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Richard Barrett
wake
2014-15
3 instrumental trios, electronic sounds and lighting
full score
wake
(2014-15) for three instrumental trios, electronic sounds and lighting
commissioned by Ensemble Modelo62 in memory of Bob Gilmore
duration: approximately 15 minutes
instrumentation: group 1 alto flute violin percussion 4 tuned gongs placed horizontally on foam blocks (played with a wide unspecified variety of beaters)
12 different metallic objects, also on foam blocks (brake drums, anvils, pieces of junk etc.) arranged from left to right in approximate order of pitch impression, although none should have an unambiguously clear pitch or a long resonance, played with 4 suitable medium-hard rubber-headed beaters, notated as shown here: 1 high-pitched, sharp-sounding woodblock group 2 bass clarinet trumpet (in C) cello group 3 electric bass guitar with volume pedal piano contrabass The score is at transposed pitch: the alto flute sounds a perfect fourth lower, bass clarinet a major ninth lower, bass guitar and contrabass an octave lower. NO VIBRATO except where indicated. Trills, tremoli and gracenotes always as fast as possible except where indicated, and all notated transitions as smooth as possible, in particular transitions in timbre produced by changing bow positions in the bowed string instruments. ] = tongue-stop (wind instruments), stop bow on string (bowed instruments), damp resonance (percussion and bass guitar) alto flute multiphonics are derived from John Edward Davis, The Extended Alto Flute. http://arizona.openrepository.com/arizona/handle/10150/288758 Microtonal trills are based on the normal fingering for the given pitch unless another fingering is given. bass clarinet
= slap tongue trumpet quartertones are intended to be achieved by extending the tuning slide for the third valve. The fingerings for this are indicated as 3+, 123+ etc.
= open, half-open and closed harmon mute strings: psp, msp = poco and molto sul ponticello respectively, the former already being noticeably different in timbre from nat., the latter being as extreme as possible consistent with the fundamental pitch remaining audible. pst, mst = poco and molto sul tasto (similarly).
= ascending degrees of bow pressure: flautando; “normal”; exaggerated and distorted (pitch only just discernible); completely pitchless scraping. violin, cello and bass guitar are retuned as shown below. They are notated at sounding pitch.
bass guitar: the part is playable on a 4-string fretted instrument but other types may be used if preferred. A volume pedal is required for both wide and subtle changes in dynamic while playing. The sound should be strong in high frequencies and sustain, and in general should be able to participate in the ensemble as a distinctive but not incongruous voice.
electronics, staging and lighting The electronic sounds take the form of a fixed-media electronic part which plays continuously for the first 12 minutes of the piece (the first three of its five sections). In section 1 it plays alone and in section 2 the players react improvisationally to it, while in section 3 the electronic part consists of a series of cues whose playback is coordinated by the conductor (or actually triggered by him/her if suitable hard- and software is used). Sections 4 and 5 have no electronic part; section 5 is a solo for piano. The three groups are positioned on stage in the order 3-2-1 from left to right from the conductor’s viewpoint. Behind and slightly above each trio is a pair of speakers. Tracks 1 and 2 of the electronic part are sent respectively to the left and right speakers behind group 1, tracks 3 and 4 to group 2 and tracks 5 and 6 to group 3. All instruments should also be amplified, using the same speakers and/or additional ones. The sound of each trio plus “its” electronic sounds should be clearly localised without being so widely separated as to make the coordination of sections 3 and 4 impractical. Once all performers are on stage and ready to begin, all light in the performing space is suddenly extinguished. After a brief moment the electronic sounds of section 1 begin. During section 1, in which the players should remain as still as possible, the stage light intensifies very slowly and evenly until there is just enough light to discern them and for them to see their instruments as much as necessary for section 2. During section 2 the stage light continues to intensify very gradually but at an increasing rate so that at the beginning of section 3 it is (just) possible for the players to read their parts. The light then again intensifies slowly and evenly during section 3 until at the beginning of section 4 it reaches a “normal” brightness for a concert stage. During section 4 it again intensifies at an increasing rate reaching a maximum at the beginning of section 5 which is then held until the end. All of these indications are kept purposely imprecise since they will need to be able to vary in different spaces. However it is important to be able to begin in total darkness. The relation of the lighting changes to the proportional structure of the piece is shown in the diagram below.
Roberto Matta, Wake (1974-76)
Richard Barrett2014-15
2
wake
1
group 1
group 2
group 3
Once all performers are on stage and ready to begin, all light in the performing space is suddenly extinguished. (See preface for more detailed lighting instructions.) Section 1 then begins suddenly. It consists only of electronic sounds played through the three pairs of onstage speakers and lasts 4 minutes. Its dynamic level is fff sempre. During section 1 the stage lights very gradually increase in intensity until at the end of the section there is just enough light to discern the players and for them to see their instruments as much as necessary for section 2.
Section 2 begins 4 minutes into the electronic part, after a very gradual transition, and is 3 minutes in duration. By this time there is just enough light for the audience to see the musicians and for the musicians to see their instruments.The electronic part consists of slowly-changing permutations of four pitches in each of the speaker-pairs placed behind the three groups. A "map" of these pitches is shown below for reference, although it is not needed during performance since each player reacts to hearing the sounds in his/her group's pair of speakers.These pitches "morph" spectrally from one to the next. Therefore the point at which a pitch becomes audible or inaudible is not always clear. The dynamic level of the electronic part is mf - f sempre.The dynamic level of the instruments should reflect the relative clarity of the fundamental in question by fading in as it gradually becomes audible and fading out as it submerges once more.Apart from this, the instrumental dynamics should be freely varied, while remaining within the range pp - ff and principally towards the centre of this range.Neither instrumental nor electronic sounds should be dominant; both should be experienced as complementary components of a constantly-transforming sound-organism.Each of the four pitches in each group's speaker-pair acts as a fundamental frequency for improvisations on its natural harmonic spectrum by the players in that group, although not allfundamentals are used by all instruments. Each player should memorise which pitches he/she needs to respond to and which not, and also the improvisational suggestions specific to their instrument. What they play need not be strictly limited to these suggestions, which are intended principally to give a general idea of how this section might be realised most clearly and consistently, nor should they necessarily attempt systematically to utilise all of the suggested elements in any single performance.The conductor may cue the start of this section but otherwise does not take part.
(a) map of fundamental pitches in the electronic part (dotted lines with arrows indicate the duration of "morphing" between pitches)
0"
10"
20"
30"
40" 50"
group 1
group 2
group 3
1'00" 1'10"
1'20"
1'30" 1'40" 1'50"
group 1
group 2
group 3
2'00"
2'10" 2'20"
2'30"
2'40"
2'50"
78
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
(b) when to play and on which fundamentals
electronicpitch
yourfundamental
electronicpitch
yourfundamental
electronicpitch
(TACET)
yourfundamental
electronicpitch
(TACET)
yourfundamental
(TACET)
electronicpitch
yourpitch
electronicpitch
yourpitch
electronicpitch
yourpitch
electronicpitch
yourpitch
electronicpitch
yourfundamental
electronicpitch
yourfundamental
electronicpitch
(TACET)
yourfundamental
electronicpitch
yourfundamental
(TACET)
(TACET)
electronicpitch
yourfundamental
electronicpitch
(TACET)
yourfundamental
electronicpitch
yourfundamental
electronicpitch
(TACET)
yourfundamental
(c) improvisational suggestions for players
all instruments: single sounds or brief sequences of sounds, staccato or with cresc.-dim. envelope, each sound or sequence as different as possible from all others
alto flute: either up to 4th or 5th harmonic of low fingering, perhaps blending more than one simultaneously or making transitions between them, or whistle-tones on same fingering
violin: arco sempre with different bow positions between tasto and ponticello, or moving between these, only natural harmonics on IInd, IIIrd and IVth stringsas appropriate, including glissandi of harmonics at various positions on the string. The IInd string should be retuned from G# to A at the end of the section (where the violin has a rest of around 15 seconds).
percussion (4 gongs placed flat on foam blocks): l.v. or damped, single strikes or rapid tremoli, always using different striking positions and often different beaters, occasionally lifting a gong off its foam blocks to resonate freely
bass clarinet: harmonic multiphonics with different partials and densities of partials, using the fingerings and fundamentals of the given pitches as a basis (with different degrees of incresed lip pressure), also transitions between different partials and densities
trumpet: natural (untempered) harmonics based on the notated fingered fundamentals, including glissandi between harmonics, lip-trills etc.
cello: arco or pizzicato with different bow positions between tasto and ponticello, or moving between these, only natural harmonics on the indicated stringsas appropriate, including glissandi of harmonics at various positions on the string
bass guitar: l.v. or damped, sometimes also repeated quasi tremolo, using all possible plucking positions and various positions for the natural harmonicson the indicated string
piano: with or without sustain pedal, only harmonics of the indicated fundamentals produced by touching the string at constantly varying positions, also sometimes tremoloand/or harmonic "glissando" or sprays of random harmonics
contrabass: arco or pizzicato with different bow positions between tasto and ponticello, or moving between these, only natural harmonics on the indicated stringsas appropriate, including glissandi of harmonics at various positions on the string
(TACET) (TACET)
2
781
e=63
316
78
3
516
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
Section 3 has a duration of 5 minutes and is conducted throughout. By now there is sufficient light for the performers to read their music. At the end of section 2 (7 minutes into the electronic part) the dynamic level of the electronic sounds suddenly drops. This is the cue for the conductor to begin section 3. Over the course of section 3 the electronic part is very gradually faded out from its mp-mf dynamic at the beginning, so that by bar 76, in which the instrumentsdo not play, it has reached a dynamic of ppp; it is then stopped altogether at the conductor's cue for section 4 (see below). The electronic sounds should always beslightly below the collective dynamic level of the ensemble so that all the instruments may be heard, although the level may be freely varied somewhat in performancewithin the context of the general diminuendo. They may also be gradually removed from the main PA system (if used) so as to gradually withdraw to the speakers behind the instruments.It is not necessary for conductor or instrumentalists to synchronise with the electronic part in any way. It has been made to a longer duration than the notatedfive minutes, so as to accommodate a slower tempo if necessary.
Each trio functions as a single complex "instrument" with regard to dynamics. The "local" crescendi and diminuendi should be understood as varying between slightly but perceptibly above and below the prevailing dynamic of the trio at that particular moment as it undergoes a general crescendo or diminuendo.
mp cresc...
always legatissimo within phrase marks!
7:8
... mf cresc...
... f cresc...
11:8
4:53:2
mp cresc...
arco nat
trill between open G string and random harmonic fingerings between the indicated limits
... mf cresc...
msp
... f cresc...
mp cresc...
12 metal objects (see preface)1 hard-headed mallet; each note damped with other hand as indicated after short duration
]
] ]
... mf cresc...... mf cresc...
] ] ]
... f cresc...
4:3
mp cresc...
6:5
... mf cresc....
5:6
3:2 3:2 4:3
mp cresc...
always legatissimo within phrase marks!
... mf cresc....
5:4
3:2
mp cresc...
arco psp sempre
trill between open F# string and random harmonic fingerings between the indicated limits, allow the fundamental to submerge and reemerge
(non tr.)
... mf cresc....
(as before)
mp cresc...
with plectrum!psp secco
(dynamics realised with volume pedal!)
...mf cresc...
6:5 12:15
mp cresc...
sempre
...mf cresc...
3:2
mp cresc...
arco msp
trill between open F# string and random harmonic fingerings between the indicated limits, allow the fundamental to submerge and reemerge
nat
...mf cresc...
3
5164
1116
1316
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
...ff cresc...
8:9
(cresc)...fff
4:3
...ff cresc...
(sub. trem.)
mst (cresc)...fff
msp
]
]
...ff cresc...
6:7
]
]
]
6:5 ]
]
]
(cresc)...fff
]7:8
...f cresc...
4:5
sempre sim.
4:3
3:2
3:2
...f cresc...
9:7
10:7
(psp)
...f cresc...
(non tr.)
(as before)
12:11
( sempre)
11:10
4:3
msp (non trem)
4
13167
716
78
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
mp cresc...
mp cresc...
mst
mp cresc...
3:2
...ff cresc...
4:3
3:2
3:2
3:2
3:2
(cresc)... fff
3:2 3:2 3:2 3:2 3:2
...ff cresc...
13:10
(cresc)... fff
6:5
...ff cresc...
(tr. & trem.)
(cresc)... fff
...f cresc...
3:2
12:133:2
( sempre)
...f cresc...
7:8
...f cresc...
nat
"nat
mst
]
5
789
28
38
68
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
5:4
... mf cresc...
§C#
5:64:3
... mf cresc...
nat.
... mf cresc...
3:2
3:2
mp cresc...
4:5
mp cresc...
7:8
msp
mp cresc...
nat
(tremolo with plectrum)nat
...ff cresc...
msp
...ff cresc...
( sempre)
3:2
4:3 3:2
pizz.mspsecco
...ff cresc...
6:5
6:7 6:512:11
6
6812
916
516
28
38
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
...f cresc...
§
§D#
§
...ff cresc...
§D#
(R3)
(R3)
(cresc)...fff
(D#tr)
6:7 6:5 6:7 6:5 3:2
...f cresc...
pst
...ff cresc...
psp
(cresc)...fff
nat
...f cresc...
...ff cresc...
(cresc)...fff
4:39:8
...mf cresc...
4:3 4:3 4:5
...mf cresc...
13+
1
123+
5:43:2
sub. trem.
...mf cresc...
psp
IV sub. non trem.
(pst)
(cresc)... fff
nat
(cresc)... fff
6:5
7:5
3:2
(cresc)... fff
12:9
7
3816
48
516
28
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
pp
§
D#
mp
pp
§
D#
mp
§
p
D#
mp
mp cresc...
mst sempre, molto vibr. sul III (varied in speed and width)
mp cresc...
7:6 7:63:2
always legatissimo within phrase marks!
7:6
...f cresc...
(cresc)...(ff)
3:2
3:23:2
5:6
...f cresc...
123+ 23+
2 3+ 13+
123+
3+
12
13+
(cresc)...(ff)
4:34:5 4:3 4:5 4:3 4:3
IV
pst IV
...f cresc...
nat
(cresc)...(ff)
mst
(plectrum)mst
mp cresc...
(make glissando as audible as possible!)
msp
nat
nat
3:2 6:5
mp cresc...
sempre
5:4 7:8
mp cresc...
arco natIV1
III2
II3
mspsim.
2
1
3
pspsim.
3 2
8
2821
48
58
28
48
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
§
p
D#
mp
§
p mp
p mf
p
D#
mf
§
p
D#
mf
§
p
D#
mf
p
D#
mf
§
p f
...mf cresc...
(molto vibr. sul III) ...f cresc...
...mf cresc...
...f cresc...
7:8 5:65:6
7:8
ff mf f
mp
p cresc....
4:5 4:3 7:8
ff mf f
mp
23+
harmon mute (stem extended)
p cresc....
4:5 4:3 9:8
ff
pizz.I
IV
mf
II
f
III
mp
p cresc....
arco msp sempre
4:5 4:3
... mf cresc...
msp put down
plectrumpsp semprelegato poss. ]
6:7
... mf cresc...
7:6
... mf cresc...
(psp) 1
nat
2
1
3
always legatissimo within phrase marks!
(nat)
7:54:5
4:38:7
9
4825
916
316
48
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
§
p
D#
f
§
p
D#
f
§
p
C
ff
§
D#
mf
p cresc...
5:6
(molto vibr. sul III)
(cresc)...
(mst)
ff
&
mf
msp
]
pspsempre
p cresc...
4:3
jeté
(cresc)...ff
mf
p cresc...
8:7
...mp cresc...
(rapid random activity of R1,2,3)
...mf cresc...
7:5 5:4
(harmon)
...mp cresc...
123+
3+
23+
...mf cresc...
8:7
(non trem.)(msp)
...mp cresc...
(msp)l.v. sempre
II
IV
7:6III
...mf cresc...
... f cresc...
]
]
(psp)
12:117:8 10:9 8:9
... f cresc...
(nat)
... f cresc...
3:213:11
10
4829
516
58
48
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
... mp cresc...
3:2
...mf cresc...
6:5 7:6
14:11 4:3
... mp cresc...
sim.
...mf cresc...
6:7
... mp cresc...
...mf cresc...
4:3 4:5
...f cresc...
(harmon)
...f cresc...
5:4
3:2
4:3
(msp)
5:4
...f cresc...
6:5
4:5 6:7
]
(cresc)...ff
natsub.
msp
mp
7:6 3:2 6:5 4:5
(cresc)...ff
mp
6:5 4:5
(cresc)...ff
pizz. nat
mp
6:5 3:2 6:5 4:5
11
4832
58
48
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
...f cresc...
§D#
(cresc)... ff
mp
6:54:3
3:2
...f cresc...
(psp)
7:5
nat. sub.
IVIII
IV
(cresc)...
9:10
psp
ff
mp
5:4
...f cresc...
(cresc)...
ff
mp
5:6
(cresc)... ff
mp
3:24:3
(harmon)
123+
(cresc)... ff
3:2
mp
via sord.
4:3
(msp)
7:5
(cresc)... ff
3:2
mp
4:3
mst semprealways damped at end of durationarrows = bend string to 1/4 tone higher (bending should not be audible!)
p cresc...]
]
]
]
p cresc...
sempre
9:10 3:2
arco pst sempre
p cresc...
12
4835
38
28
916
1116
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
p cresc...
poco vibr.
nat.
p cresc...
always legatissimo within phrase marks!
III II
III
II
11:12
7:6
p cresc...
14:11
p cresc...
(E(L4))
(R3)
(R123)
senza sord.
p cresc...
8:9
7:5 7:6
mst sempre (flautando, long rapid bows, legatissimo)
p cresc...
6:7 3:2
(sim.)
]
]
]
]
] ... mp cresc...
]
]
]
]
]
( sempre)
... mp cresc...
5:4 9:7
7:5
4:3
(pst)
sub.
... mp cresc...
13
111639
716
28
58
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
(L234)
(R123)
(normal C fingering withindependent unsynchronised trills in LH & RH)
...mp cresc...
§
(G#)
(L234)
(R123)
(as before)
(Dtr)
...mf cresc...
4:5
III
...mp cresc...
rapid exchange of fingers while keeping (approximately!) to same pitch
...mf cresc...
432123432...
msp sub.
5:4
6:5
...mp cresc...
...mf cresc...
7:8 7:8 7:5 7:5
... mp cresc...
...mf cresc...
3:2 6:5
... mp cresc...
4:3
...mf cresc...
11:14
... mp cresc...
psp
mst
psp
sub.
...mf cresc...
(mst)
(sim.)
]
]
]
... mf cresc...
]
]
]
]
]
]
]
(sim.)
]
]
( sempre)
... mf cresc...
5:6
9:8 6:5 4:3 4:5
(pst)
sub.
... mf cresc...
14
5843
716
1116
716
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
9:8
(cresc)... f
p
(sim.)
+ trem.
(cresc)... f
(msp)
p
nat.con sord.
(cresc)... f p
7:6
(cresc)... f
p
3:2 6:7 6:5 3:2 6:7 6:5 3:2
(cresc)... f
p
9:8 4:3 3:2 6:7 6:5 3:2
mst
sub.
(cresc)... f
psp
p
3:2 6:7 6:5 3:2
]
]
... f cresc...
]
]
]
]
]
]
]
(sim.)
]
]
]
... f cresc...
7:8 17:14
(pst)
sub. - no discernible pitch! - gradual transformation of noise between poco sul tasto and molto sul ponticello
... f cresc...
msp
15
71646
58
916
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
p cresc.
...mp cresc...
11:12
7:9
(sord.)
Inat. sempre, slow irregular (parallel) fluctuation in pitch sul II and III, between notated pitch and E
p cresc.
II III II ...mp cresc...
p cresc.
...mp cresc...
10:13
10:11
pp cresc...
5:4
5:4
harmon mute (stem in)
pp cresc...
arco nat
pp cresc...
always legatissimo within phrase marks!
8:7
...ff
]
]
]
]
]
]
p]
...ff
(senza Ped.)p
arco nat
...ff
pesante!
p
16
4948
38
58
78
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
...mf cresc...
(cresc)...f
6:7 (strongly percussive attacks!)
p
7:613:12 5:4 5:6
(sord.)
...mf cresc...
(cresc)...f
pizz. nat.
p
5:4 5:6
...mf cresc...
(cresc)...f
p
10:7 10:9 5:4 5:6
5:4
...p cresc...
5:4
5:4
5:4
...mp cresc...
5:4
5:4
5:4
5:4
(harmon)
rapid random activity of all valves while holding E
...p cresc...
...mp cresc...
(3)
(nat)
...p cresc...
...mp cresc...
5:6 3:26:7 4:3
msp
pp cresc...
]
]
]
]
]
(msp)
]
II
]
]
III
pp cresc...
10:7
9:10
4:5
pp cresc...
arco nat
(molto vibr.)
IV
msp
III
(sim.)
II
nat
msp
17
7853
28
68
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
...mf cresc...
5:4
5:4
5:4
5:4
(cresc)... f
5:4
5:4
5:4
(harmon)
...mf cresc...
(cresc)... f
5:4
5:4
...mf cresc...
(nat)
(cresc)... f
(nat)secco
5:4
5:49:7
8:7
... p cresc...
nat. legato sempre
9:7
8:73:2
... p cresc...
... p cresc...
arcomsp
II ]
(stop bow on string at the end of each sound)
III
]
I ]
IV ]
IV
]
III
]
18
6855
516
1316
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
pp cresc...
... p cresc...
4:3 6:7
8:7
(sord.)
arconat
pp cresc...III
... p cresc...
"molto vibr. sub.msp
two mallets in one hand, always damp almost immediately with the other
pp cresc...
... p cresc...
3:2 3:2
5:4
5:4
5:4
5:4
5:4
pp
5:4
(harmon)
5:4
5:4
5:4
5:4
5:4
pp
5:4keep harmon, remove stem
5:4
5:4
5:4
5:4
5:4
pp
5:4
...mp cresc...
4:38:7 11:10
...mp cresc...
...mp cresc...
(msp)
I ]
II ]
IV ]
III
]
II ]
I ]
19
131657
48
716
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
... mp cresc...
... mf cresc...
(cresc)... mp
f
17:12
5:4 7:83:2
(sord.)
... mp cresc...
... mf cresc...
senza vibr.mst
(cresc)... mp
nat.spiccato
f
3:2
... mp cresc...
... mf cresc...
(cresc)... mp
f
3:2 3:2 3:2
pp cresc...
(slaptongue on each attack)
(harmon)
pp cresc...
rapid irregular opening/closing of harmon
and vibrato (irregular in speed and width)
arco nat
pp cresc...
7:810:9
... mf cresc...
7:8 7:810:9
... mf cresc...
molto vibr.
mst
... mf cresc...
senza vibr.
molto vibr.
20
6078
28
516
716
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
pp
mp
pp cresc.
poco vibr.
3:2
(sord.)
pp
mp
pp cresc.
psp
nat
msp
3:23:2
pp
mp
pp cresc.
3:27:6
... p cresc...
(sim.)
... mp cresc...
4:3 7:8 8:7
(harmon)
... p cresc...
(use circular breathing or retake unobtrusively)
(sim.)
... mp cresc...
... p cresc...
(nat)
... mp cresc...
5:4
7:83:2
9:10
4:3 3:2 5:6
...f
sub. msp
]
]
]
]
(msp)
]
]
]
]
]
]
III
]
pp
]
...f
pp
...f
pizz. mst
II
pp
21
71664
58
1116
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
(L4+R123+C#)trill as fast as possible (!)
... p cresc...
(sord.)
psp
3:2
msp
nat
... p cresc...
msp
psp
nat
msp
nat
3:2
3:2 3:2
... p cresc...... p cresc...
3:2 10:9
(cresc.)...mf
5:4 3:2
(harmon)
senza vibr. sub.
(cresc.)...mf
5:4
3:2
(cresc.)...mf
pizz.msp III
II
I
(F) (sim.)
4:3
5:43:2
nat. legato
pp cresc...
13:16
pp cresc...
arco nat.
pp cresc...
22
111666
38
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
... mp cresc...
(rapid random activity of R1,2,3)
(cresc)... mf
3:2
3:2
3:2 3:2 3:2
(sord.)
... mp cresc...
psp
nat
msp
psp
3:2
nat
psp
msp
(cresc)... mf
3:2
(msp)
3:2
3:2
3:23:2 3:2 3:2
... mp cresc...
(cresc)... mf
9:8
3:2 3:2 3:2 3:2 3:2
ppp
7:8
(harmon)
7:8
ppp
remove harmon; take plunger
(pizz)
ppp
7:8
9:811:12 7:6
(nat)
23
3868
78
28
916
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
ppp
3:2
ppp cresc.
(L23)
3:2
(sord.)
ppp
nat
3:2
via sord.
put down bow: pizz. sul pont
senza sord.
ppp cresc.
3:2
ppp
3:2
ppp cresc.
3:2
7:8
ppp cresc...
... pp cresc...
8:7
6:5 6:77:8
(plunger)
ppp cresc...]
] ]
]
... pp cresc...
]
] ]
]
]
]
ppp cresc...
msp432123432...
rapid exchange of fingers while keeping (approximately!) to same pitch
... pp cresc...
nat
psp sub.
...p cresc...
... mp cresc...
11:10 15:13 11:12
7:6
...p cresc...
... mp cresc...
...p cresc...
(rapid irregular alternation between normal and harmonic finger-
pressure, always on the edge of allowing 7th partial to emerge)
pspsul II
... mp cresc...
24
91672
1516
48
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
C
... pp cresc.
... p cresc.
(L23)
... mp cresc.
... pp cresc.
... p cresc.
... mp cresc.
... pp cresc.
... p cresc.
... mp cresc.
11:9
7:55:6 12:13
... p cresc...
... mp cresc...
13:10
10:1112:13
(plunger)
... p cresc...]
]
]
... mp cresc...
] ]
]
]
] ]
]
... p cresc...
IIIvibr.
mspII (Ø)
nat
psp sub. ... mp cresc...
8:9 19:16
etc. sempre sim.
25
4874
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
... mf
... mf
(pizz. sul pont)
... mf
... mf
]
] ]
]
]
] ]
]
]
] ]
(plunger)
... mf]
] ]
]
]
] ]
]
]
] ]
... mf
nat
]
] ]
msp
]
nat
]
] ]
msp
]
nat
]
] ]
... mf
]
]
]
]
]
]
]
]
... mf
... mf
]
]
]
]
]
]
]
]
26
7698
58
alto fl.
violin
perc.
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
ppp
ppp
ppp
]
]
] ]
ppp]
(plunger)
]
]
] ]
ppp
]
msp
]
nat
]
] ]
ppp
msp
]
]
]
]
ppp
]
ppp
]
]
]
ppp
]
(electronic sounds have reached a dynamic of ppp and continue through this bar, then are stopped immediately on the conductor's downbeat for section 4.
27
581
e=75
4
alto fl.
violin
gongs
perc.
woodblock
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
ff fff
mf sub.
ppp
11:10
ff
arco nat.
fff mf sub.
msp
ppp
(same mallets)
6:5
ff fff
ff fff
mf sub.
ppp
(plunger)
ff
fff
7:5
mf sub.
ppp
arco nat.
ff
fff
mf sub.
msp
ff fff mf sub.
]
9:10
mf sub.
4:3
ff fff
pp
19:20
arco nat.
ff
fff mf sub.
msp
28
448
68
alto fl.
violin
gongs
perc.
woodblock
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
GP
"pizz."
p
nat.
]
(embouchuregliss.)
f mp sub.
5:4 7:9
mp
psp
col legnobattuto
arconat.
pizzmst
arcomsp
nat. jeté
mst
fmp sub.
nat
msp
ppp
6:7 6:5 7:8
centre
p
]
edge
nat
]
edge
]
centre
nat
f
nat
11:13
f
(slap)
p
]
(slap)
13:14
(slap)
f
7:5
mp sub.
ppp
(plunger)
p
7:6
fmp sub.
ppp
16:12 3:2
p
arcomsp
col legnobattuto
pizznat
arcomst
col legnobattutomst
msp
pizzmsp
f
arco nat.
6:7
mp sub.
ppp
9:8 4:5
mp
msp
nat
psp
]
msp
]
mst
]
thumbslap msp
f]
mp sub.
nat
9:78:7
muted withfinger muted
p
pizz.
(senza Ped.)
3:2
f
5:4p
3:2 3:2
3:2
3:2
p
arconat
arco jetémsp
mst
pizzmst
4:5
col legnobattutopsp pst
]
arcopsp
]
10:7
f
pizzmsp
]mp sub.
arconat
4:5 4:3
29
687
58
alto fl.
violin
gongs
perc.
woodblock
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
mpz
mpz ppp
mpz ppp mpz
mp sempre
arco msp
mpz
ppp mpz
mp
mpz ppp mpz
put down plunger senza sord.
mpz
ppp mpz ppp
mpz
arco msp
mpz
msp
mpz
(p)
pp
4:3
mp sempre
arco msp sul I
mpz
ppp mpz
30
1048
alto fl.
violin
gongs
perc.
woodblock
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
ppp mpz p non dim.
ppp mpz mpz mpz ppp mpz
p non dim.
(msp)
mp sempre
6:5 3:2 3:2
ppp mpz
p non dim.
ppp mpz
p non dim.
ppp mpz
(msp)
p non dim.
(msp)
mpz
]
p
pp
5:6
mf
4:5
7:6
4:3
(msp)
p non dim.
31
4813
18
108
2416
alto fl.
violin
gongs
perc.
woodblock
bass cl.
tpt.
vc.
bass gtr.
pf.
cb.
mp
3:2 pp
ppp
gradually overblow...
highharmonics
fff]
mp
arco nat.
3:2
4:5
pp
4:3
arco nat
ppp
msp
fff]
mp
pp
3:2
7:5 8:9
mp
ppp
fff
mp
3:2
4:5
pp
8:7
ppp
gradually introduce overtones...
densemultiphonic
fff ]
7:5
mp
3:2
(tuning slide gliss.)
pp
ppp
fff ]
7:5
mp
arco nat.
3:2
4:5
pp
9:6
arco nat
ppp
fff
msp
]
7:5
mp
]
(hammer-on) 3:2
pp
nat
ppp
fff
msp
]
4:5
9:10
fff
5:4
senza Ped.mp
3:2
6:5
pp
arco nat.
mp
3:2
4:5
pp
arco nat
ppp
fff
msp
]
9:10
32
24161
x=180
5
pf.
6:5
4:34:3
8:95:6
accents mp, otherwise pp sempre
4:35:6
6:45:6 5:6
10:7
2
pf.
6:7 4:3 13:10
3:2
etc. sempre sim.
4:5 3:25:6
4:3
11:12 5:6
3
pf.
5:4 5:6
4:5
8:6 5:65:6 11:12
4
pf.
4:3 3:2 3:2
3:2 5:4 3:2
5:65:6 10:7
5:6 4:35:6
5
pf.
3:27:5 4:5
5:4 4:3
4:5
7:85:6 5:6
11:95:6
5:66:7
33
6
pf.
3:23:2
3:2 3:23:2 10:7 9:10
3:27:5
(mp/pp sempre)
etc. sempre sim.
5:45:6
5:65:6
4:5 6:45:6
4:35:6
3:2
7
pf.
6:7
7:6
4:5 3:2 9:8
5:65:6
4:3 7:65:6
8
pf.
6:5 6:76:5 4:3 3:2
3:2 3:2 3:25:6
4:3
5:63:2 3:2 3:2 3:2
5:6
9
pf.
5:6 11:10 4:5 6:513:10
5:65:6
5:6 5:6 7:6
10
pf.
7:8
4:33:2
7:5
5:64:5
5:64:3 5:6
3:2
11:12
34
11
pf.
5:46:5
4:55:4
(mp/pp sempre)
etc. sempre sim.
13:12
5:6 5:6 8:6
12
pf.
4:5
9:107:6
4:3 6:45:6
4:3 3:25:6
4:3 3:2 3:24:5
5:64:3
13
pf.
4:3
6:4 5:6 5:6
5:4
5:6 5:63:2 4:3 3:2
5:6 4:3 8:75:6
14
pf.
4:3
3:2 7:6
3:2
3:23:2
5:4 11:10 3:2
5:64:3 8:6
5:67:8 5:6
15
pf.
3:2
9:74:5
Belgrade7 December 2015
3:2 3:2
5:6
5:6
4:35:6
3:2 5:6
35
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