Volleys of Light and Shadow - University of Liverpoollivrepository.liverpool.ac.uk/3017153/1/VolleysOfLightAndShadow.pdf · tom1, tom2, tom3, tom4: taken from a set of toms, ordered

f o r c h a m b e r e n s e m b l e a n d e l e c t r o n i c s o u n d

Command e d e l ' I r c am -Cen t r e Pomp i d ou

M u s i q u e é l e c t r o n i q u e réalisée dans les studios de l 'Ir cam

Mus iqu e é l e c t r on i qu e : Ben Hackbar th , Gi lber t Nouno

!

2 0 1 4

Volleys of Light and Shadow

B e n j a m i n H a c k b a r t h

Program notes and recording excepts:http://www.benhackbarth.com/vls

Full recording available at:http://www.benhackbarth.com/vls/vls.mp3

INSTRUMENTATION

Flute/Piccolo

2 Bb Clarinets

Contra-Bassoon/Bassoon

2 Bb Trumpets

Trombone

2 Percussion

2 Violins

Viola

Cello

Bass

STAGE PLACEMENT

PERCUSSION INSTRUMENTS

Percussion 1

Percussion 2

bucket: a simple, large plastic bucket mounted on a drum stand and played on its back

tom1, tom2, tom3, tom4: taken from a set of toms, ordered low to high. each head is dampened with a small disc of material, making the sound duller and less resonant. For example, an additional drum head may be laid over each tom's membrane, making its sound more dull and less resonant.

guiros: do not have to match – e.g. may be made of different types of materials.

wb1, wb2, wb3, wb4: woodblocks, ordered low to high

gong: small unpitched gong, lying flat on a table dampened by foam

cabasa: perhaps mounted to the table to that it is easily played by both hands and mallets.

can: a 2-4 liter tin can played on its back on a table dampened by foam

anvil: on a table dampened by foam

slapsticks: do not have to match – e.g. may be different sizes

ratchets: do not have to match – e.g. may be different sizes / timbres

ENSEMBLE TECHNIQUES

INTERPOLATE RHYTHM - This indication modifies the performance of written rhythms in a given passage such that brief accelerations and decelerations “blur” the changing speed of attacks. To the left is shown a short example. Underneath the symbolic notation are two rows of dots corresponding to individual note attacks. The first line of dots shows the normal performed rhythm. The second row of dots shows the desired result of the “interpolated rhythm” instruction. Such modifications essentially ensure that, rather than abrupt

VLN1

VC VLA

DOUBLEBASS BASSOON

VLN2

CLN2CLN1 FL

TBN

PERC 1 PERC 2

TPT2 TPT1

changes in speed, the speed of successive notes is continually modified to achieve a fluid, continuous result.

DGLISS - Glissandi notated with a dotted line indicate that the rate of pitch change is coupled to the changing amplitude of the note. Thus, louder dynamics result in a faster glissando speed while softer dynamics indicate a slower glissando. As dynamics change, the speed of glissando should change in tandem. Consider the following examples which illustrate this coupling:

1. A static amplitude yields an even glissando, equivalent to an ordinary glissando.

2. However, a change in dynamic affects the slope of the glissando. In this case, the dynamic increase from p to mf create a steeper pitch change towards the end of the note.

3. The slope of the change in dynamic affects the slope of the glissando. Here, the exponential hairpin creates a more dramatic pitch change when compared to 2.

4. The intensity of dynamic change also affects the intensity of the glissando speed. A change from p – mp only creates a slight change in glissando slope...

5. while a change from p to mf yields a more dramatic slope in pitch change when compared to 4.

6. Any change in amplitude, however slight, affects glissando speed. shown here, an accent.

Consider a more complete passage utilizing this notation:

...becomes...

WIND TECHNIQUES

– An unpitched noise made by blowing through the instrument while fingering the indicated note. By default, exhaling.

– End a sustained note abruptly, punctuated with tongue of other similar percussive event.

– Exhale. – Inhale.

FLUTE-SPECIFIC TECHNIQUES

– Tongue Pizzicato. By default, articulated with a 't' syllable, but also performable with 'p' or 'ts' if indicated. Written duration is insignificant.

– Key click. Written duration is insignificant.

– Cover embouchure hole completely with lips, exhaling (by default) or inhaling (if indicated) into the instrument.

s, p,k

– Written above notes, these indicate syllabic additions to unpitched tones or articulations.

d.t./flt.

– Indicates a tremolo articulation method: d.t. = double tongue as fast as possible. flt. = flutter tongue. By default, flutter.

– Half pitched, half noise.

CLARINET-SPECIFIC TECHNIQUES

– Slap tongue. Written duration is insignificant. – Constricted oral cavity.

– Ordinario oral cavity.

BASSOON-SPECIFIC TECHNIQUES

– Slap tongue when reed is removed. Written duration is insignificant.

STRING TECHNIQUES

– Mute strings with left hand resulting in a mostly unpitched sound. The left hand pressure is relatively hard while the bow pressure is relatively light. When this notehead is used, register corresponds to vertical bow placement – higher notes are closer to the bridge, lower notes are over the fingerboard. Left hand placement should also be used to sharpen registral differences. Clef is insignificant.

– Indicates vertical bow movement towards the fingerboard (low) and towards the bridge (higher).

CLBat

– Col Lengo Battuto, played by bouncing the wood of the bow against the string(s). Almost always with a muted notehead.

– Scratch Tone – high pressure and slow bow speed. Use left-hand muting to avoid pitched resonances.

– Scratch tone behind the bridge on the string binding. Use left-hand muting to avoid pitched resonances.

verticalbow

– Accompanying a scratch tone, indicating to moving the location of the bow on the string towards or away from the fingerboard.

slowbow

– Accompanying a scratch tone signifying a slow rate of motion yielding intermittent and non-continuous impulses.

– Unmetered jeté. Grace notes indicate approximate number of iterations and bounce speed with note durations (eighth, sixteenth, etc.).

– Forcefully slap the strings on the fingerboard with the left hand.

– Harmonic pressure. – A snap “bartok” pizzicato.

DOUBLE-BASS TECHNIQUES

Unlike the other string parts, all double bass harmonics are notated by indicating the desired pitch, not the string to play and the node to touch. The bass player should find the string and node which best suit the musical context. All harmonics notated in treble clef are written at sounding pitch.

TRUMPET TECHNIQUES

– An unpitched noise made by blowing through the instrument while fingering the written pitch. By default, exhaling.

– An unpitched air sound that emanates from the removed 2nd valve slide, not the bell.

– Slap tongue. Written duration is insignificant. – Percussive sound made by slapping the palm of the hand against the mouthpiece or leadpipe (removing the mouthpiece if desired).

– Pedal tone, pitch is unstable. – Stop sustained note with tongue, producing a slight accent and a slight disruption to the timbre.

TROMBONE TECHNIQUES

– An unpitched noise made by blowing through the instrument in the position of the written pitch. By default, exhaling.

– Percussive sound made by slapping the palm of the hand against the mouthpiece or leadpipe (you may remove the mouthpiece if desired).

– Slap tongue. Written duration is insignificant. wandering pitch – A wavering, pinched, unfocused, high-pitch that

freely wanders between several overtones while keeping the same slide position.

– A un-metered trill produced with the valve. – Stop sustained note with tongue, producing a slight accent and a slight disruption to the timbre.

– Pedal tone, pitch is unstable and unfocused.

PERCUSSION TECHNIQUES

– Staccato performed as a deadstroke. – Play with the shaft of the mallet.

– An arrow across the note stem indicates a scraping motion.

– Rimshot.

brass – Indicates to play with the tip of a brass mallet. Or triangle beater, where appropriate.

– This clef is used to indicate what part of the shaft of the mallet makes contact with the instrument. Gradual changes across time, indicated with horizontal lines, should result in an audible change in timbre.

– Slurs are used exclusively to indicate a metered jeté. Most often written to be played with the shaft of the mallet, as shown to the left.

– Unmetered jeté. Grace notes indicate approximate number of iterations and bounce speed with note durations (eighth, sixteenth, etc.).

– A two-note quasi-jeté, where the second note is deadsticked and abruptly stops the resonance of the first.

– A dashed slur indicates a single gesture where the attacking implement (first note) remains depressed and the release (second note) is created from an energetic and noisy gesture scraping the articulative implement off of the instrument.

– A tremolo produced with the stick in contact with the instrument – after the initial attack, the stick should not leave the surface. The tremolo is created by rapidly moving the stick back-and-forth across a small area. Accents and dynamics are created by expanding/contacting the area, changing the size of the motion. In an unmetered tremolo, as fast as possible. If repeated attacks, each note is a single motion.

– Make circular motions of the object with the specified implement. The implement should remain in contact with the surface of the playing object over the course of the note's duration. In an unmetered tremolo, as fast as possible. If repeated attacks, each note is a single circular motion.

ELECTRONIC PERFORMANCE

The electronic part is realized with a Max/MSP patch available from IRCAM. The spatialzation algorithms in the patch may be configured to reproduce the electronic part for any number of loudspeakers. The minimum channel count is 2.1 – configurations up to 24.2, including the use of elevated channels, have been tested. It is important to note that subwoofer channels are supplied by the patch and should not be summed at the console due to delay-based panning algorithms.

Depending on the size of the hall, slight amplification may be used on select players in order to boost the overall level to meet that of the electronics.

ELECTRONIC NOTATION

Electronic sounds are notated on an 18 line staff where the middle space corresponds to middle C. Contrary to typical Western notation, the interval between any adjacent line-space or space-line is a semitone. Thus, the staff's top line corresponds to F5 (the normative top line of the treble clef) and the bottom to G3 (the normative bottom line of the bass clef).

Events are shown in a “piano-roll” type notation which is synchronized to the acoustic score. Pitched electronic events are notated according to their time-varying fundamental frequency. Unpitched sounds are notated according to a time-varying measure of the distibution spectral energy. Amplitude is shown with both note thickness and darkness.

THANK YOUThank you to the following researchers who's insights and ideas have inspired and enabled my work: Norbert Schnell, Joachim Goßmann, Arshia Cont, Diemo Schwarz and Philippe Esling.

q = 108Violent, torn-off gestures.

Piccolo

Clarinet in Bb

Bass Clarinetin Bb

Contrabassoon

Trumpet in Bb

Trumpet in Bb

Trombone

Percussion 1

Percussion 2

Violin 1

Violin 2

Viola

Cello

Double Bass

Clavier

ffp

SP

ff p ff

dgliss

p ffmpdgliss ff

dgliss

5 3

ffp fp

dgliss

ff

dgliss

p

dgliss ffp fp

SP

ffdgliss

5 5

ffp fp

dgliss ff

dgliss

p ffmp

dgliss

fp ff

dgliss

3 5

ffp fp

dgliss

ff p ffmp

dgliss

dgliss

ff

3 3 5

ffp

harmonics in trebleclef at sounding pitch

ff ff p ff

3

RH: audible sfzLH: inaudible synchronization

10

Vln 1

Vln 2

Vla

Vc

Db

Clv.

18

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fp

ffmp mf ffp fpdgliss fp

dgliss ffdgliss

5 3

fp

SP

fp

3

ffmp mf ffp fp

dgliss ffdgliss

3

fp

SP

ffmp mf ffp fp

dgliss ff

dgliss

3

mp

ffmp ffp ff

dgliss

5

mp ffmp ffp mp

3

f

gliss

3

ffp f p fmp

3

ST

f p

5 5

dgliss

SP

ffp

IV

f

dgliss

p fmp

3

ST

f

ord.

p

5 5 5

dgliss

ffp f pfmp

ST

f p

ord.3 5

5

dgliss

ffp f p fp

33

5

ffp f p fp3

dgliss

2

27

Vln 1

Vln 2

Vla

Vc

Db

Clv.

35

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff ffp

SP ord.

ff p fp ffp ffp ffp fp

3 3 53

ffffffp

SP ord.

ff

SP ord.

p

fp

3

ffp

3

sfz

3

ff ffp

SP ord.

ff

SP ord.3

ffp ffp sfz

3 3

fffp ff

SP ord.

p

ffp

3

ffp sfz

3 3

ffffp

SP ord.

ff

SP ord.

p

3 3

MSP

ff

ffp

ffp

SP

ffp

dgliss

5

dgliss

sub f ff

MSP

ffp

SP

ffp

SP

ffp

dgliss

5

dgliss

sub f ff

MSP

ffp ffp mp

3

ffp

SP

ffp

dgliss

55

dgliss

sub f

MSP

ff

ffp

5

mp3

III

ffp

SP

ffp

dgliss dgliss

ffp mf

II

p ffMSP

5

3

44

Vln 1

Vln 2

Vla

Vc

Db

Clv.

52

A A bit so!er, but with thesame white-hot intensity.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fp

ST

mf

ord.

dgliss

3

p mf p

gliss

f

ST

3

mp

ord.

3 3

gliss

fp

ST

mf

ord.

dgliss

p mf

3

p

gliss

f

ST3

ord.

mp

3 3

fp

ST

mf

ord.

dgliss

3

p mf p

gliss

mf pf

ST

3

mp

ord.

3

gliss

fp

ST

mf

ord.dgliss

p mf pf

ST

3mp

ord.

3 3 5

5

3

gliss

fp

3

f fp

SP

mf p

gliss

f

ST

3mp

ord.3 5

3

3

5

gliss gliss gliss

fff

gliss

(D)

fp fp

3

f mfp fffp

5

3

SP

gliss gliss

fff

gliss fp fp

3

mf fp fffp

5

3

fff5

fp f mfp ff

fp

5

3

gliss

fff

fp fp mf fp ff

fp

53

fff

fp fp fp f 5 mf ff

fp

3

4

65

Vln 1

Vln 2

Vla

Vc

Db

Clv.

73

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f fp

5

ffp f p ff

dgliss ffp fp f p

3 5

ffp

gliss

f p ff

dgliss mpffp fp

6

ffp fp ff

dgliss

ffp fp f p

3 5

ffp

gliss

f p ff

dgliss

mp

I pizz

arco

ffp f

53

ffp f p ff

mp ffp fp f p3 5

3

ff

3

p f fmp f 3 mf ffp ffmf

ffmp f 3 f mf ffmf

5

f

f 3

f mf ffmf

3 5

pizz

f

arco

ffp fp fp SP

f

3

subp f mf ffmf

3 5 5 3

f

f 3 mf ffp ff

3

5

81

Vln 1

Vln 2

Vla

Vc

Db

Clv.

88

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f

3

mp ff

dgliss

f ffmp ffp

SP5

ffp

5 SP

f

3

mp ff

dgliss

f ffmp ffp ffp

SP

ffp

53 5 5

f

II3

fmp ff

dgliss

nailpizz

f ffp

arco

ffp5

f

3

mf ff

dgliss

f ffmp ffp

SP5 5

fp f p fp

dgliss

fp

dgliss

fp fp

dgliss5

5

ffp ffp mf ffmpfpdgliss

f pp

dgliss

5

dgliss

ffp ffp mf ffmp fpdgliss

f ppdgliss

3

dgliss

ffp ffp ffp mf ffmp fpdgliss

f pp

dgliss3 5

dgliss

ffp ffp5 ffp mf ffmp

fpdgliss

f pp

dgliss

3

3dgliss

fp fp

dgliss

fp fp

dgliss

mf p

dgliss

f

gliss

3

6

97

Vln 1

Vln 2

Vla

Vc

Db

Clv.

104

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff5

ffp ffp ff

3

mfpp

II

5

ff ffp

3

ffp

ff3

ffp

3

ff

3

mfpp

SP

p

sempre SP

ff

f f

pizzI3

arco

3

jeté pizz

arco sempre SP

f

Each note change slightlyaccented until m. 118

3

p

3 6

ffp ffp mf p

sempre SP

p f

0

3p


35

sempre SP

p f p


mfp3

5 35

f p


6 3

3

pizz

mp5

3

7

112

B

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

123

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

Solo; Violent and corrosive timbre.Make the difference between soft and

loud extreme and unpredictable.Accented attacks drift slightly sharp.

Piccolo

p ffp ffp ff p fp ffp

3

ffp

3 5

mfp

3

III

pp

mfp

ord. arcoII

p pp

mf

f p ff p

ffp f

dgliss

pizz

ff

5

ffp f p f

dgliss

pizz

ff

3 5 5

ffp f p

dgliss f f

dgliss

3 3

ffp

glissando on II while playing I

dgliss

f

SP pizz

ff

3 5

pizz

f

nailpizz

f

5

3

l

k

i

8

132

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

142

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mfpp� f pp fp fmp subpp p fmp

no vib.

f

pizz 3

mp

fp

arcoSP

pizz

nailpizz

f

arco

fp

fp

5 3

IIIpizz

fp

arco3 3

fp

arco5

3

pizz arco

p

fp

5

pizz

arco

fp

5

5

3

ff ffp ff ff p fp ff p ff ffsubmp

3 5

fp ffp

dgliss

I

mf

pizz

6

3

f p ffpdgliss

pizz

f

5 3

f p ffp

II

mf

pizz

f

5

f p ffp

dgliss

pizz

f

3 3

fp

dgliss

ff

pizz

f

3

6

k

kk

9

151

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

158

Picc.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff

"ff "

pizz

fffp

arco

3

f

SP

fp

gliss 3 3

arcoIIIII

f

arco

ffp f pp 3 5

gliss

arcoIII

f

pizz

ffp

arco

f pp

5

3

pizz

ff

arco

ffp f pp 3 5

pizz

mf3

f

arcoIII

3

5

3

ffp

3

ffp fpp fp

ff p

dgliss ff

SP 5

pizz

f

arco

f fp

SP

gliss gliss gliss

3

ff pdgliss ff

SP

pizz

f

arco

f

SP

fp

gliss

5 5

gliss

ff p ff

SP

nailpizz

f

pizz5

arco

ff ffp

SP

gliss

3 5 IV

ff p ff

SP

pizz

f

arco

f

Light, feathery, fluid tremoli.Should not produce distinct harmonic pitches - rather, an airy and noisy sound.

The speed of the tremoli get faster when dynamic increases.Dynamics are prescriptive of effort - result will be softer than written.

35

fppff

dgliss

5

f

pizz

mf

arcoIII

f

5

k

k

k k

i

k

k

i

k

10

169 CPicc.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fpp fpp

5 3

Soli Clarinet 2.At the edgeof hearing.

ppp mp ppp p ppp mf

fppp

5

Bass Clarinetin Bb

Soli Clarinet 1.At the edgeof hearing. ppp

mp ppp p ppp mf

fppp

5

fff

mp

dgliss

6

gliss

fff

5

mf

pizz

3

gliss

fff

gliss

III

pizz

mf

3

"f "

dgliss

p

dgliss

"mf "

dgliss5

p

dgliss

"mf "

dgliss dgliss

"f "

gliss

5 5

fff3

pizz

mf

kk

ll

kk

ll

l

kk

11

181

Picc.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff p mfp

To Flute...

mp ppp

mp ppp

mp ppp

mp ppp

HARMON mute, stem out

mf

ppp mp ppp

pizz

f

5

nailpizz

mf



p

arco gliss


The speed of the tremoli get faster when dynamic increases.Dynamics are prescriptive of effort - result will be softer than written. sfz

arco

dgliss dgliss

p

dglissgliss

5 3

pizz

f



33

"mf "

dgliss

p

dgliss

"f "

dgliss

pizz

f pp

sempre 8va until m. 237arco

gliss

"mf "dgliss

p3

gliss

fp

arco

pp mp ppp

5

3

RH: audible pizzicatiLH: inaudible synchronization

kk

k

k

k

12

191

Picc.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp ppp

mp mp pp

mp 3

mp ppp mp

mp pp

mp

{

3

mp ppp mp mp pp

mp 3

"mf " 3

dgliss

p

gliss

sempre 15ma until m. 237

p

gliss

"mf "

dgliss dgliss

p5

5 gliss


p

gliss

"mf "

dgliss dgliss 3

p

dgliss gliss

5 5

arco

p

gliss gliss gliss

"mf "dgliss

p

dgliss gliss


p3

gliss

gliss

p "mf " p

dgliss

mp ppp mp mp pp mp 3

13

201

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

Flute

mfp

mp mp mp

mp mf {

ppp

z

f mp mp mp

mp mf {

ppp

z

f

mp mp mp

mp mf ppp mf

CUP mute

mp

ppp

STRAIGHT mute

p mp

3

sempre with bow until m. 298

gliss

pp

gliss

"mf "

dgliss dgliss

p

gliss

pp "mfp "

gliss3

pp

gliss

"mf "

dgliss dgliss

p

gliss

pp

gliss

"mf "

dgliss dglis

s

p

53 gliss

"mf "

dgliss

p

gliss

pp

gliss

"mf "

dgliss gliss

pp

3 5gliss

p

gliss

"mf "

dgliss dglis

s

3

p

gliss

pp "mf "

gliss

p

3 gliss

mp mf ppp f mp mp mp

5

14

D214

Stinging, dramatic changes in intensity which fuse togetherto create a singular harmonic object. Dynamic changes mustbe very precise and, at fortepianos, instantly soft.

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mfp

mfp5

mfp3

mfp

{sub. z

mfpp

mfp5

mfp

3

mfp5

mfp

mfp5 mfp

3

pp mf

mfpp

growl

mp

mp

VibraphoneTin foil is placed loosely on top of the bar

to create a metallic, harsh timbre.

mf

tin foil

"mf "gliss

p

gliss

pp

gliss

"f "

dglis

s dgliss

p

gliss

3

"mf "

gliss

pp

gliss

"f "

dgliss

p

gliss gliss

3

"mf "

gliss

p

gliss

pp "f "

glissdgliss

p

dgliss

3

3

"mf " p

gliss

ord. octave

mfp

5

pp

gliss

mfp

mfp

3

3

6 3

15

224

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mfp mfp3

mfp mf p f f

mfp mfp3

mfp

mf mf mfp mfp

mf mf f

mfp mfp3 mfpp mf

mfpp

3

OPEN

mp mf

mp pp

3

mf

mp mp mf

Decreases in dynamics achievedwith hand-dampening.

mfp

pp

gliss

"f "

dgliss dgliss

p

gliss

pp"ff "

gliss

p 3 3

gliss

pp "f "

gliss dgliss

dgliss

p

gliss

pp"f "

gliss

dgliss

p

gliss

"ff " dglis

s

p

dgliss

5

dgliss

gliss

pp

gliss

"f "

dgliss

pp

gliss

"f "

dgliss dglis

s

p"ff "

gliss5 5 3

gliss

"f "

dglis

s

dgliss

p

gliss

mfp

f fp

5

3

mfp mfp

mf fp

35 3

16

232

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ffp

mf p

ffp

mf p

ffp ffp

mp�pp

STRAIGHT mute

mfp mfp 3

mfpp

STRAIGHT mute

mfp

5

mfp

mp�pp

mfp mfp

5

mf p

"ff "

dglissdgliss

p

dgliss gliss

5 3

dgliss

p

dgliss gliss

3

33

17

241

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ffp

To Piccolo

ffp f

5

f ffp

3 3

ffp ffp ffp f

5

ffp

3

mfp mfp

3 5

mfp

3

mfp

mfp mfp3

fp mf fp

3

fp

ffsfz

5

sfz

5SP

ffp

3

ff

3

sfz sfz

SP

ffp

3

3

18

250

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fmp

5

f f f

5

f

5

fp

5

fp

5 5

fp mp f p f

5

fp

5

fp fmp

55

mf mf

3

f

mf mfp mfp mfp3

ord. octavearco

ST

ord. octave

ST

sfz sfz sfz3 sfz

5

sfz sfz

SP

fp fp5 5 5 5

3

ST

sfz sfz

SP

ff

pizz

3

5arco

sfz sfz

5SP

pizz

f

5 5

mf

55 55

3

j kk

19

258 E Explosive dynamics

Fl.

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

Piccolo

sfz f mf p

5

ffp

ffp

5

ffp

mfmp mfpp

fp

5

mp fp

5

fp

5

fp mp

fp

sempre with bow until m. 322

Decreases in dynamics achievedwith hand-dampening.

fp f

mfp

3

mp

gliss

ffp

I

ffp

fmp

3

mfpp

ffp

3

I

sempre MSP, practice mute. Wild.A noisy, menacing sound.

Although glisses are notated continuously, youmay break to change strings where desired.

pp

gliss dgliss

"mf "

dglis

s

dgliss

dgliss

p

fmp

I

ffp

3

3

ff 3

nail

arco

ffp

3

RH: controls speed of continuous pizzicato streamsLH: triggers audible attacks of pizzicati

3

20

268

Picc

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ffp

3

fp fp

3

ffp

fp

55

ffp


fp fp

OPEN (if possible)5


fp fp

5

fmp fp

fp

5

fp

ffp

fp

5

ffp ffp

fp

pp "mf "

dgliss

p

dgliss gliss

"mf "dgliss

dgliss dgliss

p

3

5

ffp

5

f fp

fp

3

21

278 FPicc

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fp

f mp mp mp mp ff mf

3

5

fp

5

ffp fp sfz sfz

harsh multiphonicof pitch's fundamental

ff

5

ffmp

3

mf

ff

3

fp

OPEN

mf f

53

OPEN (if possible)

fp

OPEN

mf f 5

OPEN

fp fp sfz

5

fp

mallets f p

3

fp

fp

3

arco

fp

arco

sfz sfz

SP

f

5

dgliss

"mfp "dgliss dgliss

"f "dgliss

p

gliss

gliss

"f "

dglis

s dgliss

3

3

fp sfz sfz sfz

SP

ff

5 33

fp

3

pizz

mf

ff mf

arco

ff

3 3

22

286

Picc

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mf mf mf mp5

fp

3

mf3 mf

fp

3

fp

mf

p mf mp

fp

5

3

p

fp

5

fp

5

(bow)

fp

mfp

arco

sfz sfz

SP

mf

fp

5

3 5

arco

sfz sfz

SP

mf fp

SP

p

gliss

dgliss

"f "dgliss

3

5

dgliss

f sfz3 sfz

SP

fp

3 5SP

fp

5SP

5

23

295

Picc

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fp

fp

fp mf f

3

5

3 5

fp fp fp mf mf5

3

fp3 fp

mf mf3

3

f

f

CUP mute

f f mf mf5

CUP mute

f

5

f f mf mf

53

f

fp

3

fp

I

fp

5

p

gliss

"f "

dglis

s

dgliss

p

dgliss dgliss

"f "dgliss

gliss

practice mute off

fp

ord.

fp

5

3

III

f fp

fp

3

24

301

Picc

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f f f f f

ff

3 5

f f mf mp mf ff

3 3 5

f f mf mp mf ff

3 53

mf

f f f f

OPEN

f

3 3 5 5

f f mf mp f

5

3

malletspedal down

p

3 5 5

(both trill AND tremolo)

ffp

3SP


ffp

SP

fp

fp

f fp fp

5

f


ffp

SP

5


ffp

SP


f

f

5

5

3

5

25

Gq = 72

q = 72

307

Picc

Cl 1

B. Cl.

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

slow flutter

mp

3

mp

To Cln.

Clarinet in Bb

mp

3

mf mp p

HARMON mute, stem in

f mf p

bow

mp

fp fp

II

mf

tutti pizz

f mf

3

3

fp

mf p

tutti pizz

f mf

33

mf p mf p

tutti pizz

mf

5 5

mf p

mf

I

tutti pizz

f mf

3 3

Each note is a separatepizzicato chord

5

5

5

3 3

5

5

26

314rit.

rit.

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

sfz mp

3

mf

pp

5

5

mfp

mp pp

3

5

p

mp p

5{

p submp

5

subpp

half valve

mp subp

mp half valve5

p

3

mp

5

pedal up

mallets

mf

p

p

mp

arcojetéI

mf

pizzIV

f

f

5 33 3

arco

mf

I

fmp

I

fast bow, mutiple strokesIII

mf

ST Iord.

5

mf f

f

3

3

3

mf f

f

3 3 3

5 5

5

35

k

27

320q = 40

q = 40

HThe feel of the music changes suddenly here.Entrances are no longer seamlessly elided, andthe character of individual instruments prevail.

q = 72

q = 72

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p

3

p

p

p

5

p pp

�

"mf "

Bowed, touch harmonic nodeon the side of bar, in center.

mf

wblocktomson rim

mf mp3

interp. rhythm

6 3 3 3 3

�

mf

snareon rim

interp. rhythm

mf

wblock

mp

on rimtoms

mf mp

37 3 5 3interp. rhythm

ff

arco

mp

3

mp

pizz

f ff

arco

mp p

5 3

arco

mp

pizz

ff

ff

3

pizz

f

f

gliss

3

k

28

326

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp

p

5

p

5 5

p

{

(CUP mute)

p

mp mf

interp. rhythm

snareon rim

f

tomon rim

mp mf3 5

6

3 3

interp. rhythm

�

mf

cungaon rim

mp mf mp

interp. rhythm

f

snareon rim

mp mf mp

interp. rhythm

3 3 3 3 5 3 3 5 3 3 3

pp5

SP

-32 cents

p

3

29

333

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 2

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p

5

p

3

5

mp p

{

3

p

STRAIGHT mute

p

3

mp

63 5

STRAIGHT mute

mp mf

3

mp

interp. rhythm

brass, delicatewblocks

mp3 3 5 36 3 5

interp. rhythm

�

mf

on rimcunga

mp5 5

f

interp. rhythm

7

arco

p

arcoC.L Tratto

mp

arco

p

30

338

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

minimum volume

mpsub. p

5

3

mp mpp

p

mf

mallet head playeddirectly on beads

mp

shekere

mf

interp. rhythm

mf

tomon rim

7

3 6

interp. rhythm

mp

cabasamallet head played directly on beads

guiroshort articulatescrapes with shaft sim.

interp. rhythmmf

tomon rim interp. rhythm

6 7 5 3

5 3 6 3

pp

IV

mp p

ST

p

MSP

II

mp

MSP

mp

3

31

346

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p

5

5

mp 3

sub.mp

p

delicate

sub.mp p

5mp p p

3 3 5

3

delicate

p sub.mp p sub.

mp p mp p3 3

3

HARMON mute, stem in

mp

near edge center

interp. rhythm mp

gong brass, delicate

mf mp mf mp mf mp

interp. rhythm

5 6 7 3 7 6 3

�

mp

on rimcan

interp. rhythm

mp

guiro

short articulate scrapes with shaft

mf

3 3 3

interp. rhythm

sub.mp

mp p53

ST

mp

I

3

32

352

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p

5

f

mp

mp

p

mf

3

p mp

3

mf

3

p mp

pp

OPEN3

mf

mp

p

dgliss

played slowly -- approx speed of individual clicksratchet

mpinterp. rhythm

bucketon rim

f

3

interp. rhythm6 5 3 7

3 5

mp mf

interp. rhythm

tomson rim

mp3 6

5 3

interp. rhythm

mf sub. p mp

-32 cents

p

3

sub.mf

sub. p mf

3

mfsub. p mp

3

mf

III-32 cents

p

mf mf

3

3

33

356

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mfpmfp mf

3

mp

mfp

mp

OPEN

mf pp

3

3 3

half valve

mf

tomon rim

mp

interp. rhythm

on rim, delicatebucket

p7 5 6 5 3 3 5

interp. rhythm

�

mf mpinterp. rhythm

mp mf mp f

interp. rhythm3 5

5 6 5

mp

jeté arco

p

mp mfp

SP

mp

3

34

361 IPicc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp

p 3 3

p

Gliss continuously over this entire passage.Note changes are smooth and uneventful -

do not attack pitches with tongue. mp

OPEN

mf mp

5

5 5 5 5 3 5 5

interp. rhythm on rimsnare

mp

interp. rhythm

shekere play directly on beads

mp

interp. rhythm

5 3 5 3 3 5

�

mp

cungaon rim interp. rhythm

woodblockbrass

mp

interp. rhythm

cungavery near rim with triangle beater

mf5

3 6 3 5 3 6

interp. rhythm

p mp

jeté

p

p

I

mp

jeté

p

p mp p

jeté

35

366

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mpmfp

5

p

mf p

55

mp mf

STRAIGHT mute

mp

mf

6

3 5

mp

STRAIGHT mute3

mf

6 5

fmp

wblock

shekere

gong

wblockf

interp. rhythmbrass

toms

mp

on rim

5 35

f

toms

p mp p mp p

interp. rhythm

6 3 5 3 3

mf mf

I

pp

arcojeté

mf

3

3

i

36

369

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mf3

p p

mf p mp

mf

mp

3

p

3

sub.mp p

p

p mp

3

p

p mp3

interp. rhythm

mp

bucket on rim

mfinterp. rhythm

guiro

f

sim.

short articulate scrapes with shaft

5

3 3 5 3

3 5 5

interp. rhythm

�

p sub.mf mp

interp. rhythm mallet head played directly on beadscabasa

mfinterp. rhythm

5 3 3

3 3 6

mp

III

3ST

p mp

IV

3

ST

mp

p

3

3

3

37

373

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p f fmp

33

pmp mf f mf f

3

3

p 3 sub.mp

3

f fp f

5

3

f

mp mf

f

ff

33

mp

3

f

5

mp

OPEN

mfp f

3

mp

3

f

OPEN

mp mf p mfp f

3 3 3

mp

sim.

p fp

3

3 5 3

3

snare

mf mp

on rim

f mf

interp. rhythm wblock

mp mf

interp. rhythm

mp

shekere play on wood

f

interp. rhythm

3 3 5 3 3 3 3

�

mp

cunga on rim

bucket

can

mf

interp. rhythm

mp

snareon rim

wblock

mf

interp. rhythm

mp

cunga

mf

interp. rhythm

f

toms

3

3

53 6 3 3 3 7 6

IIIIV

mf

3

mp fp

SP

fp

off thestring

f3

3

p sub.mp f

p fp

SP

fp

off thestring

f

33

mp

SP

f

mf

3

mp mp f

f

3

mp

3

3

3

38

378

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f mp mf

3

p

3

mfsub. p

3

{{

mfsub. p

{ To B. Cl.

3

mp fp ffpTo Bsn.

remove 2ndvalve slide

"f "

for A use 3, not 1+23 3 5 5

remove 2ndvalve slide

"f "

for A use 3, not 1+253 3 3 5

f

3

mp

trill with lip

mf

3

toms

fp f

interp. rhythm

bucket

f

interp. rhythm

3

3 5 7

mp f

interp. rhythm

bucket

f

interp. rhythm

3 5 6 3 5

mp

f p fp

3

f 3

mp ff

fp mp f

f p mp

3

mp f p mp

arcojeté

mf

3 jeté

f p f

3

e e

e e e

e

e

39

383 J Drilling through layers of earth.

Picc

Cl 1

Cl 2

Cbsn

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

vib.expr

mp

To Fl.

"f "

3 5

Bass Clarinetin Bb

"f "

3 5

Bassoon

p mfp3

5

fp fp f

ffp

3

fp sffz

5 3 3 5

3 5

fp ffp sffz

5 5 5 3 3

bowedCrotales

mp

f mf mf mp p

3

3

f mp p

f mp p

p

arco

p

Soloistic - you are the only player with pitched material.Adrift, no vib., sempre legato, pitches do not indicate bow changes.

Always emphasise the changes in colour in the face of continuity of pitch.Always audible, but "just under the surface" of other noise sounds.

gliss

f

(following cello glissando pitch)

e e

e

e

e

ee

e e

e

e

40

389

Picc

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Crot.

Vln 1

Vln 2

Vla

Vc

Db

Clv.

Fluted.t.

fmp mf

mp

3

fmp mp

3

3

mf

3

remove reed.

mf

valve glissmp

pp

CUP mutegliss

slow, long strokesguiro

mp "f "

snarestroke and scratch snares with fingernails

"f "

tom

"mp " "f "

snarebrushes on membranefrantically fast and energetic

3

pp p

dgliss

"f "

at bridge

mf"f "

3 at bridge

mf"f "

3 at bridge

glisspp

gliss

mp

dgliss

sub. p mp pp

dglissSP

mf

dgliss

sub. p

light bowlong strokes3

gliss

p

e

k j j j j

k

j k k k j j j j

k

j k k k j j j j

41

400

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fmpf

fmpf

f

fmp

s

f

f

mp

3

mp

3

mp

OPEN

f mf

interp. rhythm

3 3 5 3 6 3 3 6

rapidly tap different beadsto create a sparse tremolo

shekere

mf

mp

fast chattering rollwblock

near rim with butt ofstick, med pressure

cunga

"f "

quick nervous movementsover a small area

fmp

guiro

mf

mp

fast chattering rollwblock

mpfast vertical

"f "

on bridge

mp

"f "

on bridge

fmp"mf "

sim.3

"f "interp. rhythm

CL. Tratto

fmp

3 3 3 3

ord.

mp

dgliss

sub. p

III

mf

dgliss

SP

light bowlong strokes

mp

gliss

ST ord.

mfp

dgliss

f

dgliss

fmp f

e e e e e e e

l l k k j j j j j j

l

k k k k j j j j j j

k k k j k k

kk kkk kkkkkkkkkk k kk k k k kkk k k k k k k k kkk k

k k j j j j j k k k

42

408

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp

D anemic

mf

mf

reed removed

f

replace 2nd valve slide

5

f

replace 2nd valve slide

5

"f "

tremolo with tongue

dgliss

mf

pscrape small area back andforth with shaft of mallet

guiro

mf p

fast vertical

mp

CL Bat

fmp f mp

interp. rhythm

7 5 6 6 3 3 5

mfslow bow

mf

dgliss

"mf " 3

CL. Tratto

mp

CL Bat

f mp f mp

5 7

3

5

6

interp. rhythm

f

dgliss

mf

glissSPIV

fmp

IV

ff

dglissmp

dgliss gliss

mfp

3dgliss

SP

mp

slow vertical

f mpslow bow

(electronic inactive`until m. 461)

h

h

h

h

h h

e

e e

e e

e e

l

kkkkkkkkkkkk kkkkkkkkkk kkkkkkkkkk k k k k kkkkk

l l

j j j k kk kkk j j kkkkkkkk

kkkk kkkkkkk kkkkkkk k kkkkkkkkkkk

l ll l

43

416

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

t

fmp

p t p sim.

f

interp. rhythm

5

3

fp fp fp fp sim.

3

3 3

fp fp fp fp sim.

3

3 3

fp fp fp fp sim.

3

"f "

flap tongue against bocal3 3

3 3 3

interp. rhythm

mp f mp

interp. rhythm

5 6 3 5

mp f mp

interp. rhythm

5 6 3 5

canon rim

p mp p mp p

interp. rhythm

mf

tom

f

interp. rhythm

3 7 5 6 6 3 6 5 7

fp

arco

f p f p f

dglissCL. Tratto

"f "

sim.interp. rhythm

CL. Tratto

3 5 3 3

fp f p f p

dgliss

"f "

sim.

3

interp. rhythm

CL. Tratto

mf

ClBat

3 3

mp

arco

slow bow

ClBat

mf3 5

mfp

dgliss dgliss

fp

mfdgliss

p

dgliss

III

mf

dgliss

p

STdgliss

mf

dgliss dgliss

mp

slow bow

mf

k k kkk kkk kk kkkk k kkkk

k k kkkk k k k k k k kkk k k k

kkkk

kkkk l l

kkkkk

ˇl

ˇ ˇ ˇ ˇ ˇ ˇ ˇl

iiii

44

424

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp

gliss gliss

fp fp

3

fp fp sim.

3 5 5 5{

mp

{

fp fp fp

3

fp sim.

3

3

5 5

interp. rhythm

fp fp fp

3

fp sim.

3

mp5

3 5 5

sfz

sfz indicates an intense burst of air

sfz sfz sfz sfz

5 5

mf

interp. rhythm

mf

sfz indicates an intense burst of air

sfz sfz

5

sfz

5

sfz

5 3 3 3 5

pp

gliss

fp

wblock

f

mp

scraper against bucket bottom

3

5

3 3

cunga

on membrane usingscraper in smooth circles

"f "

"ff "

on edgecabasa

mf5

interp. rhythm

"f "

at bridge

f

interp. rhythm

3 7

f

interp. rhythmarco

p

gliss

6

p

dgliss

mf non-dim

dgliss gliss

mf

dgliss

mp

dgliss

mf

gliss

SP

f

interp. rhythm

"f "

at bridge

3

j j j j j

kk k kkkkkkk k

kkkkkkkkkk k

ii i i i i ik j j j j

45

430K

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff

3

f

3

f

3

ffp dgliss

f

3

f

5

"mf " "f " "mf "

interp. rhythm3 3 5 3

sfz

"mf " "f "

interp. rhythm

3 5

mf

dgliss gliss

STRAIGHT mute

mf

gliss gliss

mf

gong

fp

brass mallet

f p f

f

on rimbucket

p f p f mp

interp. rhythm mf

cungarubbing the flat side ofstick against the membrane

3

7 6 5 6 5

5

mp

CLBat

f p f mp

interp. rhythm

mf

arco

slow bow6

5

3 5

3 6 3

slow bow

CLBat

mp f p f p

interp. rhythm

fp

arco

f p f

dgliss

CL. Tratto5

3 6

5 3

mp

CLBat

f p f mp

interp. rhythm

fp

arco

fp f

CL. Tratto

dgliss

IV3 6

5 6 3

53

gliss

ST

sub. p

overpress

f

ord.

dgliss

ord.SP

dgliss

II

f

dgliss

mf f

dgliss sempre decresc. to mfdgliss

CLBat

f mp f

interp. rhythm

3 3

7

kkkkkkkkkkkkkkkk k k kkkkkkkkkk kkkkkkkkk

kkk

l

l

k k kkkkkkkk k k kkkkkk kkkkk

kkkkkk k

k k

k k k kkkkkkkkkkkkkkk

kkkkkkk k k kkkkkkkkkk k k

kkkkk k k

kkk kkkkkkk k

46

435

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

t

f

p t

mp

p sim.

f

interp. rhythm f s

fp f

3

fp

3

3 5

3

ffp

33 3

fp f

3

fp ffp

3 3

fp f

3

fp f

f

sfz fp

f

fp f

6

f

mp

mf

dgliss pedal tone,quasi-pitched

mp

mf

dgliss

half valve

f

3

3

"ff "

interp. rhythm

f

gliss gliss

5 6

3

dgliss

anvil

f mp f

interp. rhythm

mf

toms

p mfinterp. rhythm

f

snare

fmp

shekere

ff

interp. rhythm

66 7

5 6

5

3

can

f mf f

interp. rhythm

mf

tom

f

wblock

fmp ffinterp. rhythm

f

in centerbucket

7

6 3 6 5 3 6

interp. rhythm

f

gliss gliss

f

CLBat

at bridge

CL. Tratto

mp

CLBat3

3

6

3

interp. rhythm

f

dgliss

dgliss

CLBat

at bridge CL. Tratto

3

3

3

f

gliss

CLBat

f

arco

f

gliss gliss

f

CL Bat

at bridge

3 3

CL. Tratto

f f

dgliss

f

dgliss

fp

dgliss

f

dgliss dgliss

f f

dgliss

fdgliss

3 3 3dgliss

f mp f

interp. rhythmarco ord.III

f

gliss

gliss

f

gliss gliss

SP

f

35 37 at bridge

k

k

l

kkkk

k k k

k k k

kkkkk

kk

kkkk

k k k k k kk

k

kkkkkkk

kkkk

kkkk

k k k

k k k k k

kkkkkk kk kkkk

kkkk

k k

47

441

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f fp

d.t.

f

f fp

growl

fff mf

3 3 3

f

fp fp fp fp fp

5

sim.

3 5 5

ff mp f

3 3

sfz sfz sfz

sfz

sfz sfz sfz

3 3 3

mf

dgliss

dgliss

mf mf

dgliss

dominating

fmp

in centerbucket

ff mpinterp. rhythm

ff

5 3

cabasa

ffguiro

f

cunga

f

playing with stick on edge

mf

interp. rhythm

ff f mf

33 3 5

f

arco

f

dgliss

Successive glissandi are integrated into single, fluid gestures.Contour is more important than the audibility of particular pitches

sempre Sul Pont

gliss

mp

gliss gliss

fp f p

dgliss

CL. Tratto

CL Bat

f mpf

interp. rhythm

fp f p3 3dgliss

CL. Tratto

ff

CL Bat

mp mf

interp. rhythm

f


sempre Sul Pont5 3

ff


sempre Sul Pont

arco ord.II

fmp

dgliss gliss gliss gliss gliss

ppgliss

CL. Tratto

CLBat

f mp f mp3

3

6

3 5

interp. rhythm

kkkkk

k

kkkkkkkkkkkkkk k kk

k

k k

kkkkk k k k k kkk k kkkk kk kk

k

k k k kk k k k k

kk kkkkkkkkkkkkk k k k k k kk kk

48

446

L

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff mf

5

{

ff

3

p

{

3 3 5

6 5

5

ff

3 3

5

ff

3 3

ff

3

p3

5 6 5 5

mfdgliss

f

dgliss

f

dgliss

3

f mf f f

3

mf

ff mf

3 ff

5

mf

5 3 3 3 6

ff ff

3f

5

ff

3 3

3

fp f

arco

fmpdgliss gliss

gliss

pp

gliss3

f p f

arco

fp f

dgliss

3


sempre Sul Pont

5

arcoIV

dgliss

fmp

gliss

gliss

IV

fp

gliss

f

dgliss

3 III

fmp

dgliss

gliss

p

gliss3

gliss

III

dgliss

fmp

gliss

f

dgliss

fmp

dglissgliss

gliss

p

gliss3

3

f mp

interp. rhythm

fmp

arcoIII

gliss


sempre Sul Pont

gliss

f

dgliss

fmp

3

f mp f mp

7 5dgliss

CL. Tratto

k

k

l

k k k kkkkkkkkkk

k

49

451

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f

3

fp

d.t.

f

t

f

p t p

mf

t p t t

f

interp. rhythm

3

f fpf

fp f fp f

{

3

mffp

dgliss gliss

f fp f

3

"f " "ff "

interp. rhythm3

3 5

f mf

interp. rhythm

f

3 3 6

f

6

f mf

interp. rhythm7 5

gliss

f

dgliss

f

dgliss

f

dgliss

f

dgliss

f

dgliss dgliss

f

dgliss

mp

3 gliss

5

ff

3

f

wblock

ff mf

toms

mp

6

7

6 5interp. rhythm

f bucket

cunga

interp. rhythm

ffbucket

6 6 6

IV

fmp

dgliss gliss glissgliss

pp

gliss gliss

Cl Bat

f mp

3 3 3

65

interp. rhythm

IV

fmp

dgliss

f

gliss

III

fmp

dgliss5 3

gliss

gliss

fmp

IV

gliss gliss

III

f

dgliss

gliss

pp

gliss fmp

dglissgliss

3 3

IV

fmp

gliss gliss

fgliss

mf

Cl Bat

mp

3

35

interp. rhythm

f ff

IV

mpf

dgliss

mf3

k k kk k

kkkkkkkkkkkkkk

i

k k k kkkkk

k

l

i

50

455

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Perc 1

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp f mp

interp. rhythm

mp f mp

interp. rhythm3 3 3 5 5

mp f mp

interp. rhythm

mp f mp

interp. rhythm3 6 3 3 5

gliss

mf mp mf mp

interp. rhythm6 5 6 3 7 6 3

toms

mf mp mf mp

3 5 6 3 3 6 5 7 5interp. rhythm

"ff " mp

interp. rhythm

mp "ff " mp

interp. rhythm

cresc. poco a poco

6

5 5

6 5interp. rhythm

Cl Bat

p

"ff "mp

interp. rhythm

"ff "mp

3

36

3 6

65

6

interp. rhythm

p

Cl Bat

"ff "

interp. rhythm

"ff " mp3 5

3 56

7

56

3

interp. rhythm

"ff " mp

interp. rhythm

"ff " mp

fast two-note jetes sim.6

3

5

3 3

5

interp. rhythm

Cl Bat

mp "ff " mp

interp. rhythm

"ff " mpcresc. poco a poco

interp. rhythm

57

6

5 3

5 7

3 3

kkk

kkkk k

k k k

kkkkk k k k kkkkkkk

k k k k k k

k

k k k k kkkkk

k k k k k kkkkkkk kkkkkk

kk k

kkkkkk kkkkkkk k k k k kk k k kkkkkk

k k k k k k k kkkkk k

kkkkkkkkkkkk

kkkkkkk k k k k k k k k k k kkkkk k k k k k k

kkk

kkkk k k k

k k k k k k k k k kk kkkk k k k k k

k

k

k

kk k k k k k k

k k k k k kkkkkkkkkkkkkk

kk kk

k k k kkkkk kkkkkkkk

k k k k k k k k k

51

458

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

"ff "

remove mouthpiece3

"ff "

remove mouthpiece3

OPEN

pp

gliss gliss

pp

savage timbre

mpdgliss

sfz

ratchet3

interp. rhythm3

mf

ratchet

sfz

6

interp. rhythm interp. rhythm

5 6 7 5 6

5

6 5 7


interp. rhythm5

6 7 5 5 3 7 3 5

cresc. poco a poco


interp. rhythm6 3

7 6 5 7 6 7

55

interp. rhythmarco ord.IV

mf

glissgliss

3

dgliss

slight overpressure

interp. rhythminterp. rhythm

5 6 5 7 5 6 5 75 3

k

k k k k kkkkkk k k k kkkkkk k k k k kkkkkkkk k k k k kkkkkk k k

kk k kkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkkkkkk k k k k k k k k k k k kkkkkkkkkkkkkk k k k k k k k k k k k k

k k kkkkkkkk

kkkkkkkkkk k k k k k kkkkkkk kkkkkkk k k k k k k k k kkkkkkk kkkkkkkkkkkkkkkk

kkk k k k k

k k k k k k k k k k k k

kkkkkk k k k kkkkkkk k k k k kkkkkkkk k k k k kkkkkkk k k k k kkkkkkki

i i i i i i i

52

Mq = 112

q = 112

461

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f

sub. f

6

s3

fmp ff5

f p f 3

5

ffp ffff

ff f

f p f

5

3

3 3 3 5

f f

ff ff

3 5 5 3

ffp ff

ff

5 3 5 5 3

f ff

6

ff f ff

5 3 3 3 5

f

ff

5 3 5 5 3

f f

remove mouthpiece

f p

dgliss fdgliss

3

ff

gong

f

cunga

onmembrane

f

5

guiro

ff

ff

guiro

stiff brushes on membranesnare

ff

3

ff

arcoII

ffp

Similar in sound to letter C. Mostly unpitched and noisy.

ff

ff f

at bridge

5 3

3

3 5

ff

arcoII

ffp


ff

ff

at bridge

5 35 5 3

ff


ff

arcoII

f

3

3 5

fast vertical

ff

II

ffp

arco

ff

at bridge

f

II

ffSimilar in sound to letter C. Mostly unpitched and noisy.

f

5 3

3

3 5

ff

II

ffp

arco

ff

at bridge

f ff

dgliss

5 35 5 3

3

3

5

k

kkkk

k

k k k

kk k

kk k

kkkk

k

kk

kk k

kkkk

l

k

k j k k

i

k

kk j k k

i

k k k k kk k

53

468

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f

ff3

ff fp ff

3

3

ff ff

ff

3

ff

3

ff f

3

fff ffp ffp ff

3 3

5

ff

ff

3

ff f

3

f ff

3

3

5

f

3

pp ff

ff

ff ff f

3

fff ffp ffp ff

3 5

ff ff ff ff ff

3

ff

ff

V

V

3

f

snare

f

gong brass

ff

3

snare brushes

ff

cabasa

f

on edge

with hand back and forthcabasa

ff f

bucket

can

f

ff

at bridge

ff

at bridge

3

ff

dgliss

3

ff

at bridge

ff

at bridge

3

II

ff

ff

dgliss

3

3

ff

f

II

ff

pizz

f

3

ff

II

f

mf

3

f ff f

3

fff f ffp ff3

5at bridge

5

3

h h h hh

k

kk k k

j k kkk

k

k

kk k k

j k kk

k

k

l

kkkk

kk

ll

ˇl ˇ

l ˇ

l

i

ll

k k k k k k k k k k k k kk k kk

54

476

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

f

{5

f

d.t.

p ffffp

3

mp ff ffp ffp ff

ffp ff p fp f

5 3 5

f mf f

ffp ff p fp

53 5 3 5

p ff

f p ff

fff

ff fp ffp

5 3 5

ff f ffp ffp ffp ff p fp ffp

3 5 3 5

f p ff ffp

dgliss

snare

f gongmf ff

shekere

shekere

f

5

guiro

snare

ffp ff

5 53 5 6 6 6

shaft flat againstmembrane

cunga

ff

tom

mf

f

wblock

p f

can

ffp

brass

3

3

ff ffp ffp

at bridge

f

5

5

II

ff

f

fast vertical

f

35

arcoII

ff

II

ffp ffp

mf

5

f

3

5

3

II

ffp ffp

mf

5

fp f

fast vertical5

5

ff

ffp f

fast vertical3 5

5

5

5

h

k j k k kk

k

j k

l

l

l l

l

ll

ˇl

l

i

l

l

j k

k j k k

i

l

l

55

N482

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ffff ff ffp

5

ffp

f

3t

5

5

5

ff ff ff ffp

5

ffp

ffp ff

35 5

ffp ff ff ffp ffp ff

ff ffp

3 3 5 3

ffp ff ff

ffp ff

ff

ff ffp ffp

ff fp

3 3 5 3

ff

ff

ffp

ffp

ff

fp

3 3 3

ff ff ff ffp

5

ffp

f fp5

5 3

ffp

wblock

ff

gong, brass

ffp ff

5ffp

wblock

ff

3

ff

tom

f

stick butt on membranecunga

ff

ff

cabasaon edge snare

fbucket

3 5 3

ffp ff ff ffp ffp

at bridge

ffp ff

3II

ffp

3 3

3

ffp ff ff ffp ffp

at bridge

ffp ff3

II

ffp

3 3

3

ffp ff

II

ff

ffp ff

II

ff

ffp ff

3

ffp ff

5

h h

kk

kk kk

k

k

kk k

kk k

kk kk kk

kk kk

kk

k

k

kk k

kk k

kk

kk kk

kk kk

kk

kk

kk kk

kk kk kk

kk kk

kk

56

488

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

s

ff

5f

ff

5

ff 3 ff 5

5

ff ffp ffp

ff

ff

3

f

ff

3 3 3 3 6 3 3

5

5

ffp ffp ff

ff 3 f

ff ffp ffp ffp

5 3 3 6 3 3 5 3

ff

ff ff ffp ffp ffp

3 3 5 3

ff

ff

3

f

3 3 6 3 3

ff ffp ffp ff

ff ffp ffp ffp

3 3

5 3

ff

gliss

5

ff

3

ff 5

5

guiro

f

bucketbrushes

ff

5

fast tremolo between beadsshekere

3

brushessnare

mf

5

ffp ffp

mfdgliss

ff 3

5

ffp ffp

mf

dgliss

ff3

5

3

ff ffp ffp ff

at bridge

ff ffp ffp ffp

at bridge

3 3 3 5 3

ff

ff

3

f

at bridge

ff

3

3 6 3 3 5 5

ff ffp ffp ff

at bridge

ff ffp ffp ffp

at bridge

3 3 3 5 3

3

3

h h h h

kk

kk kk

kk kk kk

kk

kk kk

kk kk kk

kkk kkk j k k kk

k

kk

kkk

k k k

k j k kk

k

kkk

k k k kkk k

kk k

k

j

kkk kkk j k k kk

k k k k kk

k k k

57

495

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff ff ff

d.t.

ff 3

ff

ff ffp ff ff

3

ff

ff ff ff

5 3

ff ff fpp ff

ff ff fp ff mf

6

ffp

ff ff

5

mf

5

ff fp ff

ff

gongbrass

ff

wblock

ff

shekere

ff

guiro3 55

with hand back and forthcabasa

ff

snare

ff

brushes

ff

wblock

ff

snare

ff

II

ff

IIIIV

ff

dgliss

ff

ff

IIIIV

ff

dgliss

5

ff

II

ff

IIIIV

ff

dgliss

II

ff

IIIIV

ff

dgliss

5

ff

IIIIV

ff

gliss

h

k k k k

k

k

k k k k

k

k

k k k k

k

k

j j k

k k

k k k k k

k

58

503

Oh = 52

h = 52

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ff ff

s

ff

3 3

fff

ff fmp

dgliss

3 5

f ff ff

3

fffp

dgliss

To Cl.

dgliss

f

ff Replace Reed...

ffffp ff

5

ff

6

ff ff ff

ff

3

ff

V

ffmp

dgliss

3

gongat edge center

ff

wblock

ff

5guiro

ffp

3

ff

cunga

ff

bucketat edge

f

in center

3

pizz 5

Tutti rhythm in vlns, cello, bass.Close to bridge, pitchless.

All dynamics are perscriptive of action andthe sounding result will be markedly softer.

arco

mf

3

5

pizz 5


All dynamics are perscriptive of action andthe sounding result will be markedly softer. mf

arco

5

pizz

f

p

3 3 3

IIIIV

ff

dgliss



mf

3

5

IIIIV

ff

dgliss



mf

3

5

h

k

k

k

k j kk k j kkk k k k

k k

k


k k

k

k

k k

kk

kk

k

k

kk

k

k

kk

k


k k

k


k k

59

509

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Perc 1

Vln 1

Vln 2

Vla

Vc

Db

Clv.

fp mp

3

ff

5

p

fingerboardbridge

f5 5 5

fp mp

3

ff

5

p

fingerboardbridge

ff5 5 5

arco fingerboard

f

bridge

fp mp

3

ff

5

p f

fingerboard

bridge

f5 5 5

fp mp

3

ff

5

p

fingerboard

f

bridge

f5 5 5

k k kk k k k k

k j k k k

k k j k k k k kj j k j k k j k j

k

k k kk k k k k

k j k k k

k k j k k k k kj j k j k k j k j

k

kk

kk

k

k

kk

k

k

kk

k

k

kk

k

k

kk

k

k

kk

j k k k

k k kk k k k k

k j k k k

k k j k k k k kj j k j k k j k k

k

k k kk k k k k

k j k k k

k k j k k k k kj j k j k k j k k k k k

60

517

Fl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p

with mouthpiece

"mf "

mf

3

bucketmp

gongbrass

on rim

mp

cunga

3

f

sempre at bridge

mf 5 55 5

3

sempre at bridge

f mf 5 55 5

3

fp

3

mf

sempre at bridge

5 55 5

fp

3

mf

sempre at bridge

5 55 5

kk

k k j kkk j kk k k k k

k j j k

k k k k k

k k

kk

k k j kkk j kk k k k k

k j j k

k k k k k

k k

k

k

k j kk

kk

k

k

kk

k

k

kk

k

k

kk

k

k

kk

kk

k j j kkk j kk k k k k

k j j k

k k k k k

k k

kk

k k k

j k k j j j kkk j kk k k k k

k j j k

k k k k k

k k

61

524 PFl.

Cl 1

B. Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ppp

sempre ghosted6

mp

withReed

"f "

with mouthpiece

"f "

with mouthpieceOPEN

p

wandering pitch

slapstick

mp

slapstick

mp

3

bucketmp

canbrass

5

p f mf p f

3

p f mf f

3

fmp mp f

3

p f mf mp f

3

p f mf f

3

3

j kkj j k k k k j k kkj j k k kk kk k

j kkj j k k k k j k kkj j k k kk kk k k k k

kk

kk

j j j k k k kk k

k k k k k

j kkj j k k k k j k k

k k kk kk k k k k k

j kkj j k k k k j k k

kk k

k k k k k kkk j

62

532

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

5 7

Clarinet in Bb

ppp

sempre ghosted

6

fp f

fp f

p mp

slapstick

mf

sempre at bridge

mf f5 5

6

sempre at bridge

mf f5 5

p

MSP

mf fp f f3

mf

sempre at bridge

f

5

5 5

mf

sempre at bridge

f5 5

j k k k k

j kkk k kkk k k kk

k k j j j j k

k kk j

j

j kkk k kkk k k kk

k k j j j k

j

k

j

j

k

k

kk k

k

kk k

k

kk k

k

kk

k

k k k k k

kk

kk

kk

kk

kk

j kkk k kkk k k kk

k k j j j k

k

k kk j

j

k

j kkk k kkk k k kk

k k j j j j

k k

j

j

63

541Q

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

p mf p mf p

interp. rhythm t5

p p

sub.mf

t

6

3

3 3

3

3 5

ppp

5

6 5

ppp 5 6

mp

sim.

"f "

p

wandering pitch

bucket

mp

gong brass

mf

slapstick

mp

mfguiro

can brass

mf fp mp f

3

mf fp mp f

3

mf fp

mp f

3

mf fp

mf f

3

mf fp

f 3

k

kk

j

j j j j

j k

kk

k kk

k

kk

j

j j j j

j k

kk

k kk

k

kk

j

j

j k

kk

k kk k

k

kk

j

k

j k

kk

k kk k k k

k

kk

j

k

kk

k kk j k k k j

64

548

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

5 7

5 6

fmp f

"f " fmp f

slapstick

mp

rub slow circles at edge of memebrane with butt of wooden stick

slapstick

mpmp

cunga

mp

sempre at bridge

f mf 5

sempre at bridge

f mf 5

sempre at bridge

f mf 5

f

sempre at bridge

mf 5

j

j j kk k k k kk k j k k j k kk k k k

j kk k k k kk k j k k j k kk k k

kk

kk k

k

kk k

k

kk k

k

kk

j kk k k k kk k j k k j k kk k k

k j kk k k k kk k j k k j k k

j k

k

65

555

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mf

mf

3

mf

5

mf

mf

f f mf f

5

pizz

mp

arco

f f mf f

3pizz

mp

arco

f ff mf mp

pizz arco

f

3

f f f f

5

pizz

mf

5

f

3pizz

mp

arco

f mf f

k k k

j j j k

kk

j k

j

k

k j

kk k j j k

kk

j j

k kk k j

j k k k k

k

j j j k

kk

j k

k

j k k

j

k k

j j j j

j

j k

j

kk

kk

k k

k j j k

kk

j k

k

j k k

66

562 RFl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

s

ah

mp

3

p mf

Despite the different systems of notating rhythm, try to make the following phrases sound like one continuous gesture.

p mf p

6 3 5 3 3 3 5

interp. rhythm

mp

mf

bucket

mp

can brass

f

mf

3

ff p p

f mf

3

ff p

pizz

mf mf

arco 3

ff p

arco

mf

3

ff p

mf

arco3

ff p

j

kk j j k kk kkk j j k

j

j kk j j j k kk kkk j k

kk

j k k j j k kk kkk k k

j k kk j j j k kk kkk k k

j kk k k kk j k k j k kk kkk k

67

569

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mf pinterp. rhythm

t5

t p t

mp

p t p

sub. p

t5

p

p

p t t5

p5

t

mf

5 3 6 3 5 5 6

ppp 6 5

ppp 5 6

p

wandering pitch

slapstick

mp

f

3 3

p f

3 3

mp f

3 3

mp f

3 3

mf f

3 3

j j k j k k kk k k k

k k j k

j k k k k k k kk k k k

k k j k

j k k kk k k k

k k j j k k k

j k k kk k k k

k k j j k k k j

k k kk k k k

k k j j k k k j

68

576

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

ppp5 5 5 6 5 6 7 5 6 5

ppp mp pp5 6 5 5 6 5

6

p

wandering pitch

slapstick

mp

p pp

MSP

k k j k

k k j k k k k k j k k j j j

69

581

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

mp pp 6 mp pp mp

6

5 5

6

5

6 5

mp pp mp5 6 5

6

5 6

5

p

3

pp

MSP

mp pp

MSP

mp pp6

MSP

mp pp

MSP

mp pp6 5

MSP

mp

arcoMSP

gliss

j k k j k k j j

70

584

Fl.

Cl 1

Cl.

Bsn.

Tpt 1

Tpt 2

Tbn

Vln 1

Vln 2

Vla

Vc

Db

Clv.

double tongue

p

pp p

5

5 6 5 6

56

pp p6

5

5 6 5

6 7

"f "fmp f

"f " fmp f

snare

pp

slapstick

p

ppp

gliss pp

dgliss

(as highas possible, VERY soft)

j j k k j k k

71

Documents

Volleys of Light and Shadow - University of Liverpoollivrepository.liverpool.ac.uk/3017153/1/VolleysOfLightAndShadow.pdf · tom1, tom2, tom3, tom4: taken from a set of toms, ordered