#œ#
œœb
˙˙n ˙b
˙ ˙B˙#
w<#> ™
w# ™
w ™Ó Œ
œ œ#œ
œœ
˙™
˙# ™
˙ ™ ˙B ™
w<µ> ™
Ó
œb œnœ#
œœ
œ#œ œ#
œœb œn
œn ˙œ ˙ ™
˙™
˙µ ™
w™
˙# ™ ˙™
Ó ≈
œ#œ
œ#œ
œœ#
œ œ#œn œ#
œ ˙™
˙# ™
w ™
w<#> ™
w<µ> ™
æææ˙ ™
æææ˙
æææœ
œ œ œ
æææ˙™
æææ˙ Ó œ œ œ
æææ˙™
˙™
Ó™
w
w™
œb œnœ#
œœ
œ#œ œ#
œœb œn
œnœ
œœn œ#
œ#œ
œbœn
œ w™
w ™
œ
œbœ
œb œnœ#
œœ
œ#œ œ#
œœb œn
œnœ
œœn œ#
œ#œ w ™
w
~™
™
w
~w
~™
™
w
~™™
w
~w
~™™
w
~™
™
w
~#
# w
~™™
w
~™™
w
~w
~
Œ Œ
~w™™ ~
w#
# ~w™™
~w<#>
<#>™
™~w#
~w™™
w<#> ™
w w™
26
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mff
p
81
mp
o
mf
fp
mf o
mf
f
p
mp f
mf
fp
pmf
o
mf
o
fp
o
mf f
mp
mp
f
pp
mp f
pp
mp f
pp
mp f pp
mp f
pp
mp fpp
mf ffpp
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
4
4
7
4
6
4
3
4
&
∑
5
&
∑
&
∑
7
&
∑
(change reed position / also light lip pressure)
&
∑
6
&
∑
(as soft as possible)
?
.
.
.
.
.∑
5
?
∑,
(release E3 to produce the given multiphonic)
&
∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑
?
∑ ∑ ∑
?
∑ ∑ ∑
/
>
ªA
( h )
∑
/ ∑
?
&
∑
?
7
9
?
&
Inside the piano
(finger gliss. )
–
l.v
∑
ø
?
7
9
&
(random tremolo disturbances)
&
(random tremolo disturbances)
&
(random tremolo disturbances)
&
(random tremolo disturbances)
B
(random tremolo disturbances)
?
(random tremolo disturbances)
?
Ó Œ
œœb
œ œ#
œb w˙# ™
∑ Œ
˙# w ™
Ӝ
œ#
œ
œœ
œbœn œ#
œb œ w ˙œ#
∑ Œ
˙# œ ˙
˙˙
#B ™™
™˙
Ó
œ
œ œ#œ
œ#
œ
œnœ
œbœn ˙# ˙µ œ ˙n
∑ Œ
˙
˙
˙˜
µ
Ó
œ
œb
œœ
œ œ#œ
œ#
œ wœ ˙B
∑ Œ
œ
œ
œ
œ
œ
µ
#
# ˙
˙
˙
˙™
™
™
™
˙™
æææ˙ Ó œ
æææ˙
æææ˙™
w w ˙™
œb
œ
œb
œœ
œ œ#œ
œ#
œ
œnœ
œbœn œ#
œb œ w
Ó™
œ#
œb
œ
œb
œœ
œ œ#œ
œ#
œ
œn
œœb
œn œ#
œb w
w
~#
# w
~˙
O
™
™
w
~™
™
w
~#
# w
~˙
O
™™
w
~™™
w
~n
n w
~˙
O
™™
w
~™™
w
~#
# w
~˙
O
™™
w
~™™
~wn
n ~w
O
˙™™ ~
w™™
~w
~w
O
˙ ™
™ ~w ™
™
w# w ˙ ™ w ™
27
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mf
f p
84
f p
mf
mf
f p
f p
mf
f p
mfp
mfp
mfp
mfp
f
o
f
f mp
mf
° ø
p mf o
p mf
o
pmf
o
p mf
o
p mf
o
p
mf
o
mp mf
o
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
3
4
4
4
6
4
4
4
&
7
&
∑
--
-
&
(lip.)
&
∑ ∑ ∑
&
6
&
∑
.
. . .
?
.
.
.
. .
5
5
?
∑ ∑ ∑
&
∑
+
(half valve gliss.)
o
&
∑
+
(half valve gliss.)
o
&
∑
+
(half valve gliss.)
o
&
∑
+
(half valve gliss.)
o
?
∑ ∑ ∑
?
∑ ∑ ∑
/ ∑
>
∑
(Hard yarn beater)
/ ∑ ∑
(Temple Blocks / hard plastic mallets)
?
&
- - - - - - - -
7
6
5
?
ord.
&
7
6
5
&
&
&
&
B
?
?
Œ Œ
œ#œ
œb œnœ
œbœn ˙ ™
œn w™
œ œœ# œ
œ œœ
w ™
Ӝ
œœ
œb ˙ ˙n w ™
Œ Œœ
œœ
œb œnœ ˙
˙ œ˙ ˙b
™
œœ# œn
œ# wn ™
Œ
œ
œ
œœb œn
œ œ#œ
œœ ˙ ˙B
˙# wµ
w#w ™
w w#™
ww ™
w w# ™
æææ˙™ Œ
w
œ
œ
œœb
œ œ#œ
œ#œ
œœ
œb œnœn œ#
œn
œb œnœ
œbœn œ œ œ œ œ œ œ œ œ
œ
œ
œ#
œœ
œ
œœb œn
œ œ#œn œ#
œ
œœ
œb œnwn w
™
˙
Oµµ ™
™w
~w
~™™
˙
Oµµ ™
™
w
~w
~™
™
˙
Oµµ ™
™w
~w
~™™
˙
O
™
™
w
~w
~™
™
O
˙
b
™
™ ~w
~w ™
™
O
˙™™ ~
w
~w™™
˙™
w w™
28
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
p
87
p
p
p
p
p
mf
p
mf
p
mf
p
p
p
p
p
p
p
mp
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
4
4
6
4
4
4
&
(very short pause of breathing)
&
(very short pause of breathing)
&
(very short pause of breathing)
&
(very short pause of breathing)
&
(very short pause of breathing)
&
(very short pause of breathing)
?
∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑
?
32''=D2, 29''= A2, 23'' = G#3
7 5 7 5 5
4
73 5
/
‹A ‹A
3
/
„%A%A > >
>
5 7
4
7
3
5
6
7
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
&
s.p
&
s.p
&
s.p (very slow gliss.)
&
s.p (very slow gliss.)
B
s.p (very slow gliss.)
?
(very slow gliss.)
?
(very slow gliss.)
w# wµ w# wµ ™
w w wµ w#™
w# ww w ™
w# wwµ w#
™
ww ™
w w w w ™
œ#
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ æææœ
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ
œ
œ
œ œ œ œ#
œ
œ
œ æææ
œ
œ
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
æææ˙ ™
æææ˙
œ
j
œ œ œ œ œ œ
æææw
æææw
æææw™
œ
jœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
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
œ œ
œ
Ϫ
æææ
w™
w w w w ™
w w w w™
w#
w ™
w wb ™
w#w™
w#w# ™
w
w ™
29
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc 2.
Perc 3.
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
p
f
91
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
mf
p
f
mf pf
mf
p
pf
pf
pf
pf
pf
pf
mpff
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
4
4
6
4
5
4
&
(lip ), (re-finger)
( h )
&
, (re-finger) , (re-finger) ( q )
&
, (re-finger) , (re-finger)
,
(re-finger)
&
, (re-finger) , (re-finger) , (re-finger) ( q ) , (re-finger)
&
(very slow key gliss.)
&
(very slow key gliss.)
?
∑ ∑ ∑
?
∑ ∑ ∑ ∑
&
∑ ∑ ∑
?
+
&
&
∑ ∑ ∑
?
+
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑
?
32''=D2, 29''= A2, 23'' = G#3
7 5 7 5 5
4
7 3 5
/ &
3 3
3
3
5 5
/
> >
>>
5 7
4
7
3
5
6
7
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
&
(very slow gliss.)
&
(very slow gliss.)
(gradually scatch tone)
&
&
(gradually scratch tone)
B
?
?
w<µ> w#w
˙#
æææ
˙
w<#> w w#˙ ˙
™
w˙™
˙#™ w ™
w#˙
w ˙#˙ ™
w
w™
w
w ™
Ó Œ
˙#™
Ó Œ
˙™
Ó Œ
˙ ™
œ#
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ æææœ
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ
œ
œ
œ œ œ œ#
œ
œ
œ æææ
œ
œ
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ æææ
˙ ™
œ
j
œ œ œ œ
œ
j
œ œ œ œ œ œ œ œ œ
æææœ œ œ œ œ œ œ œ œ
≈
œ œ
æææœ
æææœ œ œ œ
≈
œ œ œ œ
æææœ
æææw™
œ
jœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
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
œ œ
œ
Ϫ
æææ
Ϫ
æææ
œ
Jæææ
œ
Ó™
w
w™
w
w#™
w
w ™
w<b>
w# ™
w
w™
w<#>
w™
ww#™
30
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Perc.1
Perc 2.
Perc.3
Pno.
Vln. I
Vc.
Cb.
subito p
q=42
95
mp
p
mp
f mp
mf
subito p
mp
Picc.
Fl. 2
Perc.1
Perc 2.
Perc.3
Pno.
Vln. I
Vln. II
Vc.
Cb.
99
p
mp mf
o
o
o
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
5
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
5
4
3
4
4
4
5
4
4
4
&
(as few breathing points as possible)
Quantum 2
&
(fingering)
<
(as few breathing points as possible)
>
(Whistle tone / 12th partial )
”“
(senza tempo, within the bar)
(11th) (10th) (9th) (8th) (7th)(13th)
(14th)
”“
?
∑
– l.v –l.v
5 5
&
Left hand = hard rubber mallet (for pitch bend)
Right hand = standard mallet plus Double Bass bow (both on the same hand)
(For pitch bending, play the given notes normally with the standard mallet
and then rapidly use the hard rubber mallet to press against the vibraphone bar
at its nodal point and move or slide the mallet away)
∑
Vibraphone
√
(standard mallet)
û
(pitch bend)
(hard rubber mallet)
ø
(standard mallet)
ø
û
ø
–
ø
o≤
(bow the bar and touch the bar in the middle
producing a note two octaves higher)
ø
/
Triangle
å
(Suspend the triangle on your hand. For triangle vibrato, hit the triangle and wiggle
your hand/palm in order to produce vibrato )
(fast vib. )
&
∑ ∑
pizz.
– l.v – l.v
&
∑ ∑
Inside the piano
ø ø
&
solo( h. )
?
sul Dsolo
?
∑
&
&
o5
&
‚
(random whistle tone gliss)
(11th) (10th) (9th) (8th) (7th)
(13th)
”“
?
5 5 5 5
&
o o
5
/ ∑ ∑
&
”“ ”“ ”“
”“
>>
> >
>
5
”“
5 5 5 5 5 5
&
∑ ∑ ∑ ∑
&
&
?
&
&
∑ ∑ ∑
˙<#> ˙ ™ ˙ ™ w ˙ ˙µ ™
Œ
~
%
#
E ™
‚µ‚#
‚#‚
‚
‚
%
‚‚# ‚n
‚#
˙
‚
j
O
˙ ™
O
Ó
œ# œ œ œ œ œ# œ œ œ œ
Œ Ó™
Œ
œœ ˙
œœ ˙
˙#™
˙ ˙™
˙™
w ˙ ˙™
¿# ¿ ¿# ¿
O
˙
b O
˙™™ O
˙µB
™™ ~
w#
n O
˙µB
O# O™
O™ ~ O O
™
Ó
œ
O#
#
œ
O
# œ
O Œ Ó Œ
œ
O#
#
œ
O
# œ
O Ó
˙<µ> ˙# ™ œ
œ œœ
œœ
œµ ˙ ˙# ˙ ˙µ ™
E E ™ E ™
‚
‚#‚#
‚‚
‚
%
‚‚# ‚n
‚#
E ™
O ™
˙
O
Œ
œ# œ œ œ œ
Œ Ó
œ# œ œ œ œ
Œ Œ Ó
œ# œ œ œ œ
Œ Œ
œ# œ œ œ œ
Œ Ó
Œ
œn™
œ
J
œœ#
œ œ#
œ œ
Œ
˙#
Ó
œn
Œ Œ
˙#
Ó
Ó
Œ
˙
Œ
˙
Œ
œ#œ
œœ
œ#
Œ Ó
œ#œ
œœ
œ#
Ó
œ#
œ
œœ
œ#
Œ Ó
œ#œn
œ œ#œ
Œ
œ œ œ œ
≈
œ œ œ
≈
œ
R
œ œ œ œ œ
O
˙<µ><B>
™™ O
˙#
n O
œ
O
˙
µB
O
˙
µB ™
™ O
ϵB O
˙™™ O
˙
µB
O
˙ ™
™O
˙
O
˙ ™
™ ~w
µµ
~w
#
#
O
œ
µµ
O# O™
O™ ~ O O
™
Œ
œ
O#
#
œ
O
# œ
O Ó
=
31
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Perc.1
Perc 2.
Perc.3
Pno.
Vln. I
Vln. II
Vc.
Cb.
p o
103
mp mp mp mp
mp
p
p mp p mp
p mp p mp
mf
omf
o
Picc.
Fl. 2
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vc.
Cb.
107
mp mp
mf
mp
p mp p mp
p mp p mp
mf
o
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑ ∑
( q )
&
(Whistle tone / 16th partial )
”“
?
∑ ∑
5 5 5 5
&
o
≥
o
≥
o
≥
o
≥To Gong Triangle beater / left hand
/
/
&
…
(damp the string inside the piano with your index finger )
… … … … … … … … … … … … … … … … … … … … … … … … … … …
5
… … …
5
”“
5 5 5 5 6 5 3 5 5 5 5 6 5 5
&
∑ ∑ ∑ ∑
&
¯
clb
¯ ¯ ¯
(repeat the quintuplet pattern and move the bow gradually
to the middle of the G string)
.
¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯
.
5 5 5 5
&
¯Sul E
clb
¯ ¯ ¯ ¯
.
(repeat the quintuplet pattern and move the bow gradually
to the middle of the G string)
¯ ¯ ¯ ¯ ¯
.
¯
clb
¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯ ¯
.
5 5 5 5
&
( seagull effect / keep the distance between the fingers the same while sliding)
( q )
&
∑ ∑
&
( h )
,(re-finger)
( h )
&
”“
?
Legato
5 5 5 5 5 5 5 5 5 5 55
5 5 5 5
/
(Gong)
(Scrape with triangle beater)
˝
–
)A
l.v
&
(Vibraphone)√
Left hand = hard rubber mallet (for pitch bend)
o
≥
o
≥
o
≥
/
…
(lightly damp with fingers )
… … … … … … … … … … … … …
5 5 5 5 5 5 5
&
… … … … … … … … ……
5
… … … … … … … … … … … … … … … … … … … … …
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
&
∑ ∑ ∑ ∑
&
¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯
.
5 5 5 5
&
¯ ¯ ¯ ¯ ¯
.
¯ ¯ ¯¯ ¯ ¯ ¯ ¯
.
¯ ¯ ¯ ¯ ¯
.
5 3 5 5
&
∑ ∑ ∑
&
∑ ∑ ∑
w ˙B ™
~
%
~
%
~
%
~
%
Œ
œ# œ œµ œœB
Œ Ó
œ˜ œ œ#
˙ Œ œ œ Œ Œ œ œ Œ˙ œ
Œ Ó
˙
Œ
œ œ
Œ Œ
œ œ
Œ
˙ œ
Œ
Ó
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
R
œ
J
‰
œ
J
≈
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
≈
œ œ
‰
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿# ¿ ¿ ¿ ¿ ¿# ¿ ¿ ¿ ¿ ¿# ¿ ¿ ¿ ¿ ¿# ¿ ¿ ¿ ¿
Ó™
O
œ
œ
O
r
‰™
Ó Ó
O
˙
œ
O
r‰™
Œ Ó
Œ
œ
O#
#
œ
O
# ˙
O
œ
O#
#
œ
O
# ˙
O
™
™
wn˙# w# ˙B
%
O™
‚
%
O™ ~
%
~
%
œ# œµ œ# œµ œ#œB œn œ<B>
œ# œµ œn œµ œ#œ œB
œ
w 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 Ó
Œ
œ œ œ œ œ Ó
Œ≈
œ œ œ œ Ó
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 œ
≈
œ œ œ œ œ œ œ œ
R
≈
œ œ œ œ œ œ
≈
œ
R
œ œ œ œ œ
≈
œ œ œ œ œ œ
≈
œ œ
≈
œ œ œ œ
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿# ¿ ¿ ¿ ¿ œ# œ œ ¿# ¿ ¿ ¿ ¿ ¿# ¿ ¿ ¿ ¿
Œ
O
˙
œ
O
r‰™
Œ
œ
O#
#
œ
O
# œ
O Œ
=
32
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vc.
Cb.
p
111
mp
p
mf
p
mf
p mfp
mf
Picc.
Fl. 2
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vc.
Cb.
fp
f p
115
mp
mf p mf p
ffp
mf
ff
p
mf
p
mf
p mf
ff
mp
&
&
(11th partial)(13th)
∑
(7th)
”“
?
33
33
3
33 3
&
o≤
o≤ o
≤o≤
/
&
ªA
…
(mute all strings with palm)
3
”“
6
4
6
56
4 4 4
6
4
6 5 3
&
∑ ∑ ∑ ∑
?
&
¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯5 5 5 5
&
(clb / play behind the bridge )
( q )( q ) ( q )
(repeat the semiquaver note pattern )
( q )
( q )
(repeat the semiquaver note pattern )
&
&
∑
&
,(re-finger),
(re-finger)
3
&
(11th partial)(13th)
(8th)
(7th)
”“
?
3 3 3 3 3 3
&
o≤ o
≤ o≤
oo≤
rotor on /slow vibrato
o
/
&
…
> > >
”“>
3 5
6
4
6 5 3 3 3 3
?
∑ ∑ ∑ ∑
&
¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯5 5 5 5
&
( q ) ( q ) ( q )(repeat the semiquaver note pattern )
( q )(repeat the semiquaver note patterm )
&
&
∑
?
Ó
œ œµ
Ó
œµ œ#
Ó
œ#œ w
%
O ™ œ
%
O ™ œ
%
O˙
œ# œµ œn œBœ# œµ œn œB
œ œBœ#
œ œnœn œµ œ#
œB œn œµ œ#
œBœ# œµ œ#
Œ
˙
Œ Œ
˙#
Œ Œ
˙
Œ Œ
˙
Œ
w
Œ
˙™
Ó ˙ ˙ Ó
œœ
œ
œœ
œœ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œœ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
‹ ‹ ‹ ‹
‹ ‹ ‹ ‹
Ó
˙
Ob
w
~
Œ
˙
O
# ™
™˙
Oµµ
˙˙# ˙# ˙n œn œb
œ
˙# œµ˙# œµ
%
O ™ œ
%
O ™ œ
%
O™
œ
%
O˙
œ œB œb œBbœn œB œb œBb
œœ
œ œµ œ#œB œn œµ œ#
œB
æææœn
æææœ
æææ˙
æææœ
æææœ
Œ
˙
Œ
˙
Œ
œ œ
Ó
œ œ
J‰ Œ Ó
Ó ˙
Œ
œ Ó œ œ Ó
Œ
œ Ó
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ ˙
œ
œœ œ ™
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
‹ ‹ ‹ ‹
Ó
˙
Ob
~w
Œ
˙
O
™™
˙
Oµµ
=
33
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
B. Cl.
Bsn. 1
Hn. 1
Tbn.
Perc.1
Perc.2
Pno.
Vln. I
Vln. II
Cb.
mp
119
mp
mp
mp
mp
mp
mp
° ø
mp
o
mp
o
mp
Picc.
B. Cl.
Bsn. 1
Hn. 1
Tbn.
Perc.2
Pno.
Vln. I
Vln. II
Cb.
p
mp
o
123
mp
mp
mp
mp
ø
mp
o
o
mp
mp
op
&
Bass Clarinet
in Bb
(multiphonics using the specific
fingering, and make a gliss. on the bending line)
(breath freely)
?
(no vib. )
(ommit C3 fingering to
produce the multiphonic )
(in sync with the clarinet)
&
(no vib. ) (as few breathing points as possible)
~
(sung notes )
~~
~
?
IV (pedal tone )
(breath freely)
T IV (momentarily, press the F attachment to get D2)
?
3 3 3 3 3 3 3 3
&
&
∑ ∑ ∑ ∑
?
(mute string with index finger )
…
3
(press the muted string gradualy so that the pitch will be raised the pitch slightly)
3
<µ>
3 3 3 3
3
3 3
&
sul G (scrape across the string with your fingernail)
(accel. ) (rit.) (accel. ) (rit.) (accel. ) (rit.) (accel. ) (rit.)(accel. )
(rit.)(accel. )
(rit.)
Œ
&
sul G
(scrape across the string with your fingernail)
(accel. ) (rit.) (accel. ) (rit.) (accel. ) (rit.) (accel. ) (rit.) (accel. ) (rit.)
?
(no vib. ) (no vib. )
&
∑ ∑
&
?
(no vib. )
(in sync with the clarinet)
&
(no vib. ) (as few breathing points as possible)
~
(sung notes )
~
?
IV (pedal tone )
(as few breathing points as possible)
T IV (momentarily, press the F attachment to get D2)
&
Motor ON
3
&
∑ ∑ ∑ ∑
?
…
(press the muted string gradualy so that the pitch will be raised the pitch slightly)
3
<µ>
3 3 3 3 3 3
3
3 3
&
sul G
(accel. )
( h )
(rit.)
Œ
(accel. ) (rit.) (accel. ) (rit.)
‰
(accel. ) (rit.)
Œ
(accel. ) (rit.)
Œ
&
sul G
(accel. ) (rit.)(accel. ) (rit.)
Œ Œ
(accel. ) (rit.) (accel. ) (rit.) (accel. ) (rit.)
?
(no vib. )
sul E
(scrape across the string with your fingernail)
(accel. )(rit.)
(accel. )(rit.)
(accel. ) (rit.)
‰
w
w
w˜
µ
µ
œ œ œ
Ó
œ œ
w w w w
˙
œ œ œ œ œ œ
œ œµ œ#œB œ œµ œ œµ œ#
œB œ œµ œ#œB œn œB œb
œn œB œbœ
œ œbœ
w œ ™ œ
j
˙ œ œ œ œ ™ œ œ œ ˙ ™
w
Ó
œ œ œ œ
w
œ œ œ œ<µ> œ œ<µ> œ œ œ
w
œ œ œ œ œ<µ> œn œ œ œ œ
w
œ œ œ œ œ
∑
w w w w
Ó Œ ≈
œ ™
J
˙ ˙µ
œ˜
w œ
Ó
œ
Œ
œ
w w w w
œ
œ œ œ œ œ œ
w
Ó
˙ ˙ œ
œ
œ
œ
œ
œ
œ ™ w
œ
w
œ œ œ œ<µ> œ œ<µ> œ œ œ
w
œ œ œ œ œ<µ> œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w w
=
34
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
B. Cl.
Bsn. 1
Hn. 1
Tbn.
Perc.1
Perc.2
Pno.
Vc.
Cb.
mp
subito f
127
mp
subito f
subito f
ff
mp
subito f
ff
mp mp p
o
subito fff
mf
subito f
ff
mf
ff
mp
subito f
ff
mp
ff
Picc.
Fl. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vc.
Cb.
mf
o
mp
o
fp
ofp
o
130
mf
o
mp
o
f
mp
o
mp
off
p
o f
ø ø ø
mf
f
fp
ofp
o
ff
offf
ø
f
mf
o
mf
o
fp
o
mf
o
mf
o
mf
o
mf
o
f
omf
o
f
omf
o
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
6
4
4
4
6
8
4
4
&
∑
?
&
+ o
. . . . . .
o +3 3
?
IV (pedal tone )
IV
(harmonic series gliss)
?
…
3 3
3
&
Motor OFF
..
.
.
.
3
5 5
&
5 5
œn œn
œ
œ
œ#
œ
œbœn œ#
œ# œ# œ œ#
?
Ord.
.
.
.
.>
3
3
7
7
œn
œ#
œ
œ# œ
œn
œ
œ œ
œ
œ
?
(gradual string pressure)(scratch tone)
?
?
(gradual string pressure)(scratch tone)
?
&
(no vib.)
∑
&
(no vib.)
∑ ∑ ∑
?
∑ ∑ ∑
IV (pedal tone )
∑ ∑
?
>
(strike the timpani shell with medium mallet)
∑ ∑
3 3 3 3
3
3
&
(gradually )
Motor ON
ø
o≤
Œ
(l.v)
ø
o≤
o≥
o≤
Œ
(l.v)
3
3
3
/ ∑
To T. Bl.
Temple Blocks / medium mallets„ ™A™A
> >
3
5
&
… … >
>
∑ ∑ ∑
3
?
∑ ∑ ∑
…
∑ ∑
3 3
&
(scratch tone)
alto s.p
>
∑
&
∑ ∑ ∑ ∑
&
∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑
?
∑
s.p
clb
.
.
.
.
.
.
.
.
.
.
.
.
.>
ord.
∑ ∑ ∑
5
?
∑
s.p
clb
.
.
.
.
.
.
.
.
.
.
.
.
.>
ord.
∑ ∑ ∑
3
‰
w œ˙ ™
œ
w ˙ ™ œ#
œ œ œ œ™
œ œ œ œ œ œœ
æææœ
˙wb
œ
œ ˙
æææ
œb
≈
œ# œ œ œ œ œ ˙
≈
œ# œ œ œ
æææ
˙ ™ œ#
j
œ
œœ œ
œ
œœ
j
œ
œ œ
œ œ
œ œ
œ
œ
æææœ
˙˙
™™
Œ
œ
œœ
œœ#
œœ#
œbœ
œœn
œ#œ œ#
œb
œ#œ
œn
œœ
œ
œnœ
æææ
œn
Œ
œ
œœ#
œœb
œ#
œ
œ#
œ
œ
œ
œ ™
™œ
œ
Ó ‰ œ
œ
œ# œ
œ
œ
œ
œ
œ
œ
œæææ
œ
w
w# wn
w w w
w wB
˙#™
˙µ ™
œ
œb
˙ œ
J
œb
j
œ
J
œ ˙µ ™
w# wµ
w™
˙ ™ œ
Œ Ó
œ œ œ œB œ œ œb œ œ œBb œ œ
æææœ
æææ˙
œ# œ
æææœn™
æææ˙™
¿#
¿n
≈
¿ ¿ ¿
Œ
¿
¿
≈ ‰
¿ ¿
¿
w w
œb
œ
œbœ
œbœ
œ œ#
œbœ œ#
w ˙
Ó
˙ ˙ œ ™
Ϊ
˙ ˙ w™
œ
j
œ
œ ≈ ‰
œ
j œ
jœ
œ
œ
œ
œ
œ
≈
œ
j œ
jœ
œ
œ
œ
œ
œ
œ
œ
œæææ
w
æææ
˙™
œœ
œœ
œœ
œœ
œœ
˙˙ œ
œœ
œœ
œœ
œœ
œœ
œœ
Ó
œœ#
œœ
≈ ‰ Ó™
œ œ
≈ ‰
œ œ œ
‰
œ œ œ œ œ
~w
~w
O
˙™™ O
˙
µµ ™
™ O
˙
Ó
wn
O
˙
#
# ™
™O
˙
µµ ™
™O
˙Ó
~w
~w
~w ™
™
~w
b
b™™
œœ
œœ
œœ
œœ
œœ
œœ
œ œ
w™
œœ
œœ
œœ
œœ
œœ
œœ
œœ
w™
=
35
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
B. Cl.
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vc.
Cb.
mf pp
f
136
mf
ppf
mf
f
mf
pp
f
mf
pp
f
mf
f
mf
f
mf
f
mf
f
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑
6
&
∑ ∑
&
∑ ∑
&
∑ ∑
?
∑ ∑
&
∑ ∑
&
∑ ∑
?
. .
3
3
5
3
?
(strike the timpani shell)
3 3 3 3
&
∑
/
∑
&
(measured tremolo)
5 7 5
3
7
œ#
œ#
œ#
œ
?œ ™
&
pizz.
&
pizz.
?
pizz.
?
pizz.
œœ#
œbœ
œœb œ
J
‰
˙
œ
œ#
œ#
œ# œ œ œ ™
œ
œ#
œ#
œ# œµ œn
œ
œ#
œ#
œ# œµ œ# œµ
œ
æææ˙
œ ¿ œ œ ¿ œ œ
‰
œ ¿ œ ¿
≈
œ ¿ œ œ
Œ ≈
¿
≈
¿
≈
¿
≈
¿
Ó
˙
Ó
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
æææ
œ
œ
œœ
œ#œ
œn œ#œb
œn
œœ
œœ
œœ
œbœ
œn
œ
œ
œ
œ#
œŒ
æææœ
æææææœ
œ
œ#
™
™
œ
œ#
j
œ
œ#
™
™
œ
œ#
j
œ
œ
™
™
œ
œ#
j
˙
˙
œ#
œ#
œ
œn
œb
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ#
œ
œ
œb
œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
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
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
œ œ
œ
œ
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
36
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
B. Cl.
Bsn. 1
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
138
f
ff
ff
f
f
f
f
mf
mf
f
f
f
f
f
f
ff
&
∑
>
>
>>
>>
>
&
∑
>
>
>>
>>
>
&
. . . . . . . . . .
.
>
. .
.
>
.
.
>
. .
.
>
. . .
.
>
.
,
. .
.
>
. .
.
>
. . . . . . . . . .
.
>
. .
.
>
.
.
>
. .
.
>
. . .
.
>
. . .
.
>
. .
.
>
.
.
>
?
. . . . . . . . . ..
>
. ..
>
..
>
. ..
>
. . ..
>
.
,
. ..
>
. ..
>
. . . . . . . . . ..
>
. ..
>
..
>
. ..
>
. . ..
>
. . ..
>
. ..
>
..
>
&
∑
>>
>
>
>
>>
?
∑
>
>
> >
> >
>
&
∑
> >
>>
> >
>
&
∑
>
>
>
>>
>>
?
(slow pedal tone gliss)
?
> > > > > > >
/
∑
> > > > > > >
&
∑ ∑
?
…
(press the muted string gradualy so that the pitch will be raised the pitch slightly)
( q )
&
∑
ord.
>
>>
> >>
>
&
∑
ord.
> >
>
> > >
>
B ∑
ord.
(scratch tone)
s.p
?
∑
ord.
(scratch tone)
s.p
?
> > > > > > >
‰ ®
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 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
œ
œ œ œ œ œ œ œ œ œ œœ#
œ œœ
œœ
œ œœ
œ œ œœ
œ œ œœ
œ œœ
œ œ œ œ œ œ œ œ œ œ œœ#
œ œœ
œœ
œ œœ
œ œ œœ
œ œ œœ
œ œœ
œœ
‰ ®œ
≈ ≈
œ#
≈ ®
œ#
® ≈œ
® ®œn
≈œ
≈
œ#
‰
‰ ®
œ#
≈ ≈
œ#
≈ ®
œ#
® ≈
œ#
® ®
œ#
≈
œn
≈ œ# ‰
‰ ®œ
≈ ≈
œ#
≈ ®
œ
® ≈
œ
® ®
œ
≈
œ#
≈œn
‰
‰ ®
œ#
≈ ≈œ
≈ ®
œ#
® ≈
œn
® ®
œ
≈
œ
≈
œ
‰
˙ ™ œ ˙™
œ
æææ˙™
æææœ 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
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#
® ®œ
≈œ
≈œn
‰
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
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 œœ
œ œ œ œœ
œ œ œœ
œ œ œœ
œ œœ
œ œœ
œ œœ
œ œ œ œ
37
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
B. Cl.
Bsn. 1
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
Più mosso
140
ff
ff
ff
ff
ff
f
f
f
ff
Più mosso
ff
ff
ff
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
3
8
4
4
6
4
&
>>
> >
>
>
>
>
>>
∑
> >>
> >.>
&
>>
> >
>
>
>
>
>>
∑
>
> >> >
.>
&
.
>
.
>
. . . .
.
>
.
>
. . .
.
>
.
.
>
. . . . . .
.
>
. . .
∑
.
>
. .
.
>
. . . .
.
>
. . . . . . . .
.
>
. .
.
>
. . . . .
.
>
. . . . . . . .
.
>
.
>
.
>
.
>
?
.
>
.
>. . . .
.
>
.
>. . .
.
>.
.
>. . . . . .
.
>. . .
∑
.
>. .
.
>. . > > > > > > > >
&
>> > >
>
>>
>
>
>
∑
>>
>
>
>
?
>> >
> >>
>>
> >
∑
>>
>
>>
&
> >
>
>
>
>
> >
>>
∑
>
>
>>
(lip)
>
&
>>
>
>
>
>
>
>
>
>
∑
>
>
>
>
>
?
∑
?
> > > > > > >
∑
> > > > > > > > > >
&
∑ ∑ ∑
?
…
(press the muted string gradualy so that the pitch will be raised the pitch slightly)
( q )
∑
&
s.p(highest notes possible, but try to vary the pitch by following the pitch curve)
>
>
> > > > >
∑
> > > > > > > > > >
&
Œ
(highest notes possible but try to vary the pitch by following the pitch curve)
s.p
.
Œ.
Œ.
Œ.
( staccato ricochet on every note)
>
>
> > > > >
∑
> > > > > > > > > >
B
(try to be as sync as possible with the cello)
∑
> > > >
?
(try to be as sync as possible with the viola)
∑
> > > >
?
> > > > > > >
∑
> > > > > > > > > >
œœ
≈ ≈
œ œ#
≈ ®
œ
®
œ
≈ ‰
œn
≈ ®
œ#
œn
®
œ
‰ ®
œ
≈ ‰ ≈
œ#
® ®
œ
≈ ≈ ®
œ
‰ ‰
œ™ œ
œœ
≈ ≈
œ œ#
≈ ®
œ
®
œ
≈ ‰
œn
≈ ®
œ#
œn
®
œ
‰ ®
œ#
≈ ‰ ≈
œn
® ®
œ#
≈ ≈ ®
œ
‰ ‰
œ ™ œ
œn 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 œ œ
œ
œ œ
œ
œ œ œ œ œ
œ
œ œ œ œ œ œ œ œ
œ œ œ œ
œn œœ# œ œ œ
œ œœ œ œ
œœ
œœ œ œ œ œ œ
œœ œ œ
œœ œ
œœ œ œ œ#
œœ œ œ œ œ œ œ œ
œœ œ
œœ œ œ œ œ
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#
œœ#
≈ ≈
œœ
≈ ®
œ
®
œ
≈ ‰
œ
≈ ®
œœ
®
œ
‰ ®
œ
≈ ‰ ≈
œ#
® ®
œ
≈ ≈ ®
œ
‰ ‰
œn
œ#
œœ#
≈ ≈
œ
œ#
≈ ®œn
®
œn
≈ ‰œn
≈ ®
œ#
œn
®
œn
‰ ®œ
≈ ‰ ≈
œ#
® ®
œn
≈ ≈ ®
œ
‰ ‰
œn™ œ
œ#
œ≈ ≈
œ
œn
≈ ®
œ#
®œ
≈ ‰œ
≈ ®œ
œ#
®
œ
‰ ®
œ#
≈ ‰ ≈
œ#
® ®
œ#
≈ ≈ ®
œ#
‰ ‰
œn™ 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 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
1 1 1 11
1
1 1 11 1
11
11 1 1
11 1
11
11
11 1
1 11 1 1
1 11
1 1 1 1 11
1 1 11
1 11
11 1
1 1
1
1
1
1
11 1
1 1 1 1
1 1 1 11
1 1 1 11 1
1 1 11
1
1
11
1 11
11
1 11
1 11 1 1
1 1 11 1 1
11 1
1 1 1 1 1 1 1 1 11
1 1 11
11
1
1
1 1 1 1 1
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
œ œœ œ œ œ
œ œœ œ œ
œœ
œœ œ œ œ œ œ
œœ œ œ
œœ œ
œœ œ œ œ œ
œœ œ œ œ œ œ œ œ
œœ œ
œœ œ œ œ œ
œœ œ œ œ œ œ œ œ
œ œ œ œ
38
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
B. Cl.
Bsn. 1
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
p
op
o
p
A tempo
143
mp
f
f
p
o
mp
o
pp
op
o
A tempo
ff
mf
o
pp
mf
ff ff
ff
fp
o
f
mf mfff
ff
ppp opp o
ppp
o
pp o
pppo
pp
o
ppp o pp o
pppo
pp o
pppo
pp o
mp ppp o pp o
Perc.1
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Cb.
mp
Meno mosso
148
sfz
mf
sfz mf
pmp mf
pp
fmp mf
pp
f
p
mpmf
p
p
f
mpmf
pp
f
pf mp
mfmf
f
fmp
mfmf
f
p
f mpmf mf f
f mpmf
mf
f
mf
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
&
∑
(no vib.)
∑
(no vib.) (no vib.)
&
∑ ∑ ∑ ∑
3
( h. )
3 3
?
∑ ∑ ∑ ∑
(ommit B2 from the A2 normal fingering to produce
the multiphonic. Random beating occurs)
?
∑ ∑ ∑
?
∑ ∑ ∑
&
∑
rotor on /slow vibrato
o≤
„
∑
o≤
3
/
˝
¡A
>
(Gong / gong beater)
å)A
(Triangle / triangle beater)
∑
(Temple Blocks / medium mallets)
™A ™A
>
(Triangle / triangle beater)
å)A
&
∑
pizz.
+ + + +
”“
∑
pizz.
+ + + +
”“ (on keys)
?
ø
∑
&
∑ ∑
s.t
∑
ø
s.t
&
∑ ∑
s.t
∑
s.t
&
∑ ∑
s.t
∑
s.t
&
∑ ∑
s.t
∑
s.t
B ∑ ∑
s.t
∑
s.t
?
∑ ∑
s.t
∑
s.t
?
∑
ord.
∑
ord.
3 33
?
ë
†
( play on the rim)
( gradually)ë
†
( gradually) ë
†
&
∑ ∑
?
…
(apply gradual pressure on the muted string so that it raises the pitch slightly)
( q )
&
s.p
( legato)
( slow)
( q )
( repeat the boxed pitches in any
order and follow instructions)
( staccato)
( slow)
( legato)
( fast)
( staccato)
( fast)
( legato)
( slow)
( staccato)
( fast)
( legato)
( slow)
( q ) ( staccato)
( slow)
( legato)
( fast)
( staccato)
( fast)
( legato)
( slow)
( staccato)
( fast)
&
s.p
( legato)
( slow)
( repeat the boxed pitches in any
order and follow instructions)
( q ) ( staccato)
( fast)
( legato)
( slow)
( legato)
( fast)
( legato)
( fast)
( staccato)
( fast)
( legato)
( slow)
( q ) ( staccato)
( fast)
( legato)
( slow)
( legato)
( fast)
( legato)
( fast)
( staccato)
( fast)
&
s.p
( legato)
( slow)
( repeat the boxed pitches in any
order and follow instructions)
( q )
( medium tempo)
( staccato) ( staccato)
( fast)
( legato)
( slow)
( staccato)
( fast)
( staccato)
( fast)
( legato)
( slow)
( q )
( medium tempo)
( staccato) ( staccato)
( fast)
( legato)
( slow)
( staccato)
( fast)
( staccato)
( fast)
&
s.p ( slow)
( legato) ( repeat the boxed pitches in any
order and follow instructions)
( q )
( medium tempo)
( staccato) ( staccato)
( fast)
( legato)
( slow)
( staccato)
( fast)
( staccato)
( fast)
( legato)
( slow)
( q )
( medium tempo)
( staccato) ( staccato)
( fast)
( legato)
( slow)
( staccato)
( fast)
( staccato)
( fast)
?
SP (random sul pont. tremolo )simile
œ
Ó Œ
˙™
Ó Œ
˙™
Ó Œ
˙™
æææ
œ
æææ
œ
æææœb
œ
œœ
æææœ
æææœb ‰
w˙B
w˙B
æææw
æææ˙B
æææwB
æææ˙
w ™
Ó™
˙ ™
œ
œ#
œ#œ
œ w
˙#
Œ Ó™
w™
w™
œ
j
œ
œ
œ
æææ
œ
æææ
Ϫ
Œ Œ Ó™
˙™
˙™
Ó Œ
œ œ œ ™ œ œ
Ó Œ
œ œ œ ™ œ œ
œ œ œ
Œ Ó™
w ™ w ™w ™ w ™
wB ™ wB ™
wµ ™wµ ™
wB ™ wB ™
wB ™wB ™
wµ ™wµ ™
wµ ™wµ ™
Œ
œ œ œµ œb œ œB
wµ ™wµ ™
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 œµ œ œ œµ œ# œ œœB œ œ œ œ œ œ
œ œµ œ œn œ œ œ
œ œ
œBœ#
œœ#
œ#œµ
œ#
œ#œµ
œB œ# œB
œ#œµ
œBœµ
œ
œB
œµœ
œB œB
œœ#
œ œ
=
39
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Tbn.
Perc.1
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Cb.
mp
mf
o
150
mf
f
o
sfz
mf
sfz mf
mp mfp
p
f
mp mfp
p
ff
mpmf
pp
f
mpmf
pp
ff
f mpmf
mf
f
f mpmf
mf
ff
f mpmf
mf
f
f mpmf
mf
ff
ff
Ob. 1
Ob. 2
Tbn.
Perc.1
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
f f ff
152
f f ff
f
f f
f
fff
mf
mf
mf
mf
fff
f
&
..
..
.
.
> >. .
. ..
.
7 6
?
∑
VI with (F attachment)
>>
I with (F attachment)
?
>
&
∑ ∑
?
…
&
sul A
(ending result is an alternation between indeterminate and determinate resultant harmonics and noise like textures)
alto s.p
(slow) (fast)
( random tremolo)
(fast) (slow) (fast)
(legato)
(slow)
( q )(staccato)
(slow)
(legato)
(fast)
(staccato)
(fast)
(legato)
(slow)
(staccato)
( ast)
&
sul Dalto s.p
(ending result is an alternation between indeterminate and determinate resultant harmonics and noiselike textures)
(fast)
( random tremolo)
(slow) (fast) (fast) (fast)
(legato)
(slow)
( q )(staccato)
(fast)
(legato)
(slow)
(legato)
(fast)
(legato)
(fast)
(staccato)
(fast)
&
sul Galto sul pont.
(ending result is an alternation between indeterminate and determinate resultant harmonics and noiselike textures)
(medium tempo)
( random tremolo)
( fast) ( slow) (fast) (fast)
( legato)
( slow)
( q )
(medium tempo)
(staccato) (staccato)
(fast)
(legato)
(slow)
(staccato)
( fast)
(staccato)
( fast)
&
sul Galto sul pont.
(ending result is an alternation between indeterminate and determinate resultant harmonics and noiselike textures)
(medium tempo) (fast)
( random tremolo)
(slow) (fast) (fast)
( legato)
( slow)
( q )
(medium tempo)
(staccato) (staccato)
(fast)
( legato)
( slow)
(staccato)
(fast)
(staccato)
( fast)
?
&
- - - -
&
- - - -
?
. .
.. .
-
>
. . . ->
3 3
?
ªA
…
( slightly mute the skin with hand)
… … …
( no
mute)
… … …
> >
… …
>
… … …
> >
… … … … … …
> >
… … … … … …
> >
… …
>
… … …
> >
… … … … …
> >
&
∑ ∑
?
…
( mute string with hand)
… … …
( no
mute)
… … …
> >
… …
>
… … …
> >
… … … … … …
> >
… … … … … …
> >
… …
>
… … …
> >
… … … … …
> >
&
pizz.
( h. ) ( h. ) ( h. )
&
&
&
B
?
pizz.
( h. ) ( h. ) ( h. )
?
pizz.
«
( mute string with hand)
«
> >
« «
>
«
> >
« «
> >
« «
> >
« «
>
«
> >
« «
> >
˙#˙
˙œ
œ#
œœ#
œn
œ#
œn
æææ
œ
®
œœ ™ œ
œ
œ œ#œb œn
œ
œ
œ œ
œ
æææ
Ϩ
æææœ
Ϫ
æææœ
œ
œ
œ
œ œ œ œµ œ œ œµ œ# œ œœB
œ œœn œ œB œB
œ# œµ œ œn œ œ œ œ œ œ œµ œ œ œµ œ# œ œœB
œ œœn œ œB œB
œ œµ œ
æææœn
œ œ
O#
O#Oµ
OBO
On
OB O# OB
O
OµO#
OµO
OB OBOB
Oµ
OB
OO#
O
O# On
œ œ
Œ
˙
˙˙#
Œ
˙
˙˙
˙
˙˙
Œ
˙
˙˙# ™
™
™
˙˙
™™
Œ
˙˙
˙˙
Œ
˙˙
™™
≈
œ
œ
œ
œ#
œ
œ œ
æææ
œ
≈
œ ™
j
œ œ œ œ ™
≈
œµ œ œ˜ œ
≈
œ ™
j
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 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 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
Ó™
œ
wB ™ w ™
wµ ™ w ™
wµ ™ w ™
w# ™ w ™
Ó™
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 œ œ œ œ œ œ œ œ œ œ œ
=
40
°
¢
°
¢
°
¢
{
Picc.
Fl. 2
Ob. 1
Ob. 2
B. Cl.
Cl. 2
Bsn. 1
Bsn. 2
Tbn.
Perc.1
Pno.
f
mpf
mf
154
f mpf
mf
f
mpf
mf
f
mpf
mf
f
mpf
mf
f
mpf
mf
f
mp
f mf
f
mpf mf
f
mf
f
&
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
.
. .
. (slow)
gradually
(fast ) (very fast ) (slow)
&
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
.
. ..
(slow)
gradually
(fast ) ( very fast )
(slow)
&
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
.
. .
.
(slow)
gradually
(fast ) (very fast )(slow)
&
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
..
. .
.
(slow)
gradually
(fast ) (very fast )(slow)
&
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
.
.
.
.
(slow)
gradually
(fast )(very fast)
(slow)
&
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
.. .
.
(slow)
gradually
(fast ) (very fast) (slow)
?
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
.
.
.
.
(slow)
gradually
(fast ) (very fast) (slow)
?
( fast )
(free duration sensa tempo within the duration
of a crotchet)
(the broken barlines are borderlines of crotchets)
.
..
.
. (slow)
gradually
(fast ) (very fast) (slow)
?
. . . . . . . . . . . .
3 3 3 3
?
> > > >
&
5
5
5
5
55
œnœ
œ
œn œ#
œ
œœ
œn
œ
œ
œ
œ
œ#
œ#œ
?
œ#
œ#
œ
œ#
œ
œ
œ
œ#
œ œ#
œ#
œ
œn
œ# œnœ
œ
œ#œ#
œ
œn
œ
œœ œ#
œ
œ
œ#
œ
œ
œ#
œ#
œœn œ#
œ
œ
œ
œ
œ#
œ
œ#
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#
j
œ
j
œ
Œ
œ
j
œ
j
œ
œ
j
œ
j
œ
j
œ
œœ œ#
œ#œ
œ#
œn
œ
œ#
œ
41
°
¢
°
¢
°
¢
{
°
¢
{
°
¢
{
Picc.
Fl. 2
Ob. 1
Ob. 2
B. Cl.
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Pno.
f
mpf
mf
155
f mpf
mf
f
mpf
mf
f
mpf
mf
f
mpf
mf
f
mpf
mf
f
mp
f mf
f
mpf mf
p
p
p
p
f
mf
f
Perc.1
Pno.
f
156
fffff
Perc.1
Pno.
f
157
sfzf
&
( fast )
.
.
..
. (slow)
gradually
(fast) (very fast) ( slow)
&
( fast )
.
..
.
.
(slow)
gradually
(fast ) (very fast) ( slow)
&
( fast )
.
..
.
.
(slow)
gradually
(fast)(very fast)
( slow)
&
( fast )
.
.
..
.
(slow)
gradually
(fast) (very fast)( slow)
&
( fast )
.
.
.
.
.
(slow)
gradually
(fast)(very fast)
( slow)
&
( fast )
.
..
.
.(slow)
gradually
(fast)(very fast)
( slow)
?
( fast )
.
.
.
.
.
(slow)
gradually
(fast)(very fast)
( slow)
?
( fast )
.
.
.
.
.
(slow)
gradually
(fast) (very fast)( slow)
&. . . . . . . . . . . .
3 3
3
3
?. . . . . . . . . . . .
3 3
3
3
&
. . . . . . . . . . . .
3 3
3
3
&
. . . . . . . . . . . .
3 3
3
3
?
. . . . . . . . . . . .
3 3 3 3
?
> > > >
&
5
5
5
5
5
5
œ#œn
œ
œœ
œ#
œ# œn
œn
œn
œ#
œ
>
œn
>
œ#
>
œ#
>
œ
?
œ
œ
œ
œ
œ
>
œ
?
ªA
…
( Place the palm of your hand on the timpani skin. Muffled muted sound)
> > > > > > >
&
(finger gliss on the highest strings )
>
+
?
Inside the piano
…
(move the muted point on the string gradually inwards so that it produces an alternation
between muted sounds and various harmonics)
… … …
> >
… … … …
>
… … … …
> >
… … … … … … …
> >
?
…
(Use your index finger. Move the pressure point on the skin
gradually inwards as well as creating more pressure while doing it so that it produces an
upwards pitch shift)
> >
&
∑
?
…
>
… … … … …
> >
… … … …
>
… … … …
> >
… … … … … … …
> >
œ
œ#
œnœ
œn
œ
œnœ
œ#
œ#
œ
œ
œ
œ#
œ
œ#
œ#
œ
œnœ
œ
œ
œ#
œ
œ#
œ
œnœ
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 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
œµ 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 œ œ œ
‰
œ#
j
œ
j
œ
Œ
œ
j
œ
j
œ
œ
j
œ
j
œ
j
œ
œnœ œ#
œ#
œn
œn
œn
œn
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
J
‰ Ó Ó™
‰
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 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
=
=
42
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
{
Picc.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
f
158
sfz ppf
f
f
sfzf
f
Picc.
Ob. 1
B. Cl.
Bsn. 1
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
f
159
f
f
f
f mf
ff mf ff mf ff mf
f
f
ffmf
ffmf
ffmf
ffmf
ffmf
ffmf
&
> >>
3
?
…
(Use your index finger. Move the pressure point on the skin
gradually inwards as well as creating more pressure while doing it so that it produces an
upwards pitch shift)
> >
&
motor off
.
(slow)
.
(repeat the boxed pitches in any
order and rhythm and follow instructions)
..
. ( fast ) ( very fast )
gradually
( slow ) To Sus. Cym.
/
/
&
∑
?
…
>
… … … … …
> >
… … … …
>
… … … …
> >
… … … … … … …
> >
&
arco
.>
.>
.>
.>
.>
.>
.>
7
Æ Æ
Æ ÆÆ
ÆÆ
gradually faster
7
7
&
&
&
( h. )
?
(ommit B2 from the A2 normal fingering to produce
the multiphonic. Random beating occurs)
?
?
…
… …
/
Sus. Cymbal / triangle beater
¥
)A
scrape across
/
&
∑
?
… … … … …
> >
… … … …
>
… … … …
> >
… … … … … … … …
> >
…
>
œ#
j
œ
œ#
œ#
œ
œ œ#
œ#
œ
œ#
œ œ#
œ#
œ
œ œ#œ#
œ
æææœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ#
œ
œn
œ#
œ#
˙ ˙ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œb
œ# œnœb
œ#œ#
æææ
œb
æææ
œ#
æææ
œb
æææ
œ#
æææ
œ
æææœ
≈
œn œb
œ# œnœb
œ#œ#
Ó Œ
˙™
Ó Œ
˙˙
™™
Ó Œ
Ó Œ
Ó Œ æææœ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ó
Œ
˙
Œ
Ó
Œ
˙
Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰
=
43
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
mf
f
160
mf
f
mf mp
f
mf
mf ff
mf
ff
mf
ff
Ob. 1
B. Cl.
Bsn. 1
Hn. 1
Tbn.
Perc.1
Pno.
Cb.
f
161
mf
mf
f
f
ff mf ff mf ff mf
sfzf
sfzmf
sfzmf
&
(no vib)
&
(Whistle tone / 12th partial )
(fingering)
”“
/
scrape across
>-
circular sustained scrape
/
(muted)
… … …
&
(finger gliss on the highest strings )
+
+
+
+
+
+
+
+
+
+
(left hand) (right hand) (left hand) (right hand)
+
+
+
+
+
+
+
+
?
∑
&
sul D
s.p
&
&
> > >
&
>
(retrigger multiphonic)
> >> >
?
(ommit B2 from the A2 normal fingering to produce
the multiphonic. Random beating occurs)
&
o+
o
?
?
… …
…
&
∑
?
…
>
… … … … …
> >
… … … …
>
… … … …
> >
… … … … … … …
> >
?
arco
(scratch tone) (scratch tone)
w œ
æææ
œ
Œ
O
E
# O
E ™
™
œ
j
‰Œ Œ Œ Œ
œ
œ œ œ œ œ œ œ œ œ
™
≈ ‰ Œ ≈ ≈
O
œ
#
#
O
œ
O
œ
#
#
O
œ ™
™
O
œ
#
#
O
œ
O
œ ™
™O
˙
æææ
O
œ
O
œ
O
œ
#
#
œ
O#
#
œ
O
™
™
œ
O#
#
œ
O#
# œ
O
™
™O
œ
#
#
J
œœ
™™
œœ
j
œœ
˙˙
œœ
Œ
˙
æææœ 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 œ œ œ œ œ œ œ
œ
æææ
˙ œ
æææ
˙
=
44
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Cb.
mf
f
162
mf
f
mf pp
mf mp
f
mf
mf f mf p
mf
ff
pp
mf
ff
pp
mf pp
Picc.
Ob. 1
B. Cl.
Bsn. 1
Tbn.
Pno.
Vln. I
Vln. II
mf
f
mf
f
mf
f
164
mf
f
f
mf
f
ppmp f
mf
mf
&
(no vib)
.>
&
(Whistle tone / 12th partial )
(fingering)
(random gliss on the whistle tone partials )
”“
.>
b b
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
/
scrape across
>-
circular sustained scrape
∑
/
(muted)
… … …
&
(finger gliss on the highest strings inside the piano)
++
+ ++
+ + +
+
+
5 5
?
∑ ∑
&
sul D s.p
pizz.
>
&
pizz.
>
?
∑
>
&
(unfocused sound, almost breathlike)
&
Ÿ
Ÿ~~
Ÿ~~
Ÿ~~
5
Ÿ
Ÿ~~
Ÿ~~
Ÿ~~
5
Ÿ
Ÿ~~
Ÿ~~
Ÿ~~
5
5 5 5
&
(make a irregular gliss. from the low partial to high and vice versa)
.
>
. .
.
>
.
>
.
>
.
>
.
>
.
>
(low harmonic region partials)
(high harmonic region partials)
5
?
.
>
. . .
>
. . . . . .
>
. . . . . .
>
. . .
>
. . .
>
. .
?
. . . . . . . . . . . .
3 3 3 3
&
∑œb
œb
œ#
œn
œ#
œb
œb
.>
œ .>
œb
.>
œn
.
>
œb
.>
œ#
.
>
œb
.>
œn
.>
œb
.>
œ .>
œb
.>
œn
.
>
œb
.>
œ#
.
>
œb
.>
œn
.>
œb
?
Ord.
œ
œ#
œb œ
œ
œ#
œ
œ
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
&
arco
&
arco
w# œ
æææ
œ
œ
J
‰ Œ Œ Ó™
Œ
O
E
# O
E ™
™
œ
J
‰
˙œ
Ó
œ
j
‰Œ Œ Œ Œ
œ
œ œ œ œ œ œ œ œ œ œ
Œ
œ Ó™
™
≈ ‰ Œ ≈
œ
œ
≈ Œ
œ
œ
#
#
œ
œ
n
n
œ
œ
b
b
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
b
b
œ
œ
œ
œn
œ
œ
˙
˙™
™
O
œ
O
œ O
œ
#
#
O
œ
b
™™
O
œ
b
n
O
œ#
O
œ™™ O
˙
æææ
O
œn
b
œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ó
O
œ
O
œ
#
#
œ
On
n
œ
O
™
™
œ
Ob
œ
O
œ
O
™™
O
œ
n
n
J
œ œ œµ œ œ# œ˜ œ œ œ œ œ œ œ œ œ œ
Ó
w Ó
f# fnfb
ff
fbf
fn
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f f# fnf
ff
ff
fn
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f f# fnf
ff
ff
fn
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
œ#
r
≈
œ
R
≈
œ#
R ≈ ≈
œ#
R
≈ ≈
œn
R
≈
œ
R
≈
œ
R ≈ ≈
œ
R
≈ ≈
œ
R
≈
œ
R
≈
œ
R ≈ ≈
œ
R
≈ ≈
œ œ œ
œ
œ œ œ œ œ w
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 œ œ œ œ œ œ œ
~w
#
#
O
˙#
~w
˙
O
=
45
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
B. Cl.
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
f
mf
f
mf
f
165
mf
f
mf
f
mfmf
f
mf
f
mf
f
f
ff
f
ff
f
f
mf
f
mf
f
mf
f
mf
f
mf
f
mf
p f
p f
p f
mp ff
mf
mf
mf
fff
fff
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
&
(unfocused sound, almost breathlike)
&
(unfocused sound, almost breathlike)
&
Ÿ
Ÿ~~
Ÿ~~
Ÿ~~
5
Ÿ
Ÿ~~
Ÿ~~
Ÿ~~
5
Ÿ
Ÿ~~
Ÿ~~
5 5 5
5
&
Ÿ
Ÿ~~
Ÿ~~
Ÿ~~
5
Ÿ
Ÿ~~
Ÿ~~ Ÿ
~~
5
Ÿ
Ÿ~~
Ÿ~~
55
5 5
&
(make an irregular gliss. from the low partial to high and vice versa)
.
>
.
>
.
>
.
>
.
> (low harmonic region partials)
(high harmonic region partials)
5
&
(make a irregular gliss. from the low partial to high and vice versa)
.
>
.
>
.
>
.
>
.
>(low harmonic region partials)
(high harmonic region partials)
5
?
.
>
. . .
>
. . . .. .
>
. .. . . .
>. . .
>
. . .
>
. .
?
.
>
. . .
>. . . .
. .
>
. .. . . .
>
. . .
>
. . .
>
. .
&
quasi gliss.
+ o +
?
quasi gliss.
o
+
o
&
.
.
5
.
. .
.
.
.
5
. .
. .
.
.
5
5 5
5
&
.
.
5
.
.
. .
.
.
5
.
.
.
. . .
5
5
5
5
?
. . . . . . . . . . . .
3 3 3 3
?
…
(Use your index finger. Move the pressure point on the skin
gradually inwards as well as creating more pressure while doing it so that it produces an
upwards pitch shift)
> >
/
Crash cymbals
. . . . . . . . . .
/
To Crot.
&
&
.>
œ .>
œb
.>
œ
.
>
œb
.>
œ#
.
>
œb
.>
œ
.>
œb
.>
œ .>
œb
.>
œ
.
>
œb
.>
œ#
.
>
œb
.>
œ
.>
œb
?
.
>
œb
.
>
œ#
.
>
œ
.
>
œ
.
>
œ
.
>
œ#
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
.
>
œ
&
arco
&
arco
B
arco
?
arco
(scratch tone)
?
arco
(scratch tone)
f# fnfb
ff
fbf
fn
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f f# fnf
ff
ff
fn
æææ
f
æææ
f
æææ
f
æææf
f
f# fnf
ff
ff
fnf
ff
ff
ff
fbfb
fbf
ffn
æææ
f#
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f ff
ff
ff
ff
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f ff
ff
ff
ff
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
æææ
f
œ#
r
≈
œ
R
≈
œ#
R ≈ ≈
œ#
R
≈ ≈
œn
R
≈
œ
R
≈
œ
R ≈ ≈
œ
R
≈ ≈
œ
R
≈
œ
R
≈
œ
R ‰
Ϫ
J
œ
R
≈
œ#
r
≈
œ
R
≈ ≈
œ#
R≈ ≈
œn
r
≈
œ#
R ≈
œ
R
≈ ≈
œb
R
≈ ≈
œ
R
≈
œ#
R≈
œ#
R ‰
Ϫ
J
œ œ œ œ œ w
æææ
œ
œ œ œ œ œ w
æææ
œ
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ
˙ ™ ˙œ
˙™
˙#œ
≈
œ#
R
≈
œ#
R ≈
œ
œ
≈
œ
œ
≈
œ
R
≈
œ
R ≈
œ œ
≈
œ œ
≈
œ
R
≈
œ
R ≈ ‰
Ϫ
J
≈
œ
r
≈
œ#
r
≈
œ#
œ
≈
œ# œ
≈
œ#
R
≈
œ
r
≈
œ
œ#
≈
œ#
œ
≈
œ
r
≈
œ
r
≈ ‰
œ#™
j
œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œœ
æææœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
æææœ
∑
œ œ œ œ œ œ œ œ œ œ
∑
æææ˙
Ó
~w
#
#
O
˙#
~w
˙
O
~w
O
˙
#
#
w˙
w˙
46
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Perc.1
Perc.2
Perc.3
mp f
166
mpf
mpf
mpf
mpf
mp f
Perc.1
Perc.2
Perc.3
mp f
mp
f
mpf mp
f
171
mpf
mpf
mpf
ø
mp f mp f
mpf
mpf
Fl.
Fl. 2
B. Cl.
Perc.1
Perc.2
Perc.3
Vln. I
mpmf sfz
o
mp
175
sfzmp
mfmp
f
sfz
o
mp
sfz p sfz p sfz p
mpf
p
p
mp f
ø
p
mp f
mp f
pppp
mp
Fl.
Fl. 2
B. Cl.
Tbn.
Perc.1
Vln. I
Vln. II
ff mp
o
f
sfz
o
178
sfz
o
f
ffp
o ffp
ffp
ff
ffp
ffp
f p f p f p
ffp
ff
ffp
ffp
f
mp
mp
6
4
4
4
6
4
6
4
4
4
6
4
6
4
4
4
6
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
?
∑
32''= E
∑ ∑ ∑
32''= E
ªA
ë
†
(scrape your thumb across the skin
producing resonant high frequencies )
†
ë
Œ l.v
Quantum 3
/ ∑
(Sus. cymbal / violin bow)
¥
–
(vary bow placement, pressure and speed of the bow.
Try to get different timbres with every repeat)
Œ l.v Œ l.v Œ l.v Œ l.v
&
∑ ∑ ∑ ∑
(Crotales / violin bow)
ç
–
≥
Œ l.v
?
ë
††
ë
Œ l.v
ë
† †
ë ë
† †
ë
Œ l.v
ë
† †
ë
/
≤ Œ l.v≤ Œ l.v
√
&
–
(Vibraphone /motor off/ violin bow)
≤
Œ l.v
/
(Sus. Cymbal)
¥
≤ Œ
(Vibraphone)
l.v
&
√
≤
&
≤
Œ l.v
≤
Œ l.v
≤ ≤
&
Flute
∑
eolian sounds/ residual tones
(light, more windy sound. Almost no pitch is heard)
5
jet whistle
(exhale)
&
jet whistle
(cover embouchure hole completely)
slap tongue
>
jet whistle
(inhale)
&
∑
air only, no pitch
> > >
?
ë
† †
ë
Œ l.v
ë
† †
ë
Œ l.v
ë
† †
ë
Œ l.v
&
≤
Œ l.v
≤
∑
&
ç
≤
(Crotales)
Œ l.v
∑ ∑
&
-
Col legno circular bowing
( eerie almost non-pitch. Randomly vary the speed and dynamics of the gesture)
(faster/ louder)
&
closed embouchure
(exhale)
(inhale)
(decel.)
(exhale)(inhale) (exhale)
tongue ram (sounds M7th lower)
.
>
.
>
5
&
jet whistle
(exhale)
tongue ram (sounds M7th lower)
.
>
.
>
.
>
3
&
(decel.)
> > > >>
> > > > > >
Slap Tongue
.
>
.
>
> > > > > >
5 5 5
?
air only, no pitch
Bb
Blow air through the instrument.
Alternate between normal Bb and F attachment
F Bb
F
Bb F Bb
Flap Tongue (flap the tongue into the mouthpiece)
> > > > > > >.
>
.
>
Bb F Bb
F
Bb F BbF
> > > > > > > >
7 7
?
(on the shell of the timpani)
ë
† †
ë Œ l.v
3
&
-(faster/ louder) -
&
-
( eerie almost non-pitch. Randomly vary the speed and dynamics of the gesture)
Col legno circular bowing
(faster/ louder)
-
Ó™
˙™
˙™ Œ
˙™ Œ
˙™ Œ
˙™
Ó™
Ó
œ œ
Œ Œ
Ó™
˙™
Ó™
˙™
Œ
˙™
œ
Œ Ó
˙™
œ
˙™
Ó™
˙™ Œ
˙
Œ
˙™
œ
Œ
˙™
Ó™
Ó
œ œ
Œ Œ Ó
˙™
Œ Œ
˙™
Ó
˙# ™Ó™
3#3#
j
3 3 # ™
‹#
Œ Œ ) ™
Ó™
Œ
‹
Œ
##
¿#¿
‰ Œ ‰
‹#
j
‹n
j‰ Œ )n ™
Ó™
Œ
) )
Œ Œ
)
Œ
˙™
œ
Œ
˙™
œ
Œ Œ
˙™
œ
Œ Œ
˙™
œ
Œ Œ Ó™
˙# ™
˙n ™ œ
Œ Œ
O
˙µµ
™
™O
œ
Œ Œ
O
˙µµ
™
™O
œ
Œ Œ
w#™
‰
6# 6 6 6 6 6
jŒ
¿
¿
# ¿
¿
¿
¿
‰
¿
¿
j
¿
¿
#
j‰ Œ
¿
¿
j‰
‹#
Œ Œ
Œ
‹#
Œ Œ
¿
¿
# ¿
¿
¿
¿
Œ
¿
¿#
#
j ‰ Œ
¿
¿
j ‰
¿
¿
j ‰ Œ Œ
6 6 6 6 6 œ
Œ Œ
6 6 6 6 6 6
¿
J
‰ Œ ¿
J
‰
6 6 6 6 6 )
6b6
66
‰
6
j
6
Œ Œ
6 6 6 6 6 6 6 ¿
j‰ Œ
¿
j‰
6 6 6 6 6 6 6 )
Ó
¿ ¿ ¿ ¿ ¿ ˙ ˙
Œ Ó™
w<#> ™w™
w ™ w ™
=
=
=
47
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Fl.
Fl. 2
Ob. 1
B. Cl.
Hn. 1
Hn. 2
Tbn.
Perc.1
Perc.2
Perc.3
Vln. I
Vln. II
Vc.
f
180
f
f
f
f mp
f mp f mp f mp
mp f mp f mp f
mp
ø
mp
ø
mp
ø
mp mp mp
mpmp
mpmp
Ob. 1
B. Cl.
Bsn. 1
Tbn.
Perc.1
Perc.2
Perc.3
Vln. I
fff
f
184
f ff
of
f
ff
f
f
ff
o
f
f
pp
f
pp
p
ø
mp
ømp
ff
off
o
mf
pp
mp
ff
o
f
mf
o
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
4
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
&
tongue ram (sounds M7th lower)
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
&
closed embouchure
(air through instrument)
(inhale) (exhale)
3 3
(inhale) (exhale) (inhale)(inhale)
3 3
(inhale) (exhale)
3 3
(inhale) (exhale) (inhale) (inhale)
3 3
&
follow the given fingerings
Slap tongue inside the instrument
Take reed off
&
Slap Tongue
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
&
blow air through the instrument
following the given rhythm, no pitch
. . . .
slightly accelerate and deccelerate
the 16th note pattern
?
blow air through the instrument
following the given rhythm, no pitch
. . . .
slightly accelerate and deccelerate
the 16th note pattern
?
smack the mouthpiece with your hand
creating a pop sound
?
ë
† †
ëë
† †
ëë
† †
ë
&
≤ ≤ ≤
∑
&
≤
Œ l.v
≤Œ l.v
≤Œ l.v
To T. Bl.
/
&
-
-
-
-
&
-
-
-
-
?
-
Col legno circular bowing
( eerie almost non-pitch. Randomly vary the speed and dynamics of the gesture)
(faster/ louder)
- - -
&
follow the given fingerings
Slap tongue inside the instrument
reed off
> >>
> >> > >
> >
follow the pitch curve
reed only
Slap tongue inside the instrument
> >>
> >> > >
> > > >
&
Slap Tongue
> > > > > > >
air only
>
Slap Tongue
> > > > > > > > >
3 3
?
slap tongue with the reed off
Take reed off
>> >
> >>
>
follow the pitch curve
reed only
slap tongue with the reed off
>> >
> >>
>>
>
3 3
?
smack the mouthpiece with your hand
creating a pop sound
> > > > > > >
air only
>
smack the mouthpiece with your hand
creating a pop sound
> > > > > > > > >
3 3
?
(on the shell of the timpani)
>
∑
(on the shell of the timpani)
>
3 3
&
≤
Œl.v
≤
Œ l.v
…(hand mute)
( h )
…
( h )
5
5
/
„
™A ™A
(Temple Blocks / medium mallets)
> > > >
>
&
∑
fluctuate the pitch of the artificial harmonic.Follow the pitch curve
‰
¿
¿#
#
j
¿
¿
j ‰ ‰
¿
¿
j ‰
¿
¿
j
¿
¿#
#
j ‰
¿
¿
j ‰ ‰
¿
¿
j
¿
¿
j ‰
¿
¿#
#
j ‰
¿
¿
j ‰ ‰
¿
¿
j
¿
¿
j ‰ ‰
¿
¿#
#
j
¿
¿
j ‰ ‰
¿
¿
j ‰
¿
¿
j
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿#¿
¿ ¿#¿ ¿#
¿
¿n ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿#¿
¿n ¿#¿n ¿#
¿
¿n ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿#¿
¿n ¿#¿n ¿#
¿
¿n ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿#¿
¿n ¿#¿n ¿#
¿
¿
j
‰ ‰
¿
j
¿
j
‰
¿ ¿
‰ ‰
¿
j
‰
¿ ¿ ¿
j
‰ ‰
¿ ¿
‰
¿
j
‰
¿ ¿ ¿
j
‰ ‰
¿ ¿ ¿
j
‰ ‰
¿
j
¿
j
‰
¿ ¿
‰
¿ ¿ ¿ ¿
¿ ¿ ¿ ¿
¿
w
Œ
˙™
œ
Œ
˙ ˙
Ó
˙#
Ó Œ
˙#
Œ Ó
˙#
wŒ
˙ ™ Ó˙ ˙
Ó
w<#> w w w
w w w w
w w w w
¿n ¿#¿
¿n ¿#¿n ¿#
¿
¿ ¿#
Ó™
1
Ó
¿ ¿#¿
¿ ¿#¿ ¿#
¿
¿ ¿#
Œ
¿ ¿#
Œ
¿ ¿ ¿ ¿ ¿ ¿ ¿
Ó™
∑
) ¿ ¿ ¿ ¿ ¿ ¿ ¿
Œ
¿ ¿
Œ
¿b¿ ¿#
¿ ¿#¿
¿
Ó™
1
Ó
¿b¿ ¿#
¿ ¿#¿
¿
Œ
¿¿
Œ
¿ ¿ ¿ ¿ ¿ ¿ ¿ Ó™
∑
)
¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ ¿ ¿ Œ
¿ ¿ ¿
æææ˙
Ó™
¿ ¿ ¿
æææ˙
Ó™
w#™
w#™
œ#
œb
œn
œbœ#
œnœ#
œnœn
œ# œ#œ
œ œ
œ œ
œ œ
œ
œ
æææœ
Ó™
œ
j
æææ
œœ
j
æææ
œœ
j
æææ
œœ
j
æææ
œ
Œ Œ Ó Œ
æææ˙™
O
˙ ™
™O
œ
Œ Œ Ó Œ
O
˙ ™
™
=
48
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Fl.
Fl. 2
Ob. 1
B. Cl.
Bsn. 1
Tbn.
Perc.1
Perc.2
Perc.3
ff
187
ff
ff
ff
ff
ff
f
mf
ff
o
ff
o
ff
o
ff
o
ff
off
o
ff
o
ff
o f
f
Fl.
Fl. 2
Ob. 1
B. Cl.
Bsn. 1
Tbn.
Perc.1
Perc.2
Perc.3
Vln. I
Vln. II
Vla.
Vc.
Cb.
189
f o f o
mp
f
mp
f
mp
mp f mp f mp
mf
mf
mp f mp f mp
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
∑
.
>
.
>
.
>
.
>
&
∑
(inhale)
closed embouchure
(exhale)
> > > > > > > >
&
∑
Slap tongue inside the instrument
reed off
> > > > > >
&
∑
Slap Tongue
.
>
.
>
.
>
.
>
.
>
.
>
?
∑
reed off
slap tongue
> > > > > > > >
?
∑
smack the mouthpiece with your hand
creating a pop sound
> > > > > > > >
?
…
(hand mute/ muffled sound)
>
5 5 5
5 5 5
&
…
>
(hand mute)
( h )
>
( q )
>
( h )
>
( q )
>
( q )
>
( q )
/
7
&
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
To Picc.
To Fl.
.
>
.
>
&
> > > > > > > > > > > > > > > > >
&
> > > > > > > > > > > > > > > > >
&
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
.
>
?
> > > > > > > > > > > > > > > > >
? > > > > > > > > > > > > > > > > >
?
…
(hand mute/ muffled sound)
. . . . . . . . . . . . . . . . .
&
…
(hand mute/ muffled sound)
. . . . . . . . . . . . . . . . .
/
>
7
7 3 3
7 6 5
&
¯
clb
¯ ¯ ¯
(repeat the quintuplet pattern and gradually
move the bow to the middle of the G string)
¯ ¯ ¯ ¯ ¯
clb
¯ ¯
(repeat the quintuplet pattern and gradually
move the bow to the middle of the G string)
¯ ¯ ¯ ¯ ¯5 5 5 5
&
¯
Sul Eclb
¯ ¯ ¯ ¯
(repeat the quintuplet pattern and gradually
move the bow to the middle of the E string) ¯ ¯ ¯ ¯ ¯¯
Sul E
clb
¯ ¯
(repeat the quintuplet pattern and gradually
move the bow to the middle of the G string)
¯ ¯ ¯ ¯ ¯ ¯ ¯
5 5 5 5
B
sul C(scrape across the string with your fingernail)
∑
(accel. )(rit.)
?
sul C (scrape across the string with your fingernail)
(accel. )(rit.)
&
?
sul C
clb
o o o o
(repeat the pattern and gradually
move the bow from the middle of the C string
to normal position and back)o o o o o o o o o o o o
&
¿
¿#
#
Œ ‰
¿
¿
j Œ ‰
¿
¿
j ‰
¿
¿
j
6 6
Œ ‰
6 6
Œ ‰
6 6
‰
6 6
¿ ¿
Œ ‰
¿ ¿
Œ ‰
¿
j ‰
¿
j
¿ ¿ Œ ‰ ¿ ¿ Œ ‰ ¿
J
‰ ¿
J
¿b ¿
Œ ‰
¿ ¿
Œ ‰
¿ ¿
‰
¿ ¿
¿ ¿ Œ ‰ ¿ ¿ Œ ‰ ¿ ¿ ‰ ¿ ¿
œ
œb 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#œb
œ
œ#
œ#Ó
œÓ
œ
œ
œ
œ
æææ
œ
æææœ
Œ
œ
œ
œ
œ
œ
œ
æææ
œ
æææ
œ
æææ
œ
œ
œ
‰ Œ
œ œ œ œ
Œ Œ
œ œ
œ œ
œ œ
œ
œ
‰
¿
¿#
#
j Œ
¿
¿
j ‰ Œ Œ
¿
¿#
#
‰
¿
¿
‰
¿
¿
≈
¿
¿
r ‰ ≈ ‰
¿
¿#
#
≈ Œ Ó
¿
¿#
#
j ‰ Œ
¿
¿
¿
¿
¿
¿
¿
¿
‰
6 6
Œ
6 6
‰ Œ Œ
6
‰
6
‰
6
≈
6
r‰ ≈ ‰
6
≈ Œ Ó
6 6
‰ Œ
6 6 6 6 6 6
‰
¿ ¿
Œ
¿ ¿
‰ Œ Œ
¿
‰
¿
‰
¿
≈
¿
r ‰ ≈ ‰
¿
≈ Œ Ó
¿ ¿
‰ Œ
¿ ¿ ¿ ¿ ¿ ¿
‰ ¿ ¿ Œ ¿ ¿ ‰ Œ Œ ¿ ‰ ¿ ‰ ¿ ≈ ¿
R
‰ ≈ ‰ ¿ ≈ Œ Ó ¿ ¿ ‰ Œ ¿ ¿ ¿ ¿ ¿ ¿
‰
¿b ¿
Œ
¿ ¿
‰ Œ Œ
¿b
‰
¿
‰
¿
≈
¿
r
‰ ≈ ‰
¿b
≈ Œ Ó
¿b ¿
‰ Œ
¿ ¿ ¿ ¿ ¿ ¿
‰ ¿ ¿ Œ ¿ ¿ ‰ Œ Œ ¿ ‰ ¿ ‰ ¿ ≈ ¿
R
‰ ≈ ‰ ¿ ≈ Œ Ó ¿ ¿ ‰ Œ ¿ ¿ ¿ ¿ ¿ ¿
‰
œ œ
Œ
œ œ
‰ Œ Œ
œ
‰
œ
‰
œ
≈
œ
r‰ ≈ ‰
œ
≈ Œ Ó
œ œ
‰ Œ
œ œ œ œ œ œ
‰
œ# œ
Œ
œ œ
‰ Œ Œ
œ#
‰
œ
‰
œ
≈
œ
r
‰ ≈ ‰
œ#
≈ Œ Ó
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
œæææ
˙™
Œ
œ
j
œ
j
œ
j
œ œœ
j
œ
j
œ œœ
j
œ
j
œ œœ
j
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
¿¿
¿¿
¿
¿ ¿ ¿ ¿ ¿
¿¿
¿¿
¿
¿ ¿ ¿ ¿ ¿
¿#¿
¿¿
¿ ¿# ¿¿ ¿
¿
¿#¿
¿¿
¿ ¿# ¿¿ ¿
¿
Ó
¿¿
¿¿
¿ ¿ ¿ ¿ ¿¿
¿¿
¿ ¿ ¿ ¿
=
49
°
¢
°
¢
°
¢
°
¢
Ob. 1
Ob. 2
B. Cl.
Cl. 2
Bsn. 1
Bsn. 2
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mf
193
mf
mf
mf
mf
mf
pp mf
pp mf
pp mf
pp mf
pp mf
pp mf
pp mf
&
follow the pitch curve (more or less pressure
on the reed to change the resultant pitch)
reed only (as few breath points as possible)
(dynamic accents)
¯
(with your finger, slightly cover the end of the
reed in order to produce a muted downwards pitch gliss)
+ ¯
&
follow the pitch curve (more or less pressure
on the reed to change the resultant pitch)
reed only (as few breath points as possible)
(dynamic accents)
¯
(with your finger, slightly cover the end of the
reed in order to produce a muted downwards pitch gliss)
+ ¯
&
follow the pitch curve (more or less pressure
on the reed to change the resultant pitch)
mouthpiece plus neck only
(dynamic accents)
¯
(use your hand to block the mouthpiece
so it produces a downward glissando)
+ ¯
&
follow the pitch curve (more or less pressure
on the reed to change the resultant pitch)
mouthpiece only
(dynamic accents)
(use your hand to block the mouthpiece
so it produces a downward glissando)
¯ + ¯
¯ + ¯
?
follow the pitch curve (more or less pressure
on the reed to change the resultant pitch)
reed only
(dynamic accents)
?
follow the pitch curve (more or less pressure
on the reed to change the resultant pitch)
reed only
(dynamic accents)
(with your finger, slightly cover the end of the
reed in order to produce a muted downwards pitch gliss)
¯ + ¯
&
ord.
≥
harmonic disturbance by increasing bow pressure and position
≤(alternate between up and down bows)
s.p ord.
&
≥
ord.
harmonic disturbance by increasing bow pressure and position
≤(alternate between up and down bows)
s.p ord.
&
≥
ord.
harmonic disturbance by increasing bow pressure and position
≤
(alternate between up and down bows)
s.p ord.
∑
&
ord.
≥
harmonic disturbance by increasing bow pressure and position
≤(alternate between up and down bows)
s.p ord.
B
≥
ord.
harmonic disturbance by increasing bow pressure and position
≤
(alternate between up and down bows)
s.p ord.
&
ord.
≥ ≤
harmonic disturbance by increasing bow pressure and position
(alternate between up and down bows)
s.p ord.
&
1
Ó™
1
1
1
1
1
~w
~w
µµ
~w
µµ
~w
BB
~w
BB
~w
#
#
w
~
50
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Ob. 1
Ob. 2
B. Cl.
Cl. 2
Bsn. 1
Bsn. 2
Tbn.
Perc.1
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
ff
196
ff
ff
ff
ff
ff
pp
f
mp f
mp
pp ff
ff
ff
ff
ff
ff
ff
ff
Ob. 1
Ob. 2
Perc.2
Perc.3
p p
199
p
mf
ø ø ø
mf
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
&
&
&
&
?
?
?
?
ë
† †
ë
&
ord.
≥≤
s.p ord.
≥
ord.
≤
s.p
&
≥
ord.
≤
s.p ord.
≥
ord.
≤
s.p
&
≥
ord.
≤
s.p ord.
ord.
≥≤
s.p
&
ord.
≥ ≤
s.p ord.
ord.
≥≤
s.p
B
≥
ord.
≤
s.p ord.
ord.
≥≤
s.p
&
ord.
≥ ≤
s.p ord.
ord.
≥≤
s.p
&
&
( as soft as possible)
¯ + ¯
( as soft as possible)
¯ + ¯
&
∑
( as soft as possible)
overlap
¯ + ¯
&
–
≤
Motor on / right hand = violin bow
Œ l.v
≤
Œ l.v
≤
Œ l.v
&
ç
%A
(Crotales)
left hand= plastic mallet
–
right hand= violin bow
≥Œ l.v
≥Œ l.v
≥Œ l.v
/
w w ˙™
æææœ
w
Ó
˙
æææw
~w
~w
µµ
~w
µµ
~w
˜˜
~w˜
˜
~w
#
#
w
~
˙#™
Ó™
˙#™
Ó™
˙#™
Ó™
wn ™
Œ
˙#
Ó™
˙#Œ Ó
™˙#
Œ Ó™
=
51
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
{
°
¢
Picc.
Fl. 2
Ob. 1
Ob. 2
B. Cl.
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Tpt.1
Tpt. 2
Tbn.
Perc.1
Perc.2
Perc.3
Pno.
Vln. I
Vln. I
Vln. II
Vln. II
Vla.
Vc.
Cb.
mf
ppp
202
mf
ppp
mf
ppp
mf
ppp
mfppp
mf ppp
mf
ppp
mf ppp
mfppp
mf ppp
mf
ppp
mf
ppp
mf
ppp
mf
ppp
mf
p
ppp
mf
ppp
mfppp
mf
ppp
mf ppp
mf
ppp
mf
ppp
mf
ppp
mf
ppp
&
&
&
&
&
&
?
?
&
?
&
&
?
?
&
∑
left hand = rubber mallet Œ l.v
5
/
„
™A™A
( Temple Blocks / medium mallets)
&
> > > > > > > > > > >
&
&
&
&
B
&
&
w™
w™
w# ™ w ™
w#™
w™
w ™ w ™
w#™
w™
w ™ w ™
w™
w™
w#™
w™
w ™ w ™
w#™
w™
w ™ w ™
w ™ w ™
w™
w™
œ œ œ œ œ œ œ œ
æææw œ œ œ œ œ œ œ œ
æææw
œ#
œn
œ
œ#
œ#
˙
Ó™
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
æææ
w
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 œ
œ
~w™™ ~
w™™
~w
µµ ™
™ ~w™™
~w
µµ ™
™ ~w ™
™
~w
BB ™
™ ~w™™
~w
BB ™
™ ~w ™
™
~w
#
# ™
™ ~w ™
™
w
~™™
w
~™™
52