Richard Barrett

wake

2014-15

3 instrumental trios, electronic sounds and lighting

full score

wake

(2014-15) for three instrumental trios, electronic sounds and lighting

commissioned by Ensemble Modelo62 in memory of Bob Gilmore

duration: approximately 15 minutes

instrumentation: group 1 alto flute violin percussion 4 tuned gongs placed horizontally on foam blocks (played with a wide unspecified variety of beaters)

12 different metallic objects, also on foam blocks (brake drums, anvils, pieces of junk etc.) arranged from left to right in approximate order of pitch impression, although none should have an unambiguously clear pitch or a long resonance, played with 4 suitable medium-hard rubber-headed beaters, notated as shown here: 1 high-pitched, sharp-sounding woodblock group 2 bass clarinet trumpet (in C) cello group 3 electric bass guitar with volume pedal piano contrabass The score is at transposed pitch: the alto flute sounds a perfect fourth lower, bass clarinet a major ninth lower, bass guitar and contrabass an octave lower. NO VIBRATO except where indicated. Trills, tremoli and gracenotes always as fast as possible except where indicated, and all notated transitions as smooth as possible, in particular transitions in timbre produced by changing bow positions in the bowed string instruments. ] = tongue-stop (wind instruments), stop bow on string (bowed instruments), damp resonance (percussion and bass guitar) alto flute multiphonics are derived from John Edward Davis, The Extended Alto Flute. http://arizona.openrepository.com/arizona/handle/10150/288758 Microtonal trills are based on the normal fingering for the given pitch unless another fingering is given. bass clarinet

= slap tongue trumpet quartertones are intended to be achieved by extending the tuning slide for the third valve. The fingerings for this are indicated as 3+, 123+ etc.

= open, half-open and closed harmon mute strings: psp, msp = poco and molto sul ponticello respectively, the former already being noticeably different in timbre from nat., the latter being as extreme as possible consistent with the fundamental pitch remaining audible. pst, mst = poco and molto sul tasto (similarly).

= ascending degrees of bow pressure: flautando; “normal”; exaggerated and distorted (pitch only just discernible); completely pitchless scraping. violin, cello and bass guitar are retuned as shown below. They are notated at sounding pitch.

bass guitar: the part is playable on a 4-string fretted instrument but other types may be used if preferred. A volume pedal is required for both wide and subtle changes in dynamic while playing. The sound should be strong in high frequencies and sustain, and in general should be able to participate in the ensemble as a distinctive but not incongruous voice.

electronics, staging and lighting The electronic sounds take the form of a fixed-media electronic part which plays continuously for the first 12 minutes of the piece (the first three of its five sections). In section 1 it plays alone and in section 2 the players react improvisationally to it, while in section 3 the electronic part consists of a series of cues whose playback is coordinated by the conductor (or actually triggered by him/her if suitable hard- and software is used). Sections 4 and 5 have no electronic part; section 5 is a solo for piano. The three groups are positioned on stage in the order 3-2-1 from left to right from the conductor’s viewpoint. Behind and slightly above each trio is a pair of speakers. Tracks 1 and 2 of the electronic part are sent respectively to the left and right speakers behind group 1, tracks 3 and 4 to group 2 and tracks 5 and 6 to group 3. All instruments should also be amplified, using the same speakers and/or additional ones. The sound of each trio plus “its” electronic sounds should be clearly localised without being so widely separated as to make the coordination of sections 3 and 4 impractical. Once all performers are on stage and ready to begin, all light in the performing space is suddenly extinguished. After a brief moment the electronic sounds of section 1 begin. During section 1, in which the players should remain as still as possible, the stage light intensifies very slowly and evenly until there is just enough light to discern them and for them to see their instruments as much as necessary for section 2. During section 2 the stage light continues to intensify very gradually but at an increasing rate so that at the beginning of section 3 it is (just) possible for the players to read their parts. The light then again intensifies slowly and evenly during section 3 until at the beginning of section 4 it reaches a “normal” brightness for a concert stage. During section 4 it again intensifies at an increasing rate reaching a maximum at the beginning of section 5 which is then held until the end. All of these indications are kept purposely imprecise since they will need to be able to vary in different spaces. However it is important to be able to begin in total darkness. The relation of the lighting changes to the proportional structure of the piece is shown in the diagram below.

Roberto Matta, Wake (1974-76)

Richard Barrett2014-15

2

wake

1

group 1

group 2

group 3

Once all performers are on stage and ready to begin, all light in the performing space is suddenly extinguished. (See preface for more detailed lighting instructions.) Section 1 then begins suddenly. It consists only of electronic sounds played through the three pairs of onstage speakers and lasts 4 minutes. Its dynamic level is fff sempre. During section 1 the stage lights very gradually increase in intensity until at the end of the section there is just enough light to discern the players and for them to see their instruments as much as necessary for section 2.

Section 2 begins 4 minutes into the electronic part, after a very gradual transition, and is 3 minutes in duration. By this time there is just enough light for the audience to see the musicians and for the musicians to see their instruments.The electronic part consists of slowly-changing permutations of four pitches in each of the speaker-pairs placed behind the three groups. A "map" of these pitches is shown below for reference, although it is not needed during performance since each player reacts to hearing the sounds in his/her group's pair of speakers.These pitches "morph" spectrally from one to the next. Therefore the point at which a pitch becomes audible or inaudible is not always clear. The dynamic level of the electronic part is mf - f sempre.The dynamic level of the instruments should reflect the relative clarity of the fundamental in question by fading in as it gradually becomes audible and fading out as it submerges once more.Apart from this, the instrumental dynamics should be freely varied, while remaining within the range pp - ff and principally towards the centre of this range.Neither instrumental nor electronic sounds should be dominant; both should be experienced as complementary components of a constantly-transforming sound-organism.Each of the four pitches in each group's speaker-pair acts as a fundamental frequency for improvisations on its natural harmonic spectrum by the players in that group, although not allfundamentals are used by all instruments. Each player should memorise which pitches he/she needs to respond to and which not, and also the improvisational suggestions specific to their instrument. What they play need not be strictly limited to these suggestions, which are intended principally to give a general idea of how this section might be realised most clearly and consistently, nor should they necessarily attempt systematically to utilise all of the suggested elements in any single performance.The conductor may cue the start of this section but otherwise does not take part.

(a) map of fundamental pitches in the electronic part (dotted lines with arrows indicate the duration of "morphing" between pitches)

0"

10"

20"

30"

40" 50"

group 1

group 2

group 3

1'00" 1'10"

1'20"

1'30" 1'40" 1'50"

group 1

group 2

group 3

2'00"

2'10" 2'20"

2'30"

2'40"

2'50"

78

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

(b) when to play and on which fundamentals

electronicpitch

yourfundamental

electronicpitch

yourfundamental

electronicpitch

(TACET)

yourfundamental

electronicpitch

(TACET)

yourfundamental

(TACET)

electronicpitch

yourpitch

electronicpitch

yourpitch

electronicpitch

yourpitch

electronicpitch

yourpitch

electronicpitch

yourfundamental

electronicpitch

yourfundamental

electronicpitch

(TACET)

yourfundamental

electronicpitch

yourfundamental

(TACET)

(TACET)

electronicpitch

yourfundamental

electronicpitch

(TACET)

yourfundamental

electronicpitch

yourfundamental

electronicpitch

(TACET)

yourfundamental

(c) improvisational suggestions for players

all instruments: single sounds or brief sequences of sounds, staccato or with cresc.-dim. envelope, each sound or sequence as different as possible from all others

alto flute: either up to 4th or 5th harmonic of low fingering, perhaps blending more than one simultaneously or making transitions between them, or whistle-tones on same fingering

violin: arco sempre with different bow positions between tasto and ponticello, or moving between these, only natural harmonics on IInd, IIIrd and IVth stringsas appropriate, including glissandi of harmonics at various positions on the string. The IInd string should be retuned from G# to A at the end of the section (where the violin has a rest of around 15 seconds).

percussion (4 gongs placed flat on foam blocks): l.v. or damped, single strikes or rapid tremoli, always using different striking positions and often different beaters, occasionally lifting a gong off its foam blocks to resonate freely

bass clarinet: harmonic multiphonics with different partials and densities of partials, using the fingerings and fundamentals of the given pitches as a basis (with different degrees of incresed lip pressure), also transitions between different partials and densities

trumpet: natural (untempered) harmonics based on the notated fingered fundamentals, including glissandi between harmonics, lip-trills etc.

cello: arco or pizzicato with different bow positions between tasto and ponticello, or moving between these, only natural harmonics on the indicated stringsas appropriate, including glissandi of harmonics at various positions on the string

bass guitar: l.v. or damped, sometimes also repeated quasi tremolo, using all possible plucking positions and various positions for the natural harmonicson the indicated string

piano: with or without sustain pedal, only harmonics of the indicated fundamentals produced by touching the string at constantly varying positions, also sometimes tremoloand/or harmonic "glissando" or sprays of random harmonics

contrabass: arco or pizzicato with different bow positions between tasto and ponticello, or moving between these, only natural harmonics on the indicated stringsas appropriate, including glissandi of harmonics at various positions on the string

(TACET) (TACET)

2

781

e=63

316

78

3

516

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

Section 3 has a duration of 5 minutes and is conducted throughout. By now there is sufficient light for the performers to read their music. At the end of section 2 (7 minutes into the electronic part) the dynamic level of the electronic sounds suddenly drops. This is the cue for the conductor to begin section 3. Over the course of section 3 the electronic part is very gradually faded out from its mp-mf dynamic at the beginning, so that by bar 76, in which the instrumentsdo not play, it has reached a dynamic of ppp; it is then stopped altogether at the conductor's cue for section 4 (see below). The electronic sounds should always beslightly below the collective dynamic level of the ensemble so that all the instruments may be heard, although the level may be freely varied somewhat in performancewithin the context of the general diminuendo. They may also be gradually removed from the main PA system (if used) so as to gradually withdraw to the speakers behind the instruments.It is not necessary for conductor or instrumentalists to synchronise with the electronic part in any way. It has been made to a longer duration than the notatedfive minutes, so as to accommodate a slower tempo if necessary.

Each trio functions as a single complex "instrument" with regard to dynamics. The "local" crescendi and diminuendi should be understood as varying between slightly but perceptibly above and below the prevailing dynamic of the trio at that particular moment as it undergoes a general crescendo or diminuendo.

mp cresc...

always legatissimo within phrase marks!

7:8

... mf cresc...

... f cresc...

11:8

4:53:2

mp cresc...

arco nat

trill between open G string and random harmonic fingerings between the indicated limits

... mf cresc...

msp

... f cresc...

mp cresc...

12 metal objects (see preface)1 hard-headed mallet; each note damped with other hand as indicated after short duration

]

] ]

... mf cresc...... mf cresc...

] ] ]

... f cresc...

4:3

mp cresc...

6:5

... mf cresc....

5:6

3:2 3:2 4:3

mp cresc...

always legatissimo within phrase marks!

... mf cresc....

5:4

3:2

mp cresc...

arco psp sempre

trill between open F# string and random harmonic fingerings between the indicated limits, allow the fundamental to submerge and reemerge

(non tr.)

... mf cresc....

(as before)

mp cresc...

with plectrum!psp secco

(dynamics realised with volume pedal!)

...mf cresc...

6:5 12:15

mp cresc...

sempre

...mf cresc...

3:2

mp cresc...

arco msp

trill between open F# string and random harmonic fingerings between the indicated limits, allow the fundamental to submerge and reemerge

nat

...mf cresc...

3

5164

1116

1316

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

...ff cresc...

8:9

(cresc)...fff

4:3

...ff cresc...

(sub. trem.)

mst (cresc)...fff

msp

]

]

...ff cresc...

6:7

]

]

]

6:5 ]

]

]

(cresc)...fff

]7:8

...f cresc...

4:5

sempre sim.

4:3

3:2

3:2

...f cresc...

9:7

10:7

(psp)

...f cresc...

(non tr.)

(as before)

12:11

( sempre)

11:10

4:3

msp (non trem)

4

13167

716

78

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

mp cresc...

mp cresc...

mst

mp cresc...

3:2

...ff cresc...

4:3

3:2

3:2

3:2

3:2

(cresc)... fff

3:2 3:2 3:2 3:2 3:2

...ff cresc...

13:10

(cresc)... fff

6:5

...ff cresc...

(tr. & trem.)

(cresc)... fff

...f cresc...

3:2

12:133:2

( sempre)

...f cresc...

7:8

...f cresc...

nat

"nat

mst

]

5

789

28

38

68

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

5:4

... mf cresc...

§C#

5:64:3

... mf cresc...

nat.

... mf cresc...

3:2

3:2

mp cresc...

4:5

mp cresc...

7:8

msp

mp cresc...

nat

(tremolo with plectrum)nat

...ff cresc...

msp

...ff cresc...

( sempre)

3:2

4:3 3:2

pizz.mspsecco

...ff cresc...

6:5

6:7 6:512:11

6

6812

916

516

28

38

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

...f cresc...

§

§D#

§

...ff cresc...

§D#

(R3)

(R3)

(cresc)...fff

(D#tr)

6:7 6:5 6:7 6:5 3:2

...f cresc...

pst

...ff cresc...

psp

(cresc)...fff

nat

...f cresc...

...ff cresc...

(cresc)...fff

4:39:8

...mf cresc...

4:3 4:3 4:5

...mf cresc...

13+

1

123+

5:43:2

sub. trem.

...mf cresc...

psp

IV sub. non trem.

(pst)

(cresc)... fff

nat

(cresc)... fff

6:5

7:5

3:2

(cresc)... fff

12:9

7

3816

48

516

28

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

pp

§

D#

mp

pp

§

D#

mp

§

p

D#

mp

mp cresc...

mst sempre, molto vibr. sul III (varied in speed and width)

mp cresc...

7:6 7:63:2

always legatissimo within phrase marks!

7:6

...f cresc...

(cresc)...(ff)

3:2

3:23:2

5:6

...f cresc...

123+ 23+

2 3+ 13+

123+

3+

12

13+

(cresc)...(ff)

4:34:5 4:3 4:5 4:3 4:3

IV

pst IV

...f cresc...

nat

(cresc)...(ff)

mst

(plectrum)mst

mp cresc...

(make glissando as audible as possible!)

msp

nat

nat

3:2 6:5

mp cresc...

sempre

5:4 7:8

mp cresc...

arco natIV1

III2

II3

mspsim.

2

1

3

pspsim.

3 2

8

2821

48

58

28

48

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

§

p

D#

mp

§

p mp

p mf

p

D#

mf

§

p

D#

mf

§

p

D#

mf

p

D#

mf

§

p f

...mf cresc...

(molto vibr. sul III) ...f cresc...

...mf cresc...

...f cresc...

7:8 5:65:6

7:8

ff mf f

mp

p cresc....

4:5 4:3 7:8

ff mf f

mp

23+

harmon mute (stem extended)

p cresc....

4:5 4:3 9:8

ff

pizz.I

IV

mf

II

f

III

mp

p cresc....

arco msp sempre

4:5 4:3

... mf cresc...

msp put down

plectrumpsp semprelegato poss. ]

6:7

... mf cresc...

7:6

... mf cresc...

(psp) 1

nat

2

1

3

always legatissimo within phrase marks!

(nat)

7:54:5

4:38:7

9

4825

916

316

48

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

§

p

D#

f

§

p

D#

f

§

p

C

ff

§

D#

mf

p cresc...

5:6

(molto vibr. sul III)

(cresc)...

(mst)

ff

&

mf

msp

]

pspsempre

p cresc...

4:3

jeté

(cresc)...ff

mf

p cresc...

8:7

...mp cresc...

(rapid random activity of R1,2,3)

...mf cresc...

7:5 5:4

(harmon)

...mp cresc...

123+

3+

23+

...mf cresc...

8:7

(non trem.)(msp)

...mp cresc...

(msp)l.v. sempre

II

IV

7:6III

...mf cresc...

... f cresc...

]

]

(psp)

12:117:8 10:9 8:9

... f cresc...

(nat)

... f cresc...

3:213:11

10

4829

516

58

48

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

... mp cresc...

3:2

...mf cresc...

6:5 7:6

14:11 4:3

... mp cresc...

sim.

...mf cresc...

6:7

... mp cresc...

...mf cresc...

4:3 4:5

...f cresc...

(harmon)

...f cresc...

5:4

3:2

4:3

(msp)

5:4

...f cresc...

6:5

4:5 6:7

]

(cresc)...ff

natsub.

msp

mp

7:6 3:2 6:5 4:5

(cresc)...ff

mp

6:5 4:5

(cresc)...ff

pizz. nat

mp

6:5 3:2 6:5 4:5

11

4832

58

48

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

...f cresc...

§D#

(cresc)... ff

mp

6:54:3

3:2

...f cresc...

(psp)

7:5

nat. sub.

IVIII

IV

(cresc)...

9:10

psp

ff

mp

5:4

...f cresc...

(cresc)...

ff

mp

5:6

(cresc)... ff

mp

3:24:3

(harmon)

123+

(cresc)... ff

3:2

mp

via sord.

4:3

(msp)

7:5

(cresc)... ff

3:2

mp

4:3

mst semprealways damped at end of durationarrows = bend string to 1/4 tone higher (bending should not be audible!)

p cresc...]

]

]

]

p cresc...

sempre

9:10 3:2

arco pst sempre

p cresc...

12

4835

38

28

916

1116

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

p cresc...

poco vibr.

nat.

p cresc...

always legatissimo within phrase marks!

III II

III

II

11:12

7:6

p cresc...

14:11

p cresc...

(E(L4))

(R3)

(R123)

senza sord.

p cresc...

8:9

7:5 7:6

mst sempre (flautando, long rapid bows, legatissimo)

p cresc...

6:7 3:2

(sim.)

]

]

]

]

] ... mp cresc...

]

]

]

]

]

( sempre)

... mp cresc...

5:4 9:7

7:5

4:3

(pst)

sub.

... mp cresc...

13

111639

716

28

58

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

(L234)

(R123)

(normal C fingering withindependent unsynchronised trills in LH & RH)

...mp cresc...

§

(G#)

(L234)

(R123)

(as before)

(Dtr)

...mf cresc...

4:5

III

...mp cresc...

rapid exchange of fingers while keeping (approximately!) to same pitch

...mf cresc...

432123432...

msp sub.

5:4

6:5

...mp cresc...

...mf cresc...

7:8 7:8 7:5 7:5

... mp cresc...

...mf cresc...

3:2 6:5

... mp cresc...

4:3

...mf cresc...

11:14

... mp cresc...

psp

mst

psp

sub.

...mf cresc...

(mst)

(sim.)

]

]

]

... mf cresc...

]

]

]

]

]

]

]

(sim.)

]

]

( sempre)

... mf cresc...

5:6

9:8 6:5 4:3 4:5

(pst)

sub.

... mf cresc...

14

5843

716

1116

716

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

9:8

(cresc)... f

p

(sim.)

+ trem.

(cresc)... f

(msp)

p

nat.con sord.

(cresc)... f p

7:6

(cresc)... f

p

3:2 6:7 6:5 3:2 6:7 6:5 3:2

(cresc)... f

p

9:8 4:3 3:2 6:7 6:5 3:2

mst

sub.

(cresc)... f

psp

p

3:2 6:7 6:5 3:2

]

]

... f cresc...

]

]

]

]

]

]

]

(sim.)

]

]

]

... f cresc...

7:8 17:14

(pst)

sub. - no discernible pitch! - gradual transformation of noise between poco sul tasto and molto sul ponticello

... f cresc...

msp

15

71646

58

916

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

p cresc.

...mp cresc...

11:12

7:9

(sord.)

Inat. sempre, slow irregular (parallel) fluctuation in pitch sul II and III, between notated pitch and E

p cresc.

II III II ...mp cresc...

p cresc.

...mp cresc...

10:13

10:11

pp cresc...

5:4

5:4

harmon mute (stem in)

pp cresc...

arco nat

pp cresc...

always legatissimo within phrase marks!

8:7

...ff

]

]

]

]

]

]

p]

...ff

(senza Ped.)p

arco nat

...ff

pesante!

p

16

4948

38

58

78

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

...mf cresc...

(cresc)...f

6:7 (strongly percussive attacks!)

p

7:613:12 5:4 5:6

(sord.)

...mf cresc...

(cresc)...f

pizz. nat.

p

5:4 5:6

...mf cresc...

(cresc)...f

p

10:7 10:9 5:4 5:6

5:4

...p cresc...

5:4

5:4

5:4

...mp cresc...

5:4

5:4

5:4

5:4

(harmon)

rapid random activity of all valves while holding E

...p cresc...

...mp cresc...

(3)

(nat)

...p cresc...

...mp cresc...

5:6 3:26:7 4:3

msp

pp cresc...

]

]

]

]

]

(msp)

]

II

]

]

III

pp cresc...

10:7

9:10

4:5

pp cresc...

arco nat

(molto vibr.)

IV

msp

III

(sim.)

II

nat

msp

17

7853

28

68

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

...mf cresc...

5:4

5:4

5:4

5:4

(cresc)... f

5:4

5:4

5:4

(harmon)

...mf cresc...

(cresc)... f

5:4

5:4

...mf cresc...

(nat)

(cresc)... f

(nat)secco

5:4

5:49:7

8:7

... p cresc...

nat. legato sempre

9:7

8:73:2

... p cresc...

... p cresc...

arcomsp

II ]

(stop bow on string at the end of each sound)

III

]

I ]

IV ]

IV

]

III

]

18

6855

516

1316

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

pp cresc...

... p cresc...

4:3 6:7

8:7

(sord.)

arconat

pp cresc...III

... p cresc...

"molto vibr. sub.msp

two mallets in one hand, always damp almost immediately with the other

pp cresc...

... p cresc...

3:2 3:2

5:4

5:4

5:4

5:4

5:4

pp

5:4

(harmon)

5:4

5:4

5:4

5:4

5:4

pp

5:4keep harmon, remove stem

5:4

5:4

5:4

5:4

5:4

pp

5:4

...mp cresc...

4:38:7 11:10

...mp cresc...

...mp cresc...

(msp)

I ]

II ]

IV ]

III

]

II ]

I ]

19

131657

48

716

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

... mp cresc...

... mf cresc...

(cresc)... mp

f

17:12

5:4 7:83:2

(sord.)

... mp cresc...

... mf cresc...

senza vibr.mst

(cresc)... mp

nat.spiccato

f

3:2

... mp cresc...

... mf cresc...

(cresc)... mp

f

3:2 3:2 3:2

pp cresc...

(slaptongue on each attack)

(harmon)

pp cresc...

rapid irregular opening/closing of harmon

and vibrato (irregular in speed and width)

arco nat

pp cresc...

7:810:9

... mf cresc...

7:8 7:810:9

... mf cresc...

molto vibr.

mst

... mf cresc...

senza vibr.

molto vibr.

20

6078

28

516

716

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

pp

mp

pp cresc.

poco vibr.

3:2

(sord.)

pp

mp

pp cresc.

psp

nat

msp

3:23:2

pp

mp

pp cresc.

3:27:6

... p cresc...

(sim.)

... mp cresc...

4:3 7:8 8:7

(harmon)

... p cresc...

(use circular breathing or retake unobtrusively)

(sim.)

... mp cresc...

... p cresc...

(nat)

... mp cresc...

5:4

7:83:2

9:10

4:3 3:2 5:6

...f

sub. msp

]

]

]

]

(msp)

]

]

]

]

]

]

III

]

pp

]

...f

pp

...f

pizz. mst

II

pp

21

71664

58

1116

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

(L4+R123+C#)trill as fast as possible (!)

... p cresc...

(sord.)

psp

3:2

msp

nat

... p cresc...

msp

psp

nat

msp

nat

3:2

3:2 3:2

... p cresc...... p cresc...

3:2 10:9

(cresc.)...mf

5:4 3:2

(harmon)

senza vibr. sub.

(cresc.)...mf

5:4

3:2

(cresc.)...mf

pizz.msp III

II

I

(F) (sim.)

4:3

5:43:2

nat. legato

pp cresc...

13:16

pp cresc...

arco nat.

pp cresc...

22

111666

38

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

... mp cresc...

(rapid random activity of R1,2,3)

(cresc)... mf

3:2

3:2

3:2 3:2 3:2

(sord.)

... mp cresc...

psp

nat

msp

psp

3:2

nat

psp

msp

(cresc)... mf

3:2

(msp)

3:2

3:2

3:23:2 3:2 3:2

... mp cresc...

(cresc)... mf

9:8

3:2 3:2 3:2 3:2 3:2

ppp

7:8

(harmon)

7:8

ppp

remove harmon; take plunger

(pizz)

ppp

7:8

9:811:12 7:6

(nat)

23

3868

78

28

916

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

ppp

3:2

ppp cresc.

(L23)

3:2

(sord.)

ppp

nat

3:2

via sord.

put down bow: pizz. sul pont

senza sord.

ppp cresc.

3:2

ppp

3:2

ppp cresc.

3:2

7:8

ppp cresc...

... pp cresc...

8:7

6:5 6:77:8

(plunger)

ppp cresc...]

] ]

]

... pp cresc...

]

] ]

]

]

]

ppp cresc...

msp432123432...

rapid exchange of fingers while keeping (approximately!) to same pitch

... pp cresc...

nat

psp sub.

...p cresc...

... mp cresc...

11:10 15:13 11:12

7:6

...p cresc...

... mp cresc...

...p cresc...

(rapid irregular alternation between normal and harmonic finger-

pressure, always on the edge of allowing 7th partial to emerge)

pspsul II

... mp cresc...

24

91672

1516

48

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

C

... pp cresc.

... p cresc.

(L23)

... mp cresc.

... pp cresc.

... p cresc.

... mp cresc.

... pp cresc.

... p cresc.

... mp cresc.

11:9

7:55:6 12:13

... p cresc...

... mp cresc...

13:10

10:1112:13

(plunger)

... p cresc...]

]

]

... mp cresc...

] ]

]

]

] ]

]

... p cresc...

IIIvibr.

mspII (Ø)

nat

psp sub. ... mp cresc...

8:9 19:16

etc. sempre sim.

25

4874

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

... mf

... mf

(pizz. sul pont)

... mf

... mf

]

] ]

]

]

] ]

]

]

] ]

(plunger)

... mf]

] ]

]

]

] ]

]

]

] ]

... mf

nat

]

] ]

msp

]

nat

]

] ]

msp

]

nat

]

] ]

... mf

]

]

]

]

]

]

]

]

... mf

... mf

]

]

]

]

]

]

]

]

26

7698

58

alto fl.

violin

perc.

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

ppp

ppp

ppp

]

]

] ]

ppp]

(plunger)

]

]

] ]

ppp

]

msp

]

nat

]

] ]

ppp

msp

]

]

]

]

ppp

]

ppp

]

]

]

ppp

]

(electronic sounds have reached a dynamic of ppp and continue through this bar, then are stopped immediately on the conductor's downbeat for section 4.

27

581

e=75

4

alto fl.

violin

gongs

perc.

woodblock

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

ff fff

mf sub.

ppp

11:10

ff

arco nat.

fff mf sub.

msp

ppp

(same mallets)

6:5

ff fff

ff fff

mf sub.

ppp

(plunger)

ff

fff

7:5

mf sub.

ppp

arco nat.

ff

fff

mf sub.

msp

ff fff mf sub.

]

9:10

mf sub.

4:3

ff fff

pp

19:20

arco nat.

ff

fff mf sub.

msp

28

448

68

alto fl.

violin

gongs

perc.

woodblock

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

GP

"pizz."

p

nat.

]

(embouchuregliss.)

f mp sub.

5:4 7:9

mp

psp

col legnobattuto

arconat.

pizzmst

arcomsp

nat. jeté

mst

fmp sub.

nat

msp

ppp

6:7 6:5 7:8

centre

p

]

edge

nat

]

edge

]

centre

nat

f

nat

11:13

f

(slap)

p

]

(slap)

13:14

(slap)

f

7:5

mp sub.

ppp

(plunger)

p

7:6

fmp sub.

ppp

16:12 3:2

p

arcomsp

col legnobattuto

pizznat

arcomst

col legnobattutomst

msp

pizzmsp

f

arco nat.

6:7

mp sub.

ppp

9:8 4:5

mp

msp

nat

psp

]

msp

]

mst

]

thumbslap msp

f]

mp sub.

nat

9:78:7

muted withfinger muted

p

pizz.

(senza Ped.)

3:2

f

5:4p

3:2 3:2

3:2

3:2

p

arconat

arco jetémsp

mst

pizzmst

4:5

col legnobattutopsp pst

]

arcopsp

]

10:7

f

pizzmsp

]mp sub.

arconat

4:5 4:3

29

687

58

alto fl.

violin

gongs

perc.

woodblock

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

mpz

mpz ppp

mpz ppp mpz

mp sempre

arco msp

mpz

ppp mpz

mp

mpz ppp mpz

put down plunger senza sord.

mpz

ppp mpz ppp

mpz

arco msp

mpz

msp

mpz

(p)

pp

4:3

mp sempre

arco msp sul I

mpz

ppp mpz

30

1048

alto fl.

violin

gongs

perc.

woodblock

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

ppp mpz p non dim.

ppp mpz mpz mpz ppp mpz

p non dim.

(msp)

mp sempre

6:5 3:2 3:2

ppp mpz

p non dim.

ppp mpz

p non dim.

ppp mpz

(msp)

p non dim.

(msp)

mpz

]

p

pp

5:6

mf

4:5

7:6

4:3

(msp)

p non dim.

31

4813

18

108

2416

alto fl.

violin

gongs

perc.

woodblock

bass cl.

tpt.

vc.

bass gtr.

pf.

cb.

mp

3:2 pp

ppp

gradually overblow...

highharmonics

fff]

mp

arco nat.

3:2

4:5

pp

4:3

arco nat

ppp

msp

fff]

mp

pp

3:2

7:5 8:9

mp

ppp

fff

mp

3:2

4:5

pp

8:7

ppp

gradually introduce overtones...

densemultiphonic

fff ]

7:5

mp

3:2

(tuning slide gliss.)

pp

ppp

fff ]

7:5

mp

arco nat.

3:2

4:5

pp

9:6

arco nat

ppp

fff

msp

]

7:5

mp

]

(hammer-on) 3:2

pp

nat

ppp

fff

msp

]

4:5

9:10

fff

5:4

senza Ped.mp

3:2

6:5

pp

arco nat.

mp

3:2

4:5

pp

arco nat

ppp

fff

msp

]

9:10

32

24161

x=180

5

pf.

6:5

4:34:3

8:95:6

accents mp, otherwise pp sempre

4:35:6

6:45:6 5:6

10:7

2

pf.

6:7 4:3 13:10

3:2

etc. sempre sim.

4:5 3:25:6

4:3

11:12 5:6

3

pf.

5:4 5:6

4:5

8:6 5:65:6 11:12

4

pf.

4:3 3:2 3:2

3:2 5:4 3:2

5:65:6 10:7

5:6 4:35:6

5

pf.

3:27:5 4:5

5:4 4:3

4:5

7:85:6 5:6

11:95:6

5:66:7

33

6

pf.

3:23:2

3:2 3:23:2 10:7 9:10

3:27:5

(mp/pp sempre)

etc. sempre sim.

5:45:6

5:65:6

4:5 6:45:6

4:35:6

3:2

7

pf.

6:7

7:6

4:5 3:2 9:8

5:65:6

4:3 7:65:6

8

pf.

6:5 6:76:5 4:3 3:2

3:2 3:2 3:25:6

4:3

5:63:2 3:2 3:2 3:2

5:6

9

pf.

5:6 11:10 4:5 6:513:10

5:65:6

5:6 5:6 7:6

10

pf.

7:8

4:33:2

7:5

5:64:5

5:64:3 5:6

3:2

11:12

34

11

pf.

5:46:5

4:55:4

(mp/pp sempre)

etc. sempre sim.

13:12

5:6 5:6 8:6

12

pf.

4:5

9:107:6

4:3 6:45:6

4:3 3:25:6

4:3 3:2 3:24:5

5:64:3

13

pf.

4:3

6:4 5:6 5:6

5:4

5:6 5:63:2 4:3 3:2

5:6 4:3 8:75:6

14

pf.

4:3

3:2 7:6

3:2

3:23:2

5:4 11:10 3:2

5:64:3 8:6

5:67:8 5:6

15

pf.

3:2

9:74:5

Belgrade7 December 2015

3:2 3:2

5:6

5:6

4:35:6

3:2 5:6

35