UCLA Contemporary Music Score Collection

Title Elegance in Emptiness

Permalink https://escholarship.org/uc/item/9295b2d5

Author Yip, Stephen

Publication Date 2020

eScholarship.org Powered by the California Digital Library University of California Stephen Yip

Elegance in Emptiness

《空. 雅》

For flute and harp

(2018)

Score Elegance in Emptiness (2018) for flute and harp

This Duet piece is dedicated to inFLUX, a duo for flute and harp. Composer would like to use the number of “two” as the major element in this new piece. The Chinese title of this piece was constructed by two single words in context: state of mind and elegant beauty.

One of the beauties of wabi-sabi, (a Japanese aesthetic), “elegant poverty” is a perceptual insight; it refers to a mindset of an invisible substances, or not fixed concepts. In the Buddhist concept, “emptiness” can refer to a feature of reality; also can be described as metaphors of illusions, dreams or mirages. In this piece, composer tried to “read” fragments of short stories in its imagination through the sound. There were three repeated musical short sections signified some kinds of unforgettable past moments in fragments. Each of the fragments is emptiness as a meditative state of “non-attachment”. It might not reach or attend to any subjects or related objects.

Performing Notes Stephen Yip For Flute:

strohbass effect tongue in the mouthpiece Mouthpiece position: Tongue in the mouthpiece; upper diamond shape: fingering lower solid triangle shape: approximate pitch æ & # O — Air tone: very breathy (smorzato) turned outwards Airy tone with very strong air, breathy sound, but less flute tone. Ÿ~~~~~~~~~3 Ÿ~~~~~~~~ Mouthpiece positon: turned outwards, a bit away from the embouchure Ÿ~~~~~~~ }O j }O "smorzato" exert pressure of variable intensity and frequence of the lower & }O æ æ æ j ‰ lip on the upper lip. It is particularly interesting on account of the very perceptible Oæ O O. O O O change produced in tone color.

normal position œ œ œ œ #œ œ œ "Whitle-tone", to produce a "sweep" of the sound spectrum œ œ œ œ on a single fingering œ Mouthpiece position: in a normal way & O

Tongue Ram "Tongue Ram": j ‰ j ‰ the tongue is propelled forward with a strong thrust of air and suddenly stopped & # O # O on the roof of the mouth [hut]. It produces a sound of seventh below — — F 5 lip pizzicato: violent tongue action without following sustained breath. Œ ! " Ó The lips are first pressed tightly together, then explosively ripped apart by & b! ! ! a strong jet of air. There might include some other noise sounds. fl fl fl fl The "kissing" sound is one of the modification of this effect. f

"jet whistle": covering the whole mouthpiece with the lips and holding it between " j Œ Ó the teeth as far inside as possible, blow a violent glissando as if warming up & O . the instrument. ç 2 Performing Notes

aeolian sound 7 "aeolian sound": resonates with the air that is blown over the bouchure hole. y #y No pure flute tones are sounded. & " y y y by y by " " Ó y by y 7

o o #œo œ. o œo œ Overtone played by overblowing the fundamental pitch. œ Ó This is based on one single fingering with a basic sound spectrum to reach & œ the harmonic series 3

U key click sound (with pitch) + air noise (no pitch) ‰ Œ Ó The key click sound is pecussive noise with some pitches as indicated; & ¿ ¿ ¿ air noise is almost like pure noise sound and without flute sound nor pitch | ¿ p # For Harp:

Sliding of pedals: ? Œ Playing the note(s) with the fingers as usual and changing the pedal as smooth œ bœ nœ as possible in order to create sort of sliding effect, or glissando sound like. $E ------E ------E b n

finger nails gliss. 10:8 Finger nails glissando: playing glissando by using finger nails to create sort of "falling hail" sound effect. ? #œ#œ bœ Noise sound is heard from the finger nails. Œ œ œ œ œ j ‰ Œ #œ#œ bœ œ

Bartok pizz is the sound with a percussive tap effect after a single played string. œ It is produced by letting the finger snap from the lower end of the string onto ? ‰ J Œ Ó soundboard.

ß Performing Notes 3

knocking on soundboard "Knocking on soundboard" ? It is a percussive sound effect. it can be knocked, snapped, hit with fist, palm, Œ j ‰ Ó fingers on different parts of the instrument. ¿ More resonance part of the instrument is suggested. F sons xylo 3 Sons xylophoniques or xylophonic sounds: ‰ œ œ œ ® ® Ó The finger-tips firmly pressed on the lowest part of the strings at the soundboard. & œ bœ œ œ œ œ The other hand plays the notes as usual. p F It gives a muted, "wooden" sound effect in different timbre

sons metalliques Sons metalliques or metallic sounds: ? Œ Ó It is produced by holding the pedal halfway between two notches. D 1/2 ˙ #˙ D# 1/2 ˙ #˙

Thunder effect Thunder effect: It is produced by playing on the wire strings violently with finger(s) and let the string strick to other strings. The buzzing sound effect would be heard ? j ‰ Œ Œ œ ß

arco Bowing Special bowing technique: Bowing the string with standard string bow (cello bow is suggested) ? j œ w Í>

Tone cluster: ? It is played by smacking the lower strinfs violently with a flat hand. ‰ j ŒTone ClusterÓ The volume depends on the power of the attack. It can be muffled the dtrings or let ring. ÷ (low range) f 4 Performing Notes

pdlt...... ? Près de la table: play close to the soundboard. it is a sound color effect, œ Ó more dry and guitar like. pdltœ œ

( ) repeat the indicated note pattern and play as fast as possible h . Œ & œ œ bœ œ P

Bisbigliando Bisbigliando: bœ œ œ œ It is a specific harp technique to play tremolo using both hands in different strings, Œ œ œ œ œ Œ but same note. & It creates a continuous sound in different timbres # p #

Aeolian chord It is played by both hands in the certain range as indicated. bœœ œœ œœ œœ œœ œœ œœ œœ œœ One hand plays rapidly by sliding ascending or descending, but the other hand plays in different & # œœ œœ " ‰ Œ œœ œœ œœ ‰ ‰ œœ œœ œœ œœ direction simutaneously. 3 3 Somehow, it sounds a bit like strumming chords on guitar f p F

o Bowing the string and playing overtone notes: arco overtone notes o o o œ o o #œo œ œo œ œ bowing on a single note and meanwhile slightly touch the string in different position o œ œ with the other hand. These all are natrual harmonics. It could be played by touching ? œ different lenght fraction of the strings such as: 1/2: octave ˙ œ 1/3, or 2/3: octave + P 5 1/4, or 3/4: two octaves 1/5, or 4/5: two octaves + M 3 1/6, or 5/6: two octaves + P 5 1/7, or 6/7: two octaves + m 7 1/8, or 7/8: three octaves ...... etc. Elegance in Emptiness for flute and harp Stephen Yip (2018) Senza Misura Air tone: very breathy (smorzato) strohbass effect turned outwards tongue in the mouthpiece tongue in the mouthpiece q = 46 Ÿ~~~~~~~~3 Ÿ~~~~~~~ Ÿ~~~~ Flute Ÿ~~~~~~~~ }O j Ÿ~~~~ }O , , 4 æ O æ æ æ }O ‰ Ó O æ ‰ 5 & æ strohbass effect # O Oæ } O O. O O O Oæ } Oæ æ Oæ b Oæ O # O — # O 4 — # p # # — b— b— n— 4 ca. 6"– 7" ca. 4"– 5" " # finger nails gliss. 3 o h j o o j œ ‰ ‰ ‰ o Ó Œ Œ bœ & 4 œ œ œ œo œ œo œ œo 5 Harp 4 ß o # 4 ß ß #œ. j ? ‰ ‰ Œ Ó ‰ $ Ó œ 4 loco œ 5 loco œ bœ nœ œ 4 œ œ pdltœ œ 4 ! !E ------E ------E ! ß p p b n p *whistle-tone: to produce a "sweep" of Air tone: very breathy (smorzato) the sound spectrum on a single fingering. Air tone: very breathy (smorzato) turned outwards normal position A Tongue Ram 6 œ œ 6 Ÿ~~~~~~~~~~ 5 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ #œ œ œ Fl. @ Ÿ~~~~~~~~~~~~~~ }O œ œ œ œ æ æ }O r æ ‰ œ ‰ ‰ æ æ Oæ æ $ Œ & 5 Oæ }O O O O Oæ Oæ O 4 O # O O bO O O 4 . 4 # O — # # P " p — p F sons xylo F 3 3 3 j Œ Œ ‰ Œ Œ j ‰ $ ‰ œ œ ®® & 5 œo #œ finger nails gliss. 4 #œ bœ œo . bœ œ œ œ œ Hp. œo o 10:8 o o œ œ œ 4 P # 4 P p F œ ß ? ‰ $ #œ œ ‰ Œ œ#œbœ œ ‰ Œ ‰ Œ Ó ‰ Œ 5 œ œ œ#œ 4 knocking on œ loco #œ #œbœ œ soundboard ¿ 4 ! 4 ß F lip pizzicato: violent tongue action closed, blocked by lips without following sustained breath closed, blocked by lips tongue in the mouthpiece B 5 Tongue Ram 9 5 Ÿ~~~~~ 3 Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~Ÿ~~~~~~ Fl. , }O U }O @ }O æ æ æ }O æ æ & æ æ }O j æ 5 æ ‰ $ #O O nO æ 4 ‰ O O O. O ‰ ‰ $ Œ % % $ # Oæ n O O O O O O. O b O O O#O nO bO nO O #O O # O n O. b% % fl fl — b— 4 b— — 4 # — b—. fl fl # p p # S p f knocking on# finger nails gliss. F 3 sons xylo 5 soundboard œ ‰ Œ Ó 5 Œ œ $ 4 ‰ ‰ Œ ‰ Ó œ $ & ¿ œ nœ #œ #œ œ. sons metalliques ¿ bœ œ œ œ Hp. œ œ œ o o > > > ß sons metalliques 4 4 F > p p " F f ? œ œ Œ Ó 5 knockingŒ on ‰ ‰ Œ 4 ‰ Œ ‰ Ó D 1/2 ¿ ˙ #˙ ~~~~~~~~~~~~~~~ soundboard œ D 1/2 ˙ #˙ ~~~~~~~~~~~~~~~~~~~~~~~~ œ #œ nœ D# 1/2 4 4 D ------D# ------D n ~~~~~~~~~~~~~~~ F ! D# 1/2 ß ˙ #˙ ˙ #˙ ~~~~~~~~~~~~~~~~~~~~~~~~~ copyright © by Stephen Yip (2018) 2 Elegance in Emptiness *whistle-tone: to produce a "sweep" of the sound spectrum on a single fingering. strohbass effect normal position lip pizzicato Tongue Ram tongue in the mouthpiece 13 o o o o 3 bœ 3 o o o o o o o o œo œ œ œo œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. > œo œ œ O œ j æ & œ œ œ ‰ O ‰ O æ æ ‰ O $ ‰ O O O Œ ‰ 3 O O # O O O O #% %. n% O O O O — #— # O b— — #— — > > > # O Í # — f # p — P p F # # F finger nails gliss. œ œ Bisbigliando 7 Bisbigliando œ bœ œ œ œ œ œ œ ‰ Œ Œ ‰ Œ ‰ j Œ Œ & œ œ œo œbœ œ œ œ œ œ œ œ Hp. o œo #œ. ß # P # P ß 3 # p # j œo n œ >œ. ? ‰ Œ Œ œ bœ ‰ & j Œ Œ $ #œ nœ bœ œ œ œ œ ß #œ nœ bœ pdltF F --- F --- F p œ >b # b * jet whistle: covering the whole mouthpiece# with the lips and holding it between the teeth as far inside as possible, blow a violent glissando as if warming up the instrument. 18 Ÿ~~~~~~~~5~~~~~ @ Ÿ~~~~~~~~~~~~~~~~~~ œo œo œo œo œo œo œo œo Fl. }O & æ }O æ æ ‰ ‰ 5 Œ ‰ 3 $ Œ Œ 4 O. O O O O O O O O O O O. # p # 8 4 4 # p # ç finger nails gliss. Bisbigliando œ #œ œ œ œ #œ œ œ œ œ œ bœ œ œ J & #œ œ œ œ bœ ‰ ‰ 5 4 Hp. # 8 p # 4 # 3 ß ? Œ $ j Œ 5 & 3 œ #œ ‰ ‰ œœ Œ 4 bœ. œ C# - Cn nœ 8 4 œ #œ œœ 4 f !

C Air tone: very breathy (smorzato) turned outwards 5 3 o o o o Ÿ~~~~~~ Ÿ~~~~~~~ ˙ ˙ œo œo ˙ ˙ Fl. Ÿ~~~~~~~~ }O @ 4 . æ æ æ æ æ æbOænOæbOæ æ æ æ æ æ æ æ ‰ }O j æ æ}O æ ‰ O Œ O Ó . & O O bO O #O O O nO nO bO bO nO O Oæ O Oæ O Oæ O O. O O O O O 4 # p # ( ) ( ) œ h . h . #œ & 4 . œ œ Œ Œ #œ œ œ œ o ** repeat the pattern œ œ bœ Hp. 4 o o and play as fast as possible P P ( ) ( ) o h . œ h . ? . œ #œ . 4 . Ó œ #œ œ œ Œ Ó #œ œ Œ . 4 # Elegance in Emptiness 3

Air tone: very breathy (smorzato) 1 (3) 4 aeolian sound: resonates with the air that is blown over the bouchure hole. 5 normal position tongue in the mouthpiece No pure flute tones are sounded. Air tone: very breathy (smorzato) * jet whistle aeolian sound D 25 o o œo œo 6 œ œ ˙ ˙ Ÿ~~~~~~~~~~~~~ œ Fl. y j }O œ œ ˙ b˙ y y y yby $ œ æ $ $ Œ y y ‰ . Œ œ & œ œ y by ny #y yby y ny#y O O. O. y by y y ny #y y œ O O æ ç — # Í F Í f # f Í F ? ‰ ‰ ‰ Œ . Ó Œ ‰ & & œ œo take bow . Hp. o œo (string bow) Thunder effect nœ P f arco Bowing ! œo P ? ? ‰ Œ Œ ‰ . j œ œ w œ ß Í>

turned outwards normal position whistle-tone aeolian sound 29 7 œ œ 3 bœ œ œ Ÿ~ Ÿ~~~3 @ Ÿ~~~~~~ Ÿ~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~ œ œ œ œ œ œ Ÿ~~~~~~ Fl. }O y œ æ} æ}O ‰ }O æ}O æ æ j }O æ ‰ y y y 2 ‰ Œ 4 œ . 3 $ O j O ‰ 5 & O O Oæ O O. O O O Oæ O yby ny#y œ O O O O Oæ} O # P # # 4 f 4 Í 4 Í f 8 finger nails gliss. Thunder effect œ. Ó ‰ ‰ ‰ Œ ? ‰ $ ? ‰ Œ ‰ Œ Ó . ‰ Œ Œ & œo & 2 œ 4 . 3 5 Hp. œo œ œ œ œ o ! 4 4 4 arco Bowing 8 ß F P p # ß U œ ? 2 4 ‰ . 3 Œ ‰ 5 w w 4 ˙ 4 ˙. œ 4 œ œ œ œ 8 Í f

2 3 4 (G#) 1 2 3 4 strohbass effect 2 3 4 key click sound (with pitch) E lip pizzicato 2 3 4 (5 ) Tongue Ram + air noise (no pitch) n Tongue Ram 5 o o o o #˙ o o o o 3 3 œ œ œ œ ˙ œ œ œ œ ˙. b˙. Ÿ~~~~~~~~~~~~~ Fl. #˙ ˙ b˙. b ˙. @& 5 . $ j 3 ‰ O O b ˙ ˙ 4 ‰ ¿ ¿ ‰ ‰ O O ˙ $ ‰ }O j Œ . O O b Oæ O O O %b% %b% % n¿ n¿ O O O b O Oæ æ #O 8 — — 4 4 fl flfl fl | #— b— — # ß flf # — p # F Thunder effect f # f F 3 ? o o o œo o ? ? 5 . & 3 ‰ Œ Œ & 4 œ œ ‰ Ó & œ œ œ œ . œ œ #œ o j ÷ Tone Cluster œ #œo o œo œ o (low range) o o Hp. 8 4 4 o o œ overtone notes ß œ overtone notes 3 3 ß > ? œ œ œ œo œo 5 . ‰ ‰ ‰ 3 ‰ j 4 œo o o œ o j œo œo . œæ œæ œ œ ˙ œ œ. ˙ o œ œæ ˙. w œ 8 4 > 4 > . > o ß ß Í f p ß 4 Elegance in Emptiness tongue in the mouthpiece F normal position aeolian sound lip pizzicato aeolian sound lip pizzicato #œ œ œ 7 7 3 6 o o o o o o œ œ œ > > #>œ œ œ œ œ œ œ Fl. œ œ œ #y œ œ j œ œ y ± #% & œ $ y y y by y by $ $ n% % $ $ ± n± ± ‰ % % $ $ $ $ ‰ O O O O y by y 7 ± ± ± % b% O O O — fl fl 7 fl fl fl fl O O O Í f p ß fl # f # ** repeat the pattern f p ƒ f #Bisbigliando p # and play as fast as possible Aeolian chord j œ Ÿ~~~~~~~~~~~~ o œ œ œ œ œ œ œ œ œ œ œ œ #œ œ j Ÿ~~~~~~ œ U bœœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œ ? ‰ Œ ‰ Œ & œ # œœ œœ $ ‰ Œ œœ œœ œœ ‰ ‰ œœ œœ œœ œœ # œœ œœ œœ ‰ œ #œ œ aœ. œ loco œ bœ œ œ œ œ œ œ œ œ œ œ œ œ Hp. œ œ 3 3 3 œ ! 3 Í # ß f p F ƒ f Í ? ? œ ‰ Œ Ó knocking on ‰ ‰ ÓTone Cluster $ œ Ó œæ soundboard ¿ ÷ (low range) 7 ß ß f

G lip pizzicato 43 o o o o o o o o 3 3 œ œ œ œ œ œ #˙ ˙ Ÿ~~~~ Ÿ~~~~~ Fl. Ÿ~~~~~~ O @ } }O æ æ æ æ æ æ æ æ æ & ‰ O O O #O O æ }O æ jOæ Oæ ‰ . % $ % Œ æ æ O #O O O bO O O bOæ æ æ æ æ ‰ Ó O O O O O O. O % % fl fl #% O O #O O O bO O #O O fl fl fl # p # # p # sons xylof 3 7 ~~~~~~~~~~~~~~~~~~~~ #œœ #œ œ & ˙ œ ‰ Œ ‰ ‰ œ ‰ Œ œ Œ Œ ##œ ‰ Œ # œ ‰ # œ ‰ #œ œo œ o œœ. œœœ #œ #œ #œ Hp. o > > > f p f 3 p P j #œ œ #œ ? & Ó Œ ‰ Œ œ ‰ œ #œ œ ‰ Œ ‰ œ ‰ œ #œ œ œ ##œ œ œ œ ß >C - C# > G - G#

H lip pizzicato Air tone: very breathy (smorzato) lip pizzicato 47 7 3 o o 3 3 o o o o o o o o Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~ Ÿ~~~~~~~~~~~~~ #œ œ œo œo œo œo œo œo œ œ œ œ œ œbœ œ Fl. @ }O }O j ˘%. ˘% O j & æ æ j Oæ}O Oæ }O 5 O ‰ O ‰ 7 % % $ $ æ æ æ æ Oæ Oæ 4 % % $ O O O $ O O O bO 2 O O bO. O #O % #% 3 #O O O O J O O O O O O bO 8 8 fl fl fl fl 4 ffl fl 4 # f # f p f p f sons xylo Aeolian chord 3 3 #œ 3 5 >œ # #œœ œœ œœ œœ œœ œœ j œ œ œ œ # œœ œœ œœ œœ œœ & ‰ Œ ‰ œo $ 5 Œ ‰ 7 œ œ #œ Œ j Œ 4 œœ##œ œœ œ œ 2 sons metalliques œ. œ œ œ Tone Cluster œ 3 Hp. o knocking pon œ (low range) R 8 8 > ß 4 gliss. 4 f soundboard f > f j #œ œ #œ œ ? Œ Ó 5 j ‰ Œ j 7 Œ œ ‰ Œ $ 4 œ œ œ œ ‰ œ 2 E 1/2 J œ 5 ˙ b˙ ~~~~~~~~~~~~ ¿ #œ œ ÷ 3 R E# 1/2 8 8 4 œ 4 ˙ b˙ ~~~~~~~~~~~~~ ß > F Elegance in Emptiness 5

tongue in the mouthpiece * jet whistle I 51 #œ œ œ o o o o œo œo œo œo œo œo œ œ œ œ œ œ œ Fl. $ Œ œ œ ‰ $ æ æ æ æ æ & 2 O 4 O œ 5 O O O O bO O O O O O O #O nO nO 4 4 . 4 4 > #O 4 ç p f # P # F 3 > œ œœ ## œ œ ‰ ‰ œœ. œ Œ #œ #œ œ œ J & 2 ¿ ÷ 4 œ œ œo œo 5 œœ. œ œ œ 3 4 Hp. 4 4 o o 4 4 ß F f j œ œ ? œ ‰ Œ œ ‰ Œ Ó œ ‰ œ œ Œ 2 4 5 #œ œ 7 4 loco œ œ 4 œ 4 4 #œ 3 4 ! > p F aeolian sound Air tone: very breathy (smorzato) lip pizzicato J 5 54 o 3 3 o o o o o o œ o œo œo œo œo œ œ œ œ œ œ Fl. y Oæ æ œ @ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ #y y y O j æ æ & 4 O #O O bO nO bO O bO O O nO nO O O bO æ ‰ y y #y ny y ‰ Œ æ O O y y y ‰ O O $ O O O O O O O O æ Oespress.O y O O 4 p P # 3 # p # 7 f p sons xylo ** repeat the pattern 3 and play as fast as possible œ 5 3 œ œ œ œ œ œ #œ #œ ‰ œ #œ œ ‰ ‰ œ ‰ & 4 œ œ œ œ œ œ œ œ #œ œ. Hp. #œ œ 4 p f espress. P p p ß ? 4 Ó œ Œ Ó Œ & 4 œpdlt #œ.

57 Tongue Ram 5 3 #˙o ˙o , #œo #˙o ˙o Fl. @ O Oæ. æ Oæ Oæ O J & $ O O O 5 æ æJ #Oæ 4 #O Ó #O Ó b O b— — O. æ æ nO 8 O 4 #O #O — b—. 3 p # # # # P ! 3 œ #œ #œ #˙ b˙ œ #œ œ œ œ #œ œ bœ #˙ b˙ & ‰ Ó 5 œ $ #œ $ ‰ 4 Ó ‰ Hp. œ bœ Bisbigliando p P 8 5 4 p # p o ? #œ #œ Œ Ó 5 Œ #œ J 4 Ó bœ Œ & #œ #œ 8 4 3 6 Elegance in Emptiness

61 ! ! #œo ˙ œ œ #˙o œ Fl. & Œ ‰ ‰ Ó & Œ ‰ # # sons xylo pdlt #œ bœ œ œ œ œ œ œ bœ œ #œ #œ bœ œ œ œ œ œ œ œ œ œ œ ? #œ Œ ‰ Œ ‰ Œ ‰ Œ & ‰ #œ œ J Ó Œ ‰ ‰ ‰ & #œ 3 3 Hp. > Farco Bowing p # ß P p # " ? #œ & ‰ ‰ Œ Ó G# #œ ˙. w œ # # strohbass effect P tongue in the mouthpiece K Tongue Ram o 3 o œ œ o o o @ œo œo o œ #˙ ˙ #œo œo #œo œo œo #œ œ Fl. j j œ æ œ J æ æ. æ ‰ Œ ‰ $ ‰ ‰ O 3 ‰ Œ 5 & # O # O n O O # O O O n O. 3 #O O #O — —. b— — — b—. #O #O 8 P # ß # ß Í # p # œ Bisbigliando >œ. #˙ b˙ #œ œœ. œ >œ & Ó ‰ ‰ œ œ ‰ Ó Ó $ Œ 5 sons metalliques #œ 5 œ bœ Hp. œ o o #œo o F 6 p p 8 ß #œ ß ? Œ Ó Œ œ Œ Œ #œ ‰ Ó Ó ‰ Œ 5 D 1/2 . œ #œ C D 1/2 ˙ b˙ ~~~~~~~~~~~~~~~~~~~~~~~~ ! 7 D bœ n 8 b ˙ b˙ ~~~~~~~~~~~~~~~~~~~~~~~ #œ F b

L lip pizzicato Air sound attack 5 5 3 ˙o ˙o 3 o 3 Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~ 3 Fl. @ j œ œ æ }O O. #œ. U 5 ± j $ 4 Œ Œ æ Oæ O æ Oæ æ Oæ O ‰ ‰ æ }O O O }O œæ œ œ æ ‰ & ± . #± O O #O 3 O O . æ O O cantabile O. J æ æJ œ. œ 8 P ÿ 4 p # P # ß # ! œ #œ ! œ œ œ œ œ œ œ œ- œ œ #œ œ œ U #œ ‰ Œ ‰ Œ Œ #œ œ ‰ ‰ Œ ‰ #œ. ‰ & 5 4 3 œ œ Hp. C espress. o 8 4 p # p cantabile # P o o nœ ? œ œ #œ J ? œ 5 3 Œ œ 8 P ß Elegance in Emptiness 7

M q = 46 œo . œo œo œo . œo œo wo wo Fl. $ $ O & O O O O O # # p # ! #œ >œ >œ >œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? & ‰ Œ Ó ‰ & 9 9 9 9 Œ Ó Hp. œ # P Parco Bowing ? Ó œ ‰ Œ w ˙. œ ‰ œ # P # #

N 77 o œo . ˙ œ œ œo . œ ˙o ˙o o œo #œ œo œo Fl. @ o œ œ ‰ Ó Ó Œ $ O & œ O O O 3 " # ! ! > >œ > > >œ > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ & Œ 9 9 9 9 Ó Ó ‰ 9 9 9 9 Œ Hp. œ œ P P ? w w œ ‰ Œ ˙ w # p #

key click sound (with pitch) + air noise (no pitch) Senza Misura whistle-tone U 81 ˙o ˙o œ œ œ œ #œ q = 36 Fl. @ œ U O Ó Ó Œ œ Ó Œ ‰ & O O O ¿ ¿ ¿ | ¿ # p # ˙ ˙ œ œ ! œ U œ œ œ œ œ œ œ œ U œ œ œ o o œo œo œ œ œ œ œ œ & Œ ‰ Œ Ó o #œ œ ® ® ® ® ® ® ® ® ® ® ® ® ® ‰ œo œ œ 9 9 9 Hp. 5 P # " p œo ? œo w ˙. œ