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

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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''

&

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?

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&

‰

‚

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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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19

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3

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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

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L.H

ff

(2)

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2

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inside the piano

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27

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28

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Pno.

2

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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

&

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Ÿ< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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b

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off the board

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3

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3

4

3

4

3

4

3

4

3

4

3

4

&

mf

s.t.

s.p.

mp

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í ™™

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of the horizontal line

mp

3

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?

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∑

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cresc.

‚

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1

2

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p

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p

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f ff

∑

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mf f

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U

5''

ff

?

3

∑ ∑ ∑

3

&

∑

p

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p

1

o

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3

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6

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pp

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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

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58

poco accel.

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60

A tempo

Gtr.

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Pno.

2

4

2

4

2

4

2

4

56

0

&

p

a

&

ritmicof

3 2

1

b

0 4

3

#

2

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2

#

3

33

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68

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2

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2

4

2

4

2

4

4

4

4

4

4

4

4

4

&

í ™™

Repeat the bar until the end

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mp

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f

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4

‚

3

2

1

‰

‚

3

4

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„ î™™

3

&

í ™™

mf

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of the horizontal line

sfz

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∑ ∑

mpmf f

?

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sfz

∏∏∏∏∏∏∏∏

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∏∏∏∏∏∏∏∏

sfz

3 3

&

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p

3 2 4 3 1

3 2 4 3

f

6

6

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f pp f

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74

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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

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œn

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Improvisation:

Improvise with specific notes and

rhythm within the box

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80

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2

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

3

4

3

4

3

4

3

4

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pp f

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mf

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poco accel.

mp f

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mf

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pan.

/

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4

p

p

(1)

a

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í

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Soundhole

í

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∑

/

(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

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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

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f

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mp

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3

5

?

p

Sustain pedal on continuously from measure 1 to measure 18

ff p

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longa

mp f

3

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°

&

f ff

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6

5

?

f

&

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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''

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5''

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&

mp

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(13)

f

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∑ ∑

pizz. with nail, gliss follow graphic pattern, freely

alternating glissandos of various speeds

sffz

pizz.

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group notes

ad libitum

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f

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&

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Pluck string

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∑

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ad libitum with accel.

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∑

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ad libitum

&

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6

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&

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

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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.

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?

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snap piz.

mp

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q= 49

arco

f sffz

ad libitum with accel.

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∑

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&

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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

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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

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¢

24

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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

°

¢

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27

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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

ŠΪ

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

Πwb

≈

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

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sub.

ff

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∑ ∑ ∑

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f

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∑

solo

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1-2

div.

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3.

4.

3

( )

f

∑ ∑

&

mp

p

tutti

B

div.

f ( f )

tutti

∑

6

?

mp

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∑

f

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mp

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∑

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∑

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w

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86

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¢

°

¢

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¢

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{

°

¢

a tempo

27 rit.

rit.

fl.

c. a.

cl.

tpt.

hn.

tbn.

sop.

perc. I

perc. II

perc. III

pno.

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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

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ff

∑ ∑

&

f

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ff

∑ ∑

?

f

*

ff

∑

&

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li

λι

f

∑ ∑ ∑

e

ε

mf

xe

ξέ

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- λι

li-

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xis

ξις-

-

3

&

mp

∑ ∑ ∑

ß

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mf

/ ∑

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mf

∑

£A

ff

∑

/ ∑ ∑

∑

£A

f

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&

mp

∑ ∑ ∑

?

mp

∑ ∑ ∑

mf

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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

( )

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tutti

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ff

∑

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j œ

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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

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∑ ∑

ff

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∑ ∑

ff

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ff

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p

ff

U

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p

ff

&

mf

∑

U

&

mp

∑

∫ A

p f

U

&

∑ ∑

U

?

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&

∑

mf

f

U

3

5 6

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∑

mf

f

3

5 6

B ∑

mf

f

3

5

6

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∑ ∑

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88

°

¢

°

¢

trattenuto

35

a tempo

sop.

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vln. II

vla.

vc.

cb.

&

ε

e

mp

ξέ

xe

-

-

λι

li

-

-

ξις

xis-

ε

e

mf

ξέ

xe

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-

λι

li

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-

ξις

xis-

f

mp

3 3

&

p

III

mp p

III

mp p

III

mp

&

pizz.

mp

B

pizz.

mp

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89

°

¢

°

¢

°

¢

38

fl.

c. a.

cl.

sop.

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vln. II

vla.

vc.

cb.

&

∑ ∑

mf

3

&

∑ ∑

mf

3

&

∑ ∑

mf

3

&

ε

e

mp

ξέ

xe

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-

λι

li

-

-

ξις

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ε

e

mf

ξέ

xe

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λι

li

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ξις

xis-

ε

e

f

ξέ

xe

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λι

li

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ξις

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ε

e xe

ξέ-

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λι

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xis-

mf

3

3

3 3

&

p

III

mp p

III

mp mf

III

&

mf

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mf

?

mf

?

mf

Œ

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J‰

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j

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j

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j

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j

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j

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J

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J

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J

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90

°

¢

°

¢

°

¢

stringendo

41

fl.

c. a.

cl.

sop.

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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

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œŒ

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œœ

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‰ Œ

œ

œœ

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œ#

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‰ Œ

œ

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j

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j

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91

°

¢

°

¢

°

¢

°

¢

°

¢

{

43

q = 120

fl.

sop.

perc. II

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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

&

∑

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mf

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with mute

Í

√

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p

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mff

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mf

f

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mff

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6

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=

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92

°

¢

°

¢

54

perc. I

perc. II

perc. III

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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

&

∑ ∑

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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

∑

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f

pizz.

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f

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J

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93

°

¢

°

¢

58

perc.I

perc. II

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vln. II

vla.

vc.

cb.

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

4

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3

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3

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∑

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/

ß

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mf

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mf

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94

°

¢

°

¢

62

perc.I

perc. II

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vln. II

vla.

vc.

cb.

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

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3

4

3

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3

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3

4

3

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4

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4

4

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&

∑

mp

3

3

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3 3

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mp

B ∑

mp

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mp

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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

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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''

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15''

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¢

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°

¢

96

fl.

c. a.

cl.

sop.

perc. I

pno.

vc.

cb.

97

pno.

&

*Breath tones: as before

*

pp

15''

&

*

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&

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pp

&

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xis

15''

&

ad lib - synchronize

12''

15''

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10''

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=

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#

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w

w

w

#

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œb

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w

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w

~

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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

˙#™

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˙#

Œ

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w

w

ww

b

w#

w

w

w#

w

w#

œ

w

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w

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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

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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

#

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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

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p

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(pitch bend)

( h )

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3 3Ÿ

(color trill ) 3

(f.t)

&

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&

3 3 3

&

3

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(color trill )

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(f.t)

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3 3

(f.t)

?

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?

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∑ ∑

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+(f.t)

÷

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∑

?

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∑

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hand stopped +

(flz)

¯

?

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?

ë

¥

†

∑

take sus cymbal off the 29'' timpani

&

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&

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—l.v

&

∑

– l.v

( h )

?

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(palm slap inside the piano strings and let vibrate)

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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.

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pp

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mpff

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mpff mp

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mf pp

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put reed in

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put reed in

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put reed in

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.

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Inside the piano

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ø

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gliss.

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s.p ord.

gliss.

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B

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s.p

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?

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s.p

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s.p

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16

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¢

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

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fff

o

ff

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mf

ff subito p

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ff

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6

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6

4

4

4

9

8

4

4

6

4

4

4

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8

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4

6

4

4

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8

4

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6

4

4

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4

4

6

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4

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6

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(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)

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( q )

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?

>

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open

œ

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&

&

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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.)

?

&

>

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(ord.)

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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

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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

&

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?

. .

(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)

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‰

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18

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¢

°

¢

°

¢

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°

¢

{

°

¢

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

&

+

&

+

&

∑ ∑ ∑

&

∑ ∑ ∑

?

∑ ∑ ∑

?

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&

ø ø ø

/

5

7

5

7 5 7

&

5

7

5

94

5

9

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B

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œ ≈

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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

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p ff

mf

o

mf

mf

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p

ff

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(change reed position / also light lip pressure)

∑

(as loud as possible)

&

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7

3

5

9

&

?,

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,

(as loud as possible)

B ?

5 5

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plunger mute

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&

plunger mute

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(fingering)

( w )

/

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7

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&

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s.p

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s.p

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s.p

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sul A

sul E

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s.p

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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.

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clb

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clb

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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.

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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.

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j

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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

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1

8

5

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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

>

>

/ ∑ ∑ ∑ ∑

&

∑ ∑ ∑

-> -

>-> -

>-> -

> -> -

>

- - - -

?

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5

5

3

7

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j

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24

°

¢

°

¢

°

¢

°

¢

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¢

°

¢

{

°

¢

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

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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

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3

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4

6

4

4

4

3

4

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3

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+ +

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++

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∑

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∑

3

/

>

(Bass Drum / medium B.D mallets)

(Medium Gong / hard mallet)˝£A

– l.v ∫&A &A

>

/

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5

6

7

6

5

7

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wµ ˙ ™ wn

wµ ˙™ ˙B

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w ˙ ™ wµ

wµ ˙ ™˙µ

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wµ ˙ ™ w

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w ˙™

w

w# ˙ ™w#

w ˙ ™ wµ

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w

~

w

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~

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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

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&

B

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˙˙n ˙b

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w<#> ™

w# ™

w ™Ó Œ

œ œ#œ

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˙™

˙# ™

˙ ™ ˙B ™

w<µ> ™

Ó

œb œnœ#

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œn ˙œ ˙ ™

˙™

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w™

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œ œ#œn œ#

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˙# ™

w ™

w<#> ™

w<µ> ™

æææ˙ ™

æææ˙

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œ œ œ

æææ˙™

æææ˙ Ó œ œ œ

æææ˙™

˙™

Ó™

w

w™

œb œnœ#

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w

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w

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w

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w

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w

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w

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w

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w

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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

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™

™

œ

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j

œ

œ

™

™

œ

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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

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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

&

∑

>

>

>>

>>

>

&

∑

>

>

>>

>>

>

&

. . . . . . . . . .

.

>

. .

.

>

.

.

>

. .

.

>

. . .

.

>

.

,

. .

.

>

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.

>

. . . . . . . . . .

.

>

. .

.

>

.

.

>

. .

.

>

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.

>

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>

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.

>

.

.

>

?

. . . . . . . . . ..

>

. ..

>

..

>

. ..

>

. . ..

>

.

,

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>

. ..

>

. . . . . . . . . ..

>

. ..

>

..

>

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>

. . ..

>

. . ..

>

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>

..

>

&

∑

>>

>

>

>

>>

?

∑

>

>

> >

> >

>

&

∑

> >

>>

> >

>

&

∑

>

>

>

>>

>>

?

(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

® ®

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≈

œ

≈

œ

‰

‰ ®

œ

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≈ ®

œ

® ≈

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≈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

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45

°

¢

°

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°

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°

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°

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{

°

¢

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

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6

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6

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6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

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&

(unfocused sound, almost breathlike)

&

(unfocused sound, almost breathlike)

&

Ÿ

Ÿ~~

Ÿ~~

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5

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(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

?

.

>

. . .

>

. . . .. .

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quasi gliss.

+ o +

?

quasi gliss.

o

+

o

&

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5

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.

.

. . .

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.

&

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&

arco

B

arco

?

arco

(scratch tone)

?

arco

(scratch tone)

f# fnfb

ff

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fn

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°

¢

°

¢

°

¢

°

¢

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°

¢

°

¢

°

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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

Πl.v

Quantum 3

/ ∑

(Sus. cymbal / violin bow)

¥

–

(vary bow placement, pressure and speed of the bow.

Try to get different timbres with every repeat)

Πl.v Πl.v Πl.v Πl.v

&

∑ ∑ ∑ ∑

(Crotales / violin bow)

ç

–

≥

Πl.v

?

ë

††

ë

Πl.v

ë

† †

ë ë

† †

ë

Πl.v

ë

† †

ë

/

≤ Œ l.v≤ Œ l.v

√

&

–

(Vibraphone /motor off/ violin bow)

≤

Πl.v

/

(Sus. Cymbal)

¥

≤ Œ

(Vibraphone)

l.v

&

√

≤

&

≤

Πl.v

≤

Πl.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

Πl.v

ë

† †

ë

Πl.v

ë

† †

ë

Πl.v

&

≤

Πl.v

≤

∑

&

ç

≤

(Crotales)

Πl.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

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œ

Œ Œ Ó™

˙# ™

˙n ™ œ

Œ Œ

O

˙µµ

™

™O

œ

Œ Œ

O

˙µµ

™

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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

&

≤ ≤ ≤

∑

&

≤

Πl.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

≤

Πl.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

‰ ‰

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48

°

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¢

°

¢

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.

.

>

.

>

&

> > > > > > > > > > > > > > > > >

&

> > > > > > > > > > > > > > > > >

&

.

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.

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.

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.

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.

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.

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.

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.

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.

>

.

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?

> > > > > > > > > > > > > > > > >

? > > > > > > > > > > > > > > > > >

?

…

(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

&

¿

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‰

6 6

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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

&

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?

?

ë

† †

ë

&

ord.

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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

Πl.v

≤

Πl.v

≤

Πl.v

&

ç

%A

(Crotales)

left hand= plastic mallet

–

right hand= violin bow

≥Œ l.v

≥Œ l.v

≥Œ l.v

/

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=

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 Πl.v

5

/

„

™A™A

( Temple Blocks / medium mallets)

&

> > > > > > > > > > >

&

&

&

&

B

&

&

w™

w™

w# ™ w ™

w#™

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w ™ w ™

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52