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How Dare You!
Patino, Carlos https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12379499360002976?l#13379499350002976
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UNIVERSITY OF MIAMI
HOW DARE YOU!
By
Carlos Patino
A DOCTORAL ESSAY
Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
Coral Gables, Florida
May 2021
©2021 Carlos Patino All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
HOW DARE YOU!
Carlos Patino
Approved:
______Lansing McLoskey, Ph.D. Juraj Kojs, Ph.D. Professor of Music Composition Associate Professor of Music Composition and Theory and Theory
______Charles Norman Mason, D.M.A. Guillermo J. Prado, Ph.D. Professor and Chair of Music Dean of the Graduate School Composition and Theory
______Valerie Coleman, M.M. Assistant Professor of Performance, Chamber Music, and Entrepreneurship
PATINO, CARLOS (D.M.A., Composition) How Dare You! (May 2021)
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Professor Lansing McLoskey. No. of pages in text. (262)
How Dare You! is a large-scale musical work that addresses different problems interconnected with each other under the umbrella of global warming. The musical work follows an overarching narrative of problems and solutions through two contrasting sections. The first section represents global warming issues, while the second section provides a counter narrative, representing a possible solution that engages with the issues addressed in the first section. The first section is comprised of three movements, and the second section of one movement. Each movement is unique in style and instrumentation, from soloist pieces to large woodwind ensembles, conveying a statement on environmental problems or solutions.
In this essay, I will describe how the research and the understanding of these problems and solution informed my compositional decisions. Also, I will provide a background and musical context on global warming and ecomusicology, a detailed scope of the composition, and a detailed analysis of each one of the movements through different music theory lenses such as Serialism, Contour theory, Narrative and Golden
Ratio.
ACKNOWLEDGEMENTS
I would like to thank the members of my committee for their invaluable contribution to my work. I am grateful for Dr. Charles Mason who gave me new opportunities for artistic growth and leadership during my time at the University of
Miami. Thank you to my committee chair and mentor Dr. Lansing McLoskey for his vital support in the inception of this project and his invaluable insights throughout this year.
Thank you to Dr. Juraj Kojs for showing me how to discover and re-discover music through different lens and theories. I am grateful for Professor Valerie Coleman for being part of my committee and for providing her knowledge and advise on how to create impact through music. This essay is dedicated to all the people in the world who want to be part of a change contributing to the protection of our planet.
iii
TABLE OF CONTENTS
Page
LIST OF FIGURES...... v
LIST OF TABLES...... vi
LIST OF EXAMPLES...... vii
CHAPTER
1. INTRODUCTION ...... 1
2. GLOBAL WARMING CONTEXT ...... 3
3. ECOMUSICOLOGY ...... 18
4. MUSIC AND GLOBAL WARMING ...... 23
5. FORM AND STRUCTURE ...... 31
6. ANALYSIS, GENERALITIES ...... 37
7. ANALYSIS, PARTICULARITIES Mov. I ...... 57 Mov. II ...... 84 Mov. III ...... 95 Mov. IV ...... 102
8. STAGE AND LOGISTICS ...... 113
9. CONCLUSION ...... 116
BIBLIOGRAPHY ...... 119
APPENDIX 1 ...... 126
APPENDIX 2 ...... 133
iv
LIST OF FIGURES
FIGURES Page
Figure 1. Global Temperature Changes ...... 3
Figure 2. The Most Dangerous Greenhouse Gases ...... 4
Figure 3. The Greenhouse Effect, Climate Central ...... 5
Figure 4. The Intersectionality of Ecomusicology ...... 18
Figure 5. A Second View of Ecomusicology ...... 21
Figure 6. How Dare You! Length and density development by movement ...... 33
Figure 7. A global warming narrative through problems and solutions ...... 37
Figure 8. Example of the rotation of various musical elements ...... 53
Figure 9. Example of the rotation within Ensemble 2 ...... 54
Figure 10. Rotation of music through the ensembles ...... 55
Figure 11. Movement I, Section A, Fibonacci Series, Golden Ratio and climax ...... 76
Figure 12. Understanding palindrome as a circular movement ...... 102
Figure 13. Ensemble 2: Length between instrumental entrances in a circular motion ...... 105
Figure 14. Rhythmic development in 4 Moments ...... 105
Figure 15. Pitch – circular motion ...... 108
Figure 16. Staging ...... 114
v
LIST OF TABLES
TABLES Page
Table 1. How Dare You! Overall Form ...... 31
Table 2. Length and density - COM Matrix by movement ...... 34
Table 3. Overall instrumentation structure of How Dare You ...... 36
Table 4. Compound Sentence on the electronic fixed track labeled Words Phasing ...... 62
Table 5. Compound Sentence on the electronic fixed track labeled Words Phasing ...... 65
Table 6. Movement I – We Are Running Out of Time, Recited Text ...... 66
Table 7. Movement I – We Are Running Out of Time, Section-Narrative relation ...... 68
Table 8. Movement II – Gasping Breaths, Form ...... 85
Table 9. Movement III – Mourning Chants, Formal Structure ...... 98
Table 10. Movement IV – Aeolian Energy, formal structure ...... 108
Table 11. Movement IV – Aeolian Energy, Section A - Density level ...... 109
Table 12. Movement IV – Aeolian Energy, Section C - Density level ...... 110
Table 13. Movement IV – Aeolian Energy, Section D - Density level ...... 111
vi
LIST OF EXAMPLES
EXAMPLES Page
Example 1, Movement I - We Are Running Out of Time, measures 7 to 10 ...... 39
Example 2, Movement I - We Are Running Out of Time, measures 7 to 12 ...... 40
Example 3, Movement II – Gasping Breaths, Flute staff, measure 4 ...... 41
Example 4, Movement II – Gasping Breaths, measure 6 ...... 41
Example 5, Movement IV – Aeolian Energy, measures 49 - 53 ...... 42
Example 6, Movement I - We Are Running Out of Time, measures 91 to 94 ...... 43
Example 7, Movement II – Gasping Breaths, Flute staff, measure 6 ...... 44
Example 8, Movement II – Gasping Breaths, Flute staff, measure 6 ...... 45
Example 9, Movement II – Gasping Breaths, measure 15 ...... 46
Example 10, Movement IV – Aeolian Energy, measures 149 - 151 ...... 46
Example 11, Movement II- Gasping Breaths, Flute staff, measure 55 ...... 51
Example 12, Movement I – We Are Running Out of Time, measure 80-82 ...... 67
Example 13, Movement I – We Are Running Out of Time, measures 21 to 27 ...... 69
Example 14, Movement I – We Are Running Out of Time, Main Gesture, measures 28 to 32 ...... 70
Example 15, Movement I – We Are Running Out of Time, Main Gesture, measures 89 to 93 ...... 71
Example 16, Sketch of We Are Running Out of Time ...... 72
Example 17, Movement I – We Are Running Out of Time, Compound Melody Appearance ...... 73
Example 18, Movement I – We Are Running Out of Time, measures 83 to 86 ...... 74
vii
Example 19, Movement I – We Are Running Out of Time, measures 74 and 75 ...... 75
Example 20, Movement I – We Are Running Out of Time, measures 144 and 147 ...... 79
Example 21, Movement I – We Are Running Out of Time, measures 199 ...... 81
Example 22, Movement I – We Are Running Out of Time, measures 184 and 188 ...... 83
Example 23, Movement II – Gasping Breaths, measures 1 and 2 ...... 86
Example 24, Movement II – Gasping Breaths, measure 20 ...... 86
Example 25, Movement II – Gasping Breaths, measure 13 ...... 87
Example 26, Movement II – Gasping Breaths, measure 8 ...... 87
Example 27, Movement II – Gasping Breaths, measure 18 ...... 88
Example 28, Movement II – Gasping Breaths, Pitch – register materials ...... 89
Example 29, Movement II – Gasping Breaths, measures 21 to 23 ...... 90
Example 30, Movement II – Gasping Breaths, measure 27 ...... 92
Example 31, Movement III – Mourning Chants, measure 1 to 8, C Score ...... 97
Example 32, Movement III – Mourning Chants, measures 29 to 32 ...... 99
Example 33, Movement III – Mourning Chants, measures 57 and 58 ...... 101
Example 34, Movement IV – Aeolian Energy, Soprano Sax, measures 121 to 124 ...... 103
Example 35, Movement IV – Aeolian Energy, measures 1 to 4 ...... 104
Example 36, Movement IV – Aeolian Energy, Main Idea’s rhythmic development. Moment 1, measures 97 to 99 ...... 106
Example 37, Movement IV – Aeolian Energy, measures 169 – 172 ...... 107
Example 38, Movement IV – Aeolian Energy, measures 201 – 204 ...... 112
viii
CHAPTER 1
Introduction
How Dare You! is a large-scale musical work that addresses different problems inherent to the human impact in our world and our environment. Specifically, I am addressing three different problems interconnected with each other under the umbrella of global warming. These problems are:
1. The denial and lack of commitment from world leaders towards global warming politics and regulations.
2. The pollution and unclean air in our bodies.
3. The destruction of our natural ecosystems.
The project is one musical work that follows an overarching narrative of problems and solutions through two contrasting sections. The first section represents global warming issues and consists of three movements; each one of these movements engages directly with the three problems mentioned above.
In contrast, the second section of the project represents possible solutions to counter global warming. This second section consists of one movement that engages, responds, and reacts directly to the problems; offering a counter narrative to the movements of the first section.
In order to convey the uniqueness of each problem and solution, each movement has a different ensemble, and presents different styles and techniques. Consequently, one of the particularities of this project is that each movement is self-sufficient, and can function
1 2 as a stand-alone piece. Each follows a narrative and conveys a specific musical and environmental statement, enabling it to be performed separated from the entire work. This particularity of the project enables me to add more movements in the future. I will compose more pieces inspired by global warming, as there are more problems and solutions that I want to address such as plastic pollution, wildfires, and solar energy, among others. Each one of the new movements will be inspired by a problem, or a solution, and depending on their narratives, they can be added to either the first or the second section of the project.
In composing each movement, I interpreted various concepts from nature, environmental and global warming issues, sustainability processes, and politics, among others. As a composer, I expressed these interpretations through musical gestures, instrumental decisions, performance techniques, timbres, forms, pitch collections, rhythms, dynamics, time perception, and density developments.
The impetus behind How Dare You! Is very personal. As a native from Colombia, I have witnessed the catastrophic consequences of air pollution, plastic pollution, and deforestation in cities such as Bogota, Barranquilla, Cartagena, and Santa Marta, as the previous and current Colombian governments have not shown interest in implementing environmental policies and regulations. I have also witnessed problematic global warming in different countries such as Brazil, Dominican Republic, and the United
States. Consequently, my vision for this project is universal, and so, each movement addresses climate change from a global and a higher perspective
CHAPTER 2
Global Warming Context
nHa / i Over the last fifteen years, increasing attention has been paid to the causes and
results of global warming, raising many questions regarding the worldwide impact of the ie - ch a he ci of Ki n k, Ala ka ( ee Fig e 3).recent Global increase in Earth’s average atmospheric and oceanic temperatures. According to a ming' effec a e no limi ed o No h Ame ica; E o e, The g eenho e effec A ia, and An a c ica ha e all e e ienced change . the U.S. National Academy of Sciences, Earth’s average surface temperature has risen The G eenho e Effec
I globed a ming connec ed around one degree Fahrenheit A 4 throughSome of the *>e last inf a ed century, adia ion a warming a e effect that dramatically o he hole in he o one la e ? Vi o gh he a mo he e, and ome i accelerated in the final two decades of the twentieth century 9 eenihc eQa (see Figure 1). Although Global a ming and o one de le ion a e o e a a e b ela ed molec le - The effec o hi i lo a m ^, ' he ea h face and he lo e h ea o o clima e. Global a ming and he g eenho ethere effec have been a number of causes of historic global warming, there is strong scientific efe o he a ming of he lo e a of he a mo he e ( he SS ' Y' e / o o he e). The o one hole (o o one de le ion) efe evid o heence that human activities he are doa the largest contributor ' / to the changes over the last fifty lo of o one in he e a of he a mo he e kno n a he a mo he e a o he e ( ee Fig e 4). S a o he ic o one block incomingyears. Human civilization Mo in the adia ion twentieth century i ab o bed has released 4^. certain heat- trapping b he ea h' face l a iole adia ion f om he S n, ome of hich i ha mf l o and a m i gases into the atmosphere, which are directly linked to the increased global mean lan , animal , and h man . G eenho e o one i elea ed in o
Mmm JD - W i he lo e a mo he e, he eb con ib ing o g eenho etemperature a m- through the greenhouse effect.1 ing, b i doe no l g he o one hole in he e a mo he e. Ho e e , global a ming and o one de le ion a e ela ed in a Global em e a e change ,2 n mbe of a , incl ding: Figure 1. Global 1880-2000 Temperature Changes.
CFC a hea and de o he o one la e . C en l , Global Tem e a e Change (1880-2000) 14 1
he e ga e a e e on ible fo le han 10% of o al a - 12 O mo he ic a ming, fa le han he con ib ion f om ^ 1 he main g eenho e ga , ca bon dio ide. 0.8 O 0.6
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0) -0.4 no en i el good ne - he cooling of he e la e of 3 C. -0.6 he a mo he e can od ce change in he clima e ha CO g- "O B - ^ 1880 1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 affec ea he a e n in he highe la i de . Yea T a ing hea in he lo e a of he a mo he e allo le U.S. NATIONAL CLIMATIC DATA CENTER hea o e ca e in o ace and lead o cooling of he e 1 Miller, Roxanne Greitz. “Inside Global Warming.” Science Scope 30, no. 2 (2006): 56-60. a of he a mo he e. The colde i ge , he g ea e he Accessed February 27, 2021. http://www.jstor.org/stable/43181019. de c ion of he o ec i e o one la e ( ee "F e en l Ki n k, Ala ka, a coa al In i 2 illage, i home o 500 eo le a ked e ion abo global a ming" in Re o ce ). Ibid. Red cing o one-de le ing ga e i nece a o e en f - The illage i inking beca e i i a o ha ing he de c ion of he o one la e , b elimina ing he e e maf o . 3 ga e alone ill no ol e he global a ming oblem.
Ho i Ea h likel o be affec ed in he ne 100 ea ? Ba ed on cien ific modeling f om he IPCC (In e go e nmen al Panel on Clima e Change), he Ea h' a e age face em e a- e in he ne 50 ea co ld i e b 0.6 o 2.5 deg ee Cel i (1 o 4.5 deg ee Fah enhei ); hi e ima ed change e e en 1 -1- li^ a 200% o 900% inc ea e in he a e of change e e ienced on Ea h in he la 100 ea . B he ea 2100, global mean em- e a e co ld i e 1.4 o 4.8 deg ee Cel i (2.5 o 10.4 deg ee
Fah enhei ) ela i e o 1990. LOWER KUSKOKURM NEA
Oc obe 2006 U H H H P T 57
This content downloaded from 52.149.185.78 on Thu, 18 Feb 2021 03:26:40 UTC All use subject to https://about.jstor.org/terms 4
This chapter will provide an overview of the causes of global warming and how greenhouse gases effect our atmosphere. It will then explore some of the political barriers to fighting the climate crisis and the many negative effects that this climate change has on humanity, especially the health problems caused by air pollution, and the negative impact on the natural ecosystems. Finally, it will present some solutions that are being implemented worldwide and a few of the organizations doing important works in this area.
2.1. Causes of Global Warming
According to NASA, the gases that most contribute to the greenhouse effect are water vapor (H2O), nitrous oxide (N2O), methane (CH4) and carbon dioxide (CO2) (see diagrams in Figure 2).3 Over the last century, the burning of fossil fuels like coal and oil on a unprecedented scale has particularly increased the concentration of atmospheric carbon dioxide (CO2). Additionally, the environmentally detrimental deforestation of land for agriculture, industry, and other human activities has added to this increase by decreasing the natural cleaning of greenhouse gases from the atmosphere.
Figure 2. The Most Dangerous Greenhouse Gases.4
3 “The Causes of Climate Change,” NASA, accessed February 26, 2021, https://climate.nasa.gov/causes/.
4Ibid.
5
The greenhouse effect occurs when carbon dioxide (CO2) and other air pollutants and greenhouse gases collect in the atmosphere, absorbing sunlight and solar radiation that reflect off Earth’s surface and trapping it within the atmosphere. Without the greenhouse pollutants, this radiation would escape into space, but, once trapped, they instead cause our planet to warm. These pollutants can last for years to centuries in the planet’s atmosphere, continually causing the greenhouse effect.5 Figure 3 is a diagram of this process taken from the website of Climate Central, an independent organization of leading scientists and journalists who research and report on our changing climate and its impact on the public.
Climate-related disasters and extreme meteorological phenomena have always existed on our planet, but we are observing a marked increase in their frequency and intensity as the average global temperature increases. No continent is safe from these
Figure 3. The Greenhouse Effect, Climate Central.6
5 2016 Amanda MacMillan March 11, “Global Warming 101,” NRDC, January 20, 2021, https://www.nrdc.org/stories/global-warming-101#warming.
6 “The Greenhouse Effect,” Climate Central, January 9, 2019, https://medialibrary.climatecentral.org /resources/the-greenhouse-effect.
6 effects; heat waves, droughts, typhoons and hurricanes continue to cause ever-more- frequent mass destruction throughout the world. According to the United Nations, 90% of disasters are classified as weather and climate related with a cost to the world economy of
$520 billion a year, resulting in 26 million people pushed into poverty.7
For these reasons, climate change has become a threat to the peace and security of all nations. The effects of climate change increase the national and international struggle for resources such as land, food, and water, increasing socioeconomic tensions and the frequency of mass migrations. Climate change also acts as a risk accelerator, aggravating pre-existing inequalities and the challenges associated with them. All of this creates a vicious cycle in numerous areas of the world: lack of food creates hunger and poverty that leads to heightening political unrest.8
The melting of glaciers in the polar regions of the world is another cause of major disruption as it contributes to sea level rise. Millions of people in coastal regions worldwide are at risk from rising sea levels; nearly 40% of the world's population lives less than 100 km from an affected coastline.9 If action is not taken, entire cities may be buried under water by the end of the century, displacing millions of people and creating massive international upheaval.
7 “The Climate Crisis – A Race We Can Win,” United Nations (United Nations), accessed February 27, 2021, https://www.un.org/en/un75/climate-crisis-race-we-can-win.
8 Ibid.
9 Ibid.
7
2.2 Intersecting Issues Related to Global Warming
Climate Denial from International Leaders
Without severely limiting global emissions of greenhouse gases, temperatures could rise up to three degrees Celsius by 2100, causing further irreversible damage to our planet. The vast majority of scientists agree that the existence and causes of climate change are irrefutable, but they also provide hope that it is not too late to stop limit the extent of global warming and its worst consequences. We need world leaders who have the integrity and courage to make fundamental transformations in all aspects of society.
Encouragingly, the 2015 Paris Climate Agreement is one of the most effective deals that has been reached between nations to reduce the effects of climate change. The countries that ratified the Paris climate accord aim to bring all nations together to undertake ambitious efforts to combat climate change, reverse the increase of greenhouse gases, and achieve a climate neutral world by the mid-twenty-first century. The Paris
Agreement requires all member nations to join in limiting the overall increase of global temperatures to “well below” two degrees Celsius and asks them to attempt to further limit this increase to under 1.5 degrees.10 This is the most ambitious climate agreement in history with 196 countries making specific pledges that are subject to international review every five years.11
However, despite the scientific evidence on global warming and the international agreements that have been made, there are still heads of governments who find it in their best interest to ignore the evidence of climate change. Donald Trump, the ex-president of
10 Ibid.
11 LI, ANTHONY H. F. “Hopes of Limiting Global Warming? China and the Paris Agreement on Climate Change.” China Perspectives, no. 1 (105) (2016): 49-54. Accessed February 18, 2021. http://www.jstor.org/stable/44091098.
8 the United States, was one of the most influential international politicians who deny global warming. This denial was oft-repeated in public. For example, In Novemeber 2018
President Trump tweeted, “Brutal and Extended Cold Blast could shatter ALL
RECORDS - Whatever happened to Global Warming?”12 Even more foolishly, during the polar vortex of 2019 Trump commented that the United States would benefit from global warming to help face record low temperatures that reached -40 ° C in some areas of the country. The unbelievable irony of this statement is only matched by its staggering ignorance.
According to the New York Times, the damage done by the greenhouse pollution unleashed under President Trump’s environmental policies may prove to be one of the most profound legacies of his single term; policies that erased nearly a hundred rules governing pollution in the water and atmosphere. President Trump often disregarded the evidence and warnings regarding global warming by giving military and economic development concerns priority over their environmental impacts.13 In his article
“Environmental Science, Sustainability and Politics,” written in 2004, British geographer
Tim O’Riordan explains the difficulty of advocating for intelligent, science-based policy.
Research evidence and pleas that humans are undermining their own survival on a robust and unforgiving planet seem to be falling on deaf ears. The drive for economic and military security remains more powerful than the evidence
12 Javier Flores, “Trump Vuelve a Negar El Cambio Climático. Y Los Científicos Le Responden,” www.nationalgeographic.com.es (National Geographic, November 22, 2018), https://www.nationalgeographic.com.es/ciencia/actualidad/trump-vuelve-a-negar-cambio-climatico-y- cientificos-le-responden_13534.
13 Coral Davenport, “What Will Trump's Most Profound Legacy Be? Possibly Climate Damage,” The New York Times (The New York Times, November 9, 2020), https://www.nytimes.com/2020/11/09 /climate/trump-legacy-climate-change.html.
9
that both of these objectives are being undermined by environmental damage. 14
Donald Trump’s 2017 speech denigrating the Paris climate accord proved O’Riordan’s words to be disastrously true. Given when Trump pulled the United States out of the agreement, it attempted to justify the move claiming that the agreement would prevent a major investment in economic and military development, which Trump authorized directly afterwards. Trump began his speech by highlighting the supreme importance he placed on this kind of narrow economic consideration:
Before we discuss the Paris Accord, I’d like to begin with an update on our tremendous, absolutely tremendous, economic progress since election day on Nov. 8. The economy is starting to come back and very, very rapidly. We’ve added $3.3 trillion in stock market value to our economy and more than a million private sector jobs. I’ve just returned from a trip overseas where we concluded nearly $350 billion of military and economic development for the United States.15
Unfortunately, Trump’s withdrawal from the Paris climate accord is only the most public occasion on which the ex-president rejected science-based global warming policies.
Jair Bolsonaro, the president of Brazil, is another important global leader who denies the existence and impact of global warming. Before his election, Bolsonaro affirmed his complete disregard for any conservation, “I am not going to protect a millimeter of land that can be exploited.” Months after assuming the presidency, more than 500,000 hectares of the Amazon rainforest, one of the most crucial forests for planetary
14 O'Riordan, Tim. “Environmental Science, Sustainability and Politics.” Transactions of the Institute of British Geographers, New Series, 29, no. 2 (2004): 234-47. Accessed February 18, 2021. http://www.jstor.org/stable/3804556.
15 “Trump's Speech On Paris Climate Agreement Withdrawal, Annotated,” NPR (NPR, June 1, 2017), https://www.npr.org/2017/06/01/531090243/trumps-speech-on-paris-climate-agreement- withdrawal-annotated.
10 sustainability, was burned to create land for agriculture and industry. Due to this mass deforestation, Brazil's National Institute for Space Research (INPE) registered more than
75,000 fire outbreaks between January and August 2019, 84 percent more than in all of
2018.16 These fires not only amplified the damage to forest and property, it also unleashed even greater amounts of greenhouse gas into the atmosphere.
Unfortunately, the Paris agreement does not include any effective measures to compel the leaders of member nations to fulfill their obligations. Because this international agreement is non-binding and does not include any sanctions for countries that do not meet their goals, leaders like Trump and Bolsonaro are able to endanger the entire agreement and the world through their ignorant denials.17
Greenhouse Pollution’s Effect on Human Health
Global warming has numerous direct repercussions on public health. The negative effects of pollution decrease the available water and food supply, leading to malnutrition.
Outbreaks of infectious diseases become more numerous and are able to spread farther through changing ecosystems that allow for larger populations of disease carrying organisms. Warming creates an increase in heat-stress related deaths and the climate effects lead to higher deaths from natural disasters such as hurricanes and floods.
16 Semana, “Bolsonaro: Una Política Ecocida,” Semana.com Últimas Noticias de Colombia y el Mundo, September 1, 2020, https://www.semana.com/mundo/articulo/bolsonaro-y-su-politica-no- ambiental-por-la-que-hoy-se-quema-el-amazonas/629188/.
17 Millán Cámara, “¿Qué Líderes Políticos Niegan El Cambio Climático?,” COPE (COPE.es, December 2, 2019), https://www.cope.es/actualidad/sociedad/cumbre-del-clima/noticias/que-lideres- politicos-niegan-cambio-climatico-20191202_565211.
11
Between 2030 and 2050, climate change is expected to cause an additional 250,000 deaths each year from these causes.18
Environmental lung diseases are a more subtle, but no less deadly, effect of the same air pollution that accelerates global warming. These lung diseases are caused by inhaling harmful particles, gases, vapors, and mists throughout a normal day. The hairs and mucous of the nose trap the largest of these particles, but smaller ones can reach and damage the lungs, or even be dissolved into the bloodstream where they can increase the risk of lung cancer.19
According to pulmonary specialist Abigail R. Lara, lung diseases related to air pollution are surprisingly common and tend to be most deadly in large cities. 20 Burning fossil fuels with high sulfur content can create acid particles that settle in the airways causing symptoms of difficulty breathing and increasing the risk of chronic bronchitis.
Industrial haze called smog is a strong lung irritant, and higher humidity levels during the summer increase levels of smog and carbon monoxide. Contaminating microparticles can cause contractions of the respiratory muscles, narrowing the respiratory tract. Longer exposure to these contaminants increases the risk of death. People who live in areas with
18 “Cambio Climático y Salud,” World Health Organization (World Health Organization), accessed February 27, 2021, https://www.who.int/es/news-room/fact-sheets/detail/climate-change-and- health.
19 Weisburd, Mel. “AIR POLLUTION AND HEALTH.” Journal of Environmental Health 27, no. 4 (1965): 716-23. Accessed February 27, 2021. http://www.jstor.org.access.library.miami.edu/stable /26326682.
20 Enfermedades relacionadas con la contaminación atmosférica Por Abigail R. Lara et al., “Enfermedades Relacionadas Con La Contaminación Atmosférica - Trastornos Del Pulmón y Las Vías Respiratorias,” Manual MSD versión para público general (Manuales MSD), accessed February 27, 2021, https://www.msdmanuals.com/es/hogar/trastornos-del-pulm%C3%B3n-y-las-v%C3%ADas- respiratorias/enfermedades-pulmonares-de-origen-ambiental/enfermedades-relacionadas-con-la- contaminaci%C3%B3n-atmosf%C3%A9rica.
12 high vehicle traffic are particularly at risk, and children who engage in outdoor activities on sunny days are more prone to develop asthma.
The Destruction of Natural Ecosystems
In the western United States, climate change has been a key factor in the increasing frequency of extensive wildfires.21 There are different factors that contribute to wildfires, including temperature, soil moisture, and the presence of potential fuel. All these factors have strong direct or indirect correlations to climate change. According to the Center of
Climate and Energy Solutions, one of the consequences of global warming is that it enhances the drying of organic matter in forests, providing a surplus of effective potential fuel. These conditions also contribute to the spread of the mountain pine beetle and other insects that further the weakening of the ecosystem and the building up of even more potential fuel. Finally, these same conditions thwart efforts to fight the fires once they have occurred by increasing the speed of spread and decreasing the resources necessary to extinguish them. This increase in dried organic matter has doubled the number of large fires between 1984 and 2015 throughout the western United States, and modeling suggests a longer fire season with an increased fire risk of thirty percent by 2060 in the
Southeastern United States. Worldwide projections show that an increase in the global temperature of a single degree Celsius would increase the median burned area by a staggering six hundred percent per year. Wildfires and deforestation threats are bad for the stability of the global climate, as they cause massive amounts of carbon stored in forests to enter the atmosphere.
21 “Wildfires and Climate Change,” Center for Climate and Energy Solutions, February 25, 2021, https://www.c2es.org/content/wildfires-and-climate-change/.
13
Different problems are afflicting the remaining Amazon rainforest, a critical absorber of carbon dioxide. Currently, humans worldwide emit around 40 billion tons of CO2 into the atmosphere each year. The Amazon absorbs 2 billion tons of this CO2, 5% of the annual emissions, adding up to a total estimated store of as much as four hundred and sixty billion metric tons of carbon. Carlos Nobre, a climate scientist at the University of
Sao Paulo, states that we can understand “the Amazon’s role as [the bottom of] a sink, draining heat-trapping carbon dioxide from the atmosphere.”22 As the earth creates greenhouse gasses, the Amazon acts as an outlet, allowing this accumulation to dissipate through the botanical mechanics of the flora. The importance of this process to Earth’s balance makes the health of the Amazon rainforest a vital front in the continued fight against climate change.
The wildlife in this forest has been declining due to habitat destruction, wildfires, and over-hunting in the last seventy years.23 The loss of large-bodied, fruit-eating mammal species like monkeys and tapirs prevents the dissemination of the seeds of large rainforest trees. These large tree species are then replaced by smaller light wooded trees, leading to an average loss of 2.5 to 5.8% of above-ground biomass. According to Taal
Levi, the impact of the loss of this forest biomass in an area as vast as the Amazon could be huge, projecting 313 billion kilograms of unabsorbed carbon.
22 Anna Jean Kaiser, “AP Explains: Role of the Amazon in Global Climate Change,” AP NEWS (Associated Press, August 27, 2019), https://apnews.com/article/384fdb5ee7654667b53ddb49efce8023.
23 “Over-Hunting's Surprising Connection to Global Warming,” Mongabay Environmental News, January 26, 2016, https://news.mongabay.com/2016/01/over-huntings-surprising-connection-to-global- warming/. And Carlos A. Peres et al., “Dispersal Limitation Induces Long-Term Biomass Collapse in Overhunted Amazonian Forests,” Proceedings of the National Academy of Sciences 113, no. 4 (2016): pp. 892-897, https://doi.org/10.1073/pnas.1516525113.
14
2.3. Environmental Sustainability
These intersectional issues, which interrelate around global warming, may seem worryingly insurmountable, but there are solutions underway to create a more sustainable civilization that will care for its environment and work towards solutions to climate change. An ideal plan for this environmental sustainability will allow improvement in the quality of human life while living within the natural capacity of Earth's supporting ecosystem. The United Nations World Commission on Environment and Development acknowledges this need and has called for an environmental sustainability plan that will ensure the availability of natural resources for future generations to maintain an equal or greater standard of living.24 Because natural resources are limited, a continued exploitative mismanagement of them will lead to their depletion. For this reason, we must look for productive, efficient, and responsible opportunities to use the power of nature to generate renewable energies without long term damage to the environment.
The United Nations Environment Program (UNEP) has outlined a number of interrelated sustainable development goals: clean water and sanitation, sustainable consumption and production, sustainable cities and communities, sustainable industry and infrastructure, protection of life on land and below water, and dissemination of affordable and clean energy. Regarding clean energy in particular, the UNEP addresses the needs for development while suggesting a sustainable path forward, “Lack of access to energy supplies and transformation systems is a constraint to human and economic development. The environment provides a series of renewable and non-renewable energy sources i.e. solar, wind, hydropower, geothermal, biofuels, natural gas, coal, petroleum,
24 UN Environment, “Sustainability,” UNEP, accessed March 3, 2021, https://www.unep.org/about-un-environment/sustainability.
15 uranium.”25 These new, more efficient energy technologies have been developed and are constantly being improved, allowing us options to reduce harmful emissions.
Technological solutions are already available for more than 70% of current emissions.26
In many countries, renewable energy is the cheapest source of energy and electric cars will soon be available globally.
In recent years, one of the fastest growing sources of sustainable energy in recent decades has been aeolian energy (often called simply wind energy). This renewable electric energy is mainly produced through wind turbines and has helped to reduce greenhouse gas emissions by lowering the amount of energy demanded of fossil-fuel powered thermoelectric plants.27 The U. S. advocacy organization Union of Concerned
Science claims that “harnessing power from the wind is one of the cleanest and most sustainable ways to generate electricity, as it produces no toxic pollution or global warming emissions. Wind is also abundant, inexhaustible, and affordable, which makes it a viable and large-scale alternative to fossil fuels.”28
25 UN Environment, “GOAL 7: Affordable and Clean Energy,” UNEP, accessed March 3, 2021, https://www.unep.org/explore-topics/sustainable-development-goals/why-do-sustainable-development- goals-matter/goal-7. 26 Dangelico, Rosa Maria, and Devashish Pujari. “Mainstreaming Green Product Innovation: Why and How Companies Integrate Environmental Sustainability.” Journal of Business Ethics 95, no. 3 (2010): 471-86. Accessed February 27, 2021. http://www.jstor.org.access.library.miami.edu/stable/40785195.
27 Javier Flores, “Trump Vuelve a Negar El Cambio Climático. Y Los Científicos Le Responden,” www.nationalgeographic.com.es (National Geographic, November 22, 2018), https://www.nationalgeographic.com.es/ciencia/actualidad/trump-vuelve-a-negar-cambio-climatico-y- cientificos-le-responden_13534.
28 “Environmental Impacts of Wind Power,” Union of Concerned Scientists, accessed March 3, 2021, https://www.ucsusa.org/resources/environmental-impacts-wind-power.
16
Although aeolian energy presents a positive impact on our environment, it must be implemented carefully to minimize the risk to wildlife.29 The spinning blades on wind turbines have been known to kill endangered birds, raptors, waterfowl, and bats and the turbines must be built away from busy wildlife corridors and annual migratory paths. The governments of the countries developing wind energy have begun the implementation of regulations to ensure that this source of renewable power is wildlife friendly.
With environmentally sustainable options, like aeolian energy, humanity can make the leap to a cleaner and more resilient world. The technological innovations are available and can be perfected with increased investment. If governments, business, civil society, youth and academia work together, we can create a green future in which there is less climate-induced suffering and balance is restored between people and planet.
2.4. Environmental Organizations
In addition to national governments, non-profit organizations are another factor in the fight against climate change. Organizations like the Sierra Club and Greenpeace work to help nature and humanity worldwide, supporting numerous environmental activities focused on ecological issues, such as clean energy, sustainable fishing, ecosystems restoration, and pollution reduction.
The Sierra Club Foundation, established in 1960, is one of the most important non- profit organizations for environmental sustainability.30 This foundation is primarily focused on political involvement, including legislative activity and lobbying. Since its
29 Wendy Lyons Sunshine, “How to Harness the Power of Nature With a Wind Farm,” The Balance Small Business, accessed March 3, 2021, https://www.thebalancesmb.com/how-to-build-a-wind- farm-1182553. 30 “History,” History | The Sierra Club Foundation, accessed February 17, 2021, https://www.sierraclubfoundation.org/about-scf/our-values/history.
17 inception, the Sierra Club’s goals have been to protect lands and natural resources from excessive development and exploitation. It is well-known for its many political victories.
For example, in 1977 the Sierra Club persuaded U. S. President Jimmy Carter to support a gas pipeline route that avoided the Arctic National Wildlife Refuge. With their Beyond
Coal Campaign, which managed to retire two hundred coal plants between 2002 to 2015, the Sierra Club has continued to lobby for better environmental protections and cleaner energy investments.
Another well-known and effective worldwide environmental organization is
Greenpeace. Since its formation in 1969, its mission has been “to expose global environmental problems and promote solutions for future generations by increasing public awareness through research and education.”31 Greenpeace is currently working on many environmental and political initiatives such as: saving the arctic, protecting our forests, protecting our oceans, defending democracy, and eradicating toxins.
The Sierra Club and Greenpeace are only two of many organizations dedicated to supporting environmental stability. Other such organizations include Rocky Mountain
Institute, Environmental Defense Foundation, Center of Biological Diversity, National
Parks Conservation Association, Nature Conservancy, 4Ocean, Climate Action Network
Latin America, Aliança da Terra, Sustainability Network, CODEFF, Jatun Sacha
Foundation, and Acción Ecológica. Each of these organizations represents hundreds, sometimes thousands, of people dedicated to curbing the effects of global warming and making our world a better place for future generations.
31 “Our Projects,” Greenpeace Fund, accessed March 3, 2021, https://greenpeacefund.org/campaigns/.
CHAPTER 3
Ecomusicology
Coined around the turn of this century, the term ecomusicology refers to the study of the intersection of music, culture and nature. Aaron S. Allen, musicologist and director of the Environment and Sustainability Program at the University of North Carolina, posits that “ecomusicology considers musical and sonic issues, both textual and performative, related to ecology and the natural environment.”32 He goes on to explain how composition can be an important element in this symbiotic relationship. “Ecomusicology explores the ways that music is composed to replicate natural imagery, as well as how sounds produced within the natural environment are used within musical composition.”33
Figure 4 shows a Venn diagram representing ecomusicology’s place at the nexus of music, culture, and nature.
Figure 4. The Intersectionality of Ecomusicology 34
32 Allen, Aaron S. “Ecomusicology.” Grove Music Online. 25 Jul. 2013; Accessed 17 Oct. 2020. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-1002240765.
33 Allen, Aaron S. “Ecomusicology: Ecocriticism and Musicology.” Journal of the American Musicological Society 64, no. 2 (2011): 391-94. Accessed October 17, 2020. doi:10.1525/jams.2011.64.2.391.
34 Ibid.
18 19
Musical Activism in the Late Twentieth-Century
According to Allen, the discourse surrounding ecomusicology tends towards inherent activism, as the act of practicing ecomusicology can be considered political. This puts ecomusicology in line with other forms music scholarship. In the early 1990s, Philip
Bohlman argued that the practice of musicology is an inherently political act.35 For much of Western history, musicology disregarded music by female composers, people of color, and other minorities. Even the works of popular LGBT composers like Tchaikovsky were callously accused of being emotional and effeminate.36 However, in the last four decades many historical musicologists and ethnomusicologist have followed the example of their colleagues in other humanities, turning the attention of musicology toward its own inequities and refocusing the field toward critical issues of race, gender, and social class.
Unfortunately, environmentalism did not take an immediate place in this list of new considerations in any of the humanities, as ecocritic Cheryl Glofferty pointed out.
If your knowledge of the outside world were limited to what you could infer from the major publications of the literary profession you would quickly discern that race, class, and gender were the hot topics of the late twentieth century, but you would never suspect that the earth’s life support systems were under stress. Indeed, you might never know that there was an earth at all. 37
35 Philip V. Bohlman, “Musicology as a Political Act,” Journal of Musicology 11, no. 4 (1993): pp. 411-436, https://doi.org/10.2307/764020.
36 Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), 77–9.
37 Guy, Nancy. “Flowing Down Taiwan's Tamsui River: Towards an Ecomusicology of the Environmental Imagination.” Ethnomusicology 53, no. 2 (2009): 218–48. Accessed March 9, 2021. http://www.jstor.org/stable/25653067.
20
Literary scholar Glen Love observed that society faced three fundamental social crises in the twentieth century: civil rights, gender equality, and environmental degradation.38 In response, scholars made significant improvements in the study of race and gender, crafting important critiques that make visible what once was not. However, environmental degradation had still received considerably less attention from humanities scholars until the 1990s.
This changed with the work of musicologists like Aaron Allen, who sees it as the responsibility of music studies “to include the Earth—the planet itself (or Gaia herself), the biotic life and abiotic contexts of the biosphere, the environmental insults humans have inflicted on it and each other, and the upheavals among human communities that result from such environmental and social exploitations.”39 While ecomusicology joins other areas of scholarship in its academic study of humanity, Allen emphasizes that it must also publicly respond to the environmental crises that threatens civilization. This demands the expansion of music scholarship into the active practice of ecological politics, recognizing that ecological music criticism must work to change society’s perceived disconnect between the human and natural worlds. Ecomusicologists and the artists who create in this field must offer a bridge between culture and nature through music.
38 Ibid.
39 Aaron S. Allen, Jeff Todd Titon, and Denise Von Glahn, “Sustainability and Sound: Ecomusicology Inside and Outside the Academy,” Music and Politics VIII, no. 2 (2014), https://doi.org/10.3998/mp.9460447.0008.205.
21
Composition as Ecomusiological Activism
Because of the active political nature of ecomusicology, the term can be used for both an academic field and artistic works that attempt to unite musical expression and natural elements. The composers who create these works reimagine the relationship between human beings and our environment or between human and non-human sound worlds. This alternate intersectional depiction of ecomusicology fits with Cheryl
Glofferty’s description of the wider field of ecocritism. “Ecocriticism takes as its subject the interconnections between nature and culture, specifically the cultural artifacts of language and literature. As a critical stance, it has one foot in literature and the other on land; as a theoretical discourse, it negotiates between the human and the non-human.”40
Figure 5 is a representation of this alternative view of ecomusicology.
Figure 5. A Second View of Ecomusicology41
40 Guy, Nancy. “Flowing Down Taiwan's Tamsui River: Towards an Ecomusicology of the Environmental Imagination.” Ethnomusicology 53, no. 2 (2009): 218-48. Accessed March 9, 2021. http://www.jstor.org/stable/25653067.
41 Allen, “Ecomusicology: Ecocriticism and Musicology.:” 391-94.
22
Musical works conceived as ecomusicological often blend approaches from traditional composition, sound design and engineering, and naturally occurring or man- made acoustics. They can also glean ideas from the academic side of musicology and cultural studies and act in concert with environmental sustainability politics and activism. Composers and soundscape artists find various ways of balancing this blend of artistic and activist approaches to accurately represent their view of the world and to increase awareness about issues such as urban development, water pollution, hearing loss, illegal hunting, and noise pollution.42
I consciously conceived How Dare You! under the influence and in the mode of ecomusicology, aspiring to highlight through it the dire environmental crisis that we face.
Before beginning the composition, I delved into research on the intersecting problems and solutions outlined in Chapter 2, issues that I hoped to musically address in my final creation. My goal was to replicate natural imagery in this work as a means to convey an environmental statement and call to action. This research informed and defined my musical decisions. In Chapter 7, I explain how each of the problems and solutions informed my process and are woven into the narrative fabric of the finished piece.
I agree wholeheartedly that ecomusicology must be exercised as a political act, and, as such, the academic and artistic products of this viewpoint must be transformative for our local and worldwide communities. Thus, I have worked to create How Dare You! as a musical expression of care for the natural environment, a cry of dread about the future of the planet, and a plea for a more just and sustainable world.
42 “Current Directions in Ecomusicology,” Ecomusicology Review, July 23, 2020, https://ecomusicology.info/resources/supplementary/current-directions-in-ecomusicology.
CHAPTER 4
Music and Global Warming
We, musicians, artists and creatives of planet Earth, offer our artistic and musical creativity, and our own actions, as signs of our determination to be part of the solutions to current planetary challenges. We want to inspire and be part of that change. We stand with humanity and with Nature. – Stand with Arts and Nature! 43
This united declaration for environmentally conscious change was signed on June 5,
2020 by over two-hundred and fifty artists and art organizations as part of the Beethoven
Pastoral Project. Organized as part of the United Nation’s World Environment Day, the project’s name uses the title of Beethoven’s sixth symphony as a reference to the power of art to depict the harmonious unity of mankind with nature. The purpose of this ongoing project and its statement of purpose, titled Stand with Arts and Nature!, is to showcase how artists, organizations, and the music industry can address global warming through activist composition and performance. It has been joined by globally known artists such as Nobel Peace Prize Laureate Muhammad Yunus, Grammy winning Indian composer
Ricky Kej, Ethiopian singer songwriter Beety G, Australian composer Brett Dean, and the Oxford Philharmonic. The Pastoral Project is one of the most recent and important environmental endeavors in which artists and creators offer their talents to be part of the solutions to planetary challenges.
Individual composers have been writing nature-related works for centuries. Western composers as diverse as Antonio Vivaldi, Ludwig van Beethoven, Hector Berlioz,
Camille Saint-Saëns, Gustav Mahler, Ottorino Respighi, Ralph Vaughan Williams,
43 “Demand Climate Action and Sign the Artists Declaration!,” June 5, 2020, https://pastoralproject.org/declaration/.
23 24
Olivier Messiaen, and Einojuhani Rautavaara merged the sounds of nature into some of their most well-known works. However, as the threat of global warming has grown in the past half century, composers have done more than just use programmatic representations of nature in their works. Composers, such as John Luther Adams, Kieran Brunt, and
Laurance Osbourn, mirror Aaron Allen’s proposal of approaching ecomusicology as environmental activism. This chapter will detail the ecomusicological projects of these three composers.
John Luther Adams
The sounds of nature and a conscious sense of space have been features of John
Luther Adams’ music throughout his career. Adams lived in the Boreal Forest outside of
Fairbanks, Alaska from 1978 to 2014, and his compositional process through this time evolved as he has explored methods for creating music that reflects unique natural locations. His early works explored the concept of sonic geography, exploring the subtle resonances of the northern soundscape through sustained listening.44 For example, songbirdsongs (1974–80) is a collection of miniatures for three piccolos and percussion based on free transcriptions of bird songs, while the vocal work Night Peace (1977) captures the nocturnal soundscape of the Okefenokee Swamp. However, in the late 1980s he moved away from direct, programmatic references to the natural world. He later described this evolution in an interview: “By 1991, I’d begun to move beyond music about place, toward a more complete sense of music as place. In these pieces, the musical textures and gestures evoke the feeling of northern landscapes, but they are no longer
44 “The Heinz Awards :: John Luther Adams,” The Heinz Awards :: John Luther Adams, accessed March 9, 2021, http://www.heinzawards.net/recipients/john-luther-adams.
25 direct translations of sounds from the natural world.” 45 Adams’ work of this later period did not aim to simply illustrate an existing nature; rather he tried to transform his music into an embodiment of natural spaces.
A piece created in the midst of this stylistic exploration, Earth and Great Weather: A
Sonic Geography of the Arctic was created from transcriptions of recordings Adams had made of Aeolian harps playing in Alaska’s Brooks Range. These small instruments, designed to be played autonomously by wind hitting their strings, captured the essence of the mountains, and, by transcribing and orchestrating these sounds, Adams recreates this landscape in the concert hall. Adams used similarly inventive transcription methods in his
2004–2006 sound and light installation The Place Where You Go to Listen, which featured virtual instruments playing music transcribed from live streamed geophysical data.46
Adams’ most recent works explore the creation of sounded or imagined environments. Works such as The Light That Fills the World and for Lou Harrison use time and musical structure to create a sense of space in which the listener can exist.47 In the Pulitzer Prize-winning Become Ocean (2013), Adams imagined a future world covered in water. The composer described the ideas he sought to evoke in the work’s title and music: “It suggests a kind of immersion. It wasn’t long before it occurred to me that the title was like a metaphor for human history and situation we find ourselves in now.
Life emerged from the ocean and right now we are facing an unprecedented and likely
45 Tarantino, Todd. “Wayfinding in John Luther Adams's “For Lou Harrison”.” Perspectives of New Music 47, no. 2 (2009): 196-227. Accessed March 9, 2021. http://www.jstor.org/stable/25753702.
46 The Heinz Awards.
47 Tarantino, 196-227.
26 self-created threat: we are melting the polar ice caps and the seas are rising. If things don’t change we may find ourselves quite literally becoming ocean again.”48 Adams says he believes that this environmental music can be effective whether or not the listener is aware of the programmatic aspect of the work, “A listener can read my two-sentence programme note evoking the rising seas and the melting ice and they can ponder if they choose to, or they can just take the music. They don’t even have to know the title.”49
Through his focus on nature and climate change as subjects of conceptual composition, John Luther Adams has had the most important influence on my own compositional process. His use of musical symbolism, spoken word, and electronics, to convey extra-musical meaning are inspiring examples of compositional tools that directly influenced How Dare You! Furthermore, I have been influenced by his use of musical structure and economy of material. The palindromic structure of Become Ocean had a direct effect on my own use of this concept throughout How Dare You!, particularly in the fourth movement. (This will be explained in more detail in Chapters 6 and 7.) Like
Adams, I hope my music reflects “our awareness of the world in which we live and the world's awareness of us.”50
48 Franks, Rebecca. “John Luther Adams on the Process of Writing Become Ocean, his Pulitzer Prize-Winning Climate Change Masterpiece,” Classicalmusic, November 11, 2014, https://www.classical- music.com/features/artists/john-luther-adams/.
49 Ibid.
50 Lisa Friedman, “ADVOCACY: Wilderness Campaigner's Obsession with 'Place' Led to Symphony about Climate Change,” ADVOCACY: Wilderness campaigner's obsession with 'place' led to symphony about climate change -- Tuesday, May 13, 2014, accessed March 9, 2021, https://www.eenews.net/stories/1059999438/print.
27
Kieran Brunt
Kieran Brunt is a London-based singer and composer who has worked with a diverse number of musicians, including Terry Riley, Nils Frahm, Michael Price, and The King's
Singers. His recent work—such as the score for the AMC television series Soulmates, and the BBC Radio documentary The Rising Sea Symphony—has focused on media collaborations.
The Rising Sea Symphony is an experimental audio documentary made by the BBC
Radio that describes the effects of the climate crisis through audio reports gathered from across the globe. In Norway’s Svalbard archipelago the ice is melting with alarming speed, and in coastal Ghana the resultant rising ocean sweep away entire villages.
Composed as the sonic foundation for these stories, Brunt’s music combines many traditional and contemporary elements. As he describes, “The piece, very loosely structured around that of a symphony, weaves vocal, orchestral and electronic layers in and out of spoken word and field recordings from places around the world where rising sea levels are causing natural disasters.”51 In this way Brunt is able to directly address the worldwide natural and human cost of global warming, rising temperatures, and climbing sea levels.
Brunt’s mixed media format has been an inspiration for my own work. His use of field recordings, electronic processing of voices, and insertion of news broadcasts creates different textures that take the listener to the front of climate crisis. This kind of work represents a more aggressive form of ecomusicology compared to Adams’ open-ended
51 Kieran Brunt, “The Rising Sea Symphony - BBC Radio 3 (Feat. BBC Philharmonic and Shards),” Kieran Brunt (Kieran Brunt, February 3, 2021), http://www.kieranbrunt.com/news/2021/2/3/the- rising-sea-symphony-bbc-radio-3-feat-bbc-philharmonic-and-shards.
28 works, presenting another avenue of political activism through compelling and evocative composed aural experiences.
Laurence Osborn
Laurence Osborn is a British composer currently based in London. He has received commissions and performances from the London Symphony Orchestra, London
Philharmonic Orchestra, Britten Sinfonia, The Riot Ensemble, and Mahogany Opera, among others. His music has placed in several international competitions, including first place in the 2017 Royal Philharmonic Society Composition Prize and runner up in the
2014 New Cobbett Prize for Composition and 2013 International Antonin Dvorak
Composition Competition.52
Osborn entered the realm of ecomusicology with his chamber work Change Ringing, a collaborative artwork between Osborn, sculptor Peter Shenai, and the London
Symphony Orchestra. For the project, Shenai created six musical bells based on the bell curves of temperatures from six selected years spread across the last century. The sound of each of these bronze bells forms the musical structure for a section of the work, and they are augmented in performance by nine string players. Conceptually these sounds voice a series of inharmonic spectra that communicate sonically the story of climate change throughout the twentieth century. According to Shenai “When the bells are arranged in a line and struck in order, their tones incrementally shift and morph, just as the [temperature] graphs do. In combination, these bells produce a tone row that sonically
52 “Bio,” Laurence Osborn, accessed March 10, 2021, https://www.laurenceosborn.com/biography.
29 narrates the story of climate change since 1912.”53 According to Osborn, the spectrum of each of Shenai’s bells contains between three and five strong frequencies which, when converted into pitches, form the opening chord of each section. By sonically describing the shift in temperature over the past century, Osborn’s piece communicates through music a narrative of global warming.
Other Notable Artists
As its title suggests, Cosmo Sheldrake’s album Wake Up Calls combines the songs of endangered birds with a call to action. According to Sheldrake, this album was created
“to help us become more aware of the glorious polyphonic soundworlds that surround us before many of these voices become extinct in Britain, and to remind us not to take any of these creatures and the music that they make for granted’.54 With this piece, Sheldrake takes the ecomusicological ideal of sonic activism into the area of biological conservation.
Many music creators throughout many genres of music have also used ecomusicology as a form of environmental activism. The Grammy-nominated artist
Anohni produced a dance music album in 2016 titled Hopelessness, which engages directly with political and environmental themes. For example, the song “4 Degrees” depicts the brutatilty of industrial greed with stanzas like:
I wanna hear the dogs crying for water I wanna see the fish go belly-up in the sea And all those lemurs and all those tiny creatures I wanna see them burn, it's only 4 degrees.
53 Leslie Katz, “'Data Bells' Make Music from Climate Change,” CNET (CNET, June 27, 2014), https://www.cnet.com/news/data-bells-make-climate-change-ring/.
54 “Wake up Calls,” The Ecologist, September 15, 2020, https://theecologist.org/2020/sep/15/wake-calls.
30
Rachel Portman’s dramatic choral work The Water Diviner’s Tale is built around a parable of a world facing natural collapse after years of consumption. The chorus of the
Vampire Weekend’s song “How Long?”, from their album Father of the Bride, asks
“How long until we ‘til we sink to the bottom of the sea?” lyric that visualizes the planet earth submerged in water. The World Soundscape Project by Murray Schafer emerged to address the increasing degradation of Vancouver's developing soundscape. The opera The
Force of Things by Ashley Fure “wrestles with the animate vitality of matter and the mounting hum of ecological anxiety around us,” and has had significant success in performances in Germany, New York, and New Jersey.55
Finally, the Climate Music Climate Stories Project run by artist and composer
Stephen Crawford since 2017 has been encouraging artists and storytellers to record musical and spoken word projects that transmit the urgency of climate change’s impact on society.
55 Ash Fure, The Force of Things, https://www.ashleyfure.com/force.
CHAPTER 5
Form and Structure
As mentioned in Chapter 1, this project is a musical work that follows an overarching narrative of problems and solutions through two contrasting sections. The first section represents global warming issues and consists of three movements; the second section represents possible solutions to counter global warming and consists of one movement. An overall form is presented in Table 1 below.
Table 1. How Dare You! Overall Form.
Section I. Section II.
Narrative Problems Solution
Movement I II II IV
Each movement has a different ensemble, and presents different styles and techniques according to the problem or solution addressed. Consequently, the overall global warming narrative of problems (red) and solutions (green), the recurrent, yet modulatory instrumentation, the electronics sounds, the extra musical symbolism, and the motivic unity developed throughout the piece, take the listener through soundscapes of controversial, aggressive, sarcastic, yet reflexive speeches, and animal mourning chants; to soundscapes of political commitment towards a new green world and renewable energies as follows:
31 32
First Section
1. Movement I – We Are Running Out of Time
- Problem addressed: Lack of global warming politics and regulations.
- Ensemble: Piano, Choir (SSAATTBB), woodwinds (flute 1, flute 2, oboe, soprano sax,
B♭ clarinet 1, B♭ clarinet 2, bass clarinet 1, bass clarinet 2, and Bassoon), and electronics.
- Approx. length: 16 minutes
2. Movement II – Gasping Breaths
- Problem addressed: Air pollution
- Ensemble: Flute and electronics
- Approx. length: 11 minutes.
3. Movement III – Mourning chants
- Problem addressed: Perishing ecosystems
- Ensemble: Woodwinds (oboe, soprano sax, B♭ clarinet, bass clarinet, bassoon)
- Approx. length: 6 minutes
Second Section
4. Movement IV – Aeolian Energy
- Proposed solution: Sustainable energy.
- Ensemble: Woodwinds (flute 1, flute 2, oboe, soprano sax, B♭ clarinet 1, B♭ clarinet 2, alto sax 1, alto sax 2, bass clarinet 1, bass clarinet 2, baritone sax, and Bassoon).
33
- Approx. length: 13 minutes
The length of the first section is approximately twice that of the second section. The length of the section pertaining to problems is substantially longer than the section dealing with solutions, which metaphorically mirrors our current situation. The overall density of the piece, measured by the amount of instruments on each movement, develops accordingly to the length of each one of the movements. See Figure 6 below.
Figure 6. How Dare You! Length and density development by movement.
The left chart of Figure 6 shows a graphical representation of the approximate length of the movements. Movement I is approximately 15’ minutes long, movement II is 11’ minutes long, movement III is 6’ minutes long, and movement IV is 13’ minutes long.
Through the lens of Contour Theory, this contour presents the next c.seg <3102>. The right chart of Figure 6 shows a graphical representation of the density development in each one of the movements. This contour presents a c.seg of <3012>. Both contours start
34 in their highest value <3>, then both decrease until reaching the lowest point <0>, and 2 0 1 0 1 0 then both increase until reaching the second highest point <2>. These two contour 2 0 " " 0 0 + 0 segments are 83.3% similar. Lengthwise and density wise, this contour represents the 0 + 0 + 1 " 0 " overall form. 1 + " 0 0 0 + 0
Table 2. Length and density - COM Matrix by movement.
LENGTH DENSITY
3 1 0 2 3 0 1 2 P'vs'N 3 0 " " " 3 0 " " " 0 P P P 1 + 0 " + 0 + 0 + + P 0 N P 0 + + 0 + 1 + + 0 + P P 0 P 2 + " " 0 2 + " " 0 P P P 0
Table 2 shows the COM matrixes for length and density of each one of the c.segs mentioned1 above2 . The0 COM matrix is a method that measures similarity between the 1 0 + " contours2 " of different0 " musical parameters. After comparing the two COM matrixes, it can 0 + + 0 be seen how the chart on the right shows five positive matches (P), and only one negative 0 2 1 match0 (N).0 The+ length+ contour <3102> and density contour <3012> match on five out of 2 " 0 " 1 " + 0 six possibilities, showing 83.3% of similarity.
When reducing these two contours (Length and Density in the overall form), the resulting c.seg is <201>. This c.seg presents a decreasing line, then an inflection point
(concave up), and then an ascending line; I will refer to this contour as the Macro-level
Contour.
35
On the other hand, the Density development of each one of the movements presents the contour c.seg <010>; an ascending line, then an inflection point (concave down), and then a descending line; I will refer to this contour as the Micro-level Contour.
As an example, Movement I – We Are Running Out of Time starts with only two staves (Electronics and Recited Speech), so is the lowest point on the Density contour
<0>. The movement develops to its climax in which twenty instruments are playing at the same time, which is the highest point on the Density contour <1>. The movement ends with the same density as it started, two staves (Soprano 1 and Bass 1), the lowest point on the Density contour <0>. So for Density, the movement features a Micro-level Contour of
<010>.
Similarly, in Movement II – Gasping Breaths the music starts with solo flute and is the lowest point on the Density contour <0>. Then the movement develops to its climax in which the electronics are activated creating a denser texture, the highest point on the
Density contour <1>. The movement ends with solo flute, Density contour <0>; thusly, presenting a Micro-level Contour c.seg <010>. The same contour can be found in movements III, and IV.
The Macro-level Contour <201> and the Micro-level Contour <010> are 0% similar.
This illustrates the contrast between the overall density structure and the local density structures of each movement.
The instrumental formal structure is presented in Table 3 below. Table 3 shows the instruments and their appearance in each one of the movements. All the instruments play in at least two movements, with the exception of two alto saxophones, the piano, and the choir that play only in one of the movements. As mentioned in Chapter 1, for me this
36 project represents my lifetime journey as a composer. In the future I will compose pieces addressing global warming issues and solutions; each one of these new works will function as a stand-alone piece, but also, will be part of How Dare You! falling into the first or second section according to their narratives. For these upcoming pieces, I will consider the instruments that I haven’t used at least twice; this decision will also follow the overarching contour lines of length and density explained above in Figure 6.
Table 3. Overall instrumentation structure of How Dare You!
Mov$I Mov$II Mov$III Mov$IV Electronics ✔ ✔ Flute-1 ✔ ✔ ✔ Flute-2 ✔ ✔ Oboe ✔ ✔ ✔ Soprano-sax ✔ ✔ ✔ Bb-Clarinet-1 ✔ ✔ ✔ Bb-Clarinet-2 ✔ ✔ Alto-sax-1 ✔ Alto-sax-2 ✔ Baritone-sax ✔ Bass-clarinet-1 ✔ ✔ ✔ Bass-clarinet-2 ✔ ✔ Bassoon ✔ ✔ ✔ Piano/recycled-percussion ✔ Choir ✔
CHAPTER 6
Analysis, Generalities
In this chapter, I will present how the research on global warming issues and solutions influenced the general musical characteristics that gave coherence to the whole piece. Below, I will present five characteristics: narrative, motivic unity, palindromes, symbolism, and electronics.
6.1. Narrative
As mentioned in previous chapters, How Dare You! is comprised of two contrasting narratives: The first is that of global warming issues and challenges, and the second is a counter-narrative exploring possible solutions through environmental sustainability concepts.
Figure 7, A global warming narrative through problems and solutions.
6.2. Motivic Unity
I was inspired on the concept of thematic unity drawing from musical aesthetics and techniques developed by composers such as Schoenberg, Webern, and Berg. I would like
37 38 to quote and refer to the scholar and music professor at Columbia University Walter
Frisch in his discussion on Schoenberg’s D-minor quartet, Opus 7:
“What all such pieces have in common is an impulse toward thematic unity, toward using the same basic material throughout much of the composition. This material is manipulated either by striking transformation by which a theme will retain its essential intervallic structure and rhythmic proportions but will take on an entirely different mood, or by more sober developing variation, where the basic elements are continuously modified”.56
- Walter Frisch
Besides each movement addressing a different environmental problem or solution, the development, variety, and use of recurrent motifs and musical gestures throughout the whole piece, generate coherence and continuity.
An example of this is a gesture which is central to all four movements. That is, a gesture in the woodwinds, that consists of a smooth transition of air sound to pitch, which
I refer to as the Main Idea. In general, this gesture occupies at least two bars, has only one pitch with a long value, and presents a gradual soft - loud - soft dynamic contour
<010>; the same c.seg I used for the Local Density Contour explained in Chapter 5.
Below, I am providing several examples of how this Main Idea is presented and developed in different movements throughout the piece.
The first appearance of the Main Idea gesture is in m.7 of Flute 2 in Movement I -
We Are Running Out of Time.
56 Walter Frisch, “Thematic Form and the Genesis of Schoenberg's D-Minor Quartet, Opus 7,” Journal of the American Musicological Society 41, no. 2 (1988): pp. 289-314, https://doi.org/10.2307/831435.
39
Example 1, Movement I - We Are Running Out of Time, measures 7 to 10. Score
From air From pitch to pitch to air Flute 4 & 4 ± ˙ w w ˙ ± p p 5 P
Fl. & ! ! ! ! As seen in Example 1, the Main Idea is four measures long, and there is only one
9 pitch, C4, that in this case is the flute’s lower register. The Main Idea starts with a half Fl. ! ! ! ! note of& air sound that gradually transforms into pitch while increasing the dynamic level from 13piano to mezzo-piano. The Main Idea ends in a retrograde manner; it’s last bar Fl. presents& a smooth! transition from pitch! to air sound while! decreasing its dynamic! level
from 17mp to p.
Fl. Besides& being! played by a single !instrument, I utilized! the Main Idea within! different instruments to create a knitted texture in which different harmonic intervals are 21 highlightedFl. by the timbre transition between air sound to pitch and vice versa, and by the & ! ! ! ! dynamic contour. See Example 2 below.
25 Example 2 shows how the bass clarinet 1 joins the flute 2 in measure 8. However, as Fl. & ! ! ! ! the Main Idea starts with air sound and a soft dynamic level, the second major interval between29 C4 (flute) and D4 (bass clarinet 1) is only perceived by the second half of Fl. measure& 8. By the second! half of measure 10, Flute! 2 is playing air sound! in a soft dynamic, and B♭ clarinet 1 has already transitioned from air sound to pitch content, © thusly, the highlighted harmonic interval shifted to a minor second between pitches E♭
(B♭ Clarinet 1) and D (Bass Clarinet 1). Similarly, the second half of measure 11
40 highlights a consonant interval of a minor third between the pitches C (Bass Clarinet 2)
5 and ESpeech♭ (B♭ Clarinet 1). &
- applause -
Elect. 1 Example& 2, Movement I - We Are Running Out of Time, measures 7 to 12. 5
Elect. 2 recording speech & ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~From~~~~ air~~~~~~~~~~~~~ to pitch Piccolo ± ˙ Fl. 1 & ! ! ! ! ! p From air From pitch to pitch to air Fl. 2 ! ! & ± ˙ w w ˙ ± p p P From air to pitch
B Cl. 1 b & ! ! ! b± ˙ w w p P
B Cl. 2 b & ! ! ! ! ! !
From air From pitch From air to pitch to air to pitch ± ˙ w w ˙ ± ± ˙ B. Cl. 1 ? !
p P From air p to pitch ± ˙ w B. Cl. 2 ? ! ! ! ! p P
To generate coherence and continuity in the whole piece, the Main Idea develops throughout all the movements by repetition, transposition, sequence, contrary motion, retro-gradation, augmentation/diminution, expression, and by addition/reduction of materials. For instance, in movement II - Gasping Breaths, the Main Idea is reduced and presents new materials. See Example 3 below.
3
Gasping Breaths Freely For solo flute, Carlos Patino or flute and electronics 2020 q = 90-110 Anxious Air sound Flute , , j — — & — — b— — — — b— — — — — — — — b— — — — — — #— b— — #— ! p ! p Random Key Clicks 4 , , & b" #" " b" " " " " " " " " " b" j b— — — #" " " b" " " " " " " " " " " " " " b± — — — " " " b— — — — — — — — — " " " ! p
7 41 Gasping Breaths j — — — — — — — — " " " Freely" " " " " " " " For solo flute, Carlos Patino & — b— b— — #— — — b— — #— " b" " " " "Example" " " " 3", Movement" " #II" – Gasping"b" "Breaths," " " #Flute" " b "staff," measure" "or flute 4 and. electronics 2020 q = 90-110 " Anxious Agitated J.W. from airAir sound from pitch White noise Gasping to pitch to air 8 > Inhaling - exhaling...... accel to gasping...... Flute , , œ , j , — — J & — — b— — — — b— — — — — — — — b— — — — — — #— b— — #— & b— # — ! œ — — — p ! p ƒ ! P Ï Random! Key ClicksP ! 4 , , 11 , , " " " " " " " j " j In Example &3, theb Main" Ideab" " presents#" " the" sameb" " pitch" "on the" flute," C4;" the" " gestureb± is — " b" " b— — — b— — — — — — "#" " & j b— — — — #— — " " " " b" #" "" " b" " " " " — — " — — — " — — b— — — — — — — — — — b— — — — — — — — " " " " " " " " " shortened to three quarter notes and presents an addition of three sixteenth notes !that are p p 7 from air from pitch slurred to the last quarter note. The first quarter note (air sound), gradually converts into 13 to pitch to air 3 j — — — " " " " pitch while increasing& — theb —dynamicb— — # —level— — from— pp tob— mp— #until— — reaching— — the" " secondb" " " quarter" " " " " " " " " "#" " " "b" " " "#" " b" " " " " — " " " " " " " " & #— — b— — " b" " " " "#" " " " b" "#" " b" " " " — œ œ œ œ œ œ œ — — b— — note; then," b" it gradually decreases Agitatedto a "pp" dynamic" " level in" "the" last" quarter note, thereby ------J.W. from air from pitch White noise Gasping to pitch to air ! P p maintaining the8 Main> Idea’s characteristics.Inhaling - exhaling...... accel to gasping...... œ , , 15 J Similarly, in& the same Movement II - Gasping Breaths, the Main Idea is varied # — œ — — b— — — — — — — — — — through articulation to alter— the phrasing and sound —production.— See— Example 4 below. & b— — #— b— — — — — — — b— —ƒ #— —!— — — — — P Ï ! P ! Agitated J.W. 11 White noise from air from pitch , Gasping to pitch 16 Inhaling - exhaling...... accel to.. Exampleto air 4, Movement II – Gasping, Breaths, measure 6. œ> , 3 j , j — " " " " " J & — b— — — — — — — b— — — b— — — — — — — — —#— — — " b" " #" " " " " b" " " " & — #— — b— —— — " # — œ œ œ — b— — — - - - p ƒ ! P ƒ ! P from air ! from pitch 13 to pitch to air 3 18 " " " " & #— — b— — " b" " " " "#" " " " b" "#" " b" " " " — — — — — — " " " " — œ œ œ œ œ œ— —œ— — — — b———— " b" " " " " " " " " & b— — #— — b— — — " " b" " " " #" — — — b— — — —#— " " " "-" b"- "- " "- #"-" —- - — — — b— " — — — "!" P " " p p ! Gasping 15 J.W. White noise from air from pitch Coughing to pitch 19 Inhaling - exhaling to air —3 — — — — — — — — — — — , , o & b— — #— b— — — — — — — b— — #— — — — — — — œ> œ & Agitated #— — b— J b– – # J.W. b— — — – Zaa Zaa — œ œ œ (œ) œ œ œ White— noise Tuf from air from pitch fl > ------fl to pitch 16 Inhaling - exhaling...... accel to.. Gasping to air ƒ ! P > p , 3 f p Gaspingœ f , from air from pitch White noiseJ — Coughing to pitch to air — — 21 , Inhaling& - exhaling b— #— b— — # 3 — œ œ œ — — o - - - P , ! ! " " " " ƒ ! r œ rƒ P & "b" " b" " " " " " " " " b– – # b œ œ Tuf Zaa — œ œ œ (œ) œ œ œ fl > 18 ------f p ! P & — — b— #— — — — — — — " b" " " " " "#" — — b— —#— " " b" "#" — — — — — — b— — — © — b— — " " " " — — — — — — " " " " " " " " " " — — p ! Gasping J.W. White noise from air from pitch Coughing to pitch 19 Inhaling - exhaling to air o 3 > , , œ œ — & J b– – # — œ œ œ œ œ œ œ — b— — #— b— — – Zaafl Zaa> - - - (-) - - - Tuffl ƒ ! P p f p Gasping f from air from pitch White noise Coughing to pitch to air 21 , Inhaling - exhaling o 3 , " " " " r œ r & "b" " b" " " " " " " " " b– – # — œ b œ œ œ œ œ œ œ œ Tuffl Zaa> - - - (-) - - - f p ! P
© 42
Example 4, presents a variation similar to Example 3 explained above. The gesture is shortened to five quarter notes, but features characteristics of the Main Idea such as the air to sound transitions at the beginning and at the end of the motif, the same pitch C4, 4. Aeolian Energy 7 the same dynamic level contour soft – loud – soft, and the addition of sixteenth notes.
Besides featuring the same characteristic of the Main Idea, Example 4 presents a variationq on = 130expression. The pitch material presents a rhythm of four eighth notes and an 49 eightFl. 1h note triplet over the same pitch C4. All of the tied notes have tenuto marks, & ! ! ! ! ! creating an oscillation effect, like a cross between vibrato and bisbigliando. This Fromeffect air is to pitch S. Sx. ±. used in &several different! ways throughout! the piece.! ! Œ " As an example, movement IV - Aeolian Energy, is developed entirely with the tied
Fl. 2 tenuto marks& variation! embedded in! the Main Idea.! See Example 5 !below. !
Ob. Example 5, Movement IV – Aeolian Energy, measures 49 - 53. & ! ! ! ! !
From air From pitch to pitch to air
A. Sx. 1 & ±. œ œ œ œ œ œ ±. ! ! ------" P " From air From pitch to pitch to air
B Cl. 1 b & Ó Œ ± ± œ œ œ œ œ œ ±. Œ ! ------" P " From air From pitch to pitch to air
A. Sx. 2 & ± Œ Ó Œ ±. œ œ œ œ œ œ ± — Œ Ó ------" " P " From air From pitch to pitch to air
B Cl. 2 b ! Ó Ó & ± — œ œ œ œ œ œ — ± ------" P "
B. Cl. 1 ? ! ! ! ! !
B. Sx. ? ! ! ! ! !
Bsn. ? ! ! ! ! !
49 ± B. Cl. 2 ? Ó ! ! ! ! " 43
In Example 5, it can be seen how the Alto Sax 1 presents the Main Idea, and then how is replicated in canon at the unison by the other instruments of the ensemble. The gesture is three bars long, it presents the pitch E4, the air to pitch - pitch to air transitions, and the dynamic level contour soft – loud – soft, the Main Idea’s characteristics. Also, the pitch content presents the tied tenuto marks over six quarter notes, which is the same musical feature presented in Movement II.
Similarly, another important variation of the Main Idea is an oscillation between the starting pitch of the gesture and its octave; this variation is recurrent in movements I, and
II. See Example 6 below.
Example 6, Movement I - We Are Running Out of Time, measures 91 to 94.
- Activate "Greta 1" 91 let it play until it ends
Elect. 1 & People are dying...
91
Elect. 2 & 2 ! 4 ! 6 ! 4 ! 6 4 4 4 From pitch 4 4 From air to air to pitch o o o o o o Fl. 1 & 2 4 œ œ 6 œ œ 4 ˙ ~~~~~~~ı˙ 6 4 ± 4 œ- œ- œ- œ- 4 œ- œ- œ- œ- œ — 4 (-˙ ) ı(˙) 4 " p " P Fl. 2 2 4 6 4 6 & 4 ! 4 ! 4 ! 4 ! 4 Ob. 2 4 6 4 6 In Example& 4 6, the! pitch4 content! of the gesture4 presents a! continuous alternation4 ! 4 betweenBsn. the? 2 pitches C4 and4 its octave C5. The6 rhythm of this alternation of pitches4 is in 6 4 4 ! 4 ! 4 ! 4
91 quarter notes, and˙ the musical phrasing presents the tied˙ tenuto marks explained above. œ w #˙ œ w & 2 bb˙œ œ. 4 6 Ó b˙ #˙ 4 6 Pno. 4 b œ œ. œ 4 w 4 j œ 4 w 4 . Ó ‰ bœ ˙ œ. . The Main Idea’s˙˙ characteristicsŒ regardingb˙. dynamicŒ œœlevelsww soft – loud - soft,. andŒ timbreb˙. ? 2 4 bw 6 . bœ ˙ œ 4 b˙. œ 6 4 ˙˙ 4 w 4 ww. 4 ˙. œ 4 * ° * ° * * ° transformation air to pitch – pitch to air, remain the same. 95
Elect. 1 Also,& Movement II - Gasping Breaths presents the same oscillating material. See
95 ExampleElect. 2 7 below.6 4 & ! From air ! ! ! 4 4 to pitch Fl. 1 - - - - . & 6 ! 4 ± ˙ ˙ ˙ ˙ ˙ From pitch 4 4 From air to air to pitch " p o o o Fl. 2 & 6 ! 4 Ó œ œ œ 4 4 ± ˙ œ œ œ œ œ œ 95 ------" p ˙ œ 6 Ó g g œ œ 4 w ! b˙ g ˙ & g ˙ œ g œ œ w g Pno. 4 g 4 b˙ g ˙ . . Œ gbœ w Œ bb˙˙. Œ gbb˙˙. ww ? 6 bw. g 4 b w b w g w 4 w. 4 b w b w w ° * ° "
9 Gasping Breaths Freely For solo flute, Carlos Patino or flute and electronics 2020 q = 90-110 Anxious Air sound Flute , , j — — & — — b— — — — b— — — — — — — — b— — — — — — #— b— — #— ! p ! p Random Key Clicks 4 , , & b" #" " b" " " " " " " " " " b" j b— — — #" " " b" " " " " " " " " " " " " " b± — — — " " " b— — — — — — — — — " " " ! p
7
& j b— #— — — — b— #— — — — — — " " b" " " " " " " " " "#" " " " b" "#" b" — b— — — — — " " " " " " " " " " " " " " " " " "
J.W. Agitated from air from pitch White noise Gasping to pitch to air 8 > Inhaling - exhaling...... accel to gasping...... œ , , & J # — œ — — b— — ƒ ! P Ï ! P !
11 , , j j — " " " " " & — — b— — — — — — — b— — — — b— — — — — — — — —#— — — " " b" " #" " " " " b" " " " p from air from pitch 13 to pitch to air 3 " " " " " " " " & — b— — #— — b— — " b" " b" " " #" " " b" " " " " "#" " b" " " " " " — œ- œ- œ- œ- œ- œ- œ- — " ! P p
15 — — — — — — — — — — — — & b— — #— b— — — — — — — b— — #— — — — — — — Agitated J.W. White noise from air from pitch to pitch 16 Inhaling - exhaling...... accel to.. Gasping to air œ> , 3 , J & #— — b— — — — # — œ œ œ — b— — 44 - - - ƒ ! P ƒ ! P !
18 Example 7, Movement II – Gasping Breaths, Flute staff, measure 6. & — — b— #— — — — — — — " b" " " " " "#" — — b— —#— " " b" "#" — — — — — — b— — — — b— — " " " " — — — — — — " " " " " " " " " " — — p ! Gasping J.W. White noise from air from pitch Coughing to pitch 19 Inhaling - exhaling to air o 3 > , , & œ œ #— — b— J b– – # — œ œ œ œ œ œ œ — b— — — – Zaafl Zaa> - - - (-) - - - Tuffl ƒ ! P p f p Gasping f from air from pitch White noise Coughing to pitch to air 21 , Inhaling - exhaling o 3 In Example 7, the alternation between C4 and C5 only happens once. However, in , " " " " r œ r & "b" " b" " " " " " " " " b– – # — œ b œ œ œ œ œ œ œ œ Movement II - Gasping Breaths, this alternationTuffl Zaa> increases until reaching the- last- measure- (-) - - - (m. 75); moment in which the alternationf is constant,p similar to the! gesture explainedP in
Example 6. It is worth to mention, that this© specific gesture, (alternation between octaves
and musical phrasing of tied tenuto marks) symbolizes the heartbeats of the human body
measured by a vital signs monitor. A detailed explanation is provided below in the
section of this chapter titled: Symbolism.
6.3. Palindromes
According to the Cambridge dictionary online, a palindrome is a word or group of
words that is the same when you read it forward from the beginning or backward from
the end. Example are the words kayak, level, race car, madam, refer, and radar, among
others. 57
57 “Palindrome,” PALINDROME | definition in the Cambridge English Dictionary, accessed February 22, 2021, https://dictionary.cambridge.org/us/dictionary/english/palindrome.
2 45 from air to pitch 24 3 3 o Composers have, used musical palindromes throughout history. In his article titled j œ j " — " — — — — — & b œ —Schubertb— — — Palindrome— — — — , theb" composer#" — — and— — conductor— " b" "Brian" " "Newbould#" " — mentions — — b— — œ- œ- œ- œ- œ- œ- (œ-) — " ! P p palindromes in music! in different time periods with pieces such as Berg’s Lyric Suite, the J.W. Gasping White noise 27 chamber concertoInhaling, Schoenberg’s - exhaling Pierrot Lunaire, Haydn’s Symphony No. 47, Byrd’s œ> , , j j & J j b– Diliges Dominum, Machaut’s Ma Fin Est mon Commencement,– et mon jcommencement b– – > – # – > – – Tuffl Zaa> Tzz ma fin,Kafl Carl Philipp Emanuel’s Minuet inflKa C major forTzz keyboard, Schubert’sZaa> DieflTuf
ƒ f Zauberharfe, andp Messiaens’s Quartet forf the End of Time, among others.58 28 , I was inspired by Oliver Messiaen usage of palindromic, rhythms, rhythms that are the j j " " j j & b– bœ œ same— #forwards" " andb— backwards.— — #" Messiaen— b— refer— red– to these– rhythmic palindromes– as non- – — " — — Ka Tzz> – Tuffl Zaa> Tzzfl Ka fl Zaafl Tuffl 59 retrogradablep rhythms. f from air from pitch to pitch To generate continuity and coherenceto onair How Dare You! I created rhythmic and 29 o 3 œ 3 , j timbre palindromes in movements II and IV. See Example 8 below.j j j j j & b– – b– – — œ œ b œ œ œ œ œ œ œ — – – b– – Tuffl Zaa Tzz> flKa ( ) flKa Tzz> Zaa> Tuffl > ------Example 8, Movement II – Gaspingp Breaths, Flute staff, measure 6. Agitated p F f White noise 30 Inhaling - exhaling — " — — — & b– – # " b" " #" — — — " " " — — — " b" " #" " b" —#— Tuffl Zaa> p Gasping Each one of the motifs seen in Example 8, feature a timbre and rhythmicGasping palindrome. White noise White noise 31 Inhaling - exhaling Inhaling - exhaling In the first motif, the music follows a timbre pattern of 4 key clicks, 4 slurred air sounds, j j " — — & b– bœ – # and 4 key" clicks." " # "When" reading" — —it backwards,— — it features— the— same— — timbre— order. The same Tuffl Tzzfl Zaa> can be said about the second motif. f Gasping p White noise 32 Inhaling - exhaling , 58 Newbould, Brian. "A Schubert Palindrome." 19th-Century Music 15, no. 3 (1992): 207-14. Accessed February 22, 2021. doi:10.2307/746425. j " — — — j 59" — " " — " " — & œ – b# " " " “Http://Ljournal.ru/Wp" " " — #— -Content/Uploads/2016/08/d" — b— -2016-154.Pdf,”# 2016," — b— flKa Zaa> https://doi.org/10.18411/d-2016-154. f p ƒ p
33 j j j j — — — — — " " j r — j j — — — " " " " j — — — " & – – b— #— " b" – œ – " " "#" — — — — — œ – — " " – " " – — bœ " "#" — — b— — Ka Zaa> Tuffl Tzzfl Zaa> Ka Zaa> Tuffl Zaa> Tzzfl f p f p f p f p f p f p 34 , , , & j b— #— — — — b— #— — — — — — " " b" " " " " — — — — —#" " " " b" "#" b" — b— — — — — " " " " " " " — " " " " " " " " " " (Activate reverb) rhythmic ‰=160-180 #˙ ~ 35 ä œ œ ~~ œ j #œ #œ æ Œ ‰ Œ Œ ‰ $ R J ‰ . $ Œ Œ ‰ j & œ. #œ bœ Î Ï F P ƒ p 37 œ œ œ #œ ˘ œ ~~~ œ. Œ bœ ‰ $ R æJ ‰ $ J ‰ Œ Œ Œ J ‰ $ R ‰ œ & œ æ . bœ œ < œ ƒ F f ! ƒ 2 from air to pitch 24 3 3 o , j œ j " — " — — — — — & b œ — b— — — — — — — b" #" — — — — — " b" " " " " #" " — — — b— — œ- œ- œ- œ- œ- œ- (œ-) — " ! P p ! J.W. Gasping White noise 27 > Inhaling - exhaling œ , , J j j j j & b– – b– – # – – – – Tuf Zaa Tzz> Kafl flKa Tzz> Zaa Tuf fl > > 46fl ƒ f p f 28 , Example 9, Movement II – Gasping Breaths, measure 15. , j j j j & b– bœ œ — #" " " b— — — #" " — b— — – – – – — " — — Ka Tzz> – Tuffl Zaa> Tzzfl Ka fl Zaafl Tuffl p f from air from pitch to pitch to air 29 o 3 œ 3 , j j j j j j & b– – b– – — œ œ b œ œ œ œ œ œ œ — – – b– – Tuf Zaa Tzz> flKa ( ) flKa Tzz> Zaa> Tuf fl > ------fl p Agitated p F f White noise 30 Inhaling - exhaling — " — — — & Ab– variation– of the# Main Idea discussed" b" " #" above— — — in" "the Motivic" — Unity— — section" b" " #" of" bthis" — #— Tuffl Zaa> chapter, is another timbre,p Gasping dynamic, and rhythmic palindrome, with the exception of theGasping White noise White noise 31 Inhaling - exhaling Inhaling - exhaling grace jnotesj (D♭) that are purposely placed asymmetrically in the palindrome, shown in & b– bœ – # " " " #" " " " — — — — — — — — — — — Tuffl Tzzfl Zaa Example 9. > f Gasping p White noise 32 Furthermore,Inhaling I also - exhaling used pitch, content to create the palindromes. See Example 10 j j " " — — " " — — " " — — below.& œ – b# " " " " " " — #— " — b— #" — b— flKa Zaa> 20 f p ƒ p 4. Aeolian Energy
33 Example 10, Movementj IV – Aeolian Energy, measures 149 - 151. j j j — — — — — " " j r — j j — — — " " " " j — — — " & – – b— #— " b" – œ – " " "#" — — — — — œ – — " " – " " – — bœ " "#" — — b— — Ka Zaa Tuf Tzzfl Zaa Ka Zaa Tuf Zaa Tzzfl > From air fl > > From pitch fl > to pitch to air f 149p f p f p f p f p f p ------34 Fl. 1 #±. , œ œ œ œ #œ œ œ œ, œ œ œ ,œ #œ œ ±. & 3 3 j & b"— #— — — — b— #— — — — — — " " bF" " " " " — — — — —#" " " " b" "#"" b" — b— — — — — " " " " " " " — " " " " " " " " " " (Activate reverb) S.Example Sx. 10 shows the next sequence of pitches: F#, E, F#, G, F#, E, F#. This rhythmic& ! ! ! ‰=160-180 sequence is the same when reading it forward or backwards. This example shows the use #˙ ~ 35 ä œ œ ~~ œ j #œ #œ of a Fl.timbreæ 2 (airŒ sound‰ – pitch),Œ Œ rhythmic, dynamic,‰ $ R Jand ‰pitch. palindrome.$ Œ Œ ‰ j & & ! œ. ! #œ ! bœ Î Ï F P ƒ p
37 œ œ #œ ~œ Ob. ˘ œ ~~ - œ. - - - &Œ ˙ bœ ‰Ó $ æR æJ Ó ‰ $ ˙ J ‰ Œ œ Œ œ œ Œ œ J œ ‰ œ $œ R œ‰ œ & œ . bœ - 3 œ < œ ƒ " " F f ! ƒ
From air to pitch ------A. Sx. 1 ±. œ œ œ œ œ œ œ œ œ œ œ œ & ! 3 3 " F From air to pitch
B Cl. 1 b & ! Ó Œ #± ± œ œ œ œ - - " " From pitch From air to air to pitch
A. Sx. 2 & œ œ Œ Ó Œ - œ ± ± ±. - " " From pitch From air to air to pitch
B Cl. 2 b & Ó Ó #œ œ œ œ - œ ± ± ± F- - "
B. Cl. 1 ? ! ! !
B. Sx. ? ! ! !
Bsn. ? ! ! ! From pitch to air 149 - - B. Cl. 2 œ œ ± ± ? Œ Ó ! " 47
6.4. Symbolism
“Any work of art is essentially symbolical; the preliminary conception is born in the realm of abstraction, passes over to the concrete level, and there takes on a form that renders it perceptible to other men. This passing over, according to Hegel, presupposes a natural relation between the image and the thing signified, and this relation it is that constitutes the symbol. Music springs from the realm of sensibility. Differing form other art, Musicians have at command a sonorous palette of astonishing diversity to translate into the language of hearing the impressions registered by his brain; for music, despite the theories now in vogue which cannot resist a serious examination of the question, is in its essence expressive, and seeks to communicate to others the psychic moods that presided over the formation of the symbol.” 60
- Henry Prunières
According to the French musicologist Henry Prunières, musical symbolism presupposes a natural relation between an image born in the realm of abstraction, and the form signified - the final artistic object. Similarly, the English musicologist Richard
Langham Smith describes musical Symbolism as “a term for the ways in which musical elements may in some way be connected to extra-musical phenomena: the words of a poem, a natural object, or a person or emotional state.” 61
According to Smith, composers have used musical symbolism since the middle ages until our times. With the same approach, Prunières states that any work of art is essentially symbolical. For instance, in the Renaissance, rising scales or motifs might represent ascension, and falling figures the opposite; high tessitura might represent
60 Prunières, Henry, and Theodore Baker. "Musical Symbolism." The Musical Quarterly 19, no. 1 (1933): 18-28. Accessed February 12, 2021. http://www.jstor.org/stable/738820. 61 Smith, Richard Langham. "symbolism." In The Oxford Companion to Music. : Oxford University Press, https://www-oxfordreference- com.access.library.miami.edu/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-6586.
48 heaven, and low tessitura hell. In Baroque, the theological symbolism in Bach’s music can be perceived in the duets of the Mass in B Minor, as the relationship of Christ the Son and the Father is implied by the juxtaposition of the text (“Lord have mercy”).62 In the
Romantic period, the program music of the late 19th century uses the instruments of the orchestra to represent the natural world, for example Mendelssohn's Hebrides overture, which evokes the sea in Fingal's Cave, or Debussy’s romantic preoccupation in terms of harmony, rhythm, and form, with the intention of representing the shadowy, lunar regions of the mind in Diane au bois. 63 In 20th century music, an example is composer Oliver
Messiaen who used bird songs in his work Catalogue d’oiseaux. Additionally, articles such as Musik des Unsichtbaren by author Michaela Christine Hastetter describe
Messiaen’s use of theological symbolism.64 Through the lens of environmental musicology, musical symbolism can also be encountered in music that deals with nature and politics.
After researching global warming and sustainability, and to evoke the sonic landscapes (subtle sensations, dramatic emotions, colorful images) and the dramatic impact that I wanted to convey, I decided to employ musical symbolism in various ways.
Therefore, one of the most important features of this project is that in all movements there is a clear connection between different musical parameters and extra-musical phenomena. For the purposes of this chapter, below, I will mention how I used
62 Cowart, Georgia. "Symbolic Correspondence in the Duets of Bach's "Mass in B Minor", Part I." Bach 15, no. 1 (1984): 17-24. Accessed February 12, 2021. http://www.jstor.org/stable/41640199. 63 Lockspeiser, Edward. "Debussy's Symbolism." Music & Letters 49, no. 1 (1968): 100-01. Accessed February 12, 2021. http://www.jstor.org/stable/731387. 64 Ling, Cheong Wai. Journal of the American Musicological Society 63, no. 2 (2010): 392-401. Accessed February 12, 2021. doi:10.1525/jams.2010.63.2.392.
49 symbolism in each movement; a deep musical analysis of these elements will be provided in Chapter 7.
6.4.1. Symbolism in Movement I, We Are Running Out of Time
In movement I, the constant interplay between consonance and dissonance symbolizes the arguments between environmentalist activists and world leaders who deny global warming. In this case, the consonant intervals represent the environmentalist arguments, and the dissonant intervals the skeptic politicians. Similarly, in the electronic part (created by selected environmentalists’ and politicians’ speeches), and symbolizing political parties, the audience will hear a stereo image in which the speeches of global warming deniers are panned to the far right, and the environmentalists to the far left.
As this movement was inspired on exposing and reminding the listener the lack of commitment from world leaders to global warming policies, I was responding to Donald
Trump’s words: “you have to show me the scientist”, words recorded on a live interview where the ex-president of the United States was denying climate change; something he often did, either indirectly or overtly. These words inspired me to work “scientifically” on the Golden Ratio of the piece, symbolizing an antagonist idea to Trump’s words.
As this first movement is titled We Are Running Out of Time, I decided to symbolize this sentence by starting the music with one long consonant interval played on the piano.
As the movement develops, the attacks start to be more active – increasing in number and compressing in time – creating compound rhythms and melodies in counterpoint. This process continues until it evolves into a repetitive musical pattern that starts to be compressed. The right hand material is then phased, until reaching its climax on a more
50 active and denser texture. At the beginning, the main musical idea occupies 14 beats and ends shortened to 6 beats, thus symbolizing the idea of running out of time, which is the movement’s title. With the same approach, at the end of the piece, the electronics present a recitative phrase created by different words taken from the environmentalists’ and politicians’ speeches; the phrase starts phasing, changing the order of the words to a further time compression of the fixed track by speeding up the length of the phrase. The texture is joined by the choir, which gradually starts to recite the same words on stage until reaching the end of the piece in a cacophonic texture, symbolizing the desperate claim to save our planet.
6.4.2. Symbolism in Movement II, Gasping Breaths
As the narrative of Movement II - Gasping Breaths symbolizes the health issues in the human body when exposed to air pollution; I used some of the flute extended techniques to symbolize an ill body. There are expressive marks on the score such as
“agitated” and “gasping,” in which the performer is required to play white noise by inhaling and exhaling in a slow to rapid motion over the mouthpiece, symbolizing the lack of clean air in the human body due to poisonous air contaminants. Expressive marks such as “coughing” require the performer to play tongue pizzicatos over the mouthpiece with different syllables/tongue positions that create slightly different resonances and colors such as Zaa, Tuf, Tzz, and Ka; these coughing-like effects symbolize signs of an underlying disease. With the same approach, the Jet Whistle technique symbolizes a sneeze.
5
65 œ #œ ~ œ #œ ~~#œ . r œ œ & " " b" æ j bœ $ œ n" " " #—— b— J j œ " – – J œ " — b– œ Kafl Zaa> . Tuffl % F ! Ï f f 66 ~ œ #œ œ œ ~~~ œ œ œ j œ j #œ œ. $ R J $ R bœ bœ J j nœ & b– – . bœ Tzzfl Zaafl F P f ƒ F ƒ 67 œ #œ œ œ j J bœ r #œ & #— — b— #œ bœ j $ b œ r #œ. n— – œ œ Zaa> ! f Ï % F ƒ #œ , 68 #œ #œ œ~~ ˘ œ bœ ~~ œ œ #œ J & J œ œ bœ F f (Activate distortion) Gradually increase distortion level until bar 72 51 Freely bœ 69 #œ bœ œ œ To symbolizeœ œ congestion and how an infection can spread within the humanbœ body, the bœ œ bœ nœ œ œ bœ bœ nœ œ bœ first& sectionœ of Gasping Breaths develops a short motifœ that gradually expandsœ or spreadsœ œ 3 3 3 3 3 3 3 3 to longer phrases. Also, to symbolize the idea of the anxious reaction to the infection, the Ï phrases70 are unevenly broken with unequal accelerandi and ritardandi created by feather beaming,— thus,— creating a ruptured— and— —agitated— musical flow. & b— — #— — b— — — — — — " " b" " #" " " " — — — — — b— — Symbolizing the idea of congestion, in the second section of the movement the music — p starts71 with distant scattered individualœ bnotesœ with a certain amount of rests in between. bœ œ œ #œ These rests— between the notes gradually startbœ to be occupied by other pitches until the œ & — #— n— bœ œ — n— #" n" b" n" œ 3 b— — " " " " nœ 3 3 3 rests disappear. Furthermore, in this section, a long reverp b and a distortion are activated. Max distortion level ƒ Thus, by activating these sound processes and by shortening the distance between ƒ 72 œ bœ individual notes, the music increases in density, and consequently, œthe thin dispersed & " b" n— b— œ n" b" n— b— — n— bœ b" " " #" n— #— 3 n" " — — œ texture" presented at the "beginning of the section, is transformed to a thick, noisy — — 3 congestedp texture. ƒ p ƒ
73 The movement’s narrative ends with a heart failure that is being measured by a vital ¸ — — " " " " " — " — — — signs& monitor.b —To symbolize— # this, I created a musicalb" " gesture— that— starts— —with— quarterb— — notes#" " " — — — — p alternating between only two pitches, C4 and C5; this gesture symbolizes the heartbeats (Deactivate distortion) (Deactivate reverb) of the human body.Gasping After a ritardando (lowering the heart rate), the gesture stays on C5, White noise from pitch J.W. Inhaling - exhaling from air to air symbolizing the moment at which the heart stops. See example 11 below.to pitch 74 , 3 o > & œ œ J # — œ œ œ œ œ — Example 11, Movement II - Gasping Breaths, Flute staff, measure 55. - - - (- ) - ƒ Î ! P ! hold as much a tempo rit. as possible 75 œ o o o o o o œ bœ bœ & œ œ œ œ ˙ ~~~~~ı ˙ Ó $ œ œ (œ ) œ (œ ) œ (œ ) œ (œ ) œ (˙ ) ı(˙) 3 3 ------P Ï
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6.4.3. Symbolism in Movement III, Mourning Chants
This piece is inspired by the decline in animal populations and the destruction of their natural habitats due to illegal hunting, over-hunting, wildfires, and other human-caused pressures. I decided to score this piece for reed quintet, with the purpose of symbolizing a small pack of wolves (now woodwind instruments) in a death ritual bidding goodbye to one of its members that was killed by human hands.
Wolves are highly developed socially, forming groups that live in different territories.
In order to function as a group, they rely heavily on communication. At times, the habits of wolves require members of a social unit to be visually separated so that only olfactory and auditory means of communication are possible. When separated, wolves communicate by group howling. When howling, wolves can provide information on their location, and can bring the whole pack together. Also, by howling, the wolf can communicate its surrounding circumstances to the rest of the pack. According to the article Howling as a Means of Communication in Timber Wolves, studies suggest that wolves can detect subtle differences in sound, and specific information about the howling animal may be communicated. When one wolf howls, the members of its pack reply by doing the same, howling.65
To symbolize the communication between the wolf pack in the death ritual, the movement starts with a mournful chant –howling- played by a single instrument, which represents the animals’ group leader. After hearing the initial howl, and representing the
65 Theberge, John B., and J. Bruce Falls. "Howling as a Means of Communication in Timber Wolves." American Zoologist 7, no. 2 (1967): 331-38. Accessed February 19, 2021. http://www.jstor.org/stable/3881437.
53 members of the pack, the other instruments imitate the chant one by one; the group’s howling then is symbolized in a micro-polyphonic texture. Furthermore, the movement develops to a climactic point in which all instruments are playing louder dynamics and a more dissonant collection of pitches; this point symbolizes the desperate, saddest, and most unquiet moment of an unexpected farewell.
To create and symbolize the howl, I used techniques such as “Growl”, “bend” and
“indeterminate glissandos”. Also, expression marks for the performers such as “Distant”,
“Farewell”, “Anxious”, and “Calmly” help to convey the general narrative of the piece.
6.4.4. Symbolism in Movement IV, Aeolian Energy
As this movement is inspired by Aeolian energy, I decided to develop a constant clockwise circular movement of musical parameters that symbolize the motion of an
Aeolian turbine. Among the parameters that are in constant rotation are pitch collections, density, dynamics, motifs, register, and rhythm. Below, Figure 8 exemplifies the parameters of dynamics, density, and register; these elements rotate throughout the movement. A detailed explanation will be provided on Chapter 7 (Analysis).
Figure 8, example of the rotation of various musical elements
Dynamics Density Register
ppp one voice high
ffff twelveten voices voices low
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Also, I used twelve woodwind instruments divided into three different quartets.
Within each one of the quartets, the music constantly rotates in clockwise motion. See
Figure 9.
Figure 9, example of the rotation within Ensemble 2.
Alto Sax 1
Bb Clarinet 2 Bb Clarinet 1
Alto Sax 2
As an example, within Ensemble 2, the main musical gesture is played by the Alto
Saxophone 1, then this gesture moves to the B♭ Clarinet 1, then to Alto Sax 2, and finally to B♭ Clarinet 2. Once the rotation is completed, the ensemble starts a new cycle.
Furthermore, there is a spatial manifestation: The music gradually rotates from one ensemble to another in a circular motion. This movement generates different combinations of timbre, density, dynamics, density, and the sense of a general rotation of elements on stage. The movement of these parameters repeats throughout the piece symbolizing the circular movement of a turbine’s propellers. See Figure 10.
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Figure 10, rotation of music through the ensembles.
Ensemble 1
Ensemble 3 Ensemble 2
6.4.5. Symbolism in Instrumentation.
There are only three families of acoustic instruments in the work: voice, woodwinds, and percussion. The human voice, our natural instrument emanating from our body, presented on the choir of Movement I, symbolizes the urgent and constant plea from world citizens like me and environmentalist who think alike, to the world leaders to address global warming. The woodwinds symbolize the air that we need to breathe, and the air that moves the Aeolian turbines. The percussion instruments symbolize the concept of recycling and sustainability. However, for staging and friendlier logistical purposes, in this dissertation I decided to write the percussion part for piano as for live performances, is easier to find a piano than to build a set of recycled percussion instruments (the idea that I had first in mind). However, in the future, I will provide instructions on how to build a set of recycled instruments such as the marimba built only by recycled bottles of different sizes. I will provide the corresponding parts and score for these instruments. It’s worth mentioning that the objects that I have in mind to create the percussion section will be common objects easy to find in a household, to make the
56 construction easier for the performer. In the future, any ensemble that would like to perform this project will have the possibility to choose between using a piano, or a set of recycled percussion instruments.
6.5. Electronics
To generate an overall sense of continuity and coherence, I used electronic sounds in some of the movements. To create and compose the electronic sounds, I used pre- recorded sounds taken from political speeches, and combined them with different types of processing such as reverb, delay, and distortion, among others. The electronics interact with the acoustic instruments in different ways to generate atmospheres, textures, and timbre exploration. A detailed explanation on the electronic requirements and directions is given in the performance notes and score.
CHAPTER 7
Analysis, Particularities
Musically, finding how to symbolically convey the issues that I wanted to address was one of my biggest goals. A detailed explanation on what informed my decisions and how I conceptualized and developed these issues into music is provided below in the analysis of each piece.
7.1. Analysis of Movement I - We Are Running Out of Time
“Most climatologists agree that by burning fossil fuels and engaging in other forms of consumption and production we are increasing the amount of green house gases that float around in the atmosphere, trapping the sun’s heat, warming the earth, and enabling life. Some predict that if we continue to accumulate those gases, the average temperatures will rise and local climates will change, with catastrophic consequences.” 66 - Mary Douglas
This first movement serves as the preface of the project. We Are Running Out of Time addresses the problematic discussion regarding global warming policies. I composed this movement responding to the article quoted above, Is Time Running Out? The Case of
Global Warming, by anthropologist Mary Douglas with her co-authors Marco Thompson and Marco Verweij.
66 Douglas, Mary, Michael Thompson, and Marco Verweij. "Is Time Running Out? The Case of Global Warming." Daedalus 132, no. 2 (2003): 98-107. Accessed February 24, 2021. http://www.jstor.org/stable/20027844.
57 58
The movement presents a narrative of conflict between environmentalist activists and global politicians who are well-known climate change skeptics. Musically, this conflict is maintained throughout the whole movement, and contains moments in which the environmentalists’ arguments cover the narrative of the climate change deniers, and vice versa. Consequently, there is a heated and emotive interplay between both political positions that generates and accumulates tension throughout the whole movement in a cacophonic texture. This tension is released at the end of the movement with a monophonic texture in which members of the choir recite a series of reflexive questions with the purpose of creating an emotional impact in the audience; these questions were taken from the speech of Swedish climate activist Greta Thunberg at the United Nations
Climate Action Summit in 2019 in New York. The title of the project, How Dare You!, is inspired by Greta’s words, “How dare you to come here saying that you are doing enough?”
In the following section, I explain my creative process and the musical symbolism within the piece.
Approach
Before writing this movement I researched which countries are the most polluted, and cross-referenced those with which important international politicians have publicly denied or minimized climate change.
Important world leaders who deny global warming include Donald Trump, former
President of the United States (2017-2021), Jair Bolsonaro, current President of Brazil, elected in 2018, Anthony John Abbott, former Australian politician who served as the
59
28th Prime Minister of Australia (2013 - 2015), Craig Kelly, member of the Australian
House of Representatives since 2010, Iván Duque Márquez, current president of
Colombia, in office since August 7, 2018, and Matteo Salvini, who served as Deputy
Prime Minister of Italy and Minister of the Interior from (2018-2019); Salvini has also been Federal Secretary of the Northern League since 2013. Each of the politicians mentioned in the previous paragraph have been responsible for advocating for anti- environmental policies.
In my music, I used audio fragments from various speeches to create a mosaic; a montage of soundbytes, interlaced not to recreate any one speech, but rather to construct a sort of “meta-speech” encapsulating the overall view of those politicians mentioned above.
Electronics and Speech
- Fixed media tracks: Applause, Recorded Speech, Greta 1 and Greta 2.
The movement starts with a fixed track labeled Applause. To create this track I used and combined audio from various political rallies. This track sets the tone for a speech that has to be performed by the Bass 1 of the choir, representing a skeptic global leader.
The text is taken from the words of ex-president Donald Trump on the Paris Climate
Accord in 2017, referenced in Chapter 1. The speech is to be recorded live by the performer in charge of the electronics and is labeled as Recorded Speech. I decided to have a live recording of this speech instead of a pre-recorded track because a live performance will create a bigger impact on the audience. Also, as at the end of the movement the male performer of the speech (Bass 1) changes his political position from a
60 climate change denier to an environmental activist, reciting the phrase “How do you continue to look away?” the audience will understand the movement’s narrative as moving from skepticism to environmentalism.
This new track (Recorded Speech) is used in measures 180 to 191. In these measures it overlaps with fragments of Greta Thunberg’s speech at the 2019 UN climate summit
(fixed media track labeled as Greta 2). The Recorded Speech also overlaps with the choir, which sings the words “We are running out of time.”
At this point the Recorded Speech is modified through distortion and delay, activated by the electronic performer. The volume increases, eventually overpowering Greta’s speech, the woodwinds, and the choir, with the purpose of creating a cacophonic and a more distorted texture that leads to the climax of the movement. The interplay between the Recorded Speech – which promotes skepticism and disregards the catastrophic consequences of global warming with its negative connotations – and Greta’s words of concern and warning, creates a narrative of conflict. The purpose of the climax is to generate a profound anguished impact in the audience.
Below, I am providing the text of the fixed track Greta 2, as track Greta 1 is a shorter version of it.
Greta 2 text:
“People are dying, entire ecosystems are collapsing, we are at the beginning of a mass extinction and all you can talk about is money and fairy tales of eternal economic growth.
How dare you!
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For more than 30 years, the science has been crystal clear. How dare you continue to look away and come here saying that you're doing enough, when the politics and solutions needed are still nowhere in sight.” 67
- Fixed media tracks: Lack of Commitment 1 and Lack of Commitment 2.
Two additional tracks were created combining audio excerpts of global warming skeptics with that of environmentalists in the news. As mentioned on Chapter 6, in the stereo image of the electronic fixed tracks labeled as Lack of Commitment 1 and Lack of
Commitment 2, the far right policies are panned to the right, and the left policies are panned to the left. Also, these fixed tracks start with a small gap between the interventions of each side of the argument (left – right). As the movement develops, this gap gradually starts to be compressed until both parts of the arguments overlap, creating a heated, global, contrapuntal political narrative. I use speeches in different languages to symbolize the global nature of the issue. The texts of these tracks are provided in the appendix.
- Fixed media track: Words Phasing.
In the last section of the movement, I created a compound sentence by selecting and combining specific words from the speeches I used in the fixed tracks Lack of
Commitment 1 and Lack of Commitment 2 (I am referring to this sentence as Compound
Sentence). This sentence consists of fourteen words/fragments. Seven words are taken
67 NPR Staff, “Transcript: Greta Thunberg's Speech At The U.N. Climate Action Summit,” NPR (NPR, September 23, 2019), https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at- the-u-n-climate-action-summit.
62 from the environmentalist speeches and seven are from the skeptic politicians. For a better understanding, see Table 4 below.
Table 4. Compound Sentence on the electronic fixed track labeled Words Phasing.
Words&/&Fragment By Narrative Lack&of&action&on Sky&news:&British&news Environmentalist Global Donald&Trump Skeptic&politicians Change Anthony&Abbott You're&failing&us Greta&Thunberg Deforestation Sky&news:&British&news Environmentalists Y&la®ion&Amazonas CityTV:&Colombian&news Climate& Anthony&Abbott Skeptic&politicians Warming Donald&Trump Pollution Greta&Thunberg Environmentalists Ecosystem Sky&news:&British&news Riscaldamento- Matteo-Salvini Skeptic&politicians Que-tratam-do-clima Jair&Bolsonaro Extinction Greta&Thunberg Environmentalist Globale Matteo-Salvini Skeptic&politician
Table 4 shows the alternation between the two sides of the argument (Green – Red) with their corresponding source; also, from top to bottom, the order of the words in this newly constructed (synthesized) “compound sentence.” ! Whereas in the first example the stereo panning was used to represent the political spectrum (left/environmentalist, right/skeptic politicians), in this case I varied the amount of reverb, and the stereo location of each one of the words with the purpose of recreating a sonic image where words appear in different spatial locations.
The Compound Sentence showed in Table 4 presents the four languages used in the previous fixed tracks, and can be broken into four separate sentences. Each sentence has a string of words with an implied meaning. Below, I explain my approach.
63
1. “Lack of Action on, Global, Change.”
Implied meaning: The lack of action on global warming politics has to change.
2. “You’re failing us! Deforestation, La region Amazonas (the Amazon region).”
Implied meaning: You’re failing us! There is deforestation in the Amazon region.
3. “Climate, Warming, Pollution, Ecosystem.”
Implied meaning: Pollution contributes to climate change in our ecosystems.
4. “Riscaldamento (Warming), Que trata du clima (regarding climate), Extinction!,
Globale (Global).”
Implied meaning: Climate change leads to global extinction.
Due to the spatial component (amount of reverb and panning), audience members sitting in different parts of the venue will have different perspectives and understanding of the Compound Sentence because different words will be emphasized, leading to different levels of listener comprehension.
The track Words Phasing has a final length of two minutes and forty seconds.
However, I conceived the track with a value of three minutes (I am referring to this track as Conceived Track). The final length is the outcome of an accelerando I applied to the
Conceived Track in its golden ratio; by doing this, the final length was shortened by twenty seconds.
The Conceived Track has two sections. The first section has a length of one minute, and is comprised by five repetitions of the Compound Sentence; the Compound Sentence has a length of twelve seconds. The second section of the Conceived Track has a length of two minutes, and presents a phasing of the words of the Compound Sentence. In this
64 second section, I grouped the order of the words in three different tracks with different lengths.
For the sake of clarity, I am labeling these new tracks as A, B, and C; see Table 5 below. Track A has a length of twelve seconds, B has a length of ten seconds, and C is eight seconds long. In track A, I grouped the next order of words: Change, Deforestation,
Climate, Ecosystem, Riscaldamento (warming), Globale (global). In track B the grouping and order of words is: Global, You’re failing us! Warming, Que trata du clima
(Regarding climate). In track C: Lack of action on, Y la region Amazonas (The amazonas region), Pollution, Extinction.
This second section begins with tracks A, B, and C starting at the same time. Each one of the tracks is repeated in a loop, and because the tracks have different lengths, a phasing of its material starts to happen; therefore, the words start to overlap, changing in order of appearance, in grouping, in implied meaning, in amount of reverb, and spatial location. For example, by 90 seconds into the phasing section the listener hears a different order of words overlapping with each other as follows: Lack of action on,
Warming, Change, Y la region Amazonas (the Amazonas region), Que trata du clima
(regarding climate), Deforestation, Global, Pollution, Climate, You are failing us,
Extinction, Ecosystem, Riscaldamento (Warming), Lack of action on, Global, Warming.
As mentioned above, the fixed track Phasing Words has a length of two minutes and forty seconds. I applied an accelerando over the Conceived Track in its golden ratio, more will be said later in this chapter.
65
Table 5. Compound Sentence on the electronic fixed track labeled Words Phasing.
TOTALTOTAL+LENGHT LENGTH 3#minutes CompoundCompund+Phrase+ phrase Phasing+Material 1#minute 2#minutes 12#'' 12#'' 12#'' 12#'' 12#''
Phasing+Material 2#minutes A 12'' 12'' 12'' 12'' 12'' 12'' 12'' 12'' 12'' 12''
B 10'' 10'' 10'' 10'' 10'' 10'' 10'' 10'' 10'' 10'' 10'' 10''
C 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8'' 8''
The electronic fixed tracks Lack of Commitment 1, Lack of Commitment 2, Greta 1, and Greta 2, interact with the consonance versus dissonance symbolism mentioned in
Chapter 6. When this interaction occurs, the political conflict can be perceived in the
12#'' stereo image of the fixed media tracks (panned left – panned right) and between the consonance, associated with environmentalism, versus dissonance associated with political skeptics. Moreover, following a conversation with Dr. McLoskey, I decided to have the oboe, the soprano saxophone, and the bassoon recite words. With the purpose of creating a more emotive impact in the audience these words are taken from different news channels, which denounce the lack of action of global warming policies, therefore, symbolizing a live, on-stage human reaction to the conflict.
66
Below I am providing the recited text in order of appearance; the words were taken from the climate section of Sky news (British TV news). 68
Table 6, Movement I – We Are Running Out of Time, Recited Text.
Oboe: “The amazon’s rain forest is on fire again, whole mountains, hills and valleys engulfed in smoke.”
Bassoon: “Controlling the fires is almost impossible, this firefighting team is responsible for 84000 square kilometers of land.” Soprano “Some of these fires are absolutely huge, stretching as far as the eye can see Sax: in every direction.”
Bassoon: “that’s just a bit larger than Scotland, and there are just 5 firefighters, yes, just 5.”
Oboe: “Beneath the canopy of these ancient trees the fire rages, the heat from the place is absolutely astonishing, these trees are gone forever.”
Bassoon: “the fires restart constantly. we’ve joined this firefight for two days, but it has already been burning for 6 days.” Soprano “The Brazilian government says the amazon is not on fire. But here we film Sax: as the trees explode into flames like torches.”
Bassoon: “this team hasn’t given up the fight; firefighters say they haven’t seen it this bad in 20 years.”
Oboe: “Is already the most deforested part of the region, deforestation that has changed the ecosystem.”
Bassoon: “Blaming the lack of regulations to face climate change.”
68 “Climate – Latest News on Climate Change and the Environment,” Sky News, accessed February 26, 2021, https://news.sky.com/climate.
6 1. We Are Running Out of Time
72
Elect. 1 &
72 œ œ. #œ œ bœ œ œ ˙ 5 Ó œ œ. bœ 4 œ g . . 5 Ó bœ œ. œ œ bœ 4 œ 5 & 4 #œ œ 4 g œ. ˙. 4 œ œ 4 œ. ˙. 4 Pno. bœ œ. bœ œ œ. ˙. Œ bœ ˙. Œ ˙. Œ œœ ˙˙. Ó b˙ ? 5 œ ˙. 4 b˙. 5 . 4 bœ ˙ œ 5 4 b w 4 b˙. œ 4 ww 4 œ œ 4 bb˙˙ œœ ° * ° * ° * ° > *
76
Elect. 1 &
Ob. 5 4 5 4 ! 5 & 4The amazon’s rain forest is on fire again, 4 whole mountains, hills and 4 valleys engulfed in smoke. 4 4 f Bsn. ? 5 ! 4 5 4 5 4 4Controlling the fires is almost 4impossible, this firefighting team is responsible for4 84000 square kilometers of land. 4 f 76 œ œ. bœ œ œ ˙ œ œ bœ œ œ 5 #œ œ 4 œ. ˙ œ. œ 5 ˙ #œ 4 œ. ˙ œ. œ 5 & 4 Ó œ œ. #œ œ bœ 4 œ œ. ˙ œ. 4 œ œ #œ bœ 4 œ œ. ˙ œ. 4 3 #˙ Pno. Œ. œ ˙ J œ ˙. b˙ œ œ . 67 ? 5 Œ œ ˙ . 4 Ó ˙ 5 Œ œ œ bœ œ œ œ bœ. 4 5 4 ww œœ 4 bœ œ 4 ww œœ 4 bœ œ 4 * bb˙˙ œœ bb˙˙ œœ ° ° * ° * ° > * > Example 12, Movement I – We Are Running Out of Time, measure 80-82
80
Elect. 1 &
S. Sx. 5 4 5 4 & 4 Some of these fires are absolutely huge,stretching as 4 far as the eye can see in every direction. 4 ! 4 f Bsn. ? 5 ! 4 5 4 4 4 That’s just a bit larger than Scotland, 4and there are just 5 firefighters, yes, just 5. 4
80 ˙ . bœ œ œ. ˙ bœ. œ œ #œ œ œ. ˙ œ œ œ #œ. nœ & 45 ˙ œ œ. bœ 4 œ œ. 45 ˙ œ œ bœ. 4 Œ ww #œ œ œ. ˙ #˙ œ Œ ww #œ. nœ Pno. Œ. œ ˙ j J j Ó ‰ bœ œ œ. œ bœ. Ó ‰ bœ œ œ œ bœ. ? 45 ˙˙ ˙˙. 4 bœ œ 45 ˙˙ ˙˙. 4 Œ. œ ˙. bb˙˙ œœ Œ. œ ˙. J ˙ œ J ° * ° > * ° *
Example 12 shows a moment in which the electronic part is presenting the conflict in the stereo image mentioned above, the soprano sax and the bassoon perform the spoken words overlapping with each other in measure 81, and the piano presents an alternation between dissonant and consonant intervals in the left hand on down beats. A detailed explanation about pitch collections is presented below when I discuss section A of the form.
A Direct Relation between Narrative and Form
In my piece, the conflict between environmentalists and skeptic politicians is directly related to the formal structure. A macro-level narrative is created through the linear presentation of micro-level narratives as shown in Table 7. To illustrate my process and provide better structural clarity, I provide an analysis of the local narratives (section by section) and what informed my representational musical decisions.
68
Table 7, Movement I – We Are Running Out of Time, Section-Narrative relation. Formal*structure*and*narrative
Intro Section*A Transition Section*B Coda
Measures'1)25 Measures'26)106 Measures'107)151 Measures'152)188 Measures'189)201
Narrative Skeptic'politicians Conflict Environmentalist Conflict Environmentalist
Skeptics
Intro Section*A Transition Section*B Coda Environmentalists Measures'1)25 Measures'26)106 Measures'107)151 Measures'152)188 Measures'189)201
Skeptic'politicians Conflict Environmentalist Conflict Environmentalist The introduction features the electronic fixed track labeled Applause and Recorded
Speech (explained above). Also, the woodwind section joins the spoken words with consonant and dissonant sonorities created by the use of the Main Idea gesture explained in Chapter 6. The introduction ends with the activation of a distortion and a delay on the microphones used by the speech performer; this delay is used to transition to Section A, which starts with the first attack of the piano. See Example 13 below.
Example 13 shows the knitted texture created by the woodwinds accompanying the final words of the speech. The transition to Section A happens in measures 25 and 26, where the repetitions (delay) of the distorted speech, the Flute 2, and Bass Clarinet 2, decrease their dynamic level while the piano plays a consonant interval of a major third in a p dynamic in measure 26. The major third is respelled as a diminished fourth; I am providing an explanation of this approach in the next paragraph.
• The micro-level narrative of the introduction is that of Skeptic Politicians, as
the text presents the preference of military development over global warming
policies and regulations.
69
Example 13, Movement I – We Are Running Out of Time, measures 21 to 27.
- Activate distortion and delay q = 62 to Speech mics C Deactivate distortion and 21 delay to Speech mics. Speech & ! ! 2 is doing good! what’s doing harm are global warming policies. n 4
- applause - Elect. 1 2 & 4 21 Elect. 2 recording speech 2 & ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ! ! 4 From pitch From air From pitch to air to pitch o o to air ˙o ˙ w ˙o Fl. 2 ! ! ! 2 & ( ˙ ) ± ± (˙) (w ) ( ˙ ) ± 4 p F p From pitch From air From pitch to air to pitch to air
B Cl. 1 b 2 & ˙ ± b± ˙ w w ˙ ± ! ! 4 p From air P From pitch p to pitch to air
B Cl. 2 b ! ! ! 2 & b± ˙ w w ˙ ± 4 P p From pitch to air B. Cl. 1 ? 2 w ˙ ± ! ! ! ! ! 4 p P From pitch From air From pitch to air to pitch to air w ˙ ± b± ˙ w w ˙ ± B. Cl. 2 ? ! 2 p P p 4
w w w Bsn. ? ! ! ! ! 2 P p 4
21
& ! ! ! ! ! ! ! 2 Pno. 4
? ! ! ! ! ! bw w 2 p 4
In Section A, I only used the piano and the electronic fixed tracks Lack of
Commitment 1 and Lack of Commitment 2. I developed a gesture of two principal sonorities in the piano: a major third and a major second. These sonorities are related by contraction and expansion. The first sonority is a consonant interval of a major third 5
70 between the pitches B and D#. To create the dissonant sonority, I contracted this interval by half step; I raised the lowest note B to C, and lowered the upper note D# to D natural.
With some variations, I used these two sonorities throughout the piece consecutively; therefore, when the major second sonority moves to the major third sonority, it expands.
See Example 14 below. For melodic purposes, and to represent the contraction-expansion effect, I decided to respell the D# as an E♭. For simplicity’s sake, I refer to this specific gesture as Main Gesture. This motif is a constant interplay between these two sonorities, a consonant harmonic interval of a major third that contracts to a major second; a gesture that only pertains to this movement.
In the beginning of Section A, the Main Gesture features a length of fourteen beats.
The first sonority occupies four beats and the second sonority eight beats; the gesture ends with a rest of two beats. See Example 14.
Example 14, Movement I – We Are Running Out of Time, Main Gesture, measures 28 to
32. D
28
& ! ! ! 2 ! 4 ! 7 ! 2 ! 4 Pno. 4 4 4 4 4 Ó œœ ww ? bw 2 4 bw 7 2 4 w ww ww 4 ! 4 w 4 ˙˙. ww 4 ! 4 ° * ° * ° * ° *
Example 14 shows the Main Gesture captured by the red dotted square; the blue lines 35 the contraction - expansion motion. g #œ & 4 ! 6 ! 2 ! 4 ! 6 ! 2 ! 4 ! 6 ! Œ g #œ 2 Pno. 4 4 4 4 4 4 4 4 4 As the music evolves, the Main Gesture starts to be compressed, occupying fewer Ó. ˙˙. ˙˙ Œ b˙. Ó ww ˙˙ Ó b˙ Œ œœ ww ? 4 b˙. œ 6 w 2 ˙ 4 b˙. œ 6 w 2 ˙ 4 b˙. œ 6 w 2 beats. As an example,4 ˙. in œthe middle4 w . part of Section4 ˙ A, by 4measure˙. 83, œthe4 gesturew . 4 ˙ 4 ˙. œ 4 w . 4 ° * ° * ° * ° * ° * ° P
43 . ˙. ˙ . #˙ œ g #œ œ & 2 ˙ 4 ! 6 Ó #˙. 1 œ 4 ! 6 Ó g ˙. #œ 1 œ 4 ! 6 Pno. 4 4 4 4 4 4 4 4 4 . . . ˙˙ Œ b˙. Œ œœ ww œœ Œ b˙. Œ œœ ww œœ Œ b˙. ? b˙. œ b˙. œ b˙. œ 2 ˙˙ 4 ˙. œ 6 ww. 1 œœ 4 ˙. œ 6 ww. 1 œœ 4 ˙. œ 6 4 4 ° 4 4 4 4 4 4 4 * * ° * ° * ° * ° * F
51 ˙. #œ œ g ˙ œ œ œ w & 6 Ó ˙. #œ 1 œ 4 ! 6 Ó g ˙ œ 4 6 ! 2 Pno. 4 4 4 4 œ œ 4 w 4 4 Œ œœ ww œœ Œ b˙. Œ g bœ w Œ bb˙˙. Œ gbbœœ ww ? 6 1 4 b˙. . œ 6 b wg. 4 b ˙. œ 6 b w. g 2 4 ww. 4 œœ 4 ˙. œ 4 w. 4 b ˙ . œ 4 b w . 4 ° * ° * ° * ° * ° P p
57 ˙. ˙ œ. bœ w œ w g #œ w #œ œ g & 2 bœ œ. 4 6 Ó g ˙. #œ 4 w 6 Ó ˙ œ. #œ œ bœ 4 w 6 Pno. 4 bœ œ. œ 4 w 4 4 4 4 4 ˙˙ Œ b˙. Œ œœ ww Œ b˙. Œ œœ ww Œ b˙. ? 2 ˙ 4 b˙. . œ 6 4 b˙. . œ 6 4 b˙. . œ 6 4 ˙ 4 ˙. œ 4 ww. 4 ˙. œ 4 ww. 4 ˙. œ 4 * ° * ° * ° * ° * ° * f 5 87
Elect. 1 &
S. Sx. 3 &The Brazilian government says the amazon is not on fire. But here we film as the trees explode into flames like torches. 4
Bsn. ? ! 3 This team hasn’t given up the fight; firefighters say they haven’t seen4 it this bad in 20 years, 87 œ. bœ #œ œ œ œ #œ œ . ˙ œ œ. œ œ. œ bœ. . . #œ 3 & œ œ #œ œ ˙ b˙. œ œ œ. 4 Pno. ‰ œ ˙ Œ . Ï J . Ó b˙ Ó bœ. œ œ bœ. ? bœ œ bw 3 bb˙˙ œœ Œ. bœ ˙ 4 ° J ° > * * 71
89 occupiesElect. 1 eight beats: the first sonority is in the first four beats, and the second sonority & the other89 four beats; at this point there is no silence separating the consecutive gestures. Elect. 2 & 3 ! ! ! 2 ! 4 ! 6 The music4 continues with the same process until reaching measure 91, the4 moment in 4 4 Fl. 1 & 3 ! ! ! 2 ! 4 ! 6 which the4 Main Gesture has become compressed to five beats. See Example4 15 below. 4 4 Fl. 2 3 2 4 6 & 4 ! ! ! 4 ! 4 ! 4
Ob. Example& 3 15, Movement! I – We Are Running! Out of Time, Main Gesture,2 measures 89 4to 6 4 Is already the most deforested part4 of the region, deforestation4 that has changed4 the ecosystem. 93. Bsn. ? 3 2 4 6 4 ! 4 ! 4 ! 4
89 ˙. œ œ œ #œ ˙. œ œ œ w 3 ˙. œ œ . œ. #œ ˙. 2 œ . œ. œ 4 w 6 & ##˙˙ œ. œ. ##˙˙ œ. œ. Pno. 4 Œ bœ œ œ. œ bœ ˙ Œ bœ 4 4 4 Œ ‰ J ‰. r œ œ Œ œœ Ó b˙ ? 3 Œ N ˙ bœ œ 2 4 bw ˙ 6 4 #˙ œ N ˙ N ˙ œ #˙ œ 4 N ˙ 4 w 4 #˙ œ N ˙ œ #˙ œ N ˙ ° * ° * ° * ° * ° * Ï p
Example 15 shows how on measure 89 and 90, the Main Gesture (red dotted square) occupies six beats. Consecutively, the next appearance of the Main Gesture in measures
91 and 92 occupies five beats. This concept of reducing the time of a gesture, symbolizes the title of this movement, We Are Running Out of Time.9
Example 15 also shows the development of the harmonic intervals played in the downbeats of the left hand (variation of the Main Gesture). This time, the gesture moves from a dissonant to a consonant interval, the opposite of what happened at the beginning of the section. The dissonant interval is a minor seventh between pitches G# and F#. I applied the same principle of contraction by half step, resulting in a consonant interval of a minor sixth between the pitches A and F (blue arrows).
Besides the constant interplay between these two sonorities and the reduction in time, the Main Gesture features an offset melody developed as an ostinato that serves to
58 72 Elect. 1 & 58 ˙. ˙ œ. bœ generate continuityœ connectingw the sonorities.g #Thisœ melow dy is comprised by two# œshortœ g & 2 bœ œ. 4 6 Ó g ˙. #œ 4 w 6 Ó ˙ œ. #œ œ bœ 4 Pno. 4 bœ œ. œ 4 w 4 4 4 4 . . ˙˙ Œ b˙. Œ œœ ww Œ b˙. Œ œœ ww motifs,? 2 one˙ ascending4 b˙ .and theœ other6 descending (see4 b ˙Example. œ 166 below). The materials 4 4 ˙ 4 ˙. œ 4 ww. 4 ˙. œ 4 ww. 4 * ° * ° * ° * ° * presented in Examplef 16 are the underlying structure – sketch – of the Main Gesture and 63
Elect. 1 the melody,& which were mapped out and composed before the actual music. 63 w œ œ. #œ œ bœ œ & 4 w 6 Ó œ œ. #œ œ bœ œ 4 Pno. 4 4 4 . Œ b˙. Œ œœ ww ? 4 b˙. œ 6 4 4 ˙. Exampleœ 16, Sketch4 ww. of We Are Running Out of Time. 4 ° * ° *
65 Elect. 1 &
j j r j j j r j .# bœ œ♮ œ . ˙ .# bœ œ♮ œ . ˙ œ œ œ œ. ˙ œ ˙ œ œ œ œ. ˙ œ & 4 ! 6 Œ Œ R J 4 J R 6 R J 4 J R 5 Pno. 4 4 4 4 4 4 ? 4 b˙. œ 6 ww. 4 b˙. œ 6 ww. 4 b˙. œ 5 4 4 . 4 4 . 4 4
70
Elect. 1 Example& 16 shows the Main Gesture’s sonorities discussed above (red dotted
˙ ˙ œ. bœ œ . œ. ˙ ˙ œ. bœ œ . #œ œ nœ ˙ œ œ. ˙ #œ œ nœ ˙ squares).& 5 TheÓ compoundŒ 4 Œ ˙ melodyœ. #œ that5 œ bstartsœ œ nœ .on˙ theœ second4 measure,˙ 5 onœ. #theœ œ botherœ œ nœ .hand,˙ is4 Pno. 4 4 4 4 4 4 ? 5 b˙. œ 4 5 b˙. œ 4 5 b˙. 4 denoted4 in˙. blue.œ Theœœ 4 firstww motif consists4 œœ of˙. three stepwiseœ 4 wascendingw 4 ˙notes,˙ A,˙ .B♭, and C4 (upwards stems); the second motif on two descending notes F#, F (downwards stems).
From left to right, the compound melody takes one pitch at a time alternating between the
two motifs, the result: A, F#, B♭, F, C. In the second section of the movement (Section
B), I divided the melody into these two motifs, which I explain later in the chapter.
The compound melody is initially not presented in its entirety. Rather, I started to add 7 the melody into the Main Gesture note by note, and not necessarily in order. As an
example, the first trace of the melody appears in measure 43, consisting only in a single
pitch F#; this pitch is the first in the second motif (downwards stems), and second in the
compound melody created by the two motifs. In measure 49 (6 measures later), a second
D
- Activate "Lack of commitment 1" Let it play until it ends
28 D Elect. 1 2 4 2 - Activate "Lack of commitment 1" & 4 ! 4 ! ! ! 4 ! Let it play until it ends 28 28 - Turn off Speech mics - Stop recording the speech Elect. 12 &&22 !! 44 ! ! ! ! ! ! 2 2 ! ! 4 ! 7 ! 2 ! 4 70 44 44 4 4 4 4 4 4 2828 - Turn off Speech mics - Stop recording the speech Elect. 1 & Elect. 2 &&22 !! 44 ! ! ! ! ! ! 2 2 ! ! 4 4 ! ! 7 7 ! ! 2 2 ! ! 4 4 Pno. 44 44 4 4 4 4 4 4 4 4 4 4 28 Ob. Ó œœ ww & 5 ?2 ! 4 bw !! ! ! 2 !4 4 bw! !7 ! 5 2 ! 4 4 & 2 ! 4 w ww ww 2 4 ! 4 w 7 ˙˙. w4w 2 ! 4 Pno. 44 44 4 4 4 4 73 4 4 4 4 4 4 ° *° * ° * ° * Bsn. ? 5 ! 4 ! Ó œœ ww 5 ? 2 ! 4 bw ww ww 2 ! 4 bw 7 ˙˙. ww 2 ! 4 4 36 w 4 w . 4 4 4 *° * 4 4 ° * 4 4 4 trace of the melodyElect. appears, 1 this time the° pitch A; which is the first pitch of the ° * 70 & 36 œ œ #œ. bœ. œ w compound melody,5 Ó and the36 first pitch œof the firstœ motif (upwardsbœ. stems). With4 the same 5 & 4 Elect. 1 #œ. œ 4 w 4 Pno. & & 4 ! 6 ! 2 ! 4 ! 6 ! 2 ! 4 approach, I added the rest36 of4œ the pitches˙. until4 the whole compound4 melody becomes4 ˙. 4 4 4 ? Œ Pno. œ ˙ . Œ b˙. 5 ww 4 b˙. . œ 5 4 4 ! 6 Ó. ! ˙˙. 2 ˙!˙ 44 Œ !b˙. 6 Ó ! ww4 2 ! ˙˙ 4 &? 4 b˙. œ 6 w * 2 ˙ °4 b˙. œ 6 w 2 ˙ 4 present in measure° 76Pno. (A, F4#, B˙♭. , F, C).œ See4 Examplew . 17. 4 ˙ 4 ˙. œ*4 w . 4 ˙ 4 4 4 4 * 4 ° . 4 4 4 ° * Ó°. ˙˙. ˙˙ Œ b˙. * Ó ° ww ˙˙ * ? 4 b˙. œ 6 2 4 b˙P. œ 6 2 4 4 ˙. œ 4 ww. 4 ˙˙ 4 ˙. œ 4 ww. 4 ˙˙ 4 ° * ° * ° * ° * 42 P Example 1772, MovementElect. 1 I – We Are Running Out of Time, Compound Melody appearance. Elect. 1 & & 42 Elect. 1 42 Measures 42 – 44. & #œ ˙ #˙. œ S. Sx. 4 ! 6 ! Œ g 2 4 ! 6 Ó. 1 4 & 5 42& ! 4 ! g #œ 5 ˙ ! 4 #˙. œ 4 Pno. 4 4 4 44 4 4 4 4 4 #œ ˙ . #˙. œ & 4 Ó ! b˙ 6 ! Œ œœ Œ wwg #œ 2 ˙ 4 ˙˙ ! Œ6 b˙Ó.. #˙ Œ 1œœ œ ww 4 ! œœ6 Bsn. ? g . ? 5 Pno. 44 b!˙. œ4 6 w4w. ! 4 245 ˙˙ 4 b˙4. ! œ 6 ww. 4 4 4 1 œœ4 4 4 . 4 . 4 . 4 . 4 . . 4 4 4 Ó b˙ Œ œ4œ ww ˙˙ 4 Œ b˙. ° Œ œœ ww œ4œ Œ b˙. ? b˙. œ * b˙. * œ * ° b˙. œ * 4 °˙. œ 6 ww. ° 2 ˙˙ 4 ˙. œ 6 ww. 1 œœ 4 ˙. œ 6 72 4 4 4 4 F4 4 4 4 bœ œ ° ° œ ° œ. #*œ œ œ ˙ * . * ° * * 5 Ó œ œ. b°œ 4 œ g . . 5 FÓ bœ œ. œ œ bœ 4 & 48 #œ œ g œ. ˙. Pno. 4 4 g 4 bœ œ. œ œ bœ 4 Œ Elect.b œ1 ˙. Measures 48 – Œ50. ˙. Œ œœ ˙˙. ? œ 49& ˙. b˙. . 5 b w 4 b˙. œ 5 ww 4 4 Elect. 1 4 . 4 4 ° &48 * ° * ° * ˙. #œ œ ˙. #œ œ 49 4 ! 6 Ó g 1 4 ! 6 Ó 1 4 ! 6 75 & g ˙. #œ œ ˙. #œ œ Pno. 4 4 ˙. 4 #œ 4 œ 4 4 4 4 Elect. 1 6 Ó g 1 4 ! 6 & & b˙. g ˙. #œ b˙. œ b˙. Pno. 4 Œ ˙. Œ œœ ww œœ Œ 4˙. Œ 4œœ ww œœ Œ ˙. 4 ? 4 b˙. œ 6 ww 1 œœ 4 b˙. œ 6 ww 1 œœ 4 b˙. œ 6 ˙. Speaking textœ in a concerned. tone ˙. œ . . ˙. œ 4 Œ Speakingœ textœ in4 a concernedww tone 4 4 œœ 4 Œ b˙. 4 4 4 Bsn.Ob. ? ° b˙. °œ ? 4 ! 6 ww5. 4 15 œœ * ° 4 ˙. 4 * œ 6* & 4 The amazon’s rain !forest is on fire again, whole mountains, hills and4 valleys engulfed in4 smoke. 4 4 °4 MeasuresControlling 76 – 78.the fires is4 almost impossible, this firefighting4 * team is responsible° for 84000 square4* kilometers of land. f f 75 œ œ. bœ œ œ ˙ œ œ bœ #œ œ œ. ˙ œ. œ ˙ #œ & 4 œ œ. ˙. 5 Ó œ œ. #œ œ bœ 4 œ œ. ˙ œ. 5 œ œ #œ bœ 4 Pno. 4 œ œ. ˙. 4 4 4 3 4 Ó b˙ Œ œœ ˙˙. Ó b˙ Œ œœ œœ bœ œ œ. œ bœ. ? 4 bœ œ 5 ww œœ 4 bœ œ 5 ww œœ 4 4 bb˙˙ œœ 4 4 bb˙˙ œœ 4 4 * 6 6 8 Similarly, I added a countermelody in the right hand, and added different pitches in the left hand affecting the linear order of consonance and dissonance of the Main
Gesture; consequently, there are moments in which the section that is supposed to be consonant becomes dissonant, and vice versa.
83
Elect. 1 & 74
S. Sx. 4 & 4 ! ! ! ! Bsn. ?Example4 18, Movement I – We Are Running Out of Time, measures 83 to 86. 4 The! fires restart constantly. We’ve joined this firefight for two days, but it has already been burning for 6 days.
3 83 œ œ œ . bœ œ œ. bœ. ˙ œ. œ œ #œ œ ˙ œ. œ œ #œ. œ nœ œ & 4 œ œ œ œ. œ bœ œ œ. œ œ bœ. ˙ #œ˙. Œ œœ #œ œ ˙ ‰ #œ˙. #œ. ˙˙œ. nœ œ Pno. 4 Œ. œ ˙ Œ œ ˙ Œ . J J Ó " bœ. œ bœ Ó " bœ. œ bœ. ? 4 bœ œ ww J bœ œ ww J 4 bb˙˙ œœ Œ. œ ˙ bb˙˙ œœ Œ. œ ˙ > J > J ° * ° * ° * ° *
In measure 83, Example 18 shows the first section of the gesture that is supposed to be
87 Elect.consonant, 1 however, its collection of pitches has an IC vector of <2,3,1,2,1,1>, 6 & dissonant87 intervals versus 4 consonant intervals, revealing a 60% level of dissonance. Elect. 2 3 & ! ! 4 Example 18 also shows variations of the compound melody (blue squares) and how it Fl. 1 & ! ! 3 starts to be phased, beginning in different moments of the measures. 4 Fl. 2 & ! ! 3 The material of Section A is repetitive in nature, as all the elements are ultimately 4 Ob. 3 derived& from the Main Gesture! itself. Various alterations to dynamics,! register, phasing, 4
rhythm,Bsn. ? density, and length! – combined with the slow process of compression – provide 3 This team hasn’t given up the fight; firefighters say they haven’t seen4 it this bad in 20 years,
interes87 t to the context of repetition and push the music forward. This undulating flow of œ. bœ #œ œ œ œ #œ œ . ˙ œ œ. œ. & œ. œ bœ. œ. #œ 3 œ œ #œ œ ˙ b˙. œ œ. 4 highlyPno. economical‰ œ ˙ material is interrupted by cadencesŒ , which. follow theÏ Golden Ratio J . Ó b˙ Ó bœ. œ œ bœ. ? bœ œ bw 3 and the Fibonaccibb˙ ˙series. As mentionedœœ in previousŒ. chapters, bIœ decided˙ to use this 4 ° J ° > * mathematical approach to respond to the ex-president Donald Trump when denying
climate change: “You have to show me the scientist.”
To be able to find the Golden Ratio of a certain length of music, one must multiply the
Golden Ratio (1 over 1.618) by the length of the9 section that is being analyzed. The
approximate total length of Section A is 5:20’ minutes or 320’’ seconds. I applied the
mathematical operation to the total duration of the piece (320’’ * 0.618) and found that
75
the Golden Ratio of the piece is 198’’ seconds, or in 3 minutes and 18 seconds. In this
moment, I decided to use for the first time a countermelody of four pitches (A♭, C, B♭,
F), and also, for the first time the lowest register of the piano. This happens in measure
75. Note that I used clock time (duration) rather than measures when applying the golden
ratio operation, as it is more accurate due to the changing time signatures throughout the
section.
6 1. We Are Running Out of Time Example 19, Movement I – We Are Running Out of Time, measures 74 and 75. 72
Elect. 1 &
72 œ œ. #œ œ bœ œ œ ˙ 5 Ó œ œ. bœ 4 œ g . . 5 Ó bœ œ. œ œ bœ 4 œ 5 & 4 #œ œ 4 g œ. ˙. 4 œ œ 4 œ. ˙. 4 Pno. bœ œ. bœ œ œ. ˙. Œ bœ ˙. Œ b˙. Œ œœ ˙˙. Ó b˙ ? 45 b w 4 b˙. œ 45 ww 4 bœ œ 45 . bb˙˙ œœ * ° * * ˙ œ ° ° ° > * Moving backwards through the section, the next division of the Fibonacci sequence is
76 at 122’’ seconds. On the score, this moment happens in measure 57, at the moment of the Elect. 1 & first cadence. I achieve this cadence by using longer rhythmic values in both hands, and
Ob. by changing the harmonic content to generate contrast. To find the next number of the 5 4 5 4 ! 5 & 4The amazon’s rain forest is on fire again, 4 whole mountains, hills and 4 valleys engulfed in smoke. 4 4 f Fibonacci series, I did the same process one last time; I applied the golden ratio operation Bsn. ? 5 ! 4 5 4 5 4 4Controlling the firesto theis almost length 4impossible, 122’’ (measure this firefighting 57), teamand foundis responsible the number for4 84000 75’’, square or kilometersone minute of land. and 4 fifteen f 76 seconds. This moment coincides with measure 43. At this point, I wrote the first trace of œ œ. bœ œ œ ˙ œ œ bœ œ œ 5 #œ œ 4 œ. ˙ œ. œ 5 ˙ #œ 4 œ. ˙ œ. œ 5 & 4 Ó œ œ. #œ œ bœ 4 œ œ. ˙ theœ compound. 4 melody, theœ pitch Fœ# I explained#œ bœ above4 œ inœ. Example˙ 17 (thisœ. pitch4 is the 3 #˙ Pno. Œ. œ ˙ J b˙ first in the second motif, and horizontally, second in the compound melody). Œ œœ ˙˙. Ó ˙ Œ œœ œœ bœ œ œ. œ bœ. ? 45 ww œœ 4 bœ œ 45 ww œœ 4 bœ œ 45 * bb˙˙ œœ bb˙˙ œœ ° ° * ° * ° > * >
80
Elect. 1 &
S. Sx. 5 4 5 4 & 4 Some of these fires are absolutely huge,stretching as 4 far as the eye can see in every direction. 4 ! 4 f Bsn. ? 5 ! 4 5 4 4 4 That’s just a bit larger than Scotland, 4and there are just 5 firefighters, yes, just 5. 4
80 ˙ œ. ˙ œ œ. #œ œ bœ œ œ ˙ œ œ œ #œ. bœ. nœ 5 ˙ œ œ. bœ 4 œ . œ. 5 ˙ œ œ bœ. 4 & 4 Œ ww #œ œ 4 œ. ˙ #˙ œ 4 Œ ww #œ. nœ 4 Pno. Œ. œ ˙ Ó ‰ j J Ó ‰ j bœ œ œ. œ bœ. bœ œ œ œ bœ. ? 45 ˙˙ ˙˙. 4 bœ œ 45 ˙˙ ˙˙. 4 Œ. œ ˙. bb˙˙ œœ Œ. œ ˙. J ˙ œ J ° * ° > * ° * 76
According to what I explained, if we observe the numbers of the sequence forwards, we can see how the Fibonacci series and the golden ratio are embedded in the music. I labeled the lengths alphabetically, with A being the shortest. See Figure11.
Figure 11, Movement I, Section A, Fibonacci Series, Golden Ratio and climax.
Length'A:'75'' Measure'43 Length'B:'122'' Measure'57 Length'C:'198'' 122’’ Measure'75 Length'D'(Total'length):'320'' Measure'106
Length C 198’’ + 75’’ = 273’’ climax (the golden ratio of 122’’ )
Figure 11 shows the lengths in seconds A to D. If we add Lengths A (75’’) and B
(122’’), we get length C (198’’); and If we add Lengths B (122’’) and C (198’’), we get length D (320’’). Each number on the sequence is the sum of the previous two, coinciding with the Fibonacci series. Each one of these moments in time represents an important moment on Section A.
Furthermore, I decided to create the climax of the piece in the golden ratio of the length obtained by subtracting lengths D and C. In other words, I subtracted length C from length D; the result is 122’’ (shown in Figure 11 in blue). Then, I applied the golden ratio operation to this subtraction (122’’) and found its golden ratio in 75’’. Then, I added
75’’ to length C (198’’), the result is 273’’. At this point, measure 92, I created the climax
77 of the Section. The climax is achieved through the louder dynamics such as ff, by reducing the length of the gesture, and by achieving the Section’s highest and lowest registers.
• Following the micro-level Narrative, Section A features a narrative of Conflict
due to the speeches of the electronic fixed tracks, and through use of the
symbolism between consonance and dissonance explained in previous chapters.
The next section is a transition between Section A and B, and occurs between measures 107 and 151. In this section, the woodwinds blend with the piano sustain playing the same knitted texture I used in the Introduction. As mentioned above, this texture is created by the development of the Main Idea, and serves to highlight different intervals with various levels of dissonance and consonance. There is also less rhythmic activity than in Section A.
The choir is introduced in the Transition, developing the Main Idea gesture. In measure 113, the Bass blends with the Bass clarinet 1 singing the same pitch A♭ and the word “We.” With the same approach, the male voices join the texture with the same syllable creating an interval of a major third between pitches A♭ and C. This interval helped me to develop once again the Main Gesture with its interplay between a consonant and a dissonant harmonic interval. The Main Gesture now is transposed a whole step lower; the consonant interval between A♭ and C, and the dissonant interval between A and B.
The text setting for the choir is entirely syllabic and only uses the words of the title:
“We are running out of time.” However, in the Transition, I did not use the text in a linear
78 order. For instance, in measure 123, I assigned the words “We are” to the male voices, followed by the female voices in measure 130 with the words “We out.” Similarly, the text develops by different combinations of words taken from the title over the Main
Gesture sonorities with sentences such as: “We are out,” “run out,” “run - running out;” to finally, in measures 146-147, present a really close version of the title “We’re running out - out of time.” This can be seen in Example 18 below. The Main Gesture sonorities are enclosed in the red dotted squares.
Also, Example 20 shows how in measures 144 -145, the female voices follow the consonant (B, D#) – dissonant (C, D) harmonic interplay of the Main Gesture, however, as a variation to the sonorities, I added the pitch A in the Tenor 1 line. By adding this pitch, the sonority in measure 144, which is supposed to be consonant, shifts to be more dissonant as its collection of pitches is now (B, D# and A); this set of pitches has an IC vector of <010101>, revealing a 66% of dissonance. The same happens in measure 145.
By adding the pitch A, the IC vector of this measure is <011010>, revealing a 66% level of consonance, in a measure supposed to be dissonant.
• Following the micro-level narrative relation, the Transition develops an
Environmentalists narrative due to the text delivered by the choir as a concerning
plea.
From air 144 to pitch Fl. 1 4 5 4 7 & 4 ! 4 ! 4 ! 4 Ó ± ˙. # p Fl. 2 4 5 4 7 & 4 ! 4 ! 4 ! 4 !
B Cl. 1 b 4 5 4 7 & 4 ! 4 ! 4 ! 4 !
B Cl. 2 b & 4 ! 5 ! 4 ! 7 ! 4 4 4 4 79 B. Cl. 1 ? 4 5 4 7 4 ! 4 ! 4 ! 4 ! Example 20, Movement I – We Are Running Out of Time, measures 144 and 147. B. Cl. 2 ? 4 5 4 7 4 ! 4 ! 4 ! 4 !
144 F P # S1 & 4 Œ ˙. 5 Œ ˙. Œ 4 w 7 ! 4 run 4 out 4 run 4 F S2 & 4 Œ 5 Œ Œ 4 ! 7 ! 4 #run˙. 4 out˙. 4 4 F p A1 & 4 5 Œ 4 ! 7 ! ˙. 4 #run˙. - ningœ 4 outw 4 4 time
p A2 F & 4 5 Œ 4 ! 7 ! ˙. 4 run˙. - ningœ 4 outw 4 4 time p F " f ƒ T1 w ˙. ˙ #˙ œ >œ #œ œ n>œ V 4 run 5 4 Œ 7 Œ Ó 4 4 4 run - ning 4 out out of time f ƒ T2 V 4 ! 5 ! 4 Œ #˙ œ 7 œ Œ #œ œ œ Ó 4 4 4 run - ning 4 out> out of time>
f ƒ B1 > > ? 4 ! 5 ! œ 4 #˙. œ 7 œ Œ #œ œ nœ Ó 4 4 we're 4 run - ning 4 out out of time
f ƒ B2 ? 4 5 4 7 ! ! œ #˙. œ œ Œ #œ œ œ Ó 4 4 we're 4 run - ning 4 out> out of time>
Section B develops in the same manner as Section A. The materials of the Main
Gesture (major third – major second) are now orchestrated for the male voices. The text 21 of the male voices develops in the same way as the transition, having different
combinations taken from the title such as: “we are,” “we are out,” and “we are out time.”
Over the male voices, the female voices join the ensemble singing the compound melody.
I used the same approach as Section A, the offset compound melody is presented note by
note. However, in this section, I assign the first motif (ascending) to the Soprano 1 and
Alto 1, which are singing in octaves; and the second motif (descending) to Soprano 2 and
Alto 2, which are also singing in octaves. Consequently, the syllables overlap with each
other.
80
I used the text of the female voices in a linear motion, “running out of time” and assigned the five pitches of the compound melody as follows: “run -(F#) - ning (D#) out
(G) of (D) time (A); the compound melody is used as an ostinato. By measure 176, the
Soprano 1 and Alto 1 start singing in a parallel interval of a major seventh; this generates more dissonance as the movement reaches its climax. The woodwinds join the choir one by one by doubling the materials of the choir at unison or in different octaves.
Consequently, the text starts to be obscured, and the register expands reaching its highest point. In measure 184 all the instruments are already playing together, the electronics join the ensemble with the fixed track labeled Greta 2, and with the speech that was recorded live in the introduction labeled Recorded Speech, creating a cacophonic, louder, and denser texture, that reaches the climax of the movement in measure 187. See Example 22 in the next pages.
• The idea of bringing the speech of the introduction to this climatic point, is to
bring back the narrative of Conflict; this speech carries preoccupying statements
that clash with the arguments given by the choir and the words on the fixed track
labeled Greta 2.
To end the piece, I wanted to create a more reflexive narrative. In the Coda, I used the fixed track labeled Words Phasing. As explained above, this track presents different words or fragments of sentences taken from the speeches of the environmentalists and the skeptic politicians presented in Section A. Furthermore, I assigned spoken words to the choir, these words are also taken from the speeches heard in Section A. In this part of the
Coda, every measure has a length of ten seconds. In measure 191, I assigned to the choir
- 10'' -
198 - Words Phasing - Elect. 1 & - 10'' - 198
S1 & POLLUTION!! Climate Oceans f S2 & Global Lack of Ecosystems f A1 & Your planet Action on Lack of f A2 & EXTINCTION!! Action on Your planet f T1 81 V Ecosystems Deforestation Global f onlyT2 three words; as the music develops, I added more words until measure 199, which V Change Oceans Climate f presents sixty-one words. See Example 21 below. B1 ? Oceans YOU ARE FAILING US!! Change f B2 ? Lack of Warming Global f Example 21, Movement I – We Are Running Out of Time, measures 199.
- 10'' -
199 - Words Phasing - Elect. 1 & - 10'' - 199
S1 & Change Oceans Global Climate EXTINCTION!! Deforestation Warming
S2 & Oceans Action on Your planet Lack of Change POLLUTION!! Global
A1 & Climate Ecosystems Warming Climate Warming Action on Global YOUR PLANET!!!!
A2 & YOU ARE FAAAILING US!! Warming Climate Change YOUR PLANET!!!! Oceans Action on Ecosystems
T1 V YOU ARE FAAAILING US!! Deforestation Ecosystems DEFORESTATION!!!! Climate Action on Oceans Warming
T2 V Warming EXTINCTION!! Action on Climate Ecosystems Global Lack of Action on Change
B1 ? Ecosystems POLLUTION!! Oceans Your planet Action on Global Lack of Oceans
B2 ? Deforestation Ecosystems Warming Climate Global YOUR PLANET!!!!
This raucous texture increases the loudness and33 tension of the piece, which is finally released in the last measure of the movement; a moment in which the Bass 1 asks the audience “How do you continue to look away?”, followed by Soprano 1 who asks “How do you come here saying that you are doing enough?”
• These last sentences are taken from Greta Thunberg’s speech during the UN
Climate summit in 2019. The local-level narrative of the Coda is that of
82
Environmentalists. The movement fulfills its main purpose delivering a concerned
message that impacts the audience.
You can see how the narrative and symbolism was informing every level of the composition process, from the overarching form, the lengths of sections, location of internal cadences and climaxes, construction of motivic material and recurring gestures, the development of the Main Idea through knitted textures, all the way to rhythm, text, and pitch in a micro-level.
The movement then presents five sections, where each contains a prominent micro- level narrative. Consequently, the macro-level narrative between the skeptic politicians and environmentalist can be perceived in a linear way throughout the form.
83
Example 22, Movement I – We Are Running Out of Time, measures 184 and 188.
184 - Greta - Elect. 1 & 4 - Activate distortion and delay 4 to "Recorded Speech" 184 - recorded speech - Elect. 2 & #œ. œ œ œ œ #œ. œ œ œ œ #œ- œ- œ œ ˙. Fl. 1 J R J R & 4 ‰ ! 3 æ æ æ ‰ ! æ 3 4 4 f 4 ƒ 4 œ. œ œ #œ œ œ nœ. ˙ œ- œ- œ œ ˙. Fl. 2 4 ‰ ! bœ œ œ æ 3 æ ‰ ! R æ æ 4 & 4 R 4 3 4 F f ƒ bœ œ bœ œ - bœ- bœ œ ˙. Ob. j œ. R œ 4 . bœ œ ‰ ! bœ 3 œ J ‰ ! 3 4 & 4 œ R 4 4 F f S. Sx. . - - . & 4 ‰ ! r 3 ‰ ! r œ ˙ œ œ œ œ ˙ 4 4 bœ œ œ œ. œ 4 œ bœ œ œ 3 4 f ƒ
B Cl. 1 b 4 3 ˙ ˙. ˙. 4 & 4 Œ ˙ Œ 4 Œ ˙ Œ 4 ƒ #
B Cl. 2 b 4 3 4 & 4 " 4 b˙ Œ ˙ Œ b˙. ˙. 4 F ƒ # œ œ œ œ ˙. ˙. B. Cl. 1 ? 4 ˙. 3 œ ˙ 4 4 4 4 p F p ƒ # B. Cl. 2 ? 4 . 3 4 4 Ó bœ 4 ˙. ˙ bœ ˙. ˙. 4 p F p ƒ # Bsn. ? 4 ˙. bœ 3 œ bœ nœ ˙ bœ ˙. ˙. 4 4 4 4 p F p ƒ # 184 # S1 . œ œ œ œ . œ œ œ œ œ œ œ ˙. #œ R #œ R #œ & 4 J ‰ ! 3 J ‰ ! 3 4 4 run out time 4 run out time out of time 4 # S2 4 ‰ ! #œ œ œ nœ. œ 3 œ ‰ ! #œ œ œ nœ. ˙ œ œ œ œ ˙. 4 & R R 3 4 ning of 4 ning of out of time 4 3 # A1 j j & 4 œ. bœ œ ‰ ! bœ 3 œ œ. bœ œ ‰ ! bœ œ œ bœ bœ œ ˙. 4 4 run out Rtime 4 run out Rtime out of time 4
3 # A2 & 4 ‰ ! r 3 ‰ ! r 4 4 # ningœ œ œ n ofœ. œ 4 œ # ningœ œ œ n ofœ. ˙ outœ ofœ timeœ œ ˙. 4 # T1 V 4 Œ ˙ Œ 3 ˙ Œ ˙ Œ ˙. ˙. 4 4 out 4 We out are 4 # T2 V 4 Œ ˙ Œ 3 b˙ Œ ˙ Œ b˙. ˙. 4 4 out 4 We out are 4 p f p f # B1 ? 4 ˙. œ 3 œ œ œ ˙ œ ˙. ˙. 4 4 out We 4 are out We 4 p f p f # B2 ? 4 ˙. bœ 3 œ bœ nœ ˙ bœ ˙. ˙. 4 4 out We 4 are out We 4
28
84
7.2. Analysis of Movement II – Gasping Breaths
According to W.H.O. (World Health Organization), the combined effects of ambient
(outdoor) and household air pollution cause about seven million premature deaths every year, largely as a result of increased mortality from heart disease, chronic obstructive pulmonary disease, lung cancer, and acute respiratory infections. 69
I wrote this second movement for amplified solo flute and electronics. Gasping
Breaths addresses air pollution and its devastating consequences in the human body.
Approach
I decided to use a single acoustic instrument to represent the personal reaction to a respiratory infection, and how the spread of this infection can end the life of one’s body.
Musically, the movement has three sections; and represents the idea of illness, air congestion, and how an infection spreads in two different ways (represented in the first two sections).
Formal Structure
The form is divided in three sections. Section A develops extended techniques and a monophonic texture. In the other hand, Section B features a pointillistic texture and the use of electronics; these two sections are self-contained and contrasting. Section C presents an interaction of the music materials of the prior sections.
69 “Air Pollution,” World Health Organization (World Health Organization), accessed October 15, 2020, https://www.who.int/health-topics/air-pollution.
Words&/&Fragment By Narrative Lack&of&action&on Sky&news:&British&news Environmentalist Global Donald&Trump Skeptic&politicians Change Anthony&Abbott You're&failing&us Greta&Thunberg Deforestation Sky&news:&British&news Environmentalists Y&la®ion&Amazonas CityTV:&Colombian&news Climate& Anthony&Abbott Skeptic&politicians Warming Donald&Trump Pollution Greta&Thunberg Environmentalists Ecosystem Sky&news:&British&news Riscaldamento- Matteo-Salvini Skeptic&politicians Que-tratam-do-clima Jair&Bolsonaro Extinction Greta&Thunberg Environmentalist 85 Globale Matteo-Salvini Skeptic&politician Table 8, Movement II – Gasping Breaths, Form.
Section(A Section(B Section(C measures(1220 measures(21237 measures(38255 Extended(techniques Pointillism E.(Techniques/Pointillism
Section A develops a short motif that gradually expands or spreads to longer phrases.
The motif is comprised by four notes and only appears once at the very beginning of the piece; from this moment forward, the motif is varied in rhythm, dynamics, expansion, addition, expression, technique, and timbre. The motif’s timbre consists of air sounds and rhythmically is divided into two parts: the first part features a long value (in this case, I consider quarter notes to be long values), which then moves to the second part of the motif, which features short values; consequently, the general motion of the motif is an accelerando.
Below, Example 23 shows the first two bars of the piece. The red solid square shows the motif as explained above. Next, the first variation appears (green square): both parts of the motif (long values – short values) have additional pitches; therefore, the motif is expanded. The accelerando motion written by feather beaming, and the collection of pitches C, D, E♭ are maintained. Immediately, another important variation appears (blue square). This variation presents more additional pitches on the second part of the motif
(short values). The timbre varies, having a transition from air sounds to key clicks; therefore, the motif is substantially expanded, presenting now thirteen air sounds, and twenty-eight key clicks. The accelerando motion is maintained reaching thirty-second notes; however, once the timbre changes, it presents a ritardando (also written by feather beaming). This variation presents a new collection of pitches: D, E♭, F, G♭, G#, A, a set
2 from air to pitch 24 3 3 o , j œ j " — " — — — — — & b œ — b— — — — — — — b" #" — — — — — " b" " " " " #" " — — — b— — œ- œ- œ- œ- œ- œ- (œ-) — " ! P p ! J.W. Gasping White noise 86 27 Inhaling - exhaling œ> , , j j & J j b– – j of pitches thatb– in the next– measures evolves> to– an Octatonic# scale, which is the– main pitch> – – Tuffl Zaa> Tzz Kafl flKa Tzz Zaa> flTuf material of the movement. The next two red dotted squares present similar variations of ƒ f p f the28 motif. , , j j & b– Examplej 23, Movementbœ œ II – Gasping— #" " Breaths" b— ,— measures— #" " 1— andb 2.— — – – j – – — " — — Ka Tzz> – Tuffl Zaa> Tzzfl GaspingKa Breaths fl Zaafl Tuffl Freely GaspingFor solo flute,Breaths Carlos Patino or flute and electronics Freely Forp solo flute, f Carlos Patino2020 q = 90-110 from air from pitch Anxious or flute and electronics 2020 to pitch to air 1529 q = 90-110Air sound o Anxious 3 3 Flute Air sound , , œ , & , jj , #— — b— #— — j Flute — — b— —j — — b— — — — — — — —j b— — — — — —j — j & & b– – b– j – b œ œ #— — b— #— —– – b– – b— > Ka b— —— — —œ œ œ (œ) b— —œ œ— œ — — > Tuf !— Tuffl — Zaa>— Tzz— —fl — p— — - -!— - — - — - — - p flKa Tzz Zaa> fl Random Key! Clicks p ! - p 24 Random Key Clicks , p , Agitated p F f 24 , & b" "#" " b" " "White" " " noise" " " " " " " " — b" " j — b— — — — — "#" " , 30 " b" " " " " " " Inhaling - exhaling" " b± — — " " b— — — — — — " " " " " " " " " j " & " b" " " b" "#" " " " " b" " " " " " " " " " !b± — — — " "b" " b— — — — — b— —p— — — — — "#" " " — 7 ! — " p — — & b– – # " b" " #" — — — " " " — — — " b" " #" " b" —#— Tuf Zaa 7 j fl > & In theseb— two#— — first— measures— b— #— — —it— can— — "already" b" " "be seen" how" " the" " motif" "#" " "is" substantiallyb" "#" b " — b— — — — p— Gasping " " " " " " " " " " " " " " " " " " Gasping j — — — White— — — noise— — " " " " " " " " " " " White noise & — b— Agitated— #— b— — #— " b" " " " " " " #" "b" #" " b" expanded31 J.W. b— creating— longer— gesturesInhaling and - exhaling phrases;" the" " short" "musicfrom air materialfrom rapidly pitch" " " " evolved" " " " Inhaling - exhaling White noise to pitch to air 8 Gasping > InhalingAgitated - exhaling...... accel to gasping...... œJ.W. j , from air from pitch , in length,j timbre,White noise and pitch collection, symbolizingGasping how anto pitchinfection rapidlyto air multiplies in 8&J bœInhaling - exhaling...... accel to gasping...... " " #" " — — — — — & œ>b– – # " , " " — — — b— — — — Tuffl Tzzfl# Zaa> — œ — — — , the humanJ body. &ƒ !# P Ï !— Pœ — ! — b— — f Gasping p 11 Toƒ convey! the ideaWhite noiseof the anxiousP reactionÏ to the infection,! theP phrases are! unevenly, 32 Inhaling, - exhalingj , 11 " " & j b— — — — — — — —#— — " b" " #" " b" " " " , broken—j with— b— unequal— — — — — —accelerand, o— —andb— ritardand— — "o that— —consequently" " — create" " " a" ruptured— and" — & j j " "#— — " " " b— " — " " #" b— — & œ j – p b# b— — — — " "—"— — —#—" —" " —" b" " #" " —b" " " " — Ka— — b— Zaa— — — — — — — — b— — — — — " " " " " " " fromfl air > from pitch agitated musical flow. Also,to air expression marks such as Anxious guide the performer to 13 to pitch p p 3 ƒ p ffrom air from pitch conveyto pitch a restless musical tophrasing. air See Example 24" below" . " " 33&13 #— — b— b" " " "#" " " b" "#" b" " " 3 — b— — — " " b" " " " " " " " " " " " — œ- œ- œ- œ- œ- œ- œ- — " &! j P p j#— — b— b" " " " " "#" " j" " b" "#" b" " " " j & — jœ œ— —œ— —œ —œ#—œ bœ" "—" — bj—œ— r —"" # " b—" " — "j —" "—"—"" " "" " " " "" " " j — — — bœ #" " b— 15 – – -b— - - - - -" - – – " " — — — — œ – — " – " – — " " — — Tuf Tzzfl Zaa Tuf Tzzfl — !Ka Zaa>P Example 24, pMovementfl > II – Gasping BreathsKa, measureZaa> 20 fl Zaa> — — — — &15 — b— #— — — — — — b— #— — — — — f p— b—f — —p — — — — f — —p — — —f p f p f p Agitated 2034 J.W.— — — — — — — — & b—White— noise#— — — — from air b— ,—from#— pitch— , — — ,b— — — to pitch— — — — — — — — 16 Inhaling - exhaling...... accel to.. Gasping to air > 3 œ j Agitated , J.W. — — — — — — " " , — — — — " " &J Whiteb— noise #— — b— #— — from air" " b" from pitch " " — #" " b" "#" b" — b— — — —Gasping to pitch " " " " " — — — " " " " " &16 Inhaling - exhaling...... accel— to.. to air " " #— — b— — " " " " " # — œ œ3 œ — b— — œ> , - - - , (Activate reverb) P ! ! &ƒJ ! ƒ P #— — b— — — rhythmic# — œ œ œ — b— — — 18 - - - ƒ‰=160-180! P ƒ ! P !
21 — — — — — — — " " " " " — — " ~ " — — — — — — — 35&18 #˙b— — #— b— — — " b" " " " #" — — b— — — #— " " " " b" " " #" " — — — b— " — ä— — " " œ œ ~~" " œ p j #œ ! #œ & —æ— b— #— — — — —Œ — Gasping—‰" b" "Œ" " " "#Œ" — — b— ‰—#— $ R" "Jb" ‰ "#". — —$— — — — b— — — Œ Œ ‰ j &J.W. — b— —White" noiseœ" " " from air — — — — " " "from" pitch" " " " " #œ" — — Coughing . to pitch — — bœ 19 Inhaling - exhaling to air pÎ F , Ï !o 3 p > , Gasping ƒ from air P œJ.W. Coughing White noise œ from pitch — & J b– – # to pitch to air b— #— b— — – 19 Inhaling - exhaling — œ œ œ (œ) œ œ œ — — 37 Zaafl Zaa> œ œ - o 3 Tuffl , , - - - - - œ- #œ ƒœ> ! P œ ~~~ p . & f ˘ p Gaspingœ #— — b— f œ J b– – # from air b— — – from pitch œ bœ —R æJ œ œ œ œ$Whiteœ noiseœ Jœ — — R Zaa Œ Zaa ‰ $ æ ‰ Coughing ( ) to‰ pitch Œ Œ Tuf toŒ air J ‰ $ ‰ 21& œ fl > , - - .- - Inhaling- -- exhaling- bœ fl œ œ o 3 ƒ < ! P p , f ƒ p Gasping F f " " from air r œ r from pitch f & b" " " " Coughing White noise b œ œ " " b" " " " " " " " b– – # ƒ to pitch to air 21 , Tuf!Zaa Inhaling - exhaling— œ œ œ (œ) œ œ œ fl > - - - -o - - 3 - , " " " " f p ! Pr œ r & "b" " b" " " " " " " " " b– – # — œ b œ œ œ œ œ œ œ œ Tuffl© Zaa> - - - (-) - - - f p ! P
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Section A also develops certain extended techniques. Each one of these techniques
has a symbolism related to the reaction of the human body when ill. For example, I used
the Jet Whistle to2 symbolize a sneeze, and the Tongue pizz, with specific vowels (Tuf, from air Zaa, Tzz, and Ka) to representto pitch coughing. See Example 25. 24 3 3 o , j œ j " — " — — — — — & b œ — b— — — — — — — b" #" — — — — — " b" " " " " #" " — — — b— Example— 25,œ- Movementœ- œ- II œ-– Gaspingœ- œ- Breaths(œ-) —, measure 13. " ! P p ! J.W. Tongue pizz Gasping Coughing White noise 1327 > Gasping BreathInhalings - exhaling œ , , Freely Forj solo flute, j Carlos Patino J j or flute and electronics j & b– b– – # – – 2020 – q = 90-110 – > > – Anxious Tuffl Zaa> Tzz Kafl flKa Tzz Zaa> flTuf Air sound
7 Flute ƒ f , , p f & 28 j #— — b— #— — Moreover, to convey— the— meaningb— — of the— movement’s— b— — title,— I— created— — one— extended— b— — — — — — ,— ! , j ! pj technique I called Gasping. For thisj technique I require the performerp to "play white noise " j Random &Key Clicks bœ œ #" b— — #" b— — – – b– – — — " " — — — — Ka – – 2 Tuf Zaa Tzzfl Ka fl Tzz> Zaa Tuf and create4 a movementfl between >the low and mid register by inhaling and exhaling , , fl fl " " " " " " p j f through& the bmouthpiece" b" "# "of" the" flute" b in" " different" " speeds." " See" Examplefrom" " air b± 26. — " b" " b— — —fromb— pitch— — — — — "#" " " " " " " " "to pitch — — " — — to air — " 1529 o ! 3 œ 3 p , j j 7 j j j j Example& 26b, –Movement– II b–– Gasping– Breaths, measure 8. b œ œ – – b– – > Ka — œ œ œ (œ) œ œ œ — > Tuf j Tuffl —Zaa> Tzz fl— — " - - - " "- - " - flKa Tzz Zaa> fl & — b— b— — #— — — — b— — #— — — — " " b" " " " " " " " -" " " " "#" " " "b" " " "#" " b" " — " " p" " " " " Agitated p F f J.W. Agitated White noise from air from pitch White noise Inhaling - exhaling Gasping to pitch to air 8 > 30 Inhaling - exhaling...... accel to gasping...... œ , , J — " — — — & & b#– – # " b" " #" — — — —" " " œ — — — — "—b"b—" #—" " b" —#— Tuffl Zaa> ƒ ! P Ï p Gasping ! P ! Gasping White noise White noise Example11 26 31shows how the performer is requiredInhaling to start - exhaling the gesture with white noise , Inhaling - exhaling , j over a &whole note,j then,j followingj the graphicalb— notation, and— the expression— — #— mark— " " b" #" " b" " " " — —&b—b–— — —b—œ — — – — # — — b— — — — — "—" " #—"—" " """ — —" — — "— " " " — "— — — "— — Tzzfl Zaa Tuffl p > from air f Gaspingfrom pitch p 13 to pitch to air White3 noise 32 Inhaling - exhaling , " " " " & b— #— — b— — " b" b" " " " "#" " " " b" " " "#" " b" " " " " — œ jœ œ œ jœ œ œ — — — """ — — " " " " — —" " "" " — — &- œ- - -– - -b# - " " " " " " — #— " — b— #" — b— ! PflKa Zaa> p 15 f p ƒ p — — 33 — — — — — — & b— — #— — b— — — — — — — — b— — #— — — — — — — — — j j Agitatedj — — " j r j — — — — J.W. j — — — " — j — " " " " j — " &White– noiseb— #— " b" – œ "from"# air" — — — fromœ pitch — " " – " " — bœ " #" — b— — 8 – – " — — – – " — Inhaling - exhaling...... accel to.. TufGaspingTzzfl Zaa to pitch to air Tuf Tzzfl 16 Ka Zaa> fl > Ka Zaa> fl Zaa> œ> , 3 , J f p p f p & f p f p f #p— — b—f — — — 2034 # — œ œ œ — b— — , - ,- - , ƒ ! P ƒ ! P ! j — — — — — — " " — — — — " " & — b— b— — #— — — b— — #— — " " b" " " " " " " " — — #" " " b" " " "#" " b" " 18 — " " " " " " " — (Activate— reverb)— " " — — — & — b— # rhythmic— — — — — " b" " " "#" — — b— —#— " " b" "#" — — — — b— — — b— — " " " " — — — — — — " " " " " " " " " " — — p ‰=160-180 ! 21 Gasping J.W. 35 #˙ White noise from air from~~ pitch Coughing to pitch œ œ ~ 19 Inhaling - exhaling ä to air œ j #œ o 3 #œ > æ , Œ ‰ œ ,Œ Œ ‰ $ R J ‰ . $ Œ Œ ‰ j œ & . œ #œ — bœ & J b– – # b— — #— b— — – ZaaÎ — œ Ïœ œ (œ) œ œ œ — Tuf p fl Zaa> F ------P ƒ fl ƒ ! P p f p Gasping f 37 œ œ from air from pitch #œ Coughing White noise ~œ to pitch to air 21 ˘ , œInhaling~~ - exhaling œ. bœ R J $ J o 3 R œ & Œ ‰ $ æ æ ‰ . ‰ Œ Œ bœ Œ J ‰ , $ ‰ œ œ" " " " œ r œ r & "b" b" < " " " " b– – # b œ œ " ƒ" " " " Tuf — œ œ Fœ (œ) œ œ œ f fl! Zaa> ƒ ------f p ! P
© 2 from air to pitch 24 3 3 o , j œ j " — " — — — — — & b œ — b— — — — — — — b" #" — — — — — " b" " " " " #" " — — — b— — œ- œ- œ- œ- œ- œ- (œ-) — " ! P p ! J.W. Gasping White noise 1327 Inhaling - exhaling 88 œ> , J , j j & j b– – j b– – > – # – > – – Tuffl Zaa Tzz Kafl flKa Tzz Zaa flTuf Agitated, raise the> speed of the breathing pace through the flute, until reaching >the ƒ f p f Gasping28 technique, in which the performer should breathe loud and rapidly. , , j j j j & b– bœ œ — #" " " b— — — #" " — b— — – – – – — " — — Ka Tzz> – TheTuffl extendedZaa> techniquesTzzfl Ka interact with the motif and the phrasesfl explained above.Zaafl Tuffl See p f from air from pitch Example 27 below. This interactionto pitch creates anxiety and unrestto air through a monophonic, 1529 o 3 œ 3 , j j j j airy,& and rupturedj texture.b– This section isb œmainly composedœ by air sounds and– extendedj b– – – — œ œ œ œ œ œ œ — – b– – Tuf Zaa Tzz> flKa ( ) flKa Tzz> Zaa> Tuf fl > ------fl techniques, featuring only a “clean or normal” pitch C; this pitchp appears in a motif Agitated p F f White noise created30 from the MainInhaling Idea - exhaling explained in Chapter 6. — — & b– – # " b" " #" — — — — " " " " — — — — " b" " #" " b" —#— Tuffl Zaa> p Gasping Gasping White noise White noise 31 ExampleInhaling 27 ,- exhalingMovement II – Gasping Breaths, measure 18 Inhaling - exhaling j j " — — & b– bœ – # " " " #" " " — — — — — — — — — Tuffl Tzzfl Zaa>
f Gasping p White noise 1832 Inhaling - exhaling , j j " " — — " " — — " " — — & œ – b# " " " " " " — #— " — b— #" — b— flKa Zaa> f p ƒ p 33 j j — — — — — " " j j r — j j — — — " " " " j — — — j " & – – b— #— " b" – œ – " " "#" — — — — — œ – — " " – " " – — bœ " "#" — — b— — KaToZaa >create contrast, SectionTuffl Tzzfl Zaa> B presents all ordinarioKa Zaa> (“clean”Tuffl or “normal”)Zaa> Tzzfl pitches, a f p f p f p f p f p f p handful2034 of extended techniques,, electronic effects,, and, a pointillist texture that moves j & b— #— — — — b— #— — — — — — " " b" " " " " — — — — —#" " " " b" "#" b" through— b— all the— register— — of —the flute. Moreover," "in" Section" " " " B I— present a different" " " " " approach" " " " " (Activate reverb) to therhythmic concept of congestion. ‰=160-180 21 #˙ ~ 35 To symbolize congestion, this section of theœ œmovement~~ starts with distant scattered #œä œ æ j R J . #œ j & Œ ‰ œ. Œ Œ ‰ $ ‰ #œ $ Œ Œ ‰ bœ individualÎ notes with a certain amountÏ of rests in between. These rests between the notes F P ƒ p gradually37 start to be occupiedœ œ by other pitches until the rests disappear. Furthermore, in œ #œ ˘ œ ~~~ œ. bœ R æJ $ J R œ & œ Œ ‰ $ æ ‰ . ‰ Œ Œ bœ Œ J ‰ $ ‰ œ this section,< a long reverb and a distortionœ are activated. Thusly, by activating these ƒ F f ! ƒ sound processes and by shortening the distance between individual notes, the music
89
becomes denser, and consequently, the thin dispersed texture presented at the beginning
of the section, is transformed to a thick, noisy congested texture.
Pitch-wise, to compose this section, I divided the register of the flute in three different
octaves: the low register from C4 to C5, mid register from C5 to C6, and the high register
from C#6 to C#7. To generate continuity, as Section A developed an octatonic scale, I
decided to use all three octatonic scales and assigned one for each octave. See Example Score 28.
Example 28, Movement II – Gasping Breaths, Pitch – register materials.
First Octave - low register
Flute œ œ & œ œ bœ œ #œ #œ Second Octave - mid register bœ Fl. bœ nœ #œ œ œ & œ bœ Third Octave - high register bœ bœ nœ #œ œ œ œ œ Fl. &
7 Fl. To compose the pointillistic texture, I created a pattern in which I took one pitch from & ! ! ! ! ! ! ! ! the third octave - high register, then one pitch from the first octave - low register, and
15 finally a pitch from the second octave - mid register. The pattern is comprised by three Fl. pitches;& once! this pattern! was in the! score, I !selected another! three !pitches and! continued !
23
Fl. & ! ! ! ! ! ! ! !
31
Fl. & !
© 2 from air to pitch 24 3 3 o , j œ j " — " — — — — — & b œ — b— — — — — — — b" #" — — — — — " b" " " " " #" " — — — b— — œ- œ- œ- œ- œ- œ- (œ-) — " ! P p ! J.W. Gasping White noise 2 1327 > Inhaling - exhaling œ from air , to pitch , 24 J j j & 3 j 3 o b– – j b– – > – # , – > – – Tuffl j Zaa œ Tzz Kafl flKa Tzz Zaa— — flTuf & b œ > j " #" — — b" "#" > — — — — b— — œ œ œ œ œ œ (œ) — — b— — — — — — — " b" — — — — " " " " " " — — ƒ f------p f ! P p ! 28 J.W. Gasping White noise , 1327 > , j Inhaling - exhaling j & œ j , bœ œ #" " b— — #" " b— — – , – j b–J – j— — " " — — — — Ka j – – &Tuffl Zaa j Tzzfl Ka b– fl – Tzz> Zaaj Tuffl b>– – > – # – > –fl – Tuffl Zaa> Tzz Kafl flKa Tzz Zaa flTuf p f > from air from pitch ƒ f to pitch p tof air 1529 o 28 3 œ 3 , , j , j j j j j j j && b– j– b– bœ– œ #" " b œ b— — #" " œ b— — – –– – b–j – b– – > Ka — — — œ œ " œ (œ) — — œ —œ œ — > – Tuf– Tuf Tuf ZaaZaa Tzz Tzzfl Ka " — Ka TzzflKa> Tzz ZaaZaa> fl fl > > ------fl fl flTuffl p p f f Agitated p from air F from pitch White noise to pitch to air 1529 o 30 Inhaling - exhaling 3 œ 3 , j j j j j j & b– – b– – b œ œ – – b– —– — & > Ka — b" #"œ —œ œ (œ) " " œ œ œ ——— b" #" >b" #— Tuf b– Tuffl – Zaa> # Tzz fl " " - - — -— — " -" - -— — " flKa " "Tzz —Zaa> fl Tuffl Zaa> - p p AgitatedGasping p F f Gasping WhiteWhite noise noise White noise 31 Inhaling - exhaling Inhaling - exhaling 30 Inhaling - exhaling j j " — — — — &&b– b– bœ – # # b" "" #" —" #—" —" " "—"—"— — — — — — " b"— "—#"— —b" —#— Tzzfl –Zaa " — " — " Tuffl Tuffl Zaa>> p p Gasping Gasping f Gasping White noise White noise 31 White noise Inhaling - exhaling Inhaling - exhaling 1832 Inhaling - exhaling j , & j bœ " #" " — — — — — jb– j – # " "" " —" "— —" —" — — —— " —" — — — & œ Tuffl Tzzfl b# Zaa " " — #— " — b— #" — b— Ka – > " " " " 90 fl Zaa> p f Gasping f p White noise ƒ p 1832 Inhaling - exhaling , with33 the process. To generate variety, occasionally I changed the order of the octaves. j j " " — — " " — — " " — — &jœ — –— b# " j j " " " " " " — #—j — — " — b— — — #"j — b— Kaj —Zaa — — " r — j — " " " " j — " See& –Examplefl– b— > 29#.— " b" – œ – " " "#" — — — — — œ – — " " – " " – — bœ " "#" — b— — Tuf Tzzfl Zaa Tuf Tzzfl — Ka fZaa> p ƒfl > p Ka Zaa> fl Zaa> 33f p f p f p f p f p f p 2034 j j , j , j & j — — — — — #— b" ", " j œ r " #" — — j — — — " " " " " " j — — — bœ #" " b— j– – b— Example" 29, Movement– – " " II –— —Gasping— — œ –Breaths— , mea" – sures" –21— to 23." " — — — & Ka Zaa>b— #— — — — b— Tuffl#—Tzzfl— Zaa—> — — — " " b" " " Ka Zaa"> " — — —Tuf—fl —#" " " Zaa"> b" Tzzfl "#" b" — b— — — — — " " " " " " " — " " " " " " " " " " f p f p f p f p (Activate(Activate reverb)reverb) f p f p 2034 rhythmic , , , ‰=160-180j — — — — — — " " — — — — " " & — b— b— — #— — — b— — #— — " " b" " " " " " " " — — #" " " b" " " "#" " b" " 21 — " " " " " " " 35 #˙ œ œ~~ (Activate(Activate reverb)reverb) ä ~ œ rhythmic j #œ #œ æ Œ ‰ œ Œ Œ ‰ $ R J ‰ . $ Œ Œ ‰ j & ‰=160-180 . #œ bœ Î Ï p 21 #˙ F ~ 35 œ œ ~~ P ƒ #œä œ 2237 j œ œ #œ &Firstæ phraseŒ ‰ œ Œ Œ ‰ $œ R J ‰ #œ. $ SecondŒ phraseŒ #œ ‰ j ˘ . œ ~~~ œ. bœ Î bœ F R æJ Ï $ J R p œ & œ Œ ‰ $ æ ‰ . ‰ Œ PŒ bƒœ Œ J ‰ $ ‰ œ < œ 2237 ƒ F œ œ œ #fœ ˘ ! ƒ œ ~~~ œ. bœ R æJ $ J R œ & œ Œ ‰ $ æ ‰ . ‰ Œ Œ bœ Œ J ‰ $ ‰ œ < œ ƒ F f ƒ !
Third phrase
3 ~ 23 #œ ~ 39 œ. ~ . œ æ ‰ Œ r Œ #œ ‰ $ R ‰ œ & b œ œ J Ï P F Î F
40 œ #œ #œ~ ~ Fourth phrase œ b˘œ #œ r œ œ & Œ æ ‰ J $ bœ j ‰ Œ @J ‰ œ. œ œ f % F ! Ï ƒ
41 Pitch-wise, Example 29 shows the patterns in squares; each pattern follows the œ œ~~~ œ #œ ~ œ œ œ œ œ. ‰ $ R J $ bœ J ‰ j #œ guidelines& I explained above. For instance,R bœ the notes of the first red nsquareœ. are:bœ C#7 (third octaveP -high register), A4ƒ (first octaveF – low register), and A# (secondP octave - midÏ
42 œ œ #œ œ. register). œ j ‰ J bœ bœ J $ r r #œ & #œ. #œ b œ œ nœ ! f Ï % F ƒ
43 #œ #œ œ #œ #œ œ bœ , ˘œ œ #œ ˘œ œ #œ nœ~~~ œ J œ J ~ & J œ J œ œ bœ F F f f rubato
45 œ œ œ #œ œ œ bœ œ #œ nœ œ #œ œ bœ œ #œ bœ & bœ #œ œ œ #œ œ #œ 3 3 3 3 3 3 3 3 Maintaining Forte, play with dynamics according to air required
46 œ bœ nœ œ œ #œ œ nœ #œ œ œ , #œ #œ œ #œ nœ œ bœ œ & #œ œ œ œ #œ 3 3 3 3 3 3 3 3
47 œ #œ nœ bœ #œ œ œ #œ œ nœ bœ œ nœ #œ bœ nœ & œ œ œ #œ bœ nœ œ œ 3 3 3 3 3 3 3 3
rhythmic
48 œ ˘ œ bœ œ œ œ j J œ bœ bœ & œ œ bœ . F f F r œ 49 ˘ œ œ bœ bœ #œ œ bœ j bœ & J ‰ œ œ $ R œ bœ œ ƒ f f F
50 . œ œ œ œ #œ bœ bœ æ ‰ $ bœ œ~~~ $ R bœ bœ œ ‰ J $ R & R J ~ J œ F f 91
Furthermore, I created phrases comprised by two patterns (six pitches) marked in
Example 29 with blue lines; the second pattern is shorter than the first one. To compose the scattered, thin, to thick textures, I measured the length between each one of the attacks of each pattern, and then, I started to compress it. For instance, in the first red square, the length between the first pitch and the second one is three quarter notes and one eighth note (3.5 beats), the distance between the second pitch and the third pitch is two quarter notes and a eighth note (2.5 beats), and the distance between the third pitch and the first pitch of the second pattern (in blue) is one quarter note, one eighth note, and one sixteenth note (1.75 beats).
In the first blue square (the second part of the first phrase), the length between the first pitch and the second pitch is one quarter note and one sixteenth note (1.25 beats), the distance between the second pitch and the third pitch is three sixteenth notes (0.75 beats).
There is no distance between phrases. Phrases one and two have the same length between pitches.
Example 29 also shows the length between each note of the third phrase. In this phrase
I started to compress the length between the pitches, reducing every single length by an eighth note (0.5 beats). For instance in the first yellow square, the length between the first two pitches is three quarter notes (3 beats), the distance between the second pitch and the third pitch is two quarter notes (2 beats), and the distance between the third pitch and the first pitch of the second pattern of the third phrase (in green) is one quarter note and one sixteenth note (1.25 beats).
In the first green square (the second part of the third phrase), the length between the first pitch and the second pitch is one eighth note and one sixteenth note (0.75 beats), and
92
there is already no distance between the second pitch and the third pitch; consequently, 3 #œ~~ 39 œ. ~ the pitches start to be closer together, compressing the patterns.. It is worth mentioningœ æ ‰ Œ r Œ #œ ‰ $ R ‰ œ & b œ œ J that Ïthe lengths between the pitchesP inside the squares Fwith the same colorÎ are theF same.
40 œ #œ #œ~ ~ I followed this processœ throughoutb˘œ this section until there are no rests between pitches.#œ r œ œ & Œ æ ‰ J $ bœ j ‰ Œ @J ‰ œ. œ œ f See %Example 30 below, measure 27. Furthermore,F I! added a reverb andÏ a distortion ƒ effect;41 consequently, the texture~ becomes thick,œ noisy, and congested, conveying the#œ œ œ ~~~ œ œ œ œ j #œ œ. ‰ $ R J $ R bœ bœ J ‰ nœ concept& of the movement. . bœ P ƒ F P Ï
42 œ œ #œ . œ œ j ‰ J bœ bœ J $ r r #œ & #œ. Example 30, Movement#œ II – Gasping Breaths, bmeasureœ œ 27.n œ ! f Ï % F ƒ
2743 #œ #œ œ #œ #œ œ bœ , ˘œ œ #œ ˘œ œ #œ nœ~~~ & J œ J J œ bœ J ~ œ œ œ F F f f rubato
45 œ œ œ #œ #œ œ œ bœ œ #œ nœ œ œ bœ œ #œ bœ &Sectionbœ C presents#œ a combinationœ of the materialsœ developed#œ in the previousœ sections.#œ 3 3 3 3 3 3 3 3 Maintaining Forte, play with dynamics according to air required There is an interaction between the extended techniques, the ruptured phrases, the
46 œ bœ nœ pointillistic texture,œ and the electronicœ effects;#œ this interactionœ occursn œuntil reaching the#œ œ œ , #œ #œ œ #œ nœ œ bœ œ & #œ œ œ œ #œ climax of3 the piece3 in measure3 54, moment3 in which3 the distortion3 effect3 achieves its3
maximum47 level, and the flute performs an accelerando reaching thirty-secondbœ notes. The œ #œ nœ œ #œ œ œ #œ œ nœ bœ nœ #œ bœ nœ movement& œ endsœ with a motif that œsymbolizes#œ the momentbœ nœ in which theœ heart stops œ 3 3 3 3 3 3 3 3 measuredrhythmic by a vital signs monitor, as explained in Chapter 6 under symbolism.
48 œ ˘ œ bœ œ œ œ œ bœ j J bœ & œ œ bœ . F f F r œ 49 ˘ œ œ bœ bœ #œ œ bœ j bœ & J ‰ œ œ $ R œ bœ œ ƒ f f F
50 . œ œ œ œ #œ bœ bœ æ ‰ $ bœ œ~~~ $ R bœ bœ œ ‰ J $ R & R J ~ J œ F f 93
Electronics
In this movement, I used electronic effects in conjunction with the flute. When activated, the reverb transforms the pointillistic-scattered texture of section B to a thicker texture. The distortion, which is activated together with reverb, serves to create a noisy texture that overpowers the clean sound of the flute, symbolizing congestion.
The electronics part can be performed by the electronic performer, or by the flutist him/herself. In the score, I provide the following instructions:
Requirements when played by the electronic performer: One or two microphones, audio interface, a multi-track Digital Audio Workstation with delay and distortion effects, stereo speakers. These microphones should be connected to a DAW. In the DAW, the electronic performer should assign the signal to three channels as follows:
1. Clean (no audio processing) signal, amplified through the speakers with a fixed
volume.
2. Signal with reverb. The decay of the reverb should be set between 3 and 5
seconds; the electronics performer should be able to modify other parameters
without going to the extremes. Following the score, the reverb should be
activated with a fixed volume of 3 decibels (dB) below the volume of signal one.
3. Signal with distortion. The Drive parameter should be set on “medium” (in the
middle between an all clean, and an all wet setting); the electronics performer
should be able to modify other parameters without going to the extremes. The
initial volume of the distortion should be set to null. The effect should be
activated - deactivated and gradually raised –decreased in volume following the
marks on the score.
94
Requirements when the flutist plays the electronics: Two microphones, one stomp reverb pedal, one stomp distortion pedal, and stereo speakers.
The flutist should perform through two microphones A and B. The microphone A should be connected to the reverb pedal, and microphone B should be connected to the distortion pedal; then both should be amplified through the speakers. The reverb and distortion parameters should be the same as mentioned above. The flutist should activate the pedals following the marks on the score.
The main difference between the two options is that when the electronics are performed by the electronic performer, the distortion’s volume can be gradually adjusted until overpowering the clean sounds of the flute. However, when the flutist is the only performer, he/she can give a more personal level of expression to the piece.
95
7.3. Analysis of Movement III – Mourning Chants
Mourning Chants addresses the destruction of our fauna. Specifically, it addresses the conflicts of natural parks, such as Yellowstone and its mission to protect wolves. Within the park, these animals have little fear of humans, but once they wander beyond the park's imaginary boundaries, wolves can easily be killed by trophy hunters. This piece evokes the wolves’ spirit through a howling chant, which is played by a pack of woodwind instruments.
According to the Science for Environment Policy, (the commission department responsible for EU policy on the environment), wildfires are projected to become an increasingly common occurrence and are a major driver of habitat disturbance, in particular to the wolves’ habitats of Portugal. Portugal’s burnt landscapes may increase wolves’ exposure to human persecution due to limited refuge conditions. “Fire has the power to severely modify ecosystem structure and functioning. Large-carnivore populations as wolves may be especially vulnerable to these effects, with fire potentially reducing the availability of prey and suitable refuge for breeding, as well as increasing the risk of exposure to humans.” 70
When exposed to humans, wolves become targets for hunters; overhunting wolves is an increasing issue for healthy ecosystems, as wolves help keep the balance of deer and elk populations, which can benefit many other plant and animal species. In the United
States, wolves became one of the first species protected under the Endangered Species
Act in 1974; however, the gray wolf was removed from the endangered species list in
2011 in Idaho and Montana, and in Wyoming in 2016. Wolves are still protected inside
70 S. Lino et al., “The Role of Fire on Wolf Distribution and Breeding-Site Selection: Insights from a Generalist Carnivore Occurring in a Fire-Prone Landscape,” Landscape and Urban Planning 183 (2019): pp. 111-121, https://doi.org/10.1016/j.landurbplan.2018.12.003.
96 some U.S. natural parks; such is the case of Yellowstone national park. However, wolves are not entirely protected, as once they wander outside the park’s imaginary boundaries, they become target of trophy hunters, who kill animals they don’t intend to eat and usually mount the animals’ heads and display them on walls. This is the case of a famous
Yellowstone wolf named Spitfire, which was killed less than half a mile outside the park.71
Approach
According to the article Howling in Wolves, there are two main characteristics when wolves communicate by howling. The first one presents a rise in pitch incorporating the highest note of the howl, and sudden drops on pitch in the mid and last sections. The second presents a raise on pitch, and then a sudden drop at the end, with no drop in the middle section of the howl.72
Having this in consideration, I created a motif that starts on the lowest pitch, then it rises to the highest pitch, and then presents a drop to an unspecified pitch. To resemble the two main characteristics mentioned above in Howling in Wolves, the first variation of the motif also starts in the lowest note, then rises to the highest note, then presents a drop
71 “A rare white female wolf that hikers found as she lay dying last month on the north side of Yellowstone National Park near the Montana border, was shot ILLEGALLY, officials have determined. [...] A Famous Alpha Wolf’s Daughter, Spitfire, Is Killed by a Hunter. The shooting of another Lamar Canyon pack member has renewed calls for a buffer between Yellowstone and nearby lands to protect roaming wolves. [...] The wild wolf 926F, known as Spitfire, dear to the hearts of wolf watchers who visit Yellowstone, was killed by a hunter as it wandered just outside the park last weekend.”
Jim Robbins, “A Famous Alpha Wolf's Daughter, Spitfire, Is Killed by a Hunter,” The New York Times (The New York Times, November 30, 2018), https://www.nytimes.com/2018/11/30/science/wolf- spitfire-killed.html.
72 Theberge, John B., and J. Bruce Falls. "Howling as a Means of Communication in Timber Wolves." American Zoologist 7, no. 2 (1967): 331-38. Accessed March 5, 2021. http://www.jstor.org/stable/3881437.
Transposed Score 3. Collapsing Ecosystems Carlos Patino97 -Distant- 2021 q = 90 A no reed- random air sound inhaling in the mid section (main difference), and ends with another drop to an unspecified pitch; Oboe & 4 it also presents a variationp on timbre with a Growl technique. I created the rising and dropClarinetping in B gestures by combining glissandos, pitch bends, and chromatic movements. The b & 4 ! Ó. ! œ~~~~~~~˙. œ~~~~~ motif and its first variation can be seen respectivelyp in the first two appearances of the
“howl”Soprano Sax presented by the Bb Clarinet, symbolically representing the leader of the pack of & 4 ! ! ! ! wolves. See Example 31 below. random Transposed Score 3. Collapsingair sound Ecosystems Bass Clarinet ? 4 ! Carlos Patino 4-Distant- 2021 q = 90 A no reed- Examplerandom 31, air Movementsound inhaling III – Mourning Chants, measure 1 to 8, C Score.
BassoonOboe 4 &? 4 ! ! ! ! p
random slap tongue rhythm Clarinet in B no reed 5 b 4 ! Ó. ! & 4 ˙. œ~~ Ob. œ~~~~~~~ ~~~ & p
"Growl" Soprano Saxrandom slap4 tongue rhythm & 4 ! ! ! ! B Cl. b Ó. & random ~~˙ ˙~~~~~~~~ air sound ~~~~~ ~~~~~˙ ˙ ~ ¿ œ ~ ~~~~~~~~ p random P Bass Clarinet air sound ? 4 ! S. Sx. & ! The “howl” motif is the main materialp of the whole composition. Bassoon ? 4 ! ! ! !
B. Cl. ? ! ! random slap tongue rhythm A Death Ritual Through Form no reed 5
Ob. Bsn.The&? directors !of the documentary! film Living with Wolves! , Jim and Jamie Dutcher,!
"Growl" express howrandom the slap tonguewolves rhythm of the Idaho Sawtooth pack grieve the death of their female
B Cl. leaderb by& exhibiting unusuallyÓ. low energy and atypical˙ heartbreaking˙~ howls. Wolves are ~~~~~~ ~~~~~~~~~~~~˙ ˙ ¿ œ ~~ ~~~~~~~~~ p random P known to grieve their death;air accordingly, sound the formal structure of the movement presents a S. Sx. direct relation& to a! death ritual. See Table 9 below. p
B. Cl. ? ! !
Bsn. ? ! ! ! ! Formal*structure*and*narrative
Intro Section*A Transition Section*B Coda
Measures'1)25 Measures'26)106 Measures'107)151 Measures'152)188 Measures'189)201
Predominant*NarrativeSkeptic'politicians Conflict Environmentalist Conflict Environmentalist
Intro Section*A Transition Section*B Coda
Measures'1)25 Measures'26)106 Measures'107)151 Measures'152)18898 Measures'189)201
Skeptic'politicians Conflict Environmentalist Conflict Environmentalist
Table 9. Movement III – Mourning Chants, Formal Structure
Section*A Section*B Section*C
Measures'1)34 Measures'35)66 Measures'67)88
Howl'Calling Ritual'Offerings Ritual'Farewell'
Section A starts with air sounds played by the Oboe, which are created by taking out
the reed of the instrument and inhaling over the mouth piece. The Bass Clarinet and the
Soprano Saxophone join the ensemble with air sounds accompanying the motifs played
by the B♭ Clarinet mentioned above; this to recreate an imaginary landscape of the
wolves habitat. In measure 13, after the presentation of the motifs, the Soprano
Saxophone replicates the first motif transposed a fourth above, then, one by one, the rest
of the instruments join the ensemble playing different variations of the motif throughout
the section. The music material varies by expanding in length, in register, and by
presenting more pitches; thusly, the motifs have more moments to rise or drop on pitch.
Below, Example 32 shows the polyphonic texture that is created when all the
instruments play variations of the motif. For instance, the Bass Clarinet plays the next
variation: the phrase starts on G3 (in this case not the lowest pitch), it rises to the highest
pitch A4, then drops in the mid section to F#4, then drops again to D4, and finally drops
to a unspecified pitch. A quarter note later, the Bassoon replicates in a canon at the
unison an expanded variation of this phrase played by the Bass Clarinet (blue squares). A
half note later, the B♭ Clarinet, plays a phrase that starts on E4 (lowest pitch), then rises
to the highest pitch A♭4, then drops to a G4, to finally drop to an unspecified pitch;
4 3. Collapsing ecosystems
25 œ Ob. w ˙. œ 1/4 6 4 & œ œ Œ 4 ! 4 p "Growl" 99 B Cl. b œ œ~~ 6 4 & ~~Ó~ Ó 4 Ó. 4 œ ~~~~œ œ~~~ ˙ œ #œ ˙~ presenting the c.seg <021>. This contour is replicated by the Oboe (green~~~ ~squares). The F "Growl" P
S. Sx. b~œ œ~~~ œ œ œ~~~ same can be‰ œs~aid by the contour presented~ Ó in the redœ squaresœ~~ c.seg6 <120~ >Œ. TheseÓ. two 4 & J œ~~~ ~œ 4 œ œ ~~~ 4 f F contours match with"Growl" the Micro-level Contour (explained in Chapter 5)P, fleshing out œ œ~ B. Cl. ~~~ ~~~~ œ ˙ ~ coherence? Œ betweenœ different parameters #throughoutœ œ ~~~ Œ theÓ piece. 6 Ó. Ó ‰ œ ~~ 4 4 J 4 F P F œ # œ Bsn. ? œ œ œ. nœ ˙ œ~~~ 6 4 Example! 32, Movement III – MourningJ Chants~ Œ, measures4 29 to !32. 4 F p
D # œ œ bœ œ~~ 1/4 Ob. œ ~~~˙ œ 1/4 4 ‰ œ œ # œ ˙. œ~~~~‰ J Œ Œ ‰ œ œ # œ œ œ ‰ & 4 J ~ J J f P f "Growl" "
B Cl. b 4 j & 4 Ó Œ ‰ œ~œ œ~~~~~ #˙ œ~ Œ ~~ ~~~~~ œ ~~bœ œ œ~~~~~~~˙ œ~~~~ p F S. Sx. #œ~~~˙. ˙~~~~~ ~ 4 ! ~~~~œ œ #œ œ œ~~~ Ó & 4 ~~~~ f p "Growl"
B. Cl. œ ~~~~~~˙ ? 4 ~˙. œ~~~~~~~~œ œ #œ œ 4 œ œ~~~~ Ó Œ p p r Bsn. ? 4 œ œ # œ ˙ ˙. # œ œ œ #œ œ 4 Œ œ œ~~~~Œ~~~ Ó f p
Pitch-wise, the motifs played by the Bass Clarinet, Bassoon, B♭ Clarinet, and
Soprano Sax, rise to the pitch A (highest pitch) and then drop in different ways. By doing this, I want to symbolize how the wolves howl imitating each other pitches. The Oboe, also presents a rising gesture to A, but before reaching it, it plays a B♭, a note half step above the intended highest point (A). I used this gesture throughout the piece to create
100 dissonance and to symbolically recreate the real nature of howling, where wolves don’t sing in an equal temperament.
• The gradual entrance of the instruments symbolizes the narrative of the section,
the wolves gather and respond one by one to the pack’s leader.
Section B represents the death ritual offerings. Over a drone played by the Bassoon on the pitch B2, the clarinets engage in a canonic texture in which with some variations, the B♭ Clarinet replicates the motifs of the Bass Clarinet. This first canon develops in the low register. Next, the canon material moves to the high register; the Bass Clarinet takes the pedal, and with some variations, the Oboe replicates the motifs of the Soprano Sax. In measure 51, both canons (low and high register) start to develop simultaneously until reaching the climactic moment of the movement (measures 58 – 66). In measure 58, the music achieves its highest register, where in a ff dynamic, the Soprano Saxophone and the Oboe present a dissonance of a minor second in the high register.
Below, Example 33 shows how the Oboe copies and prolongs the motif presented by the Bassoon; similarly, the Soprano Saxophone copies the same rising movement, but reaching a D♭ instead of a C, creating the minor second dissonance mentioned above.
Similarly, this climactic moment develops in a polyphonic texture by two canons with all the instruments playing in louder dynamics fff. The first canon happens between the
Bass Clarinet and the Soprano Saxophone, and the second one between the B♭ Clarinet and the Oboe.
• The development of the canons, presented one by one, and then simultaneously,
represent the death ritual offerings, in which the pack of wolves howl mournfully.
8 3. Collapsing ecosystems
55
Ob. 6 œ~~ 3 œ œ #œ~~~~~~~~ 4 & 4 Ó Ó. 4 Œ 4
B Cl. b 6 3 4 & 4 Ó. 4 Œ Œ 4 œ~~~~#œ œ~~~~~~~~#œ œ f
S. Sx. 6 3 4 & 4 ! 4 ! 4
B. Cl. ? 6 3 4 4 #w ˙ 4 ˙. 4 F f F 101 r Bsn. ? 6 œ #˙ 3 #œ œ 4 4 Œ œ~~~~#œ œ Œ 4 œ~~~~œ ~~~~~~~~~~ 4 Example 33,f Movement III – Mourning Chants, measuresƒ 57 and 58.
57 # œ œ ˙. ˙.~~~~~~~~~ Ob. ~ ˙. œ ~~~~~~~~~~~~~ & 4 ‰ J 46 45
B Cl. b 4 6 5 & 4 Ó ‰ j 4 Ó. 4 œ ~~~œ œ~~~~~~~œ œ~~~~ F P œ # œ œ œ b˙. ˙~~~~~~~~~~~~~~ S. Sx. 4 6 ~~ 5 & 4 œ~~~#œ œ~~~~~~~~˙ 4 4 ƒ
B. Cl. ? 4 46 Ó 45 w ˙. œ~~~ F f p
œ ~ Bsn. # œ œ œ~~~~~~~~ œ œ ~ ? 4 œ œ ~~6~~~~~~ . 5 4 ‰ J 4 Œ Ó 4
The narrative of Section C represents the ritual farewell. With the expression marking
Calmly, the section presents long rhythmic values that accompany a single motif presented one at a time; thusly, creating a contrast with the previous section which features more rhythmic activity. Each one of the instruments plays one last motif, symbolizing the last howl of each one of the wolves bidding farewell. The music vanishes the same way as it started; featuring air sounds and the last statement of the Bb
Clarinet, which plays the first motif of Section A.
Linearly, section by section, the form reveals the death ritual narrative of the movement.
102
7.4. Analysis of Movement IV – Aeolian Energy
As mentioned in previous chapters, Aeolian Energy is inspired by the circular movement of the wind turbines. In this analysis, I will provide my approach on how I symbolize this in various ways.
Main Idea: Palindrome in Circular Motion
To generate unity, the music material is entirely developed from the Main Idea.
Rhythmic, timbre, dynamic, and pitch wise, the Main Idea presents a palindrome
(explained in Chapter 6), evoking the idea of a circular motion. When discussing palindromes, scholar David Kettle says that “rhythm is a musical device that’s supposed to propel us forward through a piece of music, instead, a rhythmic palindrome simply turns back on itself and returns us to where we’ve just come from.”73
According to Kettle, a palindrome then can be understood as a circular movement; it has a beginning, it develops to a middle point, and from there it turns back on itself.
Therefore, I used palindromes to symbolize theAlto movement Sax 1 of the wind turbines. See
Figure 12 and Example 34 below.
Bb Clarinet 2 Bb Clarinet 1 Figure 12, Understanding palindrome as a circular movement.
STARTING POINT
Backwards Alto Sax 2 Forwards
MID POINT
73 David Kettle, “Http://Ljournal.ru/Wp-Content/Uploads/2017/03/a-2017-023.Pdf,” AQA, Edexcel & OCR: Olivier Messiaen, 2017, https://doi.org/10.18411/a-2017-023.
103
Example 34, Movement IV – Aeolian Energy, Soprano Sax, measures 121 to 124.
From pitch From air to air to pitch - - 121 - - - œ œ - - - ± œ œ bœ- œ œ œ œ œ bœ- œ œ œ ±. ± Fl. 1 & 3 3 Œ Ó Œ Starting Point Mid Point Starting Point Forwardf Backwards∏ ∏
From air From pitch to pitch to air - - - œ- œ- - - - S. Sx. ± ± œ œ bœ- œ œ œ œ œbœ- œ œ œ ± ± & Ó 3 3 Ó ∏ f ∏ From air From pitch to pitch to air - - - œ- œ- - - - ±. œ œ bœ- œ œ œ œ œ œ- œ œ œ ±. Fl. 2 & ∑ 3 3 Order of Entrances within Each Ensemble ∏ f The ensemble is comprised by three woodwind quartets as follows: - - - œ- œ- - - - Ob.- Ensembleœ 1: Flute 1, Soprano˙. Sax, Flute 2, Oboe.œ œ bœ- œ œ œ œ œ bœ- œ œ œ ˙ & Œ Ó Œ 3 3 - Ensemble∏ 2: Alto Sax 1, B∏♭ Clarinet 1, Alto Sax 2, B♭ Clarinetf 2.
- Ensemble 3: Bass Clarinet 1, BaritoneFrom air Sax, Bassoon, Bass Clarinet 2. From pitch to pitch 3 3 to air
A. Sx. 2 The& music± Œ rotatesÓ throughÓ the quartets,± but also± rotatesœ œ withinœ theœ œ quartetsœœ œ in aœ œ ± - œ- œ - - - - - œ- œ - - ∏ ∏ f circular motion. The circular motion refers to the cyclical order of instrument entrances; From air to pitch 3 3 this feature is maintained throughout the whole movement. B Cl. 2 ± b & Ó ∑ ±. œ œ œ œœ œœ œ - œ- œ - - - - - œ- œ Below, Example∏ 35 shows how each instrument∏ of Ensemble 2 develops a variationf
of the Main Idea in a canon at theFrom unison pitch (in this analysis I will referFrom airto this canon within to air to pitch - - œ- œ------B.the Cl. 1same? œ-ensembleœ-œ œ œ asœ œ-theœ- Ensembleœ œ œ Cycle);± this cycle± lasts 4 bars.± The order± of theœ œ 3 3 Œ Œ instrumentF entrances is also a cycle. For example, E∏nsemble 2 starts∏ with Alto Sax 1,
From air followed by B♭ Clarinet 1, then Alto Sax 2, and then B♭ Clarinet 2. This orderto pitch never B. Sx. ? ∑ ∑ ∑ . changes. ± œ- ∏ From pitch From air to air to pitch ------Bsn. ? ± œ œ œ - - œ œ œ œœ œ- - œ œ œ ± ± ± bœ œ 3 3 œ œ Œ Œ F ∏ ∏ 18 104
C Score How you dare!
4. Aeolian Energy Carlos Patino 2021 Example 35, Movement IV – Aeolian Energy, measures 1 to 4.
q = 120 From air From pitch to pitch to air Alto Sax 1 & 4 ∑ 4 ±. œ œ œ œ œ œ ±. ------∏ P ∏
From air From pitch to pitch to air
Clarinet in B 1 b & 4 Ó Œ Œ 4 — ± œ œ œ œ œ œ ±. ------∏ P ∏
From air From pitch to pitch to air Alto Sax 2 & 4 ∑ Œ 4 ±. œ œ œ œ œ œ ± ------∏ P
From air From pitch to pitch to air Clarinet in B 2 b & 4 ∑ Ó 4 ± — œ œ œ œ œ œ — ∏ - - - P- - -
ª
From air From pitch to air Length5 Between Instrumentalto pitch Entrances S. Sx. ------& Ó Œ — ± œ œ œ œ œ œ œ œ ±. Œ The length between the entrances is also symbolic of a circular motion. For instance, ∏ P ∏
From air From pitch Example 35to pitch above shows how the B♭ Clarinetto air 1 starts three quarter notes after Alto sax 1, A. Sx. 1 & ∑ the Alto Sax±. 2 startsœ twoœ quarterœ œ notesœ œ afterœ Bœ ♭ Clarinet±. 1, and the B♭ Clarinet 2 starts ∏ - - - - P- - - - ∏
one quarter note after the AltoFrom Saxair 2. The length between entrances then presentsFrom pitch the next to pitch to air A. Sx. 2 pattern& (3-2-Œ1), Ósee FigureŒ 13 below. In my mind, the constant repetition of this pattern — ±. œ œ œ œ œ œ œ œ ± ------symbolizes∏ a circular movement.∏ Every time the Ensemble CycleP appears, the length From air From pitch to pitch to air
Bbetween Cl. 2 entrances is maintained. Ensembles 1 and 3 present different variations of the b & Ó Ó ± ± — œ œ œ œ œ œ œ œ — ------pattern. ∏ ∏ P
Alto Sax 1
105 Bb Clarinet 2 Bb Clarinet 1 Figure 13, Ensemble 2: Length between instrumental entrances in a circular motion.
STARTING3 quarter POINTnotes
Backwards Alto Sax 2 Forwards
1 quarter note 2 quarter notes
MID POINT
Main Idea: Rhythmic and Pitch Development
Rhythmically, the Main Idea develops in three different Moments in a cycle. Moment
1 features quarter notes, Moment 2 accelerates to eighth notes, Moment 3 accelerates to eighth notes triplets, and to end the cycle, the Altomusic goesSax back 1 to Moment 2 with eighth notes. See Figure 14, and Example 36 below.
Figure 14, Rhythmic development in 3 Moments. Bb Clarinet 2 Bb Clarinet 1
1. Quarter notes STARTING3 quarter POINTnotes
Backwards Alto Sax 2 2. Eighth notes Forwards2. Eighth notes
1 quarter note 2 quarter notes
MID POINT 3. Eighth notes triplet
From air From pitch to pitch to air 97 A. Sx. 1 ∑ & ±. œ- œ- œ- œ- œ- œ- ±. ∏ P ∏ From air From pitch to pitch to air
B Cl. 1 b Ó Œ Œ & ± ± œ- œ- œ- œ- œ- œ- ±. ∏ P ∏ From air From pitch to pitch to air
A. Sx. 2 Œ Ó Œ & ± ±. œ- œ- œ- œ- œ- œ- ± ∏ ∏ P From air From pitch to pitch 106 to air
B Cl. 2 b & ∑ Ó ± ± œ œ œ œ œ œ ± Example 36, Movement IV – Aeolian Energy, Main Idea’s rhythmic- development.- - - - - ∏ P Moment 1 – Quarter notes, measures 97 to 99. From pitch to air 97 -From air- - B. Cl. 2 œ œ œ ± ± From pitch ? to pitch to air 97 Ó ∑ ∑ From air A. Sx. 1 to pitch 105 ∏ ∑ & ±. œ- œ- œ- œ- œ- œ- ±. Fl. 1 ª ± & ∏ ∑ ∑ P ∑ ∏ Ó Œ FromFrom airair From pitch From pitch toto pitchpitch to air to air 101 ∏ B Cl. 1 b Fl. 2 Ó ∑ Œ ± ± œ œ œ œ œ œœ œ ±. Œ & MomentFrom 2± – .air Eighth notes, measuresœ- -œ 101œ to- œ 103.œ- œ - œ -- - Fromœ pitch±. to pitch - - - - - to- air ∏∏ 3 P F3 ∏ ∏ Fl. 2 From air From pitch to air & From air∑ ±. to œpitchœ œ œ Fromœ pitchœ œ- œ- œ œ œ œ œ œ ±. to pitch - - to air------From pitch From air A. Sx. 2 to air A. Sx. 1 Œ Ó ∏ Œ ±. œ Fœ œ œ œ œ ± to ∏pitch &109 ±± œ œ œ œ œ œ œ œ - ± - - - - - ∑ & . - -- œ-- œ------. Fl. 1 ± œ œ œ œ œ œ œ œ œ œ ±. ± ∏ ∏ ŒP Ó Œ &∏ From air F From air From∏ pitch From pitch to pitch to pitch------to- air - - -to air Ob. ˙. F œ œ œ œ œ œ ∏œ œ œ œ œ œ œ œ ˙ ∏ B Cl. 2 ------Bb Cl. 1 & ∑ ± Œ ± œ œ œ œ œ œ œ 3œ œ œ3 ±. b & ∑ Ó ± ± œ œ œ œ œ œ ± & Ó MomentŒ 3 – eighth notes triplet, measures 105 to 107.------Œ ∏From air F From pitch ∏ to pitch ∏ F Pto air ∏ From pitch From pitch From air Fl. 2 to air From air to air to pitch From pitch & ∑ ±. œ to air œ œ œ œ œ œ œ œ œ ±. 97 to pitch 3 3 ------A. Sx. 2 - - - - - B. Cl. 2 Œ Ó Œ œ œ A. Sx. 1 &? ±œ œ œ ±∏ ±.± Ó œ œ œ Fœ∑ œ œ œ œ ∑ ± & ±. œ œ œ œ œ œ œ- œ- œ œ œ œ œ œ- ±. - - - - - ∑ ∏ - - - -∏ - - - - F ∏ F ∏From air ∏ From pitch to pitch to air ª ------B Cl. 2 From air . - From pitch œ œ b Ob. œ ˙ œ œ œ œ œ œ œ œ ˙ & ± Œ ÓÓto pitch ÓŒFrom air ± ± œ œ œ to œair œ œFromœ pitchœ œ œ ± & to pitch - - - - -to air - - - 101 ------B Cl. 1 ∏Moment± ± 2 – eighthœ notes∏œ œ, measuresœ œ œ œ109œ toœ 111.œ œ œ œ œ ±F. b Fl. 2 ∏ ∏ F & Ó Œ∑ ± œ 3 3 œ œ œ œ œ œ œ ± Œ & . - 13œ- œ ------. From air ∏ ∏ FromF pitch F ∏ ∏ to pitch to air From air From pitch to air A. Sx. 1 to pitch From air From pitch ± œ to pitch œ œ œ œ œ œ œ ± to ∑air & . œ œ - - . 3 3 A. Sx. 1 ------A. Sx. 2 & ±. œ œ œ œ œ œ œ œ- œ- œ ±. ∏ ∑ ∏± Œ Ó - Œ - ± - - F- œ œ - œ œ œ œ œ œ œ œ ± & . - œ- œ - - - - - œ- œ - - ∏ From air F From∏ pitch ∏ toFrom pitch air ∏ FFromto pitchair to pitch to air ------B Cl. 1 ± ± œ œ œ œ œ œ œ - œ - œ œ ±. b - - - - - œ œ - . B Cl. 1 & Ó Œ ± ± From œair œ œ œ œ œ œ œ ± From Œpitch b & Ó Œ to pitch to airŒ ∏ - F ------∏- B Cl. 2 ∏ ± ± œ Fœ œ œ œ œ œ œ œ œ œFromœ pitch∏œ œ ± b From air & ± Ó Ó to pitch 3 3 to air A. Sx. 2 From air - -From pitch ± Œ∏ Ó Œ ±to∏. pitch œ œ œ œ œ Fœ œto airœ ± & - œ- œ - - - - A. Sx. 2 - - ∏± Œ Ó Œ ∏±. œ œ œ œ Fœ œ œ œ ± & From air œ œ From pitch to pitch ------∏ ∏ F to air B Cl. 2 b & ± Ó Ó ± ± œ œ œ œ œ œ œ œ- œ- œ ± From air - - - - - From- pitch ∏ ∏to pitch F to air ------B Cl. 2 ± ± 13± œ œ œ œ œ œ œ œ œ œ ± b & Ó Ó ∏ ∏ 14 F
15 107
Example 36 shows how each one of the Main Ideas develops in a palindrome. Also, it
can be seen how successively (measures 97 -111) the Alto sax 1 follows the three
rhythmic Moments mentioned above in a circular motion (quarter notes- eighth notes-
eighth notes triplets –eighth notes).
Pitch wise, Example 36 shows how in Moment 1, the Main Idea presents a single
pitch A4, in Moment 2, it presents three pitches, G4, A4, and B4. The pitches G4 and B4
are both a major second away from the starting pitch A4 in a mirror relation. As the
movement develops, maintainingFrom the pitch same approach, the interval changes expandingFrom air the to air to pitch - register169 to œthi- rds and- fourths- (with few exceptions). See Example 37. œ œ œ- œ œ œ ± ± ± ± œ- - œ- œ- Fl. 1 œ œ & 3 Ó Ó
f From∏ pitch ∏ Example 37, Movement IV – Aeolianto air Energy, measures 169 – 172. - - ± œ- œ - bœ- œ- œ œ œ- œ - œ- œ- ±. S. Sx. bœ œ bœ œ & 3 3 Œ ∑ From air From pitch ∏ to pitch f to air - - ±. œ- œ - œ- œ- œ œ œ- œ - œ- œ- ± ± Fl. 2 œ œ œ œ & Œ 3 3 Œ Ó ∏ f ∏ - - - œ- œ- - - - Ob. #˙ œ œ œ bœ- œ œ œ œ œbœ- œ #œ œ œ ˙ & Ó 3 3 Ó Example 37 shows∏ how the Flute 2 develops Momentf 3 rhythmically. Pitch wise; the∏ From air From pitch to pitch Main Idea presents E6, B5, and A6. The pitch B5 is a perfectto air fourth below E6, the pitch - - - œ- œ- - - - A. Sx. 1 b±. œ œ bœ- œ œ œ œ œ œ- œ bœ œ ±. ∑ A6 a perfect& fourth above E6. The mirror3 relation3 also reflects a circular movement as the ∏ f ∏ same interval moves in oneFrom direction, air goes back to the starting point, and thenFrom pitch does the to pitch to air
B Cl. 1 - - bsame but in the opposite direction. - - œ œ - & Ó Œ b± ± œ œ bœ œ œ œ œ œ ±. Œ - bœ- œ 3 3 bœ- œ - - ∏ f ∏ A. Sx. 2 Œ Ó ∑ ∑ ∑ & ± ∏ From air From pitch to pitch to air 3 3 B Cl. 2 b & Ó Ó ± ± ± œ œ œ œœ- œ- œ œ œ œ ± - #œ- œ - - - #œ- œ - - ∏ ∏ f From pitch From air 3 3 to air to pitch B. Cl. 1 ? œ œ Œ Œ ± ± œ œ œ œ œ- œ-- -œ- œ- œ œ œ- œ- œ- ± ± ------From air f ∏ ∏ to pitch B. Sx. ? ∑ ∑ ∑ ±. œ-
From pitch ∏ From air to air to pitch Bsn. - - ? ± œ- œ- œ- œ- œ- œ œ œ- œ- bœ- œ- œ- ± ± Œ Œ bœ- œ- 3 3 œ- œ- #± f From air ∏ From pitch ∏ 169 to pitch to air B. Cl. 2 - - ? ± Œ Œ b± ± œ- œ- œ- œ- œ- œ œœ- œ- bœ- œ- œ- ± bœ- œ- 3 3 œ- œ- ∏ f 28 Alto Sax 1 2. Eight notes
108 Bb Clarinet 2 Bb Clarinet 1 Figure 15, Pitch – circular motion.
1.Starting Quarter Pitch notes STARTING3 quarter POINTnotes
Backwards Alto Sax 2 Perfect2. fourth Eight notesbelow ForwardsPerfect2. Eight fourth notes above
1 quarter note 2 quarter notes
MID POINT 3. EightStarting notes Pitch triplet
57#EXAMPLE 14#TABLES Density Development through All the Ensembles PAGAR*A*MILLER 1 2 NTRO3#5#I designed5#GRAFICAS a system that develops the density andTime timbre parameters. 6:29Increasing and4:08 Pesos 50000 50000 total#per#mov decreasing in density levels, the system follows different palindromes that move the Total#por#color 800000 materials through all the ensembles; this system develops throughout the form.
Table 10, Movement IV – Aeolian Energy, formal structure.
Section*A Section*B Section*C Section*D Section*E Section*C' Section*A'
Mm.#1348 Mm.#49#3#96 Mm.#97#3#144 Mm.#145#3#192 Mm.#146#3#240 Mm.#241#3288 Mm.#2893351
Section A represents the first entire cycle of the wind turbine; meaning that by the
beginning of Section B, the music has already rotated through all the ensembles once.
109
In this first section, I assigned four instruments to play simultaneously at all times, meaning that the top level of density is always 4. To do so, the instruments within the ensembles start to rotate one by one. For a better understanding, see Table 11 below.
Table 11, Movement IV – Aeolian Energy, Section A - Density level.
Ensemble(Cycle 1 2 3 4 5 6 7 8 9 10 11 12 1 Density(in( 0 1 2 3 4 3 2 1 0 0 0 0 0 Ensemble(1 Density(in( 4 3 2 1 0 0 0 0 0 1 2 3 4 Ensemble(2 Density(in( 0 0 0 0 0 1 2 3 4 3 2 1 0 Ensemble(3 Total&Density&level 4 4 4 4 4 4 4 4 4 4 4 4 4
Section A is 48 bars long, as the Ensemble Cycle lasts 4 bars, Section A presents 12
Ensemble Cycles. At the top, Table 11 shows the 12 ensemble cycles; below, the number of instruments that I used in each ensemble, and the total Density level (total instruments Density(in(Ensemble(2 playing simultaneously). The orange squares represent the beginning of Section B. Density(in(Ensemble(3 It can be seen how in Ensemble Cycle 1, I used all four instruments of Ensemble 2
(mid register). In Ensemble Cycle 2, one instrument of Ensemble 2 is replaced by one instrument of Ensemble 1. The same process continues until all the music material is played by Ensemble 1 (high register), this happens in Ensemble Cycle 5. The process is then repeated between Ensemble 1 and 3, until Ensemble 3 (low register) presents all the music material in Ensemble Cycle 9. To end the section, I repeat the process one last time between Ensembles 3 and 1. In the macro-level of Section A, the music rotates trough all the ensembles maintaining a density level of 4.
110
In a micro-level, the density of each ensemble also develops in a circular motion. For instance, following the Ensemble Cycles horizontally, Ensemble 1 presents the next density levels: 0-1-2-3-4-3-2-1-0-0-0-0-0. The movement from 0 to 4, and from 4 to 0 in a palindrome reflects the circular motion. Ensemble 2 presents a movement from 4 to 0 and 0 to 4 in a palindrome: 4-3-2-1-0-0-0-0-0-1-2-3-4; and Ensemble 3: 0-0-0-0-0-1-2-3-
4-3-2-1-0.
Density wise, Section A and B develop in the same manner. On Section C and D, I start to add more density to the movement. See Table 12 below.
Table 12, Movement IV – Aeolian Energy, Section C - Density level.
Ensemble(Cycle 1 2 3 4 5 6 7 8 9 10 11 12 1 Density(in( 0 1 2 3 4 4 4 4 3 2 1 0 0 Ensemble(1 Density(in( 4 4 4 4 4 3 2 1 0 0 0 1 2 Ensemble(2 Density(in( 0 0 0 0 0 1 2 3 4 4 4 3 2 Ensemble(3 Total&Density&level 4 5 6 7 8 8 8 8 7 6 5 4 4
I used the system with the same approach, but this time the Total Density Level was raised to 8 instead of 4 as follows: 4-5-6-7-8-8-8-8-7-6-5-4. The movement from 4 to 8, and from 8 to 4 in a palindrome reflects the circular motion. Also, the circular micro- level density within each ensemble is maintained, but this time, it develops through
SectionDensity(in(Ensemble(2 C and D. See Table 13 below. Density(in(Ensemble(3
111
Table 13, Movement IV – Aeolian Energy, Section D - Density level.
Ensemble(Cycle 1 2 3 4 5 6 7 8 9 10 11 12 Density(in( 0 1 2 3 4 4 4 3 2 1 1 0 Ensemble(1 Density(in( 2 3 4 4 4 4 3 2 1 1 0 0 Ensemble(2 Density(in( 2 1 0 0 1 2 3 4 4 4 4 4 Ensemble(3 Total&Density&level 4 5 6 7 9 10 10 9 7 6 5 4
Maintaining a palindrome, in Section D, I raised the Total Density Level to 10 as follows: 4-5-6-7-9-10-10-9-7-6-5-4.
CircularDensity(in(Ensemble(2 Motion through Register Density(in(Ensemble(3 Over the Ensemble Cycles, I developed a series of phrases that develop throughout the register. Moving by thirds, these phrases ascend and descend freely, and are harmonized by fourths or tritons. The phrases move from Ensemble 1, to Ensemble 3, thusly; the movement from the high to the low registers, and vice versa, symbolizes the circular motion.
Below, Example 38 shows the descending and ascending phrase assigned to the Flute
2, and how it is harmonized by the Oboe in parallel perfect fourths over the Main Idea. In
Section E, these phrases are alternated between ensembles reaching the highest and lowest registers. Pitch wise; every time that the phrase changes timbre, and or register, it changes the collection of pitches, pushing the music forward.
- 197 - #œ- œ œ- - 3 œ œ œ- - - Fl. 1 œ œ œ œ- & 3 3 J J 3 œ œ Œ Ó ∑ - #œ- - - - œ - 3 - œ- œ œ œ- - S. Sx. œ- #œ #œ œ- œ - & 3 3 œ œ Œ ∑ J J 3 - œ œ - œ- - - - œ- œ Fl. 2 - œ- œ ∑ ∑ Ó œ bœ & - f - - Ob. - #œ œ ∑ ∑ Ó œ- œ & œ œ- -f From air From pitch to pitch to air
B Cl. 2 b & ∑ Ó ± ± œ- œ- œ- œ- œ- œ- ± ∏ F From pitch From air to air to pitch œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ F ∏ 197 112 B. Cl. 2 ? ± Œ Ó ∑ ∑ ∑ ∏ Example 38, Movement IV – Aeolian Energy, measures 201 – 204. ª - - 201 - œ - - œ - - #œ œ œ - - œ #œ œ œ - - Fl. 2 œ œ - - œ œ œ œ œ bœ œ œ J & œ #œ œ- 3 3 - - - - - bœ œ œ - - bœ œ œ - - Ob. œ #œ - #œ œ œ #œ - œ œ œ- œ œ & œ œ 3 3 J œ bœ œ- - From air From pitch to pitch to air B Cl. 1 b & Ó Œ Œ ± ± œ- œ- œ- œ- œ- œ- ±. ∏ f ∏ From air From pitch to pitch to air B Cl. 2 b & Ó Ó ± ± ± œ- œ- œ- œ- œ- œ- ± ∏ f From pitch From air to air to pitch œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ f ∏ 34 I interpreted the circular motion that I wanted to symbolize in various ways; from the overall spatial movement of music materials between all the ensembles, to the micro- level rotation of elements within each Ensemble, and the creation of the Main Idea, which develops a rhythm, dynamic, timbre, and pitch wise palindrome.
CHAPTER 8
Stage and Logistics
How Dare You! will take place in a concert hall. For the electronics, the venue will require two speakers and two microphones. The staging will gradually change following the instrumental requirements of each movement. The first movement will start with all the performers on stage. For the second movement, only a flutist and the electronics performer will be on stage. From this movement on, the staging will gradually add performers, until reaching Movement IV, which will have most of the performers on stage again. See Figure 16.
Acknowledging that the stage will vary according to the different ensembles used in every movement, in the future, I will compose short electronic pieces that will serve as transitions between the movements while the stage is being set up. To do so, I will primarily use musique concrete techniques. I will record, and use pre-recorded sounds taken from nature and political speeches; also, I will recycle fragments of the fixed tracks presented in Movement I, and fragments of recordings of Movement II.
Acknowledging environmental green venues (buildings that generate less waste and lower the use of energy, water, and other resources), and that not all concert halls are green nor LEED certified (Leadership in Energy and Environmental Design),74 How
Dare You!’s venue will place an emphasis on conveying a sustainability statement and global warming awareness. To do so, the concert hall will be decorated with environmental art and products made by non-biodegradable waste such as plastic straws,
74 “Benefits of Green Building,” Press: Benefits of green building | U.S. Green Building Council, accessed October 19, 2020, https://www.usgbc.org/press/benefits-of-green-building.
113 114
plastic bottles, glass bottles, aluminum cans, light bulbs, batteries, ink cartridges, tires,
and scrap metal among others. There won’t be printed programs; instead, all the
information about the concert will be sent to the audience via email and text messages.
The audience information will be solicited in the lobby.
Figure 16, Staging.
Stage 1. Movement I - We Are Running Out of Time
A. Sax 1
Bb Cl 2 Flute 1 Choir (SSAATTBB) Ensemble 2 S. Sax
Oboe Piano Woodwinds Electronics (9)
microphones Ensemble 1 Choir
Woodwinds Flute 2 Piano
Stage 2. Movement II – Gasping Breaths Bb Cl 1 Bassoon Ensemble 3 B. Sax A. Sax 2 Bass Cl 2 Bass Cl 1
Electronics Flute microphones
Choir
Piano Woodwinds 115 microphones Stage 3. Movement III – Mourning Chants
Electronics
Bassoon
S. Sax Bb Cl
Oboe Bass Cl
Choir
Piano Woodwinds
microphones Electronics Stage 4. Movement IV – Aeolian Energy
A. Sax 1
Bb Cl 2 Ensemble 2 Bb Cl 1
A. Sax 2 Flute 1 Bass Cl 1
Oboe Ensemble 1 S. Sax Bass Cl 2 Ensemble 3 B. Sax
Flute 2 Bassoon
CHAPTER 9
Conclusions
I recognize that we are living in a moment that is critical to successfully addressing the biggest challenge of our times. Every day I grow more concerned as our planet sends humanity warnings about the enormous transformations that it suffers at our hands. Climate change directly threatens our food production, our bodily health, our wildlife, our forests, and our oceans. Rising sea levels threaten to bury many of our cities under catastrophic floods. If drastic measures are not taken and new environmental policies implemented by world leaders, global warming will soon change life as we know it.75 I believe that this is an issue that spans national borders and geographical boundaries, and it is imperative that we unite our communities now to create awareness and take action to mitigate global warming.
This urgency is palpable in February 2021; as I write these words, an unprecedented cold front in the southern United States has left millions of people without electricity, heat, and water, resulting in a number of people dead. Many of these state governments and utilities were not prepared to face the coldest temperatures that this region had seen in decades. Judah Cohen, the director of seasonal forecasting at the
Atmospheric and Environmental Research cited global warming as a cause of the extraordinary weather, “The current conditions in Texas are historical, certainly
75 “Cambio Climático | Naciones Unidas,” United Nations (United Nations), accessed February 19, 2021, https://www.un.org/es/sections/issues-depth/climate-change/index.html.
116 117 generational, but this can’t be hand-waved away as if it’s entirely natural. This is happening in part due to climate change.”76
We are destroying the environmental balance of our planet. It is impossible for all fauna and flora to adapt to a new climatic condition overnight. Our ecosystems are suffering, affecting plenty of species that are struggling to survive. During the February
2021 cold spell, thousands of turtles escaped the freezing waters of the Gulf of Mexico only to lie stranded in a state of lethargy on the beaches of Texas. Although people were able to save many of them by moving them indoors, the toll that this single event took on the wildlife of the region is incalculable.
How Dare You! lies at the intersection of my career as a creator whose principal obligation is to my art, my beliefs as a nature lover and concerned citizen of the world, and the challenge that climate change presents to the humans species. My purpose in composing this work is to present in musical narrative the environmental issues facing our world and some possible solutions, creating awareness of the impact of global warming on our planet and its devastating consequences for future generations. In composing, I treated this composition not simply as a work of art, but as a call to action.
With that in mind, I designed it as a work that can reach and appeal to an inclusive variety of audiences interested in environmental issues, while also having appeal to classically trained musicians and art curators who may be looking for original, contemporary voices for new music programs.
I intend to apply with this piece for grants such as the Aaron Copland Fund for
Music, the Alice M. Ditson Fund, the Amphion Grant, and the Barlow Grant. I will also
76 “Heating Arctic May Be to Blame for Snowstorms in Texas, Scientists Argue,” The Guardian (Guardian News and Media, February 17, 2021), https://www.theguardian.com/science/2021/feb/17/arctic- heating-winter-storms-climate-change.
118 reach out to possible music, and non-music collaborators like environmental organizations and visual artists: The Climate Music, 4ocean, and local non-profit organizations such as PAXy, and Arts4all, among others.
Global warming presents us with a tangle of intersecting environmental and humanitarian problems that must be addressed, and this musical project is my first major step in doing what I can to aid in that process. As long as this problem persists, I will keep fighting it with my daily actions, and I will continue to raise my artistic voice. And,
I hope that by doing this, perhaps, I can inspire a few others to join the struggle.
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APPENDIX 1
Lack of Commitment 1 Text:
- Good morning Britain, Australian news: “Australia has just had in 2019, the highest year temperature wise ever recorded and the driest year ever recorded with forecast and temperatures that go back over a hundred years.”77
-Ivan Duque, actual Colombian president, City TV news: “La gran pregunta es si Colombia realmente le ha sacado provecho a su potencial, o si por el contrario nos vamos a quedar con el potencial minero.” (The big question is if whether Colombia has taken advantage of its mining potential, or if we are going to move aside from our mining potential).
-DW News, German news: “Our trouble is a major source of CO2 and other green house gases emissions and China doesn’t show any signs to cut theirs.”78
-Jair Bolsonaro, actual Brazilian president: “a questão da queimada no Amazonas, pode ter sido potencializada.”79 (The arguments regarding the Amazonas wildfire, may have been exaggerated).
-MSNBC, American news. Trump believes climate change is a hoax: “President Trump believes climate change is a hoax, we know this because he had said it over and over again.”80
-Matteo Salvini, Vista TV, Italian news: “Il riscaldamento globale…. Fa un freddo dell’ostia, piove sempre, fa freddo, c`è la nebbia. Quindi…”81 (The global warming ...... its freaking cold, it always rains, its cold, there is fog, so .....
77 “Good Morning Britain,” ITV, accessed March 15, 2021, https://www.itv.com/goodmorningbritain. 78 Deutsche Welle (www.dw.com), “Environment: All Topics from Climate Change to Conservation: DW,” DW.COM, accessed March 15, 2021, https://www.dw.com/en/top- stories/environment/s-11798. 79 “Jair Bolsonaro Claims NGOs behind Amazon Forest Fire Surge – but Provides No Evidence,” The Guardian (Guardian News and Media, August 21, 2019), https://www.theguardian.com/world/2019/aug/21/jair-bolsonaro-accuses-ngos-setting-fire-amazon- rainforest. 80 “Trump Believes Climate Change Is a Hoax,” MSNBC (NBCUniversal News Group, June 3, 2017), https://www.msnbc.com/all-in/watch/trump-believes-climate-change-is-a-hoax-959187523541. 81 “Riscaldamento Globale, Salvini: ‘Da Quando Hanno Lanciato L'allarme è Venuto Un Freddo..",” Vista TV, accessed March 15, 2021, http://www.agenziavista.it/tempo- reale/2019/292647_riscaldamento-globale-salvini-da-quando-hanno-lanciato-lallarme-e-venuto-un-freddo/.
126 127
-Ivan Duque, actual Colombian president, City TV news: “La region Andina, y la region Amazonas, estaran en riesgo todas lase especies que habitan este corridor biologico.” (The Andean region, and the Amazonian region, all the species that live in this biological habitat will be at risk)
- Sky News, Australian news: “The sense of emergency tackling the wildfires simply is neglected by Australian politics.”82
- Tonny Abbot, Energy live news, Britain news: “In most countries far more people die in cold snaps than in heat waves, so a gradual lift in global temperatures might even be beneficial.”83
-Jair Bolsonaro, actual Brazilian president: “trazer problemas para o Brasil, é só estudar um pouquinho a questão do triplo A na região amazonica, que no começo eu fui ridiculizado, que tratam do clima..” (bringing problems to Brazil, just study the triple A issue in the Amazon region, I was ridiculed, that deals with the climate).84
- CNBC, American news, Trump challenged on climate change: “I think one area of mutual agreement and a priority is vegetation management, but I think we want to work with you to really recognize the changing climate and what it means to our forests.”85
- Energy live news, Britain news, Tonny Abbot denies science on climate change: “Its climate change policies what is doing harm, climate change its self is probably doing good, more good than bad.”86
- CNBC, American news, Trump denies science on climate change: “With that science, that science is going to be key, because if we ignore that science and sort of put our heads in the sand, I think is all about vegetation management, we are not going to succeed.”87
82 Sky, “Climate Change CO2 Investigation: The Top 15 Carbon Polluters in the UK Revealed,” Sky News (Sky, December 24, 2020), https://news.sky.com/story/climate-change-investigation-the-top-15- polluters-in-the-uk-revealed-12171349. 83 “News,” Energy Live News, accessed March 15, 2021, https://www.energylivenews.com/latest- news/. 84 “Jair Bolsonaro Claims NGOs behind Amazon Forest Fire Surge – but Provides No Evidence,” The Guardian (Guardian News and Media, August 21, 2019), https://www.theguardian.com/world/2019/aug/21/jair-bolsonaro-accuses-ngos-setting-fire-amazon- rainforest. 85 KevinWilliamB, “'I Don't Think Science Knows,' Trump Responds When Challenged on Climate Change at Wildfire Briefing,” CNBC (CNBC, September 15, 2020), https://www.cnbc.com/2020/09/14/trump-challenged-on-climate-change-during-wildfire- briefing.html?&qsearchterm=climate+change+trump+challenged. 86 “News,” Energy Live News, accessed March 15, 2021, https://www.energylivenews.com/latest- news/.
128
- CNN, American news, Trump versus Climate Change: “I said no no, I think the new green deal of whatever the heck they call it.”88
-Jair Bolsonaro: “a questão da queimada no Amazonas, pode ter sido potencializada.” (The arguments regarding the Amazonas wildfire, may have been exaggerated).89
- DW News, German news: “The Amazon rain forest is on fire again.”90
- MSNBC, American news. Trump believes climate change is a hoax: “All of this with the global warming, all of that is a hoax, is a hoax, I mean, is a money making industry.”91
- Catraca Livre, Brazilian news: “Jair Bolsonaro é o exemplo tipico, tipico do que significa ser um ignorante em quesões de aquecimento global, e o pior que cada vez mais tem gente acreditando nessa ignorancia.” (Jair Bolsonaro is the typical example, typical, of what it means to be an ignorant in global warming issues, and the worst part, is that every day more people believes on this ignorance).92
- MSNBC, American news. Trump believes climate change is a hoax: “The green new deal right, the green new deal!”93
- Energy live news, Britain news, Tonny Abbot denies science on climate change: “What I actually said was the idea of that settled science of climate change is a bit aromatic.”94
87 KevinWilliamB, “'I Don't Think Science Knows,' Trump Responds When Challenged on Climate Change at Wildfire Briefing,” CNBC (CNBC, September 15, 2020), https://www.cnbc.com/2020/09/14/trump-challenged-on-climate-change-during-wildfire- briefing.html?&qsearchterm=climate+change+trump+challenged. 88 “Donald Trump vs. Climate Change - CNN Video,” CNN (Cable News Network, August 26, 2019), https://www.cnn.com/videos/politics/2019/08/26/the-point-with-chris-cillizza-trump-climate- change.cnn. 89 “Jair Bolsonaro Claims NGOs behind Amazon Forest Fire Surge – but Provides No Evidence,” The Guardian (Guardian News and Media, August 21, 2019), https://www.theguardian.com/world/2019/aug/21/jair-bolsonaro-accuses-ngos-setting-fire-amazon- rainforest. 90 Deutsche Welle (www.dw.com), “Environment: All Topics from Climate Change to Conservation: DW,” DW.COM, accessed March 15, 2021, https://www.dw.com/en/top- stories/environment/s-11798. 91 “Trump Believes Climate Change Is a Hoax,” MSNBC (NBCUniversal News Group, June 3, 2017), https://www.msnbc.com/all-in/watch/trump-believes-climate-change-is-a-hoax-959187523541. 92 Por: Redação, “Debate Sobre Aquecimento Global,” Catraca Livre, March 25, 2010, https://catracalivre.com.br/cidadania/debate-sobre-aquecimento-global/. 93 “Trump Believes Climate Change Is a Hoax,” MSNBC (NBCUniversal News Group, June 3, 2017), https://www.msnbc.com/all-in/watch/trump-believes-climate-change-is-a-hoax-959187523541. 94 “News,” Energy Live News, accessed March 15, 2021, https://www.energylivenews.com/latest- news/.
129
-Ivan Duque, actual Colombian president, City TV news: “Jaguares, el mono araña, el oso de anteojos, los arboles, los animals, las comunidades indigenas, los campesinos.” (Jaguars, the spider monkey, the spectacled bear, the trees, the animals, the indigenous communities, the peasants).
- Energy live news, Britain news, Tonny Abbot says global warming will save lifes: “Australia can not save the world.”95
- CNN, American news, Trump versus Climate Change: “Well I think that climate change is a very very expensive form of tax, a lot of people are making a lot of money.”96
- Catraca Livre, Brazilian news: “Com a ignorancia mesmo de pessoas, com a barbaridade que eles falam sobre aquecimento global.” (With the ignorance of people, with the non-sense that they talk about global warming).97
- DW News, German news: “So the ultimate responsibility for fighting fires is the state premieres……. (But is a National emergency isn’t it Mr. Kelley, so you would expect the national leader to take charge and not fly out of the country.”98
- City TV news on Ivan Duque: “Toda la Cuenca amazonica depende del agua pura que baja de nuestras montañas, todo esto es nuestro, y si no actuamos muy pronto desaparecera.” (The entire Amazon Basin depends on the pure water that comes down from our mountains, all this is ours, and if we do not act very soon it will disappear).
-Jair Bolsonaro: “a questão da queimada no Amazonas, pode ter sido potencializada.” (The arguments regarding the Amazonas wildfire, may have been exaggerated).99
- MSNBC, American news. Trump believes climate change is a hoax: “The president has tweeted climate change skepticism at least 115 times including a claim that the concept of global warming was created by and for the Chinese.”100
95 Ibid. 96 “Donald Trump vs. Climate Change - CNN Video,” CNN (Cable News Network, August 26, 2019), https://www.cnn.com/videos/politics/2019/08/26/the-point-with-chris-cillizza-trump-climate- change.cnn. 97 Por: Redação, “Debate Sobre Aquecimento Global,” Catraca Livre, March 25, 2010, https://catracalivre.com.br/cidadania/debate-sobre-aquecimento-global/. 98 Deutsche Welle (www.dw.com), “Environment: All Topics from Climate Change to Conservation: DW,” DW.COM, accessed March 15, 2021, https://www.dw.com/en/top- stories/environment/s-11798. 99 “Jair Bolsonaro Claims NGOs behind Amazon Forest Fire Surge – but Provides No Evidence,” The Guardian (Guardian News and Media, August 21, 2019), https://www.theguardian.com/world/2019/aug/21/jair-bolsonaro-accuses-ngos-setting-fire-amazon- rainforest.
130
- MSNBC, American news. Trump believes climate change is a hoax: “All of this with the global warming, all of that is a hoax, is a hoax, I mean, is a money making industry ok, is a hoax.”101
-Ivan Duque on mining in Colombia: “Colombia paso del lugar 44 al puesto 16, en paises con potencial para la mineria, y el reto que tiene Colombia por delante, es mi deber saber si ese potencial se puede volver realidad, o si lo contrario, nos vamos a quedar con el potencial minero”. (Colombia moved from place 44 to position 16, in countries with potential for mining, and the challenge that Colombia has ahead, it is my duty to know if that potential can become a reality, or if the opposite, we are going to hold with the mining potential).
- Energy live news, Britain news, Tonny Abbot says global warming will save ifes: “Tonny Abbot already the most destructive politicians of this generation, now intends waging war in what he calls environmental theology.”102
- MSNBC, American news. Trump believes climate change is a hoax: “When the wind stops blowing, that’s the end of your electrics, lets hear you, darling!, darling is the wind blowing today? I would like to watch television darling.”103
- CNBC, American news, Trump denies science on climate change: “I wish you could go to Greenland and watch this huge chunks of ice just falling into the ocean raising the sea levels.”104
- Energy live news, Britain news, Tonny Abbot says global warming will save lifes: “One day it will probably come, and when it comes it will have little to do with the dioxide carbon emisions of mankind.”105
- Sky News, Australian news: “Scientists says the gravity of the wildfires are directly linked to green house gases making the planet warmer.”106
100 “Trump Believes Climate Change Is a Hoax,” MSNBC (NBCUniversal News Group, June 3, 2017), https://www.msnbc.com/all-in/watch/trump-believes-climate-change-is-a-hoax-959187523541. 101 Ibid. 102 “News,” Energy Live News, accessed March 15, 2021, https://www.energylivenews.com/latest-news/. 103 “Trump Believes Climate Change Is a Hoax,” MSNBC (NBCUniversal News Group, June 3, 2017), https://www.msnbc.com/all-in/watch/trump-believes-climate-change-is-a-hoax-959187523541. 104 KevinWilliamB, “'I Don't Think Science Knows,' Trump Responds When Challenged on Climate Change at Wildfire Briefing,” CNBC (CNBC, September 15, 2020), https://www.cnbc.com/2020/09/14/trump-challenged-on-climate-change-during-wildfire- briefing.html?&qsearchterm=climate+change+trump+challenged. 105 “News,” Energy Live News, accessed March 15, 2021, https://www.energylivenews.com/latest-news/. 106 Sky, “Climate Change CO2 Investigation: The Top 15 Carbon Polluters in the UK Revealed,” Sky News (Sky, December 24, 2020), https://news.sky.com/story/climate-change-investigation-the-top-15- polluters-in-the-uk-revealed-12171349.
131
- CNN, American news, Trump versus Climate Change: “It will start getting cooler.”107
- The Guardian News, Malcolm Turnbull clashes with News Corp's Paul Kelly over climate coverage: “We had twelve million hectares of our country burnt last summer”.108
- Sky News, Australian news: “Given the most scientist in the world, Mr. Kelly, Given the most scientist in the world agree that the planet is heating in a dangerous level, and that a lot of the contributive factors of that is of man made use of fossil fuels, why would you as a senior politician deny.”109
- CNN, American news, Trump versus Climate Change: “You have to show me the scientist, because, scientist have a big political agenda.”110
-Matteo Salvini, Vista TV, Italian news: “Il riscaldamento globale…. Fa un freddo dell’ostia, piove sempre, fa freddo, c`è la nebbia. Quindi…” (The global warming ...... its freaking cold, it always rains, its cold, there is fog, so .....111
-Jair Bolsonaro: “a questão da queimada no Amazonas, pode ter sido potencializada.” (The arguments regarding the Amazonas wildfire, may have been exaggerated).112
- MSNBC, American news. Trump believes climate change is a hoax: “All of this with the global warming, all of that is a hoax, is a hoax, I mean, is a money making industry ok, is a hoax.”113
107 “Donald Trump vs. Climate Change - CNN Video,” CNN (Cable News Network, August 26, 2019), https://www.cnn.com/videos/politics/2019/08/26/the-point-with-chris-cillizza-trump-climate- change.cnn. 108 “Q+A: Malcolm Turnbull Clashes with News Corp's Paul Kelly over Climate Coverage,” The Guardian (Guardian News and Media, November 10, 2020), https://www.theguardian.com/media/2020/nov/10/qa-malcolm-turnbull-clashes-with-news-corps-paul- kelly-over-climate-coverage. 109 Sky, “Climate Change CO2 Investigation: The Top 15 Carbon Polluters in the UK Revealed,” Sky News (Sky, December 24, 2020), https://news.sky.com/story/climate-change-investigation-the-top-15- polluters-in-the-uk-revealed-12171349. 110 “Donald Trump vs. Climate Change - CNN Video,” CNN (Cable News Network, August 26, 2019), https://www.cnn.com/videos/politics/2019/08/26/the-point-with-chris-cillizza-trump-climate- change.cnn. 111 “Riscaldamento Globale, Salvini: ‘Da Quando Hanno Lanciato L'allarme è Venuto Un Freddo..",” Vista TV, accessed March 15, 2021, http://www.agenziavista.it/tempo- reale/2019/292647_riscaldamento-globale-salvini-da-quando-hanno-lanciato-lallarme-e-venuto-un-freddo/. 112 “Jair Bolsonaro Claims NGOs behind Amazon Forest Fire Surge – but Provides No Evidence,” The Guardian (Guardian News and Media, August 21, 2019), https://www.theguardian.com/world/2019/aug/21/jair-bolsonaro-accuses-ngos-setting-fire-amazon- rainforest.
132
- Good morning Britain, Australian news: “We are paying the price in delayed action to address global warming.”
113 “Trump Believes Climate Change Is a Hoax,” MSNBC (NBCUniversal News Group, June 3, 2017), https://www.msnbc.com/all-in/watch/trump-believes-climate-change-is-a-hoax-959187523541.
APPENDIX 2
Score
133 134
Carlos A. Patino
How Dare You!
A global warming narrative of problems and solutions.
135
How Dare You!
2fl.1ob. 4cl(2bcl).1bsn/4sax(1.2.0.1)/pno/choir/electronics
45 minutes.
TABLE OF CONTENTS Page
FIRST SECTION
Movement I – We Are Running Out of Time (16 minutes) ...... 3
Movement II – Gasping Breaths (10 minutes) ...... 39
Movement III – Mourning Chants (6 minutes) ...... 51
SECOND SECTION
Movement IV – Aeolian Energy (13 minutes) ...... 66
136
How Dare You!
Movement I – We Are Running Out of Time
Instrumentation:
Flute 1 Flute 2 Oboe Soprano sax B♭ clarinet 1 B♭ clarinet 2 Bass clarinet 1 Bass clarinet 2 Bassoon Piano Choir (SSAATTBB) Electronics
Approx. length: 16 minutes
137
Performance notes
Speech. One male member of the choir should recite the speech on the microphones.
Electronics. The electronics parts (electronics 1, electronics 2) should be performed by one person.
Requirements: Two microphones linked in XY stereo, DAW, House speakers.
- The DAW should be amplified through the house speakers.
- The microphones should be connected to the DAW.
On the DAW:
- Create channel A for the microphones: This channel should have a distortion effect set to medium drive distortion level. Activate and deactivate the microphones and the distortion following the score of the Electronics 2 part.
- Duplicate the microphones signal in channel B: Following the score, in this channel record the live speech, and label it as Recorded Speech. This new track (Recorded Speech) should be activated and deactivated following the score on measures 180 – 190.
- Create different channels for each of the fixed tracks: Applause, Lack of Commitment 1, Lack of Commitment 2, Greta 1, Greta 2, Words Phasing, and Recorded Speech (track recorded live).
138
C Score How Dare You! I. We Are Running Out of Time Carlos Patino q = 120 2021 A Confident as a global leader - Arrogant - 16" - Speech 4 & 4 Thank you, thank you, thank you, thank you very much, thank you all very much. - Activate "Applause 1" - applause - Electronics 1 &
- Turn on Speech mics Electronics 2 4 & 4 ! Flute 1 4 & 4 ! Flute 2 4 & 4 ! Oboe 4 & 4 ! Soprano Sax 4 & 4 !
Clarinet in B 1 b 4 & 4 !
Clarinet in B 2 b 4 & 4 ! Bass Clarinet 1 ? 4 4 ! Bass Clarinet 2 ? 4 4 ! Bassoon ? 4 4 !
& 4 ! Piano 4 ? 4 4 ! Soprano 1 4 & 4 ! Soprano 2 4 & 4 ! Alto 1 4 & 4 ! Alto 2 4 & 4 ! Tenor 1 4 V 4 ! Tenor 2 4 V 4 ! Bass 1 ? 4 4 ! Bass 2 ? 4 ! 4
139
- 16" - 2
Speech & My fellow citizens, before we discuss this climate Accord, I’d like to begin with an update on our tremendous — absolutely tremendous —progress since Election Day.
- applause -
Elect. 1 &
ª
- 18" - 3
Speech & I have just returned from a trip overseas, where we concluded nearly $350 billion of military developments. It was a very, very successful trip. Believe me - believe me - believe me.
- applause - Elect. 1 &
ª
- 8" - 4
Speech & Thank you, thank you. Therefore, we will not continue in this global warming accord.
- applause -
Elect. 1 &
6
140
B
Speech & The green new deal!! The new green deal or WHATEVER THE HECK THEY CALL IT! Because we love our mines, but mostly,
- Activate "Applause 2" - applause -
Elect. 1 &
5 - At this point, record the speech and save it to a new track labeled "recorded speech"
Elect. 2 recording speech & ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~From~~~~ ~air~~~~~~~~ to pitch Piccolo ± ˙ Fl. 1 & ! ! ! ! ! ! ! p From air From pitch to pitch to air Fl. 2 ! ! ! ! & ± ˙ w w ˙ ± p p P From air to pitch
B Cl. 1 b & ! ! ! ! ! b± ˙ w w p P
B Cl. 2 b & ! ! ! ! ! ! ! !
From air From pitch From air to pitch to air to pitch ± ˙ w w ˙ ± ± ˙ B. Cl. 1 ? ! ! !
p P From air p to pitch ± ˙ w B. Cl. 2 ? ! ! ! ! ! ! p P
7
141
13
Speech & we love our military. As of today, we will cease all implementation of the green new accord -deal- because global warming itself
- applause - Elect. 1 &
13
Elect. 2 recording speech & ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From pitch From air From pitch to air to pitch to air w w ˙ ± ± ˙ w w ˙ ± Fl. 1 & ! F p F p From air From pitch From air to pitch o o o to air to pitch o o o ˙ w w ˙o ˙ w w Fl. 2 ! & ± (˙) ( w ) (w) ( ˙ ) ± ± (˙) (w ) (w) F p F From pitch From air From pitch From air to air to pitch to air to pitch
B Cl. 1 b & ˙ ± b± ˙ w w ˙ ± b± ˙ w w p P p P From air From pitch From air From pitch to pitch to air to pitch to air
B Cl. 2 b & b± ˙ w w ˙ ± b± ˙ w w ˙ ± p P p P p From pitch From air From pitch to air to pitch From air to air to pitch w w ˙ ± B. Cl. 1 ? b± ˙ w w ˙ ± b± ˙ P p P p From pitch From air From pitch From air to air to pitch to air to pitch w ˙ ± ± ˙ w w ˙ ± ± ˙ w B. Cl. 2 ? p P p P
w w w w w Bsn. ? ! ! ! p P p
8
142
qC = 62 21
Speech & ! ! 2 is doing good! what’s doing harm are global warming policies. 4
- applause - Elect. 1 2 & 4 21 - Activate distortion and delay Deactivate distortion and to Speech mics delay to Speech mics. Elect. 2 recording speech 2 & ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ! ! n 4 From pitch From air From pitch to air to pitch o o to air ˙o ˙ w ˙o Fl. 2 ! ! ! 2 & ( ˙ ) ± ± (˙) (w ) ( ˙ ) ± 4 p F p From pitch From air From pitch to air to pitch to air
B Cl. 1 b 2 & ˙ ± b± ˙ w w ˙ ± ! ! 4 p From air P From pitch p to pitch to air
B Cl. 2 b ! ! ! 2 & b± ˙ w w ˙ ± 4 P p From pitch to air B. Cl. 1 ? 2 w ˙ ± ! ! ! ! ! 4 p P From pitch From air From pitch to air to pitch to air w ˙ ± b± ˙ w w ˙ ± B. Cl. 2 ? ! 2 p P p 4
w w w Bsn. ? ! ! ! ! 2 P p 4
21
& ! ! ! ! ! ! ! 2 Pno. 4 ? ! ! ! ! ! bw w 2 p 4
9
143
D
- Activate "Lack of commitment 1" Let it play until it ends 28 Elect. 1 2 4 2 & 4 ! 4 ! ! ! 4 ! - Turn off Speech mics - Stop recording the speech 28 Elect. 2 2 4 2 4 7 2 4 & 4 ! 4 ! ! ! 4 ! 4 ! 4 ! 4 ! 4
28
& 2 ! 4 ! ! ! 2 ! 4 ! 7 ! 2 ! 4 Pno. 4 4 4 4 4 4 4 Ó œœ ww ? 2 4 bw 2 4 bw 7 2 4 4 ! 4 w ww ww 4 ! 4 w 4 ˙˙. ww 4 ! 4 ° *° * ° * ° *
ª
36
Elect. 1 &
36 g #œ & 4 ! 6 ! 2 ! 4 ! 6 ! 2 ! 4 ! 6 ! Œ g #œ 2 Pno. 4 4 4 4 4 4 4 4 4 Ó. ˙˙. ˙˙ Œ b˙. Ó ww ˙˙ Ó b˙ Œ œœ ww ? 4 b˙. œ 6 2 4 b˙. œ 6 2 4 b˙. œ 6 2 4 ˙. œ 4 ww. 4 ˙˙ 4 ˙. œ 4 ww. 4 ˙˙ 4 ˙. œ 4 ww. 4 ° * ° * ° * ° * ° * ° P ª
44
Elect. 1 &
44 . ˙ #˙. œ g ˙ #œ œ & 2 ˙ 4 ! 6 Ó. #˙. 1 œ 4 ! 6 Ó g ˙. #œ 1 œ 4 ! 6 Pno. 4 4 4 4 4 4 4 4 4 ˙˙ Œ b˙. Œ œœ ww œœ Œ b˙. Œ œœ ww œœ Œ b˙. ? 2 4 b˙. œ 6 1 4 b˙. œ 6 1 4 b˙. œ 6 4 ˙˙ 4 ˙. œ 4 ww. 4 œœ 4 ˙. œ 4 ww. 4 œœ 4 ˙. œ 4 * ° * ° * Ped$simile...... F ª
52
Elect. 1 &
52 . ˙ #œ œ g ˙ œ œ œ w & 6 Ó ˙. #œ 1 œ 4 ! 6 Ó g ˙ œ 4 6 ! 2 Pno. 4 4 4 4 œ œ 4 w 4 4 Œ œœ ww œœ Œ b˙. Œ bœ w Œ bb˙˙. Œ gbbœœ ww ? 6 1 4 b˙. œ 6 b w. 4 b ˙. œ 6 b w. g 2 4 ww. 4 œœ 4 ˙. œ 4 w. 4 b ˙ . œ 4 b w . 4 P p
10
144
58
Elect. 1 &
58 ˙. ˙ œ. bœ w œ w g #œ w #œ œ g & 2 bœ œ. 4 6 Ó g ˙. #œ 4 w 6 Ó ˙ œ. #œ œ gbœ 4 w 6 Pno. 4 bœ œ. œ 4 w 4 4 4 4 4 ˙˙ Œ b˙. Œ œœ ww Œ b˙. Œ œœ ww Œ b˙. ? 2 ˙ 4 b˙. . œ 6 4 b˙. . œ 6 4 b˙. . œ 6 4 ˙ 4 ˙. œ 4 ww. 4 ˙. œ 4 ww. 4 ˙. œ 4 f ª
64
Elect. 1 &
64 œ œ. bœ œ w œ œ. bœ œ #œ œ #œ œ g œ. ˙. & 6 Ó œ œ. #œ œ bœ œ 4 w 5 Ó œ œ. #œ œ bœ 4 œ g œ. ˙. 6 Pno. 4 4 4 4 g 4 Œ œœ ww Œ b˙. Œ œœ ˙˙. Œ b˙. ? 6 4 b˙. œ 5 4 b˙. œ 6 4 ww. 4 ˙. œ 4 ww 4 ˙. œ 4 ƒ ª
68
Elect. 1 &
68 ˙ œ. bœ œ . . œ œ . bœ. 6 Ó #œ œ bœ 4 œ g œ ˙ 5 Ó #œ bœ. œ 4 w 5 & ˙ œ. #œ œ g œ. ˙. œ œ #œ. œ w Pno. 4 4 g 4 4 4 Œ œœ ww Œ b˙. Œ œœ ˙˙. Œ b˙. ? 6 4 b˙. . œ 5 . 4 . 5 4 ww. 4 ˙. œ 4 ww 4 b˙. œ 4
ª
72
Elect. 1 &
72 œ œ. #œ œ bœ œ œ ˙ 5 Ó œ œ. bœ 4 œ g . . 5 Ó bœ œ. œ œ bœ 4 œ 5 & #œ œ g œ. ˙. œ œ œ. ˙. Pno. 4 4 4 bœ œ. bœ 4 œ œ. ˙. 4 Œ bœ ˙. Œ ˙. Œ œœ ˙˙. Ó b˙ ? œ ˙. b˙. . bœ ˙ œ 5 b w 4 b˙. œ 5 ww 4 œ œ 5 4 4 4 4 bb˙˙ œœ 4 >
11
145
76
Elect. 1 &
Speaking text in a concerned tone Ob. & 5 4 5 4 ! 5 4The amazon’s rain forest is on fire again,4 whole mountains, hills4 and valleys engulfed in smoke. 4 4 f Speaking text in a concerned tone Bsn. ? 5 ! 4 5 4 5 4 Controlling the fires is 4almost impossible, this firefighting4 team is responsible for 84000 square4 kilometers of land. 4 f 76 œ œ. bœ œ œ ˙ œ œ bœ œ œ #œ œ œ. ˙ œ. œ ˙ #œ œ. ˙ œ. œ & 5 Ó œ œ. #œ œ bœ 4 œ œ. ˙ œ. 5 œ œ #œ bœ 4 œ œ. ˙ œ. 5 4 4 4 3 4 #˙ 4 Pno. Œ. œ ˙ J b˙ Œ œœ ˙˙. Ó ˙ Œ œœ œœ bœ œ œ. œ bœ. ? 5 ww œœ 4 bœ œ 5 ww œœ 4 bœ œ 5 4 4 bb˙˙ œœ 4 4 bb˙˙ œœ 4 > > ª
80
Elect. 1 &
Speaking text in a concerned tone S. Sx. & 5 4 5 ! 4 4 Some of these fires are absolutely huge,stretching4 as far as the eye can see in every 4direction. 4 f Bsn. ? 5 ! 4 5 4 4 4 That’s just a bit larger than Scotland,4 and there are just 5 firefighters, yes, just 5. 4
80 ˙ . bœ œ œ. ˙ bœ. œ œ #œ œ œ. ˙ œ œ œ #œ. nœ & 5 ˙ œ œ. bœ 4 œ œ. 5 ˙ œ œ bœ. 4 Œ ww #œ œ œ. ˙ #˙ œ Œ ww #œ. nœ Pno. 4 4 Œ. œ ˙ 4 4 j J j Ó ‰ bœ œ œ. œ bœ. Ó ‰ bœ œ œ œ bœ. ? 5 ˙˙ ˙˙. 4 bœ œ 5 ˙˙ ˙˙. 4 4 Œ. œ ˙. 4 bb˙˙ œœ 4 Œ. œ ˙. 4 J ˙ œ J > ª
83
Elect. 1 &
Ob. & 4 4 Beneath the canopy of these ancient trees the fire rages, the heat from the place is absolutely astonishing, these trees are gone forever. Bsn. ? 4 ! 4 The fires restart constantly. We’ve joined this firefight for two days, but it has already been burning for 6 days.
3 83 œ œ œ bœ œ œ. bœ ˙ œ. œ. œ #œ œ ˙ œ. œ œ #œ. œ . nœ œ 4 œ œ œ œ. œ bœ œ œ. œ œ bœ. & ˙ #œ˙. Œ œœ #œ œ ˙ ‰ #œ˙. #œ. ˙˙œ. nœ œ Pno. 4 Œ. œ ˙ Œ œ ˙ Œ . J J Ó " bœ. œ bœ Ó " bœ. œ bœ. ? 4 bœ œ w bœ œ w œ œ w œ ˙ J œ œ w œ ˙ J 4 bb˙˙ œœ Œ. œ ˙ bb˙˙ œœ Œ. œ ˙ > J > J
12
146
87
Elect. 1 &
S. Sx. & 3 ! The Brazilian government says the amazon is not on fire. But here we film as4 the trees explode into flames like torches.
Bsn. ? ! 3 This team hasn’t given up the fight; firefighters4 say they haven’t seen it this bad in 20 years,
87 œ. bœ #œ ˙. œ œ #œ œ œ œ #œ œ . ˙ œ œ. œ. œ. œ. œ. œ bœ. . #œ 3 ˙. œ œ . #œ & œ œ #œ œ ˙ b˙. œ œ œ. ##˙˙ . œ œ. Pno. ‰ Œ ˙. 4 Œ bœ œ œ œ bœ ˙ œ ˙. Ï Œ ‰ J Ó J b˙ Ó œ œ ? ˙ bœ. bœ. N ˙ bœ œ bw 3 Œ N ˙ bb˙˙ œœ Œ. bœ ˙ 4 #˙ œ N ˙ œ J #˙ œ N ˙ œ > Ï ª
E - Activate "Greta 1" 91 let it play until it ends
Elect. 1 & From air to pitch o o Fl. 1 & ! 2 ! 4 ! 6 Œ Œ Œ Œ 2 4 œ œ 6 4 4 4 ± 4 ± 4 œ- œ- œ- œ- 4 # p
Ob. & 2 4 6 2 ! 4 ! 6 Is already the most deforested4 part of the region,4 deforestation that4 has changed the ecosystem. 4 4 4
Bsn. ? ! 2 ! 4 ! 6 2 4 ! 6 4 4 4 blaming the lack of regulations4 to face climate change.4 4
91 ˙. œ œ w œ. œ. w ˙ ˙. 2 œ . œ 4 w 6 Ó gbw 2 b˙œ œ. œ 4 w 6 & Œ ##˙˙ œ œ. œ w Pno. bœ 4 4 4 4 b œ œ. 4 4 r b˙ b˙. ‰. bœ œ œ œ Œ œœ Ó ˙ Œ œœ ww ˙˙ Œ ˙. ? 2 4 bw 6 ww 2 ˙˙ 4 bw 6 #˙ œ 4 N ˙ 4 w 4 . 4 4 w 4 #˙ œ N ˙ p
13
147
97
Elect. 1 & From pitch to air From air to pitch o o o o Fl. 1 - - - - . & 6 œ œ 4 ˙ ~~ı˙ 6 ! 4 ± ˙ ˙ ˙ ˙ ˙ 4 œ- œ- œ- œ- œ — 4 (-˙ ) ı(˙) 4 4 # P # From air p to pitch o o o Fl. 2 & 6 ! 4 ! 6 ! 4 Ó œ œ œ 4 4 4 4 ± ˙- œ- œ- œ- œ- œ- œ- # p 97 ˙ #˙ ˙ œ 6 Ó b˙ œ 4 w 6 Ó g g œ œ 4 w ! g ˙ & #˙ g ˙ œ g œ œ w b˙ g Pno. 4 j œ 4 w 4 g 4 b˙ g ˙ Ó ‰ bœ ˙ œ. Œ œœ ww Œ b˙. Œ gbœ w Œ bb˙˙. Œ gbb˙˙. ww ? bœ ˙ œ. b˙ . œ bw g b w b wg . w 6 ww. 4 ˙. œ 6 w. 4 b w b w w 4 4 4 4 #
ª
F - Create the "Recorded speech" track q = 120 with the speech recording made previously Elect. 1 & ! ! ! From pitch to air
Fl. 1 - & ˙ ± ! ! ! # From air From pitch to pitch to air
Fl. 2 & ± ˙ w w ˙ ± # p From air # to pitch
B Cl. 1 b ! ! & b± ˙ w
# Fromp air to pitch
B Cl. 2 b ! ! ! & b± ˙ From air # to pitch ± ˙ w w B. Cl. 1 ? ! # p U 103 g ˙ w w w Ó g & w g ˙ ww ww ww Pno. w w w w ww ww ww ww ? ww ww ww ww *
14
148
From air to pitch
107 Piccolo ± ˙ w w Fl. 1 & ! P F
From air to pitch o o ˙ w Fl. 2 ! ! & ± (˙) ( w ) P F From pitch From air to air to pitch
B Cl. 1 b & w ˙ ± b± ˙ w # P From pitch From air to air to pitch
B Cl. 2 b & w w ˙ ± b± ˙
FromP pitch From air # to air to pitch ˙ ± ± ˙ w w B. Cl. 1 ? # P From pitch From air to air to pitch ± ˙ w w ˙ ± B. Cl. 2 ? # P #
15
149
From pitch From air to air to pitch
111 ˙ ± ± ˙ w Fl. 1 & ! # F
From pitch From air o to air to pitch o w ˙o ˙ Fl. 2 ! & (w) ( ˙ ) ± ± (˙) # From pitch From air to air to pitch
B Cl. 1 b & w ˙ ± b± ˙ w # P From pitch From air to air to pitch
B Cl. 2 b & w w ˙ ± b± ˙ P # From pitch to air From air to pitch ˙ ± B. Cl. 1 ? b± ˙ w w # P From air From pitch to pitch to air ± ˙ w w ˙ ± B. Cl. 2 ? # P #
w w w Bsn. ? ! # P 111 ! g w w & g bw g Pno. g bw g w w ? ! ! ! ! ° F $ p B1 ? ! ! bWew w
16
150
From pitch From air to air to pitch
115 w ˙ ± ± ˙ Fl. 1 & ! # From pitch o o to air w w ˙o Fl. 2 ! & ( w ) (w) ( ˙ ) ± F # From pitch From air to air to pitch
B Cl. 1 b & w ˙ ± b± ˙ w # P From pitch From air to air to pitch
B Cl. 2 b & w w ˙ ± b± ˙ P # From pitch From air to air to pitch B. Cl. 1 ? ˙ ± ! b± ˙ w
From air # FromP pitch to pitch to air ± ˙ w w ˙ ± B. Cl. 2 ? P #
w w w w Bsn. ? # P
115 Œ g ˙. w g ˙. w & w g w ! ! Pno. w w
? ! ! ! ! P $ P T1 ! w w w V We
$ P $ T2 Ó V bWew w w ˙
$ B1 ? Ó ! w ˙ bWew
17
151
From pitch to air 119 w w ˙ ± Fl. 1 & ! F # From air From pitch to pitch o o o to air ˙ w w ˙o Fl. 2 & ± (˙) ( w ) (w) ( ˙ ) ± F #
From pitch From air to air to pitch
B Cl. 1 b & w ˙ ± b± ˙ w # P
From pitch From air to air to pitch
B Cl. 2 b & w w ˙ ± b± ˙ P # From air From pitch to pitch to air B. Cl. 1 ? b± ˙ w ˙ ± w # P # From air From pitch to pitch to air ± ˙ w w ˙ ± B. Cl. 2 ? P #
w w w w Bsn. ? # P
119 g ˙. w g . & Œ g ˙ w ! ! Pno.
? ! ! ! !
$ P $ T1 ˙ Ó Ó V bWew w ˙
P $ T2 Ó V bWew w w ˙
P $ B1 ? w w ˙ Ó !
18
152
G From air Flute to pitch q = 58 Fl. 1 2 4 2 & ! ! 4 ! 4 ! ! ± ˙ 4 From air From pitch # to pitch o o o to air ˙ ˙ w ˙o Fl. 2 ! 2 4 ! 2 & ± (˙) 4 (˙) 4 (w) ( ˙ ) ± 4 # From pitch F to air
B Cl. 1 b ! 2 ! 4 ! ! ! 2 & ˙ ± 4 4 4 # From pitch to air
B Cl. 2 b 2 ! 4 ! ! ! 2 & w ˙ ± 4 4 4 P # w Bsn. ? ! 2 ! 4 ! ! ! 2 # 4 4 4
p P $ A2 & ! ! 2 ! 4 ! w w 2 4 4 are 4
P p P $ T1 w w ˙ V 2 4 arew w w 2 We 4 4 4
P p P $ T2 V bw w 2 ˙ 4 w w w 2 We 4 4 are 4
P p B1 ? 2 4 ! ! ! 2 bWew w 4 ˙ 4 4
19
153
From air From pitch to pitch 129 to air ± ˙ Fl. 1 2 4 6 2 4 & 4 ˙ 4 ˙ ± ! 4 ! 4 ! 4 ! ! p # From pitch From air to air to pitch
B Cl. 1 b 2 4 6 ± w 2 ˙ 4 w ± & 4 ! 4 ! ! 4 4 4 Ó ! # p #
129 p P # # p $ S1 2 4 #w w 6 w. 2 4 w w w & ! We out ! 4 4 4 4 4 We
P S2 & 2 ! 4 ! ! 6 ! 2 ! 4 w ˙ ˙ w 4 4 4 4 4 We are out # P # P A1 w. & 2 ! 4 ! Wew 6 out 2 ! 4 bw ˙ b˙ w 4 4 4 4 4 We are out p P # A2 & 2 ! 4 w w 6 w. 2 ! 4 ! ! ! 4 4 We 4 out 4 4
P T1 V 2 ! 4 ! ! 6 ! 2 ! 4 ! ! w 4 4 4 4 4 out p P # T2 V 2 ! 4 w w 6 w. 2 ! 4 ! ! ! 4 4 We 4 4 4
20
154
From pitch to air
137 w ±. Fl. 1 5 4 2 5 6 3 4 & 4 Ó 4 ! 4 ! 4 ! 4 ! 4 ! 4 P # 137 F # S1 #w œ n˙ ˙. & ! 5 ! 4 ! 2 ! 5 Œ 6 3 ! 4 4 4 4 4 We 4 out 4 4
$ F # S2 & ˙ Ó 5 ! 4 ! 2 ! 5 Œ ˙ ˙ 6 œ ˙ ˙. 3 ! 4 4 4 4 4 We are 4 out 4 4 $ F # A1 & ˙ Ó 5 ! 4 ! 2 ! 5 6 3 ! 4 4 4 4 4 #We˙. are˙ 4 outw. 4 4
A2 F # & ! 5 ! 4 ! 2 ! 5 6 3 ! 4 4 4 4 4 We˙. are˙ 4 outw. 4 4 p T1 V Ó ˙ 5 ˙ Ó Œ 4 ! 2 ! 5 ! 6 ! 3 ! 4 We 4 4 4 4 4 4 4 p T2 V Œ 5 Ó Œ 4 ! 2 ! 5 ! 6 ! 3 ! 4 # We˙. 4 ˙ 4 4 4 4 4 4
p P B1 ? #w 5 ˙. n˙ 4 ˙ 2 ! 5 ! 6 ! 3 ! 4 we 4 are 4 4 4 4 4 4 p P B2 ? w 5 ˙. ˙ 4 w 2 ! 5 ! 6 ! 3 ! 4 We 4 out 4 4 4 4 4 4
21
155
From air 144 to pitch Fl. 1 4 5 4 7 & 4 ! 4 ! 4 ! 4 Ó ± ˙. # p 144 F P # S1 & 4 Œ ˙. 5 Œ ˙. Œ 4 w 7 ! 4 run 4 out 4 run 4 F S2 & 4 Œ 5 Œ Œ 4 ! 7 ! 4 #run˙. 4 out˙. 4 4
F p A1 & 4 5 Œ 4 ! 7 ! ˙. 4 #run˙. - ningœ 4 outw 4 4 time
F p A2 & 4 5 Œ 4 ! 7 ! ˙. 4 run˙. - ningœ 4 outw 4 4 time
p F $ f ƒ T1 w ˙. ˙ #˙ œ >œ #œ œ n>œ V 4 run 5 4 Œ 7 Œ Ó 4 4 4 run - ning 4 out out of time
f ƒ T2 V 4 ! 5 ! 4 Œ #˙ œ 7 œ Œ #œ œ œ Ó 4 4 4 run - ning 4 out> out of time>
f ƒ B1 > > ? 4 ! 5 ! œ 4 #˙. œ 7 œ Œ #œ œ nœ Ó 4 4 we're 4 run - ning 4 out out of time
f ƒ B2 ? 4 5 4 7 ! ! œ #˙. œ œ Œ #œ œ œ Ó 4 4 we're 4 run - ning 4 out> out of time>
22
156
From air to pitch 148 ± ±. ˙. ˙. Fl. 1 5 4 9 5 & w ˙. 4 ! 4 Ó Œ 4 4 From air # F to pitch Fl. 2 5 4 9 5 & ! Œ ± 4 w œ 4 ˙. Œ 4 ! 4 # p
B Cl. 1 b & ! 5 ! 4 ! 9 ΠΠ5 4 4 4 w.. 4 $ p $
B Cl. 2 b & ! 5 ! 4 ! 9 Œ Œ 5 4 4 4 w.. 4 $ p $ B. Cl. 1 ? 5 4 9 . 5 ! 4 ! œ 4 w 4 ˙ Œ ! 4 $ p $
B. Cl. 2 ? 5 4 9 . 5 ! 4 Ó Œ b˙ 4 w 4 ˙ Œ ! 4 $ p $
148 p S1 j j & Ó ˙ ˙ œ 5 œ œ bœ œ œ œ œ œ œ 4 ˙ Ó 9 ! 5 time time 4 time time time time 4 4 4
S2 p & w.. 5 œ ! 4 ! 9 ! 5 time 4 4 4 4
A1 j j & ˙ ˙ ˙ œ 5 œ œ œ œ œ œ œ œ œ 4 ˙ Ó 9 ! 5 time time 4 time time 4 4 4
A2 & w Ó Œ 5 w œ 4 ˙ Ó 9 ! 5 4 time 4 4 4 # p $ T1 V ! 5 ! 4 ! 9 Œ Œ œ ˙. ˙. 5 4 4 4 run 4 # p $ T2 ! 5 ! 4 ! 9 Œ Œ œ ˙. ˙. 5 V 4 4 4 run 4
23
157
H ±. Fl. 1 5 6 4 6 4 & 4 Œ 4 ! 4 ! 4 ! 4 #
B. Cl. 2 ? 5 6 4 6 4 4 bw œ 4 w Œ Œ 4 ! 4 ! 4 # p $ P # P S2 . . #œ ˙ ˙ . . #œ ˙ & 5 ! 6 Ó ‰ R 4 Ó 6 Ó ‰ R 4 4 4 time 4 4 run 4
P # P A2 & 5 ! 6 Ó. ‰. r 4 Ó 6 Ó. ‰. r 4 4 4 # timeœ ˙ 4 ˙ 4 # runœ ˙ 4
p P p F p T1 V 5 Ó ˙. 6 Ó ˙. Œ 4 ˙. œ 6 w Œ Œ 4 4 We 4 out 4 We are 4 out 4
p P p F p T2 V 5 Ó b˙. 6 Ó ˙. Œ 4 b˙. œ 6 w Œ Œ 4 4 We 4 out 4 We are 4 out 4
# F p F p B1 ? 5 w œ 6 w Œ Œ 4 Œ ˙. 6 Œ w Œ 4 4 We 4 out 4 We 4 time 4
# F p F p B2 ? 5 bw œ 6 w Œ Œ 4 Œ b˙. 6 Œ w Œ 4 4 We 4 out 4 We 4 time 4
24
158
156 F p F S1 #˙. #˙. œ œ & 4 ! 6 Ó Œ 4 ! 6 Ó 4 4 4 run 4 4 run out 4
# F p F S2 ˙ . #œ œ ˙ . . #œ ˙ & 4 Ó 6 ! ‰ R 4 Ó 6 Ó ‰ R 4 4 4 ning 4 4 ning 4
F p F A1 & 4 ! 6 Ó Œ #˙. 4 ! 6 Ó #˙. œ œ 4 4 4 run 4 4 run out 4
# F p F A2 & 4 Ó 6 ! ‰. r 4 Ó 6 Ó. ‰. r 4 4 ˙ 4 # ningœ œ 4 ˙ 4 # ningœ ˙ 4 F p F p T1 V 4 Œ ˙. 6 Œ w Œ 4 ˙. œ 6 w Œ Œ 4 4 We 4 out 4 We are 4 out 4
F p F p T2 V 4 Œ b˙. 6 Œ w Œ 4 b˙. œ 6 w Œ Œ 4 4 We 4 out 4 We are 4 out 4 F p p F p B1 ? 4 ˙. œ 6 w Œ Œ 4 Œ ˙. 6 Œ w Œ 4 4 We are 4 out 4 We 4 out 4
F p F p B2 ? 4 b˙. œ 6 w Œ Œ 4 Œ b˙. 6 Œ w Œ 4 4 We are 4 out 4 We 4 out 4
25
159
160 Fl. 1 4 6 #˙. œ œ 4 ˙ 6 #˙. œ œ 4 & 4 ! 4 Ó 4 Ó 4 Ó 4 F p F
Ob. 4 6 4 6 . . #œ ˙ 4 & 4 ! 4 ! 4 ! 4 Ó ‰ R 4 F
B Cl. 1 b 4 6 4 ˙. œ 6 4 & 4 ! 4 ! 4 4 w Œ Œ 4 # P #
B. Cl. 2 ? 4 6 4 6 4 4 b˙. œ 4 w Œ Œ 4 Œ b˙. 4 Œ w Œ 4 $ p # P #
160 P F P F S1 ˙ #˙. œ œ ˙ #˙. œ œ & 4 Ó 6 Ó 4 Ó 6 Ó 4 4 4 run out 4 4 run out 4
p F p F S2 ˙ . . #œ ˙ ˙ . . #œ ˙ & 4 Ó 6 Ó ‰ R 4 Ó 6 Ó ‰ R 4 4 4 ning 4 4 ning 4
P F P F A1 & 4 ˙ Ó 6 Ó #˙. œ #œ 4 ˙ Ó 6 Ó #˙. œ œ 4 4 4 run out 4 4 run out 4
p F p F A2 & 4 Ó 6 Ó. ‰. r 4 Ó 6 Ó. ‰. r 4 4 ˙ 4 # ningœ ˙ 4 ˙ 4 # ningœ ˙ 4
F p F p T1 V 4 Œ ˙. 6 Œ w Œ 4 ˙. œ 6 w Œ Œ 4 4 We 4 time 4 We are 4 out 4
F p F p T2 V 4 Œ b˙. 6 Œ w Œ 4 b˙. œ 6 w Œ Œ 4 4 We 4 time 4 We are 4 out 4
F p F p B1 ? 4 ˙. œ 6 w Œ Œ 4 Œ ˙. 6 Œ w Œ 4 4 We are 4 out 4 We 4 time 4
F p F p B2 ? 4 b˙. œ 6 w Œ Œ 4 Œ b˙. 6 Œ w Œ 4 4 We are 4 out 4 We 4 time 4
26
160
164 #˙ œ œ ˙ #˙ Fl. 1 4 ˙ 5 4 & 4 Ó 4 Ó 4 Ó Ó p f p f
Ob. 4 œ nœ. ˙. 5 . #œ ˙ 4 œ nœ. ˙. & 4 4 Ó ‰ R 4 ! p F p S. Sx. 4 5 4 #œ ˙. & 4 ! 4 ! 4 ! ‰ " R F
B Cl. 1 b 4 ˙. 5 . 4 ˙. œ & 4 Œ 4 Œ ˙ Œ 4 w # P $ p F $
B Cl. 2 b 4 5 4 & 4 Œ b˙. 4 Œ ˙. Œ 4 b˙. œ w # P $ p F $ ˙. œ ˙. B. Cl. 1 ? 4 5 w 4 ˙. 4 4 Œ 4 Œ Œ $ P $ F B. Cl. 2 ? 4 5 4 4 b˙. œ 4 w Œ 4 Œ b˙. Œ ˙. $ P $ F
164 P f p S1 ˙ #˙ œ œ ˙ & 4 Ó 5 Ó 4 Ó ! 4 4 run out 4 f p S2 œ nœ. ˙. . #œ ˙ œ nœ. ˙. & 4 5 Ó ‰ R 4 ! 4 of 4 ning 4 of
P f p A1 & 4 ˙ Ó 5 Ó #˙ œ œ 4 ˙ Ó ! 4 4 run out 4
f p A2 & 4 5 Ó ‰. r 4 ! 4 œ n ofœ. ˙. 4 # ningœ ˙ 4 œ n ofœ. ˙.
F p F T1 V 4 Œ ˙. 5 Œ ˙. Œ 4 ˙. œ w 4 We 4 out 4 We are out
F p F T2 V 4 Œ b˙. 5 Œ ˙. Œ 4 b˙. œ w 4 We 4 out 4 We are out
F p F B1 ? 4 ˙. œ 5 w Œ 4 Œ ˙. Œ ˙. 4 We are 4 out 4 We out
F p F B2 ? 4 b˙. œ 5 w Œ 4 Œ b˙. Œ ˙. 4 We are 4 out 4 We out
27
161
168 ˙. œ. œ ˙ œ #˙ Fl. 1 2 4 3 & 4 4 Œ Ó Ó 4 F f #w ˙ ˙ Fl. 2 2 4 #œ œ #˙ 3 & 4 4 Œ Œ 4 f F P #œ ˙ œ #œ ˙ Ob. R 2 4 3 & Œ ‰ " 4 4 Ó ! 4 F P S. Sx. w 2 4 #œ ˙. 3 & 4 ! 4 ! ‰ " R 4 P F
B Cl. 1 ˙. œ bw b 2 4 3 & ! 4 ! 4 4 # P p
B Cl. 2 ˙. œ bw b 2 4 3 & ! 4 ! 4 4 # P p
B. Cl. 1 ? œ 2 4 3 Œ Ó 4 ! 4 ! ! 4 $ w w B. Cl. 2 ? 2 4 3 œ Œ Ó 4 ! 4 4 $ # P p p B1 ? 2 4 3 œ Œ Ó 4 ! 4 ! ! 4 p B2 ? 2 4 3 œ Œ Ó 4 ! 4 ! ! 4
28
162
172 œ œ. œ œ ˙. Fl. 1 3 4 5 4 r 5 & 4 4 Œ 4 Ó #˙ œ œ 4 ˙ ‰ " œ œ 4 P #˙. œ œ ˙ Fl. 2 3 4 Œ 5 Ó ‰. r 4 5 & 4 4 4 #œ ˙ 4 œ nœ. ˙. 4 f P P p #œ œ. #œ ˙. Ob. 3 R J 4 5 4 5 & 4 ‰ " 4 Œ 4 ! 4 ! 4 F p S. Sx. 3 ˙. 4 5 4 5 & 4 4 ! 4 ! 4 ! 4 p B Cl. 1 ˙. œ w b 3 4 5 4 ˙. 5 & 4 ! 4 4 Œ 4 Œ 4 # P p P
B Cl. 2 ˙. œ w b 3 4 5 4 5 & 4 ! 4 4 Œ 4 Œ b˙. 4 # P p P ˙. œ B. Cl. 1 ? 3 4 5 4 5 4 ! 4 ! 4 ! 4 4 $ P w #w B. Cl. 2 ? 3 4 5 4 5 4 ! 4 4 Œ 4 b˙. œ 4 # P p $ P
172 F S1 #˙ œ œ ˙ œ œ & 3 ! 4 ! 5 Ó 4 ‰. R 5 4 4 4 run out 4 time 4
F p S2 . #œ ˙ œ nœ. ˙. & 3 ! 4 ! 5 Ó ‰ R 4 5 4 4 4 ning 4 of 4 F A1 r & 3 ! 4 ! 5 Ó #˙ œ œ 4 ˙ ‰ " œ œ 5 4 4 4 run out 4 time 4
A2 F p & 3 ! 4 ! 5 Ó ‰. r 4 5 4 4 4 # ningœ ˙ 4 œ n ofœ. ˙. 4
29
163
I - Activate "Greta 2" - Greta - Elect. 1 &
Fl. 1 5 4 3 4 & 4 œ Œ Ó Œ 4 ! ! 4 ! 4
B Cl. 1 b 5 . 4 3 4 & 4 Œ ˙ Œ 4 ! ! 4 ! 4 $ B Cl. 2 b 5 4 3 4 & 4 Œ ˙. Œ 4 ! ! 4 ! 4 $ w B. Cl. 1 ? 5 w 4 3 4 4 Œ 4 ! 4 ! 4 $ p B. Cl. 2 ? 5 4 3 4 4 w Œ 4 bw ! 4 ! 4 $ p Bsn. ? 5 4 3 b˙ œ 4 4 ! 4 ! ! 4 4 p
176 f S1 œ #˙ œ œ ˙ œ œ œ #œ œ œ œ œ œ & 5 Œ 4 ‰ " R Œ 3 ‰ " R 4 4 run out 4 time run out 4 time 4 F p f S2 . #œ ˙ œ nœ. ˙. . #œ œ œ nœ. ˙ & 5 Ó ‰ R 4 Ó ‰ R 3 4 4 ning 4 of ning 4 of 4 f A1 & 5 œ Œ ˙ œ bœ 4 ˙ ‰ " bœ œ œ Œ œ œ bœ 3 œ ‰ " bœ œ 4 4 run out 4 Rtime run out 4 Rtime 4 p f A2 F & 5 Ó ‰. r 4 Ó ‰. r 3 4 4 # ningœ ˙ 4 œ n ofœ. ˙. # ningœ œ 4 œ n ofœ. ˙ 4 p p T1 P f V 5 Œ ˙. Œ 4 Œ ˙. Œ ˙. 3 Œ ˙ 4 4 out 4 We out 4 We 4 p P p f T2 V 5 Œ ˙. Œ 4 Œ b˙. Œ ˙. 3 Œ b˙ 4 4 out 4 We out 4 We 4 $ P F p f B1 ? w 5 Œ 4 ˙. œ w 3 ˙ œ 4 4 out 4 We are out 4 We are 4 $ P F p f B2 ? 5 w Œ 4 b˙. œ w 3 b˙ œ 4 4 out 4 We are out 4 We are 4
30
164
180 - Greta - Elect. 1 &
180 - Activate "Recorded Speech" - recorded speech - Elect. 2 & f
Fl. 1 œ œ œ œ œ œ œ œ ˙ 4 #œ œ 3 R 4 #œ œ 3 R 4 & 4 Ó 4 ‰ " 4 4 ‰ " 4 F Fl. 2 4 3 4 . #œ œ 3 œ nœ. ˙ 4 & 4 ! 4 ! 4 Ó ‰ R 4 4 F p Ob. 4 ! 3 Œ ‰ " bœ œ 4 œ bœ œ 3 ‰ " bœ ˙ 4 & 4 4 R 4 œ œ 4 R 4 P S. Sx. 4 ! 3 ! 4 ! 3 " j 4 & 4 4 4 4 œ . ˙ 4 F B Cl. 1 b 4 3 ˙ 4 . 3 ˙ 4 & 4 ! 4 Œ 4 Œ ˙ 4 Œ 4 P p F ˙ œ B. Cl. 1 ? 4 3 4 3 4 4 ! 4 ! 4 ! 4 4 F Bsn. ? 4 w 3 b˙ œ 4 w 3 b˙ œ 4 4 4 4 4 4 F p P F p F 180 S1 œ #œ œ œ œ œ œ œ #œ œ œ œ œ ˙ & 4 Œ 3 ‰ " R 4 3 ‰ " R 4 4 run out 4 time 4 run out 4 time 4
S2 4 Ó ‰. #œ œ 3 œ nœ. ˙ 4 Ó ‰. #œ œ 3 œ nœ. ˙ 4 & R Rning 4 ning 4 of 4 4 of 4
A1 & 4 œ Œ œ œ bœ 3 œ ‰ " bœ œ 4 œ œ œ bœ œ 3 ‰ " bœ ˙ 4 4 run out 4 Rtime 4 run out 4 Rtime 4
A2 & 4 Ó ‰. r 3 4 Ó ‰. r 3 4 4 #œ œ 4 œ n ofœ. ˙ 4 #œning œ 4 œ nœof. ˙ 4 p f p f T1 V 4 Œ ˙. 3 Œ ˙ 4 Œ ˙. 3 Œ ˙ 4 4 out 4 We 4 out 4 We 4 p f p f T2 V 4 Œ ˙. 3 Œ b˙ 4 Œ ˙. 3 Œ b˙ 4 4 out 4 We 4 out 4 We 4 p f p f B1 ? 4 w 3 ˙ œ 4 w 3 ˙ œ 4 4 out 4 We are 4 out 4 We are 4 p f p f B2 ? 4 w 3 b˙ œ 4 w 3 b˙ œ 4 4 out 4 We are 4 out 4 We are 4
31
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184 - Greta - Elect. 1 & 4 - Activate distortion and delay 4 to "Recorded Speech" 184 - recorded speech - Elect. 2 & #œ. œ œ œ œ #œ. œ œ œ œ #œ- œ- œ œ ˙. Fl. 1 J R æ æ J æ R æ & 4 ‰ " 3 ‰ " 3 4 4 f 4 ƒ 4 œ. œ œ #œ œ œ nœ. ˙ œ- œ- œ œ ˙. Fl. 2 4 ‰ " bœ œ œ æ 3 æ ‰ " R æ æ 4 & 4 R 4 3 4 F f ƒ bœ œ bœ œ - bœ- bœ œ ˙. Ob. j œ. R œ 4 . bœ œ ‰ " bœ 3 œ J ‰ " 3 4 & 4 œ R 4 4 F f S. Sx. œ. ˙ - - œ œ ˙. & 4 ‰ " r 3 ‰ " r œ œ 4 4 bœ œ œ œ. œ 4 œ bœ œ œ 3 4 f ƒ B Cl. 1 b 4 3 ˙ ˙. ˙. 4 & 4 Œ ˙ Œ 4 Œ ˙ Œ 4 ƒ $ B Cl. 2 b 4 3 4 & 4 ! 4 b˙ Œ ˙ Œ b˙. ˙. 4 F ƒ $ œ œ œ œ ˙. ˙. B. Cl. 1 ? 4 ˙. 3 œ ˙ 4 4 4 4 p F p ƒ $ B. Cl. 2 ? 4 Ó. 3 4 4 bœ 4 ˙. ˙ bœ ˙. ˙. 4 p F p ƒ $ Bsn. ? 4 ˙. bœ 3 œ bœ nœ ˙ bœ ˙. ˙. 4 4 4 4 p F p ƒ $ 184 $ S1 . œ œ œ œ . œ œ œ œ œ œ œ ˙. #œ R #œ R #œ & 4 J ‰ " 3 J ‰ " 3 4 4 run out time 4 run out time out of time 4 $ S2 4 ‰ " #œ œ œ nœ. œ 3 œ ‰ " #œ œ œ nœ. ˙ œ œ œ œ ˙. 4 & R R 3 4 ning of 4 ning of out of time 4 3 $ A1 j j & 4 œ. bœ œ ‰ " bœ 3 œ œ. bœ œ ‰ " bœ œ œ bœ bœ œ ˙. 4 4 run out Rtime 4 run out Rtime out of time 4 3 $ A2 & 4 ‰ " r 3 ‰ " r 4 4 # ningœ œ œ n ofœ. œ 4 œ # ningœ œ œ n ofœ. ˙ outœ ofœ timeœ œ ˙. 4 $ T1 V 4 Œ ˙ Œ 3 ˙ Œ ˙ Œ ˙. ˙. 4 4 out 4 We out are 4 $ T2 V 4 Œ ˙ Œ 3 b˙ Œ ˙ Œ b˙. ˙. 4 4 out 4 We out are 4 p f p f $ B1 ? 4 ˙. œ 3 œ œ œ ˙ œ ˙. ˙. 4 4 out We 4 are out We 4 p f p f $ B2 ? 4 ˙. bœ 3 œ bœ nœ ˙ bœ ˙. ˙. 4 4 out We 4 are out We 4
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166
189 Elect. 1 4 & 4 ! At this point, the "Recorded speech" track should only have the repetitions of the Delay 189 - recorded speech delay - Elect. 2 &
w Fl. 1 4 & 4 F
ª
- Activate "Words Phasing" track let it play until it ends. Dynamic mp J - 1' - - Words Phasing - Elect. 1 &
Gradually decrease the volume of the "Recorded speech" track to n - 1' -
190 - recorded speech delay - Elect. 2 & n
ª
- 10'' -
191 - Words Phasing - Elect. 1 & - 10'' -
191 spoken words - concerned (only one person) S1 & Deforestation F spoken words - concerned (only one person) T2 V Oceans F spoken words - concerned (only one person) B1 ? Action on F
33
167
- 10'' -
192 - Words Phasing - Elect. 1 & - 10'' - 192
S1 & Action on
spoken words - concerned (only one person) A2 & Global F spoken words - concerned (only one person) T1 V Ecosystems F spoken words - concerned (only one person) T2 V Climate F B1 ? Deforestation
spoken words - concerned (only one person) F B2 ? Warming F
ª
- 10'' - 193 - Words Phasing - Elect. 1 & - 10'' - 193
S1 & Warming
spoken words - concerned (only one person) A1 & Action on F A2 & Global
T1 V Deforestation
T2 V YOU ARE FAILING US!!
B2 ? Ecosystems
34
168
- 10'' -
194 - Words Phasing - Elect. 1 & - 10'' - 194
S1 & Oceans
spoken words - concerned (only one person) S2 & Warming F A1 & Action on
A2 & Global
T2 V POLLUTION!!
B1 ? Climate
B2 ? Change
- 10'' -
195 - Words Phasing - Elect. 1 & - 10'' - 195
S1 & EXTINCTION!!
S2 & Global
A1 & Action on
A2 & Change YOU ARE FAILING US!!
T1 V Warming
T2 V Oceans
B1 ? Climate
B2 ? Oceans
35
169
- 10'' -
196 - Words Phasing - Elect. 1 & - 10'' - 196
S1 & Lack of Oceans
S2 & Global
A1 & Action on
A2 & Change POLLUTION!!
T1 V Warming
T2 V EXTINCTION!! Oceans
B1 ? Climate
B2 ? YOU ARE FAILING US!!
ª
- 10'' -
197 - Words Phasing - Elect. 1 & - 10'' - 197
S1 & Action on
S2 & Global
A1 &
A2 & EXTINCTION!! Change POLLUTION!!
T1 V Warming
T2 V Lack of YOU ARE FAILING US!! Oceans
B1 ? Climate
B2 ? Oceans
36
170
- 10'' -
198 - Words Phasing - Elect. 1 & - 10'' - 198
S1 & POLLUTION!! Climate Oceans f S2 & Global Lack of Ecosystems f A1 & Your planet Action on Lack of f A2 & EXTINCTION!! Action on Your planet f T1 V Ecosystems Deforestation Global f
T2 V Change Oceans Climate f B1 ? Oceans YOU ARE FAILING US!! Change f B2 ? Lack of Warming Global f ª
- 10'' -
199 - Words Phasing - Elect. 1 & - 10'' - 199
S1 & Change Oceans Global Climate EXTINCTION!! Deforestation Warming
S2 & Oceans Action on Your planet Lack of Change POLLUTION!! Global
A1 & Climate Ecosystems Warming Climate Warming Action on Global YOUR PLANET!!!!
A2 & YOU ARE FAAAILING US!! Warming Climate Change YOUR PLANET!!!! Oceans Action on Ecosystems
T1 V YOU ARE FAAAILING US!! Deforestation Ecosystems DEFORESTATION!!!! Climate Action on Oceans Warming
T2 V Warming EXTINCTION!! Action on Climate Ecosystems Global Lack of Action on Change
B1 ? Ecosystems POLLUTION!! Oceans Your planet Action on Global Lack of Oceans
B2 ? Deforestation Ecosystems Warming Climate Global YOUR PLANET!!!!
37
171
- 10'' - 200
S1 & People are dying,
A2 & we are at the beginning of a mass extinction.
T1 V entire ecosystems are collapsing,
ª
- 10'' - 201
S1 & How do you come here saying that you are doing enough?
B1 ? How do you continue to look away?
38
172
How Dare You!
Movement II – Gasping Breaths
Instrumentation:
Flute 1 Electronics
Approx. length: 10 minutes
C Score How you dare! 2. Gasping Breaths Carlos Patino Freely For solo flute, 2021 or flute and electronics 173 q = 90-110 Anxious Air sound Flute Performance, notes , & j #— — b— #— — — — — b— — — — — —b— — — — — — — — b— — — — — — — — & — b— — #— — — — b— — — — — b— — #— — — — — — — — π — p — π— — — p Flute.
Random Key Clicks Agitated J.W. White noise from air , from pitch Inhaling - exhaling...... accel to.. Gasping to pitch to air , >œ 3 j & b # b —, b — b—, — — —— # — b J — — b± — — b— — —— — — — — — — & — b— —&#— — — — b— — — — — b— — #— — — — — — — b—— — #— b— — Performer should play random key≠ clicks following— the rhythmic— π— gesture.— -œ œ-— œ- — — p ƒ π P ƒ π P π
Agitated J.W. White noise from air from pitch Inhaling - exhaling...... accel to.. Gasping to pitch to air > j — — — — — — — — 3 œ & — b— b— — #— — — b— — #— ,b , # b # b & J & ——b— #—————— — b # —— b— —#— b# — — b— # — ——————— b——— ≠ — b—— — —œ œ— —œ — — —— b — — — — — White noise, Gasping – Followingp the register on the graph, the performer- - should- π inhale andƒ exhale πslowly – rapidlyP throughƒ the mouthpieceπ . P π Agitated J.W. from air from pitch White noise to pitch to air Inhaling - exhaling....accel to gasping.... Gasping >œ Gasping , , J from air from pitch & J.W. Coughing White noise ≠ Inhaling - exhaling to pitch — toœ air — — b— — , o 3 & ——b—ƒ #———π—>—— — b P # —— ,b— Ï—#— πb P# —————π— b——— — & œ b—— — — — — — — œ — —#— — b— J b– – ≠ — œ œ œ (œ) œ œ œ — b— — — – p Zaafl Zaa> π ------Tuffl
ƒ f p π P p f Tongue pizz. , The performer should use the corresponding, syllables to recreate a “coughing” effect. Gasping j J.W.& j White noise b— — from air — — — — — —#— — from pitch b # b Coughing— b— — — — — — — to pitch—b— — — —to— airGasping — Inhaling - exhaling — from air from pitch o 3 White noise to air , Coughing Inhaling - exhaling to pitch , p , 3 >œ œ o Electronics. & #— — b— — , J b– – ≠ — œ œ œ (œ) œ œ œ — b— — r – œ r Zaafl& Zaab> b - - - - b–- - –- ≠ b œ Tuffl œ Tuf Zaa> — œ œ œ (œ) œ œ œ Requirements when played fromby airthe electronic performer:from pitch fl ------ƒ to pitchf p to air π P p f Two microphones linked in XY stereo, audio interface,3 DAW with delay fand distortionp π P effects, stereo speakers. & #— —b— b # b # b — œ œ œ œ œ œ œ — —b—— — b from air Gasping ------from air from pitch - The flutist should perform throughto pitch the same microphones used to recordWhite thenoise live speech to air π P p , Coughing Inhaling - exhaling to pitch 3 3 o o 3 in movement I. These microphones should be connected to a DAW. , , j œ j r — œ r — — — — — & b & b œ # b œ — b #œ — —b— b — œ œ œ œ œ œ (œ) —b–— b—–———≠——— b — — —œ— — œ œ œ œ œ —œ -In the DAW, the electronic performer -should- - triplicate- - - the- signalTuffl Zaain> channels as follows:- - - (-) - - - π P p π • This signal should be clean (no audio processing), andf should bep amplifiedπ P through the speakers with a fixed volume. 2 from air to pitch 3 3 o , j œ j — — — — — — & b œ — b——————— b # — — — — — b # — — —b— — œ- œ- œ- œ- œ- œ- (œ-) — π P p π
2 174
• This signal should have a reverb effect. The decay of the reverb should be set between 3 and 5 seconds; the electronics performer should be able to play and modify other parameters without going to the extremes. Following the score, the reverb should be activated with a fixed volume of 3 decibels (dB) below the volume of signal 1. • This signal should have a distortion effect. The Drive parameter should be set on “medium”; the electronics performer should be able to play and modify other parameters without going to the extremes. The volume of the distortion should be set to null. The effect should be activated - deactivated and gradually raised – decreased on volume following the marks on the score.
Requirements when the flutist plays the electronics: Two microphones, one stomp reverb pedal, one stomp distortion pedal, house stereo speakers.
The flutist should perform through two microphones A and B. The microphone A should be connected to the reverb pedal, and microphone B should be connected to the distortion pedal; then both should be amplified through the speakers. The reverb and distortion parameters should be the same as mentioned above. The flutist should activate the pedals with his/her feet following the marks on the score.
175
C Score HowHow Dareyou dare! You! 2. Gasping Breaths Carlos Patino Freely For solo flute, 2021 or flute and electronics q = 90-110 Anxious Air sound Flute , , & j #— — b— #— — — — b— — — — b— — — — — — — — b— — — — — — — π p π p
Random Key Clicks 2 , , & b # b b j b— — — # b b± — — — b— — — —— —— — — π p
3 j & b— #— — — — b— #— — — — — — b # b # b — b— — — — —
Agitated J.W. from air from pitch White noise Gasping to pitch to air 4 > Inhaling - exhaling....accel to gasping.... œ , , & J ≠ — œ — — b— — ƒ π P Ï π P π
5 , , j & j b— — — — #— — b # b — — b— — — — — — — — — —b— — — — — — — — p
from air from pitch to pitch to air 6 3 & #— —b— b # b # b — œ œ œ œ œ œ œ — —b—— — b ------π P p
176
7 — — — — — — — — — — — — & b— — #— b— — — — — — — b— — #— — — — — — —
Agitated J.W. White noise from air from pitch Gasping to pitch to air 8 Inhaling - exhaling...... accel to.. > 3 œ , , J — — & b— — #— — b— — ≠ — -œ œ- œ- — ƒ π P ƒ π P π
9 & ——b— #—————— — b # —— b— —#— b # —————— b——— — b—— — — — — — — — — p π
Gasping from air from pitch J.W. Coughing White noise Inhaling - exhaling to pitch to air 10 o 3 > , , œ œ — & J b– – ≠ — œ œ œ œ œ œ œ — b— — #— b— — – Zaafl Zaa> - - - (-) - - - Tuffl ƒ f p π P p f
Gasping from air from pitch White noise to air , Coughing Inhaling - exhaling to pitch 11 o 3 , r œ r & b b œ œ b b– – ≠ — œ œ œ œ œ œ œ Tuffl Zaa> - - - (-) - - - f p π P
from air to pitch 12 3 3 o , j œ j — — — — — — & b œ — b——————— b # — — — — — b # — — —b— — œ- œ- œ- œ- œ- œ- (œ-) — π P p π 432
177
J.W. Gasping White noise Inhaling - exhaling 13 >œ , J , j j & j b– – j b– – > – ≠ – > – – Tuffl Zaa> Tzz Kafl Kafl Tzz Zaa> flTuf ƒ f p f
14 , , j j & b– j bœ œ — # b— — — # — b— — – – j – – — — — Ka Tzz> – Tuffl Zaa> Tzzfl Ka fl Zaafl Tuffl p f
from air from pitch to pitch to air 15 3 o 3 œ- , j j j j & j b– b œ œ – j b– – – — œ œ œ œ) œ œ œ — – b– – Tuffl Zaa> Tzz> flKa - - - ( - - - flKa Tzz> Zaa> flTuf p F p f
Agitated White noise Inhaling - exhaling 16 — — — — & b– – ≠ b # — — — — — — b # b —#— Tuffl Zaa> p
Gasping Gasping White noise White noise 17 Inhaling - exhaling Inhaling - exhaling j j — — & b– bœ – ≠ # — — — — — — — — — Tuffl Tzzfl Zaa> f p
Gasping White noise 18 Inhaling - exhaling , j j — — — — — — & œ – b≠ — #— — b— # — b— flKa Zaa> f p ƒ p 44 3
178
19 j j j j & j —————#— b j œ r # — — j ——— j ———bœ # b— – – b— – – ———— œ – — – – — — — — Ka >Zaa Tuffl Tzzfl Zaa> Ka Zaa> Tuffl Zaa> Tzzfl f p f p f p f p f p f p
, 20 , , & j b— #— — — — b— #— — — — — — b — — — — —# b # b — b— — — — — —
(Activate reverb)
rhythmic ‰=160-180
#˙ ~ 21 ä œ œ ~~ œ j #œ #œ æ Œ ‰ Œ Œ ‰ ≈ R J ‰ . ≈ Œ Œ ‰ j & œ. #œ bœ Î F Ï P ƒ p
œ œ 22 œ #œ ˘ œ ~~~ œ. Œ bœ ‰ ≈ æR æJ ‰ ≈ J ‰ Œ Œ Œ J ‰ ≈ R ‰ œ & œ . bœ œ < œ ƒ π ƒ F f
~ #œ ~~ 23 œ. . œ æ ‰ Œ r Œ #œ ‰ ≈ R ‰ œ & b œ œ J Ï P F Î F
œ #œ ~ 24 œ #œ ~ b˘œ œ #œ Œ æ ‰ J ≈ r œ j ‰ Œ @J ‰ & œ. bœ œ œ ∏ f F π Ï ƒ
45 4
179
25 ~ œ #œ œ œ ~~~ œ œ œ . R J œ bœ J j #œ & œ ‰ ≈ ≈ R bœ ‰ nœ. bœ P ƒ F P Ï
œ 26 œ #œ . œ œ j ‰ J bœ bœ J ≈ r r #œ & #œ. #œ b œ œ nœ π f Ï ∏ F ƒ
#œ œ 27 #œ œ #œ #œ ˘ œ ˘ œ bœ ~ , œ #œ J œ #œ nœ ~~ & J œ J œ bœ J ~ œ œ œ F f F f
rubato
28 #œ œ œ œ bœ œ nœ #œ œ œ bœ #œ œ #œ œ & #œ œ bœ bœ œ œ #œ œ #œ 3 3 3 3 3 3 3 3 Maintaining Forte, play with dynamics according to air required
œ bœ nœ 29 œ #œ œ nœ #œ œ œ , #œ #œ œ œ #œ nœ œ bœ œ & #œ œ œ œ #œ 3 3 3 3 3 3 3 3
bœ 30 œ #œ nœ œ #œ œ œ #œ œ nœ bœ nœ & #œ bœ nœ œ œ œ œ #œ bœ nœ œ 3 3 3 3 3 3 3 3
46 5
180
rhythmic œ 31 ˘ œ bœ œ œ œ œ bœ j & J bœ œ œ bœ . F f F
r œ œ 32 ˘œ #œ bœ bœ bœ bœ J œ j œ & ‰ œ œ ≈ R bœ œ ƒ f F f
œ 33 . œ œ œ #œ bœ bœ æ ‰ ≈ bœ œ~~~ ≈ R bœ bœ œ ‰ J ≈ R & R J ~ J œ F f
bœ. >œ 34 œ b˘œ œ & æ Œ œæ ‰ J ‰ Œ ‰ bœ œ@ bœ ~~ F f P
Gasping r White noise œ Inhaling - exhaling 35 œ bœ. œ J bœ & bœæ. Œ ‰ j ‰ œ. P ƒ F ∏ f
¯ 36 bœ œ . bœ ˘ ≈ œ bœ ~ bœ. œ Œ ‰ ‰ œ ~~ Œ. Œ J ‰ ≈ j ≈ & œæ œ. bœ F P f F f F π f
Gasping White noise - Inhaling - exhaling 37 #>œ œ œ ˘œ r j ≈ œ Œ ‰ J @ Œ J ‰ ‰. bœ œ~~ ‰ bœ œ œ nœ & ˙æ ~ bœ œ #œ bœ œ ≠ P f F p f p 47 6
181
(Deactivate Reverb)
Freely Agitated J.W. White noise from air from pitch Inhaling - exhaling Gasping to pitch to air 38 3 > , œ — — — & J b— — #— b— — ≠ — œ- œ- œ- — ƒ π P π P π
39 —— ————— — — ————— —— & b——#— b— b # — — b—— — — #————— — b # — ——b— p π
(Activate reverb)
rhythmic #˙ 40 #˘œ & æ # b # œ œ@ Œ b > ƒ p F ƒ
from air ~ to pitch 41 ~ œ œ ~ œ 3 j #œ j ‰ ≈ R J ‰ ≈ R J ‰ & #œ. — œ œ œ – b– - - - flKa Tzz P ƒ π P f
42 œ ˘ œ ~~~~ & Œ bœ #— — b— — — æ ≈ bœ. — — — œ p ƒ p ƒ π ƒ
43 #œ ~~œ bœ j — œ & b æ – ‰ j #—— b— — — ≈ œ b – Tzz œ Tuffl fl . p f F f p f 48 7
182
~ #œ ~~ 44 œ. œ. œ r j J & æ # œ b– # ≈ œ – b œ Tzz — — — Kafl fl F Ï f p f p Ï F
45 œ #œ ~ œ #œ #~œ . r œ œ & b æ j bœ ≈ œ n #— — b— J j œ – – J œ — b– œ Kafl Zaa> . Tuffl ∏ f F π Ï f
46 ~ œ #œ œ œ ~~~ œ œ œ œ j #œ œ. j ≈ R J ≈ R bœ J j & b– bœ – nœ. bœ Tzzfl Zaafl P f F ƒ F ƒ
47 #œ œ œ œ j J bœ r #œ & #— — b— #œ bœ j ≈ b œ r #œ. n— – œ œ Zaa> π f Ï ∏ F ƒ
#œ , 48 #œ #œ ~ œ ~~~ ˘œ œ #œ bœ & J œ bœ J œ œ F f (Activate distortion) Gradually increase distortion level until bar 52
Freely bœ bœ œ 49 œ #œ bœ bœ œ œ œ bœ nœ œ œ bœ bœ nœ œ & œ œ œ œ œ bœ 3 3 3 3 3 3 3 3 Ï 49 8
183
50 — — — — — — — — — & b— — #— b— — — — — b # — — — — — b— — p
51 œ bœ bœ œ — œ bœ #œ œ & — #— n— bœ œ — n— # n b n œ 3 b— — nœ 3 3 3 ƒ p ƒ Max distortion level
52 œ bœ œ & b n— b— œ n b n— b— — n— bœ b # n— #— 3 n — — œ — — 3 p ƒ p ƒ
53 — — — — & b— — # b #— n— — — — — b— — # — — — — — p
(Deactivate distortion) (Deactivate reverb)
Gasping White noise from pitch J.W. Inhaling - exhaling from air to air to pitch 54 3 o , >œ œ & J ≠ — œ- œ- œ- (œ-) œ- — ƒ Î π P π
hold as much a tempo rit. as possible 55 o o o o o o œ œ bœ bœ & œ œ œ œ ˙ ~~~~~~ı ˙ Ó ≈ œ œ (œ-) œ- (œ-) œ- (œ-) œ- (œ-) œ- (˙-) ı(˙) 3 3 P Ï 50 9
184
How Dare You!
Movement III – Mourning Chants
Instrumentation:
Oboe Soprano sax B♭ clarinet 1 Bass clarinet 1 Bassoon
Approx. length: 6 minutes
Howling - In memory to Spitfire 9 H q = 90 Howling - In memory to Spitfire 9 ~~ ˙ œ Ob. H5 & 4 q = 90 ˙ ! ~~ Ob. ˙ œ & 45 F ˙ ! B Cl. b # 5 F & # 4 Œ Œ Œ œ~~~~ œ B Cl. #œ~~~~œ œ œ~~~~~ b # 5 ~~~~~~~~~~˙ & # 4 Œ ƒŒ Œ œ~~~~ œ œ ~~~œ #œ~~~~ œ œ~~~~~~~~~~~~~~~˙ S. Sx. # 5 ƒ j & # 4 œ~~~~œ œ œ~~~~~~#œ œ nœ Œ ‰ œ~~~~#œ œ ~~~œ œ nœ œ S. Sx. ## 5 ƒ œ j & 4 œ~~~~ œ œ~~~~~~#œ œ nœ œ nœ œ Œ ‰ œ~~~~#œ œ B. Cl. # 5 ƒ & # 4 #œ~~~~œ œ œ~~ Œ œ~~~~#œ œ~~~~~~~~~nœ ~~ œ œ #œ nœ œ #œ B. Cl. ƒ# 5 & # 4 #œ~~~~œ œ œ~~ Œ œ~~~~#œ œ~~~~~~~~~nœ ~~ œ œ #œ nœ œ #œ Bsn. ƒ ? 45 Bsn. ? w 5 œ ˙. ˙ ƒ 4 Ï f w œ How˙. Dare You! ˙ 61 C Score ƒ Ï 3. Mourning Chants f Ob. Carlos Patino & 61 -Distant-! ! 2021 q = 90 4 HowlingOb. - In memory toA Spitfireno reed- random air !sound inhaling ! 25 & Howling - In memory to Spitfire 4 Bœ Cl. # Oboebœ œ œ ~~~~~~~~ Ob. w b ˙. # œ~~~~~~~ œ & 4 1/4’œ ’6 ’œ ’ ’ ’œ ’ œ’ 4’bœ ’ Ó’ ’ ’ ’ ’ ’ & 25 & œ œ4 Œ 4 ! 4 œ œnœ Bœ Cl. # bœ p œ Ï œ ~~~~~~~ Ob. w b . # œ~~~~~~~ p 1/4 œ œ 185 ~ ˙ &"Growl" œ 6 œ œ 4 bœ œ Ó & Clarinet in B œ œ Œ 4 ! 4 œnœ b 4 ! Ó. ! B Cl. & Ï b # œ œ~~ S. Sx. # p j ˙. œ~~ # ~~Ó Ó # nœ "Growl"œ 4 6 Ó. œ~~~~4~ ~~~ œ~~~~~~#œ & ~ & œPerformance~~~ œnotes4œ #œ œ nœ œnœ4œ ‰ Œ ‰ J œ~~~PERFORMANCE~Jœ œ~~~ ˙ NOTES:œ ~ p B Cl. #œ ˙ ~~ b # œ œ~~ S. Sx. # ~~ j Ï # ~~Ó~ Ó F # œ~~~nœ œ œ P6œ Ó. 4 ‰ Œ ‰ œ~~~~~~#œ & &Soprano Sax "Growl" 4 #œ œ nœ œnœ4 J œ~~~PERFORMANCE~Jœ œ~~~4˙ NOTES:!œ ! œ ! ! ~ ~ ~ & #œ ˙~~~~ S. Sx. ~bœ œ ~~œ B.œ Cl. œ ~~ 4 ~ Ï # ~ # F 6 randomP 4 # ‰ œ Ó# œ œ ~~œ œœ~"Growl"~~ œ œ œ~~ Œ ÓŒ. Œ œ~~~~~~#œ œ~~~~~~~ & J & œ ~ #œ 4 œ nœBendairœ ~soundn~œ œ– Bend down the4 note to the next one as ~ b~œ œBend~~ – Bend down~~ the note to the next one as much as possible. S. Sx. f# ~ ~œ B.œ Cl. œ ~Bass~ # Clarinet F much as possible # ‰ œ"Growl" Ó# œ œ? œ œœ~~~ œ 6Pœ œ~~ Œ ÓŒ. Œ 4 Ï œ~~~~~~#œ œ~~~~~~ & & œ ~~~4 !#œ 4 œ’ nœBend’œ~n~œ ’– Bend’ down’ the4’ note’ to’ the next’ ’ one’ as’ ~~ J 4 œ f Bsn. F p much as possible B. Cl. # œ œ"Growl"~ ? Ï # Œ ~~~ ~~~~ œ ˙ ~ Œ Ó 6 Ó. P Ó ‰ j 4 & œ #œ œ ~~ 4 Indeterminate Gœliss~~ 4 – gliss off the note w Bassoon œ following˙ .the graph to an indeterminate˙ pitch. B. Cl. # F Bsn. P ? 4 ! ! F ! ! # ~œ œ~~~~ ? 6 Oboe. and Bassoon glissj as4 much as possible or & Œ œ ~~ ~ œ ˙ ƒ #œ œ~~4Œ Ó 4 Ó IndeterminateÓ ‰ Gliss~ 4 – gliss off thef note ~ Ï use chromatic scale orœ ~a combination of both. œ # œ w œ following˙ .the graph to an indeterminate˙ pitch. Bsn. IndeterminateF œ glissœ – Glissœ. off thenœ noteP˙ followingœ~~ the graph to an indeterminate pitch. F ? ! J ª ~ ~Œ 6 Oboe! and Bassoon4 gliss as much as possible or Oboe and Bassoon gliss as much“Growl” as ƒpossible or use chromatic4 scalePerformerÏ or a combination should of use 4 his/her throatrandom to slapcreate tonguef rhythm use chromatic scale or a combination no reed of both. œ # œ 5 both. Bsn. F œ œ œ. nœ ˙ p œ~~ the growling effect, do it as comfortably as ? ! J ~~Œ 6 ! 4 Ob. “Growl” 4 possible.Performer should use4 his/her throat to create
& ’ ’ ’ ’ ’ ’ ’the’ growling’ effect,’ ’ do it’ as comfortably’ ’ ’ as ’ F p No reed withoutpossible. the reed, performer should breathe in Random airrandom sound slap inhaling tongue rhythm through the instrument"Growl" to create the D airy harmonic effect. Please refer to the next B Cl. No reed 1/4 without the reed, performer should breathe in b # œ œ bœ œ~~~ ˙ œ Ó. Ob. œ # œ œ & ’ ’~ ’ ’ video on minuteœ # œ ˙ 2:18.1/4 ˙~ D4 ‰ œ ˙. œ~~~~‰ J Random air sound inhaling Œ Œ through‰ œ ~~~œ~ ~theœ instrument‰ ~~~~ ~to~~~ create~~˙ the ˙ & 4 ~ https://www.youtube.com/watch?v=M9zCIDEhVxsairyœ ~ harmonic~ J effect. Please refer to the ~ next~~~~~~ J random 1/4 J ~~ # œ œ Slash notation - Freely improvise rhythms over any pitch using the slap tongue pb œ œ~ ~~~˙ air soundœ videoP on minute 2:18. Ob. f4 œ # œ ˙. P œf~ œ " œ # œ œ œ 1/4 ‰ œ "Growl" ~~~‰~ Jtechnique . How ŒDarehttps://www.youtube.com/watch?v=M9zCIDEhVxsŒ You!‰ œ ‰ & 4 No reed without the reed, performerJ should improvise J C ScoreS. Sx. J B Cl. Random fslap tongue !rhythm 3.a Mourning rhythm Chants using the slap tongue technique b ## 4 f P & j ’ ’ ’ ’ "’ ’ ’ ’ ’Carlos’ Patino’ ’ & 4 Ó Œ "Growl" ‰ œ~œ pœ~~~Please~~~#˙ refer toœ~ ~theŒ next video on minute 0:42. No reed-Distant- without the~~ ~reed,~ performer should improvise2021 ~bœ œ œ ~~~~~~~ ˙ œ~~ https://www.youtube.com/watch?v=M9zCIDEhVxs B Cl. œ ~ q = Random90 no reed- slap tongue~~ rhythm a rhythmp using the slap tongue technique b ## 4 B. Cl. A j & 4 Ó F Œ ? random air sound inhaling ‰ œ~œ œ~~~Please~~~#˙ refer toœ~ ~theŒ ! next video on minute! 0:42. ’ ’ ’ ’ ’ ’ ’ ’ ~~~~ ~~bœ œ œ ~~~~~~~ ˙ œ~~~ https://www.youtube.com/watch?v=M9zCIDEhVxs œ ~˙RandomOboe. slap tongue˙~ rhythm~~~ ~ ~ performer should pimprovise a rhythm with S. Sx. # 4 #œ ~~ 4 ~~~~~œ œ #œ œ œ~~ # ! F & ’ ’ ’ ’ ’ ’the pitch’ ’ written.~~~ Ó ’ For’ Bassoon,’ ’ please’ ’ refer’ ’ to & 4 4 ~~ Bsn. ~ the next video minute 3:18. S. Sx. Slash notation f #œ ~~~˙Random-. Freely improvise air sounds.? p slap tongue˙ rhythm~~~~~ p ~ performer should improvise a rhythm with # 4 ! ~~~œ https://www.youtube.com/watch?v=DCmn93c5MBEœ #!œ œ œ~~ ! ! & "Growl"# 4 ! the pitch written.~~~ Ó For Bassoon, please refer to Clarinet in B ~~ f b 4 ! Ó. pthe next video minute 3:18. ! B. Cl. # & https://www.youtube.com/watch?v=DCmn93c5MBE˙ ~ # 4 "Growl" œ œ 4 Ó Œ œ~œ~~~~~~˙. œ ~~~~ & 4 ~˙. œ~~~~~~~~ #œ œ œ œ~ No reed, random air sound inhaling~~~ p B. Cl. # 4Without the reed, performer should breath in throughp the instrument to createp the airy~~~~ ˙ # ˙. œ~~Soprano~~~~~~ œSax œ Ó Œ œ~ & 4 ~ harmonic#œ effect.œ œ œ~~~ & r4 ! ~ ! ! ! Bsn. ? 4 œ œ # œ ˙ ˙. # œ4œ œ #œ œp p 4 Œ randomœ œ~~~~Œ~~~ Ó r air sound Bsn. œ # œ # œ ? 4 f ˙ Bass Clarinet˙. “Growl”œ œ #œ p œ 4 Œ œ ? 4 ! œ œ~~~~Œ~ Ó The performer should use his/her4 throat to create the’ growling’ ’ effect.’ ~~’ ’ ’ ’ ’ ’ ’ ’ f p p
Bassoon ? 4 ! ! ! ! 4
ª random slap tongue rhythm no reed 5
Ob. & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
random slap tongue rhythm "Growl"
B Cl. b . & ’ ’ ’ ’ Ó ~˙ ˙~~~~~~ œ ~~~~~~ ~~~~~˙ ˙ ~~~~~ random ~~~~ p air sound P
S. Sx. & ! ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ p
B. Cl. ? ’ ’ ’ ’ ’ ’ ’ ’ ! !
Bsn. ? ! ! ! ! 186
How Dare You! C Score 3. Mourning Chants Carlos Patino -Distant- 2021 q = 90 A no reed- random air sound inhaling Oboe 4 & 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ p
Clarinet in B b & 4 ! Ó. ! 4 œ~~~~~˙. œ~~~~~ p Soprano Sax & 4 ! ! ! ! 4 random air sound Bass Clarinet ? 4 ! ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 4 p
Bassoon ? 4 ! ! ! ! 4
ª random slap tongue rhythm no reed 5
Ob. & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
random slap tongue rhythm "Growl"
B Cl. b . & ’ ’ ’ ’ Ó ~˙ ˙~~~~~~ œ ~~~~~~ ~~~~~˙ ˙ ~~~~~ random ~~~~ p air sound P
S. Sx. & ! ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ p
B. Cl. ? ’ ’ ’ ’ ’ ’ ’ ’ ! !
Bsn. ? ! ! ! !
187
no reed- no reed- random air sound inhaling random air sound inhaling 9
Ob. & ’ ’ ’ ’ ’ ’ ’ ’ ! ’ ’ ’ ’
random slap tongue rhythm "Growl"
B Cl. b Ó. #œ œ~~~~~˙ w~~~~~~ & ’ ’ ’ ’ œ ~~~~~~ ~~~~~~~~~~~ p F
S. Sx. & ! ! ! random air sound
B. Cl. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Bsn. ? ! ! ! !
ª
13 put on reed Ob. & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ !
"Growl"
B Cl. ~ b ~ ~ ! Œ ‰ j & œ ~~˙ #œ ˙~~~~~~ ˙ ˙ ~~~~~~~ ~~~œ P F P random "Growl" air sound
S. Sx. & Œ ˙ ˙ ˙~~~~ Ó œ~~~~ ~~~~~œ œ~~~~~ P F
B. Cl. œ ? ’ ’ ’ ’ ! ! Ó Œ "
Bsn. œ ? ! ! ! Ó. p 54
188
B 17 # œ œ # œ œ œ Ob. #œ w ˙ œ & ! Ó Œ P f
B Cl. b Œ Ó ! ! ! & œ~~ ~~~ "Growl"
S. Sx. ~b˙ œ œ œ~~~ & ’ ’ ’ ’ ’ ’ ’ ’ Œ œ ~~ ~~ Œ f random slap tongue rhythm œ œ~~ B. Cl. ? ~~ Ó ’ ’ ’ ’ ’ ’ ’ ’ ! P p random slap tongue rhythm œ # œ œ œ~~ Bsn. ? ~~~ Ó ! ’ ’ ’ ’ ’ ’ ’ ’ P p ª C 21 full Ob. œ #œ œ ˙. œ œ œ Œ 6 ! 4 Ó ‰ & 4 4 J P "Growl"f
B Cl. b ‰ #œ ˙ ˙. œ~ 6 ‰ Ó. 4 ~~˙. & #œ œ ~~~ j ı œ ~ 4 œ ~~œ œ~~~~~ 4 P P f random air sound S. Sx. ! 6 4 & ’ ’ ’ ’ 4 ’ ’ ’ ’ ’ ’ 4 ’ ’ ’ ’ ~ B. Cl. œ~~~~~~~œ œ ~~~ ? ! Ó. 6 Œ~ Ó. 4 ! 4 4 P Bsn. ? ! ! 6 ! 4 ! 4 4 55
189
25 Ob. w œ ˙. œ œ œ Œ 6 ! 4 & 4 4 p "Growl" B Cl. b œ œ~~ & ~~Ó~ Ó 6 Ó. 4 œ œ~ 4 4 œ ~~~ ~ ˙ œ #œ ˙~~~ F P ~~ "Growl" ~ ~ ~ S. Sx. b~ œ œ ~~ œ œ œ ~~ ‰ œ ~Ó ıœ œ~~ œ 6 œ œ~ Œ Ó. 4 & J œ ~~ 4 ~~~ 4 f "Growl" F P ı œ œ~ B. Cl. ~~~ ~~~ œ ˙ ~ ? Œ œ #œ œ ~~ Œ Ó 6 Ó. Ó ‰ œ ~ 4 4 J 4 F P F
Bsn. œ # œ œ œ. nœ ˙ ~ ? ! œ œ ~~ Œ 6 ! 4 J 4 4 ª F p D # œ œ Ob. œ bœ œ ˙ œ 4 ‰ œ œ # œ ˙. œ~~ ‰ J Œ Œ ‰ œ œ # œ œ œ ‰ & 4 J J J f P f " "Growl" B Cl. j b & 4 Ó Œ ‰ œ~œ œ~~~~ #˙ œ~ Œ 4 ~ ~~~~~ œ ~b~œ œ œ ˙ œ~~~~ F p . S. Sx. #œ ~~˙ ˙~~~~~ 4 ! ~~ œ œ #œ œ œ~~~ Ó & 4 ~~~~ f p "Growl" ı ˙ B. Cl. œ œ œ ~ ? 4 ~˙. œ~~~~~~~ #œ œ œ œ~ Ó Œ ~~~~ 4 ~~~ p p r Bsn. œ # œ # œ œ œ ? 4 Œ œ ˙ ˙. #œ œ œ œ~~ Œ Ó 4 ~ f p 56
190
E -Farewell- 33 q = 70 Ob. ! 3 ! 4 ! 5 ! 4 & 4 4 4 4 random slap tongue rhythm
B Cl. b 3 ! 4 Ó Œ 5 4 & ’ ’ ’ ’ 4 4 4 4 #œ œ #œ œ~~~ ˙ prandom air sound p P " S. Sx. 3 4 5 ! 4 & ’ ’ ’ ’ 4 ’ ’ ’ 4 ’ ’ ’ ’ 4 4
œ~~ B. Cl. ~~~ œ ~ ? Œ Ó 3 ! 4 Œ #œ œ 5 œ ~~ œ œ~~~ Ó 4 4 4 4 4 turn to p P "Growl" p air sound Bsn. ? ! 3 Ó 4 5 4 4 œ 4 w 4 w ¿ 4 " P " ª
37 Ob. 4 ! 5 ! 4 ! ! & 4 4 4
B Cl. b & 4 Ó 5 Œ 4 Ó ‰ j Œ ‰ j 4 4ı œ œ~~ 4 œ œ œ~~œ #œ œ~~~~ ˙ œ ~ P p P S. Sx. 4 ! 5 ! 4 ! ! & 4 4 4
~ B. Cl. œ œ œ ~ œ œ ˙ œ ? 4 Œ œ~~ 5 #œ œ~~~~Ó 4 ‰ J ‰ œ~œ #œ 4 4 ~ 4 J P p turn to P p F air sound Bsn. ? 4 5 4 4 w 4 w ¿ 4 w w P " P 57
191
F 41 œ # œ Ob. #œ œ #œ œ œ œ ! 5 ! 4 Ó Œ 5 4 & 4 4 4 4 F f
B Cl. b & 5 Œ Ó 4 Ó 5 Œ Ó 4 œ 4 4 ˙ 4 ˙ 4 ~œ #˙ œ ˙ ~~~~~~~~~~ f P # œ œ S. Sx. #œ œ œ œ ~~ œ œ & ! 5 #œ œ Ó 4 Œ 5 4 4 œ œ~~~~~ 4 4 4 F F f F turn to air sound B. Cl. œ ? œ #œ œ œ~~~ 5 ! 4 5 4 ~~~4 4 w 4 w ¿ 4 f turn to # P # air sound Bsn. ? 5 4 ! 5 ! 4 w 4 w ¿ 4 4 4 " P " ª
45 œ œ œ œ œ Ob. #œ œ#œ#œ œ œ œ œ œ 4 œ œ Œ ‰ 5 Œ Ó ‰ J & 4 J 4 F f P f
B Cl. b & 4 Œ 5 Œ Ó Œ Œ ! 4 ˙~~~~~~~œ 4 œ ˙~~~~~˙ œ œ œ œ œ œ ~ œ S. Sx. #œ œ œ œ ~~~~~~~ #œ œ~~ œ œ ~ œ #œ œ~~ 4 Œ ‰ 5 ~Œ Ó ‰ J J & 4 J 4 J f P f turn to turn to air sound air sound B. Cl. ? 4 5 4 #w 4 w ¿ w œ w ¿ # P # P #
Bsn. w œ w œ ? 4 ! 5 ! 4 4 " P 58
192
qG = 80 49 œ œ Ob. #œ #œ œ œ r j J œ œ~~ Ó Œ 4 Œ ‰ # œ œ 3 5 & J ~~~ 4 œ nœ 4 œ. #œ. 4 F f
B Cl. b & Ó Œ 4 Œ #œ œ œ 3 œ ~ 5 œ~~~˙ #˙ œ œ~~~ 4 4 œ œ ~~ 4 f F œ S. Sx. #œ œ œ œ~ & ~~~ ! 4 ! 3 ! 5 turn to 4 4 4 F air sound B. Cl. ? 4 3 . 5 w œ w ¿ 4 w 4 ˙ 4 # P # F f F
Bsn. œ œ b œ ? w w œ 4 #œ œ ˙ 3 œ œ~~ Œ 5 4 4 ~ 4 " P " ƒ F ª
53
Ob. j œ 5 Œ Œ ‰ #œ œ nœ œ. # œ œ #œ ˙ œ 6 & 4 œ~~~~ J 4 ƒ
B Cl. b & 5 Œ Ó 6 4 ı œ œ~~ 4 #œ œ œ œ œ~~~~~~~œ œ ~~~~~ ƒ S. Sx. 5 ! ! 6 & 4 4 B. Cl. ? 5 6 4 w œ w œ 4 F f F
~ Bsn. ˙ œ œ œ ~~ ? 5 Ó #œ œ œ œ. œ#œ ~ Œ 6 4 J J 4 ƒ 59
193
55 Ob. 6 œ~~ Ó Ó. 3 Œ œ œ #œ~~~~~~ 4 & 4 4 4
B Cl. b & 6 Ó. 3 Œ Œ 4 4 œ #œ œ~~~~~~#œ 4 œ 4 f S. Sx. 6 ! 3 ! 4 & 4 4 4
B. Cl. ? 6 3 4 4 #w ˙ 4 ˙. 4 F f F
r Bsn. ? 6 Œ œ œ œ #˙ Œ 3 œ~~ œ #œ œ 4 4 #œ 4 ~ 4
ª f ƒ
57 # œ œ ˙. ˙. Ob. ~ ˙. œ 4 ‰ J 6 5 & 4 4 4
B Cl. b & 4 Ó ‰ jı 6 Ó. 5 4 œ ~~œ 4 œ~~~~~~œ œ~~~~ 4 F P œ # œ œ œ b˙. ˙~~~~~~~~~~ S. Sx. 4 ˙ 6 5 & 4 œ #œ œ~~~~~~~ 4 4 ƒ B. Cl. ? 4 6 Ó 5 4 w 4 ˙. œ~~~ 4 F f p
# œ œ ~~~ ~ Bsn. œ œ œ ~~~~~~~~~~~~ œ œ ~ ? 4 œ ‰ 6 Œ Ó. 5 4 J 4 4 60
194
q =H 90 -Anxious- ˙ œ Ob. 5 ı˙ ! & 4 F B Cl. b & 5 Œ Œ Œ œ~~~ œ 4 œ #œ œ œ~~~~~~~~~~~~~˙ ƒ ~~ S. Sx. œ 5 œ œ Œ ‰ j œ & 4 ~~~ œ œ #œ œ nœ œ bœ œ œ #œ ƒ
B. Cl. œ bœ ? 5 #œ œ œ œ~~~~ œ œ Œ œ #œ 4 #œ nœ œ#œ ƒ Bsn. ? 5 4 w œ ˙. ˙ ƒ Ï f ª
61
Ob. & ! !
B Cl. b œ bœ œ œ œ œ~~~~~~~ & œ œ bœ œ œbœ Ó Ï S. Sx. j bœ œ j ‰ Œ ‰ œ ~~~~#œ & œ œ œ #œ œ nœ œbœ œ J Ï
B. Cl. œ œ œ œ~~~~#œ œ~~~~~~~ ? #œ œ nœ œbœ œ Œ Œ Ï Bsn. ? w œ ˙. ˙ ƒ Ï f 61
195
63 Ob. œ œ œ. #œ œ œ #œ & ‰ J J œ bœ œ ‰ Œ Œ nœ #œ Ï
B Cl. œ œ b ~~ #œ œ nœ œ bœ œ Œ Œ ‰ œ #œ #œ œ œ œ & J
S. Sx. œ œ~~ j & #œ œ nœ œ bœ œ ‰ Œ ‰ œ #œ #œ œ œ œ nœ
~ B. Cl. ~ œ œ ? #œ œ nœ œ bœ œ Ó nœ #œ #œ œ œ œ œ J J
Bsn. ? w œ ˙. ˙ ƒ Ï f ª
65 Ob. œ. j #œnœœbœœŒ 7 ! 4 & œ œ 4 4 F P
B Cl. b œ œ Œ 7 4 & #œ nœœbœœ œ #œ nœ #œ œ 4 œ bœ œ bœ œ ˙. ˙. 4 P p # S. Sx. & ~~ ‰ Ó 7 bœœbœœ‰ !. 4 œ œ bœ œ œ bœ 4 4 "
B. Cl. ? œ bœ ‰ ˙. 7 w ˙. 4 œœbœ 4 4 # Bsn. ? 7 #w ˙. 4 ˙. ˙ 4 4 F " 62
196
q = I80 -Calmly- Ob. 4 ! ! ! ! & 4
B Cl. b & 4 w œ~~~œ œ #œ w 4 w F p "
S. Sx. 4 ! ! ! Ó & 4 ˙ "
B. Cl. ? 4 Ó ˙ ˙. œ w ˙. œ bœ œbœ 4 œ " p "
Bsn. ? 4 w w w ! 4
ª
71
Ob. œ # œ & ! w œ œ œ nœ w " P "
B Cl. b & w w ! Ó ˙ P # #
S. Sx. & w w bœ œbœ œ ‰ Œ Ó ! p "
B. Cl. ˙ w w ? ! Ó # P "
Bsn. ? ! ! ! !
63
197
75 Ob. w 6 ! 4 ! Ó & 4 4 b˙ "
B Cl. b & w 6 w œ bœœbœœŒ 4 ‰ Ó 4 4 bw œ œ bœ œ bœ P " # p œ ˙ S. Sx. #œ œ ~ œ œ~ ~~~~~~~~~~~~~~~~~ w ıw Ó Œ 6 4 & 4 4 F f "
B. Cl. ˙ bœ b œ œ ? œbœœ‰ Œ 6 ! 4 Œ ˙ œ œ~ ˙. 4 4 p F
Bsn. w ˙. . ? 6 ı˙ 4 w ! 4 4 # P " ª 79 Ob. 6 ! 4 Œ ˙. w & w 4 4 p p random slap tongue rhythm
B Cl. b ! 6 4 & 4 ’ ’ ’ ’ ’ ’ 4 ’ ’ ’ ’ ’ ’ ’ ’ p
S. Sx. œ bœ œ #œ ˙. w w œbœ Œ Ó 6 Ó ‰ 4 & 4 J 4 p f
B. Cl. œ. w ? ˙. Œ 6 ! 4 Ó ‰ı 4 4 p p
Bsn. ? n œ œ bœ 6 4 b˙ œ 4 w. 4 w w p F p f 64
198
-Distant- no reed- 83 take out reed random air sound inhaling Ob. w w & ! ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ f p
random slap tongue rhythm
B Cl. b & Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ! œ~~~˙ ıw f p
random air sound S. Sx. w ˙ & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ p
random slap random tongue rhythm air sound
B. Cl. w w w ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ f # p
random air sound Bsn. ? w ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ! ! p
65
199
How Dare You!
Movement IV – Aeolian Energy
Instrumentation:
Flute 1 Flute 2 Oboe Soprano sax B♭ clarinet 1 B♭ clarinet 2 Alto Sax 1 Alto Sax 2 Bass clarinet 1 Bass clarinet 2 Baritone Sax Bassoon
Approx. length: 13 minutes
200
Performance notes
Follow the next spatial position on stage.
201
C Score How Dare You! 4. Aeolian Energy Carlos Patino 2021
q = 120 From air From pitch to pitch to air Alto Sax 1 4 ! & 4 ±. -œ -œ -œ -œ -œ -œ ±. " P "
From air From pitch to pitch to air
Clarinet in B 1 b 4 Ó Œ Œ & 4 — ± œ- œ- œ- œ- œ- œ- ±. " P "
From air From pitch to pitch to air Alto Sax 2 4 ! Œ & 4 ±. œ- œ- œ- œ- œ- œ- ± " P
From air From pitch to pitch to air Clarinet in B 2 b 4 ! Ó & 4 ± — œ- œ- œ- œ- œ- œ- — " P
ª
From air From pitch 5 to pitch to air S. Sx. ------& Ó Œ — ± œ œ œ œ œ œ œ œ ±. Œ " P "
From air From pitch to pitch to air
A. Sx. 1 & ! ±. -œ -œ -œ -œ -œ -œ -œ -œ ±. P "
From air From pitch to pitch to air A. Sx. 2 & Œ Ó Œ — ±. -œ -œ -œ -œ -œ -œ -œ -œ ± " P
From air From pitch to pitch to air
B Cl. 2 b & Ó Ó ± ± — -œ -œ -œ -œ -œ -œ -œ -œ — " P
202
From air From pitch 9 to pitch to air ------S. Sx. Ó Œ — ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. Œ & 3 3 F "
From air From pitch to pitch to air
Fl. 2 ------! Œ ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± & 3 3 " F From air to pitch From pitch to air 3 3 A. Sx. 1 & ! ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. ------F "
A. Sx. 2 & Œ Ó ! ! ! — " From air From pitch to pitch to air 3 3 B Cl. 2 b & Ó Ó ± ± — -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ œ- -œ -œ — " P
ª
From air From pitch 13 to pitch to air Fl. 1 ±. œ œ œ œ œ œ œ œ ±. ! & ------" F "
From air From pitch to pitch to air
S. Sx. Ó Œ — ± œ œ œ œ œ œ œ œ ±. Œ & ------F "
From air From pitch to pitch to air Fl. 2 ------& — Œ Ó Œ ±. œ œ œ œ œ œ œ œ ± " F
From air From pitch to pitch to air B Cl. 2 ------b & Ó Ó ± — œ œ œ œ œ œ œ œ — ± " P 69
203
From air From pitch to pitch to air 17
Fl. 1 ±. œ œ œ œ œ œ ±. ! & ------F "
From air From pitch to pitch to air S. Sx. ------& Ó Œ — ± œ œ œ œ œ œ ±. Œ F " From air From pitch to pitch to air
Fl. 2 — Œ Ó Œ ± œ œ œ œ œ œ ± & . ------" F
Ob. ------& ! Ó ˙ œ œ œ œ œ œ œ œ " F
B Cl. 2 b & ± Ó ! ! ! "
ª
From air From pitch to pitch to air 21
Fl. 1 ± œ œ œ œ œ œ œ œ ± ! & . ------. F " From air From pitch to pitch to air
Fl. 2 ± Œ Ó Œ ± œ œ œ œ œ œ œ œ ± & . ------" F
Ob. ------& ˙ Ó Ó ˙ œ œ œ œ œ œ œ œ œ œ " F
From air From pitch to pitch to air ------B. Sx. — ± œ œ œ œ œ œ œ œ ±. ? Ó Œ Œ " F " 70
204
From air From pitch to pitch to air 25 3 3 Fl. 1 & ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. ! ------F "
Fl. 2 & — Œ Ó ! ! ! "
Ob. ˙ Ó Ó ˙ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- & 3 3 " F
From air From pitch to pitch to air ------B. Sx. ? ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. Ó Œ 3 3 Œ F " From air From pitch to pitch to air ------Bsn. ? ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ! Œ 3 3 " F ª
29 Ob. ------& ˙ Ó Ó ˙ œ œ œ œ œ œ œ œ œ œ " F
From air From pitch to pitch to air
B. Cl. 1 ±. œ- œ- œ- œ- œ- œ- œ- œ- ±. ? ! " F "
From air From pitch to pitch to air B. Sx. ? Ó Œ Œ ± ± -œ -œ -œ -œ -œ -œ -œ -œ ±. F "
From air From pitch to pitch to air ------Bsn. ? ± Œ Ó Œ ±. œ œ œ œ œ œ œ œ ± " F
71
205
33
Ob. & ˙ Ó ! ! ! "
From air From pitch to pitch to air
B. Cl. 1 . ------. ? ± œ œ œ œ œ œ ± ! F "
From air From pitch to pitch to air B. Sx. ? Ó Œ Œ ± ± -œ -œ -œ -œ -œ -œ ±. F " From air From pitch to pitch to air ------Bsn. ? ± Œ Ó Œ ±. œ œ œ œ œ œ ± " F From air From pitch to pitch to air 33 ------B. Cl. 2 ± ± œ œ œ œ œ œ ± ? ! Ó " F
ª
From air From pitch 37 to pitch to air
B Cl. 1 b & Ó Œ Œ ± ± -œ -œ -œ -œ -œ -œ -œ -œ ±. " F "
From air From pitch to pitch to air
B. Cl. 1 . ------. ? ± œ œ œ œ œ œ œ œ ± ! F "
From air From pitch to pitch to air ------Bsn. ? ± Œ Ó Œ ±. œ œ œ œ œ œ œ œ ± " F
From air to pitch From pitch to air 37 ± ± œ- œ- œ- œ- œ- œ- œ- œ- ± B. Cl. 2 ± ? Ó Ó " F
72
206
From air From pitch 41 to pitch to air
B Cl. 1 b Ó Œ ± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ±. Œ & 3 3 F "
From air From pitch to pitch to air 3 3 A. Sx. 2 & ! Œ ±. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± " F
From air From pitch to pitch to air ------B. Cl. 1 ? ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. 3 3 ! F "
Bsn. ? ± Œ Ó ! ! !
" From air From pitch to pitch to air
41 ± ± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± B. Cl. 2 ? Ó Ó 3 3 " F
ª
From air From pitch 45 to pitch to air A. Sx. 1 & ! . . ± -œ -œ -œ -œ -œ -œ -œ -œ ± " F "
From air From pitch to pitch to air B Cl. 1 ------b & Ó Œ ± ± œ œ œ œ œ œ œ œ ±. Œ F "
From air From pitch to pitch to air
A. Sx. 2 & Œ Ó Œ ±. œ œ œ œ œ œ œ œ ± ± ------" F From air From pitch to pitch to air
45 ± ± ± œ- œ- œ- œ- œ- œ- œ- œ- ± B. Cl. 2 ? Ó Ó " F 73
207
q = 130 From air From pitch 49 to pitch to air
A. Sx. 1 & ! ±. -œ -œ -œ -œ -œ -œ ±. P " From air From pitch to pitch to air B Cl. 1 b & Ó Œ Œ ± ± -œ -œ -œ -œ -œ -œ ±. P " From air From pitch to pitch to air A. Sx. 2 & ± Œ Ó Œ ±. -œ -œ -œ -œ -œ -œ ± " P From air From pitch to pitch to air B Cl. 2 b & ! Ó ± ± -œ -œ -œ -œ -œ -œ ± " P
49 ± B. Cl. 2 ? Ó ! ! ! "
ª
From air From pitch to pitch to air 53 S. Sx. ±. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± & Œ Œ Ó " F "
From air From pitch to pitch to air
A. Sx. 1 & . . ! ± -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± P "
From air From pitch to pitch to air
A. Sx. 2 & Œ Ó Œ . ± ± -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± " P
From air From pitch to pitch to air
B Cl. 2 b & Ó Ó ± ± ± -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± " P
74
208
From air 57 to pitch
Fl. 1 & ! ! ! Ó b± " From air From pitch to pitch to air
S. Sx. #±. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± & Œ 3 3 Œ Ó F " From air From pitch to pitch to air
Fl. 2 ± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ±. & Ó Œ 3 3 Œ " F " From air From pitch to pitch to air 3 3 A. Sx. 1 & . . ! ± -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± F "
A. Sx. 2 Œ Ó ! ! ! & ±
" From air From pitch to pitch to air 3 3 B Cl. 2 b & Ó Ó ± ± ± -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± " F
ª From air to pitch From pitch to air 61 b± Fl. 1 ------& ± œ œ œ œ œ œ œ œ œ œ ± ± Ó Ó F " From air From pitch to pitch to air
S. Sx. #±. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± & Œ Œ Ó F " From air From pitch to pitch to air ± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ±. Fl. 2 & Ó Œ Œ f From air From pitch to pitch to air
B Cl. 2 ------b ± ± œ œ œ œ œ œ œ œ œ œ ± & ± Ó Ó " F 75
209
From pitch From air to air to pitch 65 ± œ- œ- œ- œ- œ- œ- ± ± b± Fl. 1 & Ó Ó f " From air From pitch to pitch to air
S. Sx. #±. œ- œ- œ- œ- œ- œ- ± ± & Œ Œ Ó f " From air From pitch to pitch to air b± ± œ- œ- œ- œ- œ- œ- ±. Fl. 2 & Ó Œ Œ " f "
Ob. ˙. œ- œ- œ- œ- œ- œ- ˙. & ! " f
B Cl. 2 ± b & Ó ! ! ! "
ª
From pitch to air From air to pitch 69 ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± Fl. 1 b± & Ó Ó f " From air From pitch to pitch to air
S. Sx. #±. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± & Œ Œ Ó f p
Ob. ˙. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ˙. & ! " f "
From air From pitch to pitch to air ± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± B. Sx. ? Ó Œ " F 76
210
From pitch to air 73 Fl. 1 ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± & 3 3 Ó ! F p
Ob. ˙. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ˙. & ! 3 3 F "
From air to pitch b± B. Cl. 1 ? ! ! ! Ó Œ " From air From pitch to pitch to air ± #± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± B. Sx. ? Œ Œ 3 3 " F From air to pitch ------Bsn. ? ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! Ó 3 3 " F
ª
77 Ob. ˙. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ˙. & ! P "
From pitch From air to air to pitch ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± b± B. Cl. 1 ? Œ Œ F " From air From pitch to pitch to air ± B. Sx. ------? Œ Œ #± ± œ œ œ œ œ œ œ œ œ œ ± " F
From pitch From air to air to pitch
Bsn. - . ------? œ ± Ó ± ± œ œ œ œ œ œ œ œ œ " F 77
211
From pitch From air to air to pitch 81 ± œ- œ- œ- œ- œ- œ- œ- œ- ± ± b± B. Cl. 1 ? Œ Œ F " From air From pitch to pitch to air
B. Sx. ------? ± Œ Œ #± ± œ œ œ œ œ œ œ œ ± " F From pitch From air to air to pitch
Bsn. œ- ±. ± ± œ- œ- œ- œ- œ- œ- œ- ? Ó " F From air to pitch
81 ±. œ- œ- œ- œ- œ- B. Cl. 2 ? ! ! " F
ª
From air From pitch to pitch to air 85
B Cl. 1 b Ó Œ ± ± œ œ œ œ œ œ œ œ œ œ ± Œ & ------. " P "
From pitch From air to air to pitch ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± b± B. Cl. 1 ? Œ Œ F "
B. Sx. ? ± Œ Ó ! ! ! " From pitch From air to air to pitch
Bsn. œ- ±. ------? Ó #± ± œ œ œ œ œ œ œ œ œ " F
From pitch From air to air to pitch
85 œ- œ- œ- ± ± B. Cl. 2 ±. œ- œ- œ- œ- œ- œ- œ- ? Ó " F
78
212
From air From pitch to pitch to air 89 3 3 B Cl. 1 b Ó Œ ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. Œ & ------F "
From air From pitch to pitch to air 3 3 A. Sx. 2 & ! Œ b±. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± " F
From pitch to air ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± B. Cl. 1 ? 3 3 Œ Ó F " From pitch to air
Bsn. - ? œ ±. ! ! !
From pitch From air to air to pitch 89 ------B. Cl. 2 ? œ œ œ ± ± ±. œ œ œ œ œ œ œ œ œ œ œ Ó 3 3 " F
ª
From air From pitch to pitch to air 93
A. Sx. 1 & ±. œ œ œ œ œ œ œ œ œ œ ±. ! ------" F
From air From pitch to pitch to air
B Cl. 1 ------b b± ± œ œ œ œ œ œ œ œ œ œ ±. & Ó Œ Œ F "
From air From pitch to pitch to air
A. Sx. 2 & Œ Ó Œ ± b±. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± " F
From air From pitch to pitch to air 93 ------B. Cl. 2 œ œ œ œ œ ± ± ±. œ œ œ œ œ œ œ ? Ó " F 79
213
From air From pitch to pitch to air 97
A. Sx. 1 ±. œ œ œ œ œ œ ±. ! & ------" P " From air From pitch to pitch to air
B Cl. 1 b Ó Œ ± ± œ œ œ œ œ œ ±. Œ & ------P " From air From pitch to pitch to air
A. Sx. 2 Œ Ó Œ ±. œ œ œ œ œ œ ± & ± ------" P From air From pitch to pitch to air
B Cl. 2 b ! Ó ± ± œ œ œ œ œ œ ± & ------" P
From pitch to air 97 - - - B. Cl. 2 ? œ œ œ ± ± Ó ! ! "
ª
From air From pitch to pitch to air 101
Fl. 2 & ! ±. œ œ œ œ œ œ œ œ œ œ ±. ------" F "
From air From pitch to pitch to air
A. Sx. 1 & ±. œ œ œ œ œ œ œ œ œ œ ±. ! ------
From air F From" pitch to pitch to air ------B Cl. 1 ± ± œ œ œ œ œ œ œ œ œ œ ±. b & Ó Œ Œ F " From air From pitch to pitch to air
A. Sx. 2 - & ± Œ Ó Œ ±. œ œ œ œ œ œ œ œ œ œ ± ------" F From air From pitch to pitch to air
B Cl. 2 b ± Ó Ó ± ± œ œ œ œ œ œ œ œ ± & - -œ œ ------" F 80
214
From air to pitch 105 Fl. 1 ± & ! ! ! Ó Œ "
From air From pitch to pitch to air 3 3 Fl. 2 ! ±. œ œ œ œ œ œ œ œ œ œ ±. & - -œ œ ------œ œ - - F "
------Ob. ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & ! Œ 3 3 " F
From air From pitch to air to pitch 3 3 A. Sx. 1 & ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. ! ------F "
From air From pitch to pitch to air ------B Cl. 1 ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. b & Ó Œ 3 3 Œ F "
From air From pitch to pitch to air 3 3 A. Sx. 2 & ± Œ Ó Œ ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ------" F
From air From pitch to pitch to air ------B Cl. 2 ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± b & ± Ó Ó 3 3 " F
81
215
From pitch From air to air to pitch 109 ------Fl. 1 ± œ œ œ œ œ œ œ œ œ œ ±. ± & Œ Ó Œ F "
From air From pitch to pitch to air
Fl. 2 & ! ±. œ œ œ œ œ œ œ œ œ œ ±. ------F
------Ob. œ ˙. œ œ œ œ œ œ œ œ œ œ ˙ & Œ Ó Œ " F
From air From pitch to pitch to air
A. Sx. 1 ±. œ œ œ œ œ œ œ œ ±. ! & - -œ œ - - - - - F "
From air From pitch to pitch to air ------B Cl. 1 ± ± œ œ œ œ œ œ œ œ œ œ ±. b & Ó Œ Œ F "
From air From pitch to pitch to air
A. Sx. 2 ± Œ Ó Œ ±. œ œ œ œ œ -œ -œ œ ± & - -œ œ - - - - " F
From air From pitch to pitch to air ------B Cl. 2 ± ± ± œ œ œ œ œ œ œ œ œ œ ± b & Ó Ó " F
82
216
From pitch From air to air to pitch 113 ------Fl. 1 ± œ œ œ œ œ œ ±. ± & Œ Ó Œ F " From air From pitch to pitch to air ------S. Sx. ± ± œ œ œ œ œ œ ± ± & Ó Ó " F "
From air From pitch to pitch to air
Fl. 2 ! ±. œ œ œ œ œ œ ±. & ------" F "
------Ob. œ ˙. œ œ œ œ œ œ ˙ & Œ Ó Œ " F
From air From pitch to pitch to air
A. Sx. 1 ±. œ œ œ œ œ œ ±. ! & ------F "
From air From pitch to pitch to air ------B Cl. 1 ± ± œ œ œ œ œ œ ±. b & Ó Œ Œ F "
From air From pitch to pitch to air
A. Sx. 2 Œ Ó Œ & ± ±. -œ -œ -œ -œ -œ -œ ± " F From air From pitch to pitch to air ------B Cl. 2 ± ± ± œ œ œ œ œ œ ± b & Ó Ó " F
From air to pitch
Bsn. ± ? ! ! ! Ó Œ " 83
217
From air From pitch to pitch to air 117 - - ± - - - - - œ œ - Fl. 1 ± œ bœ œ œ œ œ œ œ ±. & Œ Ó Œ f "
From air From pitch to pitch to air ------œ œ - S. Sx. ± ± œ bœ œ œ œ œ œ œ ± ± & Ó Ó f " From air From pitch to pitch to air ------±. œ bœ- œ œ œ œ œ œ œ œ ±. Fl. 2 & ! f
- - - - - bœ- œ- - Ob. œ ˙. œ bœ œ œ œ œ œ œ ˙ & Œ Ó Œ " f
From air From pitch to pitch to air
A. Sx. 1 - - - œ œ & ±. œ œ œ œ œ œ œ œ ±. ! - - - - - f "
From pitch From air to air to pitch - - - A. Sx. 2 - - - - ± Œ Ó Œ ±. œ œ œ œ œ œ œ œ ± & œ œ - " f
From air From pitch to pitch to air ------œ œ - B Cl. 2 ± ± ± œ œ œ œ œ œ œ œ ± b & Ó Ó " f
From air to pitch - - - B. Cl. 1 ± ± œ œ œ ? ! ! Ó Œ "
From pitch to air From air to pitch ------œ œ - - Bsn. ? ± œ œ œ œ œ œ œ œ œ œ ± ± Œ Œ ± F " 84
218
From pitch to air From air to pitch - - - - 121 ------± œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ ±. ± Fl. 1 & 3 3 Œ Ó Œ f "
From air From pitch to pitch to air - - - œ- œ- - - - S. Sx. ± ± œ œ bœ- œ œ œ œ œbœ- œ œ œ ± ± & Ó 3 3 Ó f " From air From pitch to pitch to air ------±. œ œ bœ- œ œ œ œ œ œ œ œ- œ œ œ ±. Fl. 2 & ! 3 3 " f
- - œ- œ - - - - Ob. œ ˙. œ œ bœ- œ œ œ œ œ bœ œ œ œ ˙ & Œ Ó Œ 3 3 " f
From air From pitch to pitch 3 3 to air
A. Sx. 2 & ± Œ Ó Ó ± ± œ œ œ œ œ œ œ- œœ œ œ œ œ œ ± ------" f
From air to pitch 3 3
B Cl. 2 ± b & Ó ! ±. œ œ œ œ œ œœ œœ œœ œ ------" f
From pitch From air to air to pitch - - œ- œ ------B. Cl. 1 ? œ œœ œ œ œœ œ œ œ œ ± ± ± ± œ œ 3 3 Œ Œ F "
From air to pitch B. Sx. ? ! ! ! ±. -œ "
From pitch From air to air to pitch ------Bsn. ? ± œ œ œ - - œ œ œ œœ œ - - œ œ œ ± ± ± bœ œ 3 3 œ œ Œ Œ F " 85
219
From pitch From air to air to pitch - - 125 - - - - ± œ- bœ- œ œ œ œ œ œ œ œ ±. ±. Fl. 1 & Œ Œ f " From air From pitch to pitch to air - - - - - œ- œ- - S. Sx. ± ± œ bœ œ œ œ œ œ œ ± ± & Ó Ó f " From air From pitch to pitch to air ------±. œ bœ- œ œ œ œ œ bœ œ œ ±. Fl. 2 & ! " f
- - - - - bœ- œ- - Ob. œ ˙. œ bœ œ œ œ œ œ œ ˙ & Œ Ó Œ " f
A. Sx. 2 & ± Ó ! ! ! " From air From pitch to pitch to air B Cl. 2 - b & œ œ ±. ! ±. œ œ œ œ œ œ- œ- - - - -œ œ - - " F
From pitch From air to air to pitch ------œ œ - - - - B. Cl. 1 ? œ œ œ œ œ œ œ œ ± ± Œ Œ ± ± œ œ f "
From pitch From air to air to pitch
B. Sx. ? Ó œ œ œ œ œ bœ œ œ œ ± ± ±. œ - b-œ œ ------f "
From pitch From air to air to pitch - - Bsn. - - - - - œ œ - - ? ± œ œ bœ- œ œ œ œ œ œ œ ± ± Œ Œ ± f "
86
220
From pitch From air to air to pitch ------129 œ œ œ œ œ œ ± ± ±. Fl. 1 & Œ Ó Œ " From air f From pitch to pitch to air ------± ± œ œ œ œ œ œ ± ± Fl. 2 & Ó Ó f "
------Ob. œ œ ˙ œ œ œ œ œ œ ˙. & Œ Œ Œ " f "
From pitch to air
B Cl. 2 b œ ± ! ! ! & - .
From pitch From air to air to pitch ------B. Cl. 1 œ œ œ œ œ œ ± ± ± ± œ œ ? Œ Œ f "
From pitch From air to air to pitch B. Sx. ? Ó . -œ -œ -œ -œ -œ -œ -œ ± ± ± -œ f "
From pitch From air to air to pitch
Bsn. ------± ? ± œ œ œ œ œ œ œ œ ± ± Œ Œ f "
From air From pitch 129 to pitch to air B. Cl. 2 ? Ó Œ ± ± œ œ œ œ œ œ œ œ ± ------" f
87
221
From pitch From air to air to pitch
133 ------œ bœ- œ œ œ œ œ œ œ œ ± ± ± œ Fl. 1 & Œ Ó Œ f " f
------Ob. œ ˙ œ œ œ œ œ œ œ œ œ œ ˙. & Ó Œ Œ F "
From pitch From air to air to pitch - - - B. Cl. 1 - - - - œ œ - - - - ? œ œ œ œ œ œ œ œ ± ± Œ Œ ± ± œ œ œ F "
From pitch From air to air to pitch B. Sx. ? ±. œ- œ œ œ œ œ œ œ œ œ ± ± Ó - -œ œ ------F "
From pitch to air From air to pitch ------Bsn. - œ œ ? ± œ œ œ œ œ œ œ œ œ œ ± ± Œ Œ ± F "
From air From pitch to pitch to air 133
B. Cl. 2 ? Œ Œ ± ± œ œ œ œ œ œ bœ œ œ œ ± ± - - -œ œ ------" P
88
222
137 œ- ±. ± Fl. 1 & Œ Ó ! ! " From air From pitch to pitch to air ------Fl. 2 ± ± œ œ bœ- œ œ œ œ œ œ œ bœ- œ œ œ ± ± & Ó 3 3 Ó " F
From pitch to air ------B. Cl. 1 ? œ œ œ œ œ œ œ œ œ œ œ œ œ ± ± 3 3 Œ Ó ! F From pitch From air to air to pitch ------B. Sx. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ± ±. œ- 3 3 Ó F " From pitch to air From air to pitch ------Bsn. ? ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ± ± 3 3 Œ Œ F "
From air From pitch to pitch to air 137 3 3 B. Cl. 2 ? ± Œ Œ ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ------" P ª
From air From pitch 141 to pitch to air - - - A. Sx. 2 - - - - bœ œ - & ! Œ ±. œ œ œ œ œ œ œ œ ± " F From air From pitch to pitch to air - - B. Sx. ------±. œ- ? œ bœ œ œ œ œ œ œ œ œ œ ± ± Ó
F From pitch " to air - - Bsn. ------œ œ - - ? ± œ œ œ œ œ œ œ œ œ œ ± ± Œ Ó F From air From pitch to pitch to air 141 ------B. Cl. 2 ? ± ± œ œ œ- œ œ œ œ œ œ œ œ œ ± ± Œ Œ " P 89
223
From air From pitch to pitch 145 to air A. Sx. 1 ±. œ- œ- œ- œ- œ- œ- ±. & ! " F " From air From pitch to pitch to air A. Sx. 2 & ± Œ Ó Œ ±. -œ -œ -œ -œ -œ -œ ± " F From pitch to air ------B. Sx. œ œ œ œ œ œ œ ± ± ? Ó ! f " From air From pitch to pitch to air 145 ------B. Cl. 2 ± ± œ œ œ œ œ œ œ œ ± ? ± Œ Œ " f ª From air to pitch
149 - - - - - Fl. 1 #± ± œ œ œ œ #œ œ œ & ! ! Ó 3 "
Ob. - - - - Ó ˙ œ œ œ œ œ œ œ œ bœ œ œ œ ˙ Ó & - - - " F " From air From pitch to pitch to air ------A. Sx. 1 ±. œ œ œ œ œ œ œ œ ±. & œ œ ! F From air From pitch to pitch to air A. Sx. 2 Œ Ó Œ & ± ±. œ œ œ œ œ œ œ œ œ œ ± ------" F
From air From pitch to pitch to air B Cl. 2 b & ! Ó ± ± œ œ œ œ œ œ œ bœ œ œ ± ------" F
From air From pitch to pitch to air 149 - - - - - bœ- œ - - B. Cl. 2 ± ± ± œ œ œ- œ œ œ œ œ œ œ ± ? Œ Œ " P 90
224
From air From pitch to pitch to air 153 - œ ------Fl. 1 Iœ œ œ œ #œ œ ± ± #± ± œ œ œ Iœ œ & 3 Ó Ó F "
- - Ob. - - - œ œ - - - & Ó ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó - 3 3 - F "
From air From pitch to pitch to air
A. Sx. 1 ------±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. & 3 3 ! " F "
From air From pitch to pitch to air 3 3 B Cl. 1 b & Ó Œ #± ± œ œ #œ œ œ œ œ œ œ œ ±. Œ - œ- œ - - - - - œ- œ - - " F "
From air From pitch to pitch to air 3 3 A. Sx. 2 & Œ Ó Œ ± ±. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ------" F
From air From pitch to pitch to air 3 3 B Cl. 2 b & Ó Ó ± ± ± œ œ œ œ œ œ -œ -œ œ œ œ œ œ œ ± ------" F
153 B. Cl. 2 ± ? Œ Ó ! ! ! "
91
225
From air From pitch to pitch to air 157 ------b± ± œ œ œ Fl. 1 œ œ bœ œ #œ ± ± & Ó Ó F "
From air to pitch
S. Sx. b± & ! ! ! Ó Œ " From air From pitch to pitch to air - - - - bœ- œ - Fl. 2 b±. œ #œ œ b œ œ œ œ bœ ± ± & Œ Œ Ó " F "
- - Ob. ˙ œ œ - œ œ- œ- œ œ œ œ- œ ˙ & Ó œ œ Ó F "
From air From pitch to pitch to air - A. Sx. 1 ±. œ- - œ œ- œ- œ œ œ œ- ±. & œ œ ! F "
From air From pitch to pitch to air
B Cl. 1 b & Ó Œ #± ± œ #œ œ œ œ bœ œ œ ±. Œ - -œ œ - - - - F "
From air From pitch to pitch to air
A. Sx. 2 - & Œ Ó Œ b±. œ œ œ œ œ bœ œ bœ ± ± - #œ- œ - - - - " F
From air From pitch to pitch to air
B Cl. 2 b & Ó Ó ± ± ± œ œ œ œ œ bœ œ œ ± - œ- œ - - - - " F
92
226
From air From pitch to pitch to air - - - 161 ± ± œ - œ œ œ- œ- œ- ± ± œ œ Fl. 1 & Ó Ó
f " From pitch From air to air to pitch ------S. Sx. ± œ œ œ œ œ œ ±. b± & Œ Ó Œ " From air f From pitch to pitch to air ------Fl. 2 #±. œ œ œ œ œ œ ± ± & Œ Œ Ó f "
Ob. ------& Ó ˙ œ œ œ œ œ œ œ œ ˙ Ó f "
From air From pitch to pitch to air A. Sx. 1 . ------. & b± œ œ œ œ œ œ ± ! f " From air From pitch to pitch to air
B Cl. 1 b Ó Œ ± ± œ œ œ œ œ œ ± Œ & ------. f " From air From pitch to pitch to air
A. Sx. 2 ± Œ Ó Ó ± ± œ œ œ œ œ œ ± & ------" f From air From pitch to pitch to air
B Cl. 2 b & Ó Ó Œ ± ± ± -œ -œ -œ -œ -œ -œ " f
From air to pitch
Bsn. ? ! ! ! Ó Œ b±
From air From pitch " to pitch to air 161 ------B. Cl. 2 ± ± œ œ œ œ œ œ œ œ ± ? Ó Œ " f 93
227
From pitch From air to air to pitch - - - - - 165 - œ œ - - - œ œ œ œ ± ± ± ± œ œ œ œ œ œ Fl. 1 & Ó Ó 3
f " From pitch From air to air to pitch ------bœ œ - . S. Sx. ± œ bœ- œ bœ œ œ œ œ ± b± & Œ Ó Œ
From air f From pitch" to pitch to air - - ±. œ- - œ- œ- œ- œ œ œ œ- ± ± Fl. 2 œ œ & Œ Œ Ó f " - - - - œ- œ- - Ob. #˙ œ œ - #œ œ œ œ #œ œ ˙ & Ó bœ œ Ó f " From air From pitch to pitch to air ------A. Sx. 1 b±. œ - bœ œ œ œ bœ œ bœ ±. & bœ œ ! f From air From pitch to pitch to air
B Cl. 1 - - b bœ œ & Ó Œ b± ± œ bœ œ bœ œ œ œ œ ±. Œ ------f " From pitch From air to air to pitch A. Sx. 2 & ± Ó Œ b±. œ bœ œ œ œ #œ- œ- bœ ± - bœ- œ - - - - " f From air From pitch to pitch to air
B Cl. 2 b & Œ Ó ±. ± ± œ œ œ œ œ œ- œ- œ ± - #œ- œ - - - - " f From air to pitch B. Cl. 1 ? ! ! Ó Œ ± ± -œ -œ -œ " From air From pitch to pitch to air - - - - - Bsn. ? - - - #œ œ - - ± œ œ bœ œ bœ œ œ œ bœ œ ± ± Œ Œ b±
From air f From pitch " to pitch to air 165 - - - - - B. Cl. 2 ? ± - - - #œ œ - - Œ Œ b± ± œ œ bœ œ bœ œ œ œ bœ œ ± " f 94
228
From pitch From air to air to pitch - - - - 169 œ - œ œ œ œ œ œ ± ± ± ± œ- - œ- œ- Fl. 1 œ œ & 3 Ó Ó
f " From pitch to air - - - - œ œ - - - - . S. Sx. ± œ œ bœ œ bœ œ œ œbœ œ œ œ ± & 3 3 Œ !
From air f From pitch " to pitch to air - - ±. œ- œ - œ- œ- œ œ œ- œ - œ- œ- ± ± Fl. 2 œ œ œ œ & Œ 3 3 Œ Ó f " - - - œ- œ- - - - - Ob. #˙ œ œ œ bœ- œ I œ œ I œ œbœ œ #œ œ œ ˙ & Ó 3 3 Ó " From air fFrom pitch to pitch to air ------A. Sx. 1 b±. œ œ - b œ œ œ œ œ œ - bœ œ ±. & bœ œ 3 3 œ œ ! " f " From air From pitch to pitch to air
B Cl. 1 - - - b - - œ œ & Ó Œ b± ± œ œ bœ œ œ œ œ œ ±. Œ bœ œ 3 3 bœ œ - - - - - f " A. Sx. 2 Œ Ó ! ! ! & ± From air From pitch " to pitch to air 3 3 B Cl. 2 b & Ó Ó œ œ ± ± ± -œ œ #œ œ œ œ- - œ œ#œ œ œ œ ± ------" f - From pitch From air 3 3 to air to pitch B. Cl. 1 ? œ œœ œœ œ œ œ œ ± ± Œ Œ ± ± œ œ œ œ - - - - œ œ ------From air f " to pitch B. Sx. ? ! ! ! ±. œ-
From pitch " From air to air to pitch Bsn. ------? ± œ œ œ œ œ œ œ œ œ b-œ -œ -œ ± ± Œ Œ bœ œ b 3 3 œ œ - - - - #± f " From air From pitch 169 to pitch to air B. Cl. 2 ------? ± Œ Œ b± ± œ œ œ b œ œ œ œœ œ bœ œ œ ± b-œ -œ 3 3 œ- œ- " f 95
229
From pitch From air to air to pitch - - 173 - -œ œ œ œ œ ± ± - - - Fl. 1 ± ± œ œ œ & Ó Ó f " From air From pitch to pitch to air ------b±. œ - bœ œ œ œ #œ œ bœ ± ± Fl. 2 bœ œ & Œ Œ Ó f "
------bœ œ - Ob. b˙ œ œ bœ œ bœ œ œ œ bœ œ ˙ & Ó Ó f "
From air From pitch to pitch to air - - A. Sx. 1 - œ œ - & ±. -œ œ œ œ œ œ ±. ! #-œ œ - - f "
From air From pitch to pitch to air
B Cl. 2 b & Ó Ó œ œ ± ± ± œ œ œ œ œ œ œ - - œ ± ------" f
From air From pitch to pitch to air B. Cl. 1 ? œ œ œ œ œ œ œ œ ± ± Œ Œ ± ± œ œ #-œ œ ------f "
From pitch From air to air to pitch - - B. Sx. ? - - - - - œ œ - - #±. œ- œ œ œ œ œ œ œ œ œ ± ± Ó f "
From pitch From air to air to pitch
Bsn. ? œ œ Œ Œ ± œ œ bœ œ #œ œ œ œ - - #œ œ ± ± #± ------f "
From air From pitch to pitch 173 to- air - - - - - B. Cl. 2 ? - - - #œ œ - ± Œ Œ b± ± œ œ bœ œ bœ œ œ œ bœ œ ± " f
96
230
From pitch to air 177 - - - Fl. 1 œ œ œ ± ± & Ó ! ! f ------Ob. ˙ œ œ œ œ œ œ œ œ ˙ & Ó Ó f F
From air From pitch to pitch to air B Cl. 2 b Ó Ó & ± ± ± -œ -œ -œ -œ -œ -œ ± " f
From pitch From air to air to pitch B. Cl. 1 ? Œ Œ -œ -œ -œ -œ -œ -œ ± ± ± ± -œ -œ f "
From pitch From air to air to pitch
B. Sx. ------? œ œ œ œ œ œ œ ± ± Ó ±. œ f "
From pitch From air to air to pitch Bsn. ? Œ Œ ± -œ -œ -œ -œ -œ -œ -œ -œ ± ± ± f "
From air From pitch 177 to pitch to air B. Cl. 2 ? ± Œ Œ n± ± œ- œ- œ- œ- œ- œ- œ- œ- ± " f
97
F 231
From air From pitch 181 to pitch to air Fl. 2 - - - Ó ± ± œ- œ œ œ- œ bœ œ œ ± ± Ó & œ- œ - - " f "
B Cl. 2 b Ó ! ! ! & ± " From air From pitch to pitch to air ± ± -œ -œ -œ B. Cl. 1 ? œ œ œ œ œ œ bœ œ œ œ ± ± Œ Œ ------f "
From pitch From air to air to pitch
B. Sx. ------? œ œ- œ œ œ œ œ #œ œ œ œ ± ± Ó ±. œ f "
From pitch From air to air to pitch Bsn. ? Œ Œ ± œ œ œ œ œ œ #œ œ œ œ ± ± - - œ- œ ------± f "
From air From pitch 181 to pitch to air B. Cl. 2 ------? ± Œ Œ ± ± œ œ œ œ œ œ œ œ œ œ œ- œ ± - - - " f
98
232
From air From pitch 185 to pitch to air 3 3 Fl. 2 ! & ±. œ œ œ œ œ œ œ œ œ œ ±. - -œ œ ------œ œ - - From pitchP pFrom air to air to pitch ------œ- œ œ œ #œ œ œ œ œ- œ œ œ œ ± ± ± ± œ œ B. Cl. 1 ? 3 3 Œ Œ
F " From air From pitch to pitch to air ±. œ- B. Sx. ------? œ œ œ- œ œ œ #œ œ œ œ œ- œ œ œ œ ± ± Ó 3 3
F From" pitch From air to air 3 3 to pitch Bsn. ? Œ Œ ± ± œ œ œ œ œ œ œ œ œ œ œ œ ± ± - - - -œ -œ ------œ -œ - - - From air F " From pitch 185 to pitch to air B. Cl. 2 ------? ± Œ Œ ± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± - - 3 3 - - " F
ª From air to pitch 189 Fl. 1 ± œ- œ- œ- œ- œ- œ- & ! !
" From air to pitch
S. Sx. - - & ! ! ! ± œ œ " From pitch From air to air to pitch ------œ- œ œ œ œ œ #œ œ œ œ ± ± ± ± -œ -œ B. Cl. 1 ? Œ Œ
f From pitch " From air to air to pitch ------œ œ- œ œ œ œ œ #œ œ œ œ ± ± ±. œ- B. Sx. ? Ó f P " From pitch From air to air to pitch Bsn. - - - - ? ± œ œ œ œ œ œ œ- œ œ œ œ- œ- ± ± Œ Œ ± - - - f " From air From pitch 189 to pitch to air B. Cl. 2 ------? ± Œ Œ ± ± œ œ œ œ œ œ œ œ œ œ œ œ ± - - - " f
99
233
- 193 - - œ - - - -œ œ #œ #œ œ -œ - Fl. 1 œ œ -œ - - -œ & œ œ œ œ - #-œ - f
- - - - - œ œ œ - - S. Sx. - #œ œ œ #œ - - - & œ œ œ œ œ œ - -œ œ -œ - f - From pitch From air to air to pitch œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ f " From pitch to air œ- œ- œ- œ- œ- œ- œ- ± ± B. Sx. ? Ó ! f
From pitch to air Bsn. ? ± œ- œ- œ- œ- œ- œ- œ- œ- ± ± Œ Ó f
From air From pitch 193 to pitch to air B. Cl. 2 ? ± Œ Œ ± ± œ- œ- œ- œ- œ- œ- œ- œ- ± " f
100
234
- 197 - #œ- œ #œ- - 3 - œ- œ œ œ- - - Fl. 1 œ œ œ œ œ- & 3 3 J J 3 œ œ Œ ! - #-œ -
- - - 3 - œ- œ œ œ œ- - S. Sx. œ- #œ #œ œ- œ - 3 3 œ Œ ! & J J 3 œ œ œ - - -œ - - - œ- Fl. 2 - œ œ ! ! Ó #œ- œ & œ- f - - Ob. - - #œ œ & ! ! Ó œ œ œ œ- - From air f From pitch to pitch to air
B Cl. 2 b & ! Ó ± ± œ- œ- œ- œ- œ- œ- ± " F From pitch From air to air to pitch œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ # 197 F B. Cl. 2 ? ± Œ Ó ! ! ! " ª - - 201 #œ- œ œ - #œ- œ œ- - œ œ - - œ- œ œ œ- - Fl. 2 œ œ #œ œ- œ œ œ & œ #œ -œ 3 3 J
- - - - - #œ œ œ œ - œ- #œ œ œ œ- - Ob. #œ œ - œ- #œ #œ œ- & œ œ œ œ 3 3 œ #œ -œ - J From air From pitch to pitch to air B Cl. 1 b & Ó Œ Œ ± ± -œ -œ -œ -œ -œ -œ ±. " f " From air From pitch to pitch to air B Cl. 2 b & Ó Ó ± ± ± -œ -œ -œ -œ -œ -œ ± " f From pitch From air to air to pitch œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ f " 101
235
- 205 - - œ - - - - œ #œ œ œ - - Fl. 1 - œ œ œ œ - Ó Œ #œ- œ œ & -œ
- - - - - #œ œ œ - - S. Sx. - - #œ œ œ #œ - - & Ó Œ #œ œ œ œ œ -œ -
3 - Fl. 2 œ œ bœ- & J 3 œ œ ! ! ! - #-œ -
3 Ob. œ œ- ! ! ! & J 3 œ œ œ - - #-œ -
From air From pitch to pitch to air
A. Sx. 1 ± œ œ œ œ œ œ ± ! & . ------. " f "
From air From pitch to pitch to air
B Cl. 1 b & Ó Œ Œ #± ± œ- œ- œ- œ- œ- œ- ±. " f "
From air From pitch to pitch to air
B Cl. 2 b & Ó Ó ± b± ± -œ -œ -œ -œ -œ -œ ± " f
From pitch to air From air to pitch œ- œ- œ- œ- œ- œ- ± ± - - B. Cl. 1 ± ± œ œ ? Œ Œ f "
102
236
- 209 - - œ - - 3 - - œ #œ œ œ - - Fl. 1 - - œ œ œ œ œ - - #œ- #œ œ œ #œ & œ œ 3 3 J J 3 œ - #œ- - - #-œ
- - - 3 - œ- #œ œ œ œ- - S. Sx. - œ- #œ #œ œ- œ - & #œ #œ œ 3 3 œ #œ - œ œ - J J 3 - œ - #œ- - - #œ-
From air to pitch - - - - - Fl. 2 ±. œ œ œ œ œ & ! ! " f
- - Ob. #œ ˙ œ œ & ! ! Ó Œ "
From air From pitch to pitch to air
A. Sx. 1 ± œ œ œ œ œ œ ± ! & . ------. " f "
From air From pitch to pitch to air
B Cl. 2 b & Ó Ó ± b± ± -œ -œ -œ -œ -œ -œ ± " f
From pitch to air ------#œ B. Cl. 1 ? œ œ œ œ œ œ ± ± Œ Ó Ó Œ Œ-3 f " F
#œ- B. Sx. ? ! ! ! Ó -Œ -Œ3 F
103
237
From air From pitch to pitch to air ------213 ± ± œ œ œ œ œ œ ± ± Fl. 1 & Ó Ó " f From air F From pitch From pitch to pitch to air to air - #± ± œ- œ- œ- œ- œ- œ- Fl. 2 œ ±. & Ó Œ " f
- - - - Ob. œ œ œ œ ˙ & Ó ! ! f
From air From pitch to pitch to air
A. Sx. 1 ± œ œ œ œ œ œ ± ! & . ------. " f "
From air From pitch to pitch to air
B Cl. 1 b Ó Œ Œ & #± ± -œ -œ -œ -œ -œ -œ ±. " f "
From air From pitch to pitch to air B Cl. 2 b Ó Ó & ± #± ± -œ -œ -œ -œ -œ -œ ± " f
3 - #œ- - - #œ- #œ œ B. Cl. 1 ? œ #œ- - - #œ- œ œ #œ - #œ- 3 œ #œ #œ œ œ #œ œ œ - -œ - œ -
3 - #œ- B. Sx. ? œ #œ - #œ- œ œ #œ - 3 #œ œ œ #œ #œ œ œ #œ #œ œ #-œ - #œ œ -œ -
104
238
From air From pitch to pitch to air 217 ------Fl. 1 ± ± œ œ œ œ œ œ ± ± & Ó Ó " f
From air From pitch to pitch to air ±. ------Fl. 2 #± ± œ œ œ œ œ œ & Œ Ó Œ " f
From air From pitch to pitch to air
A. Sx. 1 b± œ œ œ œ œ œ ± ! & . ------. f
From air From pitch to pitch to air A. Sx. 2 ! Œ & b± œ œ œ œ œ œ ± . ------" f
B Cl. 2 b Ó ! ! ! & ±
- #-œ #œ- œ- - B. Cl. 1 ? œ œ #œ- - - 3 œ œ Œ ! ! 3 #-œ
3 B. Sx. - #œ- - ? #œ- œ œ œ- #œ- Œ ! ! 3 -œ #-œ -œ
- #œ - Bsn. - œ- #œ œ œ- - ? œ- #œ #œ œ- ! Ó #-œ F
217 B. Cl. 2 #œ- #œ œ- ? ! Ó #œ- #œ- #œ- #œ- -œ -œ #-œ F
105
239
From air From pitch to pitch to air ------221 ± ± œ œ œ œ œ œ ± ± Fl. 1 & Ó Ó " f # From air From pitch to pitch to air #± ± œ- œ- œ- œ- œ- œ- Fl. 2 ±. & Œ Ó Œ " f
From air From pitch to pitch to air
A. Sx. 1 b±. œ œ œ œ œ œ œ œ ± ± Ó & ------" F #
A. Sx. 2 Œ Ó ! ! ! & ±
- - - #œ- #œ œ- - - #œ- #œ œ Bsn. ? - #œ- œ œ #œ- - - œ- œ œ #œ œ 3 œ #œ œ #-œ - 3 -
221 3 - #œ- - - #œ- B. Cl. 2 ? - #œ- #œ œ œ- - - #œ- #œ œ œ œ- #œ 3 #œ œ œ œ œ- #œ- - #-œ -
106
240
225 Fl. 1 ! ! ! Ó Œ & #-œ f
S. Sx. & ! ! ! Ó Œ #-œ f From air From pitch to pitch to air ±. ------Fl. 2 ±. œ œ œ œ œ œ ±. & Œ " f
From air From pitch to pitch to air
A. Sx. 1 b±. œ œ œ œ œ œ œ œ ± ± Ó & ------" F
From air to pitch
B Cl. 2 b & ! ! ! Ó Œ b±
- - - #œ- #œ œ- œ - - #œ- #œ B. Cl. 1 ? - #œ- œ J J œ #œ- - - #œ- œ Ó #œ œ 3 3 œ #œ œ - 3 -
3 - #œ- - - #œ- B. Sx. ? - #œ- #œ œ œ #œ- - - #œ- #œ Ó œ #œ 3 J J 3 #œ œ œ #œ #-œ - - #-œ -
Bsn. #œ ? œ #œ œ Œ ! ! ! #œ -
225
B. Cl. 2 ? #œ œ Œ ! ! ! #œ œ -œ
107
241
229 #œ- œ #œ #œ #œ #œ œ œ Fl. 1 œ #œ- #œ œ œ #œ & bœ #œ #œ œ #œ
- #œ #œ #œ #œ #œ S. Sx. #œ- #œ #œ #œ #œ #œ & œ #œ œ œ #œ œ #œ œ
From air to pitch B Cl. 1 - - b & ! ! Ó Œ ± ± œ œ
From pitch " From air to air to pitch
B Cl. 2 b & Œ Œ ± -œ -œ -œ -œ -œ -œ -œ -œ ± ± b± F ª
233 #œ 3 #œ œ œ Fl. 1 #œ œ 3 #œ Œ Œ ! ! & 3 œ #œ
3 #œ #œ œ 3 S. Sx. #œ #œ & 3 œ #œ Œ Œ ! ! œ #œ From air to pitch
Fl. 2 b±. & ! ! ! Œ " - Ob. b˙. œ & ! ! ! " From pitch From air to air to pitch B Cl. 1 ------b & œ œ œ œ œ œ ± ± Œ Œ b± ± œ œ F " From pitch From air to air to pitch
B Cl. 2 b & Œ Œ ± -œ -œ -œ -œ -œ -œ -œ -œ ± ± b± F "
#œ #œ B. Cl. 1 ? œ #œ œ œ #œ œ œ ! Ó 3 3 #œ #œ œ
3 #œ B. Sx. ? #œ #œ #œ ! Ó 3 #œ œ œ #œ œ #œ #œ œ 108
242
From pitch to air 237 ------Fl. 2 œ œ œ œ œ œ œ œ ±. & Œ ! f p
- - - - - Ob. œ œ œ œ œ ˙ & Œ ! ! f p
From pitch From air to air to pitch B Cl. 1 ------b & œ œ œ œ œ œ ± ± Œ Œ b± ± œ œ F "
From pitch to air B Cl. 2 b & Œ Ó ± -œ -œ -œ -œ -œ -œ -œ -œ ± ± F p
b˙ B. Cl. 1 b˙ ˙ ? ˙ b˙ b˙ b˙ ˙
B. Sx. b˙ ? ˙ ˙ b˙ b˙ b˙ ˙ b˙
109
243
From pitch From air to air 241 to pitch A. Sx. 1 ------& b±. œ œ œ œ œ œ ±. ! " P "
From pitch to air B Cl. 1 ------b & ± bœ œ ± œ œ œ œ œ œ ±. Œ F "
From air From pitch to pitch to air A. Sx. 2 ------& ! Œ b±. œ œ œ œ œ œ ± " P
From air From pitch to pitch to air B Cl. 2 b & ! Ó b± ± -œ -œ -œ -œ -œ -œ ± " P
From pitch to air œ- œ- œ- œ- œ- œ- œ- œ- ±. B. Cl. 1 ? Œ ! "
From pitch to air ------B. Sx. œ œ œ œ œ œ œ œ ±. ? Œ ! "
From air to pitch 241 - - B. Cl. 2 b± ± œ œ ? ! ! Ó Œ "
110
244
From air From pitch to air 245 to pitch
Fl. 2 ! b±. œ- bœ œ b œ œ œ- œ œ- œ- bœ- ±. & - - - " F "
From air From pitch to pitch to air A. Sx. 1 - - - - - & b±. œ bœ œ bœ œ œ œ œ œ bœ ±. ! - - - F "
From air From pitch to pitch to air - - - - - œ- œ- - B Cl. 1 b± ± œ bœ œ bœ œ œ œ œ ±. b & Ó Œ Œ " F "
From air From pitch to pitch to air
A. Sx. 2 ------± Œ Ó Œ b±. œ bœ œ b œ œ œ œ œ œ bœ- ± & - " F
From air From pitch to pitch to air B Cl. 2 - - - - - b & Ó Ó b± ± œ bœ œ bœ œ œ œ œ œ bœ ± ± - - - " F
From pitch to air
245 ------B. Cl. 2 œ œ œ œ œ œ ± ± ? Œ Ó ! P Ø
111
245
From air to pitch 249
Fl. 1 b±. & ! ! ! Œ "
From air From pitch to pitch to air Fl. 2 ------& ! b±. œ œ bœ œ b œ œ œ œ œ œ œ œ bœ œ ±. - 3 3 - F "
- - - - œ- œ- - - - - Ob. b˙. œ œ bœ œ b œ œ œ œ bœ œ bœ œ ˙ & ! Œ 3 3 " F
From air From pitch to pitch to air A. Sx. 1 ------& b±. œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ ±. ! - 3 3 - F "
From air From pitch to pitch to air - - - - œ- œ- - - - - B Cl. 1 b± ± œ œ bœ œ bœ œ œ œ bœ œ œ œ ±. b & Ó Œ 3 3 Œ F "
From air From pitch to pitch to air
A. Sx. 2 - - - - - & ± Œ Ó Œ b±. -œ œ bœ œ b œ œ œ œ œ œ bœ œ bœ œ ± - 3 3 - - - " F
From air From pitch to pitch to air - - - - œ- œ- - - - - B Cl. 2 b± ± œ œ bœ œ b œ œ bœ œ bœ œ bœ œ ± b & ± Ó Ó 3 3 " F
112
246
From pitch From air to air to pitch 253 ------bœ œ - Fl. 1 œ #œ œ bœ œ œ œ bœ ± ± b±. & Œ Ó Œ F "
From air From pitch to pitch to air Fl. 2 - - - - & ! b±. œ- bœ œ bœ œ œ œ œ œ bœ ±. - - - F
- - - - - œ- œ- - Ob. œ b˙. œ bœ œ b œ œ œ œ bœ ˙ & Œ Ó Œ " F
From air From pitch to pitch to air A. Sx. 1 - - - - b±. œ- bœ œ bœ œ œ œ œ œ bœ ±. ! & - - - F "
From air From pitch to pitch to air ------œ œ - B Cl. 1 b± ± œ bœ œ bœ œ œ œ œ ±. b & Ó Œ Œ F "
From air From pitch to pitch to air A. Sx. 2 ------& ± Œ Ó Œ b±. œ bœ œ b œ œ œ œ œ œ bœ ± - " F
From air From pitch to pitch to air - - - - - œ- œ- - B Cl. 2 ± b± ± œ bœ œ b œ œ œ œ bœ ± b & Ó Ó " F
113
247
From pitch From air to air to pitch 257 ------Fl. 1 œ œ œ œ œ œ ± ± b±. & Œ Ó Œ F "
From air From pitch to pitch to air ------S. Sx. b± ± œ œ œ œ œ œ ± ± & Ó Ó " F " From air From pitch to pitch to air Fl. 2 ------& ! b±. œ œ œ œ œ œ ±. " F "
------Ob. œ b˙. œ œ œ œ œ œ ˙ & Œ Ó Œ " F
From air From pitch to pitch to air A. Sx. 1 ------& b±. œ œ œ œ œ œ ±. ! F "
From air From pitch to pitch to air ------B Cl. 1 b± ± œ œ œ œ œ œ ±. b & Ó Œ Œ F "
From air From pitch to pitch to air A. Sx. 2 ------& ± Œ Ó Œ b±. œ œ œ œ œ œ ± " F From air From pitch to pitch to air ------B Cl. 2 ± b± ± œ œ œ œ œ œ ± b & Ó Ó " F
From air to pitch
Bsn. b± ? ! ! ! Ó Œ "
114
248
From air From pitch to pitch to air 261 ------#± - œ œ . Fl. 1 œ œ œ bœ œ œ œ bœ ± ± & Œ Ó Œ f " From air From pitch to pitch to air ------œ œ S. Sx. b± ± œ œ œ bœ œ œ œ bœ ± ± & Ó Ó f " From air From pitch to pitch to air ------œ œ b±. œ œ œ bœ œ œ œ bœ ±. Fl. 2 & ! f
------. - œ œ Ob. œ b˙ œ œ œ bœ œ œ œ bœ ˙ & Œ Ó Œ " f
From air From pitch to pitch to air A. Sx. 1 - - - - œ œ - & b±. œ #œ œ bœ œ œ œ bœ ±. ! - - - f "
From air From pitch to pitch to air A. Sx. 2 - - ± Œ Ó Œ b±. œ- bœ- œ- œ- œ bœ œ bœ- ± & #-œ œ " f
From air From pitch to pitch to air ------± b± ± œ - bœ œ œ œ œ œ bœ ± B Cl. 2 #œ œ b & Ó Ó " f
From air to pitch - - - B. Cl. 1 b± ± œ œ œ ? ! ! Ó Œ " From pitch From air to air - - to pitch ------bœ œ - - Bsn. ± œ œ bœ œ œ œ bœ œ ± ± b± ? #œ œ Œ Œ F "
115
249
From pitch From air to air to pitch - - 265 ------œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ ± ± #±. Fl. 1 & 3 3 Œ Ó Œ f " From air From pitch to pitch to air ------œ œ - - - - S. Sx. #± ± œ œ œ œIœ œ Iœ œ œ œ #œ œ ± ± & Ó 3 3 Ó
From air f From pitch" to pitch to air ------b±. œ œ œ œ b œ œ œ œ œ œ œ œ bœ œ ±. Fl. 2 & ! 3 3 " f
- - . - - - - œ œ - - - - Ob. œ b˙ œ œ œ œ b œ œ œ œ œ œ bœ œ ˙ & Œ Ó Œ 3 3 " f
From air to pitch A. Sx. 1 - - & b± œ œ ± Ó ! !
From air From pitch to pitch to air A. Sx. 2 ------& ± Œ Ó Ó b± ± œ œ b œ œ œ œ bœ œ bœ œ ± #-œ œ 3 3 #-œ œ " f
From air to pitch ± B Cl. 2 ------b & Ó ! b±. œ œ bœ œœ œœ œ #-œ œ 3 3 -œ œ " f
From pitch From air to air to pitch ------œ œ ------B. Cl. 1 ? #œ œ b œ œ œ œ œ œ bœ œ œ ± ± b± ± œ œ 3 3 Œ Œ F " From air to pitch B. Sx. ? ! ! ! b±. -œ
From pitch " From air to air to pitch ------Bsn. ? ± œ œ œ - bœ œœ œœ œ bœ œ œ ± ± #± œ œ 3 3 œ œ Œ Œ F " 116
250
From pitch From air to air to pitch - - 269 - - - - - bœ œ - - - œ œ œ #œ œ œ œ #œ ± ± #± ± œ œ Fl. 1 & Œ Œ f "
From air From pitch to pitch to air - - - - - bœ œ- - S. Sx. #± ± œ œ- œ #œ œ œ œ #œ ± ± & Ó Ó " From air f From pitch to pitch to air ------b±. œ œ- œ bœ œ œ œ œ œ bœ- ±. Fl. 2 & ! " f
. - - - - œ- œ- - Ob. œ b˙ œ œ- œ bœ œ œ œ bœ ˙ & Œ Ó Œ " f
A. Sx. 2 & ± Ó ! ! ! "
From pitch From air to air to pitch B Cl. 2 - - - - b & bœ- œ- ±. ! b±. œ bœ œ œ œ bœ œ #-œ œ - - " F
From pitch From air to air to pitch ------B. Cl. 1 - bœ œ œ œ bœ œ bœ œ ± ± b± ± œ œ ? #œ œ Œ Œ f " From air From pitch to pitch to air B. Sx. ? œ bœ œ œ œ œ œ bœ œ ± ± Ó b±. œ - -œ œ ------f "
From pitch From air to air to pitch - - Bsn. - - - - - bœ œ - - ? ± œ œ œ- œ #œ œ œ œ #œ œ ± ± Œ Œ #± f "
117
251
From air From pitch to pitch to air 273 œ- œ- œ- œ- ±. #± ± œ- œ- œ Fl. 1 & Œ Ó Œ f " From air From pitch to pitch to air b± ± œ- œ- œ- œ- œ- œ- ± ± Fl. 2 & Ó Ó " f "
------Ob. œ bœ ˙ œ œ œ œ œ œ ˙. & Œ Œ Œ " f "
From pitch to air B Cl. 2 - b & bœ ±. ! ! ! "
From pitch From air to air to pitch ------B. Cl. 1 œ œ œ œ œ œ ± ± b± ± œ œ ? Œ Œ f "
From pitch From air to air to pitch B. Sx. ? œ œ œ œ œ œ œ ± ± Ó b±. œ ------f "
From pitch From air to air to pitch
Bsn. ------b± ? ± œ œ œ œ œ œ œ œ ± ± Œ Œ f "
From air From pitch to pitch to air 273 B. Cl. 2 ? Ó Œ b± ± œ œ œ œ œ œ œ œ ± ------" f
118
252
From pitch From air to air to pitch - - 277 #œ- œ- œ- œ bœ œ œ- ±. #± ± œ- œ- ± Fl. 1 & Œ Ó Œ f " f
- - - - - bœ- œ- - Ob. bœ ˙ œ #œ œ bœ œ œ œ œ ˙. & Ó Œ Œ F "
From pitch From air to air to pitch ------B. Cl. 1 bœ œ bœ œ œ œ œ œ bœ œ ± ± b± ± œ œ œ ? Œ Œ F "
From air From pitch to pitch to air B. Sx. ? b±. œ- œ bœ œ œ œ bœ œ bœ œ ± ± Ó - #-œ œ ------F "
From pitch From air to air to pitch ------Bsn. ± œ œ bœ œ bœ œ œ œ œ œ bœ œ ± ± b± ? Œ Œ F "
From air From pitch to pitch to air 277
B. Cl. 2 ? Œ Œ ± ± œ œ œ œ œ œ œ œ œ œ ± ± - - b-œ œ ------" P
119
253
281 ±. Fl. 1 & Œ ! ! ! " From air From pitch to pitch to air - - - - œ- œ- - - - - Fl. 2 #± ± œ œ œ œ #œ œ Iœ œ œ œ #œ œ ± ± & Ó 3 3 Ó " F
From pitch From air to air to pitch - - - - œ- œ------B. Cl. 1 ? bœ œ œ œ œ œ œ œ bœ œ œ ± ± b± ± œ œ ± 3 3 Œ Œ F " P
From pitch From air to air to pitch ------B. Sx. ? œ œ #œ- œ- bœ œ œ œ œ œ #œ- œ- bœ œ œ ± ± #±. œ- 3 3 Ó F "
From pitch From air to air to pitch ------œ œ ------Bsn. ? ± œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ ± ± b± 3 3 Œ Œ F "
From air From pitch to pitch to air 281 3 3 B. Cl. 2 ? ± Œ Œ ± ± œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ ± ------" P
120
254
From air to pitch 285 - - Fl. 2 #± œ œ ± ± & Ó Ó ! " f "
From air to pitch
A. Sx. 1 & ! ! b±. œ œ œ œ œ - - - - - " P From air to pitch
B Cl. 1 b & ! ! ! Ó Œ b± " From air From pitch to pitch to air A. Sx. 2 - - - - - bœ- œ- - & ! Œ ±. œ bœ œ œ œ œ œ œ ± " F
B. Cl. 1 ± ? Œ Ó ! ! ! "
From pitch to air ------B. Sx. ? œ nœ œ #œ œ œ œ bœ œ #œ œ ± ± Ó ! F
From pitch to air ------Bsn. ± œ œ bœ œ œ œ œ œ bœ œ ± ± ? bœ œ Œ Ó F
From air From pitch to pitch to air 285 ------B. Cl. 2 b± ± œ œ - bœ œ œ œ bœ œ bœ œ ± ? ± Œ Œ #œ œ " P
121
255
From air to pitch 289 q = 120 S. Sx. b±. & ! ! ! Œ "
From pitch From air to air to pitch
A. Sx. 1 œ œ œ œ œ ±. ! b±. œ & ------" From pitch to air
B Cl. 1 b ± œ œ œ œ œ œ ±. Œ ! & ------P " From air From pitch to pitch to air
A. Sx. 2 Œ b±. œ œ œ œ œ œ ± ± Œ Ó & ------" P " From air From pitch to pitch to air
B Cl. 2 b Ó b± ± œ œ œ œ œ œ ± ± Ó & ------" P "
289 B. Cl. 2 ? ± Œ Ó ! ! ! "
122
256
From air From pitch to pitch to air 293 ------S. Sx. œ œ œ œ œ œ œ œ œ œ ± ± b±. & Œ Ó Œ
F " From air to pitch
Fl. 2 b± & ! ! ! Ó Œ "
From pitch From air to air to pitch
A. Sx. 1 ! & -œ -œ -œ -œ -œ -œ -œ -œ -œ ±. b±. -œ -œ P " From air From pitch to pitch to air
A. Sx. 2 Œ b± œ œ œ œ œ œ œ œ œ œ ± ± Œ Ó & . ------P "
From air From pitch to pitch to air
B Cl. 2 b Ó b± ± œ œ œ œ œ œ œ œ œ œ ± ± Ó & ------P " ª From air to pitch 297 ------Fl. 1 ±. œ œ œ œ œ œ œ œ œ & ! ! " From pitch From air to air to pitch ------S. Sx. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ± b±. & 3 3 Œ Ó Œ F " From air From pitch to pitch to air ------b± Fl. 2 ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. & 3 3 Œ Ó Œ F " From pitch to air 3 3 A. Sx. 1 œ œ œ œ œ œ œ œ œ œ œ œ ± ! ! & ------. F " From air From pitch to pitch to air 3 3 B Cl. 2 b Ó b± ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ± Ó & ------F "
123
257
From air From pitch to pitch to air 301 ±. œ- œ- œ- œ- œ- Fl. 1 œ- ±. & ! F " From pitch From air to air to pitch ------S. Sx. œ œ œ œ œ œ œ œ œ œ ± ± b±. & Œ Ó Œ F " From pitch From air to air to pitch ------± œ œ œ œ œ œ œ œ œ œ ±. ± Fl. 2 & Œ Ó Œ f "
From air From pitch to pitch to air ------B Cl. 2 b± ± œ œ œ œ œ œ œ œ œ œ ± ± b & Ó Ó F "
ª From pitch From air to air to pitch 305 œ- ±. ±. œ- œ- œ- œ- œ- œ- œ- œ- œ- Fl. 1 & ! f " From pitch From air to air to pitch ------S. Sx. œ œ œ œ œ œ ± ± b±. & Œ Ó Œ " f From pitch to air ± œ- œ- œ- œ- œ- œ- ±. Fl. 2 & Œ ! f "
------Ob. b˙. œ œ œ œ œ œ ˙. & ! " f
From air to pitch
B. Sx. ? ! ! ! Ó Œ b± "
124
258
From pitch to air From air to pitch 309 - œ ±. ------Fl. 1 ±. œ œ œ œ œ œ œ œ œ œ œ œ & ! 3 3 " f From pitch to air ------S. Sx. œ œ œ œ œ œ œ œ œ œ ± ± & Œ Ó ! f
------Ob. b˙. œ œ œ œ œ œ œ œ œ œ ˙. & ! " f "
From pitch From air to air to pitch
B. Sx. ------b± ? ± œ œ œ œ œ œ œ œ œ œ ± ± Œ Œ F "
ª
From air From pitch to pitch to air 313 - - - - Fl. 1 œ œ ±. ± œ œ ± & ! Ó F " P "
------Ob. b˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. & 3 3 ! F "
From air to pitch ± ± œ- œ- B. Cl. 1 ? ! ! Ó Œ "
From pitch From air to air to pitch ------B. Sx. ? ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± ± b± 3 3 Œ Œ F "
From air From pitch to pitch to air b± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ±. Bsn. ? Ó 3 3 " F "
125
259
317 ------Ob. b˙. œ œ œ œ œ œ œ œ œ œ ˙. & ! P "
From pitch From air to air to pitch œ- œ- œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ F "
From pitch From air to air to pitch ------B. Sx. ± œ œ œ œ œ œ œ œ œ œ ± ± b± ? Œ Œ F "
From air From pitch to pitch to air b± ± œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ±. Bsn. ? Ó F
ª
From air to pitch 321
B Cl. 1 b & ! ! ! Ó Œ b±
From pitch From air " to air to pitch œ- œ- œ- œ- œ- œ- ± ± ± ± œ- œ- B. Cl. 1 ? Œ Œ F " From pitch to air ------B. Sx. ± œ œ œ œ œ œ œ œ ± ± ? Œ Ó F " From air From pitch to pitch to air b± ± œ- œ- œ- œ- œ- œ- œ- œ- ±. Bsn. ? Ó " F
From air From pitch to pitch to air 321 B. Cl. 2 . ------? ! b± œ œ œ œ œ œ œ œ ± " F 126
260
From pitch From air 325 to air to pitch B Cl. 1 ------b ± œ œ œ œ œ œ œ œ œ œ ±. b± & Œ Ó Œ P " From pitch From air to air to pitch -œ -œ -œ -œ -œ -œ -œ -œ ± ± ± ± -œ -œ -œ B. Cl. 1 ? Œ Œ F " From air From pitch to pitch to air ------Bsn. b± ± œ œ œ œ œ œ œ œ œ œ ±. ? Ó " F # From air From pitch to pitch to air
325 b±. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± B. Cl. 2 ? ± Ó " F
ª
From air to pitch 329 A. Sx. 1 . - & ! ! ! b± œ " From pitch From air to air to pitch
B Cl. 1 ------b ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ±. ± & 3 3 Œ Ó Œ F "
From air From pitch to pitch to air 3 3 A. Sx. 2 & Œ Œ Ó ±. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± ± " F " From pitch to air œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± ± B. Cl. 1 ? 3 3 Œ Ó ! F " From air From pitch to pitch to air
329 ± b±. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± B. Cl. 2 ? Ó 3 3 " F
127
261
From pitch From air to pitch 333 to air A. Sx. 1 ------. . - & œ œ œ œ œ œ œ œ œ ± ! b± œ F " From pitch From air to air to pitch
B Cl. 1 ------. b ± œ œ œ œ œ œ œ œ œ œ ± b± & Œ Ó Œ F "
From air From pitch to pitch to air
A. Sx. 2 & Œ Œ Ó ±. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ± ± F " From air From pitch to pitch to air
333 ± b±. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ± B. Cl. 2 ? Ó " F
ª
From pitch From air to air to pitch 337 A. Sx. 1 -œ -œ -œ -œ -œ ±. b±. -œ & ! F " From pitch From air to air to pitch
B Cl. 1 ------b ± œ œ œ œ œ œ ±. b± & Œ Ó Œ F " From air From pitch to pitch to air A. Sx. 2 & Œ Œ Ó b±. -œ -œ -œ -œ -œ -œ ± ± F " From air From pitch to pitch to air B Cl. 2 b & Ó Ó b± ± -œ -œ -œ -œ -œ -œ ± ± " F "
337 ± B. Cl. 2 ? Ó ! ! ! "
128
262
From pitch From air to air to pitch 341 A. Sx. 1 - - - - - . . - & œ œ œ œ œ ± ! b± œ P "
From pitch to air B Cl. 1 ------. b & ± œ œ œ œ œ œ ± Œ ! P "
From air From pitch to pitch to air B Cl. 2 b & Ó Ó b± ± -œ -œ -œ -œ -œ -œ ± ± P "
ª
From pitch From air to air to pitch 345 A. Sx. 1 - - - - - . . - & œ œ œ œ œ ± ! b± œ p "
From air From pitch to pitch to air
B Cl. 2 ------b & Ó b± ± œ œ œ œ œ œ ± ± Ó p "
ª
From pitch 349 to air A. Sx. 1 - - - - - . & œ œ œ œ œ ± ± p "
129