flintfor ensemble mosaik
by
Rama Jesse Gottfried
A dissertation submitted in partial satisfaction of the
requirements for the degree of
Doctor of Philosophy
in
Music
and the Designated Emphasis
in
New Media
in the
Graduate Division
of the
University of California, Berkeley
Committee in charge:
Professor Franck Bedrossian, ChairProfessor Edmund Campion
Professor Cindy CoxProfessor Gregory Niemeyer
Spring 2015
Abstract
flintfor ensemble mosaik
by
Rama Jesse Gottfried
Doctor of Philosophy in Music
and the
Designated Emphasis in New Media
University of California, Berkeley
Professor Franck Bedrossian, Chair
Striking flint rock against iron pyrite, tiny sparks leap from seemingly nowhere into existence. Like the combination of sounds, when a spark contacts flammable material a flame forms; expanding and transforming as it grows, feeding itself on the material, continuing until it has released as much of the material’s content as it can before diffusing into the air.
The machinery of life follows a similar progression — from the microscopic drama of atoms, cells, neurons, leaves, amoebas, and digital bits — to the macro-scale drama of lives, societies, and universe-sized ecosystems.
The piece flint for ensemble mosaik, is not universe-sized, but instead is comprised of millions of microscopic lives and deaths in sound.
By magnifying these most minuscule of sonic gestures through extreme amplification and human computer interaction instrument systems, the work extends the gestures of the ensemble and reaches into the space around the listeners.
flint was premiered by ensemble mosaik at the Bluderzer Tage zeitgemäßer Musik Festival in Bludenz, Austria, November 2014.
�1
for Sophie
�i
Acknowledgments
I dedicate this dissertation to my family who has supported me through many years of study, and especially to my amazing wife Celeste who has given me the courage to keep going whenever doubts creep in, and my daughter Elodie who reminds me of the importance of play.
I would like to also acknowledge the many teachers I have had through my academic career, starting with T.L Read, and Ernest Stires who told me I was a composer, Justin Dello Joio, Nils Vigeland, Marc Sabat, and Walter Zimmermann.
In particular, I would like to acknowledge the intellectual engagement of the faculty at UC Berkeley: David Wessel, Edmund Campion and Adrian Freed at the Center for New Music and Audio Technologies who have guided my work and holistic growth as an artist and technologist; Franck Bedrossian whose careful listening and thoughtful reflections have greatly refined my aesthetic handling of material; and at the Berkeley Center for New Media, Abigail De Kosnik and Greg Niemeyer who helped expand my artistic and scholarly thinking putting me in dialog with other graduate students from many other backgrounds.
Thank you.
�ii
instrumentation:
piccolo with internal mic, handheld speakeroboe with internal mic, handheld speakerclarinet in Bb with internal mic, handheld speakersoprano saxophone with close mic, handheld speaker
percussion: close mic: plant pot base cleaning brush on bongo drum 2 rocks cymbal with contact mic midi pedals (see schematic)
piano: wacom tablet computer interface 4 transducers attached to various objects sitting on piano strings: wooden frog tibetian bowl piece of wood unattached ping-pong balls midi pedals and mixer (see schematic) violinviolavioloncello
duration: ca. 12 minutes
1
8ch amp
10ch interface
laptop
2 km184s4 transducers1 contact mic
cymbal w/ contact mic
hand-held speakers
audio cables
speaker cable
MIDI pedal cable (1/4”)
computer cables (usb or firewire)
table for objects
CME GP33
MIDI Pedal
MIDI Pedal MIDI Expression Pedal
WacomMIDI Mixer
1
2
34
usb hub
eobody MIDI-USB
Snake to house mixer
inout
in
in
in
out
out to board
Picc.Ob.
Cl.
Vln.Vla.
Vc.
Sax
Conductor
4x AKG C417 mini-omnis
DPA string mics
overhead mics
(DPA)
(km184)
contact mic
percussion
MacBook ProWacom tabletMIDI mixer (UC-33, BCF2000 or sim)CME GP33 Foot pedaleobody MIDI-USB2x MIDI Pedals1x MIDI Expression pedalUSB hub
10ch audio interface (FF800 or sim)8ch amplifier
4x small transducers (Dayton Audio)6x KM184 (or sim)4x AKG C417 (or sim)3x string DPA (or sim)1x sax DPA (or sim)2x contact mics4x small handheld speakers (with housing)
schematic
note:for best results all winds should havecompression and EQ to create a highly flat,electronic sound. boost extreme low and highfrequency ranges for maximum boom and click.
2
sfz
5 4< >
mdu ofÙenv
�14 cents from ET)
�31 cents from ET
�50 cents from ET
equal temperament (ET)
piccolo
relative pitch of keyclick/air-noise around held note.where the held note continues, there should also be a click.
relative key glissando from held note.
flutter-whistle tone: fluttertounge technique with throat plus whistletone,a high frequency sound, with a bouncing rhythm a bit like a small stone skipping on water
motor sound: a low-pitch fluttertounge technique with throat, with the mouthcompletely covering the embouchure hole. the resulting sound should be somethinglike a motorcycle. usually combined with keyclick glissando, and heavy air sound.see also the general graphic notation explanation.
staccatissimo, pizzicato
staccatissimo, dead tongue sound, click-like.
light air tone not on staff, slight to no pitch
heavy air tone, forceful air pressure, with mouth coveringembouchure.
light air tone on staff, slightly more tone than above
ingressive, lip soundvery high pitch with irregular rhythm, and density. here,the staccato 16th note at end indicates as sharp ending point.
graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the embouchure shape.
amplification:a small omni-directional microphone should be placed inside the instrument,wrapped with plastic-wrap to avoid water damage. for the piccolo, the micshould be placed inside the end of the instrument, and secured with a rubberband to keep the mic in place. the gain to the PA speakers should be quite loud,and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back. some distortion is desirable,for example, with the “heavy air tone”.
relative pitch of fingering/click, relative to the G on thetreble cleff.
5 4< >
mdu ofÙenv
�14 cents from ET)
�31 cents from ET
�50 cents from ET
equal temperament (ET)
oboe
relative pitch of key fingering/click around held note.where the held note continues, there should also be a click.
relative pitch of fingering/click, relative to the G on thetreble clef.
“geiger-counter”: staccatissimo, ingressive breath, dead tongue sound, veryshort click sounds. possibly best produced with strong embouchure pressure,with the reed at the side of the mouth.
light air tone not on staff, slight to no pitch
air fluttertongue -- even though the notehead is black here, the result should be a bit more pitch than the light air-toneon the staff, but not a full bodied pitch.
light air tone on staff, slightly more tone than above,should be an “almost” pitch, with a light, unstable grittiness. ingressive, lip sounds
very high pitch with irregular rhythm, and density. in example “a” the staccato 16th note at end indicates as sharp ending point.example “b” is similar, but with more interpretive variation.see also the general graphic notation explanation.
graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the embouchure shape.
amplification:a small omni-directional microphone should be placed inside the instrument,wrapped with plastic-wrap to avoid water damage. for the oboe, the micshould be placed inside instrument approximately at the mid point, and secured with a rubber band by the cable at the bell to keep the mic in place. the gain to the PA speakers should be quite loud, and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back.
a b
air fluttertongue with relative pitch keyclick glissando
3
5 4< >
mdu ofÙenv
�14 cents from ET)
�31 cents from ET
�50 cents from ET
equal temperament (ET)
clarinet Bb
relative pitch of keyclick/air-noise around held note.where the held note continues, there should also be a click.
light air tone not on staff, slight to no pitch
air fluttertongue with relative pitch keyclick glissando
light air tone on staff, slightly more tone than above,should be an “almost” pitch, with a light, unstable grittiness.
graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the embouchure shape.
amplification:a small omni-directional microphone should be placed inside the instrument,wrapped with plastic-wrap to avoid water damage. for the clarinet, the micshould be placed inside the middle of the instrument, and secured with a rubberband or tape to keep the mic in place. the gain to the PA speakers should be quite loud, and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back.
relative pitch of fingering/click, relative to the G on thetreble cleff.
ingressive, lip soundsvery high pitch with irregular rhythm, and density. in example “a” the staccato 16th note at end indicates as sharp ending point.example “b” is similar, but with more interpretive variation.see also the general graphic notation explanation.
a: slap-tongue tremolo, many many slap-tongues, as fast as possibleb: staccatissimo tongue slaps, with fluttertongue (throat) air at the same timec: air fluttertongue (throat) with short, slap-tongue multiphonics (overtones)d: ingressive air sound, with staccatissimo ingressive slap-tongue
a b
a b c d
“whistlers” -- very high whistle-like sounds, produced with lots of embouchure and air pressure, plus a little spit on the reed. depicted graphically -- see also thegeneral graphic notation description.
teeth on reed -- very high whistle sound
5 4< >
mdu ofÙenv
�14 cents from ET)
�31 cents from ET
�50 cents from ET
equal temperament (ET)
soprano saxophone
relative pitch of keyclick/air-noise around held note.where the held note continues, there should also be a click.
light air tone not on staff, slight to no pitch
air fluttertongue with relative pitch keyclick glissando
light air tone on staff, slightly more tone than above,should be an “almost” pitch, with a light, unstable grittiness.
graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the embouchure shape.
amplification:the saxophone uses a DPA mic, with gooseneck clip mounted on the instrumentso that mic is over the keys, approximately at the mid-point between the two hands. the gain to the PA speakers should be quite loud, and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back.
relative pitch of fingering/click, relative to the G on thetreble clef.
ingressive, lip soundsvery high pitch with irregular rhythm, and density. in example “a” the staccato 16th note at end indicates as sharp ending point.example “b” is similar, but with more interpretive variation.see also the general graphic notation explanation.
a: staccatissimo tongue slaps, with fluttertongue (throat) air at the same timeb: short, slap-tongue multiphonics (overtones)c: ingressive air sound, with staccatissimo ingressive slap-tongue
a b
a b c
“spit whistlers” -- a percussive fluttertongue sound, produced by adding a littlespit into the reed and angling the bell of the instrument upwards, so as to keepthe water in the reed. the resulting sound should not sound like heavy gurgling,but a light, somewhat transparent pitched sound. depicted graphically -- see also the general graphic notation description.
teeth on reed -- very high whistle sound
sfzstaccatissimo, dry slap-tongue
4
1
2
3
4
mp p
a
a
b
b
motion on flower pot base
bow muted cymbal with contact mic
a: open circles are finger tipsb: black diamonds are the back of the finger nail
while bowing the muted cymbal, move expression pedal to jump betweentransducers in the piano. in the second part of the piece, the soundjumps between hand-held speakers on stage.
press two rocks against each other with varying degrees of speed andpressure, using the graphic notation as a general guide for relativepitch and intensity.
hand brush on bongo drum -- three main sounds are used: (1) a gradient of rhythms created by moving the bristles against the drum head at different speeds and pressures, from sparse clicks,to white noise,(2) changing the relative pitch of the bristles, by using the otherhand to alter the resonance of the drum head, and(3) rubbing the handle of the brush (smooth plastic) against the drum headto produce a slightly more pitched noise sound, the frequency of which iscontrolled by rubbing closer or further from the rim of the drum head.
a: bristle sounds with graphically depicted results -- the relative vertical position indicates pitch, and the horizontal density indicates rhythm and loudness.b: open circles are used for the brush handle
pressure
light
heavy
rotation speed
fast
slow
graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the resonance of the drum head, the amount of pressure used, or speed of motion.
amplification:at least two mics are used, one or two for the flower pot base,brush on bongo, and rocks -- a contact mic is taped to the cymbaland is routed into the piano/wacom computer interface.
midi pedals:1) section pedal changes the presets used in the wacom instrument2) a midi expression pedal is used to jump the cymbal soundbetween transducers in the first sections, and later between hand-held speakers.
percussionhard brush on bongoflower pot basetwo rocksbowed cymbal with contact mic
graphic notation is used in the wacom/piano part to visuallydescribe the resulting sound as well as the gesture of the fingers, handsand arms on the tablet surface. in general, lines which are more verticalin orientation are used for more dry staccato like textures, whilesounds that have more continuty (e.g. longer FM sounds) have more of a horizontal orientation. the approximate vertical center of a shape indicatesa relative pitch, and the relative height/size of a shape indicates itsintensity, and granular density.
dry, percussive granular soundspitched, or semi pitchedgranular sounds.
for notated pitches, keyboard range is from C below middle C, to C above the staff. highly modulated,
more continuous FM sounds
distorted test-tone beep
extreme feedback pitchesto the point that the transducers jump up anddown on the strings
on top of the piano sits a multi-touch wacom tablet fitted with a tactile surface in a simplar pattern to a two manual keyboard. the finger motions are sent into a computer running max/msp used as animpulse sound source for signals sent from the computer through fourtranducers sitting on the strings of the piano. see also the technicallayout desrciption for more indepth layout. the wacom part is the central electronics source in the piece.
wacom/transducer/piano instrument
x
x
ped
a
a
b
b
c
c
synthesis/feedback crossfade
piano sustain pedal
up
down
up
down
three sound types per section preset
graphic notation aims to describe thegesture of the hands/arms as well asthe resulting sound
basic sound types:
pp
⁕
recording of a large group of people talking filtered with wacom interfaceand played into transducers into the piano
5
< >mdu ofÙ
env�14 cents from ET)
�31 cents from ET
�50 cents from ET
light to normal bow pressure
heavy bow pressure
mute
mst
msp
equal temperament (ET)
strings
amplification:all strings should have DPA mics attached -- amplified sound should be balanced and clean, mixed withthe rest of the ensemble
extended jete
“one hair”
violoncello:
violin & viola:
clb
mp
8
>v
I/II
mute string with bow
mst
ob
...sim.
vla
vlnclb
col lengo glissando col lengo staccato pitches
interlocking col lengo jete,between violin and viola to create a semi continuous texture
a: “extended gravity jete”, where bow bouncesfor a very long time, using the weight of the bow to keep it bouncing. speed and bow position are indicated graphically.b: “one hair” from the bow is pressed into thestring and dragged vertically, creating littlepitched clicks as it chafes against the grainsin the string.
uon the verge of pitch
5 4
bow position on string, higherindicates closer to bridge, closerto note means more sul tasto
bow on the edge of wherethe note begins to emerge
a: press bow wood into hairs into string and twist, creating a granular pitched soundb: drag bow vertically on string with strong pressurec: semi-circular bowing, from light horizontal moltosul tasto bowing, to pressed vertical bowing up to the bridge (ob = on bridge)d: heavy pressure and slow bowing that produces one pitched click at a time.
semi-pitched noise
behind bridge string fingers on string asloud as possible, so that somepitch is audible between fingerand nut.
a
a
b
b
c d
pizz
4
one click
4
pressed bow gestures:
finger sounds:
light pressure
col lengo:
bartokpizz
veryhigh note
handheld speakers
at a climatic moment in the piece, the winds put down their instruments and standholding hand held speakers. at first the sound coming out of the speakers is a mezzoforte white noise. as the performers slowly move the speakers through the airwe hear soft aliasing and cancellation effects. there is a short interruption by theensemble at rehearsal number 44, and then after another section of white noise, theensemble enters again -- the white noise is cut and replaced with the amplified soundof the percussion. for a long period of time, only the percussion comes through thehandheld speakers until the last section (59-64), where the piano/wacom instrumentshifts from the transducers into the speakers, and ends with high sinewaves also inthe speakers.
the moments of the speaker performers should be as unified as possible; very smooth,somewhat majestic, yet impersonal, like robots. transitions between poses are notated,where arrows continue between positions, there should be no stop, but a fluid continuation,to the next location.
6
1
pp pp
adr adr
I(I) (I)
I/IIpizz clb
sf
I/II
fsffz
pizz
sffz
pizz
sffzmf
clb8 8
I/IIpizz clb
sf
I/II
sfsffz
pizz
sffz
pizz
sffzmf
clb
I/II
sf
8 8
x
ab c
⁕ ⁕ ⁕
ped
0
7plant pot base, w/ nail
PA: mp
sfzsfz sfz
5pp pp sempre
5
sfzsf
sf
pp pppp p pp p
14
14
24
24
44
44
34
34
14
14
= ca. 66
vc
vla
vln
cl(Bb)
s sax(Bb)
perc
pno
ob
picc
flint rama gottfried 2014
10”
10”
transposed score
7
2
x
ped
ab c
... sim.
... sim.pp mp
1
2
3
4
transducer pan pedal
mp pppp
plant pot base, w/ fingertips
10”
10”
14
14
8
3
ppp sempre
pizzclb
sffz
pizz
sffz
pizz
sffz
pizz
IV
sffzp
I/II
sf
8
I/II
sf
pizzclb
sffz sfz
pizz
IV
sffzp p
I/II
sf
8 8clb
p
8
x
ped
ab c
⁕⁕⁕⁕
duo
( )
duo
nvv
5
sfz sfz sfzpp pp pp
mp sf
sfz14
14
44
44
34
34
24
24
14
14
14
14
9
4
3 5
pizz
sffz
I/II
sf
clb
p
8
sf
I/II
clb
I/II
sf sf
pizz
III
sffzp
clb
p
I/II88
x
ped
ab c
⁕ ⁕
3 5
sfz
3 5
pp pp
mpmp
sf
14
14
54
54
44
44
14
14
10”
10”
10
5
x
ped
ab c
... sim.
... sim.pp pp
sfffz
mp
1
2
3
4
transducer pan pedal
mp pppp
plant pot base, w/ fingertips
10”
10”
14
14
11
6
3 5
pizz
sffz
pizz
sffzp
I/II
8clb
p
8
I/II
sf sf
pizz
sffz
pizz
IV
sffz
I/II
x
ped
ab c
⁕ ⁕
3 5
3 5
ppsf
sfz sfzsf
14
14
54
54
44
44
14
14
332
332
12
7
(p)
mst
ob
sfzsfzsfp
mst
ob3mute string with bow
“fff”sfz
pizz
sfz
pizz
mst
ob
sfzsfzsfz sfp
mst
ob
mute string with bow
“fff”
4 5 4n
pizz
sfz
pizz
x
ped
ab c
1
pp sempre
4 4
blend with cello
sfp“fff” “fff”
sfppsfz
ppp ppp
sfz sfppsfz p
332
332
32
32
332
332
34
34
15”
15”
13
8
158va8va
...sim.
vla
vlnclb
4 4 4 45 555
158va8va
...sim.
vla
vlnclb
4 4 4 45 555
x
ped
ab c
5 4 5 n n5 n n55 4 5
5 4 5 n n5 n n55 4 5
mp
4 4 4 45 n 5 n 5 n5 n
4 4 4 45 5n 5 nn 5 n
15”
15”
10”
10”
(sul pont trem)
14
9
pizz
sffz
3-4”
pizz
sffz
3-4”
pizz
sffz
3-4”
x
ped
ab cfff
solo3-4”2
3-4” 2 rocks, crushed against each other
3-4”3-4”
sfz
sff
mp f
3-4”3-4”
3-4”3-4”
3-4”3-4”
fff
10”
10”
332
332
15
10
<u u4 o
u4u4
u4
4n
sim.mfsfz
mst
ob
jeté
45
jeté
mfp p
<u u4 o
u4u4
u4
5
jeté
sim.mf mfsfz
mst
ob
4 n
p p
n
<o
u4u4
4 5
u u4
u4jeté
p sim.mf p mfsfz
mst
ob
5n
x
ped
ab c
finger tip
crush
u4
p
<o
u4<o
u4u u4
u4u4
p
u u4
f sempre
u
p
<o
u4u u4
u4
p
fff
3 ~3~3
32
332
58
58
532
532
68
68
332
332
78
78
532
532
10”
10”
16
11
x
ped
ab c
sff
fff p ff p ff
10”
10”
17
12
x
ped
ab cfff
fffp ff p ff
332
332
18
13
4
p mfsfz
mst
ob
45
< o w4
4<u u
<o o o<
<u
o 4<
n
< o w4
4<u u
< oo o<
<u
o 4<
sfz
mst
ob
4 n nnmfp
< o w4
4<u u
<o o o<
<u
o 4<
5mfp
sfz
mst
ob
5n n
x
ped
ab c
< o w4
4 4u u< <o o o
<<
uo o
<4
p p
u<o
<
pmf mf
<u
o<
f sempre
< o w4
4<u u
<o o o<
<u
o 4<
p
fff
33 33
32
332
78
78
532
532
88
88
532
532
28
28
732
732
10”
10”
19
14
pizz
sffz
pizz
sffz
pizz
sffz
x
ped
ab c
sfz
sff
fffp ff p ff
10”
10”
20
15
x
ped
ab c
... sim.
... sim.pp mp
3
1
2
3
4
transducer pan pedal
mp pppp
plant pot base, w/ fingertips
pp
10”
10”
14
14
14
14
21
16
ppp sempre
pizzclb
sffz
pizz
sffz
pizz
IV
sffzp
I/II
sf
8
pizzclb
sffzsfz
p
pizz
IV
sffzp
8clb
p
8pizz
sffz
x
ped
ab c
⁕⁕⁕⁕
duo
( )
duo
nvv
5
14
14
44
44
34
34
24
24
14
14
332
332
very slow a tempo
22
17
mst
ob
sfzsfz
mst
obpizz
sfz
pizz
sfz
mst
ob
sfzsfz
mst
ob3pizz
sfz
pizz
sfz
x
ped
ab c
4
pp sempre
4 4
blend with cello
sfp“fff” “fff”
sfppsfz
ppp ppp
sfz sfppsfz p
332
332
32
32
332
332
34
34
10”
10”
23
18
8va
clb IV I
...sim.
vla
vlnclb
P
8va
clb IV I
...sim.
vla
vlnclb
P
x
ped
ab c
PP P
10”
10”
24
19
8va
8va
x
ped
ab c
sfz
PP
PP
10”
10”
25
20
158va 8va
4 4 4 45 555
158va 8va
4 4 4 45 555
x
ped
ab c
preset: farthest finger from others sets pitch
5 4 5 n n5 n n55 4 5
5 4 5 n n5 n n55 4 5
4 4 4 45 n 5 n 5 n5 n
4 4 4 45 5n 5 nn 5 n
15”
15”
26
21pp
pp
8
pp
8
x
ped
ab c
pp
solo
pp
pp
10”
10”
332
332
27
22
mst
ob
sfz sfz
mst
ob
3 3
3“fff”
mst
ob
sfz sfz
mst
ob
“fff”
x
ped
ab c
sfz
4
“fff” “fff”sfp sfz
(pp)
44
ppp ppp
sfppsfz sfz p
332
332
34
34
332
332
32
32
10”
10”
28
23
pizz
sffz
3-4”
pizz
sffz
3-4”
pizz
sffz
3-4”
x
ped
ab cfff
solo3-4”5
3-4” 2 rocks, crushed against each other
3-4”3-4”
sfz
sff
mp f
3-4”3-4”
3-4”3-4”
3-4”3-4”
fff
10”
10”
332
332
29
24
<u u4 o
u4u4
u4
4n
sim.mfsfz
mst
ob
jeté
45
jeté
mfp p
<u u4 o
u4u4
u4
5
jeté
sim.mf mfsfz
mst
ob
4 nn
p p
<o
u4u4
4 5
u u4
u4jeté
p sim.mf p mfsfz
mst
ob
5n
x
ped
ab c
finger tip
crush
u4
p
<o
u4<o
u4u u4
u4u4
p
u u4
f sempre
<o
u4u4 u u
4u4
p p
fff
3 ~3~3
32
332
58
58
532
532
68
68
332
332
78
78
532
532
28
28
30
25
< 4w 4
44 un
sfz
mst
ob
454
II
< 4 w 444 u
n
sfz
mst
ob
4 nn
< 4 w 444 u
n 5
sfz
mst
5n
ob
II
x
ped
ab c
u
p p p pmfmf
< o w4
4
< 4 w4
4 u
fff
3328
28
732
732
88
88
532
532
78
78
332
332
68
68
31
26
4<4u
uÒ
< o4 n
sfz
mst
ob
sfz
mst
5
ob
4
4<4u uÒ< 4
o5
sfz
mst
ob
n
sfz
mst
ob
4
4<4u uÒ< 4
o45
sfz
mst
ob
I I
sfz
mst
ob
n
x
ped
ab c
4<4uv uÒ< 4 o
p pmf
45
45
45
45
4<4u uÒ< 4
o
fff
368
68
532
532
58
58
332
332
48
48
532
532
38
38
332
332
32
27
ãã
uo èã4
44 4
44 44<
u<o
4 <4
33 3
nn45
sfz
mst
ob
4 n8ç ç
çuç ççuuu ç
ç ççuç ç ã
ãuo è
ã44
4 44 u
<o4 4 <
8n
n
33 3
554 n
sfz
mst
ob
çuuu ç4 44<
ç ç çuç ç ãã
uo èã4
44 4
44
4
<
u<o
4 4 < n8
5
3 3
3
44 5n
sfz
mst
ob
çuuu ç
x
ped
ab c
ç 4v ç 4v ç 4vu
u
uç ãã
uo èã4
44 4
44
4
<u<o
4 4 < n8
4d5 4
d5 4d5 4
d54d
4d
ç ç çu
u
ç çuç ç ãã
uo èã4
44 4
44
4
<
u<o
4 4 < n8
fff
333
32
332
28
28
532
532
18
18
532
532
28
28
332
332
18
18
332
332
532
532
18
18
532
532
28
28
332
332
532
532
11”
11”
33
28
x
ped
ab c
l.v.
sff
fff pp ff p ff
11”
11”
332
332
34
29
one hair
I
clb clb clb
mp
8 8 8
>v < < <8
I/II
“sf”
x
ped
ab c
6
>v
ppp ppp
<
>v < <
pp
332
332
24
24
232
232
34
34
932
932
24
24
732
732
14
14
332
332
35
30
3
4 4 vu
pppp
ob
4
ob
Ione click
<v4
ob
I
4
one click ob
4 <v
x
ped
ab c
l.v. l.v.
ppp
4
ppp
4
4 u u <
3
uv
pppppp pp
n4 <v
pp
332
332
68
68
22
22
332
332
48
48
28
28
36
31
pizz
sffz f
I/II
sf pp
IVI
sffz3
4u
p
pizz
sffzf
sffz
I/II
sf pp p
IV
I
3
4u
pizz
I/IIIV
I
sffzf
sffz sf pp3
4
<p
x
ped
ab c 3
l.v.
3
sffz
with smooth edge
3sfz sfpp sfpp
sim.f
teeth on reed
p
nv 4v4
sfzp
f
teeth on reed
4
sfz
3
p pppf
highest note
4
sfzsfz p pppp
f
highest note
wt
4
28
28
42
42
28
28
48
48
432
432
37
32
uI
u u u uu
5
p p mp mp f mppp
<euIV III
<e <e m 5
pp p p mp mp f mp
<mIV
m mIV 5
pppppp p mp mp f mpppp
x
ped
ab c
l.v. l.v.l.v.
l.v.
5
ppp
<pp
u3
< < <
pp
u5uu um
ppp mp mpp
u u 5um mu
ppp p p mp mpp
432
432
24
24
432
432
34
34
332
332
432
432
332
332
38
33
u3
p
e eppp
m u uu >v >v u n uII
II
IIIIII
on the verge of pitch
pp
(senza vibr.)
u u u u<e< <
III
IIIVon the verge of pitch
pp ppmp
x
ped
ab c
l.v. l.v.
ppp ppp
subito
�
3
sff
3
p
v
v
ppp
unu
3
uu <eu
air tone, with slight pitchas before
m
p p
u u u
ppp
332
332
32
32
332
332
22
22
332
332
39
34
u u
mp pp
u u
mp sfpp
senza a molto vibrato
(non harmonic)
mf
III m m
pp mp pp mf
senza a molto vibrato
(non harmonic)
u u nn
3
u u. . .
.
. .
8va
. . . .
senza a molto vibrato
(non harmonic)
mfppmpmp
x
ped
ab c
l.v.
piano
p
l.v.
ppp pppmf
p
mp pp mpcresc.
v v
v vn
u
um u
p mp pp mf
5 uas before as before
v v v vnv
.
mf mp
pp
332
332
58
58
532
532
28
28
32
32
10”
10”
40
35
mfsfff
from molto to extreme vibrato
m
mfsfff
from molto to extreme vibrato
mfsfff
u from molto to extreme vibrato
x
ped
ab c
7
cymbal
(brush)
p sempre
fff dim. sffpp
sfff
sfff
10”
10”
41
36
è èèsf p
jete
sfp sfz
è
I/II
sf
I/II
sf
I/II
sf
I/II
sf sf
5 5sf
jete
5sf
jeteI/II
sf sf sf sf
p sfp
è èè
I/II
sf psf
jete
extreme vibr.
ob msp
mst
x
ped
ab c
pp
mp fmp f
10”
10”
42
37
èp sfp sfz
I/II
sfsf sf sf sf sf
5p sfp
5 5sf
jete
p sfp
I/II
sf sf sf sf
è è
I/II
sfpsf
jeteob msp
mst
x
ped
ab c
pp
mp f mp f mp f
10”
10”
43
38
èsf
jete
sf sf sim.
èp sfp mp
5sf
jete
5sf
jeteI/II
sf sf sf sf sf sf
5p mpsfp
èè
I/II
sfsf
ob msp
mst
p mpsfp
x
ped
ab c
pp
mp f
10”
10”
64
64
44
39sfff fdim.
èsfp
extreme to molto vibrato
sfz
mst
ob stop suddenly and freeze
5sfff dim. fsfp
extreme to molto vibrato
sfz
mst
ob stop suddenly and freeze
sfff dim. fsfp
sfz
mst
ob
extreme to molto vibrato
stop suddenly and freeze
x
ped
ab c
stop suddenly and freeze*
*white noise in speakers on section 8
8
mf
sfff dim. f
stop suddenly and freeze
put down instrument, and pick up small speaker
suddenly stand with handheld speaker
white noise
put down instrument, and pick up small speaker
suddenly stand with handheld speaker
sfp
white noise
put down instrument, and pick up small speaker
suddenly stand with handheld speaker
white noise
put down instrument, and pick up small speaker
suddenly stand with handheld speaker
white noise
64
64
54
54
11”
11”
mute wind mics
view from audience
(mirror image in parts)
45
40
top view
top view
top view
top view
11”
11”
x
ped
ab c
wacom instrument controls filtered white noise, follow gestures of winds with noise gesture
white noise in speakersmute direct signal for piano (keep mics)
conductor and the rest of the ensemble freeze
46
41
x
ped
ab c
47
42
x
ped
ab c
10”
48
43
x
ped
ab c
10”
49
44
percussion in speakers, white noise cut
percussion in speakers, white noise cut
percussion in speakers, white noise cut
percussion in speakers, white noise cut
èsf
jete
sf sf sim.
èp sfp mp
5sf
jete
5sf
jeteI/II
sf sf sf sf sf sf
5p mpsfp
èè
I/II
sfsf
ob msp
mst
p mpsfp
x
ped
ab c
9
pp
(sound is in handheld speakers)
50
45
white noise
white noise
white noise
white noise
x
ped
ab c
10
51
46
x
ped
ab c
52
47
“windmill”fast
“speaker head”
slowly
“windmill”fast
“speaker head”
slowly
“windmill”
fast
slowly
fast
“speaker head”“windmill”
slowly
“speaker head”
x
ped
ab c
cue3
32
332
53
48
one hair
I
clb clb clb
mp
8 8 8
>v < < <8
I/II
“sf”
x
ped
ab c
11
random turn +/- 45 deg.
random turn +/- 45 deg.
random turn +/- 45 deg.
percussion only
random turn +/- 45 deg.
random turn +/- 45 deg.
random turn +/- 45 deg.
percussion only
random turn +/- 45 deg.
random turn +/- 45 deg.
random turn +/- 45 deg.
percussion only
random turn +/- 45 deg.
random turn +/- 45 deg.
random turn +/- 45 deg.
percussion only
332
332
24
24
232
232
34
34
932
932
24
24
732
732
14
14
332
332
percussion in small speakers
with mutes?
54
49
3
4 4 vu
pppp
4 u u <
3
ppp
ob
4
ob
Ione click
<v
ob
obob
I
4
one click ob
4 <v u
pppp
x
ped
ab c
l.v. l.v.
332
332
68
68
22
22
332
332
48
48
332
332
electronics: resonate from short scurries
55
50
clb
p
8
clb
p
8
x
ped
ab c
recording of a large group of people talking filtered with wacom interfaceand played into transducers into the piano
sim.
12
1
2
3
4speaker pan pedal
p
... sim.
332
332
14”
14”
432
432
7”
7”
332
332
56
51
sfz
mst
ob
sfz ppp p sfz ppp psfz sfz
mute string with bow
“fff”
mute string with bow
“fff”“fff”
sfz
mst
ob
sfzsfz sfzsfz ppp p sfz ppp p
mute string with bow
“fff” “fff”
x
ped
ab c
13
332
332
32
32
332
332
34
34
332
332
57
52
pizz
sffz
I
sfz
mst
ob
sfzsfz ppp p
mute string with bow
sfz“fff” ppp p
“fff”
pizz
sffz
I
sfz
mst
obmsp
mst
stagger bow movment
x
ped
ab c
⁕
332
332
32
32
332
332
28
28
58
53
pizz
sffz f
I/II
sf pp
IVI
sffz3
4u
p
pizz
sffzf
sffz
I/II
sf pp p
IV
I
3
4u
pizz
I/IIIV
I
sffzf
sffz sf pp3
4
<p
x
ped
ab c 3
l.v.14 ⁕
3
sffz
with smooth edge
⁕beep!
⁕beep!
⁕beep!
⁕beep!
28
28
42
42
28
28
48
48
34
34
59
54
4
mst
ob
45pp
pppp ppmp mp mp
I II
II
IIIII
uu
p
uue
IIIIu u
5
jeté
pp pp ppp
mst
ob
4 nn
54
5
5mp mp mp
mp
45
< u54
54
4 5
u4
4
II
pp pp ppp
mst
ob
5n
4 II45 5
4
mp mp mpmp
5 54
>vo
x
ped
ab c
pp
finger tip
crush
p
pp
34
34
516
516
54
54
616
616
34
34
716
716
54
54
5”
5”
rocks
60
55
III
pp
bow just on the boarder of pitch
usenza vibr.
pp
bow just on the boarder of pitch
>vosenza vibr.bow just on the boarder of pitch
pp
x
ped
ab c
5”
5”
332
332
61
56
III
pizzII
sffz
I
sffz
pizzII
sffz
u
I
sffz
poco a poco vibrato
molto vibrato
>vo
pizz
poco a poco vibrato
molto vibratoII
sffz
I
sffz
x
ped
ab c
l.v. l.v.
ppp ppp
subito
�
3
sff
332
332
32
32
332
332
22
22
432
432
62
57
uI
u u u
ppp p mp mp
III
5
“fff”
<eIV
<e <e
ppp p mp mp
u
5
“fff”
mIV
m mIV
5
ppppp p p mp mpppp
>vo
“fff”
x
ped
ab c
l.v. l.v.
5
ppp
432
432
24
24
432
432
34
34
332
332
432
432
58
58
63
58
col lengo glissando
col lengo glissando
col lengo glissando
x
ped
ab c
l.v.
piano
p
8
pppmf
58
58
532
532
28
28
32
32
10”
10”
64
59
wacom + percussion in speakers
wacom + percussion in speakers
wacom + percussion in speakers
wacom + percussion in speakers
10”
10”
x
ped
ab c
unconducted unison with percussion
15
unconducted unison with piano
65
60
10”
10”
x
ped
ab c
7”
7”
66
61
x
ped
ab c
pp
(end unison)
cymbal
7”
7”
10”
10”
67
62
x
ped
ab c
pp
10”
10”
68
63
sine waves
sine waves
sine waves
sine waves
x
ped
ab c
sine-waves in handheld speakers
16
69
64
x
ped
ab c
⁕
17
oct. 6, 2014, berkeley
70