xavier pagès -corella

Xavier Pagès-Corella

Tangram for Flute, Alto Saxophone, Violin, Violoncello and Piano

Full Score

Tangram for Flute, Alto Saxophone, Violin, Violoncello and Piano

Xavier Pagès-Corella

Full Score

INFLUX SHEET MUSIC

Catalog Number/Núm. de Catálogo/Núm. de Catàleg: 200009-FS

All materials of this edition are available at www.InfluxSheetMusic.com. Any utilization of this score, including copying, printing, performing and distributing, is limited

by an international copyright license (see Influx Sheet Music’s Terms and Conditions of Use for details). This work is registered at the Spanish rights society (SGAE). All

rights reserved worldwide to:

Xavier Pagès i Corella

C. d'Ausiàs March, 65

08810 Sant Pere de Ribes

Barcelona (Spain)

www.influxsheetmusic.com

[email protected]

_____________________________________

Todos los materiales de esta edición están disponibles en www.InfluxSheetMusic.com. Cualquier utilización de esta partitura, incluyendo su copia, impresión, interpretación, y distribución, está limitada por

una licencia internacional de derechos de autor (consulte los Términos y Condiciones de Uso de Influx Sheet Music para más detalles). Esta obra está registrada en la Sociedad General de Autores y Editors

de España (SGAE). Todos los derechos reservados para todo el mundo a: Xavier Pagès i Corella; C. d'Ausiàs March, 65; 08810 Sant Pere de Ribes; Barcelona (España); www.influxsheetmusic.com;

[email protected].

Tots els materials d’aquesta edició estan disponibles a www.InfluxSheetMusic.com. Qualsevol utilització d'aquesta partitura, incloent la seva còpia, impressió, interpretació, i distribució, està limitada per una

llicència internacional de drets d'autor (consulti els Termes i Condicions d'Ús d’Influx Sheet Music per a més detalls). Aquesta obra està registrada a la Societat General d’Autors i Editors d’Espanya (SGAE).

Tots els drets reservats per a tot el món a: Xavier Pagès i Corella; C. d'Ausiàs March, 65; 08810 Sant Pere de Ribes; Barcelona (Espanya); www.influxsheetmusic.com; [email protected]

i

About the work

___________________________

This work is an exploration of the relationship that can be established between a geometrical and a

musical structure. The starting point have been the seven pieces of the century-old puzzle of Chinese

origin called Tangram, which geometrical proportions and fractal nature have been taken as the basis

for most of its musical material and form.

Instrumentation

___________________________

Flute

Alt Saxophone

Violin

Violoncello

Piano

Duration

___________________________

approx. 10 minutes

i

Performance Notes

Pitches and accidentals

___________________________

The full score and parts of this work are transposed (the saxophone part will sound a major sixth

lower than written). The names of pitches will be numbered as follows:

Any accidental will affect the note to which it is attached and all equal notes in the same octave

until the end of the bar, except if cancelled by any other accidental:

Lines, arrows and brackets

___________________________

Gradual changes will be indicated by simple lines or arrows connecting text expressions, symbols

or noteheads, or between labelled brackets:

A line between two noteheads of any type (optionally with the abbreviation “gliss.”) will always

indicate only a glissando. If one notehead is missing, an approximate pitch will be intended:

An arrow between two noteheads will always indicate a gradual change between playing

techniques but without glissando, except if the abbreviation “gliss.” is included:

A thick line following a pair of brackets will indicate that the bracket’s content should be repeated

as written continuously until the end of the line. The word ‘random’ will indicate that the content of

the brackets should be played in random order, trying to avoid any kind of pattern:

If the brackets contain only noteheads, they should be played following the rhythm indicated above

or below the line:

Slashes and ellipses will respectively indicate interruption or continuation of any line effect:

Rhythm

___________________________

The position and duration of some undefined rhythmical figures may be indicated by headless

auxiliary stems. Any symbol that may appear on these auxiliary stems should be transferred to the

main stems:

A single slash across three beams will indicate that the note or group of notes should be played as

fast as possible and immediately before the note or rest that follows them. By contrary, if they are

aligned with an auxiliary stem, they should start exactly where the auxiliary stem indicates:

The unmeasured and very fast alternation of two or more sounds will be indicated by a two-stem

tremolo which may be extended over auxiliary stems by a wavy line:

ii

Dynamics

___________________________

A dynamic marking between brackets will refer to the grade of pressure or effort required in the

action, and usually will not be the same as the real one:

An ‘n’ at the beginning or end of a hairpin will indicate that the dynamic change should begin or

end as close as possible to silence (the ‘n’ is related to the Italian word “niente”):

Hairpin may have different inclinations to indicate different speeds of dynamic change (the more

inclined the line, the faster the change):

Playing techniques

___________________________

Piano, Violin & Violoncello

▪ battuto (bat.) — Hit on the specified part of the instrument with the specified part of the bow

or object in a controlled manner. The object will be in contact with the instrument only for an

instant and the instrument will freely vibrate after being hit.

▪ bow vibrato — Add to the current main dynamic indication a wave-like dynamic oscillation to

the sound. The speed of the oscillations will be indicated by auxiliary rhythms and should be

added to the main dynamic indications:

▪ circular tratto (circ. tra.) — The same as the tratto technique but the movement should be in

circles. The size of the circles may be indicated by a curled line:

▪ crini — Play with the hair of the bow.

▪ dietro il ponticello/ponte (dietro pont.) — Play the part of the strings after the bridge:

▪ muted — Use an object or part of your body to absorb the vibration of the instrument while

playing the note (if not otherwise specified, hand or fingers will be used):

▪ tratto (tra.) — This is the ordinary string playing technique and, in general, will be used to specify

the rub of any part of the instrument in a straight direction. When rubbing on a string, a vertical

or horizontal double-head arrow will respectively indicate a parallel or perpendicular rubbing

direction (by default, perpendicular direction will be intended):

Flute & Saxophone

▪ air sound — Blow in a way that only an airy sound, colored by the fingered note, can be heard.

A half mixture of air and ordinary sound will be indicated by an additional slash:

▪ covered embouchure (cov. emb.)— Totally cover the mouthpiece hole with the lips:

▪ fingering — This is a complementary notation to indicate the coloring of pitch or noise by means

of the specified fingering:

▪ frullato — Roll your tongue and blow into the instrument at the same time:

A slur or a tie will indicate that the frullato should not be interrupted under their effect

(otherwise each frullato note should be slightly separated):

▪ ordinary (ord.) — Play the instrument using its ordinary technique.

▪ overblow (overb.) — Gradually change the blowing pressure as indicated by the line to get a

very smooth and slow harmonics glissando:

▪ phonetic articulation — Short consonant phonemes (such as /p/, /t/, /k/, etc.) may be added at

the beginning of each notes’ air stream to obtain different articulations:

iii

▪ smorzato (smorz.) — Add a dynamic oscillation to the sound. The speed of the oscillations will

be indicated by auxiliary rhythms and should be added to the main dynamic indications:

▪ stampato (stamp.) — Hit the specified part of the instrument with the specified part of the body

or object and, after the impact, keep them in contact as long as possible.

▪ tongue ram (t. r.) — Completely cover the embouchure hole or reed with the lips and strongly

propel the tongue into it. A percussive and resonant sound will be produced that will sound

approximately a major seventh lower than the fingered note:

▪ mouth effects — spoken phonemes will be written under the ordinary staff with the label

“mouth”.

Violin & Violoncello

▪ alto sul tasto (a. s. t.) — Play on the fingerboard, close to the nut.

▪ flautato — This is a variation of the ‘tratto’ technique where the speed is proportionally higher

than pressure, favoring a lighter, smoother and harmonics-colored sound. A half mixture of

flautato and ordinary sound will be indicated by an additional slash:

▪ gettato ordinario (get.) — Throw the specified playing object and leave it bounce on the

specified instrument part. In this case, the throwing direction should cause a brief tratto sound

at the moment of impact (see ‘gettato non tratto’).

▪ gettato non tratto (get. non tra.) — The same as the ‘gettato ordinario’, but in this case, there

should not be any kind of tratto sound at the moment of impact.

▪ harmonics — lightly press the string at the indicated diamond-head note. For natural

harmonics, a Roman number will indicate the string that has to be fingered. For artificial

harmonics, the stopped note will be indicated with an ordinary headnote:

▪ half pressure — Press the string only halfway. A mixture of ordinary tone and noisy harmonics

should be obtained:

▪ legno (leg.) — Play with the wood of the bow.

▪ mezzo legno — Play half with the wood and half with the hair of the bow.

▪ molto sul ponticello (m. s. p.) — Play the strings as close to the bridge as possible.

▪ multiphonic — Obtain a pitch cluster by means of a special fingering and bow position:

▪ nail pizzicato (nail pizz.) — Pluck the string with the nail.

▪ ordinary (ord.) — Play the instrument using its ordinary technique.

▪ oscillato — Repeat a back and forward glissando around the indicated note. The amplitude of

the oscillato (no larger than a semitone) will be indicated by narrower or wider waves:

▪ pizzicato (pizz.) — Pluck the string with the specified object or part of the body (by default, the

fingertips will be used).

▪ posizione ordinaria (p. o.) — Play in the ordinary position.

▪ snap fingering (snap fing.) — Make the strings hit on the fingerboard by a fast and strong finger

action. A percussive sound with a slight pitch content should be heard:

▪ scratch — This is a variation of the ‘tratto’ technique where the speed is proportionally lower

than pressure, favoring roughness and the consequent pitch loss. A half mixture of scratch and

ordinary sound will be indicated by an additional slash:

▪ sul ponticello (s. p.)— Play close to the bridge.

▪ toneless — Search for an airy sound, with no pitch.

▪ tremolo — Repeat the notes attached to the stem as fast as possible and in an unmeasured

manner:

A slur or a tie will indicate that the tremolo should not be interrupted during the slurred or tied

notes (otherwise each note should be slightly separated):

v

between c#4 and d4, etc.). If necessary, use a wrench to avoid rattling. Place each screw at a

different length of the string and leave a free space between the screws and the bridge to allow the

circular movements of the wine glass of bar 124 (see Preparation 7 below). The screws will modify

the sound of the first and third strings of each note, leaving the second string free. Due to this

preparation, the strings of this range should sound like a pitch-coloured set of gongs:

Preparation 4: Attach a long cylinder of mounting putty (approximately 5 mm of diameter) at exactly

half-string position of the c5-b5 range. Like in Preparation 1, the strings of this range should sound

an octave higher than written:

Preparation 5: Attach a mounting putty ball (approximately 5 mm of diameter) on each string of the

c6-b6 range, just before the bridge. Like in Preparation 2, the strings of this range should sound

approximately a quartertone lower than written:

Preparation 6: Leave a plastic surface covering the a0-c2 strings at approximately 1/3 of their length.

This surface should jump and vibrate freely while playing the keys. If it moves out of the playing

range, try to bring it back in place when not playing or to attach it to the cast-iron frame with a

mounting putty string:

Preparation 7: Leave a large wine glass (of approximately 11 cm diameter) with a small metal ball

inside (of approximately 1 cm diameter) between the c4 and b4 strings and between the screws of

Preparation 3 and the bridge. There should be enough space to allow the circular movements of its

base (see

Preparation 8: In case there is not friction enough to make the lid prop vibrate with the contrabass

bow (see bar 126), a paper tape could be attached to the prop. It also will protect it of being

damaged by the friction.

Preparations 1, 2, 3, 4 and 5 (and optionally 8) should be placed before the beginning of the

performance and they will remain active during the whole piece. Preparation 6 will be active from

bar 105 to 124, and Preparation 7, from 108 to 130.

W

W

W

W

W W

W

W

W

W

W

W

sim.

m.s.p.

44

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34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAA AAAAAAAAAAAAAAA AAAAAA AAAAAAA AAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAA

* *

* All the following quartertone-low trills, may be performedby turning the mouthpiece inwards (see also b. 189).

* **

* ** *

*

smorz.

*

Thimble tip, flautato*

* Rub the three strings of the indicated note longitudinallywith very low pressure and high speed, obtaining a fast andwhistling tremolo.

485888886

string endbridge

Strings (r. h.)ABBBBBBBBBBBC

ABBBBBBBBBBBCStrings (l. h.)

bridge

1/2 str.

4855555555555555888886

Big cristal ball(roll with the palm**)

** Firmly press the ball against the strings with the palmand make it roll slowly, always avoiding any kind of rubbing.An erratic and very soft glissando should be heard.

ped.

7855555555555555888889

center bout edge [

ABBBBBBBBBBBCStrings IV

BodyABBBBBBBBBC

[

crini (tra.)bow vibrato, toneless

centre

ABBBBBBBBBBBBBBCTailpiece

...

7

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—Full Score—


W

W

W

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W

W

W

W

W

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3 3

3

3 3

3 3

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34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAA AAAAAAAAAAAAAAAA AAAAAAAAAAAA AAAAAAAAAAAAA AAAAA AAA AAAAAAAAAAAA AAAAAAAAA AAAAAAAAA AAAA AAAAAAA AAAAAA AAAA AAAAAAAAAA AAAAAAAAAA AAAAAA

AAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

*

sim.

**

**

**

**

**

**

** *

785888889

(ped.)

7855555555555555888889

]

Place a metal clip on 1st string, just after the endof the fingerboard (see 'Performance notes').

...]

Place a metal clip on 3rd string, at half way between the endof the fingerboard and the bridge (see 'Performance notes').

20

4

—Full Score—


fingering (l. h.)

fingering (l. h.)

gliss.

3

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espr.

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Fl.

A. Sax.

Pno

Vln

Vc.

AAA

AAAAAAAAAAA

AAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

72ABBBBBBBBBCt.r. Remove the mouthpiece.

* Without blowing, stamp the right hand palm on theair entrance hole, covering it completely.

[air entrance hole

palm, stamp.* (r. h.)]

Remove the mouthpiece.

* Without blowing, stamp the right hand palm on theair entrance hole, covering it completely.

palm, stamp.* (r. h.)

air entrance hole [ ]

blow t.r.

* Create a soft rotation sound of the cristal ball inside the bellby means of a small circular movement of the instrument.

ABBBBBBCBell cristal ball (inside the bell)rotate*

wood stick, bat.ABBBBBBBBBBBCStrings (r. h.)

mounting putty [ ]

[ ]

45555555555555556

1/2 string

dampers

leathercraft roller, roll ad lib.*

ped.

* Hit with a wood stick on the mounting puttythat is placed on the strings (see prep. 1).

Keyboard (l. h.)ABBBBBBBBBBBBBBBC

* The [ ] in right hand indicates that the roller should roll very slowly and firmlyagainst the strings. The hammers should hit the strings softly enought to avoid rattling.

ped.

* Approximate fingering (always on 1st string until bar 61). Due to the clip preparation, the sounding pitches in this passageare different than the notated ones (the whole string range and intervals are much smaller than usual). They are also coloredby high pitched harmonics. Always keep a singable character of the lowest pitch.

solo, sempre cantabile

III

p.o.

I* gliss. gliss.

III

s.p.bow vibrato

... ...

s.p.ABBBBBBBBBBBCStrings

IVIV

* The random set of artificial harmonics ascend accordingly to the fundamental note (1st finger).

01111111110

21111111112

random*

gliss.

3 3gliss.

31

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—Full Score—


5

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34

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24

24

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAA AAAAAAA AAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAA

]

blow t.r.

overb.

[

sim. (b. 31)

78888888888888889

sim. (b. 38)

[ ]

(ped.)

III

s.p.

III III

...

gliss.

43

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—Full Score—


gliss.

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24

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Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAA AAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAA AAAAAAAA

]

Remove the cristal ball from inside the bell.

78888888888888889

(ped.)

III

p.o.

III

...

gliss.

Remove the clip

54

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—Full Score—


18

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Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAA AAAAAAAAAA AAAAAA

01111111110

/t k t k t k/

. . . . . .

...

21111111112

random

Remove the mouthpiece.

(ped.)

65

12

—Full Score—


sim.

sim.

sim.

sim.

34

24

34

24

34

24

34

24

34

24

34

24

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAA

AAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAA AAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAA

smorz.

Attach the mouthpiece.

smorz.

(ped.)

s.p.

p.o.

45555555556

legno, get. (both hands)

* Play with one bow in each hand. The alternation of the jeté figures should sound as continuous and regular as possible,(similar to a triple-stroke roll of the percussion instruments). Both bows should be placed very close and change of position together.

r. h.01111111110

l. h.

*

21111111112

01111111110

21111111112

01111111110

21111111112

r. h.

* Play with one bow in each hand. The alternation of the gettato figures should sound as continuous and regular as possible, (similar toa triple-stroke roll of the percussion instruments). Both bows should be placed very close and change between s.p. and p.o. together.

legno, get. (both hands)

01111111110

s.p.

p.o.

45555555556

l. h.

*

21111111112

01111111110

21111111112

01111111110

21111111112

01111111110

74

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—Full Score—


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Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAA

ABBBBBBBBBBBCmouth

01111111110

/t k t k t k/(cov. emb.)

key clicks

. . . . . .

...

21111111112

random01111111110

/t k t k t k/ ...

. . . . . .

random21111111112

(ped.)

78888888889

1) Leave left hand bow.2) Hold the violin in the ordinary position.

legno, circular tra.

1/3 str.

4555555555555555555556

2/3 str. 7888885555588888888889

85

16

—Full Score—


M

M

M

M

t.r.

3

3

3

3

3 3

3 3

(secco)

18

34

44

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18

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Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAA AAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAA AAAAAAAAAA AAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAA

j.w.

Keyboard (both staves)ABBBBBBBBBBBBBBBC01111111110

21111111112

(ordered)

sim.

(ped.)

(muted with r. h.)ABBBBBBBBBBBBBBBCKeyboard (l. h.)

ped.

01111111110

21111111112

(ordered)

(p.o.)

m.s.p.

(p.o.)

m.s.p.

m.s.p.

(p.o.)m.s.p.

(p.o.)

d d

d d

95

18

—Full Score—


M

M

3

3

3

3

3

(secco)

24

34

24

34

24

34

24

34

24

34

24

34

34

34

34

34

34

34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

j.w.

01111111110

21111111112

(ped.)ped.

01111111110

21111111112

(p.o.)

m.s.p.

m.s.p.

(p.o.)

d

d

100

20

—Full Score—


M

M

,

,

5

5

3

3 3

3 3

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAA AAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

gliss.

ped.

Strings (l. h.)ABBBBBBBBBBBCfinger cymbal, bat.*

* Hit the iron-cast frame with the finger cymbal and let it vibrate.

Leave the plastic surface on a0-c2 strings (see Prep. 6).

45555555556

p.o.

s.p.

* Play the snap fingering as forte as possibleand synchronized with the rhythm of the bow.

crini, get. non tra. (r. h.)snap fing. (l. h.)*

4555556

7885889 random

78888888889

m.s.p. 45555555556

p.o.

s.p.

4555556

* Play the snap fingering as forte as possibleand synchronized with the rhythm of the bow.

crini, get. non tra. (r. h.)snap fing., (l. h.)*

random

7885889

104

22

—Full Score—


,

,

,

,

,

,

,

,

,

,

,

,

,

, ,

,

,

, ,

,

,,

,

,

5 3

5

3

33

3 3

24

24

24

24

24

24

34

34

34

34

34

34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

(pizz.)

gliss.(pizz.)

smorz.

gliss.

(slap.) (slap.)

smorz.

(ped.)

sim.

78888888889 crini, tra.

—...III

4555556 random

7885889

(p.o.)m.s.p....

78888888889

4555556

crini, tra.—...III

random

7885889

(p.o.)m.s.p....

110

24

—Full Score—


3

3

3

33

24

24

24

24

24

24

Fl.

A. Sax.

Pno

Vln

Vc.


AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

smorz.

smorz.

(ped.)

sim.

(p.o.)m.s.p....

II4555556

45555555556

mezzo legno, get.

7885889

random

(p.o.)

m.s.p.

...

114

26

—Full Score—


3

3

3

3

3

316

44

316

44

316

44

316

44

316

44

316

44

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

...

(ord.)

smorz.

overb.

(ord.)

smorz.

overb. overb.

(ped.) sim.

(p.o.)m.s.p.

...

4555556

crini, tra.—...II

random

7885889

(p.o.)

m.s.p.

...

[118]

28

—Full Score—


18

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316

44

18

18

64

316

44

18

18

64

316

44

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

overb.

(approx. 35'')

overb.

[

ABBBBBBBBCstrings (r. h.)

1/2 str.

wine glass (with a metal ball inside), circular tratto*]

(ped.)

* Take the glass firmly by the stem and make small circular movements to bring it to the fastest possiblespeed at the third beat. After reaching the peak of speed, stop the circular movements and leave the ballrotate alone. Control its speed decrease by slowly moving the stem back and forward (it should completelystop at the end of the fermata which will last approx. 35''). In the meantime, quietly remove the plasticsurface (Prep. 6) with the other hand.

[122]

30

—Full Score—


24

34

24

34

24

34

24

34

24

34

24

34

24

34

24

34

24

34

24

34

24

34

24

34

34

34

34

34

34

34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAA

ABBBBBBBBBBC = 56

gliss.

gliss.

ABBBBBBBBBBBBBBBCKeyboard (l. h.)

ped.

*

* Due to Preparations 1 & 2, in the following passage the pitches between c2 & b2 will sound an octave higher, and the pitches between c3 & b3, a quartertone lower.

III

StringsABBBBBBBBBBBC

m.s.p.(bow vibrato)

fast oscillato*

* Begin with a very narrow oscillato and gradually make it wider and narrower again.Keep it always as fast as possible.

ABBBBBBBBBBBCStrings (p.o.)

gliss.

m.s.p.

131

32

—Full Score—


gliss.

gliss. gliss.

gliss.

3

5

24

24

24

24

24

24

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAA

gliss.

smorz.

gliss.

smorz.

ABBBBBBBBBBBCStrings (r. h.)brush stickdietro pont., tra.

gliss.

(ped.)

wood stick, bat.ABBBBBBBBBBBCStrings (l. h.)

m. putty [ ]

I

(m.s.p.)(bow vibrato)

...

IVs.t.

s.p. 45555555555556

legno, bat. non tra.

78888888888889

crini, ord. (p.o.)m.s.p.

m.s.p.bow vibrato

I s.t.

s.p. 45555555555556

legno, bat. non tra.

IV

139

34

—Full Score—


gliss.

316

44

18

44

316

44

18

44

316

44

18

44

316

44

18

44

316

44

18

44

316

44

18

44

64

64

64

64

64

64

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAA

gliss.

gliss.

ped.

Place a metal clip on 1st string, just after the end of thefingerboard (see 'Performance notes'). (p.o.)

m.s.p.

148

36

—Full Score—


/p/* /p/ /p/ /p/ /p/ /p/ /p/ /p/

18

34

44

18

34

18

34

44

18

34

18

34

44

18

34

18

34

44

18

34

18

34

44

18

34

18

34

44

18

34

44

44

44

44

44

44

44

Fl.

A. Sax.

Pno

Vln

Vc.

AAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAA

AAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAA AAA AAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

* Play the first note with a percussive attack (phoneme /p/)and connect it to the following air sounds a smooth as possible.

*t.r.

* Play the first note with a percussive attack (slap)and connect it to the following air sounds a smooth as possible.

*

gliss.

(mute with l. h.)

(ped.)

ped.

...

3

gliss.

III

gliss.

III

156

38

—Full Score—


/p/

34

24

34

34

24

34

34

24

34

34

24

34

34

24

34

34

24

34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAA

AAAAAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAA


AAAAAAAAA AAAAAA AAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAA

t.r.

smorz.

smorz.

(ped.) ped.

gliss.

III

s.p.

III III

165

40

—Full Score—


ritard.

/p/

18

64

316

44

18

44

18

64

316

44

18

44

18

64

316

44

18

44

18

64

316

44

18

44

18

64

316

44

18

44

18

64

316

44

18

44

44

44

44

44

44

44

Fl.

A. Sax.

Pno

Vln

Vc.


AAAA

AAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAA AAAAAAAAAAAAAAAAAAAAAA AAAAA AAAA AAAAAAAAAAAAAAAAAAAAA AAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

gliss.

(ped.) ped.

Remove the clip.

III

p.o.

III III

176

42

—Full Score—


W

W

W

W

W

W

W

W

44

18

34

24

34

24

44

18

34

24

34

24

44

18

34

24

34

24

44

18

34

24

34

24

44

18

34

24

34

24

44

18

34

24

34

24

34

34

34

34

34

34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAA AAAAAA AAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAAAAAAA

AAAAAAAAA AAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAA

**

* *

*

*

[

bow vibrato...

ped.

45555555556

m.s.p.StringsABBBBBBBBBBBC

s.p.

* *sim.

* *

m.s.p.bow vibrato

StringsABBBBBBBBBBBC

* Begin with a very fast and small oscillato and gradually make it larger.

III

188

44

—Full Score—


W

W W

W W

W

W

W

W

W

W

W

W

W

24

34

24

44

24

34

24

44

24

34

24

44

24

34

24

44

24

34

24

44

24

34

24

44

34

34

34

34

34

34

Fl.

A. Sax.

Pno

Vln

Vc.

AAAAAAAAAAAA AAAAAAAAAAAA AAAAAAAAAAAAAA AAAAAAAAAA AAAAAAAAA AAAAAA AAAAAAAAAAAA AAAAAA

AAA

AAAAAAAAAAAA AAAAAAAAAA AAAAAAA AAAAA AAAAAAAAAA AAAAA AAAAA AAAAAAAAA

** *

**

** *

]

* * * * * * * *

201

46

—Full Score—


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