-
flute alto saxophone violin
nirmali fennthe 5 steps
Edition HH Ltd West End
LauntonOxon ox dg
EnglandTel: + 7Fax: + [email protected]
http://www.editionhh.co.uk
-
hh287.fsp Copyright 211 Edition HH Ltd
ismn 979 7892 37 7All rights reserved
No part of this publication may be reproduced, stored in a
retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise,
without the prior written permission of the publisher:
Edition HH Ltd8 West End
LauntonBicester
Oxon ox2
-
the 5 stepsfor flute, alto saxophone, violin and five
dancers
29
Duration c.25
-
Composers sketch.
-
vescriptive notes
The 5 Steps is a music theatre piece steeped in ritual, where
music and dance converge to express a correlation between
generative and degenerative processes that operate within nature
and human life cycles. The piece theatricalises the 5 elements of
Taoism Wood (), Fire (), Earth (), Metal (), and Water (). Each of
the Chinese characters determines the choreography for the five
dancers and the musicians. However, no element exists by itself,
but is determined by how each operates within a part of a holistic
system. Essential to The 5 Steps is the thought that
transformations in nature and the cycles of birth and death rely on
the alternation and balance of extremes, the Yin and Yang
forces.
Nirmali FennHong Kong, December 2010
notiz des komponistenThe 5 Steps ist ein Musiktheaterstck
durchdrungen von Ritual. Musik und Tanz berschneiden sich, um eine
Korrelation zwischen Zeugungs- und Vernichtungsprozessen
auszudrcken, die im Zyklus der Natur und des menschlichen Lebens
walten.
Das Stck theatralisiert die Elemente des Taoismus Holz (), Feuer
(), Erde (), Metall () und Wasser (). Jedes der chinesischen
Charakterzeichen bestimmt die Choreographie von Tnzern und den
Musikern. Allerdings existiert kein Element allein sondern wird
davon bestimmt, wie jedes innerhalb eines Teiles eines (von einem)
holistischen Systems fungiert.
Das Wesentliche in den Stufen ist der Gedanke, dass
Transformationen in der Natur und der Zyklus von Leben und Tod auf
dem Wechsel und der Balance von Extremen beruhen, den Krften von
Yin und Yang.
Nirmali FennHong Kong, Dezember 2010
bersetzung: Burgi Hartmann
-
vi
escription
THE 5 STEPS DESCRIPTION
GENERATING "begets", "engenders" and "mothers"
OVERCOMING
Violin solo WOOD Wood feeds Fire Wood divides Earth, absorbs
water, controlled by Metal
Violin Saxophone
FIRE Fire creates/produces Earth (ash) Fire melts Metal, burns
Wood, controlled by Water
Violin Saxophone
EARTH Earth bears Metal Earth absorbs Water, smothers Fire,
controlled by Wood
Violin Saxophone Flute
METAL Metal carries Water Metal chops Wood, breaks up Earth,
controlled by Fire
Violin Saxophone Flute
WATER Water nourishes Wood Water quenches Fire, rusts Metal,
controlled by Earth
Wu Xin The 5 Steps according to Chang Po-tuan Understanding
Reality
A Taoist Alchemical Classic
System can be assessed in terms of what it does rather than what
it looks like
WOOD Birth mother gives birth to child
FIRE Male inside, female outside
EARTH Ying wood=8, Yang metal=9 Birth - Child gives birth to the
mother
METAL Skeleton of the earth, represents structure, hard edges,
boundaries
WATER Dark outside, light inside
THE 5 STEPS dancers WOOD female
FIRE male
Earth female
Metal male
Water female
ancerswoo female
fire maleearth femalemetal male
water female
-
vii
stain*
BEGINNING
END DANCERS GRAVE Bodies lie on top of each other to contradict
the Overcoming Cycle
Bottom: Fire Lighting: Wood (Green) Metal Fire (Red) Wood Earth
(Yellow) Earth Metal (White) Top: Water Water (Blue-Black)
METAL
Dancer 4Flute
WOOD
Violin
Dancer 1
Saxophone
Dancer 2
FIRE
EARTH
Dancer 3
WATER
Dancer 5
MUSICIANS TRIANGLE
Violin Saxophone
Flute
* These are only ideas to aid further choreography. The score
also has choeographic suggestions; the music acts as the force
behind these suggested gestures. The aid for the choreography is in
the design of the Chinese characters.
-
viii
performance notes
NOTE HEADS
PERFORMANCE NOTES
FEATHERED BEAMSRHYTHMIC BOXES EXPRESSIVE
EFFECTS
any high pitch, preferably the most high and pinched
GENERAL
any low pitch
approximatepitch in the case of fl.or sax. With vln., refersto
any pitch
accelerando
deaccelerando
repeat box nine more times,in total, the passage in the boxis
stated 10 times in total
x 9
repeat box max. vibratopossible
vib.
THEATRE QUARTER TONES
note requires less weight or emphasis than previousnotes. Sign
comes fromspeech to emphasise a softness in articulation
signals which beatto place downyour instrument
theatrical cue
a quarter tone sharper than normal # pitch
Quarter tone sharper than normal pitch
Quarter tone flatter than normal pitch
lower natural notevery slightly
MULTIPHONICS +QUARTER TONES REFERENCE FOR FINGERINGS
all fingerings for multiphonicsand quarter tones have
beenprovided. The darknessand lightness of aparticular fingering
havedetermined the choice.However, owing to differences in
playersand instruments, alternatives sim. to theone notated may be
sought
Saxophone: Londeix: 'Hello! Mr Sax', Edition Musicales Alphonse
Leduc Daniel Kientzy L'Art Du Saxophone, Nova Musica CD
NMCD5101Flute: Robert Dick, 'The Other Flute', Oxford University
Press
o.p. s.p. s.t. sub harmonic
VIOLIN
place bow on the string at the frog and applyas much weight as
poss. with the entire arm, requires the use of the heaviest part of
the bow, weight of arm is constant
overpressure bowingson fil
sul pont.
sul tasto
requires over-pressure bowing,bow on the G-string exactly atthe
midpoint, where the 8va division of the string occurs,1st harmonic
and press heavily, the G an octave below will sound.
harmonic k.s. t.r. k.s. closed j.w. speak and play
microtonalnotes
microtonalsegments
multiphonics onmicrotonal seg.
FLUTE
fingering
tone
multiphonicbased on a naturalharmonic
key slap
tonefingeringtongue ram
fingeringtone key slap +closed mouthpiece
jet whistleloud 'whoosh'
2 vowels are spokenin 2 different bars,ch(eese), ch(ew)one is
quite closed and muted, while theother will involve less palette
resitanceand will be more open
G#C#CB
C#C
C#
short scales createdfrom leaving 1 holeopen and
fingeringdownwards as in a chromatic scale
D#
C#
fingeringtone
flatt. s.t. k.c. son-ol
SAXOPHONE
any note that is marked thus is fluttertongued.Every other note
is normal playing.
fluttertonguing
make as much noise with the keys, movingas many keys, affect a
trill with the keys only
percussive effect
key trill
do not change pitch, but timbre
bisbigliando
bis.
slap tongue
make as dryas possible
key click
tongue as fast as possible,reiterating pitch
multiple tonguing
fingering
trumpet soundsplay with only the body of the instrument, the
lips actas reeds and the opening of the sax. neck acts as a brass
mouth-piece. The mouthpiece must be removed.
T
tone,duration=q
Tduration=h
aeolian sounds
catch the harmonicsof the overtone seriesof specified note
-
HH 30 287
molto agressione
(violin stands behind 'wood' dancer)
q=60
(wood)
restrained sostenuto
(moves away from 'wood' dancer)
e=60 q=60
(seated)
leggiero
Violin
in darkness
jet.... .. .con sord.
sffp
dry spicc.
pp (tearing sound)
lighting on
ff
ord.s.p.o.p.
s.t.
ff
s.p.o.p.
s.t.
s.p.
pp
f
ord.
f
violinist walks to seat
3
p
sul Gs.t.
dark, introspective
e=60
ffI
f mf
vib.
s.t.II
f
legato poss.lour
III
II
p
(Bb)
sffz
III
p
legato poss.lour
II
III
f
3
(molto)
o.p.s.p.
IV
ff
ord.
mp
(molto)sempre f
ord.
33
molto agitato
q=60
mf
(C#)
sffz
pp
punta d'arcos.t.
pp sffz
ord.
3
pp
spicc.
sffz
II
puntad'arcos.p.
sub. pp
spicc.
ord.
sffz
pp
punta d'arcos.t.
pp
III
s.p.
sffpp
ord.
IVjet.... .. .
sffp
pp
spicc.IIIord.
ff
pp
sffz
punta d'arcos.t.
pp
IIord.
sfz
pp
jet.... .. .
sffz
Score in C
1the 5 steps
nirmali fenn(*1979)
Copyright 2011 Edition HH Ltd Printed in England
Unauthorized copying of music is forbidden by lawDas
widerrechtliche Kopieren von Noten ist gesetzlich verboten
-
HH 30 287
2
con aggressione
jet
sffz
jet
sffz
IV
sfz (ff)
s.p.
ord.
sffz
ord.
sffz
fff
punta d'arcos.p.
p fff
fff
IIIord.
ff
3
f
punta d'arcos.p.
p(molto)
fff fff
IIord.
ff
quasi gliss.
f
ff f
punta d'arcos.p.
fff
quasi gliss.
fff
(C#)
very fast gliss.
p
s.t.
(molto)
3
fff
ord.
s.p.
very fast gliss.
6
p
ord. s.p.
(C#)
fff
very fast
gliss.
sfz
ord. II
very fast gliss
.
sffz
III
very fast glis
s.
sffz
I
very fast glis
s.
molto ten.s.p.
sfffz
IV
very fast
gliss.
accel (q=60) > q=120 +
s.p. legato poss.
ff
(C#) CF# x 9
sempre ffff (poss.)
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3HH 30 287
furioso con moto
q=120 +
q=60
width of g
liss. decreasing
width of gliss. decreasingca. x 6
right onthe bridge
accel.
senza sord.
9
sostenuto (timbre scratchy, but pitch present)
30'' ca.
(q=60)leggiero
sempre ffff
ord. (tearing sound)o.p.
sfz
sul Gbattuto upbows
ppp
espressivo
p
ord.
f
p
IIIIIIV
p f
(Bb)
p
f
(non ten.)
p f
p
II
f
p (p)
(C)
mf
II
f
e=60
p
(p)
mf
ff
p
f
12
agitato
starting speed q=60
pppp
(poss.)
col legno battuto sim. to a light fluttering, tremblingsdynamics
very exaggerated, molto secco
ffff (poss.)
pppp (poss.)
ffff (poss.)
pppp (poss.)
ffff (poss.)
pppp (poss.)
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HH 30 287
4
pppp
(poss.)
ffff (poss.)
pppp (poss.)
ffff (poss.)
pppp (poss.)
con sord.
13
sostenuto
q=60
ord.
p
f
p
(natural)
f
p
f
ff
pppp (poss.)
(segue)
14 agitato(q=60)
(fire)
(sax. steps over 'fire' dancer'fire' dancer lying on the
ground)
Alto Saxophone
Violin
f
p
walks to seat
very fast trem. (no accents, uguale)
ppppposs.
fff
senza sord
(sits near violin)
misterioso22
('wood' dancer drags limp 'fire' dancer)
A. Sax.
Vln.
pp
f
ppp
7
pp
f
ppp
6
pp
f pp
25 ('fire' dancer begins to stand) espressivo
A. Sax.
Vln.
pp
pp
p
pp f
6
(f) (pp)
ff
3
vib.
p
2
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5HH 30 287
con agressione
30
con forza sostenuto
e=60
(the 'wood' and 'fire' dancers face each other, hands held in
front, as though pushing on an imaginary wall)
A. Sax.
Vln.
flatt.
f
C
pp
bis.
pp
p
C
f
p
C
C#
f
Ta
f
Bb
martel
sfp
f sub. p
f
martel
ff
35
q=60
agitato
A. Sax.
Vln.
ff
f
C#
ff
ff
C
p
ff
martel
fff
martel
s.p.
sffz pp
sffz
pp
9
9
9
9
40
A. Sax.
Vln.
C
p
C#
sffz pp
ord.
pp
9
9
9
9
42
A. Sax.
Vln.
C
mp
pp
sfpp
fff
p
p
f
pp
x 8
fff
sfp
jet
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HH 30 287
6
45
misterioso A. Sax.
Vln.
G#
fff
bis. sub. p
sfp
multiple tonguing
f
f
mp
p
sfp
jet
50 espressivoA. Sax.
Vln.
pp
flatt.
mf
p
p
3
sfp
jet(trem.)
ppp
pp
jet
sfp
(trem.)
sempre ppp
('fire' dancer covers 'wood'dancer with a light cloth,
'wood'dancer lying on the ground)
55 Xsenza misura
(the 'fire' dance)misteriosolibero
A. Sax.
Vln.
Tf
C
fff
bis. solo
ff
pp (pp)
(natural)
p
ff
A. Sax.
ff6
sub. p6
f
pp
f
7
espressivo tenuto
A. Sax.
sub. p mp
f
p
3
(poco)
G#
bis.
sub. p
ff
f
p
f
p
vib.
mp f
C
p
norm.
(molto)
-
7HH 30 287
2
A. Sax.
no trill.D#
(molto)
norm.
(molto)
ff
7
sub. p
(molto)
f
Tc p
norm.
(molto)
no trill.
(molto)
p
norm.
con aggressione
A. Sax. ff
Tclegato poss.
C
f
ppp
P
f
ppp
f
ppp
p
molto agitato
leggieroespressivo
A. Sax. (p)
ff
sub. p pp
mp
p f
mp
vib.
poco agitatoleggiero
espressivo
A. Sax. p
double tongue
(poco)mp
sub. f
s.t.
sub. p
f
3
ff
secco espressivo A. Sax.
Vln.
sempre p
p f
ff p f
(molto)
sub. p
multiple tonguing
('from underneath the cloth, 'wood' dancergrabs, with 1 hand,
the ankle of 'fire' dancer )
con aggressione
59
('fire' dancer prepares to fall to the ground,with 'wood'
dancer's grip still on ankle)
A. Sax.
Vln.
sub. ff
bite reed
p
key trill
sempre pp
bite reed
pizz.
ff
(pizz. normale)
(no accent)
ppp
(pizz.)
ff 6
(tune D string a semitone down to C#)
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HH 30 287
8
Xsenza misura
(q=60)largo, molto rubatohaunting
64
A. Sax.
sempre ppp
sempre sub tones
3
3
p
sempre pppp poss.
x 3k.c.
k.c.
A. Sax.
k.c. k.c. k.c. + still lightly breathing into
instrument
x 3
k.c. only
repeat ad lib. until dynamic inaudible
('fire' dancer lies still on the ground, face down)
A. Sax.
son-ol
any overtones poss. ad lib.
pp
sempre pp
wide vib.
D#
C#
non vib.
(segue)
65
('earth' dancer emerges from the dark)
largo, brooding
(q=60)
(earth)
e=60
Alto Saxophone
Violin
p
hum Db
ppp
D#
p
C#
(poco)
non vib. lipbendsub.ppp
mp
proceed to stand behind 'fire' dancer, arms
vib.
spread out to form a cross
non vib.
EAC#G
con sord.C#G
sempre ppsempre sostenuto
arconon vib.
bow changes as inaudible as poss.slow bowing
q=6071
A. Sax.
Vln.
p
hum Db
ppp
Ta
p
vib.
non vib.
pp
mp
Bb
Ta
ppp
3
-
9HH 30 287
('earth' dancer rolls 'fire' dancer, 'fire' dancer remains
still)
molto agitato
78
A. Sax.
Vln.
pp
bis.
pp
D#
B
bis.
Tc
pp bis.
pp
D#
C#
bis.
pp
C
bis.
pp
Bb
bis.
pp
bis.
pp
C1C2C3
bis.
82
('fire' dancer stands)largo
A. Sax.
Vln.
pp
Tc
bis.
pp
C4
C3
bis.
p
mp
non vib.
lipbend
pp
p
(Bb)
vib.
lipbend
pp
pp
C
C
B
87 (roll 'wood' dancer)
A. Sax.
Vln.
mf
pp
vib.
p
D#
pp
p
B
mp
2 dancers proceed to stand behind 'wood'
p
dancer, arms spread out
pp
p
mp
bis.accel. trill
GG
Tc
vib.
mp
non vib.
D#
Bb
95
A. Sax.
Vln.
mf
vib.
pp
Tf
non vib.
B
p
no accel.D#
(poco)
p
D#
(poco)
p
D#
mp
p
pp
Tf
p
Bb
pp
bis.
-
HH 30 287
10
103
('wood' dancer stands)
(the 'earth' dance)
leggiero
meno mosso
q=48A. Sax.
Vln.
hum
p
Tf
(pp)
B C
B
Tf
mp
B
p
(poco)
p
D#
C#
pp
109
A. Sax.
Vln.
p mp
p
Bb
p
Bb
mf mp
mp
bow changes gradually become more audible, bowing gradually
getting faster
sempre p
113
piu mosso
q=60A. Sax.
Vln.
mf
C
C
B
p
p
C
B
mf
D#
Bb
Tf
B
p
C
B
sempre very slow circular bowing ord s.p.
116
A. Sax.
Vln.
accel. bowing
ord.
p
mp
s.p.ord.
p
s.p.
mf
ord.
p
mf
s.p.ord.
p
s.p.
f
ord.
p
s.p.
ff
ord.
p
s.p.
fff
ord.
p
s.p.
fff
ord. s.p.
p
x 2ord. s.p.
fff(poss)
-
11
HH 30 287
q=60119 meno mosso
e=80
A. Sax.
Vln.
p mf
f+
D#flatt.
C#
p
mf
B
senza sord.
122 piu mosso
q=60
A. Sax.
Vln.
p
f
flatt.C
f+
C
B
p
D#
Bb
f
mf
C
126
A. Sax.
Vln.
pp
(molto)
Xsenza misura
meno mosso
(ca) e 60
128
A. Sax.
Vln.
growl
ffff (poss.)
any pitch dissonantwith fundamental
wild, sim to electric guitar pick-up raucous (get cue from
vln.)sim.
o.p.sub harmonic
ffff (poss.)
norm. punta d'arco
sfz
o.p.sub harmonic
ffff (poss.)
norm. punta d'arco
sfz
o.p.sub harmonichold as longas poss.
ffff (poss.)
(cue sax.)
sffz
o.p.sul pont.
very fast gliss.
-
HH 30 287
12
piu mosso
q=60129
tranquillo A. Sax.
Vln.
p
growl
mp
gliss. p
sempre p
III
mf
IV
pizz. gliss to any noteord.
pp
132 A. Sax.
Vln.
mp
mp
mfgliss. gliss.
ppp
arcocon sord.
(poco)
espressivomolto rubatomolto meno mosso
e=40x=80
139
A. Sax.
Vln.
sempre p
sul A
143 piu mosso
q=60 A. Sax.
Vln.
pp
ppp
(molto)
-
13
HH 30 287
148
(flautist's back is to the 'metal' dancer, who sits
cross-legged, arms out-stretched, both hands flung behind him,
violently holding the legs of the flautistwho is standing, flautist
pretends to wrench him/her-self from the dancer's grip.)
explosive and volatile, marcato
(q=60/e. =80)
(metal)
misterioso
Flute
Alto Saxophone
Violin
sffz
flz.
sffz
sub. p
molto secco
7 sub. ff
sfz
gliss.
p
secco
sub. fff
flz.
sub. ppp
pp
wood-block slap tongue (s.t.)(sim. to a pizz.) secco7
accordatura
151 Fl.
A. Sax.
Vln.
D#
(poco)
norm. fingering
p
sfz p
sfz pp
ff
ff
C#
ff
CBC#
sffz
s.t.
4
-
HH 30 287
14
157
espressivo
molto espressivo Fl.
A. Sax.
Vln.
p
seccok.s.
G#D
ff
D#
p
D#
C#C
sfz
t.r.
f
ppp
D#
sempre seccos.t.
pp
mf
s.t.
163 molto agitato
Fl.
A. Sax.
Vln.
p
seccok.s.
pp
ff p
sfz
t.r.
s.t.
pp
mf
s.t.
168
con agressione
Fl.
A. Sax.
Vln.
ff p
sfz
t.r.
flz.
D# G#
ff
D#
D#
D# G# D#
pp k.s.closed
p
f
k.s.
mf
s.t. pp
s.t.
mp
s.t.
mf
-
15
HH 30 287
(flautist breaks free of 'metal' dancer and slowly walks towards
musicians, let the violin lead you in; sit down in the front, a
little away from saxophone and violin, forming the top-tip of the
'musician's triangle')
172
meno mosso
(e=60)e=q
(q.=40)(q=60)
piu mosso
furioso
Fl.
A. Sax.
Vln.
flz.
ff
sfz sfz sffz4:3y
flz.
p
sul Asenza sord.
(trem. same speed asthe flute fluttertongue)
ff
sffp
ff
sffp
ff
(lower dynamics apply to pizz.)
f
p
p
('metal' dancer approaches 'wood' dancer)
agitato179
Fl.
A. Sax.
Vln.
sfp p sfp
p sfp
p
(poco)
182 misterioso molto agitato
Fl.
A. Sax.
Vln.
ff
secco
5
mp
II
(dynamics apply to pizz.)
mf
p
s.t.
p
vib.
sfpp
ord.
(molto) II
sfp
slow gliss.
(p)
p
-
HH 30 287
16
189
Fl.
A. Sax.
Vln.
ff
secco D
mp
D#
bis.
p
pp
pp mp sffp
f p
196 Fl.
A. Sax.
Vln.
sfz
ch(eese)
(speak)and play
p
j.w.
sfz
arco
sfpII
p p
f
gliss.
p
sfp
p
204 Fl.
A. Sax.
Vln.
ch(ew)(speak)and play
p
sfz p sfz p4:3y sffz
p
sffz
marcato
ff
flz.
gliss.
p
molto secco
sub. f ff
(C)
-
17
HH 30 287
207
con aggressione tenuto
Fl.
A. Sax.
Vln.
sfpp
punta d'arcoseccocon sord.
very fragile, sostenutomolto espressivo, senza vib.
pp
s.p. ord.
(Bb)s.t.
p
ord.
p ppp
ppp
212
Fl.
A. Sax.
Vln.
sfpp
C#C
flz.
ff
secco
ff
sffz
flz.
sffz
gliss. gliss.
sub. p
(molto)
sffp
(molto)
fff
sub. ppp sempre ppp
('metal' dancer's foot is on the chest of 'wood' dancer, 'fire'
dancer pulls 'metal' dancer away.)
216
misterioso
Fl.
A. Sax.
Vln.
fff
(poss.)
sffz
j.w.
sfppp
G#
C#CB
C#C
C#
D#
D#
D#
D#
maintain L.H.
C#
f
G#
sfz
C#
sfppp
C
B
f
sfppp
-
HH 30 287
18
221
('metal' dancer approaches 'earth' dancer.)
molto agitato espressivo Fl.
A. Sax.
Vln.
mp
G#
p
C#CB
C#C
C#
D#
D#
D#
D#
maintain L.H.
sfz
k.s.
f
molto secco
ff 7
mf
mp
(sempre mp)
senza sords.p. mp
very slow bowing, legato as poss
(sempre mp)
224 darkFl.
A. Sax.
Vln.
ff
pp
p
vib. sfz
non vib.
p
sfz p
vib. non vib.
(molto)
C1C2 breathe ad lib or continous breathe
231
Fl.
A. Sax.
Vln.
sub. pp
sfz
G#Bb
D#
pp
f
vib.
pp
C3C1
-
19
HH 30 287
235 Xsenza misura
starting speed q=60
Fl.
A. Sax.
Vln.
bliberostacc. dry as poss.(sim. to a hollow pecking sound)
p
D#
G#bD#
D#
f
D#
f
D#
D#
D#
C#
C#C
CBC#
p
maintain L.H. C#
D#
C#
f
D#
D#
D#
sub. p
D#
D#
D#
G#D#
D#
D#
D#
G#
D# D#
D#
D#
f
D#
3
sustain throughout, stagger breathing with violin bowing or
continous breathe
sustain throughout, stagger bowing with saxophone breathing
Fl.
A. Sax.
Vln.
D
b
p
D#D bD#
D D#
DD#
D D#
D#D bD#
D#DD#
D#DG#D#
D#D D#
D#
f
D#
f
p
f
C#C
D#
D#
bD#
bD#
p
D#
D#
D#
D#
D#
D#
G#
D#
G#D#
(p)
D#
D#
D#
D#
f
D#
Fl.
A. Sax.
Vln.
f
p
pp
b
D#
G#b
D#
bD#
p
b
D#
bD#
p
bD#
bD#
bbC#
bCC#
b
pp
C#CB
C#
G#
(p)
b
D#
bD#
bD#
D#
D#
f
D#
D#
G#
(f)
D#
D#
D#
G#
p
D#
-
HH 30 287
20
molto agressione
piu mosso
q=69
Fl.
A. Sax.
Vln.
D#
D#
D#
D#
C#
D# D#
D#D D#
D# DG#D#
(molto)
D#D D#
DD#bD#
sfz
sfz
sfz
sfz
normmolto secco
ff
3
C3
(molto)
C3C1
ff
GC1C3
ffff
II
(molto)ff
III IVffff
239
edgy brutal, unrelenting
Fl.
A. Sax.
Vln.
pp
mp5
sub. fff
G#
C#
G#
G#C#
G#
f
maintain L.H. DG#
fff
D#
DG#D#
DG#D#
DG#
f
D#
maintain L.H. (marcato)
D#
fff (poss.)
243
meno mosso
('earth' dancer pressed to the ground by 'metal' dancer.)
q=60
('fire' dancer suddenlypushes 'metal' dancerinto the dark.)
(q.=40) Fl.
A. Sax.
Vln.
f
mp
fff
GG
Tc
sfp
f
mf
fff
jet
sffp
-
21
HH 30 287
248
(from the dark, 'metal' dancer drags a limp 'water' dancer, as
dancer is dragged, she graduallybecomes more stiff and resistant to
the 'metal' dancer's pull, when body is taut, she lifts 'metal'
dancer and drops him to the ground. Then one by one, she drags each
of the 4 dancers, lying them on top of each other to form the
dancer's 'grave', in order, 'fire'-'metal'-'wood'-'earth')
molto leggiero
q=40
(water)
Flute
Alto Saxophone
Violin
M1
p mp
3
use either fingeringsrandomly throughout
G#
M2
p
C#
G#
mp
3 M1either
M2
repeat box, senza rubato
D#
p
C#
mp
p
C
3
mp
3
repeat box, senza rubato
sempre p
flautando legato poss. no accentscon sord.
gliss. gliss.
251
Fl.
A. Sax.
Vln.
gliss.
gliss. gliss. gliss.
255
Fl.
A. Sax.
Vln.
gradually more and more breathy
gradually more and more breathy
gliss.
gliss.
gliss.
gliss.
5
-
HH 30 287
22
258
('fire' dancer dragged into the centre of the ''musicians'
triangle'')
q=60
Fl.
A. Sax.
Vln.
(get cuefrom vln)
very breathy
son-ol
any overtones poss. ad lib.
(poco)
(get cuefrom vln)
very breathy
son-ol
any overtones poss. ad lib.
(poco)
gliss.
gliss. (cue sax/fl.)
mf
ord.II
261
tranquillo, molto rubato
e=60
Fl.
A. Sax.
Vln.
pp
mp
pp
3
mp
bis.3
pp
pp
mp
D#
Bb
3
bis. pp
mp
G#
3
bis.
flautando
sffz p
flautando, very mellowII
p
mp p
mf
3 mp
mf
p3
263
Fl.
A. Sax.
Vln.
mp
pp
3
mp
bis.3
pp
mp
(+D/D#)
pp
3
mp
bis.3
pp
mp
pp
3
mp
bis.
3
pp
D#
mpbis.
pp
C2C1
mp
bis. 3
pp
C3C1C2
mp
3
bis.
pp
G#
mp
bis.
mf
ord.
p
mp
mf
p
mf
p
mp
p
-
23
HH 30 287
265
('metal' dancer placed on top of 'fire' dancer)
piu mosso, delicate, non vib.
q=60
Fl.
A. Sax.
Vln.
pp
mp
3
pp
mp
mf mp
mp
mf
mp
very slowly loosen string until floppy, keep bow on open G, no
accents, slow bowing (sim. to a slow, whirring/purring descending
gliss., slightly menacing)
sempre pp
IV
267
Fl.
A. Sax.
Vln.
pp
mf
mp
mp
mf
pp
270Fl.
A. Sax.
Vln.
pp
3
3
p
p
mf
sub. pp
-
HH 30 287
24
273
('wood' dancer placed on top of 'metal' dancer)
ghostly, haunting Fl.
A. Sax.
Vln.
pp
(twist tube slowly until head joint removed)
f
gliss.
p
mp p
mp p
saxophone takes off mouthpiece
slow bowing on floppy string, stop loosening, senza sord while
bowing
p
277 ('earth' dancer placed on top of 'wood' dancer)
Fl.
A. Sax.
Vln.
gliss.
headjoint and attachment totally removed (prepare to play only
with headjoint)
f
headjoint gliss.
fluctuating gliss.
f
fluctuating gliss.
very slowly loosen string until floppy, keep bow on open D, no
accents, slow bowing
p (poco decres.)
III
284 ('water' dancer goes to mount the 'grave' of bodies, lying
on the top of the pile)
Fl.
A. Sax.
Vln.
f
fluctuating gliss.
f
fluctuating gliss.
trumpet soundsplay with the bodyof the instrument(mouthpiece
off)
p
T
sax. walks towards and stands at the head of the dancer's
'grave'sax. stands with back to violin
trumpet soundsplay with the bodyof the instrument(mouthpiece
off)
p
T
as hand approaches the end of the tube, shake very vigorously,
as though playing a vib. in the air=microtonal gliss.
pp
bow on floppy string, stop loosening very slowly loosen string
until floppy, keep bow on open A, no accents, slow bowing
p (poco decres.)
-
25
HH 30 287
290
Fl.
A. Sax.
Vln.
mf
mp
T
flautist walks towards saxophonist
p
T
mp
fl./sax. face each other
p
T
mf
mf
p
T
T
mf
p
p
T
mf
bow on floppy string, stop loosening
pp
296Fl.
A. Sax.
Vln.
p
play into the bell of sax.
T
play out from the bell of sax.
f
place palm slowly over the bellof the sax., muting it, as
thoughputting a hand over someone'smouth.
p
T
f
T
mf
violin stands and walks towards dancer's 'grave', stand with
back to audience, but face dancers, ie. at the foot of the dancer's
'grave'
very slowly loosen string until floppy, keep bow on open E, no
accents, slow bowing
p
I
300
Oxford:15.06-23.08
Fl.
A. Sax.
Vln.
like an offering,place flute on the dancer's 'grave'
all lighting off,stage in blackness
like an offering,place sax. on the dancer's 'grave'
ppp
bow on floppy string, stop loosening
like an offering,place violin ondancer's 'grave'
