lens (2013)
DESCRIPTION
Lens (2013) for clarinet, cello, piano and tapeTRANSCRIPT
LENS
Tyler Futrell (2013)
written with kind support from Det norske komponistfond
Glossary of Terms and Symbols
µ 1/4-tone sharp (50 cents sharp)
˜ 3/4-tone sharp (150 cents sharp)
i 1/4-tone flat (50 cents flat)
I 3/4-tone flat (150 cents flat) l L j J k K Approx. 1/6-tone (33 cents) up/down
Muffling
fully muffled - half-muffled - open
In general, a sound is fully muffled when there is no pitch, half-muffled when there is some pitch but sounds muted, and open when the string is allowed to vibrate fully. For cello: To fully muffle: with whichever fingers are free, touch somewhere in front of the notated note (though not at a harmonic node); to transition to open, gradually lift the fingers off the string, leaving in the end only the notated note. For piano:
This is the finger placement for half-muffled. To move to fully muffled, slide the finger forward until it is slightly under the damper. From half-muffled to open, move the finger toward you as far as you can, then lift it gradually off the string. (The whole range can be done extremely slowly, such as in the “special page”.)
Arrows, such as those below, indicate a gradual transition from one quality to another.
Muffled to half-muffled, while at the same time ST to SP (cello)
&
&
&?
44
44
44
44
Bb Cl.
Vlc.
Pno.
23 œ ‰ Œ Œ œ ‰
Œ œo ‰ Œ Œ
‰
*
œ
°
o œ ‰ Ó"
Grazioso q = 80
%
%
p
Œ Œ Œœb ‰
Œ œo ‰ Œ ‰ œb o
Œ ‰ œo œ# + ‰ Œ"
Œ Œ ‰ œbŒ
Œ Œ ‰ œb oŒ
œb + œ Œ Ó3
"
Œ Œ Œ œ# œ !
Œ Œ ‰ œn oŒ
Œ œ+ œb œ ‰ Œ"
Œ Œ ‰ œ Œ
Œ Œ Œ ‰ œo
Œ œo œb + œ Œ3
"
Œ Œ ‰ œbŒ
Œ Œ ‰ œbŒ
Œ œ œ œ# + ‰ Œ"
F
Œ Œœb ‰ Œ
Œ ‰ œbÓ
Œ œ œ+ œo Œ3
"pP 0
&
&
&?
45
45
45
45
Bb Cl.
Vlc.
Pno.
30 "
" ?
""
Ó √w#w
√o( )
o> ˙
"
5
"
"
""
"
"
""
"
"
""
&
?
&?
45
45
45
45
44
44
44
44
Bb Cl.
Vlc.
Pno.
35 œ œ ® ! ‰ Ó Œ
"
""
q = 60
pIV.
# ## ## #n # #n # ## # ## ## #. #b . #n . ! Ó Œ
## # # # # # # ! Ó Œ
œb
*
œ œ œ œ œ œ ! Ó Œ"
$
qP$
P q$ST SP
2
Alpaca piece
&
?
&?
44
44
44
44
43
43
43
43
Bb Cl.
Vlc.
Pno.
37 ### #b #b ## #b # #n ## œn œ œ œ# œ# . .œ œ ‰6 6
## # # # # ## # #### # #n #n ## ## ## ## ##! ‰
œb œ œ œ œ œ œn œ# œ# œœœ œ# œ
°
œ# œ œ# œœ œ# œ œ# œ œ œ
*
‰5
"
ƒP 0
ESPN
ƒ
ST
%
p fP 0
"
"
""
œœ œ œ# œ# œœ É ˙
#### ## #### ## ## ## #### ## . .# . .#
œb œ œ œ œ
°
œ# œ œ œ# œ œ# œ œ œ œ œ œ œ œ œ œ œ
*
6 6 6
"
1212 etc
P ƒESPSP
P 0
P ƒ
&
?
&?
43
43
43
43
44
44
44
44
43
43
43
43
44
44
44
44
Bb Cl.
Vlc.
Pno.
40 "
"
""
œ œœ œ œ œ# œ# œ. œ. Ó
"
""
P f
P q 0
"
"
""
&
?
&?
44
44
44
44
43
43
43
43
44
44
44
44
Bb Cl.
Vlc.
Pno.
43 # #bfi ## ## # # ## # ## # # # #n¿##¿
#a¿#¿
#a¿#n¿œ#¿œn¿œ#¿œ¿œn¿œ#¿œ
"
""
$
cresc. of key noiseGrazioso q = 80
É.˙
"
""
ƒ
1212 etc
"
"
""
3
Alpaca piece
General
Guitar
Tuning The strings should be tuned like below, in “pure” intervals. The first string must be prevented from sounding, or at the very least give no discernable pitch:
muffled Lightly touch string(s) with the side of the palm (right hand), just after the strings come through the bridge
Harmonics Lightly touch string with finger, at an appropriate harmonic node, to produce the note(s) marked with a circle (o). (Artificial harmonics are also called for rarely, for which there are various methods of production.)
bowed Using a violin or cello bow, bow strings. Emphasis (more pressure) should be given to the lower strings, and if possible avoid the first string altogether (notated below to the left):
In one passage, it is asked that a tremolo between the open strings and the harmonics at the octave be bowed (notated above right)
Piano
muffled (x-notehead) Place finger just after the agraffe, well before the damper, and strike note on keyboard:
plucked Pluck strings marked “+” between the agraffe and damper, with damper lifted (either by key or sustain pedal)
staccato pluck Pluck string with damper down (short sound)
&? 46
œ# œ œ# œ# œ# ¿
&
&? 46
?
&? 46
Today's Assignment CourseDate 4/26/11
1. (first question)
2. (second question)
3. (third question)
4. (fourth question)
5. (fifth question)
VI V IV III II I
&
V
&
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A. fl.
Gtr.
Pno.
56
˙#
+
˙
!
˙#o
˙
U
˙#
Ó
˙#o
˙
U
˙#
Ó
˙#
Uo
˙
Uo
˙#
U
˙
U
˙# ˙o
U
Ó
˙
U
œ#‰
œ
‰ ‰ " ‰œ
Œ ‰
J
œ# ‰ ‰
J
œ ‰
‰ j
œ#
‰ ‰ j
œ
‰ Œ
!
P
P
P
slap (ord.)Passing game q = 94
‰ j
œ#
‰ ‰ j" ‰ Œ
Œ
J
¿# ‰ ‰ ‰
J
œ ‰
¿#‰ ‰
œ
‰
œ‰
œ
!
muffled
muffled (ord.)
(ord.)
&
V
&
?
A. fl.
Gtr.
Pno.
63
œ#
Œ
˙#o
œ#o
w
!
ƒ
angrily
let ring
V.III.
œ .˙#o
!!
VI.
ww
w
ww
#
#
#
#
w#o
w#
m
ç
*buzz*
*bowed*
f
ww
w
ww
w
w
p
&
V
&
?
A. fl.
Gtr.
Pno.
67
ww
w
w
#
#
#
#
OO
O
O
#
#
#
w#o
w#
m
ç
f
ww
w
w
#
#
#
#
OO
O
O
#
#
#
w
w
p
˙#o
˙o
˙#
+
˙
!P
ord. (plucked)˙#o
˙o
U
˙#o
˙
U
˙#
Ó
keyboard
Spinoza-Boxel
5
As God is a spirit, spirits resemble Him more than embodied creatures do. A ghost cannot be conceived as clearly as a triangle: can you say that your own idea of God is as clear as your idea of a triangle? All the Stoics, Pythagoreans, and Platonists, Empedocles, Maximus Tyrius, Apuleius, and others, bear witness to ghosts; and no modern denies them. It is presumption to sneer at such a body of testimony!
&
V
&
?
A. fl.
Gtr.
Pno.
56
˙#
+
˙
!
˙#o
˙
U
˙#
Ó
˙#o
˙
U
˙#
Ó
˙#
Uo
˙
Uo
˙#
U
˙
U
˙# ˙o
U
Ó
˙
U
œ#‰
œ
‰ ‰ " ‰œ
Œ ‰
J
œ# ‰ ‰
J
œ ‰
‰ j
œ#
‰ ‰ j
œ
‰ Œ
!
P
P
P
slap (ord.)Passing game q = 94
‰ j
œ#
‰ ‰ j" ‰ Œ
Œ
J
¿# ‰ ‰ ‰
J
œ ‰
¿#‰ ‰
œ
‰
œ‰
œ
!
muffled
muffled (ord.)
(ord.)
&
V
&
?
A. fl.
Gtr.
Pno.
63
œ#
Œ
˙#o
œ#o
w
!
ƒ
angrily
let ring
V.III.
œ .˙#o
!!
VI.
ww
w
ww
#
#
#
#
w#o
w#
m
ç
*buzz*
*bowed*
f
ww
w
ww
w
w
p
&
V
&
?
A. fl.
Gtr.
Pno.
67
ww
w
w
#
#
#
#
OO
O
O
#
#
#
w#o
w#
m
ç
f
ww
w
w
#
#
#
#
OO
O
O
#
#
#
w
w
p
˙#o
˙o
˙#
+
˙
!P
ord. (plucked)˙#o
˙o
U
˙#o
˙
U
˙#
Ó
keyboard
Spinoza-Boxel
5
As God is a spirit, spirits resemble Him more than embodied creatures do. A ghost cannot be conceived as clearly as a triangle: can you say that your own idea of God is as clear as your idea of a triangle? All the Stoics, Pythagoreans, and Platonists, Empedocles, Maximus Tyrius, Apuleius, and others, bear witness to ghosts; and no modern denies them. It is presumption to sneer at such a body of testimony!
Clarinet
Transition gradually between air sound and tone (i.e., at the start there is actually no b-flat sounding, only air).
Many key clicks in rapid succession (within a split-second). All available fingers are used, striking the keys almost at the same time, but not quite. A perfectly even rhythm (such as a series of even 64th notes) should be avoided. *Key clicks should in general be clicks and clacks, not thuds.
Portamento vs. bend
port. bend
Portamento is a continuously smooth, sliding glissando, such as in Rhapsody in Blue. As
with all glissandi, the sliding begins immediately. Bends on the other hand, allow the main
pitch to sound first, then glide away from it dim. al niente.
Slap tongue – forte always means the “percussive” slap, piano means the
“pizz.” slap.
X As a notehead, indicates a key click; above a notehead, it indicates that a
click is desired in addition to whatever else is written (clicks as loud as
possible).
~ [notehead] subtone (sotto voce), such as begins Lachenmann’s Dal Niente.
1212 etc. indicates a key trill (rapidly alternating between various fingerings for the same pitch).
Cello
SP (sul ponticello) – bow near the bridge
ST (sul tasto) – bow near the fingerboard
ESP (extreme sul ponticello) – bow almost on the bridge
c.l. batt. (col legno battuto) – tap strings with the wood of the bow
+ left-hand pizz. (only affects notes with this sign above them)
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46
Bb Cl.
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Pno.
&
171 Ó yyyyyggggg> ! ‰ Œ√
Óœo œo œo ! ‰ Œ3
jœ# o œ ‰ œ+ œy y yb ! ‰ Œ3 3
3
œ#( )°‰ ‰ Œ Ó*3
c.l.
4"
pp
Ó yyyyyggggg> ! ‰ Œ
Óyé ‰ Œ &
y#
*
Ä 5
°
y
*"fo o
rit. accel. a tempo
œb√
Œ√ œb√
""
(non-harm.)3" 10"
13"
o
o
ƒ
ƒ
&
&
&?
46
46
46
46
44
44
44
44
Bb Cl.
Vlc.
Pno.
&# &
174 yyyyyggggg> ! ‰ Œ Œ Œ ˙b „
œb√yyb y yy ! ‰ Œ Œ Œ Œ Œ3
"ƒ
subito pp o
6"
o P.˙ œ
˜ yyyyyggggg> ! Œ Œ
Œ Œ Œ ‰ yé ® ® Œ Œ3
?
Œ ‰ yb
*
á á áá áááá ááá áá
°
œy
*
> y> yb>! Œ Œ
3 3
"
%
%
PP
P
"
"
Ó .œ# œ œ œ
"
Moderato {q = c 75}
&
?
&?
Bb Cl.
Vlc.
Pno.
(&) &
177 Ó ! œ ‰ œ ! œ œb
"œ œb œ œb œ œb œ œ
œb ! œb œ ! œ ‰
"
! œb ! œ ! œ œb œ œ œb œ œb œ ! ‰U
"œ ! œ ! œb ! ‰ Ó
"
Ó ! œ ‰ œ ! œ œb
"œ œb œ œb œ œb œ œ
œb ! œb œ ! œ ‰
"
14
Alpaca piece
&
&
&?
44
44
44
44
Bb Cl.
Vlc.
Pno.
23 œ ‰ Œ Œ œ ‰
Œ œo ‰ Œ Œ
‰
*
œ
°
o œ ‰ Ó"
Grazioso q = 80
%
%
p
Œ Œ Œœb ‰
Œ œo ‰ Œ ‰ œb o
Œ ‰ œo œ# + ‰ Œ"
Œ Œ ‰ œbŒ
Œ Œ ‰ œb oŒ
œb + œ Œ Ó3
"
Œ Œ Œ œ# œ !
Œ Œ ‰ œn oŒ
Œ œ+ œb œ ‰ Œ"
Œ Œ ‰ œ Œ
Œ Œ Œ ‰ œo
Œ œo œb + œ Œ3
"
Œ Œ ‰ œbŒ
Œ Œ ‰ œbŒ
Œ œ œ œ# + ‰ Œ"
F
Œ Œœb ‰ Œ
Œ ‰ œbÓ
Œ œ œ+ œo Œ3
"pP 0
&
&
&?
45
45
45
45
Bb Cl.
Vlc.
Pno.
30 "
" ?
""
Ó √w#w
√o( )
o> ˙
"
5
"
"
""
"
"
""
"
"
""
&
?
&?
45
45
45
45
44
44
44
44
Bb Cl.
Vlc.
Pno.
35 œ œ ® ! ‰ Ó Œ
"
""
q = 60
pIV.
# ## ## #n # #n # ## # ## ## #. #b . #n . ! Ó Œ
## # # # # # # ! Ó Œ
œb
*
œ œ œ œ œ œ ! Ó Œ"
$
qP$
P q$ST SP
2
Alpaca piece&
?
&
?
Bb Cl.
Vlc.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
68 # # # #b #b # # #b # #n ## œn œ œ œ# œ#
. .œR
œ
˙ . .. .#œb
R
#œb
Ó
. .
. .
. .
. .. .
. .. .
œœœœœœœggggg
œ œ
"
Moderato {q = c 75}
$ ƒ
ESP
$ƒ
"
Ó ‰ œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ®
*
! Œ
"
&
?
&
?
Bb Cl.
Vlc.
Pno.
Ÿ~~~~
70 # #b
fi ## ## ## ## # ## # #n ## #n
¿
#n
¿
#a
¿
#¿
#b
¿
##
¿
##
¿
#¿
#¿
#¿
œ¿
œ¿
œ#
¿
œ¿
œ#
¿
œ¿
œn
¿
œ#
¿
œ#
¿
œ¿
œ œ œ œ œ œ œ #b
#b
##
## # # ## #
.˙¿@
œ˜@
"
$
arco
P{} 0
%
cresc. of key noise
˙˙
#
# ## # # # #
#O
ϡ
œ# œ œ# œ œ# œ œ œ# œ œ# œ ˙æ
*6 6
"
ƒ
1212 etc
ESP
III.
&
?
&
?
Bb Cl.
Vlc.
Pno.
72 "
"œ œ œ œ œ œ œ œ œ
æ
œ œ œ œ# œ œ# œ œ Œ
Ó Œ
œ œb œ œ œ œ œ œ
"
œ>
‰Œ Ó
"
œ ! ‰Œ Ó
ƒ
"
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""
"
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"
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5
Alpaca piece
&
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45
45
45
45
Bb Cl.
Vlc.
Pno.
211 "
.œ œ ! . œ ! ! .œ ® .œ œ ‰ Œ
! ! œ ! .œ œ ! .œ ! ! .œ œ œ œ œ œ
"
"
"
""
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&
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45
45
45
45
Bb Cl.
Vlc.
Pno.
219 "
"
" &
" &
&
?
&&
Bb Cl.
Vlc.
Pno.
# # # # #
220
œ√ yyyyyggggg ‰ . Œ√
Œ√ œ œ. œ. ! ‰ Œ√3
Œ√ y y yb ! ‰ Œ√3
% p
p
p
14" 4"
c.l.
(Play with proportions) q = 60
œ#√ yyyyyggggg ! _n > ! Œ√
Œ√ œ œ. œ. ! œ Œ3
Œ√ y y y y Œ
pizz.
8" 5"
% œ√ yyyyyggggg ‰ . Œ√
Œ√ œ œ. œ.!‰ Œ√3
Œ√ y y yb ! ‰ Œ√3
p
p
p
c.l.
11" 6"
p% œ# yyyyyggggg > ! Œ√
‰ œ# œ. œ. ! Œ√3
‰ y> y> yb> ! Œ√3
F
F
F%5"
* allow to speak normally, then cut short when it does
_yyyyyggggg ‰ Œ√
yé ‰ Œ√
y y yb ! ‰ Œ√3
3"
19
Zoom
&
?
&
?
Bb Cl.
Vlc.
Pno.
117 "
"
"
"
Ó#
¿##¿#b¿#b¿#¿#¿#b¿#¿#b¿#¿#n¿#b¿#n¿#n¿#¿#¿
Óœ ! ‰ Œ
œ. œ. œ. œ# . œ. œ# . œ. œ. Œ Ó
‰ ‰ œ> œb> œ> œ> œ> œ> œ>œ>œ> ! ‰ Œ
$
p ƒ
ƒ
&
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&?
Bb Cl.
Vlc.
Pno.
~~~~~~~~~~~ ~~~~~~~~~~~~119 ˙
˙
# # ## # # # # #b #b ## ## # # # # ˙ ##
œ
°
œ# œ œ# œ œ# œ œ œ# œ œ# œ œ
*
@˙
æ
"
1212 etc
Narco
FESP
F
P
subito pp
subito pp
subito pp
"
"
""
(cluster)
œœ# #b # #b ## #n #b
œ œœ#¿œ¿œA¿œ#¿
### # # # ˙ #
0000gggg œb œ œ œœ œ œ œ œ œ
œ# œ œA œ#
"
1212 etc
F $ F
Fq% p F
0
q 0IV.
F p F f
&?
&?
Bb Cl.
Vlc.
Pno.
122 œ¿ ®! ‰ _> ! ‰ Ó
Œœ ! ‰ Ó
"œ> œb> œ>œ>œ>œ>œ>œ>œ> ! ‰ Ó
f
ƒ
ƒ
slap
ƒ"
"
"
"
Ó _> ! ‰ Œ
Óœ ‰ Œ
œ œ œ œ# œ œ# œ œ Œ Ó
Œ œ œb œ œ œ œ œ œ œ ! ‰ Œ%
pizz.
%
slap
%"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
12
LENS
1 [notehead] highest note possible on designated string(s)
(ricochet) throw the bow at the designated string(s) so that it bounces
ricochet gliss. of a col legno bow: This sign always represents the following 3 things: (a) the bow touches the string col legno, (b) the bowstroke is a ricochet, (c) the bow itself (not a finger) makes the gliss. up the string, starting approx. an octave up and ending just before the bridge.
A “scale” made up of c.l. batt. strikes at different points along the string, in this case starting ESP and ending ST, making it a downward scale. 8 locations on the string must be chosen, and hit as consistently as possible, just as notes in a scale. Which string is most effective is left to the player.
~ [notehead] indicates the finger placement for a harmonic.
o [above the notehead] indicates the sounding pitch of a harmonic. If o is notated above a diamond notehead, this means that the finger placement and the sounding pitch are the same (such as one possibility for the Bb harmonic on the C-string). Piano The highest octave should have a cloth laying over it, which is sometimes pressed down so as to fully muffle the whole register: Harmonics are done by reaching inside the piano and lightly touching the string at the appropriate location (for thirds, like that below, this is usually just passed the damper). The sounding pitch is notated on the upper staff, and the key to strike (and therefore the string to touch inside the piano) is notated on the lower staff. In the example below, the first note is a harmonic, and the second played normally on the keyboard: + indicates that the note should be plucked inside the piano.
46 44 47 44 43 44Tape œÙ ® ! ‰ Œ Œ Œ Œ Œq = 60
(approx. duration of sound)
œ ! ‰ Œ Ó œ ‰ Ó " .œ ‰ Ó ˙ Œ .˙ Œ "
&
?
&?
42
42
42
42
45
45
45
45
43
43
43
43
45
45
45
45
44
44
44
44
Bb Cl.
Vlc.
Pno.
#
8
w#œb ! ‰ Œ Ó
"œb>*
! ‰ Œ Ó
ƒ
ƒ
ƒ
q = 54
# # #b # #b #n #® Œ
"
""
$ w# œ
œ ! ‰ Œ Ó Œ
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P (cloth)
œb ‰ Œ Ó Œw# œ
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ƒ
ƒ
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s.v.
non dim.
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44
44
44
44
44ˆ81
44ˆ81
44ˆ81
44ˆ81
Bb Cl.
Vlc.
Pno.
13 ".## ## ®! Ó
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ZoomTyler Futrell
(2013)
© 2013 Tyler Futrell
Score in C
&
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44ˆ81
44ˆ81
44ˆ81
44ˆ81
44
44
44
44
44ˆ81
44ˆ81
44ˆ81
44ˆ81
45
45
45
45
44
44
44
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44ˆ81
44ˆ81
44ˆ81
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Pno.
21 "
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42
42
42
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Bb Cl.
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Pno.
26 "
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37 "
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42
42
42
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Pno.
214 "
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219
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226 "
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45
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128 "
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44
44
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Pno.
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140
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46 44 47 44 43 44 44Tape œÙ ® ! ‰ Œ Œ Œ Œ Œq = 60
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44
44
44
42
42
42
42
45
45
45
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43
43
43
43
45
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44
44
44
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Bb Cl.
Vc.
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#
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LENSTyler Futrell
(2013)
© 2013 Tyler Futrell
Score in C
ª ª
ª ª
A note about the “special page” - The piano and clarinet play all sixteenth notes, while the cello plays in sixteenth note quintuplets. - The L and H notated for the clarinet mean that, regarding the air sound, the timbre should be raised from low (L) to high (H), sounding similar to a change from ST to SP in the cello. About the recorded track Track 1 is made using a recording of mm. 1 – 117. Track 2 is made using a recording of mm. 118 – 166. In both cases, the recordings are sped up to varying degrees, so that the material is presented at an assortment of different speeds. Track 1 is played before the trio starts, and Track 2 is played afterward, to finish the piece. * It is preferable that the speakers be placed low and behind the ensemble, and only about 4 meters apart (i.e. not extremely far apart and hung from the ceiling). The volume should be low enough that the recording does not take away from the ensemble’s presence when they begin to play. (Also to that end, the treble should not be artificially raised, as is sometimes common in recordings.)
44Tape
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44
44
44
44
42
42
42
42
45
45
45
45
43
43
43
43
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44
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Bb Cl.
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LENS for Alpaca Ensemble Tyler Futrell
(2013)
© 2013 Tyler Futrell
Score in C
ª ª
ª ª
Material is made by speeding up mm. 1-117, first fast enough that it lasts only a split second, and then repeated progressively slower until the speed is such that the ensemble can play it.
56 seconds
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45
45
45
45
44ˆ81
44ˆ81
44ˆ81
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43
43
43
43
44
44
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Bb Cl.
Vc.
Pno.
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12 " yyyyyggggg ‰ Œ Ó
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17 œb +
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44
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Bb Cl.
Vc.
Pno.
22 œ ‰ Œ Œ œ ‰
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45
45
45
45
Bb Cl.
Vc.
Pno.
28 Œ Œœb ‰ Œ
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45
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44
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44
44
Bb Cl.
Vc.
Pno.
37 ˙œ ® " ‰ Ó
#
##
q = 60
pIV.
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44
44
44
44
Bb Cl.
Vc.
Pno.
39 # # # #b #b # # #b # #n ## œn œ œ œ# œ# . .œœ ‰6 6
## # # # #n # # # # # # # # # # # # # # # #b #b " ‰
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LENS
ª ª
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&
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43
43
43
43
44
44
44
44
Bb Cl.
Vc.
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~41
œ œ œ œ# œ# œ œ É ˙
# # ## ## # # # # ## ## # # # # # # # # . .˙ . .#a
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44
44
44
44
43
43
43
43
Bb Cl.
Vc.
Pno.
~~~~~~43 # #b ## ## ## ## # ## # #n ## #n
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f
f
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43
43
43
43
44
44
44
44
Bb Cl.
Vc.
Pno.
45 #
#
#
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# #b ## ## # # ## # ## # #n ## #n¿
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0
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4
LENS
ª ª
ª ª
&
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Bb Cl.
Vc.
Pno.
~~~~~~~~~~~47 ˙
˙
#b #b #n #n # # # # #b #b #n #n # # # # ˙ ##
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6 6
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1212 etc
ESP
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f
J J K K
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Bb Cl.
Vc.
Pno.
50 # # # #b #b # # #b # #n ## .œn> " Œ ‰ œ> œ œb
Ó Œ ‰ œ "
Œ ‰œ> œ> œ> œ# > œ> œ# > œ> œ
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$ F
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Bb Cl.
Vc.
Pno.
~~~~~~52 Œ # # # #b #b # # #b # #n ## œn> œ œb œn œ# œ œ. œ. ® ‰
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SP PP
p
p
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%
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5
LENS
ª ª
ª ª
&
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&?
42
42
42
42
44
44
44
44
Bb Cl.
Vc.
Pno.
55
# #b # #n ## œ> œb œb œn œ# œ œ œ ® " Ó
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43
43
43
43
Bb Cl.
Vc.
Pno.
~~~~~~~~~~~59 œ
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f
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43
43
43
43
42
42
42
42
44
44
44
44
Bb Cl.
Vc.
Pno.
62 # #b ## ## # # ## # ## # #n ## #n¿
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0
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6
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ª ª
&
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44
44
44
44
Bb Cl.
Vc.
Pno.
64œ
œ#¿œ¿
œ#¿œ¿œ¿
œ#¿
œ#¿œ¿ " ‰ " " ‰ Œ
#n #n # # # # # # Œ Ó
œ " ‰ Œ Ó#
N
let ring (will be a cluster) - - - - - - - - - - - - - - - P
# #b ## ## # # ## # ## # #n ## #n ## #a #. . .œ RÔœ
## # # # # # # # # ## # # # ## # # # # # # # # #
˙b@
*
œ œ
°
œ# œ œ œ# œ œ# œ œ# œ œ œ# œ œ# œ
*#
P q0
%P 0
F fN SP
% f
f
&
?
&?
43
43
43
43
44
44
44
44
42
42
42
42
Bb Cl.
Vc.
Pno.
~~~~~~~~~~~~~~~~66 #
#
##
# #b ## ## # # ## #˙
## # # # ˙ #
œb œ œ œ˙@
#
%P
q 0
1212 etc
0ST ESP
% F
F
F%
œ#¿
œ¿
œ#¿
œ¿
œ¿
œ#¿
œ#¿
œ¿
Œ Ó
#n # # # # # # # Œ Ó
œb œ œ œ Œ Ó#
q
&
?
&?
42
42
42
42
43
43
43
43
42
42
42
42
Bb Cl.
Vc.
Pno.
~~~~~~69
˙
˙ ##
˙æ
Ó
1212 etc
ESP
P
p
p
#
#
œ> œ> œ> œ# > œ> œ# > œ> œ> Œ
Œ œ> œb> œ> œ> œ> œ> œ>œ>
# #b ## ## # # ## # ## # #n ## #n¿
#n¿
#a¿
#¿
#b¿
##¿
##¿
#¿
#¿
#¿
#¿#¿
œ " ## # # # # # #n # # #
‰ œb œ œ œ œ œ œ œ œ œ
œ> " ‰ Œ Œf %
$
q
arco0q
%ƒ
N
7
LENS
ª ª
ª ª
&
?
&?
42
42
42
42
44
44
44
44
43
43
43
43
44
44
44
44
Bb Cl.
Vc.
Pno.
72 ˙
# # # #
œ
°
œ# œ œ# œ œ# œ œ œ# œ œ# œ
6 6
#
0
P
f
œœ#¿
œ¿
œ#¿
œ¿
œ¿
œ#¿. œ#
¿. œ
¿. " ‰ Ó
#n # # # # # # # Œ Ó
œ
*
œb œ œ Œ Ó#
Ff
f P
P
#
# &
##
&
&
&?
44
44
44
44
Bb Cl.
Vc.
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~
75 # #b ## ## # # ## #.˙
#o #o #o #o œ œ> œ>?
œ œ œ œœ
æœ> œ> œ> œ# >œ> œ# >œ>œ
> ŒÓ Œ œ> œb>œ>œ>œ>œ>œ
>œ>
1212 etc
q 0
$
%
%
F
FESPNarco
œ#¿œ¿
œ#¿œ¿œ¿
œ#¿
œ#¿œ¿˙
œ ® " ‰
œ> " ‰ # # ## ## # # # # #b #b #n #n # # # # Œ
Œ œ
°
œ# œ œ# œ œ# œ œ œ# œ œ# œ œ
*
® " ‰6 6
œ> " ‰ Œ Ó
ƒ
ƒ
P
F f
SP
f
&
?
&?
42
42
42
42
Bb Cl.
Vc.
Pno.
77 #
#
#
#
# #b ## ## # # ## # ## # #n ## #n¿
#n¿#¿
#b¿œ¿
œb¿
œn¿
œ¿
œb¿
œ¿
œb œ œ# œn œ®‰
## # # # # # # ‰
Óœ œ œ œ# œ œ# œ œ Œ
Ó ‰ ‰ œ> œb> œ> œ> œ>œ>œ>œ>
$P ƒ
p
0
ƒ%
#
œ " ‰ Œ Ó
#
œ> " ‰ Œ Óƒ
8
LENS
ª ª
ª ª
&
?
&?
42
42
42
42
44
44
44
44
Bb Cl.
Vc.
Pno.
~~~~~~~~~~~80
#
¿##¿
#b¿
#b¿
#¿
#¿
#b¿
#¿
#b¿
#¿
#n¿
#b¿
#n¿
#n¿
#¿
#¿
#
##
$˙
˙
# # # # # # # # #b #b ## ## # # # # ˙ ##
œ
°
œ# œ œ# œ œ# œ œ œ# œ œ# œ œ
*
@˙
æ
#
1212 etc
Narco
FESP
F
P
subito pp
subito pp
subito pp
#
#
##
&
?
&
?
Bb Cl.
Vc.
Pno.
~~~~~~~~~~~~~~~~~83 œ
œ# #b # #b ## #n #b
œ œœ#¿
œ¿
œA¿
œ#¿
### # # # ˙ #
0000gggg œb œ œ œœ œ œ œ œ œ
œ# œ œA œ#
#
1212 etc
F $ F
Fq% p F
0
q 0
F p F f
N
(cluster)
IV.
œ¿ ® " ‰ _> " ‰ Ó
Œœ " ‰ Ó
#œ> œb> œ> œ> œ> œ> œ
>œ>
œ> " ‰ Ó
f
ƒ
ƒ
slap
ƒ#
#
#
#
&
?
&?
Bb Cl.
Vc.
Pno.
86 Ó _> " ‰ Œ
Óœ ‰ Œ
œ œ œ œ# œ œ# œ œ Œ ÓŒ œ œb œ œ œ œ œ œ œ " ‰ Œ%
pizz.
%
slap
%#√
#√
#√# &
10"
10"
10"
9
LENS
ª ª
ª ª
&
?
&
&
Bb Cl.
Vc.
Pno.
& & & &
88
œ√ yyyyyggggg ‰ . Œ√
Œ√ œ œ. œ. " ‰ Œ√3
Œ√ œ œ œb " ‰ Œ√3
% p
p
p
c.l. batt.
(Proportions) q = 60
P (cloth)
14"
14"
14"
3"
3"
3"
œ#√ yyyyyggggg " _n > " Œ√
Œ√ œ# œ. œ. " œN Œ√3
Œ√ œ œ œ œŒ√
pizz.
%8"
8"
8"
5"
5"
5"
slap
œ√ yyyyyggggg ‰ . Œ√
Œ√ œn œ. œ. "‰ Œ√3
Œ√ œ œ œb " ‰ Œ√3
p
p
p
c.l. batt.
p%11"
11"
11"
6"
6"
6"
œ# yyyyyggggg > " Œ√
‰ œ# œ. œ. " Œ√3
‰ œ> œ> œb> " Œ√3
F
F
F%
* allow to speak normally, then cut short when it does
5"
5"
5"
&
?
&
&
46
46
46
46
44
44
44
44
46
46
46
46
Bb Cl.
Vc.
Pno.
&
92
_n yyyyyggggg ‰ Œ√3é ‰ Œ√
œ œ œb " ‰ Œ√3
3"
3"
3"
slap
œ√ Œ√
Œ√ Œ√
Œ√ Œ√
%III.
7"
7"
7"
3"
3"
3"
œ„ œ œ œ œ œ œ œ œ œ œ œ œ œ œ „œ Ó√
## # # # # # # # # # # # # # # # Ó√
œ
*
œ œ œ œ œ œ œ œ
°
œ œ œ œ œ œ œ
*
Ó√
#
o of1 2 1 2 etc.
% %F
0
o ofP PP P0
5"
5"
5"
arco
Ó w
...w#w( )o
#
# ?
o o%
o %#√
#√
œ+ œ œo ˙ Œ√3
‰ ‰ œ( )°Œ Œ Œ
*3
3"0
7"
7"
10
LENS
ª ª
&
?
&?
46
46
46
46
44
44
44
44
Bb Cl.
Vc.
Pno.
&
97 .wb
Ów
#w#b( )
o
##
o %
o % o
J
Ó yyyyyggggg> " ‰ Œ√
Óœo œo œo " ‰ Œ√3
jœ# o œ ‰ œ+ œœ œ œb " ‰ Œ√3 3
3
œ#( )°‰ ‰ Œ Ó
*3
c.l. batt.
p
pP (cloth)
3"
3"
3"
Ó yyyyyggggg> " ‰ Œ
Óté ‰ Œ &
œ#
*
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
°
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
*#fo o
rit. accel. a tempoP P0
&
&
&
?
46
46
46
46
Bb Cl.
Vc.
Pno.
! &
100
œb√
Œ√ œb√
#√
#
(non-harm.)3" 10"
13"
o
o
ƒ
ƒ13"
arco
yyyyyggggg> " ‰ Œ Œ Œ ˙b „
œb√
œœb œ œœ " ‰ Œ Œ Œ Œ Œ3
#ƒ
subito pp o
6"
o
PP (cloth)
.˙ œ˜ yyyyyggggg
> " Œ Œ√
Œ Œ Œ ‰ té " Œ Œ√
Œ ‰ œb
*
œ œ œ œ œ œ œ œ œ œ œ œ œ
°
œœ
*
> œ> œb>" Œ Œ√
3 3
#
%
%
P
PP 0
P (cloth)
P
3"
3"
3"
11
LENS
ª ª
&
&
&?
44
44
44
44
Bb Cl.
Vc.
Pno.
103
Play the "Special Page"
&
&
&
?
44
44
44
44
Bb Cl.
Vc.
Pno.
104 >„ Óœ¿ œ¿ œ¿ œ¿ .@¿
œb> " ‰ Œ Ó
œb> " ‰ Œ Ó
#
ß o(breath only)
(click only)
q = 60 (attacca)
f
f
w@¿
# ?
#
#
II.
w@¿
œb œ œ œ .@
œb œ œ œ .˙@
#
P
P
P (cloth)
Pc.l. batt.
12
LENS
ª ª
&
?
&
?
Bb Cl.
Vc.
Pno.
107 Ó ˙„
w@¿wb @
. .œb@
œ
œb> œ
œ> œ
œ> œ
œ> œ
œ> œ
@
#
o
f
f
0 P (cloth)
accel. to
ww@¿
˙b@
.œ
!
œ œ
œb> œ œ
œ> œ œ
œ> œ œ
œ> œ œ
œ>
3 3 3 3 3
#
of
0
w@¿œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 5 5 5
wb@
#
0
P
P
&
?
&
?
42
42
42
42
Bb Cl.
Vc.
Pno.
110 ww@„¿
œb ' œ( œ œ œ .@5
wb@
#
arco
o
5
œb˜
œ œ œ .@
wb @
˙b@
˙@
#
f
5
0
f
.˙b @ œ œ œ œ œ5
wb @
œbœb> œ
œ> œ
œ> œ
œ> œ
œ> œ
œ> œ œ œ œ
œ> œ œ
œ> œ œ
œ> œ œ
œ> œn> œ> œ> œ>
3 3 3 3
#
5 ƒ
ƒ
ƒ
13
LENS
ª ª
&
?
&?
42
42
42
42
Bb Cl.
Vc.
Pno.
!
113 #
#
œ œb œ œ œ œ# œ œ
#
P (cloth)
q = 75 (x=x)5
p
#
Œ ‰ 3. "
œ. œb . œ. œ. œ. œ# . " œ.
#
Pc.l. batt.
ST
p
#
" 3. ‰ ‰ 3. "
œ. ". œ œ. œ. œ# . " œ.
#
ESP
#
" 3. ‰ 3. " 3. "
œ. " œ. œ. " œ# . " œ.
#
#3. 3. ‰ 3. 3. " 3.
‰ œ. œ. " œ# . " œ.
#
&
?
&
?
Bb Cl.
Vc.
Pno.
(!)
118 #3. 3. " 3. 3. " 3. "
‰ œ. " " œ# . " œ.
#
#3. 3. " 3. 3. " 3. 3.
‰ œ. " " œ# . ‰
#
#3. 3. " 3. 3. 3. 3. 3.
‰ œ. " Œ
#
#3. 3. 3. 3. 3. 3. 3. 3.
#
#
Œ ## .¿ ‰ .
3. 3. 3. 3. " 3. 3. 3.
#
#
$" #.
¿ ‰ ## .¿ ‰ .
3. " 3. 3. " 3. 3. 3.
#
#
" #.¿ ‰ ## .
¿ ‰ #.¿
3. " 3. 3. ". 3. 3. "
#
#
&
?
Bb Cl.
Vc.
125
" #.¿ ‰ ## .
¿ " ## .¿
#.¿
3. " 3. 3. " 3. ‰## .¿
#.¿ ‰ ## .
¿ " ## .¿
#.¿
‰ 3. 3. " 3. ‰## .¿
#.¿
#.¿ " ## .
¿ " ## .¿
#.¿
‰ " 3. " 3. ‰##¿
#¿
#¿ " ##
¿#¿
## ¿#¿
‰ " 3.Œ
##¿
#¿
#¿
##¿
##¿
#¿
## ¿#¿
#
14
LENS
ª ª
ª ª
&
&?
Bb Cl.
Pno.
!
130
##¿¿#¿
#¿
##¿
##¿#¿ " #
¿
Œ ‰ œ# . "#
P (cloth)
p
## .¿ " #.
¿## .¿
## .¿#.¿ " #.
¿
" œb . " " " " œ# . "#
## .¿ " #.
¿## .¿ " #.
¿ " #.¿
" œb . " " œ. " œ# . "#
‰ #.¿
## .¿ " #.
¿ " #.¿
œ. œb . " " œ. " œ# . "#
‰ #.¿ " " #.
¿ " #.¿
œ. œb . " œ# . œ. " œ# . "#
‰ #.¿ " " #.
¿ ‰
œ. œb . " œ# . œ. " œ# . œn .
#
&
?
&
Bb Cl.
Vc.
Pno.
(!)
136
‰ #.¿ " Œ
#
œ œb " œ# œ œ œ# œn
#
#
œ œb œ# œ# œ œ œ# œn
#
‰ " œ#œ
o( )Œ
œ œb œ# " œ œ œ# œn
SP
P
sul C
#
‰ " œ#o
"œ
#bb o
‰
œ œb œ# " œ. " œ# . œn .
I
J
#
" œ#o " œ
#o
"œ
#bb o
‰
œ. " œ# . " œ. " œ# . œn .
I
J
#
" œ#o œ#o œ#o
"œ
#bb o
‰
œ. ‰ . œ. " œ# . œn .
I
J
?
&?
44
44
44
Vc.
Pno.
(!)
142 " œ#o œ#o œ#o
"œ
#bb o
"œ
#no
œ. ‰ . œ. " œ# . "#
I K
J" œ#o œ#o œ#o
"œ
#bb o œ
#
o œ
#no
œ. ‰ . œ. ‰ .
#
I K
J" œ#o œ#o œ#o œ
#bo œ
#bb o œ
#
o œ
#no
œ. ‰ . Œ#
I K
J#o œ#o
œ#o œ#o œ
#bo œ
#bb o œ
#
o œ
#no
##
I K
JŒ
œ œb " œb œn œ " œ " œ œb œn
#
œb œn œb œn ‰ œ " ‰ œb " œb " ‰p
p0
15
LENS
ª ª
ª ª
&
?
&?
41 ˆ81
41 ˆ81
41 ˆ81
41 ˆ81
44
44
44
44
Bb Cl.
Vc.
Pno.
147 #
œ œb œn œb œn " ‰ Ó
##
Ó Œ " œ# " "
‰ . œb " œb " œ œb œn œb œn œ " œ œb
#
‰ œ " œ " œ " Ó
p œ " ‰ œb œn ‰ œ " œ œb œn œb . œn . œ.
" œb œn œ ‰ œb œn " œb ‰ Œ
##
rit. #
#
##
&
?
&?
44
44
44
44
Bb Cl.
Vc.
Pno.
151 #
Œœ œb " œb œn œ " œ " œ œb œn
#
œb> œn œb œn ‰ œ " ‰ œb " œb " ‰
F
F
Con moto q = 80
Œ ‰ œ# " " œ ‰ " œb œn "
œ œb œn œb œn œ " œ œb " œb œn œ ‰ œb
##
F" œ " œ œb œn œb œn œ œb œn " œ " œb "
œ " œb " Œ Ó
Ó ‰ " œb " œ " œ
#
f
&
?
&
?
168
168
168
168
Bb Cl.
Vc.
Pno.
&
154 œb œn " œ œ " œ œ " ‰ Œ
#
‰ œb " " œb " œb>œ> œ> œb œn œb œn œ œn
#
f
f
yyyyyggggg " ‰ Œ Ó√
té ‰ Œ Ó√
œ œ œb ® ‰ Œ Ó√
#%
p
F
P (cloth)
8"
8"
8"
16
LENS
ª ª
ª ª
&
?
&?
168
168
168
168
166
166
166
166
167
167
167
167
163
163
163
163
162
162
162
162
164
164
164
164
163
163
163
163
166
166
166
166
Bb Cl.
Vc.
Pno.
&
156
œ .œ yyyyy> ‰
Œ " ® œ ‰
Œ " ® œ ‰
#
P (cloth)
%
pc.l. batt.
p
Sped up 10 x (q = 60 / x = 240)
. .œ# yyyyy> ‰
‰ " ® œ# ‰
‰ " ® œ ‰#
œn œyyyyy> ‰
Œ ® œn ‰
Œ ® œ ‰
#
œ# yyyyy> ‰
® œ# > " "
® œ> " "#
F
F
_n " .
œn ® "
œ ® "
#
slap
p œ ‰3
#
##
%(ord.) Ͼ
„ " "
## æ " "
œæ ® " ®#
III.arco
qp
p
&
?
&?
166
166
166
166
162
162
162
162
166
166
166
166
161
161
161
161
414
414
414
414
Bb Cl.
Vc.
Pno.
& & &
163 ‰ œo
‰ ‰3
œ#œo
( ) ‰ ‰3
‰ ‰ œ ‰3
#
%
%
%0
œb ‰ yyyyy " .3
‰œ
#œ#b o( ) ‰
œo " .3
‰ ‰ œœ " .3
#%
c.l. batt.
P (cloth)
" yyyyy ®
" œb o ®
Jœbæ#
f
f
f
0
.œb
‰œb
##
(non-harm.)
% ƒ
% ƒ
P (cloth)
yyyyy> ® " œb „ o
œb‰
œœœb ® " ‰ Jœbæ#
ƒ
%
%
o
qp
yyyyy ®
#
œ ®
#
p
P (cloth)
17
LENS
ª ª
&
?
&?
414
414
414
414
83
83
83
83
82
82
82
82
42
42
42
42
Bb Cl.
Vc.
Pno.
169
Play the entire "special page" in 14 seconds.(Adjust the pulse speed to as fast as poss.)
œ> ‰ ‰.œæ
„
¿œb>
" . ‰ Jœbæ
œb> " . ‰ Jœb
æ
#
ß
(click only)
(breath only)
as fast as poss.
P
P
c.l. batt.Pas fast as poss.
P (cloth)
as fast as poss.
.œ¿ .œæ
#
#
#
œb æo
#
#
#
f
&
?
&?
42
42
42
42
83
83
83
83
43
43
43
43
Bb Cl.
Vc.
Pno.
! &
173 ‰ yyyyyggggg " Œ
" 3é " " ## # ®
œœœœœœœbggggg ‰ œœœœœœœbn##ggggg ‰#
V
(harm. gliss.)
p
p
p
P (cloth)
arco
Œ .œ œ
‰ .œ œ Œ
Œ œ œ# œ# œ#
" œ œ# œ ® " Œ
F
FŒ
œ#œ ® " ‰
‰œ
œ# ®" Œ
Œ Œ œ œ œb ® ‰
œb œn œb œn œ " . Œ Œ
P (cloth)
F
F f
F f
f
Tape w√20" Œ√ œ√ Œ√ œ√5" 5" Œ√ œ√ Œ√ Rœ Œ√ RÔÔÔœ4" 1/2" 3"2" 4"3"
18
LENS
ª ª
ª ª
Material is made from a recording of mm. 118-168, sped up first so that it lasts only 20 seconds, and then repeated in shorter and shorter duations (a pattern inversion from the start of the piece).