UCLA Contemporary Music Score Collection

Title Quartet for 4 soloists

Permalink https://escholarship.org/uc/item/41v093zg

Author Zou, Tianyu

Publication Date 2020

eScholarship.org Powered by the California Digital Library University of California QUARTET

for 4 soloists (, Tenor-Saxophone, Percussion and Viola)

Tianyu Zou

(2019) Performance Notes

For all the performers:

(7.) l.v. = Let the vibration of the notes die on its own accord. Instrumentation s.v. = senza vibrato c.v. = con vibrato

(8.) If a which appears in each instrument has no termination point notated, then the Trumpet in C glissando should not be larger than three quarter-tones (i.e., a semitone plus a quarter-tone). If a termination point is notated for a glissando, then that termination point should not be re-articulated unless indicated otherwise. Tenor-Saxophone in B

*Percussion (1 player) (9.) Fermatas or pauses, All the pauses which are noted in this score are indicated by traditional fermata signs with seconds number e.g. (x”) in text form. Pause plays an irreplaceable part in this Viola piece, occupies an important philosophical position. It’s in the center of the piece’s philosophical values.

* List of Percussion instruments will be shown following page.

In General

(1.) Duration of the piece is approximately 9 minutes.

(2.) This is a transposed score.

(3.) Throughout this piece, there are a number of fermata demands. If the fermata occurs over a transition of some kind (such as a transition in dynamic or timbre), then try to perform this transition evenly over the allotted time interval.

(4.) Quarter-tones are notated as follows:

(5.) Transition from one state to another gradually, this symbol works for each type of stave and clef.

(6.) crescendo da niente, diminuendo al niente.

P.S. In some cases, its implementation depends on the physical properties of the instrument itself. This means, it might not necessarily be reached, but here the musicians are asked to do this with reference to this concept. Performance Notes for Trumpeter:

(5.) In this piece, this instrument works more as an “amplifier of lips and breathing techniques”. The trumpet often makes use of breath, “dirty breath” dedicates adding a bit of moisture to the breath sound. Fundamental Symbols:

Kiss tone, the “K” is set above the square note, it works with inhalation simutaniously. = normal timbre = Tongue ram

Especially, the eventual effect will never reach the dynamic degree, but it should be read as relatively intensity. = indicates the fingering of overblown. = Flutter tongue

Bisb. = Bisbigliando (6.) There are placed a indicated lines with on and off which is exclusively for the Wa-wa mute above = breathing sound or whisper, in different length. the clef and will be announced “installing and disassembling”with framed text in a relatively reasonable preparation time. Changing motion in clear rhythm as it shows. The spectrum is as follows:

= Inhalation

Selected from [bar 6-7]. = Exhalation Selected from [bar 55].

(7.) A split tone is the resultant fast oscillation between 2 neighboring overtones of one series, caused by difference in tension between upper-lip and under-lip. Hence, as one of the important sound materials here, a metaphysical outline which follows the indicated tone is used to dedicate the amplitude roughly. It describes the relative tendency of takes on more solo parts, and its notation is as follows.

There will have 2 kinds of split tone in different physical principle. (1.) Only 1 Trumpet (in C) of any Brand is asked to use throughout the whole piece. First, a split tone is the resultant fast oscillation between 2 neighboring overtones of one series, caused by difference in tension between upper-lip and under-lip. Block upper lip, then lower-lip aims for higher note (2.)*Standard pitch based on 442 Hertz. Using a tuner with fine frequency recognition capabilities is for interval, and upper-lip aims for lower tone. Other notes may resonate with the interval, giving the preferred. Maximum possible precision in tuning is advised, although pitches higher than g#2 may be impression of a chord. allowed for a +/- 3Hz fluctuation. A dirty sound ,intonation and tuning is unstable, e.g., the fifth may de-tune becoming a tritone. Some intervals can only be located with the valve lengthened, giving an overtone series a semi-tone lower. (3.) A Wa-wa mute and an intact CD mute are required.

(4.) The Trumpetist is asked to use 2 staves. Usually, the player will make use of “Voice clef”. Thus, a vocal staff is set under the instrumental stave simultaneously. In most cases, they work in different Selected from [bar 83], a solo fragment for trumpetist. functions. The top stave uses an treble clef only, indicates the sounds which work with this instrument itself. The under stave which will be mentioned in this score is used exclusively for the vocal techniques. They are used for techniques of throat, tongue, articulation and breathing. Secondly, using the similar principal to produce an air based-split tone, it emphasizes a dim sound and humidness from the pipes. Compared with the general split tone, it has more instability when it plays. When the lower staff is used as “voice clef”, the self-existent line indicates a relatively medium voice register of the soloist. The note appearing above the line represents a relatively higher pitch(s), otherwise is deeper. Eventually, the specific effect depends on the performability of the trumpeter.

(8.) Additionally, the two staves will work synchronously. For example, the fragment is showed below, dedicates that the player is working on a whisper with . Here, the musician is asked to press the This clef supports primarily blowing techniques. indicated fingering (in upper staff) when he/she is doing the informations from the bottom staff.

Relatively higher register

Selected from [bar 11-12] Selected from [bar 87]. Relatively deeper register Doing aeolian flutter tongue and humming from the throat at the same time. Performance Notes

for Saxophonist:

Fundamental Symbols: (4.) Additionally, the two staves will work synchronously. For example, the fragments are showed below, dedicate that the player is working on a whisper with embouchure. Here, the musician is asked to press the indicated fingering (in upper staff) when he/she is doing the informations from the bottom staff. = normal timbre = Tongue ram

= breathing sound, in different length. = Flutter tongue

Selected from [bar 21]. Selected from [bar 18]. = Inhalation Bisb. = Bisbigliando

= Exhalation

= Fingering indicates the fingering of overblown. (5.) Teeth tone, set the lower teeth against the reed, very high tone(s) in the altissimo register can be produced. The metaphysical outlines are used to dedicate the amplitude roughly. Occasionally, the saxophonist is required to play tone cluster-like teeth tone. (The most representative is [bar 1].)

Selected from [bar 37-38].

(6.) Split tone, a specific type of , raucous and close to noise or unstable harmonic-cluster, produced by relaxing the lips. Be sure to remain within the low register, as requested. The fundamental pitch (1.) A Tenor-Saxophone (in B flat) of any Brand is asked to use throughout whole piece. will be noted in a diamond shape note which indicates the fingering. Meanwhile, like the similar principle of teeth tone(see above), split tone will be described with a metaphysical outline as well. In order to facilitate the distinction, the composer has added identifiers in text form when they appear. (2.) *Standard pitch based on 442 Hertz. Using a tuner with fine frequency recognition capabilities is preferred. Maximum possible precision in tuning is advised, although pitches higher than g#2 may be allowed with a +/- 3Hz fluctuation.

(3.) In this piece, the saxophonist is asked to use 2 staves. Usually, the player will make use of “voice clef”. Selected from [bar 12-13]. Selected from [bar 107-108]. Thus, a vocal staff is set under the instrumental staff simultaneously. In most cases, they work in different functions. The top stave uses an treble clef only, indicates the sounds which work with this instrument itself. The under stave which will mentioned in this score is especially used for the vocal techniques. They are used for techniques of throat, tongue, articulation and breathing. (7.) All of the multiphonic fingerings are marked when they appear.

(8.) Finally, this piece pursues a distortional sound of saxophone and its player. To shape/sculpt exaggerated textures consciously, when you get into the piece. When the lower stave is used as “voice clef”, the self-existent line indicates a relatively medium voice register of the soloist. The note appearing above the line represents a relatively higher pitch(s), otherwise is lower. Consistent with the requirement of the trumpet player, the specific effect depends on the performability of the saxophonist. Performance Notes

for Percussionist: Snare-Drum 2 is required to upset-down place and the snare should be loosened. Most of the action occur on the snare itself. The bottom head (original) should be detuned slightly. It will be notated in an action clef in this piece. list of percussion instruments: Fundamental Symbols: Aerial view of Snare Drum 2 :

Metal: = soundless timbre 1 Triangle (Small) 1 Suspended Cymbal (Large) Hoop = tremolo Edge Skin: = circling (movement locus) Relative position: 2 Snare Drums (S.D. 1 and S.D. 2) 1 Tom-tom M. S. P. 1 Bass Drum Centre of resonant head Ordinary Position Object: Tools part: 2 Polyfoams in different size (concrete size see below) = hand palm/ finger(s) M. S. P. Tools: 2 Sponge Brush Snare 1 Cello/ Double bass Bow = Drum stick 1 Super-ball (medium) 1 Slider (glass/metal guitar slider) 1 pluck/ plastic card 1 wooden drum stick *Other tools will be noticed in text form when they appear. 1 mallet with plastic stick 1 triangle metal stick A Reference for the slider, brushes and polyfoams:

In this piece, the composer collects several frictional effects in In this piece, percussion instruments will be notated into 3 staves, each staff will run in percussion part. Mostly they will occur on the 2 Snare-drums. different group which is according to their materials and functions. The picture we could refer to right side, it is a general guitar slider Particularly, the Snare-Drum 2 will be notated independently in a single staff which is under which is made by Metal,the percussionist is required to play a the staff for Skin instruments. kind of frictional sound on Snare-drum 2 with it.

We could refer to the example below: The Percussionist is asked to prepare at least 2 Polyfoams in different shapes. ° Skins œ œ ∑ 4 ∑ One for some instruments in small size like snare drum and tom- / œ 4 tom, one for Bass Drum. In order to avoid mis-touching during Bass Drum Tom-tom (Low) Snare-drum 1 the process of bowing polyfoam on the head of Bass drum, the height of it should be higher than the rim of Bass drum. Snare-œdrum 2 ∏ ∑ 4 ∑

∏ / ∏ 4 œ∏ (Specific informations will be showed in the picture. )

Metals œ ∑ 4 ∑ ¢ / œ œ 4 Tam-tam (Orch.) Suspended Cymbal (Large) Triangle (Small) °4 / ∑ ∑ ∑

∑ ∑ ∑ /

∑ ∑ ∑ ¢ / Performance Notes for Percussionist: (8.) Notes with , indicates up bow and down bow respectively as if in strings technique.

Fundamental Symbols: Tools part: Hand techniques:

= soundless timbre = hand/finger(s) this symbol indicates that the percussion instrument is struck with the heel of the hand (the joint between the palm and the inside of the wrist), the fingers bent. = tremolo = Drum stick rasg. = Rasgueado, the typical flamingo technique from classical guitar playing. = circling (movement locus) = Cello or Double bass bow Arpeggiate the snare by dragging a finger across the snare at the indicated position in one sweeping = general beating gesture.

Please contact with the snare completely by one hand with slider, arpeggiate snare by the fingers of another hand continuously.

(1.) In this piece, the frictional effects occupy a dominant position in the vast majority of the percussive content. This symbol has 2 functions, when it appears before the musical informations, the player is asked to mute the indicated instrument by indicated tools or hand. Secondly, when it appear among or after the , it indicates to stop resonance. (2.) The Snare drum 1 is played in a general manner. However, in order to produce a relating lower and slightly “floppy” sound, the drum head of S.D.1 should be detuned.

(3.) The Snare Drum 2 is required to upset-down place and the snare should be loosened. Most of the action (9.) Indicates a sweeping motion on the head of Snare drum 1. occur on the snare itself. The bottom head (original) should be detuned slightly. It will be notated specifically in an action clef in this piece.

(4.) The Tom-tom is also required to be detuned lower slightly.

(5.) Polyfoam (Polyurethane foam): [Requirements have already mentioned in last page] (10.) Other instructions of special techniques are noted in the score when they appear.

(6.) Requirements for the bow: In order to produce a series of pressure in various dynamics effectively. A large distance between bow hair and stick is very helpful and necessary for that. Thus, the degree of tightness of bow hair should be operated to relative tightened degree.

(7.) Physical contacted Pressure: The timbre diversifications of tools pressing on the percussion instruments play one of the characteristics of specific timbre in this piece. As we are observing bellows, the dark square indicates a relatively heavy pressure for any sustainable sound indicated in the piece. Oppositely, the blank square indicates roughly a relative light pressure for the same objects, the result(s) has/have only frictional sound. In order to produce these effects, increase/reduce the contact area between the indicated tool(s) and instrument’s position, then the requirements could be achieved. For example, as the picture shows, the order from left to right is heaviest power to powerless. Attention: This signs as mentioned above would occur in each clef and on any percussion instrument. Their functions would work dominantly as a “timbrizational” expression of the 2 snare-drums. Performance Notes for Violist:

(1.) In this piece, the violist is required to use 2 staves. The three lines action staff indicates the position of bow: upper line = almost near to the bridge (2.) The top stave uses an action clef only, indicating the bow position with regard to the edge of the fingerboard and the bridge. The under staff which will mentioned in this score are primarily used for middle line = around fingerboard the left-hand position using alto, treble and percussive clefs. They are used for the battuta, arco and happen occasionally on the bow. One line staff is used for dramatic action which occurs on bow(refer bottom line = near the octave harmonic (7th position) to [bar 75]). Occasionally, two staves are used for one instrument when there are two different simultaneous musical actions. A score sample will be mentioned below.

(3.) The Viola is required to be detuned a scordatura as follows. The alto clef supports primarily left-hand positions and several bowing techniques.

(4.) The score is transposed in standard Viola tuning.

(5.) All dynamics symbol with are to be read as “relatively intensities”. “ ” Placements: (will appear on each stave occasionally) (6.) The left-hand only finger natural harmonics at the given fingering notated by a diamond-shape note. m.s.t. molto sul tasto

(7.) When a open string is played followed by a harmonic on that same string, finger that harmonic s.t. sul tasto without reattaching that string. Ord. ordinary position

(8.) Damping Strings: Left hand damping of all 4 strings in the 1st position, cover all the 4 strings s.p. sul ponticello with general pressure by hand palm or fingers. Noise, scrapping sound and occasional harmonics m.s.p. molto sul ponticello should be produced without any pitches. There is a symbol which appears on the upper stave when it is indicated. Please pay attention to gestures in which the right hand moves the bow quickly from the top line (next to bridge) to the bottom line (7th position), creating a slightly dramatic effect. Motions of bow: (9.) Ord. or arco: Indicates a return to standard technique of bowing. These 2 words always appear among each staff. cl.

(10.) In [Bar 112], there is a particular requirement, that the violist should prepare a Polyfoam in a gentle bouncing of the bow hair on the string(s) by the bow’s own weight. batt. suitable size. Since this situation only appears once, Please refer to the texts which are written around It will be noted with bar 112 for specific operation. tremolo (11.) Physical contacted Pressure: the dark square indicates roughly a relative parameter about right hand’s over-bow pressure which is one of heavy bow pressure, running bow in a very low velocity. the most important information from viola in this piece. Oppositely, the blank square indicates a relative powerless pressure, the result has only white noise but little pitch, close to the ordinary pressure as we all know it. For example, as the picture shows, the order from left to right is heaviest power to powerless. Commissioned by outHear New Music Week 2019,

dedicated to Quartet

The Score is transposed. for 4 Soloists Tianyu Zou (2019)

q = 60 (Kiss tone) ¯ ( 4'' ) ( 5'' ) K. Wa-wa mute ° ≈ ≥ ≤ + - √ 3 ∑ 2 ‰™ 3 Ó ≈ #œ ‰ 4 Ó™ Œ 3 Trumpet in C ¢& 4 4 æ r 4 R 4 4 #6 6 > sf mf " f "

teeth tone, with the lower teeth against the reed > j keep mouthpiece ( 5'' ) å å å affixed to lips ° 3 ≈ 2 3 4 √ 3 & 4 ∑ 4 #O 4 #O nO O ≈ #6 4 )™ Œ 4 Tenor Saxophone ¢ O O O O O R

( 4'' ) o mf sfp ff (Don't move!) emotionless Vocal/whisper ≤ √ . ≈ >6 4 )™ Œ 3 ÷ ‰ R 4 4 [s] p subito o

Snare Drum 1 ( 5'' ) ( 4'' ) ≈ ªA ? (Don't move!) with " (brush) > emotionless hard plastic brush @ 3 ≈ r ° 3 )™ 2 >7. 3 ‰ 6 4 )™ √ 3 / 4 4 ‰ J ‰ Œ 4 ¿ ‰ 4 Œ 4 o ‰ J l.v. "mf " ff f Bass Drum 6A > ≈ sf 3 o Percussion > Let the snare and brush [rim] f sp " r (Rasg.) "click-clack" on the skin. Snare Drum 2 (mute by brush hair) @ ? ™ @ 3 2 ¿ 3 j 4 3 ¢ / 4 4 6 4 ‰ Œ Œ 4 4

o "f " mp subito mf

as fast as possible ( 5'' ) … ° ≈ 5 ÷ 3 ∑ 2 Œ 3 4 ∑ 3 4 4 >6 6 4 4 4 sfpp "f " @ keep bow affixed to string ( 4'' ) Viola > (Don't move!) II (s.p.) ≤ O 3 ≈ 2 #œ 3 J 4 ™ √ 3 ¢B 4 ∑ 4 Œ & ≈ 4 ‰ 4 Ó Œ 4 5 (p) o ff 2 ¯ ¯ Wa-wa -+ + (Senza mute) ( 4'' ) °5 ≥ Bœ œ œ œ œ valve gliss. µœ √ 3 ∑ Œ ≈ ≈ J 4 J 3 J ‰ Ó 2 ‰™ r Œ Œ Œ 1 Tpt. & 4 r 4 4 4 æ 4 ¢ 6™ 6 6æ #6™ 3 b> o p pp mf ppp p pp

very frail sound, resonanting between a relatively stable tone cluster. > ≥™ j å™ (with embouchure) ° 3 4 3 n6™ 2 √ 1 & 4 ≈ ≈ 4 ∑ 4 ≈ J 4 J ‰ Œ Œ Œ 4 nO™ O O bO O #O O ‰™ œ œ J R R - o f T-Sax. 5 ppp pp sf o ( 4'' ) (lips vib.) ≤ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ 3 4 3 ≈ 6™ 6 2 1 ¢÷ 4 ∑ ∑ 4 ∑ 4 J 4 ‰ Œ Œ Œ 4 J [s] ppp p o

Hold the brush hair on the drum head S.D. 1 until it has stopped resonationg. brush very slow motion ªA ( 4'' ) Tom-tom " @ ? ° 3 > 4 3 2 " √ 1 / 4 ∑ 7 ‰ Œ Œ 4 ∑ 4 ≈ 6™ 4 6 6 ‰™ Œ 4 J J æ æ R sf o p abstemiously mf (Don't move!) Perc. (mp) brusher " S.D. 2 > 3 ∑ 3 4 ∑ 3 2 1 ¢ / 4 ‰ ™ ≈ 4 4 4 4 o f pp o (p)

? @ III II > IV III I j ( 4'' ) (ord.) (m.s.p.) … r ° 3 4 ∑ 3 ∑ 2 II 6 ™ √ 1 ÷ 4 Œ Œ ‰ J ‰ 4 4 4 ≈ ™ ™ ‰ Œ 4

5 (mp) (Don't move!) II Vla. II @ pp " f " ≤ ≥ I≥II ≤ ≥ 5Bœ™ >™ bœ≥œ≤ œ œ≤ œ œ œ 3 J œ œ œ 4 3 2 1 ¢& 4 Œ Œ ‰ ≈ ‰ 4 ∑ 4 ∑ 4 ∑ ∑ B 4 6 ppp mf spp ff 3

°11 1 4 ‰ Œ Ó 3 ∑ 2 ∑ 5 Œ Œ ≈ Œ 4 & 4 4 j 4 4 4 j™ 4 #O O Tpt. Inhale abruptly ≤ ≥ ≤ 1 ‰ j 4 j ‰ Œ 3 2 5 Œ Œ ≈ j™ Œ 4 ¢÷ 4 6 4 >6 Ó 4 ∑ 4 ∑ 4 6 4 [he-a-] [po!] [s-] "f " mf p mp

(breath when necessary) split tone Tongue ram å å ° 1 4 3 2 5 4 & 4 ∑ 4 4 4 4 4 b>h œ™™ œ ˙ ˙™ ˙ ˙™ ˙ T-Sax. f ppp pp mp pp mp 1 4 3 2 5 4 ¢÷ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4

ªA B.D. - sweeping by fingers brush ° 1 4 6 3 2 r ™ 5 4 / 4 ∑ 4 J ‰ Œ Ó 4 Œ Œ 6 4 6 ‰ Œ 4 ∑ 4 p pp mp Perc. extremely slow motion, brush produce click-clack sound simoutaniously. @ ™ brush @ slow motion 1 ∑ 4 3 ‰™ 2 ∑ 5 Ó Œ 4 ¢ / 4 4 4 R 4 4 4 ppp pp mp p mp

° 3 ÷ 1 ∑ 4 Ó Œ ‰ 3 ™ ≈ Œ Œ 2 Œ ‰™ 5 4 4 4 4 J 4 J 4 ™ 4 @ 5 Vla. ? @ ? @ III ≤ 3 II Bœ≤ œ O 1 4 #O 3 O™ 2 ™ J 5 4 ¢B 4 ∑ 4 Ó Œ ‰ 4 J ≈ Œ Œ & 4 Œ ‰ 4 B 4 5 œ™ o mp o pp mp spp mp 4

q = 84 Wa-wa q = 60 °16 > Senza mute... 4 ∑ 4 Ó ≈ #œ™ œ 6+1 œ œ œ ≈ Œ ‰ 3 ∑ 1 & 4 4 J 8 J R 4 4 (mp) o sf Tpt.

4 4 6+1 3 1 ¢÷ 4 ∑ 4 ∑ 8 ∑ 4 ∑ 4

teeth tone ≥ å≥ ° 4 4 6+1 7 3 ™ 1 & 4 Œ 4 ∑ 8 6 b6 6 #6 n6 6 6 ≈ #O O 4#O ‰ Œ Œ 4 ˙™ b O #O O R

T-Sax. mp f p f ff pp o ≤ 4 4 6+1 Œ >6 3 1 ¢÷ 4 ∑ 4 ∑ 8 R 4 ∑ 4 [s] f

S.D. 1 very heavy pressure mf S.D.1 ff ? @ ªA B.D. [rim] ? >" brush brush ° > 5 6A æ 4 ∑ 4 6 ™ 6+1 ≈ 7 ‰™ ‰ > ‰ ‰ 6 3 7 ‰™ Œ Œ 1 / 4 4 æ æ 8 ¿ 4 R 4 æ æ > o mp sf T.t. Perc. ªA ff brush " @ (brush) Rasg. by brush 4 j 4 ∑ 6+1 3 > 3 ∑ 1 ¢ / 4 ‰ Œ 4 8 ‰ ‰ ‰ ¿ù ‰ 4 4 o > f sf

III II III @ IV III IV ? ° 4 4 ™ … 6+1 ™ … 6™ 3 j 1 ÷ 4 4 R ‰ Œ Œ ‰ J 8 r ‰ Œ 6™ 4 ≈ ™ 4

mp "sff " p Vla. ? @ IV III II I @ I ≤ ≥ @ extremely heavy pressure 5 ≥ ≥ µO II Bœ≥ œ nœ œ5™ œ 4 4 ™ 6+1 µO R 3 #œ™ œ 1 B 4 4 r ‰ Œ Ó 8 ‰ œ ~~~~~~~~œ µO & 4 ≈ 4 ¢ œ œ œ ~~~~~~~~œ #O nœ >. pp o o f p mf mf p mp 5 q = 66 q = 56 (6'') °20 √ ≤ 1 ∑ 3 ≈ Œ Œ 8+1 4 ≈ ‰ Œ Œ Œ 3 Tpt. ¢& 4 4 6 8 æ æ æj 4 ær 4 # h > #) ) 6æ 6æ > ff "f " [RRRR...] ppp mf f

(6'') Bisb. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 7 ° 1 √ 3 ) 6 8+1 j 6 6 4 j 3 & 4 ∑ 4 # 8 ‰ Œ Œ Œ # n 6#6 n6 4 nKbww 4 h 6 b6 6 avoid making too much clicking noise > sf p f ppp subito T-Sax. ≤ 1 3 ) 6 ≤. ≤. ≤ 8+1 4 3 ¢÷ 4 √∑ 4 6 6 6. 6 8 ∑ 4 ∑ 4

5 [s] [sa] [sa] [sa] [sa] o mp mf

"tratto", let the top of Shaft against with hoop while S.D. 1 the bottom of shaft against with head. During this process, the two contacts and drum's 6A ° √ ¢A own conform>ation form a triangle structure. >j 1 ∑ 3 ≈ -¿™ ‰™ Œ 8+1 œ ‰ Œ Œ Œ ‰ 4 ∑ 3 / 4 4 J R 8 4 4 o "f " sf l.v. Rasg. Perc. (6'') increase pressure @ >j" √ " brush 6 1 ∑ 3 >7 ‰ Œ Œ 8+1 Ó Ó 4 ¿ r ‰™ Œ Ó 3 ¢ / 4 4 J 8 J 4 4 (smack/ hit on the sf p mf dedicated snare-position)

(6'') √ I … ° 1 3 II @ 8+1 j 4 ™ 3 ÷ 4 4 Œ Œ 8 s 4 r ‰ Œ Œ Œ 4

pp ? Vla. (6'') (keep the ≥ *@ IV III operational increase pressure √ ≤ ≥ ≥ @ œ >œ > ≤ 3 position...) ≤ 1 œ 3 œ Œ Œ 8+1 j µO ‰ Œ Œ 4 ‰™ Œ Œ Œ 3 ¢& 4 4 B 8 bO J j 4 r 4 µO O µO gliss. nœ ppp mp sf pp o sff pp f *extreme heavy pressure 6 Fizz sound, cover the two thirds of the whole bell slightly. °24 CD Mute Additionally, bring a little bit beath sound. 3 ∑ 4 Œ j ‰ Ó Œ Œ 3 Œ Œ µœ gliss. #œ ‰™ Tpt. ¢& 4 4 #œ gliss. µœ #œ 4 R

ppp pp o ppp pp

° 3 K ™ k ™ 5 k ™ 3 ˙˙™ 4 ˙˙ œœ #Lnœ œ ˙™ œ 3 œ #nœ™ œ œ r #n˙™ T-Sax. ¢& 4 4 J 4 -œ

(ppp) ppp p ppp p spp

brush @ slow motion ° 3 4 -6~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~3~~~~6 / 4 ∑ 4 ∑ Œ Œ ‰ 4 J ‰ Œ Œ ∑ 3 o pp mute by palm slightly, Perc. pluck the snare(s) by fingers " S.D. 2 ªA @ lock up the snare 5 j @ @ very slow motion 3 ∑ 4 ¿ ¿ 3 - 3 65 Œ Œ ¿ 6~~~~ ≈ ¿ ‰ ‰ ≈ Œ Œ ‰ ~~~~~ ≈ Œ ¢ / 4 4 ~~~~~~~~6 J 6~~~~~~~~~~~~~~~~~~~~~ 4 ¿ pp R ppp pp pp - pp ppp ppp p squeeze the snare with relatively heavy pressure by brush.

(II) III IV @ (Sweeping) @ ° 6 - … 5 ÷ 3 Œ ≈ ™ 4 ≈ ‰ Œ Ó ‰ ‰ Ó 3 ≈ ™ Œ Œ ≈ 4 J 4 R 4 ppp p

Vla. change @ finger pressure @ ? @ graduatly. ≤ II - G ≥ nKO II - I 3 µœ™ 4 R ™ #œ gliss. µœ 3 nœ™ œ ™ ¢B 4 Œ ≈ J 4 ‰ Œ Ó ‰ ‰ Ó 4 ≈ ‰ Œ ∑ o o o pp o pp pp 7 q = 84 q = 104 q = 86 °29 Senza mute ≥ ∑ ∑ ∑ 2 æ r ‰™ 3 ∑ 5 3 ‰ Œ Œ Tpt. ¢& 4 6æ 6 4 4 æ æ 4 j #)™ ) 6 > o "mf " [rrr...] (Uvular) sf ppp

(bring serveral audible harmonics slightly) ° <#>˙™ œ 2 3 r ™ 5 ≥ 3 & J ‰ Œ Œ ∑ 4 Œ #O 4 O ‰ Œ Œ 4 Ó Ó ‰ j 4 j ‰ Œ Œ b6 -œ T-Sax. o "f " pp ff 2 Œ Strohbass 3 ™ Œ Œ 5 3 ¢÷ ∑ ∑ ∑ 4 f 4 r ‰ 4 ∑ 4 ∑

o "mf "

S.D. 1 brush B.D. ° brush - - Œ ‰ 6 ‰ Œ Œ ∑ 2 ∑ 3 ∑ 5 ∑ 3 j ‰ Œ Œ / J J 4 4 4 4 6 ppp o f l.v. Perc. brush @ lossen snare! ªA "¿~ » " ∑ Œ Œ ~~~~~~~ 2 ¿ ‰ Œ 3 5 ‰™ Œ Œ Ó 3 ∑ ¢ / ~~~~~~ 4 J 4 4 R 4

f ff l.v. pp p

III IV ° … @ > ÷ ‰ ∑ ∑ 2 3 ‰™ Œ Œ 5 ∑ 3 s J 4 4 R 4 4 sfpp mp mp o Vla. Soundless (bow the wooden part of instrument) @ r ≥ ≤ ™ 2. 3 5 3 ¢B ∑ ÷ 6 ‰ 4B ∑ 4 ∑ 4 ∑ 4 . œ œ™™ œ œ ppp > sff mp 8 Wa-wa ¯ ¯ 5 36 Split tone > ° + j > 3 √ Œ ≈ 5 Ó Ó Œ 4 & r å™ æ æ r 4 4 bœ gliss. nO ™ O™ O O O O O œ R µœ gliss. #œ rit. pp Tpt. f sp sff sp f without embouchure (5") √ 5 ≤ Œ 4 ¢÷ ∑ ∑ ∑ 4 6 4 (Don't move!) [s-]

teeth tone c.v. split tone å ° å 5 5 4 & Ó #O 4 ∑ 4 O O O O O bO O O R o T-Sax. mp sff o mp f without embouchure (5") √ 5 ≤ Œ 4 ¢÷ ∑ ∑ ∑ 4 6 4 (Don't move!) [s-]

T.t. sf Take on drum stick simutaniously S.D. 1 (5") 3 > with Polyfoam ° 6A ªA Œ j 5 √ 4 / ∑ ∑ Ó 7 ¿ 4 Ó Ó Œ 4 ‰ ≈ R B.D. > 6A sf (Please don't make Perc. (tremolo by brush, Rasgueado by fingers or card) superfluous noise during the preparation) ? @ >? @ brush @ > 5 j Rasg. > " j > > 5 ∑ 4 / ‰ ‰ ≈ ¿ ≈ 4 4 ¢ J ¿ æ æ ™ æ æ æ æJ æ æ æ æ æ mp mf sf sfp ff

II white noise only I@II ? (5") ° 5 5 5… √ 4 ÷ ™ ™ ≈ 4 Œ Œ Œ 4 5 sppp o (Don't move!)

Vla. ? @ @ increase pressure II I 1> @ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I≥II II III II ≤ ≥ n O≤ gliss. II 1 gliss. 5 ≥ ≤ ≥ #O III æ iss. nO gliss. œ™ œ æ æ 5 4 B œ™~~~~~~~~ œ bO gl O µO bœ™ nO #œ ™ & ≈ æ æ 4 ∑ 4 ¢ œ œ™ œ bO µO bœ æ ~~~~~~~~ > 5 III sfffp mp sfp 5 IV f ff fff sf ffp f q = 60 ( 12'' ) produce a split tone graduately. 9 40 Senza mute noisy breath sound ° √ > 4 ∑ 5 j 4 & 4 æ æ æ æ æ æ æ æ 4 å å å 4 æ æ æ æ™ æ æ æ æ 6 å #>6 > #>6 > #O Tpt. f fff f fff pp (ff) 4 5 4 ¢÷ 4 √∑ ∑ ∑ 4 ∑ 4

( 12'' ) ° 4 √ 5 4 & 4 ∑ ∑ ∑ 4 ∑ 4

T-Sax.

4 5 4 ¢÷ 4 √∑ ∑ ∑ 4 ∑ 4

( 12'' )

S.D. 1 (with Polyfoam object) Keep bowing, meanwhile, moving the contacted point on the head freely. √ @ @ @ ? – @ "white noise" arco ≥ ≥ ≤ ≥ ≤ ≥ ° 4 )~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~3~~~~-~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6™ ~~~~~~~~~~~~~~~~~~~~~3~~~~-~~~~~~~~~>~~~™~~~ 5 6 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 Perc. ¢ / 4 J J 4 4

fff ( fff ) ( fff ) sfffpp mf p

( 12'' ) (molto sul pont.) ° 4 √ s 5 4 ÷ 4 ∑ 4 4

extremely strong pressure Vla. @ @ @ ≥ ≥ ≤ ≥ I ≥ ≤ ≥ ≤ ≥ ≤ 1> 1> >™ > 1>™ con vibr. 5 √ I II 1 ™ 4 J 5 J 4 ¢& 4 ∑ & 4 ≈ 4 3 ff fff ff fff sfpp 10

44 > ° 4 ™ Tpt. ¢& 4 å #O #O O O O O O O O

mp mf sff (mf-ff)

c.v. Bw w w ° B w w w 4 ∑ ∑ Bw w w T-Sax. ¢& 4 nKw w w

mf ff

reduce bowing velocity @ ? @ 7 ° ≥ ≤ 5≥ ≤ ≥ ≤ ≥ ≤6 ≥ ≤ ≥ ≤ c.v.> ≥ ≤ ≥ ≤ ≥ ≤ ≥ " 4 ~~~~~~~~~~~~~~~~~~~~6 6 6 6 6 6~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6~~~~~~~~~~~~~~~~~~™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ Ó Perc. ¢ / 4

ff fff mf ff fff sp mf ff fff

(s.p.) ° 5 5 7 5 ÷ 4 s s 4 R R 6 II @ @ @ III @ Vla. 5 III ≥ ≥ ≤ 3 ≥ II ? @ ? @ II ≤ ≥ >≤ g™liss.≤ 1>™ 1> > 1≥ ≤g IV ≤ ≥ ≤ ≥ 1>5 #O™ ≤ ™ liss.≤ ≥ III ≤ ≤ III ss. > 1 1 1 ≥ 5 5 ≥ gliss. ≥ ≤ ≥ 6 ≥ ≤ ≥ ≤ ≥ gli 1 O™ ™ n O™ gliss. ≤ ≥ O™ µ>O ≥ slow bow motion 4 J nO™ ™ gliss. O™ gliss. O & 4 B µO™ µO O O nœ ¢ 5 µ O µ O n œ~~~~~~~~~~~~~~~~~~~~~~~~ > 7 ~~~~~~~~~~~~~~~~~~~~~~~~ fff mf ff fff mf f mf sp f ff fff mf 11

≤ ( 6'' ) ≤ rit. °49 5 > 5 > ≥ √ ≥ r ≥ r Œ ∑ 2 & æ æ æ 4 #6 6 6 fff > > > Tpt. f mf mp o 6 6 2 ¢÷ ∑ √∑ 4 [hea] [hea]

w ≥ ≥ rit. w 6 6 ≥ ≥ ° w #6 n6 6 6 6 n #6 n6 #6 ® #6 n6 6 b6 ® ® ® 2 & w n6 #6 #6 n6 #6 n6 6 4 n #6 #6 n6 #6 n6 n6 b6 fff f mf mp p T-Sax. ( 6'' ) blowing embourchure, √ s.v. keep a discontiguous distance. 2 ¢÷ ∑ ∑ ) 4 ppp

T.t. ( 6'' ) brushing the foamed plastic, √ hoarse but unharsh white noise will be produced. ° 6A s.v. ∑ j ‰ Œ Ó ) 2 Perc. ¢ / œ 4 ppp sfff l.v.

rit. ( 6'' ) …? ° j √∑ 2 ÷ ‰ 6 6 4

pp ppp Vla. √ B j ‰ B B ∑ 2 ¢ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fff 12 q = 74 q = 74 ¯ K. (2") Wa-wa (4") 52 ≤ U + #œ √ Senza mute ° 2 j æ 4 3 4 ™ 3 Tpt. & 4 ≈ æ æ Œ Œ 4 ∑ 4 ‰ J ‰ Œ Œ 4 æ r ‰ Ó 4 ¢ b6æ™ 6™ 6 6æ 6 . 3 > o mf "mf " o mp subito

(In certain extent, carrying some (2") (bisb.) key click-sound is allowed.) (4") bisb. ° U Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ Ÿ~~~~~~~~~~~~~~~~~ 2 ∑ j ‰ Œ 4 3 j ‰ Œ Œ 4 Œ r ‰™ Œ 3 & 4 h 4 ) 4 6 4 O O 4 >. > O > o mf T-Sax. mp

[Strohbass] 2 4 3 4 Œ ™ Œ 3 ¢÷ 4 ∑ ∑ 4 ∑ 4 ∑ 4 f r ‰ 4

o "mf "

Slider, against vertically B.D. with the head. moving on the drum head with Polyfoam (L) (4") S.D. 1 ? @? @ – ° 2 4 j 3 j √ 4 -6 vibr. 3 / 4 ∑ ∑ 4 Ó ≈ 6™ ~~~~~~4~~~~~ ‰ Œ Œ 4 4

l.v. o mp pp mf o f Perc. Rasg. by fingernail or card (2") brus?h ªA " 2 ™ 3j U 4 ∑ 3 ∑ 4 ∑ 3 ¢ / 4 ≈ J ‰ ¿ ‰ Œ 4 4 4 4 ppp mp

III II III IV III (4") @ 6 IV ° 2 ∑ ∑ 4… 3 √ 4 … -™ 3 ÷ 4 4 6 6 4 ≈ ‰ Œ 4 Ó Œ ≈ J 4 p o p

Vla. (open string) … (2") µO ≤ 2 ªA j U 4 3 ≥ µO ≥ √ 4 3 B 4 ∑ å ‰ Œ 4 ∑ 4 µO ≈ ‰ Œ 4 ∑ B 4 ¢ > µO mp 6 6 ppp mp p o 13

57 Split tone based on breath. ° ≥ s.v. 5 ≥ 3 4 r ‰™ Œ Ó 3 Œ ‰ 4 & 4 6 4 4 4 > . . . . > #6™ Tpt. [t] sfpp mp o pp 3 4 3 4 ¢÷ 4 ∑ 4 ∑ 4 ∑ 4 ∑

3 ° 3 ≥ s.v. 3 4 ≥ 3 4 & 4 ‰ 4 4 Œ Œ 4 ∑ >6 . . . >6™ T-Sax. [t] sfpp mp o 3 4 3 4 ¢÷ 4 4 4 4

? S.D. 1 vertical placed slider ° 3 - 4 3 4 / 4 Œ Œ 6 4 ∑ 4 ∑ 4 ∑

o mp

Perc. @ ? @ brush 3 ∑ 4 j 3 ∑ 4 ∑ ¢ / 4 4 ≈ ‰ 4 4

mp pp

I … I@I ° 3 r 5 s 4 3 4 ∑ ÷ 4 ≈ s s s Œ 4 Ó Œ Œ J 4 4 5 f pp

Vla. 5 (s.p.) III II IO IV III II OI batt. ≥ ≥ B 3 ‰ O #O ≈ Œ 4 Ó O #O ‰ 3 ∑ 4 ∑ ¢ 4 µ>O gliss. 4 µO 4 4 J R mf o 5 p mp pp 14

Wa-wa 61 breath when necessary + ° 7 Œ Ó ∑ 2 ≈ Œ 3 ∑ 4 bw- 2 Tpt. ¢& 4 6 r 4 4 4 6b6 6b6 6#6n6 ppp mf f pp

° 2 6 6 3 4 2 & ∑ ∑ ∑ ∑ 4 #6 6 6 ® Œ 4 ∑ 4 ∑ 4 T-Sax. ¢ ) 6 6 6 6#6n6n6b6

o mf f pp

Polyfoam (L) put Polyfoam on the head of B.D. (with Polyfoam object) Fricting polyfoam by bow hair, Bass drum bit by bit. – arco with slight pressure rhetorically. . ≥ ° ≈ 6™ ∑ 2 ∑ 3 ∑ 4 ∑ 2 / J 6 4 4 4 4 pp ppp s>ff Perc. ªA Rasg. j v»ery violent ∑ ∑ ∑ ∑ Ó Œ ¿ 2 j ‰ Œ 3 ∑ 4 ∑ 2 ¢ / 4 >¿ 4 4 4

ff ffff l.v.

° (m.s.t.) ÷ ∑ ∑ ∑ ∑ ∑ 2 3 4 2 4 4 s 4 4

Vla. soundless, but with slight harmonics. IV s.v. B ∑ ∑ ∑ ∑ ∑ 2 3 4 j ‰ Œ Ó 2 ¢ B 4 µO 4 O™ 4 O 4

ppp o 15

¯ K. (3'') K. °69 ≈ ≤ ≈ ≤ 2œ ‰ Œ 4 ∑ 2 ≈ ‰ Œ 4 ∑ 2 ‰™ 4 & 4 J 4 4 r 4 4 r 4 6. 6. p p Tpt. mp ≈(3'') 2 4 2 4 2 4 ¢÷ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Œ 4

r å (3'') å (3'') ° ≈ ≈ 2 ∑ 4 Ó 2 Œ Œ 4 2 ‰™ Œ 4 & 4 4 O 4 4 O 4 4 (bisb.) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (bisb.) Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~ T-Sax. pp o pp 2 4 2 4 2 4 ¢÷ 4 ∑ 4 4 ∑ 4 ∑ 4 4

S.D. 1 (3'') brush ? " ° 2 4 6™ 2 ™ ≈ 4 2 4 / 4 ∑ 4 Ó Œ ≈ J 4 R ‰ Œ 4 ∑ 4 4

Rasg. with nails ppp (3'') ≈ slider ? ≈ 2 ¿™ ≈ Œ 4 Ó ‰ 2 ∑ 4 ∑ 2 Œ Œ 4 Perc. / 4 J 4 4 4 4 4 3 mp o pp o

(3'') Triangle 2 4 2 ≈ 4 2 4 ¢ / 4 ∑ 4 ∑ 4 Œ Œ 4 œ Œ Ó 4 4

mp l.v.

(3'') ° 2 4 j 2 ∑ 4 2 ≈ 4 ÷ 4 4 4. 4 s Ó 4 Œ Œ 4 @ Vla. IV (extreme light pressure) 3 Batt. > ? Whisper (3'') nO gliss. µO III III ≥ ≥ ≈ ≥ ≈ . BO nO≤ bO 2 J 4 nO µO #O 2. 4 2 4 ¢B 4 ≈ ≈ Œ & 4 Œ ‰ J Œ ÷ 4 6 4 & Ó 4 4 [s-] p ppp ppp ppp 16 q = 72 q = 60 74 ° 4 2 4 & 4 ∑ ∑ 4 Œ j ‰ Ó 4 ∑ # h >. Tpt. take on your instrument mf Wa-wa [bo]! ¯ (Ca. 5") with + ( 4'' ) embouchure (b.ubble sound/ lips slap) whisper ≥ √ √ ≤ ≤ r 4 2 6™ 4 ™ ¢÷ 4 6 Ó Œ Œ 4 Œ 4 ‰ Œ Ó [ts-] (Don't move!) [s-] ppp [schi- o] o (p) p "mp"

a frail but stable pitches cluster ( 4'' ) (Ca. 5") should be produced √ å ° √ nk#lœ™ ˙ œ 4 Ó Œ Œ ≈ #œ™ ˙ œ 2 ∑ ∑ 4 T-Sax. ¢& 4 J 4 4 O (Don't move!) pp ppp pp

S.D.1 brush - " ° 4 2 6 > 4 / 4 4 Œ R ≈ ‰ Œ 4 ∑

o f Perc. Rasg. with fingernails ( 4'' ) "c.l. tratto" (Ca. 5") . ªA √ √ [rim] – 5 .r 4 >¿ ‰ Œ Œ Œ >¿ ‰ Œ Œ Œ 2 ∑ Œ ≈ ¿ 4 ‰™ Œ Ó ¢ / 4 J J 4 - 4 > mp mp (Don't move!) o l.v. (Don't move!) l.v. "f "

III (Ca. 5") IV … 3 (m.s.t.) @ ° 4 √ 2 … > 4 ∑ ÷ 4 ‰ 6 6 Œ 4 s Œ ≈ R ‰ Œ 4 mf ppp o Vla. (Don't move!) (blowing toward to the stick of the bow, pizz. I from top to frog.) >. bow @ #œ ( 4'' ) . ≤ 4 6. 2 r 4 J & 4 / √ B 4 ‰™ Œ Ó 4 ‰ Œ Ó ¢ œ & ppp >. f mf 17 ( 14'' )

¯ ¯ spilt tone, very dirty sound. (soft, but audible) q = 74 (3") °79 CD-Mute senza mute √ ≈ ≤ ≈ 3 2 4 j ‰ Œ Ó 3 ∑ Œ Œ Œ 2 ‰ j Œ 3 Tpt. ¢& µœ 4 gliss. 4 4 #œ å 4 4 6 4 p ppp p mp ppp

( 12'' ) (3") ° r √ ≈ ≈ Œ Ó 3 ∑ 2 æ 4 æ ‰™ Œ Ó ∑ 3 ‰ Œ Œ 2 Œ Œ 3 & O ‰ 4 4 )æ 4 6æ 4 j 4 4 J bO o ppp pp T-Sax. ≤ ≈ 3 2 4 3 6 j 2 3 ¢÷ ∑ 4 ∑ 4 ∑ 4 ∑ √∑ 4 ‰ Œ Œ 4 ∑ 4 [s-] [ö] ppp mp

( 12'' ) ° 3 2 4 √ 3 2 3 / ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 4 ∑ ∑ 4 Ó 4

Perc. ªA sweep gently (3") ? by fingers ∑ 3 ∑ 2 ∑ 4 ∑ √∑ 3 ∑ ≈ 2 -6 ≈ 3 ¢ / 4 4 4 4 Œ Œ Œ 4 Œ 4 p

( 12'' ) ° ∑ 3 2 4 j √∑ 3 2 3 ÷ 4 4 4 ‰ Œ Ó 4 Œ s 4 s 4

5 Vla. IV III II I (3") IV III II ? @ nO BO 3 3 ≥ 2 4 √ 3 ≥ #O ≈ 2 ≥ µ-O ≈ 3 & ∑ B 4 4 4 j ‰ Œ Ó ∑ 4 Œ ‰ O ‰ Œ Œ 4 BO Œ 4 ¢ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µO µO o mp o p ppp pp o 18 q = 102 q = 80 q = 102 q = 80 °87 with a bit split tone-like timbre 3 8+1 ∑ 4 8+1 ∑ 3 & 4 æ 8 4 æ 8 4 #)™ #)

Tpt. sff fff sff fff (Don't move!!!) 3 (groaning) 8+1 4 (groaning) 8+1 3 ¢÷ 4 œ 8 ∑ 4 œ 8 ∑ 4 [eng-] [eng-] mp ff mp ff

teeth tone Split tone gliss. o o be (ŸB~i~s~b~.~)~~~~~~~~~w~~i~t~h~~ ~c~l~i~c~k~~i~n~g~~ ~s~o~~u~n~~d~~~~~~~~ å be (ŸB~i~s~b~.~)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ å ° . . 3 s 8+1 4 ss 8+1 3 is > #O li > #O & 4 j l . 8 4 j g . 8 gliss. O 4 g h R O nO O O h R O O nO O b>O R nO O O J b>O R nO O O J T-Sax. f sff f sff ppp subito ppp subito (as low as possible) 3 [S™trohbass] 8+1 4 [S™trohbass] 8+1 3 ¢÷ 4 ‰ f 8 4 ‰ f j j j 8 ∑ 4 > > >f >f mf mf "ff " mf mf mf "ff "

S.D. 2 @ ? @ " @ ? @ > j ªA > j3 Cym. Rasg. j >5 " (Don't move!!!) æ 6A ° 3 ¿ æ æ 8+1 ∑ 4 æ æ 8+1 ∑ 3 Perc. ¢ / 4 R æ 8 4 ¿ æ æ æ 8 4 æ J æ æ card/pluck > ffsp fff sfff sp ff fff

? II (II) … III III ° 3 s s 8+1 ∑ 4 s s 8+1 6 6 IV ™ 3 ÷ 4 8 4 8 ™ 4

ppp pp Vla. ? @ II III ? @ subito III III IV III IV 7 IV IVnO gliss. ≥ ≤ ≥ (Don't move!!!) IV O gliss. ™ ≥ ≤ ≥ j œ#>œ µ>œ n>œ >≤ >≥ ≤ j œ bœ µœ nœ æ B 3 O nœ œB œb œ nœ œ > 8+1 ∑ 4 O œ™ µ œn œ gliss. æ 8+1 ∑ 3 ¢ 4 æ æ # œ nœ#œœ 8 4 æ æ æ e 8 4 O æ æ æ O æ æ æ e 6 sf mf fff subito sf mf sfff subito 19

(5'') °91 s.v. ≥ √ 3 4 3 r ‰™ Œ Œ ≈ Œ Tpt. ¢& 4 #-œ gliss. 4 µœ 4 nh. æ æ n6 > o p sf o mf

(5'') 3 h>. ° 3 4 3 ™ √ & 4 #h> #O ≈ ‰ Œ Œ 4 ∑ 4 R ‰ Œ Œ Œ Œ Œ J T-Sax. f f (5'') ≤ 3 ≤ √ 3 4 3 ≈ 6j™ ¢÷ 4 ‰ 6 ≈ ‰ Œ Œ 4 ∑ 4 j ‰ Œ Œ [he!] [he-] [o] f pp

(5'') ° 3 4 3 T.t. 6A j √ / 4 ∑ 4 ∑ 4 ∑ œ. ‰ Œ Œ f l.v. bowing on the rim S.D. 2 wih slight pressure (5'') . 3 ∑ 4 ∑ 3 ∑ – 3- √ Perc. / 4 4 4 ‰ ¿ Œ Œ

o "f " Scrapping on the cymbal, let the head of drum stick Cym. against with the Cymbal while frict. Then, will be procuced. 3 6A 4 " 3 ¢ / 4 )™ 4 ) 4 ∑ ∑

o mp

sweeping along the string vertically (5'') IV j ° 3 ∑ 4 3 √ ÷ 4 4 s 4 6 ‰ Œ Œ J o "f " Vla. "flaut." 3 4 ≤ 3 j B 4 ∑ 4 Ó Œ 4 ‰ Œ Œ ∑ ¢ µO >O o mf subito 20 ¯ q = 86 Wa-wa + °95 #œ≥ ∑ ∑ ∑ ∑ ∑ 5 Ó™ Œ ‰ ‰ J 3 Tpt. ¢& 4 4 3

mf

° æ ™ 5 9 3 & æ r ‰ Œ ∑ ∑ ∑ ∑ 4 #O nO ≈ 4 6 6 O gliss. O O bO O#O nO O #O nO#O nO ObO o mp T-Sax.

Strohbass 5 9 ≈ 3 ¢÷ ∑ ∑ ∑ ∑ ∑ 4 f f ™ f 4

(p) [e]- [ü]- [o] o mp mp mp mf

B.D. with Polyfoam S.D.1 with Polyfoam slight pressure – arco ? ° ≥ ? extreme light pressure – ≥ s.v. 5 Ó™ Œ ‰ ‰ -6 3 Perc. ¢ / )™ 4 J 4 o 3 ppp o

? ° … ∑ 5 ∑ 3 ÷ 6 6 Œ 4 4

o p o Vla. @ 5 3 B ≈ Œ Œ ∑ ∑ ∑ 4 ∑ & 4 ¢ Bœ gliss. ~~~~~~~~~~~œ o ppp 21

q = 60 (tongue) (Ca. 6") 101 very imperturbable ° 5 6 ≈ √ 3 Œ Œ ≈ 4 j ≈ 3 Œ ∑ ∑ 4 Tpt. ¢& 4 6 4 6™ 6 6 Œ 4 4 . . . . #6 [s]- (Don't move) o mp ppp

(tongue) (Ca. 6") very imperturbable ° 3 5 4 5 ≈ 3 √ 4 & 4 Œ Œ ‰™ j 4 r ‰™ 4 Œ ∑ ∑ 4 T-Sax. ¢ 6 ) 6™ . . . 6 [s]- ppp (Don't move) o mp

batt. a pumta d'arco very imperturbable ? @ with extreme light pressure (Ca. 6") c.v. ? ? ° ≥ increase slightly pressure ≈ ≥ √ 3 > 4 ‰™ 3 ∑ 6 ‰ ∑ 4 Perc. ¢ / 4 4 R 4 J 4 (Don't move) pp ppp mp ppp

III II I IV III II ? (Ca. 6") ° 3 s 4 ≈ 3 … - √ 4 ÷ 4 4 Œ 4 ∑ j ‰ ∑ 4 ppp

very imperturbable (Don't move) Vla. I ? @ ? increase slightly pressure II j 1 ™ j æ æ ≈ µ µO √ 3 æ 4 æJ Œ 3 ∑ µO O O ‰ ∑ 4 ¢& 4 4 4 B µ O 4 bO 3 sfp mp 22 Wa-wa mute ¯ take off the mute graduatly + ≤ °106 q = 60 n>œ™ ˙ ˙ >œ œ™ œ ˙™ 4 ∑ 3 ≈ J 4 æ æ 3 æ Tpt. ¢& 4 4 4 æ æ 4 æ sfppp sf ppp ff

Split tone ° å å™ å å 4 3 . 4 . 3 s s s s & 4 4 li 4 li 4 b h O™™ O O O O O œg bO™ O bœg O O O O O O O > mp sf p T-Sax. sfpp p sf p mfp ff 4 3 4 3 ¢÷ 4 ∑ 4 ∑ 4 ∑ 4 ∑

Super-ball ° 4 3 3 4 3 / 4 œ œ ‰ Œ Ó 4 ∑ 4 ∑ 4 ∑ o mf l.v. Perc.

brush 4 ∑ 3 ¿ 4 ∑ 3 ∑ ¢ / 4 4 ‰ Œ Œ 4 4

sf

(ord.) (s.p.) ° 4 ∑ 3 3 4 s 3 ∑ ÷ 4 4 ‰ ‰ s . 4 4

increase pressure arco ? @ Vla. ≤ ≥ I 3 ≥ II extremely heavy pressure j > 3 pizz. œ ˙ œ™ œ œ œ œ œ œ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ » I œ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 … 3 J 4 3 B 4 r ‰™ Œ Ó 4 ‰ ‰ bœ 4 4 ¢ œ & sf fpp mf pp f ¯ (5'') 23 110 Split tone j å breath when necessary ° å™ 2 √ 20 2 ≈ 4 ‰™ Œ 4 4 Tpt. ¢& O #O™ O™ #O O #O #O #O nO R

mp ff ff - fff

(5'') ° å™ √ . 2 ™ 20 2 ss ‰ Œ ∑ T-Sax. ¢& li 4 4 4 bœ g O™ O O O R sff sp ff

Please keep producing resonance continuously. Super-ball ° 2 20 2 / ∑ 4 ∑ 4 œ w 4

o f Perc. (5'') » √ ∑ 2 ¿ ‰ Œ 20 ∑ 2 ¢ / 4 J 4 4 fff l.v.

° 2 20 ∑ 2 ÷ s 4 4 ÷ 4

Clip the Polyfoam between the index finger and the middle finger Vla. II III of the left hand and fix it forcely on the instrument body. I @ III IV ≥ 5 II ≥ ≤ ≤ ≥ ≥ ≤ > ≥ ≤ ≥ 6 1 gliss. ≤ 1 ≥ 1 ≤ ≥ ≤ (5'') 1 1 1 @... 2 ≥r √ 20 2 & B 4 ≈ ‰ Œ ÷ 4 )~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 ¢ 6 >. mp - ff ff fff 24

( 6'' ) °113 √ q = 52 ≤ ≥ ≤ 2 Œ Œ 4 ≈ j j ‰ Œ j ‰ Œ Œ ≈ j & 4 4 6™ 6 6™ (Don't move!!!) [he-] [he-] [he-] ppp o ppp o ppp Tpt.

2 4 ¢÷ 4 ∑ 4 ∑ ∑ ∑

( 6'' ) (hold the G# foot) ° Inh. 2 > √ ≥ ≤ ≥ 2 #6 6 Œ 4 Ó j ‰ Ó ‰ & 4 4 6 6 #6 6 6 6™ 6™ o f (Don't move!!!) [s-] [s-] [s-] T-Sax. [ha-] ppp o ppp p sppp o

2 4 ¢÷ 4 ∑ 4 ∑ ∑ ∑

T.t. 6A ( 6'' ) ° √ j 2 Œ Œ 4 œ ‰ Œ Ó ∑ ∑ / 4 4 > [Please hold the drum stick in hand, keep this position dramatically fff l.v. until the next information.] Perc. ( 6'' ) √ 2 4 ∑ ∑ ∑ ¢ / 4 Œ Œ 4

(open string) (ord.) ° 2 4 ªA …j ∑ 3 ÷ 4 ÷ 4 å ‰ Œ Ó Ó ‰ > fff Vla. ( 6'' ) II ? @ √ Vla. 2 Œ Œ 4 3 µœ ¢÷ 4 B 4 ∑ ∑ Ó ‰

(Don't move!!!) o pp 25

°117 ≤ j ‰ Ó ≈ j j ‰ Ó ∑ ∑ ∑ ∑ & 6™ [he-] o o Tpt. ppp Wa-wa ≥¯ ¢÷ ∑ ∑ ∑ ∑ 6 ∑ ∑ [s-] ppp o

° j j & Ó ≈ #6™ ‰ Ó ∑ ∑ ∑ ∑ ∑

T-Sax. ppp o ≥ ¢÷ ∑ ∑ ∑ ∑ 6 ∑ ∑ [s-] ppp o

vertical-placed slider rit. ° S.D.1 - disappears into the air... / ∑ ) Œ Ó

o p o

Perc.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ /

(ord.) 3 ° ∑ ∑ ∑ ∑ ∑ ÷ J ‰ Œ Ó ‰ J ‰

Vla. II ? @ 3 O µœ #O ¢B J ‰ Œ Ó ∑ ‰ J ‰ ∑ ∑ ∑ ∑

o o ppp o