CHRISTOPHER TRAPANI
COGNITIVE CONSONANCE
Two studies for two plucked-string soloists, ensemble, and electronics
(2010) Cognitive Consonance (2010) I. Disorientation (qanûn solo) Interlude II. Westering (hexaphonic electric guitar solo) —————— Duration: ca. 23 minutes Score in C Instrumentation: Qanûn Solo Hexaphonic Electric Guitar Solo Alto Flute / Flute (only in II. Westering) Clarinet in B flat / Bass Clarinet in B flat (only in II. Westering) Mandolin / Just Intonation Autoharp in G Harp Guitar (nylon strings, only in I. Disorientation) Percussion (1 player): Crotales, Glockenspiel, Vibraphone, Marimba, Zarb, Bendir, Snare Drum, 2 suspended Cymbals, 5 tuned gongs (G#2, B2, D3, F3, C#4) Violin Cello Contrabass (with low C string or 5th string retuned to C) —————— Cognitive Consonance was written in conjunction with the Cursus 2 at IRCAM, and premiered during the Agora festival on 9 June 2010 at the CENTQUATRE in Paris, with Julien Jalâl Eddine Weiss on qanûn, Christelle Séry on hexaphonic electric guitar, and the Ensemble L’Itinéraire conducted by Mark Foster. The electronics were realized at IRCAM by the composer, under the guidance of Eric Daubresse. Performance Notes: 1. Disorientation was written specifically for the qanûn player Julien Weiss, using his system of intonation — with 15 microtonal possibilities between C flat and C sharp — and notation, with the accidentals outlined in figure 1. 2. The hexaphonic electric guitar is a custom instrument, fitted with a hexaphonic pickup (such as the Roland GK-3) capable of sending out a separate signal for each string. These six signals must be sent to the patch, so a converting device such as the RMC fanout box may also be needed. 3. The scordatura required of the ensemble for Disorientation is detailed in figure 2. 4. The just intonation autoharp used in Westering is an adapted version of the Appalachian folk instrument, retuned and fitted with new chord shapes. It is easily played by any guitarist or mandolinist. Its tuning and chord shapes are described in figure 3. The instrument is available from the composer. 5. Microtonal accidentals are used throughout the piece. For the strings and winds, these generally denote tempered quarter-tones, though the players are sometimes asked to tune to a pitch already sounded by the soloist or electronics. Microtones a quarter-tone or greater on fretted instruments are notated using the fretted pitch with an up or down arrow attached to its accidental as a reminder. This same accidental is used for the open string and octave harmonic of the cello’s retuned A string during the first half of Disorientation. Diamond-head harmonics for retuned strings however are notated at the fingered position, without any microtonal alteration. Dotted lines in the score between staves indicate a microtonal unison 6. A glissando is an incremental change in pitch that lasts the duration of the note to which it is attached, whereas a portamento denotes a quick slide just before the final pitch. 7. For strings, an x on the note stem denotes a duller color, obtained by using a harmonic-style touch at the end of an open string, deadening the upper partials and creating a “palm-muting” effect. 8. The guitar part in Disorientation is intended for a classical nylon-string guitar; It can however be played by the same player who performs the solo part of Westering, as long as two separate guitars are used. 9. The electronics are controlled by a Max/MSP patch, whose events are triggered by the guitarist using a MIDI foot pedal. The patch is available from the composer. 10. The players should be seated as outlined in Figure 4. Technical Note:
The live electronics in Cognitive Consonance require a Macintosh computer equipped with Max/MSP (and certain supplementary patches, such as IRCAM’s Spat 4.0, sogs~, and SuperVP objects) with a minimum 2.93 MHz processor and 8 MB of RAM. The audio output is in eight channels, intended for eight equidistant speakers configured in a ring around the audience. The ensemble should be amplified in the front left and right speakers, while a ninth central speaker positioned on stage simulates a local amplification for the soloists. A video monitor can be positioned onstage to display event numbers for the guitarist or conductor. Further details are available from the composer. FIGURE 1: QANÛN ACCIDENTALS devised by Julien Weiss MANDAL NUMBER - 7 - 6 - 5 - 4 - 3 - 2 - 1 0 1 2 3 4 5 6 7
! ! ! "' "' ! "' ' "" ' $ ' #' #' #! ' #! ' ' %' $% ' %! ' %' difference in cents ! # !!! from central pitch -114 -92 -78 -65 -53 -38 -22 0 +22 +38 +53 +65 +78 +92 +114 MIDI 5880 5902 5918 5933 5945 5958 5972 5994 6016 6032 6047 6059 6072 6086 6108 CENTS
FIGURE 2: SCORDATURA in ENSEMBLE to be retuned and verified before the piece begins VIOLIN CELLO CONTRABASS ' & ' & ' ' ' # ' ! ' ' & ' difference ' ' ' from A= 440 -4 -2 0 +2 -6 -4 -2 -66 -6 0 -2 -4 MIDI 5496 6198 6900 7602 3594 4296 4998 5634 2394 3300 3798 4296 CENTS MANDOLIN GUITAR * HARP ** ' ' & ! ' ! ' ' #' & ' ' ' ' difference ' ' % from A= 440 -4 -52 0 +2 -20 +62 -2 -4 -18 +2 (-6' +26 MIDI 5496 6148 6900 7602 3980 4562 4998 5496 5882 6402 2394 2626 CENTS
* To tune the guitar: first, tune in just 4ths around = 440. Then: ** Only the two lowest strings of the harp should be retuned. 1.) Tune the 4th partial of the B string to the 5th partial of the G string The rest of the instrument should be tuned to A = 440. 2.) Tune the 3rd partial of the E string to the retuned B string 3.) Tune the 5th partial of the A string to the 7th partial of the retuned E string FIGURE 3: TUNING and CHORDS for JUST INTONATION AUTOHARP in G to be retuned and verified before the piece begins
ORIGINAL PITCHES # ! # # $# # # $# # # # # " # # $# # $# # $# # RETUNED# PITCHES # $# # $# # # $# # ! # # # # $# " # $# # # # # $# # !# $# # # MIDI # # $# CENTS 3984 4300 4820 5002 5184 5318 5388 5500 5704 5800 5886 6020 6090 6202 6286 6384 6466 6588 6700 6722 6904 7000 7086 7220 * * * * * difference -116 0 +20 +2 -16 +18 -12 0 +4 0 -14 +20 -10 +2 -14 -16 -34 -12 0 -78 +4 0 -14 +20 in cents includes all G3 F9 G11 E1 G21 high strings # $# # $# # $# # # # # ## # # $# # $# # # $## !"## ## "## " # $## ! ## ## ! ## # $# # $# # # # # # # # # $# ## !# $# ! # # # # # " " # # # # MIDI # CENTS 7252 7402 7486 7540 7666 7788 7900 8004 8104 8198 8286 8370 difference -48 +2 -14 -60 -34 -12 0 +4 +4 -2 -14 -30 in cents
* Asterisks denote pitches which do not appear in the final chord shapes for the piece, and thus need not be precisely tuned.
FIGURE 4: SEATING DIAGRAM
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5
1
K
O
O
B
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E
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O P t e n r e h t E n o s i a i L SUB R
[courtesy of Clément Marie] Composer's Note:
Cognitive Consonance: A state of internal harmony arising from the reconciliation between two initially contradictory ideas.
Here, a single piece divided into two parts, linked by an electronic interlude. Two plucked-string soloists from two disparate worlds. Two different sets of tools for composing with electronics, and two different approaches to the practicality of writing non-tempered ensemble music.
Or, a two-word manifesto, for a music as "cognitive"—capable of provoking thought and reflection, engaging the faculties of association and memory—as it is "consonant"—a notion that the piece aims to explore, expand, and redefine, the common thread between its superficially disjunct episodes.
The title of the first section, Disorientation, should be understood in a second, more etymological sense: a turning away from the orient, the disassociation of the qanûn from its Middle Eastern context. The spotlight here is on the custom-made instrument and microtonal tuning system devised by Julien Weiss, which specifies fifteen non-equidistant intervals per string (between a given flat and sharp). The pitch is altered by raising or lowering small levers under the string (mandals), often in the middle of playing, or even while executing a phrase with the other hand. Based on a Pythagorian rather than tempered framework, Julien's instrument is capable of closely approximating several just intervals with reliable precision. With a scordatura for the strings onstage—a mixture of plucked and bowed—and retuned samples in the electronics, the goal is to explore the combinatorial possibilities offered by the qanûn while maintaining the same precise control of pitch in the ensemble writing.
The electronics mirror the soloist with several shades of plucked strings, created with IRCAM's physical modeling software Modalys, which synthesizes each pitch according to the physical parameters of three separate strings given a slight variation in pitch—as would be the case on a real qanûn. The final eight-channel sound files are created via an OpenMusic interface, where pitch, synthesis, and spatialization (using the OMPrisma library) are controlled in a single integrated process.
Disorientation is divided into three sections, with the following subtitles:
1.) Inici (Falling): Starting from a high E (later understood as the 81st partial), a prolonged descent over about five minutes, during which the partials of a low C (from the 17th, a C sharp, to the 5th, a natural third) will serve as the local tonics of 'makams' constructed from higher partials. The descending curve ends with a mass of resonant strings, a harmonic spectrum perturbed by 'commas' derived from whole- number frequency ratios. 2.) Meyan (Midpoint): An exploration of the division of the perfect fifth (or twelfth), with pitches derived from inverted ratios moving inwards from each of the two poles.
3.) Croissant (Crescent): An episode written with an approximation of the Bohlen-Peirce scale and its odd-ratio intervals (5/3, 9/7, 9/5, etc.) triggers a progressive accumulation of string sounds, then tactile models in Modalys—sweeping motions over a plane of tuned strings, modeled on Harry Partch's harmonic canons. Mirrored harmonies, with the same ascending and descending ratios around a central pitch (often the D above middle C) create an increasingly dense texture that spills over into the electronic interlude.
The title of the second section, Westering, evokes the idea of a westward movement; the piece is largely inspired by music associated with the west—country and western guitar timbres, West African balafon music, but above all music from California: the just intonation ratios and plucked-string instruments of Harry Partch (to whom the adapted autoharp played by the mandolinist pays homage), Los Angeles folk/rock (Joni Mitchell's chains of consonant harmonies, Jeff Lynne's superimposed layers of strummed guitars), as well as psychedelic rock from San Francisco, and its rig of classic guitar effects.
Here the soloist is a hexaphonic guitar—an electric guitar fitted with a hexaphonic pickup that sends out a separate signal for each string. With an independent transposition control for each string, an even finer degree of microtonal precision than the qanûn's can be obtained. Effects can be applied with a different rate to each string, creating a polyrhythmic tremolo for instance, a six-voice wah-wah effect, or a dynamic delay that transforms a strummed chord into an arpeggio or a fingerpicking pattern. Spatializing each string separately as well, the electronics control the pitch, timbre, and movement of several independent layers in real time. The computer-aided orchestration software Orchidée was also used to reproduce the timbre and pitch content of distorted electric guitar chords in the ensemble.
The image of a westward wandering is also embodied in the loose form of the piece, a chain of interlocking events that unfurl like a series of discoveries in an unfamiliar landscape, the western myth of perpetual possibility…
Cognitive Consonance is deeply indebted to all the researchers, developers, and musicians at IRCAM who contributed their time and expertise, notably Nicholas Ellis, Marlon Schumacher, Jean Lochard, Clément Marie, Jean Bresson, René Caussé, and Yan Maresz. Special thanks to Cyril Béros, for his vision and his encouragement, and Eric Daubresse, for his invaluable advice and guidance throughout the project. for Julien Jalâl Eddine Weiss
Score in C I. Disorientation "Further, I am quite optimistic over the prospect of new exoticisms— in Louisiana, Wisconsin, and California, to pick a few random spots from the map—regardless of what India and Arabia do." — Harry Partch, Genesis of a Music CHRISTOPHER TRAPANI (2010) I. Inici (Falling) 3 ca. 12" 3 q = 60 %&, , , ,' ' !& %& , Qanun Solo " ! $ , , ,- # - - " $" % % % % % * + , , , + . " + . % . . " # pppp pp pppp pp 1 sfile in back of hall ' ( soundfile continues ), -, Electronics ! , $ # " $ " . * " "
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! * Perc. , , , , ! , , , , $ , * % 0/, ,,,,,, " % % * + % , pp f p pp, , f, ,-pp f/ pp , , , ,
Vln. " % % % ! % % % % % $ " arco pizz. (pizz. trem.) sul pont. sul tasto 3 l. v. 3 7 76 7 7 7 7 76 7 7 7 7 7 Vc. 6 , , , , ! 6 $ .6, + ,, ,, . . + 6, . , ,,. ,, + . * " % . +6, , / , /. % ' p f( (p n fp n : ord. II. sul tasto I. 7 7 7 7 ,7 Cb. ! 0/ / , / $ % % % " % % . # ppp mp pp + 5, 10 5, one hand 82 near bridge H 3 ( ' 3 3 6 , , / 3 , , -,% !& Qanun " ,&& , - ( %6 , , %6 , 0! , - + 0,0! , , . . , 1 * .& , +,- , . . +&, 0, , , " . , ,, * 0, , , $ & , !, ,, , - 0 & , &/, 9,&,& , ! ! 0 & , , " 5, 0 ,& , 0 & , ,, # ! mf mf-p, f 3 ! p 0mf (! mf ppp mf f ! ( pp, mp! p 3 ! 8 Mlys trem sfile
' Elec. " $ + 0, ,. 1 . % % % " % % ,- ,- IV. 7 Mand. " " $ % % % % % % % " 8 % mf ( 3 1 2 7 ,7 ,7 ,' '7 0,' Gtr. " - / $ % . , , % % % % % " . + * . # p mf p mf mf 0,&, , , 0/. &/. 0/ &/ / / 0/. &/. " $ % % % % % . + " . ppp mf pp Hp. p scrape ) " % % % % % % % " % . + 6 * ,3 VIBRAPHONE / soft mallet ) ! * Perc. " $ % % % % % % % $ " / * % sfz' p sul tasto 7 7 7 Vln. " " $ % % % % % % % " 8 / / n mf sul tasto ord. sul pont. sul pont. pizz. 7 pizz.76 7 arco 7 7 7 7 7 7 7 Vc. , , 6 6 " : $ /. * +6,, ,, * . + 6, , /. /. / , + " % + 16, . * 6pp f fp ppp mf n mp( sul pont.: 3 ord. 7 II. 7 sul tasto /. ( 7 7 7 '7 7 7 Cb. % . .0, , / ,0, /. , * % " * . ) $ , , , , " + # f pp,-, , ,mf n + : pppp, 8 , 11 !&& 5, -, 91 I one hand near bridge 3 3 3 3 3 3 3 % , Qanun " 5, , / ,!&& (,, , , 6 && ,. , , ! $ . + 0, , ,,,,0,, 0,- . + - 0, ,0,, , 0, , ,. + ,,, 1,, . (! * /, ,, , . + " & , -3 - & && / , & && , , , # ! 3 3 pp, f mp 3 3 p ! ( f ( ! ( mp ! pp (f ! ( -
9 retuned vibraphone trem samples +Mlys staccato or slide with adhere ' Elec. ! $ % % % % % % % " IV. III. III. l. v. 7 3 6 (7 Mand. " % / , 0, /. . + 6 . * . . + , , + 6. . * ! $ , , , , , <, ,, ,, <, , , , , ,<,. / " ,pp , mf, , pp p( f(; pp (; (; ( mp; (; f - , 3 , f 1 ' 5 7 7 7 5 4 6 4 8,. , , , 7 7 7 Gtr. , , 6 , / ! $ ' - 3 . + ,- , + . + 3 + - . . % % " # 7 mp'7 . + - pp mf mp' p3 f ( )8( &8 8 &8 ! $ % % % % % " Hp. ppp ppp mf pp 5 ) ! . 1 * % % % % % % " , ,, , 4)5 reversed sticks ! / /. Perc. * / / . % % % % ! $ , , / /. " ppp, , mp ppp ord. 3 l. v. 7 7 ,7 ,7 87 7 7 7 7 Vln. " 6 6 ! $ 8 8 * + - % % . , , , , + " n ppp p pp (arco) pp f p arco n 3 l. v. 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Vc. 6 ) = ! $ +6, , / , , , / 8 , . $ / * , . * * . +6, , , , , . " n mp, / 8 p - / -sfz(2 f pp f p + + , l. v. . (l. h.< pizz.) harm. gliss. 3< ord. '7 7 7 '7 7 '7 7 '7 Cb. ) -/ , , , / -/ /. -, ! $ - " #+ 8 / / 8 8 + 3 p ppp mp 12 5 , ! J near bridge, very noisy 98 near bridge 3 3 3 3 6 6 ( 6 Qanun " ! + , , . . .0,% (, * + + 6 " % + 1 ,,0,, (, + 1 : . , , , , , $" , , , 0 , ,, , %6 , " 0 , ,,, , , , , , , , , ,, ,, ,, , , # mp, , &&p f & ( && 5! , , , && & ( && p ,&& , , 5 , , , / ! ( ! ! mf -( ! f ! ! ! -' ! ', (f ( 10 Modalys soundfile in center
' && 8 / Elec. ! "! , , $ " % % % % " , , * % % II. IV. III. 3 3 III. 3 3 76 7 3 Mand. " ! , , 6 " $" * + , . . + ,, ,, * , " , , * * . 0, , , , . , , + % ',
! " $" % % % % " % % % % Hp. ) ! " " % % % % " % % % %
! soft mallets l. v. reversed mallets Perc. ! % % % % " * . +0, , . * % , , , $" " , , / , ,, ,pp- , f p f ( 3 sul pont. 7 7 7 7 Vln. " ! " / , $" % . / / . % " * . . * % * , pp mf pp pp -f pp/, III. III. sul pont. 3 7 7 7 7 Vc. ! ) " ) , $" * 3 3 3 + . $ 6/ , , / . " % % % , pp f pp f p p1 7 '7 7 '7 7 7 '7 7 7 '7 7 7 '7 7 7 Cb. ! / -, , -/ , ,-, , , -/ " 8 /. -, 8 8 $" " # f p + 13 5, 5, 0, K 106 l. v. 0! 8 / , 0! , / l. v. 3 , / Qanun " , , , , , $ 8, /, * !+ . . % % % , , , * # && pp &, ppp mf pp ! ( mf , , 11 ( ( !& spin out and gliss. )/ )/ Elec. ' 6 ) $ + ,, ,, /, 8, &, % % % % % && !&& , ! , - IV. l. v. 3 3 Mand. " 6 $ . , , , , , . % % % + , , , . . + * * +0, , two hands mandal trill 115 L two hands 3 3 3 444444444444444444444444444 6 6 , Qanun " , , , , , ! , , , 6 -, " , , $ + & ,,,, ,, ,, ,, + " . , , , ,,,, + &&,% 6 . + 0, , / . % " . , , , , , 1 , ,,& ,,0, # mf, ! (f p mp,, 0, ,mf&& p ! ( , , 0, ,. ,, ,, ,, ,,0,,&& , ! ! f 12 Mlys( -> retuned strings sfile mp f mp ! f spin out Elec. ) ! ' ) " % " % % $ , , , " % /,. /,. - , IV. noisy, near bridge , ' Mand. " , . * ! % % + 6 . " % + 1&, , , . $ , " ,, /, /, ,, /, " , , , ,mf pp p f p fp,2, , n 4 3 2 3 7 '7 ,7 Gtr. ,' , ! 2 " $ * . + " + 1 * * % % % " % % # mf mp 3 ( mf ) ( 3 (3 )( (6 ) , &, , , ,% ' ,' 0, 6 6 , * + ! % . + . % . + , , , + * " . + 12 . + % $ " mp , , , " Hp. mp pp mf f 7 , , , f 7 7 7 0(, 7 ( 7 ) . + ,' * ! + ,' * % ,' * % " ,' * . % - " '/ - " 3 l. v. l. v. ! , , Perc. 6 , , / + * ! + 0, , . % . , , , + . % " % + $ " mp, , pp , , , " , , , , , ( p/ , , f pp,- , , f ppp sul tasto III. ord. III. port. 3 7 7 7 7 < 3. Vln. " ! 9 " $ * . , " , , / . , , 6 + . % % " % + pp mf n - . , , , p, ppp pp mp pp ' IV. III. 7 7 7 7 IV. arco , , , , 7 7 7 sul tasto 6 / ,7 , / Vc. ) . - ! . - % % % " * . 3 3 " 3 " 1 ppp mf pp pp ppp f ppp, 8 7 7 7 7 7 7 '7 7 7 7 6 , /. , , / 8 Cb. 8 ! / / / " $ " . . " % # f pp f n + M 15 near bridge 3 two hands 123 3 ord. 6 0! , , 3 , ,% ( 3 3 3 Qanun , , %6 , " ,, + (, . , ,- + . . +0, , ,, , , , , , , , . . + 1 . . * + + 6 6 + $ 0 p ppp , & ,, , ,, ,, , , , , 6 6 , , , # mf f ! && 0 , / , pp , , , , ! ! &,, ,, ,, ! f( , , &, p & , pp 13 mf mp ( / slow gliss to reflected C spectrum)/ (ca. 20 sec) ) ' Elec. ) % % ) $ 8, /, &, . (, , &, 3 ( -, , , / / / , IV. 3 Mand. " 6 $ % + , , , , , , . * % , , , , , , ppp, , , mp, , , pp /, ,, ,, ,, /, /, (fp fp( mf-p( 7 7 l. v. 3 3 , , ( Gtr. $ , , * % % % % % * . , , p f p , , # ,fp-, près de la table % % % % % % % $ pp 3 ff Hp. p 3 f ( l. v. 3 ,%6 ( % ,%6 6 , , , ) 0, ,% - , + . 1 ' . % % % . . . + &, + 6 . 1 . % , ' &, , , ( ' l. v. l. v. -( Perc. ! % * % * $ /, 8, 8, 8, /, pp f pp pizz. vib. ppp 3 3 3 3 3 Vln. " 6 $ % % % * . . 6 . . 1 6 03 1 mf , p f ' n ', ', '. sul pont. 6 Vc. ) 3 3 3 3 3 + . + 3 3 3 * - 3 3 1 1 1 3 mp/ n ppp 1 f1 1 n sul tasto ) Cb. $ % % % % % * . &, 8 # + ppp + 16 %&, 0, 130 N (6 Qanun " ! -,% $ % % % % % % % " + 6 . # f -, , 14 ( , ' Elec. ) -, ! , % " % , , / III. 6 /' , , , , Mand. " 6 + % + . + , , , . * . ! , $ , , , , , 6 ,, ,, /, , , , " 3,. , , , , , , , , , , one hand two hands 138 near bridge O 3 3 3 ' ( , ,, Qanun " . + 6 1 + % + -, . , , . 1 + + 6 . , . -, + . - $ , , , 6 - 6 ,, ,, / 0 ( , # %&,, ,, %&,, , ,% %&/p pp %&,, , %&, ,pp p f( 0, , , - mf mp, ( 0, , , -( 15 f - , - , 0( 0f( retuned vibes (+ Mlys figures?) ' Elec. % % % % % % % % $ / l. v. III. 6 3 7 7 7 7 7 Mand. " , , , , $ 3, 3,3,3, 3, 3, , 1 , . 3, 3,3, 3, +6 , / / , /. % ,, , ,, /, ,- , , , , fp( pp6 6'f fp n fp( ( pp, , mp, f, , pp near bridge 5 2 6 6 5 5 6 5 3 3 3 2 ' = 3 3 = 3 Gtr. 6 , 6 6 3 3 3 3 3 3 6 $ * >, + + 3 * + 3 . + 3, 3 . + 3 . , , , , , , + 3 * + >, + . 3 # (f 2 mf' mf' 3 ( ' , , , , , , 3 2 3 ( f ( p f mf pp f ppp f( $ % % % % % % % % % Hp. ) % % % % % % % % % (bow) l. v. Perc. ! 6 $ % % % % . + , , , * % % % arco n mp sul pont. IV. 3 molto sul pont. 3 7!7! 7! 7! 7! 7! 7! 7 7 7 Vln. " 6 6 $ + , , , , + * % % , , , + + ! ! !6 + % % % ppp mp n ppp mf n pp3 mp3 3 ppp III. 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Vc. 6/ /. , 6, / /. /. , 6, , / $ % . - / , , , pp f 3 p f sul tasto sul pont. 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Cb. ' / , /. , , / / , / ?, /. / , / #$ ? ? ? , /. , ? + p 18 3 147 P one hand mandal trill 3 ( 3 3 ( 6 ,%6 , , , 4444444444444444444444 Qanun " , , - , 6 # 6 -, ,- - ! $ . ++ ,, ,, + ,. . + 0, , 10,& ,, , , , + + . " + , , , + . 1 , -, / " # p (! && , ,0, ,, &, , , , , &, 0, &&, , , , ,-, f ! ( 0, , , ,.%' mp , p, f ,% 0, ,! f( mf(- f( fp -(f , -mp 16 sfile layer of vibe sec 0 Elec. # ' ! $ % % % % % " % % % * % " 3 l. v. 3 7 7 7 7 Mand. " , , # 6 ! $ . + , . % 6 . % % " , . , . + 1 : % % % " mf' ,p ,f pp ,, ( , , , 6fp' f 6mf' 3 2 2 5 2 6 3 6 5 6 5 (, 3 3 3 3 3 (3 Gtr. 2 # 6 53 ! $ % % + 6 3 . * + . + 3 " % . , ,- + + 3 * + + " # 3 f 3 ' fp pp f' f mf ( (f 03 ( # ! $ % % % % % " % % % % % " f 3 Hp. 7 7 7 ) ,' # ! % % % . . - . . / " % % . , % % " ' mf( (bow) l. v. Perc. 6 # ! !$ % + , / % % * " % % % / " n mp , / n n mp molto sul pont. 3 III. ord. 7 7 Vln. " # , , ! $ % % 03 3 3 3 3 * " % % % * + ,,,, " p f . n ppp III. IV. 3 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Vc. 6, / , 6, / 6 # 6/ , ! $ / , -, / , " / , / , , " 3 , / , 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Cb. /. /. , ? / # / / , , ! #$ / /. , " , / / " + f n R 19 / 0 mandal trill 157 Q mandal trill mandal trill F mandal trill 44444444444444444 3 44444444444444444444 !&& 44444444444444444444444444444444444 44444444444444444444444444444444 Qanun " ! 6 " $" + 0, * + , * 6 * + 6 6 + . 1 " 6 + ff ( &, f , &, # % / 0( % , , , , , - f , ( / !&& , 0mf(- , , , -, -f 5, ' ( !&& 0, / , , %&, , / 17 sfile sec vibes + Mlys figures of single plucks 18 modalys sound file ' ' Elec. ! " $ " % % % % % % " % % finger trill finger trill finger trill 44444444444444444444444444444 ( 44444444444444444444444444 444444444444444444 Mand. " ! . 1 6 . . % " % % $" ? , <, , , ? , " 6 ,. , / &, , , &, 6, / mf( f + - ,p / finger trill 2 finger trill 3 5 3 ( 3 6 finger trill ( 34444444444444444444444 3 444444444444444444444 3 , ( , 444444444444444444444444444444444 Gtr. 2 , , / ' 6 ! + - * + -2 . + > , . . * + , / , + " . . * $" , , , 3 - , " , # sfz f @p' f( p f / > , 3 , / 5@ - f( mf' (4444444444444444444finger trill près de la table près de la table ! " $" % % % % % % " % % Hp. 3 f pedal trill f 7 7 3 4444 ) ! (, 6 " " * . - . + , . % % % % " % * . + , &, ( ( Perc. ! 6 " !$" , + * % % % * * " % % mp n, , p 76 Vln. " ! , " $" ,, + * % % % % % " % % f pizz. I.finger trill con vib. III. II. finger trill (put down bow) IV. 7 44444444444444444444444 777777777 6 7 ( 6 ( 5, Vc. ) 6, &,% / , 6444444444444444444440, , / ! , + * % % . +&,% . . ; 6 * " . +&,%, / . + , / $" ; - " ; - mp - f f f f , / gliss. con vib. pizz. finger trill ord. I. 7 7 7 7 7 444444444444444 Cb. ! " $" * . ?/. / , /. /. % " % * 0/ , # f' + ppp f n 20 rall. S q = 90 165 mandal trill mandal trill 444 444444444444444444444444444444 4444444444444444444444444444444444444444444444444444444444444444444444444444 Qanun " 6 $ % + , * + 6 . % + 6 . # && ! 0, p ! f( &, / , -, , , , / / -/ mf( . p 0, )/ 19 modalys sound file ' Elec. $ % % % % % % % Mand. " $ % % % % % % % 5 4 5 4 3 4 Gtr. &/ , 6 + . * + + 6 * % $ / > , , >, &, , , , / /. , , , , / / # A f( , , , ,2 &, 6 A , 6 , 44444444444444 6(4444444444444444444444444444 2 6 / /. , , , , / / 5 mf(44444444444444444444444444444444444444444444444444 mf'4444444444444444444444 mp' 44444444444444444444444444444444444444444444 $ % % % % % % % pedal trill mp pedal trill mf Hp. mf pedal buzz pedal gliss. 4444444444444444444444444444 444444444444444444444444444444 44444444444444444444444444444 3 ) / . % + 6 % ! ! . . . 6 * ! . 0, 5, , / 0, 0, , 5, , / , 0, ( ( Perc. ! $ % % % % % % % Vln. " % % % % % % % $ gliss. con vib. gliss. con vib. III. finger trill IV. finger trill con vib. gliss. 3 6 0,% ' 7777777 ,% 444444444444444444444444 ; 444444444444444444444444 6 Vc. ) ; &, , +0, , , 0, % /. &, . * ; / &, . * % , , + & , % f ( ( &, . mf + 3' mp, finger trill gliss. con vib. 3 3 4444444444444444444444444444, 444444444 44444444444444444444444444444 7 0,' &, Cb. ) $ . * * . + 0, . * . + , * . * % # , , , , &, + ' + poco rit. 21 T q = 69 172 3 3 Qanun " . * . + 6 . . * + , . . 0,. * % % % % #$ && , 6 0 pp ! -, , , )/ ppp 5, )/ then high )/ Elec. $ % % % % % % % % 7 ,' Mand. " 6 $ % % % % . * 1 , , * % % p 5 1 6 0, , , , Gtr. $ % % % * . + 3 % % . + ,- , , ,- + % # mp' ppp mp pp 3 ' )(3 60, , ,% 6 7 ,% $ % % * + * + . % % % % Hp. , mp pedal gliss.l. v. sfz' mf pp ) ! ! * % % % . * % % % , , 5, , / l. v. ) ! 3 0, , , Perc. $ . + , / % + - - + . % . 6 + % % % n p n p n, , , p < < Vln. " % % % % % % + + 1 : * % $ 6 , 7 arco pizz. p , ( III. 3 6, 3 777777 Vc. ) 2 6 6 % * . + 1 + . * + 3 3 3 3 3 3 ,3 , 3 , 3 . * + , . % % mp ', pp mf pp ppp p, arco 7 7 7 7 7 7 l. v. , / / / , , 7 7 7 < Cb. ) % % . , / / 6+ * #+ pp f / 8 , , pp pppp 'pp , &, , II. Meyan (Midpoint) 22 0, , 0! , 0, - 5, !& U Subito Animato f 180 q = 80 l. v. ( Qanun " ! / ! ! / $ % % % % " . % % > % " + . # / , , f( , , fade out longer file, , ,- pp 20 short Mlys file in p( 21 longer sfile off ' Elec. ! ' ! ! $ % % % % " % % % > % " % (l. h.) I. 7 3 ( 3 l. v. < , Mand. " ! , ! ! $ % % + 6 + . % " % * + 6 + > % " * , , , , , p sfz f ,, ,, ,, ppp,, p/, n pp pppp retune ppp 6 7 5 to 4 (repeat ad lib.) 5 3 ,' Gtr. 6 - ! ! ! $ % * + 3 . * + . . + * " % + 6 . 3 % > % " % # mp' 3 pp 3 ( p' mf( ( with chopstick as before )(, ! ! ! $ % % % % " * % % > % " % Hp. sfz f sfz f ) ! ! ! 7 + + . % * . + + * " % % % > % " , * ,-, , , , , ,-, ,-, , , ( pp/ ppp ppp/ pppp ZARB knuckles on wood ) ) fingertips near rim 3 @ ! @; @; A; Perc. % % % % ? ! /. /. , + + , , 1,,! , 1,,,,,, ! * $ " - > - " pp, , pppp,- ,- sfz p pp sfz mf arco ord. , , , ,pp I. I. 3 3 3 3. Vln. " % % % * + ! % % % ! % ! $ 3 " > " '7 3 pp f pp I. , (pizz.) 3 7 ( Vc. ) , ! ! ! 6, % + . . + % % " % % % > % " . . - . p pp , mp III.pizz. l. v. Cb. ) ! ' ! ! * . + 6 " % % + 3 * > % " % #+ , 8 , , , / 8 mp- p ppp , 23 near bridge !& 189 3 V 3 3 3 Qanun " + . + 1 , # . + , % ! / . + + . +, , + . 6 . + ( , ! % ! / + 6 $ 6 6 2 " " , , , , , , > " # ,% 0' , ,- & ' , , , / , , , , ! / p,, mf' f( f( Elec. # ! ! ! $ % " % % " % % % % > % " % l. v. 7 near bridge (, ' Mand. " # ! / , ! ! $ % " % % " , . % % * > % " * ,p ppp mp f retune 1 (repeat ad lib.) retune 2 to 6 to 5 (repeat ad lib.) 7 Gtr. % # 1,+ , % ! % % + 6 . % ! % ! * $ " 2 " 3 > " , # près de la table 3 ' (f ( (f )(, ,&, ,&, / / , &, # ! ! ! 7 $ % " % % " * % * > . " * f pp mf pp , Hp. 3 (f 3 ) # ! 7 , , , ! ! 76 % " % % " +, , , + * % % > % " . . . , mp, , ,-pp , ( high resonant( low dull sound in sound near edge center of membrane 6 12 ! @ ( ( Perc. ; # ! % % ! ! , ? . , , , " . + ,,,, ,,,,,,,,,,,,,,,, " , * * + ,,,,> ,,,,,,,,,,,,,,,,,, " , * pp, , ; . , , pp sfzB mf pp f harmonic gliss to scroll 3 3 3!3 3 3 !3 (3 << Vln. " # ! ! ! , ! ! / $ " - + " 2* % + 1, * % > % " . mp n p p pB arco retune to A§ (repeat ad lib.) II. I. 3 Vc. ) # ! ! ! 3 3 3 3 % " % % " % % % % > % " . 1 II. pp mf arco Cb. ) # ! ! ! 3. % " % % " % % % % > % " #+ ppp 24 C, &&, -, 198 W ! 3 3 3 3 3 6 ' 6 Qanun (, , 6 ,% 6 , 6 ,% " 6+ 6. + * + , . 6 + 1 # % ! * + , , + . + + , , , . # % ! $ , 6 0! , , C,, C, : " " &&,, ,, && , -, , && ,, ,, " " # , ,% ( ' ( mp f ( mf f-mp( p , f mf f mp, ! ! , ! ', 22 Modalys sfile in center , ' 6 - Elec. % % % # % ! % % . + , 5! ,% , # ! $ " " , " 0 " , , ! , & , )/! ( Mand. " , # ! , # ! $ * 6 + . % " % "6 /,. % % % " % " , , fp( ppp mp p, , (7 (7 7 , , 6 , , 6 Gtr. % . 1, % # % ! , * * ,, ,, ,, ,, + . % # % ! $ . p " " . " " # mf' f p mf pp # ! # ! $ % % % " % " % % % % " % " Hp. ) # ! # ! % % % " % " % % % % " % " 3 @ 6 5 5 (; , ; ; A; ( ( Perc. ! % ,%, ,%, ,%, , # ! % % % # ! ? + , , , . . + , ,+ - " + 1,,,,,,,,,, " * " 1,,, ,,,,,, " , , mp mf , ,; p( ( ,pp- , mf (I.) p 3 , fB (l. h. pizz.) 3 3. 3 < Vln. " / / # ! , # ! $ . " " * % % % " % " ppp f sfz p B (check tuning, then B 3 correct if necessary) pizz. ( (3 Vc. ) 3 # ! , # ! . % % " % " * . . % % " % " pp sfzB mf sfz f sul pont. molto sul pont. pizz. 3 Cb. ) 3 03 3. 30333 3 3 3 3 # 3 ! ( # ! - , " / " % + 3 * % % " % " #+ mf p mf sfz f 25 207 3 3 ( 3 3 ,%6 ( ( Qanun " ! . + . . 6 * * # + 1 , , ! + ,&, . . . . , &, * # % ! % ! $" , -, , -, " , , " 6 6 ( " > " # f , & & (, p,2, 3 , 0, , 0, ( ( ! ! f ( 23 Modalys sfile in center 24 Modalys sfile center -> out ' ' Elec. ! # ! # ! ! $ " % . + + . % " % " % % % " % > % " I. ( Mand. " ! / , # ! # ! ! $" , , + % % " % " % % " % > % " ,fp ,ppp- f '/. 7 7 (, Gtr. ! , # ! # ! ! $" * *. % " % " * % % " % > % " # , f sfz( f 3 ' 0,' , 6 ! , # ,% ! (, # ! ! $" % % * + " + . " * % % " % > % " sfz f 3 Hp. mf mp f ) ! 7 # ! # ! ! " , * % % " % " % % % " % > % " ( ( ; 3 @ @ @ @ , , , , % ,; % ,; % ,; % ,; Perc. ! % % # ! 6 % # , , , , , , ! , , , , , , ! * . 1 ,. 1 + +,%- + . + ( * . - 1 2 + - + - !? " , " " , , " > 3 " f , ; ; mf f B; ,p- fB; ( mf( mp I. pizz. l. v. (arco) ( Vln. " ! , * % % # % ! !/. !/. !/. # !/ ! !,. ! $" B " " pB B B " B > " sfz f arco ppp sul pont. I. ord. ( 3 Vc. ) ! # ! , , , , !, !/ !/. # !, !, !, ! !,. ! " % % % " % " + B B B B B B " B B B > B " pizz. sfzB f ppp fp fp ppp I. arco ord. sul pont. III. slap left hand on strings, no pitch 3 ' Cb. ) ! ( # , , ! (; # ! ! " 3. 3. 3 + 1 3 " . - " A * % % " % > % " #+ p mf pp f2 mp sfz f 26 0! , 5! , 0! , -, 5! , Poco più mosso X Y q = 88 216 3 3 6 3 Qanun " ! # ! ! / , , , ,% $" % % % " % % % > % " . +0! ,,,, + . 5! , + , # sfz f p mf p / mp, f( mp, 25 26 ( 360 maquette sfile 27 maquette sfile center ' ' Elec. ! # ! ! ' $ " % % % " % % % > % " % % % 7 3 3 ( 7 III. 3 , , l. v. Mand. " ! , , 6 6 # ! ! , , $" + , , . . , , , , + * " . + 6 % % > % " , , +. % % 6, , , ,, ,, ,, ,, f , sfz p ppp f( p mf p 6p f pp 6' 3 7 / / , 6 , 3 7 7 7 Gtr. ! * + 6 6 . % # , , , . ! % ! * * + . ( 1+ $" , , , , " , , , > " , , , # , , , , p f pp (f sfz p( &pp, , mf, , pp 03 près de la table 3 ( ( 3 3 ( ! , 6 # , ! ! 7 $" * + 6+ . + 6 * , + " + 6+ . + . % > % " * % % sfz f , ; &, f , Hp. &,; ; B B; sfz( f sfzB p B p ) ! # : ! ! "&, * % . &/ " % + 1&, . % > % " % % % ( ' ' VIBRAPHONE bundlesticks (wood) 3 3 ( ; Perc. ! ! % % % # % % % ! % ! * +, , 1,; + . ,; , + + 6 ? " " > $ " , , ( ,; , , p, ,f p f fp , , n 3 , , , pizz. 3 3 arco ; ( ,@; ,7 /7 /7 ,7 Vln. " ! + 1 :+ 6+ + + 1 :+ 6+ - + 1 :+ + + # . + - ! + ! /. /. /. $" , &, 6 6 , &, , 6 6 " > " mpB; ; &, , B; ; B; , &, pp mf p pB B mfB B ; B; B B; ; arco B B 3 sul pont. 3 sul tasto pizz. vib. ' ' @; @; @; , , &, , , , ' ,' , ,@; , @; &, ,@; @; , 3. 3 3 3 3 Vc. ) ! - - &, / # - &, - &, ! - ! /. / , / , " * " + 1 2 + + 12 + + -+ > + + " + mp 3 3 arco 3 p mf p n (pizz.) vib. sul pont. pizz. ' ' Cb. ) !&/. / &, , ,&, , # / / / ! ! ( " - " > % " 3 * % % #+ mp 3pp mf n f 27 near bridge ord. 226 3 Z 3 6 3 3 3 Qanun " ' , , # , , , ! ! ! . 5! , . . 0 . 1 , , 5! , 5! , 0 , + + 6 * % % $ 5! , 6 ! , " 0! p,. , 5! , 0! , 5! , ! , 6 5! , " 0! ,% , > " # p , 0! ', 0! , , , 0! , - f mf' ( sfz f( sfile with retuned 28 sfile 11/8 fifths outward 29 vibraphone samples (=7ths) ' ' Elec. # 6 5! , ! , ! ! -, $ % % " % . + 5! ,% " & , > . + " -, 0! , , -, ! 0, 7 3 ( -, 0, ( 7 l. v. )/ , , 3 , 3 Mand. , ,, 6 " , , + . . . # % % ! . , , ! , ! % $ p ppp ,- " " ,, /, > ,, " , , / pp< f . pp pp mp' 7 ,7 6 , 7 7 Gtr. # ( ! ! ! $ * + , % " . , + . % " % > % " % # 3 f p 3 p 03 ( sec 3 # ! 7 ! ! 6 $ % % " % % % " * > % " . + + 6 + sfz f sfz f , , , Hp. mp (; ; ( scrape B ) 7 # 7 ! ! ! , * % " % % . , " % > % " * ( ( &,3 5 ' 5 5 CROTALES 3 5 5 6 , ! (; %6 ,% , * ( Perc. , , , , , , , , , , 1 ; . 1 * # + , 5, , 5, % ! , . ! % ! , * $ 0, , , ,; 6 " 0, , ,0, , , , 0, " %6 , , 6 - > $ " $ (;0, ,n-, ,%, 0, 0, 0, , ,% p ,;f ; 3 ,; mf , , , ( sul pont. f B I.arco 3. Vln. " / # ! ! ! $ . % " % % % " % > % " B n p (sul pont.) 3 3. 3. Vc. ) # / ! /. ! ,. ! % % " % % " > " % pp mp ppp arco 3 3 sul pont. Cb. ) 6 # ! ! ! % 03 3 3 " 3 3 03 3 3 303 3 " 3. > % " * &, #+ p f p n 28 234 Qanun " ! # ! # $ % % > % " % % % " % " % % # sfile retuned ricochets and reversed sticks 30 Mlys sfile with retuned trem samples 31 (=7ths) ' 3 ' Elec. , , $ % % ! % # + 6 6 1 1 + 1 0 % ! % # % % > " , , , " " 0,, ,,. -, III. IV. ( 6 ' 3 3 3 Mand. " ! # , , ; ; , 6 , , ! 6 ; ' # 6 $ % % > % " , , 0, , 1 ,, 12 + , " , + 10,, , , " 6 + + 6 , , < . , mf < , < , <, , , , 3 p ' Elec. # $ % % % " % % % % % III. 3 Mand. " # ' , $ % % % " . ,, , + ?, , ?, , , , , , , ?, , ?p ?f' - , , ? . mp' mp,- , pp f' ' Gtr. % % % # % % % % % #$ " près de la table, sec ( 3 gliss. &, 7 &, &(,; &, 7 6 ,; + . + ,; . , + . . (, + 1 # % % % % +0, $ ; ,&,( , ;&,, 6 " sfz f Hp. f , ( ; ( (; ; (; p f " 0, ( 6 0,; 0,. 7 3 ( ) # 0(, 0,7 % % % " % % + - . . + % 5 soft mallets 3 3 ( 3 , &,; 6 6 0, Perc. ! 6 6 ; 6 , + + 1 , 1 + , , + , + 1+ , , # % % . . , , , + . +0, $ , pp , ; ,, ,, ; ,; ,, ,, " 0,, ,, ,, &,; ( p &, ( pp f n mp f( 0,; f 0,; ( D D Vln. " # $ " % % % % % /. , 0, / /. I. ' pizz. II. III. 7 7 7 ( 3 Vc. # ) , , $ /. /. /. " % % . + - . ,. + , , mp' p sfz mf mp p' ' Cb. /3 . /3 &&,3 /3 . # % % % % % #$ " + mf p poco rit. 0, 31 0, Meno mosso 263 5, CC q = 66 0, ,. , , Qanun " ! (, $ 1 6 + 6 % % % % % % % % " . + ,- , , ,- + # f , , %&,. , ppp p pp ' %& , mp ( ' sfile planes ( ( 36 37 38 sfile planes )/ sfile qanun plane in center ' ' ' Elec. ! $ % % % % % % % % % " % % IV. 6 ' 0,' , , 0, , , 3 Mand. " , , 0, , &, , / / ! $ , ?, ,, + . , , , . % + , , , , " * . . 6 . p pp mf mp, pp ,- , , , 3 pp mf p p, sfz( mf ord. 6 3 ' lightly with palm Gtr. 0/ ! ,, $ + 6 , , , , , . +0, / % % % % % " % * # p , , , , , , , mf' A , , , , , , ppp, f pp 5 0, , , , 0, , 7 % % % 1 0, , , , 0, , . % % % % ! . % $ 0, , , 0, " / Hp. p 7 f mp sfz( mp ) ! % % % % % % % % % " % % reversed mallets l. v. 0, , , 3 Perc. ! 0, , , ! /' $ 0, , + % % % % % % % % " + % 5 sfz p , 5 , pp pp, ord.IV. 7 7 Vln. " ! / / $ % % % % % % % % % " . . pp IV. arco 7 Vc. ) ! / % % % % % % % % % " % . n (pizz.) sul tasto pizz. 3 senza vib. vib. 7 Cb. % ) , , , , + 6 % % % % ! % + * $ + 0 , / / " $ , # - 3 0mf' + p' + n mp n 32 III. Croissant (Crescent) 5, Subito più mosso ! & , &, 274 -, 5, -, DD q = 84 3 0(, 3 3 Qanun " , # , , , , , (, . %6 . + . % % % % % . + + % 1 . -, , $ ,. 0, - ! 6 5! ,. " , , , , # mp0 &, ( , , ,- , 3 p ' , , pp f pp (f )/ BP burst 39 soundfile with canon 40 (higher partials) transpositions, then 7ths ' ' Elec. # $ % % % % % % % " % % + + . % l. v. l. v. 3 Mand. " , , , # $ % % 6 + . % . + + * * " % % % % , , , , ,- , pp, , 3 pp ppp ,. pppp, 6 3 Gtr. ,, ,, (3 ( # $ + . % * + . + 3 . % % % " % % * % # A A sfz -mp ,p , ppp 3 3 , 7 7 # $ * + 1 * + % % % . + 1 : . % " % % % % , pp , Hp. p , ' ' % ) % % % % +, , , * % % # % % % % pp - " BENDIR low sound in center fingertips near rim ! 3 Perc. ( , % $ % % % % % % % ? # + , , . . , ,, . " , , , ppp,- p ,pp- 'mf 7 7 7 7 7 7 7 7 7 7 3 l. v. 7 , / , , 7 7 , / 7 7 7 ,. !, !/ !, < Vln. " , , , , , !, - # $ . ! ! ! + . 6 * % " % % % % mp n pp, 7 7 7 7 7 7 7 7 7 7 , / , 7 7 , / ,!, !/ !, Vc. ) / - , , - # * % % " % % % % p 3 3 n sul tasto, senza vib. arco I. Cb. ) &, / , /. /. , # $ % * - + * % " % % % % # + pppp p n + 33 EE 285 5 3 6 6 ( 6 ! ! ! ,%6 ( ,% ! Qanun " ,% (, &,, , ,, &, & , ,, ! 6 & , , , , , / $ + 6 1 - % 1- , + 6 , 1 " * , , + -'+ 6 . 1 ,-,- 6 + # ! , , , ! p ! &, &p, , f &, , , / -', mf f ' p f -', , -', ( ' 42 RM burst 43 ' 41 44 RM burst ' 3 ' ' ! 6 ' Elec. ! &, 5, $ % -, . % % " + * * + % -// . &, , -, / 3 near bridge, noisy 6 , , , Mand. " % + <,,,. 1 % % ! % % % 1 < ,,. ,, . $ , " , ,- p pp, mp, pp mp' . Gtr. % % % % ! *. *. % % #$ " près de la table 3 ! , , , , $ % % % % " % % % . &, , , , + Hp. pp mf pp ) ! % % % % " % % % % sharp, near rim sfz mp 3 ( ' 3 6 , Perc. ! ,. , ! ( , , , , ? . + , 1- + , / " , * * + ,,,, , ,, + . ,,. , ,, . , , , , , , , , , p ppp ,p mf( ,pp- , ,- mf( p ,mf (p mf( col legno tratto 3 Vln. " ! $ % % % % " % % % + 6 + p, , , f col legno tratto II. 3 7 7 Vc. ) ! , , % % % % " % % % . $ + pp col legno battuto ricochet pizz. 3 gliss. pizz. 7 6 7 Cb. ) % . % % ! . &,, . % % * $ , " ( , , #+ + sfz' p mp sfz' p 34 gliss. 0, near bridge 293 3 l. v. 3 3 3 ! ! ! 3 6 Qanun " , 5, , ! &, # &, , &(,, ( ! # (, ( ( 6 , , ! $ , , -, . " -, -,+ . -,,,,-, " + * " % 1 -,,,, , 1,, -, 0,, ,, " # ! ! 6 , , mp mf, &, , & , &, , f , ,- , , -, f-mp( , , , f ' ' p -fp( - f -' 45 46 3 ' 3 ' 6 ! Elec. # 5, ! ! & , # ! $ % % " % . . % " + -, * " % % % " &, , -, &, 7 7 Mand. " # ' ! (, , , # ! $ % % " % . 6 , , . " . 6 , " % % % " mp, , pp , , 3 , , mf, ,- pp near bridge 3 6 Gtr. # ! , , , # , ! $ % % " % * % " + ,, ,, ,, " ,, + . % % " # près de la table p mf pp 3 3 # , ,. ! # ! $ % % " % . + 1 . " . , , ,+ " % % % " Hp. mp , , , ' &(, &,. pp mp( pp ) # ! # ! % % " % % % " % " % % % " 3 3 6 3 ( ( ( ( ( ( Perc. ! * + , ( ,* # + , ,, , , . + , , ,,, ! , , + * # % % + ,,,,,,,,,, ! ? , " - " , " " , . , ,, , , , 6 pp, mp p,- ,-3, , f pp,- , (mf p , , ,, , , , ricochet col legno battuto pizz. 3 3 ( ,; 7 Vln. " % % # % % % ! + , ,* # + ,. % % ! $ " " -, " p " harmonic gliss. mp ( to bridge ', 7 7 Vc. , , # ! # ! $ * % " % % % " % " % % % " f pp gliss. con vib. pizz. 3 3 gliss. con vib. 6 7 Cb. % % # % . &, , . ! + 777 * # % % % ! $ " , " , + " " # -', , , -, , + mf - 35 FF , &, 302 l. v. !& GG 5 3 3 Qanun " ! , . 1 , % % # % + ! . + 6 $" /,. 0, -,, 5! ,,,, , " &, , "! 5! , , # f p mf ( f( 0mf ,&, & ,0 ! & , 0 p ! f( -(, 47 48 rising 3/7s sfile 49 rising 5/3s sfile etc. ' ' 5 ' Elec. ! , * % 1 * % # % % ! , -, $ " - ,. , " " 0, &-, , & (, ( 0( 0, 0,. , ! Mand. " ! # ! $" % % % % " % % " % scrape con vib. l. v. Gtr. ! # ! $" % % % " % % " % # 0/3. mf' ! # ! $" 0/. &/. 0/. &/. 0, &, * % " % % " % Hp. n mf pp ) ! # ! " % % % % " % % " % (; ( Perc. ! % % % # , ! , ? " 6 + * " . , / " * ! f , ( mp ,pp , mf IV. SOLO port. con sord. molto vib. sul pont. ord. port. arco sul pont. ord. port. l. v. 3 3 3 3 5 7 Vln. " ! + ,' , 1 61 6 + 6 # 1 , % ! % $" 0/. /. , 22 , 0, , ,0,, 6 &, , , " &, " pp f ( ( 2 &, p &,0,&, , ( mp f-pp(. f col legno battuto arco molto sul pont. C gliss. @; Vc. ! ) # , ! ( ,; $" % % % . + , " - + % $ " * ppp- f , : mp col legno battuto gliss. 7 7 7777 ( Cb. ! # ! $" / . % % % " . , % " &, 6 + # 0/ mf' mp( , + mf gliss. con vib. 36 309 3 Qanun " $ % 1 -,0,,, 5 , ,, , 0, 5 , , 1 , , . . 6 . + 6 . % # p ! 0, ! 0, , &, ( , &, , , , , , & , mf , f sffz( ! ( -', 50 rising 9/5s sfile 51 rising 7/5s sfile 52 rising 9/7s sfile (+3pitch burst quicker/softer) etc. etc. etc. ' ' ' ( Elec. -, % % , , % $ 5! , 0, , , 5! , -, 5&! , 0, - & , 0( near bridge &0, , ( &, ( 0 ( (, ( ( !& ( - , 3 6 ( Mand. " % % + A + * % % $ , , A pp , , sfz f A near bridge , / A; (6 Gtr. 6 A $ % , , , + A + * % % # 0/,. /, ,, A pp mp ppp sfz f A (; $ % % % % % % scrape f pedal buzz Hp. l. v. l. v. ) % 0,3 * % ! !6 + % % mp' &/ , Perc. ! % % % * % % ? spiccato , f(very resonant sul pont ord. l. v. 5 5 5 6 molto sul pont. 7 Vln. " : 5, $ % * + + 0, 0, . + . % p; ,, &, ; ,,, , ,, , &/ , -f ; ; ; ; ; ; ;0,; &, ; ,; &, ppp p ; ; 5f,; C SOLO arco con vib. ord. port. l. v. con sord. molto sul pont 3 3 7 6 3 ( 6 Vc. ) , , /. , , , , , , , ,% $ % . + - 1 0, &, , , + * 1-, - 0, . -,0,&, , , ppp fp( 2 ( 7 f mp f mf( pizz. 7777 ( C III. ' ' ' ' ' ' ' / gliss. con vib. arco ) 0, , , ,. , ,. 0, , , , , &/ ) 6 Cb. $ % - . +03 3 3 3 3 # + 3 + + p f p f 37 0, 0, &, HH near bridge 315 )/ 6 ! , , 6 3 Qanun " &,, ,, 6 $ % + 1-,% + . % % % % f , , ,! ! # - 0, &, 0,0, &, ,&, , , mf-, , pp ( ff( , 53 Mlys sfile: burst, spiral steps, then spiral) /rising ratios to high A ' Elec. % $ &0, near-, bridge /' , 0, /. Mand. " , /. $ % , , , , % % % % mf , , , pp near bridge Gtr. % 6 + % % % % $ , , , , , , # , , , 0,. ,, ,, mf0'/ 0 ,. , , ppp près de la table ' &/. &/ % /. / . % % % % $ mf Hp. ppp mp l. v. pedal buzz l. v. 3 ) % ! !6 + * + ! ! * % % % 0/ , , , 3 3 ( ! ( ( , , , , 6 6 Perc. , , , , , , , , % % % % ? * ,,,,,,, ,, ,, ,, ,. ,, ,, ,, ,, + . $ (7 , p ( ( mp f( n col lengo battuto gliss. l. v. l. v. arco l. v. ricochet gliss. 3 3 7 Vln. " % . . * + , . . +0, , , , * % $ &, &, - , f ( , ( , p , , f pp mf p sul pont. col lengo battuto . gliss. molto vib.port. l. v. arco gliss. C 3 5 spiccato 5 ricochet 3 7 l. v. 3 Vc. ) 6 , 6 &, . . + . $&, , , 6 + % % , , ,. , , , , 0, &, ,. 0,; &, , , , p p ( f mf ; 0 ; ; ; , , , , , , , , , p , , f p mf ; (f gliss. C molto sul pont. 7 7 sul tasto Cb. ) 6 6 &, ,. , , 3. . / ,. 1 + &, , / . + - * % # n , + f pp mf p pp mf p p C poco rit. 38 Meno mosso ! 5, 5,0! , 322 II &, 5, JJ q = 72 -, 3 3 %& , 3 Qanun " " ! 6 $ % % % % % " + . 6 . + . " +,% , . + 6 . , ! , 0! , - ! ,% # brushes on retuned crotales p/ , , &, ' , ' & , and vibes descending ' ( ' %& , 54 Mlys sfile' )( (/ ' Elec. " % % ! % $ " " , ,0, IV. III. II. IV. 6 Mand. " % % % % % " * . 6 + . ! . + , , , + , . $ " ,, , , , , " <,, ,, ,, p pp' , , , n ppp mp pp mp( , 4 'p 3 6 7 7 Gtr. " ,' ! ,' $ % % % % % " % 1 6 . - * " % * + - # 3. p sfz mp sfz( mf près de la table % % % % % " * % ! % % $ " / " Hp. sfz' p 3 3 7 7 7 '7 ) % % % % % " * + , . * . + , , ! . + , . % VIBRAPHONE " ( " - bundlesticks (wood) , , , sec Perc. ! , , , 6 , , , , , , , , " ! $ * , , , . + , , , * + ,, ,, ,,,,,, " 6+ . * % " % % p f p p,- , f, pp fp f p , ( sfz(; p pizz. arco DII. senza sord. III. l. v. 3 < 3 9 Vln. " + 3 3 3 3 3 3 3 3. 3 3 + % % " . + 6 * * + . ! % * $ -, , - " " 3, , , p, , pp mf mp , n pizz. ' , 3 mf-p( II. 7 arco 3 9 ,' ,7 ,7 7 7 Vc. ) " ! $ % % % % % " . . + % " * . $ + , , sfz p II. mf-p( ord. 7 7 7 7 7 7 7 7 7 7 7 Cb. ) " , , / , ,0,. ! / , , , / % % % % % " * + $ - " #+ +pp mf 39 Più vivo 331 KK q = 92 3 3 Qanun " , $ . + . , , , 6 + . 1 6 6 . + , . % % % % 0! , ,, , , ! ,% - , # ' , . , , & p , pp( pp mp , ,, pp %&',. 55 large sweep, then BP burst plus sweep 3 ' Elec. 0! , , , ,. 1 + + 6 0! , * % * . % % % $ 6 !& , ! ,% ,% , , , & , ! , , & , &, ! 3 3 @; ( 0(,; , (; ( ; Mand. " % % % % % * + , , ,; 1 +, 10,0, ; + + 5, &,5, , $ - , , 6 , , mp p mp p &, ,ppp, near bridge 3 p ; 777777 (3 5 @ (; (; 3 / ,; ( ; , &, &, ( 0(,; ( (,; Gtr. * + 1 % . / % * * + - 0, , 1 +, 1 , , + + + , $ : / . , - &, , , # 03 p mp p mp , ( l. v. près de la table 7 3 3 /. &/. , &, , $ % + 6 . 6 . % % % * + 6 + 1 (; . Hp. pp pp f p ,; , , , sfz( mp (; '7 ( ' ) , * % % % % % % % bowed l. v. Perc. ! , / , $ % % % % + - * % % ppp f possibile con Ped. leggero 93 port. 3 ( gliss. 3 < < 9 7 ,; 9 Vln. " , , - , $ 6 + * , % % % * + 6 10, + 15,0, ; + + 5, 0, + ,, p, ; pp p; / , . 0, , , ( ,; pppp pp (p ; mp( pp 3 senza sord. I. 3 7 '7 7 7 6 , 3 3 3 3 3 3 3 3 3 Vc. 6 ) 6 6 ,% - - - - $ , , + . . 3 3 3 3 3 3 + . % + + * ppp 3 3 3 3 3 pp p 3 ppp mp. ' '3 3 3n f p fp n sul tasto ord. 7 7 7 7 7 3 7 6 / , , / , 3 7 7 Cb. , * % % ) + + 6 $ + 6 $ , / # ppp mf n &, / /. , + + ppp mp 40 339 , %&, LL 0, !&& Qanun " % % % % % % % * #$ , harmonic canon spat sfile sfile D = 12h autoharp p 56 harmonic canon spat sfile 57 58 + trajectory ( ' ' , ' Elec. , $ % % % + , % % % , , l. v. 5 ( 3 3 l. v. , &,0, 3 , , ,. , , 3 Mand. " / -2 (; $ . % 1, , +&,+ + + , , , , . % 0, , + . % f, pp , f - , , , pp, , mp, p, , f mp; ; <, , , p <; 6 ; &,, , ( mfB; <; &, ( ,; sfz( p(; 5 ( 5 4 3 ( (; 3 3 &, , , ( (; ( @; ( ( 3 7 0, 5(,; ( , , /. , 2 0, ; 0, , 5, , &,; ,; , 5,; &,; Gtr. . , , , - - 0, , , , , $ , + 1, , + + + , + , ,- + % % + . . 0,0,,' . # , mp f 3 p 3 ppp mp mf sfz p p mf (; 3 , ( 3 près de la table sec ,; (,; ( (; - - - , / , ; , $ % % . + + . ,- , , * % . + , . + 6 * mf p sfz f 3 p p f pp , Hp. sfz p sfz mf p 3 ( ) + * + , . + % % % % % % 6 , , soft mallet &, &, dead-stick , , , Perc. ! % % % . + - * % % . 6 + . $ port. p f senza Ped., port. ; gliss. 5 gliss. 3 sul pont. sfzB mp 3 ord. port. 9 , (9 9 7 3 5 III. (; ( 0, 3; , ,@; @; (,; 3 ,7 ,7 /7 ( &,9; < Vln. 0, , , , / 0, , , , " &,. + . 1 - + - + + 6+ . + , , , . + 1&,,,&, 6 + + &, 1 $ 3 , , ,- , , ,0,&, ,,&, mp p n p f ppp p pp mp , , ppp mp n p mp pp , pp , , &pp, , mp; ; p port. sul pont. ord. sul pont. 6 ; /. , , / / , 3 3 3. 3 3. 3 ,,, , Vc. ) - . % 1&,, - + . ) n p 3 ff p ppp mp port. port. 3 7 3 3 7 7 7 /' /7 . 7 7 7 7 7 7 7 Cb. 6 , , ) + 6 + 6 , / , , $ , , , , + &, / / $ , / , , / , # mf p mf pp mp p mf p mp. mf + + 41 347 MM q = 100 && , 3 ! Qanun " . + . 6 . . + 6 * 6 + % % % % * $ &, , &, ,% # , % && , , , && /, %' !&& , f , ! 0 . ! 0( , ( D = 11th partial 59 splintering sfile 3 ' Elec. $ % % % % % % % % + 1 : + : + %&, , ( !&& IV. IV. IV. II. 3 noisy, near bridge IV. III. 76 7 7 6 3 6 Mand. " 6 , , , , , , , , 6 $ 1 :+ . , , , , + . + ,, ,, ,, * . ,, ,, ,,. . + . % + ,, /, , ,+ , 6,, 6, ,, ,, ,, ' 6, fp( /, ,, sfz(; p p mf( n pp mp pp p , p' f( p ' noisy, near bridge 3 4 7 5 = 7 ( ( Gtr. ,' , ,; ,, /, $ % . . . + - . * % % % % - # mf '3 sffz f près de la table 3 6 $ + 6 * % % % % % % % . 6 + , , ,. , , ,, Hp. ( 3 sfz mp sfz p f( ( ( ( sfz mp mf 7 ) 6 7 '7 '7 % % . (, , . % , * . , . % % % dead-stick dead-stick reversed sticks dead-stick Perc. !$ . 6+ . . 6 + 1 * , % % , . % % 6 + * , , , ,, /, , ; ; , ; mp pp ; B B ( ( gliss. sfzB f l. v. III. col legno battuto ricochet 3 III. l. v. < < < arco sul pont. Vln. 0, , ,. " . + 6 . * % . + ,. % * . 6+ + - 6 + * $ , ,,,,,,,, , 0, , p , p p, ,f p f sffz; arco pizz. 3 ( I. ord. sul pont. gliss. ,7 ,7 ,7 3 D/ molto vib. Vc. , / , ,. &, . ) . + % % * % + - - 1+0, , . mf p mp pp f p f p fp molto vib. I.sul pont. II. molto sul pont. 7 7 7 7 7 7 7 7 3 Cb. ) / /. /. /. , , % . +&, , , . . + $ , , #$ , , /. + - - - + ppp mf n pp f pp f + pp 42 356 NN 6 %& / Qanun " 6 6 6 , , , " , , ! $ + %6 . + , * . + , , , , * % % * + ,, " 8, /, / " # , &&, -( ,, ,, && ,. , - - ! ( %& , ! pp ( 60 sweep forward ' Elec. " ! $ % % % % % % % " % % " 3 ( ( 6 , / , ,0,, , / ,. 0, , , Mand. " . , ,+ 6 , , , * % % % * + , " , , , , , ! $ /, ,, <,, ,, , <, pp,- " , , , , , , , " gliss. gliss. 365 ( %& / , , ! ' 3 Qanun " ! , , &/. /' , , , $" , , , - . -- && ,, /, # , , ! fp( 61 tranche hybrids, spin outwards in two directions ' , , , Elec. ! % + 1 2 + + $ " ,- ,- 3 6 ( ( ( , ( , ; , /. , , ,. , , , , , ; (, Mand. " ! 0, , , , 0, , , $" , 1 + , , , , , , - + , , mp mf-p sfz mp pp , mp fp, gliss. 3 5 4 3 3 6 6 Gtr. ! , , , , 0, , , , , , 1 + , , , &, $" ,, 5, ,,. ,, ,, ,0, , , ,, ,, /, &, , ,, ,, ,, , # mf( ( p , , (p pp f( sfz( p mf, ( , &, 6 ' ,%6 &, , / & (, &(, / , &,% / , , & , , , ! , , , , , , , ,- , , , $" 3 fp 3 fp fp fp Hp. fp fp fp gliss. ( ) ! , ,. &, , , , , , , , , , " , , , , &, ,, , &&,, /,/ ,,, &, , , , , , , , ( ( &,, ,, 3 3 gliss, 5 ( 0, , , 0(, , Perc. 6 ( %6 , , ! 1 &, , , , 6 , , , - &, / &, 5, 5, , ,,, , !$" %6 , , , ,% 3 ( 5, &, , ,, ,, , (&, pp ( fp ,fp , fp f fp , col legno battuto , , &(, &, &, , ricochet 5 5 3 6 Vln. " ! $" % 1 . 1 * . + 1 &, f ,0, 0, , , , ,&, ,0, , , , , , , &, , ,&, , f( ( p( ( ( col legno battuto ( ( 6 5 Vc. ) ! " % % . 1 % , &, , , gliss. f , 0, , , , ( con vib. ( ( ( 2 pizz.&,' / , Cb. ) ! - " % % % + #+ mp 44 369 gliss. &/ 3 % . Qanun " , $ /, , / + , # !&& !&& %&(, %&/ p, Elec. $ (3 ( , (, (, , (, &, ; &,&, (, 0, Mand. &, , &,2 , , , , , " , 2 . + 2 + + 1 . + $ , , , - mf 6 , , f ,fp- , f ,p- ( , / , Gtr. /. , &, $ , , , , , * # ,pp , f pp, n / gliss. ad lib. )( )( / )( &, &, , &, &, $ , Hp. gliss. 6 3 ) , , , , , &,. , , , , , , ,, , &,, ,, /, &, ! 3 , , Perc. / ,&,, ,, / , , / $ , , &/ , fp( ricochet , 5, , fp( 3 6 3 Vln. " 5, $ + . + 0, , . &, , 5, % ,&,5, , ; , 0, , 5,0,0, , , 5, mf ( f ( ( ricochet( ricochet ( ( 3 5 5 3 5 5 Vc. ) . 0, 6 1 : . + + 1 + 5, , , &, , &, &, , &, &, 6 , 0, &, ,5,&, 0, , 3 ( ( (2 , &, 5, mp , f mf , ( ( ( 3 ( ( (2 ( ,' , ( - , 0,' Cb. , , ) . - + % + , + #+ - mf - 45 INTERLUDE gliss. 3 alternating hands ca. 1' 40" 372 . OO , %&/ %&, , + %& , l. v. Qanun " , , , $ $ , % # p mf massive 8ch 62 f ff , 63 Mlys sfiles sweep, high to low ' )/ ' Elec. $ $ % 3 ( , , 0(, 3 ( , 2 ( (, , ,2 Mand. " , , , . , , + 1&,. , &, + ,2 1 &,2 + -2 + $% $ , , 2 <,, ,, , , , 6,2 2 2 , , f fp sfz(;2 f fp,- sfz, f 2 sffz Gtr. % % % $% #$ &)(, )&(, , ) $ $ &, % mf Hp. f , l. v. &, &, / ) &, ) $% &, gliss. , , ( gliss. gliss. )/ l. v. &/ &,(, l. v. &,,. l. v. ! &, &, / . Perc. ,. $ $ ( . + (, , 6 + % f , fp ff &,, fff ,, 3 3 ; ; ; ; ( ; ( 8 ( 0, (, , 0 (, , , 8 , Vln. " , , , , , $ $ 1&, . , . 0, . , . % mf ff 3 3 3 ; 3 ; ; ( ( ; (, 8 ( 8 0 , 8 Vc. 0, ( , E 0, $ ) . 0 , , . 5, , . &, + , + + 0, % , & , ff (' 3 Cb. / (' 6 $ ) &/ , + 0, , + + 6 + % &, - + &, 0, 0, #+ f - ' , ', 0, 3 ( ff for Paul Edmonds 46 II. Westering "On this my thirtieth birthday, I know nothing and there is nothing to do but fall prey to desire... Nothing remains but desire, and desire comes howling down Elysian Fields like a mistral." —Walker Percy, The Moviegoer ca. 20 " q = 56 Flute " ! $ "! # # # Clarinet in Bb ! $# # # #"! 64 strum with flesh of fingers, very light ca. 20 " Hexaphonic & ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( Electric Guitar " ! $# & ' ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (sounding) #"! ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( % ppp() () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () buffer record on, all strings front and center Electronics ! $ " ! # # # Mandolin / Just Intonation ! $ Autoharp "! # # # ! $ "! # # # Harp unmeasured gliss. ad lib. under sound file $ ! !*( ( ( ( *( *( *( ( ( ( ( ( ( ! ppp(' (' mp(' (' p (' (' Percussion ! $ % ! # # # Violin " ! $ "! # # # Violoncello $ ! $ ! # # # Contrabass $ ! $ ! # # # #% 47 4 Fl. " " # # Cl. # # #" 65 very near bridge move gradually towards bridge choke strings with left hand & Guitar ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )))))))) (sounding)" ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )))))))) #" ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )))))))) % mp() () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () () p() () () () () () () () () () () () () () () () () () () () () () () () )))))))) trigger sogs, one voice at a time to matrix, spat in back of hall string buffers read with 8 sec delay amp volume down granulation patterns Elec. # ( ( ( ( ( ( ( " ( ( ( ( ( ( ( ( ( ( ( ( ( ( Mand. " # # " # # Hp. l. v. $ + & # ( ! (pppp' Perc. % # # Vln. " " # # Vc. $ # # Cb. $ # # #% 48 A 6 Fl. " " # # # # Cl. # # # # #" inaudible 66 random raking motions on muted strings (something like this) 3 5 & 3 3 3 3 Guitar , ) 2 ) (sounding)" ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ), , ) ), ), ) ) ) ) 0 ***** " ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ))/ / , 0 ' / 1 ' / ),) / )/ ) ) ' /' )' 2 ' # ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) , ) ) ) ) % ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) 3 , , , ), ) , ), ) ) ) + spat figures , , Elec. ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) " ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) Mand. " # # # # " # # # # Hp. $ # # # # with one hand, back and forth SNARE ! wire brush 7 Perc. % # # # & + /(((((( arco sul tasto ppp con sord. transverse bowing ord. (measured) - sul pont. Vln. " # + 2 ' + ' 2 + + " ( ( + + + ( ( ( ( ( ( ( 3 3 arco sul tasto ppp p n 'pp' 'f ' con sord. transverse bowing 3 (measured) + Vc. $ 2 64 4 + + + + + + + & 3 ( 4 4( ( + (+ 3+ (+ (+ (+ (+ )+ 3 ( 5 , n 'pp( ' 3 ( 'f( ' ( ( 'p)' ppp 3 p transverse bowing (measured) arco sul tasto con sord. I. II. n . . . . ' 2 ( ( ( ( Cb. $ ( ( ( 4 4( ( 4 & + ' 5 5 & + + + + + #% ppp + p n' 'pp' 'f ' 49 10 Fl. " " # # # # Cl. # # # # #" 67 Guitar & (sounding)" # # # # #" % , 3 Elec. ) ), , / / ) ) 0 ' / " ) , ) ) ), , , ) 3 , ), JUST INTONATION AUTOHARP in G * notated with chord button, strum G3 rhythm, and approximate position high 3 3 3 Mand. mid " # # & low + ppp( ( ( ( ( ( ( ( " # # # # Hp. $ # # # # 7 7 7 Perc. !% ( ( (((( ((((( ( ( (((((((((((((((( (((((((((((, ( ( ( ' ( ( 3 ( ( ' & 7 7 7 + + + + + + + + + mp pp + + + +5 +5 + + + +5 + n3 pp n col legno battuto pitchless, mute strings col legno battuto ricochet ricochet pizz. with left hand pizz. 5 9 3 pizz. 7 7 ) Vln. " 2 ), ), )))))))) )))))) ) + + + + ' ) / )) ' + ) ' ))))))' ' 2 ) / ) + & " + + + + p )) , , ) )) , )) , ( ) ) ) ) 8 ) p ), ) pp ), ( ) ) ) n ma ben sentito 7 ), 8 col legno battuto 7 8 pizz. col legno battuto pitchless, mute strings ricochet pizz. ricochet 2 with left hand 2 9 3 2 9 9 + + + + + )) 9 9), )) ), 7)))))) Vc. $ )+ )+ )+ )+ )+ ' & ), / ), ' ) ) ) ) ) ) ) ) + ), ' )) ' )))))) # p ) 5 ) ) ')f ' ) ) n 5 ) ) ) ) ) ) ) ) ) 5 ma ben sentito ) 3 p7 3 pitchless, mute strings with ricochet left hand high on fingerboard I. ricochet 3 (. ) ) col lengo battuto, punta d'arco 3 ( ) - ) 7, 7 7, 7 7), 7 Cb. $ + + + +5 ) ), ) )))))) )))))))) + + + + ' + + ' " 5 / ' + ' 5 ' ' + & #% n % mp p ma ben sentito 50 14 B Fl. " " # # Cl. # # #" 69 68 gliss. & Guitar & ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 6( ( ( ( ( ( ( ( (sounding)" '/( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 6 ( ( ( ( ( ( ( ( #" ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 6( ( ( ( ( ( ( ( % ppp() () () () () () () () () () () () () () () () () () () () () () () () () () () () mp :() () () () () () () () record non-transposed to delay buffer (1 echo) transpose with pattr Elec. " # strum pattern sim. 3 3 ( ( ( Autoharp ( ( ( ( ( ( ( " ( ( 3 mp 3 " # # Hp. $ # # Perc. ! % # # " Vln. " " # # Vc. $ # # arco molto sul tasto I. Cb. $ ( 3 ( " & + , # % pppp mp % 51 16 Fl. " < " # ! # # Cl. # < # # #" ! 70 71 & Guitar 6( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( & (sounding)" 6 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( / + < # # " 6( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ! # ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) record off % :( ( ( ( ( ( ( ( ( ( ( ( ppp( ( ( ( ( ( ( ( ( ( tranpose delay fade out low string with pattr [remove A string] delaybuffer - transposed layer 6( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 6( ( ( ( ( ( ( ( ( ( ( ( ( / ( ( ( ( ( ( ( ( ( ( ( ( Elec. + ' 6 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( < 6 ( ( ( ( ( ( ( ( ( ( ( ( ( .( ( ( ( ( ( ( ( ( ( ( ( " 6( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ! 6( ( ( ( ( ( ( ( ( ( ( ( ( * ( ( ( ( ( ( ( ( ( ( ( ( Autoharp ( ( ( ( < # # " + ! 3 pppp < " # ! # # Hp. $ < # ! # # VIBRAPHONE l. v. soft mallets 3 3 2 2 Perc. < + + + !" / 6( ( ( ( ! 6( (+ (+ (+ ' # 6(, ( ( ( ( pppp 6pp(, ( p ( 6( (pizz.) ; 3 Vln. " # < # + + ' / " ! p 2 0 3 ( ( pizz. = sul tasto 3 6(2 arco . Vc. $ + ' (= ' ' / ( < + + + 3 5 ( ' > ! ( p = 3 ppp pizz. . (= Cb. $ ? < ( ( ! + / > ' & #% n p 52 19 C Fl. " ! " # # ! # # # Cl. # # ! # # # #" ! 72 74 73 75 & 5 3 & & Guitar /( ( ( & /( ( ( (: ( ( ( ( ( ( 3 ( (sounding)" ( ( ( ( ( ( ( :( ! ( ( ( ( ( 3 ( / . ' / . ******* ******* ******* ' + & # #" *( ( ( ( ( ( ( *( ( ( ( ( ( 0(( !(( 0(( (( (( (( 33 (( mp 6 6 5 3 + + + % p mf mp +p + +ppp5 + second time 6 record off 3 record on play delay2 5 2 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 3 ( ( ( ( ( ( ( ( (+ (+ (+ Elec. / ( ( ( ( ( ( ( ( ( ( ( ( ( ( ! ( ( ( ( ( ( ( ( ( ( ( ( ( . / + # + / ' / . ******* . . " ( ( ( ( ( ( ( ( ( ( ( ( ( ( ! ******** ******** * ( ( ( ( ( ( ( ( ( ( ( ( ( ( 0 ( ( ( ( ( ( ( 0( ( / ( ( ( ( / ( ( ( ( 6 5 F9 G11 3 3 3 3 Autoharp # # ! 2 " ! ' ( + ( + ( ( ( ( ( ' ( ( ( ( ' ( ( ( ( ( ( ( ( ( p 5 5 mp 5 mf l. v. ! + + " # # ! & 3+ (+ + & # mp pp Hp. f 3 = 7. 7. $ = = ( ( ! ( ' *( + ' /*( ' / > + ' 5 ! + ' & # # p 5 > 3 bundlesticks (wood) 3 3 3 l. v. + 2 + 2 Perc. # # ! & ( ( (+ (+ / ( + ' (+ (+ /(((+ / ( ( (+ (+ & !" ! p + pp f7 p mp 7 7 ( ( ( f 7 , 7f arco sul tasto 3 II. Vln. " ! 2 2 4 4 " + ' + # ! # ' ( ( 3 3 ( ( ( ( ppp mf . pizz. 7( . . . . . 3 Vc. $ ( ( ( ( 3 ! + ! # # + ( + ' ( mf n 3 5 mf p arco II. (. Cb. $ ! 5 # # ! # # & + ' #% ppp 53 24 D Fl. " < " # # ! # # # # Cl. # # < # # # # #" ! 77 78 76 3 6 6 6 5 5 5 3 79 & & Guitar & ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( . ( . ( ( ( ( ( ( ( ( ( ( ( ( ( . ( ( ( & (sounding)" # + ' / .( ( ( ( ( ( ( ( ( ( ( ( ( ( < .( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( & # " / ( ( ( ( ( ( ( ( ( ( ( ( ( ( !/ ( ( //( //( ( ( ( ( ( ( ( ( ( ( ( ( //( ( ( # p mp 6( 6mf( ( ( ( ( ( ( ( ( ( ( ( ( 6( ( p( % record off 6 6 6 6 5 5 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( Elec. . . ..( ( ( ( ( ( < # & / /( ( ( ( ( /( ( ( ( ( ( ( ( ( ( ( ( ( ( " ! /6( ( ( ( ( /6( ( ( ( ( ( ( ( ::( ( ( ( ( ( 5 3 3 Autoharp ( ( ( ( ( < ( ( # # # " ( ((( + ' 5 + ! ' + ( 5 5p pp 0 l. v. + + + < " & ' /(+ (+ 3+ & ! # # # # fp ppp Hp. 3 7 mp f 7. = $ ( < ( & ' + # ! # # # & ' 5 MARIMBA soft yarn mallets 3 5 3 3 3 2 2 2 Perc. $ 7 < 7 7 + + + + + + + + + + + + + !" # & ' / ( ( ! ( ( ( ( ( (+ 6( ( ( ( (+(+ (+ (+ (+ 6(+ (+ (+6(+ (+ (+ :(+ + + + + + + + mf7 7p 7 7 mf-p7 p+> + + + + + mf-p+ sul tasto sul pont. senza vib. Vln. " 4 4 < " 3 ( + # ! # & .( 3 ( 3, pp n ppp mp . . arco sul pont. (= (= poco vib. gliss. Vc. $ > < 2 ' / + & ' /(+ + ! # 63 ( ( 3 ( .( ' > mp , ppp mp pp n 3. 3. ?. Cb. $ < ! # # # # #% mp n 54 30 E F ALTO FLUTE in G 3 Fl. " ! " # # # # # ! # & + ' f =( Cl. # # # # # ! # # #" ! 82 84 80 81 gliss. 83 3 3 2 & l. v. 7 7 & 7( ( 3 / = Guitar & . ( ( ( ( ( & . ( ( ( & + 2 (sounding)" # ' .( ( ( ( ( ' .( + ' ' ( + ( # ! # ( ( .(, & " ( ( ( ( ( ( ******** ******** ( ( ! # ( ( ( ( ( ( ********* + mf 5 ( ************ ( % 5 3 5 5 5 5 ( 3 7 mp f 7 record gran on delay (or gran) on record off record delay on, trigger echoes ( ( ( ( ( ( ( ( ( ( ( buffer2 on ( Elec. ..( ( ( ( ( ( ( ( ( ( ( ( ( ! " ( ( ( ( ( ( ( ( ( ( ( # # ( # ! # + ' ( .( ( ( ( ( ( ( ( ( ( ( ( ( 3 E1 Autoharp # # # # ! ( " / (, (, ( ( ( ! ( ( ( ( (, ( ( p5 , , ( ( mf( ( (, ( près de la table l. v. 3 ! " # # # # & ' ! ' & # fp Hp. 3 (*( ( *( ( (ppp 3 7 ( 7( mf l. v. (= , $ ' 7( + ' + ( + # # & ! # # scrape ! 5 1 3 7 l. v. ( ()2 7 ( Perc. $ + + + ( )2 > ! ! 3+ (, ( ( ( (+(+ / ( / ( # # # ! # # mp7 p pp mp p ord. col legno battuto senza vib. sul pont. 3 3 3 Vln. " ! " ( & # .( ( ( ( ( 3, ! + ' + 2 / 0 ' ' n ( (, ( ( ( ( ( (, ( ppp p n mp( (, ( ( ( ( ( pp(, ( gliss. ======5 arco IV. ****** col legno battuto pizz. . . IV. senza vib. 7( . . 7( . . . 3 3 3 Vc. $ ( ( 2 ! 2 2 + / (= ' / ( + ' ( ( ( ( # ! & ' ( (, ( ( ( ( (, ( ( ( ( f > ( mp======pp= f mp n p ppp . . col legno battuto (. 3. 3. (. 3 ( 3 3 3 3 , , ...... Cb. $ ! ======& & ! ' ( (, ( + ( / ( ' ( ' ( (, ( + ( #% ppp mf n mp 5 > pp5 55 37 G 3 3 3 Fl. " < " 2' & & + 2 2 2 2' ! # ( ( ( ( ( ( ( (, (, ( ( ( (, ( ( n ( (, ( ( ( ( ( (mp( ( ( (, ( ( ( n CLARINET= in Bb = = = f======3 3 3 3 3 3 Cl. " 2 2 2 2' + & & / 2 2 2 2 < # # ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 3 ! .mp= = = .= = n .mp=, = .= , p .= = n 85 86 87 88 89 1 90 3 4 2 = & & & 7 6( & Guitar ( & ' 0 & ( " ( = / ( (. < (sounding) " & & + 6.( & ' ' + & ' ( ( . & # ' . ( & ! & + # mp ********** mf5 3 record delay on mf f % ( regular at first, then diffuse retrigger buffer play, retuned retrigger buffer play, retuned 3 record off retrigger B C motion (new env) 3 diffuse patterns now B - C motion, retuning ( ( ( ( ( ( ( ( Elec. ( ( ( ( .( ( ( ( < ( " '6.( ( / ( ( + # & & '..:(((( / (( (( & + ! 0 ( .( *( .( (*( ( ( ( ( .( ( ( ( *( Autoharp ( ( ( # # # # < # " ( ( ( ( + ! (p ( près de la table l. v. 3 3 *3 3 *3 ( ( (*( 6(( 63 3, < " + & & , + # # ! # *( ( ppp p 3 ppp p Hp. ( ( ppp fp7 3 $ < # # # # # # ! & + 2 bundlesticks (wood) *( *( ( 3 ( = Perc. $ 3 3, ( ( + + < + # # # & " + + + + + + + ! + & ! pp+ + + + p+ ppp arco ord. senza vib. poco vib. senza vib. poco vib. 3 ? 3 ( *( ? (*( 3 Vln. " ( ( ? 3, < " & ! ppp p mf pp mf ppp gliss. arco 4 2 4 gliss. Vc. ( ? ( *4 4 4 4 $ & & + ' 5 5 ( ( ( ( ' & "' 2 *4 < 4 *4 3 3 5 4 * ( ?2 ! 3 * ( pp f pp ( arco n f pp sul pont. =. Cb. $ ' ( + & & + 2 ' + # # < # # 5 ! % n( 3 ( mp( 3 ( n 56 44 H 3 3 3 3 3 3 Fl. " @ " + ' 2 & # + ' 2 2 ( (/ 6( ! *( ( ( ( *( ( ( ( ( ( ( ( ( (, ( ( ( ( ( ( ( ( ( ( ((( ( 6( f = = , = mp= , = f= = = = = p= fp7 7fp fp 3 3 3 3 7 Cl. ' 2 2 2 2 ' + # & @ #" ( ( ( ( ( ( ( ( ( ( ( ( 2 .(, ( ( ( .( ( ( ! . , .p , . n ( ( ( ( ( (,( ( ( ( = ( , = mp= = = = = .mp= .= = = .=p mf-p .= mf-p 91 3 92 93 94 1 2 = & / ' ( & & & Guitar " 0 / .( ( ( (sounding) # '*( .( (( + & + & ' ' 0 ( + ' ( ( & # # @ " 3 ( ( ( ! # 5 ********* ( pp % mf f mf (remove A) +5 + chord +ecart + Spat 4 5+ 6 + buffer record off 3 5 spat moves around and out record on Spat 1 2 3 scatter disappears record off 2 Elec. ( .( (( @ " & /( /( + 0 ( ' (( ! *( .( 0( ( ( ( Autoharp # # # # # # # # @ " ! près de la table ( @ " + 7 ' + # # # # # # # ! mp ( fp ppp sfz mf p sfz p Hp. 3 l. v. l. v. sfz f 7 . . 3 . $ *(6( ( ( 7 (= 7 @ # ' + *( & # # # ( + 2 + ' ( + ! 3 7 ( 5 GLOCKENSPIEL 3 3 2 2 Perc. ! + + + + 2 @ " # + " 3+ 3+ (+ ' ' (+ ( ' '( # # # # ! pp mf ppp 7mf 7f senza sord. ( 3 pizz. gliss. IV. arco 3 , 3 3 3 3 Vln. " ' 2' & # # ' 2 2 ' @ " 2 2 2 6( + ! mp ppp mp ( ( ( = = = = p= ppp( *( ( = = = pp= mf= = = = II.l. v. I. pizz. gliss. senza sord. 5 3 5 3 pizz. trem. 7. = = arco 2 *(======. . . ( ( ( = = = =*(= . Vc. 4 4 $ , 6( 2 2 5 > ( @ " 4 4 ( 3 + / / + ' ( + ( + + ( + # / / / + ' + ! 3 ( n mp pp p= mf= + 7p sfz f mf 3 p +5 f mp(, senza sord. (sul pont.) vib. ord...... Cb. $ 2 @ + *3 ( 3 ( ( ' + # # ' ( 3 3 ( 3, ! #% ppp mp 5 n n p 57 I 52 breathy Fl. " @ ! "! 6( ( 6( ! + + + # # # # # # 6( ( , (, (,6( ?+ 3+ pp , fp , n 5 6 7 Cl. @ ! "! ! 2' + & # # # # # # # # (( (*(*((( (:( ( ( pp *( ppp, 95 gliss. 96 97 98 tap srings lightly with open palm 99 vib. 2 3 3 6 3 3 Guitar & 7 & & & ( ( ( ( ( ( & " @ ! ( /( ( ( ( /( ( (sounding) "! # ! ' 2 '6( ( / (' + # # + ' ( ( ( ( ( ( & # # # # sfz f 4 pp7 p / / % 7 p=( =( =( =( mf=( =(p Spat reset transpose retune grains appear (dac) 3 rec off record off add pitches 7 record gran, play through ( Elec. @ ! ( ( /( " ! ! & ' 2 ' 6( ( / ( .(( # ( ( 4 pp7 / 7 ( G21 slow gliss. Autoharp @ # ! # # # # # # 3, 3 "! ! ( @ # ! # # # # # # # # "! ! sfz f Hp. ! . $ @ ! ! # ! ( + & # # # # # # # 7 VIBRAPHONE bundlesticks (plastic) 3 bundlesticks (wood) ( 6(, Perc. ! @ ! + "! # " ! + & # # # # # # + ' + / +5 + ( ppp 3 mp ppp mp sffz 7 gliss. arco sul tasto . senza vib. slow gliss. 3 (, col legno battuto Vln. " @ 2 6( ( ! + ' ( + # # # "! + ! ( 2 ( + + + ( ( ( ( p ppp mf= gliss. pp p n col legno battuto I. senza vib. slow gliss. ord. II. 3 arco III. 3 l. v. . (= sul tasto ( ( ( 2 Vc. $ @ ( 64 ! + 5 (+ + + 5 # # ! + ! mf + +p pp pp p pppp( col legno battuto ppp + punta d'arco . 3 3 3 3 Cb. $ @ ! ( ( ( (( (( ( ( ( (( ! 3 ! # # # # # + 5 + , + ' + , + 5 + + 5 ' #% ppp pp 58 61 J K breathy (. 3. ?. Fl. " < 63, " # # + ! ( mp f sub. p 3 ppp 3 7 7 7 2 7 ( ( ( 6()2 ( :()2 7 2 7 2 7 6() ()2 Cl. 6( ( 6( (/( ( ( *() (6( ( ( 6():( 6( # ' 5 5 / / 5 ' ' 6( ( (:( ( ' ( ( / ( *(, < # " 3 5 5 5 5 ! # n mp pp mp p pp mp 3 5 pp 100 3 101 102 = very fast strum & ( ****** ( Guitar " ( & & < ( (sounding) " & + ' # # & + ' ' ! :(( & ******* # p *mf( % retune grains and fade out record on record off to delay buffers, doubled scrambled fingerpicking patterns to Spat ( Elec. ( 6( < ( " ( .( ! ( :( ( /( *( ( to MANDOLIN Autoharp 3 3 < # " 3, ( ( & ! 3 3 ( 2 ( 72 ( 2 7( () () < 6( " # ' 1( ' / ( + ' ( + & # ! + ' ( + = ********* Hp. mp p f( 7 ( $ < 2 ( # # # # ! & *() ( ' 3 3 3 soft mallets :( (, 6( ( 3 6( ( + + 6( ( ( 3 Perc. ! ' ' + +5 +5 / + ( ' , / + +5 + + ' + + & < + ' / ' 2 " + + + + + +5 + ! pp+5 +5 mp pp mp +pp mp pp+5 +5 mp pp mp pp+ + f ( + + mf7 ( mp(+ ord. II. 37 2 7 7 3 3 (, 6() ( *()2 7 Vln. " 6( ( ( :(6( ( *( ( /( ( /( ( (:( , < " # & 5 / 4' ' 5 5 6( ! # 3 3 6 n mp p pp mf p pp 2 2 2 4, Vc. $ < + ! # mf pp 3 3 Cb. $ ( ( ( ( ( ( ( ( ( < + ' + + ' 5 + ' + ' 5 + # ! # #% ppp 59 66 L Fl. " (6( 3 3, 3, 3, 63, @ 3 < " ! # ! # f pp f ppp 7 7 2 72 2 Cl. 6( ( ( ()6( ( @ () ( ( () ( < " # # # + ' 5 5 ( ( ! ( ( ( (, , 6( ( ! & # 3 3 5 53 n mf p mp 3 pp mp pp ( 104 n sostentuto, molto vib. 1 103 105 106 (slower strum) & = 37 2 1 6( 3 6(= 2 7 = :( ( ( , ( ( () ( ( ( = (, ( 6( ( ( ( & & Guitar & , .( ( .( : ( (sounding)" # ' 5 ' 5 @ 5 ' + ' ' < * /( & " p ! ! ( # mf mp mf 3 p ********* p*( % distortion, record on, other strings off SVPlay rampdown to Spat butterfly motion double up E string remove attacks, SVP trans to DAC? stretched version in SVPlay record off record off clean, remove A = :( Elec. 6( 3, ( 6( ( @ < (/( " ( 3 ! ! ' (*(/ *( Autoharp # # # # # @ # # < # " ! ! 3 3 3 .2 .0 @ . < " + ' ' / + ' # + ' / + # ! + # ! # ( ( ( 6( 6( 6=( p Hp. mf= 7 mp 7 ! ( ( 3 ( ( ( = = =3 3 3 $ ( 2 ( ( ( @ < & *( (' ' (*( & '*( ' ( + & / > ' ' *( + ! ' / ( + '*( + ! & '*( 3 = > = 3 3 3 Perc. ! 6( ( = 6( ( 6( 2 2 2 , 2 2 @ < " + + / 0 ' () 2 ' / '() 2 ' + + / ' () 2 /( ' + ' / ( / + + ' + ! ' + ' / + ! # + + + 7 ( 7 +5 +5 mf 7p = > ( +> +5 ( pp (, ( (+ (p ( ( ( ( ( ( ( ( Vln. " @ < " # # # # # ! # # ! # sul pont. molto vib. gliss. ord. 3 = . . . . Vc. $ 6( 3 3, @ ( 6( ( ( (, ( < # # # " ' ! ! ( ( ( ( arco sul tasto n p f p Cb. $ *( 3, 3, 3, @ ( < # & ! + # ! # #% ppp n 60 74 M 3 3 3 3 Fl. " ' @ < + ' 2 ' + 2 ' + /+ + 2 " 2 ! ! ( 6( ( 2 26( ( 2 6( *( 3 3, 3 3 mf 7, ( 7, ( 7, ( ( pp f ( ( 7, ppp mf n 'pizz.' 7, 7, 7, 7, 5 pp , f 3 3 5 5 5 3 3 bisb.5 Cl. @ < 0 0 2 2 " ! 2 2' ! + 2 /6( / ' ( / / 06( / 0/ ( / /6( + ' 6( ( ( ( # /( ( ( p , (, , (, , (, , (, , (, ( 3, ( ( ( ( ( ( (, (, (, (, (, (, (, (, (, (, pp f pp mp mp pp mp n 5 with slide (bottleneck) 107 110 1 108 109 con vib., molto sostenuto 1 2 port. very fast strum 2 7 + vib. = &3 & ( ( ( ( 3 7 & & Guitar " , /(3 @ /( ( (( (( < 6( ( 63 3 6( (sounding) " + ' +5 + > ! / ' ' ! / ( & # ' ' 5 pp+ + 3 = / p ( mf # mp ' / ********* . ( % mf:( three spat objects end up together delay record off Spat fingerpicking spin record off B string, SVPplay to Spat remove attacks Elec. @ < ( 6( 63, " ! ! ( ( III. .( MANDOLIN ( 3 IV. III. II. 73 2 2 3 Autoharp # ( ( ( + @ + 2 2 < " " / , / (+ (+ ! (+, / + + + + / ! # # # # + + 6p= ( (+ (+ pp+5 mp+5 pp mf mf-p7 67 , pp . # 2 ' /& @ # # < # # # # " ! sfz f ! mp ( p Hp. 3 p mp 3 sfz7 f 3 f l. v. mp 3 . ****** 3 *(= 7 ( ( ( $ + ( ' + # @ ' / ' ( # < ' + 2 + + & ' # = *( ! *( ! ( 2 ( () 5 2 =( ( MARIMBA ( ( 3 = 3 7 3 3 soft mallets 6(, 7(, 7, 2 + ( 7( ( 2 Perc. ! # # @ # # $ < + ' ( 7, ' + + + ( ' ( + + & " ! ! ( ( ( ( ( + + ( ( ( mp p mp + +5 + = mf 3+ p II. pizz. trem. l. v. Vln. " + + 0 @ < " & (+ (+ /( ' + ! # # ! # # # # pp mp n sfz7 p pizz. . . . . =. . Vc. @ 2 < $ ( 0 " 3 3 ! ( ( ' # ! # # ' /( + # , , n mp = sul pont. con vib. Cb. $ *3 3, @ 3 3 < ( ( 3, 3, 3, + ! ! + ' 5 #% n mp n pp mp 61 Poco più mosso N q = 66 breathy 82 3 3 3 3 72 Fl. " 2 ()( @ 3 " ' 2 '6( (, / + 2 2 2 ' + # + 3 ( ( ( ' ! (, pp f ( ( ( ( ( ( ( ( ( ppp mf4 p 7 5 n f p f p f p ff 3 3 5 5 Cl. 2 2 2 ) 2 )2 @ 2 " ( ( ' ' 6( ( ' 6( ( /6(6( /6( 0 ' # # ! ' # f pp f 7 =( 76( ( ( 6( ( ( *n( ( pp f ( ( ( ( mp p n 5 n , f pp 5 5 111 (do not reattack 113 112 molto vib.) 114 quick chop without slide & 3 & & ( ( (, :( ( 3 & 2 Guitar (, 6( 3 6( ( ( 7( = /*( (sounding)" ' ' 6( 3 ' 6( ( ( + @ ' * ( + " 5 5 3 ! f ( # ********** % record off (, retrigger chord to DAC retrigger chord softer, retunre retrigger chord to DAC 7 ( ( ( Elec. 3, @ /*( ( ( " ! + * ( ( ( ( ( ( 7, 7, 7, III. Mand. @ 0 " # # # # # # ! + ' / ( 6f=4 # + + # # # # @ # " ( ! mp p mp= p Hp. mf 5 3 3 ( $ + / ( ( + ' / ( ' # # # # @ # ( ( ((( ( ( ! ( (3 l. v. 3 3 2 5 Perc. $ 2 + + + ( (7 ( 3 @ ( ! + " '6() 6( ' 6( ' (+ (+ ( 6( 6( ' + 6(+ ( / *(' *( & *( *( ( 3 !*( ' + ( mp p( ( ( ppp , mp= *( ( ( 7 7 3 arco mf ( p gliss. gliss. :=( p( pp mp ppp IV. = 7 3 3 3 Vln. " 2 2 2 2 2 @ 2 " ' 6( 3 ( ( 6( ( ( ' 6( ( + ! ' + ( 3 =( 3 ( *( 3 ( ppp f pp f n p f ppp arco col legno battuto 3 I. l. v. l. v. . =. . sul tasto III. Vc. $ ( 2 ( @ 7 + ( ' ' ( 5 ' 2 ' # # ! + = = mp ( 3 ( 3 ( IV. f ( gliss. mp mf ppp mp n 4 3 col legno battuto 3 3 sul pont. 3 . . 7= . . = gliss. pizz. (= = (= /( 7( = (= I. arco *( = =( ( = 4 Cb. $ 3 (, 5 ( 5 5 ( ( 3 @ ( / 5 / ' + ' / + + + # ' 5 ! 5 ' ' #% ppp mp f p mp p f 62 O 89 2 + Fl. " 3 ' + + + + + (+ ( < ( ( ' + # @ # # # # < " *(+ (+ (+ + + + ! + + ! ! n p7 *(, (+ (, + + +5 n f= 3 3 Cl. ( ( ( 3 # < # # @ # # # # < " ( , 2 ! ! ! # *( ( ( mf( p mp n 117 1 115 116 2 118 119 put down slide 3 4 . 3 & =. (= & . ( & & . Guitar & 7 (= (sounding)" # # # ' ' + < & + 4 ' 5 & @ # + ' ' 5 + # < " ! 5 ! 3 ! # mf retrigger stacc chord, polyrhythms with single delay buffer, doubling note retuned and farther away lower envelopes than attack, halo effect % record off record F and G delay 2, to Spat 3 & 4 record D delay 1 record off, delay1 to Spat 1 & 2 ( ( ( ( ( ( ( ( ( Elec. /*( ( ( ( < /*( @ ( ( ( ( (6( ( 6( ( 6( ( ( < " # # # ' * ( ( ( ( ! # '* ( / & ! + 6( 6( + ! (, (, (, (, near bridge (, IV. 3 7 7 7 7 IV. 3 l. v. 7 0 . . ( ( Mand. + / + 2 ' ' / + + + ' # < + ' ( ( ' # @ # # # ' / < " *(+ + + 6( ( (*( ! + + ! +>+ ! *(+ (+ mp f7 ppp+ +p5 pp p mf p 4 près de la table . . < @ . < " # # # # ! # # ! # + / 0 ' # (, ( + ! Hp. f =( mf7 7 $ < @ < # # # # ! # # ! # # # # ! SOLO MARIMBA ! hard yarn mallets 9 7 7 9, 2 , Perc. < (, ( ( @ 2(, , ( () ( < " # # # # ! ' & + ' , / ! () 6(' > + # 7 ' + # ! 5 + + 5 ( sfz mp pp+5 +5 f con vib. molto sul pont. sul pont. sul pont. 3 . =-. . (. (. (. (. ((= Vln. " ( 3 ( ( 3 < 3, @ 3 ( < " + 5 ! # ! + ' ! ppp mf 3 ppp fp ppp n mp fp arco sul pont. col legno battuto ricochet arco ord. *( ( 7 gliss. 3 Vc. *( 4 4 $ # + ( ( ' 54+ (((((((( + < # # " @ .4 4 (4 (4 ' + ( 3 < 5 3 (((((((( ! ! . ( ( ! p f mp 7 pp p 5f 5 ppp pp ricochet (= 3 arco ord. - 3 gliss. - Cb. $ 4 7(((( ( ( 3 < ( ( @ 2 2 < + + + ' 5 ! 5 ' + # ! + ' " *(4 (4 (4 64 + *(4 (4 (4 ! #% mf ppp p n 6 ( 7 % f-mp7 ppp fp 63 99 P Fl. " < ! < @ "! # ! # # # ! # # ! # Cl. < # ! # # # < # # @ # #"! ! ! ! 122 120 121 . . . 7( ( . ( & & ( ( &3 Guitar . " < ! ******** ( ( 5 . 5 < @ (sounding) "! & ' ' ! ( + + + ' ( + & ' + ! # # ! # # f mp3 5 3p pp % guitar to Spat 5 & 6 *( +stretch record all to gran record off retune ( 6( Elec. < # ! ( 6( ( < @ " ! ! ( ( ( ! ! 3( . 7( ( 3 ( (, Mand. ( 6( ( ( " < + & ! + 5 + + + + + '6( ( ' & + + < ,+ +5 /+ # @ # ! + ! p + + + + + ! + + + ! ppp ppp n p+5 +5 pp pp+5 +p n gliss. ( l. v. 5 3 . . 3 . . < ! 5 .2 . . 2 7 < . . .2 @ "! & ' 2 ! ' / =( '6( + / + & ( + ( + ! + + + + 2 '6( ! # Hp. ppp( p ( 7 ( ( 7 pp l. v. ( mp 7 mf7 ( mf 7 p =( $ < ! < @ ! # ! # # & ' 2 ! # & ! # 1 1 *( ( *( SOLO 3 = 3 3 3 5 6 ! 2 3 3 = 7, 7 3 () 2 ( ( , , 2 , ( ( () 2 2 2 6(( (( ()((67(( , 7(, 7 7 Perc. < 26( ( ! + 6( (, + ( < ( ( ( , (, @ 2 0 '+ + / , + + / + + ' /+ ' + + ' + / , + ' / / (/ (*( 1' + '*()(:( / 2 ( "! + +5 ( 7 ! (, (+ (+ + +5+5 + ! 3 ,:(( ! 7 ,6( ) 6((*( p f, :( p= + ppp +5 + + pp f ( mp , , f , mf*( 7 , , , 8 8, + arco ord. 7 8 pizz. l. v. . 3. . . 7( . . (. (. 3. (. 3. , 3. Vln. " < 3 ! 7( 7 7( < ( 3 @ 3 "! + ! & + / ( + + /7( & ' 5 ! , ! ppp mf pp mf III. III. IV. molto sul pont. 64 4 2 Vc. <6 3 ( ' ! # # & $ < @ ' "! 5 ! 4 ! 4 4 4 4 4, ! 4 6( f ppp ppp 4 4 f4, 4 ppp pp sul tasto 3 Cb. < 4 ! $ < @ "! (' & ! # # + ' *( 3 ! 3, 3, ! 3 # % n mp % ppp3 64 Poco più mosso 106 Q q = 72 5 5 Fl. " # < # & 2 ' + & " ! (, ( ( ( ( ( ( ( ( ( ( (+ BASS CLARINET in Bb n ff p f p f p f p ff p f n p7 3 3 Cl. < $ 2 2 2 /(, ( ( ( ( ( (, 3, " # ! & ( ( ( ( ( ( ( ( ( ' + # ppp f p ff , p f p f n ppp f p f p f p fp n 123 with pick 124 5 4 3 2 1 3 & 3 3 & Guitar " < 2 (= ( (sounding) " + ' ' ! ' ( + ' ( /( ' / > + ( ' ( /( + ' 7 + & + # ( 7 ( % retuned, different tremolo rates f7 distortion w/o attacks to delay buffers->spat 7 gran buffers to dac w long offset, cascade record off Elec. < ( " ! # & ( ( ( ( Mand. < " # ! # # # # # . ( + < # # ' 2 & # + ' 2 + " ! mf ( ( Hp. sfz7 p ! f l. v. mp f 7 3 7 $ < # ! + ' # # & ' / 0 # =( =( =( 9 3 Perc. ! ' 1 < ' & # + ' / ' 1 / 2 & # " *(*((*( ! 2 ( ( (( (, mp 7( ( ( (*( ( f7 p 7 ( 7 ( :(, ff7 (. (. Vln. " ( ( < " ' ! # # # # # 5 n gliss. Vc. $ ( ( < 2 ' & # # # # ! (, 7f arco con vib. 7pizz. 7. =. /( ( ( ( Cb. $ < ( ( 5 ( ' + ! & & ' 5 # # ' #% 5 n f mf n f p f 65 112 3 3 Fl. " + 2+ # # # # @ # < " (+ ( ( ( ( ( ! ! mf7 p f p f 3 3 Cl. $ 2 2 2 @ < # # # ' ( ( ( ( ( ( ( ( ( ! ( ( ( ! # pp f p f p f p f p n 125 126 3 3 3 2 5 7 6 & + 2 2 7 & Guitar " ( ( 6( (( (( 7( :( (*( (*( @ < (sounding) " # ' 5 5 ' / ( ( ( / 6(( ((' & # ! # ! # f 7 ,p % mp record SVPlay append-msgs Elec. @ < " ! ! Mand. @ < " # # # # # ! # ! @ < " # # # # # ! # ! Hp. mp $ 0 @ < & ' / # # # # ! # ! =( 3 3 Perc. + ' / ' + 2 ' + ' # # @ # < !" ( ( ( (+ (+ ( 6( ( 6( ( ( ( ( ! ! f-mp pp pp f pp molto vib. 7 spiccato sul pont. gliss. port. port. 3 6 6 6 5 5 Vln. " # # + / @ ' ( < " ( ( (, 2 *( ( *( (, (*( *( (*(*( ! 2 ! ( , ( (, ( , *(, (*( ( ,:(, (*(, *( ( ( , , ( ,:(, *(, ( ( , , ,:( fp/( (, , mp , , , , , , , f , , mp, f p 7f 7 port. 7 ord. ( ( ( ( ( ( ( ( 3 ( sul pont. 3 ( 6( ( Vc. $ & 5 5 5 ' + ' 2 2 / + @ 5 < 3 3 5 ( ( ! 3 ! n f p f p f p n pp , f pp mf 3 3 III. l. v. ( (, ( ( ( ( ...... l. v. Cb. $ ( (, ( ( ( ( @ < & ' 5 / ' > / 5 ' + 3 + ! # ! #% p f p f p n n mf n f n 3 ff pp f 66 118 R bisb. Fl. " < 2 @ "! + ' ( ( 3 ( 3 + ! # 2 ' p f n *p( ( ff( p( ff( p( (ff p( ( f( ( ( n tongue tongue 3 -slap 5 -slap *( *( ( 3 3 3 Cl. $ < 6( 6( ( 6( ( 2 @ )2 6( ( ( ( ! & + ' ! / 2 *( 0 / / 0 *( ' ':( / ' + # ( ( ( (, ( *() (6(:(*( :( , *(, ( *( ( 3 ppp mp ppp pp sfz7, f 7 , :( , 7 7 7 , , *( , pp f p f f ff, f 7 8 8 mp 127 128 129 2 molto vib. 3 3 ********** noisy 4 & & 3 ' 6( 3 Guitar ( 3 ( & ( ( 3 (sounding)" < ' *( 3 ' 2 (, *( + ' + @ / ' ' ' + ' "! 6 ( 3 6( 2 ! 2 f5 # f f *( :() *( % =( 3 , ( (, 7 , (, (*( ( ( 7 mf 8 8 p7 , trem rampdown 7 retune distortion on, E string to Spat dist + trem ( Elec. < ( @ " ! & *( 6( ! ( Mand. < @ "! # # # ! # # # # près de la table 3 3 < @ "! # & ' + ( + ! # # # ' ( + 2 f mf f 7 Hp. *( 6( mf *( 7. $ < # & ' 6( & @ + ( + + ' / 0 # ! ( 5 ! ( = ( 7 2 Perc. ! < 2 2 @ + + # + ' + + / & / + + (+ (+ / + # "! fp + + ! 2 , ( (, + + fp7 pp 7 pp 6(+ (+, pp fp molto sul pont. 7 ord. Vln. " < 2 @ 2 "! 3, 3 ( ' # ! # # + ' (+ 3+ pp pp port...... 3 ord. ( ( ( ( ( ( ( ( ( ( , *( ( ( 3 ( ( ( ( ( ( ( ( ( ( ( Vc. $ < & , 6( ( ( @ ! ( 3 ( ( ! 3 ( 3 3 p p (do not re-attack) p mf f p f p f p f 3 Cb. $ < & 2 # @ # # ! ( ( ( (, ( ( ! 3 3 #% n fp7 fp7 f pp 67 125 S 3 3 Fl. " < @ " # # # # # ! 2 ! # p( f( p( f( (p ff( ( p( f3 A Cl. $ ( ( ( ( 3 3 < @ 2 + # + + !6( ( ( ( ( ( ( ( ( 3 ! ( ( ' # p f p n +p +mf p f p f p ff p n 130 131 132 133 3 4 5 molto sostenuto & *7( 7 7 & & & Guitar " ( ( *( ( < @ (sounding) " / ( ( (:( (*( (*( *( (6( ( :( ( # # # 3 3 + ' ' # 7 ( ( ( ( ( ( !63, 3, ! 7 7 , , 7 , 7f , , % 7 rampdown in matrix record SVPlay append msgs to Spat diad + wah Elec. < @ " ! # # ! # 3 3 Mand. < @ " # # # # # ! + ' ' 2 ' / 0 ! + + + + + + + ppp( ( (, ( ( (, (, (, p( ( mf( pp gliss. f7 7f 7 < @ " # + ( # # # ! # # ! # f Hp. f*7( $ 7( < (= @ # # ( + # # !6( & # ! # 3 2 2 2 Perc. $ + () 2 2 2 + +() 2 / # # # # < + + + 7 / ' () @ ' + +7 ' !" + + !6( (, (, 6(, (, (, (, ! 6( ( (, *(+ (+, pp mf7 pp sfz7 f 7 mp p p sfz7 f fp7 gliss. punta d'arco 3 3 3 3 3 7 ( ( ( 6( 3 Vln. " + + ' 2 / ' + 2 < ' + ( ( @ " (+ 2 ( ( ( *( ( 2 6( ( 2 6( ( ! 2 + + +5 + + + ! + ( 76( ( *( + + 3 + + + + (, (, 7 7 (, (, 7 (, pp p pp mp ppp mp 7f p f7 f ff7 f ff7 f ff7 punta . . . gliss. 5 ( ( ( ( ( ( ( 7 *( ( 7 d'arco 7( ( ( ( / ( ( ( *( 7 6( 6( ( 7 + Vc. $ (, ' / 6( (, ' 5 (, + < + ' +5 + + + + + @ + +5 ' ! pp+ + mp+ + pp ! mp p f p f5 f f f ff n molto sul pont. con vib. ( ( ( ( ord. ( 3 3 " " " " 6( 3 3 Cb. $ < 5 @ ( ( 3 3 3 # ! ' ! #% mf= n fp f ppp f 68 133 T 3 Fl. " 2 < < ! " + ' + + + *( B ( ( ( ! ( & + ' 2 2 ' & ! *(+ (+ (+ ( 6( ( ( ( ( ( ( (, ( ( ( ( ( ( ( ( ( ( ( ( f 7 mp f p f p pp f p f p ff p f p mf p pp, f p f p f p f p f n 6 3 détimbré 6 3 ( *( ( 3 3 Cl. $ /' ( ( / 2 ( ( < ( // < /' + ' + '6( ( ( ( ( ( ( ! () B ! 2 5 ! # ((((( 5 7 7 (( (( ( ( 3 3 , , , , , n mf-p mp , , , , , pp, ( 3, 3, 3 pp f p f p f fp7 7 pp 7 7 n f pp 134 135 con vib. 3 ********** = & 3 ' 2 2 * 3 6 ( 3 & 7 ( 3 ( Guitar " *33 < < 6( 3 ( 6( ( 3 (4 ! (sounding) " # B # ! ' 6 ( 3 # # + ' 54 ' ! # 3 f 6( 3 f f 3 *********** % trem immediately inf trem, (plus small3 distortion wave trigger gran and retuned dist delay trem, dist w/o attacks 6 ( Elec. 6( " # # < # < # ( ! B ! 66( ! ( 3 3 Mand. + 2 2 / 2 < < # # # # # ! " f *( ( ( ( B + ! ! 7 = = =(, =(, ppp # + < # < # # # # # ! " *=( B !! ! Hp. f pedal buzz $ < = < ! " # B ' ( ! # # # # # ! 3 VIBRAPHONE soft mallets 2 Perc. $ < < + + + + + + + ! ! # # B # ! # & "' 6(+ (+ (+ (+ (+ (+ 3+ + & ! pp mf p mp pp pp( 6( con Ped. Vln. " < < ! " # # B # ! # # # # # ! sul tasto (do not re-attack) Vc. $ < < ! ' 2 B ! # # # # # ! ( ( ( ( (, ( (, n mp 7fp fp7 sul tasto sul pont. 7 ( ( ( ( ( 6( ( ( ( ( 3 Cb. $ < 5 < ! # + B ! # # + # ! #% ppp fp pp n mp p mf n 69 alternate fingerings, tone color change breathy ord. 141 3 6 7 (, . 8 . 8 . 8 . 8 8 ( ( ( (. (8 (. (8 (. (8 (. (8 (. (8 (. (8 (8 (. (. (. 7 6( (*( Fl. " ! + '*( ( ( ( ( ( ( ( ( ' 6( ( ( < 5 5 ' + # < / ( ( (*( 6( ( < "! ! 5 3 B ! 3 3 5 5 fff p f p pp f p f pp f 3 5 3 Cl. $ ! ( ( ( ( < 6( ( < 0 < ! 5 ' + # ! ( (6( ( 6( & # B / ( / *( ! # p mf n ( ( ( , , ( ( mp 7f 7 7, , ( *( 136 ppp n 7 7, ff7, 137 3 & 3 7 3 7 =2 2 7 + 2 7 ( ( 3 3 & ( ( ( 7 5 *( ( ( 3 (6(= ( ( 3 3 ' + ( 6 5 Guitar ( , *( ( 6( ( ( :7( *( (sounding)" ! ' < + ' ( ( *( < < "! ! f ( ( B ( ! # 7 + 7 3= *( :( ( ( (*( ( ( *( mp 7 ( *( (*( ( % harmony expands to meet melody 7 f7, , , , ( interpolation with matrix 7 7 7 , :( + retuned dist swirl - with gliss 7 66 ( clean trm sound -> dist. Elec. ! 6 6( < < < " ! 66 (( ! B ! 66(( ( ( ( 3 ( Mand. ! # & ' 6( ( < 3 ( ' # # < # < "! + + ! + + B ! +pp5 + +mf +5 ppp ! < < < "! # # ! # # # B # ! Hp. $ ! < < < ! # # ! # # # B # ! Perc. ! # < 63 6( 6( 63 + # < # < !"! 63 3 ! 6( 63 B ! 3 mf3 pp 63 ( pp (ord.) sul pont. :( pp mf senza vib. ( *(, 7(, Vln. " ! < ( ( ( 7 ( < ( ( ( + < "! # # ! # # ' 6( B , + ! 5 3 + (ord.) p mf fp+ ff senza vib. sul pont. *7( 7 *( ( 3 (*( 95 (, (, 7, Vc. $ ! # # < # + ' 5 ' < (*(, (, 1 ( + < ! ! 6 B , ( *((+ + ! p mf 7f , , , *(+ff sul pont. ( ( 7( , 6( *( 7 7 Cb. $ ! < 5 < ( *( , < ! # # ! # # + ' B ( *:( ! #% p fp f fp ff 70 FLUTE breathy con vib. breathy 147 U 3 ( ( 3 ( *( ( 3 .( ( ( *( ( 3 Fl. " < / 5 5 6( 3 @ (, + + < "! # # & + + + + + ' + ' & '+ + ! + + + + ! pp+ + f+ + n n mf n n mf n n+ + +mf pp détimbré 3 Cl. $ < + + + + ( ( 3 @ < ! ' 2' (+ (+ 3+ (+ + ' + ( ( ( ' & & ! ! # / 5 + + + + + + + + *n( 3 ( f3 ( (n ppp p n n p n n+ mp+ +5 n *pp( ( ( mp( 3 pp 141 142 138 139 with slide 140 3 & & (slower gliss.) & & *( 3 ( ( & ( ( ( ( = ( ( ( = Guitar " < 5 54 /( /6( ( ( /( (, ( ( ( *( 3 @ 3 < (sounding) "! 2 ' & # ' ' + ' + ' , /( ( (/( ( ( ( 3, ! 3 # ! # ) n intersperse swells from n 5 5 ) delay / distortion n n 3 % ) remove attacks, dist to amp and Spat , attacks come in :7( triggers dist delay swell * ( Elec. " < :( @ < ! 6( ! ! 6( II. 7 Mand. < + ' 2 /*(, ((, (, / # # # # # # # @ ' + + / 2 < "! + + + + !mp 2 ! (+ (+ + +5 + + +5 =(, p mf ( p mf+ + + p ( mf = 3 3 < 2 @ . < "! & ' ( *( & # # # # # # ' ( & ! + + 2 # ! Hp. f 3 ( mp p7 sfz f *( 2( 7 $ < *() @ < ! ' + # # # # # # # & ! # # ! *( *( VIBRAPHONE7 soft mallets l. v. 3 3 ! 2 Perc. < ( + *( + *() 2 + # # # # # # & + 2 @ + /(' ' 2 < "! ( ( ! > mf 2 ( ( ! pp mf p( mp p 7 mp ( () con Ped. ( sul pont. senza vib. ; port. ord. 3 *( ( ( ( 3 ( 2 Vln. " < .( ( (.( ( ( 3 @ 3 ( + + < "! # # & + ' 5 5+ + + (4 (4 (4 ' & ' ! 5 + + ! n mp n n mp3+ + n n f n n mp p 3 n poco vib. col legno tratto ord. sul pont. ord. 3 6( ( 3 .( ( ( I. 4 4 4 4 Vc. $ < .( ( ( ( ( ( 5 5 @ < ! # # & + + + + ' + ' & ' ! ! n mf-p+ + + n n mf n n mp n n f p sul pont. poco vib. sul tasto sul pont. 3 ( ( 3 ( 2 *( 3 3 3 Cb. $ < # # & + $ ' + + + + 6( ( ( ' & ' @ < ! " % /(+ (+ 3+ ! ! #% % n mf n n mp n n mp 5 n n mp ppp W Più vivo 71 q = 84 breathy 158 V (. (. ( (. ( Fl. " < # # # # @ # # < # < 5 "! ! ! ! 3 (do not re-attack) p f 3 3 3 3 3 Cl. $ < @ < < ! ' 2 2 + # ! + 2 ! ! / 2 / 0' ( ( ( ( ( ( ( ( ( ( ( 3 ( ( ( ( ( ( ( ( ( ( ( ( )2 # , f p f p n (*( (*(( ( :( *( n 7fp fp7 7fp n mf p f p f p f pp f7, , , *( 7 , , 5 5 8, 143 5 145 2 molto vib. 144 146 147 2 vib. quick gliss. 3 3 7 7 ********* 6( ( 6( & (, (, **** ( & & ( 6( ( , , & ( ( & Guitar " < /( 3 6( (, ( ( 6( ( /( ( ( @ 5 6( ( 5 < ( < (sounding) "! ' . ( 3 & ' 6( (, *( ( ( ( ( + ! + / ! ' 5 ' ! 3, f ( 3 4 6( ( mf '3 3 f # n5 3 5 53 5 3 = 63, ( 3 to front and Spat 1 2 f7 % trem to front dacs open, other strings fade in dist+wah, record to delay 1 progressively add notes to gran harmony cascade playback attacks suddenly disappear back to no attacks add attacks record to gran over distorion Elec. < @ < < " ! ! ! ! noisy, near bridge Mand. < @ < < "! # # # # ! # # ! # ! ' 2 ' 2 2 ' ( (+ ( sfz7, f p sfz7, f < @ < < "! # # # # ! # # ! # ! # Hp. sfz f $ < @ < < 73 ! # # # # ! # # ! # ! *3 + Perc. < @ < < !"! # # # # ! # # ! # ! # sul pont. gliss. gliss. to bridge sul pont. l. v. con vib. 3 - 7 Vln. " < - 6( ( ( 6( @ ( ( *( ( *( < 5 < 63 ( "! & ' 2 + 2 2 / & 5 ( (, ! ' 5 ! ' & ! p f 3 mf p p ff + + ( ( ( ( fp+ + p f p , f 5 5 5 sul pont. gliss. gliss. to bridge sul pont. II. l. v. I. con vib. 3 + + Vc. $ < # ' ( ( + & 2 *( ( @ ' 2 < ' & < (+ (+ (+ (+ ! " , ( ! ( ( ( ( ( ! 5 ! /( ( ( ( p 5 f 6( ( ( p p ff fp7 fp7 5 p f mf 5 ord. con vib. sul pont. 7:(, 7: Cb. $ < 3, 3, @ 3 3 < ( < 5 , ! # # ! ! 5 ' & ! ' ' ( + #% pp mp n sfz f 5 72 X 166 . . 76 ( ( ( ( ( ( (, 6(, 73 3 ( 7( *( ( :7( ( ( Fl. " 5 + < + < . , , @ /. ( ( < ' & # " 3 B ! ! ! p ff f mf 7 f 3 3 3 3 5 3 ( ( :(*( 7( Cl. 2 2 2 :( *( $ ' 1 ' 2 ' / < ' ' < ' + + + ' / ' 2 @ 2 6( + < :( ( , ' & # # 6() 2 B !*(, (, (,*(, 6(+ (+( *(, 2 (, (, (,*(, + ! + + + ! :( (*( ( *( :(, *(, (*( (*( 7f 7 7 *( f7 7 ( ( + f mf 5 , 7 , 7 7 , mf sffz 7, mf f 8 148 149 inaudible 3 (put down slide) 7 7, & & 7 7, 7, 7, * (, 7, ( Guitar 2 6(, ( ( 6( ( ( *( (sounding)" < < @ ' < ' 6 ( + :( ' *( 6 ( ' *( + ( / " 3, B (, !/3, 3, ! ( ( ! ( 5 5 # 3, (, 5 5 5 3 *3, 3, ( ( low strings resonate freely to Spat % 7 E -66, A 0, D -80 ( Elec. < < @ < /( ( " B ! ! ! 6( 6 ( ( . ( //( / ( ( III. IV. / 3 3 3 Mand. 73 3 3 ( " ' ' < ' 2 <6 , , @ < ' & # + + B + ! 3, 3, ! 3 ! ( ( ( ( ( (+(+ (+( ( + + + + 7, , , 7, fp sfz7, f 7, +f + + +p5 < < @ < " # B # ! # # ! # ! # # sfz f sfz mf Hp. (pedal buzz) ! with palm 72 . =. $ *()( < < " @ " < 0 ( + + B # ! # ! ! ' 2 + ' / ( & ' 5 p (( = *3, *73 7 (' ! PITCHED GONGS soft mallet Perc. < < @ < 7 " # B # ! # # ! # ! + ( + ' 2 6( + mf7 ( ; ; 7 ; ; ; ( col legno tratto ( 67( 3 67( ; ; ( ( - Vln. " ( ( 3 < (, < @ ( ( ( < ' & + ' " + B + ! 3 3 ! ( ( ! 2 + + + + fp, , f p 6( ( + +fp + fp+ 7 pp gliss. col legno tratto ; ; ; ; ; 3 - Vc. + + < + $ < 7 @ 7 < " 3+ /(+ B (+ ' ! 3, 3, ! 3 ! *( ' + " ' 3 ( ( fp f p p ( ( ( ( fp7 f pp p arco 3 : sul pont. ( ( ( pizz. vib. 3 7:, : *7(, 7:, / , 7= = 7 3 7= Cb. *( 7, *( *( ( ( ( *( ( ( ( 7= ( ( $ 5 ' + ( ' < 5 + < 5 ' ' 5 @ ( *( ( <6( ' + " ( ( ' 5 B ! 3 ! ! ( ( #% mf ff mf f 6 p %sfz mp 73 Più vivo breathy Y q = 92 gliss. 173 turn out ord. breathy . 73, 3. , (. Fl. " # < 2 < ' & # @ + ' ( 3 < C < " B6( ( ! ( ! +5 + ! 3, ! ! p f p+ + f tongue tongue 5 tongue -slap -slap -slap 5 3 7 Cl. $ # < # < # # @ # ' 2 < ' / ' ' ( / C / < # B ! ! + + ! / (*(((( 2 *( *(:((*( ! (*((*( ! 6p(+ (+ ( ( *(:( ( ( (:( ( ( ( , , , , mf , , f 150 inaudible sffz7 7 mf sffz7 7 sffz7 7 3 3 3 3 151 7 7, 7, 7, 7 7, 7 3 7(, * 7(, 7, (, 6( & 7, 7(, ( 6( (, ( * 7(, 7, 7, 7(, (, Guitar " ( *( ( 6( < 6 ( < ( ( *( 6 (6( :( *( @ 6( :( ( 6( < & C < (sounding) " ' ( * ( ' /*(' B + 5 ' ! + *(' ( ' 5 + 5 / + * ( !6 (':* (' ( ' + ! 3 3 ! # ! 5 5 5 5 5 ***** / , , # > 5 3 5 3 5 3 3 low strings resonate freely to Spat f ,5 , % E + 33, A + 100, D - 100 7 stacc dist hits to gran, swirl /( Elec. < < ( .( ( @ < C < " B ! <( ( 6( ! ! ! ! . ( *(6 ( .( Mand. < < @ < C < " # B # ! # # ! # # ! # # ! # ! # < # < # # @ # # < # # C # < " B ! sfz mf ! ! ! ! with palm Hp. 3 3 . p . . . $ < < (= 2 @ =. < C < & 6( B # ! ' 2 + ' + '6( + ! ' ( + + *( ! # # ! # ! = (( = = 7( 3 3 (' 3 Perc. ! ' ' 2 + < '6( ' < ' 2 + ' + ' 2 @ + ' ' 2 + < & # C # < " ( B ! ( ( 2 ( ! ( ! ! ! ( 7 7 f7 mf7 6( 7 6( 7 ( 7 arco gliss. col legno tratto arco IV. molto7 vib. sul pont. 7 sul pont. 3 ; ; ; ; Vln. " < ( ( < ( - @ < C < " 2 /B ' ! ' & + ! ! ! ! ( ( *( 63f , 3 ( ( p ( p 5 f 63 3 6( p ppp arco pp p n pp f col legno arco sul pont. gliss. tratto 3- sul pont. 3 3 Vc. $ < < @ 2 < $ C < " /& B ' ( ( ! *(' + " ' ( 3 ( ! ( ( ' ( ! & 2 2' 2 ! ! 6( f *( 6( ( 6( ( ( ppp p pp mp n pp f /p( ( 5 f7 7 7 3 arco ord. /( ( 7 2 7 7= 7= Cb. 63= + < < + ' 2 *3= ( @ ( 6( ( + $ < + + C < " =( B (, ! 6( ( ! % ! + + ! ! # 7 sfz7= p 63 ( ( ( mp f % f7 74 Z overblow 7 182 3 3 7 3 ...... 7 ( ( ( ( ( ( 7( ( 6( :( Fl. " < & 2 @D< 5 < 5 / ( 6( *( / ( 6( *( / "! ( ( ( ( ( ( ( ( ( B ! ( ( ( ( p ff p ff p fff p f p ff p ff p ff 6 6 3 3 3 ( ( Cl. $ < ' ' @D< < ' *( ( ( *( ! 2 B ! ( *( ( # *( ( ( ( ( ( ( ( *( ( ( ( ( ( ( ( ( ( ( ( ( :( ff-p7 f p f p f pp fp 7 f p f p f p f p f p f n f 152 1 153 3 5 3 & 7 7 7 72 & * 3 Guitar " < ' / 0 ( ( 3 ( @D< ( ( < .3 (sounding) "! ( ( ( B ( ( ' ! + 3 # f .3 % *3, ( *( 3 ( ( ************ 3 spat out, replace, and back trem + dist to Dacs 7 7 + quick rise in pattr retune delay 1 (wah) to Spat + wah record to delay gliss. * 3 record trem to gran and retune instantly Elec. < @D< < ( .3 " ! B ! .3 *( 3 Mand. < @D< < "! # # B # ! # l. v. < @D< < "! # # B # ! + 6( + 5 Hp. ff ( $ < # # @D< # < + ( + ! B ! ( 7( Perc. < @D< < !"! # # B # ! # IV. molto vib. ord. gliss. 3 " " " " Vln. " < & ' " " @D< < "! ( ( ( ( ( B ( (, ! ( f7 p ff p ff p 3 ord. 7 I. ff 7 gliss. Vc. $ < 2 "( "( "( "( "( "( @D< "( "( "( < !*( ' B 5 " ! *( ( , f p f p f p ff ( ff7 mp ff III. 7 ord. 7, 7 gliss. Cb. $ < *( "( "3 "( *"( @D< "( "( *( < ( ! 5 ' + B 5 ! ( ( #% ff f p f mp mf ff 75 7 77 186 77 7 7 7 7( ( (( ( (( (( ( ( *( ( ( ( ( 7( Fl. " 6(:(( 0 6(6(:(( 6(6(:(( 6(6( :(( 6(6(:(( 0 < 6( 6( :( ( 6(6(:( ( < " 6(*((( ' 6( *((( ' 6(*(( (' 6(*( (( / 6(*( (:( / B 6(*( 6( ! 7 7 7 7 7 fff 5 6 6 6 6 6 7 7 7 7 ( 6 7 7 Cl. $ / *( ( *( ' ( ( ( / (*( / ( :( ' :( /*( < ( < (*(*( ( ( ( ( ( > (*( *( ( ( > (*(:(( (*(*( ( ( > B ( *( *( ( ( ! # :( ( *( ( ( ( (*( *(*( 7 ( ( (*( *( :(*( ( *( fff 154 molto staccato 3 3 2 2 & * ( (( ( * ( ( ( ( Guitar " .( (( ( < .( ( ( ( < (sounding) " # # + ' / ( (( ' ( B / ( ( ( 1 ( ' ! # f .( (( ( .( ( ( ( % ( (( ( ( ( ( ( 7, 7, 7, 7, 7, 7, 7, 7, Elec. < < " B ! Mand. < < " # # # B # ! < < " # # # B # ! Hp. $ < < # # # B # ! Perc. ! < < " # # # # port. B ! 7 7(, 7 7(, 7(, 7 (, 7(, Vln. " 6( ( :( ( 6( (, 6( ( :( ( 6( (, < 6( ( < " 2 ' *(, ( ( ( ( , / 5 *(, ( ( ( ( , / 5 B*(, ( ( ! ( ff (, (, 5 fff port. 3 7 3 port. ( (, 7 Vc. $ ( ( ( ( *( < ( < " 3 ' *( (, ( ( ' , ( ( ( B ( ( ! ff ( (, 6( fff 7 *( ( gliss. *7( ( *7( ( Cb. $ 3 ( 7( ( 2 < 7( < 5 ' 5 *( ( ' 5 B *( ! #% mp f 3 3 7 fff 76 Meno mosso 190 AA q = 56 BB Fl. " < @ < @ "! # # # # # # ! # # # # ! # # # # ! Cl. $ < # # # # # # @ # # # # < # # # # @ # ! ! ! ! 159 with fingers 157 158 161 with slide 155 SOLO gliss. gliss. poco vib. molto sostenuto, 156 160 pedal steel guitar effect poco rubato, con vib. gliss. 3 &3 3 & & & & = 6(= ( ( ( = & ( ( ( : (= ( ( ( ( 3 6( ( & ( ( ( ( ( ( (, 6 ( ( , ( ( ( ( ***** , ( ( ( ( ( Guitar ( ( ( 6( ( (, ( ( ( :( 3 ( ( 63 ( ( ( ( ( (, (, 6( ( " ******** / < ******* / @ < , 6( ( ( ( (, @ (sounding) "! # # & ' 5 5 '6 ( ( &(,/' 6( ( * ( 3 ! ' ( ( 3 ' 5 ' ! + 5 5 ' + # /5 6( ( ! # n p 3 5 5 n5 % n mp sfile retuned vibes play retuned chops from gran gliss down to SVPplay gliss, ramptime isolated attacks record to SVPlay, gran to spat, distant spin 3 triggers sfile, with delay 6( /( 2 Elec. < @ ' ( ( 3 3 3 < # + *( + (, 6( @ " ! ! /( ( 3 63 3 ! 6( (, 6 ( ! ( ( 3 3 3 ( .( (, 6( Mand. < @ < @ "! # # # # # # ! # # # # ! # # # # ! < @ < @ "! # # # # # # ! # # # # ! # # # # ! Hp. $ < @ < @ ! # # # # # # ! # # # # ! # # # # ! VIBRAPHONE bowed, notor off l. v. l. v. Perc. ! < @ 2 < @ "! # # # # # # ! # # # " ' ( ( ! # 2 ' + # # ! n p *n( ( p con Ped. Vln. " < # & 2' # # @ # # # # < # # # # @ "! 4 4 4 4 4 ! ! ! n( 3 mf( 3 ( n Vc. $ < *(4 34 (4 34 (4 @ < @ ! # & ' # # ! # # # # ! # # # # ! n mf 5 n con sord...... 4 4 4 4 4 3 3 3 ( ( Cb. $ < ( 3 ( 3 ( @ 5 < @ ! # & 5 ' # # ! ' ! # # # # ! #% n mf n n p n 77 204 CC Fl. " @ < @ < "! # # # ! # # # ! # # ! # Cl. $ @ < @ < ! # # # ! # # # ! # # ! # # 165 162 without slide poco vib. 166 inaudible 163 164 & sostenuto 167 168 strum with flesh of fingers 169 & 6( ( *( ( ( ( & 3 , = & & 3 & & ****** ( ( ( ( ( ( 6( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( Guitar 3 6( (, . / ( (, 6( ( (, & 6 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 3 , *( ( ( ( ****** , ( ( , ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (sounding)" @ 3 # # < ' 5 ' + ' **( (, ( ( *(( @(( ((, / # < / ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( /' "! ! 5 , * ( ( 5 ! 5 , ! # 3 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( % p( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( retuned vibes sfiles sfile vib. 6( gliss. ramp in tremolo sfile vibes gliss. + motor ::(( 6(2 ( Elec. @ 66( ( ( < / @ < " ! ' . . # ! # /( # ! # # ! # ( /( ( Mand. @ < @ < "! # # # ! # # # ! # # ! # @ < @ < "! # # # ! # # # ! # # ! # Hp. $ @ < @ < ! # # # ! # # # ! # # ! # motor at 2.5 Hz l. v. bowed, motor at 1.5 Hz l. v. l. v. *( ( ( Perc. @ 2 < @ < 5 5 !"! # ( ( ' # ! # + ' 2 # ! # # ! ' ' n p con sord. *( ( n mp . . . . . n mp ( ( ( 3 ( sim. Vln. " @ 5 < 5 @ < "! # # ' ! '& & ! ! # n mp n 64 4 4 4 4 4 4 4 6 pp( f( p f( p ( ( ( ( ( n con sord. sim...... 5 . . 5. . . 5. . Vc. $ @ 2 < 2 @ 2 < ! # # " '( ( ! ( 3 ( '& & ( ! ( ( ( ( ( ( ( ( ( /! # n mp n pp f p f p , , n con vib. sim...... 3 3 ( ( ( 3 ( 2 Cb. $ @ 5 < 5 @ < ! # # ' ! '& & **(4 ! (4 (4 (4 (4 (4 (4 (4 (4 ' ! # #% n mp n pp f p f p 78 213 DD Fl. " @ " # # # # # # # *3, ! ( ( 3 ppp mf détimbré Cl. $ 2 @ # # # # & ( 3 ( ( ( ( ( ( ( ' + ! # # # n mf p mp n 170 inaudible with slide 171 con vib. without slide 175 172 173 174 . & (= 3 ( ( 7 7 6(= ( 6( ( 3 &6/( 3 ( ( 3 ( & Guitar 6 ( (, ( ( 3 & .3, 6 ( & 6( & ****** 6( 3 (sounding)" ( (, ( ( 3 ( ( / 3, 6 6(( 2 6( @ 5 ( ( *( ( 3 + ' '' ' ******** *.3 + ' ' / + # ' + # " , / ( 3 ( ( , + 6 ( 6( 5 0 ! # 5 5 :3 3 :( f % gran in, retuned retune gran sfiles retuned vibes, Mlys strumming 7 attacks on ? plus gran envs, trem ramp vibes + gran sfile remove string record to SVP, echoes to Spat bowed vibes sfile, plus 2nd layer gran attaacks-removed, sent to delay buffer and Spat1 Elec. @ " # # # # # # # # ! # # II. 3 IV. 6( ( ( 3 Mand. 6( ( ( 2 # # # + '+ + + + + + ' # # ' 2 + + @ + + *( 3 " + + +53+ + +5 + + ! + + ppp p ppp + + 6( ( ( + + 6pp(+ ( (, mp + p+ 3 3 3 *( *( ( ( = @ . " # # & '6( 6( ( ( ' # # + + 2 ' *( # ! + + 2 + p 5 3 3 ( Hp. pp p pp 6( 6( 6( 7 3 6( =. , $ *( @ # # # # # # ' + + ' / (+ ' ! # # ( Perc. ! @ ( ( " # # # # # *3 ( ' # # ! # ' 5 sul tasto n 5 p n II. punta d'arco port. 3 "" "" " sul tasto 3 Vln. " 2 @ " # ' ( ( ( ( ( ' & # # # # & ! 2 ppp p n 6( 3 ( ( 3 6( sul tasto ppp p punta d'arco (punta d'arco)*( (, *( ( ( 6( ( Vc. $ 64 4 4 4 64 4 4 4 4 +5 + + + 6( ( @ " & '6"( "( "( "( ' 6"( "( "( "( "( ' & # + + + + + + + + + + & ! # # ppp5 p 5 n ppp p 5 n pp p + +pp +53 n . . . . Cb. $ 3, 3, @ 3 3 # # # # # # ! #% pp mf 79 223 EE 3 Fl. " < *( ( ( ( ( ( 2 " 3 ! ( & # ' 5 , *( 3 ( ' & n pp f 3 p mf pp 3 Cl. $ < 6( # ! & ' 6( ( ( ( ( 3 + # + ( # ppp n ( (, mp ppp mp 1 176 177 178 port. 179 7 = 1 3 *(, 2 6 3 Guitar & & & = *( 3 ( & ()2 2 " < 66(, ( ( :( (, 5 ( + ( (sounding) # + + & ' ' + ***** & " ! 6(, ( 5 p. , / .( # ******** 6 (, ( *pp( % (, =( mp ( ( p7 pp = trem to Spat, trem+ dist no attacks to SVPlay trem to dac +trem, sent to delay 2 buffer see about buffer append mode! playback minus low E string record distorted version to SVPlay Elec. 3 < " ! # # # # # I. Mand. ( + < + ' "( "( "3, "3 + # + ' ( ( " ! 5 +5 + + ppp ppp mp ppp +ppp + 3 5 < = 7. . " # ! / *( ' & /6( & # + *( 2 + # Hp. > mp 6( pp pp p 6( mp 3 3 7 ( 72 $ + ' < # 6(6( ' + + ' + # & / 6() ! 2 ( (= ( ( SUS. CYMBALS reversed mallets l. v. 7 ! 7) ) ) ) Perc. 3 < # # & % ' 5 & + + 5 + " ! p + 3 mf n+ p I. sul pont. Vln. " < 3 ( ( ( ( ( ( ( " ! + # # , , 5 3 3 n p f p 3 f p 3 mf n I. ord. punta d'arco 4, 4 4 4 4 4 Vc. $ < 2 # ! + # & ' + ppp f n pp ( . . sul tasto 0 Cb. $ ( ( < 5 ' ! + ' / (+ (+ 3+ + # # # #% p pp n 80 FF breathy 229 con vib. 3 3 3 Fl. " @ < 2 2 2 6( " # ! + ' 6( ! ( 3 ( ( ' ( ( ( ( ( ' / 6( ( ( , ( ( +> pp mf f p pp mf n pp 3 3 3 Cl. $ 2 ' + @ / 2 < # ' 2 / ( ( ! ()( ! ( ( 2 # ( ( ( 3 ( , ( ( ( () *( ( 3 n mp n p7 mp n p ppp 182 181 180 2 slow strum 3 3 sost. = & 3 & 2 & 2 Guitar " 6( 6( @ ( ( < ( (sounding) " ' 6( ( ( / , ! ' # ! + ( & # # p , mp5 5 p ( # 7 ********* % ( record SVPlay 7 record off record dist no attacks to gran, retune Elec. @ < ( " # ! # # ! + ( ( l. v. I. near bridge = 3 3 Mand. ( ( & @ # # < # + ' ( ( ( ( + ' " 5 3 ! ! + + + + + p ppp+ +p 3 ppp + + (+ pp( ( mp # @ # # < & ' # + + " ! ! ( ( Hp. pp p7 ( ( $ + + @ # # < # ' 2 + ' 2 & ( ! ! ( ( =( , reversed mallets soft mallets reversed mallets soft mallet scrape l. v. ) 7 2 ! ) ) ) ) ) ) 7) ) ) ))) ) ) )) ) Perc. + ' 5 @ + 5 # < 5 ' ' 5 + + / > ' ' 5 + , / ' / > % 1 ! 3 ! 51 pp p I. pp p IV. col legno tratto II. Vln. " 3 ( @ < 2 3 " 5 ' ! + 6( 3 ! ( ( 6( ( 3 ( ' + p n pp mf p( ( mp3 ( n n col legno tratto 3 3 4 4 4 4 4 2 2 " " " 2 Vc. $ + + + + + + @ + # < 5 5 ' ' ( 3 (+ (+ (, (+ (+ (+ ! 3+ ! 3 ( 3 mp7 7 pp7 n n mf n pp 3 (sul tasto) ( ( ( ( ( ...... Cb. $ @ ( ( ( ( < 3 ( 5 # ! ' 5 ! 5 ' ' ' + #% ppp mp ppp n mp n 81 key clicks, pitchless very breathy (fingerings ad lib.) 9 235 3 ( ( ( ( ( 3 6( ( ( ( ( 63 3 ) ) E Fl. " ( ( + 6( ( + @ +5 + 7, , ) ) + " + + + ! + , , ), ) ) + +5 3 ppp mp n ppp p f sfz f , , ) ppp) + mp+ n , , key clicks, pitchless 3 3 3 10 Cl. $ 2 @ ' 2 ' (, ' 2 ) + ( ( ( ( ( ( ( ! ( ( ( ( ( *() (, , ) ) ) # (*( ( 3 ( 7 , , , ), ) )*) ) p n p mp pp p n pp p pp sfz f , , , , ppp), 183 184 & &2 Guitar " @ ) E (sounding) " # # # ! # # ) ' + # sfz f ) % ) 7, to Spat, quick retreat, sounds off Elec. @ E " ! # . . 3 ( 3 6( ( ( ( FGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG 2 E Mand. 2 ' + ' + @ + + + ) ' + " + + ( ( ( ( ! pp ) (+ (+ + + + + + ( ) ppp +pp5 + +p +5 ppp p3, ppp f ) sfz7, f 3 E + ' + # # @ # # # " ( 3 ! Hp. pp ! ( 2 ()2 ( ()2 E $ () + ' 5 + ' & ' ( @ # # # ( ( ! ( ( CROTALES bowed l. v. ) ) ) ) 3 E Perc. ! @ 2 % + ' 51 15 ' & 5 # ! + ' " # p 3 ( 3 col legno battuto ricochet ppp p f (single throw, do not re-attack) l. v. 2 Vln. " ( 3 ( ( @ ) ) ) E " 5 ' + ' 2 ! 2 ' ) ) ) ) ) ) + mp n ( 3 ( ( ( ( ( f7 ) ) ) ) ) pp mp ppp col legno battuto ricochet sul pont. 3 (single throw, do not re-attack) l. v. 3 2 ( 3 ( ( ( ( ( 3 3 4 4 4 E Vc. $ ( ( 3 ' ( ( ( + 5 @ ) ) ) ) ) ) + ( ! ) ) ) ) ) mp n pp p n pp 7f ) ) col legno tratto punta d'arco . . . ( ( 3 ( ( 3 E Cb. $ ' ( ( ( , ' 5 ' @ ' # + + + + +5 ! #% pp+5 + p+ + + ppp p n pp( ( ( mp( ( ( pp Paris, 24 April 2010