UCLA Contemporary Music Score Collection

Title I am [where?], making a personal trajectory of listening

Permalink https://escholarship.org/uc/item/05q0m6sd

Author Bonafé, Valéria

Publication Date 2020

eScholarship.org Powered by the California Digital Library University of California making a personal trajectorymaking aof personal listeningmaking trajectoryI ama personal of [where?], listening trajectorymaking aof personal listening trajectory of listening making a personal trajectory of listening I am [where?], I am [where?], Bass clarinetI amAccordion [where?], makingI am Valéria[where?], a personal Bonafé trajectoryFemale Voice of listeningFemale voice FemalemakingAccordion Voice a personalBass clarinet trajectoryI am I[where?], am of [where?], listening making a personalValéria trajectory Bonafé of listening making a personal trajectory of listeningDouble bassmakingI amaAccordion personal [where?], trajectory of listening I am [where?], makingmaking a personal a personal trajectory trajectory of listening of listening Valéria Bonafé AccordionI ammaking [where?], a personal trajectory of listeningmaking a personal trajectory of listening Bass flute Bass flute Valéria Bonafé I am [where?], makingValéria a personal Bonafé trajectory of listeningValéria Bonafé I am [where?], I am [where?], Violoncello Viola ViolaValéria VioloncelloBonaféValériaBass Bonafé flute making a personal trajectory of listening making a personalmaking trajectory a personal of listening trajectory of listening Female voiceVioloncelloI am [where?], I am [where?], Percussion I am [where?], Female voice I am [where?],Valéria Bonafé making a personal trajectory of listening Violoncellomaking a personal trajectory of listening making a personal trajectory of listening makingI am [where?], a personalBass clarinet trajectory of listening Female voice Double bass Bass flute Valéria Bonafé I ammaking [where?], a personalFemale Voice trajectoryValéria of Bonafé listening Bass clarinet Bass clarinet Bass clarinet Female voiceBass clarinet I am [where?],Bass flute making a personal trajectory of listening Female voice Accordion I am [where?], making a personalI AM trajectory [WHERE?], of listening Female voice Bass clarinet DoubleMAKING bass A PERSONALBass clarinet TRAJECTORY OF LISTENING Double bass Violoncello making a personal trajectory of listening PercussionValéria Bonafé Bass flute Viola Violoncello Bass clarinet I amBassViola [where?], clarinet VioloncelloI am [where?], I amAccordion [where?], I am [where?], Valéria Bonafé Percussionmaking a personalBass flute trajectoryDouble bass of listeningmakingValéria a personal Bonafé trajectory of listening Double bass FemaleI am [where?], voice making a personalmaking trajectoryBass a flutepersonal of listening trajectory of listening g a personalPercussion trajectory of listening Valéria Bonafé Bass clarinet Female voice AccordionFemale voice Valéria Bonaféfor 8 musicians Accordion Bass flute AccordionI am [where?],Violoncello I am [where?], Percussion I am [where?], making a personal trajectory of listeningmaking a personalI am trajectory [where?], of listening making a personal trajectory of listening I am [where?],Double bass Violoncello I am [where?], I am making[where?], a personal trajectory of listening Violoncello making a personal trajectory of listening making a personalPercussionmaking trajectoryViola a personalVioloncello of listening trajectory of listeningFemale voice Bass flute I am [where?], I am [where?], I am [where?], I am [where?],Female voice BassAccordion clarinet Violoncello AccordionBass clarinet I am [where?],making a personal trajectoryI ofam listening [where?], making a personalI am trajectory [where?], of listeningVioloncello making a personal makingtrajectory a personal of listening trajectory of listeningViola jectory of listeningmakingBass a personalflute trajectory ofDouble listeningmaking bass a personalI am Viola[where?], trajectoryI am of [where?], listening Valéria Bonafé Double bass Valéria BonaféI am [where?], I am [where?],I am [where?], Female voice I am [where?], making a personalmakingPercussion trajectory a personal of trajectorylistening of listening Violoncello I ammaking [whvre?], Violoncelloa personal trajectoryDouble of basslistening making a personalmaking trajectorya personal of trajectory listening of listening a personal trajectory of listeningVioloncello PercussionI am [where?],I am [where?],Female voice AccordionI amVioloncello [where?],2015 I am [where?], I [where?],ectoryDouble of listening bassmakingmaking a personalI Violaam a [where?], personal trajectory trajectory ofBass listeningmaking flute of listening a personal trajectory of listening DoubleAccordion bass Violoncello makingI am [where?], a personal trajectory of listening of listeningmaking a personal trajectoryI am [where?], of listeningBass clarinet lombada I am [where?], I - GENERAL ASPECTS musicians do not listen to each other. Mixing and diffusion informationinformation – through – through the use the of colors use of – colors about – which about are which are between open and stopped strings. In the case of microtonal 3) Musical Form in 8 channels (one for each performer) is ideal for concert and howand should how be should used bethe used musical the materialsmusical materials on each onof theeach ofbeatings the beatings a different a different tablature tablature is proposed. is proposed. In it, beyond In it, statingbeyond stating 1] Introduction situations, but a 2 channels version would also be acceptable different sections. the stringsthe that strings can thatbe used, can be the used, tablature the tablature are also areinforms also theinforms the Pair A: Female voice + Violoncello for documentation purposes. pitches (normalpitches (normalin the higher in the open higher string open and string and ¼ tone higher cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus This piece is thought as a space for interaction between cloud 1 cloud 2 cloud 3 In the remainderIn the remainder of the scoreof the the score performer the performer has at hasin at the lowerin the stopped lower stopped string) that string) should that be should played. be played.These These 2,5 composer, performers and audience, as well as between 2,0 C] Version of acoustic “solo music listening” and digital her/his disposal the musical material itself, arranged itself, arranged in gestures in gestures are easily are recognizable easily recognizable by the presence by the presence of a mirror of a mirror time 1,5 q q sound, listening, time and space. As a composer I offer two “chamber music listening”, running simultaneously. four quadrantsfour quadrants in different in different colors, whichcolors, relate which directly relate directly 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ treble cleftreble at the clef beginning at the beginning of the tablature. of the tablature. 1,0 extra score specific contributions: 1) a set of ideas presented through a to the coloredto the colored markings markings that appear that appearon the charton the above. chart above. 0,5

activity index music score; and 2) a set of ideas presented through a text. This version is the simultaneous combination of the two There is Therestill another is still anotherscore attached score attached that the performerthat the performer should should 0,0 These two contributions have close relationship with each other previous versions, but with the digital version running in use at a specific moment, when the main score indicate extra extra and should be understood complementarily. Both the score real time on a different space from the space of the acoustic score. This is a. kindThis isof a “duo”, kind of i.e. “duo”, a moment i.e. a moment of greater of proximity greater proximity Pair B: Viola + Accordion and the text have a certain degree of openness, but always performance. Both spaces can be close to each other in with a secondwith a performersecond performer who also who works also with works an extrawith anscore extra score cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus Strings, T2- cloud 1 cloud 2 cloud 3 within limits or well-established guidelines. Anyway, beyond order to allow listeners to move from one space to another (a at the sameat the time. same This time. attached This attached score relies score exclusively relies exclusively on on 2,5 2,0 the possibilities established herein, unexpected musical museum or gallery with independent rooms could be favorable traditionaltraditional musical musical notation notation and does and not does require not require extra extra time 1,5 q q solutions related to the specific realities of each performance to this proposal), or significantly far, allowing, for example, 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ explanation. 1,0 extra score are welcome, provided that they are in line with the ideas here that someone in country A listens the digital version of the 0,5

activity index exposed, relying in the artistic and musical sensitivity of the performance that is happening in country B via netconcert. The 2] Musical material: gestures 0,0 performers. miking, mixing and diffusion should follow the same guidelines The musicalThe musical material material is disposed is disposed into 4 quadrants into 4 quadrants with with already presented in item 2). This version does not have a Pair C: Bass flute + Double bass 2] Global space specific single title and should receive the two titles mentioned differentdifferent colors. Each colors. of these Each quadrantsof these quadrants should be should understood be understood cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus above, one for each place. as a zone, characterizedcharacterized by a specific by a specifictype of gesture.type of gesture.Thus, Thus, cloud 1 cloud 2 cloud 3 2,5 This piece deals essentially with issues related with space starting instarting the upper in the left upper quadrant left quadrant and turning and clockwise,turning clockwise, the the Cello, T2- 2,0 time in its various dimensions. With regard to physical space for 1,5 q q Versions 2) and 3) may also include capture/projection of following areas are: Thread Zone, Grain Zone, Dot Zone and and 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 the performance, the piece is designed to be played at open visual images. In this case, a camera should be used for each Powder Zone. Each zone encompasses a set of cores which are which are extra score 0,5 or closed spaces that allow listeners to move around, such as performer, preferably focusing only on her/himself and her/his representedrepresented by a small by circle a small which circle brings which in brings the center in the the center the activity index 2 2.2) Length 0,0 parks, plazas, museums, galleries, schools, warehouses, roads instrument. Unlike audio diffusion on individual channels, the first zonefirst name zone letter name followed letter followed by a number: by a number: T1, G3, D2,T1, G3,Q4 D2, Q4 etc. The place chosen for the performance doesn’t need to be video projection may happen on a single screen divided into etc. Each color groups from two to four musical gestures that that There are two categories of gestures with regard to length: totally silent, and moderate interference noise proper to each 8 independent sections. Working in partnership with a video share evenshare more even specific more characteristicsspecific characteristics within a specificwithin a zone.specific zone. Pair D: Bass clarinet + Percussion cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus of these environments are welcome. But one should be careful artist – who can interfere creatively in capture, treatment and Gestures are named with Greek letters: (alpha), (beta), A] fixed length gestures: those which length correspond to cloud 1 cloud 2 cloud 3 so that the piece does not have to compete with environmental mixing of images – is recommended. (gamma), or (delta). the gesturalthe gesturalmovement movement itself (e.g. itself string (e.g. pizzicato, string pizzicato, finger stroke finger stroke 2,5 2,0 time sounds, compromising the work of the performers or etc.) andetc.) cannot and have cannot its lengthhave its manipulated; length manipulated; 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ completely avoiding the enjoyment of listeners. 4) Individual space: ambient and presence Gesture Gesture is a complex is a complex energetic energetic structure, structure, condensed condensed 1,0 extra score 0,5 and expressive.and expressive. Its personality Its personality (specific (specific sonic characteristics) sonic characteristics) activity index 0,0 The performers should take their places forming a kind of Although seats, banks, and music stands may be necessary was carefullywas carefully designed designed taking takinginto account into account idiomatic idiomatic circuit, in which each of them is understood as a “pit stop”. The (consider the possibility of having the score on the ground) to aspects aspects of each of instrument each instrument and is expressed and is expressed in the score in the score positioning of the musicians and the distances between them ensure good workability of the piece, the performers should through through a musical a musical writing fairly writing accurate. fairly accurate. The gesture The gesture is not is not 3.1) Cumulus Congestus Cloud 1-3 on a common pulse. The idea is to create a section where the are two variables that must be set according to the specificities organize their personal spaces (their particular environment) characterizedcharacterized only by only one by or otherone or parameter, other parameter, but by thebut by the pulse sensation is evident, but where each performer maintains Sections Cumulus Congestus Cloud 1-3 (initial, intermediate of each area (topographic conditions, existence of obstacles in the most informal way, as do street performers, for example. associationassociation of a specific of a specific set of parameters set of parameters such as such pitch, as pitch, her/his own tempo. These are the only moments where all and final) are characterized by instability of the musical material, etc.). However, as a general guideline, it should be considered Although sensitive spatial boundaries are naturally built at the duration,duration, dynamics, dynamics, timbre, timbre,articulation articulation etc. Thus, etc. care Thus, for care for Accordion, D1- the gestures available in the score – including those with long since in each of them the four pairs of performers pass through that: 1) the performers belonging to each of the following pairs time of performance, explicit segmentation (use of platforms, an accuratean accurate performance performance of each of gesture each gestureis very important. is very important. durations – should have their length reduced to 1 pulse. The the four different zones that make up the piece. Each of these must be at opposite ends: Pair A (Female voice + Violoncello), sealing strips etc.) between the performer space and the However,However, for the forgestures the gestures not to be not understood to be understood only as only as performers have the freedom to select the most adequate sections has specific characteristics. The Cumulus Congestus Pair B (Viola + Accordion), Pair C (Bass flute + Double bass), space of the audience is not desirable. Complementing this recurringrecurring icons during icons performance, during performance, most of themmost ofhave them some have some B] flexible length gestures: those which length can be set gestures to this operation within the indicated zones. Cloud 1 is characterized by the idea of “gestural polyphony”. and Pair D (Bass clarinet + Percussion); 2) Each performer must policy of rapprochement between performers and audience, flexibilityflexibility that allows that its allows energy its profileenergy to profile be varied to be according varied according by the musicianby the musician and varied and each varied time. each time. In this section each pair of musicians perform a certain activity During the long rests performers must stop the flow of be sufficiently far from the others so that she/he does not listen it is suggested to display some personal contribution of the to the contexts. to them (or at least not clearly); and 3) taking into account the performer to this environment (such as the use of personal For flexible length gestures, the minimum and maximum curve and follow a particular path between the different musical activity, but keeping a performance attitude. They total length of the piece (30 minutes), each performer must objects or significant decorative elements). It is also important The performerThe performer may manipulate may manipulate the gestures the gestures essentially essentially in length in valueslength are values indicated are indicated in the score. in the Importantly, score. Importantly, in the case in the case zones. The Cumulus Congestus Cloud 2 is characterized by should perform this interruption discreetly, seeking to avoid be sufficiently close to the others so that listeners can move that the performers are dressed according to the specific two parameters: pitch and duration (length). Some ). gestures Some gestures of gestures of gestures that have that dynamic have dynamic curve (cresc./dim., curve (cresc./dim., for example), for example), the idea of “gestural heterophony”. Represented with a black any abrupt action. During the 4-minute break, the performers between them in a comfortable walking speed and can also conventions of the chosen space (in a presentation in a park can also have their global profile retrograded, retrograded, being read being readthis shouldthis be should considered be considered to the full to extent the full of extent the gesture, of the gesture,no no line, the activity curve along this section does not indicate can act as they wish. They may remain seated or standing, still perform brief stops in front of each one of the performers, during the summer, for example, consider the use of sandals). backwards.backwards. In this case, In this the case, manipulations the manipulations are also arerelated also torelated matter to howmatter short how or longshort isor its long length. is its The length. min Theand minmax and length max length which zones should be used in every specific moment. This is or busy with some activity. The actions are free, provided they if they wish. One suggestion would be to consider about 3 the dynamicthe dynamic curve of curvethis gesture. of this gesture.Such gestures Such gestures are marked are markedvalues arevalues displayed are displayed in three differentin three different ways: ways: actually a section where performers are free to move between are not sonorous and are restricted to the individual space minutes for the stops in front of each musician and a total of 6 These are some suggested strategies to mitigate the in the score with the letter R. In the specific In the casespecific of Percussion, case of Percussion, all zones establishing interactions between gestures with very previously established for each performer. Some applause minutes to displacements. In a space without of obstacles, this conventional symbolic distance between performer and which almostwhich doesn’t almost doesn’tdeals with deals defined with defined pitch in pitch this piece, in this piece, • in seconds: min 1” / max 5”; min 3” / max 8”; min 4” / different characteristics. Finally, Cumulus Congestus Cloud 3 may occur, but should not be encouraged. The performer would result in a distance of approximately 20m between the audience. The intention is to seek a higher level of empathy the gesturesthe gestures can be manipulatedcan be manipulated in relation in torelation their durationto their duration max 10”; is characterized by the idea of “gestural homophony”. In this must remain watchful to the chronometer to return to musical nearest performers. through an environment where informality and intimacy are (length), (length),intensity intensity(dynamic (dynamic range), and range), timbre and (some timbre gestures (some gestures section all the performers follow the same activity curve and activity at the right time. In the case of video filming the focus • in pulses, when “quarter note = 40-60”: min 3 pulses / most favored. can happencan happen in different in different instruments). instruments). For the For Female the Femalevoice voice move between the different zones making the same trajectory. should not be removed from the performer. max 8 pulses; min 4 pulses / max 10 pulses; If the space does not favor the immediate visual there is alsothere the is alsopossibility the possibility of varying of wordsvarying and words phonemes and phonemes in in understanding of the total circuit, an introductory oral Nevertheless, verbal interactions with listeners should be 3.2) Others Clouds 3.3) Gesture interactions: activity curves and index each gesture. • in technique action: one fast bow, slow glide, one blow presentation or the provision of some graphic materials (texts, avoided during performance (including during the long rest etc. Unlike the sections Congestus Cumulus Cloud, the Thread, Each pair of performers has a specific activity curve indicative arrows, maps etc.) can assist the audience. However, moments). 2.1) Pitches Grain, Dot, and Powder Cloud sections are characterized presented at the top of the score. In the horizontal axis is the listeners should not, in any case, be led to predetermined 5) Synchrony Considering these limits, the length of such gestures can by great stability of the musical material, since each one is projected a timeline from 0 to 30 minutes, segmented at trajectories. Listeners must have the freedom to make their There are three categories of gestures in respect to pitch: be manipulatedbe manipulated in the following in the following ways: ways: dedicated to one of the zones that make up the piece. These every 1 minute. On the vertical axis it is showed a gradation personal choices autonomously, deciding the direction to be The piece depends essentially on the use of chronometers. A] undefined undefined pitch gestures: pitch gestures: those that those do notthat deal do not with deal with sections are marked by the presence of a kind of “duo” of the activity index that the performer should consider at taken and the time to be spent at each stage of her/his trajectory. a] for gestures without metronomic indication: stretching/ Each performer must have her/his own chronometer so that this parameter; (foreground) that is performed by one pairs of musicians and every moment. she/he can be guided independently throughout the piece. squeezingsqueezing the individual the individual duration duration of the figure of the where figure the where the accompanied (background) by other two pairs, resulting in 3] Possible versions and titles fermata isfermata placed is to placed achieve to theachieve desired the globaldesired gesture global length;gesture length; sections that are marked by the idea of “gestural accompanied Activity index The performers must start and finish the piece together, stretching/squeezingstretching/squeezing the entire the design entire as design much as as much necessary as necessary The abstract title of the piece is I am [where?], making a melody”. During these sections long moments of rest are and it is vital that they are as synchronized as possible in the to achieveto achievethe desired the globaldesired gesture global length;gesture orlength; keeping or keepingthe the personal trajectory of listening. However, that is an interactive indicated to the last pair of performers. Such sections are so 2,5 Very high level of activity. Almost no gaps between gestures. whole piece. Some level of dyssynchrony (a few seconds) is design asdesign much as as much necessary as necessary to achieve to achievethe desired the desiredglobal global title. At each performance, the musicians must fill the field arranged as follows: tolerable. However, the performers should seek to follow the Bass flute, P1- gesture lengthgesture (this length gestures (this gestures has the signal has the signal ); 2,0 High level of activity. Short gaps between gestures. [where?] indicating the specific location where the performance chronometers accurately, avoiding advance or delay in the 1,5 Moderate level of activity. Confortable gaps between gestures. will take place, turning this abstract title in a concrete title. As Thread Cloud overall map of the piece, especially in the transitions from a general recommendation for filling this field, it should be 1,0 Low level of activity. Large gaps between gestures. one section to another. Par A (Female voice + Cello): Duo (foreground) – attached score sought a great degree of specificity, clearly stating in which B] fixed pitchfixed gestures: pitch gestures: those which those pitches which arepitches closely are closely 0,5 Very low level of activity. Very large gaps between gestures. Par C (Bass flute + Double bass): Accompaniment (background) space the performers and the listeners are in the course of the linked tolinked the gestural to the gesturalprofile itself profile and itself cannot and be cannot manipulated; be manipulated; 0,0 No events. Therefore, it is essential to find a solution (appropriate to the Par B (Viola + Accordion): Accompaniment (background) piece. As an example, the premiere received the title I am at space where the performance will take place) to synchronize Dalehead Arch, making a personal trajectory of listening, which the beginning of the piece, i.e. the exact moment to activate Par D (Bass clarinet + Percussion): Long rest refers to the specific area of a tunnel located in Central Park in the chronometers. If there is any common point of visibility to Grain Cloud It is important to clarify that a high level of activity does not New York, USA. Bass flute, G1- the 8 performers, one solution can be to use a visual signal necessarily mean using a large number of different gestures. (one checkered flag, for example) given by another person Par B (Viola + Accordion): Duo (foreground) – attached score Although the performers, being isolated, see themselves Cello, P1- Eventually, it is possible to achieve a high level of activity using so that the musicians, having been already positioned in their Par A (Female voice + Cello): Accompaniment (background) and are seen as soloists, a detailed chamber music writing Bass clarinet, T3- few gestures. The opposite is also true. In a low level of activity, respective places, can trigger the chronometers and start operates throughout the piece. Thus, the piece offers the Par D (Bass clarinet + Percussion): Accompaniment (background) various gestures can be used. Thus, the activity index informs the the performance at the same moment. Another possibility audience both the possibility of “solo music” or “chamber Par C (Bass flute + Double bass): Long rest performer about the gestural density to be built at each moment, that can be used in greater distance contexts is that the music” listening and can be performed in three different ways: i.e. the frequency of physical action on her/his instrument. performers gather to trigger their chronometers and, soon C] flexible flexible pitch gestures: pitch gestures: those which those pitches which pitchescan be can be Dot Cloud after this, move to their respective places, beginning the A] Version of the acoustic “solo music listening” in live selected by the musician and varied each time. Par C (Bass flute + Double bass): Duo (foreground) – attached score In the activity curve performers can also get – through color performance. piece in the X minute previously combined. Other solutions variation – information about which zones should be used for using technological aid can also be considered (such as the For flexible pitch gestures, the set, of the available set of available pitches is pitches is Par B (Viola + Accordion): Accompaniment (background) each moment. Momentary approaches on the same core and In this version, whose title should be I am [where?], making use of electronic hearing points, for example). It should be always displayedalways displayed at the beginning. at the beginning. It is important It is important to emphasize to emphasize Par D (Bass clarinet + Percussion): Accompaniment (background) even subsequent repetitions of the same gesture are allowed, Bass clarinet, G3- a personal trajectory of listening (replacing the field [where?] avoided the use of sonorous signs. that the that pitches the cannot pitches be cannot transposed be transposed or octaved. or octaved. The pitch The pitch Par A (Female voice + Cello): Long rest but in this case avoid creating patterns or structures that can be by the name of the place of the performance), listeners sets are indicated in two different ways: recognized as new gestures. As a general remark, it is desirable move during the performance and have an individual and Due to the length of the piece, it is recommended to Powder Cloud that the available set of gestures be used in a balanced way prepare security strategies so that performers can synchronize a] for Female for voice, Female Bass voice, flute, Bass Bass flute, clarinet Bass andclarinet Accordion: and Accordion: fragmented understanding of the piece as a result of her/his b] for gestures with “quarter note = 40-60”: repeating Par D (Bass clarinet + Percussion): Duo (foreground) – attached score seeking great sonorous richness in all the sections. personal trajectory in the circuit formed by 8 soloists. again if some accident occurs along the piece. Thus, some the availablethe available pitches are pitches displayed are displayed in a box. inFor a box.the Accordion, For the Accordion, pulses aspulses much asas muchnecessary as necessary to get the to desired get the length.desired length. extra signals may be given at specific points of the piece. bracketsbrackets indicate indicate the possible the possible harmonic harmonic groupings groupings for each for each Par C (Bass flute + Double bass): Accompaniment (background) A personal engagement in handling the offered gestures is B] Version of the digital “chamber music listening”, from a hand; Par A (Female voice + Cello): Accompaniment (background) not only desired, but also essential for the efficient performance II - SCORE recording. Par B (Viola + Accordion): Long rest of the piece. It is recommended that the performers assimilate the set of gestures available as a kind of personal vocabulary 1] Introduction In this version, which title should be The defrag version Each of these four sections is preceded by a short time (1 and can thus manipulate and move between gestures with of “I am [where?], making a personal trajectory of listening” minute) of sync around the gestures that make it up, functioning The score is written essentially in traditional music notation, fluency and naturalness. However, it is important to emphasize (replacing the field [where?] by the name of the place where as a kind of introduction to the accompanied “duos” that follow. aided by graphical notation and some explanatory texts. It that despite the openness that the performer has to handle the live performance happened), audience remain still and Accordion, P1- Bass Clarinet, T2- These moments are marked in the score with the symbol of a should be printed in color and on large sheets of paper (A1 is (pitches, length, global profile etc.) and combine gestures, she/ listen to the same recorded “chamber music” version of the quarter note. The pair who will perform the duos should take recommended). he should not feel encouraged to create new gestures or modify piece. For this digital version, it should be placed 8 directional a break during this minute (quarter note pause marked in the certain parameters that do not have been indicated in the score. microphones to record each one of the musicians. Some At the top of the score the performer will find a chart that b] for Viola, for Violoncello, Viola, Violoncello, and Double and Bass:Double the Bass: numerical the numerical score), so they can properly prepare the change for the extra recording of ambient noise is acceptable. Microphones must gathers information about the musical form, with clear marks indicationindication that appears that appears at the beginning at the beginning of the tablature of the tablature score. The other two pairs that will perform the accompaniment be mixed so as to mitigate – but without compromising the that indicate the 7 different sections over 30 minutes. In this informs informs which strings which can strings be used.can be In used. general, In general, these three these three should choose a pulse between “quarter note = 40-60” and particular energy used by each performer – the dynamic gaps chart the performer also find an activity curve that gathers instrumentsinstruments use exclusively use exclusively open strings. open Fingeringsstrings. Fingerings are used are used keep it in evidence throughout this one minute, creating a sort of that would naturally result from a performance where the only in twoonly cases: in two for cases: natural for harmonics natural harmonics or microtonal or microtonal beatings beatings rhythmic ostinato. The performers should not previously agree dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5 2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

*crystalline* *extravagant* *nervous* i______n tïo { _ q = 40-60 *intense* [kï r______] { _ q = 40-60 *intense* ne ar [_______________] ï U Æ [træ] fi into U nœ nœ _ { [] [] R nœ [fr] n œ onto [æ______] R nœ n œ [kr] & n#œœ #œ nœ™™ nœ n œ [] & #n æ nnœ œ ¯¯¯ fp f [æ] & n ## œæ & n œ [] # # œ œ œ fp f. # nnœ [e] # - - - # stressing the phoneme [t] & #n f f length: min 3" / max 8" ## œ œ œ œ stressing first phonemes [k] [t] [f] f o 3rd tremolo: A -C , C -E or A -C randomic phonemes length: min 1" / max 5" # # # § § § stressing the phoneme [n] length: min 4 pulses / max 10 pulses length: min 3 pulses / max 8 pulses relaxing the [r] to achieve great velocity starting and finishing with closed mute randomic half/open mute changes lenght: min 3" / max 8" T1 T2 G1

*nervous* *nervous* [hï ] *intense* *introspective* *sweet* [] ord. in______side [______] *intense* fast m______id dle [r______] q = 40-60 *intense* ¯¯¯ *extravagant* U G3 & # n œ U R [fr] [tr] [kr] ¯¯¯ # . . . . U be______low & # mf œ œ & œ & ## n œ U # . . . . & œ # # mf nœ æ R nœ f> stressing the phoneme [h] fp mp U n œ œæ n œ æ æ æ o almost as laugh m below without changing the sung phoneme & #n & #n œæ œæ œæ length: min 1" / max 5" f # mf ## - - - length: min 1" / max 5" o length: min 3" / max 8" gliss. beyond only round mute phoneme modulation # & n nœ beside f length: min 3" / max 8" or ## # length: min 4" / max 10" randomic "wah"effect o or f> p. length: min 3" / max 8" randomic phonemes [fr] [tr] [kr] length: min 3 pulses / max 8 pulses *nervous* ord. be tween______upward or downward 3rd gliss: A#-C# or C#-E§ length: min 3" / max 8" [] [ïo] bo ttom______U Æ Æ Æ U & œ n & œ œ œ # fp o & nœ nœ ¯¯¯ T4 # ...... f o mf *anxious* repeated note: C# [] / accented notes: A and C§ [o] *anxious* alea rhythm of accented notes [r______] [r______] *introspective* *introspective* length: min 3" / max 8" *anxious* *anxious* [______o__] slow U + [æ______] æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ nœ + æ æ æ æ ænœæ æ æ æ æ æ & æ æ æ nœ U & nœ nœ G2 #œ nœ æ U U # # #œ nœ nœ#œ# # # # æ nœ nœ nœ p f & nœ . T3 & nœ . nœ & ## n œ nœ # # #œ. . # #œ nœ. . . nœ. #œ # # p & n œ œ p f p . . # . . . . # mf upward or downward arpeggio p f . . gradual transition between phonemes up-downward or down-upward arpeggio reversible dynamic curve upward or downward arpeggio p f p length: min 4" / max 10" randomic "wah"effect reversible dynamic curve length: min 3"/ max 8" reversible dynamic curve up-downward or down-upward arpeggio length: min 3" / max 8" length: min 3"/ max 8" reversible dynamic curve

*crystalline* o______n

on nœ nœ *percussive* n œ nœ in [k] & n#œœ # *introspective* m'f [p] [__o____ ________o__] Æ Æ Æ Æ Æ Æ Æ *explosive* [t] appoggiatura: up to two notes [k] upward, downward, or zigzag motion *crystalline* s______outh south ¯¯¯ fY U side wt U alea rhythm O far length: min 3" / max 8" ˘ f front *sweet* *sweet* & o mp in mp stretching the phonemes [s] or [f] o o + length: one long air flow lenght: min 3" / max 8" m on D1 nnœ length: min 5" / max 12" *percussive* *percussive* in & right & n #œœ œ [t] stepï left # # m.p [p] # mp D3 [t] step *anxious* Æ [k] track back *percussive* Yf west ï after f *extravagant* [f] behind stressing last phonemes [p] [t] [k] before way [s] P2 P1 *introspective* P3 Æ west way [f] east north out mf nnœ by f *anxious* & 1 œ Æ up stressing the phonemes [s] [f] [] [h] > nœ at top f & nn œœ out < > #œ mœf *introspective* *explosive* top upward short portamento R map fast [fïr___] *anxious* across¡______¡_ ¶ = 40-60 Y...... [] o f Æ *intense* length: min 3" / max 8" U [] æ [_______________] [] [] æ [h] mf f ¯¯¯ [] D2 m.f ...... [e] randomic "wah"effect length: one short air flow & [æ] [] length: min 5" / max 12" alea rhythm lenght: min 3"/ max 8" m-.f -. -. randomic phonemes length: min 3 pulses / max 8 pulses *explosive* *explosive*

dï own down [pï æ] _ path [pæ] back & # n [bæ] # # ' & œ ¯¯¯ f # . . . . ' . . stressing first phonemes [p] [b] [d] f stressing first phonemes [p] [b] alea rhythm length: min 3" / max 8"

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5 2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

p.n. p.n. arco gettato p.n. p.n. p.n. s.p. s.p. a la punta quasi legno arco gettato ≤ quasi legno 1 2 3 1 1 U ∏ U 2 U 1 2 ∏ o 3 2 ∏ æ 1-4 3 ∏ æ 4 3 1- 4 æ 4 ∏ œ G#, D or G T3 4 œ œ œ n Œ œ mf f mf stroke hand tremolo 3 µ f> 2 3 4 < > < > quasi tambourine f o p mf p single or double strings upward or downward arpeggio single or double strings o upward or downward arpeggio length: min 1" / max 5" or using the 4th partials, sounding 15th both strings simultaneously length: min 4"/ max 10" (one bow) up/downward or down/upward arpeggio U length: min 4" / max 10" (one bow) æ f G3 o o rotating the wrist on the surface or side G1 lenght: min 4" / max 10" T1 = 40-60 p.n. p.n. arco gettato

quasi legno ≥ p.n. s.p. R 1-4 a la punta s.p. p.n. - - - tallone ≤ ≤ f 1 æ æ æ æ æææææææææææ 4th 2 G4 U U o U R 3 ~~~~~~~~~~~~~ 4 œ 1-4 1-4 single or double strings Ÿ 5th U œ œ length: min 3 pulses / max 8 pulses p f o f o f 1-4 O 1-4 < > f shuffled single and double strings single or double strings 4th partial, sounding 15th mf length: min 4" / max 10" length: min one fast whole bow length: min one fast whole bow = q = 40-60 single or double strings 40-60 5th partial, sounding 17th stretch or squeeze the design as much as necessary max 10" (one bow) max 10" (one bow) length: min 1" / max 5" p.n., détaché s.t., détaché length: min 3" / max 8" free number of attacks stroke hand tremolo 4th 1 - 1 2 3 2 . - quasi tambourine T2 3 œ . 2 3 4 œ - - 4 œ œ p m-.p U 4th partial, sounding 15th 1 æ shuffled double strings 2 ¿æ length: min 3 pulses / max 8 pulses s.p. q = 40-60 3 length: min 3 pulses / max 8 pulses 4 ¿ p.n. f s.p. p.n. p.n., détaché o o 1 2 3 o ≤ tallone rotating the wrist

1 2 3 q = 40-60 U on the four strings 2 3 4 T4 G#, D or G s.t., détaché R 1-4 G2 lenght: min 4" / max 10" 3 n ¯¯¯ 1 2 3 µ 1 2 3 ¯¯¯ 2 3 4 2 3 4 p mf p ¯¯¯ f œ œ p mf p - - - - o -. -. -. G#, D or G f length: min 4" / max 10" 3 nn n µ n B nn h single or double strings length: min 4" / max 10" 2 3 4 length: min 3" / max 8" length: min 3 pulses / max 8 pulses mf- - - - shuffled double strings length: min 4 pulses / max 10 pulses = 40-60 s.t. pizz

1 ∏ ∏ ∏

∏ ∏ ∏

2 ∏ ∏ ∏

p.n. ∏ ∏ ∏ 3 ∏ ∏ ∏ s.p. pizz 4 ∏ ∏ ∏ a la punta mp flaut. 1 -4 upward or downward arpeggios with the bow mp lenght: min 3 pulses / max 8 pulses p.n. U 4th e & U single or multiple strings glid O 1-4 2 or 3 p mp s.t. mf 4th partial, sounding 15th pizz pizz quasi chitarra o single or double strings on the bridge, border, or scrow p.n. D2 p.n. ∏ ∏ ∏ ∏

1 ∏ single or double strings ∏ 1 pizz ∏ ∏ length: min 3" / max 8" length: min 4" / max 10" ∏ ∏ 2 ∏ ∏ ∏ 2 ∏ ∏ ∏

∏ ∏ ∏ ∏ length: min fast glide 4th 3 ∏ 3 ∏ ∏ ∏ ∏

∏ D1 4 4 ∏ ∏ max slow glide (one bow) s.p. circular bowing 1-4 - 1-4 ¯¯¯ flaut. mf f- U fifififi mf upward or downward arpeggio f length: min 1" / max 5" Ÿ~~~~5~t~h~~~~~~~~~ ~ 4th partial, sounding 15th 4th 1-4 U P2 1 2 3 O P3 mp < > 2 3 4 P1 p p.n. 5th partial, sounding 17th 1 2 3 pizz single or double strings 4th partial, sounding 15th m.s.t.

s.p. length: min 4" / max 10" length: min 5" / max 12" pizz pizz quasi chitarra & G#, D or G glide s.p. U 3 n Œ ∏ ∏ ∏ ∏ ∏ O µ 1 ∏ ∏ ∏ ∏

∏ ∏ ∏ ∏ ∏ O 2 3 4 ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ 2 ∏ ∏ ∏ ∏ ∏ f ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ 2 or 3 ˘ ∏ ∏ ∏ ∏ ∏ R with fingernails R ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏

3 ∏ ∏ 2 or 3 p.n. ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ circular scrape 4 ∏ ∏ ∏ ∏ ∏ ∏ mf both strings simultaneously ------o mp U fifififi p f 4th~~~~~~~~~~~~~~~~~~~ after the end of the fingerboard Ÿ single or double strings U length: min 4" / max 10" single or double strings fingers stretch or squeeze the design as much as necessary length: min 5" / max 12" 1-4 one finger length: min 3" / max 8" f mf slap free number of arpeggios stretch or squeeze the design as p < >mf p o o slap p.n. much as necessary on the surface (near f-hole) 1 4th partial, sounding 15th length: min 5" / max 12" D3 2 harmonic with 3rd finger 3 4 muffled string with 1st finger f length: min 3" / max 8" f strike the surface or the side strike the four strings

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5 2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

p.n. p.n. arco gettato p.n. arco gettato p.n. p.n. s.p. s.p. a la punta quasi legno ≤ quasi legno 1 2 3 1 1 U ∏ U 2 U 1 2 ∏ 3 2 ∏ æ 1-4 o 3 ∏ æ 4 3 1- 4 æ 4 ∏ œ G, C# or A T3 4 œ œ œ n Œ œ mf f mf stroke hand tremolo 3 µ f> 2 3 4 < > < > quasi tambourine f o p mf p single or double strings upward or downward arpeggio single or double strings o upward or downward arpeggio length: min 1" / max 5" or using the 4th partials, sounding 15th both strings simultaneously length: min 4"/ max 10" (one bow) up/downward or down/upward arpeggio U length: min 4" / max 10" (one bow) æ f G3 o o rotating the wrist on the surface or side G1 lenght: min 4" / max 10" = 40-60 T1 p.n. p.n. arco gettato

quasi legno ≥ p.n. s.p. R 1-4 a la punta s.p. p.n. - - - tallone ≤ ≤ f 1 æ æ æ æ æææææææææææ 4th 2 G4 U U o U R 3 ~~~~~~~~~~~~~ 4 œ 1-4 1-4 single or double strings Ÿ 5th U œ œ length: min 3 pulses / max 8 pulses p f o f o f 1-4 O 1-4 < > f shuffled single and double strings single or double strings 4th partial, sounding 15th mf = 40-60 length: min 4" / max 10" length: min one fast whole bow length: min one fast whole bow = 40-60 q single or double strings 5th partial, sounding 17th stretch or squeeze the design as much as necessary max 10" (one bow) max 10" (one bow) length: min 1" / max 5" p.n., détaché s.t., détaché length: min 3" / max 8" free number of attacks stroke hand tremolo 4th 1 - 1 2 3 2 . - quasi tambourine T2 3 œ . 2 3 4 œ 4 œ p - - œ m-.p U 4th partial, sounding 15th 1 shuffled double strings 2 æ length: min 3 pulses / max 8 pulses 3 ¿æ length: min 3 pulses / max 8 pulses s.p. q = 40-60 4 ¿ p.n. f s.p. p.n. p.n., détaché o o 1 2 3 ≤ tallone rotating the wrist o q = 40-60 1 2 3 U on the four strings 2 3 4 G, C# or A s.t., détaché T4 ¯¯¯ R 1-4 G2 lenght: min 4" / max 10" n µ 1 2 3 1 2 3 ¯¯¯ 2 3 4 2 3 4 p mf p ¯¯¯ -o - -o -o f œ œ p mf p G, C# or A o . . . f- - - length: min 4" / max 10" 3 nn n µ n B nn single or double strings length: min 4" / max 10" 2 3 4 length: min 3" / max 8" length: min 3 pulses / max 8 pulses mf- - - - shuffled double strings length: min 4 pulses / max 10 pulses

= 40-60 s.t. pizz

1 ∏ ∏ ∏

∏ ∏ ∏

2 ∏ ∏ ∏ p.n. 3 ∏ ∏ ∏ ∏ ∏ ∏ s.p. pizz 4 ∏ ∏ ∏ mp a la punta flaut. 1-4 upward or downward arpeggios s.p. lenght: min 3 pulses / max 8 pulses glide with the bow mp O U 4th R 1-4 single or multiple strings 1-4 U mf o p s.t. 4th partial, sounding 15th mp pizz pizz quasi chitarra after the end of the fingerboard p.n. D2 single or double strings ∏ ∏

p.n. ∏ ∏ single or double strings 1 ∏ on the bridge, border, or scrow ∏ 1

∏ ∏ pizz ∏ ∏ 2 ∏ length: min 3" / max 8" ∏ ∏ 2 ∏ ∏ ∏

length: min 3" / max 8" ∏ ∏ length: min 4" / max 10" ∏ ∏ 3 ∏

4th 3 ∏ ∏ ∏ ∏

∏ stretch or squeeze the design as D1 4 4 ∏ ∏ s.p. circular bowing 1-4 - ¯¯¯ much as necessary 1-4 mf f- flaut. mf U fifififi upward or downward arpeggio length: min 1" / max 5" f Ÿ~~~~5~t~h~~~~~~~~~ ~ 4th partial, sounding 15th 4th 1-4 U O P2 1 2 3 P1 mp < > 2 3 4 P3 p.n. p pizz 5th partial, sounding 17th 1 2 3 m.s.t. single or double strings 4th partial, sounding 15th o length: min 5" / max 12" pizz pizz quasi chitarra length: min 4" / max 10" G, C# or A

p.n. 3 n Œ ∏

µ ∏ ∏ ∏ ∏ 2 3 4 1 ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ f ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ 2 ∏ ∏ ∏ ∏ ∏ e & s.p. U ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ id ∏ ∏ ∏ ∏ ∏ gl R ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏

3 ∏ ∏ O O p.n. ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ with fingernails ∏ ∏ ∏ ∏ ∏ ∏ 1-4 ˘ both strings simultaneously 4 - - - - 1-4 circular scrape p------f mf U fifififi 4th~~~~~~~~~~~~~~~~~~~ o mp Ÿ length: min 4" / max 10" fingers single or double strings U one finger stretch or squeeze the design as much as necessary single or double strings 1-4 slap length: min fast glide f slap p.n. free number of arpeggios max slow glide (one bow) length: min 5" / max 12" < > p mf p o mf o D3 1 on the surface (near f-hole) 2 4th partial, sounding 15th 3 length: min 5" / max 12" 4 harmonic with 3rd finger f muffled string with 1st finger f strike the surface or the side length: min 3" / max 8" strike the four strings

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5 2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

bellows shake q = 40-60 ” leg slow vib “U one bellow q = 40-60 Æ r.h. U n œ œ œ U nœ r.h. nœ æ n#œ n œ n œ n œ n œ ™™™ & æ #œ nœ œ œ #œ #œ & bellows slaps tremolo #œ nœ ¸ mp ™ nnœ n œ ™ & ™ & n œ n œ ¸™ bœ bellows slaps tremolo n œ ™ ™ & n#œœ ¸ mp ¸ bœ bœ bn œ ™ & n œ ¸ f mf bn œ bn œ mp ¸ bœ ¯¯¯ b œ o bœ œ œ æ æ æ p f U b nœ æ ¿ ¿æ ¿ ï ? ï ? n œ ? nœ œ œ ” U ¿ f b œ ï æ ï # œ nœ ï n“w ? nœ f o o nœ æ l.h. n # ï ? n#ww ï # œ ? n œ n one or both hands n length: min 1" / max 5" length: min 4" / max 10" ï #œ ¯¯¯ V' one or both hands length: min 4 pulses / max 10 pulses length: min 4 pulses / max 10 pulses stretch and squeeze the design stretch and squeeze the design l.h. n n one or both hands length: min 4" / max 10" # “‘ alea combination of l.h. and r.h. trichords as much as necessary as much as necessary # length: min 1" / max 5" length: min 3" / max 8" one or both hands always on contrary direction alea combination of l.h. and r.h. bichords lenght: min 3" / max 8" T2 G3

T1 T3 G1 G2 stroke tremolo q = 40-60 quasi tambourine sudden registers mixtures filtering bass opposite bass n œ r.h. switches corner switches finger tremolo finger tremolo U #œ n# r.h. n œ n nœ U ™ nœ arm fast vib ” U ™ & n œ ¸ & n#œœ æ æ æ “” “U ? bellows shake ¸ nœ#œ œœ nœ n R f p ¿æ ¿æ ¿æ # # ï n nœœ æ mf f & bœ b œ f n # œ #œæ bœ b œ o o æ r.h. U bœ œ mp nœ - - - r.h. U ™ & æ “‘ n œ n œ œ bœ œ Uœ ? n œ nœ. œ. œ. n œ n œ extend the bellows slightly ¸ mp m“‘f #œ #œ ? Db-C§: changes between upper switches ï # œ #œ #œ right hand, rotating the wrist n œ n œ ï l.h. # œ œ œ nnœ n œ length: min 1" / max 5" ™™™ & nœ C§-B§: changes between lower switches nœ n ™ ™ & n œ length: min 4" / max 10" ¸ n#œœ æ alea "filtered" pitches length: min 5" / max 12" ¸ #œ U R æ f one or both hands f stretch and squeeze the design ? æo length: min 3" / max 8" o as much as necessary ï nœ b œ alea combination of l.h. and r.h. trichords length: min 4" / max 10" # œ b nœ U length: min 3 pulses / max 8 pulses n ï ? ï n œ nœ l.h. # œ # œ lenght: min 4" / max 10" n n one or both hands æ alea combination of l.h. and r.h. trichords length: min 1" / max 5"

one bellow r.h. arm fast vib n œ r.h. n œ n œÆ #œ n#œ #œ bass switches clicks n œ r.h. n . n œ ™ nœ n œ guiro efect ” #œ # nœ ™ ™ & nœ nœ ™ ™ & n#œœ “ nœ ¸ n#œœ n œ ¸ r.h., with fi ngernails (or plectrum) U “” U nnœ R # œ...... sfz ? # # ™ ™ & n œ mp f nœ tone g n ¸ #œ bœ b œ ï # liss R f b œ b œ #œ œ ™ & ¿ ¿ ¿ ¿¿¿ ¿¿¿ ¿ bœ ? nœ ï ? nnœ ¿ “‘ ¸ p ¿ ¿ ¿ ¿ ¿ bnœ ï # œ nœ mf “‘ mp p f ? l.h. n # o o length: min 5" / max 12" length: min 3" / max 8" n fast dragging over the bellows or keyboard length: min 3" / max 8" alternating between different switches appoggiatura: up to three notes stretch and squeeze the design as much as necessary one or both hands ' length: min 4" / max 10" upward, downward, or zigzag motion free number of attacks alea combination of l.h. and r.h. trichords stretch and squeeze the design as much as necessary free number of clicks

bellows shake air sound air sound D2 P3 U U P2 D1 P1 æ _ f æ D3 o m_f length: min 5" / max 12" length: min 4" / max 8" one bellow finger tremolo r.h. . . . bass switches clicks knocking sound n œ .nœ .nœ . air pitch air U n#œ .#œ .#œ . ¶ = 40-60 “” ” nœ nœ nœ “” # #“ ¸™ & n#œœ ¯¯¯ Æ _ air sound ? n ¿ ¯¯¯ ¯¯¯ R ï nœ ™ ¿ ¿ ¿ f # œ & mf o ™ ≥ ≤ ≥ #_ œ _ ¸ mf ¸™ ™ & “‘ U alea switches, alea rhythm bb œ sfz “‘ p “” ” on the front or top of the bellows nœ -_ -_ -_ o o # #“ length: min 3" / max 8" alea rhythm ? n œ nœ nœ mf n ï # œ . . ¯¯¯ ï ? length: min 5" / max 12" ï length: min 3" / max 8" l.h. n #œ. #œ. . ï length: min 3 pulses / max 8 pulses stretch and squeeze the design as much & n . . n . . as necessary p one or both hands o o alea combination of l.h. and r.h. trichords V' length: min 5" / max 12" length: min 4" / max 10" one or bo“t‘h hands

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5 2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

q = 40-60 q = 40-60 U~~~~~~~~~~~~~~~~ 3 n b Ÿ~~~~~~~~~~~~~~~~ U b U # R b b b Ÿ~~ ~~~~~~~~~~ b b b bÆ 3n & æ æ æ 3 n & 3 3 ™™ T1 R # æ æ æ & # < n > n- - n- - & & - - - f 3n mf f o o R # fp f o f multiple color trill & length: min 3 pulses / max 8 pulses different bisbigliando or microtonal fingerings length: min 4 pulses / max 10 pulses length: min 1" / max 5" length: min 4" / max 10" f seeking great variations around central pitch o lenght: min 4" / max 10" length: min 4" / max 10" & ¯¯¯ . . . . G4 f> T2 G1 double/triple tonguing length: min 1" / max 5"

q = 40-60 q = 40-60 R b b b b & & mf 3 n 3 n- 3 n- 3 n- R b f b o # b # # # & length: min 4" / max 10" length: min 4" / max 10" n G3 3n 3n 3n R bb 3 # # # - - - & æ # & ¯¯¯ & f æ & o f f f mp length: min 3 pulses / max 8 pulses T4 length: min 1" / max 5" lenght: min 3" / max 8" length: min 3 pulses / max 8 pulses length: min 3" / max 8" Æ Æ Æ b b ¯¯¯ lip gliss & ...... mf b double/triple tonguing b g & liss. gliss. repeated note: D or G / accented notes: A, C and Eb b b b b mp mf mp alea rhythm of accented notes & b æ æ æ length: min 3" / max 8" & b æ æ æ æ æ b b T3 length: min 1" / max 5" æ b b æ & b b p f p p f stretch or squeeze the design as much & æ G2 as necessary mp f up-downward or down-upward arpeggio upward or downward arpeggio æ æ æ æ æ æ æ æ æ æ æ reversible dynamic curve pæ æ æ æ æ fæ æ æ æ æp reversible dynamic curve upward or downward arpeggio length: min 1"/ max 5" length: min 4"/ max 10" reversible dynamic curve up/downward or down/upward arpeggio stretch or squeeze the design as much as necessary length: min 4"/ max 10" reversible dynamic curve

TR TR [u] [] [u] key clicks & & wt or gliss gliss b b f & ¯¯¯ & 3 _ b Æ f m¿f _ _ ˘ & b [t] mp f & b TR alea rhythm o o œ f Æ length: min 4" / max 10" Æ length: min 4" / max 10" all the holes closed b œ mp appoggiatura: up to three notes & stretch or squeeze the design as length: one blow œ œ & upward, downward, or zigzag motion f & b Y much as necessary length: min 5" / max 12" b f f [u] [ D1 jw D4 R P3 D3 Æ P2 P1 s _ ¯¯¯ _ glis D2 æ & _ f & æ p_ _ f f_ all the hold o o lenght: min 5" / max 12" all the holes closed key clicks [k] [b] length: one blow R bb Æ Æ & R b key clicks U[s______] & & Y ¶ = 40-60 m.p ...... f. & f p f f f & length: min 3" / max 8" stretch and squeeze the design as much as necessary slap length: min 4" / max 10" ¯¯¯ Y f & o free number of attacks stretch and squeeze the design as much as necessary m-_f -_ -_ lenght: min 1" / max 5" b free number of clicks mp & length: min 3 pulses / max 8 pulses alea key clicks mw f length: one blow

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5

2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

p.n. p.n. arco gettato p.n. p.n. s.p. s.p. a la punta quasi legno arco gettato p.n. quasi legno 1 1 ≤ U ∏ 2 1 ∏ 1 2 3 U 2 3 2 ∏ æ 1-4 U 3 ∏ æ 1-4 ∏ o 4 3 æ 4 œ T3 4 œ œ œ œ B, C or G# Œ > mf f mf stroke hand tremolo 3 n µ f o < > < > quasi tambourine 2 3 4 p mf p single or double strings upward or downward arpeggio single or double strings f upward or downward arpeggio length: min 1" / max 5" o length: min 4"/ max 10" (one bow) or using the 4th partials, sounding 15th up/downward or down/upward arpeggio U both strings simultaneously æ length: min 4" / max 10" (one bow) f G3 o o rotating the wrist on the surface or side G1 lenght: min 4" / max 10" = 40-60 T1 p.n. p.n. arco gettato

quasi legno ≥ p.n. s.p. R 1-4 a la punta s.p. p.n. - - - tallone ≤ ≤ f 1 æ æ æ æ æææææææææææ 4th 2 G4 U U o U R 3 ~~~~~~~~~~~~~ 4 œ 1-4 1-4 single or double strings Ÿ 5th U œ œ length: min 3 pulses / max 8 pulses p f o f o f 1-4 O 1-4 < > f shuffled single and double strings single or double strings 4th partial, sounding 15th mf q = 40-60 length: min 4" / max 10" length: min one fast whole bow length: min one fast whole bow = 40-60 single or double strings 5th partial, sounding 17th stretch or squeeze the design as much as necessary max 10" (one bow) max 10" (one bow) p.n., détaché s.t., détaché length: min 3" / max 8" length: min 1" / max 5" free number of attacks 4th 1 - stroke hand tremolo 1 2 3 2 . - 3 œ . quasi tambourine 2 3 4 œ T2 4 œ œ p - - m-.p U 4th partial, sounding 15th shuffled double strings 1 æ length: min 3 pulses / max 8 pulses 2 ¿æ length: min 3 pulses / max 8 pulses s.p. q = 40-60 3 4 ¿ p.n. p.n., détaché f s.p. p.n. o o 1 2 3 ≤ tallone rotating the wrist o q = 40-60 U 1 2 3 on the four strings 2 3 4 s.t., détaché 1-4 G2 T4 B, C or G# R lenght: min 4" / max 10" 3 n µ ¯¯¯ 1 2 3 1 2 3 ¯¯¯ 2 3 4 o o o o 2 3 4 p mf p ¯¯¯ - - - - o f œ. œ. . p mf p B, C or G# f- - - length: min 4" / max 10" 3 nn n µ n B nn single or double strings length: min 4" / max 10" 2 3 4 length: min 3" / max 8" length: min 3 pulses / max 8 pulses mf- - - - shuffled double strings length: min 4 pulses / max 10 pulses

= 40-60 s.t. pizz

s.p. 1 ∏ ∏ ∏ ∏ ∏ ∏ 2 ∏ ∏ ∏ a la punta 3 ∏ ∏ ∏ p.n. ∏ ∏ ∏ flaut. pizz 4 ∏ ∏ ∏ with the bow mp s.p. glide & U 4th 1-4 upward or downward arpeggios O U 1-4 lenght: min 3 pulses / max 8 pulses R 1 or 4 mp p mf mp single or multiple strings o 4th partial, sounding 15th after the end of the fingerboard single or double strings on the bridge, border, or scrow s.t. single or double strings length: min 3" / max 8" length: min 4" / max 10" pizz pizz quasi chitarra p.n. D2 length: min 3" / max 8" ∏ ∏

∏ ∏ s.p. p.n. 1 ∏ circular bowing ∏ 1 ∏ ∏ ∏ ∏ stretch or squeeze the design as pizz 2 ∏ ∏ ∏ 2 ∏ ∏ ∏

∏ ∏

∏ ∏ flaut. 3 ∏ 3 ∏ ∏ much as necessary 4th ∏ ∏ ∏ U fifififi D1 4 4 ∏ ∏ 1-4 - ¯¯¯ Ÿ~~~~5~t~h~~~~~~~~~ ~ 1-4 mf f- 4th 1-4 U mf P2 upward or downward arpeggio length: min 1" / max 5" O 1 2 3 P3 f mp < > 2 3 4 4th partial, sounding 15th p P1 5th partial, sounding 17th p.n. single or double strings 4th partial, sounding 15th length: min 5" / max 12" pizz length: min 4" / max 10" 1 2 3 o m.s.t. pizz pizz quasi chitarra B, C or G# p.n. p.n. with fingernails n Œ 3 µ ∏ circular scrape ∏ ∏ ∏ ∏ 2 3 4 1 ∏ ∏ ∏ ∏ s.p. U ∏ ∏ ∏ ∏ ∏ de & f ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ li 2 ∏ ∏ ∏ ∏ ∏ g fifififi ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ O ∏ ∏ ∏ ∏ ∏ O U R ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏

3 ∏ ∏ 1 or 4 ˘ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ 4Ÿth~~~~~~~~~~~~~~~~~~~ both strings simultaneously 4 ∏ ∏ ∏ ∏ ∏ ∏ 1 or 4 - - - - U ------mf p f o mp 1-4 f < > mf length: min 4" / max 10" single or double strings p mf p o o length: min fast glide single or double strings fingers stretch or squeeze the design as much as necessary on the surface (near f-hole) one finger max slow glide (one bow) length: min 5" / max 12" slap free number of arpeggios 4th partial, sounding 15th length: min 5" / max 12" slap p.n. harmonic with 3rd finger muffled string with 1st finger 1 D3 2 length: min 3" / max 8" 3 f 4 f strike the surface or the side strike the four strings

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5

2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

q = 40-60 q = 40-60 b Ÿ n nn ~~~~~~~~~~~~~~~~ & n b U Æ R / 0 b b b b b R T1 b ™™ b & - B - - B - & & æ æ æ R mf & b æ æ ¯¯¯ & ( f ) fp f -f - - 1/4 tone up or down f ( f ) length: min 4 pulses / max 10 pulses length: min 4" / max 10" length: min 1" / max 5" length: min 3 pulses / max 8 pulses lenght: min 3" / max 8" length: min 4" / max 10"

& nœ ¯¯¯ G4 b œ bœ. . . . T2 > f G1 nœ nn double/triple tonguing n œ U length: min 1" / max 5" bœ U R b q = 40-60 q = 40-60 n œ n & n œ & n bœ b b U bmœf f ~~~~~~~~~~~~~~~~~~ - - - R b o Ÿ~~~~~~~~~~~~~~~~~~ µ µ µ n length: min 4" / max 10" length: min 4" / max 10" µ µ µ & n b b b b b & - - - R f & B B B f & & mp multiple color trill ( f ) G3 length: min 3 pulses / max 8 pulses f different bisbigliando or microtonal fingerings length: min 3 pulses / max 8 pulses T4 length: min 3" / max 8" length: min 1" / max 5" seeking great variations around central pitch lenght: min 4" / max 10"

lip pitch bend Æ Æ n nnœ n b bœ nœ ¯¯¯ n n port. port. n bœ & & n œ n nœn mp mf mp æ U bœ bœ b b æ æ æ æn nœ m.f ...... n n length: min 1" / max 5" æ æ æ & n n bœ æ double/triple tonguing n n b stretch or squeeze the design as much & nœ æ b b n G2 & nœ repeated note: Bb or E / accented notes: B, D and Eb T3 & n as necessary bœ b mp f alea rhythm of accented notes p f p p f æ æ æ æ æ æ æ æ æ æ pæ æ æ æ æ fæ æ æ æ æ p length: min 3" / max 8" upward or downward arpeggio up-downward or down-upward arpeggio upward or downward arpeggio reversible dynamic curve reversible dynamic curve reversible dynamic curve up/downward or down/upward arpeggio length: min 4"/ max 10" length: min 1"/ max 5" length: min 4"/ max 10" reversible dynamic curve stretch or squeeze the design as much as necessary

floating harmonic air mult. air ¶ = 40-60 key clicks œ o o lip pitch µ _ œ _ _ bœ bœ µ_ _ bend nœ n n œ & B_ œ _ n œ n Æ bœ > ¿ ¯¯¯ & œ bœ b n œ mf p -_ -_ -_ b µ n œ nnœ & n œ o mf & n using a very resonant key, alea rhythm o ¯¯¯ f bœ Æ bœ 1 bœ length: min 5" / max 12" n œ length: min 3" / max 8" alternating exhaling and inhaling p & n œ f stretch and squeeze the design as o o appoggiatura: up to three notes < > length: min 3 pulses / max 8 pulses bœ bœ up or down short portamento much as necessary lenght: min 5" / max 12" upward, downward, or zigzag motion f

key clicks smacking f D1 sound U D3 ¿ P1 »t P2 ¯¯¯ nœ D2 P3 _ _ & n œ & nnœ mp o f bœ bœ bœ b f F alea key clicks articulating at the end mf length: one blow length: one blow key clicks nnœ bursting air pitch air subtone floating harmonic R bœ sound n œ R & n œ nnœ U nœo nœo bœ bœ...... bœ U ¿ & & nœ mp f n œ p f æ nbœ & n œ b_ œ _ b˙ _ length: min 3" / max 8" bœ b œ p p _ _ & œ _ alternating between some very resonant keys o o b µ stretch and squeeze the design as much as necessary f length: min 3" / max 8" o o f o length: min 5" / max 12" length: min 5" / max 12" o o ¯¯¯ free number of attacks length: min 1" / max 5" stretch and squeeze the design as much as necessary p stretch and squeeze the design as length: one blow free number of clicks much as necessary o o lenght: min 5" / max 12"

dobra dobra

cumulus congestus thread cloud grain cloud cumulus congestus dot cloud powder cloud cumulus congestus cloud 1 cloud 2 cloud 3 2,5

2,0 time 1,5 q q 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ 1,0 extra score 0,5

activity index 0,0

buzz buzz U 7 7 77 7 77 7 7 – l.v. – U l.v . §A §A •A l. ¥ œ ß œ or œ ¯¯¯ Ω œ ¥ ç œ f mp mp f > > mp f o short or long buzz always short buzz T length: min 4"/ max 10" length: min fast bow alea rhythm, alea accented strokes alternating up and down bow max slow bow length: min 3"/ max 8"

U U T2 l.v . quick roll æ G2 §A æ ¯ •A œæ Ω æ U+ Ω mp œ æ o o o mf œæ G1 §A æ R length: min 3"/ max 8" length: min 1"/ max 5" ß f œæ o ß mf snare sticks: striking o length: min 3"/ max 8" wire brushes: sweeping

≤ ≤ l.v. with chain – U U ≤ ¥ Ω ç œ Uœ œ mp fifififi mp o mp sweeping U o o tap tap R ¯ l.v . U ∏ œ + + length: min 4"/ max 10" ∏ mp ∏ U > shuffled pitches ∏ œ . . . . . ∏ œ ¥ æ ç œ •A æ or susp. to sizzle or the contrary œæ p ß œæ ®® œ length: min 5"/ max 12" mp mp œ ¯¯¯ o o upward or downward arpeggio o o mp length: min 3"/ max 8" length: min 3"/ max 8" mp . f . . . . T alea rhythm, >alea accented taps length: min 3"/ max 8"

U U T1 ™A l.v. ™A l.v. ¥ æ 6A secco ¥ œ œæ 6A l.v. T3 æ R mf ç œ å ç œ G3 mp f o å f T length: min 1"/ max 5" mp f o T length: min 1"/ max5" ë fast shake slow twirl l.v. U U U ¥6A l.v. U æ ®® æ œ 6A Uœ Uœ œ œ f ç œ œ œ æ æ o mp æu mp æ length: min fast scrape f u shuffled bichords o length: min 3" / max 8" max slow scrape length: min 1" / max 5" length: min 4" / max 10"

cup %A l.v. Œ œ U mp œ œ 6A ˝ œ §A secco £A ∑ œ ¯¯¯ p œæ R œ œ ¯¯¯ ˝ mp mf œ > > > > o w.bl. and almglocken simultaneously on the edge length: min 3"/ max 8" alea pitches combinations alea rhythm, alea accented strokes alea rhythm, alea accented strokes length: min 4"/ max 10" length: min 4"/ max 10" fifififi U l.v. %A l.v. P1 edge ˝ œ ˝ œ rim shot £A U p mf mp D3 secco œ > U U T o § §A ∑ Œ œ ∑ Œ æ œ œ length: min 4"/ max 10" length: min 3"/ max 8" ¥ œ œ P2 œ mf D2 mp æ æ f ' æ æ f appog.: up to three pitches length: min 4"/ max 10" accented pitch: high, medium or low shuffled high, medium and low pitches U ® l.v . on the side •A I I Î cup/rim ë œæ Ñ ì ˝ mp §A 6A U l.v. mf 6A U l.v. o ¥ Í œ ¯¯¯ £A > ˝ œ length: min 3"/ max 8" mp > > ∑ œ £A f œ Œ œ ¯¯¯ œ o ˝ suspended cymbal: cup; snare drum: rim mp ∑ Œ œ œœœœ œ œ œ œ œ length: min 1"/ max 5" f o alea rhythm, alea accented strokes length: min 1" / max 5" f p length: min fast scrape length: min 3"/ max 8" l.v. appog.: up to three pitches max slow scrape ® L P accented pitches: high, medium or low Î c d œ P3 I I Î length: min 1"/ max 5" I I mf Ñ ì œ. stretch or squeeze the design as much as necessary Ñ ì f free number of strokes both chimes D1

with fingernails fifififi fifififi U ¡A P4 U - quick roll ß Í œ ß Í œ U £A £A mp f mp f œ æ R T T ⁄ p mf Í ∑ Œ æ Í ∑ Œ length: min 1"/ max 5" T œæ œ œ length: min 3"/ max 8" f >™™ length: min 10"/ max 20" o f p

dobra INSTRUMENTATION words in a box: set of available phonemes/words to be chosen for each specific * multiphonic suggested fingering gesture.Vary the chosen phonemes/words during the piece. Female voice (+ megaphone) Viola [D, G, C#, A] unvoiced whispered sound [use the grey key for the trill] Bass flute Violoncello [C, G#, D, G] voiced whispered sound: a blend of whispered and spoken voice Bass clarinet in Bb Double bass [F#, B, C, G#]

Accordion Percussion whistle: alternating freely between the two given notes Bass clarinet + bocca chiusa: with mouth closed all the holes closed / all the holes opened INSTRUCTIONS exaggerated vibrato flutter-tongue General very articulated lingual trill: using [r] trills: always irregular and as fast as possible pitches in a box: set of available pitches to be chosen for each specific gesture. open/closed shell hand mute: make a shell with both hands and cover completely Varying the chosen pitches during the piece. In the case of the Accordion, the _ the nose and mouth (like a steam inhaler) to get a closed shell hand mute. Separate continuous fast vibrato: variations in pitch, not in velocity brackets indicate the possible harmonic groupings for each hand. hands to get an open shell hand mute. discontinuous and irregular slow vibrato: downward/upward movements of the quarter-tones open half shell hand mute: remove right or left hand jaw to produce jerking type of single-strokes vibrato slap tongue somewhat lower / somewhat higher open/closed hand rounded mute. To get the open hand rounded mute, make a circle with left hand by connecting the thumb and the index finger (OK gesture) smacking sound produced by explosively opening the lips which are sucking firmly and let the other three fingers down (completely rounded hand shape). To get the accented staccatissimo on the mouthpiece closed hand rounded mute, use right hand palm to cover it completely. non pitched air sound: cover the embouchure hole completely with the lips and gradual transition between one state to another fast/slow opening/closing hand round mute: right hand back and forth movement blow down to produce a white noise. Noise “intonation” can be controlled by to get an “wah” effect opening (high frequencies) or closing (low frequencies) holes. crescendo from nothing with/without megaphone. The megaphone is used as a resource to deform the ord. voice and not just as an amplifier. Its level must be adjusted to produce a slight bursting sound: open the mouth suddenly to produce a short and explosive “wah” diminuendo to nothing louder intensity comparing to the normal voice, but not in an exaggerated way. effect

exponential crescendo * floating harmonics suggested fingerings: Bass flute exponential diminuendo normal mouthpiece position / inward mouthpiece position always as fast as possible mouthpiece covered by lips

gradual acellerando tongue in the mouthpiece * multiphonics suggested fingerings: gradual rallentando flutter-tongue

trills always irregular and as fast as possible alea rhythm continuous fast vibrato: variations in pitch, not in velocity keeping the same design as much as desired discontinuous and irregular slow vibrato: downward/upward movements of the relative duration: stretch the respective sound as much as desired in each specific jaw to produce jerking type of single-strokes vibrato context whistle tones: free floating of harmonics

non pitched air sound: cover the embouchure hole completely with the lips and Female voice blow downto produce a white noise. Noise “intonation” can be controlled using the phonemes [u] from too (low frequencies) and [] from in (high frequencies). The text is presented in two different ways: complete words conventionally written and sounds (monophthongs, diphthongs, consonant clusters or syllables) phonetically notated (always pitched air sound: blow down without covering the embouchure hole to produce [use the grey key for the trill] between brackets). The horizontal line (__) indicates when a phoneme must be stretched. a mix between air and pitch The black dot (•) indicates when a specific phoneme must be stressed (strongly accented). jet whistle: similar to non pitched air sound, but achieved with quick and forceful Accordion in obelow wway attack of air eleft side ffar æatppath hbehind Transposing registers are always notated as sounding pitch. The performer should carry upttop ssouth strong tongue pizzicato out the transposition her/himself. In the case of combination registers, only the respective far k back north lowest reed rank is notated. During moments of high level of activity, register changes may be onbbeside left key click eliminated to achieve greater speed in switching between different gestures. In this case, use ddown r * lingual trill the 8 'register in treble and bass sides. beatboxing: half flute/half whispered voice sounds. Reinforce the consonants to * The [r] must be trilled only when it appears between brackets (alone or in the consonant clustes [fr] [kr] [tr]. achieve a very percussive sound. Use [t] from top, [k] from cup, [s] from said, When it appears in a word, use the normal USA pronunciation [] . and [b] from be. bellows shake or finger tremolo, always irregular and as fast as possible

the words written between the stars are character indications to help the performer tongue ram: sounding a minor seventh lower than the fingered tone fast vibrato: using left arm, always as fast as possible *sweet* to define specific voice expressivity for each gesture. An exaggerated theatrical slow vibrato: use the leg to produce clear short impulses performance (face, hands and body gestures) is not desirable. using the switches located on the casing parallel to the keyboard, push the flaut. arco flautato Hard mallets: Wood blocks, Almglockens, and Snare drum registers mixtures switches slowly to achieve a gradual sound change from one register to another. Octaves and eventual deteriorations of the intonation are desired (adding reed overpressure ranks: minimal detuning / retiring reed ranks: pronounced detuning). Brass mallets: Crotales, Triangle, Cymbal, and Thai gongs from flautato (at the tip) to overpressure (at the frog) tone gliss gradual downward bending Superball mallet: Snare drum and Thai gongs from overpressure (at the frog) to flautato (at the tip) chromatic cluster arco gettato: single bow action. Unforced bounces as quick as possible Medium/Hard gong beater: Thai gongs

air sound 1) with the bow: standard tremolo, always irregular and as fast as possible; 2) with the hand: stroke hand tremolo (rotating the wrist), always irregular and as fast as Bow: Cymbal and Crotales percussive sounds possible. Wood blocks 1) with the bow: circular bowing, always irregular and as fast as possible; 2) with bass switches only the noise of the mechanism the hand: circular scrape using the fingernails on the body of the instrument. clicks Almglockens upward/downward arpeggios: always as fast as possible knocking with the right hand, knock the bellow: on the front (more muffled sound) or on the Snare drum (with snares on/off) sound top (more bright sound) directional glide: glide the finger up or down the length of the string producing Triangle make a percussive tremolo rotating the right wrist. Extend the bellows slightly and the overtone series stroke move from the bass switches (on the left) to the opposite corner (on the right) and tremolo Crotales backwards, passing across the bellows. zigzag glide: frenetically glide the finger up and down the length of the string producing the overtone series Suspended cymbal with the right hand flat, put the fingers between two bellows pleats (on the top) bellows slaps and move the fingers back and forth to make the pleats hit each other creating a Sizzle cymbal tremolo type of flapping noise with the fingers (pizz) on the open strings Thai gongs stopped strings: with the bow or fingers (pizz) guiro efects with the right hand, using the fingernails (or a plectrum), fast sweeps over the keyboard or dragging over the bellows Maracas toneless: with the bow on the body of the instrument Egg shakers percussive sounds on the strings or body of the instrument using hands, fingertips, Strings or fingernails The instruments must be tuned in the following way: Rain stick natural harmonic: 4th partial (sounding the fundamental two octaves higher) or 5th partial (sounding the major third two octaves higher) Wind chimes

sparkling natural harmonics: rapidly, softly and irregularly hit the fingers on most of the instruments are written in a single line. However, for Wood blocks, viola violoncello double bass different nodes Almglockens, Crotales, and Thai gongs, two notations are used: single line (any * For double bass it is suggested to use four ‘solo tuning’ strings F#, B, B (+1/2ton), A (-1/2ton) or two ‘solo tuning’ muffled string pitch can be chosen) or three lines (respecting the pitch scale). strings F#, B and two common strings D (-1ton), G (+1/2ton). intensity range: dynamic can vary within these limits

The use of scordatura favors two important aspects: 1) it allows more sound projection of the lascia vibrare: avoid playing the same instrument again to not interrupt resonance instrument since in most cases only open strings are used (for this purpose, keep in mind a Percussion lascia vibrare always as possible); 2) it allows the performer to have the left hand available fast dampening to play some gestures (pizzicati and percussive gestures) simultaneously with the right hand. Thread set Dot set The possible uses of the left hand are obviously more limited for the viola. However, it is quick (a fast gesture) or sustained (indicated with a fermata, as long as desired Soft/Medium mallets, Brass mallets, and Bow Snare sticks and Hard mallets desirable that the cello and double bass largely explore this aspect. respecting the indicated limits) rolls. Rolls always as closed as possible. Suspended Cymbal 3 Wood blocks (high, medium, low)* snare drum buzz: short (single stroke, one bounce) or long (single stroke, multiple with exception of the “duos” (extra score), the piece is written in tablatura, using 3 Crotales (C5-F#5-B5) 3 Almglockens (high, medium, low), muffled* unforced bounces) one, two or four lines. The strings available for use are indicated in the beginning Triangle Snare drum (with snares off) of each gesture. Keep scordatura during the “duos”, but be aware that only during the duos, the score is written in real pitches, i.e. everything sounds as written. The Grain set Suspended Cymbal wind chimes: strike and let it jangle freely performer should carry out the transposition her/himself. Snare sticks and Wire brushes Powder set some specific gestures that require microtonal beating between open and stopped Snare drum (with snares on) Medium/Hard gong beater, Brass mallets, wind chimes: grasp and release suddenly strings are written with a different kind of tablature that can be easily identified by Wire brushes, and Superball mallet Sizzle cymbal (adding chain to Susp. cymbal) 1) suspended cymbal: straight scrape from center to edge. Fast or slow movement, the mirrored treble clef. In this case the pitches that should be played (normal in 3 Thai gongs (F#1, G#2, D3) crescendo; 2) thai gongs: straight scrape on the side. Fast movement, crescendo. the higher open string and ¼ tone higher in the lower stopped string) are also Pair of Maracas (large seeds, low sound) 2 3 4 Rain Stick indicated. Pair of Egg shakers (small seeds, high sound) 2 Wind chimes: one bamboo, one glass thai gong: continuous scrape on the surface. Fast movement, crescendo. ord. arco ordinario Snare drum (with snares off) p.n. posizione normale: ordinary position 1) cymbal: chain circular scrape. Gently scrape cymbal surface using a chain. This gesture can be used for converting suspended cymbal to sizzle cymbal, and vice * Wood blocks and Almglockens can be placed on a table together with the hand instruments (using a padding). s.t. sul tasto: on the fingerboard versa; 2) snare drum: rub surface using fingernails or superball mallet; 3) thai gong: Almglockens must be muffled using a cloth inside. rub side using superball mallet. m.s.t. molto sul tasto: at the very beginning of the fingerboard 1) cymbal: cup/edge; 2) snare drum: center/border. s.p. sul ponticello: near to the bridge Snare sticks: Snare drum and Cymbal punta at the tip of the bow bowing: from the tip to the frog Wire brushes: Snare drum and Cymbal tallone at the frog of the bow rain stick: moving it slowly to get a controlled drop of the seeds Soft/Medium mallets: Cymbal quasi legno half wood/half hair Thread Cloud - Female Voice and Violoncello

05:00 5 Fixed pulse, q = 60 05:30 4 TIME

ord. ord. ord. + [__________________] + [______] + + [______] + + 3 3 3 Voice ˙™ ˙ ˙™ ˙ ˙ ˙™ ∑ ˙™ œ ˙ ˙ ˙ ˙ ˙ Ó™ Œ ˙ œ œ œ œ j Ó j n˙™ & ™ ™ œ ˙ ˙™ ˙ ˙™ ˙ #œfi p mp f mf o mf o mf

ATTENTION: Keep scordatura! Score in real pitches. Everything sounds as written. o o Vlc. °? nœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ #œ nœ œ œ œ #œ nœ œ œ #œ #œ nœ œ #œ nœ nœ œ œ #œ nœ #œ œ œ œ nœ #œ œ œ nœ œ #œ œ nœ œ œ #œ nœ œ œ œ #œ nœ œ œ #œ ¢ # œ-. œ-. œ-. œ-. œ-. # œ-. œ-. œ-. œ-. œ-. # œ-. œ-. œ-. œ-. œ-. n œ # œ-. œ-. œ-. œ-. n œ # œ-. œ-. œ-. n œ n œ # œ-. œ-. n œ # œ-. # œ-. œ-. œ-. n œ # œ-. n œ œ œ œ # œ-. n œ œ œ # œ-. œ-. n œ œ # œ-. œ-. œ-. n œ # œ-. œ-. œ-. œ-. n œ # œ-. œ-. œ-. n œ p f-. mp s-f.z s-f.z -. s-f.z s-f.z s-f.z -. -. -. sfz -. -. -. sfz -. -. sfz -. sfz s-f.z s-f.z

06:00 06:30

TIME

ord. ord. ord. [______] 13 + + [______] + + [______] + [_________o______ 3 3 3 3 3 3 Voice finœ œ ˙ ˙ ˙ ˙ Ó j nœ ˙ œ œ Ó Œ j n˙ œ œ ˙ ˙ ˙ ˙ œ j & ™ ™ #œfi œ ˙ œ #œfi ™ #œ œ ˙ œ œ œ œ #˙ ˙ ˙™ ˙™ #˙ œ œ #œ œ #œ œ #˙ ˙™ ˙ o mf o mf f >

-o. -. -. -. -. Vc. °? nœ œ nœ nœ œ œ nœ nœ nœ œ nœ œ œ nœ œ œ nœ œ nœ nœ œ œ nœ nœ nœ nœ nœ nœ nœ nnœ œ œ œ œ ¢ n#œ # œ-. œ-. n#œ # œ-. # œ-. œ-. œ-. n#œ # œ-. n#œ œ œ œ # œ-. n#œ œ œ # œ-. œ-. n#œ œ # œ-. œ-. œ-. n#œ # œ-. œ-. œ-. n#œ n#œ # œ-. œ-. n#œ # œ-. # œ-. œ-. œ-. n#œ # œ-. n#œ œ œ œ # œ-. n#œ # œ-. n#œ # œ-. n#œ # œ-. n#œ # œ-. n#œ # œ-. -. s-f.z s-f.z s-f.z -. -. -. sfz -. -. -. sfz -. -. sfz s-f.z s-f.z -. s-f.z s-f.z s-f.z -. -. -. sfz sf-.z -. -. -. -. f

07:00 07:30 08:00

TIME

ord. randomic "wah" effect

25 o_________] + [æ______][æ______] + m m m m m Voice & Ó Œ Ó™ j j <#>˙™ ˙ ˙ #˙ ˙™ ˙ ˙™ ˙ #˙™ ˙ ˙™ ˙ ˙™ ˙ #˙™ ˙ ˙ œ 3#œ ˙ œ #œ œ3œ ˙ œ ˙ ˙™ o mf mp sfz sfz sfz sfz sfz o s.p. ------III IV II ≤ I nO≤ ≤ ≤ Vc. nœ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. nœ. œ. œ. œ. nœ. œ. œ. nœ. œ. nœ. ≤ ≤ #O ≤ ≤ #O #O™ ˙ °? n œ œ œ œ œ n œ œ œ œ œ n œ œ œ œ œ ∑ n œ œ œ œ Œ n œ œ œ Ó n œ œ Ó Œ n œ ∑ & Œ nO Œ j ‰ Ó ‰ ‰ nO Œ Œ nO ‰ ‰ Ó n O™ ˙ ¢ 3 J nO 3 J J 3 mp o mp mp o mp o mp o f o f o f o f o f o f o f o f Grain Cloud - Viola and Accordion

09:00 5 Fixed pulse, q = 60 09:30 4 TIME

stroke tremolo quasi tambourine bellows ord. fast arm vib bellows shake bass opposite bass ™ shake bellows slaps tremolo bellows shake ¸™ ™ n ˙ ˙ ˙ ˙ ˙ ˙ ¸™ Œ j > switches corner switches ° #˙™ ˙ ˙™ ˙ ˙™ ˙ ™ #œ ˙™ #˙™ ˙ Œ & n ˙™ ˙ ˙™ ˙ ˙™ ˙ ∑ Ó™ n˙ ˙ ˙™ n ˙™ ˙ ∑ ¿ ¿ ¿ Ó™ ¿ ∑ & ∑ æ æ æ æ æ æ æ æ æ æ Accord. mæp æ fæ æ pæ æ mp mf fp æ æf æ fæ o o 3 o o o o j æ æ æ æ æ æ Ó Ó Œ™ Ó ∑ ∑ ∑ ∑ & n n˙˙™ ˙æ˙ ˙æ˙™ ˙æ˙ ˙æ˙™ ˙æ˙ ™ æ ™ nœ ˙ nœ œ ˙™ n n˙˙™ ˙˙ æ æ ¢ ï # ˙ ™ ˙ ˙ ™ ˙ ˙ ™ ˙ #˙ ˙™ ˙ œ ™ # ˙ ™ ˙ #˙™ ˙ ï ï J >

ATTENTION: Keep scordatura! Score in real pitches. Everything sounds as written. p.n. s.p. s.p. p.n. stroke tremolo s.p. p.n. s.p. p.n. s.p. arco ord. tallone < > quasi tambourine arco gettato tallone arco gettato ¯ punta ¯ quasi legno quasi legno 3 3 ≤ 3 ≤ ≥ ≤ III ≥ III ≥ o æ æ æ ∏ j ≥ o ≥ , o æ æ æ ∏ j o j ¿æ ¿æ ¿æ ∏ œ j Vla. æ æ æ æ æ æ ∏ æ æ ° æ æ æ æ j æ æ ∏ æ æ j #˙ ˙ B #˙™ ˙ ˙™ ˙ #œ œ œ™ #œ ˙™ ˙ ˙™ Ó #¿ ¿ ¿ Ó ∏ #œ Ó Ó Œ ‰ #œ Œ #œ ‰ ‰ #œæ Ó #œ œ œ™ #œ ˙™ œ #œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ¿ ¿ ¿ ∏ œ æ œ œ ˙ œ œ ˙ œ ˙ ˙ œ ¢ ™ ™ ˙™ œ œ œ œ ™ ™ ¿ ¿ ¿ œ œæ mp ˙™ œ œ œ œ ™ mp f ™ J ™ J æ æ 3æ ™ ™ J 3 o 3 o æ æ f æf f f o J 3 o /f 0 p f fp f o o o < > < > f p f fp f p f

10:00 10:30

TIME

stroke tremolo quasi tambourine 13 3 fast arm vib 3 ord. bass opposite bass bellows slaps tremolo bellows shake ord. Ó Ó Œ™ j ‰nœ œ ˙ ˙ >˙ ˙ switches corner switches Œ™ j ‰nœ œ ° ™ #œ ˙™ ˙™ ˙ #˙ ˙™ Œ ™ #œ ˙™ & Ó™ n˙ ˙ ˙ Œ n ˙ ˙™ ∑ ¿ ¿ ¿ ¿ ¿ Ó™ ¿ Ó™ ¿ ¿ ¿ ¿ ¿ Ó & ∑ Ó™ n˙ ˙ ˙ Œ æ æ æ æ æ æ æ æ æ æ æ Accord. mp mf fp o æo æ æf æ oæ fæ o æf o o mp mf j j Ó™ Œ™ Ó™ ∑ ∑ ∑ ∑ ∑ ∑ Ó™ Œ™ Ó™ & nœ ˙ nœ œ ˙™ œ n n˙ ˙™ æ æ nœ ˙ nœ œ ˙™ ¢ ˙™ ˙ œ J b˙™ ˙ b ˙ ˙™ #˙™ ˙ ˙™ ˙ œ J 3 > 3

(s.p.) arco gettato stroke tremolo p.n. s.p. p.n. s.p. p.n. stroke tremolo arco ord. quasi tambourine arco ord. quasi legno quasi tambourine punta arco gettato tallone arco gettato punta 3 quasi legno quasi legno 3 ≤ ≥ ≤ 3 ≤ III ≥ æ æ æ ∏ j j ≥ o ≥ - - æ æ æ æ æ æ ∏ o æ æ æ ¿æ ¿æ ¿æ ∏ œ æ æ œæ æ æ æ æ œæ æ j j æ ¿æ ¿æ ¿æ Vla. æ ∏ æ æ æ ° æ ∏ æ æ j #˙ ˙ nœ œ #œ ˙æ B # ˙™ ˙ Ó #¿ ¿ ¿ Ó ∏ #œ Ó Ó Œ ‰ #œ Œ #œ ‰ ‰ #œ Ó #œ #œ #œ#œ Ó #œ œ œ™ #œ ˙™ œ #œ œ ™ #˙™ ˙ Ó #¿ ¿ ¿ < >˙™ ˙ ¿ ¿ ¿ ∏ œ æ œ œ œ œ œ œ ˙™ œ œ ˙™ œ ˙ ˙ œ œ œ œ œ ˙™ ˙™ ˙ ¿ ¿ ¿ ¢ ¿ ¿ ¿ œ œæ 3 æ mp f œ œ ˙ œ œ œ œ J J ¿ ¿ ¿ æ ™ J ™ 3 3 - - æ f æmp f æf f f o 3 o æ o o o o o o < > < > f p f fp f p f mf f

11:00 11:30 12:00

TIME

stroke tremolo quasi tambourine 25 fast arm vib bellows shake bass opposite bass bellows slaps tremolo 3 bellows slaps tremolo ˙ n >˙ ˙ switches corner switches ¸™ ° ™ #˙ ˙™ Ó Œ j æ æ æ æ Ó n ˙ ˙™ ∑ ¿ ¿ ¿ ¿ ¿ Ó™ Œ ¿ Ó™ ¿ ¿ ¿ ¿ ¿ Ó & Ó Œ™ j nœ ˙ æ æ æ æ Ó ¿ ¿ ¿ & #˙ ˙ nœ ˙˙™ ˙˙™ ˙˙ ˙˙™ ˙˙ æ æ æ æ æ æ æ æ æ æ æ ™ ™ ™ ™ æ æ æ Accord. fp o o f o f o f o o mp mf o o f o 3 nœ ˙ n˙ ˙ ∑ ∑ ∑ ∑ ∑ Ó Ó™ ‰ æ æ æ æ ∑ ¢& œ b˙™ b ˙ ˙™ bœ œ ˙ ˙æ ˙æ ˙æ ˙æ b˙ œ™ n˙ n˙ ˙™ Ó b˙™ nœ œ ˙™ ˙ ˙™ ˙ Ó > ™ ï Œ™ J ™ ™

arco gettato s.p. p.n. s.p. p.n. s.p. stroke tremolo arco gettato tallone arco gettato arco ord. quasi legno quasi tambourine punta quasi legno quasi legno 3 3 ≤ 3 ≤ ≥ ≤ 3 ≤ o ≥ ≥ III - - > - o ∏ j j ≥ o ≥ - ≥- - æ æ æ ∏ o æ æ æ ∏ œ æ æ œæ æ æ æ æ œæ æ j j æ œ œ œ œ œ ˙ œ ¿æ ¿æ ¿æ Vla. ∏ æ æ æ æ æ ° ∏ æ æ j #˙ ˙ nœ œ #œ ˙æ ˙ #œ nœ œ œ ˙ œ æ æ B Ó ∏ #œ Ó Ó Œ ‰#œ Œ #œ ‰ ‰ #œ Ó #œ #œ #œ#œ Ó #œ œ œ™ #œ ˙™ œ #œ œ ™ #œ œ ™ #œ ˙ ˙™ ˙ Ó #¿ ¿ ¿ ∏ œ æ œ œ œ œ œ œ ˙ œ œ ˙ œ ˙ ˙ œ œ œ œ œ ˙ ˙ œ ˙ ˙ ˙ ¿ ¿ ¿ ¢ œ œæ 3 mp f œ œ ˙™ œ œ œ œ ™ J ™ ™ ¿ ¿ ¿ æ ™ J ™ J 3 3 - æ 3 -o - > - - æ æ æf f f o 3 o - æ o æ æ f < > < > f p f fp f p f mf f p f o o o Dot Cloud - Bass flute and Double bass

17:00 3 Fixed pulse, q = 60 4 TIME

[k] [k] [k] fi fi 3 nœnœ Æ nœfij nœnœ Æ Æ 3 3 3 . j nœ œ œ™™ nœ bœ j nœ œ™™nœ B. Fl. ° bœ bœfi bœfi j j & Œ Œ J ≈ bœ bœ œ Œ ® bœ Œ ‰b n ‰ b n bO ‰ Œ n Œ ‰ nœ nœ 3 . nœœœ œœœ w ™ w nO Y Y Y ¢ ...... w nO w n b- nO ' ' ' mp f mp f mf fp f fp f mp f n- - n- ATTENTION: 1) Keep scordatura! Score in real pitches. Everything sounds as written.

use only fingers until the end near f-hole I II

∏ o j nO O O O ∏ ∏ o o o o o o o o o o » ∏ r.h. #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ ¿ æ æ ≈ ¿ æ æ ? # nO O O O ? # ∏ # ° ∏ ? n ¿ n ¿ n ¿ n ¿ n ¿ n ¿ n ¿ n ¿ n ¿ n ¿ / ¿ ¿æ ¿æ ¿ ¿ ‰ ¿æ ¿æ n- - Ó & Œ n - Œ - Ó / n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ - nn#-- Db. o o o o o o o o o o mp - Œ Œ Æ fi o fi 3 o

∏ j ∏ l.h. ? » ∏ ? #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ ¿ ¿fi ¿ ¿ #¿ ∏ # / Œ n j ∑ Œ Œ ∏ - Ó / nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ - n ∏ nn - ¢ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ #¿ side #¿ #- # - #- mp f mp f mf o f mf o f m>f f mf

17:30

TIME

11 #œfi fi œ [b] [b] [b] Æ 3 3 j fi nœfi nœ fiœ nœ 3 3 nœfi 3 nœfi nœnœ fi nœ bœ j Æ . . Æ nœ j Æ bœ . B. Fl. ° r bœfinœ œ™™ nœ nœbœ bœ bœ ˙ œ™™ bœ bœ j Æ Æ Æ fij bœ œ . bœ œ œ™™ bœ bœ & ‰™ nœ ‰ Œ J Œ nœ J Œ ® Œ ‰ b n ™ ‰ b n b n b Œ n Œ nO bO ‰ Œ bY Œ Y ‰ Y ‰™ bœ œ nœ bœ Œ nœ J ¢ . 3 3 3 nœ œ œ œ œ œ w nO w w w nO J J R 3 ...... w w w w n b- 3 mf fp f mf fp f mf fp f mp f n- - n-

I II near f-hole 3 3 near f-hole 3 3

∏ o j nO O O O O O O O O O O O ∏ ∏ r j j » ∏ r j j ¿ æ æ ¿ ¿ ¿ æ æ ? # nO O O O O O O O O O O O ? # ∏ # ¿ ≈ æ æ ¿ ° ∏ ‰™ ¿ ‰ ¿æ ¿æ Œ ¿ ¿ Œ ¿ Œ ¿æ ¿æ n- - Ó & Œ Œ - Œ - Ó / ‰™ ¿ ‰ ¿ ¿™ ¿æ ¿æ Œ ¿ / n - nn#-- D.b. mp - Æ Æ Æ fi o fi 3 o Æ fi

∏ ∏ j j ? » ∏ ¿ ¿ ¿ ¿ ¿ #¿ ∏ # ¿ ¿fi ¿fi ¿ ¿ Œ n j ∑ ∑ Œ Œ ∏ - Ó / / nn ¿¿ - n ∏ nn - ¢ #¿ #- # - #- side mf o f mf o f m>f f mf side mf o f mf

18:00

TIME

21 #œfi [t] [t] [t] 3 #œfi 3 3 fi nœ Æ Æ 3 3 3 nœnœ Æ finœnœ nœ Æ fibœbœ nœ œ™™ nœ . fibœ nœ™ œ™™ nœ Æ Æ fibœ nœ œ œ™™ nœ fibœ nœ B. Fl. ° bœ™ œ bœ j bœ fij bœ œ bœ œ œ™™ bœ bœ œ™™ bœ & ≈ J nœ Œ ®nœ œ œ œ œ œ Œ ‰ b n ™ ‰ b n b n b Œ n Œ bO ‰ Œ Œ j ‰ j ‰ nœ nœ ‰nœ ‰ ‰nœ J ‰nœ J ¢ ...... w nO w w w nO nO n 3 J fp f mp w w w w n b- Y' Y' Y' f n- - n- mf fp f fp f fp f fp f fp

near f-hole II III 3 3

∏ o j ∏ j ∏ j » ∏ j j j ≈ ¿ æ æ ? # nO O O O O O O O O O O O ? # ∏ # ¿ ≈ æ æ ¿ æ æ ¿ æ ¿ æ æ ¿ ° ¿™ ‰ ¿æ ¿æ n- - Ó & #O O O O #O O O O O O O O Œ Œ - Œ ∏ - Ó / ‰ ¿ ¿ ¿æ™ ¿æ ‰ ¿ ¿æ ¿æ ‰ ¿ ¿æ ‰ ¿ ¿æ ¿æ ‰ ¿ / n - nn#-- D.b. mp - Æ o fi 3 o Æ fi Æ Æ Æ

∏ ∏ j ? » ∏ ¿ #¿ ∏ # ¿ ¿fi ¿ ¿ ¿ ¿ ¿ Œ n j ∑ ∑ Œ Œ ∏ - Ó / / nn ¿¿ - n ∏ nn - ¢ #¿ # # - #- side mf f mf f mf f mf f mf f m>-f f- m-f o o o o o 18:30

TIME

31 Æ [k] [t] [b] [t] Æ Æ Æ Æ Æ 3 3 #˙ œ #œ. #œ œ œ Æ 3 finœ ™™ finœ œ œ™™ nœ fibœ nœ ˙ œ nœ bœ bœ B. Fl. ° bœ bœ bœ bœ bœ Æ æ & ‰nœ J æ Œ ®nœ œ œ œ œ œ Œ ® bœ Œ ‰ b n ™ ‰ b n n b Œ n Œ j ‰ bY Œ j ‰ Œ ‰ æ ¢ æ ...... nœ œ œ œ œ nœ œ œ . nœ œ nœ œ œ nœ œ œ œ w nO w w w Y' J n 3 f fp ff mp ...... w w w Y' Y' fp f fp f f n- I II

∏

∏ o

nO O O O O O O O O O O O O O O O O O O O ∏ »o » j ∏ o» o »o o o æ æ æ æ æ ? ∏ j æ æ ¿ æ æ æ nO O O O O O O O O O O O O O O O O O O O ∏ #- j #- #¿ #¿ °/ ¿æ ¿æ ‰ ¿ ¿æ ¿æ ¿æ ∑ & Œ ∏ nn Ó Œ n ‰ n Œ Œ nn ¿¿ nn ¿¿ #-- # 3 - - # ¿ # ¿ D.b. - - o o Æ o IV III o Ó Ó

∏

∏ ? ? ∏ j j ? ¿ #¿ #O O O O O O O O O O O O #O O O O O O O O ∏ # Œ Œ Œ #¿ #¿ Ó Œ ∏ - Ó / ¿ ¿ ‰ ¿ ¿ / nn ¿¿ & #O O O O O O O O O O O O #O O O O O O O O ∏ nn - 3 nn ¿¿ nn ¿¿ ¢ #¿ #- surface f #¿ #¿ o f mf o f mp mf mp f mp f

19:00

TIME

41 Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ j fi#œ #œfi #œ œ #œÆ Æ Æ Æ Æ Æ Æ Æ Æ Æ . nœfi . Æ nœ nœfi ™™ nœ bœ nœ nœ œ™™nœ . bœ B. Fl. ° bœ œ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ fibœ . bœfibœ nœ & Œ ® bœ œ bœ bœ Ó ® bœ bœ Œ ® bœ bœ ‰ nœ bœ ≈ ‰ J ¢ nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ nœ œ œ œ œ nœ œ nœ œ nœnœ œ œ œ œ œ œ œ nœ œ nœ nœ œ œ nœ œ nœ œ œ œ œ 3 J m.p ...... mf fp f mf fp f I II near f-hole nO O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O j j j °? nO O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O ¿ ≈ ¿ æ ¿ æ æ ∑ & ‰ / ¿ 3 ¿ ¿™ ¿æ ‰ ¿ ¿æ ¿æ & Db. IV III Æ Æ Æ o IV o» » » o» j ? #¿ #O O O O O O O O O O O O #O O O O O O O O O O ? j j #- ¿ ¿fi ¿ ¿ ? nn ¿¿ Ó & #O O O O O O O O O O O O #O O O O O O O O O O ‰ Œ n- ‰ n Œ Œ / ¢ #¿ # 3 - side mf f mf f mp f- o o

19:30

TIME

48 Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ fi Æ #œfi Æ fi Æ nœÆ Æ Æ nœÆ Æ œÆ #œ #œ #œ #œ #œ #œ #œnœ #œ nœ #œ #œnœ nœ œ nœ œ œ nœ œ bœ nœ œ™™ bœ nœ œ™™ bœ nœ ˙ B. Fl. ° bœ bœ bœÆ bœ & Œ ®nœ œ œ œ œ œ œ œ œ œ œ nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ ®nœ 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 ∑ ¢ m.p ...... fp f fp f fp f

II III near f-hole j j j ° nO#O O O O O O O O O O O O O O O O#O O O O O O O O O O O O O O O O O O O O O O O O#O O O O O O O O O O O O O O O O O O O O O O O O#O O O O O O O O O O O O O O O ¿ æ Œ ¿ æ Œ ¿ æ æ & Œ Œ / ¿ ‰ ¿æ ¿ ‰ ¿æ ¿ ‰ ¿æ ¿æ ∑ & Db. mp Æ Æ Æ o IV IV o» » » o» ? #¿ j j # » »j ¿ ¿ ¿ ? nn ¿¿ Ó Œ ‰ Œ - Œ Ó / ∑ #¿ # 3 - - - 3 - side mf f mf f mf f ¢ f f- o o o

20:00

TIME

56 Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ #œÆ #œÆ #œÆ #œÆ #œÆ #œÆ #œÆ #œÆ #œÆ #œ. #œÆ #œÆ #œÆ #œ...... nœ œ nœÆ nœ œÆ Æ œÆ nœ nœ nœÆ nœ B. Fl. ° ® bœ bœ bœ bœ ...... bœ ...... ‰ ® bœ ...... ¢& nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ f

° nO#O O O O O O O O O O O O O O O O O O O O O O O nO#O O O O O O O O O O O O O O O O O O O nO#O O O O O O O O O O O O O O O O O O O ? #¿o #¿o #¿o #¿o #¿o #¿o & ‰ ‰ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ nn ¿¿ mp o # ¿ o # ¿ o # ¿ o # ¿ o # ¿ o # ¿ Db. o o ? ∑ n #¿¿ Ó n #¿¿ Ó n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ n #¿¿ ¢ n#¿ n#¿ n#¿ n#¿ n#¿ n#¿ n#¿ n#¿ f f mp f Powder Cloud - Bass clarinet and Percussion

21:00 5 Fixed pulse, q = 60 21:30 4 TIME

F B A A A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # ˙ ˙ ˙ ˙ ˙ O # ˙ ˙ ˙ ˙ ˙ O # ˙ #˙ n ˙™ 5 nµe A ˙ #˙™ ˙™ ˙ ˙™ ˙ O™ #˙™ ˙™ ˙ ˙™ ˙ O™ #˙™ ˜µ˙ µ˙™ e ˙ B. Cl. ° ∑ ∑ Ó Ó Ó Ó n˙ ˙ ¢& µ˙™ ˙™ ˙ ˙™ ˙ O™ µ˙™ ˙™ ˙ ˙™ ˙ O™ µ˙™ µ˙ ™ mp p mp p p mp mf !A ˝ o o o o o

3 3 3 3 3 3 3 3 3 œ œ œ æ œ œ œ œ j œ j œ œ j œ æ œ œ °/ œ œ œ œ Ó™ ˙æ™ Ó œ Œ ‰ œ ‰ œ œ Œ Œ ‰ œ Ó ‰ œ ‰ Œ œ ‰ Œ ‰ œ Œ Œ œ ‰ Œ Œ œ Œ Œ œ ‰ Œ œ Œ Ó ˙æ™ ∑ Ó œ ‰ œ ‰ Œ mf l.v. sempre J J J J J J J J Perc o f mp p mp p mp p mp o mp mp p

– ç F# F# ∑ w Œ w Œ ¢ / l.v. sempre o mf o mf

22:00 22:30

TIME

E E D D C B C B C B C 13 A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A A A n ˙™ n œ œ # ˙ ˙ ˙ # #˙™ µ ˙ µ ˙™ 5 µe A ˙ µ ˙™ 5 µe A #˙™ # ˙ ˙ O µ œ #œ œ # ˙ µ œ #˙ # #œ œ µ œ # ˙ ˙ #˙™ ˙ ˙™ ™ µ n˙™ µ e ˙ n˙™ µ e ˜µ˙™ #˙™ ˙ O™ µ ˜µœ œ #˙ µ ˜µ˙ µ #˙™ ˙ B. Cl. ° ∑ Ó ˙ ˙ ˙ ˙ Ó ˙ Ó Ó œ Œ œ œ œ œ ¢& µ˙™ ˙ ˙™ µ ™ B B ™ B ™ µ˙™ µ˙™ ˙ O™ B µœ œ µ˙ B n˙ µ B µ˙™ ˙ 3 3 o mp o o p mp mf p o mp p o mp o mp

3 3 3 3 ° Ó ‰ œ œ Œ ‰ œ Ó æ Ó œ Œ ‰ œ Œ ‰ œ œ Œ ‰ œ Œ ‰ œ ‰ Œ ‰ œ Ó æ Ó Ó ˙™ Ó™ ˙ ˙ Ó™ / œ œ ˙æ™ œ J 3 œ œ œ ˙æ™ J J J J æ æ æ Perc mp p mp mp p mp p mp mp mp F# o o B o o C C F# / ˙ ˙ Ó™ ˙ ˙ ˙™ ¢ ™ mf mf mf o mf o o o mf o

23:00 23:30 24:00

TIME

F F E D C B B B Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A A 25 n ˙ œ Ÿ~~~~~~~~~~~~~~~~~~~ O # œ # #˙ œ #˙ n ˙ 5 nµe A œ µ ˙ 5 µe A #w ˙™ n ˙™ 5 nµe A ˙ #w # ˙ ˙ O # ˙ ˙ ˙ O O O™ µ ˜µ˙ µ˙ e œ n˙ µ e ˜µw ˙™ µ˙™ e ˙ ˜µw #˙ ˙™ O #˙™ ˙™ ˙ O™ O B. Cl. ° Ó Œ Ó Œ Ó Ó & O™ nœ µ˙ œ µ˙ n˙ œ B˙ µw ˙™ n˙™ ˙ µw ™ ˙ ˙™ O ˙™ ˙™ ˙ O™ O ¢ 3 µ µ p o mp o o mf o mf o mp o o mp o o p o o p o o mp p o

3 3 ¢Afifififi fifififi 3 j 3 3 3 j 3 3 3 ° Ó ˙™ Ó ‰ œ Ó Œ œ ‰ œ Œ Œ œ Œ Ó œ Œ ‰ œ Œ ‰ œ œ Œ ‰ œ Œ Œ œ ‰ œ Œ Œ œ Œ Ó œ ‰ œ Œ Ó œ œ Ó ∑ / æ œ œ œ œ J 3 œ œ œ œ œ J J ˙ ˙™ ˙ ˙™ æ mp mp p J mp pJ mp p J mp pJ p mf mf Perc o o o

F# ∑ ¢ / w Œ o mf